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Leaving Las Vegas Movie Script

Writer(s) : Mike Figgis, John O'Brian

Genres : Drama, Romance

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			LEAVING LAS VEGAS 
		
			       by 
                     
                       Mike Figgis			
		
	
		
      Based on the novel by John O'Brian
	
		
	
	
	
	
	
						SHOOTING SCRIPT
						September 1994
	
	
	
	
	TITLE ON BLACK; '10 P.M. - LOS ANGELES'
	
	DISSOLVE TO:
	
	1 INT. SMART BAR IN BEVERLY HILLS - NIGHT
	
		
	It is the kind of bar where the well-to-do folks of LA go 
	to pick up - or be picked up. Lesser-known actors, agents 
	and executives of all ages.
	
	Into this bar comes Ben.
	
	Ben is in his thirties. He is wearing an Armani suit 
	that could use a visit to the dry-cleaner's. He hasn't 
	shaved in the last twenty-four hours (but neither has 
	any of the actors in the bar). He is a good-looking man 
	but is clearly in trouble of some kind. Although still 
	in control of his faculties, it becomes clear in the 
	following scene that he is much the worse for wear with 
	drink. He looks around the room until he sees someone he
	recognizes and then walks over to a table where two couples
	are seated. The men are young execs, the girls, both blonde 
	and busty, have very white teeth and smile all of the time. 
	The camera follows Ben over to the table. One of the execs
	looks up as Ben gets close. He recognizes him but delays 
	his recognition until the last moment in the hope that Ben 
	is not looking at him.
	 
				BEN
		Peter
		
				PETER
		Ben... how are you, man?
	
	They shake hands. Ben is not invited to take a seat and 
	Peter waits for a while before being forced to introduce him 
	to the table.
	
	Ben Sanderson, Marc Nussbaum, Sheila, Debbie.
	
	
				MARC
		Nice to meet you. I think I 	
		spoke to you on the phone a 	
		couple of years ago. Weren't 	
		you both at MGM with Laddie?
	
				BEN
		That's right. Are you still
		at ICM?
	
				MARC
		No, I'm at Tri-Star now.
	
				BEN
		That's great. Say hello to 	
		Mike for me. That's a 	
		beautiful dress, Debbie, and 	
		those are fabulous earrings, 	
		Sheila.
	
	There is an awkward silence. Ben does not make a move and 
	is not invited to join them. The girls smile.
	 
				MARC
		I gotta tell you, I'm a big 	
		fan of your writing. I loved 	
		Bay of Pigs.
	
				BEN
		Thanks a lot. I didn't 	
		actually write it, I just got 
		the credit. I was fired.
			(to Peter)
		Can I talk to you for a 	
		moment?
	
	Peter gets up and he and Ben walk to the door together. 
	Peter speaks very quietly.
	
				PETER
		Listen, Ben, I can't help you 
		any more. Do you understand?
	
				BEN
			This is the last time. 	
		Promise. I just need some 	
		cash tonight. I lost my 	
		credit cards. The money'll be 
		on your desk first thing 	
		tomorrow morning, Scout's 	
		honor. How's the new one 	
		coming along? I here you got 	
		Richard Gere.
	
	The two men look at each other for a while. Peter's 
	friends are looking at them, as are other people in 
	the room. Peter takes out his wallet and extracts some 
	notes.
	
				PETER
		This is all I have in cash. 	
		Please don't drink it here.
	
				BEN
		Yes, that's fine. I'll	
		messenger it over to you 	
		tomorrow.
	
				PETER
		I don't want it. Ben... I
		think it would be best if you 
		didn't contact me again.
	
	And he turns and walks away, back to his table.
	
	
	CUT TO BLACK:
	
	TITLE ON BLACK; 'LAS VEGAS - 1.20 A.M.'
	
	FADE UP ON:
	
	2 EXT. HELICOPTER SHOT - DAY
	
	Las Vegas. A blaze of color in the middle of a desert.
	
	Credit sequence begins.
	
	CUT TO:
	
	3 INT. LOBBY OF EXPENSIVE HOTEL - NIGHT
	
	A mixture of businessmen and gamblers creates a sense 
	of activity and superficial excitement. Music wafts 
	across the soundtrack, almost drowned by the dense 
	texture of thousands of slot machines, creating an 
	insane New Age symphony.
	
	Credit sequence ends.
		
	Into the lobby from the street comes Sera.
	
	It's hard to tell how old Sera is - somewhere between 
	twenty-five and thirty-five. She is a beautiful American 
	girl. Her face has the freshness of a model in a Sears 
	catalogue. She is dressed simply in a short black skirt 
	and matching jacket. High heels complete the picture. 
	Heads turn as she passes a group of businessmen and it's 
	clear they find her very sexy. She acknowledges their 
	glance with a half-smile and steps into the elevator. 
	She could be a secretary, or a PA to one of the many 
	execs here in Las Vegas at a convention. The body language 
	is a bit different, though.
	
	4 INT. PENTHOUSE SUITE OF HOTEL - NIGHT
	
	A view of night-time Las Vegas through a window. Traffic up 
	and down The Strip; bright, gaudy neon flashing and winking.
	We hear the sound of men laughing and the camera pulls 
	focus and we see reflected in the glass...
	
	...a group of people.
	
	On the table are bowls of potato chips and dip and 
	sandwiches. The TV is on at a sports channel and two 
	boxers pound the shit out of each other.
	
	CUT TO:
	
	5 INT. ELEVATOR - NIGHT
	
	Sera looks at herself in the gold-tinted mirror in 
	the elevator. She takes out a lipstick and freshens 
	her lips. Some people get out and the elevator climbs 
	higher. We see from the indicator that she has punched 
	the Penthouse button. Camera moves in tighter and we 
	see that she is nervous but concealing it well. The 
	elevator stops, the doors open and she steps right 
	into the Penthouse.
	
	6 INT. PENTHOUSE - NIGHT
	
	A bottle of Scotch is almost empty. The man talking is Yuri. 
	He is Russian, in his early forties, a little overweight, 
	a big man wearing a blue silk suit. His thick black hair 
	is greased and combed back. He wears a lot of jewelry, 
	all gold. Rings, a bracelet and a Rolex. Two men in 
	business suits and a weird stoned woman in her late 
	thirties listen to him.
	
				YURI
		...but please, my friends, 	
		call me Yuri. It is my 	
		American name... I picked it 	
		myself.
	
	The three people laugh. There is a hint of contempt in 
	the way that they speak to Yuri.
	
				FIRST BUSINESSMAN
		Where are you from, Yuri? I 	
		mean, you sure don't talk 	
		like you're from this neck of 
		the woods. 
	
	Yuri smiles at them.
	
				YURI
			(silky voice)
		No... you are right, my 	
		friend. How very observant 	
		you are. I am from Latvia.
		
				WEIRD WOMAN
		Tough place.
	
				YURI
		Yes, I hear this too. But I 	
		am not a tough man. I am a 	
		simple man who is here to 	
		learn from my new American 	
		friends.
	
	The door opens and Sera comes in. Everybody stares at her.
	
				WEIRD WOMAN
			(turned on)
		Is this your friend, Yuri?
		
				YURI
		Ah, yes... Sera.
	
	The second businessman takes out a small manila envelope from 
	his inside pocket.
	
				YURI(cont'd)
		Sera is my gift to you, my 	
		friends from New York City. 	
		You may do with her as you 	
		wish in this beautiful room, 	
		which is also my gift for the 
		night to my friends. You will 
		find her a very willing girl, 
		for all of you...just as we 	
		arranged.
	
	Yuri smiles again as the Second Businessman hands him the 
	envelope. The rest of them just stare at Sera, aroused by the 
	idea of her.
		
			SECOND BUSINESSMAN
		Of course, Yuri. I think 	
		you'll find this just as we 	
		discussed.
		
	Yuri gets up.
	
				YURI
		So, my friends... I have other 
		business to attend. Enjoy.
		
		
	He heads for the door, passing Sera. She holds out his arm as 
	he passes.
	
				SERA
			(whispering)
		Yuri... please! Can I talk to 	
		you for a moment.
		
		
	Still smiling, he takes Sera's arm and leads her into the 
	bedroom.
	
	
				YURI
		My friends... excuse me for 	
		just one moment. 
		
		
	7 INT. BEDROOM - NIGHT 

	Mirrors reflect mirrors.
	
				SERA
		I don't want this. Yuri, 	
		please. I really don't want 	
		this. You know I don't like 	
		to do groups.
	
				YURI
			(playful)
		I want this, Sera. I need 	
		this!   
		
					SERA
		Please, Yuri.
		
		
		
	He holds put his arms. Sera goes to him. He hugs her with one 
	arm. He pulls up her skirt so that her panties are exposed.
	
				YURI
			(seductive)
		These are pretty.
	
	Sera watches in the mirror as he pulls her panties to reveal 
	her buttocks. He strokes her there gently with his other 
	hand. We see that there are two fine scars there. He speaks 
	gently, like a father to a daughter.
	
				YURI(cont'd)
		Is this how you would repay 	
		me for coming all this way to 
		find you again? Driving 	
		through the desert to protect 
		my little Sera.
	
	CUT TO:
	
	FLASHBACK-SILENT-GRAINY BLACK AND WHITE
	
	8 INT. ROOM - NIGHT
	Yuri and Sera - different time, different place. Sera looking 
	frightened, backing away from Yuri, who pulls a switchblade 
	from his jacket and opens it.
	
	
	CUT BACK TO:
	
	9 INT. PENTHOUSE - NIGHT
	Yuri enters from the bedroom. The weird woman is doing a line 
	of coke.
	
				YURI
			(cheerful)
		Sera wanted me to ask if she 	
		might undress at once for 	
		you. She has a very beautiful 
		undergarment witch she would 	
		like you to see.
	
	ANGLE ON BEDROOM DOOR
	
	Sera comes into the room. She smiles and begins unbuttoning 
	her jacket.
	
	She takes it off and drops it on the floor, and then unzips 
	her skirt and steps out of it. Sera is now in control and 
	playing the room. In the background. Yuri leaves the room.
	
				WEIRD WOMAN
			(strange voice)
		Come here.
	
	Sera walks over and something strange takes place between 
	them.
			
	CUT TO:
		
	10 INT. BEN'S BAR. LA - MORNING
	
	The bar is dark but through a small window we see that it is 
	a very bright sunny day outside. The bartender reads the Los 
	Angeles Times. The bar surface is red vinyl. There are five 
	customers, all single men. One of them is Ben and he is 
	sitting at the bar watching TV. A game show is in progress 
	and the TV sound is loud. Ben finishes his drink and grimaces 
	before indicating to the barman that he'd like a repeat. 
	Barman pours him a whiskey - Cranberry - and the camera moves 
	in closer to Ben, ending in a close-up. Ben takes a big hit 
	from the drink and concentrates on the TV. We hear from the 
	TV sound that it is a word game with a big prize. Ben smiles 
	to himself.
	
	BEN'S POV OF TV
	
	The talk show hostess, an American TV beauty, is showing the 
	audience the prizes available in today's game show.
	
	ANGLE ON BEN
	
	As he finishes that drink and asks for another. The camera 
	moves in close on his eyes. 
	
	BEN'S POV OF TV
	
	She turns from the prizes and looks straight into the TV 
	camera, which starts zooming into her. At first, what she is 
	saying makes complete sense, but then things change...
	
				HOSTESS
			(smoky, sexy voice)
		Just look at this studio, 	
		Ben, filled with glamorous 	
		merchandise, including an 	
		extra special prize chosen 	
		just for You! A big, bad, BMW 
		motorcycle, complete with 	
		saddle bags stuffed with 	
		thousands of US dollars.
	
	"There are oohs" from the audience.
	
	
				HOSTESS
		So, Ben,
			(tosses her hair)
		Let's find a bar, get drunk 	
		and go for a ride.
	
	The studio lights dim.
	
				HOSTESS
		Then we can get a suite 	
		somewhere and order up a case 
		of champagne while we fuck 	
		ourselves silly.
	
	Close-up on males in the audience doing the grunt.
	
				HOSTESS
		This is it, just for You,
		Ben. 
	
	She unbuttons her top, licks her fingers and makes her 
	nipples hard.
	
				HOSTESS
		Because You've been so 
		patient, and because I want 
		to fuck you, take care of 
		You, and because there's 
		nothing else in the world 
		worth doing.
	
	Section of the audience clapping - some women dabbing their 
	eyes.
	
				HOSTESS
		Tell you what, Ben, let's go 
		to Las Vegas. The bars stay 
		open twenty four hours night 
		and day. Just you, just me, 
		Ben, think about it, all 
		right? 
	
	ANGLE ON BEN
	
	Lost in his fantasy
	
				BEN
		I'll think about it.
	
	He looks back at the screen, but the show has returned to 
	what is known as "normal". He finishes his drink and then an 
	attack of nausea hit him. He takes a deep breath and rolls 
	his neck and his head. The barman puts down a fresh drink. 
	Ben looks at his own hands...which are steady.
	
				BARMAN
		You should go on that show.
	
	CUT TO:
	
	11 INT. SMART BUSINESS SPACE - MORNING
	
	Ben sitting at a desk with a phone wedged on his ear, a cup 
	of black coffee on the desk. The walls are covered with 
		framed film posters and one complete wall has shelves jammed 
	with scripts. He nods from time to time and sometimes says 
	'yes' or 'OK', but it becomes clear that there is no one on 
	the other end. He drinks from the coffee cup. A woman comes 
	up to his desk, a business colleague. She puts a wad of 
	messages down on the desk.
	
				BEN
		Yeah, but what's the back end 
		like? By the time we're 
		through with P and A, the 
		above-the line is going to 
		take it to about fifteen and 
		with something like this... I 
		don't know if Disney will go 
		for it... can I call you back 
		on this? OK... chow for now.
			(to the woman)
		Good morning.
	
	
				WOMAN
			(cautious)
		Ben... Mr. Simpson was looking 
		for you. I said that you had 
		a doctor's appointment. He 
		said for you to go in as soon 
		as... are you OK?
	
				BEN
			(pulling himself together)
		I'm fantastic, but I gotta go 
		out now... very important 
		meeting, could make a coupla 
		million for the company.
	
	Ben gets up and as he passes her he grabs her and dances a 
	few steps. It is clear that she likes Ben, but when his face 
	gets close to hers she smells the alcohol on his breath and 
	she turns away. Ben stops dancing and smiles sadly.
	
				WOMAN
			(tender)
		Ben?
	
				BEN
		What?
	
				WOMAN
		You should go now.
	
	She leaves the room and Ben goes through some routine at the 
	desk. He opens a drawer of a filing cabinet and puts in his 
	whole arm, looking for something at the very back. He pulls 
	out a small vodka bottle and opens it and then pours the 
		contents into his coffee cup. With cup in hand he leaves the 
	room.
	
	CUT TO:
	
	12 INT. SMART OFFICE - DAY
	
	Ben is sitting opposite his boss, Mr. Simpson, who is very 
	upset. He hands Ben an envelope. Ben opens it and pulls out a 
	check. He looks at the amount.
	
				BEN
			(genuinely moved) 
		This is to generous Peter.
	
				SIMPSON
			(close to tears)
		Well... we liked having you 
		around, Ben, but you know how 
		it is.
	
				BEN
			(ashamed)
		Sure thing... and I'm sorry.
	
	Ben takes a swig from his coffee cup.
	
				SIMPSON
			(trying to cheer things along)
		Well... what are you going to 
		do now?
	
				BEN
		I thought I might move out to 
		Las Vegas.
	
	Simpson looks puzzled.
	
				BEN
		The bars never close.
	
	CUT TO:
	
	13 INT. BEN'S BMW - DAY
	
	Ben drives though Beverly Hills. He pours the content of a 
	small bottle of vodka into an empty Coke can, puts the empty 
	bottle under the seat and then drinks from the can.
	
	He slips a tape into the player and we hear "Lonely 
	Teardrops", by Michael McDonald, one of Ben's favorite songs. 
	At a traffic light a cop on a bike pulls up next to him and 
	Ben takes a pull from the Coke can and smiles, mouths the 
	word "hot". The cop nods back at him, the light changes and 
	they both pull away.
		
	CUT TO:
	
	14 EXT. SANTA MONICA STREET - DAY
	
	Ben carries a brown paper bag which clinks. Camera follows 
	him as he walks down the street. He looks at... 
	
	BEN'S POV
	
	A girl walking ahead of him in the same direction. She is 
	walking her dog. She is attractive from behind. We hear Ben's 
	thoughts.
	
	
				BEN
			(voice-over)
		Beautiful, no just the shape 
		which is nice, but the whole 
		walk, the feeling, the 
		movement. This girl is 
		pleased with herself. Maybe 
		this is the only art I can 
		appreciate... I don't know if 
		this is good or bad, but 
		right now she is really 
		beautiful. When I was a boy 
		it would have been really 
		important that she have a 
		pretty face, to go with this 
		body, I mean. I still would 
		like to see her face, but her 
		beauty is no dependent on her 
		face.
	
	The dog gets interested in something on the sidewalk and she 
	bends down to pull at its collar. 
	
				BEN
			(voice-over)
		I wonder what kind of panties 
		she's wearing. Shit, that's 
		too specific, but... on the 
		other hand, you can never be 
		too specific... but then, the 
		infinitesimal must be, by 
		definition, as infinite as 
		the infinite.
	
	Suddenly the girl stops. Ben catches up with her and cannot 
	resist looking into her face.
	
				BEN
			(voice-over)
		God, she's so young.
		
	The girl sees Ben and smiles an innocent smile,
	
				GIRL
		Hi!
	
				BEN
		Hi... 
	
	CUT TO:
	
	15 EXT. BEN'S HOUSE IN SANT MONICA - DAY
	
	Ben walks up to his house still carrying the paper bag. A 
	young boy of about thirteen years of age is fixing a beat-up 
	bike. Ben greets him.
	
				BEN
		Hey, Brad... how's it going?
	
				BRAD
		Hey Ben. There were a couple 
		of guys looking for you.
	
				BEN
		What did they look like?
	
				BRAD
		Suits. I didn't tell them 
		anything. You know anything 
		about gears?
	
	Ben takes a look. The gear mechanism is all bent out of 
	shape. He bends down to have a look. It is clear from the way 
	he deals with this mechanical problem that he's good with his 
	hands. He doesn't try to force anything but he moves the 
	chain and gear mechanism to get to the problem.
	
				BEN
		How'd this happen? 
	
				BRAD
		I was going real fast down on 
		the beach and something 
		slipped and everything got 
		jammed up.
	
				BEN
		The news is not good, kid. 
		This bit here... see 
		there... it's broken. You need 
		a new  one.
	
				BRAD
			(upset)
			How much, do you think?
	
				BEN
		I don't know. I'll find out 
		though.
	
	Ben gets up, picks up his bottles and heads for his house. He 
	looks back and Brad is sitting still by the bike, looking 
	totally dejected. This really seems to upset Ben.
	
	CUT TO:
	
	16 INT. BEN'S HOUSE - AFTERNOON
	
	Ben is naked and the shower can be heard in the background. 
	The house is austere, only the minimum of furnishing. He 
	pours a large tumbler of vodka and takes a gulp, then tops up 
	the glass. He turns on the stereo, selects a record - Miles 
	Davis, Kind of Blue - and puts it on the turntable. He turns 
	on the cassette recorder and inserts a new blank tape. He 
	puts the machine into the record mode. He kneels down next to 
	the deck and with complete precision puts the needle on the 
	second track without any problem. The music starts and 
	continues through the next sequence. 
	
	17 INT. SHOVER - DAY
	
	Ben is in the shower with the glass in his hand.
	
	18 INT. BATHROOM - DAY
	
	Ben shaving with the glass in his hand. He does the area 
	around his mouth first so that he can drink while he does the 
	rest.
	
	19 INT. LIVING SPACE - DAY
	
	Showered and shaved and wearing a smart dark suit, Ben looks 
	handsome and normal. He selects another record and again sets 
	up the cassette machine to record. He turns the stereo up 
	full and dances by himself while watching MTV silent. He 
	tries a turn which is a bit ambitious and loses hi balance. 
	In slow motion we see him fall. Ben lies still on the floor. 
	He smiles to himself and decides top stay there for a 
	while... 
	
	FADE OUT:
	
	FADE IN:
	
	20 INT. SERA'S BEDROOM. LAS VEGAS - DAY
	
	Sera wakes up in bed next to Yuri. (The camera is high above 
	the bed looking down.) She is completely drenched in sweat. A 
	thin shaft o light comes from the crack in the drapes and 
		falls across their bodies. Other than that, the room is in 
	darkness. To get out of bed she would have to climb over him. 
	She lies still. Yuri speaks without opening his eyes... 
	
				YURI
		I missed you, Sera. You have 
		been lonely?
	
	Sera blinks and turns her head towards him.
	
				SERA
		I'm older now, Yuri.
	
	He puts his hand between her legs, over the sheets and grasps 
	her there.
	
				YURI
		You have been lonely?
	
				SERA
			(tensing a little)
		I've been all right.
	
				YURI
		I will keep you safe. We are 
		both older.
	
	He climbs on to her and mounts her. Familiarity.
	
				YURI
		You have been lonely?
	
				SERA
			(flat voice)
		I am lonely, Yuri.
	
	He begins thrusting into her.
	
				YURI
		Yes... so am I.
	
	Camera move slowly into a tight portrait of Sear.
	
				SERA
			(voice-over)
		I had a new dress... we were 
		at the fair, Daddy bought me 
		an ice-cream and I spilt it 
		on my dress... 
	
	CUT TO:
	
	21 INT. DOCTOR'S OFFICE - DAY
	
	Sera is sitting on a sofa talking to an unseen person. 
		(Although it is no entirely clear when this is taking place, 
	the sense of it is that we are in present, i.e. all the 
	events in the film are in the past tense.)
	
				SERA
		... Mom was with Helen, and 
		Dad looked around first to 
		see if she was watching and 
		then he scraped it all off 
		and threw it on the grass and 
		then he kissed me and hugged 
		me and told me it was all 
		right... 
		
	22 INT. SERA'S KITCHEN. LATER THAT DAY
	
	Yuri is tucking into a hearty breakfast. Sera plays with her 
	food.
	
				YURI
			(planning his day)
		This is such a small 
		apartment, Sera. I cannot 
		stay here. We will find a big 
		apartment. You know how much 
		money I can bring you. I 
		belong in... 
			(laughs)
		... wealth and luxury.
	
	He suddenly looks up from his food and smiles at her.
	
				YURI
		Why did you run away from me 
		in Los Angeles?
	
	Sera says nothing.
	
				YURI
		Because you are sly. Mmm? You 
		knew all along that there was 
		more money in Las Vegas. 
		Didn't you?
	
	Sera nervously plays with her food.
	
				YURI
		You have nothing to fear from 
		me. You know why? Because we 
		belong together, Sera. Don't 
		we?
	
	Sera forces a smile.
	
				SERA
				(quietly)
		Yes.
	
	QUICK CUT TO:
	
	FLASHBACK:
	
	23 INT. ROOM - NIGHT
	
	Grainy black-and-white image. Sera on a bed, pinned down by  
	Yuri, who has a knife.
	
	CUT BACK TO:
	
	24 INT. SERA'S HOUSE - DAY
	
				YURI
		I'm pleased with you, 
		Sera... how you have moved up 
		in the world. I showed you a 
		glamorous world when I took 
		you off the streets... 
			(shaking his head)
		and how you repay me.
	
				SERA 
		Where have you been staying?
	
				YURI
		With an old friend.
	
	He drops his fork.
	
				YURI
		But that is none of your 
		affair. You will call this 
		morning and book me into a 
		hotel suite where I will make 
		new contacts for us.
		
	The mood has changed and Sera does her best to move out of 
	these dangerous waters.
	
				SERA
		You'll need some money, then.
	
	Yuri nods. Sera rises goes to a kitchen drawers and finds 
	money.
	
				YURI
			(becoming angry)
		It is, after all, Sera, my 
		money.
	
				SERA
				(calmly)
		Yes, of course. How much do 
		you need?
	
				YURI
			(shaking his head)
		All of it. I need to buy many 
		things... all of it!
	
	Yuri is very angry and as Sera hands him the money, he hits 
	her, hard, knocking her back into the refrigerator. His ring 
	cuts her cheek.
				YURI
			(shouting)
		Don't look at me like that.
	
	And then his anger goes and he becomes quite tender with her. 
	He takes her face in his hands to look at the cut.
	
				YURI
		It's not so bad. It is 
		nothing.
			(whispers)
		I need money, Sera. I need it 
		fast. You must go on the 
		street tonight. For me.
		
	He sits down with shaking hands. He suddenly seems more 
	vulnerable than she is. He goes to the window and looks out, 
	left and then right, as if he expects to see something.
	
				YURI
		I need money fast, Sera. I 
		want you back on the street. 
		Tonight.
		
	FADE OUT:
	
	FADE IN SLOWLY - SOUND FIRST:
	
	25 INT. BEN'S HOUSE - NIGHT
	
	Ben opens his eyes. The only light comes from the TV. The 
	miles Davis record has got caught on a scratch and is 
	repeating the sane phrase over and over again. He looks at 
	his gold Rolex and then fingers the wedding band on his 
	finger.
	
	CUT TO:
	
	26 INT. BEN'S BAR. LA - NIGHT
	
	Ben is sitting at the bar. He drinks a large glass of 
	something very quickly and then immediately orders another.
	
	He drinks this a little slower but still too quick, finishes 
	it and then orders another. He looks around the bar and sees 
	a woman sitting by herself, thirtyish, pretty and receptive. 
	She looks and sees Ben, and he smiles at her. She smiles 
	right back. Ben talks across the bar. 
	
				BEN
			(charming)
		Good evening.
	
				PRETTY WOMAN
			(pleased)
		Hi.
	
				BEN
		I'm Benjamin...Ben.
	
				PRETTY WOMAN
		I'm Teri.
	
	Ben walks over to where she is. She is pleased that this 
	good-looking man has come over to make a play. She makes a 
	noise with her straw to indicate that her glass is empty.
	
				BEN
		I'll get you another 
		one... and me too. Mind if I 
		join you?
	
	She watches him walk to the bar. He gets the drink and walks 
	back to her. He sets the drinks down on the table and sits 
	down. As he does so, his face gets close to hers and she 
	smells the booze on him.
	
				PRETTY WOMAN
		Wow... been drinking all day?
	
				BEN
		But of course.
	
	She looks at him, a disappointed expression on her face. She 
	is no longer interested in being seduced by this man and this 
	much is clear to Ben.
	
				BEN
		Why don't we finish these and 
		go to my apartment on the 
		beach?
	
	She doesn't respond.
	
				BEN
		We can watch a movie and I'll 
		mix you up a gooey blender 
		drink.
		
	Ben winces at his own words. He shakes his head.
	
				PRETTY WOMAN
		I have to get up pretty early 
		tomorrow. I'll just finish 
		this and go. Thanks anyway.
		
	They drink in silence for a while. Ben takes a deep breath.0
	
				BEN
			(pathetic)
		I really wish that you'd come 
		home with me. You're so cute 
		and I'm really good in 
		bed... believe me... you smell 
		good too... 
	
	He stops and frowns as he stares into his empty glass.
	
				BEN
		No, OK.
	
	Ben tries to stand and has to pull himself up by holding the 
	bar. It's a strange thing with drunks like Ben... when they're 
	up they have balance and timing, but when they're down it all 
	falls apart. She starts to speak but then doesn't. A look of 
	great sadness comes over her.
	 
				PRETTY WOMAN
		I have to go now. Thanks 
		anyway.
	
	She stands to go.
	
				PRETTY WOMAN
		Maybe you shouldn't drink so 
		much.
	
	She walks to the door and Ben turns to the bar, watched by he 
	Barman, who is a little concerned.
	
				BEN
			(to himself)
		Maybe I shouldn't breathe so 
		much, Teri. Ha... ha.
	
				BARMAN
			(sever voice)
		Time to go, buddy... We're 
		closing up.
	
	Ben gets out his wallet but his hands are shaking so much 
	that he cannot extract any bills. He is very embarrassed and 
	tries again, but to no avail.
		
				BEN
		Would you... ?
	
	The barman shakes his head in disgust as he goes into the 
	wallet and takes some money.
	
	CUT TO:
	
	27 EXT. LA STREETS - NIGHT
	
	Ben is cruising in his car, listening to music on his stereo.
	
	CUT TO:
	
	28 INT. STRIP CLUB - NIGHT
	
	Ben comes into the club and sits down next to the stage, 
	where a dancer is doing her thing accompanied by a live blue 
	trio. A swimsuited waitress comes to the table.
	
	WAITRESS
	There's a one-drink minimum per show, I hope you saw the sign 
	when you came in. Anyway, they're supposed to tell you.
	
				BEN
		Yes, I heard, and it's not a 
		problem.
	
				WAITRESS
		What do you want?
	
				BEN
		What are my choices?
	
				WAITRESS
		Everything's ten dollars, and 
		there's no alcohol.
	
				BEN
		No alcohol?
	
				WAITRESS
		No alcohol. You gotta get 
		something else. Everything's 
		ten dollars. What do you 
		want?
	
				BEN
		What do you think I should 
		get?
	
				WAITRESS
		Non-alcoholic malt beverage?
	
					BEN
		... Noooo.
	
				WAITRESS
		Orange soda?
	
				BEN
		No.
	
				WAITRESS
		Coffee?
	
				BEN
		No.
	
				WAITRESS
		Sparkling apple cider?
	
				BEN
		No.
	
				WAITRESS
		Water?
	
				BEN
		Water?
	
				WAITRESS
		One drink minimum per show. 
		Everything's ten dollars. 
		Now... tell me what you want 
		or I'll eighty-six you.
	
				BEN
			(decides)
		Water.	
	
	She writes down W.A.T.E.R. and walks away. Ben calls her 
	back.
	
				BEN
		Just how much would it cost 
		for you to eighty-six me?
	
	ANGLE ON THE STAGE
	
	A tough black girl dances in a world of her own, impervious 
	to the men who stare at her. The trio grinds out a dirty 
	blues. A man opposite Ben places a dollar bill on the stage 
	and as the dancer squats down to pick it up he stares between 
	her legs an winks. The Waitress puts down a styrofoam cup and 
	a bottle of water in front of Ben but refuses to look at him.
	
				WAITRESS
			(hostile)
		Three-fifty.
	
	Ben puts down a hundred on to her tray.
	
				BEN
			(polite)
		Could I have fives please? 
		Keep one for yourself.
	
	This throws the Waitress for a loop.
	
	CUT TO:
	
	29 INT. BATHROOM OF STRIP CLUB - NIGHT
	
	Ben drinks all of a fifth of bourbon. Other guys come and go, 
	pissing against the urinal. Ben offers one of the guys a 
	drink, the pianist from the trio. He takes a shot.
	
	CUT TO:
	
	30 INT. STRIP CLUB - NIGHT
	
	Ben sits next to another man watching the show. On stage a 
	tall blonde dances with her own reflection in a mirror. Ben 
	turns to his neighbor.
	
				BEN
		To me nothing is more 
		beautiful than the 
		relationship between the 
		reflection of a woman and the 
		woman who has created it.
	
				NEIGHBOR
			(completely uninterested)
		No shit!
	
	30A EXT. LA STREETS - NIGHT
	
	Ben drives in his car.
	
	CUT TO:
	
	31 EXT. SUNSET BOULEVARD - LATER THAT NIGHT
	
	Ben is cruising in his car, listening to 'Lonely Teardrops' 
	again. He's looking for a prostitute. He sees a girl, but 
	when he slows down she ducks into a doorway. 
	
	He looks in his rear-view mirror and sees a cop car coming up 
	fast. Ben panics for a second. There is a bottle between his 
	legs. The cop car draws level and cruises alongside him for a 
	while, but then puts its lights and siren on and speeds off, 
	doing a U-turn.
		
	Ben continues and then sees an Hispanic girl and stops. He 
	winds down the window. He is by now almost incoherent.
	
				BEN
		Good evening.
	
	32 EXT. KERBSIDE - NIGHT
	
	The girl looks up and down the street and then walks over to 
	the car and bends down to the window.
	
				HISPANIC GIRL
		You wanna date? You wanna 
		date me?
	
	The girl's eyes shift constantly from Ben to the street and 
	then back again.
	
				BEN
			(cut to the chase)
		I'll give you a hundred 
		dollars for a straight forty-
		five minutes. You get the 
		room.
		
	Ben shows her the money. 
	
				HISPANIC GIRL
			(trying to take him)
		The room is twenty. You pay 
		for it.
	
	Ben laughs.
	
				BEN
		OK... but only because I think 
		that the concept of surrender 
		fits in with the big picture 
		right now. How about over 
		there?
	
	He gives her a twenty and indicates a motel across the 
	street. She sets off and he gets out of the car. As he does, 
	a wave of nausea hits him. He shakes his head violently and 
	then lurches across the street, causing two cars to hit their 
	brakes. The camera follows him into the dark parking lot of 
	the motel, where the Hispanic girl is waiting.
	
				BEN
			(slurring badly)
		I canremember... if 
		mywifeleffme... or Illeff 
		her... bufuckittanyway... 
	
	The girl laughs at Ben and says something in Spanish.
	
	Slowly the picture gets darker, until all that can be seen is 
	the headlights from the passing cars on Sunset... and then... 
	
	33 INT. BEN'S HOUSE - DAWN
	
	Ben wakes up on the kitchen floor. The fridge door is open 
	and its light is what lights Ben. Inside the fridge are one 
	green pepper and four bottles of vodka. Without too much 
	effort Ben feels for his wallet and sees that it is still 
	there, as are his car keys. He closes the fridge door and in 
	the green light from the window he lies still. The first 
	birds start singing. (the birdsong continues through the 
	following sequence, which does not have sync sound.)
	
	CUT TO:
	
	FLASHBACK
	
	34 EXT. SUNSET BOULEVARD MOTEL. PARKING-LOT DUMPSTERS - NIGHT
	
	At the rear of the motel. Next to some garbage hoppers, the 
	Hispanic girl hugging him and kissing his neck. He tries to 
	kiss her on the mouth, but she turns her face away.
	
	CUT TO:
	
	35 INT. BEN'S HOUSE - DAWN
	
	Ben lying on the floor, thinking.
	
	CUT TO:
	
	FLASHBACK
	
	36 EXT. SUNSET BOULEVARD MOTEL. PARKING-LOT DUMPSTERS - NIGHT
	
	The Hispanic girl kneeling in front of him, unzipping his 
	trousers. Through a gap in the fence, we see traffic going up 
	and down Sunset.
	
	CUT TO:
	
	37 INT. BEN'S HOUSE - DAWN
	
	Ben lying on the floor, thinking... 
	
	CUT TO:
	
	FLASHBACK
	
	38 EXT. SUNSET BOULEVARD MOTEL. PARKING-LOT DUMPSTERS - NIGHT
	
	The girl takes his hand and kisses it. She begins sucking the 
	fingers, taking the whole hand into her mouth.
	
	CUT TO:
	
	39 INT. BEN'S HOUSE - DAWN
	
	Ben suddenly sits up and looks at his hand. His wedding ring 
	has gone. He thinks about this for a long time.
	
	CUT TO:
	
	40 INT. BANK - MORNING
	
	Ben waiting in line to cash a check. He looks unwell and is 
	having difficulty standing straight. At last it is his turn. 
	He goes to the counter and hands over a check to the girl.
	
				BANK GIRL
		OK... four thousand, six 
		hundred dollars... one moment, 
		sir... 
	
	She looks at her computer read-out.
	
				BANK GIRL
		That'll leave five dollars in 
		your account. Would you sign 
		the back of the check, 
		please?
		
				BEN
			(surprised)
		You couldn't cash it just 
		like it is?
	
				BANK GIRL
			(puzzled)
		I'm sorry, sir. Is there a 
		problem?
	
	Ben picks up a pen and tries to sign, but his hands are 
	shaking so much that he cannot do it.
	
				BEN
			(embarrassed)
		Well... to tell you the truth, 
		I'm a little shaky right now. 
		I just had a brain 
		surgery... Why don't I come 
		back after lunch, when I'm 
		feeling a little better? We 
		can take care of it then.
		
	CUT TO:
	
	41 INT. BEN'S BAR. LA. - MORNING
	
	Ben seated at the bar, a pile of bills in front of him. The 
	Barman sets down a vodka, picks up the empty glass and takes 
	some bills, shaking his head in disapproval. The TV is on, 
	some game show as before, and Ben watches carefully, looking 
	for a sign from the girl, but the show proceeds in its 
	'normal' fashion. The only difference is that the hostess is 
	played by the girl in the bank. Ben grabs the Barman's 
	attention.
	
				BEN
		I think, when I'm done with 
		this, I'll have gin and 
		tonic... Bombay gin and tonic.
		
	The Barman loses it
	
				BARMAN
			(angry)
		You should be having coffee. 
		Do you know what time it is? 
		You're a young man.
			(calmer)
		It's none of my business, but 
		if you could see what I see, 
		you wouldn't do this to 
		yourself.
	
	Ben is taken aback by the emotion in his voice. In his mind, 
	cynicism and the desire to cry fight it out. He holds the 
	emotion back, and looks down at the bar.
	
				BEN
		I understand what you're 
		saying... I appreciate your 
		concern. Its not my intention 
		to make you uncomfortable. 
		Please... serve me today and I 
		will never come in here 
		again.
			(cheerful)
		If I do, you can eighty-six 
		me.
	
				BARMAN
		Sure, sure, I can eighty-six 
		you now if I want to. Stop 
		fucking with me. I don't give 
		a fuck what you do.
	
	He picks up a bottle of gin, fills a glass, slams it on the 
	counter in front of Ben and knocks twice with his knuckles on 
	the bar.
	
				BARMAN
	On the house, son.

	Ben looks at the TV for a sign. None is forthcoming.
	
	CUT TO:
	
	42 INT. BANK - DAY
	
	Ben waiting in line again. The same Bank girl is there and 
	she is dealing with her customers in the same inanely 
	cheerful way that the game-show Hostess dealt with her prize-
	winners. She notices Ben waiting and an irritated look 
	flashes over across her face. Ben studies her. She is pretty 
	in an ordinary kind of way. We hear Ben's thoughts as voice-
	over (or maybe he says them out loud to himself).
	
				BEN
			(voice over)
		Are you desirable? Are you 
		irresistible? Maybe if you 
		drank bourbon with me, it 
		would help. Maybe if you 
		kissed me and I could taste 
		the sting in your mouth, it 
		would help.
	
	Close-up on the Bank Girl as she does her thing, efficiently 
	counting money, smiling, perfect teeth framed by a Cupid 
	mouth. She is wearing a white blouse through which frilly 
	lingerie can just be made out.
	
				BEN
		If you drank bourbon with me 
		naked... if you smelled of 
		bourbon as you fucked me, it 
		would help... it would 
		increase my esteem for you. 
		If you poured bourbon on to 
		your naked body and said to 
		me... drink this... 
		
	Camera moves in tighter on her face as she chats with a 
	customer about the weather.
	
				BEN
		... if you spread your legs 
		and had bourbon dripping from 
		your breasts and you vagina 
		and said drink here... then I 
		could fall in love with you, 
		because then I would have a 
		purpose, to clean you up, and 
		that would prove that I'm 
		worth something. Id lick you 
		clean so you could go away 
		and fuck someone else.
		
					BANK GIRL
		Next!
	
	Ben takes a moment to come out of his reverie. He smiles and 
	comes to the counter, completely in control of himself.
	
				BEN
		I'm back, I've got my 
		check... and baby... I'm ready 
		to sign.
	
	He flips the check over, makes sure she is watching and signs 
	with a flourish.
	
				BEN
		There... Steady as a fucking 
		rock, excuse my French.
				(serious)
		Wanna have dinner with me?
	
	She counts the money out and glares at him as she hands it 
	over.
	
				BANK GIRL
		I'm glad you're feeling 
		better. Do you need a 
		validation?
	
	Ben looks at her and smiles.
	
	CUT TO:
	
	43 INT. SUPERMARKET - DAY
	
	Ben throws items into a trolley. Garbage bags, firelighters 
	and charcoal lighter fluid.
	
	CUT TO:
	
	44 INT. BEN'S KITCHEN - DAY
	
	Ben putting all the kitchen utensils into a large garbage 
	bag. Three other bags are already filled and the kitchen is 
	looking empty.
	
	CUT TO:
	
	45 INT. BEN'S BEDROOM - DAY
	
	Ben is stuffing all the bedding into a garbage bag.  Next he 
	opens a drawer on the dresser and begins taking out clothes 
	and stuffing them into another bag. He pauses for a moment to 
	take a drink from a tall glass.
	
	CUT TO:
		
	46 INT. BEN'S LIVING ROOM - DAY
	
	All the books from the bookcase go into another bag. Then all 
	the records. But he selects certain favorites and as this 
	sequence progresses we can see that Ben is making tapes of 
	these tracks. As soon as he is done with the recording, he 
	throws the album into a garbage bag.
	
	CUT TO:
	
	47 EXT. BEN'S YARD - NIGHT
	
	Ben pours lighter fluid on to a pile of photographs and then 
	throws a match on to it. It bursts into flames. He throws 
	more stuff on and the fire blazes. A curious neighbor watches 
	from a safe distance, not wanting too get involved.
	
	ANGLE ON THE FIRE 
	
	A watercolor, a poem to his wife, photograph of him and his 
	wife, a Polaroid of a naked woman, his medical records, his 
	birth and marriage certificates, divorce papers, strips of 
	photographs from booths, postcards from Hawaii. Two small 
	children (his?). 
	
	ANGLE ON BEN
	
	Now the flames are high and Ben has to stand back as he 
	throws things on to the fire ... his camera, an engraved box, 
	his wife's 'left behind' clothing , a clock... 
	
	CUT TO:
	
	48 EXT. BEN'S HOUSE - DAWN
	
	Fifteen neatly tied garbage bags and Ben's furniture are 
	stacked up on the sidewalk. Ben comes out of his front door 
	carrying a racing bike. He walks to the neighbors' house and 
	places the bike on the porch. We see a label saying 'To Brad 
	from Ben'. He walks to his black car with a small suitcase, 
	gets in and drives off.
	
	CUT TO:
	
	49 EXT. DESERT LANDSCAPE WITH ROAD - DAY
	
	A high wide shot shows a small black car making its way 
	across the frame.
	
	DISSOLVE TO:
	
	50 INT. CAR - DAY
	
	Through the window we see a dead straight road stretching to 
		infinity.
	
	The sunlight is painfully bright. On the soundtrack we hear 
	one of Ben's chosen tapes, which continues through into the 
	next shot.
	
	DISSOLVE TO:
	
	51 EXT. GAS STATION IN THE DESERT - DAY
	
	Ben is filling his car. A Town Car drives in and stops next to 
	the BMW. Three men get out. They look like Russian Mobsters. 
	Ben nods at them and they nod back.
	
	CUT TO:
	
	52 INT. CAR - NIGHT
	
	Same angle through the window but this time we see Las Vegas 
	at night as Ben drives down the main drag. An overdose of 
	neon.
	
	52A EXT. LAS VEGAS STRIP - NIGHT
	
	Ahead we see the light changing, but Ben doesn't notice until 
	it's almost to late. The car stops and we see Sera crossing 
	in front of the car. She gives Ben a look of real attitude 
	because he is over the line and she has to change course to 
	cross in front.
	CUT TO:
	
	53 EXT. HOTEL FORECOURT - NIGHT
	
	Sera is talking to Yuri. A middle-aged man gets out of a cab 
	and Yuri shakes him by the hand and introduces him to Sera. 
	He hands Yuri an envelope and then Sera and he go into the 
	hotel together. Yuri looks around thoughtfully before getting 
	into a cab and driving off.
	
	54 INT. DOCTOR'S OFFICE - DAY
	Improvised scene.(1)
	
	INT. MOTEL RECEPTION - NIGHT
	
	Ben waits to check in while the manager explains the house 
	rules to a family of large people from the Midwest.
	
				MANAGER
		All rooms to be paid a week 
		in advance, maid service is 
		optional, use of the pool is 
		at your own risk, there is no 
		lifeguard on duty.
	
	Above the manager's head is the name of the motel, The Whole 
	Year Inn. Ben stares at it and then smiles.
	
	BEN'S POV
	
	The sign has changed to The Hole You're In.
	
	CUT TO:
	
	56 INT. LIQUOR STORE - NIGHT
	
	Ben has almost filled a trolley with bottles of various 
	brands. He is whistling and seems happy.
	
	57 INT. DOCTOR'S OFFICE - DAY
	Improvised scene.(2)
	
	CUT TO:
	
	58 EXT. THE STRIP - NIGHT
	
	Ben driving. He sees Sera and follows her, then drives up on 
	the sidewalk. She sees him.
	
				BEN
		Hello!
	
				SERA 
		Hello.
	
				BEN
		Are you working?
	
				SERA
			(tough)
		Working? What do you mean, 
		working? I'm walking.
	
	And she walks a few steps to prove it, stopping on the 
	passenger side of his car. They pause for a moment and Ben is 
	confused. He is quite taken with her beauty, but this is not 
	going according to plan. He reaches into the car quickly and 
	picks an open can of bee, draining it before tossing the 
	empty back on to the rear seat.
	
				SERA
		Isn't it illegal to drink and 
		drive?
	
				BEN
			(laughs)
		That's funny.
			(seriously)
		I wonder if you'll take two 
		hundred and fifty dollars to 
		fuck me?
		
	Sera doesn't say anything.
	
				BEN
		That is, if you'll come to my 
		room for an hour, I will give 
		you five hundred dollars.
	
				SERA
		Maybe you shouldn't stand in 
		the road like that. You're 
		pretty drunk.
	
	He bites his lips as he waits for her to respond.
	
				SERA
			(softer)
		You're pretty drunk.
	
				BEN
			(factual)
		Not really. My room's not 
		far. The Whole Year Inn. You 
		can drive with me if you 
		want... 
		
	She makes no response.
	
				BEN
		... or we can walk... or I'll 
		give you cab fare.
		
	Takes out his money.
	
				BEN
		Whatever you want.
	
	She touches the door handle.
	
				SERA
		Why don't you give me the 
		money when I'm in the car, 
		and I'll drive you.
		
	It takes a moment or two to register that she is saying yes. 
	He comes around the car to open the door for her.
	
				BEN
		I'm Ben.
	
	
	
	They shake hands.
	
				SERA
			I'm Sera.
	
	She gets in. Ben gets in.
	
	CUT TO:
	
	59 INT. CAR - NIGHT
	
	Ben hands her the money.
	
				BEN
		Sarah - with an H?
	
				SERA
		No - S.E.R.A.
	
	They grin at each other.
	
				SERA
		You wanna start the engine?
	
	They drive off.
	
	60 EXT. MOTEL PARKING LOT - NIGHT
	
	They sit in the car for a while before speaking.
	
				SERA
		I'm sort of curious... if 
		you're willing to pay me two-
		fifty... not that I mind... I 
		mean, I'm OK with that - why 
		aren't you staying in a 
		hotel?
		
				BEN
		We can go to one if you'd 
		prefer.
	
				SERA
		No, this is fine.  I was just 
		wondering.
	
	Ben switches off the engine but makes no move to get out of 
	the car.
	
				BEN
		Well... I'm here because I'm a 
		drunk who tends to pass out 
		at odd hours for 
		unpredictable stretches. I'm 
		going to a hotel soon. A room 
		with a balcony to pass out 
		on... or off.
		
		He falls silent.
	
				SERA
		Umm. We can stay in the car 
		for an hour if you want. But 
		I really have to go then. 
		It's your time. 
		
				BEN
		Right, I'll get your door. I 
		tend to fade in and out 
		lately.
		
				SERA
		I guess I do too.
	
				BEN
		You what?
	
				SERA
		I sometimes fade out.
	
				BEN
		Oh... well, maybe we better 
		synchronize our spells... or 
		stagger them.
		
				SERA
			(gently)
		You were going to get my 
		door.
		
	He gets out and she waits for him to open the door. She gets 
	out and he offers her his arm. She takes it and they walk 
	into the motel.
	
	CUT TO:
	
	61 INT. BEN'S ROOM - NIGHT
	
	As Ben closes the door. Sera surveys the room.
	
				SERA
			(amused)
		What this room needs... is 
		more booze.
	
	SERA'S POV
	
	There are bottles everywhere. Ben has gone to a lot of troble 
	to lay them out in a pleasing way. 
	
				BEN
		Do you think so?
	
		She turns and looks at him, appraising him. Suddenly she's 
	all business, in control, and Ben likes it.
	
				SERA
		Mind if I use the bathroom?
	
				BEN
		Of course.
	
	She goes into the bathroom.
	
				BEN
		Want a drink? I'm having one.
	
				SERA (off-screen)
		A shot of tequila, if you can 
		spare it.
	
				BEN
		Of course.
	
	Ben smiles, happier than we've ever seen him. He gets her 
	order ready and then he takes a big swig from a bourbon 
	bottle. He sits on the edge of the bed.
	
	The bathroom door opens and Sera comes in wearing a black bra 
	and panties. She's acting the hooker now, tough and sexy.
	
				SERA
		For two-fifty we can do 
		pretty much what you want. 
		You've been drinking, so it 
		might be better if I got on 
		top, but the other way's fine 
		too. I have some jelly in 
		case you want to fuck my ass, 
		that's up to you. If you want 
		to come in my face, that's OK 
		too, just try to keep it out 
		of my hair, I just washed 
		it... and my eyes, it stings.
		
	She walks to the table and downs her tequila in one. Then 
	comes to the bed, where Ben is sitting. She kneels, unzips 
	his fly and begins sucking him. Ben watches her, looks at her 
	reflection in the closet mirror, reaches for the bottle and 
	drinks some, being careful not to disturb Sera. After a while 
	Sera comes up.
	
				SERA
		Do you want to fuck now?
	
				BEN
			(confused)
		Maybe another drink first. 
			More tequila?
	
				SERA
		OK... whatever.
	
	She takes the bottle and drinks. She goes down again. Ben 
	stops her.
	
				SERA
		What's the story? Are you too 
		drunk to come?
	
				BEN
			(sincere)
		I don't care about that. 
		There's time left. You can 
		have more money. You can 
		drink all you want. You can 
		talk or listen. Just stay, 
		that's all I  want.
		
	She looks at him, confused. She sees a strange look on his 
	face. It throws her.
	
	This is a turning point. Both of them are momentarily 
	exposed.
	
	Ben lifts the sheet and moves to one side, indicating that 
	she should come into the bed. She's as confused as he is. She 
	gets in with him and he hands her the bottle.
	
	CUT TO:
	
	62 INT. CASINO - NIGHT
	
	Yuri is losing at one of the tables. He continues to bet 
	though, putting half of what he has left on one number. He 
	lose again. He mops his face with a red silk handkerchief and 
	places another bet.
	
	63 INT. SOMEWHERE IN THE CASINO - NIGHT
	
	The three Russian Mobsters we saw in the desert are walking 
	through the casino, looking for someone.
	
	CUT TO:
	
	64 INT. BEN'S ROOM - NIGHT
	
	They are both in bed, drinking. 
	
				SERA
		So, Ben, what brings you to 
		Las Vegas? Business 
		convention?
		
	They both laugh and Ben hands her the bottle.
	
				BEN
		No, I came here to 
		drink... myself... you know... 
	
				SERA
		To death?
	
				BEN
		Yes, that's right.
	
	He looks at her, she at him, not sure whether to believe him 
	or not.
	
				BEN
		I cashed in all of my money, 
		paid my AmEx card, gonna sell 
		the car tomorrow.
		
				SERA
		How long's it gonna take, for 
		you to drink yourself to 
		death?
		
				BEN
		I think about four weeks, and 
		I've got enough for about two 
		hundred and fifty to three 
		hundred dollars a day.
	
				SERA
		Yes... that should do it. What 
		am I? A luxury?
		
				BEN
		Yeah. And your meter just ran 
		out.
	
	Ben looks at his watch.
	
				SERA
		It's OK... nice watch. Go on. 
		Talk some more.
		
	Ben yawns, suddenly deeply tired.
	
				BEN
		In LA I kept running out of 
		booze and the store would be 
		closed because I'd forget to 
		look at my watch... so I 
		decided to move here because 
		nothing ever closes and 
		because I got tired of 
		getting funny looks when I 
		would walk into a bar at six 
		o'clock... even the bartenders 
		started preaching.
			(yawns again)
		Here, everyone's from out of 
		town so no one cares, no one 
		is overtly fucking up
		
	CUT TO:
	
	LATER.
	
	SIDE ANGLE
	
	Sera is in focus, Ben is asleep.
	
				SERA (voice-over)
		I guess I was intrigued by 
		him... There was a lot of 
		stuff that I wanted to ask 
		him about but didn't because 
		I didn't want to sound too 
		interested in a trick. But I 
		felt as if a relationship was 
		being forged very quickly.
		
	65 INT. DOCTOR'S OFFICE - DAY
	
	Improvised scene. (3)
	
	CUT TO:
	
	65A EXT. SERA'S APARTMENT COMPLEX - DAWN
	
	Sera gets out of a cab and makes her way towards her 
	apartment, changing out of her high heels as she walks.
	
	66 INT. SERA'S HOUSE - DAWN
	
	Sera lets herself in. Yuri is standing in the shadows. She 
	gets a fright when she sees him.
	
				YURI
		Where have you been?
	
				SERA
		It was a slow night. I went 
		to a hotel for a few drinks.
		
	Yuri holds out his hand for her bag. She gives it to him. He 
	finds the money and counts it.
	
				YURI
		A full night on the street 
		and this is all?
	
				SERA
		Like I said... it was a slow 
		night... I'm sorry. It was 
		hard to score.
	
	Yuri slaps her.
	
				SERA
		Don't hit me.
	
				YURI
		What do you think... you are 
		sixteen years old on 
		Hollywood Boulevard?
		
	Yuri talks in Russian, becoming angrier, and slaps her again. 
	He spits on the floor.
	
	Sera falls against the kitchen table and picks up a lethal-
	looking knife. Yuri stops. 
	
				SERA
		Maybe nobody wants to fuck a 
		chick with a cut on her 
		cheek.
		
	She throws the knife to Yuri, who catches it. She bends over 
	the table and pulls up her skirt.
	
				SERA
		There, go ahead!
	
	She mimics him.
	
	A shower of Russian comes out of Yuri, but he doesn't touch 
	her. He tries to regain his dignity by putting on a coat.
	
				YURI
		I could kill you. You know 
		that.
	
	He goes to the door.
	
				YURI
		Work, tonight, bring me 
		money, no matter the hour.
	
	And he exits. Sera is still on the table.
	
				SERA
		I will Yuri. I will.
	
		CUT TO:
	
	67 INT. PAWN SHOP - DAY
	
	The proprietor is handling over some cash to Yuri, whose 
	jewelry is on the counter. He pockets it and as he turns to 
	leave, Ben comes in. They pass without taking much notice of 
	each other. Ben removes his Rolex and shows it to the man. 
	
	CUT TO:
	
	68 EXT. STREET, LAS VEGAS - DAY
	
	Yuri is walking in the hot sun, sweating. We see him through 
	long-lens heat haze. The camera wanders into the traffic and 
	we see the black Town Car crawling along behind him, three men 
	inside.
	
	CUT TO:
	
	69 INT. DOCTOR'S OFFICE - DAY
	
	Improvised scene. (4)
	
	CUT TO:
	
	70 INT. MAIN BAR, HOTEL - NIGHT
	
	A lounge singer belts out a fair rendition of a Tony Orlando 
	number. Sera sits at the bar, an empty seat on either side of 
	her. She watches a younger hooker in the final moments of 
	pulling a dangerous-looking man. The girl is aware of Sera 
	without even looking at her. The guy she is with looks around 
	and sees Sera. The girl shoots an icy look. A man sits next 
	to Sera: a conventioneer.
	
				CONVENTIONEER
		About ready for another 
		drink?
	
				SERA
		Yes, that would be great. Are 
		you her for the convention?
	
				CONVENTIONEER
		Do I look that obvious? My 
		name's Paul.
	
	They shake hands.
	
				SERA
		No, of course not, just a 
		wild guess. I'm Sera and 
		that's a margarita.
	
		The barman is already pouring. The young hooker leaves with 
	her dangerous guy. She pauses long enough to give Sera a 
	nasty smile. The conventioneer pays for the drink and is a 
	little lost for words. Sera tries to help.
	
				SERA
		So... are you alone, or are 
		you just using me to make 
		someone else jealous?
	 
				CONVENTIONEER
			(laughs nervously)
		Alone. Alone. I'm here alone.
	
				SERA
			(friendly)
		Where are you staying?
	
				CONVENTIONEER
			(suspicious)
		Right here at the hotel. Why?
	
				SERA
			(moving a little closer)
		Well... I thought you might be 
		looking for a date.
	
				CONVENTIONEER
			(shocked)
		A date. What, are you a 
		hooker?
			(voice getting louder)
		What do you mean a date?
			(and louder)
		I've got a wife back home. I 
		just came over to talk for a 
		few minutes.
		
				SERA
			(quietly)
		I'm sorry, I guess I 
		misunderstood.
	
	She looks around.
	
				SERA
		Please don't raise your 
		voice. I won't bother you 
		about it again.
		
				CONVENTIONEER
			(calmer)
		Sorry. Look... you seem like a 
		nice girl. I'm just sick of 
		everyone in this town trying 
			to get my money.
	
	He gets up.
	
				CONVENTIONEER
		Here, have another drink. I 
		gotta go.
	
	He leaves. Sera is uncomfortable. People are watching her, 
	aware that something has been going on. The Barman comes over 
	to where Sera is sitting.
	
				BARMAN
		Maybe you should give it a 
		miss for this evening.
	
	He walks away. Sera finishes her drink and leaves.
	
	CUT TO:
	
	71 EXT. THE STRIP - NIGHT
	
	Sera at work is looking more carefully than usual, hoping to 
	see Ben. A huge silver limo pulls up and, after some 
	negotiation, she gets in. 
	
	CUT TO:
	
	72 EXT. THE STRIP - NIGHT
	
	Long-lens shot of Ben, very drunk on the street. He falls and 
	lies still for quite a long time before getting up. He falls 
	into the road and tries to hail a cab, but none stops. A cop 
	car cruises to a halt and Ben more or less imitates a normal 
	person as he walks out of shot.
	
	73 EXT. THE POOL, MOTEL - DAY
	
	Ben dives in and swims a length under water. He pulls himself 
	out and sits next to the large Midwestern family. The father 
	says hello and introduces his family to Ben. They are all 
	very friendly. It's a nice atmosphere around this pool and 
	for a moment Ben even looks healthy.
	
	CUT TO:
	
	74 EXT. THE STRIP - NIGHT
	
	A limo pulls up and Sera gets out. She sees something.
	
	SERA'S POV
	
	Ben sitting at a bus stop, drinking out of a cocktail glass. 
	When he sees her he gets up, a little unsteadily.
	
					BEN
		I couldn't remember what 
		happened last time. I was 
		afraid that I might have been 
		rude, or mean to you.
		
	He looks at her.
	
				BEN
		If I was I'm sorry.
	
				SERA
		No, just drunk... but that's 
		OK. Where's your car?
	
				BEN
		I sold it this morning. I'm 
		going to take cabs from now 
		on in.
	
	Sera looks up and down the strip.
	
				BEN
		Don't run away.
	
				SERA
			(defensive)
		Why should I? I know you're 
		not a cop, so what is it 
		tonight? Another two-fifty to 
		watch you sleep?
	
	Ben sits down, a little hurt.
	
				SERA
		What's up?
	
				BEN
		I was looking for you 
		tonight. I don't know if you 
		have a boyfriend... 
		
	He thinks.
	
				BEN
		... or a girlfriend, but if 
		you have some free 
		time... maybe we could have 
		dinner.
	
				SERA
			(tough again, but pleased)
		Are you serious.
	
				BEN
				(deadly serious)
		I think you know I'm serious. 
		I'll pay you if you 
		like... but I'd like to see 
		you.
	
				SERA
		No, I can't have dinner with 
		you.
	
	And she hails a taxi, which stops immediately and she gets 
	in.
	 
				SERA
		The Mojave Hotel, please.
	
	Ben watches the cab drive off.
	 
	CUT TO:
	
	75 INT. CORRIDOR OF HOTEL - NIGHT
	
	Sera walks along, checking numbers on the doors. She finds 
	the right one and knocks firmly.
	
				YURI (v.o)
		Yes? What?
	
				SERA
		It's me, Yuri.
	
	The door opens a crack and Yuri peers out.
	
				YURI
		Sera! It's... 
	
	He looks around for a clock.
	
				YURI
		... it's late.
	
	76 INT. YURI'S ROOM - NIGHT
	
	Sera comes into the room, takes her purse out and counts out 
	seven hundred dollars.
	
				SERA
		Sorry, Yuri... good 
		night... lots of tricks... I 
		think things are picking up.
		
	Yuri sits on the bed. He looks unwell and disoriented. His 
	face is covered with a thin film of sweat. He seems to be 
	listening for something, because he stops her talking by 
	putting his fingers to his lips. He looks at her and then 
		beckons her to the bed. Sera is nervous. As she walks to the 
	bed, she begins unbuttoning her blouse. Yuri stops her with a 
	wave of his hand. Sera is puzzled and frightened now. Yuri 
	seems to be deranged.
	
				YURI
		Have you told anyone that I'm 
		here?
	
				SERA
		No.
	
	Yuri suddenly hears something. He grabs Sera's hand and takes 
	her to the wall. He presses her head to the wall.
	
				YURI
		Do you here that?
	
	He looks at her.
	
				YURI
		They're talking about me.
	
	He pulls himself together.
	
				YURI
		Go, Sera.
			(whispers)
		Go. Stay at home. I will call 
		you tomorrow.
				SERA
		Yuri... are you... 
	
				YURI
			(patiently)
		Sera... please go.
	
	He indicates the wall.
	
				YURI
		This is very important... and 
		I must listen. Now go.
	
	They face each other for a moment and then Yuri does an 
	almost comic gesture to tell her to go. He hustles her to the 
	door and shoves her out as she is still buttoning up her 
	blouse. He slams the door. 
	
				YURI
			(through the door)
		Goodbye, Sera. Don't come 
		back here. I will not see you 
		again.
	
	Sera stands there for a while, almost in shock, and then she 
		begins to walk. The camera follows her as she makes her way 
	down the endless corridor of doors. Ahead of her, three men 
	are walking towards her, checking the door numbers as they 
	make their way. Sera doesn't take them in. They pass and turn 
	a corner. We recognize them as the men from the black 
	Town Car.
	
	ANGLE
	
	The men have stopped outside Yuri's room. The camera pans and 
	we see Sera down the other corridor getting into the 
	elevator.
	
	FADE OUT:
	
	77 INT. BEN'S ROOM AT THE MOTEL - NIGHT
	
	Ben is lying on the bed watching a game show, drinking.
	
	A coughing fit hits him. He is very short of breath. We see 
	how ill he really is.
	
	There is a tap at the door.
	
				BEN
		No thanks... I'm fine.
	
	The tapping persists and eventually Ben gets off the bed and 
	unlocks it, but keeps the chain on. It is Sera.
	
				SERA
		Still want to have dinner?
	
	Ben stares at her for a while.
	
				BEN
		Yes.
	
				SERA
		I have to change and take a 
		shower first. If you want to 
		come home and wait.
	
	Ben opens the door.
	
				SERA
		We should pick up a bottle of 
		tequila on the way. I owe you 
		one.
	 
				BEN
		You do?
	
	CUT TO:
	
	78 INT. SERA'S HOUSE - NIGHT
	
	Sera is finishing in the shower and Ben is sitting at the 
	kitchen table. He gets up and walks around the house, trying 
	to get a sense of her. The furniture is very plain and there 
	is spartan quality about the hose. He looks with interest at 
	the bookshelf, which has a good selection of literature. 
	
				BEN
			(to himself)
		This is the home of an angel.
	
				SERA (off-screen)
		You OK out there?
	
				BEN
		Yes. Take your time. I'm 
		fine.
	
	He pours himself another drink.
	
				SERA (off-screen)
		Pour yourself another drink.
	
	He sots down and she comes in, toweling her hair.
	
				SERA
		You OK?
	
				BEN
		Of course. Wow... you look 
		extremely beautiful.
	
				SERA
		Thank you. What time is it?
	
				BEN
		Don't know. My watch went the 
		way of the car.
	
	He holds up his empty wrist for her to see. Then looks up and 
	sees her watching him.
	
				BEN
		I'm rambling. I really like 
		you. You make me want to 
		talk... I don't know what time 
		it is.
	
				SERA
		I like hearing you talk.
			(businesslike)
		If you feel up to a short 
		walk, there's a place to eat 
		around the corner. All the 
		food in Vegas is terrible so 
		the place doesn't really 
		matter. How does that sound 
		to you?
	
				BEN
		Do they have drinks?
	
	CUT TO:
	
	79 EXT. THE STRIP - NIGHT
	
	Ben and Sera walk and talk.
	
	80 INT. RESTAURANT - NIGHT
	
	Ben and Sera are eating. He plays with his food, eating very 
	little of it. Finally he pushes it away and orders another 
	drink.
	
				SERA
		I'm from the East. I went to 
		college, did an arts course. 
		I now live in Vegas. I think 
		of it as home. I came here 
		deliberately to carve out a 
		life. I was in LA before, but 
		I'll come back to that later.
			(pause)
		The tough times are behind me 
		now. I can deal with the bad 
		things that happen. There 
		will always be dark 
		characters. But my life is 
		good. It is as I would want 
		it to be. So, why are you a 
		drunk? 
	
				BEN
		Is that really what you want 
		to ask me? 
	
				SERA
		Yes.
	
				BEN
			(worried)
		Well, then I guess this is 
		our first date... or our last. 
		Until now, I wasn't sure it 
		was either.
		 
				SERA
		Very clever.
	
		Sera thinks for a while and decides to give in to him on 
	this.
	
				SERA
		First. It's our first. I'm 
		just concerned. So... why are 
		you killing yourself?
	
	
				BEN
		Interesting choice of words. 
		I don't remember. I just know 
		that I want to.
		
				SERA
		Want to kill yourself? Are 
		you saying  that you're 
		drinking as a way to kill 
		yourself?
	
	And she leans across the table to be close to him, listening 
	intently. Ben becomes uncomfortable and tries to joke it off. 
	
				BEN
		Or killing myself as a way to 
		drink.
	
	Sera continues to stare at him, wanting to know the real 
	answer. He takes a slug from his drink. She sits back.
	
				BEN
		We'll talk about it some 
		other time maybe. OK?
	
	Sera relaxes and continues with her food. We hear her 
	thoughts for a moment.
	
				SERA (v.o)
		It wasn't so important to me. 
		I mean, he never asked me why 
		I was a hooker, sand that was 
		impressive. I really liked 
		him. So I decided to just 
		play my part. I mean... it's 
		good to help someone once in 
		a while., it's a bonus to 
		being alive, and that was my 
		plan... to stay alive. I 
		suddenly came to a decision.
	
				BEN
		What are you thinking? Are 
		you angry with me?
		 
				SERA
				(decides something)
		Ben, why don't you stay at my 
		place tonight? I mean... look, 
		you're so drunk. I like you. 
		I trust you.
	
				BEN
		That's astonishing. Sera, 
		look... 
	
				SERA
		I hate to think of you in 
		that cheesy motel. I mean... 
	
	And she folds her arms and grins at him.
	
				SERA
		Let's face it, what the fuck 
		are you doing in Las Vegas?
	
				BEN
			(overwhelmed by her)
		I'm going to move to a smart 
		hotel, tomorrow if it'll make 
		you feel better.
			(looks at her)
		Let's talk about tomorrow. 
		Wanna do something?
	
				SERA
			(warmly)
		Sure... tonight. Then please 
		stay at my place.
	
				BEN
		Sera... you know I'm not much 
		good in the sack.
	
				SERA
		It's not about sex, Ben. I'll 
		make you up a bed on the 
		sofa. Do it for me. We can 
		talk till late and then sleep 
		till late. As you know, I am 
		my own boss.
		
	Ben laughs loud, the most animated we've seen him, and his 
	laugh as infectious, and Sera join in. Other diners turn to 
	stare at them. They seem like a couple.
	 
	CUT TO:
	
	81 EXT. THE STRIP - NIGHT
	
	Ben and Sera walk and talk, holding hands.
		
	82 EXT. DESERT - DAY
	
	A wide shot. The black Town Car makes its way across frame. 
	Left to right.
	
	CUT TO:
	
	83 INT. SERA'S house - day
	
	Ben is asleep on the sofa. As he wakes up, he becomes aware 
	that Sera is watching him from across the room. They smile at 
	each other.
	
				BEN
		How long have I been her?
	
				SERA
		Three nights, two days. When 
		is your rent coming up at the 
		motel?
	
				BEN
		I don't know.
			(sits up)
		I'll go and sort it out 
		today. Why don't you 
		come?... We'll find a real 
		room for me. You can pick it 
		out, a tower on the strip.
		
				SERA
		There's no reason to blow all 
		your money on a hotel room.
		
					BEN
		What do you mean?
	
				SERA
		What I mean is that you 
		should bring your stuff over 
		here. We're spending all this 
		time together... what the 
		fuck!
	
				BEN
		Sera... 
	
				SERA
		Let's face it, Ben, we're 
		having fun here. I've never 
		done so much talking in my 
		life.
		
				BEN
			Me neither.
	
				SERA
		So! Let's dispense with the 
		formalities. I want you 
		here... now!
	
				BEN
		Sera you are crazy.
	
				SERA
		So... I'm not too concerned 
		with long term plans.
	
				BEN
		Don't you think you'll get a 
		little bored living with a 
		drunk?
	
				SERA
		That is what I want. Why 
		don't you go and get your 
		stuff?
		
				BEN
		You haven't seen the worst of 
		it. These last few days I've 
		been very controlled. I knock 
		things over... I throw up all 
		the time.
			(looks at her)
		Now I feel really 
		good... You're like some kind 
		of antidote that mixes the 
		liquor and keeps me in 
		balance, but that won't last 
		forever. You'll get tired of 
		it really quickly. Believe 
		me.
		
	They sit in silence for a while.
	
				SERA
		OK, you go back to your hotel 
		and I'll go back to my 
		glamorous life of being 
		alone.
		
	She walks out of the room, and into the bathroom, where she 
	sits on the toilet to pee.
	
				SERA
			(to herself)
		The only thing I have to come 
		home to is a bottle of 
		Listerine to wash the taste 
		of come out of my mouth. I'm 
		tired of being alone... that's 
		what I'm tired of.
		
	She finishes, wipes herself and flushes the toilet. Pulling 
	up her panties, she walks back into the bedroom, where Ben is 
	putting on his shoes. 
	
				SERA
		Don't you like me, Ben?
	
				BEN
			(devastated)
		Don't be silly?
	
	Ben is unable to deal with the fact that he is absolutely in 
	love with her. He walks out of the room. She foolows.
	
				SERA
		We gotta decide this... right 
		now. Before we go any 
		further. You either stay here 
		with me or... 
	
	Ben turns to look at her.
	
				SERA
		... we can't see each other 
		any more.
		
	Ben and Sera look at each other for a long time.
	
				BEN
		Sera... what you don't 
		understand is... 
		 
				SERA
		What?
	
	Ben is deeply troubled. He comes to a decision.
	
				BEN
		You can never... never... ask 
		me to stop drinking. Do you 
		understand?
	
				SERA
			(dead serious)
		I do. I really do.
			(smiles)
		OK. I have to do some 
		shopping alone. You go out 
		for a few drinks and then 
		pick up your things. Don't 
		hurry and I'll be back before 
		you to let you in.
		
	Sera grabs him in a big embrace that knocks him off balance 
	and into the wall. She kisses him all over his face and 
	squeezes his skinny frame.
	
	CUT TO:
	
	84 INT. BEN'S ROOM AT THE MOTEL - DAY
	
	Ben is packing his liquor into his suitcase. The almost-empty 
	bottles he pours into a large cup, which he drinks from. The 
	suitcase is now full and Ben suddenly realizes that he hasn't 
	packed any clothes. They are all in a pile on the bed. He 
	talks to himself.
	
				BEN
		Maybe this isn't a good idea 
		after all.
		
	He tries to put clothes in with the bottles, but the lid 
	won't close. He sits on the bed and has an imaginary 
	conversation with Sera.
	
				BEN
		Listen, angel... the thing is 
		that I'm nuts about you and 
		this is a bad thing... because 
		my real plan is to die here 
		and you were never even part 
		of my plan... but like I said, 
		I'm nuts about you... wait a 
		minute, I have an idea, 
		angel.
		
	And he opens the closet and finds some plastic laundry bags, 
	which he puts his clothes in.
	
	85 SCENE CUT.
	
	CUT TO:
	
	86 EXT. SERA'S HOUSE - DAY
	
	Sera's neighbors, a husband and wife, are standing outside 
	her house. They stop her. They are also her landlord.
	
				HUSBAND
		We didn't know whether to 
		call the police or not.
	
	And they indicate the sleeping figure of Ben, in the doorway, 
	clutching a bottle of bourbon, using hi suitcase as a pillow.
	
					WIFE
		He's been there for about 
		half an hour. My husband 
		thought he'd seen you two 
		together, but I thought it 
		best to wait until you got 
		home.
		
				SERA
		Yes, he's my friend. I guess 
		he just had a little too much 
		to drink.
			(smiling uncomfortably)
		I'll help him inside.
			(puts down her packages)
		Thanks for the concern. Sorry 
		to trouble you.
	
				HUSBAND
			(gallantly)
		Well, call me if there's 
		anything I can do.
		
	They go to their own house. Sera opens the front door, kneels 
	down next to Ben and shakes him gently.
	
				SERA
		Can you wake up?
	
	Ben opens his eyes and looks around with a pleasant, cheerful 
	expression.
	
				BEN
		Hi!
	
				SERA
		Why don't you go in and sit 
		down. I have some gifts for 
		you.
	
				BEN
		Right... OK... 
	
	Ben stands and almost loses his balance. He picks up his 
	suitcase and attempts to pick up her packages as well, but 
	she stop him.
	
				SERA
		Don't worry... I got'em.
	
	Ben staggers in with his case. As Sera enters, she looks 
	around and sees Husband and Wife at the window, still 
	watching.
	
				BEN (off-screen)
			Want a drink? Great nap. 
		Wanna go out tonight?
	
				SERA
		Seriously, Ben... I need to 
		keep pretty low-key around 
		here. Maybe next time you 
		could nap this side of the 
		door. That was the landlord.
		
				BEN
		Of course.
	
	She reaches into her purse.
	
				SERA
		Gift number one.
	
	And she gives him a newly cut key. He takes it and tries it 
	in the lock, then drops it into his pocket.
	
				BEN
		I used to carry a lot of 
		keys, but one by one they all 
		fell victim to the great 
		condensation. Now I have just 
		this one... which is... 
		
	And he tails off and stares at the floor. She waits for him 
	to continue and then comes to him and touches him on the arm.
	
	87 INT. SERA'S HOUSE - DAY
	
				SERA
		Ben?
	
				BEN
		Sorry.
	
	He shakes his head.
	
				BEN
		I was miles away.
	
	He sees the parcels.
	
				BEN
		Ah... more gifts. I have to 
		sit down for this.
	
	He strides into the living room and flops on to the sofa. She 
	follows.
	
				BEN
		Sera, I love that 
			name... S.E.R.A. Before we 
		proceed onwards, there is 
		something I need to say. OK?
		
				SERA
		OK.
	
				BEN
		I've come this far... here I 
		am, in your house. I want you 
		to let me pay the rent for 
		this month. All right?
		
	And he stares at her as if to say that nothing can happen 
	until this matter is resolved.
	
				SERA
		Why?
	
				BEN
		Because... it's better for me 
		that way. OK?
	
				SERA
		Well... OK... 
	
	She is uncomfortable.
	
	They sit in silence for a while.
	
				BEN
		Sera... I hope that you 
		understand how I feel about 
		this. First of all, you're 
		welcome to my money. We can 
		buy a couple of cases of 
		liquor and you can have the 
		rest. But I don't think 
		you're talking to me right 
		now about money.
		
				SERA
			(smiling)
		No?
	
				BEN
		No. I think you're talking 
		about you. I'll tell you 
		right now that I'm in love 
		with you... but, be that as it 
		may, I'm not here to force my 
		twisted life into your soul.
		
				SERA
		I know that... 
		
				BEN
		... and I'm not here to demand 
		your attention to the point 
		where it changes your life. 
		We know I'm a drunk... but 
		that seems to be all right 
		with you. And I know that 
		you're a hooker. I hope you 
		understand that I'm a person 
		who is totally at ease with 
		this... which is not to say 
		that I'm indifferent or that 
		I don't care... I do... it 
		simply means that I trust and 
		accept your judgement. What 
		I'm saying is... that I hope 
		you understand that I 
		understand.
		
				SERA
		Thanks, I do understand. I 
		was worried about how that 
		would be... but now I'm not. 
		And you should know that 
		included with the rent here 
		is a complimentary blow job.
		
				BEN
		Ah, yes... I suppose sooner or 
		later we ought to fuck.
	
				SERA
		Whatever that means. Open 
		your presents.
	
	She hands him the larger of the two parcels.
	
				SERA
		Open this one first.
	
	Ben awkwardly unwraps the present, a large, colorful shirt. A 
	genuine smile comes on to his face.
	
				BEN
		Very nice.
	
	He holds the shirt against himself.
	
				BEN
		This should work very nicely 
		with my suit, which, by the 
		way, is the only item of 
		clothing I brought over from 
		the motel with me.
			
	Sera raise an eyebrow.
	
				SERA
		Right... the suitcase was 
		clinking. So what did you do 
		with your clothes?
		
				BEN
			(laughing)
		I threw them into the 
		garbage., which was perhaps 
		immoral, but I wanted to come 
		to you clean, so to speak. I 
		thought we could go shopping 
		and pick up a pair of jeans 
		and forty-five pairs of 
		underwear and just throw them 
		out each day.
		
				SERA
			(smiling)
		Nice talk, Ben. Keep 
		drinking. In between the 
		hundred and one proof breath 
		and the occasional drool, 
		some interesting words fall 
		from your mouth.
		
	She hands him the last present.
	
				SERA
		Now, try this one.
	
	Ben unwraps the smallest gift. It is a silver hip flask. He 
	is very touched and a little tear trickles down his cheek.
	 
				BEN
		Well... looks like I'm with 
		the right girl.
		
	He turns it in his hands.
	
				BEN
		I must say that I'm very 
		impressed that you would buy 
		this for me. I know you 
		wouldn't do this without 
		thinking about it. 
		Funny... you did just what I 
		would have done.
		
	Ben stands and tries the flask in his pocket for fit. It is 
	fine. He walks to the door.
	
					BEN
		I'm going to fill it right 
		now.
	
				SERA
		Do you want to go gambling 
		tonight? We could go out and 
		play for a few hours.
		
	Ben comes back into the room, takes the flask out of his suit 
	pocket and has a drink.
	
				BEN
		I hadn't planned to 
		gamble... but if you would 
		keep the bulk of my money 
		here, then I could safely 
		blow a couple of hundred 
		bucks.
		
	He takes out all of his money, peels off a few hundreds and 
	then gives her the rest.
	
				BEN
		Giving you money makes me 
		want to come.
	
				SERA
		Then come.
			(pause)
		I'm going to change. Watch 
		TV. I'll be half an hour.
	
	And she leaves. There is a slight edge to her voice and Ben 
	is not sure if he offended her or not. He watches through the 
	small angle of the door as she changes.
	
				SERA
		I am planning to go out and 
		do some work.
	
				BEN
		When?
	
				SERA
		Tomorrow night as a matter of 
		fact.
	
	88 EXT. THE STRIP - NIGHT
	
	Ben and Sera walking. The camera follows them. He is wearing 
	his new shirt and looks good in it. She is wearing a green 
	dress and mismatched earrings and looks great. They walk and 
	talk.
	
					BEN
		I like your earrings.
	
	He changes sides.
	
				BEN
		I like women who wear 
		mismatched earrings.
	
				SERA
		Well, then... I hope we don't 
		run into any tonight.
	
				BEN
			(laughs)
		What do you mean?
	
				SERA
		I expect some kind of loyalty 
		here. Just because I fuck for 
		money doesn't give you cause 
		to start picking up women and 
		leaving me looking silly.
		
	And she stops and looks at him, smiling but serious. 
	
				BEN
		And I only have eyes for you. 
		And we both know that you 
		would never become 
		romantically involved with a 
		trick, right?
		
	89 INT. CASINO - NIGHT
	
	They walk around the huge space, which is full of people and 
	energy, and suddenly Ben grabs Sera and pushes her against a 
	slot machine and kisses her deeply. At first she resists and 
	then she gives in to him and responds. They knock over some 
	change, which falls to the floor, and Ben pulls from her a 
	beat to bend down and scoop up all the change and hand it to 
	the bemused player, before returning to Sera's mouth or more. 
	They break for air and then Ben leads her towards the bar. As 
	he waves to attract the barman's attention, she squeezes his 
	arm. 
	
				SERA
			(quietly)
		I love you.
	
	But he doesn't hear her.
	
	ANGLE ON CASINO ACTIVITY
	
	On long lens we see Ben and Sera at the bar. Suddenly Ben 
		seems to fall asleep. Sera tries to wake him and then he goes 
	crazy and falls backwards off his stool, knocking a waitress 
	and her drinks over. Security Guards appear and begin arguing 
	with Sera.
	
	CUT TO:
	
	90 INT. SERA'S HOUSE - NIGHT
	
	Ben wakes up on the sofa, fully dressed. A night-light gives 
	a soft glow. He rolls off the sofa, landing on all fours on 
	the floor. He crawls to the kitchen , opens the fridge door 
	and takes out a vodka bottle and carton of orange juice. With 
	difficulty he gets to his feet, finds a glass and pour s a 
	drink. He swallows the mix and then stands over the sink just 
	in case he has to vomit.
	
	91 INT. SERA'S BEDROOM - NIGHT
	
	Sera wakes and Ben comes in and gets into bed with her.
	
				SERA
		How are you doing?
	
				BEN
		Very well... umm... I never 
		expected to have to ask you 
		this again... but how did our 
		evening go? I remember 
		getting to the casino... I 
		remember kissing you... that 
		was really nice but 
		everything after that is a 
		blank.
		
				SERA
		Well - I was prepared for 
		worse, but it wasn't so bad. 
		We were sitting at the bar, 
		talking about blackjack. You 
		seemed just fine, a little 
		drunker than usual, but 
		nothing really strange, but 
		then your head started to 
		droop and I put my arm on 
		your shoulder and then, wham, 
		you swung you arm at me, and 
		fell backwards off your stool 
		into a cocktail waitress. You 
		smashed everything on her 
		tray, it was a real mess. You 
		kept yelling and yelling.
		
				BEN
		Oh, and what did you do?
		
				SERA
		I tried to shut you up and 
		help you to your feet but you 
		kept swinging at me - not 
		like you wanted to hit me, 
		but more just waving me away. 
		Security came and when you 
		saw them you stopped yelling. 
		They wanted to carry you out 
		and dump you on the street, 
		but I talked them into 
		letting me walk you out.
		
				BEN
		That's impressive. How did 
		you do that?
	
				SERA
		I told them you were an 
		alcoholic and T would take 
		you home. I also promised 
		that we would never come in 
		there again.
		
				BEN
		We?
	
				SERA
		Yes, we.
	
				BEN
			(holds her hand)
		What happened then?
	
				SERA
		You were OK for a while, so 
		we walked for about a block 
		and then you said you wanted 
		to go home and fuck, but I 
		think even you knew that 
		wasn't going to happen. We 
		got a cab and you asked him 
		to stop at a liquor store, 
		even though I told you that 
		we had plenty at home. In the 
		store you gave the kid a 
		hundred and told him to keep 
		the change. I asked you if 
		you knew it was a hundred. 
		You said you did, so I let 
		you do it. We got here, you 
		fell asleep on the couch and 
		I covered you up and came to 
		bed.
			
				BEN
		I warned you... 
			(kisses her hand)
		... but I'm sorry.
	
				SERA
		Here's my speech... 
			(kisses his hand)
		... I know this shouldn't be 
		acceptable to m, but it is. 
		Don't ask me why. I sense 
		that your trouble is very 
		big... and I'm scared for 
		you... and so I'm doing what I 
		think you need me to do. 
		Falling down in casinos is 
		little stuff. It doesn't 
		bother me. It has nothing to 
		do with us.
		
				BEN
		That's amazing. What are you? 
		Some sort of angel visiting 
		me from one of my drunk 
		fantasies? How can you be so 
		good?
		
	She turns away to the wall and curls up like a small girl.
	
				SERA
		I don't know what you're 
		saying. I'm just using you. I 
		need you. Can we not talk 
		about it any more, please. 
		Not another word.
		
	He thinks about this. He gently pushes her until she is lying 
	on her front and then he pulls up her nightdress and strokes 
	her naked back. He kisses her in the small of her back.
	
				BEN
		Why don't you go back to 
		sleep. I'll go out and buy us 
		some breakfast.
		
				SERA
		Be careful.
	
	He stands and goes to the door.
	
				BEN
		Don't worry.
	
	As he leaves the room, she calls after him.
		
				SERA
		Ben, I'm  working tonight.
	
	He opens the door and smiles at her.
	
				BEN
		I know.
	
	CUT TO:
	
	92 EXT. SIDEWALK - EARLY MORNING
	
	Ben gets out of his  cab and walks up to the doorway of a 
	grocery store. It is locked. Ben looks at his wrist and then 
	remembers that he no longer has a watch. He looks around, 
	sees something and exits frame.
	
	CUT TO:
	
	93 INT. ROUGH ENGLISH BAR - EARLY MORNING
	
	Ben enters and makes his way to the bar. This is a dirty, 
	dark place. An ageing blonde in leather hot pants is dancing 
	by herself at the jukebox. A very drunk Biker Couple argue 
	noisily in a corner, slurring their words. There ins not much 
	gambling taking place at the eight slot machines. Ben sits at 
	the bar and the Bartender slaps down a paper napkin.
	
				BEN
		A beer and a double kamikaze 
		please.
	
				BARTENDER
		Sure thing. Anything to eat?
	
				BEN
		Not quite yet. First I have 
		to drink myself sober, 
		then... a few crackers, maybe 
		an egg and toast... 
		
	The Bartender walks away to get Ben's drinks, Ben continues 
	anyway.
	
				BEN
		... then I'll go home with the 
		groceries and we'll have 
		breakfast together, and 
		that'll make her feel better 
		about my condition... 
		
	Ben is interrupted by the arrival of the Biker Girl. She is 
	young tough and pretty. She puts an arm around him and 
	presses against him.
		
				BIKER GIRL
		Who the fuck are you talking 
		to, Mr?
			(laughing)
		Why are you all dressed up, 
		honey? My, don't you look 
		fine.
	
	She runs her tongue around her mouth.
	
				BIKER GIRL
		I am very bored with my date. 
		Would you like to buy me a 
		drink?
	
	Ben looks around and sees the Biker staring at the two of 
	them.
	
				BEN
			(loudly)
		Do you mind if I buy her a 
		drink?
		
				BIKER
		Fuck her. I don't care what 
		the fuck you do with her.
		
				BEN
		Maybe I could buy you both a 
		drink?
	
				BIKER
		Fuck you. Don't fuck with me, 
		motherfucker. Fuck off. Go to 
		it, she's waiting for her 
		drink.
	
	The Biker walks over to the slot machine and begins dropping 
	in quarters, never taking his eyes off Ben and the Girl.
	
				BIKER GIRL
		See what an asshole he is.
			(big smile)
		I'll have a rum and Coke.
	
				BEN
		Barman? A rum and Coke, 
		please.
	
	The Girl leans with her back to the bar, closer to Ben , who  
	is facing the bar on a stool. She brings her face closer to 
	his.
	
				BIKER GIRL
		Can I stay with you for a 
		while?
	
				BEN
		You mean move in with me? 
		Isn't this a bit sudden?
	
				BIKER GIRL
		Oh, I don't have a lot of 
		stuff.
		
				BEN
			(smiling)
		I don't think my wife would 
		dig it too much.
	
	She moves to his ear to whisper.
	
				BIKER GIRL
		Maybe we could just go find a 
		room and fuck all day. You 
		wouldn't have to tell your 
		wife about that, would you? I 
		could suck you like this.
		
	And she begins sucking on his lobe. Behind them. At the slot 
	machine the Biker is still watching. His face fills with a 
	drunken rage.
	
				BEN
		See, the thing is... fucking 
		you would be wonderful, but I 
		am deeply in love with 
		Sera... 
		
	The Biker throws down his beer can and walks towards the bar.
	
				BEN
		... and it's almost impossible 
		for me to imagine being with 
		someone else... 
		
	The Biker arrives at the bar and grabs Ben.
	
				BIKER
		Now listen, asshole, I'm not 
		gonna just sit around and 
		watch her suck on your ear.
		
	The Biker is about to hit Ben then holds back. He leans in 
	and puts his face next to Ben's.
	
				BIKER
		Now, I know that she came 
		over to you, like she does, 
			so I'm gonna pretend that 
		you're innocent and give you 
		one chance to walk out of 
		this place... right now.
		
				BIKER GIRL
			(to biker)
		Get lost, jerk.
	
	The Biker slaps her and then grabs Ben by the collar.
	
				BIKER
		What do you say?
	
	Ben shakes his arm free from the Biker's grip. He thinks 
	about it for a couple of beats and then decides.
	
				BEN
		I'm sorry... but she and I 
		have decided to spend a few 
		hours together in a mo -
		
	The Biker headbutts Ben in the face, sending him crashing off 
	his stool to the floor. His head cracks against the tiled 
	floor. The Biker walks over to him, picks him up by his shirt 
	front and punches him in the nose. Blood sprays on to his 
	face. The Biker walks out of the bar. The Girl follows him 
	quickly. The Bartender takes a wet towel and walks over to 
	where Ben is struggling to get up, holding his face. 
	
				BARTENDER
		You're quite a fighter.
	
	He gives him the towel.
	
				BARTENDER
		This may sound silly, but I'm 
		going to have to ask you to 
		leave. It's what we do around 
		here  when there's a fight. 
		Men's room is around the 
		back.
	
	CUT TO:
	
	94 EXT. SERA'S HOUSE - MORNING
	
	Ben lets himself in with his key. He is carrying a big bag of 
	groceries. His clothes are bloodstained. The Landlady watches 
	from poolside.
	
				BEN
		I'm back.
	
	He walks into the living room and finds Sera reading on the 
		couch. She looks up and sees his face and his bloodstained 
	shirt.
	
				SERA
		Oh, no! Oh, fuck, Ben, look 
		at your face. You get in a 
		fight? I thought you didn't 
		fight. Goddammit. How do you 
		feel? Wait here. Sit down.
		
	She goes to the bathroom and we hear her rummaging in the 
	medicine cabinet.
	
				SERA (off-screen)
		Did you stop at the bar?
	
	She comes back into the room, armed with bottles and cotton 
	wool.
	
				SERA
		Did you say something stupid 
		to someone stupid?
	
	She goes to work on his face, dabbing an open cut with some 
	mercurochrome.
	
				BEN
		Absolutely not... ow... I was 
		defending the honor of some 
		poor wayward maiden.
		
	She thinks about this for a moment and then kisses him on the 
	forehead.
	
				SERA
		Why don't you go and finish 
		this in the bathroom. Take a 
		shower and put on your other 
		shirt. I'll fix breakfast and 
		then we'll go shopping and 
		get some new clothes. I think 
		this suit must be unlucky.
		
	CUT TO:
	
	95 INT. MALL - DAY
	
	Ben and Sera come out of a clothing store. Ben is wearing 
	black jeans, red socks and a white dress shirt. They go up 
	the 'up' escalator.
	
				SERA
		Very creative. Now we can get 
		you a black bow tie and you 
		can look like one of those 
			casino dealers.
	
				BEN
		OK, but remember that they 
		wear it because they have to. 
		I wear it because I want to. 
		That'll make me look 
		different. Let's get a drink.
		
	Ben somehow gets on the 'down' escalator, leaving Sera on the 
	higher level.
	
				SERA
		Ben?
	
	CUT TO:
	
	96 INT. SHOPPING MALL BAR. DAY
	
	Ben needs a drink badly but this is not the best place. 
	Mothers with children, old people and a Waitress with 
	attitude. Ben tries to order but becomes angry when she 
	doesn't bring it straight away. People begin staring. At the 
	next table a dignified older man sits alone.
	
	Ben hands Sera a small package.
	
	CLOSE ANGLE
	
				BEN
		There was no time for me to 
		write a card, with you 
		breathing down my neck all 
		day., so you'll just have to 
		wing it, baby.
		
	He laughs and this induces a coughing fit. He downs his drink 
	and holds up the empty glass to let the waitress know she 
	should bring another.
	
				BEN
		Open it.
	
	She does so. It is a pair of onyx earrings. Black onyx set in 
	white gold.
	
				SERA
			(pleased)
		Your color.
	
				BEN
		I think you should wear one 
		at a time. One of these... and 
		one of your others. In fact, 
		I was going to buy just one, 
			but I didn't think it would 
		fly... as a gift, I mean.
		
	His new drink arrives and he takes a swallow straight away.
	
				SERA
		I'll wear them tonight... one 
		of them.
	
	She looks at him, aware of what she has said, wondering how 
	he is reacting. She smiles and Ben takes a deep swallow, 
	finishing his drink. His mood suddenly changes.
	
				BEN
		Yes... tonight. Put it on.
	
	She does so. Ben helps her, bringing his face down close to 
	hers.
	
				BEN
		You'll be able to feel it, 
		sharp and hot under your ear, 
		as one of the brothers is 
		driving your head, face down 
		into one of the penthouse 
		pillows.
		
	They are both suddenly deeply shocked by what he has said. 
	They sit in silence for a while. Sera is close to tears. Ben 
	gets up suddenly, puts down a couple of bills and walks away 
	from the table. When he is almost at the door Sera gets up 
	and quickly tries together up all of the packages.
	
				SERA
		Ben, wait... please wait for 
		me.
	
	ANGLE ON THE DOOR
	
	The dignified older Man stands in Ben's path and places his 
	hands on Ben's shoulders.
	
				MAN
		Maybe you should wait for 
		her, sir.
	
				BEN
		Why?
	
				MAN
		Because... you can hear in her 
		voice that she really wants 
		you to.
	
	Sera catches up and the Man lets go of Ben. Ben takes the 
		packages from Sera and the two of them step out into the 
	mall.
	
	97 INT. MALL - DAY
	
	They walk together.
	
				SERA
		What was that all about?
	
				BEN
		Can we just forget it?
	
				SERA
		I don't understand any of 
		that.
	
				BEN
		Can we just ignore it?
	
	They stop and look at each other. The PA system gives an 
	inane message.
	
				BEN
		Please!
	
				SERA
		Yes... I'll give you that.
	
				BEN
		Thank you, Sera.
	
				SERA
		Do you want me not to go 
		tonight?
	
				BEN
		No... we already talked about 
		that.
	
	CUT TO:
	
	98 INT. SERA'S BEDROOM - NIGHT
	
	Sera is preparing for work. In the background we can hear the 
	TV next door. She dresses carefully. Black underwear, 
	stockings, heels, a tight black skirt.
	
	99 INT. LIVING ROOM - NIGHT
	
	Ben is watching TV and drinking.
	
	100 INT. SERA'S BEDROOM - NIGHT
	
	Sera at the mirror, putting on her make-up. Her make-up is 
		more pronounced than we have seen it before . Everything is 
	more extreme. 
	
	101 INT. LIVING ROOM - NIGHT
	
	Sera comes into the room. Ben looks up at her and sucks in 
	his breath.
	
				BEN
		Wow.
	
	She walks over to him and takes his head and places it 
	between her breasts and kisses the top of his head. 
	
				BEN
		Maybe I should follow you 
		around and ask one of your 
		tricks what it's like to 
		sleep with you.
	
				SERA
		They wouldn't know.
	
	She comes on to him.
	
				SERA
		Maybe you should ask me 
		sometime. I'd be happy to 
		show you.
	
	She goes to the door.
	
				SERA
		I'll be back home around 
		three. If you're back by then 
		we can watch TV or 
		something... I guess what I'm 
		saying is... that I hope you 
		are back when I get home. 
		Please be careful.
		
				BEN
		You be careful to. I'm going 
		to miss you.
	
				SERA
		Shall we go away for a couple 
		of days?
		
				BEN
		Yeah... I'd like that.
	
	CUT TO:
	
	102 INT. SMART HOTEL - NIGHT
		
	Sera walks through the lobby, looking for business.
	
	103 EXT. A STREET - NIGHT 
	
	Ben lying down with people walking past and over him.
	
	ANGLE ON BEN'S FACE 
	
	A big smile appears on his face. He starts to laugh.
	
	FADE OUT:
	
	FADE IN:
	
	104 EXT. DESSERT - DAY
	
	A blue car drives across frame. The sun is bright.
	
	105 EXT. DESERT MOTEL, POOL - DAY
	
	Sera is a very good swimmer and we see that Ben must have 
	been quite an athlete. They look at each other under water. 
	They're under water for a long time. Ben exhales. Sera pushes 
	him towards the surface. 
	
	Ben and Sera come to the surface. Ben has swallowed water and 
	has a coughing fit. Sera hugs him until the fit passes. The 
	camera moves in tighter on them and music gives the moment a 
	strange chill.
	
				SERA
		Don't do that to me. Don't 
		frighten me like that.
	
	CUT TO:
	
	106 EXT. POOL - NIGHT
	
	Ben and Sera are watching the TV next to the poll. They are 
	sitting in reclining chairs. Inn the distance a coyote howls.
	
				SERA
		Years ago, in LA, I turned a 
		trick on Sunset and Western. 
		The guy was polite and didn't 
		argue about the price. He 
		parked his car and I took him 
		to a house that I had an 
		arrangement with. A fat 
		Mexican woman was watching a 
		TV and I told him to give her 
		the twenty for the room. 
		There were three or four 
		small naked children playing 
		on the floor and we had to 
		step over them to get into 
		the room. The room had a bed 
		and a dresser. He lay on his 
		back on the bed and I put a 
		rubber on him and sucked him 
		for a while until he was hard 
		and then I eased on to him. 
		About twenty minutes later 
		there was a knock on the door 
		and it was the woman saying 
		our time was up. I felt kind 
		of guilty because he hadn't 
		come and I offered to reason 
		with the woman and get 
		another ten minutes, but he 
		said it was all right and 
		began dressing. When we were 
		ready to leave the room he 
		stopped me and... hugged me 
		and kissed me on the cheek. 
		He gave me an extra hundred 
		as a tip and went back to his 
		car. I remember being 
		relieved that I wouldn't have 
		to work again that evening.
		
				BEN
		Last spring I happened to 
		walk past a house that I had 
		once patronized. There was a 
		cool breeze blowing off the 
		ocean and through the window 
		I could see a bare leg. The 
		girl must have been taking a 
		break between customers. It 
		was a strange moment for me 
		because it reminded me of my 
		mother and despite the fact 
		that I was late for something 
		already I just stayed there, 
		loving the atmosphere of it 
		and my memory and... the 
		reason I'm telling you  this 
		epilogue is that I felt that 
		I'd come full circle.
		
				SERA
		Where was that house? The one 
		in LA, I mean.
	
				BEN
		Fifth and Mayflower. You know 
		it?
	
					SERA
		Yes. One of my friends was 
		there. I wonder if you ever 
		clipped her.
		
	They watch the TV in silence for a while. Sera holds his 
	hand.
	
				BEN
		I like it here with you.
	
				SERA
		Let's stay for a while.
	
				BEN
		OK.
	
	CUT TO:
	
	107 INT. MOTEL ROOM - DAY
	
	Ben mixes a cocktail for himself, then one for Sera. The 
	camera follows him as he goes...  
	
	108 EXT. POOL-SIDE - DAY
	
	... to the side of the pool, where Sera is sunbathing. He 
	lowers himself unsteadily into the chair but avoids spilling 
	a drop of the drinks, which he puts down on to a glass-topped 
	table. He is pretty loaded. Sera turns over and moves out of 
	his shadow.
	
				SERA
		I've missed the best sun. Why 
		did you have to pawn your 
		watch?
		
				BEN
		I didn't know I'd ever need 
		it again.
	
	Sera gets up, takes a drink and then walks to the diving 
	board. As she takes a position at the end, she pulls the 
	bathing suit out from her bottom, does a very natural dive 
	into the pool, swims a length under water and then comes out 
	near Ben, pulls herself out of the pool in one move and bends 
	down and kisses Ben for a long time. Ben responds and kisses 
	back. There is no one else around the pool.
	
	The kiss becomes heated and urgent and Sera sits on Ben, 
	making him wet from her. He pushes the top of her suit down 
	and kisses her breasts. She picks up the glass and drinks, 
	letting the alcohol spill from her mouth, over her breasts. 
	Ben drinks from her.
	
					BEN
		Take this off.
	
	He tries to pull her swimsuit down.
	
				SERA
		Maybe we should go inside. 
		Come on.
	
	She stands up, covering herself. Ben stands up, laughing, 
	loses his balance and slips on the wet concrete. He falls 
	backwards, half on to the chair, which he breaks, and then on 
	to the glass table. The table goes over and it and the 
	glasses all shatter on the concrete. Ben falls on the broken 
	glass and cuts himself all over his back and his arms. Glass 
	goes into the pool. Blood mingles with the water on the 
	steaming cement.
	
				BEN
		Whoops.
	
	Sera picks up her towel and lays it down next to him. She 
	kneels and helps him up, trying to pullout the little bits of 
	glass sticking to him. Ben stands unsteadily.
	
				BEN
		I'll go and clean up. Perhaps 
		you could take care of this. 
	
	He indicates the mess, then walks to their room. Sera begins 
	carefully picking up the broken glass. The desk clerc appears 
	with a broom and a dustpan.
	
				DESK-CLERK
			(cheerfully)
		Everybody OK?
	
				SERA
		Yes, fine. Don't worry. We'll 
		pay for the chair, and I'll 
		clean all this up, the pool 
		too.
	
				DESK-CLERK
		Don't worry.
	
	He begins sweeping the broken glass into the pan, cheerfully 
	ignoring Sera.
	
				SERA
		You seem prepared for 
		accidents.
	
				DESK-CLERK
			(still smiling)
		Yeah... we get a lot of screw-
		ups here.
	
	He looks directly at Sera.
	
				DESK-CLERK
		Now, you two keep you loud 
		talk and your liquor to your 
		room. Check out first thing 
		tomorrow and after that I 
		don't want to see either of 
		you here again. I don't need 
		you paying for the chair or 
		cutting your pretty hands on 
		the glass. Let's leave it at 
		that.
		
	Nodding firmly, he goes back to the mess, indicating that the 
	conversation is over.
	
				DESK-CLERK
		See ya in the morning.
	
	CUT TO:
	
	109 INT. MOTEL ROOM - DAY
	
	Sera comes into the room.
	
				SERA
		Ben?
	
	She sees that he is already asleep on the bed, his half-naked 
	body covered with countless bits of bloodstained tissue. The 
	image has an almost religious feel to it. The TV is on and a 
	sitcom is playing.
	
	Something funny catches Sera's attention. She laughs and sits 
	on the bed next to Ben.
	
				SERA (voice-over)
		I think we realized that we 
		didn't have long and accepted 
		it. My charm, for him, was 
		that I accepted him exactly 
		as he was and didn't expect 
		him to change. I think we 
		both realized that about each 
		other. Ben needed me and I 
		liked his drama. I loved him.
		
	CUT TO:
	
	110 EXT. DESERT LANDSCAPE - DUSK
	
		We see Las Vegas lighting up. The blue rental car passes 
	through frame and drives towards the town.
	
	FADE OUT:
	
	FADE UP ON:
	
	111 INT. SERA'S BEDROOM, LAS VEGAS - NIGHT
	
	Ben wakes from a dream. He is fully clothed and very 
	agitated.
	
				BEN
		Sera?
	
	112 INT. KITCHEN - NIGHT
	
	Sera is cooking.
	
				SERA
		I'm in here. You probably 
		don't want to hear about it 
		right now, but I bought some 
		plain rice. I thought it 
		might be something you could 
		eat. So if you get hungry 
		later on, just let me know.
	
	Ben comes in from the kitchen and takes vodka bottles from 
	the fridge.
	
	113 scene cut.
	
	114 scene cut.
	 
	115 INT. BATHROOM - NIGHT
	
	Ben's hands are sweating and it's difficult for him to keep 
	hold of the bottle as he drinks. He gets most of it down and 
	then he hunches over the sink and immediately vomits. He 
	takes the second bottle and tries again.
	
	CUT TO:
	
	116 INT. SHOWER - NIGHT 
	
	Still holding the bottle, Ben stands in the shower. He drinks 
	some more and closes his eyes.
	
	CUT TO:
	
	117 INT. KITCHEN - NIGHT
	
	Ben enters, smartly dressed and smiling.
	
					BEN
		I think I'm ready for the 
		rice!
	
	CUT TO:
	
	118 INT. DINING ROOM - LATER THAT NIGHT
	
	Ben and Sera sitting opposite each other. He has a bowl of 
	rice, which he is pretending to eat in between sips of vodka. 
	She has a bowl of vegetables and rice. She sits, silently for 
	a while, and then puts down her chopsticks.
	
				SERA
		You're pretty sick.
	
	Ben looks away.
	
				SERA
		What are you going to do?
	
	She folds her arms.
	
				SERA
		I want you to go see a 
		doctor.
	
	He thinks for a while and then turns to meet her gaze. They 
	look right into each other's eyes.
	
				BEN
		Sera... I'm not going to see a 
		doctor.
	
	Sera continues to look at him almost defiantly.
	
				BEN
		Maybe it's time I moved to a 
		hotel.
	
				SERA
		And do what... rot away in a 
		room?
			(becoming angry)
		We're not going to talk about 
		that. Fuck you! I will not 
		talk about that. You're 
		staying here. You are not 
		moving to a hotel.
		
				BEN
		Will you lighten up, please?
	
				SERA
			(close to tears)
			One thing... one thing... this 
		is one thing you can do for 
		me. I've given you gallons of 
		free will here! You can do 
		this for me.
		
	She leans right forward.
	
				SERA
		Let's face it. Sick as you 
		are, I'm probably the only 
		thing that's keeping you 
		alive.
	
	She stands up
	
				SERA
		I have to go to work now.
	
	Ben doesn't say anything. He just stares a hole in his bowl 
	of rice.
	
	CUT TO:
	
	119 INT. CASINO - NIGHT
	
	Ben walks by himself. He is deep in thought.
	
	CUT TO:
	
	120 INT. CASINO - NIGHT
	
	Ben recklessly bets two hundred dollars at the craps 
	table... and wins. As he leans forward to collect his 
	winnings, he sees... 
	
	ANGLE:
	
	... a Blonde in a very low-cut outfit. She smiles at Ben and 
	walks around the table to pick him up. Ben puts all of his 
	winnings on one bet and wins again. This pattern repeats a 
	few times and drinks are on the house.
	
				BLONDE
		Hey... that was quite a play. 
		You in for the convention?
	
	Ben gets to the point.
	
				BEN
		I'd like to fuck you.
	
	A few people hear Ben and the Blonde is almost put off, but 
	he does have about eight thousand dollars in winnings and so 
	she leans in very close so that she can talk quietly.
		
				BLONDE
		I'm very expensive.
	
				BEN
		How much to lick your pussy?
	
	The Blonde picks up a sizeable stack of chips and looks at 
	Ben.
	
	CUT TO:
	
	121 INT. SERA'S HOUSE - LATER THAT NIGHT
	
	Sera lets herself in, looks around and opens the bedroom 
	door. 
	
	ANGLE:
	
	In one fluid movement the naked blonde gets off the semi-
	conscious Ben, pulls her dress over her head and walks past 
	Sera. Moments later we hear the front door slam. Ben comes to 
	and looks at Sera. He is more or less unaware of what has 
	just happened. 
	
				BEN
		Hello... 
	
	ANGLE ON SERA
		
	Her eyes are wet.
	
				SERA	
		There are limits.
	
				BEN
			(remembering)
		Yes... I guess I knew that.
	
	Ben gets out of the bed. He picks up the bottle on the 
	bedside table and stands.
	
				BEN
		Perhaps I could crash on the 
		couch for a few hours... and 
		then I'll leave.
	
	He walks out of the room and closes his the door. Camera 
	moves in on Sera. She covers her face with her hands. She 
	drops her purse and slides down the wall to the floor, 
	weeping quietly.
	
				SERA (v.o)
		I heard the door slam a 
		couple of hours later and he 
		was gone.
	
	FADE OUT:
	
	FADE IN:
	
	122 EXT. STREET - DAY
	
	Ben coming out of a liquor store with a large brown bag.
	
	CUT TO:
	
	123 EXT. STREET - NIGHT
	
	Sera getting out of a car. The car drives off. Sera examines 
	her face in a pocket mirror. Puts on more lipstick.
	
	CUT TO:
	
	124 INT. MOTEL ROOM - DAY
	
	Ben is on all fours in the bathroom trying to vomit. His thin 
	frame is heaving. Bottles everywhere.
	
	CUT TO:
	
	125 EXT. THE STRIP - NIGHT
	
	Three college boys with beer bottles walk the The Strip. They 
	are all wearing the same numbered jersey. Nice middle-class 
	boys looking for an adventure. They see Sera and go into a 
	huddle before walking over to her.
	
				TALLEST COLLEGE BOY
		How much will it cost us to 
		fuck you?
	
	The other two College Boys titter. Sera starts to walk away 
	and then hesitates.
	
				SERA
		Sorry, guys, but I don't know 
		what you mean. Anyway, I 
		never date more than one guy 
		at a time.
	
				SMALLEST COLLEGE BOY
		Come on... we got money... show 
		her the money.
	
	The other College Boy gets out his wallet and opens it to 
	show her. Sera hesitates, not somehow comfortable with the 
	situation, then goes ahead.
	
				SERA
		How much of that money did 
		you guys want to spend?
	
				TALLEST COLLEGE BOY
		How much you want? How about 
		two hundred for an hour?
	
				SERA
			(becoming annoyed with them)
		Don't your friends talk?
			(no answer)
		Try three-hundred for a half 
		hour.
	
				OTHER COLLEGE BOY
			(nervous)
		Three hundred for the hour.
	
				SERA
		OK... three... and we'll see 
		how it goes. Where are you 
		staying?
	
					TALLEST COLLEGE BOY
		The Yukon, room twenty-four.
	
				SERA
		I'll see you there in fifteen 
		minutes. You can pay me then. 
		Why don't you all take a 
		shower while you're waiting.
		
				OTHER COLLEGE BOY
		A shower? In fifteen minutes?
	
				SERA
		Look... I'll only need one of 
		you at a time. RIGHT? 
		UNDERSTOOD? So... the other 
		two can shower while I'm 
		there. OK?
		
	They walk off in a huddle, giggling - three small boys.
	
	CUT TO:
	
	126 EXT. YUKON MOTEL - NIGHT
	
	Sera drinks from a beer bottle as she approaches their room. 
	She talks to herself.
	
				SERA
		Where are the boys this 
		weekend, Frank? Why, hell, 
		Charlie, I sent 'em off to 
		learn the one thing I 
		couldn't teach 'em.
	
	She looks at the numbers and finds the room. She knocks and a 
	moment later the Tallest College Boy opens the door in his 
	jockey shorts.
	
	127 INT. MOTEL ROOM - NIGHT
	
	Sera steps in. One boy is coming out of the bathroom wearing 
	a towel and the third is sitting in a chair smoking a 
	cigarette, which he passes to the boy in the towel. The other 
	boy is fooling around with a video camera. The atmosphere is 
	weird and Sera is suddenly alert.
	
	The Tallest College Boy hands her the money. He is very well 
	built, a football player. Sera hesitates, holding the money. 
	The Tallest College Boy closes the door and then leans 
	against it. They are all staring at her now. No one says 
	anything. Sera smiles suddenly and puts the money in her 
	purse. All business.
	
				SERA
		OK... where's the bedroom, and 
		who's first?
	
	They all look at each other.
	
				SMALLEST COLLEGE BOY
		I want to fuck her in the 
		butt... 
	
	He looks at the other.
	
				SMALLEST COLLEGE BOY
		... you too, right?
	
				SERA
		Forget that. No one's doing 
		that. You'll all go one at a 
		time. I f you want I'll suck 
		you instead, but that's all. 
		Then I'm out of here.
		
				SMALLEST COLLEGE BOY
			(looking at tallest)
		You said I could fuck her in 
		the butt.
	
				OTHER COLLEGE BOY
		Shut up.
	
				SMALLEST COLLEGE BOY
			(shouting)
		It's my fucking money)
		
				SERA
		That's it... Take your money 
		back. I'm leaving.
	
	The Smallest College Boy gets off the bed and comes over to 
	Sera.
	
				SMALLEST COLLEGE BOY
		No... don't go.
	
	The Tallest Boy is still standing in front of the door and 
	things are getting strange. The Other Boy turns on the video 
	camera. Sera loses her cool.
	
				SERA
			(to the Smallest Boy)
		Maybe you'd like to fuck one 
		of your friends in the butt 
		instead.
	
	The room goes very quiet. The kid tears up. Sera tries to 
	back-pedal.
	
				SERA
		Hey... I'm sorry... 
	
	The kid punches her hard in the stomach, knocking her to the 
	ground.
	
	CUT TO BLACK:
	
	QUICK FADE IN:
	
	Close-up on Sera's face pushed into a bloodstained pillow, 
	her body being pounded from behind. The naked legs of two of 
	the boys behind her. We hear voices, filtered, from a long 
	way off.
	
				VOICE
		Go on... fuck her ass... 
	
				OTHER VOICE
		Look at me... look at 
		me... look at me.
	
	A hand comes into frame and pulls her head up by the hair. A 
	pair of legs moves in. There is the sound of a punch.
	
	FADE OUT:
	
	FADE IN:
	
	Sera's body on the floor. In the background trousers being 
	hastily pulled on to legs. The boys exit with sport bags.
		
	The last one turns out the lights and closes the door.
	
	FADE OUT:
	
	128 INT. MOTEL ROOM - DAWN
	
	In the half-light Sera gets up and walks with difficulty to 
	the bathroom.
	
	129 INT. BATHROOM - DAWN
	
	She clicks on the mirror light. Her face is awful. One eye is 
	swollen almost shut. Her top lip is cut.
	
	CUT TO BLACK:
	
	130 INT. CAB - EARLY MORNING
	
	Sera gets into the cab with considerable difficulty. The cab 
	driver is a cynic.
	
				CAB DRIVER
		What's the matter, honey, get 
		a back-door delivery you 
		weren't expecting? You gonna 
		be able to pay the fare?
		
	Without speaking she takes out a twenty, leans forward and 
	drops it on the front passenger seat. He drives. Looks at her 
	in the mirror.
	
				CAB DRIVER
		Oh, don't wanna talk to me, 
		unh? Well, don't take it out 
		on me, I'm just covering my 
		ass. What the hell do you 
		expect, stuttin' around like 
		that... dressed like that? You 
		oughta be glad the creep 
		didn't nail ya.
		
	CUT TO:
	
	131 EXT. SERA'S HOUSE - MORNING
	
	As the cab drives off, Sera walks slowly to the door.
	
	Her Landlord's wife passes and takes in her face.
	
	CUT TO:
	
	132 INT. SERA'S SHOWER - DAY
	
	Sera is slumped on the floor of the shower, her arms hugging 
		her legs, the water pounding down on her.
	
	CUT TO:
	
	133 INT. SERA'S HOUSE - DAY
	
	Sera opens the door and we see the Landlord. Behind him, on 
	the sidewalk, we can see his wife. He is embarrassed.
	
	ANGLE
	
	Sera, wearing dark glasses. She looks terrible. Her mouth is 
	swollen and some of the bruising around her eye is visible.
	
				LANDLADY
		I'm sorry... but we'd like you 
		out by the end of the week.
	
	CUT TO:
	
	134 EXT. WHOLE YEAR INN - DAY
	
	Sera gets out of a cab and goes into reception. She is 
	wearing huge dark glasses to hide the black eye and the 
	bruising.
	
	CUT TO:
	
	135 INT. HOTEL - DAY
	
	The desk clerk is wearing a shirt of Ben's that we recognize 
	from an earlier scene.
	
				DESK CLERK
		I'm sorry, ma'am. He never 
		checked back in.
	
	CUT TO:
	
	136 EXT. THE STRIP - NIGHT
	
	Sera walks alone. She's dejected as she looks for Ben.
	
	137 INT. CASINO - NIGHT
	
	Sera comes to an elevator and waits. She is wearing a thin 
	black top without a bra. Her bruised face makes her suddenly 
	very conspicuous and vulnerable. A big man in a white stetson 
	stands next to her. He looks at her and grins. She smiles, 
	coldly. He takes from his pocket two black, hundred dollar 
	chips, places one in each hand and deliberately places each 
	one against her nipples. Other people see this and stop and 
	watch. Sera looks down at his hands and stares until the man 
	becomes uncomfortable.
	
					STETSON MAN
		What's the problem, 
		honey?... You on strike?
	
	And he walks away laughing.
	
	CUT TO:
	
	138 EXT. 7-ELEVEN - DAY
	
	Sera is sitting on a freshly-painted red kerb. She smokes a 
	cigarette and doesn't give a damn that her short skirt is 
	somewhat revealing. Opposite her a bum is sleeping on the 
	pavement. For a moment it looks like Ben. The camera comes in 
	tight on to her face. She looks more lost that we've ever 
	seen her. She drinks coffee from a styrofoam cup. The sun is 
	bright and hot and traffic is noisy.
	
	139 INT. DOCTOR'S OFFICE - DAY
	Improvised scene. (5)
	
	140 INT. CASINO - NIGHT
	
	Sera comes in and the camera follows her as she makes her way 
	to the bar. She has covered up much of the bruising with 
	make-up but it is still pretty obvious. In wide shot we see 
	her strike up a conversation with the man next to her at the 
	bar.
	
	CLOSE SHOT - THE BAR
	
	A hand comes in to shot and grips her arm firmly. We see that 
	it is a casino security guard.
	
				SERA
		Let go. What's the problem.
	
				SECURITY GUARD
		We don't want you in here, 
		that's the problem. Let's go.
	
	And he jerks her arm. People are watching now.
	
				SERA
		Don't worry... If you don't 
		want me in here, then I don't 
		want to be in here. Just let 
		go of my arm and I'll walk 
		out of here.
	
				SECURITY GUARD
		Yeah... we'll both walk out 
		now.
	
	He steers her firmly across the floor.
		
	CUT TO:
	 
	141 EXT. CASINO. NIGHT
	
	They reach the sidewalk and, without relaxing his grip, he 
	grabs her between the legs with his free hand and says in her 
	ear:
	
				SECURITY GUARD
		Next time it won't be so 
		fucking easy.
	
	And he pushes her towards the street and walks back into the 
	Casino. Sera is shocked. She looks around and the group of 
	people who have stopped to watch the event move away.
	
	142 INT. SERA'S HOUSE - DAY
	
	Sera is throwing clothes into a suitcase.  The phone rings. 
	She thinks about it for a long time and then it stops. She 
	carries on packing and then the phone rings again. She pick 
	it up.
	
				SERA
		Hello... hello... 
			(suddenly alert)
		Ben? Where the fuck are you? 
		Give me the address.
	
	CUT TO:
	
	143 INT. CAB - LATE AFTERNOON
	
	The driver is black and friendly. The radio drones quietly  - 
	a religious program. The Rev. Ike is taking listeners' calls.
	
				BLACK DRIVER
		What in the hell happened to 
		you, Miss?
	
				SERA
		Oh... it was an argument. 
	
				BLACK DRIVER
		Leave him, Miss. Pretty girl 
		like You could get any man 
		that You wanted.
	
	144 INT. BEN'S MOTEL ROOM - DUSK
	
	The door opens. Ben is naked. His body looks bad. Leaving the 
	door open, he retreats to the bed.
	
	145 INT. BEN'S MOTEL ROOM - NIGHT
		
	Sera comes in, closing the door behind her. The shades are 
	drawn and the room is gloomy. Ben has got back into bed. She 
	comes to the bed and sits.
	
				SERA
		Ben... I've been looking for 
		You. Have You been here since 
		You left? It smells bad in 
		here. It's so dark.
		
	She clicks on the bedside light and is truly shocked by his 
	face.
	
				BEN
		I wanted to see you... 
	
				SERA
		Oh, Ben... you look so very 
		sick... my love... you're so 
		pale.
	
	She goes to the bathroom and returns with a wet face-cloth. 
	She wipes his face.
	
				BEN
		I wanted to see you... you're 
		my angel.
	
	He sits up painfully and finds a bottle, summoning up some 
	last strength to drink. His entire body shudders as he drains 
	the bottle. He puts it down and focuses on her for the first 
	time. H sees her damaged face, touches her face, looks at her 
	questioningly.  
	
				SERA
		Something went wrong... I'm 
		OK.
	
	Ben begins to cry and that sets her off.
	
				BEN
		I'm sorry I put us asunder.
	
	She shakes her head, unable to speak for the moment. She gets 
	into bed with him, kissing his face. She caresses his whole 
	body, which is shaking, possessed by an uncontrollable fever.
	
				BEN
		See how hard You make me 
		angel. 
	
	She excites him with her hand, kissing his face gently. When 
	he is about to come, she straddles him and brings him inside. 
	As he comes, he opens his eyes wide and looks at her.
		
				BEN
		You know I love you... yeah? 
	
	
	
				SERA
			(she comes)
		Yes.
	
	SLOW FADE TO BLACK:
	
	FADE IN:
	
	Sera is sleeping. A sudden gasp wakes her. Ben is having a 
	spasm. Suddenly his body relaxes. He turns his head, opens 
	his eyes wide and looks straight at her.
	
	
	
				BEN
		Oh... I'm so sorry... 
	
	
	He smiles and turns his head away. He is very still.
	
				SERA
		Ben... Ben... Ben?
	
	CUT TO:
	
	146 INT. BEN'S MOTEL ROOM - NIGHT
	
	In the darkened room we can just make out Sera sitting on the 
	bed, looking at the still form of Ben.
	
	CUT TO:
	 
	147 EXT. STREET NEAR MOTEL -  DAWN
	
	Sera walking. A paramedic van goes past with its lights 
	flashing. The soundtrack is empty - silent. We slowly fade in 
	theme music and titles start to roll.
	
	
	[THE END]