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"Dead Line" - screenplay by Derek Paterson.
This is an excerpt from a completed screenplay.
"Dead Line" - screenplay by Derek Paterson.
FADE IN:
EXT. LOST HIGHWAY MOTEL - NIGHT
Torrential rain bounces off the ground. Anybody with any
brains would be inside, huddled round a warm fire.
INT. JOHNNY'S CAR - NIGHT
JOHNNY KRUGER sits in the dark, smoking. He's around 30s,
handsome in a beat-up kind of way. His eyes are fixed on
a particular motel room. The light's on inside, curtains
are shut.
The light goes out. Johnny ditches his cigarette out the
window. He picks up a camera with a big flashbulb.
EXT. MOTEL ROOM - NIGHT
Johnny sneaks up to the door, camera in hand.
A shadow moves up ahead. Johnny freezes. The shadow
resolves into a fat mustached man, DUKAYNE, carrying a
camera just like Johnny's.
Dukayne and Johnny stare at each other for a stunned moment.
Suddenly it's a mad race to the door.
INT. MOTEL ROOM - NIGHT
Dukayne kicks the door open! FLASH!
A naked MAN and WOMAN caught in the act. The Woman SCREAMS
and covers herself with sheets. Naked Guy gets tangled in
the sheets, falls out of bed, pulls them off the Woman.
She squeals and grabs a pillow instead.
DUKAYNE
Enjoy your night, folks!
Dukayne leaps outside, shouldering Johnny out his way.
JOHNNY
Dukayne, you son of a bitch!
Johnny takes his photo opportunity. FLASH!
Naked Guy comes up off the floor holding a HUGE REVOLVER.
Johnny's eyes widen! He leaps for the door.
BLAM! The wood splinters inches from his head. Johnny
runs outside as fast as his legs will carry him.
EXT. MOTEL ROOM - NIGHT
Johnny runs to his car.
Another car roars past, Dukayne at the wheel. Dukayne
grins and flips Johnny an ironic salute. Johnny swings a
kick at Dukayne's car but misses.
EXT. JOHNNY'S CAR - NIGHT
Johnny skids to a stop, wrenches the door open, throws the
camera inside, climbs behind the wheel.
EXT. MOTEL ROOM - NIGHT
Naked Guy's at the door, trying to see Johnny in the rain.
NAKED WOMAN (O.S.)
Shoot him, Harvey! Shoot him!
INT. JOHNNY'S CAR - NIGHT
Johnny turns the key -- the damp engine COUGHS and RASPS.
EXT. MOTEL ROOM - NIGHT
Naked Guy grins. He takes aim.
INT. JOHNNY'S CAR - NIGHT
BLAM! Glass shatters! Johnny ducks! The engine finally
starts! He slams 'er into gear and stamps on the gas.
EXT. LOST HIGHWAY MOTEL - NIGHT
Johnny peels out of there and onto the road. Naked Guy
takes aim again. But the car lights disappear in the
curtain of rain. Naked Guy lowers his revolver.
NAKED WOMAN (O.S.)
Did ya get him, Harvey? Did ya?
NAKED GUY
Nah. He got away.
Naked Guy turns and discovers a BUSTY BLONDE in a flimsy
robe, watching him from next door. She looks admiringly
at his crotch, and smiles. Naked Guy grins.
NAKED WOMAN (O.S.)
Harvey? Harvey?
NAKED GUY
Just coming!
He shrugs at Busty Blonde and goes inside, closes the door.
EXT. CITY STREET - NIGHT
Johnny's car pulls up outside a Gothic office building.
A car sits parked across the street with its lights out.
EXT. BUILDING ENTRANCE - NIGHT
Tarnished business plates alongside intercom buttons:
SILVER DOLLAR LOAN COMPANY
PHOENIX TALENT AGENCY
KRUGER INVESTIGATIONS
INT. STAIRWAY - NIGHT
Johnny climbs upstairs with his camera. MYRTLE an
attractive office girl skips downstairs, buttoning her
coat and carrying an umbrella. She brightens when she
sees him.
MYRTLE
Hi Johnny.
JOHNNY
Hey Myrtle.
MYRTLE
Me and the girls are gonna go out
to dinner, then catch a show. You
wanna tag along?
JOHNNY
Thanks, I got some typing to do.
Maybe next time.
MYRTLE
Don't chip a nail.
She goes downstairs. Johnny watches her with interest.
INT. HALLWAY - NIGHT
Block letters on a frosted glass door panel:
J. KRUGER
PRIVATE INVESTIGATIONS
DISCREET - PERSONAL
Footsteps on the stairway. Johnny climbs into view, wet
and weary.
INT. OUTER OFFICE - NIGHT
Where a secretary would sit, if Johnny could afford one.
An inner door leads to Johnny's private office.
Johnny enters, turns on the light. He takes off his hat
and throws it, it misses the hat stand by a mile. He shrugs
off his coat, hangs it up.
The secretary's phone and the phone in Johnny's office
both RING at the same time. Johnny picks up his hat, hangs
it up.
INT. JOHNNY'S OFFICE - NIGHT
Both phones continue to RING as Johnny opens a file cabinet,
takes out a bottle, pours himself a glass of whiskey. He
sits down, takes a drink, and answers the phone.
JOHNNY (INTO PHONE)
Kruger Investigations. You lost
it, we'll find it.
CLICK. Dead line. He stares at the receiver. Hangs up.
Empties his glass. Smacks his lips.
INT. PHONE BOOTH - NIGHT
A big gloved hand hangs up the receiver.
INT. JOHNNY'S OFFICE - NIGHT
Johnny opens a desk drawer. Inside, a revolver. He cracks
the gun open, checks it's loaded, snaps it shut again. He
places it in the open drawer, ready if he needs it.
He picks up his phone and dials a number.
JOHNNY (INTO PHONE)
Hey Danny, it's me. I got a little
job for you. I'll bring it over
first thing in the morning. Nothing
fancy, just a couple of prints and
the negative. See you then.
INT. HALLWAY OUTSIDE JOHNNY'S OFFICE - NIGHT
Footsteps and a big shadow come up the stairway.
INT. JOHNNY'S OFFICE - NIGHT
Johnny pours himself another drink.
INT. HALLWAY OUTSIDE JOHNNY'S OFFICE - NIGHT
The big shadow falls across the frosted glass panel with
Johnny's name. A big gloved hand pushes the door open.
INT. OUTER OFFICE - NIGHT
The big shadow falls across the door to Johnny's office.
INT. JOHNNY'S OFFICE - NIGHT
Johnny swallows his drink. He looks at the door.
JOHNNY
It's open.
The door opens and the BIGGEST GUY we've ever seen fills
the doorway. His face is chiseled from granite. His eyes
take in the shabby office, then fix on Johnny. Water drips
from his outsized raincoat, forming a puddle.
JOHNNY
Nice weather we're having, huh?
What can I do for you?
The Biggest Guy slips his hand inside his raincoat. Johnny
snatches up his gun and LETS HIM HAVE IT. Six sizzlers in
the chest!
The Biggest Guy grimaces and clutches his blood-spattered
coat. He staggers, groans, timbers back into the outer
office, leaving his feet in Johnny's office.
Johnny cracks his smoking revolver open and reloads from a
box of bullets in the drawer. When he's finished he ambles
over to the Biggest Guy.
INT. OUTER OFFICE - NIGHT
Johnny steps over the body and goes to the outer door.
INT. HALLWAY OUTSIDE JOHNNY'S OFFICE - NIGHT
Johnny peers out into the hallway. Empty.
INT. OUTER OFFICE - NIGHT
Johnny sits down on the edge of the secretary's desk, picks
up the phone, dials a number.
JOHNNY (INTO PHONE)
Sergeant Novello, please. Mr.
Johnny Kruger calling. Sure I'll
hold, but I got a dead man here in
my office.
Johnny looks down at the Biggest Guy, whose gloved hand is
halfway inside his coat and appears to be clutching... an
envelope?
Johnny frowns. He gingerly takes the envelope from the
dead man's hand, turns it over. A single line of neat
writing:
"Personal - Mr. J. Kruger."
An ANGRY MALE VOICE buzzes from the receiver, Johnny
snatches it up.
JOHNNY (INTO PHONE)
Hey Tony, it's me. So guess what?
I'm looking at a three-hundred
pound lump of muscle lying dead on
my carpet.
Johnny opens the envelope with one hand while the angry
voice buzzes in his ear.
JOHNNY (INTO PHONE)
Never saw him before. He just
walked in and drew his rod. Well
what do you think happened? You
think I'm gonna sit there and let
some big ape shoot at me?
Inside the envelope, a single sheet and a paper-clipped 50
dollar bill. Johnny unfolds and reads the letter while
the angry voice buzzes in his ear.
JOHNNY (INTO PHONE)
Nah, he's not the jealous husband
type. Looks more like a
professional fighter. Heavyweight
class. Am I glad he didn't use me
as a punchbag.
More angry buzzing.
JOHNNY (INTO PHONE)
Sure, I'm not going anywhere.
Thanks, Tony. And wear a coat.
It's coming down.
Johnny hangs up and goes back into his office, stepping
over the body.
INT. JOHNNY'S OFFICE - NIGHT
Johnny pushes the filing cabinet over to one side to reveal
a damp patch of wall. Buried in the wall, A BULLET in a
cracked hole.
He takes a smaller .38 from the filing cabinet's top drawer
and cracks it open. Five bullets. Sixth chamber is empty.
INT. OUTER OFFICE - NIGHT
Johnny puts the .38 in the Biggest Guy's gloved hand,
closing the fingers around the butt.
He searches the body and pulls out the Biggest Guy's wallet.
It contains a driver's license in the name of JOEY VREES,
and a wad of green. Johnny takes 10 dollars, leaving the
other money in the wallet, and puts the wallet back.
JOHNNY
That's for the bullets, you dumb
schmuck.
INT. JOHNNY'S OFFICE - NIGHT
Johnny sits down, pours himself another drink, throws it
back. He sighs. He picks up the letter and reads it again.
(We'll meet LILY soon, she sounds young and attractive.)
LILY (V.O.)
Dear Mr. Kruger. You were
recommended to me by a friend.
Desperate circumstances force me
to seek your advice in a matter of
some delicacy. The bearer of this
letter, Mr. Vrees, will bring you
to me if you are willing to accept
my employ. If not, I trust that
the enclosed fifty dollar retainer
will purchase your silence.
Sincerely, Miss Lily Chapel.
Johnny holds the 50 dollar bill up to the light.
JOHNNY
I'm very pleased to meet you, Miss
Chapel.
EXT. CITY STREET - NIGHT
Still pouring o' rain. A squad car pulls up behind Johnny's
car.
INT. HALLWAY OUTSIDE JOHNNY'S OFFICE - NIGHT
Three pairs of feet pound up the stairway.
INT. OUTER OFFICE - NIGHT
SERGEANT TONY NOVELLO, 35, a weary plainclothes 'tec, enters
followed by TWO UNIFORM COPS. They study the Biggest Guy's
corpse with interest. Novello steps into Johnny's office,
noting the .38 in the Biggest Guy's hand.
INT. JOHNNY'S OFFICE - NIGHT
Johnny salutes Novello with his glass.
JOHNNY
Join me in a toast, Sarge?
NOVELLO
Knock it off, ace. Who is he?
JOHNNY
Driver's licence says Joey Vrees.
NOVELLO
What's he to you?
JOHNNY
I told you, I never saw him before.
Novello picks up the almost empty whiskey bottle.
NOVELLO
Been hitting it pretty hard, ace.
JOHNNY
It isn't every night I kill a man.
Novello notices the bullet hole in the wall.
NOVELLO
Guess he shouldn't have tried to
plug you. Couple inches to the
left, he would've blown your brains
out.
JOHNNY
Lucky for me, huh?
Cop #1 brings the Biggest Guy's .38 and wallet to Novello,
who opens the wallet and reads the Driver's Licence.
NOVELLO
Joey Vrees. Got a feeling I should
know that name.
He counts the money in the wallet.
NOVELLO
Over seventy bucks here. Wonder
what Mr. Vrees did for a living?
JOHNNY
You know, if some of that dough
was to find its way into the Police
Benevolent Fund, I wouldn't say
anything. What with the swell job
you guys do.
With a cynical smile Novello drops 20 bucks onto Johnny's
desk. He slips a 10 to each of the Cops, takes 20 for
himself, puts the remaining 10 back in the wallet. He
gives the wallet to Cop #1 who returns it to the corpse.
JOHNNY
You always play square, Tony. I
like that about you. Some guys--
NOVELLO
You remember Mack Eastman? Best
damn detective I ever knew. Mack
once told me about this dirty cop,
he always carried two guns. One
for himself, the other to put into
the hand of anyone who crossed
him. He'd blast a couple bullets
from the backup gun into the wall,
then claim the guy he just shot
tried to ventilate him. Me, I
don't see anything wrong with that.
He greased a lot of bad guys who
deserved it. But this one time he
made a mistake. The guy he shot,
his hand was like a store dummy's,
you know? Made out of wood. Only
he wore gloves, so the cop didn't
know.
Johnny looks at the Biggest Guy's gloved hand. Cop #2
peels the glove off. The hand underneath is real. Johnny
starts breathing again.
JOHNNY
So what happened to the cop?
NOVELLO
He rode the lightning. Mack said
lights went out all over the county.
They didn't restore power till
next morning.
JOHNNY
Hell of a story. Sure you don't
want a drink?
NOVELLO
So this guy Vrees. He decides to
climb three flights of stairs so
he can shoot a complete stranger.
How do you figure that?
JOHNNY
Maybe he was a hit man. There's
plenty of people in this city don't
like me.
NOVELLO
I don't like you, ace. You're a
thorn in my ass.
Johnny reaches for the bottle, Novello snatches it away.
JOHNNY
You arresting me for drinking?
NOVELLO
How does withholding evidence sound?
JOHNNY
I wouldn't hold out on you, Tony.
Not for all the pasta in Little
Italy.
Novello sighs with frustration and gives Johnny his bottle.
NOVELLO
The meat wagon's on its way. You
gotta help them carry your three-
hundred pound friend downstairs.
JOHNNY
My pleasure.
On the way out Novello pauses to talk to Cop #1. He jerks
his thumb at Johnny. Cop #1 nods understanding. Novella
exits taking Cop #2 with him.
Cop #1 takes off his hat and sits down. He looks pointedly
at the bottle. Johnny finds another glass and pours three
fingers. Cop #1 grins his appreciation and knocks it back.
JOHNNY
I gotta go take a leak. Don't go
away.
Johnny exits. Cop #1 helps himself to another drink.
INT. OUTER OFFICE - NIGHT
Johnny grabs his hat and coat and exits into the hallway.
EXT. BUILDING ENTRANCE - NIGHT
Rain lashes the street. The cop car is gone. Johnny stands
in the doorway and looks up and down the street, searching.
EXT. CITY STREET - NIGHT
He sees the car across the street, near a phone booth.
Johnny hurries across the street. He peers into the car,
it's empty. He looks around, then slips a jimmy out of
his pocket. He pops the driver's door in a second.
INT. CAR - NIGHT
Johnny climbs in. He rummages in the glovebox, checks out
the back seat, finds a folded newspaper. There's a B/W
picture of a smiling man (AVONDALE, 30s) in a sharp suit,
and a girl (LILY, 25), very pretty and smartly dressed.
Avondale directs Lily to cut a ribbon using scissors.
The headline says, GENEROUS BUSINESSMAN OPENS NEW ORPHANAGE.
Under this, "Mr. Beauregard Avondale And Fianceé Miss Lily
Chapel Do The Honors. City's Children Will Benefit From
His Benevolence."
JOHNNY
We meet again, Miss Chapel.
INT. PHONE BOOTH - NIGHT
Johnny shuts the door against the rain. He has the
newspaper tucked under his arm. He dials a number.
JOHNNY (INTO PHONE)
Operator, I'm looking for the number
of a Miss Lily Chapel.
The buzzing voice of the female OPERATOR.
JOHNNY (INTO PHONE)
No I don't, but maybe you can help
me out here. This is Detective
Sergeant Anthony Novello, I'm
working out of the Thirteenth
Precinct, we're very concerned
about Miss Chapel and I really
need her phone number.
The buzzing voice takes on a note of excitement.
JOHNNY (INTO PHONE)
Yes I'll hold, thank you.
He stares at the photograph. Becoming mesmerized by Lily
Chapel's smile. The buzzing voice makes a report. Johnny
finds a pencil and scribbles on the newspaper.
JOHNNY (INTO PHONE)
Thank you Operator. The Detective
Bureau greatly appreciates your
help. Yes put me through please.
RINGING TONE... Johnny draws a comic mustache and beard
on Avondale's face.
LILY (V.O.)
Scottsdale Five-Six-Oh-Three.
JOHNNY (INTO PHONE)
I'd like to talk to Miss Lily
Chapel.
LILY (V.O.)
May I ask who is calling?
JOHNNY (INTO PHONE)
My name is Kruger. I'm a private--
LILY (V.O.)
I'm afraid you have the wrong
number. There's no one of that
name here.
Johnny gets wise...
JOHNNY (INTO PHONE)
Look, Miss Chapel, there's been an
accident. Something happened to
Joey Vrees. I've got your address.
Can I come over and talk to you?
CLICK. Dead line. Johnny hangs up.
EXT. CHAPEL RESIDENCE - NIGHT
A well-to-do house in an expensive area. Lights are on
downstairs. Two big cars sit in the driveway.
Johnny's car draws up across the street.
INT. JOHNNY'S CAR - NIGHT
Johnny lights a cigarette and studies the house.
EXT. CHAPEL RESIDENCE - NIGHT
Johnny arrives at the front door and rings the bell.
INT. HALLWAY - CHAPEL RESIDENCE - NIGHT
ROSE, 17, a stunning but vacuous blonde, answers the door.
She leans against the frame and smiles seductively.
ROSE
Well hi there.
JOHNNY
Good evening. My name is Kruger.
I'm here to see Miss Chapel. I
believe she's expecting me.
ROSE
I'm Miss Chapel. Won't I do?
Lily arrives. She stares at Johnny, surprised. He stares
back. Mutual attraction crackles between them. Rose sees
this and her smile vanishes.
LILY
Rose, why don't you ask Beau if he
wants another drink?
ROSE
Well gee, if you want rid of me so
you can talk to your gentleman
caller, you only got to say.
Rose gives Johnny a disappointed look and exits into the
living room.
JOHNNY
Sorry if I'm busting up a party.
We got cut off, Miss Chapel.
LILY
You shouldn't have come here.
Avondale comes bustling toward the front door. He takes a
neat photo, but in the flesh he's physically powerful and
he doesn't suffer fools.
LILY
You're lost, you're asking for
directions. Please, Mr. Kruger.
Her eyes beg Johnny. Avondale arrives and looks Johnny up
and down with disdain.
AVONDALE
Is there a problem?
LILY
This gentleman is looking for an
address on Eugenie Street.
AVONDALE
What's your name?
JOHNNY
Roger, sir, Roger Wilkes. I'm
really sorry to cause any
inconvenience. I've been driving
around in circles for hours, I
think I've passed your house three
times, at least.
AVONDALE
That your car?
JOHNNY
Yeah.
AVONDALE
Continue on, Eugenie's third on
your right.
JOHNNY
Well thank you very much, I really
do appreciate it.
AVONDALE
On your way, Mr. Wilkes.
JOHNNY
I will, and sorry again for
intruding--
Avondale closes the door on Johnny.
EXT. CHAPEL RESIDENCE - NIGHT
Johnny walks back to his car, hands thrust into his coat
pockets. A smile tugs at his lips.
INT. HALLWAY - CHAPEL RESIDENCE - NIGHT
Lily opens a silver cigarette case and taps a cigarette
against the back of her hand.
LILY
That wasn't very polite, Beau.
AVONDALE
I have little time for someone who
can't read street signs. You've
no time for smoking. We're going
to be late for dinner. You better
get your coat on.
Lily returns the cigarette to its silver case. Avondale
brings Lily her coat and helps her into it.
INT. JOHNNY'S CAR - NIGHT
Johnny puts a cigarette to his lips. But stops as--
EXT. CHAPEL RESIDENCE - NIGHT
Avondale, Lily and a huge uniformed chauffeur, LARS, exit
the house. Lars holds an umbrella over Lily. He opens a
car door for her, she climbs in. Lars hurries round to
the other side and opens Avondale's door.
Lars pauses, looks across the street.
INT. JOHNNY'S CAR - NIGHT
Johnny slides low down so he can't be seen.
EXT. CHAPEL RESIDENCE - NIGHT
Lars climbs into the car, starts the engine, turns on the
lights, reverses out of the driveway.
INT. JOHNNY'S CAR - NIGHT
Johnny watches as Avondale's car drives past him. He
catches a glimpse of Lily in the back seat.
Johnny starts his engine.
EXT. CITY STREETS - NIGHT
Avondale's car speeds through the city. Johnny's car
follows at a discreet distance.
INT. JOHNNY'S CAR (MOVING) - NIGHT
Johnny lights his cigarette.
EXT. GORILLA CLUB - NIGHT
A flashing neon pink gorilla sign smiles, scowls, smiles.
Avondale's car draws up. The DOORMAN hurries forward with
an umbrella and opens the car's rear door.
EXT. JOHNNY'S CAR - NIGHT
Pulls in further along the street.
INT. JOHNNY'S CAR - NIGHT
Johnny straightens his tie and checks himself out in the
rearview mirror.
INT. GORILLA CLUB LOBBY - NIGHT
A ferocious stuffed King Kong wannabe "greets" guests.
INT. GORILLA CLUB RESTAURANT - NIGHT
The MAITRE'D seats Avondale and Lily at the best table in
the house, fawning over them.
DRAY, a Black piano player, entertains the CUSTOMERS.
He's handsome and he has talent.
INT. GORILLA CLUB LOBBY - NIGHT
Johnny checks in his coat and hat. The HAT GIRL smiles at
him.
Johnny approaches the Maitre'D and whispers into his ear.
Some green exchanges hands. The Maitre'D snaps his fingers
and a WAITER comes running.
INT. GORILLA CLUB RESTAURANT - NIGHT
Johnny sits at a small table behind a pillar, all alone.
But he can see the stage, and wall mirrors allow him to
watch Avondale and Lily.
A WAITRESS brings him a cocktail. Johnny sips it and
admires the Waitress as she walks away. She notices, and
likes it.
Dray finishes his set, Customers applaud. Dray is joined
by VONDA, a well-stacked Black woman in a shimmering dress,
plus a DRUMMER and DOUBLE BASE PLAYER. The band kicks up
with a jazz number. Vonda SINGS, and Johnny is mesmerized.
Dray watches Vonda as he plays, a little smile on his lips.
A MAN IN A TUXEDO bends down to say something to Avondale,
who nods. Avondale says something to Lily, excusing
himself. He follows the Tuxedo and disappears.
Lily takes her purse and heads for the little girls room.
Dray's eyes follow her, his smile takes on a new meaning.
Johnny notices, and wonders.
INT. HALLWAY OUTSIDE LADIES REST ROOM - NIGHT
Lily steps out, Johnny's waiting for her.
LILY
What the hell are you doing here?
JOHNNY
I can walk away right now.
A WOMAN squeezes past them and enters the rest room. Johnny
leads Lily down the hallway to a quieter spot.
LILY
What happened to Mr. Vrees?
JOHNNY
He got into an argument with some
friends of mine.
LILY
Mr. Vrees doesn't usually lose
arguments.
JOHNNY
My friends were forty-five caliber
bullets.
LILY
Do you shoot people often?
JOHNNY
Only when they annoy me.
LILY
Mr. Vrees was an associate of my
fiancé's. He won't be pleased.
JOHNNY
I won't tell him if you won't.
She opens her purse, pulls out a cigarette. Johnny strikes
a match and lights it for her. They stare into each other's
eyes. The match burns down. Lily blows the flame out.
LILY
I'm being blackmailed, Mr. Kruger.
JOHNNY
Blackmail. The act of gaining
money through threat or
intimidation.
LILY
I received a letter. Typed, and
unsigned. The author demanded ten
thousand dollars. Otherwise they
would inform my fiancé of... an
indiscretion.
JOHNNY
And was there... an indiscretion?
LILY
Yes.
JOHNNY
How many people know about it?
LILY
Only myself and the other person
involved.
JOHNNY
That kinda points to the guilty
party.
LILY
No.
JOHNNY
You sound pretty sure.
LILY
I'm afraid you'll have to take my
word for it.
Lars appears. He towers over Johnny, ready to pound him.
LARS
(Swedish accent)
Is this man bothering you, Miss
Chapel?
LILY
No, Lars, he's a family friend.
Thank you.
Lars glares at Johnny, and exits. Lily sighs with relief.
JOHNNY
I'm touched by your concern.
LILY
I didn't want Lars to get into an
argument with those friends of
yours.
JOHNNY
Can I see the letter?
LILY
I burned it. It was hand-delivered.
No postmark, no return address.
JOHNNY
I'm just wondering if I should
take notes here.
LILY
There was also a photograph. It
came with the letter.
JOHNNY
Family snapshot?
LILY
No...
JOHNNY
Listen, I'm a big boy, I once kissed
a girl on the lips. If you were
caught with your panties down--
She slaps him. He grins.
JOHNNY
I apologize if my kissing remark
offended you. Let me guess. You
burned the photo along with the
letter, right?
Lily closes her eyes and looks away, ashamed.
LILY
I had to.
JOHNNY
That bad? No letter, no photograph,
no evidence.
LILY
You think I'm making this up?
JOHNNY
Maybe you're one of those spoiled
little rich girls who like
attention?
She slaps him again.
JOHNNY
Hey, I think I hit a nerve.
He takes out the fifty dollar note, slaps it into her hand.
JOHNNY
It's been nice meeting you, Miss
Chapel.
He turns and walks away...
LILY
Where are you going?
JOHNNY
Find yourself some other chump.
LILY
Now you have power over me, Mr.
Kruger. This was supposed to
purchase your silence.
JOHNNY
Lucky for you I'm not the blabby
type. Goodnight, Miss Chapel.
He exits. Lily throws down her cigarette and violently
grinds it into the floor.
INT. HALLWAY - GORILLA CLUB - NIGHT
Johnny's stopped by two TOUGH GUYS in Tuxedos.
JOHNNY
You're in my way.
TUXEDO #1
The boss wants to see you.
JOHNNY
Maybe I don't want to see him.
They slam him against the wall and frisk him.
JOHNNY
Then again, I wouldn't want to
appear antisocial.
INT. LOCANZA'S OFFICE - NIGHT
LOCANZA, an even bigger, tougher guy than the Tuxedos,
talks baby talk to fish in a tank as he feeds them. The
Tuxedos bring Johnny in and close the door.
TUXEDO #1
He was packing.
LOCANZA
You know who I am?
JOHNNY
Sure I do. Lucky Locanza, the
D.A.'s number one fan.
Locanza punches Johnny in the guts, doubling him over.
The Tuxedos push Johnny into a chair, he gasps for breath.
Locanza goes back to feeding his fish.
LOCANZA
Play games with me, I'll have my
boys take you outside, give you
some more of that. Let's start
with your name.
JOHNNY
My name's Kruger. I'm a private
investigator.
LOCANZA
What are you doing in my club?
JOHNNY
I came to talk to Miss Lily Chapel.
She's here with Mr. Beauregard
Avondale. He doesn't know me.
LOCANZA
So what did you talk about?
JOHNNY
Miss Chapel wanted to hire me. I
said no.
Avondale enters through another door. Lars is in the next
room, watching.
AVONDALE
You told me your name was Wilkes.
JOHNNY
I wasn't sure if Miss Chapel wanted
you to know what she was up to.
AVONDALE
Why would my fiancée want to keep
anything from me?
JOHNNY
I don't know. I felt obliged to
give her the option.
AVONDALE
What did she want to hire you for?
JOHNNY
I'm afraid that's confidential.
Avondale takes out a checkbook, writes an amount, signs
it, tears it off, gives it to Johnny. Johnny whistles.
He folds the check, slips it inside his jacket.
AVONDALE
Regard it as a retainer. You're
working for me now. I'll ask again,
why did she want to hire you?
JOHNNY
I'm afraid that's confidential.
LOCANZA
Can you believe this guy? He takes
your check then he clams up!
Locanza signals to the Tuxedos who grab Johnny. Locanza
pulls back his fist but Avondale touches his arm, stopping
him. Locanza lowers his fist and steps back.
AVONDALE
What's your angle, Mr. Kruger?
JOHNNY
You could be testing me. To see
if I can keep my trap shut.
AVONDALE
It's not a test.
JOHNNY
All right. She wanted me to check
out a guy called Joey Vrees. She
said he's an associate of yours.
Avondale and Locanza lock eyes for an instant.
JOHNNY
You're a respected man, Mr.
Avondale. The guys you hang out
with are the same guys who can
take away my license. I turned
Miss Chapel down. I also returned
her fifty dollar advance.
AVONDALE
Perhaps you said that to impress
me. I never trust a man who wants
to appear honest. Usually he's
anything but. Did she say why she
wanted you to "check out" Mr. Vrees?
JOHNNY
She said there was something about
him she didn't like. She didn't
trust him. That's all I got.
AVONDALE
You won't discuss this with Miss
Chapel, or anyone else. Is that
understood?
Johnny pats the check in his pocket.
JOHNNY
You're the boss.
Locanza gestures. The Tuxedos lift Johnny out of his chair
and escort him to the door.
AVONDALE
I'll be in touch, Mr. Kruger.
Don't take any wooden nickels.
EXT. ALLEY BEHIND GORILLA CLUB - NIGHT
The Tuxedos throw Johnny out, he slams into trash cans.
JOHNNY
What gives? I came in through the
front door.
TUXEDO #1
Employees got to use the back door.
He tosses Johnny's gun into the garbage, and lets loose
bullets spill from his hand. The Tuxedos go back inside,
chuckling.
Johnny brushes himself down. He fishes among the garbage
for his gun, and picks up the bullets.
EXT. JOHNNY'S CAR (MOVING) - NIGHT
Johnny's eyes narrow in deep thought as he drives through
the rainwashed streets.
EXT. PHOTOGRAPHY STUDIO - DAY
A sunny morning. Johnny's car sits outside.
INT. PHOTOGRAPHY STUDIO - DAY
Johnny examines a wall display of family portraits, pets,
places.
DANNY enters from a back room, stained by chemicals and
life. He hands Johnny an envelope, Johnny pulls out a
photograph.
It's a B/W of Naked Guy and Woman in the motel room, like
startled deer caught in car headlights.
JOHNNY
Just beautiful.
DANNY
The negative's there too.
Johnny peels notes from his wallet. Danny kisses the money
and stuffs it into his pocket.
DANNY
Come to Papa! Hey, don't go away,
I got something to show you.
Danny locks the front door and turns the "Closed" sign
over. He leads Johnny through the back, into--
INT. DEVELOPING ROOM - DAY
Dozens of photographs hang from drip-lines.
DANNY
Take a look at this.
He shows Johnny a glamor shot of a KNOCKOUT BLONDE in a
swimsuit, holding her hair up and smiling.
JOHNNY
Wowsers. You got her phone number?
DANNY (O.S.)
I got more than that.
He shows Johnny another photo. It's the same blonde but
without the swimsuit, showing off her nude assets.
JOHNNY
What would her mother say if she
knew?
DANNY
"I wish I'd thought'a that before
I married your dad." Five bucks
and she's yours forever.
JOHNNY
For five bucks I can cruise the
strip and get the real thing.
DANNY
Suit yourself. I know this guy,
he's selling 'em as fast as I can
print 'em.
JOHNNY
I know another guy who'll lock you
up and throw away the key.
DANNY
For bringing art to the masses?
What's this world coming to.
JOHNNY
You do business with Dukayne?
DANNY
Nah. He set up his own dark room,
he doesn't need me any more.
Everybody's doing their own thing
these days.
JOHNNY
Who's "Everybody"? Snappers?
DANNY
Couple of guys used to bring their
film to me. Real sleazeballs.
Wasn't just titties, you know?
Hard stuff. They like to call
themselves glamor photographers.
JOHNNY
Got any names?
DANNY
It'll cost ya.
Danny grins and fans himself with the naked blonde's photo.
Johnny sighs and pulls out his wallet.
JOHNNY
Everything costs something.
DANNY
You just figured that out?
Danny reaches for the money but Johnny pulls it away.
JOHNNY
And I get to keep the photo.
Danny hands him the blonde's photo. Johnny gives him the
money. Johnny puts the photograph into the envelope.
DANNY
Pleasure doing business with ya.
INT. JOHNNY'S CAR - DAY
Johnny climbs in behind the wheel. Tosses the envelope
onto the passenger seat.
Something across the street attracts his attention.
EXT. CITY STREET - DAY
A cream colored car, parked in shadow. Can't see who's
inside.
INT. JOHNNY'S CAR - DAY
Johnny starts his engine.
EXT. CITY STREET - DAY
Johnny's car cruises by.
INT. JOHNNY'S CAR (MOVING) - DAY
Johnny glances in his rearview. Nothing there.
EXT. CONDO BUILDING - DAY
Johnny's car sits parked out front.
INT. CONDO HALLWAY - DAY
Johnny walks along the hallway checking apartment numbers.
He finds the door he's looking for. He knocks. No answer.
AN ATTRACTIVE REDHEAD comes along the hallway, carrying
groceries. She unlocks the apartment next door.
ATTRACTIVE REDHEAD
Bobby's downstairs by the pool.
JOHNNY
Thanks.
ATTRACTIVE REDHEAD
Any time.
She smiles, enters her apartment, closes the door.
Johnny digs out a pen-knife and has Bobby's door open in
the blink of an eye.
INT. BOBBY'S APARTMENT - DAY
Johnny silently closes the door. He listens. He peeks in
all the rooms. No one home. He searches the place, fast
and efficient. Drawers. Shelves. Closets.
He opens a blind, looks out the window.
Parked across the street, that same cream colored car.
INT. CONDO HALLWAY - DAY
BOBBY, 30s, suntan, Hawaiian shirt, not a care in the world,
whistles on his way back to his apartment. He unlocks the
door, enters.
INT. BOBBY'S APARTMENT - DAY
Bobby whistles his way into the living room. His whistle
dies on a long note as he sees a bunch of photos laid out
on the coffee table.
They're all "voyeur" shots of men and women taken with a
zoom lens, through house windows, inside cars. The men
are giving it and the woman are gladly taking it.
JOHNNY
Got quite a business going, Bobby.
Johnny leans against a wall, cigarette in his mouth. He
strikes a match, lights it.
BOBBY
I'm calling the cops, you don't
get out of here right now.
JOHNNY
Go ahead.
BOBBY
What do you want?
JOHNNY
The negatives and all the prints.
Bobby sits down, fumbles for a cigarette, lights it. The
coffee table is between him and Johnny.
BOBBY
Which ones?
JOHNNY
The ones you hid so nobody could
find them.
BOBBY
You're crazy.
JOHNNY
Not yet. Give me time.
The door opens and a TEEN GIRL in a bikini flounces in.
TEEN GIRL
Know what, you're just like my
dad, always telling me what to--
(seeing Johnny)
Hell are you?
Bobby kicks his legs straight, the coffee table shoots
into Johnny's shins, THUD! Johnny winces in pain, suddenly
Bobby's all over him, punching him in the gut, the head.
Teen Girl runs into the kitchen.
Johnny pulls out his gun but Bobby grabs his wrist, slams
his hand against the wall. The gun goes flying.
Johnny BUTTS Bobby who stumbles back and falls on his ass,
holding his face.
Teen Girl runs in swinging the biggest knife she could
find! She slashes, Johnny dodges, she follows him around
the room, her eyes crazy. Johnny takes "defensive cuts"
on his hand.
Teen Girl lunges, Johnny grabs her arm, spins her round
and runs her face-first into the wall, WHAM! She bounces
off and sprawls on the floor, out cold.
Bobby tries to push himself up. Johnny flips the coffee
table away and kicks Bobby in the face. Bobby goes down.
Johnny goes into the kitchen nursing his bleeding hand.
A FLOWER VASE
empties over Bobby's bloody face, water and flowers wake
him up. Johnny puts the vase down on the coffee table.
His cut hand is wrapped in a dish towel.
JOHNNY
That wasn't very nice, Bobby.
BOBBY
You broke by dose, you creep!
Johnny opens his wallet, unfolds a newspaper clipping.
It's Lily Chapel's orphanage opening photo, with Avondale
torn out.
JOHNNY
You give me what I want, I'm outta
here.
BOBBY
I never seen her before.
Johnny slaps him hard.
BOBBY
Hey!
JOHNNY
Look again.
Bobby's eyes flick past Johnny, at someone behind him.
Johnny turns just as the flower vase SMASHES over his head!
He collapses.
Bobby scrambles to his feet and fearfully backs away--
BOBBY
No, no, no!
SIX SHOTS ring out, punching Bobby back onto a chair. He
twitches with every bullet. Then relaxes. Dead.
Lying on the floor, Johnny stares at Bobby in disbelief.
He closes his eyes. BLACKNESS.
06/06
end excerpt
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