Lost in New Mexico: the Strange Tale of Susan Hero [Produced! See --> ]

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Susan Hero by

Jason K Rosette

J Rosette / CAMERADO51 MacDougal Street #129New York, NY 10012(917) [email protected]

WGA #837529© Copyright 2002

Jason Rosette



"SUSAN HERO"

INT. FUNERAL PARLOR - DAY

SUSAN HENDRICKS, 28 years old, pretty, green eyed, but world-weary before her time, stands dressed in black looking downat a small casket.

She gazes at the casket for a long time. A smattering ofothers are nearby; an older woman quietly and awkwardly placesher hand on Susan's shoulder.

This is Susan's mother, DOTTIE HENDRICKS .

Susan flinches when she feels her mother's hand. Withoutsaying a word, Susan breaks away from muted crowd and headsout of the parlor.

DOTTIESuzie, darling--

But Susan doesn't respond. She's walking, walking, walkingnever looking back.

EXT. SUBURBAN STREET - NIGHT

Although it's dark, Susan is still walking. She passes aliquor store, a boarded up gas station, a Dairy Queen.

She stops at an empty intersection and seems to sniff theair. Although there are no cars, she waits for the light toturn.

Then she continues walking, walking, walking into the troublednight.

INT. SUSAN'S HOME - DAWN

Susan's home: faded baby blue, plywood panelled. Dim dawnlight creeps through broken summer screens.

Susan enters and sits on the couch. She absently turns onthe TV.

She reaches for a bottle of Kaluha nearby on the nightstandand takes a big swig as she impassively watches the glowing -tube.

CLOSE ON TV

It's a rerun of Bonanza . Hoss takes off his hat and smilesat a pretty ranch girl before riding away.

Susan watches Hoss ride away. Her eyes fill with tears.

SUSANYou could'a stayed around...when sheand I really needed you, you asshole.



2.

The PHONE RINGS, but Susan doesn't answer it. The machinefinally picks up. The VOICE of Susan's mother, Dottie,squalks from the machine:

DOTTIE (V.O.)Hello? Suzie, this is Mom. ListenI'm worried about you dear. If you'rethere, please pick up.

Are you there?

I've been calling and calling...areyou at Maureen's? You're probablyat Maureen's .

Well, I hope you're Okay. When youget this, will you please call? I'mworried sick about you. Don't dothis to me, okay sweetheart?

Okay. I love you. Bye now.

She hangs up. Susan takes another swig of Kaluha .

An instant later, the TV returns from its commercial break,and its back to the news at 10...

CLOSE ON TV

THE EVENING NEWS: A clinical looking pen in a laboratorycontains a pair of brown sorrel horses. Both impatientlystamp their feet, and they wear identical ear tags.

ANNOUNCERComing up at ten: a New Mexicoscientist successfully clones a horse.Is your family pet next?

A LOWER THIRD TITLE swoops across the screen. It reads:

Cloned Pets - Is Fido Forever?

A suave, tanned, man in his fifties holds a clipboard as hestands at the edge of the pen. He wears a pristine whitelab coat.

This is DR. KURT MORELL. The Doctor puts aside his clipboardand reaches into the pen to affectionately stroke one of thehorses on the neck.

Then he turns and smiles at the camera, as he flashes hisbrilliant pearly whites.

ON THE COUCH

Susan turns off the TV. She sits for a moment in the dullblue afterglow of the tube. Then she checks the clock onthe wall and slouches off to the kitchen.



3.

EXT. DESERT - DUSK

On the outskirts of a sulking, jagged mountain range idles abeat-up delivery truck with Mexican license plates. A rustysign near a group of cactus says: ALTO.

The driver of the truck, a big laugh lined Mexican, cuts theengine and raps three times on the roof of the cab.

From the back of the truck emerges a dozen or so people,mostly men, tired and stooped from a long ride.

One of them stands out. Although he, too, is dusty andunshaven, he is somehow noble and princely in the gray gonelight. He carries a denim bag over his shoulder.

This is Javier Appollinaire, 35 years old.

Javier pulls a deck of cards from his pocket and shuffles itexpertly as the others clamber from the truck.

When all the riders have disembarked, they gather roundJavier. Each quietly takes a card. When everyone has pickeda card, they somberly compare their draw.

Then, in the order prescribed by the deck, they headstealthily out into the desert along a trail.

EXT. ROAD - MORNING

Susan drives her beat-up white minivan along grubby suburbanbypasses, under moaning concrete bridges. A small leatherINDIAN POUCH hangs from her rear view mirror.

Susan turns on the radio, and a PROMO hits the air:

RADIO"...It's a Big World. And Chuck Wing'sgot a Big Vendetta.

Chuck Wing, star of the movie, utters his catchphrase :

WING (V.O.)"...No more fooling around!"

Susan says it also, quietly mimicking Wing.

SUSAN"...No more fooling around."

RADIO" Big Vendetta. Now playingeverywhere."

EXT. MALL - DAY

Susan pulls her minivan into the parking lot of a hugeshopping mall.



4.

A nearby sign boldly proclaims: MEADOWLARK CINEMAS.

Susan gets out and heads to the Multiplex, carrying a giant7-Eleven mug of coffee.

INT. MEADOWLARK CINEMAS - DAY

A suave looking, chubby Indian man in his late fifties,

wearing a slightly rumpled shirt and tie, watches a workerinstall fluorescent lights. This is SANGHPOP ELPEE.

ELPEEBut we ordered long life bulbs.Everybody wants long life, right?

A PROJECTIONIST enters, carrying a couple huge film cans.He's a harried guy in his twenties with a shaved head. Hetries, unsuccessfully, to slip by Elpee unnoticed.

ELPEE (CONT'D)Monroe, you are 10 minutes late.

Please hurry so we are ready for BigVendetta at four o'clock.

Monroe plods off to his booth.

Susan quietly enters, stands a moment as if she's unsure ofher surroundings. Elpee notices her at last.

ELPEE (CONT'D)Ah , Susan! I hope that everythingis Okay, and that you are feelingbetter.

You are a few minutes late-- but Iwill let that slide today, consideringyour recent tragedy.

He enjoys Susan's shapely frame, though; he lets his glanceroam all the way down to her shoes, scuffed from her roamingsthe night before.

ELPEE (CONT'D)You will need to purchase new shoesof course. Please, the new computerhas arrived. I hope you can show mehow it works.

INT. BOX OFFICE - LATER

Elpee hovers over Susan, showing her how to operate thecomputer and cash register.

ELPEE (CONT'D)While you were gone we received thenew computer...but I still cannotmake heads nor tails of the damn

(MORE)



5.

ELPEE (CONT'D)thing.

And we are still trying to find anew cleaning person--

Suddenly he swings around to look at the clock.

ELPEE (CONT'D)Oh my goodness, three thirty!

In exactly one hour we have the firstshowing of Big Vendetta. This movieshould be doing very good business.

SUSANBig Vendetta. With Chuck Wing, right?

ELPEEI am glad to see you still know yourmovies, Ms Hendricks. Yes, Mr. Wing

stars in this taut thriller.

SUSAN"No more foolin' around..."

ELPEEThat is the one. Well, after we arethrough here--if there is time--youmay watch for a few minutes whileMonroe tests the print.

He relaxes a bit, leans casually against Susan's chair.

ELPEE (CONT'D)I almost studied poetry in college.Instead I received my MFA in business.What did you study at college Ms.Hendricks ?

SUSANI didn't go to college.

ELPEEOh, yes, I believe we discussed this.

Now, be sure to check for ID's formovies of NC-17 and R ratings. Wehave been letting this slide and wecannot. Is this clear?

SUSANYes.

ELPEEGood because if the corporate officefinds out we are letting in underage

(MORE)



6.

ELPEE (CONT'D)kids, I get in trouble. And if I getin trouble, you get in trouble.

SUSANYes sir.

Elpee leans confidentially against Susan's chair.

ELPEEYou are a much better assistant thanthe other girl.

Susan reflexively sits up straight.

ELPEE (CONT'D)A good looking woman is always goodfor business. She can get aheadmuch faster in this world than anugly woman. This is unfortunatelythe truth.

In this regard, it does not matterwhat you study in college.

He smiles a gleaming, Cheshire cat smile, revealing a single,gold-capped tooth.

INT. BOX OFFICE - LATER

It's still early. Susan yawns and checks her watch. She looksaround to make sure that Elpee is away, then she slips intothe darkened theater nearby.

IN THE THEATER

Susan sits alone in the middle of a vast expanse of seats.

The shadow of Monroe can be dimly seen in the projectionbooth. A cone of light suddenly bursts onto the screen, andSusan watches with rapt attention as Big Vendetta jumps tolife.

Susan's face revolves from smiles to grimaces as she reactsto the action on the screen:

WING (V.O.)No more fooling around...

The sound of gunshots, explosions, a car crash. A womanSCREAMS.

And now, sharp, solitary FOOTSTEPS which scuffle to a halt.

WING (V.O.) (CONT'D)You OK?



7.

WOMAN'S VOICE (V.O.)I think so.

The woman starts to cry--Susan's face has been followingthis all along, reflecting in various shades the action whichtakes place onscreen .

CLOSE ON SCREEN

Wing steps out of the shadows and wipes his hands on hisjeans. His face is lined like the Marlboro Man, he'scarefully and sexily smudged with grime.

Wing leans in and speaks to her soothingly.

WINGDon't worry. I'll take care of you.

IN THE THEATER

Susan gapes as Wing delivers his line: he seems to be talking

directly to her alone. His words ECHO through her head.

But a strained voice calls from O.S . as the projector cutsout mercilessly.

ELPEEMs. Hendricks, for God's sake whereare you we need you up front rightaway!

BOX OFFICE - LATER

A huge line coils its way outside the box office. It's amixed bunch: men with mullets, college couples, even a fewstray old ladies.

Susan struggles to keep up with the crowd; she has to studythe computer each time someone buys a ticket. Elpee standssmolderingly behind her, his arms folded.

A TEENAGER with baggy pants and a huge, cone shaped afrostrolls up to the window with his friend. They both chewstraws.

TEENAGER #1Yo, Big Vendetta. Two.

TEENAGER #2Three, yo , make it three. Trace iscoming later.

Susan slides him two tickets.

SUSANHere you are. Thanks for visitingMeadowlark Cinemas.



8.

TEENAGER #1Yo , I said three, bitch.

Susan is stunned a moment at the B-word. Her face flinchesas she fights to maintain her poise. The kid defiantly chewson a straw and leers at her.

Susan gives him another ticket. The kid and his friend strut

into the lobby. Elpee leans over and whispers to Susan:ELPEE

Remember the customer is always right.

SUSANBut--

ELPEEAlways right. Always. And you forgotto check the ID's for all theyoungsters.

Elpee steals out to the lobby to take tickets.

Susan opens the register to add the money to the drawer.She pauses momentarily to regard the enormous mountain of $CASH $ which has grown in the tray.

EXT. DESERT - NIGHT

Fleeting groups of immigrantes scatter across the desert,zig-zagging their way across the border. Among them is JavierAppollinaire. He runs alongside an older man with neatlycombed grey hair.

Floodlights SNAP ON--

An INS TRUCK looms from the desert, flanked by border agentson foot. One by one, the fugitives are captured as they arebriskly slapped into plastic handcuffs.

Only Javier manages to slip through the phalanx of men anddogs. He wistfully looks back in time to see his pal, thegrey haired man, caught by the INS.

Javier hits the dirt and snakes along on his belly until hereaches a small dirt utility road. He remains motionless forten heartbeats, then he stands--

And now he is running, running, running, never looking back.

INT. SUSAN'S HOME - NIGHT

Susan sits on her couch, idly flipping through channels oncable. Her face is drawn from her first day back on thejob. She makes herself a Mexicola .

CLOSE ON TV



9.

It's the tail end of a commercial for Big Vendetta. ChuckWing leaps through a blooming fireball, firing his Glockpistol with one hand as he adroitly flips through the air.

WING"...No more fooling around."

SUSAN

"No more fooling around."ANNOUNCER

"Now Playing Everywhere."

A moment later, SMOOTH UPBEAT MUSIC cues an infommercial :

CLOSE ON TV

The Doctor seen earlier on the news, stands at the rail of acorral. He thoughtfully watches some horses trot by, thenturns to the camera to address it with a perfect smile.

MORELLHello. I'm Dr. Morell. I'm amicrobiologist and a veterinarian.

I had a prize-winning horse once.His name was Juniper. The number ofshows he won, I couldn't begin tocount 'em. Not to mention that hewas also a beautiful and lovingfriend.

Susan grabs the remote to change the channel--but for somereason, this time she does not. She puts the remote backdown.

CLOSE ON TV

Morell cheers for a horse as it gallops past. He then soberlyturns back to the camera.

MORELL (CONT'D)Unfortunately, Juniper passed awaysome years ago...

And now a GRAPHIC swoops on, showing the profile of a simplecartoon-like horse. As Morell speaks, the image slowly morphsinto two horses:

MORELL (CONT'D)...but thanks to recent advancementsin nanogenetics, my partners and Iwere able to bring him back, usinghis original DNA--that's his geneticcode, the "blueprint" from which hewas made.



10.

Morell holds up a horseshoe and muses on it a moment, thentosses it cavalierly aside. The horseshoe lands perfectlyon a nearby spike.

MORELL (CONT'D)I know, I know...microbiology,genetics...that all probably justsounds like a bunch of fancy words.

But the bottom line is, we were ableto bring Juniper back. And now I canenjoy having him here once again!

A dazzling chestnut stallion is lead out to Morell by atrainer. The Doctor affectionately strokes his neck.

MORELL (CONT'D)Isn't that right, Juniper?

Juniper whinnies mightily.

MORELL (CONT'D)Here at the Eschelon Institute, wecan help you increase your yield ofprized bulls and livestock.

B-ROLL of a rancher raising his arm triumphantly as his bullreceives a blue ribbon--

MORELL (CONT'D)Or, bring back a beloved family petwho may have passed away before histime. Say, in an accident forinstance.

Susan pauses with her drink to her lips--

And slowly back down on the table.

CLOSE ON TV

An upbeat, upscale FINALE: happy children frolic in the grasswith a puppy; a cat plays with a ball of yarn.

MORELL (CONT'D)Give us a call. There's no obligationand no money down.

Well, what are you waiting for? Whynot enjoy Rover...all over?

Morell hops onto Juniper and gives him a gentle kick. Theyride off together as a phone number swoops onto the screen.

ON THE COUCH



11.

Susan stares intently at the phone number on the screen.She grabs a pen and scribbles Morell's number onto the backof a credit card bill and carefully sticks it in her pocket.

INT. BEDROOM - NIGHT

Susan lies awake in bed in the dark, watching the vague shapesof passing traffic cross her ceiling. She's thinking,

thinking, a great weight is falling.INT. MEADOWLARK MULTIPLEX - DAY

Susan sits in the box office, taking money and handing outtickets. Her hair has been cut short--it's a ragged homemadejob. She looks preoccupied and absent.

A few customers come and go. She reaches for the gooseneckmic to help the next person in line--

But she's startled to see a couple with a YOUNG GIRL standingright outside the box office window.

Susan's face drains of all color. It can't be, the girl lookslike, looks like...

The girl's parents grow uncomfortable under Susan's hardstare. They gently but firmly lead their daughter away.

A thin man steps up to the window.

THIN MANFat Sunday .

Susan takes his cash and slowly slides him his ticket.

Sas he leaves, she takes out the crumpled credit card billwith Morell's number on it. She unfolds it, carefully smoothsit as she mulls it over.

Suddenly there's a voice behind her:

ELPEE (O.S.)Ms. Hendricks--Ms. Hendricks, whathappened to your hair?

Elpee stands in the doorway of the box office. Susan numblyfingers the ends of her hair.

ELPEE (CONT'D)Ms. Hendricks, I would like tointroduce you to our new cleaningperson.

Elpee steps aside, revealing none other than JavierAppollinaire. Javier enters the booth and smiles charminglyat Susan. He's bright and shining in his new MeadowlarkCinemas outfit.



12.

ELPEE (CONT'D)This is Harvey , Harvey, this is Ms.Hendricks .

JAVIER(to Susan)

Hello.

His voice is gentle, quiet, thoughtful.SUSAN

Hi.

She musters a smile for him.

JAVIER(to Elpee)

Sir, my name is Javier. Jav-i-er .

ELPEEOh, Jav-i-er. I apologize for the

record. I will get it right, don'tyou worry.

Well, now that you've met, Jav-i-erplease go and get the Powervac outof the closet to clean the vomit innumber six.

Elpee trots off to his office and closes his door.

Javier watches Susan for a moment, takes in her vulnerableand sad face. Then he gingerly breaks out his deck of cards.

JAVIERThink of a card.

SUSANOh, no thank you, I--

JAVIERC'mon, I practice all week. Think ofa card.

Susan shrugs and closes her eyes.

HAVOk. You have the card in your mind?

SUSANYes.

JAVIERThink careful and clear about him.Hold him in the very center of yourmind and never let him go...neverlet him go...



13.

Javier shuffles expertly through the deck, and graduallyfans through until he stops on a card in the middle of thedeck.

JAVIER (CONT'D)Is this your card?

He holds up the card for her.

CLOSE ON CARD

It reads "YOUR CARD" in a precise, flourishing script.

Susan laughs despite herself, a big, brassy laugh. For aninstant, for the first time since we have seen her, her faceis radiant and shining, pure and beautiful.

Javier hands her the card with a boyish grin. But Elpeesteps out from behind his office door.

ELPEE

Please if you two want to socialize,do so on your break. I have to keepa tight ship.

Javier waves goodbye to Susan and pads away.

An old woman wearing dark glasses and a wig approaches Susan'swindow. She leans in hard-ass fashion against the ticketbooth and lights a long brown cigarette before sighing:

WIG WOMANBig Vendetta .

LATER

It's the curious lull between matinee time and the latershows. Javier waits until Elpee goes into his office, thenhe sidles up to Susan.

He reaches into his pocket. First, he shows Susan that hishand is empty--then pulls a coin from behind her ear.

She laughs aloud, unabashedly. Javier carefully places thecoin in her hand, and she studies it curiously.

SUSANWhere's this from?

JAVIERMexico.

SUSANIs that where you're from?

He winks and smiles. She hands the coin back, but he refusesit.



14.

JAVIERNo, keep him. I have more.

And he pulls one from Susan's other ear. They smile at eachother for a long, unblinking moment.

Elpee's voice can be heard O.S ., all the way from his office.He STAMMERS LOUDLY into his phone, reacting to some severe

punishment from the other end.Javier and Susan share a quick grimace, before he carrieshis mop and pail off into the men's room.

Susan looks around to make sure that she's alone. Then shetakes out her crumpled scrap with Morell's number on it.

Susan dials the number. She drums her fingers nervously onthe counter until the other end finally answers.

SUSANHello? I'm calling to get some more

information on your services. I sawyour ad on TV.

What? Yea, it looked like a realtan to me. Really? You looked likeyou'd been lying out on the beachall summer reading Tom Clancy novels.

Susan leans in and lowers her voice 'til it's an urgent,hushed tone.

SUSAN (CONT'D)Anyway, uh, what I really wanted toask you was...well I know you saidyou could help folks out with theirpets and racehorses and stuff, BUT--

INT. DINER - DAY

Dr. Morell sits at a roadside diner before a plate of twoperfectly poached eggs. He's dressed neatly in a blazer andcollared shirt as he talks to Susan on his cell phone.

Across from Morell sits his assistant, an American Indianman, LONNIE. Lonnie, square jawed with lustrous hair, laughsto himself while reading the funny pages of a local paper.

Through the diner window, a large RYDER TRUCK can be seen inthe parking lot.

MORELLWell, you're not the first person toask me about that, Sharon. Pardonme-- Susan. Believe me you're notthe first.

(MORE)



15.

MORELL (CONT'D)

But first of all, it's not exactlylegal to do something like that.And even if it were, there are certainethical and moral questions toconsider.

For instance, there is thephilosophical and ontological issueof the identity of the individual...

Morell rattles off his big vocabulary with gusto.

IN THE BOX OFFICE

Susan hangs on Morell's every word, wringing the phone cordin her hand. She tries to follow Morell.

SUSAN

Ethics, yes, I see. And morality.Hello? Hello?

Susan pauses expectantly. Her eyes glimmer with tears.

IN THE DINER

A buxom waitress brings the check, places it before theDoctor. She tries to top off Morell's coffee, but he stopsher by placing his hand over the cup.

Morell flips over the check:

CLOSE ON CHECK

The total is eleven dollars and eleven cents. The Doctorregards the number curiously.

MORELLSo it's something that I shouldn'tdo...I really shouldn't. I'm sorry.

He opens his wallet to pay; it's empty. He gestures toLonnie, snaps his fingers and commands him to pay the bill.Lonnie grudgingly hands over his last twenty.

MORELL (CONT'D)(to Lonnie, whispering)

I'll pay you back at the next reststop

(to Susan)Anyway, for a customized procedure,such as you've described--and ofcourse I'm speaking completelyhypothetically here--I would have tocharge substantially more than my

(MORE)



16.

MORELL (CONT'D)usual fee.

And, again, I'm speakinghypothetically here, because it'sagainst the law.

He places a special emphasis on these last three words, as

if he's no longer speaking to Susan, but to someone else whomay be listening in.

IN THE BOX OFFICE

Susan fiddles with her phone cord. It's now wrapped in atight coil around her arm.

SUSANBut the money doesn't matter! Imean, can you give me an idea of howmuch it might cost? Hypothetically...

The phone cord snaps out of her hands and hits her in theface--

SUSAN (CONT'D)Wow! that's an awful lot, I didn'trealize.

Do you offer a student discount?

Yes sir. Zoology. That's why when Isaw you and Juniper...I knew I couldtalk to you about this.

Behind Susan, Elpee silently approaches. His face is drawnfrom his recent phonal abuse. He quietly enters the boxoffice and listens in.

IN THE DINER

Morell checks his imitation Tag Heuer wristwatch; he taps itgently, attracts the attention of Lonnie.

Lonnie snags the keys on the table and heads out to the Rydertruck in the parking lot.

MORELLSusan, we're unfortunately in themiddle of moving to our new officesnow, so I'm a bit pressed for time.

But if you'd like to call and chat abit more in the next couple days,feel free to do so. I'm sure we can--

IN THE BOX OFFICE



17.

Elpee blankly reaches over and disconnects the call. Susanwhirls round in her seat, stunned.

SUSANThat was a real important call.

ELPEEWe simply cannot make calls unless

it is on our own time.SUSAN

But it's my break!

ELPEEPlease don't argue with me. Yourjob is hanging by a thread Ms.Hendricks, by a thread -—

He says this as if parroting someone else's words.

SUSAN

OH LEAVE ME ALONE WILL YOU FOR GOD'SSAKE YOU AND YOUR STUPID BUTTERSAUCE!!! Whoops.

Susan covers her mouth and looks away. Elpee's face reddensgrotesquely. Neither notices Javier, who discreetly sweepsbehind them while listening in.

The phone rings. Susan mechanically answer.

SUSAN (CONT'D)Hello, Meadowlark--oh.

Not now Mom. Sorry.

Susan hangs up. Elpee is still hovering over her, shakingangrily. Susan won't face him.

SUSAN (CONT'D)(quietly, to Elpee)

Leave me alone. Please just...goaway and leave me alone.

Susan looks up to find A YOUNG SKATEPUNK COUPLE waitingoutside the window to buy tickets. They eagerly follow theaction in the booth.

ELPEEThis is your last shift.

SUSANOk.

ELPEEWhen you're done with the next show,I want you to go home.



18.

SUSANI understand.

Elpee turns away to see Javier standing there, leaning onhis broom.

ELPEEDo you want to go home too?

JAVIERNo.

Elpee is about to say something else, when the phone ringsagain in his office. He hurries to answer it, slamming hisoffice door.

Susan grabs the gooseneck mic and helps the Skatepunk Coupleat the window.

SUSANHi.

PUNK KIDTwo for Big Vendetta .

They fork over their cash, get their tickets, and wander in.

Susan absently opens the cash drawer to add her last bucksto the till--

LINCOLN, JEFFERSON, JACKSON.

The pyramid eye on one of the bills WINKS AT HER--

SUSAN(to herself)

"No more fooling around..."

Susan stares trembling at the drawer of bills for one weightymoment before her hand, as if on its own volition, darts outand SCOOPS ALL THE CASH INTO HER PURSE.

She abruptly stands and turns to leave, carrying her bloatedpurse awkwardly under her arm.

On her way out, she instinctively grabs the cardboardpromotional cutout of Chuck Wing from a corner of the ticketbooth and tucks it under her other arm.

IN THE LOBBY

Javier wistfully watches Susan walk away. He slowly driftsover to the box office to regard her empty chair--when henotices Susan's KEYS lying on the counter.

He grabs them and rushes out the door after her.



19.

JAVIERHey! You forget!

EXT. PARKING LOT - DAY

Susan walks in a hurried daze towards her Minivan, obliviousto Javier behind her. He races after her, casting a quickglance back at his unattended bucket and mop.

AT THE MINIVAN

Susan climbs in and sits at the wheel. She stares aheadvacantly and reaches for her seatbelt .

Javier arrives--out of breath--and triumphantly hands herthe keys. He waits for her to say something...but she justquietly fumbles with her keys.

JAVIERNo good to lose your keys. Can'tdrive the car, no way to drive home.

The bus here, he takes a long, longtime. I know.

Susan just picks quietly at her keychain .

JAVIER (CONT'D)So...I will see you later sometime,huh? Maybe we will "paint the townred."

A POLICE CAR rounds the drive into the parking lot and barrelstowards the Multiplex. Javier eyes the cruiserapprehensively.

JAVIER (CONT'D)(to himself, in Spanish)

Ah , shit. They found me.

A loose twenty falls from Susan's enormous purse. It waftsto the blacktop and blows away, but Javier doesn't see it.

Javier nimbly climbs aboard the minivan. Susan looks overat him strangely, still in her daze:

SUSANWould you like a ride home?

JAVIERYes. Now, please.

He eyes her with ferocious desperation.

Susan lets flop her purse to the floorboard. She methodicallyturns the key and eases the Minivan out of the parking lot.



20.

EXT. HIGHWAY - AFTERNOON

Doctor Morell and Lonnie roll down a snake-backed highwaythrough a scrubby, arid plain.

Lonnie is at the wheel. He noisily chews his gum whilelistening to some Country music. Morell has bifocals on andtries in vain to read a medical journal.

The Doctor struggles to focus on his text. He looks at hisfake Tag Heuer wristwatch, then suddenly turns off the radio.

LONNIEWhy did you do that?

MORELLIt's my turn for the radio. And Ichoose to turn it off.

LONNIEBut you've got your book. I don't

have nothing but the music.

MORELLYou've got the music of your mind.

Lonnie shakes his head in disgust. Even Morell knows whathe's just said is corny, but he's too proud to let on.

MORELL (CONT'D)Anyway, I'm waiting for a call. So,please, a little quiet would help.Thank you.

Lonnie snaps his gum, deliberately, annoyingly.

LONNIEWhere we goin' anyway?

Morell puts down his book with an exaggerated gesture.

MORELLAs mentioned before. Pierre sayshe's found us a place, and that hewill call. Thus the phone call.Thus my request for a little silence.

LONNIEYou're the boss.

And Lonnie continues to snap and chew his gum.

EXT. HIGHWAY - DUSK

Susan eyes the intermittent white line of a rural highway,hands firmly on the wheel. Billboards, electric towers,looming solitary monuments of the road glide past.



21.

The cardboard cutout of Chuck Wing sits silently in back, aperpetually bronzed, hardass look on his face.

Javier chomps nervously on the stub of an unlit cigar whilehe shuffles and reshuffles his deck of cards.

JAVIERAye yai yai . I can't get in trouble.

Susan doesn't answer, she just stares out at the road. Javierturns on the radio--

But Susan reaches over and turns it off.

SUSANI'm sorry. I gotta think.

Javier shrinks back and stares out his window at the strangepassing landscape. Silos, truck parks, the unborn land.

JAVIER

(to himself, in Spanish)How do they find me so quick?

Susan says nothing, seems to be mesmerized by the highway'swhite line.

JAVIER (CONT'D)Hey, you live pretty far huh? Whereis your home?

SUSANI'm not going home.

Worn Sears tires smooch the highway.

JAVIERMaybe we can go to New York? How faris New York?

SUSANFar.

JAVIERHow far?

She doesn't answer.

LATER THAT NIGHT

Susan continues to drive, relentlessly, across strangedesolate landscapes. Javier dozes fitfully on his side.

He wakes with a start to see that Susan is still driving.

JAVIER (CONT'D)You want me to drive?



22.

Susan doesn't respond, keeps her hand tightly on the wheel.

JAVIER (CONT'D)Really. I can drive, just give itto me.

SUSAN(softly)

I never saw you drive to work.He looks at her, sees she's beautiful.

JAVIERI have no car.

SUSANWell, where'd you learn how to drive?

JAVIERTV. Where I learn English, too.

SUSAN(softly)

You can't learn to drive...just bywatching it on TV.

Javier grins, and Susan smiles faintly too. But graduallyshe loses herself in the passing white line.

Javier lights a cigar stub.

JAVIERHow far is New York?

SUSANPretty far.

JAVIERHow about LA?

She casts an irritated look towards his cigar.

SUSANWould you mind opening your window?

JAVIERIs good—White Owl.

Javier offers her a drag, but she doesn't respond. Hedutifully cracks his window and reaches to flick off hisash.

JAVIER (CONT'D)What is the "Owl"?

SUSANAn Owl is a bird. A bird that huntsin the night.



23.

JAVIERWhat does it mean, "hunt"?

SUSAN"Hunt" means to go after somethingor someone, to chase after prey--

JAVIER

"Prey"?SUSAN

"Prey" is the thing that's beinghunted...I'm sorry, I've got aterrible headache. Can't you justlook it up in your little book there?

Javier reaches into his denim bag, pulls out his smalldictionary and riffles through. He finds his word and repeatsit to himself quietly.

EXT. MOTEL - NIGHT

Susan and Javier pull into the broken lot of a cheap motel.Slowly, they unravel themselves from the van. Susan carriesher bloated purse carefully by her side.

INT. MOTEL - NIGHT

A large stuffed Tarpon hangs on the wall above the check-indesk. As the door's bell tinkles, a BALD MAN wearing aterrycloth Budweiser robe emerges to greet Susan and Javier.

BALD MANHelp you.

SUSANYes. I need a room.

BALD MANHow many?

Susan suddenly realizes that Javier is, technically, withher.

SUSANTwo. But we're not together.I mean, we're together, but not"together". You know what I mean?

The Bald Man fishes out a form and pen from the desk.

BALD MANMy forefathers came her in search ofBoron, but were murdered by a traitorin the camp. They should've stucktogether.

He finds his form and pen.



24.

BALD MAN (CONT'D)

Name?

SUSANSusan H--

BALD MANYep?

She catches herself, the Bald Man waits. Javier cuts hisdeck of cards. He plucks an Ace of Hearts from the center.

SUSANSusan Hero.

BALD MANSusan Hero?

SUSAN

Yes.

The Bald Man shrugs and writes.

BALD MANHow long you staying?

SUSANOne night. Only one night.

The Bald Man eyes Javier, who now leans against the Cokemachine shuffling and reshuffling his deck.

BALD MANPlease don't lean against that. That'sa very sensitive machine.

He finishes filling out the check-in ticket and hands areceipt to Susan.

SUSANWe're heading to a wedding.

BALD MANThat's forty dollars.

Susan reaches into her purse and tries to discreetly stripoff a couple bills from her wad of cash. But the Bald Mannotices--and so does Javier, who eyes her curiously fromafar.

Susan presents the Bald Man with the money, and he hands hera key. Susan studies the number on the keychain for a moment--

SUSANExcuse me, do you have another room?

(MORE)



25.

SUSAN (CONT'D)I'd prefer another room if you don'tmind.

BALD MANWhat do you mean you'd "prefer anotherroom?" You haven't even seen it,all my rooms are clean. Got cable.

SUSANI prefer a different number if youdon't mind . Sheesh .

The Bald Man grudgingly takes back the key and studies it.He grudgingly hands her another.

SUSAN (CONT'D)(to herself)

The customer is always right. Always.

INT. MOTEL ROOM - NIGHT

Susan sits pensively at the edge of one of a set of twinbeds, staring off into space. Her bloated purse loungesbeside her.

Javier has already settled in though, and he studiouslywatches a re-run of CHiPS on TV.

He breaks out his small dictionary and tries to look up aword. He can't find it.

JAVIERWhat is the meaning of this word"alibi"?

SUSAN"Alibi". "Alibi" is when you tell astory to cover your ass if you'resuspected of a crime.

JAVIER"Cover you ass"?

SUSAN"Cover your ass". Cover your assmeans, you know, make up a story incase they look into it...hey, can'tyou just look it up in your littlebook there?

Javier again tries find the word in his dictionary. He finallygives up.

JAVIERYou know, it's no good to carry somuch money around.

(MORE)



26.

JAVIER (CONT'D)We go to the bank tomorrow, and youcan get a account.

Susan stands up. She nervously clutches her purse, opensthe nearby dresser. She finds a Bible inside. She opens itat random:

SUSAN"And to the woman were given twowings of a great eagle, that shemight fly into the wilderness..."

She stand a minute, mesmerized, then closes it and and shovesthe book back in the drawer.

She wanders over to the window and looks out. Goes back tothe bed and sits. Sighs. She lights a Kool Mild.

SUSAN (CONT'D)I think I should go back home.

JAVIERYou want to go back?

SUSANNo.

JAVIERI can't go back. I need to stay inthe U.S.A.

Maybe I go to New York--how far isNew York? I could go to LA...

Susan watches him a moment, then begins to take off her shoes.Suddenly, she starts to cry, one shoe on one shoe off.

Javier moves over and sits near Susan on the bed. But shemoves away instinctively.

JAVIER (CONT'D)Hey...you don't worry. You are tired,that's all. You drive all day. Thebest thing is to relax.

This is a nice place, a good place.Relax in the bath, rest your head.

Susan slowly stops crying and wipes her eyes. With greatcare, she takes off her other shoe.

JAVIER (CONT'D)Do you have a pen?

SUSANA pin?



27.

JAVIERA pen. To write with.

Susan reaches into her purse and fumbles around for a pen.She hands it to Javier.

Javier grabs the pen and suddenly, unexpectedly...

...JAMS IT UP HIS NOSE!Susan is aghast. she covers her mouth in horror--

But Javier smiles as he slowly opens his hand, revealing thepen cleverly hidden in his palm.

Susan shakes her head. Javier winks at her, and Susan issmiles, colors herself cheerful.

She opens her purse and takes out a photo of a LITTLE GIRL.

Susan looks around for a spot, places it on top of the TV.

CLOSE ON PHOTO

The girl is dressed for Halloween. She's wearing a littlewitch's outfit.

SUSANShe begged me to be a witch thisyear...

Susan sits slowly back onto the bed. As she looks at thephoto, her troubled look vanishes. Soon she almost seems atpeace.

JAVIERWhere you going?

SUSANI gotta' go meet somebody.

JAVIERWhere?

SUSANI gotta find out. I gotta call himand find out.

Susan digs through her purse for Morell's number and somechange to make the call.

JAVIERWho he is?

SUSANHe's a doctor. C'mon, it's a...womanthing.



28.

JAVIERA "woman thing"?

SUSANYea, a woman thing. A woman thing.He's gonna help me out with something.He's a specialist.

JAVIERA what?

SUSANA "specialist".

Susan violently dumps the contents of her purse on the bed,money and all. She finds the number and lets out a whooshingsighhhhh .

Javier grabs his dictionary. He flips through, finds hisword. He smiles triumphantly.

JAVIERYou are pregnant? Congratulations!

Susan is taken aback, stammers:

SUSANNo, not that. Not that.

Listen. I don't know if you shouldcome with me. It's sorta' a privatething.

Javier peels the band off his cigar and puts it on like apaper ring.

JAVIERYou give me a ride to New York?

SUSANYou kidding? You know how far NewYork is from here? It's thousandsof miles.

Javier looks up at her with a sad face, and rolling eyes.

SUSAN (CONT'D)Look, I--

The sad face. The rolling eyes.

SUSAN (CONT'D)Look, you can ride along part of theway. Then I don't know, maybe youcan take a bus or something.

Javier nods.



29.

SUSAN (CONT'D)But whatever you decide to do--themoney I got, it's my money. I needit to pay the Doctor. Kapeesh ?

JAVIERI understand.

Susan gets up and bolts out of the room to make her call.JAVIER (CONT'D)

" Kapeesh ..."

EXT. MOTEL - DAY

Susan leans against a pay phone as she extracts the crumpledscrap with Morell's number on it.

She carefully dials. Waits. Finally there's an answer.

SUSAN

Hello, Doctor Morell?

Yea, this is Susan Hendricks callingagain. I called you yesterday butwe were cut off. Remember me? Wouldyou happen to recall our...discussion?

EXT. DESERT - DAY

Morell and Lonnie loiter outside the Ryder truck along anarid stretch of desert. From a nearby pale wood fence, alone HAWK regards the pair.

Morell unfurls a map, traces his finger along its lines.

MORELLOf course I remember you Susan.

AT THE PAYPHONE

SUSANOh, great. Whew ! Well, I was justwondering if--you know, like we talkedabout yesterday--you might be ableto help me out with my "situation"?

Susan unconsciously starts to wind the phone cord around herwrist.

DESERT

Morell walks slowly, carefully, pace by pace. He counts hissteps as he goes and consults his map.

His assistant Lonnie follows him, bored but dutiful.



30.

MORELL(to Lonnie)

See, here's where I'll put theeigteenth hole. And over there, theclubhouse.

Lonnie scribbles some notes in a small pad.

MORELL (CONT'D)(to Susan)Ah yes. Well, as I said before, Susan,it's a distinct possibility.

Morell pulls out his own notepad and scribbles some numbersonto it.

AT THE PAYPHONE

Susan is getting more and more worked up. She gestures wildlyas she speaks:

SUSANThat's great! I mean, I saw howwell you did with your horse Juniper--I love animals too--I was gonna studyzoology in college, but my Dad gotsick and I was the one who got stucktakin' care of him...

...and then, well, we didn't haveany insurance so we kinda ran out ofmoney.

INT. DARK OFFICE - DAY

A dark office with dim blue walls. File cabinets stir theshadows, stacks of paper flood the in-box. Photos, clippings,manilla folders on the cluttered desk.

An official looking seal hangs on the wall: UNITED STATESFOOD AND DRUG ADMINISTRATION.

A rumpled, man in his late 30's hunches over the desk. Hisface is young but his hair is thin. This is AGENT CARLWISCONSIN.

He's listening in on the Doctor's line with a strange, boxylooking phone. Occasional STATIC interrupts the signal.

SUSAN (V.O.)...you know, you kinda' sound likehim actually. My Dad I mean.

AT THE PAYPHONE

Susan, restlessly hogging the phonebooth, aimlessly plucks atune on the phone cord which is now stretched taut on herarm.



31.

SUSAN (CONT'D)Anyway, I just know you have a goodheart, I know you do. You gotta beable to help me. Please? Please?

EXT. DESERT - DAY

Morell doesn't answer right away, he's transfixed by the

ranging landscape in front of him: the arroyos to be filled,the hills to be flattened. He calculates.

MORELL(to Lonnie)

And there!...that'll be the thirteenthhole. I always had great luck onthe thirteenth hole. I'll put in awaterfall, and a small lake.

LONNIEBut boss...that's gonna cost you.Keeping this place watered and all.

Stick to a casino, I'm telling you.Where you gonna get the money for agolf course out here?

But Morell ignores him and grins as he beholds his futuregolf course, his empire, his private plaything.

He suddenly remembers that Susan's on the line. He picks uphis phone.

MORELLYes, Susan. I'll do it. But for acustomized procedure, it's gonnacost a bit more.

A lot more. Like we talked about.

INT. PAYPHONE - DAY

Susan breaks into an elated grin--

SUSANOh yea?! Oh thank you, thank you!!!

What? No problem, the money's noproblem.

I'll call you tomorrow. Just namethe time. Great! Well thank you so-much...

She stops in mid sentence. Her face becomes serious.

SUSAN (CONT'D)Don't worry. It'll be our littlesecret.



32.

She hangs up, claps her hands together excitedly and dancesout of the phone booth.

INT. DARK OFFICE - DAY

Carl Wisconsin hangs up also. Then he slowly and thoughtfullyCRACKS his knuckles, one by one--

He riffles halfheartedly through the heaps of files on hisdesk as a heavy SILLOUETTE appears in his doorway. It's hisboss.

BOSSYou got this one, Okay Wisconsin?Don't fuck up. This guy's a kook,we've been following him a long time.

WISCONSINIt's all taken care of.

BOSS

Never end your sentence with apreposition.

WISCONSINSorry. I'm taking care of it.

BOSSAtsa boy. Come in to my officetomorrow, we'll go over the wholething. How about them Mets?

WISCONSINHow about them?

Wisconsin's boss leaves, and the room is suddenly smaller.

INT . MOTEL BATHROOM - LATER

Susan soaks in the tub and whistles lightly as she draws arazor across her leg.

She gets up from the bath, wraps a towel around herself, andlooks in the mirror.

MIRROR

Susan carefully inspects her face, traces her finger alongthe lines of her mouth. Although she looks tired and a road-weary, she now radiates a buoyant, beautiful gleam.

INT. MOTEL - NIGHT

Susan and Javier lie asleep in opposite twin beds.

Javier sleeps gracefully and with exquisite stillness. Abook of English idioms lies open nearby.



33.

Susan lies sprawled in a mess of blankets and pillows, herarm hanging off the side. Ever so faintly, she snores atroubled snore and talks half-coherently:

SUSANDon't worry momma. I'll find her.I'll find those shoes too.

INT. MOTEL - MORNINGSusan snores away, still strong and resonant at dawn. ButJavier is already awake, standing in a tanktop T-shirt infront of the mirror. His body is stringy, muscular, welldefined.

A makeshift altar stands on the dresser: a styrofoam cup andtwo popsicle sticks which form a crucifix.

Javier slowly waves a lit cigar through the air whilemuttering a faint prayer under his breath.

Susan wakes with a start from her rumpled nest.

SUSANWhat're you doing?

Javier gently puts the cigar down.

JAVIERIt's Sunday. I say some prayers tohelp you feel better.

SUSANOh...

She eyes the altar curiously as Javier finishes his prayer.

JAVIERSleep good?

SUSANYea. I know I had a dream, but Ican't remember what it was.

Susan yawns, sits up, lights a cigarette.

JAVIERThat means you sleep good.

SUSANI guess so. Boy, am I hungry.

JAVIERI am also very hungry. I could "eata horse".

He does a quick impression of a horse, and holds his armsout for her praise: Ta-Da!



34.

But Susan just rolls out of bed without acknowledging him.She turns on the TV and flips purposefully through thechannels, searching for any sign of her recent heist.

SUSANYou sure you wanna go out? I mean,this is America, you can just pickup the phone and order just about

anything. They'll bring it right toyour door.

JAVIERBut I am so hungry that I can "eat ahorse."

Susan gives in, smiles at him through a plume of cigarettesmoke.

SUSANI take it you're not a vegetarian.

JAVIERWhat?

SUSAN"Vegetarian". A vegetarian, someonewho only eats vegetables.

JAVIERVegetables?

SUSANYea, you know. Carrots, tomatoes,potatoes—

JAVIEROh yes. I have a friend back homewho is "vegetarian".

SUSANSee. He likes animals--

JAVIERNo. He hates the plants. So hekills them. And then he eats them.

Susan stares at him in silence, her Kool Mild trailing bluecurls of smoke in the morning light.

EXT. MALL - DAY

Susan and Javier sit in the minivan in the parking lot of alocal mall. Susan hides behind cheap, dark, "gas station"sunglasses as they gorge themselves on noodle bowls.

JAVIERDelicious. What is the name?



35.

SUSANNoodles. Chinese noodles. You neverhad noodles like this?

Javier shakes his head.

SUSAN (CONT'D)The Chinese invented Spaghetti. Bet

you didn't know that, huh?Hav shakes his head solemnly. He carefully sucks in a noodle--

JAVIERThe Maya Indian, they invent thenumber zero. Do you know this?

She's stumped, she shrugs nonchalantly.

SUSANThey invented a number? How cananyone invent a number?

Susan laughs a big, brassy laugh.

A RENT-A-COP from the mall passes by carrying a Big Gulp,and Susan stops laughing. She furtively watches him departfrom under her glasses, 'til the coast is clear.

SUSAN (CONT'D)What'd you do back home?

HAVERI fix the cars. And I was a student,some of the time.

SUSANYou fix tires but you can't drive.Sheesh. What'd you study?

JAVIERI study the science, physics. Atthe University of Zacatecas .

SUSANOh. Physics. Like, for every action,an equal and opposite reaction?

JAVIERYes. But not the Quantum Physics.In the Quantum Physics, sometimeevery action is the equal and oppositereaction.

You are watching the experiment--andyou are the experiment.

Susan slurps a noodle.



36.

SUSANWeird.

JAVIERAnd because of this, we see that allthings happens at the same time.The future, the past, and this momentright now. All at the same time.

He smiles at her and winks. Susan finishes her noodles; shetries to quietly crush her styrofoam bowl so as not to disturbhim.

JAVIER (CONT'D)It is the mind that creates the past--the memory. The future--our hope.And a moment right now--always runningaway, always running away.

But, always, we create the future aswe live, in every single moment.

SUSANWow. Whew!

No sooner does Javier finish speaking than he sees anotherminivan just like theirs rolls by in the lot.

In fact, it is their minivan. And inside the minivan areANOTHER SUSAN AND JAVIER, exactly the same as them, exceptthat, in their car, Javier is at the wheel. Susan does notnotice them pass.

SUSAN (CONT'D)Hey, Javier. Why'd you come here?

JAVIERI have my boy back home. He is sickwith a bad heart. He needs a gooddoctor and medicine, and the medicine,the doctor, they are expensive.

Javier pulls a well-worn photo of his son from his wallet.

JAVIER (CONT'D)So I come here to make money forhim. Need to learn the Englishbetter, though. I watch TV, readthe books.

Susan's glance roams over towards the mall, where the localMultiplex draws a crowd. On the marquee hang the titles ofthe latest flicks—-Fat Sunday , Bleed—and Big Vendetta .

SUSANHey! Big Vendetta !





38.

Javier puffs his cigar and shuffles his cards while watchingthe documentary.

VIEW THROUGH WINDOW

Through the window, Susan can be seen making a phone call.She's got her fat purse tucked carefully under her arm.

Susan suddenly bursts into the room, frantically running herhands through her hair.

JAVIERYou should see these animals. "LowlandGorillas". Very, very smart animals--

But Susan ignores him completely. She dumps the money outof her purse and onto the bed, begins to count it obsessively.

JAVIER (CONT'D)What's wrong?

SUSANI need more money.

Susan savagely chews her thumbnail, spits it out.

JAVIERMore money. Why not get a job?

SUSANJob? Ha . Are you kidding? I can'tget a job now. They ask you to fillout this little form when you applyfor a job. And they always ask youif you committed any crimes.

What am I gonna say about--you know?

Javier studiously regards the apes on TV, who now freelycavort and fornicate.

EXT. SHOPPING MALL - NIGHT

Susan and Javier pull into the lot of the shopping mall infront of the multiplex. Susan stares quietly out towardsthe box office. The marquee is now lit up: BIG VENDETTA.

Susan looks at the digital clock on her dashboard. It's 11:09PM.

SUSANJust keep an eye out for trouble.

JAVIERI don't like the crime. That is notwhy I come here, you know.



39.

SUSANYea, I know. I don't like the crimeeither. But I could use your help.Just be the lookout an' tell me ifyou see anybody. That's not a crime.It's not a crime to help a friend inneed.

Javier somberly lights a cigarillo and puffs to consider.Susan opens the glove compartment and takes out a smallhairdryer. She puts it in a brown paper lunch bag, and shapesthe bag around it to make it resemble a concealed gun.

SUSAN (CONT'D)So, uh...you see anybody?

JAVIERA man in the window.

SUSAN

(nervously singing)"A man in the window..."

She glances at the clock on the dashboard.

CLOSE ON CLOCK

The CLOCK on the dashboard changes to 11:11—ONE ONE ONE ONE.

At that very instant, Susan reaches for the Indian Pouchhanging from her rear-view mirror and gives it a quick rubfor good luck.

She puts on her dark glasses, flings open the door and startsboldly over towards the box office--

But she stops on the way to throw up behind a dumpster.

EXT. BOX OFFICE - NIGHT

A teenage kid with a pockmarked face sits in the booth. Hehalf-heartedly stirs to help Susan.

SUSANHi. One for Big Vendetta .

KIDOh, the last show was at--

SUSAN--and all your money. Alright?

The Kid looks at her, mouth agape. Susan pulls out her brownpaper bag with the gun-hairdryer inside, brandishes it likea weapon. She points it waveringly at the Kid.



40.

He hesitates an instant, then clears out the cash drawer inone frenzied swoop. He stuffs the wad of money through theopening in the Plexiglas, then dodges away.

Susan clumsily scrambles to snag all the dough, but she boltsprematurely, leaving behind a flurry of bills.

She races over to the minivan, hops in and floors it. Javier

is laughing his ass off.SUSAN (CONT'D)

Jeez-us that was close.

JAVIERYour face is so funny! Here--

Javier does an impression of Susan and laughs, slapping histhigh.

SUSANFunny huh? Real funny. Yea, well

you can't even fucking drive. You'rein America, you wanna' be an Americanand you can't even drive. Now, tome, that's funny.

You want to hang around, you gotta'learn to drive. That's the new rule.

JAVIEROkay.

SUSAN(mimicking his accent)

"O-kay"

INT. CAMELOT MOTEL - NIGHT

A squat motel with a "medieval" motif, just off the highwaynear an industrial park. Susan and Javier eat pizza anddrink beer while the TV drones in the background.

Susan sits on the far side of the room as she hungrily wolfsdown a slice.

Javier has a napkin tucked carefully under his collar like abib. He eats politely, carefully covering his chewing mouthwith his hand.

They both watch TV attentively while they eat.

CLOSE ON TV

It's a reality TV show. A group of hot, buff, and sexy folkare gathered around a small, blackened animal roasting on aspit.

The LEADER lifts a conch and blows through it.



41.

TV LEADERAll tribal members gather round.

A few others emerge from thatched huts on the beach.

TV LEADER (CONT'D)Ok. Looks like we've only got enoughfood to last us a couple days—

An middle aged woman breaks down crying. Another scantilyclad, very attractive young woman nearby comforts her.

One of the men reaches for a piece of the roasting meat--butthe leader knocks his hand away with a knobbed club.

BACK IN THE ROOM

JAVIEROh, look at that man's stomach. Heis not starving on an island.

SUSANShhh. I'm tryin' to watch.

Susan lights up a Kool Mild. She counts her newly gainedmoney while she watches, smoothing each bill as she goes.

SUSAN (CONT'D)Still short.

Commercial break. Susan takes out the photo of her daughterand puts it on the nightstand near her bed. She meticulouslycleans the dust off the glass face.

JAVIERWho is the girl?

SUSANThat's my daughter.

JAVIERShe is beautiful like you. How oldis she?

Susan sits back down, picks at her slice a bit then answers:

SUSANShe would be six...

JAVIER"Would be?"

SUSANShe would be if...well, she passedaway recently.

JAVIER"Passed away?"



42.

SUSANShe's dead. She died. Okay?

Javier takes a moment to think about this.

JAVIEROh. Oh. I'm very sorry.

Susan flips pensively though the channels. Javier feignsinterest in the TV while Susan smokes and watches.

SUSANDo you think I'm fat?

JAVIERNo.

SUSANReally?

JAVIER

Yes. But I do not care if the womanis fat anyway. If I like her, Ilike her.

Susan grabs another slice.

SUSANYou have a girlfriend back home?

JAVIERNo. My girl and I are together nomore. She finds a businessman withmoney and a nice car.

He silently puffs his cigar.

JAVIER (CONT'D)You have a man?

SUSANHad. Past tense. Had, I had aboyfriend. After I got pregnant, wewere gonna' get married. But heturned out to be an asshole.

JAVIEROh. An asshole. I am very sorry.

He flips through his dictionary to find the meaning.

JAVIER (CONT'D)You are good looking woman.You find a man easy, no?

Susan blushes, quickly frowns to cover it.



43.

SUSANYea, but...somehow it never workedout. I just never found the rightguy, I guess. No matter how hard Itried.

Anyway, I don't think I want aboyfriend right now--what am I saying?--

I can't have a boyfriend now . I mean,look at me. Everything's a mess.My whole life's a mess.

JAVIERBut you have everything you needright here, right at this time. Youhave food, a good TV, a place tosleep. Good company...

He smiles at her. There's a moment as if she will saysomething else but, suddenly, Javier holds up his hand and"lifts" his thumb off his hand. Susan laughs.

JAVIER (CONT'D)I like the magic.

SUSANI can see that.

JAVIERMagic breaks all the rules, all therules of this world. Magic comesfrom the world behind this world.

It is freedom from the rules of thisworld.

The TV suddenly BLARES A BREAKING NEWS THEME--

CLOSE ON TV

EVIL GRAPHICS of Susan and Javier, both brandishing snubnosed revolvers, stand in silhouette against the marquee ofa movie theater. Two anchors report with concern:

FRANKYou had something to say, Ronny?

RONNYThanks a lot Frank. A breaking storyof concern to everyone in the Lindenarea—

Susan leaps for the remote, turns it up.

SUSANHey, is that us? That's us!



44.

JAVIERAy yai yai.

RONNYAn armed woman and her accompliceassaulted an employee of the KeatonMultiplex today and made off with anundisclosed sum.

The two fled the scene in a whitevan, seen here.

Grainy SURVEILLANCE FOOTAGE shows Susan getting into her vanand driving away.

RONNY (CONT'D)The incident resembles a crimecommitted just a few days ago at theMeadowlark Cinema complex nearTucumcari .

Suspected there are two employees,Susan Hendricks and Harvey Applegate .

An interview segment pops onto the screen--it's SanghpopElpee.

ELPEEI don't know why she would do such athing to me. We were like a family.A team. A ship at sea.

He melodramatically buries his face in his hands.

RONNYLaw enforcement officials say theyhave leads and are investigating.

Susan watches it all with a silent and pensive expression.She lights a cigarette and exhales a deep blue plume as thestory ends.

Neither of them speak for a long while. Finally:

SUSANThat didn't look like you. They'llnever be able to ID you. Me, on theother hand, they had a good shot ofme--

But Javier just glares at Susan, shutting her up in hertracks. She pretends to be nonchalant about it.

Suddenly she bursts into tears, and Javier grudgingly crossesover to comfort her.



45.

SUSAN (CONT'D)I'm sorry, I'm so sorry. I shouldn'thave done this. I shouldn't havegot you in trouble either. I shouldgo back and turn myself in. I justwant to be good. I shouldn't havedone this.

JAVIERYou didn't hurt nobody. You justtake some money. Maybe you can sendthe money back.

SUSANNo, no, I can't! I need it...I gottapay the Doctor.

Her crying trails off to a dull sniffle. Javier hands her anapkin to dry her tears. He lights his cigar.

INT. MOTEL - NIGHT

Susan lies in bed awake, musing on the shadows of the night.She's lost in thought and far away. She rolls over and looksat Javier, studies his sleeping face for a long time.

And Javier sleeps soundly, dead to the world.

EXT. MOTEL - MORNING

Morning sunshine floods the Motel parking lot. Susan's idlingminivan sputters nearby.

Susan sits inside, carefully putting on some lipstick. Whenshe's finished, she gives the horn a quick TOOT.

Javier runs out from their room carrying his faithful denimbag--and the Motel Bible under his arm.

He hops in the van with the bounce of a well-slept man.

SUSANWhat's that?

JAVIERThis book smells good. Here--

Javier offers the Bible to Susan. She humors him and smellsit. Then he gently places the book in the glove compartment.

JAVIER (CONT'D)For good luck.

Susan checks her lipstick in the rear-view mirror.

SUSANHow do I look?



46.

He nods.

SUSAN (CONT'D)(Southern Belle Voice)

Why thaynk you, darlin' you are sosweet.

Susan carefully puts away her lipstick.

SUSAN (CONT'D)I'm not going back. If you want,you can stay behind. Or maybe I candrop you off at a bus station orsomething.

JAVIERMaybe. But let's go. Vamos.

She puts the van in gear and off they go.

Just after they exit the lot, a shiny, BLACK FORD TAURUS

creeps up the drive and stops in front of the Motel office.

It's Agent Carl Wisconsin. He purposefully strides up to theoffice.

INT. MOTEL OFFICE - DAY

Wisconsin thrice taps the bell on the counter. A moment later,the Bald-headed proprietor stumbles out, still wearing histerry cloth Budweiser robe.

BALD MANHelp you.

Wisconsin holds out a grainy photo of Susan taken fromsurveillance footage at her recent robbery.

WISCONSINHave you seen this woman?

BALD MANWho wants to know?

Wisconsin flashes him a badge. The Bald Man gingerly fingershis dome.

BALD MAN (CONT'D)FBI?

WISCONSINFDA.

BALD MANCome again?



47.

WISCONSINI'm from a task force working withthe Food and Drug Administration.

BALD MANWell we got a clean bill of healthfrom the inspector--

WISCONSINThat's not why I'm here. We havereason to believe this woman hasbeen staying here.

Wisconsin tosses a photo of Susan onto the counter.

BALD MANOh. Yes sir, she was. She left thismorning.

WISCONSINWas she alone?

BALD MANNo, she was with a...Latin lookin'fella.

WISCONSINDid they say where they were headed?

BALD MANAll she said--the girl, she did allthe talking--she said they were headedto a friend's wedding.

WISCONSINAnything else?

BALD MANYea...she acted real funny when Igave her the key.

WISCONSINFunny. Funny strange or funny ha-ha?

BALD MANFunny-strange. I gave her room six,and she said she didn't like thenumber. I gave her another one,number seven . And that seemed tosettle her down.

Wisconsin writes this down in a small notebook.

WISCONSINWhen did they leave?



48.

BALD MANI don't know. Before I got up, Iguess. Say ten?

Wisconsin heads towards the door.

BALD MAN (CONT'D)What do you want 'em for anyway?

Wisconsin answers waywardly over his shoulder as he headsout the door.

WISCONSINI just want to talk to them.

INT. MALL - DAY

Susan and Javier walk though a glittering faux-marbledshopping mall. Their clothes are crumpled and, wearing theirdark glasses, they stand out from the crowd.

Javier looks around in amazement.

JAVIERThis place is bigger than my villageback home. Like a small city.

SUSANGosh , I used to love comin' to themall.

Susan twirls and gushes as she revels in her space. Shestops at a shoe store and longingly eyes a few pairs in thewindow.

SUSAN (CONT'D)We need some new clothes, huh?

Javier shrugs and pinches his janitor overalls.

JAVIERWhy?

SUSANJavier, you smell. I smell. We bothsmell. C'mon.

EXT. PARKING LOT - DAY

Susan and Javier sit in the van in the mall's parking lot.She wears sparkling new shoes and a light summer dress.Javier sports a new shirt and chinos.

Various clothes and other newly acquired items--including asquirtgun and, for some reason, a blender--occupy the backseat, crowding the cardboard cutout of Chuck Wing.



49.

Javier sits on the driver's side, his hands white-knuckledon the wheel. Susan hovers over him from her seat, smokinga cigarette.

SUSANOk. Now turn the key.

Javier turns the key and fires up the engine. He smiles

mightily at Susan.SUSAN (CONT'D)

Alright. So far so good, amigo.Now give her a little gas.

JAVIERHer?

SUSANThe van. Give her some gas.

JAVIER

The van is a she?

SUSANC'mon. Just give it some gas.

Javier punches the pedal and the minivan leaps forward.

SUSAN (CONT'D)I said a little. You gotta payattention.

JAVIERSorry. Oh, I got it, I got it! I GOTIT! YES!!!!

The minivan ambles slowly through the parking lot, gainingspeed. It's going the wrong way though, looping vaguelyacross the asphalt.

SUDDENLY--a giant SUV barrels around the corner. Javierjerks the wheel and steers the van out of harm's way just intime.

SUSANYou gotta' stay on the right side.The right side !

A second SUV leaps over the curb and barrels across theirlane. It narrowly misses Susan and Javier in its effort tobeat the first SUV into the empty parking space.

The two drivers of the big machines leap out and quarrelover the parking spot.

SUSAN (CONT'D)Uh...better stop here. Just park ithere, I'll take over.



50.

They switch seats. Susan peels out of the parking lot.

JAVIERI did good no? Pretty good huh?

SUSANYou need practice. But not bad foryour first time.

JAVIERYes sir. Pretty good.

He reclines in his seat like a champion. He breaks out afresh cigar, turns on the radio.

EXT. HIGHWAY - EVENING

Susan and Javier motor down a blue dusk highway. Susan is atthe wheel.

Javier is asleep. His head bobs with the movement of the

road, and slowly it falls against her shoulder.

She taps him once to wake him up. No response. She taps himagain, then finally lets him sleep against her.

LATER

The AM RADIO DRONES AND CRACKLES with some vintage highwayreligious programming. Susan tries to find some music; shefinally turns it off.

She blinks her drooping eyes. Javier wakes, groggily liftshis head:

JAVIERWhere are we?

SUSANWe just passed a town called Newton.It's the big red road in the middle.

Javier studies the map.

SUSAN (CONT'D)We'll take that East, then head North'til we get to Trinity.

JAVIERTri-ni-tee ?

SUSANYea. Trinity. That's where theDoctor is.

Javier quietly repeats the name "Trinity" to himself overand over again.



51.

He looks out his window just in time to see THEIR DOUBLES,the other Susan and the other Javier, driving their minivanin next lane.

VIEW THROUGH WINDOW

The Other Susan and Javier both wear identical jogging suits,looking nearly identical with slicked back hair.

A SMALL CHILD sleeps soundly in the back seat.

Javier watches wordlessly as their doubles fall behind anddisappear.

EXT. MOTEL - NIGHT

Susan pulls into the gravel lot of a dilapidated motel. Atire swing hangs forlorn nearby, a single light is on in theoffice.

INT. MOTEL OFFICE - NIGHT

A pale man in his fifties watches TV in the Motel office.This is RICH RICHARD, the proprietor. He looks uncannilylike the previous Motel operator, the Bald man with theterrycloth robe.

Rich winces and shudders as he follows a real-life cop show,Americas Very Most Wanted .

RICHLook in his pocket. IN HIS POCKETYOU IDIOTS.

A buzzer sounds in the far room. Rich groans, pulls himselfup out of his recliner, and heads out to meet his guests.

IN THE OFFICE

Rich is pleased, though, to see Susan standing amplycurvaceous in the doorway. He suavely welcomes her with anaffected English accent. She staggers in, road weary.

RICH (CONT'D)Good evening.

SUSANYea...it is a nice evening. Theair's so fresh out here, it almosthas a taste.

RICHYes, indeed. Fresh and pure.

An uncomfortable, shifty, leering pause. They make eyecontact, and Rich takes a step towards her.



52.

SUSANSo...we need a room.

RICHWe?

Rich notices Javier standing in the corner, and his facesags with sheer disappointment. His accent snaps back to

normal: a flat Southwest drone.RICH (CONT'D)

He with you?

SUSANYea. He's my friend. We're together.But we're not "together", you knowwhat I mean?

JAVIERHello—

Javier extends his hand to shake, but Rich doesn't shake it.He irritably hauls out his ledger book instead.

RICHHow many nights?

SUSANJust one. Well, maybe two. Maybewe'll stay two nights?

RICHYou don't sound too sure.

SUSANOne night.

RICHThirty nine bucks. Check out's ateleven.

Susan awkwardly pulls out her enormous wad and peels off twotwenties. Rich eyes her suspiciously. Susan notices himwatching, and puts the purse out of view.

RICH (CONT'D)So. Where you headed?

SUSANUh, down to Florida. To see myGrandma. My Grandma's finallygraduating from college, can youbelieve it?

RICHReally. What'd she study?



53.

Susan fumbles with her purse, tries to buy time. In hermind's eye, she sees the Motel room where they stayed theday before: the one with the Medieval motif.

SUSANMedieval history.

Richard begins to sift through a drawer for her key.

RICHMedieval history. Huh.Dragons...damsels...wizards turnin'lead into gold. Alchemy. One elementchanging into another . Folks gettin'rich overnight, turnin' lumps oflead into pure gold .

Musta' been a helluva time. Yep.Musta' been one helluva' time.

SUSAN

Yes. It most certainly was.

Rich hands her a key.

RICHNumber five.

Susan considers the key for a moment. She pockets it.

RICH (CONT'D)Ain't got no cable in the rooms.If you wanna watch satellite TV, youcan come on back and watch with me.

I'll be up all night.

He flashes a slimy smile, revealing tobacco-stained teeth.


Javier smokes his cigar while watching an old black and whiteTV show. His dictionary lies open nearby. He picks it upand riffles through to catch the meaning of a passing word.

IN THE BATHROOM

Susan soaks in the tub, weary from a hard day's drive. Sheruns a hand over her leg, reaches for a razor: none to befound.

SUSANHav? Hav could you bring me one ofmy razors please?

IN THE FRONT ROOM



54.

Javier dutifully appears in the doorway to help. But he'sstunned, caught completely off guard to find Susan half nudeand beautiful in the tub.

JAVIERHuh?

SUSAN

My razors—you know? Razors. " SchkSchk ?" They're in my blue bag. Wouldyou get one for me?

Javier struggles hard not to stare at Susan. She modestlyconceals herself with the shower curtain, and Javier gallopsaway to retrieve the razors.

IN THE FRONT ROOM

As Javier searches for the razors, he stands before the mirrorin the center of the room.

He looks deep into the Motel mirror...

IN THE MIRROR

He sees the reflection of Susan, beautiful and pure, smilingat him. Now, they hold hands and walk through a desert valleyfilled with flowers, they swish and play in a natural spring.

SUSAN (CONT'D)(O.S.)

Hey—did you find em?

Javier snaps out of his vision. He fumbles for the razorsand finds one, brings it to Susan.

IN THE BATHROOM

Javier suavely hands her the razor.

SUSAN (CONT'D)Gosh. My leghair grows so damn fast.

JAVIERMaybe...time passes quicker?

SUSANTime passing quicker? Huh, I neverthought of that.

They look at each other for a long curious moment. ThenSusan--whistling innocently--draws the razor across her legs.

Javier slowly withdraws into the other room. He flipsdistractedly through game shows, cops and hurricanes. He'sclearly been smitten by what he's seen of Susan.



55.

INT. MOTEL - MORNING

Susan wakes to find Javier waving his cigar in front ofanother small, makeshift altar on the dresser.

SUSANWhat're you doing?

JAVIERI say some prayers.

SUSANC'mon, that stuff freaks me out.

JAVIERWhy?

SUSANIt's like a Hollywood movie, likesome kind of weird Voodoo.

JAVIER(laughing)But we are not in a Hollywood movie.You have no faith.

SUSANI believe in myself, and that'senough. C'mon, just cut it out.

Javier chuckles as he removes the altar from the dresser.

JAVIERSleep good?

SUSANLike a log.

JAVIER"Like a log." See?

She rolls over and looks at the digital clock on thenightstand. It reads: 10:10 AM.

SUSANOh, shit! I gotta call the Doctor.

Susan throws on a robe, lights a cigarette and heads outinto the crisp morning air.


Susan hurries across the gravel driveway and enters a beatup phone booth nearby. She pulls out her well-folded pieceof paper and dials Morell's number.



56.

SUSANHello Doctor Morell? Yes, this isSusan. Oh, fine, thank you. Well,you'll be happy to know, I got therest of the money!

My Grandma passed away. I just gotsome of the inheritance money. She

certainly was a wonderful lady and agreat scholar.

Medieval history. Hello?

INT. INDIAN CASINO - NIGHT

An Indian Casino, where the ladies look OK but the drinksare cheap.

Morell sits with an empty tumbler in front of him at hisusual game, roulette. Lonnie sits nearby with his head inhis hands, looking bored.

The Doctor places a single chip on his lucky number:

13 Black.

Morell clutches his cell phone absently as he watches theturning wheel.

The Croupier plucks Morell's chip from the table.

CROUPIERSorry Doc.

Morell slaps the table once with his open hand. He picks uphis phone.

MORELLThat's great news, Susan. Of course,my heart goes out to you and yourdear departed Grandmother.

But it's wonderful to consider that,in her passing, she's giving yousuch a special gift.

Now, there's still one importantthing required to move forward...

BACK AT THE PHONE BOOTH

Susan coils the phone cord tightly around her wrist, hangingon his every word.

SUSANOh. Well I got one of her teeth,will that work?

(MORE)



57.

SUSAN (CONT'D)Yea, I have it with me. I alwaysgot it with me for good luck.

Huh? No, your teeth looked fine. They were so white and bright.

Okay. I'll give you a call tomorrow.

Don't worry. I'll bring everything.Susan hangs up and kicks the phone booth door open. Shelooks up and sees Javier watching her from the Motel window.

INT. MOTEL ROOM - LATER

Javier seems preoccupied as he flips through channels on TV:Cops and hurricanes, but no sign of their recent heist.

JAVIERWho are you speaking to on the phone?

SUSANWas. Who was I speaking to. TheDoctor.

JAVIERThe Doctor. The Doctor. Why youkeep calling him?

SUSANHe says I gotta stay in touch incase anything changes.

Javier sourly flips through golf games and thunderstorms.

JAVIERYou like him?

SUSANWhat?

JAVIERYou like him?

SUSANWhat're you talking about? I haven'teven met him. I've only spoken withhim on the phone.

JAVIERAlways that way with the ladies.They like the guy with most moneyall the time.

SUSANJavier—that's not true! What do youcare anyway?



58.

Javier stands up suddenly and walks over to the window. Helooks out over the barren landscape outside.

JAVIERI am sorry. I don't know. I feel alittle "homesick".

Miss my home, my boy back home.

I know he is sick, you know? I feellike I need to keeping moving, youknow? I'm tired just sitting 'round.

SUSANI know, I know, I wanna' get movingtoo. But I think I gotta wait alittle while longer, 'til the coastis clear.

JAVIER"'Til the Coast is Clear?"

SUSANYea, 'til they forget about us...itwon't take long, the news peopleforget real quick. Everybody forgetsreal quick these days.

Javier crosses his arms stubbornly.

JAVIERI drive.

SUSANCome on, I wanna get outta here asbad as you do.

JAVIERI said I drive.

SUSANYou think I'm getting on the highwaywith you behind the wheel?

Susan reaches for and tosses aside a well-worn PeopleMagazine. She opens the dresser drawer, finds a Bible inside.

SUSAN (CONT'D)Jeez, these things are everywhere .

She slams the drawer shut.

LATER

It's a grey-blue day. Susan is lying on her back in bedwith a washcloth on her forehead, reading a Mad Magazine .



59.

Meanwhile, Javier does situps on the far side of the room.He pulls off a nice set, but then finally tires and strainsto continue.

Susan lowers her magazine and watches him struggle.

Javier sees her watching him and throws her an irritatedlook. He tries again. He manages a few more, but his feet

keep slipping out from under the bed.SUSAN (CONT'D)

You want some help?

JAVIERNo. No thank you.

SUSANReally, Javier--

JAVIERI SAID NO!!!

SUSANAlright. Asshole. Sorry I evenoffered.

Javier struggles a bit more, then finally gives up. He refusesto look over at Susan.

She slowly eases off the bed. She walks over to the window,looks out onto the bleak scrubby plain outside and sighs.

VIEW THROUGH WINDOW

Believe it or not, tumbleweeds blow by in a swirl of dust.

BACK IN THE ROOM

Javier is still lying on his back. He's looking at theceiling with a far off, rueful expression.

Susan moves over to where he lies.

She kneels and grabs hold of his ankles.

He stubbornly resists, then raises himself up—ONE, TWO. Shesmiles encouragingly at him as he reaches each peak. Onnumber three, she blows him playful kisses.

At his fifth peak, he stops. He looks at Susan, exhaustedand sweaty. She shyly looks away.

Javier shyly runs his hand once over Susan's leg making asound, SCHK SCHK--

JAVIER"Leg hair".



60.

SUSANYea. Fast growing leghair .

And now she mirrors his gaze, a dull look of desire whichneither can figure out. She breaks away suddenly and headstowards the bathroom. Javier falls slowly back to the floor.

From O.S . comes the sound of WATER RUNNING as Susan fills

the tub.LATER STILL

Susan and Javier lie asleep in their separate beds while theTV glows mute in the darkened room.

CLOSE ON TV

A title card reads, America's Very Most Wanted. During theopening montage, dark silhouettes of Susan and Javier fillthe screen.

INT. MOTEL OFFICE - NIGHT

Rich Richard, the Motel proprietor, is also watching theshow. He leans in to scrutinize the screen when he sees theintro footage of Susan and Javier.

EXT. HIGHWAY - NIGHT

Carl Wisconsin, on a desolate highway, listens to collegebasketball as he plows through the creeping night in hisBlack Ford Taurus .

His satellite phone rings. He answers gruffly.

WISCONSINHello?

You're sure? The Royal Inn. Tellhim if he needs to, to stall themanyway he can. Remind the localauthorities to stay off the case.

Because this is a special case andthose are my instructions.

Wisconsin hangs up. It rings again. He answers sharply.

WISCONSIN (CONT'D)Yea--

Oh hi Ma'. Look, I'm on that casenow and I'm pretty busy.

Oh shit. No...did anyone see whathappened or get a licence plate,anything like that?

(MORE)



61.

WISCONSIN (CONT'D)What did the vet say?

Wisconsin's face sets grimly as he listens.

WISCONSIN (CONT'D)No, look, I'm involved in that caseI was telling you about. Well I'll

call you when I get the chance, Okay?Til then...we'll just hope for thebest, alright?

Okay Ma. I will. Let me know howhe is, alright?

(sheepishly)Love you too.

Wisconsin hangs up again. He turns off his radio and staresahead at the blinking white line for a long time, as if itwere telling him something.


Susan wakes up with a start. She tosses on her robe, lightsa cigarette and heads for the door.

SUSANI need a Diet Coke. You want a DietCoke, a Diet Lemon Coke or something?

JAVIERAnghhh ...

She heads out the door and into the moth-fluttering night.

EXT. MOTEL - NIGHT

Susan rounds the corner towards the soda machine--and runsinto none other than Rich Richard, the Motel Manager.

RICHUp late huh?

SUSANOh, yea. I couldn't sleep.

RICHMe neither. I like to walk aroundthe place at night, check for leaksand make repairs and such.

So...you're headed off tomorrow.

SUSANHuh?

RICHTo your Grandmother's graduation.



62.

SUSANOh, yea. What an inspiring woman!

RICHWell, sure was nice having you here.

SUSANThank you.

RICHIsn't every day you get interestingfolks like yourselves through here.

SUSANThanks. You're interesting too.

Awkwardly, Susan makes a move to pass, but Richard does notstep aside. He lets his eye roam across her body, down theample fold of her softly parted robe.

RICH

Uh, you oughta' get you car lookedat, one of the tires is worn uneven.Probably a bad suspension.

You need to stay another day to getit looked at, no problem with me.

SUSANNo it's alright. Thank you.

RICHReally, it ain't no problem, mybrother's a mechanic. He'll look atit for free. Don't wanna blow atire. Could be fatal.

SUSANWell...thanks. But we'll probablyjust find a place along the way.

She edges to the side of the hallway to try to make it tothe Coke machine. He finally lets her through--but he followsher down the hall.

AT THE COKE MACHINE

Susan nonchalantly tries to put coins in the machine, buther hand shakes so much that she drops a quarter. It rollsto Richard's feet. She agonizingly picks it up and startsagain.

RICHYour friend. Where's he from anyway?

SUSANOh, he's an exchange student fromHonduras. He's an old college friend.

(MORE)



63.

SUSAN (CONT'D)We're gonna' visit the Grand Canyon.

RICHYou mean, after you go to Florida?

Susan freezes a moment when she realizes the hole in herstory. She bravely covers it:

SUSANYea, that's right . After we go toFlorida.

She pushes the button for Diet Coke: SOLD OUT. She pushesfor Sprite--also SOLD OUT.

RICHHey, I got a asteroid out back. Itjust fell from the sky a few yearsback. Woke up one morning and thereit was, steaming away like a turd

or something. Oh, sorry...uh, butthere it was.

You wanna take a look at it beforeyou go?

Susan presses the button for MR. PIBB and a can drops fromthe machine. She tightly grips the can of Pibb as if itwere some kind of lifeline.

SUSANNo thanks. We should be heading outearly.

RICHAww , c'mon. Bet your friend neversaw anything like a' asteroid backin Honduras.

We'll do it real early. It'll onlytake a minute.

Susan hesitates, fumbles with the can. There's a weird,suspended moment where they both seem to calculate something.

SUSANAlright. We'll be downstairs ateleven, on the dot. But then we gottaget going.

Rich's fake English accent suddenly reappears.

RICHWell then, we'll call it a date.Until then!



64.

He gestures with a Shakespearean flourish: he exits. Susanflashes him a syrupy smile goodbye, goodbye, goodbye.


Rich stands out back behind the Motel near a scrubby rangeof desert. In the midst of the range is a circular PATTERN,geometric and precise, where the ground has been flattened.

In the center of the pattern is a large, plain lookingBOULDER. It is utterly nondescript.

Rich looks at his imitation Rolex : it's 11:11 AM.

There's a sound O.S ., a car crunching gravel on the Moteldriveway. Carl Wisconsin's Ford Taurus rolls into view.

Wisconsin, wearing polarized flip-up sunglasses, tumbles outand jogs over to Rich. He extends his hand as heautomatically reconnoiters the surroundings.

RICHThey're gone.

Wisconsin abruptly withdraws his hand.

RICH (CONT'D)Musta' left in the middle of thenight.

Hey if they get caught cause'a mytip I still get the reward moneyright?

Wisconsin picks a blade of grass and cups it between hishands, makes a shrill HONKING NOISE.

WISCONSINDid you have any secondary education?

Richard picks his own blade of grass, tries to honk with itlike Wisconsin did, but to no avail.

Wisconsin silently regards the boulder for a few moments.

WISCONSIN (CONT'D)What's that?

RICHThat's a asteroid. A mysteriousbody which fell from the sky.

WISCONSINYea right. That's a rock. Just aregular rock. There's nothing specialabout it at all.

(MORE)



65.

WISCONSIN (CONT'D)

I bet you put it there yourself. AmI right?

Richard gulps in shame.

WISCONSIN (CONT'D)There are no real mysteries.Everything is known to the eye andthe other four senses.

The truth may be hard to find.Sometimes it has to be coaxed fromits hiding place like...a wild animal.

Wisconsin snaps his fingers at something hidden in the scrub.

WISCONSIN (CONT'D)Who's there?!

Nothing but the sound of distant dirtbikes .

WISCONSIN (CONT'D)Come on out, hands in the air!

Wisconsin pulls his gun. Rich recoils when he sees the dulland deadly piece.

There's a RUSTLE in the scrub, the sound of breaking branches.Finally, a LABRADOR RETRIEVER emerges from the field, coveredin burrs.

The dog bounds over to Wisconsin, tail wagging, and slobbersall over him. Wisconsin takes off his glasses, revealingsoft, warm, fatherly eyes beneath. He pets the dog gently.

Wisconsin picks up a stick and throws it; the dog disappearsagain into the rough terrain.

WISCONSIN (CONT'D)Did they say where they were headed?Did she, for instance, say anythingabout going to meet somebody?

Anything like that?

RICHYea, that's right. The girl, shesaid they were going to Florida, forher Grandma's graduation. But that'sa lie, I can tell.

WISCONSINHow can you tell?



66.

RICHCause I'm a liar.

Wisconsin studies Rich's face for a second.

WISCONSINI'd like to check their room.

INT. MOTEL ROOM - DAYWisconsin glides through the room, quietly observing all. Hepicks through the detritus of Susan and Javier's stay: thecrumpled Mad Magazine, a cigar butt, the rumpled sheets.

He opens the back page fold-out of the Mad Magazine. A smallscrap of paper falls out.

CLOSE ON SCRAP

It's the first three numbers of a phone number--just thearea code. It's been torn from the rest of the number.

Wisconsin carefully puts the scrap in a plastic evidencebag.

IN THE BATHROOM

Wisconsin runs his hand along the rim of the tub, feelingthe film and stubble left behind. He gently rubs the residuebetween his fingers and muses on it.

As he's about to leave the bathroom, he stops to look athimself in the mirror. He makes a face, then a smile, thena sad growling mug like Winston Churchill.

WISCONSIN"This was their finest hour..."

He feels the stubble on his own chin and slowly withdrawsfrom the room.

EXT. MOTEL - NOON

Wisconsin sits in his car in the Motel parking lot, leafingthrough a manilla folder. He adds the small scrap of paperhe found in the room--the one with the partial phone number.

IN THE FOLDER

NEWSPAPER CLIPPINGS: one headline reads "Bioethics CommissionRuling Challenged".

Beneath the second headline is a picture of Morell sittingtruculently behind a microphone at a hearing.

PHOTOS: a grainy picture of Susan and Javier at a theater; aphoto of Morell and Juniper; a clandestine photo of Morellon the ninth tee.



67.

Wisconsin tosses the folder aside and turns on the radio,tunes into some college basketball.

INT. MINIVAN - DAY

A heavy haze hangs over the long drawn highway. Hawks androck outcroppings punch through the horizon. Susan and Javierare bleary-eyed as they tear along the blacktop.

They pass an abandoned miniature golf course on the edge ofa small town.

JAVIERI really need to make a piss.

SUSAN"Take a piss". In America, we say"take a piss".

Not just yet--

Susan looks down at the Odometer. It reads: 88,887 miles.

SUSAN (CONT'D)Can you wait just a little?

JAVIERBut—

SUSANWhen the time is right, we'll stop.Just try to hold on.

EXT. BLACK FORD TAURUS - DAY

Wisconsin drives along a secondary desert road, making hisway through ruts and gravel.

He arrives at a crossroads.

Wisconsin stops his car, steps out and regards both cardinaldirections carefully before reaching into his pocket...

He takes out a quarter. He flips it, consults the favoredface.

Wisconsin gets back in his car and takes a Louie . He soonpasses the abandoned miniature golf course on the edge oftown.

EXT. RURAL ROAD - DAY

Susan and Javier drive down a rural road somewhere on theedge of an open plain.

JAVIERAye, yai, yai . Dear God, please. Ineed to "take a piss".



68.

Susan checks the odometer: 88, 8888 miles. She seemssatisfied, and she slows to pull over. As she does, theblank rectangle of a drive-in movie theater appears.

SUSANHey look! A drive-in.

JAVIER

A what?SUSAN

Drive-in. Movie. Drive in movie.They used to be real popular, youcould drive up to see the movie inyour car.

Javier has his legs crossed tightly: he couldn't care less.Susan looks out his window towards the huge buckled screen.The marquee proclaims in half-hung letters: BIG VEND TAT

SUSAN, CONT.

Hey, Big Vendetta!? I can't believeit! Here, of all places?

She pulls over, but before they even come to a complete stopJavier leaps out to hits the bushes.

INT. DRIVE IN SHACK - DAY

Behold the leaning hut which houses the drive-in office,projector, and concession stand. Inside, a TV is on but thevolume is down as a GREASY MANAGER stacks bags of popcorn.

Susan appears in the doorway.

SUSANGood afternoon sir. May I use yourrestroom ?

MANAGERLocked 'til showtime .

He says this without looking up. Susan leans in further,seductively and strategically showing some cleavage.

SUSANPlease? I gotta go awful bad.

MANAGERJust a minute.

He fumbles around for a key. While he's looking, Susaninstinctively eyes the place: cash register in front, phonein the corner, a window out back.

SUSANWhat time is Big Vendetta playing?



69.

MANAGERSeven fifty and ten ten.

SUSANGosh I love that movie. Chuck Wingis great in it.

MANAGER

Eh . Liked him better in Old and NewBlood . He's got a gut now. Gettingold.

Susan looks away when he tells her this. As the Managerhands Susan the key to the restroom, something clicks in hiseyes as he regards her close up.

MANAGER,Are you famous?

SUSANMe? Ha , I don't think so.

Susan casually steps back a couple paces and reaches for thedoor.

MANAGERYou been on TV?

SUSANWell, once when I was a cheerleaderin high school. But everyone's beenon TV at some point in their lives.

MANAGERNot everybody. I ain't. My cousin'sgot a fishing show on public access,but they never take me.

I swear I seen you somewhere on somekinda' talk show or something.

Susan doesn't answer—she looks towards the minivan as if toescape. Her gaze comes to rest on the cash register.

SUSANWell, I really gotta go, so, if you'llexcuse me...

The Manager watches her closely as she runs off to do herthing.

EXT. DRIVE IN - DAY

Javier leans against the minivan, leisurely smoking a cigar.Susan sidles up to him, he offers her a puff. She takes adrag, hands it back. She seems distracted.



70.

JAVIERGood piss?

SUSANOh yes. You?

Javier nods, blows a slow and drifting plume.

SUSAN (CONT'D)Hey. I took a look around back there.I need you to help me out again.

It slowly dawns on Javier what she's talking about. His facedraws itself into a tight mask of doubt.

JAVIERSusan, don't--

SUSANC'mon, I'm still short. I told theDoctor I had all the money, otherwise

he wouldn't help me.

JAVIERNo, no. I don't want trouble. I didnot come here for this.

SUSANCome on Hav, what the hell, youalready broke the rules coming hereillegal in the first place--

He glares at her, turns away.

SUSAN (CONT'D)That's not what I mean. Look, that'snot what I meant to say. I'm sorryalright? What I mean is...if you'regonna get ahead, you gotta break therules.

Everyone breaks the rules. Jeez,even the President breaks the ruleswhen he has to.

Javier doesn't budge, he's still slighted. So Susan danglesthe keys to the van seductively in front of his eyes.

SUSAN (CONT'D)Start the car. You're driving.

He palms the keys reflexively. His spell is broken.

MOMENTS LATER

Susan sneaks up to the box office, carrying her hairdryerwrapped in the paper bag. She gives Javier a cryptic "highsign" before disappearing inside.



71.

He can't figure out her signal.

INSIDE THE SHACK

The place is dark and empty, but the TV is still on.

Susan walks quietly over to the cash register across theroom, gets ready to open it--

But the Manager, concealed in a high-backed swivel chair,wheels quickly around to face her.

He's got a puny .22 caliber pistol aimed at her chest.

MANAGERI know where I seen you. On America'sVery Most Wanted .

SUSANWhat? There must be some kinda'mistake.

MANAGEROh, there ain't no mistake.

He opens a drawer and pulls out a roll of duct tape. He tossesit to Susan:

MANAGER (CONT'D)Tape up your legs. I'll do the rest.

Susan looks at his tiny gun.

SUSANYou gotta be kidding.

MANAGERDoes it look like I'm kidding?

Susan swallows hard and starts taping up her ankles. Themanager eagerly watches. He leers at her, craning his neckto look down her shirt.

SUSANDo you mind?

MANAGERDon't bother with that, just keeptapin' your legs.

EXT. DRIVE IN - DAY

Javier gnaws on his cigar while he methodically tries outall the switches on the idling minivan: wipers, lights, AC,radio.

He shifts the van into neutral. Carefully he revs the engineand grins as the van remains rooted in place.



72.

The engine whines one slim gear from launching the vehicleforward.

IN THE OFFICE

The manager watches as Susan finishes taping her ankles.

MANAGER

You sure do have nice legs.Silky. My wife had legs like that...inthe beginning at least, we were inlove...

He reaches wistfully out to stroke them. Susan slaps hishand away.

The manager backhands her--

MANAGER (CONT'D)Don't you be hitting me now girl.Now roll over!

He rolls Susan over onto her belly and spools off a longpiece of duct tape. Then he starts to tape Susan's handsbehind her back.

SUSANYou're making a big mistake. Myfriend's out there right around thecorner. He knows Karate. He's ablackbelt .

MANAGERShut up. Everyone's a blackbelt .

The manager finishes tying her hands behind her back. Then,slowly and leeringly, he lets his hand roam up her leg—

BUT THE MINIVAN CRASHES THROUGH THE WALL AND PLOWS TO A HALTIN THE MIDDLE OF THE ROOM--

PLYWOOD - PLASTER - SPLINTERS!!!

Javier is goggle-eyed, in shock and surprise behind the wheel.

Startled, the Manager turns to deal with the brute machine.He pulls his gun instinctively. His piece goes off, there'sa WHIRRING RICOCHET--

A strange faraway look crosses his face. BLOOD SPURTS OUTof his neck, gushing from a demolished artery. The bloodcreates a wide pool on the floor.

The Manager drops to his knees.

MANAGER (CONT'D)Goddamn it you assholes !



73.

His gun falls to the floor as he flops into a quivering heap.

Susan gawks at the body. A look of horror crosses her face.

Javier gets out of the van and rushes over to Susan, whoretches uncontrollably at the sight of all the blood.

CLOSE ON POOL OF BLOOD

The blood has formed a FACE, the face of a mourning woman.

SUSANHoly shit. It's the face of a lady.

Javier looks down at the pool of blood.

JAVIERShe is beautiful. Like MarilynMonroe. But this guy here, he isdead. Oh, man, he is dead.

You are Okay?

SUSANI think so.

JAVIERI'm so sorry, I make a mistake.

SUSANNo, you did great. Couldn't havedone better --

She's teary eyed, her voice has a tremor in it.

Javier tears the duct tape from Susan's ankles. She gets up,walks over to the dead manager and kicks him lightly withher toe.

SUSAN (CONT'D)Ewww , is that all his blood? I thinkI'm gonna be sick--

Susan stumbles out the door to throw up in the bushes.

INT. MINIVAN - DAY

Javier is at the wheel. Susan flops back against her seat ina daze. Loose bills fall out of her paper bag and flutterlike moths round the cabin. She doesn't bother to count them.

The AM radio is on, droning lonely in the afternoon. Susanlooks up uneasily.

SUSANI never saw a dead person before.I mean...someone who was shot likethat.





75.

Susan's hand flashes out to tune the station better. Javierbites hard on his cigar.

JEAN MONTAIGNE (CONT'D)...the manager, Vincent Hoyle, waskilled in the holdup. The suspects,Susan Hendricks and Harold Applegate ,are still at large.

The two are suspected in a series ofsimilar incidents ranging fromPortersville and Tucumcari--and nowhere in Parliament.

Javier lights his cigar solemnly.

JAVIERThey think you killed him.

SUSANI heard him, dumbass .

JAVIERYou know, you are a rude bitchsometimes--

SUSANSHUT UP!! WE CAN TALK ABOUT IT LATERALRIGHT?!!

JAVIERRude bitch.

Javier puffs his cigar viciously.

JEAN MONTAIGNECoincidentally, the incidents alltook place at theaters playing thenew Chuck Wing action blockbusterBig Vendetta .

Authorities have confirmed that Wingwill be placed under police protectionat his Los Angeles home.

Phil?

PHIL COWPERThanks, Jean. Well let's keep ourfingers crossed for Chuck Wing.We've got the latest weather comingup in thirty seconds--

Susan snaps off the radio. There's a long sullen silence.

Neither Susan nor Javier notice, in the rear view mirror,Carl Wisconsin's Black Ford Taurus tailing them at a precisedistance.



76.


Empty hangers, a framed picture of wild horses. Susan liesin sweatpants and T-shirt on her bed, staring up at theceiling vacantly.

Javier lies quietly across the room in his bed, idly watchingTV and shuffling his deck of cards with one hand.

JAVIERThey know who we are.

SUSANThey still have to find us.

JAVIERThey can find us if they want. Theyhave so much police in America.

Susan lights a cigarette. Javier works a thought from hisbrain.

JAVIER (CONT'D)Maybe it's better I go away.I take the bus to New York.

Susan remains facing the wall, not looking at Javier. Shesays nothing.

JAVIER (CONT'D)I don't come here to America to beon Americas Very Most Wanted. I aman honest man.

Susan sits suddenly upright from her heap of sheets:

SUSANYou think I was never honest? Youthink I never worked hard? All therich folks in this world, you thinkthey all got ahead honestly?

All the folks who own all the landout there, all they did was take itfrom someone. And those people tookit from someone else. Everythingyou see, everything that people have,it was all taken from someone,somehow.

Sheesh. I feel like I should'a takenwhat was mine a long time ago. Along time ago.

Go. Go to New York, or back to whereyou came from or Mexico or wherever.I'm fine by myself.



77.

CLOSE ON TV

The WEATHERMAN waves his hands over a swirling bank of cumuluson a radar map.

JAVIERI go tomorrow.

SUSANI guess you need some money, huh?

JAVIERNo. I still have a little from work.I think it's good for both.

SUSANFine. I'll take you to the busstation, and then you can go to NewYork or wherever the hell you want.

The weatherman smiles.

EXT. BUS STOP - DAY

Dust swirls round this crumbled parking lot in the heart ofan empty plain: a bench, a pole, a weathered sign.

Susan's white minivan appears through the fold of space. Shepulls over to the shoulder. Javier quietly gathers histhings, his denim bag of books, his faithful deck of cards.

Javier steps out of the car and onto the road's shoulder.

SUSANWell...good luck. I hope you getwhat you want.

JAVIERGood luck for you. I hope you getwhat you need.

They look quietly at each other. Then Susan abruptly puts onher glasses and pulls away.

Javier watches after the minivan until it disappears.

DOWN THE ROAD - LATER

Susan is parked along the pebbled shoulder, looking back atthe empty road behind her in the rear-view mirror.

Her face is flushed with pride and anger. She reaches forthe small Indian Pouch which hangs from the mirror and twirlsit absently in her fingers.



78.

EXT. BUS STOP - DAY

Javier sits alone on the bench. He looks around at the strangesurroundings: the solitary desert, a crow on the fence, thewhistling wire of a bent telephone pole.

Headlights appear, and soon the distant shimmering form of aBUS comes into view.

Javier steps back from the shoulder as the bus sighs to ahalt. The doors fling open and the driver motions for Javierto come aboard.

Javier looks up at the rows of weird, dim faces peering downat him. A sunburned man holds a Jesus lunchbox in the windowand smiles.

Javier lifts his foot to board the bus--

When Susan's minivan comes gliding to a halt in reverse,stopping on the shoulder in front of him.

Javier looks over at Susan. She stares ahead stubbornly.She will not look at him, but tears roll down from under hersunglasses.

BUS DRIVER(to Javier)

You coming?

Javier holds up his finger to the bus driver--"wait!". Hewalks over to Susan's van and opens the passenger door.

Susan stares straight ahead, says nothing. But she hassomething in her hand...it's the card that Javier gave herearlier, in the very beginning, the one that says "YOUR CARD".

SUSAN(quietly)

You forgot your card.

She hands it to him, and Javier gently takes the card. Hewipes her tears for her as he gently coos:

JAVIERRude bitch.

Then he turns and waves at the bus driver to leave withouthim.

The bus doors seal. The big machine roars away, leavingSusan and Javier in a plume of diesel exhaust.

EXT. MINIVAN - DAY

Javier is at the wheel, while Susan sleeps curled in theback seat. They're in the high desert, ripping throughsandstone panoramas, past brooding rock monoliths.



79.

A large insect hits the windshield with a THUD and explodesin a green slime. Not long after, another one hits, thenanother and another.

Susan wakes up.

SUSANIs it raining?

JAVIERNo. Animals. Look--

He points out one specimen, still half alive, crawling inits own dying slime.

SUSANThat is THE biggest grasshopper I'veever seen.

A hail of others quickly follow--DUD DUD DUD DUD DUD THWAK!

SUSAN (CONT'D)Oh, yuck , turn on the wipers willyou?

JAVIERWhich ones are the "wipers"?

Unbeknownst to Susan and Javier, Carl Wisconsin is silentlyfollowing a hundred feet behind them in his black Ford Taurus .

SUSANHav, if you're gonna drive you gottaknow every control on the car—theAC, the Hi-Low, cruise control—everything .

JAVIERPlease be nice.

He finds the wipers, and the guts of the locusts are whiskedaway--shloop , shloop , shloop .

Wisconsin continues to tail them at a precise distance untilJavier finally notices him.

JAVIER (CONT'D)Hey...he follows us.

Susan turns around and watches Wisconsin's car carefully.

SUSANYou sure?

Javier nods.



80.

SUSAN (CONT'D)But if he's after us for, you know,the things I did--like if he's a cop--then why wouldn't he just pull usright over?

Javier shrugs.

SUSAN (CONT'D)It looks like a government car. See the big antenna? And the tintedwindows?

That's probably a general or commanderof one of these desert bases outhere. You know, where they storethe bodies of aliens when they crashland?

Maureen and I used to watch a lotabout it on UFO Chaser .

Javier puffs thoughtfully on his cigar.

SUSAN (CONT'D)Some folks say there's no bodies,that it's Air Force experimentalvehicles and stuff like that.

But there's bodies. There's proof.

Javier listens intently. Susan continues to watch Wisconsin'scar. Suddenly, for no apparent reason, it turns off the mainroad.

SUSAN (CONT'D)See there! He's going the otherway. I told you . He's probablyheaded back to his desert base.

Wisconsin vanishes onto a distant, dusty side road.

DUD, DUD, DUD, DUD, THWAK!

EXT. DESERT VALLEY - MORNING

A brilliant, crisp sunny morning. Susan and Javier liewrapped in blankets on the ground next to the minivan. Theyare on the edge of a purple, vast stretch of desert.

Javier is already awake, looking up at the clouds. He smilesand mutters something to himself.

Susan wakes and sits up. She fumbles around and finds thelast of her Kool Milds : a flabby bent specimen.



81.

SUSANWow. This place looked different atnight, that's for sure.

JAVIERI like it here.

SUSAN

Yea. It sure is peaceful.Together, they look quietly around for a long time, inhalinggreat draughts of space.

JAVIERIn the sky...what are those whitethings called?

SUSANClouds. They're called clouds.

JAVIER

"Clouds". I see my boy up there.This one looks like him—see?

SUSANOh, yea!

Javier smiles proudly, as if her were showing off a photo.

JAVIERI see him again soon, in some way.

See how he looks at me? He is saying"Papa, where are you? Come back!"

He voice catches. He's still smiling, but he has tears inhis eyes.

Susan looks up at the cloudscape :

She sees a castle--

A pineapple--

The face of a little girl, smiling raptly.

SUSANHey! I can see Ella ! My daughter.There--

Susan points, and Javier follows her arm until he sees her

JAVIERA ha ! Pretty girl.

SUSANAh ...she was my good buddy. She hadthe funniest laugh.



82.

JAVIERLike how?

SUSANLike this: "Huh huh huh huh uhuh!"

Her laugh sounds like the laugh of an old man. Imitating herdaughter, Susan's eyes fill with tears. She turns away.

JAVIERMaybe you see her again someday.

SUSANWell I am gonna see her.

JAVIERIn heaven?

SUSANBefore that.

Javier is quiet for a long time, processing what she's said.

JAVIERHuh?

A hawk circles high in the sky. Susan sits up and turns tohim.

SUSANThe Doctor, you know, the DoctorI've been talkin' to. He's gonnahelp me get her back.

JAVIERBut...she's gone. She's "passedaway." Your daughter is passed away.

Susan watches as the hawk circles far overhead.

SUSANWell Doctor Morell's gonna help meget her back.

JAVIERHow?

SUSANHe's not just a Doctor. He's ascientist.

JAVIERHow can he bring her back? She'sgone, she's..."passed away."

Susan stands up, wearing her blanket wrapped around her likea prophet or Indian chief.



83.

SUSANHav, he's a scientist. He knows allabout genetics and DNA and all thatstuff.

See, he helps people all the timewith their pets, and prize-winningracehorses and bulls--when they die,

or before they die, even, he canmake another one.

JAVIERAy yai . You're loco. That isbullshit.

SUSANNo! He can bring her back, he knowsall about microbiology and all thatstuff. He can do it.

He did it for his horse Juniper, and

he can do it for Ella too...

She starts to pace in anxious circles.

JAVIEROh man, if this man can do this,even if he can do some thing likethis--why?? Why bring her back?

She's not listening. Javier grabs her by the arm.

JAVIER (CONT'D)Why to do it? You think there is noreason we have a time, a number ofdays? Every person has a number.

There is a reason.

Susan starts to sob. She covers her face with her arms,tries to shut him out. He lets her go.

Susan finally stops crying and looks out across the vast,quiet desert. Javier reaches out to comfort her.

Susan whirls around to face him--

SUSANI shouldn't have said ANYTHING toyou. I told him this was our secret,and I went ahead and told you andyou don't even BELIEVE ME!!!

Javier quietly takes it. Susan's face softens.

SUSAN (CONT'D)I'm sorry. Hav, I'm sorry.

(MORE)



84.

SUSAN (CONT'D)But you just can't understand--

Her time wasn't finished. I knowit, I just know it. That makes itdifferent.

Javier shakes his head and walks a out into the inviting

desert. Susan follows, catches up with him, places her handon his shoulder.

SUSAN (CONT'D)I know what you're saying. Whatyou're saying is...it's like, if wewere supposed to fly, we would'abeen born with wings, right?

Javier searches her with his eyes, trying to suss what she'sgetting at. He nods.

SUSAN (CONT'D)

And if we were supposed to drive, wewould'a been born with wheels. Right?

He nods again.

SUSAN (CONT'D)Well...I got wheels anyway.

She quietly pulls a card from the deck of cards in his backpocket: it's the Ace of Hearts.

LATER

Javier and Susan do wing-dings in the minivan on thesurrounding salt plain. Javier is at the wheel.

Again and again he revs the beat up van and sends it intooutrageous spins.

JAVIERYou see? Physics. Centrifugal force.Momentum. Yes sir. How about another?

Susan laughs and begs Javier to stop, but he whips the saggingvan round and round relentlessly.

She grabs his arm--

Javier looks at her and smiles. And now she leans openlyand protectively against him as he throws the van into anothercrazy, looping spin.

EXT. PLATEAU - DAY

Carl Wisconsin, chewing a piece of licorice root, stands ontop of a distant plateau. He surveys the valley below witha pair of weird, enormously long binoculars.



85.

THROUGH THE BINOCS

Susan's minivan turns silent wing-dings on the shimmeringplain.

Wisconsin stands and mops his forehead. He scribbles somethinginto his small notebook.

He checks his watch. He hurriedly pulls out his satellitephone and makes a call, watching the clouds as he talks.

WISCONSINHi Ma'. It's me. Yea, I'm fine. I'mstill involved with the situation.

So...what's the news with Bogey?

Really?!! I knew he'd pull through.I said "I knew he'd pull through."Did you tell the kids?

No don't tell her. No, she nevercared about Bogey anyway. Well tellher I say "hi" back, alright? Ma--you're breaking up.

Well alright Ma you're breaking up.I'll talk to you soon. Call me ifanything changes. Okay? See youwhen I get back East. Bye.

Wisconsin walks over the edge of the desert and takes a leak.He smiles broadly, pissing with glorious unfettered freedom.

He's spelled a word in the dust: BOGEY.

INT. DARK ROOM - NIGHT

Morell is standing at a heavy desk, crowded by the strangeobjects of his existence. Behind him, Lonnie carries somecardboard moving boxes into the room. He stacks them in thecorner.

Again, and again, Morell pores over his large diagram drawnon graph paper.

CLOSE ON DIAGRAM

Dates, names, notes in scribbled pencil. It's the map ofhis desert golf course. At the center of the map is the largenumber 13 circled in thick red marker.

There is also a LARGE QUESTION MARK next to the number.It's been angrily scribbled out, but is still legible.

The phone RINGS. Morell lets it ring without answering.The machine finally picks up--



86.

The caller breathes loudly into the machine. Finally:

CALLERBullshit. Pick up the goddamn phone.

The caller waits a few moments.

CALLER (CONT'D)

You better come through real quick.I'm talkin' tomorrow quick, or wetake the property back.

The caller hangs up. Morell returns to his diagram.

EXT. GAS STATION - DAY

Susan is on the phone at a gas station along a small desertroad. Javier lounges in the shade, idly shuffling his deckof cards.

SUSAN

Hello Dr. Morell? I just wanted tocall to say it looks like we'll bethere right on schedule, hopefullysometime tomorrow--

Susan leans against the phone and buries her face in herhands.

SUSAN (CONT'D)Look, we have a deal . That's notfair!!!

EXT. DOG TRACK - DAY

Morell sits in the stands at a dog track while the lankcreatures tear round the circuit.

The last dog—number 13—falls further and further behind therest of the pack. Morell halfheartedly holds his cell phoneto his ear as he watches the race.

His dog runs in a forlorn circle, then finally limps in lastplace across the line.

MORELLSusan, I'm sorry. But the foreignmarkets have been very, very volatilelately, and the reciprocal bonds Ihad in place to subsidize my venturehad to be redrawn at a much lowerrate than I expected.

Morell winces at his own preposterous bullshit.





88.

JAVIER (CONT'D)What you gonna do?

EXT. PARKING LOT - NIGHT

Susan and Javier sit in their minivan in the shadows near astrip-mall and adjoining multiplex. Big moths flap roundthe marquee which lists, amongst other titles: Big Vendetta .

They both wear their hair slicked-back, with identical joggingsuits, and they look very much alike.

Susan checks her watch: It's 10:09.

FAR SIDE OF THE LOT

Unbeknownst to Susan and Javier, Carl Wisconsin sits grimlyin his Ford Taurus in the shadows on the far side of theparking lot.

He listens to college basketball on the radio as he watches

Susan and Javier through his strange, high-tech binoculars.

AT THE MINIVAN

Susan checks her watch again.

CLOSE ON WATCH

It now reads 10:10.

SUSANWish me luck.

JAVIERGood luck.

Susan tumbles out of the minivan and hurries towards the boxoffice window.

Meanwhile, Javier shuffles and re-shuffles his deck of cardsnervously. Someone is heading towards the box office: a big-boned couple wearing dark socks.

Javier darts out to intercept them.

JAVIER (CONT'D)Hello pick a card. Any card.

The couple looks dully at each other, then back at Javier.

BIG MANWhat is this, some kind of promotionor something?

JAVIERThis is magic. Pick a card.



89.

FAR SIDE OF THE LOT

Wisconsin watches through his binocs as Javier does his cardtricks.

WISCONSIN(to himself)

Sleight of hand. Fools the five

senses. Can't trust any of the fivesenses.

He focuses on Susan, who's now making her way stealthilytowards the box office window.

Wisconsin puts down the binocs to tune better to thebasketball game. As he does, a SHERRIF'S CAR slowly growlsrolls past and vanishes into the night.

EXT. MINIVAN - NIGHT

Now on a small dirt mountain road, Javier mans the wheel

while Susan feverishly counts her latest haul. Javier hasthe radio on, quietly listening as he puffs a cigar.

SUSANThat's it. We got all the money an'we got a little left over too. Ifigure we should split what's leftover.

Here's your share.

She places a rubber band around a stack of bills and handsit to Javier. But he gently refuses.

SUSAN (CONT'D)What's wrong?

JAVIERI don't want.

SUSANWhy not?

Susan holds his cash awkwardly, not knowing what to do withit.

SUSAN (CONT'D)Money is money.

JAVIERI want the honest money.

SUSANHonest money? Good luck. Ha.

She stares at him for a while, to see if he's for real.Finally:





91.

CHUCK WING (V.O.) (CONT'D)(reading from a script)

Life is not like the movies--guns,car chases, easy money--it can onlylead to trouble and even death.Let's leave the guns and the carchases on the big screen where itbelongs.

JAVIER"...on the big screen"

CHUCK WING (V.O.)We can't afford to risk the lives ofany more of our children, we can'tafford to harm any more of our fans.

Do the right thing, and please turnyourselves in before more people gethurt. It's the right thing to do.

Thanks, and God Bless America. Thisis Chuck Wing.

ANNOUNCERComing up next, we've got a datewith the Supremes !

Susan turns off the radio. She's practically breathless.Her smile flashes brilliantly in the reflection of thenighttime windshield.

SUSANWow. I can't believe he spoke tous! He seems like a real nice guy,huh?

Javier nods matter-of-factly .

JAVIERNice guy.

SUSANYou'd think he was just a regularperson, huh?

JAVIERRegular person.

SUSANI still can't believe he even spoketo us!

Susan instinctively searches for her pack of Kool Milds, butcan't find them. Javier offers her his cigar.

SUSAN (CONT'D)No. I'm quitting.



92.

She says this triumphantly, and she can't stop smiling aboutit.

EXT. MINIVAN - MORNING

Night yields to day, and the desert flats turn from silverto gold. Susan is now at the wheel, while Javier liescrumpled and exhausted against the door.

They pass a signpost.

CLOSE ON SIGN

It reads: TRINITY, population 335.

SUSANWe're here! Trinity, mister!

JAVIERHuh?

Javier rubs his eyes and looks out at the new shininglandscape.

SUSANWe're here. I gotta call the Doctorand tell him I'm here.

Susan slows and pulls into a gas station. But she does notnotice, in the rear-view mirror, Wisconsin's Black Ford Taurusslowly approach and then growl past.

INT. MOTEL - LATER

Blue cinderblock walls, cigarette burns on the dresser.Javier lies in bed with the TV on, volume down. He reads abook by the physicist, Schroedinger .

IN THE BATHROOM

Susan lies in the tub, arms hanging over the sides. Shestares at the ceiling, talking to a non-existent reporter:

SUSANWell, that's a good question. Firstof all, the guy at the drive-in: Ididn't kill him. That was anaccident. His gun went off and nextthing we know, he was dead.

Not to mention that he was askingfor it.

Basically, I saw no other way. Ineeded to get my little girl back. Ihold no Big Vendetta towards anybody.

Susan points to another "reporter" on the ceiling.



93.

SUSAN (CONT'D)Yes. She's completely normal andhealthy. A perfect little girl.

O.S ., there's the sound of the front door opening, and theVOICE of a stranger in the other room.

SUSAN (CONT'D)

Hav--who is that?No answer.

SUSAN (CONT'D)Hav?!!!

IN THE FRONT ROOM

Javier does a card trick for a PIZZA GUY, who is seen onlyfrom behind.

JAVIER

Is that your card?

Javier hands him the card which reads: "YOUR CARD".

The pizza man nods.

JAVIER (CONT'D)You see? Nothing is as it seems!

Javier peels off a couple bills from Susan's purse to payhim. The pizza man departs.

SUSAN (O.S.)HAVVV!!!!

Javier drops the purse on the dresser and hurries to thebathroom, carrying the pizza.

IN THE BATHROOM

Susan sloshes upright, flinging water from the tub.

SUSAN (CONT'D)Who was that?

JAVIERPizza man.

SUSANHow'd you pay him?

JAVIERWith the money. Pizza for us.Pepperoni.



94.

SUSANNo shit Sherlock, but where'd youget the money? From my purse, right?

JAVIERYes.

SUSAN

Well, Jeez, Hav, you gotta be morecareful.

You heard about people robbing pizzamen? Well I don't see why it don'twork the other way around. If I wasa pizza guy makin' six bucks an hourand I saw all that money sittingthere, I just might think about takingit!

JAVIERIs alright, nobody is gonna' take

it—

SUSANThat's not the point! I don't wantto take any chances. I'm almost there.

She flops back into the tub. But Javier grabs her arm.

JAVIERYou know what you problem is? Yougot no trust. No trust in me, notrust in life. No trust thateverything will be Okay.

You fight and fight and fight to getyour way...but you must learn totrust everything will be OK.

He lets her go, and Susan retreats behind the shower curtain.Javier holds up the pizza box and quietly asks:

JAVIER (CONT'D)You want?

Susan sulks, doesn't answer.

JAVIER (CONT'D)Sure? Pepper-oni. It's good.

He takes a bite, smacking his lips to prove it, as if hewere trying to feed a baby.

SUSAN(quietly)

No thanks.

She drops her glance and slowly begins to shave her legs.



95.

Javier watches her for a moment, then carefully sets downthe pizza box. He takes the razor from her hand.

He reaches towards her. Susan pulls back instinctively, butJavier smiles reassuringly at her and she yields.

Gently, slowly, attentively, Javier draws the razor downSusan's graceful leg, as graceful as a horse's curve.

Susan follows the tracing razor from behind closed eyes.

Finally, she reaches for his hand and places it on his--telling him to stop.

INT. ANOTHER MOTEL ROOM - MOMENTS LATER

Pressboard, hangers, a worn pile rug. The door opens and thepizza man, seen moments ago, enters. He throws off his pizzaman hat and vest, revealing a shoulder holster beneath.

It's Carl Wisconsin. He carefully folds the pizza man vest

before handing it to a teenage kid who sits quietly nearby,watching wrestling on TV.

The teenage kid (the real pizza man) puts on his vest andgets ready to leave.

WISCONSINDrive safe.

Wisconsin gives the kid a twenty as a tip.

WISCONSIN (CONT'D)(to himself)

Sleight of hand. It fools the fivesenses.

Wisconsin turns off the TV. Then he pulls a flat mic out ofa bag and attaches it to the wall. He tunes his receiver topick up the voices of Susan and Javier in the room next door.

EXT. MINIVAN - MORNING

Javier steers the minivan through the rough roads of Trinity.Susan is all done up: lipstick, makeup, the works. Javierwears a strange thrift store hat.

SUSANOkay, keep an eye out for--

She holds up her beat up scrap of paper with the address onit.

SUSAN (CONT'D)Ten sixty six Western drive.

JAVIEROne Zero Six Six.



96.

Javier steps on it. Susan watches out her side and countsthe numbers as they go by. They roll past a muffler shop, aKung-Fu school, a House of Pancakes.

SUSANOne Zero Fifty Eight...Seventy. Shit,we must've passed it.

Javier makes a U-turn and starts again. They roll past themuffler shop, the Kung-Fu school, then--again--the House ofPancakes.

SUSAN (CONT'D)It must be behind that house ofpancakes.

Javier slows down and squints at the address above the door:

JAVIERIt is the pancake house.

Susan looks at him like he's nuts. But when she takes agander at the number, she shrugs: he's right.

INT. PANCAKE HOUSE - MORNING

A golden all-you-can-eat morning. It's quiet at this earlyhour, with only a few solitary characters drinking coffee intheir wayward corners.

Susan and Javier enter and are greeted by a friendly MEXICANHOSTESS.

HOSTESSSmoking or non?

SUSANNon.

The hostess guides them to a table near a window, where theycan see the modest and ramshackle Lucky Treasure Casino acrossthe parking lot.

The hostess recites her mantra:

HOSTESSUse your special Sunrise passport atthe Lucky Treasure Casino for specialmember benefits!

She leaves them their menus and their Sunrise passports.

Susan nervously checks her makeup in the window. Javierstudies the menu, reading from it slowly aloud.



97.

JAVIERJelly center flapjack...short fatstack...buckwheat whole stack...Super Fat GrandStack .

He looks up and sees Susan fidgeting with her napkin. Heplaces his hand on hers. She relaxes, smiles at him.

JAVIER (CONT'D)Okay?

She nods nervously. The hostess returns, pad in hand.

HOSTESSAre we ready?

Susan clears her throat and says in a "special" tone of voice:

SUSANWell, we could use a little moretime, cause...uh..."I'm waiting for

a friend."

The hostess pauses, cocks her head:

HOSTESSWho's your friend?

SUSANHarry Harvard.

The hostess quickly disappears into the kitchen. She leavesher pen and pad behind.

Wisconsin's Black Ford Taurus glides quietly through theparking lot outside their window. His car is followed by aCLEAN WHITE VAN with tinted windows.

Moments later, a resonant, articulate voice sounds abovetheir table.

VOICE (O.S.)Susan?

Susan and Javier look up to find Morell standing there inperson, tanned with his famous pearly whites, wearing aSunrise Pancake House manager's shirt.

SUSANDoctor?

Morell is sweating ferociously. Susan offers her hand toshake it, but Morell kisses her hand with a sweaty flourishinstead.

MORELLYou found us OK? This is, of course,just a temporary facility.



98.

SUSANOh yea, it was piece of cake!

MORELLGood to hear. So--

JAVIERA "piece of cake".

SUSAN, CONT.Whew ! We saw a lot of the country,a lot of places I thought I'd neversee--

MORELLSusan, I'd love to hear more aboutyour trip, but my schedule is quitetight. I wouldn't mind if we couldget started right away.

Morell wipes his hands on a greasy towel which hangs from

his belt.

MORELL (CONT'D)Did you bring...everything?

Susan pats her purse, pregnant with cash. She stands, and sodoes Javier.

MORELL (CONT'D)I'm sorry, but your friend can'tcome with us. Our insurance policywon't allow it. I hope you understand.

(to Javier)Please, have breakfast on the house.I recommend the Super Fat GrandStack .

Javier sits back down and folds his hands in front of himdutifully.

Morell leads Susan past the other diners towards the kitchen.She turns and sees Javier watching forlornly after her.Susan waves to Javier, and he gently waves goodbye, goodbye.

INSIDE THE PANCAKE HOUSE

Morell leads Susan into the kitchen, down the stairs, andthrough a dark storage room towards a door at the far sideof the basement.

It's dark here, and an indistinct HUM emanates from someunseen source.

MORELL (CONT'D)Please excuse the mess.



99.

SUSANOh, I'm used to messes. Sometimes itseems like my whole life is a mess!

Morell laughs politely but insincerely.

They reach a heavy reinforced steel FIREDOOR with a numericentry pad on it. Morell deftly punches in a combination and

the door clicks open.INT. MORELL'S CLINIC - DAY

Susan and Morell enter a dazzlingly lit, freshly paintedroom. It is filled with a jumble of medical equipment, anoperating table, strange overhead armatures.

Morell's diagram, featuring the number 23, is pinned to acork bulletin board. A picture of a racehorse hangs on thewall next to it. Susan stops to look at the picture.

SUSAN (CONT'D)

Hey! Juniper!

MORELLAh yes. God he was one helluva horse--

He catches himself, raises his finger to punctuate his remark--

MORELL (CONT'D)Still is!

SUSANWhat's the number for?

MORELLAh , just something I've been workingon, it's nothing.

Nearby, Morell's assistant Lonnie operates a microscope andmanipulates an object in a petri dish.

MORELL (CONT'D)Hello Lonnie.

Lonnie looks up from his petri dish and nods.

They pass a pair of pugs sitting perky in the corner.

MORELL (CONT'D)That's Walter...and that one'sBenjamin.

SUSANThey are so precious!

Walter and Benjamin sniff each others' asses indifferently.





101.

Wisconsin's Black Ford Taurus is still parked next to theWhite Van. Suddenly, a LARGE ANTENNA ominously extends fromthe van.

The hostess brings Javier's FatStack; he politely tucks anapkin into his collar and begins to eat.

DOWNSTAIRS IN THE CLINIC

Susan and the Doctor continue to improvise aloud as theyscribble on the pad.

SUSANWell I sure do want to be happy withmy job.

PADI'm afraid.

MORELLI can recommend a place to purchase

a uniform, if you like.

PADNatural 2 B afraid of the unknown.

Susan writes with shaking hands now.

PAD (CONT'D)Please help me.

MORELLWell that saves you some money downthe line doesn't it?

PADWill try. No guarantee. Do U havethe $?

SUSANIt sure does! Every little bit counts,especially in this economy!

Susan reaches for her purse and pulls out a dozen wads ofbills, already counted, neatly wrapped and rubber-banded.

She slides the pile over to Morell. As he counts, she opensher small leather Indian Pouch--which she now wears aroundher neck. She opens it, extracts a small white object.

It's a TOOTH: her daughter's small white baby tooth. Susanhands this to Morell as well.

Morell finishes counting the money and eagerly stuffs thewad into his vest pocket. He carefully places the tooth ina small plastic bag.



102.

A few bills are left over. He passes these back over to Susan.Susan gestures: "why?"

PADOverpaid. Rest of money tomorrow,afterwards.

MORELL

Welcome aboard, Susan!They stand and shake hands enthusiastically.

INT. PANCAKE HOUSE - DAY

Susan emerges from the basement to find Javier sittingfaithfully at his booth.

Javier's face lights up when he sees Susan; she rushes overto hug him, throws herself around him with surprisingenthusiasm. They keep their hug for an especially long time.

JAVIERWas okay?

SUSANYep . Smooth sailing. I gotta comeback tomorrow though.

Looks like we got the rest of theafternoon off. You want to go dosomething?

JAVIEROK.

Javier spins a quarter on the table and lets it fall on itsfavored face.

EXT. SMALL DIRT ROAD - DAY

Susan and Javier drive down a small, dusty dirt road on theedge of Trinity.

SUSANWonder where this road leads to.

JAVIERTo the end.

SUSANTo the beginning.

JAVIERThe end and the beginning.

She smiles at him, he laughs.



103.

They keep driving. Finally, they are in the open land, farfrom the pancake house and the troubled heart of town. Theyfind themselves in the company of rocks and vast spaces.

Finally, they stop at the edge of a valley, near an old ruinedCHURCH. They slowly emerge from the minivan .

SUSAN

Gosh it's quiet out here.JAVIER

Yea.

They go and sit down on the rusting wreck of an ancienttractor. Javier climbs into the seat of the tractor andgrabs the wheel.

JAVIER (CONT'D)Hey lady. You want a ride?

Susan smiles a little at his gag. But her attention returns

like a compass needle to the distant Northern horizon.

Javier climbs back down and sits next to her.

SUSANI thought you were in a a hurry toget to New York.

JAVIERI am. But I become a littlesidestepped. I go very slowly.

SUSAN"Sidetracked". You became a littlesidetracked.

He takes the band off one of his cigars, fumbles with itgently.

JAVIERYou find the doctor. You get whatyou want. You are happy now right?

SUSANYea.

JAVIERSo...?

Susan wipes her eyes, stands. She doesn't want him to seeher crying.

SUSANI don't know...it's kinda' weirdbut, now that I found him, I'm notsure anymore.



104.

He gently follows her.

JAVIERYou are not sure about what?

SUSANWhether I should go through with itor not.

Javier gently moves some wisps of hair from her eyes. He'sstill carefully carrying his cigar band.

JAVIERWhy not?

Susan crosses her arms, looks up at the mountain.

SUSANI just can't figure out...if it wasmeant to be or not. Is she gone, ordid she just go somewhere else? Was

it her time, like you said? Or, arethere accidents, things that werenever meant to be?

JAVIER(softly)

I don't know. I can't say what isright. I don't know.

Susan's looking at Javier with everything she has, searchinghim for an answer. But he shakes his head, he can't tellher.

Instead, Javier gently takes Susan's arm, uncrosses it fromher other.

He leads her under the eaves of the ruined church.

He unfolds her hand, and places the cigar band on her fingerlike a ring.

Susan leans her face towards him, not to kiss him but tojust lean on his shoulder to connect, to feel his warmth, toconnect.

And Javier gently, like a whisper, kisses her on the cheek.

EXT. ROCK OUTCROPPING - DAY

Carl Wisconsin sits on the hood of his car, parked behind adistant rock monolith. An empty bag of Cheetos lies nearby.

Through his long binoculars, he watches Susan and Javierembrace at the ruined church.

He's smiling! He smiles a real, warm, gung-ho smile when hesees the strangers come together.



105.

His PHONE RINGS. He scrambles to answer it.

WISCONSINHello? Ma? Hello? Ma is that you?I can't hear you Ma, if that's you Ican't hear you.

Ma, I can't hear you, can you call

me tomorrow? Hello?He tosses the phone back onto its cradle in the car.

Once again he picks up his binoculars. He continues to watchwith fascination the distant Susan and Javier as they embrace.

INT. MOTEL - NIGHT

Susan soaks in the tub, looking quietly up at the dimpledceiling as she turns something over in her mind.

Javier calls from the other room.

JAVIER(O.S.)

Hey! We on TV again!

Susan lifts herself from the tub, throws on a towel andhurries to join him at the TV.

IN THE OTHER ROOM

On the TV, an EVIL GRAPHIC shows Susan and Javier wearingblack masks and holding guns.

Next, grainy surveillance footage shows a couple robbing amovie theater--

But it's NOT SUSAN AND JAVIER. The woman is pudgier, withlighter hair. And her male accomplice is bigger, fatter,and bald.

Javier notices first.

JAVIER (CONT'D)Hey!! This is someone else!!

SUSANWait a minute, you're right--that'snot us!!

Nevertheless, the newscasters don't seem to miss a beat asthey serve up the story, piping hot.

EMMET LOCKWOOD"...Thanks Pierce.

(MORE)



106.

EMMET LOCKWOOD (CONT'D)Big Vendetta star Chuck Wing, whohad recently appealed to the pair toturn themselves in, once againrepeated his request -- especiallynow that the latest robbery has takenplace closer to his home in LosAngeles."

CLOSE ON TV

The LA county Sherrif waves away a wall of reporters as theylead Wing into protective custody.

EMMET LOCKWOOD (CONT'D)Some people are calling the seriesof incidents nothing more than astunt designed to generate publicityfor Wing's action thriller, BigVendetta, which has been sagging atthe box office.

In any case, authorities are takingno chances. A $10,000 reward hasbeen offered for any informationleading to their arrest."

PIERCE HOPE"Well Emmet , let's hope that justicecomes quickly--and swiftly. Todayat the Zoo, twin baby pandas wereborn for the first time incaptivity..."

Susan shuts it off. She walks to the dresser and looks atherself despondently in the mirror. Javier sits astonishedat the edge of the bed.

JAVIERBut that was someone else. Pretendingto be us. Why would they do this?

SUSANI don't know...I don't know. I'mtired. I'm so tired.

Susan falls slowly back onto the bed. Javier holds out hisarms and gently catches her.

SUSAN (CONT'D)I didn't mean to hurt anybody.

JAVIERYou didn't hurt nobody. You justtook some money, that's all. Thoseother guys, maybe they hurt somebody,but...I will tell the police thetruth.



107.

Susan seems to flinch when he mentions the police. Javierhesitatingly reaches out and strokes her hair to comforther.

Susan lolls her head against him.

JAVIER (CONT'D)Maybe...we can go away somewhere.

Somewhere they can't find us.SUSAN

I don't think so. This the only wayit can be. It makes sense now. Allthis happened for a reason.

Javier slowly lowers Susan onto her back on the bed. Heleans close to her.

JAVIERNo. We can make a life how we choose.There is always so many, many

possibilities. And no rules. Thatis the magic of this world.

Susan looks over at the photo of her daughter, which isperched on top of the TV. Tears well up in her eyes.

SUSANHav?

JAVIERYes?

SUSANCould you?--

She points to the photo of her daughter. He immediatelyunderstands. He gets up and gently lays it to rest, flat,face down on top of the TV.

Javier moves slowly back to the bed.

Susan looks up at him, and he smiles tenderly at her.

Some strange, charmed, winged thing passes between them.They kiss for the first time, a real kiss.

They kiss again, then again more passionately.

INT. MINIVAN - MORNING

Desert morning flats roll towards the eternal horizon. Susanand Javier, neatly dressed and chipper, sit arm in arm asthey drive to the Sunrise Pancake House.



108.


Susan and Javier enter the pancake house. They are greetedby the same Mexican hostess as before. She leads them totheir usual seat by the window and hands them their menus.

SUSANWhat time is it?

JAVIERThe time is now.

Javier blows her a kiss. Susan smiles nervously.

SUSANYou think I'm crazy for doing this?

JAVIERYes. But I want you do what youneed.

SUSANWell...do you think I'm doing theright thing?

He places his hand on hers, but says nothing.

The hostess returns to their table to take their order.

HOSTESSYou need a little more time?

SUSANYes, please. See, "I'm waiting fora friend".

HOSTESSWho's your friend?

SUSANPeter Princeton.

The hostess perfunctorily collects their menus and disappearsinto the kitchen.

A few moments later, Morell enters wearing his manager'sshirt. He's got his sleeves rolled up and a pencil behindhis ear.

MORELLHello Susan.

He smiles broadly at her, revealing his trademark pearlywhites. He seems jovial, and he is much more relaxed today.

MORELL (CONT'D)Well, shall we?



109.

SUSANDoctor, do you think my friend cancome with me? I sure would feel alot more comfortable with him there.

Morell weighs his decision thoughtfully.

MORELL

I prefer not to. It's against policy.But, if it'll make you morecomfortable, I suppose we can makean exception this time.

He checks his watch.

MORELL (CONT'D)But we really should get started.I've got a meeting later with myaccountant.

INT. MORELL'S CLINIC - DAY

Lonnie is busy with a petri dish and microscope as Morell,Susan, and Javier enter. The two pugs, Walter and Benjamin,waddle lethargically towards them.

Javier reaches down and pets the dogs gently.

MORELLHello Lonnie. How are you thismorning?

LONNIEGood. Real good.

MORELLDo you remember Susan?

Lonnie nods. While Morell puts on a pair of rubber surgeon'sgloves, he speaks to Susan with a melodramatically gravetone of voice.

MORELL (CONT'D)Now, Susan...I want us all to beabsolutely clear that this is yourchoice, that I did not compel you inany way. That there is some risk.

He snaps on his last glove.

MORELL (CONT'D)And that, if you change your mind, Ican still give you your money back—minus a fifteen percent service feeof course.

Susan nods quietly. She reaches into her purse and handsMorell his second installment.



110.

The Doctor's eyes glitter as he puts the stash eagerly awaywithout counting it.

MORELL (CONT'D)Oh, yes, wouldn't want to forget--

He hands Susan her daughter's tooth, which is now gleamingand bleached white.

EXT. PARKING LOT - MOMENTS LATER

Upstairs, a group of FEDERAL AGENTS and POLICE gather behindbushes and the corners of nearby buildings.

Nearby, in his car, sits Carl Wisconsin. His radio squalks :

RADIO"They're doing it. He's doing it."

WISCONSINOK--I mean, copy that.

Wisconsin picks up a walkie and is about to give the signal--when his satellite phone RINGS. He distractedly answers it.

WISCONSIN (CONT'D)Yea?

Ma, hi. Now's not a good time Ma, Ican't--huh?

A burly FBI agent carrying a shotgun looks over at himexpectantly, waiting for the signal.

Wisconsin's face falls.

WISCONSIN (CONT'D)Well, I guess that's it. He triedeverything. He did try everythingright Ma?

His eyes tear up.

WISCONSIN (CONT'D)Well...I gotta go Ma'. I know youliked him too. Except what he didto your garden, but...

Anyway, here's to Bogey, right?Okay Ma. Bye.

Wisconsin hangs up. He slowly steps out into the hard desertlight, into the drab ring of the feds . All eyes are uponhim, and he shrinks from their terrible sight.

They wait. He finally lifts his walkie and gives the word:



111.

WISCONSIN (CONT'D)Go.


Inside the restaurant, patrons watch with startled expressionsas the authorities burst into the restaurant.

A one agent positions himself at the entrance. Another takescover behind the buffet table.

Carl Wisconsin holds up his badge as he and the others rushby, but he is caught and is powerless in the stampede.

SHERRIFC'mon folks, everybody out, come onLET'S GO!!!

But before being ushered away, the Mexican hostess reachesunder her counter and presses a small red button.

IN MORELL'S CLINIC

Susan wears her gown and lies on her gurney while Javierholds her hand and strokes her hair.

JAVIEREverything will be okay, sunshine.

Morell fills a large needle and bites his lip inconcentration. Just as he's about to insert the needle intoSusan's arm, a revolving RED LIGHT whirls on the ceiling.

MORELLWhat?--oh no.

Javier and Susan look up at the light.

SUSANWhat's wrong?

MORELLNothing, nothing. It's nothing.

And he inserts the needle into Susan's arm. She quickly fallsinto a slumbrous half-sleep.

MORELL (CONT'D)We're ready, Lonnie.

Lonnie obediently brings a petri dish, and the Doctor sucksup the contents with another needle. His hands shake asbeads of sweat gather on his forehead.

JAVIERYou have done this before?



112.

MORELLYes, but...just with Juniper...justwith Juniper.

UPSTAIRS

Agents and cops bolt through the pancake house, brandishingweapons-

They burst through the kitchen and head down the stairs-

But they pile to a sudden halt when they reach Morell'sarmored fire door.

Wisconsin bangs on the steel face with his fist. Looking athis fellow agents, he discreetly rubs his hand from the pain.

WISCONSINKurt Morell. Open up. This is theFDA, the FBI, and the ATF.

SHERRIFAnd the Sherrif--

WISCONSINYes, and the Sherrif. We have awarrant for your arrest.

Morell answers from inside his lab.

MORELL (O.S.)Can you please come back tomorrow?I'm in the middle of something.

WISCONSINKurt Morell. This is the FDA, theFBI and the ATF . And the Sherrif.We have a warrant for your arrest.

You are wanted for tax evasion,practicing medicine without a license,racketeering, transporting weaponsacross state lines, identity theft,and carrying unlicensed firearms.

Wisconsin looks over at the FBI man to his right to get hisapproval.

INT. MORELL'S CLINIC - DAY

Faint scuffling sounds can be heard from other side of thedoor. Morell hurries to finish his task.

MORELLI'm terribly sorry, he's not hereright now...



113.

Lonnie carefully carries over the petri dish. Morell insertshis needle and sucks up a column of milky white fluid.

OTHER SIDE OF THE DOOR

The burly FBI agent pushes Wisconsin to the side and takescontrol of the situation.

FBI AGENTIf you don't open the door voluntarilywe will open it by force! Come outwith your hands above your head.

MORELL (O.S.)...if you like, I can leave a message.But he's not here at the moment.

There's no further answer. The FBI Agent motions to a coupleothers, who bring in a thick metal BATTERING RAM. He givesthem a nod, and they charge the security door.

INSIDE MORELL'S CLINIC

Morell hurries back to the operating table to finish theimplant. Walter and Benjamin whimper and hide as thebattering ram strikes the door.

SUSANWhat's that noise?

MORELL(to Susan)

Nothing. Now, stay very, very still.Try to think of something nice. Say,a beautiful beach, or a pristine,snowcapped mountain...

SUSANWait, wait--

But Morell inserts the giant horse needle into Susan's body.

SUSAN'S POV

Susan sees the large needle, Javier, then Morell's faceglistening with sweat. Everything's fuzzy, swarming, aglow,aglow.

MORELL(to himself)

Just like Juniper...just like Juniper.

Susan looks around wide eyed but half-awake. Morell takes agander at the withering firedoor and calls for Lonnie.

MORELL (CONT'D)(to Lonnie)

Get Big Sally.





115.

SUSANHav? What's going on? Who's makingthat noise?

JAVIERNothing the matter. Everything isokay, sunshine.

He squeezes her hand. She smiles weakly up at him.IN THE MAIN ROOM

Lonnie is struggling with the file cabinet, but it stillwon't budge.

Finally, he gives it a HUGE shove. It scrapes aside at last,revealing an old mineshaft behind it.

MORELLGo on, I'll be right behind you.

LONNIEGood luck boss.

MORELLBon Voyage.

Lonnie wriggles into the mineshaft and is gone.

The fair Doctor then returns his attention to the armoreddoor, which is about to give.

THE DOOR FLIES OFF ITS SPLINTERED FRAME--

A tear gas grenade scuttles across the floor, spitting smokeas it goes. The burly FBI Agent, Wisconsin, and a bevy ofothers scurry into the room, weapons brandished.

Morell hunkers behind his heavy oak desk.

WISCONSINMorell, give up now and no one getshurt.

MORELLI never bothered you, G-man.

The Sherrif's deputy pushes forward to taunt him.

DEPUTYCome on out you freak--

Morell levels Big Sally at him.

B-B-BOOM !!!

The Sherrif's deputy slides in pieces down the wall.



116.

Wisconsin is grazed by the blast. He clutches his shoulderand ducks behind a heavy safe.

More bullets crack the air. One hits Morell in the wrist,but not before he manages to fire Big Sally again.

B-B-BOOM !!!

An ATF man falls in tatters to the floor.Morell scrambles to reload, tries to scamper out from behindhis heavy desk towards the old mineshaft behind the filecabinet.

But all sights are now drawn on him and there is no escape.

MORELLLook, this is all just a bigmisunderstanding .

He makes a dash for it--

He's hit. And again. He spins around, torn in pieces by ATHOUSAND RELENTLESS PIECES OF STEEL which pierce his mortalbody.

Wisconsin level his pistol at Morell, tries to shoot justlike the others. He hesitates. He can't do it.

Morell sinks to the floor. He remains on his knees for along while, as if suspended from above. He looks up at theceiling.

He looks beyond the ceiling to the sky. He sees mountains,oceans, pyramids.

MORELL (CONT'D)(whispering)

How are the greens running today,caddy?

And he slumps to the floor, dead.

Wisconsin, holding his wounded arm, steps forward to regardthe dead Doctor. Several ATF and FBI agents hurry past.

WISCONSIN(to the FBI AGENT)

Maybe we should check over there forthe others.

The burly FBI agent snaps coldy at Wisconsin:

FBI AGENTIt's alright. We'll take over fromhere.

A forlorn look crosses Wisconsin's face: he's been left out.



117.

The other agents move towards the cinderblock room whereSusan and Javier are holed up.

IN THE CINDERBLOCK ROOM

A YOUNG ATF AGENT enters. He sees Javier standing next toSusan, still holding her hand while she lolls in heranesthetic daze.

YOUNG AGENTHands in the air!

JAVIERWe are going to a wedding.

YOUNG AGENTI said hands in the air!

Javier slowly raises his hands. As he does, his shirt lifts,revealing that his fly is undone.

Javier is surprised to notice his fly is down. He innocentlyreaches to zip it up.

There's a strident CRACK--

A circle of red appears on Javier's chest. The circle grows,becomes a great living blossom.

Javier looks down incredulously at his broken chest, thenover at the Young Agent.

The Young Agent gapes at the end of his still-smoking gun,unable to make eye contact with Javier, and starts to cry.

Javier gazes up at the window which looks out onto the parkinglot.

VIEW THROUGH THE WINDOW

Susan's white minivan is parked out front. The Other Javierand the Other Susan cross the lot and hop in, laughing andcarrying carrying takeout from the pancake house.

They've got two children with them this time: a girl and aboy.

They slowly back out, revealing Javier at the wheel. He'ssmiling brilliantly, wearing his favorite hat. Susan islaughing, her arm on his shoulder.

IN THE CINDERBLOCK ROOM

Blood falls on Susan's cheek. She reaches up and feels it,half coherently.



118.

SUSANHav? Is it raining? Let's stay onemore day.

But Javier can hardly answer. His chest heaves, it's soakedwith blood. Everything moves in slow motion.

SUSAN (CONT'D)

Hav??JAVIER

Okay...we stay one more day.

He leans over and kisses Susan on the cheek. Then he sinksto the floor and falls silent.

SUSANHav?

Several FBI and ATF agents sweep into the room.

Wisconsin appears in the doorway behind the others. Hiseyes glimmer with tears as he beholds the carnage beforehim: the sorry state of Susan, the body of Javier.

YOUNG AGENT(sobbing)

He was reaching for something...Iswear he was reaching for something.

The burly FBI agent moves towards Susan, snapping his fingersin front of her face:

FBI AGENTHey! Hey can you hear me? Can youhear me? Hey--

But she gives in to the darkness as she falls unconscious.

INT. HOSPITAL - DAY

Susan lies very pregnant on a gurney in a prison hospital.Her hair is long again, it's wet with sweat and lies plasteredacross her straining face.

Her legs are held in stirrups while a hawk-faced DOCTOR,surrounded by a team of assistants, guides the delivery ofher child.

DOCTOROkay Ms. Hendricks, give us anotherpush.

This time make it really, reallybig. Can you do that for me?

Susan grimaces and strains to push, she throws her head backand groans with the effort.



119.

DOCTOR (CONT'D)That's it--good!--I can see the headPush, push, push. That's it!

Susan grunts and heaves. Finally, we hear the sharp CRY ofa newborn baby.

DOCTOR (CONT'D)

Hey, how about that huh? It's a girl.Boy o boy, is she big!

The Doctor holds the blue-eyed baby aloft while his assistantflushes her eyes and nose.

Susan regards her daughter. It's her daughter, again.

NURSEDo you have a name for her yet?

Susan nods, is about to answer—-

But one of the nurses taps the Doctor on the shoulder. Hetakes another look down at the ultrasound screen.

DOCTORWe...have another one here.

(to his assistants)Didn't anyone see it on theultrasound?

Come on people, you've got to helpme out here!

(to Susan)Ok, Susan, it looks like you'll haveto help us out again. Okay, can youdo that for us?

Susan nods. She heaves and grunts. Groaning, she pushes.

DOCTOR (CONT'D)I can see the head, it's coming.Here it is--PUSH!

The high-pitched CRY of another baby pierces the room.

DOCTOR (CONT'D)It's a boy. A boy!

It is a boy--a wriggling brown boy. He looks just likeJavier. The spitting image.

The Doctor looks askance at his assistants. They shake theirheads in astonishment. One of them places the baby boy in atiny crib next to his mewling, fair sister.

DOCTOR (CONT'D)One white. One--not white. Never,ever saw that before.



120.

Susan gazes quietly at both her new children.

EXT. SUBURBAN NEIGHBORHOOD - AFTERNOON

Carl Wisconsin emerges from the manicured cul de sac of asuburban neighborhood. He walks a motley pack of dogs,steering them with the sure hand of a pro dogwalker .

Wisconsin is a paunchier now, his hair is noticeably thinner.He's let himself go and he's happy about it.

The lead dog, a puny CHIHUAHUA, stops to take a shit. Soonthe other dogs take their cue to do their thing as well.

Wisconsin waits patiently for them to finish.

When they're done, Wisconsin reaches into the pocket of histrenchcoat and pulls out a rolled up newspaper.

He tears off a page to scoop up the dogshit --

He pauses when he sees the headline.

CLOSE ON PAPER

A partial headline reads: "...RELEASED" Beneath this is apicture of Susan, wearing dark glasses, leaving prison withher two young children.

Wisconsin smiles. He carefully folds up the page and pocketsit. He tears off another page and picks up after his dogs.

Together, the entire pack trots off down the street, yapping,trotting, leading Wisconsin away. They round the corner, andat last, they are gone.

THE END

======== -- MORNING

CLOSE ON TV

Morell sits in a comfortable chair in a large studio. Hetalks earnestly with an upscale casual HOST, who jauntilytosses him questions:

HOSTAnd recently, you had notable successwith your horses--

MORELLThat's right. We actually had ourfirst breakthrough with Juniper.

Morell speaks with a slight twang, which he works hard tohide.



121.

HOSTJuniper?

MORELLJuniper was a horse I had, a beautifultwo eyed Jack stallion. Had him fora long time, while I was in medicalschool, graduate school, specializing

in microbiology, nanogenetics .HOST

Sounds like a great animal--

MORELLNot to mention that he was also abeautiful and loving friend.

Anyway, he passed away some timeago, and I was real upset for a longtime.

Susan grabs the remote to change the channel--but for somereason, this time she does not. She puts the remote backdown.

CLOSE ON TV

HOSTSo he became your first successfulclone?

MORELLWell, no, our team had been successfulwith a sheep, a goat, and a buncha'mice...but Juniper was the first non-experimental, the first animal thatwas, well, a pet.

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Lost in New Mexico: the Strange Tale of Susan Hero [Produced! See --> ]