WILD AT HEART a love story And now the story of Sailor and Lula..... 1. EXT. CITY STREET - DAY A MAN rides a screaming massive Japanese motorcycle - wound out to maximum R.P.M. up the street. CUT TO: 2. SIGN BY ROADSIDE The sign reads "KIDS PLAYING - SPEED BUMPS". CUT TO: 3. EXT. CITY STREET - DAY With a whine from hell, the front tire of the motorcycle hits a speed bump. The motorcycle becomes airborne and on the way up slices itself in half as it scrapes along the full length of a Datsun Kingcab. In the air, the rider and motorcycle twist violently as they fly by. The motorcycle bounces off a black '66 Chevrolet and makes a sound like the end of the world. The rider hits the same Chevy a moment later. Like a broken ragdoll shot from a canon, the man punches through the back window blowing glass for a block. He stops somewhere under the front seat and a bubble of blood forms out his nose. The motorcycle continues on sliding and spinning with an ear-piercing howl for one entire city block. CUT TO: 4. EXT. NEIGHBORHOOD STREETS - VACANT LOT - DAY Two rabid dogs fight ferociously in a vacant lot - ripping each other's flesh. An OLD COUPLE, both with walkers, inch painfully along nearby. OLD WOMAN Oh my God! ... Why they doin' that? OLD MAN Who the hell knows. What you have in your mouth? The old woman begins to turn away, covering her mouth with her hand. OLD MAN Spit it out!!! ... Pull your teeth out ... doctor said. What you tryin' to do? SPIT IT OUT!!! The Old Man grabs the Old Woman by the neck and squeezes. Out comes a tangled and sticky ball of hard fruit candies. CUT TO: 5. WASP NEST A thousand wasps hover threateningly in the air around the nest. A SMALL GROUP OF HARDENED CRIMINAL NINE-YEAR OLDS sporting hideous grins, bat the nest violently to and fro with sticks. One kid busies himself shooting a large can of Black Flag garden spray into a crack in the nest. Another stomps half-dead wasps up and down the sidewalk. All the kids are making animal noises of one sort or the other. CUT TO: 6. INT. FORTUNE HOUSE - DAY The telephone rings. MARIETTA PACE FORTUNE, a rich Southern woman around fifty, carries her Martini and Rossi sweet vermouth drink across the livingroom and answers the phone. MARIETTA Hello... Who is this?... CUT TO: 7. INT. PEE DEE COUNTY WORK FARM - DAY A GUARD stands by as SAILOR RIPLEY, twenty-three years old - lost somewhere between the cool long-gone generation and a used-car salesman - speaks on a prisoner phone in a green cement cubicle with one bench. SAILOR (into phone) ...Sailor Ripley... Can I talk to Lula? CUT TO: 6A. INT. FORTUNE HOUSE - DAY MARIETTA There's no way in hell you can speak to her and... CUT TO: 7A. INT. PEE DEE COUNTY WORK FARM - DAY SAILOR (feeling a smile coming on) What?... CUT TO: 6B. INT. FORTUNE HOUSE - DAY MARIETTA ...Yes you heard me... Don't ever call back here again. Marietta hangs up the phone as LULA PACE FORTUNE, Marietta's twenty-year old daughter, comes quickly down the stairs. LULA Mama??? MARIETTA You know who it was and you know you aren't, and I mean ARE NOT gonna see him EVER... End of story. LULA (quietly) Like hell. Marietta, her hand still on the telephone, grips the receiver so hard her knuckles turn white. CUT TO: 8. INT. FORTUNE HOUSE - LULA'S ROOM UPSTAIRS - DAY Lula enters her room and cranks up her stereo. Speed metal music jumps up to around one hundred twenty decibels. CUT TO: 9. INT. PEE DEE COUNTY WORK FARM - DAY The guard escorts Sailor away from the telephone and back to his cell. The iron bars of the door slide across Sailor's face and close with a bang. CUT TO: 10. EXT. THE MUSIC BAR - NIGHT A beat-up, red '64 Ford Falcon station wagon filled with insane TEENAGERS on speed and PCP race out of control down the street past the club - leaning out the car in every direction. They scream out to the desolate-looking passerby. TEENAGERS EAT SHIT MOTHERFUCKERS!!!!!! The camera cranes up to the neon club sign and gets lost among the hot pink neon, the frantic moths and the intense electric buzz. CUT TO: 11. INT. THE MUSIC BAR - NIGHT Lula and her friend, BEANY THORN, sit at a table drinking rum Coca-Colas while watching and listening to a white blues band called THE BLEACH BOYS. The group segues smoothly from Elmore James's "Dust my Broom" into Robert Johnson's "Me and the Devil" and Beany lets out a snort. BEANY I can dig this music... But not that singer. LULA Why?... He's right in the groove. BEANY He's so ugly. Guys with beards and beer guts ain't quite my type. LULA (giggles) Seein's how you're about as thick as a used string of unwaxed dental floss, don't know how you can criticize. BEANY Yeah, well, if he says that all that flab turns into dick at midnight, he's a liar. Lula and Beany laugh and swallow some of their drinks. BEANY So, Sailor's gettin' out soon, and you're gonna see him? Lula nods and crushes an ice cube with her back teeth and chews it. LULA Meetin' him at the gate. That phone call this afternoon was the signal. My deranged mama's hid the keys to my car. But of course, I know exactly where they are. BEANY I didn't hate me so much, I'd feel better wishin' you luck. LULA Can't all husbands be perfect, and your Elmo prob'ly wouldn'ta ever got that second one pregnant, you hadn't kicked his ass out. BEANY So you're gonna be needin' the "blue-bird" pretty soon? LULA Real soon ... I'll be makin' the swap tomorrow, and thanks again, Beany. The Bleach Boys kick into some kind of Professor Longhair swamp mambo. CUT TO: 12. EXT. BAY ST. CLEMENT - DAY Plumes of smoke from fires rise in the distance. DISSOLVE TO: 13. INT. FORTUNE HOUSE - DAY An empty livingroom. The smoke from the city fire appears during the course of the DISSOLVE to be in the livingroom - then it disappears. An empty hallway. An empty stairway. 13A. INT. FORTUNE HOUSE - MARIETTA'S BEDROOM - DAY Feet (Lula's) was across carpet. A closet door opens. A hand (Lula's) reaches into the pocket of a coat in her mother's closet. The hand comes out clutching car keys. 13B. INT. FORTUNE HOUSE - STAIRWAY - DAY Lula races down the stairs and through a door into the garage. CUT TO: 14. EXT. FORTUNE HOUSE - DAY The electronic garage door opens and Lula drives her '80 Black Camaro out and away. The garage door closes automatically. CUT TO: 15. EXT. CITY STREETS - DAY Lula drives fast up a neighborhood street. She turns a corner and disappears. CUT TO: 16. INT. BEANY THORN'S GARAGE - DAY Lula throws her car keys under the front seat and goes around to Beany's '67 dark blue Thunderbird convertible - fishes around under the T-Bird's front seat for the keys - finds them - jumps in and takes off. DISSOLVE TO: 17. EXT. FORTUNE HOUSE - DAY Marietta leaves her Cadillac Seville in her driveway and enters the house. We can hear her calling out for Lula in the distance. The calling changes - it becomes angry. The garage door opens and Marietta comes storming out. She leaps in her Caddy and peels out. CUT TO: 18. INT. "SOUTHERN TIME" BAR - DAY Marietta enters the bar on the run. She calls out to the BARTENDER... MARIETTA Where's Johnnie? He's not in his office. BARTENDER Haven't seen 'im yet today, Marietta. MARIETTA (slightly hysterical) Well I gotta find him - right this minute! CUT TO: 19. EXT. PEE DEE COUNTY WORK FARM - DAY Sailor is waiting out front as Lula pulls up in her T-Bird - throwing out a cloud of dust. They're both smiling. LULA Hey baby... SAILOR Peanut... They kiss tenderly and then Sailor walks around the car to get in while Lula opens up a suitcase and gets out his snakeskin jacket. SAILOR Hey, my snakeskin jacket... Thanks, baby... Did I ever tell you that this here jacket for me is a symbol of my individuality and my belief in personal freedom? LULA 'Bout fifty thousand times. I got us a room at the Cape Fear, and guess what?... I hear Powermad's at "The Hurricane." SAILOR (smiling) Stab it and steer. Lula tromps it and throws out an even larger cloud of dust. CUT TO: 20. INT. CAPE FEAR HOTEL - DAY Sailor and Lula lay on the bed in the Cape Fear Hotel listening to the fan creak. LULA Did you ever think somethin' like about the wicked witch of the east comin' flyin' in?... Did you ever think somethin' and then later think you've said it out loud to someone? SAILOR I really did miss your mind while I was out at Pee Dee, honey. The rest of you, too, of course. But the way your head works is God's own private mystery. What was it you was thinkin'? LULA Well, I was thinkin' about smokin' actually... My mama smokes Marlboros now, used to be she smoked Kools? I stole 'em from her beginnin' in about sixth grade. When I got old enough to buy my own, I bought those. Now I've just about settled on Mores, as you probably noticed? They're longer. SAILOR I guess I started smokin' when I was about six... My mama was already dead from lung cancer... LULA What brand'd she smoke? SAILOR Camels, same as me... Guess both my mama and my daddy died of smoke or alcohol related illness. LULA Gee, Sailor. I'm sorry, honey. I never would have guessed it. SAILOR It's okay. I hardly used to see them anyway. I didn't have much parental guiding. The public defender kept sayin' that at my parole hearin'. He was a good ol' boy, stood by me... Even brought me some cartons of cigarettes from time to time. LULA I'd stand by you, Sailor ... through anything. SAILOR Hell, peanut, you stuck with me after I planted Bob Ray Lemon. A man can't ask for more than that. Lula pulls Sailor over to her and kisses him soft on the mouth. LULA You move me, Sailor, you really do. You mark me the deepest. Sailor pulls down the sheet, exposing Lula's breasts. SAILOR You're perfect for me, too. LULA You remind me of my daddy, you know? Mama told me he liked skinny women whose breasts were just a bit too big for their bodies. He had a long nose, too, like theirs. Did I ever tell you how he died? SAILOR In a fire, as I recall. LULA Started he couldn't remember things? Got real violent? Mama kept tellin' me it was on account of lead poisoning from cleanin' the old paint off our house without usin' a mask... But I don't know. Seems like his brain just fell apart in pieces. CUT TO: 21. INT. FORTUNE HOUSE - KITCHEN - NIGHT CLYDE FORTUNE tears a door off the kitchen cabinets and strews the cabinet contents all across the counter and floor. He puts his fist through the kitchen window. He leaps on the counter and bats the kitchen ceiling light - smashing it. He kicks over the refrigerator. CLYDE FUCKIN' BITCH!!!! CUT TO: 22. INT. CAPE FEAR HOTEL - DAY Lula's eyes look off, remembering. LULA Finally in the middle of the one night, with me and mama asleep upstairs ... he poured kerosene over himself and lit a match. CUT TO: 23. INT. FORTUNE HOUSE - LIVINGROOM - NIGHT Clyde Fortune, completely engulfed in fire, races across and back the livingroom until he collapses in a fifties modern armchair. The drapes behind him burst in flames. LULA (voice-over) Near burned down the house. We got out just in time. The whole livingroom goes up in flames. CUT TO: 24. INT. CAPE FEAR HOTEL - DAY CU the red hot ash of Lula's cigarette as she inhales deeply. As she exhales a cloud of smoke she turns to Sailor. LULA It was a year before I met you. Sailor takes the cigarette out of Lula's hand and puts it into the ashtray by her bed. He pulls her to him and kisses her throat. SAILOR You have such a pretty, long neck, like a swan. LULA Grandmama Pace had a long, smooth white neck. It was like on a statue it was so white? Sailor drifts his thumb over Lula's left nipple then cups her breast in his hand. They kiss. CUT TO: 25. INT. FORTUNE HOUSE - DAY Marietta pours JOHNNIE FARRAGUT another shot of scotch. MARIETTA I knew this would happen. Soon as that piece of filth got out of Pee Dee, I knew there'd be trouble. He's just got some kind of influence over her I can't decipher. There's somethin' wild in Lula I don't know where it comes from. You gotta find 'em, Johnnie. JOHNNIE He served his time for what he did. Another thing... If Lula went with him of her own volition - willingly, that is - there ain't much can be done about it. MARIETTA Don't talk down to me, Johnnie Farragut. I know what volition means, and that's why I want Sailor Ripley off the planet! He's pure slime and it's leakin' all over my baby. Maybe you could push him into makin' some kinda move and then kill him dead. You'd only be defendin' yourself, and with his record, nobody'd fuss. Johnnie pours himself another tumblerful of Walker Black Label. JOHNNIE I'll locate Lula, Marietta, and if she's with the Ripley boy, I'll give him a talkin' to and try to convince her to come back with me. That's about all I can do. He takes a long swallow from the tumbler. Marietta begins to cry. She blubbers for a few seconds, and then stops as abruptly as she'd started. Her grey eyes glaze over. MARIETTA I'll hire a hit man if you don't want to help me stop this thing. I'll call Marcello Santos. JOHNNIE Now, Marietta, I am goin' to help you. And don't be gettin' carried away. You don't want to be bringin' Santos and his people into it. MARIETTA You're just jealous of Santos cause he's sweet on me. JOHNNIE Darlin', you ain't seein' Santos again, are ya? MARIETTA Oh, Johnnie Farragut... Don't you trust your very own Marietta? JOHNNIE Sorry, sweetheart. Bein' in love with you like I am brings out that ugly jealous side. MARIETTA Well stop worryin' about me and start worryin' about how you're gonna get that Lula back here and away from that murderer. JOHNNIE Sailor ain't a murderer. You got to get off that kick. And far's I can tell, Sailor was entire clean prior to that involvin' Lula. Even there he was protectin' her. You oughta be thankin' him for that. That Bob Ray Lemon they say was comin' after the both of 'em. Why am I tellin' you this, you was around that night. You ought to know just exactly what happened. Sailor just got a little too forceful is all... You remember that night... CU of Marietta' eyes as she thinks back. CUT TO: 26. INT. BAY ST. CLEMENT HOTEL - BALLROOM - NIGHT We see Marietta standing in a carpeted hallway above the ballroom. Dance band music can be heard in the distance. Sailor appears coming up the hallway - slightly drunk - he carefully sets his drink on the carpet outside the MEN'S ROOM. Marietta's POV of Sailor entering the MEN'S ROOM. CU of Marietta's glazed eyes and smiling face. Marietta's POV of walking toward MEN'S ROOM. CUT TO: 27. INT. FORTUNE HOUSE - DAY MARIETTA Maybe I was there, but I didn't see anythin'. All I know's that trash killed a man with his bare hands. Hands which are now prob'ly all over my baby! JOHNNIE Marietta, settle down now darlin'... I want what's best for her, too - Like I said, I'll do what I can to bring her home. CUT TO: 28. INT. CAPE FEAR HOTEL - DAY Lula is standing in the bathroom of their room at the Hotel fooling with her hair in front of the mirror. Sailor can see her through the doorway from where he lays on the bed. LULA Sailor, you are somethin' else, honey... When I was fifteen, Mama told me that pretty soon I'd be startin' to think about sex, and I should talk to her before I did anything about it. SAILOR But honey, I thought you told me your Uncle Pooch raped you when you was thirteen. LULA That's true. Uncle Pooch wasn't really an uncle. He was a business partner of my daddy's? And my mama never knew nothin' about me and him - that's for damn sure. His real name was somethin' kind of European, like Pucinski. But everyone just called him Pooch. He came around the house sometimes when Daddy was away. I always figured he was sweet on mama, so when he cornered me one afternoon, I was surprised more'n a little. SAILOR How'd it happen, peanut? He just pull out the old toad and let it croak? Lula brushes away her bangs and frowns. She takes a cigarette from the pack on the sink and lights it, then lets it dangle from her lips while she teases her hair. LULA You're terrible crude sometimes, Sailor, you know? SAILOR I can't hardly understand you when you talk with one of them Mores in your mouth. Lula takes a long, slow drag on her More and sets it down on the edge of the sink. LULA I said you can be too crude sometimes? I don't think I care for it. SAILOR Sorry, sugar. Go on and tell me how old Pooch done the deed. LULA Well, mama was at the Busy Bee havin' her hair dyed? And I was alone in the house. CUT TO: 29. INT. FORTUNE HOUSE - KITCHEN - DAY We see what she talks about. LULA (voice-over) Uncle Pooch came in the side door through the porch, you know? Where I was makin' a jelly and banana sandwich? I remember I had my hair in curlers cause I was goin' that night with Vicki and Cherry Ann, the DeSoto sisters. Uncle Pooch must have known nobody but me was home, cause he came right in and put both his hands on my butt and sorta shoved me up against the counter. CUT TO: 30. INT. CAPE FEAR HOTEL - DAY SAILOR Didn't he say somethin'? Lula shakes her head. She picks up her cigarette, takes a puff and throws it into the toilet. ECU of cigarette in toilet. LULA Not really. Least not so I recall now. Lula flushes the toilet and watches the More come apart as it swirls down the hole. ECU of cigarette coming apart as it swirls. SAILOR So how'd he finally nail you? Right there in the kitchen? LULA No, he picked me up. CUT TO: 31. INT. FORTUNE HOUSE - KITCHEN/MAID'S ROOM - DAY We see what she talks about. LULA (voice-over) He was short but powerful. With hairy arms? Anyway, he carried me into the maid's dayroom which nobody used. We did it there on an old bed. CUT TO: 32. INT. CAPE FEAR HOTEL - DAY SAILOR �We' did it? Whattaya mean? Didn't he force you? LULA Well, sure. But he was super-gentle, you know? I mean, he raped me and all, but I guess there's all different kinds of rapes. I didn't exactly want him to do it but I suppose once it started, it didn't seem all that terrible. It was over pretty quick, and after Uncle Pooch just stood there and pulled up his trousers and left me there. I stayed in bed till I heard him drive off. Then I just went back into the kitchen and finished makin' my sandwich. SAILOR And you never told nobody about it? LULA Just you. Uncle Pooch never acted strange or different after. And he never did anything else to me. I always got a nice present from him at Christmas, like a coat or jewelry? (pause) CUT TO: 33. TWO LANE HIGHWAY - DAY One hundred twenty decibels - head on collision of a '54 Ford Pick-Up and a '64 Chevy Station Wagon. No survivors. Balls of flame and grinding metal. CUT TO: 34. INT. CAPE FEAR HOTEL - DAY LULA Uncle Pooch died in a car crash three years later while he was holidayin' in Myrtle Beach. They still got way too much traffic there for my taste... And another thing, baby... That government of ours should be keepin' us separated from outer space... SAILOR Here she goes again... LULA Sailor, that ozone layer is disappearin'. Seems to me the government could do somethin' about it. One of these mornings the sun'll come up and burn a hole clean through the planet like an X-Ray. Lula strikes a match and lights another cigarette. SAILOR (laughs) That ain't never will happen, honey. Least not in our lifetime. Somewhere in the hotel a woman laughs. It is a kind of wild, crazy laugh, and for the few seconds it lasts, Lula's face goes pale. SAILOR You okay, honey? LULA That woman's laugh creeps me out. I heard somethin' like that... somewhere before... Sound'd like the wicked witch... SAILOR Just sounded like an old gal havin' a good time to me... You ready to dance? LULA I'm always ready to dance. But I need me a kiss first, honey. Just one? Lula and Sailor kiss. In the middle of the kiss, the woman's creepy/crazy laugh is heard again in the distance and Lula's eyes snap open with a kind of fear. CUT TO: 35. EXT. FORTUNE HOUSE - BACKYARD - LATE AFTERNOON/EVENING Marietta is escorting MARCELLO SANTOS and two stiff drinks to a table in her backyard. SANTOS I knew you'd want it again... MARIETTA That's not why I called. SANTOS Oh yeah - sure ... okay. MARIETTA Santos... It isn't. SANTOS Have it your way... But you want it. MARIETTA Lula's gone off with Sailor. SANTOS What do you want me to do about it? MARIETTA I want you to take care of Sailor, so he won't ever be able to bother my baby again. SANTOS Take care of him? MARIETTA Yes. SANTOS What does take care of him mean?... Do you want me to give him food or some clothing? MARIETTA What's with you?... You know what take care of him means. I don't call Santos except for one big reason. SANTOS Big is the key word, and I'm telling you I want it bad. MARIETTA I want you to get rid of Sailor. SANTOS Get rid of him? MARIETTA Yes... Get rid of him. SANTOS How would I do that? Send him on a trip - like maybe to Hawaii? MARIETTA Santos, why in hell do you insist on playin' this stupid game? SANTOS Just tell me what you want. MARIETTA I don't need to explain anymore'n I have... You know damn well. SANTOS You need to explain it. MARIETTA All right... I want you ... to ... kill ... Sailor... As simple as that. SANTOS Simple? Kill him?... How? MARIETTA That's your business... I don't care how. SANTOS Like an accident where maybe Lula might also get hurt? MARIETTA NO... For God's sakes, Santos! SANTOS Well, like kill him with the atomic bomb? MARIETTA Santos... SANTOS Explain it... I told you. MARIETTA Shoot him. SANTOS Shoot him? Like with a gun? MARIETTA Yes. SANTOS Where?... In the leg? MARIETTA No. SANTOS Where? MARIETTA In the head. SANTOS Shoot Sailor in the head with a gun... Now I'm beginning to get it... You want me to shoot Sailor in the head with a gun. MARIETTA Yes. SANTOS But where in the head?... Not the chin, I hope. MARIETTA No... In the brains... What little I'm sure he has. SANTOS You want me to shoot Sailor in the brains with a gun. MARIETTA Yes. SANTOS Through the forehead? MARIETTA Yes. SANTOS Wrong! It's much better to blow a hole in the back of the head ... right toward the bridge of the nose ... Lots and lots of irreparable damage. MARIETTA See! I knew you had it all under control. SANTOS Why didn't you send Johnnie Farragut? MARIETTA Maybe I did... Try New Orleans first... Lula can't ever stop talkin' 'bout that town. SANTOS On one condition... He pauses and smiles strangely. SANTOS You give me your permission to kill Johnnie Farragut. MARIETTA (whisper) Santos... No... Please, Santos... SANTOS You're not tellin' me that you're sweet on him? MARIETTA No... But... SANTOS One day he's gonna find out what we're up to with Mr. Reindeer, and he could cause us a lot of trouble. They stare at each other for a moment. SANTOS I'm gonna take your silence as a "yes"... MARIETTA Santos... I can't... SANTOS Shhhh... It's all right... Also, I either take you or that pretty daughter of yours to bed. MARIETTA You fucker, don't you ever touch Lula - You fucker, I'll kill you. SANTOS (laughing) Put your shoulders back. MARIETTA What? SANTOS Put your shoulders back, I said. Marietta puts her shoulders back and Santos comes and stands in front of her. SANTOS You got nice tits. MARIETTA Someone's gonna see us. SANTOS (smiling as he starts to feel her breasts) That's just another part of the price to pay. MARIETTA Santos... You kill that Sailor, otherwise he's gonna turn my baby against me. Santos lifts one hand up to Marietta's chin and raises her face up towards his. SANTOS Look at me... There's no turning back on this... I'm gonna kill Sailor... That's for sure. CUT TO: 36. INT. "THE HURRICANE" - A SPEED METAL CLUB - NIGHT We see the sign which has all the letters tipped way over to the right - as if in a hurricane. Two leaning palm trees border the sign. One hundred decibels of speed metal. We see the name "Powermad" on the bass drum. The BAND segues into "Slaughter House" and it's a hot one. Sailor grabs Lula and they start dancing like two jacked-up spastics in an electrical storm. a few PUNKS actually stop dancing to watch Sailor and Lula. They thought they'd seen everything. CU of Lula and Sailor - they're in love and dancing hot. An IDIOT PUNK moves close to Lula and rubs up against her as he dances by. Sailor turns to the lead guitar player and signals him to stop the music immediately. Suddenly everything is deathly quiet. Sailor gives the man a fully extended "Reno point"... SAILOR Are you going to provide me with an opportunity to prove my love to my girl? Or are you gonna save youself some trouble and step up like a gentleman and apologize to her? IDIOT PUNK Don't fuck with me, man. You look like a clown in that stupid jacket. SAILOR This is a snakeskin jacket, and for me it's a symbol of my individuality and my belief in personal freedom. IDIOT PUNK ...Asshole. SAILOR (as he moves toward the Idiot Punk) Come here. LULA Sailor, honey... The Idiot Punk tries to hit Sailor, but Sailor slaps him so hard his knees almost bend backwards. The Idiot Punk goes down - fighting back tears and holding his cheek. SAILOR (helping him up) I'm sorry to do this to ya here in front of a crowd, but I want ya to stand up and make a nice apology to my girl. IDIOT PUNK (to Lula) I'm sorry. LULA Hell, you just rubbed up against the wrong girl is all. SAILOR That's good... Now go get yourself a beer. (turning to the band) You fellas have alotta the same power Elvis had... Y'all know this one?... Sailor starts to sing an Elvis Presley song, "Love Me." As the band joins in with a perfect back-up - Sailor sings to Lula. The Speed Metal crowd is mesmerized. DISSOLVE TO: 37. INT. CAPE FEAR HOTEL - NIGHT CU of pink - the whole screen is filled with pink nylon. Panning down, we see Lula's breasts, which stand up and say "hello." Lula puts on her favorite pink shortie nightgown. LULA Why didn't ya sing "Love Me Tender"? ... You told me that was your favorite love song. Sailor turns around from his sprawled on the bed position watching The Dating Game show. SAILOR 'Cause I'm only gonna sing that song to my wife. Lula makes a face. She lies down on the bed next to Sailor. LULA What you want to watch this trash for? Ain't one of those people have a real thought in their brain. SAILOR That so? (keeping his gaze on the TV) You want to tell me what, if any, real thoughts you had lately? LULA What you have to get personal about so quick? All I mean is you could possibly read a book. Sailor grunts. LULA What's that honey? SAILOR We didn't have no TV up at Pee Dee, baby, you know? Lula slides her head up and kisses Sailor on the cheek. LULA I'm sorry, sweetie. I forget some moments where all you been the last two years. SAILOR Twenty-three months, eighteen days is all. Don't need to make more'n it was. (referring to Dating Game show) This couple's goin' on a date to Hawaii. The girl chose him over the other two guys. LULA Don't the reject guys get anythin'? SAILOR Gift certificates to Kentucky Fried Chicken. LULA That don't seem fair. SAILOR Hell, why should the Datin' Game be different from real life? At least them boys is gonna get somethin' to eat. LATER - IN THE DARK Sailor and Lula are in bed. Lula lays in Sailor's arms. LULA Sailor? SAILOR Yeah? LULA Wouldn't it be fabulous if we somehow stayed in love for the rest of our lives? SAILOR (laughing) You think of the weirdest damn things to say sometimes, peanut. Ain't we been doin' a pretty fair job this far? LULA Oh, you know exactly what I mean, honey? It'd make the future so simple and nice. SAILOR At Pee Dee, all you think about is the future, you know? Gettin' out? And what you'll do and what you'll think about when you're on the outside again. LULA I just think about things as they come up. I never been much of a planner. SAILOR It ain't altogether terrible just to let things go along sometimes. Lula, I done a few things in my life I ain't too proud of, but I'll tell ya from now on I ain't gonna do nothin' for no good reason. All I know for sure is there's more'n a few bad ideas runnin' around loose out there. ECU of match girding along the strike pad and bursting into flame. Lula lights her cigarette. LULA You know there's somethin' I ain't never told you about, Sailor, and this here's a story with the lesson that there's a right time and a wrong time for things to happen... When I was almost sixteen I got pregnant. Sailor looks her in the eyes. SAILOR Musta been a lesson tellin' ya it was the wrong time... What did you do, your mama find out? LULA (nods) She got me an abortion... CUT TO: 38. INT. ABORTION CLINIC - MIAMI - DAY ECU of dying fetus with one hundred twenty decibels Lula's scream over. The fetus twitches in its little pod of blood. ECU of pulsing vein in Lula's neck - LOUD VIOLENT HEARTBEAT SOUND - LIKE A DOUBLE-PEDALED KICK BASS DRUM. ECU of Lula's forehead covered in sweat running down to her eyes - open wide and WILD. ECU of fetus into medical trash can. ECU of bloodied abortion instruments. The DOCTOR leans across the abortion table. LULA (voice-over) ...from some old doctor with the hairiest nostrils and ears I ever seen. ECU of doctor's nose and ears ... HAIR! LULA (voice-over) Afterwards... Momma says... We see Marietta standing next to the doctor. LULA (voice-over) ...I hope you appreciate my spendin' six hundred dollars, not countin' what it cost us to get here and back... This man's the best damn abortionist in the South. CUT TO: 39. INT. CAPE FEAR MOTEL - NIGHT SAILOR You tell the boy who knocked you up? LULA It was my cousin, Dell, done it? His folks used to visit with us summers. SAILOR What happened to him? LULA Oh, nothin'. I never let on to mama about Dell bein' the one. I just flat refused to tell her who the daddy was? I didn't tell Dell, neither. He was back home in Chattanooga by then, anyhow, and I didn't see the point. Somethin' terrible happened to him, though. Six months ago. SAILOR What's that, peanut? LULA Dell disappeared. Dell was learnin' a hard lesson. What I learned from observin' Dell is I think people who are frightened want to disappear. He'd startin' behavin' weird? Like comin' up to people every fifteen minutes and askin' how they were doin'? CUT TO: 40. EXT. CITY STREET - CHATTANOOGA - DAY DELL, wearing a soiled double-knit suit stops a LADY in the street, and smiling about the fact that earlier that morning he's placed a cockroach on his anus, he speaks to the woman. DELL How're ya doin'? CUT TO: 41. INT. CAPE FEAR HOTEL - NIGHT LULA And just seemin' real spacey and actin' funny. SAILOR Actin' funny how? LULA Well, like mama told me, Aunt Rootie, Dell's mama? She found cockroaches in Dell's underwear. CUT TO: 42. INT. AUNT ROOTIE'S HOUSE CU of Aunt Rootie - unfolds a pair of dirty jockey shorts and several cockroaches fall out. CUT TO: 43. INT. CAPE FEAR HOTEL - NIGHT LULA One time, Aunt Rootie caught Dell puttin' one big cockroach on his anus? SAILOR Hell, peanut... LULA One time - real late - like about two thirty a.m.? She found Dell up in the black of night all dressed and makin' sandwiches in the kitchen. CUT TO: 44. AUNT ROOTIE'S HOUSE - KITCHEN - NIGHT In the dark kitchen, AUNT ROOTIE finds Dell making sandwiches - slicing them on the diagonal. AUNT ROOTIE What're ya doin'? DELL Makin' my lunch!!! LULA (voice-over) Dell told her he was makin' his lunch and goin' to work. He's a welder? And she made him go back to bed. We see Aunt Rootie cross the kitchen - take the knife away from Dell and lead him out of the kitchen. CUT TO: 45. INT. CAPE FEAR HOTEL - NIGHT LULA Then he'd carry on about the weather? Talk about how rainfall's controlled by aliens livin' on earth. Also how men wearin' black leather gloves... CUT TO: 46. INT. AUNT ROOTIE'S HOUSE - DELL'S ROOM - NIGHT Dell, crying uncontrollably, is in the center of the room squatting like an indian in his jockey shorts. He has a long ruler stretched out in front of him which he's using to press down on the top of a lone black glove on the floor. LULA (voice-over) ...are followin' him around. SAILOR Prob'ly the rain boys from Outer Space. CUT TO: 47. INT. CAPE FEAR HOTEL - NIGHT LULA It ain't so funny now, though. December before Christmas? Dell disappeared again and Aunt Rootie hired a private eye to find him. He was missin' for almost a month before he wandered back in the house on mornin' dressed in some filthy Santa Claus suit. 48A. EXT. AUNT ROOTIE'S HOUSE - DAY Dell walking to house. CUT TO: 48. INT. AUNT ROOTIE'S HOUSE - DAY Dell enters the front door in a Santa Claus suit so filthy you can hardly see the red through the black. He walks right past Aunt Rootie and goes back into the kitchen. There he immediately does a spread- eagle on the floor and violently scratches his left ankle. LULA (voice-over) The private eye cost Aunt Rootie over a thousand dollars? Then a little while later Dell ran off a third time to some place he said would "give him peace of mind." Nobody's seen him since. CUT TO: 49. INT. CAPE FEAR HOTEL - NIGHT SAILOR Sound like ol' Dell's more'n just a little confused, peanut... Too bad he couldn't visit that ol' Wizard of Oz and get some good advice. LULA Too bad we all can't, baby... One thing about Dell? SAILOR What's that? LULA When he was about seventeen, he startin' losin' his hair. SAILOR So? LULA He's twenty-four now? A year older than you? And must be 'bout bald. SAILOR There's worse things that can happen to a man, honey. LULA Yeah, I suppose. But you know somethin' baby, hair does make a difference. Lula turns to study Sailor. LULA I sure am glad they didn't give you no prison haircut... (sexual whisper) Gives me somethin' to grab hold of while we're makin' love? They kiss passionately. DISSOLVE TO: 50. INT. CAPE FEAR HOTEL - NIGHT Sailor gets up from the bed and begins putting on his clothes. Lula is painting her toenails red. SAILOR Let's go dancin', peanut. I'm ready. LULA We gotta be careful, honey, my mama's gonna have Johnnie Farragut on us like a duck on a june bug, and he's one clever detective? You know how clever? He once told me that he could find an honest man in Washington. My toenails gotta dry first anyways, Sailor. SAILOR One thing puzzles my mind, sugar... You're twenty years old - aren't you ever curious why your mama has this fixation on keepin' us apart? Puttin' a detective on us. I'll tell ya Lula... Well... It's more'n me killin' Bob Ray Lemon... LULA Maybe my mama cares for me just a little too much... SAILOR Yeah, maybe... Sailor's eyes seem to be thinking back... CUT TO: 51. INT. BAY ST. CLEMENT HOTEL - HALLWAY ABOVE BALLROOM - NIGHT We see an empty carpeted hallway and can hear a ballroom dance band playing in the distance. Sailor obviously slightly drunk, comes down the hall. He carefully, almost losing his balance, places his drink outside the MEN'S ROOM and enters. Marietta standing down at the other end of the hall - also drunk - smiles and stares at the MEN'S ROOM door through her glazed eyes. Sailor enters the MEN'S ROOM. CUT TO: 52. INT. MEN'S ROOM - BAY ST. CLEMENT HOTEL - NIGHT Sailor steps up to a urinal and starts doing his business. Marietta suddenly appears - drunk and laughing. She grabs him and pulls him into a stall - closing and locking the door behind them. MARIETTA Hey, Sailor boy, you wanna fuck Lula's mama?... SAILOR No. MARIETTA Well, she wants to fuck you. She starts trying to French kiss Sailor when an OLD MAN comes in to urinate and Sailor and Marietta freeze - in a kiss. Sailor is going crazy in one way (wishing this wasn't happening.) Marietta is going crazy in another. The man finishes and as he leaves... OLD MAN (covering his eyes from seeing them) Lousy fuckin' homosexuals... SAILOR (instantly pulling away from Marietta) What are you, sick?... I'm with Lula. MARIETTA No... I just wanted to kiss you good-bye... You know too much 'bout little Lula's mom... SAILOR Whattya mean? MARIETTA Well, Johnnie told me you used to drive for Clyde and Santos... SAILOR So? MARIETTA So maybe one night you got a little too close to the fire... And you're gonna get burned, baby... And besides that, you're shit... D'you think I'd let my little girl go with shit like you?... Why, you belong right here in one of these toilets. SAILOR You're gonna have to kill me to keep me away from Lula. MARIETTA Oh, don't worry 'bout that... CUT TO: INT. CAPE FEAR HOTEL - NIGHT SAILOR It's a prob'lm I don't think's gonna go away too soon though... Peanut, I'm thinkin' of breakin' parole and takin' you out to sunny California. LULA Sailor! SAILOR You up for that? LULA I'd got to the far end of the world for you, baby... You know I would. SAILOR Those toenails dry yet? We got some dancin' to do. We drift down Lula's long white legs to her blood red toenails. CUT TO: 54. INT. "THE HURRICANE BAR" - NIGHT CU of Lula's dancing feet in black spiked-heel sandals exposing blurred blood red toenails. Lula and Sailor are at it again - dancing as if plugged in to the main power plant. DISSOLVE TO: 55. INT. BAR - BACK OF "THE HURRICANE" - NIGHT Drenched in sweat, Sailor and Lula sit at a corner table chug-a-lugging "Rolling Rock" during the band's break. Lula notices a girl in the corner eye-balling Sailor. She splits her attention between the girl and Sailor. LULA ...That's an awful long way to go, just to get some pussy. SAILOR Yeah, I had my first taste on that trip to Juarez. At that age you still got a lot of energy. LULA You still got plenty energy for me, baby. Lula has had enough of the girl staring at Sailor. LULA Take a picture, bitch... It'll last longer. GIRL Oh yeah? LULA I'll slap those eyes right outta your head. The girl gets up in a huff and leaves. LULA Sorry, baby... When's the first time you done it with a girl who wasn't hookin'? SAILOR Maybe two, three months after Juarez. I was visitin' my cousin, Junior Train, in Savannah, and we were at some kid's house whose parents were out of town. A girl comes up to me that was real tall, taller than me. CUT TO: 56. INT. JUNIOR TRAIN'S FRIEND'S HOUSE - KITCHEN - SAVANNAH We see what he talks about. SAILOR (voice-over) She looked right at me and run her tongue over her lips and put her hand on my arm - told me her name was Irma. CUT TO: 57. INT. BAR - BACK OF "THE HURRICANE" - NIGHT LULA What'd you say to her? SAILOR Told her my name. Then she said somethin' like, �It's so noisy down here. Why don't we go upstairs so we can hear ourselves?' She turned around and led the way. I knew I had an important lesson to learn that day. CUT TO: 58. INT. JUNIOR TRAIN'S FRIEND'S HOUSE - STAIRWAY - NIGHT We see what he talks about. SAILOR (voice-over) When she got almost to the top step I stuck my hand between her legs from behind. CUT TO: 59. INT. BAR - BACK OF "THE HURRICANE" - NIGHT LULA Oh, baby. What a bad boy you are! SAILOR (laughing) That's just what she said. I had a boner with a capital "O." I went to kiss her but she broke off laughin' and ran down the hallway. I found her lyin' on a bed in a room filled with assault weapons and Penthouse magazines. She was a wild chick. She was wearin' bright orange pants with kind of Spanish lookin' lacy black stripes down the sides. You know, them kind that doesn't go all the way down your leg? LULA You mean like pedal pushers? SAILOR I guess. CUT TO: 60. INT. JUNIOR TRAIN'S FRIEND'S HOUSE - BEDROOM NIGHT We see what he talks about. SAILOR (voice-over) She just rolled over onto her stomach and stuck her ass up in the air. I slid my hand between her legs and she closed her thighs on it. CUT TO: 61. INT. BAR - BACK OF "THE HURRICANE" - NIGHT LULA You're excitin' me, honey. What'd she do? SAILOR Her face was half-pushed into the pillow, and she looked back over her shoulder at me and said, �I won't suck you. Don't ask me to suck you.' LULA Poor baby. She don't know what she missed. What color hair she have? SAILOR Sorta brown, blonde, I guess. But dig this, sweetie. Then she turns over, peels off them orange pants, and spreads her legs real wide and says to me... CUT TO: 62. INT. JUNIOR TRAIN'S FRIEND'S HOUSE - BEDROOM - NIGHT IRMA (her smiling face) Take a bite of peach. CUT TO: 63. INT. BAR - BACK OF "THE HURRICANE" - NIGHT LULA (howls) Jesus, honey! You more'n sorta got what you come for... You better rum me back to the hotel, baby... You got me hotter'n Georgia asphalt. SAILOR Say no more... But go easy on me, sweetheart... Tomorrow we got alotta drivin' to do. (he takes out a cigarette and laughs) Hotter'n Georgia asphalt? ECU of match striking and bursting into flames. WHITE OUT: CUT TO: 64. INT. THUNDERBIRD CONVERTIBLE - DAY Sailor is at the wheel of the dark blue '67 Thunderbird convertible. They are flying down a two-lane Southern highway. LULA I'll drop mama a postcard from somewhere. I mean, I don't want her to worry no more'n necessary. SAILOR What do you mean by necessary? She's prob'ly already called the cops, my parole officer, her p.i. boyfriend Johnnie Farragut. LULA I suppose so. She knew I was bound to see you soon as you was sprung, but I don't figure she counted on us takin' off together like this... I guess this means you're breakin' parole, then? SAILOR You guess? My parole was broke two hundred miles back when we burnt Portagee County. LULA What'll it be like in California, Sailor, do you think? I hear it don't rain much there. SAILOR You got about six more big states to go before we find out. LULA We got through two states already. Lula lights up a cigarette. SAILOR That don't smell like a More. LULA It ain't. It's part of the lessons of life. I picked me up a pack of Vantages before we left the Cape? SAILOR They sure do stink. LULA Yeah, I guess, but - and here's the lesson part - they ain't supposed to be so bad for you. SAILOR You ain't gonna begin worryin' about what's bad for you at this hour, are you, sugar? I mean, here you are crossin' state lines with a A- Number One certified murderer. LULA Manslaughterer, honey, not murderer. Don't exaggerate. SAILOR Okay, manslaughterer who's broke his parole and got in mind nothin' but immoral purposes far's you're concerned. LULA Thank the Lord. Well, you ain't let me down yet, Sailor. That's more'n I can say for the rest of the world? Sailor laughs and shoots the T-Bird up to seventy. SAILOR You please me, too, peanut. CUT TO: 65. INT. JOHNNIE FARRAGUT'S '69 MAROON BUICK - DAY Johnnie Farragut drives down a Southern highway on his mission. DISSOLVE TO: 66. INT. THUNDERBIRD - DAY SAILOR Life is a bitch and then you marry one. LULA What kinda trash talk is that? SAILOR (laughs) What it says on the bumper sticker up front. On that pickup. LULA That's disgustin'. Those kinda sentiments shouldn't be allowed out in public. Is this Biloxi yet? SAILOR Almost. I figure we should find us a place to stay and then go eat. LULA Got anyplace special in mind? SAILOR We oughta stay somewhere outta the way. Not in no Holidays or Ramadas or Motel Six. If Johnnie Farragut's on our trail he'll check those first. 66A. EXT. THUNDERBIRD/EXT. THE HOST OF THE OLD SOUTH HOTEL - DAY They pass the Biloxi City Limit sign. LULA How about that one? The Host of the Old South Hotel. SAILOR Looks more like the Ghost of the Old South, but we'll try her. CUT TO: 67. INT. THE HOST OF THE OLD SOUTH HOTEL - EVENING The room is large but cheap. Lula strips off the dishwater grey bedspread and tosses it over by the bureau. Sailor looks out the broken window. LULA I H-A-T-E hotel bedspreads. They don't hardly never get washed, and I don't like the idea of lyin' on other people's dirt. SAILOR Come look at this. LULA (going to the window) What's that, honey? SAILOR (thinking about death) There ain't no water in the swimmin' pool. Just a dead tree fell in, prob'ly from bein' struck by lightnin'. LULA (thinking about granddad) It's huge. This musta been a grand old place at one time. SAILOR Let's get fed, sweetheart. The light's fadin' fast. CUT TO: 68. EXT. ROADSIDE PAYPHONE - NIGHT Marcello Santos is making a phone call. SANTOS Hello there, Mr. Reindeer... Marcello Santos speaking. CUT TO: 69. INT. MR. REINDEER'S POSH NEW ORLEANS RESIDENCE - NIGHT An old man, MR. REINDEER, wearing a tuxedo is sitting on the toilet - his pants down - talking on the bathroom phone. He laughs a long deep smoker's laugh. MR. REINDEER (laughing) Mr. Marcello Santos... Hey there... That was great shit you sent in last month... CUT TO: 68A. EXT. ROADSIDE PAYPHONE - NIGHT SANTOS I gotta problem... In fact, I gotta coupl'a problems... CUT TO: 69A. INT. MR. REINDEER'S POSH NEW ORLEANS RESIDENCE - NIGHT MR. REINDEER (laughs again) Gotta coupl'a problems, huh?... For each problem drop a silver dollar through my mail slot... With all particulars... We'll work out "il conto" later... CUT TO: 70. INT. JOHNNIE FARRAGUT'S MAROON '69 BUICK - NIGHT Johnnie Farragut steers the Buick down the dark highway past a sign which reads, "NEW ORLEANS - 26 MILES". CUT TO: 71. EXT. BEACH - NIGHT Sailor and Lula are walking along the beach. Lula takes off her shoes. LULA (sing-song spells) M-i-ss-i-ss-i-pp-i... You can almost hear that jazz blowin' up from the big N.O. SAILOR Lula... I learned somethin' interestin' today on a science show I heard on the radio... How leeches is comin' back into style. LULA Say what? Honestly, sugar, you can talk more shit sometimes? She takes out a cigarette the length and width of a Dixon Ticonderoga No. 2 pencil and lights it. SAILOR Got you a pack of Mores again, huh? LULA Yeah, it's a real problem for me, Sailor, you know? When I went in that drugstore by the restaurant in Biloxi? I saw 'em by the register and the girl throw 'em in. I'm not big on resistin'. So what about a leech? SAILOR Heard on the radio how doctors is usin' leeches again, just in old times. You know, when even barbers used 'em? LULA (shuddering) I got one on me at Lake Lanier. Lifeguard poured salt on it and it dropped off. Felt awful. He was a cute boy, though, so it was almost worth it. Sailor laughs. SAILOR Yeah, well listen to this... Radio said back in the 1920s a I-talian doctor figured out that if, say, a fella got his nose cut off or bit off in, say, a barfight or somethin', they'd sew one of his forearms to his nose for a few weeks... Then put leeches on it. CUT TO: 71A. CU of MAN with forearm sewed to nose. CUT TO: 72. EXT. BEACH - NIGHT LULA Sailor? You expect me to believe a man'd be goin' around with a arm sewed to his nose? SAILOR (nodding) How they used to do it. Course they got more sophisticated ways now. Radio said the Chinese, I think it is, figured a better idea is by insertin' a balloon in the forehead and lettin' it hand down on the nose. Lula shrieks. LULA Sailor Ripley! You stop! You're makin' this shit up and I ain't gonna sit for it! SAILOR Honest, Lula. I prob'ly ain't precisely got all the facts straight, but it's about what they said. LULA Honey, we're goin' to bed now and it's time to change the subject. She's so cute Sailor just has to kiss her. DISSOLVE TO: 73. INT. THUNDERBIRD - SOUTHERN HIGHWAY - DAY Sailor and Lula pass a sign that reads "NEW ORLEANS - 26 MILES". Sailor pulls off the road into a Gulf gas station mini-mart and stops the car next to a self-serve pump. A sign on the top of it says "PLEASE PAY INSIDE BEFORE FUELING." SAILOR We're about dry bones, sweetheart. We don't wanna have to push this "bird" into New Orleans. LULA We sure don't, honey... (shouting to Sailor as he goes into the store) Get me a Mounds? 74. INT. MINI-MART - DAY A tall OLD BLACK MAN about seventy years old, wearing a torn green Tulane tee-shirt and a dirty orange Saints baseball cap, is filing items on the counter by the cash register. In the pile are four ready-made, plastic-wrapped sandwiches, two tuna salad and two cotto salami; six Twinkies; a package of Chips Ahoy chocolate chip cookies; four Slice colas; two Barq's root beers; and a large package of fried pork rinds, extra salted. BLACK MAN (to Sailor and another guy also waiting to pay for gas) Sorry, gentlemen. I'm 'most finished on my shoppin' here. ERV This be it? BLACK MAN Y'all take American Express? ERV Yessir. BLACK MAN Then lemme throw in a couple more things. Sailor and the man in line behind him watch as the black man gathers up several more packages of Twinkies along with a few cupcakes and half a dozen cans of Pretty Kitty cat food, three liver and three chicken dinner portions, and tosses them on his pile. BLACK MAN (to Sailor, smiling - showing no visible upper teeth) Pussycats gotta eat, too. He hands an American Express card to the clerk, ERV, who runs it through the verifier. The card checks out okay and the old guy prepares a charge slip, has the man sign it, and bags the purchases. BLACK MAN (to Erv) I'd just soon have a paper bag rather than a plastic one, if it's same to you. ERV (shoving the plastic bag he filled towards the black man) We don't have no paper bags. A telephone begins to ring and everyone looks around. The Black Man reaches in his jacket pocket and pulls out a portable phone and punches "send." BLACK MAN (into phone) Hello... Yeah, mama, I'm on my way... (to Sailor and other guy as he picks up his bag and heads out) Thanks for waitin', gentlemen. Everyone is silent as they watch the old Black Man hobble out. SAILOR (to Erv) All I want's ten bucks regular. Oh yeah, and a Mounds bar. Erv takes one off the candy and gum rack next to the register and lays it on the counter. Sailor gives him a twenty dollar bill. SAILOR I ain't got my American Express card with me, so I gotta use cash. Hope that's okay. Sailor smiles, but the clerk keeps a poker face and just gives him his change. The guy in line behind Sailor shakes his head and grins. 75. EXT. MINI MART/THUNDERBIRD - DAY Sailor goes back to the car. LULA That took long enough. You forget my Mounds? Sailor tosses her the candy bar. SAILOR I really do think the country done changed just a little while I was away, peanut. Lula sinks her small white teeth into the chocolate-covered coconut. LULA (as she chews) You got to keep an eye on it. That's sure. Sailor starts pumping gas. CUT TO: 76. INT. MR. REINDEER'S POSH NEW ORLEANS RESIDENCE - DAY CU of mail slot. Two silver dollars comes through it and one falls head up and the other tails on the rug below. CUT TO: 77. INT. MR. REINDEER'S POSH NEW ORLEANS RESIDENCE - DAY Mr. Reindeer is just finishing dialing a number on the telephone. MR. REINDEER A coupl'a silver dollars came my way today... I'm sending one of them to you with a paper on the beneficiary ... As usual, you are completely free to fulfill the obligation in any manner you so desire. He hangs up the phone and starts dialing another number. DISSOLVE TO: 78. INT. THE ROUND ROOM RESTAURANT - NEW ORLEANS - DAY At a table near the window, Johnnie takes a man-sized pull off his Dixie beer in between bites of an oyster sandwich. A large, chocolate-colored man in his early thirties, REGINALD SAN PEDRO SULA, and a smaller white man, DROP SHADOW approach with their trays of food. REGGIE Do you mind if we share this table? ... The others, they are occupied. Johnnie looks around - sees that there are quite a few empty tables - he looks the men over quickly. JOHNNIE (cautiously) Alright... By all means. Make yourselves at home. DROP SHADOW (as he sits down) Muchas gracias. REGGIE My name is Reginald San Pedro Sula. But please do call me Reggie. This is my friend, who we call Drop Shadow. He is always with me. Johnnie wipes off his right hand on his napkin and shakes. JOHNNIE Johnnie Farragut. Pleased to meet ya. Reggie and Drop Shadow begin eating ferociously, finishing half of their meal before saying anything more. REGGIE You are from New Orleans, Senor Farragut? JOHNNIE Johnnie, please. Nope. Charlotte, North Carolina. Here on business. Reggie smiles broadly, revealing numerous tall, gold teeth. DROP SHADOW Mr. San Pedro Sula is from Honduras. REGGIE Do you know Honduras, Johnny? JOHNNIE Only that it's supposed to be a pretty poor sight since the hurricane came through last year. REGGIE Yes, that's so. But there is not much to destroy. DROP SHADOW No big buildings like in New Orleans. JOHNNIE Whattaya do there? REGGIE (laughs) Oh, many things... DROP SHADOW Mr. San Pedro Sula's got an appliance shop. REGGIE But I am also with the government. Johnnie takes a bite of his oyster sandwich. JOHNNIE In what capacity? REGGIE In many capacities. DROP SHADOW Mr. San Pedro Sula is with the Secret Service. Reggie reaches into his back pocket and takes out his wallet. He hands a card to Johnnie. JOHNNIE (reading aloud) General Osvaldo Tamarindo y Ramirez. Telefono 666. REGGIE He is my sponsor. The General is the head of the secret police of Honduras. DROP SHADOW Mr. San Pedro Sula is one of his operatives. Johnnie hands the card back to Reggie and Reggie gives him a small piece of paper, folded once. Johnnie unfolds it. The printing is in Spanish. REGGIE That is my permiso. DROP SHADOW Mr. San Pedro Sula's permit to kill. REGGIE Only if necessary, of course, and only in my own country. (laughs) JOHNNIE Of course. Johnnie refolds the piece of paper and hands it over to Reggie. DROP SHADOW Mr. San Pedro Sula's authorized to carry a .45. REGGIE United States Marine issue, before they made the unfortunate switch to the less dependable nine millimeters. I have it here, in my briefcase. Reggie holds up his stainless steel briefcase and then replaces it on the floor beneath his chair. JOHNNIE Why are you in New Orleans? If you don't mind my askin'. REGGIE Certainly not. We are here only briefly, in fact, until this evening, when we fly to Austin, Texas to visit a friend of mine who is an agent for the CIA. DROP SHADOW He wants to take Mr. San Pedro Sula and me bass fishing. REGGIE We are in the same businesses and also we are fishermen. Johnnie swallows the last of his beer and stands up to leave. JOHNNIE (extending his hand) It's been a real pleasure. I wish you both buena suerte wherever you go. Reggie and Drop Shadow stand up. They shake Johnnie's hand. REGGIE The same to you. If you are in Honduras, come to the Bay Islands and visit us. The Hondurans are great friends of the American people. But I have a joke for you before I go. If a liberal, a socialist, and a communist all jumped off the roof of the Empire State Building at the same time, which one of them would hit the ground first? JOHNNIE I couldn't say, which one? Reggie turns to Drop Shadow and lets him have the punch line. DROP SHADOW (grinning) Who cares? CUT TO: 79. INT. HOTEL BRAZIL - NEW ORLEANS - EVENING Sailor and Lula are just finishing making love in their room. As Lula climaxes, her left hand opens and spreads wide. The lay quietly for a moment. LULA I love it when your eyes get wild, honey. They light up all blue almost and little white parachutes pop out of 'em. Oh, Sailor you're so aware of what goes on with me? I mean, you pay attention. And I swear, you got the sweetest cock. Sometimes it's like it's talkin' to me when you're inside? Like it's got a voice all it's own. You get right on me. SAILOR You really are dangerously cute, honey. I gotta admit it. Lula lights a cigarette. SAILOR Let's head out into the crazy world of New Orleans... I gotta get somethin' to eat. CUT TO: 80. INT. RONNIE'S NOTHIN' FANCY CAFE - NEW ORLEANS - LATE EVENING Sailor and Lula sit at the counter drinking double-sized cups of community coffee. A MAN on the stool next to Sailor lights up a rum- soaked crook. GEORGE My name's George Kovich. Bet you've heard of me. SAILOR Don't know that I have... Should I know about you for anythin' in particular? GEORGE Was in all the papers three years ago. I'm seventy-six, was only seventy- three then. Had a business in Buffalo, New York, called Rats With Wings. Killed pigeons for anyone who wanted 'em killed. LULA Why were you killin' pigeons, Mr. Kovich? Were you in the extermination business? GEORGE No, ma'am. I was a housepainter, in the union forty-one years. I'm retired now, livin' with my sister, Ida. Ida moved down here twenty-five years ago, married an oil man named Smoltz, Ed Smoltz. He's dead now, so it's just me and Ida. I sold my house and moved down after the city of Buffalo put me out of business. Hell, RWW was doin' them a service, and they charged me with endangerin' the public. LULA What's wrong with pigeons, Mr. Kovich? GEORGE They're useless pests. I've shot hundreds of 'em... CUT TO: 81. EXT. CITY STREET - ROOFTOP IN GEORGE KOVICH'S NEIGHBORHOOD - DAY George is shooting pigeons as fast as he can. GEORGE (voice-over) ...My neighbors hired me to get rid of the pigeons that gathered on their roofs and porches... CUT TO: 82. INT. RONNIE'S NOTHIN' FANCY CAFE - NEW ORLEANS - LATE EVENING GEORGE ...Neighbors asked me how come the spotted bastards didn't light on my house or my brother Earl's anymore, and I told 'em the truth. I shot 'em... Earl's gone now... CUT TO: 83. INT. EARL KOVICH'S HOUSE - DAY Earl pitches forward out of his easy chair and hits the carpet hard - screaming in pain. GEORGE (voice-over) ...Heart attack six months ago - had that cholesterol thick as shit... His widow, Mildred, she still lives in the house next to mine. CUT TO: 84. INT. RONNIE'S NOTHIN' FANCY CAFE - NEW ORLEANS - LATE EVENING GEORGE She's stone deaf but the racket the pigeons made drove Earl crazy. He could hear 'em even with the TV on. He owned a bar thirty years, The Boilermaker, on Wyoming Street. Earl's roof was a favorite spot for pigeons. They lit there day and night. I wanted to toss a grenade up there. SAILOR If your neighbors didn't mind, how'd you get put out of business? GEORGE Woman drivin' down the street spotted me with on a roof with my rifle. She called the police and they came over and arrested me. Thought I was a sniper! Boys at the VFW loved that one. Cops didn't understand about the pigeons, the damage they do to personal property. I used to complain to the city but they never lifted a finger. I was gonna put out poison, but I was afraid somebody's cat would eat it. Hell, I had six cats myself. So I used the .22 because it didn't make much noise and the ammo was cheap. SAILOR What happened on the charges? GEORGE Guilty on a reduced charge. Hundred dollar fine and ordered to desist. Pigeons carry diseases and muss up the place. You seen it. Plain filth. Kovich stands up and puts some money on the counter. GEORGE It's a serious situation. Not like the Turks and the Armenians, maybe, or the Arabs and the Jews, but I want people to remember me and what I've done and pick up where I left off. Somebody had to make a move. It was nice meetin' you folks. George Kovich nods and leaves. SAILOR What lesson do get outta that story, Lula? LULA It's just another case, Sailor. SAILOR What's that, peanut? LULA One person thinks he's doin' somethin' good and ever'body else gets upset about it. Sailor looks up at Lula. SAILOR Ain't it the way... CUT TO: 85. INT. HOTEL BRAZIL - NEW ORLEANS - NIGHT It's very quiet in the hotel room and the clock says four a.m. Lula and Sailor are lying in bed arm in arm. Sailor is fast asleep - snoring. Lula is wide awake. LULA Sailor?... Sailor, honey? Sailor snaps awake with a snort. SAILOR Huh? LULA Ever imagine what it'd be like to get eaten alive by a wild beast?... Sometimes I think it would be the biggest thrill? SAILOR My God, (looks around) it better be, darlin', cause it'd be the last... What time is it? LULA Shhhhh... It's four o'clock... That woman's laugh the other day had somethin' to do with this feelin'? ... Like bein' ripped apart by a gorilla, maybe... Grabbed sudden and pulled apart real quick by a real powerful one. Lula's left hand opens and spreads wide. SAILOR Lula, sometimes I gotta admit, you come up with some weird thoughts... LULA Anythin' interestin' in the world come out of somebody's weird thoughts, Sailor. You tell me Sailor, who could come up with shit like we're seein' these days? SAILOR You got me, peanut. LULA (smiles - turns to him) You certain? SAILOR I ain't never met anyone come close to you, sugar. LULA Recall the time we was sittin' one night behind the Confederate soldier? Leanin' against it. And you took your hand and put it on your heart and you said, �You feel it beatin' in there, Lula?... Get used to it, cause it belongs to you now.' D'you recall that? SAILOR I do. LULA I was hopin' you would. I know that night by heart. Sometimes, honey? I think it's the best night of my life. CUT TO: 86. BEHIND THE CONFEDERATE SOLDIER Tight Two-Shot Lula and Sailor with their arms around each other - cheek to cheek - talking softly. A strange presence begins to build and a piece of sad nostalgic music plays. CUT TO: 87. INT. HOTEL BRAZIL - NEW ORLEANS - NIGHT LULA (lost in the memory) I really do think it's the best night of my life. SAILOR We didn't do nothin' special I can remember. Just talked, is all. LULA Talkin's good. Long as you got the other? I'm a big believer in talkin', case you ain't noticed. SAILOR Too bad they don't give an award for talkin'... You'd win first prize. Especially with those tits. LULA You think so, baby? Does my talkin' bother you, honey? SAILOR No, I like gettin' up around four a.m. and talkin' bout wild animals ... Though you woke me up this time in the middle of a dream. I kinda wish I didn't remember it. Up at Pee Dee, I couldn't remember any of my dreams. LULA What was this one? SAILOR It wasn't no fun, Lula. The wind was blowin' super-hard and I wasn't dressed warm. Only instead of freezin', I was sweatin' strong. CUT TO: 87. CU of eyes. Black sweat is rolling down the forehead and over the eyes. SAILOR (voice-over) The water was rollin' off me. And I was dirty, too, like I hadn't had no bath in a long time, so the sweat was black almost. CUT TO: 88. INT. HOTEL BRAZIL - NEW ORLEANS - NIGHT LULA Boy, sweetie, this is weird, okay. SAILOR I know. I kept walkin', I headed for your house, only it wasn't your house, really. You let me in only you weren't real pleased to see me. You kept askin', �Why'd you come to see me now? Why now?' Like it'd been a long time since we'd seen each ohter. LULA Oh, baby, what an idea. I'd always be happy to see you, no matter what. SAILOR I know, peanut. But it wasn't all like you were so unhappy I was there, just you were upset. My bein' there was upsettin' to you. You had some kids there, little kids, and I guess you'd got married and your husband was comin' home any minute. CUT TO: 87A. CU of eyes. Black sweat is rolling down the forehead and over the eyes. SAILOR (voice-over) I tell you, Lula. I was shakin' wet. All this black sweat was pourin' off me, and I knew I was scarin' you, so I took off. CUT TO: 89. INT. HOTEL BRAZIL - NEW ORLEANS - NIGHT Lula puts her arms around him. LULA Sometimes dreams just don't mean nothin'... Stuff comes into your mind and you don't have no control over, you know? Anyways, dreams ain't no odder than real life. Sometimes not by half. SAILOR Well, I ain't upset about it, darlin'. Just give me an odd feelin' there a minute, is all. Lula lifts her head and kisses Sailor under his left ear. She rolls over on top of Sailor. LULA Take a bite of Lula. CUT TO: 90. INT. SNUG HARBOR BAR - NEW ORLEANS - NIGHT Johnnie Farragut sits down on a stool at the bar. CHET, the bartender, approaches. CHET Hey!!!... Johnnie Farragut. How are you, my man. JOHNNIE Real good, Chet... It's been awhile. CHET Everythin's relative. Where's that Marietta Pace Fortune? You two didn't split up, I hope. JOHNNIE No... She's fine. Back home. CHET What'll it be? The regular? Black Label? JOHNNIE Set one up. Chet brings him a double. CHET So who you out sleuthin' for now?... Can I help ya? JOHNNIE Actually, I'm lookin' for Marietta's daughter, Lula. Her and 'er beau took off the other day. Marietta's real upset about it. CHET Hell, that rings a bell. Someone told me somebody lookin' like her was at the Nothin' Fancy yesterday. JOHNNIE Sounds right... I'll check it out. CHET (checking for a gold ring on Johnnie's hand) You hitched yet? JOHNNIE No sir... CHET It's none of my business, but when are you and Marietta gonna tie the knot? I always wondered why you never did. JOHNNIE Not for lack of love, I can tell ya that. CHET That's what I mean... Always looked like you was just knocked out in love... Was real nice to see. JOHNNIE I'll tell ya though, it's comin' up to the time when Marietta and me might just set up house together and settle down... I think that time's comin' up right soon. But like you said, everythin's realtive. FADE OUT: CUT TO: 91. EXT. HOTEL BRAZIL - NEW ORLEANS - DAY Lula waits just by the lobby door of the hotel. In the back of the lobby in the shadows is an ancient, old BLACK MAN who stares at her. Sailor pulls the T-Bird up in front of the hotel and Lula hurries out to him and tosses their suitcase in the backseat. LULA Let's get outta here... I suddenly got a funny feelin' about this place. Feelin' all that voodoo... SAILOR (winks at her) Gotta hex from a voodoo? LULA (smiles) Who do? SAILOR You do. They laugh and take off around the corner and up past the Cafe Du Monde. LULA Oh my God... It's Johnnie... Duck down!... Get goin'! SAILOR (looking around frantically) Where? LULA Never mind where... Get outta here... I mean it, Sailor. SAILOR I'm goin'. Sailor pulls the car up fast and hangs a right turn. CUT TO: 92. INT. CAFE DU MONDE - DAY Johnnie smiles as he watches Sailor and Lula turn the corner. JOHNNIE (to himself) Ain't love wonderful?... WAITRESS What's that? JOHNNIE I said, ain't love wonderful? Johnnie raises his cup of coffee to Sailor and Lula - who have long since disappeared. JOHNNIE Good luck to you kids. CUT TO: 93. EXT. CITY STREET - NEW ORLEANS - DAY Sailor and Lula drive. LULA You think he saw us? SAILOR Who knows, baby? LULA He was sittin' there havin' a beignet at the Cafe Du Monde. Do you think he saw us? SAILOR Lula, darlin'... Makes no difference anyway... We're outta here. We watch the car disappear up the street. Slowly the camera pans and Reggie and Drop Shadow come walking happily along the sidewalk - whistling. CUT TO: 94. INT. THUNDERBIRD Lula and Sailor are motoring along. SAILOR Sweetheart, keep your panties up. We're in Jimmy Swaggart country. Sailor and Lula both laugh. Up ahead, Sailor spots a hitchhiker. He slows to pick him up. LULA Sure you wanna do this? Might be a way they could track us. SAILOR He's just a regular guy't needs help, honey. Look at him. The HITCHHIKER is a man about thirty with a pack on his back, and he is carrying a large, covered cardboard box. He is filthy, with an uneven smile that exposes his jagged yellow teeth. Lula opens the door for him, and after he loads his stuff, Sailor takes off down the highway. ROACH Thanks a lot. I been standin' out there off and on for two hours, ha-ha! Since noon about, ha-ha! Cops catch ya hitchin' on a Interstate around here they throw ya on a county road crew for a week, less you can pay the ticket, ha-ha! Which I ain't got, ha-ha! SAILOR My name's Sailor, and this here's Lula. What's yours? ROACH Marvin DeLoach. But ever'body calls me Roach, ha-ha! Roach DeLoach, ha-ha! LULA You always make that strange little funny laugh when you talk? ROACH Ain't laughin', ha-ha! SAILOR What you got in the box? ROACH My dogs, ha-ha! Roach slides the top off and tilts the box slightly toward the front. Inside are six small husky pups that are not more than two weeks old. ROACH I'm headed to Alaska, ha-ha! These dogs is gonna be my sled team, ha-ha! LULA (to Sailor) This guy's crazy. SAILOR Where you from, Roach? ROACH If you mean where I was born, it was Belzoni, Missi'ppi, ha-ha! But I been brought up in Baton Rouge. LULA Why you goin' to Alaska? And where'd you get them puppies? They look sick. Roach stares down into the box at the baby huskies and strokes each of them twice with a religiously unwashed hand. The dogs whimper and lick his dirty fingers. ROACH I saw this movie on TV, ha-ha! The Call of the Wild. I ain't never seen snow, ha-ha! I got these dogs at the pound. Nobody wanted 'em, ha-ha! Ever'body here got theirself pit bulls or some kinda hounds. I'm gonna feed these boys good so they'll be big and powerful and they can pull me real fast through the snow, ha-ha! Roach pulls a piece of raw cow's liver out of one of his pockets of his field jacket and begins ripping little bits off it and feeding them to the dogs. LULA (screeches as she sees this) Sailor! Stop! Stop the car now! Sailor pulls off the road onto the shoulder of the highway and stops. Lula opens her door and jumps out. LULA I'm sorry, but I can't take this. Roach, or whatever your name is, you come out of there with them dogs this instant! Roach sticks the liver back in his pocket and pulls his pack and the box of tiny canines after him. Once he and his belongings are deposited on the roadside, Lula hops back in the car and slams the door. LULA I'm truly sorry? I'm truly sorry, Roach. But ain't gonna make it to Alaska? Least not any part of the way with us. You'd best find a party to take care of those dogs proper, before they all die? And, if you don't mind my sayin' so? You could most certainly use some serious lookin' after yourself, startin' with a bath! Lula takes a pair of sunglasses off the dashboard and puts them on. LULA Drive. Sailor takes off. SAILOR You don't feel you was a little hard on the guy, honey? LULA I know you're thinkin' that I got more'n some of my mama in me? Well, I couldn't help it. Sailor, I really couldn't. I'm sorry for that guy, but when he pulled that drippin' hunk of awful-smellin' meat out of his pocket? I near barfed. And them poor diseased puppies! SAILOR (laughs) Just part of life on the road, peanut. LULA Do me a favor, Sailor? Don't pick up no more hitchers, okay? CUT TO: 95. INT. INEZ'S FAIS-DODO BAR - NEW ORLEANS - NIGHT/ 95A. INT. FORTUNE HOUSE - MARIETTA'S BEDROOM - NIGHT Johnnie is seated in a telephone booth at the back of the bar. JOHNNIE No, Marietta, I haven't found 'em. MARIETTA This is the kinda mistake can take a Hindu's lifetime to unfix... You better get a move on, Johnnie, before that boy got her holdin' down a Memphis streetcorner and shootin' dope up her arms. We see Reggie and Drop Shadow enter the bar. Reggie's unsmiling eyes drift across the room until they see Johnnie in the booth. He stares coldly and waits. Drop Shadow adjusts his socks. JOHNNIE Really, Marietta, you got more scenarios swimmin' around in your brain than Carter got pills. Try to take it easy. Go over to Myrtle Beach for a few days. MARIETTA I'm stayin' right here by the phone until you find Lula, then I'm comin' to get her. You call soon's you got somethin', even if it's three in the a.m. JOHNNIE I will, Marietta. Goodbye now. Johnnie hangs up the phone and exits the booth. As he crosses the bar... REGGIE (shouting) Hola! Senor Farragut! We meet again. Johnnie goes over to Reggie and Drop Shadow and shakes hands. JOHNNIE I thought you two were in Austin, Texas. Or Takes-us, as they say in these parts. DROP SHADOW We were. Now Mr. San Pedro Sula and I are on our way back to Utila, in the morning. REGGIE Would you like to enjoy a martini with us? JOHNNIE Why not? How was the fishin'? REGGIE I think they are too serious, these American fishermen. In Honduras, we are not so concerned with the method. Reggie orders martinis for the three of them. JOHNNIE So, it's back to the islands. DROP SHADOW Yes. Mr. San Pedro Sula spoke yesterday to his son, Archibald Leach San Pedro Sula, who is named after Cary Grant, and he told them there was a shooting. REGGIE Teddy Roosevelt, one of the local shrimp boat captains is in jail now. These people are friends of mine, so I must return and find out what happened. JOHNNIE This island of yours sounds like a kind of unpredictable place. REGGIE (laughs) It has its moments of uncertainty. DROP SHADOW But how are you finding New Orleans, Senor Farragut? JOHNNIE Call me Johnnie... N.O. has always been a good town to sit around in. REGGIE I can tell you are an intelligent man, Johnnie. One difference between your country and mine is that in the islands, it does not pay to reveal one's intelligence... Others may use what they perceive against us... Reggie raises his glass to Johnnie's. REGGIE Hasta siempre. JOHNNIE Hasta siempre. REGGIE Do you know how it came about that copper wire was invented in Scotland? JOHNNIE How's that? DROP SHADOW Two Scotsmen were fighting over a penny. Johnnie finishes off his martini. JOHNNIE I gotta admit, you guys are (sliding off the stool) two in four dozen. REGGIE The real joke is we never went fishing, but we're still fishing. Johnnie squints his eyes thinking about this one. Reggie and Drop Shadow smile and stand to leave. CUT TO: 96. INT. THUNDERBIRD - STREETS OF NUNEZ - NIGHT Lula and Sailor cruise the dark streets. LULA I wouldn't mind a little night life. How about you? SAILOR Hard to tell what's shakin' in a place like this, honey. You don't want to be walkin' in the wrong door. LULA Maybe there's a place we could hear some music. I feel like dancin'. We could ask someone. 97. EXT. RED DEVIL GAS STATION - NIGHT Sailor spots a Red Devil gas station that still has its lights on and pulls the car over. SAILOR Someone up here might know somethin'. Two skinny, pimply-faced guys, BUCK and BILLY, wearing dirty coveralls walk over to them. BUCK Gas? SAILOR Got enough, thanks. We're lookin' for a place has some music, where we can maybe do some dancin' - get somethin' to eat, too. Anything like that around here? BILLY Cornbread's. They got western. BUCK No food, though, 'cept bar nibbles. Lula slides over in the front seat and leans across to Sailor. LULA How about speed metal? The kids look worried and take a step back. LULA Any kinda rock'n'roll, honey. BILLY There's a boogie joint just about a mile straight out Lafitte here. But that's a black place mostly. BUCK Mostly black though in that boogie place. SAILOR What's the name of it? BUCK Club Zanzibar. SAILOR You say it's straight ahead a mile? BUCK About. Where Lafitte crosses over Galvez Highway. State Road 86. SAILOR Thanks. Sailor and Lula drive off. Buck and Billy go back inside the Red Devil station. Guess who is over the corner cleaning nuts and bolts with a toothbrush and gasoline ... It's DELL! CUT TO: 98. EXT. CLUB ZANZIBAR - NIGHT The Club Zanzibar sits in the darkness on the left hand side of the road. A string of multi-colored lights is hung over the front. Sailor parks the Thunderbird across from the club and cuts the engine. SAILOR You ready for this? LULA We'll find out in a hurry. CUT TO: 99. INT. CLUB ZANZIBAR - NIGHT When they walk in, the BAND is playing a slow blues and THREE OR FOUR COUPLES are swaying on the dance floor. There are a dozen tables and a long bar in the room which is done up in a strange dark azquatic motif. Eight of the tables are occupied and SIX OR SEVEN MEN stand at the bar. Everyone in the place is black except for one WHITE WOMAN who is sitting alone at a table smoking a cigarette and drinking Pearl straight from the bottle. The atmosphere is not friendly, but Lula takes Sailor by the arm. LULA Come on. They step up to the bar and order two Lone Star beers. The BARTENDER, a tall, heavyset man slowly forms his hand into "the bird." He holds his hand that way while he speaks... BARTENDER ZANZIBAR This is a friendly place, son. You folks just relax and have a nice time. LULA (bound and determined not to be intimidated) You got yourself a deal. BARTENDER (to Sailor) That's a real jacket... By that, I mean a real stupid jacket. SAILOR This is a snakeskin jacket, and for me it represents a symbol of my individuality and my belief in personal freedom. BARTENDER Fuckin' honky cracker mumbo jumbo. The bartender moves on down the bar. Lula and Sailor take a small table near the door. LULA I'll be damned if I'm leavin'. That band is too good? SAILOR Uh huh. LULA You notice that woman when we come in? The white woman sittin' by herself? SAILOR Yeah. LULA Well, she ain't talked to nobody and ain't nobody spoke to her that I could tell. What you make of that? SAILOR Honey, we bein' strangers here and all, this is the kinda place we don't want to make nothin' of nothin'. LULA You think she's pretty? Sailor looks at the woman. She lights a new cigarette off a butt, then squashes the butt in the ashtray. She is thirty years old, maybe more. Shoulder-length, bleached blonde hair, black at the roots. Clear skin, green eyes. Long, straight nose with a small bump on it. She is wearing a low-cut lavender dress that would have emphasized her breasts had she not been so flat-chested. Slender. SAILOR I tend to like 'em with a little more meat on the bones. Face ain't bad, though. Lula gets quiet and sucks on her beer bottle. SAILOR What's wrong, sweetheart? Somethin' botherin' you? LULA Mama. I been thinkin' about her. She's prob'ly worried to death by now. SAILOR More'n likely. LULA I want to call her and tell her I'm okay. That we're okay. SAILOR I ain't so sure it's a great idea, but that's up to you. Just don't tell her where we are. LULA (to Bartender) Pardon me? Y'all got a phone here I can use? BARTENDER ZANZIBAR Can't you read? LULA (sees the sign - then to Sailor) Back in a bit. She kisses him on the nose and walks back through a dark little door to the payphone. CUT TO: 100. INT. FORTUNE HOUSE - BEDROOM - NIGHT/ 101. INT. CLUB ZANZIBAR - PAYPHONE - NIGHT Marietta answers the telephone on the second ring. OPERATOR I have a collect call from Lula Fortune. Will you accept? MARIETTA Of course! Lula? Where are you? You all right? LULA I'm fine, mama. I just wanted to tell you not to worry. MARIETTA Why, how could I not worry? Not knowin' what's happenin' to you or where you are? Are you with that boy? LULA If you mean Sailor, mama, yes I am. MARIETTA Are you comin' back here soon, Lula? I need you here. LULA Need me for what, mama? I'm perfectly fine, and safe, too. MARIETTA You in a dance hall or somethin'? I can hear music behind you. LULA Just a place. MARIETTA Really, Lula, this ain't right! LULA Right?! Mama, was it right for you to sic Johnnie Farragut on us? How could you do that? MARIETTA Did you run into Johnnie in New Orleans? Lula, are you in New Orleans? LULA No, mama, I'm in Mexico, and we're about to get on an airplane to Argentina! MARIETTA Argentina! Lula, you're outta your mind. Now you just tell me where you are and I'll come for you. I won't say nothin' to the police about Sailor, I promise. He can do what he wants, I don't care. LULA Mama, I'm hangin' up this phone now. MARIETTA No, baby, don't! Can I send you somethin'? You runnin' low on money? I'll wire you some money if you tell me where you are. LULA I ain't that dumb, mama. Sailor and I been on a crime spree? Knockin' off convenience stores all across the south? Ain't you read about it? Marietta is crying. MARIETTA Lula? I love you, baby. I just want you to be all right. LULA I am all right, mama. That's why I called, to let you know. I gotta go. MARIETTA Call me again soon? I'll be waitin' by the phone. LULA Don't be crazy, mama. Take care of yourself. Lula hangs up. Marietta hangs up and begins pacing the livingroom floor. CUT TO: 102. INT. CLUB ZANZIBAR - NIGHT Sailor and the bleached blonde in the lavender dress are together on the dance floor. Lula sees them, goes over to the bar, picks up a beer bottle and throws it at Sailor. The bottle bounces hard off his back and clangs to the floor, bouncing but not breaking. Sailor turns around fast and looks at Lula. Everybody else in the place is still. 103. EXT. CLUB ZANZIBAR - NIGHT Lula runs out. Sailor follows. Sailor finds her sitting on the ground, leaning against the passenger side of the Thunderbird. Lula's eyes are red and wet but she isn't crying. Sailor kneels down next to her. SAILOR I was just wastin' time, peanut, till you come back. LULA It's me who's wastin' time, Sailor, bein' with you. SAILOR Honey, I'm sorry. It wasn't nothin'. Come on and get up and we'll take off. LULA Leave me be for a minute? Mama gets all insane and then I see you practicin' your individuality and personal freedom with some oil-town tramp. How you figure I'm gonna feel? SAILOR Told you not to call your mama. Sailor stands and leans against the hood of the car until Lula gets up and climbs inside. He wraps his snakeskin jacket around her and starts the car. Lula kisses Sailor on the cheek, puts her head down sideways on his lap and goes to sleep. Sailor drives. CUT TO: 104. INT. FORTUNE HOUSE - MARIETTA'S BEDROOM - NIGHT Marietta paces, but then goes back to the phone. She dials a number and gets an answering machine. MARIETTA Santos... If you get this message, call me right away. It's Marietta... I don't know, Santos... Maybe this is all not... Call me. She hangs up. She dials another number. It answers. MARIETTA Johnnie! At last! I thought you was never gonna come back to your room. CUT TO: 105. INT. FORTUNE HOUSE - MARIETTA'S BEDROOM - NIGHT? 106. INT. JOHNNIE'S HOTEL ROOM - MAISON VIOLETTE - NEW ORLEANS JOHNNIE I got some news, Marietta. Lula and Sailor been here. They checked out of the Hotel Brazil on Frechman Street yesterday. MARIETTA Listen, Johnnie, Lula just called me. She knew you were in N.O., so they left the city. JOHNNIE Did she tell you where she was callin' from? MARIETTA No, but my guess is they're headed west, so prob'ly Texas. Their money must be runnin' low. I don't think Sailor had much to begin with, if any, and Lula took the six hundred she had saved in the Cherokee Thrift. JOHNNIE How'd she sound? Was she doin' okay? MARIETTA Could she be doin' okay, Johnnie? She's tryin' to prove somethin' to me, that's all. Lula ain't doin' no more'n showin' off, defyin' me... (stifles a sob) Johnnie, I've done somethin' bad... JOHNNIE What? MARIETTA I won't tell you over the phone. I'm comin' to N.O. and I'll tell you then. JOHNNIE Marietta, I was just gonna leave and see if I could pick up their trail. MARIETTA No, you wait right there for me... I'll be on the Piedmont flight tomorrow at seven. Meet me at the airport. JOHNNIE I'll meet you, Marietta, if that's what you want, but I'm against it. MARIETTA Seven tomorrow evenin'. Se can eat at Galatoire's. Fix it. Marietta hangs up. CUT TO: 107. EXT. SHELL STATION - HOUSTON - DAY Sailor and Lula are in a Shell station just outside of Houston. Sailor is filling the Thunderbird with regular. An OLD MAN sits near the pumps listening to the radio playing a sad big band tune. Lula starts to slowly snap her fingers to the beat and the old man gives her a beautiful smile. LULA (smiling and snapping her fingers) How much we got left, honey? SAILOR Under a hundred. LULA You want to stick around here, Sailor? See if we can get some work? SAILOR Not in Houston. We'd be better off in some place more out of the way. LULA You want me to drive for a stretch? Give you a chance to rest. SAILOR That'd be good, Lula. Sailor kisses her and climbs into the back seat and lays down. Lula slides behind the wheel and lights up a More. She winks goodbye to the old man and wheels the car out towards the big beyond. CUT TO: 108. INT. TEXAS HIGHWAY - DAY The reception gets bad on the big band tune and Lula starts turning the dial. Up comes a nationwide call-in talk show and she leaves it there. ARTIE MAYER, the radio host talks to his callers. ARTIE (with a gruff Brooklyn accent) Come in, Montgomery, Alabama. CALLER #1 (elderly sounding woman) Artie? That you, Artie? ARTIE Yes, ma'am. What's on your almost- perfect mind this evening? CALLER #1 How ya feelin', Artie? I heard you wasn't doin' too well recent. ARTIE I'm fine, thank you. I had a cardiac infarction but I'm on a new diet and exercising regularly. I've never felt better. CALLER #1 Well, that's so good to hear, Artie. You know some of us depend on you down this way. You're so entertainin' and you get so many interestin' guests. ARTIE Thank you. It's listeners such as yourself who made me want to get up out of that hospital bed and back into the studio as fast as I could. LULA (attacking the dial) Jesus! How could anyone listen to this crap? Lula takes a puff of her More and tosses it out the window and starts turning the radio dial - finds a news station. REPORTER (NEWS STATION) ...live in exchange for sexual favors. Police said they have identified and questioned at least four girls, all Asians twelve to fifteen years old, who have been living in the North Houston warehouse with a Vietnamese pimp since February. The girls are being treated as victims, said police Sergeant Amos Milburn. �These are really just children,' he said, �but they've been exposed to a lot already. LULA (lights another cigarette) I'll bet. REPORTER In international news, India plans to release crocodiles in the Ganges, the holy Hindu river in which millions of people bathe annually, to scavenge for corpses, authorities said. CUT TO: 108A. MURKY WATER WITH DEAD BODIES FLOATING A crocodile suddenly breaks the surface of the water with a rotted human corpse clutched in its mighty jaws. REPORTER (voice-over) The reptiles were supposed to be of a docile species, said a senior government official, but it seems the breeders bungled and reared attack crocodiles. CUT TO: 109. INT. THUNDERBIRD - HIGHWAY TO SAN ANTONIO - DAY LULA Damn! REPORTER The Indian official who supplied this information did so only on condition of anonymity. The Uttar Pradesh state authorities last October released five hundred turtles... CUT TO: 108B. MURKY WATER WITH DEAD BODIES FLOATING A giant turtle breaks the surface of the water clutching a rotted human corpse in its mighty jaws. REPORTER (voice-over) in the Ganges near Varanasi to try and reduce human pollution and now plan to put in the crocodiles to devour floatin' corpses dumped by Hindus too poor to pay for cremation. CUT TO: 110. INT. THUNDERBIRD - HIGHWAY TO SAN ANTONIO - DAY LULA HOLY SHIT!! IT'S THE NIGHT OF THE LIVIN' FUCKIN' DEAD!!!! Sailor jumps awake in fright as Lula yanks the car off the road and brings it to a screeching halt in the middle of the desert. SAILOR What's that, peanut? LULA I can't take no more of this radio... (switches it off) I ain't never heard so much concentrated weirdness in my life, Sailor Ripley, you find me some dancin' music right this minute... I MEAN IT!! Sailor starts spinning the dial. LULA (still crazed) The world's gettin' worse, I think, Sailor. And it don't sound like there's much we can do about it, neither. SAILOR This ain't news, sweetheart. I hate to tell ya. Suddenly Sailor finds a station - THE STATION - and he and Lula look at each other in disbelief... SAILOR POWERMAD!!! Sailor turns it up full blast and he and Lula dance hard until they disappear in the dust. CUT TO: 111. INT. MAISON VIOLETTE - LOBBY - NEW ORLEANS - NIGHT Marietta and Johnnie are standing at the registration desk - talking to the HOTEL MANAGER. MANAGER Here's your key. Mr. Farragut's already taken care of everything. I hope you'll be comfortable, Mrs. Fortune. You're in room 351 right down the hall from Mr. Farragut. The DESK CLERK steps in from a room behind the registration desk. DESK CLERK I have a phone call for you, Mrs. Fortune ... at the phone by the fireplace. Please wait for it to ring. Marietta looks at Johnnie. She goes to the phone and picks it up when it rings. MARIETTA Yes?... CUT TO: 112. INT. HOTEL ROOM - NEW ORLEANS - NIGHT Marcello Santos sits on the edge of his bed holding the telephone. SANTOS I got your message... But you went right to Johnnie, didn't you?... I can't trust you, bitch - not for one minute... Naughty girl... Sailor and Lula are headed west, and guess what? There's no turning back. I'm in a killing mood. MARIETTA No... SANTOS My very best to Johnnie... Bless his soul. He hangs up the phone. CUT TO: 113. INT. MAISON VIOLETTE - LOBBY - NEW ORLEANS - NIGHT Johnnie enters as Marietta hangs up the phone - covering her fear. JOHNNIE Who was that?... Who know's your here? MARIETTA I'll be damned if that wasn't a wrong number? CUT TO: 114. INT. MR. REINDEER'S PRIVATE DINING ROOM - NEW ORLEANS - NIGHT Upstairs in a private dining room, Mr. Reindeer is dining with TWELVE GUESTS in formal evening attire. Behind him, a JAZZ TRIO and a STRIPTEASE ARTIST are hard at work. Mr. Reindeer smiles and leans over very close to a beautiful WOMAN sitting to his left. MR. REINDEER Little Miss Muffet sat on a tuffet, eating her curds and whey... Along came a spider and sat down beside her, and extended his hand out to play. With this, he reaches under the table between her legs. She turns red and Mr. Reindeer laughs and lights a cigarette. MR. REINDEER Oh dear... Another Miss Dull Cunt. Reggie and Drop Shadow enter through a door on the other side of the room. Reggie catches Mr. Reindeer's eye and smiles. Reggie reaches in his pocket and takes out a silver dollar - flips it in the air - catches it - and puts it back in his pocket. Mr. Reindeer smiles and waves him over to the table. He whispers something in Reggie's ear - then gives him an envelope. MR. REINDEER When I gave you the silver dollar I forgot to give you the contents of this envelope. They are to be returned. Show it just before the deed... Reggie pockets the envelope - joins Drop Shadow - and as they are leaving the dining room, they join a woman, JUANA, who looks half- Oriental, half-Cajun. She wears a strange, short, yellowish-bleached blonde wig. CUT TO: 115. INT. GALATOIRE'S RESTAURANT - NIGHT They go downstairs together. At the bottom of the stairs, Reggie and Drop Shadow catch sight of Johnnie who is sitting in the back of the restaurant having dinner with Marietta. When Johnnie sees the two of them he waves, but at the same time gets a chill up his spine. MARIETTA What is it, Johnnie? JOHNNIE Just some guys I met here... I keep seein' 'em... (looks back at Marietta) Now tell me... Marietta continues to stare at Reggie, Drop Shadow, and Juana before turning back to Johnnie. She also feels the fear. MARIETTA Johnnie, I can't tell you, honey. Is there anyway we can get on the road tonight? We've got to find them kids. JOHNNIE Somethin' was upsettin' you bad last night, and you wanted to tell me and I figured you wanted to tell me so's I could help... MARIETTA I did, honey, but that was last night... Let's just find those two kids before it's too late. JOHNNIE Honey, I have to ask you this... Is Santos involved in any of this? MARIETTA Hell no, baby... I wouldn'ta done that without tellin' you. JOHNNIE That bastard Pucinski... MARIETTA Who?... Uncle Pooch?... JOHNNIE Yeah... The one that introduced Santos to you and Clyde. MARIETTA Johnnie... That's the past... We gotta get on to our future, sugar! JOHNNIE (smiles) All I have to do is grab my suitcase, and I'm ready. You're lucky cause I happen to love night drivin'. MARIETTA Let's head for Texas and see if we can pick up the trail. JOHNNIE Did I tell ya it's great to see ya again? MARIETTA This 'bout the fifth time? CUT TO: 116. INT. MAISON VIOLETTE - STAIRWAY AND HALLWAY - NEW ORLEANS - NIGHT Johnnie and Marietta climb together to the second floor and Johnnie takes Marietta to her room. MARIETTA (as she enters her room) I'll pack my things and meet you downstairs. JOHNNIE And to think what coulda happened in that king-sized bed tonight... MARIETTA (pinching his cheek) You won't of missed much. JOHNNIE See ya downstairs. CUT TO: 116A. MAISON VIOLETTE - JOHNNIE'S ROOM - NIGHT Johnnie smiles and heads up to his room. He opens the door and steps inside. WHAM!! Johnnie is knocked in the head with a heavy metal pipe and he goes down hard. A large dark figure grabs on to him and pulls him to an open window and lowers him into the back of a pick-up. The dark figure follows out the window. DISSOLVE TO: 117. INT. MAISON VIOLETTE - LOBBY - NEW ORLEANS - NIGHT Marietta is sitting in the lobby trying to hold herself together - half- sobbing. The MANAGER approaches and sits next to her. MANAGER I'm afraid his car is gone, Mrs. Fortune. MARIETTA I don't understand this... I don't understand this one bit. He was supposed to meet me right her in this lobby. Somethin' bad has happened - I jus know it. MANAGER Perhaps we should call a local law enforcement officer. MARIETTA HELL NO!!! That's the last thing we need... A buncha cops runnin' around. The front desk clerk steps from behind his desk and hurries into the lobby. DESK CLERK I'm sorry... But I have overlooked this. I'm truly sorry, ma'am. He hands Marietta a note inside an envelope which she opens and reads immediately. We see the note. NOTE Gone fishing with a friend - maybe buffalo hunting. Johnnie. MARIETTA Oh God! What does that mean? MANAGER I'm sure I wouldn't know, ma'am ... and buffalo hunting too ... hmmmmm? MARIETTA And jus when my baby's out on some Texas road with a killer. The front door of the hotel opens and in walks Santos. He seems to know exactly where Marietta is and steps to the door of the sitting room off the lobby. He stands in the doorway and smiles at Marietta. MARIETTA (horrified whisper) Santos... Where's J-J-Johnnie? SANTOS Shhhhhh... (to the manager and desk clerk) Thank you, gentlemen... I'll look after her now... The Manager and Desk Clerk bow to Marietta and Santos and go back through the lobby. Santos walks over to Marietta. Marietta stands. MARIETTA Santos... What's happenin' here? SANTOS Hey... Stop the nervous cry-baby routine... You're my girl now... Santos is gonna wipe away those tears and make you happy... Come on, let's get outta here. MARIETTA Where we goin'? SANTOS Got word the kids are moving through Texas... I think an ending is being arranged there... Come on, lemme see a smile. MARIETTA Please Santos... Where's Johnnie? CUT TO: 118. EXT. SMALL HUT - DESERTED BAYOU - NIGHT Light comes from one small dirty window. CUT TO: 119. INT. SMALL HUT - DESERTED BAYOU - NIGHT Johnnie is tied to a small wooden straight-backed chair. His mouth is gagged and taped shut. His hair is caked with dry blood and one fresh tickle curls down his forehead to his eyes which are just now beginning to open and focus. Juana is finishing tying his left ankle to the chair leg. Johnnie moans and Juana brings her big, smiling face up in front of his. JUANA Johnnie, you take a good look at me, baby, cause you gonna haf'ta watch close to know when we do it to ya... Y'all count when I touch the bottle - HO!!... (she slaps Johnnie hard across the face) There I slap that mutha fucka face - pay attention fucka - otherwise we haf'ta work it all night... Too much fun for us - you see what I mean? Now watch me how I touch a bottle and you count how many times. Juana steps two paces across the hut where two dirty old soda bottles sit - one in one corner perched on a dried tree trunk - the other in the opposite corner perched on an old fence post. Juana touches the left bottle (#1) once, and crosses and touches the right bottle (#2) once and comes back and touches Johnnie's face. JUANA You see, Johnnie. I toucha number one bottle once, I toucha number two bottle once, and I touch your face. This is a game we love to play. I get hot already... Now you meet second Mr. Killer... Does he fish or don't he? Reggie and Drop Shadow step out of the darkness behind Johnnie and come around to face him. REGGIE Hey, Johnnie... Reggie - you remember Reggie, don't ya? Look what I caught. (to Juana) I'm gettin' hot too, mama. Reggie and Juana kiss hot in front of Johnnie. Juana puts her face down in front of Johnnie's again. JUANA Now Johnnie... We want to feel the feelin'... Feel the feelin'... We be gettin' up close to you, mutha fucka, then we go out away ... no' mally we touch two bottles - both bottle b'fore comin' back and touchin' you... This mean you okay fo awhile... If we go out away, and we touch ONLY ONE BOTTLE b'fore comin' back and touchin' you - you gonna hear a click from a gun b'hind you and then it's gonna be bout ten seconds... Remember that number ten - then that's when the end come... What end I talk 'bout Johnnie? - I talk about THE END, FUCKA- That head will go every part'a this room... I talk 'bout NO MO JOHNNIE... I think you understand now - we play game. REGGIE (from behind Johnnie) I can't stop her, Johnnie... She get's me too hot doin' this... I'm gonna be right here, but I'm gonna stand right behind ya with this big ol' gun here... Reggie reaches his hand around in front of Johnnie - showing him a .45 Automatic. DROP SHADOW That's a Marine issue. It goes off somethin' terrible - you wanna see? Drop Shadow pulls the hammer back which makes a loud "click." JUANA You hear click? Johnnie jumps as Drop Shadow blows a big hole in the far wall in front of Johnnie. REGGIE (laughs) Hell, it's even worse than I remember... Wait a minute... Reggie comes out in front of Johnnie - Juana grabs him. They kiss hot again. JUANA Okay, gimmee 'nother kiss, Reggie b'fore I fuck ya right now... FUCKIN' HOT NOW, REGGIE. (she opens her mouth with her tongue sticking out) FUCKIN' HOT! Juana screams like a monster from hell coming up close to Johnnie's face. JUANA You think you gonna live through this night?... YOU WRONG... I SMELL YO SHIT NOW, JOHNNIE. GIVE US ONE MO KISS, REGGIE. OH FUCK ME!!! WE TOUCH BOTTLES NOW - FO WE CAN'T WAIT NO MO. Reggie goes back behind Johnnie quick. JUANA I go out now... I toucha one bottle... Reggie... I toucha two bottle... I come back, I touch Johnnie... AHHHHH ... I touch myself... (she puts her hand between her legs) HA!... Now I go out - I toucha one bottle... Do I touch second bottle?... I go now and touch... OH OH... Okay... This time I toucha second bottle... I go back, I touch Johnnie... Then I go back - I kiss Reggie with big gun... Oh God, Reggie done got two big guns... HAH!!!... I go out now... SO FUCKIN' HOT NOW, MAYBE TOO FUCKIN' HOT NOW, FUCKA. I toucha one bottle... DO I GO TOUCH A SECOND BOTTLE?... HUH? - I DO THIS TIME TOUCH SECOND BOTTLE - I RUN BACK TOUCH JOHNNIE - TOUCH REGGIE WITH TONGUE - TOUCH MYSE'F IN HOT FUCKIN' PUSSY - GO OUT NOW... NOW I GO ROUND AND ROUND YOU AHHHH - GO OUT AND TOUCH A NUMBER ONE BOTTLE - WAIT NOW!!! ... REGGIE... YOU SHOW NOW- Reggie reaches his hand around Johnnie's face - tears off tape and gag - then opens his hand and shows Johnnie a cufflink with a particular design in turquoise, orange, and silver. REGGIE I forgot to show you this. The gentlemen that gave this to me said you'd recognize it. Said he wanted it'd be 'bout the last thing you ever saw in this life. JOHNNIE (recognizing cufflink) Oh God... OH GOD... Santos... Oh God Marietta ... are you in on this?... OH GOD!!! JUANA I GO ROUND AND ROUND - DO I TOUCH A SECOND BOTTLE B'FORE I TOUCH JOHNNIE - DO I? DO I???......... (very quietly and breathy) No... I touch Johnnie. As her finger touches Johnnie's face there is a loud "CLICK." Johnnie moans and closes his eyes. JUANA (counting fast) One ... two ... three ... four ... five ... GETTIN' TOO FUCKIN' HOT, REGGIE... FEELIN' MYSE'F ... six ... seven ... eight... Johnnie starts to scream and violently try to move out of his chair. JUANA Nine... (she moves out of the way) FUCK ME NOW, REGGIE... TEN!!! We see a hole in the front of the barrel - BOOM!!! The opposite wall and bottles get covered with blood. Juana and Reggie race into each other's arms and kiss right above Johnnie's dead, bloodied head. JUANA FUCK ME!!!! CUT TO: 120. INT. THUNDERBIRD - TWO LANE TEXAS FARM ROAD - NIGHT Lula and Sailor are driving through the dark desert. LULA Sure is a big deal round here... Alamo Road, Alamo Street, Alamo Square, Alamo Buildin', Alamo Alamo. They ain't forgettin' about it in a hurry. That's the thing 'bout memory? Some things you wish you could forget... What's troublin' you, sugar? SAILOR You know, Lula, I never told you what all I was doin' before I met you. LULA I just figured you was out bein' Mr. Cool... SAILOR Not exactly, sugar... One reason we're in all the trouble we're in right now is cause of what I was doin'... I tried to tell you this before... LULA You're scarin' me, baby. SAILOR Well, there's a good side as well as a bad side to it... The good side is I knew your daddy, and I thought Clyde was a good 