Rock The Casbah

Hey there, crime kids. Happy All Hallow'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 5 of ZOMBIE & JULIET, Gaga escapes from a horde of zombies in the hinterlands of New Jersey, and then finds safety with infected revolutionary leader Brick Cosmo. Meanwhile, Jool is not to happy with her uncle's plans to marry her off to a bloated, rich yuppie ...


EXT. NEW JERSEY - CITY STREET - NIGHT
Across the river, what once was a
bustling berg is now a burned-out shell.
In ruins. A deserted slum.

GAGA comes RUNNING down the street.
Pursued by the trio of zombies we saw earlier.

They start GAINING on her.
She turns, DUCKS down an alley.
and panting.

EXT. ALLEY - NIGHT
Gaga RUNS down the alley,
the zombies in hot pursuit.

She sees a door. YANKS it open.
RUNS inside. The zombies follow.

INT. ABANDONED RESTAURANT - KITCHEN - NIGHT
Gaga TEARS ASS through the kitchen,
GRABBING pots and pans and HURLING
them at the zombies.

But they BOUNCE off them and
CLANG onto the floor. She RUNS into --

INT. ABANDONED RESTAURANT - MAIN ROOM - NIGHT
Dark. Eerie. Chairs up on tables. Cobwebs.
Rats SCURRY about.

Gaga DASHES through the room.
JUMPS under a table and hides.

The zombies RACE into the room.
Stop. Look around. Sniffing.

The front door FLIES OPEN.
A tall, rugged GUY (40’s) walks in.

Dead ringer for Bruce Campbell.
He holds a giant ‘super-soaker’ squirt gun.
Meet BRICK COSMO, revolutionary warrior.

BRICK
Eat shit and MELT, mother-undead-FUCKERS.

He SPRAYS them with a brown liquid.
The zombies fall back, SCREAMING.

Their skin BUBBLES in a WHITE MIST.
They HIT the ground and DISSOLVE
into a gooey puddle of pulp and bones.

BRICK
Disgusting.

Brick puts his weapon down.
Steps around it.

BRICK
You can come out now.
The coast is clear.

GAGA (O.C.)
Who-who are you?

BRICK
Brick Cosmo, soldier in the
infected revolutionary army.
C’mon out. I won’t hurt you.
(sings)
Buffalo soldier, dreadlock rasta --

Gaga comes out from under the table.
Sees the zombie puddle.

GAGA
Thanks --
(gulps)
How did you do that?

BRICK
(holds up the gun)
Believe it or not, gasoline.
Takes ‘em out faster than
you can say 'pay at the pump.'

GAGA
Why not just shoot them?

BRICK
We’re kinda low on bullets these days.

GAGA
You said -- infected revolutionary army?

BRICK
Yes, ma’am.
The revolution WON’T be televised --
but we’re still gonna kick ass.
(looks her over)
You must be a newbie. Wanna enlist?
We offer room, board and zombie protection.

GAGA
Yeah, sure. What do I need to do?

BRICK
Just follow me to our secret headquarters,
we’ll fill you in.

EXT. ABANDONED CITY STREET - NIGHT
Brick leads Gaga down the ruined avenue.

BRICK
Keep your eyes peeled.
These mofos can MOVE.

GAGA
So how many are there
in your revolutionary army?

BRICK
Now that you’re on board, six.
But that’s just our cell.
There’s TONS of us out here,
and we’re getting ready to
rock the fucking Casbah.

GAGA
What’s your plan?

BRICK
Ever seen Escape From New York?

GAGA
Yeah, sure. I love old movies.

BRICK
Well, it’s kinda the reverse --

INT. CARLING’S MANSION - BALLROOM - NIGHT
The crowd has thinned out.
Carling stands chatting with TATE CANYON (21).

Incredibly good-looking.
Natty in cool threads.

Oozing charisma.
Great with the ladies.
And a real mench.

CARLING
I don’t know where she is, Tate.
I haven’t seen her all night.

TATE
That’s a shame.
I’ve been dying to meet her.
Maybe another time --

CARLING
Would you please excuse me a moment?
I’ll be right back.

TATE
Of course.

Carling walks over to the bar
where Nin is getting a drink.

CARLING
Have you seen Jool?
I’ve been looking for her all evening.

NIN
(turns white)
No, I haven’t.

CARLING
You’re lying, Nin.
I can always tell.
Out with it.

NIN
She -- went out.

CARLING
Where did she go?

NIN
To a -- street fair.

CARLING
A street fair?
Where on EARTH is there a
street fair tonight?

NIN
Uh -- downtown.

CARLING
DOWNTOWN? She went DOWNTOWN?
Why on EARTH would she want to go THERE?

NIN
Carling, she’s young. Curious.
It’s only natural that she’d want
to see how other people live.
(beat)
Think of it like -- anthropology.

CARLING
But it’s not SAFE down there.

NIN
Nonsense. She took a cab. And her gun.

CARLING
(sees something)
Jool. There you are --

IN THE DOORWAY
Stands Jool.
Carrying her shoes in her hand.
Trying to sneak in quietly. Busted.

JOOL
Uncle Carling.

CARLING
Come over here.
There’s someone I want you to meet.

Jool walks over. Looks at Tate. Smiles blandly.

CARLING
I present to you my niece, Juliet.

JOOL
Jool.

TATE
You said she was a goddess --
(takes her hand, kisses it)
Did my heart love 'til now?
Forswear its sight -- for I never saw
true beauty until this night.

She pulls her hand away. NOT interested.

JOOL
I’m like, so sure.
Gag me with Bartlett's Quotations.

CARLING
(oblivious)
I’m sure the two of you are
going to be quite happy together.

JOOL
Excuse me?

CARLING
My dear, this is the man
you’re going to marry.

JOOL
I don’t understand.

CARLING
Tate is the heir to the Canyon dynasty.
You should be honored.
The Times named him one of the
'ten most eligible bachelors in the republic.'
(big smile)
Nothing but the best for my niece --

Jool stares at Carling.
Then Tate. Speechless. Then at Nin.
Who gives her a ‘it’s news to me’ look.

CARLING
My dear, are you feeling alright?
You look pale.

JOOL
On what planet do you expect me
to marry THAT yuppie gas-bag?
(to Tate)
No offense.

She turns on her heel, and quickly
MARCHES out of the room.

CARLING
What the -- ?
(calls after her)
You come back here THIS INSTANT,
young lady.

NIN
Calm down. I’ll go talk to her.

CARLING
Do that.

Nin nods. Rushes off.
Carling looks at Tate. Sighs.

CARLING
I’m dreadfully sorry.
I guess I should have briefed her.

PUSH IN on Tate’s face.
His look of disappointment.

TATE
Was it something I said?

What Happens In Greenwich Village, Stays In Greenwich Village

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 ZOMBIE & JULIET, we meet downtown hipster Rommy Mont, who's checking out the street fair with his best friend, Merk, who reveals he's found a cure for the virus ... but when Rommy sees Jool wandering down the street, he only has eyes for her ...


EXT. GREENWICH VILLAGE - BLEECKER STREET - NIGHT
A STREET FAIR in full-swing.
Rows of booths and stalls filled
with food from around the world.

A ROCK BAND plays on a raised platform.
A throng of SMILING PARTIERS mill about.

CAMERA finds two YOUNG GUYS (17)
walking through the fair.
Deep in conversation.

YOUNG GUY
I’m not ready yet, Merk.
It’s too soon.

Meet ROMMY MONT.
Nice guy, but awkward. Shy.

Always deep in thought.
Looks wounded. Haunted.

One of those borderline types.
Could transcend ‘nerd’ --
if he’d only try.

Think Ryan Gosling.
Divided by Jessie Eisenberg.
With a dash of Joseph Gordon-Levitt.

Dressed a bit too geeky in
pressed jeans and a sweater vest.
Longish hair in search of a style.

MERK
'Too soon?'
It’s been over a year.
You need to move on.
You’ve elevated the grieving
process into an art form.
You need to get laid, my good man.
(waves his hand at the throng)
I mean, look at this sea of female flesh.
All you need to do is dive in.

Meet MERK ROWE, Rommy’s best friend,
already pre-med. Smart. Funny.
The ultimate wing-man.

Tall and thin, with eyes
that twinkle with mischief.
Rakish in a vintage Ramones T.

ROMMY
I don’t see the point.
Why even try?
We’ll never get off this island,
and until there’s a cure for the virus --
(gestures)
You’re just setting yourself up
for disappointment.

MERK
(low)
Can you keep a secret?

ROMMY
What?

MERK
I was working at the school lab last night --
(looks around)
And I think I discovered something.

ROMMY
What?

MERK
A cure.

ROMMY
For the VIRUS?

MERK
Shhhh --
(beat)
Yeah. I just need to try it
on someone who’s infected.

ROMMY
You’re not shitting me?

MERK
I shit you not, my lord.

Rommy stops in his tracks.
Sees something. Stares.

MERK
This is the part where
you call me a genius.
(sees him staring)
What are you looking at?
(beat)
Hello, Earth to Rommy,
Earth to Rommy.
Come in, come in.
We’ve lost your signal.
(beat)
HELLO.

IN THE CROWD
We see JOOL, drifting down
the street toward them.

In complete delight with all the
sights, sounds and smells of the fair.

Taking pictures with her camera.
In her element.

She throws some money in a hat
in front of a STREET MUSICIAN.

Goes to a vendor.
Buys a bouquet flowers. Sniffs them.
Then buys a piece chocolate from another.
Eats it, savoring it.

MERK
Nudges Rommy.

MERK
Look. Someone dropped a
hundred-dollar bill on the sidewalk.

ROMMY
(still staring)
That’s nice.

MERK
Okay. You just stand there like a robot,
and I’m gonna go get another beer.

He walks away, shaking his head.
Jool comes into view.

Sees Rommy gaping at her. Stops.
Looks at him. Fake-angry.

JOOL
Drool much?
Didn’t your mother teach you
it’s not polite to stare?

ROMMY
I’m -- sorry.

JOOL
It’s okay.
Just busting your chops.

He comes out of his trance.
Faint hint of a smile.

ROMMY
Color me busted.

JOOL
(offers hand to shake)
Jool.

ROMMY
(shakes)
Rommy. Nice to meet you.
(beat)
Pretty name.

They stop shaking.
But don’t let go.

If this were animated,
we’d see an electric spark CRACKLE.

JOOL
It’s short for Juliet,
but I HATE that name.
It’s so corny.
(beat)
Is Rommy short for -- Romeo?

ROMMY
Worse.
Short for Romulus.
Father’s a Trekkie.

They realize. Let go.
An awkward moment. Then --

ROMMY
So you’re, uh --
enjoying the street fair?

JOOL
Yeah, it’s AMAZING.
We don’t have them where I come from.
like another WORLD.

He looks at her expensive,
understated clothing. Realizes.

ROMMY
You’re -- from uptown?

JOOL
Yeah.
But I think I like it better downtown.

ROMMY
You’re a Kapp --

JOOL
Shhh. Don’t tell anyone.
What happens in Greenwich Village,
stays in Greenwich Village.

Pause.

ROMMY
You have -- the most beautiful eyes.

JOOL
(looks closely)
Yours are sad. Wounded.
Like you’ve been -
(beat)
I’m sorry. That was stupid.
I do that all the time.
I get too personal too quickly --
talk without thinking.
Some people say I talk too MUCH.
'Oh, look -- there’s Chatty Kathy.'

ROMMY
That’s okay. I like to talk.
I mean, talking’s good.
If people would just talk to each other,
the world would be a --
(beat)
Would you like to get some ice cream?
(beat)
Sit and talk?

JOOL
I’d like that.

She leans in.
Kisses him on the cheek.

Then pulls away.
Surveys the damage.

Rommy’s face flushes a deep red.

ROMMY
Wh-what was that for?

JOOL
Just curious.
(beat)
I’ve never seen a boy blush like that.

PUSH IN ON Rommy’s face.
Heart racing.

ROMMY
So, uh -- what’s your favorite flavor?

Tough Toenails

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 ZOMBIE & JULIET, we meet Jool Kapp, upper east side heiress, who right now is imploring her nanny for permission to go downtown to Greenwich Village so she can mix with the 'common people.' Her goal? To check out her first street fair ...


INT. UPSTAIRS BEDROOM - NIGHT
Part of a lux suite of rooms
on an upper floor. Very grand.

Tasteful. Tons of books.
A big, old globe.

Old-school computer with a giant monitor.
A big record library.

Sitting on the bed is JOOL KAPP (17),
Carling’s niece.

Very pretty, but doesn’t work it.
No makeup. Hair in a tomboyish bob.

Smart. Feisty. Strong.
Tons of self-will.

Think a young Kate Hepburn.
With a dash of Ellen Page.

Rakish in slacks,
fitted jacket and boots.

JOOL
But I don’t want to go down there.
I can’t stand those people.
They’re all phonies.
My IQ goes down a point
every minute I’m around them.
All they care about is
money, class, privilege.
They have no conception about
what’s really important in life.

Standing nearby is NIN (40’s),
Jool’s nanny since childhood.

Smart. Sleek. Very Emma Peel.
Jool’s advisor. Confidant.

NIN
But your Uncle Carling
expects you to make an appearance.

JOOL
Tough toenails.
I’m just a trophy to him.
Something to show off.

NIN
Can’t you just humor him?

JOOL
No, I can’t.
I’m a person, Nin -- not a THING.
(off her look)
And I’m tired of being
cooped up in this mausoleum.
I feel trapped.
Like a bird in a gilded cage.
I want to GO OUT.
See the world. Explore.

NIN
Out? Where?
You know the streets aren’t safe.

JOOL
Fiddlesticks. I’m a big girl.
I can take of myself.

NIN
Oh, you can, can you.
And where do you plan on going?

JOOL
Downtown.

NIN
Why on earth would you
want to go downtown?

JOOL
There’s a big Tenth of October
street fair tonight,
totally old-school.
Food, drink, live music,
you know -- a street fair.

NIN
Ah, yes. I’ve read about those --

JOOL
I can take a cab
and have them wait for me.
It’ll totally be safe.
And I won’t stay long. I promise.
I just wanna see
regular people having FUN.
What’s so wrong about that?

NIN
Kind of like -- anthropology.

JOOL
Exactly. So can I go? Please?

NIN
You feel very strongly about this --
(beat)
Go. Have fun.
But be back by eleven, okay?

JOOL
YES. Thank you, Nin. THANK YOU.
(clasps her hands)
Omigod, I’m so excited I could plotz.

NIN
I expect a full report
when you get back.
(beat)
Oh. And don’t forget your gun.

JOOL
Of course not.

She walks over to her desk.
Opens a drawer.

Pulls out a SIG SAUER MOSQUITO.
RACKS out the clip. Checks it.

SHOVES it back in, CHINK.
Puts it her purse.

Looks at Nin.
Smiles brightly.

JOOL
Don’t leave home without it. --

EXT. FIFTH AVENUE - NIGHT
A PEDAL-RICKSHAW CAB cruises
south down Fifth Avenue,
giant mansions.

Airbrushed office buildings.
Tony boutiques.

We see other pedal-cabs,
and also tons of PEOPLE ON BICYCLES.

INT. RICKSHAW CAB - MOVING - NIGHT
Jool looks out the window,
full of anticipation.

THE RICKSHAW CAB
Gets to the border of midtown.
Starts passing through --

EXT. TIMES SQUARE - NIGHT
Once gentrified, the infamous avenue
has returned to it’s previous squalor.

All of the fancy stores and restaurants
are now home to peep shows,
strip clubs, bars and whore houses.

The Gap sign now reads THE GASH.
We see signs for CRATE AND ASSHOLE.
STARFUCKS. JAMBA COOZE. S&M’S. HOOTERS.

JOOL
Looks out the window.
Silently gasps at the motley crew
of STREET TRASH milling about.

THE RICKSHAW CAB
Continues on downtown.
The streets now lined with
ancient BROWNSTONES.

A STREET VENDOR hawks his wares.
The people look young, hip.

A bohemian kid plays a guitar
on the corner.

JOOL
Smiles. Likes what she sees.

JOOL
He’s cute --

Drill, Baby, Drill

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 ZOMBIE & JULIET, in the not-to-distant future, zombie virus-infected high school student Gaga has to fend for herself in the hinterlands of New Jersey. We then see a news report about the zombie virus and how it's affecting the Republic of Manhattan. Meanwhile, on the right-wing upper east side, we travel to a tony mansion where a gloriously decadent party is underway ...


EXT. HIGH SCHOOL - ROOFTOP - DAY
A BLACK HELICOPTER sits on the roof.
Blades WHIRRING.

The troopers race out of the
rooftop exit with the body bags.

Load them onboard.
The copter TAKES OFF.

EXT. LOWER MANHATTAN - CHOPPER POV - DAY
We see the giant wall around the city.
The chopper flies over the Hudson river.

On the other side,
in what was New Jersey,
is now a series of burnt-out slums.

EXT. NEW JERSEY - BURNT-OUT WATERFRONT - STREET CORNER - DAY
In front of what was an apartment building,
now a pile of smouldering ruins,
a body bag lies on the sidewalk.

It ZIPS open.
Gaga crawls out.

Looks around.
Deserted. Huh.

GAGA
Not TOO scary --

A PACK OF ZOMBIES appear
down the street.
Hideously disfigured.

About half-way gone.
They SCREAM at her.

Gaga WHIPS her head
in their direction.

GAGA
Omigod, omigod, omigod --

She starts RUNNING --
and they CHASE AFTER HER.

INT. NEWS STUDIO - NIGHT
A GLOSSY, AIRBRUSHED ANCHORMAN
sits behind his desk with a
PERT, SMILING BLONDE ANCHORWOMAN.

SMILING BLOND ANCHORWOMAN
Drilling commenced in Harlem today,
where officials believe there might be
enough oil to keep government vehicles
in operation for another few years --
and for private citizens that can afford
one-hundred dollars a gallon.
(shakes her head)
I can remember when it was ten bucks --

GLOSSY, AIRBRUSHED ANCHORMAN
This just in.
The Department of Health Control
estimates that there still might be
thousand Infected-Americans
in the republic.
(looks at Smiling)
I don’t know about you,
but that reward money
is sure an incentive --

SMILING BLOND ANCHORWOMAN
Tell me about it.
I turned in my mother-in-law,
and it paid for my vacation
to Central Park.

They both laugh.
Glossy suddenly looks serious.

GLOSSY, AIRBRUSHED ANCHORMAN
In other news, tonight in Times Square,
another fight broke out
between the Monts and Kapps.
Fortunately, police officers arrived
and broke up the fight
before anyone was badly injured.

SMILING BLOND ANCHORWOMAN
Due to a recent rash of such incidents,
Republic of Manhattan president Don Gotti
has declared that anyone involved
in future acts of violence
will be shot on sight.

GLOSSY, AIRBRUSHED ANCHORMAN
I must say, Nobu --
it’s a sad state of affairs
to have this trouble on the eve
of the tenth of October weekend.
What a way to start celebrating
the birth our republic --

NOBU
Indeed, Brock --
(beat)
We now go to Paul David Brazill,
live at The Madison Square Coliseum,
where the Ultimate Extreme Gladiator
finals are just getting underway.
Tonight, it’s black vs. white
in a fight to the death.

BROCK
Again?

The look at each other.
Big smiles.

EXT. UPPER EAST SIDE - MANSION - NIGHT
A tony, upper-crust monstrosity
on upper Fifth Avenue.

Three stories of vulgarity.
Takes up the whole block.
Nothing succeeds like excess.

A line of stretch limos spill out
DIGNITARIES, CELEBRITIES and other
SUPER-RICH ASSHOLES who then
walk up the red carpet to the entrance
with their BODYGUARDS.

INT. MANSION - GRAND BALLROOM - NIGHT
Like something out of Versailles.
GUESTS mingle, take drinks and
finger sandwiches from SERVANTS.

Onstage, GREEN DAY plays for the crowd.
In their 60’s, they still rock.

CAMERA finds CARLING KAPP (50’),
scion of the family.

Distinguished good looks. Big smile.
You’d smile, too if you lived here.
He charms a group standing around him.

CARLING
My dear, Harlem HAD to be burned down.
We have BIG PLANS for the area.

ANOREXIC SOCIETY MATRON
Oh? And what exactly ARE your plans,
my dear Carling?

CARLING
A country club RESORT --
surrounding a LAKE.

BIG, FAT CAPITALIST PIG
Astounding, my dear boy.
And I assume membership
will be restricted?

CARLING
But of course --
(sips his champagne)
Of course, given that our
construction methods have become
rather medieval as of late,
it will take some time --

BIG, FAT CAPITALIST PIG
Quite. But first we have to
pillage all the OIL.

CARLING
(smiles, raises his glass)
Drill, baby, drill.

They all LAUGH.

Your Quarantine, Or Mine?

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 1 of ZOMBIE & JULIET, we travel to the year 2033, where after a zombie apocalypse, the island of Manhattan is now a quarantined Republic with a wall around it to keep the infected out ... where we visit a high school classroom, which right now is dealing with a virus that makes Ebola look like child's play ...


INT. CLASSROOM - DAY
Your standard public high school joint.
Pale puke walls.

A giant flat-screen monitor
hangs where the blackboard
would normally be.

The screen reads
THE REPUBLIC OF MANHATTAN.

A calendar on the wall reads 2033.
A flag on the wall has a series of
red, white and blue stripes.
No stars.

The TEACHER (30’s),
a hip-looking public radio kinda guy
is lecturing the class.
Sits on the front edge of his desk.

HIP-LOOKING TEACHER
The outbreak began in 2023
when the HIV virus mutated
into something stronger,
deadlier, the HIZ virus,
which also kills you slowly --
but doesn’t let you die.
Within six months,
the whole planet was infected --

A YOUNG HOTTIE in the back row
raises her hand. SNAPS gum.

YOUNG HOTTIE
Why don’t the zombies die, Mr. Domino?

MR. DOMINO
We don’t say 'zombies,' Seven.
That’s like using the N-word.
They prefer to be called
Infected-Americans --
(beat)
It mirrors the HIV virus.
The symptoms aren’t that bad
for the first six months,
but then sometime during
the next few months,
the infection becomes full-blown,
the person dies, and is reborn,
so to speak -- as a ravenous mutant.
(sighs)
But unfortunately, sometimes
it progress MUCH more quickly.

He PUNCHES a remote.
We now see a map of the
Republic on the screen.

It’s been divided into
northern and southern territories
with a neutral zone between them.

MR. DOMINO
Our founding fathers erected a wall
around the island to stem the outbreak,
and christened the new land
The Republic of Manhattan.
But there was a power struggle for control --
so it was decided that the Kapp family
would control the Northern half of the republic --
and the Mont family the southern half --
with Times Square becoming a
neutral zone between the two --

SEVEN
Separate but equal --

MR. DOMINO
Ten points for Seven.
(beat)
The Monts and Kapps have
existed peacefully together for years,
but they’re now at odds over a
controversial piece of legislation
that the Kapps have been trying to pass --
the 'shoot on sight' bill.

WISE-ASS KID
I saw that on the news.
They want to kill anyone who’s infected.

MR. DOMINO
What do you think about that?
Is it fair?

WISE-ASS KID
Who gives a shit about FAIR?
I say kill the fuckers.
I don’t wanna get infected --

MR. DOMINO
But what about human rights?
Why not just quarantine them
while we look for a cure?

A SICK-LOOKING GIRL sitting
next to Seven rubs her nose.
HACKS a horrible-sounding COUGH.

SEVEN
Ew. Don’t you DARE
fucking cough on me, FREAK.

MR. DOMINO
Are you feeling okay, Gaga?
Would you like to go see the nurse?

GAGA
I’m fine, Mr. Domino.
I’m just --

She suddenly PROJECTILE VOMITS
a geyser of RED-BROWN PUKE
all over Seven, who starts SCREAMING.

The classroom door EXPLODES off its hinges,
and a dozen PARAMILITARY TROOPS
in black Hazmat suits with assault rifles
STAMPEDES into the room.

One of them, the LEADER
goes up to Mr. Domino.
Points his rifle at the students.

PARAMILITARY LEADER
NOBODY MOVE.
This in an INFECTED AREA.

Two troopers GRAB Gaga.
her into a body bag.

Carry her away, SCREAMING.
more GRAB Seven,
now covered in puke, also SCREAMING.

SEVEN
Let me GO, let me GO --
I didn’t DO ANYTHING.

A trooper runs a hand-held
over her body.

Takes a reading. Nods.
Looks at Leader.

SCANNER TROOPER
Negative, sir.

PARAMILITARY LEADER
Take her in for testing.
We need to be sure --

SEVEN
TESTING? What kinda TESTING?

A pair of troopers stuff her
into a body bag,
kicking and screaming.
Then haul her away.

Another trooper takes a reading
of the chair Gaga was sitting in.
Turns, looks at Leader.

TROOPER
Infection level four, sir.

PARAMILITARY LEADER
Quarantine the room.

MR. DOMINO
Wait a minute,
you can’t do that --

Paramilitary WHIPS out a syringe.
Jabs it in Mr. Domino’s neck.
He falls to the floor, THWUMP.

PARAMILITARY LEADER
Sleep tight, and don’t let
The Bill Of Rights bite, professor --

Scanner Trooper turns
and looks at Leader.

SCANNER TROOPER
What’s The Bill Of Rights?

PARAMILITARY LEADER
Ancient history, soldier --

Like Thelma And Louise

Hey there, crime kids. TGIF. 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 the final chapter of BLUE HOTEL, Alona and Holly go mano-a-mano with the cops on the roof of the Starlight Hotel, after which only one person survives ...


EXT. STARLIGHT HOTEL - ROOF - NIGHT
Alona holds Holly in her arms,
as wave after wave of pleasure
washes over her like
ripples in the ocean.

Finally finding release.
Trembling, climaxing over and over,
again and again.

HOLLY
I almost can’t TAKE IT --
It’s SO GOOD.

DANETTE (O.C.)
DON’T MOVE. THIS IS THE POLICE.

DANETTE AND BERNIE
Stand near the ladder, on the roof.
Weapons drawn.

ALONA AND HOLLY
Stare at them. Freaked.
Alona grabs her top. Covers up.

ALONA
Don’t shoot, DON’T SHOOT.

DANETTE
I want both of you to get up
very slowly and put your clothes on.

Alona stands.
Carefully steps into her skirt.

Holly gets up.
Turns her head.
Stares off into space.

DANETTE
Ms. Land, please
put your clothes on.

ALONA
Holly, get dressed.
It’s over.

HOLLY
(to the cops)
She’s not the killer.
I am.
(to Alona)
I’m bad, Alona.
I tried to tell you.

She turns.
Steps up onto the ledge.
Sways in the hot wind.

ALONA
HOLLY.

DANETTE
Ms. Land, please step away
from the ledge.

HOLLY
(to Alona)
I killed a guy at school
who date-raped me --
(beat)
And I liked it.
(beat)
And that -- scared me.
(beat)
Also kinda fucked up my sex life.
(beat)
Until now, with you --
(looks at the cops)
Of course, now that’s over.

She looks down. Shivers.
Alona steps onto the ledge.

BERNIE
Both of you, get down off there.
Nothing’s worth dying for.

ALONA
(takes Holly’s hand)
Holly, please.
Don’t go.
Stay with me.

HOLLY
Where?
In PRISON?

Alona closes her eyes.
Shudders.

Danette holsters her gun.
Starts slowly creeping toward them.
Bernie watches.

HOLLY
Come with me.
We’ll be like Thelma and Louise.
Go out in a blaze of glory.

ALONA
(opens her eyes)
That would be nice --
(off Holly’s smile)
But I wanna LIVE.

And she YANKS Holly
back onto to the roof.

The movement causes Alona
to PLOW into Danette,
knocking them both over.

DANETTE
HEY!

Bernie draws his piece.
Holly JUMPS off the ledge,
GRABS his gun.

SHOOTS him in the head, BANG.
He falls over, THWUMP.

Danette WHIPS OUT her Glock,
but Holly’s too fast,
and SHOOTS her, BANG.

She hits the ground, THWUMP.
Shot in the heart.

Alona gets up slowly.
Exhales.

ALONA
Holy shit.
(wide-eyed)
Nice -- shooting.

An evil pout flickers
across Holly’s lips.

HOLLY
You tried to trick me.
We were gonna be SOULMATES,
and you RUINED IT.

She raises her gun.
Takes aim.

ALONA
No, wait -- Holly, PLEASE.
Don’t shoot.

HOLLY
Check-out time.

She SHOOTS Alona.
BANG. BANG. BANG.

Her body HITS the rooftop
with a dull THUD.
Lights out.

PUSH IN ON Holly’s face.
A tear streams down her cheek.

HOLLY
Told you I was bad --

Up On The Roof

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 next-to-last chapter of BLUE HOTEL, Holly and Alona make love on the roof of the hotel in the moonlight ... while the cops find the dead bodies in Alona's room, and continue their search for them ...


INT. STARLIGHT HOTEL - CORRIDOR - NIGHT
Bernie and Danette stand
in front of Alona’s door.

DANETTE
This is the hooker’s room, right?

Bernie checks his notepad.

BERNIE
Alona Tal.
Twenty-three.
This is it.

Danette nods.
KNOCKS-KNOCKS-KNOCKS.

DANETTE
Ms. Tal?
This is the police.
Please open the door.
We want to ask you some questions.
(beat)
ALONA TAL, this is the POLICE.
Open the door, NOW.
(listens, to Bernie)
Maybe she’s not there.

BERNIE
Guy at the desk said
she hasn’t left.

Danette pulls out her gun.
Nods at Bernie.

Bernie nods.
Unholsters his piece.
Raises it --

And BANG, KICKS the door down.
They BURST into the room.

EXT. STARLIGHT HOTEL - ROOF - AT THAT MOMENT
Alona and Holly lie naked
on the tar-papered roof.

Making love in the moonlight.
Alona has her hand
between Holly’s legs.

Holly bucking slowly
like a simmering bronco.

HOLLY
Uhhh --

ALONA
(kissing her neck)
I knew it would be
amazing with you.

HOLLY
(gasps)
I’ve never -- felt like this before.

INT. ALONA’S SHITTY HOTEL ROOM - AT THAT MOMENT
The closet door is open.
Beggar’s wrapped-up body
has fallen onto the floor.

Danette goes to the bed.
Looks under it.

Finds Oscar’s body.
Her jaw DROPS.

DANETTE
SHIT.
(to someone off-camera)
There’s another one
under the BED.

BERNIE (O.C.)
Jesus fucking CHRIST.

He shuffles into the room.
White as a ghost.

BERNIE
Two more in the bathroom.
One of them half-cut
into pieces and bagged.

DANETTE
Is one of them the hooker?

BERNIE
No. Both guys.

DANETTE
So Alona and Holly
must be friends.

BERNIE
Roger that.

Danette pulls out her radio.
CLICKS it on.

DANETTE
Hello, dispatch?
This is officer Day,
Venice Beach substation.
We’ve got a ten-fifty-five
at the Starlight Hotel
on the boardwalk.
Send all available units.
(listens)
Four bodies.
Send as many evidence techs
as you’ve got.
(listens)
You don’t want to know.
It’s a real horror show. Over.

She holsters her radio.

BERNIE
So where you think they went?

A woman’s voice
CRIES OUT in ecstacy.

A ROAR of blood-curdling
animal passion.

HOLLY (O.C.)
OH-MY-FUCKING-GOD-YESSS!

BERNIE
They’re up on
the fucking roof.

HOLLY
And they’re fucking
up on the roof.

Danette dashes over to the window.
Starts climbing out
on the fire escape.

Bernie follows --

Bigger Fish To Fuck

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 37 of BLUE HOTEL, officers Bernie Keko and Danette Day continue their door-to-door search of the Starlight Hotel, looking for serial killer Holly Land, without success. Meanwhile, up on the roof, scared to death, Holly looks for a little comfort from hooker Alona Tal ...


INT. HOTEL STARLIGHT - CORRIDOR - NIGHT
Danette and Bernie stand in front
of Verne’s open doorway.

Verne stares at them,
very deer-in-the-headlights
in his Family Guy boxer shorts.

Which he’s just wet.

DANETTE
(hands him a photo)
Have you seen this woman?
She’s a guest at the hotel.

VERNE
(takes it, looks)
I think so. Maybe.
It’s hard to tell --
(hands it back)
Sorry.

DANETTE
(hands him her card)
She’s wanted in connection
with several murders.
If you see her, stay away,
she's very dangerous.
Call me right away.
Okay?

VERNE
Okay, thanks.
I will. Sure.
Good night.
(beat)
Uh, good morning.

He smiles weakly.
Shuts the door.

BERNIE
You see that?
Poor guy pissed his skivvies.

DANETTE
Probably thought we were
gonna bust him for possession.
Smelled like Cheech and Chong in there.
Lucky for him we’ve got
bigger fish to fuck.
(beat)
Uh, fry --

EXT. HOTEL STARLIGHT - ROOF - AT THAT MOMENT
Alona and Holly sit on the
front ledge of the building.
Look out at the ocean. Pensive.

HOLLY
I say we split,
get out of Dodge.
You snagged Beggar’s car keys.
Let’s vamoose.

ALONA
But there’s a dead cop
in the trunk.

HOLLY
Details.
We’ll dump him somewhere,
head down to Mexico.
(beat)
My head is vibrating.
You have another joint?

ALONA
Yeah.

She digs into her purse.
Pulls one out.

Fires it up.
Hands it Holly.

She takes a bit hit.
Holds it in. EXHALES.

Passes it back.
Looks over the ledge.
Strange smile flickering.

HOLLY
We could do a
Thelma and Louise.

ALONA
That’s not funny.

Holly takes another hit.
Stares at Alona intently.

HOLLY
Would you -- make love to me?

ALONA
Now?

HOLLY
Please?
(whispers)
I’ve got a feeling
this isn’t going to end well.

She breaks down.
Starts crying.

Alona takes her in her arms.
Soothes, comforts her.

ALONA
Shhhh, it’s gonna be okay.

Alona kisses her softly.
Holly responds.
She likes it.

They start devouring each other.
Licked by flames of passion.

Barefoot In The Dark

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 36 of BLUE HOTEL, realizing something bad must of happened to rookie cop Kenny Speed, homicide dick Bernie Keko and patrolwoman Danette Day start going door to door at the hotel looking for him. Meanwhile, now that they have a third dead body to hide, hooker Alona Tal and boozy writer Holly Land roll it up in a carpet and stick it under the bed ...


EXT. THE STARLIGHT HOTEL - VENICE BOARDWALK - NIGHT
Danette stands in front of the hotel.
Looks up at the windows.

Bernie appears at
the end of the side alley.

BERNIE
Went around the entire perimeter.
No sign.

DANETTE
So that rules out
a dead cell phone battery.

BERNIE
I’ve got an idea,
but I don’t think
you’re gonna like it.

DANETTE
Spill it.

BERNIE
I’ve got a hunch all our
answers are in the hotel.
We should search door-to-door.

DANETTE
We don’t have a warrant.

BERNIE
Probably cause.

DANETTE
An officer has disappeared.

BERNIE
At a building he was watching.
That we were staking out.

DANETTE
Let’s do it.

INT. ALONA’S SHITTY HOTEL ROOM - AT THAT MOMENT
Beggar’s body lies on the floor,
rolled up in the bedspread.

Alona holds his head.
Holly, his feet.

There’s a large bulge
where the lamp still is.

ALONA
Okay, ready?

HOLLY
(nods)
You sure he’ll fit?

ALONA
He’ll have to.
We’re running out of room.

HOLLY
Three bodies, no waiting.

ALONA
(rolls her eyes)
On three.
One -- two -- THREE.

They lift him up.
Carry him over to the closet.

Alona leading the way.
She motions to Holly.

ALONA
Okay, gently put down your end,
and help me over here.

Holly puts him down.
Goes to Alona.

ALONA
Help me lift him up straight.

She does.
Grabs ahold of the lamp
under the comforter.

HOLLY
Look.
He’s got a handle.

Alona stares.
Starts to smile. Stops --

ALONA
That’s sick.

Then giggles.
Holly smiles.

HOLLY
Weebles wobble but
they don’t fall over.

ALONA
C’mon, let’s just do this.

They maneuver Beggar into the closet.
Close the door.

ALONA
That’s one way to
get rid of a boyfriend.
(beat)
I’m scared, Holly.

HOLLY
Me, too.
(beat)
Could you -- hold me a sec?

Alona nods.
Fights back tears.

Puts her arms around Holly.
Holly closes her eyes.

Nestles her head
against Alona’s neck.

ALONA
What are we gonna do?

Soft voice are heard
outside in the corridor.

Then the sound of
KNOCK-KNOCK-KNOCKING next door.

DANETTE (O.C.)
This is the police.
Please open the door.
We need to ask you some questions.

ALONA
Holy SHIT.

She races to the door.
Looks through the peephole.

Freaks out.
Turns and looks at Holly.

ALONA
(loud whisper)
There’s two cops out there.
What are we gonna do?

HOLLY
(points at the window)
The roof.

Alona nods.
Grabs her purse.

They move over to the window.
Holly starts climbing out
on the fire escape --

Lights Out

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 35 of BLUE HOTEL, Bernie and Danette start to wonder where Kenny is and decide to start looking for him, not know he's been kileed. Meanwhile, Beggar -- rushing on E -- get a little too 'up close and personal' with Holly and makes the deadly mistake of going a little too far with her under the sheets ...


INT. DANETTE AND BERNIE’S SHITTY HOTEL ROOM - NIGHT
Danette CLICKS the phone shut.
Looks at Bernie.

DANETTE
Voice mail again.
(beat)
I have a bad feeling about this.
Let’s go outside and snoop around.

BERNIE
Maybe he went home and crashed.

DANETTE
Never happen.
The kid LOVES being a cop,
believes in the sacred oath
of protecting citizens.

BERNIE
I have a dim memory of that.

She shrugs into her slacks.
on her jacket.

DANETTE
Just when I thought maybe
we could go for round two --

BERNIE
(getting dressed)
So the ice is thawing a bit --

DANETTE
Well, it IS ninety-five degrees.
Gives a gal ideas.

BERNIE
Well, why do you think
they call it 'in heat?'

INT. ALONA’S SHITTY HOTEL ROOM - AT THAT MOMENT
The lush, bluesy wail of Morphine’s
CANDY oozes it’s decadent moan
on the stereo over --

Beggar.
Lying on top of Holly.

Delirious from the ecstasy,
he’s caressing her slowly,
kissing her neck, her shoulders,
then down to her breasts.

Holly suddenly tenses up.

HOLLY
No, please -- don’t.
Not my --

BEGGAR
Ah, c’mon, honey.
You know you want it.
Go with the flow.

HOLLY
No, please -- get off me --

BEGGAR
I know it feels good --
I hear you moaning.

HOLLY
No -- not my -- my breast -- NO.

But he puts her nipple
in his mouth and starts SUCKING.

A hand reaches down to her crotch.
Starts exploring.

HOLLY
I said NO!

Holly reaches over,
GRABS the table lamp.
The shade FLIES off.

She CRACKS it over Beggar’s head,
KNOCKING him sideways.

BEGGAR
OW!

She JAMS the lamp into his eye,
lightbulb first.

A sickening CRUNCH.

He FLIES backwards against the bed.
His head CRACKS against the wall, THUNK.

Holly stands, takes aim, and
KICKS the lamp all the way
through his head, THWUCK.

The cord SPARKS. Fizzles.

HOLLY
Lights out, ASSHOLE.

Holly looks at him, wide-eyed.
A strange smile on her face,
rocking back and forth on the bed.

Whispers --

HOLLY
I said -- no.

Alona walks in the room,
blood on her hands.

Sees Beggar.
drops open.
RUSHES OVER to the bed.

ALONA
Holly?
What, what -- what HAPPENED?

HOLLY
I said no, and he --
wouldn’t stop.

ALONA
Ohmigod, Holly --
you shouldn’t have DONE that.
(beat)
Now we’ve got three bodies.

HOLLY
(quietly)
Are you mad at me?
Please don’t be mad at me.
(off her stare)
He started --
putting his fingers inside me.

Alona sighs.
Looks at Beggar’s body.
Shivers.

ALONA
Bastard didn’t know
who he was messing with.

HOLLY
(scary quiet)
When a woman says no,
it means NO.

PUSH IN ON Alona’s face.
Scared to death.

ALONA
Remind me not to piss you off --

Kiss Me Deadly

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 34 of BLUE HOTEL, deep inside the bowels of the Starlight Venice beach dive motel on the boardwalk, drug dealer Beggar Leck, Hooker Alona Tal and boozy wannabe writer Holly Land rush on ecstasy as they take turns cutting up agent Oscar Goldman's dead body, having a surprisingly good time ...

INT. ALONA’S SHITTY HOTEL ROOM - NIGHT
The woozy, sax-drenched cocktail swoon
of Morphine’s WHISPER bleeds its
drunken promises of sex, sin
and salvation over --

Alona.
Drinking a bottle of water on the bed.
Holly does an interpretive dance.

Rushing on the E.
High as a dozen kites.

ALONA
(sings)
'Don’t worry, I’m not looking at you --
gorgeous, and dressed in blue.'

HOLLY
(dreamy)
This is Fucking AMAZING.
I feel -- so GOOD.

ALONA
See what you’ve been missing, baby?
Why do you think they call it
'the love drug.'

HOLLY
I want some more vodka.

ALONA
No, no -- just water.
Booze ruins the purity of the high.

BEGGAR
Comes into the room.

Blood-splattered.
Holding a HUMAN HAND.

BEGGAR
Guys.

They turn and look.

BEGGAR
Can I lend you a hand?

He ERUPTS into peels of
MAD LAUGHTER.

ALONA
Whoah.

HOLLY
(stares, cocks her head)
It’s -- vibrating.

BEGGAR
I need a break.
I’ve filleted Oscar
the waist up,
if I have to saw through
one more bone,
I’m gonna puke.
Somebody’s gotta take over.

ALONA
(nods at Holly)
She’s cresting.
I’ll go next.

She walks over.
Reaches for the hand.
He SLAPS it in hers.

BEGGAR
Wanna SHAKE on it?

ALONA
(squeezes)
Pleased to meet you.

BEGGAR
Read my palm?

ALONA
(holds the hand up to his face)
Uh, the life line
looks kinda SHORT.

BEGGAR
'Cold hands, warm heart.'

They both ERUPT WITH LAUGHTER.
Alona leaves the room,
waving the hand ‘goodbye.’
Holly drifts over to Beggar.

HOLLY
Let’s lie down together.

BEGGAR
(smiles)
Look who’s all uninhibited now.

HOLLY
Me. Me. Me.

Beggar leans in.
Kisses her on the mouth. Deeply.

They move toward the bed,
FALL onto it.

Hands all over each other.

BEGGAR
C’mon, baby -- kiss me deadly.

Bad Lieutenant

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 33 of BLUE HOTEL, drug dealer Beggar Leck makes it back to the motel room with the ecstasy and tells hooker Alona tal and boozy wannabe writer Holly Land about killing Kenny Speed, the inquisitive cop that wanted to search the trunk of his car. Meanwhile, homicide dick Bernie Keko and patrolwoman Danette Day bask in the afterglow of getting it on, and then wonder where Kenny is ...


INT. ALONA’S SHITTY HOTEL ROOM - NIGHT
Alona and Holly sit on the couch,
sharing a joint.

Holly looks lost, scared.
Like she’s about to cry.

HOLLY
I think there’s something --
wrong with me, Alona.

ALONA
Don’t be silly.

She puts her hand
on Holly’s bare knee.
Rubs it gently.

Holly looks, shy. Likes it.
Cheeks turn red.

HOLLY
I did a -- bad thing, Alona.
A really bad thing.

ALONA
That was an honest mistake, honey.
You thought I was in danger --

HOLLY
No, not that.
Back at school --

Alona leans closer.
As if to kiss her.

ALONA
Shhhhh --

The door OPENS.
In walks Beggar.
Freaked out.

ALONA
(looks)
What’s wrong, baby?

BEGGAR
We’re fucked.
I’M fucked.

ALONA
What happened?

BEGGAR
This cop came up to me
while I was opening the trunk --
and he got suspicious
of what I was doing, and I -- I --
(beat)
Killed him.

ALONA
WHAT?

HOLLY
(strange smile)
Did you like it?

BEGGAR
What?
NO, of COURSE not.
I didn’t mean to kill him.
I was -- trying to stop him
from finding the E --

ALONA
But you got it okay?

BEGGAR
(pulls out the envelope)
Yeah, yeah, I got it.

ALONA
Thank god.
(realizes)
What did you do with the body?

BEGGAR
He’s -- in the trunk.

ALONA
Holy shit.

BEGGAR
Yeah.
Tell me about it.
(beat)
A fucking COP.
(to Holly)
And what the fuck
is up with you?
'Did I like it?'

Holly stares at Beggar.
Blank look on her face.

ALONA
Beggar, chill.
Holly’s in shock.
It’s been a rough night
for all of us.
We’ll deal with
Bad Lieutenant later.
First we have to dispose of
our friends under the bed.
It’s going to be light
in a couple of hours,
and we gotta jam before they
start stinking the place up --
got it?

BEGGAR
Yeah.

ALONA
So let’s do our drugs
and get to work.

Beggar pulls out the envelope.
Opens it.

Dumps a small mound on the mirror.
Starts chopping it up.

HOLLY
(eyes grow wide)
I’ve never done ecstacy --

BEGGAR
A virgin?
(beat)
We’ll have to see about THAT.

HOLLY
Promise me you’ll be -- rough?

INT. DANETTE AND BERNIE’S SHITTY HOTEL ROOM - AT THAT MOMENT
Danette lies on the bed, smoking.
Bernie sits near the window,
looking out at the ocean.
Sips from a flask.

BERNIE
Damn, woman.

DANETTE
I know.

BERNIE
Damn.

DANETTE
I know.
(beat)
Damn.

BERNIE
Maybe we could give it another --

DANETTE
No. We’ve done that. Twice.

BERNIE
Yeah.

Pause.

DANETTE
So what’s going on out there?

BERNIE
(looks out the window)
Body’s been taken away.
Techs are almost done.
(beat)
I thought you said the kid
was gonna be out in front.

DANETTE
(sits up)
He’s supposed to be.

BERNIE
He’s not now.

DANETTE
Maybe he went to go take a leak.

BERNIE
Call him.
With all the shit that’s
been going down tonight,
you never know.

DANETTE
(reaches for her phone)
Thanks for scaring me --

Strip Search

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 BLUE HOTEL, drug dealer Beggar Leck goes out to his car to get some ecstasy, and runs into officer Kenny Speed, who makes the fatal mistake of asking to search the trunk. Meanwhile, homicide dick Bernie Keko and patrolwoman Danette Day check into their hotel room and start playing 'stop and frisk.'


EXT. HOTEL STARLIGHT - REAR ALLEY - NIGHT
The back door to the hotel opens.
Out walks Beggar.

He looks around.
Walks over to his car.
Sticks his keys in the trunk.

MALE VOICE (O.C.)
Excuse me, sir.

Beggar turns, looks, sees --

KENNY
Standing at the end of the alley.

BEGGAR
Officer.

KENNY
(walks over)
Can I ask you a question?

BEGGAR
Sure thing.
What's up?

Kenny pulls out a picture.
Shows it to him.

KENNY
Have you seen this woman tonight?

ANGLE ON --
The PHOTO.
A grainy still capture
from the liquor store robbery.

HOLLY. Holding a gun.
Face a rictus of death.

BEGGAR
Feigns nonchalance.
Studies the picture.
Shakes his head.

BEGGAR
No, sorry.
Looks kinda dangerous.
What did she do?

KENNY
You don’t watch the news?
She held up a liquor store,
then shot some dude on a bike.
three people tonight.
Maybe more.

Beggar tries for a smile.
Doesn’t quite make it.

BEGGAR
Guess I’d better be careful, huh?

Kenny studies him carefully.

KENNY
You a guest at the hotel?

BEGGAR
Yeah.

KENNY
It’s kinda late, isn’t it?
What were you getting
out of the trunk?

BEGGAR
Ran out of smokes.
Just grabbing another pack.

KENNY
People don’t keep
cigarettes in the trunk.
They’d be on the seat,
in the glove compartment.
But not in the trunk.

Beggar’s heart starts racing.
This is NOT going well.

BEGGAR
You want me to show you?

KENNY
Please.

He turns the lock.
Opens the trunk.

It’s empty, except
for the spare tire.

A couple of tools.
Emergency gas can.

BEGGAR
That’s funny.
I could have sworn --

KENNY
I’m going to have to ask you
step away from the vehicle, sir.

BEGGAR
But I --

KENNY
Step AWAY from the vehicle, NOW.

Beggar stares.
Wheels spinning.

All the coke, booze and pot
working their strange magic.

BEGGAR
Okay, officer.
I’m sorry --

He feints to the side, then
GRABS Kenny around the waist.

SLAMS him against the car.
His head CRACKS against the
edge of the trunk
with a sickening THUNK.

BANG, he goes down,
face first in the gravel.

BEGGAR
(whispers)
Holy SHIT.

Beggar gets down.
Feels his pulse. Nothing.

BEGGAR
I’ve just been fucked.

He reaches into a side
compartment in the trunk.

Pulls out a small white envelope.
it in his pocket.

Picks up Kenny’s body.
Puts it in the trunk.
Quietly closes it.

CLICK. He looks around.
No one. Whew.

BEGGAR
I can’t believe --
I just did that.

He looks down.
Sees blood on the ground.

Starts kicking gravel
over it with his foot.

BEGGAR
My momma warned me
not to date hookers.

INT. DANETTE AND BERNIE’S HOTEL ROOM - AT THAT MOMENT
Danette walks into the room.
Then Bernie.

He shuts the door.
Walks up to her.
They stare at each other.

BERNIE
Shitty room.

DANETTE
It’ll do.

BERNIE
Been too long, Net.

DANETTE
(throaty)
Way too long.

She GRABS him.
They go at it,
hot and heavy,
fall onto the bed.

Start RIPPING each
other’s clothes off.

BERNIE
Time for your strip search.

DANETTE
Better not be shooting blanks.

BERNIE
Why do you think they call me
a PIECE officer?

DANETTE
Shut up and fuck me.

BERNIE
Now you’re talking.
(whips out handcuffs)
Assume the position,
and spread ‘em.

Your Vice Is My Command

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 BLUE HOTEL, Alona returns with a hacksaw she got from the front desk, and then the gang has to make a grisly decision: who's gonna start cutting up the dead bodies. Meanwhile, moments later, homicide dick Bernie Keko and patrolwoman Danette Day check in to start their surveillance of the joint ... and 'get busy' ...


INT. ALONA’S SHITTY HOTEL ROOM - NIGHT
Alona comes in the room.
Quietly shuts the door.

Looks at Beggar and Holly
sitting on the couch, sharing a joint.
Holds up the hack saw.

ALONA
Ta-daaa --

BEGGAR
Look at the size of THAT.
Good job, babe.

ALONA
Thanks, but I’ve got some bad news.
Gill fell off the roof,
or he jumped, I don’t know --
but he’s dead in the alley,
and now the joint’s swarming with cops.

BEGGAR
Fuck.

HOLLY
Holy shit.

ALONA
Tell me about it.
(beat)
So we gotta take care of
Oscar and Lief, fast.
I say we take turns.
Who wants to go first?

They both stare at her.

HOLLY
How about Beggar?
He’s a GUY.

BEGGAR
How about Holly?
She’s the KILLER.

HOLLY
Shut up.

ALONA
(sighs)
Okay, okay -- I’ll go first.
(beat)
Gimmee a hit of that joint.
I’m gonna have to be REALLY
fucking buzzed to start
cutting up a dead body.

BEGGAR
Wait a minute.
I just remembered something.
I’ve got uncut ecstacy in the car.
THAT can make the job go MUCH better.

HOLLY
Uncut?
But I thought it came in a pill.

BEGGAR
The pills are bullshit,
there’s all kinds of
other shit in them.
Back in the day,
you bought E by the gram,
pure powder, baby.
Snort it, lick it, pour some
in your cocktail --
(wistful)
Those were the days.
Couldn’t believe I
could still find it.

ALONA
How much do you have?

BEGGAR
Ten grams.

ALONA
So go down and get it.

BEGGAR
Your vice is my command.

He gets up.
Goes to the door.

ALONA
Be careful.
There’s cops all over the place.

BEGGAR
Don’t worry.
I’m just your
average tourist insomniac,
going out to the car
for a pack of smokes.

PUSH IN ON Alona’s face. Amused.

ALONA
If you’re an 'average tourist,'
then I’m Taylor Swift.

INT. HOTEL STARLIGHT - FRONT DESK - AT THAT MOMENT
Bunky looks at Bernie and Danette,
standing at the counter.

BUNKY
Sorry, we’re all full up.
(brightens)
Wait, I forgot --
you can take the jumper’s room.
It’s empty now.

BERNIE
We’ll take it.

BUNKY
So you’re doin’ a stakeout?

DANETTE
Yeah.

BUNKY
Hot dog.
Is there something
I can do to help?

BERNIE
Yeah.
Call us if you see
anyone suspicious.
(hands him his card)
My cell phone number.

DANETTE
Or if you see that girl, Holly.

BUNKY
You got it.
Good luck.

They nod.
Start up the stairs.
Bunky watches them go.

BUNKY
Sugar magnolia, blossoms bloomin’ --
a real stakeout,
right here at the Starlight.
(beat)
So why do I have this funny feeling
them two are gonna bone?

Karma Chameleon

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 BLUE HOTEL, hooker Alona Tal visits hippie hotel front desk clerk Bunky Mertz to borrow a hack saw so she can cut up the dead bodies in her room. Meanwhile, homicide dick Bernie Keko and officer Danette Day get a room so they can do surveillance ... and have a 'quickie.'


INT. THE STARLIGHT HOTEL - FRONT DESK - NIGHT
Alona glides up to the counter.
Bunky smiles toothily.

ALONA
What’s up, Bunky?

BUNKY
Cops, that’s what up.
Did you see on the news about
that 'who killed his wife?
Well, he checked in here tonight,
so I gave ‘em a call --
‘an when they got here,
they found him dead in the alley.
Impaled on a fence post.
Guess he knew they were
comin’ for ‘em and took a dive.

This SOCKS Alona in the gut.
She hides her shock.

ALONA
Holy shit.
(weird smile)
I guess that -- makes it
easier for them, huh.

BUNKY
It’s karma, man.
What goes around, comes around.
(beat)
You’re up late.
Whatcha need?

ALONA
Well, it’s kind of embarrassing --
(beat)
My boyfriend and I were
playing with my -- handcuffs,
and I -- lost the key.

BUNKY
(big grin)
And now you wanna saw ‘em off.

ALONA
(nods)
Yeah.
You have anything I can use?

Bunky gets up.
Walks over to a beaten-up,
old bureau on the side wall.
Opens a drawer.
Rummages around in it.

BUNKY
Old Bunky got everything
in his bag o’ tricks.
Hold on a sec.
(pulls out an enema bag)
You into water sports?

Alona rolls her yes.
Bunky chuckles.
Puts it back.

Roots around in the drawer.
Pulls out a giant HACKSAW.

BUNKY
Here we go.
Industrial-sized.
(hands it to her)
Got it from a butcher,
believe it or not.

ALONA
Wow. Thanks.

BUNKY
Bet you could cut up a dead body
real easy with that sucker.

ALONA
(pales)
Wh-what?

BUNKY
Just joshin’ with ya.
You have a good night, now.

ALONA
(flirty)
I will, thanks.
(beat)
Hey, could you do me a favor?

BUNKY
Name it.

Alona sticks her chest out.
Dark nipples straining against
the pale, gauzy fabric.
Bunky gets an eyeful.

ALONA
Beggar’s going out of town
for a couple weeks,
and this is our last night
together for awhile.
If anybody comes looking for me,
would you tell them I’m not around?
It would mean a lot to me.

BUNKY
(in a daze)
Sure thing --

ALONA
Thanks, baby.

She blows him a kiss,
turns and dashes up the stairs.

BUNKY
(sighs)
Haven’t seen a rack like that
since The Dead at the
Fillmore West in seventy-two.

EXT. STARLIGHT HOTEL - SIDE ALLEY - NIGHT
CRIME SCENE TECHS swarm over the scene.
Gill’s body is carried away on a gurney.

Kenny stands on the boardwalk,
off in the distance.
Keeping onlookers away.

Danette and Bernie stand
next to the fence post,
dark with dried blood.
Inspecting the scene.

DANETTE
A stakeout?
More like a hook-up --

BERNIE
No, listen.
I think you’re right,
the murders are connected,
and the killer is in the hotel --
it might even be that young girl, Holly.
So we get a room and stake it out.

DANETTE
Kill two birds with one stone.

BERNIE
So to speak.

Danette reaches over.
Gently touches the tip of the spike.

DANETTE
Freud would have a field day
with this, don’tcha think?

Baptism By Fire

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 BLUE HOTEL, while the cops go door to door searching the hotel looking for Holly, Gill makes his escape out the window onto the fire escape, but thing soon turn deadly when he makes the mistake of trying to jump across the alley to the building next door ...


EXT. HOTEL STARLIGHT - FIRE ESCAPE - NIGHT
A crappy, old set of crumbling steel steps.

Gill reaches the landing.
Starts up the ladder toward the roof.

EXT. HOTEL STARLIGHT - ROOF - NIGHT
An old, filthy, tar-papered roof.

The view of the ocean
across the beach is breathtaking.
The moon shines brightly.

Gill gets to the top.
Climbs up onto the roof.
Looks around.

GILL
Top of the world, Ma.
(stretches out his arms)
I’m KING of the world.
(looks down)
I’m going to die.

He walks around, looking at
the neighboring buildings.

Stops on the ledge of the
building to the north.

Looks down at the alley.
Then back at the building. Thinking.
I could jump across to that building --
and then get the fuck out of Dodge.
(beat)
Yeah.

Gill takes a step back.
Turns around and walks
to the opposite side. Exhales.

Gathering up his courage.
He closes his eyes. Exhales again.

His eyes FLY OPEN,
and he RUNS across the roof,
gets to the ledge --
and LEAPS INTO THE AIR --

And lands against the
opposite wall with a SLAP.

Hands grab for a hold
on the edge of the roof,
but he can’t find something
to hold onto --
and starts to slip --

GILL
SHIT --

And then FALLS.

CLOSE ON --

A wrought iron fence post.
Gill’s body impaled on it.
Face-up.

Right through his torso.

INT. STARLIGHT HOTEL - CORRIDOR - AT THAT MOMENT
Danette stands by the window.

Leans out, looks into the alley
down below. Horrified.

DANETTE
Bernie.

BERNIE
(stops, turns)
What.

DANETTE
(turns, looks at him)
Somebody just fell off the roof.

BERNIE
(comes over)
What the fuck? Really?

DANETTE
(points)
Look.

BERNIE
(looks)
Holy shit. Poor guy.
Human shish-ka-bob.
Talk about heartburn.

DANETTE
Don’t you recognize him?

BERNIE
Fuck.
It’s the perp who shot his wife.
(waves)
Till death do us part, kiddo.

DANETTE
Bernie.

BERNIE
What.

DANETTE
You shouldn’t make jokes
about the dead.

BERNIE
Why not?
Haven’t you heard of gallows humor?
It relieves tension.
A cop’s stock and trade.

She looks at him.
Does a ‘take.’ Looks down.

DANETTE
Now that’s what I call a ‘spike.’

They exchange glances.
BURST into laughter.

Start walking down the hallway.
Danette pulls her radio off her belt.
And, as they start down the stairs --

BERNIE
(into the radio)
Hello, dispatch.
We’ve got a possible
ten-fifty six, do you copy?

DOWN THE CORRIDOR
Alona’s door opens.
She walks out.

Sees the cops at the end of the hall.
Watches them go down the stairs.

Heaves a sigh of relief.
Waits a beat.
Then starts walking.

ALONA
What’s a ‘ten-fifty six?’

IN THE ALLEY
Danette and Bernie examine
Gill’s body impaled on the fence.

Kenny is further on down the alley.
Throwing up.

BERNIE
Poor kid.
His first stiff.

DANETTE
It’s his first week.
Talk about baptism by fire.

Kenny wipes his mouth
on his sleeve. Walks over.

BERNIE
You okay, kid?

KENNY
Yeah.

BERNIE
Don’t feel bad.
I’ve been on the force
twenty years and I’m
still not used to it.

KENNY
Seeing a dead body?

BERNIE
No. Seeing a cop puke.
(off his look)
Just busting your chops, sport.
C’mon, let’s go set up
the crime scene tape --

Once More With Feeling

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 28 of BLUE HOTEL, the shit hits the fan when the cops start going door to door at the dive motel on the Venice Beach boardwalk, and Alona, Beggar, Gill and Holly have to scramble to find a place to hide ...


INT. ALONA’S SHITTY HOTEL ROOM - NIGHT
Beggar looks at Alona. Then Holly.

Gills sits on the floor
with his head in his hands.

BEGGAR
Okay, think, think -- what do we do?

ALONA
Stash Lief under the bed with Oscar.
Then, after the cops leave,
I’ll go down to the desk and
to Jerry Garcia about a hacksaw.

Holly sits on the bed.
Looks spooked. Haunted.

HOLLY
What about the fire escape?
We could always go up on the roof.

GILL
And what do we do once we’re up there?
My god, are you stupid.

HOLLY
Shut up, asshole.

ALONA
Keep your voices down.
They might be coming upstairs.

Beggar goes to the door.
Looks through the peephole.

BEGGAR
(whispers)
Shit, they’re here.

IN THE CORRIDOR
Danette and Bernie stand
in front of Gill’s door.

Danette KNOCK-KNOCK-KNOCKS.

DANETTE
(loud)
Gill Shelly, this is the police.
Open the door.
We need to talk to you.

They listen. No answer.

BERNIE
POLICE. OPEN THE DOOR, NOW.

Pause.

DANETTE
Kick it open?

BERNIE
Probably cause?

DANETTE
Got that fucking right.

Bernie steps back.
Then KICKS the door.

The old, shitty wood CRACKS in half.
They CHARGE IN.

INT. ALONA’S SHITTY HOTEL ROOM - CONTINUOUS
Beggar stands at the door.
Watching through the keyhole.

BEGGAR
(loud whisper)
Jesus fucking Christ.
They just kicked down the door
next to Holly’s room.

Alona and Holly are down
on their hands and knees,
pushing Lief’s body under the bed.
looks at Beggar. Freaking.

GILL
Shit. That’s MY room. I gotta hide.

ALONA
Go out on the fire escape.
But be careful.
Be sure no one can see you.

GILL
Yeah, okay, good idea --

Gill walks over to the side window
overlooking the side alley. Opens it.
starts to climb out.

INT. GILL’S SHITTY HOTEL ROOM - CONTINUOUS
Bernie and Danette search the room.
Under the bed. In the bathroom. Nothing.

DANETTE
Goddammit.

BERNIE
Well, at least we know where he’s staying.

DANETTE
Maybe he’s in Holly’s room.

INT. ALONA’S SHITTY HOTEL ROOM - CONTINUOUS
Beggar looks through the keyhole.

BEGGAR
Shit.
Now they’re knocking on Holly’s door.
They must know something.

HOLLY
Ohmigod, this is like a bad dream.

Alona goes to the bed. Comforts Holly.

ALONA
Shhhh, it’s gonna be okay.

IN THE CORRIDOR
Bernie KNOCK-KNOCK-KNOCKS on Holly’s door.

BERNIE
Ms. Land, this is the police, OPEN THE DOOR.

Silence.
DANETTE
HOLLY LAND, THIS IS THE POLICE.
OPEN THIS DOOR, RIGHT NOW.

BERNIE
(steps back)
Once more with feeling.

DANETTE
Wait a sec.

She puts her hand on the knob.
Opens the door.

DANETTE
C’mon.

INT. ALONA’S SHITTY HOTEL ROOM - AT THAT MOMENT
Beggar watches through the keyhole.

BEGGAR
They went in. Shit.
(looks at Holly)
You don’t have anything
incriminating in there, do you?

HOLLY
Just my laptop -- and a bottle of vodka.

ALONA
They must know something.
First Gill’s room, then Holly’s.
We gotta hide.

BEGGAR
Where? We’re trapped in this room.

HOLLY
We could get in bed --
and pretend to be asleep.

ALONA
Wait, no -- I’ve got a better idea.
What if I meet them head-on?
Divert suspicion.

BEGGAR
But it’s four in the morning.
Where would you say you’re going?

ALONA
I heard the commotion, and I
wanted to know what was going on.
I mean, it would be weird
if I WASN’T curious, right?

BEGGAR
Yeah, yeah. Great. Go for it.

PUSH IN ON Alona’s face.
Gathering her courage.

ALONA
Here goes nothing --

To Protect And Swerve

In Chapter 26 of BLUE HOTEL, Alona, Gil, Beggar and Holly camp out in Alona's sleazy beachside motel room trying to figure out their next move, now that they have two dead bodies to deal with ...when Holly suddenly sees the cops outside the building ... on their way inside ...


INT. ALONA’S SHITTY HOTEL ROOM - NIGHT
Beggar and Alona roll Lief’s body up
in the large, imitation Persian rug.

Holly sits on the bed, in a daze,
looks out the window,
drinking vodka out of the bottle.

A pile of BLOODY TOWELS
sits by the wall.

We hear the sound of VOMITING
in the bathroom.
The toilet FLUSHES.

Gill comes into the room,
white as a ghost.

GILL
I’m leaving. Going to Mexico.
Come with me, Alona. Please.
We can start a new life together.

BEGGAR
Shut the fuck up, asshole.
Leave my woman alone.

ALONA
(to Beggar)
YOUR woman? I’m NOBODY’S woman.

BEGGAR
What the fuck?

GILL
That’s RIGHT, she’s NOBODY’S woman.
She’s a free spirit, a bird, free to fly.
(to Alona)
Come fly with me, my love.

ALONA
Cut the crap, Gill.
We’ve got a situation here.

BEGGAR
(to Gill)
Yeah, and you’re not going ANYWHERE.

GILL
Oh YEAH? Try and STOP ME.

Gill goes to the door.
GRABS the doorknob.

BEGGAR
You open that door and
I’ll punch your fucking clock.

Holly sees something out the window.
Eyes BUG OUT.

HOLLY
GUYS. There’s a couple of COPS outside.
(watches)
And they’re COMING IN THE HOTEL.

INT. HOTEL STARLIGHT - FRONT DESK - AT THAT MOMENT
Kenny stands chatting with Bunky.
Scribbling something in his note pad.
Danette and Bernie walk in.

BUNKY
Evenin’, officers.
I was just givin’ my statement
to your compatriot here.

KENNY
(to Danette)
He’s on the second floor, in room 25.
Checked in a little before midnight.

DANETTE
Has he left his room?

BUNKY
He went out about twelve-thirty,
that’s when I first saw him.
I’m the night man,
midnight to eight.
Hewas with another guest,
young girl named Holly.
Holly Land.

BERNIE
How long was he gone?

BUNKY
‘Bout an hour, I guess.

DANETTE
(to Bernie)
That’s when he got mugged and carjacked,
then came to the station.
(to Bunky)
Did he go out again?

BUNKY
Yeah, he did -- right away.
Then came back forty-five minutes later.
Looked spooked. An’ he was limpin.’
Now I know why.

BERNIE
He’s up there now?

BUNKY
Far as I know.

DANETTE
What’s the story with Holly?

BUNKY
Nice kid.
Don’t know that much about her,
only been here a couple of weeks.
Said she was a writer.
Hangs out sometimes with Alona,
one of our permanent residents.

BERNIE
What’s her story?

BUNKY
Alona’s okay --
for a lady of the evening.

DANETTE
She’s a hooker?

BUNKY
World’s oldest profession.
good people.

BERNIE
What room is Holly in?

BUNKY
Room 24, right next to Gill’s.
(beat)
Excuse me. Gotta go the head.

He turns, goes into the next room.

DANETTE
Okay, thanks.
(to Bernie)
C’mon, let’s go up.
(to Kenny)
Do me a favor and keep watch outside?

KENNY
Yes, ma’am. To protect and serve --
(smiles)
You.

Kenny salutes. Trots off.

DANETTE
Ah, to be a rookie again.
So full of energy, hope, promise.

BERNIE
Well there’s that -- and he
wants to fuck your brains out.

DANETTE
Guess there’s a lot of that
going around, huh --

Cops With Benefits

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 26 of BLUE HOTEL, Venice Beach dive motel night manager/hippie Bunky Mertz discovers that murderer Gill Sherry is staying at the joint, and calls the cops. Meanwhile, homicide dick Bernie Keko and officer Danette Day 'get busy' ...


INT. THE STARLIGHT HOTEL - FRONT DESK - NIGHT
The Grateful Dead wheezes its gnarled tales
of drugged-out hippie glory
on a shitty boombox.

A tiny, shitty black and white TV
is on the counter with
the sound turned down.

Bunky sits behind the counter
reading one of those
free weekly rags.
mouthing the words.

BUNKY
Fucking Republican asshole
shit-for-brains --

Something on the screen
catches his eye.

BUNKY
Hey, that guy
checked in tonight.

He reaches over,
turns up the volume.

ON THE SCREEN
We see a still of GILL.
Some ‘official school photo.’

He looks happy, relaxed.
Glazed smile oozing preppy charm.

ANNOUNCER (O.C.)
-- wanted for questioning
in connection with the
shooting death of his wife.
If you see this man,
contact your local precinct
immediately.

BUNKY
Holy shit.

He turns the sound back down.
Scratches his chin.

Picks up the phone.
Dials a number.

BUNKY
Hello?
This is Bunky Mertz
over at the Starlight Hotel?
That guy you’re looking for
that killed his wife?
He’s staying here.

INT. VENICE BEACH POLICE SUBSTATION - AT THAT MOMENT
Danette and Bernie sit at a table
the coffee maker.

Sipping java from styrofoam cups.
Kenny sits across the room,
talking on the phone excitedly.

BERNIE
This is really good coffee.
Did you --

DANETTE
I’m still not fucking you, Bernie.

KENNY
Okay, thanks.
(hangs up)
Guys, that was the night manager
of the Hotel Starlight.
The guy who shot his wife
in a little while ago.

BERNIE
You mean Gill Sherry?

KENNY
Yeah, guy said he saw
his picture on the news.

DANETTE
Allegedly killed his wife.
this country, a suspect is
innocent until proven guilty.

BERNIE
Yeah, right -- so why the fuck
did he check into a fleabag hotel?

Danette stares at him.
Simmering. He glares at her.

KENNY
Uh, guys -- don’t you think
we should go over there?

DANETTE
You go on ahead,
question the night manager.
We’ll be right there.

KENNY
Okay --
He salutes, and
DASHES out the door.

Danette sips her coffee.
Bernie the fish-eye.

DANETTE
After my shift,
we’ll go back to my place.

BERNIE
Holy shit.
Really?

DANETTE
C’mon, let’s go.
Before I change my mind.

They get up.
for the door.

BERNIE
Admit it, the chemistry
is still there.

DANETTE
(stops, looks at him)
Calm down, Casanova.
I haven’t gotten laid
in three months.

BERNIE
So what am I, a
‘friend with benefits?’

DANETTE
More like,
‘cop with nightstick.’

BERNIE
So -- you’re just gonna use me.

DANETTE
That’s about the size of it.

BERNIE
(shrugs)
Works for me --