SCREENPLAY

THICKER THAN WATER 

by Patrick Breheny

FADE IN

EXT. - A BUS STOP ON A RAINY STREET, DOWNTOWN OKALHOMA CITY –

DAY

SHARON MULLEN, an attractive young woman, early 20s, wearing light spring clothes, waiting for a bus, is sitting and holding an umbrella, then stands because she is cold..

SHARON’S POV

of the bus schedule posted behind the benches.

SHARON’S POV

The sky is bleak and dark, angry clouds racing toward each other.

ANGLE ON SHARON

as pebble sized sleet mixed with rain starts falling

Sharon opens her smart phone and calls

SHARON

Hi Ellie…I bought some waitressing shoes…No siren

here but the temperature’s dropped fifteen degrees in

the last ten minutes…Sleet…Never do know how to dress

in the spring in Oklahoma…Kansas just blew in..

STRODE (Voice Off)

Sharon Mullen!

SHARON’S POV

on STRODE BOLLINGS, a large buff guy her age, casually dressed, across the busy street of traffic.

ANGLE ON SHARON

SHARON

That’s…it’s Strode Bollings…oh, you went to high

school with his brother Ross…rich oil family out

in the division…Strode was third string football team,

sometimes played last quarter…if they were winning

by enough

SHARON’S POV

Strode gauges the traffic, races across the street, maybe fantasizing he’s a quarterback

ANGLE ON SHARON

I’ll see you then, Ellie.

She closes her phone as Strode comes into the frame.

(cont.)

Why, hello Strode.

STRODE

I’d say you’d turn to salt like Lot’s wife standing

here, but you look more like you’ll turn to ice.

SHARON

But I didn’t look back.

STRODE

Why I said ice. I hear you’re a producer now.

SHARON

(laughing)

An avocation.

STRODE

I figured a hobby. So what have you

been doing since high school?

SHARON

Pancake Heaven.

STRODE

Cashier?

SHARON

No sir. I handle accounts receivable.

STRODE

Excuse me. What kind of accounts?

SHARON

Oh, invoices and collections.

STRODE

Distributing checks and collecting tips?

SHARON

Something like that.

ANGLE ON STRODE

as he also looks at the bus schedule.

ANGLE ON BOTH

as he turns to Sharon. The hail stones are bigger now, falling hard, pelting them and bouncing.

STRODE

You have a long wait.. How about get out

of this for a few with a cup of coffee?

Sharon is not enthusiastic about this proposal but is considering the elements.

SHARON

Maybe a quick one.

MEDIUM SHOT -TRACKING

along the street as they walk. She is 5’3”, he is 6’2”, has shoved himself against her, commandeered the umbrella, and holds it chivalrously above her. He tries several times to put an arm around her, but she deflects his efforts with arm blocks.

INT.- GREYHOUND STATION COFFEE SHOP – DAY

ANGLE ON BOTH

as they come in. Strode is soaked on one side, dry on the other.

STRODE

Maybe I can wash the other side on the way back.

REACTION ANGLE on Sharon, thinking ‘the way back?’

SHARON

Are you taking the bus, Strode?

ANGLE ON BOTH

STRODE

Heck no. My car is over there.

Strode motions with a gesture that they sit in a booth, but Sharon goes to the counter and he follows. They sit on corner stools.

The waitress comes and they order coffees, which she brings.

VARIOUS ANGLES

on their conversation as they drink coffee

STRODE

(cont.)

I could give you a ride home.

SHARON

I live too far from your area.

STRODE

Don’t mind a bit.

SHARON

My sister’s meeting me at my stop.

STRODE

Well, I could drop you there.

SHARON

Her phone is off charging.

STRODE

What difference does that…?

SHARON

It makes. Oh look, the rodeo is coming

THEIR POV

of a colorful poster on the wall for the rodeo

ANGLE ON STRODE

as he read the poster

STRODE

They’re offering a prize to riders who can

stay on a bull the most seconds. Might come

back to OKC and try my luck.

VARIOUS ANGLES ON BOTH

SHARON

Could have sworn you’re here.

STRODE

Nah, I’ m in college in Lawton

SHARON

Cameron?

STRODE

Yes’m

SHARON

Edgar, my twin brother, took film classes

at Cameron. And you live in Lawton?

STRODE

Yeah. Soon as school is over, I’m transferring

to Oklahoma State. Norman here I come, and I

can live back here then.

SHARON

I see.

STRODE

I’m just taking requirements now, but I’m

thinking business. Finance or economics,

like that, haven’t pinned it down. Pa will have

something for me after college.

SHARON

Success seems inevitable.

STRODE

Yeah, Maybe I could play football at State, but

right now seems they got everybody they need.

Sharon puts a couple of dollars on the counter.

SHARON

Short walk back. I’m fine.

ANGLE ON SHARON

heading for the door

ANGLE ON SHARON

in the doorway

STRODE

(off camera)

Might nice to see you again, Sharon.

I’ll give you a call.

CLOSE UP ON SHARON

whose reaction indicates she never gave him her number.

EXT. - THE BUS STOP STREET – DAY

as Sharon returns to a SUNNY afternoon

SHARON’S POV

on the sky, blue, with white clouds, OKC spared a tornado today.

ANGLE ON THE BUS

as it arrives and she boards

INT.- THE BUS – DAY TRAVELLING

A) She sits alone on an uncrowded bus, mid afternoon, going out of town

B) The bus stops and she gets up

HER POV

Her twin, EDGAR MULLINS, small, slim, not much taller than Sharon, is waiting, holding an umbrella to block sun

MEDIUM ANGLE ON BOTH

as Sharon disembarks

SHARON

Looks like Kansas blew out.

EDGAR

Now Texas blew in. I wonder what people over in

Kansas and down in Wichita Falls blame us for.

SHARON

Like the flu always comes from somewhere else.

EDGAR

Never a red blooded American flu.

SHARON

I saw Strode Bollings

SHARONS POV

on Edgar as he makes an unpleasant face

ANGLE ON BOTH

SHARON

(cont.)

I knew you’d do that. Like you tasted something bad.

He plans to call me, Without an invitation. Problem

is we’re listed

EDGAR

We can make sure he doesn’t get you.

EXT.- A SUBURBAN STREET – DAY

of modest houses small apartment buildings, community businesses

TRACKING as they walk

Sharon hooks her arm familiarly into his, lets them shade both or them with his umbrella as they walk.

INT.- MR. MAZZA’S, A PIZZARIA AND ITALIAN RESTAURANT – DAY

MEDIUM ANGLE AND VARIOUS ANGLES

as Sharon and Edgar enter, sit in booths near the front door, Sharon facing the back

CISS the waitress, middle aged, Native American, brings menus and slices of Italian bread.

EDGAR

Might not have much appetite when the

food arrives.

CISS

Its because I’m one eight Italian.

SHARON

Ciss, you’re Chickasa.

CISS

Well if Mr. Mazza can joke he’s one eight

Cherokee, I can be one eight Italian

EDGAR

He says he says that because everybody he’s

met in Oklahoma says it.

SHARON

And its mostly true

CISS

We-ll…You guys getting the deluxe again?

EDGAR

Always.

CISS

How do you stay so thin, Edgar?

EDGAR

I’m a tube.

Ciss leaves to place the order.

ANGLE ON BOTH

feeding their face, and almost finished

ANGLE ON SHARON

She sees Strode and reacts.

SHARON

Don’t look now, but guess who’s

sitting in the back with Mr Mazza?.

EDGAR

Ciss?

SHARON

Don’t disappoint me.

EDGAR

Oh…He didn’t come in the front.

SHARON

He must have come in through the kitchen. Mr

Mazza was alone reading the newspaper when

we sat.

EDGAR

He must eat here sometimes if he knows

Mr Mazza.

SHARON

Its no coincidence .He offered me a ride.

He must have followed the bus and tracked

us in the street.

EDGAR

How do you want to handle it?

SHARON

Lets get the bill and go to Ellie’s And watch for him

following us. Ciss

Ciss brings the check, they pay and get up to leave.

They are almost to the door when they hear

STRODE

(off camera)

Sharon again. Must be a double blessing day

SHARON

Wait Edgar

TRACKING

as she walks to the back.

ANGLE ON BOOTH

Where Strode sits in anticipation with MR MAZZA, the middle aged, fatherly owner.

VARIOUS ANGLES

SHARON

Mr Mazza, I was wondering if you were

expecting Strode today?

MR MAZZA

No, surprised me. I haven’t seen since he

used to hang around out back in high school

SHARON

Oh, why did he do that?

MAZZA

What were you doing out there son?

Smoking something?

STRODE

Just being a kid.

MAZZA

I guess that’s how you know how to

get in without using the front door.

STRODE

I’m parked there.

MAZZA

There’s parking in back and an entrance

in front.

SHARON

Thank you then

TRACKING

as Sharon moves toward the front door where Edgar is waiting

ANGLE ON STRODE in the booth

STRODE

Sharon, we just have to get together.

ANGLE ON SHARON

as she snaps over her shoulder

SHARON

Not happening.

ANGLE ON SHARON AND EDGAR

as they leave.

INT.- LIVING ROOM, ELLIE’S HOUSE – DAY

Sharon, Edgar, DAD, MOM, their sister ELLIE, Ellie’s small CHILDREN are there. Everybody is enjoying soft drinks.

SHARON

So he might call.

MOM

Impertinent

DAD

We’ll ask him where he got the number.

SHARON

He’ll say listed

MOM

That’s no invitation to call.

ELLIE

If he calls your house this afternoon he’ll

Just get the answering machine.

DAD

Well make sure he gets discouraged.

INT. – THE MULLEN’S HOUSE LIVING ROOM– DAY

VARIOUS ANGLES

on Sharon, Edgar, Mom. Dad

Sharon is playing back answering machine messages

STRODE

(voice only)

Hi Sharon. I’m over your way still,

finished at Mazza’s, wondering what

you’d be up to. Maybe we can meet for

dessert. My numbers is 542-8964

MOM

Insufferable.

SHARON

The earlier messages are for you, Dad

Dad listens to his messages on a low background volume

Sharon’s phone pings and she checks the screen

ANGLE ON SHARON

SHARON

Oh…I just got a text from him. ’Hi Sharon, I’m still

over your way, maybe we can meet for dessert”

The phone center’s still open. I want a new number.

ANGLE ON SHARON AND EDGAR

EDGAR

He’ll probably get that too.

SHARON

I’ll make sure everyone know who not to

give it to. You coming with me, Edgar?

EDGAR

Let’s go.

WRITER’S NOTE: THIS IS NOT A SHOOTING SCRIPT. THE PURPOSE HERE IS TO ESTABLISH CHARACTERS, PRESENT DIALOGUE, INDICATE LOCATIONS AND SETTINGS, AND TELL THE STORY. FROM THIS POINT ON, SCENES WILL BE SET AS INT OR EXT, DAY OR NIGHT, WITH MINIMAL CAMERA INSTRUCTIONS OR SIMPLY INDICATED AS “VARIOUS ANGLES”

SPECIFIC SHOTS CAN BE DETERMINED LATER WHEN THERE ARE ACTUAL LOCATIONS AND SETS -----------pb.

INT. THE LOFT PRODUCTION OFFICE (EDGAR’S RESIDENCE) – DAY

A bare bones room with a desk and laptop, chairs, single bed, TV, refrigerator, hot plate, wooden wardrobe

ANGLE ON WALL MOVIE POSTER

of a Fourth Dimension production

MEDIUM SHOT OF EDGAR

sitting on the cot reading a script.

A knock on the door is HEARD

Edgar stands, opens the door, without inquiring ‘who?’

Strode is in the doorway with coffees and pastries.

STRODE

You advertising says no appointment necessary.

EDGAR

None is.

STRODE

Cause you live here?

EDGAR

Yep

STRODE

That legal?

EDGAR

Not strictly. You going to inform?

STRODE

Nah. Can I come in? Brung breakfast

Edgar moves to allow him in.

VAROUS ANGLES ON BOTH

(cont.)

Where can I put this?

EDGAR

On the desk.

Strode put the food down and looks at the poster.

STRODE

This is that movie you made about the

unmarried slut had a baby.

EDGAR

Carmen’s no slut. Somebody took advantage

of her.

STRODE

So what’s the big deal? Another welfare queen.

EDGAR

No, she takes care of herself. Her family’s

supportive, has a restaurant she helps with

STRODE

And you and her?

EDGAR

Friends, You came here to interview me?

SRODE

Came to treat you

He offers Edgar a coffee and éclair, which he accepts, and they sit, Strode in a chair, Edgar back on the edge of the cot (there isn’t much room), and they ‘feast’

(cont.)

I guess Sharon told you me and her hooked

up again.

EDGAR

She didn’t mention anything like that.

STRODE

Before Mazza’s, I ran into her downtown.

EDGAR

That I heard.

STRODE

I’ve called a few times. I think your sis plays

it coy. Could you tell her I’m eager to resume

our interaction?

EDGAR

I can mention I saw you, but I cant…

STRODE

DO IT!.

EDGAR

…I can’t tell her what to do.

STRODE

Everybody knows you two are like fingers in

a glove. Do you like me?

Edgar manages half a smile, replies ironically

EDGAR

Nice of you to bring coffee.

STRODE

So tell her that. No recommendation like yours.

EDGAR

I don’t know you, Strode.

STRODE

Just speak favorably.

EDGAR

I can relay your message.

STRODE

With an endorsement.

EDGAR

Guy knows I like éclairs.

STRODE

They said at Donuts it’s what you always buy.

EDGAR

Never know when you’re leaving a trail

STRODE

So you’ll mention the éclair?

Edgar shrugs.

(cont.)

Just don’t say I bribed you.

EDGAR

You want me to cite your generosity

or not?

STRODE

Do you think it’s a bribe?

EDGAR

What difference does it make what I think?

STRODE

If you think it is, she will. Do you?

EDGAR

You never did it before.

STRODE

Hell, just tell her I want to see her. Can

you do that?

EDGAR

Sure, but I think she already knows.

STRODE

I got to go.

Strode goes to the door, opens it, pauses in doorway

(cont.)

And say I’m a good guy.

EDGAR

There must be worse.

Strode leaves, SLAMMING the door HARD

EDGAR’S REACTION

at least he was gone.

EXT- ‘TOWN TALKIN’ A BAR ‘IN THE LOFTS’ DISTRICT – NIGHT

Strode parks outside, goes into the bar

INT. THE BAR

Edgar is at the bar with friends, as Strode enters and approaches

STRODE

This is where you haunt.

EDGAR

This is it.

STRODE

Can I talk to you in a booth? Buy you a beer?

Edgar goes with Strode to a booth Strode shouts to the bartender

(cont.)

Bring us a pitcher. Cola for me.

EDGAR

Not drinking alcohol?

STRODE

Usually don’t

They sit, waitress brings drinks.

STRODE

(cont)

So what’s Sharon say?

EDGAR

About what?

STRODE

You’re a comedian?.

EDGAR

She hasn’t said anything.

STRODE

You’re not representing me well.

EDGAR

Not representing you at all.

CLOSE UP

On Stode reahing across the booth and clasping Edgar’s testicles.

ANGLE ON EDGAR, gasping

VARIOUS ANGLES:

STRODE

Why aren’t you?

EDGAR

I gave her your message.

STRODE

Is your sister a lez?

EDGAR

I don’t know.

STRODE

You know everything about her.

EDGAR

She doesn’t know, so neither do I. I know

she’d want somebody sensitive.

STRODE

We’re all sensitive. You think I don’t have

feelings?

EDGAR

Let go, Strode

STRODE

I want you to say you’re attracted to me.

Are you?

EDGAR

What do you think?

STRODE

I think that…I wish you were because she

would be. Will you say you are?

EDGAR

She won’t believe it.

STRODE

I didn’t ask what she’d believe. I want you

to plant it. Just say it.

EDGAR

Let go.

STRODE

Why should I?

EDGAR

I didn’t do anything to you.

STRODE

Nothing for me either.

Strode lets go

(cont._

I can always grab them again, Edgar-ie.

Edgar slides out of the booth, hand defensively positioned lest Strode change his mind.

(cont.)

I always know someplace I can find you.

Tell her you have the hots for me.

CUT TO:

EXT – THE SHED OUTSIDE WICHITA FALLS – DAY

(This is the big shed in later scenes, established in those scenes as being south of Wichita Falls, Texas)

MEDIUM SHOTS:

A BMW pulls up on the dirt drive and stops in front of the shed.

Strode gets out of the car, unlocks a padlock on the up-down sliding door, and raises it.

HIS POV

Inside there is a pick up truck, and the area beside it is set up as a living room.

ANGLE ON STRODE

as he enters

INT. THE SHED – DAY

VARIOUS ANGLES:

Strode is drinking mixed drinks alone, but civilly, watching TV, listening to MUSIC.

Strode is more intoxicated, the TV and MUSIC are OFF.

Strode is blind drunk, and drinking from a whisky bottle.

There is A KNOCK on the shed door.

Strode stumbles to the door, awkwardly raises it.

A DELIVERY GUY enters .with beer and food

DELIVERY

Where do you want this?

STRODE

On that end table by the couch.

The guy places the items where requested.

STRODE

You like a beer?

DELIVERY

No time.

STRODE

Come on. One beer.

DELIVERY

I’ll take it to go.

STRODE

Can’t you stay a while?

DEVLIVERY

Mister, I just bring groceries.

STRODE

I don’t want to be alone.

DELIVERY

I gotta go.

STRODE

Please stay.

Delivery guy goes for the door.

STRODE

No!

The guy exits.

Strode stands, wobbily..

The door is pulled down from outside.

STRODE

(screams)

DON’T LEAVE ME ALONE!

INT.- FRONT DESK, POLICE STATION - DAY

Sharon and Edgar are at the desk, a female uniformed office behind it., typing into the computer

OFFICER

You can go in and see Detective Dayton.

FOLLOWING

as they go to Dayton’s office and enter

DAYTON’S SHARED SQUAD OFFICE.

He gesture for them to site at his desk. He remains standing behind it until they sit, then does himself. Dayton is wearing a sharp three piece suit, is a polished crisp African American detective. He reads a file in his desk top computer.

VARIOUS ANGLES:

DAYTON

So he did a crotch grab and threatened you?

And he’s stalking you, miss?

Edgar is humiliated, face flushed, and does not reply.

SHARON

Yes.

DAYTON

But, Ms. Mullen, you have no witnessed except

those to say he was in the restaurant when you

were there, and the only evidence is the answering

machine message and the cell text.

SHARON

Right

DAYTON

He can make those calls justifiable. Edgar, do you

know if anybody in the bat noticed him grab you?

EDGAR

I’m not sure. I had no indication anybody had.

DAYTON

Do you think you could ask?

Edgar shifts uncomfortable in the chair.

EDGAR

Maybe if you did.

DAYTON

People freeze up when the cops ask

questions. And policy, I’m afraid, is we

don’t have the resources to pursue assault

without visible injuries. Are there any?

Edgar’s embarrassment again manifests with flair on his face

EDGAR

No.

DAYTON

None you’d care to show anyway. Have you

laundered the clothes you wore since then?

EDGAR

Yeah.

DAYTON

Okay, I was just thinking DNA, but even that’s

not proof of assault. There is something I can try,

getting him to come in voluntarily, question him,

confront him with the calls, the assault, pretend we

have proof.

SHARON

Trick him?

DAYTON

Maybe he’ll admit it. If he does we can

charge him. On the other hand, he might deny..

Another remedy you can try is a restraining order,

though again if Bollings contends you’d need

witnesses.

SHARON

Thank you, sir. We’ll think about a restraining

order. Please let us know when you talk to him.

EXT. - COURTHOUSE AND STREET – DAY

Sharon and Edgar enter building

INT.- COURTHOUSE AT FILING WINDOW

as Sharon presents documents to A CLERK

CLERK

Your date is June eighth.

EXT – STRODE’ S MANSION, FAMILY RESIDENCE – Day

A PROCESS SERVER ( an extra) knocks on the door.

Strode opens it, and is served papers

INT – COURTHOUSE FILING WINDOW

Strode presents documents.

CLERK

Your filing against them too?

STRODE

What goes around comes around.

INT.- PANCAKE HEAVEN – DAY

Sharon is bringing plates of breakfast on a tray. A NEW (?) PROCESS SERVER places a subpoena on the tray.

EXT. THE PARKING LOT – DAY

Sharon is using her phone

SHARON

Edgar, I just got served to appear on a

restraining order

INT. THE BOOKSTORE

EDGAR

So did I.

PARKING LOT

Sharon hangs up, dials

VARIOUS ANGLES

between SAHARON IN PARKING LOT

and DAYTON IN HIS OFFICE

DAYTON

Detective Dayton. Yes, Ms Mullen?

SHARON

Have you spoken to Strode Bollings yet,

Detective?

DAYTON

We talked by phone. He denied everything,

and declined to come in.

SHARON

Did you tell him you advised us to get a

restraining order?

DAYTON

No I did not.

SHARON

Well, we just filed and now he filed against us.

DAYTON

Have you harassed him back in any way?

SHARON

Absolutely not.

DAYTON

Then show up in court and deflect his petition.

SHARON

And ours?

DAYTON

If he bothers to go in, you won’t get yours

either without proof.

SHARON

Thank you sir.

She hangs up, and her phone immediately rings

EDGAR

(voice off)

Well?

SHARON

I think that good old boy network just got agile

at jumping barricades of inclusion.

INT.- COURTROOM - DAY

Behind the magistrate’s desk is a sign reading JUDGE JOHN LEMMOND

JUDGE LEMMOND is octogenarian, and visibly testy .as he reads the document

Standing before him, separated as parties, are petitioner Strode and respondents Sharon and Edgar. The date, June 6, is displayed prominently by calendar somewhere

LEMMOND

Both of you were in the restaurant at the

same time, and you don’t like each other,

is that right?

EDGAR

He likes her too much, that’s the problem.

LEMMOND

Then why’s he want her to stay away from him?

He has photos of your van cruising his neighborhood

SHARON

That’s not our van, your honor.

LEMMOND

Well he has witnesses present to say

you two entered Mazza’s Restaurant after

him, and that you Ms Mullen verbally abused him

EDGAR

We can refute that testimony, provide our witnesses.

We had no---what is it?---discovery

LEMMOND

That would necessitate another hearing. I can’t waste

court time and money on frivolity. Just stay away from

each other. Simple as that. Restraining order granted.

FADE TO BLACK

FADE IN

On Lemmond’ desk and the courtroom again. The calendar now reads June 8

Once again, he same parties are back, the twins with Mr Mazza and Ciss.

LEMMOND

Still wasting our time? The first order states

you don’t be near him. Only stands to reason

if you’re not near him, he’s not near you.

EDGAR

We have witnesses to refute his testimony prior

testimony

LEMMOND

I don’t need to hear your witnesses. Both parties

simply have to abide by the first order. Your

petition is denied. Now what else is on our

docket this defiled day?

CUT TO:

NOTE: INDICATION OF SOME TIME TRANSITION HERE, THEN:

EXT- STREET IN FRONT OF BOOKSTORE – DAY

Edgar comes out the front door Strode enters the frame.

STRODE

Your sister aint called me.

EDGAR

You’re an OSU student, right?

STRODE

Right.

EDGAR

Aint aint good English.

STRODE

Oh, you want grammar? Okay, did you tell her

of your obsessive compulsion for me?

EDGAR

She knows about your visit to the bar.

A lazy smirk forms on Strode’s face.

STRODE

Didn’t get to address that in court.

EDGAR

No, the judge didn’t want to hear anything

we had to say..

STRODE

Wonder why that? You know, she’s as skinny and flat

chested as a boy. Don’t know why I bother, knowing once

I had her I wouldn’t care

EDGAR

Why do I think that sound like bravado

STRODE

If I can’t have her, it will be you. Make it happen

Edgar, or you and me get down and dirty.

CUT TO:

MONTAGE:

Edgar in a gun store

Edgar at home, putting on a holster in front of a mirror, trying a fast drawing fantasy

Edgar on a street, open carrying

HECKLER 1

(voice off)

Wyatt!

HECLER 2

Hey, Doc

EXT. FRONT OF LOFT BUILDING -DAY

Edgar collects mail from box, approaches stairs.

Strode moves stealthily from behind, pins Edgar’s arms, throws him down, pushes his face into the gravel ground and disarms him.

CLOSE UP.

Edgar’s lips are cracked, his nose bleeding

.

INT.-THE LOFT APARTMENT – DAY

MEDIUM SHOT

Sharon is cleaning Edgar’s facial cuts

SHARON

Strode has that weakness he keeps secret.

EDGAR

But we know.

SHARON

We can use it.

EDGAR

You have a plan.

SHARON

WE have a plan.

INT. - MULLEN HOME and STRODE’S RESIDENCE - DAY

CUTTING BETWEEN locations and subjects during phone call.

STRODE

Hello

SHARON

Hello Strode. Sharon Mullen.

STRODE

Why, Sharon…

SHARON

You beat up my brother.

STRODE

Not much. Threw him down.

SHARON

He’s tougher than he looks.

STRODE

Didn’t show none of that.

SHARON

He is. Did you ever hear about that Chain

Gang when you were in Lawton ,that beat

out of town people with bike chains?

STRODE

Know ‘em. Ran with them sometimes

SHARON

Wouldn’t they go after you too? You’re

not local there.

STRODE

Oh, they’re see-lective who they mess with.

SHARON

They do with GIs from Fort Sill

STRODE

Just smaller ones or yankees.

SHARON

Do you hear what Edgar did there once,

him and his roommate. To get even in kind

after they bet up his roomie’s brother?

STRODE

Edgar? Ha! No. Heard that was tried by a

couple of guys, but the Chainer drove them off.

SHARON

Didn’t say, I guess, that he swore he was only

visiting Lawton and begged for mercy.

STRODE

None of them would do that.

SHARON

Edgar doesn’t lie to me. He can’t.

STRODE

Well, that was then and this is now, that

was there and this is here. Nice you finally saw

fit to call me.

SHARON

You put Edgar on the ground when he had

a gun in a holster. Can’t help but admire that.

STRODE

Just a little jujitsu.

SHARON

You’re modest. All things considered, Strode,

I think I do want to see you now.

CLOSE UP REACTION FROM STRODE

a bit suspicious of this abrupt change of outlook, but:

CONTINUING SHOTS OF CONVERSATION:

STRODE

What do you have in mind?

SHARON

Maybe a few drinks in the loft.

STRODE

I don’t drink. Usually.

SHARON

You bought a pitcher of beer at

Town Talkin”

STRODE

For Edgar. I drank soda.

SHARON

The point of the loft is discretion. No need for

rumors starting right off.. I can bring a home

cooked dinner, or order delivery. Just talk first,

you understand, get to know each other.

STRODE

That sounds fine indeed, Sharon.

SHARON

I’ll be in touch with details.

CUT TO:

INT. – THE LOFT BUILDING VEIBULE – DAY

CLOSE UP

There is a full length mirror at which Strode, dressed rhinestone cowboy, western in the way Elvis did on stage, examines himself. His squat physique in no way matches Elvis’ tall slender look.

STRODE

You aint nothin’ but a hound dog

ANGLE ON SHARON

observing from upstairs with an amused smile

ANGLE

Strode goes up to the loft. Sharon is dressed down home, in faded jeans, worn boots, a plain blouse. The desk is set with plates and glasses, and a pot of food, all laid on a decorative cloth

SHARON

(with a smile of mischief)

Strode, you look like Tex Ritter. Senior

STRODE

Tex. Yeah. A long time ago.

. SHARON

Great is forever.

STRODE

Well he was.

SHARON

What’s your favorite Tex song.?

She sits, indicates he should.

STRODE

Didn’t he sing ‘Your Cheatin’ Heart?’

SHARON

Must have. I like ‘Tennessee Waltz’.

STRODE

Don’t know if he did that. A sad song.

SHARON

So many are. What’s a song without a

broken heart?

She ladles the food onto the plates, and pours lemonade from a pitcher.

(cont.)

Heard we had a reunion. Did you go?

STRODE

Too soon to be missing each other, don’t

you think?

SHARON

I do. So you’re officially living in the city now?

STRODE

Just about. School’s finished at Cameron, except

I have to take exams.

SHARON

You must be excited about going to school in

Norman.

STRODE

Don’t know if I’d call it excited, but looking

forward to it.

SHARON

Well, that’s a degree of excitement.

STRODE

I reckon.

MEDIUM ANGLE

as they eat at the desk

SHARON

Sure have been getting weather.

STRODE

The sirens were blowing when I left Lawton last.

SHARON

Didn’t hear they got hit.

STRODE

Nah.

CLOSE UP – SHARON

Showing her exasperation at getting him to converse.

ANGLE ON BOTH

As she clears dishes.

SHARON

No dessert, I’m afraid.

STRODE

Meant to bring along, but then thought

you’d be---you’d have something

SHARON

Oh, well!…You don’t usually drink, but do you

mind if I have a bourbon?

STRODE

(with a satisfied smile)

Not at all, Sharon.

ANGLE ON SHARON

at the wardrobe as she pours RC Cola into an Old Grandad bourbon bottle .Strode waits patiently at desk in background.

Edgar also appears in background at the front door.

VARIOUS ANGLES

EDGAR

Oh, am I interrupting something?

SHARON

Not at all.

STRODE

Your face okay now? Hardly can tell.

EDGAR

Quick heal. Wasn’t much.

STRODE

Okay then. See you did employ some

magic with Sharon.

EDGAR

None I know of, but welcome to the

Fourth Dimension

STRODE

Huh?

EDGAR

Fourth Dimension Films…and restaurant,

apparently, now.

SHARON

Like some dinner, Edgar?

EDGAR

Just ate.

SHARON

You’re just in time for a drink.

EDGAR

Don’t mind if I do that.

SHARON

Strode? Sure you won’t?

STRODE

Not in the mood.

EDGAR

Now’s a special occasion, isn’t it?

STRODE

I’m wondering. Whatever happened to

three’s a crowd?

SHARON

Strode. He’s Edgar. And you’ve expressed

your affinity for him.

EDGAR

She admires your determination, Strode, and

since we’re so alike, I have to applaud it too,

even if I was subject to it.

STRODE

Nothing really personal.

EDGAR

I think that might be true.

Sharon pour the RC Cola ‘bourbon’, she and Edgar clink glasses, and after doing it once, do it again.

SCENE TO BE: Their interchange becomes loud and trivial, and at the beginning of each round, they extol Strode to have at least one and get with their wave length.

FINALLY the carefree abandon and silly chatter ping his impulse.

STRODE

Only one.

SHARON

Let’s go with the Seagram’s VO now. This

is an event for only the finest. Mixed drink,

Strode?

STRODE

Why of course. Only civilized.

Sharon mixes VO for Strode, she and Edgar keep drinking the cola.

Strode drinks two highballs, then moves the bottle beside his foot, diverts attention with:

(cont.)

What else ‘sides clothes you keep in

that wardrobe?

They look away and he swigs from the bottle

SHARON

Not much.

Strode gives up any pretense of social drinking, put the bottle to his head, and soon becomes helplessly drunk.

MEDIUM SHOTS

The twins are washing the pots and plates.

They pack them up as it to depart.

Strode is barely conscious, still holding the bottle.

SHARON

You’re welcome to stay and finish that fifth, Strode.

Just remember to depress the door knob lock when

you’re leaving.

STRODE

Nah, stay.

SHARON

Was just for dinner. We have things to do.

STRODE

One of you stay. Both of you stay. Don’t go.

SHARON

Well, if we do---just for a while longer…

can you talk?

STRODE

I’ll try.

SHARON

You’re not much of a conversationalist.

STRODE

Okay, okay. What do you want to talk about?

SHARON

Why are you so afraid of being alone?

STRODE

Just…doesn’t feel…feels bad

SHARON

Why do you think that would be?

STRODE

Had no friends anywhere until I took them. That’s

what you do, you know. You don’t just get them,

you force them. Make people fear you, they like you.

SHARON

They don’t, Strode. They’re angry.

STRODE

Doesn’t matter long as you stay on top.

SHARON

This is you philosophy of life?

STRODE

Only as I discovered life to be. Way it is.

SHARON

Edgar and I like each other.

STRODE

Blood is different. You’re almost each other.

SHARON

We sometimes have opposing opinions.

STRODE

Like?

SHARON

Well, such as…What are we going to do to you?

STRODE

You have no power over me.

SHARON

You’re drunk and helpless.

STRODE

Never helpless.

SHARON

Edgar, what do you think?

EDGAR

I’d say shitfaced.

SHARON

Strode, would you like to be caressed?

We need not specifically show where her hand goes, just Hitchcockian suggestion

STRODE

Ah-ha-ha

SHARON

Let’s get is britches down, Edgar.

STRODE

No, he can’t do that. Not right.

SHARON

‘Do unto others.”

STRODE

I never meant either of you any harm.

EDGAR

Then why’d you harm?

Sharon pulls a lariat from under the cot, drops the loop over Strode’s

head to his mid-section, then pulls the knot

SHARON

Reminds me of the rodeo. Strode, you

ever ride that bull?

STRODE

Rodeo ‘as over ‘fore I could put my bid in.

SHARON

Lucky that bull, huh?

STRODE

I still have my legs.

EDGAR

Not for long.

As Strode tries to stumble upwards, Edgar secures his legs with the thrower’s end of the lasso.

(cont.)

Hog tied now.

Sharon opens his belt, pulls down his trousers and drawers. Strode moans in humiliation .Edgar grabs him by the eggs and squeezes (HAVE HIM USE A CLAMP)

STRODE

I let you go, Edgar.

EDGAR

I reminded you I hadn’t done anything.

Can you say that?

STRODE

I didn’t WANT to do anything to you.

Bluffing.

EDGAR

Who did you want to do something to?

Sharon?

STRODE

I try to be a machine, but I’m not a good one. I’m

a wuss. Underneath the muscles and good looks.

Sharon has a laugh at that

(cont.)

Well, I have passable looks.

SHARON

Why can’t you operate on that then? There

must be somebody. Just not me.

STRODE

(blubbering with self pity)

I don’t know.

EDGAR

We’re of opposing views here. I don’t want

to just let you go, She’d forgive you for a show

of remorse, and you are groveling pretty good.

STRODE

Never meant harm. Just advancing my interests.

EDGAR

If we were to, say, un-masculate you, even kill

you, we could say we were preventing a rape.

Only the truth.

STRODE

No. Never wanted her that way.

EDGAR

You kept threatening me with it.

STRODE

I wanted her.

EDGAR

But she didn’t want you.

STRODE

I wanted her to want me. She would have if

you did.

EDGAR

That’s still against her will.

SHOT: Sharon holds the bottle to Strode’s face

SHARON

Strode, I can pour VO into you while we discuss

this matter. Little swallows. Don’t want you to drown.

EDGAR

Why not?

SHARON

Be nice, Edgar.

SHOT: Strode has passed out, and Edgar releases his grip.

Strode snores with loud tormented snorts

(cont.)

You know I’m going to.

EDGAR

Petition the Spirit.

SHARON

You can too.

EDGAR

Yeah, but it’s its not known to

rule towards revenge.

SHARON

Its not con.

EDGAR

I didn’t say it was.

SCENE:

They untie Strode, dress him.

EDGAR

Let’s not leave anything he can vandalize.

SHOTS:

They take the dishes, lap top, accordion filing cabinet, TV, and unplug the refrigerator.

They empty the RC cola in the bathroom in the outer corridor.

EXT. THE STREET IN FRONT OF LOFT – NIGHT

Edgar and Sharon leave.

EXT THE STREET IN FRONT OF LOFT – NIGHT

Edgar and Sharon arrive.

INT. –THE LOFT-NIGHT

They enter. Strode is gone

SHARON

No corpse.

EDGAR

Well he left everything alone.

SHARON

He didn’t exact revenge. Maybe we reached him.

EDGAR

He just had a memory lapse.

MONTAGE OF SCENES

Showing a return to normal

EXT. – STREET IN FRONT OF MULLEN RESIDENCE – NIGHT

CLOSE UP on a lit street sign indicating alternate-sides-of- the- street parking nights for street cleaning.

MEDIUM SHOT

as a car pulls up, parks across the street from Mullen’s house. Mist is rising from sun baked asphalt meeting dropping temperature, visibility is poor, the municipal street lamps casting vague amber coronas

Edgar gets out of the car, looks for traffic, then starts across the street.

A vehicle is HEARD rumbling, coming.

SHOT shows the foggy silhouette outline of a fast SUV without lights closing on him.

Edgar dives as if off a diving board, and the jeep hits his leg he does.

CLOSE UP shows sidewalk contact with his shoulder, then head, knocking him out.

INT. – HOSPITAL ROOM – NIGHT

Edgar is asleep in the bed. Present are his parents, Sharon, Ellie, and CARMEN, a young pretty Mexican-American (who was the subject of their film) and A NURSE

Edgar wakes up to the crowd, appears confused

MOM

Honey, you’re tibia and ankle are broken.

DAD

Good news is, no concussion and your shoulder

got banged good, but didn’t dislocate. You’ll be

taking things easy for a while.

I’m afraid some of you will have to clear out

.Doctor’s restrictions. Too much excitement.

They slowly depart, leaving only Sharon with Edgar.

Sharon unseals a bottle of water for him, pours into the plastic cup on the bedside tray.

SHARON

It was Strode.

EDGAR

No doubt, but I couldn’t see him.

SHARON

‘No witnesses, no evidence’ If they look at his

SUV there must be something.

EDGAR

We can try.

SHARON

You’re not hopeful.

EDGAR

Well, no

SHARON

Maybe if we had…

EDGAR

We couldn’t, Sharon.

SHARON

How do we know when its revelation or what we’re

telling ourselves?

EDGAR

We can’t. Maybe they’re the same thing.

SHARON

Oh my dear brother.

INT. - THE HOSPITAL GARAGE – ALMOST DAY (which we can tell because the garage has levels but is also open on the sides)

ANGLE ON SHARON

remotely unlocking car, At this early hour, only her car is in the VISIORS PARKING area. She tries to also remotely disable alarm, is confused

SHARON

Thought I set it.

She gets into the car, a Corolla, starts the engine, waits for warm up

INT – THE CAR

As she puts the car in gear, Strode comes up from the back seat.

STRODE

Hi, Sharon.

ANGLE IN REARVIEW MIRROR

Shows he is holding a 9mm Glock behind her head.

SHARON.

What’s the gun for, Strode? I wouldn’t be what

what you want dead.

STRODE

One way or THE other.

ANGLE IN THE CAR

SHARON

I don’t think so.

STRODE

Drive where I say or find out.

To show he means it, he strikes the back of her head so recklessly with the muzzle that the gun could have fired.

(cont.)

Turn right when you get to the street.

ANGLE IN GARAGE

as the Corolla leaves and turns upon exit

EXT THE STREET IN FRONT OF HOSPITAL – DAY (DAWN)

as Sharon’s car leaves hospital parking structure

INT- THE CAR

Strode is still in the back seat

STRODE

Go right to the I-44, take it toward Lawton.

ANGLE ON CAR TURNING RIGHT

INT THE CAR

Strode climbs into the front seat, doesn’t speak, keeps the gun low but aimed at her

EXT – THE HIGHWAY

ANGLE ON MILEAGE SIGN TO LAWTON

ANGLE ON GAS GUAGE

Showing near EMPTY

ANGLE ON ROAD SIGNS FOR LAWTON EXITS

INT.- THE CAR

STRODE

Get off where I say and we’ll get gas.

SHARON

How about here?

STRODE

Cute. Downtown. No we’ll get off at the other

end, past town

INT THE CAR

STRODE

Now

EXT. THE ROAD, OUTSIDE TOWN AT THE OFF RAMP

There are two gas stations with mini-marts, little else

INT THE CAR

STRODE

The one on this side.

EXT – THE GAS STATION

Signs show full service and self service pumps.

The car goes toward self service

INT THE CAR

STRODE

Oh no. We’re staying in the car. You think of

giving any signals, remember my back watcher here

EXT- THE STATION, AT FULL SEVICE PUMP

THE ATTENDANT , a teenage boy, approaches, tries to raise hood

ATTENDANT

Can you pop it?

STRODE (snarls)

We just want gas. .Fill it up.

ANGLE ON BOY

who looks at them as if---well, .if they like paying more for gas, that’s none of his never mind, and he pumps gas.

EXT - MEDIUM ANGLE ON CAR

as Strode pays in cash and Sharon drives out of the station.

EXT. THE EXPRESSWAY

There is a WELCOME TO TEXAS sign, signs for Wichita Falls

INT. – THE CAR

STRODE

Take the old two lane from Witchita Falls

SHARON

Strode, wherever we’re going, the turnpike

is faster.

STRODE

With lots more people. Take the old road.

EXT- THE TWO LANE – DAY

The terrain had a flat lunar quality, with few cars or people visible, just power lines and the bobbing mechanical arms and the clacking groans of oil derricks.

INT. -THE CAR

SHARON

You don’t say much, Strode. Edgar hitchhiked once to

Dallas on this road. Can’t hitch on the expressway,

He’d wait fifteen minutes before he saw a car. Do you

mind me talking?

STRODE

No, its soothing.

SHARON

Soothing? You hurting?

STRODE

Not at all. Just like the sound of you.

SHARON

Well…If a car came, it stopped. Problem was,

it was always a farmer or an oil man “just going a

piece”. He thought he’d never get to Big D until

that payload ride came along that brought him to

Fort Worth.

STRODE

A happy ending. Pull in here, up that road to the left

EXT. A DIRT ROAD at the end of which are a derrick and a large corrugated shed

INT. THE CAR which is stopped at the shed

STRODE

.Get out with me.

EXT - THE FRONT OF THE SHED

As they arrive, and Strode unlocks the padlock and other locks.

THEIR POV

The shed has a rising door, which reveals a pick up truck inside and a section paneled with tan plywood, overhead lights, a living room set, TV, refrigerator, wall units and cabinets.

STRODE

Get in the truck with me.

They both get in, and he drives it outside the shed. He takes her, gun low against her ribs, back to the Corolla

They get in the Corolla

INT. THE COROLLA, SHARON DRIVING

STRODE

Now put your car where the pick up was.

She drives into the shed.

Strode pulls the door down, locks it form inside.

STRODE

Now Sharon, I believe you and me can get to

know each other.

INT.- THE HOSPITAL ROOM - DAY

ANGLE ON EDGAR

as he awakes to a grasp on his good shoulder.

HIS POV

Detective Dayton is sitting in a chair at bedside

VARIOUS ANGLES:

DAYTON

How you feeling?

EDGAR

Don’t know yet. Sleepy.

DAYTON

Sorry, but this is important. The rest of your

family is in another room, and you’ll see them

soon. Sharon didn’t get home. She’s missing,

and so is her car.

EDGAR

It has to be Strode.

DAYTON

It is. The garage camera showed him silencing

the alarm and picking the lock. Night security

wasn’t watching the monitors.

EDGAR

They should all be fired.

DAYTON

Somebody will get fired but that doesn’t change things.

EDGAR

Everybody, the police, the court, could have done

more. .

DAYTON

Mister Mullen! Judge Lemmond is an irascible old

eccentric, should be retired.

EDGAR

Why didn’t you try more?

What I said about budget restraints is real. I might

have moonlighted on it, but my time is constrained too.

We found Bollings’ car already, and there’s a fender dent

on it.

EDGAR

I can believe that.

DAYTON

I have to take the clothes you were wearing to match fabric

or paint Your family brought something else to wear to come

with me.

EDGAR

Go with you? I’m getting discharged?

DAYTON

The doctor will release you within the hour. You’re

banged up, but nothing bad enough to keep you lying

in this feathery bed.

EDGAR

Is that what it is? I’m still groggy from meds.

DAYTON

You’ll shake it off as the day progresses.

EDGAR

What do you need me so urgently for?

DAYTON

To find her.

EDGAR

I don’t know

DAYTON

Not yet because you just woke up. but you’ll

know where to look.

EDGAR

The police believe this stuff?

DAYTON

When we think it’s real we do.

INT – the SHED -. LIVING ROOM SECTION

She is sitting, he pacing

VARIOUS ANGLES:

SHARON

You sometimes live here?

STRODE

More like I sometimes die here.

SHARON

Don’t get that

STRODE

I come here to do what I last did at the loft

but won’t today. You can have a drink, though.

SHARON

I don’t think so. I don’t dri---don’t feel like it.

STRODE

No? Why not?

SHARON

Somehow not in the mood.

STRODE

I want to talk with you.

SHARON

Me drinking wouldn’t get you talking.

STRODE

Can’t hurt..

SHARO

You told us a lot about yourself last time at the loft

STRODE

I remember your brother had that gadget on

my balls..

SHARON

That was for empathy. Let you know how it feels..

STRODE

Talked a lot, huh?

SHARON

Only made us identify, you know.

STRODE

Don’t need nobody’s identification. I have

Scotch. Black and White. Chivas. Soda mixer.

SHARON

Can’t we just talk?

STRODE

I’ll mix you one.

SHARON

You can lead a horse…

STRODE

And you can make him drink. Like some TV?

SHARON

Why not?

Strode uses a remote, turns on the TV

ANGLE ON TV SCREEN

There is a full screen photo of Sharon, her graduation picture

TV ANNOUNCER

(voice off)

…Oklahoma City woman Sharon Mullen…

VARIOUS ANGLES:

Strode abruptly shuts it off.

His hands are shaking, and the various glass items on the serving table tremble.

CLOSE UP ON SHARON contemplating her situation

INT.- DONUTS SHOP - DAY

VARIOUS ANGLES

Edgar and Dayton are in a booth, Edgar reclining, with his cast leg on the table. He has a coffee and éclair. Dayton had coffee and a bagel with cream cheese.

EDGAR

I though cops only ordered donuts?

DAYTON

I refuse to meet stereotypes. Are you getting

a feel for anything?

EDGAR

Percocet’s messing with me.

DAYTON

Don’t take any more of them. How many you

got left?

EDGAR

A few.

DAYTON

I can hold them for an emergency, or you

trust yourself?

EDGAR

Myself.

DAYTON

Remember what’s at stake.

EDGAR

You don’t think I’m forgetting.

DAYTON

We’ve gone to his house, have surveillance at

every property they own here. You think she’s

still in Oklahoma City?

EDGAR

I’m not sensing her presence.

DAYTON

Does that mean your sensing she’s not?

EDGAR

Only by implication.

DAYTON

Try for a direction they went from the hospital.

EDGAR

Nothing’s coming.

DAYTON

Let’s go drive around.

INT. THE SHED – DAY

VARIOUS ANGLES ON BOTH

Strode is clumsily making a drink at the shaking table.

He goes to the chair Sharon is in, puts a drink on the side table. The gun is in his waistband.

SHARON

Strode, I’m on some medication for menstrual cramps.

Not supposed to drink. Can’t we just get to know each

other. Alcohol will make me sick

Strode moves to the sofa a few feet away and also sits, apparently indicating by giving space that he wouldn’t force her to drink

STRODE

So I guess I told you my life story last time.

Let’s hear some of yours

SHARON

Well, you know, we’re Quakers.

STRODE

Like communists, aren’t you?

SHARON

Why would you think that?

STRODE

Those funny ideas. A church that’s not a church.

Like in China.

SHARON

In China, the state regulates the church

STRODE

Okay, nobody regulates you but yourselves.

Same thing.

SHARON

Excuse me.

STRODE

Not run by God.

SHARON

Oh, quite the opposite. Can I explain?

Strode’s expression is one of smug condescension. He’s in control, and has her talking nonsense to him

STRODE

Why sure, Sharon.

INT . CROWN VICTORIA CAR –DAY

Dayton is driving, Edgar is sprawled in the back seat keeping his leg elevated with a bag

INT. THE HOSPITAL PARKING STRUCURE.

Dayton drives to A-18, Sharon’s abduction point. There is crime scene tape around the space, and a female uniformed officer (an extra) who exchanges waves with Dayton.

VARIOUS ANGLES:

Dayton drives out of the hospital, goes straight

They drive back to the hospital, back to A-18, leave and go left.

They come back, repeat, go right.

In exasperation, Dayton parks at the curb

INT. – THE CAR

DAYTON

Nothing?

EDGAR

South. They went south..

DAYTON

Which way did they turn out of here?

EDGAR

Not sure, but they went south out of

Oklahoma City.

DAYTON

The turnpike would have been a right turn.

EDGAR

That’s logical. I just don’t know.

DAYTON

But you’re sure of south?

EDGAR

South.

INT. - THE SHED – DAY

VARIOUS ANGLES IN ‘LIVING ROOM’ SET UP

Strode is still on the sofa, Sharon in the chair

SHARON

So, we believe in revelation from the Spirit, and

everyone is capable of connecting with it.

Strode gets up, takes the gun from his waistband, crosses to the chair, and stands over her.

STRODE

Sharon, can you take your clothes off for me?

SHARON

Strode, I’m---shy... I’m a virgin. I’ve never undressed

in front of a man.

STRODE

Edgar?

SHARON

Not since we were babies. And you’d be disappointed.

I’m not so beautiful. Flat chested. Ripply belly.

STRODE

I’d be the better judge of that.

SHARON

Its true. Too much of Mr. Mazza’s pizza.

STRODE

I think you’re conning me.

SHARON

Not in me to do that.

STRODE

Or never was before.

He points the gun at her head.

(cont.)

Show me your bod.

SHARON

This is so fast, honey. I just need some

time okay? Please?

He points the gun at the wall near her, fires into it.

He seems stunned, surprised that the gun went off.

He then returns to the sofa.

.INT.- DAYTON’S CAR

They are still parked in front of the hospital.

VARIOUS ANGLES;

DAYTON

What do you say we see what your girlfriend

is doing?

EDGAR

I don’t have a girlfriend.

DAYTON

(smiles)

Carmen from the hospital.

EDGAR

A friend

DAYTON

Yeah. I think maybe having her along could

enhance your craft.

EDGAR

I can call and see what she’s up to.

Edgar makes a call on a smart phone.

CARMEN is a vioice-off in this scene, and can be heard on speaker.

CARMEN

Edgar? What’s up?

EDGAR

I’m with Detective Dayton and we’re looking

for Sharon. He thinks you can help me. You busy?

CARMEN

No class today but Mom doesn’t come either

and I have Georgie.

DAYTON

Diapers and formula. And we might be gone

a while.

EDGAR

You hear?

CARMEN

Give ma a half hour, then swing by.

INT. THE SHED – DAY

VARIOUS ANGLES;

Strode is on the sofa, Sharon, in the chair, seems asleep

Her eyes open a slit, to see what he’s up to. She closes them again part way.

Strode, believing she is asleep, begins to stroke himself.

Sharon begins snoring loudly.

Strode is having trouble with his effort.

Sharon throws herself forward on the chair, stifling a laugh

SHARON

(without lip movement, intended as a thought)

Can’t get it up.

Strode gets up and crosses to her. She feigns sleep, and he shakes her.

STRODE

What did you say?

SHARON

I didn’t say anything.

STRODE

I thought you said something.

SHARON

No.

He moves away toward the sofa again. While his back is to her, she delivers the next line in aspirate to herself

(cont.)

Holy Ghost1 I have to watch what I think?

INT. – DAYTON’S CAR – DAY

Dayton is driving, Edgar is riding in the back seat, leg elevated.

CARMEN, young attractive Hispanic, is riding in front passenger seat, she and BABY GEORGIE snug in the seat belt that is just a bit tight.

VARIOUS ANGLES;

DAYTON

This is not good. Baby up front, no restraining

car seat..

CARMEN

He’s secure.

DAYTON

I see he is. It’s illegal though.

EDGAR

It’s not likely a cop would give another cop a

ticket, is it?

DAYTON

That’s not the point.

EDGAR

As long as it’s safe.

DAYTON

If it was all that safe, it wouldn’t be illegal.

Your compass telling you anything new, Edgar?

We’re close to Lawton, and that’s almost out

of Oklahoma.

EDGAR

Keep going south.

DAYTON

I’m out of my jurisdiction, and Texas is way out.

If he crossed the state line, that’s federal, .but I can’t

call in Feds and local on premonitions

EDGAR

I can’t help that. We have to go south.

INT. – THE SHED – DAY

Strode is on the sofa, gun beside him. Sharon is in the chair

VARIOUS ANGLES:

STRODE

Here’s the game now, Sharon. I’ll give you the gun

and you have to shoot me to save yourself.

He crosses to her, puts the gun on the chair armrest, and returns to the sofa.

(cont.)

If you don’t, I’ll take it back and use it on you.

So you have to abandon your convictions to live.

SHARON

It seemed like you didn’t expect it to go off before.

Like you thought it was empty, but there was still

a round in the chamber.

STRODE

I flinched because I hardly pulled the trigger. It’s set

so taut it goes off on touch.

SHARON

I think you thought it was empty.

STRODE

Pick it up and find out. It’s you or me, Sharon.

She does not pick it up.

(cont.)

I’ll take it back then. My turn.

He stands. She picks the gun up.

SHARON

No clip.

STRODE

You know guns pretty good for a pacifist.

SHARON

Because I don’t like guns doesn’t mean I’ve

never been familiar with them.

Strode produces another pistol from under a sofa cushion

STRODE

You don’t think I’d really let you shoot me.

SHARON

So all this was for nothing?

STRODE

Oh, not for nothing For entertainment. And I have

lots of guns and ammunition here.

He retrieves the gun he gave her, and goes back to the sofa.

INT. DAYTON’S CAR - DAY

DAYTON

Lawton exits, Edgar.

EDGAR

Keep going into Texas.

EXT. – ROAD SIGNS- DAY

“WELCOME TO TEXAS’ and WICHITA FALLS 30 MILES

EXT. CAR ON THE TURNPIKE

As it continues toward Wichita Falls.

INT. - DAYTON’S CAR – DAY

DAYTON

Wichita Falls.

EDGAR

Take the too lane toward Fort Worth and Dallas from here

EXT. THE TWO LANE TOWARD WICHITA FALLS

with Dayton.s car tavelling on it.

INT. - THE SHED – DAY

VARIOUS ANGLES:

STRODE

I can put the loaded gun halfway between us. Then

you can choose. Go for the gun or come to me.

SHARON

Honey, I feel an attraction for you. But his is all wrong.

I’m a prisoner. I can’t make a free choice.

STRODE

You’re stalling.

SHARON

Don’t you understand? It’s atmosphere. This is like a

warehouse. The air is awful in here. It’s dusty and hot.

STRODE

You’re telling me, Sharon, you’re only deterred by the

environment here.

SHARON

Couldn’t we go somewhere more civilized?

Even a hotel in Wichita Falls?

STRODE

I think statutorily I’d be at great risk checking in

anywhere with you.

SHARON

Maybe we can find something along the road.

Just not here.

STRODE

You’re bullshitting me, Sharon

INT. DAYTON’S CAR - DAY

DAYTON

Farmers down here might not be paying much attention to

what’s happening in Oklahoma. You think he took this road

to avoid people, worried they’d be looking for her car now?

EDGAR

It’s not that. We’re close

EXT. IN FRONT OF THE SHED

A GUNSHOT is heard from inside.

VARIOUS ANGLES:

Strode carries a bundle in a blanket, places it in the cargo space at the back of the pick up..

He reruns to the shed entrance, pulls the door down, replaces the padlock, then returns to the pick-up.

INT. DAYTON’S CAR

as they travel along.

Edgar suddenly bolts up in the back seat like an elastic band that was holding him had broken

DAYTON

What’s wrong? You hurting?

EDGAR

No. Something’s happening.

DAYTON

Oh, don’t say that.

EXT. - THE TWO LANE GOING NORTH – DAY

as Strode’s pick-up moves on it (this is after the cars have passed each other, not at the moment it happens)

INT. DAYTON’S CAR

EDGAR

That driveway on the left. Turn in there.

EXT. - THE DIRT ROAD TO THE SHED – DAY

Dayton’s car goes up to the shed, and they all get out.

EXT. IN FRONT OF THE SHED - DAY

VARIOUS ANGLES:

DAYTON

My posse is a man with a couple of broken bones

and a woman with a baby.

CARMEN

Edgar can watch Georgie.

DAYTON

Are you armed?.

CARMEN

Well, no. Just moral support.

DAYTON

Stay here. Georgie’s gonna need his momma

a while longer.

EDGAR

This is not feeling right.

DAYTON

You’re killing me.

Dayton advances on the structure with his pistol drawn, leaning his weight forward to minimize the SNAPS AND CRUNCHES off the weedy path.

When he reaches the door, his tense posture loosens and he holsters the gun.

DAYTON

Edgar, come here.

Edgar, on his crutches, approaches with Carmen and Georgie

DAYTON

It’s locked from outside. I don’t know what we’ll

find. He could have left her inside (YELLS)

SHARON. SHARON MULLENS.

Dayton examines the large padlock.

EDGAR

Pick it?

CARMEN

A hammer or crowbar.

Dayton draws his pistol and shoots the lock off.

EDGAR

Let’s go back to Oklahoma.

DAYTON

You’re not giving up?

EDGAR

No. When I sprung up from the back seat it was

because they were going by the other way.

DAYTON

Why didn’t you say something?

EDGAR

I didn’t know then.

DAYTON

Oh. Okay. Well, shit, let’s go back to Oklahoma.

I don’t have anything else to do.

EDGAR

It’s what is.

DAYTON

I haven’t cleared this yet. I have to see what’s inside.

EDGAR

There’s no reason.

CARMEN

We do have to look.

EDGAR

You’re doubting, Carmen?

CARMEN

No, I know you’re right, but I’d have no peace

of mind if I didn’t know for sure she wasn’t here.

DAYTON

Exactly. I shouldn’t be going in down here, but

I have to confirm she’s not in there.

POV OF EDGAR AND CARMEN

Dayton goes in, turns lights on, and looks around the rectangular interior.

There is one door inside, opening on a bathroom, no other hiding places. Dayton quickly finished searching and returns.

EXT. FRONT OF SHED – DAY

VARIOUS ANGLES:

DAYTON

I smell gunpowder. Somebody fired in there, but I can’t

do the forensics. This is kidnapping or worse. Now I have

to bring in local police and feds .I’ll call it in, but I’m not

waiting. Edgar, do you happen to know what kind of

vehicle they’re in?

EDGAR

Afraid not.

DAYTON

Terrific.

EDGAR

Can’t help it.

DAYTON

I said terrific.

INT. - DAYTON’S CAR ON THE TWO LANE - DAY

Dayton is driving, Carmen and Georgie in front passenger’s seat,, Edgar reclining in back

VARIOUS ANGLES:

DAYTON

We have to remember what we saw.

EDGAR

I was lying down. Couldn’t see the road.

CARMEN

Looked like some kind of farm vehicle.

DAYTON

Yeah. An old pick up.

CARMEN

Metallic silver color but dull finish from age.

DAYTON

Edgar, that’s that license number?

EDGAR

What?

DAYTON

Ha-ha-ha

EDGAR

Yeah, ha-ha-ha

CARMEN

Can we focus?

DAYTON

Sure, but his will help. Keep us sane.

CARMEN

It was one of those pick ups with the small space

in back

DAYTON

Good.

CARMEN

Detective, do you have a family?

DAYTON

Huh? Oh, yeah. My son is a 10 year old sandlot player,

and my 8 year old daughter wants to be a gymnast.

I want them to be a doctor and lawyer. My wife is a

firefighter with OKC Fire.

Edgar pops up in the back seat.

EDGAR

Can we call you something besides Detective Dayton?

DAYTON

Detective is okay for short

INT. THE PICK UP – DAY

WINDOW VIEW shows they are on the turnpike

Sharon is under the blanket, in the back luggage space. She is tied up, with her head exposed. She has turn her whole body to look up and engage in a conversation that otherwise sounds normal

VARIOUS ANGLES:

STRODE

So are you an accomplice now, Sharon?

SHARON

I shot into the wall, not into you baby

STRODE

Almost back in Oklahoma. It’ll be like we never

crossed a state line, but---your car---why

would you drive alone to Texas?

SHARON

Well---I have cousins in Wichita Falls.

STRODE

You didn’t tell me. Maybe we could go there now

SHARON

They wouldn’t be expecting such company, but

it could be a reason I drove down here.

STRODE

But why would your car end up where it is?

Strode’s hand begins shaking on the steering wheel, the truck whipping as if badly out of alignment for their speed.

SHARON

Take it easy, honey. Everything is

consensual. I’ll tell them that.

STRODE

Where can we stop, Sharon?

SHARON

Are we north of Wichita Falls now?

STRODE

Right.

SHARON

Let’s get to Lawton at least

STRODE

Lawton? Yeah. Lawton’s good for me. I should

have thought of that before

He calms down and corrects the steering.

INT. DAYTON’S CAR – DAY

WINDOW VIEW shows they are on the turnpike

VARIOUS ANGLES:

DAYTON

At least we’re back in Oklahoma. What are you sensing,

Edgar?

EDGAR

Lawton.

DAYTON

We’re still out of my jurisdiction, but better than

Texas. You’re saying go into Lawton?

EDGAR

Yes

DAYTON

Chief is gonna have an aneurism.

EDGAR

If it turns out good?

DAYTON

Not then. Will it?

EDGAR

I’m not sure.

DAYTON

I’m getting brain damage.

EXT - A STREET OF ABANDONED STRIP BARS -DAY

Strodes’s car arrives. There are stray dogs roaming in the street, barking at his car.

INT.- STRODE’S TRUCK – DAY

MEDIUM SHOT OF BOTH

STRODE

(proudly)

The Chain Gang’s old clubhouse.

EXT.- THE STREET – DAY

VARIOUS ANGLES:

Strode gets out of the truck in front of a bar called the BARE ASS, with a sign showing a donkey in a G string poking its pokey. Sharon is still tied up, wrapped like a bundle, and he carries her and sets her down at the bar entrance.

Strode is a man showing off his domain.

STRODE

This sign was a joke to pre-empt any gentry protests.

SHARON

Bet it was the end of any of that.

Strode has a lot of keys, and looks for the correct ones, fumbling as the barking dogs begin to approach them

SHARON

Strode.

STRODE

They’re just hungry.

SHARON

Is that all?

He gets the door open, picks her up, and carries her in.

INT.- THE BARE ASS – DAY

The club has ripped vinyl booths, a stage with a damaged spotlight fixture dangling from above, piles of trash, and a general aura of disarray

VARIOUS ANGLES:

STRODE

This was premier once. Just needs to be refreshed.

He sets her down, finds a chain, and begins securing her to a steel stake driven far into the concrete floor, covered by carpeting.

SHARON

Strode, are we a couple?

STRODE

Of course we are. I’m just taking a precaution.

Big transition we’re having.

He finishes chaining her.

STRODE

(nostalgically, with enthusiasm he hoped she could appreciate))

This is where they held people when they

captured them.

SHARON

What did they do with them later?

STRODE

Oh---Well---What happens in the clubhouse stays

in the clubhouse.

SHARON

What made them give it up if the loved it so much?

STRODE

They all ended up in prison.

Sharon is secured by steel bracelets at ankles and wrists, but her hands and fingers are loose, with limited freedom of movement.

SHARON

Strode, if your Achilles’ heel is alcohol, mine is the

Spirit. I’m not flat chested, just have small breasts. My

stomach is firm and strong. I was joking about that.

She uses her free fingers to unbutton her blouse, prove her claim.

This gets Strode’s undivided attention, and he sits beside her.

SHARON

I’m can’t keep my eyes open. .Didn’t sleep at all last night.

You couldn’t have either. Maybe we can just cuddle, nap a little.

He attempts to kiss her, and she diverts by placing her hand at the top of his trousers, then sliding it inside.

(cont.)

Okay, honey?

After a moment of that, Strode becomes angry and agitated.

STRODE

You fucken bitch

SHARON

Ohh!... Me fucken bitch? Why?

Strode begins wheezing and choking with big disconsolate sobs, exhibiting a dangerous catharsis of shame at his dysfunction.

INT. DAYTON’S CAR – DAY

ANGLE ON THE OCCUPANTS

DAYTON

Coming up on Lawton, Edgar.

Edgar pulls himself up to look out the window.

EDGAR

This side of town.

EXT. THE HIGHWAY

as Dayton’s car takes the first exit.

INT.- THE STRIP CLUB - DAY

VARIOUS ANGLES:

The loaded gun has fallen from Strode’s waistband, and Sharon picks it up, points it at Strode, still in morbid reverie

STRODE

Just kill me, Sharon. Please shoot me this time.

Have mercy.

SHARON

That’s what you want?

STRODE

Yes

SHARON

If that’s what you want, why should I?

Take these chains off me.

STRODE

I…I don’t have the keys.

SHARON

Give me some room.

STRODE

Will you do it then?

SHARON

I can’t think. You’re too close.

STRODE

Ah, Sharon.

SHARON

Go over there.

She indicates “over there”, with a head gesture, as somewhere across the room and he moves away from her, finding an old dusty armchair to sit in

EXT.- THE STREET IN FRONT OF STRIP CLUB – DAY

Where Dayton, Edgar, Carmen and Georgie are. Dayton is making a cell call

VARIOUS ANGLES:

EDGAR

She’s in one of these empty buildings.

Dayton finishes the call.

DAYTON

OKC chief says Lawton is sending what they have.

Including a battering ram

EDGAR

Fort Sill is here. The artillery center. The Army

can get here and shell this street to slate.

DAYTON

I’m glad some of us can keep our sense of humor.

Overkill wouldn’t be necessary if I knew which

one she was in.

INT – THE CLUB – DAY

VARIOUS ANGLES:

Strode rummages in debris, finds a bottle of whisky overlooked by whoever He wipes the dust off with a sleeve

STRODE

You sure you won’t have a drink, Sharon?

SHARON

I don’t drink.

STRODE

You did at the loft.

SHARON

That was soda.

STRODE

Oh, honey…

SHARON

Stop calling me that.

Strode attempts to joke

STRODE

If I go back over there will you shoot me?

SHARON

I might.

STRODE

Promise?

He takes a one step advance toward her, as if a teasing gesture, and she aims at him.

SHARON

Don’t take for granted that I won’t.

He sits in the old chair again.

STRODE

I don’t think you can leave me alone this time

like at the loft.

Strode upends the bottle to his head.

He continues swigging.

He passes out, then pukes from his self induced coma, gurgling

This continues until he lies still.

SHARON

(screaming)

HELP! HELP! I’m in the bar with the donkey

sign. I need help

She waits for a response. There is none.

(cont.)

HELP!

Waits, still no response

(cont.)

HELP!

There is a NOISE of entering from somewhere, then a RUSTLING

(cont.)

Over here. Follow my voice. Can you say

something?

.

SHARON’S POV

One of the feral dogs, big and mangy, has gained entry

SHARON

Oh shit!

VARIOUS ANGLES:

The dog first approaches Sharon, sniffs, then goes to Strode

The dog is very excited by the prospect of Strode. .

SHARON

Don’t even think it, doggie.

She points the gun at the dog

.

(cont. )

You can’t be that hungry. And I might starve

if he never wakes up.

EXT.- THE STREET OF CLOSED STRIP BARS – DAY

as most of the Lawton Police Dept and Fire Dept arrive, with a fire engine..

EDGAR

Where’s the battering ram?

CARMEN

It’s that red thing.

INT. – THE CLUB

ANGLE ON STRODE AND SHARON

Both appear unconscious, are not moving.

MAGAPHONE OFFICER

(voice off, raspy, staticy)

STRODE BOLLINGS, SHARON MULLEN, IF YOU CAN HEAR

ME, SPEAK

MEGAPHONE OFFICER is in the doorway

MEAGAPHONE OFFICER

IF ANYBODY CAN HEAR ME, SPEAK

Sharon rouses.

SHARON

I HEAR YOU. I’m Sharon Mullen. I’m here..

VARIOUS ANGLES:

Megaph Ofcr enters with megaphone, gun drawn, accompanied by other male and female officers, similarly prepared, and a SENIOR OFFICER

With this unexpected company, Sharon remembers her open blouse, begins buttoning it.

Megaphone Officer surveys her situation

MGAPH OFFCR

We didn’t arrive with a locksmith to break

those bracelets.

The FEMALE OFFICER cautiously approaches Sharon

FEMAL OFFICER

I need you to put that gun down.

Sharon complies, and the other officers holster their guns..

FEMALE OFFICER

Your gun’s been fired. Did you have to shoot him,

sweetie?

SHARON

Shot in that direction. I don’t think I hit him.

FEM OFCR

He sure looks dead.

SHARON

There was a street dog here. I shot toward that

to scare it away, So I don’t know. He may just

be dead drunk. He put a bottle of whisky to his head.

The SENIOR OFFICER approaches her

SENIOR OFFICER

How long ago did all this happen?

SHARON

. I’d guess ten hours. I was exhausted, kept

falling asleep. I’d wake up and shout for

help but couldn’t do anything and he never

seemed to move..

FEMALE OFFICER

Lets see if that’s a living or dead carcass.

Female Officer goes close to Strode

(cont.)

(screams.)

Bring the coroner in here.

Dayton comes in with Edgar, Carmen, Georgie

DAYTON

A coroner?

FEM OFFCR

He’s good at checking vital signs.

DAYTON

Aren’t you?

FEM OFFCR

He has gloves and a mask, and I don’t.

A MEDICAL EXAMINER TECH comes into the bar.

He approaches Strode, examines him..

M E TECH

We got a live one

That remark gets a few laughs and a cheer.

(cont.)

And I don’t often get to say that. This varmint

might need his stomach pumped

FEMALE OFFCR

She says it’s been ten hours.

M E TECH

Hose him down then and see if he responds.

Or ice from 7-11. Otherwise you’ll need a

tow truck.

SENIOR OFFICER

Ask Fire to get those big pliers in here so we can

free this woman.

A UNIFORMED OFFICE leaves to follow the instruction.

TWO FIREMEN come in with giant pliers to snip the cuffs on her wrists.

FIREMAN 1

Steady. If you move you can lose a hand.

They execute two snaps, free her wrists.

FIREMAN 2

Well done, ma’am. The chain won’t be as risky.

They cut the chain too, freeing her.

The firemen pour a bucket of ice water on Strode

It brings him around, confused and coherent, and suffering a monumental hangover

DAYTON

Stand that man up.

TV NEWS CREWS arrive with Oklahoma City and network affiliate insignias.

FBI AGENTS arrive, identified by labeled shirts

STRODE .

(with an attempt at feigned innocence)

How did I get here? What’s all this commotion?

DAYTON

You have a right to an attorney. You have

the right to remain silent. Anything you say

can and will be held against you in…

SENIOR OFFICE

Some smart defense lawyer down the line

might discredit that as not being enacted right,

done by an out of town cop.

DAYTON

You giving him a defense? I caught him.

SENIOR OFFCR

Not without your psychic, you didn’t.

CARMEN

He had the faith in Edgar..

DAYTON

Thank you. Sharon, might you come here?

She goes to them and faces Strode.

(cont)

This helping your memory any?

STRODE

Sharon? Sharon, whatever happened, I

can’t tell you how sorry I am...

SHARON

You just got drunk, and the rest happened?

CARMEN

The televangelist says “I’m sorry” when he means

‘I got caught’.

STRODE

I hope you can find it in your heart to forgive

me. I never meant no harm.

SHARON

Oh, I think I can forgive you. In time

. I should be able to. Oklahoma and Texas,

the FBI, I don’t they’re much into that.

STRODE

God has His reasons for everything.

SHARON

That’s true.

STRODE

We just don’t always know why.

SHARON

I could tell you some.

DAYTON

Let’s get him back to Oklahoma City.

SENIOR OFFCR

We have to book him in Lawton.

DAYTON

He kidnapped her in OK City

SENOIR OFFCR

He committed a crime here too. You have to

wait. And we have to give her a physical, and

get her statement.

DAYTON

Take him and book him at your station house

then I’ll deliver Sharon to you in a while..

Most of Lawton municipals leave with Strode

Left in the club are a Lawton detective with a forensics team, Sharon, Dayton, Edgar and Caremen (with Georgie)

SHARON

(addressing Edgar)

My faith’s been tested. I don’t know if

I would have killed him to live.

DAYTON

You didn’t kill him, so you chose.

SHARON

No, he made it easy by attacking

himself. And it ended, so I don’t know.

DAYTON

What about you, Edgar? He hurt you.

Can you forgive him?

EDGAR

If he’s paying, maybe. She has the wisdom

because she’s older. She was born a minute

before me.

DAYTON

He’ll learn quickly you get what you

gave in a federal pen.

SHARON

I’m still a virgin. I didn’t have to find out

what I’d do over that little matter And for a

moment there, he had me thinking he was what

I wanted

DAYTON

Hey Edgar, since you two are so alike--- are you

also a virgin?

EDGAR

Why do you want to know?

CARMEN

Detective Dayton just likes to mess with people

sometimes.

DAYTON

Ha-ha-ha. Edgar, does it not occur to you I might

admire that?

EDGAR

No.

DAYTON

No you’re not, or no it doesn’t---

EDGAR

No it doesn’t occur to me you might

admire that.

DAYTON

I might.

EDGAR

Well, I am. So, do you?

DAYTON

Yes…Ha-ha-ha…No, I do. ..Yes…

Actually, yes.. It is admirable.

Dayton is embarrassed at sounding so sincere, and to cover that, laughs again

SHARON

Detective, have you ever been to a Friend’s

meeting?

DAYTON

What’s that?

SHARON

A Quaker service.

DAYTON

Oh, I’m a Baptist.

SHARON

You believe in the Holy Spirit, don’t you?

DAYTON

Of course. Amen.

SHARON

There’s no contradiction. Carmen’s Quaker

and she’s still a Catholic. An agnostic can

be a Quaker. You just have to accept that the

Spirit, or some spirit, can bestow revelation.

DAYTON

Oh well, now. My minister is mistrustful of

any diversion

DAYTON’S POV Sharon seems disappointed

VARIOUS ANGLES

DAYTON

(to reassure her)

But I will think about it.

SHARON

You will?

DAYTON

I seem to you like somebody who talks to

hear himself? What are you doing Sunday?

You want to go to my service?

SHARON

I’ll think about it.

DAYTON

Really?

Sharon smiles a big one.

SHARON

This feels like the first time I’ve smiled in

months. Sometimes we do talk to hear

ourselves, don’t we?

EDGAR

Amen.

DAYTON

Yeah, amen.

INT.- THE LOFT – DAY

VAROIUS ANGLES:

Sharon, Edgar and Carmen are there. Edgar is at the computer.

SHARON

We have scripts getting submitted,

actors dropping by with resumes.

EDGAR

There are messages here from grips,

caterers, make-up artists.

CARMEN

All we need is a production.

SHARON

Any queries from investors?

CARMEN

I wonder if we could make it sound like

we’re hard to get for that.

.

EDGAR

There’s one here from Dayton.

SHARON

Read it.

EDGAR

“I hope you are all suitably recovering

from the ordeal. I now have a confounding

case we could use your services for.

Do you think you can help?”

Their eyes, three pairs meet, twinkling,

CARMEN

You know what to say.

SHARON

Exactly.

ANGLE ON THE E-MAIL

as the reply is typed in by Edgar.

Yes, Detective Dayton, tell us the details.

We can probably be of service.

FADE OUT:

CREDITS

Registered WGA by Patrick Breheny, with all rights reserved