EXT. THE BRONX – DAY
Establishing. Late winter. Cold, grey, gun metal sky.
New York skyline in the distance.
EXT. THE BRONX – DAY
A working class neighborhood. A guy named Joe parks his
old van in front of a corner market. Gets out. Tough
looking guy, Joe. Hard, plain face. But looks can lie.
Joe waves to one of the neighborhood’s old ladies. Shouts
a greeting. An Irish accent, Joe, fresh off the boat.
JOE
Hey yeh’, Miz O’Malley!
MRS. O’MALLEY
Joe, how are ya!?
JOE
Can’t complain. An’ you?
MRS. O’MALLY
Terrible. Just terrible.
JOE
Good, that’s good.
Joe enters the market.
INT. MARKET – DAY
Joe is looking through the pain relievers. A WOMAN his age
comes down the isle, looking for an item.
PAULINE
Joe, how ya doin’?
JOE
(looking up)
Ah, can’t complain, Pauline. An’ you?
PAULINE
What, you kiddin’ me?
She turns. At the end of the isle, two small boys, are in
a shopping cart, trying to kill each other.
JOE
Hey, Pauline, which a these is good for
headaches, ey?
PAULINE
What, you got headaches, Joe?
JOE
They come, they go.
PAULINE
You seen a doctor?
JOE
Yeh, he thinks I got tension. It’s
work related tension, he thinks.
PAULINE
What is it you do again?
JOE
I’m a florist.
PAULINE
Oh, that’s very intense.
A scream! They turn. At the end of the isle, one of the
boys is now flailing away with a half gallon plastic bottle
of milk.
PAULINE
Gino! I am trying to talk here!
And suddenly Joe winces, almost dizzy. This isn’t a
headache, this is a roadcrew in his skull.
PAULINE (O.C.))
I don’t care he hits you, hit him back!
Joe takes a deep breath as the headache subsides a bit.
PAULINE
You got kids, Joe?
JOE
No, Sylvie and I haven’t been so
fortunate.
PAULINE
Fortunate. That’s a good one. Here.
This is good for headaches.
She hands Joe pills; moves away.
PAULINE
Gino, I swear to God – !
Joe studies the bottle.
EXT. A STREET – THE BRONX – DAY
Neighborhood’s dreary. Old row houses. Clunker’s parked
on the street. Joe parks in his driveway. Gets out.
Notices the plumber’s truck parked in front of his house.
He reaches back into the van for bags of groceries.
INT. HOUSE – KITCHEN – DAY
Joe enters. Puts down his groceries. Frowns. Breakfast
dishes are on the table. He goes to the sink, gets himself
a glass of water. Opens the pain pills, takes two, drinks.
Good. Better. He begins to clear the breakfast dishes.
He hears something.
JOE
Sylv? Sylvie? Yeh back up the toilet
again?
INT. HOUSE – THE HALLWAY – CONTINUOUS
Joe comes down a hallway. Still hearing something. He
looks up the stairs towards the second floor. Starts up.
INT. HOUSE – AT THE TOP OF THE STAIRS – CONTINUOUS
Joe doesn’t want to believe what he’s hearing – the
rhythmic creaking of springs. He moves down the hall.
INT. HOUSE – THE BEDROOM – CONTINUOUS
Joe sticks his head around the corner of his bedroom door,
peeks in. In bed, his half dressed wife, Sylvia is on top
of a half dressed man, going to town. Joe stares,
dumbstruck. Hurt. Sylvia glances up. And screams!!!
She and the man flounder in the bedclothes like beached
fish and then – whump! – fall off the bed. Joe hasn’t
moved. Sylvia slowly peeks up over the edge of the bed.
SYLVIE
Joe… you’re home early.
JOE
I got a headache.
INT. LIVING ROOM – DAY
Through the living room window – the plumber’s truck peels
away from the curb. Joe and Sylvie are on the couch.
SYLVIE
I been unhappy, Joe.
JOE
I guess.
SYLVIE
There’s no excitement in my life, no
adventure.
JOE
Adventure.
SYLVIE
You’re boring, Joe. You work, you come
home, you clean, you cook. You’re like
the meals you cook. Balanced, no white
sugar, nothin’ deep fried.
JOE
Fried food is adventurous?
SYLVIE
Our sex is boring, Joe.
JOE
How was the plumber?
SYLVIE
He excited me. He said dirty words to
me while we was doin’ it.
JOE
I could say dirty words.
SYLVIE
Go on, you’re a gentleman, Joe, that’s
your problem. Let me hear you. Go on,
say something dirty to me.
JOE
You unfaithful fuckin’ dog.
Those weren’t quite the words Sylvie expected. She scowls.
SYLVIE
I want a divorce, Joe. I want the
house, I want half the bank account and
I want out.
Joe is silent.
SYLVIE
You’ll see, Joe. Worse things’ll
happen to you in your life than this.
INT. OFFICE – DAY
A doctor sits behind his desk.
DOCTOR
Joe, you have a brain tumor.
Joe sits in mute, stunned silence.
DOCTOR
I took the MRI and the cat scan results
to several other neurologists. They
concur.
Silence. Joe takes a deep breath.
JOE
So what do I take?
DOCTOR
Medicine doesn’t help something like
this, Joe. We need to operate.
JOE
You’re gonna go inside me head?
The doctor nods. Joe ponders a moment.
JOE
Will I still be me?
DOCTOR
The brain is a delicate thing, Joe.
JOE
No shit.
DOCTOR
The tumor is in a delicate place.
JOE
(a moment)
What if I don’t do nothin’? I mean,
headaches, I can live with headaches.
DOCTOR
It’s not as simple as that, Joe.
JOE
No?
DOCTOR
Joe… we won’t know if the tumor’s
malignant or not until we go in.
JOE
(a moment; this sinking in)
…how long can I wait?
DOCTOR
Two months at most.
Joe is silent.
EXT. IRISH PUB – THE BRONX – EVENING
Establishing.
INT. IRISH PUB – EVENING
A neighborhood local; not too crowded. Maps and posters of
Ireland on the wall. Roseanne on the TV behind the bar. A
beautifully dressed, sour looking guy, HAPPY, enters. He
greets; is greeted. He grabs the stool next to Joe. Like
Joe, he speaks with an Irish accent.
HAPPY
Joe, how y’doin’?
JOE
Hmm? Oh, good, Hap…
(realizing he always does
this)
… good. And yourself?
HAPPY
Fuckin’ awful. How about some service
here!? A man could die a’ thirst!
Joe?
JOE
Thanks, I’m fine.
HAPPY
And turn the channel! I want to hear
some fat cow complain I’ll go home to
me wife!
The bartender, FRANK, serves Happy his beer.
BARTENDER
Nice suit, Happy. Is it new?
HAPPY
Yeh.
BARTENDER
What is it, a wurst?
HAPPY
Frank, the only thing you know about
clothes is you got none, so shut the
fuck up, okay?
Frank takes Happy’s money. Happy slurps beer.
HAPPY
A wurst. Yeh, a fuckin’ bratwurst…
JOE
Hap. Can I ask you something? You
ever have adventures?
HAPPY
Adventures? Yeh, sure, I’m Indiana
friggin’ Jones. What a you talkin’
about, adventures?
JOE
Y’ever go places?
HAPPY
My job, I travel all the time. I hate
it.
JOE
What is it you do again, Hap?
HAPPY
…sales.
Frank, who has been listening, puts down Happy’s change.
FRANK
Me and the wife went to Disney World
last year, Joe. We found it very
adventurous.
JOE
How so?
FRANK
They got guys runnin’ around in mouse
suits.
HAPPY
Frank, go mop a toilet with your
moustache, fer chrissakes. Let
intelligent men have an intelligent
conversation. Mouse suits. Let me
tell you something, Joe. Everywhere
sucks. End a discussion.
JOE
A man should have adventures before he
dies. A man should do that.
Happy and Frank glance at one another uneasily as Joe
finishes his beer.
EXT. FLORIST SHOP – QUEENS – DAY
Joe comes out of the florist shop accompanied by an old man
in a rumpled overcoat, LOU. They walk down the sidewalk
towards Joe’s van.
LOU
You’re too good for her, Joe, you
always was. She’s a slut, she always
was.
JOE
Lou, you’re talkin’ about your own
daughter.
LOU
Her sixteenth birthday, I get up in the
middle of the night an’ come
downstairs? Her date, who I know she’s
never so much as been to the movies
with before, she’s givin’ him a ride in
the middle of the kitchen table – right
there, where in several hours her
mother an’ me’ll eatin’ cornflakes.
I’d always wondered how such a pig was
so popular with the lads. Now I knew.
A slut!
A Cadillac has casually pulled away from the curb. Keeping
a discrete distance, follows Joe and Lou down the street.
LOU
I thanked God when you walked into the
house, Joe. Fresh from the old
country. You was an answer to a
father’s prayers. We loved you. We
still do.
At the van now, Joe turns to take a last look at the
street.
LOU
Ah, Christ, I wish I understood what it
is you’re doin’, takin’ off like this,
not knowin’ you’re goin’…
JOE
I’ll know where I’m goin’ when I get
there, won’t I?
LOU
Yeah, well, when you get there and you
realize it’s no different than here,
come home. You’re the best with
flowers I ever seen, Joe. And you’re
good with kids and old people. They
like you.
JOE
I’d better be goin’, Lou.
Joe gets in the van.
LOU
Listen, you take care a those goddamn
headaches.
JOE
I will. I’ll be in touch, Lou.
Joe pulls away from the curb. Lou calls after him.
LOU
You know why you got headaches,
dontcha!? Cause my slut daughter,
she’s a headache!
Joe beeps. Lou watches the van disappears down the block.
He turns and walks towards the waiting Cadillac.
EXT. LOUISVILLE, KENTUCKY – AY
Establishing.
INT. PAWN SHOP – DAY
A diamond ring glitters under a jeweler’s light.
MICK (V.O.)
Very nice. Nice color. Good
workmanship.
Mick, jewelers glass in his eye, stares at the ring in his
hand. He is fifties, wears a cheap suit. On the other
side of the counter is HUSH MANSON. She is a very
attractive thirty who, when it comes to clothes, thinks
“tight” is elegant. She has the molasses drawl of an
Southern accent.
HUSH
The ring has tremendous sentimental
value. It was given to me by my second
only real true love, Jessie John-boy
Adams who offered it to me on bended
knee.
MICK
I never knew you were married, Hush.
HUSH
The engagement didn’t take. His
parent’s didn’t approve and Jessie, I
discovered, had a fairly major drug
problem that periodically turned him
homicidal. Tradition, however,
dictated that the ring once offered,
was mine to keep. Parting with it will
be like parting with part of myself so
I hope you’ll price it accordingly.
MICK
It’s glass.
HUSH
You… must be mistaken. Jessie
assured me it’d been in his family for
generations.
MICK
I know glass when I see it.
HUSH
You know toasters when you see’m!
(regaining her composure)
This… is a valuable piece, Mick.
It’s gotta be.
Mick shakes his head.
HUSH
Well… this is distressing news. Not
only does it put a crimp in plans I’d
made, it sullies further the memory of
a man I’d already come to regard as a
no good son of a bitch. What (sniff-
sniff) will you give me for it?
MICK
Thirty bucks tops.
HUSH
Aw, come on, Mick, it’s worth a hundred
easy!
MICK
Thirty bucks, Hush. And only cause I
find this song and dance entertaining.
HUSH
Mick, listen, I have got this sweet tip
on the third race out at the Downes.
An bonafide winner. I am also
presently into George the Geek for
twelve big ones, interest compounding
at like forty percent weekly and I need
to pay off! I can’t do that by putting
down thirty dollars. I need at least a
hundred.
MICK
No can do, kid.
HUSH
Mick, it’s a sure thangggggg!
MICK
Hush, what’s this on the shelf here?
HUSH
A radio alarm clock.
MICK
Your radio alarm clock. That imitation
Naugahyde sleeper in the corner?
That’s your sleeper. You want jewelry?
He pulls open a drawer. It’s full of rings and earrings
and bracelets and baubles.
MICK
Half the cheap shit in this drawer are
your “sure things”.
HUSH
Not all of it’s cheap.
MICK
Look, kid, here’s what I’m gonna do.
I’m gonna give you fifty bucks for this
ring of yours if you promise me you’ll
get on a bus and blow town before The
Geek knows you’re gone.
HUSH
You’re right, Mick. You always are.
You’re like a father to me.
(and then:)
Seventy five and you got a deal.
EXT. PAWN SHOP – LOUISVILLE, KENTUCKY – DAY
Hush comes out of the pawn shop, counting money. She
sighs, sticks it in her purse. A bus passes. She watches
it go down the street and turn into the depot.
EXT. CHURCHILL DOWNES – DAY
The horses race for the finish line at Churchill Downes.
EXT. CHURCHILL DOWNES – CONTINOUS
In the stands, Hush is on her feet, screaming.
HUSH
YES! COME ON, FELDSPAR, YOU CAN DO IT,
BABY, YES, YES… Yes… yes…. No…
no… oh, no…. you pig.
She falls into her seat. She looks towards heaven.
HUSH
Get me out of this one, I swear, I’ll
never do it again.
INT. CLUBHOUSE – DAY
Hush walks along, head bowed. Hardly seeing the crap on
the ground – ticket stubs, candy wrappers… the green of
folded money. Hush stoops and scoops up the bills. Unfolds
them… looks gratefully towards heaven… and turns and
hurries back towards the betting windows.
INT. BETTING WINDOWS – DAY
A loudspeaker is calling for final bets. Hush tosses a
racing form down and steps to a window.
HUSH
Two hundred on Studly Gent in the –
CLERK
(closing his window)
Next window.
Hush turns to another window. A guy in a leather jacket
ahead of her.
THE GUY
So, you’re saying, if I bet a dollar on
this horse here, I get back 30?
CLERK
If she wins. That’s what thirty to one
means, sport.
THE GUY
I’d say that’s pretty good.
Hush rolls her eyes.
CLERK
If ya like longshots. So ya wanna make
a bet or not, sport?
THE GUY
I guess I do, yeh… I’ll bet…
HUSH
Come on, come on…
THE CLERK’S POV – The guy, of course, is Joe.
JOE
Five hundred dollars.
Hush’s ears perk up. The clerk’s eyes register surprise.
CLERK
Five hundred on LaVerne in the fifth.
The man’s a player.
JOE
Thanks for your help.
He turns. Finds Hush staring at him. Politely tips an
imaginary hat. Moves by her. Hush steps to the window.
HUSH
Sucker born every minute, huh? A
hundred on Studly Gent in the fifth.
EXT. CHURCHILL DOWNES – DAY
Hush is once again in the stands, on her feet, screaming
her fool head off.
HUSH
COME ON, STUD! OH, OH! YES, GIVE IT
TO ME, STUD! YES! YES! YES…
Hush’s face tells us the outcome. She sags, devastated.
LOUDSPEAKER (O.C.)
It is official! The winner, by a nose,
LaVerne!
Hush’s looks up in outrage.
HUSH
No way!
She glances down towards the rail. Joe is there, looking
uncertainly at his ticket.
INT. BETTING WINDOWS – DAY
Hush stands, her mind racing. Joe is at the window. The
clerk hands him a cashier’s check. Joe nods his thanks.
Turns and walks. Hush licks her lips, smooths her skirt
and takes off after him.
INT. THE CLUBHOUSE – DAY
Joe is walking along, moving through the crowd. Hush comes
up from behind; walks along side him. Turns on the accent.
HUSH
Well now. Member me?
JOE
Well. Hello there. I surely do.
HUSH
You made quite a killing.
JOE
Ah, well, y’ know. Luck.
HUSH
Uh-huh. I guess a little bird didn’t
just happen to whisper in your ear
’bout that long shot.
JOE
Sorry?
HUSH
No. Good. You’re good. You had me
believin’ you didn’t know the score.
Joe doesn’t know what she’s talking about. He pleasantly
shrugs – gives the impression he knows exactly what’s she
talking about.
HUSH
So y’all gonna tell me your name or do
I have to ask?
JOE
Excuse me. It’s Joe.
HUSH
“Joe”, huh? Where you from Joe?
JOE
Dublin, Ireland originally. The Bronx,
Burrough of Manhattan most recently.
That’s New York.
HUSH
(suspicions confirmed)
Yeah, seems to me I know where that is.
JOE
How’d you do?
HUSH
Hmm? Oh. Win some, lose some. It’s
just recreation to me, I find it…
relaxin’.
JOE
You know, you sure talk nice.
HUSH
Darlin’? I do lotsa things nice.
She smiles and takes Joe’s arm. They head out the exit.
EXT. CHURCHILL DOWNES – DAY
Hush and Joe come of the clubhouse building. A NUN is
collecting donations from passing people.
HUSH
So. Whatcha gone do with all that
money you won, “Joe”?
Joe is looking back over his shoulder at the nun.
JOE
I hadn’t thought about it. It’s kinda
like funny money, y’know?
HUSH
Hysterical. Tell you what…
She goes into her purse, comes out with a pen and a card.
She scribbles on the card; hands it to him.
HUSH
I work at this club nights. You come
on by. This’ll get you in free.
JOE
(gesturing at the pen)
Can I use that?
HUSH
Darlin’, anything I got, just ask.
JOE
You mind if I…?
He turns her around. Using her shoulder as a desk, Joe
writes on something.
JOE
By the way, what’s your name?
HUSH
Hush.
JOE
Sorry?
HUSH
No, that’s my name. Apparently even as
a child I had a tendency to talk a bit.
Most folks consider it endearing.
Whatch-yall doin’, sugar?
JOE
There. Thanks.
HUSH
That’s your check.
JOE
Scuse me a second.
Joe walks back the nun. Hush watches in horror as he –
JOE
Here y’ go, Sister, you take this.
He hands her the check. She glances at it; almost faints.
NUN
Bless you. Bless you!
Joe walks back to Hush. She’s standing there, an aghast
look on her face.
JOE
What’s wrong, you okay?
HUSH
Okay? This is only the third time
today I’ve seen my whole damn life pass
before my eyes. That was the money you
won!
JOE
Yeh.
HUSH
And you just gave it away!?
JOE
It wasn’t like I expected to win –
HUSH
Wait a minute, wait a minute! You
didn’t expect to win?
JOE
No. Why would I?
HUSH
You didn’t have inside info that horse
was gonna win?
JOE
How would I have that?
HUSH
How!? You’re a hood, a goombah, you’re
connected! You’re the Paddy equivalent
of –
She bends her nose sideways; gives a Bronx cheer.
JOE
I’m a florist.
HUSH
Are you telling me you won a thirty to
one shot on dumb blind luck!?
JOE
I guess I did.
Hush mutters towards heaven. She turns and stalks off.
Hard to stalk anywhere in spiked high heels.
JOE
Should I still come by tonight?
HUSH
You come anywhere near me, I’ll call a
cop! I’ll call a lunatic asylum! I’ll
have you killed! You’re so ugly your
mother should be arrested!
She stumbles on. Joe watches her go. And now he looks at
the card she gave him. TIP-TOP CLUB!! YOU’VE SEEN THE
REST, NOW SEE THE BEST!
___________________________________________________________
___________________________________________________________
___
EXT. TIP-TOP CLUB – LOUISVILLE – NIGHT
The same logo in neon. Beneath it – OIL AND MUD WRESTLING
TONIGHT!!!
INT. TIP-TOP CLUB – NIGHT
Rock music blares. Three mud encrusted Japanese men in
glasses and boxer shorts are getting beat on by six girls
in bikini’s. Their friends, in business suits, are
screaming encouragement from the ringside tables. The
place is mobbed. All men except for the scantily clad
waitresses.
INTERCUT: INT. SOUND BOOTH – CONTINUOUS
Hush is the MC of the floor show. She sits on a stool,
next to the D.J., TOMMY, mike in hand. The excitement in
her voice contradicts the bored expression on her face.
HUSH
…and Buxom Barb has her samarai
warrior in a leglock. He’s a kamikaze,
folks, he’s hopin’ to fly his plane
down the ship’s main stack!
(to the d.j.)
Where do these fools come from?
TOMMY
The Japs are in town for a computer
convention.
HUSH
Men. I swear, it’s like there’s this
never ending supply.
Down below one of the girls is slapping her opponent with
her breasts.
HUSH
(into the mike)
Whoa, looks like we got us a pillow
fight!
The man loses his glasses. A photographer circles, taking
pictures. Another man starts lose his shorts. He grabs
for them in embarrassment.
HUSH
Keep those shorts on, Tokyo Joe. Say,
is that a computer in those boxers or
are you happy to be here? Must be a
portable cause it sure ain’t a desktop.
The man is kicked in the ass. He falls forward onto his
face. The girl leaps on top of him.
HUSH
Joe’s in transistors. He’s havin’ an
“erectric” experience.
Hush’s groan of dismay is heard over the p.a.
HUSH
Lord. This is so lame I’m offending
myself. I swear, I was better off
dancing. Least I could day dream while
doin’ it.
The d.j. checks his watch, hits a button. The music ends.
HUSH
Okay, gents, let’s give our lovely
combatants a round of applause! Buy
those pictures before your friends do
and don’t forget to tip your
waitresses. (Get a life.)
And turning, Hush heads for the door.
TOMMY
(into his mike)
Thank you, den mother Natasha! And
now, on the main stage! One hot lady!
Sassy Sue from Tocaloo!
A girl comes out onto the main stage and begins dancing.
INT. THE CLUB – CONTINUOUS
Hush comes out of the sound booth, makes her way through
the crowded room towards the bar.
AT THE BAR –
Hush walks up to the service bar. Calls to the bartender.
HUSH
Diet Coke, Billy, when you got a
chance.
Hush suddenly freezes. Sitting halfway down the bar is a
handsome, Elvis Presley clone. He smiles at Hush. Hush
swallows whatever she’s feeling and moves down the bar.
ON ELTON AND HUSH –
ELTON
Hello there, sweet thing.
HUSH
Go sweet thing yourself, Elton. It’s
been 6 months.
ELTON
You know how it is. Things come up.
HUSH
You said you was goin’ to the corner
for a pack of cigarettes.
Elton just grins.
HUSH
Look, are you here for a reason? Cause
if I don’t get away from you in about
two seconds I’m gonna slap your face or
puke in your lap.
ELTON
I got a job, Hush.
HUSH
You? That’s a laugh.
ELTON
I do. Working for a friend of yours.
HUSH
If they hired you, they’re no friend of
mine.
ELTON
George’ll be sorry to hear that.
George the Geek? You owe him, darlin’.
He wants his money. You don’t have it,
I’m supposed to take it out of your
hide.
HUSH
You would do that after all that’s gone
between us?
ELTON
I’d enjoy it.
HUSH
Any remote semblance of an orgasm I
ever had with you was feigned.
Hush turns and walks away.
HUSH
crosses the club floor and enters the sound booth.
IN THE SOUND BOOTH
Hush comes up the steps and sitting on her stool, lets the
tough facade drop.
TOMMY
A nice round of applause, gentlemen,
for Sassy Sue! And now, on the main
stage, back by popular request! Get
your hands out of your pockets for that
celestial goddess… Ariel!
(turning from the mike)
What’s the matter, kid?
HUSH
Nothin’. I oughta just shoot myself is
all, end my misery.
TOMMY
Get in line for the gun.
Hush stares out of the booth out onto the floor of the
club. And suddenly sees something.
HUSH
Oh, Lord… now this is all I need.
Joe has entered the club. He stands, looking around
uncertainly. “Sassy Sue” passes him, near naked, trailing
her costume.
TOMMY
Friend of yours?
HUSH
Nah, just some guy I met out at the
track today. Dumb bastard hit the
jackpot and then gave it all to a nun.
TOMMY
Must be nice to be so rich.
Hush freezes. She hadn’t thought of that.
INT. THE CLUB – NIGHT
Joe is now sitting at a table. He looks up as Hush
suddenly sits down next to him, seductively close.
HUSH
Well, well. You made it.
JOE
I had the time. How yeh doin’?
HUSH
Couldn’t be better… now. Whatcha
drinkin’, lover?
JOE
Club soda.
HUSH
Is it good?
JOE
It costs five dollars.
HUSH
Worthy every penny.
(to a passing waitress)
Southern comfort, Glynis, a double.
Same for Beautiful Joe here too.
Hush can see Elton sitting at the bar, staring at her.
HUSH
So… ever been to a place like this
before, Joe?
JOE
Not like this one.
HUSH
Lemme tell you something, hon. Women
love takin’ their clothes off in front
of strangers. It turns us on.
JOE
Does it?
HUSH
Oh, yeah. Sometimes a girl needs a
cold shower just to cool off.
JOE
Personally, I think it’d be very
depressin’.
She stares at him, speechless.
JOE
For m’self anyway.
HUSH
Are you messin’ with me, buster?
JOE
In what way?
HUSH
(to the heavens)
Oh, god, why am I doin’ this? Give me
one reason why I should be puttin’
myself through this torture –
The waitress arrives with the drinks. Joe pays. And Hush
sees that Joe’s wallet is bursting with cash.
HUSH
So… “Joe”… wanna wrestle in the mud
with some of the girls?
JOE
Me?
HUSH
Darlin’, in my opinion, a man who
hasn’t tumbled naked in goo with
several well endowed females has not
fully experienced life.
Joe thinks about it. She might be right.
TOMMY (O.C.)
(over the speakers)
In this corner, weighing in at a 125
pounds of punch and pulchritude –
INT. THE CLUB – LATER
Three girls in bikinis are glaring across the mud pit at
Joe. Joe is in a bathing suit. Hush is next to him.
TOMMY
(over the speakers)
– the Astounding Ashley. Her partners,
from exotic New Orleans, Monique and
Scarlet!
JOE
What do I get if I win?
HUSH
Darlin’… it’s the journey that
counts, not the destination.
She pushes him into the ring. The girls scream and run at
Joe, knocking him down.
HUSH
I should be ashamed of myself.
Hush turns away.
AT THE BAR
Elton watches Hush disappear into the back.
BACKSTAGE –
Hush moves down a hallway towards a dressing room. Checks
to see that no one’s around. Unlocks the door. Enters.
IN THE PIT –
Joe is getting the crap beat out of him.
IN THE DRESSING ROOM –
Hush picks up Joe’s carefully folded pants. Removes his
wallet. Opens it. So much cash. Hush sighs. She isn’t
a thief, just desperate. She puts a few bills back in
Joe’s pants pocket. She thinks she hears something. She
tosses the pants back on the chair; moves to the door.
Peeks out. Exits. Joe’s pants fall to the floor.
IN THE CLUB –
Hush comes out from backstage and moves towards the bar.
Behind her, Joe is covered with women.
IN THE PIT –
Ashley has Joe’s head in a leg scissors.
ASHLEY
Scream when it hurts, hon.
JOE
No, I’m enjoying meself, thanks.
AT THE BAR –
Hush circles the bar and passes Elton without stopping.
HUSH
Meet me around the side in five
minutes.
She moves back across the flkoor towards the wrestling pit.
The music comes to an end.
TOMMY
(over speakers)
Let’s hear it for our lovely
combatants!
IN THE PIT –
The girls help Joe to his feet. Scarlet kisses him on the
cheek.
SCARLET
Thanks, baby, you were the best.
JOE
You were very formidable yourself.
Ashley passes Hush. She grins, mouths the words – “big
dick” – and winks.
HUSH
Well, I’m glad you enjoyed it.
(to Joe)
There now. That weren’t so bad, was
it? Let’s get you showered up and then
you can check out the free
commemorative photos that I’m sure
you’ll want to share with the entire
family.
They move towards the dressing room.
AT THE BAR –
Elton watches them go. He finishes his drink. He rises.
IN A BACKSTAGE HALLWAY –
HUSH
There’s towels back there. Shampoo.
You need anything else, you holler.
JOE
Can I buy you a cup of something after?
Guilt plays across Hush’s face.
HUSH
Save your money, Joe. Go. Get
dressed.
He moves down the hall. She watches him unlock the door;
look back at her; enter. Hush sighs, turns away.
IN THE CLUB –
Hush comes out from backstage, hurries across the floor and
out the front door.
IN THE DRESSING ROOM –
Joe wipes mud off his face. And now he sees that his pants
are on the floor. He picks them up. Sees his wallet is
gone. He begins pulling his clothes on.
EXT. THE CLUB – NIGHT –
Hush comes down the alley that adjoins the club.
HUSH
Elton? Elton, you here? Aw, don’t
play games with me, ya dumbass.
And Elton leaps out from behind a dumpster.
ELTON
Boo!
Hush shrieks. Elton laughs.
HUSH
You’re such a moron.
ELTON
Watch your mouth.
HUSH
Oh, shut-up. You been called a moron
so much you think it’s an endearment.
IN THE CLUB –
Joe is looking around for Hush. Waitresses stare – he
still has mud in his hair.
IN THE ALLEY –
Elton is holding Joe’s wallet; counting the cash.
HUSH
It’s almost eight thousand dollars.
ELTON
I can count.
HUSH
Since when?
Elton puts the wallet into his pocket.
ELTON
Pleasure doing business with you, Hush.
Now where’s the rest of it.
HUSH
Aw, come on, Elton, There’s credit
cards there, tell the Geek to charge
some clothes or something.
He grins. And slaps her, knocking her back.
HUSH
Bastard! What’d ya do that for!?
ELTON
Look at it this way, Hush. The
interest on four thousand bucks is
going to hurt a lot less than the
interest on twelve.
She faces him, seemingly resigned…
HUSH
Aw, Lord… just don’t hit me in the
face is all…
And Hush suddenly lashes out, kicking Elton in the groin.
He doubles over. Hush turns and runs.
ELTON
You are dead meat!
He chases her down the alley. Hush sprinting – tough in
high heels. Elton gains on her. He leaps and sprawls,
just grabbing her ankle. Hush falls with a shriek. And
bumps into somebody’s legs. She looks up. Joe.
JOE
Can we talk?
Hush shrieks as Elton drags her back towards him.
HUSH
Him! I gave your wallet to him! He
has your money, he does!
Elton drags Hush to her feet.
ELTON
You! Fuck off!
JOE
No way to treat a lady, is it, lad.
Maybe you oughta be lettin’ her go.
ELTON
Say what?
HUSH
He said, let me go, Elton! You know
what’s good for you, ya will!
ELTON
Who is this clown?
HUSH
You don’t want to know. Just get out
of here now and maybe he’ll let you
live.
JOE
Actually, all I want is me money back.
Hush glares at Joe – shut up!
ELTON
Ah, Christ. What a friggin’ night.
And he releases Hush and turns towards Joe.
JOE
Can we at least talk about this like
adults?
ELTON
Sure. Whatever you say… let’s talk.
He meaningfully cracks his knuckles. Hush takes the
opportunity to viciously kick Elton in the shins.
ELTON
Ah! You bitch!
Hush promptly kicks Elton in the other leg.
ELTON
(staggering)
Ah! That does it. You both die!
Hush grabs for a trashcan lid.
HUSH
Run and get help!
JOE
Can I have me wallet back first?
ELTON
Arghhh!
And he starts for Joe. WHAM! Hush swings the trash lid
into his face. Elton staggers. Hush rears back and
wallops him over the head. Elton falls. On the ground, he
blinks, groggy. He looks up. Joe is peering down at him,
concerned.
JOE
Y’ all right?
Elton rolls away, scrambles up and staggers down the alley.
ELTON
You’re going be sorry you ever met me!
He turns and runs; disappears into the night.
JOE
Friend of yours?
HUSH
Nah, we just lived together for about
six months.
(tossing the trashcan lid
aside)
I need a drink.
JOE
I hope you’re buying.
INT. TIP-TOP CLUB BAR – NIGHT
Hush drains a shot of Southern Comfort. The bartender
refills her glass.
JOE
A loan, is it?
HUSH
All I need is one good day at the
track.
JOE
You’re good at this gambling, are yeh?
HUSH
Is the Pope Catholic?
JOE
This lad you’re owin’ so much money to.
What’s he do again?
HUSH
He’s a bookie and loan shark.
JOE
I think the Pope in this case is
Protestant.
She scowls; drains her drink. Rises from her stool.
HUSH
Got a place to stay?
JOE
Not hardly.
HUSH
Come on. You can stay the night with
me.
JOE
That’s very nice of you.
HUSH
Idn’t it though? Plus I need a ride
home.
EXT. LOUISVILLE – NIGHT –
Joe’s van moves through the city streets.
INT. JOE’S VAN – NIGHT
Joe and Hush drive in silence. And then:
JOE
I keep thinking you’re gonna say
something.
HUSH
Like what?
JOE
I dunno… like an apology.
HUSH
You didn’t have to show up tonight.
EXT. APARTMENT BUILDING – LOUISVILLE – NIGHT
The van pulls to a stop. Joe and Hush get out. The
neighborhood’s old, run down. Joe looking around.
HUSH
I know what you’re thinking.
JOE
What’s that?
HUSH
The neighborhood’s a dump. Well, for
your information, gentrification’s due
any day now. Some homos have moved in
so it’s only a matter of time.
They head up the walk.
INT. APARTMENT BUILDING – NIGHT
They come up the stairs to the second floor. Hush unlocks
an apartment door.
HUSH
Just be quiet, okay? Last thing I need
is the old lady upstairs pounding on
the floor with her cane.
They enter.
INT. APARTMENT – CONTINUOUS
Joe looking around as Hush turns on lights. Needless to
say, Hush is not a housekeeper.
JOE
Gentrification’s due any day, is it?
HUSH
(embarassed)
…it was the housekeeper’s day off or
she must not a’ come… I was raised
with servants, see, I never got into
the habit of pickin’ up.
(annoyed)
You don’t like it, go sleep on a park
bench.
JOE
No, it’s fine. My ex-wife, she must of
been raised by servants too.
HUSH
Come on.
She leads him down the hallway.
INT. BEDROOM – NIGHT
Hush enters, Joe behind her. Hush turns on the light.
Kicks off her shoes; rubs her feet.
HUSH
Lord, my feet are killing me. It’s one
of the main reasons I quit strippin’.
Prancin’ around like some pony in six
inch heels was the pits.
Joe is looking a little uncomfortable. Especially as Hush
proceeds to strip down to a camisole and panties.
HUSH
And to think I once took modern dance.
You could see it in the way I moved on
stage. I didn’t so much take my
clothes off as do an interpretive
dance. All so a bunch a drunks could
droolin’ on my kneecaps. I tell you,
life sure can stink. I’m just lucky I
have my Momma’s optimistic nature. She
was a dancer too. It’s also from her I
inherited my artistic temperament.
And with that, Hush lifts off her hair-do. We realize now
it’s a rather elaborate wig. Underneath it, Hush’s fine,
fair hair is cut short.
HUSH
(ruffling her hair)
… ah. That’s better.
(looking at herself in the
mirror)
Lord, I’m gettin’ old and fat.
She waits a moment for him to contradict her. He doesn’t.
HUSH
Well… ain’tcha gonna get undressed,
lover?
JOE
Am I sleeping here?
She turnsto him; seductively straightens his collar, kisses
his cheek.
HUSH
Thought you might want to. Just my
little way of saying… thanks. For
being so understanding.
She nuzzles his neck. Give a fake little moan of passion.
She begins to unbutton his shirt.
JOE
Can I ask you something?
HUSH
Sure, hon. Ooh… you make me so hot.
JOE
What traumatic childhood event ever
happened that you should be offerin’
yourself to complete strangers?
She freezes. She steps back. She glares at him.
JOE
Not that I don’t find you very
attractive. Maybe after we get to know
each other a little better, ey?
HUSH
Buster-brown, this was the only chance
you was ever gonna get. Out.
Joe starts backing towards the door. She picks up a shoe.
HUSH
I said, get out!
She throws the shoe. It flies past his head. She reaches
for the second shoe.
JOE
Good night then. And thanks much for
the hospitality.
He quickly closes the door behind him. The second shoe
bangs off the doorjamb.
HUSH
I swear, what’d I ever do that God made
me so magnanimous to mushheaded
mutants!
A moment. Something bangs overhead. It sounds like a
cane.
HUSH
Oh, shut up.
And she throws herself on the bed.
IN THE LIVING ROOM
Joe makes himself comfortable on the couch. He’s lying on
something. It’s a plastic pony. He tosses it aside. He
rubs his temples – he has a headache. He sighs, trying not
to worry. He stares out the living room window at the
streetlight. REVERSE ON JOE – As we pull back and out.
EXT. APARTMENT BUILDING – MORNING
Establishing shot. Somewhere a garbage truck is whining.
INT. APARTMENT – MORNING
Joe. Asleep, his jacket covering him. He opens one eye.
Opens both eyes. Stares. A boy, age 6, is about as foot
away, staring at him. He’s holding the plastic pony.
JOE
How yeh doin’?
The boy turns and exits into the kitchen. Joe gets up.
INT. THE KITCHEN – MORNING
Joe sticks his head in. Stares. The boy – his name is
LeE – and a girl, VIVIEN, 11, stare back at him. Vivien is
remarkable looking; a mix of black and white; chocolate
skin, blue eyes; curly hair. She is sitting at the table,
not so much eating as playing with a bowl of cereal.
Neither child seems remotely surprised at Joe’s presence in
the apartment. Joe enters.
JOE
Hello. I’m Joe.
(more silence)
You, I take it, are the children of the
establishment?
VIVIEN
(sounding like Hush; a
Southern accent)
We’re not supposed to talk t’
strangers.
JOE
Oh. Well, then, we’ll wait to be
formally introduced.
(a beat)
Breakfast, is it? Good, that’s good.
No answer. He picks up the cereal box. Looks at it.
JOE
It’s none of my business but this is
nothing but white flour and sugar.
Empty calories. Breakfast is the most
important meal of the day. You should
always eat a good breakfast.
He opens the fridge. Not much. The cupboard. Even less.
Joe turns. The kids are just staring at him.
INT. HUSH’S BEDROOM – MORNING
Hush is asleep. Her nose wrinkles. Even asleep, she
smells something. Now she’s awake. She sniffs, sniffs
again.
IN THE KITCHEN –
Joe has a pan and a spatula in hand.
JOE
Who’s ready for another one?
VIVIEN
Me, I am.
Joe puts a pancake on Vivien’s plate.
JOE
And how about you.
Lee just stares at him.
VIVIEN
Lee don’t talk.
JOE
No? Why not?
VIVIEN
He just doesn’t.
JOE
Strong silent type, is it?
(a beat; to Lee)
Somebody’s gotta eat it.
Lee hesitates, then holds up his plate. Joe plops the
pancake down.
JOE
All right then! And maple syrup?
Lee nods. Joe pours. Hush enters.
HUSH
What the hell is goin’ on here?
JOE
Hey! Well now, you’re up. And look at
you. Your face all over your face.
HUSH
Huh?
She checks her reflection in the oven window. She didn’t
take off her make-up last night before going to bed.
HUSH
Oh, God…
(wiping at her face)
You wanna tell me what it is you think
you’re doin”?
VIVIEN
We’re having breakfast, Momma.
HUSH
I can see that. Where’d all this
stuff come from?
JOE
I went out. I bought a few things.
VIVIEN
Pancakes, Momma. Whole wheat with
banana.
HUSH
I’m gonna be sick, then I’m going back
to bed. Okay, look, you have no right
to go out an’ buy food for my kids.
JOE
They were eating shit.
HUSH
Perfectly good shit, thank you. And
even if it weren’t, we don’t take
charity from strangers.
VIVIEN
His name’s Joe, Momma.
JOE
I know his name, Vivien, and do not eat
another bite a that.
VIVIEN
You always say it’s a sin to waste
food.
HUSH
I say a lot of things, you know I don’t
mean half of them.
Hush falls into a chair, exhausted by all this.
HUSH
All right, did you at least get coffee?
JOE
As a matter of fact.
HUSH
I don’t see it.
JOE
You don’t have a pot.
HUSH
Oh, lord, one of those people who makes
it themselves.
(rising; starting to exit)
Okay. Thank you for making breakfast
for my kids. After you clean up,
leave.
JOE
(sitting; beginning to eat)
Actually, I been thinkin’.
Someting in his voice stopping her.
HUSH
Oh, you do that? Think?
JOE
Now and again. I think we ought to go
have a talk with these lads of yours.
HUSH
What “lads” we talkin’ about?
JOE
The ones took my wallet.
HUSH
Ho-ho. About what?
JOE
About givin’ it back.
HUSH
That’ll be the day.
JOE
And why not?
HUSH
Because they’ll laugh in your face
before they break it is why not.
Because you kicked Elton’s acne covered
butt –
JOE
I did?
HUSH
– because I still owe the Geek money –
VIVIEN
Elton’s back?
HUSH
– and he wanted it last week. Lord, do
I gotta explain everything around here?
VIVIEN
Are you getting back with Elton? Cause
he used to try and open the door while
I was in the bathtub.
Silence. This news just about makes Hush sick.
HUSH
…y’see? You scared her, bringing up
unpleasant things at the breakfast
table.
A moment. Hush turns and exits.
JOE
There’s more orange juice in the
fridge.
Joe rises.
INT. THE BEDROOM – NIGHT
Hush has her back to Joe as he enters. And now Joe sees
that she is weeping. With anger and frustration.
HUSH
I’ll kill him, I swear I will. Think
what you want of me, I love my kids.
I’m no Betty Crocker but I love my
kids. My problem is I’m attracted to
psychos. It’s a disturbing
characteristic.
JOE
You got an address or phone number?
I’m gonna go talk to this Geek lad.
HUSH
Are you really this brave or are you
just stupid?
JOE
What’s the worst they can do? Open up
me head?
(and then:)
Come on. There’s still the makings for
a few pancakes left.
HUSH
Do I look like the kind of woman that
eats pancakes? Do I?
JOE
No. Maybe that’s why you should.
Joe exits.
HUSH
Pancakes, shit… my favorite.
EXT. LOUISVILLE – DAY
A working class neighborhood. Joe’s van moves down the
street. Joe and Hush in front. They stop at a light.
IN THE VAN –
Joe in his leather jacket. Hush doing her make-up in the
mirror, trying to pretend she’s not frightened.
HUSH
That place on the corner.
On old pub. Joe nods.
ON THE VAN AS –
Joe drives through the light and pulls to the curb.
INT. THE VAN – CONTINUOUS –
Hush nervously looks at Joe as he gets out of the van.
HUSH
Wait!
He turns back. Hush wants to say something profound…
HUSH
…leave the keys.
He tosses her the keys. Hush watches him cross the street
towards the bar.
EXT. THE STREET – CONTINUOUS
Joe comes up the sidewalk. He stops in front of the pub.
He should be frightened. He’s not. In fact, he’s never
felt more alive. Nothing to lose, he enters.
INT. BAR – CONTINUOUS
A dive. Joe makes his way to the bar. The barman, 50’s,
approaches and wipes the bar in front of Joe.
JOE
How y’ doin’. Club soda.
IN A DOOR IN THE BACK OF THE BAR –
A peep hole opens… then closes.
AT THE BAR –
The bartender puts the club soda down in front of Joe.
JOE
Lime?
BARMAN
Now you’re pushing your luck.
JOE
I’m lookin’ for George the Geek.
BARMAN
He doesn’t like people calling him that
to his face.
JOE
Is he here?
Before the barman can answer, Elton steps to the bar next
to Joe. Bandaids on his forehead. Behind him is a huge,
dumb looking guy, HOWDY and a small, mean looking guy,
MOUSE.
ELTON
Well, well, look what the cat drug in.
JOE
Well, now. Elton, is it. And friends.
MOUSE
We got a problem here, Louis?
BARTENDER
Gentleman wants to see Mr. Jenkins.
ELTON
Aw, this is an coincidence. Mr.
Jenkins wants to see him.
MOUSE
On your feet.
JOE
(To Elton; his club soda)
Your shout, idn’t it?
Elton hesitates; and then annoyed, puts a bill on the bar.
Joe slides it to the bartender.
JOE
Keep the change.
Joe turns and walks towards the back. Mouse smirks at
Elton. Elton scowls. They all follow Joe to the back
where they go through the door.
INT. HALLWAY – CONTINUOUS
They enter and move down a brick hallway past old beer kegs
and stacked bottles of beer. Joe’s sense of calm is making
Elton, Mouse and Howdy nervous.
MOUSE
This guy took you out, huh?
Joe glances at Elton. Elton won’t meet his gaze.
HOWDY
He don’t look so tough to me.
They move towards a door at the end of the hall.
INT. OFFICE – CONTINUOUS
The door opens. Howdy pushes Joe into the room. Elton
steps in behind him. The office is surprisingly elegant;
more like a men’s club than anything else. The sound of
pruning sheers clipping.
JOE
How yeh doin’? You must be George the
Geek.
A well dressed man in tweeds, bow tie and tortoise shell
glasses is pruning some potted flowers. The man freezes;
slowly looks up, stares coldly at Joe.
JOE
(crossing towards him)
Orchids, ey? Nice. Except this room
is all wrong for’m. You want my
advice, you’ll take’m in the bathroom,
close the shades, turn on the shower.
They’ll thank you for it.
And now Joe suddenly reaches out and touches George’s
jacket, startling him.
JOE
(remembering:)
Nice jacket. Is it a wurst?
Putting down his pruning sheers, George turns; crosses to
his desk.
GEORGE
You seem to know clothes as well as
flowers, my friend.
JOE
Ah, well, you know…
GEORGE
No. As a matter of fact, I don’t know.
I don’t know anything about you. I
know you tried to prevent one of my
employees from collecting money owed me
by a client. I know that, my friend.
I’m very upset about it.
JOE
You know, as a matter of fact, me too?
Cause the money you got? The eight
thousand dollars? It’s mine.
GEORGE
Really? And what was Miss Mason doing
with it?
JOE
She stole it. It was understandable.
She was under pressure from Elvis here.
Elton starts forward. George stops him with a glance.
GEORGE
And let me guess. You want it back.
JOE
Thought I’d ask.
George reaches into a drawer; takes out a Joe’s wallet.
GEORGE
Credit cards too?
JOE
Nah, s’okay, I canceled’m.
GEORGE
Driver’s licence?
JOE
It’s a hassle gettin’ a new one.
Mouse almost laughs. George stifles it with a glance.
GEORGE
What did you say your name was, my
friend?
JOE
I didn’t. Joe.
GEORGE
Where are you from… “Joe”?
JOE
Dublin originally. Bronx, New York the
last few years. Can I ask a question?
GEORGE
How else do we learn?
JOE
How come they call you a Geek? I
thought a geek was, like, this poor
retard, went around biting the heads
off a chickens. You do that, do yeh?
Mouse, Howdy and Elton glance nervously at one another.
GEORGE
Are you familiar with Barbies, my
friend?
JOE
The little dolls with the big tits?
GEORGE
Exactly, the little dolls with the big
tits. I played with Barbies as a
child, my friend. I had a Barbie
collection. I loved Barbie. I am, on
rare and unpleasant occasions, called
the Geek, because when I was eight
years old, my sister took my Barbies,
doused them in lighter fluid and set a
match to them. In response, I –
sensitive child – bit her nose off and
swallowed it. I was fond of my sister;
still am – vicious, scheming dyke that
she is. Imagine then, how I express my
displeasure to people – like you – who
I don’t like even a little bit.
Joe glances at Howdy, Mouse and Elton. Back to George.
JOE
So what are yeh saying. Do I get me
money back or not?
George picks up the wallet as if considering something.
And then he flips it Joe.
GEORGE
Take it.
ELTON
Mr. Jenkins – !
George shuts him up with a glance.
GEORGE
It’s yours, Joe.
JOE
Just like that?
GEORGE
Just like that.
JOE
Well, I must say, this is nice of you.
GEORGE
A man is measured by how he treats his
friends, Joe.
JOE
I couldn’t agree more. And you know, I
was thinking. The money Hush owes you?
GEORGE
Miss Manson?
JOE
Yes. Maybe you could work out a
payment schedule for her. A little
each month. Not a lot. She’s got kids
to care for.
GEORGE
Have her come in, we’ll talk about it.
JOE
That also is very nice of you. Well.
I guess I’ll be goin’ then. It’s been
a real pleasure.
GEORGE
All mine.
Joe starts for the door. He stops, turns back.
JOE
Oh, and listen, get some mist on those
orchids, ey? They’ll thank you for it.
GEORGE
Thank you, Joe. Goodbye.
Joe exits. George walks to his orchids. Thoughtfully
caresses a blossom.
ELTON
Mr. Jenkins, I don’t get it! You let
him walk right out of here!
GEORGE
Howdy, hit Mr. Shuggs in the face.
HOWDY
Huh?
GEORGE
Hit him in the face.
(picking up his pruning
shears)
If he tries to dodge, sit on him so I
cut off his fingers one by one.
Mouse and Howdy look at one another. Mouse shrugs. Howdy
wacks Elton.
INT. BAR – CONTINUOUS
Joe walks down the length of the bar. He passes the
barman.
JOE
Nice fella.
The barman stares as Joe exits.
EXT. THE BAR – DAY
Joe comes out of the bar and crosses the street to the
parking lot. He stops. His van is gone.
INT. THE GEEK’S OFFICE – CONTINUOUS
Elton is holding a handkerchief to his bloody nose. George
is at his desk, calmly drinking from a glass of Perrier.
GEORGE
Tell Mr. Shuggs, who we lay off the
bulk of our betting action to, Howdy.
HOWDY
Our action, right, we lay it off to…
I dunno, who?
GEORGE
(a sigh)
The O’Connor syndicate, Howdy.
HOWDY
Yeah, right, the O’Connors, right.
GEORGE
And the O’Connors now base themselves
out of… where? Mouse?
MOUSE
Uh…
GEORGE
New York, you simple clot. The Bronx,
New York.
MOUSE
Hey, that guy was from the Bronx.
GEORGE
Indeed. And who are we hoping is going
to come in and give us the money and
muscle to expand our little operation
here in Louisville. Jump in, Mr.
Shuggs, take a wild guess.
ELTON
The O’Connors?
GEORGE
The big time, my friends. And now,
last question, who is the big hitter
for the O’Connors, a man as famous for
his brogue as he is for his brutality?
HOWDY
Everybody knows that – Beautiful Joe.
ELTON
Who?
MOUSE
Beautiful Joe. He took out Micky Cenzo
and Gill Hubie in Atlantic City last
year. The guy’s a legend.
ELTON
Wait a minute, what are you saying, Mr.
Jenkins, that guy’s Beautiful Joe?
GEORGE
Isn’t he?
MOUSE
Aw, I don’t know, Mr. Jenkins, I heard
Beautiful Joe’s a dude. Five hundred
dollar ties, Italian suits. That guy
was a bum.
GEORGE
He knew clothes. He knew flowers. And
he was calm. Confident. As if there
was nothing in the world we could do to
hurt him.
ELTON
So what’s he doing with Hush?
MOUSE
Ey! Beautiful Joe likes the ladies.
GEORGE
And Miss Manson is not unattractive. I
think he’s using her, my friends. I
think the O’Connor Family wanted to see
how we handle ourselves and they sent
their number 1 vindictatore in to do
it.
HOWDY
You know, you’re right, Mr. Jenkins,
the guy was a total pro.
George smiles. It’s nice to be so smart.
EXT. LOUISVILLE – DAY
“The Pro” – Joe – is walking along a street looking lost.
Suddenly a van – Joe’s van – comes roaring out of nowhere,
and careens towards the curb, almost hitting Joe.
HUSH
Quick. Get in. I’m bein’ followed.
JOE
By who? The Geek?
HUSH
(eyes glued to the rear view
mirror)
Nah. Some guy. He was parallel
parking and I dinged his door as I went
by.
Joe opens the door. A mangled side-view mirror falls from
the passenger seat to Joe’s feet.
JOE
(quietly furious)
You left me.
HUSH
I came back, didn’t I?
JOE
Why did y’leave?
HUSH
I’m allergic to bloodshed. Will you
get in?
JOE
No. You get out. I’m driving.
He starts around the van. Hush gets out.
HUSH
I shouldn’t have to remind you that
operating a vehicle without a driver’s
licence is a serious offense.
JOE
He gave me back my wallet.
HUSH
No way! The money too!?
JOE
The money too.
Hush lets out a shriek and throws her arms around Joe.
HUSH
Owwwww! How did you get him to do
that?
JOE
I asked.
And Joe disentangles Hush’s arms from his neck and gets in
the van. Hush hurries around the van to get in before Joe
can drive away. And then he does.
INT. THE GEEK’S OFFICE – DAY
George is on the phone.
GEORGE
(cheery)
Larry! George in Louisville!
(not so cheery)
George Jenkins… book, strong arm,
loan sharking?
(wincing; you can almost hear
it)
Yes, George the – that’s the one.
(trying to be cheery again)
Quite a fast one you tried to pull on
us, Larry. Your boy, I mean. By the
way, we gave him back his money which I
hope you’ll credit to our account…
Oh, come on, Larry, your boy, Beautiful
Joe. Pleasant guy, we look forward to
working with him in the –
And the expression on George’s face, abruptly changes.
GEORGE
Well, no, I… of course, I… I
assumed… eight thousand dollars…
MOUSE
(to Howdy; softly)
We’re screwed.
INT. THE VAN – MOVING – DAY
HUSH
I guess you’ll be leaving now, huh?
Joe is silent.
HUSH
Can I ask one question? What about me?
JOE
The Geek said you can work out a
payment schedule.
HUSH
And you believe that?
Joe is silent.
HUSH
Look… I don’t know what you did to
get out of there in one piece, let
alone with your money but believe me,
that isn’t gonna happen to me.
JOE
You know what your problem is? You
don’t trust people. People aren’t as
bad as y’ think they are.
INT. THE GEEK’S OFFICE – DAY
A pot of orchids crashes to the floor to join all the
others. George jumps up and down on them in berserk rage.
Mouse, Elton and Howdy stare. George stops, panting.
GEORGE
We are going to kill them very slowly.
EXT. HUSH’S APARTMENT BUILDING – EVENING
The van pulls to a stop. Hush quickly gets out of the van
and angrily strides towards the building without waiting.
Joe gets out, watches her go. He follows.
INT. APARTMENT – EVENING
A tacky talk show is on the t.v. Lee is on the floor
mezmerized by it. Vivien is at the table doing her
homework. They both look up as Hush barges in, leaving
the door ajar. She marches straight into the kitchen.
Crash – the sound of a chair being knocked aside. Joe now
enters, looking sheepish.
VIVIEN
Hi, Joe.
JOE
Hey, Vivien, how y’ doin’?
VIVIEN
Homework.
JOE
Good, that’s good.
A crash from the kitchen – cupboard doors slamming.
JOE
Your Mommy’s a little upset.
VIVIEN
Yeah, I figured.
Hush comes out of the kitchen.
HUSH
Well! He’s leaving! Just like every
man’s ever walked into our lives as if
we’re some kinda revolving door! Well,
don’t just stand there, go on! Just
go!
(throwing tupperware:)
And take your pancakes with you.
JOE
I don’t understand. This morning you
couldn’t wait to throw me out on my
ear.
HUSH
I was playing hard to get!
And Hush storms down the hallway towards the bedroom.
HUSH
Men! I swear, just once I’d like to
find one, can read my mind.
Bam! The sound of the door slamming behind her. A moment.
VIVIEN
Don’t worry. She’ll get over it. Men
are always leavin’. She always does.
Lee hasn’t looked away from the boob tube once.
INT. THE APARTMENT – NIGHT
A duffel is zipped shut. Joe turns. Vivien and Lee are
sitting on the couch, staring at him; Lee clutching his
plastic pony. Joe glances down the hallway. The bedroom
door is still closed.
JOE
Here. Y’ take this.
He takes out his wallet, grabs some bills, offers them.
VIVIEN
You’re sweet, Joe. But we don’t take
charity.
Joe hesitates, puts the money in his pocket.
JOE
(ruffling Lee’s hair)
Take care of that horse, cowboy.
Vivien and Lee just watch him go.
EXT. THE APARTMENT BUILDING – NIGHT
Joe comes out. Walks to the van. Throws his bags in.
Turns back for a last look. Vivien is at the window. Joe
waves. She doesn’t wave back. Joe gets in the van.
IN THE VAN –
Joe starts her up. When he glances back towards the
window, Vivien is gone. Joe puts her in gear.
THE VAN
pulls away from the curb and rolls away down the street.
AT THE OTHER END OF THE STREET –
A Cadillac comes around the corner.
INT. APARTMENT – NIGHT
Hush comes out of the bedroom. She’s been crying. She
looks beautiful… tragic. She comes down the hall into
the living room. Vivien and Lee are watching another talk
show.
VIVIEN
You can quit the act, Mum, he left.
HUSH
No way!
VIVIEN
He was right. You couldn’t get rid of
him fast enough.
HUSH
Oh, for goodness sake, Vivien, that was
when he was broke.
VIVIEN
It’s too bad. He liked you.
HUSH
(bitterly:)
Are you kidding? What’s to like?
She’s turning back to her bedroom when the doorbell rings.
She and Vivien look at one another, excited:
VIVIEN
I told you he liked you!
Hush starts for the door. Stops at a mirror. Checks her
face.
HUSH
Well, of course he does. Your Momma
hasn’t lost it yet, Vivien.
The doorbell.
HUSH
Now when I invite him in, don’t go
pretending you’re all happy to see him.
VIVIEN
But I am.
HUSH
Vivien! Get in the game!
She smooths her skirt; pulls open the door.
HUSH
Well now! Didn’t I just know you’d
come runnin’ back to –
The words freeze in her throat. It’s George the Geek
GEORGE
Hello, Hush.
He enters, followed by Mouse, Elton and Howdy.
EXT. GAS STATION – NIGHT
Joe is getting gas. Not looking at the map in his hands.
ATTENDANT
You lost?
JOE
… which way’s the Interstate?
INT. THE APARTMENT – NIGHT
Hush and the kids are on the couch, Howdy standing over
them. George is in a chair. Elton is at the window,
peering out; he has a gun in his hand.
HUSH
– he went out for Chinese. You know
what’s good for you, you’ll be gone by
the time he gets back.
ELTON
Put a sock in it. We played that tune.
HUSH
(holding Vivien protectively)
I’m gonna play you a tune, Elton. On
your flute with a sharp knife.
Elton glares.
GEORGE
He didn’t give you the money, did he,
Hush? If he did, we can all go home.
HUSH
…money. What money is that?
George coldly stares at her. Mouse comes out of the
kitchen, mouth full, a piece of cake in his hand.
MOUSE
This cake is good.
He stops, seeing the expression on George’s face. Click.
A switchblade appears in George’s hand. Hush shudders.
GEORGE
Cut me a piece.
Smiling pleasantly, George hands Mouse the knife.
EXT. ROADWAY – OUTSKIRTS OF LOUISVILLE – NIGHT
The van comes up the road, passes a sign for a main
highway. Pulling to the side it stops.
IN THE VAN –
Joe sits a moment, still feeling torn and guilty. Annoyed
with himself, he puts the van in gear and drives on.
THE VAN
goes up the ramp towards the highway.
INT. THE APARTMENT – NIGHT
Elton is pacing, impatient. Mouse is at the window
curtain.
HOWDY
I don’t think he ordered to go, Mr.
Jenkins.
ELTON
I know this crazy broad, Mr. Jenkins,
she’s lying through her teeth. The
slick bastard took the money and ran.
HUSH
Sounds familiar, don’t it, Elton?
GEORGE
Alas, I think Mr. Shuggs is right. Our
Joe has flown this coop. It’s been
delightful, Hush, but I really must be
going now.
HUSH
What about me?
GEORGE
Oh, yes, you. Mr. Shuggs is going to
teach you a lesson. I think arson will
do nicely.
Hush goes pale; squeezes the children to her.
ELTON
(nervously)
Uh, listen, Mr. Jenkins…
GEORGE
Howdy, hit Mr. Shuggs in the face.
ELTON
No! No, I’ll do it. I have matches.
GEORGE
Good. Come along, gentlemen.
Mouse and Howdy follow George out the door.
EXT. THE APARTMENT BUILDING – NIGHT
George, Mouse and Howdy come out of the building. Howdy
holds the car door open for George. George gets in.
GEORGE
I think we’ll stop for ribs on the way
home.
Mouse and Howdy gets in. They drive away. Pass a parked
van. Joe sits up in the seat and watches them go.
INT. THE APARTMENT – CONTINUOUS
Hush and the kids are sitting on the couch.
HUSH
Come on, Elton, you’re no arsonist.
ELTON
Nobody’s paid me enough to try before.
VIVIEN
What about me and the kids, you gonna
burn us up as well?
ELTON
Just be quiet, all right? I have to
think…
VIVIEN
I have to go to the bathroom.
HUSH
You go ahead, hon.
ELTON
Hey.
HUSH
Oh, shut up. Whatcha gonna do, burn
the place down twice?
Vivien rises and heads down the hall.
INT. THE BATHROOM – CONTINUOUS
The light is off as she enters. The window is open.
Vivien crosses; closes it. Starts to turn on the light –
someone reaches out from behind the shower curtain and
claps a hand over her mouth. Joe. He raises a finger to
his lips. Vivien nods. Joe takes his hand away. Vivien
hugs him.
IN THE LIVING ROOM –
Elton is looking more and more nervous. He glances at his
watch. Hush is just staring at him.
ELTON
What’s taking her so long? Vivien!
Get your ass back here!
HUSH
Don’t you talk to her like that – !
ELTON
You move, I’ll tie you both to that
chair and then I’ll set the place on
fire. I might anyway.
(starting down the hall)
Vivien!
IN THE HALLWAY –
The bathroom door is open just a bit.
ELTON
All right, out. I said, out –
And he throws open the door. And sees that the bathroom is
empty and that the window is open. He rushes in –
IN THE BATHROOM
– and to the window. Looking out. No one in the street.
He turns – to see Joe standing in the doorway.
ELTON
You!
IN THE HALLWAY –
Joe closes the bathroom door. CLOSE ON – He turns the key
in the lock.
IN THE BATHROOM –
Elton rushes forward to open the door – too late. He steps
back, aims his gun at the lock – he fires. The bullet
ricochets off the brass and careens around the bathroom
like an angry bee. Elton hits the floor.
IN THE KITCHEN –
Hush is tearing through the drawers as Vivien runs in.
VIVIEN
Momma – !
Someone else right behind her. Hush spins, raises the
kitchen knife high and –
JOE
(cowering)
Jesus!
Hush gapes. Recovers enough to say:
HUSH
What took you?
JOE
I got lost along the way. Grab your
things, we’ll get out of here.
EXT. THE BUILDING – NIGHT –
Elton is in the bathroom window, trying to figure out a way
to reach the roof above him. He looks down. A long drop
to a huge metal dumpster. Brutal.
EXT. THE BUILDING – NIGHT
Joe peeks out of the front door of the apartment building.
Coast clear.
JOE
Let’s go then.
Lee hurries past him carrying his plastic horse and lugging
the television (a portable). Vivien carries a small bag of
clothes. Hush drags a huge suitcase.
JOE
You got everything?
HUSH
Sarcasm does not become you.
They run for the van.
IN THE BATHROOM WINDOW –
Elton sees them. Aims his pistol – and fumbling, drops it.
It bangs off the edge of the dumpster below and falls to
the street. Elton curses. Looks at the ledge above the
window. Takes a breath. He leaps. And grabs the edge of
the roof. He tries to pull himself up. He can’t. He
hangs there.
ELTON
…ho, boy.
DOWN ON THE STREET –
Joe is helping Hush and the kids get into the van.
HUSH
Where we goin’ anyway?
JOE
Personally, I was on my way to San
Francisco.
HUSH
Fine, you can drop us in Vegas on the
way.
They suddenly hear a mournful cry –
ELTON
Help!
Joe and Hush turn. And see Elton hanging from the roof.
ELTON
Hush…?! I wasn’t going to burn you,
baby, I swear I wasn’t!
Joe hesitates… starts back. Hush stops him.
HUSH
Where you goin’?
JOE
Give’m a hand.
HUSH
Leave the keys.
Right. Joe gets in the van. Starts it. They pull away.
ON THE ROOF –
ELTON
No! Don’t go! Don’t leave me!
And his fingers can’t hold anymore and with a howl, Elton
falls, screaming and lands in the garbage filled dumpster.
IN THE VAN –
HUSH
Stop, stop!
THE VAN –
stops. Hush jumps out and picks up Elton’s gun. She looks
up as Elton drags himself up over the edge over the
dumpster. She aims the gun.
HUSH
Get back with the garbage, Elton! It’s
where you belong!
He dives for cover. She laughs. She turns back to the
van, jumps in. The van disappears down the street.
INT. GEORGE THE GEEK’S OFFICE- DAY
GEORGE
– all right, Liam, yes! Yes! We
miscalculated.
The tough looking guy in the expensive suit who’s sitting
at George’s desk as if he owns it, swivels casually in his
chair. George, Howdy, Mouse and Elton – who’s arm is in a
cast and who’s neck is in a collar – are standing.
LIAM
We? We did nothin’. You fucked up.
ELTON
Uh-oh. Hit him, Howdy.
George’s eyes cast daggers. Liam helps himself to one of
George’s cigars.
LIAM
One. There are no refunds, not in the
loansharkin’ business.
GEORGE
I am aware of that, Liam –
LIAM
Shut up. Two. If it had been a test,
and we were lookin’ to see how you
handled yourself, the way to impress us
would have been to have this guy’s legs
broken. Am I right?
Liam looks for a light; doesn’t find one. Mouse quickly
lights Liam’s cigar.
GEORGE
We will when we find him, Liam, I
promise you.
LIAM
Three. You better find him. This
ain’t business, Geek, it’s personal.
GEORGE
Liam, eight thousand dollars –
LIAM
Beautiful Joe doesn’t care if it’s
eight cents.
GEORGE
Beautiful Joe? You mean the real one?
LIAM
The one and only. The man’s pissed.
He don’t like people pretending to be
him. He wants you to find this joker –
fast. When you do, you call, he comes
in and does the job. Got it?
GEORGE
What if we don’t. Find the imposter, I
mean.
LIAM
Than maybe he comes in and does the job
on you. I’d find him… Geek. Good
cigar.
George and company look a little sick.
EXT. THE VAN – MOVING – DAY
The Van proceeds on the interstate west through St. Louis;
the arch in the distance –
EXT. THE VAN – MOVING – DAY
– and on into Missouri.
INTERCUTTING: INT. THE VAN – MOVING – DAY
Laughter and good spirits in the van. The kids, maps open,
playing navigator, thrilled to be traveling. Hush annoyed
at their enthusiasm, for the most part with her nose stuck
in the sports page of a newspaper.
EXT. A COUNTRY STORE – MISSOURI – DAY
The kids pile into the van. Joe has bought them ice cream
comes.
VIVIEN
Come on, Momma!
Hush is at the steps of the store, writing on something.
HUSH
Hold your horses!
And she finishes. She licks a stamp puts it on the
postcard she’s been addressing and pops it in a mailbox.
She turns and walks towards the van.
HUSH
Always rushing me. The one thing I
can’t stand is being rushed.
Joe starts to drive away. Startled, Hush breaks into a
run. Joe stops. Hush gets into the van. Off they go.
EXT. THE VAN – MOVING – DAY
The van drives on, heading West on the the Interstate.
INT. THE VAN – DAY
The silence is broken by:
VIVIEN
Momma? Is Joe Lee’s Dad?
If she was drinking something, Hush would do a spit take.
HUSH
What?
VIVIEN
Lee wants to know if Joe’s his Dad.
The kids are looking at her. Joe is looking at her.
HUSH
Sweetheart, the only thing you have in
common with this man is a penis. After
that the resemblance abruptly ends.
Hush dives back into her newspaper.
EXT. INTERSTATE – EVENING
The sun is setting in the west. The van pulls off the
interstate somewhere in Western Illinois.
EXT. THE MOTEL – NIGHT
A cheap motel. Not crowded. The van is parked in the lot.
The lights are on in 116; the door is open.
ON THE VAN –
The side doorS are open. Joe has made himself comfortable
in the back. He’s looking at a small datebook with a pen
flashlight. A voice calls out from the direction of the
room.
VIVIEN (O.S.)
Good night, Joe!
JOE
G’ night, Vivien! G’ night, Lee!
VIVIEN (O.S.)
Lee waves goodnight!
And then Joe hears:
HUSH (O.S.)
What is this, the Waltons? Vivien,
close the door, you’re letting the air
in! Lee, turn off that t.v.! How many
times I gotta tell you, these
television talk shows’ll rot your
brain! I swear, if I didn’t know
better, I’d think y’all like that silly
man better’n your own –
Slam. The door closes. A moment. Joe has a headache.
Has had for awhile now. He sighs to himself. Looks at the
datebook again. Little more than a week left until he has
to go home. He crosses out the day.
INT. VAN – NIGHT
Joe comes awake with a start as the side door of the van is
pulled open. It’s Hush, ablanket wrapped around her.
JOE
What’s the matter?
HUSH
Can’t sleep. It’s too early for me.
JOE
You want to come in?
HUSH
No, I came out here barefoot to freeze.
She gets in the van, gets comfortable.
HUSH
Got a cigarette?
JOE
No.
HUSH
Good, I’m trying to quit. Anything to
drink?
JOE
Water.
HUSH
You are a party animal. Well, that’s
fine, I’ve had enough parties lately.
(and then:)
You ever get restless at night?
JOE
How do y’ mean?
HUSH
Sometimes I feel like I’m gonna bust, I
don’t do something to keep my mind off
itself. All the stuff I haven’t done
in my life. All the stuff I have. You
don’t ever feel that way?
JOE
No.
HUSH
What do you feel?
JOE
Pretty good mostly.
HUSH
You must be a very simple individual.
JOE
Maybe I just don’t expect so much.
A moment.
HUSH
Y’know, I don’t know anything about
you.
JOE
What would you like to know?
HUSH
For starts, what the hell are you doin’
wanderin’ around the country with a
crazy woman and her two kids?
JOE
I got this brain tumor.
HUSH
(a shocked beat)
Is this your idea of flirting with me?
JOE
I wish.
HUSH
I’d imagine it’s serious.
JOE
Have you ever heard a one that wasn’t?
HUSH
Mmm. You gonna die or are you gonna be
one of those guys, stumbling down the
street with dents in their heads?
JOE
I’m due back home to see the docs in
several weeks. I expect we’ll figure
it out then.
HUSH
The world’s this scary place, idn’t it.
You stop dodging even for a minute,
something jumps up and gets you. Well.
We’ll just pretend we never had this
conversation.
She gets out of the van.
JOE
Hey. Thanks for waking me up.
HUSH
Oh, shush. You’re fallin’ in love with
me and you know it. You can’t help it.
She starts back towards the motel. She yells at the sky.
HUSH
It’s my curse! God denies me money
cause he gave me audience appeal!
Joe watches her disappear back inside.
EXT. THE VAN – DAY
The Van continues West. Across the Mississippi River.
EXT. THE VAN – DAY
Through Kansas City and on.
EXT. THE VAN – DAY
On the Interstate. Moving through the Kansas plains.
INT. THE VAN – DAY
The kids in back. Joe driving. Hush staring out the
window, preoccupied with something. Finally:
HUSH
I was thinking we might make a small
detour up ahead here…
Joe looks at her in surprise.
EXT. THE VAN – CONTINUOUS –
The van passes a sign. LEAVENWORTH.
EXT. A BURGER KING – DAY
Joe has the kids at one of those carnival-like playgrounds
that they have for the little ones. Lee on the superslide.
Joe and Vivien watching.
VIVIEN
Joe? Where’d Momma go? Honest.
JOE
Shopping.
EXT. LEAVENWORTH – PENITENTIARY – DAY
Establishing shot.
INT. PENITENTIARY – VISITING AREA – DAY
Wives, mothers and children visiting sons, husbands,
lovers. Hush waiting. Someone sits down across from her.
Hush looks up. Softly smiles. The handsome, light skinned
black man across from her wears prison garb.
HUSH
Hello, Roscoe Lee.
ROSCOE LEE
Hello, Hush.
HUSH
How you doing?
ROSCOE LEE
I’m in prison.
HUSH
I was in the neighborhood, thought I’d
stop by.
ROSCOE LEE
(almost smiling)
Same old Hush.
They stare at one another a moment. Hush goes to her bag;
hands over a picture. Roscoe Lee looks at it. It’s a
snapshot of Vivien. A moment. And then, quietly:
ROSCOE LEE
She with you?
HUSH
I was gonna bring her but then I
thought I’d ask first.
ROSCOE LEE
She know about me?
HUSH
A little.
ROSCOE LEE
She know I’m doing twenty to thirty?
HUSH
Maybe you could explain that to her
yourself.
ROSCOE LEE
I’m dead, Hush. Her Daddy’s dead.
(a moment)
Can I keep this?
Hush nods. He puts it carefully in his shirt pocket.
ROSCOE LEE
See you, Hush.
HUSH
Take care yourself, Roscoe Lee.
She watches him exit. And then she rises and leaves.
EXT. MOTEL – NIGHT
The van pulls into the lot. Parks. Hush gets out. She’s
been drinking. Maybe crying.
INT. MOTEL ROOM – NIGHT
Lee’s horse has fallen to the floor. Joe picks it up.
Vivien and Lee are asleep in the same bed together. Joe
puts the horse under in Lee’s covers. He turns as Hush
enters. Hush takes in the scene, then moves to the glasses
on the sidetable. Takes a half full pint of Southern
Comfort from her bag. Pours.
HUSH
Want some?
She doesn’t wait for an answer, just hands him the glass.
Joe takes it. Hush fills another. Sips.
HUSH
I went and saw Vivien’s Dad today.
About eight years ago he killed some
guy accidently on purpose. You can
imagine over what. He was a musician
when I met him. Trumpet. Boy, could
he play. An’ he had a sweet smile an’
he could never pass a bum without
slipping’m a couple a dollars. But he
was always looking for the big score.
We had that in common.
(looking at Lee)
I’m not sure who Lee’s Daddy was.
Can’t say I’m proud of that. I think
he was probably a good man. His son’s
an awful good little boy. You think
it’s my fault he don’t talk? I’ve
taken him to doctors. They say there’s
no reason why he shouldn’t. He just…
don’t.
JOE
He will. When he’s ready. And has
something to say.
And Hush is surprised to find herself somehow reassured.
Joe moves to the door. He stops, looks back.
JOE
What’s your real name.
HUSH
Alice. Alice Mason.
JOE
Goodnight, Alice.
HUSH
Goodnight.
Joe exits, closing the door behind him. Hush lost in
thought. She scowls – what is she even thinking…
INT. TIP-TOP CLUB – NIGHT
The usual action. Elton is at a pay phone in the back.
ELTON
Mr. Jenkins? It’s just like I told
you. She’s sending post cards to her
friends.
Elton is holding a postcard; the one Hush sent.
EXT. THE VAN – INTERSTATE – DAY
The van is near the Kansas/Colorado border. Plains giving
way to mountains in the distance.
EXT. THE VAN – DAY
The van makes it’s way through the foothills of the
Rockies.
EXT. A TOWN IN COLORADO – MAIN STREET
The van drives down Main Street of a small, picturesque
town. A town green. Nice looking shops.
INT. THE VAN – CONTINOUS
The kids have their noses glued to the window. Something
about this perfect small town America. Hush resents it,
feels guilty she can’t give it them, hates it.
EXT. COUNTRY BED AND BREAKFAST – DAY
It’s a lovely, old place. The van is parked in the small,
pebbled lot.
INT. A ROOM AT THE B AND B – DAY
Hush lying on the bed. Bored and restless. She rolls
across the bed so she can look out the window.
HER POV –
There’s a barn and corral behind the house. Joe and Vivien
are walking a pony up the hill to a meadow beyond. Lee is
on the pony, being led along by Joe.
HUSH
watches a moment. Rolls back… sighs.
HUSH
I’m losin’ my edge.
EXT. MEADOW – COLORADO – LATE AFTERNOON
The view is lovely – Colorado in the early spring. Vivien
is picking wild flowers.
VIVIEN
Joe? Lee wants to know how much longer
you’re stayin’ with us.
Joe looks at Lee who is silent – now how would Vivien know
that?
JOE
I don’t know, Vivien. Probably as far
as Las Vegas.
VIVIEN
Where you going after that?
JOE
California, I think.
VIVIEN
And after that?
JOE
Why you askin’ all these questions,
Vivien.
VIVIEN
We just are.
(a moment; feeding grass to
the pony)
You don’t want to stay with us longer?
JOE
It’s not a question of what I want.
It’s a question of what is.
VIVIEN
She likes you, you know. Momma does.
She just don’t know it yet. You should
least hang around till she does.
JOE
I don’t know if there’s that much time
in the world, Vivien.
VIVIEN
Could you try?
JOE
We’ll see.
They continue on. Vivien running ahead to pick another
bunch of flowers. Joe smiles. Enjoying this day… this
view… these kids. And suddenly it’s like a hammer hits
Joe in the head – the world spins – the hillside… the
horse… Vivien… Joe falls.
VIVIEN
Joe!
She runs for him. Lee slides off the horse and runs to
join her. Joe lying there, eyes closed.
VIVIEN
Joe, are you dead?
Joe sighs as the pain subsides; blinks up at the
children…
JOE
… I slipped is all.
They help him rise; looking at him, concerned.
JOE
We best be gettin’ back.
They turn and start back down the hill. Lee leading the
horse by the rope, Vivien holding her bouquet of flowers.
VIVIEN
You have to take care of yourself, Joe.
There’s too few honorable men left in
this world.
And now first Lee and then Vivien takes Joe’s hand.
INT. A ROOM AT THE B AND B – DAY
Hush looks surprised.
HUSH
You wanna do what?
JOE
We were talking to the owner
downstairs. She about lives for
children…
IN THE ADJOINING ROOM –
Vivien and Lee are peeking around the door – watching,
listening.
JOE
I thought we might get her to baby-sit
so you an’ I could go out tonight.
HUSH
(suspiciously)
…and do what?
JOE
I’ve sometimes heard it said that
dinner is a place to start.
HUSH
(a sigh)
Lord, have I fallen this far?
(and then:)
Give me twenty minutes to get dressed.
She disappears in the direction of the bathroom.
HUSH
You could do the same, wouldn’t hurt
you.
Joe turns. Sees the kids smiling at him. He smiles back.
MUSIC BEGINS:
INT. THE SITTING ROOM – LATER
Hush looking like a cool million in a tight dress and
heels, makes her entrance from the bedroom, putting on
earrings. She stops in surprise. Joe rises. He’s freshly
shaved, his hair is combed, he’s wearing a jacket and tie.
The kids are trying not to giggle with excitement.
EXT. THE B AND B – EVENING
Hush lets Joe opens the door to the van for her. She gets
in. Joe closes the door. Looks back. Vivien and Lee and a
grandmotherly looking woman all wave. Joe gives a thumbs
up. He moves around the van.
EXT. A RESTAURANT – EVENING
A country inn. Upscale by the look of the BMW’s and sports
utility vehicles parked outside. A valet looks up as the
old van pulls to a stop.
INT. THE RESTAURANT – EVENING
Men and woman look up from the tables and stare as Joe and
Hush are led to a table. Hush pleased at the eyes upon
her.
INT. THE RESTAURANT – EVENING
They sit. Joe holding Hush’s chair. Joe surprised as his
chair is held out for him by the maitre’d. They’re given
menu’s, a wine list.
INT. THE RESTAURANT – EVENING
Hush perusing her menu; shocked at the prices.
JOE
(opening the wine list)
Shall we have wine with dinner?
HUSH
Wine no less. Thought you didn’t
drink.
JOE
You have to try things when you get the
opportunity. You might surprise
yourself and decide you like’m.
HUSH
I’ll assume it’s just wine you’re
talkin’ about.
And suddenly Joe turns to the table next to him.
JOE
Scuse me. What is it you’re eatin’
there, please?
THE MAN
Escargot. Snails.
JOE
Holy Mary, Mother a’ God. Snails is
it? I’m definitely startin’ with some
a’ them.
The music continues as:
INT. THE RESTAURANT – EVENING
A wine steward pours a splash of wine. Waits for Joe to
taste it. Joe holds up the glass, expecting him to fill it
to the brim. Hush watching as the steward pushes the glass
back to Joe… Joe pushes the glass back towards him. This
reverse tug of war ends when Joe abruptly drains the glass
in a single gulp. Hush trying not to smile.
INT. THE RESTAURANT – EVENING
Snails are served. Hush watching as Joe stares at them.
Trying not to smile at the look on his face. He eats one.
Not bad. Good even. He offers her one on a fork. She
hesitates… tastes.
INT. THE RESTAURANT – EVENING
Hush and Joe eating dinner. The food delicious. The wine
loosening them up. The two of them talking, laughing.
Sharing bites.
INT. THE RESTAURANT – EVENING
Over coffee.
HUSH
Tell me about your ex.
JOE
Slyvie? She was the first girl I went
out with here in the States. I was
fresh off the plane, y’know, and
already frettin’ about havin’ to go
back to nothin’. And we got along
pretty good. So we got married.
Automatic Greencard. No… it wasn’t
nearly so mercenary. I thought it was
love. I thought we’d have a family.
But we didn’t. She wasn’t happy.
HUSH
Some people don’t want happiness. Some
people wouldn’t know what to do with
happiness if it stared’m in the face
and stuck out their tongue.
JOE
Not you, a course.
Hush is silent.
JOE
What kind of world you want to live in,
Alice? That’s what it boils down to.
The waiter puts the bill down. Joe examines it, whistles,
smiles, puts cash down.
JOE
Shall we grab a night cap somewhere?
Hush looks pleasantly surprised.
EXT. ROADHOUSE – NIGHT
Establishing. A crowded parking lot. Music is playing.
People are talking, laughing.
INT. ROADHOUSE – NIGHT
The bar is crowded and noisy. A small band is playing
country music. People are dancing.
INT. THE BACK OF THE BAR – NIGHT
Hush is on the pay phone.
HUSH
Yeah! Las Vegas, girl. I’m gonna
start out at one of them big places on
the strip and end up owning the place.
Huh? Oh, yeah, he’s still with us…
She looks back. Joe, drink in hand, has struck up a
conversation with a group at a table; attractive young men
and women. They obviously think he’s terrific.
HUSH
Couldn’t get rid of him if I tried.
The sexiest of the young women is dragging Joe to his feet;
wanting him to dance with her. Hush stares a moment.
HUSH
Huh? No, I’m still here. Listen,
gotta go. Tell all the girls I’m doin’
fine, kay? Uh-huh. Love you too.
Bye.
She hangs up. Starts back towards the bar.
INT. A BEDROOM – NIGHT
Becky, in bed, hangs up the phone that’s her night table
and turning, smiles at… Elton.
BECKY
She’s on her way to Las Vegas.
Elton smiles.
INT. THE ROADHOUSE – NIGHT
Hush squeezes her way through the people ringing the small
dancefloor to see Joe dancing with the young woman. The
young woman enthusiastically throws her arms around Joe’s
neck and pulls him close. Hush staring. And now one of
the men is at her side. His name is WAYNE.
WAYNE
Your buddy’s a popular guy.
HUSH
Amazing, isn’t it?
WAYNE
Buy you a drink?
HUSH
… all right.
EXT. ROADHOUSE – NIGHT
The sound of laughter. Hush comes out. Wayne follows.
It’s a lot of drinks later.
WAYNE
One more drink. One more!
HUSH
I told you, Wayne, I gotta get home.
WAYNE
What about your friend?
HUSH
(annoyed about it)
He’s having such a good time, let him
get home his own self. Have a nice
life, Wayne, y’hear?
She moves into the parking lot. Wayne follows.
WAYNE
Wait, wait. I thought we were friends.
HUSH
I don’t even know you.
And he suddenly moves in front of Hush.
WAYNE
You’d like to thought, wouldn’t you.
HUSH
C’mon. Out of my way.
WAYNE
Make me.
She starts around him; he steps into her path.
WAYNE
Look at you in that dress. Letting a
man buy you drinks, laughing at his
jokes. You teasing, is that it?
And all of a sudden the night has turned ugly. Again, she
tries to pass. And he grabs her.
WAYNE
Well, I don’t like being teased.
He tries to kiss her. Hush scratches at his face. She
breaks away as he cries out in anger and pain.
WAYNE
Bitch! I’ll kill you – !
And furious, he starts for her – only to find that Hush has
pulled Elton’s pistol from her purse and has leveled it-
HUSH
Come on, you shit for brains son of a
bitch, I’ll blow your head off.
WAYNE
Oh, god, please –
HUSH
You’re gonna touch me!? You’re gonna
kill me!?
WAYNE
No! Please!
HUSH
(the rage just filling her)
My whole life… assholes like you
grabbin’ at me… lyin’ to me… usin’
me… my whole damn life!
And suddenly you just know she’s going to pull the trigger.
JOE
Alice!
Joe suddenly there. A moment. Quietly:
JOE
Y’know, this is gettin’ silly. Every
time I turn my back you end up outside
in altercations with strange men.
Hush staring at Wayne, trembling, so close to doing it.
JOE
All right, go ahead. Do it. Spend the
rest of your life in jail for the
bastard.
(and then:)
Nah… put the gun down, Alice.
WAYNE
Please… I have children.
HUSH
I do too. I’m a mother. I’m the
mother of children.
(and then:)
Dear lord, what am I even doing here?
She lowers the gun. She abrutply turns and oves to the
van. Throws the gun away as she goes, wanting no part of
it.
JOE
(to Wayne)
Consider yourself lucky, y’ sad sack a
shit.
He follows Hush to the van.
INT. B AND B BEDROOM – NIGHT
Joe outside the open door, giving the old English woman
some bills. The woman murmuring goodnight, moving away.
Joe coming back into the room, closing the door behind him.
Hush is sitting in a chair, staring at Lee and Vivien who
are asleep in the bed together. And then, softly:
HUSH
Are you trying to steal my kids from
me?
JOE
How could I ever do that?
HUSH
We were doin’ just fine till you came
along, with your groceries and your
house cleaning and dinner dates…
JOE
Alice…
HUSH
Don’t call me that! What I want to
know is how I’m gonna explain it to’m
when you’re gone? How am I supposed to
get the disappointment off their faces
when they wake up one morning and find
themselves stuck with me? Selfish,
that’s what you are. Selfish.
Rising, she hurries past him and into the adjacent
bedroom… Joe hesitates, then follows.
IN JOE’S ROOM –
Joe enters. To find Hush pacing, desperately fighting
tears.
HUSH
Look, why don’t you just take those
children and get’m away from me.
That’s what they want. They know
they’ll be better off.
JOE
You don’t mean that.
HUSH
How do you know what I mean? How do
you know anything? I almost killed a
man tonight! If you hadn’t come along
when you did… I would have. What
kinda person does things like that?
What kind of person am I?
JOE
Come here.
Hush shakes her head.
JOE
You need a hug.
HUSH
I need a lot of things.
JOE
I will then.
He moves to her. Carefully takes her in his arms.
HUSH
Oh, shit. This is really gonna make me
cry.
JOE
It’s all right. You have permission.
HUSH
Once I start, I’ll never ever stop.
JOE
Just let it go.
She does. She sags against him. She sobs and sobs. And
suddenly she’s kissing Joe… desperately…
HUSH
Love me… just love me for a while…
Joe kissing back… they fall back on the bed…
INT. BEDROOM – NIGHT
Hush and Joe in bed together. Joe asleep. Hush awake.
Hush content. For a moment anyway, in such a place of
delight; a protected place. Looking at Joe with some
wonder… not such an unattractive guy… and suddenly
remembering… brain tumor… gently touching his head…
turning away… frightened again….
EXT. BED AND BREAKFAST – MORNING
Establishing.
INT. BEDROOM – MORNING
Sun pouring past the curtains. Joe wakes up. No Hush. He
can hear the sound of the shower. He starts to get out of
bed… on second thought, he reaches for his pants.
IN THE OTHER ROOM –
Joe pops his head in. The kids are still asleep. He hears
the sound of the shower being turned off. He turns back.
IN HIS ROOM –
He crosses towards the bathroom. The door is closed. Joe
hesitates… starts to knock – Hush, in a bathrobe, opens
the door. Joe startled –
HUSH
Hi! It’s all yours.
She moves past him towards the kids room. Joe turning,
wanting to say something… not knowing what to say. Hush
stopping in the doorway.
HUSH
Let’s get a move on, okay? I wanna
make Vegas today.
JOE
No problem…
Hush smiles and closes the door behind her. It’s like it
never happened. Joe doesn’t know what to think.
EXT. THE VAN – DAY
Establishing. The van moves along the highway.
IN THE VAN –
The kids are quiet in the back. Joe, checking the rear
view mirror to see that they’re occupied. Glancing at
Hush, who has her nose in the newspaper…
HUSH
(not looking up)
Something on your mind?
JOE
No… yeh.
HUSH
Speak or forever hold your peace.
JOE
That was… quite the surprise last
night.
Hush stiffening slightly, checking the kids and then:
HUSH
I didn’t mean to take advantage.
JOE
You? Hardly. It was lovely.
HUSH
I’m glad you thought so.
JOE
You didn’t?
HUSH
Did I say that?
JOE
You’re not saying nothing, that’s the
problem. Was it boring?
HUSH
What?
JOE
Me ex, she said it was boring.
HUSH
No! It was… you were very patient.
Now let’s not talk about ever again.
She goes back to her paper. Joe is silent.
EXT. THE VAN – CONTINUOUS
The van is drives on. PULL UP AND AND BACK to see that the
van is on a road approaching and crossing the HOOVER DAM.
They are mere hours from Las Vegas.
EXT. AIRPORT – LAS VEGAS – DAY
A plane lands. The Mediterranean gleaming. Houses
dotting the green hills.
INT. AIRPORT TERMINAL – DAY
George, Elton, Mouse and Howdy carrying overnight bags,
come off the jetway into the terminal.
GEORGE
Keep your eyes open. Liam said there’d
be someone here to meet us.
ELTON
(sarcastic)
I don’t know, you think that’s him?
A young guy in a suit, t-shirt and sunglasses is holding a
small sign. On the sign is printed the word – GEEK.
George flushes. They move towards the guy. George takes
the sign from the guys hand.
GEORGE
Jenkins, my friend, the name is
Jenkins.
YOUNG GUY
Whatever.
The guy turns and walks, expecting George to follow.
ELTON
You think at least he’d offer to take
your bag, wouldn’t you, Mr. Jenkins?
George thrusts his over night bag at Elton to carry.
EXT. THE STRIP – DAY
Establishing.
INT. HOTEL SUITE – DAY
Joe is at the suite window, staring out at the strip, the
other hotels, the desert in the distance.
JOE
It’s a lot tackier than I expected.
Hush is unpacking her clothes.
HUSH
You won’t say that when you see it at
night.
Lee is on the floor in front of the television, watching a
talk show. Vivien has opened the little safe that’s in each
room.
VIVIEN
Look, Joe, they got a safe for your
valuables.
Joe turns; looks, crosses to it.
JOE
What’s your birthday?
VIVIEN
May sixteenth.
Hush, unpacking, looks up and watches as Joe programs the
safe. He takes out his wallet starts to put it the safe.
HUSH
Hey, Joe? How about lendin’ me a
hundred pounds?
(he hesitates)
Aw, come on, it’s Vegas
He gives her a hundred pounds. Hush watches as he puts the
wallet into safe. He and Vivien close the safe.
EXT. LAS VEGAS – NIGHT
The strip is lit up like a Christmas tree.
INT. THE CASINO – NIGHT
IN A SERIES OF CUTS – People of every description. Milling
about. Looking. But mostly gambling. Craps. Roulette.
Black jack. The slots.
INT. CASINO AMUSEMENT ARCADE – NIGHT
Joe watches Lee and Vivien play at one of the games.
JOE
You guys okay here for a minute?
VIVIEN
I’m about to destroy Europe, Joe. It
doesn’t get better’n this.
JOE
I’m gonna go find your mother.
Joe turns and walks.
INT. THE CASINO – NIGHT
Joe comes through the casino, looking for Hush. He’s just
about given up when he sees her at a table. He approaches.
AT THE TABLE –
Joe stopping to watch as Hush puts out chips. The man
dealing. Hush asking for another card. And another. And
busting. Trying to smile as the dealer takes her chips.
HUSH
You sure this idn’t a stacked deck?
He ignores her. Hush studies her last chips, starts to put
them out. Joe steps up next her, takes her arm.
JOE
Come on, lets go.
HUSH
Huh?
JOE
You’re not having fun.
HUSH
Course not. I’m losing.
JOE
So let’s go grab the kids. We’ll go
see a movie or a show –
HUSH
You go. I’ll take the money you’re
gonna pay for the ticket and see if I
can get my –
And Joe suddenly grabs her hard.
HUSH
Hey!
JOE
Get what back? Your money? It’s not
your money, it’s mine.
HUSH
You gave it to me –
JOE
Not so you could go throwin’ it away
like it was ice cubes on a hot day.
HUSH
(softly; hurt)
Let go a’ me…
Joe releases her. She quickly moves away. Joe follows.
INT. LOBBY – CASINO – NIGHT
Hush entering. Followed by Joe. Joe catching up to her.
JOE
What’s next? Ey? Some other sure
thing’s gonna come along and put you
over the top? Is that what y’think?
Then what? Do you even know? You
should be countin’ your blessings. You
got health. Lovely children. But all
you can think about is what you don’t
have.
HUSH
(turning on him)
You give me even a chance I could win.
JOE
Desperate people don’t win.
It’s like he’s slapped her.
JOE
You think all these lights are going
blinkity-blink cause people like you
win? Desperate people do not win!
She turns, walks away. He doesn’t follow this time.
JOE
Why do I even bother? There’s no
talking to ignorance.
(Hush just keeps going)
Y’ hear? There’s no talking to
ignorance!
She’s gone. Joe turns. And stops. The kids are standing
there, looking at him. Saw it all.
VIVIEN
We still gonna go see Sigfried and Roy?
JOE
Sure, why not. I hear they make
miracles happen.
He puts his arms around them as they all move away.
INT. HOTEL ROOM – NIGHT
Hush enters, furious and upset. Throws her purse down.
Turns on the t.v.; turns it off. Drinks some bottle water.
Throws the bottle across the room. Sits on the bed. Shit,
she’s gonna start crying again… No!
And then it catches her eye… the safe. The thought of
what’s in there freezes her heart. She can’t… mustn’t…
She does. She bolts for it. Keys in the numbers –
Vivien’s birthday – opens it, grabs the wallet, takes out
all the money, drops the wallet on the bed. We hear the
sound of the door opening, then slamming shut as Hush
exits.
INT. THE CASINO – NIGHT
Hush is playing craps. Breathing on those dice. Praying
to them. Rolling. Trying to stay calm as she loses.
Pushing out more chips.
INT. THE CASINO – NIGHT
Hush is at the cashier, turning Joe’s bills into chips.
INT. THE CASINO – NIGHT
Hush is at the blackjack table. Winning. Raking’m in.
Oh, baby! Isn’t life grand? Betting. The cards falling.
Losing. Grimly upping her bets. Losing. This isn’t fun
no more, this is life and death. More chips. Cards.
Double down. Hit me. Again. Busted. Dying. Buck it up,
buck it up. Double the bet. Gimme cards.
INT. THE CASINO – NIGHT
At the cashier window. No hundred dollar chips now. Tens
and twenty’s. Hush looking pale. Desperate.
INT. THE CASINO – NIGHT
The roulette wheel spinning. Hush staring at it. Wanting
to scream as her chips are swept away. Betting again.
Detached from it now. Her piles of chips shrinking;
getting smaller. Until…
A SINGLE TEN DOLLAR CHIP
is pushed onto the board
HUSH
On the red.
The wheel spins. The ball is tossed; flying, round and
round. Hush, lifeless as a statue, already knowing what
it’s going to be….
CROUPIER
Black – 27.
Hush’s last chip disappears. She just sits there. And
then she slowly rises and moves away.
INT. A CASINO COCKTAIL LOUNGE – NIGHT
Hush is served a drink. She lifts the glass, sips. And
suddenly her hand is trembling and she has to fight not to
vomit. Eyes closed, she takes a deep breath… she rises,
to go. Turns. And gasps.
GEORGE
Hush. Fancy meeting you here.
Mouse, Howdy and Elton behind him. Hush so frightened, she
sits back down.
INT. HOTEL ROOM – NIGHT
Joe sits in a chair. The kids asleep together in one of
the beds. He’s holding the empty wallet. He looks… sad.
The phone rings. Joe grabs it before it rings again. He
holds it to his chest a moment. And then:
JOE
Did ya win?
INTERCUT: INT. ANOTHER HOTEL ROOM – NIGHT
Hush sits on a bed, is on the phone.
HUSH
…no.
(a moment)
Are the kids with you?
JOE
What do y’think?
Hush smiles. She thinks he wouldn’t let them out of his
sight. And then, urgently:
HUSH
Take’m and run, Joe. Get away from
here as fast as you –
Elton grabs the phone. Howdy and Mouse grab Hush, pull her
away as she struggles. Elton hands the the phone to
George.
JOE
Alice… Alice, y’there?
GEORGE
Hello, Beautiful Joe.
JOE
(a beat)
George the Geek. How y’doing?
GEORGE
Not well, Joe, not well at all.
JOE
Good, that’s good.
GEORGE
You have opened up a Pandora’s box of
enormous trouble for me, my friend.
It’s time for you to close it.
JOE
(looking at his empty wallet)
You gone to a lot of trouble for eight
thousand bucks, George.
GEORGE
Oh, but it’s become much more than
that, my friend.
HUSH
(trying to shout into the
phone)
Joe, they got some mob guy coming into
kill you – !
Mouse clasps a hand over Hush’s mouth.
GEORGE
Well, Joe, what’s it to be? You or
Miss Mason means nothing.
JOE
You let her go, I’ll come easy. You
got me word.
GEORGE
That means a great deal to me, Joe.
Here’s what we’re going to do….
INT. HOTEL – PARKING GARAGE – NIGHT
The elevator doors open. Joe carrying a sleeping Lee comes
out with Vivien. Vivien is carrying some of their things.
VIVIEN
Where we going, Joe? Where’s Momma.
They cross the garage towards the van.
JOE
Shush. We’re going to get her.
Lee starting to wake up as they get in the van. Joe starts
it up, pulls out of his space. And instead of heading
towards the exit, he turns and follows the sign towards the
lower levels of the garage.
ON THE NEXT LEVEL DOWN –
The van moves through the deserted parking garage.
INT. THE VAN – NIGHT
Vivien glances at Joe as the van passes empty parking
stalls.
THE VAN
turns and goes down another level.
ON THE LOWEST LEVEL OF THE PARKING GARAGE
It’s deserted down here. A Citroen sedan is parked.
IN THE CAR –
Mouse and Elton in the front; George, Howdy and Hush in the
back. The lights of the van hitting them as –
AT THE END OF THE GARAGE –
The van comes down the ramp. Stops.
IN THE CAR –
HUSH
George… I’ll do anything you want.
Make money for you. Any way you
want… this was never his fault.
GEORGE
Since when does fault have anything to
do with anything, Hush?
George turns on the headlights.
JOE
is just getting out of the van. He squints as the lights
hit him. Behind him, Vivien and Lee hang out the driver’s
window, watching.
GEORGE
and Elton and Mouse get out of the car. Elton helps Howdy
bring Hush out.
GEORGE
Right on time, Joe. Punctuality is
just another of your virtues.
JOE
She comes to me, then I come to you.
GEORGE
See you, Hush.
He nods. Elton gives Hush a push. Hush starts forward.
Joe, not moving, as she comes towards him. Hush beginning
to cry… breaking into a run at the end… running into
his arms. Joe holding her tight. And then, as he let’s
her go.
JOE
There’s a plane to San Francisco leaves
in 40 minutes. I made you
reservations.
HUSH
No.
JOE
Park the van at the airport. Leave the
keys. I’ll find it.
HUSH
Oh, god, Joe, forgive me…
everything…
He pushes her towards the van.
JOE
C’mon, get these short ones outta here.
HUSH
Joe, wait… that night, we…? It
wasn’t boring, Joe… it was the most
unboring night I ever had…
JOE
Me too.
He pushes Hush into the van. Closes the door. The kids
wide-eyed. Joe smiles at them.
JOE
Meet you at the Golden Gate Bridge, day
after tomorrow, right? Oh, wait –
Joe takes out his wallet… pulls a credit card.
JOE
I didn’t cancel this one. Now go.
HUSH
Oh, God…
JOE
For god’s sake, go!
HUSH
Oh, God!
She floors it. The van roars across the garage towards the
exit; turns up the ramp and is gone. The sound of
shrieking tires as Hush speeds away. And then the sound of
clapping.
GEORGE
Very moving, Joe. I really can’t tell
you how honored I am to have made your
acquaintance.
Joe calmly walks across the garage towards them.
GEORGE
Close enough. Do you have the money?
JOE
Was it gonna make a difference?
GEORGE
No problem. We’ll collect it from Miss
Mason sometime in the future.
The sound of car tires whining on pavement – a car coming
down from the upper levels.
GEORGE
Ah. Lucky you. He’s early.
A Mercedes comes around the corner, glides down towards
them. And stops. The lights go out.
JOE
Beautiful Joe, is it?
GEORGE
You made the wrong people upset, my
friend. Contract killers do not
consider imitation the sincerest form
of flattery.
The front doors on the Mercedes opens. Two very tough
looking Irishmen get out of the car.
ELTON
We gonna have to watch this?
JOE
There’s an Elvis show in the Casino.
Maybe you could get a job.
ELTON
You couldn’t pay me to leave.
The rear door on the Mercedes opens. Light gleams off
expensive shoes as they hit the pavement. Silk socks.
Cuffed pants – beautiful material.
George, Mouse, Howdy, Elton… all staring. Joe resigned
to his fate.
The man strides forward. Click of his heels echoing.
Beautiful suit. Beautiful lizard belt. Beautiful shirt
and tie. The man stepping into the light… Joe staring
at…
JOE
…Happy?
HAPPY
(surprised)
Joe?
JOE
You, Hap? A contract killer?
HAPPY
(sheepish)
… it’s a living. Joe, what are you
doin’ here?
JOE
I think you’re supposed to kill me,
Hap.
HAPPY
You? You’re kiddin’ me.
JOE
Fraid so.
And Happy turns to glare at George.
HAPPY
This is the guy? This is the guy? You
know who this is?
GEORGE
… a friend of yours?
HAPPY
The hell with that, y’friggin’ moron!
He’s Lou O’Connor’s son-in-law!
(to Joe)
Ex. But still favorite.
JOE
Jesus, Hap… Poppa Lou’s connected
too?
HAPPY
Connected, hell. He’s head a the whole
shebang, Joe.
JOE
Poppa Lou!?
HAPPY
You didn’t need to know. Have these
assholes been giving you a hard time,
Joe?
Happy suddenly pulls a pistol as big as a Buick out from
under his suit coat. His “assistants” step forward, cold
eyed as snakes. George, Mouse, Elton and Howdy are
suddenly looking very nervous. Joe smiles at George.
JOE
I dunno… what do you think?
EXT. GOLDEN GATE BRIDGE – DAY
Hush and the kids on the observation walk. The kids
looking at the passing people. Hush knowing Joe’s not
going to be here but going through this for the kids.
VIVIEN
I don’t see him.
HUSH
He’ll be here, Honey.
VIVIEN
Why is he late?
HUSH
We just… have to wait.
VIVIEN
You don’t believe he’s gonna be here,
do you
HUSH
Vivien…
VIVIEN
You don’t! We never should have left!
We should have stayed together.
Lee is expressionless. And suddenly he breaks away and
begins to walk towards the bridge.
HUSH
Lee, honey, where you goin’? Honey, I
want you to stay close. Lee!
She and Vivien move after him. He starts to run. Dodging
people, he runs up the bridge towards –
VIVIEN
(suddenly:)
Joe!!
Hush stops. Watches as Joe strides forward, kneels.
Watches Lee run into his open arms. Vivien breaking away
from Hush and running to Joe as well. Hush watches him
open his arms wide to Vivien; hugging both children to him.
And now Hush starts forward too, slowly at first but then
breaking into a run, towards Joe too, just like the kids.
But then almost to him, she slows, once again uncertain,
perhaps realizing just what it is she’s doing. She stops.
Joe just looking at her. Hush forces a smile. And then:
HUSH
Well. Looks like you made it.
EXT. SAN FRANCISCO AIRPORT – DAY
Establishing shot.
INT. AIRPORT – CONCOURSE – DAY
They’re calling a flight for London. People are boarding.
Joe is saying goodbye to Hush and the kids.
JOE
Well… I’ll be in touch. Or someone
will.
HUSH
We go somewhere, we’ll let you know.
JOE
Good, that’s good.
Joe kneels. Vivien has tears in her eyes.
JOE (cont’d)
Vivien, what’s this?
She hugs him.
VIVIEN
You get well, Joe.
JOE
Y’ need help with homework, Vivien, y’
call me.
He releases her, turns to Lee.
JOE (cont’d)
See yeh, Lone Ranger.
Lee just stares at him. And suddenly he raises his hand in
offering; his plastic horse. Joe takes it. He ruffles
Lee’s head. Stands, looks at Hush.
JOE (cont’d)
Don’t take less than ten thousand for
the van.
HUSH
I won’t.
JOE
And make sure these two eat a good
breakfast, right?
HUSH
We all will.
JOE
See yeh, Alice.
He turns and walks down the gateway to the plane and is
gone. Hush swallows hard.
HUSH
Lord, let’s get out of here.
EXT. AIRPORT PARKING LOT – DAY
A plane hurtles up into the air, disappears towards the
east. Hush unlocks the van. She and the kids get in.
IN THE VAN –
Hush attempts to start the van. As if angry with her, it
refuses to start.
HUSH
Oh… don’t do this to me now.
It still won’t start. She keeps at it. And suddenly:
CHILD’S VOICE (O.C.)
I’m ashamed is what I am.
HUSH
Vivien, let’s not start.
VIVIEN
I didn’t say anything.
Rrr-rrr-rrr! The van still won’t turn over.
CHILD’S VOICE (O.C.)
We are tossing that man on the rocks
like trash fish.
HUSH
Vivien –
VIVIEN
It’s not me, Momma!
Hush realizes; turns, staring, wide eyed –
HUSH
Lee? Is that you, are you talking…?
LEE
Yes.
HUSH
(overjoyed; wanting to kiss
him)
Aw, Lee, baby –
LEE
Momma, I think you’re attracted to
worthless men because you think they
make you look good.
HUSH
Honey… who put an idea like that into
your head?
LEE
Jerry Springer. He had these women on?
He asked them. Why are you terrified
of putting anything on the line?
Hurt and a little annoyed, Hush turns and atacks the
ignition again. The van still won’t start.
LEE
In a similar situation, Geraldo Rivera
wanted to know why doing the right
thing is always for suckers.
Hush just pumping the gas pedal, turning the key again.
LEE
Oprah Winfrey asked the audience what
is wrong in being loved by a good,
decent man and loving him in return,
girl!
HUSH
Lee, that’s enough now.
LEE
Most women, in Sally Jesse Raphael’s
opinion, would thank their lucky stars
for a heart that’s good and true.
HUSH
Lee, I said hush.
LEE
Cathy Lee Gifford would point out that
Joe isn’t good lookin’. But Regis
would ask, are we to be defined as
human beings by how we look?
HUSH
Hush, child.
LEE
We, the studio audience say no, Momma.
HUSH
Child, will you hush?
Verroom! The van suddenly starts.
LEE
Momma!
Hush turns to look at him. It’s hard to meet his eyes.
LEE
We are defined as human beings by how
well we love. Loving someone means
putting their well being ahead of our
own, Momma. Why should we do this?
Because when we give of ourselves, what
we give is returned to us a
thousandfold.
HUSH
Who told you that one?
LEE
Joe.
INT. HOSPITAL ROOM – DAY
Joe being prepared for surgery.
LEE (V.O.)
Not in words. He’s a man of few words.
INT. HOSPITAL CORRIDOR – DAY
Joe is being wheeled down a hall on a guerney. We LOOK
DOWN on him as he is wheeled into an elevator.
LEE (V.O.)
His love for us was expressed by deeds.
INT. OPERATING THEATRE – DAY
Joe is in the operating room. The operating team buzzes
around him. Joe doesn’t look frightened.
LEE (V.O.)
Momma… you’ve always been so good at
talking. For once in your life, turns
words into deeds…
Joe is serenely looking at us. The anesthesiologist begins
his work. Joe’s eyes softly flutter… the room fades
away.
COLORS
Hazy but bright. A rainbow of colors. We’re in a field
perhaps… or a garden… someplace beautiful. COMING INTO
SOFT FOCUS. The COLORS are –
FLOWERS
They’re in a vase. We’re:
INT. HOSPITAL ROOM – DAY
Joe in a bed. Head bandaged. He blinks… not
understanding where he is… or what’s happened…
VIVIEN (O.C.)
Joe?
Joe turns his head, stares dully for a moment. It’s
Vivien.
VIVIEN
Hi, Joe.
He looks at her, hardly comprehending… and Lee moves to
Vivien’s side.
LEE
Hi, Joe. Guess what, I’m talkin’ now.
And Joe just stares. Does he even understand?
VIVIEN
He don’t recognize us, Momma.
HUSH (O.C.)
…Joe?
Joe turns his head. Hush looks different. Softer, maybe;
at ease. She gently takes Joe’s hand.
HUSH (cont’d)
How you doin’, Joe.
Nothing. Joe blinks, eyes empty and vacant. Hush kisses
Joe’s hand.
HUSH (cont’d)
How you doin’… oh, how you doin”…
She weeps. Silence. And then, softly:
JOE (O.C.)
How y’doin’, Alice?
Hush looks up at him. He’s looking down at her. Eyes
suddenly warm and clear.
JOE
How you doin’?
HUSH
… I’m fine.
JOE
Good, that’s good.
HUSH
Oh, Joe, oh, god…
Moving to kiss him. Joe touching her face. The children
smiling. Joe turning to them.
JOE
Come here.
Moving close to him. Tentative, not wanting to hurt him.
JOE (cont’d)
It’s all right. I’m all right. I’m
still me.
All of them holding one another as we PULL BACK AND FADE
TO:
CREDITS.