Three Award-Winning Screenplays

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THREE SCREENPLAYS:
The Martyrdom of Madeline Slezak;
The Girl Who Got a Second Chance;
Stanley Ishkhanyan's Next Big Thing
@2015
By
Dale Andersen
27702 Crown Valley Parkway
Suite 117, D-4
Ladera Ranch, CA 92694
(562) 508-5820
http://www.linkedin.com/in/daleandersen
andersen.dale@gmail.com
Table of Contents
The Martydom of Madeline Slezak Page 3
The Girl Who Got a Second ChancePage 123
Stanley Ishkhanyan's Next Big Thing Page 256
THE MARTYRDOM OF MADELINE SLEZAK

a screenplay by
Dale Andersen
@2015
FINALIST - 2010 OHIO INDEPENDENT FILM FESTIVAL

FINALIST - 2010 NEW HAMPSHIRE FILM FESTIVAL
HONORABLE MENTION - 2011 TEXAS INTERNAT'L FILM FESTIVAL
SEMIFINALIST - 2011 BAREBONES FILM FESTIVAL
Dale Andersen
27702 Crown Valley Pkwy
Suite 117, D-4
562-508-5820
Writers Guild Reg # 1399773
4
FADE IN
EXT. ROCKET LAUNCH PAD - DAY
SUPER: MUSUDAN-RI, NORTHERN KOREA. SEPTEMBER 10, 2019.
KOREAN PUBLIC ADDRESS VOICE (O.S.)
Countdown at ten. Nine. Eight.
INT. CONTROL CENTER WITH A SPECTACULAR VIEW OF LAUNCH DAY
KOREAN PUBLIC ADDRESS VOICE (O.S.)
Seven. Six. Five. Four. Three.
Two.
Blastoff. Tense silence. Then the LAUNCH COMMANDER gives
the A-OK. SCIENTISTS cheer. GENERAL RICHARD BOLIVAR, in
an Arab robe and keffiyeh, cracks a thin smile. At his
side, MELISSA BOLIVAR, Asian, in a hijab and fuck-me
pumps, and MAJOR MATTHEW BOLIVAR, Eurasian, in an Army
uniform.
BOLIVAR
Day one of our new Iraq,
Matthew.
MATTHEW
Day one of your new Iraq,
Father.
BOLIVAR
Don't piss on my parade, boy. I
put a lot of blood and sweat
into this.
MATTHEW
Whose sweat? Whose blood?
The two men glare at each other. Melissa speaks in
Korean.
MELISSA
My husband is filled with joy.
His wish is to reflect on this
historic event in private with
his family.
The Korean Scientists bow, exit. Matthew turns his back
on his father. A tense silence. Bolivar leaves, slams the
door.
5
MELISSA
Can't my two men get along?
EXT. BOLIVAR'S SATELLITE IN ORBIT DAY
SATELLITE TRANSMISSION
(In Arabic)
God is great. Hasten to
prayer...
EXT. ON A HILL OVERLOOKING THE LAUNCH PAD - DAY
Bolivar activates his fingernail phone. It flashes. He
touches a memory chip to it. Another flash. Message sent.
EXT. BOLIVAR'S SATELLITE IN ORBIT OVER WASHINGTON, D C DAY
The WHITE HOUSE, the CAPITOL and the REFLECTING POOL below.
God is great, God is - The transmission stops.
A burst of beeps and clicks.
Then.
- - Great. God is great.
Hasten...
Sound of people walking in a hall. A light, chirpy voice.
RUFUS (O.S.)
Now for the pice de rsistance,
this way, please.
EXT. KEVIN'S OFFICE IN THE WEST WING - DAY
At a desk, KEVIN HURT, smoldering, muscular, wheelchairbound, several military medals pinned to his breast
pocket. His fingernail flashes. He turns, moves to the
door.
RUFUS (O.S.)
Voil. The Oval Office door. One
word. Don't. Don't open it.
Ever.
INT. THE WEST WING CORRIDOR AT THE OVAL OFFICE DOOR - DAY
6
RUFUS MEADOWS, a smart dresser, addresses five INTERNS.
RUFUS
This door is sole property of
the President's gatekeeper,
Chief of Staff. I. Etch that on
your brain.
Kevin, in the corridor, signals. Rufus nods.
INT. THE OVAL OFFICE - DAY
Senator ROGER LAJEUNESSE; his daughter, CHERRY; HENRY
SLEZAK, Presidential Advisor; KENNY WETZEL, Henry's Aide.
Kenny has an athlete's build. Cherry's dressed cowgirl
hot. Kenny can't take his eyes off her. The PRESIDENT
stands on carpet in an astronaut's suit. The door opens.
PRESIDENT
(Faint fishbowl voice)
Rufus, that you? Ah! Damn
helmet!
He presses a switch on his astronaut suit belt.
PRESIDENT
(Speakerphone voice)
Hear me now? Rufus, that you?
RUFUS
Giving the new interns a tour,
Sir.
He gestures Rufus to bring them in. He pops open visor.
PRESIDENT
I know I look dumb. But don't
blame me. Senator LaJeunesse'
idea. Blame him. It's all due
to his daughter, Cherry. She's
gonna be the next Harris County
District Attorney.
(Everyone claps)
We're gonna have a fundraiser
in Houston. Her Dad thought
it'd be cool if I showed up
dressed like an astronaut.
Still working out the kinks.
(Closes visor, feigns
choking to death)
Houston, we got a problem!
Everyone laughs. Henry springs up, does a comic
portrayal of an EMT to the rescue, dramatically pops
7
open the visor.
PRESIDENT
Air! I can breathe! Thank God!
Henry Slezak saves the day
again!
Henry bows.
applauds.
Everyone, except Rufus, laughs and
INT. IN THE GREEN ROOM IN THE WHITE HOUSE - DAY

Rufus and the five Interns below a painting.
RUFUS
Saturday's the President's
birthday party. It'll be in the
Rose Garden. Theme is ragtime.
We'll have period costumes, a
saloon, spittoons. And you five
will sing Happy Birthday.
Kevin, scowling as usual, motors up close in his
wheelchair. An Intern turns to him.
INTERN
Mister Hurt. Sir. Is there
anything I can help you with?
KEVIN
You patronizing me?
INTERN
No sir. I - KEVIN
Don't patronize me. See this
Purple Heart? Means I'm a war
hero. You a war hero?
INTERN
Uh. Uh, no sir.
Kevin extends his hand, lights up his Zippo, holds
his hand over the flame. The Intern stares aghast.
Kevin endures the pain silently, then snaps the Zippo
shut and motors off down the hall. Faint sound of a
jazz band playing ragtime.
EXT. THE ROSE GARDEN RECEPTION - NIGHT
Bling-bling. The JAZZ BAND plays. GUESTS in ragtime garb
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dance. A silver-haired MIMI dances with a YOUNGER HUNK.
Rufus stands by a scowling Kevin. Bolivar, out-of-place
in an Arab robe and keffiyeh, grins, claps Rufus on the
back.
Kenny smiles at all the Women. Most smile back. GEORGE
GALMICHE, a big toucher, bearhugs him, slips him a
baseball.
GALMICHE
Kenny. Need a favor.
KENNY
Sure, Mister Galmiche.
GALMICHE
Call me George. Big Miami donor
with his daughter. Be thrilled
to meet you. Need a pen?
The ragtime stops. The band plays a fanfare.
LIVERIED SERVANT
Henry and Madeline Slezak!
Henry & MADELINE SLEZAK enter. Madeline, drop-dead
gorgeous in a shimmering gown and floral hat. Everyone
turns to look.
Maddie!
PRESIDENT
Henry!
MADELINE
Mister President.
PRESIDENT
Mister President? Call me Danny,
young lady. Henry, you ain't got
your bride trained yet.
ANOTHER PART OF THE ROSE GARDEN
Kenny signs the baseball for MISTER MIAMI and DAUGHTER.
MISTER MIAMI
My Charlotte's quite the
athlete. On the Florida State
varsity.
KENNY
What sport?
9
DAUGHTER
Fast-pitch softball, sir.
MISTER MIAMI
She's a pitcher. Like you.
Well, not quite like you. Not
yet.
Kenny hands ball to the Daughter. Henry & Madeline pass by.
Madeline & Kenny lock eyes. Madeline quickly looks away.
THE SEVEN DISTINGUISHED WASHINGTONIAN MATRONS TABLE
Seven MATRONS sit and chat. Henry guides Madeline to them.
HENRY
What say I park you with Pamela
for some Washingtonian feminine
lore?
MADELINE
Are you getting rid of me?
HENRY
Mimi's here. She's been
drinking.
MADELINE
She's not your wife anymore. I
am.
HENRY
Just lie low here until she
leaves. I got a boy watching
her to keep her away from you.
Henrys fingernail flashes. He walks off. Two PRETEENAGE GIRLS in frilly lace rush up.
GIRL 1
You're my role model. I so want
to be a perfect trophy wife like
you.
Madeline blushes, hikes up her gown to show a long scar.
MADELINE
I'm far from perfect, honey. I'm
just an Iowa tomboy with an ACL
reconstruction.
Cherry LaJeunesse passes by in ragtime era shady lady
garb, just as one Matron's fingernail phone rings like a
10
chimes and all ten of her fingernails light up like the
rainbow.
ANOTHER PART OF THE ROSE GARDEN
The President, Henry & Kenny eye Mimi and her Young
Hunk on the dance floor. There's payback in her dance
moves.
HENRY
What's that SOB even doing here?
PRESIDENT
I'd say he's dancing with your
ex.
The President nods toward Bolivar.
PRESIDENT
Last month Richard Bolivar
looked me in the eye, said Iraq
would rely on us for its
satellites. He lied.
HENRY
Didn't I tell you? He's out
there beyond any acceptable
oversight.
Dance ends. Mimi aims a look of contempt at Henry.
PRESIDENT
Well, it's Iraq. He's been there
since Obama. He's almost indis HENRY
No one's indispensible, Danny.
Cherry's in the ragtime bar. Kenny's radar homes in.
HENRY
After the election. I'll handle
Bolivar. Cut him off at the
knees.
Henry smiles at Bolivar. Bolivar smiles back.
BACK AT THE NOW-EMPTY WASHINGTONIAN MATRON TABLE
Madeline alone, deserted by the Matrons. Melissa, in her
trademark hijab & fuck-me pumps, sits, takes her hand.
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MELISSA
Your life line. There. You see
how delicate it is? See it
quiver at my touch? Its opening
up, talking, telling me you like
outdoors. Athletics. Wide open
spaces.
MADELINE
Why yes, that's right. I do - MELISSA
Oh, now I see confidence issues.
Indecision. This weak line? Says
you want to be top of the world,
be successful, be admired. But
life frustrates you. You bottle
it up, let the pressure build
until - MADELINE
Let's stop. That's enough.
Please.
Melissa smiles. Madeline looks at Henry with sudden
dread.
A TABLE IN THE RAGTIME BAR
Kenny and Cherry seated. A MAN hands Kenny a baseball to
sign. He signs it.
CHERRY
You like signing balls, don't
you?
KENNY
Never thought if I like it.
Want me to sign one for you?
See?
CHERRY
There you go.
KENNY
There I go what?
CHERRY
With your big baseball star
move.
KENNY
Got me wrong. Just thought - -
12
CHERRY
Thought I'd melt. Thing is,
youre not real. You're a
construct.
KENNY
Now that is bullshit! I'm real!
Go on! Touch me! I'm real as CHERRY
And you won't ever be real till
you have to give it up an' come
out from behind that facade an'
stand naked in the light like
everyone else. I better go find
daddy, see he's not drinking too
much. Bye!
She walks off.
KENNY
Bitch!
Mimi, mean drunk, tailed by an Aide, brushes past Kenny.
THE WASHINGTONIAN MATRON TABLE - NIGHT
Melissa's gone. Madeline, again surrounded by the seven
Matrons. Mimi, weaving, the Aide behind her, draws near.
MIMI
Well look! Trophy Wife
Cinderella and her seven Fairy
Godmothers!
The Aide clears his throat. Mimi theatrically drops the
flute. It smashes into a zillion pieces.
MIMI
Let them clean it, Sleeping
Beauty. God forbid you prick
your finger.
Mimi leaves as the Interns start singing "Happy
Birthday."
EXT. THE TICKET WINDOW AT THE BATTING CAGES - DAY
Neon sign: "TIGER CAGES." A neon tiger swinging a bat.
Madeline wears a knee brace. She has her custom bat.
13
INSERT:
Madeline's bat: "WONDERGIRL" burned into the barrel.
BACK TO SCENE
Two TEENAGE JOCK TYPES in Tiger Cage teeshirts at the
window. One Jock Type hands Kenny a baseball. He signs
it.
EXT. AT THE BATTING CAGES - DAY
Kenny and Madeline smack hard line drives into the chain
link. Suddenly WHUMPP! Madeline's down on one knee, hand
on her breast, her face screwed up in pain. Kenny laughs.
KENNY
Not sposed to crowd the plate.
Kenny goes back to hitting. Suddenly, a crash. Another
crash. He turns, sees Madeline taking Wondergirl to the
pitching machine, pounding it like she's killing it. He
rushes out of his cage and into hers, pulls her away.
KENNY
You crazy? Hell you trying to
do?
She fights to break free.
KENNY
Stop! It's a machine, dammit!
INT. KENNY'S BEDROOM - NIGHT
Wall plastered with memorabilia about Kenny Wetzel,
Number 54, baseball star. Madeline at the mirror, a black
& blue mark on her breast. She winces, gingerly slides
her top on.
MADELINE
Maybe Henry could talk to the
Washington Nationals for you. He
knows the owners. You could
coach.
KENNY
Maddy, I do appreciate, but - MADELINE
I want you to stay. I want - -
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KENNY
Look up there. San Francisco
orange. They've asked me. I said
no. If I say yes, would you
come?
MADELINE
Come with you?
KENNY
I dont mean right away. You.
You could wait. Wait until - MADELINE
Leave Henry? Suddenly this is
going to a whole new level.
A long moment. She shakes her head.
MADELINE
No. Here I meet important
people. Danny Prophet calls me
Maddie.
His face says he's not used to hearing "no" from women.
KENNY
You want both, that it? You
want the big guy calling you
Maddie n you want number 54
fucking you.
MADELINE
That is so crude.
KENNY
OK. I get it. You stick with
being arm candy to an old man,
stick with being a trophy wife.
You'll find theres borderline
collateral duties you didn't
bargain for. You'll find - Madeline slaps him hard. Her nails cut. She storms out.
KENNY
Damn her!
INT. A DENNY'S-TYPE RESTAURANT - DAY
DONNA and ALAN in a booth. Alan, 9, has Donnas angel
face and blonde locks. They wait excitedly. Kenny enters.
15
Donna and Alan wave. Kenny slides in, band-aid on his
cheek.
KENNY
Don't have a lot of time, Donna.
ALAN
Can I touch your $50 million
arm?
Kenny gives Donna a "What the hell?" look.
DONNA
I told Alan how the Giants put
that insurance policy on your
arm. He tells all the kids how
his dad - KENNY
Alan. What's our rule on that
word?
He picks up the menu, buries his head in it.
KENNY
C'mon, order! Get this over
with.
Faint sound of men walking fast.
INT. THE TABLE IN THE CABINET ROOM IN THE WEST WING DAY
Footsteps louder. CABINET MEMBERS, including Galmiche,
wait.
OUTSIDE IN THE HALLWAY AT THE CABINET ROOM DOOR
Footsteps stopped. The President, Henry & Kenny stand. The
President takes a deep breath, counts to three, opens
door.
THE CABINET ROOM
PRESIDENT
Polls say second terms in the
bag.
Cabinet Members applaud. Henry raises his hand for
silence.
16
PRESIDENT
History says second terms are
dead ends. President's a lame
duck, his key people fixin' to
jump ship and.
Henry looks daggers at Galmiche.
Galmiche looks away.
PRESIDENT
Gear up for the next election
four years off. I got news,
people, no one uses my back for
a springboard.
The President turns, exits. You can hear a pin drop.
HENRY
Didn't you people hear?!?
President wants your
resignations!
The
Kenny passes out resignation letters. Galmiche glares.

AT A CLOSED-CIRCUIT TV MONITOR IN THE WEST WING MEDIA
ROOM
PRESIDENT
Henry, you fucking genius, you!
THE PRESIDENT'S GAME ROOM
The President at a pinball machine playing a baseball game.
PRESIDENT
When you get back from Korea, I
want you to get some serious R &
R.
HENRY
I don't need a rest.
PRESIDENT
You work 24/7. Take that bride
up to the cabin, fuck her brains
out. George and I're headed to
Florida.
HENRY
Sure you want that? George and
Bolivar are - -
17
PRESIDENT
I'm a big tent guy. I want
George in my tent pissing out.
HENRY
Just be careful. He's not a
straight shooter. He's a
sprayer.
PRESIDENT
Thing is, we're looking at a
60% landslide and I want 65. I
want the record. I want my name
in the books. George owns
Florida. If he stumps hard,
sixty-five is - HENRY
Forget numbers, Danny. Just
focus on not screwing up and - PRESIDENT
Dammit, Henry! I want my legacy!
The pinball machine goes BANG! BANG! BANG! BANG!
PRESIDENT
Well! Talk about omens. Grand
slam!
INT. A MILITARY BUS ENTERING AN IRAQI ARMY BASE - DAY
The passengers, eight Iraqi OFFICERS, sit ramrod straight.
GALMICHE (O.S.)
Danny suspects. I'm sure of it.
INT. GEORGE GALMICHE'S KITCHEN - DAY
Galmiche in an apron. He kneads a lump of bread dough.
GALMICHE
We need to move it up.
INT. A CONFERENCE ROOM - DAY
The eight Officers march in silently. They sit. They wait.
18
BOLIVAR (O.S.)
How about it, Rufus? Think Danny
smells a rat? Should we move it
up?
INT. A LOFT IN RUFUS' HOUSE - DAY
Classical music plays. Kevin massages Rufus temples.
RUFUS
It's your call. All I want is to
be on the right side of history.
INT. AN AUTO SHOP WITH A LIFT AND A GREASE PIT - DAY
Bolivar, in coveralls, under the hood of a '68 Roadrunner.
BOLIVAR
Okay, moved up. As for history,
Rufus, the winners get to write
it.
He slides out from under the hood. Two MECHANICS put a
robe & keffiyeh on him. He exits, looking like an Arab
prince.
INT. THE CONFERENCE ROOM - DAY
All eyes on Bolivar as he enters. He sits, speaks in Arabic.
BOLIVAR
You are my most trusted. Iraq,
the mother of us all, is in
danger...
EXT. A CAR AT THE CURB NEAR MADELINE & HENRY'S CONDO DAY
GALMICHE (O.S.)
He's changed his mind. Listen.
Kenny sits, watches Madeline in her jog togs walking to her
door. His face says he misses her, longs for her, aches for
her.
RUFUS (O.S.)
(Filtered)
George? Listen, I've been
thinking we should maybe hold
off and - -
19
INT. RUFUS' OFFICE - DAY
GALMICHE
Hold off? Tall order, Rufus.
Wheels're in motion. Stuff's
happening. And oh yeah, hate to
break it at this late hour, but
after the election, Henry'll be
Chief of Staff. You'll be out.
RUFUS
What!!??
GALMICHE
Heard it straight from the
horse's cock. But dont worry.
Like I said.
EXT. BOLIVAR'S SATELLITE IN ORBIT
GALMICHE (O.S.)
Stuff's happening. Wheelsre in
motion. You take care, Rufus.
A hatch opens, releasing a thousand marble-sized spheres.
Tiny rocket engines ignite. They vanish into the
blackness.
Hasten to prayer. Hasten.
Hasten...
INT. CORPORATE JET - DAY
Sound of plane slowing down. The passengers are the eight
Iraqi Officers. They don burqas over their uniforms.
CONTROL TOWER (O.S.)
Runway 4 clear. Welcome to
Dulles.
Classical music. Rufus, in a rage, hurls an apple
core at a Henry Slezak pic on the wall. Kevin
watches.
RUFUS
Kill him! I will fucking kill
him!
20
Sound of a doorbell.
INT. HENRY AND MADELINE'S CONDO - DAY
Doorbell. Madeline opens door to JEREMY and CHLOE.
MADELINE
Oh my. Henry, it's Jeremy.
Jeremy pulls Chloe up close. She's very, very pregnant.
JEREMY
Dad, want you to meet Chloe - AT THE FRONT WINDOW LOOKING OUT
Chloe & Jeremy peel out. Jeremy squeals the tires.
HENRY
Look at them. Two idiots!
EXT. BOLIVAR'S SATELLITE IN ORBIT - DAY
More marble-sized spheres released. Rocket engines
ignite.
Hasten to prayer. Hasten.
Hasten...
INT. HENRY & MADELINE'S MERCEDES - DAY
An elaborate GPS drives the car. It blinks, clicks, hums.
Henry reads. Madeline stares out the window. They pass
through a forested area of upscale cabins & luxury cars.
GALMICHE (O.S.)
A change, General. Danny's going
to the game tonight, not
tomorrow. Spur of the moment
thing.
BOLIVAR (O.S.)
Just means we go now instead of
tomorrow. Means we go minus
Rufus.
21
More marble-sized spheres released. Rocket engines
ignite.
GALMICHE (O.S.)
No big loss there. Where is
Rufus?
BOLIVAR (O.S.)
Out with his boyfriend,
joyriding.
EXT. KEVIN'S 1998 FORD TAURUS - DAY
Kevin's car on the same road as Henry and Madeline.
INT. HENRY & MADELINE'S MERCEDES - DAY
MADELINE
I'm not your trophy wife.
Henry doesn't hear. He's reading. Car enters a turnoff.
INT. KEVIN'S TAURUS - DAY
They pass the turnoff. Kevin slows down.
KEVIN
Wasn't that the turnoff?
the navigator, dammit!
You're
Kevin curses silently, slaps a U, enters the turnoff.

EXT. A CABIN IN THE WOODS - DAY
The Mercedes in the driveway, Henry unloading, Madeline,
in running togs, doing stretching exercises.
RUFUS (O.S.)
Promise me, when we get there,
just do it. Don't do anything
crazy.
KEVIN (O.S.)
Don't say that word.
INT. KEVIN'S CAR ROUNDING A TURN ON ROAD NEAR CABIN NIGHT
22
Dusk. Madeline jogs. Rufus scrunches down, hides his
face.
EXT. APPROACHING MAIN ENTRANCE TO STADIUM - NIGHT
SUPER: ROGER DEAN STADIUM, WEST PALM BEACH, FL
FANS stream in. Hologram of Danny Prophet over the
entrance. Stadium organ plays. Six Iraqi Officers pass
thru the turnstyle in burqas. One wears a ballcap over
his hijab.
EXT. ENTRANCE TO STADIUM PEDESTRIAN TUNNEL - NIGHT
Sign: "NO ENTRANCE." A SECRET SERVICE AGENT stands
guard. A MAN in a food service uniform with a tray of
soda pop and hotdogs approaches. Secret Service Agent
waves him through.
INT. STADIUM PEDESTRIAN TUNNEL - NIGHT
The Man with the tray walks toward the light at the end
of the tunnel. His footsteps echo. Stadium organ louder.
EXT. STADIUM - NIGHT
The Man emerges from the tunnel to a packed house. Danny
Prophet flags, banners, posters everywhere. A second
SECRET SERVICE AGENT waves him by. The Organist grins,
plays on.
EXT. COMMUNICATIONS ANTENNAE ON WEST WING ROOF - NIGHT
A steady hum. Somewhere, the faint sound of boots on tile.
EXT. SOMEWHERE IN STADIUM - NIGHT
Sound of boots less faint. The six Officers head to their
seats. Face of the President grins from the GIANT SCREEN.
INT. WEST WING SECURITY CENTER - NIGHT
SUPER: WEST WING SECURITY CENTER
A flat-panel runs the length of the wall, displaying the
image of the President. TECHNICIANS at consoles monitor
him. They see him take a hotdog from the Man with the
tray. They see Galmiche near him. The sound of the boots
23
grows louder.
INT. A HALLWAY IN THE WEST WING - NIGHT
Sound of boots suddenly very near. Two uniformed
OFFICERS in spit shined boots turn corner, heading
toward a guarded DOOR. These are two of the eight Iraqi
Officers.
EXT. STADIUM SCOREBOARD AT SEVENTH-INNING STRETCH - NIGHT
A Harry Caray-type voice sings Take Me Out To The Ball Game.
EXT. A MEN'S BATHROOM SOMEWHERE IN THE STADIUM - NIGHT
A sign: "CLOSED - USE NEXT BATHROOM"
INT. THE MEN'S BATHROOM - NIGHT
Burqas piled on floor. The six Officers, in Army garb, wait.
INT. OUTSIDE THE GUARDED DOOR IN THE WEST WING - NIGHT
The two Officers present their IDs. The GUARDS scan them.
EXT. BOLIVAR'S SATELLITE IN ORBIT - NIGHT
A series of beeps and clicks. An antenna array unfolds.
MONTAGE - SATELLITES IN SPACE
-- Turkish satellite. A marble-sized sphere orbits it.
-- Chinese satellite. A marble-sized sphere orbits it.
-- Canadian satellite. Sphere fires rocket, increases
mmmspeed, tightens orbit.
-- Manned Russian space station. 20 orbiting spheres
.converge and link. Their rockets ignite as one,
mmmsending the mass.at the heart of the station.
MONTAGE ENDS
BACK TO SCENE
The beeps and clicks change to a high-pitched whine.

INT. OUTSIDE DOOR AT WEST WING SECURITY CENTER - NIGHT
24
The Scanner emits a wasp-like buzzing sound.
GUARD 2
Taking damn long to validate.
The whine becomes a shriek, then a howl.
MONTAGE - SATELLITES DISABLED
-- A sphere burns a hole in a Chinese satellite.
-- Two spheres link lasers, saw a French satellite in
mmmhalf.
-- The scorched hulk of a US satellite out of control.
-- Manned Space Station with a hole blasted in its hull.
MONTAGE ENDS
EXT. GAME OVER AT ROGER DEAN STADIUM - NIGHT
FANS stream out in Danny Prophet skimmers.
INT. THE PEDESTRIAN TUNNEL - NIGHT
The President chats with a POLITICIAN. Galmiche waits.
MONTAGE - THINGS START SHUTTING DOWN ALL OVER
-- A HIGH SECURITY PRISON. A steady hum. The Control
mmmCenter bristles with microwave antennae. the hum
mmmstops, lights switch off, cell doors slide open.
mmmOminous shadows in doorways. Shots, things being
mmmsmashed. Screams. Howls.
-- OPERATING ROOM. Steady hum. A robotic operation, a
.PATIENT on a slab. Screen shows realtime telecast of
.Asian DOCTOR doing.the long distance surgery. The hum
.stops, the screen goes black, lasers shut down. Blood
.everywhere. A scream.
-- A VEHICLE ON A DARK ROAD. Steady hum. Microwave
.antennae on roof. Two MEN inside play chess. GPS
.console purrs.
25
GPS VOICE
Proceeding to the train
crossing.
Sound of train. Chess pieces jiggle. Men look up.
.Suddenly, train dead ahead, closing fast. Hum ceases,
.power shuts down, display goes black. The Men pound on
.the GPS. Screams. Screeching wheels. Chess pieces fall
.from board. Sickening crunch of metal. All black.
MONTAGE ENDS
The President bids farewell to the Politician. Galmiche
comes forward as Politician leaves.
INT. OUTSIDE THE DOOR IN THE WEST WING HALLWAY - NIGHT
Scanner emits long, sustained shriek. The Guards cover
their ears in pain. Smoke from the two Officers nostrils
and ears. WHUMP!! They explode. Body parts fly
everywhere.
INT. WEST WING SECURITY CENTER - NIGHT
A quake-like shock. Screen shatters. Wall, ceiling
collapse.
EXT. ENTRANCE TO PEDESTRIAN TUNNEL AT BALLPARK - NIGHT
Secret Service Agent's vid goes black. He runs into tunnel.
INT. WITH THE OFFICERS INSIDE THE MEN'S BATHROOM - NIGHT
Comm devices flash red. A disembodied voice, "Go! Go! Go!"
The Secret Service Agent emerges. A shot. He drops. The
six Officers appear as if from thin air. Galmiche waves a
gun.
GALMICHE
A traitor. He was plotting.
Rumble of helicopters. The six Officers defer to Galmiche.
26
OFFICER 1
Time to load up and leave, sir.
PRESIDENT
Who are these men, George?
President's eyes suddenly on Officer 2, holding a syringe.
EXT. A SEMI-DESERT - DAY
SUPER: IN PERSIA AMONGST THE YEZIDI TRIBESMEN
Bolivar!
YEZIDI MEN
Bolivar! Bolivar!
Bolivar and Melissa stand, hand in hand. Yezidi MEN fire

guns in air. TV CREW awaits. Bolivar signals for quiet.
TV TECHNICIAN
Five, four, three, two, one, go.
BOLIVAR
Brothers Sisters! A great evil
has.
MONTAGE - BOLIVAR'S SPEECH
-- Two FEMALE COLONELS in hijabs watch Bolivar on a
.screen.
BOLIVAR (on TV)
Been averted. There was a plot
on.
-- A Jet PILOT watches Bolivar on a small cockpit
.console.
BOLIVAR (on TV)
The President's life. Thanks to
my vigilance and yours, it
failed.
-- A PLATOON watches Bolivar on a hand-held video.
-- A thousand SAILORS stand before a hologram of Bolivar.
MONTAGE ENDS
Bolivar and Melissa wave. A distant flash, a mushroom
cloud.
27
EXT. KEVIN'S CAR OUTSIDE THE CABIN - NIGHT
Rufus in the car, the windows rolled up. Sound of a
gunshot.
KEVIN (O.S.)
So everyone knows this is - INT. CABIN MASTER BEDROOM - NIGHT
The door to the BATHROOM is locked, bullet hole in the wall.
KEVIN
- - Real. No fairy tale. Not a
Snow White or Cinderella story.
Sports gear on the floor. A canopy bed. An ottoman at the
canopy's foot. Henry stands on ottoman, noose on his
neck, a rope looped on a cross-brace above him & down to
wheelchair.
KEVIN
My pal's outside. You upset him.
You and me're gonna have a chat.
Henry grips rope to keep from choking. In his eyes, rage.
KEVIN
Oh, I don't have your attention.
He fires at bathroom wall. Sound of bullet hitting pipe.
MASTER BATHROOM
A cloth bag on Madelines head locked at the neck, soaked
from the spray. She feels along the wall, around the sink.
Oh God!
MADELINE
Henry! Henry!
INT. KEVIN'S CAR - NIGHT

RADIO NEWSCASTER'S VOICE (O.S.)
The President's life. He is
unhurt.
RUFUS
Damn! It's starting! Damn them!
28
INT. MASTER BATHROOM NIGHT
Her hand on the MEDICINE CABINET. She opens it. Bottles
tumble out. She feels inside, finds the MEDICAL SCISSORS.
MASTER BEDROOM
The wheelchair powers back, jerking Henry up on his toes.
KEVIN
Now do I have your attention?
MASTER BATHROOM
Ripped bits of canvas on her neck, she slams into the door.
Henry!
MADELINE
Henry!
MASTER BEDROOM
The wheelchair powers forward.
KEVIN
Tell her to stop.
The noose slackens.
Now!
MASTER BATHROOM
She slams into the door, harder. The frame splits.
MASTER BEDROOM
Madeline crashes through, splinters flying. Kevin spins
in his chair. The rope suddenly tightens on Henry.
KEVIN
What the hell?!?
The rope jerks Henry. He kicks, thrashes, fighting for
life. Madeline tumbles toward the sports gear. Kevin
fires and misses. Madeline springs up, Wondergirl in
hand. He fires, hits Henry. Gun jams. Madeline attacks,
Wondergirl upraised.
EXT. THE CABIN NIGHT
Classical music blasts. Rufus tries his phone. Busy.
29
RUFUS
Bastards didn't fucking tell me!
Shadows on curtain of a beating. Rufus runs to door.
RUFUS
I said nothing crazy! Kevin!
Stop!
INT. BEDROOM NIGHT
Madeline, a wild look, pounds Kevin to a bloody pulp,
Rufus at door, gasps, runs. Madeline sees a fleeing man,
pursues.
EXT. THE WOODS OUTSIDE THE CABIN - NIGHT
Madeline, holding Wondergirl high, cabin lights
enveloping her like an avenging angel. Rufus running,
thorns tearing his skin. Madelines scream pursues him
like a demon.
INT. HELICOPTER - NIGHT
The President in a litter, medicated, his eyes open, seeing
nothing. A MEDIC attends him. Galmiche, into a comm device.
GALMICHE
Reports!
VOICE 1 ON SPEAKERPHONE
Capitol secured, Sir.
Pentagon secured, Sir.
Vice President secured, Sir.
EXT. LOOKING THROUGH THE WINDOW INTO KENNY'S BEDROOM NIGHT
Gunfire sounds. Sound of shouting. Kenny, glued to the TV.
Faint sound of gunfire, Sound of shouting, coming closer.
30
TELEVISION ANCHORMAN (O.S.)
Arson and riots up and down the
eastern seaboard. We go to
Tampa.
TELEVISION REPORTER (O.S.)
Command Center at Raymond James
Stadium, summary executions
are...
KENNY
Fuck's going on? Henry, get
back.
He tries a number. Nothing. A second number. Nothing. He
curses. He tries a third. His fingernail lights up.
KENNY
Madeline? No! Don't hang up! I
need Henry. All hell's broke
loose here!
EXT. AT THE DOOR TO THE CABIN - NIGHT
KENNY (O.S.)
Who? Who killed him?
MADELINE
Two men. One in a wheelchair.
KENNY (O.S.)
Wheelchair? Oh shit! Get out
now!
KENNY
Stay off the phone. Don't use
the Mercedes. They'll track it.
MADELINE (O.S.)
Who'll track it, Kenny? Who?
Kenny, his pants half on, half off, runs to the door.
INT. COCKPIT OF JET FIGHTER - NIGHT
31
KENNY (O.S.)
The wheelchair guy. His car's a
'98 Taurus, stick shift.
Unwired. Take the backroads.
Meet me at the Tiger Cages. The
Tiger Cages!
A thin smile through the Pilot's smoked visor.
PILOT
Pick up Wetzel and Slezak's wife
at the zoo. Watch for a 1998
Ford.
EXT. UNDERSIDE OF FUSELAGE - NIGHT
Blinking lights. Bay opens. A SMART BOMB releases.
INT. KEVIN'S CAR - NIGHT
WHOOSH!!! Fire engulfs the cabin. The wheelchair in
flames, Kevin turning black, crinkling, folding into
himself. Madeline, Wondergirl on the seat, starts the
ignition.
EXT. ACROSS THE STREET FROM KENNY'S HOUSE - NIGHT
Kenny next to his car. WHUMP!! A flash behind him. His
house implodes. Lights switch on up and down the street.
Sirens.
EXT. ON A NARROW BOUNCY COUNTRY ROAD - NIGHT
Classical music blasts, gears grinding, headlights on high
beam. Thump of distant artillery. Fire on the horizon.
EXT. OUTSIDE KENNY'S HOUSE, NOW RUBBLE - NIGHT
A CROWD. Flashing POLICE CAR lights. A MAN runs up.
MAN
Can I report a stolen tow truck?
INT. THE TOW TRUCK - NIGHT
Kenny comes up to a CHECKPOINT manned by a scared
SOLDIER. He guns the engine. Soldier drops his rifle as
he roars by.
32
EXT. KENNY WAITS AT THE TIGER CAGES - NIGHT
Madeline approaches. Car headlights on high beam, gears
grinding, classical music blasting. Kenny curses silently.
INT. TOW TRUCK - NIGHT
KENNY
Any fool knows you drive with
lights off! And thanks for the
music! Now the whole world - MADELINE
I couldn't find the off switch!
EXT. KENNY AND MADELINE ASLEEP IN A HAYSTACK - NIGHT
Wondergirl between them. Suddenly voices, flashing lights.
Madeline peeks out, sees POLICE. A distant train whistle.
INT. A RAILROAD BOX CAR ON A SLOW-MOVING TRAIN - NIGHT
Kenny and Madeline peer out through a half-open door.
EXT. A JET FIGHTER AT 10,000 FEET - NIGHT
Fires and explosions along the train track below.
INT. THE BOX CAR NIGHT
Burning buildings, distant explosions, small arms fire.
EXT. A BUILDING AS THE TRAIN PASSES NIGHT
SOLDIERS rush up. Moving shadows in the Building. A flame
grenade streaks through a window. Two MEN & a WOMAN crash
through door. A mad dash. This is KIDD, WHIT & MARIA.
SOLDIER
There they go! Get em!
A BIG SOLDIER takes out a gun, pursues them on foot.
INT. LOOKING OUT FROM THE RAILROAD BOX CAR NIGHT
Kidd, Whit & Maria sprint. The Big Soldier fires. Kidd
staggers. Maria & Whit grab Kidd. THUNK! A rock to the Big
33
Soldier's head. Kenny in a classic pitcher's followthrough.
KENNY
High hard one. Still got my
heater.
INT. COCKPIT OF THE JET HIGH ABOVE NIGHT
PILOT
Request implant coordinates.
WHIT
Near the spine. Suck it up,
Kidd.
MARIA
Whit. He's a Medic. Knows his
shit.
Medic.
KENNY
So you're all Army.
WHIT
Let's just say we used to be
Army.
Maria lets a KITTEN out of her blouse.
MARIA
This is Little Ria. I'm Big Ria.
Kidd screams, his screams drowned by the train whistle.
INT. COCKPIT OF THE JET NIGHT
The control panel displays download at 50%.
Outside, buildings burn, bodies hang from power lines.
Whit offers Kenny a cigarette. Kenny reaches, Whit pulls
back.
WHIT
Implant! You gotta get off, man.
34
MARIA
They'll track it. To get to us.
WHIT
They'll kill us, man.
Maria & Whit hold up forefingers, cut at the top knuckle.
Whit holds up Kidd's stump. Maria takes out a thick
blade.
MARIA
Go chop and its off. Doesn't
hurt.
The control panel monitor displays download at 90%.
KENNY
No! No way! This was insured for
$50 million! Can you comprehend
what that means?
EXT. THE JET, HIGH ABOVE NIGHT
PILOT (O.S.)
Hard scan download complete.
Out.
Jet peels off, goes into a steep dive toward the train.
Suddenly, a shock through the car of earthquake intensity.
MARIA
Hard scan! They're looking!
WHIT
You got to leave, man. Now!
Madeline takes the blade, touches her finger to it. Outside,
three female bodies dangle from a high fence.
MADELINE
I'm not going back. I am not.
Another strong shock. Whit & Maria turn on Kenny menacingly.
35
Kenny clenches his fists, goes into a fighting crouch.
KENNY
You two stay back! If I leave,
itll be when I decide.
EXT. AT THE REAR OF THE TRAIN NIGHT
The Jet hovers above the last three cars, eerily
electrified by the hardscan, flickering like lights in a
thunder storm.
PILOT (O.S.)
Hardscan proceeding, back to
front.
Kenny down, unconscious, Madeline over him with
Wondergirl.
Medic!
MADELINE
Get over here!
Now!
EXT. THE TRAIN NIGHT

A tank car, partly off rail, bounces, kicking up sparks.
A massive shock wave. Kenny, finger bandaged, groans.
Big Ria tapes a small wrapped packet to Little Ria's
belly. She kisses the kitten, pitches it out onto a
grassy spot.
MARIA
Youll need all your nine lives.
EXT. A GROVE OF TREES NIGHT
Little Ria, the packet of fingertips taped to her, runs.
Control panel displays two blinking lights moving away.
PILOT
They jumped off the train.
36
Sound of afterburners kicking in.
EXT. A VIEW FROM 30,000 FEET NIGHT
An explosion below.
The Jet does a victory roll.
EXT. ENTRANCE TO A TRAIN TUNNEL NIGHT

The train enters a tunnel. The derailed, burning tank car
clips the portal, rips loose, explodes. Portal collapses.
INT. A HELO FLIGHT DECK ABOVE THE CABIN - NIGHT
The Helo spotlight floods the area, now a pile of smoking
ashes. We see a blackened wheelchair frame holding
Kevins twisted charred body. Rufus, bloody, naked, waves
insanely.
EXT. THE ROAD LEADING TO BAGHDAD AIR TERMINAL - DAY
A million IRAQIS display pictures of Bolivar and Melissa.
Bolivars plane passes low overhead.
Bolivar!
CROWD
Bolivar!
Bolivar!
EXT. BOLIVARS PLANE ON TARMAC AT BAGHDAD AIR TERMINAL DAY

Bolivar!
CROWD (O.S.)
Bolivar! Bolivar!
The Iraqi flag and Bolivar's face on the tail. Hundreds of

troops on the tarmac standing guard. Overhead, formations
of Military Aircaft and Helos.
INT. VIP ARRIVAL GATE - DAY
Bolivar and Melissa enter, accompanied by HOLY MEN in
flowing robes. Three Gypsy CHILDREN stand with flowers.
BOLIVAR
Always your damn Gypsy kids!
He brushes past the Gypsies, refusing to even look at them.
37
GYPSY KID
Bolivar! Bolivar! Please wait.
We have flowers for you. Wait!
He walks faster. Behind him, WHUMMP!! A flash. An explosion.
EXT. ALONG A STRETCH OF HIGHWAY IN IRAQ - DAY
Vultures overhead. A line of roadside gibbets, spaced like
power poles to the horizon, a corpse dangles from each.
MATTHEW
He could kill half the world. It
won't bring her back, thank God.
The Satellite, a spec of light, coming toward us.
ROLLUP: "THIRTEEN YEARS PASS. THAT'S IDAHO DOWN THERE.
BOUNDARY COUNTY. BOLIVAR NEVER VISITED BOUNDARY COUNTY.
WHEN HE WAS TEN, HIS PARENTS TOOK HIM TO COEUR D'ALENE JUST
TO THE SOUTH. HE PLAYED IN THE SNOW, GOT SICK, SPENT A WEEK
IN BED."
God is great. I bear witness
to...
EXT. A DILAPIDATED MOTEL BY A MOUNTAIN ROAD - DAY
A battered BUS out front. The swimming pool, now a garbage
pit. In an open space, a swing and a sandbox. A tire hangs
from a tree. Beyond the tree, three GRAVES.
INSERT: The Headstones bear the Nazarenes Mark.
"Baby Marsha" "Baby Naomi" "Baby Josh" Below each name "The
Lord gives, the Lord takes, Blessed be His Name"
BACK TO SCENE
Sound of an engine backfiring. A truck horn honks three
blasts. Ten CHILDREN run to an approaching PICKUP TRUCK.
INSERT: Sign on Pickup Truck
Will B Cates, Elmira, Idaho, You need it, Maybe I got it
BACK TO SCENE
38
Perched in the Truck bed, KESHIA, black, 17, lifts a cage
of chickens. Madeline, now 35, walks up.
MADELINE
Will Cates, tell Keshia to leave
it up there. We don't need
chickens.
WILL CATES
Special hens, fed by hand. Fed
em pumpkin. Pumpkin meat 'n
seeds!
Two of the Boys start grab-assing. Madeline smacks them.
Keshia brings down a cage for Madeline to inspect.
WILL CATES
See how plump n shiny they are?
Mash it up, they eat the meat
and seeds. Be a treat for the
children. Juicy chickens fed on
pumpkin.
MADELINE
How much you charging?
WILL CATES
Buy eight. Get two free. How's
Ria?
MADELINE
Due any day.
WILL CATES
Baby a year. That's a fertile
lady.
The faint cries of a woman in labor growing louder.
EULA, TAMMY, WENDY, MADELINE (O. S.)
Third day He arose from the

dead, ascended into heaven,
sitteth on the right hand of God
the Father.
INT. MARIA'S ROOM IN THE MOTEL DAY
Little Ria stands, stretches. She's very old, missing a
leg, an ear and part of a tail. She goes to a dish and
sniffs it. TAMMY, WENDY, Madeline and EULA the midwife
stand with linked hands. They stand over Ria, who lies
with her NEWBORN BABY.
39
EULA, TAMMY, WENDY & MADELINE
Holy Ghost, holy Christian
Church, communion of Saints,
forgiveness of sins,
resurrection of the body, life
everlasting. Amen.
They squeeze hands and release.
EULA
Slid out so easy. Ria has a
gift.
Madeline frowns, nods, exits.
Eula follows.
EXT. THE MOTEL - DAY

MADELINE
Jonah! Tell your father you got
a new baby brother! Get!
The little Girls cheer. JONAH, 12, runs off.
EXT. AT THE SHED WITH THE "ALCOHOL KEEP OUT" SIGN DAY
Will Cates sits in his truck. Keshia chops wood, tosses the
pieces into the truck bed. Madeline unlocks the shed door.
MADELINE
You gonna pray me up a baby?
EULA
God's got you a special plan.
MADELINE
Hunh! Wish He'd tell me!
Madeline takes out three 5-gallon cans.
MADELINE
One healthy live birth. Fifteen
gallons total. Per the
agreement.
WILL CATES
She gets an extra gallon if - MADELINE
You think your missus has more
coming, take it up with Kenny.
She locks up, walks back into the house, slams door. Will
40
Cates starts pouring the alcohol into his truck tank.
INT. A TAVERN - DAY
A large photo over the door.
INSERT:
The Photo over the door
A stern-faced Bolivar in the uniform of a Field Marshal

with "IN THIS PLACE, BOLIVAR IS BOSS" in elegant script.
BACK TO SCENE
A stack of guns guarded by MORRIS the Bartender. Seven MEN,
including Kenny, sit. PREACHER signals a round.
KENNY
Thanks, Preach. Think I'll pass
on the beer. Got a hot streak.
PREACHER
Hear that? Kenny's on a streak.
KENNY
Proof's in the pudding. Five
live births in a row.
PREACHER
I attest. I baptized 'em.
All but Kenny drink. Fingers drum, feet shuffle.
JIMBO
Wonderin' if you're countin'
Maddie in this streak of yours.
KENNY
What's your point, Jimbo?
JIMBO
Tammy's producing. So's Wendy.
So's Ria. Proof's in the
pudding. Can't help noticing
Maddie's been quiet.
IKE
It's a point.
She hasn't - -
JIMBO
An' I'm thinkin' maybe you're
settin' her aside like with land
you let lie fallow? Or - -
41
Ike laughs.
Kenny stops him with a look.
PREACHER
Change the damn' subject, Jimbo.
JIMBO
Thing with women like Maddie,
sometimes it takes the right
man.
PREACHER
You nominating yourself, Jimbo?
JIMBO
No. Not trying to start a fuss.
Just clarifyin this streak - Morris appears behind Jimbo's chair, grabs him by the hair.
Jimbo yells bloody murder as Morris tosses him out.
MORRIS
Too damn many cockroaches in
here!
Kenny reaches for a bottle. PREACHER smiles, nods.
A massive office. Classical music plays.
portrait of Bolivar up high.
A huge
Rufus and an FBI OFFICIAL watch a video of an armed robbery:

five grainy figures with weapons drawn. One holds a bat.
RUFUS
Stop it there. Blow it up.
He zooms in. Rufus walks up and studies a six-foot image of
Madeline's face. She has a frozen expression of crazed anger.
RUFUS
Were these five ever caught?
FBI OFFICIAL
It was a chaotic time, sir.
Rufus looks at a framed color photo on another wall.
INSERT: The Photo
Kevin and Rufus seated in an antique auto, tipping hats.
BACK TO SCENE
42
Rufus nods. The FBI Official unfreezes the video. Madeline
swings Wondergirl at a shelf of bottles, smashing them.
INT. THE TAVERN - DAY
The Preacher and Kenny are alone. Three empty bottles by
Kenny. His face is flushed. He belches.
KENNY
Me. Ria. Kidd. Whit. Madeline.
Kidd with a bullet. Could barely
stand.
PREACHER
Kidd 'n Whit in an outlaw gang.
Never thought they had it in
'em.
KENNY
They were scared of Maddie. We
all were. She was crazy.
Unpredictable.
Silence. Kenny takes a deep drink. Guilt on his face.
KENNY
I got a boy out there.
Somewhere.
PREACHER
Boy got a name?
KENNY
Alan.
Door opens. Jonah enters. Morris signals him to wait.
Jonah sees Kenny's eyes are tearing up.
KENNY
Never called him son. Never let
him call me Dad.
EXT. A HORSE CORRAL AT AN EQUESTRIAN CENTER - DAY
Brass saddle device forms the letter, "B" Alan, 22,
blonde and handsome, in an army uniform, astride an
Arabian. A gold collar device. He rides like one born to
the saddle.
PREACHER (O.S.)
Shame on you, Kenny Wetzel.
43
Galmiche and a GENERAL stand outside the corral fence.
GENERAL
His name, sir, is Wetzel.
The General waves him over.
GALMICHE
I knew a Wetzel. Ballplayer.
ALAN
Lt Alan Wetzel. At your service.
Prove me, sir.
EXT. THE HITCHING RAIL OUTSIDE BOLIVAR'S PALACE - DAY
Bolivar dismounts, walks inside below a huge, gold "B"
INT. THE ENTRY HALL OF BOLIVAR'S PALACE - DAY
Persian marble. Lights focus on a casket, the glassed-in
MUMMY of Melissa. Bolivar sees Matthew's reflected face.
MATTHEW
I want troops and a command.
BOLIVAR
Your mother was a stickler for
timing, boy. A quality you lack.
He storms out. Bolivar gestures the Holy Men to follow
him.
EXT. A BARN - NIGHT
Dance music. Vehicles parked in a pasture. A generator
runs. Kenny's Bus stops at the door. Madeline and Tammy
hop out.
INT. THE BARN - NIGHT
Whit, hair thinning, tends a CD player. COUPLES dance,
Kenny with Tammy. Madeline stands brooding, sips liquor
from a cup. The song ends to whoops. Whit puts on
another. Madeline bolts down her drink, walks to Kidd,
yanks him onto the floor, gives him a mean look. They
dance.
INT. A HALLWAY IN A CELL BLOCK IN A PRISON - NIGHT
44
At each cell, a slop bucket. Two OFFICIALS & a HOLY MAN
escort Bolivar & Matthew. A MAN with a cart enters at the
far end. He loads buckets onto the cart. He calls out
"Rubbish! Rubbish!"
BOLIVAR
Youve pestered me for a
command. All right. You have
one. Youll need an army.
Bolivar signals to a ragged filthy PRISONER.
BOLIVAR
What's your name?
PRISONER
Abdullah, Sir.
BOLIVAR
Ever lead troops, Abdullah?
PRISONER
No, Sir. I'm a librarian.
BOLIVAR
Matthew, I give you Abdullah,
the first soldier in your new
army.
Slop bucket Man, an old bent Danny Prophet, comes near.
Rubbish!
PRESIDENT
Rubbish!
EXT. AMONGST THE PARKED VEHICLES AT THE DANCE - NIGHT

A loud song plays inside. Madeline has Kidd pinned on a
pickup bed. Kidd gets an arm free, slaps at her. She hits
him, shoves a bottle at him, dribbling gin on his lips.
KIDD
Don't hurt me, Madeline.
Please.
MADELINE
Make you a man tonight. Real
man.
She hisses cat-like, undoes his belt. A crunch of boots.
KENNY (O.S.)
Let him go, Maddie.
45
INT. MADELINE'S BEDROOM - NIGHT
Wondergirl in a rack above the headboard. Kenny & Madeline
naked, having intense sex. Madeline hisses, growls.
MADELINE (V.O.)
When she's in heat, a lion has
sex hundreds of times. It's no
pleasure thing. It's about
numbers. She doesn't know which
bullet'll hit the mark. She
keeps firing away.
A knock.
INT. JEREMY'S APARTMENT - DAY
Cheap furnishings. The only out-of-place item is an
expensive mirror. Chloe and Jeremy freeze. Four CHILDREN,
three Boys & a Girl, stare at the door. The Girl has a
defiant look. This is MADDI. Another knock. Chloe opens
it.
POLICEMAN 1
Chloe Slezak?
She nods. A POLICEMAN pushes the door open.
POLICEMAN 2
We have a warrant for any papers
relating to Madeline Slezak.
EXT. AMONG THE ANCIENT RUINS OF BABYLON - DAY
A massive MOSQUE under construction. Hundreds of workers
at the site. Bolivar stands with the FOREMAN. He holds a
brick.
INSERT:
The inscription on the Brick
In Arabic: "BOLIVAR BUILT THIS"

BACK TO SCENE
INT. THE KITCHEN IN JEREMY'S APARTMENT - DAY
Two boxes marked "Henry Slezak." The Policemen read
files.
46
POLICEMAN 1
"Parties to this marriage, Henry
Andrew Slezak & Madeline Daphne
Rosendahl, affirm they shall not
have children. This is based
upon an analysis of their
anticipated family structure and
lifestyle."
Policeman 2 holds up a full-frontal nude photo of
Madeline.
POLICEMAN 2
Here's your lifestyle Exhibit A.
EXT. A MAKESHIFT BALLPARK IN THE IDAHO HILLS - DAY
Kenny has the Bus hood up. The engine idles rough.
Madeline, Wondergirl in hand, hits a grounder to ten BOYS.
MADELINE
Keep it in front of you! If you
don't catch it, knock it down!
She hits another.
MADELINE
Square up! Look it into the
glove!
(Glares at Kenny)
Why don't you ever help coach?
He holds up his finger stump, grins weakly, shakes his
head.
INT. A HUGE ORNATE HOTEL DINING ROOM - DAY
Rufus at a table. Alan enters. Rufus bids him sit.
RUFUS
I knew a Wetzel. Baseball
player.
ALAN
Wetzel's a common name, sir.
EXT. IN A MEADOW BEHIND A SHACK - DAY
Buses parked, rifles lean against a tree. A line of chairs.
BARBER cuts Kennys hair. Ski, Jimbo, the Preacher, Ike wait.
47
JIMBO
Heard the Army raided Elmira.
BARBER
Didnt hear that.
JIMBO
Reliable source. Women and girls
at choir. Army took 'em.
SKI
They'll all go to the Whore
Pens. Now it's bendover time in
Niggertown.
INT. RUFUS AND ALAN IN RUFUS' OFFICE - DAY
RUFUS (O. S.)
Artist did it from an old video.
INSERT: A Drawing
An artists rendition of a thirty-five year old Madeline.
BACK TO SCENE
RUFUS
She'd be thirty-five, if alive.
Be a while before I send you
out. I've another task for you.
EXT. AN APRICOT ORCHARD
- DAY
Ten teenaged GIRLS work. Five on ladders, picking fruit.

Three in an open shed cutting & pitting. Two tend an iron
pot, ladeling cooked fruit into jars. A dry ditch runs
through the orchard. Madeline stands guard. They sing.
GIRLS
Cinderella dressed in yellow
Went upstairs to kiss a fella.
ON A FOREST PATH NEARBY
TAURIAN, TUBBS & SQUEAK, rifles cradled, move in hunter
formation. Taurian signals quiet. They move stealthily.
GIRLS (O.S.)
Made a mistake and kissed a
snake.
48
AT A HIGH SPOT OVERLOOKING THE ORCHARD
GIRLS
How many doctors did it take?
Cinderella dressed in yellow.
Taurian, Tubbs & Squeak look down. Taurian takes aim.
TAURIAN
Check it. Big bitchll herd the
girlies into the ditch. Watch.
Taurian fires.
A bullet kicks up dirt at Madeline's feet.
THE ORCHARD
Madeline and the Girls dive into the ditch and hunker down.
Echoes of the shot. Ria, Tammy and Wendy turn, look
toward the sound. Wendy appears to be in her seventh
month.
Hey!
Hey!
MADELINE (O.S.)
You up there!
EXT. THE HIGH SPOT - DAY

Tuarian signals Tubbs & Squeak to work their way around.
TAURIAN
Talking to me, Girl?
AT THE DITCH
MADELINE
Lettin' you know, we got guns.
INT. THE MOTEL - DAY
Wendy watches, as Tammy and two teenage Boys, all with
guns, rush off. Big Ria brings up the rear, huffing and
puffing.
TAURIAN (O.S.)
Correction, Girl. You got a
gun.
49
MONTAGE - TUBBS & SQUEAK ON THE MOVE
-- Tubbs moves through the undergrowth to Madeline's
.left. He halts with a clear shot from the side.
-- Squeak moves to Madeline's right. He stops at a spot
.overlooking Madeline & the Girls.
MONTAGE ENDS
EXT. AT THE DITCH - DAY
A shot kicks up dirt. The Girls flinch and cry. Another
shot, more dirt. Madeline looks to her left, sees Tubbs
grinning. She looks right, sees Squeak licking his lips.
BACK ON THE FOREST PATH LEADING TO THE ORCHARD
Ria, out of breath. Tammy & the Boys break into a
sprint, leave her in the dust.
AT THE DITCH
Tubbs secures the whimpering Girls neck to neck with
lengths of thin rope. Squeak kicks Madeline. He kicks her
again. She looks up with defiance. She spits out a tooth.
SQUEAK
Don't like bitches.
TAURIAN (O.S.)
She won't be a bitch no more.
TUBBS
Don't worry, Little Ladies.
Tubbs keep you safe from Brother
Squeak.
Shots from above. Taurian cries out. Tubbs and Squeak
each grab a Girl, press knives to their throats.
ON THE FOREST PATH NEAR THE ORCHARD
Ria, out of breath, runs toward the shots.
SQUEAK (O.S.)
Taur! You up there, Man? Talk,
Man!
50
EXT. THE BARBER SHOP IN THE MEADOW - DAY
SKI
Army shouldn't come an' take.
They should ask. Just my
opinion.
JIMBO
Serves Sambo right. Let 'em walk
all over 'em. Yassir this,
'scuse me sir that. They were
colluding.
PREACHER
When you collude, Devil turns on
you.
EXT. THE HIGH SPOT - DAY
Taurian, trickle of blood from his mouth, flies on his
wide-open, lifeless eyes.
Taur!
SQUEAK (O.S.)
Taur! You okay?!
Tammy signals the two Boys to fan out.
They do.
AT THE DITCH
Squeak and Tubbs each hold a Girl. Madeline grins a
broken-toothed grin. An object from above. It lands PLOP!
in the dirt. The Girls scream. It's Taurian's HEAD.
Oh Shit!
TUBBS
Oh motherfuck!
Tubbs pushes his Girl away, makes a panicky run for it.
He goes five feet. A shot rings out. His head splatters.
ABOVE THE ORCHARD
Ria lowers her rifle. She spits, shakes her belly.
MARIA
Fat bastard!
AT THE DITCH
SQUEAK
Tell 'em to cut a deal or I cut.
51
Madeline signals the other Girls to slip away. They do.
MADELINE
You'll die slow, drag you town
to town, half-kill you at each
stop.
SQUEAK
I'll cuss 'em.
MADELINE
How you gonna cuss with no
tongue?
INT. A COURTROOM - DAY
Bolivar's picture on wall. DEFENSE COUNSEL at a table.
Chloe & Maddi sit in an empty Gallery. Maddi clutches a
Bible. A GUARD leads Jeremy in. Jeremy winks. Maddi tries
to wave, but Chloe stops her. Three masked JUDGES enter.
BAILIFF (O.S.)
Matthew Bolivar vs Jeremy
Slezak!
DEFENSE COUNSEL
Prisoner wishes to make a
request.
JUDGE 1
Proceed.
DEFENSE COUNSEL
Prisoner asks to forfeit his
life.
Chloe cries out.
Silence!
him.
JUDGE 2
Let's hear it from
DEFENSE COUNSEL
May I remind the Court the
prisoner's tongue was removed.
JUDGE 2
Oh yes. That's right. I forgot.
EXT. A HILLTOP WITHIN SIGHT OF THE MOTEL - NIGHT
52
Tammy & Ria escort the Girls.
Madeline, naked, bloody, face
Below, they see the village's
begin their descent. Madeline
The two Boys carry torches.

misshapen, limps alone.
twinkling lights. They
holds back.
MADELINE
In the eye of the storm between
the two desolations. The first
is over. The next will be worse.
INT. THE ENTRY HALL OF BOLIVAR'S PALACE - NIGHT
The rumble of helicopters. Bolivar kneels, face pressed
to Melissa's bier. The casket shakes. Galmiche watches.
EXT. BOLIVAR'S PALACE - NIGHT
A GIANT HELO sets down. The others circle above like eagles.
INT. THE GIANT HELO - NIGHT
SOLDIERS sit grimfaced. Matthew, Rufus & Alan sit behind
the pilot. Through the plexiglass, they see BOLIVAR's
GUARDS below rushing to take defensive positions.
Galmiche emerges from the Palace, barks an order. The
Guards ground arms.
Bolivar holds a gun to his temple. He trembles, lowers it.
EXT. THE STEPS OUTSIDE BOLIVAR'S PALACE - NIGHT
Alan ascends steps, smiles. Galmiche gives him a bear hug.
GALMICHE
He's inside, Captain Wetzel.
Alan fires a bullet into the back of Galmiche's head.
ALAN
Your son's outside. Youre
alone.
BOLIVAR
Who are you?
53
ALAN
A man, like you, flesh and
blood.
BOLIVAR
I. I just can't do it.
ALAN
When it's time to go, a great
man must go well, go like a man.
Think of your legacy, Richard
Bolivar.
He raises the gun, lets it fall. Alan draws a Bowie
Knife.
EXT. HALFWAY DOWN THE HILL - NIGHT
Tammy, Ria and the Girls see Madeline standing in a
fire.
GIRL
She's on fire!
She's burning!
TAMMY
She's a witch! She's possessed!
EXT. THE HILLTOP ON FIRE - NIGHT
Madeline walks in the fire, flames jet from her fingers.
MADELINE
The desolation will be sudden. A
great fear. Woe to those with
doors locked and windows
shuttered. They will suffer. As
for you, go to a hilltop. You
will be safe.
EXT. A MAIN STREET IN A SMALL IDAHO MOUNTAIN TOWN - DAY
Jonah waits at the roadside.
An old clunky VAN pulls up.
JONAH
Going to Coeur d'Alene?
The DRIVER nods, motions him to climb in.
INT. MADELINE'S BEDROOM - DAY
54
Kenny & Madeline having intense sex. She hisses, snarls.
MARIA (O.S.)
Your Aunt Madeline.
INT. THE MOTEL DINING HALL - DAY
All the Children sit, listening with rapt attention.
MARIA
Has had a metamorphosis. Do you
know what metamorphosis means?
Ria's DAUGHTER raises her hand.
Ria nods.
DAUGHTER
It means shes changed.
MARIA
Yes. Changed. It means - TAMMY
Means she's a damn witch!
INT. THE VAN - DAY
Kidd sits behind Jonah. He taps him.
KIDD
Where you going?
JONAH
Dad sent me to get a fuel pump.
Jonah takes out a paper, unfolds it. Kidd snatches it.
KIDD
I know this place. I'll show
you.
Three choppers parked next to the bus.
KENNY (O.S.)
We thank thee, Lord, for these
thy gifts received from thy
bounty. ln the name of thine
only begotten Son, Jesus Christ,
our Lord. Amen.
55
EVERYONE (O.S.)
Amen.
On the wall, the sign of the Nazarene next to the
obligatory picture of Matthew. Each Woman sits with her
Children. Kenny sits with GABRIEL, MICHAEL AND RAFAEL.
Madeline sits alone.
MICHAEL
Not every man can live off the
land, you know. Do your thing in
your own time. You should be
proud.
RAFAEL
More wine over here, please?
Kenny nods to Madeline.
Madeline gets up, pours.

Gabriel, Michael and Rafael make ready to leave.
GABRIEL
The blonde one's barren?
Kenny nods.
GABRIEL
She'll conceive. Soon.
MICHEAL
Nice prayer. Be a preacher.
Kenny laughs. They rev their choppers and peel out.
EXT. A BAR-LINED STREET IN COEUR D'ALENE - NIGHT
Kidd and Jonah woozy drunk, arm in arm, swaying.
KIDD
Your Daddy and I were friends
once. Good friends. You didn't
know. Maybe time for you to hear
it. Let's see. Once upon a time,
there was your Mom, your Dad,
Mister Whitney, me and your Aunt
Madeline. We five. We glorious
notorious uproarious five.
56
A Honky-Tonk. A grinning CROSS-DRESSER greets them.
Sound of Tammy having a painful childbirth.
INT. TAMMY'S BEDROOM - DAY
Tammy in agony.
Ria & Wendy try to assist her.
TAMMY
Oh God! Hurts! Get me Eula!
MARIA
Army took her. Took Keshia, too.
INT. AT THE DOOR OUTSIDE TAMMY'S BEDROOM DAY
TAMMY (O. S.)
Oh Eula! Wherever you are, pray
for me. Eula! Oh damn! Damn!
Madeline, hand on door knob, listens, then limps away.
The Children eat to the sound of Tammy's cries. Kenny paces.
KENNY
Pray for her! Pray hard!
The Children bow heads. Kenny slams a fist on the table.
KENNY
Pray harder, dammit!
Madeline limps past, not looking up. Kenny watches her.
EXT. THE SKY SOMEWHERE OVER THE ROCKIES - DAY
A giant military CARGO HELO races over the plateau.
LT COLONEL KIM (O.S.)
Bet youre wondering who they
are.
ALAN (O.S.)
The thought had crossed my mind.
57
INT. THE CARGO BAY OF THE HELO - DAY
Twenty ASIAN SOLDIERS sit against the bulkhead.
LT COLONEL KIM
Koreans. Korea's broke. They're
renting out soldiers for hard
cash.
ALAN
Id be worried about their
loyalty.
LT COLONEL KIM
Theyre loyal to who pays them.
INT. MADELINE'S BEDROOM - NIGHT
Wondergirl is gone.
EXT. A PATH IN THE WOODS NEAR WHIT & KIDD'S CABIN - NIGHT
Sound of footsteps on a path. A line of torches. Men's
faces glimpsed through flickering flames. A CABIN up
ahead.
WHIT (O.S.)
Who's there?! Who's out
there?!!
Madeline's face in the torch light, every feature in sharp
relief. Crazy rage in her eyes. Wondergirl in her hand.
MADELINE
Let's roll!
EXT. AT THE EDGE OF A FOREST DAY
SUPER: Somewhere near Coeur d'Alene.
Alan, on the ground, waving good-bye as the Helo lifts off.
EXT. THE SAME PATH IN THE WOODS - DAY
Kidd walks slowly. Suddenly, a "something's not right"
look on his face. He stops. He sniffs the air. He frowns.
EXT. THE SMOKING ASHES OF WHIT & KIDD'S CABIN - DAY
58
The Preacher, a cloth over his nose, shovels dirt into a
grave as Kidd rushes up. Kidd's face tells us the stench
is overwhelming. The Preacher grabs him, throws him in
the pit.
PREACHER
They came for you, you son of a
bitch. Didn't find you. But they
found Whit. Hell you expect?
Thought the boy wouldn't tell?
Kidd claws at the dirt. Whit's head pops up, noose still
on his neck, ooze leaking from eye sockets. He screams.
KIDD
You got to help me! Save me!
PREACHER
I suggest you start running!
EXT. A GROVE ON A HILLTOP - NIGHT
A campfire.
Alan sits at a campfire and eats dinner.
INT. LIVING ROOM IN JEREMY'S APARTMENT - DAY

The mirror dominates the room. Maddi clutches her Bible.
DEFENSE COUNSEL
It's your husband's politics. It
precludes anyone from hiring
Maddi. You see that, yes?
CHLOE
All I'm asking is a low level
job.
MADDI
Mama! We should leave, go far
away.
CHLOE
How can we leave your father?
MADDI
He'd understand!
The Defense Counsel stands, starts gathering his things.
EXT. THE MAKESHIFT BALLPARK - DAY
59
Ten BOYS, ages 11 to 15, play workups. Jonah is among them.
KIDD (O.S.)
They're here every day. I watch
them. I know them better than I
know myself.
EXT. A GROVE OF TREES ON A NEARBY HILLTOP - DAY
SOLDIERS stand by. A HELO sits in a field nearby, rotor
blades turning slowly. An OFFICER scans with binoculars.
KIDD
Good boys, most of them. Good
workers. Good students. Mind
their parents. They'll be good
soldiers.
INT. LIVING ROOM IN JEREMY'S APARTMENT - DAY
The Defense Counsel dons his coat.
DEFENSE COUNSEL
I have a position for her. A
maid.
MADDI
A maid?!
DEFENSE COUNSEL
My wife needs a girl to mind the
children. Pay's not much but - He stops, checks his hair in the mirror.
DEFENSE COUNSEL
This mirror. It was a gift, yes?
CHLOE
To Jeremy's Father from Korea.
DEFENSE COUNSEL
Must be worth thousands. Henry
Slezak received it. In his
capacity as United States envoy.
Some might say it's state
property.
CHLOE
Oh! What shall I do?
60
DEFENSE COUNSEL
Store it in a safe place. My
house. And Maddi can look after
it on her rounds. I'll send a
boy.
He leaves. Maddi looks at Chloe with contempt.
CHLOE
Don't look at me like that! I'm
just trying to survive!
MADDI
One day, you'll look and you
won't find me. I'll be out west.
Looking for Aunt Madeline.
Chloe slaps her.
CHLOE
Don't refer to her in this
house!
MADDI
Why? I was named after her!
CHLOE
That was your father's doing.
Maddi dear, it's dangerous to
say her name. I just want you to
be safe.
Maddi turns her back, walks away.
EXT. A MEETING HALL - DAY
Buses and Trucks parked in a row. Armed MEN stand guard.
SHRIVELLED OLD MAN (O.S.)
Vampires! Vampires everywhere!
INT. THE MEETING HALL - DAY
Guns stacked. On the wall, sign of the Nazarene next to the
picture of Matthew. A frightened CROWD, faces of loss and
devastation. WOMEN sob. A shrivelled OLD MAN with wild eyes.
61
SHRIVELLED OLD MAN
They got our boys in a pit! When
they need blood, they pull one
out, open an artery. They use
telepathic beams of mass energy
to control 'em. March 'em aroun'
like wooden soldiers. They
everywhere. Look 'roun' you.
Vampires right in this room!
Person next to you - Everyone's on their feet, shouting, pointing fingers.
EXT. A HILLTOP WITHIN SIGHT OF THE BASEBALL DIAMOND NIGHT
Madeline, Wondergirl in hand, stares at the empty
diamond.
EXT. SOMEWHERE IN THE FOREST - DAY
A mountain lion gives birth.
thicket.
Alan watches from a
INT. MARIA'S BEDROOM - NIGHT

A shadow races across the curtain. Loud hammering on
door.
Fire!
MADELINE (O.S.)
Fire! Get out!
Kenny and Ria jump up. More hammering on another door.

Fire!
MADELINE (O.S.)
Fire! Everyone out!
EXT. THE BURNING MOTEL - NIGHT

Kenny, Ria, Wendy, the Children and Tammy with BABY in
arms stand, watch it burn. Madeline stands apart, stonefaced.
EXT. AT THE SIDE OF THE ROAD - DAY
The Preacher, the Women & Children watch Kenny's Bus
drive off. Tammy holds her Baby. Ria sobs. Wendy stares
blankly.
62
INT. THE BUS GOES UP A STEEP INCLINE INTO THE FOREST DAY
Madeline sits, Wondergirl on her lap.
MADELINE
I set the fire.
KENNY
I know.
EXT. AT THE EDGE OF THE DESERT - DAY
A seemingly endless line of Iraqi PILGRIMS enter a
massive, sand-colored MAUSOLEUM with a spectacular golden
dome.
RUFUS (O.S.)
If you build it, they will come.
INT. THE MAUSOLEUM - DAY
Pilgrims pass by the glassed-in caskets of Bolivar & Melissa.
RUFUS
They were a remarkable pair.
MATTHEW
She was a whore. He was her
houseboy.
Kidd and a comely young OFFICER approach. They bow,
present Rufus and Matthew with robes & keffiyehs, then
depart.
MATTHEW
That's your new aide?
RUFUS
Yes. Useful man. A go-getter.
MATTHEW
Where's he from?
RUFUS
Somewhere out west.
MATTHEW
Somewhere? You mean you don't
know?
63
EXT. SOMEWHERE IN THE WOODS - DAY
PREACHER (O.S.)
Some marriages should be cut
off.
Chop!
Alan cuts off the tip of his index finger.
EXT. A MEETING HALL - DAY

Old Buses and Trucks parked in a row. Armed MEN stand
guard.
PREACHER (O.S.)
Sometimes the bonds joining a
man to a woman need to be
severed.
Up high, the sign of the Nazarene and a picture of
Matthew. The Preacher at the lectern. Seated by the
altar, Ria, Wendy, Tammy and the Children. MEN sit in
their Sunday best.
PREACHER
We're not here to cast blame.
The Book says, "Don't throw
stones." We're here to reach out
to our sisters in Christ.
MARIA
(Whispers to Tammy)
Billy's giving you the eye.
EXT. A HILLTOP SOMEWHERE NOT FAR AWAY - NIGHT
A campfire. Alan eats, listens to a comm device.
RUFUS (O.S.)
New intelligence. There's a
motel near your position. I'm
sending you the coordinates.
Good hunting.
Classical music plays. A portrait of Matthew on the wall.
Screen goes black. Kidd enters in immaculate military
garb.
64
KIDD
A drink, sir?
Rufus nods. Kidd snaps his fingers. A comely YOUNG
SOLDIER enters, pours. Rufus looks at a photo on wall of
Kevin astride a cannon in a battlefield park. He raises
the drink.
EXT. A HILLTOP SOMEWHERE IN NORTH IDAHO - DAY
A cold wind. The Bus rests where it ran out of fuel. A
deer carcass hangs on a branch. A cabin frame stands at
the crest. Within the frame, a hole reaches, like a
pithead, into the earth. A rope on a crossbeam extends
into the hole.
Madeline & Kenny work a 2-hand saw, cutting logs into
boards and fitting them to form a wood floor over the
hole.
EXT. THE MOTEL NOW REDUCED TO ASHES - DAY
Alan picks up a framed photo. He brushes off the ashes.
INSET - The Photo
A formal picture of Kenny with his wives and children.
BACK TO SCENE
Alan slides the photo out, tucks it inside his tunic.
EXT. A GRAVEL PATH AT A HEAVILY-GUARDED RESORT - DAY
Ten flags snap in the breeze.
MATTHEW
Youre deep in thought, Rufus.
RUFUS
My Lord, you read my mind. I am
happy our problems can be
solved.
MATTHEW
Happy? Happy? You've gone soft.
They killed my men, took my
land, threatened me. How can
meetings solve that? Now they're
weak. It's why they asked for a
meeting.
65
The enemy LEADERS emerge. Matthew glares at them, spits.
EXT. A DIRT ROAD - DAY
Snow. Billy and Ike chat. Tammy watches from the cabin
window. A figure in the distance walks toward them.
INT. BILLY'S CABIN - DAY
Tammy, CONNIE and six CHILDREN sit, watching the Men eat.
BILLY
Heard New York was bombed.
No.
ALAN
They missed.

Alan sits with Billy, Tammy and Connie.
PREACHER
Anyone feeling thankful?
TAMMY
Thank you, Jesus, for Billy.
PREACHER
That's good, Sister. Real good.
ONE OF WENDY'S CHILDREN
Please, Jesus! I want a father!
EXT. THE MEETING HALL - DAY
After services, Parishioners chat. SINGLE WOMEN eye Alan.
PREACHER
Land for the taking, Alan. Land
and wives. Just stake your
claim.
ALAN
You a real estater or a
preacher?
The Preacher laughs, claps Alan on the shoulder.
66
Kidd sits at Rufus' desk. A comely young OFFICER stands
nearby. CIA MAN enters, sits wthout being invited to sit.
KIDD
Mr Meadows is out of the
country.
CIA MAN
I know that, sir.
Kidd gestures the Officer to leave. He does.
CIA MAN
A heads-up, sir. Mr Meadows has
ordered a background check on
one of his senior assistants to
be initiated forthwith.
Kidd suddenly looks agitated.
KIDD
Oh! Do. Do you have the name of.
Of this senior assistant?
CIA MAN
I do. Of course I'd be betraying
a confidence were I to divulge
it.
KIDD
Of course. Ah. How. How will the
background check on this. This
person. Be conducted?
CIA MAN
The usual. We'll send
investigators to places the
person once lived. We'll
interview informants.
Kidd stands, shakes his hand.
KIDD
Thank you for the heads-up.
CIA MAN
Should my progress reports be
sent to your attention or to Mr
Meadows?
67
KIDD
To mine. And once again, thank
you.
EXT. OUTSIDE THE DOOR TO A HOUSE - NIGHT
Ria adjusts her Daughter's neckline, now an older version
of the girl who knew what metamorphosis meant.
DAUGHTER
Mom!
Smile.
MARIA
Always smile
She forces a smile. Ria knocks. Alan opens the door.

EXT. THE CABIN ON THE HILLTOP - DAY
The cabin is done. Kenny & Madeline stand at a VIEWPOINT
overlooking a creek with thick reeds and a deep pool.
MADELINE
Build me a birthing shed there,
a place I can go when I'm
unclean.
EXT. A BORDER CHECKPOINT SOMEWHERE FAR AWAY - DAY
A dust devil. A TRUCK approaches and stops. GUARDS form a
gauntlet. Twenty BOY SOLDIERS, Jonah among them, climb
down and limp, some with crutches, slowly across the
border.
EXT. THE COMPLETED CABIN ON THE HILLTOP - DAY
Kenny nails a "WC" sign above the outhouse door. Madeline
emerges from the cabin with a roll of toilet paper. He
bows elegantly. Madeline laughs. She goes inside the
outhouse.
INT. ALAN'S BEDROOM - NIGHT
The Daughter undresses. Alan lies in bed, watching her.
She climbs into bed beside him. She takes his hand.
DAUGHTER
My Daddys finger is like yours.
68
Alan smiles. She rubs his stump softly.
DAUGHTER
Whenever I rubbed it, he said he
could feel the missing tip.
Alan takes out the photo, shows it to her.
ALAN
You, the smiling little girl.
Your Mom, your Dad. Your Aunt
Madeline. Do you know where she
is?
DAUGHTER
I think I've seen her on the
hill at the ballfield. She
always has her bat. Mom says
she's looking for her missing
baseball team.
EXT. THE CABIN ON THE HILLTOP ON A MOONLIT NIGHT - NIGHT
Kenny and Madeline fire their rifles at the moon.
MADELINE
Every knee shall bend!
KENNY
Every tongue, confess!
MADELINE
Above the earth.
KENNY
On the earth.
MADELINE
Below the earth.
KENNY & MADELINE
To Gods glory. Amen.
They laugh. They fall into each other's arms.
EXT. A MILITARY BASE IN IRAQ - NIGHT
The Iraqi flag snaps in the breeze. A stretch limo passes
through the Main Gate. The GATE GUARD salutes.
69
INT. A BARRACKS - NIGHT
The tap-tap of a cane. Nightlights mark the passageway.
Boots clicking on tile, the click of a man with a limp. A
flashlight beam flits from cot to cot, seeking out a
face, finally coming to rest on Jonah. Jonah blinks.
KIDD (O.S.)
Hello, Jonah. Remember me?
JONAH
Yes, sir.
KIDD (O.S.)
How many boys returned?
JONAH
Two. Me and Clement.
The beam moves away from his face.
EXT. THE VIEWPOINT OVERLOOKING THE BIRTHING SHED - NIGHT
A full moon. Madeline holds Wondergirl.
MADELINE
Im unclean, going down the
hill.
Kenny watches as she starts her descent.
EXT. A FRESH GRAVE IN A DESERT SPOT - NIGHT
KIDD
I know it's not fair. But I must
live and you're an inconvenient
KIDD (CONT)
truth. I'm sorry. I'll try to
make it up. Somehow. In the
meantime, wherever you are,
relax, take time to smell the
roses. Death isn't so bad.
Life's overrated, you know.
Kidd turns, limps to the waiting limo.
EXT. AT THE DEEP POOL NEXT TO THE BIRTHING SHED - NIGHT
Madeline, naked, sets Wondergirl down, dives into the pool.
70
EXT. ALAN'S CABIN - NIGHT
Alan walks away. The Daughter tearfully watches from the
door.
INT. THE MAUSOLEUM - DAY
Matthew lies prostrate, facedown, at Bolivar & Melissa's
biers.
EXT. THE OLD MOTEL SITE - NIGHT
A full moon. Madeline, Wondergirl in hand, walks through the
ashes. She taps the dirt until she gets a hollow sound. She
pries up some boards, pulls out a plastic bag with a hunting
knife, a coil of rope and a net for trapping animals.
MONTAGE - THE WAR
-- Fighter-Bombers launch from a carrier..SAILORS cheer.
-- Missiles launch from desert silos. BEDOUINS watch in
...awe.
-- ORDINARY PEOPLE in an Enemy City go about their
...business.
-- A nuclear fireball over the Enemy City.
-- Inside the Enemy City, a deadly wind blows down an
...empty street. Twisted charred bodies seared into the
...concrete sidewalk like a horrific display of statuary.
MONTAGE ENDS
EXT. THE BALLFIELD - NIGHT
Alan walks across the field. The Moon gives him a magic glow.
EXT. THE HILLTOP WHERE KIDD WATCHED THE BOYS PLAY - NIGHT
Madeline watches Alan. She hisses, emits a low growl.
INT. CHILDREN'S ROOM IN THE DEFENSE COUNSEL'S MANSION DAY
Blood. A child's lifeless foot protrudes from a crib.
71
THE HALLWAY
A line of blood on the wall as if drawn by a finger.
THE MASTER SUITE
The smashed mirror. In the shards, images of bloody
bodies on a bed. Maddi pours tea from a teapot onto the
corpses.
MADDI
Enjoy your tea, Sir.
Maam.
Enjoy,
INT. THE MAUSOLEUM - NIGHT

Rufus quietly enters, kneels next to a prostrate Matthew.
MATTHEW
Am I still King?
Rufus nods. Matthew stands, smashes Melissa's casket.
Alan frowns, looks back to see if hes being followed.
SOMEWHERE VERY CLOSE BY IN THE SAME FOREST
Madeline moves stealthily, the trees between her and Alan.
EXT. THE DEFENSE COUNSEL'S MANSION - DAY
EDDIE waits in a beat-up car. Maddi comes out. They kiss.
MADDI
I gotta go to Rockville.
EDDIE
Shit, Maddi! That's 30 miles!
Through Army checkpoints.
She waves an important-looking Government ID card.
MADDI
Full tank for whoever takes me.
And I know a place we can
skinny-dip.
72
He grins, puts the car in gear and peels out.
EXT. RUFUS' BEDROOM - NIGHT
Classical music. On the wall, a photo of Kevin & Rufus in
a hot-air balloon. The screen lights up with Alan's face.
ALAN
She's alive.
Rufus and Kidd smile. A comely SOLDIER pours drinks.
EXT. A HILLTOP CAMPSITE IN A GROVE OF TREES - NIGHT
Alan sits at a campfire, eating, his comm device running.
ALAN
A girl who knows her said where
to look. I'm there now. I'll
find her.
IN THE SAME HILLTOP GROVE NEAR THE CAMPSITE
Through the trees, Alan at his campfire. Madeline, hissing
softly, slithering snakelike, inching closer.
EXT. A SWIMMING HOLE SOMEWHERE - NIGHT
Maddi and Eddie are naked. She presses a pistol to his head.
EDDIE
Fuck, Maddi, what do you want?
MADDI
I want you to take me far away.
He swallows, nods. She lowers the pistol, kisses him hard.
EXT. ALAN'S CAMPSITE - NIGHT
The campfire burns down as Alan sleeps.
MADELINE (V.O.)
Leopards are loners. The female
mates if she encounters a male.
The net falls over him. He struggles, tangling himself.
73
EXT. ALAN'S CAMPSITE - DAY
Alan hangs upside down in the netting. Footsteps
crunching on leaves. He stirs. He sees the outline of a
female form.
EXT. A STRIP MALL IN A TOWN SOMEWHERE - DAY
Eddie's car, parked outside a 7-Eleven type store.
MADDI (O.S.)
Don't bring me no piddly twenty.
INT. EDDIE'S CAR - DAY
EDDIE
You got it, baby. Hundred
dollars.
He stuffs the gun under his shirt. He tries looking
macho.
Alan, naked, staked spreadeagle. A shadow moves over him.
INT. THE 7-ELEVEN TYPE STORE - DAY
CLERK, 24, rings up a sale. This is Walter. CUSTOMER exits.
EDDIE
Got a problem.
WALTER
Lay it on me, bro.
EDDIE
Got a girl wearing me out. Can't
get enough. Always daring me.
WALTER
Sounds like a prick teaser.
EDDIE
Said if I really love her, 100
percent, bring her 100 dollars.
WALTER
Hundred dollars, you say?
74
EDDIE
That's what she said. Not
fifty. Not twenty. Hundred.
Long silence as they both eye the cash register.
EDDIE
'But if you only got ninety - WALTER
I got a hundred. Way more than a
hundred. So, she wears you out?
EDDIE
She's a sex machine is what she
is.
Walter giggles, opens register, takes out a wad of cash.
WALTER
Never met a sex machine.
EDDIE
Sex machines're different, got
an extra gear or piston or
hydraulic valve in there. Just
keep ticking.
WALTER
Sex machine.
Madeline, naked, curled up, her head on Alan's chest.
ALAN
Dammit! I'm not a sex machine!
MADELINE
How long?
ALAN
Another ten minutes maybe.
She sits up, takes her holy book, reads.
75
MADELINE
"A people who provoke me; who
sacrifice to false gods, who say
to me, stay away, come not near
us for we are holy without you.
They are smoke to my nose, an
angry fire. Behold, I will not
keep silence, I will repay deep
into their bosoms."
....(We he
(Touches his penis)
How's it coming?
ALAN
It's coming.
MADELINE
Want me to read more?
He nods.
She turns the page.
INT. EDDIE'S CAR BACK OUT ON THE HIGHWAY - DAY

Five hundred dollars on Maddi's lap. Eddie whoops.
WALTER
It's a real honor. Read about
you. Never met one like you. I'm
Walter.
He thrusts out his hand. She takes it very tentatively.
She gives Eddie a "just what the hell is going on?" look.
Madeline straddles Alan, fucking him hard. She and Alan
come loudly, explosively. She collapses on him,
exhausted.
EXT. RUFUS' BEDROOM - DAY
Classical music plays. Rufus speaks into his comm device.
RUFUS
Colonel Wetzel, come in!
in!
Come
Radio static. Kidd enters, drink in hand.

RUFUS
Come in, Colonel! Where is he?
76
KIDD
Perhaps he's preoccupied. Maybe
she's gotten to him. She's
rumored to have witch-like
powers. Of course, witches don't
exist. Everyone knows they don't
exist.
Rufus utters a silent curse.
EXT. A LOW RENT MOTEL SOMEWHERE - NIGHT
Eddie and Maddi stand next to the car.
MADDI
You told that dufus I'm a
nympho?!!
EDDIE
Not a nympho. A sex machine.
MADDI
Explain the difference!
She turns, storms into the motel room, slams the door.
WALTER (O.S.)
She still wearing you out, huh?
Eddie turns to be hit in the face by a shovel. He falls.
Walter giggles as he drags Eddie's body to the dumpster.
EXT. THE FOREST - NIGHT
Madeline curled up against Alan. She sighs. She smiles.
EXT. KENNY & MADELINE'S CABIN - DAY
Kenny at the Viewpoint. He picks up a stone, picks a
target, goes into his stance, winds, releases. Stone hits
dead center. Cheers. The cheers die. Sound of ropes being
cut.
EXT. THE FOREST - DAY
Alan, cut ropes hanging on his wrists and ankles,
dresses.
ALAN
Will I see you again?
Ever?
77
MADELINE
I don't see how.
She limps off, Wondergirl in hand, net over her shoulder.
EXT. SOMEWHERE ON THE LONG LONESOME HIGHWAY TO FREEDOM DAY
Eddie's car goes balls to the wall.
WALTER (O.S.)
Yeeee-HAWWW. FREEEEEEEE!!!!!!!!
RUFUS (O.S.)
Something happened out there.
Something he won't talk about.
KIDD (O.S.)
Let me have him. He'll talk for
me.
INT. A FILTHY PRISON CELL - DAY
RUFUS (O.S.)
No. I may decide to send him out
again. I need his spirit free.
Alan in rags. Sound of a rusty push cart in the hallway
coming closer. A bony hand reaches in for the slop
bucket.
PRESIDENT (O.S.)
Rubbish! Rubbish! Rubbish!
EXT. SOMEWHERE FURTHER DOWN THE LONG LONESOME HIGHWAY DAY
Eddie's car parked. Sound of Walter giggling.
WALTER (O.S.)
Sex machine!
Kenny at the Viewpoint. He sees Madeline in the distance.
EXT.
A CONVENIENCE STORE ON THE ROAD TO NOWHERE - DAY
Eddie's car parked at the gas pump, the nozzle in the tank.
78
WALTER (O.S.)
Good morning, ladies and
gentlemen.
INT. THE CONVENIENCE STORE - DAY
Walter and Maddi point guns at CLERKS and CUSTOMERS
against the wall. Maddi looks pregnant, about three
months along.
WALTER
I'm Clyde. That's my wife,
Bonnie. We apologize for
inconveniencing your shopping
experience. We'll be out of your
way soon as possible. Thank you
for your patience.
Maddi, with amazing balance and agility, swings herself
over the counter, opens the register and collects the
cash.
FEMALE CUSTOMER
When's the baby due, Bonnie?
MADDI
'Nother five months or so.
An unmanned recon DRONE passes low overhead. CLICK!
EXT. AMONG THE ANCIENT RUINS OF BABYLON - DAY
A massive MOSQUE under construction, "VICTORY" on the
dome. Matthew stands with the FOREMAN. He holds a brick.
INSERT:
The inscription on the Brick
In Arabic: "MATTHEW BOLIVAR BUILT THIS"

BACK TO SCENE
INT. ALAN'S PRISON CELL - DAY
Alan stands on a stool, looks out the small barred window.
79
Kenny chops wood. Madeline walks to the outhouse. She
looks pregnant. A recon drone passes over. They look up.
CLICK!
Blowups of aerial shots of a pregnant Madeline and Kenny
projected on wall. A GRAPHICS TECHNICIAN sits at a
console.
RUFUS
Him, I know. Her, Im not so
sure.
TECHNICIAN
Her age, height, body type
check.
RUFUS
Face isn't right.
TECHNICIAN
Could've been disease, injured
or beat up. Something with the
jaw there. Fix that. Eye socket.
Something there. Now the nose.
He works his magic. The old Madeline emerges. Rufus smiles.
Bingo.
RUFUS
Where was this taken?
TECHNICIAN
Unknown. Drone crashed. Uploaded
location data came to us
garbled.
Rufus looks up at a picture of Kevin, sighs, nods to Kidd.
EXT. KENNY & MADELINE'S CABIN - NIGHT
Kenny & Madeline whoop it up, fire rifles at the moon.
INT. THE TORTURE CHAMBER - NIGHT
Padded walls with chains and hanging ropes. In the
center, a St. Andrews CROSS and a RACK. On a table to
the side, a BRAZIER and several stainless steel torture
INSTRUMENTS.
Kidd and a comely young SOLDIER prepare the room. They
80
exit, their boots echoing in the corridor.
A PASSAGEWAY IN THE PRISON
Sound of boots. Kidd and the Soldier turn the corner,
heading toward a door at the end of the hall. PRISONERS
in cells shiver with foreboding as they pass.
ALAN'S PRISON CELL
The President's toothless grin framed in the bars. He
drools, wipes snot on his sleeve.
PRESIDENT
I know something you don't know.
I know theyre not going to kill
you. If they were gonna kill
you, youd already be dead,
capish? They got plans for you.
Yeah, plans. Oh, now youre
curious. Somethings about to
happen and you wanna know what.
Too bad, Pal. You're just gonna
have to feel your way along.
Alan hurls a dish at the door. The President laughs a
crazy laugh. His laugh fades, as the boots get louder.
IN THE PASSAGEWAY OUTSIDE ALAN'S CELL DOOR
The CIA Man stands in the middle of the passageway, a
holstered gun at his hip. Kidd and the Soldier approach.
CIA MAN
That's far enough!
Kidd and the Soldier halt.
KIDD
What's the meaning of this?
CIA MAN
I was about to ask same of you.
KIDD
(Pats his pocket)
I've a warrant for that man.
CIA MAN
(Pats his pistol)
That a fact?
81
KIDD
Stand aside.
CIA MAN
Let me put to you, if you
forget, what you were and what
you are. You are errand boy to a
high official. How long you
remain such, only God knows. And
let it be said of your good
fortune that it is directly
linked to Alan Wetzel's sinking
a knife into Richard Bolivar's
gut. The man you serve rose high
on the tip of that blade and you
with him. It could have been
different. You could still be
out west mucking about in that
grove of trees spying on young
boys at play. My advice, Mister
Kidd, is don't tempt fate.
Kidd glares a white-hot glare, then turns, storms off.
EXT. AT THE SIDE OF THE ROAD ON THE LONESOME HIGHWAY DAY
Eddie's car parked on the shoulder. Sound of Maddi giving
birth. The cry of a newborn baby.
WALTER (O.S.)
What do I do? What do I do?
MADDI (O.S.)
Cut the cord!
EXT. A STRAWBERRY FIELD AT HARVEST TIME - DAY
A LIMO approaches. Donna in coveralls picks berries.
INT. THE LIMO - DAY
Donna's old weathered face framed in the window.
DONNA
All Kenny left me was the ball
from his 54th save. He told me,
someday it'll be worth a lot.
Still got it. Saving it for the
boy.
82
CIA MAN
Boy?
DONNA
Boy. Kenny 'n I had a kid.
That's what men and women do,
you know.
CIA MAN
Boy have a name?
DONNA
Alan. A. L. A. N. Beautiful
boy. Listen, sir. I could sure
use a - The window closes. The Limo pulls away. She chases it.
Blowups of Kenny & Alan, father and son, on a wall.
CIA MAN
Perhaps he didn't know.
RUFUS
Bastards always know. They hate
what their fathers did. Give one
a knife, he'd plunge it in.
INT. THE ATRIUM IN KIDD'S MANSION - DAY
The comely young Soldier sits motionless amongst
pedophile-themed statuary & artwork. Sound of things
being smashed in a room somewhere close. A haggard Kidd
appears in doorway.
KIDD
Go. Leave me.
INT. ALAN'S CELL - NIGHT
The CIA Man's face framed in the cell door's grated
opening. A photo slides through, drops to floor. Alan
crawls to it.
INSERT:
The Photo.
Kenny and a pregnant Madeline look up at the Recon Drone.

BACK TO SCENE
83
Alan trembles with excitement. He kisses the photo.
INT. THE ATRIUM IN KIDD'S MANSION - NIGHT
Kidd groans in pain. Sound of a key, the front door opens.
RUFUS
Kidd?
Rufus listens. More groans. He calls louder.
RUFUS
Kidd??!!
THE HALLWAY
Kidd sprawled on tile floor. Smiling down from a pedestal,
seeming to be urinating on him, a statue of a nude boy.
KIDD
My hip. I think it's broken.
INT. AN OPERATING ROOM - NIGHT
Alan awakens in an operating room, his right hand bandaged.
CIA MAN
We put a tracking device in your
hand, just below the finger
line.
The CIA Man starts to leave.
He stops, turns.
CIA MAN
Officially, you stay a Major.
But Mister Meadows has
authorized you to pass yourself
off as a Colonel. He believes
what one wears impacts how one
performs. Go. Find her.
Kenny & Madeline gaze at the stars. She's close to her
time.
INT. A CAVERNOUS MILITARY ARCHIVES READING ROOM - DAY
An ARCHIVIST pushes a wheeled cart to Alan.
84
ARCHIVIST
It's all we have on Elmira, Sir.
These few items are scheduled
for document destruction. You
made it in time.
THE MILITARY ARCHIVES NIGHT
Alan, tired, pages through a journal. He sees something.
INSERT: A Page in the Journal
PHOTOS of Eula & Keshia. Each holds up a sign: Eula Cates,
Keshia Nicholas. Above Keshia, FW1E EVE stamped in red.
BACK TO SCENE
EXT. A WINDING ROAD IN THE NORTHERN ROCKIES - NIGHT
A military VEHICLE moves at high speed.
SERGEANT (O.S.)
Eyes up here, ladies!
INT. THE VEHICLE - NIGHT
Alan, in a Colonel's dress greens, at the wheel.
SERGEANT (O.S.)
On command, you will form up in
tag number order. Is that clear?
TROOPERS (O.S.)
Aye Sergeant!
Alan switches to autopilot. He pops open an ATTACHE CASE.
The MAIN GATE looms ahead. A sign high above: "WHORE
PENS"
EXT. THE TARMAC NEAR A MODULAR STRUCTURE - NIGHT
A Platoon of TROOPERS formed up. The SERGEANT stands
ramrod-straight. He holds up a TAG. At the TARMAC's edge,
a parked Army BUS. METZGAR, a clownish Trooper, passes
out tags.
SERGEANT
On my command, you will enter,
locate the door with your tag
number, post up and stand by.
85
METZGAR
Tags passed out, Sergeant.
INT. ALAN'S VEHICLE - NIGHT
The open attache case. Alan loads a syringe from a
bottle. The liquid slowly rises in the syringe barrel.
SERGEANT (O.S.)
On my command, you'll open said
door to find therein a standardissue FW1E with whom you will
engage in not-disapproved carnal
permutations. You will acquit
yourselves in a robust and
virile manner. Am I clear?
TROOPERS (O.S.)
Aye, Sergeant!
Alan snaps the case shut, as the GATE GUARD, spiffy and
spit-shined, steps out of the Guard Shack.
EXT. THE FRONT OF THE MODULAR STRUCTURE - NIGHT
The line of Troopers snakes from the Tarmac up the steps
to the door. Metzgar tries cutting in. He's bumped to the
rear with snarls and sharp elbows. A Trooper snatches his
tag.
SERGEANT
Listen up, ladies! Be advised
the Bus will be underway and
outbound at twenty hundred
hours.
INT. ALAN'S VEHICLE - NIGHT
Alan passes an official DOCUMENT to the Gate Guard. A
sudden change in demeanor, as he pops to attention and
salutes.
GATE GUARD
Yes Sir, Colonel!
Alan nods, returns salute.
INT. IN THE PASSAGEWAY OUTSIDE KESHIA'S SEX ROOM - NIGHT
A sign tacked to the door: "Room 42 - EVE."
86
GATE GUARD (O.S.)
Major, Pargo at Main Gate. Got a
Colonel Wetzel from HQ. He wants
an FW1E named Eve prepped ASAP.
KESHIA'S SEX ROOM
A bed, mirror, chair, vanity. KESHIA, in a harem girl's
costume, stares out the window. She sees Alan drive up.
FEMALE MAJOR (O.S.)
Tell him he waits. Tell him - GATE GUARD (O.S.)
Major, his orders are signed by
Rufus Meadows.
FEMALE MAJOR (O.S.)
Rufus Meadows? Oh shit!
EXT. THE TARMAC NIGHT
Alan exits Vehicle, as the Troopers file inside. Attache
in hand, he walks up to a door marked Officer Country.
GATE GUARD (O.S.)
He's walking up to your door
now.
FEMALE MAJOR (O.S.)
Shit!
EXT. KESHIA'S SEX ROOM - NIGHT
A hand slaps a hurriedly-scribbled sign on Keshia's door:
"OFF LIMITS! THIS MEANS YOU!"
FEMALE MAJOR (O.S.)
She was earmarked for Recruit
Night. I got her cut loose.
THE PASSAGEWAY
Troopers silently file in. They hunt for the door
matching their tag. A Trooper approaches Keshia's door,
looks at his tag, then at the door, shakes his head and
walks away.
The FEMALE MAJOR guides Alan down the hall.
87
FEMALE MAJOR
Recruit Night. Reward after boot
camp. Boys look forward to it.
ALAN
Girls look forward to it, too?
KESHIA'S SEX ROOM
Keshia at mirror applying lipstick. She studies her face.
FEMALE MAJOR (O.S.)
I had the room marked OFF
LIMITS. You won't be disturbed.
OUTSIDE KESHIA'S DOOR
Metzgar walks up, pulls the OFF LIMITS sign from door.
FEMALE MAJOR
THAT ROOM'S OFF LIMITS, SOLDIER!
KESHIA'S SEX ROOM
Keshia, on the floor, performs stretching exercises.
ALAN (O.S.)
I'd like the room shield
activated.
THE PASSAGEWAY
Platoon!
SERGEANT (O.S.)
Uh-tenn-HUT!
Up and down the hall, thirty sets of heels click as one.

FEMALE MAJOR
Shield's for classified only,
Sir.
ALAN
What makes you think my
business with this FW1E isn't
classified?
FEMALE MAJOR
Not aware if it is or isn't,
Sir.
88
ALAN
And whether it is or isn't is
need to know and you don't need
to. So let's get on with it.
Her face flashes sudden anger.
Platoon!
SERGEANT (O.S.)
Fall out!
The Troopers about-face, each enters a separate room.

Thirty doors click shut. The Female Major unlocks a
control box, punches in a code. A click, a whoosh.
Lights dim briefly.
ALAN
You can go now. You're done
here.
He opens the door, disappears inside. Door slams in her face.
FEMALE MAJOR
Bastard.
KESHIA'S SEX ROOM
Keshia begins disrobing. Alan takes out a document.
ALAN
Your name's Keshia.
KESHIA
Eve. Like it says on the door, Sir.
ALAN
Eve's your whore name. Your true
name's Keshia. Husband's name,
Jamaal. You have two little boys
you haven't seen in 464 days.
Father's name is Will - KESHIA
What do you want?!
He takes a chopping blade from the case.
A DARKENED OFFICE
Angry footsteps approach. Door opens. The Female Major
bursts in, unfolds the same paper, punches in a code. A
HOME PAGE with Matthew's face comes up. She locks door.
89
KESHIA'S SEX ROOM
Alan withdraws the syringe needle from his right hand.
ALAN
I had them activate the shield.
Means they can't see or hear us.
Means we don't have much time.
KESHIA
Time? Time for what, Sir?
ALAN
Time to walk out of here.
KESHIA
Please, Mister, I got 265 days
and a wakeup. They give me a
discharge, I go home, put this
all behind me.
ALAN
You believe that?
KESHIA
Other girls left. I saw them.
ALAN
No one goes home from here. No
one.
THE DARKENED OFFICE
FEMALE MAJOR
(Reads off the monitor)
"Wetzel, Alan. Major - implant
tracker - right hand. Action Monitor movements, maintain
surveillance."
(Switches off the Monitor)
Major? Not Colonel? Why the
implant? Why the monitor and
maintain? Who is he?
KESHIA'S SEX ROOM
Alan draws a line across his hand just below the fingers.
KESHIA
No way I'm doing that!
90
ALAN
Eye on the line. Go chop!
KESHIA
It's. This is a trick, isnt it?
ALAN
No trick. I can take you to your
little boys. All I ask is - KESHIA
Stop! Stop it! I don't believe you!
ALAN
Okay. I get it. You like it
here. Easy life. Three squares,
a rack. Just let 'em fuck you
ten times a day. No problem with
that. Right?
We see rage building in her eyes.
THE FEMALE MAJOR'S SUPERVISORS OFFICE
The Female Major appears in door frame.
MALE COLONEL
Make it quick, Major.
KESHIA'S SEX ROOM
The blade on the rug. Keshia shaking, hand to her mouth
in horror. The severed fingers twitching, as Alan calmly
sprays his stump with an aerosol. The foam begins to
solidify.
THE FEMALE MAJOR'S SUPERVISORS OFFICE
MALE COLONEL
Bird Colonel from Rufus Meadows
and your plan is check his
record! Why? He says jump, you
say how high? And who gave you
access to HQ files?
FEMALE MAJOR
Sorry, Sir. I just thought - MALE COLONEL
Don't think, dammit!
91
She steps back in shame. He slams the door in her face.
KESHIA'S SEX ROOM
Alan slides the fingers into a ziplock, picks up syringe.
ALAN
Some nerve deadener here for
you. Tip of the index at the
knuckle?
She hesitates, blinks, swallows, then nods.
THE HALLWAY OUTSIDE KESHIA'S SEX ROOM
The Female Major passes by with a witheringly hateful
look.
KESHIA'S SEX ROOM
Keshia in tunic, trousers & pisscutter. She holds her
stump up, as the foam hardens. Alan pins a double bar on
her.
ALAN
Youre now a Captain. My Aide.
He tosses the ziplocks into the case.
He cracks the door.
KESHIA
Why are you doing this?
ALAN
Imagine Im an angel.
INT. AT THE OPEN DOOR OF THE BUS NIGHT
The Sergeant eyes his watch, as Troopers board the Bus.
SERGEANT
Nineteen-fifty. Move it, Ladies.
INT. THE HALLWAY - NIGHT
Alan, attache in his good hand, and Keshia walk to the exit.
INT. THE BUS NIGHT
92
Troopers rush aboard and take seats. The Sergeant points
his remote at the Control Console. The engine sputters to
life.
SERGEANT
Nineteen-fifty-six, Ladies!
INT. THE PASSAGEWAY NEAR THE EXIT NIGHT
A Sex Room door opens. A naked WHORE runs into the hall,
a naked LIEUTENANT hot on her tail. The Whore sees Alan
coming toward her, halts. The Lieutenant bumps her,
pushes her into Alan. Alan drops the case. It pops open,
spills the ziplocs. Alan kneels, scoops everything back
in with his good hand. The Lieutenant pops to attention,
salutes. Alan in his face.
ALAN
You dont salute out of uniform,
Mister. Get your ass back in
there!
NAKED LIEUTENANT
Yes, Sir. Sorry, Sir.
The Lieutenant yanks the Whore back inside, but not
before she gives Keshia an "I know you" look. Keshia sees
it.
INT. THE BUS NIGHT
The Sergeant glares at the one empty seat on the Bus.
SERGEANT
Fuck is Metzgar?
EXT. WALKING DOWN THE RAMP LEAVING THE BUILDING NIGHT
The Bus, flooded in light, at the Tarmac's edge.
ALAN
Youre s'posed to be my Aide,
s'posed to walk to my right,
s'posed to know where were
going.
KESHIA
Where are we going?
INT. THE NAKED LIEUTENANTS SEX ROOM NIGHT
93
The Naked Lieutenant, on the bed, bleeding from a head
wound. The Female Major fits a pistol into his hand.
NAKED WHORE
It wasnt me! You saw it wasnt
me!
FEMALE MAJOR
Nobody's saying it was you. Now,
about what you saw.
NAKED WHORE
You mean, about Eve? And the
Colonel's briefcase?
The Female Major nods.
EXT. OUTSIDE THE BUILDING NIGHT
Alan & Keshia approach the Bus. The Sergeant salutes.
Alan, his hand in his pocket, nods. Keshia returns the
salute.
ALAN
Walk to the Vehicle like we own
it.
KESHIA
Do we own it?
Metzgar stumbles out of the Modular Building, buttoning
his tunic, his trousers half-on, half-off, his cap askew.
SERGEANT
Get your ass up here, Metzgar!
The Troopers on the Bus laugh.
They begin chanting.
TROOPERS ON BUS
Metzgar! Metzgar! Metzgar!
Metzgar!
A TWO-MAN SECURITY PATROL rounds the corner. Suddenly
they're at Alan's Vehicle, pointing a flashlight. Metzgar
stumbles past. Alan flips the attache case to Keshia.
INT. THE NAKED LIEUTENANTS SEX ROOM NIGHT
TROOPERS ON BUS (O.S.)
Metzgar! Metzgar! Metzgar!
The fire alarm disabled. The Naked Whore cuffed to the
94
bed.
NAKED WHORE
What's going to happen to me?
The Female Major walks to the door. The Naked Whore
cries.
EXT. ON THE TARMAC NEAR THE BUS NIGHT
Metzgar!
TROOPERS ON BUS
Metzgar! Metzgar!
Alan's good left hand presses a knife to Metzgar's

throat. He backs toward the Bus. The Security Patrol
draws guns.
ALAN
No! Dont even think about it!
(To Keshia)
Get the pistol out of the case!
The Metzgar! Metzgar! stops, as Alan & Keshia board the
Bus, using Metzgar as a shield. Keshia waves the pistol.
INT. A HALLWAY OUTSIDE THE NAKED LIEUTENANTS SEX ROOM NIGHT
The Room in flames, the Female Major closes the door.
INT. THE BUS NIGHT
ALAN
(Points to Security Patrol)
Tell them to back the fuck off or - SERGEANT
Or what? The shaky cunt shoots?
(Takes a step toward Alan)
Tell the nigger bitch to ground
her arms before I sic my dogs on
her.
Tiny locked and loaded flames build in the eyes of the
seated Troopers, just waiting for the open fire
command. Emergency sirens outside.
EXT. ON THE TARMAC OUTSIDE THE BUS NIGHT
95
Sirens, flashing lights. The Gate Guards point guns at
the Bus. VEHICLES and ARMED TROOPERS arrive. In the Bus
window, a gun flash, the Sergeant flies backward, falling
from view.
MALE COLONEL
Hell's going on?
ARMED TROOPER
Colonel and some FW1E hijacked
the bus. Whore just shot the DI.
MALE COLONEL
I want those recruits out alive.
Put some Personnel Carriers out
there, jam 'em in. Wait 'em out.
INT. THE BUS NIGHT
The Sergeant's head, a mass of blood, bone and brain.
Metzgar cringes. Outside, Personnel Carriers move up.
Alan pries the remote from the Sergeant's hand. Keshia
shakes.
ALAN
Buck up, girl. Show these lads
you're a stone cold killing
machine.
KESHIA
Hell you get me into? You can
stay here! I'm getting out now!
She kicks the emergency door. It blows, opens an escape
hole.
MALE COLONEL
Ahoy the bus! We're holding
fire.
ALAN
(Moves back next to her)
We go together or not at all.
We're a team.
Alan presses the remote. The Bus lurches forward toward
the Main Gate. Outside, a hundred guns are trained on
them.
MALE COLONEL
We're holding fire, holding
fire.
96
KESHIA
What team? You didn't check with
me about moving the bus!
ALAN
I said team. I didn't say
democracy.
The Bus and a PERSONNEL CARRIER are on a collision course.
INT. THE BUS NIGHT
Help us!
METZGAR
We're all gonna die!
ALAN
Relax. It's gonna be fine!
Someday, you'll tell your
grandchildren.
Alan steers the Bus into the Personnel Carrier, shoving
it aside. Keshia sees a new danger. Keshia's free hand
taps Alan. Alan follows her eyes.
EXT. SEES ACROSS THE TARMAC AT THE BUILDING - NIGHT
The Female Major holds a primed RPG. She brings it up,
aims.
INT. THE BUS NIGHT
Outside, the RPG fires. On the floor, the attache with
the ziplocs. In the Escape Hole, two shadows recede.
MALE COLONEL (O.S.)
Turn off the motor! Do not
approach the Main Gate! Turn off
the motor!
The ROCKET GRENADE hits. A burst, a fireball. The Bus
begins imploding, folding into itself, the burning metal
bright as a star, the mass collapsing into a molten ball.
A shocked silence. The Male Colonel turns, sees the
97
Female Major. She throws down the RPG, comes to
attention, salutes.
MALE COLONEL
My God! She killed them all!
The molten ball rolls into the Main Gate, generating a
massive explosion. The fences snap in a shower of sparks.
MALE COLONEL
Save them! Get them out!
In the distance, GUARDS handcuff the Female Major. Behind
her, the burning Modular Structure collapses.
EXT. SOMEWHERE OUTSIDE THE WHORE PENS NIGHT
Sirens and flashing lights of a hundred Emergency
Vehicles. A GUARD TOWER collapses. HELICOPTERS with
searchlights hover. Another explosion. In the dark, two
SHADOWS run.
EXT. SOMEWHERE MILES & MILES & MILES AWAY DAY
A '68 PLYMOUTH ROADRUNNER, doors wired shut, a U-Haul in
back, parked by a shack with a home-made hamburger sign.
INT. THE PARKED ROADRUNNER DAY
In front, a BIG WOMAN with three squirming CHILDREN. In
back, Alan with Keshia on his lap between a THIN WOMAN
with a LITTLE GIRL and a young WOMAN with an angelic
smile. The shack door opens. CASEY emerges with a greasestained grocery sack. The little Girl reaches out to
Keshia.
LITTLE GIRL
Can I rub it? Please, can I?
Keshia's facial expression says she doesn't comprehend.
BIG WOMAN
She thinks you're white. She's
asking can she rub off the soot.
EXT. THE GRINDER AT THE WHORE PENS DAY
The Female Major stands, blindfolded. A BATTALION stands in
formation as a FIRING SQUAD aims and fires. She falls.
98
EXT. SOMEWHERE AT THE SIDE OF THE LONG LONESOME ROAD
DAY
The Roadrunner parked by a fence. Casey, his Family &
Keshia sit outside eating. Alan stands at the car, kicks
the tires.
CASEY
Got it at auction. Maybe owned
by Bolivar. Man sold it told me
so. King's car. Imagine that.
Casey indicates the young Woman with the angelic smile.
CASEY
Me and Laura there just got married.
We're newlyweds. Cancha tell?
KESHIA
Congratulations.
BIG WOMAN
Hunh!
INT. A SEMI-DARKENED HOSPITAL ROOM NIGHT
The Male Colonel, barely conscious, on bloody sheets. His
right leg, sealed in plastic, rests by his bandaged
stump.
CIA MAN
Just when it can't get worse, it
does. The one person who might
have enlightened us on this
monumental cock-up is executed.
I don't know how they're going
to take this.
On the wall, a blow-up of Keshia & Alan on the Bus.
Keshia has the crazed look Madeline had in a picture
years earlier.
RUFUS
So. It's like a Shakespearian
tragedy. Everyone dies.
KIDD
Not everyone. We're still alive.
99
Rufus laughs. Kidd laughs. A comely SOLDIER enters with a
tray of drinks, stares in bafflement as the laughter
builds.
Near dusk. We see three choppers under a tree.
GABRIEL (O.S.)
Where are the other women?
INT. KENNY & MADELINE'S CABIN - NIGHT
Gabriel, Michael, Rafael and Kenny sit, sipping wine from
Mason jars. Madeline holds her BABY. This is Carissa.
KENNY
They stayed behind. They chose
to go their own way.
MADELINE
We came here to elevate our
spirituality. A pristine, primal
environment in which we could be
at one with God.
GABRIEL
The other children? What of
them?
KENNY
They're fine.
RAFAEL
But do you see them often? Do
you visit them? Do you take them
gifts?
MADELINE
Carissa takes up our time.
KENNY
And how can we? they're far
away. They have their mothers
with them.
MADELINE
And after all, I'm not my
sister's keeper.
100
Gabriel, Michael and Rafael frown. They're not happy with
the answers they're getting.
MICHAEL
We'll stay the night.
RAFAEL
We'll pitch our tent outside.
Gabriel, Michael and Rafael troop outside. Kenny glares
at Madeline, then goes outside. She hugs Carissa.
EXT. ON A HILLTOP OVERLOOKING MCARTHUR LAKE - DAY
The Roadrunner approaches. HASSAN & JERRAMIA fire rifles.
INT. THE ROADRUNNER DAY
Through the windshield, the distant forms of Hassan and
Jerramia, their rifles pointing in the air. Casey stops.
CASEY
Far as we take you.
ALAN
Can't take us closer?
CASEY
A shootout some years back.
Can't look at 'em cross-eyed
anymore.
BIG WOMAN
Further from Niggers, happier I
am.
(Not turning around)
Wasn't referring to you.
God is great. I bear witness...
EXT. A MEADOW AT PIKE LAKE - DAY
On a rise, six ARMED MEN. One is Squeak. Keshia and
JAMAAL touch and laugh. Her two small BOYS play. Alan
skips stones.
101
EXT. THE DEEP POOL BY THE BIRTHING SHED - NIGHT
Madeline, with Carissa, sits on the rock, stares at the water.
EXT. THE PIKE LAKE MEADOW - DAY
KESHIA
We'd ask you to stay, but...
ALAN
Yeah.
Jamaal signals the Armed Men. Two break away, come down.
KESHIA
They'll take you to her. They
know the paths better'n me. I
been away the last few years.
Forgot a lot.
Alan nods, smiles.
INT. THE BIRTHING SHED - DAY
A knock. Madeline opens the door to Michael. He lays
hands on Carissa. He prays silently. He finishes, turns
to leave.
MADELINE
Aren't you going to bless me
too?
Michael walks away.
MADELINE
Come back! You can't just bless
her. You have to bless me, too!
What about me? What about me?!
Alan walks ahead. The two Armed Men walk silently behind
him, their weapons across their shoulders.
EXT. A HILLSIDE - DAY
Kidd in a wheelchair. He wears a General's uniform. He's
waiting for someone. The sound of an approaching Helo.
102
EXT. AT THE SIDE OF THE ROAD ON THE LONESOME HIGHWAY DAY
A falling-down roadside sign: "SCHOOL ZONE 20 MPH."
Walter fires an automatic weapon into the sign. Maddi
sits on the hood of the car, nursing JEREMY, their
newborn.
EXT. THE HILLSIDE - DAY
The Helo rests, props turning. Outside the cargo bay,
twenty Korean SOLDIERS, each with a back-mounted tank and
a hose with a pistol-grip nozzle. A SERGEANT commands
them. Faint sound of hymn singing, The Old Rugged Cross.
Lt Colonel Kim and Kidd reach the crest to a view of the
Meeting Hall below with parked Buses and Trucks and Armed
MEN standing guard. Sound of hymn singing suddenly
louder.
KIDD
Sunday church. Everyone's there.
LT COLONEL KIM
I'll have them move in, Sir.
KIDD
No one escapes.
No one.
INT. KENNY & MADELINE'S CABIN - DAY

A knock. Kenny opens the door. It's Madeline with
Carissa. He stands aside. She enters, sets Carissa in the
crib.
MADELINE
Wanna mess around?
EXT. A HILLTOP - NIGHT
Alan and the two Armed Men sit at a campfire. The Armed
Men smoke. Above, a meteor shower. Alan stares into the
flame.
INSERT: The Flickering Flame
In the flame, a tiny image of a naked Madeline straddling
Alan, raping him, silently orgasming and collapsing on
him.
BACK TO SCENE
103
One of the Armed Men taps Alan. Alan blinks.
Walter steps over bodies of MEN, WOMEN, CHILDREN, their skin a
hideous blue-green. Flicker of movement. Tammy's eyes pop open.
Oh my God!
Water!
WALTER
Oh my fucking God!
TAMMY
Water!

Maddi nurses Jeremy in the car.
EXT. A HILL WITH A VIEW OF KENNY & MADELINE'S CABIN - DAY
The Armed Men point. Alan nods. They wave and depart.
Shaking, Walter gives Tammy water from a canteen.
TAMMY
They lined us up, showed us a
photo of her, said they'd let
us go if we told. I said tell
'em. They gassed us anyway.
Everyone's dead. Damn the
witch. Damn her...
Tammy dies.
Madeline at the open window, changing Carissa.
up, suddenly face-to-face with Alan.
She looks

Walter emerges. He heads toward a Bus with camo paint.
WALTER
We're taking that bus!
104
INT. THE HELO CARGO BAY - DAY
Roar of engines. Soldiers in battle gear sit stonefaced.
Alan bangs on the front door.
EXT. IN THE FOREST NOT FAR AWAY - DAY
Kenny sights in on a deer. He fires. The deer drops.
Echo of shot. Alan turns, scans the treeline.
EXT. SOMEWHERE FURTHER AWAY - DAY
The Helo races over the landscape.
Kenny emerges from forest, sees Alan. He unslings his
rifle, walks to Alan, rifle pointed at him. Alan stands,
points rifle at Kenny. They close, pointing their rifles.
Madeline, Carissa in arm, watches fearfully.
Madeline watches Kenny & Alan skin the deer. She smiles.
EXT. CLOSE BY AT THE EDGE OF THE WOODS - DAY
The Helo in a field, rotors slowly turning. The Soldiers
on a smoke break. Lt Colonel Kim & the Sergeant study a
map.
EXT. AT THE CREEK NEAR THE BIRTHING SHED - DAY
The Bus slowly backs into a thick grove of trees.
INT. THE BUS - DAY
105
Walter backs the Bus into dense foliage by the deep pool.
Maddi's image in the mirror, guiding him with hand
signals.
The deer carcass hangs from a tree limb. Kenny and Alan
toss a baseball. Alan catches and throws left-handed.
EXT. THE DEEP POOL - DAY
Maddi and Walter skinny-dipping, Jeremy asleep in a basket.
Dusk. Kenny pitches, Alan catches, Madeline at bat. She
crowds the plate. Kenny throws high and tight. She goes
down, gets up grinning. He throws one in her wheelhouse.
She slams it deep, past the birthing shed into the woods.
EXT. IN THE WOODS JUST BEYOND THE BIRTHING SHED - NIGHT
Just after dusk.
Lt Colonel Kim picks up the ball.
EXT. NEXT TO THE BUS PARKED IN A GROVE BY THE POOL NIGHT

The same moment. Maddi washes clothes in a plastic tub.
Walter suddenly looks up, signals for quiet.
MADDI
What?
They peek through the leaves at the Soldiers.
MADDI
Who are they? What are they
doing?
WALTER
Shh!
Kenny and Alan talking at the table. Madeline holds Carissa.
INT. KENNY & MADELINE'S CABIN - NIGHT
106
The Men drink. Kenny's in the middle of telling a story.
KENNY
Five days later, Henry Slezak
called, would I like to be a
Deputy Assistant for Domestic
Policy?
(Shakes his head,
laughs)
It was an excuse. Henry was a
fan, liked to hang with jocks.
MADELINE
God working through Henry. He
put you there to save us. God is
great.
Looking down on Maddi and Walter.
God is great. There's no god
but...
EXT. THE BUS - NIGHT
WALTER (O.S.)
Sex machine.
MADDI (O.S.)
Shhh!
All is dark. A meteor burns up in the atmosphere.
LT COLONEL KIM (O.S.)
Zero two hundred, Sir.
EXT. IN THE FOREST JUST BEYOND THE BIRTHING SHED - NIGHT
Lt Colonel Kim, alone, speaks softly into his comm device.
LT COLONEL KIM
On station and ready, Sir.
INT. RUFUS' BEDROOM - NIGHT
107
The video screen on the wall shows the shootout between
Han Solo & Princess Leia and the Imperial Stormtroopers.
RUFUS
Wait till sunup. Don't let those
idiot Koreans butcher everyone.
Morning. Daybreak. Four trees move slowly toward the cabin.
Closer.
KENNY (O.S.)
Closer. Come on.

Carissa in her crib. Kenny, Madeline and Alan, guns ready.
Come on.
KENNY
Come on.
Closer.

Four Korean Soldiers, each with a coil of rope and a net,
each holding tree in front, slowly advance toward the
cabin.
Closer.
KENNY (O.S.)
Closer.
EXT. UNDER THE BUS - DAY

Maddi and Walter hunker down. Suddenly, shots up the hill.
Kenny and Alan firing, two attackers down. A third turns
and runs. Alan and Kenny fire, cut him in half. The
fourth, screaming, charges the window, firing wildly.
Madeline jams her muzzle into his mouth and fires. His
head vaporizes.
EXT. IN THE FOREST NEAR THE BIRTHING SHED - DAY
SERGEANT
Four good men lost! For nothing!
108
MADDI
Let's make a run for it.
WALTER
We'd be sitting ducks.
MADDI
Eddie'd make a run.
WALTER
Why you suddenly bringing him
up?
MADDI
Not suddenly bringing him up.
Just saying he'd make a run.
WALTER
Well, Eddie can't make a run,
okay? 'Cause he's dead.
Kenny, wounded, bleeding. Madeline applies a compress.
ALAN
Platoon. At least ten out there.
A look of despair on Madeline's face.
EXT. IN THE FOREST - DAY
SERGEANT
They're surrounded. I sent two
men down the hill to cut off
escape.
LT COLONEL KIM
Okay. Time to talk them out.
SERGEANT
Talk? Why? Start a fire, burn
'em!
LT COLONEL KIM
I need them alive.
109
SERGEANT
Sir. Four good men died!
LT COLONEL KIM
Sergeant, just do your fucking
job.
Lt Colonel Kim walks away. The Sergeant silently curses.
Kenny groans, holding the compress to his wound. An open
trapdoor. Climbers ropes, tied to the rafters, extend
down into the trapdoor entrance. Madeline fits Alan with
a climbing harness and an empty backpack.
MADELINE
Mine shaft goes to a tunnel.
You'll see rails & an ore cart.
Take the cart to the portal.
Portal opens to a creek. Wait
there for us.
ALAN
We should send you down first!
MADELINE
I'm not leaving him.
She hugs Carissa, slides her into Alan's backpack.
MADELINE
Go! I have to make Kenny a
sling.
ALAN
I want to say, I'm glad I came.
MADELINE
Go!
Alan disappears down the shaft.
INT. THE SHAFT - DAY
Alan descends. He looks up, sees Madeline. He switches on
his headlamp, sees the rails twenty feet down.
ALAN
See? Piece of cake. We'll get
you out of here, Little Girl.
110
EXT. ON THE HILLSIDE BELOW THE CABIN - DAY
Lt Colonel Kim goes uphill with a white flag. A shot. He
drops, rolls back. The Sergeant looks through his
gunsight.
SERGEANT
Bastard.
Blood running from Kenny's wound despite the compress.
KENNY
Just leave me, Maddie. Go.
MADELINE
You're not dumping me that
easily.
Madeline sets four explosive charges along the wall. A
volley of shots from outside. Bullets slam into the wall.
Covering gunfire. Soldiers run up and drop canisters.
The sound of things being dropped outside. Madeline
connects wires from the explosive charges to a battery.
A bullet cuts through one of the climbers ropes.
INT. THE SHAFT - DAY
A sharp jerk. Alan swings wildly, slams into the shaft wall.
ALAN
Got it, Little Girl. Peace of
cake.
Alan steadies himself, grips a rusty rung on the side of
the shaft. He looks up, sees Madeline, gives a thumbs up,
aims his headlamp down, lighting up five slithering
snakes on the rails. A creaking sound as the rung
threatens to give way.
ALAN
Be cool, Little Girl. Be cool.
111
More bullets slam into the wall. Madeline begins fitting
Kenny with a sling to lower him on the rope.
MADELINE
Kenny. Just want you to know,
this has been the best year of
my life.
KENNY
What is this? Your last words?
MADELINE
Just wanted you to know.
The Sergeant signals. Two Soldiers fire. The canisters at
the wall explode, throw burning globules in all
directions.
A globule flies through the window, lands on an explosive
charge. The casing starts to melt.
MADELINE
Gotta go down! Now!
She stuffs a remote detonator in Kenny's pocket.
MADELINE
I'll be right behind you. If I
don't make it, press this when
you reach bottom. Don't do it
early or you'll blow yourself
up. Got that?
He grins, nods weakly just before >>>> A MASSIVE
EXPLOSION.
More blasts, as the explosives blow, each in turn. The
walls and the roof burst into flame.
INT. ON THE TUNNEL FLOOR AT THE BOTTOM OF THE SHAFT - DAY
Dust. Angry snakes slither about, hissing, flicking their
112
tongues. Multiple blasts above. More debris tumbles down
the shaft. At the edge of a pile of debris, a baby-sized
hand protrudes. A snake slithers over it. The hand closes
on it.
EXT. WHAT'S LEFT OF KENNY & MADELINE'S CABIN - DAY
Soldiers cheer as the roof collapses in a shower of
sparks.
Movement in the debris. Slowly, by degrees, Alan emerges.
He spots the tiny hand. He carefully digs around it.
The cabin a heap of ash. A boot kicks against a body.
SOLDIER
Over here, Sergeant!
EXT. ON THE SLOPE BETWEEN CABIN AND THE DEEP POOL - DAY
Two Korean SOLDIERS man a checkpoint facing uphill.
Behind them, a thicket blocks their downhill view.
EXT. BEYOND THE THICKET - DAY
The deep pool below, the bus barely visible in the grove.
Maddi and Walter hunker down, with Jeremy in his crib.
Alan sees the hand protruding from a pipe. He slides
Carissa out. She emerges, clutching a coiled snake.
RUFUS (O.S.)
You pieces of worthless shit!
You stupid, useless pieces of
shit!
113
The Soldiers listen stonefaced. On the grass, the charred
bodies of Kenny & Madeline, seemingly melted into one,
intertwined, her expression one of supreme ecstacy.
INT. RUFUS OFFICE - DAY
A huge wall photo of Rufus & Kevin in a Central Park jitney.
RUFUS
Where is Colonel Kim?
SERGEANT (O.S.)
Dead, Sir. Stray bullet.
RUFUS
Get your men and return. Think
you can do that without killing
them?
Comm device switches off. He shakes his head, sighs.
INT. THE TUNNEL - DAY
Alan takes the snake from her. She cries like he took her
toy.
ALAN
Shhh. Don't let the bad guys
know.
She quiets down. He follows the track. Snakes slither to
the side. He turns a corner, bumps into the ORE CART.
ALAN
Never walk when you can ride.
He gets in, releases the brake. A creaking sound, as it
rolls. Carissa laughs. It picks up speed. Alan holds on.
EXT. AMONGST THE ASHES OF KENNY & MADELINE'S CABIN - DAY
The Sergeant looks down into the shaft, hears steel wheels
squealing on rails. He aims an RPG down the shaft and fires.
INT. AT THE BOTTOM OF THE SHAFT - DAY
An explosion. It starts a rolling collapse in the tunnel.
EXT. WITH THE TWO KOREAN SOLDIERS AT THE CHECKPOINT - DAY
114
Ground shakes. Somewhere in the earth, steel wheels scream.
INT. IN THE SPEEDING ORE CART IN THE TUNNEL - DAY
Alan, tossed side to side, shields Carissa with his body.
The collapsing tunnel gains on them.
ALAN
Going into warp drive, Little
Girl.
Ahead, we see dirt, rocks & split timbers on the track.
ALAN
Oh shit! Portal collapsed! Hang
on!
Alan braces for impact. An excited grin on Carissa's face.
EXT. WITH THE TWO KOREAN SOLDIERS AT THE CHECKPOINT - DAY
Thundering vibrations build to earthquake proportions.
The two Soldiers turn & run, as the Ore Cart blasts out,
launching them into the treetops. The Cart bounces
downhill, threatening to overturn but not quite doing so.
The Ore Cart lands SPLAT! in the mud across the deep pool
from the Bus. Walter and Maddi watch awestruck.
EXT. AMONGST THE ASHES OF KENNY & MADELINE'S CABIN - DAY
KOREAN MEDIC
Getting zip from Park & Cho.
CORPORAL
Let's split. Giving me the
willies!
SERGEANT
No way I'm reporting two more
dead without proof. Signal the
helo.
CORPORAL
Sarge, they're dead. They gotta
be.
115
EXT. BY THE ORE CART AT THE DEEP POOL - DAY
The Ore Cart half-buried in mud. All silent except for
bloop, bloop, bloop. A hawk dips down through the canopy.
A snake slithers to water's edge. More bloop, bloop,
bloop. Suddenly popping up, a tiny head, then a larger
head, as Alan, Swamp Monster-like, rises, Carissa in his
arms.
ALAN
Ta-DA!
Alan kneels, starts washing her face. She squalls.
ALAN
Come on. You want to be clean.
She shakes her head, no no no!
ALAN
No? So you're gonna be a chick
who plays in the mud, huh? Think
again.
He laughs, holds her down, cleans her face. She fights
him.
MADDI (O.S.)
Signal him, tell him we're here.
WALTER (O.S.)
Not yet! Might be a trap.
MADDI (O.S.)
How is a man and a baby a trap?
WALTER (O.S.)
You go help the baby. They zap
you.
Suddenly, the Helo above, swooping down bird of preylike.
The deafening roar, the down draft agitating the water.
Maddi reaches for Jeremy, pulls him close, hugs him.
WALTER
See? There's your zapper!
INT. THE HELO FLIGHT DECK - DAY
116
SERGEANT
Lower! Take her lower!
Below, Alan at the water's edge with Carissa. He scoops up
Carissa with his stump hand, draws a pistol, dashes to the
Ore Cart. He fires, the bullets go "plink plink" off the
plexiglass.
SERGEANT
That's the son of a bitch! He
killed Park and Cho!
The Helo turns, fires two missiles. They slam into the Ore
Cart.
MADDI (O.S.)
Help them, dammit! Help them!
Walter fires a grenade. Limbs high up burst into flame.
WALTER
There. I helped them. Happy now?
Helo bucks, pitches. Pilot struggles. Flames in treetops.
SERGEANT
Fuck?! Who else's shooting?!
Loose gear slides all over the place.
CORPORAL
Dude's crazy. Gonna kill us all!
EXT. NEAR THE DEEP POOL WITH ALAN & CARISSA - DAY
A mangled Ore Cart, tree limbs afire, smoke on the water.
SERGEANT
(Points pistol at
Pilot)
Lower, damn it! Now!
117
MADDI
Can't let that thing blast them!
She gives him a look of contempt. She waves to Alan.
EXT. IN THE MUD BEHIND THE BURNT-OUT HULK OF THE CART DAY
Alan, bleeding badly, sees Maddi signalling him, sees her
pointing to the washtub. He struggles to put Carissa in
it.
ALAN
You're almost there. You had a
guardian angel. Angel's cutting
you loose now. Time to spread
your wings, fly away on your
own.
He's visibly weaker. Life starts to flow out of him.
ALAN
Bye, Little Girl. Remember Alan
Wetzel. He'll remember you.
He gives it a push. The Helo downdraft takes over, moving
Carissa toward the opposite bank. He staggers into the
open.
The Helo twists and turns downward, hunting its prey.
SERGEANT
Fuck is he? Fire one flush him
out!
INT. AT SEA IN THE WASHTUB - DAY
The washtub pitches and rolls. Carissa waves to the Helo.
The tub
Carissa
through
flying.
through
bobs up and down, moving toward Maddi & Walter.

smiles, enjoys the ride. A missile crashes
the treetops, explodes, sending metal bits
Tiny splashes surround the tub. Carissa sails
unscathed.
118
MADDI
They're shooting at the baby!
They're trying to kill the baby!
EXT. A CLEARING OUTSIDE THE GROVE AWAY FROM THE POOL DAY
A trail of blood.
Alan plants himself, Patton style.
ALAN
Turn around. I'm over here.
He fires at the Helo, emptying his weapon at it.
Bullets smack into the Helo's underside. The Corporal
removes his helmet, sits on it. Other Soldiers follow
suit.
The ground whizzes past as the Helo turns to face Alan.
EXT. WITH ALAN IN THE CLEARING - DAY
The Helo approaches, guns firing, stitching a line on
either side of Alan. It passes over, turning to make
another run.
The Helo spinning around, beginning its second run.
SERGEANT
Idiot! We finish this now!
The Sergeant steps out onto the strut, leans forward,
aims.
EXT. WITH ALAN IN THE CLEARING - DAY
Alan, in a pool of blood, sees the Sergeant taking aim.
Come on.
ALAN
Do it.
Hurry.
A single shot point-blank. All goes black. Only the sound
119
of the Helo engine. Then a second shot. Very loud. Very
near.
The Corporal looks down the sights of his weapon.
CORPORAL
Bastard.
EXT. THE CLEARING - DAY
Alan and the Sergeant lie two feet apart.
CORPORAL (O.S.)
Turn this thing around! Now!
The engine revs, the Helo rotates. Sound of an RPG
firing. A fiery object streaks upward. A fireball. The
Helo breaks up.
EXT. IN THE GROVE ON THE FAR SIDE OF THE DEEP POOL - DAY
Maddi lowers the RPG, as the burning Helo falls,
screaming Soldiers on fire jumping out. She spits, tosses
the weapon to Walter. She walks to the reeds, to Carissa.
Carissa smiles up at her from the tub, her arms
outstretched.
EXT. BY THE CREEK AT THE BIRTHING SHED - DAY
Walter & Maddi stand at a fresh grave. Maddi holds a
charred Wondergirl. She pushes it into the earth as a
marker.
MADDI
Okay, let's make that run for
it!
EXT. BOLIVAR'S SATELLITE OVER SOUTHERN ALBERTA - DAY
to...
EXT. ON A CLIFF OVERLOOKING A WINDING DIRT ROAD - DAY
120
SUPER: SOMEWHERE IN THE CANADIAN ROCKIES. September,
2045.
An old military-type truck with a canvas cover
approaches. Jeremy, standing lookout, fires his rifle.
EXT. ON ANOTHER CLIFF CLOSE BY - DAY
The shot echoes. Carissa, standing lookout, fires her rifle.
EXT. A CABIN IN A SMALL VALLEY - DAY
Truck parked by a tree. Dogs, chickens, turkeys run free.
WALTER (O.S.)
I need workers.
MADDI (O.S.)
No he doesn't. Ignore Walter.
Clothes dry on a clothesline. Near the cabin, a grave.
INSERT - Inscription on Grave Marker
Hand-carved - "Infant Henry born on the Feast of Trumpets
to Walter and Maddi, Budded on Earth to bloom in Heaven"
BACK TO SCENE
INT. THE CABIN - DAY
Maddi, Walter, Carissa and Jeremy watch a BIG MAN with a
beer gut weighing gold on a scale.
BIG MAN
Got eight and a half ounces.
WALTER
I had eight & five-eighths.
MADDI
I trust our scales. No offence.
A long moment. The Big Man nods. Carissa & Jeremy cheer.
EXT. THE CABIN - DAY
In the distance, at the truck, Maddi takes a blouse from
a box, holds it up. Carissa & Jeremy rip open boxes.
121
WALTER
Need some good men to lug a
stamp mill up to the portal. Hot
shitty work. Plus I want to put
in rails and an ore cart. Plus I
need a trench for water. Two
mile trench.
BIG MAN
That's a lot. What's Maddi say?
WALTER
Maddi worries about Carissa and
Jeremy. Doesn't want any low
lifes.
EXT. AT THE TRUCK - DAY
Carissa tries a sundress, Maddi, a gown and necklace.
Jeremy struts in a suit, tie, bowler. Carissa and Maddi
hoot.
BIG MAN (O.S.)
Might know some men for you.
EXT. ON THE DIRT PATH - DAY
Carissa & Jeremy pose like catalog models. Maddi claps.
BIG MAN
Thing is, they're Mormons.
WALTER
Maddi doesn't like cults.
BIG MAN
They don't drink. They watch
their mouths around females.
Next time, I'll bring one along
as a swamper.
Jeremy swaggers in a tux and top hat. Carissa laughs.
EXT. BOLIVAR'S SATELLITE OVER SOUTHERN ALBERTA - NIGHT
to...
122
EXT. THE CABIN - NIGHT
MADDI (O.S.)
What did you two talk about?
WALTER (O.S.)
Rain. Army patrols. Price of
ammo.
INT. A HALLWAY OUTSIDE A HOSPITAL SUITE - NIGHT
Korean SOLDIERS stand guard. The CIA Man watches the
door.
INT. A HOSPITAL SUITE
On the wall, a photo of a weary-eyed Matthew. Rufus,
emaciated, a breathing tube at his nose.
RUFUS
Always thought you'd go first.
Kidd nods, moves his wheelchair to the door, raps on it.
Door opens. The CIA Man in the doorway, bows. Door
closes.
EXT. ON A MESA OVERLOOKING MADDI & WALTER'S CABIN - NIGHT
Sound of motorcycles. On the mesa, three choppers descend.
WALTER (O.S.)
Sex machine.
Maddi laughs.
FADE OUT
123
The GIRL WHO GOT A SECOND CHANCE: a fairy tale

a screenplay by
Dale Andersen
@2015
Finalist - 2013 Independent Film Quarterly Film &
Webisode Festival ndersen

Dale Andersen

Suite 117, D-4
562-508-5820
Writers Guild Reg # 1633278
124
ite 117, D-4

FADE IN
EXT. A HORSE TRAIL IN THE WOODS - DAY
SUPER: SOMEWHERE ON EARTH, LONG AGO - OR MAYBE NOT...
A hooded RIDER gallops past, splashing through puddles.
EXT. NOT FAR BEHIND - THE SAME MOMENT
Three mounted SHANKALLAHS, tall, muscular warriors,
pursue.
EXT. UP AHEAD A MOMENT LATER
A fallen branch. The Hooded Rider clears it with ease.
EXT. BACK WITH THE SHANKALLAHS - A MOMENT LATER
The lead Shankallah tries vaulting the branch. His horse
lands awkwardly. The other two slow down, steer around.
EXT. A MASSIVE TUNNEL TREE IN A CLEARING A MOMENT LATER
The Hooded Rider slows at the tunnel, then dashes in and
through. The Shankallahs arrive, see prints leading to
the tunnel. As they approach, a rope springs up, dumping
them.
Some Woodsmen, SQUEAK, SQUINT & SQUIRRELY, rush out and
club the Shankallahs, killing them before they stand back
up. Squeak and Squirrely chase the horses. Squint walks
up to the tunnel and enters it. Sound of barking.
EXT. ON THE OTHER SIDE OF THE TREE TUNNEL - THE SAME
MOMENT
A clearing. A DOG barks at the kicking and thrashing
Hooded Rider caught in a rope net suspended from a
branch. A fourth Woodsman, SQUAWK, reaches in, jerks back
the hood, revealing a YOUNG WOMAN, 19, with flaming red
hair. She snarls. Squint walks up and smacks her with a
wooden stick. She yowls.
EXT. A CROWDED BAZAAR - THE SAME MOMENT
SUPER: A BAZAAR, A FEW SHORT MILES AWAY
125
LAVELLA (O.S.)
Alms! For God's love, alms!
HIGG, 39, & LAVELLA, 35, kneel in beggars rags and
beggars bowls. Across the way, a SLAVE MARKET.
EXT. A CLEARING - LATER THAT MORNING
The Young Woman, still in the net, whimpers. Nearby, two
piles of wood: one of uncut branches; the other of cut
wood bound up. The four Woodsmen play golf on a grass
strip with wooden clubs and balls. Squint putts a ball.
It rims out of the hole. He utters a silent curse.
EXT. THE BAZAAR - DAY
LAVELLA (O.S.)
Alms! For the Holy Virgin, alms!
The COUNTESS and her SERVANTS and ENTOURAGE approach.
LAVELLA (CONT'D)
Now dont forget - HIGG
I won't! Always running my life.
LAVELLA
Alms for the Holy Martyrs!
COUNTESS SERVANT
Back! Let the Countess pass!
Suddenly Higg foams at the mouth, spits, rolls in the
dirt.
COUNTESS
Oh Lord! The poor man's
possessed!
Higg howls like a wolf, brays like a donkey.
LAVELLA
My husband! Demon's got his
soul!
Higg barks at the Countess Servant, snaps at his ankles.
LAVELLA (CONT'D)
Jesus blesses the merciful,
Lady!
Higg ruts like a pig. The Countess gasps in horror, snaps
her fingers. Five gold coins clink into LaVella's bowl.
126
EXT. THE CLEARING - THE SAME MOMENT

Squirrely, Squeak, Squawk & Squint play golf.
SQUINT
We sell her at the bazaar. That
red hair's for a Lord's bed. Or
a public house. But for silver,
there must be no doubt on her
virtue.
SQUAWK
Virtue? How would they know?
SQUINT
They take the Good Book and the.
Squint takes Squawk's hand, mimes placing it on a Bible.
SQUINT (CONT'D)
Auctioneer says, "Now on pain of
your soul, do ye swear shes
pure?"
Squawk jerks his hand away, looks at it as if it has a
blot. Squint nods authoritatively, turns, walks away.
SQUAWK
How'd he get so smart?
SQUIRRELY
He used to be a priest.
EXT.
THE CLEARING LATER THAT MORNING
Sound of a large man coming. The Woodsmen grab hatchets

and get to chopping and bundling wood as BIG JEM, three
hundred pounds of solid muscle, bursts into the open.
BIG JEM
I expected it to be cut an
ready.
SQUINT
Sorry, Big Jem. Speed up, Lads!
BIG JEM
That a girl over there?
SQUINT
Set a trap for wild pigs. She
rode right in. Shankallahs
after her.
127
Big Jem walks to where the Young Woman hangs, scrunches

down. They stare at each other.
BIG JEM
You look like a border girl.
YOUNG WOMAN
I'm from Dekia Rasho.
BIG JEM
Lots of redheads in Dekia Rasho.
YOUNG WOMAN
One less now.
BIG JEM
I was there in the last
Shankallah war. They wanted a
few good men. Still remember the
chief who signed me up. Name was
Dekiarasha Mamo.
YOUNG WOMAN
He was my uncle.
BIG JEM
Was?
YOUNG WOMAN
Killed.
BIG JEM
Sorry. He saved my life once.
YOUNG WOMAN
You thinking to buy me?
BIG JEM
No. Wifed blow her top.
YOUNG WOMAN
So youll let them drag me off?
BIG JEM
Dont mix me in on this.
YOUNG WOMAN
You know what they do at
auctions. But I s'pose thats
okay with - BIG JEM
Its not that its okay or - -
128
YOUNG WOMAN
Please buy me. I'm asking,
please.
Big Jem stands, starts to walk away. She calls after
him.
YOUNG WOMAN (CONT'D)
You said my uncle saved your
life. You could repay by giving
his niece a second chance. You
owe him that!
Big Jem stops, turns, a why me? look on his face.
EXT. A SIDE ALLEY - DAY
LaVella counting coins, Higg puffing on a cigar.
HIGG
Good day. Five golds, Two
coppers.
They round a bend and BUMP into the belly of SHERIFF
WILLIS.
SHERIFF WILLIS
Well, Master Marcus Higgins.
Well well. A long time it's
been, Higg.
He stubs the cigar out on Higgs hat, squeezes LaVella's
wrist. Coins drop into his palm. He walks off, humming.
LaVella picks up a rock, sails it past his ear. Willis
stops, turns. LaVella glares back, a second rock poised
in her hand. Tense moment. Then Willis blows a kiss,
walks off, clinking the coins and disappears around a
corner.
HIGG
Did you have to insult him, pet?
LAVELLA
Oh, shut up!
HIGG
How we gonna eat? He took our
gold.
LAVELLA
Not all.
She opens her palm, displaying a single gold coin.
129
EXT. THE CLEARING - DAY

Big Jem walks the Young Woman to her horse.
BIG JEM
Told 'em if they didnt free
you, your uncled come with a
thousand of his friends.
YOUNG WOMAN
Thank you.
BIG JEM
You didnt say how your uncle
died.
YOUNG WOMAN
It was your precious princess.
BIG JEM
She aint my princess.
YOUNG WOMAN
Her troops were marking the
border. Dragooned our men for
work gangs. Uncle said pay us
first. They cut his throat.
They arrive at the horse. She unties and mounts it.
BIG JEM
Sorry. So what's next for you?
YOUNG WOMAN
I'll get work, send money home
to Mum. Theres an Inn a few
miles up. They hire Dekia Rasho
girls.
BIG JEM
Rough place. Id advise you
dont.
YOUNG WOMAN
I know what I'm doing.
She waves as she rides off.
BIG JEM
Forgot to ask! Whats your name?
YOUNG WOMAN
Saba!
130
EXT. A SPACESHIP IN EARTH ORBIT - NIGHT

A LANDER separates from the Spaceship and blasts off.
INT. LANDER CARGO BAY - THE SAME MOMENT
A young man, AMLAK, 24, holds on as the ship shudders and
shakes. TIN MAN, a human-like robot, swings from a hook.
TIN MAN
AHHHHHHHHHHHHHHHH!!!!!!!!!!!!!!!
EXT. ENTERING THE STRATOSPHERE - A MOMENT LATER
The Lander powers downwards. The heat shield covering the
hull bursts into flames as if it were a giant FIERY BALL.
EXT. THE DIRT PATH TO THE INN - THE SAME MOMENT
LaVella & Higg trudge toward the lights and laughter
ahead.
LAVELLA
Five golds and the Sheriff takes
four. One second, we're on top
of the mountain, the next, we're
in a pit. More proof of God's
wrath!
She looks up at the starry Heavens, shakes her fist.
LAVELLA (CONT'D)
God, if this be good as itll
ever be, let fire the Earth
confound!
The FIERY BALL crosses the sky followed by a SONIC BOOM.
HIGG
Oh, you've done it now, Pet.
EXT. THE HORSEPATH TO THE INN - THE SAME MOMENT
Sound of laughter from the Inn. PRINCE ANDREAS, 28, his
bodyguards, LANK & BRICK, on horseback, pass a bottle.
LANK
Maids therein be prime cuts, Sir
Prince. Not a pork chop in the
lot.
131
The Fiery Ball crosses the sky followed by the Sonic

Boom.
BRICK
The rapture! The Apocalypse!
PRINCE ANDREAS
Do you think it was?
LANK
No. The sky's up there, we're
still here. It's a glad omen,
Sir Prince.
Prince Andreas dismounts, walks toward the door. Lank
points to three female faces, one of them Saba, at the
window.
LANK (CONT'D)
I see ripe fruit ready to be
plucked, My Prince.
The INNKEEPER and three ne'er-do-wells, SNORT, BELCH &
TUBBS, rush out. Tubbs, 25, is fat and hideously ugly.
INNKEEPER
The thunder! And the flash!
SNORT
Was a demon, was it not?
BELCH
Or the Devil himself!
The Innkeeper sees Prince Andreas. He whips his hat off.
INNKEEPER
Apologies, My Lord! In the
chaos, I failed to note your
noble presence.
The Innkeeper bows, rushes to hold open the door. Prince
Andreas turns to Brick & Lank.
PRINCE ANDREAS
If my Mum passes by, don't tell
her I'm within. Say I'm
incommunicado,
(Points to Saba's face)
in prayer at the altar of an
angel.
It will sooth her saintly bias.
He takes his crucifix, kisses it, tosses it to Brick. He
steps inside. The Innkeeper closes the door.
132
EXT. A CLEARING IN THE WOODS - NIGHT

SUPER: MILES AND MILES AWAY ON A WOODED RIVERBANK
The Lander hovers off the ground. Floodlights illuminate
the area. Two CREWMEN, human-like robots, stand in the
open cargo bay. Amlak stands on the ground outside.
CREWMAN 1
A message from your mother, Sir.
Crewman 2 reads from a sheet of paper.
CREWMAN 2
Son. Your stepfather and I are
saddened by your refusal to
support family interests. After
much soul-searching, we
determined the best course is to
send you far from the
distractions of the Palace to
let you reflect. Use this time
wisely.
They disappear inside. Sound of heavy things being
shifted. A wood crate is tossed out. WHUMPPP! Then the
Tin Man, his leg hitting a rock KRRANGG! - and he rolls
into a puddle. Cargo door slides shut, floodlights switch
off. The Lander rumbles to life and rockets up and away.
Amlak looks up.
AMLAK
Okay, Mama. What else you got?
Plop! A metallic snake-like thing, two feet long, lands
at his feet. It stretches itself out, slithers toward Tin
Man.
INT. THE INN - NIGHT
A PUB inside. Snort, Belch & Tubbs drink. A WENCH serves
and dodges pinchers. An ARTIST, 65, sits apart doing
sketches. The Innkeeper watches the cashbox. Three
LADIES-OF-THE-NIGHT, the same ones seen in the window,
sit by the door. Prince Andreas raises a bottle in toast.
The Ladies smile.
LADY-OF-THE-NIGHT 1
Such rich clothing. Who is he?
LADY-OF-THE-NIGHT 2
A knight? A merchant's son?
SABA
I hope he likes redheads.
133
The Artist hands Saba a sketch.

INSERT - The Sketch
A drawing of Saba in a provocatively erotic, nude pose.
BACK TO SCENE
She blushes in shame, shoves the sketch back at the
Artist, just as Prince Andreas slaps a silver coin on the
counter.
PRINCE ANDREAS
Let the nectar flow for the
lads!
(Under his breath)
Yon redhead does intrigue me.
The Wench pours a round. Snort and Belch sing "He's A
Jolly Good Fellow." Tubbs does not join in. A strangelyserious look has crossed his face. The Innkeeper proffers
a key.
INNKEEPER
Room 2, Sir. In back, on the
right.
EXT. AT THE BACK OF THE INN AT A WINDOW - NIGHT
LAVELLA
I don't like sneaking in
windows.
HIGG
Better than sleeping in a ditch.
LAVELLA
The fire in the sky. Was it - HIGG
Nothing, pet. Just an odd light.
She takes one last look up, shivers.
EXT. BACK AT THE WOODED RIVERBANK - NIGHT
Amlak tries putting the snake in a slot in Tin Man's
back.
TIN MAN
You're pushing too far in.
134
AMLAK
I'm doing my best.
TIN MAN
Push in and hook it left. That
so hard? There! You screwed up
again.
AMLAK
You keep flinching.
TIN MAN
Oh no way. You're the flincher.
INT. APPROACHING A DOOR IN THE DOWNSTAIRS HALLWAY - NIGHT
SABA
This way, My Lord.
PRINCE ANDREAS
Don't say Lord. I'm not a Lord.
Tell me of your. Ah. Business.
SABA
Not a sure business yet, Sir, as
today's my first day.
PRINCE ANDREAS
First day? I must be your first
client. Hope I prove a good one.
He takes the lighted candle from the sconce, holds it up
to the shiny metal "3."
PRINCE ANDREAS
What's our room? Two? Is this
two?
SABA
No, Sir. It's three.
PRINCE ANDREAS
Then its one to the left or
right?
He sets bottle down, takes a gold coin, prepares to flip.
PRINCE ANDREAS (CONT'D)
Heads, left, tails, right. Call
it.
SABA
Tails, Sir.
He flips, catches the coin.
135
PRINCE ANDREAS
Tails it is. Youre my lucky
charm.
He points right. Taking a swig, he gestures Saba to go
ahead. He follows, for the first time eyeing her with
lust.
INT. BACK IN THE PUB
Tubbs stands, wipes his mouth, gestures toward the back.
TUBBS
I'm off to see Noble Lord.
BELCH
Leavin' your cup, Tubbs?
TUBBS
It can wait. When you see me
next, I'll be a man of enhanced
fortune.
BELCH
Enhanced from one copper to two?
TUBBS
Laugh if you will. I'm set to
ingratiate myself with His
Nobleness, amaze him with my
talents, skills and abilities.
SNORT
Layabout boozer like you, Tubbs?
The Artist holds up a sketch.
INSERT - The Sketch
A cartoon of a hideously fat, naked Tubbs with a pig
face.
BACK TO SCENE
Everyone but Tubbs laughs.
EXT. A CAMPSITE ON A HILLTOP - NIGHT
Campfire blazes. The crate lay open, with tools and parts
of a COMMUNICATIONS DISH scattered about. Tin Man has
detached his lower right leg at the knee. He shakes the
water out.
136
AMLAK
I know the drill. Youre not
here as my pal. Youre Mamas
eyes and ears, spying on me.
TIN MAN
So you got it all scoped out,
eh?
Tin Man starts to reattach his leg. ZAP! Electricity
crackles, lighting him up. The leg part bounces off a
tree. The snake shoots out his back. Amlak rushes to
help.
TIN MAN (CONT'D)
Dont touch me! Dont! Touch!
Me!
Tin Man drags himself to his leg part and reattaches it,
this time no zap. Tin Man points to the metallic snake,
slithering in a circle, and to the slot in his back.
AMLAK
What exactly does that thing do?
TIN MAN
That "thing" has service packs,
upgrades and releases to make me
the best robot I can be. Okay?
Tin Man gives him a "well, get on with it" look.
INT. IN ANOTHER PART OF THE DOWNSTAIRS HALLWAY - NIGHT
Tubbs rounds a corner, nearly trips over a CLEANING LADY.
TUBBS
Where's Noble Sir and the tart?
She looks up, shrugs. Tubbs sees a stairway, goes
upstairs.
INT. A DOWNSTAIRS ROOM
Higg & LaVella sit at a table. A candle burns. Higg
reaches for the one gold coin. LaVella slaps the hand
away.
HIGG
Pet, we're a team. Trust me.
LAVELLA
I trust you to go to the pub!
137
Sounds outside the door. Higg puts a finger to his lips.

INT. AGAINST THE DOOR OUTSIDE HIGG & LAVELLA'S ROOM
Prince Andreas presses against Saba, hand up her skirt.
SABA
This isn't decent, Sir.
He paws her, presses her tighter against the door.
INT. THE UPSTAIRS HALLWAY
Tubbs runs down the hall, stopping to bang on a door.
Noble Sir!
TUBBS
Noble Sir!
MALE VOICE FROM INSIDE (O.S.)
Go away!
He runs to another door, bangs on it.
FEMALE VOICE FROM INSIDE (O.S.)
Harold, a thiefs at the door!
MALE VOICE FROM INSIDE (O.S.)
Be off or I'll throttle ye!
He bangs on another door. Silence. He tries it. It's
open.
Noble Sir?
TUBBS
Noble Sir?
He peers into the darkness as the contents of a

chamberpot are emptied over him and the door slams. He
stands dripping.
INT. THE DOWNSTAIRS HALL
SABA
No, Sir! No! Not out here!
She pushes hard. She's strong. He staggers back. She
gives him an And I mean it! glare. He hangs his head.
PRINCE ANDREAS
You're right.
He throws the bottle against the wall. It smashes.
138

Its the drink. I embarrass
myself and the ones I'm with. I
apologize.
He draws a jewelled blade.
I pledge henceforth to be your
true gentleman. And you'll be my
lady.
He bows, then drunkenly readies himself to kick in the
door.
Gentleman must ensure his lady's
room is clear of any foul
entities.
She gasps as he kicks hard at the door. It splinters.
INT. HIGG & LAVELLA'S ROOM
LaVella & Higg, holding a club, are at the wall by the
door as it is kicked in. A hand with a jeweled blade
appears.
PRINCE ANDREAS (O.S.)
Come out, all you scurvy dogs!
Higg swings and misses. The club flies from his hand.
Prince Andreas bursts in, sees Higg, goes into a fighting
crouch.
Aha! Caught a foul entity, I
did!
Higg grabs Prince Andreas' wrist. LaVella picks up the
club, smacks him on the nose as Higg twists his wrist,
turning the blade back, driving it into his chest. Blood
sprays. Prince Andreas falls, the knife deep in his
chest. Saba screams.
HIGG
Oh Mother of God, I didn't mean
it! It slipped! You saw it,
didn't you?
LaVella grabs Saba, tries to cover her mouth. Saba bites
her. LaVella rips her skirt for a gag.
LAVELLA
Higg! Help me shut her up!
139
Saba kicks Higg just before he corrals her ankles. They

all fall with Higg & LaVella on top of the kicking,
spitting, biting Saba. LaVella stuffs a rag in Sabas
mouth.
INT. THE PUB
A ten-year-old LAD sweeps the floor.
SNORT
Dija hear it? Woman's cry, I
allow.
INNKEEPER
It was the wind! Lad, tell the
two men outside to see about
Noble Sir!
The Lad drops his broom, dashes out.
INT. THE OPEN DOORWAY OF HIGG & LAVELLA'S ROOM
Saba lies, tied and gagged. LaVella & Higg kneel by
Prince Andreas. LaVella pulls a thick gold coin from his
pocket.
LAVELLA
Fine work that. Holy Virgin on
one side. St Joseph on the
other.
Prince Andreas' eyes flicker open, his lips move.
PRINCE ANDREAS
Mother, I'm sorry. Forgive me.
He grabs LaVella by her blouse, pulls her to him.
I beg you, Mother, forgive me!
HIGG
For God's love, forgive him!
LAVELLA
I. I forgive you, Son.
Prince Andreas sighs, smiles, releases her, sinks back
down.
INT. THE PUB
BANG! The Front Door opens. Lank & Brick enter, swords
140
out.
LANK
What's happened to the Prince?
INNKEEPER
Who? Did you say the? The
Prince?
BRICK
Prince Andreas, heir to the
Crown Royal. Lad said you heard
a scream.
INNKEEPER
T'was the wind, far as I know.
LANK
Where is he, you sack of pig
guts?
The Innkeeper points to the back. Lank & Brick dash off.
INT. THE OPEN DOORWAY OF HIGG & LAVELLA'S ROOM
Moonlight on the corpse of Prince Andreas, a smile on his
face. Outside, the sound of hoofbeats. Then the sound of
running down a staircase and suddenly, Tubbs stands
there.
TUBBS
Noble Sir! Oh no. Oh no.
He goes down on one knee, pulls the knife from his chest.
TUBBS (CONT'D)
Where's the tart? Where's the
redheaded girl? Did she do this?
He wipes the blade on his tunic. He holds it up.
TUBBS (CONT'D)
If I had been here, Noble Sir, I
would have protected you like
so!
He thrusts and parries, as Lank & Brick round the corner.
LANK
The Princes blade! Blood on his
coat! What'd you do, you fat
scum?
EXT. THE CAMPSITE - DAY
141
Tools lay by a partially-assembled Dish. A pig carcass

hangs by a hook. Amlak starts a campfire. Tin Man takes a
cutting tool, snaps it to his wrist, begins skinning the
pig.
TIN MAN
Given any thought to Tre'Dean?
AMLAK
You asking for Mama or yourself?
TIN MAN
Forget your Mama. Were just
conversing. TreDeans a fine
girl.
AMLAK
She may be that, but I dont
have feelings for her. Not sure
why, but the girl I seek must be
one I can't get out of my mind,
someone whos a constant source
of wonder and awe.
TIN MAN
Wonder. Awe. Sure don't ask
much.
AMLAK
If she feels something, I should
feel it, too. Instantaneously.
TIN MAN
Now he wants telepathy. Youre a
constant source of wonder
yourself.
INT. A BARN DAY
TUBBS (O.S.)
I swear it! I didn't kill him!
Naked, Tubbs hangs from a beam, whip and cut marks on
him. Brick takes a red hot iron and presses it to Tubbs'
skin.
TUBBS (CONT'D)
It was Satan!
LANK
Nice try. You're scum. When the
Prince came down the hall, you
saw a man brimming with all that
you lacked. And you hated him!
142
TUBBS
No! No! I loved him. I - LANK
And you snuffed his life out,
didn't you? Didn't you? Didn't
you?
Brick drapes a white-hot chain on Tubbs. Sizzle of
burning flesh. Tubbs screams as Innkeeper enters with
Belch & Snort.
INNKEEPER
His drinking chums. Fine lads
all.
LANK
Well, what did he tell you?
BELCH
Said, 'I'm off to ingratiate
himself with Noble Sir,' Sir.
SNORT
To demonstrate his skills.
LANK
He had one special skill for
sure. Skill for ambush. Prince
died with a smile. Never knew
what hit him.
Tubbs' head slumps forward. Brick jerks his head up.
BRICK
He's dead.
LANK
Too bad! I wanted to question
him about the redheaded tart.
EXT. A FORK IN THE ROAD - DAY
One SIGN reads: "CHRYSALOPOLIS ROYAL CITY." The other:
"SHANKALLAH BORDER!" Higg & LaVella have Saba tied on a
horse like a bag of wheat. Higg gets off, cuts the rope.
Saba tumbles off. Higg lights a cigar, takes a puff.
HIGG
Leave or stay. Your choice. If
you leave, be forewarned you'll
be dodging the dead man's
friends, your likeness no doubt
tattooed on their brain. If you
stay, first time you whine,
we'll dump you.
143
Saba stands, dusts herself off. Higg puffs away.

HIGG (CONT'D)
Man was high born. Clothes.
Speech. Manners. Marks of
distinction, potentate, Lord - SABA
He said not to call him that.
HIGG
Not call him what?
SABA
Lord. Not a Lord, he said.
HIGG
Not a Lord then, but a man of
power and wealth. Reward'll be
posted in the Royal City.
Troops'll be everywhere. We must
go elsewhere.
LAVELLA
Were not going to the
Shankallahs. Im not painting my
things blue or sticking a wood
plug in my nose.
Saba clears her throat. Higg and LaVella turn.
SABA
We could go to Dekia Rasho.
HIGG
Where?!
SABA
Dekia Rasho.
LAVELLA
Is that an actual place?
SABA
Border town. Far from the royal
sheriffs and courts and the
like.
A look passes between LaVella and Higg. Higg nods.
EXT. BEHIND THE ROADHOUSE - DAY
Vultures pick at Tubbs' corpse. In a nearby meadow, Lank,
Brick & The Innkeeper stand, hats off, before a fresh
grave.
144
BRICK
We should be taking him back.
LANK
Aye, he should be in a royal
tomb.
INNKEEPER
That's where I'd disagree, Sir.
A quick burial is right. And
let's recall why the Prince came
here.
Brick & Lanks hands go to their sword hilts.
INNKEEPER (CONT'D)
Hear me out! If hes moved,
thered be gossip. Especially
from women. Leave him here and
put up a grand marker. Thousands
will come to pay homage and
spend money and it would be to
everyone's interest to recall
(Takes out a coin, winks)
his nobility with no loose talk
of murder or red-headed tarts.
BRICK
He's right.
LANK
But we're making you
responsible!
The Innkeeper bows and walks away.
thought.
Lank is deep in
LANK
Somehow the tart played a role.
EXT. THE HIGH DESERT ROAD TO DEKIA RASHO - DAY
Higg, LaVella, Saba on horseback. Higg rides alongside
Saba, chatting her up. They laugh. LaVella smolders.
EXT. IN FRONT OF THE ROADHOUSE - DAY
Belch & Snort approach Brick & Lank, with a brace of
horses.
BELCH
Convey to the Queen that we, her
loyal subjects, grieve her loss.
145
BRICK
Queen, you say? Did you neglect
to mention the King?
Lank studies their faces intently.
LANK
You're aware His Majesty and the
Queen are living apart?
BELCH
Aye and we pray daily for a
speedy and joyous reconcilement,
Sir.
Lank & Brick take the reins of the Horses.
LANK
Tell us of the red-headed tart.
BELCH
She was new. But the Innkeeper
let her sit with the regular
girls.
LANK
Might we get a description?
BELCH
There's an old sod who does
sketches. Keen eye. Might have a
pictorial representation.
LANK
Where might this graphic wizard
be?
Snort points to the Inn and mimes drinking from a bottle.
EXT. THE CAMPSITE - NIGHT
The pig roasts on a spit. Amlak gnaws on a joint of meat.
Tin Man works on the Dish, rotating it. The monitor
displays snow. Only static comes from the audio.
EXT. APPROACHING THE FORK IN THE ROAD - DAY
Lank & Brick round a curve and pass a field where BOYS
practice putting balls into rabbit holes. The Boys wave.
They ride on and halt at the two Signs and dismount.
LANK
When they hear of the Prince,
our lives'll be worthless.
146
BRICK
So where do we go? And don't say
to King Garamanjo's Shankallahs.
A long silence while Lank thinks. Then he snaps his
fingers.
LANK
There is one royal lady - INT. THE GREAT HALL OF THE ABBEY - NIGHT
SUPER: The Abbey of Mary Queen of Heaven
Torches burn high on the walls. Armed MONKS stand guard.
Sound of a lady's heels clicking on tile. ABBOT RODOLFO,
70, and BROTHER YAKOB, 40, await as PRINCESS ANDRESSA,
28, beautiful in a dark dangerous way, bursts from the
shadows.
PRINCESS ANDRESSA
My mother, the Queen! Where is
she?
EXT. THE HIGH DESERT ROAD - NIGHT
LaVella leads. Higg and Saba, side-by-side, ride behind.
HIGG
Ah, pet? Saba and I have
concocted a tip-top business
plan.
LAVELLA
Have you.
HIGG
A strip tease. In Dekia Rasho,
it'd be talk-of-the-town, a
sure-fire money-maker. Men'd go
wild.
LAVELLA
Would they.
HIGG
Just imagine a soft, creamy - LaVella slides a short club from under her saddle.
INT. THE GREAT HALL IN THE ABBEY - NIGHT
147
PRINCESS ANDRESSA
The King asks why his wife, my
mother, is not in her palace.
ABBOT RODOLFO
Her prison, you mean.
PRINCESS ANDRESSA
Shes free to come and go.
ABBOT RODOLFO
A hundred dragoons watching her?
No, Lady Andressa. I'll not play
in your mud puddle. Queen is not
queen, having renounced her
title.
PRINCESS ANDRESSA
She hasn't the authority!
ABBOT RODOLFO
She disagrees! She wishes to be
known simply as Sister Christa.
A MONK in a chef's apron enters, bows.
ABBOT RODOLFO (CONT'D)
Ah! Dinner. Join us, Lady?
Princess Andressa fixes him with a murderous glare, turns
and exits in a fury. He signals Brother Yakob to follow
her.
EXT. THE HIGH DESERT ROAD - NIGHT
Higg lies crumpled in the dirt. Saba kneels at his side.
SABA
You killed him!
LAVELLA
One can only wish!
LaVella dismounts, moves menacingly toward Saba.
LAVELLA (CONT'D)
Get up!
SABA
Stay away!
LAVELLA
Get up! No first-day-on-the-job
whore is going to - -
148
Saba launches herself at LaVella. They grapple, roll in

the dirt. In the distance, a point of light flares up.
HIGG (O.S.)
Oh My God! Stop! Look! Stop!
LaVella has Saba pinned. She raises the club.
HIGG (O.S. CONT'D)
LaVella pet! No! Stop!
Higg grabs LaVella's arm.
Pet!
HIGG
Stop! Look!
LaVella looks, drops the club. Saba exhales.

LAVELLA
Oh my God! What is it?
Saba looks.
SABA
It's Dekia Rasho! It's on fire!
EXT. THE ABBEY - NIGHT
Princess Andressa approaches her Carriage. Her COACHMEN
await, among them EMAMU, a nine foot tall Shankallah. She
senses she's being followed. She turns to see Brother
Yakob.
PRINCESS ANDRESSA
The Abbot blames me for my
parents. Long have I striven for
his trust.
BROTHER YAKOB
Abbot Rodolfo trusts only in
God. I'm a simple monk. If I can
help.
PRINCESS ANDRESSA
I knew you were a man of
compassion. Tell the Abbot you
(Slides her ring off)
Must go to the desert to pray.
Come to the palace. Show this.
She runs to the Carriage, stops, looks back.
PRINCESS ANDRESSA (CONT'D)
You're my only hope, Brother
Yakob.
149
She climbs in, the door closes. Her face appears in the
rear window as the Carriage crosses the moat. Emamu
flashes a menacing grin. Brother Yakob looks at the ring
and shivers.
EXT. THE CAMPSITE - NIGHT
Amlak stares into the coals. Tin Man tests the assembled
Dish. He gets bursts of what sounds like speech, but
mostly he gets snow and static. He curses under his
breath.
EXT. DEKIA RASHO - NIGHT
A moonscape of ashes. Scores of corpses lay scattered.
SABA (O.S.)
Oh God! No! No! Mama! Oh God,
Sis!
Saba gallops off. Higg starts after her. LaVella stops
him. He dismounts, goes through the pockets of a corpse,
finds a silver coin. LaVella gives him a look. He puts it
back. Sound of a door being kicked in. Higg points to a
BUILDING. They go down an alley. Two Men in army garb
confront them. These are PLUG and STORK. Plug draws a big
kitchen knife.
INT. THE PRINCESS' CHAMBERS AT THE PALACE - NIGHT
Two Shankallah WARRIORS guard the door. LORD BRANDON, 40,
at a mirror, applies mascara and eye shadow. The MAID
enters.
MAID
She's coming!
Lord Brandon curses, exits out back as Princess Andressa,
with Emamu, enters. A pile of what appears to be laundry
stirs and morphs by degrees into a fat Monk, BROTHER
TWITCH.
BROTHER TWITCH
Your Highness.
PRINCESS ANDRESSA
Where is my husband?
Brother Twitch points to the back door. A BIRD flies
through the window and lights on his finger. It peeps.
BROTHER TWITCH
Thank you, little brother.
150
The Bird peeps a "you're welcome" and flies back out.

BROTHER TWITCH (CONT'D)
Princess, I have momentous news.
PRINCESS ANDRESSA
I could use some.
BROTHER TWITCH
Your twin brother - PRINCESS ANDRESSA
Andreas? What about him?
BROTHER TWITCH
It seems he's. Ah. Dead.
The Maid gasps. She drops a cup. It smashes.
EXT. DEKIA RASHO - NIGHT
STORK (O.S.)
Put it away, Plug!
Stork takes the knife away from Plug.
STORK (CONT'D)
We're on edge. Are you refugees?
SABA
Uh no. We're from - Higg steps in front of her, signaling her to shut up.
HIGG
From Chrysalopolis! Royal city.
Friends of the Queen, we are.
On the word "Queen," Stork & Plug remove their caps.
STORK
The Queen! Bless her!
PLUG
It was King Garamanjo did this!
STORK
Him an' ten thousand
Shankallahs. Came in the middle
of the night, they did. Liquored
an' crazy-eyed.
151
PLUG
We're what's left, Stork and me.
Bakers, we are. Had the
midwatch, baking for morning
chow. All heck broke loose. We
hid in the oven.
STORK
It's a big oven, thank the
Virgin.
INT. THE PRINCESS' CHAMBERS - NIGHT
PRINCESS ANDRESSA (O.S.)
To death!
Princess Andressa & Brother Twitch clink champagne
flutes, as Lord Brandon glides in wearing a flowing,
flowery gown.
LORD BRANDON
Did I hear the d-word?
The Maid pours champagne for Lord Brandon.
LORD BRANDON (CONT'D)
My Sweet, who has shuffled off
this mortal coil? Your mater,
mayhap?
BROTHER TWITCH
In Paradisum deducant te angeli.
PRINCESS ANDRESSA
Unhappily, Mum's fit as a
fiddle.
BROTHER TWITCH
Tuo adventu suscipiant te
martyres.
PRINCESS ANDRESSA
But my footloose frater is not.
BROTHER TWITCH
Aeternam habeas requiem. O Lord
Jesus, King of glory, deliver
the soul of your servant,
Andreas, from the pains of hell
lest he fall into everlasting
darkness. Amen et amen.
This hits Lord Brandon like a hard slap. He faints, his
flute smashes on the tile.
152
EXT. THE ABBEY - NIGHT

Across the moat at the forest's edge, ROYAL SOLDIERS keep
watch. At the Abbey walls, armed MONKS patrol as hundreds
of lame, crippled PILGRIMS in rude tents wait
expectantly. The DUKE OF RAMAPO, 60, on horseback, waits
at a side gate. It opens. The QUEEN, 50, thin from
fasting, rides out to him.
EXT. THE CEMETERY AT DEKIA RASHO - NIGHT
Higg, LaVella, Stork & Plug stand before two fresh graves
marked by crosses. Saba kneels in prayer, crosses
herself, stands. Higg lights a cigar, turns to Stork with
a nudge.
HIGG
How about a walk, you and me?
They walk past scenes of desolation. Higg hands Stork a
cigar. Higg smiles a salesmans smile.
HIGG (CONT'D)
Not much left but I figure if
there's anything of value layin'
about, you'd know where.
STORK
No, I wouldn't, Sir. An' for
your information, Garamanjo's
comin' back. Shankallah way is
to.
Stork leans in for the light.
STORK (CONT'D)
Let others do the looting, then
kill the looters an' grab the
loot.
Higg snuffs out the light and takes back the cigar.
EXT. THE WALLED ABBEY GARDEN - NIGHT
The Duke & the Queen ride side by side. A Monk follows.
Out of nowhere, a POOR WOMAN limps up.
POOR WOMAN
You do more good than you know.
The Poor Woman bows and limps off into the dark.
153
THE DUKE
You have uncounted friends who
keep at bay those who fear you
more as nun than as queen.
THE QUEEN
No one fears me.
THE DUKE
They fear you will say the word
and the simple folk will tear
them to bits. They fear you have
ambition.
THE QUEEN
My ambition is to pray and fast.
From out of nowhere, an OLD WOMAN in tatters and her SON,
suffering from elephantiasis, hobble up.
OLD WOMAN
Pray for us, Lady.
She makes the sign of the cross. They hobble off.
THE DUKE
And spare a prayer for your
brother to safeguard him from
your daughter. She spits in my
face. I've no faction, no menat-arms. I'm not safe. I've
nowhere to run.
THE QUEEN
Run here. You're safe here.
THE DUKE
Monkery suits me not, Little
Sis.
THE QUEEN
Then take care and when you see
Andreas, say I await his visit.
THE DUKE
I expect him soon. He's my one
friend, the last unblemished
jewel in the crown of this
cursd realm.
He gallops off. She watches him, a tear runs down her
cheek.
EXT. THE CAMPSITE - DAY
154
Tin Man tests the Dish as it rotates. It emits a ping.

The snow is now replaced by solid horizontal bars. Down
the hill in the grass, Amlak scans the horizon with
binoculars.
EXT. A ROAD HEADING OUT OF DEKIA RASHO - DAY
A WOMAN wails over a small boys corpse. Nearby, a MAN
digs a grave. Higg, LaVella, Saba, Plug & Stork ride
past.
STORK
Run, Brother. Garamanjo's comin'
MAN
Got to bury me son first.
They pass gutted, burnt-out buildings. They see LOOTERS.
STORK
Run, Brothers. Garamanjo's
comin'
LOOTER
Mind your own business!
Ahead, the high desert looms.
EXT. APPROACHING CHRYSALOPOLIS - DAY
Golden domes and silver spires shimmer. A drawbridge
GUARD awaits. Lank takes out a massive silver ring.
LANK
We say we've urgent business
with the Princess. If the guard
makes difficulties, we show him
this.
BRICK
Ye Gods, where'd you get that?
LANK
Off the Prince's big toe.
The Guard motions them to dismount.
INT. KING'S COUNCIL CHAMBER - DAY
Portraits of long-dead royalty on the walls. The
ARCHBISHOP, the Duke, SIR GULF and MASTER STEVEN, in
robes, enter & sit.
155
ARCHBISHOP
We are met for the King's
business.
MASTER STEVEN
The Queen's business.
THE DUKE
Princess Andressa's business.
ARCHBISHOP
Sir Gulf, is all in order?
SIR GULF
Yes, Your Holy Worship.
The door opens. Emamu enters and posts up at the door.
The KING, 60 and frail, and Princess Andressa enter. They
sit.
PRINCESS ANDRESSA
Papa is not well. Yet he wishes
to see this matter concluded.
Are the warrants and charters in
order?
SIR GULF
They are, Lady.
THE DUKE
Should not Her Majesty be here?
PRINCESS ANDRESSA
Whatever for, Sir Duke?
THE DUKE
To refute the calumnies heaped
upon her by her accusers, to - PRINCESS ANDRESSA
I am her chief accuser! She is
my mother, yet my duty is to my
King.
The King gestures. He whispers. All strain to hear.
Then...
Papa says all know the Queen
heaped undeserved honors on her
brother which the Duke fears he
may - THE DUKE
I have long borne your bitter
scorns! By God, were the Prince
here, he'd tell a different - -
156
PRINCESS ANDRESSA
What? See how he pretends not to
know the Prince my brother is
dead?
The Duke's face is ashen. His lips move but emit no
sound.
Who gains from my brother's
demise? Who is now closer to the
crown? You've much to answer
for, Uncle.
Emamu seizes the Duke, drags him out. The Others regard
her with open fear. A smile of approval crosses the
King's lips.
EXT. THE HIGH DESERT ROAD - DAY
Higg, LaVella, Saba, Plug & Stork ride in a weary line.
Stork rises up in his saddle, points to a distant speck.
SABA
What is it?
STORK
We'll soon know.
It slowly becomes visible as a faraway grove of trees.
EXT. THE PILGRIM TENTS OUTSIDE THE ABBEY WALL - DAY
A Monk comes outside. An excited buzz among the Pilgrims.
MONK
Sister will soon be amongst you
to lay healing hands on one and
all. She asks that you open your
hearts, love one another as He
loved you.
INT. THE PRINCESS' CHAMBER - DAY
Out the window, the Duke's body hangs from a tree. Lord
Brandon & Brother Twitch play chess. Lank and Brick
cringe as Princess Andressa turns the toe ring over in
her hand.
PRINCESS ANDRESSA
I was thinking of hanging you
both.
157
BRICK
Oh spare us, Highness!
PRINCESS ANDRESSA
But you were his bodyguards and
you failed to guard his body.
BRICK
We have a pictorial
representation of the killer!
LANK
Yes, Lady, graphical evidence!
Shaking, Brick takes a paper from inside his coat. Emamu
appears from out of nowhere, snatches it, hands it to
her.
INSERT: the sheet of paper
The nude sketch of Saba from the Inn.
BACK TO SCENE
Princess Andressa looks at the picture, licks her lips.
PRINCESS ANDRESSA
So this is the red-headed tart.
LANK & BRICK
She and two ne'er-do-wells did
the black deed, Highness.
A long moment.
PRINCESS ANDRESSA
I will spare you. For now. But
there's a price. Find my
brother's killers. If you fail,
Emamu will turn you into roasts,
filets and sweetbreads. You have
forty days.
She drops the sketch on the floor, glides from the room,
followed by the Emamu. Brother Twitch moves a chess
piece.
BROTHER TWITCH
Check and mate!
EXT. THE OASIS - DAY
LaVella, Higg, Saba, Plug & Stork halt at a STONE WELL
next to three garishly colored and gayly-ornamented
WAGONS.
158
SABA
Gypsy Wagons.
LAVELLA
But where are the Gypsies?
Stork points to a campfire with a pot of stew still
cooking.
LAVELLA
Why dont you two scout around?
STORK
Scout? Us?
LAVELLA
Isnt that what soldiers do?
PLUG
Uh Miss LaVella, its like
we've.
STORK
Never performed as scouts. We
were trained in the culinary
arts.
LaVella rolls her eyes, looks at Higg.
HIGG
Dont look at me, pet.
A long silence.
SABA
I'll do it.
LAVELLA
Sure you know what you're doing?
SABA
Ride around, check things out.
How hard can that be?
Saba rides off. They watch her go.
LAVELLA
Now let's secure the area and
post a guard detail. Dismount!
Form up!
STORK
Who made you commander in chief?
159
LaVella gives Stork a withering glare. He swallows GULP! - and begins to dismount. Higg and Plug follow
suit.
EXT. THE DRAWBRIDGE LEAVING CHRYSALOPOLIS - DAY
A cold wind. Black clouds pass in front of the sun. Lank
& Brick, cloaks wrapped tight, ride across the
drawbridge.
EXT. THE OASIS - NIGHT
Higg, LaVella, Plug, Stork sit at the campfire.
STORK
Probably dead. Gypsies killed
her.
PLUG
Or they're holding her hostage.
HIGG
You shouldn't've let her go,
pet.
LaVella glares at him.
HIGG (CONT'D)
Just expressing an opinion, pet.
From the shadows, Saba and twenty GYPSIES emerge.
PLUG
Miss Saba, are you all right?
SABA
Of course I am.
INT. A ROADSIDE PUB NIGHT
Lank, Brick and four GAMBLERS at a table. Some MEN stand
and watch. The Gamblers lay coins down. Lank deals.
LANK
Eight a'hearts. Four a'clubs.
Deuce a'spades. Eight a'spades.
(To Brick)
Would you pass the pictorial?
Let 'em look while I deal. Save
time.
Brick takes out the sketch. The Men pass it around.
160
LANK (CONT'D)
Woman's a tart, travelling with
two tricksters. Reward payable
in gold.
MAN AT TABLE
What'd she do?
BRICK
You name it! Larceny, conniving
- LANK
Treason and blasphemy!
A Man steps up. It's the Man who was burying his son.
MAN STANDING
Didn't see no blaspheming or
conniving but I seen her in
Dekia Rasho two days back with a
man, a woman and two soldiers.
LANK
Could you say where they're
headed?
MAN STANDING
How 'bout that reward gold?
BRICK
To the point. I like your style.
Brick winks at Lank. Lank plays a card.
EXT. THE OASIS - NIGHT
The GYPSY CHIEF, 90, and a GYPSY MAN sit with Saba, Higg,
LaVella, Plug and Stork. Nearby, GYPSY WOMEN prepare a
meal. Higg and the Gypsy Chief puff on cigars.
GYPSY CHIEF
Saw the fellas in Army shirts
and I thought, "Oh Lord, those
people called out soldiers."
But little lady here said you
meant no harm.
SABA
They were running from a lynch
mob back in the town at the Inn.
GYPSY CHIEF
Knives, ropes, axes. Said to get
out now or else. Ain't it right?
161
GYPSY MAN
It's right. It's how it was.
GYPSY CHIEF
Beggin' us to tell fortunes an
then it's a necktie party.
STORK
Did they say why?
GYPSY CHIEF
Don't need a reason. They blame
us for everything! But since you
asked, they said a young Royal
was knifed at the Inn.
Higg gives LaVella and Saba a nervous look.
A.
HIGG
A knife, you say?
LAVELLA
Did they give the Royal's name?
GYPSY CHIEF
Mob comin' an' you 'spect me to
say, "Pardon, afore you hang me,
could I know the Royal's name?"
HIGG
She means it seems queer for a
high Royal to go to a poor Inn.
GYPSY CHIEF
To my way a thinkin wasn't
queer. Got the Queen, all
virtuous with her rosaries an'
father confessors. How's a young
buck to get a bit a' the wild
side with her shakin' her holy
finger? Ain't it right?
GYPSY MAN
It's right.
He takes a long puff on his cigar.
GYPSY CHIEF
Not easy livin' with a saint.
(To Saba)
Thanks, little lady, for
settin' us at ease. Children
were scared to death and there
you were like an angel, sayin'
not to fear. Let an old Gypsy
give you a blessing.
162
He lays hands on her, whispers. Suddenly he looks tired.

GYPSY CHIEF (CONT'D)
Oh now! That cigar took a lot
out of me! I must go, go an' lie
down.
The Gypsy Man guides the Gypsy Chief away. Higg gestures
LaVella & Saba to move out of Plug & Stork's hearing.
HIGG
It was a royal!
LAVELLA
Higg! Keep your wits!
HIGG
Were going to die! All of us!
LAVELLA
Quick way to lose a life is act
like a chicken without its head!
Stork & Plug yawn and head for bed. They watch them go.
HIGG
Do you know what they do? Strip
you naked and work you with
chisels and gouges. We split up.
Just until - LAVELLA
Oh you'd like it! Be single
again! No! It'd be worse. They'd
get us one by one. If they got
to Miss Redhead first, she'd
sell us to save her creamy
strip-tease skin!
SABA
I would not!
The Gypsy Chief re-emerges from the shadows.
GYPSY CHIEF
One last thing. Forgot to say
it's not just us. Theyre
lookin for three more. If you
know someone, be an act of
selfless charity to give a
timely warning. Farewell!
The Gypsy Chief fades again into the shadows.
HIGG
Three others?
163
LAVELLA
If he knows, who else knows?
(To Saba)
Have you been talking?
SABA
No!
HIGG
What now? Where do we go?
Long silence.
LAVELLA
What were his last words?
SABA
"Forgive me, Mother."
LAVELLA
If he's Royal, who'd be his Mum?
HIGG
Oh no! You're not thinking - LAVELLA
We don't say you killed him. She
needn't know every little
detail.
She unfolds a hanky, revealing the Prince's gold coin.
LAVELLA (CONT'D)
Our passport to Queen Christa.
EXT. THE WINDOW AT THE PRINCESS' CHAMBERS - DAY
Morning. Birds chirp. The Maid's body hangs from the
gibbet.
INT. THE PRINCESS' CHAMBERS - DAY
Sound of drawers opening & closing. Brother Yakob, in bed
with the snoring Princess Andressa, awakens.
LORD BRANDON
Shhh. Ignore me. I'm not here.
PRINCESS ANDRESSA
What's going on?
LORD BRANDON
Nothing dearest.
164
He slides the drawer shut, guilt written all over his

face.
PRINCESS ANDRESSA
You were after the toe ring!
He stares down, awaiting the coming rant.
Would you believe there was a
time when I actually loved this
cypher?
He begins inching toward the door.
PRINCESS ANDRESSA
You stay right there!
(To Brother Yakob)
I ignored all the warning signs.
I wanted "our" love but there
was no "our," no "we." And
finally, what is there to say
when you find your husband in
bed with your brother?
LORD BRANDON
For God's sake, Andressa!
PRINCESS ANDRESSA
Suffice to say I've paid and
paid.
LORD BRANDON
Andressa! I warn you!
PRINCESS ANDRESSA
He warns. I thought willpower
would suffice. But can you will
a thing into its opposite?
LORD BRANDON
Don't encourage her! I warn you.
PRINCESS ANDRESSA
He warns. Well, can you, Monk?
BROTHER YAKOB
There. There are miracles, My
Lady.
PRINCESS ANDRESSA
Yes, miracles. Turn a wench's
raggedy-ann dress into a
shimmering gown. Or a pumpkin
into a coach & four. But it
doesn't last. At the stroke of
twelve, it reverts back.
165
BROTHER YAKOB
There's prayer, My Lady.
PRINCESS ANDRESSA
Prayer. But in the case of my
in-name-only husband, what do I
pray for? For the pig to be
taken from the mud? Or the mud
from the pig?
LORD BRANDON
Dont mock me, you satanic
bitch!
PRINCESS ANDRESSA
Ah! The anger. It's what first
attracted me to him.
Lord Brandon smashes a cup, exits, slamming the door.
Through the window, he is seen storming past, giving the
hanging Maid a shove. The corpse swings wildly.
PRINCESS ANDRESSA
That reminds me. I need a new
maid.
EXT. THE HIGH DESERT ROAD - DAY
Stork, Plug, Saba, LaVella & Higg ride in a weary line.
Stork raises an arm. They halt. Stork stands up in his
stirrups, shades his eyes, squints off into the distance.
STORK
The river valley. Soon we'll be
dropping out of the desert. And
on the King's Highway enroute to
the Abbey and the Queen.
SABA
I can't wait to bathe!
PLUG
Miss Saba. Just as you are, you
look like an angel from heaven.
EXT. THE CAMPSITE DAY
Things are still not going well with the pinging Dish.
Tin Man curses under his breath. Amlak lazes on a rock,
scanning the plateau with binoculars. Suddenly, he
straightens up.
INSERT - What Amlak sees
166
Saba astride her horse. She is stunning.

BACK TO SCENE
AMLAK
Oh! Oh God! Look! Look at her!
TIN MAN
What was that?
AMLAK
Uh. Just a bird in flight.
EXT. ON A SMALL RISE BY A RIVER BANK NIGHT
Twilight, just past dusk. Sound of a waterfall somewhere.
Higg & LaVella unload. Saba, Plug & Stork head to the
water.
SABA
If I don't wash, I'll die.
LAVELLA
Thinks she's the Queen of Sheba.
Be careful of snakes!
PLUG
We'll keep an eye on her, Maam.
Saba, Plug & Stork vanish in the reeds at water's edge.
LAVELLA
They'll keep more'n an eye on
her.
EXT. THE SWIMMING HOLE NIGHT
At the pool's far end, a flat ROCK juts up. Beyond the
Rock, a waterfall cascades from a high point marked at
the top by a grove of trees. Spray descends as fine mist.
Saba wades out to knee-deep. As she disrobes, she sways,
like in a strip tease. Now nude, she kicks out, swims
toward the Rock.
EXT. A SHED WITH A DIRT FLOOR IN A FIELD - NIGHT
A campfire burns. The door hangs open on rusty hinges.
Inside, the battered body of the Man from the Pub.
LANK
So they're coming this way.
167
BRICK
Running from the Shankallahs.
LANK
But where are they headed? Key
information he didnt know.
Brick takes a burning stick from the fire.
BRICK
There's your gold, lad. Enjoy.
He tosses it on a pile of golden leaves. It bursts in
flame.
EXT. THE BIG ROCK IN THE SWIMMING HOLE NIGHT
Saba swims up to the Rock. She sees Stork & Plug, twenty
feet back, swimming furiously. She laughs as she lifts
herself up, standing naked in the moonlight like a siren
beckoning men to their doom. Stork reaches the Rock.
SABA
Where did Plug go?
Stork turns to see no one in the black water.
SABA (CONT'D)
He submerged. Hes playing a
trick.
She laughs as the nose of a CROCODILE pops up. Its head
breaks surface with Plug gripped in its jaws, his limp
arm hanging out. Its mouth closes tight, slicing the arm
off.
SABA (CONT'D)
Oh God oh God! Oh God! No!
The Croc submerges.
Saba screams.
SABA (CONT'D)
Get out of the water! Get out
now!
As Stork clambers onto the Rock, Plug's bloody arm and
hand pop to the surface.
SABA (CONT'D)
Oh God! No! Please no!
Higg & LaVella appear at the shore. Stork waves wildly.
STORK
Look out! Crocodile!
168
Higg puts a hand to his ear. Stork cries louder.

STORK (CONT'D)
Croc! A croc got Plug!
SABA
Help us! Please!
EXT. THE CAMPSITE NIGHT
SABA (O.S.)
Somebody! Somebody, please help
us!
Amlak's eyes are open wide. He comes to a bolt upright
position. He stands and starts to run.
TIN MAN
Where are you going?
Amlak indicates a distant high point marked by a tree
grove.
AMLAK
There! I'm going there!
Tin Man chases after him, the high grass smacking his
legs and torso, making a plink-plink-plink sound.
EXT. ON THE ROCK AT THE SWIMMING HOLE NIGHT
Saba lies naked, crying, convulsing. Stork stands at the
edge, staring into the water at the Croc.
EXT. AT THE WATER'S EDGE - NIGHT
Higg throws stones, trying to distract the Croc.
LAVELLA
See how she flaunts herself!
HIGG
Pet, will you please shut up?
EXT. ON THE PLATEAU ABOVE THE SWIMMING HOLE - NIGHT
Amlak screeches to a halt, turns to face Tin Man, who
stops.
AMLAK
I want to make a good first
impression. How do I look?
169
Amlak grins a princely grin, strikes a manly pose.

AMLAK (CONT'D)
Tell the truth. Don't lie.
TIN MAN
What do you want me to say?
AMLAK
Just give me your honest first
impression. How do I look?
TIN MAN
I'm not good at this.
AMLAK
If you were a woman, would you
regard me as acceptable?
Tin Man sighs the sigh of someone out of his depth.
Then...
TIN MAN
You're fine. You look fine.
EXT. THE ROCK NIGHT
The Croc glides just below the surface.
STORK
No use. Only way out is through
the water. Which is certain
death.
SABA
There must be another way! I got
it! A horse! Kingdom for a
horse!
STORK
What are you talking about?
SABA
(Calls out to Higg)
Plug's horse! Feed it to the
Croc!
(To Stork)
While the monster is busy
chewing on Plug's horse, we swim
to safety.
Higg and LaVella dash off. Suddenly, WHUMPP!! The Rock
shakes like an earthquake. Stork falls and rolls toward
the edge. Saba grabs his ankle, pulls him back. Another
WHUMPP!!
170
EXT. UP ABOVE NEAR THE GROVE OF TREES - NIGHT

Amlak nears the crest. Sound of the waterfall overwhelms.
WHUMPPP!! followed by a second WHUMPP!! Amlak sprints
forward to the plateaus edge.
WHUMPPP!! Higg & LaVella pull/prod the HORSE into the
water.
LAVELLA
After we get her out of this,
we're having a talk with her.
And this time you will back me
up!
WHUMPPP!!
A scream from Saba.

STORK
Help! Hurry!
LAVELLA
What's going on out there?
Then theyy see, in the moonlight, the Croc ramming into

the Rock which now sits at a crazy angle, Stork & Saba
holding onto outcroppings to keep from sliding off.
Higg pops a whip. The Horse moves out deeper. WHUMPP!!
The Rock tilts more. Saba screams. Stork loses his grip
and slides into the waiting jaws of the Croc. The Croc
stares menacingly at Higg & LaVella as it chews up Stork.
SABA
I can't hold on much longer!
HIGG
Look!
Higg points up to the crest. Amlak shines like a God
through the mist. Tin Man stands by him, his metallic
face aglow.
LAVELLA
Who is that? Who are they?
The Croc spits out part of a leg. It looks up, belches.
EXT. AT THE CREST OF THE WATERFALL - NIGHT
AMLAK
You see? There she is!
171
TIN MAN
Any moment she'll slide into the
monster's mouth.
AMLAK
Not if I can help it!
Amlak picks Tin Man up, holds him over his head and
throws him downward toward the Rock and the Croc.
HIGG
One threw the other off the
cliff!
EXT. IN MID AIR - NIGHT
Tin Man tumbles wildly, trying to right himself.
TIN MAN
AHHHHHHHHHHHHHHHHHHHHHHH!!!!!
EXT. THE BIG ROCK ISLAND NIGHT
WHUMPP!! The tilt steepens. Saba holds on tight. Below
her, the Croc positions himself for a fresh meal.
She slips just as Tin Man hits the Rock with a CRASH BANG
BOOM and bounces into the Croc's open mouth. GLOOP! The
Monster's jaws snap shut. He submerges. Saba sees her
chance, slides into the water and makes a beeline for
shore.
EXT. HIGH ABOVE AT THE GROVE OF TREES - NIGHT
Amlak watches Saba, her naked body shimmering in the
moonlight, as she makes for the reeds at water's edge.
AMLAK
Magnificent! Perfect in every
way.
EXT. IN THE MOONLIGHT AT THE WATER'S EDGE - NIGHT
HIGG
Look! She's going to make it!
LAVELLA
Hunh! More than she deserves!
172
Just as the Croc breaks surface with a thunderous roar,

choking, gagging, churning the water.
HIGG
Something's wrong! He's gone
mad!
The Croc swims in a mad circle crashing into the Rock,
smashing it to bits in a mighty explosion. The Croc
shakes, shudders, rolls on its back and, slides beneath
the waves.
INT. THE PRINCESS' CHAMBERS AT THE PALACE NIGHT
Emamu stands guard at the door. Princess Andressa paces.
PRINCESS ANDRESSA
Up and down the land, they talk
of her healing powers, her
prayers that fly straight to God
in Heaven. Credulity, our
national character!
BROTHER TWITCH
They idolize her. But they never
ask whence she received her
gifts.
A long silence as Princess Andressa digests this
thought.
PRINCESS ANDRESSA
Thats right. They just assume!
BROTHER TWITCH
Who knows for a fact they're
from God? They could be of the
Evil One.
PRINCESS ANDRESSA
Can one ever be sure?
BROTHER TWITCH
'Tis a slippery slope, Highness.
EXT. AT THE WATER'S EDGE - DAY
Daybreak. Crack of a whip.
HIGG (O.S.)
Pull, horse! Come on, pull!
173
Plug & Stork's Horses, emerging from the reeds, strain on

a thick rope dragging a heavy, as-yet-unseen object.
Crack!
HIGG (CONT'D)
Pull, horse! Pull!
The Croc's tail emerges, then the trunk, finally the
head. Higg, LaVella, Saba & Amlak regard the huge
reptile, feet pointed up. Saba wears Amlaks coat to
cover her nakedness.
SABA
Horribly ugly. Sure it's dead?
AMLAK
Very dead. Seems it choked on a
certain, very chokable object.
TIN MAN (O.S.)
(Muffled)
Help! Get me out!
Amlak pulls a big hunting knife from a sheath.
AMLAK
You don't have to watch this.
TIN MAN (O.S.)
Get me out of here!
EXT. THE ABBEY GROUNDS AT THE 7TH STATION OF THE CROSS DAY
Brother Yakob kneels at a bas-relief of Jesus falling
under the soldiers' whips. Brother Twitch approaches,
kneels.
BROTHER TWITCH
I sought you in the chapel.
BROTHER YAKOB
Sister Christa has it as her
private suite. She eats in
there, sleeps in there - BROTHER TWITCH
Levitates in there?
BROTHER YAKOB
It's depressing.
174
BROTHER TWITCH
The Princess wants you to know
she remembers the night in your
arms. She uses words like
"magical," "indescribable,"
"breathtaking." She looks to
more such nights.
BROTHER YAKOB
She does?
BROTHER TWITCH
And she looks to deeds from you
to match your prowess in bed.
BROTHER YAKOB
Deeds?
BROTHER TWITCH
Let me posit a philosophic
thesis. Resolved: the Queen's
powers come not from God but
from Satan.
BROTHER YAKOB
Good Lord! Be careful, man!
BROTHER TWITCH
If Sister Christas name were
submitted for sainthood, the
church would apply rigorous
tests. Theyd ask the same: of
God or Satan?
BROTHER YAKOB
Yes, but - BROTHER TWITCH
Someone needs to move the debate
forward, while there is still
some sanity left in this
credulous kingdom. That someone
is you.
Brother Twitch stands, makes ready to leave.
BROTHER TWITCH (CONT'D)
She regards you as her only
hope.
Brother Twitch waddles off. Brother Yakob watches him go,
then turns to look up at the mosaic.
BROTHER YAKOB'S VISION
Brother Yakob, in a loincloth and crown of thorns,
staggers under the weight of a heavy crossbeam. Princess
175
Andressa, in a Roman Soldiers armor, brings the whip

down hard.
BACK TO SCENE
Brother Yakob cries out as if being lashed, then opens
his eyes as if coming out of a nightmare. Two Monks
staring at him. He stands, straightens his robe, scurries
off.
EXT. AT THE WATER'S EDGE - DAY
The Croc's gut is split open. Tin Man, covered in slime,
stands dripping as Amlak pulls out body parts.
TIN MAN
Look at me! I'm covered in
slime!
Amlak pulls out two legs, still joined at the pelvis.
TIN MAN
You hear me? Slime!
Amlak pulls out a head, crushed, still with its hair.
TIN MAN
Slime! Slime and gore!
Amlak pulls out another head, this one not crushed.
TIN MAN
Slime and gore! And ooze! Can
you believe it? Ooze!
AMLAK
Will you stop it? You got a
little ooze on you. Go wash it
off.
Tin Man looks for support, sees none, disappears amongst
the reeds, muttering. LaVella picks up a bitten and
chewed head.
LAVELLA
Wasn't this the small one's
head?
Saba snatches it and holds it as she would a baby.
176
SABA
He had a name! Plug! He was
gentle and kind! He died
horribly and unfulfilled! Can't
you understand that? Can't you
show some respect?
Saba bursts into tears. She runs up the hill toward the
camp. Amlak watches her go. He can't take his eyes off
her.
INT. THE TENT AT THE ENCAMPMENT TEN MINUTES LATER
Saba packing. LaVella enters. Saba glares at her.
SABA
Well, come on, help me pack. You
want me out of here, don't you?
LAVELLA
I told Higg not to bring you. I
was right. One little thing, you
fold right up. Poor Redhead!
Thinks shes the only one whos
suffering!
SABA
Every man I've been with is
dead. Prince. Stork. Plug. I
feel like the kiss of death.
You? You don't feel anything.
You're the ice lady.
LAVELLA
I'm not ice.
SABA
Oh please! You treat Higg like a
servant. You bark out commands
like youre a drill sergeant or
- LAVELLA
Someone has to! Higg can't. You
won't. But it's not easy. Since
the Gypsy said theyre looking
for three others, I've had
nightmares of men coming with
warrants. Men with hard faces
and rough hands.
A look of fear crosses Saba's face.
SABA
It's your imagination. Bad
dream.
177
LAVELLA
Its real. I can almost touch
them.
LaVella stops. A wary look crosses her face.
LAVELLA (CONT'D)
I shouldn'tve told you. Please
don't tell Higg.
Higg sticks his head in through the flap.
HIGG
Say girls, I was thinking - SABA
This is a private conversation.
Higg's jaw drops, his eyes dart back and forth.
LAVELLA
Didn't you hear her? We're
having a private conversation.
He exits. Silence. Just a hint of a smile on LaVella's
face.
EXT. SOLAR SYSTEM - DAY
A black sky. In foreground, MARS. The SUN, a bright star.
Near the Sun, the EARTH, a blue disk. A SPACESHIP powers
into view. On its hull, an official-looking insignia.
INT. A COMPARTMENT SOMEWHERE IN THE SPACESHIP - DAY
A glowing PLEXIGLAS CHAMBER. Visible within, KRONA, 50,
regal-looking. She sleeps. ALARM sounds. Overhead lights
switch on. The Chamber opens. A vapor slowly rises.
Sounds of sneezing, gagging. Krona's shaky hand emerges.
Two humanlike robot ATTENDANTS rush up with breathing
tubes.
ATTENDANT
Relax, Lady Krona. Breathe.
KRONA
(Through coughs)
Is my husband awake yet?
ATTENDANT
Count Nadal is up and about.
KRONA
And Amlak, my son?
178
ATTENDANT
We're still a day out.
Krona sits up. She takes a deep breath from the tube.
KRONA
I hope time has softened his
heart.
She looks toward a corner, where there's a glowing,
coffin-like chamber. Visible within, TRE'DEAN, red hair,
beautiful, a softer, whiter, thinner robotic version of
Saba.
KRONA (CONT'D)
Have the techs activate
Tre'Dean. I want her fresh and
gay for Amlak.
More sneezing. The Attendants rush up. She waves them
off.
INT. THE KING'S CHAMBER DAY
Princess Andressa enters.
PRINCESS ANDRESSA
What's the matter, Papa?
KING
Nothing.
PRINCESS ANDRESSA
You're not getting your sleep.
She sits next to him on the bed.
KING
Don't feel like sleep.
PRINCESS ANDRESSA
Shall I give you a massage,
Papa?
He shakes his head.
KING
That husband of yours, what's
his name? Don't like how he
treats you.
PRINCESS ANDRESSA
I don't think he likes me.
179
KING
Doesn't like you? Doesn't he
care?
She draws very close.
PRINCESS ANDRESSA
It's enough I care for you,
Papa.
She embraces him tightly, kisses him on the lips. They
slide down onto the bed together.
EXT. A MEADOW NEAR THE WATER'S EDGE DAY
Two fresh graves marked by crosses. Astride horses, Higg,
LaVella, Amlak, Tin Man & Saba observe silence. Then...
SABA
Amen.
HIGG & LAVELLA
Amen.
LaVella gives the signal. They all ride off.
INT. THE BRIDGE ON KRONA'S SPACESHIP - DAY
On a monitor, Earth and the Moon. A Man, 60, practices
putting on strip of artificial turf. This is NADAL. The
PILOT and FIRST OFFICER, humanlike robots, man the
controls.
Archangel.
orbit.
Roger.
DISPATCHER'S VOICE (O.S.)

367 cleared to
PILOT
Copy that.
Krona bursts onto the Bridge area.

KRONA
What was that?
NADAL
We're cleared to go in. We're
367.
FIRST OFFICER
363 now, Sir.
180
KRONA
363 ships ahead of us? What are
363 ships doing here?
PILOT
Tourism, big game hunting,
fishing, golf. Golf was invented
here.
KRONA
Golf? Such a waste. Tell them to
bump us to the front. Say who we
are and have them - PILOT
Highness, it's first come, first
served. Pretty much set in
stone.
KRONA
(To Nadal)
I shouldn't've listened. I said
send him to an in-system venue
to straighten him out. You
wanted tough love. So we sent
him where every bucket of bolts
in the system makes a pit stop.
God knows who he's with down
there as we cool our heels
behind tourists and golfers!
Krona exits, slamming the hatch behind her. Nadal shrugs.
EXT. A RIVERBANK ENCAMPMENT NIGHT
A campfire. Higg & LaVella keep an eye on Tin Man who
works the Dish controls. The Dish emits regular pings,
the Monitor displays a test pattern. Saba & Amlak sit
alone looking up.
SABA
The Morning Star.
AMLAK
It's not a star.
SABA
Yes, it is.
AMLAK
No, it's not.
SABA
S'pose you're going to say
you've been there, seen it up
close.
181
AMLAK
I actually have.
SABA
Typical guy. Trying to impress.
Well, guess what, Typical Guy,
Im gonna keep saying it's a
star. My wishing star. I see it
and wish I was there instead of
here. Here I'm a sad little
nobody. There, I'm a queen in a
shimmering gown and a handsome
beau takes me to dress balls at
the palace where we dance all
night. You think I'm silly.
AMLAK
I don't think that at all.
SABA
But I'm not stupid, I know its
a dream, I know it'll never
happen.
AMLAK
It might.
SABA
Really? Well, thank you, Typical
Guy. You said something to make
me feel worthwhile.
AMLAK
Didn't I run across two miles of
brush and tall grass to rescue
you? Only do that for worthwhile
girls.
SABA
Howd you know I needed
rescuing?
AMLAK
Heard a voice.
SABA
Okay. So maybe you're not so
typical. I was praying, praying
"Help us, someone, please!"
AMLAK
I heard.
182
SABA
Didn't think Id get an answer,
didn't think I deserved it. Just
before, I'd gone to sell my
body. I felt filthy but I needed
money. So now you think I'm not
worthwhile?
AMLAK
I'm not thinking that.
SABA
Really? OK, so do me a favor. If
we become a couple, don't die on
me.
I won't.
AMLAK
I promise.
For the longest time, Amlak peers into her eyes and she,
into his. The Dish lights up like a Christmas tree. Higg
and LaVella cringe in fear. Tin Man rushes to Amlak.
TIN MAN
Your Mums on the line.
INT. THE OBSERVATION DECK ON KRONA'S SPACESHIP - NIGHT
Tre'Dean in short-shorts and a tight cutoff. Nadal has
his arms around her, guiding her through a golf swing.
NADAL
Just us two. We'll work on your
swing, get your stroke down pat.
TRE'DEAN
You're sure it's okay with - NADAL
Leave her to me, darlin'.
Krona rushes in. Nadal takes his hands off just in time.
TRE'DEAN
Guess what? I'm going golfing!
KRONA
We made contact with - Golfing?!? Who says you're going
golfing?
TRE'DEAN
Uncle Nate. He said that we - -
183
KRONA
We're not here to golf! Now
come! Amlak's on the screen!
Krona grabs Tre'Dean's hand, storms out dragging her
behind.
EXT. THE DOOR TO THE ABBEY CHAPEL - NIGHT
Monks hold the door open as the Queen, in nun's habit,
moves past and enters. The Monks bow, close the door
after her.
MONK 1
A remarkable woman. A living
breathing saint.
BROTHER YAKOB
Aren't you being premature in
your estimation of her, Brother?
MONK 2
One need only see how people - BROTHER YAKOB
Worship her?
MONK 2
Not worship. They seek her
healing hands, her prayers and
to bask in the radiance of her
sublime aura.
BROTHER YAKOB
Sublime aura? Healing hands?
Sounds like worship to me.
They glare at him as he scurries off. They cross
themselves.
EXT. CHECKPOINT ON THE KING'S HIGHWAY NEAR THE ABBEY NIGHT
Sign illuminated by torchlight: ABBEY - 6 MILES A
horse-drawn CART loaded with provisions halted. The
DRIVER and his WIFE stand away as SOLDIERS inspect it.
SERGEANT
Carting goods to the Monks is
forbidden. Its in the new law.
DRIVER
But I took food there for years!
184
The Sergeant gives a signal. The Soldiers hop onto the

Cart and toss the fruit and vegetables out, stomping on
them.
EXT. THE RIVERBANK ENCAMPMENT NIGHT
Higg and LaVella watch in muted awe. Tin Man works the
Dish controls. The Dish rotates rapidly. The monitor
displays Krona on a green background. Her lips move
soundlessly.
AMLAK
Where's the sound?
TIN MAN
The Moon. Its one huge ball of
electromagnetic interference.
Tre'Dean suddenly appears on the screen. She blows
kisses.
SABA
My God! She looks exactly like TIN MAN
Exactly like you, doesnt she?
Saba stares at Amlak in shock. He avoids her eyes. The
screen starts breaking up, as Saba's anger starts to
build.
TIN MAN
Hope we get a better link
tomorrow.
SABA
Excuse me. I'm tired and it's
late.
Saba stands and walks toward Higg and LaVella. Amlak
starts to follow her. Saba stops, does not turn.
SABA (CONT'D)
Please. I just want to be alone.
EXT. THE PRINCESS' BATHROOM DAY
Door opens. Brother Twitch, exits, nearly bowling over
Lord Brandon, entering in a beehive hairdo, wearing a
mu'umu'u.
INT. THE PRINCESS' BATHROOM DAY
185
Lord Brandon enters. Princess Andressa is taking a bubble

bath. A lovely white leg extends from the soapy foam.
LORD BRANDON
Youre not screwing that thing.
She raises herself up, fixes him with a contemptuous
glare.
Used to tolerate him. Can't
bring myself to stand him
anymore. With all his fakery and
whatnot. He thinks everything's
a big joke.
She pulls the drain plug. She stands and begins toweling.
PRINCESS ANDRESSA
I wonder where he got that
notion.
LORD BRANDON
Thinks he's an intellectual.
Probably laughs at you and me.
PRINCESS ANDRESSA
You're half right.
LORD BRANDON
Damn it! Qpen your eyes! You're
the Princess! You need to take
care! You let him see you naked?
People will whisper about that
monk - PRINCESS ANDRESSA
That monk got us a spy-agitatoragent-provocateur inside the
Abbey. While you've been out
playing slap-and-tickle, he's
been busy and now the Abbot's
Number Two is with us,
dispensing doubt and dismay
amongst the devotees.
They glare at each other. Lord Brandon goes into the WC
and slams the door. Silence as Princess Andressa dons a
robe. A scream from the WC. He runs out, waving a sheet
of paper.
LORD BRANDON
This was posted in the
crapularium!
She rips it from his hand. She reads.
186
PRINCESS ANDRESSA
Oh Princess, your legacy will
stink like excrement. Lament,
for all your works will end in
ruin.
LORD BRANDON
What does it mean?
She tears it up.
PRINCESS ANDRESSA
Just someone trying to scare us.
LORD BRANDON
Well, someone just succeeded!
INT. A CONFERENCE ROOM AT THE ABBEY - DAY
Brother Yakob at the head of the table, addresses ten
YOUNG MONKS. He closes the Bible with a pop.
BROTHER YAKOB
Unity in mind and purpose. How
apt. Even today the words speak
clear. Yet some persist in going
their own way. Example. Those
who ascribe Christ-like
attributes to Sister Christa. Is
that unity?
The Young Monks eye each other as he wags a warning
finger.
BROTHER YAKOB (CONT'D)
It is heresy. Only Christ is
holy.
INT. OUTSIDE THE OPEN DOOR TO THE ABBEY CONFERENCE ROOM
Abbot Rodolfo, accompanied by two Armed Monks, looks in
as Brother Yakob wags his finger. He frowns, walks off.
INT. A NEARBY HALLWAY IN THE ABBEY
Abbot Rodolfo and his two Armed Monks round a corner and
come face-to-face with a ROYAL OFFICIAL, a RICHLY-ROBED
CLERIC, and two SHANKALLAH GUARDS. They halt.
CLERIC
Abbot Rodolfo, you are summoned
to the Archbishop to answer
charges!
187
The Armed Monks go up to the Shankallahs, fix them with

glares. The Cleric and the Royal Official become nervous.
ABBOT RODOLFO
Charges? What charges?
ROYAL OFFICIAL
Uh, hardly charges, your
holiness. More like. Uh.
Ambiguities.
More Armed Monks emerge from the shadows, roughly disarm
the Shankallahs. Abbot Rodolfo nods.
ABBOT RODOLFO
Send them back to the Princess.
EXT. AN ARMY CHECKPOINT - DAY
In the distance, the Abbey walls. A SOLDIER stands watch.
Sounds of a game of dice in progress somewhere. A CART
comes around the bend. The Soldier moves into the road,
raises his arm. The TEAMSTER, hooded, hunched over, reins
in the horse.
SOLDIER
Get down from there!
The Teamster doesnt move.
SOLDIER (CONT'D)
Carts are subject to search. By
the Princess order, get down!
The Teamster doesnt move. The Soldier draws his sword.
SOLDIER
You deaf? I said, get down!
The Teamster pulls back his hood. Its Princess
Andressa. Four Royal SOLDIERS hidden in the bed jump out.
Emamu comes out of the brush, herding three TROOPERS
ahead of him.
EMAMU
Playing dice back there,
Highness.
PRINCESS ANDRESSA
So my troops think its a
holiday. I can see why the Abbey
resists.
The Soldiers take coils of rope, toss nooses over a
188
branch.
EXT. ENTERING GURRAGUEE - DAY
SUPER: GURRAGUEE, a wide-open town on the road to the
Abbey
Shops, bars, lean-tos and tents snake along a dusty main
street. MONKS, SOLDIERS, TRIBESMEN, SHANKALLAHS, DRUNKS &
WHORES mingle as CRAFTSMEN and SHOPKEEPERS hawk wares. A
MAN in a pillory, "THIEF" branded on his face. Saba,
Higg, LaVella, Amlak & Tin Man ride in, in hooded pilgrim
robes.
TIN MAN
I feel ridiculous in this.
AMLAK
Just go with it.
Some ZOROASTRIANS are moving furniture out of a tent, the
Men in colorful tunics, the Women in belly-dancer
costumes.
LAVELLA
Are you vacating this spot?
A Man steps up. He's the HEAD OF THE VIGILANCE COMMITTEE.
HEAD OF VIGILANCE COMMITTEE
By Committee order, they have
one hour to get out of town.
ZOROASTRIAN 1
They say tools are missing. You
see any tools, Lady? I dont see
any.
ZOROASTRIAN 2
They blame us. The way it is.
Shut up!
LAVELLA
You looking for a new tenant?
You got the fee, tent's yours.
SABA
I think that's so wrong.
LAVELLA
What is your problem?
189
SABA
Profiting on a persecuted group.
The Zoroastrians continue loading their things onto a
cart.
Make up your mind, lady!
LAVELLA
We'll take it.
Saba turns her back in disgust. LaVella holds up a coin.
LAVELLA
The tables and chairs, too. A
Countess' gold coin should
suffice.
The Zoroastrians nod.
LAVELLA (CONT'D)
Your clothes, too. We want them.
ZOROASTRIAN 2
We cant go naked, Lady.
LAVELLA
You get ours. Even trade.
INT. THE DINING HALL AT THE ABBEY NIGHT
A hundred Monks sit at wooden tables. A BURLY MONK raps a
spoon on a tankard. Sudden quiet. Abbot Rodolfo stands.
ABBOT RODOLFO
Id hoped to find you all
faithful. But theres a
malignancy here which, God
willing, I must excise.
The expressions on the Monks' faces turn serious.
For behold, a wolf is amongst
us.
Brother Yakob's face turns apprehensive.
Not one with bared teeth but
with deft argument and mannered
debate.
190
Brother Yakob stands, edges toward the door.

Brother Yakob, you stand
accused!
BROTHER YAKOB
Me? You mean me?
EXT. LAVELLA'S TENT IN GURRAGUEE - NIGHT
A sign: HONEST GAME INSIDE - GENTLEMEN PLAYERS ONLY!
LaVella and Saba, dressed in belly dancer getups and head
scarves, click finger cymbals and castanets. Amlak
emerges, in colorful garb. He posts a TABLE FULL CHECK
BACK LATER sign. He smiles at Saba. She snubs him.
INT. LAVELLA'S TENT IN GURRAGUEE - NIGHT
A MONK, a SOLDIER, a SHANKALLAH, Tin Man & Higg sit at a
card table. Higg, puffing a cigar, has the deal and a big
stack of chips. Tin Man sits across from Higg, face
hidden inside his pilgrim hood with a thin cigar sticking
out, Clint Eastwood style. The Soldier glares at him.
SOLDIER
Your pal gives me the willies.
Doesnt talk. Just sits there.
HIGG
He's not the garrulous type,
lacks the gift for gab.
The Shankallah tosses in a chip, utters a "hit me".
HIGG
Two cards for the big fella.
The Shankallah snatches them up, peeks, throws them back.
SHANKALLAH
Yeebakwo! Ha mehmee fwafwagun!
SOLDIER
Tell that boy to talk plain!
The Shankallah reaches for his chip. Higg smacks his
hand.
HIGG
Whoa whoa whoa, amigo! You can't
take it back after you - -
191
The Shankallah reaches again. THUMP! The Soldier sets a

club on the table. The Shankallah growls. THUMP! The
Monk sets a club on the table. The Shankallah stops, eyes
darting side to side. Suddenly, Amlak stands behind his
chair.
EXT. LAVELLA'S TENT - NIGHT
LaVella & Saba jump to the side as Amlak bursts through
and hurls the Shankallah into the street, landing him in
sewer water. Saba's head scarf falls off in the mle.
EXT. ACROSS THE STREET FROM LAVELLA'S TENT - NIGHT
The Shankallah shakes a fist at Amlak who goes back
inside. From the shadows, Lank nudges Brick, nods at Saba
who's putting her scarf back on. Brick takes out the nude
sketch.
BRICK
Bingo.
INT. LAVELLA'S TENT - NIGHT
AMLAK
Sorry. Shouldn't've let him in.
MONK
I thought the big guy made
sense. I worked at a clinic on
the border. Picked up a few
words. And what he was saying
was, this fella whos about
(Nodding at Higg)
cleaned us out, hasn't lost
since he got the deal.
SOLDIER
Yeah! That's right! He hasn't!
MONK
What's the secret of your
success?
He lays a knife on the table. The Soldier sees trouble
a-brewing, scoops up his chips, exits as Amlak comes up.
AMLAK
Something wrong?
MONK
Yeah, your friend there. I can't
spot how he's cheating.
192
TIN MAN
He's not cheating.
MONK
Well, what do you know? Silent
partner just decided to chime
in.
AMLAK
Look pal, if you got a beef,
just take it outside and - Amlak starts edging behind the Monk.
MONK
Stay where you are. Try doing me
like you did the Shankallah,
I'll feed you your dick on a
plate.
Higg reaches for the pile. The Monk slaps his hand away.
MONK
Money stays! You and mere gonna
play mano-a-mano.
Tin Man shifts the cigar in his mouth.
EXT. AN OFFICE DOWN THE STREET - NIGHT
Two MISCREANTS hang from a gibbet, twisting in the wind.
Sign above door: "VIGILANCE COMMITTEE HQ"
In a HORSECART on a bed of straw, Saba & LaVella, still
in bellydancer getups, lay side-by-side hogtied and
gagged.
LANK (O.S.)
This warrant says we represent
the interests of the Princess
Andressa.
INT. VIGILANCE COMMITTEE HQ - NIGHT
The Head Of The Vigilance Committee looks up. His
ASSISTANT peeks out from behind a barred window at Lank &
Brick.
LANK
We just arrested two women in
the stabbing death of Prince
Andreas.
193

Women murderers? Here in
Gurraguee?
BRICK
Half block up at a poker tent.
EXT. A LARGE OPEN FIELD AT THE ABBEY NIGHT
Chanting Monks march toward a huge cross, firewood
stacked at its base. They divide into two ranks, an aisle
between. Two Monks lead a third, hooded & bound, up the
aisle and secure him to the cross. From the shadows Abbot
Rodolfo emerges, removes the hood to reveal Brother
Yakob.
ABBOT RODOLFO
Brother, look to your soul. For
us, you no longer exist on this
Earth.
He drops a torch at the base. The cross is engulfed.
EXT. THE ARMY CHECKPOINT - NIGHT
Fire lights the sky. The distant sound of chanting Monks.
Bodies of the four Soldiers swing from a tree. Four
scared REPLACEMENT SOLDIERS stand watch under the eye of
Princess Andressa. Two horses round the bend. Mounted on
them are the Cleric and the Royal Official, naked, tied
facing backwards.
PRINCESS ANDRESSA
All right, Abbot. You win round
one. But a fight is ten rounds.
INT. LAVELLA'S TENT BACK IN GURRAGUEE - NIGHT
The Monk lies dead at the wall of the tent, a hole blown
through his midsection leaving a huge, gaping, bloody
wound.
This smells of the work of the
two men sent by the Princess.
ASSISTANT
The Princess! Now theres a
devil!
Mind your tongue, man!
194
EXT. THE MAIN ROAD OUT OF GURRAGUEE - NIGHT

Higg, Amlak & Tin Man drive a stolen Horsecart at
lickety-split speed past the city limits sign. Higg sits
in back.
AMLAK
Really slick! Virtuoso
performance!
TIN MAN
Didn't know it makes a big hole!
AMLAK
You're programmed to know!
TIN MAN
Guess I screwed up!
AMLAK
You sure did! Big time!
HIGG
Will you two stop?
TIN MAN
Getting nothing on the girls.
AMLAK
Kid said they went this way with
two men.
HIGG
Maybe they changed direction.
TIN MAN
If I could just pick up the
finger cymbals. The castanets.
Any metal!
EXT. DEAD AHEAD IN A GROVE OF TREES - NIGHT
SUPER: Not far ahead
A blazing campfire. LaVella & Saba, naked, hanging by
their thumbs, stand on tiptoes on a flat rock. Saba
whispers.
SABA
Just don't make them mad.
LAVELLA
(Loud voice)
You mean like don't say how ugly
or smelly or stupid they are?
195
SABA
Shhhh!!!!
BRICK
Hey! Shut up over there!
LAVELLA
Hey, you shut up, Jack!
SABA
Oh God, now you've done it!
LANK
You know the trouble you're in?
The Princessll be dealing with
you. So be nice. Were in tight
with her.
LAVELLA
Dumb & Dumber in tight with the
Princess? Don't make me laugh!
LANK
Listen! You zip your lip!
LAVELLA
No, you listen! You made a big
mistake! You're messing with the
wrong chicks!
SABA
Oh God! Please shut up, LaVella.
She doesn't mean it, Sir!
LAVELLA
And another thing, my man's
connected with some really scary
people. When he hears - SABA
She's hallucinating. She's
making up stories. She's - LAVELLA
When he hears, he'll hunt you
down. You, your big dumb pal
there, your whole loser family.
Everyone you know'll end up on
chain gangs shovelling elephant
crap, capish?
LANK
Burning your bridges, sister!
LAVELLA
Just started. Want a piece of
me? Take your best shot!
196
Lank takes a nasty-looking set of tongs, advances on

them.
SABA
Oh please, Sir, don't hurt her!
Help us, somebody! Please!
EXT. NOT FAR AWAY - NIGHT
AMLAK
I heard something! Cry for help.
TIN MAN
Where? What direction?
AMLAK
Cant tell. Too faint.
EXT. DEAD AHEAD NIGHT
LANK
You first, Redhead!
Lank snaps the gripping jaws. Saba screams as LaVella
balances on her toes and aims a kick. Suddenly CLINK!
Lank stops, looks down. He picks up an object on the flat
rock.
LANK
Look what just fell from the
sky.
He holds up the Princes gold coin.
EXT. NOT FAR AWAY - NIGHT
TIN MAN
I heard a clink.
AMLAK
Where? What direction?
TIN MAN
Dead ahead. And close.
EXT. DEAD AHEAD NIGHT
LAVELLA
Dang! Forgot it was there!
197
SABA
Passport to the Queen. Gone!
Suddenly, sound of a man singing. A spectre-like being
appears in the trees coming closer with what looks to be
a head of fire. Then Higg, lighted torch in his hand,
bursts into the clearing. Hes dressed like a man of
means.
HIGG
Ah! There they are! Thank you,
gentlemen! Thank you for
locating my slave girls. I was
worried sick.
Higg sets the torch in a holder, walks toward the Girls
like he owns the place. Lank & Brick step up to block
him.
LANK
Hold it right there! They aren't
your girls. Theyre traitors!
Theyre government property now.
HIGG
Traitors? Ridiculous!
Lank holds up the gold coin as proof of their guilt.
HIGG (CONT'D)
Oh double good! You found my
coin. Ive been looking high and
low.
(Wags finger at LaVella)
Stealing a masters gold coin.
Wait till I get you home, girl!
Brick grabs hold of Higg.
BRICK
That coin was the Princes.
Whered the likes of you get
hold of it?
Higg jerks his arm away.
HIGG
If you must know, I got it from
the Countess.
BRICK
A Countess in this? I thought
the Prince only fancied serving
girls.
198
LANK
Wait a minute! Stop! This
fellows feeding us a line.
Weren't there three in the plot?
BRICK
Yeah. These two plus this one
would make. Uh. One plus two is.
Uh.
LANK
Three!
BRICK
Right. Three.
Higg hangs his head.
HIGG
All right. Yes. I admit it. You
win. Youre too clever for me.
Brick picks up a chain with cuffs and shackles attached.
He advances on Higg, who calmly takes out three cigars.
HIGG (CONT'D)
Before we get to the legalities,
why not have a friendly smoke?
BRICK
Smoke?
HIGG
A civilized thing. Ive these
fine cigars from a Duke up north
for services rendered. He said
light up when youre with the
right people. Nows as good as
any.
Higg holds out the cigars.
LANK
Guess it cant hurt.
BRICK
He did surrender peaceably.
HIGG
And you gentlemen are just doing
your job. No hard feelings.
LANK
Youre taking this unusually
well.
199
Lank and Brick each take a cigar. They light up.

EXT. THE ABBEY NIGHT
Just outside the Abbey walls, MONKS feverishly engage in
sharpening swords, cutting logs into posts with sharp
points, building earthwork fortifications and ramparts.
Across a vast open field, ROYAL SOLDIERS man a
checkpoint. Nearby, two ST. ANDREWS CROSSES made of 4by-4 beams.
EXT. A MILITARY PARADE GROUND NIGHT
Torches light up a raised platform. Two canvas-covered
larger-than-life STATUES on the platform.
SERGEANTS VOICE (O.S.)
Compan-NEE! Atten-HUT!
Princess Andressa, in gleaming armor, steps to the
podium.
PRINCESS ANDRESSA
At ease!
Sounds of men coming to at ease.
Were the ones following the
rules, going by the letter of
the law, turning the other
cheek. Whats it got us?
Resistance. Rebellion. Ridicule.
Behind those abbey walls, shes
laughing, laughing at me,
laughing at you. Im at my wits
end, boys. Tell me what you
think.
SOLDIER 1 (O.S.)
Strangle the bitch!
SOLDIER 2 (O.S.)
Youve been too damn easy on
her!
Brother Twitch gives the ropes attached to the canvases
a jerk. The coverings fall. The Soldiers behold godlike
statues of Prince Andreas and Princess Andressa.
200
EXT. IN THE GROVE OF TREES NIGHT

Lank & Brick are at the campfire, giggling
uncontrollably. LaVella & Saba still hang by their
thumbs. Higg watches.
BRICK
It was like shink, shink, shink.
LANK
No. It was koosh, koosh, koosh.
BRICK
I think I know what milking a
cow sounds like. Now can I
please finish the story for Mr
Higg? It was St Francis Day when
they bless the animals an' the
Bishop's at the Princes estate
in his robes and shepherds
staff. Hes in the corral with
the chickens and goats, having a
grand old time. Now mind you,
the cows a skittish one, loses
control easily. Farmhands a
joker. Hes milking her
carefully, with the milk going
shink, shink, shink into the
bucket, watching out of the
corner of his eye - LANK
Oh yes! It's where the bish - BRICK
Will you not give it away? The
Bishops chasing a nanny goat to
sprinkle her with holy water and
as he runs behind the cow, the
farmhand starts working the
udders.
(He demonstrates)
The cows tail goes taut, it
gives out a loud MOOOO and
SPLAT! His robes covered in wet
cow - Brick laughs.
LANK
Shot out horizontal. Nearly
knocked him down. He was covered
with - Lank laughs.
201
BRICK
And then a woman shouts, Serves
you right for the shit you dish
out at Mass, you old fart!
HIGG
Hows the cigar?
BRICK
Oh, it went out. Forgot I had
it.
Brick & Lank burst into giggles again as Amlak and Tin
Man emerge from the shadows. Amlak begins untying Saba.
Nadal putts. The Pilot & the First Officer man the
controls.
DISPATCHER'S VOICE (O.S.)
You're number 36 for descent.
NADAL
How long before were number
one?
FIRST OFFICER
About seven minutes. You should
get to the Lander, get strapped
in.
PILOT
Time to wake Her Highness.
NADAL
Belay that.
The Pilot takes his finger off the call button. Nadal
takes a small GREEN CYLINDER, opens it, punches in the
data and slides it into a tube. He presses a button.
EXT. KRONAS SPACESHIP - DAY
Below, the blue of the Mediterrranean and Egypts
coastline. Fwoop! The Green Cylinder launches from a
tube. A tiny rocket engine ignites and powers it down
toward the surface.
INT. ABBOT RODOLFO'S PRIVATE STUDY - DAY
202
The Monk in the chef's apron holds up four fingers.

ABBOT RODOLFO
Four days. If we ration - The Monk shakes his head.
MONK IN CHEF'S APRON
They're not stopping pilgrims.
They're not letting any leave.
Number of hungry mouths
increases by the hour.
The Abbot's face turns ashen.
Time to tell Sister Christa.
EXT. THE HIGH DESERT - DAY
The Green Cylinder hugs the surface like a cruise
missile. It passes high over the Gypsy campsite. Then it
drops down, passes over the swimming hole and rockets on.
EXT. THE ARMY CHECKPOINT - DAY
A WAGON comes into view, displaying garish colors and gay
ornamentation. In the driver's seat, Lank & Brick sway
back and forth. Lank, in a red headband, flashes a peace
sign.
LANK
Hey amigos! Qu pasa?
SOLDIER
What the hell is that?!1
As it draws close, a painted sign: MAKE LOVE, NOT WAR.
EXT. ENTERING THE STRATOSPHERE - DAY
A LANDER powers down into Earths atmosphere. The heat
shield covering the hull and wings bursts into flames.
INT. LANDER PASSENGER COMPARTMENT - DAY
The ship shudders, bounces, shakes. Strapped into a seat,
Nadal has Tre'Dean on his lap. He hugs her close and his
free hand reaches inside her hot pants. She swoons.
203
EXT. LAVELLA'S ENCAMPMENT DAY

Tin Man stands, glaring at the Dish.
TIN MAN
Its not working.
AMLAK
It was fine yesterday.
TIN MAN
Well, it's not fine now.
Grumbling, Tin Man slides open the back panel. He stares
at a jumble of wires and switches and whatnot.
TIN MAN (CONT'D)
Could be anything. Heat sink.
Expansion board. You name it.
AMLAK
What do you want me to do about
it?
TIN MAN
You know, I cant wait till we
get back home and your Mum
assigns you some position of
authority. I want to see their
faces when you give them that
blank stare and say, Well, what
do you want me to do? I can
just imagine the confidence that
will engender in - Amlak, in a rage, grabs Tin Mans neck as if to choke
him.
SABA (O.S.)
What the hell are you doing?
As Saba runs up, Amlak realizes hes been trying to
strangle a robot. He releases Tin Man. Embarrassed,
Amlak & Tin Man turn their backs to one another.
AMLAK
Sorry.
TIN MAN
Its all right. No damage.
SABA
Whats the problem?
204
TIN MAN
Dish isnt functioning.
AMLAK
First thing he did was take it
out on me.
TIN MAN
Did not.
AMLAK
Did too.
They start pushing. Saba jumps in, separates them.
SABA
Stop it! Both of you!
(To Tin Man)
Can it be fixed?
TIN MAN
Probably. Itll take time.
SABA
Then why dont you get on with
it?
He looks at Amlak who gives him a you heard the lady
nod. Tin Man glares and, grumbling, gets on with it.
SABA (CONT'D)
As for you, Typical Guy, Im
giving you a second chance.
She turns and walks away. Amlak watches her,
dumbfounded. A sonic boom. The Dish shakes, then begins
to rotate and ping. The monitor displays a PLEASE STAND
BY graphic.
INT. THE CHAPEL AT THE ABBEY DAY
Sunlight through stained glass. At the altar, a lifesize
Mary statue bathed in light. In the center aisle, below
the dome, a plank bed with broken bits of glass and
sharp-edged pebbles. Sound of a door opening. Abbot
Rodolfo enters. He looks up as the Queen floats just
below the dome.
ABBOT RODOLFO
Your Grace, we seem to be having
some. Ah. Difficulties.
A sonic boom. The Chapel shakes, the chandeliers swing.
205
EXT. THE ABBEY GROUNDS NIGHT

Armed Monks point at the Checkpoint. They see two
Monks nailed to the St Andrews Crosses. They seem to
be alive.
MONK
Good Lord! The poor bastards.
EXT. ARMY CHECKPOINT THE SAME MOMENT
We see the faces of the Monks: Lank & Brick. Nails
have been driven into them. Emamu pulls the hoods down
over their faces. He unrolls a paper, holds it to the
light.
INSERT: the sheet of paper
The nude sketch of Saba.
BACK TO SCENE
Emamu smiles, licks his lips, walks to his horse.
INT. A TENT AT LAVELLA'S ENCAMPMENT DAY
Higg asleep on a rug in the tent. He licks his lips and
smiles as if having a pleasant dream. Suddenly, shadows
and shuffling of feet. Higg opens his eyes. Looming over
him are Saba, LaVella & Tin Man. LaVella nods. Tin Man
stoops, grips Higgs lower right leg. A bone snaps. Higg
screams.
LAVELLA
I'm sorry, Higg. I really am.
Higg curls into a fetal position, gritting his teeth and
gripping his leg. Saba & Tin Man exit the tent.
LAVELLA (CONT'D)
Well talk later. You need rest.
LaVella exits.
HIGG
Oh God, it hurts. Hey! You cant
break a guys leg and just
leave.
EXT. LAVELLA'S ENCAMPMENT DAY
206
Tin Man works the controls, the Dish emitting a healthy

ping. Plop! The Green Cylinder lands at his feet. He
picks it up, turns it over in his hand.
EXT. A VAST GREENBELT NOT FAR AWAY DAY
From somewhere
sound. Rolling
On either side
parked in neat
cargo.
close, a ka-chunk ka-chunk ka-chunk

hills stretch where FOURSOMES play golf.
of the links, HELOS and LANDERS are
rows, engines idling. WORKERS load/unload
EXT. THE THIRD GREEN - DAY

Tre'Dean, in hotpants, bare midriff tanktop and a cute
hat, sets to putt. WITCH 1 tends the flag. Nadal sits in
a golf cart with WITCH 2, fingering a prayer bracelet.
NADAL
Narrow your stance. Point the
toes in. Lock the knees.
Minimize weight shift. Stabilize
body movement.
TRE'DEAN
I can't remember all that!
NADAL
(To Witch 2)
Do what I'm payin you to do.
Tell me what you see in her.
Witch 1 throws back her head and closes her eyes.
WITCH 2
Do men seek delight in
Their dclining years
And take a young lassie
For randy good cheer?
Oh see the young maidens,
All dressed in a row
They wiggle, they jiggle,
They cross their legs so.
And it should be easy
Or so I've been told
To reach out and pluck one
To have and to hold
To take her back home for
To warm up the bed
To huggle and snuggle
And give you good head.
207
WITCH 2 (CON'T)
But this ones no maiden
No flesh-and-bones, she
Her brains positronic
Her hearts PCB.
Her guts made of plastic
Her skins neoprene
A wire runs through her.
Shes just a machine!
So walk away, Nadal
Go back to your wife
A robot won't cheer you
Or light up your life.
NADAL
Get out of my cart.
WITCH 2
Why? I did what you asked.
NADAL
Didnt say to dash my hopes!
Out!
Witch 2 scrambles out, turns to Nadal with a hateful
glare, as Tre'Dean's ball rolls toward the hole. She
mutters some words and the ball screeches to a halt
inches from the cup.
EXT. AT CREEKSIDE NEAR LAVELLA'S ENCAMPMENT DAY
Tin Man & Amlak come up as Saba washes. Amlak has the
Green Cylinder. He stays back. Tin Man clears his throat.
SABA
Hows Higg?
TIN MAN
Coping.
SABA
Im thinking maybe we shouldnt
have done that to him.
TIN MAN
Therere simpler strategies for
seeing the Queen besides
breaking a leg to produce a
crippled guy.
SABA
Whats with your pal?
208
TIN MAN
He wants a favor.
SABA
Cant ask me himself?
TIN MAN
He figures if he doesnt ask, he
doesnt get rejected.
EXT. LAVELLA'S ENCAMPMENT JUST OUTSIDE HER TENT DAY
Higg, his lower leg in a wood brace, tries the crutches.
HIGG
I should be telling you go to
hell.
LAVELLA
Youre right.
HIGG
After all Ive done. Putting up
with your nagging, your insults,
your obsession to be in charge.
LAVELLA
Youre right.
HIGG
Anyone else would have dumped
you.
LAVELLA
Youre right.
Higg slips, almost falls.
HIGG
Why're you standing there? Help
me!
EXT. A WOODED RIDGE WITHIN SIGHT OF THE ABBEY NIGHT
A moonlit hillside. Distant singing, coming closer.
PEASANTS, male, female, young, old, appear at the crest
and descend toward the Abbey. They carry baskets of
fruit, lead goats and sheep. They sing a hymn in praise
of the Queen. As they emerge from the woods into the open
field, they close ranks and march toward the drawbridge.
The Soldiers at the Army Checkpoint scatter and run.
EXT. THE ROYAL OBSERVATORY NIGHT
209
A domed structure. The Royal Carriage arrives. Princess

Andressa steps out. Brother Twitch greets her. She turns
aside to speak to an evil-looking Man. This is the
DESPERADO. We cant hear. He bows and leaves.
INT. THE ROYAL OBSERVATORY NIGHT
Occult scrawls on the walls. Princess Andressa sits,
the King beside her. Lord Brandon stands behind. A clear
dome opens to the sky. Directly below stand Brother
Twitch and GRUPPLE, shrouded in black, in a trance.
PRINCESS ANDRESSA
What do you have, Brother
Twitch?
BROTHER TWITCH
Much, Lady. My colleague,
Grupple, has studied the salient
aspects. Hes discerned an
impending event.
Grupple abruptly comes out of his trance.
GRUPPLE
Micrones kudos ba! Sa cessna
kaeding sebastie dildo cisco1!
Losangel brit cardasshi - BROTHER TWITCH
The Queens. Uh, Sister
Christas star is entering a
sector of problematic
complexities.
LORD BRANDON
Problematic complexities? What
the deuce does that even mean?
Grupple points a warning finger at Lord Brandon.
GRUPPLE
Crosche bigtit pardek! Bloomcou
- BROTHER TWITCH
It starts with a dream. The
dreamer finds himself in a
pasture of fat sheep. The moon
burns like a desert sun. An
ominous stillness. A skin-and-
210
BROTHER TWITCH (CON'T)

bones tigress appears. She bites
the neck of a lamb. The bite
turns the lamb into a hideously
deformed creature. Then a voice.
A snake, wrapped around a
shepherds staff, shrieks, "Stop
the darkness!"
Digits!
GRUPPLE
Rachmani ohwell!
BROTHER TWITCH
Exactly! Flock is the kingdom.
No doubt. Tigress represents
Sister Christa. How do we know?
First, her clan totem is the
jungle cat. In addition, Grupple
has divined she was a tiger in a
past life.
LORD BRANDON
My my. How convenient that.
BROTHER TWITCH
The deformed lamb represents the
harm done by her faction. As for
the snake, recall in pagan
times, our kings were attended
by augurs who consulted sacred
snakes.
PRINCESS ANDRESSA
And the darkness?
GRUPPLE
Psycho motherof!
BROTHER TWITCH
There will be a battle. You must
fight it. It's your only hope.
PRINCESS ANDRESSA
But will I win?
Brother Twitch turns to Grupple. Grupple shrugs.
BROTHER TWITCH
Signs point to yes, but - LORD BRANDON
You believe this hokus-pokus?
211
BROTHER TWITCH
Grupple says the next few days
will be a struggle between light
(Indicates King & Princess)
And lights absence. Between
good
(Again gestures to them)
And goods absence. The darkness
will seek to embed itself deep
into the Kingdom's fabric and
expunge all that is true, good
and beautiful. Believe it!
Lord Brandon claps mockingly.
LORD BRANDON
Oh bravo! Bravo! Good show,
Brother Twitch! You had us going
there.
Princess Andressa looks at the King. He nods.
PRINCESS ANDRESSA
Tell us more.
LORD BRANDON
Oh now wait. You two arent
actually embracing this
quackery.
She claps her hands once. Emamu appears out of nowhere,
drags Lord Brandon out. Grupple laughs like a hyena.
EXT. ON A PATH NEAR A DENSE TREELINE DAY
A faint ka-chunk ka-chunk ka-chunk comes from beyond the
treeline. Amlak halts. He takes out the Green Cylinder.
AMLAK
Promise you won't leave me, no
matter what.
SABA
Why?
AMLAK
Just don't.
Amlak nods stares at the treeline, shivers.
212
SABA
Something out there scares you.
Amlak glares at her. He takes the Cylinder, throws it
away. A look of resolve on his face, he resumes walking.
Saba and Tin Man follow. They approach the trees.
AMLAK
Walk beside me.
Saba does.
AMLAK (CONT'D)
Take my hand.
Saba does. He takes a deep breath, silently counts to
three. They step into the treeline. They vanish as the
ka-chunk ka-chunk ka-chunk seems to swallow them.
INT. THE MASTER BEDROOM ON KRONA'S SPACESHIP - DAY
A dimmed bulkhead light illuminates the chamber. Krona
sleeps. A meal, untouched, rests on a stand by the bed.
EXT. THE THIRTEENTH FAIRWAY DAY
The ka-chunk ka-chunk ka-chunk sound is louder as Amlak,
Saba & Tin Man emerge from the treeline. Saba gasps in
wonder at the Golf Foursomes, the Helos and Landers and
the FLYING MEN. She crosses herself, sinks to her knees.
SABA
Oh Lord! It's God and His
Angels!
AMLAK
Not God. Just my uncle and ten
thousand of his closest friends.
Amlak raises Saba as a humanlike robot ARMED GUARD floats
down and blocks their way.
ARMED GUARD
Sorry, Sir. Youre in a secure
zone. Permitted personnel only.
AMLAK
Im here to see my Uncle Nadal.
The Armed Guard does not move. Two other robot ARMED
GUARDS float down.
213
ARMED GUARD
Then you'd have a permit.
AMLAK
I had it. I seem tove misplaced
it. Can't you check with my
uncle?
ARMED GUARD
Sorry, Sir. Suggest you go find
the permit and return.
At which point, Saba holds up the Green Cylinder.
SABA
I have it. You threw it away. I
picked it up.
She hands it to the Armed Guard.
ARMED GUARD
Ill advise your uncle youre
here.
The Robots rise into the air and fly off.
EXT. ON THE MAIN ROAD TO THE ABBEY - DAY
Lavella drives the horse cart slowly. Higg lies in the
bed in back, the brace on his leg. A bump.
HIGG
OWWW! Careful, dammit!
LAVELLA
Doing the best I can!
HIGG
Just be careful.
LAVELLA
Well be at the Abbey soon.
Lavella scans the ridge, sees SOLDIERS descending. She
sees they've spotted her. She urges the horses on
lickety-split.
HIGG
What are you doing? Slow down!
OWWW! THAT HURTS! OWWWWWWWWW!
214
INT. A SHUTTLE FLYING LOW OVER THE GOLF RESORT DAY

A human-like ROBOT pilots the Shuttle. Saba, frightened
out of her wits, grips the seat, her knuckles turning
white.
TIN MAN
I got his blocking scheme.
AMLAK
What?
TIN MAN
Pilots operating system is a
new release. He thinks he's hot
shit, he's got me on blocking
mode.
AMLAK
So?
TIN MAN
So I scoped him out and Im
gonna hack the bastard.
AMLAK
You're not hacking him.
TIN MAN
I am hacking his ass!
AMLAK
What if you hack him and he
loses control and kills us all?
TIN MAN
Oh, so you think I don't know
how, think I don't have control?
AMLAK
Control? Excuse me? Like back
when you tried to stun that monk
and ended up blowing a hole in
his gut?
Tin Man considers this.
TIN MAN
OK. Point taken. This time I
won't.
AMLAK
Thank God!
TIN MAN
Doesn't mean I couldn't, though.
215
Shuttle waggles its wings. Saba looks about to vomit.

AMLAK
Hanging in there, Girl?
EXT. ON THE GREEN WHERE UNCLE NADAL STANDS DAY
A high engine whine as the Shuttle descends.
EXT. THE ABANDONED ARMY CHECKPOINT NEAR THE ABBEY DAY
The Queen, on horseback, regards the corpses of Lank &
Brick. She raises Lank's hood as Armed Monks rush up.
MONK IN COMMAND
You must not expose yourself so!
QUEEN
Who was he?
She raises Brick's hood. A Monk presses forward. It's
the Assistant of the Vigilance Committee, now a Monk.
ASSISTANT
I remember him. He was no monk.
He came with another man. They
had warrants from the Princess.
She raises Lank's hood again.
ASSISTANT (CONT'D)
Hes the other. They had two
women who murdered the Prince.
QUEEN
My son Andreas murdered? We were
told his death was a mishap. Now
you say it was murder?
The Assistant sinks to his knees.
ASSISTANT
Before I defected, I clerked in
Gurraguee. These men had nabbed
the women at a gaming tent. The
older had blonde hair and a hard
face. The younger was a redheaded beauty. They got my
supervisors signature. After
which, they left.
216
MONK IN COMMAND
And that was the end?
ASSISTANT
No. We went to the tent. We
found a monk there with a hole
in him big enough to push a
melon through. Blood everywhere.
I ran off.
Grunting and wheezing, a MAN in a pilgrim's cloak pushes
up and lunges at the Queen. The Armed Monks cut him
down. They pull his hood back. It is the Desperado. The
Queens sleeve is cut. There's a trickle of blood.
MONK IN COMMAND
We need to get you to safety.
There's danger everywhere.
Just then Lavella's horse cart comes into view.
Soldiers!
LAVELLA
Soldiers coming!
The Abbey bells ring danger. A Monk on the rampart blows

the alarm. All run toward the open drawbridge.
EXT. ON THE GREEN WHERE UNCLE NADAL STANDS DAY
Amlak, Saba & Tin Man stand at the edge of the green.
The Shuttle flies away. On the green, Nadal lines up a
putt.
CADDY (O.S.)
Excuse me. May I help you?
A humanlike robot dressed like a CADDY appears out of
nowhere. He speaks in a golf announcers semi-whisper.
AMLAK
Im here to see my Uncle Nadal.
The Caddy gestures Amlak to lower his voice.
AMLAK (CONT'D)
Hes expecting me.
CADDY
Youll have to wait. Hes busy.
(Indicates Saba)
And who might she be?
217
AMLAK
She's with me.
The Caddy makes a big deal out of checking his
clipboard.
CADDY
Sorry, I don't see her here.
Look, sweetheart, you need a
chippy, they have a list at the
clubhouse. All certified for
your protection. Some of the
local girls just arent - SABA
Chippy? Whats he talking about?
AMLAK
(Raising his voice)
Sir, I'll have you know this
lady is not a quote chippy
unquote. Quite the contrary,
she's my wife!
SABA
Wife?
CADDY
Wife.
Amlak nods the nod of an insulted customer.
CADDY (CONT'D)
Very sorry, sir. She's not on
the pre-printed guest list. I'll
make a pen-and-ink amendment
forthwith.
AMLAK
See that you do!
Caddy exits. A shout and grin from Nadal.
NADAL
Glad you came, Boy. Gimme a
minute to sink this and well
talk. Help yourself at the bar.
TRE'DEAN (O.S.)
Hi, Amlak.
Amlak, Saba and Tin Man turn to see TreDean, in her
sexy outfit and cap, manning a portable, outdoor bar.
218
TRE'DEAN
Coffee, tea or...?
TreDean assumes a sexy pose and giggles. Saba stares
for the longest time at TreDean, then turns to Amlak.
SABA
Um. So as husband and wife, have
we done any serious consummating
yet?
EXT. AN OPEN COURTYARD INSIDE THE ABBEY DAY
The Monks surround LaVella's horse cart.
ASSISTANT
That's her for sure! There was
the young one with the red hair
and there was this one.
MONK IN COMMAND
You say she killed the Prince?
ASSISTANT
No. They say she did. They were
taking her to torture and burn
her.
The Monk in Command gives a signal. Rough hands jerk
them out of the wagon.
INT. KRONA'S MASTER BEDROOM - DAY
Kronas eyes suddenly open wide. She sits up. She presses
a call button.
EXT. THE OPEN COURTYARD DAY
LaVella & Higg on their knees at spearpoint. The Monk in
Command holds up the Prince's gold coin.
LAVELLA
Sir, we have a message for the
Queen, secret for her ears only.
MONK IN COMMAND
Save it for the torture chamber,
which is where youre going.
Two burly Monks lay rough hands on them.
219
HIGG
Careful of the leg, lads. OWWW!
EXT. PRINCESS ANDRESSAS CAMP DAY
Rows of TENTS. SOLDIERS doing tasks: sharpening swords,
cooking meals, repairing wagons. A Man in stocks:
COWARD" branded on his forehead. Sound of fists on a
punching bag.
GENERAL (O.S.)
My Lady, I urge you to
reconsider.
INT. PRINCESS ANDRESSAS TENT DAY
Princess Andressa works up a sweat on a punching bag.
Emamu holds the bag steady for her. ADVISORS, PRIESTS,
JESTERS, SOOTHSAYERS, FLATTERERS and COURTIERS look on.
PRINCESS ANDRESSA
No! I want action! Direct
assault!
GENERAL
A direct assault would cost how
many dead and wounded? The
troops are raw. They need more
training.
PRINCESS ANDRESSA
Assault it! Break it!
GENERAL
If it doesnt break? What then?
PRINCESS ANDRESSA
It'll break. Before the assault,
we send out the Giant Emamu to
issue a challenge to single
combat. It will demoralize them.
You don't approve?
GENERAL
Not an orthodox tactic, My
Lady.
PRINCESS ANDRESSA
No, it's not.
She finishes on the bag. He moves to a table with a
scale model of the Abbey. She follows, towelling
herself.
220
GENERAL
We'll have to cross the open
space here, then ford the moat
here on portable bridges, then
scale the walls here. The last
fifty yards are hardest, on
foot, going up ladders in a
hailstorm of stones and arrows.
Number of dead will be massive.
PRINCESS ANDRESSA
I dont recall hearing this
talk when you took command.
GENERAL
(Removes badge of office)
My Lady, if you want command,
you have my resignation.
An eyeball-to-eyeball moment. The General puts his badge
back on, salutes, turns to exit. Emamu blocks the way.
GENERAL (CONT'D)
Lady. Kindly tell this piece of
rancid goat cheese to move.
Princess Andressa nods. Emamu draws back and bows. The
General exits. Princess Andressa turns.
PRINCESS ANDRESSA
Get out of here! All of you!
INT. A PASSAGEWAY ON KRONA'S SPACESHIP - DAY
Krona, barefoot, hair a-tangle, rushes toward a hatch.
EXT. ON THE GREEN WITH NADAL DAY
Nadal turns back to his golf cart, once again occupied
by Witch 1 and Witch 2. He shakes his putter at them.
NADAL
I told you old prunes to git!
Witch 1 points a crooked finger at him.
WITCH 1
Watch for a storm cloud
Up high in the blue
When Krona awakens
And wants to see you
221
WITCH 2
Imagine the rage that
Will build in her throat
When she sees you cavorting
You filthy old goat.
The cart morphs into a GINGERBREAD HOUSE. It launches
itself upward. Saba gasps, crosses herself.
INT. THE BRIDGE ON KRONA'S SPACESHIP - THE SAME MOMENT
On the screen, image of Nadal & Amlak & Saba on the
green looking up at the sky. Nadal & Amlak's voices can
be heard but what they are saying cannot be made out.
Krona bursts onto the Bridge. The Pilot hits a key,
switching to screen saver mode. Too late. Krona saw it.
Wait!
KRONA
Switch that back!
EXT. ON THE GREEN WITH NADAL A MOMENT OR SO LATER

Nadal sits. Caddy stands behind him looking officious.
Meanwhile, whatever Saba does, Tre'Dean mimicks. Saba
runs a hand through her hair. So does Tre'Dean. Saba
puts a hand to her chin. So does Tre'Dean.
NADAL
Now lets talk. 'Tween you, me
'n' the fly on the wall, if it
wasn't me being there when your
Daddy passed on, no telling what
wouldda happened to your Ma - (Suddenly notices Saba)
Hey, what am I? Chopped liver?
Aren't you gonna introduce me?
AMLAK
Uh Saba, this is my Uncle Nadal.
Nadal takes her hands, holds on, pulls her to him.
NADAL
Excuse me sitting. Age. Feet're
always cold. Oh look at you!
Spitting image of Tre'Dean. Red
hair. Green eyes. This is eerie!
(Releases Saba. To Amlak)
Need a minute in private, you
and me, mano a mano, capish?
(Grins at Saba)
No offence.
222
SABA
Uh, no, Sure. I'll uh. I'll just
go over there and - She indicates a big shade tree. Amlak gives her a
panicked don't leave me look as she draws away.
NADAL
Yeah, you go and relax. Won't be
long. Family stuff. You'd be
bored.
Saba sits at the tree. Tre'Dean follows copying her
every move. Nadal snaps his fingers. The Caddy nods,
exits.
NADAL (CONT'D)
Boy, you're lookin' at a man
with not much time left.
Soonern you know, they'll be
doing my last rites and I'll be
laid out all rigid an' stifflike. Normal lifes all I ask
for the short time left.
(Indicates Tre'Dean)
A few simple pleasurable
pursuits.
AMLAK
What about Mama?
NADAL
Don't talk much anymore, her
'n'me.
Caddy brings with a thick tome, heaves it at Amlak's
feet.
NADAL (CONT'D)
Legal stuff. Need you to sign
off. A formality.
Amlak opens the tome, turns a few pages, frowns.
AMLAK
This is a general release.
Releasing Tre'Dean to you.
NADAL
Yep. Pretty much what it is.
AMLAK
I don't know, Uncle. Feels
wrong.
223
Nadal slams his hand on the chair armrest.

NADAL
Damn it Boy! Let's cut to the
chase. I'm tryin' to help get
you back home with all forgiven.
You scratch my back, I scratch
yours.
Saba smiles and waves. Tre'Dean smiles and waves.
EXT. PRINCESS ANDRESSAS TENT THE SAME MOMENT
Just outside the flap, the General hangs from a gibbet.
INT. PRINCESS ANDRESSAS TENT THE SAME MOMENT
Princess Andressa stands at a table. Two frightened NEW
GENERALS watch. She closes her hands over the scale
model of the Abbey, catching it in a pincer, collapsing
it.
PRINCESS ANDRESSA
Assault from two sides.
Questions?
EXT. ON THE GREEN WITH NADAL A MOMENT LATER
AMLAK
Youre gonna have to gimme some
time. I gotta think about this.
NADAL
No time. Launch window's
closing.
AMLAK
I got to feel right about this.
NADAL
Okay, you dont wanna be accused
down the road of not doing
right.
(Pulls a knife)
You can say I had a knife and
you had no choice. No one'll
blame you.
Tin Man rushes up and forcefully inserts himself bodily
between Amlak and Uncle Nadal, assumes fighting stance.
224
TIN MAN
You will drop the weapon, Sir!
NADAL
Ahh! Forgot your guardian robot.
(Drops knife)
Okay. Lets try something else.
Nadal gestures to TreDean.
NADAL (CONT'D)
Cmere, darlin'. Lets show
nephew Amlak some things I
taught you.
Tre'Dean plants herself on Uncle Nadals lap. He hugs her
close, one hand on her breast and the other in her
crotch. She swoons as if an orgasm were a-building.
NADAL (CONT'D)
Turned her into a sweet little
sex machine. I recall you don't
like those. You're one of them
old-fashioned "romantics."
Tre'Deans breasts heave as she bounces on Nadal's lap.
He thrusts his hand deep inside her. She orgasms loudly
and wetly. She collapses against him and purrs.
NADAL (CONT'D)
All I ask now is a little R & R.
You know I deserve it.
On the screen, Uncle Nadal in his chair diddling
Tre'Dean. A visible rage builds.
Quick!
KRONA
Give me a weather front!
FIRST OFFICER
But Highness - KRONA
Do as I say, you bucket of
worthless scrapmetal!
They begin pushing buttons and turning dials. On the
screen, Tre'Dean's cap blows off.
INT. PRINCESS ANDRESSAS TENT THE SAME MOMENT
225
Princess Andressa looks up as a sudden gust causes the

tent to strain against the ropes. She looks to the open
flap to see the General's corpse swinging wildly.
EXT. AT THE EDGE OF THE GREEN WITH NADAL DAY
Tre'Dean chases after her cap. A strong gust sends the
portable bar crashing. Nadal holds on tight to his
chair.
NADAL
The hell's going on?
EXT. THE VAST GREENBELT ON WHICH THE GOLF COURSE RESTS
DAY
Ominous rumbling. In the distance, two TWISTERS bear
down. Cartloads of Golfers race in panic toward the
Landers.
NADAL (O.S.)
C'mon, darlin', hurry! It's
every man for himself!
EXT. THE ABBEY RAMPART FACING PRINCESS ANDRESSAS TENT
DAY
The FLAG on the battlement whips in the wind. ARMED
MONKS point at the twisters and at the Landers rising en
masse.
EXT. THE VAST GREENBELT ON WHICH THE GOLF COURSE RESTS
DAY
In the crowded sky, two ascending Landers collide and
explode, raining burning metal on the fairway. Nadal
waits as the Caddy brings Tre'Dean. He holds a wand
connected to an ominous-looking black box. The ka-chunk
ka-chunk ka-chunk sound seems to be coming from the box.
NADAL
Hurry!
CADDY
Coming, Sir!
Nadal turns to Amlak. He shouts over the wind.
226
NADAL
Should've signed, boy. Was your
ticket out. As for now, I cant
count on you. And who knows if
I'll ever be back this way
again.
He points the wand at Amlak, squeezes. The ka-chunk kachunk ka-chunk gets louder. Amlak jumps aside as a small
projectile grazes him. He falls. Saba kneels, presses a
rag to the sudden bleeding. Tin Man moves front of
Amlak.
Uncle Nadal turns it on Tin Man, squeezes. The ka-chunk
ka-chunk ka-chunk reaches the high pitch of a keening
bird. Tin Man turns bright red, his torso starting to
sink into a puddle of molten ooze, followed by face and
extremities. Tin Man raises a shaking arm, points it at
Uncle Nadal, fires off a shot from his fingertip. It
blasts a hole in the green in front of Nadal. After
which the arm drops. Caddy and Tre'Dean rush by.
Tre'Dean reaches into the Tin Mans puddle, retrieves
the snake, tosses it to Saba. It lands at her feet.
TRE'DEAN
Keep it safe. You may need it.
Tre'Dean snatches up the bloody rag at Saba's feet.
Uncle Nadal, Caddy & Tre'Dean speed away. Saba & Amlak
watch them go. Saba picks up the snake.
AMLAK
Give it here. I'll dispose of
it.
SABA
You starting to give me orders?
AMLAK
No.
SABA
She gave it to me. I'm keeping
it.
She stretches it out, lays it across her shoulders. It
slithers to her upper arm, coils and blinks contentedly.
SABA (CONT'D)
See? It likes me.
A rumble builds to a roar. A mighty wind crashes through
the fairways ripping up trees. Amlak & Saba are knocked
off their feet and swept up into the air.
227
EXT. IN THE AIR

Amlak & Saba tumble in slow motion. Objects float by:
Plug & Stork laughing as they swim to the Rock; the
Witches waving as they ascend; the Croc showing rows of
teeth; the Gypsy Chief giving a sign of blessing; Prince
Andreas mouthing "I'm sorry; the Queen in white smiling
as she extends nail-pierced, bleeding hands; Tin Man
melting and unmelting and melting again; Princess
Andressa snarling; Uncle Nadal teeing off and shading
his eyes to watch the ball. Then the sound of a rushing
wind. Then all is black.
EXT. UNDERWATER
A churning torrent. Saba & Amlak swim upwards desperate
to reach air. A light above. They break surface in the
moat, coughing, gasping. Ominous FORMS speed toward them
from the deep. Saba & Amlak swim toward the edge, but
the Forms are gaining. A pole is extended. The snake
stretches out from Saba's arm and grabs hold of it. Saba
grabs Amlak by the hair. And they're pulled out just
ahead of the Forms.
INT. PRINCESS ANDRESSAS TENT DAY
Princess Andressa, dressed like a warrior goddess, sits
on a golden stool as Emamu performs the sixteen-count
manual of arms with a massive, double-edged sword.
INT. THE GREAT HALL AT THE ABBEY - DAY
Saba & Amlak gasp for air. Saba looks up at Abbot
Rodolfo.
ABBOT RODOLFO
Didnt someone connect a redheaded woman to the murder?
MONK IN COMMAND
Why yes! I quite forgot that.
ABBOT RODOLFO
Lock them with the others.
Abbot Rodolfo exits. Amlak groans, starts to get up. The
Monk in Command gives him a vicious kick in the ribs.
MONK IN COMMAND
You get up when I say!
228
EXT. PRINCESS ANDRESSAS TENT DAY

Princess Andressa in chain mail on a charger. She looks
down on the ROYAL TROOPERS in battle order.
BROTHER TWITCH
Emamu is prepared to face any
worthy opponent, Lady.
LORD BRANDON
Why are we humoring this fraud?
PRINCESS ANDRESSA
Shut up. You'd starve without
me.
INT. A DANK DARK DUNGEON IN THE BOWELS OF THE ABBEY NIGHT
Light enters via a barred window high up. Higg lies in a
pile of straw. Amlak, in pain, is propped up at the
wall.
LAVELLA
Time after time, I told Higg to
get rid of you. Told him you'd
bring bad luck. But he has a
weakness for your kind.
(Indicates groaning Amlak)
Arent you going to go comfort
your boyfriend du jour?
Saba springs to her feet in a rage.
SABA
You take that back!
LAVELLA
Take back that you went to the
Inn to sell yourself? Like every
red-headed border slut? Seems a
rite of passage for Dekia Rasho
girls.
Saba launches herself at her. They grapple, roll in the
straw, biting, kicking. Suddenly, a clanking noise.
MONK IN COMMAND (O.S.)
Silence for Sister Christa!
229
INT. THE FIRST NEW GENERAL'S TENT - NIGHT

Spartan decor. The First New General sits at a camp
table reviewing battle plans. The Second New General
looks over his shoulder. A shuffling sound from the
back. The Second New General points his blade at the
flap. The First jerks it open. Its Lord Brandon! His
eyes are wild.
LORD BRANDON
You must delay the assault!
SECOND NEW GENERAL
Delay would mean death.
LORD BRANDON
The assaults a disaster. It'll
end by destroying all of us.
FIRST NEW GENERAL
What do we say to her?
LORD BRANDON
Say the scouts made an error.
The portable bridges built on
their estimates are too short to
span the moat. Say you're
fabricating new bridges and
it'll take a few days.
FIRST NEW GENERAL
Would she accept that?
LORD BRANDON
A wizard, on whose every word
she hangs, foretold a battle
for the Kingdoms fate. He said
it must be fought. It cant be
avoided.
SECOND NEW GENERAL
So the moat must be crossed.
FIRST NEW GENERAL
Thats right. The Monks aren't
coming out. They're dug in with
a come in and get us strategy.
Whole place is barricaded.
LORD BRANDON
But as long as you delay and not
cross the moat, there's no
battle.
230
They think about that.

Shes insane. Maybe someone'll
kill her. Then we can stop this
madness.
FIRST NEW GENERAL
But what's your stake? If the
Princess loses, dont you lose?
He sighs. He speaks in a barely audible voice.
LORD BRANDON
Prince Andreas was my friend. I
think she had him killed. Since
he died, its a mad power grab.
FIRST NEW GENERAL
I admit the circumstances of the
Princes death are murky.
LORD BRANDON
Theres also this. I saw her and
Brother Twitch toasting his
death. I'm frightened. I might
be next. I've said too much.
Lord Brandon exits out the flap and vanishes.
INT. THE DANK DARK DUNGEON NIGHT
THE QUEEN
Leave us.
(She smiles)
I know what Im doing.
The Monk in Command bows. The Monks leave.
THE QUEEN (CONT'D)
You're from the border region.
SABA
Dekia Rasho, Ma'am.
THE QUEEN
When I was first wed, I was out
there. It was a Shankallah war
and my husband led troops. I
went along despite I was
pregnant with Andreas and
Andressa. Seemed every second or
third woman was redheaded.
231
SABA
Mark of our race, Ma'am.
THE QUEEN
Yes. Border Girls are noted for
their exotic looks, in demand as
concubines and for pleasure
houses.
A look of anger crosses Sabas face.
THE QUEEN (CONT'D)
You're bold. I recall your kind
are wont to look you in the eye.
SABA
Some mistake it for insolence.
THE QUEEN
My daughter would.
Amlak groans. The Queen turns, looks at him.
SABA
He was kicked, Ma'am. Cracked
rib.
Higg groans. The Queen turns her attention to him.
SABA (CONT'D)
Broken leg. I bring him to you.
THE QUEEN
To have me mend him?
SABA & LAVELLA
Yes, Ma'am.
THE QUEEN
I tell them it's not I who
heals. I say I'm but an
instrument and what happens,
happens. But they keep coming
and saying, "Please heal." I'll
give your friends what I give
the others. Normally its a
gift. But from you, I'll want
payment.
LAVELLA
But we have nothing.
THE QUEEN
You have secrets.
232
EXT. THE OPEN FIELD BELOW PRINCESS ANDRESSA'S TENT NIGHT

Emamu stands, surveying the distant Abbey walls in the
moonlight. His shin guards lay on a large flat rock.
EMAMU
Can you keep a secret?
BROTHER TWITCH
You know me. Mum's the word.
EMAMU
When I performed the manual of
arms for the Princess, I tore
something in my ribs. Now it's
like a knife.
BROTHER TWITCH
Postpone. Ill tell her that - EMAMU
You'll tell no one! Her desire
is my command. Now help with the
shinguards. I cant bend down.
With a look of foreboding on his face, he picks them up.
INT. THE DUNGEON - NIGHT
LAVELLA
Yes, Ma'am. Well tell you - SABA
We'll tell on one condition.
Suddenly, she's the angry Queen.
THE QUEEN
You dare set conditions?
LAVELLA
Please, don't provoke her - Saba raises a hand for silence. LaVella clams up.
SABA
Condition is we serve you. No
one else, not the monks nor the
Abbot.
233
THE QUEEN
Whatever would I do with you?
SABA
Amlak and Higg, after you repair
them, could be your escorts,
keeping people from crowding
you.
THE QUEEN
Ive had my fill of bodyguards.
SABA
Not bodyguards. Crowd control
managers. What do you prefer?
People pressing in, fighting for
your attention? Or waiting in
line, waiting their turn?
THE QUEEN
That does make sense.
SABA
LaVella could be your dietitian.
LaVella opens her mouth to speak. Saba gives her a look.
SABA (CONT'D)
She's very experienced in
running other people's lives.
THE QUEEN
I won't have much work with me.
I fast.
SABA
All the more reason to have
someone ensuring you keep up
your strength.
THE QUEEN
(An admiring smile)
And what would you be doing?
SABA
Personal Assistant. Dictation,
correspondence, appointments,
minimizing the chaos, confusion,
hustle and bustle, ensuring
peripheral matters stay
peripheral, letting you focus on
core issues.
THE QUEEN
You've a way with words, girl.
234
SABA
Call me Saba, Ma'am.
The Queen takes out the Princes gold coin, holds it up.
THE QUEEN
Now tell me about my poor
Andreas.
LaVella & Saba draw close, begin to speak. We cant
hear.
EXT. THE OPEN FIELD - DAY
Morning. Emamu & Brother Twitch go a short way and halt.
EMAMU
Here. Now issue the challenge.
Brother Twitch brings the megaphone up.
BROTHER TWITCH
Are we to conclude the men of
this ancient and venerable
Abbey are no better than a - INT. THE CHAPEL AT THE ABBEY THE SAME MOMENT
LaVella, Saba and the Queen stare at the chapel window
through which the challenge comes, loud and clear.
BROTHER TWITCH (O.S.)
Pack of rats and mice scurrying
to their holes whilst men such
as my Lord Emamu walk on the
earth, sword in hand, seeking
honorable quarrel with any
worthy man-at-arms?
Higg and Amlak pace about, their injuries seemingly gone.
HIGG
Let me have a look at this
fellow. Ye Gods! Like the Tower
of Babel!
THE QUEEN
My daughter's bodyguard. He's
nine feet tall, well-versed in
warfare.
235
LAVELLA
What does he want?
THE QUEEN
Single combat. He's challenging
the Abbot to send a champion
out.
AMLAK
Good God! Never seen such a one!
Is there no one in the Abbey who
can stand erect on two legs and
say, "I am a man, not a dog?!"
Amlak and Higg look at one another. They shiver in fear.
EXT. THE OPEN FIELD LATER THAT MORNING
A pike stuck in the ground projects a shadow half its
length. Emamu, in visible pain, stands in full armor.
BROTHER TWITCH
We can leave. No ones coming.
EMAMU
No. We wait for the shadow to
equal the pikes length. Her
command.
Emamu points to the shadow. Brother Twitch takes out a
handkerchief, wipes sweat. He holds up the megaphone.
BROTHER TWITCH
How times have changed! Years
ago many warriors would have
pledged their swords. But now INT. THE CHAPEL THE SAME MOMENT
Not one man of courage will take
the challenge. Sad state of
affairs! Cowardice reigns
supreme.
The Monk In Command enters, bows to the Queen.
236
SABA
Is what he says true?
MONK IN COMMAND
No! We have many brave fighters!
SABA
But no one to shut that man up.
The Queen & the Monk In Command stare at the floor.
SABA (CONT'D)
If no one will, I will!
LaVella laughs.
Princess Andressa sits on her charger. A MESSENGER
gallops up with a dispatch. Long silence while she reads
it.
PRINCESS ANDRESSA
Do you know what this says?
MESSENGER
No, Highness.
PRINCESS ANDRESSA
The scouts erred. Assault's on
hold due to an error in
calculating the the bridge span.
What do you think?
MESSENGER
I'd be upset. Such an error
could mean troops killed and
battle lost.
PRINCESS ANDRESSA
If you were general, would you
send a mere messenger to me?
MESSENGER
I'd come personally, Highness.
If you had questions, I'd want
to be the one to answer you.
PRINCESS ANDRESSA
(Takes off her ring)
Take this ring. Inform the
cowards they are no longer in
command.
237
MESSENGER
Who's the new general, Highness?
PRINCESS ANDRESSA
You, of course.
EXT. THE OPEN FIELD TWO HOURS LATER
The shadow's nine-tenths the pikes length. Emamu eyes
it.
BROTHER TWITCH
Perhaps I could do something to
influence the shadows advance?
Emamu grimaces in pain as he glances over his shoulder.
EMAMU
No, she's watching. Can't risk
it.
EXT. ON THE ABBEY SIDE OF THE MOAT THE SAME MOMENT
The heavy door swings open. Saba, The Queen, The Monk In
Command emerge, followed by an ARMORBEARER.
MONK IN COMMAND
It's suicide! I wont allow it!
THE QUEEN
And yet you cant get even one
brave fighter to go shut him up.
The Armorbearer starts strapping armor on Saba.
MONK IN COMMAND
Sister, Im responsible for what
goes on in the Abbey.
THE QUEEN
Were not in the Abbey, are we?
MONK IN COMMAND
I could arrest her. Shes a
suspect in a crime. The Abbot
himself - THE QUEEN
I pardoned her. She works for
me.
238
MONK IN COMMAND
I hope you know what youre
doing.
The Monk In Command starts to leave, then he turns.
MONK IN COMMAND
I dont like this one bit.
THE QUEEN
Go back inside.
He goes inside, slams the door. Saba tests the armor.
SABA
Can't move. Cuts into my
quickness.
She starts unstrapping the shinguards.
THE QUEEN
You need protection. He's quick
for a big man. Don't
underestimate him.
SABA
He's top heavy. Weight's up
high.
THE QUEEN
How would you fight him?
SABA
Keep him moving, tire him, slow
him with blows to the knee.
Finish him with a knife.
Saba pats her sheath. It's empty. The Queen opens her
hand. Poof! The knife appears. She hands it back to Saba.
THE QUEEN
More get killed forgetting
things in the heat of battle.
SABA
I'll try to remember that.
THE QUEEN
We'll do it your way. If you
die, we'll say your way didn't
work.
239
The Queen goes back inside. She seems to float on air.

The door seems to open and shut on its own. And Saba is
alone.
EXT. THE OPEN FIELD - AN HOUR LATER
The Sun beats down. The Pike's shadow nearly equals its
length. Brother Twitch shades his eyes.
BROTHER TWITCH
Someones come out. Can't see
who.
EMAMU
I'm thirsty. I need water.
Brother Twitch hands the water skin to Emamu. He shakes
it.
EMAMU
It's empty! Did you drank it
all?
BROTHER TWITCH
Throat gets dry. Needed water to
speak clear through the
megaphone.
EMAMU
Go fill it at the moat, you ass.
BROTHER TWITCH
But. But that's close to the
enemy.
Brother Twitch hesitates. Emamu half draws his sword.
EMAMU (CONT'D)
Get going! Go!
Brother Twitch starts walking forelornly toward the
moat.
EXT. A RAMPART ON THE ABBEY WALLS - THE SAME MOMENT
MONKS, PILGRIMS, & ABBEY WORKERS cheer. Amlak, LaVella &
Higg work their way to the outer wall.
HIGG
Everyone's cheering for Saba.
240
LAVELLA
Why cheer? She's going to die.
LaVella grabs a Pilgrim by the scruff of the neck.
LAVELLA (CONT'D)
The giant's going to kill her!
Higg pulls her away from the Pilgrim.
LAVELLA
(To Pilgrim)
Sorry.
(Moves away from Higg)
No one wants to see her die. But
no one's wants to help her!
AMLAK
I'm going to help!
He dashes off. Higg looks down at Saba preparing to
swim.
HIGG
Think I should go along, pet?
Keep an eye on him? Just in
case?
LAVELLA
Oh, do what you want!
Higg has taken his last public rebuke from LaVella. He
gives her a Bronx cheer and runs off leaving her alone.
EXT. DOWN AT THE MOAT WITH SABA - A MOMENT LATER
Saba touches toe to water. A DEMON-LIKE CREATURE pokes
its head up, displaying a double row of teeth. Just then,
the waters begin to part. Saba jumps back. A strip of
land appears forming a path through the moat.
EXT. AN OPEN WINDOW HIGH ON THE ABBEY WALL - THE SAME
MOMENT
The Queen looks down at the parted waters. She twirls an
index finger. The waters move back more, widening the
path.
241
EXT. THE OPEN FIELD WITH EMAMU - THE SAME MOMENT

Emamu drapes a cloth on his head, breathing more labored.
EMAMU
Where is my water?!?
EXT. DOWN AT THE MOAT WITH BROTHER TWITCH - THE SAME
MOMENT
He lies in bushes at water's edge, slurping, splashing
his face, the empty water skin by him. He sees Saba,
reaches for his blade. The waters begin to part. He
gasps, runs in fear.
EXT. THE DRY PATH THROUGH THE MOAT - A MOMENT LATER
Saba walks the path with ten-foot walls of water on
either side. MONSTERS & DEMONS swim up to the walls,
hissing.
EXT. THE OPEN FIELD - THE SAME MOMENT
Brother Twitch is within shouting distance of Emamu.
EMAMU
Do you have my water?!?
BROTHER TWITCH
Strange, Sir! The moat - EMAMU
DO YOU HAVE MY WATER?!?
He holds up the empty skin. Emamu hurls his throwing
spear, piercing the Monk's gut, impaling him to the
ground. Emamu sees Saba, still too far off to see
clearly, emerge from the moat. He takes the pike and,
using it as a walking staff, sets out, the earth shaking
as he walks.
INT. THE GENERAL'S TENT - DAY
The New General (formerly the Messenger), in silver
armor and gold medals, sits in thought. An AIDE
approaches.
242
NEW GENERAL
The assault begins the second
the Shankallah kills the
challenger. Remember, timing is
everything.
The Aide salutes and exits. The New General picks up a
hand mirror, observes himself, smiles and nods.
Princess Andressa sits on her charger. Behind her, Lord
Brandon sits on his Mare.
PRINCESS ANDRESSA
What are you thinking, husband?
LORD BRANDON
Thinking? I was thinking how uh - how glorious it will be
when the Abbey falls into your
hands, dear.
PRINCESS ANDRESSA
Glorious, you say.
LORD BRANDON
Yes.I always wanted a glorious
clerical robes. And a green
mitre.
EXT. THE RAMPART - MOMENTS LATER
LaVella watches the Monks, Pilgrims, Abbey Workers and
Others pointing excitedly at the activity down below.
PILGRIM
See! Two men run through the
moat!
MONK
They look familiar.
ABBEY WORKER
Weren't they here with the
woman?
PILGRIM
What woman?
243
ABBEY WORKER
The blonde women. Over there.
But LaVella is no longer over there.
EXT. THE OPEN FIELD - THE SAME MOMENT
Sound of the distant cheering crowd. Emamu strides
slowly, painfully, his armor clanking. He now sees Saba
clearly.
EMAMU
Just a damn kid! Not even in
armor!
Emamu sees two Men running to overtake her.
EXT. WITH AMLAK AND HIGG IN THE OPEN FIELD - THE SAME
MOMENT
Higg stops, out of breath. Amlak stops, too.
HIGG
We watch her right and left,
okay?
Amlak nods. They walk. Higg looks right, Amlak looks
left.
HIGG
Clear on the right.
AMLAK
Clear on the left.
Saba turns, gives them a contemptuous look.
SABA
What are you two up to?
AMLAK
Uh. Watching. Watching your
flanks.
Suddenly a voice with the force of an earthquake.
EMAMU (O.S.)
ARE YOU READY TO DIE, LITTLE
MOUSE?
244
Saba turns. Emamu stands 400 yards ahead, like a tower

in the sky. He tosses his broadsword up. It spins,
flashes in the sun. He catches it, swings it, slicing a
tree branch.
EXT. WITH EMAMU IN THE OPEN FIELD - A MOMENT LATER
Emamu grits his teeth. The pain from tossing the sword is
excruciating. He wills himself not to show it.
EMAMU
Come. Because I can't go to you.
Saba, a face of grim resolve, stands 400 yards ahead.
Higg & Amlak, their faces not so resolute, stand behind
her.
EXT. IN THE DRY PATH THROUGH THE MOAT - THE SAME MOMENT
BATTLE-READY MONKS await the order to attack. The
Monsters & Demons in the water walls try frightening them
with fierce looks. A Monk sticks out his tongue. A Demon
explodes.
EXT. WITH SABA IN THE OPEN FIELD - THE SAME MOMENT
Saba stops at the impaled Brother Twitch. Suddenly his
eyes open. Gritting his teeth, he grips the shaft and
snaps it in two. He opens his mouth as if to speak. Blood
and saliva dribble out. His hand falls back, his eyes
turn up, he goes limp. Saba turns, looks across the field
at Emamu.
EMAMU
Where are your friends, little
mouse?
Saba turns, looks for Amlak and Higg. They're gone.
A NEW MESSENGER stands next to Lord Brandon's Mare.
PRINCESS ANDRESSA
He just stands there.
NEW MESSENGER
Is he toying with her, Lady?
245
PRINCESS ANDRESSA
Toying with my patience! Go! A
gold piece for you if he gets it
done.
He rides off on the Mare. Lord Brandon emerges in a
lady's riding outfit. He sees his mare gone, stamps his
boot.
EXT. SOLAR SYSTEM - DAY
A black sky. In foreground, SATURN and her MOONS. The
SUN, a faint star. Krona's Spaceship powers into view.
Nadal hums as he practices putting. Krona enters.
KRONA
I want to call Amlak.
(To the First Officer)
Open a channel to my son.
FIRST OFFICER
Were out of range, Lady Krona.
KRONA
What? Why wasn't I told?
(To the Pilot)
Turn the ship back.
Nadal gestures the Pilot to stay on course.
NADAL
Dearest, I'm afraid we can't.
KRONA
Of course we can! Turn the ship.
Nadal gestures the Pilot to stay on course.
KRONA (CONT'D)
Are you countermanding me?
He gestures her to sit. She does. A long silence.
NADAL
I wasn't going to tell you until
we got back, didn't want to
upset you.
246
Uncle Nadal fishes the bloody rag from his pocket.

NADAL (CONT'D)
Long and short of it is, he's
dead.
This hits her like a slap in the face.
NADAL (CONT'D)
I was waiting for the right
time, considering the
circumstances - KRONA
What? What circumstances?
NADAL
The sudden storm that you.
(He stops himself)
The swirling winds came out of
nowhere. He fell, struck his
head.
(Holds up the bloody
rag)
We tried to stop the bleeding.
He said give you this. His last
words.
KRONA
(Presses rag to cheek)
Oh God no!
NADAL
Don't blame yourself.
KRONA
I lost my only child.
Tre'Dean enters silently. She smiles a perfect smile.
NADAL
No. You still have a daughter.
EXT. WITH THE NEW MESSENGER IN THE OPEN FIELD - DAY
With difficulty, the New Messenger keeps the mare
upright. He now sees, on close inspection, that the open
field is not flat but criss-crossed with shallow ditches
hidden by tall grass. He steers the Mare onto a raised
bank.
EXT. AT THE QUEEN'S HIGH OPEN WINDOW - THE SAME MOMENT
247
The Queen's extended arm shakes. A strain on her face.

EXT. IN THE DRY PATH THROUGH THE MOAT - THE SAME MOMENT
The water walls shake as if straining to hold their
shape. A Demon slides through, tumbles onto the path. A
Monk kills it. The Monk In Command runs along the line.
MONK IN COMMAND
Eyes on the wall! Eyes on the
wall!
EXT. WITH EMAMU IN THE OPEN FIELD - SOME MOMENTS LATER
NEW MESSENGER
Her Highness wishes you to
proceed to kill the challenger
forthwith.
EMAMU
Let the girl come. I will kill
her.
NEW MESSENGER
No! You must go to her. Troops
are poised to attack. They can't
stay poised forever.
EMAMU
And I said, let her come.
NEW MESSENGER
You dare refuse the Princess'
direct command? I will tell her!
EMAMU
You'll tell her nothing!
The New Messenger gives Emamu an "orders are orders"
look, reaches to snatch his chain of office. Emamu
suddenly grips the man's neck, squeezes. The New
Messenger's eyes threaten to burst. Emamu releases his
grip. The New Messenger jerks away, gasping. Emamu
gestures obscenely at Saba, daring her.
EXT. IN THE OPEN FIELD WITH SABA - THE SAME MOMENT
Saba sees Emamu's gesture.
SABA
That son of a - -
248
She kicks the impaled corpse onto its side, pulls out the
broken spear. She snaps off the half with the point,
brandishes it at Emamu, starts running straight at him.
EXT. WITH EMAMU IN THE OPEN FIELD - A MOMENT LATER
Emamu stiffens as he sees her coming. He readies the
pike.
EMAMU
She comes now. Her life will
end. Tell our Mistress she may
proceed.
NEW MESSENGER
(Still choking)
You're sure?
EMAMU
Go!
The New Messenger turns the Mare around. In a nearby
ditch, hidden in tall grass, Higg and Amlak crouch low.
EXT. ON A RAISED BANK WITH SABA - THE SAME MOMENT
Sound of the distant Crowd. Saba is sixty paces from
Emamu, running in a mad dash. She cocks her arm, aiming
the spear.
EXT. IN THE OPEN FIELD WITH EMAMU - THE SAME MOMENT
Crowd noise louder. Sound of Emamu's labored breathing.
EMAMU
Come closer, little mouse.
EXT. AMLAK & HIGG IN THE SHALLOW DITCH THE SAME MOMENT
Amlak parts the tall grass, sees Emamu towering above him
on the raised bank. He takes a coil of cord from his belt
and fashions a loop just as Emamu takes a step forward.
HIGG
What possessed her? Why am I
here? I must be crazy.
AMLAK
No, You're a cockeyed optimist.
249
They crawl forward a bit until they're just below and

beside Emamu. Amlak holds the loop end of the rope out to
Higg.
HIGG
I'm to put it on him? Is that
it?
AMLAK
You're smaller. He won't see
you.
HIGG
Now I know I'm crazy. Give it
here.
EXT. IN THE PATH THROUGH THE MOAT - THE SAME MOMENT
THE QUEEN (O.S.)
Hurry! Hurry!
The path is turning to mud. Demons & Monsters slide from
the walls, their teeth and claws flashing. The Armed
Monks chop them up as they emerge. One Demon hops on a
Monk's back, sinks his teeth in deep. The Monk screams.
EXT. IN THE OPEN FIELD WITH EMAMU - A MOMENT LATER
Saba closes. She halts just out of range. Emamu takes two
quick steps, thrusts at her. She retreats. He tries
advancing further. Something stops him. He turns.
EMAMU
What the - He sees a cord around his ankle which the crawling Higg
has put there. He tries jerking and kicking to snap it.
EXT. WITH AMLAK IN THE SHALLOW DITCH - THE SAME MOMENT
Amlak hammers, driving the stake deeper. The cord, tied
to the stake, jerks, stretches to its limit, threatens to
snap.
HIGG (O.S.)
Get up here, Man! I need help!
250
EXT. IN THE OPEN FIELD WITH SABA & EMAMU - THE SAME
MOMENT
Emamu stabs at Higg with the pike. Higg dodges, stays
behind him forcing him to turn. Saba sees an opening,
moves in, stabs Emamu. He roars. He turns on her. She
retreats. In turning, Emamu has wrapped the cord around
his ankles. Now hobbled, he loses balance, starts falling
forward. Saba closes to deliver some deep thrusys to his
gut.
MONTAGE
-- Princess Andressa looks on, her hands balled into
mmmfists.
PRINCESS ANDRESSA
Kill her, you fool!
-- People on the rampart strain to.see.
-- Royal Soldiers stand in formation, ready for the
mmmassault.
SERGEANT
Wait for the signal, Lads.
-- Abbot Rodolfo in his private chapel, kneeling before
mmmthe image of Mary Queen of Heaven, saying the rosary.
MONTAGE ENDS
EXT. IN THE OPEN FIELD WITH SABA & EMAMU - MOMENTS LATER
Emamu falls like a huge tree coming down, burying all
below him in the earth-shaking WHUMPPPPP! Dust and leaves
slowly settle over him. And for a single beat, all is
still. Amlak, holding onto the cord, pulls himself from
the ditch.
AMLAK
She's under him! She'll
suffocate!
HIGG
Where under him? Where do we
dig?
Then, Saba's spear tip pops through Emamu's lower back.
251
AMLAK
There! She's right there!
MONTAGE
-- People on the rampart see the fallen Emamu. They
mmmcheer.
-- Abbot Rodolfo hears the cheers through the walls. A
mmmMonk enters, whispers. He looks up at Mary, mouths
mmm"Thank you"
-- The Sergeant stands in front of a formation of Troops.
...The look on his face turns from resolve to unease.
-- Princess Andressa, shock and dismay on her face, sees
mmmthe fallen Emamu. A shadow appears behind her. She
mmmturns.
MONTAGE ENDS
EXT. IN THE PATH THROUGH THE MOAT - THE SAME MOMENT
Go!
Go!
MONK IN COMMAND
Go! Go!
The Armed Monks rush out into the open field toward the
Royal Troopers. They scream a blood-curdling rebel yell.
EXT. AT THE RISE AMONGST THE ROYAL TROOPERS - A MOMENT
LATER
In the open field below, a horde of screaming Armed
Monks on the raised banks heading straight toward them.
SERGEANT
Steady, lads. Wait till you see
the whites of their eyes.
Steady.
The Sergeant turns to see no one in formation behind
him. He turns back to see the Armed Monks closing. He
runs.
MONTAGE
-- Bands of Armed Monks overtake fleeing Royal Troopers
mmmand cut them to pieces.
252
-- Armed Monks surround a huge tree, shoot arrows and

mmmsling stones up into tree. The Sergeant drops from
mmmtree, dead.
-- Armed Monks stop a "woman" trying to leave the scene
mmmof battle. They pull back "her" veil to reveal the the
...General (formerly the Messenger).
-- Royal Troopers surrender in droves.
-- Armed Monks surround the Princess' Carriage. The Monk
mmmin Charge drags out Lord Brandon in a milkmaid's
mmmgetup, complete with bucket and milking stool.
MONTAGE ENDS
EXT. IN THE OPEN FIELD WITH HIGG & AMLAK - MOMENTS LATER
Emamu lies still, facedown. Sound of battle in progress
everywhere around them. Higg and Amlak dig.
HIGG
She's probably dead.
AMLAK
No! She's alive! I can hear her!
Amlak redoubles his digging efforts. Just then, Higg
spots Emamu's big pike sticking out sideways from
underneath him.
HIGG
Pike! Use it as a lever! Rock
him back and forth! She'll crawl
out.
Higg & Amlak grab hold of it, start rocking Emamu.
AMLAK
Keep rocking. Get her out!
They work feverishly, raising the torso slightly.
AMLAK (CONT'D)
Keep rocking. Almost got it!
But no! Amlak is suddenly face-to-face, eyeball-toeyeball with a wide-awake Emamu. Emamu raises himself
up, slaps a huge hand at Amlak and Higg. They go flying.
253
With painful effort, Emamu raises himself high, looks

down at Saba with a hateful grin, raises a fist to smash
her skull. She reaches for her knife. It's not there!
She sees it ten feet away, too far to reach. Suddenly a
loud shot and a bloody hole in Emamu's forehead. Saba
sees smoke coming from the tip of the snake, as if from
a gun barrel.
Saba rolls out from under Emamu a split second before he
crashes back down. Higg and Amlak rush up. They watch as
Emamu utters a death rattle and then lies still.
Suddenly a WHOOP and a YEEE-HAW. LaVella, mounted on
horseback, rides up with a naked Princess Andressa in
tow.
LAVELLA
Guards ran off when the giant
fell, leaving her - uh exposed.
Higg lights a cigar and, with a big grin, starts toward
Princess Andressa.
HIGG
Well done, pet! We worried sick
about you. Get some rest while I
take the Princess to the
dungeon.
LaVella cracks a whip. Higg stops, puts the cigar away.
HIGG
Uh. Yes, pet.
INT. A HORSE TRAIL - DAY
Saba galloping lickety-split. She looks back, laughing.
EXT. NOT FAR BEHIND - THE SAME MOMENT
Amlak spurs his horse in pursuit. He's laughing, too.
INT. UP AHEAD - A MOMENT LATER
Saba steers her horse off the path, pulls up behind a
large bush. She watches as Amlak zips past.
AMLAK
I'm gonna get you, girl!
254
Saba laughs and spurs her horse in a different

direction. Amlak screeches to a halt, turns and pursues.
AMLAK (CONT'D)
Just wait! I'm gonna get you!
INT. THE PURSUIT - A MOMENT LATER
Amlak is gaining on her just as they reach the crest.
Below them, the Abbey with the drawbridge down. Monks
line the road on either side. Saba slows to let Amlak
pull up beside her. They ride down together to sustained
cheers.
SABA
Okay, Typical Guy, playtime's
over.
INT. THE GREAT HALL AT THE ABBEY - DAY
Saba & Amlak, escorted by the Monks, walk in. The Queen
sits on a throne, wearing a crown. A host of PEASANTS &
TOWNSMEN are gathered. In front, Higg & LaVella. The
Abbot frowns.
THE QUEEN
I know what Im doing, Rodolfo.
The Abbot sighs, gives a signal. The Monks lead Amlak &
Saba with pomp and circumstance up the aisle. As they
near the front, Saba gives the Queen a wink. The Queen
winks back.
ABBOT
There's a question as to whether
they are actually married.
AMLAK
Uh. We kind of are.
SABA
And we kind of arent.
THE QUEEN
We can fix that, cant we?
ABBOT
Yes, Your Highness.
Amlak grins, squeezes Saba's hand. They turn to face the
cheering Throng. Two thrones are brought out. Saba and
Amlak sit. Two Monks bring out CROWNS and place them on
255
their heads. Loud cheers, the loudest coming from

LaVella.
LAVELLA
You go, girl! You go!
Cheering dies down. The Queen starts to remove her crown.
ABBOT
Highness, we beg you to
reconsider!
Thunderous clapping. She holds up a hand for silence.
THE QUEEN
Saba and Amlak will do well.
They have character, courage and
intelligence. Not to mention,
Amlak is of royal blood. I
charge you all to honor them as
you would me.
More thunderous clapping. Higg lets out a WHOOOP!
THE QUEEN (CONT'D)
As for me, I must continue my
life of prayer and fasting, for
while this place is good, my
goal is to prepare myself for a
better place.
The Queen sets the crown down, walks up the aisle to a
hushed Throng. She seems to float rather than walk. The
door opens and shuts on its own as she passes out. And
she's gone. And Saba smiles her first queenly smile.
FADE OUT
256
STANLEY ISHKHANYAN'S NEXT BIG THING

a screenplay
by
DALE ANDERSEN
@2015
Finalist - 2014 Yosemite International Film Festival

Honorable Mention - 2014 International Independent Film Awards
Honorable Mention - 2014 Williamsburg International Film Festival
Dale Andersen
27702 Crown Valley Pkwy #117
andersen.dale@gmail.com
562-508-5820
WGAW Reg # 1715297
257
FADE IN
EXT. A DITCHBANK ALONGSIDE A COUNTRY ROAD - NIGHT
SUPER: SOMEWHERE IN NORTHERN MEXICO
Silent MEN mount a truck bed. Sound of the engine
starting. Truck lurches forward, drives off. On the
ditchbank, we see ten bloody HEADS. On the fence by the
road, a hand-painted sign (in Spanish): DON'T MESS WITH
EL CHINO. Faint sounds of a big city crowd and traffic
noise, gradually get louder.
EXT. A BORDERS-TYPE BOOKSTORE NEAR RIVERWALK - DAY
SUPER: SAN ANTONIO
A line of FANS snakes down the sidewalk. GAWKERS stand
by the entrance. Three of SAN ANTONIO'S FINEST keep a
path clear. Huge posters in the window: "In Person, The
First-Family Twins, Jenna & Barbara, Sign Their Tell-All
Book, THE BUSH TWINS: THE WHITE HOUSE YEARS." A VAN
pulls up. A BEARDED MAN in garish chef's garb jumps out,
waves to the police MOTORCYCLE ESCORT, who gives a big
thumbs-up.
BEARDED MAN
(To San Antonio's Finest)
Guys, can you help clear a path?
Two MEXICANS hop out, open the slide door, lower three
carts loaded with cakes and pies to the sidewalk.
SAN ANTONIO'S FINEST 1
Whatcha got there?
Bearded Man waves a document, hands out doughnuts.
BEARDED MAN
Catering the post-signing
reception for the mucky-mucks.
Nightmare getting here. If it
hadn't been for your man on the
motorcycle, we - LOUD VOICE (O.S.)
HEY!!
Two SECRET SERVICE AGENTS in jarhead haircuts rush up.
258
SECRET SERVICE AGENT 1
Move that thing outta there now!
BEARDED MAN
But I just got here.
Move it NOW or - One of San Antonio's Finest steps in between. His two
Compadres watch intently, munching on doughnuts.
What's the trouble here, Hoss?
He's inhibiting ingress and
egress.
Could be a bomb.
Bomb? That van was escorted by a
brother officer. I'll be damned
if some yankee out-of-towner is
gonna accuse us of trucking in a
bomb.
His two Compadres chomp down hard on their doughnuts.
We're Federal Secret Service.
Now move it! That is a direct
order!
San Antonio's Finest 2 steps back, folds his arms.
The van stays.
You're in big trouble!
Secret Service Agents stomp off. The three San Antonio's
Finest create a path. Some Fans hold the doors open.
INT. THE BOOKSTORE - A MOMENT LATER
We go inside to the snack bar/coffee shop area. In an
open space, JENNA and BARBARA, nursemaided by a
PUBLISHER'S REP, sit signing, chatting with Fans. The
259
Bearded Man pushes his cart to the signing table. The
Mexicans follow.
BEARDED MAN
Hot stuff comin' through!
The Fans, one of whom is JANEYRUTH RAMIREZ, 32, Native
American features, draw back. Jenna & Barbara relax. The
Bearded Man turns, nods to the Mexican behind him.
FIRST MEXICAN
Jenna! Barbara! Buenas Dias!
The Bearded Man has a cream pie in each hand as the
Twins turn. He launches them, shot put style, hitting
each dead center. JaneyRuth catches it on her cellphone.
Oh shit! Oh shit fuck shit!
Fans tackle him as Jenna runs off screaming. A Fan rips
the fake beard off to reveal STANLEY ISHKHANYAN, 30.
INT. A SMALL VILLAGE IN MEXICO - NIGHT
Only a few lights illuminate the town. A dirt road runs
past the Catholic Church and the Cantina and a few
Shops. Tucked away on a side road is the FUNERAL PARLOR.
INT. THE FUNERAL PARLOR VIEWING ROOM - NIGHT
Cartoon music plays. On a wall, courtesy of a batterypowered laptop, a YouTube video loop runs of the Three
Stooges in a pie-throwing how-to on Mike Douglas. Stanley
lies in a casket. A small table piled with newspapers.
LESTER CHAN, 27, Chinese features, and JaneyRuth sit
quietly. Lester stands, walks up to the casket, pays his
respects, then picks up a newspaper, holds it up. We see
AMBUSH PIE-THROWER STRIKES AGAIN! in big block letters.
LESTER (V.O.)
Yep, that's me, Lester Chan,
close personal friend of the
late, great Stanley Ishkhanyan.
I say late because, well, he's
dead.
(Nods at the casket)
And great for what he devoted
his life to: hitting the famous,
the infamous, talented,
untalented. He did not
discriminate.
260
MONTAGE - STANLEY'S TARGETS
-- Lester picks up another paper, holds it up. The
hhhheadline reads, "BARBARA WALTERS 'PIED' AT VASSAR
hhhFUNDRAISER".
hhhheadline reads, "LADY GAGA 'CREAMED' AT THE GRAMMIES".
hhhheadline reads, "RG3 SPLATTERED AFTER YET ANOTHER
hhhREDSKINS LOSS".
hhhheadline reads, "CHARLIE SHEEN AMBUSHED AT OPRAH
hhhTAPING".
MONTAGE ENDS
LESTER (V.O.) (CONT'D)
Stanley advertised himself as
the last Jew-Gypsy left after
the holocaust. People believed
him.
Lester indicates JaneyRuth.
JaneyRuth Ramirez. His exgirlfriend. Illegal alien.
Dominatrix. Lesbian. People
wondered about the two of them.
I think it was about exploring
possibilities, pushing the edge
of the relationship envelope.
He taps her on the shoulder.
LESTER
Don't you want to go up and pay
your respects?
She shakes her head. Emphatically no! He shrugs, puts
the newspaper back, smoothes the stack and sits.
Silence. In the video, Moe hits a Curly dead center with
a cream pie.
EXT. A PARKING LOT AT A JUNIOR COLLEGE - NIGHT
JaneyRuth at her car, key in hand. She's dressed in a
latex prison guard outfit, the kind you see in lowbudget lesbian BDSM porn. Business sign on car door:
261
MIZZ CUFFS 1-877-CUFF-ME. She speaks in a heavy
Guatemalan accent.
JANEYRUTH
Contrary to rumor, Stanley was
not a Jew-Gypsy. Ishkhanyan's
not a Jew name. It's not a Gypsy
name. It's Armenian. Stanley was
born in Fresno. The Jew-Gypsy
thing was, like, an affectation,
okay?
Two COLLEGE GIRLS, about 19, walk by.
COLLEGE GIRL 1
Awesome presentation, Miss
Ramirez.
COLLEGE GIRL 2
We learn so much in your
seminars.
JaneyRuth smiles, passes out business cards.
INT. LESTER'S APARTMENT - NIGHT
Lester holds up a xerox of a document.
INSERT - The Document
Stanley Ishkhanyan's Certificate of Live Birth in which
"Jew-Gypsy" is typed in the Ethnicity block.
BACK TO SCENE
EXT. THE PARKING LOT - NIGHT
JaneyRuth in driver's seat, window down, engine running.
JANEYRUTH
Anyone can fake a birth
certificate. Look at Obama.
She rolls up the window and drives off.
INT. A ROOM IN THE COUNTY WORK FARM VISITORS' CENTER DAY
262
LESTER (V.O.)
End of the line for Stanley
began with a visit from JaMarcus
Leaf. Stanley was doing six
months for disturbing the peace.
JaMarcus was this ex-NFL player
who published the Alamo
Advertiser & Dispatch, a local
San Antonio throwaway. He said
he was Stanley's "exclusive"
publicist, which was a stretch.
INSERT - JaMarcus Leaf
Image of a newspaper column with JaMarcus' photo and
byline.
BACK TO SCENE
GUARD enters with STANLEY, cuffed, in prison orange.
JAMARCUS, 41, follows. Guard starts to unlock the cuffs.
GUARD
Sorry for the cuffs, Stanley.
STANLEY
No problem, Chet. Rules are
rules.
Guard takes out an 8" by 11" glossy pic and a Sharpie.
GUARD
Could you sign this for my
nephew?
INSERT - The Pic
A B&W glossy of Jenna Bush, face covered in cream pie, on
the sidewalk in front of a huge poster of the Bush Twins.
BACK TO SCENE
JAMARCUS
You should charge him.
Stanley signs the pic. Guard glares at JaMarcus, exits.
JAMARCUS (CONT'D)
You're looking well.
JaMarcus holds up a folded newspaper.
JAMARCUS (CONT'D)
Read the piece I wrote on you?
263
STANLEY
Yeah. Not bad.
JAMARCUS
Got to say, I didn't appreciate
you not giving me a heads-up.
STANLEY
You can't keep a secret.
JAMARCUS
Think I don't know my business?
Is that what you're saying?
STANLEY
That's what I'm saying.
JAMARCUS
You sure can cut a man down.
JaMarcus and Stanley keep talking but we can't hear.
LESTER (V.O.)
Lest year, when Stanley hit
Prince at the Jehovah's Witness
wingding in Houston, JaMarcus
had a video guy there. News
services had to pay him for
access.
INSERT - Newspaper Photo of Prince Hit With A Pie
Prince stands at a lectern, dripping with cream pie.
BACK TO SCENE
With the Bush twins, Stanley
took JaneyRuth. JaMarcus was
left in the dark. He had to copy
and paste from Matt Drudge. He
was not happy.
INT. JANEYRUTH'S CAR ON THE FREEWAY - NIGHT
JANEYRUTH
President's daughters mean
Secret Service. Everyone knows
it's easier to get a chick
through security for the
obligatory YouTube video.
INSERT - YouTube Video
264
Splat! Splat! The Bush Twins getting hit with pies.
BACK TO SCENE
JANEYRUTH (CONT'D)
Plus, I can keep my mouth shut.
INT. THE ROOM AT THE VISITORS' CENTER - DAY
STANLEY
So how is it with you and
Meredith?
JAMARCUS
Fuck Meredith. Been thinking
about things. The bit's starting
to get old. We might need to
tweak it.
STANLEY
We?
JAMARCUS
Push the edge. Know what I mean?
STANLEY
No.
JAMARCUS
What if we hit Osama bin Ladin?
STANLEY
What?
JAMARCUS
Getting to be "been there, done
that". Gonna end up on page ten
with the Chamber of Commerce
shit.
STANLEY
No way I'm doing bin Ladin. I
don't want my dick served on a
plate!
JAMARCUS
No one's messing with your dick.
Okay, forget bin Ladin. It's not
for you. How about someone else?
STANLEY
Depends on who.
265
JAMARCUS
Man, you've changed. What became
of the cast-your-fate-to-thewinds risk-taker? Where's that
cockeyed optimist I knew?
STANLEY
He's got a girlfriend now.
JAMARCUS
She's a lesbian.
STANLEY
She's still my girlfriend.
INT. STANLEY & JANEYRUTH'S LOFT - DAY
A room cluttered with feminist art. Sound of pluckedstring fusion jazz. A FILM CREW interviews JaneyRuth.
JANEYRUTH
Certain people, particularly the
(Dripping with contempt)
linear thinking types, raised
objections in view of my uh.
Como se dice? orientation?
INT. THE ROOM AT THE VISITORS' CENTER - DAY
JAMARCUS
Talking change. Change or be
left behind. That's from Obama.
STANLEY
He's not doing so great either.
JAMARCUS
At least think about it.
EXT. COMMON AREA OUTSIDE STANLEY & JANEYRUTH'S LOFT - DAY
The Film Crew interviews JaneyRuth outside.
JANEYRUTH
Certain people focused solely on
the quote drama between us with
a view toward showing us in the
worst possible light. The
reality was just the opposite.
Our relationship was ultraplatonic. Like "Brother Sun,
Sister Moon", okay?
266
EXT. A SIDEWALK IN DOWNTOWN SAN ANTONIO - DAY
Lester and Stanley walk past shops and markets.
STANLEY
JaMarcus wants to pump it up,
says the novelty's wearing thin.
He's talking about the next big
thing.
A MEXICAN WOMAN sells oranges from her car. They stop.
LESTER
What's that?
STANLEY
One of his ideas was to hit
Osama Bin Ladin with a pie.
LESTER
I don't see how. I mean, how
would you get next to him? Plus,
I don't think Arabs even like
pie.
Stanley gives him a What the hell does that mean?
look.
LESTER (CONT'D)
Pie's an acquired taste, like
coffee or beer. Or tobacco.
The Mexican Lady stares hard at Stanley.
MEXICAN LADY
I know you! You hit the Bush
girls! Get away from here!
They back away. She picks up a broom. They run.
MEXICAN LADY (CONT'D)
They should throw you in jail!
For the rest of your life!
LESTER (V.O.)
Then my life started to change.
I landed a job where I got paid
not in cash but by check. The
bosses wore suits, talked about
vision and synergy. I told
Stanley.
267
Stanley stuffs sex toys into boxes, tapes them up and
sticks on mailing labels. JaneyRuth, at a canvas &
easel, paints a nude. The model is a bored chainsmoking, 40-something MEXICAN WOMAN with sagging
breasts. Phone rings.
STANLEY
One eight seven seven cuff-me.
LESTER (O.S.)
Guess where I am? Mexico.
INT. A RADIO "ON AIR" STUDIO - THE SAME MOMENT
State-of-the-art studio. Lester, in suit-and-tie, sits
at a mike. A George Strait song plays. On the wall, a
poster: "XKIK - The Best Country Music South Of Texas."
LESTER
I'm a quote "on air"
personality.
STANLEY (O.S.)
No shit?
LESTER
Dude I know, Oscar Carrillo,
went on vacation. I'm sitting in
for him. It's easy money.
Station's ten miles from the
border.
STANLEY (O.S.)
What do you know about radio?
LESTER
What's to know? Just be
yourself.
George Strait starts to fade out. Lester clicks his
mouse.
LESTER (CONT'D)
Oops. Gotta go on. Be right
back.
(Texas voice over the fade)
George Strait, This Ol'
Redneck's Feelin' Blue. Next,
request from Odell in Lopezville
for Buck Owens.
(Speaking over the fade in)
XKIK, the best country south of
the Rio Grande. You tell a
friend.
268
Lester clicks his mouse, leans back.
JaneyRuth and the Nude Model are on break. They're
taking turns throwing knives at a bullseye painted on
the wall.
STANLEY
Still here.
LESTER (O.S.)
Gig like this could lead to
bigger things, man.
STANLEY
Like what?
EXT. THE MEXICAN RADIO STATION - DAY
A ten-storey, ultra-modern structure with a huge Mexican
flag and a radio tower. Big sign on the front:
IBEROAMERICAN COMMUNICATIONS LTD.
LESTER ( O.S.)
Country music's just part of it.
They got sports, talk radio,
adult rock, urban, oldies, 24/7
news, you name it, all beaming
into Texas. Owner dude's
richer'n Bill Gates. Might be
something here for you.
STANLEY ( O.S.)
Yeah, right.
LESTER (O.S.)
You could do a call-in show.
Mister Pie-In-The-Face on the
air talking shit? How cool would
that be?
LESTER (O.S.)
You should at least consider it.
He hangs up, goes back to filling orders. Faint
doorbell.
INT. STANLEY & JANEYRUTH'S LOFT - NIGHT
269
A light from the bathroom through a half-open door.
Doorbell loud now. Stanley, asleep on the table, stirs.
EXT. THE FRONT DOOR TO THE LOFT - THE NEXT MOMENT
Three MEN IN SUITS. Door opens. Stanley in underwear,
blanket over his shoulder. They point a flashlight.
MAN IN SUIT 1
Are you JaneyRuth Ramirez?
STANLEY
Couldja take that outta my face?
They don't. Stanley blocks the beam with a raised hand.
MAN IN SUIT 1
Are you JaneyRuth Ramirez?
INT. AN UPPER-LEVEL HALLWAY AT THE RADIO STATION - NIGHT
MIRIAM CHIN, Asian, 30, smart dresser, stands at a
massive Xerox running a big copy job. It jams as Lester
walks by. She groans, Not again. He pops it open,
takes out two crumpled sheets. He decides to try his
rusty Mandarin.
LESTER
Worked at Kinko's. Learned to
take 'em apart, put 'em back
together.
She flashes a smile of ethnic cordiality, restarts job.
ASIAN WOMAN
(In Chinese)
We must be the only two Chinese
working here. I'm Miriam Chin,
Director of Operations.
LESTER
(In Chinese)
Lester Chan, on air talent.
MIRIAM
(In Chinese)
You're Oscar's fill-in. Chinese
doing Country? That's unusual.
270
LESTER
(In Chinese)
I grew up redneck in San
Antonio.
(In good ole boy English)
You are locked & loaded,
sightin' dead-center on XIKK
Solid Gold Country. Y'all tell a
friend!
She laughs and applauds.
MIRIAM
(In Chinese)
Would you please stay until I
finish in case it jams again?
As she finishes, a SUIT, TACHITO, walks up. He gives her
a fanny pat. A look of revulsion crosses her face.
TACHITO
(In Spanish)
Ready, Sweetcakes?
MIRIAM
(In Spanish)
Yes, Sir.
TACHITO
(In Spanish)
Let's move it. Time's a-wasting.
Tachito walks off. She turns, points to the docs.
MIRIAM
(In Chinese)
Pick those up and follow me.
He follows her down the hall to a conference room. The
door is open. We see a number of SUITS already inside.
MIRIAM (CONT'D)
(In Chinese)
Go in and pass out the copies.
He hesitates.
MIRIAM (CONT'D)
(In Chinese)
It's okay, I'll say you're my
assistant. Maybe with you,
they'll ease up on the sex talk.
Upside for you is, you meet
senior management.
271
Lester goes inside, carrying the handouts. Three more
SUITS enter. Miriam goes in and closes the door.
Stanley, in his skivvies, sits cuffed in a chair. The
Men In Suits have trashed the place. They're collecting
sex toys and sales records and stuffing them in garbage
bags.
STANLEY
I know my rights, man.
They ignore him.
STANLEY (CONT'D)
I want my one phone call, man.
Men In Suits 2 & 3 exit. Man In Suit 1 takes a document,
puts it in an envelope, pins it to Stanley's shirt.
MAN IN SUIT 1
I'm making you personally
responsible for telling Miss
Ramirez she's in violation of
Section 23. She's got ten days
to vacate or I notify the
police.
STANLEY
You're not a cop?
MAN IN SUIT 1
I'm with the Homeowners'
Association.
He tapes a gag over Stanley's mouth, exits out the door,
leaving all the lights on.
INT. THE CONFERENCE ROOM AT THE RADIO STATION - NIGHT
Tachito, ten SUITS, Miriam and Lester sit at the big
table. Door opens. VLADIMIRO QALEEF, 57, world's richest
man, enters. The Suits and Miriam stand. She signals
Lester to stand. He does. Vladimiro sits. Everyone sits.
Vladimiro picks up the handout. All speech is in
Spanish.
VLADIMIRO
Good work, Miss Chin.
272
She smiles. Vladimiro holds the handout up.
VLADIMIRO (CONT'D)
Current ratings, format
changes. Memorize them. Now,
all eyes up here. No doubt
you've heard about the ten
heads out near Deguito. People
in and out of government are
accusing Dagoberto Miyaki, AKA
El Chino, of this atrocity.
Every light still on. Stanley has tipped the chair on
its side. He's bitten through the gag at which point
JaneyRuth drags in, blouse torn, big bruise on the side
of her face.
STANLEY
Oh thank God, you've come back.
Where've you been? What
happened?
JANEYRUTH
Why're all the lights on?
Burning a hole in my fucking
retina!
She stumbles around the room, switching lights off. Then
she pulls herself up onto a bar stool, not once looking
at poor Stanley. She pours a stiff one.
JANEYRUTH (CONT'D)
I'm tired and sore.
She bolts the drink down.
JANEYRUTH (CONT'D)
Had a really bad night.
STANLEY
Could you please - She belches and pours another. She bolts it down.
JANEYRUTH (CONT'D)
(Loud, slurring her words)
So Im at Centerfolds and
theres a girl coming on to me
and she says, Let's get a
room. So we do and it's
getting to a point and she
273
JANEYRUTH (CONT'D)
says, You want more, it'll
cost. Now normally, I don't
pay for pussy but it's in the
heat of the moment so I say,
Okay okay! and she says, A
Franklin for fifteen minutes,
cash. So I pay and thats when
she pulls out a badge and says,
You're under arrest! I swing
at her. She hits me right here.
She winces as she touches the bruise.
STANLEY
Janey, Im suffering real bad.
Could you please at least - JANEYRUTH
Hey! I'm talking, okay?
(Pauses, gathers thoughts)
So I'm downtown and they stick
me in a lineup. Someone ID's me
as the chick who robbed a
downtown 7Eleven. Took two
fucking hours to convince them
it wasnt me. Thank God,
Meredith was home. She came, no
questions asked, signed an
affidavit that I was with her.
Shit always happens to me.
Stanley whimpers as she goes to the bedroom door,
switches off the last light.
INT. THE CONFERENCE ROOM - NIGHT
All speech is in Spanish.
VLADIMIRO
He says this always happens to
him, getting blamed for things
he didn't do. El Chino says he
did not do this. Mind you, Im
not taking his side. Im merely
quoting him. Bottom line, he's
agreed to be interviewed live on
the air. By us.
An audible gasp.
SUIT 2
In studio? What about the
police?
274
VLADIMIRO
(He suppresses a laugh)
Police. Many are on his payroll.
As to the interview, I said noholds-barred. He agreed.
Tachito, you'll do the
interview. Be tough but not too
tough. Miss Chin, get in touch
with El Chinos people and work
out the logistics. Questions?
Everyones too stunned to think of any. Vladimiro
smiles, nods, gets up, exits. The door clicks shut. A
long silence. Miriam turns to the Suit next to her.
MIRIAM
Why did El Chino pick our
network?
SUIT 3
You dont know? He and El Chino
went to school together. Jesuit
high school. Another thing. El
Chinos twin brothers a priest.
EXT. A HUGE, VERY OLD CATHEDRAL - NIGHT
Parked at the curb, an ARMORED LIMO. Standing by the
limo, a tall Ethiopian smokes an ivory pipe. This is LIJ
YASU.
INT. THE CATHEDRAL - NIGHT
Darkened interior. A MAN prostrate at the cross.
Footsteps. Suddenly a second MAN in priestly vestments
appears. This is MONSIGNOR, 56. All speech is in
Spanish.
MONSIGNOR
He wont help you, brother.
He points to the Crucified Christ.
MONSIGNOR (CONT'D)
You cant manipulate Him. You
can't cut His head off.
Monsignor leaves. The prostrate Man doesn't move until
the footsteps are gone. Then he looks up, a conflicted
expression on his face and we see the face of EL CHINO,
56, a mix of Japanese and Native American features.
275
INT. MACKIE'S BAR - DAY
A country song plays. JaMarcus sits at the bar reading.
Stanley storms in, goes straight up behind him.
STANLEY
Got a bone to pick with your
girlfriend, man!
Stanley takes out a thick document, slaps it on the bar.
STANLEY (CONT'D)
When I saw this shit, it was
like my whole world came
crashing down. Plop! Like a big
wet road apple.
JaMarcus turns his head.
JAMARCUS
What are you going on about?
STANLEY
JaneyRuth and Meredith! Thats
who!
JaMarcus stands, stares Stanley down.
JAMARCUS
This better not be about - STANLEY
What it's about. Janey was got
busted at a club. When she got
home, I found this. Affidavit
from Meredith saying they were
together.
JAMARCUS
You saying my Merry is a - (Finger jabbing at Stanley)
If thats what youre saying - STANLEY
When JaneyRuth got busted, first
call she made was to Meredith.
Are you even dimly aware of - JAMARCUS
I oughtta bust you one.
But instead, JaMarcus stomps out. Stanley watches him
go, then takes his seat at the bar. The BARTENDER
appears.
276
STANLEY
The usual, Mackie.
BARTENDER
You got it, Stanley.
The Bartender serves him a large glass of beer and an
egg.
BARTENDER (CONT'D)
Rough day?
STANLEY
Nah. Nothing but sunny skies.
Business kaput. I'm being
evicted. Just told my friend his
girl's a lesbian. Now he's
pissed. Ever notice how some
folks lack a sense of irony?
BARTENDER
Fuck 'em if they can't take a
joke.
Stanley takes a long moody sip. Phone rings.
BARTENDER (CONT'D)
Phone call for you, Stanley.
He sets the phone in front of Stanley. Stanley picks up.
LESTER (O.S.)
Guess where I'm calling from?
STANLEY
Mexico. You already told me.
LESTER (O.S.)
No, I mean I'm - EXT. A PAY PHONE ON A STREET IN MEXICO - DAY
Burly, muscular, dangerous-looking MEXICAN MEN pass by.
LESTER
Calling from a pay phone in
Mexico.
STANLEY (O.S.)
You called to say that?
277
LESTER
'Cause I can't call from my job.
Think I got something big for
us.
Two MEXICAN STREET TOUGHS give Lester the stink eye.
LESTER (CONT'D)
Gotta hang up. Can you come down
here, say, tomorrow or day
after?
STANLEY (O.S.)
You want me to go to Mexico?
LESTER
It's not like I'm asking you to
go to the moon, man. Talking
about a four hour bus ride. But
if you don't care, I'll stop
looking out for your interests.
This is what I get for trying to
help a close pal.
Some Street Toughs start closing in.
STANLEY (O.S.)
Okay dammit! I'll be there!
One Street Tough takes the receiver and crushes it and
passes a shapeless lump of plastic back to him.
INT. THE BAR - THE NEXT MOMENT
STANLEY
Crazy world, huh, Mackie?
Stanley drains his glass, wipes his lips on his sleeve,
heads toward the door, leaving the affidavit on the bar.
INT. MIRIAM'S OFFICE - THE SAME MOMENT
High on the wall, a framed photo of Vladimiro.
and Lester sit, both working the phones.
LESTER
Yeah, four. We need four - Miriam holds up five, then six fingers.
Miriam
278
LESTER (CONT'D)
Five! Six! Six men for security
for a VIP. Who? Can't tell you.
Because I can't. No, not a
politician. Entertainment? Uh
yeah, you could say that. Some
people are entertained by him.
Lester listens.
LESTER (CONT'D)
Why are we calling a Texas
security company when the job's
in Mexico? Why aren't we using
a Mexican firm? Is that your
question? Hang on a minute.
Lester puts his hand over the mouthpiece.
LESTER (CONT'D)
He wants to know why we're not
using a Mexican security
company.
She puts her hand over her mouthpiece.
MIRIAM
The good ones work for the Drug
Lords. But don't tell him that.
EXT. STANLEY & JANEYRUTH'S LOFT - LATER THAT DAY
As Stanley walks up to the front door, he spots a ROUGHLOOKING DUDE on the stoop. He starts to walk away.
ROUGH-LOOKING DUDE
Hey!
Stanley walks faster.
ROUGH-LOOKING DUDE (CONT'D)
I know it's you, Ishkhanyan!
Stanley stops. Rough-Looking Dude hands him an envelope.
ROUGH-LOOKING DUDE (CONT'D)
Subpoena in case you're
curious.
STANLEY
What's it about?
279
ROUGH-LOOKING DUDE
I just serve 'em, dickhead.
INT. STANLEY & JANEYRUTH'S LOFT - A FEW MINUTES LATER
Stanley enters, envelope in hand. He flips on the lights
as JaneyRuth pops up from behind the sofa.
JANEYRUTH
That guy gone?
STANLEY
O hi, Stanley, did I ever say
how sorry I am for leaving you
cuffed to a chair all night? No
Janey, matter of fact, you
never did.
JANEYRUTH
I asked if he's gone.
STANLEY
He wasn't looking for you.
Look of relief. Doorbell rings. The panicked look
returns.
JANEYRUTH
Don't answer it!
He opens the door wide to the Man In Suit 1.
MAN IN SUIT 1
Be out by noon tomorrow.
STANLEY
You said ten days.
MAN IN SUIT 1
Been a change. Noon tomorrow!
JANEYRUTH
There's no way!
MAN IN SUIT 1
Who's she?
JANEYRUTH
Don't tell him!
STANLEY
JaneyRuth Ramirez.
280
JANEYRUTH
You fucking bastard!
MAN IN SUIT 1
You! I want you especially out.
And we're keeping the deposit
to cover the knife-throwing
damage.
In a rage, she throws a small urn at him. He ducks. It
smashes against the door. He takes two quick steps
forward, slaps her hard. She goes down in a heap.
MAN IN SUIT 1 (CONT'D)
Noon tomorrow. If you're still
here, we're calling the cops.
INT. A BUS - DAY
We see the Bus coming to a building. A big sign in
Spanish and English: "Welcome to Mexico! Please have
your papers ready". Stanley gets out his papers.
EXT. CENTERFOLDS, A LESBIAN BAR - THE SAME MOMENT
JaneyRuth gets out of a cab, limps up to the front
entrance, the bruise and the slap mark visible. A hefty
attractive WOMAN IN LEATHER blocks her way.
WOMAN IN LEATHER
Sorry, Janey. Can't let you in.
A look of surprise on JaneyRuth's face.
WOMAN IN LEATHER (CONT'D)
Some men came, had papers with
your name all over 'em. You
know how management is about
papers.
JANEYRUTH
It's nothing, Irma. Some issues
over a lease. C'mon, lemme in.
I just wanna see Meredith.
The Woman In Leather shakes her head, folds her arms.
JANEYRUTH (CONT'D)
It'll be three minutes tops.
I'm desperate. I'm being
evicted. C'mon please, help a
girl out.
281
WOMAN IN LEATHER
You need to find a different
place to hang out, Janey.
JaneyRuth flips her off and limps away.
INT. MEXICAN IMMIGRATION BUILDING - AN HOUR LATER
Busy office with OFFICERS and CLERICALS rushing about.
Stanley sits across from CARLOS, a uniformed immigration
officer, who reviews a printout. All speech is in
Spanish.
CARLOS
Mister Ishkhanyan, I see here
you have an interesting
occupation.
STANLEY
Just here to visit a friend,
Sir.
CARLOS
I'll admit, there are some in
Mexico who could use a pie in
the face. Lopez Obrador, for
instance, is a pain in the - OFFICER WALKING BY
Lopez Obrador is a knight in
shining armor. If anyone needs
a pie in the face, it's that
pretty boy Pea Nieto you voted
for.
CARLOS
You see, Mister Ishkhanyan, we
have political disagreements
south of your border. But one
thing everyone here agrees on
(Raises his voice)
is that Sergeant Fernando Reyes
deserves a pie in the face!
Shouts of agreement from all sides.
STANLEY
Who is this Reyes?
SECOND OFFICER WALKING BY
He's an idiot.
CLERICAL WALKING BY
An ass.
282
CARLOS
A backstabbing weasel, slimy,
loathsome, nauseous - SECOND CLERICAL WALKING BY
And those are his good
qualities.
Carlos taps the computer printout with his red pencil.
CARLOS
Make you a deal. Hit Reyes with
a pie. I'll say I never saw
this. You'll be free to go on
your way.
STANLEY
I. I can't do that.
CARLOS
Is this the same man who hit
the Bush daughters and lived to
tell?
An awkward silence.
CARLOS (CONT'D)
Banana cream or lemon chiffon?
Stanley turns, sees a Clerical holding one of each.
Stanley chooses banana cream. Carlos swings into action.
CARLOS (CONT'D)
(On the phone)
Angelita, ring my phone twice
when you see PF walking this
way.
STANLEY
PF?
CARLOS
(Hanging up the phone)
Pig fucker.
(Everyone laughs)
Soon he'll come in that door.
Stanley goes to the door, gets in position. Carlos
signals an Officer who picks up the public address
microphone.
OFFICER'S VOICE OVER PA SYSTEM
Sergeant Reyes, your presence
is requested at the front desk.
283
Muffled giggles. Military footsteps in hallway. Phone
rings twice. Door opens. REYES, in a uniform of perfect
creases and spit-shined boots, enters. SPLAT! Roar of
laughter. Cellphone cameras snap. Carlos hands Stanley's
passport back, gestures him to get going. As Stanley
exits, he glances back. Reyes wipes Reddi-Whip from his
eyes, sees Stanley, shoots him a murderous glare.
EXT. A NEIGHBORHOOD OF NEAT, WELL-MAINTAINED HOUSES NIGHT
A Mercedes stops in a driveway. A sexy-looking WOMAN
gets out. She walks to the front door of a house, her
heels going click-click-click. JaneyRuth jumps out from
hiding.
JANEYRUTH
Meredith!
The Woman stops and turns.
MEREDITH
Janey?
Meredith walks across the grass toward the picket fence.
MEREDITH (CONT'D)
What are you doing out there?
JANEYRUTH
I got trouble. I'm being
evicted. They took my
inventory. I'm out of business!
MEREDITH
Oh dear! Go over to the car.
We'll go somewhere and - The porchlight switches on. The front door opens.
JAMARCUS
Merry baby, what you doing out
there? Who you talking to?
JaMarcus, framed in the doorway, sees JaneyRuth.
JAMARCUS (CONT'D)
Tell that skinny dyke to get!
MEREDITH
But Janey's my friend - -
284
JAMARCUS
You see that car, girl? Whose
name's on the pink slip? This
house? Whose name's on the
lease?
Porch lights start coming on up and down the street.
JAMARCUS (CONT'D)
You best get something
straight. I know for a fact
that carpet muncher ain't got
no fine car. I'm going in and
get my gun. You see me next,
she better be gone!
He goes inside, slamming the door. People up and down
the street step out onto their porches and watch.
JANEYRUTH
Fuck him! Let's go on the road
like. Like Thelma and Louise!
Be a thousand miles from here
in two days. What do you say?
But Meredith's thinking.
MEREDITH
Maybe you better go, Janey.
JaMarcus'll be back soon.
JANEYRUTH
You taking his side?
MEREDITH
Not a question of sides - JANEYRUTH
He's using you! He's - But Meredith's already turned and started toward the
door.
JANEYRUTH (CONT'D)
You go inside, that's it, girl!
She goes inside, shuts the door.
JANEYRUTH (CONT'D)
I'm leaving. You hear? Leaving!
JaneyRuth turns, starts walking away.
285
JANEYRUTH (CONT'D)
(To the Porch People)
It's not over. She'll come to
her senses. Before I walk a
quarter mile, you can bet
she'll drive up beside me,
begging me to take her back.
And I will. But I'll clear up
some stuff up first. There'll
be changes. Changes for her
good.
The Porch People applaud. JaneyRuth bows and with a
cavalier wave, walks off. One by one, the lights go off.
EXT. A PARKING LOT - NIGHT
A LIMO parked. A CAR enters, drives to the Limo and
stops. Windows roll down. We see Vladimiro's face in the
Limo. In the Car, Monsignor sits at the wheel, his face
a mix of Japanese and Native American. They speak in
Spanish.
VLADIMIRO
Your brother says he had
nothing to do with the ten
heads matter.
MONSIGNOR
One would expect him to say
that.
VLADIMIRO
Then you don't believe him.
MONSIGNOR
I didn't say that.
VLADIMIRO
You speak like a lawyer.
MONSIGNOR
How should I speak?
VLADIMIRO
Like a priest.
MONSIGNOR
A priest. All right. Here goes.
Vladimiro Qaleef gives billions
away to be seen as "a good
man". But the billions come
from his excess, not his core
wealth. It's the sort of giving
that puts no moral strain on
286
MONSIGNOR (CON'T)
him. Truth is, it's an
investment in adoration.
Vladimiro is like a man in a
big house of many rooms, most
of which are as empty as his
heart.
VLADIMIRO
I didn't ask you to turn on me.
MONSIGNOR
You and Dagoberto are the same.
You both steal and you both
give to the poor because you
want to be loved. But the poor
keep holding their hands out,
asking for more. And you keep
looking in vain for a sign of
their love.
The Limo window rolls up. The Limo roars off.
EXT. A PUBLIC PARK - DAY
SUPER: IN A TOWN SOMEWHERE IN NORTHERN MEXICO
Early morning. The Park's deserted, except for three OLD
MEXICANS. Stanley enters holding a hand-written map. He
walks to a bench with a large bush behind it. He sits.
STANLEY
(Reads from map)
Say in a loud voice, 'Lovely
day'.
(Loud voice)
Lovely day!
LESTER (O.S.)
Not so loud!
Stanley looks around for the voice.
LESTER (O.S.) (CONT'D)
Don't look! Just act natural.
STANLEY
I am acting natural.
LESTER (O.S.)
Got some big news.
287
STANLEY
You're telling me from a bush?
LESTER (O.S.)
We're gonna interview El Chino!
STANLEY
Who?
LESTER (O.S.)
Godfather of Mexican Godfathers.
Don't you read the news? Didn't
you hear about the ten heads?
Stanley shrugs.
LESTER (O.S.) (CONT'D)
Interview's super hush-hush.
We're working on the logistics,
but I thought wouldn't it be
cool if I got you in to hit him
with a pie.
STANLEY
Hit a drug lord with a pie. This
is your plan.
LESTER (O.S.)
Beats Bin Ladin. You can get up
close to my guy.
STANLEY
Lester, these people strip you
naked, use blowtorches on you.
LESTER (O.S.)
Relax. He'll be alone. I know.
I'm tight with the Operations
Officer. Will you at least
consider it?
STANLEY
No.
LESTER (O.S.)
Could be the next big thing.
STANLEY
I gotta go, Lester.
Stanley starts walking away. The bush shakes with anger.
LESTER (O.S.)
JaMarcus is right! You've
changed!
288
Stanley keeps walking.
EXT. IBEROAMERICAN COMMUNICATIONS BUILDING - DAY
VLADIMIRO (O.S.)
It's not a moralizing crusade.
We're going to be objective.
We're a news service, not
ambush journalism. We're not 60
Minutes.
SUIT 1 (O.S.)
Sir, we have a once-in-alifetime opportunity here.
He'll be alone with none of his
thugs. And he agreed to no
holds barred.
Vladimiro, Tachito, SUITS 1 & 2 are seated. Suit 1 is
young and fiery. They speak in Spanish.
VLADIMIRO
I want balance, not red meat.
SUIT 1
With all due respect, Sir,
we're dropping the ball. He's
coming to use us to legitimize
his criminal ventures. Are we
to let him?
VLADIMIRO
I can handle El Chino.
INT. THE SAN ANTONIO HOMELAND SECURITY OFFICE - DAY
JaneyRuth enters, makes a beeline to the RECEPTIONIST.
JANEYRUTH
I'm an illegal alien. I want
out.
RECEPTIONIST
Do you have papers?
JANEYRUTH
Papers? Sure, I got papers. Got
all kinds of papers.
289
JaneyRuth goes through her pockets, takes out a waddedup napkin, a pad of Post-Its, drops them the counter.
She opens her purse, pulls out a roll of tape, some
stick-on labels, adds them to the pile. A SUPERVISOR
appears.
SUPERVISOR
I'll handle this, Violet. You
go on your break.
The Receptionist exits.
SUPERVISOR (CONT'D)
Now what's all this about - JANEYRUTH
Like I told her, I want out. I
want to go home to Guatemala.
SUPERVISOR
(A low whistle)
Guatemala? Wow! You're saying
you want to voluntarily go
back? You know about the bad
plumbing and the death squads,
yes?
JANEYRUTH
My uncle runs a catering
service for one of the death
squad capos.
SUPERVISOR
Usually we have to drag your
kind away. We don't get many
who actually want to - JANEYRUTH
Even bought a one-way bus
ticket.
He holds out a clipboard, hands her a pen.
SUPERVISOR
Sign here. Gonna make you a
star.
EXT. A LAVISH ESTATE - DAY
SUPER: SOMEWHERE IN NORTHERN MEXICO
Armed GUARDS patrol the walls.
Spanish.
All speech is in
290
THUG 1 (O.S.)
Our man went to his house as
usual. He met us at the door.
THUG 2 (O.S.)
And he said, "I'm not paying."
EXT. EL CHINO'S STUDY - DAY
El Chino sits at a massive desk scanning a ledger.
Across from him, three THUGS sit. All speech is in
Spanish.
EL CHINO
Is there an issue with him?
The Thugs shrug.
EL CHINO (CONT'D)
What was the sense you got? Was
it, "I'm not paying ever again"
or "I can't pay you today but
if you check back tomorrow"?
THUG 3
We don't know. He shut the
door.
Silence. At this point, the door opens. A six-foot-four,
gorgeously muscular woman enters. This is THEODORA, 30.
She glides to a sofa, her heels clicking on the wood
floor. Despite her size, she seems to float. The Thugs
watch in awe and wonder as she sits and crosses her
legs.
EL CHINO
But you didn't say he slammed
the door. You said he shut it.
It doesn't sound like open
defiance.
They shrug. Theodora flashes him a "why are you wasting
your time on this?" look. Then she looks away.
EL CHINO (CONT'D)
You disagree.
THEODORA
Pay or die. Simple as that.
El Chino stands. The Thugs stand.
291
EL CHINO
Give him three days to come to
his senses. Now please excuse
us.
They exit. El Chino sits. Theodora moves behind him,
massages his temples. This is a regular ritual.
THEODORA
I don't know about you
sometimes.
EL CHINO
He has seventeen children.
THEODORA
So cut his dick off.
EL CHINO
They're all by his wife.
She stops, looks down to where she thinks her womb is
located, takes a deep breath and resumes massaging.
EL CHINO (CONT'D)
Thing is, with the ten heads
thing still out there, it - THEODORA
It might look bad if you killed
a man trying to put food on the
table for seventeen kids, yes?
She shakes her head.
THEODORA (CONT'D)
We're not the Salvation Army,
My Dear. Sometimes men die.
It's the residue of a criminal
enterprise.
EL CHINO
Stop saying that.
THEODORA
It's who and what we are.
EL CHINO
I give ten per cent to the
poor. I care for uncounted
widows and orphans. I pray the
rosary daily.
THEODORA
Please, My Dear. Spare me.
292
EL CHINO
Tell me why I keep you around?
THEODORA
To ensure you don't act like a
complete fool. It's why you're
taking me to the interview. Not
to mention, I give good head.
She turns him around. She kneels, spreads his thighs.
EL CHINO
I can handle Vlad. We went to
school together. I know him.
He closes his eyes as she unzips him.
THEODORA
Nevertheless beware of him. He
didn't get rich by being soft.
She leans her head forward into his crotch.
INT. A READING ROOM - DAY
SUPER: THE SAN ANTONIO HALL OF RECORDS
Clock says 9:30 am. Crowded room. PEOPLE with deed books
and microfiche. A FILE CLERK hands a big book to
JaMarcus.
CLERK
Deed book for West Crockett
Estates Phases I & II. Go for
it, Slick.
She walks off. He takes out a sheet of paper, opens the
book. He seems to be looking for a match with the data
on the paper. He turns the page of the book.
INT. THE CROWDED SAN ANTONIO BUS DEPOT - DAY
JaneyRuth enters, a Homeland Security OFFICER on her
heels
JANEYRUTH
You don't have to hang so
tight. Swear to God I'm
leaving.
293
OFFICER
Boss said to keep you close.
JANEYRUTH
Fine. Whatever.
They work their way through the crowd. Suddenly ahead,
an open space where a CAMERA CREW awaits. She stops.
JANEYRUTH (CONT'D)
What the hell's this?
He gives her a push. She staggers forward.
INT. THE READING ROOM - DAY
Clock says 4:30. Only two left, File Clerk and JaMarcus.
JAMARCUS
Yesssssss!
He stands, carries the open book to the counter.
JAMARCUS (CONT'D)
Copy pages 1402 through 1407.
CLERK
How about the magic word,
Slick?
JAMARCUS
Please?
She takes the book from him and goes to make copies.
JAMARCUS (CONT'D)
My name isn't Slick, by the
way.
EXT. A RUN-DOWN NEIGHBORHOOD - DAY
Late afternoon. Stanley's lost. Rough-looking PEOPLE
slouch in doorways. All speech is in Spanish.
STREET KID VOICE (O.S.)
Hey, Mister!
Stanley turns to see a STREET KID tugging his shirttail.
294
STREET KID (CONT'D)
You lost or something?
Stanley tries to ignore him.
STREET KID (CONT'D)
Where you trying to get to?
STANLEY
Bus depot.
STREET KID
Oh Geez, you really are lost.
The Street Kid holds out his hand.
STREET KID (CONT'D)
Five American dollars.
Two TOUGHS walk past, give Stanley the stink eye.
STREET KID (CONT'D)
You don't wanna be here after
dark. I'll take you there for
six.
STANLEY
A minute ago, it was five!
STREET KID
Wouldda asked more but you don't
look like you have even ten.
Stanley whips out his wallet to show a wad of bills.
STANLEY
I got ten! Way more than ten!
See here, you little prick, I
could buy and sell you ten times
over!
The Street Kid grabs the wallet and runs off.
STANLEY (CONT'D)
Hey, you little fuck, come back
with that! Hey! Stop him!
EXT. STARBUCKS ON RIVERWALK - NIGHT
JaMarcus, in white suit and shoes, sits, sipping a
beverage, smiling at passers-by. He's on his cell phone.
295
JAMARCUS
Stan my man! What's happening?
EXT. THE BUS DEPOT - NIGHT
Stanley stands on the curb, phone to his ear.
STANLEY
I'm in Mexico and some little
turd just stole my wallet.
JAMARCUS (O.S.)
Oh now that ain't cool at all.
STANLEY
Fucked'n far from home. Why you
calling? Aren't we on bad
terms?
EXT. STARBUCKS ON RIVERWALK - NIGHT
A Starbucks EMPLOYEE sweeps patio, gives JaMarcus a
look.
JAMARCUS
I was thinking about that.
Fight over lesbians? We're
tighter'n that. So I did you a
solid. Did some research, got
the name of the person who
evicted you.
STANLEY (O.S.)
Isn't it on the Eviction
Notice?
JAMARCUS
That's the Asset Manager or the
General Partner's name. Getting
the owner's name is hard work.
STANLEY (O.S.)
So you got it for me. So how
does that benefit me?
EXT. THE BUS DEPOT - NIGHT
JAMARCUS (O.S.)
Let me count the ways. Didn't
you lose the roof over your
head?
296
STANLEY
Yeah.
JAMARCUS (O.S.)
And an income-producing
business?
STANLEY
Yeah.
JAMARCUS (O.S.)
You should sue. Make her pay.
EXT. AN ASSISTED LIVING FACILITY - NIGHT
A building with lush landscaping. A large sign: "West
Crockett Estates Assisted Living - 2310 Ash Tree Court."
STANLEY (O.S.)
Her?
JAMARCUS (O.S.)
She is Clara Reichenthal. Lives
at Ash Tree Court. Good thing I
got your Power of Attorney.
Sent a dude out to rattle her
cage.
INT. OUTSIDE A SUITE AT EDGEWATER - NIGHT
A nurse's station. Sound of footsteps on tile coming
closer. The NURSE looks up, then toward the sound.
STANLEY (O.S.)
You sent someone? Who?
JAMARCUS (O.S.)
Dude I know. Essential we serve
her afore she ups and
disappears.
INT. INSIDE THE SUITE AT EDGEWATER - NIGHT
Footsteps outside are very close. In the semidarkness,
we see an OLD WOMAN, 88, dozing in a wheelchair in front
of a television, sound turned down. This is CLARA
REICHENTHAL.
STANLEY (O.S.)
I don't want anything illegal.
297
JAMARCUS (O.S.)
It's cool. Dude's an attorney.
Footsteps stop. Clara moves her head, her eyes now open.
JAMARCUS (O.S.)(CONT'D)
Poor Clara. Bitch is out of her
element. Soon she'll learn not
to fuck with Stanley
Ishkhanyan.
INT. A GYM - DAY
Theodora, in workout togs, at the front counter.
COUNTER PERSON
(In Spanish)
Your mother.
Theodora frowns, takes the proffered phone receiver.
THEODORA
(In Spanish)
Mama?
EDGEWATER ADMINISTRATOR (O.S.)
Ms Reichenthal? LaTrenda
Lingenfelter here. I'm the Chief
Administrator at Edgewater.
INT. AN ORNATE CONFERENCE ROOM - DAY
Seated at a conference table are the EDGEWATER
ADMINISTRATOR and three ATTORNEYS with a speakerphone.
EDGEWATER ADMINISTRATOR
Your mother, Clara, is being
sued.
ATTORNEY 1
Attorney P. Thaddeus Cruz. I
have reviewed the complaint.
Plaintiffs Ishkhanyan and
Ramirez allege Clara evicted
them without cause, seizing and
destroying their records and
assets, rendering them
destitute.
298
THEODORA (O.S.)
Go on.
ATTORNEY 1
They want 20 million plus
damages.
THEODORA (O.S.)
Who are these people?
We don't know. What's confusing
is Clara. We understood her to
have a few assets in a trust.
But per the complaint, she's
sole owner of over three
thousand rental units.
ATTORNEY 3
Plaintiffs Ishkhanyan and
Ramirez have recorded leins on
all the properties, meaning they
can't be sold, refinanced or
transferred.
THEODORA (O.S.)
What? Oh shit!!!
ATTORNEY 2
If we can help, ask. We have
experience in legal issues
relating to Alzheimer's and
Parkinson's.
THEODORA (O.S.)
I'll deal with it. Fed Ex the
docs.
As you wish.
INT. THE GYM - DAY
Theodora, her head in her hand. All speech is in
Spanish.
COUNTER PERSON
Are you okay?
Theodora turns, storms out.
299
INT. ON A CURB - DAY
Lester and Stanley sit at a traffic circle.
STANLEY
Appreciate the fifty bones, man.
Might be a while before I can LESTER
Pay if you can. Sorry I got
pissed. Sorry on the drug lord
thing.
STANLEY
Water under the bridge, man. You
came through in a time of need.
A long silence. Then...
STANLEY (CONT'D)
Thinking of hanging it up.
LESTER
Hope it's not because of me.
STANLEY
Reflecting on my life. Age
thirty. Just one big waste.
LESTER
Stop it, Stanley.
STANLEY
I want my legacy to be more than
a footnote about a cream pie
joker.
LESTER
Can't believe I'm hearing this.
STANLEY
Maybe it's the right time. My
man JaMarcus found the lady who
evicted us. We're suing.
Settlement money could serve to
fund a fresh start.
Lester stares at him the way a priest does a lost soul.
300
ATTORNEY 1
Poor woman's being used. I
should report the daughter to
the police.
I'd advise you don't. She works
for Dagoberto Miyaki.
He gives her a "Who's he?" shrug.
EDGEWATER ADMINISTRATOR (CONT'D)
You've heard of El Chino? The
ten heads on the levee outside
Deguito?
His jaw drops. An "Oh shit!" expression crosses his
face.
INT. A BUS - DAY
Packed to the gills. Stanley wedged in between a
SALVADORIAN with thug tattoos on his face and an INDIAN
with a chicken on her lap. Through the window, a big
sign: "US Border! If you don't have proper papers, you
will NOT be allowed to cross". Stanley gets out his
papers.
EXT. JAMARCUS' HOUSE - NIGHT
JaMarcus parks his car at the curb. He walks up the
driveway past Meredith's Mercedes to the front door.
INT. A HALLWAY IN JAMARCUS' HOUSE - NIGHT
Dim lighting. He walks down a hallway toward the
bedroom.
INT. THE MASTER BEDROOM
He enters. Meredith's in bed watching Jay Leno. She
ignores him as he undresses. Leno breaks for a public
service ad. Filling the screen, the face of JaneyRuth.
301
VOICE OF JANEYRUTH
Not worth the agravation.
Getting hassled everyday, your
door kicked in, your assets
seized. I can get that back in
Guatemala by cops who at least
talk like me. My advice, stay
home. As for the money you'd pay
to a smuggler, keep it, bank it,
earn some interest, okay?
VOICE OF AN ANNOUNCER
From your Homeland Security.
JAMARCUS
Crazy bitch'll get you killed.
Meredith rolls her eyes.
EXT. THE CATHEDRAL - DAY
Parked at the curb, the Armored Limo. Standing at the
driver's side front door, Lij Yasu, smoking his pipe.
INT. THE CATHEDRAL - DAY
Light through stained glass. El Chino at the foot of the
cross. Footsteps. Someone in a hooded robe comes down
center aisle and sits. All speech is in Spanish.
THEODORA
You're going to be angry.
EL CHINO
I'm listening.
THEODORA
Forgive me, for the properties
you entrusted to me are in
peril. I quitclaimed them to my
mother to keep them from the
law's scrutiny. She's
institutionalized with
Parkinson's. I have her Power
of Attorney. I thought - EL CHINO
You thought it was good, but
somehow it wasn't, yes?
302
THEODORA
In one unit, there was a porn
business. Neighbors complained,
got the property managers to
shut it down. Somehow in the
chain of custody, the inventory
was destroyed without an
accurate accounting. They're
suing Mama. They filed liens on
every unit.
EL CHINO
What do they want?
THEODORA
Twenty million plus damages.
EL CHINO
We're not paying blackmail and
we're not letting the matter go
to court. The law takes too
long.
She gets up to leave, but he's not done.
EL CHINO
Time's of the essence. If this
case ever came before a judge,
our ownership would be voided.
THEODORA
Forgive me.
EL CHINO
Your penance is find them and
make this go away.
EXT. A CHEAP, RUN-DOWN MOTEL - DAY
Sign: "BIDE-A-WEE MOTEL - Your San Antonio home away
from home - ask about our weekly rates".
INT. A MOTEL ROOM - DAY
Stanley hurriedly packing. A knock. Door opens. The
MANAGER, a fifty-something Arab Woman, enters.
MANAGER
You owe ten dollar.
STANLEY
I paid you!
303
MANAGER
Checkout 10:30. It two pm now.
Policy is one minute after
checkout, you owe extra half
day.
Stanley takes out some currency, slaps it on the table.
STANLEY
Here's five dollars. All I got!
MANAGER
You go now.
EXT. THE U.S. BORDER - DAY
Long line of cars. Theodora, in a candy apple red 1970
Roadrunner, is ten cars back. Dressed cowgirl hot, she
gets out, stretches. Two BORDERGUARDS come over to chat.
EXT. A DUSTY ROAD ON THE OUTSKIRTS OF SAN ANTONIO - DAY
Billboards for pawnshops, gun dealers, "gentlemen's
clubs". Stanley trudges on the gravel shoulder. Cars and
pickups zip by. He takes out his cell phone.
STANLEY
JaMarcus, pick up the phone!
A car veers onto the shoulder, covering him with dust.
STANLEY (CONT'D)
I need cash now. You owe me,
man. If you can pay for
Meredith's Benz, you can stake
me. Expect me at your door any
minute, asshole.
He turns to face the traffic. He sticks his thumb out.
INT. CLARA'S SUITE AT EDGEWATER - NIGHT
Clara in her wheelchair jammed to the wall. Theodora
speaks into her cellphone. A portable FAX chatters away.
THEODORA
What do you have on this
Ishkhanyan person?
304
MAN'S VOICE (O.S.)
He throws pies. At people.
THEODORA
Excuse me?
MAN'S VOICE (O.S.)
He hit Bush's daughters.
Charlie Sheen, too. I'm faxing
you some newspaper articles.
THEODORA
They're coming across. What
else?
MAN'S VOICE (O.S.)
There's a bar he frequents.
Corner of Olive and Van Ness.
Bartender's name is Mackie.
THEODORA
That's it?
MAN'S VOICE (O.S.)
Something'll turn up.
THEODORA
It better.
She stands, rips a strip of cloth from the curtain. She
strangles Clara. She unhooks the fax and leaves.
THEODORA (CONT'D)
Bye, Mama.
INT. MIRIAM'S OFFICE - DAY
Phone rings.
MIRIAM
Operations. Miriam Chin.
She listens, then holds up a fist, pumps it once.
MIRIAM (CONT'D)
Perfect. I'll have my assistant
get back with the logistics.
She turns to Lester with a big smile, speaks in Chinese.
MIRIAM (CONT'D)
El Chino. It's a go for
Thursday.
305
Lester lets out a big whoop.
EXT. THE BAR - NIGHT
The neon sign blinks out the letters "B-A-R". Theodora's
candy apple red Roadrunner is parked under a street
light.
INT. THE BAR - NIGHT
A country song plays. Theodora perches on a stool. She
drains her glass as she leafs through the affidavit. The
Bartender pours another. Finally she looks up.
THEODORA
Thank you for hanging onto
this. So you're Mackie.
BARTENDER
Guilty as charged.
She lays down several crisp Franklins. He grins.
INT. AN ATTORNEY'S OFFICE - NIGHT
Attorney 1, a conflicted expression, on the phone.
ATTORNEY 1
This is a message for JaMarcus
Leaf of the the Alamo Advertiser
& Dispatch. You don't know me.
INT. JAMARCUS' OFFICE AT HIS PAPER - NIGHT
The office is an absolute sty. JaMarcus' listens.
ATTORNEY 1 (O.S.)
My conscience would torment me
if I didn't warn you. Clara
Reichenthal is elderly and has
dementia. She's a straw owner.
Her daughter is the lover of El
Chino, the drug lord.
An "oh shit!" expression crosses JaMarcus' face. He
grabs his coat and attach case and bolts out the door.
306
INT. A BACK ROOM AT CENTERFOLDS - NIGHT
Subdued lighting, soft music. The wall displays erotic
images. A large round canopy bed and an elevated
fireplace. Plush carpets throughout. A key turns. The
door opens. The Woman in Leather enters, followed by
Theodora.
WOMAN IN LEATHER
We can talk in here.
THEODORA
Doesn't leave much to the
imagination.
The Woman in Leather locks the door from the inside.
WOMAN IN LEATHER
Walls are soundproofed. Stories
I could tell about the things
the maids find the morning
after.
(A sly wink)
Watch this.
She presses a button. A wall slides back revealing an
inner padded wall with hanging chains and shackles and a
cabinet with whips, crops and paddles. A St Andrews
Cross stands tall, the inner wall's centerpiece. Then
she gives Theodora a "time to talk business" look.
WOMAN IN LEATHER (CONT'D)
I got information on Janey and
Merry. But it's going to cost
you some serious cash. Am I
clear?
THEODORA
Wouldn't have it any other way.
INT. JAMARCUS' CAR - NIGHT
An early 70's Chrysler monstrosity, exactly like
JaMarcus' office, a basic shithole. JaMarcus, a scared
look on his face, starts it. The engine runs rough.
EXT. ON A SIDEWALK IN AN OPEN-AIR MARKET IN MEXICO NIGHT
JaneyRuth sits by a sign: "Portrait Done - 20 Pesos." A
COP approaches. She stiffens. All speech is in Spanish.
307
COP
Let's see your permit.
She goes into a whole big thing, taking stuff from her
purse, scissors, stapler, pencil sharpener, ruler. The
Cop gives her a I don't have all day stare.
JANEYRUTH
Look, how about I suck your cock
and we call it even?
EXT. A LOWRIDER ON A MAIN ROAD - NIGHT
An old police car bought at auction with the rack of
lights still on top. All speech is in Spanish.
MEXICAN GUY 1 (O.S.)
Couldda sworn you were Mexican.
STANLEY (O.S.)
Guess I kinda look that way.
INT. THE LOWRIDER - NIGHT
Stanley in back with three MEXICAN GUYS, two more up
front. They stop at each intersection as if looking for
a particular cross street. All speech is in Spanish.
MEXICAN GUY 2
So you're a Jew Gypsy?
STANLEY
Only one in the whole wide
world.
MEXICAN GUY 3
No shit?
MEXICAN GUY 4
Here! This is the street.
They turn. Suddenly they're on a narrow, badly-lit
street in an old neighborhood with cars parked bumperto-bumper.
STANLEY
Don't forget I gotta be some
place.
MEXICAN GUY 3
We'll get you there. Just gotta
do this one thing first.
308
EXT. BACK TO THE SIDEWALK - NIGHT
The Cop has JaneyRuth jammed up against the wall.
COP
Now you listen up! You got ten
seconds to get or I'll run you
in and you'll be picking up
roadside garbage and cleaning
outhouses.
JANEYRUTH
Okay! Okay! Shit, I'm going!
He releases her and walks away. She reaches down for her
backpack, purse, sketchpad and charcoals.
JANEYRUTH (CONT'D)
Fifty thousand cops in Mexico
and I had to get the one honest
one!
INT. THE LOWRIDER - NIGHT
One Mexican Guy points a spotlight at the parked cars.
MEXICAN GUY 5
There! That's it!
They stop. Everyone, except Stanley and the Wheel Guy,
piles out. They have tire irons. SMASH! A windshield
shatters. SMASH! The headlights and side windows. The
Wheel Guy starts laughing through a toothless mouth.
Lights on and shouts from the house. They jump back in
the car and, with a squeal of tires, head deeper into
the dark neighborhood. Bullets riccochet off the trunk.
POP! A bullet hits the rear window. Stanley dives for
cover.
MEXICAN GUY 1
Don't worry, man! They're
pussies!
They all laugh. But then, oh God, they come to the end
of the street and it's a cul-de-sac. They screech to a
halt.
STANLEY
Oh shit! This is it! We're gonna
die! We're all gonna fucking
die!
309
More plinks hit the trunk. A bullet shatters the back
window. Shards of glass cover everyone. The Wheel Guy
starts laughing as he revs the engine and rumbles up a
driveway, crashing through a wood fence into a back yard
which is a huge greenhouse. He punches the car through
the glass into a vast marijuana farm. Booby traps
explode, alarms go off. The Mexican Guys whoop as they
crash through the glass at the back end. The Wheel Guy
switches on the siren and red flashing lights as the car
reduces the back fence to splinters.
EXT. ON THE OTHER SIDE OF THE BACK FENCE - NIGHT
Back across the fence, alarms howl, boobie traps
explode. Ahead, awash in the red light, five YOUNG PUNKS
in hoodies unload electronic components from an unmarked
van. Deer in the headlights, they stop as the car, siren
wailing, comes straight at them. With "Oh shit!"
expressions on their faces, they assume the position
against the van.
At the last minute, the car veers off, heads to the side
of the house and vanishes just as a REAL COP CAR comes
through the break in the fence. Two COPS jump out.
YOUNG PUNK 1
They went around the corner!
YOUNG PUNK 2
Five of them, swear to God!
COP 1
Yeah, yeah. Assume the position!
They bow to the inevitable and reassume the position.
EXT. A DO-IT-YOURSELF 24-HOUR CARWASH - NIGHT
Cop cars race by. The Mexican Guys vacuum the car, tape
plastic over the back window. All speech is in Spanish.
MEXICAN GUY 1
Gotta say it again. You really
look Mexican. Can't get over it.
STANLEY
Who the hell was shooting at us?
MEXICAN GUY 1
My brother in law. He's cheating
on my sister with a cashier at
Valero.
310
STANLEY
So you smash his car windows?
They grin a Yeah. Pretty cool, huh? grin.
INT. THE BACK ROOM AT CENTERFOLDS - NIGHT
The Woman in Leather hangs naked from the St Andrews
Cross. Theodora holds a nasty probe plugged into the
wall.
THEODORA
Please work harder at not
insulting my intelligence,
Irma.
She moves the probe close to the Woman in Leather's
crotch just as the portable Fax springs to life.
Theodora leaves her to collect two sheets the Fax has
spit out.
INSERT - The Two Faxes
Copy of a mug shot of Stanley, front and side, and a copy
of JaneyRuth's Faculty Photo ID from Alamo Community
College.
BACK TO SCENE
EXT. OUTSIDE JAMARCUS' HOUSE - NIGHT
JaMarcus' car sits at an awkward angle at the curb,
driver's door wide open, interior light on. Inside the
house, sound of the banging of doors and cupboards.
JAMARCUS (O.S.)
Hurry, girl! No time to waste!
INT. THE LIVING ROOM IN JAMARCUS' HOUSE - NIGHT
Meredith, half-dressed, rushes from the bedroom with
dresses still on hangers, dumps them into open
suitcases. JaMarcus' voice from another room.
JAMARCUS (O.S.)
Five minutes! Be done in five!
Outside a freak thunderstorm, a thunderclap, heavy rain.
311
EXT. ON THE SIDEWALK - NIGHT
Rain coming down in sheets. Sidewalks deserted except
for one lone soul. JaneyRuth, weighed down by her
backpack, walks past doors, her head covered by the
sketchbook. She stops. She looks close at an address.
She knocks. A porch light switches on. The door opens a
crack.
INT. THEODORA'S CAR - NIGHT
Visibility down to ten feet. Rain pounds on the car
roof. Theodora hums to herself as she steers around deep
puddles and stalled vehicles with hazard lights
flashing.
JaneyRuth, wet and shivering, sits naked at an old
stove.
JANEYRUTH
You have to stare? Never seen a
naked girl before?
LESTER
I'm trying to see the
attraction. Always thought
Stanley had taste.
JANEYRUTH
I never liked you much either.
EXT. OUTSIDE JAMARCUS' HOUSE - NIGHT
Thunderstorm has passed. Small rivers run down the
street. Stanley wades through a puddle to get to the
house. As he passes JaMarcus' car, he shuts the car
door. He sloshes up to the porch, tries the front door.
It swings open.
Eerily still, despite all lights on. The only sound,
rain water outside. Stanley looks around, taking mental
photos. Several half-filled suitcases. Two shattered
chairs. Holes in the wall where wallboard has been
punched in. Across the living room and down a hallway,
heel drag marks and drops of blood on the carpet.
312
Stanley follows the trail to a closed bedroom door. He
takes a deep breath.
INT. THE BEDROOM IN JAMARCUS' HOUSE - NIGHT
Blood-soaked bodies on the floor and bed, positioned as
if thrown there: Mackie the Bartender, the Woman in
Leather, Meredith, JaMarcus. JaMarcus twitches. His lips
move. Stanley backs away. He turns and pukes on the
hallway rug.
Darkened. Lester asleep on the sofa under a thick
blacket. JaneyRuth naked on the floor, shivering under
one thin blanket, her wet clothes hanging from pegs
along the wall.
Stanley kneels by JaMarcus. JaMarcus struggles to speak.
JAMARCUS
Hurts, man. Hurts bad.
STANLEY
Get you a doctor, man.
JAMARCUS
Forget it. I'm done. Now
listen. The old lady? She's
connected.
STANLEY
Connected?
JAMARCUS
Mexican mafia. Drug Lords.
STANLEY
Drug lords did this?
JAMARCUS
Was a she. Eight, nine foot
bitch. El Chino, the head
chopper, he sent her. Hurts
bad. Remember man, I made you a
star.
STANLEY
It was you, man. No one else.
313
JaMarcus reaches up, grasps Stanley's arm.
JAMARCUS
Bitch isn't gonna stop. She
came here for you and Janey.
Take my car, head south. Don't
slow down. You slow down,
she'll kill you.
JaMarcus releases his grip, his body goes limp. Stanley
takes out his cell phone, punches in a number.
STANLEY
Hello? Nine one one?
He sniffs. Something's burning. He checks the hallway,
sees a rapidly-growing fire. Through the inferno, he
sees the moving, larger-than-life form of Theodora who's
just set alight a five-gallon gasoline can. The
wallboard, carpeting and cabinet doors have burst into
flames. She sees Stanley, fires, misses. He drops the
cell phone.
Stanley sees above him a pull-down attic door. He yanks
on a rope, a ladder swings down. He scurries up just
ahead of the spreading fire, punctuated by exploding
wall fixtures.
VOICE IN CELLPHONE
Hello? Hello? Are you there?
Was that a shot? Hello?
INT. THE ATTIC IN JAMARCUS' HOUSE - NIGHT
Smoke fills the space. Tongues of fire flare up on the
one-by-fours. Stanley runs on the catwalk toward a
dormir. Five shots from below punch holes in the wood at
his feet, the last grazing his leg. He stops to check
his flesh wound as two bullets splinter the wood
directly in front.
STANLEY
That's eight by my count.
He makes a mad dash for it, flinging himself forward
into the dormir, shattering the glass.
VOICE IN CELLPHONE
Stay where you are. Help is - -
314
The room's now an inferno. The cellphone slowly melts.
Click! Theodora, dodging sparks from a collapsing
lattice, takes bullets from her pocket to reload. Above
her, the sound of Stanley running followed by the sound
of glass shattering. She stumbles, drops the bullets,
bends down to retrieve them. She backs toward the front
door, keeping clear of the advancing flames, reloading
as she moves.
EXT. THE ROOF - NIGHT
Stanley lands heavily outside, begins sliding feet-first
on the wet roof. He spreads his legs to get traction.
But then, he sees a steam pipe dead ahead on collision
course with his crotch. He jerks sideways, his body
snapping the pipe off at roof level. A jet of steam
shoots up from the suddenly open flue as Stanley rolls
off the roof.
EXT. THE FRONT LAWN - NIGHT
Stanley lands in a puddle, twisting his ankle. He gets
up limping. Covered in mud, he hobbles to JaMarcus' car.
A siren wails, coming closer. He turns the key. The car
rumbles to life. Lights off, he heads up the street and
makes a left into an alley, disappearing from view as a
FIRE ENGINE rounds the curve and halts. FIREMEN leap
into action. Lights up and down the street switch on.
RESIDENTS come out to watch the fire which has now
reached the roof.
INT. THE BLAZING INFERNO IN LIVING ROOM - NIGHT
Theodora peeks out at
rug, wraps herself in
the fire to a sliding
a back window, we see
sirens.
the Firemen. She takes a Persian

it, steels herself to run through
door leading to the back. Through
her Roadrunner. Sound of more

Pitch black. Lester and JaneyRuth jammed together under
the covers on the sofa. JaneyRuth keeps changing
position.
315
LESTER
I have work in the morning.
JANEYRUTH
So go to sleep.
LESTER
It'd help if you'd lie still.
INT. JAMARCUS' CAR ON A ROAD BY THE DRY RIVER BED - NIGHT
Stanley, headlights off, sees distant cop lights coming.
He jerks the wheel, slips through a gap in the retaining
fence and drops the car down onto a concrete embankment.
STANLEY
Oh God oh God! Ahhhhhhhhhh!!!
It slides down toward the dry river bed. Halfway down,
it lands on a maintenance road. He guns it, holding it
level, his knuckles white. The car spews smoke and dust.
EXT. A HALF-MILE AHEAD ON THE MAINTENANCE ROAD - NIGHT
Rap music blares. Floodlights illuminate a part of the
concrete slope where a TAGGER GANG busily paints their
masterpiece. As they work, their GIRL FRIENDS, four
tattooed quasi-females, stand at a barbecue burning
cheap meat. A distant rumble. They all turn to look.
JaneyRuth's legs are wrapped around Lester.
LESTER
I'm sorry about what I said.
JANEYRUTH
Shut up, asshole. Just fuck me!
INT. JAMARCUS' CAR - NIGHT
Stanley steers the car over bumps and potholes and
through tall weeds. The car bursts into the clear and
dead ahead, the Tagger Gang with all their gear.
STANLEY
Oh shit! Move, you dumb
assholes!
316
He sees them frozen in fear. He spins the wheel hard
left.
STANLEY (CONT'D)
Look out! Oh motherfuck,
please!
EXT. OUTSIDE ON THE MAINTENANCE ROAD - NIGHT
The car climbs up the slope and slides sideways, leaving
marks and gouges in the paint. Stanley guns it as it
lands back on the road. It vanishes in a spray of mud.
The Head Tagger gasps, shakes his fist. All speech is in
Spanish.
HEAD TAGGER
You philistine! You hoodlum!
You...you vandal!
The blankets are on the floor. Lester, on top of a
spread-wide JaneyRuth, banging her with everything he
has.
JANEYRUTH
Oh God yes! You stud, you
stallion, you absolute ram!
EXT. THEODORA'S ROADRUNNER - NIGHT
The Roadrunner crawls along a dark, tree-lined street.
INT. THEODORA'S ROADRUNNER - NIGHT
Theodora at the wheel, burn holes in her clothing, burns
on her face and arms. She parks, takes out her cell
phone.
THEODORA
I need a doctor.
INT. JAMARCUS' CAR - DAY
Morning. Speeding down the freeway past a sign: MEXICAN
BORDER - 50 MILES. HAVE YOUR PAPERS READY. Stanley,
hands off the wheel, looks down from high above the
road.
317
EXT. JAMARCUS' CAR - DAY
We see the car on a semi car truck, one of seven cars.
On the top level of the trailer, Stanley sits at the
wheel.
EXT. A WEALTHY NEIGHBORHOOD - DAY
A security vehicle passes. Through a gate, we see the
Roadrunner. The Doctor speaks with an African accent.
DOCTOR (O.S.)
It'll require a week. At
minimum.
THEODORA (O.S.)
Just clean me up, give me some
painkillers. I'll be on my way.
INT. THE BREAKFAST NOOK IN THE MANSION - DAY
Theodora's skin and hair singed black. The DOCTOR, a
very black African, cuts away her clothing piece by
piece.
DOCTOR
Run through a fire. Very
foolish.
A ten-foot PYTHON slithers on the tile floor.
DOCTOR (CONT'D)
Don't fret about Sylvester.
Reminds me of home. Every
proper house in Ruwanda has a
python.
INT. LESTER'S APARTMENT - DAY
A bird sings. Lester and JaneyRuth awaken.
EXT. THE BORDER STATION ON THE MEXICAN SIDE - DAY
The car truck parked. Two Officers, one of them Carlos,
go over paperwork with the DRIVER. He signs, climbs back
in.
318
INT. THE OBSERVATION TOWER AT THE BORDER STATION - DAY
In the distance, the car truck pulls out into traffic.
An OFFICER watches through binoculars.
INSERT - What he sees
Stanley sits in his car, looking back at the Border
Station.
BACK TO SCENE
The Officer turns. We see that it's Sergeant Fernando
Reyes. He picks up the phone. All speech is in Spanish.
REYES
Paco? It's me. Send Sanchez to
the tower ASAP. I'll be taking
some time off. Personal
business.
He sets the phone down. He looks through the binoculars.
INT. THE BREAKFAST NOOK - DAY
The Python is curled around a food dish. Theodora lies
naked as the Doctor applies cream to her singed skin.
The procedure is painful. She grits her teeth.
EXT. A COUNTRY ROAD - DAY
The car truck, Stanley's car unloaded, is parked at a
ditchbank by a narrow road. All speech is in Spanish.
STANLEY
I better go before the cops
come.
DRIVER
You could stay here a week, see
no one. No one alive, that is.
STANLEY
What are you talking about?
DRIVER
The ghosts.
The Driver points to the ditchbank.
319
DRIVER (CONT'D)
El Chino left the ten heads
there. Police took the heads,
but the ghosts keep coming to
look for them. That's what
people say.
EXT. THE DRIVEWAY AT THE GATED MANSION - DAY
Theodora in her Roadrunner. She wears gloves,
sunglasses, a long-sleeved blouse with a large turned-up
collar. She's on the phone. All speech is in Spanish.
THEODORA
Doctor finished. I'll be back
as soon as I tie up some loose
ends.
She listens.
THEODORA (CONT'D)
I'm fine, my dear. He did good
work. I'm almost like new.
She flips open a pill container, counts out four pills,
washes them down. She clicks a remote. Gate opens.
INT. THE BREAKFAST NOOK - DAY
The Doctor lies under the table, tied speadeagle to the
table legs. He's bleeding from a cut to his upper right
arm. Stark terror in his eyes as the Python slithers up
and flicks its tongue into the pool of blood.
INT. THE CONFERENCE ROOM AT THE RADIO STATION - DAY
Miriam, Tachito and three Suits are seated at the
conference table. Lester enters. Miriam gives him a
look. All speech is in Spanish.
LESTER
Sorry. Overslept.
TACHITO
Got your security people
prepped?
LESTER
Nine am, tomorrow morning they
rendezvous with El Chino at - -
320
MIRIAM
He doesn't like that name. Call
him Mister Miyaki. You got that?
INT. THE CONFESSIONAL AT THE CATHEDRAL - NIGHT
El Chino, in a penitent's robe, enters and shuts the
door. He kneels before the grill. All speech is in
Spanish.
MONSIGNOR (O.S.)
By the Father, Son and Holy
Spirit.
EL CHINO
Forgive me for I have sinned.
The grill slides open, revealing Monsignor's angry face.
MONSIGNOR
How dare you come here!
The grill shuts. Sound of a door slamming. El Chino
slams his fist against the wall. The whole Confessional
shakes.
EXT. A SELF-SERV GASOLINE STATION - NIGHT
Stanley at a wall pay phone.
STANLEY
Lester!
LESTER (O.S.)
(A just-woke-up voice)
That you, Stanley? Where are
you?
STANLEY
I need a place to lie low.
Lester, in bed, whispers, trying not to wake JaneyRuth.
LESTER
What's going on?
321
STANLEY (O.S.)
Crazy bitch, huge, eight feet
tall, killed JaMarcus, burnt his
house.
LESTER
No shit?
JaneyRuth, now awake, turns and smiles the smile of a
thoroughly-satisfied lover. She blows him a kiss.
LESTER (CONT'D)
Okay, meet me at the station.
We'll work something out.
STANLEY (O.S.)
I can't come to your house?
LESTER
Just do it, man.
He hangs up.
JANEYRUTH
Who was that, dearest?
LESTER
No one, sweetness.
EXT. THE COUNTRY ROAD - NIGHT
The car truck still parked at the ditchbank. Distant
headlights. A light switches on inside the sleeper cab.
The Driver looks out, wrench in hand. A police car
stops. Reyes steps out. All speech is in Spanish.
REYES
Hello up there! Border Police.
DRIVER
Already passed customs. Got my
papers right here.
Reyes kicks a tire, points a high-powered flashlight.
REYES
Looks like you're short one
car. When you passed customs,
you had seven. Now there's six.
DRIVER
No, man. I had six all along.
322
Reyes waves a sheaf of papers.
REYES
Then the papers should say six.
EXT. IBEROAMERICAN COMMUNICATIOND COMPLEX - NIGHT
The ten-storey structure is lighted up like Disneyland.
LESTER ( O.S.)
You can clean up and change in
here, man.
INT. THE WASHROOM - NIGHT
The digital clock on the wall says 11:37 pm. A huge,
ornate executive washroom, complete with four marble
stalls with floor-to-ceiling doors and three spacious,
semi-private styling stations with mirrors and barbertype chairs. Stanley takes clean clothes from his back
pack.
STANLEY
Why couldn't I change at your
home?
LESTER ( O.S.)
It would be like. Complicated.
WHOOSH! Sound of a flush. Stall door opens. Lester
emerges as Stanley finishes a quick sponge bath. Lester
sits in a styling chair, checks himself in the mirror.
He can't see Stanley because of the velvet-lined privacy
partitions. He presses a button on the armrest. A soft
whirring sound. The chair rotates slowly. He takes his
finger off the button. Whirring stops. Chair stops
rotating. Meanwhile, Stanley dons clean, dressy clothes
from his backpack.
STANLEY
Got a girl or something?
LESTER
Yeah. Something.
EXT. THE COUNTRY ROAD - NIGHT
Reyes' car drives off. On the ditchbank, we see the
Driver's bloody HEAD.
323
INT. REYES' CAR - NIGHT
Reyes picks up speed, lights on high beam, car bouncing
over bumps. Ahead, we see the road merges with a highway
where cars zip by. Reyes eases in only to be sideswiped
by a car coming up fast. His speech is in Spanish.
REYES
Mother fuck!
He struggles to keep control. He looks out the side
window to see Theodora cursing and flipping him off.
EXT. THE HIGHWAY - NIGHT
Reyes' car spins out. Cars brake, honk, drive around him
as he smacks sideways into a retainer facing backwards.
No one stops. Theodora guns her engine and vanishes.
INT. REYES' CAR - NIGHT
Reyes does a quick inventory of his arms, legs and
fingers. Nothing broken. His speech is in Spanish.
REYES
Bitch will pay!
He starts the engine, switches on the flashing lights.
Sound of scraping metal as he pulls out into traffic.
Before dawn. JaneyRuth switches on the TV to see a her
own public service ad. The ad is in Spanish.
VOICE OF JANEYRUTH
...Just not worth it. You pay
huge amounts to criminals and
felons to take you to a country
where they don't want you. Along
the way, they rob you, rape you
and extort money from your
relatives back home. My advice
is: be wise, stay home. Bank the
money, earn interest, okay?
VOICE OF AN ANNOUNCER
A message from your Agency of
Immigration and Border
Security.
324
INT. EL CHINO'S DRESSING ROOM - NIGHT
Before dawn. On TV, the same public service ad. El Chino
dresses at a mirror. Lij Yasu stands, handing him
clothing items. An ADVISER talks. All speech is in
Spanish.
ADVISER
Remember, they'll play tricks.
They'll twist your words.
EL CHINO
They won't succeed.
ADVISER
You shouldn't be doihg this.
EL CHINO
I have my reasons.
ADVISER
If they ask about your personal
life, don't say how often you
go to Mass or how many Rosaries
you pray. People will
misunderstand. People will
think you're - El Chino rounds on him. The Adviser swallows, bows,
exits. El Chino frowns at the TV, turns to Lij Yasu.
EL CHINO (CONT'D)
They shouldn't permit this. She
calls us rapists, thieves. Her
lies verge on slander.
El Chino turns back to the mirror, ties his necktie.
From outside, the roar of engines, coming closer. They
turn.
EXT. OUTSIDE THE WALLS OF EL CHINO'S COMPOUND - DAY
Sunrise. Theodora and Reyes' cars, bumping side by side,
coming straight at the slowly opening compound gate. The
Guards Squad scrambles, rifles aimed. The Squad Leader
barks an order. Bullets smash Reyes' windshield,
puncture his tires, as Theodora's car zips inside. The
gates swing shut. Reyes' car flips over, slides
sideways, slamming into the wall. We see Reyes' head
through the window. We can make him out moving inside.
The Squad Leader squats down, raps on the door. All
speech is in Spanish.
325
SQUAD LEADER
War's over for you, Amigo.
A bloody hand reaches out through the smashed window.
INT. LESTER'S APARTMENT - DAY
An ironing board in the middle of the room. JaneyRuth
sits at the mirror, brushing her hair. She's dressed
hot. She smiles and walks out the door.
EXT. OUTSIDE THE WALLS - DAY
The Squad Leader stands next to a bloodied Reyes. He has
Reyes' ID card. All speech is in Spanish.
SQUAD LEADER
Long way from your
jurisdiction.
(He points north)
Border's that way, Amigo. I
suggest you start walking.
Reyes spits in the dirt, limps off as three POLICE-TYPE
VEHICLES, each with two UNIFORMED SECURITY MEN inside,
approach. Hovering overhead, a HELICOPTER.
INT. A HALLWAY AT THE RADIO STATION - DAY
WORKMEN on ladders check electronics. Miriam leads
Tachito and two Suits. Everyone walks fast. They pass a
door marked "EXEC WASHROOM". All speech is in Spanish.
MIRIAM
Two hours. The security people
will escort him and his PA from
his residence to Studio A here.
They stop at a door marked "ON-AIR STUDIO A". Tachito
goes inside. The others mill about for a minute. Then...
MIRIAM
Let's move, people. Chop chop.
EXT. OUTSIDE THE WALLS - DAY
Gate opens. El Chino's Armored Limo emerges, Lij Yasu at
the wheel. The three Security Vehicles start up. The
326
Guards Squad present arms. The Squad Leader salutes.
INT. THE LIMO - DAY
Theodora directs a withering glare at the back of Lij
Yasu's head. All speech is in Spanish.
THEODORA
Isn't it high time you got a
professional driver instead of
this - this African?
Lij Yasu's neck stiffens at the remark.
EL CHINO
Please. No negativity.
He moves to draw her closer.
EL CHINO (CONT'D)
I need you now.
THEODORA
No. Not now.
EL CHINO
Please.
She looks out the smoked window at the Helo swooping
past.
EXT. THE CAFETERIA - DAY
A few scattered PATRONS. Lester and Stanley sit at a
corner table, Stanley wolfing down some egg enchiladas.
LESTER
I gotta get ready to do some
business. So I want you to,
like, make yourself scarce for a
while.
STANLEY
(His mouth full of food)
What's that mean?
LESTER
I don't want it known you're
here.
Stanley gestures toward the CASHIER with his fork.
327
STANLEY
He knows I'm here.
The Cashier turns, cocks an eyebrow.
STANLEY (CONT'D)
Is this about El Chino?
Lester looks down at his plate.
STANLEY (CONT'D)
Reason I ask, few days ago you
were hot for me to smack him
with a pie.
LESTER
Changed my mind on that.
STANLEY
Oh?
LESTER
I now admit you were right to
blow me off. It was
irresponsible of me.
STANLEY
Glad you see the light.
LESTER
I now realize I need to change,
start thinking about my future,
stop wasting time on
irrelevancies.
STANLEY
Irrelevancies?
LESTER
Focus on things that matter.
This El Chino thing, if it goes
well, could be a feather in my
cap, could mean steady work, a
salary. I could wear a suit,
live a normal life.
He straighten his tie.
STANLEY
Are you the dude who said,
"Can't believe what I'm hearing"
when I was talking about hanging
it up.
328
Suddenly JaneyRuth's there, her hand on Lester's
shoulder.
STANLEY (CONT'D)
Are you responsible for this?
Lester grasps her hand in a show of solidarity.
JANEYRUTH
So maybe I am. So sue me.
Lester's cellphone flashes.
LESTER
Oops. Gotta go. Be back soon.
You two stay put, don't move an
inch.
(To the Cashier, in
Spanish)
Dessert's on my tab!
Lester exits out the door.
INT. THE LIMO - DAY
Through the window, Theodora sees Reyes limping along at
the roadside. He follows her stare as the Limo passes.
JaneyRuth is now seated in Lester's chair.
STANLEY
Move right along, don't you?
JANEYRUTH
Don't know what you mean.
STANLEY
One day you're tight with a
guy, next day you're moving on
his friend. How's that work?
JANEYRUTH
Girl can change.
STANLEY
Sure, so long as she doesn't
mind tossing her principles
overboard. Say, whatever became
of Mizz Cuffs?
329
JANEYRUTH
Caught the last outbound bus.
STANLEY
Gone with the wind, huh? So
how's life with Lester?
JANEYRUTH
Listen, I don't want you saying
anything about anything to him.
INT. THE HELO - DAY
Through the plexiglass, we see El Chino's caravan below.
In the near distance, we see the Iberoamerican Building.
INT. ON-AIR STUDIO A
Tachito checks his notes as the CREW runs equipment
tests.
INT. VLADIMIRO'S CORNER OFFICE
Vladimiro stands at his big window, staring out.
INT. THE LIMO - DAY
THEODORA
We'll be there with time to
spare, My Dear.
EL CHINO
Good.
THEODORA
I planned it so we'd be early.
EL CHINO
You always think of me.
Theodora smiles a tight smile.
INT. THE HALLWAY - DAY
The Workmen pack up their tools. Miriam and the three
330
Suits, dressed to the nines, stand together. Lester runs
up. Miriam gives him a "you're late again" look.
JANEYRUTH
No, I'm not "faking it" with
Lester. Crude of you to suggest
it.
(Takes a deep breath)
Okay. To satisfy your
curiosity, when I'm with him, I
close my eyes and imagine I'm
with Meredith.
STANLEY
Aha! That's faking!
JANEYRUTH
If there's an orgasm, it's not.
STANLEY
Still got a thing for her, huh?
JANEYRUTH
Meredith's my one dream. I know
someday, somewhere, we'll - STANLEY
No. No, you won't.
JANEYRUTH
You know your problem? You're a
pessimist, can't accept people
have hopes, dreams and - He gives her the look a funeral parlor operator gives.
STANLEY
Janey. Listen to me. She's dead.
Her face goes ashen. She grips the table.
Tachito stands at a mirror, doing his pre On-Air lip,
tongue and throat exercises.
INT. THE HALLWAY
Lester's cellphone flashes. He puts it to his ear,
331
listens and hangs up.
LESTER
They're entering the parking
lot.
Vladimiro watches out his big window, as El Chino's
caravan enters the parking lot. The Helo hovers so
close, Vladimiro sees the Pilot wave. He waves back.
EXT. IN THE EXECUTIVE PARKING LOT - DAY
Caravan halts. As the Helo hovers overhead, the
Uniformed Security Men rush to form a protective ring by
the Limo.
JANEYRUTH
Meredith's dead?!?
The Cashier turns, looks at them. The few other Patrons
glance over. Stanley gestures for her to keep it down.
JANEYRUTH (CONT'D)
(A lower tone)
Dead?
STANLEY
Was at JaMarcus' when they - Her eyes become slits.
JANEYRUTH
Who's they?
STANLEY
Short version. JaMarcus and I
had a falling out. To get back
in my good graces, he went to
the Hall of Records, tracked
down the property owner. He
filed suit alleging we were
evicted and our business closed
without cause.
JANEYRUTH
Good for JaMarcus! But who - -
332
STANLEY
He didn't know the quote owner
unquote was working for El
Chino.
An "Oh Shit!" look crosses her face.
EXT. THE PARKING LOT - DAY
Theodora and El Chino exit the Limo. The Uniformed
Security Men form a tight ring around them. They move as
a single unit, halting at the main door to the building.
JaneyRuth's fingers drum the table. Drumming gets louder
and more rapid as she sorts things out. Finally...
JANEYRUTH
So the Killer's here right now.
No response. She leans in, getting into his face.
JANEYRUTH (CONT'D)
You listening? El Chino's in
the building. Lester's been
going on and on on how big a
deal this is for him. We gonna
let this pass?
STANLEY
What's this we? Where'd you get
we?
JANEYRUTH
So you are gonna let it pass.
He looks away.
JANEYRUTH (CONT'D)
Think I finally got you pegged.
Those people you ambushed? All
public figures, politicians,
entertainers, dependant on the
media's good will. Had one of
them pressed charges, which
would've meant serious jail
time, media would have slammed
them for being jerks. You knew
you'd get a slap on the wrist,
few months in County for
disturbing the peace.
333
STANLEY
What's your point?
JANEYRUTH
You target a sad little alky
like Charlie Sheen who can't
piss unless someone holds his
dick and aims it. But you steer
clear of the El Chinos, who
deserve a pie, because they hit
back.
STANLEY
Hey, fuck you!
JANEYRUTH
Ooh. Touched a nerve.
She stands.
JANEYRUTH (CONT'D)
You sit tight, stay safe,
Monkey Boy. I got business to
attend to.
She walks toward the door. The Cashier stops her midway.
For the rest of the scene, all speech is in Spanish.
CASHIER
Sorry. Hallway's off limits.
JANEYRUTH
What?
CASHIER
A Very Important Person has
arrived. No one's allowed.
She gives him a pleading look. She points to the door.
JANEYRUTH
But I have to go and the
bathroom's out there.
CASHIER
You'll have to hold it.
Suddenly Stanley's there, hand on her shoulder.
STANLEY
Didn't you hear? She has to go.
CASHIER
I'm sorry, Sir, but - -
334
STANLEY
Hey, come on, man. The lady
can't wait. Have pity. Look at
her.
The Cashier tries not to look. JaneyRuth leans into his
line of sight with an expression of helpless suffering.
STANLEY (CONT'D)
Help her. Please.
A long moment as the Cashier wrestles with his
conscience.
CASHIER
I'm not supposed to say this,
but there's a back way we use
for taking meals to the big
shots. It has a door into the
washroom.
He draws a curtain back to reveal a door. JaneyRuth
starts toward the door. Stanley stops her.
STANLEY
Did I hear mention of dessert?
CASHIER
Yes sir. On Mister Chan's tab.
STANLEY
Talk to me about your pies.
EXT. AT THE MAIN DOOR OUTSIDE THE BUILDING - DAY
LEAD SECURITY MAN
Here you go, Mister Miyaki.
We'll be at this door to
collect you when the interview
is over.
A look of confusion crosses El Chino's face.
EL CHINO
You're not taking us inside?
LEAD SECURITY MAN
Negative. Contract with Mister
Qaleef is from door to door.
335
El Chino turns on Theodora with a look of disgust.
EL CHINO (CONT'D)
What am I paying for? Why
didn't you think of this?
LEAD SECURITY MAN
I'm sure Mister Qaleef's
building security is adequate.
El Chino looks through the glass, sees Miriam, Lester
and the Suits, waiting, smiling. And not a single human
Security Guard in sight. He shudders.
INT. THE BACK PASSAGEWAY - DAY
Darkened interior. Nightlights along the lower wall mark
the way. Stanley and JaneyRuth move haltingly. JaneyRuth
in front, Stanley carrying a pie in a box.
A door in the wall. She tries it. The handle turns
the door's stuck. Stanley puts his shoulder to it.
gives way, swinging wide open. Stanley stumbles in
does some fancy stepping to keep from dropping the
but
It
and
pie.
JANEYRUTH
Regular Fred Astaire there.
STANLEY
Fuck you too.
INT. THE HALLWAY
Miriam points to various ceiling fixtures, the ones the
Workmen had been checking. All speech is in Spanish.
MIRIAM
Security system's robotic. One
hundred per cent - LESTER
Cutting-edge, completely
digital. Latest infrastructural
cybernetics.
EL CHINO
This is nothing! But for God
and His Angels, I have no
confidence if I can't see it. I
want uniformed security
personnel. Human uniformed
personnel!
336
Theodora steps forward with a menacing demeanor.
THEODORA
Did you hear what he just said?
INT. THE WASHROOM
The clock says 10:12 am. Mouthing an "Oh my God!",
JaneyRuth takes in the opulence: the high marble stalls;
the styling stations, the velvet-lined privacy
partitions. She plops into a leather styling chair,
presses hard on the armrest button. The chair goes into
a sudden spin and nearly tosses her out. She holds on
for dear life.
JANEYRUTH
What the hell!
STANLEY
Need a deft touch, ease into it.
Like a video game where you're
killing the zombie kidnappers,
leaving the hostages untouched.
JANEYRUTH
Oh, like you know.
STANLEY
All right, let's get to it.
(Points to the main door)
He's out there. Lester said he's
here minus his guard dogs. That
was the deal. He's open for an
ambush.
(Grins, he takes out the
pie)
Ahhhh! The pice de rsistance.
JANEYRUTH
Coconut cream?
STANLEY
Banana.
He looks for a place to store the pie. He tries the
drawers and cupboards at a styling station. All locked.
JANEYRUTH
How about in one of the stalls?
STANLEY
Can't lock it from the outside.
She takes a small scissors from her purse and with a
337
"watch this" wink, cuts the sides and top off the pie
box, leaving the large square bottom.
STANLEY (CONT'D)
Hell you doing?
JANEYRUTH
Relax, relax.
She takes a red magic marker from her purse, writes in
Spanish "OUT OF ORDER, TRY NEXT STALL" in big letters.
JANEYRUTH (CONT'D)
Now for my pice de rsistance.
She takes out some tape, sticks the sign to the stall
door. Just then, a sudden noise at the door.
INT. THE HALLWAY
Theodora's at the Washroom door. All speech is in
Spanish.
THEODORA
Mister Miyaki and I will wait
in here until you rectify this
unacceptible security
situation.
She and El Chino go into the Washroom, close the door.
INT. THE IT CENTER
Dimly-lit room. A SUPERCOMPUTER along one wall emits
hums, clicks, whirrs, blinks, flashes. On another wall,
an array of firefighting equipment and a cabinet with a
sign in red (In Spanish), "In Case of Emergency, Open
This".
One IT SPECIALIST, ZEPP, dressed Goth, tattoos, metal
bits above one eyebrow, at a bank of monitors displaying
indoor and outdoor spaces. Lighted gauges indicate
movement and body heat in the monitored spaces. Zepp
watches El Chino and Theodora exiting the Hallway. He
frowns.
INT. THE HALLWAY
MIRIAM
Damn!
338
LESTER
We have forty minutes until - MIRIAM
Damn!
SUIT 1
Not much time.
Miriam begins punching a number into her cellphone.
MIRIAM
I so hate telling Mister
Qaleef.
LESTER
Wait! What say we suit up some
guys to look like security
guards?
Miriam and the Suits turn and stare at Lester.
LESTER (CONT'D)
They don't have to be guards. He
wants uniforms? Give him
uniforms. Then you can call Mr
Qaleef, say you had a problem
and solved it.
Miriam and the Suits look at one another, each waiting
for the other to say something.
LESTER (CONT'D)
Hey, come on, it's win-win.
Miriam nods a reluctant nod.
INT. THE WASHROOM
Clock, 10:25 am. El Chino watches as Theodora, pistol
out, scopes the area. She opens a stall door, then a
second. She notes the sign on the third. She tries it.
Locked. She spots the Back Passageway door. It's open.
She's thinking that it shouldn't be open. She opens it
wide, looks in. She shuts it, gives El Chino the "all
clear".
Vladimiro, at his big window, watches the Helo setting
down in the parking lot. He exits the room.
339
INT. THE IT CENTER
Vladimiro enters. Zepp nods without looking up.
VLADIMIRO
Are you monitoring our guests?
ZEPP
They went into the first floor
washroom. Can't follow them
there.
VLADIMIRO
But of course you can!
ZEPP
If you recall, Sir, you told us
not to wire the washrooms.
An "Oh yeah, that's right" look slowly crosses his face.
ZEPP (CONT'D)
Potential litigation. You were
worried someone might be filmed
relieving himself and file suit.
VLADIMIRO
Yes! Thank you! I said I recall!
ZEPP
Just pointing out wasn't my
idea.
Vladimiro shoots him an angry look, exits, slams the
door.
INT. THE WASHROOM
The clock says 10:29 am. El Chino in a styling chair
facing the mirror, Theodora massaging his temples, her
pistol on the utility tray. All speech is in Spanish.
EL CHINO
Electronic security. His head's
up his ass.
THEODORA
Don't get upset, my dear.
EL CHINO
Was anyone ever intimidated by a
sign saying, "Premises protected
by bla-bla-bla security"?
340
THEODORA
Calm. Interview's in a half
hour.
INT. ONE OF THE STALLS
Stanley and JaneyRuth listen. The pie rests on the
toilet tank lid. El Chino and Theodora speak in Spanish.
EL CHINO (O.S.)
Half a mind to say hell with it!
They don't want truth. All they
want is to get me on the ten
heads!
Stanley and JaneyRuth give each other meaningful looks.
THEODORA (O.S.)
Still, you agreed to come, my
dear.
EL CHINO (O.S.)
I wish I'd - He breaks off interrupted by the whirring sound of the
chair motor. Then the sound of a zipper. Then some
strangely familiar groans. Stanley and JaneyRuth
whisper.
STANLEY
Someone's getting a blowjob.
JANEYRUTH
And a bad one at that.
INT. THE WASHROOM
Clock, 10:31 am. El Chino's legs stick out beyond the
partition, pants at his ankles. Theodora kneels, her
pistol on the tray, her shoes off, her toes digging into
the tile. All speech is in Spanish.
EL CHINO
Oh don't stop! Don't stop! Don't
stop! Oh God, please don't stop!
Oh yes, that's it! That's it!
That's it! That's it!
The stall door silently swings open. Stanley slowly
emerges, pie in cocked hand. JaneyRuth follows, her
cellphone camera at the ready.
341
INT. THE HALLWAY
Two MAILROOM ATTENDANTS, in rent-a-cop uniforms, stand
at attention. They attempt to look intimidating. Lester
and the Suits turn to Miriam. All speech is in Spanish.
MIRIAM
It will have to do, I suppose.
The Mailroom Attendants grin, strut like stormtroopers.
Miriam activates her cellphone.
MIRIAM
(Into the cellphone)
Sir, just to let you know - INT. A HALLWAY ON ANOTHER FLOOR
Vladimiro at the elevator. He presses the "DOWN" button
and waits. He holds his cellphone, speakerphone
activated.
- - Mister
observable
personnel.
accomodate
resolve it
MIRIAM'S VOICE
Miyaki objected to no
site security
We're working to
him, expect to
soon.
A "WTF?" look crosses his face as the elevator door

opens.
INT. THE HALLWAY
The Mailroom Attendants stand at parade rest, one on
each side of the Washroom door. Lester walks up, gives
them a military up-and-down. All speech is in Spanish.
LESTER
Suck in that gut, soldier!
The Washroom door opens. BLAM! A GUNSHOT. JaneyRuth and
Stanley burst into the hall. JaneyRuth has Theodora's
pistol which she's has just fired at the ceiling. She
turns, sweeping the area with the pistol.
JANEYRUTH
That's right, people! It's
loaded and I know how to use it!
342
Miriam, the Suits, the Mailroom Attendants, all dive for
the floor. Lester stands in shock, mouth open.
INT. THE IT CENTER
Zepp sees what's unfolding. He picks up his cellphone,
hits a button. All speech is in Spanish.
ZEPP (CONT'D)
Sir! Avoid the first floor!
There's a woman with a gun. I'm
notifying the Emergency Task
Force!
He punches in some numbers.
INT. THE ELEVATOR
Vladimiro stands as the elevator descends, watching the
digital floor indicator: "8, 7, 6..." His cellphone
starts vibrating. All speech is in Spanish.
INSERT:
A flashing "Emergency Message" graphic (in Spanish).
BACK TO SCENE
VLADIMIRO
Stop it, Miss Chin. Your little
problem is minor. Not an
emergency!
He angrily switches the phone to "OFF" as the elevator
descends "5, 4, 3...".
INT. THE HALLWAY
JaneyRuth points the gun randomly, Stanley and Lester
stay back out of the way of the gun. All speech is in
Spanish.
JANEYRUTH
I just lost the love of my life.
So anyone moves, it'll be your
last!
STANLEY
Easy, Janey. They had nothing
to do with Meredith.
343
Mailroom Attendant 2 sobs loudly.
JANEYRUTH
Then lemme hear them say it!
She sticks the gun to Mailroom Attendant 2's head.
JANEYRUTH (CONT'D)
Say you didn't kill Meredith!
He cringes. Stanley scrunches down next to him.
STANLEY
Hey, man. Tell her it wasn't
you.
He looks up with an "Am I gonna die? look.
STANLEY (CONT'D)
Go on. Say you didn't kill her.
JaneyRuth jams the muzzle hard against his head. He
closes his eyes, whispers a silent prayer.
JANEYRUTH
I don't have all fucking day!
STANLEY
Say it. Say you didn't kill
her.
MAILROOM ATTENDENT 2
I. I didn't kill her.
She cocks the pistol.
JANEYRUTH
He's fucking lying!
STANLEY
Let it go, Janey. Just let it
go.
Mailroom Attendent 2 is blubbering gibberish. Lester
reaches in, grabs her wrist and pulls up. Suddenly, the
pistol is pointed at the elevator door as it opens. Four
shots ring out stitching four holes in Vladimiro's
heart, neck, mouth and forehead. He falls forward, stone
dead.
LESTER
(In English)
Oh shit!
344
EXT. THE EXECUTIVE PARKING LOT - DAY
The Uniformed Security Men stand in a circle by their
vehicles. Lij Yasu stands apart, next to the Limo.
LEAD SECURITY MAN
(In English, to his mates)
Smoke 'em if you got 'em.
They light up. Lij Yasu lights up a carved ivory pipe.
INT. FEDERAL POLICE EMERGENCY TASK FORCE HQ - DAY
On the
Force.
tasks.
speech
wall, symbol and logo of the Emergency Task

OFFICERS and CLERICALS rush about on urgent
A bored ETF OFFICER speaks into a phone. All
is in Spanish.
ETF OFFICER
Where are you calling from?
ZEPP (O.S.)
Iberoamerican Communications!
We need help! We have a person
brandishing a pistol.
ETF OFFICER
We don't get many callers using
"brandish" when reporting an
incident. Details please. How
is this man brandishing his
pistol?
INT. THE IT CENTER - DAY

ZEPP
Not a he. It's a she. Please
hurry!
ETF OFFICER (O.S.)
A she brandisher? That can be
interesting. What's she wearing?
INT. THE WASHROOM
Clock says 10:41 am. El Chino, still in shock, fly open,
face and shirt covered in pie guck. He tries to stand,
slips, falls back heavily. He wipes Cool Whip from his
345
eyes, touches it to his tongue. All speech is in
Spanish.
EL CHINO
Is this pie?
THEODORA
Yes.
EL CHINO
Did someone throw a pie at me?
THEODORA
Yes.
She picks up a rag, begins wiping the pie stuff off his
face. He tries slapping the rag away, glares at her. She
ignores him, continues wiping.
INT. THE EMERGENCY TASK FORCE HQ - DAY
ETF OFFICER
Not to put too fine a point on
it, Sir, but it doesn't sound
like an emergency.
ZEPP (O.S.)
I just saw her shoot Mister
Qaleef! Oh God, this is
horrible!
ETF OFFICER
Killed? Are you sure he's dead?
ZEPP (O.S.)
I don't see him moving!
ETF OFFICER
That alters the equation. You
now have a police matter. You
should call the police.
ZEPP (O.S.)
But I am calling the police!
ETF OFFICER
No, you're calling the
Emergency Task Force.
ZEPP (O.S.)
Are you listening? She just
killed a man!
346
ETF OFFICER
Let me explain. We have over
four hundred killings per week.
Where would we be if we
designated each an emergency?
Pulled in four hundred
directions, nothing getting
done, our performance rating
degraded. Now if your person
had killed ten people and stuck
their severed heads on fence
posts, then yes, you'd be
justified in contacting us.
He hangs up, just as a SUPERVISOR walks up.
SUPERVISOR
What did you have there,
Carlos?
ETF OFFICER
Woman shot a man at
Iberoamerican Communications,
Sir.
SUPERVISOR
You told them to call the
police?
ETF OFFICER
Yes, Sir.
The Supervisor gives him a "good job" pat, walks off.
INT. THE HALLWAY - DAY
JaneyRuth's pistol jammed against Lester's skull. He's a
human shield as she & Stanley edge toward exit. Miriam &
the Others hug the floor. All speech is in Spanish.
JANEYRUTH
One funny move, faggot gets a
bullet in the brain!
LESTER
(Whispers in English)
I'm not a faggot, damn it!
JANEYRUTH
(Whispers in English)
Just go with it.
LESTER
She means it! Do what she says!
347
JANEYRUTH
Be a hero, you'll end up like
the poor fuck on the floor!
INT. THE BACK PASSAGEWAY
Dim wall lights mark the way. Theodora and El Chino move
slowly and with stealth. All speech is in Spanish.
EL CHINO
I don't see why we didn't go out
the front like the pie thrower?
THEODORA
His girl friend took my pistol.
EL CHINO
You mean we're unarmed?
THEODORA
Yes, My Dear.
They come to a barred window opening to the outside. He
takes out his cellphone, makes ready to punch in a
number.
THEODORA
Who are you calling?
EL CHINO
My people to come and get me.
THEODORA
I'd advise against it, My Dear.
EL CHINO
Why?
THEODORA (CONT'D)
Think how many of quote your
people would rush to your rescue
and how many would let you die
like a dog.
He shoots her a "what are you talking about?" look.
THEODORA (CONT'D)
Think. The only way the
ambitious ones can move up is
with you dead.
EL CHINO
Is there no loyalty and
integrity?
348
He glares at his phone. She grips the bars and bends
them.
Clock reads 10:50. The SOUND ENGINEER sits in his booth,
cracking his knuckles. Tachito's ON-AIR SIDEKICK sits at
the auxiliary mike, licking his lips. Tachito looks at
the clock, frowns. He stands, walks to the door.
INT. THE HALLWAY
On-Air Studio A door opens. Tachito looks at Vladimiro's
bleeding corpse, sees Miriam and the Others hugging the
floor, sees JaneyRuth & Stanley with Lester as a human
shield. All speech is in Spanish.
TACHITO
Oh shit!
She turns, aims the gun at Tachito. He slams the door.
INT. LOCAL POLICE STATION - DAY
Shabby. Sign on wall (in Spanish), "This is YOUR Police
Station. Clean Up After Yourself". Two fat COPS walk by
a DESK SERGEANT on the phone. All speech is in Spanish.
DESK SERGEANT
Where exactly you calling from?
ZEPP (O.S.)
Iberoamerican! An armed woman
just killed Mister Qaleef!
DESK SERGEANT
That's ten miles. Jurisdiction
ends at the town limits.
ZEPP (O.S.)
But you're the closest police.
DESK SERGEANT
A geographical anomaly.
ZEPP (O.S.)
You won't help?
349
DESK SERGEANT
Frankly, we never liked the
attack journalism on Qaleef's
stations. The stuff about quote
human rights and police
methods. And that big mouth
Tachito.
ZEPP (O.S.)
(A sigh of defeat)
Shit.
DESK SERGEANT
The woman with the gun. Can you
see her?
ZEPP (O.S.)
Uh. Yeah.
DESK SERGEANT
What's she wearing?
EXT. OUTSIDE THE BARRED WINDOW - DAY
A low hedge. Beyond it, the Parking Lot. Faint voices of
the Uniformed Security Men. We can't make out what
they're saying. Theodora, her clothes ripped from
wriggling through the bars, carefully helps El Chino
slide through. She points toward the voices. All speech
is in Spanish.
THEODORA
Our escorts are up around
there. Let's hurry to link up
with them.
They hug the wall, with the hedge as a screen. As they
near the corner, the voices now more distinct.
EL CHINO
Just don't get me killed.
THEODORA
Always the optimist, My Dear.
INT. THE IT CENTER - DAY
The Monitors smashed. The supercomputer ripped open,
pounded, battered, smoke coming from deep within the
system's guts along with sounds suggestive of
technological death throes. Zepp now stands at the
cabinet brandishing the axe. All speech is in Spanish.
350
IT SPECIALIST
Open fucking sesame!
He swings, splintering the cabinet doors. A door half
clatters to the floor, exposing an array of weaponry and
military gear. Zepp takes two machine pistols, some ammo
clips, a bandolier and a camo coat. He reads from a
card.
ZEPP (CONT'D)
What to do in case of emergency.
Step one. Secure the area.
He dons the coat, stuffs the clips in the pockets,
straps the bandolier over his shoulder and walks out.
EXT. THE PARKING LOT - DAY
The Uniformed Security Men stand in a circle, smoking.
Lij Yasu stands aloof, smoking his pipe. The Helo rests
on the tarmac, its rotor blade slowly turning.
LEAD SECURITY MAN
(In English, to his mates)
Another thirty minutes.
Theodora and El Chino come into view, waving urgently.
The Uniformed Security Men and Lij Yasu see them, just
as JaneyRuth and Stanley and Lester burst from the
building. Everything comes to a screeching halt.
JaneyRuth presses the pistol to Lester's ear. All speech
is in Spanish.
LESTER
Don't let her kill me! I beg
you!
The Uniformed Security Men look at each other with a
"Who the hell are these guys?" look.
INT. THE HALLWAY
Miriam looks up from the floor followed by the Suits and
the two Mailroom Attendants. All speech is in Spanish.
SUIT 2
Is. Is it okay for us to get
up?
MAILROOM ATTENDENT 1
Maybe not. Might be a trick.
351
The elevator door opens. Zepp, dressed in camo and
looking like a SEAL on a killer mission, emerges, steps
over Vladimiro's body. He fires his weapon into the
ceiling.
IT SPECIALIST
Where'd they go?
Without looking up, Miriam points outside. The IT
Specialist readies his weapon, strides toward the door.
EXT. THE EXECUTIVE PARKING LOT - DAY
A Mexican standoff. The Uniformed Security Men aim guns
at JaneyRuth. JaneyRuth, Lester still her shield, aims
her pistol at them. Theodora and El Chino work their way
around the kill zone until they come into JaneyRuth's
peripheral vision. All speech is in Spanish.
THEODORA
Toss me a piece!
JaneyRuth turns, points the pistol at Theodora, then
back at the Lead Security Man. She's starting to get
rattled.
THEODORA (CONT'D)
Come on! Let's finish this!
A rifle is tossed. Theodora snatches it out of the air,
points it at JaneyRuth's head, cocks it.
THEODORA (CONT'D)
Now give me back my gun, Bitch!
Suddenly BLAM! CRASH! Zepp, having shot out the front
door, bursts on the scene. Everyone turns. A shot rings
out from somewhere distant. The Helo Pilot slumps over
his controls. A second shot, a Uniformed Security Man
falls. Everyone looks out to the treeline beyond the
road. Zepp and the Uniformed Security Men crouch. A
third shot, a Uniformed Security Man falls. Theodora
grabs El Chino, pulls him behind the hedge. They crawl
back as bullets, fired from the treeline, smack into the
wall above them.
EL CHINO
Who are those guys?
EXT. THE TREELINE
352
Reyes, stll bloodied and still in his ripped and torn
uniform, reloads his assault rifle, takes aim and fires.
EXT. THE PARKING LOT
JaneyRuth, Stanley and Lester break and run. They pass
the fallen Uniformed Security Man. Lester picks up his
rifle. As they run to JaMarcus' car, Zepp fires at them,
bullets skipping off the tarmac, bullets smacking into
vehicles. They reach the car, yank the doors open,
Stanley jumping in behind the wheel, JaneyRuth and
Lester throwing their guns in and diving in after,
bullet holes riddling the driver's side doors. A squeal
of rubber, they roar away.
EXT. BACK CLOSE TO THE BUILDING WITH ZEPP
Click! Click! Zepp's machine pistol is empty. He tries
the other. Jammed! He takes a clip, starts reloading.
EXT. THE TREELINE
Reyes fires a full clip at the hedge where El Chino and
Theodora are crouched and crawling. He's getting closer
with each shot.
EXT. THE HEDGE
Theodora and El Chino hug the ground as bullets from
Reyes' rifle chop up the hedge inches above their heads.
Hedge leaves and bits of stucco from the wall fall on
them
Locked iron gate directly ahead, barring the way.
Stanley, his face expressionless as death, punches the
throttle. The Car smashes through. JaneyRuth and Lester
cheer.
JANEYRUTH
Never knew Stanley could drive
like that.
LESTER
You are Da Man, Stan!
The car shoots out onto the road and speeds off.
353
EXT. THE TREELINE - DAY
The two remaining Uniformed Security Men and Zepp have
Reyes pinned down in a crossfire. Reyes fires, the
Uniformed Security Man directly in front of him falls.
This is followed by a fusillade of return shots from the
right and left. Reyes pitches forward.
EXT. THE HELO
Lij Yasu at the controls. He kicks the body of the dead
Pilot out the door, prepares to take off.
EXT. SIDE OF THE ROAD
JaMarcus' car parked at a gravel turnoff.
JaneyRuth and Lester see that Stanley's hurt bad. His
eyes flicker, blood coming from where the bullets
punched through the door and tore his gut. His breathing
labored.
JANEYRUTH
He's finished. You know that,
don't you?
LESTER
I know we're not leaving him.
JANEYRUTH
You're going to get us caught.
Lester tries moving Stanley to make him more
comfortable.
LESTER
Hang in there, man. We'll get A shot rings out, very close. Stanley's whole body seems
to jump up to the roof. Lester turns, sees the smoking
gun in JaneyRuth's hand, sees the cold look on her face.
JANEYRUTH
Now let's get out of here.
EXT. THE HEDGE - DAY
354
El Chino sees Theodora bleeding, barely moving, rifle at
her side. Sound of the Helo approaching. He kisses her
lips, runs out into the open, waves.
The body's been moved to the back. JaneyRuth now
driving. Lester sits in the blood-soaked seat where
Stanley died.
JANEYRUTH
I did right. You know I did.
She increases speed. WHUMPP! The Car goes over a
pothole.
JANEYRUTH (CONT'D)
I did the right thing. For us.
INT. THE HELO - DAY
Through the plexiglass, Lij Yasu sees El Chino below.
Lij Yasu brings the Helo down to meet him. As the Helo
nears, El Chino takes a COMMUNICATIONS DEVICE from his
pocket and activates it. We see it blinking.
EXT. A DESERTED COUNTRY ROAD IN THE AREA - DAY
A CAR races at breakneck speed.
INT. THE CAR
Monsignor at the wheel, driving with one hand. In the
other, he holds a Communications Device similar to El
Chino's. It blinks. It beeps. The beeps get louder.
MONSIGNOR
Last time, Brother. After this,
books are closed and you're on
your own.
EXT. THE HELO - DAY
The Helo lifts off. Through the plexiglass, we see El
Chino, a desperate look, prompting the Communications
Device, aiming it, punching and re-punching the reset
button. The Helo turns, leans forward, accelerates.
355
INT. THE HELO DAY
Sound of multiple shots. Sound of bullets punching
through metal. Sound of the Helo engine sputtering and
starting to shut down. Smoke fills the cockpit as Lij
Yasu fights the controls to keep the Helo airborne. All
in vain as the craft begins a spiralling nosedive.
EXT. THE HEDGE - DAY
Theodora, having rolled onto her side, holds the rifle
aimed upwards, smoke from the muzzle. She watches as the
Helo crashes into a line of cars in the parking lot and
explodes. Then she lets loose of the rifle. It clatters
to the tarmac.
INT. MONSIGNOR'S CAR - DAY
Monsignor slows the car, a worried look on his face. The
Communications Device has stopped blinking and beeping.
Ahead in the distance, black smoke from the explosion
and fire rises into the air. He pulls his car off to the
side. He crosses himself. As he begins whispering a
silent prayer, a car pulls up alongside. The passenger
window rolls down. All speech is in Spanish.
LESTER
You okay, man?
A long moment as Monsignor finishes his prayer. Then...
MONSIGNOR
I guess part of me is okay. And
part of me isn't.
Lester blinks as he takes this in.
LESTER
You know the roads? We're lost.
JANEYRUTH
He's wrong! We are not lost!
LESTER
Ignore her. She's being
stubborn.
JANEYRUTH
I'm not being stubborn. We're
not lost! Just temporarily
misdirected!
356
Lester rolls his eyes. JaneyRuth gives him a look.
MONSIGNOR
I know the roads. I ought to.
I'm the parish priest. I was
waiting for someone when you
drove up.
He glances ruefully at the now-dead Communications
Device.
MONSIGNOR (CONT'D)
But I guess he's not coming. So
if there's anything I can do to
help with your temporary
misdirection.
EXT. THE SMOKING RUINS AT IBEROAMERICAN COMMUNICATIONS DAY
MEXICAN SOLDIERS stand watch over a cordoned-off area
around the building and parking lot as a CRANE lifts the
burnt wreck of the Helo onto a flatbed TRUCK.
LESTER (V.O.)
Army got there late, tried
cleaning up the mess, tried
sorting things out. Unhappily,
some things were beyond cleaning
up or sorting out.
Iberoamerican, for example. It
was
broken up into a zillion
pieces and sold. With Vladimiro
Qaleef gone, the children voted
to cash out.
INSERT Newspaper Front Page
Image of a tabloid headline (In Spanish): QALEEF KIDDIES
TAKE THE MONEY AND RUN
BACK TO SCENE
El Chino's girlfriend survived,
somehow avoided capture. She
turned up in Argentina,
reinventing herself as a
professional wrestler and
rumored to be the mistress of
former president Cristina
Kirchner.
INSERT - Poster
357
A full color poster with a picture of Theodora in Wonder
Woman-like tights and mask under the name: HURACN
TEODORA
BACK TO SCENE
The cockpit fire left so little
of El Chino's body, nobody could
make a definite ID. Consequently
there've been a number of El
Chino sightings.
INSERT Various Newspapers
Front page bold headline in Mexico City paper (In
Spanish): EL CHINO SEEN DANCING WITH STRIPPERS AT
CARNIVAL IN RIO
Front page headline in Lima supermarket tabloid (In
Spanish): WHOA! KEIKO FUJIMORI'S NEW GUY? EL CHINO!
Article in Tiajuana paper (In Spanish): DRUG LORD
SPOTTED TAKING THE WATERS AT LOURDES
BACK TO SCENE
EXT. A CATHOLIC REFUGEE CENTER DAY
SUPER: TEN YEARS LATER, SOMEWHERE IN GUATEMALA
A vast fenced enclave with lines of tents, shacks and
shanties. At the entrance, the UN flag and the Catholic
flag flutter side-by-side. MAYAN WOMEN wash clothes on
flat rocks at the river. MAYAN CHILDREN play in the
dirt. Under tree, MAYAN MEN squat, smoking and chatting.
LESTER (V.O.)
Monsignor was like an answered
prayer. He took care of
everything, He found a small
out-of-the-way funeral parlor
that could do justice to
Stanley's memory.
INSERT The Funeral Parlor Viewing Room
Cartoon music plays. On a wall, courtesy of a batterypowered laptop, a YouTube video loop runs of the Three
Stooges doing a pie-throwing how-to on Mike Douglas.
Stanley in a casket. Next to the casket, a small table
piled with newspapers.
BACK TO SCENE
358
And having worked for years with
poor Central Americans escaping
from the soldiers and the gangs,
he knew how to get JaneyRuth and
me out of the country, no
questions asked. But most
important was the advice he gave
us on staying alive.
INSERT - Monsignor
Monsignor at a desk in a dark, book-lined office. He's
speaking to people we can't see. All speech is in
Spanish.
MONSIGNOR
Police will give up after a
time. They'll move on to a new
priority. The drug people will
never stop, not until they kill
you. No trial, no judge, no
jury. To stay alive, you must be
born again.
BACK TO SCENE
In the center of the enclave, a longish, one-storey,
mud-walled, corrugated tin roof structure. At its
entrance, a statue of the Virgin. She has distinct Mayan
features. A long line of MAYANS moves slowly through the
door.
INT. THE LONGISH STRUCTURE DAY
A spacious soup kitchen. A serving line along one wall.
Tables and benches take up the rest of the space.
Amongst the SERVING STAFF, we see Lester, a somewhat
older Lester, in a robe, doling out tamales from a line
tray.
LESTER (V.O.)
Yep, still me, Lester Chan,
though I no longer answer to
that. Having been born again,
I'm called Brother Francis. They
said pick a name so I chose
Francis, from Francis Xavier,
patron saint of China. They sent
me here to do what The Man
commanded when He said, Feed my
sheep. I admit it gives me
satisfaction.
359
EXT. A SMALLISH STRUCTURE AT THE EDGE OF THE ENCLAVE
DAY
Mud walls, corrugated tin roof. At the entrance, a
statue of the Holy Family, Joseph, Mary, the Christ
Child. They have Mayan features. Young MAYAN COUPLES sit
on benches awaiting their turn to go inside. We hear the
faint voice of JaneyRuth. We can't make out what she's
saying.
LESTER (V.O.)
JaneyRuth's here, too. Nobody
calls her that. She's Sister
Felicity now. She took the name
of fourth century saint who was
thrown to the lions. Lesbians
think St Felicity was gay. Who
knows? Maybe she was.
INT. THE SMALLISH STRUCTURE DAY
A desk. Straight-backed chairs. JaneyRuth, in a nun's
habit, looks like she hasn't aged a day. Across from
her, a poor Mayan couple, a GIRL and her BOYFRIEND. The
Girl looks nervous. The Boyfriend has the demeanor of
one used to getting his way with his penis, his fists,
or both.
LESTER (V.O.)
JaneyRuth, I mean Sister
Felicity, is our Director of
Family Planning, a role which
she's exceptionally suited for.
In my humble opinion.
JaneyRuth looks up from the slip of paper she's reading.
All speech is in Mayan.
JANEYRUTH
So you're Juana.
The Girl nods nervously.
JANEYRUTH (CONT'D)
And you're Sigismundo.
The Boyfriend gives a Let's get this shit over with
roll of his eyes. He yawns like he's bored. JaneyRuth
draws close to the Girl.
JANEYRUTH (CONT'D)
How are you feeling, Juana?
360
BOYFRIEND
She's feels fine.
JANEYRUTH
(Not looking at him)
I wasn't talking to you,
dickhead.
BOYFRIEND
What did you call me?
JaneyRuth turns in her chair, looks him right in the
eye.
JANEYRUTH
What are you, deaf? Just so we
all have the ground rules
straight, when I'm talking to
Juana, I want Juana to answer,
in which case your job is to
shut the fuck up. Think you can
do that? Dickhead?!?
The Girl looks frightened. She's never heard anyone talk
to him like that. She doesn't know what he'll do. The
Boyfriend looks confused. He's never heard a woman
berate him in this manner. He doesn't know what to do.
JANEYRUTH
So how are you feeling, Juana?
The Girl nervously looks over at the Boyfriend, as if to
get permission to speak.
JANEYRUTH (CONT'D)
Don't look at him. Look at me.
She does. She nods.
GIRL
Good. Feel good.
JANEYRUTH
And the baby? How's the baby?
BOYFRIEND
It's not a baby. Yet.
He springs up.
361
BOYFRIEND (CONT'D)
I told you not to come here but
you said we must. These people
only interfere with bad ideas
and - JANEYRUTH
Yeah. Bad ideas. Like if Juana
has the baby and it's a boy who
grows up to be another dickhead.
That would be a really bad idea.
BOYFRIEND
I don't have to hear this shit!
He heads to the door. JaneyRuth springs up, follows him.
JANEYRUTH
That's right, pal. Just fuck off
like you always do when things
don't go your way. Let me give
you a message, jackass. She's
having it with or without you.
Got that?
He exits. JaneyRuth stops at the open door.
EXT. THE SMALLISH STRUCTURE DAY
The Boy Friend stomps past the waiting Mayan Couples.
JaneyRuth stands in the doorway. All speech is in Mayan.
JANEYRUTH
Another thing, dickhead. Pull
any of your shit with her, I'll
come out and personally kick
your loser ass in front of your
homeboy pals.
The Mayan Couples look at each other with a Whoa!
expression. The Boy Friend disappears amongst the trees.
INT. THE SMALLISH STRUCTURE DAY
JaneyRuth slams the door, turns to see the Girl smiling.
All speech is in Mayan.
JANEYRUTH
The fuck you laughing at?
The smile immediately disappears from the Girl's face.
362
INT. THE SOUP KITCHEN DAY
Feeding time is over. The building's deserted, except
for the Serving Staff, sitting at one table. Lester sits
with them, eating a nice big slice of banana cream pie.
He smiles as if thinking a pleasant thought.
EXT. A CEMETERY DAY
A small village cemetery with a rusty iron gate. Near
the entrance, two PEASANT WOMEN tend a grave, clipping
the grass, cleaning the headstone.
LESTER (V.O.)
Sometimes I think about Stanley,
bless his heart. Dude was oneof-a-kind but he had it wrong.
If you have a pie, you don't
throw it at the rich and famous.
You cut it up, pass it out to
the poor. And as long as we have
gangs and armies, I guess we'll
have an oppressed poor needing
to be fed. Which means there'll
always be work for people like
me and JaneyRuth. Personally, I
don't know how much longer we're
gonna be doing this. But the
fact is, we don't think about
tomorrow. We take things day by
day. So maybe we're just here
marking time till the next big
thing comes along.
Further in, amongst the weeds, a solitary stone with the
name engraved: Stanley Ish Khanyan 1972 - 2006. Below
the name, a carved image of a pie. Below the pie, the
following inscription (in Spanish): If you see the
little punk who stole my wallet, tell him he can keep it
(and the money), but I need the coupon for the free pie
at Mariana's Bakery.
FADE OUT

Three Award-Winning Screenplays

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1

The Martydom of Madeline Slezak Page 3

The Girl Who Got a Second ChancePage 123

Stanley Ishkhanyan's Next Big Thing Page 256

THE MARTYRDOM OF MADELINE SLEZAK

FINALIST - 2010 OHIO INDEPENDENT FILM FESTIVAL

A burst of beeps and clicks.

Everyone, except Rufus, laughs and

INT. IN THE GREEN ROOM IN THE WHITE HOUSE - DAY

Galmiche looks away.

Kenny passes out resignation letters. Galmiche glares.

Kevin curses silently, slaps a U, enters the turnoff.

The beeps and clicks change to a high-pitched whine.

Bolivar and Melissa stand, hand in hand. Yezidi MEN fire

INT. KEVIN'S CAR - NIGHT

The noose slackens.

EXT. THE TRAIN NIGHT

The Jet does a victory roll.

EXT. ENTRANCE TO A TRAIN TUNNEL NIGHT

EXT. BOLIVARS PLANE ON TARMAC AT BAGHDAD AIR TERMINAL DAY

The Iraqi flag and Bolivar's face on the tail. Hundreds of

Third day He arose from the

EXT. THE MOTEL - DAY

The Photo over the door

A stern-faced Bolivar in the uniform of a Field Marshal

Kenny stops him with a look.

Rufus and an FBI OFFICIAL watch a video of an armed robbery:

EXT. AMONGST THE PARKED VEHICLES AT THE DANCE - NIGHT

The inscription on the Brick

In Arabic: "BOLIVAR BUILT THIS"

Ten teenaged GIRLS work. Five on ladders, picking fruit.

A bullet kicks up dirt at Madeline's feet.

EXT. THE HIGH SPOT - DAY

Tammy signals the two Boys to fan out.

The two Boys carry torches.

An old clunky VAN pulls up.

Madeline gets up, pours.

EXT. THE MOTEL - DAY

Ria & Wendy try to assist her.

Alan sits at a campfire and eats dinner.

INT. LIVING ROOM IN JEREMY'S APARTMENT - DAY

Alan watches from a

INT. MARIA'S BEDROOM - NIGHT

Kenny and Ria jump up. More hammering on another door.

EXT. THE BURNING MOTEL - NIGHT

Alan cuts off the tip of his index finger.

EXT. A MEETING HALL - DAY

INT. THE MEETING HALL - DAY

She forces a smile. Ria knocks. Alan opens the door.

INT. THE MAUSOLEUM - NIGHT

She turns the page.

INT. EDDIE'S CAR BACK OUT ON THE HIGHWAY - DAY

Radio static. Kidd enters, drink in hand.

A CONVENIENCE STORE ON THE ROAD TO NOWHERE - DAY

The inscription on the Brick

In Arabic: "MATTHEW BOLIVAR BUILT THIS"

Kenny and a pregnant Madeline look up at the Recon Drone.

Up and down the hall, thirty sets of heels click as one.

The Troopers about-face, each enters a separate room.

He cracks the door.

They begin chanting.

Alan's good left hand presses a knife to Metzgar's

INT. KENNY & MADELINE'S CABIN - DAY

EXT. THE MEETING HALL - DAY