Copyright 2000, 2008 by Ronald L. Ecker
All Rights Reserved
FADE IN:
EXT. THE SUWANNEE RIVER - FLORIDA - DAY
A wooded section of river. OVERLAP SOUND of plaintive prison
INMATE #1 (V.O.) playing a rusty-stringed guitar:
INMATE #1 (V.O.)
(singing)
Way down upon the Suwannee River,
Far, far away . . .
A tall chain-link fence, topped with razor wire, stands near
the side of the river.
INMATE #1 (V.O.) (cont'd)
(singing)
There's where my heart is turning
ever . . .
A sign on the fence reads,
SUWANNEE RIVER CORRECTIONAL INSTITUTION
INMATE #1 (V.O.) (cont'd)
(singing)
There's where the old folks stay.
EXT. THE PRISON YARD - DAY
INMATE #1 is 50-ish, slightly built, in prison blue. He's
sitting off by himself on a bucket, strumming a beat-up
guitar. Other INMATES move about in b.g.
INMATE #1 (cont'd)
(singing)
All the world is sad and weary,
Everywhere I -
Suddenly inmate CURLY, 35, dumb and mean, snatches the guitar
out of the inmate's hands.
Curly smashes the guitar in two over his raised knee, then
hands it back to the inmate.
Curly glances around, as if to be sure no prison guard has
observed, then he looks down hard at the cowed inmate.
CURLY
Do you know I hate the Suwannee
River?
The inmate forces a snaggle-toothed smile.
INMATE #1
No, but if you'll hum a few bars,
I'll try to play it.
Curly walks off. The inmate looks sadly at his ruined
guitar.
OVERLAP SOUND:
INSTRUCTOR (V.O.)
Okay, fellas, that'll be all for
today . . .
INT. A PRISON CLASSROOM - DAY
The INSTRUCTOR is speaking to a small group of INMATES in
blue.
Seated by Curly are MAC, 40, who looks suave, intelligent,
and BRUCE, 30-ish, who looks almost as mean as Curly.
INSTRUCTOR
Tomorrow you'll be on call-out
again - same time - for your final
session on "How to Make It When
You're Back on the Street."
(beat)
You're almost there, men, so let's
stay out of trouble, okay?
INT. PRISON LIBRARY - NIGHT
Mac is an inmate library aide. He's leisurely shelving books
from a book cart. INMATES read or browse in b.g.
INMATE #2 walks up to Mac.
INMATE #2
Hey Mac, I need you to help me find
a book. I don't know the name of
it, but right toward the end this
guy says, "Frankly, my dear, I
don't give a damn."
MAC
I know the one you mean. It's Gone
with the Wind.
INMATE #2
(misunderstanding)
Another lost book? Damn!
As Inmate #2 moves off, and Mac starts to shelve a book,
INMATE #3 steps over to him.
INMATE #3
(confidentially)
Hey, you got any books here on how
to become invisible?
MAC
(beat)
Yeah. Look up The Invisible Man.
Inmate #3's eyes light up.
INMATE #3
Thanks.
Inmate #3 heads for the card catalog file.
INMATE #4
Hey, Mac -
INMATE #4 is standing by a world globe on a small table. Mac
strolls over to him.
INMATE #4 (cont'd)
Can you help me find the North Pole
on this globe?
As Mac puts his finger on the top of the globe:
MAC
It's right here, on top.
Inmate #4 looks. As he smiles appreciatively at Mac:
INMATE #4
Oh. No wonder I couldn't find it.
Thanks.
INMATE #5 sits listening to music through headphones. As Mac
is walking by, Inmate takes off the headphones.
INMATE #5 (cont'd)
Hey Mac, I hear you're gettin' out
next week.
MAC
That's right.
INMATE #5
Whatcha gonna be doin'? Got
something lined up?
MAC
Sure do.
INMATE #5
What?
MAC
Can't tell ya that.
Mac smiles cagily at the inmate.
MAC (cont'd)
But you might read about it here
in the newspapers.
INMATE #5
Yeah?
The inmate puts the headphones back on as Mac moves off.
INMATE #5 (cont'd)
I wish I could read.
EXT. A TAVERN - DAY
There's one pickup truck outside. A neon sign identifies
THE WRONG PLACE
INT. "THE WRONG PLACE" - DAY
30-ish AL FINDLAY sits down at the bar. He's the only
customer as bartender WENDY, 25, appears behind the bar.
WENDY
Hi, Al. Another busy day at the
airport, eh?
AL
Yeah, it's so busy I thought I'd
take a break. Let me have a draft
beer.
As Wendy is getting the beer:
WENDY
Is Mary minding the store?
AL
I hope so. I'd hate to have
someone walk off with it.
WENDY
Al, why did you come back and try
to run that place?
AL
Well, I'll tell you a story, Wendy.
I left the Navy to become an airline
pilot. But I couldn't get a job.
Airline pilots were being laid off.
As Wendy serves him the beer:
AL (cont'd)
So I tried to get back in the Navy
and couldn't. Thanks.
WENDY
Why not?
AL
The Navy had signed up the laid-off
airline pilots. Then I got a
chance to come home and run the
hometown airport. What a joke that
was. I sell some gas, give two or
three flying lessons a week. I
can't even pay for that airplane.
EXT. A PULP AND PAPER MILL - DAY
A sign by the highway identifies
TENBRINK PULP AND PAPER CORPORATION
Harvey Crabb's car goes by on the highway.
INT. CRABB'S CAR - DAY
HARVEY CRABB, 35, looks more like a redneck farmer in a
business suit than a banker. He makes a face as he's passing
the mill.
CRABB
Pee-yew. That's a pulp mill, all
right.
EXT. AIRPORT ROAD - DAY
A sign by the highway reads,
PERRYVILLE AIRPORT
LEARN TO FLY
OR JUST DROP BY!
AL FINDLAY, MGR.
Crabb's car slows and turns onto the road from the highway.
INT. BEDROOM - FINDLAY HOUSE TRAILER - DAY
MARY FINDLAY and good ole boy HENRY WATTS, both 30-ish, are
passionately embracing on the bed, Mary's blouse half off.
Nearby is a framed wedding picture of Al as a Navy lieutenant
with pretty young bride Mary.
MARY
Henry . . . No . . .
EXT. AIRPORT - DAY
Crabb drives up.
The house trailer sits near a small, rundown, single-story
terminal building, where Henry's pickup truck is parked.
Two single-engine planes sit by the weedy runway.
INT. BEDROOM - DAY
Mary starts trying to push Henry away:
MARY
Henry, somebody's here. Henry -
INT. TERMINAL BUILDING - DAY
Crabb stands waiting impatiently as Mary, still straightening
her hair, enters and goes behind the counter, where a desk
serves as the airport office.
MARY
Sorry to keep you waiting. May I
help you?
CRABB
My name is Crabb. Harvey Crabb,
from the Jacksonville Merchants
Bank. Your husband is two months
behind in his airplane payments.
MARY
Two months? Time sure does fly.
CRABB
It'll be flying more than he does
if we don't get paid.
EXT. TERMINAL BUILDING - DAY
Henry stands outside the entrance drinking a can of Coke as
Al pulls up in his pickup truck.
Al gets out of the truck and eyes Crabb's parked car as he
walks to the entrance.
AL
Who's car is that?
HENRY
It's a banker, Al. He's here about
your airplane.
Al sighs.
AL
Some days it doesn't pay to get up.
EXT. "THE WRONG PLACE" - NIGHT
Live country music plays inside. A sign in front reads
NOW APPEARING
HENRY WATTS
AND THE VOLTS
INT. "THE WRONG PLACE" - NIGHT
On stage, Henry, backed by the VOLTS - your typical down-home
country band - is singing a heartfelt cheating song for the
PATRONS.
Mary sits at a table. Henry's looking right at her, she's
looking right back, as if this is their song.
Al, sitting by Mary, looks depressed, distracted, seemingly
oblivious to what's going on, as waitress PHYLLIS, 35, brings
them two more drafts of beer.
Good old boy CARL, 37, sits down with Al and Mary.
CARL
Al, I'm ready for my flying lesson
tomorrow.
Depressed Al doesn't respond.
CARL (cont'd)
What's wrong?
MARY
Al is about to be grounded.
CARL
What?
MARY
They gave him one month to come up
with some cash, or they take his
airplane.
CARL
Shit fire and save your matches!
(then)
Al, why don't you go work at the
paper mill like everyone else?
AL
I work at the airport, that's why.
I'm a flyer. I don't make toilet
paper. And nobody's gonna come
here and clip my wings.
MARY
Sure, Al. Keep dreaming. You
think that money's going to fall
out of the sky? You'll see toilet
paper falling first.
CARL
Let's hope it's not used.
Rich kid CHUCKIE TENBRINK, 21, is sitting at a table with
attractive SADIE, 34. Chuckie wears a sport coat, Sadie
wears a blouse and jeans.
Chuckie looks bored, drinking a cocktail, while Sadie is
enjoying the band.
SADIE
This is real country music. Ol'
Henry sings like they used to in
Nashville.
CHUCKIE
That's why he'll never make it.
SADIE
Hey Chuckie, why are you home
anyway? Aren't you in school?
CHUCKIE
I flunked out. Now I find another
school, or I could get disinherited.
SADIE
You're kidding.
CHUCKIE
Nope. My sister in Chicago could
get every cent.
Mean-looking REUBEN, 38, walks in the front door and looks
around.
SADIE
That wouldn't be right.
CHUCKIE
Well, my dad is an asshole.
SADIE
Aren't you going to take over the
mill for your dad?
CHUCKIE
Without a degree? Who wants it
anyway. I hate that stinking mill.
SADIE
It does stink, don't it? Perryville
is like the armpit of the world.
CHUCKIE
No armpit smells that bad.
As Chuckie tries to smell Sadie's armpit:
CHUCKIE (cont'd)
Let me smell yours.
Sadie laughs as she shoves him away.
Reuben walks up to the table, and looks down menacingly at
Chuckie. Sadie looks concerned, but Chuckie is perfectly
calm.
REUBEN
What are you doing trying to smell
my girl's armpit?
As Chuckie finishes his drink:
SADIE
He didn't mean nothin', Reuben.
(to Chuckie)
This is Reuben.
CHUCKIE
I'll smell any armpit I want to.
As Chuckie takes out some money to pay for his drinks:
REUBEN
How would you like to have your ass
whipped?
As Chuckie calmly rises:
CHUCKIE
Do you know who I am?
REUBEN
I don't give a damn who you are.
CHUCKIE
I'm Chuckie Tenbrink.
As Reuben's expression hardly changes at all:
REUBEN
Well that's different. Why didn't
you say so?
(beat)
I just don't like nobody seeing
what Sadie here smells like.
SADIE
You make me sound like a landfill
or something.
Chuckie leaves the money on the table for the drinks, then
walks casually up to Reuben.
CHUCKIE
Another mill worker on the old
man's payroll.
Chuckie chummily puts his left hand on Reuben's left
shoulder.
CHUCKIE (cont'd)
I feel your pain.
Chuckie leans closer to Reuben.
CHUCKIE (cont'd)
How would you like a raise?
REUBEN
That would be cool.
Chuckie smiles, then sucker-punches Reuben with a right,
knocking him out on the floor.
Chuckie, rubbing and shaking his right hand, turns to Sadie,
who has gotten to her feet. She looks angrily at Chuckie.
CHUCKIE
Keep 'em shaved, honey.
Chuckie walks toward the door, everyone watching him, except
Reuben.
EXT. THE TAVERN PARKING LOT - NIGHT
Chuckie, shaking his right hand again, opens the front door
of his Lexus.
The side door of an SUV parked beside him opens. From inside
the SUV's dark interior, Curly aims a pistol at Chuckie.
CURLY
Get in here.
Chuckie looks at the pistol, then at Curly.
CHUCKIE
Do you know who I am?
CURLY
Of course I know who you are. Why
do you think we're doing this? Now
get your butt in here.
EXT. THE TENBRINK MANSION - DAY
Luxurious in the country. It's morning.
INT. DINING ROOM - DAY
CHARLES TENBRINK, mid-60s, aristocratic, sits reading the
newspaper while a MAID serves him breakfast. He wears
reading glasses and a monogrammed robe.
MRS. TENBRINK, 50-ish, comes in. She's matronly, unassuming,
but (as will be seen later on) just a little bit flaky.
MRS. TENBRINK
Charles, Chuckie didn't come home
last night.
Tenbrink looks at his watch, then calmly resumes reading.
MRS. TENBRINK (cont'd)
His bed's unslept in. His car
isn't here. No one has seen him.
TENBRINK
You don't think he's run away, do
you?
MRS. TENBRINK
Chuckie wouldn't do that.
As Tenbrink tries to read:
TENBRINK
I'm afraid you're right. He's
probably out with some slut.
MRS. TENBRINK
Till morning? I suspect foul play.
TENBRINK
So do I.
MRS. TENBRINK
That is not what I meant. I'm
going to call the sheriff.
EXT. "THE WRONG PLACE" - DAY
County Sheriff LANNY, 50-ish, arrives in his patrol car.
Sheriff's Deputies JIMMY PAUL and JUNIOR, both mid-30's,
stand by Chuckie's car, the only one in the parking lot
besides their patrol cars and Lanny's.
Lanny joins his deputies by Chuckie's car.
LANNY
You sure this is Charles Junior's
car?
JUNIOR
Sure I'm sure. Ask Jimmy Paul.
JIMMY PAUL
I'd know this car anywhere, Lanny.
If we haven't stopped that boy once
for speeding, we haven't stopped
him a hundred times.
LANNY
Tsch. You know who he is, eh?
INT. TERMINAL BUILDING - AIRPORT - DAY
Al, hung over, sits at the desk with his eyes closed. Mary
is pouring two cups of coffee.
Through the front window, Bruce, having arrived in the SUV
that Curly was in, can be seen walking to the entrance.
MARY
Some fellow's coming in, Al.
Al half-opens one eye.
AL
Good. Maybe he wants a flying
lesson. I feel lucky today.
MARY
Yeah, you look it.
Mary serves Al his cup of coffee as Bruce walks in.
Al, eyes open, manages to give him a friendly smile as Bruce
looks around.
AL
Hi. What can we do you for?
BRUCE
How much do you charge for a plane
ride?
AL
How much have you got?
Bruce doesn't seem to appreciate Al's humor.
AL (cont'd)
Just kidding. No destination?
BRUCE
Nah, just around. I was passing
by, saw your sign. I've never
flown before.
EXT. A CABIN - DAY
ESTABLISHING SHOT. Secluded in the woods.
INT. THE CABIN - DAY
Mac, with a pad and pencil, sits down on the couch with
blindfolded Chuckie. Curly looks on.
MAC
Okay, Chuckie, we need your father's
telephone number.
CHUCKIE
You kidding? You've planned all
this, and you don't even have the
number?
MAC
Your home has an unlisted number.
We thought for sure you would know
what it is.
CURLY
You do want Mommy and Daddy to know
you're alive, don't you?
CHUCKIE
(beat)
How much are you clowns going to
ask him for?
MAC
We aren't going to ask him for
anything.
CHUCKIE
Sorry, wrong choice of words. How
much are you going to demand?
MAC
One million dollars.
Chuckie looks incredulous.
CHUCKIE
One million? You don't know what
the hell you're doing. What kind
of crooks are you?
CURLY
What do you mean?
CHUCKIE
Let me tell you what you should do.
MAC
Okay, go ahead.
CHUCKIE
Ask him for two instead of one.
EXT. AL'S PLANE - DAY
Flying about 2,000 feet altitude.
INT. AL'S PLANE - DAY
Al is giving Bruce his ride.
As Al tips the left wing, points down to the large pulp mill
below:
AL
That mill down there - that's
Tenbrink Pulp and Paper.
Bruce, leaning forward with feigned interest, has sneaked
from his pocket a small, folded, taped piece of paper.
While Al is looking down at the mill, Bruce tapes the paper
to the underside of the instrument panel.
AL (cont'd)
That's what runs every town in this
county. Everybody and his brother
works there.
Al glances at Bruce, who smiles, nods, looking down at the
mill.
INT. THE CABIN - DAY
Chuckie, still blindfolded, is trying to sell his idea to Mac
and Curly, Mac calmly pacing as he listens.
CHUCKIE
Cut me in, then you don't have to
worry about having to get rid of
me, and getting caught anyway, or
me identifying you later, and all
that stuff. I'd be on your side,
see. I'd be in just as deep as
you.
MAC
(beat)
Suppose we do go for two - equal
shares, like you say. What would
you do when we collect?
CHUCKIE
I'd go home.
CURLY
He means what would you do with the
money.
CHUCKIE
I don't know yet. Look, what to do
with the money's no problem. The
problem is getting it. What is it
that you guys don't understand?
This job will be simple if you have
my help. You still get your
million, I get one too. I can't
pass up this chance. You guys are
CHUCKIE (cont'd)
like godsends. Now are you going
to cut me in?
INT. TENBRINK MANSION - DAY
Sheriff Lanny and Deputy Junior are discussing what to do
with the Tenbrinks.
TENBRINK
No. Do not call the F.B.I. yet. I
want no publicity.
LANNY
But, sir, we -
TENBRINK
(interrupting)
If Chuckie has been abducted, we
should hear from the culprits soon.
JUNIOR
He's right, Lanny - if it's a
ransom they're after.
MRS. TENBRINK
What else would they want him for?
TENBRINK
Now that's a good question.
The phone rings. Mrs. Tenbrink anxiously answers:
MRS. TENBRINK
(into phone)
Hello . . . Chuckie! Where are you?
INTERCUT: INT. CABIN - DAY
Chuckie, still blindfolded, speaks on a cellular phone. Mac
and Curly hover close by.
CHUCKIE
I don't know, Mom - but I'm okay.
Is Dad there?
Mrs. Tenbrink hands the phone to her husband.
TENBRINK
Chuckie?
CHUCKIE
I'm okay, Dad. They're treating me
okay. But we need to take these
guys seriously.
TENBRINK
Okay, let's hear their demands.
Chuckie hands the cellular phone to Mac.
MAC
(into phone)
Mister Tenbrink? The price for
your son's safe return is -
(hesitates, then)
- two million dollars.
Chuck smiles with relief.
MAC (cont'd)
Now listen carefully. No F.B.I.,
no public knowledge . . .
Tenbrink calmly listens and repeats on the phone, his wife
taking notes, Lanny and Junior exchanging stunned looks:
TENBRINK
(into phone)
In a suitcase . . . Two million
dollars . . . by nine tomorrow
morning? That won't be easy.
EXT. THE CABIN - NIGHT
Dimly lit in the wilderness. The SUV is parked nearby.
INT. CABIN - NIGHT
Chuckie, blindfold off, hands free, is huddled with Mac over
an aeronautical chart, Mac explaining the plan.
Across the room Bruce and Curly sit playing cards.
Bruce casts sullen glances over at Mac and Chuckie. Bruce
and Curly speak quietly:
CURLY
Look at 'em. Like long-lost
brothers. I'm telling you, this
is a big mistake.
BRUCE
Why do you say that?
CURLY
I'll tell you why. Those two
smartasses could wind up leaving
us out.
Bruce frowns for a moment, then,
BRUCE
You're paranormal. Mac wouldn't
do that.
CURLY
Not by himself, he wouldn't. But
this guy's bad news.
Mac and Chuckie finish with the chart.
CHUCKIE
It's a good plan. I like it. You
must be a flyer.
MAC
Used to be. I got grounded by a
judge. You a flyer?
CHUCKIE
Yeah. I fly my dad's plane. We
have our own strip.
MAC
This Al Findlay out at the airport.
You know him?
CHUCKIE
Not personally. I've seen him
around.
MAC
Think there'll be any problem?
CHUCKIE
Well, there's always Murphy's Law.
You know what that is?
MAC
Whatever can go wrong will.
CHUCKIE
But with me involved, this plan
looks really good.
INT. "THE WRONG PLACE" - NIGHT
Henry and the Volts are performing for the patrons.
As before, Henry's loving eyes are on Mary, during another
cheating song.
Beside Mary sits Al, drunk and brooding, paying no attention
to Henry.
AL
You know what? I think Groucho
Marx was right. The wealth in this
country oughta be redistributed.
MARY
Did Groucho say that?
AL
Maybe it was Harpo. Who knows?
The point is, people who have to
work their butts off like us should
have something more to show for it.
MARY
I couldn't have said that better
myself.
INT. TENBRINK MANSION - DAY
It's morning.
INT. MANSION - DAY
While Tenbrink and a SECURITY GUARD look on, a BANKER is
packing a suitcase with two million dollars in cash.
INT. BEDROOM - FINDLAY TRAILER - DAY
Al lies snoring away.
INT. TENBRINK MANSION - DAY
The phone rings, Tenbrink picks up the receiver.
TENBRINK
(into phone)
Hello. Yes. The money is here.
INT. SHERIFF'S OFFICE - DAY
Lanny nervously paces. Junior waits at a desk.
The countrified dispatcher GLENDA, 23, sits checking her
Lotto ticket with the numbers on her computer screen.
GLENDA
Damn, I haven't gotten one Lotto
number out of six in a month.
The phone rings. As Junior answers, Lanny hustling over:
JUNIOR
(into phone)
Sheriff's Office . . . Yes, Mister
Tenbrink, he's right here.
Junior hands the phone to Lanny.
LANNY
(into phone)
Yessir, Mister Tenbrink.
INTERCUT: INT. TENBRINK MANSION - DAY
Tenbrink, set to leave, is on the phone.
TENBRINK
They just called. I'm to go with
the money to Perryville.
Tenbrink glances at his watch.
TENBRINK (cont'd)
I need to start now. I'm to check
in alone, by ten o'clock, at the
Periwinkle Motel.
LANNY
That rathole?
TENBRINK
I'm to request Room Two. There I'm
to await further instructions.
Lanny looks disgusted.
LANNY
Mister Tenbrink, I've heard of some
lowdown plots in my day, but Room
Two at the Periwinkle is about as
low as it gets.
INT. TERMINAL BUILDING - AIRPORT - DAY
Al, in a bathrobe, groggily sits down, picks up the phone
receiver laying on the desk, while Mary pours him some coffee.
AL
(into phone)
Hello . . . Wait - excuse me.
You're Mister Who?
INTERCUT: INT. CABIN - DAY
Mac is on the cellular phone. Chuckie sits listening with
pleasure to what he's saying.
MAC
I'm Mister Tenbrink's executive
secretary.
(listens, then)
Yes. Now something's come up, an
important deal that the boss is
working on personally, and on the
Q.T.
Mac glances at his watch.
MAC (cont'd)
He'll be in Perryville shortly, and
he'll need an airplane.
(listens; impatiently)
We all know Mister Tenbrink has an
airplane, Mister Findlay. Should
that concern you at the moment?
(beat)
Now you understand that money is no
object.
That seems to make Al more alert, as he likes what he's
hearing.
AL
I understand. Sure I can handle
it. Where's he need to go?
MAC
On the Q.T., Mister Findlay.
Mister Tenbrink will fill you in
after you're airborne. He doesn't
want you to discuss this beforehand
with anyone - not even with him,
understand? - till after you've
taken off.
AL
Not a word. I won't even mention
it to him. We'll talk about the
weather, or the stink from that
pulp mill. Is he going to come
here, or . . .
As Al takes notes:
AL (cont'd)
"Periwinkle Motel. Room Two. Ten
fifteen."
As Al frowns in a delayed reaction:
AL (cont'd)
The Periwinkle Motel?
Al shrugs, then,
AL (cont'd)
Whatever you say. Now my fee will
be - let's see, depending on where
we're going, which I don't even
know -
Al reacts to a figure spoken on the other end:
AL (cont'd)
That's it, that sounds satisfactory.
MAC
Ten fifteen, Mister Findlay - not
before or after. Now have a good
trip. Oh - and Mister Findlay . . .
Not a word, till you're airborne.
AL
I won't discuss this with a soul.
END INTERCUT, STAY with Al, as he hangs up, looks at his
notes.
MARY
What was that all about?
AL
I'm taking Charles Tenbrink
somewhere.
MARY
Where?
AL
They wouldn't say where. It's a
hush-hush deal. He'll tell me when
we're airborne.
As Al sips his coffee:
MARY
What's he paying you?
AL
One thousand bucks.
Mary isn't impressed:
MARY
Well, we're going to be rich.
AL
Is that all you've got to say?
MARY
No. Why don't you take it, Al, and
buy us two tickets - on anything -
to get us out of here?
AL
'Cause everything's tied up here.
I'm in too deep. We can't get out
from under.
MARY
Maybe you can't, buster, but one of
these days I'm -
AL
(interrupting)
Yeah, why don't you go back to your
mama in Pensacola?
MARY
Because you can't get there from
here!
Mary heads for the front door in a huff.
AL
I've got to get ready. You go fill
up the plane.
As Mary is going out:
MARY
Fill it up yourself!
EXT. PERIWINKLE MOTEL - DAY
A seedy dump. A tired old sign identifies "Periwinkle
Motel". No sign of a guest.
EXT. THE STREET - DAY
An unmarked car parks along the curb near the motel. There
is light TRAFFIC on the small-town street.
INT. UNMARKED CAR - DAY
In street clothes behind the wheel sits Deputy Jimmy Paul,
his hat brim low over his eyes as he's watching the motel.
INT. SHERIFF'S OFFICE - DAY
Lanny is on the phone.
LANNY
(into phone)
Remember what I told you: When
Mister Tenbrink checks in, whoever
contacts him, whoever calls,
or comes in person, or anything
else - you just play along like
everything's normal.
INT. MOTEL OFFICE - DAY
The motel owner is a little old man named SAM. He sits
listening on the phone, while his little old WIFE stands by.
Both look worried to death.
SAM
(into phone)
I understand, Sheriff.
Sam glances at his wife.
SAM (cont'd)
We both understand.
INT. SHERIFF'S OFFICE - DAY
Lanny grabs his hat as Junior is waiting.
LANNY
Let's go.
As they pass Glenda, chewing gum and reading a paperback, on
their way out:
LANNY (cont'd)
Me and Junior's gonna patrol like
everything's normal.
EXT. A LIMOUSINE - DAY
Moving on the highway to Perryville.
INT. LIMOUSINE - DAY
The CHAUFFEUR, 47, though sober at the moment, looks like the
thirsty lush that he is.
In back sits Tenbrink, the suitcase beside him.
INT. FINDLAY TRAILER - DAY
Al, set to leave, is adjusting his tie at the mirror. He and
Mary are arguing.
AL
I'm telling you for the last time.
Get off my back or I'll fire you.
MARY
Fire me? I'm your wife!
AL
That doesn't mean I've got to keep
you on the payroll.
Al heads for the front door, Mary right behind him.
MARY
Payroll? When's the last time I
got paid anything?
AL
When's the last time you did a
day's work?
MARY
When's the last time there was a
day's work to do around here?
EXT. TRAILER - DAY
Al comes out of the trailer, heads for his pickup truck.
Mary yells after him from the doorway:
MARY
You talk about working your ass
off! Doing what?
AL
Trying to keep you off of it!
Al gets into his truck, starts the engine.
AL (cont'd)
And I'll tell you something else!
MARY
Yeah?
AL
That plane better be ready when I
get back!
Al heads for the highway.
INT. CABIN - DAY
Bruce sits looking at a girlie magazine. Mac sits softly
whistling a little tune. Curly lies drifting off to sleep
on the couch.
Chuckie, annoyed by Mac's soft whistling, sits trying to read
a paperback novel.
EXT. MOTEL - DAY
The limousine pulls in from the street.
INT. UNMARKED CAR - DAY
Jimmy Paul sits up, watching the limo. He picks up his radio
mike.
INT. LANNY'S PATROL CAR - DAY
Lanny is driving, Junior beside him. They're patrolling like
everything's normal. On the radio they hear,
JIMMY PAUL'S VOICE
Tenbrink ten-ninety-seven.
They exchange tense looks, keep patrolling.
EXT. MOTEL - DAY
Sam gives the chauffeur a room key at the office door.
Sam and his wife watch as Tenbrink and the chauffeur, the
suitcase in hand, head toward:
INT. ROOM TWO - DAY
Dumpy. Tenbrink resignedly looks around, the chauffeur
setting the suitcase by the bed.
The chauffeur, set to leave, pauses by Tenbrink.
CHAUFFEUR
Good luck, sir.
TENBRINK
Let's just hope that clown of a
sheriff doesn't screw us up.
The chauffeur turns to go.
INT. LIMO - DAY
As soon as he's back in the car, the chauffeur produces a
flask, and takes a big swallow.
INT. AL'S TRUCK - DAY
Al is driving into Perryville. He looks disgusted with life.
INT. ROOM TWO - DAY
Tenbrink waiting. He picks up the phone receiver, listens to
be sure it works. He hangs up, looks at his watch.
EXT. MOTEL - DAY
Al's truck pulls in. The limo is gone.
INT. MOTEL OFFICE - DAY
Sam and his wife look puzzled on seeing Al's arrival.
INT. UNMARKED CAR - DAY
Jimmy Paul is curiously watching.
INT./EXT. MOTEL - DAY
Sam and his wife watch Al approaching the office door.
SAM
(nervously, to wife)
Remember, everything's normal.
EXT. MOTEL - DAY
Al steps to the office door, where Sam steps out to meet him.
Behind Sam is his wife.
SAM
Hi, Al. What brings you here?
Al looks proud of himself.
AL
Mister Tenbrink checked in?
Sam and wife look stunned.
SAM
Yeah.
AL
Room Two?
The couple's mouths have dropped open.
SAM
Yeah.
A beat. Al steps closer, to ask,
AL
(confidentially)
Did he tell you where we're going?
SAM
(nervously)
Oh no - no, no, he didn't say
a word.
Al nods approvingly.
AL
That's good, Sam, that's good.
Al starts to go, then,
AL (cont'd)
And my lips are sealed.
Sam and his wife watch as Al strides proudly toward Room Two.
Sam sadly shakes his head.
SAM
Al Findlay's involved.
WIFE
It's enough to make you lose your
faith in humanity.
Al knocks on the door of Room Two. He smiles back at staring
Sam and wife while he waits.
INT. UNMARKED CAR - DAY
Jimmy Paul can't believe what he's seeing.
INT./EXT. ROOM TWO - DAY
Tenbrink opens the door. There stands Al. Tenbrink looks
him over.
AL
Mister Tenbrink. I'm here to, uh,
take you to, uh -
(confidentially)
- your destination.
Tenbrink sighs resignedly.
TENBRINK
Very well.
As Tenbrink gestures toward something in the room:
TENBRINK (cont'd)
Am I to carry this, or are you?
Al steps in, sees the suitcase. As he heads for it:
AL
Oh, no, sir, you let me take care
of that.
Al picks up the suitcase. He's surprised by the weight as he
lugs it toward the door.
AL (cont'd)
Wow. You don't travel light,
Mister Tenbrink.
Pausing by Tenbrink, Al speaks confidentially:
AL (cont'd)
You wouldn't have this stuffed full
of money, would you?
Al laughs, a bit forced. Tenbrink seethingly watches him lug
the suitcase out the door.
EXT. MOTEL - DAY
Al puts the suitcase in the bed of his truck. He then opens
the passenger door for Tenbrink, who regards him for a
moment.
TENBRINK
Could I ask you where my son is?
AL
You could ask me, Mister Tenbrink,
but I'm afraid I couldn't tell you.
Tenbrink accepts that and gets into the truck.
Al closes the door, shakes his head as if wondering what that
was about as he heads for the driver's side.
INT. LANNY'S PATROL CAR - DAY
Lanny and Junior patrolling, both with incredulous looks as
Lanny picks up his radio mike.
LANNY
(into mike)
Jimmy Paul, did I hear you correct?
Did you say "Al Findlay"?
JIMMY PAUL'S VOICE
(on radio)
That's A-ffirmative, Sheriff.
EXT. THE MOTEL - DAY
Al's truck is leaving.
EXT. STREET - DAY
Jimmy Paul's unmarked car starts down the street to follow
Al's truck.
INT. PATROL CAR - DAY
Lanny and Junior patrolling. They're in a quandary.
LANNY
Damn. If they use an airplane,
what are we going to do? How are
we going to put a tail on an
airplane?
INT. AL'S TRUCK - DAY
Al is driving, Tenbrink studying him.
TENBRINK
I've seen you before.
AL
Could be. Al Findlay. I run the
airport.
TENBRINK
Al Findlay.
AL
Right.
TENBRINK
You run the airport.
AL
Yep.
TENBRINK
Well, Al - mind if I call you Al?
AL
Please do.
TENBRINK
Aren't you being rather brazen?
AL
I'm not sure I'd call it brazen.
Foolish maybe. Yeah, I guess it's
no secret. I was a fool for
thinking it would ever work.
TENBRINK
Then why go through with it?
AL
It's like I told my wife: I'm
already in so deep, there's no way
out. If she wants out, she can
head for Pensacola.
TENBRINK
You're right. There's no way out.
Just remember you asked for it.
AL
(resentfully)
Okay, I asked for it. Do I look
worried? If they want me, they
know where to find me.
TENBRINK
I'm sure they will.
AL
Fine. Just let 'em try clipping my
wings. They'll have to drag me out
of that plane. They might as well
shoot me.
TENBRINK
You're a bigger fool than I
thought. The sooner they get you
the better.
AL
Thanks for the encouraging words.
TENBRINK
Don't mention it. The last thing
I want to hear from you is a sob
story.
AL
You're so full of shit it's
unbelievable.
TENBRINK
Look what's talking. Now about
this deal -
AL
You can stick it up your ass. And
the suitcase with it.
Al starts braking the truck.
TENBRINK
What are you -
AL
(interrupting)
The deal's off.
TENBRINK
But -
AL
(interrupting)
It's not worth putting up with
AL (cont'd)
your crap. I don't work at your
goddamn mill, see.
Al turns the truck hard left.
EXT. HIGHWAY - DAY
Al's truck makes a hasty U-turn, heading back for town.
INT. AL'S TRUCK - DAY
Tenbrink is looking incredulously at Al.
TENBRINK
What do you think you're doing?
AL
I'm taking you back to your classy
motel. Unless you'd rather walk.
INT./EXT. UNMARKED CAR - DAY
Jimmy Paul is driving, quizzically watching Al's truck
approaching from the opposite direction.
Jimmy Paul pulls down his hat brim, pulls in his chin.
EXT. HIGHWAY - DAY
The truck and unmarked car pass each other.
The unmarked car slows, pulling over, starts making a U-turn.
INT. UNMARKED CAR - DAY
Jimmy Paul driving, determined to stay with the truck, as he
picks up his mike.
INT. AL'S TRUCK - DAY
Al and Tenbrink as before.
TENBRINK
But you can't do this.
AL
You watch me.
INT. PATROL CAR - DAY
Lanny and Junior patrolling. Lanny, mike in hand, looks
pleased.
LANNY
(into mike)
Ten-twenty-six. Stay with 'em, ya
hear?
As Lanny puts away the mike:
JUNIOR
They're turning away from the
airport?
LANNY
That's more like it, I tell you.
Anything but that airport.
INT. AL'S TRUCK - DAY
Al and Tenbrink as before.
TENBRINK
But what about my son?
AL
Who gives a shit about your son?
TENBRINK
That's a good question. But what
about the two million dollars
you've got in that suitcase?
INT./EXT. UNMARKED CAR - DAY
Jimmy Paul, driving, looks ahead with disbelief. Al's truck
is making another U-turn.
Jimmy Paul pulls down hat brim, pulls in chin.
EXT. HIGHWAY - DAY
The truck and unmarked car pass each other.
INT. UNMARKED CAR - DAY
Jimmy Paul doggedly slows down, pulling over, and -
EXT. HIGHWAY - DAY
- the unmarked car makes a U-turn.
INT. PATROL CAR - DAY
Lanny and Junior patrolling, Lanny with his mike.
LANNY
(into mike)
Well stay with 'em. Don't lose
'em.
Lanny puts away the mike. He's in a quandary again.
LANNY (cont'd)
They've turned around, they're
going to that airport. What are
we going to do now?
Junior thinks, then,
JUNIOR
A helicopter.
LANNY
You got one at home?
JUNIOR
Let's borrow one from Duval County.
As Lanny starts turning the car:
LANNY
Forget it. I've got an idea.
INT. AL'S TRUCK - DAY
Tenbrink has explained things to Al.
TENBRINK
And that's who I thought you were.
AL
Wow. I can't believe it, Mister
Tenbrink. Why do they get me
involved?
TENBRINK
Just do what they told you.
AL
But we don't even know where we're
going.
TENBRINK
They told you to give me a plane
ride. That's what you're going
to do.
INT. SHERIFF'S OFFICE - DAY
Lanny, hustling in, Junior behind him, goes straight to
Glenda, still reading.
LANNY
Who owns those airplanes out at
Findlay's?
GLENDA
Let's see, there's Al's, and -
Henry Watts owns one, and -
LANNY
(interrupting)
That's right, by God, Henry Watts.
Get Henry on the phone right now.
INT. TERMINAL BUILDING - DAY
Mary, lazing on the phone, notes Al's truck arriving.
MARY
(into phone)
Here's Al now, with Mister Big.
(suggestively)
They should be gone in, say, ten
minutes.
(beat; smiles)
Talk to you later, Henry.
Mary hangs up.
EXT. TERMINAL BUILDING - DAY
Al takes the suitcase from the truck, Tenbrink standing by.
TENBRINK
Now remember, don't breathe a word
about this - especially to your
wife.
AL
Don't worry. Around her I try to
breathe as little as possible.
INT. SHERIFF'S OFFICE - DAY
Glenda is chatting on the phone.
GLENDA
(into phone)
Is that one of those pay sites, or
is it free? . . . Let me write it
down . . . "Dubya dubya dubya dot
grossout - "
A toilet flushes.
GLENDA (cont'd)
(into phone)
" - dot com."
Lanny comes out of the john.
GLENDA (cont'd)
Sheriff, I've finally got Henry.
Lanny hustles over.
GLENDA (cont'd)
(into phone)
Talk to you later, Henry.
Lanny takes the receiver.
LANNY
(into phone)
Henry? This is the sheriff. Get
your ass out to the airport. I'm
deputizing you. I want you to tail
Al Findlay's plane.
INT. AL'S PLANE - DAY
Al and Tenbrink are fastening their seat belts prior to
takeoff. The suitcase is in the back seat.
AL
You sure we ought to just take off?
TENBRINK
They obviously intend to
communicate with us in the air.
As Al gestures toward the radio:
AL
But they can't do that without
everyone hearing 'em on the -
TENBRINK
(interrupting)
Don't you think I know that? Don't
you think they know that? Are you
going to take this plane up or not?
EXT. HENRY'S PICKUP TRUCK - DAY
Speeding along the highway. OVERLAP SOUND of Henry and the
Volts singing on the CD player in truck.
INT. HENRY'S TRUCK - DAY
Henry is anxiously driving, while the CD PLAYS.
INT. WINDOW - TERMINAL BUILDING - DAY
The song continues (V.O.) as Mary, with a look of naughty
expectation, turns from the window, Al's plane taxiing for
takeoff outside.
INT. CABIN - DAY
Chuckie and the kidnappers are still lazing.
Curly lies snoring on the couch. The others exchange looks
as Curly grunts and mutters.
Chuckie lobs the paperback book at Curly, hitting him and
waking him up.
Curly looks down at the book, looks at Chuckie, then gets up
off the couch and goes after him, Chuckie rising. Mac and
Bruce, getting to their feet, block Curley's way.
CURLY
What'd you hit me with a book for?
CHUCKIE
You were sleeping on the job.
CURLY
You pull that kind of shit again,
you'll be sleeping six feet under.
Chuckie smirks.
CHUCKIE
I don't think my dad will pay for
damaged goods.
CURLY
No? Then maybe I'll damage 'em
after he pays us.
Curly heads back to the couch. Mac looks at Chuckie.
MAC
No more throwing things around.
Mac starts to turn away, then,
MAC (cont'd)
Don't forget who's in charge here.
Chuckie has a self-satisfied look.
CHUCKIE
I won't.
Mac stares at Chuckie.
EXT. AIRPORT - DAY
INTERCUT Henry and truck, turning from highway, speeding for
airport, with Al and Tenbrink taking off in plane, while the
song (V.O.) is playing.
INT./EXT. TERMINAL BUILDING - DAY
Mary is primping.
She stops, looks out the front window with wonder, as she
sees Henry's truck come barreling down the road, screeching
to a halt in front of the building.
Henry jumps out of the truck, comes running for the entrance.
Mary watches, enthralled by her lover's zeal, as the song
(V.O.) finishes.
Henry comes running in to the counter, Mary waiting behind
it.
MARY
How long has it been, Henry?
HENRY
Where did Al say he was going?
MARY
Al doesn't know where he's going.
HENRY
Then to hell with it.
MARY
What are you talking about?
HENRY
I wish I knew.
Go to Part 2Back to beginning of script