Kiss And Tell

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 12 of BLUE HOTEL, private school teacher Gill Sherry tries to convince hooker Alona Tal to run away with him. Meanwhile, wannabe screenwriter Holly Land grabs her gun and head out into the night with a view to getting some money to help pay for removing the dead body in Alona's hotel room ...


INT. HOLLY’S SHITTY HOTEL ROOM - NIGHT
Holly walks in the room
carrying a bottle of vodka,
goes to her desk. Sits.

Pours two fingers.
Downs it.

Punches PLAY on her boombox.
The anguished, brittle, tortured sound of
Portishead oozes out the speakers
like a wound.

She opens her laptop.
Boots it up.
Looks at the screen.

ON THE MONITOR
We see the screenplay
she’s working on.

It reads:

INT. MOTEL ROOM - NIGHT
Molly leans against the wall.
Listening to the sound of
love-making in the next room.

She reaches down.
Touches herself.

HOLLY
SLAPS the computer closed.

HOLLY
Fucking SHIT.

She pours another one. Downs it.
Stands. A bit wobbly.

HOLLY
Need to get -- more money.

Holly pours one more for courage.
Slugs it down.

Grabs her purse.
Pulls the gun from the robbery out.
Checks it.

HOLLY
Time to cut to the chase.

INT. BEGGAR’S BMW CONVERTIBLE - NIGHT
Beggars sits in his car
in the rear parking lot of the hotel.
Dials a number on his cell. Listens.

BEGGAR
Lief, hey -- it’s Beggar.
(beat)
I just got a kilo of
primo booger sugar,
and I thought of you --
(beat)
You having a party?
Well, that’s even better --
(beat)
You know I’m cool.
I won’t tell anyone --
(beat)
WHO?
(beat)
You’re shitting me.

INT. THE STARLIGHT LOUNGE - NIGHT
Some strange 60’s lounge classic plays
like Yma Sumac on the jukebox.

Alona and Gill sit at the bar
with cocktails.

ALONA
So what are you gonna do now?

GILL
Well, I still have my job --
(beat)
And I still have you.

ALONA
Gill, I’m with Beggar.
You know that.
You’re a friend.

GILL
I know to you I’m just a client,
but I can tell you feel something
when we make love.
I can feel it.

ALONA
My dear, sweet Gill --
the incurable romantic.

GILL
I wish you’d let me take you
away from all of this, Alona.
(gestures)
This place is a dive.
A cesspool --

The BARTENDER looks up.
Pissed off.

ALONA
Gill, I like my life
just the way it is.
No strings.
Nothing to tie me down.
If I get tired of it,
I can just split.
(beat)
And I like sex too much.

GILL
(finishes his drink)
Speaking of sex, let’s go upstairs.
I need to quench my thirst
from your heavenly fountain.

ALONA
Heavenly fountain?
(drains her drink)
Kitchen sink is more like it.

EXT. STARLIGHT HOTEL - NIGHT
Holly comes down the front steps.
Weaving a little.

She stops.
Looks around.

Sees a crowd of ONLOOKERS
in front of the
liquor store crime scene.

Feo, still sitting
on the park bench, sees Holly.

FEO
Hey, there.
(smiles)
We’ve got to stop meeting like this.

HOLLY
(sees him)
Oh. Hey.
(points at the crowd)
What’s -- going on?

FEO
Some chick knocked off the liquor store
with a couple of gang-bangers,
then shot one of ‘em.
(holds up I-phone)
Wanna see the footage?

She stares. He saw it?
But doesn’t recognize her?

HOLLY
(trying to be casual)
Sure.

Holly sits down.
He holds up the phone
in front of her.

ON THE SCREEN
We see grainy, black and white
footage of the robbery,
with Holly seen from the rear.

She SHOOTS the gang-banger.
BANG. He falls.

She grabs the liquor,
RUNS into the back.

HOLLY
Looks at Feo.

HOLLY
Huh. Looks kinda like me.

FEO
Nah. She looks vicious.
You’re kinda cute.

HOLLY
You really --
(hiccups)
Really think so?

FEO
Yeah. If I didn’t have a --
situation to take care of,
I’d ask you if I could
buy you a drink.

HOLLY
(points)
Hotel’s got a bar, right there.
Buy me a drink, we can talk about it?
(weird smile)
Maybe I can help.

FEO
You’re on.
(beat)
Don’t worry,
I don’t kiss and tell.

HOLLY
That’s a shame.
I do --