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by Dustin Martin (rcdustydoo@msn.com)

Rated:

Genre: Organized Crime User Review:

This is an adaptation of Frank Miller's Sin City comic A Dame to Kill For. The story follows the character of Dwight. It's a trip down through the rough city known as "Sin City"

FRANK MILLER'S SIN CITY: A DAME TO KILL FOR

FADE IN:

EXT. HOTEL-TOP - NIGHT

We open up on a man crouching over a glassed top window. He
holds a 35mm snapshot camera. He's big with curly black
hair. A black trench coat glaring in the moon light. This is
Dwight.

DWIGHT (V.O)
It’s another hot night, dry and
windless. The kind that makes
people do sweaty, secret things…I
wait and I listen…For a while it’s
as quiet as it gets in Sin City.
Coyote calls from the hills.
Police sirens rising, falling,
cutting through the traffic’s
white noise roar…My right calf is
beginning to cramp up and I’m
thinking about going downstairs
and getting my money back from the
bellhop.

We hear the sound of jingling keys coming into the hotel
room. A man and a women’s voice we hear.

MAN (O.S)
This is the last time, Sally. It’s
got to be the last time.

SMASH CUT TO:

Medium shot of Dwight. He’s taking snapshots as we hear the
clicks of the camera.

SALLY (O.S)
What ever you say, Joey.

JOEY (O.S)
I mean it, this time.

DWIGHT (V.O)
She glides out of her coat like it
was Christmas wrapping. Playing it
for all it’s worth. And it’s worth
plenty. She’s got the kind of
figure you notice. It’s her voice
that spoils everything.

SMASH CUT TO:

OVER-HEAD SHOT.

The camera is looking downwards on Dwight and Joey and Sally
are visible through the glass.

DWIGHT (V.O)
A little girl’s voice, all squeaky
and mousy and bubbly and bouncy
with false innocence…

SALLY
I had a dream about you last night
Joey. It was a nice dream. Do you
want to hear about it?

SMASH CUT TO:

INT. HOTEL-ROOM-SAME - NIGHT

Sally's a beautiful young girl. Very curved and has a exotic
feel to her. Joey on the other hand is a fat, smelly,
greased up looking pig. Sally’s tangling her finger’s down
her hair while Joey is rubbing his hands on her back giving
her a message. Dwight is visible through the glass. Glaring
into the messt hotel room.

JOEY
No. No dreams tonight. I haven’t
got the time. I haven’t got any
time. I have to get home soon. And
this is the end for us. The last
time. I can’t go on taking the
chance.

SALLY
Whatever you say, Joey. You give
the orders. You’re the boss.

CUT TO:

CLOSE-UP SHOT OF DWIGHT-SAME

JOEY (O.S)
It’s Gloria, damn her. She’s
asking all kinds of fuckin’
questions. She suspects something.
She’ll sue. She’ll get everything.

CUT TO:

INT. HOTEL-ROOM-SAME - NIGHT

He’s still messaging her back.

SALLY
Everything you’ve worked so hard
for.

JOEY
You’re damn right I work hard. I
work my fucking ass off. Night and
day. I always have. Built my
business up out of nothing.
Nothing.

SALLY
And nobody appreciates you, do
they? Not like you deserve.

JOEY
No. Nobody. Not the employees I
keep off food stamps--And not
Gloria, dam her. My own fucking
wife. Living in that house I
bought her. Wearing those clothes
I bought her. With my money. My
hard-earned money. And she doesn’t
appreciate one god-damn thing…

Sally walks onto the bed and lays down. She looks so sexy.

DWIGHT
(Continue)
She doesn’t even try to understand
the kind of pressure I’m under.
She doesn’t even try. She’s always
coming at me. Always making
demands. Never giving me a break.
Just like all those fucking lazy
bums who wouldn’t have a paycheck
if I didn’t sign it--They can get
sick, but me? Not a chance.

Joey starts to remove his belt from his pants.

SALLY
It’s because you’re so strong.

JOEY
You’re damn right about that! But
do I get any credit? Fuck No! They
just take and take!…One of these
days I’ll fire the whole pack of
them! Show them who’s boss.

SALLY
You can show me, Joey

Joey pulls out handcuffs.

JOEY
I will.

CUT TO:

CU SHOT OF THE BED RAILINGS.

Joey attaches the handcuffs to Sally and the bed railing.

CUT TO:

OVERVIEW SHOT.

Sally’s attached to the bed with Joey climbing towards her
on the right side. He touches her leg smoothly.

JOEY
I’ll show you… I’ll show you who’s
boss…

CUT TO:

MEDIUM SHOT OF THE BED RAILING.

DWIGHT (V.O)
Then she’s moaning and saying…

SALLY
“BOSS”

DWIGHT (V.O)
(Continue)
In time with his grunts.

It's still going on between Joey and Sally. There really
into each other.

DWIGHT (V.O)
(Continue)
It’s all over quickly.

CUT TO:

EXT. HOTEL-TOP - NIGHT

Dwight keeps on taking photos. His camera clicks and clicks.
The moaning of Joey and Sally can be heard where Dwight is
standing at.

DWIGHT (V.O)
I get everything I need. The sad
thing is that some of the
compositions I pick are pretty
good.

CUT TO:

INT. HOTEL-ROOM-MINUTES LATER - DAY

Joey’s sitting on the side of the bed lighting up a
cigarette. He wears a white beader while Sally on the other
hand is lying down on the bed topless. Totally stunning, but
sweaty.

SALLY
Oh, god, Joey. That was just
fucking incredible. You make me
feel like a women. I know that
sounds corny, but it’s true. So
True. It takes a real man to make
a girl fell like this.

JOEY
I love you, baby. You know I love
you.

SALLY
I love you too, Joey. You’re all
the man I’ll ever need. I count
the minutes when you’re gone. I
honestly do. My wrists hurt, Joey.
Think you could get the keys?
They’re right in my purse.

Joey gets up and reaches for his coat. He's digging into his
upper pockets for something.

JOEY
You don’t have any idea how much I
love you. How much I’ve
sacrificed. It’s tearing me up
inside…

SALLY
Joey--What are you doing?

Joey pulls out a .9mm gun out of his coat and locks an loads
it quiety so Sally wouldn't even notice.

JOEY
It’s tearing me up! How much I
love you--and what I have to do!
But I’ve worked hard! Damn hard!
And Gloria would get everything!
It’s all her fault! I don’t have
any choice.

He points the gun at Sally. She’s got a look on her face
that is about to break in half.

SALLY
Joey, no please. I won’t tell
anybody. I swear to god.

JOEY
I know you won’t want to talk
Sally. I know that…

CUT TO:

EXT. HOTEL-TOP-SAME - NIGHT

Dwight’s still on the glass roof.

DWIGHT
Oh, my aching back…

JOEY (O.S)
…But you’re only human. And Gloria
will offer a lot of money. My
money. My own money. And she’ll
use it to bring me down…

SALLY (O.S)
I’ll go away. I’ll leave town and
go someplace she’ll never find me.

CUT TO:

INT. HOTEL-ROOM-SAME - NIGHT

Joey has the gun pointed to her head. With sweat dripping
down his forehead he kinda like grins his teeth.

JOEY
Yeah? And how will you get there?
Fly? And who will pay for the
ticket and god knows what else! An
apartment? A car? Clothes? You’ll
suck me dry and you’ll never stop!

CUT TO:

EXT. HOTEL-TOP-SAME - NIGHT

Dwight stands up. He looks down with a range of fire on his
face.

SALLY (O.S)
Joey--I beg you, baby…

JOEY (O.S)
Don’t make this any harder than it
is, damn you!

Dwight jumps through the glass of the ceiling window.

CRASH!

INT. HOTEL-ROOM-SAME - NIGHT

He crashes through. Dwight lands on Joey and he looses grip
of his gun. Sally gives out a big scream.

SALLY
(Screaming)
HAAAAH!

Dwight just lets Joey have it. He’s beating the shit out of
him. Glass is all over. Shattered into Joey’s face.

SALLY
KILL HIM! KILL HIM!

BAM! Joey’s unconscious. He’s dazed out. His beatings done.
Dwight turns towards Sally.

DWIGHT
Nobody’s killing anybody. Not
while I’m around.

SALLY
Then can I get a ride?

DWIGHT (V.O)
She was using her real voice this
time. A voice that’s left
innocence a lifetime behind.

Dwight takes the keys and unlocks Sally from the bed frame.
She dashes towards her purse and belongings. Dwight picks up
Joey and puts the handcuffs around his hands and is
attaching him on the bed frame.

Sally kicks Joey in the gut. He coughs up blood.

DWIGHT (V.O)
I can’t stand seeing a women in
danger. So I left the asshole for
housekeeping.

Dwight has his arm around Sally’s shoulders. They both walk
out together. Shuts the door.

CUT TO:

EXT. HIGHWAY - NIGHT

Cars are zooming by one after another. Dwight’s car drives
by past through the frame wit the hood down.

INT. DWIGHT’S CAR-MOVING - DAY

Dwight is driving with his arm leaning over the side. Sally
covered by her coat is startled.

DWIGHT (V.O)
I take Redondo over the hill,
toward old town. It takes longer
that way, but I figure with the
way she’s shaking she could use
the time to settle down. At first
all she can do is sob and blow her
nose and smoke cigarettes…She
smoked six cigarettes…

Another car drives by cutting off Dwight. She’s blonde,
beautiful, and in a rush.

DWIGHT (V.O)
…She’s just about pulled herself
together when some crazy blonde
cuts us off, making poor Sally
almost jump out of her
skin…Driving like a bat out of
(MORE)

DWIGHT (cont'd)
hell, that one. Crazy. There’s
never a good reason for breaking
the speed limit.

EXT. ENTRANCE TO OLD TOWN - DAY

Dwight pulls over towards the shoulder. Sally opens the door
and walks out. Bright and fresh. She turns around and looks
at Dwight.

SALLY
Thanks for my life, Man!

Dwight doesn’t respond. He just looks at Sally as she enters
the ghetto of Old Town.

DWIGHT (V.O)
The last I see of Sally, she’s
fixed her makeup and she’s
sauntering away like a pro,
tossing me a wave and a wink. One
hooker to another…Then she blends
into the sea of flesh that is Old
Town…where beauty is cheap,
provided all you want to do is
look. But if you’re ready to pay,
you can have anything you can
imagine. I hold tight to the wheel
to keep my hands from shaking. I
pull out and cut back over the
hill. Out, away.

Dwight starts his car up and makes a u-turn. Disappearing
into the streets and drives away.

INT. DWIGHT’S CAR-MOVING - NIGHT

Dwight pulls out a cigarette and lights it up. He reaches
over towards the radio and turns it on.

SPORTS ANNOUNCER
--And Gabriel’s wide open--He
shots--SCORES!

DWIGHT (V.O)
I put the game on and pray it will
chase away the memories. The damn
Old Town memories, of drunken
mornings and sweaty sex and
stupid, bloody brawls…You can’t
just pick and choose. You can’t
(MORE)

10.

DWIGHT (cont'd)
take the good without the bad…Not
once you let the monster out.

EXT. AGAMEMNON’S HOUSE - NIGHT

Dwight pulls up the driveway and shuts off his car. He opens
the door and walks towards the front door.

DWIGHT (V.O)
The team’s up by twelve late in
the third when I pull up to
Agamemnon’s. I should be home in
time to catch the fourth quarter
replay at eleven.

Dwight knocks on the door. With a loud bang. BANG! BANG!
BANG! Agamemnon opens the door. He’s fat, ugly, and is
eating like always.

AGAMEMNON
Well, I’ll be god damned if it
isn’t CLEAN LIVER, himself!
What’ve you got for me, boy?

DWIGHT
The Canelli job. Two rolls.

Dwight walks right into his house. Agamemnon closes the
door.

CUT TO:

INT. AGAMEMNON’S HOUSE - NIGHT

The place is a pigsty. Booze, food, magazines everywhere.
Naked girls posted on the wall. The TV is running in the
background.

AGAMEMNON
The Canelli job? God damn! I knew
the twisted fuck couldn’t keep it
in his pants much longer! You
catch the game? Our boy Gabriel is
kicking ass!

DWIGHT
Yeah. The Blues might just go all
the way, this year. I’m hoping to
catch the replay at eleven.

11.

CUT TO:

INT. AGAMEMNON’ HOUSE-DARKROOM - NIGHT

The room is filled with red light. Dwight’s mixing the
chemicals and puts the photo paper in the pan. He uses the
tongs to shake it so the image comes out faster.

Agamemnon is over looking Dwight’s photos.

DWIGHT (V.O)
If I had to nail it down, I’d say
the main reason Agamemnon makes me
sick is how much he loves his job.

AGAMEMNON
Oh, yeah…Oh, yeah…You’re a fucking
genius, kid…Oh, yeah…God, just
look at the tits on her…

Agamemnon reaches for three of the photos. He’s looking deep
into them one by one.

AGAMEMNON
…straight out of Playboy Magazine!
And knowing you, you didn’t get
yourself a piece of that, did you?
Nah, not the boy scout.

He looks at a photo of Sally tied to handcuffs attach to the
bed railing.

AGAMEMNON
Handcuffs. It’s funny, you know.
How many of them go for the
handcuffs. Especially the
businessmen. And judges, too. You
wouldn’t believe how many judges
go for the handcuffs…Some of them
like the gals to wear them, and
some like to put them on
themselves. I tell y, I could
write a book…

DWIGHT (V.O)
Maybe tomorrow I’ll got to the
times and crawl on my belly and
beg Gilleran for my old job back.
Maybe he’ll give me a break. He
said I deserved a Pulitzer,
once…But that was then.

12.

EXT. AGAMEMNON’S HOUSE - NIGHT

Dwight walks out of Agamemnon’s house and jumps into his
car. He starts up the ignition, and drives off.

EXT. HIGHWAY - NIGHT

Dwight’s car zooms by.

INT. DWIGHT’S CAR-MOVING - NIGHT

Dwight’s driving the wheel once again.

DWIGHT (V.O)
I drive ten blocks out of my way
and stop for gas I don’t need,
screwing up my courage for the
worst of it. The Wife.

INT. LAWYER’S OFFICE - NIGHT

Dwight hands over the photos in an envelope to the layer.

DWIGHT (V.O)
This one’s got a lawyer to pay the
tab and do the talking, so it’s
easier.

LAWYER
…in cash, as you requested. You
may be called upon for a
deposition. Please leave by the
side exit.

EXT. HIGHWAY-MOVING - NIGHT

Dwight is driving in his Mustang so fast.

DWIGHT (V.O)
The Mustang shudders angry, acting
like a wild horse it was named
after. Begging to cut loose and
show what it can do.

13.

INT. DWIGHT’S CAR-MOVING - NIGHT

He has both hands on the wheel. The music is playing in the
background. It’s coming from the radio. Just looking
straight forward. The wind is blowing through is slick hair.

DWIGHT (V.O)
I’ve got the radio tuned to some
lonely hearts talk show, but I’m
not listening. One more time, I
sort through the broken pieces of
my past. And like always, they
come together to form the same,
sorry picture.

MEDIUM SHOT: DWIGHT’S FACE

DWIGHT (V.O)
I think about all the ways I’ve
screwed up and what I’d give for
one clear chance to wipe the slate
clean. To dig my way out of the
numb, grey hell I’ve made of my
life…I’d give anything. Just to
cut loose. Just to feel the fire.
One more time.

CUT TO:

EXT. HIGHWAY - NIGHT

Dwight’s car is speeding fast. VROOM! The engine roars.

INT. DWIGHT’S CAR - NIGHT

Dwight steps on the brakes hard. The car screeches…

DWIGHT
NO!

Holding on with both hands on the wheel.

DWIGHT
No. Damn it. No. Never. Never.

He pulls over towards the shoulder off the side of the
highway. Dwight steps out of the car and gets down on his
knees with his hands over his face.

14.

DWIGHT
Never lose control. Not for one
second. Never. NEVER LET THE
MONSTER OUT!

FADES TO BLACK:

FADES UP FROM BLACK:

INT. DWIGHT’S OFFICE - NIGHT

Dwight is sitting in his office chair and watching the game
on his portable TV. He’s watching the game.

SPORTS ANNOUNCER (V.O)
--And it’s Donner on a fast
break--And there’s Gabriel with a
steal--What a steal! A steal--What
a steal!--Tearing up court--He
shoots--fouled hard--It needs a
bounce--Yes! SCORE!

The phone rings on his desk.

SPORTS ANNOUNCER (V.O)
--And they’re calling a flagrant
foul on Mark Donner! That’s it!
He’s out of here! Gabriel shoots!
The foul--Yes! SCORE!

The phone keeps on ringing. Finally Dwight reaches over and
grabs it. He answers.

SPORTS ANNOUNCER
This one’s history, folks.

DWIGHT
Hello?

CUT TO:

CU SHOT OF LIPS

A pare of red lips are speaking on the phone. With a
beautiful voice, it’s a beautiful women’s voice.

AVA
Dwight? Is that you?

CUT TO:

15.

INT. INT: DWIGHT’S OFFICE - NIGHT

DWIGHT
Ava?

CUT TO:

INT. PHONE BOOTH - NIGHT

She has a trench coat on covering her face.

AVA
I’m sorry to call. I know I’ve got
no right. But I need to see you.
Tonight. Please, Dwight. Don’t
hang up on me please.

INT. DWIGHT’S OFFICE - NIGHT

Dwight stands up and is speaking to her. The camera pulls
back towards the ceiling.

DWIGHT (V.O)
She keeps talking. And like an
idiot, I keep listening.

CUT TO:

EXT. SIN CITY-MOVING - NIGHT

We follow Dwight’s car through the rough terrains of Sin
City. Disgusting, inhumane, trash.

DWIGHT (V.O)
I should tell her to go to hell.
Instead I give myself a shave I
don’t need and I show up twenty
minutes early.

EXT. CLUB PECOS - NIGHT

Dwight pulls up and parks is car on the side of the road.
Crazed folks are everywhere.

DWIGHT (V.O)
What the hell could she want with
me now?

16.

A man is on the ground on his knees with a gun in his hand.
He barfs on the pavement.

MAN
He’d deserve it…(Barfs)

Another who’s towering over him gets down on his knee and
picks him up.

MAN 2
Sure Bill. Let’s get you home.

Dwight just watches both drunks walk off.

DWIGHT (V.O)
You can’t drive two blocks in Sin
City without coming across a
saloon. This one’s a country
joint, the bad kind. It’s not the
kind of place I’d expect her to
know about, let alone go to.

Dwight walks up towards the entrance and enters in the Club
Pecos Saloon.

INT. CLUB PECOS SALOON - NIGHT

He opens the door. The doors are made to be like the ones in
western movies. With his hands in his pockets and a cool
attitude on his smirky face.

DWIGHT (V.O)
I grab myself one last lungful of
night air. Then I trade it in for
smoky soup spiced with sweat,
vomit, booze, and blood. I know
the flavor well.

All of a sudden a man getting socked in the face flies
through and out of the frame. Blood splats. The man who
punched this sucker steps into frame. He’s a monster, big,
buff, and with a messed up face. This is Marv.

DWIGHT
How’s it going Marv?

MARV
You know, Dwight. Same Old, same
old.

CUT TO:

17.

MEDIUM SHOT-BAR

Both Dwight and Marv pull up a chair at the bar. Marv pulls
out a cigarette and lights it up.

MARV
Haven’t seen you in a dog’s age,
pal. You been out of town?

DWIGHT
No, just busy. You take care Marv.

Dwight gets up out of his chair and walks out of frame.

DWIGHT (V.O)
Marv’s a guy you got to be careful
around. He doesn’t mean any harm,
but he cause plenty.

CUT TO:

MEDIUM SHOT-STEADYCAM

We follow Dwight trough the bar. Pigs, whores, and pimps
swindle down through the bar like a pigpen.

DWIGHT (V.O)
Why here, Ava? It’s not like you.
No, with you everything always had
to be first class. All the way.
And when I couldn’t foot the bill,
you sure as hell found somebody
who could.

He finds a booth with nobody sitting there. He sits down
with his hands on the table. Looking around the joint.

CUT TO:

WIDE SHOT-SAME

A waitress walks up to Dwight and asks him what he like to
drink.

DWIGHT (V.O)
I order up a ginger ale and stare
at it for the better part of an
hour…She’s late, like she always
was.

MEDIUM SHOT ON DWIGHT

18.

He glares around the joint. The door opens and Ava’s shadow
appears on the ground.

DWIGHT (V.O)
And like always, she’s worth the
wait.

SMASH CUT TO:

INT. CLUB PECOS FRONT DOOR-SAME - NIGHT

A beautiful women walks into frame with pearls on her neck
and a leather coat that seemed to be expensive. Slowly
walking towards the camera.

MEDIUM SHOT ON DWIGHT

Ava walks up and Dwight stands up. She hugs him, but he
doesn’t respond to the hug.

AVA
Dwight…How long has it been? Four
years?

DWIGHT
Sounds about right. Have a seat.

Both Dwight and Ava sit together in the booth. The waitress
walks up and takes both their orders. She pulls out a box of
cigarettes and light one up.

DWIGHT (V.O)
She asks for some kind of scotch
nobody’s ever heard of, then
settles for what they have. Not
like her to drink hard shit. The
cigarettes are a surprise, too.
Used to be she couldn’t stand the
smell of them.

AVA
So many times I’ve wanted to call
you. I’ve found myself thinking
about you…

DWIGHT
I’ve got places to be. How about
you just tell me what you want.

CU ON BOTH AVA & DWIGHT

19.

Ava moves close towards Dwight.

DWIGHT (V.O)
She moves close, all vulnerable, a
deer caught in the headlights. I
could slug her.

AVA
Don’t be cold, Dwight. I don’t
think I could stand that, right
now. I must still mean something
to you. You came here. You must
still care. Just a little bit.

DWIGHT
Sure. You called and I came
running. You’ve still got that
much of a hold on me and maybe you
always will. But I’ve got no
reason at all to be nice about it.
Not after what you did to me.

AVA
I guess I deserved that.

DWIGHT
There’s no guessing to it. You
deserve that a whole lot more. You
don’t know what I went through.
How bad it got. Maybe if you’d
fallen in love with the ass I
could’ve handled it…But you didn’t
love him. You’ve never loved
anybody. Money was all you where
after. You tossed me away--for
cash. So let’s not screw around.
I’m here. I’m listening. You just
tell me what the fuck you it is
you want.

AVA
There’s only one thing I want from
you! And I want it so desperately
I could scream! I want you to
forgive me!

DWIGHT
Oh. Now I get it. You’ve got a
conscience after all. And it’s
bugging you. Fine. You’re
forgiven. You got your wish. Go
home. Sleep tight.

20.

AVA
You’re right about me! I’m nothing
but a selfish slut who threw away
the only man she ever loved! Just
like you said! But I was wrong,
darling! Wrong!

AVA
(Continue)
I’m in hell, Dwight. It’s worse
than you can imagine…Oh, god…I
wish I could go back in time. Back
to the way it was. To you and me.
I’m such a ass…Such a selfish
stupid slut…

DWIGHT
You made your bed. Sleep in it.

AVA
Forgive me, darling. I beg you. I
love you.

She kisses him on the lips. She wants to go down but Dwight
just punches her. BAM!

DWIGHT
You do that again and I swear to
hell I’ll kill you.

AVA
If you can’t forgive me, darling,
then please--remember me. They say
you never really die as long as
somebody remembers you.

DWIGHT
What the devil are you talking
about?

A man in a trench coat appears. He’s big, with a muscular
voice. An angry voice.

MAN
Mrs. Lord, you are due at home.

Ava grabs on to Dwight’s arm. Giving a good grip.

DWIGHT (V.O)
She gasps and grabs my arm and
suddenly I’m playing Lancelot.

21.

DWIGHT
I’d say that’s up to Mrs. Lord.

MAN
This is none of your concern, sir.

Standing behind the man is Marv. He looks angry and drops
his beer bottle. With a cigarette hanging from his mouth.

MARV
Is that ass of a clown giving you
a hard time, Dwight? I’ll take him
down for you if you got nothing
going on tonight.

AVA
Never mind, Dwight. It’s too late.
I’ll go with him.

DWIGHT
To late for what, Ava?

AVA
For everything. Just remember me,
my love. Remember me.

SMASH CUT TO:

EXT. FRONT OF CLUB PECOS - NIGHT

Ava and the man walk out of the joint. Followed by Dwight
and Marv.

WIDE SHOT-CAR-NIGHT

Then man opens the door for Ava. Ava looks back one more
time at Dwight’s face. She winks and the door is slammed
shut.

The man walks around towards the driver seat. Opens then
shuts the door. Starts the ignition and drives off into the
darkness of Sin City.

WIDE SHOT-MARV & DWIGHT

Both just stare out through streets.

MARV
Buddy, I don’t mean to poke my
nose in where it don’t belong, but
that there is a dame to kill for.
Why’d you let her go?

22.

Dwight doesn’t respond to the question. He glares outward
facing the camera.

DWIGHT (V.O)
The night air hasn’t gotten any
colder. It just feels that way.
Ava.

SMASH CUT TO BLACK:

DWIGHT (V.O)
Damn!

THE END

Feedback

From Orbin Walcott	Date 10/5/2005
Just two words: not bad.

From Rex Macaroe	Date 9/17/2005
That's something that never fails to piss me off, saying a screenplay sucks simply because it's based on another body of work. We all know this is an adaptation. So was the original. Half the movies made in the history of cinema are based on books. There's even an Academy Award for Best Adapted Screenplay. But I have never once read a respectable review that argues against a film simply because it's based on a book. If it's a poor adaptation, that's one thing, but this is not. If you're going to rate a screenplay, rate it on the strength and weakness of THAT screenplay. Don't try and push your view of morality onto the writer.

From Larry Boodry	Date 9/14/2005
S.M. Krause should take his script 'Ghetto Man' and go home...I must've been high to give it 2 1/2 stars...My point being, disregard his negative review of your script, whish is way better. Keep up the good work.

From Larry Boodry	Date 9/9/2005
I vote with the majority...I have not seen the original 'Sin City' yet, but your script does stand on it's own. Hell, if anything, it's gonna make me see the original that much faster. Keep up the good work!

From S.M. Krause	Date 9/1/2005	0 stars
Sin is not in. This script doesn't even read like the workings of Frank Miller, it's a ripoff. If you're going to do an adaption, make sure that the story is of such: that follows the creative works that Robert Rodriguez had done that made the movie a hit. It's cheesy, not power-driven, and lacks the fundamentals that the original had.

From Roman	Date 8/29/2005
THis is so damn good.......man, you rock!

From Krystal	Date 8/26/2005
Very much a Sin City story. I loved Sin City... I hope all turns out well for you, I really DID enjoy this. Who's your fave SC character? Mine's Bruce Willis', just because Bruce-man kicks ass.

From J.J. Pardo	Date 8/25/2005
So far so good, man. Keep up the good work. It's similar to the first Sin City, this may even be better. Love the dialogue. Hey, check out my script also when you get a chance, its "The Walking Cripple", it should be up on the site tomorrow.

From Rex Macaroe	Date 8/24/2005
Nice adaptation of the issue 1. If this is a work in progress, you get 3.5 stars. If not, you've got 1/8 of a story. The style's there, but it doesn't have enough drive to pull its own weight. While it doesn't influence my rating, I think you should know Rodriguez and Miller have already started work on this film. I look forward to reading more, if you're going to write it.

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