If Wishes Were Horses

Hey there, crime kids. Happy New Year's Eve. 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 11 of FILLMORE, Fillmore and Etta James have a tearful goodbye as they wait for his bus to LA. We then flash forward five years later, where Slim is being groomed by his manager for success, and we find him at The Wall Club in Compton, mixing with the cream of rich and successful African-Americans ...


EXT. CITY STREET - BUS STOP BENCH - NIGHT
It’s a beautiful moonlit night.
The streets are still bustling with people and cars.

Music spilling out from the clubs.
The night is alive.

Slim and Etta sit, waiting for her bus.
Etta’s got tears in her eyes. He holds her hand.

SLIM
But I gotta go. Los Angeles is calling.
It’s where I’m gonna find my fame and fortune.

ETTA
I wish I could go with you.
I wish I could stay fifteen.
I wish we could stay here forever,
while we’re young and happy.

SLIM
If wishes were horses,
I’d have a barn full of them.
But no matter what happens,
you’ll always be my girl.

They tearfully hug. Her bus pulls up.
At the same moment, a Cadillac comes
to a stop down the street.

A PIMP and his GIRLS get out,
laughing and carrying on.

PUSH IN ON Slim’s face.
Watching them over her shoulder.
Narrowing his eyes.

DISSOLVE TO:

SLIM’S FACE
Onstage, singing his heart out.

SLIM
Well, lawdy Miss Clawdy, you sure like to ball --

CAMERA pulls back, until we see -- THE CLUB.
A really nice joint, filled with WELL-DRESSED PATRONS.

Slim continues singing, as -- CAMERA keeps pulling back,
farther and farther away from Slim until it goes through --
THE LOBBY, where Dootsie talks with another RECORD LABEL GUY (50’s).

DOOTSIE
I’ve been grooming Slim for five years now --

CAMERA goes through the front door, and out onto --

EXT. LOS ANGELES - CENTRAL AVENUE - DAY
A major boulevard lined with fancy night clubs,
restaurants and hotels.

The mecca of the high life and the downtown music scene.
Fancy MEN and fancier WOMEN, all decked out in their finest.

Big, flashy cars clog the streets.
Sports, music and movie celebrities abound.

The scene is JUMPING. Down the street we see THE DUNBAR HOTEL,
a fancy place for the super-rich, the super-successful.
We see a BLACK STRETCH LIMOUSINE idling in front.

CAMERA finds The Hole In The Wall Club,
a fancy joint with a stream of BEAUTIFUL PEOPLE streaming in.

A SUPER-STRETCH LIMO pulls up in front.
A uniformed CHAUFFEUR gets out. Opens the rear door.

Out steps FLOYD PATTERSON (30’s), heavyweight champ.
The crowd parts, and he walks in.

INT. HOLE IN THE WALL CLUB - NIGHT
VERY fancy. The place is packed.

Red leather booths surround a smattering
of tables facing the stage.

Box seats around the sides.
Tuxedoed waiters attend to the CLUB PATRONS.

The sense of excitement in the air is palpable.
Slim’s onstage, singing LAWDY MISS CLAWDY to an adoring crowd.

INT. HOLE IN THE WALL CLUB - BAR - LATER
Slim sits at the bar chatting with DONNA (20’s),
a gorgeous siren.

She hands him a hundred-dollar bill.
Coos in his ear.

DONNA
I’d love it if you’d sing Lawdy Miss Clawdy again.

SLIM
(grabs it)
I think that might be arranged, Miss Donna.

DOOTSIE WILLIAMS (50’s), Du-Tone Records label owner,
a big, barrel-chested guy walks over,
puts his hand on Slim’s shoulder.
With him is Floyd Patterson.

DOOTSIE
(to Donna)
Would you please excuse us a moment?

Donna smiles at Floyd. Nods. Moves away.

DOOTSIE (CONT’D)
Fillmore Slim, I’d like you to meet Floyd Patterson.

SLIM
(offers his hand)
Nice to meet you, sir.

FLOYD
(takes it, shakes)
I enjoyed your performance, son.
I look forward to seeing big things from you.

SLIM
Thank you, Mr. Patterson.

Floyd nods. Walks off into the crowd.
HATTIE MCDANIEL (40’s) approaches Dootsie.

DOOTSIE
Hattie.

HATTIE
Well, if it isn’t Dootsie Williams.

DOOTSIE
How’s my favorite Oscar winner?

She beams. Dootsie gestures at Slim.

DOOTSIE
This here’s Fillmore Slim, one of my artists.

HATTIE
(stares at Slim)
Very nice to meet you.

SLIM
I’m a big fan, Miss McDaniel.

HATTIE
(eats him up with her eyes)
The feeling’s mutual.
(to Dootsie)
I’m gonna go get me a cocktail.
I’ll come back and check on you boys later.

Slim takes her hand and kisses it. She smiles.
Disappears into the crowd.
He watches her go. Shakes his head.

SLIM
Did Dorothy Dandridge see my set?

DOOTSIE
Yeah. She liked it.
But she just went over to Club Alabam.
(points)
Dexter Gordon’s over there --
and Mingus is around her somewhere.
(looks at him)
Pretty soon your name is gonna
be mentioned in their company.
Things are gonna start popping, just you see.
I’ve been on the horn to Art Laboe,
gonna get you on his show.
And I just finished setting up the tour.

SLIM
That’s great. Where we goin’?

PUSH IN ON Dootsie’s face. His big smile.

DOOTSIE
Texas --

Devil In A Blue Dress

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 10 of FILLMORE, Clarence, now the newly-christened Fillmore Slim makes time with another singer, Etta James when they both perform at the same club ... where Fillmore gets approached by an agent to record and tour for his record label in Los Angeles ...


EXT. CITY PARK - DAY
Slim sits under a tree
with two of the girls who were
watching him march
with the ROTC drill squad.

SUGAR PIE DESANTO (16) is small and thin.
JAMES ETTA (16) is full-bodied.

Both, gorgeous.
They sit and watch the people go by.

SLIM
(to James)
Why do you have a boy’s name? James?

JAMES
My father wanted a boy.

SLIM
Well, I’m gonna call you Etta.
You’re a beautiful girl,
and I ain’t gonna call you JAMES.

ETTA
I like that.
I’m gonna use it when I sing
at open mike night at the club tonight.

SUGAR
Are you gonna sing again tonight, Clarence?

SLIM
Don’t call me Clarence, Sugar.
I told you, I’m Fillmore Slim now.
I’m the rich girl’s dream
and the poor girl’s scheme.
I’m the first on the scene
with my love machine.
(beat)
I’ll see you ladies later --

And he walks away.

SUGAR
Ain’t he full of himself.

ETTA
Maybe so. But there’s something
about that boy that drives me crazy.

EXT. NIGHT CLUB - NIGHT
The streets are alive
with people out on the prowl.

We see well-dressed hep-cats
on their way to parties and clubs.

A giant bright blue Cadillac sedan
parked in front of HI-LO CLUB,
a seedy den of depravity.

A PIMP sits behind the wheel,
counting money.
The car is STUFFED with hookers.

Slim walks by, watches them
out of the corner of his eye.

Shakes his head with envy.
Goes into the club.

INT. NIGHT CLUB - NIGHT
Etta’s onstage performing.
The packed house is eating her up
as she finishes her big number.

She takes a bow.
The crowd ROARS its approval.

BACKSTAGE
Etta walks up to Slim.
Waiting to go on next.

ETTA
I’m gonna stay and hear you sing.

SLIM
You bet your ass you are.

ONSTAGE
Slim starts singing and dancing,
doing some ankle-popping,
leg-shaking moves.

AT THE BAR
A SEXY WOMAN (20’s) stands next to Etta
as they watch Slim.

SEXY WOMAN
That boy has something I could use.
He is FINE.

ETTA
You stay away. He’s mine.

SEXY WOMAN
(laughing)
Sorry, sister.

INT. NIGHT CLUB - NIGHT - LATER
Slim sits at the bar having a drink.

A WELL-DRESSED MAN (30’s)
in a suit approaches him.
Sits on the next stool.

WELL-DRESSED MAN
I really enjoyed your performance, son.

SLIM
Well, thank you very much.
I try to give the people what they want.

JIMMY
The name’s Jimmy Rogers.
I’m a talent agent for
Du-Tone records in Los Angeles.
I couldn’t help but notice that
you and Etta James are close.
I’d like both of you to come
to LA and record for us.

SLIM
I’d be honored --
but I’m strictly a solo act.

JIMMY
(gives him his card)
You’d have a better chance
of getting a deal with her,
but you should still give it a try.

Slim looks at the card. Nods.

INT. NIGHT CLUB - BACK STAGE - NIGHT - LATER
Slim stands in a dark corner chatting
and flirting with a pair of HOT WOMEN (17).
Etta appears. Pulls him away.

ETTA
What are you doing?

SLIM
I’m just talkin’ to ‘em.

ETTA
Talking? You were doing a hell
of a lot more than TALKING.

SLIM
Hey, hey, hey -- don’t sass me.

INT. THELMA’S HOUSE - LIVING ROOM - NIGHT
Slim stands in front of Don and Thelma,
sitting on the couch.

DON
You’ve gotta be kidding me.

THELMA
You’re not thinking right, Clarence.
You’re being foolish.

SLIM
I told you, my name is Fillmore Slim now,
and I’m not gonna be a plumber.
I’m gonna be a singer.

DON
(jumps to his feet)
I got you into Lowell.
This is the thanks I get?

SLIM
Don’t get me wrong, I appreciate it.
You’re my family, but I’m
on to bigger things now.
(pulls out the business card)
I got asked to record for
Du-Tone Records in Los Angles,
so that’s where I’m gonna go.

DON
(to Thelma)
I told you it was a bad idea.
That the boy was too wild,
and would be up to no good.

SLIM
'No good?'
Since when is entertaining people no good?
Is Nat King Cole up to no good?

The Pleasure's All Yours

Hey there, crime kids. Happy Holidaze. 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 9 of FILLMORE, after attending ROTC classes with his friend Eddie, Clarence goes to his job at a local saloon, where he gets into a fight with one of the pimps hanging out there ... and when the dust is settled, in a flash of inspiration he christens himself 'Fillmore Slim.'


EXT. HIGH SCHOOL FOOTBALL FIELD - DAY
An ROTC DRILL SARGEANT (30’s) address a
group of BOYS (15) dressed in fancy uniforms
with caps that have chin straps.

We see Clarence and Eddie
in the front row off to the side.

DRILL SARGEANT
In order to achieve victory,
you communicate with the squad leader,
who follows your orders to the letter.
The rest of the men in the patrol take orders from him.
The commissioned officer is above the squad leaders
and gives them his orders. This way, you can manage
twenty to thirty men and only be communicating
with a couple of them at any given moment.
Victory through discipline.

Clarence whispers something to Eddie. He chuckles.
Drill Sergeant sees this. Points at Slim.

DRILL SARGEnt
Mr. Sims. How do we achieve victory against our enemy?

CLARENCE
Discipline, sir. Victory through discipline.

DRILL SARGEANT
And without discipline, Mr. Sims, what do we have?

CLARENCE
Sir, without discipline we have a clusterfuck.

A group of PRETTY GIRLS (16) sit in the stands
watching the boys.

We recognize one of them as the girl
who noticed Clarence in the corridor in school.

EXT. FOOTBALL FIELD - OUTSIDE AREA - DAY
Clarence and Eddie walk, deep in conversation.

EDDIE
Are you gonna join the Army after we graduate?

CLARENCE
I’ve got more important things to do.
I’m gonna be famous, singing and dancing
and making it with the girls.

EDDIE
Yeah, sure. Right.

CLARENCE
What are you gonna do?

EDDIE
I’m gonna join the Army. There’s no other choice.

CLARENCE
You could be a cop -- or a fireman.

EDDIE
Are you KIDDING? Negroes can’t get those jobs.

CLARENCE
Yeah, I guess you’re right. My uncle’s a genius at math,
and the only job he could get was as a plumber.

EDDIE
Fuck that. Unclogging stinky toilets full of shit?
No WAY. Negroes don’t have any choice --
so I’m gonna join the Army.

Clarence turns his head.
Notices Pretty Girl in the stands, looking at him.
He turns and looks at Eddie.

CLARENCE
Who’s that girl over there?

EDDIE
In the red dress?

CLARENCE
Yeah.

EDDIE
That’s James Etta.

CLARENCE
'James Etta?'

EXT. FILLMORE STREET - DAY
A SKINNY PIMP (30’s) is hanging out on the corner
with one of his HOOKERS (20’s).

He’s dressed in high style
with a fancy suit and matching hat.

The girls gives him a roll of money.
Down the street we see Clarence watching them.

WANDA
Fish are biting. We’re doin’ good today.

SKINNY PIMP
(smacks her ass)
Now get back to work.
I’ll come check on ya later --

Wanda smiles, starts to go.
Just then a GIANT COP IN UNIFORM GRABS Skinny by the arm.

Another COP IN UNIFORM grabs Wanda.
They both start dragging them to their car.

GIANT COP
Gotcha NOW, Lester. Caught you RIGHT in the act --

LESTER
Excuse me, officer Gamble?

OFFICER GAMBLE
You heard me. I saw you take money from that WHORE.
You’re under ARREST.

LESTER
I know why you’re doing this, it’s an election year --
the mayor was a client just last week.

OFFICER GAMBLE
Enough of your lip, boy. Shut the fuck UP.

He opens the car door open.
PUSHES him in the back seat.

The other cop SHOVES Wanda in next to him.
Clarence watches them go by, unnoticed.

Then continues down the sidewalk.
He gets to an old building.
BOBBY D’S POOL HALL. He goes in.

INT. BOBBY D’S POOL HALL - CONTINUOUS
Old, run down, with a smattering of tables.
Some old blues classic plays on the juke.

Clarence walks in. Ducks behind a door.
Puts on a bowling shirt that reads BOBBY D’S POOL HALL.

He checks himself in the mirror.
Grabs a case of Cokes and takes it to the bar.

Behind the bar is BOBBY D (40’s),
a big bear of a man. He smiles at Clarence.

BOBBY D
Thanks, Clarence. Now go rack the balls
over at table eight. We got some players here.

Clarence nods, heads over to the table,
where two well-dressed PIMPS (30’s)
and their HOT WOMEN (20’s) are having cocktails.

Slim eyes the girls. They check him out.
One of the pimps is very drunk and sees this.

DRUNK PIMP
What you doing flirting with my woman, BOY?

CLARENCE
I’m sorry, sir, I just --

DRUNK PIMP
Don’t sorry ME, boy. Just rack the balls.

CLARENCE
Yes, sir --

Clarence glances at the girls.
Starts taking the balls out from under the table,
slowly shaking his hips in time to the music.

Starts putting the balls in the rack,
again in time to the music. The girls giggle.

He eyes them, and -- his hip KNOCKS OVER
Drunk Pimp’s cocktail on the edge of the pool table.
It HITS the floor with a CRASH.

CLARENCE
I’m sorry. I’ll get you a new --

DRUNK PIMP
WHAT THE HELL you doin,’ BOY?
You SPILLED my motherfucking DRINK.

CLARENCE
Relax. Calm down. I’ll get you another one.

DRUNK PIMP
RELAX? CALM DOWN?

He GRABS a pool cue off the rack on the wall.
Starts WAVING it back and forth in the air like a sword.

DRUNK PIMP
I’m gonna teach you a LESSON --

TALL HOT GIRL
C’mon. Put that down, baby.
It was an accident. He didn’t mean it.

DRUNK PIMP
Shut the FUCK UP. He was showin’ off for you.
I SAW what he was doin’ --

CLARENCE
I said I was sorry.

Drunk Pimp FLIES into a rage and SWINGS
the cue at Clarence. He DUCKS, and the force of gravity
causes Drunk to lose his balance -- and he HITS the floor. SMACK.

His head CRACKS against a chair, BANG. He goes out like a light.
Clarence leans down, GRABS the cue out of his hands.
Steps back, holding it like a baseball bat.

CLARENCE
You stupid, drunk motherfucker.

BIG CURTIS (30’s) shakes his head. Holds out his hands.

BIG CURTIS
Alright, son. We got the message. What’s your name, boy?

CLARENCE
(thinks a moment)
Slim.

He looks out the window.

A SIGN
Across the street advertises HOT JAZZ ON FILLMORE.

CLARENCE
Looks at Big Curtis. A light bulb POPS.

CLARENCE
Fillmore Slim, and don’t you forget it.

The girls eye him. Impressed.

BIG CURTIS
Fo’ sho.’ If you live long enough.

SLIM
I’m from New Orleans.

BIG CURTIS
(gives his hand to shake)
Big Curtis. Thought I recognized that accent.
I’m from Baton Rouge myself.

SLIM
(shakes)
Please to meet you.
We’re both a long ways away from the bayou --

BIG CURTIS
Ain’t that a fact.

SLIM
But now that I’m here, I’m gonna own this town.

BIG CURTIS
(laughs)
Son, the Fillmore district is the only area
colored people are allowed.
(chuckles)
But maybe you just will own this town.
These here are my girls Lucy and Loretta.

The girls smile. Slim gives them a nod.

SLIM
Ladies.
(winks)
The pleasure’s all yours --

Faster Than You Can Say 'James Dean'

Hey there, crime kids. Happy Xmas times. 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 8 of FILLMORE, Clarence arrives in San Francisco to stay with his sister and her husband, who tell him he must go to school and get a job, much to his dismay. Later that day, Clarence's new friend Eddie shows him around, he's amazed to find out the water fountain isn't segregated ...


EXT. SAN FRANCISCO - TRAIN STATION - DAY
A big, beautiful, old, ornate train station.

Clarence steps off the train
with the other PASSENGERS.
Stares at everything with wonder.

Then he sees a WHITE BEGGAR (50’s)
pan-handling on the platform.
He shakes his head. Wow.

His older sister THELMA (30’s)
and her husband DON (40’s) walk up to him.
We see them exchange greetings.

EXT. SAN FRANCISCO STREET - DAY
Clarence walks down the sidewalk
with Thelma and Don.

He looks at all the fancy stores.
The fancy people.
Overwhelmed at all the sights and sounds.

He sees a MIXED-RACE COUPLE (20’s).
His eyes grow wide.

Another MIXED-RACE COUPLE walk by.
He watches them. Amazed.

INT. THELMA’S HOUSE - LIVING ROOM - DAY
Simply furnished, but much nicer than
Clarence’s place back home.

Clarence sits on the couch.
Thelma counts a thick stack of cash.
Smiles. Puts it in her purse.

THELMA
That sure was nice of Momma to give us money
pay for your expenses.

CLARENCE
(sadly)
Yeah --

THELMA
(hands him a credit card)
Here. This is for you to
buy some new clothes for school.

Now don’t go crazy.
We’ll know what you got
when we get the bill.

CLARENCE
Okay --

THELMA
And don’t be thinking you’ll be
stealing cars or carrying on, Clarence.
That’s not going to happen.
You’re going to go to school
and make something of yourself.
And whatever you do, stay away
from that fast crowd on Fillmore,
hear me?

DON
You can’t be stupid.
You gotta have a better life for yourself.
After school you can work with me
as a plumber’s helper.

CLARENCE
I’ve got bigger plans than that.

INT. BATHROOM - MOMENTS LATER
Slim flushes the toilet. Looks in the mirror.

SLIM
That’s the last time a woman takes my money.

INT. THELMA’S HOUSE - KITCHEN - NIGHT
Clarence and Don sit at the kitchen table
a stack of books.

Clarence has a big math book open. Looks at it.
Then at Don, who looks at him expectantly.

DON
Okay. Six-X minus-two plus two-X equals
minus-two plus four-X plus eight.
What’s the value of X?

CLARENCE
Why do I have to know this?

DON
It’s not easy to get in Lowell.
It’s a good school, and to get in,
you have to pass a TEST.

CLARENCE
Why can’t I just go the regular school?

DON
Well, as long as you’re staying in THIS house,
you’re gonna at least TRY.

CLARENCE
(thinks)
The value of X is two.

INT. LOWELL HIGH SCHOOL - DAY
Clarence walks down a crowded corridor
with his new friend EDDIE (16),
a good-looking popular kid.

He points out to Clarence all
the different types of students.

EDDIE
Now those kids in the fancy
athletic jackets are the jocks.
The ones in the zoot suits are the jazz cats,
and the ones over there in
the motorcycle jackets are the greasers.
You wanna stay away from THEM.
They’ll cut you faster than
you can say 'James Dean.'
CLARENCE
(low)
What about the water fountains --

EDDIE
Drink up. We ain’t segregated.
This is San Francisco.

CLARENCE
Damn.
(beat)
I think I’m gonna like it here.

I Left My Heart In New Orleans

Happy Holidaze, 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 7 of FILLMORE, after Clarence gets busted by the cops for beating up and robbing the white boys, his mother and father decide to send him to go stay in San Francisco with his sister to keep him out of trouble ...


EXT. CLARENCE’S HOUSE - DAY
Clarence rides a MOTOR SCOOTER
in the front yard, doing fancy tricks.

Joe watches, delighted.
Clarence ZOOMS up to him,
SKIDS to a stop in the dirt.

JOE
Where’d you get it?

CLARENCE
Where you THINK? I STOLE it.

JOE
Damn, you got BALLS.

CLARENCE
(sees something)
Shit. It’s the COPS.

IN THE DISTANCE
We see a POLICE CRUISER
coming down the road.

CLARENCE
KICKS the engine into gear,
ROARS toward the side yard.

Joe starts RUNNING toward the woods.
Clarence ditches the bike.
Crawls under the house and hides.

The police car pulls into the driveway.
The COPS see Joe, who’s almost
made it to the woods,
but he TRIPS and falls.

The cops JUMP out of the car,
RUN over to Joe. GRAB him.

ROOKIE COP
GOT you, you thieving little SHIT.

GRIZZLED VET
Where’s your friend CLARENCE?

JOE
I d-don’t know.
I haven’t seen him.

John comes outside.

JOHN
What’s going on out here?

GRIZZLED VET
This boy and your son beat up
a couple of white boys
and robbed them last night.

JOE
I don’t know what
you’re talking about.

ROOKIE COP
(SMACKS him)
Shut up.

GRIZZLED VET
We’d like to talk to your son.
Go fetch him.

JOHN
I’m sorry, officers.
I don’t know where he is.
How can you be sure it was Clarence?

GRIZZLED VET
If you know what’s good
for you and your family,
you turn that boy over to us.

JOHN
Yes, sir.

GRIZZLED VET
We’ll be back.

They glare at him.
Drag Joe toward their patrol car.

John sighs. Starts walking around
the house toward the back yard.

JOHN
CLARENCE SIMS.

I know you’re HIDING somewhere --
He looks at the edge of the property.
The tree line.

Then at the back yard.
Then at the house, sees Clarence
hiding in the crawlspace
below the house.

John points at him.
Face turning beet-red.
Clarence climbs out.

JOHN
In the house, NOW.

EXT. CLARENCE’S HOUSE - LIVING ROOM - DAY
Clarence sits in a chair,
head hung low.

John and Idola sit on
the couch in front of him.

JOHN
Do you realize how much TROUBLE
you’re in, young man?
Your foolishment is putting
the whole family in danger.
These white folks are ready
to come after all of us
because of you. Damn hard-head.
(beat)
We’ve made a decision --

IDOLA
Your sister Thelma in San Francisco
is gonna to take you in.

CLARENCE
San Francisco?
I don’t wanna go to SAN FRANCISCO.

JOHN
Listen to me.
You’re a special boy.
You’re smart, but you’re
too wild for these parts.
You’re gonna go stay with your sister
until the heat dies down, you hear me?

IDOLA
This is the best thing for all of us.
Understand?
(hands him a pair of underwear)
Here, take this.
I’ve sewn three thousand dollars
into the lining.
It’s more money than most
colored people see in three years.
We were saving it for all the children
so you could get out of here
and have a better life somewhere else --
(sighs)
But it's your money from the eight thousand
we got in the settlement from the accident --
but now you’re gonna give it
to your sister for her expenses.
She and her husband barely
have enough to live on.
(beat)
This is a second chance, Clarence.
You have to make choices in life,
and we choose to get you outta here alive.
If you stay around here,
you’re gonna get yourself hung.

PUSH IN ON Clarence. Nodding.
Eyes filling with tears.

EXT. CLARENCE’S HOUSE - DRIVEWAY - NIGHT
Clarence and John stand next to his car.
John puts a hat on him.
Gives him a cigar.

Opens the trunk.
Clarence gets in.

JOHN
Now don’t worry.
You’re gonna be okay.
Just don’t make any noise.

CLARENCE
Okay, Poppa.

Clarence nods.
Gets in the trunk.

John closes it.
Gets in the car and drives off --

Crackers In Bed

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 5 of FILLMORE, after going to church, Clarence reveals to his mother that he wants to be a blues singer. Later that day, Clarence and his friend show a couple of white boys where they can get laid ... if they buy them some booze ...


EXT. SOUTHERN BAPIST CHURCH - DAY
A bright, sunny Sunday morning.
A stream of TOWNSPEOPLE stream into
a big, beautiful, old church.

INT. SOUTHERN BAPIST CHURCH - DAY
The joint is packed.
A group of GOSPEL SINGERS
stand off to the side, singing their hearts out.

Everyone sings along, making the rafter shake.
It’s glorious, moving, inspiring.

They finish. People in the crowd shout out AMEN,
PRAISE JESUS and PRAISE THE LORD.
The PREACHER (50’s) appears.

PREACHER
Let’s everyone come up to the altar to pray.

Everyone starts coming up to the front row.

PREACHER
Thank you for coming today to hear the good word.
Before today’s sermon, let us kneel and pray.

IN THE FRONT ROW
We see Clarence, Idola, John and siblings
sitting and watching, dressed in their Sunday finest.

Clarence is wearing a beautiful,
brand-new powder blue suit.

The Sims family and most of the
congregation starts to kneel.

Clarence takes a handkerchief out of his pocket --
it’s the same color as his suit --
and places it on the floor.

Then kneels on it.
People notice. Stare at him.

IDOLA
(whispers to John)
What’s that boy doing?

CLARENCE
(hears her)
It’s a new suit, Momma --

INT. CLARENCE’S HOUSE - LIVING ROOM - DAY
Idola sits at the piano quietly playing a gospel song.
Softly humming along. She’s really good.

Clarence walks in the room,
now in jeans and t-shirt.

CLARENCE
That’s really nice, Momma.

IDOLA
(nods, smiles)
Haven’t heard you play in awhile.
You been keeping up with your lessons?

CLARENCE
Yes, Ma’am.

IDOLA
Come over here. I want to talk to you.

He walks over to her.

IDOLA
You know I love you very much, right?

CLARENCE
And I love you.
(beat)
Did I do something wrong?

IDOLA
No. For once, you haven’t --
(beat)
I’m worried about you, Clarence.
You’re always getting in trouble,
making mischief --
(off his look)
Don’t you want to make
something of yourself in life?

CLARENCE
Of course I do.

IDOLA
Do you know what you want to DO?

CLARENCE
I’m gonna be a blues singer, Momma.

IDOLA
It’s awfully hard to make a living
doing that, Clarence.

CLARENCE
It’s the only thing that makes me happy.
Entertaining people.

She looks at him long and hard.
His eyes, full of passion.

CLARENCE
Can I go outside and play now?

IDOLA
Did you do your chores?

CLARENCE
Of course.

IDOLA
Then go run along now.

He smiles. RUNS to the front door. Goes outside.
She watches him go. Sighs.

IDOLA
Lord have mercy --

EXT. CLARENCE’S HOUSE - REAR - NIGHT
Crickets chirp in the humid night air.
A window quietly opens.

Clarence climbs out.
RUNS into the woods.

EXT. MAIN STREET - NIGHT
Clarence and his Joe walk down the street,
enjoying the night.

They pass a bar.
Look in the window.

CLARENCE
I wanna go in there. Have a drink.

JOE
But we’re not old enough.

A couple of grinning WHITE BOYS (18)
walk over to them.

TALL WHITE BOY
(to Clarence)
Hey, boy.

CLARENCE
What.

TALL WHITE BOY
You know where a guy
can get laid around here?

CLARENCE
You want a colored girl?

CHUBBY WHITE BOY
What do you think we’re doing
in this part of town?

CLARENCE
Buy us some liquor and we’ll show you.

EXT. WHORE HOUSE - NIGHT
The joint we saw before
on the outskirts of town.
But now it’s come alive.

On the front porch of each bungalow
sits a HOOKER (20’s) showing off her
wares under colored lights.

A fancy roadster pulls up to the curb. Stops.
Clarence, Joe and the white boys get out.

Clarence and Joe carry bottles of booze
in paper sacks, followed by Tall and Chubby.

CLARENCE
This is it.

TALL WHITE BOY
Looks kinda -- nasty.

CLARENCE
Isn’t that what you want?

Chubby pulls a quarter out of his pocket.
Flips it at him.

CHUBBY WHITE BOY
Thanks, boy.
Now get your black asses outta here
and go back to your momma --

TALL WHITE BOY
Maybe have yourself some chitlins.

They LAUGH and walk toward the bungalows.

CLARENCE
Stupid fucking crackers.

He takes a big swallow of his bottle.
Wipes his mouth with his sleeve.
Stares at the bungalow they went into.

CLARENCE
I’d sure like to mess them up.

JOE
Then let’s do it --

EXT. WHORE HOUSE - NIGHT - LATER
Tall and Chubby come out the front door,
laughing, drunk, weaving down the steps.

TALL WHITE BOY
Colored PUSSY.
That’s what I’m talkin’ about.

CHUBBY WHITE BOY
Whoah. I’m seeing DOUBLE --

They swerve onto the sidewalk. Stop.

CHUBBY WHITE BOY
Fuck. I’m gonna get --

He PUKES A GEYSER OF BROWN VOMIT onto the grass.

TALL WHITE BOY
Somebody’s FUCKED-UP.

Clarence and Joe appear out of the shadows.
holds a length of chain, Joe a steel pipe.

CLARENCE
Give us your wallets, CRACKERS.

JOE
Or we’ll FUCK YOU UP.

TALL WHITE BOY
(weaves, confused)
What the hell?

CHUBBY WHITE BOY
We ain’t giving you --
(hiccups)
Shit.

TALL WHITE BOY
Yeah. Colored piece of SHIT.

Clarence LEAPS forward and
WHACKS Tall with his chain.

TALL WHITE BOY
OW.

He FALLS to the ground, WRITHING in pain.
Joe CRACKS Chubby on the head with the pipe.

He HITS the ground, THWUMP. Knocked out cold.
Clarence and Joe grab their wallets
and their watches -- and RUN AWAY --

Leave The Driving To Us

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 5 of FILLMORE, after Clarence gets run off the road by the cops, the car explodes, and he's severely injured. Then is mother Idola gets a stern lecture at work where she works as a maid that she'll get fired if her son continues to get in trouble ...


INT. TILLY’S CAR - NIGHT
Joe looks at Clarence,
wild-eyed, freaked out.

JOE
C’mon, LET’S GO.

Joe YANKS OPEN the door.
Runs away.

Clarence tries to move.
But he CAN’T.

CLARENCE
Joe, COME BACK.
My legs are stuck.

GRIZZLED VET AND ROOKIE COP
Stand on the shoulder
looking down at Clarence.

GRIZZLED VET
That’s that negro that was
messin’ with Tilly Sackler.

ROOKIE COP
That’ll teach ‘em.
(sniffs)
Smells like pork.

CLARENCE
Desperately tries to pull
his legs free, but he can’t.
They’re twisted under
the ruined steering wheel.

The flames grow higher,
BURNING his legs.

CLARENCE
JOE, HELP ME. I’m STUCK --

THE COPS
Watch Clarence burn.

ROOKIE COP
Burn, you black sonofabitch.

GRIZZLED VET
C’mon, let’s get the fuck outta here.
We just saved our friends the trouble
of paying him a visit.

They jump in the car and
TEAR OFF in a crunch of gravel.

CLARENCE
SCREAMS OUT in pain.

CLARENCE
JOOOE --

JOE
Hears him.
Comes out from the bushes.

Sees the car on fire.
And that the cops are gone.
He RACES OVER.

JOE
CLARENCE.
He YANKS Clarence out of the car.
DRAGS him to the embankment --
just as the car EXPLODES,
THROWING THEM onto the grass.

INT. FIRST NATIONAL BANK - CORRIDOR - LATE AFTERNOON
Idola is down on her knees
scrubbing the marble floor with a brush
and a bucket of soapy water.

The BANK MANAGER’S (50’s) a typical stuffy,
pompous white guy approaches her.

POMPOUS BANK MANAGER
Your son’s been getting
in a lot of trouble, Idola.
If it keeps up,
we’ll have to let you go.

IDOLA
I’m sorry, I’ve been trying to --

POMPOUS BANK MANAGER
It doesn’t look good to
our customers, Idola. People talk.
Make sure that boy stays in line,
or else. Understand?

IDOLA
Yes, sir.

He walks away.

IDOLA
Good night, Mr. Wells.

INT. CLARENCE’S HOUSE - BOYS’ BEDROOM - NIGHT
Clarence lies asleep in bed,
his legs all bandaged.
His brothers are also fast asleep.

Idola sits next to his bed.
Strokes his brow.
Shakes her head sadly.

IDOLA
Lord help me do the right thing.
Please protect this child.
In Jesus’ name I pray.

Home On The Range

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 4 of FILLMORE, Clarence gets busy with hooker Tilly Sackler, who invites him to stay with her. A little later, while going for a joyride with a friend, the cops try and pull him over, with disastrous results ...


INT. TILLY’S LIVING ROOM - DAY
Clarence and Tilly sit on the couch,
sipping their lemonade.

CLARENCE
This sure is good lemonade, Miss Sackler.

TILLY
Please. Call me Tilly.
(puts her hand on his knee)
You sure are growing up to be
a handsome young man, Clarence.

CLARENCE
(looks at her hand)
Thank you -- Tilly.

TILLY
I was wondering if you would --
help me with something.

CLARENCE
What’s that?

TILLY
Well, I was reading in the newspaper
that you should turn over the mattress
on your bed every year or so --

INT. TILLY’S BEDROOM - DAY
Frilly. Girlie. VERY nice.
A giant, king-sized bed.

Tilly and Clarence are under the covers,
FUCKING their brains out.

TILLY
FUCK ME, Clarence -- FUCK me.

CLARENCE
Hi, ho SILVER --

TILLY
Ride ‘em fucking COWBOY.

And she SCREAMS with ecstasy.

INT. TILLY’S BEDROOM - DAY - LATER
Clarence and Tilly lie in bed,
smoking cigarettes.

Clarence puts his out.
Starts to get out of bed.
Feeling awkward.

CLARENCE
That was really nice, Tilly --
but I should get back to work.

TILLY
Stay here with me awhile.
I’ll call the pharmacy.
Tell them you’re helping me
with some chores.

CLARENCE
I don’t know, Miss -- Tilly.

TILLY
You wouldn’t want me to call your boss
and tell him you RAPED me, would you?

CLARENCE
No, Ma’am. PLEASE don’t do that.

TILLY
Good. Then it’s settled.
You’re gonna stay here awhile.

CLARENCE
You mean -- stay in the house with you?

TILLY
Sure, why not? I’m all alone --
(off his look)
You could have your own room --
(off his look)
I’d even let you drive my car.

CLARENCE
Are you SERIOUS?

TILLY
Serious as a heart attack.

Clarence GRABS her.
Starts to get on top of her.

TILLY
(giggles)
Why, Clarence -- what are you DOING?

CLARENCE
Sayin’ thank you --

EXT. COUNTRY ROAD - NIGHT
A big, beautiful, brand-new BUICK SEDAN drives by.

INT. BUICK SEDAN - NIGHT
Clarence sits behind the wheel, driving.
His friend JOE (15) sits next to him
in the passenger seat.
He feels the leather.

JOE
And she lets you DRIVE it?

CLARENCE
I told you.
Got the run of the house. And HER.
First time I get pussy,
and it’s FULL-TIME, all the time.

JOE
You crazy.
What you doin’ messin’ around
with a white woman?

CLARENCE
That’s my choice.
I makes my own.
Nobody makes it for me.

JOE
So where is she now? She just lets you
drive around at night without her?

CLARENCE
She’s at the picture show
with her girlfriends.
(off his look)
I didn’t wanna see no Bette Davis movie.
Thought we could drive around and have some fun.

JOE
(nods)
Damn.
(feels the seat again.)
This is real leather --

A police siren WHOOP-WHOOPS behind them.

CLARENCE
(looks in the rear view)
Shit, it’s the cops.

JOE
But we didn’t do nothing.
We’re not speeding.

A POLICE CRUISER
Is right behind them.
Cherry lights FLASHING.
Siren WAILING.

CLARENCE
Steps on the gas.
The car TEARS ASS on the gravel road.

JOE
What are you DOING?
We ain’t done nothing WRONG.
It’s your FRIEND’S car --

CLARENCE
They’re not gonna BELIEVE me.
(beat)
Hold on --

He turns the headlights OFF.

AERIAL POV
The big sedan drives in the dark,
the cop car in hot pursuit.
It makes a turn, then ACCELERATES.

IN THE CAR
Clarence drives, turning the wheel
as he negotiates the turns.
Joe turns around,
looks out the rear window.

JOE
They’re still behind us --

THE CAR
Goes around the turn, but it’s going TOO FAST,
and it SWERVES, SKIDS, wheels SQUEALING and --

CLARENCE (O.C.)
SHIT --

EXT. COUNTRY ROAD - NIGHT
The car PLOWS into the foliage at the
side of the road and CRASHES into a tree.
BANG. It BURSTS into flames.

THE POLICE CAR
Pulls up to the side of the road
above them on the shoulder.

IN THE CAR
A ROOKIE COP (20’s) sits behind the wheel.
Looks at his PARTNER (50’s) sitting beside him,
a grizzled vet.

ROOKIE COP
Should I call the fire department?

GRIZZLED VET
Nah.
(smiles)
Let’s go check out the barbecue --

Fresh-Squeezed

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 3 of FILLMORE, at the behest of his father to keep him out of trouble, Clarence gets a job working on a fruit and vegetable cart and discovers he has a natural gift for sales, but finds it boring, so when he gets a job at a pharmacy making deliveries to a whore house, he finds that the 'world's oldest profession' is more to his liking ...


EXT. SMALL TOWN - NOON - DAY
An old HORSE-DRAWN WAGON drives down the street.

It’s driven by MR. FAUST (50’s)
a lanky, smiling German fellow.

The wagon is loaded with vegetables and fruit --
and Clarence.

CLARENCE
(sing-song)
Vegetable Man, it’s the Vegetable Man.
Get your fresh fruit and vegetables,
as fast as you can --

Someone’s front door OPENS.
The wagon stops.

CLARENCE
Apples, oranges, juicy ripe pears --
apples, oranges, juicy ripe pears --

A SMILING WOMAN (30’s) comes up to the wagon.

SMILING WOMAN
Good morning, Mr. Faust.

He smiles. Nods. Tips his hat.

CLARENCE
Good morning, Mrs. Baker. Step right up.
What can we get for you today?

MRS. BAKER
My, but don’t you look handsome today, Clarence.
I’ll take five apples, please.

CLARENCE
(puts them in a bag, hands them to her)
An apple a day makes the beautiful women
keep comin’ my way --

MR. FAUST
I swear, Clarence.
I never sold so much so quickly.
We’re gonna be great team.

He hands Clarence a dollar bill. Clarence takes it.
Tries hard not to show his disappointment.

CLARENCE
I’m sorry, Mr. Faust, but this ain’t for me.
It’s just a stop along the way.
I’m gonna be a blues singer.

MR. FAUST
You sing the blues?
Then sing us a SONG, Clarence.

Clarence nods excitedly.
Starts CLAPPING his hands.

CLARENCE
(sings)
Momma's got a chicken, called it a duck,
put it on the table with his feet sticking up --

Another WOMAN (19), Miss Emily,
a fine young thing, walks up to the wagon.

We hear a CAR ENGINE. Both women look.
It’s Blues Guitarist, slowly cruising by
in his candy-apple red Cadillac convertible.

BLUES GUITARIST
Miss Emily. Feel like goin’ for a ride?

Miss Emily smiles. DASHES over.
Jumps in. They drive off.

PUSH IN ON Clarence’s face. Watching them go.

EXT. WHORE HOUSE - DAY
A ramshackle farm house on the outskirts of town
with a smattering of small bungalows next to it.

Clarence walks up to one of them
carrying a brown paper bag.

KNOCKS on the door.
A GORGEOUS HOOKER (18) opens it. Sees Clarence.

GORGEOUS HOOKER
Wow, that was fast.

CLARENCE
No problem, Daisy. We aim to please.
(hands her the bag)
Milk, bread, and a dozen eggs.

DAISY
(takes it)
Thank you.
(beat)
Uh -- what about my change?

CLARENCE
There ain’t none.

She laughs. Shakes her head.

CLARENCE
What’s so funny?

DAISY
No change? You’re acting just like a pimp.
(beat)
I swear --

INT. PHARMACY - DAY
An old-time drug store. The PHARMACIST (60’s),
a tall, incredibly skinny white man
with an egg-shaped head stands behind the counter.
Hands Clarence a white paper bag.

PHARMACIST
Please take this to Tilly Sackler
on Peachtree Lane, Clarence.
And don’t dilly-dally.
needs this prescription right away. Okay?

CLARENCE
Don’t you worry, Mr. Magid.
I’ll be there faster than a jackrabbit.

EXT. TILLY SACKLER’S HOUSE - DAY
A nice, if plain, white clapboard house
in the good part of town.

Clarence stands on the stoop.
RINGS the doorbell.

The door OPENS. Out comes TILLY SACKLER (30’s)
a busty brunette right out of the movies.

CLARENCE
Mornin,’ Miss Sackler.
I’ve got your order from the pharmacy --

TILLY
(takes the bag)
Thanks, Clarence.
(meaningfully)
It’s awfully hot out today, isn’t it?

CLARENCE
Yes, ma’am. Sure is.

TILLY
Would you like to come in
and have a glass of lemonade?
I made it myself.
(whispers)
Fresh-squeezed.

CLARENCE
Yes, ma’am --

Crime And Punishment

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 2 of FILLMORE, the Sims family sits down to breakfast, but when Clarence arrives late, his father confronts him about sneaking out of the house the night before to go see a blues band, and decides to teach the boy a lesson ...



EXT. CLARENCE’S FAMILY’S HOUSE - DAY
A big, extended family picnic in the back yard
on a gorgeous Saturday afternoon.

Fathers on one side shooting the shit,
on the other, gossiping. Children playing.

Tons of food on picnic tables
being enjoyed by all.

Clarence sits and listens to his father,
JOHN (30’s) a seven-foot-tall
giant of a man talking with his friends.

JOHN
I taught him how to be a mason --
now he’s a supervisor, and
the white bastard just laid me off.

ZEKE (30’s) a friend, chimes in.

ZEKE
That happens all the time with colored folks.
We try and help someone out,
then they fuck us.

JOHN
I don’t know how I’m gonna pay my bills.

ZEKE
I might have something for you
in a couple-a weeks.
Gotta big job comin’ up.
(looks at Clarence)
Hey, Clarence.
Sing us one of them songs.
This is supposed to be a party.

He hands Clarence a dollar.
Clarence GRABS it,
starts singing his heart out.

CLARENCE
Well, lawdy Miss Clawdy --

INT. SCHOOL - DAY
At the end of a long corridor,
we see a TEACHER (40’s) a stout white woman
giving Idola the third degree.

It’s clear she’s really upset.
Idola nods, tries to calm her down.

EXT. COUNTRY ROAD - DAY
Idola and Clarence walk home.

IDOLA
And I had to leave work AGAIN
to come and get you.
When are you gonna LEARN?

CLARENCE
The teacher said colored people
ain’t never gonna be worth anything.
I had to say somethin.’
She’s fulla shit.

She GRABS him by the arm.

IDOLA
Who do you think you are, cussin’ like that?
That’s why you’re always gettin’ in trouble.

They pass a CHAIN GANG
on the other side of the road.

Idola sees them.
Points a finger.

IDOLA
See that?
That’s what happens to colored folks
that sass white people.

INT. CLARENCE’S HOUSE - DAY
A fairly big place with rustic furniture.
Immaculately clean.

John sits at the head of the table.
Mama’s at the other end.

His three BROTHERS and three SISTERS
sit around the table,
waiting to start breakfast.

JOHN
(to Mother)
Then we’ll start without him.

He looks at the family.
Clasps his hands.

Closes his eyes.
Bows his head.
They do the same.

JOHN
Dear Father, thank you for
what we are to about receive --

Clarence RUNS into the room.
Goes to his chair. Sits down.
John gives him the evil eye.

JOHN
In Jesus’ name we pray, Amen.

They start passing the food around.
John looks at Clarence.

JOHN
Your momma tells me you snuck out again
last night and went to that JUKE JOINT.

CLARENCE
I’m tryin’ to learn how to be a singer.

JOHN
You can’t make no living being no damn SINGER.
If you keep on the path you’re on,
you’re gonna become a CRIMINAL.

CLARENCE
Then that’s the path I’m gonna take,
and if that makes me a criminal,
then I’m gonna be the BEST.
I ain’t gonna be sayin’ yes, sir,
no, sir the rest of my life.

JOHN
Go get me my BELT.

Clarence JUMPS out of his chair.
RUNS out of the room.
John BANGS the table with his fist.

JOHN
(to the children)
GET HIM. If you DON’T CATCH HIM
it’ll be YOUR HIDES. GO, GO, GO --

The kids LEAP out of their chairs.
CHASE after him.

EXT. CLARENCE’S HOUSE - FRONT YARD - DAY
Clarence RUNS out the front door.
TEARS ASS across the yard toward the street.

His brothers and sisters CHASE AFTER HIM.
Slim RUNS into the woods across the street.

EXT. WOODED AREA - DAY
Clarence sits way up high in a tree.
Watches his brothers and sisters
run through the woods below trying to find him.

PUSH IN ON Clarence’s face. Smiling.

INT. CLARENCE’S HOUSE - LIVING ROOM - NIGHT
Dark. Everyone’s in bed. A side window OPENS.

Clarence climbs in.
Quietly closes it.
Tip-toes toward his room.

INT. CLARENCE’S ROOM - NIGHT
Clarence’s three BROTHERS
are fast asleep in their beds.

Cowboy posters dot the walls.
Lash LaRue. Tom Mix. Gene Autry.

He carefully closes the door.
Tip-toes toward his bed.
The door suddenly OPENS.

John stands in the doorway,
a scary apparition in the shadows.
Holding a leather barber’s strap.

JOHN
You think you’re slick.
I’m gonna teach you a lesson --

CLARENCE
Poppa, PLEASE --

JOHN
Come over here and take your whooping.
(growls)
And tomorrow you’re gonna get a JOB.
I don’t care if it’s pickin’ cotton.
Keep you outta TROUBLE --

Red, White And Black

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.

It's been awhile since I posted a personal message before I started the next story on the blog. No excuses. I've just been so darn busy as of late, doing back to back writing gigs for hire.

Some of you have probably wondered why I keep posting the same dozen scripts over the last few years and don't post some of my newer work. Well, there's a reason for that. Most of the stuff I've been working on has been for hire, and I've had to sign a non-disclosure agreement, so I can't post them -- and then there's another, more pertinent reason. They don't fit the brand of this blog; namely, hardboiled crime/pulp stories. Also, this blog remains a way for me to promote my work, and the odd producer or director that stumbles upon this isn't familiar with my work like you are. Also, my latest project I'm keeping under wraps because it's a super-cool series that's a real game-changer. All I want to say now is that it's about the first standalone female anti-hero, and it's the best thing I've ever written.

Today, all that's gonna change. Today I'm gonna start posting a story that's never been on the blog before, and I must confess I'm more than a little excited. Some of you heard of FILLMORE, the ill-fated biopic I was hired to write a couple of years ago. It was gonna star Snoop Dogg and be directed by Hawthorne James (SPEED, THE DOORS, THE FIVE HEARTBEATS). The story was splashed all of the trades, I was gonna make big money writing it. It was my 'big break.' Well, I had a great time writing it, then rewriting it with Hawthorne, but there was one problem. The producers never came up with to money to pay me after my first payment. Lesson one in screenwriting jobs: NEVER take a job unless they have the money in the bank to pay you. It seemed like a no-brainer: Snoop had signed a letter of intent (but the arrogant newbie producers lowballed his offer, and turned him off), and they would pay me the rest of my fee (in the low six figures) after they raised the money.

But they didn't. They couldn't.

And guess who went bankrupt and lost her home?

But that's a story for a different time. (See the above-mentioned new series.)

Ladies and gentlemen, today I present FILLMORE, the story of a poor young man from Louisiana, who moved to San Francisco in the 70's and became a famed blues musician, and, without trying, the biggest pimp ever known.

In Chapter 1 of FILLMORE, we meet young Clarence Sims, who's snuck out of his home in the Louisiana bayou to sneak a peak at a roadhouse blues band ... until his mother Idola tracks him down and drags him back home ...


FADE IN:

ON A BLACK SCREEN
We hear a BABY CRYING.

DISSOLVE TO:

INT. DELIVERY ROOM - DAY
IDOLA (30’s) lies in bed.
Holds NEWBORN BABY CLARENCE in her arms.

A pair of NURSES in scrubs (20’s)
stand nearby.

DOCTOR (40’s) nods,
walks out of the room.

PRETTY NURSE
That’s the prettiest baby I’ve ever seen.

SHY NURSE
He’s so beautiful.

IDOLA
Gonna break all the girls’ hearts.

PRETTY NURSE
He’s making a lot of noise.

IDOLA
That’s a colored boy
crying for his freedom.
(off her look)
He’s learning to sing the blues.

EXT. CITY STREET - DAY
From behind, we see a tall,
well-dressed MAN (30’s)
in a sharp suit and matching hat
with expensive shoes and
a guitar strapped across his back
walking down the street.

He passes various PEOPLE
that greet him.

IN MONTAGE:
A series of visual images.
WORKERS picking cotton with BLOODY HANDS.

CHOPPING sugar cane.
A BURNING CROSS.

A sign on a drinking fountain:
WHITES ONLY.

A young BOY shining shoes.
CHILDREN playing in the street.

An OLD WOMAN on her hands and knees,
scrubbing the floor late at night.

A man gets HANDCUFFED, dragged away.
A FOX chases a RABBIT.

THE WELL-DRESSED MAN
Gets to a street corner. Stops. Turns.
Looks in the camera.

We see it’s FILLMORE SLIM.
Blues singer. Man-about-town.

He brings the guitar around.
Starts playing, singing a song.

We PUSH IN ON his face,
and then --

DISSOLVE TO:

A YOUNG BOY’S FACE
Pressed up against a window.
CAMERA PULLS BACK to reveal --

EXT. BAYOU JUKE JOINT - NIGHT
A shack on the outskirts of town.
gravel parking lot is packed
with old jalopies.

We hear MUSIC bleeding out from within.
It’s hot jazz, CRACKLING with energy.

INT. BAYOU JUKE JOINT - NIGHT
A JAZZ BAND plays on a small stage.
They’re smokin’ hot.

Ripping the joint apart.
The guy on the sax is ON FIRE.

It’s all the rest of the band
can do to keep up with him.

The place is packed.
It’s hot and sweaty.

The crowd is going wild,
dancing up a storm.

Lubricated with booze and music.
Gyrating and sweating in
a whirlwind of ecstasy.

Enjoying the night.
Not a care in the world.

EXT. BAYOU JUKE JOINT - SIDE ALLEY - CONTINUOUS
THE YOUNG BOY (10) watches in the window.
Fixated on the sax player.

Snapping his fingers.
Imitating his moves.

INT. BAYOU JUKE JOINT - CONTINUOUS
The song ends.
The crowd ROARS it’s approval.

The sax player nods.
Leaves the stage.

A GUITARIST (40’s), a big, tall,
good-looking fella in a suit
takes the stage.
Nods at the band --

And then fucking RIPS into a tight,
honey-drenched blues riff,
simmering with feeling.
Joy. Pain. Release.

The crowd is dead quiet.
The women, RIVETED.

OUTSIDE IN THE ALLEY
Young Boy sees what’s going on.
The women LIKE this music.

BLUES GUITARIST
(sings)
I went down to the crossroads,
fell down on my knees --
I went down to the crossroads,
fell down on my knees --
asked the lord above for mercy,
save me if you please --

He makes the guitar WAIL.
SPEAK to the people.

A YOUNG GIRL (18) sitting at a table
right in front of him stares.

Licks her lips.
He notices her. Smiles.

Returns his attention to the guitar.
RIPS off another SHRIEKING solo.

She nods toward the door.
Raises her eyebrows, a question.

He smiles. Nods.
She gets up out of her seat.

EXT. BAYOU JUKE JOINT - SIDE ALLEY - CONTINUOUS
Young Boy has been watching
what just went down.

YOUNG BOY
Damn.

Suddenly Idola appears
and GRABS him by the ear.

IDOLA
Clarence Sims.
What did I tell you about
sneakin’ out of the house?
You come home RIGHT NOW.

CLARENCE
Ow, Momma.
Let go of my EAR.

She starts dragging him down the alley.

IDOLA
And what the hell are you doin’ HERE?
It’s NO PLACE for a young boy.
Your Daddy’s gonna tan your hide --

Blues Guitarist appears a few feet away,
holding Young Woman by the hand.

They laugh and stumble
drunkenly into the night.

He SMACKS her ass.
She lets out a throaty, dirty laugh.

Clarence stares at them, wide-eyed.

Idola sees them, freaks out,
then DRAGS him away --

Zero Dark Rommy

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 the final chapter of ZOMBIE & JULIET, Rommy and Jool fight to the death a swarm of zombies on the roof of a building under construction, as a news helicopter above tries to rescue them ...


IN THE AIR ABOVE
Is a News Four chopper.

It starts slowly descending.
A rope ladder comes down.

Jool races over to it.
GRABS it.

Starts to climb up, but it SNAPS --
and she HITS the roof. THWUNK.

ROMMY
Finishes ripping them apart.

Races over to Jool,
chainsaw in hand,
nail gun tucked in his belt.

THE CHOPPER
Hovers above them.
The PILOT comes over the loudspeaker.

PILOT (V.O.)
(electronic)
Grab onto the undercarriage.
I’m afraid if I land,
more will come and get on.

Rommy nods.
Drops the chainsaw.

Puts his hands together
in front of his knees.
Jool looks at him. Scared.

ROMMY
Climb up. HURRY --
(off her look)
C’mon, GO --

She nods.
Puts one foot onto his hands,
reaches up, and he BOOSTS
her up to the undercarriage.

She starts climbing up
to the cockpit, just as --

ANOTHER LATE-STAGE INFECTED PROFESSOR
Comes out onto the roof.
Starts coming toward Rommy.
He GRABS the chainsaw. Snarls --

ROMMY
I’m getting REALLY
fucking sick of you guys.

He YANKS the cord. Nothing.
YANKS it again. Nothing.

Yanks it AGAIN.
It ROARS to life.

Then SPUTTERS OUT.
He DROPS it.

Infected Professor starts getting closer.
Rommy pulls out the nail gun.

CHARGES at him.
JAMS it against his forehead.

Tries to NAIL him.
CLICK. CLICK. CLICK. Nothing.

ROMMY
God-DAMMIT.

He GRABS Professor’s head.
TWISTS his neck. CRACK.

Professor weaves a little,
then falls over. THWUMP.

Rommy JAMS the gun in his belt.
RACES over to the chopper.

Tries to JUMP UP and
GRAB the undercarriage --
but it’s too high.

He JUMPS again. GRABS IT.
His hand SLIPS, and he FALLS.

THWUMP. He gets back up.
JUMPS again. Misses --

JOOL
Comes out the door of the cockpit.
Starts climbing back down.

THE PILOT
Watches her.
Shakes his head in amazement.

PILOT
Now THAT’S true love.
ON THE CHOPPER

Jool hugs the bars
of the landing gear.

Reaches down.
Rommy JUMPS UP.

GRABS her hand.
Starts climbing up,
just as --

ANOTHER WAVE OF ZOMBIES
Flies out onto the roof.
CHATTERING. SCREAMING.

They RACE over toward Rommy
just as he works his legs
up over the bar.

Rommy YANKS out the nail gun
and starts SMASHING them
on the head with it --
as the helicopter starts slowly rising.

IN THE HELICOPTER
The pilot, a grizzled, old news pro
looks at Rommy and Jool climbing in.
Tips his baseball cap.

GRIZZLED PILOT
Bet you kids were shore
glad to see ME.

They nod, staring down below
at the zombies filling the roof.

Relieved.
Hugging each other tightly.

ROMMY
You could say that.

JOOL
Thanks, mister.

GRIZZLED PILOT
Funny thing.
First I was trying
to cover the story,
then I had to start
saving people like you
trapped on top
of the buildings.
Life sure is funny
sometimes, huh?

Rommy gazes at Jool.
A glimmer of a smile.

She wipes his face
with her sleeve.
Nuzzles him with her nose.

ROMMY
(softly)
Hilarious.

Jool sighs.
Runs her fingers
through Rommy’s hair.

GRIZZLED PILOT
So where do you want me to
drop you two lovebirds off?

ROMMY
(looks at Jool)
Where do you want to go?

She smiles faintly.
Shakes her head. Exhausted.

JOOL
You decide.

He thinks a moment.
Then brightens.

ROMMY
I hear Staten Island is
really nice this time of year --

She nods. Leans in.
And they kiss.

FADE TO BLACK

Stairway To Hell

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 33 of ZOMBIE & JULIET, Rommy and Jool make it onto the roof of the building and find a ton of construction equipment, but the zombies follow them, so Rommy starts nailing boards across the door to keep them at bay while Jool looks for the fire escape ...


INT. COLLEGE BUILDING - FIRST FLOOR FOYER - NIGHT
A pack of screaming, chattering ZOMBIES
run into the building,
now smelling uninfected human flesh.

IN THE STAIRWELL
Rommy leads Jool by the hand
as they stumble up the stairs.

He looks over the railing,
sees them coming from below.

ON THE SECOND FLOOR STAIRS
The wave of creatures
FLIES UP the steps.

AT THE TOP OF THE STAIRS
Rommy and Jool get to
a door to the roof.

He tries to open it,
but it’s LOCKED.

ROMMY
SHIT.

Jool looks at her hand.
It’s normal.
She looks at him.

JOOL
The vaccine?

ROMMY
Yeah.
We’re both good.

He KICKS it open, BANG.
They RACE OUT onto --

EXT. HUNTER COLLEGE SCHOOL OF MEDICINE - ROOF - NIGHT
Rommy SLAMS the door shut.
Sees a bunch of construction
equipment and lumber.
Abandoned during the apocalypse.

He walks over.
Picks up a nail gun.
Looks at Jool.

ROMMY
Go find the fire escape.
I’ll nail the door shut.
They’ll be up here any SECOND.

She nods.
Races off across the roof.
He grabs a board.

Starts NAILING it across
the door with the gun.
BANG. BANG. BANG. BANG.

Grabs another board.
Starts nailing it.

Suddenly there’s BANGING
and SCREAMING on the other side.

ROMMY
SHIT.

A mutant head CRASHES
through the door above the board.

He SHOOTS it between the eyes
with the nail gun.

It SCREAMS and POPS,
drenching him with goo.

ROMMY
FUCK.

He grabs another board.
Starts nailing it over where
the head crashed through.
BANG, BANG, BANG.

A pair of mutant arms BURSTS
through above that.

Then ANOTHER.
And ANOTHER.

ROMMY
NO, NO, NO --

He WHIRLS around.
Sees a CHAINSAW. GRABS it.

YANKS the cord.
The motor ROARS.

He SAWS through the arms --
CRUNCH, CRUNCH, CRUNCH, CRUNCH.
Gets SPRAYED with blood.

JOOL
Walks around the perimeter, searching.

JOOL
They don’t have a fire escape?

She makes it all the way around.
No dice. Then realizes.

JOOl
That’s what they were BUILDING --

Until The End Of The Girl

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 32 of ZOMBIE & JULIET, Rommy races to make the vaccine to save himself and Jool as the zombies enter the building and start making their way upstairs ...


INT. SWAT TRUCK - NIGHT
Gaga and Nin sit in the truck,
watching for zombies.

NIN
I wonder what’s
taking them so long?

GAGA
Dunno.

NIN
Are you okay?

GAGA
I miss my brother.

NIN
I’m sorry.
What was he like?

GAGA
God, he was AMAZING.
He developed the vaccine,
you know.

NIN
No, I didn’t.
(sees something)
OhmiGOD.

GAGA
(turns, looks)
What.
(sees)
Oh, NO.

EXT. SWAT TRUCK - NIGHT
A WILD, RABID PACK OF ZOMBIES
ATTACKS the truck.

Swarms all over it
like bees on a hive.
POUNDING on it, SCREAMING.

IN THE TRUCK
Gaga and Nin hug each other
for dear life.

GAGA
I can’t TAKE THIS ANYMORE.

NIN
Our father,
who art in heaven --

The zombies BURST THROUGH
the windows and start
RIPPING THEM TO SHREDS
and FEASTING ON THEM.

INT. CHEMISTRY LAB - NIGHT
Rommy injects Jool’s arm
with the vaccine.
Watches her.

Waits for some sign of life.
Takes her pulse.

ROMMY
Better, better --

He gives himself an injection.
Holds his arm up. Rubs it.

Looks at Jool.
Still nothing.

Walks over to the window.
Looks out. Goes white.

ROMMY
Holy shit.

JOOL (O.C.)
Where are we?

Rommy SPINS AROUND.
Sees Jool.

Sitting on the counter top.
Sleepy-eyed.
Scared to death.

JOOL
That was some
gnarly-ass nightmare.
(beat)
Could you hold me?

He RACES over to her.
Hugs her for dear life.

ROMMY
You’re okay.
You’re OKAY.

JOOL
Can we --
get some ice cream?

ROMMY
There’s no time
for that right now.
Zombies are coming
into the building.
We gotta go.

JOOL
(hugs him tight)
Will you protect me?

ROMMY
Until the end of the world.

He helps her down.
Grabs her hand.

ROMMY
C’mon, follow me --

Women And Children First

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 31 of ZOMBIE & JULIET, commando Ginger Jones gets eaten by zombies while Rommy and Jool make a daring escape to the roof of the building next door, and then makes his way to a nearby university chemistry lab where he starts making the vaccine that will save them both ...


IN THE PANIC ROOM
The steel door BURSTS
off its hinges,
and the room quickly
fills with SCREAMING ZOMBIES.

ON THE ROOF
Ginger nods at Rommy.

GINGER
You go next.

ROMMY
You go.
Women and children first.

The trap door FLIES OFF.

A pair of RABID ZOMBIES FLY OUT
onto the roof and start
RUNNING at them.
Ginger pulls out her
semiautomatic weapon and starts
SHREDDING THEM TO RIBBONS.

GINGER
GO, GO, GO --
I don’t know how much longer
I can hold ‘em off.

ROMMY
(nods, freaked out)
Fuck this hero shit --

He takes Jool in his arms.
GRABS the handle and goes
SAILING down to the other side --

Just as a dozen zombies EXPLODE
through the door
and start EATING GINGER.

She SCREAMS as her body
is TORN APART.

ON THE OTHER SIDE
They all watch in horror.
Jool wakes up again.

JOOL
What’s -- going on?

ROMMY
(turns her head)
Don’t look.

NIN
That poor woman.

GAGA
She saved us.

ROMMY
And now it’s time
to save ourselves.
(to Nin)
Where can find a chemistry lab?
I need to whip up
a batch of the vaccine.

NIN
Hunter college.
It’s just a few blocks away.

ROMMY
Okay, great.
(to Jool)
Just hold on.
Okay?
You think you
can make it?

JOOL
Yeah.
(feels something)
Uh-oh --

And she VOMITS a
GREEN-BROWN SPEW.
Closes her eyes.

Rommy wipes her mouth
with his sleeve.
Picks her up.

ROMMY
Stay with me, Jool --
(beat)
Stay with me.

EXT. HUNTER COLLEGE BUILDING - NIGHT
Old. Stately. Carved in stone
above the door: SCHOOL OF MEDICINE.

The SWAT truck pulls up in front. Stops.

Gaga sits the behind the wheel.
Nin rides shotgun.

Rommy hops out.
Puts Jool over his shoulder.
SLAMS the door.

ROMMY
We won’t be long.
Just stay in the truck.
You’ll be safe.

Gaga and Nin nod.
Rommy races inside.

INT. HUNTER COLLEGE - CHEMISTRY LAB - NIGHT
A maze of beakers, test-tubes and
bubbling liquids have been set up
on a work table like
something out of Frankenstein.

Jool lies on top of another table,
fast asleep.

Rommy watches the chemicals working.
He’s exhausted. Spent. Eyes are slits.

Every muscle in his body is aching.
He looks at a tube that’s
dripping liquid into a beaker.

ROMMY
(reads the sheet of paper with the formula)
Then add five cc’s
of contaminated blood.
(grabs a syringe, unwraps it)
We’re almost there --

He JABS the needle in her arm.
Fills the syringe with blood.

SQUIRTS it into the beaker.
Stirs it with a glass rod.

A door BANGS OPEN behind him.
He turns and looks.

It’s a late-stage INFECTED PROFESSOR.
Just about to turn.

He starts walking toward them.
Points at Jool. Licks his lips.

LATE-STAGE INFECTED PROFESSOR
Hungry --

Rommy GRABS a length of steel tubing
off the table --

ROMMY
Stay away from my GIRLFRIEND.

And SHOVES it in his eye with a CRUNCH.
He COLLAPSES to the floor, THWUNK.

Rommy DASHES over to the work table.
Starts filling a pair of syringes
with the vaccine --

Bird On A Wire

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 30 of ZOMBIE & JULIET, Rommy, Julie, Nin and Ginger make a daring escape to the roof of the building next door just as the zombies are about to attack ...


ON THE ROOF
Ginger closes the hatch.
Examines it.

GINGER
It bolts from the inside.
It’s not gonna buy us
much time.

ROMMY
We gotta figure out
a way to get over to
the next building.

Ginger pulls a
coiled length of
black rope off
her belt --

GINGER
Check it out.

Holds up a black metal
rod attached to it.

She presses a button
on the handle and a
GRAPPLING HOOK flies out.

She deftly TOSSES IT
across to the building
on the other side.

It HITS the ledge
with a CLANG.

Ginger pulls out a
handle with a
snapped-hook.

Attaches it to
the rope, CLICK.

ROMMY
So we grab onto that
and slide down
to the other side.

Ginger nods.
Ties the other end
of the rope
to a chimney.
Pulls it TIGHT.

GINGER
We’ll have to go
one at a time.

ROMMY
Gaga, you go first.

GAGA
Okay.

She grabs the handle.
Pulls it along the cord
to the side of the building.

Looks at the other side.
Then at them.

GAGA
Wish me luck.

And then TAKES OFF.

She FLIES down the cord
with ease and LANDS
on the roof with a
SLAP of her feet.

IN THE PANIC ROOM
The door starts to BUCKLE
as the screaming zombies
BATTER it.

ON THE ROOF
Rommy looks at Nin.

ROMMY
Now you go.

Nin nods.
GRABS the handle.

Look across to
the other side.

NIN
Here goes nothing --

And FLIES down the cord.

A Shot In The Dark

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 29 of ZOMBIE & JULIET, Rommy has to fend off the zombies attacking Jool's building so he can then find a place to make more of the vaccine to prevent both of them from succumbing to the virus ...


EXT. MANHATTAN STREET - CARLING'S MANSION - DAY
Brick and Gaga stand in front the building.

GAGA
Do you hear that?

The sound of SCREAMING
gets nearer and nearer.

BRICK
(looks)
Oh, SHIT.

DOWN THE STREET
A pack of RABID SCREAMING ZOMBIES
is coming right at them.

EXT. CARLING’S MANSION - NIGHT
Gaga and Brick RUN into the building.

INT. CARLING’S MANSION - FOYER - NIGHT
They SLAM the door shut.

BRICK
That’s not gonna hold ‘em long.

GAGA
(nods)
C’mon -- UPSTAIRS.

Gaga and Brick start RUNNING
up the grand staircase.

ON THE ROOF
Nin turns to Ginger.

NIN
We better go warn them.

GINGER
Uh, YEAH.

They RACE toward the trap door,
then BOLT down the ladder.

IN THE HALLWAY
Rommy holds Jool in his arms.
He sees the lesions.

There’s now more of them.
He kisses the top of her head.

ROMMY
You’re NOT gonna die on me.

JOOL
(opens her eyes)
Rommy -- ?

ROMMY
Hold on.
You’re gonna be okay.
You’re gonna be okay.

JOOL
Okay --
(eyes go glassy)
Need to -- sleep.

And she PASSES OUT again.

IN THE FOYER
The front door FLIES OPEN
and the pack of zombies RACES INSIDE.
Start FLYING UP THE STAIRS.

AT THE TOP OF THE STAIRS
Gaga reaches the top.
But Brick, still really high,
TRIPS and FALLS.

He groans.
Grabs the railing.

BRICK
My ankle --

The zombies RUN UP THE STAIRS
and ATTACK him.

Start FEASTING.
Gaga SCREAMS.
RUNS down --

THE HALLWAY
Where she sees Rommy
holding a lifeless Jool.

GAGA
They’re COMING THIS WAY --
(off his stare)
Is she okay?

ROMMY
(hoists Jool over his shoulder)
I don’t KNOW.

SCREAMING behind them.

GAGA
C’mon, LET’S GO --

They turn and RUN
toward the steel door,
which FLIES OPEN,
revealing Nin and Ginger.

GINGER
Get IN HERE.

Rommy and Gaga FLY into the room.
Ginger and Nin SLAM the door.

Everyone looks at each other.
Breathing heavily.

ROMMY
Thanks.
Holy shit was that close.

He carefully lays Jool
down on the bed.

Strokes her hair.
Looks up at them.
Sighs. Then realizes.

ROMMY
Hey. Where’s Brick?

GAGA
Didn’t make it.

NIN
(to Rommy)
Is she okay?

ROMMY
I think so -- for now.
But we gotta hurry.

GINGER
You’re the boyfriend.

NIN
(half-smile)
His name is Rommy.

ROMMY
Nice to meet you.
Nin, right?
(off her nod)
Okay, listen to me.
I’ve got a vaccine.
We need to get out of here
so I can go make some.
She keeps going in and out
of consciousness --

GINGER
You’ve got a VACCINE?

ROMMY
Yeah, but it’s not going
do us any good if we’re DEAD.

The zombies start
BANGING on the door.

Everybody looks. Horrified.
Rommy turns to Nin.

ROMMY
How strong is that door?

NIN
It’s -- pretty strong, but --
(gestures helplessly)
I dunno.

ROMMY
(sees the ladder)
That goes up to the roof?
(off her nod)
Then LET’S GO.

One by one, they start
going up the ladder --
first Gaga, then Nin,
then Ginger, then Rommy,
carrying Jool --