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by Jonathan Rutan (rutan07@yahoo.com)

Rated: R   Genre: Westerns   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.


The rays of a new sun peak over the horizon and fall onto an
old blue pickup that is parked in the middle of the tarmac.
Behind the wheel of the car sits MR. AARON, early sixties,
muscular, with sharp blue eyes. A slight cough rattles his
frame. He puts down a half-eaten burger that is in his hand
and hacks into a closed fist.
                       MR. AARON
Damn...fucking cough...damn!
Always thought something like this
would be what killed me.
The coughs stop and Mr. Aaron reaches for his dropped
burger. The food has fallen onto a large brown bag at his
side and Mr. Aarons' hand plays lightly over both items. He
picks up each and taps at a small bulge found at the bottom
of the bag.
                       MR. AARON
She gave us an extra one. That
stupid bitch actually did
something nice and gave us an
extra one right when we'd decided
that it was time for her to go.
What a world!
Mr. Aaron finishes his burger. He lets the bag fall away
and wipes his hands on his old and faded blue jeans before
he opens the driver side door. He throws his legs out onto
the cracked cement and huddled patches of burned grass
below. Mr. Aaron stands on the tarmac and reaches back into
the car to dig around for an old brown cowboy hat left on
the floor next to the passenger seat. He picks it up and
places it on top of a silver mane of hair as he turns to
face the boy who sits in the open bed of the truck.
                       MR. AARON
Did you hear what I said?
TRAVIS WEARY, a young boy, barely eighteen, with greasy
white skin still showcasing stubborn red acne scars, looks
up. He sits on the edge of the truck, his feet hang over
the deserted runway, as he turns towards Mr. Aaron.
                       TRAVIS WEARY
No, I didn't catch it. You were
in the car.


                       MR. AARON
It's a truck.
                       TRAVIS WEARY
Whatever. What did you say?
                       MR. AARON
Don't whatever me, boy! Everything
I tell you is just another
direction that you can use on how
to be more like me. It's a truck!
Say it!
                       TRAVIS WEARY
It is a truck. Sorry.
                       MR. AARON
Don't be sorry neither. True men,
men that are hard and ready to
face life, never apologize. I'm
just trying to let you know how
the world works, the real world
and not that be nice to others
crap you get on the television all
the time. I'm talking about the
world where men ride trucks, not
cars, and smoke cigarettes and
fuck whomever they please. That
is the world you wanted to get
from me and that's the one we've
just begun to explore.
                       TRAVIS WEARY
Okay! Okay! I get it. What did
you say in the truck?
                       MR. AARON
She gave us an extra burger.
Travis looks over his shoulder into the inside of the
vehicle. He sees the brown bag that has been left on the
passenger seat and then moves his eyes to the still wrapped
in foil burger that Mr. Aaron gave to him when they parked
in the airport. It rests right beside him and has yet to be
                       TRAVIS WEARY
So. Why do I care? I haven't
finished with the first one you
gave me and I don't want another.


                       MR. AARON
That's the whole point. Before we
got around to putting her down I
ordered and paid for three
burgers, only three. Now I've
eaten two, you've still got yours
to enjoy, and that means she
packed us an extra out of the
kindness of her heart. Isn't that
                       TRAVIS WEARY
Yeah, it's swell. But I don't
want it. You take it.
                       MR. AARON
I am a man of many appetites but
once they're filled they're
filled. I don't want it either.
                       TRAVIS WEARY
So what then? I don't want it,
you don't want it, I suppose we
should take it back? Is that it?
Mr. Aaron lets a wide grin play across his sun beaten,
leathery, face. He keeps it on his lips as he turns back to
the open front door of his truck.
                       MR. AARON
That is exactly what we're going
to do.
Mr. Aaron jumps inside and gets behind the wheel. He brings
the engine to life and pumps the gas to bring the truck
further into a MIGHTY ROAR. He shuts his door as Travis
springs out of the bed and runs to the passenger side.
Travis opens his own door and gets inside.
                       TRAVIS WEARY
Please tell me you're joking!
With the car still in park Mr. Aaron just gazes at Travis.
                       MR. AARON
Why would I be joking? We rushed
out of that bar because you were
getting nervous and hell...I was
hungry. That was a mistake. You
hit her pretty hard and all with
that hammer I gave you but she was
still twitching the last I looked
and its a shame for a boy as young
as you to miss out on some final


                       MR. AARON (cont'd)
breathes. Such a thing is
important, religious almost, and I
should have kept you there until
the death was in her eyes and she
had gone as quiet as any good
woman ought to be.
                       TRAVIS WEARY
But...but...but what if someone
found her? What if the cops are
                       MR. AARON
Thought you told me we'd locked
every door. How could anyone find
                       TRAVIS WEARY
We did. We did lock every door
but the place usually never closed
until right about now so someone
may have gotten interested in why
things were different. The law
could be all over! We can't go
                       MR. AARON
Why did you come to me?
                       TRAVIS WEARY
                       MR. AARON
I said why did you come to me,
boy! Why!
                       TRAVIS WEARY
I...I...I saw you talking to her
in the bar and she said you were
some kind of old bad boy who
played by his own rules and I had
to find out about that. I had to
know how you did it, how you lived
so free, so I followed you to that
motel and knocked on your door.
                       MR. AARON
And that was over a month ago by
now wasn't it?
                       TRAVIS WEARY
Y...yes...yes sir.


                       MR. AARON
Well apparently you've already
forgotten the truth of what I told
you that first day you came
begging at my room. Being free is
about desire, your desire. It is
about what you want whenever you
want it and not letting anyone
ever stop you. This is the freedom
you wanted and no matter the risk
you have to follow it.
                       TRAVIS WEARY
I understand.
                       MR. AARON
No you don't, you're not ready
yet. If you were ready you
wouldn't need me to guide you but
you do need me, Travis. There is
something in your blood, a
darkness in your veins, but it is
subdued, it is kept down, and I'm
the only one who can bring it out.
I'm the father you've always
wanted, boy! I won't leave you, I
won't ever do that, and I will
teach you everything you need to
know to make you into the man you
need to be. You have evil inside
of you, I sensed it the first time
we met, but you have to follow
what I say, you have to respect
me, in order for it to grow. A
truck is a truck, not a car. A
boy who has a bitch for a mother
needs to get rid of her if he
wants his own life. And when it
comes right down to it death is
about as beautiful as it gets in
this world. It is fucking church
worthy so we have to go back and
check her out. If we're lucky she
may even still be alive and you
can use that hammer again.
                       TRAVIS WEARY
Is it really a religious
experience to watch someone go?
                       MR. AARON
You bet your ass it is. It's the
closest thing to seeing God
himself without experiencing your


                       MR. AARON (cont'd)
own demise.
Mr. Aaron puts the car in drive and heads out of the
                       MR. AARON
Why don't you pull out that hammer
just in case. We can use it on
any pesky cop that might be nosing
about as well as using it on your
mother if she's up for another
round. You can smack her a few
more times and work off even more
of that aggression you have over
how much she neglected you.
Travis reaches for the sun burnt leather of the glove
compartment in front of him and opens it up. He puts his
hand inside and rummages around for a second before he pulls
out a worn and rusted ball peen hammer.
                       TRAVIS WEARY
If it is a religious experience
then I guess we have to go. But I
sure hope she's already gone no
matter what you say. I really
don't feel like hitting my mother
again just now. Not right now.
                                         CUT TO:
The dim light of the sun makes it way through the many half
closed blinds of the numerous windows on the one front wall
that faces the parking lot. Four small circular tables sit
around one run down green felt pool table while in the
corner of a far wall an old yellow and red jukebox glows
strongly as if in wait of a request for a tune. Behind the
tables, and over the length of the bar, is a scarred and
worn wood counter top with a few stools lined up in front of
it. It is past that counter, through a set of double doors,
that the kitchen of the Weary Inn is located and heard
through the closed doors are the BARELY AUDIBLE sounds of
intermittent moans for help. As the moans go on another
noise PIERCES the night, it is the sound of a car as it
drives up outside and parks. As soon as the cars engine goes
dead two doors are heard as they open and close. SOFT
FOOTSTEPS make they're way towards the front door of the bar
and a sound of a key as it hits a lock fills the air. The
front door to the Weary Inn swings wide.


                       MR. AARON
See kid, I told you no one would
be here.
                       TRAVIS WEARY
Yeah, you were right. I guess no
one really cared too much about
this place to be interested when
it closed early. Should have
figured that.
Travis closes the door behind him and makes sure he hears
the dead bolt lock home before he turns back around. Mr.
Aaron has moved over to the jukebox and puts a few coins
into it as the Rolling Stones song "Paint it Black" blares
loudly into the still room. Travis jumps from the sound as
he watches Mr. Aaron do a slight shimmy to the music.
                       TRAVIS WEARY
Turn that thing off!
                       MR. AARON
                       TRAVIS WEARY
Someone might hear!
Mr. Aaron shakes his head and walks towards Travis.
                       MR. AARON
No, no one will hear. People come
to this dump on the edge of town
because it is the only place to
come to but it still remains a
place on the edge of town. The
only thing nearby is that damn
motel and it is about a mile away.
No one will hear so the music
stays. Besides, I thought we
might need it to cover up the
sound when you go into the kitchen
to finish her off. I may be able
to stand the sight of some pretty
gruesome things but after I eat I
just can't stomach hearing
anything awful. Just can't
stomach it.
Travis stares at the closed maroon doors that are behind the
long wood counter. They are motionless and reveal nothing of
the kitchen.


                       TRAVIS WEARY
She's...she's...she's still alive?
                       MR. AARON
Didn't you hear her when we came
                       TRAVIS WEARY
Kind of busy locking the door.
Guess I missed it.
                       MR. AARON
Well she was moaning. Very soft
so I suppose it's no surprise that
a kid like you missed it but it
was there. She was moaning, in
the kitchen where we left her, so
go end it.
                       TRAVIS WEARY
I...I...I forgot the hammer. It's
in the truck.
                       MR. AARON
Of course you forgot. You forgot
it because you're nervous, because
you're scared, but this is
something that must be done. You
want to be free, right?
                       TRAVIS WEARY
                       MR. AARON
Free to do whatever you please
whenever you please.
                       TRAVIS WEARY
                       MR. AARON
Free to indulge your every fantasy
no matter how much society may
look down on you for it.
                       TRAVIS WEARY
Yes. Yes! That is why I searched
you out. To find what you had that
I could never get.
                       MR. AARON
I know kid. I know. I came back
to this waste of a town to reflect
on my life but once I saw you I


                       MR. AARON (cont'd)
knew something else had been
granted unto me. I found a
kindred spirit, a person very much
like me...I found you. You're not
perfect yet...not nearly perfect
yet...but you are my chance to
pass on my life, my legacy. You
want what I got but the only way
to have that is to sever all ties
with your past. Forget about the
hammer, that was just what we had
on hand when we began. Go into the
kitchen and grab whatever you can
grab and finish her off. Once she
is gone then you'll be even closer
to being exactly like me.
                       TRAVIS WEARY
I don't...I don't think I can.
                       MR. AARON
Didn't she let him do all those
things to you for seven long
years? She saw him touch you,
didn't she, she watched and never
once moved to stop it because she
said she loved him and was afraid
he would leave her! Didn't she do
                       TRAVIS WEARY
She did.
                       MR. AARON
And didn't she also refuse to let
you go chase after him when he
finally took off to raise that
little girl of his in that other
town? Your own half-sister, she
didn't even let you go rescue her
from him! Hell she also refused
to give you her last name or even
his but instead stuck you with the
name of this town, Weary, Texas,
all because she said you were just
like this place! Small and tiny
and good for nothing! Didn't she
say that? Didn't she do all of
                       TRAVIS WEARY
She did! She did! Oh God she did!


                       MR. AARON
Then go into that damn kitchen and
kill the bitch! She deserves it!
Go and do it and be free!
Travis drops to his knees in tears. He begins to rock on
the worn wood floor of the Weary Inn as Mr. Aaron looks down
on him in disgust.
                       TRAVIS WEARY
I can't! I can't! When I hit her
with the hammer I was angry, just
angry! She wouldn't apologize! I
confronted her like you said I
should, I threw everything
horrible at her that she'd ever
done to me, and she just laughed.
She looked at me and laughed and
then dug into her purse for a
cigarette. I had to hit her
then...I had to! But
now...now...oh God I can't go back
in there and see what I did to
her. I just can't!
Mr. Aaron crouches down before Travis and examines the boy
for a second. He watches as Travis cries and then grabs him
by the many tangles of his long, mangy, hair and pulls his
head back to expose his throat. Travis grimaces and stares
upward at Mr. Aaron.
                       MR. AARON
You're fucking weak! You know
that don't you! Fucking weak
little boy who wants to play grown
up because he's just reached an
age where he can vote or go off to
war! Well your balls may have
dropped long ago but just because
you've got a pair that doesn't
make you a man! You have to earn
that, you have to stick the blade
deep into some warm flesh and feel
the life burst out into your
hands! You have to take the women
you meet and use them until
they're spent and have nothing
left to give! But you don't want
to kill, you probably don't even
want to fuck, and that is
okay...for now that is just
fine...because I don't have a lot
of time left on this planet and I
know you have the ability boy, I


                       MR. AARON (cont'd)
know it. It is in your blood,
probably given to you from your
bastard father! There is
something wrong, bent, in your
blood and I will use that! I will
carry you for a while more!
Kicking and screaming I will carry
you until you're ready to stand on
your own! I'll even take care of
your mother! No matter how much I
will have to listen to every
scream she makes I will take care
of her and all you have to do is
Mr. Aaron pulls Travis to his feet by the bunch of hair
still clumped in his hands. They head towards the kitchen.
                       TRAVIS WEARY
What...what are you going to do to
Stopped short by Travis' question Mr. Aaron pauses in mid
step. He smiles and pulls back Travis' head again so that
the boys throat is once more thrust out and exposed.
                       MR. AARON
I'm going to find the biggest
knife in that room and I'm going
to cut her. I'm going to cut her
As he talks Mr. Aaron uses a finger to poke at Travis'
stomach. It is a motion not unlike a stab and when he is
done with Travis' stomach he moves on to make a quick slice
across Travis' throat.
                       MR. AARON
I'm going to make sure you see how
killing is really done because
after this, when we're finished
and head on to settle things with
your old man for what he done, I
ain't going to let you skate.
You're going to butcher that
bastard and you're going to know
how to do it right. Now come see
what real living is all about.


Mr. Aaron pushes Travis into the kitchen. The song "Paint
It Black" has long since died out and as the kitchen doors
swing wide we once more hear the low moans of Travis' mother
before the doors shut and everything goes back to silence.
                                         CUT TO:
The sun rises up towards a more mid day position. The black
asphalt parking lot lets off wave after wave of heat. The
day has turned quite hot and long shadows are the only
limited escape from the force of the sun. A long roof that
stretches the short distance of the one story Weary Inn is
such an escape and hidden beneath its vague darkness rest
the form of a man who leans his back against the bars front
door as he watches a small VW Beetle, circa 1970's, make its
way into the lot. The car comes to a halt as the Bugs
BRAKES SCREAM harshly. Before the vehicle is fully stopped
the large frame of MEATY EVERS jumps out. Meaty is an old
man, early seventies, who carries around his over three
hundred plus pound frame as if it weighs much less. He is
short, no more then five feet tall, yet his large arms and
thick legs make him seem formidable. All up and down those
arms and legs are also many years worth of intricate
                       MEATY EVERS
Son of a bitch! Son of a bitch!
She'd better have a damn good
excuse for this! Making me get up
at this un-godly hour. She'd
better have a damn good reason for
not calling in the count!
Meaty heads up to the front door of the bar. His head is
kept low as he moves and he is more occupied with his
frustration, and with his attempts to dig something out of
the back of his large jeans, then anything else. Finally he
succeeds in the retrieval of what he wants and Meaty pauses
short of the building to put a silver flask to his mouth. He
tilts his head back and takes a long draft from the flask.
He doesn't even seem to notice the few splashes of brown
liquid that dribble down his chin and spill onto his already
dirty white shirt.
                       MEATY EVERS
That will wake you up. Yes sir!
That's going to help me get


A SOFT MELODY fills the air and Meaty stops in mid stride.
He stares up and takes note of the figure that is only a few
feet from him. MR. MILLS is a man in his early fifties
whose thick athletic frame is covered by worn leather cowboy
boots, blue pants, a white undershirt, and a thick brown
leather jacket. No hat covers his bald head but at his lips
is a thick, silver, harmonica with which he plays a HAUNTED
TUNE. Mr. Mills stares right at Meaty until the tune is
done and he places the harmonica in the left breast pocket
of his jacket.
                       MR. MILLS
When you're done with your drink I
think you should probably call the
                       MEATY EVERS
Who are you?
                       MR. MILLS
Just a concerned citizen. You
need to drive away and go
someplace that has a phone. Call
the cops and have them come here.
                       MEATY EVERS
This is my bar, mister. If you've
done anything...if you've hurt
Abagail...I swear you will pay.
Are you the reason she didn't call
                       MR. MILLS
If Abagail is the poor woman
inside then I'm afraid she won't
be calling anyone ever again. I
got here too late to help her out
and for that I am sorry. Call the
                       MEATY EVERS
What the hell is going on?
Meaty tries to move past Mr. Mills. He jumps up the quick
step from the parking lot to the wood porch and walks
briskly to the front door of his bar. Mr. Mills gets out of
his way but as Meaty puts a hand onto the knob and begins to
go inside, Mr. Mills grabs his arm.
                       MR. MILLS
I wouldn't.


Meaty makes an attempt to shake off the hand on him but he
cannot release himself from Mr. Mills no matter how hard he
                       MEATY EVERS
Let go of me!
                       MR. MILLS
It's just a warning. Don't go
inside, you won't like what you
Mr. Mills drops his grasp and lets the old man go. As soon
as Meaty disappears into the bar Mr. Mills saunters over a
ways from the door and re-positions himself against the
front wall. He can still hear Meaty as he walks about.
                       MEATY EVERS
Abagail! Abagail! Are you in
Meaty keeps up his stroll over his bar. He is heard as he
stumbles a bit into tables and chairs but Mr. Mills at last
takes note of when Meaty makes his way into the kitchen. The
soft mahogany doors swish wide and it is then that the
screams begin.
                       MEATY EVERS
Oh my Lord! Abagail! Abagail!
Dear God!
Soon the noise of HARD FOOTFALLS kept at a dead run fills
the air and Meaty quickly exits out the front door. He
sprints his way to the back of his car and leans over
towards the ground as he becomes sick. Mr. Mills watches
                       MR. MILLS
Told you you didn't want to go in.
Meaty looks up and stares at Mr. Mills.
                       MEATY EVERS
What did you do to her?
                       MR. MILLS
It wasn't me. Perhaps now it is
time for you to call the cops.


                       MEATY EVERS
Yeah. Yeah. I got a cell in the
car, I'll give them a call. But
you'd better not go anywhere you
bastard...I also have a gun in
there and I'll be watching! You're
going to pay for what you did!
                       MR. MILLS
I won't go anywhere. I think the
cops and I will have much to talk
about. They might even be able to
help me track him down.
                                         CUT TO:
The front door to the bar is propped wide open as yellow
police tape runs across it to keep people away. From the
over the tape at least five police cars with the name
"Dolson County Sheriff's Department" stenciled onto their
sides can vaguely be made out. Past the door a few deputies
mill around the small room, some lean up against the walls
with dazed expressions on their faces, some merely just
stand in the middle of the floor, but none even attempt to
sit on the still vacant seats all around them. The kitchen
doors are now open and through them more deputies and other
important figures can be seen standing around a body that
has already been loaded into a thick black plastic bag and
is being carefully lifted up onto a gurney. As the body is
wheeled out of the kitchen and through the bar by two
scrawny looking men with the words "Dolson County Coroners
Office" plastered on the thin black coats they wear they are
followed by two others. One is the beefy form of SHERIFF
TAYLOR DUNN the Sheriff of Dolson County. He is a man about
the same age as Mr. Mills, in his early fifties, and he
wears his tan uniform as if it is another skin he wouldn't
know how to live without. His steely eyes are downcast as
he walks behind the dead body with his large hat in his
hands. At his side is DOCTOR EMMETT BROCKER the County
Coroner who is a thin white male with a hawkish face that
makes him constantly seem older then his mid forties would
imply. Brocker removes plastic gloves as he stays at the
Sheriffs side and walks with Taylor as they both slowly make
their way out of the bar.
                       DOCTOR EMMETT
You look uncomfortable, Sheriff.
Was it the amount of blood?


Sheriff Dunn brings an arm up and dabs at the sweat on his
                       SHERIFF DUNN
No...you know I've seen things
just as bad as this many times
before. Too many times. It just
the damn heat. Do you know how
much crap the City Officials
insist we wear when we're on duty?
                       DOCTOR EMMETT
Well take some of it off. I mean
if you have a vest on just remove
it. No ones shooting at you so I
think it'll be okay.
Sheriff Dunn shakes his head slowly in a sign of refusal to
Doctor Emmetts request.
                       SHERIFF DUNN
Can't. Like I said it is City
policy that we have all this stuff
on, even the bullet proof vest I
pray I don't need. It stays. I'll
be fine. Why don't you just tell
me if it was the blows to the head
or the stab wounds that did it?
                       DOCTOR EMMETT
You mean what killed her?
                       SHERIFF DUNN
Yeah. Both looked pretty horrible
but I need exactness. What
finally caused poor Abagail Adams
to depart from this world?
                       DOCTOR EMMETT
Well everything inflicted upon her
skull would have done it
eventually, those were some
vicious injuries, but someone
decided to speed the process
along. It was the stab wounds.
Twenty to her abdomen which cut
into her liver, tore apart her
spleen, and pretty much
obliterated her stomach. She was
far gone after that but then our
assailant also sliced her throat
from ear to ear and very nearly
removed her neck. You saw the
amount of blood in there...I doubt


                       DOCTOR EMMETT (cont'd)
Meaty will ever get it off.
Sheriff Dunn pauses in the middle of the bar. The boys who
carry Abagail's body out into the parking lot continue on
until they have exited the Weary Inn. Dunn and Doctor
Emmett stare at each other. They stand next to the felt
green pool table and Dunn shakes his large white head with
its thin brown hair before he speaks.
                       SHERIFF DUNN
It would take a lot of rage to do
something like that to a body,
wouldn't it?
Doctor Emmett moves to the pool table to lean up against it
before he answers. Dunn takes up a position right beside
him as both keep their eyes off of each other and instead
look at their feet and the floor.
                       DOCTOR EMMETT
That is just the most interesting
part of all.
                       SHERIFF DUNN
                       DOCTOR EMMETT
Both the head wounds and the stab
wounds would take a lot of rage
but...and I need to examine her
more closely to be certain...but
I'm seeing signs that might
indicated two people being
involved here.
                       SHERIFF DUNN
You mean she was attacked twice?
                       DOCTOR EMMETT
Looks like it. The blows to her
head were vicious but nothing like
what happened to the rest of her
body. The wounds on her
skull...those took a level of
anger that had to be pretty big
and it is obvious from what is
present that someone was very
upset when they began but
everything else...I mean
Sheriff...I've never seen
something like that. It's as if
whoever was pissed at her and hit
her on the head found someone else


                       DOCTOR EMMETT (cont'd)
who was even more angry at Abagail
and let them do the rest. That
level of rage it...it...it takes
the air right out of you.
                       SHERIFF DUNN
And this makes you think that
there might be two people?
                       DOCTOR EMMETT
Well that and the fact that most
of the head wounds had started to
dry up. That is one thing I saw,
from my first glimpse, some of her
blood had stopped flowing as
freely before she was stabbed but
there was something else. There's
evidence that we might have a left
handed person who beat her skull
but a right handed individual who
tried to gut her.
                       SHERIFF DUNN
You saw all that?
                       DOCTOR EMMETT
I'm good at my job, what can I
say? It is all preliminary,
however, I'll need to get her
back to Freemont and into my lab
to do a proper autopsy and make
                       SHERIFF DUNN
But you still think it might be
two. Two people who attacked her
once, left her to sit for a bit,
and then came back to slice her
                       DOCTOR EMMETT
Yeah. Either that or we're facing
one cold bastard who can use both
hands perfectly and seems to have
been extremely mad at Abagail
                       SHERIFF DUNN
God I hate this world sometimes.
Two or one what the hell does it
matter? Something bad happened
here, something evil, and I just
know I'm not going to get the


                       SHERIFF DUNN (cont'd)
image of her out of my head until
I can make this right. I just
know it.
                       DOCTOR EMMETT
Kind of makes you want to switch
jobs doesn't it. Go into
something safe like the Border
Patrol or running drugs.
                       SHERIFF DUNN
Is that what you're leaning
towards, Doc? Some kind of drug
deal gone bad that Abagail may
have been involved in?
                       DOCTOR EMMETT
No, I'm not thinking that and
neither are you. Abagail was a
loose woman, the town slut you
could say, who kept men happy with
her body and her drinks but
drugs...we may be close to the
border and have to deal with that
stuff occasionally but I don't
think this has anything to do with
A man with the name badge of DEPUTY SHANE walks through the
front door of the bar. Dunn nods at him and then lurches
his heavy body off the pool table as he stands up straight
and turns to look at Emmett. He takes the hat that has been
in his hands and puts in on his head.
                       SHERIFF DUNN
Why does it sound like you know
everything that goes on in my
county? Only I'm supposed to know
about the sporadic sightings of
MS-13 we've gotten in Freemont or
those thugs who shot up that bank
in Wexton. How do you know so
much about my territory, Doc?
Emmett lets a happy grin spread across his face as he stands
as well.
                       DOCTOR EMMETT
You always forget how many calls I
attend with you, Sheriff. You
don't like to remember the deaths
but unfortunately I have to. Those
MS-13 boys left two of their


                       DOCTOR EMMETT (cont'd)
brothers behind that I bagged up
and took away and don't forget
that young teller who couldn't
dodge those bullets aimed at her.
There is just too much death
happening in our once peaceful
County and I remember it all.
                       DOCTOR EMMETT
Better you then me. I just make
things as right as I can make
them. I find the bad and then I
put them away. Once that is done
I'm able to sleep quite well with
as calm a mind as I can make it.
Emmett nods slowly as Deputy Shane comes up next to both he
and the Sheriff with an open small yellow note pad in his
hands. Shane is a young man, in his early twenties, and has
a face that still has yet to show any age on it. He stands
rigid next to the two men and remains silent.
                       DOCTOR EMMETT
And this is why we all want to be
you, Sheriff. You care enough to
make sure that justice is seen
even if the rules get bent in the
process. Like you did with that
Reilly case. You cleared that one
up for damn sure even after the
trial was over. I'm not saying
you did anything illegal but I
know that you did all that you
could so that everything came out
as right as could be expected and
this is why you keep being
re-elected. None of us are ever
going to get rid of you and I for
one am glad of that.
                       SHERIFF DUNN
Yeah, the Reilly case, my shining
moment. You just...you just
remember that I did my best when
the next election comes up. Even
if you work for the County you're
still a voter if I recall so just
keep pressing Dunn when you hit
that Sheriff spot. I do my best
no matter what, remember that, and
you keep that whole bending the
rules thing to yourself. Too many
people hear all that kind of talk


                       SHERIFF DUNN (cont'd)
and my opponent next time will
start saying that I'm just as bad
as the people I arrest.
Emmett turns from Dunn and Shane with another slow nod. He
takes a step or two away but suddenly stops and turns back
towards Dunn.
                       DOCTOR EMMETT
No...no...you don't want people to
hear that you may bend the rules
because then they'll start
expecting more from you and you
might just get a swell head from
all the landslide victories you'll
                       SHERIFF DUNN
Yeah, well that too. Can't have
people thinking too highly of me.
Makes my work increase and I don't
like that.
Emmett gives a slight wiry smile as a brief chuckle racks
his frame. He turns to leave and makes his way out of the
Weary Inn as Sheriff Dunn finally looks over at the Deputy
at his side. Shane has yet to move and appears to stand
almost at attention as he holds the note pad at his side.
                       SHERIFF DUNN
This isn't the Army, son. I
appreciate that you let me talk
with Doc without interrupting but
relax a bit, Shane, you make me
Shane lowers his shoulders as he exhales and raises the note
pad up so Sheriff Dunn can grab it.
                       DEPUTY SHANE
Yes sir, I'll start relaxing sir.
Here is the information you
Dunn takes the yellow pad and flips through it. In all he
skims over about three pages before he gives his attention
back to Shane.
                       SHERIFF DUNN
And Cathy ran his name through all
the databases we can access?


                       DEPUTY SHANE
She did it all, sir. Took almost
this whole hour but we got
everything we could. His alibi
checks out.
                       SHERIFF DUNN
I see. I see. Docs' already
estimated time of death to be
about five or six this morning, he
called that out as soon as he got
here, and this man seems to have
been pulled over by a State
Trooper at just that time on
Highway Forty. I suppose that
makes him only another piece to
this puzzle I have. Why the hell
did he come here?
                       DEPUTY SHANE
Don't know that, sir.
                       SHERIFF DUNN
Of course you don't, son, never
expected you too. Is he still in
the back of my car?
                       DEPUTY SHANE
Yes sir. Deputy Smith is watching
over him.
                       SHERIFF DUNN
Well it is about time I had
another conversation with him.
Meaty Evers isn't still out there
yelling his head off that this man
is a killer is he?
                       DEPUTY SHANE
No sir. He started throwing up
again and we let him drive himself
over to the clinic. He's gone.
                       SHERIFF DUNN
Well thank God for one small
Dunn moves away from the pool table and heads out of the
Weary Inn.
                                         CUT TO:


Sheriff Dunn walks across the black asphalt of the parking
lot as he makes his way past the few police cruisers lined
up near the front of the bar. He nods hello to some of his
deputies who either stand next to their own cars or have
taken up sentry positions around the coroners vehicle that
has begun to pull out into the street. Dunn sees Doctor
Emmett as he sits in the front seat of the vehicle that
holds Abagail Adams' body and gives a quick wave as he moves
ever onward towards his own car. His vehicle is not all
brown with a few black stripes and gold letters like all of
his deputy cars but instead is all black with just the gold
letters of "Sheriff" pasted onto its sides. On the hood sits
two lights that don't flash like many of those on the
deputies cars but Dunn hardly pays them any mind and instead
focuses his attention on the back of his vehicle. In the
rear of his car, behind wire mesh, is Mr. Mills who sits
half on the dark brown leather of the interior and half out.
The door next to Mr. Mills is opened and his legs are set
onto the asphalt as he talks to a man next to him.
                       SHERIFF DUNN
Are you interrogating the prisoner
or just chatting him up Deputy
The startled face of the pudgy DEPUTY SMITH looks up as Dunn
walks towards him. Visibly flustered he takes a quick look
down at Mr. Mills and then returns his gaze to his boss.
                       DEPUTY SMITH
Sir I...I...he isn't cuffed and I
didn't think it would do any harm.
                       SHERIFF DUNN
Never mind, son. I was just
teasing. Go inside and help out
Shane and the others with the
collecting of anything we may have
missed. I'm not leaving this
place until we've searched over
every corner and hole this bar
                       DEPUTY SMITH
Yes sir.
Smith moves away, his large belly an endless wave of shaky
flesh as he hurries into the Weary Inn. Dunn watches him go
before he finally turns to look down at Mr. Mills.


                       SHERIFF DUNN
My notepad says that your name
really is Langston Aloe Mills.
                       MR. MILLS
Well that is a mouth full so I
usually prefer just Mr. Mills.
                       SHERIFF DUNN
All right, Mr. Mills it is. So,
Mr. Mills, from what I've heard
you spent seventeen years in the
Marine Corps but got out with an
honorable discharge. Why was that?
                       MR. MILLS
The discharge?
                       SHERIFF DUNN
Yeah, why did you get it?
                       MR. MILLS
I thought honorables were the kind
to get.
                       SHERIFF DUNN
Yeah, they are the ones you want,
but most men don't reach three
years shy of making twenty in the
armed services, of making it to
retirement benefits time, and then
just up and leave. Why did you
get the discharge?
                       MR. MILLS
Why do you care?
                       SHERIFF DUNN
Seeing as your in the back of my
car...seeing as you're the
individual who just happens to
wind up in the middle of a
horrible murder scene...I think it
is me who should be asking the
questions. But if you want a
reason for why I'm interested in
your history call it curiosity. I
had you looked up, Mr. Mills, for
the past hour we've run you
through everything we could think
of and what we've recovered, you
could call me intrigued. So tell
me about yourself, tell me why did


                       SHERIFF DUNN (cont'd)
you get out of the Corps.
                       MR. MILLS
It was a misunderstanding.
Dunn waits for a minute and lets silence hang in the air.
The HUSHED TONES of other cops who go about their job, a few
dark crows that hang about ominously, are the only sounds as
Mr. Mills says no more. Dunn studies him but Mills remains
cool and keeps his mouth shut.
                       SHERIFF DUNN
Is that all?
                       MR. MILLS
That's about it.
                       SHERIFF DUNN
Okay. Okay. How about the State
Troopers then? In my notes it
says you joined up with the very
Troopers of this fine state not
too long after leaving the Marines
but you only lasted six years.
What happened?
                       MR. MILLS
                       SHERIFF DUNN
But not enough of a
misunderstanding to stop you from
getting out of a ticket.
                       MR. MILLS
So you did go into my alibi. I
suppose you talked to Officer
                       SHERIFF DUNN
We reached his Captain and he let
us know that you seem to be
friends with some of the higher
ups in this State. So I guess the
misunderstandings that you've
suffered weren't so bad after all
but they were still
misunderstandings, two of them,
and I find that disturbing. Tell
me what you did after you left the


                       MR. MILLS
You don't have that written down
as well?
                       SHERIFF DUNN
Let's just say that what I've got
is sketchy at best. Seems you had
a legal residence in Arizona for a
while, did some construction work
up there, had some arrests,
nothing to big, assault,
disorderly conduct, one charge of
robbing a bank that never went to
trial, but other then that all I
see is a license in your name that
makes you a bounty hunter. That
is all I got...why don't you tell
me what I've missed?
                       MR. MILLS
You have about everything you
need. Except for the most
important thing of course.
                       SHERIFF DUNN
                       MR. MILLS
How my history ends.
                       SHERIFF DUNN
And how does it end?
                       MR. MILLS
You're going to stop asking me
questions, you're going to answer
a few questions of my own, and
then your going to let me walk
away so that I can solve this case
for you.
                       SHERIFF DUNN
And why would I do that? I may
know that you didn't kill that
woman but from what I've learned
about you I'm not convinced you're
a good man. Why would I let
someone bad go free in my County?
                       MR. MILLS
Because I'm looking for someone
and I aim to find him.


Sheriff Dunn pauses. He stares up at the yellow sun and
blue sky above him and then turns back to Mr. Mills.
                       SHERIFF DUNN
So that's it. You're looking for
                       MR. MILLS
Yes. Someone I know very well. He
killed the woman in that bar and
very likely he isn't done yet. If
you want to have this thing end as
right as you can get it to end
then let the only person who can
track him, the only person who
knows him, go and get him. Haven't
you ever done something that may
have been bad but was also, at the
same time, right? Do that again.
Do it now. Let me go and I'll
bring justice to this whole
For the third time Dunn pauses. He drops his jaw in shock.
                       SHERIFF DUNN
How did you know...how...what did
you say?
                       MR. MILLS
I said that I'm the only one who
can make sure that this thing ends
right. You strike me as a man who
can judge people not just from
notes about their history but also
from who they are. So judge me,
Sheriff, look at me. Tell me if
you think I'm lying. Tell me if
you think I don't know how to get
the killer.
Dunn keeps up his stare at Mills. He traces his eyes over
the man in his car, he does it slowly, carefully, as if he
sees Mills for the first time, and then he stands back. He
motions for Mills to get out of the vehicle.
                       MR. MILLS
Does this mean I pass?
Mills gets out of the car and takes a step or two to come
from around the open door until he is right next to Dunn.
The Sheriff leans against the hood of his car as his head


turns away from Mills. He looks towards the crowd that
still moves in and out of the Weary Inn.
                       SHERIFF DUNN
I don't know. I just don't know.
You strike me as the kind of man
who just might be friends with
whomever butchered poor Abagail
but maybe I'm wrong. You were
right when you said that I'm the
sort of fellow who can usually
judge up someone pretty quickly
but you've got me turned around I
can tell you that. You don't seem
bad, Mr. Mills, but you don't seem
good either. I should just keep
you in that car, drive you out of
my County, and then kick your ass
out of Texas as well. But...
                       MR. MILLS
But you think I can help you.
                       SHERIFF DUNN
Yeah. I don't understand why but
yeah. What was in that bar...I've
never seen anything like that not
even when I was in the service and
I have no clue. For the first
time in my life I have no clue
where to begin. Go after the
local thugs who've never done
anything like this or try to hope
to God I get lucky and stumble
upon something else. Those are
about my only options and I have
forensics and evidence but it will
take me to the end of this weekend
to sift through it and get a
bearing on where I should be
headed. By then I truly think
that the murderer will be long
gone. Am I right?
                       MR. MILLS
By Sunday this will all be
finished no matter what. In a
little over twenty-four hours this
will be done I can promise you
Dunn sighs heavily as he looks back over at Mills. Even
directly in the heat Mills has yet to start to sweat.


                       SHERIFF DUNN
So I keep you locked up somewhere
or throw you out of my state and
the bad guy gets away.
                       MR. MILLS
I guarantee it.
                       SHERIFF DUNN
I let you go though and you can
get him for me, but what happens
to him when you find him?
                       MR. MILLS
It ends. He dies, I die, someone
doesn't make it back.
                       SHERIFF DUNN
That doesn't fill me with
                       MR. MILLS
It is not supposed to, it is
supposed to be the truth. This
man is after much more then death
or money, he is after life itself.
                       SHERIFF DUNN
What do you mean?
                       MR. MILLS
Did that woman, that Abagail, have
a child?
                       SHERIFF DUNN
Yeah, a boy. A kid named Travis.
We haven't found him yet but we're
                       MR. MILLS
You won't find him. He is with
the killer.
                       SHERIFF DUNN
Travis! No way. He would never
have done such a thing to his
mother. Even if she did treat him
bad he was too much of a nice boy.
He's either dead as well or he's
hiding somewhere. We'll find him.
                       MR. MILLS
No you won't.


                       SHERIFF DUNN
And why not?
                       MR. MILLS
Because of history.
                       SHERIFF DUNN
Come again?
                       MR. MILLS
It's history, Sheriff, history.
Your killer wants to pass along
his history, his life, to another
and he's chosen this Travis to be
his vessel. I don't know if
Travis murdered his mother or not
but the man your looking for sure
as hell wanted him to.
                       SHERIFF DUNN
How do you know all this?
                       MR. MILLS
I know the man. I know him well.
I have to stop him.
                       SHERIFF DUNN
All right, Mr. Mills, all right.
What would you need from me if I
were to agree with you?
                       MR. MILLS
Was anything else missing from
that woman?
                       SHERIFF DUNN
If you mean cash, credit cards,
some jewelry and other important
stuff, then yeah. Even some
records from the jukebox were
                       MR. MILLS
Good. All I need to know from you
is who is local fence around these
parts. Point me in the right
direction and I'm gone.
Dunn pushes up off the cars hood and moves to face Mills. He
gets up close and puts a hand out for Mills to shake. As
Mills accepts and closes his fist around the Sheriffs hand,
Dunn brings him in even closer until the two men almost
touch nose to nose.


                       SHERIFF DUNN
Can I trust you, Mr. Mills? Are
you good?
                       MR. MILLS
Never said I was good, Sheriff,
but you can trust me. I'll make
all of this as right as right can
                       SHERIFF DUNN
And you won't tell me a damn thing
about who this man is that you're
after or what the hell is
happening around here?
                       MR. MILLS
The man is William Shallet,
Benjamin Gogin, and Thacket Page.
He has been many names, that is
who he is.
                       SHERIFF DUNN
But none of those names are ones
that he is using now, am I right?
                       MR. MILLS
                       SHERIFF DUNN
And that's all I'm going to
get...nothing else. Just a list
of some of his aliases.
                       MR. MILLS
Pretty much. This has to be done
my way or nothing at all.
                       SHERIFF DUNN
And why is that?
Mr. Mills does not respond but instead stares at Sheriff
                                         CUT TO FLASHBACK:
In the middle of a rundown house a man sits tied to a wooden
chair. The same HAUNTED TUNE that Mr. Mills played outside
of the Weary Inn fills the room. Thick rope binds the mans
hands behind him and he sits in a middle of a pool of blood


and sweat that drips off his beaten face. All around him is
the shadowy extent of the house. The sun sets outside and
only a few bits of light fill up the house. A rusted
refrigerator, a worn counter, a few dusty cabinets, and one
large silver sink are behind the man but what he looks at is
the dark corners in front him. Barely seen in that darkness
are two forms. One form crouches over another that sits
huddled on the ground. The beaten man stares at these two
figures with eyes that are wild with fear.
                       BEATEN MAN
Don't do it! Don't do it, son!
I've changed...you know I've
changed! Please! For the love of
God no!
                                         END FLASHBACK:
Mr. Mills and Sheriff Dunn still stare at each other. Mills
has yet to speak but he holds Dunns' hand for a while longer
before he lets it go.
                       MR. MILLS
It is history, Sheriff, it's the
way it has to be. It has to be my
way because I know him and I will
find him.
                       SHERIFF DUNN
If you know him so well why
couldn't you stop him from hurting
                       MR. MILLS
Because I was late...because I was
running behind. But it doesn't
matter. None of it does. The
more I think about it the more I
realize that even if I had gotten
here before she died it wouldn't
have been right. She died because
it wasn't the right time.
                       SHERIFF DUNN
Wasn't the right time? What do
you mean? How is it the right
time right now? How did it all of
a sudden become that way?


                       MR. MILLS
It just has.
                       SHERIFF DUNN
                       MR. MILLS
Because now I can not only stop
him I can hurt him. That makes
the time right.
                       SHERIFF DUNN
Who the hell are you?
                       MR. MILLS
Someone willing to see this
through. Will you help me?
Dunn motions for Mills to walk. He begins to head back
towards the Weary Inn. He doesn't go but a few steps before
he stops to turn back towards Mills.
                       SHERIFF DUNN
Their names are Flint Mattess and
his sister Tiny. They live right
off exit 140 between Clayton and
here. You can't miss them because
that exit only has the Layway
Hotel and one gas station and they
live right behind the Layway in
one of the largest mobile homes
you'll ever find. They're the
local fences around here, they're
the ones who buy and sell hot
property, but how do you know our
man will go to them?
                       MR. MILLS
He has a way for sniffing out the
wrong in people and exploiting
that weakness. He'll know about
them. No matter where he goes he
always knows where the bad folks
                       SHERIFF DUNN
I don't want anymore dead bodies,
Mr. Mills. If the Mattess kids
end up dead, or anyone else for
that matter winds up deceased and
I even begin to think that you're
involved, then you won't have to
worry about finding your man
because I'll find you and put you


                       SHERIFF DUNN (cont'd)
down. I'm letting you go but for
the life of me I don't really know
                       MR. MILLS
It's because this feels right. It
is right.
Dunn sighs and raises a hand to shoo Mills away.
                       SHERIFF DUNN
Don't give me that crap. Right,
things feeling right, I must be
out of my mind. Get out of here
before I decide you need to stay.
Mills turns his back on the Sheriff and starts to walk
towards what can only be the one motel in Weary.
                                         CUT TO:
The room is a tiny place filled with two single beds, dark
blue carpets, a desk with an old television set upon it, and
walls covered in faded yellow wall paper. On the closest
bed to the rooms main door sits Mr. Aaron who is perched up
on some pillows as he enjoys a show that plays on the TV. He
has yet to change his clothes or even take off his boots or
do anything other then watch the TV. and occasionally look
out the half closed curtains of the large picture window to
his left. The window is the only thing that allows much
light into the place, dull street lamps glow mutedly outside
and their tiny halos vaguely peak through the thick
curtains. The light doesn't even make its way to the far
corner of the room where a large wall showcases another bit
of light that comes from underneath another doorway. It is
the entrance to the bathroom and as Mr. Aaron coughs into
his hand that door opens and lets out a billow of steam that
is quickly followed by Travis Weary.
                       MR. AARON
Are you done yet? Three showers
should have gotten you clean by
now. At least I hope you are
clean or are you still feeling


Travis walks into the room and sits on the edge of an empty
bed. He wears only a dingy brown towel around his waist. He
is wet with water, it looks like he hardly dried himself
off, but he seems not to care as he sits and focuses not on
Mr. Aaron or the television but instead just blankly stares
at the wall in front of him.
                       TRAVIS WEARY
We shouldn't have done that to
                       MR. AARON
Your mom?
                       TRAVIS WEARY
Yeah. We shouldn't have cut her
up so bad.
                       MR. AARON
I cut her bad, get that straight.
You just watched like some damn
idiot. You didn't do nothing more
then cry...what a fool!
                       TRAVIS WEARY
I couldn't do anymore. She was my
mother. I suppose I should have
been the one to gut her.
Mr. Aaron twist on the bed and puts his feet on the floor.
He slowly rises and walks over to the TV. to turn it off.
Once the room has gone silent he moves directly in front of
Travis, takes up a position in the boys line of sight, and
crosses his arms over his chest as he looks down at him.
                       MR. AARON
I'm getting so tired of repeating
                       TRAVIS WEARY
I just meant...
Before Travis can finish Mr. Aaron puts up a hand to silence
him. He coughs again, his head turned so that he doesn't
direct a thing at Travis, and when his lungs have cleared he
turns back with a sigh.
                       MR. AARON
I don't care what you meant. Don't
care at all. I'm quickly coming
to see that making you into a man
is going to take a hell of a lot
longer then I figured.


                       TRAVIS WEARY
If it is so hard then why don't
you just leave. I mean I wanted
your kind of freedom but not at
this cost. She was horrible, just
terrible, but she was my mother.
What we did to her...it was...it
was wretched!
Mr. Aaron crouches down in front of Travis and reaches to
grab the boys head with both his hands. Travis
instinctively tries to scurry away but Mr. Aaron is faster
and stronger and soon has Travis locked in his grasp.
                       MR. AARON
Be still. Be still dammit! I'm
not going to touch you! Hurt you,
maybe, but I won't touch you like
he did! I just want you to listen,
to focus! You may be weak, you
may be as close to a full blown
idiot as I have ever seen, but
you're all I got! There is
something in your blood, kid,
something given to you by your
father I am sure of it! I knew
your mother...knew her well after
you were asleep some nights...but
I knew her and she was awful but
she wasn't evil. You have an
darkness in you, boy, and since
you didn't get it from her it has
to be from him and I want you to
use what was passed down to you
just like I used what I got!
You're as close to being from my
own flesh as I can get and even if
you ain't mine you will have to
do! I have a talent for sniffing
out evil and I smell it all over
you. It ain't strong yet, it
ain't full grown, but it is there
and I will flesh it out! I'll make
it flourish because a man ain't
nothing unless he has someone in
his life to pass on all his
knowledge to and you're it for me!
You are my legacy, my darkness,
whether you like it or not!
                       TRAVIS WEARY
But I don't even know your name.


Mr. Aaron looks at Travis with incredulous eyes. He lets
loose of Travis' head and rocks back on his feet. He falls
against the desk that holds the TV. and sits on the floor
right next to it as another chuckle takes him over. Soon
the chuckle turns into one more cough but Mr. Aaron hacks
into a closed fist for only a second.
                       MR. AARON
Shit, boy, what does my name have
to do with anything?
                       TRAVIS WEARY
You keep saying that you want me
to be like you, that I'm to take
on all your traits after you're
gone, so aren't you going to give
me your name?
                       MR. AARON
Why would I do a fool thing like
                       TRAVIS WEARY
legacy...it doesn't get past on if
you die and your name goes with
it. Isn't that how it goes? You
have a son to pass on your name.
                       MR. AARON
Well I am flattered that you're
finally starting to see me as a
replacement father but it is my
name, why would I want you to have
                       TRAVIS WEARY
I just...
                       MR. AARON
Now quit that! You're giving me a
headache! No more just's, no more
you meant's, you need to start
using that fool brain of yours for
more then just half baked thoughts
about meeting old men who may or
may not lead you to salvation. A
name is just something people call
you. I myself have had many
names. All across this great land
and even into some areas of Mexico
I've been known by hundreds of
titles and what you call me, "Mr.
Aaron", may come the closest to my


                       MR. AARON (cont'd)
true name but it isn't it. Names
are usefully yet not really
necessary and in the end it is the
actions that define a man and that
is what you'll get from me. Forget
everything else, just keep what I
do, copy what I do, and I'll die
                       TRAVIS WEARY
But I just...I mean I couldn't
kill her and I don't think I could
kill anyone else. It was a
mistake for me to come to you, a
mistake. I can't continue.
Mr. Aaron gets to his feet and stands over Travis again. He
wears a sad scowl on his face that seems half perturbed,
half mournful, but then he breaks into a wide smile as he
walks back to the bed he had occupied and leans across it to
the side nearest the large window. He fishes around for an
object on the floor and when he stands he has his large
brown cowboy hat in his hands.
                       MR. AARON
You keep trying to get me angry
but I still forgive you. You
don't want to leave me. You don't
want to go at all.
Travis shakes his water soaked head. He turns his weary
eyes onto Mr. Aaron in utter disbelief.
                       TRAVIS WEARY
I don't? I don't want to leave?
Because I'm pretty sure I've
learned enough from you. I can't
see anymore things like what
happened in that kitchen. I want
to go.
Mr. Aaron keeps the smile on his face as he moves towards
the main door of the room. He opens it up slightly to let
even more light in, to let in also the sounds of the
occasional car that rumbles up and down the road just
outside of their first floor unit.
                       MR. AARON
No you don't. I've got a pocket
full of cash from what we sold to
the Mattess kids and I've also got
a line on how we can track down


                       MR. AARON (cont'd)
your father.
Travis closes his eyes and begins to shake his head again.
                       TRAVIS WEARY
What? I didn't hear any of that
when we were selling the stuff.
                       MR. AARON
It was when you went off with Tiny
to get a look at Flints' lab where
he makes some of his junk. I
don't know what else you two kids
did back there...
                       TRAVIS WEARY
We didn't do nothing.
                       MR. AARON
Well that's just another part of
your problems. You didn't do
nothing. With a girl as hopped up
as she was on Meth well...well
hell you could have fucked her ten
times in each hole and I doubt she
would have noticed.
                       TRAVIS WEARY
She seemed nice.
Mr. Aaron lets out another round of laughter as he opens the
door even wider and puts one foot out into the short cement
walkway that separates the hotel from the parking lot.
                       MR. AARON
You are one of a kind, my boy, one
of a kind. If it wasn't for that
level of anger, rage, of darkness
that I know is hidden deep in your
soul I doubt you would have ever
been interested in me or I in you.
But you were interested in me and
I do see potential in you and that
is why you are mine. Just a bit of
innocence remains, just a bit,
even after what we done and I
can't wait until I see that part
of you die. When that is gone and
you're just like me...my that will
be a happy day.


                       TRAVIS WEARY
What about my father? How can you
find him?
                       MR. AARON
That too I love. You're already
half way there. I had an old man
and a bitchy mother I was obsessed
with back when I was your age and
well...well... well I guess
history can't be defeated. It
always comes back around sooner or
later. When you were out with
Tiny I had Flint give me a few
names of some of the big players
here in Clayton. If your father
was as big of a bastard as you've
said then when he came up here he
would have been known by them.
These men should be available
right about now and all I have to
do is jog they're memory and
they'll lead us where we needs to
go. Your dad did come up this way
didn't he? Because if he didn't
that would be our one stumbling
                       TRAVIS WEARY
Mom always said he had this other
life and other family up in
Clayton. I told you about his
wife and girl who he always
visited whenever he wasn't with
us. When he left I just figured
he would have headed this way. He
had to.
                       MR. AARON
Good enough for me. Now you just
sit tight, get comfortable, and
don't go anywhere. When I return
I think I may have some things you
might enjoy.
                       TRAVIS WEARY
                       MR. AARON
Things that will help you get rid
of the rest of your innocence. I'm
sure a town as big as Clayton will
help me find them.


Mr. Aaron steps out into the night and closes the door
behind him as Travis is left alone in the room.
                                         CUT TO:
Dark brown carpet covers the floor of a large mobile home.
Some spots of mold, decay, worn patches that show the floor
beneath, can be seen strewn across the building but old
chairs and couches, surrounded by brand new television sets,
computer monitors, and kitchen appliances, hide most of the
bad. Much of the house is dark with no lights on at all but
in the living room, the largest area of the house that has
in it a wide red couch and two chairs gathered around an
empty fireplace with a flat screen television above it, sits
FLINT MATTESS. He rests on the couch, one large florescent
light on the ceiling above illuminates his lanky white body
that is covered in a thick collage of tattoos that make his
arms and legs continually look as if they are in sleeves or
pants. He sits with his head back against the thick cushion
behind him as he closes his eyes. Right next to where he
rests, on his left, is THE GIRL, a young black woman with
soft eyes that look at Flint with extreme interest. Behind
her is nothing but extra rooms covered in the shadows of
turned off lights but she doesn't seem to mind them as she
sits comfortably with her legs tucked under her. She leans
over to Flint and puts her hand on his shoulder.
                       THE GIRL
It will be okay. He's been gone
for a while...I mean he wasn't
that bad.
                       FLINT MATTESS
Wasn't bad? Wasn't bad! Did you
see his eyes when he looked at us?
Did you hear his voice? There was
nothing there, nothing! Just an
emptiness that...that...it made my
skin...my...my everything crawl!
I'm glad he's been gone for about
ten hours or so but until we get
to a new day and he hasn't
returned I need to be jumpy. Is
the alarm on?
                       THE GIRL
I turned it on as soon as he left.
If anyone even coughs near this
place the sirens will sound.


                       FLINT MATTESS
And the lab, is it all right?
                       THE GIRL
Yeah...yeah...we checked it
remember. Everything is fine. He
really got to you didn't he.
                       FLINT MATTESS
When you followed off after that
boy of his, the way he just kept
asking me for names...it was
scary. He asked for a few leads on
some of the other dealers we do
business with and at first I told
him I wasn't giving up anything
but then he simply looked at me.
He looked and didn't say nothing
for a minute or two until he
finally smiled and just softly
repeated himself. Almost in a
whisper, not even moving an inch
from the kitchen to get any closer
to me as I sat right where I am
now, he asked me again for some
names and I had to tell him.
                       THE GIRL
Did he have a weapon?
                       FLINT MATTESS
Not that I saw but didn't you
notice how he looked as if he'd
just washed himself up and changed
his clothes. Some blood was still
under his fingernails and I knew,
I cannot say it more intensely but
I knew, I had to talk or something
would happen. It was an aura he
had. God...he freaked me out.
                       THE GIRL
But it's been ten or more hours so
I think we're safe. You gave him
what he wanted didn't you and he
left pretty willingly without even
acting weird. Why are you so
                       FLINT MATTESS
Maybe that is why. Maybe it's
because I gave him what he wanted.
I didn't even try to short change
him I just handed over the price


                       FLINT MATTESS (cont'd)
he quoted. I'm going soft.
                       THE GIRL
One time does not a habit make.
Just screw over the next guy who
comes to sell you anything. What
did you get anyway?
Flint opens his eyes and turns to look over at The Girl. He
sits up from his slouched position and lets his right hand
slide over to its end of the couch and grabs at a large
leather purse that rests on the floor. As he brings the
purse up and places it on his lap. He opens the thing and
peers inside.
                       FLINT MATTESS
You haven't looked yet?
                       THE GIRL
We've been busy in the lab and you
haven't gotten off your ass all
day since that guy took off with
his kid. I haven't gotten a
                       FLINT MATTESS
Well it isn't much, another reason
why I should have cut my deal
short with that freak, but I guess
there are some good items. A
couple credit cards we can use, a
cell phone we can reconfigure and
sell, one kind of old yet still
fancy silver lighter, a few pieces
of jewelry, and makeup. Not great
but maybe it was worth the two
hundred a gave up for it.
                       THE GIRL
It better be. If you start going
broke I may have to leave your
                       FLINT MATTESS
You'd do that? You'd just head on
out and never look back?
                       THE GIRL
Well you are like family and all
but hell yeah. A girls got to


                       FLINT MATTESS
Well before you go why don't you
check out my one main enterprise
one last time. Go to the lab.
                       THE GIRL
                       FLINT MATTESS
                       THE GIRL
But we've already checked it.
                       FLINT MATTESS
Just go.
The Girl rises to her feet and gives Flint a dirty smile.
                       THE GIRL
Fine, I'll go. But don't get too
lonely without me.
Flint watches as The Girl heads out of the living room,
walks through the kitchen right behind him, and then
disappears as she takes a left and goes even deeper into the
house. He rests his head against the back of the couch once
more and is about to close his eyes again when a SOFT MELODY
fills the house and a figure walks out of the darkness. From
the rooms that had been behind The Girl, the ones cloaked in
shadows, Mr. Mills calmly walks over in front of Flint with
the harmonica at his lips. He looks at Flint until the song
ends and then replaces the harmonica into the left breast
pocket of his jacket.
                       MR. MILLS
So tell me about that man you
bought that purse from.
                       FLINT MATTESS
How the hell did you get in here?
Flint looks around wildly at the man before him. His eyes
almost bulge out of their sockets as he jumps a bit in
surprise. The purse that had been on his lap falls to the
floor with his movements and the contents scatter all
                       MR. MILLS
Your weak little security system
was a joke. A few wires cut here
and there and I could have broken
every window in this place and you
wouldn't have heard a thing. In


                       MR. MILLS (cont'd)
fact most of the stuff I've seen
so far in this house fails to
impress me. You have some high
tech toys but nothing I haven't
seen before. Except for that
lighter...kind of old fashion yet
still workable...I like it. Why
don't you tell me how much you
want for it and then you can
answer me about the man who came
to see you?
With a quick movement, his eyes never off Flints' face,
Mills leans down and scoops up the silver lighter and places
it in the other breast pocket of his jacket. With his prize
safely tucked away he retrieves a wallet that has been
tucked at the back of his pants and pulls out of it a twenty
dollar bill.
                       MR. MILLS
Will this be enough. I think it
is more then enough myself but
seeing as I don't have smaller
bills I suppose it will have to
do. Will you take it for the
                       FLINT MATTESS
With a shaky hand Flint grabs for the cash as Mr. Mills
nods. Once the transaction is complete Mills returns his
wallet to his back pocket and then crosses his arms over his
chest as he resumes his icy stare at Flint.
                       MR. MILLS
So...about that guy? I overheard
you say he came for a visit, made
an impression, tell me about him.
                       FLINT MATTESS
No way...no way man. It's not
good for business to go around
snitching on the people who sell
to you.
Mills throws back his head and laughs slightly.
                       MR. MILLS
Not good for business, that's a
nice one. I was back in the dark
for a nice while listening in on
you and you can't tell me you


                       MR. MILLS (cont'd)
wouldn't like to see that son of a
bitch meet a nice end. I mean he
scared you, he got out of you the
names of some of your associates,
and he even made you give up a
nice wad of cash for some items
you think could have been bought
for way less. None of that could
have been good for business so why
don't you just tell me about him,
where he went, and then I'll make
sure you never have to begin to
wonder if you'll ever see him
                       FLINT MATTESS
I wasn't scared.
                       MR. MILLS
Sure you weren't. Tell me about
                       FLINT MATTESS
You know what...fuck you! I'm
tired of big old motherfuckers
busting up in my place and messing
with me! You even look like that
asshole who came here earlier and
I might have been unnerved by him,
hell I might still be unnerved by
him, but I'm sick of it! Get the
fuck out of my house before I have
you shot!
Flint rises off of the couch and gets up close to Mr. Mills.
He is an inch or two away from Mills. His body is red with
his anger. The sound of feet behind him allows him to
visibly relax a bit however as The Girl reappears and stands
just off from him.
                       FLINT MATTESS
As you can see I'm not alone
neither! Get out before you get
Mr. Mills stares at the kid that hovers near to him and then
carefully moves his eyes to quickly check out The Girl.
                       MR. MILLS
That your sister?


                       FLINT MATTESS
                       MR. MILLS
Well she doesn't look like you.
                       FLINT MATTESS
Maybe we're adopted. What's it to
Mr. Mills nods slowly as a smile comes to his face. Suddenly
his hand shoots out and grabs Flint by his throat. He picks
the boy up off the ground in one easy movement and slams him
up over the fireplace. The nice flat plasma screen
television explodes as Flint rams into it and The Girl gasps
harshly as she begins to move towards Mills.
                       MR. MILLS
Stay where you are!
With one hand that holds Flint in the air effortlessly,
Mills turns slightly and brings his other free hand and he
points it at The Girl. She complies with his command and
stays where she is as Mills leers heavily at Flint.
                       MR. MILLS
I don't care if you're adopted, if
you both had different fathers, or
mothers, or whatever. She's your
sister and that is great...that's
just fine. What I care about is
the man who came to see you almost
ten hours ago from what I heard
you say. Tell me about him,
please, tell me now, because I'm
not prepared to deal with anymore
hardships today. I would have
been here right behind that man,
just a few minutes behind, but I
had some car trouble that turned
into some car theft so my two hour
drive to your place became an all
day adventure. Now I've left a
man badly beaten on the side of a
road, I've broken into your house,
I'm prepared to do some other not
so nice things, so please don't
make me do that to you or your
sister. Tell me what I want to
Flint struggles in Mr. Mills grasp. His breath is labored,
a slight touch of raw panic in his eyes, but just when it


seems he is about to answer Mills' question he instead
pauses, looks over Mills' shoulder, and begins to laugh.
                       MR. MILLS
What's so funny?
Flint moves his eyes towards The Girl who has yet to move
and then stares directly into Mills' face.
                       FLINT MATTESS
S..sh...she's not my sister. She
As Flint goes silent Mills hears a CLICK behind him and
drops the boy to the ground. Flint hits the floor and falls
to his knees. He chokes for air as Mills slowly turns and
sees TINY MATTESS. She is a wire thin girl just a few years
younger then her brother with dyed pink hair and multiple
pierced body parts. She stares at Mills with pure fear and
hate in her bloodshot eyes as she holds a cocked revolver
aimed right at his chest.
                       MR. MILLS
You must be Tiny.
                                         CUT TO:
FOREST QUINCE is a large black man in his early thirties who
stands at the large window of his private office. He is in
a room above his club, The Lions Den, and looks down at the
floor below. Where he stands is a plush velvet enclosure
filled to the brim with soft red satin covered chairs and
couches, he even has a dark glass desk at the far end of the
room where his brother sits on a wide black leather chair.
Forest watches the few strippers he has on for the night
make their circuit around the sparsely filled floor below
him. His place is barely filled up and he shakes his
massive head mightily as he leans on the thick cane he holds
in his left hand. Forest has the build of a fat individual,
his massive arms and legs attach to a belly that falls way
over his waist, but all of that hides his massive strength
as he clutches tightly at the shiny steel lions head that
rest on the top of his cane and actually dents it.
                       FOREST QUINCE
It's the gas. I tell you it is
that damn fucking gas! This
killer President of ours is going
to wipe us all out!


JEB QUINCE looks up from the calculator in his hands. What
surrounds him at the desk he sits at is a mountain of papers
and he idly pushes them away as he stares at his brother.
While Forest is huge in every word Jeb is more lithe, small,
and without any massive muscles found anywhere on his frame.
Like his brother he also holds not a hair on his shiny dark
head but that is where the two of them end their
similarities. Forest holds a thick beard on his face while
Jeb is always clean shaven and where Jeb has thick glasses
on his face Forest has perfect vision.
                       JEB QUINCE
What are you talking about now?
                       FOREST QUINCE
Our customers! Come here and you
can see for yourself and then
you'll be pissed to.
Forest points a finger towards the window before him. It
takes up one entire wall and is the single way he can easily
survey his domain.
                       JEB QUINCE
I don't need to get up...you're
gripping about our scant amount of
paying guest.
                       FOREST QUINCE
Damn right I am. We have one of
the best joints in town...hell we
have one of the best joints in the
surrounding three towns...but we
can't fill this place up anymore!
Its those fools in Washington!
Damn gas prices keep all our
customers away. No one can drive
                       JEB QUINCE
Now I'm the one who went to the
University of Massachusetts, that
nice liberal college way up in
Amherst. I'm the one who smoked
pot for four years and liked to
sit back and watch all the
protests against America that
happened on campus. I am that
guy. So how in the hell are you
the one who ends up buying into
all that insipid conspiracy


Forest turns from the window and stares at his brother with
shock on his face.
                       FOREST QUINCE
Conspiracy? Conspiracy! Do you
even read the internet college
boy? They don't lie! They never
lie! Those blogs only tell the
truth and they have the facts to
back up that truth which says that
our President is in league with
the oil industry. Add to that the
fact that he led us into an awful
war only to hide the reality of
outer space aliens abducting
people in Northern Wyoming...
                       JEB QUINCE
Alien abductions? You can't be
serious! Are you out of your
                       FOREST QUINCE
Read MovingAlong.org, it is all
there. Democrats don't lie my
brother, they don't lie. If they
say that all rich white people
hate us it is true even if almost
every single Democrat is a rich
white person. It is all around
you, Jeb, wake up!
                       JEB QUINCE
I've never been more glad to be
Republican. Have you ever thought
for a second that our customers
have stopped coming because you
haven't hired a new girl in over
ten years. I mean Shannon and
Cherry and Mercedes and all the
rest are gorgeous but they're not
twenty anymore. And don't even
get me started on Betty. Shouldn't
she be in a retirement home? We
can't expect business when one of
our main stars uses a cane in her
                       FOREST QUINCE
We can't afford to hire anyone.


                       JEB QUINCE
Well then we'll keep losing money
and have to fold up our nice club.
Of course since we also sell
drugs out of here, run a thriving
prostitution ring, and buy and
sell hot merchandise I think you
might want to keep this place
afloat. Hire some new girls!
                       FOREST QUINCE
And I still say we can't afford...
Before he can finish what he is about to say the one door to
the room, a large black metal structure that is the only
entrance or exit to the place, slowly opens and Mr. Aaron
walks inside. He holds in his hand a shiny new Glock that
he points directly at Forests' head.
                       MR. AARON
Maybe you could afford a new
guard. The one at the door
downstairs was so busy watching
the girls you have on the main
stage that he didn't even notice
me until I was right on top of
him. And your other bouncers, all
I can say about them is that I
don't think any of them even
realize someone got inside your
precious "Restricted Access
Employees Only" stairway.
Forest turns his head back to the window and once more peers
down at the floor of his club. No bouncer or guard even
moves as if something is amiss and all act as if everything
is normal. Forest returns his gaze back to Mr. Aaron as he
shakes his head slowly.
                       FOREST QUINCE
You're good, I'll give you that. I
didn't even notice you when you
came inside and usually I can spot
out the tough guys pretty easily.
Did you take Gibson's gun too when
you snuck up on him and got to the
                       MR. AARON
Oh yeah. I could never afford a
baby like this on my own. I had
to grab it.


                       FOREST QUINCE
And where is he? What did you do
to Gibson? Stick a knife in his
                       MR. AARON
No...not yet at least. He's at
the bottom of the stairs and will
wake with a nasty headache but
right now he is helping to block
up the door down there because I'm
not sure that flimsy lock I used
will keep the damn thing closed.
Forest looks at his brother who has subtly brought his hand
lower and lower as he reaches for the drawer beneath him.
Forest makes a quick hand gesture to stop him as he keeps a
smile directed at Mr. Aaron.
                       FOREST QUINCE
So you have us, friend, what comes
                       MR. AARON
First you move away from that
window and come sit over here.
Your brother can also join you so
I don't have to put a bullet
through him for trying to reach
for that gun I suppose you have
hidden in that nice ebony desk of
Jeb sighes sullenly and raises both his hands in surrender
as he stands from his chair. Both he and his brother move
towards a large read couch next to the door that Mr. Aaron
still stands beside. They make their way over and sit as
Mr. Aaron keeps his gun trained on both and closes the door.
                       MR. AARON
Good. Good. Now that you're
comfortable you won't mind
answering a few questions.
                       FOREST QUINCE
What questions?
                       MR. AARON
Well I was told by a friend of
yours, a low level thug called
Flint, that you are the guys to
see here in Clayton. The second
largest town outside of Dolson
County, only three hours away from


                       MR. AARON (cont'd)
San Antonio, and you two are the
names I get if I want to find out
about the scum that may have
passed through this place.
                       FOREST QUINCE
Flint. That drug dealing thief.
We've really got to stop doing
business with him and just sell
our stuff in Weary and Freemont on
our own.
                       JEB QUINCE
Tell me about it.
                       MR. AARON
Enough with the complaints. I
haven't gotten to my questions.
I'm looking for someone.
                       FOREST QUINCE
                       MR. AARON
Well his name used to be Collin
Best. He was a boy from Weary,
thin white guy with a weaselly
face from what I heard, had a nice
tattoo on one shoulder, and he
loved to beat on little kids. He
also was a pretty big heroin fiend
so I suppose you two might
remember him. I have it on good
account that he may have had a
girl in this town, a lady by the
name of...
Forest brings up a hand and silences Mr. Aaron as he turns
his head to look at his brother. They both stare at each
other in utter disbelief. After a short pause they both
break out into laughter.
                       FOREST QUINCE
You think we don't remember Collin
Best. That fool! Where have you
been, son? Everyone in town knows
him, especially us.
                       MR. AARON
How's that?


                       FOREST QUINCE
Well he come up here a while back,
started enjoying himself at this
very club, started meeting my
brother and me for deals on that
special stuff he loved to shoot up
with. It wasn't more then a year
after he arrived...
                       JEB QUINCE
It was more like a year and a half
after he arrived.
                       FOREST QUINCE
Yeah, all right, so it was a
little more then a year and a half
after he came here and started
living for good with that girl of
his, Della I believe, that she
just vanished. For a while it was
in the papers, no body, no leads,
no nothing but everyone sure
thought that Collin had killed
                       MR. AARON
I want to find him not hear his
life's story. Where is he?
                       FOREST QUINCE
I'm getting to that. You see
Della was a very loose woman, she
was one of our best girls in the
back rooms of this here joint
where you get way more then just
an intensive lap dance if you
catch my meaning. She was a
determined working girl and Colin
had stayed with her off and on for
years but he'd never lived with
her for long. They had this
little girl though and when he
came for good we all just assumed
it was because he'd decided to
finally be a father. Everyone knew
he hated Della but he seemed to
love his girl so maybe he was here
to do what was right. It didn't
fit him, doing what was right, but
people can change. And then Della
just disappeared.


                       MR. AARON
And Collin is still here
somewhere? Is that the moral of
this long tale?
Forest smiles a broad grin at Aaron as he grips the silver
top of his cane even tighter.
                       FOREST QUINCE
No, the moral of my long tale is
that he got tired of our accusing
stares so he left. He took out of
town but not before he came to my
brother and me and asked us for
one last bit of help. He gave us
a big sum of money to set him up
with a new identity. We are men
of business by the way and even if
he was a killer we couldn't just
say no. We gave him what he
                       MR. AARON
So what's his new name?
Forest quickly lunges to his feet. For a large man he is
still fast and in a second he is up with the top of his cane
removed, a large knife in his hand. Mr. Aaron is not fooled
for a second. As Forest rises and then makes a wild stab at
him, Aaron easily side steps the attack and shoots him point
blank in the head. Forests' skull explodes as red and
yellow matter covers most of the couch and some of his
brother. Jeb begins to yell.
                       JEB QUINCE
God! Oh God! What have you done?
What have you...oh Forest...dear
                       MR. AARON
Is that glass sound proof?
Mr. Aarons' question goes unanswered as Jeb continues to
scream. Aaron lets him yell for a second more and then hits
him violently across his face with the pistol. Jeb
immediately goes silent and spits gobs of blood, bits of
teeth, onto the already messy floor.
                       MR. AARON
I said is that glass window sound


                       JEB QUINCE
Y...yes! God yes!
                       MR. AARON
And that thick metal door with the
long stairwell up here is the only
way in or out, correct?
                       JEB QUINCE
                       MR. AARON
Then shut the fuck up because no
one heard that shot and no one
sure as hell is going to hear you
scream. Tell me about Collin
Tears stream down Jeb's face as he stares at his brothers
lifeless form.
                       JEB QUINCE
What do want to know?
                       MR. AARON
Everything. He got a new name,
what did he do with it?
                       JEB QUINCE
He needed to leave town and he
wanted a fresh start. He...he...he
uh...he was headed to San Antonio
and he wanted it all. New social,
new drivers license, new business
cards so he could pass himself off
as someone much better then who he
was. Hell, when he came to see us
he'd even stopped using cold
turkey. He was off the heroin
                       MR. AARON
Well that is nice. Very good
information there my friend. Now
do you remember his name or where
he might be in San Antonio?
                       JEB QUINCE
Not in San Antonio...not anymore
at least. The identity we gave
him...a John...John Andrews...he
used that to totally change
himself. He got into a low level
investment firm...OmegaTech or


                       JEB QUINCE (cont'd)
something...he really did well at
it but he got himself into trouble
when his criminal nature took
over. He stole money, from the
firm, from clients, but he wasn't
the only one. The whole company
was corrupt and when Colin...I
mean John...when he saw that it
was going down he turned informant
for the Feds. They got him out of
trouble, gave him a new address in
Odessa, and set him up there to
wait until they called for his
testimony. It was in all the
papers man! How the hell did you
miss it?
Mr. Aaron pauses to step back and take in the mess of the
office. He even bends down a tad to get a close look at
Forest before he stands straight and aims the gun at Jeb.
                       MR. AARON
I've been out of the country for a
while. Got any idea where in
Odessa this John Andrews might be?
That cities almost up in Arizona,
it is quite a far drive, and if
I'm going to go nine hours to see
him I don't want to get lost.
                       JEB QUINCE
Creedmoor. 217 Creedmoor Lane.
Forest and I always got a kick out
of that. Somehow that hopped up
junkie worked his way not only
into a cushy job in San Antonio
but also into a government paid
for house in one of the nicer
areas of all of Texas.
                       MR. AARON
So you thought it was funny when
he got money, when he got rich,
off of your fake credentials. You
thought that was funny?
                       JEB QUINCE
                       MR. AARON
Well did you know that this Best
fellow, this new Mr. Andrews, used
to beat and molest a son he


                       MR. AARON (cont'd)
abandoned in Weary. Did you know
Mr. Aaron has started to yell and Jeb cowers from the sound
as Aaron gets up close to him and presses the barrel of the
Glock against his temple.
                       JEB QUINCE
                       MR. AARON
Did you know!
                       JEB QUINCE
We knew! We knew! We'd heard of
some of his other perverse traits
but what was that to us.
                       MR. AARON
And you still sold him drugs!
Still let a girl of yours be with
him! And you still gave him a new
identity so he could take this
daughter of his off to a new town!
Did he touch her?
                       JEB QUINCE
His daughter? We didn't...no one
knew for sure. I mean Forest and I
thought he might have but it was
none of our never mind.
                       MR. AARON
And you still sold him whatever he
                       JEB QUINCE
It was business man, business!
Come on! Please!
Mr. Aaron presses the gun deeper into Jebs' flesh as he
stares down at the man with no emotions etched into any part
of his body or eyes. He is an icy cold blank slate.
                       MR. AARON
Please. Please! You want a
please from me. I've heard it all
before, from better men then you.
If you want please from me...this
is all you get.


A ROAR fills the room as even more red sprays up into the
                                         CUT TO:
Tiny Mattess still stands with the Colt revolver in her
hands. It shakes a tad as she clasps it in both fist but
she holds on steadily as she gazes harshly at Mr. Mills.
With blood shot eyes and a body that twitches slightly it is
obvious to all that she is high. Mr. Mills crosses from the
fireplace to the shadow filled side of the home where Tiny
stands half in the light and half in the dark.
                       MR. MILLS
Why don't you put the gun down
little lady.
On the floor behind Mills, Flint Mattess struggles to his
knees. He gasps for more air and looks over at his sister
with wide eyes. Before he can find his voice The Girl comes
to his side and helps him to his feet.
                       FLINT MATTESS
T...Ti...Tiny just shoot him!
Shoot the son of a bitch!
                       MR. MILLS
Now don't listen to him, honey,
I'm not going to hurt anyone here.
Just need some information and
then I'll be gone so why don't you
drop that pistol and let us finish
our chat.
                       TINY MATTESS
Shut up! All of you...shut the
fuck up!
The gun shakes even more crazily in her hands. Mills stops
dead in his tracks. He is almost to her, just a few feet
away, but he pauses so as to not make her more upset.
                       MR. MILLS
You know I checked this house
before and after I entered. How
did I miss you?
                       TINY MATTESS
G...gift of being an addict. We
find holes to hide in or we're so
paranoid we can't sleep unless


                       TINY MATTESS (cont'd)
we're covered up and in some
closest. In your case it was the
second one. I was out and all
peaceful like until your dumb ass
woke me up. Who the hell are you?
                       FLINT MATTESS
For the love of...just shoot him
Tiny! Shoot him before something
                       TINY MATTESS
I said shut the...
Tiny takes her eyes off Mr. Mills as she screams at her
brother. Mills acts. He moves with a quick speed and in
one fluid motion has both of Tinys' wrist in his hands. He
jerks the gun upwards and away from himself. Tiny reacts,
she pulls the trigger. The weapon goes off but Mills has
already aimed it away from his body and instead it is
pointed directly underneath Tinys' chin. A loud explosion
fills the room and a plume of dark crimson flies from the
top of Tinys' head as she falls to the floor.
                       MR. MILLS
Well hell.
The Colt now securely in his hands Mills turns to the
stunned forms of Flint and The Girl. They both have yet to
                       FLINT MATTESS
You killed her! Oh my God you
killed her! You motherfucking son
of a...
                       MR. MILLS
The language really isn't
necessary. It was an accident. I
didn't mean to do it. I'm sorry.
                       FLINT MATTESS
You're sorry! You're sorry? Is
that supposed to make me feel
better. You killed my sister you
bastard! You can't apologize that
                       MR. MILLS
Actually, again, that was an
accident. I feel bad about it but
I'm not sorry. That girl should
have never pulled a gun on me.


                       MR. MILLS (cont'd)
What I was apologizing for was
With a sigh Mills raises the gun in his hand and aims it at
The Girl.
                       THE GIRL
Wh...what? Why?
                       MR. MILLS
Two LOUD BANGS fill up the trailer as The Girl is hit twice
in the chest. She falls down against the fireplace, her
legs splayed crookedly beneath her. Mills walks over to her,
aims in again, and sends a round into her head.
                       FLINT MATTESS
Oh shit! Fuck me! Oh God you
sick motherfucker! You murdering
Flint tries to scurry away from the form of The Girl. Flecks
of her blood are all over his face and he trips over his own
feet, falls back to the floor, and looks up at Mr. Mills in
utter terror as he attempts to make an escape.
                       MR. MILLS
I didn't want it to go this way. I
really didn't. All I wanted was
the where abouts of the man who
came to see you. All I wanted was
the direction you sent him in. But
then your sister surprised me, she
got killed, and I can't let
anything slow me down. I'm going
to find the man who stopped in
here earlier today, Mr. Mattess,
and you just had the misfortune of
being a witness to something I
can't let hinder my progress. It
is why I killed that other girl
and why I'm going to kill you to.
                       FLINT MATTESS
Me? Me! If you're going to kill
me then why the hell should I talk
then? Go fuck yourself! How
about that. If you're going to
shoot me then just come on and do
it! Do it big man! Killer of
innocent girls! Come on and shoot


                       FLINT MATTESS (cont'd)
me down you fucking bitch!
Flint keeps up a slow backwards crawl along the floor. Still
on his back he uses his elbows and feet to push himself away
from Mr. Mills. Half out of his living room and onto the
linoleum of his kitchen he brings another knee up to scurry
even farther away and it is then that Mills fires. Flints'
kneecap explodes in a spray of hot flesh. He begins to
                       FLINT MATTESS
Oh god! Oh my god! Shit!
Mr. Mills walks over to Flint who writhes in agony beneath
him. Mills crouches down beside the boy and smiles sadly as
he brings the gun up over Flints' other knee.
                       MR. MILLS
I don't want to lie to you, Mr.
Mattess, it would be unkind if I
even tried. You are going to die
tonight, and I am sorry it has
come to this, but before you go I
need two things. The town that
man went off to and the people you
told him to meet. Tell me those
things and this pain you're
feeling will end. I promise.
                       FLINT MATTESS
F...fuck you.
                       MR. MILLS
Again, I am sorry.
The gun repeats its violent noise as Flints other knee is
obliterated. The boy gasps in agony and looks up at Mr.
Mills with tear filled eyes.
                       FLINT MATTESS
Please. Please! No more!
                       MR. MILLS
It is up to you. Where did he go?
Who did you send him to meet?
Tell me these things and you'll
still die but at least that death
will come much quicker I assure


                       FLINT MATTESS
Don't...don't kill me. I'll tell
you if you just let me go. Let me
go and we can forget all about
Mills reaches down and places a free hand into one of Flints
wounds. The boy screams in pain.
                       MR. MILLS
I can't promise that. Tell me
what I want to hear. I'm running
behind and I need to catch up with
him so tell me what I want to
                       FLINT MATTESS
You're not too far behind him! Not
too far! He's in Clayton! He
went up to Clayton and I told him
to meet the Quince brothers! I
told him to go to their club The
Lions Den at around eleven because
that was when they'd show up there
so you can't be too far behind!
He's in Clayton!
                       MR. MILLS
Thank you. Just wish you had told
me that sooner.
Mills stands and wipes his blood covered hand on the back of
the couch. He turns to look down at Flint who moans beneath
him. Mills shakes his head disgustedly and he raises his
                       FLINT MATTESS
Don't...don't. I told you
everything. Should have done it
sooner...my bad...but I told you
what you needed to hear so just go
man. Okay? Okay! Just go and we
can leave it at that! Just go!
You don't have to do this! Please!
                       MR. MILLS
No witnesses.
The gun goes off twice and then the room falls silent. Mr.
Mills turns to walk into the part of the house that The Girl
had checked on before she died.
                                         CUT TO:


A worn brown desk sits near the far wall of a very small
room. White linoleum flecked with black makes up the floor.
White cement walls and a tiled ceiling covered in holes and
florescent lights surround a few pictures and plaques that
are placed sporadically everywhere. A large glass wall and
glass door covers the front of the office and stenciled in
gold letters over the top of the door is the words "Sheriff
Dunn, Dolson County Sheriff". It is through this door that
Dunn walks slowly inside, he goes around his desk and pulls
out a large brown leather chair which he collapses into. He
has just pulled his wide brimmed hat off his head and made a
place for it amongst the cluttered papers all about him when
Deputy Shane knocks at his door.
                       SHERIFF DUNN
It's almost midnight, Shane, its
been a long day, just come in.
Shane slowly opens the door and steps inside. In his hands
he holds a large brown folder that he keeps in front of him.
                       SHERIFF DUNN
What have you got there?
                       DEPUTY SHANE
Report sir. From a Mr. Gerald
Pickett. Seems he got car jacked
on Route Thirteen around five this
evening and I was told you hadn't
been informed yet so I thought I
should let you know.
                       SHERIFF DUNN
You sure as hell should let me
know! Why am I just hearing about
this now? Who responded to the
Dunn stands and reaches for the file. Shane quickly hands
it over and then stands, still almost at attention, in front
of the desk.
                       DEPUTY SHANE
Sir it was...it was...it was
Deputy Smith who took the call.
You had gone back into the Weary
to check it out and it came over
the radio at around nine in the
evening. He said he'd take it and


                       DEPUTY SHANE (cont'd)
not bother you.
                       SHERIFF DUNN
Of course he did. Damn
fool...probably thought he'd get
in my good graces by doing such a
thing because I was busy and he
was still smarting from my teasing
him about talking to that suspect.
Idiot! You go out and you send
him in here if you can find him.
And he'd better not have already
gone home because if he has you'll
be the one to drive to his house
to go get him.
Shane turns to leave as Dunn starts to leaf through the file
he holds. He only gets a few pages before he hears a sharp
COUGH and looks up. Shane has turned back around and stares
at Sheriff Dunn.
                       DEPUTY SHANE
I'm sorry sir, and it may be none
of my business but...but...
                       SHERIFF DUNN
Spit it out son. I'd like to get
to bed before the sun rises and
you have yet to find Smith for me.
                       DEPUTY SHANE
Yes sir...I'll go get him
sir...but I was just wondering who
Darrell Reilly was sir?
                       SHERIFF DUNN
                       DEPUTY SHANE
Well when you let that man go
today sir...I mean I understand
that his alibi checked out and all
but he still seemed very sketchy
to me and when you let him go I
didn't understand why so I asked
around. I asked the other
Deputies why you might have just
let him walk and all they answered
was Darrell Reilly. Who is he


                       SHERIFF DUNN
He is the past son and sometimes
the past needs to be left well
enough alone. Don't worry about
it. Get me Smith.
                       DEPUTY SHANE
Yes sir. Right away sir.
Shane turns to leave yet again but soon he is stopped once
more. This time by a loud SHOUT from Dunn who has reached a
few pages into the file and holds one of them up close to
his face.
                       SHERIFF DUNN
Wait! Wait! It says here that
Pickett was attacked at five
o'clock this evening but he didn't
report anything till nine. That
is a four hour delay and I have to
wonder what took him so long to
report anything? And who in the
hell besides that old fool Pickett
travels Route 13? It's all one
lane dirt nothing until you're
almost to Clayton.
                       DEPUTY SHANE
Well there is that one turn off to
the highway. It lets you leave
Route 13 and get off near exit
Dunns' head snaps up off the folder he holds.
                       SHERIFF DUNN
                       DEPUTY SHANE
Yeah, it's an even worse side road
off of 13 but it can get you to
Highway 40 next to exit 140. Most
people don't know about it but
I've gone fishing with Pickett
once or twice when I was much
younger, he used to live beside
me, and he told me about it.
                       SHERIFF DUNN
Damn! I didn't know. If that son
of a bitch...


                       DEPUTY SHANE
                       SHERIFF DUNN
Nothing...forget what I said. I
just hope Pickett is okay and that
the man I think might be
responsible isn't responsible. Is
Pickett all right?
                       DEPUTY SHANE
He's fine. A little shook up but
fine. He was knocked out for a
few hours though, it's why he
didn't report anything for so
long, but he was able to make it
to the clinic in Weary and they've
given him a bed for the night. Who
ever took his truck sure did a
number on his head. He may have a
concussion. You think you know
who that guy might be. I'd kind
of like to go get him myself if I
Dunn shakes his head and drops the folder to his desk. He
sits back down on his leather chair and sighs.
                       SHERIFF DUNN
I hope I don't know who did it. I
really do. Just go get me Smith,
let me talk to him.
                       DEPUTY SHANE
Yes sir.
Shane bolts from the room. The glass door makes a very
audible WHOOSH as he leaves and Dunn is left all alone. He
stares vacantly at his desk, the few pictures of his wife,
his family, before he looks over at the black phone that
rests on the upper right corner of the wood surface. He
reaches a hand out to pick it up and right before he touches
it the thing begins to ring. Dunn carefully grabs it and
puts the phone to his ear.
                       SHERIFF DUNN
                                         CUT TO:


Mr. Mills sits behind the drivers seat of what appears to be
a very large and spacious Cadillac that travels down a
sparsely populated highway. He keeps one hand on the wheel
and the other on the phone at his ear.
                       MR. MILLS
I'm sorry Sheriff.
                       SHERIFF DUNN
For what? For beating up a
seventy year old man? Is that
what you're calling about? You
beat up an old timer for his
rusted up piece of junk truck
after I let you go and now you
call to apologize! Damn you
Mills! I had you in my hands and
I knew I should have kept you!
                       MR. MILLS
I do apologize for that. The man
was very nice when he saw me
walking down that back road and I
feel bad for hurting him. Is he
                       SHERIFF DUNN
Well he is alive. Has a major
headache but is alive. I guess
you can be glad for that. What
were you doing on Route 13?
                       MR. MILLS
Didn't want anymore hassle with
the Troopers and I thought my car
could make it. Guess I was wrong.
It broke down not to far out of
Weary and I was walking...walking
for quite a while... when the man
reached me. I was running very
late to meet those kids you told
me about and I didn't have very
many options. I had to take his


                       SHERIFF DUNN
Bullshit! Bullshit! Out of
options my ass...that doesn't give
you free reign to go off and hurt
some old man! I told you I would
hunt you down if you stepped out
of line and I wasn't kidding!
You'd better pray you're not still
in Picketts' car because if you
are you'll be found soon and
then...well then boy you're in a
world of hurt!
                       MR. MILLS
I'm not in Picketts' car, and I'm
not calling about him either. I'm
sorry about something else.
For a minute there is just a static silence on the other end
of the phone. Mr. Mills turns to look at it, holds it to
his eyes, sees that he still has bars, is still connected,
and then puts it back to his ear.
                       MR. MILLS
                       SHERIFF DUNN
What did you do?
                       MR. MILLS
I used to think that I was a good
man, Sheriff, I really did. I did
some bad things in my youth but I
tried to make up for it. I tried.
I made sure that justice, that
what was right, won out in the end
and sometimes I may have stepped
over the line between what was
good and what was bad but I
stepped over it only ever so
lightly and got back real quick.
                       SHERIFF DUNN
Dear god...what did you do?
                       MR. MILLS
I killed men who deserved to die.
In the Corps, in the Troopers, I
killed them when they were going
to get away with they're crimes.
I've even robbed banks that


                       MR. MILLS (cont'd)
weren't being fair to their
customers, denying loans on the
basis of color, and I've never
felt bad about any of it. It was
justice, my justice, and the
things I've done...they may not
have been good but they sure as
hell weren't bad. I was a good
guy, I was, but now...now...maybe
I'm more like him then I thought.
Maybe I'm just as evil as he is.
                       SHERIFF DUNN
Just tell me. May the Lord
forgive me for ever letting you go
but just tell me what you've done!
                       MR. MILLS
May he forgive us both, Sheriff.
I'm going to find the man I'm
after, I really am, and anything
that gets in my way I'm afraid
will suffer. It will, it has to,
because killing him is the only
way for absolution...the only way.
What I've done because of
him...what I've done to get to
him...I can't promise that more
people won't be hurt if they stand
in my way.
                       SHERIFF DUNN
It was Flint and Tiny wasn't it.
You hurt them didn't you.
                       MR. MILLS
Yes, them and one other. She
probably wasn't even into drugs or
anything bad at all...seemed like
a nice girl. I'm sorry Sheriff.
Wish I could have not done it.
                       SHERIFF DUNN
Why? Why did you do it? Just
tell me why this mystery man of
yours is so damn important you've
killed to get to him! Tell me!
Mills doesn't answer but instead looks off into the


                                         CUT TO FLASHBACK:
The beaten man still sits tied to a wooden chair in the
middle of his run down kitchen. He stares up at the
darkness before him. The HAUNTED, yet SOFT, MELODY fills
the room. The two figures are still in the shadows of the
house, the are not seen clearly, but the man keeps his eyes
on them as one boy, the larger figure, reaches down and
picks up the smaller figure. The larger figure halls the
smaller one to his feet and places something in his hand.
                       BEATEN MAN
Don't do this! Don't do this,
please! I've changed! I have! I
don't hit you...either of
you...and I haven't touched you
since your mother died! I was
sick...with the drink...I was sick
and wasn't in my right mind when I
did the things I done! Please
don't do this! You don't have to
do this! I've changed! Can't a
man be forgiven for his mistakes?
Can't he! Don't do this son!
The beaten man keeps up his gaze at the figures before him.
The larger figure pushes the smaller one towards the light
that the beaten man sits in.
                                         END FLASHBACK:
Mills' car pulls off the highway and heads into a large town
that is closed for the night. All around him are buildings
devoid of light and any sign of movement. He drives onward,
his eyes still cast towards the distance before him, as he
heads to some vague pink neon lights on the far end of the
                       SHERIFF DUNN
Mills? Mills! You answer me you
bastard! Tell me why this man
you're hunting is so important!
                       MR. MILLS
He just is.


                       SHERIFF DUNN
Bastard. Bastard! You hear me,
Mr. Mills? You're a sick fucking
bastard and I will find you! I
had you, I let you go, but I'll
find you again I swear it! No one
is worth the lives you've taken,
no one! I want Abagail Adams
murderer but I want you even more!
I am going to find you!
                       MR. MILLS
Don't Sheriff. Don't. He is
worth it and I'm almost to him
now. I'd appreciate it if you'd
just let me be so that I can
finish this. Don't send out any
descriptions of me, don't even put
anything into the wire for other
cops to read so that they will
know that I am out there
somewhere. I...I don't want to
hurt anyone else.
                       SHERIFF DUNN
Screw you! You hear that? Screw
you! Where ever you're headed to
I'll make sure they'll be ready
for it! I'll make sure of that!
                       MR. MILLS
Then I guess there'll be more
blood. Enough to cover both our
hands. I am sorry, Sheriff, this
thing isn't going at all as I'd
thought it would. Not one bit.
Mr. Mills pulls into the parking lot of the Lions Den and
parks his car far away from every other vehicle. He folds
up the phone in his hand and severs the connection.
                                         CUT TO:
Dunn hangs up his phone. Again he looks at the desk he sits
at with utter disgust and worry in his face. He reaches
over and picks up a picture of a woman who looks to be about
his own age.


                       SHERIFF DUNN
What have I done, Sam, what have I
done? I think I screwed up again.
The door to his office opens as a dejected Deputy Smith
slowly comes inside.
                       DEPUTY SMITH
Sir about Mr. Pickett I can
Dunn rises from his chair with a determined speed and grabs
his hat. He barely looks at Smith as he walks from around
his desk and heads for the door.
                       SHERIFF DUNN
Never mind about Pickett. I need
you to go and put out an APB for a
one Mr. Langston Mills, the guy
that was in the back of my cruiser
earlier today. Make it a good one
too, give out all of the details
we have on him and tell people
that he is likely armed and
extremely dangerous. Do that and
send it everywhere, all over the
state, and also add to it the
descriptions that we have of some
of the cars that Flint Mattess
owns...I mean owned.
                       DEPUTY SMITH
Yes sir. Do you need me to do
anything else?
                       SHERIFF DUNN
Yes, round up all the boys who are
still on duty and awake and have
them meet me up at the Mattess
trailer. And call Doc Emmett too,
it looks like we may have a few
more bodies for him to deal with.
Dunn walks out of his office. He leaves a stunned Deputy
Smith in his wake who just stands for a few minutes unable
to move or speak and then finally gathers himself and
follows his boss.
                                         CUT TO:


Mr. Aaron opens the door that leads to the Office of the
Quince brothers and nonchalantly walks into the noisy floor
of the Lions Den. Girls move all around in the dim light of
the joint. A few are on three stages as loud rock music
blares from hidden speakers buried somewhere in the walls.
Other girls walk the floor and Mr. Aaron doesn't look at
them or anyone else to see if he has been noticed or not. He
tries to close the door behind him and a few parts of an
unconscious guard who lays at the foot of a long wood
staircase can be seen over his shoulder. Mr. Aaron kicks at
the parts of the guard that still block the door and once
they are out of the way it closes easily. Mr. Aaron starts
to leave but he doesn't get two feet before he bumps right
into MRS. BETTY. She is a tall blond, in her forties, who
looks much older then she is. She wears a tight, black,
leather shirt around her waist and a very see through white
shirt over her large chest that easily showcases all of her
lacy red bra. She peers at Mr. Aaron as she stumbles back
hard due to one of her knees being covered in a thick black
                       MRS. BETTY
Shit! Shit! Why don't you watch
where you're going asshole!
Betty rights herself and flings heavy arms at Mr. Aaron to
make him get out of her way. She starts to move towards the
door that Mr. Aaron just came out of.
                       MR. AARON
Now where do you think you're
going, darling?
                       MRS. BETTY
Darling? Darling? Who the fuck
are you and why the fuck did you
just come out of Jeb and Forests'
                       MR. AARON
My...such words from such a pretty
mouth. May I have the pleasure of
knowing to whom it is I'm talking
                       MRS. BETTY
Full name is Betty Lodge but when
I'm on the stage it's just Mrs.
Betty. Now get the fuck out of my
way Gramps, I need to see the


                       MRS. BETTY (cont'd)
Quince boys!
                       MR. AARON
I don't think they're taking
visitors right now.
                       MRS. BETTY
And why is that?
                       MR. AARON
Why do you want to see them?
                       MRS. BETTY
I don't have time for this! Do I
need to call someone over here to
help me with you?
                       MR. AARON
You can...but you won't.
                       MRS. BETTY
Why is that?
                       MR. AARON
One of the traits of my family,
that all of us have, we can size
people up pretty quickly. We know
what makes them tick, what they're
all about, and I think I've got
you figured. You're intrigued.
                       MRS. BETTY
By you old timer...I doubt that. I
don't go for the ancient
fellows...I like them young.
                       MR. AARON
Oh I know some young ones you'd
like but you're still interested
in me.
                       MRS. BETTY
How's that?
                       MR. AARON
Because you saw me come sauntering
out of that doorway and probably
noticed that no guard was at my
side when I exited. There was one
there, just standing like a good
old sentry, when I entered and I
suppose he's always there, visible
as day itself, and you're


                       MR. AARON (cont'd)
concerned because all of a sudden
he's gone and I'm all thats left.
You're concerned but you're
interested. I can tell because
you've been biting your bottom lip
as we've been talking and you're
breathing hard. You think
something is up and it excites
                       MRS. BETTY
You can tell all that. Who the
hell are you?
                       MR. AARON
You answer me my question and I'll
answer your's. Why were you going
to see the Quince's?
                       MRS. BETTY
Jeb won't let me use the back
rooms anymore. If I can't take
any of my clients back there then
I can't make enough money to buy
anything. My legs all busted up
and I still dance but...but...but
hell no one likes a crippled
stripper no matter how naked she
                       MR. AARON
You're an addict.
                       MRS. BETTY
What? No...no I'm not.
                       MR. AARON
No need to lie Mrs. Betty, I ain't
passing judgment. But maybe I'm
not as good at measuring up others
as I thought I was. You're not
excited about what is going
on...you need a fix. You're a
fucking junkie.
                       MRS. BETTY
Junkie! Junkie! Jeb and Forest
are the only ones who get me my
stuff but even they won't let me
pay off my debts with treats
anymore! They say I'm
old...old...but I'm only
forty-three and it's not my fault


                       MRS. BETTY (cont'd)
I've had a rough life, some rough
luck! If they won't fuck me and
let that be my payment for
drugs...if they won't let me use
the back rooms...then I'm forced
to go to my van and
that...that...that only gets me
the dregs...the men willing to pay
just a few bucks! Maybe I am an
addict, old man, maybe I'm just a
junkie, but even a junkie needs
more respect then what some
ancient fool like you gives her! I
was once the winner of the Miss
Teen Oklahoma contest, me, a
winner, so get the fuck out of my
way and let me see Jeb and Forest!
Mrs. Betty has become more and more irate. Aaron brings up
his arms and grabs her by the shoulders to try to calm her
down but she continues to yell. The bouncers are finally
made aware of Mr. Aarons presence due to the ruckus and
three of them come over and stand around Mr. Aaron and the
now hysterical blond woman he holds.
                       WHITE BOUNCER ONE
What the hell is going on, Betty?
Is this guy bothering you?
                       WHITE BOUNCER TWO
Hell, forget about her, she's
nuts. Don't know why Jeb still
lets her dance. We should ask the
guy if she's bothering him. Are
you all right sir?
Mr. Aaron sizes up the three behemoths that surround him.
Three other bouncers lean up against walls all around the
bar but Aaron only notes the three nearest and takes them
in. Two are huge white men with bulging arms crossed over
their chest. One of the white bouncers stands at Mr. Aarons
right, very close to the door he just left, while the other
takes a position behind him. The third bouncer is an even
bigger black man who stands in just behind Mrs. Betty and in
front of Aaron. He stays silent but glares heavily.
                       MR. AARON
We're fine. Fuck off.


                       WHITE BOUNCER ONE
What? What! Fuck you Mr. Two
Feet In the Grave! Throw him the
fuck out!
White Bouncer Two, who is behind Mr. Aaron, places a meaty
hand on his shoulder. Mr. Aaron quickly grabs the hand,
spins, twist the guy around, and sends a jab into his elbow.
Over the noise of the rock music a large crack can be heard
as the bouncers arm snaps in two. As the other guards look
on in shock, Mr. Aaron effortlessly lets go of the hand he
still holds and sends another punch out. This one lands on
the throat of the large black bouncer and that man crumbles
to the floor in a WHEEZED GASP. Mr. Aaron turns to the next
one. That bouncer reacts, throws his own punch, but Mr.
Aaron dodges, ducks, and then rights himself as he sends a
knee up into the bouncers gut. The man falls, his white
body crumples to the floor, and Mr. Aaron walks over to Mrs.
Betty who has been immobile, rooted to the floor, and has
yet to move.
                       MRS. BETTY
Who? Who are you?
Mr. Aaron smiles and gives a tip of his hat that hasn't
moved an inch from his head the whole time he's been in the
bar. He roots around with one hand in his front jeans
pocket as his other hand goes around to where his Glock has
been hidden at the base of his spine.
                       MR. AARON
The names Aaron, Mr. Aaron, Mrs.
Betty. I'm the guy who killed Jeb
and Forest Quince and I'd really
appreciate it if you'd show me
where that van of yours is. We
have a trip we have to take.
                       MRS. BETTY
                       MR. AARON
Yes. We.
Mr. Aaron shows to Betty what he pulled out of his front
pocket as he also aims the Glock at some of the other
Bouncers who have begun to approach. He holds four small
bags of white powder, Heroin, in his non-gun hand.
                       MR. AARON
If you want these...if you want
the young boy I have with
me...then you'll come along. I
need a new vehicle anyway. Where's


                       MR. AARON (cont'd)
your van?
                       MRS. BETTY
Outside. Just right outside.
Mrs. Betty looks at the drugs with raw desire before she
pries her eyes away and stares at Mr. Aaron.
                       MRS. BETTY
But where are we going?
                       MR. AARON
Up to Odessa. Up where a Mr. John
Andrews lives and we'd better get
                       MRS. BETTY
But that...but that's almost ten
hours away.
                       MR. AARON
I know. This is why we'd better
get going. Unless anyone wants to
try and stop us that is?
Mr. Aaron looks at the faces around him. All noise,
activity, has stopped and the bar is an uncomfortable
silence as he waves he gun in slow circles at every figure
he sees. No one says a word as he begins to walk towards
the front door with Mrs. Betty right behind him.
                       MR. AARON
Good. Just stay quiet, don't
move, and all will be good. Hope
everyone has a fun rest of the
evening. Thanks for being so
Mr. Aaron reaches the double doors that are the front
entrance to the Lions Den. He places his gun to the head of
ANOTHER BOUNCER who stands nearby. Mr. Aaron directs
Another Bouncer to open up the doors.
                       MR. AARON
Guess this makes for a pretty
interesting Saturday night now
doesn't it?
                       ANOTHER BOUNCER
I...I think it's Sunday all ready.


Another Bouncer opens the doors to the club and lets in the
coolness of night into the bar. Mr. Aaron takes a quick
glance at a clock over the entrance to the Lions Den and
sure enough it reads twelve-thirty in the morning. A new
                       MR. AARON
Who the fuck cares!
Mr. Aaron whips his pistol violently across Another Bouncers
head. The man falls to the ground and Aaron and Betty exit
the bar as the doors close behind them.
Mr. Mills sits in his car and watches as Mr. Aaron and Mrs.
Betty make they're way out of the club. Mr. Aaron walks
slowly backwards with his gaze, and the sights of his gun,
aimed directly at the bar in front of him. Mrs. Betty leads
him to a large brown van and opens the drivers side door.
She begins to get inside but Mr. Aaron puts a hand on her
waist and pulls her back out of the vehicle. He gets into
the drivers side as she goes around to the passengers seat.
                       MR. MILLS
Not yet.
Mr. Mills keeps up his vigil over Mr. Aaron as the van
starts up and pulls out of the parking lot. One of Mills
hands clutches the pistol he took from the Mattess trailer
while the other has drawn up and holds onto the handle of
the door at his side. He clutches that handle tightly,
almost opens his door, but instead relaxes and just SIGHS
HEAVILY as Mr. Aaron and Mrs. Betty peel out into the night.
                       MR. MILLS
Not yet. He has to hurt first.
Large men, the bouncers of the club, come out of the Lions
Den and look around. Mr. Mills watches them closely as they
realize that Mr. Aaron is gone. He watches as the large
bouncers start to usher everyone out of the bar. As the
Lions Den is being evacuated Mr. Mills reaches over to the
glove compartment of his vehicle and opens it up. Inside
are three boxes of ammunition and he loads his pistol up
before he opens up his door and steps out into the night.
                       MR. MILLS
When the time is right...when he
is almost there and I can take it
away from him...that is when I


                       MR. MILLS (cont'd)
will act. Until then, though, I
may just have to protect him from
Mr. Mills SIGHS HEAVILY again. He closes the door to his
car and tucks his pistol into the front of his waist. He
walks towards the Lions Den.
                                         CUT TO:
The bar is empty except for a few bouncers who rush around
everything. One drags a knocked out man from out of the
stairwell as another dashes up the stairs with a gun drawn.
All the bouncers now have guns on them, most of the weapons
are kept tucked in at the waist but a few are drawn and held
in the hands of large men who move in and out of back rooms.
The three bouncers who where savagely attacked by Mr. Aaron
sit propped up against a far wall, one holds a crooked arm
to his chest and whimpers, the other still gags for air,
while the one who just got kicked in the stomach directs the
action around him.
                       WHITE BOUNCER ONE
Check the office! Check it! Are
they dead! What the fuck did that
son of a bitch do?
The man who went up the stairs comes back down and rushes
into the main floor. He is WHITE BOUNCER THREE and his
large frame shakes as he stares wildly around the club.
                       WHITE BOUNCER THREE
They're dead! Shit! Both Jeb and
Forest! They're fucking heads are
spread all over the office! What
are we going to do?
                       WHITE BOUNCER ONE
Are the cameras still working up
                       WHITE BOUNCER THREE
Yeah. Yeah! I mean I didn't see
anything broken or nothing. Just
Jeb and Forest with half their
skulls gone and that black desk
seems to have been ransacked but
other then that everything was


                       WHITE BOUNCER THREE (cont'd)
fine. The cameras should still be
                       WHITE BOUNCER ONE
Good. Good. We'll check them out
in a second and find out where
that motherfucker was headed off
                       WHITE BOUNCER THREE
All right. Got it. Is there
anything else we should do?
White Bouncer One stares around the club. All the bouncers
mill about the place, a few are still in a couple of the
back rooms and move in and out of them, but most just stand
in the main floor as they look at what is around them. The
club is empty, the stages devoid of any girls or customers,
and they all appear as if they have not a thing to do.
                       WHITE BOUNCER ONE
Everyone listen up! Listen! This
is what we have to do. First are
we sure that the bar is empty!
Every bouncer looks around at the club once more. No one
else seems to be there and all shake they're head in nods of
affirmation. The bar is empty. Just then Another Bouncer
arrives from the front of the Lions Dead. He holds his head
and brings a hand away to check the flow of blood that comes
from a wound at his scalp.
                       ANOTHER BOUNCER
I shut the doors, locked them up
tight, no one came in, everyone
went out, we're the only ones
                       WHITE BOUNCER ONE
Good. Great. Well we can't go to
the cops ourselves but something
tells me that one of those damn
fool customers we let out might
just run they're mouth. Cops may
come...they're probably on they're
way...so this is what we have to
do. Lock up the back rooms and
clean out the Quince brothers
office. Don't touch the boys
themselves, let them be, but clean
the place out so no drugs or
anything else remains. And, for
the love of all that is pure, do


                       WHITE BOUNCER ONE (cont'd)
not tell any officer of the law
about the surveillance cameras.
They are for us. We'll hunt that
bastard down ourselves and make
him pay. He may have handed us
the empire of Jeb and Forest
Quince but that doesn't mean we
have to thank him for it. He will
White Bouncer One looks about at the men around him. Except
for the injured few at his sides every other man looks at
him with new found vigor but none move. All seem to be in
wait of more orders.
                       WHITE BOUNCER ONE
I said get moving. Go to the...
Before White Bouncer One can finish a HAUNTED TUNE, a SOFT
MELODY, fills the bar. Each bouncer looks around wildly
before they all spot a figure who sits at one of the stools
set up at the bar of the club. It is Mr. Mills. He sits
casually on a soft velvet covered stool with his harmonica
at his lips. He plays his song until most of the bouncers
begin to move his way. When he has a half circle of every
able bodied bouncer around him, each with a hand on the
weapons at they're belts, he brings the harmonica down and
places it in the left breast pocket of his brown leather
                       ANOTHER BOUNCER
Who the fuck are you? How did you
get here?
                       MR. MILLS
You have cameras up in that office
that one of you just came out
of...I need to see them. I have
to take care of them after I find
out where he went.
                       WHITE BOUNCER THREE
Where who went? Who are you?
                       MR. MILLS
The man I'm looking for...he
usually makes a mess just like the
one I see here...I'm sure he is on
those cameras of yours and I'm
going to find out where he went.
I'm going to take of things for


Still at a far wall away from Mr. Mills, White Bouncer One
gets to his feet.
                       WHITE BOUNCER ONE
And what exactly are you going to
do after we let you see those
videos? Presuming of course we let
you see them which I don't think
we will do.
                       MR. MILLS
Oh I'll see them. With or without
your help I will see them. Then I
will destroy them so that no one
but I will go after him.
                       WHITE BOUNCER ONE
Bullshit! That fucker killed Jeb
and Forest and your saying that
he's not yours. No way! We'll
take care of him and you can go
fuck yourself! Somebody please
shoot this asshole and then make
sure that the bar is actually
empty this time!
Every bouncer around Mr. Mills starts to pull the guns out
of their belts. Before any of them can get they're weapons
out, however, Mr. Mills is on his feet. He opens up his
brown leather jacket and pulls out his own pistol in a
heartbeat. He stands his ground and quickly fires four
shots. Each round hits the heads or hearts of his
assailants and they all fall to the floor dead. Once they
are down Mr. Mills raises the pistol to his lips, blows the
smoke coming out of it away, and then spins the weapon on
his finger a few times before he puts it back at the front
of his waist. Mr. Mills holds no wounds on him as he walks
to some of the dead bouncers near to him and picks up two of
the Glocks they hold. He tucks them into the base of his
spine and then moves over to the four bouncers on the far
wall. He checks the pistol in his hand, sees that a few
bullets remain, and places the still loaded weapon right of
the forehead of White Bouncer One.
                       MR. MILLS
So...can I see the videos now?
                                         CUT TO:


The first rays of dawn enter into a wide van that is covered
in shag carpet. It is a tan colored carpet and its thick
fur is found on the seats, the floor, and the wheel of the
van as it speeds down the highway. The only spot not
covered in tan is a beat up old small yellow sofa that has
somehow been shoved into the car. On top of the sofa is
Travis Weary and on top of him is Mrs. Betty. Both are
naked but a thin sheet covers them up and they seem to be
asleep. At the wheel of the car is Mr. Aaron who
occasionally takes peeks into the rear view mirror at the
two figures behind him. A loud COUGH rumbles through his
chest as he takes one more glimpse at the two and covers his
hand. Mrs. Betty begins to stir.
                       MRS. BETTY
Oh...oh...what time is it?
Mr. Aaron looks up at Betty who has pushed herself off of
Travis and sits completely naked on an arm rest of the
couch. The sofa barely fits inside but Betty doesn't seem
to mind as she nods gently back and forth on the soft arm
completely unaware that she is naked to the world. She is
obviously high.
                       MR. AARON
Not that I don't enjoy the show
but you may want to cover up
there, honey.
Finally aware that she is unclothed Betty reaches down and
grabs the cover that rests at Travis' feet. She wraps it
around herself and then moves towards Mr. Aaron and the
empty passenger seat beside him. Halfway there she turns
with a giggle and picks up a discarded shirt and places it
over Travis' bare waist.
                       MRS. BETTY
You probably don't want to see him
                       MR. AARON
Not really.
Aaron coughs harshly into his hand again as Mrs. Betty
climbs into the passenger seat.
                       MRS. BETTY
Are you all right?
                       MR. AARON
I'm dying, honey, I'm just dying.


                       MRS. BETTY
Of what?
                       MR. AARON
Cancer. The good old lung kind
that you get when you smoke way
too much.
                       MRS. BETTY
Oh...too bad. I guess you're
going to be upset then.
Betty leans forwards and opens her glove compartment. She
pulls out a pack of cigarettes.
                       MRS. BETTY
After sex, but especially after
some good stuff put right into my
veins, I just have to have a
smoke. You don't mind do you?
                       MR. AARON
Hell no! I'd only mind if you
didn't give me one!
Betty laughs and hands Mr. Aaron a cigarette. They both
light up and take a few puffs.
                       MRS. BETTY
So what time is it?
                       MR. AARON
Well we left the bar a little
after midnight, picked up the boy
a few minutes later, unfortunately
had to convince him to join you
back there to shoot up with you,
and then we got on the road not to
long after. We were well out of
Clayton by the time you both were
going at it and that had to be
about one I'd say. It's only
three hours later so it may be
about four in the morning.
                       MRS. BETTY
And did you enjoy that show too?
I'm still not convinced it was his
first time. He nearly wore me


                       MR. AARON
Well I do wish it had been me but
yes I did enjoy what I heard and
the little bits I saw. You are my
kind of lady, Mrs. Betty, my kind
of lady.
                       MRS. BETTY
And you're my kind of man, old
timer. I may not touch you just
yet but as long as you keep
supplying the "H" and the young
boys I think I might even get
around to it soon. Hell if you
keep supplying me everything I
want I might even follow you
                       MR. AARON
Really? Everywhere? What if I
had a gun on me and the situation
had gone all dark? Would you
follow me then?
                       MRS. BETTY
If you have the treats, Gramps,
then hell yes. I'd just pick up
some other gun and kill the fool
who was threatening you.
                       MR. AARON
My kind of woman.
Betty takes a quick look in the rear view mirror. She spies
the still sprawled out form of Travis Weary who is fast
asleep on the sofa and then she takes in the assorted
needles and few bags of heroin left on the floor of her van.
                       MRS. BETTY
You will have the treats won't
                       MR. AARON
The boy will be easy. He won't be
young in spirit much longer, I'm
making sure of that and since you
just made him a real man you're
apart of my plans too. Inside
he'll be just as twisted and
mature as me, the drugs and sex
will help him get there, but don't
you worry about his outsides.
He'll be young for a while longer
and you can have all the fun you


                       MR. AARON (cont'd)
                       MRS. BETTY
Well young ones come and the young
ones go. I like the boy. I
like...I like...what's his name
                       MR. AARON
Travis. You just fucked Travis
Weary, Mrs. Betty, I think you
should remember his name at least.
                       MRS. BETTY
I got it! I got it! Just takes
me a while.
                       MR. AARON
I bet it does. Woman like you,
been used a lot haven't you?
                       MRS. BETTY
Used. Beaten. Left. You name it
I've seen it or lived it. Once
you get that first taste of the
sour side of life it kind of
sticks to you forever.
                       MR. AARON
Was it drugs or some guy?
                       MRS. BETTY
That fucked me up and made me the
way I am?
                       MR. AARON
                       MRS. BETTY
Does it matter? Maybe my father
was an addict and liked to sneak
in my room when I was little.
Maybe my mom beat me. Or maybe,
just maybe, not too long after I
won Miss Teen Oklahoma I got this
really great boyfriend who was way
to old for me but I was beautiful
and young and nothing could go
wrong and I didn't even realize
when I became his whore rather
then his girl. Maybe he got me
hooked on the "H" and then pimped
me out so he could make some money


                       MRS. BETTY (cont'd)
and get us both high. Maybe that
was my life. Who gives a shit?
                       MR. AARON
Not me. Just making conversation.
                       MRS. BETTY
Good. You keep me high, keep me
in supply, and I'll take Travis to
places he's never been before.
I'll make sure he's happy if you
want him happy.
                       MR. AARON
Glad to hear it.
                       MRS. BETTY
But why do you want him happy?
                       MR. AARON
Well, Mrs. Betty, that is just the
past. I had a father who loved
the drink, loved it, and when he
drunk he liked to also smack me
around real good. He broke my
ribs when I was eight, shattered
one arm when I was ten, and damn
near killed me before I ran away
at fifteen. He had an evilness in
him, my father, and for a while I
hated him for that, hated what was
in him, but as I grew older I
started to respect it.
                       MRS. BETTY
His evil...you respected that?
                       MR. AARON
Yeah, I respected it. It made him
free, it made him able to do
whatever he wanted. Of course he
only got that way when he was
drinking but with a few dozen
beers in him he fucked the women
that he wanted, he beat the men
who got in his way, and he
indulged every impulse he ever
had. It was freedom, pure release
from socities rules, and once I
realized this I actually loved him
for it. I still killed him,
killed him and my mom, but I loved
him for the darkness he had


                       MR. AARON (cont'd)
because it was the one good thing
he ever passed on to me.
                       MRS. BETTY
You killed your parents?
                       MR. AARON
I did. Once I came to understand
what my father was, when I came to
realize what he had given to me, I
knew I had to get rid of them. For
what they had done, for how he
smacked me around, for how she
only watched and never lifted a
finger when he did it, I had to
kill them. I also needed to
release the darkness that I had
inherited from my fatehr, I had to
aquire the legacy that was my
birthright, I had to become as
evil as he was,and there ain't
nothing more evil then offing your
own folks. I got my mom first. My
dad was a quick one, knew what I
was before I even knew it, and he
got away. But I tracked him down,
wasn't too hard. He was a bad
man, my father, evil as they come,
and I have a talent for searching
that out. I found him a few years
after I did my mom and I got him.
Had a bit of help, some assistance
you could say, but I put him down.
I want Travis happy because he is
just like me. He's been given his
own bit of evil, probably from his
father, inherited from that
twisted fucker, Travis has a
darkness in his blood and if I can
just let it out then my legacy
remains. He is going to continue
what was passed down to me.
                       MRS. BETTY
You want him to kill his parents?
You want him to be evil?
                       MR. AARON
Well we've already started on that
road. At least I have. He beat
his mom pretty good but I killed
her while he watched. We're on


                       MR. AARON (cont'd)
our way now to get his pappa.
                       MRS. BETTY
And this is what you want that boy
to have? You want him to continue
this legacy of yours? You want
him to have the same darkness that
is in your soul?
Mr. Aaron takes his eyes off the road and stares at Mrs.
Betty. For a while he just looks at her with his icy cold
dead eyes but then a slow smile forms on his face. It is a
smile of a shark, a predator, with no emotion at all. He
gives that to Mrs. Betty and then returns his gaze to the
                       MR. AARON
It is a legacy but it's also much
more. It's the past, Mrs. Betty,
the past. It has to live on, it
has to continue, and I don't have
much more time. Travis Weary is
my last chance to make sure that
the past isn't stopped and someone
carries on what I have.
                       MRS. BETTY
Evil. That is what you have?
That's all you got to leave in
this world?
                       MR. AARON
It is as simple as that. Evil, it
is all I got. Of course evil is
also spread all over the world, it
is everywhere, but I need to make
sure my own particular brand
survives after I go.
Mrs. Betty waits a minute and then begins to laugh. She
reaches out a hand and hits Mr. Aaron on his arm.
                       MRS. BETTY
Yeah right! I can't buy such a
thing! Evil! Stop joking! It
doesn't even exist!
Mr. Aaron keeps his eyes on the road but drops his voice to
a serious level.


                       MR. AARON
I don't joke and evil is as real
as real can get. Don't ever think
any different.
Mrs. Betty stops her laughter. She stares at him for a
second more and takes one last drag off her cigarette. She
rolls down her window to toss it out.
                       MRS. BETTY
Fine, you're evil, whatever. Will
the drugs stay?
                       MR. AARON
Not even a bit concerned about the
boy. He's just a fuck to you
isn't he.
                       MRS. BETTY
Well like I said, they come and
they go, but usually the drugs
stick around forever. Will they?
                       MR. AARON
Well after I killed those two
fools up in that office I just
rooted through their desks and
cabinets and grabbed what I could.
Wanted the boy to gain some more
spine, wanted to grow him up
quick, so I took the drugs but
didn't take as much as I now see I
should have taken. That supply
will run out but I'll get more.
For you, for him too if he wants
it, I'll always get more and give
it up freely as long as you're by
my side.
                       MRS. BETTY
Just keep saying that and I'll be
                       MR. AARON
                       MRS. BETTY
Mrs. Betty gives a quick smile and pulls the sheet off her
body. She giggles as Mr. Aaron turns slowly to check her
out and then moves off the passenger seat and heads back to


                       MR. AARON
Time for another show?
                       MRS. BETTY
Hell yes! Too damn early to be
awake but I need to get rid of
some energy if I'm to go back to
sleep. Think he's up for it?
                       MR. AARON
Well I suppose that depends on
what you do to him.
Mrs. Betty giggles again and is about to remove the shirt
she placed over Travis' waist when she suddenly turns back
towards Mr. Aaron.
                       MRS. BETTY
Did you really kill Jeb and
Forest? Did you really kill your
Mr. Aaron locks eyes with her in the rear view mirror. His
icy blue orbs quickly cause her to turn her head.
                       MR. AARON
What do you think?
                       MRS. BETTY
I think you did. I think you
killed them all and it didn't even
phase you and now we're going to
find this boys father and kill him
                       MR. AARON
You have a problem with that?
Mrs. Betty hardly pauses as she looks first at some of the
bags of heroin next to her and then removes the shirt at
Travis' waist and looks at him.
                       MRS. BETTY
Not one bit.
                       MR. AARON
My kind of lady.
                                         CUT TO:


Cops mill about the burnt wreckage of what was once the
Mattess trailer. The large white building is now nothing
more then a smoke filled husk and besides the cops one fire
truck and a few fire men with the words "Weary Volunteers"
stenciled on everything they wear walk over the grounds. The
Dolson County Coroners vehicles are also in attendance and
three bodies can be seen being loaded up into their trucks.
Sheriff Dunn stands against his car a few feet away from all
the ruckus with his arms crossed over his chest as Deputy
Smith comes up to him.
                       DEPUTY SMITH
Sir we just got some reports over
the radio that there was an
incident in Clayton. Two cops
killed, the Quince brothers dead,
and eight other bodies are being
carted out of the burnt wreckage
of what was once the Lions Den. It
                       SHERIFF DUNN
Dear God! Son of a bitch! Please
tell me that this doesn't have
anything to do with our guy? Tell
me that Mr. Mills wasn't there.
                       DEPUTY SMITH
Well that's the craziest part sir.
                       SHERIFF DUNN
What is?
                       DEPUTY SMITH
It seems that one of the Mattess'
vehicles you told me to wire
everyone about was left at the
scene so the Clayton Cops are
assuming that it might be our guy
but the car is still at the scene.
He left it there. You don't
think he might have been killed in
the explosion do you?
                       SHERIFF DUNN
Dead? Dead! Can you really be
that fucking dumb, Smith, or are
you just hoping your fat ass won't
have to work anymore today? I
mean the sun is about to rise any


                       SHERIFF DUNN (cont'd)
time now...it is after four in the
morning...so I guess you want to
just go home and hit the rack! Of
course he's wasn't in the
explosion! God...I had him...I
had him and I let that fucker go
so he could slaughter the
Mattess', kill two cops, and then
blow up the Lions Den after
murdering ten other people! Fuck!
                       DEPUTY SMITH
Sh...sheriff. Are you okay?
                       SHERIFF DUNN
Yeah, I'm great...I'm just peachy!
Go back to the wreckage I may
have helped cause and don't bring
up any more stupid ideas about our
Mr. Mills who I am positive is
still alive! FUCK!
                       DEPUTY SMITH
Sir I...I...
                       SHERIFF DUNN
Just go back to what is left of
the trailer, Smith. Just go back
and see if you can find anymore
bodies that he left for us. Is
that all right with you?
                       DEPUTY SMITH
Yes sir.
Deputy Smith slowly walks back to the people who mill about
what is left of the trailer. Most of them have gone silent
and immobile from Dunns' outburst but one of them, Doctor
Emmett, moves steady towards the Sheriff. He gets up near
to Dunn and leans against the car that the Sheriff is next
                       DOCTOR EMMETT
You don't curse, Taylor.
                       SHERIFF DUNN
Maybe I'm trying to pick it up.
And since when do you call me
Taylor when we're at a site?


Doctor Emmett puts a hand on Sheriff Dunns' shoulder and
leads him around his car. They walk a ways from the burnt
wreckage behind them.
                       DOCTOR EMMETT
I thought I should be friend Doc
right now rather then work
associate Doc. Lets just stay
this good distance away from
everyone else and we can keep that
up. I'm just Emmett now, not the
County Coroner, just your friend
Emmett. What the hell is wrong?
                       SHERIFF DUNN
You saw the bodies. They were
shot to death and then he set fire
to their Meth lab. Burned them to
a nice deep crisp.
                       DOCTOR EMMETT
Yes he did. But it's not your
                       SHERIFF DUNN
Not my fault. I gave him their
address, I told him their names.
We've been watching over Flint and
his sister for a while now, you
know that, but we haven't moved in
on them because we'd hoped they
would lead us higher up. To the
Quince brothers who are now also
gone or maybe even more people. I
knew that Mills was bad, he felt
wrong, but he also felt like he
could be the only one able to get
to the murderer of Abagail Adams
and see that justice was done. I
sent him here. How is that not my
                       DOCTOR EMMETT
You couldn't have known he'd do
                       SHERIFF DUNN
Yeah, I couldn't have known. Or
maybe I could have. Maybe I was
tired of waiting for the Mattess
kids to give us something and I
wanted to take them out...maybe I
knew I couldn't do it myself so I
sent a guided missile, a stone


                       SHERIFF DUNN (cont'd)
cold killer, up there to take care
of it for me. Maybe that is what
I did.
                       DOCTOR EMMETT
You can't be serious. The Mattess
kids weren't that bad, you
couldn't have wanted this to
happen to them.
                       SHERIFF DUNN
They shoveled Meth into our
streets, got kids addicted to
their junk, and bought and sold
property that was stolen from
others. They were pretty bad.
                       DOCTOR EMMETT
Granted, I'll give you all that,
but I know you, Taylor, hell
you're one of my closests friends,
you're not the kind of guy who
would just want people to be
eliminated like this.
                       SHERIFF DUNN
You remember Darrell Reilly right?
                       DOCTOR EMMETT
Yeah, but that's different. You
probably shouldn't have gone over
to his house, you had no call to
be there, he'd been found not
guilty, but he shot at you first
and you had to fire back. That
incident is in no way like this.
                       SHERIFF DUNN
He didn't shoot.
                       DOCTOR EMMETT
Dunn sighes and takes his hat off as he lowers his head.
                       SHERIFF DUNN
He raped that girl. He did it
Emmett. My own daughters best
friend, a girl I had helped
raised, he raped her and got away
with it. I couldn't let that


                       DOCTOR EMMETT
What are you saying?
                       SHERIFF DUNN
After he got off you know what
happened don't you?
                       DOCTOR EMMETT
The suicide.
                       SHERIFF DUNN
Yeah, the suicide. She was sad
during the trial but she'd become
better, was really trying, was
even thinking about going back to
school...but then he gets off
because he has that nice fancy
lawyer and she just snapped. She
killed herself and it was his
fault and he was living the high
life up in Austin in that nice
apartment his parents got for him.
He had to pay, had to, so I
went to see him and gave him what
he deserved.
                       DOCTOR EMMETT
You murdered him?
                       SHERIFF DUNN
Yes. I drove up to Austin,
knocked on his door, and when he
opened up I shot him in the head.
I knew he had a gun somewhere in
his place...I had poured over
every document during the trial
and noticed his permit...so it
wasn't long until I found it and
used it to make it look as if he
shot at me first. But he
didn't...he never got the chance.
I gunned him down and it felt
great, it was great, and I knew,
just knew that it was right, that
it was justice. I killed him and
never regretted a thing.
                       DOCTOR EMMETT
And it was the case that defined
you. God...I mean...the Reilly
incident is what gets you
re-elected every year Taylor! God!
You killed him in cold blood?


                       SHERIFF DUNN
Yeah, and not a day goes by
without me realizing that I can
never do that again. I may want
to, I may desire it with all my
heart, but there are just some
rules no one should bend or break.
So maybe I sent Mills up here to
do what I couldn't do anymore.
Maybe I did that.
                       DOCTOR EMMETT
But Flint Mattess, his sister
Tiny, that other poor girl we have
yet to even identify...you
couldn't have wanted them to be
slaughtered. And the cops up in
Clayton, the ten bodies found in
the Lions Den, there is no way you
could have wanted that either is
                       SHERIFF DUNN
No...no I didn't want any of that.
But I am tired Emmett, so damn
tired. Tired of the bad that keeps
going on in my County, in my
world. I'm tired of justice not
being served when it would just be
so easy to pull out my gun and
pull the trigger. I'm tired and I
think I made the second biggest
mistake of my life. I didn't kill
anyone this time but I cut the
bonds that were around a killer
and then pointed him in the right
direction. Those kids are dead,
two cops are gone...I don't think
I can make this right at all.
                       DOCTOR EMMETT
Taylor, you can't...
Before Doctor Emmett can finish a cell phone at Dunns' waist
begins to ring. He unclips it from the belt it has been on
and puts it to his ear.
                       SHERIFF DUNN
                       MR. MILLS
Did you know Flint Mattess had
your personal cell number and your


                       MR. MILLS (cont'd)
office number in one of his
address books? It is how I keep
being able to contact you.
                       SHERIFF DUNN
You son of a bitch! Son of a
bitch! How does killing two cops
fit into your plan of making this
situation as right as right can
Doc Emmett shrugs his shoulders as Dunn talks. Clearly he
cannot hear the voice on the other end but he mouths the
word Mills as Dunn nodds in agreement.
                       MR. MILLS
That was unfortunate. I was in a
hurry and ran into them as I was
leaving that club. It was the
first thing that came to mind, and
I had just set a home made
explosion, so I needed to act
                       SHERIFF DUNN
Fuck you! I am going to hunt you
down you sick bastard! You know
that! I'm going to hunt you down
and find you if it takes the rest
of my life! I will get you!
                       MR. MILLS
I know. I know that. I'm even
going to help you.
                       SHERIFF DUNN
                       MR. MILLS
Odessa, Texas. A man by the name
of Jon Andrews who lives at 217
Creedmoor Lane. That is where I'm
headed. Call the cops up there or
come get me yourself but that is
where I'll be.
                       SHERIFF DUNN
I'll be there! Just you and me
you bastard! Just you and me! I
hope everything you've done will


                       SHERIFF DUNN (cont'd)
be worth it because if you haven't
found you're guy by then it will
be to late! When I see you I'm
going to put a bullet through you
I promise!
                       MR. MILLS
It will be worth it. All I've
done, everything, will be worth it
once he is gone.
                       SHERIFF DUNN
Why? Why! Can you finally tell
me why this man is so important to
you that you've become hell
itself to get to him?
The line goes silent.
                                         CUT TO FLASHBACK:
The beaten man sits tied up to his chair in the middle of
the kitchen. The HAUNTED, yet SOFT, TUNE still plays in the
air as two figures move out of the shadows and stand before
the man. One is a boy in his late twenties, it is YOUNG MR.
AARON and he stares down at his father with a dark glint in
his eyes. At his side is the YOUNG MR. MILLS and Young Mr.
Aaron points at the gun in Young Mr. Mills' hand as he
pushes Young Mr. Mills even closer to their father.
                       YOUNG MR. AARON
Go ahead and do it!
                       BEATEN MAN
Don't, Lang, don't!
                       YOUNG MR. AARON
Didn't he beat you too, Lang,
didn't he? You were young when I
last saw you, just six years old,
but I know he was hitting you just
as much as he hit me. He has to
pay for that, he has to be taken
care of by his sons so that he can
see that we now have the evil that
was once in him. He gave it to
us, Lang, he gave us his darkness
the moment we came into this world
and we have to re-pay that gift!


                       YOUNG MR. AARON (cont'd)
Kill him!
                       BEATEN MAN
But I've changed...I've changed!
I'm a better man now, Langston, I
am a better man! I don't even hit
you anymore!
                       YOUNG MR. AARON
So what! Even if you've rejected
the only part of you that is worth
a damn it doesn't mean you
shouldn't still face the
consequences of your actions! You
are evil, you begot that same
evil, and now evil has come to
finish you off! Shoot him Lang!
The Young Mr. Mills raises the gun and points it at his
father. He is mere inches from the beaten man and the shot
is an easy one but his hand shakes and he lowers the weapon.
                       YOUNG MR. MILLS
I...I...I can't do it.
                                         END FLASHBACK:
Sheriff Dunn stands with his phone still at his ear. The
line is still silent but he holds the thing even closer to
him as he begins to get a look of anger on his face.
                       SHERIFF DUNN
Mills? Mills? Are you still
there? I asked you a damn
question! I want to know why the
man your hunting is so fucking
important that you've killed many
to get to him? Are you there? Do
you hear me?
                       MR. MILLS
I'm here, Sheriff, I was just
thinking. I was thinking about
him. He's important to me because
he has to pay for what he has done
but also because...because he is
my brother.


Sheriff Dunn brings the phone off his ear as the line goes
dead. He stares up at Emmett with determined eyes.
                       SHERIFF DUNN
I've got to go.
Dunn turns and begins to walk briskly back to his car.
Emmett follows close behind.
                       DOCTOR EMMETT
Where are you going? Was that
Mills? Are you going to get him?
                       SHERIFF DUNN
It was Mills and I'm going to get
him. I have to leave now though
becuase it's going to be a hell of
a drive and I think that I really
don't have much time.
                       DOCTOR EMMETT
Well...where are you going? Tell
me! Tell someone! You can't just
go somewhere by yourself!
                       SHERIFF DUNN
That is exactly what I can do.
It's exactly what I have to do.
Sheriff Dunn gets to his car and starts the engine. He
peels out of the Mattess yard and leaves a bewildered Doctor
Emmett behind.
                                         CUT TO:
The house is a two story building. Rich appliances and
plush furniture lies over every inch of deep new carpets and
shiny clean linoleum floor. In the kitchen of the house a
man sits tied in the center of a large spray of blood,
sweat, and spit. He is JOHN ANDREWS, late fifties, beer
belly, thin gray hair, and eyes that bulge in panic. His
wrists are raw and run with lines of blood from the ropes
that cut deep into them. John looks up just as Mr. Aaron
punches him in the face. Aaron stands over John as Travis
Weary huddles behind a large marble counter top. Travis
cries and moans as he hold onto the Glock that Mr. Aaron has
given to him.


                       MR. AARON
Stay with me John! Stay with me!
Aaron smacks John lightly across the face with the palm of
his hand. John jars back to full consciousness.
                       MR. AARON
Tell me the story again.
                       JOHN ANDREWS
I've told it to you endlessly.
                       MR. AARON
And you'll keep telling it until
that punk son of yours gains the
balls to stand up and splatter
your brains all over that wall
behind you. I gave him the first
fuck of his life, I let him watch
the murder of your former lover in
that Weary Inn she ran, I even
allowed for him to get the taste
of some very fine drugs, and what
do I get in return? More of the
same. Tears, crying, the subtle
moans of a bitch who can't pull
the trigger. Well I'm not going
to do it, John, I'm not going to
kill you, and neither is that
tasty wench whose keeping your
baby girl company as we speak.
You're going to die, that is for
certain, but I'm not going to do
it, Mrs. Betty ain't going to do
it, so guess who we're waiting on?
We're waiting for one of your
children, one of your blood, to
release the evil you gave to them.
We're waiting for them to gain
the courage to end your life and
we could be here for a while if it
is necessary.
                       JOHN ANDREWS
Shes not hurting Emily is she?
                       MR. AARON
Who, Mrs. Betty?
                       JOHN ANDREWS
Yes, that woman who got out of
that car with you. The one who
laughed at me when you pulled out
that gun and I tried to drive off


                       JOHN ANDREWS (cont'd)
on my lawn mower.
                       MR. AARON
That was funny. You tried to
escape from a man with a gun while
on your riding mower. Classic. Of
course the fact that you tried to
bolt while leaving your precious
Emily in the house kind of makes
me wonder why you give a damn if
she is all right. You were going
to leave her.
                       JOHN ANDREWS
I panicked!
                       MR. AARON
Sure you did, John, sure you did.
I believe you, I do, and I can let
you know that Mrs. Betty may be
spaced out on some drugs herself
but your precious Emily is just
fine. In fact she probably is way
better off right now then she ever
was in your hands. You do touch
her don't you?
                       JOHN ANDREWS
Never! I never!
                       MR. AARON
So it is just boys then that you
enjoy playing with. I mean Travis
here has told me plenty about how
you beat him and about how
sometimes you used to sneak into
his room at night...
                       JOHN ANDREWS
I may have hit him but I never
touched him anywhere
                       MR. AARON
So you confirm the beatings,
that's good. And I like how you
justify them because they weren't
hits to his young flesh that were
anywhere inappropriate. He was a
little kid, John! Younger then
ten when you went after him and
I'm supposed to believe its all
just fine because you only smacked


                       MR. AARON (cont'd)
him around you never touched him
anywhere bad! What kind of fool
do you take me for?
                       JOHN ANDREWS
I'm not a pedophile!
                       MR. AARON
What about when you were high,
John, what about then? Can you
confirm that when you drank or
shot up you didn't do something
like sneak into a young boys room?
                       JOHN ANDREWS
I...I...I'm a better man now. I'm
off the drugs.
                       MR. AARON
That is what I like about you,
John, you remind me so much of my
own father. He wasn't too bad at
first, back when I was five, maybe
six, but then he moved the family
over to Weary, Texas, and he
started drinking at this place
called the Weary Inn. It was then
that things started to go wrong.
The drink got him bad, John, real
bad. I mean he wasn't the nicest
fellow during his sober times but
when he was drunk...my God could
he throw a punch. It was when he
was way gone with the drink that
he hit me, John, that he beat me
so bad that there were days that I
wished he would just end it, that
he would kill me, so that I didn't
have to endure anymore. But I
survived and I thrived. I even
learned why he was the way he was,
I came to understand the evil that
was in his veins, and I came to
respect that evil, to desire it
for myself. I knew I had it in me
but it wasn't anywhere near the
level of what he had so you know
what I did, John? Do you want to
know what I did?


                       JOHN ANDREWS
No...no I don't know what you did.
I don't want to know!
                       MR. AARON
Come on, John, this could be fun.
Just ask me.
                       JOHN ANDREWS
No...no! I don't want to know!
Mr. Aaron punches John across his jaw again.
                       MR. AARON
Ask me.
                       JOHN ANDREWS
All right. All right! What did
you do?
                       MR. AARON
I ran away, John. At the age of
fifteen I ran away and left my
mother, my three year old brother,
and my father in Texas while I
traveled the streets for three
whole years. I learned dark
things, John, dark things. Things
like murder, rape, robbery, even
the occasional kidnapping and
ransom. I learned it all and then
I came back and I showed them all
the evil that I had become. I'd
released what was in my blood,
John, I'd released it way more
then my father ever had and when I
returned I made him, I made them
all pay for what they had done to
me. I killed my mother, killed my
father, and twisted my poor little
brother into a mirror image of
myself. It was beautiful!
                       JOHN ANDREWS
Oh my God! What the fuck is wrong
with you people? Travis! Travis!
Travis do you hear me? I did you
wrong boy, I'll admit that, but
this is insane! You don't want to
be like me, or like this psycho
you're with, just get out of here
Travis and take Emily with you!


                       MR. AARON
He's not going to listen to you.
He may still have some rough edges
but he's more mine then yours.
He's not going to listen. Tell me
the story? Tell me about how you
ratted to the Feds and got set up
in this house. Tell me about how
they over looked whatever you do
to Emily because they were more
interested in bringing down
another Enron or WorldCom type
Before John can speak a LOUD SHOUT is heard from the floor
above. Mrs. Betty whoops and hollers up a storm as she runs
around right above the kitchen. Soon the noise of her feet
as she scampers down a flight of stairs right behind the
wall behind John is made out. Mrs. Betty reaches the first
floor and turns a corner into the kitchen. In her hands she
holds a Colt .45 and a pump action shotgun.
                       MRS. BETTY
Look what I found in the fuckers
Mr. Aaron walks around John and grabs the shotgun from Mrs.
Betty who stands in one of the doorways that separates the
kitchen from the rest of the house. Besides that doorway,
and across from Betty, is one other exit to the kitchen,
this one covered in shadow.
                       MR. AARON
John. John. John. What have you
been hiding? Get up Travis!
Mr. Aaron walks over to the marble counter top that is a
divider used to put up space between the kitchens main
floor, where John is tied up, and the rest of the room where
the refrigerator, sink, and oven are. Travis lays nestled
into a corner where the counter top connects with the sink.
He weeps continually as Mr. Aaron rounds the counter and
looks down at him.
                       MR. AARON
I'm tired of waiting. It's time.
You can use this.
Mr. Aaron picks Travis up and takes the Glock from him. He
gives him the shotgun and drags the boy out from around the
corner and sets him directly before the tied up John
Andrews. Travis holds the weapon with shaky hands as Mr.
Aaron takes up a position to his left with the Glock in his


hand. Mrs. Betty stands to Mr. Aarons' left just behind
John and holds onto her Colt.
                       TRAVIS WEARY
Y...you...you sure its loaded?
                       MRS. BETTY
It's loaded and so is mine. I put
the rounds in myself. I left that
sweet little girl playing with her
toys and just stumbled right onto
a whole arsenel he had stashed in
his the back of his wardrobe. He
has boxes of ammo up there right
beside the weapons. Lucky we got
him outside or we could have been
in for a bit of a shoot out.
Travis pulls back on the pump and loads a round as he aims
in on his father. The gun shakes in his hand. He still
                       JOHN ANDREWS
You don't want to do this, Travis,
you don't! Emily will hear the
noise! Think about her!
                       MRS. BETTY
She's quite content and happy
where she is. Playing with her
dolls in her bedroom while she is
safe because her father is tied up
downstairs. She seemed almost
happy with the fact that you were
tied by the way. In fact it was
almost creepy the way she smiled
when I told her what we wanted to
do to you. She said it was about
                       JOHN ANDREWS
Travis don't!
                       MR. AARON
Ignore him, Travis. This is the
man who hit you, who touched you.
This is the man who left you eight
years ago when you were ten to
come raise a little girl whose now
just four years older then you
were when he took off. What do
you think he is doing to her? What
do you think will happen when
she's too old for him and he heads


                       MR. AARON (cont'd)
on out into the world once more?
She doesn't have a mother, he may
have killed her, and once he's
testified for the Feds he's clear
to run as far from her as
possible. Do as he says, Travis,
think about Emily and shoot him
for her.
Travis pulls the shotgun tight into his shoulder. He aims
in on his father. Then he lowers the gun and aims the
muzzle at the floor. The butt of the weapon stays nestled
into his shoulder but he does not hold it towards his
                       TRAVIS WEARY
I can't! I can't! It's just not
From out of the doorway covered in shadow, the one right
across from Mrs. Betty, a HAUNTED TUNE, a SOFT MELODY,
plays. It fills up the house with its MOURNFUL NOTES as Mr.
Mills steps out into the light. He keeps his harmonica at
his lips and stares at everyone as every gun except for
Travis' is aimed in on him. When the song is finished he
drops the harmonica, places it back into one of the breast
pockets of his jacket, and raises his hands. The two Glocks
he stole from the dead bouncer at the Lions Den are tucked
into the front of his waist but the pistol he got from Flint
Mattess' trailer is nowhere to be seen.
                       MRS. BETTY
Where the fuck did you come from?
                       MR. MILLS
I came from the same place as
Freddy Dean, Morgan Stark, Errol
Vern, Bill Condie, Jimmy West,
Shane Bascome, and Edgar Aaron
Mills. I came from the same place
as them.
                       MRS. BETTY
Who the hell are all those people?
Who are you?
                       MR. AARON
Those people are me. They're some
of the names I've used over the
past few years. Mostly in Mexico
but a few right here in Texas. Who
are you stranger?


Mr. Aaron stares with wild eyes at the figure before him. He
and Mrs. Betty keep they're guns on him and track his
movements as Mr. Mills walks further into the room until he
stands just a ways off from Travis' right. Mrs. Betty
follows as Mr. Mills moves and takes up a position in front
of the doorway Mills just came threw. She looks through it,
checks out the shadows beyond, before she returns her gaze
to Mills.
                       MR. MILLS
Don't you recognize me, Edgar?
Don't you feel the call of your
blood telling you that someone
with your same kind of evil has
finally returned to you? Can't
you see it when your brother comes
back into your sights or has your
most highly praised ability to
sense out evil in others fallen
away once again.
                       MR. AARON
Mr. Mills keeps his hands raised above his head as he nods
in agreement at Mr. Aarons' words.
                       MR. MILLS
The one and only.
                       MR. AARON
The prodigal brother has returned
at last. After all these
year...Lang...you left me long
ago, why the fuck are you back
                       MR. MILLS
I felt you, Edgar, knew your time
was coming to its end, had to stop
you. I didn't let you fully
infect me with your twisted dark
heart and I'm not going to let you
pass along your legacy of evil to
this boy. Everything, the evil,
the history of our family, it all
ends tonight!
                       JOHN ANDREWS
Thank you! Thank you! Whoever
you are thank you!


                       MR. AARON
Shut the fuck up, John! How are
you going to stop me, Lang? You've
apparently been following my
career, you know the aliases I've
used in the past, but you never
tracked me down until now? Why is
that? Why did you wait until
three guns were pointed at you to
try and put me down! You should
have come sooner, gotten me when I
wasn't as prepared. You were
always such a fool. You can't
stop me! No one can!
                       MR. MILLS
It had to be perfect, Edgar, had
to be. You're my brother, I
couldn't just end you when I felt
like it. I had to wait till the
time was perfect, until you were
at your most vulnerable and so
convinced that you'd actually
succeeded in passing on your evil
to another person that you started
to feel safe, to feel happy. Then
and only then could I act, could I
stop you. Then and only then could
I hurt you as much as you hurt me.
                       MR. AARON
I didn't hurt you, Lang, I set you
free! Don't forget that it wasn't
me who pulled the trigger it was
you! All I did was push the
button that was already there! I
never made you evil...you were
already to much like me for that
to ever happen!
                       MR. MILLS
Edgar I will...
                       MR. AARON
Shut your fucking mouth, Lang! You
walked into the wrong damn kitchen
at the wrong damn time! This is my
moment, my time! This is where is
will happen, this is where some
other person will become just like
me and he won't take off like you
did! Travis will pull that
trigger, he will release the
darkness that courses through his


                       MR. AARON (cont'd)
veins, and I will have the
satisfaction of knowing that my
evil, your evil, our families
evil, will continue on! No one
stops the past, no one defeats our
legacy, and nothing will prevent
me from making this happen! You
can just stand where you are, all
alone, and watch my triumph! I
win! Evil survives!
As Mr. Aaron speaks a car pulls into the driveway. Its
bright headlights fill up the kitchen windows but soon they
are shut off and are replaced by the flashes of blue and
red that clearly indicated that a police presence is
                       MR. MILLS
Now who said I was alone.
                                         CUT TO:
Sheriff Dunn opens the driver side door to his car and jumps
out. He pulls out a revolver that has been holstered at his
side and then leans back to grab the speaker for the radio
in his car. He brings the speaker to his mouth as his eyes
never leave the house in front of him.
                       SHERIFF DUNN
This is Sheriff Dunn of Dolson
County calling the Odessa City
Police. This is Sheriff Dunn...do
you copy?
We read you Sheriff Dunn. What
are you doing way up here?
                       SHERIFF DUNN
Never mind that...I'm right
outside 217 Creedmoor Lane, the
house of a one John Andrews, and I
think that two suspected murders
are inside. I need back up. Do
you know the place?


John Andrews? Hell yeah we know
the place. The Feds used to be
all over that house so we know the
spot. Back up will be there in
ten minutes.
                       SHERIFF DUNN
Copy that.
Sheriff Dunn drops the speaker and leaves the car door open
as he heads towards the front door to John Andrews house.
                                         CUT TO:
Mrs. Betty stands wide eyed as a sound of the front door
being opened fills the kitchen. She points her gun at Mr.
Mills as she looks at Mr. Aaron.
                       MRS. BETTY
It's the cops! The fucking cops!
We have to go!
                       MR. AARON
                       MRS. BETTY
What? What! Didn't you hear me?
It's the cops! This execution is
Mr. Aaron smiles. His gun is still aimed squarely at Mr.
Mills chest. He doesn't look at Mrs. Betty but keeps his
gaze on Mills.
                       MR. AARON
No, nothing is over. The cop can
come in as well, let him watch
everything with my brother!
A door slams shut beyond the entrance to the kitchen that is
not covered by Mrs. Betty.
                       SHERIFF DUNN
This is the Sheriff of Dolson
County! I'm armed and I'm looking
for either a one Mr. Langston
Mills or the bastard who killed


                       SHERIFF DUNN (cont'd)
Abagail Adams! Where the fuck are
                       MR. MILLS
Just come to the only place with a
light on and people with guns in
it, Sheriff! We're in the
Sheriff Dunn enters slowly into the dim light of the
kitchen. He goes no further then the doorway he blocks with
his body. His weapon traces over everyone in the room.
                       SHERIFF DUNN
Everyone put down your weapons!
You're all under arrest!
                       MR. AARON
He knows your name, Lang, don't
tell me you've made an impact on
this man.
                       MR. MILLS
I may have made a few
misunderstandings where he is
Sheriff Dunn points his gun directly at Mr. Mills.
                       SHERIFF DUNN
Say misunderstanding one more time
and I swear to everything holy I
will shoot you dead no matter how
many weapons are ready to go off
in this room!
Mr. Aaron keeps his gun on Mr. Mills. Mills slowly brings
his hands down and taps his fingers along the butts of the
Glocks tucked into his waist but does nothing more. Travis
has yet to bring up his shotgun, it stays nestled into his
shoulder and aimed at the floor as he looks wildly around
the room. Mrs. Betty has decided to point her gun at the
Sheriff rather then anyone else while John Andrews can do
nothing more then sit and sweat as he stays tied up where he
                       MR. AARON
You did make an impression, Lang,
I should have know. What did you


                       SHERIFF DUNN
He has left a trail of bodies in
the search of his brother. Is
that you? Did you kill Abagail
Dunn switches his gun from Mills to Aaron and then goes
back. He can't seem to decide who to aim at.
                       MR. AARON
Yeah I killed her...had to.
                       SHERIFF DUNN
What? Had to? Had to? What are
you talking about?
                       MR. MILLS
You missed it, Sheriff, he already
explained everything. This is
fate, this is history, and this is
the past. My brother, Mr. Edgar
Mills, wants this young boy with
the shotgun to kill his parents
just like he killed our parents.
                       MR. AARON
Don't you mean how we killed our
parents, Lang?
                       SHERIFF DUNN
What the hell is he talking about
                       MR. AARON
Oh I'm sure my dear brother hasn't
spoken of this, he probably wants
to forget such a thing, but it is
another reason why I'm so sure
that history will come around
again. You see, Sheriff, when I
was eighteen I slaughtered my
mother, I'll admit that, with a
knife, in a kitchen, I cut her
while my eight year old brother
watched. But ten years later, when
it came to my father well...well
when I finally tracked him down to
that tiny town in the Rocky
Mountains it wasn't me who killed
him...it was my brother.
                                         CUT TO FLASHBACK:


The HAUNTED, yet SOFT, TUNE still fills the air as the
beaten man smiles in relief. Young Mr. Mills drops the gun
and aims it at the floor. The Beaten Man smiles as the
Young Mr. Aaron MOANS in disgust.
                       YOUNG MR. AARON
He hit you didn't he! He says he
doesn't do it anymore but he did
hit you didn't he! And doesn't he
still drink, doesn't he do that?
Just because he may not smack you
around anymore that doesn't
forgive him for his past! Shoot
him for what he's done to us!
Shoot him or be the weak little
pussy I always knew you were
little brother! You couldn't help
me when I did mom, you couldn't
lift I finger when I gutted her,
you only watched and now you can't
even end our bastard of a father!
What good are you?
                       YOUNG MR. MILLS
I can't...I just can't!
                       BEATEN MAN
That's good, Lang, that's real
good! Don't listen to Edgar!
Don't do it! Just let go of the
gun, son, just drop it!
Before the Young Mr. Mills can let go of the weapon the
Young Mr. Aaron grabs his shoulders and whips him around.
The Young Mr. Mills stares into the eyes of his older
                       YOUNG MR. AARON
This is history, Lang, this is the
past! He is an evil son of a
bitch who was made that way
probably by his parents and we are
just like him! He was wrong, we
are wrong, and it is our history,
our legacy, that is the only way
that we are even related to him!
It is what he gave to us! What he
passed on to us! He gave us his
black soul and we have to repay
him for that! This is his gift to
us, Lang, evil itself, pure
darkness, and the only way for


                       YOUNG MR. AARON (cont'd)
that to grow is in murder, his
murder! Let us be the children he
spawned, let us be the kids he
gave life to, let us be just like
him! Shoot the gun, Lang! Shoot
it! We are evil because he is
evil and the only thing we can do
is to give in to that! Shoot him!
Don't deny what you truly are!
                       YOUNG MR. MILLS
This is history?
The Young Mr. Mills stares at the cold silver gun in his
hand and then looks over at his father.
                       YOUNG MR. AARON
Yes, it is history! It is fate!
                       YOUNG MR. MILLS
                       YOUNG MR. AARON
Hasn't he said that his fatehr was
worse then he ever was? Hasn't he
always bragged about our family
tree and how it is filled with
criminals and terrible acts. It's
history, Lang, our histoy, and
sometimes it comes around again!
Our blood has always spawned evil
and we can't fight it!
The Young Mr. Mills tentatively turns. He shrugs out of the
Young Mr. Aarons grasp and moves back over until he faces
his father. He raises the gun in his hand.
                       BEATEN MAN
Don't do this, Lang. Don't!
                       YOUNG MR. MILLS
This is history.
                       YOUNG MR. AARON
Yes. Yes! This is our history!
Our family legacy! We've always
been evil, always, and there is no
sense in fighting that.
Young Mr. Mills cocks the weapon and before the Beaten Man
can say another word he fires. A round hits the Beaten Man
right in his open mouth and blows out the back of his head.


Blood pools out of his throat, from the back of his skull,
and he slumps in his chair. He is dead and as he leans
against the ropes that still bind him the Young Mr. Aaron
hoots in delight as the Young Mr. Mills falls to his knees.
                       YOUNG MR. AARON
Yes! Yes! That is my brother! My
brother! Cut from the same cloth!
Yes sir! We're two of a kind!
God that was great!
The Young Mr. Mills stays on his knees as the Young Mr.
Aaron walks over to the dead body. He starts to untie the
Beaten Man as the Young Mr. Mills begins to holler.
                       YOUNG MR. MILLS
What did I do? Oh god...what did
I do?
                       YOUNG MR. AARON
You did what was in your blood.
You did what you were born to do.
You're evil, Lang, just like me.
Together we're going to be
amazing...truly amazing!
The Young Mr. Mills pays no attention to his brother and
keeps on with his screams. The HAUNTED,yet SOFT, TUNE
suddenly stops and an announcers voice fills the air. The
Young Mr. Mills turns and we see that the tune had come from
an old radio back in the corner filled with shadows. The
corner that the Young Mr. Mills and his brother had been in
before they moved over to end their father.
                       YOUNG MR. MILLS
The music stopped.
The Young Mr. Aaron looks up from his intense concentration
of untying his dead father.
                       YOUNG MR. AARON
                       YOUNG MR. MILLS
The music stopped.
                       YOUNG MR. AARON
What? Oh...yeah...the music. It
has stopped. Well I told you I
don't like doing something
horrible in silence, especially
when I have a full stomach. I
need some tunes to drown out any
uncomfortable noises so go and


                       YOUNG MR. AARON (cont'd)
turn the damn radio to something
else so I don't have to hear my
own thoughts!
The Young Mr. Aaron looks at his brother who refuses to
move. The Young Mr. Mills stays on his knees in the kitchen
as no music, just the sounds of people, come from the radio.
                       YOUNG MR. AARON
I said go change it!
                       YOUNG MR. MILLS
I can't...I can't move! Oh god!
What have I done?
The Young Mr. Aaron stares at his brother for a few minutes
more. Obvious disgust wafts over his face but he shakes it
away and then digs around in the front pockets of his jeans
before he pulls out a shiny new harmonica and throws it at
the Young Mr. Mills.
                       YOUNG MR. AARON
You're pathetic. You know that
don't you? Just plain pathetic!
But if you stick with me I can man
you up. Yes sir I will train you
good, make you my own little
protege, my very own legacy. My
legacy...it sounds so good...you
will be the one to carry on after
I'm gone! Yes sir! I do like the
sound of that! It may take a
while but I will do it! I'll man
you up into an evil son of a bitch
just like me but until that
happens why don't you play
something on that while I get rid
of dear old dad!
The Young Mr. Mills stares at the harmonica in his hands and
then stares up at his brother.
                       YOUNG MR. MILLS
Wha...what do you want me to play?
                       YOUNG MR. AARON
I don't know...play what was just
on the radio. Play something. I'm
about to cut up dad into itty
bitty cubes for easy disposal and
I'll need some music to help me
along. Play what was on the


                       YOUNG MR. AARON (cont'd)
radio, it was kind of a good song.
                                         END FLASHBACK:
The stand off continues as each armed person keeps another
in his or her sights. The room has gone silent as Mr. Aaron
finishes his tale. Mr. Aaron smiles.
                       MR. AARON
You see, Travis, this is why you
are so special to me.
Travis holds his gun loosely in his hands, the barrel still
pointed more at the floor then anything else, as he turns to
look at Mr. Aaron.
                       TRAVIS WEARY
                       MR. AARON
It's like I have been saying, it
is in your blood. Passed down
from your father just like it was
with me. You have an evilness in
you and you'll do like my brother
did and shoot your father, you'll
shoot him and then you'll stay
with me. You'll stay and you
won't run off to join the
Marines...you won't abandon
me...and you'll except all I have
to give. It is fate, Travis, it
is history, and you will pull that
                       SHERIFF DUNN
Now wait just a minute! No one is
doing anything! The Odessa City
Police have been called...they'll
be here at any moment...everyone
just calm down!
                       JOHN ANDREWS
Yes! Travis! Yes! Listen to the
Sheriff...don't do anything rash!
Put the gun down!


                       MR. AARON
Ignore them Travis. Ignore them.
This is history, this is fate, and
this is my legacy going on and no
one can stop it. Didn't he touch
you? Didn't he hurt you? Who
cares if he says he has changed,
he still has to pay for what he's
already done. He is evil, you are
evil, and all of that must be
re-paid. Shoot him! Do it!
Release what you have inside
yourself! Give back to him what
he gave to you!
Travis brings the muzzle of the shotgun up off the floor and
aims it back in at his father. Immediately Sheriff Dunn
moves his weapon as well and puts it on Travis.
                       SHERIFF DUNN
Travis ignores him and instead looks over at Mr. Aaron.
                       TRAVIS WEARY
This is history?
                       MR. AARON
Yes, it is. It is history! It is
fate! Do it!
                       MR. MILLS
Don't let him push you like he
pushed me, Travis. Don't make him
force you into doing something you
will regret for the rest of your
Mills' voice cuts through the tension of the room. All
eyes, except fro Travis', go to him as Mr. Aaron waves his
gun angrily at his brother.
                       MR. AARON
I forced you to do nothing, Lang!
I never pushed you at all! All I
did was hand you the gun and point
you in the right direction!
Everything else that you did was
of your own free will!
                       MR. MILLS
You're right, Edgar, you are
right. It was my own free
will...it was my choice...and so


                       MR. MILLS (cont'd)
is this. The legacy ends tonight.
How can your evil survive if
there is no blood to carry it
                       MR. AARON
What are you talking about?
Drawn in by this conversation Travis lightens the pressure
on his weapon. His eyes dart between Aaron and Mills and
though his finger is still on the trigger of the gun aimed
at his father he has yet to pull it.
                       MR. MILLS
I'm talking about the end! The
end of everything! And this is
where it happens!
With a speed that is almost unimaginable Mr. Mills yanks out
the two guns at his waist before anyone can react. With one
weapon he fires a round at Mrs. Betty who still has her gun
leveled on the Sheriff. The shot hits her in the throat and
she falls backwards. As she goes she lets off her own shot
which strikes Sheriff Dunn in his right shoulder. Dunn had
been aimed in on Mills' head but the force of Mrs. Bettys'
round throws him off balance and when he fires off a shot it
misses Mills' head dead on and instead just grazes his
temple. Mills is stunned by the shot and the gun in his
other hand wavers off of Mr. Aaron and instead points
directly at Travis as Mills fires. His second round hits
Travis squarely in the forehead and the young boy falls to
the ground as blood gushes from his wound. As he goes he
finally pulls the trigger of the weapon he holds and it
discharges and hits John Andrews fully in the chest. Andrews
and his chair fly back and slam into one of Sheriff Dunns'
legs. The Sheriff is further thrown off balance as Mr.
Aaron unleashes his own rounds at Mr. Mills. Mills' still
reels from the graze to his head, blood rushes into his
eyes, and so he is no match as Mr. Aaron hits him three
times with round after round. One shot slams into his upper
chest, it hits him right in his right front breast pocket,
as another round digs deep into his right shoulder. Mr.
Mills begins to fall towards the wall behind him as the
third round hits him right above his left hip and spins him
a bit. He hits the wall hard, drops both his guns, and
falls to the floor in a mad huddle as he gasps for air. Mr.
Aaron aims in one more time for him, he raises his right arm
to shoot, but just then Sheriff Dunn rights himself from the
jostle he received when the dead John Andrews hit him and
shoots at Mr. Aaron. His first shot hits Mr. Aarons' left
shoulder and spins him towards Dunn. Mr. Aaron wastes no
time and fires back before Dunn can unload anymore at him.


He gets off four well aimed blasts and each hits Dunn in his
chest and sends him to the ground. The room goes silent.
                       MR. AARON
Mr. Aaron moves over to the Travis Wearys' body and looks
down at the dead kid. He shakes his head sadly and rubs at
his wounded shoulder before the HAUNTED,yet SOFT, MELODY
fills the house once more. Mr. Aaron looks over and sees
Mr. Mills as he holds the harmonica to his lips. Mills
bleeds profusely from the wounds to his body and it
especially looks like the shot to his upper chest, right at
his right front jacket pocket, is a bad one. It leaks
copious amount of a dark fluid that looks like blood. Mr.
Aaron smiles at all of this and walks over to his brother.
                       MR. AARON
You didn't succeed. I'm still
alive, I'm barely hurt, and I'll
find another. I'll find another
one who's just like Travis and
I'll make sure that our legacy
will be passed on. You can't stop
the past.
The HAUNTED,yet SOFT, MELODY ends and Mr. Mills drops the
harmonica from his lips and places it back in the left front
pocket of his jacket. He stares up at his brother,
unconcern etched on his face as he ignores the gun that Mr.
Aaron lifts up and puts onto his skull.
                       MR. MILLS
It's in the blood isn't it, Edgar.
In our blood.
                       MR. AARON
                       MR. MILLS
                       MR. AARON
It sure is. Its all over our
blood and it can't be stopped. You
shouldn't have even tried.
                       MR. MILLS
Do you remember when you gave me
that harmonica?


                       MR. AARON
Of course, it was a great day. We
could have had more great days if
you hadn't left me. We could have
been great ourselves, Lang, and
not ended up here. You with a
wound close to your heart, with
bullet holes in your arm and
stomach, and me about to finish
you off. We could have been
great, Lang, but instead you chose
to die like this.
                       MR. MILLS
It wasn't great, Edgar, and nether
were we. We just wrong...that is
all we ever were...and that
wrongness in us can be stopped. It
                       MR. AARON
No it can't. Nothing stops the
darkness. Nothing!
                       MR. MILLS
Two things can. Two things you've
over looked can stop everything.
                       MR. AARON
And what are these two things?
                       MR. MILLS
Well for one I'm not shot anywhere
near my heart. The stain you see
coming out of that hole in my
jacket pocket is not all
blood...some of it's lighter
Mr. Aaron bends down and reaches into Mr. Mills' shirt. He
retrieves parts of a very ruined and shattered lighter that
still has in it pieces of the slug that Aaron fired.
                       MR. AARON
So...so what? You got lucky with
that! Hell, you're still
bleeding...some metal got in
you...you just got lucky that it
wasn't the whole bullet. What the
hell is this thing, pure stainless
steal? You got lucky. What's the
other thing I've forgotten?


                       MR. MILLS
You're gun is out of bullets...but
mine isn't.
From behind his back Mills' pulls out the revolver he got
from Flint Mattess' trailer. Immediately Mr. Aaron pulls
the trigger of his gun but only a LOUD CLICK is heard. Mr.
Mills smiles up at his brother and shoots him in the head.
Mr. Aaron falls back onto the floor as the back of his head
explodes in a red cloud.
                       MR. MILLS
The past can be stopped.
Mr. Mills tries to stand but can't. He gasps slightly in
pain as the sound of a low GROAN is heard and the body of
Sheriff Dunn starts to move. Dunn lurches upwards off the
floor and GASPS in his own pain as he yanks open his shirt
and reveals the bullet proof vest he had on beneath.
                       MR. MILLS
So you made it after all, Sheriff.
Good for you.
Dunn fingers the rounds in his vest and then yanks the whole
thing off. His large white belly is pocked marked with
purple bruises but the only blood comes from the one wound
to his shoulder. Dunn throws the vest away, closes up his
shirt, and then stands. He wobbles on his feet and he bends
to pick up his service issue revolver that has fallen to the
                       SHERIFF DUNN
I've always hated those damn
things, way too bulky, made me
sweat, but toady I'll say a all
the "praise the Lords" that I can
over wearing one. Thank god the
County forced me to start putting
one on.
Dunn looks at his gun and then walks over to Mr. Mills.
Mills just smiles at him and throws his own weapon far away.
As Dunn nears he pulls out his harmonica and holds it up to
                       MR. MILLS
Is it time for this to end?


                       SHERIFF DUNN
Yes...yes I think it is. I think
I've learned how to pull the
trigger again. I think I really
                       MR. MILLS
Good. Good. It is in the blood,
Sheriff, remember that. It is in
the blood so do what you have to
because if I don't go then it will
all just continue on. All I ask
is that you take my harmonica,
take it, it deserves to keep being
Sheriff Dunn leans down and takes the harmonica out of Mills
hand. Mills smiles and drops his arm as Dunn presses his
revolver against Mills' temple.
                       MR. MILLS
Will this make things right,
Sheriff? Will it?
                       SHERIFF DUNN
It will make it as right as
anything ever can be I suppose.
A LOUD SHOT rings out and Mr. Mills slumps dead to the
floor. Sheriff Dunn re-holsters his weapon and heads out of
the kitchen. Through the windows of the house the many
lights of Odessa City Police cruisers can be seen as they
approach. Sheriff Dunn goes out the front door to greet
them. As he goes the Rolling Stone song "Paint it Black"
fills the air.


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