Actor Point >> Movie Scripts >> Wild At Heart Film Script

Wild At Heart Movie Script

Writer(s) : David Lynch

Genres : Crime, Drama, Romance, Thriller

Search IMDb : Wild At Heart




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

				     written by
				     David Lynch

				 based on the book by
				     Barry Gifford



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




1. EXT. CITY STREET - DAY

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

								CUT TO:


2. SIGN BY ROADSIDE

The sign reads "KIDS PLAYING - SPEED BUMPS".

								CUT TO:


3. EXT. CITY STREET - DAY

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

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

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

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

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

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

								CUT TO:


4. EXT. NEIGHBORHOOD STREETS - VACANT LOT - DAY

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

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

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

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

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

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

								CUT TO:


5. WASP NEST

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

								CUT TO:


6. INT. FORTUNE HOUSE - DAY

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

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

								CUT TO:


7. INT. PEE DEE COUNTY WORK FARM - DAY

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

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

								CUT TO:


6A. INT. FORTUNE HOUSE - DAY

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

								CUT TO:


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

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

								CUT TO:


6B. INT. FORTUNE HOUSE - DAY

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

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

				LULA
		Mama???

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

				LULA
			(quietly)
		Like hell.

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

								CUT TO:


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

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

								CUT TO:


9. INT. PEE DEE COUNTY WORK FARM - DAY

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

								CUT TO:


10. EXT. THE MUSIC BAR - NIGHT

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

				TEENAGERS
		EAT SHIT MOTHERFUCKERS!!!!!!

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

								CUT TO:


11. INT. THE MUSIC BAR - NIGHT

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

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

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

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

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

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

Lula and Beany laugh and swallow some of their drinks.

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

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

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

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

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

				BEANY
		So you're gonna be needin' the 
		"blue-bird" pretty soon?

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

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

								CUT TO:


12. EXT. BAY ST. CLEMENT - DAY

Plumes of smoke from fires rise in the distance.

DISSOLVE TO:


13. INT. FORTUNE HOUSE - DAY

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

An empty hallway.

An empty stairway.


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

Feet (Lula's) was across carpet.

A closet door opens.

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


13B. INT. FORTUNE HOUSE - STAIRWAY - DAY

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

								CUT TO:


14. EXT. FORTUNE HOUSE - DAY

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

								CUT TO:


15. EXT. CITY STREETS - DAY

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

								CUT TO:


16. INT. BEANY THORN'S GARAGE - DAY

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

DISSOLVE TO:


17. EXT. FORTUNE HOUSE - DAY

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

								CUT TO:


18. INT. "SOUTHERN TIME" BAR - DAY

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

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

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

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

								CUT TO:


19. EXT. PEE DEE COUNTY WORK FARM - DAY

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

				LULA
		Hey baby...

				SAILOR
		Peanut...

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

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

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

				SAILOR
			(smiling)
		Stab it and steer.

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

								CUT TO:


20. INT. CAPE FEAR HOTEL - DAY

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

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

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

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


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

				LULA
		What brand'd she smoke?

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

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

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

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

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

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

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

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

				SAILOR
		You're perfect for me, too.

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

				SAILOR
		In a fire, as I recall.

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

								CUT TO:


21. INT. FORTUNE HOUSE - KITCHEN - NIGHT

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

				CLYDE
		FUCKIN' BITCH!!!!

								CUT TO:


22. INT. CAPE FEAR HOTEL - DAY

Lula's eyes look off, remembering.

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

								CUT TO:


23. INT. FORTUNE HOUSE - LIVINGROOM - NIGHT

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

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

The whole livingroom goes up in flames.

								CUT TO:


24. INT. CAPE FEAR HOTEL - DAY

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

				LULA
		It was a year before I met you.

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

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

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

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

								CUT TO:


25. INT. FORTUNE HOUSE - DAY

Marietta pours JOHNNIE FARRAGUT another shot of scotch.

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

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

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

Johnnie pours himself another tumblerful of Walker Black Label.

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

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

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

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

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

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

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

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

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

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

CU of Marietta' eyes as she thinks back.

								CUT TO:


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

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

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

CU of Marietta's glazed eyes and smiling face.

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

								CUT TO:


27. INT. FORTUNE HOUSE - DAY

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

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

								CUT TO:


28. INT. CAPE FEAR HOTEL - DAY

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

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

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

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

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

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

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

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

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

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

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

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

								CUT TO:


29. INT. FORTUNE HOUSE - KITCHEN - DAY

We see what she talks about.

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

								CUT TO:


30. INT. CAPE FEAR HOTEL - DAY

				SAILOR
		Didn't he say somethin'?

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

ECU of cigarette in toilet.

				LULA
		Not really.  Least not so I recall now.

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

ECU of cigarette coming apart as it swirls.

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

				LULA
		No, he picked me up.

								CUT TO:


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

We see what she talks about.

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

								CUT TO:


32. INT. CAPE FEAR HOTEL - DAY

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

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

				SAILOR
		And you never told nobody about it?

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

								CUT TO:


33. TWO LANE HIGHWAY - DAY

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

								CUT TO:


34. INT. CAPE FEAR HOTEL - DAY

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

				SAILOR
		Here she goes again...

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

Lula strikes a match and lights another cigarette.

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

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

				SAILOR
		You okay, honey?

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

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

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

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

								CUT TO:


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

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

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

				MARIETTA
		That's not why I called.

				SANTOS
		Oh yeah - sure ... okay.

				MARIETTA
		Santos...  It isn't.

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

				MARIETTA
		Lula's gone off with Sailor.

				SANTOS
		What do you want me to do about it?

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


				SANTOS
		Take care of him?

				MARIETTA
		Yes.

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

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

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

				MARIETTA
		I want you to get rid of Sailor.

				SANTOS
		Get rid of him?

				MARIETTA
		Yes...  Get rid of him.

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

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

				SANTOS
		Just tell me what you want.

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

				SANTOS
		You need to explain it.

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

				SANTOS
		Simple?  Kill him?...  How?

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

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

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

				SANTOS
		Well, like kill him with the atomic
		bomb?

				MARIETTA
		Santos...

				SANTOS
		Explain it...  I told you.

				MARIETTA
		Shoot him.

				SANTOS
		Shoot him?  Like with a gun?

				MARIETTA
		Yes.

				SANTOS
		Where?...  In the leg?

				MARIETTA
		No.

				SANTOS
		Where?

				MARIETTA
		In the head.

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

				MARIETTA
		Yes.

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

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

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

				MARIETTA
		Yes.

				SANTOS
		Through the forehead?

				MARIETTA
		Yes.

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

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

				SANTOS
		Why didn't you send Johnnie Farragut?

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

				SANTOS
		On one condition...

He pauses and smiles strangely.

				SANTOS
		You give me your permission to kill
		Johnnie Farragut.

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

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

				MARIETTA
		No...  But...

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

They stare at each other for a moment.

				SANTOS
		I'm gonna take your silence as a 
		"yes"...

				MARIETTA
		Santos...  I can't...


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

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

				SANTOS
			(laughing)
		Put your shoulders back.

				MARIETTA
		What?

				SANTOS
		Put your shoulders back, I said.

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

				SANTOS
		You got nice tits.

				MARIETTA
		Someone's gonna see us.

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

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

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

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

								CUT TO:


36. INT. "THE HURRICANE" - A SPEED METAL CLUB - NIGHT

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

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

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

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

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

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

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

				IDIOT PUNK
		...Asshole.

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

				LULA
		Sailor, honey...

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

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

				IDIOT PUNK
			(to Lula)
		I'm sorry.

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

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

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

DISSOLVE TO:


37. INT. CAPE FEAR HOTEL - NIGHT

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

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

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

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

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

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

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

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

Sailor grunts.

				LULA
		What's that honey?

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

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

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

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

				LULA
		Don't the reject guys get anythin'?

				SAILOR
		Gift certificates to Kentucky Fried
		Chicken.

				LULA
		That don't seem fair.

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


LATER - IN THE DARK

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

				LULA
		Sailor?

				SAILOR
		Yeah?

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

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

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

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

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

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

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

Lula lights her cigarette.

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

Sailor looks her in the eyes.

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

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

CUT TO:


38. INT. ABORTION CLINIC - MIAMI - DAY

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

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

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

ECU of fetus into medical trash can.

ECU of bloodied abortion instruments.

The DOCTOR leans across the abortion table.

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

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

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

We see Marietta standing next to the doctor.

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

								CUT TO:


39. INT. CAPE FEAR MOTEL - NIGHT

				SAILOR
		You tell the boy who knocked you up?

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

				SAILOR
		What happened to him?

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

				SAILOR
		What's that, peanut?

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

								CUT TO:


40. EXT. CITY STREET - CHATTANOOGA - DAY

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

				DELL
		How're ya doin'?

								CUT TO:


41. INT. CAPE FEAR HOTEL - NIGHT

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

				SAILOR
		Actin' funny how?

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

								CUT TO:


42. INT. AUNT ROOTIE'S HOUSE

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

								CUT TO:


43. INT. CAPE FEAR HOTEL - NIGHT

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

				SAILOR
		Hell, peanut...

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

								CUT TO:


44. AUNT ROOTIE'S HOUSE - KITCHEN - NIGHT

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

				AUNT ROOTIE
		What're ya doin'?

				DELL
		Makin' my lunch!!!

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

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

								CUT TO:


45. INT. CAPE FEAR HOTEL - NIGHT

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

								CUT TO:


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

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

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

				SAILOR
		Prob'ly the rain boys from Outer Space.

								CUT TO:


47. INT. CAPE FEAR HOTEL - NIGHT

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


48A. EXT. AUNT ROOTIE'S HOUSE - DAY

Dell walking to house.

								CUT TO:


48. INT. AUNT ROOTIE'S HOUSE - DAY

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

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

								CUT TO:


49. INT. CAPE FEAR HOTEL - NIGHT

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

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

				SAILOR
		What's that?

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

				SAILOR
		So?

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

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

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

Lula turns to study Sailor.

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

They kiss passionately.

DISSOLVE TO:


50. INT. CAPE FEAR HOTEL - NIGHT

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

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

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

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

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

				SAILOR
		Yeah, maybe...

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

								CUT TO:


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

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

								CUT TO:


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

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

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

				SAILOR
		No.

				MARIETTA
		Well, she wants to fuck you.

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

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

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

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

				SAILOR
		Whattya mean?

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

				SAILOR
		So?

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

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

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

								CUT TO:


INT. CAPE FEAR HOTEL - NIGHT

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

				LULA
		Sailor!  

				SAILOR
		You up for that?

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

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

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

								CUT TO:


54. INT. "THE HURRICANE BAR" - NIGHT

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

DISSOLVE TO:


55. INT. BAR - BACK OF "THE HURRICANE" - NIGHT

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

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

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

				LULA
		You still got plenty energy for 
		me, baby.

Lula has had enough of the girl staring at Sailor.

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

				GIRL
		Oh yeah?

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

The girl gets up in a huff and leaves.

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

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


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

We see what he talks about.

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

								CUT TO:


57. INT. BAR - BACK OF "THE HURRICANE" - NIGHT

				LULA
		What'd you say to her?

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

								CUT TO:


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

We see what he talks about.

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

								CUT TO:


59. INT. BAR - BACK OF "THE HURRICANE" - NIGHT

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

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

				LULA
		You mean like pedal pushers?

				SAILOR
		I guess.

								CUT TO:


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

We see what he talks about.

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

								CUT TO:


61. INT. BAR - BACK OF "THE HURRICANE" - NIGHT

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

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

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

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

								CUT TO:


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

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

								CUT TO:


63. INT. BAR - BACK OF "THE HURRICANE" - NIGHT

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

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

ECU of match striking and bursting into flames.

WHITE OUT:

								CUT TO:


64. INT. THUNDERBIRD CONVERTIBLE - DAY

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

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

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

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

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

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

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

				LULA
		We got through two states already.

Lula lights up a cigarette.

				SAILOR
		That don't smell like a More.  

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

				SAILOR
		They sure do stink.

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

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

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

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

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

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

				SAILOR
		You please me, too, peanut.

								CUT TO:


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

Johnnie Farragut drives down a Southern highway on his mission.

DISSOLVE TO:


66. INT. THUNDERBIRD - DAY

				SAILOR
		Life is a bitch and then you marry one. 

				LULA
		What kinda trash talk is that?

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

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

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

				LULA
		Got anyplace special in mind?

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


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

They pass the Biloxi City Limit sign.

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

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

								CUT TO:


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

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

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

				SAILOR
		Come look at this.

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

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

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


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

								CUT TO:


68. EXT. ROADSIDE PAYPHONE - NIGHT

Marcello Santos is making a phone call.

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

								CUT TO:


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

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

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

								CUT TO:


68A. EXT. ROADSIDE PAYPHONE - NIGHT

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

								CUT TO:


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

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

								CUT TO:


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

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

								CUT TO:


71. EXT. BEACH - NIGHT

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

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

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

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

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

				SAILOR
		Got you a pack of Mores again, huh?

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

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

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

Sailor laughs.

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

								CUT TO:


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

								CUT TO:


72. EXT. BEACH - NIGHT

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

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

Lula shrieks.

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

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

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

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

DISSOLVE TO:


73. INT. THUNDERBIRD - SOUTHERN HIGHWAY - DAY

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

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

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


74. INT. MINI-MART - DAY

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

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

				ERV
		This be it?

				BLACK MAN
		Y'all take American Express?

				ERV
		Yessir.

				BLACK MAN
		Then lemme throw in a couple more
		things.

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

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

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

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

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

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

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

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

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

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

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

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


75. EXT. MINI MART/THUNDERBIRD - DAY

Sailor goes back to the car.

				LULA
		That took long enough.  You forget
		my Mounds?

Sailor tosses her the candy bar.

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

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

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

Sailor starts pumping gas.

								CUT TO:


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

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

								CUT TO:


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

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

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

He hangs up the phone and starts dialing another number.

DISSOLVE TO:


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

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

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

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

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

				DROP SHADOW
			(as he sits down)
		Muchas gracias.

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

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

				JOHNNIE
		Johnnie Farragut.  Pleased to meet ya.

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

				REGGIE
		You are from New Orleans, Senor 
		Farragut?

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

Reggie smiles broadly, revealing numerous tall, gold teeth.

				DROP SHADOW
		Mr. San Pedro Sula is from Honduras.

				REGGIE
		Do you know Honduras, Johnny?

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

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

				DROP SHADOW
		No big buildings like in New Orleans.

				JOHNNIE
		Whattaya do there?

				REGGIE
			(laughs)
		Oh, many things...

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

				REGGIE
		But I am also with the government.

Johnnie takes a bite of his oyster sandwich.

				JOHNNIE
		In what capacity?

				REGGIE
		In many capacities.

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

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

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

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

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

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

				REGGIE
		That is my permiso.

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

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

				JOHNNIE
		Of course.

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

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

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

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

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

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

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

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

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

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

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

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

				JOHNNIE
		I couldn't say, which one?

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

				DROP SHADOW
			(grinning)
		Who cares?

								CUT TO:


79. INT. HOTEL BRAZIL - NEW ORLEANS - EVENING

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

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

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

Lula lights a cigarette.

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

								CUT TO:


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

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

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

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

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

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

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

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

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

								CUT TO:


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

George is shooting pigeons as fast as he can.

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

								CUT TO:


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

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

								CUT TO:


83. INT. EARL KOVICH'S HOUSE - DAY

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

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

								CUT TO:


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

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

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

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

				SAILOR
		What happened on the charges?

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

Kovich stands up and puts some money on the counter.

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

George Kovich nods and leaves.

				SAILOR
		What lesson do get outta that story,
		Lula?

				LULA
		It's just another case, Sailor.

				SAILOR
		What's that, peanut?

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

Sailor looks up at Lula.

				SAILOR
		Ain't it the way...

								CUT TO:


85. INT. HOTEL BRAZIL - NEW ORLEANS - NIGHT

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

				LULA
		Sailor?...  Sailor, honey?

Sailor snaps awake with a snort.

				SAILOR
		Huh?

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

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

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

Lula's left hand opens and spreads wide.

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

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

				SAILOR
		You got me, peanut.

				LULA
			(smiles - turns to him)
		You certain?

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


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

				SAILOR
		I do.

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

								CUT TO:


86. BEHIND THE CONFEDERATE SOLDIER

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

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

								CUT TO:


87. INT. HOTEL BRAZIL - NEW ORLEANS - NIGHT

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

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

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

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

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

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

				LULA
		What was this one?

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

								CUT TO:


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

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

								CUT TO:


88. INT. HOTEL BRAZIL - NEW ORLEANS - NIGHT

				LULA
		Boy, sweetie, this is weird, okay.

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

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

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

								CUT TO:


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

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

								CUT TO:


89. INT. HOTEL BRAZIL - NEW ORLEANS - NIGHT

Lula puts her arms around him.

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

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

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

				LULA
		Take a bite of Lula.

								CUT TO:


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

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

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

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

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

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

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

				JOHNNIE
		Set one up.

Chet brings him a double.

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

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

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

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

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

				JOHNNIE
		No sir...

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

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

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

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

FADE OUT:

								CUT TO:


91. EXT. HOTEL BRAZIL - NEW ORLEANS - DAY

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

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

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

				LULA
			(smiles)
		Who do?

				SAILOR
		You do.

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

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

 				SAILOR
		   (looking around frantically)
		Where?

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

				SAILOR
		I'm goin'.

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

								CUT TO:


92. INT. CAFE DU MONDE - DAY

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

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

				WAITRESS
		What's that?

				JOHNNIE
		I said, ain't love wonderful?

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

				JOHNNIE
		Good luck to you kids.

								CUT TO:


93. EXT. CITY STREET - NEW ORLEANS - DAY

Sailor and Lula drive.

				LULA
		You think he saw us?

				SAILOR
		Who knows, baby?

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

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

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

								CUT TO:


94. INT. THUNDERBIRD

Lula and Sailor are motoring along.

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

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

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

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

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

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

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

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

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

				ROACH
		Ain't laughin', ha-ha!

				SAILOR
		What you got in the box?

				ROACH
		My dogs, ha-ha!

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

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

				LULA
			(to Sailor)
		This guy's crazy.

				SAILOR
		Where you from, Roach?

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

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

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

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

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

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

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

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

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

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

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

				LULA
		Drive.

Sailor takes off.

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

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

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

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

								CUT TO:


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

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

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

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

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

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

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

				JOHNNIE
		I will, Marietta.  Goodbye now.

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

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

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

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

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

				REGGIE
		Would you like to enjoy a martini 
		with us?

				JOHNNIE
		Why not?  How was the fishin'?

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

Reggie orders martinis for the three of them.

				JOHNNIE
		So, it's back to the islands.

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

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

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

				REGGIE
			(laughs)
		It has its moments of uncertainty.

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

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


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

Reggie raises his glass to Johnnie's.

				REGGIE
		Hasta siempre.

				JOHNNIE
		Hasta siempre.

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

				JOHNNIE
		How's that?

				DROP SHADOW
		Two Scotsmen were fighting over a 
		penny.

Johnnie finishes off his martini.

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

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

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

								CUT TO:


96. INT. THUNDERBIRD - STREETS OF NUNEZ - NIGHT

Lula and Sailor cruise the dark streets.

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

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

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


97. EXT. RED DEVIL GAS STATION - NIGHT

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

				SAILOR
		Someone up here might know somethin'.

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

				BUCK
		Gas?

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

				BILLY
		Cornbread's.  They got western.

				BUCK
		No food, though, 'cept bar nibbles.

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

				LULA
		How about speed metal?

The kids look worried and take a step back.

				LULA
		Any kinda rock'n'roll, honey.

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

				BUCK
		Mostly black though in that boogie
		place.

				SAILOR
		What's the name of it?

				BUCK
		Club Zanzibar.

				SAILOR
		You say it's straight ahead a mile?

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

				SAILOR
		Thanks.

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

								CUT TO:


98. EXT. CLUB ZANZIBAR - NIGHT

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

				SAILOR
		You ready for this?

				LULA
		We'll find out in a hurry.

								CUT TO:


99. INT. CLUB ZANZIBAR - NIGHT

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

				LULA
		Come on.

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

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

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

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

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

				BARTENDER
		Fuckin' honky cracker mumbo jumbo.


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

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

				SAILOR
		Uh huh.

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

				SAILOR
		Yeah.

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

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

				LULA
		You think she's pretty?

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

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

Lula gets quiet and sucks on her beer bottle.

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

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

				SAILOR
		More'n likely.

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

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

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

BARTENDER ZANZIBAR
		Can't you read?

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

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

								CUT TO:


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

Marietta answers the telephone on the second ring.

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

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

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

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

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

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

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

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

				LULA
		Just a place.

				MARIETTA
		Really, Lula, this ain't right!

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

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

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

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

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

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

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

Marietta is crying.

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

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

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

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

Lula hangs up.

Marietta hangs up and begins pacing the livingroom floor.

								CUT TO:


102. INT. CLUB ZANZIBAR - NIGHT

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


103. EXT. CLUB ZANZIBAR - NIGHT

Lula runs out.  Sailor follows.

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

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

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

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

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

				SAILOR
		Told you not to call your mama.

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

								CUT TO:


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

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

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

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

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

								CUT TO:


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

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

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

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

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

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

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

				JOHNNIE
		What?

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

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

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

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

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

Marietta hangs up.

								CUT TO:


107. EXT. SHELL STATION - HOUSTON - DAY

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

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

				SAILOR
		Under a hundred.

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

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

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

				SAILOR
		That'd be good, Lula.

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

								CUT TO:


108. INT. TEXAS HIGHWAY - DAY

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

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

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

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

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

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

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

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

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

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

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

				LULA
		   (lights another cigarette)
		I'll bet.

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

								CUT TO:


108A. MURKY WATER WITH DEAD BODIES FLOATING

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

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

								CUT TO:


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

				LULA
		Damn!

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

								CUT TO:

108B. MURKY WATER WITH DEAD BODIES FLOATING

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

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

								CUT TO:

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

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

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

				SAILOR
		What's that, peanut?

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

Sailor starts spinning the dial.

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

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

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

				SAILOR
		POWERMAD!!!

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

								CUT TO:

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

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

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

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

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

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

				MARIETTA
		Yes?...

								CUT TO:

112. INT. HOTEL ROOM - NEW ORLEANS - NIGHT

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

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

				MARIETTA
		No...

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

He hangs up the phone.

								CUT TO:

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

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

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

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

								CUT TO:

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

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

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

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

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

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

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

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

								CUT TO:

115. INT. GALATOIRE'S RESTAURANT - NIGHT

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

				MARIETTA
		What is it, Johnnie?

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

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

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

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

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

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

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

				JOHNNIE
		That bastard Pucinski...

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

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

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

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

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

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

				MARIETTA
		This 'bout the fifth time?

CUT TO:								

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

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

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

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

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

				JOHNNIE
		See ya downstairs.

								CUT TO:

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

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

DISSOLVE TO:


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

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

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

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

				MANAGER
		Perhaps we should call a local law
		enforcement officer.

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

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

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

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

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


				MARIETTA
		Oh God!  What does that mean?

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

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

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

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

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

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

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

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

				MARIETTA
		Where we goin'?

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

				MARIETTA
		Please Santos...  Where's Johnnie?

								CUT TO:

118. EXT. SMALL HUT - DESERTED BAYOU - NIGHT

Light comes from one small dirty window.

								CUT TO:

119. INT. SMALL HUT - DESERTED BAYOU - NIGHT

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

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

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

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

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

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

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

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

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

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

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

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

				JUANA
		You hear click?

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

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

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

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

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

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

Reggie goes back behind Johnnie quick.

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

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

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

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

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

As her finger touches Johnnie's face there is a loud "CLICK."  Johnnie 
moans and closes his eyes.

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

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

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

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

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

				JUANA
		FUCK ME!!!!

								CUT TO:

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

Lula and Sailor are driving through the dark desert.

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

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

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

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

				LULA
		You're scarin' me, baby.

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

				LULA
		You knew my daddy?

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

				LULA
		Oh shit...

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

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

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

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

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

				LULA
		How'd you know my daddy?

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

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

				SAILOR
		Lula, you there?

				LULA
		Yeah, I'm here.

				SAILOR
		You upset with me?

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

								CUT TO:

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

The livingroom is on fire.

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

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

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

								CUT TO:

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

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

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

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

				SAILOR
		They have, sugar.

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

				SAILOR
		It's a comfortin' idea.

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

				SAILOR
		There's worse places, honey.

				LULA
		If you say so.

				SAILOR
		Trust me on it.

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

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

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

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

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

				LULA
		Oh God, Sailor.


				SAILOR
		One bad car accident...

				LULA
		SAILOR!!!

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

				LULA
		Sailor, what are we gonna do?

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

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

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

The girl starts walking back toward the car.

				SAILOR
		Let's get ahold a' her quick.

				LULA
		You think she's gonna make it?

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

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

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

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

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

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

				GIRL
		WHERE'S MY HAIRBRUSH?...

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

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

				SAILOR
		I'm afraid she is, baby.

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

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

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

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

				SAILOR
		Let's get outta here, honey.

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

FADE OUT:

FADE IN:


123. INT. THUNDERBIRD - BIG TUNA - MORNING

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

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

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


123A. EXT. IGUANA MOTEL - MORNING

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

				SAILOR
		This'll do.

								CUT TO:

124. INT. IGUANA MOTEL - DAY

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

				SAILOR
		Not bad for eleven dollars a day.

				LULA
		No radio or TV...

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

				LULA
		And no AC.

				SAILOR
		Fan works.

				LULA
		Now what?

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

				LULA
		Sailor?

				SAILOR
		Yeah?

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

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

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

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

								CUT TO:

125. EXT. RED'S GARAGE - DAY

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

				SAILOR
		You Red?

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

Sailor holds out his right hand to shake.

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

Red extends his oil-blackened right hand and shakes.

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

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

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

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

				SPARKY
		How's it look?

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

				SPARKY
		Shit, that's what I was afraid of.

				RED
		I'll get you foreigners a beer.



				BUDDY
			(to Sailor)
		I'm Buddy, and this here's Sparky.

Sailor introduces himself to Sparky and Buddy and Rex.  They all shake 
hands or nod and move out of the sun to drink their beers.

				SAILOR
		My girl and I are lookin' for a 
		place to settle.  We're bunked down
		at the Iguana Motel.

				SPARKY
		So are we.  It's the only motel in 
		Big Tuna.  Have you met Bobby 'Just
		Like The Country' Peru yet?

				SAILOR
		No, we just got in a hour and a 
		half ago.

				BUDDY
		You will.  He's the Mr. Fix-It at 
		the Iguana.  His truck broke down 
		here a couple of months ago.

				REX
		Escaped con.  Man got some serious
		prison tattoos.

				RED
		Ever'body got a past.

				BUDDY
		Just some got more future in 'em
		than others.

				REX
		That ain't no lie.

Sailor finishes his beer, stands it on the ground and steps on it, 
crushing it flat.

				SAILOR
		Been nice meetin' y'all.  'Preciate
		the beer.  I'll be seein' y'all
		soon.

				BUDDY
		Very soon.

				SPARKY
		One thing about bein' in Big Tuna:
		you don't have much choice about who 
		you see and who you don't.

								CUT TO:

126. EXT. IGUANA BANK - DAY

The temperature on the tower reads "One Hundred Twelve."

CUT TO:								

127. INT. IGUANA MOTEL - DAY

In front of the door there is a large, damp spot on the rug where about 
a hundred and fifty flies are buzzing and landing.  Sailor sees this 
when he opens the door.  He steps across the large spot and finds Lula 
just waking up on the bed.

				LULA
		That you, Sail, honey?

				SAILOR
		The only one.

Lula opens her eyes and looks at him.

				LULA
		You find any work?

				SAILOR
		Maybe.  Met a guy named Red, owns a
		garage, could have some work in
		about a week.  Met a few hard luck
		boys who's stayin' here.  What's
		that smell?

				LULA
		I barfed.  Tried to make it to the
		bathroom...  Turned out it was the
		wrong door anyways...  I sorta got
		it cleaned up.

				SAILOR
		You sick?

				LULA
		A little, I think...  Darlin'?

				SAILOR
		Yeah?

				LULA
		Come sit by me.

Sailor goes over and sits on the bed.

				LULA
		I don't know that this is the right
		place for us.

Sailor strokes Lula's head.

				SAILOR
		It ain't gonna be forever, peanut.

Lula closes her eyes.

				LULA
		I know, Sailor.  Nothin' is.

								CUT TO:

128. EXT. SKY OVER BIG TUNA - EVENING

The darkening evening sky is filled with flying monkeys.

								CUT TO:

129. INT. IGUANA MOTEL - COURTYARD - NIGHT

Sailor, Lula, Sparky, and Buddy are sitting in the courtyard of the 
motel sharing Sparky's fifth of Ezra Brooks.  An electric bug killer is 
working overtime.  Buddy is reading from a newspaper.

				BUDDY
		     (reading from paper)
		"Robert Brenton, twenty-five, was 
		killed when his car went off the road
		on State Highway 118, according to the
		Department of Public Safety.  Brenton
		and two passengers, William Reese and
		Susan Day, were thrown from the 
		automobile, reports said."

Sailor looks at Lula.

				SAILOR
		Susan Day...

The assistant manager, TOMMY THOMPSON, speaks from the shadows behind 
the group.

				TOMMY
		Robert Brenton, that dumb fuck.  That
		stupid shit...  That fuckin' Bob was
		so fuckin' dumb...  He deserved to
		die...  That asshole.

They all look over at Tommy.

				BUDDY
		Hey, Tommy...  What's goin' on over
		there in number four where al them 
		bright lights are all the time?

				TOMMY
		Them are makin' a pornographic movie...
		Texas style...  Why?  You wanna join in?

				SPARKY
		How do you get sixteen Haitians into
		a Dixie Cup?

				LULA
		How?

				SPARKY
		Tell 'em it floats.

				BUDDY
		Sparky's big on Florida jokes.

				SPARKY
		You need a active sense of humor to
		survive in the Big Tuna.

BOBBY PERU walks in and comes over.

				BOBBY
		Hey, everybody.

				BUDDY
		Sailor, Lula, this here's the man 
		himself.  Bobby, this is Sailor
		and Lula, the most recent strandees,
		economic variety.

Bobby nods to Lula and offers a hand to Sailor.

				BOBBY
		Bobby Peru, just like the country.

Sparky and Buddy laugh.

				BUDDY
		Accordin' to Red and Rex, Bobby's
		the most excitin' item to hit Big
		Tuna since the '86 cyclone sheared
		the roof off the high school.

				SPARKY
		Only in town two months and there 
		ain't a young thing around don't 
		know how that cobra tattoo works, 
		right, Bob?

Bobby laughs.  He has a lopsided grin that exposes only three brownish 
front teeth and he has flat black eyes that seem to reflect no light.

				LULA
		You from Texas, Mr. Peru?

Bobby pulls up a chair and pours himself a shotglass full of whiskey.

				BOBBY
		I'm from all over.

				SAILOR
		    (noticing a USMC tattoo
		     on Bobby's right hand)
		You was in the Marines, huh?

Bobby looks down at his hand, flexs it.

				BOBBY
		Four years.

				SPARKY
		Bobby was at Cao Ben.

				LULA
		What's Cao Ben?

				BOBBY
			(to Lula)
		How old are you?

				LULA
		Twenty.

				BUDDY
		Lotta women and kids and old people
		died at Cao Ben.

				BOBBY
		March, 1968.  We torched a village
		and the government made a big deal
		out of it.

Bobby sips the whiskey and closes his eyes for several seconds before 
reopening them and looking at Buddy.  His eyes open slowly and they 
practically burn a hole in Buddy.

				BOBBY
			(to Buddy)
		You was on a ship, pardner.  Hard to
		make contact with the people when
		you're off floatin' in the Gulf of
		Tonkin.

				SPARKY
		    (changing the subject)
		Hey Bobby, have yourself another 
		glass 'a Jack.

Sparky refills Bobby's shotglass.  Bobby tosses it back in one gulp.

				BOBBY
		Don't mind if I fuckin' do...  
		Speakin' 'a Jack...  One-eyed Jacks
		yearnin' to go a peepin' in a
		seafood store...  Good meetin' you.
		Adios, boys.

He walks out and after he's gone...

				LULA
		Somethin' in that man scares me.

				BUDDY
		No shit.


				SPARKY
		  (pouring himself another shot)
		Bobby's got a way...  Can't shake
		that institution odor.

Lula puts a hand on Sailor's leg.

				LULA
		Darlin', I still ain't feelin' so 
		well.  I'm goin' to bed.

				SAILOR
		I'll come along.

They say goodnight to Sparky and Buddy and head for their room.

								CUT TO:

130. INT. IGUANA MOTEL - SAILOR AND LULA'S ROOM - NIGHT

				SAILOR
		Man, that barf smell don't fade fast.

Lula goes right to the bed and flops down on it.

				SAILOR
		Anything I can do for you?

				LULA
		No, I don't think so, Sail.  I
		just need to lie down.

Lula listens to Sailor brush his teeth, urinate into the toilet and 
flush it.  Sailor comes out of the bathroom and climbs into bed.

				LULA
		Sailor?  You know what?

				SAILOR
		I know you ain't particularly pleased
		bein' here.

				LULA
		Not that.  Look at what I wrote down
		cause I can't say it.

Lula hands Sailor a note which reads "I'm pregnant."  Sailor looks into 
her eyes.

				SAILOR
		It's okay by me, peanut.

				LULA
		Well, nothin' personal, but I ain't
		sure it's okay by me.

Sailor crumples the note and puts it in the ashtray.


				LULA
		Really, Sailor, it ain't nothin' 
		against you.  I love you.

				SAILOR
		Love you, too.

				LULA
		I know.  Just I'm sorta uncomfortable
		about the way some things is goin',
		and this don't help soothe me.

				SAILOR
		I know this ain't easy, Lula, but
		I ain't gonna let things get no
		worse, I promise.

CU of Lula setting fire to the pregnant note in the ashtray.

DISSOLVE TO:


131. INT. IGUANA MOTEL - SAILOR AND LULA'S ROOM - DAY

CU of flies on vomit stain.

There is a knock on the door which wakes Lula from her nap.  She opens 
the door.  Bobby Peru stands outside.

				BOBBY
		Hey, pretty woman...  Sailor here?

				LULA
		No, he's out changin' the oil in
		the car.

				BOBBY
		Man, I gotta take a piss bad...  Can
		I use your head there?

				LULA
		Well...  Yeah - okay.

				BOBBY
		I don't mean your head head - I'm
		not gonna piss on your head - your
		hair an' all...  Just piss in the
		toilet.  Y'all take a listen - 
		here a deep sound comin' down from
		Bobby Peru.

Bobby enters the bathroom and starts to urinate.

								CUT TO:

132. EXT. PERDITA DURANGO'S HOUSE - DAY

Sailor pulls the T-Bird up front and hurries up to the screen door.  
Flies are buzzing all around.  PERDITA DURANGO comes forward out of the 
darkness inside.

				PERDITA
			(recognizing him)
		Oh...  Look at this...  What do you
		want, snakeskin?

				SAILOR
		Just passin' through on my way to
		who knows where...

				PERDITA
		Sure...  I figured I'd see you 
		sometime...

				SAILOR
		Hopin' you could tell me if there's
		a contract out on me.  I really
		need to know.

				PERDITA
		By who?

				SAILOR
		I think Santos or Marietta Fortune.

				PERDITA
		Heard you was goin' out with that
		bitch's daughter.

				SAILOR
		You heard right.

				PERDITA
		You really are one dumb asshole.

				SAILOR
		Life is unpredictable.

				PERDITA
		Does that girlfriend of yours know
		that her mama and Santos killed her
		daddy?
			(Sailor doesn't answer -
			Perdita smiles)
		Does she know her own daddy was one 
		of the biggest drug dealers around -
		till he started snortin' the shit 
		himself?...
			(Sailor doesn't answer)
		Does she know you was around that 
		night her daddy was set fire to?

				SAILOR
		I didn't see nothin'...

				PERDITA
		Yeah...  But I did...  And I told you
		all about it...

				SAILOR
		Is there a contract?...  We made a
		deal once that we'd tip each
		other off if we ever heard.

				PERDITA
		I know...  I remember.

				SAILOR
		Well?...

				PERDITA
		I ain't heard of nothin'.

				SAILOR
		Thanks...

Sailor goes back to his car and takes off.

								CUT TO:

133. INT. INGUANA MOTEL - SAILOR AND LULA'S ROOM - DAY

Bobby is pacing around the room.

				BOBBY
		Hey...  You gotta smell in this room
		of puke...  You been pukin' in here,
		little girl?  Huh?...  You sick?...
		Pregnant?

				LULA
			(flinches)
		You used the toilet, now you can go
		- what I do around here ain't any
		of your business, that's for sure.

				BOBBY
		You know, I really do like a woman
		with tits like yours that talks
		tough and acts like she can fuck
		like a bunny...  Can you fuck like
		that?...  You like it like a bunny?...
		Huh?...  Cause baby, I'll fuck you
		like a real good like a big ol' jack-
		rabbit bunny...  Jump all around in
		that hole...  Bobby Peru doesn't come
		up for air.

				LULA
		Get out.

				BOBBY
		Am I scarin' ya?...  Your pussy wet?
		...  Come on ... is it?...
		   (moves his hand toward her)
		Hey, don't jump back so slow...  I
		thought you was a bunny...  Bunny 
		jump fast - you jump back slow...
		Mean somethin', don't it?...  Means
		somethin' to me...  Means you want
		Bobby Peru...  You want Bobby Peru
		to fuck you hard baby - open you
		up like a Christmas present.

Suddenly Bobby jumps back, shakes his head and straightens his hair.

				BOBBY
		Hey...  I'm sorry...  I don't think
		I'm bein' too polite here ... and
		I apologize...  Hell...  A man sees
		a pretty woman and first thing he
		knows, he loses his manners...  Sure
		sign of modern times...  Next thing
		ya know, his old hand'll start 
		crawlin' around where it oughtn't to
		go...  I'll be real honest with ya...
		I'd like to fuck you and tear you
		open like a paycheck envelope...
		Will you be honest with me - would
		you like me to do it?...  Just a 
		simple yes or no...

He steps a little closer to her.

				BOBBY
		Just feel me breathin' on you...
		And you'll know I mean business when
		it comes to fuckin'.

With all the strength she can muster, Lula slaps Bobby across the face.

				LULA
		GET OUT!!!

Bobby grabs on to her hard.

				BOBBY
		Bobby Peru grab you now...  Hold
		you tight...  Feel everythin' in you
		now...  Stay quiet...  Say "fuck me"
		and then I'll leave.

				LULA
			(struggling)
		No way...  GET OUT!!!

				BOBBY
		Say it!...  I'LL TEAR YOUR FUCKIN' 
		HEART OUT, GIRL...  Say "fuck me"
		soft - then I'll leave.  Say "fuck
		me"...  Whisper it...  Then I'll
		leave...  Say it...  Say it -  Say
		it -  Say it...

Bobby moves in very close to her - Lula's trembling.  Bobby puts his 
hand on her neck and moves it up and down behind her ear.

				BOBBY
		Say it...  Then I'll leave...  Whisper
		it...  Whisper it...  Whisper it...
		Whisper "fuck me"...

His hand moves down over her breasts - down across her stomach - and 
down.  Lula's left hand opens and spreads wide.

				BOBBY
		Whisper it...  Whisper "fuck me"...
		Whisper...  Whisper...  Whisper...
		Whisper...

				LULA
			(whispers)
		Fuck me.

				BOBBY
		Someday honey, I will...  But I
		have to be goin' now...  Conta i
		no joras...

Bobby leaves smiling and slams the door.  Lula stands trembling clicking 
her heels together.

				LULA
			(whispers)
		Sailor...

								CUT TO:

134. EXT. IGUANA MOTEL - AFTERNOON

Sailor is just about finished changing the oil in the Thunderbird when 
Bobby Peru pulls up in the maroon Eldo.

				BOBBY
		Need a hand?

				SAILOR
		Thanks, Bobby, 'bout done.

Sailor throws some stuff in the trunk and closes the lid.

				BOBBY
		How 'bout a beer?

				SAILOR
		That'd be fine, Bobby.

				BOBBY
		Let's go by Rosarita's.  You been 
		there yet?

				SAILOR
		No, haven't heard of it.


				BOBBY
		Thought maybe Sparky and Buddy'd
		taken ya.  Come on, I'll drive.


134A. INT. ELDORADO - BIG TUNA - DAY

They get into the Cadillac and Bobby takes off down Big Tuna's main 
drag.

				SAILOR
		This your car?

				BOBBY
			(laughs)
		Hell, no, belongs to my girl's sister.
		The sister's been over to New Orleans,
		lets us have it while she's gone.
		Where's that pretty little lady of
		yours today?

				SAILOR
		Restin' in our room.  She ain't been
		feelin' well.

				BOBBY
		Sorry to hear it.

				SAILOR
		New Orleans, huh?...  We was just there.

								CUT TO:

135. EXT. ROSARITA'S - DAY

Bobby parks the Eldo in among half a dozen pick-up trucks.

				BOBBY
		Used to be this was a Mobil.  Man 
		converted it into a private club and
		named it after his wife.  She left
		him and he shot himself.  The wife
		owns it now.

								CUT TO:

136. INT. ROSARITA'S - DAY

They enter a long, dark room where a DOZEN MEN, most of them wearing 
cowboy hats, sit on stools at a bar drinking beer out of frosted mugs.

				BOBBY
		No hard liquor here.  Just beer.

They claim two stools.

				BOBBY
		Couple Stars, Jimmy.

The BARTENDER brings over two bottle and two mugs - then walks back to 
the other end of the bar.

				SAILOR
		Thought you said this was a private
		club.  How come I'm allowed in
		without bein' a member?

				BOBBY
		You black?

				SAILOR
		No.

				BOBBY
		You an indian?

				SAILOR
		No.

				BOBBY
		Then you're a member...  Three or
		four millionaires in here right now.

				SAILOR
			(looking around)
		They look like a bunch of good ol'
		boys to me.  I guess it's oil money,
		huh?

				BOBBY
		Oil, gas, cattle, farmin'.  Ain't 
		nobody shows off around here.  Iguana
		County's one of the richest in Texas.

				SAILOR
		Wouldn'ta guessed it, that's sure.

				BOBBY
		Ready for another?

				SAILOR
		Why not?

DISSOLVE TO:


LATER

Bobby returns from the jukebox and sits down next to Sailor.

				BOBBY
		Q-7, three times.  Pee Wee King's
		"Waltz of Regret," my favorite tune.

Pee Wee's steel guitar ripples through the cigarette haze and buzzes 
around Sailor's head.  His reflection wobbles in the long mirror behind 
the bar.

				BOBBY
		I been studyin' a situation over in
		Lobo, take two men to handle it.

				SAILOR
		What's that?

				BOBBY
		Feed store keeps up to five K in
		their safe.  Need me a good boy for
		back-up.  Even split.  You interested?

Sailor stares at Bobby and works hard to focus his eyes.

				SAILOR
		No...  I don't think so, man.

				BOBBY
		Be easy, Sailor.  There's two employees.
		I take one in the back to open the
		safe, you keep the other'n covered...
		You ain't plannin' on raisin' a 
		fam'ly in Big Tuna, are ya?

				SAILOR
			(on the alert)
		Whattaya mean family?

				BOBBY
			(smiling)
		Well...  I mean like Lula bein' in 
		a family way.

				SAILOR
		   (a tinge of jealousy/fear)
		Lula tell you she's pregnant?

Bobby grins, showing those three brown teeth.

				BOBBY
		Couple grand or more'd give you two
		a leg up.  Get you to the west
		coast, Mexico, most anyplace, with
		a few dollars in your jeans.  I 
		got it figured good, Sailor.

				SAILOR
		When did you talk to Lula?

				BOBBY
		Talked to her this afternoon...
		While you was out.

				SAILOR
		She really say she was pregnant?

				BOBBY
		     (smiles - puts a hand on
			Sailor's shoulder)
		Just took a guess is all...  You
		in or out on this deal?

				SAILOR
		     (looking at Bobby's hand
			on his shoulder)
		I ain't fuckin' sure, Bobby.

				BOBBY
		Don't think about it too long.
		  (nods toward Sailor's mug)
		You had enough?

				SAILOR
			(finishing his beer)
		Have now.

				BOBBY
		Come on outside, I got somethin' 
		to show ya.


136A. EXT. ROARITA'S - LATE AFTERNOON/EVENING

Bobby looks around in the purple twilight before he opens the trunk of 
the Eldorado.  He peels back a brown army blanket.

				BOBBY
		That's a double-barreled, sawed-off,
		Ithaca shotgun with a carved pistol
		grip stock wrapped with adhesive tape.
		Next to it's a cold Smith and Wesson
		.32 handgun with a six inch barrel.
		These'll do 'er...  Loosen up that
		five grand...  Two and a half for you
		and the little lady...

Bobby closes the trunk.  Sailor stands - hesitating to commit.

				BOBBY
		How much money you have between the
		two a'ya right now?...

				SAILOR
		Forty bucks...

				BOBBY
		This is easy money, pardner...  No
		ones gonna get hurt in this thing...
		And I don't think you can afford not
		to take it...  I'll be bringin' the
		Eldo 'round the front of the motel
		at ten tomorrow mornin'...  If you
		ain't a pussy - you'll be there.

Sailor stares at him and his fist clenches.

				SAILOR
		I don't particularly care for that
		kind of talk, Bobby.

				BOBBY
		Hey...  I never said you was a pussy...
		Always figured you had the big ol'
		round balls for this kind'a thing...
		Sure would set you and that pretty
		little girl up good.

				SAILOR
		Yeah ... yeah...  I guess so...
		That kind'a money'd get us a long 
		way down that yellow brick road...

Bobby cocks his head and squints at him questioningly.

				SAILOR
		...But DAMN man...  This better go
		smooth.

				BOBBY
		Like takin' candy from a fuckin'
		baby...

								CUT TO:

137. INT. IGUANA MOTEL - SAILOR AND LULA'S ROOM - NIGHT

Sailor bends over the bed and kisses Lula's hair above her left ear.

				LULA
		You been drinkin', huh?

				SAILOR
		Few beers is all.  Feelin' any better?

Lula rolls onto her back.

				LULA
		Can't tell yet.  Where'd you go?

				SAILOR
		That smell's still fillin' this
		room good.

				LULA
		Buddy and Sparky come by earlier.

				SAILOR
		  (looks right into her eyes)
		And Bobby too, I hear...

				LULA
			(can't look at him)
		Yeah...  He was lookin' for you.

				SAILOR
		You talk to 'im some?...

				LULA
		Some...  Sparky said Red's promised 
		to have him and Buddy out of here
		by the weekend.

				SAILOR
		Oughta make 'em happy.

				LULA
		So where'd you say you was?

				SAILOR
		      (can't look at her)
		Went with Bobby.

Sailor sits on the bed and starts undressing.

				LULA
		Sail?

				SAILOR
		Uh huh?

				LULA
		Let's leave here.

				SAILOR
		We're goin' to, Lula, real soon.

				LULA
		I mean tomorrow.

				SAILOR
		We got about forty bucks, sweetheart.
		That'd get us to El Paso.

				LULA
		Rather be in El Paso than Big Tuna.

Sailor gets into bed.

				SAILOR
		You shouldn't be smokin' if you're
		pregnant.  Ain't smart.

Lula sticks a More between her lips and lights it.  She takes a deep 
drag, blows out the smoke, and stares at Sailor.

				LULA
		Who says I'm smart?  You up to 
		somethin' with Bobby Peru, Sailor?

				SAILOR
		What could I be up to, Lula?

				LULA
		He's a stone fuckin' criminal, honey,
		and you ain't.

				SAILOR
		I killed Bob Ray Lemon, didn't I?

				LULA
		That was a accident.  I bet both our
		asses Bobby Peru done murdered all
		kinds of people, and meant it, too.

				SAILOR
		That was in Vietnam.

				LULA
		He's the kind liked it.

				SAILOR
		Lula, I got to get some sleep.

				LULA
		Buddy told me about that thing at
		Cao Ben?

				SAILOR
		What?

				LULA
		Was a massacre.  Soldiers there 
		murdered old folks, women and babies,
		and dumped 'em in a trench.  Bobby
		Peru prob'ly killed the most.

				SAILOR
		Lula, he mighta did, I don't know.
		But it don't matter now.  Lotta guys
		go outta control in a war and it 
		ain't their fault.

Lula puffs hard on her cigarette.

				LULA
		I sure enjoy smokin', Sailor.  I 
		hate that it's bad for you.

Sailor turns on his side, away from Lula, and pulls a pillow over his 
head.

				LULA
		That man's a black angel, Sailor.
		You hook up with him, you'll regret
		it.  If you live to.

S				AILOR
		Thanks, darlin', I know you got my
		best interest in mind, and I
		'preciate it sincerely.  I love 
		you, but I gotta sleep now.

Lula lights a second More off the first one and stubs out the butt on 
the dresser top.  

				LULA
		This whole worlds wild at heart and
		weird on top.

Lula turns over, away from Sailor.

				LULA
			(softly)
		I wish you really, truly loved me...
		I wish you'd sing me "Love Me Tender"
		...  I wish I was somewhere over 
		that rainbow...  Shit.  Shit, shit, 
		shit.

CU of Sailor's eyes - he remembers.

								CUT TO:

138. INT. BAY ST. CLEMENT HOTEL - STAIRCASE - NIGHT

Sailor and Lula are walking down the carpeted stairs when Sailor is 
called by BOB RAY LEMON, who is coming down towards them fast.  Marietta 
stands at the top - watching.

				BOB RAY
		Hey Sailor...  Wait a minute...  I
		got somethin' for ya.

As Bob Ray passes Lula on the stairs - he puts his hand between her 
legs.  Sailor starts to see red.  Bob Ray smiles and steps down to 
Sailor.  He leans in and whispers in Sailor's ear.

				BOB RAY
		Shit, man...  Marietta says you been 
		tryin' to fuck her in the toilets 
		for the past ten minutes...  You
		crazy fuckin' bad boy tryin' to 
		fuck your girl's mama...  How do
		you think that cute little cunt Lula
		would feel about that?  Hey, take a
		look at this...
			(shows Sailor one thousand
			dollars in cash)
		Marietta just gave me this to kill
		you right now, and afterward she
		said Lula was mine to fuck all the
		way into next Sunday.

Bob Ray pulls a knife, but Sailor's fist is already halfway through Bob 
Ray's brain.  From there, Sailor steps firmly into the crazy zone.  
Amidst blood-curdling hysterical screams from a growing throng of 
SOUTHERN BELLES, Sailor starts taking Bob Ray apart limb by limb and 
doesn't stop until Bob Ray lays completely destroyed and completely dead 
at the foot of the stairs.  The crowd of formally dressed onlookers 
stand aghast.  Sailor stares up at Marietta.  Both their eyes burning 
with hate.

								CUT TO:

139. INT. IGUANA MOTEL - SAILOR AND LULA'S ROOM - NIGHT

Sailor is dripping with sweat.  His teeth are clenched tight and his 
fists violently grip the sheets, as if any minute he could tear the bed 
apart.

								CUT TO:

140. INT. PERDITA DURANGO'S HOUSE - NIGHT

Bobby lets the screen door bang shut behind him as he comes in and roams 
around the livingroom.

				PERDITA
		Nice of you to drop by.

				BOBBY
		Told ya I would.  You still riled?

				PERDITA
			(laughs)
		You still screwing sixteen-year-olds
		in the ass?

Bobby keeps circling.

				BOBBY
		Ain't never had no girl pull a blade
		on me.

				PERDITA
		Wish I'd fuckin' cut you up good.

				BOBBY
		You heard from Reggie?

				PERDITA
		Juana called.  They're stayin' 
		another week.

Bobby stops walking and stares at the photograph on the wall.

				BOBBY
		Stayin' a few extra days in the big
		N.O., huh?  This you?

Perdita turns her head and looks, then turns back.

				PERDITA
		Yes.

We see the photo now.  In it are Perdita along with her sister, Juana, 
and her husband, Reggie, whom we recognize as the killers of Johnnie.

				BOBBY
		Don't look like you.

Bobby turns around and leans down and puts his face next to Perdita's 
from behind.


				BOBBY
		The cobra's waitin' to strike, chica.

				PERDITA
		That guy Sailor came around this
		afternoon...  Asked me if there was
		a contract out on 'im.

				BOBBY
			(laughs out loud)
		No shit?!?!  You know him?

				PERDITA
		Used to.

				BOBBY
		What'd you say?

				PERDITA
		No, of course.

Bobby takes out a silver dollar and flips it into the air.  It lands 
tails up in his hand.  He pockets it.

				BOBBY
		That's right...  Could have a bad
		accident, though ... before ... 
		durin' ... or after a hold-up...

				PERDITA
		What's gonna happen when he sees me 
		drivin' the car tomorrow?

				BOBBY
		Maybe he'll get a little nervous,
		but who gives a shit?

Bobby lowers his hands into the front of Perdita's blouse and cups her 
breasts.  She burns the back of his left wrist with her cigarette.  
Bobby jumps back, then grabs Perdita's hair and pulls her over the couch 
onto the floor.  Neither of them speak.  She tries to stand, but Bobby 
keeps his right foot on her chest while he blows the back of his wounded 
wrist.  Perdita shoves his leg to one side and rolls away.  She stand up 
and spits at him.

				BOBBY
			(grinning)
		I knew we could be friends again...


CUT TO:							

141. INT. IGUANA MOTEL - DAY

Lula lays very still on the bed.  Her head is close to the small 
turquoise radio on the bedside table.  She is listening to a piece of 
sad, nostalgic music and as we move in closer to her and the radio - the 
volume increases.

Lula remembers some "moments" in her life with Sailor: (Music continues 
over)

When he kissed her outside the jail gate.

When he touched her breast the day after he got out of jail.

When they sat behind the Confederate Soldier.

When they danced to "Slaughter House."

Suddenly, Lula sees an image in her mind that she does not recognize.  
She sees an abstract image of reflected light with two eyes looking 
through it at her.  The image puzzles her.

(The Music continues over)

								CUT TO:

142. EXT. IGUANA MOTEL - DAY

The big Eldorado pulls up in front of the Iguana Motel where Sailor has 
been waiting in the hot sun.  Bobby opens the door.

				BOBBY
		Jump in back.

Sailor crawls in the back seat and sees Perdita just as she floors it 
and they take off in a cloud of dust.


142A. INT. ELDORADO - BIG TUNA - DAY

				SAILOR
		What's she doin' here?

				BOBBY
		She's my girl...  She's drivin'...
		That bother you?

				SAILOR
		Why should it?

				BOBBY
		That's right...  Take one of these.

				SAILOR
		What is it?

				BOBBY
		Panty hose.  Work better'n stockin's.
		Pull one of the legs down over your
		face and let the other leg trail
		behind your head.  You get the pistol.
			(hands him the .32)
		Remember, soon as we get inside, you
		keep that bad boy up where those 
		hicks can see it.  Once they notice
		the Ithaca and the Smith, they'll 
		know we ain't foolin' with 'em.

				PERDITA
		Comin' up on it now, Bobby.

								CUT TO:

143. EXT. RAMOS FEED STORE - DAY

Bobby slips the panty hose over his head and adjusts it.  His face looks 
crooked and distorted.

				BOBBY
		     (frightening whisper)
		Come on!  Get that mask on!

Sailor rips open the package and pulls a nylon leg over his head, 
stretching the calf part to fit.

Perdita pulls up in front of the store.  The street is deserted.

				BOBBY
		Keep it revved, Chiquita.  We won't
		be long.  Just goin' in to get our
		five grand.

CUT TO:								

144. INT. RAMOS FEED STORE - FRONT OFFICE - DAY

Bobby and Sailor enter the feed store.  Bobby raises his sawed-off 
shotgun and points it at the TWO OLD MEN behind the counter.

				BOBBY
		Into the back room, both of you, 
		NOW!!!

Bobby and the two men head down the hall into the back room.

				BOBBY
		    (calling back to Sailor)
		If anyone comes in, herd 'em back
		here quick.

								CUT TO:

145. EXT. RAMOS FEED STORE - DAY

Suddenly, an Iguana County DEPUTY SHERIFF cruises up in a patrol car and 
parks it on angle in front of the idling Eldo.  The Deputy gets out of 
his car and walks over to the driver's side of the Eldorado.

				DEPUTY
		Waitin' for somebody, Miss?

				PERDITA
		Mi esposo.  He's in the feed store
		picking up some supplies.

				DEPUTY
		You'd best be careful of that cigarette,
		Ma'am.  It's about to burn down 
		between your fingers.

Perdita stubs out her Marlboro in the ashtray.

				PERDITA
		Gracias, officer.

								CUT TO:

146. INT. RAMOS FEED STORE - FRONT OFFICE - DAY

The two old guys have their hands in the air and are moving back behind 
the counter.  Bobby is just finishing tying off a bag of money.  Sailor 
is by the front door holding his pistol on the two old guys.  When Bobby 
finishes tying the money bag - he lifts the shotgun and blows a hole 
through the chest of one of the old men.  Sailor goes into shock.

				SAILOR
		BOBBY!!!!  STOP IT, MAN!!!


CUT TO:

147. EXT. RAMOS FEED STORE - DAY

Reacting to the shot, Perdita jams the gear shift into reverse and peels 
out, knocking the deputy down.

								CUT TO:

148. INT. RAMOS FEED STORE - FRONT OFFICE - DAY

Sailor turns his pistol on Bobby now.  Bobby spins his shotgun around 
and points it at Sailor.

				BOBBY
		You're next, fucker.

The second old man is reaching under the counter.

Sailor fires his .32 at Bobby.  There are no live bullets in his pistol.  
It just makes a dry click.  Bobby smiles and is just about to kill 
Sailor when out of the corner of his eye he catches sight of the second 
old man bringing out a big shotgun of his own.  Bobby instinctively 
spins and empties the second barrel of his two-barrel shotgun into the 
old gentleman.  As Bobby is reloading fast, Sailor sprints through the 
front door.  Bobby is right behind him as he flys out the front door.


148A. EXT. RAMOS FEED STORE - DAY

The deputy recovers and comes up on one knee with his revolver clasped 
in both hands.  He fires his first shot into Bobby's thigh and his 
second into Bobby's left hip.  The shock of the initial slug causes 
Bobby to drop the bag.  The impact of the second forces Bobby's right 
hand to twist sideways to that both barrels of the shotgun wedge under 
his chin.  The Ithaca goes off, blowing Bobby backwards through the 
RAMOS on the plate glass window of the feed store.

Sailor hits the ground - losing the Smith as he falls.  He puts his hand 
over his hosieried head and keeps his face in the dirt until the deputy 
orders him to stand up.

								CUT TO:

149. INT. IGUANA COUNTY COURTHOUSE - DAY

Lula is sitting on a bench in the waiting room of the Iguana County 
Courthouse Building when Marietta and Santos walk in.  As soon as she 
sees Lula, Marietta runs over, sits down next to her and hugs and kisses 
her.

				MARIETTA
		Oh baby, I was beginnin' to think 
		I was never gonna see you again.

Tears are pouring down Marietta's cheeks.  She holds Lula to her and 
Lula does not resist.  Lula just stares at Santos.

				MARIETTA
		You're comin' home, precious.  Santos'
		gonna drive us to the San Antonio
		airport.

				LULA
		Mama, Sailor's in deep trouble here.
		I just can't leave him.

Marietta takes Lula by the shoulders and looks straight at her.  Lula's 
eyes are bloodshot, her hair is greasy and stringy, and her cheeks are 
pale.

				MARIETTA
		Oh, yes, you can.

Santos steps forward.  Lula begins to tremble.

				SANTOS
		Your mama's been real worried 'bout
		you, honey.  Me too...  Can you
		give your old friend Santos a hug,
		too?

Santos' arms begin to go around Lula.  Lula lets out a blood-curdling 
scream and shakes like a leaf on a tree.  Santos grabs her hard - in a 
bear hug.  On one shirt cuff we see a cufflink which is turquoise, 
orange, and silver.

								CUT TO:

150. INT. WALLS UNIT - DAY

Sailor lays on his jail bed reading a letter from Lula.

				LULA
			(voice-over)

Dearest Sailor Darling,

The first thing you'll want to know is I'm keeping the baby.
Mama wasn't for it in the beginning but I think she's looking
forward to it.  I'm gonna name it Pace no matter if it's a 
boy or a girl.  Pace Ripley sounds good, don't it?  It's
kind of hard to believe that Pace will be six years old 
when you get out.

I feel like I'm kind of in prison too, but I know in six
months, it'll be over and I'll have a son or daughter to
show for it.  Our child!!

I love you Sailor.  I don't know how much or what it 
means though I miss you an awful bunch sometimes I know
you're thinking about me cause I can feel it.  I miss
you not being around to call me peanut nobody else ever
called me that.

Mama married Santos.  It just about drove me crazy.  My
daddy left a lot of money somehow and they're spending
it like there is no tomorrow.  I'm going to move out as
soon as I can.

Mama and Santos said because of the baby they're lookin'
at the two of us in a different light - whatever that
means.

Johnnie Farragut has plumb disappeared.  No one knows
where.  I miss him, but not near as much as I miss you.

Time don't really fly honey does it?

Love,
your Lula

P.S. I miss dancing...

								CUT TO:

151. INT. FORTUNE HOUSE - DAY

Lula sits in her bedroom reading a letter from Sailor.

				SAILOR
			(voice-over)

Dear Lula,

It is fine with me about the baby as you already know. 
And Pace being your family name and all is just right.
What about a middle name if it is a boy after my 
granddaddy Roscoe?  He would be proud I know though
he is long passed.  Pace Roscoe Ripley does not sound
so bad do you think?

This place is not so pretty as Pee Dee.  Not pretty
at all.  There are boys inside these walls meaner
than Peru you can bet.  There is a Death House.  I
am getting along.  The only thing is not thinking
about the future.

I miss dancing with you, too.  I love you.  It is
hard to end this letter.  If I stop writing you're
gone.  There is not a lot more to say though.
Vava con dios mi amor.

Sailor

LONG FADE OUT:

								CUT TO:

152. INT. MARIETTA FORTUNE'S HOUSE - EVENING/
153. INT. LULA FORTUNE'S HOUSE - EVENING - (SIX YEARS LATER)

Six years later...  Lula stands in the living room holding a glass of 
ice water while talking on the telephone to her mother.  Marietta is 
wearing a giant diamond ring on one hand and the other hand is holding a 
Martini and Rossi sweet vermouth.  Marietta is slumped over in an 
ottoman with wheels and is pushing her drunken self around the 
livingroom as she talks on the phone.

				LULA
		I'm goin', mama.  No way I can't go.

				MARIETTA
		You ain't takin' Pace, though.

				LULA
		Course I am, mama.

				MARIETTA
			(sighs)
		What time's Sailor's train get in?

				LULA
		Six.

				MARIETTA
		Got any plans?

				LULA
		Figure we'll go have supper someplace.
		Maybe get some barbecue out by 
		Stateline.  Sailor always liked that
		Havana Brown's Pig Pickin'.

				MARIETTA
		Well, you be careful with that boy,
		Lula.

				LULA
		Sailor ain't a boy no more, mama.

				MARIETTA
		Don't mean him.  It's Pace concerns me.

				LULA
		Really, mama, I gotta go.

				MARIETTA
		What if I asked you not to?

				LULA
		Wouldn't make any difference.

				MARIETTA
		What if I told you not to?

				LULA
			(forcefully)
		Mama ... if you get in the way of
		me and Sailor's happiness, I'll
		fuckin' pull your arms out by the
		roots.

Lula hangs up and throws her glass of water at a picture of her mother - 
draining it.

								CUT TO:

154. INT. LULA'S CAR - EVENING

PACE ROSCOE FORTUNE is a shy, polite, innocent six-year old who wears a 
long-billed fishing cap and pants with suspenders.

				PACE
		How'll we know what he looks like?

Lula makes a wide left turn onto Jeff Davis Highway without signaling, 
causing the driver of a white Bonneville headed across the intersection 
to jam on his brakes in order to avoid a collision.  The Bonneville 
driver sits on his horn and shouts at Lula.

				PACE
		Mama, you almost crashed us.

Lula steadies the steering wheel of her Camaro with her left elbow while 
she strikes a match and lights up a More.  She throws the match out the 
window and takes possession of the wheel with both hands, the cigarette 
is clamped in her teeth.

				LULA
		Don't give me no trouble now, Pace,
		please.  This ain't the easiest day
		in a long time.  And what do you
		mean how are we gonna know what your
		daddy looks like?  You seen his photo.


				PACE
		How'll he know what we look like?
		He seen our photo?

Lula puffs furiously several times on her More before she takes it out 
of her mouth and drops it.

				LULA
		Damn it, child!  Now look what you
		made me do.

				PACE
		What I made you do, mama?

Lula feels around on the floor with one hand until she finds the 
cigarette.  Sirens can be heard up ahead.

				LULA
		Nothin', honey. 
		  (stubbing it out in the ashtray)
		Mama's just actin' strange.

				PACE
		You ain't actin', mama.

				LULA
		Why, Pace Roscoe Ripley, ain't you
		got one cute mouth tonight?

They pass an automobile accident where a man has been thrown into the 
curb - his head broken open and bleeding.  The ambulance is just 
arriving.  Lula looks away.

								CUT TO:

155. ACCIDENT - EVENING

A CRAZY MAN in a wheelchair is wheel up to the accident victim, who is 
bleeding profusely and in a state of shock.  The man in the wheelchair 
stares at him for a moment.

				WHEELCHAIR MAN
		Hey man...  HEY...  Same fuckin'
		thing happened to me last year...

								CUT TO:

156. INT. LULA'S CAR - EVENING

Pace looks up at his mother.

				PACE
		I still ain't sure what my daddy 
		looks like.

				LULA
		Like you, sweetheart.  You and your
		daddy got the same mouth, eyes, ears,
		and nose.  Only difference is your
		color hair is like mine.

				PACE
		My daddy ain't never killed nobody,
		has he, mama?

				LULA
		Course he ain't never killed nobody.
		Why'd you say that, Pace?

				PACE
		Heard grandpa Santos and grandmama
		talkin'.

				LULA
		And?

				PACE
		Grandmama said how Sailor murdered a man.

				LULA
		Wrong, baby.  Your daddy never 
		committed no murder.  Musta been you 
		didn't hear grandmama proper.  He made 
		some mistakes, is all.  Your daddy ain't 
		always been so lucky...  We're almost
		at the depot, honey.  Sit back a minute.

								CUT TO:

157. EXT. TRAIN STATION - EVENING

Lula pulls the Camaro into in the station parking lot and kills the 
engine.

				PACE
		Why we sittin' here, mama?

				LULA
		Thinkin' a second, baby.

Lula gets out and goes around for Pace.  They hold hands as they walk 
toward the station.  The big clock on the side of the building shows ten 
minutes past six.

				PACE
		I'm scared, mama.

				LULA
		Why, honey?

				PACE
		Case daddy don't like me.  What if
		he don't like that I don't got 
		his color hair.

				LULA
		Pace, your daddy'd love you even
		if you didn't have no hair at all.

CUT TO:								

158. INT. TRAIN STATION - EVENING

Lula sees Sailor as soon as she opens the door.  He is sitting in an 
orange plastic chair against the opposite wall, smoking a cigarette.

				LULA
		Still partial to Camels, huh?

Sailor smiles.

				SAILOR
		First pack of tailor-mades I had in
		a while.

He stands up and looks down at Pace, who is still holding hands with 
Lula.  Sailor puts out his right hand.

				SAILOR
		You must be my son.

				LULA
		Shake hands with your daddy.

Pace releases Lula's hand and puts his own in Sailor's.  Sailor grips it 
gently but firmly, pumps once, then lets go.

				SAILOR
		Pleasure to meet you, Pace.  I read
		a lot about you.

Sailor looks at Lula.  Her eyes are full of tears and she lets them 
loose.  Sailor tries to smile.

				LULA
		You hungry?  Pace and I ain't had
		dinner yet.

				SAILOR
		Lead the way.

Sailor picks up his black metal suitcase and follows them to the car.

CUT TO:								

159. INT. LULA'S CAR - NIGHT

Lula drives.

				SAILOR
		No rag top, huh?

Lula starts to reply, then stops.  She stares straight ahead, gripping 
the wheel hard.  Suddenly, she pulls over to the side of the road, turns 
off the engine and gets out of the car.

				PACE
		What's wrong, mama?

				SAILOR
		     (turning to Pace and 
			patting his head)
		Don't worry, son.  Just stay here.

Sailor gets out and goes over to Lula, who is leaning back against the 
hood.

				LULA
		I'm sorry, Sailor.  I just can't 
		help it.  Give me a minute and I'll
		quit.

				SAILOR
		Boys frightened, Lula.  This ain't
		no good.

				LULA
		Really, Sail, I'll be okay.

				SAILOR
		It's a mistake, honey.  You two go on.
		I'll walk back to the depot.

				LULA
		What're you talkin' about?  That's 
		your son in there.

				SAILOR
		He ain't never known me, Lula, so 
		there ain't much for him to forget.
		Not seein' each other for six years
		makes it next best to simple for us, too.

				LULA
		How can you say that, Sailor?

				SAILOR
		What makes sense, is all.

Sailor goes around to the driver's side, reaches in and pulls the keys 
out of the ignition.  He unlocks the trunk, removes his suitcase, and 
closes the lid.

				LULA
		Don't do this, Sailor, please.

Sailor slips the keys in her shirt pocket and leans his head into the 
car.

				SAILOR
			(to Pace)
		Oiga, amigo.  If ever somethin' 
		don't feel right to you, remember what
		Pancho said to The Cisco Kid...  
		'Let's went, before we are dancing at
		the end of a rope, without music.'

Sailor stands up and looks at Lula.  Her eye makeup runs in dark streaks 
down her face.

ECU of Lula's eyes.  Her eye makeup runs like black sweat over eyes and 
down her cheeks as in Sailor's dream.

				SAILOR
		You been doin' fine without me, peanut. 
		There ain't no need to make life 
		tougher'n it has to be.

He picks up his suitcase, kisses Lula lightly on the lips and walks 
away.  She lets him go.

								CUT TO:

160. EXT. CITY STREET - LATE AFTERNOON/EVENING

Sailor walks down the street pretending hard not to care.

								CUT TO:

161. INT. LULA'S CAR - LATE AFTERNOON/EVENING

Lula climbs in behind the wheel - sobbing.  Pace sits sadly, staring out 
the window.

								CUT TO:

162. EXT. CITY STREET - LATE AFTERNOON/EVENING

Sailor continues walking down the street.  A GANG OF INSANE KILLER 
TEENAGERS on PCP appear and come towards Sailor.  They circle around 
him, coming in closer for the kill.

				SAILOR
		What do you faggots want?

That's all it takes.  The gang is on him.  Sailor tries to defend 
himself, but one big punch to his nose sends him down and out.  Blood 
begins to pour from his swelling nose.


162A. EXT. CITY STREET - LATE AFTERNOON/EVENING

CU OF SAILOR'S FACE - a bright light illuminates it.

In the sky above Sailor, a large glowing bubble holding the beautiful 
Good Witch of the North comes floating down above him.

				GOOD WITCH
		Sailor Ripley...

Sailor's eyes suddenly see the Good Witch through his closed eyelids.  
His mouth speaks through closed lips.

				SAILOR
		The Good Witch...

				GOOD WITCH
		Sailor...  Lula loves you.

				SAILOR
		But I'm a robber and a manslaughterer
		and I haven't had any parental 
		guidance.

				GOOD WITCH
		She's forgiven you of all these things
		...  You love her...  Don't be
		afraid, Sailor.

				SAILOR
		But I'm wild at heart.

				GOOD WITCH
		If you are truly wild at heart, you'll
		fight for your dreams...  Don't turn
		away from love, Sailor...  Don't turn
		away from love...  Don't turn away
		from love.

The Good Witch disappears.


162. EXT. CITY STREET - LATE AFTERNOON/EVENING

Sailor opens his eyes and drags himself and his giant swollen nose up on 
his feet.  The gang still stands around him.

				GANG MEMBER
		You had enough, asshole?

				SAILOR
		Yes, I have...  And I wanna apologize
		to you gentlemen for referring to 
		you as homosexuals.  I also want to
		thank you fellas, you've taught me
		a valuable lesson in life.  
			(lifts his head high)
		LULA!!!!

Sailor turns around and starts running back.  The gang watches him go.

								CUT TO:

163. INT. LULA'S CAR - LATE AFTERNOON/EVENING

Lula sits in the car in the middle of a giant traffic jam.  She is still 
crying and horns are honking all around them.

								CUT TO:

164. EXT. CITY STREET - LATE AFTERNOON/EVENING

Sailor runs up the street, holding his nose and SCREAMING LULA'S NAME.

He rounds a corner and spots her in the middle of a sea of cars.

He starts running towards her - leaping from one car to another until he 
jumps on the hood of Lula's car.

She sees him.

				SAILOR
		LULA!!!!

				LULA
		SAILOR!!!!

Lula wriggles out of the car and flys into his arms.  Behind them is a 
giant golden sunset.  As they embrace - the sound of the horns goes 
away.  Lula's gaze goes to a reflection of golden light on a windshield.  
It is the same abstract scene she saw before in her room in Big Tuna, 
but now she knows what it is.  It is Pace's happy, smiling eyes looking 
up at the two of them in love.

Sailor, with a giant blue nose, looks into Lula's eyes and sings "Love 
Me Tender." 

The people in their cars, and the people on the street look on with a 
feeling of love and happiness in their hearts.





THE END