Screenwriter Community |
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by k.j. diagostino (twelthofadime@comcast.com)
Rated: 
Genre: Organized Crime
User Review: 
This screenplay is copyrighted to its author. All rights reserved. This screenplay may not be used or reproduced without the express written permission of the author.
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TWELFTH OF A DIME
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FADE IN:
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INT. JAIL INTERROGATION ROOM - DAY |
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Two men are seated at a table across from each other. One,
the FILM INTERVIEWER, is a young man dressed in formal
attire. Behind him his film crew sets up to start filming.
The other young man,AJAX, is dressed in prison attire and
flanked by two prison guards. |
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FILM CREW MEMBER 1
We're rolling. |
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FILM INTERVIEWER
Today we're going to interview you
for our documentary on violent
criminals. You've accepted our
interview, and by doing so you
realize what you say today maybe
televized to the national public? |
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FILM INTERVIEWER
So are you ready to start? |
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FILM INTERVIEWER
We're here today with A.J.
Torrence, who goes by the
streetname of Ajax, and for the
sake of this interview, will be
refered to as such. So Ajax, why
don't you tell us something about
yourself, anything you would want
the public to know. |
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FILM INTERVIEWER
Why do you say that? |
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AJAX
Because. When your show goes on
air, and those people sit down,
and they look at me, and they
listen to what I have to say,
(MORE)
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2.
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AJAX (cont'd)
that's what they're goin think. |
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FILM INTERVIEWER
What do you think the reason for
that is? |
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AJAX
Because it's easier for them to do
that. To think I'm different. |
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FILM INTERVIEWER
Well let's start off with why
someone would get that impression.
Why are you here? |
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AJAX
Because society doesn't like what
I do. |
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FILM INTERVIEWER
And what exactly do you do? |
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Beat. |
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FILM INTERVIEWER (to film crew member)
Did you get that? |
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Cut to credit screen. |
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INT. JAIL INTERROGATION ROOM - DAY |
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Ajax is seated at the table across from the interviewer. The
guards have left the room. The interview seems to be in full
swing now. |
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FILM INTERVIEWER
You've been imprisioned here at
Annex maxium sercurity prision for
close to four years now, is that
correct? |
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3.
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FILM INTERVIEWER
Can you tell us about your stay
here? What it's been like, how
you've coped to prision life, your
interactions with the other
inmates? |
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Ajax stares directly at the interviewer, saying nothing. |
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FILM INTERVIEWER
That's perfectly ok. Later on if
your feeling more comfortable
talking to me you can feel free to
comment on that subject, no rush.
Well, do you think you could talk
to us about what happened the day
of July 17, 2001? |
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There's a long pause. Ajax seems to hesitate. |
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AJAX
(defensive)
I don't want to talk about that, I
think I told you or whoever wanted
to do this interview- |
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FILM INTERVIEWER
(sternly)
I understand full well that this
is a sensitive subject for you,
but for the sake of this interview
you as well have to understand
that the events that transpired on
the 17th and in the weeks leading
up to this date are the focus of
this documentary. |
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Beat. |
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FILM INTERVIEWER
With your cooperation, or rather
with your permission, do you think
you can answer just a few minor
questions concerning that point in
time now? |
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4.
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Ajax stares down the Film Interviewer for a number of
seconds. He then shakes his head "yes". |
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FILM INTERVIEWER
Alright. The media and police
reports state that July 17th 2001
was the culmination of on-going
gang related violence between
yourself and a number of other
men. Out of towners, you refered
to them as in your statement to
the police. |
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AJAX
I was arrested for commiting five
murders, I only killed one person
on the 17th. I wouldn't refer to
that as a culimination. And I was
never in a gang, I'm not a-a
fucking deviant. |
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FILM INTERVIEWER
Then why are you in here
Mr.Torrence? |
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Beat. |
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AJAX
Because someone loved me, and she
was taken from me, fucked up and
ruined. And I wasn't goin' let
her, let them, make her leave me.
I'd watch the world fucking burn
before I let them do that to me. |
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FILM INTERVIEWER
I'm assuming your refering to Ms.
Tor- |
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AJAX (interrupting)
(evenly)
I'm refering to the woman who
loved me, I already know her name,
and so do you. |
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INT. AJAX'S KITCHEN - NIGHT |
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Ajax is seated in the corner of the small kitchen on a
stool. Ajax sits waiting, watching the door. After a long
while the door opens and TORI; a young, dark-haired girl,
enters. |
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5.
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AJAX (turning to her)
Tori? |
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Tori sets her purse on the table. |
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There's a long pause. |
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AJAX
(quietly)
Doing what? |
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Tori looks at Ajax for a moment. Ajax looks at the floor.
She turns then and slips up onto the counter, looking down
on him and smiling. |
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TORI
(amused)
You know, stuff. |
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Tori's smile broadens. |
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TORI
(amused)
It always is. |
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There's a very long and awkward pause between the two. Tori
slips down off the counter and opens the fridge. She begins
rummaging around. |
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TORI
So that was your friend, huh? |
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Tori looks at Ajax and smiles. |
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TORI
You see him touch me? |
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6.
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TORI
Did you see him put his hands on
me? Like I was some kinda slutty
little bitch he could throw around
or somethin'? |
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Tori turns her attention back to the fridge, taking out a
carton of milk. |
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Tori sets the carton on the counter, gets a cup from the
cabinet, and begins pouring herself a glass. |
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TORI
(teasing)
When did I say he hurt me? I kinda
liked it actually, he's got these
big, rough hands, you know? Didn't
you see me smile when he grabbed
me? |
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Ajax looks at her for a moment, darkly. She returns the
glare, smiling. |
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AJAX
(evenly)
What are you talking about? |
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TORI
(teasing)
When he grabbed me, didn't you see
me smile? |
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Ajax breaks her gaze, laughing nervously. |
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TORI
(teasing)
That's what I do when I'm turned
on, right? I smile like this. |
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Tori leans in close to Ajax with an exaggerated smile on her
face. He laughs nervously again, then looks at her
awkwardly. She stands back up and takes a sip of her milk. |
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TORI
Don't recognize it, do you? |
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7.
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Tori chuckles. |
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AJAX
(quietly)
Why you goin' say that? |
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Tori looks him up and down, then shakes her head slightly.
With a crack of a smile she takes another sip of her milk. |
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AJAX
No Tori, that shit pisses me off. |
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Tori sets the milk down and looks at him seriously. |
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AJAX
(aggravated)
Yeah, it does. |
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Tori grabs her glass and sits down on the floor next to the
stool Ajax is seated on. An awkward silence passes between
the two for a long while. |
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AJAX
(hurt)
You didn't talk to me once, not
one time, while we were there. |
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Beat. |
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AJAX
(hurt)
I told him I was goin' bring you,
then you show up late, and don't
even talk to me. Then I gotta sit
there and pretend like I don't
even know you just so I don't look
like some kinda faggot who makes
this shit up or somethin'. |
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8.
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Beat. |
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TORI
(quietly)
You want me to stay here tonight? |
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TORI
(quietly)
I said you want me to stay here
tonight? |
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Beat. |
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AJAX
(nervous)
Yeah, sure. |
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Tori nods her head and gets up, leaving her milk on the
ground. She kisses Ajax quickly, then goes to leave. |
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AJAX
I gotta go pick something up real
quick from a friend, like ten
minutes away, if I make it back in
like half an hour you think you'll
still be awake? |
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Tori looks back at him and realizes he's not joking. She
nods her head and walks out of the kitchen. As Ajax looks
after her the overhead light flickers. Ajax then goes about
cleaning out the milk glass Tori left on the floor. |
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EXT. RUNDOWN ALLEYWAY - NIGHT |
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Ajax's small, beat up car pulls into a desolate alleyway
which serves as a makeshift parking lot. He parks the car
and gets out. He looks around cautiously then takes out a
cell phone, dials a number, and waits for a response. |
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Beat. |
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Ajax dials again once his first call isn't recieved. Ajax
catches sight of something further down the alley while
doing this and begins walking to it. It's a pair of legs
outstretched from behind several trash cans. |
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9.
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AJAX
(cautiously)
Hey Dutch! |
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There is no response from the figure up ahead. |
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Beat. |
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A car door is heard opening behind Ajax. He swings
around,startled, lowering the cell phone from his ear as he
does. He sees now that there is a man rummaging through his
car. |
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AJAX (under his breath)
(terrified)
Oh fuck. |
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The man stops his foraging and steps out of the car. He
looks directly at Ajax. He is a short, stocky white male in
his early twenties. His appearence and wardrobe are wildly
unkempt, and in his right hand he is holding a pistol. The
man is DUTCH; Ajax's friend, but Ajax has yet to realize
this. |
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DUTCH (yelling)
(hoarsely)
I got a gun. |
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AJAX
(terrified)
Okay...just take the stuff,
anything you need. |
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DUTCH (yelling)
(hoarsely)
You better got some pills or some
money, you better got it on you or
somewhere in here or I'm goin'
fucking kill you man! |
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AJAX
Hey! Don't say that shit man, I've
got money on me, it's in my
wallet, you can take...you take
the car if you want to, you want
anything I have I'll give it to
you, really man, it's fine, I'm
cool with it. |
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10.
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Beat. |
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DUTCH
(flatly)
Throw me the keys and whatever
your money's in. |
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Ajax throws Dutch his wallet and his keys. Dutch bends down
and picks up the wallet, then kicks the keys away. |
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DUTCH
(flatly)
Pick the keys up. |
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AJAX
(pleadingly)
I...no man, no... |
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DUTCH (yelling)
(hoarsely)
Pick the fucking keys up! |
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Beat. |
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Ajax, trembling, walks over to where the keys are and bends
down to pick them up. He snatches them up quickly and turns
to run when he is grabbed by his assailant. The man rears
back to pistol whip Ajax when suddenly a look of recognition
dawns on both their faces. |
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The two recognize each other. Dutch, with an expression of
utter disappointment, lets go of Ajax and sits down next to
the car. Ajax remains standing, looking down at his friend
in shock. |
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DUTCH
(frustrated)
Goddamnit. |
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AJAX
(in shock)
You're high, aren't you? |
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DUTCH (waving him off)
(unconvincingly)
No. |
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11.
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AJAX
(in shock)
Bullshit, how else are you not
going to recognize me till I'm two
feet in front of you? You were
going through my car man, you've
been in that thing a thousand
fucking times, if you were sober
don't you think you would have
figured that out? |
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DUTCH
(frustrated)
I'm coming down, I didn't have
enough to even get high, and you
don't know shit about it anyway so
just shut up. |
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Beat. |
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DUTCH
(frustrated)
Why do you think I'd be robbin'
anyone in the first place? Not
like I do this shit everyday, I
just needed some more money,
that's it. |
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AJAX
(unbelievingly)
Jesus Christ man, Jesus Christ... |
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Beat. |
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AJAX
Where'd you get any money in the
first place, I thought you were
broke? |
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Dutch looks down the alleyway at the pair of outstretched
legs. Ajax follows his eyes to the same spot. |
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DUTCH
(quietly)
Somebody came by and lent me some
cash. |
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Beat. |
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DUTCH
My guy, the good guy, he spotted
me the rest, let me score more
then I should have. Just told me I
needed to pay him back soon as I
(MORE)
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12.
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DUTCH (cont'd)
could get the money together.
Early worm gets the bird, right? |
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Ajax turns and looks at Dutch, an expression of fearful
recognition on his face. |
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AJAX
(quietly)
Whose that down there in the
alley? |
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DUTCH
(quietly)
I have no idea. Better not to ask. |
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Beat. |
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DUTCH (standing up)
Take me home, if I can't get high
I wanna sleep. |
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AJAX
(quietly)
Alright, get in. |
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Dutch gets up and walks over to Ajax. He hands him the gun. |
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DUTCH
Get rid of this for me. |
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DUTCH
Throw it off the bridge or
something, I don't care. |
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Dutch walks around to the passenger side of the car and
stumbles inside, shutting the door loudly behind himself.
Ajax looks at the gun and then down the alleyway at the dead
body. He then gets in the car and the two drive away. A
moment later someone walks into sight in the alleyway,
watching after the car as it leaves. |
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INT. AJAX'S KITCHEN - NIGHT |
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Ajax enters from the outside door. It is obvious the shock
from his encounter with Dutch has yet to fully wear off. He
sets the keys down on the counter. The phone rings moments
later. |
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13.
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AJAX (picking up the phone)
Hello? |
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Ajax pauses. |
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CALLER
(amused)
Um, John. |
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Laughing is heard in the background. |
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AJAX
Alright. That's funny I guess. Why
don't you tell me how you got the
number to my house? |
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CALLER
Oh shit, um, are you her brother
or something? |
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AJAX
(evenly)
I'm her boyfriend. |
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Laughing is heard loudly in the background. The caller
laughs in embrassment. |
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CALLER
(amused)
Damn, I'm sorry dog. Um, well, is
she goin' be home sometime soon?
Maybe I could hit her up on her
cell or something? |
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Laughing is heard again in the background. He takes the
phone away from his ear, looking at it for a moment. Ajax
then begins slamming it against the reciever until the phone
is broken. |
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14.
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INT. AJAX'S BEDROOM - NIGHT |
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Ajax enters the dark, bare bedroom. He slips in bed next to
Tori. Half awake, she embraces him. After a moment of
hesitation Ajax begins forcing himself sexual upon her. |
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TORI
(accusingly)
What are doing? |
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Ajax stops and stares at her. |
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Tori lies back down and goes back to sleep. Ajax sits in the
bed for a moment, then gets up and heads to the bathroom
across the hall. Once inside, he begins biting his hand and
wrist, almost to the point of drawing blood. |
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Cut back to the interrogation room. |
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FILM INTERVIEWER
The man who you mentioned meeting;
Dutch, is that his real name or an
alias? |
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AJAX
That's what he told me to call
him. |
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FILM INTERVIEWER
So you don't know? |
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AJAX
I don't care, and that's 'cause I
know he cared even less. He
probably made it up before I met
him, something simple to remember
himself by when he was too doped
up to think straight. |
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FILM INTERVIEWER
Were his actions in the alleyway
typical of his normal behavior? |
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AJAX
I tried to stay away from him when
he was high. Most people did if
they knew him well. |
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Beat. |
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15.
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FILM INTERVIEWER
Would he become violent?
Aggressive or...? |
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AJAX
If he had picked up the phone that
night and heard what I heard, he
would have walked up to that room
and shot her dead. |
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FILM INTERVIEWER
What if it had been a joke, one of
his friends putting him on? Your
saying if he had been in your
shoes, dating Victoria as you
were, he would have just walked
upstairs and killed her without a
second thought? |
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AJAX
There wouldn't have even been a
first thought. He didn't think,
that's why he needed the drugs so
bad, so he never had to. |
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Beat. |
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AJAX
Her name is Tori by the way. |
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FILM INTERVIEWER
Oh, sorry about that, in the
police reports they've got her
down as Victoria. |
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Beat. |
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FILM INTERVIEWER
This man Dutch, what was his
relation to you again? Was he an
acquaintence, emplo- |
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AJAX
(evenly)
He was a very good friend of mine. |
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Beat. |
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FILM INTERVIEWER
Was he one of the catalysts for
the situation to come? |
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16.
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AJAX
No, he wasn't the one, the police
report says that too. I know
'cause I told the detectives the
men who started this were from out
of town, and Dutch grew up in the
city, he was practically a product
of the fucking thing. |
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FILM INTERVIEWER
These men you're refering to, you
said they were from out of town? |
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AJAX
That's the best way I can describe
it. |
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Beat. |
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INT. STILLETO'S APARTMENT - DAY |
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The man from the alleyway steps into the bare apartment.
This man, TOD, is a tall, white male, his arms covered in
odd tattoos. In his hand his is carrying a newspaper. In
front of him sits STILLETO; a heavily muscled white male
covered in similar tattoos. |
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Stilleto is drawing on a thick pad of paper. Rather than
looking at the paper though, he is staring only at a potted
red rose on the sill of the apartment's only window. Around
him there are many balled up pieces of paper. Tod approaches
him after a long moment. |
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TOD (holding it out to Stilleto)
Newspaper. |
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STILLETO (paying attention to his work)
Put it with the rest. |
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Tod looks at him reproachfully for a moment, then walks to
the corner of the room. He drops the newspaper on a stack of
well over two hundred others. The papers towards the bottom
look very dated. Tod turns and walks towards the door, then
stops. |
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TOD
Your time's running out. |
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Beat. |
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17.
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TOD
You said you'd have something by
now; a name, a face. |
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Stilleto stops drawing. He looks down at the floor below the
window, an expression of extreme exhaustion on his face. |
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STILLETO
(exhausted)
I'm close, I know I am. And so do
you. I just need time, not much, a
week, maybe less. |
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Tod walks over to Stilleto and stares down menacingly at
him. |
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TOD
(angry)
Maybe you forgot you follow my
lead just as much as I follow
yours. I told you to have a face
by now, a name, a hint, a start. |
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Tod takes out a wad of cash and throws it to the floor in
front of Stilleto. |
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TOD (pointing to the money)
(angry)
Because that's the last of the
filth I'm dealing until you do.
The pills, the dope, whatever
reeking fucking poison I've had to
barter to get that, it's not going
to touch my hands again until you
get me what I need. |
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Beat. |
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STILLETO
(evenly)
If you're experiencing a conflict
of faith, I believe the door is
still standing in the same place
it has been for the past two
years. |
|
|
|
|
Beat. |
|
|
| |
STILLETO
But I also believe that we're
close now, closer than we've ever
been to reaching the end of all of
this. |
|
|
|
18.
|
|
Beat. |
|
|
| |
STILLETO
(quietly)
I only ask you don't let me reach
it's end alone. |
|
|
|
|
Beat. |
|
|
| |
TOD (motioning to the flower)
(sharply)
You've got three days. If you
haven't reached your point of
divine clarity by sunrise on the
fourth, then you can both wither
and rot here on your own. |
|
|
|
Tod walks out of the apartment. Stilleto looks up at the
rose, then lowers his head, sighing deeply. As he resumes
drawing, we see that one of the discarded drawing near him
is a portrait of a man who looks very much like Ajax. |
|
|
| |
|
EXT. STREET CORNER - DAY |
|
|
The mid day sun beats down on this desolate, seemingly
abandoned part of town. Dutch and Ajax are standing close to
the street; Dutch watching the road intently as Ajax talks
nervously at him. |
|
|
| |
AJAX
(anxiously)
I dunno, I just like being around
her, that's the only reason I keep
going over it, bringing her up I
mean. |
|
|
|
|
Dutch continues to watch the road, saying nothing. |
|
|
| |
AJAX
(anxious)
It's strange, sometimes I look at
her when she's talking to me, and
I wonder if she really knows I'm
there, like if she really knows
it's me she's talking to and
not...not somebody else. But I- |
|
|
|
| |
DUTCH (continuing to look at the road)
(half interested)
Who're you talkin' about again? |
|
|
|
19.
|
Ajax looks at Dutch with an expression of thinnly veiled
hate. Dutch doesn't noticed this. |
|
|
| |
AJAX
(evenly)
My girlfriend. |
|
|
|
| |
DUTCH (continuing to look at the road)
(half interested)
What's her name again? Nikki you
said? |
|
|
|
| |
AJAX
Her name's Tori, it's short for
Victoria but she said only her mom
calls her that, and I don't think
they talk anymore. |
|
|
|
|
Beat. |
|
|
|
|
|
|
A car has pulled onto the street ahead of them, and begins
heading their way. Dutch takes sight of it immediately, as
does Ajax. |
|
|
| |
DUTCH (interrupting)
(sternly)
Time. |
|
|
|
|
|
|
|
| |
DUTCH (turning toward Ajax briefly)
(sternly)
The time, what's the fucking time? |
|
|
|
Ajax reaches quickly into his pant's pocket and pulls out
his cellphone. He reads the time and promptly shoves it back
into his pocket. |
|
|
| |
AJAX
(anxiously)
It's one twenty eight. |
|
|
|
| |
DUTCH
(under his breath)
Early, why these motherfuckers
always early? |
|
|
|
20.
|
| |
AJAX
(anxiously)
That's them? |
|
|
|
|
Dutch turns around to face Ajax and shakes his head 'yes'. |
|
|
|
|
|
|
A duffel bag is thrown from the passenger side window of the
car. It lands thirty or so feet away from the two on the
sidewalk. Once the car is out of sight, Ajax starts moving
to pick the bag up. |
|
|
| |
DUTCH
(sternly)
Walk goddamnit. |
|
|
|
Ajax slows his pace. We see a HOMELESS MAN approaching Dutch
from behind. Dutch takes notice and turns to face the
disheveled younger man. |
|
|
| |
HOMELESS MAN
Hey man...hey man listen my car
broke down like eight blocks from
here, and...and if you got any
money, it doesn't matter man, if
you just got anything you could
spare to help me out you... |
|
|
|
The homeless man trails off as Dutch stares at him with
disinterest. |
|
|
| |
HOMELESS MAN
I'm just tryin' to get the fuck
outta here man, honestly. But
thank you either way brother,
thank you and God bless. |
|
|
|
The homeless man begins walking back the way he came. Dutch
turns and watches him for a moment before reaching into one
of his pockets. He takes out a five dollar bill, crumples it
up in his hand, and then yells after the homeless man. |
|
|
|
|
|
|
The homeless man turns quickly around. Dutch throws the
money at him, hitting him in the chest. The homeless man
scrambles frantically, snatching the bill up off the ground.
He gives Dutch a thankful nod and walks off. |
|
|
21.
|
| |
DUTCH
(under his breath)
Piece of shit. |
|
|
|
Dutch turns back around to face Ajax again. He sees that
Ajax has opened the bag and is rummaging through it's
contents. |
|
|
|
|
|
|
Ajax looks up at him quickly, startled. Dutch starts moving
speedily toward him. |
|
|
| |
DUTCH
(yelling)
Close that- |
|
|
|
Dutch stops himself, looking around to see if anyone's
within hearing distance. He then turns back and resumes
moving toward Ajax, his voice lowered now. |
|
|
| |
DUTCH
(angrily)
Close that fuckin' thing now, you
stupid or somethin'? |
|
|
|
| |
AJAX
(frustrated)
No I'm not stupid, I know what the
hell I'm doing, Christ. |
|
|
|
Ajax begins zipping up the bag. Dutch grabs it from him and
zips it shut. He shoves the bag back into Ajax's arms and
nudges him forward into the direction he himself begins
walking in. |
|
|
| |
DUTCH
(sternly)
No you don't. |
|
|
|
| |
AJAX
(frustrated)
The hell I do- |
|
|
|
| |
DUTCH
(sternly)
Then what the fuck we're you
doin'? |
|
|
|
22.
|
| |
AJAX
(exasperated)
I was checkin' if the weight was
right. |
|
|
|
| |
DUTCH
(sharply)
Weight? What weight? |
|
|
|
| |
AJAX
(exasperated)
Of the stuff in the bag, what do- |
|
|
|
| |
DUTCH
(sharply)
That's it right there. There ain't
nothin' in the bag, there ain't
nothin' in it. It's your dirty
fuckin' laundry, it's your books
for school. |
|
|
|
| |
AJAX
(exasperated)
Yeah, right man I got it. I got it
since day one. |
|
|
|
Dutch, mumbling disapprovingly to himself, looks around
again nervously. He catches sight of the homeless man from
before riding out into the street beside them on a bike. The
man sees that Dutch has spotted them and begins to speed up. |
|
|
|
|
|
|
Dutch runs out into the street to intercept the man. When
the rider swings wide and away from his grasping hands,
Dutch begins gesturing frantically to Ajax. |
|
|
| |
DUTCH
(screaming)
Grab him! |
|
|
|
Ajax throws the bag at the man, knocking him off his bike.
Dutch leaps upon him the second he's down, beating him
brutally. Ajax picks up the bag and ducks into a nearby
alley, getting into his car which is parked there. |
|
|
Within moments Dutch has beaten the man to death. Seeing his
work is done, Dutch takes his money out of his victim's
pocket and walks over to Ajax's car. He gets in on the
driver's side, slamming the door behind himself. |
|
|
23.
|
| |
DUTCH (pointing to the glove box)
(flatly)
Open that. |
|
|
|
Ajax opens the glove box. Dutch extends his open hand to
him. |
|
|
| |
DUTCH
(flatly)
The pills. |
|
|
|
Ajax hands Dutch the pills. As Dutch stuffs the drugs into
his mouth, Ajax sees that other homeless people have crowded
around the dead man's body, taking whatever valuables they
can find. The two watch this in silence. |
|
|
|
Beat. |
|
|
The homeless people, having taken all they can, now wander
away. Dutch starts the car and pulls out onto the street. |
|
|
| |
DUTCH
(awkwardly)
Well that sounds like some good
shit you got going with that girl.
I'm happy for you man. |
|
|
|
Ajax stares blankly into the side mirror at the dead body
lieing in the street. |
|
|
| |
AJAX
(quietly)
It is, thanks. |
|
|
|
Cut to the interrogation room. Ajax is still seated, staring
intently now at the film interviewer. |
|
|
| |
FILM INTERVIEWER
Do you recall any specific emotion
you felt after witnessing what
you've just described? |
|
|
|
|
Beat. |
|
|
| |
AJAX (eyes lowered)
(quietly)
Jealously. |
|
|
|
| |
FILM INTERVIEWER
Why do you believe you felt
jealous? |
|
|
|
24.
|
| |
AJAX (looking up)
Because I wanted to be able to do
something like that. |
|
|
|
| |
|
INT. AJAX'S KITCHEN - NIGHT |
|
|
Tori enters from the outside door. She is very drunk. She
moves immediately for the sink and begins vomiting. Ajax
runs into the room, checking the surroundings before turning
to Tori. |
|
|
|
|
|
|
|
Tori's stomach calms down for a moment. |
|
|
| |
TORI
(between breathes)
I'm fine. |
|
|
|
| |
AJAX
What, are you drunk? |
|
|
|
|
Tori spits in the sink. |
|
|
|
|
|
|
|
Ajax comes over to the sink and pulls her hair back. |
|
|
|
|
|
|
|
|
|
|
| |
TORI
Yeah, just giv-give me like a
minute, ok? |
|
|
|
Tori continues to lean over the sink. Ajax holds her hair
back as she does. A moment passes. |
|
|
|
|
|
|
|
|
|
|
|
|
|
|
25.
|
|
|
|
|
| |
TORI
Yeah, just don't move me re-real
fast, my stomach... |
|
|
|
|
|
|
|
Ajax slowly brings her to the ground. She sits down holding
her stomach. Ajax notices vomit on her shirt and stands up
to get something to clean it off with. |
|
|
| |
TORI
Dude, why are you such a faggot? |
|
|
|
|
Ajax turns and stares at her. |
|
|
|
|
|
|
| |
TORI
This guy came up to me tonight and
he like asked me if...if I was
dating anyone, you know? And I was
like yeah, AJ, and he goes AJ who,
and I think your last name's
Torrence so I was like 'Torrence'
and he says Ajax? And I was like
yeah, and he-he goes 'do me a
favor' and I was like 'ok, what?'
and he goes 'why don't you ask him
why he's such a faggot?' |
|
|
|
|
Tori laughs. Ajax stares at her a long while. |
|
|
| |
AJAX
Did you give him your number too? |
|
|
|
|
Tori stares at him for a moment. She shakes her head slowly. |
|
|
|
|
|
|
|
Ajax shakes his head. |
|
|
|
|
|
|
|
Ajax walks over to Tori and begins cleaning off the vomit. |
|
|
26.
|
| |
TORI
(whispering)
I was kidding. |
|
|
|
|
Ajax continues to wipe her off. |
|
|
|
|
|
|
|
Tori leans in and tries to kiss him, but he pulls away. |
|
|
| |
AJAX
(quietly)
Don't touch me. |
|
|
|
|
Ajax stands up. |
|
|
| |
TORI
(mockingly)
I love you. |
|
|
|
|
|
|
|
| |
TORI
(mockingly)
I love you. |
|
|
|
|
Ajax turns and kicks the cabinet next to her head. |
|
|
| |
AJAX
(yelling)
Shut up! Your a fucking liar! |
|
|
|
|
Ajax turns away from her. |
|
|
| |
AJAX
(angry)
It's all just bullshit with you,
and I've put up with it too
fucking long. |
|
|
|
|
|
|
|
Tori stands up and runs out of the house. Ajax runs
immediately after her. |
|
|
|
|
|
|
27.
|
Ajax's grabs her before she can run out into the street. He
pulls her back into the kitchen kicking and screaming. |
|
|
| |
TORI
(screaming)
Get off of me! |
|
|
|
|
|
|
|
| |
TORI
(screaming)
Get your fucking hands off of me,
I mean it! |
|
|
|
Ajax wrestles her over to the counter and pins her against
it. |
|
|
| |
AJAX
(yelling)
What the hell is wrong with you?! |
|
|
|
Tori calms down for a moment, then struggles again strongly.
Ajax, with effort, keeps ahold of her. |
|
|
| |
TORI
(under her breath)
Hit me. |
|
|
|
|
|
|
|
| |
TORI
Cuss at me and kick cabinets like
your some kind of bad ass, why
don't you hit me? |
|
|
|
|
Ajax's lets go of her and takes a step back. |
|
|
| |
AJAX
Think you can push me, huh? |
|
|
|
|
|
|
|
Ajax begins to tremble in anger. He turns and begins locking
the door. |
|
|
| |
TORI
(taunting)
God your a pussy. |
|
|
|
28.
|
Ajax lets his hand off of the lock. He turns and punches
Tori, knocking her out. She falls on the floor, limp. Ajax
stares at her in horror. He bends down next to her and tries
to wake her up. |
|
|
| |
AJAX
(scared)
Tori? Tori! Oh my God... |
|
|
|
| |
|
INT. AJAX'S BEDROOM - NIGHT |
|
|
Ajax is lying in bed next to Tori, holding an ice pack to
her head. He leaves to go to the bathroom. When he returns
Tori is up. She moves to him, drops to her knees, and starts
undressing him. They move to the bed and have sex. |
|
|
| |
TORI (after climax)
I love you. |
|
|
|
She wraps her arms around him and closes her eyes. Ajax
stares off into the darkness of the room as she falls
asleep. |
|
|
| |
|
INT. STILLETO'S APARTMENT - NIGHT |
|
|
Tod walks into the apartment. The floor is swept clean, and
it only takes Tod a moment to catch sight of Stilleto. He is
seated in the dark corner of the room near the newspapers,
and appears to be in an almost mediative state. |
|
|
|
|
|
|
Stilleto leans forward, holding a folded up piece of paper
out to Tod. Tod walks over and takes it from him cautiously. |
|
|
| |
TOD
You're sure this is the one? |
|
|
|
| |
STILLETO
The one we've been sent to find,
yes. |
|
|
|
|
Tod unfolds the paper and looks at it, confused. |
|
|
| |
TOD
(confused)
This is different from the others. |
|
|
|
|
Stilleto shakes his head 'yes'. |
|
|
29.
|
| |
TOD
How can you be sure this is right? |
|
|
|
| |
STILLETO
Because something changed today. |
|
|
|
|
|
|
|
| |
STILLETO
(distantly)
I don't know. |
|
|
|
|
Beat. |
|
|
| |
STILLETO (looking up at Tod)
But I felt it. |
|
|
|
|
Tod nods his head in recognition. |
|
|
|
|
|
|
Tod folds the paper back up and puts it in his pocket. He
walks over to a small closet in the opposite corner of the
room to Stilleto. Tod opens it and takes out a small baggie
of pills. |
|
|
|
|
|
|
| |
STILLETO (looking up quickly)
(urgently)
Right away. |
|
|
|
|
Beat. |
|
|
| |
STILLETO
(distantly)
Who knows how long until we get
another chance like this. Or if we
will again. |
|
|
|
|
Tod shuts the closet door. He then steps towards Stilleto. |
|
|
| |
TOD
Any ideas on how I'm supposed to
find this person? |
|
|
|
| |
STILLETO
(distantly)
You just will, or you should. But
take this. |
|
|
|
30.
|
|
Stilleto reaches down and picks something up off the floor. |
|
|
| |
STILLETO
Because whatever changed today
wasn't for the better. |
|
|
|
When he holds it out to Tod we see that it is a large knife
with a strange pattern carved into it's wooden hilt. Tod
looks at it admiringly and then takes it. He motions to the
flower as he conceals the weapon. |
|
|
| |
TOD
You might want to water that
thing, it looks like it's dead. |
|
|
|
Stilleto stands up and moves over to the potted rose. He
runs his hands over it's petals affectionetly, a look of
pity in his eyes. |
|
|
| |
STILLETO
(distantly)
Dead? No, it'll be fine, some
light and some water and it'll be
just fine. |
|
|
|
|
Tod shakes his head and walks out the door. |
|
|
| |
|
INT. AJAX'S BATHROOM - NIGHT |
|
|
Ajax is seated on the toilet examining his bruised knuckles.
Eventually he stands up and checks outside the door to see
if Tori's near. When he's satisfied she's not, he closes the
door and punches the opposite wall with his hurt hand. |
|
|
| |
AJAX (to himself)
You wanna fuck around, huh bitch? |
|
|
|
|
Ajax punches the wall again, harder then before. |
|
|
| |
AJAX (to himself)
(aggressively)
You like that, huh? You like that
you dirty fucking bitch? |
|
|
|
Ajax begins punching the wall over and over again. His
previously bruised knuckles are now pouring blood. Ajax
looks at the blood on the wall, then begins caring for his
hand. Suddenly the door to the bathroom opens. |
|
|
31.
|
| |
AJAX
(startled)
Jesus Christ! Think you could
knock? |
|
|
|
Tori stands in the doorway with the phone Ajax broke
previously (now repaired) in her hand. |
|
|
| |
TORI (holding the phone out to Ajax)
Some guy wants to talk to you. |
|
|
|
|
|
|
|
|
Tori shrugs her shoulders. |
|
|
| |
AJAX
(anxiously)
Did they say who they were? |
|
|
|
| |
TORI
No, he just said to put you on the
phone. It sounded like a young
guy, I don't know. |
|
|
|
Ajax looks at her a moment longer, then takes the phone.
Tori walks over to the toilet and sits down. She examines
the blood stained wall while Ajax talks on the phone. |
|
|
| |
AJAX (on the phone)
Hello?...That was my friend, my
girl friend...Yeah...Wait,
what?...Jesus Christ, how
much?...Are you at the same
place?...Alright yeah, I'll be
there in ten or fifteen...Yeah,
bye. |
|
|
|
Ajax hangs up. Tori looks up at him, motioning to the blood
stained wall. |
|
|
| |
TORI
Why'd you punch the wall? |
|
|
|
| |
AJAX (turning away from her)
I didn't. |
|
|
|
| |
TORI
Then why's there blood all over
it? |
|
|
|
32.
|
| |
AJAX
I didn't hit the wall, okay?
That's fucking weird, why would
someone do that? |
|
|
|
| |
TORI
I don't know, that's why I asked. |
|
|
|
Ajax sets the phone down on the counter top in front of the
mirror. |
|
|
| |
AJAX
I just wiped my hand off on it,
the blood's from before. |
|
|
|
Tori's eyes shift down to the floor. Ajax begins to walk out
of the bathroom. He just before he's out the door he turns
back to face Tori. |
|
|
| |
AJAX
(apologetically)
I've got to go meet a friend, do
you need anything while I'm out? |
|
|
|
|
|
|
|
|
Beat. |
|
|
| |
TORI
(awkwardly)
Can I come with you? |
|
|
|
|
|
|
|
| |
TORI
(embarassed)
I said can I come with you, I'll
go with you if you want me to. |
|
|
|
|
Beat. |
|
|
| |
AJAX
(surprized)
Yeah, yeah definetly. I'll
uh...I'll be downstairs when
you're ready. |
|
|
|
Ajax turns and walks out of the room. Once he's gone, Tori's
eyes drift back to the floor and she slumps down in her
|
33.
|
seat. Slowly her gaze shifts back up to the bloodstained
wall before she leaves. |
|
|
| |
|
EXT. RUNDOWN ALLEYWAY - NIGHT |
|
|
Ajax pulls his car into the alley slowly, turning off the
lights as he does. As he comes to a stop we see Tod standing
next to Dutch; who is seated on a nearby dumpster. Ajax gets
out and walks hesitantly over to the pair. |
|
|
| |
DUTCH (to Ajax)
(high)
There he is...and he's on time,
he's always on time. Hey! |
|
|
|
| |
AJAX
(anxious)
What? What's up? |
|
|
|
Dutch sticks out his hand, motioning for Ajax to hand him
the money. Ajax quickly digs into his pockets to retrieve
it. |
|
|
| |
AJAX (reaching into his pocket)
You said forty five right? |
|
|
|
| |
DUTCH
(concerned)
Yeah, you got it right? |
|
|
|
|
|
|
|
Ajax takes out the money and hands it to Dutch, who begins
counting it feverishly. Ajax glances up at Tod quickly, who
is focused intently on something else. Ajax turns his
attention back to Dutch as we see what's holding Tod's
interest; Tori. |
|
|
| |
DUTCH (leafing through the money)
(anxious)
You counted this didn't you? You
sure you counted this right? |
|
|
|
| |
AJAX
(annoyed)
What? Yeah it's right, count it. |
|
|
|
| |
DUTCH
I'm fucked up, I couldn't count it
right now if I fuckin' tried. But
your right, it's all here, if you
say it is, it is, I know it is.
(MORE)
|
|
34.
|
| |
DUTCH (cont'd)
You know why? |
|
|
|
| |
AJAX
(annoyed)
Because I wouldn't come all the
way down here with the wrong
amount? |
|
|
|
| |
DUTCH
(honestly)
No, because you're a good guy. |
|
|
|
|
Beat. |
|
|
| |
DUTCH (turning to Tod)
You know who else is a good guy? |
|
|
|
Dutch holds the money out to Tod. It takes a moment for Tod
to notice this. Once he does, Tod pockets it with a bemused
smile on his face. |
|
|
| |
TOD
(amused)
Good? I guess that would depend on
your definition of good. |
|
|
|
| |
DUTCH
(amused)
Good ain't got no definition man,
motherfuckers halfway 'cross the
world probably think our version
of good is the evilest fuckin'
thing they've ever heard of. |
|
|
|
| |
TOD
That's the truth, as far as I can
see at least. |
|
|
|
Beat. Tod turns to Ajax and outstretches his hand. The two
shake. |
|
|
| |
TOD
What's your name friend? |
|
|
|
|
|
|
|
| |
TOD
I'm the...the good man, is that
right Dutch? |
|
|
|
35.
|
| |
DUTCH
(amused)
Good for me, yeah, dunno how good
you are for him though. |
|
|
|
| |
TOD
Well I like it either way. |
|
|
|
A momentary silence settles between the three, one which
Ajax obviously finds uncomfortable. He looks back at Tori in
the car, then turns to Dutch. |
|
|
| |
AJAX
Do you need a ride home or...? |
|
|
|
| |
DUTCH
(surprized)
What, are you leaving? |
|
|
|
| |
AJAX
Yeah I gotta take her home, she's
got work in the morning, she
didn't tell me till we were on our
way here. |
|
|
|
| |
DUTCH
Well just drop her off and- |
|
|
|
| |
AJAX
Nah, I'm goin' head in tonight.
I'll give you a call tomorrow. And
if I don't call me if you need
help with work or something,
alright? |
|
|
|
| |
DUTCH
(disappointed)
Alright man, yeah. |
|
|
|
|
Ajax turns to Tod and shakes his hand. |
|
|
| |
AJAX
(politely)
Nice meeting you man. |
|
|
|
Tod nods in recognition. Ajax waves to Dutch, who doesn't
wave back, then gets in his car and leaves. Tod watches the
car go then moves closer to Dutch. |
|
|
| |
TOD
I've got a few questions I'd like
to ask before you go. |
|
|
|
36.
|
| |
DUTCH
(distantly)
About what? |
|
|
|
|
|
|
|
Beat. Tod takes out the folded piece of paper Stilleto gave
him. He unfolds it and we see that it's a drawing of Tori. |
|
|
|
|
|
|
| |
|
INT. AJAX'S KITCHEN - NIGHT |
|
|
The door opens and Tori walks in followed by Ajax. She moves
to the counter and begins going through her purse. After a
few moments Ajax can see there's something on her mind other
than the belongings in her purse. |
|
|
|
|
|
|
Tori stops what she's doing and closes her eyes. Ajax looks
at her, then down at the floor. |
|
|
| |
AJAX
(awkwardly)
I think we should talk about some
stuff. |
|
|
|
|
Beat. |
|
|
| |
TORI
(trying to fight
back tears)
Okay, yeah what? |
|
|
|
Tori's lips begin to tremble as she starts to lose a grip on
her emotions. Ajax, shocked by this, moves to comfort her. |
|
|
| |
AJAX
(dumbfounded)
What's wrong? |
|
|
|
Tori swats his hand away. Ajax looks at her indignitly for a
moment, then tries again. This time Tori pushes him away. |
|
|
|
|
|
|
37.
|
| |
AJAX
(dumbfounded)
Stop what? |
|
|
|
| |
TORI
(yelling)
Your hands! Stop trying to touch
me, or hold me, whatever the fuck
your trying to do just stop it. |
|
|
|
|
|
|
|
| |
TORI (mocking his hand gestures)
(on the verge of
tears)
'Cause I don't need you to, okay?
I don't need this all over me, I
don't need you breathing down my
neck with a hard on, 'cause that's
what you want. |
|
|
|
Tori moves to the fridge, her manner growing more and more
hysterical by the second. |
|
|
| |
TORI
(on the verge of
tears)
What I want isn't that, and right
now I'm goin' do what I want
because... |
|
|
|
Tori throws open the fridge, causing the milk carton to fall
out and spill on the floor. Once it does, Tori begins
sobbing. She falls to the floor in the mess. |
|
|
| |
TORI
(crying heavily)
Because I can. Because I can
do...whatever...I want to. |
|
|
|
|
Beat. |
|
|
| |
AJAX
You can Tori. I never said you
couldn't. You don't have to be
afraid of me, okay? |
|
|
|
| |
TORI
(crying)
That's not it...I uh...nevermind. |
|
|
|
38.
|
|
|
|
|
Tori cries shamefully for a moment, then starts to compose
herself. Ajax moves to a nearby drawer beneath the counter
top. He slides the drawer out and takes out the gun Dutch
gave him to discard. |
|
|
| |
AJAX (holding the gun out for Tori to see)
I'm here to protect you, that's
why I got this. |
|
|
|
Tori's struggling ceases. Tears still run down her face, but
the her crying fit seems to have passed. |
|
|
| |
TORI
(in awe)
You've got a gun? |
|
|
|
|
|
|
|
| |
TORI (interrupting)
(interested)
From where? |
|
|
|
| |
DUTCH
(honored)
My friend, my good friend, he gave
it to me. He said I should have
it. |
|
|
|
| |
TORI
(interested)
What's your friend's name? Have I
met him before? |
|
|
|
| |
AJAX (lowering the gun again)
(defensive)
What's that matter? |
|
|
|
| |
TORI
(apologetically)
I guess it doesn't. |
|
|
|
|
Beat. |
|
|
| |
TORI (outstretching her hands)
Can I touch it? |
|
|
|
|
Ajax looks at her and then the gun doubtfully. |
|
|
39.
|
| |
AJAX
(doubtfully)
I guess so. |
|
|
|
Ajax hands Tori the gun. She looks the weapon over
feverishly, smiling as she does. |
|
|
|
|
|
|
|
|
|
|
|
Tori snickers and continues looking the gun over. |
|
|
| |
AJAX (holding his hand out)
(annoyed)
Let me see it. |
|
|
|
Tori looks at him for a moment, then reluctantly hands the
gun over. Ajax looks at it for awhile before speaking again. |
|
|
| |
AJAX
(quietly)
Now we-or you...you don't have to
be afraid any longer, because I've
got this now and this is what
we've needed. This is all we've
needed. |
|
|
|
|
Beat. |
|
|
| |
TORI (staring at the gun)
(dreamily)
Yeah. |
|
|
|
Ajax looks at Tori, unnerved by her expression. His eyes
then move back to the gun. The kitchen door opens slowly.
Both Tori and Ajax look up in surprize. In the doorway
stands Tod, his face disguised by a ski mask. |
|
|
| |
TOD
(sing song)
Ring around the rosy... |
|
|
|
Ajax, terrified, drops the gun. It seems as if he can't
break away from Tod's gaze. Tod's knife flicks out. |
|
|
| |
TOD
(sing song)
Pocket full of posies... |
|
|
|
40.
|
Tod stabs Ajax in the gut. He pulls the blade out, watching
Ajax fall to the floor in agony. Tori gets up to run away
but slips in the milk. Tod turns to her. |
|
|
| |
TOD
(sing song)
Ashes, ashes... |
|
|
|
Tod pockets the knife and picks Tori up by her throat. She
screams loudly. Hearing this, Tod's smile broadens. |
|
|
| |
TOD
(sing song)
We all fall down! |
|
|
|
Tod slams Tori's head against the filthy floor, knocking her
out. He then picks Tori's limp body up and walks out the
door. Ajax, alone, begins screaming in pain. The overhead
light flickers as he does. |
|
|
| |
|
INT. DUTCH'S APARTMENT - NIGHT |
|
|
The apartment is filthy. The only pieces of furniture in it;
a tv, a mattress, and a small cabinet, are covered in grime.
Dutch is seated watching the tv when Ajax bursts through the
door covered in blood and clutching his broken phone. |
|
|
| |
DUTCH (turning around to face the door)
(surprized)
Hey! I thought... |
|
|
|
Dutch trails off once he gets a better look at Ajax. He
stands up quickly, looking at his friend in horror. |
|
|
| |
AJAX (stumbling)
(in shock)
I tried calling but...but... |
|
|
|
Ajax drops the phone and falls to the floor. Dutch moves
quickly over to him, awkwardly trying to turn him over and
see the extent of his injuries. |
|
|
| |
DUTCH
(scared)
Holy fuck...are you shot? |
|
|
|
| |
AJAX
(in shock)
I tried... |
|
|
|
41.
|
| |
DUTCH
(scared)
Tried what? |
|
|
|
| |
AJAX
(in shock)
To stop him...but I couldn't, I- |
|
|
|
| |
DUTCH
(scared)
Goddamnit...come on, get up. |
|
|
|
|
Ajax goes limp. Dutch pulls his quickly back up to his feet. |
|
|
|
|
|
|
Dutch puts Ajax's arm over his shoulders and carries him
back towards the mattress. He lets Ajax go to grab his keys,
then helps him out the door. On the way out Ajax accidently
steps on the dropped phone, crushing it. |
|
|
| |
|
EXT. HOSPITAL PARKING LOT - NIGHT |
|
|
Dutch's car screeches to a stop outside the emergency room
entrance. He leaps out of the car and moves to the passenger
side door, helping Ajax out of the vehicle and into the
hospital. |
|
|
| |
|
INT. STILLETO'S APARTMENT - NIGHT |
|
|
Stilleto is seated with the rose pot in hand. As he looks at
it we can see the signs of illness on his face. Eventually
Stilleto stands and puts the rose back on the window sill.
Tod enters with Tori a moment later. |
|
|
Stilleto turns and sees Tori. He is awe struck by the sight
of her, and has to compose himself before moving over to the
pair. Tod gently forces her to the ground as Stilleto
approaches. |
|
|
| |
STILLETO
I had many doubts that this day
would come. If it hadn't... |
|
|
|
Stilleto shakes his head. Tod sees this and lowers his eyes.
Stilleto slowly sits down indian style in front of Tori. She
refuses to make eye contact with him, until he reaches out
and caresses her cheek. |
|
|
42.
|
|
|
|
|
Tori begins crying. Stilleto takes his hand away and looks
at her for a moment knowingly. |
|
|
|
|
|
|
| |
TOD
(in protest)
What? Why? |
|
|
|
Stilleto looks resolutely up at Tod. After a moment Tod
reluctantly removes the tape from Tori's lips. Once he does,
Tori makes an effort to try and choke back her tears. |
|
|
| |
TORI (trembling)
(terrified)
I won't scream...if you're going
to hurt me I won't scream, just
don't kill me...please. |
|
|
|
Stilleto lowers his eyes and sighs. He looks up at her again
for a moment, then stands up, offering her his hand.
Reluctantly Tori takes it and Stilleto helps her up. When he
starts leading her to the closet she begins to struggle. |
|
|
| |
TORI
(scared)
No, no I don't... |
|
|
|
Tori twists in Stilleto's arms. She looks back and catches
sight of Tod. He's holding the knife and staring at her,
wiping the bloodied blade on his pant's leg. Tori stops her
stuggling and allows Stilleto to walk her into the closet. |
|
|
| |
TORI
(on the verge of
hysterics)
Are you going to kill me? You're
going to kill me aren't you? I
lied, I'll scream, I'll scream so
loud that everyone in this
building will here and they'll
call the cops and...and... |
|
|
|
Stilleto takes hold of her arms and guides her down until
she's seated on the closet floor. He crouches down in front
of her, keeping his hold on her firm. |
|
|
43.
|
| |
STILLETO
(calmly)
You don't have to scream and you
don't have to die. When the time
is right, all you have to do... |
|
|
|
|
Beat. |
|
|
| |
STILLETO (CONT'D)
(calmly)
Is listen. |
|
|
|
| |
TORI
(on the verge of
hysterics)
Listen to what? What are you going
to tell me? Why you took me? Why
I'm here? |
|
|
|
Stilleto disregards her questions and places his hands on
her face. He leans in and kisses her forehead while Tori
continues ranting. Stilleto then shuts the door on her and
leans against the outside panel. |
|
|
| |
TORI (O.S.)
(hysterical)
Can't you answer me? Can't someone
just fucking tell me why I'm here?
Huh? Can't you just do that?
Goddamnit let me outta here, you
sick fucks, I'll scream, I swear
to God I'll scream, do you hear me
you sick fucking pieces of shit,
do you hear me?! |
|
|
|
|
Beat. |
|
|
| |
TORI
(crying)
Do you? Doesn't anyone hear
me?Doesn't anyone hear me at all? |
|
|
|
Tod, disgusted by Tori's screams, walks out the door.
Stilleto watches him leave, then lowers his head and closes
his eyes as Tori goes on screaming throughout the night. |
|
|
| |
|
INT. DUTCH'S APARTMENT - DAY |
|
|
Ajax awakens on the mattress. He looks around the room,
obviously disoriented. Dutch is intently watching tv with
his back to Ajax. Ajax tries to move but stops suddenly,
gasping in pain. Dutch hears this and turns around quickly. |
|
|
44.
|
| |
DUTCH
(anxious)
Oh shit, hey don't move, just stay
still okay? I gotta... |
|
|
|
Dutch turns back around and starts milling around the area
to the right of the tv. When he turns back around he's
holding a bottle of pills. Ajax relaxs and looks up at
Dutch. |
|
|
| |
DUTCH (unscrewing the bottle cap)
Alright, you gotta take some
medicine. Two pills, but I'm gonna
give you four. |
|
|
|
| |
AJAX
(cautious)
What is it? |
|
|
|
| |
DUTCH (shaking the pills into his hand)
Don't worry about it, doctors made
it, it ain't goin' hurt you. |
|
|
|
Dutch hands the pills to Ajax. Ajax stares at them
distrustfully. |
|
|
| |
AJAX
Why four instead of two? |
|
|
|
| |
DUTCH
You were supposed to take two
yesterday. |
|
|
|
|
Ajax looks up at Dutch confused. |
|
|
| |
DUTCH
You been asleep the last two days. |
|
|
|
|
Beat. |
|
|
| |
DUTCH (offering the pills to Ajax)
Take 'em. |
|
|
|
Ajax hesitates a moment longer before taking the pills from
Dutch. |
|
|
|
|
|
|
Ajax ingests the pills then lies back down. He lifts up his
shirt slowly and takes a look at his stitches. |
|
|
45.
|
| |
DUTCH
No bleeding on your insides, knife
missed your guts. You just gotta
sit here and get better. Wanna
watch some tv? |
|
|
|
Dutch pushes the tv towards Ajax. Ajax looks at it for a
moment, bewildered by the violent images currently on the
screen. Suddenly a look of realization dawns on Ajax's face.
He pushes the tv away and looks up at Dutch. |
|
|
|
|
|
|
|
|
|
|
| |
AJAX
Tori, did they find Tori? |
|
|
|
| |
DUTCH (lowering his eyes)
Yeah I remember, you said
something about that in the car.I
told the lady behind the counter
about it, she told the cops. |
|
|
|
Ajax rolls over on his side again, this time with his back
to Dutch. He stares off into the darkness as Dutch goes on. |
|
|
| |
DUTCH
Sometimes shit like this just
happens. An old man gets shot over
a couple of bucks, little kid gets
run over and the car keeps on
goin'. It don't mean nothin', and
it sure as hell wasn't their
fault. That's just people. |
|
|
|
|
Dutch turns back around and begins watching tv again. |
|
|
| |
DUTCH
(distantly)
'Cept on the tv. That's got a
message most times. People seem to
do whatever the fuck they want to
on there. Fuck, that makes it
better than life I guess. |
|
|
|
|
|
|
|
46.
|
Dutch starts laughing at something on the tv. Ajax continues
on staring off into the darkness of the room. |
|
|
| |
|
INT. STILLETO'S APARTMENT - DAY |
|
|
Tori awakens on the closet floor, rubbing her injured head.
Light is coming through the cracked door. She gets up and
peeks out. Stilleto is watering the rose on the floor near
the door. When he sees Tori he pushes the rose towards her. |
|
|
| |
STILLETO (nodding to the rose)
Come see. |
|
|
|
Tori peers out the door both ways, then looks back at
Stilleto distrustfully. |
|
|
|
|
|
|
|
|
|
|
| |
STILLETO
No, I don't do that. |
|
|
|
| |
TORI
Yes you do. You're doing it right
now. |
|
|
|
|
|
|
|
Tori looks at Stilleto a long while trying to make up her
mind. |
|
|
| |
TORI
I can see fine from here. |
|
|
|
Stilleto looks at her for a moment with geniune
disappointment. He then slides back over to the rose and
begins admiring it again. Tori watches this distrustfully. |
|
|
|
|
|
|
|
Stilleto looks up at her, confused. |
|
|
| |
STILLETO
What kind of question is that?
This is who I am. I'm right here
can't you see? |
|
|
|
47.
|
| |
TORI
I mean do you have a name? What am
I supposed to call you? |
|
|
|
| |
STILLETO
Call me whatever you want to. My
name doesn't matter, I don't think
I really have one to begin with. |
|
|
|
|
Beat. |
|
|
| |
TORI
(anxiously)
My name's Jessica. |
|
|
|
| |
STILLETO (looking up at her)
Really? |
|
|
|
| |
TORI
(anxiously)
Yeah, really. |
|
|
|
| |
STILLETO
Now who's lying? |
|
|
|
| |
TORI
(defensive)
What do you mean, I'm- |
|
|
|
| |
STILLETO
The man who brought you here told
me your name, it's Victoria. |
|
|
|
|
Beat. |
|
|
|
|
|
|
| |
STILLETO
No, it's Victoria. Tori's an
abbreviation, something
like...something like a short
handed compromise. It's what
others who didn't know you or
didn't care to called you, isn't
it? |
|
|
|
|
Tori stares at him indignantly. |
|
|
|
|
|
|
48.
|
|
|
|
|
|
|
|
|
| |
TORI
I'd like to know why I'm locked in
a closet. |
|
|
|
| |
STILLETO
It's not locked, obviously. You're
just staying behind the door
because you assume I mean you
harm. |
|
|
|
|
|
|
|
| |
STILLETO (looking up at Tori)
Well if you keep thinking like
that then yes, I suppose I do. |
|
|
|
| |
TORI
Then how am I supposed to think?
If that's why I'm here, tell me
how I'm supposed to think. |
|
|
|
| |
STILLETO
That's the problem right there. |
|
|
|
|
|
|
|
| |
STILLETO
I'm not supposed to tell you how
to think. No one is. I'm only here
to share a message. |
|
|
|
| |
TORI
Well I'm listening, I said I'd
listen. Whatever message you've
got, I'll hear you out if that's
what you want. Just tell me, I'll
listen. |
|
|
|
| |
STILLETO
No you won't, you already refused
to. |
|
|
|
| |
TORI
No I didn't, that's a lie. |
|
|
|
49.
|
| |
STILLETO
No, again, I don't do that. |
|
|
|
| |
TORI
When did I say I wouldn't listen? |
|
|
|
| |
STILLETO
When you decided to cringe behind
that door and not see what you
were asked to see. |
|
|
|
| |
TORI
What, that flower, the-the rose? |
|
|
|
|
Stilleto nods his head 'yes'. |
|
|
| |
TORI
(cautiously)
How's that a message? It's just a
rose. |
|
|
|
| |
STILLETO
There it is again, that short
handed compromise. |
|
|
|
|
Beat. |
|
|
| |
STILLETO
If this is just a rose then you're
just a person. If this has no
meaning, how do you? And if you
have no meaning maybe starving to
death in a locked closet or being
raped and stabbed repeatably
wouldn't be an unjust end for you.
Because you're just a person,
right? |
|
|
|
Stilleto tries staring Tori down. She does not look away,
but her lip begins to quiver and eventually a single tear
rolls down her cheek. Stilleto sees this and turns his back
to her, now only staring at the potted rose. |
|
|
| |
STILLETO
No, no more short handed
compromises here Victoria. Here
everything has a purpose, even a
rose. That's just existence. I
hope you can find your's, for your
own sake. |
|
|
|
50.
|
Tori shuts the closet door soundly. Stilleto closes his eyes
for a moment, then opens them again and looks out the
window. |
|
|
| |
STILLETO
Maybe all of ours'. |
|
|
|
| |
|
INT. DUTCH'S APARTMENT - DAY |
|
|
Ajax, alone in the apartment, sits on Dutch's mattress. He
seems to be making himself at home, analyzing a half empty
pill bottle. Dutch stumbles in, obviously intoxicated,
giving Ajax a start. |
|
|
| |
DUTCH
(suspicous)
Who let you in here? |
|
|
|
|
|
|
|
| |
DUTCH
(frustrated)
I didn't ask you who...I
mean...me, this place, it's mine.
I don't know where the fuck you
people get off walking in here
without asking me. |
|
|
|
| |
AJAX
(hurt)
You people? It's just me, Dutch.
Nobody else. |
|
|
|
| |
DUTCH
(dazed)
I know they were here, I got eyes.
Lots of 'em. I see all of it. I
see 'em walk in here, see 'em
everytime they... |
|
|
|
Dutch trails off. He appears to have heard a noise of some
kind. Ajax looks around the room, trying to see what has
captured Dutch's attention. |
|
|
| |
DUTCH
There it is again... |
|
|
|
|
|
|
|
51.
|
| |
DUTCH
(venomously)
That goddamn, fucking music. |
|
|
|
|
Beat. |
|
|
| |
AJAX
(confused)
I don't hear any music. Where's it
coming from, outside? |
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Dutch closes his eyes. He grasps his forehead in pain. |
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DUTCH
(pained)
Why won't it stop, why won't it
ever stop... |
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Dutch drops to his knees. Ajax stares at him a moment before
moving to help him. When he makes the move, Dutch hears the
shake of the pill bottle. He turns around immediately. |
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| |
DUTCH
(frantically)
Give 'em. |
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Ajax outstretches his hand and Dutch snatches the pills
away. He takes his fill then sits, letting them take effect.
Ajax watches this process intently. |
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| |
DUTCH (looking at the bottle)
You took some, there's less in
here then there was before. |
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AJAX
That's because you just took some. |
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Dutch looks at the bottle and frowns. |
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Dutch smirks. He closes the bottle and looks at it in his
hand. |
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AJAX
(cautiously)
Is the music gone? |
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52.
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| |
DUTCH
(not paying
attention)
What? |
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AJAX
The music you were talking about,
can you hear it anymore? |
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Dutch begins shaking the bottle up and down, which produces
a loud rattling sound. |
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Dutch stops shaking the bottle. |
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AJAX
Does it sound better than the
other stuff? |
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DUTCH
Nah, it all sounds like shit to
me. |
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AJAX
So what's the difference? |
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Dutch shakes the bottle twice. |
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DUTCH
(CONT'D)
Is my music. My sound. It starts
when I want it to, it ends when I
want it to. |
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|
Beat. |
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DUTCH
You ever heard the term
'invasive'? |
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53.
|
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DUTCH
(annoyed)
Of course you have. What's it mean
then, smartass? |
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AJAX
It uh...it describes something
that like intrudes, imposes itself
on other things it's around. |
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DUTCH
(interested)
What's it do to those things it
uh...imposes on? |
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AJAX
Dunno, depends. Word's got a bad
connotation though. |
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AJAX
Connotation. The way the word's
usually used. When I've heard
people use it, it usually means
something bad. Destructive, you
understand? |
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DUTCH
(defensive)
Yeah I understand, I'm not a
fucking idiot. |
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Dutch gets up and walks toward the mirror. He stops short of
it, almost in fear. He turns towards Ajax who continues to
watch him closely. |
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| |
DUTCH
You ever feel like something's
being invasive to you? |
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Beat. |
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54.
|
| |
AJAX
(quietly)
Feel like that- |
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DUTCH
(interrupting)
Everything's invasive to me.
People tell me what to do, roads
tell me where to go. Buildings
even decide how much of the
goddamn sky I can see. Block out
the sun, the clouds. All they
leave behind are shadows, big dead
shadows down here for me. |
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Beat. |
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DUTCH
And you know what happens to
things that get left too long in
the dark, Ajax? |
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AJAX
(quietly)
They get cold. |
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DUTCH
Yeah, and they rot. |
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Beat. |
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DUTCH
And the more I hear that music,
the more people don't listen, the
more they take and take and take,
the more I rot. And something
spoiled can't be repackaged or
cleaned off good as new. All you
can do is throw it out, or let it
sit around till some poor fuck
bites into it and kills 'em both. |
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Beat. |
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DUTCH
This place is poison. And that
money was suppose to get me out,
out before the infection got
terminal. And yeah, I know what
terminal means, I had to look that
one up, but I know what it means. |
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55.
|
Ajax's eyes begin to tear up. He makes a strong but unsubtle
effort not to cry. |
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DUTCH (seeing Ajax's expression)
What's wrong with you? |
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Ajax's shakes his head unknowingly. |
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AJAX
(quietly)
I don't know. |
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AJAX
(defensively)
I said I dunno. |
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Tears begin rolling down his face. Dutch looks at him for a
moment, then slowly gets up and walks over to Ajax. He
awkwardly pats his crying friend on the back. Ajax pulls
away. |
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Dutch sits down next to him and begins patting Ajax's back
again. |
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DUTCH
(awkwardly)
You alright? |
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AJAX
(choked up)
I dunno. |
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Beat. |
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AJAX
(choked up)
I dunno at all. |
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|
INT. DUTCH'S CAR - NIGHT |
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Ajax is lying back in the reclined passenger seat. He is
holding Dutch's shirt over his wound. Dutch, shirtless,
|
56.
|
speeds around a turn and pulls into the hospital parking
lot. |
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| |
FILM INTERVIEWER (V.O.)
Do you recall what you were
thinking during that car ride?
Thinking after the attack itself
for that matter? |
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Dutch pulls Ajax out of the car. He hoists him up and helps
him towards the entrance to the ER. |
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FILM INTERVIEWER (V.O.)
(awkwardly)
Any kind of emotion, or thought
that was running through
your...your head? Anything like
that? |
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Ajax falls down mere feet from the entrance. Dutch begins
screaming at him, then at the building, gesturing as if for
help. Dutch gives up and picks Ajax up again, dragging him
finally inside the automatic doors. |
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|
Cut back to the interrogation room. Ajax's eyes are lowered
to the table, he seems unresponsive. |
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FILM INTERVIEWER
(awkwardly)
Possibly? Or no, you just felt
nothing? |
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Ajax shakes his head slowly "no" . |
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FILM INTERVIEWER
(awkwardly)
We can take a break, would you
like us to take a break? We can
all meet back here in twenty
minutes or so, sound good? |
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Ajax looks up. |
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FILM INTERVIEWER
You seemed unresponsive, I just
assumed maybe it would be a good
time for personal reflection
possibly, if you would like to be
alone I mean. |
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57.
|
| |
AJAX
(unconvincingly)
I'm fine. |
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FILM INTERVIEWER
Are you sure? We can stop at
anytime, really. Just cut these
cameras, you can have all the time
you feel you need. Alright? |
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Beat. |
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FILM INTERVIEWER
Okay. Well, can you recall any one
emotion, or rather...do you think
you could shed, I don't want to
say shed...do you think you could
reveal to us the effect this
attack had on you, psychologically
speaking? |
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AJAX
(hollowly)
He tried to kill me. |
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Beat. |
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AJAX
(hollowly)
He did I guess. Right there in the
kitchen, yeah, I guess he did. |
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|
INT. STILLETO'S APARTMENT - NIGHT |
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Stilleto, paper in hand, opens the closet door. Tori looks
up at him wild-eyed from inside. Stilleto sits down just
outside the door and returns her gaze. |
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Stilleto slides the paper over to her. She moves away in
fear, bunching up in the far corner. Stilleto's expression
hardens. |
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STILLETO
(sternly)
Don't do that, not with me. |
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58.
|
Tori's expression darkens. Suddenly she starts screaming
violently. Stilleto just stares at her until she stops. |
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| |
TOD (O.S.)
(yelling)
That's it goddamnit! That's
fucking it! |
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|
Tod comes running upstairs. Before he can make it up though,
Stilleto slams the upstairs door on him. Infuriated, Tod
stomps back downstairs. |
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| |
STILLETO
That hurt my ears. |
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|
Tori goes to scream again. But before she can, Stilleto pins
her to the ground and screams in her face. He lets her go
and she jumps back into the corner of the closet, terrified. |
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TORI
(on edge)
Get away from me. |
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TORI
(on edge)
Please, just get the fuck away
from me. |
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STILLETO
(sternly)
I asked if you understood. |
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TORI
(distressed)
Understood what?! What are you
talking about? |
|
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|
Stilleto quickly grabs her and pulls her close. He smacks
her hard then restrains her in a choke hold. |
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| |
TORI
(terrified)
Get off of me! |
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STILLETO
Learn and I'll leave. |
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59.
|
| |
TORI
(suffocating)
Please, I can't...I can't breath! |
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STILLETO
If you can't learn you then you
won't breathe. |
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TORI
(suffocating)
I'll do it...please...I
can't...your choking... |
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|
Stilleto let's her go. She falls over coughing violently.
When she regains herself, she turns and looks cautiously at
Stilleto. |
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| |
STILLETO
Action, reaction. Reciprocity
creates balance, and for anything
to work, anything at all, there
must be balance. Do you understand
this? |
|
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|
Tori shakes her head "yes". |
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| |
STILLETO
You hurt my ears, I hurt your's. I
hit you... |
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Beat. |
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| |
TORI
(anticipating a
trick)
No. |
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Stilleto immediately smacks her across the head. Tori
quickly returns the hit. |
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| |
STILLETO
(yelling)
Again! |
|
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|
Tori strikes him again. Stilleto, unphased, waits until Tori
calms down to speak. |
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60.
|
|
Beat. |
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| |
STILLETO
This door is open now, but not for
you to leave. Later you'll tell me
what you've read, you'll listen,
then sleep. Understand? |
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| |
TORI
(cautious)
What, read the paper and tell you
what? |
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Beat. |
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| |
TORI
Are you going to kill me? |
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|
Strong emotions wash over Tori's face. Lip quivering, she
responds. |
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| |
TORI
(terrified, angry)
Why? |
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Beat. |
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Stilleto stands up and walks away into the room. |
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FADE OUT. |
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| Feedback |
| From Boris Novak |
Date 1/31/2007 |
|
| VERY nice! Pacing is great, characters are believable, dialogue realistic and formatting properly adhered too. This screenplay has some guts and a few good emotional kidney shots to keep the reader entertained for sure. Great work! Write on! |
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