Ticket 2 Ride

TICKET TO RIDE by Kenneth White

Kenneth White 1108 Wellesley Avenue Modesto, CA 95350-5044 (209) 567-0600 (Voice) [email protected]

FADE IN: WHITE WORDS AGAINST A BLACK SCREEN "In a Valley not so far away, not so long ago." Someone strums an acoustic guitar. EXT. THE CENTRAL VALLEY - MORNING A flat landscape. Only the sun moves. And the sprinklers. EXT. WEST SIDE - MORNING Rows of fields lie parched, barren, and encrusted with what looks like snow. It's salt. A train whistle echoes across the valley. Heat waves shimmer above a two-lane blacktop. A FIGURE materializes. It's KID GUITAR. Troubadour. A guitar strapped to his back, he wears blue jeans, a plaid work shirt, and sneakers. EXT. HIGHWAY 99 - MORNING The highway razors open the heart of the Central Valley. KID GUITAR (V.O.) The Valley. It's flat. It's dry. It's hard. It's what the locals know. A place of new beginnings and violent endings. EXT. MCHENRY AVENUE - MORNING On normal days, McHenry is an unremarkable business strip that runs north like a runaway train. On this day, it's another planet. The sign on the Capri Motel reads: to Cruise! Cruise to Live!"

"Graffiti Night. Live

LOCALS and OUT-OF-TOWNERS stake out their territory along the parade route and prepare to party. Cones block off parking lots. Padlocked chain link fences surround businesses.

2 KID GUITAR (V.O.) To outsiders, the towns all look the same. EXT. TRAVELING HIGHWAY 99 - MORNING A POSSE of vintage roadsters rolls toward town. "Graffiti Night" – the annual sprinkling of "Lucas Dust" – officially kicks into gear. KID GUITAR (V.O.) The past is always present. EXT. MODESTO ARCH - MORNING The iron rainbow above I Street proclaims the city's motto: "Water, Wealth, Contentment, Health." KID GUITAR (V.O.) Around here, everyone's on a firstname-basis with "got to." Kid Guitar stands beneath the arch. He does a ZZ Top gesture, then melts into a watery mirage. EXT. MODESTO JUNIOR COLLEGE STADIUM - BACKSTAGE - MORNING The "Graffiti Fest" concert is about to rock. A FEMALE REPORTER from the local cable station and a YOUNG MALE REPORTER from the local radio station interview WOLFMAN JACK. Each time The Wolfman speaks, we hear him through a variety of radios: in cars, homes, offices, stores, backyards. THE WOLFMAN (straight voice) I do about a hundred dates a year. There's something magic about Modesto. I guess maybe it has to do with the movie "American Graffiti" and all the cruising. INT. DARK BEDROOM - MORNING "The Modesto Bee" lies on an unmade bed. The headline announces that native son and world-famous filmmaker, George Lucas, will be the grand marshal for this year's "Graffiti Night" parade.

3 A sub-headline notes that his appearance is courtesy of old friend and local developer, Kenneth "Motown" Milner. There's also a sidebar about the newly-enacted ban on cruising. A nickel-plated .45 lies on top of the newspaper. THE WOLFMAN (V.O.) (continues in "The Voice") This year is gonna be special, baby, 'cause we got the man hisself. We're gonna lay lotsa oldies on yer soul. Playin' the killer music yuh love, yuh know what I mean. EXT. BACKSTAGE - MORNING CABLE REPORTER The city has banned cruising. Except for tonight. THE WOLFMAN (straight voice) It's a shame, you know. It's a very American thing, cruising. In the old days, the kids used to fight, maybe, with each other. The Wolfman shadow-boxes, then points a finger and shoots an imaginary gun. THE WOLFMAN Now they're shooting bullets at each other. That's why they banned the cruising. RADIO REPORTER Let's hope the heat doesn't make people too crazy tonight. THE WOLFMAN (slips back into "The Voice") Gonna be 'round two hun'red degrees. Have mercy! The Wolfman reaches up and touches the sky. He pantomimes burning his finger on the sizzling sky. THE WOLFMAN Ain't nothin' gonna stop us now. 'Cause tonight's the night. We gonna cruise, baby. We gonna cruise.

4 The Wolfman points to the camera. THE WOLFMAN Check it out, 'cause yuh got a ticket to ride. I'll be seein' yuh all. Out on the boulevard. The Wolfman howls at the moon. EXT. RESIDENTIAL STREET - 520 RAMONA - MORNING A TEENAGE BOY creeps around the side of the house. He cradles a paintball gun. The automatic garage door opens. The boy spins around the corner and fires. A large, red paint stain spreads across the chest of a GROWN MAN – the father of the boy the stalker is pursuing. In the background, the real VICTIM runs. Panicked and embarrassed, the teenaged shooter races toward a waiting car. He jumps in as it squeals down the quiet neighborhood street. EXT. MODESTO CITY POLICE DEPARTMENT - PARKING LOT - MORNING POLICE OFFICERS check and load their riot gear into patrol cars. A MOUNTED PATROL OFFICER saddles his HORSE. A MOTORCYCLE COP mounts his Harley. EXT. LONE TREE RANCH - MORNING A lone pine tree stands in the middle of a small, rundown ranch. A once magnificent mansion fights a losing battle against time and neglect. EXT. CORRAL - MORNING MICHAEL "MICKEY" FALFA. Loner. He leans on the open door of his '55 Chevy. He's dressed like a working cowboy on Saturday night. He wears a light summer duster. There's a little "mickey" under his left eye from another late-night battle lost.

5 KID GUITAR (V.O.) Mickey Falfa. Just looking for a reason to believe. RECLUSADO, the Hispanic foreman, castrates a BULL with the help of his young son, ALAMO. The ranchhands release the animal. It joins the HERD. The men smile and tip their hats to Falfa. He touches the brim of his Stetson straw. He pulls a tin of snuff out of his back pocket. He lifts the lid to dip, then tosses the tobacco away. Falfa gets in his car and heads down the dirt road. His blue-and-white-eyed Queensland DOG chases his dust. EXT. DEL RIO ESTATES - MORNING This exclusive residential area for the country club set surrounds the Del Rio Golf Course and stretches along the Stanislaus River. INT. MILNER MANSION - STUDY - MORNING KENNETH "MOTOWN" MILNER. Narcissist. He gazes at a scale model of "Modesto Remembered," an under-construction amusement park. Scattered around the room are models and drawings of other developments owned by his company, "Big Valley Properties." Milner is dressed in an expensive suit cut sharp as a knife. He straightens his necktie. INT. MILNER MANSION - LIVING ROOM - MORNING Milner walks toward his wife, DEBBIE. She sits in her wheelchair. Milner leans down to kiss her goodbye. She turns her cheek. He reacts and steps back. DEBBIE You look terrible. MILNER (salesman slick) Feel worse, I do.

6 DEBBIE What's your excuse? This time? MILNER They over-served me at the bar, they did. DEBBIE Did you drive? He blows her an insincere kiss and leaves. DEBBIE (screams at his back) Did you drive? EXT. MILNER MANSION - MORNING Milner settles into the seat of his gold-colored, barely street-legal Porsche speedster. He stares through the windshield into the garage. The headlights of a piss-yellow, puke-green '32 Ford deuce coupe peek out from under a canvas. The antique California plates read:

"THX138."

Milner roars down the drive and skids onto the road leading into town. KID GUITAR (V.O.) Kenny Milner. Got a need for speed. He's not afraid to lose it in the turn. INT. RALSTON HOTEL - SUITE - MORNING JOANNA MARIONETTA. Enabler. She begins a new day after a long night's work. She sticks the syringe deep into the inside flesh of her thigh and injects. On her dresser sits a bowl of gardenias floating like Ophelia's hair, a smudged picture of a small baby boy, a framed photograph lying face-down, a black candle, and a broken wedding band. KID GUITAR (V.O.) Joanna Marionetta. The good earth of the streets. She's the kind of girl who goes to bed each night hoping to wake up a virgin. Joanna moves to the dresser mirror. She puts on her game

7 face. Black hair, pale face, black fingernails, red lipstick, and wedding gown negligee. EXT. FAUST ROAD - "OKIE ACRES" - MORNING The Savage compound is a poor white trash encampment outside town. It squats near the old Shiloh school just off Paradise road. Though Shiloh is Hebrew for "place of peace," this roadside attraction is hardly that. The main building is an old farm house. Behind it is a rickety water tower. The corrugated lean-tos, burned-out cars, rusted appliances, and gutted house trailers suggest that these dust bowl desperadoes "Grapes-of-Wrathed" it here to get their piece of the California dream. Discarded chemical containers and drug-making paraphernalia hint at how these vultures survive. Camouflaged pens hold muzzled PIT BULLS and shackled FIGHTING COCKS. The animals nurse fresh wounds. Two TEENAGE BOYS care for the wounded animals. Beyond the West Side hills, a summer storm brews. INT. WATER TOWER - BEDROOM - MORNING The room is dim, filthy, and cluttered. On one wall hangs an ancient skull mask. Its hollow eyes drip blood red. Movie, heavy metal, wrestling, and black-light posters decorate the other walls. A huge Confederate flag billows from the ceiling. A shaft of sunlight streams across the face of NOAH DOVE. Inbred. The light turns his blue eyes red. KID GUITAR (V.O.) Noah Dove. A dude with an attitude. Just a lost boy looking to get his fifteen. The hard way. A scene from "Return of the Jedi" plays on the VCR. Luke Skywalker duels Darth Vader to the death, only to discover that Vader is his long lost father. Noah Dove talks with his younger foster brother, ELI SAVAGE. Lapdog. He wears a button on his tie-dyed Army

8 surplus jacket that reads:

"Question Authority."

DOVE (white trash illiterate) Man, we could be mercenaries. Make a buncha money. Fuckin' go to Mexico and live like kings. They owe me that. ELI (Sixties retro) I got this friend, man. Went to 'Nam. Still does secret shit, you know. Got his own brand of American streetfightin' karate. Says he'll teach us. DOVE TV's a better teacher. ELI Rage on. We could kick the shit out of the Yakuza, man. DOVE We could be hustlers. ELI Sure, like, what you got to do? DOVE Lotsa things. Cook. Hang out. Talk. Do stuff. ELI (nods excited, hungry) To women? Real women? DOVE Cool it with the chin boogie, dude. (beat) Ya know, there's lotsa lonely people out there who just want some company. They's willin' to pay big bucks for it. ELI Like that big-time fuck who likes doin' the back-door man. Mondo bizarro. Eli pantomimes anal intercourse. DOVE Ya don't know what the fuck you're talkin' 'bout. That creep's dead from the dick up.

9 Dove touches a poster from the movie, "Easy Rider." Hung beside it are photos of James Dean, Jim Morrison, Kurt Cobain, and other self-destructive pop culture icons. DOVE These dudes had it made. They was free to light out for the territories. ELI Till those rednecks blew 'em away. DOVE Yeah. Nobody understood 'em. None of 'em. The road made 'em pure. The Dean and The Lizard King. Did it their way. ELI Right on! Went out in a blaze of glory! Eli retrieves a hash pipe from inside his jacket. He lights it and takes a deep toke. He offers the pipe to Dove. Dove refuses. Eli lays the pipe down and pulls a copy of a porno magazine from another deep pocket. He unfurls the centerfold, studies it, licks his lips, then flashes it at Dove's back. ELI Check it out. Dove turns. He lunges at Eli, tearing the magazine out of his hands. He rips the photo to shreds. ELI What the fuck'd you do that for? Man, you're just too weird for words. Eli wanders over to a desk. There's a stack of stolen videotapes, including the "Star Wars" trilogy, "Natural Born Killers," "THX 1138," "Pulp Fiction," "American Graffiti," and "Taxi Driver." There are magazine and newspaper articles and movie memorabilia about Lucas. There are almost as many clippings about Milner. ELI Dude, you sure got a lot of stuff about this rich bitch. DOVE Just studyin' some game films.

10 ELI What you gonna do, rob him? Eli's laugh is cut short when Dove slams him against the wall. DOVE Stay outta my shit. Ya didn't see none of it. Got it? Eli nods. Dove releases him and turns away. Eli snatches something from a pile of papers on the desk and stuffs it in his coat. ELI You score some angel wings last night? DOVE Not my type. ELI She wanted you bad, man. DOVE Too old. ELI Not that old. DOVE She's my fuckin' mother, creep. ELI Fuckin' foster mother, man. I mean, she's mine, too. I wouldn't kick her out of bed for eatin' fuckin' crackers. Anyways, I thought your real old lady was dead. DOVE Wouldn't know. And don't give a fuck. ELI Too bad you can't get into older women. I hear they're real experienced. Know a lot of secret stuff. Ya know, Oriental, weird shit. (half to himself) Probably can't get it up anyway. Eli flinches as Dove thinks about doing something to him, but punches out the wall instead. DOVE They's poison.

11 ELI Only if they give you a dose. DOVE Sex'll make ya weak. I'm a virgin. Gonna stay that way. Ain't no chick gonna ever make me crawl. Not fuckin' never. Dove stares at the blood on his scraped knuckles. And the ragged cross gouged into the back of his right hand. Dove picks up a barber's straight razor and toys with it. He slices into his left wrist, drawing blood. ELI What's up with you, dude? DOVE Gotta stay sharp. On the edge. Till the showdown. I gotta destiny, see. Gonna get wha's mine. Any way I can. They gonna remember this white boy. ELI Can I go? DOVE Travel alone. ELI The fuckin' Lone Ranger. DOVE Where's the party tonight? ELI Down by the river. Dove licks the blood off his wrist. He plunges his entire left hand into a can of blood-red paint. EXT. TRAVELING CROWS LANDING ROAD - MORNING Falfa gazes at the endless, flat landscape and smiles. INT. '55 CHEVY - MORNING A high school Class of '66, gold braid tassel dangles from the rearview mirror. Falfa glances at it, then looks in the rearview at the open road behind him. A couple of PUNKS in a battered pick-up truck roar up. They goose Falfa, then drop back. They veer out into the oncoming lane like they're going to pass, then fall back

12 again. As the punks try to pass again, Falfa swerves into the other lane. They scrape some paint. The punks coast back, then try again. As they pull even, Falfa hammers them broadside and sends them flying into a barbed-wire fence. The car thuds to a stop. The punks are stunned, but not hurt. Falfa rips open the driver-side door. The wind whips open his duster, revealing a nickel-plated .45 tucked in the back of his jeans. The driver sees the gun and punches the accelerator. The open door snaps off its hinges. The car careens onto the asphalt and fishtails down the road. FALFA (Bakersfield twang) Old enough to know better. (looks at his hands) Do me, I do you. (looks at the sky) Wish it would rain. EXT. THE RALSTON HOTEL AND CONVENTION CENTER - MORNING The high-rise looks like a Midwestern grain silo. INT. RALSTON HOTEL - LOBBY - MORNING Confusion and commotion greet the arrival of GEORGE LUCAS as he's whisked through the lobby and into the elevator. Only his gray-streaked pompadour and low profile are visible through the crush of Secret Service-looking BODYGUARDS, AUTOGRAPH SEEKERS, HOTEL EMPLOYEES, the MEDIA, and the CURIOUS. EXT. TRAVELING SOUTH SEVENTH STREET BRIDGE - MORNING Falfa crosses the bridge. Towering beyond the bridge is a water tank with the name "Modesto" painted across it.

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EXT. SOUTH SEVENTH STREET BRIDGE - RIVER'S EDGE - MORNING Beneath the bridge, a Catholic PRIEST offers food and prayers to the homeless TROLLS who live there. EXT. TRAVELING PARADISE ROAD - MORNING Dove rides the rails into town. The orchards, dairies, trailer parks, strip malls, homeless encampments, Southeast Asian, Hispanic, and black ghettos are a faceless blur. EXT. THE MALL - AFTERNOON The paintball "Tag" game continues. The SHOOTER and his lone SPOTTER search the mall for their VICTIM. They spy him talking to his GIRLFRIEND. They move in. EXT. MODESTO ARCH - AFTERNOON Falfa drives through the arch into town. Down the tracks, Dove hops off the freight train. He looks up at the words on the arch and flips them off. He shoves off along the tracks toward downtown. EXT. RALSTON HOTEL - PARKING LOT - AFTERNOON A HAND scrapes a key along the side of an expensive car. INT. RALSTON HOTEL - MEL'S DRIVE-IN - DAY On the ground floor is a replica of Mel's Drive-In from the movie, "American Graffiti." It serves burgers, fries, and malts for breakfast, lunch, and dinner. It also serves alcohol. Just about any time. Posters, newspaper clippings, and photographs from the movie and from behind the scenes decorate the walls. The WAITRESSES are dressed like car hops, right down to their roller skates and tight, black pedal-pushers, white blouses, and caps. Milner and Falfa face each other across a Formica-topped

14 booth. They look and act like the two old friends they are. But, there is a sharp edge to their body language. FALFA How we doing, "Mo?" MILNER Gaining weight and losing ground, I am. (beat) The name's Kenneth. No one calls me "Motown" anymore, not anyone. FALFA You look like home-made shit. MILNER Feel worse, I do. FALFA Crash and burn, big time? MILNER Had too much to dream last night, I guess. FALFA You drive? MILNER Didn't say drink, now did I? FALFA How's your old friend, the movie mogul? MILNER Doesn't want to be here, actually. FALFA Why is he? MILNER Owes me, he does. Milner drops a coin in the mini jukebox and punches up a song. It's an oldie but a goodie. FALFA Still living life in the rear-view mirror. MILNER Easier than the alternative, I suppose.

15 FALFA Live there, you'll die there, you know. MILNER Look who's throwing stones, "Mick." You survived, I'd say. FALFA In a way. Our brothers sure as shit didn't. MILNER Raised some hell, didn't they now? FALFA True story. Tough living up to local legends. MILNER Didn't we try, though, didn't we try. A WAITRESS walks up. Milner makes her wait just long enough to make her fidget. He orders without looking at her. MILNER Vodka marti, rocks, if you please. WAITRERSS Uh, does that mean on ice? MILNER What do you think? She hesitates, about to panic. She looks to Falfa. He smiles and nods. WAITRESS Sure, on ice. That all? FALFA Straight caffeine for me. Milner dismisses her with a flick of the wrist. Falfa cracks his knuckles. Milner grimaces. MILNER Rocket scientist, for sure. FALFA Paved any more orchards lately? MILNER Made a few hills out of the old flatlands, they say.

16 FALFA Maybe the letters are from someone you public domained. MILNER Maybe they got in the way of progress, just maybe. FALFA Why'd you have to build this abortion here? Right in the middle of the old drag? MILNER What's the difference, really? It's not like the old days. The strip's not the same. Neither's this town, these days. FALFA Neither are we. MILNER I may live in the past, but I won't let it blackmail the future, no I won't. FALFA Pretty amateur stuff. MILNER (defensive) I build it right, pretty much. FALFA No, the blackmail. Falfa pulls one of the letters from inside his duster. MILNER Doesn't make it any less real, now does it? FALFA Suppose not. MILNER Won't get another shot if you blow this one, don't you know. FALFA Funny. Last chance to ride it to the buzzer and I'm depending on you. MILNER Still can't forget all those times I beat you, that's true.

17 FALFA Sure I can. Don't get nothing in this life without losing something. MILNER What keeps you going, I'd like to know. Can't be the job, no way. And your family, I mean . . . Falfa bristles. Milner opens his palms skyward and smirks. FALFA Been bucked off more than once. Always got back in the saddle. Happened before. Bound to happen again. MILNER You'd piss off a rock, you would. The waitress returns with their drinks. She leaves them and quickly retreats. Milner pulls a bulging money clip out of his pocket and throws some money on the table. FALFA Shouldn't haul a wad like that around. Someone might try to shake you down. MILNER Let them try, if they dare. FALFA Still packing? MILNER Just for protection, really. FALFA Don't shoot yourself in the foot. Milner sips his drink. Falfa stares at the vodka. He nervously taps his coffee cup. Milner smiles. EXT. RALSTON HOTEL - FOUNTAIN - AFTERNOON An elaborate water fountain shoots water in the air. Awfully arrogant for a semi-desert.

18 Falfa and Milner walk by the fountain toward the parking lot. MILNER Better take care of our little problem. It's messing up my plans, it is. (beat) It's time for my luck to change. You're going to help me change it, you are. FALFA Got a lot riding on this one project. MILNER More than you can imagine, actually. Especially now that Lucas is in. FALFA Just can't stop running with the big dogs. MILNER "Modesto Remembered" will make MGM/Disney and Universal Studios look like a pimple on my ass, they'll write. FALFA You want it real bad. MILNER So bad I'd stab myself in the back, I would. FALFA Pedal to the metal. MILNER Don't mind taking that turn fast and low if there's enough riding on it, thank you. FALFA Balls out. MILNER Playing for keeps, I am. FALFA No matter what it costs? MILNER You've got to get these people off my back, Mickey. Whatever it takes. (MORE)

19 MILNER (CONT'D) They're holding me up, they are. It's a distraction I don't need. Not now. FALFA I'll do what I have to do. Whatever it takes. MILNER Don't tell me. Don't want to know, I don't. Just keep my shirts clean, if you please. FALFA Sure know how to Tom Sawyer it, don't you? MILNER (mimics Falfa's drawl) Think you all missed the horns on that one, Tex. FALFA Get everyone else to do your dirty work. MILNER Pay well enough they don't seem to mind, they don't. FALFA I do. I'm responsible for what I do. I take care of what's mine. Nothing more, nothing less. MILNER You know, when we used to race, you were pretty fearless, you were. You still have what it takes to scrape some paint? FALFA Won't go looking for trouble. Won't back down if I find it. (beat) Don't much like hurting people. Sometimes it's necessary. MILNER You don't see how much we're alike, no you don't. FALFA Wouldn't be judging others by myself if I was you.

20 We hear a commotion. Falfa and Milner look to see what's going on. EXT. TENTH STREET - AFTERNOON In the middle of the street, a city COP rousts Kid Guitar. The Kid plays his acoustic guitar and sings a song. All his worldly possessions reside inside a stuffed-to-thebrim shopping cart. MILNER (V.O.) Who's the loony toon? FALFA (V.O.) Kid Guitar. Rides shotgun with me sometimes. A dust devil whips around the Kid. He stands his ground and stares straight ahead. FALFA (V.O.) Recognize him? MILNER (V.O.) No, can't say I remember him, no I can't. FALFA (V.O.) Wrapped his sports car around an oak tree out on Coffee and Sylvan. Day before we graduated. MILNER (V.O.) Looks like he's got a screw loose, he does. FALFA (V.O.) Just sees things a little differentlike. Doesn't hurt having another set of eyes behind me. Kid Guitar finishes his song. He smiles at the cop and shoves off. He pushes his shopping cart right down the middle of Tenth Street. MILNER (V.O.) Could be worse, I guess. We could be him, actually. FALFA (V.O.) (mimics Milner) We could sleep nights, actually.

21 EXT. RALSTON HOTEL - ELEVATED CONCOURSE - AFTERNOON Falfa and Milner walk through a collection of vintage hot rods and dragsters. OWNERS polish their babies. SIGNIFICANT OTHERS gossip. SPECTATORS drool. KIDS play grab-ass. MILNER You implying I've done something I can't live with, or what? FALFA Saying it. Just can't prove it. Yet. (beat) You know, a man's known by the company he keeps. Never liked yours. It's Falfa's turn to open his palms skyward as if to say, "Enough said?" EXT. RALSTON HOTEL - PARKING LOT - AFTERNOON Falfa and Milner head for their cars. From a distance, they watch a KID (it's Dove) monkeying around the side of a car. His back is turned to them. They walk closer. The kid crosses to another, partially hidden car. He begins scraping the side of that car with a key. MILNER Just look at that South Mo okie, would you? Used to be him in a previous life, I was. FALFA Know the kind. Got a grudge against a world they say they never made. Milner suddenly realizes it's his car the kid is trashing. MILNER Why, that little prick. That's my car, after all. Hey! You! Get away from there! Milner races toward the car. Falfa follows. Dove turns to face them. Realizing they're after him, he disappears behind some cars. By the time they reach Milner's car, Dove is gone.

22 Milner leans down to inspect the damage. Falfa scans the lot. MILNER Need this like I need a hole in the head, truly. FALFA I know him. MILNER So do I, actually. Name's . . . Milner stops. He looks over at Falfa. He averts his eyes and goes back to checking his car. MILNER . . . Dove. If it's the same kid. Falfa's eyes narrow. Surprise and distrust flash across his face. FALFA Where you know him from? MILNER Came around once with some friends, maybe. Looking for summer work. FALFA Ever use him? MILNER No. Didn't trust him as far as I could throw him, I didn't. FALFA Sounds like a perfect match to me. MILNER How is it you know the little piss ant, tell me? FALFA We got a long history. Was his probation officer at juvie. Got busted once for selling pot. Another time, got sent to camp for strong-arm robbery. Beat up a kid for his baseball hat. Bare-wires crazy, that boy. MILNER Sounds like he had a caring father who loved discipline, doesn't it?

23 FALFA He never knew his old man. Or mother. Bounced around a lot of foster homes. Funny how their kind gets lost. If they're not a brain or a jock or a wimp, nobody notices. Just slip through the cracks. MILNER Didn't have bad luck, wouldn't have no luck at all, no he wouldn't. FALFA Sort of reminds me of me. MILNER And me, a little, maybe. FALFA You lost your morals long ago. Don't know that he ever had any. (beat) Fancied himself a young gun. Some kind of desperado, you know. A real rock-nroll outlaw. Used to call me Pat Garrett. Called him Billie the Kid. MILNER He better be careful, I'd say. People don't like you to be too free, no they don't. FALFA True story. You get ideas, you get unhappy. You get unhappy, you get hurt. (beat) You leaving or just making sure I'm gone? MILNER Have some other business to take care of, actually. Falfa looks past Milner and up in the direction of the upper floor suites, then back at Milner. They stare at each other for a moment. Each one senses something; an end or a beginning or some kind of crossroads. We hear the screech of brakes locking and the sickening thud of roadkill.

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EXT. RALSTON HOTEL - PARKING LOT - AFTERNOON Dove emerges from the shadows. He looks around. Falfa and Milner are gone. Dove stops to admire a white '56 Thunderbird. It's a little battered, but its beauty still shines through. Dove pulls the key out of his pocket. A SHADOW falls across the hood. He freezes. Joanna gazes at him. She's intrigued by, and strangely attracted to, this young man. JOANNA (sexy sweet) What you doing, puppy? Dove hides the key behind his back. DOVE Nothin'. JOANNA If that's what you say. Joanna turns to the car. In one provocative move, she slides her hand along the hood of the car, then along her hip. JOANNA Like it? Dove swallows. Hard. JOANNA Belonged to my sister. In a valley a long, long time ago. Sure turned some heads. She moves toward him. Dove stumbles back against another car. She notices his limp. JOANNA What's wrong with your leg, sweetness? DOVE Got fucked over when I was born. He's a little surprised his language doesn't shock her.

25 JOANNA That's a shame. DOVE Wha's it to ya? Ya got a thing for cripples? JOANNA What's your name, lollipop? DOVE (suddenly shy) Dove. Noah Dove. JOANNA Always liked names from the Bible. DOVE Yeah. So'd my ol' lady. (beat) Ya some kinda Jesus freak? JOANNA You remind me of someone. Someone I'd like to forget. Joanna moves closer. Dove can't fight the strange attraction he's experiencing. JOANNA Why don't you come by a little later, sugar plum? Maybe I'll let you drive my car. DOVE Don't riff me. JOANNA I wouldn't do that. It's my job to please everyone. I like it that way. DOVE Serious? JOANNA As good love gone bad. (beat) Joanna's the name. Come up and see me. Some time. Dove watches her as she sashays away. EXT. TENTH STREET - AFTERNOON Kid Guitar moves down the center of Tenth Street.

26 FALFA (O.S.) The world is not a song, hermano loco. Kid Guitar slows, but doesn't turn. He smiles. Falfa ambles along the sidewalk. KID GUITAR (sings) "If we weren't all crazy, we would go insane." Falfa falls in step. FALFA Guess that's what the law thought. KID GUITAR Takes a little rain to appreciate the sun. FALFA Sounds like you been to the mountain. What's the word? KID GUITAR The sins of the fathers will visit the children. FALFA Can always count on you to keep things light. KID GUITAR Just call them the way I see them. You can count on that. FALFA Any more good news? Kid Guitar stops. He turns to stare Falfa in the eyes. KID GUITAR Those to whom evil is done do evil in return. FALFA Can't be talking about this yard dog. Nothing matters that much anymore. KID GUITAR You're a good man. This day will tempt you to become something you're not. To survive, you must remain true to yourself.

27 FALFA Look, it's hard enough just to keep from getting knocked out of the box. Got no time to worry about who's throwing at my head and why. Kid Guitar steps closer to Falfa. He speaks to both Falfa and someone in the distance. KID GUITAR You have eyes to see with, but you do not see clearly. Falfa turns to see where the Kid is looking. Dove hobbles across Tenth Street and through an empty lot on his way back to the train tracks. INT. JOANNA'S SUITE - AFTERNOON Through the window, we see Falfa and Kid Guitar in the middle of Tenth Street watching Dove. TERESA (O.S.) (edgy Cajun) Who's the dick, cher? TERESA JAMBEAUX, "The Creole Tattoo." Jester. Free-lance model. She stares out the window. She sips a glass of champagne. Joanna closes the door behind her. JOANNA (confused) Kenny Milner? TERESA No, girl. The one who looks like a cop gone soft. Joanna glides over to see who Teresa is really talking about. She looks out the window. JOANNA That's Mickey. Michael Falfa. Local boy. We go back a long way. Works as a private eye now. TERESA Looks it. Lonely, too. Oh, yeah. JOANNA He is a bit of a loner.

28 TERESA Bet he wasn't always that way. JOANNA A cold world does that, Teresa. TERESA You love him, sister? Joanna shoots her a strange look, then laughs lightly. JOANNA Like a brother. TERESA He here to protect the big man's back? JOANNA Probably. TERESA He coming up? JOANNA Lucas? TERESA No, Falfa. JOANNA Actually, I'm waiting for Kenny. He's late. As usual. TERESA Tight with Mr. Milner, too. Ooh-la-la. JOANNA Used to be quite a team. In another lifetime. TERESA He the reason you left LA? JOANNA One of many. (beat) Life was good then. Till Kenny started having this dream. TERESA They say dreams are about hopes and fears. JOANNA This was a strange one. He dreamed he was going to die. Murdered. By a son. His and mine.

29 TERESA Did he believe it, cher? JOANNA Enough to stop sleeping with me. (beat) I wasn't going to let him get away. I got him drunk one night. TERESA You got pregnant? JOANNA Had a boy. TERESA Could have got an abortion. JOANNA I wanted it. TERESA You kept it. Knowing dreams never lie. Mercy, mercy. JOANNA He forced me to give it up, then left. His parents swore they'd cut him off if he married me. He took the easy way out. (beat) I nearly did. Joanna absently rubs the inside of her left wrist. Teresa grabs her wrist. She sees the small, lateral scar. JOANNA The baby got stuck during delivery. They had to cut a little. Finally yanked him out with tongs. They sliced the Achilles tendon of his right leg. Said he'd be scarred for life. (beat) I never knew. They took him. I never saw him again. TERESA Why do you still see him? JOANNA My son? TERESA No, Milner.

30 JOANNA Can't help myself. TERESA You deserve better. JOANNA We deserve each other, Teresa. Guess I love him too much and myself too little. TERESA Don't be so hard on yourself. JOANNA Really? Got nothing going. No one to live for. All I've got is this room. And Kenny. TERESA A long shot at love is better than no shot. EXT. MCHENRY AVENUE - AUTO ROW - LATE AFTERNOON Auto dealerships stretch along both sides of the avenue. An oversized sign towers over the newest and largest. It reads: "CAR CITY." The showroom is desert empty. In the middle of the new asphalt lot is an elevated reviewing stand. Behind it sits a pavilion. EXT. CAR CITY - REVIEWING STAND - LATE AFTERNOON SOUND ENGINEERS check out the equipment for The Wolfman's remote broadcast. BBQ smoke swirls around the stand as SPECTATORS tailgate. EXT. RALSTON HOTEL - FRONT ENTRANCE - LATE AFTERNOON Bodyguards shield Lucas from the curious PUBLIC as he ducks into a white stretch limo. It pulls out of the drive and heads toward the staging area for the parade. EXT. CRUISIN' MCHENRY - LATE AFTERNOON "Graffiti Night" cranks up as the day winds down. Its engine is "cruising" – a mechanized, mobile mating ritual.

31 Leading it all is the man who conjured it. Lucas waves to the crowd. The partially-opened, tinted car window obscures all but his hand. Falfa and the Kid wave back. ANGLE ON THE PARADE It's like a 4th of July Parade, a street dance, a carnival, a county fair, a rave, and a drive-in all rolled into one. EXT. RIVER PARK - LATE AFTERNOON Dove leaps from the crawling train as it crosses a trestle. He stares at the E&J Gallo Winery running along the ridge on the opposite side. He flips a bird in its general direction. Dove scrambles down the embankment toward the park. From a distance, we hear the thumping sounds of heavy metal music and partying teenagers. The KIDS are lost valley souls of all types and backgrounds. It's a rogue's gallery of Dorothea Lange, dust-bowl faces and nasty attitudes. Dove makes a beeline for Eli, who lounges near the water's edge with a very young GIRL. She, like Eli, is dressed in retro-Sixties costume. Dove slumps down next to them. Eli offers a beer and joint. Dove refuses. DOVE Wha's shakin'? ELI Catchin' a righteous beer buzz, bro. Dove stares into the sluggish, murky water. DOVE Ever wonder who your parents was? ELI Sure thing.

32 DOVE Ya know, I just like to know why they ran out on me. I mean, wha'd I ever do to them. ELI Fuck 'em. They don't care anyways. We're on our own. Only ones we can count on is us. DOVE They still owe me. All of 'em. I won't be cheated outta wha's owed me. Whatever it takes. ELI For sure. Burn out 'stead of fadin' away. DOVE This is where it ends. Right here. With a fuckin' bang. Tha's how I'm goin' out. Excited by their energy, the girl moves closer to Dove. DOVE Tired of this life anyways. Le's just see wha's next. The girl puts her hand on Dove's leg. And starts moving up his thigh. Dove does a slow burn on her hand. He looks into her ardent, but addled eyes. He slaps her with a backhand so hard she spins around and smashes face down on the ground. DOVE Down by the river . . . Dove pulls out the .45 and points it at the girl. She closes her eyes, waiting to die. DOVE . . . I shot my baby. He makes a shooting noise. She scampers away on all fours. GIRL You mother-fucking bastard! DOVE Kiss my ass, bitch.

33 ELI What'd you do that for? She didn't do anythin' to you, man. DOVE I hate 'em. I'm gonna hate keep on hatin' 'em till they show me they's strong. Prove they's got some control. Some reason to believe. Eli wobbles to his feet and turns to see where she's gone. ELI Man, I was almost in her pants. Asshole. Dove steps in front of Eli. Someone starts a new song on the blaster and cranks it up. Dove's eyes widen as the music jacks him up. The louder it gets, the more pumped he gets. DOVE I am gettin' amped. Man, I am gettin' this mammoth burst of energy. This feelin' of power. Nothin' can stop me, bro. Nothin!!! ELI 'Cept you. DOVE No way. I am feelin' fuckin' ten feet tall and made of steel. Eli shoves past Dove to find the girl. DOVE Fuck ya! Dove turns to face the staring CROWD. DOVE Fuck ya all! You're all against me! All of ya! He shrieks an eerie Rebel yell, then sloshes across the creek, clambers up the opposite bank, and disappears in the darkness. EXT. CRUISIN' MCHENRY - LATE AFTERNOON The parade route ends near Car City.

34 His official duties done, Lucas closes the window of the white limo. The limo whips down a side street away from AUTOGRAPH HOUNDS and the STAR STRUCK. Now, the real cruising begins. EXT. MODESTO JUNIOR COLLEGE STADIUM - LATE AFTERNOON An all-star jam session brings the "Graffiti Fest" concert to a rocking climax. The PERFORMERS bow to the applause and disappear backstage. The Wolfman blows a kiss, then sprints offstage and into a waiting black limousine. EXT. CAR CITY - LATE AFTERNOON The black limo and white limo pull up at the same time. The Wolfman hops out, opens the door for Lucas, and bearhugs him. His bulk blocks the smaller man from view. Trailed by BODYGUARDS, Lucas crosses to a recreational vehicle and goes inside. The Wolfman bounds onto the reviewing stand. He shakes, rattles, and rolls for the CROWDS below and on the street. JOANNA (V.O.) Your kind of money makes me sweat. Keep it. I don't need it. MILNER (V.O.) Doesn't matter, really. It's all deductible, baby doll. INT. JOANNA'S SUITE - LATE AFTERNOON Milner and Joanna close out another low-rent rendezvous with the usual argument. He's already dressed and in a hurry to leave. JOANNA Some day you're going to get what's coming to you. Some day. MILNER Guess I got up on the wrong side of you this morning, for sure.

35 Milner snorts an inhaler full of cocaine. Joanna refuses his generosity. MILNER Gets me through the night, it does. JOANNA Like it did in high school. MILNER The good old days, yes indeed. Joanna points at the inhaler. JOANNA You won't find what you're looking for in there. Or back there. MILNER Baby, I've got it good and that's not bad, it's true. JOANNA You are so . . . (searches for the word) . . . empty. Milner caps the inhaler. He tenses and his eyes widen. MILNER What was that? JOANNA What— His sharp gesture stops her. MILNER That noise, don't you know? JOANNA I didn't hear— He motions for her to shut up and check the door. His hand dips inside his coat. Joanna opens the door a crack. She looks back over her shoulder at Milner, then peers out. She opens the door wider and steps into the hallway. She steps back inside and shakes her head.

36 Milner withdraws an empty hand from inside his coat. He tucks the inhaler inside his coat, walks to the window, and peers out. MILNER Had that dream again, I did. JOANNA Took care of that problem long ago. MILNER With your help, as I recall. JOANNA My heart wasn't in it. MILNER Oh, please. You're some sweet kid, you know that. JOANNA I gave birth to him. You'll never know what it feels like to give up something that's been a part of you. MILNER Only got close enough to my old man when I was big enough to knock him down, I did. JOANNA You're so damn cold it makes me shiver. MILNER Is that good, or is that good? Wise up, sweet cheeks. You wanted me more than you wanted that baby, you did. Milner crosses to the dresser. He checks his tie in the mirror. And decides not to mess with perfection. MILNER It was inconvenient, it was. We did what anyone does with something that's in the way. We discarded it, now didn't we. Joanna snatches a letter opener from the bedstand and hurls it at Milner. It impales the mirror frame beside his head. Milner jumps across the room and backhands her. She flies across the bed and onto the floor on the far side. MILNER What a waste of energy, really.

37 He waves his throbbing hand in the air and glares down at Joanna. He flexes his bruised knuckles. MILNER Think we better call this game on account of pain, I do. He leaves her huddled in the corner. INT. RALSTON HOTEL - LOBBY - LATE AFTERNOON Falfa and Kid Guitar enter the hotel through the front entrance. Falfa heads for the elevators. The Kid waits in the lobby. EXT. RALSTON HOTEL - LATE AFTERNOON Milner pulls out of the hotel driveway. EXT. CRUISIN' MCHENRY - LATE AFTERNOON Milner whips in and out of the heavy traffic, oblivious to the chaos he's creating. MILNER (V.O.) Believe me, George. There are no problems with the financing, truly. Everything's in fine order. The bank and the other investors are very happy. Very happy. Trust me on this. INT. RV - LATE AFTERNOON Milner paces the spacious RV. Lucas sits, hidden in shadows. MILNER I just need your signature to free up some working capital for the subcontractors. It's really going quite well, you see. Milner madly rummages through a stack of blueprints. MILNER Have I showed you the latest plans?

38

EXT. GRACEDA PARK - BAND SHELL - LATE AFTERNOON The MO BAND plays a medley of summertime favorites to an appreciative CROWD. The scene is reminiscent of a time when towns were smaller, life was slower, and people were closer. MILNER (V.O.) It's going to put us all on the map, yes it is. This town won't know what hit it, actually. INT. JOANNA'S SUITE - LATE AFTERNOON Joanna opens the door. Falfa casually leans against the door frame. KID GUITAR (V.O.) Joanna and Mickey. She was on a downhill slide. He was just sliding in. FALFA Hey, Bluebird. JOANNA (mimics his drawl) Howdy, cowboy. (beat) You look a little tense around the eyes, Mickey. Here to get some relief? Joanna glances over at Teresa and smiles. FALFA Not today. TERESA It's on the house, lambchop. FALFA I'll pass. JOANNA At least come in and sit a spell. TERESA I've got to be going, children. Be careful of that love mojo, now. Teresa squeezes between Joanna and Falfa.

39 Joanna gestures to a chair. Falfa decides to stand a while. JOANNA Still dressing in solitude I see. FALFA True enough. Joanna touches her reddening cheek. JOANNA Me, I'm a real bad hand at solitaire. FALFA Why do you keep going back to the well? JOANNA Need the water. FALFA He's lost it, you know. Been kicked in the head too many times to think straight. JOANNA We were made for each other. Falfa touches the bruise on her cheek. FALFA One of these times you're not going to make the count. She brushes his hand away. JOANNA It was my fault. Blame me. FALFA Why do you put up with it? JOANNA No better offers. FALFA That's desperation talking. JOANNA You know, he's not the same person we grew up with.

40 FALFA No lie. He's a fucking criminal. The worst kind. He uses his good reputation to get away with shit. Hell, his word's not worth the air it takes to give it. JOANNA You two were like brothers once. Now you hate him. Because of me. FALFA Just don't like what he's doing. To you. This town. Everything he touches. JOANNA Promise me you won't ever become like him. FALFA Promises don't mean much anymore. JOANNA If he crossed the line, what would you do? FALFA Don't know. Guess I'd do what I had to do. JOANNA Could you get angry enough to stop him? (beat) Could you . . . (hesitates) . . . kill him? Falfa's confused, but not totally surprised, by the direction this conversation is suddenly taking. FALFA You mean, could I kill him for you? JOANNA The world would be better off. FALFA So would you. JOANNA This town is making you hard.

41 FALFA Got nothing to do with this town. Look, I just don't care that much anymore is all. I mean, it's too hard, you know. You just get to the point where it's not worth waking up feeling like shit. And wondering why. JOANNA I should never have come back here. FALFA You could've made it in LA. Sure had talent enough. JOANNA Guess I didn't want it bad enough to go down on all those sex-drunk monkeys. Hated the feel of their slick little . . . leatherettes. FALFA Why did you come back? JOANNA Same as you maybe. No place to go, nobody to be. FALFA Hey, I always liked it here. Let's face it, I'm just a plain old flatlander. JOANNA It's so dull and boring and desperate. It's such a . . . (searches for the words) . . . waste land. FALFA It's what I know. When I drive the back roads around here, it just feels right. I walk out into that warm summer wind and it smells like home. JOANNA What happened to your dreams? FALFA Had some. Once upon a time. Lost some over there. (beat) When I left home, I wanted to change the world. When I came back, I just wanted to change my luck.

42 JOANNA You ever feel like you missed something? Like something got lost along the way? FALFA Like family and kids? Joanna reacts. FALFA Sorry. Forget sometimes. JOANNA I try to. FALFA You ever hear anything? JOANNA He never tried. Neither did I. FALFA Doesn't make any sense. JOANNA Just wasn't meant to be. Somebody took care of that. FALFA You ever think about changing that? JOANNA What about you? With all the kids you run into, you've got a chance to do something I couldn't. Save somebody. Change a life. FALFA Change a life. Hell, I can't even change my mind. JOANNA Now see what you've done. Got me thinking about the past. Falfa starts to leave. JOANNA What's the hurry? FALFA Time to get on the case. Places to go, people to meet. JOANNA Whoring for him, too, aren't you?

43 FALFA Never took his money. JOANNA Neither did I. FALFA My mistake. Catch you later? JOANNA Got a client coming. Maybe after that. FALFA Look for me when you see me coming. EXT. CAR CITY - PAVILION - DUSK Milner hosts a reception for local DIGNITARIES, INVESTORS, and SWELLS. No expense has been spared to entertain the big dogs under the big top and shield them from the world outside. In one corner, a group of KISS-ASSES obscures Lucas. The Wolfman howls in another corner. EXT. RALSTON HOTEL - PARKING LOT - DUSK Kid Guitar waits by Falfa's Chevy. Falfa mounts up and they wheel toward the boulevard. Dove watches from the shadows. ANGLE ON THE MECHANIZED, MOBILE MATING RITUAL Eli, his addled girlfriend, and a bunch of kids from the party down by the river elbow their way through the CROWD to get a better view. INT. JOANNA'S SUITE - DUSK Dove stands with his back against the wall. Teresa and Joanna face him. DOVE Don't give a shit if ya cunts believe me or no. This is the hand tha's gonna pull the trigger. Gonna waste him and watch him bleed.

44 TERESA Somebody famous, cher? DOVE Big time enough. JOANNA (teases) Lucas would make some noise. Get you more than fifteen minutes. TERESA Maybe it's the honey bear that keeps giving you those love taps, girl. Dove stares at Joanna as she touches the darkening bruise. JOANNA Milner's out of my life. Starting now. Dove's eyes harden. Teresa shakes her head, then slides onto the bed. She takes a pack of Tarot cards from the nightstand drawer. She spreads them before her. JOANNA Besides, the man's just not big enough. DOVE Ya know Milner? TERESA Long before you were born, baby boy. DOVE That guy's crazy. He likes drivin' blind. JOANNA (still teasing) I got it. It's The Wolfman. You going to take out The Wolfman, doll face? DOVE Watch the news. Dove cocks an imaginary gun, fires it, and blows on the smoking barrel. JOANNA (to Teresa) Darling, isn't it?

45 TERESA Precious. JOANNA Reminds me of that someone I was telling you about. (to Dove) I had a son once. He'd be about your age. DOVE Ain't here to hear your family history. Teresa flips over the tarot cards. TERESA You are not your father's son. DOVE Gargle my balls, bitch. (to Joanna) Ya said I could drive yer car. Tha's why I'm here. Le's rev it the fuck up. JOANNA In a minute. First, we're going to play some games. You like games don't you, sweetmeat? Teresa giggles. Dove crosses his arms. He presses his back tighter against the wall. Teresa flips over a card and stares at it. It is "The Man with Three Staves." TERESA I bet you're good at riddles, mon ami. See if you can figure this one out. DOVE What I get? JOANNA A ticket to ride. TERESA What walks on four legs in the morning, two legs at noon, and uses three legs after noon? DOVE This is lame shit.

46 JOANNA You don't play, you don't get the keys to the highway, peach. DOVE No fuckin' chick's gonna trick me. TERESA Don't be afraid, love. DOVE Ya bitches'r weird, truly weird. JOANNA Play along. You might just get your prescription filled. DOVE Sure. Whatever it takes. Ain't no big thing. Heard it before. It's man, all right? A man. Like me. JOANNA Very good, kitten. You surprise me. TERESA That's right. It's man that crawls on all fours as a baby, walks on two legs as a man, and stoops on three as an old man with a cane. JOANNA Once upon a time, a young king saved his land by solving that riddle. DOVE Whatever. Look, I just wanna ride. That all right with ya all? JOANNA Teresa, why don't you leave me alone with this clever young man. On her way out, Teresa snaps a Polaroid of Joanna and Dove. She tosses the camera on the bed. Joanna closes the door behind Teresa, turns, and presses her back against the door. JOANNA Just think of this as Disneyland. I'm a roller coaster. And you just got an all night pass. She glides slowly and seductively across to draw the drapes.

47 Dove is attracted to her, though he fights it. Confusion washes over his face. Joanna walks to her dresser. She lifts the framed photo that was lying face down. It's a picture of Milner. For a brief moment, the dresser mirror reflects Joanna and Dove bookending the photograph of the man and the snapshot of the baby boy. She lays the photo face down on the dresser again. She scoops a floating gardenia from the bowl of water. She turns to face Dove. She plucks the petals. She slips a petal past her lips and slowly sucks on it. Dove tries not to watch. His excited eyes dart around the room seeking escape, but they betray his fascination. JOANNA What do you think of me? Dove barely swallows. DOVE Know your kind. Prick teaser. Ya get off on dry fuckin'. Might as well give a starvin' man a piece of plastic sushi. JOANNA There's nothing fake about my sushi. (beat) You find me attractive? DOVE Semi-choice. For someone ol' enough to be my ol' lady. Joanna doesn't react well to this. It's not exactly what she wanted to hear. JOANNA A lot of men pay good money to spend time with me. They say I'm worth it. I think they're just trying to make me feel good. She touches the tender bruise around her eye. DOVE Why'd he do that to ya? JOANNA Because he could.

48 DOVE He ain't never gonna do it again. JOANNA It's not his fault. It's nobody's fault. It's me. It's always been me. Joanna sobs. Dove goes to comfort her, but doesn't know what to do. He stands there, arms at his sides. Joanna collapses against him. He catches her in his arms. Tentative and very awkward, he holds her. She buries her head against his chest. He strokes her hair. Suddenly, Joanna pushes him toward the bed. Dove falls onto his back. She straddles him. She caresses his face and arms. She grasps his red, left hand. JOANNA Your skin is so . . . (searches for the word) . . . cold. The black candle sputters on the dresser. A MOTH flutters perilously close to the flame. The moth dives into the heart of the flame. It sticks and fries. EXT. GAS STATION - DUSK Falfa and Kid Guitar wait in line for a fill-up. The ATTENDANT flirts with some GIRLS in the car ahead. FALFA Butthead better get his mind off his snake. Immediately, if not sooner. KID GUITAR Been angry a lot lately. FALFA There's just too much shit coming down. I got no control over it.

49 Falfa's beeper sounds. He checks it. Falfa slams the car in reverse and squeals out of the station. ANGLE ON THE MOTOR CITY MADNESS THE WOLFMAN Everybody knows yuh live and yuh learn, uh-huh. But, the lessons just go on and on. Yuh gonna have to wait for all the pages to turn. To find out if it's right or wrong. Have mercy! EXT. CAR CITY - DUSK Milner walks the perimeter of the car lot. INT. JOANNA'S SUITE - DUSK Dove shivers naked in the corner of the bedroom. Joanna kneels at his feet. She stares at the scars along the Achilles tendon of his right foot. She looks into his face and sees herself. Dove flashes a razor smile and spits in her face. Joanna falls backward. She lets the spittle ooze down her cheek. She sobs. The sob becomes a smile. The smile becomes a laugh. The laugh becomes a scream. She stands and staggers away. She rips at her negligee. She scratches at her body. She turns and runs howling into the bathroom, raking her hair with her hands. EXT. THE MALL - DUSK The paintball "Tag" game continues. The hunters split up and close in. Their victim spies his pursuers. He drags his girlfriend behind him and disappears into the stream of MALL RATS. FALFA (V.O.) (on the phone) She in? TERESA (V.O.) (on the phone) Far as I know.

50 FALFA (V.O.) (on the phone) She busy? TERESA (V.O.) (on the phone) Robbing the cradle of love, cher. FALFA (V.O.) (on the phone) Anybody I know? TERESA (V.O.) (on the phone) An ancient stranger. FALFA (V.O.) (on the phone) Sixty-nine the word games, Cajun. TERESA (V.O.) (on the phone) There's danger on the edge of town. FALFA (V.O.) (on the phone) You're not making any sense. TERESA (V.O.) (on the phone) Be afraid when the moon bleeds. FALFA (V.O.) (on the phone) Voodoo mumbo jumbo. INT. RALSTON HOTEL - LOBBY - DUSK Falfa hangs up the phone. Kid Guitar stands at the end of the line of pay phones. Falfa dials Joanna's room. The phone rings on the other end. No answer. Falfa hangs up and crosses to the front desk. He speaks to the CONCIERGE. She reaches into the slot that normally holds the key to Joanna's suite. It's empty. The Concierge turns to Falfa and shakes her head. Falfa tips his hat to her and walks to the elevators, the Kid in tow.

51 INT. HOTEL HALLWAY - OUTSIDE JOANNA'S SUITE - DUSK Falfa knocks on Joanna's door. No response. He knocks again. Still no answer. He turns to Kid Guitar, pulls his gun, and pushes on the door. It opens. He peeks inside, looks around, and enters. INT. JOANNA'S SUITE - DUSK It's dark. A shaft of light spotlights the dresser. Through the partially open bathroom door, a dull light casts a long shadow across the length of the room. Something twists and swings rhythmically in and out of the light. Falfa motions for the Kid to wait. Falfa moves toward the bathroom. He nudges the door open and stares inside. His arms drop to his sides as he lets out a low moan. Joanna dangles by her neck from a noose of braided, golden silk cord. She is dead, her neck broken. Her open eyes stare lifelessly at Falfa. He cuts her down and catches her lightly in his arms. He carries her out of the bathroom and lays her on the bed. Falfa gently straightens her shredded negligee. He closes her eyes. Kid Guitar stands beside the dresser. He points at something. An envelope leans against the mirror. Falfa opens the envelope, removes a note, and spreads it open in the light. JOANNA (V.O.) "I hope it's you reading this, Mickey. You can't help me now. Maybe you can save the life of someone else. He didn't know me. And he didn't know any better. I hope you can find forgiveness and compassion in your heart. I have. Take care of him. (MORE)

52 JOANNA (CONT'D) As for me, I can no longer face what I've become. I pray God will have mercy on my sinful soul. (beat) Your loving sister, Joanna." He removes the Polaroid of Joanna and Dove from the envelope. Falfa puts the note and Polaroid in his shirt pocket. He looks at the Kid and puts a single finger to his lips. Falfa picks up the phone and dials. FALFA Homicide. Lieutenant Donlon. (waits) Tom. It's Mickey Falfa. Best send someone to the Ralston right away. (beat) It's Joanna. (listens) Just get your ass down here! Falfa throws the phone against the wall. He turns to face Joanna's body. He slowly cracks his knuckles. FALFA You can count on me, sis. I'll find him. If it's the last thing I do. And I will take care of him. We hear the steel wheels of railroad cars drumming along the tracks. EXT. MODESTO ARCH - SUNSET The sky rains fire. The last rays of the sun shoot red shadows across the town. A silhouette shakes its fist at the setting sun. It's Falfa, raging against the dying of the light. EXT. CAR CITY - EARLY EVENING Milner stands beside the reviewing stand. He gazes at nothing. TOM DONLON, a Modesto PD plain clothes detective, and two uniformed OFFICERS approach from behind. Startled, Milner spins toward them, hand inside his coat. He withdraws it when he sees who it is. He shakes Donlon's

53 hand, who shoots a look at the bulge in Milner's coat. Donlon whispers something to Milner. Milner numbly raises his hand to his forehead. He turns to stare at the avenue. He gestures for Donlon to follow him. INT. RV - EARLY EVENING Donlon sits at the table. The uniforms stand by the door. Milner slouches in a chair. DONLON We found these in her room. Donlon motions to one of the officers. He shows Milner the framed picture of himself and the snapshot of the baby boy. DONLON Figured you might know something. MILNER Brilliant deduction, that is. DONLON Don't give me a hard time, Motown. MILNER Haven't even started, Tommy, thank you. (beat) You forgotten who am I? DONLON Right now, just one suspect in a possible homicide. MILNER Would hope your case rested on more than me, certainly. DONLON There are others. You were the easiest to find. MILNER Think you could spend your time better looking for someone with something to hide, actually. DONLON That's exactly what we're doing.

54 EXT. CAR CITY - EARLY EVENING The Wolfman, Lucas, and other DIGNITARIES enjoy the spectacle of cruising, oblivious to Milner's grilling. The sky suddenly erupts in a brilliant shower of fireworks. EXT. TRAVELING PARADISE ROAD - EARLY EVENING Falfa's red eyes stare west. DONLON (V.O.) Looks like a suicide. MILNER (V.O.) She leave a note, or what? DONLON (V.O.) No. MILNER (V.O.) Robbery? MILNER (V.O.) Nothing seemed to be missing. MILNER (V.O.) How'd you find out? DONLON (V.O.) Her brother. INT. RV - EARLY EVENING MILNER Oh, Christ, Mickey found her? DONLON I've known Falfa all my life. Never heard him sound like that. (beat) Look, Mo, don't leave town. We'll need to talk some more. MILNER Here the rest of the night, I am. DONLON Watch your back. We're not ruling out anything. Or anybody. (beat) Including Falfa. When we locate him.

55 MILNER He's missing? DONLON Just haven't found him yet. Donlon leaves with the officers. Milner checks his gun, makes sure it's loaded, then reholsters it. EXT. CAR CITY - EARLY EVENING Milner exits the RV. He paces around the reviewing stand. His eyes sweep the area. His hand rests on his shoulder holster. A firecracker EXPLODES behind him. He jumps, draws, and spins. Nothing. He holsters his gun. He wipes his forehead with a shaking backhand. Milner climbs the stairs of the reviewing stand and takes a seat near Lucas behind The Wolfman, who's doing his show live from the portable broadcast booth. INT. WATER TOWER - DOVE'S BEDROOM - EARLY EVENING Falfa rummages through dresser drawers, closets, and piles of shit. Kid Guitar waits by the desk. Falfa crosses to the desk. He shuffles through newspaper clippings, papers, and photographs. He spreads out the newspaper clippings about Lucas, "Graffiti Night," Milner, and "Modesto Remembered." Beneath the heap of papers Falfa finds scraps of cut-out letters and words and partially completed blackmail notes. From his pocket, Falfa removes the blackmail notes sent to Milner. The notes are identical. Kid Guitar picks up a couple of Polaroids lying on the desk. He hands them to Falfa. In one, Dove poses with Eli. Dove wears a T-shirt that reads: "Shit Happens." He holds a .45 and flips off the camera. Eli cradles a shotgun and flashes the peace sign. Another Polaroid shows Dove and Eli standing beneath the under-construction, miniature Modesto Arch that spans the

56 main entrance to "Modesto Remembered." Dove pantomimes throwing a real Molotov cocktail. Eli pantomimes emptying a real can of gasoline at the base of the arch. Falfa pockets the Polaroids. We hear the door creak open. Falfa tenses. SAVAGE (O.S.) Care to tell me what the fuck ya doin', goat roper? In one blurred motion, Falfa whips out his .45, spins, and kicks SAVAGE square in the nuts. Savage drops the shotgun and crumples forward. Falfa smashes his head backward with the business-end of his pistol. Savage slams against the wall and slides dazed to the floor. Falfa straddles him, jamming the gun barrel against the flat space between Savage's eyes. Savage's eyes cross in terror as they try to focus on the cold steel. FALFA Where's Dove? SAVAGE How the fuck would I know? Ain't seen 'em since daybreak. FALFA Wrong answer. Falfa cocks the trigger. Savage squeals. SAVAGE Trust me, man. I ain't riskin' my ass for that little bastard. Ain't losin' no blood o'er someone what ain't even blood kin. Falfa eases back the hammer. He yanks Savage to his feet. Falfa rams him face-first against the wall. He frisks Savage and kicks his ass out the door. We hear thudding and howling as Savage tumbles down the stairs. Falfa kicks the shotgun under the desk. He slowly lifts his

57 shaking hands. FALFA Can't do this. Can't do him for what he did and do what she asked. Kid Guitar places his right hand flat over Falfa's heart. Falfa brushes the hand away. FALFA Time to head upriver. EXT. VIETNAM JUNGLE - NIGHT (FLASHBACK) Special Forces Captain Michael Falfa swims blackfaced in a murky river in another time, in another world called Vietnam. Only his eyes are visible as he scans the jungle for his intended victim. He quietly slips beneath the water's surface. EXT. SAVAGE COMPOUND - EARLY EVENING (PRESENT) Falfa and Kid Guitar exit the water tower and drive away. Savage watches from a safe distance, then slips into the gathering darkness. EXT. MCHENRY AVENUE - "FIVE POINTS" - NIGHT Both sides of the avenue are jammed. The cruising is going full throttle. Dove stands alone on the traffic island. He glances at the bronze statue dedicated to George Lucas and cruising. This is the head-end of the cruise. Dove squints past the HUMAN BARBED WIRE toward the edge of town. He melts into the CROWD flowing toward town's end. THE WOLFMAN (V.O.) Oh, have mercy! Tonight I gonna rock and roll yuh all to death. Get yo'self nekkid and dig the music. EXT. NINTH STREET - NIGHT After dark, what used to be old Highway 99 and Modesto's

58 original skid row, is an abandoned street of warehouses and body shops. Falfa passes the historic Southern Pacific Railroad Station. He turns right onto J Street at the sign that reads: "McHenry Avenue." THE WOLFMAN (V.O.) Cruise-o-rama, children. I knows yuh excitable boys and girls are gettin' good and itchy. EXT. MCHENRY AVENUE - "FIVE POINTS" - NIGHT Falfa pulls into the parking lot of the Chalet Motel behind Denny's. They park and get out. Falfa and the Kid survey the blacktop river that streams away before them. They're distracted by some hooting. They turn in time to see a BARE ASS mooning the CROWD. EXT. MCHENRY AVENUE - BUILDING - NIGHT Falfa and Kid Guitar walk past an intricate Graffiti image spray-painted on a wall. A classic, rocket-finned Cadillac convertible travels up a snaking, red river toward an ancient temple silhouetted by a blazing sunset. A pair of eyes peer out of the crimson sun. The Cadillac's driver and his fellow traveler pass through nine concentric rings en route to the end of their journey. EXT. CRUISIN' MCHENRY - NIGHT A BLONDE in a classic white Thunderbird rolls by. She turns to Falfa and mouths the words, "I love you." ANGLE ON THE DIESEL-DRIVEN PROCESSION A NEWSPAPER REPORTER interviews the POLICE COMMANDER in charge. POLICE COMMANDER These kids. They're not looking for trouble. They're just looking for something to do. Not much to do at night around here. Got little money to do it. So, they cruise. That's all.

59 EXT. MCHENRY AVENUE - IRRIGATION CANAL - NIGHT Dove crosses the canal. THE BOATMAN straddles his ferry. He gestures for Dove to join him. Dove shakes his head and moves up the avenue. INT. MINNIE'S BAR - NIGHT Minnie's is an old watering hole. It looks like the Valley's version of a tropical tiki bar in Bora Bora. It's dim, loud, and smoky. The PATRONS run the gamut from down-and-outers to affluent professionals. Sitting in the darkest corner is THE SUCCESSFUL REFUGEE. Falfa shows him the Polaroids. REFUGEE Don't know, Mickey. There's thousands like him out there. They all look the same. FALFA Got to find this one. REFUGEE What's the difference, pal? Nothing matters that much anymore, does it? FALFA That's my business. REFUGEE Call the cops. That's what they do. FALFA I have to do it. Alone. REFUGEE Pride makes a man careless. A careless man makes mistakes. FALFA Promised someone. REFUGEE Promises don't mean much.

60

ANGLE ON THE CARNIVAL ON WHEELS POLICE COMMANDER (V.O.) (over the radio) There are no back-ups. I've got all my men in the streets just trying to keep these people in line. EXT. SUNDIAL RESTAURANT - NIGHT The Sundial is the gathering place for old Modesto. Well-dressed old and young COUPLES stream in and out of the front door. EXT. SUNDIAL RESTAURANT - PARKING LOT - NIGHT A phalanx of Vietnam-era VETS, POWs, and MIAs stand at attention. One of the soldiers huddles with Falfa. It's THE TUNNEL RAT, an old childhood friend who served with Falfa in Vietnam. FALFA Pretty sure he's after Motown. RAT Hope he scores. Hated that arrogant prick since junior high. Was always squeezing me. FALFA Mo and I don't see eye-to-eye, Rat. Don't know that I want him dead. RAT I can forgive those who didn't serve 'cause they loved this country enough to fight the blindness. They believed in something and stood up for it. Not Milner. He bought his way out 'cause he couldn't face the fear. FALFA Always done it that way. That's all he knows. RAT His karma'll catch up with him someday.

61 FALFA Trouble is, I need him. RAT Don't get nothing without losing something, I hear. FALFA I'm hoping he's got one good deed left in him. RAT Don't bet on it. ANGLE ON THE MOVEABLE FEAST WOLFMAN (V.O.) The Wolfman gonna lay a little philosophy on yuh all now. Regret is a powerful thing, children. Dreams are all we got. But, regrets are what we live with. Do it today so's yuh won't regret it tomorrow. Don't give up somethin' yuh got for somethin' yuh think yuh need. EXT. CAR CITY - NIGHT Milner checks the perimeter of the pavilion. He moves around one corner and bumps into a BOY. About the age his son would have been if he still had a son. The boy smiles. He hands Milner a hardball. Milner takes it. He rummages around inside his pockets. He hands the boy a key chain with "Modesto Remembered" stamped on it. The boy takes it and runs back to the avenue. INT. PIZZA PARLOR - NIGHT This dive is the hangout for local PARROTHEADS, the followers of Jimmy Buffett. Falfa talks with THE CHRISTMAS GYPSY, a once and future high school sweetheart. She's draped over the jukebox. FALFA Still around, I see. GYPSY Sure don't want to be here.

62 FALFA Never did. Hate it so much, why not leave? GYPSY When I'm here, I want to be there. When I'm there, I need to be here. When it's summer, I want it to be winter. FALFA You could always make me laugh, Gypsy. Even when we were kids. How come we didn't make it? GYPSY I had too many expectations. You didn't have any. FALFA Won't be disappointed that way. GYPSY That's you. Don't count on nothing from nobody. FALFA Got to. Sometimes. Like now. He shows her the Polaroid. ANGLE ON THE FOSSIL-FUELED PARADE THE WOLFMAN (V.O.) It's a hot summer in the city, mama. Keep yer rumblin' to a dull roar, now, yuh hear. EXT. CAR CITY - NIGHT Milner stands alone at the back of the RV. Waiting. SOMETHING moves. Milner draws his gun. A BLACK CAT dashes from shadow to shadow. Milner lowers his shaking hand. Milner flashes on Joanna giving birth to their child. He squeezes back the tears in his eyes.

63 EXT. ELK'S CLUB - FRONT LAWN

- NIGHT

Falfa and Kid Guitar pause below a banner for the reunion of the Grace M. Davis High School Class of 1966. INT. ELK'S CLUB - NIGHT The name tags feature yearbook photos. The music recalls the Sixties. The AGING ADOLESCENTS hop in their socks. Most of the CROWD is costumed in outfits from the dance scene in the movie, "American Graffiti." Falfa checks out the room. Kid Guitar waits by the bar. Near the reception table, Falfa bumps into MR. STEPHAN DAEDALUS, his high school biology teacher. DAEDALUS I can tell by the look on your face, Michael, that I appear different than you remember. FALFA That's true, sir. DAEDALUS Memory is a fickle friend. Very deceptive, even deceitful. It freezes us in time, like fossils in the tundra. You remember me the way I was. A face in the yearbook. Mr. Daedlaus picks up a class yearbook. He flips through the pages. DAEDALUS You are shocked by the way I am now. I look the same, only older. You somehow expect me to look and act as I did then. Time is compressed. Once we were different. Now we are peers. I find it all extremely amusing. FALFA Everything changes. DAEDALUS Yes, change. It's the only thing you can count on. It is inevitable. Even tyrannical. Like the downbeat. Daedalus closes the yearbook.

64 DAEDALUS Michael, the past is not a safe place to dwell. An enthusiastic, but amateurish, GARAGE BAND launches into an oldie, but a moldy. A fight breaks out between an EX-JOCK and an EX-HOOD. A stoop shouldered DEAN OF MEN tries to break it up. FALFA Should act their age. DAEDALUS I'm afraid they don't like the present, either. EXT. MCHENRY AVENUE - EMPTY LOT - NIGHT A sign reads: Grow Up!"

"The Mud Bowl – Four Decades of Refusing to

A collection of BABY BOOMER STEREOTYPES party down. PARENTS cluck with mild disapproval. WIVES and GIRLFRIENDS cast watchful and questioning glances. CHILDREN of various ages dart in and out and underfoot. Vapor lights throw distended shadows as a couple of THE MUD BOWLERS play a competitive game of volleyball against their SONS. In the background, Dove watches. Envy contorts his face. He shoves off, continuing his journey up river. EXT. ADULT BOOKSTORE - NIGHT On the sidewalk out front, the local cable television station videotapes the street scene. A MOUNTED COP talks with a MALE REPORTER. MOUNTED COP I think he's here out of guilt. Shoot, he's the one that's responsible after all. He made cruising popular with that movie of his. (beat) We've even considered trying to bill him.

65 ANGLE ON THE FUEL-INJECTED FLOTILLA A hovering police helicopter shines a spotlight on the ground. The beating blades drum down on the CROWD below. THE WOLFMAN (V.O.) Some day, some day. People always talkin' 'bout some day. Some day never comes, yuh all. Today's all we got. This, here and now. So, get on with it. EXT. CAR CITY - REVIEWING STAND - NIGHT Milner chases away some KIDS seeking an autograph from Lucas and The Wolfman. Milner scans the CROWD lapping against the stand. EXT. MCHENRY AVENUE - CONVENIENCE STORE - NIGHT A white TEENAGE BOY lies face down in the parking lot. He wears an Oakland Raiders athletic jacket. A powdery bullet hole fills the "D" in Raiders. Both his shoes are missing. Two OFFICERS stand near the inert body. Lined up against the side of a van are two more white TEENAGE BOYS. On the floor inside the open door of the van are a pair of expensive "Air Jordan" high-tops and a San Francisco 49ers baseball hat. A REPORTER from the "Modesto Bee" interviews the officers and BYSTANDERS. BYSTANDER Hey, he wouldn't give it up. So, they shot 'em down. REPORTER You're telling me those shoes were worth more than his life? BYSTANDER We're talkin' status here, bro. You know, clothes make the man. These dudes over here couldn't buy it, so they killed for it. REPORTER Just doesn't make sense.

66 COP These kids are bored. They've got nothing else to do. Parents don't care where they are, as long as they're not in the way. The gang gives them what the family doesn't. They'll kill for the gang. They'll die for the gang if they have to. REPORTER You think it's gang-related? The cop gives him a look that says, "Get real." EXT. MCHENRY AVENUE - AUTO STORE - PARKING LOT - NIGHT A convertible stuffed with peroxide-blonde, poodle-do GIRLS is held hostage by a handful of gold-chained, Middle Eastern MEAT PUPPETS. They sniff around the fine young things who coyly shake their pre-pubescent booties. Nearby, a slow-looking man of about forty kneels next to his bicycle. It's THE MOBILE ILLITERATE. Falfa and Kid Guitar kneel beside him. FALFA (sarcastic drawl) Maybe they're in love. ILLITERATE What's love got to do with it, with it? We be talkin' major league lust here. Look at 'em. Just wanna get laid. Them women might as well be inflatable dolls for all the love they gonna see. Them li'l red roosters gonna lie and cheat and be long gone, long gone. FALFA Some people don't mind being alone. KID GUITAR (sings) "Be good and you will be lonesome. Be lonesome and you will be free." ILLITERATE It’s lonely out there, boys. We’re not going to make it unless we start taking care of each other. Falfa shows him the Polaroid. The Illiterate shrugs his shoulders.

67 EXT. MCHENRY AVENUE - EMPTY LOT - NIGHT A young Hispanic COUPLE entertains their old-world PARENTS and a handful of upwardly mobile Latino FRIENDS. The WIFE is pregnant. She proudly subjects herself to the patting and rubbing of WELL-WISHERS. Dove turns away. ANGLE ON THE POWER GLIDE PASEO THE WOLFMAN (V.O.) Gots to drive easy, baby. Don't be spinnin' yer wheels and losin' control out there. Gots to have yuh 'round a little longer, if yuh know what I mean. EXT. MCHENRY AVENUE - POOL HALL - NIGHT A local entrepreneur – "the Deacon of No Money Down" – peeks out of the moon roof of a stretch limo. He throws promotional audiotapes to the grasping CROWD. Falfa, Kid Guitar, and THE HUSTLER watch as the crowd scrambles for the quick answer. HUSTLER They all want something for nothing. And they want it now. KID GUITAR (sings) "Just give me money. That's what I want." HUSTLER Figure somebody owes them. FALFA He's got a good gig going, Hustler. Got them all fooled, you know. HUSTLER Once I was him. A player looking for the action. I had a gift I used wrongly. I pretended to be other than what I was. And took men's money. The Hustler sights in on an imaginary pool ball. He rests the phantom cue stick on the top of his left wrist and drops the invisible ball in the side pocket.

68 HUSTLER All in the name of something better. Unfortunately, too much of a good thing always turns out bad. He holds his right hand in front of his face. The thumb and index finger are missing. HUSTLER I know what there is to lose in life. And what it means to lose it. KID GUITAR (sings) "Freedom's just another word for nothin' left to lose." ANGLE ON THE TUCK-AND-ROLLED PILGRIMAGE THE WOLFMAN (V.O.) Freedom, freedom. Everybody always talkin' 'bout bein' free. Freedom don't mean much if yuh can't do nothin' with it. Can yuh dig it. EXT. MCHENRY AVENUE - BANK - NIGHT A seedy, something-wicked-this-way comes carnival has set up camp in the parking lot. CARNY, an evil-looking midway Mephistopheles, runs a shooting gallery. Through broken and nicotine-stained teeth, he tempts Dove to try his luck. CARNY Test yer eye, stud. Maybe win one of these for yer baby doll. Dove slows, but doesn't stop. CARNY Hey, lookee here, lookee here. This is my rifle. (grabs the arcade rifle) This is my gun. (grabs his crotch) This is for shootin'. This is for fun. (cackles) Whatsa matter, boy, don't know the difference? Bet yer honey pot can sure show ya.

69 Dove stops, then strides back to the booth. Carny holds up his hands and steps back. Dove picks up the rifle. DOVE This may be your rifle, inbred. But, this is my fuckin' gun. Dove flashes his .45 and fakes cracking Carny's skull open with it. As PEOPLE turn, Dove backs away and moves on. EXT. MCHENRY AVENUE - SELF-SERVE CAR WASH - NIGHT THE JOHN MUIR BRIGADE, an environmental action group, rides the back of a propane-powered truck. Above them billows a plastic banner that reads: "Mother Nature Bats Last." They toss small pine trees planted in Styrofoam cups to the ONLOOKERS. On the sidelines, a HARD HAT shakes a sign that reads: "Due to a paper shortage, wipe your butt with a spotted owl." In one of the wash stalls, Falfa talks with THE ASSHOLE. ASSHOLE Man, there's a lot of anger coming down. Feels like acid rain. He turns for affirmation. Falfa shrugs. FALFA Blame it on the heat. ASSHOLE No. They just plain ran out of rationalizations and dogs to whip. Can't stand their own life, so they have to make everyone else's miserable. FALFA Anger's healthy. ASSHOLE Humor's better. Really pisses them off when you're smiling and they don't know why. A little craziness is the best cure for what ails. It's the only way to cut the rope and be free.

70 The Asshole begins to dance, like Zorba at the edge of the sea. He pulls Kid Guitar into the circle dance. He reaches for Falfa. Falfa backs away. ASSHOLE Ah, laughter. Necessary in a world where everything we were taught seems beside the point. FALFA Maybe I'll feel more like laughing when this business is done. ASSHOLE Just you keep on believing that. You do that. The Asshole begins a one-man wave. The CROWD around him joins in. Falfa starts to jay-walk. A lowered and window-tinted Honda, driven by a TEENAGE BOY, peels out, trailing blue vapor. As he whips past, Falfa kicks at the car and flips a bird at the driver. FALFA This is hopeless. He could be anywhere. Hell, he could be gone. KID GUITAR One has only to know and trust and the answer will appear. ANGLE ON THE CHOPPED AND CHANNELED CARAVAN THE WOLFMAN (V.O.) Every moment of every day yuh got to make choices. Only one choice of all the choices is the right one at that time, your instincts will tell you what it is. Always trust your gut. EXT. CAR CITY - NIGHT Debbie sits in a halo of light. Milner goes to her. He kneels before her.

71 Debbie strokes his head. DEBBIE Sorry about Joanna. He buries his head in her lap. DEBBIE Talked to Mickey? He shakes his head. DEBBIE Hope he doesn't do anything he'll regret. Debbie stares out at the boulevard. At all the cars and clothes and memories of another time. MILNER You and me, Mickey and Joanna, even old George. We're a long way from those high school kids, we are. What I'd give to change things. She lifts his face and stares at him. DEBBIE It's never too late. MILNER I pray you're right, I do. EXT. MCHENRY AVENUE - BANK - NIGHT Falfa and Kid Guitar navigate the netherworld of the carnival. Falfa shows the Polaroid of Dove to PEOPLE they pass. Everyone points them in the same direction. Falfa and the Kid walk up to the shooting gallery. Falfa shows the Polaroid to a jumpy Carny. CARNY Sure, I seen 'em. Thought he was gonna drill me. FALFA With this? Falfa picks up the arcade rifle.

72 CARNY Fuck no, man. He was carryin' some serious armor. Big old, cold-ass .45. FALFA (to Kid Guitar) Play time's over. CARNY That boy's wicked. He stunk of evil. (shivers) KID GUITAR Sometimes we need the evil to bring out the good. Carny gives Falfa a look that says, "What the hell planet is this guy from?" CARNY You boys best be careful. If ya ain't, that "good" shit'll be pourin' out a gut shot hole in yer belly. FALFA Don't suppose he said where he was headed? CARNY The fuck away from me was all I cared. ANGLE ON THE OUTLAW POSSE THE WOLFMAN (V.O) Storm warning, yuh all. Weatherman says a storm's a-brewin'. Better batten down the hatches. Gonna be a rough ride. EXT. CRUISIN' MCHENRY - NIGHT Spicy Zydeco music precedes a Mardi Gras float transporting Teresa and a CAJUN BAND. Teresa throws beads to the crowd. She encourages the WOMEN to bare their breasts. She and Falfa stare at each other as she drifts by. EXT. MCHENRY AVENUE - APPLIANCE STORE - NIGHT Falfa and Kid Guitar lean against a car outside the shop window.

73 The Kid stares at a video wall of televisions. He nudges Falfa. Falfa turns. Each TV silently broadcasts the same image. A HAWK pursues a mourning DOVE across an empty sky above a flat land. The dove escapes, seeking refuge in the belfry of a cathedral. THE WOLFMAN (V.O.) Gots to stop worryin' now, yuh all. It's always darkest just before the dawn. Yes, it is. Falfa turns to leave. Teresa blocks his way. TERESA The kid did it, didn't he? FALFA Did it to herself. She can't look him in the eyes. FALFA When did you see him? TERESA In her room. Falfa cuts her a look. FALFA He say anything? Give me something. Need to find him and I'm fresh out. EXT. OUR LADY OF FATIMA CHURCH - NIGHT Falfa and Kid Guitar stand outside the Catholic church. TERESA (V.O.) Maybe there was something. Something he said. About repentance, salvation. INT. CHURCH - NIGHT In a pew closest to the altar, Dove sits. His awkward attempt at prayer would be comedic if the feeling wasn't so desperate and the location so solemn. Falfa motions for the Kid to stay near the door at the

74 back. He pulls his gun. Kid Guitar puts a hand on his arm. Falfa pulls free and moves down the center aisle. Dove appears too preoccupied to hear anything. Perhaps he's hoping someone will finish it mercifully. Falfa stops. He cocks the trigger. Dove flinches at the sound, but doesn't move. The two men are frozen in the moment. Falfa aims, but doesn't shoot. Dove stands. Without looking back, he leaves by a side door. He walks as if expecting to be shot in the back at any moment. Kid Guitar steps between Falfa and the door through which Dove left. KID GUITAR Killing him here would have saved his soul. And condemned yours. FALFA He's got to burn in hell. KID GUITAR If that's what he deserves. FALFA Don't know anymore. PRIEST (O.S.) This is sacred ground, Michael. Both men turn toward the VOICE. The Priest stands near the confessional. PRIEST No one carries a weapon here. No one. The Priest holds out his hand to take the gun. Falfa tucks it away. FALFA I'll take it outside. PRIEST You're searching for something you cannot find.

75 FALFA We'll know that soon enough. PRIEST You are a good man, Michael. With a true heart. It is not in you to act unjustly. Be true to yourself. FALFA I'll do what it takes. PRIEST There's too much anger and vengeance in the world. We need more charity, mercy, and kindness. It starts with each one of us opening our hearts. FALFA Say a prayer for the loser. PRIEST The world will let you get away with anything, Michael. As long as you're prepared to live with the consequences. The Priest reaches out to touch Falfa's heart. Falfa brushes past him. EXT. THE BIG HOUSE - NIGHT This abandoned building is temporary sanctuary from an uncaring, selfish world for the new HOMELESS. PEDESTRIANS avert their eyes and shuffle by the outstretched hands of the BEGGARS. INT. THE BIG HOUSE - NIGHT The DRIFTWOOD PEOPLE hiding inside are all ages. There are MOTHERS, FATHERS, and CHILDREN. There are VAGRANTS and HOBOS, ALCOHOLICS and DRUGGIES young and old. A gang of football JOCKS crashes through the door, intent on a round of "Troll Bashing" and "Hobo Olympics." THE DRIFTER looks on in bemused detachment.

76

EXT. ROAD HOUSE - NIGHT Next door to the Big House, Falfa stares at the sign above one of his old drinking haunts. He sweats. He nervously plays with his upper lip. He absently cracks his knuckles. They don't crack. EXT. THE BIG HOUSE - NIGHT SPECTATORS peek through a window to see what the commotion inside is all about. Instead of helping, they LAUGH at the spectacle of rich, healthy kids kicking the crap out of penniless, emaciated street people. Falfa and the Kid peer over the CROWD's shoulders. Seeing what's going on, Falfa heads for the front door. The Kid follows. INT. THE BIG HOUSE - NIGHT Falfa whips out his gun and grabs one JOCK by the scruff of the neck. He yanks him backwards and prepares to cold-cock him. His hand stops in mid-descent. Falfa shoves the jock toward the door. He slowly puts his gun away. Falfa grabs another BULLY and hurls him into a wall. Recognizing that Falfa's someone who isn't afraid of taking care of business, the rest of the PACK scurries off in every direction. DRIFTER What's your angle? FALFA Didn't much like the odds. DRIFTER Didn't seem to bother those jellyfish. The Drifter gestures toward the FACES pressed against the panes. FALFA It's a cold world. DRIFTER Didn't used to be.

77 FALFA You look like you can still handle yourself. DRIFTER If it doesn't matter, what's the difference? FALFA Haven't figured that one out yet. DRIFTER Once upon a time, people took care of each other. Not any more. If they did, we wouldn't be living like this. FALFA Do something to change it. DRIFTER Not me. I've played the martyr before. All it got me was poor and alone. They may be gluttons for punishment. The Drifter nods toward the huddled HOMELESS. DRIFTER But, I'm not. I have no illusions any more. KID GUITAR That kind of attitude will keep you lonely. DRIFTER Absolutely. ANGLE ON THE HIGH OCTANE ARMADA POLICE COMMANDER (V.O.) (over the radio) We've got gridlock. Time to divert. Run them down the streets and out of town. EXT. CAR CITY - NIGHT Milner and Debbie sit alone in a quiet corner of the pavilion. MILNER We could have raised him, to be sure.

78 DEBBIE Just say the word. That's all you have to do. MILNER Maybe tomorrow, I'll make some calls. If it's not too late, actually. DEBBIE I think that's a very good idea. EXT. MCHENRY AVENUE - YMCA - PARKING LOT - NIGHT A large clan of FAMILY and FRIENDS celebrates. It's obvious they are close and enjoy each other's company very much. Falfa and Kid Guitar observe the Fathers and Sons, Mothers and Daughters. FALFA It's got to be tough not knowing your family. My father and me, we got along pretty well. But, you know, there was this jealousy thing. (beat) My mother and me fought a lot. He always protected her. I got on her case once. Real bad. He told me to never do it again. Because I was hurting the woman he loved. KID GUITAR Did you ever do it again? FALFA What do you think? KID GUITAR (sings) "And as I hung up the phone, it occurred to me. He'd grown up just like me. My boy was just like me." EXT. MCHENRY AVENUE - MCHENRY BOWL - NIGHT Dove works his way through a labyrinth of T-shirt VENDORS, food concessions, and information booths. It's all part of a showcase for local business put on by the Chamber of Commerce.

79

EXT. MCHENRY AVENUE - DEPARTMENT STORE - PARKING LOT NIGHT A short shit of an ancient HARD GUY tries to pick a fight with a PASSERBY. He gets away with mouthing off because he's got a bunch of bigger BAD ASSES backing him. They all wear frayed and undersized gang jackets with the name "Little Okies" stitched across the back. Checking out the banty rooster, Falfa accidentally bumps into the back of HEAVY CHEVY, gray-bearded leader of a once powerful Hispanic street gang called, "The Monarchs." HEAVY Look out, ass— (a broad smile breaks out) Falfa. You haven't gone tits up yet? FALFA Somehow land on my feet, compadre. HEAVY This is too weird. FALFA About as weird as them pachucks. Didn't you used to rumble with those guys? HEAVY Every Saturday night. FALFA How'd any of us survive all the shit we pulled? HEAVY Somebody was keepin' an eye out. You playin' ball anymore? FALFA Heart's willing. Knees aren't. HEAVY We never could beat you punks. You little guys just kept hittin' 'em in the gaps and runnin' like rabbits. FALFA Fear did it, Heavy. We thought you were going to kick the crap out of us.

80 HEAVY We talked about it. Every time you stomped us. FALFA Never thanked you. HEAVY For what? FALFA Saving my ass. Just knowing you guys kept me out of trouble more than once. HEAVY No biggie. FALFA Need another favor. HEAVY Name it. FALFA Put the word out. I need to find this kid. Falfa shows him the Polaroid. HEAVY He in some deep shit with blue? FALFA Need to get to him before they do. HEAVY You got it, bro. (Falfa turns to leave) Hey. Let's do it again someday. Maybe we can take you punks next time. EXT. CRUISIN' MCHENRY - NIGHT A hail of bottles and rocks greets a posse of mounted COPS. POLICE COMMANDER (V.O.) (over the radio) All unit leaders. Instruct your officers to don riot gear. Immediately. It's only 10PM and the shit's hitting the fan.

81

INT. THE MALL - NIGHT The paintball "Tag" game continues. The hunters enter an arcade. The victim and his girlfriend look for a place to hide. SHERIFF (V.O.) Young man. Why would you bring a loaded gun into my county? EXT. MCHENRY AVENUE - RELIGIOUS BOOKSTORE - NIGHT A SHERIFF has a young, whip-thin COWBOY pressed up against the boy's 4-wheeler. Hanging from the gun rack is a lariat. The sheriff stabs the boy's chest with a long bony finger. An assault rifle dangles at the sheriff's side. EXT. MCHENRY AVENUE - FIELD - NIGHT Ancient grape vines are stacked in several large piles scattered around a recently plowed field. They've been ripped out to make room for the housing development pictured on the sign at the front of the lot. In the foreground, a handful of Japanese BUSINESSMEN pose for photographs with the DEVELOPER. In the distance, a SILHOUETTE limps between the piles of dead vines. EXT. MCHENRY AVENUE - MCHENRY BOWL - NIGHT Falfa and Kid Guitar pick their way through the concessions and booths. EXT. CAR CITY - NIGHT Milner helps Debbie into the customized handicapped van. It looks like a race car hauler. MILNER Maybe it's time to downsize a little, truth be known. DEBBIE We can do that, Kenny.

82 MILNER I'll tell George. Let things cool off some. Take a look down the road with fresh eyes, we will. DEBBIE Give him my best. Milner touches her cheek. Debbie kisses him goodbye. INT. MCHENRY BOWL - NIGHT Falfa and Kid Guitar cut through the haze of cigarette smoke and burning kitchen-grease. We hear the thud of hard plastic against wood and the ringing of pinballs. Falfa shoves off in the direction of the clanging. Hunched over a machine is THE PINBALL WIZARD. A pinned pant leg flaps where there once was a leg. FALFA Still using coat hangers to jam the machine, Wiz? WIZARD Nope. Stirs up the ghosts. Don't jack 'em up on ashtrays no more neither. FALFA Still can't see . . . Falfa stops. There's a moment of embarrassed silence. WIZARD Me, neither. The Wizard rocks back and forth, smiling a goofy, Ray Charles, Stevie Wonder smile. FALFA I didn't mean . . . I mean, it's like. Hell, the way you play pinball is like driving with your eyes closed. WIZARD I don't mind. Got no eyes. Got no leg. But, I got the rhythm. Nobody can beat the Wizard. Just donated some body parts to the cause, not my life.

83 FALFA I would've been royally pissed. I mean, they owed you something, after all. KID GUITAR Don't get mad. Get even. WIZARD Don't figure it that way. Never wanted nothing from anybody. Won't take any free rides. Don't need much anyway. 'Sides, they say it takes more muscles to frown then it does to smile. FALFA Took some real bottom dog courage. Coming back . . . different-like. WIZARD Just lost my leg. Never lost my hope. Have to admit, I thought about flicking it in. Then I looked around . . . He smiles at his own joke. WIZARD . . . figured what the roaring back. It isn't all the life I got. (beat) Enough of that. You're something. I can smell

heck, and came much, but it's here for it on you.

FALFA A kid. Named Dove. Seen, . . . heard anything? WIZARD Lots of buzz about the boy. Friend of his, name of Eli, was showing some kind of blackmail letters around and talking trash about this brother of his. Says he was out to waste some rich local dude. FALFA Got to be Milner. WIZARD Something else. This Eli kid was boasting about burning down the town. Falfa flashes Kid Guitar the Polaroid of Dove and Eli in front of "Modesto Remembered."

84 FALFA Anything else? WIZARD Rest was kind of cryptic-like. Was saying it would happen when the full moon bleeds. FALFA Same thing Teresa said. Still doesn't make sense. WIZARD The blind will lead the blind. (smiles) FALFA We best get going. Thanks, Wiz. Keep your eyes open. And your flaps down. WIZARD Watch out for those trip wires. There's land mines everywhere. EXT. MCHENRY AVENUE - MCHENRY BOWL - NIGHT Falfa dials the pay phone. He speaks into the receiver. ANGLE ON THE ROLLING THUNDER REMUDA THE WOLFMAN (V.O.) Gotta get a message to someone. From a friend of The Wolfman. Now yuh better get back to him, or The Wolfman gonna put a curse on yer body, yuh hear. (beat) This is for "Billie the Kid," man. EXT. MCHENRY AVENUE - PARKING LOT - NIGHT Dove stops when he hears his nickname – the name Falfa used to call him – simulcast over the radios of several classic cars. THE WOLFMAN (V.O.) (straight voice) It's from "Pat Garrett." He says all is forgiven. Come in out of the cold, man. Nobody is going to hurt you. Nobody.

85

EXT. CAR CITY - REVIEWING STAND - NIGHT On the reviewing stand, The Wolfman finishes delivering his message. THE WOLFMAN (back to "The Voice") Enough of that serious stuff, boys and girls. Mercy, mercy me! Let's boogie till we choogie! Milner's back obscures Lucas from the CROWD. We hear the ragged drumming of a bad METAL BAND coming up the avenue. ANGLE ON THE PETROLEUM-POWERED PROCESSION The POLICE get aggressive about diverting traffic with flares, cones, and barricades. Falfa and Kid Guitar stay clear of the law. THE WOLFMAN (V.O.) Slow down now, yuh all. All dem wheels on fire are lightin' up the night. (beat) Ain't livin' long like this, baby. EXT. THE MALL - NIGHT The paintball "Tag" game continues. The victim has run out of room to run. His pursuers take up their positions. The victim knows he's surrounded. He looks for an escape route. There is none. He pushes his girlfriend away. The shooter sights and fires. The first paint bullet splatters the victim's chest. A second explodes between his eyes. EXT. CAR CITY - NIGHT Falfa and Kid Guitar approach the reviewing stand. Falfa catches Milner's eye and motions for him to join them.

86 Milner does. MILNER Where the hell you been, old friend? The cops were here looking for you, actually. FALFA You heard about Joanna. MILNER Really sorry, I am. Just can't believe it, I can't. FALFA Believe it. MILNER I cared about her, you know. FALFA Had interesting ways of showing it. MILNER Did the best I could, thank you. FALFA Your best didn't do her much good. MILNER Let's talk inside, if you please. Milner grabs Falfa and drags him toward the RV. Falfa yanks away from Milner's grasping hands. When they reach the door, Milner motions for Kid Guitar to stay outside. FALFA He rides where I ride. Milner shrugs and goes inside. Falfa and the Kid follow. INT. RV - NIGHT FALFA He's looking for you. MILNER (to himself) Knew it. (recovers) Why me?

87 FALFA You tell me. MILNER You're talking in riddles, yes you are. FALFA He's the one been sending the letters. Falfa pulls out the ones sent to Milner and the partially completed ones he took from Dove's room. He lays them on the table. FALFA Found these in his room. MILNER Don't believe it, no I don't. FALFA (with some satisfaction) Here's one more thing you're not going to believe, Motown. (beat) He's your son. It takes a moment to sink in. When it does, Milner collapses into a chair. MILNER This isn't happening, it just isn't. FALFA Sure it is. He's the one. The one you made her give up. MILNER Stop playing the big brother, will you please. She wasn't ready to raise a baby and you know it, sure you do. FALFA Never got a chance to find out. MILNER Too late now, I guess. FALFA No shit, Sherlock. MILNER I've got to get away, truly. Right now.

88 FALFA Sit tight. With Lucas outside, there's cops everywhere. And Donlon's men. It'll be tough to get anywhere near here. MILNER I'm going to die. Can feel it, I can. FALFA Calm down, asshole. Milner stands. He pushes his way toward the door. FALFA My sister's dead because of you, you prick. And you're still thinking of your own greedy ass. MILNER You can't blame me if she couldn't handle it, no you can't. Falfa grabs Milner by the lapels, lifts him off his feet, and throws him against the wall. Milner bounces back and falls to his knees. He reaches for his gun. Falfa grabs his wrist with one hand and removes the gun with the other. Milner stands and straightens his tie with badly shaking hands. EXT. CAR CITY - NIGHT Dove approaches the empty showroom from the west. FALFA (V.O.) I can sure as hell blame you for cutting your only son loose. My nephew, goddamn it. My flesh and blood. INT. RV - NIGHT FALFA Your son. Doesn't that mean anything to you? MILNER It's blood under the bridge, thank you.

89 FALFA Damn, nothing matters to you. MILNER Listen to you. The man who's got the corner on cold hearts, indeed. FALFA We aren't even in the same league. MILNER Get off my back, if you please. It wasn't my fault, no way. She was always weak, she was. That's why she did it, I'll bet. FALFA It's a little more complicated than that. (swallows hard) She didn't know who he was, you see. She was, you know, feeling real lonely. You know her, always trying to please everyone all the time. (struggles for words) She couldn't help herself. She . . . They . . . you know. (beat) What the fuck? You want me to draw a picture? Falfa can't bring himself to say it. The look on Milner's face tells us he knows what happened. FALFA She made a fucking mistake, okay. That's why she killed herself. Let's not make another one. I want to get to Dove and I don't want to get dead before I do. So, sit tight, all right. MILNER You going to kill him? FALFA I'm going to save him. MILNER What for? He killed your sister. Now he wants to kill me, he does. He'll kill you if you give him a chance, he will. KID GUITAR There's been enough.

90 MILNER You can't expect me to be a part of this, no you can't. FALFA Get back out there and pretend like nothing's happened. MILNER You're going to use me as bait, you are. FALFA If he can't see you, he's not going to come in. He'll know something's up. MILNER You can't risk my life. Or Lucas's. And everyone else's out there, no you can't. FALFA He only wants you. You better pray he's a bad shot. Falfa grabs Milner and drags him to the door. EXT. RV - NIGHT The full moon turns blood red. Flying clouds blind the moonlight. Dove sneaks in behind the RV. Falfa kicks open the door and exits first. He pulls Milner out behind him. As they step outside, the clouds pass and the ruddy moonlight illuminates the trio. It's a TV flashback to the basement of a Dallas jail in 1962. Out of the darkness, Dove races toward Milner. He shoves the gun in his belly, closes his eyes, and fires two shots. Milner's face registers shock and disbelief. He begins thrashing the air. Falfa reaches for Dove. Dove rips upward with his gun and catches Falfa under the chin, knocking him backwards against the RV. Dove closes his eyes and fires again.

91 Milner's chest explodes. Dove backs up, turns, and runs into the night, hobbling like Grampa McCoy in heat. MILNER (gurgles) This is horrible. Horrible. Kid Guitar looks down at the arrogant man dying in the dust. KID GUITAR (sings) "The children will live. For their elders have died." EXT./INT. CRUISIN' MCHENRY - CHEVY NOMAD - NIGHT In the back seat, a NEWBORN BOY howls at being yanked into the cold world. His MOTHER smiles through the sweat of her exhaustion. His proud FATHER looks on. THE WOLFMAN (V.O.) It's bad on the boulevard tonight, children. The blues be makin' people crazy. EXT. MCHENRY AVENUE - RAILROAD TRACKS - NIGHT We hear the drumming of steel wheels on metal tracks. The hellish midnight special spits sparks in the dark night. Dove's blazing eyes flash past. EXT. CAR CITY - NIGHT A PARAMEDIC tucks Milner's lifeless form into a body bag. He carefully straightens the corpse's tie, zips up the bag, and loads the body onto a gurney. POLICE hold ONLOOKERS back. We see the back of Lucas's head as he ducks inside the white limousine. The limo quietly pulls away. EXT. CRUISIN' MCHENRY - 'ROUND MIDNIGHT The cruising dies down as the new day begins.

92 EXT. MCHENRY AVENUE - DESERTED DRIVE-IN - AFTER MIDNIGHT Falfa and the Kid move through a gate and into the abandoned passion pit to avoid the swarm of POLICE. They crouch near the rotting snack bar. FALFA He could really be gone this time. SHADOWS materialize out of the darkness. They step into the light. Right in front of Falfa and the Kid. It's Eli and friends. Each side sizes up the other. FALFA Ears burning? ELI Say what? FALFA People been talking about you. ELI 'Bout what? FALFA Say you and your step-brother got big plans. ELI It's all him. Got nothin' to do with it. FALFA We'll see. ELI Word goin' 'round he killed some whore. FALFA She was my sister. He didn't do it. She did. ELI Holy shit. Falfa tosses the Polaroid of Dove and Eli holding guns at Eli's feet. Eli picks it up and shows it around.

93 FALFA He packing those? FALFA Pistol, maybe. Falfa flashes on Savage standing in the doorway holding a shotgun. FALFA Shotgun? ELI That's my fuck of a foster father's. Keeps it locked up most times. Snuck it out for the picture. Look bad-ass don't we? FALFA He's headed there. ELI Guess. Last stop. Trash that fat fuck's biggest dream. FALFA Milner? ELI Yeah. Kinky bitch. FALFA He's dead, too. ELI No way. FALFA Noah's in shit up to his eyeballs. ELI Dude was in trouble the day he was born. FALFA Just never fit in this world. ELI Anythin' we can do? FALFA Stay clear. Don't give the cops a reason to take you in. ELI We know him, man. How he thinks. Like, maybe we can help.

94 FALFA He's my responsibility. I have to save him. ELI He's done some nasty shit to you and your family. FALFA I forgive him. ELI Do him like he done you, dude. Get some revenge. Eye for an eye, man. FALFA We'd all be blind. KID GUITAR Those who sow trouble will someday surely reap it. Eli shoots Falfa a look of amazement and respect. ELI You're a better man than I. FALFA Remember it. Eli leads the kids away into the darkness. KID GUITAR Only one place left, Mickey. The edge of town. The end of the king's highway. EXT. TRAVELING MCHENRY - NIGHT Falfa and the Kid trudge north toward town's end. THE WOLFMAN (V.O.) Got's to watch out for each other now. 'Cause there ain't nobody else gonna do it. (beat) Put a little love in yer heart, yuh know what I mean. EXT. MIGRANT CAMP - NIGHT The camp sits on the outskirts of civilization near Del Rio Estates.

95 Deserted in winter, the camp is alive during the harvest with cars, CHILDREN, and picking CREWS unloading from windowless vans. It's here that Reclusado and Alamo live. Falfa shows Reclusado and Alamo the Polaroid. Some of the family peer over their shoulders. A few children stare wide-eyed at the anglos. RECLUSADO We heard the train. Then the dogs. There was someone in the trees behind us. We could not see his face. But, yes, I remember now. He was limping. ALAMO Like a coyote wounded in a trap. FALFA Which way? ALAMO (points) Al norte. RECLUSADO We'll take you. FALFA Gracias, amigo. EXT. "MODESTO REMEMBERED" - NIGHT "Modesto Remembered" is located on a bluff overlooking the Stanislaus River at the edge of town near Del Rio Estates. Joint-ventured by Milner and Lucas, it's dedicated to preserving another era – when Ike was president, cruising was king, and life seemed simpler. It's not even close to being finished. Part of the park is housed in an old winery, part in an abandoned cannery, the rest in a warehouse. All the old machinery has been preserved and made a part of the design. At the northern edge of the compound, a restaurant, tasting room, and space for boutique shops have been built. The centerpiece of the complex is a replica of old Modesto's downtown along Tenth Street. The street and the buildings that line Tenth Street are scaled down versions of the original. Everything is seveneighths actual size.

96 The same scale Uncle Walt used when he built Disneyland. EXT. MAIN ENTRANCE - NIGHT The main entrance is a scale model of the Modesto Arch. It opens onto one end of Tenth Street. At the opposite end of the dark street is a clock tower. The hands of the clock are stuck at high noon. EXT. PERIMETER FENCE - NIGHT Dove climbs up and over the chain link fence surrounding the complex. He drops down and limps to the arch. He looks up at the town motto, spits, and shuffles off along a set of tracks laid out for a miniature train ride. EXT. DEL RIO - WEIGH STATION - NIGHT Falfa and Kid Guitar hop out of the back of Alamo's pick-up truck onto the concrete slab. Falfa shakes hands with Reclusado and turns to leave. Reclusado lays a hand on his arm. RECLUSADO Be careful, padrone. He's cornered. He'll be dangerous. FALFA I'll do what I have to do. RECLUSADO Amigo. This young man has made a mistake, verdad? Search your heart for mercy. Help him conquer his demons. Falfa touches the brim of his hat and walks away. EXT. "MODESTO REMEMBERED" - IRRIGATION CANAL - NIGHT Falfa and the Kid approach from the western edge of the park. Running from the river, parallel to the complex, is an irrigation canal. A small feeder canal splits off the main canal, runs under the security fence, and into the park. In homage to what helped build the valley, a ride has been designed around the canal. It's appropriately named, "The

97 Submarine Races." Falfa removes his duster and hat. He checks his gun. He gestures for Kid Guitar to wait. Falfa slips into the water. He swims beneath the security fence. As soon as Falfa floats out of sight, Kid Guitar materializes on the other side of the fence. EXT. WINERY - NIGHT Dove hears something. He slams flat against the building. He draws his .45 and clumsily holds it in front of him, like a bad TV cop. Nervous sweat pours into his hunted eyes. He slithers along the building until he reaches a window. The full moon throws a long shadow. He breaks the glass and crawls through. INT. WINERY - NIGHT Dove stifles a cry of pain as he falls to the floor. He looks down at the slice in the pants of his bad leg. The fabric turns crimson. Dove's squinting eyes sweep the guts of the old winery. He sees only the ancient oaken barrels. He limps away, trailing blood. EXT. WAREHOUSE - NIGHT Falfa slithers out of the canal. He crouches at the water's edge. He hears the sound of breaking glass and drops to the ground. He draws his .45 and scurries to the wall. He moves along the wall and scales an outside stairway. At the top of the stairs, Falfa scrapes away the old putty around a single pane of a glass doorway. He pops the whole pane out, reaches in, unlocks the door, and slips inside. INT. WAREHOUSE - NIGHT The warehouse still waits for its turn at resurrection. For

98 now, it serves as storage for the rest of the renovation. Falfa scans the dusty staging area. A few weak lights illuminate all but the darkest corners. He carefully works his way down the inside steps. INT. WINERY - NIGHT Dove's pale face moves through the exhibits tracing the history of viticulture in the Central Valley. He pauses long enough to look around, then check his wound. Staring through a window behind him is the ghostly silhouette of Kid Guitar. Sensing something, Dove spins to confront an empty window frame. EXT. BREEZEWAY - NIGHT Falfa eases back the door that opens onto a breezeway connecting the warehouse and the cannery. He darts through the pool of light to the cannery door. EXT. PATIO - NIGHT Dove staggers across the patio connecting the winery and the tasting room. He looks neither left nor right. The loss of blood is making him careless. Perhaps he knows it's just a matter of time. Perhaps he doesn't care. INT. CANNERY - NIGHT Falfa ducks into the darkest shadow nearest the door. He surveys the concrete cavern before him. He sees only the brightly painted machinery. He races the length of the building. EXT. MODESTO ARCH - NIGHT Crouching low, Falfa squeezes through the door of the cannery that opens onto the main entrance and arch. Falfa scampers forward, hits the ground, rolls across the street, and comes to his feet against the wall of the winery. No shots. No sounds. Falfa cradles the gun close to his chest. He exhales. He

99 glances back at the four words spanning the arch. Resignation flicks through his eyes before he puts his shoulder to the door. INT. TASTING ROOM - NIGHT Dove shuffles across the tasting room and through the connecting door into the restaurant. INT. WINERY - NIGHT Falfa moves toward the east, McHenry side of the building. The bright whites of his eyes are visible in the gloom. He slinks along the perimeter of the building, ducking below the windows as he goes. Suddenly, he pulls up short. Shattered glass, smudged with red, glints dully in the moonlight next to a pool of blood. Falfa drops to his heels and scoots close to the glass. He smears the blood with his gun barrel. It's fresh. Falfa peeks through the window. Red spots stretch away into the darkness. He crawls through the window. INT. RESTAURANT - NIGHT Dove is weak from loss of blood, lack of food, and shot nerves. He stumbles, crashes into a table, and tumbles to the floor. Painfully, he climbs to his feet and heads for the back door. INT. WINERY - NIGHT Hearing the crash, Falfa hits the deck. He scrambles back toward the door nearest the arch. EXT. RESTAURANT - NIGHT Dove leans against the back, outside wall of the restaurant. His right hand holds the gun, slack at his side. Weakly, he leans around the corner of the building to look for Falfa. Suddenly dizzy, he slumps to his knees.

100 EXT. WINERY - NIGHT Falfa peeks around the corner toward the tasting room. Movement yanks his eyes to the far end of the complex near the restaurant. He sees Dove, hunched over. Dove tries to stand. Falfa sights in on the boy. He pulls the hammer back. He waits. He can't pull the trigger. A DOG scurries across the open ground between them. The hunter and the hunted both see the dog, then each other. Their eyes lock. Dove stumbles away from the restaurant toward the far end of Tenth Street. Falfa stands and walks into the open. He tucks away his gun, somehow sensing he no longer has anything to fear from this boy. Falfa strides toward the opposite end of Tenth Street. He cracks his knuckles. EXT. TENTH STREET - NIGHT Dove rests against the back wall of the farthest building on the northwest side of the scale model street. His eyes flick in the direction of the fleshy cracking. FALFA (O.S.) Give it up, Billie. Save us both some grief. DOVE No way, Garrett. I'm feelin' fuckin' bullet proof. Dove musters enough energy to barrel-roll into the middle of the street, fire a wild shot at Falfa, and duck behind the far wall of another building on the southwest side of the street. Ripping wide, the bullet sends Falfa diving for cover behind a building on the northeast side of the street. FALFA Pretty stupid move, kid. DOVE Could say the same for you.

101 FALFA Why'd you kill him? DOVE Was dreamin' up a double-cross. Just beat him to the punch. FALFA You were working for him? DOVE We had a deal goin' down, ya see. He was dead broke. FALFA Now he's just dead. Falfa inches up the street toward Dove's VOICE. DOVE Tha's choice. Real choice. Dove stares at the blood pooling around his foot. DOVE See, he was in way over his head. The high life was killin' him. His ol' lady was bonin' him for nearly snuffin' her in a car wreck. This place was suckin' him dry. He was gamblin' some. Least tha's what he kept tellin' us. FALFA Us? Us who? DOVE Me and some of my buds. FALFA How'd he hook up with you? DOVE Liked the little boys. FALFA Come again? DOVE For a dude who's been 'round the horn, you're pretty lame, pal. FALFA He was gay?

102 DOVE As they come. Sort of a switch hitter. Gave some of my friends money and drugs to do some kink. Liked that soft white underbelly. As Dove talks, Falfa walks closer. DOVE Me, I couldn't stand his ass. He still kept after me. Said he saw himself. I sure didn't. (tries to swallow) Reminded me of a left-handed guitar player. Somehow played it all backwards, ya know. FALFA Why'd you stick around? DOVE Get wha's mine. (takes a deep breath) Ya see, he had to make a big score. And quick. Hires me to fake his kidnap. I'd snatch him and we'd get a big ransom from his investors. He'd pay me off and take the rest. Only I figured he wasn't bein' straight with me. FALFA What were you going to do? DOVE Light out, I guess. Hadn't really thought too much 'bout it. Then he started gettin' pushy. Didn't pay me squat. Started threatenin' me and shit. (takes another breath) I figured I'd do him before he did me. Take the money and run. FALFA How'd you figure it? DOVE Didn't. Just never trusted the fuck, ya know. Not from the get-go. FALFA Ever think about the consequences?

103 DOVE Spare me the lecture, teach. (beat) Why'd they send ya after me? Why not a real cop? FALFA They didn't. They don't know it's you. They don't know where I am. DOVE How'd you get onto me? FALFA Went to your place. Found everything. The letters. The articles. All of it. DOVE Who finked? Fuckin' Eli? FALFA She told me. Sort of. (beat) After I found her. DOVE She? FALFA Joanna. DOVE That rich son of a bitch hurt her again? Bet he fucked her up to get some shit on me. FALFA Not exactly. DOVE Exactly what? FALFA She's dead, Noah. She killed herself. Falfa hears an anguished moan. He keeps moving closer to Dove's hiding place. DOVE Why? She didn't do nothin' to nobody. Why would she do somethin' like that? FALFA I'll tell you why. Falfa takes a deep breath. He continues to walk.

104 DOVE Fuck the stories, man. Just get to it. FALFA It's a tragedy. DOVE Ain't it all. FALFA About a young king. DOVE (soft, to himself) Tha's what she said. FALFA He kills his old man. Only he doesn't know it's his old man. Then sleeps with his mother. Only he doesn't know it's his mother. Dove howls. He fires two shots into the air. Falfa dives into an alleyway between two buildings. He stands, back to the wall, and draws his gun. DOVE Why didn't she fuckin' tell me? FALFA She didn't know. When she figured it out, she hung herself. She left a note. DOVE Gotta hear it, man. The whole fuckin' story. Gotta know who I am. FALFA Maybe you ought to leave it alone. For your own good. DOVE Fuck my own good. Just tell me. FALFA What's to tell. Their blood is your blood. And now their blood's on your hands. Dove lifts his painted red left hand, now smeared with his own blood, and stares at it. DOVE Man, fuckin' bad luck and trouble's been my only friend.

105 Suddenly, a shot booms out from behind Falfa. Pellets rip into the wall beside his face. Falfa spins around the corner, kicks in a door, and dives inside the building. He crawls to the nearest window, busts it out with his gun butt, and peeks out to see who fired the shot. He ducks as a Molotov cocktail explodes against the front of the building. Falfa stares through the licking flames. Grinning from across the street is the razor face of Savage. SAVAGE (to Dove) I always knew ya was a weird one, kid. Just not that fucked up. (laughs) Fuckin' laid yer ol' lady in yer ol' man's bed. Tha's rich. Savage saunters up the street. He cradles the shotgun. SAVAGE Better to be dead then live blind, eh, shithead? Dove emerges from his hiding place. He stares down the street at Falfa, then at Savage. Savage motions for Dove to come and get him. FALFA Stay out of it, Savage. Isn't your affair. SAVAGE Sure is. Always liked a good street fight. 'Sides, I was gettin' real tired of this little prick's bullshit. Was time to rid this ol' world of some more sickness. Savage snaps the shotgun to his shoulder. Before he can fire at Dove, he's distracted by movement to his left. He turns. Kid Guitar materializes, does a ZZ Top gesture, then disappears. Savage turns back too late.

106 Dove blows a hole in his foster father's forehead. Right between the eyes. Savage is dead before his butt bites the dust. Dove lowers his gun. He takes a few sluggish steps toward the burning building sheltering Falfa. FALFA Drop it, Noah. It's gone far enough. DOVE Fuck ya and the horse ya rode in on, cowboy. I'm just gettin' started. Falfa kicks out the door and dives through the smoke. He rolls to his feet. He and Dove face each other, guns loose at their sides. We hear the sound of one trigger being cocked. FALFA You don't see how much we're alike, do you? DOVE Seen too fuckin' much already. FALFA Maybe not. DOVE Tell me somethin' else I don't know. FALFA I will. (swallows hard) She was my sister. Dove staggers, like someone's just sucker-punched him. DOVE You're full of shit, man. You're just tryin' to fuck with me. Make me make a mistake. Get the drop and waste me. FALFA Not any more. You have to trust me. DOVE Don't fuckin' trust nobody, never did. Why start now? FALFA I want to help. I got to. She asked me to.

107 DOVE Don't need no savior. Just need it over. My whole life's been a bad trip. Since the day I was born. Man, it's all been a frame job. A set up. Tha's the story of my life. FALFA You can change it. DOVE What the fuck for? Ain't nobody gives a shit. (gestures) They's all like that scum bag. Rather see me long gone. FALFA I care. DOVE Listen to ya. The original high lonesome. Ya can't even help yourself. How the hell ya gonna help me? FALFA Don't know. But, I need to. Somehow. Especially now. DOVE Right. Now that I'm family. FALFA Hell, it's worth a shot. Dove walks forward. So does Falfa. DOVE Ya believe in fate? FALFA Some. DOVE Always knowed it'd end somethin' like this. FALFA Don't give up, Noah. Not now. You have to beat it. Before it beats you. DOVE No, you're the one bent on beatin' his devils. I been livin' with 'em so long it don't make no difference.

108 FALFA There's always hope. DOVE For what? FALFA Another shot. A long shot's better than no shot. DOVE Ya don't see it. I got nothin'! I am nothin'! Just a murderin' mother fucker. I got nothin' left to lose. FALFA That's bullshit self-pity, Noah. You want to kill yourself, go on. It's no skin off my ass. But, you got to believe we all got something to lose. DOVE Le's just get it over with. They both snap their guns up. Neither fires. DOVE I gotta ticket to ride. Falfa lowers his gun. Dove lowers his gun. They stare into each other's eyes. For a moment, Dove seems ready to surrender. Then, Dove raises his gun and levels it at Falfa. Dove smiles crookedly, then suddenly points the gun at his right eye and fires. As he staggers back, Falfa moves toward him. Dove holds his hand up to stop him, steadies himself, and fires into his left eye. He swings his arms outward and falls backward to the ground. Falfa rushes to kneel beside the dead boy. Kid Guitar materializes at Falfa's side. Falfa and the Kid stare at the twin crimson pools that once were Dove's eyes. FALFA I was just trying to help him, for God's sake.

109 KID GUITAR He ran out of luck. You couldn't do anything about it. FALFA Wanted him to know it was okay. That Joanna forgave him. We all did. KID GUITAR It's a circle you just can't square. Falfa tosses his gun into the soft, powdery dust near Dove's outstretched red left hand. A COCK crows. The newborn INFANT cries. Rolling thunder rumbles across the sky. Rain drops thud into the soft, thirsty dirt. Kid Guitar disappears. EXT. "MODESTO REMEMBERED" - DAYBREAK The dying moon descends as the rising sun signals a new dawn. Falfa walks through the smoke down the miniature Tenth Street toward the Modesto arch. Emergency lights whip across his face. Detective Donlon blocks his way. DONLON Typical Milner. Knew he couldn't control the real world, so he created his own little kingdom. FALFA Let the snake run Paradise. Falfa gestures over his shoulder toward Dove and Savage. Donlon motions OFFICERS, FIREMEN, and MEDICAL PERSONNEL to take care of the bodies. He pats Falfa lightly on the shoulder, then jerks his thumb toward the McHenry Avenue behind him. Falfa moves past him, under the arch, and into the darkness.

110

INT. TRAVELING MCHENRY - POLICE CAR - DAWN Falfa stares straight ahead without seeing as they head back into town. Eli and company loiter along the side of the avenue. They watch Falfa pass. EXT. CAR CITY - DAWN The reviewing stand is empty. Everyone's gone except for a couple of DETECTIVES and The Wolfman. The detectives lock the trailer and step outside the police barricade around the trailer. The Wolfman salutes Falfa as the police car passes. THE WOLFMAN (straight voice) We only get one chance at this life. Let's make it a good one. Have to help each other make it through the night. Listen to The Wolfman. Be true to yourself and everything's gonna be just fine. (slips into "The Voice") A little kiss on yer face, yuh all. I'll see yuh de next time 'round. Out on the boulevard. Kid Guitar "duh-duh-duh-duh-duhs" into "Goodnight Sweetheart" by The Spaniels. EXT. CRUISIN' MCHENRY - DAWN The strip is littered with party aftermath. The burned-out flares, broken barricades, shuttered concession stands, shattered bottles, and eerily quiet, deserted streets look strangely like an empty San Francisco from the movie, "On the Beach." The marquee above the Capri Motel says it all: "Thank God It's Over. See You Next Year. Keep on Cruisin'!" EXT. CHALET MOTEL - PARKING LOT - DAWN Falfa pulls onto McHenry, drives past the bronze statue, and through "Five Points." The rain plops on his windshield.

111 EXT. TRAVELING TENTH STREET - DAWN Falfa slows as he approaches The Ralston Hotel. All appears calm despite the storm of the night before. INT. RALSTON HOTEL - JOANNA'S SUITE - DAWN The NIGHT MAID finishes making the bed. DETECTIVES remove Joanna's personal effects. Teresa watches Falfa from the window. INT. RALSTON HOTEL - LOBBY - DAWN The Lucas ENTOURAGE attempts a daybreak getaway. They're besieged by a PACK of media hounds who've waited all night to get a statement and photo op. EXT. RALSTON HOTEL - FRONT ENTRANCE - DAWN Falfa stops in front. He watches the circus as it exits. He's distracted by movement near the fountain. It's Kid Guitar. He ZZ Tops Falfa, then disappears. Falfa does a U-turn and points his Chevy toward home. EXT. TRAVELING SOUTH SEVENTH STREET BRIDGE - DAWN As Falfa pulls onto the bridge, a muscle car begins to tailgate him. Falfa's eyes narrow for a moment, his jaw tightens. Falfa starts to pull into the middle of the lane. His face relaxes. Falfa remains in his own lane. He gestures for the car to go around. The DRIVER and RIDER hurl insults and middle fingers at him as they scream past. Falfa smiles and waves back.

112

EXT. TRAVELING LONE TREE ROAD - DAWN Falfa cruises into the rising sun. He glances into the rearview mirror at the receding landscape. He doesn't look long. He turns his gaze on the road that lies before him. EXT. WEST SIDE OF THE VALLEY - DAWN The fresh rain water washes away the dusting of salt that covers the fields. FADE OUT: THE END