Art Imitating Life

Hey there, crime kids. Happy Thursday. It's time once again to take a trip to the dark side, where your most violent fantasies become sins of the flesh, right here, where the hardboiled action is non-stop, at the coolest crime joint in cyberspace ... at That Killing Feeling.

In Chapter 7 of EXIT, the hostage situation takes a strange turn when Oscar-winning screenwriter Casey Montana carefully asks fugitive Danny Peel what crime he committed (thinking it might make a great story for her next movie), and just as he starts to tell her, gunman Vin Vargas 'accidentally' blows gay drug dealer Mickey Mertz's head off ...


INT. THE EXIT ROOM - MAIN LOUNGE - EARLY MORNING
Danny sits at the bar nursing a cocktail.
One of his shirt sleeves has been cut off.

The gunshot wound on his arm
has been dressed and bandaged.

Vin sits in a booth with his
bloody pants leg sticking out,
pointing his gun at Mickey.

MICKEY
Cutting your jeans would be stupid.

VIN
I’m not taking them off.
You cut Danny’s shirt,
you can cut my pants.

MIKEY
But it’s different.
Danny can put a jacket on,
but it’s gonna look really stupid
with one long leg and one short.

VIN
I could give a rat’s ass.
(aims his gun)
Cut the fucking pants. NOW.

MICKEY
Okay, okay.
Stop pointing that thing at me.

VIN
Shut the fuck up and
CUT MY FUCKING PANTS.

MICKEY
Okay. Calm down.
(beat)
Would you mind standing up?
I can’t get to them
with you lying down like that.

VIN
Alright.
But if you touch my junk,
you’re a dead man, got it?

AT THE BAR
Danny sits at the far end.

Looks at Sky, Easy and Angel
at the other end.

Mia looks down.
Like she’s going to cry.

DANNY
(to Mia)
Why so glum, gorgeous?
Play your cards right and
you’ll get out of this alive.

MIA
My mother had a stroke.
I need to go the hospital and see her.
If you let me go,
I promise I won’t say anything.

DANNY
Sorry, doll.
Ain’t gonna happen.

Casey comes over.
Plops in a stool.
Looks at Mia.

CASEY
Can I get a drink?
I’m starting to sober up.

DANNY
How’s she doing?

CASEY
She’s breathing.
But I really think she
should go to the hospital.
She could die.

DANNY
Yeah, but then her record sales
would go through the roof.

Mia hands Casey her drink.
She takes a sip.

CASEY
So what did you guys do?
Rob a bank?

DANNY
Nah. Don’t do banks.
(beat)
Why do you wanna know?
Think it would make a good movie?

CASEY
Maybe.

DANNY
You wrote ‘Wilshire Boulevard.’

CASEY
Yeah.

DANNY
Great fucking movie.

CASEY
Thanks.

DANNY
I love the part where
the intruder rapes the rich bitch,
but turns out to be the guy
she’s having an affair with.

CASEY
She was based on my boss’s wife
at my last job.

DANNY
(smiles)
What’s that expression?
Art imitating life?

CASEY
Very good.

Pause.

DANNY
It was a home invasion.
We ripped off a
dirty cop up in the hills.
Thought it’d be a cinch,
two against one,
but he was in bed with some slut,
and trigger-happy over there --

BANG.

Everyone JUMPS.
Turns and looks at --

MICKEY
Lying on the floor.
Half his face, gone.

DANNY
RACES over.

DANNY
What the FUCK, Vin?
What the fucking fuck did you DO?

Vin stands next to Mickey’s body
in his tighty-whiteys holding his gun,
lower lip quivering.

VIN
He -- made fun of my underwear.

DANNY
I thought he was gonna cut your pants.

VINCE
Changed my mind.
Gay guy with scissors
anywhere near my crotch?
No fucking way, Jose.

Who You Calling An Asshole?

Happy Tuesday, crime slicksters. It's time once again to take a trip to the dark side, where the girls are hot, the drinks are cold, and the hardboiled-pulp-noir action is non-stop, right here, at the coolest crime joint in cyberspace ... at That Killing Feeling.

In Chapter 6 of EXIT, pro baseball player Easy Washington gives CPR to comatose rock star Bettie blue and revives her. Meanwhile, gunmen Danny Peel and Vin Vargas enlist the help of gay drug dealer Mickey Mertz to attend to their gunshot wounds ...


INT. THE EXIT ROOM - EARLY MORNING
Bettie lies motionless, passed out.
Easy takes her pulse.

EASY
SHIT.

CASEY
What’s wrong?

EASY
She’s got no PULSE.

He starts giving her CPR,
PRESSING his hands on her chest.

Sky and Casey kneel nearby.
Casey grabs her wrist.

SKY
Holy shit.

CASEY
Still nothing.

Easy PUMPS his hands HARDER.

CASEY
Nothing. HARDER.

Easy PUMPS her chest
for all he’s worth.

Bettie JERKS back to life.
COUGHS. Opens her eyes.

BETTIE
That -- hurt.

And passes out again.
Easy strokes her forehead.

EASY
C’mon, baby. Stay with us.
(to Sky)
Help me move her over to a booth.
Make her more comfortable.

Easy and Sky pick her up.
Take her over to a booth.
Carefully lie her down.

Casey walks over.
Sits next to her.

Holds her hand.
Studies her face.

CASEY
She doesn’t look good.
We need to get her
to the hospital.

DANNY
You can take her
after we leave.

Mia comes back in.
Takes her place behind the bar.
Hands a box of rice cakes to Danny.

MIA
Rice cakes.

DANNY
(take it, makes a face)
Great.

MIA
They’re blueberry.

DANNY
Yummy.

He takes one out.
CRUNCHES a bite.
Chews. SPITS IT OUT.

DANNY
Tastes like fucking CARDBOARD.

VIN
Maybe we could order a pizza.

DANNY
Are you TRYING
to look like an idiot?
We’ll figure out something later.
The first order of business
is getting ourselves patched up.
(to Angel)
You good with that first aid kit?
Take care of a couple gunshot wounds?

ANGEL
I could try.

MICKEY
I can.
I used to be a nurse.

VIN
Why doesn’t that surprise me?

MICKEY
I was a trauma nurse, asshole.

VIN
Hey.
Who you calling an assole, FAGGOT?

DANNY
Enough with the name calling.
Let Florence Nightengale
do his thing
and shut the fuck up.

VIN
I’m not gonna
let him touch me.

DANNY
You want your leg
to get infected?
Get gangrene?

VIN
No, of course not.
(beat)
Okay, okay.

MICKEY
I promise I’ll be gentle --

This Round's On Me

Hey there, crime kids. Happy Monday. It's time once again to take a trip to the dark side, where your most violent fantasies become sins of the flesh, right here, where the hardboiled action is non-stop, at the coolest crime joint in cyberspace ... at That Killing Feeling.

In Episode 5 of EXIT, fugitive Danny Peel and his partner Vin Vargas realize they're starving, so they demand the hostages give them something to eat ... but when rock star Bettie Blue suddenly projectile vomits all over the place, things go from bad to worse ...

INT. THE EXIT ROOM - EARLY MORNING
Mia starts pouring shots for everyone.

Vin and Angel return,
Angel carrying a first aid kit.

VIN
(to Danny)
Got quite the set-up back there.
Office. Kitchen. VIP room --

DANNY
Any phones?

VIN
In the office. Disabled it.
(smiles)
One step ahead of you.

DANNY
Good work.
(to Mia)
You got a kitchen.
I’d fucking kill for a
cheeseburger about now.

MIA
(pouring shots)
Sorry. We don’t serve that.

DANNY
Well, what DO you have?

MIA
Tapas.

DANNY
What the fuck are tapas?

MIA
Spanish appetizers.

DANNY
Then bring me some tapas, barkeep.
I’m positively famished.

VIN
Yeah, I’m starving.

MIA
All we’ve got left
are pickled anchovies.

DANNY
Anchovies?
I fucking HATE anchovies.

CASEY
Why do you think
that’s all that’s left?

DANNY
(to Mia)
Do you have any crackers or peanuts,
you know, something edible?

MIA
We might have some rice cakes.
I can go look.

DANNY
Rice cakes?
(beat)
Yeah. Alright. Whatever.

VIN
Want me to go with?

DANNY
Nah.
There’s no way for her to get out.

Mia nods.
Heads off to the back.

Bettie watches her go.
Grabs the bottle.
Starts pouring more shots.

BETTIE
This round’s on me.

She DOWNS hers.
Makes a face.

Then PROJECTILE VOMITS an
ARC OF BROWN SPEW into the air.

FALLS off her stool.
HITS the floor, THWUMP.
Starts going into CONVULSIONS.

CASEY
Holy SHIT.

Easy JUMPS off his stool.
RUSHES over to her.
Takes her hand.

EASY
Somebody gimme a spoon
or something, QUICK.

INT. LADIES’ ROOM - NIGHT
As gorgeous as the rest of the joint.

Mia hurries into a stall.
Grabs a piece of toilet paper.

Takes it to the sink.
Pulls a pen out of her pocket.

Quickly scribbles on it.
Climbs up on the sink.

Reaches up, opens a casement window.
Flings the note outside --

Smooth Criminal

Hey there, crime kids. Happy Friday. It's time once again to take a trip to the dark side, where your most violent fantasies become sins of the flesh, right here, where the hardboiled action is non-stop, at the coolest crime joint in cyberspace ... at That Killing Feeling.

In Chapter 4 of EXIT, crazed gunman Danny Peel holds the group of terrified celebrities hostage at the bar of the after hours club, and then does a strange thing. Not only does he buy them a round of drinks, he engages them in friendly conversation ...

INT. THE EXIT ROOM - EARLY MORNING

Danny aims his shotgun at the group at the bar.

DANNY
Okay, everybody.
We’re gonna be here a little while,
so I want you to get nice and comfortable.
Do exactly what I say and nobody gets hurt.
(off their terrified nods)
Just because I’m covered in blood
and holding a gun doesn’t mean
I’m not a nice guy --
so, in the interest of
all of us getting along,
the next round’s on me.
(to Vin)
Vin?

VIN
Yeah?

DANNY
Can I get some of that cash?

VIN
Yeah. Sure.

He goes to the duffle, zips it open.
Grabs a banded wad of cash
and TOSSES it to Danny.

DANNY
Which one of you is the bartender?

MIA
I am.

DANNY
(SLAPS it down on the bar)
What’s the most expensive scotch you got?

MIA
M-Mcallan’s.

DANNY
I wanna buy a round for the house.

Mia goes behind the bar
to get a bottle and some glasses.

DANNY (CONT'D)
(to Sky)
Hey. You’re that movie star.
You’re in all those independent films.

SKY
Guilty as charged.
(weak smile)
With the occasional studio tentpole.

DANNY
Hey. Gotta pay the bills, right?
(laughs)
I used to wanna be an actor,
but I really like eating.
(looks around)
Whoah, Nelly. This is celeb-city.
(to Easy)
Easy Washington. My man.
Was really sorry to hear about your injury.

EASY
Not as much as I was.

Mia gives Danny his glass.
He takes a sip.

DANNY
Holy shit is that smooth.
(eyes Bettie)
And what do have we here?
Bettie Black. Big fan.
Lost my virginity to your first album.

BETTIE
Really?

DANNY
Nah. Just fuckin’ with you.
I’m more of a classic rock kinda guy.
(sips, looks at Casey)
And who is this lovely creature?

He undresses her with his eyes.
Casey blushes.

CASEY
Nobody.
(beat)
I’m a writer.

BETTIE
Shut up.
(to Danny)
She won the Oscar, hello?

DANNY
Oh, yeah.
The media gave you shit
about all your tattoos.

CASEY
My agent wanted me to
wear a long-sleeved dress,
but I said ‘fuck that.’

DANNY
Rebel outlaw girl.

Danny drains his glass.
Gestures to Mia for another.

DANNY (CONT'D)
You gotta first aid kit in this joint?

ANGEL
We do, yeah.
In the back office.

DANNY
Is there a back entrance?

ANGEL
No.

DANNY
The only way out is the way we came in?

ANGEL
Yeah.

DANNY
Isn’t that against the fire code?

ANGEL
Owner’s tight with the city.

DANNY
You the bouncer?

ANGEL
Yeah.

DANNY
(to Vin)
Vin, go with him to the office
and get the first aid kit
and scope out the rest of the joint.

VIN
(drains his glass)
You got it.

He gets up. Nods at Angel.
They head off toward the back.

Danny sips his drink.
Looks at Mickey.

DANNY
What’s your story?

MICKEY
I’m a dealer.

DANNY
Check it out.
Not afraid to admit it.
I like that.

MICKEY
Thanks.

DANNY
What do you deal?

MICKEY
You name it.
Weed, X, coke, shrooms, meth, xanax, oxy --

DANNY
Are you holding?

MICKEY
I’ve got a little blow on me.

DANNY
We might need some of that later.
(off his look)
Don’t worry, I’ll pay for it.
I may be a fugitive from the law,
but I don’t steal from other criminals
unless they fuck with me.

MICKEY
That’s -- great.

DANNY
Are you a top or a bottom?

MICKEY
Excuse me?

DANNY
You heard me.
Do you pitch or catch?

MICKEY
I’m -- versatile.

DANNY
I’ll keep that under advisement.

MICKEY
Okay --

DANNY
Relax. Just fucking with you.
(looks around)
C’mon, everybody.
Stop looking like the dog just died.
Let’s PARTY.
(to Mia)
Barkeep. Another round for my friends --

Better Late Than Never

Happy Thursday, crime slicksters. It's time once again to take a trip to the dark side, where the girls are hot, the drinks are cold, and the hardboiled-pulp-noir action is non-stop, right here, at the coolest crime joint in cyberspace ... at That Killing Feeling.

In Chapter 3 of EXIT, Angel the bouncer's dealer arrives at the after-hours club right before closing, just as bartender Mia get a call on her cell that her mother's had a stroke and is being rushed to the hospital ... then somebody starts pounding on the door, yelling that it's an emergency, and when Mia goes to open it, two crazed criminals covered in blood rush in and hold everybody hostage at gunpoint ...


INT. THE EXIT ROOM - NIGHT
Angel RACES to the door. Unlocks it.

MICKEY MERTZ (30’s) walks in.
Tall, blonde and rakish
in the lastest hipster threads.

Boyish looks a bit fuzzy
due to hard-partying.

Eyes burning from the combination
of chemicals dancing in his head.

MICKEY
I made it.

ANGEL
Got here just in time.
We’re closing soon.

MICKEY
You know what they say,
‘better late than never.’

ANGEL
(fake smile)
Yeah, right.

MICKEY
So where we gonna do this?

ANGEL
VIP room.

MICKEY
Lead on, Macduff.

They head off toward the back.
The buzzer RINGS again.

MIA
Angel, the door.

ANGEL
(over his shoulder)
Tell ‘em we’re closed.

They disappear.
Mia shakes her head.
Walks over to the door.

MIA
Sorry. We’re closed.

ANGRY GUY (O.C.)
It’s an emergency. Open up.

MIA
We’re closed.

ANGRY GUY (O.C.)
I need help. I’m bleeding.

MIA
Then call nine-one-one.

ANGRY GUY (O.C.)
I don’t have a phone.
PLEASE. I need your HELP.

Mia’s cell phone RINGS.
She looks. Answers it.

MIA
Hey, sis.
What’s up?
Calling kinda late --

Distracted, she opens the door, listening.
We hear WILD CHATTER on her phone.

MIA (CONT'D)
Mom had a STROKE?

Two BIG MEN BURST INTO THE ROOM.

The bigger guy holds a sawed-off shotgun,
the other a chrome handgun
and a giant duffle bag.

Bigger Guy aims the shotgun
at the girls at the bar.

BIGGER GUY
Cell phones, ON THE FLOOR, NOW.

Meet DANNY PEEL (40’s).
Would be a dead ringer for George Clooney,
except you can tell he parties too much.

Arm a bloody mess.
Eyes wild and desperate.
But still kinda hot.

DANNY
CELL PHONES. NOW.

He aims the shotgun at the ceiling.
FIRES. BANG.

Plaster RAINS DOWN.
Mia SCREAMS.

Bettie and Casey TOSS their phones.
Sky and Easy TOSS theirs.
Mia DROPS hers.

ANGEL AND MICK
Appear in the doorway.

ANGEL
Holy shit.

MICKEY
Ohmigod.

Smaller Guy,
bleeding from the leg,
aims his gun at them.

SMALLER GUY
Glad you could join the party.
Toss your phones, NOW.

Meet VIN VARGAS (30’S),
your typical grunt cop gone to seed.

Paunchy.
Dark circles under his eyes.

Sweating like crazy.
Eyes darting back and forth.
Pumped with adrenaline.

ANGEL
Okay, okay. Don’t shoot.

Angel and Mickey TOSS their phones.

DANNY
Okay. Everybody go sit at the bar.
(to Vin)
Smash ‘em.

VIN
You got it.

He drops the bag.
Starts CRUNCHING them with his boot.

Sky, Easy, Angel and Mickey
move to the bar.
Take stools.

DANNY
Okay, everybody.
We’re gonna be here a little while,
so I want you to get nice and comfortable.
Do exactly what I say and nobody gets hurt --

Secrets & Lies

Hey there, crime kids. Happy Hump Day. It's time once again to take a trip to the dark side, where your most violent fantasies become sins of the flesh, right here, where the hardboiled action is non-stop, at the coolest crime joint in cyberspace ... at That Killing Feeling.

In Chapter 2 of EXIT, we meet pro baseball player Easy Washington and indie movie hunk Sky Masters, who are also drowning their sorrows in top-shelf liquor at the after hours club ... and soon reveal their deep, dark secrets to each other. Meanwhile, Angel, the bouncer, reveals to Mia that he's late paying the vig to a loan shark, and that he's waiting for his dealer to arrive to give him more coke to sell ...


INT. THE EXIT ROOM - BACK BOOTH - NIGHT
A pair of GOOD-LOOKING GUYS drink glasses
of top shelf single malt scotch,
deep in conversation.

SKY MASTERS (30’s) indie hipster movie hunk,
smallish, thin, carefully ratty-looking
takes a sip. Eyes bleary.

SKY
Nah. I was a drama nerd.
Couldn’t play worth shit.

EASY WASHINGTON (30’s),
African-American pro baseball player,
big, even better-looking,
swirls his glass.

EASY
Lucky for you --
(takes a sip)
You get injured,
you can still act.
I get injured,
I get fucking traded.

SKY
There’s other ways
you can fuck up your career.

EASY
Please.
You’re the golden boy.
Critics and audiences love you.

SKY
Yeah, well --
(sips)
They don’t know.

EASY
Know what?
(off his stare)
C’mon, man.
Out with it.
What’s the big secret?

Sky stares at him.
Raises his glass.
Drains it in one gulp.

SKY
Found out I’m HIV-positive.

EASY
Damn.
(beat)
Hey. That doesn’t necessarily mean you’re --
I mean, look at Magic Johnson.

SKY
I didn’t get it from fucking.

EASY
You shooting SMACK?

SKY
You wanna say that a little louder?

EASY
Sorry.

SKY
And you wanna know the REAL clincher?
(pours more)
I’m getting married tomorrow.

EASY
Does she know?

SKY
No.

EASY
(raises his glass)
The truth will set you free.

He downs it.

SKY
Now you know what I’m
doing here at five in the morning
instead of being with my fiance.

EASY
Bet that’s a big load off your mind.
(off his look)
Sharing your deepest, darkest secret.

SKY
I guess. Sorta.

Easy grabs the bottle.
Pours them another.

EASY
The media’s gonna break a big story
about me today. Major scandal.

SKY
What.
You cheated on your wife?
There’s no way it can be as bad as --

EASY
Wanna bet?
(off his look)
It wasn’t with another woman.

SKY
You’re sleeping with another dude?
Big fucking deal.
Welcome to Hollywood.

EASY
The dude’s another player.

PUSH IN ON Easy’s face.
Resigned to his fate.

AT THE BAR
Sitting at the far end is ANGEL DIAZ (20’s),
the bouncer, big and burly.

Also great-looking, like a model.
But looks a bit frayed around the edges.
He chats up Mia.

ANGEL
I’m so fucked.
They’re gonna break my knees
if I don’t make another payment
like yesterday.
(low, to himself)
Where the fuck IS he?

MIA
Who are you waiting for?

ANGEL
Mickey, my dealer.
He’s gonna give me a little more credit.

MIA
But I thought you already had coke.

ANGEL
I did, but it was stolen last night.
Now I need more to sell to make the vig.

MIA
And you want to sell it here?
Are you crazy? You’re lucky
Klaus didn’t fire your ass
after you got caught last time.

ANGEL
I got no choice, Mia.
I’m outta options.
I need to make the vig.

MIA
(nods at the customers)
What makes you sure
they’re gonna buy it?

ANGEL
Please. Wasted celebrities
in an after-hours joint?
We should have a fucking vending machine.

The buzzer RINGS.

ANGEL
He's here.
Thank fucking god.

Double Vision

Happy Tuesday, crime slicksters. It's time once again to take a trip to the dark side, where the girls are hot, the drinks are cold, and the hardboiled-pulp-noir action is non-stop, right here, at the coolest crime joint in cyberspace ... at That Killing Feeling.

Our next story is EXIT, a single-location crime thriller. It takes place in an after-hours club, where a small group of celebrities are getting wasted just before dawn. But when a pair of crazed gunmen storm in and take them hostage, their lives change forever.

In Chapter 1, we meet fading goth/grunge/punk rock star Bettie Blue, and Oscar-winning screenwriter Casey Montana, who are right now drowning their sorrows in a bottle of top-shelf tequila ...


EXT. THE SUNSET STRIP - NIGHT
A CHYRON reads ‘August 16, 4:47 AM.’

An occasional CAR passes by.
An occasional HOOKER works the stroll.

A trio of WASTED PARTY GIRLS (18)
turn a corner and stagger down a side street
looking for their car.

CAMERA ZOOMS IN ON a SMALL WHITE BUILDING
that was once a bank, now a
high-end designer boutique
at the foot of the Hollywood Hills
in the Sunset Plaza shopping district.

CAMERA GLIDES OVER to the side of the building,
where we see a STAIRCASE to the basement.

CAMERA GLIDES DOWN THE STAIRS
and STOPS at the door.

No window. No sign.
Just a small red buzzer.

INT. AFTER HOURS CLUB - NIGHT
Plush and jazzy. Part Art Deco. Part tiki lounge.
The dim, pin-spot lighting makes the joint seem to glow.

Welcome to The Exit Room.
Hot and cold running decadance until dawn.

Standing behind the long, polished bar
is MIA TANAKA (20’s), mixologist deluxe,
shiny black hair down to her ass.

Looking every bit the wannabe actress she is.
Right now she’s cutting up lime wedges
and evesdropping on --

A pair of WOMEN
doing shots of top-shelf tequila.

They SLAM them down,
then CRACK their shot glasses on the bar.

The dark-haired chick grabs the bottle.
Pours two more.

DARK-HAIRED CHICK
(raises hers)
To the best fucking screenwriter in HOLLYWOOD.

Meet BETTIE BLACK (40),
fading grungy-goth rock star.

Still good-looking,
but now a bit rough around the edges.

But still sexy in revealing,
ripped black threads.

If you squint your eyes.

She lights a new smoke off the old one.
A crooked grin.

BLONDE BABE
(raises hers)
To the best poet since PATTI SMITH.

Meet CASEY MONTANA (20’s),
white-hot Oscar-winning screenwriter.

Sexy-dirty, working that vintage pinup look.
The black and blue streaks in her hair
match her outfit.

BETTIE
Patti Smith? Really?

CASEY
Hey. If you’re gonna compare me
to Quentin Tarantino --

They DOWN them.

BETTIE
Flattery will get your clit sucked.

Bettie pours two more.
They DOWN them.
CRACK their glasses.

CASEY
Yow.
That’ll grow hair on your tits.

BETTIE
What are you working on now?

CASEY
That bottle. Keep pouring.

BETTIE
Ever seen Leaving Las Vegas?
Wanna write the rock star version?

CASEY
Only if Nic Cage plays you.

BETTIE
Pay him enough, he probably would.

They DOWN them.

BETTIE (CONT'D)
Doctor says if I don’t stop drinking,
I’ll die.
(pours more)
Works for me.

CASEY
Hey. Don’t talk like that.

BETTIE
(downs hers)
It’s the end of the road, baby.
My label says if I don’t go to rehab,
they’re dropping me.

CASEY
(downs hers)
But you don’t seriously mean --

BETTIE
(pours more)
You don’t know my pain.

CASEY
Well, if we’re playing
‘to tell the truth,’
I’m in a bit of a crisis myself.

They raise their shots.
Nod. SLAM them. CRACK.

BETTIE
Oh, yeah?
Having a hard time
spending all that money?

CASEY
No, that’s easy. It’s --
(beat)
I can’t come up with my next story.
I’m blocked.
(off her look)
It took me a year to write the first one.
I wrote it longhand during my lunch hour,
carefully crafting it.
Now they want another one
right away, and I can’t --
(beat)
Can you imagine the pressure
after winning the Oscar?

BETTIE
Hey.

CASEY
What.

BETTIE
There’s two of you.

CASEY
Two of me --

BETTIE
Got double vision.
See two of you.
(puts hand over one eye)
One --
(takes it off)
Two.

CASEY
I think that calls for another drink --

All In The Family

Hey there, crime kids. Happy Monday. It's time once again to take a trip to the dark side, where your most violent fantasies become sins of the flesh, right here, where the hardboiled action is non-stop, at the coolest crime joint in cyberspace ... at That Killing Feeling.

In Chapter 38 of NOWHERE GIRL, we reach the exciting conclusion of our story, wherein twin sister super-spies Cherry Nation and April Street have their final confrontation with their long-lost father, black ops spook Sledge Crafton. But first, they need to escape from their prison cell, which is rapidly filling with water ...


INT. INTERROGATION ROOM - NIGHT
The water is now up their waists.

The girls have now blown out a
nice-sized hole in the ceiling
about six-inches deep.

APRIL
This isn’t gonna work.
We’re gonna have think of something else.

CHERRY
Let me get up on your shoulders.
Maybe it’s not that thick.

APRIL
Okay.

April cups her hands.
Cherry climbs up April.

Stands on her shoulders.
Pushes the ceiling where they’ve shot it out.

Nothing.

CHERRY
Shit! We’re gonna DIE!

APRIL
Don’t EVER say that.
We’re NOT gonna die.

Cherry JUMPS down.
Hits the water with a SPLASH.

CHERRY
Then tell me, what
THE FUCK are we GONNA DO?

She BURSTS into tears.
April GRABS her. Hugs her.

APRIL
Shhhhh, it’s okay --
I’m gonna figure something out.

INT. INTELLIGENCE OFFICE - AT THAT MOMENT
Sledge holds an old, dog-eared Polaroid in his hand.
A tear streaks down his cheek.

CLOSE ON --
The photograph.

We see two three-year-old little girls.
Gorgeous. Happy. Smiling. APRIL and ABBY.

SLEDGE
Pulls out a cigarette lighter.
Sets it on FIRE.

Tosses it in the ashtray on his desk.

SLEDGE
Ashes to ashes --

He wipes his cheek.
Pours a shot of something brown.

Downs it.
Punches on the speakerphone.

SLEDGE (CONT’D)
You about ready, Donner?

INT. INTERROGATION ROOM - AT THAT MOMENT
The water has reached the girl’s necks.
Pretty soon they’re gonna have to
start treading water.

CHERRY
I don’t CARE if it’s DANGEROUS.
Let’s fucking DO IT.

APRIL
Okay.
(beat)
One last thing.
In case we -- don’t make it out of this --
I just want you to know that I’m proud
to have you as a sister.=
(beat)
You can really kick ass.

CHERRY
(smiles, teary-eyed)
You, too -- sis.
(beat)
I mean -- I’m proud, too.

They hug.
April pulls away.
Holds up a GRENADE.

APRIL
Okay -- here’s the plan.
It explodes in three seconds.
We’re gonna go to the wall
opposite the window.
I’m gonna pull the pin
and count ONE, TWO --
and then THROW IT at the window --
then we dive down to
the bottom and hold our breath.
The water might just shield us
from the blast.

CHERRY
Let’s DO IT.

APRIL
Okay.

They slog through the water
to the opposite wall.

April holds up the grenade.
Looks at Cherry, who nods --
April PULLS THE PIN.

APRIL (CONT’D)
ONE, TWO --

And HURLS it at the window.
They DIVE.

UNDER WATER
The girls swim to the bottom.

THE WINDOW
EXPLODES in a million pieces.

Torrents of water start
GUSHING through the opening.

UNDER WATER
The explosion ROCKS
the girls against the wall. OOF.

INT. INTELLIGENCE OFFICE - AT THAT MOMENT
A wave of water CRASHES into Sledge’s office.

SLEDGE
What the fuck?

He JUMPS up on his desk.
Pulls out his Browning 9mm.

APRIL AND CHERRY
Appear in the doorway.
Wet. Weapons aimed.

APRIL
Drop the gun, Father.
We’re taking you in.

Sledge looks at the girls.
Tears in his eyes.

SLEDGE
You girls really make me proud.

He puts the gun in his mouth.
And BLOWS HIS HEAD OFF -- BANG.

Brains and blood SPRAY
the window behind him.

His body CRUMPLES
to a heap on the desk.

CHERRY
Holy shit.

APRIL
I know.

CHERRY
Holy shit.

APRIL
I know.
(beat)
Holy shit.

DONNER
Appears in the doorway.

DONNER
What the -- ?

Cherry FLIPS UP her Glock
and BLASTS Donner in the forehead.

Red dot like a third eye.
She FALLS OVER, THUMP.

APRIL
Nice shot.

CHERRY
Thanks. I’m really starting
to groove on this spy shit.

APRIL
Hey. All in the family.

EXT./INT. MINI COOPER - MOVING - MOMENTS LATER
The girls cruise down Hollywood Boulevard.

Pass Grauman’s Chinese Theater,
the wind whipping their hair.

CHERRY
Goddammit.
My adrenaline is still pumping.

APRIL
Kinda cool, huh.
Welcome to the club.

CHERRY
Does Interpol have any openings?

APRIL
Are you kidding?
When I tell them I have a twin,
they’ll shit bricks.
You’re In Like Flynt, Agent Nation.

CHERRY
'Agent Nation.'
I like the sound of that.
Got a nice ring to it.
(beat)
So what are you gonna do
with your half-million?

APRIL
My --

CHERRY
Half of the money.
In the attache case.
It’s in the trunk.

April shoots her a look. Beams.

APRIL
Let’s go grab some breakfast.
My treat. I’m fucking starving --

Come To Poppa

Hey there, crime kids. Happy Friday. It's time once again to take a trip to the dark side, where your most violent fantasies become sins of the flesh, right here, where the hardboiled action is non-stop, at the coolest crime joint in cyberspace ... at That Killing Feeling.

In Chapter 36 of NOWHERE GIRL, long-lost twin sister spies Cherry Nation and April Street infiltrate black ops spook Sledge Crafton's secret lair, where he holds them captive ... and then reveals a shocking secret about their past ...


INT. INTERROGATION ROOM - NIGHT
The door behind Cherry and April SLAMS shut with a BANG.

APRIL
I KNEW it.
(looks around)
CRAFTON. Show yourself!

The window shade SLIDES UP.
Behind it stands Crafton.

SLEDGE
Ladies.

APRIL
What’s the big idea?
You can’t keep us locked up in here.
People know where we are.

SLEDGE
I’m afraid not.
They’re all dead.

APRIL
Then what do you want from us?

SLEDGE
That, my dear,
is the question of the hour.
Please have a seat.
I’ve got a story to tell you.

The girls sit.

SLEDGE (CONT’D)
In the early eighties,
I was missing in action in Nicaragua --
and during this period of time my
CRAZY BITCH of a wife put our
lovely two daughters up for adoption --
after she ran off to the UK
with a rock star.
(beat)
Those were heady times.
It was pre-AIDS, ecstacy was legal --

APRIL
What’s with the life story?
Get to the fucking POINT.

SLEDGE
The point?
You want me to GET TO THE POINT?
(beat)
Well, like I SAID --
my wife put our lovely
young daughters up for adoption.
Such a sad fate for
two little four-year-old girls.
How tragic would it be
if they were separated?

April and Cherry exchange glances.
What the fuck?

SLEDGE (CONT'D)
You know the rest of the story --
because you’ve LIVED it.
(beat)
That’s right -- I’m your FATHER.
I scoured the globe
for years tracking you down.
Of course I was
incredibly happy to discover
that my little April
had become an agent for Interpol.
That little apple didn’t
fall too far from the tree.
But, however, I was dismayed
to discover that my little Abby
had changed her name to CHERRY,
and had become a PORN STAR
and then a STRIPPER.
To say I was disappointed w
ould be an understatement.
(beat)
Then I decided to find a way
in which I could get
you two back together --
in my loving arms.
(beat)
This whole thing has been A TEST.
A MILITARY EXERCISE.
And you both passed --
with FLYING COLORS.
(to April)
I was right -- that if you took
Abby under your wing,
she’d grow some balls.

CHERRY
My name is CHERRY, not Abby.

APRIL
You fucking SLEPT with me, you -- MONSTER.

SLEDGE
A momentary lapse, I’m afraid.
(beat)
You ARE the spitting image of your mother.

April LEAPS up.
SLAPS the window.

APRIL
What THE FUCK do you want from us?

SLEDGE
(strange smile)
What any father wants
from his darling daughters.
I’ve created a nice little empire, you know.
I’d like you to come work with me --
and live with me.
(beat)
Imagine the possibilities.
(low)
Come to Poppa.

April POUNDS on the window.
Cherry watches, in shock.

APRIL
You’re the most depraved
human being I’ve ever MET.
We wouldn’t work for you
if you were the last person ON EARTH.
(beat)
Daddy.

CHERRY
YEAH. So why don’t you go
FUCK YOURSELF and DIE.

Crafton shakes his head slowly.

SLEDGE
I was hopping you wouldn’t say that.
Can’t blame a guy for trying.

He takes out his cell.
Mumbles something. Hangs up.

SLEDGE (CONT’D)
My heart -- is broken.

The window shade CLOSES.
Water starts GUSHING down
from a row of pipes in the ceiling.

CHERRY
What the fuck?

APRIL
Stand back!

April raises her Sig Sauer.
SHOOTS at the door.

The bullets FLY OFF and
RICOCHET around the room.

Cherry aims at the window.
SHOOTS a SPRAY OF BULLETS at it.

They, too BOUNCE of the glass
and RICOCHET.

The water swirls around,
now reaching up to their knees.

APRIL (CONT’D)
The CEILING.
Let’s see if we can blow a HOLE in it.

CHERRY
Let’s DO IT.

The girls raise their weapons.
Start FIRING at the ceiling.
Chunks of cement start FLYING off.

[ Don't miss the exciting conclusion on Monday ... ]

Give Violence A Chance

Hey there, crime kids. Happy Hump Day. It's time once again to take a trip to the dark side, where your most violent fantasies become sins of the flesh, right here, where the hardboiled action is non-stop, at the coolest crime joint in cyberspace ... at That Killing Feeling.

In Chapter 35 of NOWHERE GIRL, Homeland Security agent April Street and her long-lost sister, stripper Cherry Nation arrive at black ops spook Sledge Crafton's secret lair, hidden inside the Capitol Records building in Hollywood, to confront him about his dastardly deeds ...


EXT. CAPITOL RECORDS BUILDING - MORNING
The famous circular landmark gleams in the morning light.
April and Cherry pull up in a red Mini Cooper convertible.

INT. MINI COOPER - CONTINUOUS
April shuts off the engine.
They jump out of the car.

EXT. VINE STREET - CAPITOL RECORDS BUILDING - CONTINUOUS
April looks down at John Lennon’s plaque on the Walk of Fame.

APRIL
Look. Lennon’s star.

CHERRY
Hey. Give Violence A Chance.

They walk to the front door. It’s LOCKED.

Cherry peers in the window.
Sees a GUARD sitting at a desk.

CHERRY (CONT'D)
I’ve got an idea.

She KNOCK-KNOCK-KNOCKS on the glass.

THE GUARD
Looks up. Shakes his head.
Mouths WE’RE NOT OPEN.

CHERRY
STOMPS her foot. Shouts --

CHERRY (CONT’D)
We’re here for the RECORDING SESSION.

THE GUARD
Looks puzzled. What recording session?

CHERRY
POUNDS on the glass.

CHERRY (CONT’D)
MICHAEL JACKSON! Hurry up and LET US IN.

THE GUARD
Walks over to the door.
Unlocks it. Opens it a crack.

GUARD
Did you say MICHAEL JACKSON?

CHERRY
Yeah. We’re background singers.
And we’re late.

GUARD
You’re full-a-shit.
There’s no recording here anymore.
And he’s DEAD.

CHERRY
EXACTLY. Quincy Jones is mixing
some new tracks that were just discovered.
That’s why he’s using the basement studio.
You know how he is about secrecy.

April KICKS the door into the guard’s face, THWUNK.
He goes down.

She pushes it open.
Walks in. Cherry follows.

INT. CAPITOL RECORDS BUILDING - LOBBY - CONTINUOUS
April and Cherry drag the guard over to his desk.
Prop him up in his chair.

Dash over to the elevator banks.
Push UP.

A SECURITY CAMERA
On the ceiling moves in their direction.

INT. INTELLIGENCE OFFICE - LOBBY - AT THAT MOMENT
A FEMALE OPERATIVE (20’s) sits at a desk
in the lobby of Crafton’s suite of offices
watching video monitors.

She dials a number. Listens.

FEMALE OPERATIVE
Chief? We’ve got company.

INTERCUT WITH:

INT. CRAFTON’S OFFICE - CONTINUOUS
Crafton WHIRLS his chair around.
Leans into his speakerphone.

SLEDGE
Who is it Donner, Street?

DONNER
Yeah. And she’s got someone with her.
Some chick dressed like a go-go girl.

SLEDGE
I had a feeling.
Put them in the interrogation room.
Tell them I’ll be right there.

DONNER
Yes, sir.

Sledge WHIRLS around in his chair.
Faces a table behind his desk.

He leans over.
SNORTS a line of coke.
Then ANOTHER.

SLEDGE
(rubs his nose)
Alright, ladies -- it’s SHOWTIME.

INT. ELEVATOR - CONTINUOUS
April and Cherry arrive at the top floor.
The doors OPEN.

They walk out into the corridor.
A LARGE METAL DOOR faces them.

No name. No number.
Just a small lit button on a silver panel.

April pulls out her Sig Sauer.
Raises it.

APRIL
Ready?

Cherry pulls out her Glock.

CHERRY
Let’s do it.

April presses the button.
The door SLIDES OPEN.

INT. INTELLIGENCE OFFICE - LOBBY - CONTINUOUS
They walk into the lobby.

We now see that Donner’s desk is in
a bullet-proof glass cubicle
in a corner of the room.

CHERRY
What is this, Austin Powers?

APRIL
He always had a flair for the dramatic.

Donner’s voice comes over hidden speakers.

DONNER
Ladies, glad you could join us.
Mr. Crafton has been expecting you.

April walks over the cubicle.
Stares down Donner.

APRIL
Well, isn’t that a coincidence.

A steel door SLIDES OPENS in the wall.

DONNER
Right through that door, please.
He’ll be right with you.

The girls look at the open doorway suspiciously.

APRIL
How do we know this isn’t a trap?

CHERRY
Cover me, and I’ll go take a look.

APRIL
Okay.

Cherry walks over to the doorway.
Stops. Looks in.

INT. INTERROGATION ROOM - CONTINUOUS
Steel walls. A table with chairs.
Glass window. Shades drawn.

CHERRY
Turns her head.

CHERRY
Looks fine to me.

April marches over, and they walk in --

The Spy Who Left Me

Happy Tuesday, crime slicksters. It's time once again to take a trip to the dark side, where the girls are hot, the drinks are cold, and the hardboiled-pulp-noir action is non-stop, right here, at the coolest crime joint in cyberspace ... at That Killing Feeling.

In Chapter 34 of NOWHERE GIRL, Homeland Security agent Cherry Nation is horrified to discover that CIA analyist Lark Storm is a mole working for her arch-nemisis Sledge Crafton and is responsible for the death of her ex, agent Shag Holliday ... right before Lark is assassinated ... and just as Sledge's spooks RAM her car with Hummer, setting them off on a high-speed chase ...


EXT. HOLLYWOOD HILLS - DAWN
A beautiful sunrise.

FIRE TRUCKS and PATROL CARS
make their way up into the hills.
NEWS CHOPPERS fly overhead.

INT. BOMB SQUAD TRUCK - MOVING - CONTINUOUS
April punches in a number on her cell. Listens.

APRIL
Lark? You there?

INTERCUT WITH:

INT. CIA HEADQUARTERS - CUBICLE
Lark sits at her workstation,
blowing on her hundredth cup of coffee.
Dark circles under haunted eyes.

LARK
Barely.

APRIL
I need Crafton’s location.

LARK
I can’t --

APRIL
I thought this line was encrypted.

LARK
It is, but -- I can’t --

APRIL
Wait a minute.

LARK
What.

APRIL
You never sent back-up because
you’re working for him, AREN’T you.
You’re a fucking MOLE.
(beat)
My GOD am I STUPID.

A FIGURE IN BLACK SHADES
Appears at the end of the row of cubicles.

APRIL (CONT’D)
And you got Shag killed.

LARK
NO. That wasn’t -- my fault.

APRIL
Give me his location. NOW.

THE FIGURE
Starts walking toward Lark’s workstation.

APRIL (CONT’D)
You’re a disgrace to your flag.
You KNOW that? This is your chance
to prove that not ALL American agents are corrupt.

LARK
Shag wasn’t corrupt!

APRIL
But you got him KILLED.

Lark GASPS. Her eyes fill with tears.

LARK
Crafton’s HQ is in the Capitol Records building.
He’s got the whole top floor.

The figure reaches Lark’s cubicle.
He raises a 9mm Baretta with a silencer,
and SHOOTS her in the head -- THWIP.

APRIL
Good girl, now you’re talking -- thanks.
(listens)
Lark?
(beat)
Lark?
(to Cherry)
She hung up.

She looks at Cherry, white as a ghost.

CHERRY
Shag’s DEAD?

APRIL
One of Crafton’s assassins.
I’m sorry, love.
I didn’t know how to tell you.
(beat)
I’m sorry.

CHERRY
Poor Shag. My god.
(beat)
He drove me crazy, you know?
But he meant well,
he was -- such a great guy,
I don’t know what I’m gonna --
(beat)
SHIT, my KIDS.
Can I borrow your cell phone?

April hands it over.
Cherry PUNCHES in a number. Listens.

CHERRY (CONT’D)
Hello, Jamie? It’s mommy.
(listens)
I miss you, too.
I’m sorry I woke you --
(listens)
I’m so glad you’re having fun.
You love your Nanna, don’t you?
(listens)
I have good news.
I might be coming home
sooner than I thought.
(listens)
I love you, too.
Go back to sleep.

She clicks the phone shut. Relieved.

APRIL
Thank god for small miracles, huh?

CHERRY
Yeah.

The truck is RAMMED from behind.
They JERK in their seats.

CHERRY (CONT'D)
What the FUCK was that?

APRIL
(looks in rear view)
We’re being tailed --
(another BANG)
By a fucking HUMMER.

CHERRY
But this truck’s bigger than a Hummer.

APRIL
Exactly. Hold onto your tits.

April JAMS on the breaks -- SCREEEEECH.

EXT. SUNSET BOULEVARD - CONTINUOUS
The Hummer SMASHES into the back of the truck.

IN THE TRUCK
April JAMS it into reverse --
and HITS THE GAS.

ON THE STREET
The truck starts PUSHING the Hummer backwards.
Cars HONK. SWERVE to get out of the way.

IN THE HUMMER
The DRIVER curses.
Pulls out an AUTOMATIC WEAPON.
Sticks it out the window. PUMPS it.

THE TRUCK
Gets SPRAYED with bullets.

IN THE TRUCK
April hands Cherry her Sig Sauer.

APRIL
Here ya go, love --
shoot his fucking nuts off.

CHERRY
MOTHER-FUCKER.

Cherry takes the gun.
Opens her window. Leans out.

Starts FIRING at the Hummer.
SPRAYS it with bullets.

THE DRIVER OF THE HUMMER
Aims for the truck’s rear tires.

Gets the left. BANG.
Then the right. BANG.

IN THE TRUCK
April SWERVES the wheel.

APRIL
He’s shooting our TIRES. Get HIS!

CHERRY
Leans further out the window.
SPRAYS bullets on the Hummer’s front tires.

THE HUMMER
Swerves.

THE TRUCK AND THE HUMMER
Reach an intersection.

The truck’s wheels SCREECH on their rims,
PUSHING the Hummer into ONCOMING TRAFFIC.

A CITY BUS
SMASHES into the Hummer -- BANG. Bye-bye.

IN THE TRUCK
April pulls the truck over to the curb.
Looks at Cherry.

APRIL (CONT’D)
Nice shooting.

CHERRY
Nice driving.

APRIL
You okay?

CHERRY
Well, since you asked --
I feel like I’m gonna puke.
(realizes, turns her head)
Peeler? You back there? You okay?

Cherry swivels in her seat.
Looks in the rear.

THE BACK DOOR
Is open. The compartment is empty.

CHERRY (CONT’D)
He’s gone. Story of my life.

APRIL
Welcome to the world of espionage.
The Spy Who Left Me.
(beat)
C’mon, we gotta get new wheels.

Collateral Damage

Hey there, crime kids. Happy Monday. It's time once again to take a trip to the dark side, where your most violent fantasies become sins of the flesh, right here, where the hardboiled action is non-stop, at the coolest crime joint in cyberspace ... at That Killing Feeling.

In Chapter 33 of NOWHERE GIRL, long-lost sisters Cherry Nation and April Street escape from the Hollywood Hills mansion just in time to escape the bomb explosion and discover it wasn't a nuke ... that in fact, they were set up by black ops spook Sledge Crafton, so they decide to pay him a little visit. Meanwhile, Palestinian arms dealer Avi Abbas meets a most untimely end at a 'routine traffic stop' ...


EXT. HOLLYWOOD HILLS MANSION - FRONT DOOR - NIGHT
Two Feds in protective gear
with helmets stand in front
of a bomb squad truck.

They start walking toward
Cherry and April.

APRIL
(whispers)
I don’t trust them.

CHERRY
Let’s kick their ass.

INT. CIA HEADQUARTERS - CUBICLE - NIGHT
Lark takes a sip of her water bottle.
Touches her headset.

LARK
But I don’t understand.
You WANT it to go off?
But what about -- collateral damage?

INTERCUT WITH:

INT. INTELLIGENCE OFFICE - NIGHT
Sledge Crafton stands at the bar.
Mixing a cocktail.
Speaking on his hands-free.

SLEDGE
Too many people know.
It’s a big mess.
Better to start again with a clean slate.
And it’s not a real nuke,
it’s an old Russian piece of shit
pipe bomb with a timer, that’s all.
We’ll find some patsy and nail it on them,
like we did in Oklahoma City.

He leans down over the bar.
SNORTS a line of coke.

LARK
But what about April Street --
and the other girl?

SLEDGE
They’re being evacuated.
I have special plans for THEM.
(beat)
Don’t tell me your getting soft on me.
You’re one of the best moles I’ve ever had.
I’d hate to have to retire you, too.

LARK
But what about the agents on-site?

SLEDGE
They don’t know the bomb is live.
(beat)
Like you said, collateral damage.

INT. BOMB SQUAD TRUCK - NIGHT - AT THAT MOMENT
Cherry and April wear bomb squad gear with helmets.

April GUNS the engine.
The vehicle starts moving.

CHERRY
Go, go, go --

APRIL
We’re OUTTA HERE.

EXT. QUEENS ROAD - NIGHT - CONTINUOUS
The truck ROARS down the road.

INT. BOMB SQUAD TRUCK - CONTINUOUS
April shakes her head slowly. Thinking.

APRIL
Something’s not right.
They were acting like they WANTED
the nuke to go off.
(beat)
Unless they weren’t told it was live.

CHERRY
Why would the agency do that?

APRIL
I don’t know, unless --

An earth-shattering EXPLOSION
rocks the truck. April stops.

She and Cherry poke their heads
out their windows, look.

A MASSIVE FIREBALL ERUPTS in the sky.

THE TRUCK
Continues on down Queens Road.

APRIL (CONT’D)
That was no nuke.
Crafton was ripping off the terrorists.
Why am I not surprised?

CHERRY
So where are we going?

APRIL
We’re gonna pay him a little visit.

CHERRY
(turns her head)
Hey. You okay back there?

PEELER
Sticks his head out from the rear.

PEELER
Well, let’s see.
I’ve lost a lot of blood,
I’m dizzy from hunger,
and I just shit my pants.
I’m having a ball.

INT./EXT. LIMOUSINE - MOVING - AT THAT MOMENT
Avi sits in the back
as the limo cruises south on the 405.

He pulls out his cell.
PUNCHES in a number.

AVI
Yeah, hi. I’d like to reserve a ticket
on the next flight to Caracas --

A siren WHOOP-WHOOPS outside.

AVI (CONT’D)
What the fuck?

The driver’s window SLIDES DOWN.

DRIVER
I wasn’t speeding.

AVI
Goddammit.

EXT. 405 FREEWAY - LIMOUSINE - CONTINUOUS
The limo pulls over.
A MOTORCYCLE COP pulls up behind it.
Stops. Parks.

The cop dismounts.
Walks over to the window.

DRIVER
What seems to be the problem, officer?

The cop pulls out his SERVICE REVOLVER
and SHOOTS him. BANG.

IN THE REAR
Avi hears the shot. JUMPS.

AVI
SHIT.

The cop appears in the divider.

AVI
NO, WAIT!

And SHOOTS him. BANG.

Who's Dick Is Bigger?

Hey there, crime kids. Happy Friday. It's time once again to take a trip to the dark side, where your most violent fantasies become sins of the flesh, right here, where the hardboiled action is non-stop, at the coolest crime joint in cyberspace ... at That Killing Feeling.

In Chapter 32 of NOWHERE GIRL, it's a clusterfuck of epic proportions when fugitive stripper Cherry Nation and Homeland Security agent April Street fight off the terrorists ... while Bel Air Security guard Renny Quick tries to disarm the ticking nuke ... while Cherry and April make a shocking discovery about their past ...


INT. HOLLYWOOD HILLS MANSION - LIVING ROOM - NIGHT
Hamad looks at Cherry. At Kamal. Then Renny.

HAMAD
And how am I supposed to believe you?

RENNY
Well, we can go back and forth
like this while the clock is ticking --
or you can take a chance
on saving your fucking lives.
Your choice, Bin Laden.

HAMAD
WHAT did you call me?

RENNY
You heard me, you fucking terrorist.
You think you can just waltz
into our country and buy a NUKE?

HAMAD
It was your CORRUPT GOVERNMENT
that SOLD it to us, IMBECILE.

CHERRY
SHUT UP, both of you.
While you’re playing who’s dick is bigger --
we’re running out of TIME.

EXT. MANSION - FRONT YARD - NIGHT
Peeler sits on the ground.
April looks in the window.

APRIL
I’m going in. You stay put.

PEELER
Sure thing. I’ll just sit here
and watch my life flash before my eyes.

INT. MANSION - LIVING ROOM - AT THAT MOMENT
Renny opens the case. Studies the bomb.
Scratches his chin.

CHERRY
Well, what are you waiting for?

RENNY
I haven’t done this in -- ten years.

CHERRY
What?

RENNY
Chill out.
It’s all about shutting off the power.
Wiring is wiring.
(beat)
I’m gonna need pliers,
or a pair of scissors,
something like that.

Hamad looks at the guards,
who are now conscious.

HAMAD
You. Go look in the kitchen.

They RACE OFF.

RENNY
(looking at the wiring)
The red and the blue -- or the yellow --

FEMALE VOICE (O.C.)
Homeland Security! Nobody MOVE.

APRIL
Walks into the room.
Automatic weapon trained on Renny.

APRIL
(to Renny)
Put your hands in the air
and step away from the device.

CHERRY
He’s DISARMING the device, bitch.

APRIL
Who you calling a bitch?

HAMAD
(looks at them)
Are you two -- sisters?

KAMAL
They look a lot alike.

RENNY
Will everyone please SHUT UP?
I’m trying to CONCENTRATE here.

Renny pulls out another pair of wires.
Wipes his forehead.

CLOSE ON:
The LCD reads 4:15.

APRIL
(to Cherry)
Where were you born?

CHERRY
In the UK. I was adopted.
My parents moved here I was four.

APRIL
I was adopted when I was four.
(beat)
I had a sister -- but they only took me.

CHERRY
I had a sister, too -- but --

APRIL
Holy SHIT.

CHERRY
Holy SHIT.

APRIL
That explains --

CHERRY
Why we --

APRIL
OMIGOD.

CHERRY
OMIGOD.

APRIL
THAT’S why I hate your guts.

CHERRY
And that’s why I hate YOURS.
(beat)
My sister, the spy.

APRIL
My sister, the --
(appraises her outfit)
Stripper?

CHERRY
Exotic dancer. Soon to be former.

The girls are GRABBED FROM BEHIND.
Saad has Cherry in a choke-hold.

Mohammed THROWS April to the floor.
Straddles her.
Both aims Uzis at their heads.

SAAD
Don’t move or I’LL SHOOT.

MOHAMMED
Go ahead. Give me REASON.

HAMAD
American women TALK TO MUCH.
Take them downstairs and shoot them.

MALE VOICE (O.C.)
Federal Marshall!
Put your HANDS IN THE AIR!

AN OPERATIVE
In bomb squad gear comes into the room,
assault rifle aloft.

CLOSE ON:
The LCD reads 3:45.

RENNY
Looks at the Fed.

RENNY
Don’t shoot!
This is a nuclear device.

OPERATIVE
Step away from case. NOW.

SAAD
Put your gun down or I shoot THE WOMAN!

MOHAMMED
Put down or we SHOOT!

The Fed SHOOTS Renny.
BANG-BANG-BANG.
He HITS the floor.

CHERRY
Hey!

APRIL
What are you DOING?
He was DISARMING IT.

Two more FEDS in bomb squad gear
BURST IN from the kitchen
and start SHOOTING.

Saad’s and Mohammed’s heads EXPLODE.

LARGE FED
Ladies, outside, NOW.

April and Cherry exchange glances.

CHERRY
What’s going on here?

APRIL
They WANT the nuke to go off?

LARGE FED
I said NOW.

Cherry GRABS the case with the money,
and they start RUNNING.

CLOSE ON:
The LCD reads 2:25 --

The Tricky Part About Being A Peeping Tom

Happy Thursday, crime slicksters. It's time once again to take a trip to the dark side, where the girls are hot, the drinks are cold, and the hardboiled-pulp-noir action is non-stop, right here, at the coolest crime joint in cyberspace ... at That Killing Feeling.

In Chapter 31 of NOWHERE GIRL, just as fugitive stripper Cherry Nation hands over the suitcase nuke to the terrorist cell in exchange for a million bucks, all hell breaks loose, and Bel Air Security guard Renny Quick slips out of his ropes and starts shooting up the place. Meanwhile, outside, Silverlake hipster Peeler Mardo watches the action through the living room window ... until he gets nabbed by Homeland Security agent April Street ...


INT. HOLLYWOOD HILLS MANSION - LIVING ROOM - NIGHT
Kamal leads Cherry into the room, where Hamad,
the guards and Renny are watching a ball game
on the big screen plasma TV.

KAMAL
Hamad. Our package has arrived.

Hamad looks. Smiles. Gets up.
Walks over to them.

HAMAD
Very good. Excellent.
(gestures at the case)
May I?

CHERRY
You have the money?

RENNY
Sits in his chair watching the game.

Behind his back,
we can see him loosening his ropes.

HAMAD
Cocks an eyebrow.
Nods. Looks at Kamal.

HAMAD
Give her the money.

Kamal nods.
Walks over to a table.

Grabs an attache case.
Brings it over.

Sets it down on a chair
near Cherry and Hamad.

Flips open the lid to reveal
it’s STUFFED WITH CASH.

KAMAL
One million dollars. As promised.

Cherry’s eyes BUG.
She’s never seen that much money.

In a daze, she hands
Hamad the briefcase.
He takes it.

Sets it down. Opens it.
Sees the LCD DISPLAY.

HAMAD
It’s been ACTIVATED.
WHAT HAVE YOU DONE?

The next few moments
happen in a BLUR OF SPEED --

RENNY’S
Ropes FLY OFF.
He GRABS the guards by their heads
and CRACKS them together.

SNATCHES their weapons.
SMACKS one on the head, THUMP --
then the other, THWACK.
They GO DOWN.

CHERRY
GRABS the money.

HAMAD
GRABS Cherry.
Points his gun at her head. CLICK.

KAMAL
Points his gun at Renny. CLICK.

HAMAD
(to Cherry)
What THE FUCK is going on here?
Is he with you?

CHERRY
Hell, no!
(to Renny)
Don’t shoot!
I’m with the government!

She WHIPS out her gun.
Points it at the case.

CHERRY
(to Hamad)
Let me the fuck go,
or else I’ll blow us all
to kingdom come.

Hamad releases her.
Looks around.
What THE FUCK.

RENNY
That’s really a -- n-nuke?

HAMAD
YES. And it’s going to go off
in NINE MINUTES.

Renny’s eyes dart back and forth.
He licks his lips.

RENNY
I used to be Special Forces.
I think I can disarm it.

CHERRY
You THINK you can disarm it?

RENNY
Well, it’s been a few years --

EXT. MANSION - FRONT YARD - NIGHT - AT THAT MOMENT
Peeler watches the action through the window. Panicked.

PEELER
This doesn’t look good.

FEMALE VOICE (O.C.)
That’s the tricky part
about being a Peeping Tom.

APRIL
Steps into view.
Aiming her Sig Sauer.

PEELER
Oh, h-hi.
I’m with Cherry,
the girl with the nuke, remember?

APRIL
Of course -- you’re the guy
that fucking handcuffed me.

PEELER
Sorry about that.
Listen, some serious shit
is about to go down.
Cherry is in there
trying to do the deal --
and the nuke has been,
like -- ACTIVATED.
We’ve got, like --
I dunno, nine, ten minutes?

APRIL
WHAT?

She touches her hands-free.
Speaks into it.

APRIL
You get all that?

INTERCUT WITH:

INT. CIA HEADQUARTERS - CUBICLE - CONTINUOUS
Lark sits at her desk.
CHOKES on her coffee.

LARK
Yeah. Hold tight,
I’m going to send every agent
we have in the area --

Conspicuous Consumption

Hey there, crime kids. Happy Wednesday. It's time once again to take a trip to the dark side, where your most violent fantasies become sins of the flesh, right here, where the hardboiled action is non-stop, at the coolest crime joint in cyberspace ... at That Killing Feeling.

In Chapter 30 of NOWHERE GIRL, Homeland Security agent April Street reveals to CIA operative Lark Storm her true identity as an undercover op for Interpol, much to her surprise. Meanwhile, stripper with a suitcase nuke Cherry Nation arrives at the Hollywood Hills mansion where the Al Qaeda sleeper cell is hiding to deliver 'the package,' and is welcomed with open arms ...


EXT. QUEENS ROAD - NEARBY - NIGHT
April JOGS up the hill,
talking on her hands-free.

APRIL
You can send backup --
I’m not C-6!

INTERCUT WITH:

INT. CIA HEADQUARTERS - CUBICLE - CONTINUOUS
Lark watches April’s progress
on her monitor as it nears
the location of the nuke.

LARK
I know that.
Shag said you were Homeland Security.

APRIL
No, that was the cover C-6 gave me.
I’m a MOLE -- I’m Interpol --
I’m gonna bring down C-6,
the terrorist cell, AND Avi Abbas.
NOW, given how things have progressed,
I’d love a little help at this point.

LARK
Why didn’t Interpol ask for
our help in the first place?

APRIL
Don’t take this personally,
but The Company doesn’t have
the greatest reputation in
the global intelligence community
since nine-eleven.
I mean -- your BOSS told you
not to interfere with C-6.

LARK
I -- see what you mean.

APRIL
C-6 is totally rogue --
their ops are for profit.
They broker arms deals around the world.
Remember the CONTRAS?
They’ll sell to anybody --
rebels in Darfur,
revolutionaries in Somalia,
the Tibetan Army --
state of the art weaponry,
sold to the highest bidder.
(beat)
Kinda like Ebay.

A MESSAGE BOX
Pops up on Lark’s monitor.

LARK’S
Fingers fly across the keyboard.

LARK
April, we’ve got a situation in Israel.
I gotta call you back.

Lark hangs up.
April stops running.
Taps her headpiece.

APRIL
What? Hello? You there?
(beat)
What about my BACK-UP?

EXT. HOLLYWOOD HILLS MANSION - NIGHT - AT THAT MOMENT
Cherry and Peeler are at the front door.

CHERRY
Go hide in the bushes over there
by the window and watch.
If something goes wrong, call 911.

PEELER
Okay. Better hide your gun.

CHERRY
Shit, yeah.

She tucks it in her skirt waistband
in the small of her back.

PEELER
So, uh -- in case anything -- happens,
I just want you to know that,
despite all this scary shit -- I
’ve had the best time
I’ve ever had tonight.

Cherry’s touched.
She kisses him on the cheek.

CHERRY
Me, too.
Now go, scoot --
we gotta save the world.
(beat)
And then maybe grab some breakfast.

He nods, limps off into the bushes.
Cherry RINGS the bell.

CHERRY
Here goes nothing.

The door OPENS. It’s Kamal.
He sees the case. Big smile.

KAMAL
Greetings.
We’ve been expecting you.

CHERRY
Sorry for the delay.

KAMAL
Not to worry. Please, come in.

INT. MANSION - FOYER - CONTINUOUS
Kamal leads Cherry toward the living room.

CHERRY
(looking around)
This place is -- amazing.

KAMAL
Vulgar American conspicuous consumption.
(beat)
Can’t wait to blow it up --

Beat The Clock

Happy Tuesday, crime slicksters. It's time once again to take a trip to the dark side, where the girls are hot, the drinks are cold, and the hardboiled-pulp-noir action is non-stop, right here, at the coolest crime joint in cyberspace ... at That Killing Feeling.

In Chapter 29 of NOWHERE GIRL, Bel Air Security officer Renny Quick has a little run-in with the Al Qaeda sleeper cell hiding out in the Hollywood Hills mansion they're hiding in. Meanwhile, the shit hits the fan when renegade stripper Cherry Nation gets curious and opens the suitcase nuke ... and accidentally starts the timer ...


INT. MANSION - LIVING ROOM - NIGHT
Renny sits on the couch
next to Rich Husband.

The two guards stand behind them
with weapons pointed at their heads.

Kamal stands nearby,
hands clasped behind him.

Hamad holds Rich’s cell phone.
SMASHES it. STOMPS on it, CRACK.

HAMAD
You called private security!
After I specifically told you
not to FUCK AROUND.
Do you know what we do
to people who don’t FOLLOW ORDERS?

RICH HUSBAND
I’m sorry, I guess I -- panicked.

Hamad pulls out a REVOLVER
with a silencer.

RICH HUSBAND
No, wait, wait, wait!
I’ve got a shitload of money upstairs!
In my safe! You can have it! All of it!
There’s a couple hundred thousand.
It’s behind the mirror on the dresser
in the master bedroom.

Kamal walks over.
Hands him a piece of paper and a pen.

KAMAL
If you would kindly
give us the combination.

Rich scribbles it down.
Relieved. Kamal takes it.

Nods at Hamad.
Hamad raises his gun, takes aim --

RICH HUSBAND
WAIT, I thought --

And SHOOTS Rich in the forehead -- THWIP.
Rich’s body SLUMPS over. Dead.

Renny’s eyes dart madly,
heart racing.

HAMAD
(big smile)
Not to worry, my big, strapping
American emergency services worker.
We still need hostages --
who know how to behave.

EXT. HOLLYWOOD HILLS MANSION - FRONT DRIVE - NIGHT
Cherry and Peeler walk up
the long driveway in the moonlight.

The lights of the city twinkle below
in the distance.

CHERRY
I think I’m gonna pee my pants.
(beat)
How’s your leg?

PEELER
It’s really starting to hurt.
I’m really looking forward to
getting a chance to sit down for a second.
How’s your arm?

CHERRY
It’s throbbing like a motherfucker.
Look, why don’t we take a breather
before we go in, plot our strategy.

He nods.
She leads him over
to the garage, which is open.

They sit on the hood of a sleek Rolls.
Cherry rubs her wrist.

PEELER
Ohmigod is that good.

CHERRY
Simple pleasures.

She puts the briefcase on her lap.
Fiddles with the clasp.

PEELER
What are you doing?
Didn’t you tell me the guy said
you’d die if you opened it?

CHERRY
Yeah, he did --

Cherry closes her eyes.
Winces. FLIPS IT OPEN.

Nothing happens.

CHERRY
But he was LYING.
Ha, I KNEW it.
(looks inside)
So THAT’S what a suitcase nuke looks like.
Looks like any other bomb to me.

PEELER
And you’ve seen a lot of bombs --

CHERRY
In the movies, silly, on TV.

She examines the interior.
Points at a small clock.

CHERRY
This must be the timer.

PEELER
Cherry, I really don’t think
you should fuck around with that.
It’s been a really long night,
and I really don’t feel like
getting blown up.

CHERRY
Chill, dude. I’m not gonna --

Her nose twitches --
and she SNEEZES.

CHERRY
A-CHOO!

Which causes her finger to
JERK against the side of the clock,
and SPIN a small knob.

CHERRY
(looks)
NO -- NO, NO, NO, NO, NO!

PEELER
WHAT’S WRONG?

INSIDE THE BRIEFCASE
A small, red LCD screen reads
ENGAGE IN: 15:00 --
with the numbers reeling backwards.

PEELER
GODDAMIT, Cherry!
What the FUCK are we gonna do NOW?

CHERRY
We got fifteen minutes to figure it out.
Let’s get the fuck IN THERE --

Death Takes A Holiday

Hey there, crime kids. Happy Monday. It's time once again to take a trip to the dark side, where your most violent fantasies become sins of the flesh, right here, where the hardboiled action is non-stop, at the coolest crime joint in cyberspace ... at That Killing Feeling.

In Chapter 28 of NOWHERE GIRL, CIA agent Shag Holiday and black ops assassin Wendon Swift fight to the death, while Shag's ex, Homeland Security agent April Street, and Shag's current squeeze, CIA analyist Lark Storm watch in horror ...


INT. POOL HOUSE - NIGHT
April watches Shag communicate with base.

SHAG
(touches his ear)
Lark. I need new coordinates.

INTERCUT WITH:

INT. CIA HEADQUARTERS - CUBICLE - CONTINUOUS
Lark swerves in her chair,
fingers CLACK-CLACKING on her keyboard.
She peers into the monitor, grim.

LARK
She’s nearing the top of hill, Shag --
you better get your ass in gear.

SHAG
Don’t worry, we’re on our way.

LARK
We, our?

SHAG
April Street from Homeland Security
is also in pursuit.
We’re pooling our resources.

Pause.

LARK
As long as that’s all your pooling.

The front windows EXPLODE
in a SHOWER of GUNFIRE.

Glass SHATTERS, goes FLYING.
Shag and April LEAP to the floor.

Shag ROLLS over behind the couch.
Pulls out his weapon.

April LEAPS behind the open side door.
Takes out hers.

Silence.

APRIL
What the fuck?

Gloved hands THROW a wire around April’s neck
and start GARROTTING her.

She GRABS the wire, starts
GAGGING, SPUTTERING, THRASHING, eyes BULGING.

We see the attacker.
It’s WENDON. Smiling. Having a ball.

Shag LEAPS UP, RACES OVER to April.
GRABS Wendon’s hands.

She KICKS Shag in the balls.
He goes DOWN, OOF.

Curls into the fetal position.
That girl can KICK.

April struggles, eyes fluttering,
her face turning red.

She leans forward,
raising Wendon off the ground --
and then with all her might,
SLAMS her into the wall, THWUMP.

She lets go of the wire. HITS the floor.
April FIRES a blast of rounds into her chest
BANG-BANG-BANG-BANG-BANG-BANG-BANG.

Nothing. Must be some kind of vest.

Wendon smiles.
Reaches for her automatic.

April GRABS a lamp and
SMASHES it on her head.
She blinks. LEAPS UP --

And KICKS April, who goes
FLYING BACKWARDS onto the floor.

Shag GRABS a chair --
SAILS IT across the room at Wendon.

It HITS her in the stomach,
sends her FLYING.

She ROLLS behind the bar.
POPS up, and starts FIRING.

Shag and April LEAP out of the way,
get behind the couch.
Start RETURNING FIRE.

SHAG
Bitch is GOOD.

APRIL
I’ve got an idea.
You cover me, I’ll go outside
and go in through the window in the kitchen.

SHAG
Let’s do it.

Shag SHOVES in another clip.
Pulls out a smoke bomb.

APRIL
Why didn’t you use that before?

SHAG
Uh, we’ve been a little BUSY?
(beat)
When I commence firing.

He leans around the corner.
TOSSES the bomb at the bar, starts SHOOTING.

Smoke starts BILLOWING.
Wendon keeps FIRING,
starts gagging on the fumes.

April ROLLS along the floor.
Bullets PING and SPLINTER
the wood as she FLIES out the door.

AT CIA HEADQUARTERS
Lark listens in on Shag’s hands-free,
which is still on.

LARK
Shag! What’s going on? Are you OKAY?
(beat)
SHAG.

OUTSIDE THE POOL HOUSE
April races around to the back.
Gets to the window.

She looks in, but SMOKE
is filling the room.
She can’t see ANYTHING.

APRIL
FUCK.

She SMASHES the window with her gun.
Starts climbing in.

INSIDE THE POOL HOUSE
It’s World War III. GUNSHOTS. Smoke everywhere.
The bar is ON FIRE.

Wheezing and CHOKING,
April makes her way through the room,
where she sees, on the floor --

Shag and Wendon, each with a hand
gripping the other’s neck,
the other hand fighting for control
of Wendon’s Sig Sauer.

April takes aim, and
SHOOTS the gun out their hands, PING.

Wendon SCREAMS, pulls out a HUNTING KNIFE,
and JAMS it in Shag’s NECK.
Blood starts PUMPING like a GEYSER.

APRIL
NO!

She FIRES at Wendon’s head --
which EXPLODES in a red mist.

RACES over to Shag.
CLAMPS her hands on his neck.

APRIL (CONT’D)
Hold on -- it’s gonna be okay,
it’s gonna be okay.

SHAG
(eyes fluttering)
You get the -- bitch?

The light flickers, then goes out.
April cradles his head in her arms.
Blood everywhere.

APRIL
I HATE this part.

INTERCUT WITH:

INT. CIA HEADQUARTERS - CUBICLE - CONTINUOUS
Lark types furiously on her keyboard,
looks at the monitor,
trying to get a read on the situation.

LARK
(into her headset)
SHAG, come in Shag, are you alright?
(to herself)
GODDAMMIT, I should have sent BACKUP.

April hears something.
Looks at Shag’s earpiece.

Grabs it. Wipes it off.
Puts it in her ear. Listens.

APRIL
Hello, is anybody there?

LARK
Hello! Who is this? Where’s Shag?

APRIL
This is agent Street.

LARK
Agent Street? Thank GOD.
What happened? Is he okay?

Pause.

APRIL
I’m sorry.

LARK
(eyes tearing)
I see.
(beat)
Are you -- o-okay?

APRIL
Reasonably. I’m alive.
(beat)
Kinda -- freaked out.

LARK
We were -- seeing each other.

APRIL
Shit.
(beat)
I’m sorry.

LARK
(wipes her eyes)
Let me give you the coordinates.
There isn’t much time left.
She’s almost there.

APRIL
Okay.
(beat)
Are you okay?

LARK
I’ll have to --
get back to you on that --

This Little Piggy

Hey there, crime kids. Happy Friday. It's time once again to take a trip to the dark side, where your most violent fantasies become sins of the flesh, right here, where the hardboiled action is non-stop, at the coolest crime joint in cyberspace ... at That Killing Feeling.

In Chapter 27 of NOWHERE GIRL, Palestinian arms dealer Avi Abbas is torturing a prisoner to get information, but gets interrupted by an urgent phone call from black ops spook Sledge Crafton about what's going on with the delivery of the suitcase nuke to the Al Qaeda sleeper cell. Meanwhile, fugitive stripper Cherry Nation and hipster Peeler Mardo share a tender moment ...


INT. DOWNTOWN LOFT - NIGHT
Deserted, except for Avi, sitting at his desk,
facing the floor-to-ceiling windows,
city lights twinkling below.

AVI
(to someone unseen)
Ahhhhh, that’s it, baby --
that’s it.

He picks up the phone.
Dials a number. Listens.

INTERCUT WITH:

INT. INTELLIGENCE OFFICE - BASEMENT
Crafton is supervising the interrogation
of an IRANIAN PRISONER,
who is hanging from a steam pipe
by a chain, shirtless, blindfolded --
and quite bloody.

He takes a sip of his tumbler of scotch.
SLAPS the prisoner.

SLEDGE
Tell me, you fucking CAMEL JOCKEY.
Give me his NAME.

IRANIAN PRISONER
I don’t KNOW, I am not TERRORIST,
I am DRY CLEANER!

Crafton nods at a LARGE, SURLY SOLDIER
holding a rose clipper around
the big toe of one of
the prisoner’s bare feet.

SLEDGE
This little piggy went TO MARKET.

Surly SNIPS, CRUNCH, and the toe
FLIES IN THE AIR like a watermelon seed.
The prisoner SCREAMS. Blood flows.

Crafton’s cell phone rings.
He fishes it out of his pocket.

SLEDGE
(to the prisoner)
Hold that thought.
(beat)
Crafton here.

AVI
It’s Avi. I wanna know
what the fuck’s going on with the --
(beat)
Shipment --
(beat)
Crafton.

Avi leans back in his chair,
rolls his head slowly.

SLEDGE
Do I have to fucking
SPELL IT OUT for you?
The rogue courier is being TERMINATED,
and her replacement is
delivering the package.
We have it HANDLED.

AVI
Goddammit, Crafton --
your fucking rogue killed my best man.
I’m not sure I -- trust you anymore.

He closes his eyes.
In some kind of ecstacy.

SLEDGE
Trust ME?
Now you listen to me,
you fucking TOWELHEAD --
you’re lucky we don’t fucking SHUT YOU DOWN.
I represent THE UNITED STATES GOVERNMENT --
and this is a BUSINESS DEAL -- FOR MONEY.
Haven’t you heard of IN GOD WE TRUST?
(dramatic)
The buyer will get THE PACKAGE.

AVI
Okay -- okay --
(moans)
Ahhh --
(beat)
AHHHHHHHHHH --
His body JERKS.
He smiles, peaceful.

SLEDGE
Abbas? You there?

A TALL BLONDE pops up from under the desk.
Wipes her mouth with a tissue.

Avi SNAPS his fingers.
Points. She leaves.

AVI
Yeah -- I’m here.

He lights a cigarette.
Inhales. Blows a lazy smoke ring.

AVI
Just make sure it happens -- soon.
We don’t want the buyer
to get upset and cause an incident.

SLEDGE
I’m not worried.
They’re in fucking Hollywood.
Why do you think we chose that location?

EXT. HOLLYWOOD HILLS - WOODED AREA - NIGHT
It’s stopped raining.

Cherry and Peeler walk up the incline
though sparse foliage.
They reach a narrow, winding road.

CHERRY
Thank fucking god.
I’m cold, I’m wet --
and I’m fucking TIRED.

PEELER
(points at the sign)
Check it out.
We’re almost there.

They start walking up the steep incline.

CHERRY
After this is done,
I can’t wait to have a s
tiff drink and a long, hot shower.

Cherry trudges on.
White knuckles gripping the briefcase.

PEELER
So listen, I was wondering --
when this is all over,
would you like to, you know --
go have coffee or something?

CHERRY
(does a take)
You mean like a -- date?

PEELER
No, not a DATE.
You know, just -- hang out.
You know, coffee.
Maybe grab a burger --

CHERRY
(faint smile)
That’d be -- nice.

A tear runs down her cheek.
She stops. GRABS him.
Gives him a long, lingering kiss.

PEELER
What was that for?

CHERRY
Not sure.
But I kinda liked it.
(kisses him again)
Yeah. That’ll work --