BAD APPLES

WGAe:l49266
INT. nightclub - nIGHT
The music explodes like an atomic bomb.
A huge, lavish, converted warehouse somewhere in the United States of America.  A 21st Century version of Club 54 on equal overdoses of steroids and acid.
WEALTHY PATRONS sit in plush booths getting table dances while the dance floor is packed with sexually dressed YOUNG HIPSTERS dancing to a Rammstein techno beat.
A hand reaches out and grabs two beer bottles from a hot BUXOM COCKTAIL WAITRESS.  This is RODGER HOYT.
Rodger has short brown hair, rugged and handsome with stubble of facial hair, and wears a pair of boots, jeans, and a short sleeve logo T-shirt.
Rodger walks towards the bar to meet up with his associate.  
This is WAYNE COOLIDGE, dark, more intense.  Immediately dangerous and quite evil.  He is clean-shaven and sports brown cusp padded boots, jeans, and a beige button up short sleeve shirt.
Both white males are in their mid-thirties and have a way of glancing about that tells you they are wholly unscrupulous.  They present themselves as characters that have morally ambiguous stories with dark realism.  Consistent with noir convention.
They sit at the bar, checking out the scene.
Rodger glances over to his left and notices a tanned, blonde, California beach bunny.  Like the kind you see in the old Crown International movies from the seventies like "Pom Pom Girls" "Malibu Beach" and "Beach Girls."  
She is wearing a double ruched mini skirt and halter-top, smiling at him from down the bar.  Her eyes are flirting with him.  All Rodger can do is smile back.
Wayne taps him on the shoulder.
Wayne
I think that broad has a boyfriend, man.
Rodger
(smiles)
I don't see him with her.
Rodger ignores Wayne and heads down the bar to start up a conversation with the young woman.
WAYNE (O.S.)
Leave it alone.
Still ignoring.
Rodger feels confident right about now.
He sits right next to her.
RODGER
(being charming)
Hi.
Sexy woman
Hi.
RODGER
My name's Rodger.
SeXY WOMAN
Stacy.
Rodger and Stacy shake hands and instantly click.  Their eyes connect.
Wayne drinks his beer and watches his partner from a far.  From a distance, Rodger and Stacy laugh and giggle like school kids.
RODGER
(laughing)
I know.  Right?
Suddenly, bad news shows up; Stacy's BOYFRIEND, a tall handsome lookin' dude, shows up and doesn't look too happy.  In the background, the Boyfriend's posse doesn't look happy either, bunch of linebackers they are.
Boyfriend
Stacy, what the hell?
Stacy
(hesitates)
We're just talking, sweetie.
RODGER
What're you her boyfriend or something?
BOYFRIEND
Yeah, I am, faggot!!!
From down the way, Wayne looks on.
WAYNE
Oh, shit.
RODGER
What'd you say to me?
BOYFRIEND
(really mad)
I said fuck-off you fuckin', faggot!!!
Posse #1 (O.S.)
Stupid asshole.
POSSE #2 (O.S.)
Fuck him up, man.

Rodger stands up from the stool, like he's about to do something.  He takes another drink from his beer, smiling.
BOYFRIEND (CONT'D)
Fuckin' beat it douche bag!  Fuckin' queer.
Rodger looks to Stacy with a smile.
BOYFRIEND (CONT'D)
Stupid fu -
Suddenly, before the Boyfriend can finish the word "fuck", Rodger springs into action and smashes the beer across the Boyfriend's head.  Blood, beer and glass shards go everywhere.  
The Boyfriend is down for the count, screaming in pinging pain.
Stacy and the posse are stunned, at awe.
RODGER
(to the Boyfriend)
Who's the fuckin' queer now, faggot?!
The posse reacts.  They move into action and begin beating the stuffing out of Rodger.  Four against one, but Rodger seems to be doing all right.
Suddenly, one of the men grabs a glass of gin and tonic and breaks it across the back of Rodger's head.
The posse is winning - until Rodger's counterpart flies into battle.  Wayne breaks his beer bottle across a man's face.  It's a brutal brawl, a real blood and broken bones fiesta.  Foul talk is also being tossed around by the brawlers.
Finally, the BOUNCERS show up and try to breakup the fight.  A bloody and battered Rodger and Wayne taking the last couple of kicks and fists they are being carried out of the nightclub.
EXT. nIGHTCLUB - nIGHT
A hundred or so people waiting to get in.  Suddenly, the doors explode open and the bouncers bounce Rodger and Wayne out of the club, tossing them out like sacks of potatoes.  A sack of beaten and bloody potatoes.
Rodger and Wayne on the ground, Rodger's nose is bleeding uncontrollably.  Through split faces, cracked ribs and flowing blood, they laugh.
WAYNE
(spits out some blood)
Now that's how you get outta payin' a fuckin' bill, man.
They continue to laugh like Kings.
Their bodies quiver and contracts in wracking stabs of pain.  Shaking, they rise to their hands and knees.  Blood dribbles from their faces.  Stooped over, they stagger to their feet and sway, unsure of footing.
FADE TO BLACK.
Bad apples
FADE IN:
EXT. southwest - dAY
A burning white sun high in a clear blue sky.
An ultra-wide establishing.
Out west where the sun descends gloriously over desolate mountains.  A sense of timeless and incorruptible beauty.
EXT. highway - dAY
A western diamondback rattle snake slithers across the hot tarmac.  The sound of an approaching muscle car.  A high-speeding tire crushes the life from the diamondback.  Head and body go in separate directions.
EXT. '70 monte carlo - dAY
It's beat-up, filthy and hurting, the paint job has only two colors: the hood and roof is painted with a dark gray and the rest of the body is painted in a light olive green.
Driving through almost alien-looking landscape with no signs of life.
INT. '70 MONTE CARLO - dAY
No music; only the faint gargling sound of their car motor and those two widely separated vehicles they pass which are going in the opposite direction.
Rodger is at the wheel.  Wayne is sleeping in the passenger seat.  The dash is covered with crushed cigarette packs and fast food wrappers.
EXT. rest stop - dAY
A busy parking lot surrounding an all-night gas station/convenience store, like Sheetz.
Parked five cars down from a family minivan is the Monte Carlo. Steam spews out from under the hood of the car.
The engine is making a hideous dying noise even as it cools.
Wayne pops the hood and a gush of fucking hot steam comes rushing at the two.  They use their hands to swipe away the steam.
RODGER
What a fuckin' catastrophe.
WAYNE
I give this car five fuckin' days.
Wayne tries to work under the hood.  Rodger leans against the Monte Carlo.  His eyes, covered by a pair of aviator sunglasses, looks on the endless southwest.
He looks down to the family minivan and notices two YOUNG EIGHTEEN-YEAR-OLDS frolicking around the family mini-van with the back opened up.
Rodger lowers the aviators and eyeballs the eighteen-year-olds.
A devilish look.  They soon notice him.  He makes a charming smile and the girls blush and giggle.  Rodger gives them a wink.
But it's all ruined when the WORRIED MOTHER shows up and shields the girls by moving them to the other side of the family minivan.
Rodger giggles to himself, he raises the aviators.  He turns back to Wayne, who seems to have everything under control.
WAYNE (CONT'D)
While we're here we're gonna need some gas, brother.
They look around.  They find an EMPLOYEE'S car parked behind the convenience store.
EXT. employee's car - dAY
Rodger and Wayne approach the car with a rubber tube, bottle of water, and a gasoline can.
They stop.  Wayne raises his fists.  Rodger does the same.  They play Rock Paper Scissors.
And it ends with Wayne choosing Paper and Rodger picking Rock.  Rodger makes a disappointing look.
WAYNE
Start suckin'.
Rodger shoots a look at Wayne.
He squats down.
Rodger unscrews the cover and opens the gasoline can.  He slips the rubber hose into the gas tank, takes a deep breath and starts siphoning gas.
He siphons harder and harder until, Rodger's eyes bulge out of his head and pukes up gasoline.  He quickly inserts the hose into the gasoline can.
Rodger starts spitting out left over gasoline taste.  Wayne hands Rodger the bottle of water, he drinks it, swishes it around and spits it out.
EXT. hIGHWAY - dAY
The Monte Carlo drives down the sizzling road.
EXT. roadside - dAY
Wayne and Rodger can be seen pissing on the side of the road.
INT. '70 MONTE CARLO - eVENING
The hot brutal sun glints off Rodger's shades.  Windows down, radio spits out a country twang, just a normal All American road trip.
The speedometer needle hovers at fifty-five mph.
EXT. hIGHWAY - nIGHT
Hot and humid.  The middle of the night in the middle of nowhere.  A tumbleweed blows across the road.
The Monte Carlo zooms on by.
INT. '70 MONTE CARLO - nIGHT
Wayne is behind the wheel.  Rodger is asleep.  
The oncoming headlights hurt Wayne's eyes.  He is getting sleepy and his vision is blurring. 
His eyes close, involuntarily, snap open again.  He stretches them wide, as if forcing them to stay open.
The oncoming lights seem to glare to a point beyond endurance.  A different country twang plays, windows are still down, more than likely the A/C is broken and they don't have enough dough to get it fix.
EXT. garage/gas station - nIGHT
A small, paint-peeled building from the fifties, with a rusty single gas pump sitting out front.  There are several large fireworks signs hanging along the roof.  
One of the hand-painted signs reads, "Every day is the Fourth Of July at Morrie's".
The Monte Carlo cruises past the pump... rolls over a hose that runs across the ground.  A loud ring erupts as the tires bounce over the hose.
INT. '70 MONTE CARLO - nIGHT
Rodger is asleep behind the wheel.
Lit up by a splash of headlights flooding the front seat.  Windshield awash with twin headlamps of an eighteen-wheeler rig bearing down on him.  He has drifted on to the oncoming lanes.
Ear-splitting toots of the truck's horn shock him awake.  Shouting, he spins the steering wheel hand over hand, swerving wildly onto the right side of the road.  Head-on collision missed be inches.
The titanic tractor trailer-thunders past, shuddering the car's suspension in its afterblow.  Then it is gone.
Soothing country dark thick and tangible as oil flows into the Monte Carlo again.  The world outside the window is black and empty save for a distant pinpoint of headlights ahead and the red and amber warning lights of the big rig in the rearview mirror.
Broken white lines and blacktop roll out of the darkness in the Monte Carlo's lack of high beams.  Rodger gasps for breath, long drags of air to calm himself down.
EXT. sOUTHWEST - nIGHT
Clouds pass, revealing an almost full moon.
The sky is so crystal clear that you can see the milky way above the endless highway.
It's quiet out here.
EXT. sOUTHWEST - sunrise
The sharp outline of the hills appear with the first morning light.
The sun begins to rise revealing -
A long deserted horizon stretching endlessly.  Nothing lives in this arid wilderness.
INT. '70 MONTE CARLO - mORNING
Wayne is behind the wheel.  Drinking old soda and eating breakfast, which is beef jerky.
EXT. southwestern city - mORNING
An establishing view of an anonymous Southwestern Metropolitan Skyline, not as you would expect it.  This is from far away, making this oasis look like an outpost than a city.
EXT. midtown - dAY
Above Midtown section of the city. It is early afternoon, a hot mid-summer day.  The city is sun blanched white and its drifted-up noises are muted in blanched their own echoes.
Heading in a downtown direction, passing over traffic-clogged streets, parking lots, white business buildings, neatly patterned residential districts.
The Monte Carlo drives through the city.  As the vehicle moves in deeper into the downtown section, the character of the city begins to change.  It is darker and shabby with age and industry.
There are railroad tracks, smokestacks, wholesale fruit-and-vegetable markets, old municipal buildings, empty lots.  The very geography seems to give us a climate of nefariousness, of back-doorness, dark and shadowy.  And secret.
INT. '70 MONTE CARLO - dAY
Rodger and Wayne look around as they drive through the city.  Eyeing the businesses around them.
EXT. street - dAY
The Monte Carlo passes several businesses: a drug store, a dry cleaners, a bank, a hair salon, a mini-mart, and a blood bank.
Suddenly, the Monte Carlo makes a screeching halt.
INT. blood bank - RECEPTION AREA - dAY
Wayne and Rodger sit in the reception area filling out forms while listening to the soft music playing in the background; it is the kind of music you would hear when you are in an elevator.
INT. bLOOD BANK - first room - dAY
Rodger sits in the chair with his sleeved rolled up and a tourniquet wrapped around his arm.
The NURSE swabs his arm and draws blood from the median cubital vein.
She pushes the vacutainer into the holder, keeping the needle steady.  The vacutainer begins to fill up with blood.
INT. bLOOD BANK - second room - dAY
Wayne is in the process of being drawn a second time.  He does his best to keep his eyelids from collapsing.
EXT. blood bank/street - dAY
Wayne and Rodger exit the blood bank.
They help each other as they try to walk across the street, feeling a little dazed and a little emptied.
RODGER
We need to find an easier way to get some money, man.
WAYNE
I hear you, brother.
EXT. 24 HOUR LAUNDROMAT - dAY
The Monte Carlo is parked outside.
Wayne and Rodger are seen through the window.
INT. 24 HOUR LAUNDROMAT - dAY
Wayne and Rodger are the only two customers.  They use some of their money to do their laundry.
Wayne is loading some of his clothes into the dryer.  Rodger takes off his shirt, puts it to his nose and smells.
He pulls his head back and makes a "bad smell" look.  Rodger chucks it into the washer with the rest of his dirty clothes and starts the washing machine.
Now they just wait.
WAYNE
Look at us, brother.  We're fuckin' bums.
RODGER
Fuckin' bums with heat in the back of a car.
(agreeing)
But yeah - we are in a bit of a rough.
WAYNE
We need something better for ourselves.  It's gotta drop in our laps like an atom bomb.
EXT. mIDTOWN - eVENING
The rustic, orange glow of the sun ripples across the sky.
Slowly it releases the last of its rays and sinks beyond the horizon.  Shadows creep across the land and suddenly this beautiful Southwestern city turns dark and ominous.
EXT. FAST FOOD RESTAURANT - nIGHT
It's closed.
No one is around.
Wayne is now stripped down to his boxer shorts in the back parking lot of the Fast Food Restaurant.
Rodger is hosing him down.  It's dysfunctional, but it's washing away the stench and filth.
EXT. empty lot - nIGHT
Wayne and Rodger sit on the hood of the Monte Carlo, eating plastic wrapped convenience store sandwiches, and drinking out of a bottle of water with two straws.  Money is tight right now.
EXT. '70 MONTE CARLO - nIGHT
Rodger stands in front of the car, overlooking the flow of HOMELESS PEOPLE.  The trunk is open in the background.
A duffle bag falls with a thud (and a rattle?) at Rodger's feet.  Wayne holds another in his hand.  Rodger looks at the bag, then at Wayne with confident.
They both raise their fists, ready to play Rock Paper Scissors.  Wayne picks Paper and Rodger picks Scissors.
WAYNE
Shit!
Rodger climbs into the back seat of the Monte Carlo.
Wayne climbs onto the hood and uses the duffle bag like a lousy pillow.
RODGER (O.S.)
(from inside the car)
'Night.
WAYNE
'Night.
EXT. mIDTOWN - sUNRISE
The buildings are silhouetted against the rising red sun.
EXT. FINANCIAL STREET - mORNING
Wayne and Rodger stand out of the way.  Leaning against a street pole on the corner.  Watching the rich suit bastards passing by with their Starbucks coffee in one hand and cell phones in the other.
They're waiting.  Rodger eyeballs a MAN in a black business suit, eating a croissant.
WAYNE
Go do your thing Robin Hood.
Rodger walks towards the mark, straight into him almost knocking him down.
RODGER
Sorry 'bout that.
Rodger slides the wallet into his jacket as he continues walking.
Wayne spots another SUIT; he pushes off the street pole and walks right into him.
WAYNE
Excuse you, man.
The Suit makes a look and then pushes on.  Wayne slides the wallet into his pocket.  He keeps walking.
EXT. back alley - mORNING
The refuge of shadow.  The alley is divided by a clotheslines and the walls on each side are jutted with dumpsters.
Wayne and Rodger take out the wallets they had lifted and count how much money they have.
RODGER
I got...
(still counting)
Sixty... sixty-eight dollars.  You?
WAYNE
Uh...
(still counting)
Christ - twenty-three fuckin' bucks.  I just had to lift a wallet from a broke-ass jungle-bunny.
RODGER
Gas or breakfast?
Both men think.
EXT. coffee shop - mORNING
Rodger sits on top of the Monte Carlo, waiting for Wayne to bring back breakfast.
INT. cOFFEE SHOP - mORNING
Pretty busy.  Two sets of lines that are not moving any faster than a New York highway.
Wayne waits behind a SECURITY GUARD wearing a gray uniform; both are busy looking at the menu ahead of them.  Suddenly, the security guard's walkie-talkie goes off.
Radio (V.O.)
Dispatcher to Unit twenty-eight, where the hell is the bank's deposit?
Instantly the word "deposit" has Wayne focusing on the guard instead of the menu.
The security guard rolls his eyes to the back of his head and answers back through the shoulder microphone/speaker.
Security guard
This is Unit twenty-eight, traffic's backed up, should be there in twenty, thirty minutes.
(off radio)
Asshole.
Wayne slowly backs up and heads on out of the coffee shop.  Someone steps in his place.
Through the glass, Wayne can be seen talking to Rodger.  Both men are speaking.  Wayne points to the security guard inside the coffee shop.  Rodger spots him.
Back at the line, the armored truck guard moves up a notch.
EXT. strEET - mORNING
Across the street from the coffee shop, the Monte Carlo rests with Wayne and Rodger sitting inside with the engine off.
EXT. '70 MONTE CARLO - mORNING
Both Wayne and Rodger keep their eyes on the coffee shop.  Roger is behind the wheel.
Rodger lights a cigarette.  Belatedly, he offers one to Wayne.  Wayne lights up.  The two men relax under the swirls of blue smoke.
RODGER
What's their response time?
WAYNE
Two minutes, fifty seconds.  We'll have to hit 'em fast and hard.
As they continue to look out the window, the first security guard exits the coffee shop with two coffees and a bag.
He heads three cars down to the armored truck where his partner waits inside.
Rodger starts up the car, it rumbles to life.
EXT. stREET - mORNING
The Monte Carlo follows the armored truck from a safe distance.  The street is semi-busy.
INT. '70 MONTE CARLO - mORNING
The armored truck goes straight.  Then it turns right.
The Monte Carlo turns right, Wayne, and Rodger see the armored truck again.  It continues on down the road.
Wayne stubs out his cigarette in impatient jabs.  He pulls from a paper bag two surgical gloves.  Wayne puts on his and hands the other pair to Rodger.  Wayne holds the wheel while Rodger puts his on.
EXT. FOUR LANE INTERSECTION - mORNING
Two lanes across from each other are stopped by the red light.
The armored truck stops behind two cars.  The Monte Carlo is behind the armored truck.  If this is gonna go down, now is the best time.
EXT. sTREET - mORNING
Both Wayne and Rodger quickly exit the Monte Carlo.
Wayne wears a white paper cowboy hat and a tight stocking - distorted and bizarre.  He is armed with a M1911 Colt series 70 pistol tucked in the front of his waistband and sawed-off shotgun. 
Rodger sports a half-black mask and his sunglasses.  Also armed with the same pistol as Wayne and carries a small explosive device, not very sophisticated, something like homemade: a small stick of dynamite with a timer, mounted on a magnet.
Wayne covers the rear of the armored truck while Roger heads to the front.
INT. armored truck - mORNING
The second security guard looks at his side mirror and notices Rodger coming up on his side.
SeCURITY GUARD #2
Oh, shit!
The second security guard steps on the gas.
EXT. stREET - mORNING
But it's useless.  Rodger plants the bomb between the door hinges, presses the timer and runs back to the Monte Carlo.
INT. aRMORED TRUCK - mORNING
The second security guard notices the small explosive device through his side mirror.  He knows what it is.
SECURITY GUARD #2
Go!  Go!  Go!
Just as the first security guard opens the door -
EXT. aRMORED TRUCK - mORNING
- boom!  The driver side door falls off its hinges.
INT. aRMORED TRUCK - mORNING
Smoke clouds up the inside of the armored truck.  The security guards cough up their lungs as they pile out of the armored truck.
EXT. stREET - mORNING
The security guards fall out of the truck and hit the asphalt with a hard thud, meeting Wayne and his cocked sawed-off.
WAYNE
Stay down!  Stay the fuck down!
The security guards comply.  Wayne grabs the keys from the second security guard's belt.
Rodger comes around the armored truck.  Wayne chucks the keys to Rodger.  He catches it.
Rodger heads to the back of the armored truck and starts going through all the keys, trying each one.
Finally, after four keys, Rodger inserts the right one and the doors unlock.  Rodger climbs into the armored truck.
INT. aRMORED TRUCK - mORNING
Inside the back of the armored truck are five heavy duty courier bags made for rugged usage.
Rodger holsters the .45 in the front of his waistband.  He grabs two bags and exits the armored truck.
He heads the Monte Carlo's trunk.
RODGER
Moving.
EXT. sTREET - mORNING
Wayne keeps his eyes on the security guards.  All around him are sounds of honking and people staring at them, either from their cars or the sidewalk.
Rodger heads back to the armored truck.
INT. aRMORED TRUCK - mORNING
Rodger climbs into the back of the armored truck.  He grabs one courier bag and tosses it outside.
RODGER
Come get this one!
EXT. stREET - mORNING
WAYNE
Don't move.
Wayne starts moving towards the back of the armored truck, keeping his sawed-off on the security guards.  In the background, Rodger jumps down from the armored truck with the last two courier bags, heading to the Monte Carlo.
Wayne turns and squats down to pick up the courier bag.  Suddenly, the first security guard reaches for a Smith & Wesson model snub nose tucked in his boot.  He stands up and fires two shots at Wayne.
The slugs hit the armored truck.
Wayne quickly spins on his heels and fires two shots at the first security guard.  One in the neck, opening his carotid artery, sending blood spraying all around.
The second slug hits smack dab in the chest, blood everywhere.  The force of the sawed-off propels the first security guard through the air backwards.
Wayne throws down the sawed-off and whips out the .45.  The second guard is too scared to even look up at Wayne.  Wayne strides towards the second guard picks up the snub nose, and plants two bullet in the second guard's head.
Blood splatters the asphalt.
Wayne heads back to the Monte Carlo.
INT. '70 MONTE CARLO - mORNING
Where Rodger waits for his partner behind the wheel.  He saw the whole thing go down.  In the distance, police sirens begin to approach.
Wayne slides into the passenger seat, throwing the money into the back of the car.  The two sit in silence.
EXT. '70 MONTE CARLO - mORNING
Rodger hits the gas.
The Monte Carlo turns right.
INT. '70 MONTE CARLO - mORNING
They keep their masks on.
RODGER
(imitating Steppenwolf)
I said goddamn!
WAYNE
We're not outta the woods yet, brother.
Suddenly, a police cruiser slams into the back of the Monte Carlo.  Wayne and Rodger are jolted.  They turn to see the single police cruiser.
INT. police cruiser - mORNING
The POLICE OFFICER sitting in the passenger seat pumps a police issue Remington shotgun.
The Monte Carlo speeds up and turns down an alleyway.  The police officer with the Remington speaks into the radio.
Police officer #1
Unit three to base.
Dispatcher (V.O.)
Go ahead Unit three.
POLICE OFFICER #1
Responding to a two-eleven.  Requesting for backup assistance at an alley on Cedar and Pine.
DISPATCHER (V.O.)
Roger, Unit three.  Cedar and Pine.
EXT. alley - mORNING
The Monte Carlo continues to zoom on down the alley.  The police cruiser continues to pick up the rear.
It crosses another main street and speeds into another back alley.
The police cruiser follows cautiously.
EXT. alLEY - mORNING
The police officers inside are ready for anything.  
And they should be, 'cause the Monte Carlo screeches to a stopping halt.
Wayne and Roger explode from their car doors, drawing their .45s and open fire on the two occupants inside the police cruiser.
INT. pOLICE CRUISER - mORNING
The cops inside have no chance in hell.  Bullets enter their bodies and blood exits and covers everything.
Their seat belts keep them where they are as the continues barrage of bullets pound the shit out of them.
EXT. alLEY - mORNING
As the screaming stops, so does the shooting.  Behind Wayne and Rodger are trail of empty shell casings.
Wayne and Rodger continue to walk towards the police cruiser.  Rodger walks over to the driver side.  They open the doors and begin to disarm the dead police officers, taking their 9mm Berettas and their extra clips.
They stuff them in the back of their waistbands.
In the distance, another police cruiser barrels down the alley.
Wayne and Rodger duck into narrow walkways on either side of the alley and vanish.
INT. second police cruiser - mORNING
The police cruiser approaches the first police cruiser.
The POLICE OFFICER puts the car in park.  They unbuckle their seat belts and exit the car.
EXT. alLEY - mORNING
As the cops get out of the cruiser, they unholster their Berettas.  They're cautious.
They slowly, very slowly approach the first police cruiser on foot.
They survey the aftermath of the police officers inside: no bullshit, they are dead.  Blood and bullet holes occupy the interior.
INT. pOLICE CRUISER - mORNING
The living police officers move pass the cruiser.  Both are at awe.
POLICE OFFICER #2
Jesus Christ.
EXT. alLEY - mORNING
The first police officer looks at the walkway where Wayne and Rodger could be hiding.  Then he looks at the Monte Carlo.  No one's inside.
The first police officer looks back and forth, making his decision.  He motions to the second police officer and they bail, quickly closing the hundred or so feet between them and the Monte Carlo.
Each man takes his turn advancing, the man in front signaling the man behind to move up.
They are about fifty feet away from the Monte Carlo when Rodger and Wayne come back into the alley.
The shooting starts up again.
Everyone shoots.  Rodger and Wayne are side running, laying down covering fire, then backwards down the alley towards the Monte Carlo.
The police officers dive for cover and do their best to shoot back, but once they are ready to bead down properly, Wayne and Rodger are back in the Monte Carlo.
INT. '70 MONTE CARLO - mORNING
Wayne turns on the ignition.  The Monte Carlo shimmies and shakes but turns over.  He puts down the accelerator.
The car rolls forward down the alley.
EXT. aLLEY - mORNING
The first police officer jumps out of his cover and opens fires on the Monte Carlo.
INT. '70 MONTE CARLO - mORNING
Wayne, behind the wheel, floors it to the max and runs down the first police officer.
EXT. alLEY - mORNING
The first police officer rolls off the hood of the Monte Carlo and lands into the garbage bins.
The first police officer is sprawled and splayed akimbo on the concrete.  Fingers and face scraped raw.
EXT. stREET - mORNING
The Monte Carlo explodes from the alley.
The second police officer fires at the speeding Monte Carlo.
INT. '70 MONTE CARLO - mORNING
Wayne is driving like a lunatic in a town without traffic laws, going through turns and intersections. He puts the pedal to the metal and shifts up to second.  The sports car thrusts beneath them.
He throws the stick into third.  The Monte Carlo bucks like a Bronco into high gear.  The speedometer climbs steadily: eighty.  Eighty-five.  Ninety.  One-hundred.  One-hundred and ten.  One-hundred and fifteen.
EXT. hIGHWAY - mORNING
The highway is reasonably busy as cars drive along the highway, some cutting through the four lanes.
Cars speed along the highway, cutting in and out, as one car drives at a reasonable speed, staying in one lane.
EXT. hIGHWAY - dAY
The Monte Carlo is the only car on the two lane sun parched highway.  They're getting as far away as they can from the Southwestern city.
INT. '70 MONTE CARLO - dAY
Wayne lies back in his seat, smoking his cigarette, spent and gloriously happy.
One hand guides the steering wheel.  He wears a beautific expression beholding the badlands spreading out on all sides of him.
They're back in the empty southwest.  Safe.
EXT. POLICE STATION - dAY
A nondescript police station in the Southwestern city.
INT. pOLICE STATION - dAY
Overloaded DETECTIVES at desks.  Trying to solve too many crimes in a little city.  Din of phones, keyboards, voices.
INT. pOLICE STATION - captain's office - dAY
Local Police Captain JOHN HOLLIDEN, fifties, speaks on the telephone.  Captain Holliden is professional, doesn't smile a lot.  He's not smiling now.
Holliden
Yeah...
(pause)
Well it shouldn't be problem, now should it?
Suddenly, there is a knock at his door.  Holliden waves them in.
HOLLIDEN (CONT'D)
You're Marshals just stepped into my office.
Opening the door and stepping in are two US Marshals: DEBRA BRAWLSKI and BOBBY PIKE.  They both wear suits and are in their thirties.
Brawlski is natural looking, which is beautiful.  While Pike is a clean-shaven, square-jaw man who has the looks of a male model.
They sit.
HOLLIDEN (O.S.) (CONT'D)
Yeah, I let 'em know.
(pause)
Alright.  Bye.
Holliden hangs up.
Brawlski
I'm Marshal Brawlski.  This is Marshal Pike.
HOLLIDEN
'Nice to meet ya.  That was your superior; he says he needs to talk to you once you brief me.  So what can you tell me about these two scum-bags?
Pike
Can you tell us what happened first, Captain?
HOLLIDEN
Well from what witnesses describe, two unidentified males knocked over an armored truck.  Plugged the two security guards and two of my own cops.  One is in the hospital, he'll pull through.  And we were unable to identify the license plate.
PiKE
Do we know how much money was taken?
HOLLIDEN
No.  Not yet.  So, tell what's on your end.
Brawlski hangs Holliden two folders.  Both are marked with two names: "Hoyt, Rodger".  "Coolidge, Wayne".
Holliden goes through them while Brawlski explains.  Each rap sheet consist of a photograph.
BrAWLSKI
The first man is Rodger Hoyt, originally from Virginia.  Came out to the southwest when he was twenty-three.  Knocking over liquor stores and gas stations.  Finally jumped into the big leagues when he tried to rob a bank.  Tried and failed.
PiKE
The other guy is Wayne Coolidge, didn't jump in the same boat as Hoyt until later on down the road.  But that doesn't mean he didn't do any hell-raising when he was a kid.  At twenty-five, he joined the Army, but then was kicked out a day after graduation for being under the influence of alcohol while graduating.
Holliden scuffs and grins.
PiKE (CONT'D)
After that, he started jacking up banks and pick-pocketing.  Both men ending up doing a nickel for armed robbery.  Met in jail and decided to partner up as soon as they got out.  They jumped parole six months ago and have been on the run since.
HOLLIDEN
From armed robberies to murderers.  We're getting there pictures out to the public.  How long do you expect to close this case?
BrAWLSKI
Well, they got a four hour head start on us -- so hopefully seventy-two hours.
EXT. hIGHWAY - eVENING
A raccoon scampers out of the brush to some road-kill at the center of the pavement.
RODGER (V.O.)
We need to find a motel 'round here to count this change, man.
WAYNE (V.O.)
I know.
EXT. hIGHWAY - nIGHT
The Monte Carlo glides down the road, its taillights fading into the darkness.
EXT. SOUTHWESTERN FOOTHILLS - nIGHT
Another stretch of road.  If possible, this one seems even more desolate than the last.
EXT. motel - nIGHT
Rodger and Wayne stand in the gravel parking lot, staring at a beaten down roadside motel.
The structure... a roadside motel, sitting along a side road, surrounded by a vast, empty, brown wasteland.  It's one of those run-down interstate motels in the middle of fucking nowhere.  The neon lights flicker on and off.
The two automobiles are parked on a gravel parking lot, staring at a beaten down roadside motel.  Eight rooms stretched out in an L-shape.  The Bates Motel... in need of a paint job.
A primer painted pickup truck sits outside the office, under a "$19.00 a night" sign that hangs over the office screen door.  Above that is a crooked flickering "vacancy" sign.
INT. moTEL - office - nIGHT
A bell above the screen door jingles, as Wayne and Rodger enter the office.
INT. mOTEL - room - nIGHT
Dark.  Until the door opens and Amy flips the light switch.  Wayne and Rodger stand frozen in the doorway.
Because this is rough.  Stained shag carpet.  Torn print Curtains.  Cigarette holes are burned into the paisley bedspread draped across the two beds.  Artificial plants hang in the corners of the room.
Wayne and Rodger carry the courier bags and their duffle bags.
WAYNE
Let's start countin'.
Wayne and Roger dump the bags of money onto the bed.  One by one.  Stacks of cash, mostly in hundreds.
They each take a bed and start counting.  They would write the amount they counted on the white wall with a number two pencil.  When they would get a new amount, they would mark out the old amount.
Each amount keeps getting bigger and bigger.  It's taking them at least an hour or so.
Rodger does the last calculation -- -- he writes it on the wall: $1.2 million.
RODGER
$1.2 million, man.
Wayne is speechless, he doesn't smile or grin.  He just sits there rubbing his hands together, eyes gazing at the carpet vacantly.
WAYNE
You know what this means, man?  It means the law isn't gonna stop comin' after us 'til we're dead.  Giving up is not an option for us, brother.
RODGER
I heard that.
A string of silence between the two criminals.
EXT. moTEL - nIGHT
It's pure silence outside.
No one else is around.
EXT. soUTHWEST - sUNRISE
The great ceiling of sky glow with a silver light that makes the southwest incandescent.  The sun is just about to rise and the world shines with a newness and freshness that suggests someone just took the saran wrap off it.
EXT. sOUTHWEST - mORNING
The Southwest plain -- absolutely silent -- a vast, hard landscape stretching away to distant mountains.
The silence is broken by a song on the radio - "More Than A Feeling" by Boston, pouring out of a piece-of-shit Pinto.
INT. pinto - mORNING
This is BELLE COFFEE, mid or late-twenties, Native American.  She's an attractive woman wearing an ill-fitting maid's uniform, baby-blue with white (collar, apron, and sleeves.  
She taps her fingers on the steering wheel to the beat of Boston.
Her Pinto isn't what you would call "perfect".  It's clean, but it looks like crap.
EXT. hIGHWAY/motel - mORNING
The Pinto pulls into the gravel parking lot.  
She parks.  The music and engine is turned off.
INT. pINTO - mORNING
Belle sits in silence.
She looks at the motel in front of her; Belle gazes at it and contemplates her future.
Belle
(to self)
... fuck.
Belle sighs as she rubs the bridge of her nose.  She grabs her purse and exits the Pinto.
INT. motel - office - mORNING
The bell above the door jingles.
Belle steps in and is immediately commented by the old crusty MANAGER behind the counter.
Manager
(while reading the newspaper)
You're late, Belle.
Belle walks behind the counter.
BeLLE
Sorry, sir.
MANAGER
You're always sorry, Belle.  Stop being sorry and start coming to work on time.
Belle clocks in.  Doesn't bother to comment on her boss.
EXT. mOTEL - mORNING
There's this mechanical hum coming from somewhere.
INT. mOTEL - ROOM - mORNING
The hum emanates from a nosy window air conditioner.  The first light of day slices around the duct tape holding the machine in place.
The rest of the sun shines in, through the window and onto the bed that has a white sheet over it and under the sheet lays a shirtless Wayne.
He lies, sleeping with his .45 rustled against the pillow.
In the background, the shower is running.
Rodger is inside the shower washing up.  The outline of his naked body can be seen through the smoky glass of the shower door.  Steam fills the bathroom.
Rodger turns the shower off and opens the door, popping his head out.  He grabs a towel.  He dries off his body while in the shower stall.
He steps out; the towel hangs in front of his crotch.  He pops his head out the threshold.
RODGER
Hey!
(slaps the wall twice)
Time to wake up.
Wayne snaps his head up, eyes still closed.  He uses the frame of the gun to scratch his head and yawns at the same time.
Rodger closes the bathroom door. 
Wayne gets out of bed and walks towards his clothes on the floor.
EXT. moTEL - mORNING
Something bad is heading towards the motel: a Deputy cruiser.
It pulls into the gravel parking lot.  Inside are two DEPUTIES, one middle-age, one just barely out of his thirties.  Both are wearing full uniforms.
They park the Deputy cruiser in front of the office.  The Deputies get out.  Both Deputies survey the area.
INT. mOTEL - ROOM - mORNING
Wayne is sitting on the bed.  He puts on his last boot.
WAYNE
I'm gonna get something outta the car.
Wayne gets up and opens the door.
EXT. mOTEL - mORNING
Before he steps out, Wayne spots the two Deputies.  They walk towards the office door.
He springs back into the room.  Quietly closing the door so is not draw any attention.
INT. mOTEL - ROOM - mORNING
Rodger slips on his T-shirt.  Wayne locks the door.
WAYNE
Cops!
RODGER
How many?
WAYNE
(peeks through the shades)
Two so far.  We gotta bail.
INT. mOTEL - OFFICE - mORNING
The Deputies walk into the office.  The manager greets them.
MANAGER
Can I help you, fellas?
Older deputy
(holds up wanted sheet)
Have you seen these men?
EXT. mOTEL - mORNING
Belle closes the door to one room and pushes her cleaning cart down to the next one, which is Wayne and Rodger's room.
She knocks on the door twice.
INT. mOTEL - ROOM - mORNING
Wayne and Rodger freeze in their track.
BeLLE (O.S.)
(behind the door)
Housekeeping.
Rodger whistles to Wayne.  He tosses the .45 to him.  Wayne pulls the slide back.
Wayne positions himself near the blinds, while Rodger hides behind the door.
Belle starts to unlock it with her keys.  She opens the door and steps in to be grabbed by Rodger.  He covers her mouth before she can scream, placing the muzzle of his .45 at Belle's head.
Wayne closes the door softly.
Belle's eyes are ready to pop out of her head.  She's so scared.
Wayne looks through the blinds again.  He sees that the Deputies are coming out from the office.
EXT. moTEL - mORNING
The Deputies stand outside, near the cruiser.
Young deputy
Should we call backup?
OLDER DEPUTY
Kid, there's only two of 'em.  We'll take 'em are selves.
The Older Deputy heads to the cruiser.
INT. moTEL - ROOM - mORNING
Wayne turns to Rodger.
WAYNE
Money's in the car, right?
RODGER
Yeah.
(to Belle)
Listen, doll, we're gonna walk outta here together.  Are you gonna try anything stupid to get yourself killed?
Belle shakes her head.
Wayne slowly lets go of Belle's mouth.  She keeps her word.
EXT. moTEL - mORNING
The door opens. 
Wayne steps out first; his .45 is at his side, out of the Deputies' sight.  Rodger has Belle by the waist, pistol digging at her hip.  She tries to hold back her tears.
They walk towards the Monte Carlo.  The Young Deputy spots them walking.  Wayne, Rodger and Belle do not make eye contact with the Young Deputy.
The Young Deputy palms his .44 Smith & Wesson.
YOUNG DEPUTY
FREEZE!!!
Wayne swings his pistol arm and fires his .45 at the Young Deputy.  He draws out the revolver, but he's too slow to escape the barrage of bullets flying at him.
One round hits his leg, the other hits his side.  Wayne, Rodger and Belle duck down behind the Monte Carlo.
The Young Deputy scrambles to hide behind the cruiser while firing.  The Older Deputy steps out of the cruiser with a 12-guage shotgun.
Shattering the driver side window.  The Older Deputy continues to fire, over and over, till Wayne and Rodger open fire on the Older Deputy.
At least a dozen bullets tag the Older Deputy.  Blood blossoms from his body.  The Older Deputy fires one last 12-guage round before falling to the gravel.
The firing stops.
Wayne and Rodger can breathe now.  They look to each other.  Wayne holds Belle by her shaking wrist, still scared down behind the Monte Carlo.  Everything is quiet.
Rodger ejects his bone dry clip and smacks in a new one from the back of his pocket.  He starts walking around the Monte Carlo and across the gravel parking lot, towards the cruiser.
His casual boots crunch against the small rocks. 
Wayne has Rodger's back as he nears the cruiser.  His walking stance is like a cop, very cautious.
As he gets closer and closer to the cruiser, he starts to hear the dispatcher mixed with static.
As Rodger peeps around the rear of the cruiser -- he is fired at by the down Young Deputy.  Rodger spins down and ducks behind the cruiser's rear.  The revolver clicks against empty metal.
RODGER
Shit.
Wayne looks a little concerned.
WAYNE
Eh!  Are you cool?!
RODGER
I'm cool!
The silence is back.  Rodger waits a bit longer.
YOUNG DEPUTY
Back... backup is needed at -
Rodger peers around the rear.
The Young Deputy is cut off by the site of Rodger and his pistol.
He sees the Young Deputy on the ground with his back pressed up against the cruiser.  Still holding his revolver.  The kid's bleeding, on the verge of death.
Rodger stands up and walks towards the Young Deputy.
YOUNG DEPUTY (CONT'D)
Don't do this.
After saying the "s" in "this", the Young Deputy receives a bullet in the side of his head.  Blood splatters the cruiser.
Rodger stands before the dead Deputies.
Suddenly --
MANAGER (O.S.)
Hey?!  Asshole!
Rodger turns around to see the manager with a double-barrel shotgun, standing in the threshold.
MANAGER (CONT'D)
Don't you fuckin' move, boy!
He doesn't move.
MANAGER (CONT'D)
Drop the weapon!
He drops the weapon.
MANAGER (CONT'D)
Now get on the ground slowly!
(to Wayne)
If you move a fuckin' inch I'll blow your partner's fuckin' head off!  Put your piece on the ground!
Wayne throws his pistol on the ground.  At this point, Rodger is on the ground, face down.
MANAGER (CONT'D)
(to Belle)
Now, Belle, I want you to get -
Suddenly, Rodger rolls under the cruiser.  The manager fires a round that hits the cruiser's door.
Instantly, Wayne draws out the 9mm Beretta and fires several rounds at the manager.  He falls backwards into the office with his feet hanging out the threshold.
Rodger slowly peeks his head out from under the cruiser.
Rodger spots the Young Deputy's handcuffs and keys.  He takes them both.
EXT. motEL - mORNING
Rodger starts towards the Monte Carlo, dusting off the dirt.  He tucks his pistol in his waistband.
Wayne has his .45 in his right hand.
WAYNE
(holding Belle by the wrist)
So what'd you think we should do with her?
Rodger takes a moment to think about it.  His eyes survey Belle's gorgeous body, from her white tennis shoes, up her tanned legs, and finishing up with her terrified face.
RODGER
Let's keep her for insurance.
Rodger slap the cuffs on Belle's wrists.
EXT. hIGHWAY - mORNING
Rodger slap the cuffs on Belle's wrists.
INT. '70 MONTE CARLO - mORNING
It's quiet.
Wayne and Rodger sit in silence.  Rodger glances over his shoulder to the backseat and sees Belle with her eyes closed and her head between her legs, hands are cuffed behind her back.
Rodger looks straight.
RODGER
You don't have to do that you know.
BeLLE
I don't wanna see your faces.
WAYNE
Honey, if we wanted to kill you, we would've done it back at the motel.  You're not much of an insurance policy if you're six feet under.
Resigned, stunned by the coldness of that response, Belle raises her head and opens her eyes.
Rodger and Belle make true eye contact for the first time.
RODGER
Just relax, miss.
A string of silence.
BeLLE
So what did you guys do?
RODGER
Say what?
BeLLE
You guys had to do something to have the local Deputies come by the shit hole motel.
WAYNE
Yeah, your cleaning service is bullshit.
Another string of silence.
RODGER
We stole some money.  But even before that, the law was always after our tails.
EXT. hIGHWAY - mORNING
The Monte Carlo drives on by.
INT. mOTEL - OFFICE - dAY
Brawlski stands over the dead owner.  A chalk outline of his body has already been done.  A FORENSICS TECH snaps photographs of the dead owner.
EXT. moTEL - dAY
The entire motel has become a crime scene teeming with US MARSHALS and LOCAL DEPUTIES.
Pike walks towards the office.
PiKE
You might wanna come see this, Brawlski.
Brawlski walks with Pike.  She looks at the dead Deputies on the ground.
BrAWLSKI
I think our boys took the maid as a hostage.
PiKE
I do you know that?
BrAWLSKI
The schedule has her down for eight o'clock.  Her time card shows that she punched in at eight-fifteen.  And her piece of fuckin' shit car is here but she isn't, so I guess that's a good indication that she's been kidnapped.
PiKE
I guess we can add kidnapping onto the list.
Brawlski and Pike enter the room.
INT. moTEL - ROOM - dAY
Pike leads Brawlski to the numbers penciled into the wall.
She studies it.  From the marked out numbers to the last one.
BrAWLSKI
They were counting the money.
PiKE
Yep.  They rounded up to -
BRAWLSKI
$1.2 million dollars.  Jesus fuckin' Christ.
PiKE
That's a lot of fuckin' green.
Brawlski stares at the last amount.  Long and hard.  Like she wants the money.
EXT. hIGHWAY - dAY
Same road - same empty vast of nothingness.  The Monte Carlo speeds on by.
INT. '70 MONTE CARLO - dAY
Belle is quiet.  She looks at her cuffed hands.  That's all she wants to look at right now.
RODGER (O.S.)
What's your name, miss?
BeLLE
Does it matter?
WAYNE (O.S.)
Yeah it fuckin' matters.  You think we wanna call you the fuckin' "it" the whole time you're with us?
BeLLE
Belle.
WAYNE
"Belle"?  What kind of name is that for a squaw?
BeLLE
There's no kind to it, it's just a fuckin' name.
RODGER
(turns to Belle)
What's your last name, Belle?
BeLLE
Coffee.  Belle Coffee.
RODGER
I'm Rodger.  This is Wayne.  And we're not gonna hurt you.  Trust me, Belle Coffee.
Rodger turns back around.
RODGER (CONT'D)
(turns to Wayne)
You know we're gonna have to get her some freaking clothes soon.  Otherwise people are gonna be wondering why a maid is hangin' around with two psychos.
WAYNE
Now there's a sitcom for you.
EXT. hiGHWAY - dAY
The Monte Carlo follows along the endless stretch of telephone poles.
At least two eighteen-wheelers roar past them.
BeLLE (V.O.)
I need to use the rest room.
WAYNE (V.O.)
What, now?
BeLLE (V.O.)
Yes, now.
RODGER (V.O.)
Let's pull into that empty place right there.
EXT. ghost gas station - dAY
A derelict, abandon service and filling station.  The office and garage are bombed out.  There is a black crater in the asphalt where the pumps once stood.  It's one eerie place on the highway.
The Monte Carlo pulls into the driveway and stops with trail of dust behind the metal beast.  The engine is turned off.
Wayne and Rodger get out of the Monte Carlo.  Rodger moves the seat forward and helps Belle out of the car, gently.
They escort her towards the black gas station.  She slightly resist as they get closer.
BeLLE
Wait.  Wait.  Wait.
RODGER
What?
BeLLE
I'm not goin' in there to pee.
WAYNE
Why not?
BeLLE
It's black as hell in there.  I don't wanna go in there.
WAYNE
Whatever's in there is probably not as scary as us two.
BeLLE
Can't you just let me go around the building?
RODGER
No can do.
(started walking again)
We'll be outside if you need us.  Nothings gonna happen, okay?
INT. gHOST GAS STATION - dAY
Belle enters.
Inside, all is gutted and blackened by fire.  A few melted tires are welded together in a morbid, grotesquely suggestive mass in the corner.  Shades of dim light digging in the dirty window shows the shape of a nice clearing for Belle to piss.
She gets to the clearing, but then remembers something - her panties are still on.
BeLLE
Can I get some help here?!
RoDGER
(from outside)
What's the problem?
BeLLE
If it's not too much trouble, can one of you help me get my underwear off?
Rodger walks in.  He finds Belle in the clearing.
He squats down to her feet.
RODGER
Don't take this personally, Belle.
Rodger snakes his hands her skirt and pulls down her underwear.  She lifts up her feet.  Rodger stands up with Belle's underwear in his hands.
RODGER (CONT'D)
(odd moment)
I'll hold on to 'em.
She cracks a grin.  Rodger walks out of the blackened gas station.
She squats, ready to pee.
EXT. gHOST GAS STATION - dAY
Wayne and Rodger stand outside, talking.
WAYNE
So how long should we keep her?
RODGER
Well, she's not causing any problems.  She hasn't done anything to bring the fuzz onto us.
WAYNE
We haven't gotten anywhere close to where the fuzz could get us.  And I am not goin' down to wetback fuckin' Mexico.
INT. ghOST GAS STATION - dAY
As Belle finishes up, she hears something in the dark, something like a rattle.
Belle turns around and spots a fucking rattlesnake in the clearing, ready to strike.
She screams and sprints from her pissing spot.
EXT. ghOST GAS STATION - dAY
Wayne and Rodger run inside.
INT. ghOST GAS STATION - dAY
BeLLE
There's a motherfuckin' snake!
RODGER
Are you bit?!
BeLLE
No I don't think so.
Wayne strides towards the rattlesnake, still rattling.
Wayne whips out his pistol and pops a round in the rattlesnake's head.  It blows off.
WAYNE
What snake?
BeLLE
(to Rodger)
Can I have my underwear back?
EXT. INTERSTATE - dAY
The Monte Carlo changes lanes, then shoots on over to the off-ramp.  Driving right towards... a normal size town.
EXT. town - dAY
It's a nice cozy little town, like Kittitas, Washington.  Main Street is a short stretch of road that leads to the next interstate.
EXT. main street - dAY
The town consists of normal things you would fine in a small town: the bank, a local bar, a post office, a barber shop, a little grocery market with a video rental store inside, a library not to far, and the school district is across town.
The Monte Carlo drives through the town.  Its quiet here, nothing every really happens here without the people knowing about it.
EXT. clothing store - dAY
It's just your average clothing store.
The Monte Carlo pulls up to the curb.  The engine shuts.
INT. '70 MONTE CARLO - dAY
Wayne and Rodger turn to Belle.
WAYNE
What's your size?
BeLLE
I'm a size six.
Wayne studies her figure, judging for himself.
WAYNE
Are those shoes comfortable? 
BeLLE
Yeah.
WAYNE
Alright.
(to Rodger, puts on his sunglasses and cowboy hat)
I'll be back.
Wayne exits the Monte Carlo.
He walks all the way to the back of the Monte Carlo.
INT. '70 MONTE CARLO - trunk - dAY
The trunk of the Monte Carlo opens up; Wayne reaches inside and opens up one of the courier bags.  Taking out at least two-hundred dollars.
He closes the trunk.
INT. cLOTHING STORE - dAY
Wayne walks in, blending in with the crowd.  A good number of people are here.  He heads on over to the women's department.
EXT. '70 MONTE CARLO - dAY
The two sit in silence.
INT. '70 MONTE CARLO - dAY
Wayne is determine to break the silence.
RODGER
(looks forward)
So how long have you worked there?  Back at the motel.
BeLLE
It would've been two years next month.
RODGER
(whistles)
Jesus Christ, girl.  How the fuck could you take all that bullshit at a fuckin' shit job?
She's quiet at first.
BeLLE
It's just a job.
RODGER
Were you goin' to school?
BeLLE
No.  I guess my future was to work in the motel. Didn't seem worth it at the time.  Don't think I can't accomplish anything more than being a maid.
EXT. '70 MONTE CARLO - dAY
Back to silence.
INT. clOTHING STORE - dAY
Wayne is looking at a pair of denim jeans for women.  He can't tell if these would fit Belle Coffee.
He turns around and spots a WOMAN with a nice body.  Her back is facing Wayne.
He looks around. He gets a little closer and places the jeans in front of her lower body.  Measuring it.
EXT. cLOTHING STORE - dAY
Wayne exits the clothing store with two bags worth of clothing.  He walks towards the parked Monte Carlo.
INT. '70 MONTE CARLO - dAY
Wayne climbs back into the Monte Carlo.  He throws the bags in the back for Belle, not nicely.
WAYNE
Put 'em on.
BeLLE
And how the fuck am I supposed to accomplish that?  I'm cuffed, remember?
WAYNE
Can't you try?
Belle just looks at Wayne. Rodger just grins.
WAYNE (CONT'D)
(to Rodger)
Take the cuffs off, man.
RODGER
(turns to Belle)
Turn around.
Belle struggles to turn around, but manages to turn a full one-eighty.
WAYNE
(pulls out his pistol)
Your hand touches those two doors and you're gonna eat a bullet.  Here or out in the desert, it makes no deference to me, honey.
Rodger takes the keys and takes cuffs off Belle.  Belle begins to change.
She starts off by taking off her white apron.  Then starts to unbutton her shirt.  She stops and notices
Rodger still staring at her.  He turns around.  Belle takes off her baby blue uniform and throws it to the floorboard.  All she wears now is her bra and panties.  
She goes through the first bag.
BeLLE
(sarcastic)
Nice choice of clothes.
WAYNE
(looking forward)
Just put something on.
Belle pulls out a pair of jeans.  She tries to put them on.
EXT. sidewalk - dAY
An ELDERLY MAN and WOMAN stride down the sidewalk.  The elderly couple near the rocking Monte Carlo and see Belle getting dressed.  They stop with awe.
Rodger leans sees the elderly couple staring at Belle.
RODGER
Hey, pal, if you want, I think I can convince her to give you a lap dance.
The elderly couple are appall.  They push on as Rodger laughs.
INT. '70 MONTE CARLO - dAY
In the back seat, Belle struggles to put them on.  After a few attempts, she gets them on.  She goes through the first bag again and pulls out a tight "Death Proof" T-shirt (the skull decal).
Belle slips it on and is now fully dressed.
BeLLE
I'm done.
Rodger turns around with the cuffs.  Belle turns around and crosses her arms.  Rodger slaps on the cuffs.
BeLLE (CONT'D)
Thank you.  For the clothes.
EXT. iNTERSTATE - dAY
The Monte Carlo takes the on-ramp and heads off.
RODGER (V.O.)
Say goodbye to this fuckin' town.
EXT. SOMEWHERE IN THE DESERT SOUTHWEST - dAY
It is late in the day and already hot.  Insects drone, crackle, and scurry for shade.  Prairie dogs burrow to escape the sun.
The heat shimmers off the surface of the Earth.  On the dusty highway, a pair of VULTURES dine on a dead coyote.  One of them snags an intestine and tugs a few feet of it out of the carcass.
In the distance, where a long, dusty road meets the horizon, a small shape appears -- it's the Monte Carlo.  Hamilton, Joe Frank & Reynolds' "Don't Pull Your Love" pours out the windows.
INT. '70 MONTE CARLO - dAY
The sounds like it's on its last leg, rumbling as it goes alone.  As always, Wayne and Rodger ride in silence.
In the back, Belle feels tires.
BeLLE
'Mind if I lay down?
RODGER
Mu casa su casa.
She lies down.  As she looks up she notices something odd on the ceiling -- there is a pinup poster of the one, the only, Jayne Mansfield.
Belle makes a look.
BeLLE
Who's that on the ceiling?
WAYNE/rodger
Jayne Mansfield.
BeLLE
Are you guy's fans of her?
RODGER
Wayne is.
WAYNE
I'm a fan of all the classic babes from the fifties and sixties.  Cynthia Myers, Bettie Page, Diana Dors, Dolly Martin Reed...
BeLLE
Who's Dolly Martin Reed?
WAYNE
She was in "Beyond the Valley of the Dolls".  Didn't really like the film, though.  The only good thing about the flick, 'sides Dolly Martin Reed, is the song the group was singin' at 'Z-Man' Barzell's party: "Sweet Talkin' Candy Man".
(off-topic)
Today's celebrity babes are out partying, getting drunk, doin' blow, and ending up on fuckin' Youtube.  Young broads today like the idea of lookin' like high class whores.  But they don't wanna be told that.  They don't even care if they get rapped by a bunch of minorities.  If you ask me they should be rapped.  At least they'll stop dressing up like prostitutes and start dressing with self-respect.  Celebrity babes back then had class and style.
RODGER
Yeah well, I'm more into girls that have a wild side.  They don't let the small stuff get to 'em.  Celebrity or not.  Not the slutty kind.  I mean don't get me wrong, Jayne Mansfield was fuckin' fox.  Especially in "Promises! Promises!"
Belle sits back up again.  She leans closer to her kidnappers.
BeLLE
If you two had a choice of sleeping with a famous woman 'sides Jayne Mansfield, who would it be?
Wayne and Rodger look at each other.
RODGER
Same time?
WAYNE
Alright.
Wayne/rodger
One... two... three...
WAYNE
Raquel Welch.
RODGER
Diane Franklin.
Wayne and Rodger snap their heads at one another - very shocking.
WAYNE
Diane Franklin?
RODGER
Raquel Welch?

Belle grins and scuffs to herself.
RODGER
She was fuckin' hot when she played Eve in "Second Time Lucky".
Wayne and Rodger are still little shocked about each other's answers.
BeLLE
Wait.  Raquel Welch now or when she did "100 Rifles" back in 1969?
WAYNE
Both.  She's gotta smokin' body.
EXT. hIGHWAY - dAY
As the Monte Carlo powers by, the vultures move off the shoulder, silently watching.
EXT. '70 MONTE CARLO - dAY
The car rattles on its last legs, as Wayne mutters incantations.
There is a loud pop from the front of the Monte Carlo and a thick cloud of steam now pours from the hood.
WAYNE
Here we fuckin' go again.
A couple of eighteen-wheelers roar past in the opposite direction, buffeting the Monte Carlo with their air waves.
EXT. roadSIDE gas station/garage - dAY
Down the road at the base of the mountain, the Monte Carlo pulls into a small gas station, made of weatherbeaten wood, its windows long since dusted over.  The pumps themselves look to have been manufactured in the early fifties.  Most of the signs are faded.
INT. '70 MONTE CARLO - dAY
Wayne and Rodger turn around.  Wayne holds up his .45.
WAYNE
So far, Belle, we're gettin' along.  Now, we don't wanna kill you.  But the option is still open.  So this is how things are gonna go: we're gonna go in, get the Carlo fixed, and be on our Mary.  So don't try anything funny, no signs, signals, no nothing.  Crystal?
BeLLE
Clear.
Rodger twirls his finger around.  Belle turns around and is uncuffed.
EXT. rOADSIDE GAS STATION/GARAGE - dAY
Three exit the Monte Carlo.  Wayne and Rodger put on their shades.
Wayne and Rodger look around for someone, anyone.  After a few moments silence - Wayne reaches into the car and blows the horn.  They wait, and then blows it again.
From out of the station walks an OLD MAN in coveralls caked with grease and dirt.  He looks the part of a yokel.
Old man
Can I help you?
RODGER
Yeah.  You think you can fix this?
The Old Man walks over to the smoking Monte Carlo.
Wayne opens the hood.  A plume of steam hits Wayne and the Old Man in the face.  The Old Man surveys the problem.
OlD MAN
It's your radiator hose.  It's busted.
RODGER
Can you fix it, or should we go somewhere else?
OlD MAN
Somewhere else?  Son, somewhere else is fifty miles from here.  This is the only gas station from here to the next town.
WAYNE
But can you fix it?
OlD MAN
Oh, I can fix it.  Should take 'bout an hour or so.
WAYNE
Yeah, well, we got the time, mister.
RODGER
Hey, mister is there anything to drink around here?
EXT. roADSIDE GAS STATION/GARAGE - dAY
Rodger and Belle sit on the porch, slightly rockin' back and fourth on the swing.  Their soda bottles are halfway empty.  They look forward while they talk.
Wayne and the Old Man are fixing the Monte Carlo.
RODGER
Got any family?
Belle waits to come up with an answer.
BeLLE
No.  I never had a real family.  I've been in foster care all my life.  I guess nobody wanted to raise me.
Rodger and Belle drink their sodas.
BeLLE (CONT'D)
That's why I didn't go to college.  'Cause who was I goin' to impress?  Myself?  Teens go to college for only two reasons: guidance for their future careers and to impress their fuckin' parents.
(sighs)
I didn't need that shit.
(turns to Rodger)
What about you... Rodger?
Rodger takes a moment.
RODGER
I gotta mom and dad back in Dinwiddie, Virginia.  It all start with a fight: "I hate you", "I wish I had a better son", and blah, blah, blah, blah.  I haven't seem 'em in years.  I guess my dad didn't expect much outta me when I dropped outta high school.
BeLLE
Fuck him.
Rodger grins and finishes his soda.
Wayne closes the hood.  The two walk towards the front entrance.
WAYNE
I'm goin' in to pay.
As Wayne and the Old Man walk up the three shallow steps, Wayne signals to Rodger with his.  They say "get Belle into the car".  Belle catches the look.
Wayne and the Old Man enter the gas station.
RODGER
C'mon, let's go.
Belle and Rodger get up and start down the steps.  They throw their bottles into the trash can.
Suddenly, Belle pushes Rodger.  She races back up the steps and rushes in inside.  Rodger goes after her.
INT. roADSIDE GAS STATION/GARAGE - dAY
Belle explodes through the doors to find the Old Man on his knees with Wayne jamming his .45 into the back of the Old Man's head.
BeLLE
STOP!!!
The Old Man seems to have some tears in his eyes.
Wayne looks up at the Belle.  Rodger is in the background; his hand is behind his back.
WAYNE
Walk away Belle.  You don't wanna see this.
BeLLE
You don't have to do this.
WAYNE
Get her out of her, Rodger.
Rodger grabs Belle by the arm, but she pulls away.
BeLLE
You don't have to FUCKIN' DO THIS!  HE DIDN'T DO ANYTHING!
WAYNE
Who are you to tell me what to fuckin' do?!
BeLLE
Who are you to decide who lives or who dies?!
Wayne shoots a long cold hard stare at Belle.  Like he wants to shoot her instead of George.
BeLLE (CONT'D)
Please...
His index finger is ready to squeeze the trigger.  But it doesn't happen.  He thumbs up the hammer.
Wayne uses the butt of the .45 and bops the Old Man on the back of the head.  The Old Man hits the floor with a thud.
Wayne holsters the .45 in his waistband.  He starts towards the exit.
He stops at Belle's side, looking straight outside.
WAYNE
That was your "one time" card.  There won't be another.
Wayne heads on out.
Rodger is seen letting go of his .45, tucked in the back of his waistband.
Belle and Rodger walk out of Green's Garage.
EXT. tOWN - dAY
A good healthy amount of people are outside.  It's peace and quiet.
But that peace is broken by three black SUVs.
EXT. first suv - dAY
Brawlski rides shotgun while Pike steers the black beast.
INT. firST SUV - dAY
The hot burning sun glints off their shades.
EXT. SHERIFF'S DEPARTMENT - dAY
The black SUVs pull up to the curve of the local Sheriff's Department.
INT. shERIFF'S DEPARTMENT - dAY
Brawlski and Pike enter the Sheriff's Department.  They show their badges to the YOUNG GIRL at the front.
Young girl
We don't usually get US Marshals here.
PiKE
Well you do now, little one.
BrAWLSKI
We need to speak to the Sheriff.
YOUNG GIRL
Sure.
(turns around)
Sheriff!
Through an open door at the end of the building, the SHERIFF, late fifties, walks out of his office to meet with Brawlski and Pike.
He approaches the young girl.
YoUNG GIRL (CONT'D)
They're Marshals.
Sheriff
Marshals, huh?  What can this old dog do for you?
BrAWLSKI
(hands the wanted sheet to the Sheriff)
We were wondering if you or anyone of your Deputies came across these two men.
The Sheriff and the young girl both look at the wanted sheet.
YoUNG GIRL
Scary lookin' guys.
ShERIFF
Well I can't say for sure that my Deputies or I have come across these two fellas.  But to answer your question - no.
PikE
Is it possible that one of the locals saw them?
Thinks about it.
ShERIFF
Well come to think of it, we had an elderly couple come in 'bout two an half hours ago, sayin' that they saw of young redskin girl gettin' naked in the back of a car with two young males in the front seat.
PiKE
Who's the elderly couple?
ShERIFF
Mr. & Mrs. Buckson.  They live on 506 James Avenue.
EXT. BUCKSON RESIDENCE - dAY
The three black SUVs are parked outside of nice little grand ma and grand pa house.
INT. buCKSON RESIDENCE - living room - dAY
Brawlski and Pike sit on fifties furniture.  Having a nice chat with the Buckson's.
PiKE
Mr. & Mrs. Buckson have you seen these two men early today?
Pike hands Mr. Buckson the wanted sheet and shares with his wife on the couch.
Mr. Buckson
Yes, sir.  They were parked outside the clothing department on Sherwood.
EXT. clOTHING STORE - dAY
Pike is outside.  Looking at the camera aimed at the parking spot the Monte Carlo was once parked in.
INT. clOTHING STORE - dAY
Brawlski walks towards the CASHIER, a young twenty something girl.  She flashes her badge.
BrAWLSKI
Does that camera out there work?
INT. clOTHING STORE - back room - dAY
It has one desk, grey metal filing cabinets, a small safe with a combination lock, and a wood-pattern Formica storage cabinets.
Brawlski watches the video screen.  Simultaneous feeds from the outside camera appear on to the screen.  She fast forwards it.
She spots the Monte Carlo and Wayne getting out.  But that's not what she's looking at.  She's looking at the license plate.
BrAWLSKI
Righteous.
EXT. hIGHWAY - dAY
The Monte Carlo, all alone, following the endless stretch of telephone poles.
EXT. iNTERSTATE - dAY
The vehicle travels down another picturesque Interstate as the sun goes from day to evening.
EXT. '70 MONTE CARLO - eVENING
Rodger is now behind the wheel.  Wayne is wide awake, using his hand to hold up his head.
Belle is quiet in the back, still cuffed.
INT. '70 MONTE CARLO - eVENING
Rodger's features are tight with concentration and intent as he scouts the onrushing Interstate, eyes scanning left, then right, fingers wrapped firmly around the steering wheel.
Rodger looks at his watch.  It's nine twenty-eight.
EXT. another small town - nIGHT
The Monte Carlo hits town, such as it is: the freeway left here a few years back.  There are only a few little stores: a general store, a catalog outlet, a post office that doubles as a bus depot.  All of them built for the desert heat.
Night is falling in a forgotten part of the city.  The street-lights are a joke - three out of four are dead.  Only a large moon and some cloud-streaked stars illuminate this dark and derelict street.
EXT. second motel - nIGHT
The Monte Carlo pulls into an L-shape two story motel.  At least four or five cars, including the manager's.
INT. seCOND MOTEL - room - nIGHT
The three are laid back, relaxing and watching TV.  Belle and Rodger sit on the same queen size bed near the bathroom.  Belle is free from her cuffs.  Wayne sits near the door.
Wayne looks kind of board.  He might be still heated from what happened at the gas station.
WAYNE
(mumbles)
Fuck.
Wayne swings his legs out of bed.
WAYNE (CONT'D)
I'm goin' to the fuckin' bar across the street.  Don't wait up.
He nears the door.
RODGER
You're goin' out naked?
WAYNE
I'll be fine.
Wayne walks out.
Belle and Rodger shift their eyes back to the TV.
EXT. seCOND MOTEL - nIGHT
Wayne starts across the half empty parking lot.  No one is around.  He occasionally shifts his eyes from one darken spot to the other.  Wondering when the cops are gonna pop out.
Somewhere around here, a train is passing through, blasting its horn.
He walks across the street, towards the local town bar.  He pulls out his pack of Ace of Spade cigarettes and lights up a cancer stick with his Zippo.  He 'sucks in the cigarette as though he's a drowning man looking for oxygen.
Wayne walks into the local bar.
INT. local bar - nIGHT
A small handful of LOCALS, TRUCKERS, and OUT-OF-TOWNERS.  The place is quiet (meaning no loud talking or shouting) and old fashion.  No one here is drunk, or if they are they're not showing it.
The jukebox near the door spits out only the classic American songs.  What's playing now is Hank Williams' "My Heart Would Know."
Wayne takes only four or five steps and is stopped by the OWNER/BARTENDER.
Owner/bartender
Sorry, stranger, there's no smokin' allowed in here.  You're gonna have to put that out or go -
Wayne puts it out on his tongue.  He slides the once lit cigarette between his ear and blondish hair.
Wayne heads over to the jukebox and scrolls through the list of songs.  He pops in a quarter.  He picks the upcoming song as soon as Hank Williams is done.
Wayne strides towards the bar.  He sits four stools down from a beautiful blonde bombshell; she's built big and naturally bouncy up top, and she flaunts her chest ornaments in black long sleeve that stops at the elbows and a calf-high plum skirt.
The owner/bartender approaches Wayne, drying off a glass mug.
OWNER/BARTENDER (CONT'D)
What can I get you?
WAYNE
A shot glass and a bottle of Everclear.
The owner/bartender turns around to find the bottle.
Wayne plays around with his Zippo.  The owner/bartender returns with the bottle and shot glass.  He places both items in front of Wayne.
Then, the blonde bombshell four stools down who goes by SHIRLEY McCREEDY, thirties or so, speaks. 
Shirley
Put that on my bill, will you honey?
Wayne turns to Shirley.  She smiles.
WAYNE
Much appreciated, darlin'.  But I can afford a shot nowadays.
ShIRLEY
'You won the lottery or something?
WAYNE
You could say that.
He takes the shot.  Pretty strong shit, that Everclear.
Back at the jukebox, Hank Williams is done for the night.  A 45 falls on the vintage turntable... and the needle lowers.
Wayne's song "You're the boss" by La Vern Baker and Jimmy Ricks plays on the jukebox.
WAYNE (CONT'D)
But instead, let me buy you another one of what you're havin'.
ShIRLEY
(to the owner/bartender)
One Bombay Sapphire and tonic, my good man.
(to Wayne)
So what name do you go by, if one were to say thank you?
WAYNE
(pours a shot)
Wayne.
ShIRLEY
Thanks for the drink, Wayne.  I'm Shirley.
Wayne drinks.  A string of silence ensues.
ShIRLEY (CONT'D)
You don't seem like you're from around here.
WAYNE
How can you tell?
ShiRLEY
'Cause I'm not from around here either.  There's something about you that says you're an out-of-towner like me and not a local like some of them.  So where you travelin' to?
The owner/bartender brings Shirley her drink.
WAYNE
Nowhere.  
(pours a shot)
My friend and I are just passing through.  Seeing parts of America that you can't see in the air.  And a few other things.
(drinks; takes a moment)
Where you travelin' to?  If you don't mind me askin'?
ShiRLEY
(moves to the third stool)
No.  I don't mind you askin'.  You didn't mind me askin' you.  I'm travelin' to Bodie, California.
Shirley takes a drink.
WAYNE
Bodie...  I never heard of the place.
ShiRLEY
Bodie is a ghost town east of the Sierra Nevada mountain range in Mono County, California.  The town began as a mining camp of little note following the discovery of gold in 1859 by prospector W. S.  Bodey.
Wayne is quiet.
WAYNE
(moves to the stool to the right of him)
Something tells me that you're a historian or something.
ShiRLEY
Bulls eye, daddy-o.  I work at the Durham Western Heritage Museum.  I'm a Senior Museum Content Developer.  Right now I'm on a paid vacation.  My room is across the street.
WAYNE
Sounds like a pretty good job.
Shirley moves to the last bar stool.
ShIRLEY
Oh, it's a great job.
(she drinks, so does Wayne)
So what do you do for a livin'... Wayne?
Wayne just stares into her beautiful blue eyes as a new song plays.
WAYNE
Is it alright if I answer your question in your room?
She's quiet, but makes a grin.
INT. seCOND MOTEL - shirleys's room - nIGHT
Wayne and Shirley begin the foreplay.  He presses her back against the wall, kissing wildly.  He's been without a woman for a long ass time.  
Wayne runs the tip of his tongue along Shirley's jaw line to her lips and kissing her long and hard, forcing his tongue between her lips.
He kisses her neck, breast plate, groping her covered breasts.  Then he sinks to the bottom, lifts up her skirt and starts pleasing her between her legs.
ShIRLEY
(panting)
Oh, god, fuck me, you wascally wabbit...
After he's done with her.  She does him, unbuckles his pants and yanks them down.  Her head moves back and fourth.  Wayne can't believe how good this feel.
Now things are about to heat up...  Both are naked and full of sweat and animal hunger.
Wayne mounts Shirley.  Things start out slowly, but then it picks up speed.  A terrible scream bursts from her throat; Wayne feeds avidly upon her sighs and tears of ecstasy.
ShiRLEY (CONT'D)
(sexed up)
Oh, god, fuck me!  Fuck me!
Then with a slow, excruciating deliberateness he buries himself within Shirley, thrusting his pelvis repeatedly.  Shirley struggles to muffle her screams as she is joyously ravaged, a willing victim of Wayne's primal lust. 
Shirley is transported to a state of celestial rapture and truly believes she has found paradise.
She is just about ready to collapse beneath the sheer weight of his coordinated attacks when Wayne's discharge saves the day for her.  She let's out a scream, climaxing with Wayne.
EXT. seCOND MOTEL - nIGHT
A minivan pulls into the parking lot.  No one special.
INT. seCOND MOTEL - ROOM - nIGHT
Rodger lies on the bed by himself, propped up by pillows, watching some late night cartoons.
Belle is in the bathroom.
Rodger wears a T-shirt and his white boxers.
BeLLE (O.S.)
(behind the bathroom door)
Like I said before, Wayne doesn't have good taste in clothing.
RoDGER
Why?  You never wore men's clothes before?
The door opens and Rodger looks to see Belle wearing a pair of women's briefs and a right size T-shirt with a logo on the right shoulder.
Rodger just looks at her for a moment.
BeLLE
What?
RODGER
It's not... you... forget it.
Belle turns off the bathroom light and walks towards the bed and climbs in.
BeLLE
Some life you two have.
RODGER
Hey, no one said the criminal life was easy.  No one likes doing what we do.  Criminals don't get off on stealin' shit.  They gotta work just like everyone else.  I remember when we got out, we first tried to get normal jobs.
BeLLE
Really?
RODGER
Yeah, really.  Taxi drivers, bus boys, dishwashers, factory workers - you name it.  But we couldn't deal with the bullshit.  We rather do things the easy way.  Our way. 
BeLLE
Do you ever feel sorry about the things that happen?  I'm referring to the killings?
RODGER
(cold)
No.  Because if you see it through my eyes, you'd understand.
Belle takes it in the schooling of the way of the criminal.
RODGER (O.S.) (CONT'D)
I guess Wayne found a skirt to screw.
EXT. aNOTHER SMALL TOWN - suNRISE
The world is waking up to the rising sun.
EXT. anOTHER SMALL TOWN - mORNING
The morning rush hour (or the lack of) traffic parades through the small town.  The routine daybreak traffic procession returns some sense of normalcy and sanity to the small town.
INT. seCOND MOTEL - SHIRLEYS'S ROOM - mORNING
What a mess.  Empty Vodka, Whisky, and Everclear bottles riddle the carpet floor like mines.  Used condoms and torn wrappers lie next to the bottles.
In the bed, Shirley and Wayne are completely sexed-out, sleeping in the nude.  What a night.
Wayne slowly comes around from his sex coma and wakes up.  He's a little groggy and has one major hangover.  He looks over to Shirley and sees that he's put her in a sex coma.
WAYNE
(pleased at what he's done, whispers)
Right on.
Wayne turns back over to the nightstand, grabs the remote and turns on the TV.  He lowers the volume.
He flips through the various morning channels and finds the news.  Wayne sits up.
A local FEMALE NEWSCASTER is reporting a story about Wayne and Rodger.
Newscaster
The United States Marshals are on the hunt for two armed robbers.
(mug shots of Wayne and Rodger appear)
Wayne Coolidge and Rodger Hoyt.  The two men took part in a daring armored truck robbery a few days ago in which two security guards and two police officers lost their lives.  And just yesterday a motel manger and two Deputies were gunned down by Coolidge and Hoyt, while investigating a roadside motel.  The motel maid was kidnapped and is now a hostage.
The newscaster interviews Brawlski at a courthouse steps.  Pike is with her.
BrAWLSKI
For the time being we are very confident we will apprehend the fugitives in the next forty-eight hours.  The two men are considered armed and dangerous.  Please do not apprehend these men yourselves.  The vehicle they are driving is a 1970 Monte Carlo.  The license plate number is DEC1267.  If you have any further information about these men, please call the US Marshals Department.  
A number appears at the bottom of the TV screen.
Suddenly, the TV is turned off.
WAYNE (O.S.)
Fuck me.
INT. seCOND MOTEL - ROOM - mORNING
Wayne walks into the room, still trying to put on his shirt.
WAYNE
We - 
As pulls down the shirt, he sees that Rodger and Belle are already dressed and are trying to gather their things.
RODGER
We gotta get outta here, man.
EXT. '70 MONTE CARLO - mORNING
The Monte Carlo speeds out of control.  A trail of smoke follows them out of the parking lot and onto the street.
EXT. anOTHER SMALL TOWN - mORNING
The Monte Carlo weaves in and out of traffic.
WAYNE (V.O.)
We gotta get some new wheels.
EXT. roADSIDE diner - mORNING
A strip of two-lane highway runs through an endless desert.  There is a desolate diner beside the roadway.  A few eighteen-wheelers are scattered across the big dusty parking lot.  
Morning sunlight glints off their chrome stacks.  It bakes the asphalt and warms the mangy hides of stray dogs asleep in the dirt.
The Monte Carlo pulls into the parking lot.
The trio exit the car.  Wayne and Rodger tuck in their .45s, concealing them.
WAYNE
Let's just get something to go and get back on the fuckin' road.
They walk into the diner.
INT. roADSIDE DINER - mORNING
A normal Waffle House's, Spires-like diner in the middle of nowhere.  While the place isn't jammed, there's a healthy number of people drinking coffee, munching on bacon and eating eggs.  
The roadside diner's PATRONS are made up of regulars, truckers, cowboys and road-weary travelers.
WAYNE
Why don't y'all get a booth.  I'll order something to go.
Rodger and Belle head down the aisle to find a booth.  Wayne walks towards the bar.
He sits and is greeted by an OLD WAITRESS.
Old waitress
What can I get you?
WAYNE
Three specials to go.
The old waitress writes it down and walks away.
Wayne turns looks over his left shoulder and eyeballs Rodger and Belle.  The two are talking and smiling.
EXT. roADSIDE DINER - mORNING
And just then, the trio's salvation pulls up.
A 1965 Chevy Impala SS, a bio-diesel hot rod with a 6.5L Duramax bio-diesel engine that pushes out an unprecedented 800hp and 1200 ft-lb of torque. 
With custom stripes, ghost flames, and candy-red paint to add some visual flash to this mechanically potent piece.  This eco-friendly biodiesel-powered beast is dubbed the "Bio Rocket."
CESAR VIALPANDO, a young, irritatingly slick Latino man steps out of his sleek ride.  He wears Khakis and an oversize white T-shirt.  He winks at his ride and heads into the diner.
INT. roADSIDE DINER - mORNING
Cesar strides on like owns the place and sits at the bar next to Wayne.
Cesar
(to Wayne)
How's it goin', man?
At first Wayne doesn't wanna respond, but breaks down and does.
WAYNE
(already irritated)
Not too bad.  You?
CeSAR
Oh, I am livin' it, esé.  I'm headin' to Cali.  You?
WAYNE
Nowhere close to where you're goin'.
The old waitress approaches Cesar.
OLD WAITRESS
What can I get you?
CeSAR
Black coffee.
(old waitress leaves; to Wayne)
You see that Impala out there, man?
Wayne looks over his shoulder and sees the Impala, sun glinting off the red body.  Wayne looks at it long and hard.
CeSAR (V.O.) (CONT'D)
I love that car, esé.  That car is my life.
The old waitress returns back with his black coffee.  Wayne looks to Cesar.  Then -
WAYNE
Excuse me.
Cesar nods his head.  Wayne gets off the stool and heads to Rodger and Belle sitting in a booth.
Wayne leans into Rodger's ear.
WAYNE (CONT'D)
(whispers)
Get Jayne, the money, and the bags outta the car.
Rodger doesn't ask why.  He signals Belle to get up and the two head on out.  Wayne strides back to the bar.  He taps Cesar on the shoulder and says -
WAYNE (CONT'D)
Hey, you wanna show me what's under the hood of your car?
INT. '65 chevy impala - mORNING
Wayne is behind the wheel of Cesar Vialpando's car.  Smoking with the windows down.  Rodger is riding shotgun, sipping from his cup.  Belle is in the backseat eating her to go breakfast. 
Jayne Mansfield is pinned to the ceiling, just like she was back in the Monte Carlo.
The interior is red and white.  The Impala sports a custom hemp interior to complete the bio theme.  Digital gauges are mounted in the dash to keep track of essentials, as well as boost and EGT gauges that are mounted on top of the dash.  A B&M shifter mounted on a custom transmission tunnel handles the shifting chores.
BeLLE
(makes confused look)
What happened to the guy who owned this car?
EXT. '70 MONTE CARLO - moRNING
The trunk opens up and Cesar is lying inside with a busted bloody head and a broken neck.  The bone sticks out, blood continues to spew out.
INT. '65 CHEVY IMPALA - mORNING
Belle is speechless.
BeLLE
You killed him?
WAYNE
Yep...
(pulls out a wallet, reads the inside)
... and I don't think... Cesar's gonna be needin' this anymore.
Wayne tosses out the wallet.
BeLLE
So is this all we're gonna do?  Just ride and ride and ride until something bad comes along for you two to kill it.
WAYNE
This is a kidnapping, Belle.  Fun is not required in a kidnapping.
BeLLE
(mumbles)
Just sayin'.
WAYNE
Okay, Belle, what do you think is fun and is not gonna get us caught by the cops?
EXT. another southwestern city - dAY
Same size and atmosphere as the first one.
EXT. carnival - dAY
Wayne, Rodger and Belle slice through the action.  Wayne and Rodger wear their shades and hats.  
Fun is all around them.
Belle and Rodger share a cotton candy.  Wayne smokes.
Rodger and Belle play at the firing range.  The gun recoils hard.  She misses badly, but laughs about it.  Rodger gives her a condescending smile.  She fires off another couple shots.  Nearly pegs the stuff bears.
Wayne throws ninety mile hour fastballs at the milk bottles.  He knocks them all down.
The three play ski-ball, darts, hoops, ring toss, etc.
Later, they can be seen riding a roller-coaster.  For once Wayne seems to be having some fun.
EXT. iNTERSTATE - dAY
The Chevy Impala takes the on-ramp and gets back onto the interstate.
EXT. '65 CHEVY IMPALA - eVENING
The sun begins to sink.  
Wayne is behind the wheel.
BeLLE (V.O.)
Admit it, Wayne.  You had fun today.
INT. '65 CHEVY IMPALA - eVENING
The backseat has a few stuffed bears sitting next to Belle.
WAYNE
What're you a cop now instead of a maid?  You're gonna sweat it outta me if I don't talk?
RODGER
That's the thing about Wayne, Belle, he's not gonna admit to anything.  Makes him feel weak.
WAYNE
Whatever.  I just hope no one there IDd us.
EXT. roADSIDE DINER - eVENING
Pike and Brawlski eye on as Cesar's body is being zipped up and carried away EMTs.
Suddenly, a DEPUTY snakes through the crowd of BYSTANDERS and LOCAL LAW ENFORCEMENTS.
Deputy
Marshal Pike!
PiKE
Present.
The Deputy approaches Pike and Brawlski.
DePUTY
We just got a call from a sergeant in a town forty miles up the road.  Witnesses saw Coolidge and Hoyt attending a carnival.
Brawlski and Pike stride towards their SUV.
EXT. third motel - nIGHT
Somewhere on a more rural stretch of road, the last stop on the outbound from civilization.  A greasy spoon next door.
The Chevy Impala pulls in to the parking lot.  The gang piles out stretching their legs.
INT. thIRD MOTEL - room - nIGHT
Dark at first.
The door opens up and the trio walks in.  Rodger hits the lights.  Nothing different: a TV, air conditioner that doesn't work, and two queen size beds.
They throw their bags to the ground.
WaYNE
Okay, I'm gonna go and get something to eat.  You two want anything?
RODGER
Nah.
BelLE
No thanks.

Wayne closes the door on his way out.
Belle walks into the bathroom.  Rodger tries to work the A/C.
EXT. tHIRD MOTEL/diner - nIGHT
Wayne strides across the dirt parking lot and enters the diner.
INT. diner - nIGHT
A little joint next to the motel.  It is otherwise inhabited by the dregs of the night back byway.  Silent.  Alone.
Wayne sits down at a table.
INT. thiRD MOTEL - ROOM - nIGHT
Rodger continues to work the A/C.  Adjusts the knobs, kicking it, smacking it.  Still nothing.
Belle is still in the bathroom.
RODGER
Piece of shit.
(to Belle)
I hope you don't mind sleeping with the window open.
Wayne moves away from the A/C and opens the window.  A nice cool breeze whispers into the room.  From behind the bathroom door, Wayne hears the water running.
Wayne walks over to the bed and lies back, watching whatever's on.  The water is turned off.
The bathroom door opens and Belle steps out wearing only her bra, jeans, and nothing else.  Her hair is a little damped.  Rodger watches her walk towards him.  She crawls from the foot of the bed and then onto Rodger.
The two are quiet.  No words are needed.  They kiss each other.  Everything is sensual and smooth.  The kiss last for a long time.  The two seemed to be much in love.
DISSOLVE TO:
INT. thIRD MOTEL - ROOM - nIGHT
Rodger and Belle are sleep in the same bed.  They look very peaceful.
But this whole peaceful moment comes to an end.  Someone sits in the corner, lighting a cigarette.  The person sits in the dark, watching the two love makers sleep.
WAYNE
(softly)
Rodger.
Rodger quietly wakes up.  He sees Wayne sitting there.
WAYNE (CONT'D)
We need to talk.  Now.
Wayne gets up, opens the door and walks out.  He leaves the door open for Rodger.
Rodger softly gets out of bed and gets dressed.
EXT. thIRD MOTEL - nIGHT
The diner is closed.  Everyone is inside.
Wayne leans against the Chevy Impala.  Still smoking.  He doesn't look happy.
Rodger finally comes out.  He gently closes the door.  He walks towards Wayne.
RODGER
What?  What is it?
Wayne doesn't respond to the question at first.  He stares at the ground, blowing the smoke at his feet.
WAYNE
We need to kill Belle.
Wow.  This is something Rodger wasn't expecting.  He is totally speechless.  Lost for words.  He hesitates for a moment.
RODGER
(hesitates)
Wha...?  What...?
WAYNE
It's high time we got rid of her.
RODGER
What about the insurance policy?
WAYNE
It's expired... like her.
Rodger paces back and fourth.
RODGER
Why?  Why the fuck do we have to kill her?
WAYNE
She can't stay with us, Rodger.  She's dead weight.
Rodger is too pissed to say anything.
WAYNE (CONT'D)
She's not cut out for the life or the way we do things.  She's not gonna cross over the line to be with you.  You saw how she reacted when I was about to plug that old man.
RODGER
She was just lookin' out for somebody other than herself.
WAYNE
And that's the fuckin' problem right there.  She can't be lookin' out for people she doesn't fuckin' know.  She has to look out for herself and if anyone else... us.  That's the only reason why we're still alive, brother.  What, you think everything is gonna be fine and dandy 'cause you fucked her?
RODGER
Fuck you.  You know, I've put up with a lot of your fuckin' bullshit ever since we've been on the fuckin' lamb.  I stood by you with every decision you made to keep us off the five o'clock news.  To keep us from gettin' caught. I've been following your way: the "kill everyone way".  Now I find something that makes me happy and the only thing you can do for me is to fuckin' kill it.  No.  Not gonna fuckin' happen.
WAYNE
It's gotta be done.
Wayne squashes the cigarette with his shoe.
RODGER
We're not killin' her.
WAYNE
I don't need your help to kill her.
Wayne pulls out the Smith & Wesson snub nose.  He walks towards the door.  Rodger palms Wayne's shoulder.  He turns around and makes out with Rodger's right fist.
Wayne drops the gun.  But he doesn't care.  Right now, this is personal.  He allows the blood from his mouth to drip.  Rodger is ready.
Wayne walks forward and boxes Rodger as though he considers the man an amateur.  Rodger suddenly explodes with an upswing hook to the jaw.  Wayne counters.
His lightning jab stings Rodger's face repeatedly.
Rodger charges and a terrific right crashes against Wayne's chin, followed by an uppercut to the liver that causes Wayne to cringe.  Wayne counters with jabs and Rodger whips brutal combinations to the body.
Rodger rushes out fast and furious.  Wayne melts out a left hook that raises a goose egg over Rodger's eye.
He studies Rodger and employs his lightning jab with cutting accuracy.  Still Rodger shuffles ahead, bombarding Wayne's midsection with hooks.
Rodger keeps tearing in and Wayne meets the bombing attack that cause thick swelling.  Near the end of the fight Rodger fires a penetrating punch to the heart.  The wallop knocks Wayne off balance.
Both of their faces are in very bad shape.  Bloody and battered.
Wayne cuts and slashes Rodger to ribbons, but pays dearly.  Both his eyes and lips are cut.  Welts across his midsection attest to Rodger's body-battering.
Rodger keeps grinding ahead.  He plants a thumping left over Wayne's heart and Wayne winces... Rodger is game but losing.
The men are fighting with appalling tenacity.  Rodger rips and tears into the body.  Wayne counters with a ceaseless stream of rapier-like lefts.
Rodger wades in and Wayne employs incredible footwork.  He sets himself and cuts loose with a thunderbolt right cross to Rodger's already broken nose.  Blood sprays from the wound and red droplets drip from his chin.
Rodger takes a merciless beating and is staggered by a torrent of combinations.  Without a doubt this is the most punishing brawl every seen.
Rodger bores in close, but Wayne still has spring in his legs.  He seems determined to end it now. Wayne catches Rodger flush on the jaw.  Rodger is staggered.  Like a wolf, Wayne cuts loose with pure savagery.  
Rodger is driven against the Chevy Impala and receives a devastating beating from Wayne.  Rodger is dropped in a millisecond.
Wayne takes a moment to catch his breath, hunches over.
WAYNE (CONT'D)
(panting)
She's a dead woman.
He starts walking towards the snub nose.
Rodger gets to his feet and tenses with renewed energy.  He quickly strides to Wayne and catches him before he can pick up the snub nose.
Rodger drops low and catches Wayne with a pair of terrific body punches that seem to drive Wayne's diaphragm up to his throat.  A crack is heard.  A glaze of pain covers Wayne's eyes. 
It is only a supreme effort that keeps Wayne upright.  Wayne is badly hurt.  He is bent over.
Rodger moves towards Wayne.  Wayne flicks dread jabs into Rodger's eyes.  The Virginian wades in with punches that seem to bulge out Wayne's back.  Wayne takes the punishment like a stoic.
Blood is running from Wayne's mouth.  In the clinch he leans over Rodger and it drips down the Virginian's neck and down his shirt.  Wayne shields his wound from the ringside judges and continues to fight.
Rodger no longer resembles himself.  His face has completely been beaten to jelly, but his mood is buoyant.
Rodger's bloody teeth snarl at Wayne and he waves him to come ahead and fight toe to toe.  Wayne obliges with a weary but effective burst of rights and lefts that have knockout written on every punch.  Rodger counters the assault blow for blow.
The roughneck brawlers stand toe to toe and drag every remaining bit of strength from their souls and beat each other without mercy.  They look hypnotized and have entered a dimension far beyond blood and pain.
Rodger feints and throws a thunderous blow that crashes with devastating results against Wayne's chin.  Wayne drops to the ground.  Panting and bleeding from his face.
Very oddly, Rodger extends his hand out to Wayne.  He accepts it.  Rodger helps him up...
RODGER
... I said we're not gonna kill her!
Rodger throws another powerful punch that sends Wayne back down to the ground.
Rodger staggers back to the room.  But not before picking up the snub nose.
INT. dINER - mORNING
The three sit in silence.  Belle looks a little confused.   Mainly 'cause of the bruises on Wayne and Rodger's faces.
BeLLE
Did you guys get into a fight or something.
RODGER
Friendly competition. 
BeLLE
Who won?
WAYNE
(to Belle)
You did.
Belle doesn't understand the answer.  Back to silence.
WAYNE (CONT'D)
I've been thinking.  We're never gonna out run the Marshals.  They're always gonna be coming after us no matter how far we run or how long we hide.  So... let's bring the Marshals to us.
RODGER
What?
WAYNE
I'm talkin' 'bout a meeting with us and Brawlski.
RODGER
You know, she's not gonna let us leave the meeting alive.  And what about Belle?
WAYNE
(looks to Belle)
She's still our insurance.  She may be the only thing that lets us keep our lives.  But I have a feeling Brawlski isn't thinking about Belle's safety.  But... this is still America.  If this is too crazy for you, we'll call it off.
Rodger thinks about it.  It takes time.
RODGER
It is crazy.  But that's what we do.
They extend hands and shake.
EXT. phone booth - mORNING
Wayne is inside.  Rodger and Belle sit in the Chevy Impala.
WAYNE
Operator?  Hook me up with the US Marshals Department.
EXT. another diner - mORNING
Back in the second Southwestern city, Brawlski sits alone in a booth, eating breakfast.
Suddenly, her cell phone goes off.  She answers it.
BrAWLSKI
Brawlski.
WAYNE (V.O.)
You have a nice voice, Brawlski.
BrAWLSKI
Who is this?
WAYNE (V.O.)
This is Wayne Coolidge.
Brawlski pauses.  She can't believe her ears.
BrAWLSKI
You got some balls callin' me, Coolidge.  You know this call can be traced, right?
WAYNE (V.O.)
I'm countin' on it.  Let's settle this.  Bodie, California.  Tomorrow.  Noon.  And bring your fuckin' bullets.
He hangs up.
EXT. dINER - mORNING
Wayne exits the phone booth.  He heads to the Chevy Impala, it starts up.
WAYNE
It's about six, seven hours to Bodie.  Let's get there fast, brother.
Wayne climbs into the Chevy.
INT. '65 CHEVY IMPALA - mORNING
Rodger shifts it into drive.  A racing surge of the engine and the supercharged beast sears off so sensationally fast the three occupants suck in their breath.
INT. aNOTHER DINER - mORNING
Brawlski scrolls through her list of numbers.
She dials one.
BrAWLSKI
Pike.  It's Brawlski.  You're not gonna believe the phone call I just got.
EXT. hIGHWAY - dAY
As Bob Seger's song goes - "on the road again".
The Chevy Impala pushes to the limit.  Going to the max and not stopping for fuckin' anything.
INT. '65 CHEVY IMPALA - dAY
Rodger jockeys his way through the cars.  He swoops in and out of traffic, soaring from lane to lane.
The speedometer increases up to one-hundred and ten mph.
EXT. iNTERSTATE - eVENING
The Chevy Impala hasn't decreased its speed.  Still pushing and pushing.
EXT. bodie - eVENING
The red sun hangs above the horizon.
Dank and creepy - warped and weathered wood.  A sense of rot.
Bodie is preserved in a state of arrested decay.  Only a small part of the town survives.
The Chevy Impala drives on through.
The town has a cemetery on the outskirts and a nearby mortuary, which is the only building in the town built of red brick three courses thick, most likely for insulation to keep the air temperature steady (cold winters, hot summers).
The Chevy Impala backs up between two buildings.
INT. saloon - eVENING
The three enter the saloon.  They carry the courier bags and the two large duffle bags.
RODGER
It's not the Ritz, but we slept in worse before.
They drop their bags.
BeLLE
I saw a church down the street.  Mind if I go and... pray?
WAYNE
We're not stoppin' you.
EXT. church - eVENING
Belle walks in.
INT. chURCH - nIGHT
Belle sits in the front pew.  Everything is rotting away.  
Belle is quiet.
As the silence continues, Wayne and Rodger walk in and slide in with Belle.
RODGER
Mind if we pray with you?
Belle smiles.
A string of silence.
EXT. boDIE - sUNRISE
The first sign of sunlight washes over the ghost town.
Everything is quiet as it is dead.
EXT. road entrance to bodie - mORNING
The three black SUVs barrel down the street.  A snake tail of dust follows them.
The black SUVs stop.
Pike and Brawlski climb out of the first SUV.  At least eight US MARSHALS exit from the other SUVs.  They wear black suits with white shirts and shades.
They all head to the back of their SUVs and open the back.  The Marshals take off their blazers and slip on bullet proof vests.  They check their Glock 17s and then holster them.
The Marshals load 12-gauge rounds into Mossberg shotguns.
As Brawlski takes out a Heckler & Koch MP5 A5, she loads a magazine and cranks back the lever.  Brawlski extends the buttstock to her liking.  She looks pass the SUV and sees a figure standing in the center of main street.
BrAWLSKI
Would you look at this crazy son-of-a-bitch.
Pike looks at the figure.  It's Wayne.
PikE
(to the Marshals)
Let's go to work!
Brawlski pumps a round in the shotgun.  The Marshals are on the move, walking down main street.
EXT. maiN STREET - mORNING
In the center, Wayne is strapped: bullet proof vest, .45 holstered to his hip, and carries a slung a boomstick: a USMC-issue Remington 870 Mk1 shotgun with shells on the sling and buttstock.
The Marshals near Wayne.  He isn't moving an inch.  The Marshals fingers are itchy on the triggers of their shotguns.  They keep their eyes on Wayne and nothing else.
The walk seems to be lasting forever.
They stop fifteen feet away from Wayne.  Silence is in the hot air.
WAYNE
Nice day isn't it?
PiKE
Just a little sunny.
BRAWLSKI
Like I said, you got some balls, Coolidge.
WAYNE
And no sense.  A good combination.
PiKE
Is this your way of surrendering, Coolidge?
WAYNE
Not likely.
BrAWLSKI
So how are we gonna end this?
WAYNE
How do you wanna end this?
BrAWLSKI
Just hand over the money and the hostage and yourselves.  Nobody has to die today, Coolidge.
Wayne pauses.  Shoots a grin.
BrAWLSKI (CONT'D)
Something funny?
WAYNE
It's funny how you put the money before the hostage.
And suddenly, one of the Marshals gets his head blown off.  It startles the rest, they all turn to see where it came from.  In the background, Wayne dashes towards the church.
INT. school house - mORNING
Like Wayne, Rodger is strapped with his hip holstered .45 and fires a three round bursts from a SIG SG 552 Commando rifle on the first floor.  The 9mm Beretta he took from the dead cop in the first Southwestern city is tucked in the back of his waistband.
He fires relentlessly from out the window.  Shell casings dance away in the air and crash down to the floor.
EXT. maIN STREET - mORNING
The Marshals scatter and fire their weapons.
INT. scHOOL house - mORNING
Debris from the building showers Rodger.  He ducks back in before a slug ricochets off the window frame.
INT. chURCH - mORNING
Wayne closes the decaying doors.  He slides a wooden pew in front of it.  Suddenly, fists size holes are blow into the door.
EXT. CHURCH - MORNING
Four Marshals proceed to move forward onto the church, firing into the doors that tear apart like tissue paper.
In the background, Brawlski, Pike, and the remaining Marshals continue to open fire on the first floor building.
INT. chURCH - mORNING
Wayne ducks and runs towards the front.  He turns into the center pew, squats down and aims his shotgun.
The Marshals start smashing apart the door with the butt of their shotguns.  Wayne waits... he waits until he sees the white of their eyes.
Two of the Marshals push through the damaged pew and enter.  They move in but only to be shot down in a blaze of 12-gauge rounds.  Blood explodes.
The other two Marshals move in as well as firing, tearing up the rotting pews.  Wooden confetti explodes into the air.  Wayne has no choice but to duck and crawl under the pews.
The two Marshals sweep through the church.  One takes the center aisle, the other takes the right aisle.
While still on the floor, Wayne springs out with his .45 and fires a barrage of bullets that hit the Marshal's vest and one finally striking the head.
The last Marshal fires off his 12-gauge rounds at Wayne.  He crawls out of the firing zone.  The Marshal moves down the pew.
Suddenly, Wayne fires a shotgun round in the Marshal's pelvis/crotch.  The Marshal hits the floor screaming in the worst kind of pain.  Wayne stands up, drawing out his .45 and plugs a round in the Marshal's head.  His brains covers the floor.
A parade of shooting is taking place outside.  Wayne heads through the back.
EXT. maIN STREET - mORNING
The Marshals continue to fire and progress towards the town's school.  Rodger's rifle springs out the window and unloads a magazine in the Marshals direction.  They race up to hug the building.
INT. schOOL house - mORNING
Rodger walks out of the room while reloading his rifle.
EXT. schOOL house - mORNING
Pike starts breaking down the door with his shotgun.
EXT. chURCH - mORNING
Wayne comes around the church and sees the Marshals entering the school.
INT. scHOOL house - hallway - mORNING
As Rodger cranks back on the weapon, the Marshals round the corner and sees Wayne.
Rodger dives into a room to his left.  Dodging rounds after rounds of shotgun blasts.
INT. schOOL house - room - mORNING
Rodger quickly shuts the door with his feet.  He gets back up and aims his weapon at the door.  He's cornered.  Nowhere to go.
INT. scHOOL house - hallway - mORNING
Pike digs out a handful of 12-gauge shells and starts reloading his shotgun.  Brawlski ejects the spent clip and smacks in a fresh one.
The Marshals move towards the door.  Surrounding both sides.
INT. schOOL house - roOM - mORNING
Rodger is getting a little worried.
He turns around and sees a window behind him.  Idea.  Rodger breaks the window with his rifle, shattering the glass.  Rodger hears a creek from outside the door, whips around and shells out a burst of bullets.
INT. schOOL house - HALLWAY - mORNING
The Marshals move away from the door.
INT. schOOL house - ROOM - mORNING
Rodger dives out the window.  He hits the ground.
EXT. scHOOL house/main street - mORNING
He's body aches from the caked ground.  Rodger gets up and starts running up the street.
From across the street, Wayne is running too.
INT. schOOL house - ROOM - mORNING
Brawlski explodes through the door.  Pike and other Marshals pick up the rear.
Brawlski looks out the window and sees Wayne and Rodger jetting up the street.
BrAWLSKI
(to the Marshals)
Back outside!
EXT. maIN STREET - mORNING
Wayne and Rodger don't get less than a hundred feet before being fired upon.
The Marshals stride and fire at the same time.  Brawlski spends half the magazine till it clicks against hot metal.  She ejects the magazine and smacks in a new one.  Firing steady shots with the other Marshals.
There's not much cover for Wayne and Rodger.  They stop, kneel, and fire back.  Wayne lets his shotgun hang and uses his .45.  Rodger sprays a wave of bullets.
The Marshals scatter to find cover.  Brawlski, Pike and a Marshal seek refuge in an alley.
The other three Marshals sprint across the street for cover.
Rodger's bullets tags one of the three Marshals.  Clips his left leg.  He howls.  The rest of Rodger's slugs chews him up to bloody chunks.  The remaining two Marshals find cover behind a dilapidated building.
Wayne and Rodger are on the run again.
Brawlski peeks around the alley and sees an opening on Wayne.  She springs out and fires two or three rounds.  Two snap pass him, but only one nails him in the back of the bullet proof vest.
Wayne hits the ground face first, not dead, just has the wind knocked out of him.  Rodger turns around and fires at Brawlski.  She fires back while fleeing back into the alley, luckily dodging his wave of slugs.
Rodger races over to his partner and helps him up.  He fires again, one burst at Brawlski and one burst at the two Marshals in hiding.
The running starts up again.  Rodger reloads his weapon while Wayne runs backwards and fires several rounds from his .45.  Flakes of woods chipping off the Marshals' hiding spots.
Wayne and Rodger turn into an old and tethered second-story saloon.
The Marshals are on the move.
EXT. saloon - courtyard - mORNING
Rodger and Wayne proceed quickly across the courtyard.  Surrounded by colonnades.
The stride behind the dry fountain in the center of the courtyard.  Wayne faces the courtyard entrance and starts reloading his shotgun. 
Rodger reloads his rifle.  Rodger takes Wayne's .45 from his holster and reloads it for him.
EXT. maIN STREET - mORNING
The Marshals are getting closer towards the saloon.
EXT. SALOON - mORNING
Rodger pulls back the slide and holsters Wayne's .45.
The Marshals show up, weapons raised.
WAYNE
Get back on the clock!
Brawlski fires her submachine-gun.  Rodger dives into the dry fountain, landing on caked soil; Wayne sprints into the door-less saloon.
INT. SALOON - mORNING
Dodging a barrage of bullets coming from the Marshals.
Wayne hides behind the wall and fires out the door-less opening.  Rodger is seen blind firing his rifle, bullets spit across the courtyard.
EXT. SALOON - COURTYARD - mORNING
The Marshals find cover in separated areas of the courtyard.  Mostly hiding behind the columns.
Marshal #1 fires his shotgun at Wayne.  He spins back into the saloon.  Rodger fires his rifle at Marshal #1.  
Pike fires his Mossberg at Rodger.  He ducks back into the dry fountain.  Chunks of debris rain down on him.
INT. SALOON - mORNING
Wayne fires his Remington at Pike.  He moves back into hiding.  Reloading his shotgun.
EXT. SALOON - COURTYARD - mORNING
Marshal #2 and #3 keep Rodger in the dry fountain.
Brawlski dashes out of hiding and races a little bit closer, firing at Wayne.  He hides back in as Brawlski's bullets tear into the wall.
Her MP5 clicks against metal.  She tosses her bone dried weapon as she moves up the right colonnade.  She stops and palms her polymer-framed pistol, firing multiple rounds at Wayne.
INT. saLOON - mORNING
Wayne escapes the slugs.  He sees that the Marshals have Rodger Dead to Rights.  Bullets snapping all around him from every direction.
Wayne lets his Remington hang.  He draws out his two pistols (.45 and 9mm Beretta).  Wayne fires in the Marshals direction.
EXT. saLOON - courtyard - mORNING
The Marshals stay behind the columns.  This is Rodger's chance.  He bolts out of the dry fountain and races back into the saloon with Wayne.
INT. saLOON - mORNING
The two vanish up the staircase.
EXT. saLOON - COURTYARD - mORNING
Pike slowly looks over his shoulder.  He cocks his shotgun and the last shell comes spitting out.
PiKE
And that's all she wrote.  Fuckin' hell.
He tosses the spent Mossberg.  Pike pulls out his Glock 17.  All the Marshals come out of hiding, walking into the center of the courtyard.  Marshal #1 lays down his shotgun and takes out his sidearm.
Brawlski reloads her Glock.  Marshal #3 reloads his shotgun and Marshal #2 pulls back the slide to his Glock.  They all share a look and walk into the saloon.
INT. salOON - second floor hallway - mORNING
Wayne and Rodger sit on their keesters, checking their weapons.  Wayne loads the last of his shells into his Remington.  Meanwhile, Rodger smacks in a magazine and jacks home the first round. 
WAYNE
What's your stock?
RODGER
My last clip and two pistol mags.  You?
WAYNE
I got everything loaded into this bitch.  One mag for the .45.
The two share a moment of silence, this might be the last round for the two.
They extend hands and shake.  Wayne and Rodger stand up.
Wayne slides up to the right corner and carefully peeks around.  Rodger does the same on the left corner.  All they see are long empty hallways with rooms and other hallways.
Rodger takes the left hallway; Wayne takes the right.
This is it...
INT. salOON - hallway #1 - mORNING
Wayne's footsteps are soft and easy.  His back hugs the wall.  
He turns down the hall and sees Marshal #3 moving straight towards him.  The two connect eyes.  Marshal #3 fires, but the 12-gauge slug blows a hole in the wall next to Wayne.
Wayne runs and fires repeatedly, pumping and shooting.  The slugs chew the shit out of the Marshal.  The force of the shotgun blast forces him into the back wall.  Blood splatters across the hallway.
Marshal #3 hits the floor with his back against the wall, dead.
Wayne approaches the dead Marshal.  What a grizzly mess.  Suddenly, Wayne is being fired upon by Marshal #2.  One of his slugs clips Wayne in the shoulder.  Wayne retreats back through the hallway he came through.
Marshal #2 chases Wayne down.  He rounds the corner and fires at Wayne, nails him in the hip.  Wayne turns left and dodges the rest of the firing.  Marshal #2 follows the trail of blood that stops at a crummy closed door.
He takes a step back and takes three deep breaths.  Marshal #2 kicks down the door and sees Wayne on the floor aiming his shotgun at the Marshal.  He fires and blows his whole head off.
Wayne pants.  He throws the shotgun to the side and passes out.
INT. saLOON - HALLWAY #2 - mORNING
Rodger is frozen.  He heard the firing and looks concerned.
He shrugs it off and proceeds.  A problem is appearing.  The staircase that leads down into the bar.  Someone could be waiting there.  He feels the presents of a Marshal.  His eyes focus on the door beyond the staircase.
Suddenly, Pike races across the hall into the next one.  Rodger sprays the whole hallway, draining his magazine.  He races towards the door.  Marshal #1 is waiting at the staircase and fires his shotgun.  One of the ricochets catches his calf.
He limps the rest of the way and crashes through the door.
INT. saLOON - room - mORNING
He clinches his teeth in pain.
Marshal #1 races towards the threshold.  He cocks his shotgun.
Marshal #1
Toss the weapon!
Rodger hesitates at first, but then finally does.
MaRSHAL #1 (CONT'D)
Put your hands on your - 
Before he can finish the back of his head is blown off.  His body falls into the hallway to reveal Belle, snub nose in her hand -- still directed at the dead Marshal.  A tear streams down her face.  A bit shaky.
She looks to Rodger.
BeLLE
He was gonna kill you, Rodger.
He doesn't say anything.
Belle rushes into the room and tries to help him up.
PiKE (O.S.)
Don't move.
Pike moves into the room, Glock trained on Belle and Rodger.  Brawlski picks up the rear.
PiKE (CONT'D)
Drop the mohaska.
She does.
BrAWLSKI
You should've given up while you still had a chance, Hoyt.  Now you dragged this broad into your life of crime.
RODGER
So what'd we do now?
PiKE
We find Coolidge and bring the three of you in.  And the money goes back to the back.
Suddenly, Brawlski drills a slug into her partner's head.  His blood and brain matter splatter the two love birds.  The two stare at the body with awe.
BrAWLSKI
Wrong.  What's gonna happen now is you three are goin' in the ground and the money is goin' in the back of my car.  So where THE FUCK IS THE MONEY?!!!
All of a sudden, Brawlski is shot, she falls to the floor, Glock out of reach.  She clinches her teeth.
Wayne staggers into the room with his .45 aimed at Brawlski.
BrAWLSKI (CONT'D)
You motherfucker!  You shot me in the fuckin' ass!
WAYNE
I can shot you in the face if you want?
(to Belle and Rodger)
You guys alright?
They nod there heads.
Wayne walks over to the corner, keeping his gun on Brawlski.  He uncovers a pile to reveal the money.
WaYNE (CONT'D)
(to Rodger and Belle)
Get the money.
Belle helps up Roger and the two grab the courier bags.
WAYNE (CONT'D)
Leave me one bag.
Rodger drops one.
Belle picks up Brawlski's Glock and the two leave the room.
Wayne sits down in front of her.
WAYNE (CONT'D)
Sorry 'bout the bullet in the ass thing.  You been such a bad girl I thought you deserve more than a spank.
Silence.
WAYNE (CONT'D)
You can relax.  I'm not gonna kill you.  You wanted the same thing we wanted - to find an easy way to make a quick buck.  And that makes you a bad apple like us.
Wayne leans in and kisses Brawlski.  Long and sensual.  She doesn't resist or try to move.  He then smacks her on her bullet wound ass.  She grunts.
WAYNE (CONT'D)
That's just a reminder.  If you come after us I'll force feed you a bullet.
Wayne stands up and gives her the bag of money.
He walks out of the room.
EXT. saLOON - mORNING
The Chevy Impala is waiting for him.  The driver side door is open.  He slides in, closes the door and drives up Main Street.
FADE TO BLACK.