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THE CRIMSON SLY AND THE RUM RUNNER’S GAMBIT Written by “The Radical” Osaji Obi On January 17, 1920 the United States government passed the Volstead…
THE CRIMSON SLY AND THE RUM RUNNER'S GAMBIT
Written by
"The Radical"
Osaji Obi
On January 17, 1920 the United States government passed the Volstead Act, outlawing the manufacture, importation, sale, and transport of alcohol. This gave rise to a crimewave that would sweep the nation as smugglers rose to prominence to keep the country wet. Troubled times turned from bad to worse when organized gangs tried to control local chains of bootlegging operations in an attempt to secure and enlarge territories so that they had a monopoly of distribution. With most of the police compromised due to corruption, crime ran amok.
MAIN TITLE: THE CRIMSON SLY AND THE RUM RUNNER'S GAMBIT
FADE IN:
SUPER: YORK, PENNSYLVANIA 1924
EXT. STREET - NIGHT
A truck goes down the street at midnight. An officer puts his hand up to halt the truck. The truck comes to a stop just before the intersection. Two cop cars are positioned on opposite sides of the intersection with the truck adjacent to them. The officer comes to the driver's side.
DRIVER
Is there a problem, sir?
OFFICER
What are you hauling?
DRIVER
Just some steel beams.
The officer stares into the driver's eyes as if trying to decipher something from his expression.
OFFICER
Mind if you come out and show me?
The driver opens the door and hops out. He walks to the back of the truck, unhinges the latch and pulls open the door.
-RATATATATATATAT!
A smuggler unloads shots on the officer. The driver hops in the back. The passenger moves in to the driver seat and takes off.
The cops turn on their sirens. Truck speeds down the street with cops in hot pursuit.
The truck makes a tight turn around the corner. Three guys shoot their tommy guns at the cops from the back.
A bullet pierces the windshield of one cop car and swerves into a hydrant.
The truck approaches a blockade of cop cars. The cops begin shooting. As the truck fastly approaches the cops scurry away...
-WHAM!
The truck plows through the blockade. The cop car follows behind the truck about twenty yards away.
INT. ABANDONED WAREHOUSE - NIGHT
The truck heads into an abandoned warehouse through the garage door. The cop car heads in after it.
EXT. ABANDONED WAREHOUSE - NIGHT
The truck goes out through the open garage door.
INT. ABANDONED WAREHOUSE - NIGHT
Just when the cop approaches, the garage door closes immediately.
-SCREEEEEK!
Screeching halt. The garage door in which it had entered also closes.
The cop gets out of the car and looks around in bewilderment. Suddenly...
-BOOM!
An explosion erupts as the warehouse goes up in flames.
The truck enters an alley. The people in the truck get out and organize a line as they carry the barrels of alcohol out of the truck.
INT. SEWER - NIGHT
They pass the barrels down into the sewer where a long line of people are shown passing the barrels under the dim light of lanterns.
INT. ABANDONED MEAT PACKING PLANT - NIGHT
The barrels are passed up through a hole in the ground of the meat packing plant. The men set the barrels in rows with one stacked on top of the other. Thomas PERMANSKY, 58, dressed in a black suit wearing a porkpie hat walks in with a stern look on his face. He stares at one of the men for a brief moment as his stern face slowly turns to a smile.
He grabs the man's face and embraces him as the whole room of men breaks out into raucous cheers of glee. One of the men cracks open a barrel with a crowbar as the chief dips a mug in. He drinks the mug dripping of beer.
Remains still for a brief moment.
PERMANSKY
So this is the stuff.
HENCHMAN
Just as you ordered, sir.
PERMANSKY
Good.
HENCHMAN
Should we prepare for the next operation?
PERMANSKY
Not yet. For the next one, it's gonna be a little different.
INT. JOHNNY WALLER'S ANTIQUE SHOP/SPEAKEASY - NIGHT
In a basement speakeasy, several of the town's men are gathered sitting around in silence. A mug sits under a beer tap with the nozzle down. The men, with their eyes fixated on the mug, anxiously await the first drop of beer to fall out.
MAN
(pounds on table)
Beer!
JOHNNY
Hey, now I told you once and I'm not going to tell you again. You'll
get what you paid for. Just give it some time.
One of the men in the saloon walk over to JOHNNY Waller, 55, the barkeeper who owns the speakeasy.
TOWNSMAN
Why don't you go and head out. I'll hold them off.
JOHNNY
A tender never abandons his bar.
TOWNSMAN
Maybe so, but you see if these people don't get what they came here for, they're gonna take it out of your hide.
JOHNNY
I'll refund their money.
The man chuckles.
TOWNSMAN
It's not the money that they're
worried about. You see, these people came here for one reason and
(MORE)
TOWNSMAN (CONT'D)
one reason only-- and if they don't get it...
The man abruptly jams a pocket knife down on the counter.
TOWNSMAN (CONT'D)
Got it?
Eyes wide open, Johnny nods. The man pulls the knife out and waves it in front of his face as a warning. The room erupts in loud protest.
JOHNNY
Now that's enough!
The crowd mellows to a silence.
JOHNNY (CONT'D)
Look at yourselves. Look what the dependence on alcohol has done to you all. It's turned you into
raving lunatics. You have no self control. What you people need isn't alcohol. You need a life.
He places his hand around a lever with a red knob that says escape in white lettering.
JOHNNY (CONT'D)
Jack, you missed your anniversary dinner because you were here drinking. Rodney, you missed the birth of your daughter because you were here drinking. And George-- well, keep on trying.
George drops his head in disappointment.
JOHNNY (CONT'D)
The point that I'm trying to make
is that alcohol is the root of all...
A brick wall in the basement spins around revealing JAY Jones, the Crimson Sly, 29, from his back facing the mantle. As he turns his head around slowly, one eye looks over the opposite shoulder.
We see an African American dressed in black oxford bags and a dress shirt with a popped collar. He's wearing suspenders with the straps crossing his chest. He's wearing a fedora on his head.
Silence.
Jay turns his head toward the beer tap. Johnny pulls the handle down and beer rushes out filling the mug in seconds. The room breaks out in cheer. Johnny starts serving up the beer. People play cards as they drink and have a merry time. Jay sits at the counter in front of Johnny.
JOHNNY (CONT'D)
You had me worried. I didn't think you made it.
JAY
My apologies. I ran into a few roughnecks outside. Your men?
JOHNNY
His.
Johnny gestures to the unknown townsman.
JOHNNY (CONT'D)
They give you trouble?
EXT. ANTIQUE SHOP - NIGHT
The men outside the shop are shown writhing on the ground, trying to get to their feet and moaning in pain.
INT. SPEAKEASY - NIGHT
Johnny fills up a mug of beer and sets it in front of Jay.
JAY
Hardly.
JOHNNY
I hear Rick's thinking bout gettin
(MORE)
JOHNNY (CONT'D)
out of the business. Found himself a girl a while back and he's gonna settle down.
He remains quiet as he stares into his drink. Johnny takes a cloth and starts wiping down the counter.
JOHNNY (CONT'D)
Remember Henson? Think he got married a month ago. Haven't seen him in a while.
JAY
More business for me.
JOHNNY
All of my guys are moving on.
JAY
If you have something to say to me, then say it.
JOHNNY
Of all the men that work for me, you stand out from the rest.
Beat
JOHNNY (CONT'D)
You and I have a connection and I can't help but to feel-- well, you're like the son I never had.
Jay looks up at him.
JAY
You have a son, Billy.
JOHNNY
The point that I'm trying to make is that I want what's best for you. You deserve to live a happy life.
Jay is despondent. Johnny leans in closer to him.
JAY
My life isn't?
Johnny throws down a newspaper on the bar counter. The bolded headline reads, WANTED: THE CRIMSON SLY.
JAY (CONT'D)
The Crimson Sly?
JOHNNY
They don't even appreciate your work.
JAY
Makes me sound like a villain.
JOHNNY
(gleefully)
You are.
Jay glares at him.
JOHNNY (CONT'D)
I mean that with the utmost respect, sir.
JAY
Don't assign me to anymore wineries. I don't think I can stomach these names.
JOHNNY
You might want to consider retirement anyway. There's rumors going round about this crime boss with deep ties to the mob. I'm worried he might try to make inroads on our territory.
JAY
Hasn't stopped me yet.
JOHNNY
Damn it, Jay. What the hell are you
(MORE)
JOHNNY (CONT'D)
gonna do when there's no more alcohol?
The entire room comes to a silent halt. A man clutches his chest as if he's having a heart attack and falls off his barstool. Johnny, with a lump in his throat, explains.
JOHNNY (CONT'D)
It was just a joke.
The hoard of people breath a sigh of relief and continue having a merry time.
JAY
Close call.
JOHNNY
No kidding.
One guy is seen holding up the man on the floor fanning him with his hat. Another guy comes with a mug of beer and throws it in his face.
JOHNNY (CONT'D)
All I'm saying is that I've got a house with extra rooms for you and Thelma. Just in case times get rough.
Jay chugs the last quarter of his beer.
JAY
Put it on my tab.
Jay walks over to the mantle.
JOHNNY
(loudly)
What the hell are you doing this for anyways?
The mantle spins and turns to the brick wall side as Jay leaves the room.
EXT. ANTIQUE SHOP - NIGHT
Jay walks outside where the thugs are still writhing with pain on the ground. As he walks by them each one squirms away in fear. Jay gets into his pick up truck and decompresses. He drives off.
EXT. APARTMENT - NIGHT
Jay drives up across the street from the apartment. A couple of homeless people are huddled around a trashcan with fire burning trying to keep warm. He approaches them heading towards the entrance of the building.
HOBO
Is that who I think it is?
The hobo laughs.
HOBO (CONT'D)
Well, I'll be. Where've you been?
JAY
I was away on business.
HOBO
Why of course. A working man puttin' food on the table.
Jay starts towards the apartment.
HOBO (CONT'D)
Hey Jay, how bout a charitable donation for this non-workin' man.
The hobo holds out his hat for him to put money in. Jay reaches into his pocket and pulls out his hip flask. He pauses for a moment and tosses the hip flask into the hat.
JAY
Enjoy.
The hobo looks in the hat and then looks at the other hobos.
HOBO
Works for me.
INT. APARTMENT - NIGHT
Jay walks up the flight of steps to his room. He notices the door has been left slightly open. His eyes narrow. Sauntering as quietly as possible, he moves in on the door taking out his gun.
He moves the door open with his shoulder inspecting the room for an intruder. The water is running out of the facet. He walks over to the sink and shuts it off.
A pot hitting the ground comes from the pantry redirecting his attention. He approaches the pantry cautiously. He puts his hand on the handle and pulls the door open pointing his gun in the face of the infiltrator.
THELMA
You wouldn't shoot an old lady, now would you?
He puts the gun back in his holster and removes his fedora.
JAY
I thought somebody broke in.
THELMA
What on earth gave you that idea?
JAY
You left the door open and the faucet running.
THELMA
I was trying to let some cool air in. The heater's on the fritz again.
THELMA, 60, walks over to the sink holding the pot and turns the water back on.
JAY
You shouldn't be out of bed.
THELMA
Nonsense.
JAY
I'm just looking out for you.
THELMA
Save it. I'm a grown woman. I can take care of myself. You have your own problems to worry about.
Beat
THELMA (CONT'D)
So?
JAY
What?
THELMA
I can read your face like a book. Just spit it out already.
Jay remains silent as he drops his head.
THELMA (CONT'D)
It's about the move, isn't it?
JAY
We're still moving out.
THELMA
Then when are we leaving?
JAY
Soon.
THELMA
Soon tomorrow or soon next year?
JAY
Soon.
THELMA
You've been saying that for months.
(MORE)
THELMA (CONT'D)
I'll believe it when it happens. I don't understand what keeps you tied to this place.
JAY
Business is good here.
THELMA
It's dangerous here.
JAY
That comes with the territory.
She takes a knife and begins cutting the vegetables she had set aside on a cutting board.
THELMA
When we move... if we move, you'll find yourself a good and safe job.
She walks over to a cabinet and gets a wooden spoon.
JAY
I have to make a run out of town.
THELMA
Again? They're running roughshod over you.
Jay makes his way over to the door and cracks it open slightly, covertly looking through it.
THELMA (CONT'D)
Have you ever been to the midwest?
JAY
I made some runs in Chicago. Besides that, not much out there.
THELMA
Exactly. It's lovely. I think you'll like it there. It's a much slower lifestyle.
JAY
Can I ask you a question?
THELMA
Sure.
JAY
Lately, have you been feeling like someone's been watching you?
THELMA
No.
She puts the vegetables in a collander and brings it over to the sink under the running water. She begins to mix the vegetables up as she rinses them in water.
THELMA (CONT'D)
Have you been feeling that way?
She stops rinsing the vegetables turning her attention to him.
JAY
Yeah, but it's probably just in my head.
THELMA
It's all that stress you've been dealing with. A move out to the country would do you some good.
JAY
I'll keep that in mind while I'm out tonight.
Jay heads towards the door.
THELMA
Jay.
He turns back to her.
THELMA (CONT'D)
Be safe.
He nods as he puts his fedora on his head and closes the door on his way out.
SUPER: PROVIDENCE, RHODE ISLAND
EXT. MANSION - NIGHT
A car drives up to a luxurious mansion. Many cars are parked outside. A man and his wife, dressed elegantly, exit the car and walk to the mansion. People can be seen chatting to one another through the large windows of the house. A butler is standing by as he opens the door for them to enter.
INT. MANSION - NIGHT
Loud chatter amongst the guests fill the room. A man with a tray of hors d'oeuvres is walking around offering them to people. Permansky walks down the spiral set of stairs as the guests applaud. At the bottom of the steps is a white sheet covering a big picture on an easle. He takes a glass of champaign off the tray of another butler, holds it up in acceptance and takes a sip.
The applause dies down.
PERMANSKY
Thank you for that warm welcome. Give yourselves a round of applause
too.
The guests start clapping for each other.
PERMANSKY (CONT'D)
It's important that we share this
achievement because without you, it couldn't have been done.
The applause once again dies down.
PERMANSKY (CONT'D)
Ladies and gentlemen, we are on the
brink of a revolution. One that seeks not only to control selling and distribution on the entire
(MORE)
PERMANSKY (CONT'D)
eastern seaboard but also one that seeks to sell and distribute alcohol out west through our new shipping system.
He pulls the sheet off the map which details the travel routes and destination points.
PERMANSKY (CONT'D)
The fastest coast to coast
transport of alcohol that man will ever know. This is what will separate us from the pack and establish us as the only game in town. We'll be the only game in the country.
EXT. TRAIN STATION - NIGHT
Men are hauling barrels on to the train.
PERMANSKY (V.O.)
Of course with an operation such as ours, there will be those who try to stop us.
Police cars arrive to the scene. They approach the smugglers.
PERMANSKY (V.O.)
But don't be deterred--
The smugglers grab a bag off the ground and open it to them revealing wads of cash. The police chief turns back to his men and ushers them to head back.
PERMANSKY (V.O.)
--for there is nobody that money can't buy--
The smuggler turns back to the other smugglers as they smile at each other.
INT. MANSION - NIGHT
PERMANSKY
--except for one. One who chooses to buck the hands of corruption and who believes he can still uphold the old moralistic norms of smuggling... Jay Jones.
The guests burst out with boos of displeasure.
INT. GLEN BREWERY/STORAGE ROOM - NIGHT
The lights shut off in the brewery as the all the workers evacuate the building.
PERMANSKY (V.O.)
As I speak, he's on his way to the Glen Brewery.
A rope drops from the ceiling moments later as Jay climbs his way down with a huge sack strapped to his shoulder. He heads to the barrels across from the stainless steel vessel and prys it open with a crowbar.
PERMANSKY (V.O.)
Little does he know, he's in for quite the surprise.
He catches a whiff of the beer and stops for a second. He leans in closer and whaffs the beer in his face.
INT. MANSION - NIGHT
PERMANSKY
Sure, I could just kill him, but where's the fun in that?
INT. APARTMENT/THELMA'S ROOM - NIGHT
Thelma hears someone knock on the door. She looks through the peephole. With a face of terror she backs away.
We see the person on the outside kick the door. Thelma backs over against the cabinet drawer. She turns and grabs a knife out of it.
PERMANSKY (V.O.)
Why do the dirty work myself when I can have the dirty work done for me?
We see the person on the outside kick the door open. Thelma braces herself and lunges at the attacker with the knife. The attacker kicks the knife out of her hand. Thelma takes off running for her room.
She tries to close the door behind her but the intruder pushes the door open knocking her back. Thelma goes to deliver a punch but the intruder catches her arm and tosses her back into her drawer knocking a picture off as it smashes on the ground. The intruder pulls a gun and shoots her.
INT. MANSION - NIGHT
PERMANSKY
Together with our abundant wealth and prosperity, nothing will stand in our way. We will have no one to answer too but ourselves. We will
live above the law because corruption refuses to lay down one. It will be our decade of divine domination and decadence. And remember this... it's only the beginning.
The guests break out in cheer.
INT. STORAGE ROOM - NIGHT
Jay enters the storage where there are several barrels stacked up. He takes a spigot out of his pocket and jams it in one of the barrels.
He cups his hands and smells the beer. Tilting his head up with narrowed eyes and a precarious look, he lets the beer go and wipes his hands on his pants.
Suddenly, a loud crash echoes through out the building. He pulls out his gun and walks cautiously to the door. He bends down and opens the door slightly. Shots immediately are fired as he falls back.
HEAD SMUGGLER
You're trapped like a rat. Don't make this any harder than it has to be. Come out at once.
Jay takes out a canister with a wind up dial from a pack strapped to his waist.
JAY
Shoot and you'll blow this entire
brewery sky high. The barrels are rigged with bombs.
He grabs a barrel and dumps out the acetone. He sets the time on the canister and places it in the barrel.
HEAD SMUGGLER
Come out or we're coming in.
He puts the lid back on and slides the barrel nudging it with his shoulder as he crouches behind it.
HEAD SMUGGLER
Come out from behind the barrel.
JAY
Put the guns down.
The HEAD SMUGGLER, 41, smirks.
HEAD SMUGGLER
You just don't know when to quit. Even if we decide not to kill you, you'll still face being captured and turned in.
JAY
You have nothing to gain from turning me in.
HEAD SMUGGLER
Thirty five grand says otherwise.
JAY
And yet you'd still be worth less than me dead.
One of the smugglers does a small chuckle and the head smuggler shoots him.
HEAD SMUGGLER
That's enough. No more games.
The head smuggler starts walking over to Jay. Jay pops up from behind the barrel and points his grappling gun at the barrel.
JAY
Don't move or I'll shoot.
HEAD SMUGGLER
You're bluffing.
JAY
Guns-- drop'em.
HEAD SMUGGLER
You first.
JAY
At the same time.
Jay points with his free hand at his henchmen.
JAY (CONT'D)
Tell them to leave.
The head smuggler snickers turning back to his men.
HEAD SMUGGLER
Leave the premises.
The smugglers reluctantly evacuate the building. The head smuggler turns back to Jay.
HEAD SMUGGLER (CONT'D)
I must say, I'm a little underwhelmed.
JAY
Really?
HEAD SMUGGLER
I had no idea one of the most illustrious smugglers valued his life so dearly. It's not a good look for you.
JAY
Is that so?
HEAD SMUGGLER
Definitely, but I must ask one question before I blow your head off. Did you really think I was
(MORE)
HEAD SMUGGLER (CONT'D)
that stupid to fall for that fake bomb?
JAY
If you knew, then why didn't you kill me?
HEAD SMUGGLER
Savoring the moment. Any last words?
JAY
I'll let you have that honor.
The head smuggler raises his tommy gun.
HEAD SMUGGLER
Then say goodbye, Mr. Jones.
The smoke bomb explodes the barrel open. The room becomes a thick white cloud. Hearing the commotion, the smugglers rush in. The smoke dissipates.
The smugglers are left looking around. The smuggler walks over to the head smuggler lying down lifelessly on the ground with a gun shot wound in his chest. He bends down beside him. The cold blank stare of the head smuggler glares back at him.
On the roof of the brewery, Jay is pulling back the hook to his grappling gun. He observes the fallout from above.
JAY
Goodbye.
SUPER: BALTIMORE, MARYLAND
INT. AL'S SPEAKEASY/HALLWAY - NIGHT
The bar is full of people drinking and carrying on. AL, 53, the barkeeper, argues with Jay in a hallway.
AL
Where is it?
JAY
I have no clue. They stole some of the alcohol and tainted what was left with acetone.
AL
Acetone? Who would do that?
JAY
I might have an idea, but I'm not sure.
AL
I'm gonna lose my business at this
rate. I'm in the business of making money and since you've been screwing up lately, it comes at a price at my expense.
JAY
I'll run more jobs if you need me too.
AL
... That's alright. We just have to figure out a way to make up for our losses.
JAY
Any ideas?
AL
How's rum row sound?
JAY
Sounds like a solution.
AL
There's a shipment of rum waiting
right outside the Chesapeake. Can you handle it?
JAY
It's already done.
Jay leaves.
INT. APARTMENT - NIGHT
Police siren sounds. Jay heads to the apartment room.
He enters and finds it trashed. He immediately arms himself.
Opens the pantry. Nothing.
-CRASH!
He stoops to her room and barges the door open. Black cat scampers out the broken window on to the fire escape. Thelma lies on the ground with a gun shot wound in her abdominal region. He checks on her.
JAY
Thelma... Thelma!
Jay checks the pulse on her neck to no avail. He lays her down gently. He picks up a picture of him with Thelma when he was young. A glass shard sits on top of the broken picture frame. He pulls the glass shard out staring at the picture.
He drops the picture on the ground and squeezes the glass shard in his other hand. A tear runs down his face. As he squeezes the shard, a drop of blood falls on to the picture.
INT. CAR - DAY
Permansky is riding in the backseat of his luxury car as his butler drives. The car starts slowing down.
PERMANSKY
Why are we slowing down?
BUTLER
I think we're being followed. I wanted to see if the person will pass us.
Permansky looks behind through the rear windshield.
PERMANSKY
Pull over.
His butler pulls the car over to the side of the road and the car behind them does the same.
TIM O'Doyle, 39, steps out of the vehicle and walks up to the driver's side.
TIM
(to butler)
Are you Thomas Permansky?
Permansky steps out of the car.
PERMANSKY
This is he. What's the meaning of this?
TIM
I'm officer Tim O'Doyle. Two months ago you made a deal with the police chief to forgo your smuggling operations in exchange for money.
PERMANSKY
Which police chief?
Tim smiles sensing his sarcastic remark.
TIM
I just want to warn you that there are people who are aware of what you're doing and aren't as compliant.
PERMANSKY
You?
TIM
I happen to be one of them.
PERMANSKY
I don't think the police chief would take too kindly to one of his men going rogue.
TIM
Neither do I. That's why I sent in my resignation.
PERMANSKY
So what, you're just playing cop?
TIM
Somebody has to around here and I know all too well that in order to stop people like you, it can't be done within the realm of the law.
PERMANSKY
You're making a big mistake that you'll soon regret.
TIM
Shut it down or I'll shut it down for you.
Permansky smirks.
PERMANSKY
Is that a threat, Mr. O'Doyle?
TIM
You bet it is.
Tim gets back in his car and drives off as Permansky looks on.
EXT. LAKE - DAY
Johnny comes walking up to the burial ground where Jay laid Thelma. In his hand are three roses. Lays them down on her grave.
JOHNNY
She was one of a kind. She'll be missed. Are you okay?
Jay nods his head.
JOHNNY (CONT'D)
If you had told me earlier, I could have given her a proper burial at the cemetary.
JAY
Unnecessary. She liked it here. It's where she went to clear her mind-- to find peace.
JOHNNY
So who's the rat?
JAY
I don't know.
JOHNNY
Any clues?
Jay drops his head.
JAY
You were right. I should have listened to you.
JOHNNY
Don't beat yourself up over this.
It wasn't your fault. There's no way you could have known.
JAY
If I had just followed my intuition, this wouldn't have happened.
JOHNNY
Somebody's spying on you. I don't
think she would have been safe no matter what you did.
JAY
... Even if I wasn't in this business?
JOHNNY
Listen, I know before I was talking about you retiring, but I'm glad you became a smuggler. Otherwise, we would have never met. Thelma was glad you became one. You made her proud. And you made me a lot of money.
Jay looks over at him with a raised eyebrow.
JOHNNY (CONT'D)
I mean proud too. My point is when you're the best at something, people will always go after you to get you to stop. Don't let that discourage you. I mean look at me and my bar.
JAY
Who's going after you?
JOHNNY
Nobody. That's my point. If I was any good, tons of people would be gunning for me. It's this dang
shoulder injury from my ball pitching days. It's always locking
up on me. I can't pour a drink without spilling it.
JAY
John, are you saying you don't want me to retire?
JOHNNY
... I don't know, but whatever decision you make, I'll support it fully.
JAY
Speaking of decisions, are you sure you made a smart one coming out here to see me?
JOHNNY
Sure did. I decided to shut down for the time being and head out of town. Could use a vacation anyway.
JAY
Vacation-- let me know what that's like.
Jay starts walking away.
JOHNNY
Hey Jay, what are you going to do if you catch the person who did this?
Stops walking and turns back.
JAY
I operate under a code where you do on to others what others do on to you.
JOHNNY
You gonna clip'em?
JAY
... Only if they're lucky.
Continues walking away leaving Johnny at the grave site as he pays his respects.
EXT. RUM ROW - NIGHT
Amidst the fog, Jay approaches the ship in his baby bootlegger.
Eerie quietness.
He stops his boat beside the ship. Stands up and looks around, waiting for somebody to rheel him up.
He heaves his grappling hook over the rail on the side. Pulls his boat closer to the ship. He gives a tug on the hook to make sure it's safe to climb. He walks up the side of the ship. Climbs over the rail.
Deserted ship.
Jay goes into the captain's room. Nobody. Goes down to the lower deck of the ship. He finds barrels upon barrels stored there. He takes out his crobar.
Suddenly, his eyes narrow. The sound of a throwing star slices through the air and sticks right into the back of his hand. He drops the crobar and turns around. A throwing star takes off his fedora and pins it on to a wall. He pulls the throwing star out of his hand and throws it. ROXANNE Marks, 31, an African American woman, walks out of the dark into the moon's glowing light with the throwing star and licks the blood off it.
JAY
Roxanne?
ROXANNE
Don't look so surprised. When you mess with me, I mess back.
He pulls his gun. She throws the star at his wrist as he drops the gun. She cartwheels and somersaults over to Jay and throws a round house kick. He blocks it and punches her in the face. She stumbles over to the barrels as Jay comes up from behind. She kicks back into his abdomen and slams his face into the lid of a barrel.
He retaliates and tosses her into the barrels. He walks over to his gun and bends down to pick it up. A whip wraps around his wrist stopping him.
ROXANNE (CONT'D)
We're just getting started.
Roxanne pulls the whip yanking him down to the ground. She drags him across the floor and into a pillar. as she tries to pull him across the floor, Jay grabs the pillar with one hand. They both pull the whip until it begins to rip in the middle. She lets out a yell struggling to pull him away. The rope tears and Roxanne falls back. They both get up to their feet.
JAY
Alright. Let's see what you've got.
The shit's on! Fists up, Roxanne circles around Jay. She kicks him in the abdomen and punches him across the face. Jay stumbles back. Yelling as he charges at her, he unleashes a flurry of strikes which she manages to evade. She grabs him, and tosses him down to the ground.
Jay recovers and gets back to his feet. Once again, he charges at her as she impedes his progress with a side kick to the gut. Then another kick to the gut. Sly is bent over in pain. She rounds up a reverse back kick but he catches her leg.
He aggressively grabs her by the neck trying to choke her. She struggles to break loose. She rams him back against the wall but he doesn't relinquish his hold. She slowly drops to the ground and grabs the crobar. She hits him in the face with it as she breaks free. She springs for the gun lying on the ground and points it at him.
ROXANNE
This was fun. We should do it again some time.
She smiles.
ROXANNE
You know, every time we meet, I'm always beating you at your own game. I'm starting to wonder why you're in this business.
She pulls the trigger but nothing happens. Jay stands up from the ground putting his hand up. He releases the bullets from his hand as they hit the ground.
JAY
That's why.
He pulls a gun from around his waist.
ROXANNE
So this is how it ends.
Roxanne smiles sydistically. She closes her eyes. Jay shoots the gun and a huge net wraps around her as she falls to the ground.
ROXANNE (CONT'D)
(embarrassed)
This is worse than death.
JAY
I know.
He walks over to her and bends down loading his gun with the bullets from the ground.
JAY (CONT'D)
I'm in no mood for games tonight.
He points the gun at the side of her head.
JAY (CONT'D)
Start talking.
ROXANNE
About what?
He shifts the gun a couple inches from her head and shoots it in front of her face.
ROXANNE (CONT'D)
(sarcastically)
Now I'm scared.
JAY
I'm waiting.
ROXANNE
For what? It's you who should be doing the talking.
JAY
What are you talking about?
ROXANNE
What are you talking about?
JAY
Were you or were you not involved with the raid at Glen's brewery?
ROXANNE
I wasn't anywhere near that place?
JAY
I smelled acetone, Rox.
ROXANNE
I have no clue what you're talking about.
JAY
I have it on good record that you're notorious for swapping out liquor with acetone barrels.
ROXANNE
If I raided Glen, then it's news to me.
Puts the gun in his holster.
JAY
How's it feel to finish last for the first time?
He opens a barrel with a crobar.
ROXANNE
(mockingly)
Rum's gone.
He yells and throws his crobar in frustration.
EXT. CHESAPEAKE BAY - NIGHT
Jay and Roxanne head back to shore on his baby bootlegger.
ROXANNE
How long are you going to keep me tied up like this?
JAY
Until the taste of victory becomes bitter.
ROXANNE
What victory? You didn't win.
JAY
I'm not walking away with rum, but this is a consolation prize.
ROXANNE
What are you talking about?
JAY
I'm gonna turn you in and pick up the bounty. That'll make up for lost revenue.
ROXANNE
How? You're wanted too.
JAY
It's called friends, Rox. Something you know nothing about.
ROXANNE
You're a fool.
JAY
And you're a psychotic wench.
She spits at his face. He wipes the spit away.
JAY (CONT'D)
I love you too.
ROXANNE
Friends-- it's that kind of mentality that holds you back. You
work for them like a slave. Did it
occur to you that you could work for yourself?
JAY
My business affairs are equal partnerships.
ROXANNE
You equal to a white man-- that'll be the day.
JAY
Not everybody's as cold as you think.
ROXANNE
Maybe so, but that'll always stop you from making the coin that I do.
JAY
So you don't work with anybody?
ROXANNE
I'm the boss. I pick and choose what I want to do. I don't work for or with anybody. I don't search for work, work searches for me and if the money's right, then I'll do the job no matter what it is.
JAY
Then harlem harlot's a fitting
name. Some of us aren't whores for
money. One of these days, your obsession over it will blindly lead you to making a huge mistake. Who knows? It could even lead to your own demise.
ROXANNE
If you're half as smart as you look you would have killed me when you had the opportunity because when I
get the chance, that's exactly what I'm going to do to you.
JAY
Fat chance.
ROXANNE
It's you who should be turned in after what you did in New York.
JAY
What are you talking about?
ROXANNE
Don't play innocent.
He looks at her.
JAY
I'm not playing. I don't know what the hell you're talking about.
ROXANNE
Rumors were going round that Thomas
Permansky was getting into the business.
JAY
The drug lord in Rhode Island?
ROXANNE
Yeah. When all the smugglers that serviced the major distribution points in Albany, Rochester and
Buffalo wound up missing, he raided the breweries.
JAY
The gambit.
ROXANNE
Exactly and by gaining an advantage over selling and distribution, he'll put the bars that those smugglers served out of business.
JAY
But what's that got to do with me.
ROXANNE
People said that you linked up with him.
JAY
People lie. I think we've been set up.
ROXANNE
Why?
JAY
Because we're a threat to his operation. They were trying to frame you to throw me off their tail. Then they spread the rumor that I was working with them. You and I end up at each other's throats and consequently, that's
one less smuggler for them to worry about.
ROXANNE
Are you going to cut me out now?
JAY
Why should I?
ROXANNE
Because if you don't I'm not going
to tell you where the next hit's going to be.
JAY
How do you know where the next hit's going to be?
ROXANNE
... About two years ago I used to
run for Ray Bigsby's jazz club in Harlem. Late one night, I was approached by two men to join their
organization. The money they offered was good so I took the gig.
JAY
Then what happened?
ROXANNE
We were called in for a meeting where they formulated a systematic plan on how they were going to branch out west. The plan had a
(MORE)
ROXANNE (CONT'D)
list of underground breweries as targets but they wanted me to smuggle from my own district in Harlem and rip the people off that I worked with.
JAY
That made you stop working with them?
ROXANNE
That made me stop working with everybody. I like making money, not enemies. These days, I don't do
work that has commitments to partnerships, organizations or gangs.
He bends down and begins cutting off the net.
JAY
Until now.
EXT. UNDERGROUND RAILWAY - NIGHT
A hoard of people are gathered around the train. Permansky walks in front of the train to command the crowd's attention.
PERMANSKY
Thank you all for coming out. This is a very special event. Tonight we partake in the grand opening of the Thomas A. Permansky Railway.
The crowd applauds.
PERMANSKY
What makes this so special is that it's a testament to my sheer will to succeed and that's important because when I succeed, you succeed.
INT. DINER - NIGHT
Tim O'Doyle puts on his fedora and leaves the diner as he nods to the server on the way out. The server goes to the phone and makes a covert call to somebody.
PERMANSKY (V.O.)
Unfortunately, there are people who stand to oppose us. People who
stand in the way of achieving our goals.
EXT. STREET - NIGHT
Tim O'Doyle gets in his car on the side of the road. He takes off and is trailed by someone in another car from twenty feet behind.
PERMANSKY (V.O.)
These are people that must be done away with immediately. I won't let
our blood, sweat and tears go to waste over a few malcontents that just don't understand what we're trying to do.
EXT. HOTEL - NIGHT
The receptionist hangs up the phone as soon as he sees O'Doyle. O'Doyle checks into the hotel and heads to his room.
PERMANSKY (V.O.)
Trust that everything is well in hand. Our enemy will be dealt with.
As O'Doyle lays in his bed, he's jumped by a group of men.
PERMANSKY (V.O.)
So tonight we will commemorate this historic event.
EXT. UNDERGROUND RAILWAY - NIGHT
PERMANSKY
Men!
Permansky's henchmen carry out a beaten to a bloody pulp O'Doyle.
PERMANSKY (CONT'D)
Ladies and gentlemen, officer Timothy O'Doyle.
The crowd gives an applause. The henchmen begin tying O'Doyle down to the tracks.
Permansky bends down over O'Doyle.
PERMANSKY (CONT'D)
Any last words?
O'Doyle is too beat up to put a sentence together much less, a word.
PERMANSKY (CONT'D)
He said start it up!
The train starts up. Permansky takes a few steps back.
As the train runs over O'Doyle, the crowd erupts in an eery way akin to a Roman coliseum crowd watching a public execution.
EXT. AL'S SPEAKEASY - NIGHT
Jay drives up to the speakeasy which is disguised as an old, closed down library.
INT. PICKUP TRUCK - NIGHT
JAY
I have to take care of a business obligation.
ROXANNE
We don't have time for this.
JAY
It'll only take a minute.
Jay leaves the car.
EXT. AL'S SPEAKEASY - NIGHT
Jay walks to a bookcase and tilts one of the books.
Wall turns.
Jay is taken into a dimly lit bar room. Nobody home except...
JAY
Al!
AL
I'm in my office! Come on back!
Jay opens the door and walks into his office where it's completely dark.
INT. OFFICE - NIGHT
JAY
Al?
The door shuts behind him. The lights switch on. The room is filled with several men armed with clubs, 2x4's, chains and everything but the kitchen sink.
Al is sitting at his desk.
JAY (CONT'D)
What's going on?
AL
Do you have what I sent you out for?
JAY
The shipment was gone by the time I got there.
AL
That's what I thought I would hear.
Al gets up from his desk.
AL (CONT'D)
Boys, you know what to do. Knock when you're done.
Al walks by Jay.
JAY
I was loyal to you and now you're double crossing me?
AL
Jay, your screw ups come at a price.
JAY
You're a snake.
AL
No, I'm a business man.
Al leaves the room.
INT. AL'S SPEAKEASY - NIGHT
Al grabs a chair and props it under the door knob. He heads to the bar counter and poors himself some scotch in a shot glass.
INT. OFFICE - NIGHT
One of the men holding a club walks towards Jay.
HITMAN
I'm gonna enjoy this so much.
JAY
Took the words right out of my mouth.
The man swings the club.
Jay stabs his arm with a pocket knife, kicks him in the groin and grabs the club out of his hand. He swings the club at his face.
Two guys, one with a chain and the other with a 2x4, attack him.
INT. PICKUP TRUCK - NIGHT
Roxanne is putting nail polish removal on her nails as she waits in the truck.
INT. OFFICE - NIGHT
The guy swings the chain at Jay as he dodges it.
The man with a 2x4 swings at him and Jay blocks it with his club knocking the 2x4 out of his hand.
A third man with a chain sneaks up from behind and wraps the chain around his neck.
The men all go to gang up on him. Jay grabs his grappling gun and shoots the light out.
Sounds of men being taken out are made. One by one Jay combats each one in the dark.
INT. AL'S SPEAKEASY - NIGHT
Al is counting his money hunched over the bar counter. Suddenly a loud yell of a man echos throughout the bar.
He smiles in satisfaction.
INT. PICKUP TRUCK - NIGHT
Roxanne looks out the window. Grows tired.
INT. OFFICE - NIGHT
More sounds in the dark are heard of Jay taking the men out. The last grunting sound is made.
INT. AL'S SPEAKEASY - NIGHT
Knocks on the office door are heard. Al gets up and moves the chair away from the door. He opens it. Jay walks out with a gun pointed at his head.
AL
Wait. No. Please, don't. You want money? I'll give you anything, anything you want. Just please don't shoot.
JAY
Okay, I won't.
Jay puts his gun back in his holster and retreats out through the swivel bookcase.
Al breathes a sigh of relief. He heads over to the bar and pours himself a shot of vodka. He picks up the glass and before he can wolf it down the bookcase swivels again.
Roxanne is revealed as the one entering the bar. Al puts the glass down. She stands there staring at him with a blank expression.
AL
I'm sorry, but we're closed.
ROXANNE
I know.
Roxanne pulls her gun and shoots him dead.
EXT. PERMANSKY'S CAR - DAY
Permansky is about to step into the back seat of his car when one of his butlers come up to him.
BUTLER
Sir, I've just received word that your shipment of rum came in from the Carribean.
PERMANSKY
Thank you. I'll take care of that as soon as possible.
Permansky steps inside the car where SNIVE, 30s, his personal assistant, is in the backseat.
INT. PERMANSKY'S CAR - DAY
PERMANSKY
There's been a change of plans. Take me to the train station.
Turning to Snive.
PERMANSKY (CONT'D)
The shipment came in. It's time we put our expansion into effect. First, we do a light trial run before the real thing.
A look of apprehension on Snive.
PERMANSKY (CONT'D)
You look troubled.
SNIVE
I'm sorry, sir. It's just that I've been thinking a lot about Jay and
the Roxanne. What if everything
doesn't go according to plan? What if they didn't kill each other? And if she lives, isn't that potentially dangerous considering she knows some of our plans?
PERMANSKY
You're about to receive your first lesson in the Thomas Permansky school of life-- always be prepared.
SUPER: RICHMOND, VIRGINIA
INT. SLY'S PICKUP TRUCK - DAY
Jay is driving his truck while Roxanne rides in the passenger seat.
JAY
So are you gonna tell me his plans or not?
ROXANNE
Just keep driving.
JAY
I don't even know where we're going.
ROXANNE
Do you always worry this much?
JAY
Only when I'm working with a lunatic.
ROXANNE
Aw Jay, are you still afraid of me?
JAY
Repulsed would be the correct word.
ROXANNE
You can trust me, really.
JAY
If that were true, you'd give me the map right now.
ROXANNE
You know I can't do that.
JAY
Because you're plotting something?
ROXANNE
Because I can't trust you.
Jay glances over at her and shakes his head.
JAY
Harlem Harlot.
ROXANNE
Don't be mad because I play the game better than you.
JAY
We'll see about that.
EXT. TRAIN STATION - DAY
A train pulls into the station. Horn blows.
INT. TRAIN STATION - DAY
Jay and Roxanne are amidst a sea of black people buzzing around trying to get on their train. They look at the listings under the heading COLORED. It reads:
RICHMOND, VIRGINIA to CHARLESTON, SOUTH CAROLINA
ROXANNE
Damn it!
JAY
I guess you didn't think this one out so well, huh?
ROXANNE
It's just a slight misstep. It'll just take a little longer to get down to Florida by car.
Jay looks over across the room. The listings under the heading says WHITES. It reads:
RICHMOND, VIRGINIA to GAINESVILLE, FLORIDA
Jay nudges Roxanne, pointing to the listing.
JAY
That's our ticket.
ROXANNE
Am I the only one that sees something wrong here?
JAY
We're getting on that train.
ROXANNE
Jay, we're as black as the night is dark. There's no way in hell we're getting on that train.
CUT TO:
INT. TRAIN - DAY
Jay walks down the corridor of the train in a KKK outfit when he sees Roxanne wave him into a room. Jay enters the room and shuts the door behind him locking it.
ROXANNE
Did you find out anything?
JAY
No luck.
Jay sits down on the chair taking off his hood.
JAY (CONT'D)
You?
ROXANNE
(sighs)
Nothing.
Roxanne takes off her hood.
JAY
Are you sure you're remembering the route correctly?
ROXANNE
It's my livlihood on the line. Trust me, I wouldn't screw something up like this.
JAY
Nobody has any knowledge of any other train in the area besides this one.
ROXANNE
So what now?
Jay takes off his cloak and climbs himself into bed.
ROXANNE (CONT'D)
What are you doing?
JAY
What's it look like I'm doing?
ROXANNE
You're going to sleep at a time like this?
JAY
It's four hours until we reach
Florida. I'll be able to operate better off a few hours rest. You should get some sleep too. You're gonna need it.
Roxanne stands there completely flustered at Jay's inaction. She puts on her hood and walks out the room to continue investigating.
LATER
INT. TRAIN - DAY
Roxanne walks back into the room. She takes off the hood and sees Jay sleeping with the covers over his head.
ROXANNE
Jay, you awake?
No response.
ROXANNE (CONT'D)
This is wild.
She walks over to his bedside taking off her cloak.
ROXANNE (CONT'D)
Seems like it was just yesterday
(MORE)
ROXANNE (CONT'D)
that you and I were fighting for supremacy in New York City and now you and I are working together.
Roxanne pulls her gun.
ROXANNE (CONT'D)
We were working together.
A gun is pulled on the back of her head.
JAY
Think again.
Roxanne turns around.
ROXANNE
Jay? But you... how did you...
Roxanne pulls the covers off his bed revelaing the lumps to be pillows.
JAY
Oldest trick in the book.
ROXANNE
I feel sick.
JAY
You are. Now drop it.
Roxanne puts the gun on the ground.
JAY (CONT'D)
Kick it over.
She kicks the gun over to him. With his gun still pointed at her, he picks the gun up off the floor and puts it in his holster.
JAY (CONT'D)
Good. Now I can sleep. I suggest you do the same.
Jay lies back down on his bed as Roxanne pouts as she heads to her own bed and lies down.
Beat
ROXANNE
Jay, do you still trust me?
Jay scolds her.
LATER
INT. TRAIN - DAY
Jay is sleeping while Roxanne slips into a nightmare.
ROXANNE
(mumbling)
No-- stop-- no.
Jay awakens. Roxanne stirs.
ROXANNE (CONT'D)
Stop-- please.
He shakes her awake.
JAY
Rox, you're dreaming.
Roxanne, breathing heavily, sits up. Jay goes back and lies down. He notices the distraught look on her face.
JAY (CONT'D)
Are you alright?
She lies back down and turns her back toward him. She lays on her side ignoring his question.
SUPER: GAINESVILLE, FLORIDA
INT. RESTAURANT - NIGHT
FRANK Castelli, one of Permansky's business acquaintances, sits alone at a table in a high class, ritzy restaurant smoking a ciggarrette. Permansky strolls into the restaurant and walks up to his table.
FRANK
You dirty bum, you're late.
Permanksy and Frank exchange greetings with a handshake.
FRANK (CONT'D)
How ya doing?
PERMANSKY
Never been better.
FRANK
You should order something. You look frail.
PERMANSKY
No, I'm fine.
FRANK
Go ahead, order something. It's on me.
PERMANSKY
No, I won't take long.
A waiter stops at the table.
FRANK
Penne quattro formaggi.
Frank hands the waiter his menu. The waiter takes off with his order.
FRANK (CONT'D)
So what can I do for you?
PERMANSKY
I'm expanding my operations and I need to use your base in order to transport incoming shipments of rum to my train.
FRANK
I don't know.
PERMANSKY
I'll cut you three hundred grand.
FRANK
I don't think so, Tom.
Permansky develops a smile on his face.
PERMANSKY
You want more money, don't you?
FRANK
No, it's not the money.
PERMANSKY
Five hundred grand. A million.
FRANK
No, it's not the money. I don't want your money, Tom.
PERMANSKY
Name your price and I'll cover it.
FRANK
I don't want money. I just don't want to do it. You know?
PERMANSKY
What do you mean?
FRANK
I just don't want to get involved with this stuff. With the smuggling, the mob, you know?
PERMANSKY
... You're looking down on me now?
FRANK
No, I'm not.
PERMANSKY
That's what it is. You think you're better than me.
FRANK
No, that's not it. I just don't want to get in to this stuff. I use that base for my own business affairs. I can't afford to have it shut down, you know? It's not personal.
PERMANSKY
... You don't want to get involved?
FRANK
I don't want to get involved.
PERMANSKY
Okay.
Frank stands up and extends his hand for a shake.
FRANK
We still good?
Permansky smiles, shakes his hand and leaves.
LATER
EXT. RESTAURANT - NIGHT
Frank leaves the restaurant and is walking to his car. Suddenly two thugs in masks armed with clubs, swing at Frank's knee caps and begin beating him within an inch of his life.
EXT. ROOFTOP - NIGHT
Permansky is sitting on the edge of the building. Frank is taken by the thugs right up to the ledge beside Frank.
PERMANSKY
Two shattered knee caps and a broken nose and yet, still enough of you to enjoy more fun. Amazing what the human body is capable to withstand.
FRANK
Please, don't do this.
PERMANSKY
This doesn't have to be so hard, Frank. All you have to do is tell me where the base is and I'll call them off.
FRANK
Don't kill me.
PERMANSKY
Frank, I don't want to kill you. I really don't. I just want to know where the base is. Just tell me.
FRANK
... 4520 Palmgrove drive.
PERMANSKY
Are you sure that's where it is? I don't want to have to pay you another visit if you're lying to me. Are you sure?
FRANK
That's where it is.
PERMANSKY
Let him go.
The thugs toss him off the edge of the building as Frank plummets to his death. Permansky walks off carelessly.
HENCHMAN
I thought you two were best friends.
PERMANSKY
I thought so too.
EXT. DINER - NIGHT
Jay and Roxanne walk up to a diner. The front door has the closed sign on it, but there is a man you can see through the windows from the outside who is closing up.
ROXANNE
So what's this guy's connection to Permansky?
JAY
He doesn't have one. What he has is info. He has deep connections to people on the underground.
Hopefully, he knows something that could help us out.
Roxanne goes to open the door but Jay pushes the door closed before she can open it.
ROXANNE
What are you doing?
JAY
We're heading in there to get valuable information. This requires some tact, self control and a level head.
ROXANNE
What's that supposed to mean?
JAY
That means I know how you are in these situations and you can't just strongarm the guy into getting what
you want. It doesn't work like that. If we go in there, you have to follow my lead.
ROXANNE
(reluctantly)
Alright.
They enter the diner. Roy is wiping down a table at a booth.
ROY
Hey, can't you read the sign? I'm closed.
JAY
Good because we're only hungry for information.
ROY
You want info, it's gonna cost you.
ROXANNE
We don't have time for this.
ROY
Then you better make time clown face because my lips are sealed unless you give me what I want.
ROXANNE
Clown face?
JAY
(to Roxanne)
Relax.
In a fit of rage, Roxanne lunges at him as Jay restrains her. He grabs her around the waist and drags her back outside.
EXT. DINER - NIGHT
Jay tosses her back.
JAY
Roxanne, what did we just go over before going in there?
ROXANNE
He started it.
JAY
I don't want to hear it. I'm going back in there to handle this alone this time and you're staying here.
Roxanne tries to go back inside.
JAY (CONT'D)
Stay put!
Roxanne rolls her eyes as Jay goes back inside. Roxanne sees a door slightly open in the alleyway of the diner. She creeps in.
INT. DINER - NIGHT
Jay walks back inside to find Roy sitting at the booth.
JAY
I'm sorry. She can be a little unhinged at times.
ROY
You should put her on a leash.
JAY
I've tried that. It doesn't work.
Roy chuckles.
JAY (CONT'D)
Let's get down to business. What do you want?
ROY
What do you got?
Jay whips out a wad of cash.
JAY
Thirty grand.
Roy takes the wad and begins counting the money.
ROY
At this rate, I can retire early. So what do you want to know?
JAY
Are you familiar with a Thomas Permansky?
Roxanne peeks through the window of the door separating the dining room and the kitchen making sure they don't notice her.
ROY
Drug lord up in New England? I know him.
JAY
Well, he's gotten into the liquor business now and we think he might have some kind of mode of transport for it in Florida. We gotta shut it down before he expands out west.
ROY
Not that it's any business of mine, but you haven't got a shot of shutting him down.
JAY
Really?
ROY
You're better off joining him. He's too powerful and his connections run deep. Just save yourself the trouble.
JAY
Besides southern grand terminal,
what other train stations are out here.
ROY
Besides southern grand terminal, there are no other train stations out here.
JAY
Are you sure about that?
ROY
If I'm not, you're in the wrong place.
Dejected, Jay gets up and begins to leave.
ROY (CONT'D)
Frank Castelli.
Jay turns around.
JAY
Who?
ROY
Only other place I can think of is the secluded base off in the marshes, but it's not owned by Permansky. Frank Castelli owns it.
JAY
What base?
ROY
It's where Castelli operates his planes.
EXT. DINER - NIGHT
Jay bursts out the diner.
JAY
Rox!
Jay looks around but can't find her.
INT. DINER - NIGHT
Roxanne walks into the dining room from the kitchen. Roy is counting his money at the booth when he feels her presence.
ROY
Well, if it isn't the clown face. The circus is just a few blocks over. If you hurry, you can still catch'em.
Roy let's out a hardy laugh as Roxanne walks toward him. She throws a star that sticks right into the table and proceeds to repeatedly bash his face into the pointed edge of the star until his face his beyond recognition.
ROXANNE
(in perfect Japanese)
Who's the clown face now?
Roxanne pulls the star out and leaves the diner.
EXT. FIXED BASE OPERATOR - NIGHT
A car rolls into the facility through the big doors of the base.
INT. FIXED BASE OPERATOR - NIGHT
Men are busy hauling the barrels of rum on to a Fokker F.VII plane. Permansky steps out of the car. Snive is monitoring the ongoing tasks.
PERMANSKY
Snive, we're late.
SNIVE
I'm sorry, sir. We're going as fast as we can.
PERMANSKY
Hurry up. We should have been out of here a half hour ago.
There are a group of barrels off to the side. One of them has a noticeable hole that catches Permansky's eye. Without hesitation, he pulls his gun from his breast pocket and unleashes shots as he sternly walks over to the barrel. His men scurry away from the target.
Permansky prys the lid off the barrel with a crobar and rips the lid off the barrel. Nothing. He puts the gun back in his breast pocket and turns back to Snive.
PERMANSKY (CONT'D)
False alarm.
Suddenly, the lid of the barrel next to the one he shot flies off and Jay pops out of the barrel. Permansky turns back around as Jay levels him with one punch. Roxanne pops out of another barrel.
One henchmen weilding a crobar goes to strike Jay. Jay grabs his arm and disarms him with a elbow strike to the face.
Another henchman tries to attack Jay from behind but
Roxanne attacks him before he can reach him.
Permansky makes his getaway in his car. One of the henchmen start driving the plane around the base. The unclosed door ramp flaps wildly on the side of the plane.
JAY
Watch out!
Jay tosses Roxanne to the ground and stealthily does away with a henchman charging at her. Permansky starts driving the plane out of the base.
EXT. FIXED BASE OPERATOR - NIGHT
Roxanne runs up from behind and enters through the side door before the plane picks up speed.
INT. FIXED BASE OPERATOR - NIGHT
Jay sees a car and hops in. He starts it and begins chasing after the plane.
EXT. FIXED BASE OPERATOR - NIGHT
The plane increases speed down the run way. Jay comes flying out of the base. Roxanne wraps her arm around the henchman trying to choke him.
Jay, on the cusp of the tail of the plane, takes the crobar and lodges it between the seat and the gas pedal. He climbs his way over the front end of the car.
INT. PLANE - NIGHT
The henchman flips Roxanne over the front panel of the plane. The plane begins taking flight.
EXT. FIXED BASE OPERATOR - NIGHT
Jay notices the plane leaving the ground. He takes out his grappling gun and shoots. The hook grabs a hold of the door handle. As the plane ascends, Jay is lifted off the front end of the car. The plane is pointing up as if it were on an incline.
INT. PLANE - NIGHT
Roxanne kicks the henchman back as he tumbles out of the plane holding onto the door lever as a last resort.
EXT. PLANE - NIGHT
Jay's grappling gun rheels him in toward the entrance of the plane. The henchman begins kicking Jay. Jay kicks back. Roxanne throws her stars at the henchman's hand causing him to relinquish his grip as he falls out the plane.
INT. PLANE - NIGHT
Jay pulls himself into the plane.
ROXANNE
I hope you know how to fly this thing.
Jay hops in the pilot's seat. He begins pressing buttons on the panel.
ROXANNE (CONT'D)
What are you doing?
JAY
I don't know.
The plane starts dipping down. Jay grabs the yoke and moves it down to steer the plane upward.
ROXANNE
You've got to land it!
JAY
Land where?
The plane begins going up and down as it soars through the sky. The wings of the plane starts clipping the top of the trees' branches.
The plane's left wing hits a tree and is completely ripped off. The plane tilts to the other end tossing Roxanne to the side. The other wing is clipped by another tree as the nose of the plane hits another tree and comes to an abrupt halt.
Jay's head is slammed forward against the panel knocking him out instantly.
LATER
Eyes still closed, Jay awakens from his unconscious stupor with his eyes still closed. He hears an unusual clopping sound. Springing to action, he quickly grabs his gun out of his holster and points it at a... deer's face.
The deer that had wandered into the plane leaves. Jay puts his gun back and looks over at a still unconscious Roxanne.
EXT. FOREST - NIGHT
Jay stumbles out of the plane where a couple men are there waiting before him armed with guns.
INT. WAREHOUSE - NIGHT
Jay and Roxanne are taken into a room by Permansky's men. In the room, Permanky is sitting down playing chess against himself. There are two glasses of wine on the table.
PERMANSKY
Ah, Mr. Jones, Ms. Marks, welcome! I've been anxiously awaiting your arrival.
JAY
What is this?
Permansky chuckles.
PERMANSKY
What? Did you expect me to tie you up and lower you into a vat of boiling alcohol?
Jay turns to Roxanne.
JAY
(to Roxanne)
At least we wouldn't die sober.
Permansky resets the pieces on the chessboard.
PERMANSKY
It's just a rolicking good game of chess. Have you ever played?
JAY
A little.
PERMANSKY
Please, sit down. Uh, the man, not
the lady. She did quite a number on my hand.
Permansky picks up his glass of wine and sips.
PERMANSKY (CONT'D)
Mmm, exquisite. Chateau Margaux, 1687. Help yourself.
Jay picks up the glass with skepticism.
JAY
I don't drink wine.
Permansky's men cock their tommy guns and point them at Jay's head.
JAY (CONT'D)
... I'll make an exception.
Jay takes a small sip.
PERMANSKY
All the way from the French Riviera. Perhaps I'll consider going international with my business affairs.
JAY
The new england territory isn't enough to stuff your pockets?
PERMANSKY
This aversion to monopolies makes you sound like a stooge from the Taft administration. And here I thought my days of worry were over.
JAY
Sorry to disappoint you, but they're just beginning.
Permansky moves the pawn in front of the king one space. Jay moves the pawn in front of the knight one space.
PERMANSKY
When I was young I spent many hours playing chess by myself. I didn't have siblings to play against and the few friends I had--
ROXANNE
You had friends?
Permansky flashes a perturbed look. He moves the pawn in front of the left bishop one space. Jay moves his right knight so that it's two spaces in front of his bishop.
PERMANSKY
--the few friends I had weren't exactly adept at playing a game of
such high intellect. Over time I became proficient in strategizing and I found myself becoming more intrigued by the power of manipulation.
Permansky moves his queen diagonally to the left two spaces.
JAY
You don't say.
Jay moves his pawn in front of his left bishop one space.
PERMANSKY
Oh, very much so.
Permansky moves his right bishop diagonally three spaces to the left.
PERMANSKY (CONT'D)
You see, one thing you must know
about me is that I plot out my plans very meticulously. I have people that depend on me financially and one bad move on my
part could potentially put an end to my business aspirations.
Jay moves the pawn in front of his left knight two spaces.
PERMANSKY (CONT'D)
I'm sure you know what that's like
to have people depend on you-- a wife, a relative, a confidant.
Jay's eyes flash up at him. Permansky moves his bishop diagonally three spaces to the right cornering Jay's king.
PERMANSKY (CONT'D)
Checkmate.
In a fit of rage, Jay turns the table over to the side and grabs Permansky by the lapel. He pins him up against the wall. Permansky's men pull their guns on Jay.
PERMANSKY (CONT'D)
Settle down, men. There's no way he's that stupid.
JAY
You killed her.
PERMANSKY
I've killed many people. You're going to have to be specific.
JAY
Thelma!
PERMANSKY
Doesn't ring a bell, but I think your partner over there might know something. Just like the game of chess, I know that it's important to be one step ahead of your opponent. To know your opponent's strengths and more importantly their weaknesses. Once you know that you can easily exploit them to your own advantage. I'm sure she already told you that she worked for me. In that time I was able to learn a lot about her. Her
neuroses, her ever increasing schizophrenia, her love for money and her willingness to do anything for it. Isn't that right, Roxanne?
Jay looks over to Roxanne.
PERMANSKY (CONT'D)
It's true that I don't have your best interests at heart, but even I can't make this up. I'm sure these
are things even you've noticed already. Of course, if I were you, I'd wonder whether I could even trust her. Maybe she never really stopped working for me. Maybe there's a sum of money in it for her at the end of all this.
Jay relinquishes his grip. Jay looks back over at Roxanne.
Permansky glances at his wrist watch.
PERMANSKY (CONT'D)
Looks like it's about that time to
check out. As you know, I'm a very busy man.
His men fall back exiting the premises.
JAY
This is long from over.
Permansky smiles and leaves the room. Jay slowly walks over to Roxanne.
JAY (CONT'D)
You better start talking before I lose my cool.
ROXANNE
There's nothing to talk about. You better focus on the larger problem at hand.
JAY
No! I want answers.
ROXANNE
He's clearly messing with you and like an idiot, you're falling for it.
JAY
Permansky may be a snake but he's right about one thing-- there's no job you'll turn down for any amount of money.
As Jay nears Roxanne, his vision becomes blurred and he begins seeing double. He charges at her. She sends him crashing into a bunch of crates.
JAY (CONT'D)
Stop playing games, Rox.
ROXANNE
What?
He finally keels over.
EXT. FOREST - NIGHT
Roxanne is using an eyelash brush looking into her pocket mirror as she sits on a log. Jay wakes up tied to a tree by a rope. He lets out a yelp as he tries to break free.
ROXANNE
Finally, you're up.
JAY
You better pray I don't break free.
ROXANNE
I don't think I'll have too.
JAY
What did you do to me?
ROXANNE
It wasn't me. Permansky put something in the wine you drank.
He continues to try and break free.
ROXANNE (CONT'D)
After Permanksy's men invaded the breweries in New York, I was
strapped for cash. That's when two
men approached me. They were from Murder Incorporated. They laid out
a proposition to me. They didn't give me a name. They just told me where I had to go to do the job and how much money I'd be paid.
JAY
How can you be so black-hearted? What if it was one of your family members? How would you feel?
ROXANNE
... That's the thing. If you've gone through what I've experienced,
you don't go through life black-hearted-- you're just heartless.
JAY
So that's it? You're just gonna screw me and take off?
Roxanne gets up and punches him.
ROXANNE
That was always the plan, Jay. Don't worry though. You should be having dinner companions real soon.
A crocodile crawls out of the swamp.
ROXANNE (CONT'D)
And here's one of them now.
(to the crocodile)
Bon appetite.
Roxanne begins to leave. Jay glances at the hungry crocodile.
JAY
You want money?
ROXANNE
I want you to die.
Jay begins to feel the pressure as the crocodile draws closer. He's down to his last resort.
JAY
I guess this is what Hustace had to put up with.
Roxanne stops walking.
ROXANNE
What did you say?
JAY
You must have really hated him, huh?
Roxanne turns back to Jay.
ROXANNE
You don't know what you're talking about.
JAY
I think I do.
Roxanne turns back and continues walking. Jay glances at the crocodile again growing uneasy.
JAY (CONT'D)
I know where you can find him.
Roxanne stops and turns back to Jay.
ROXANNE
You're lying.
JAY
Untie me and I'll tell you his whereabouts.
Roxanne continues walking but stops and turns back before the crocodiles could feast on him. She begins untying and frees Jay.
ROXANNE (CONT'D)
Talk!
Jay brushes himself off.
JAY
I'll tell you... after we deal with Permansky.
ROXANNE
(in perfect Japanese)
(Damn!)
SUPER: NEW ORLEANS, LOUISIANA
EXT. JAZZ CLUB SPEAKEASY - NIGHT
Jay is sharply dressed in a suit wearing a fedora. Roxanne is dressed in a loose, flapper style, black dress. She has a feathered headband on her head and three huge white beaded necklaces. They walk up to a door in an alley.
ROXANNE
How do I look?
JAY
... Like a more expensive hooker.
Roxanne smiles wryly.
JAY (CONT'D)
Stay cool and don't say anything.
KNOCK-KNOCK
Pause
KNOCK
Pause
KNOCK-KNOCK-KNOCK-KNOCK
The slot on the door slides open.
JAY (CONT'D)
The pig is half seas over.
The door opens and Jay walks in. The GUARD stops Roxanne.
GUARD
Whoa, is she with you?
JAY
Sadly.
Roxanne pushes the door open on the guard as she walks in.
Together they walk in the club side by side and scan the premises. Jay locks eyes with a man in a white suit at the bar counter. The man in the white suit scowls him and looks away.
ROXANNE
Who are we looking for?
JAY
Lee Biggins, he owns the joint.
LEE Biggins, 54, shouts from across the room.
LEE
Jay!
They turn their attention to him as he approaches them. Lee shakes hands with Jay.
LEE (CONT'D)
It's been a while since you've come around these parts.
JAY
Perhaps my dislike for the southern drawl keeps me away.
Lee extends his hand to Roxanne.
LEE
I'm sorry, I don't believe we've met.
Roxanne shakes his hand.
ROXANNE
Roxanne Marks.
JAY
(whispering in his ear)
The Harlem Harlot.
LEE
Ah, Jay, can I talk to you for a second in private?
Lee and Jay step away from Roxanne.
LEE (CONT'D)
Are you crazy? Do you have any idea who that is? That woman's bad news.
JAY
I'm aware, but I don't have much of
a choice. She has confidential information on Permansky's plans.
LEE
If I were you, I'd keep my eyes peeled. The Harlot plays for keeps and there's no telling when she'll strike.
JAY
Thanks, but you're a little late with the advice.
Lee and Jay walks back over to Roxanne. Jay locks eyes with the man in the white suit once more, catching another glare as the mysterious man looks away.
LEE
Alright, let me show you guys where I keep all my toys. Right this way.
Lee leads them to his repository.
JAY
Rox, there's this guy at the bar in
a white suit that keeps giving me dirty looks. Do you know him?
Roxanne looks over at the bar.
ROXANNE
I don't see anyone in a white suit.
Jay looks over at the bar.
JAY
He was just there a moment ago.
ROXANNE
Sure he was.
Roxanne walks off.
INT. BASEMENT REPOSITORY – NIGHT
Roxanne takes a throwing knife off the wall display and examines it.
ROXANNE
Nice.
Lee gives Jay a look of caution as if to say "beware of Roxanne."
LEE
Over here is what I think you guys are looking for.
Lee pulls the top off a small crate of dynamite. Jay hovers over to inspect.
JAY
Lee, the dynamite's sweaty.
ROXANNE
What's that mean?
JAY
It's leaking nitroglycerin. Lee,
you were supposed to remember to turn over the boxes to prevent leakage.
LEE
Hey, I bring them in and I keep them for you. I don't maintain them. Honestly, this place gives me the willies.
ROXANNE
Will they not work?
JAY
They'll work alright. So much that they're more sensitive than ever.
You handle these the wrong
way, and they'll blow sky high. Are you sure this is all you got?
LEE
For now until the next import.
JAY
I guess we'll make do with what we have.
LEE
What else you need?
JAY
Well, I reckon they don't take too
kindly to dynamite transport on bus.
LEE
I've got just the right thing for you. Follow me.
EXT. BACK OF JAZZ CLUB - NIGHT
Lee pulls the tarp off the car.
LEE
Aint she a beaut? It's a series D. It's quite rare. There's not that many out there.
JAY
But is it fast?
LEE
Is it fast? This baby has a V8 displacing 288 cubic inches and breathing through a zenith two-barrel carburetor, developing 55 horsepower at 2,700 rpm, running on 4.75:1 compression.
Jay and Roxanne stare blankly.
LEE (CONT'D)
Yes, it's fast.
Jay turns to Roxanne.
ROXANNE
This might not be good enough.
JAY
(to Lee)
Do you have anything faster?
LEE
Can you fly a plane?
Jay and Roxanne exchange glances.
CUT TO:
SUPER: ABIQUIU, NEW MEXICO
EXT. DESERT - DAY
Jay and Roxanne race through the trail under the hot glare of the desert sun. A trailer is attached to the car that contains the dynamite.
INT. CAR - DAY
Roxanne is fast asleep as Jay drives. A car drives up alongside their car and rams them. Roxanne awakens.
ROXANNE
What was that?
JAY
Company.
Two more cars appear and the men in the cars begin shooting at Jay's car and the trailer.
JAY (CONT'D)
Good thing we got bulletproof.
Jay rams his car against the car on the left. This causes his car to swerve and ram against the car on the right.
ROXANNE
(holding up throwing stars)
Good thing I snagged these.
Roxanne throws a star hitting the passenger with a gun right in the chest. She takes her whip and lassos the driver's wrist pulling him out of the vehicle. She opens her door and closes it on the other end of the whip dragging the man along for the ride.
JAY
Take the wheel.
From the car on the left's point of view, we see Jay driving as his car slows out of sight. It rememerges and Jay is nowhere to be seen. This perplexes the passenger. Suddenly, the passenger is grabbed out of the car from above. The driver panics and starts trying swerving to get rid of Jay.
After swerving numerous times, the driver opens his door and ducks his head out to see where he is. Jay jumps into the passenger seat. As he jumps into the seat he kicks the driver right out of the car. Now Jay is driving the car.
The last car is driving alongside Roxanne on the right side. Jay re-enters the car.
ROXANNE
Couldn't shake all of them, could you?
Roxanne slides over to the passenger side.
ROXANNE (CONT'D)
I'll take care of this.
Suddenly the car beside them explodes. Roxanne looks over at Jay.
JAY
You were saying?
LATER
EXT. DESERT - DAY
Jay pulls over the car.
ROXANNE
Where are we?
JAY
I don't know.
Roxanne exits the car and looks around. Jay leaves the car too.
ROXANNE
Great, we're lost.
JAY
Don't blame me. I followed your directions.
ROXANNE
Clearly, you didn't.
The sound of the train coming from afar is heard catching their attention.
JAY
Come again?
LATER
They set up several crates on the railroad track.
ROXANNE
How is it gonna work when it's defective?
JAY
It'll work.
ROXANNE
We should have used the detonator.
JAY
We don't have time to set it up.
Trust me, the impact from the train
will hit it with so much speed, it'll set the dynamite off.
The train draws closer as Jay and Roxanne cover their ears and close their eyes. The train slows as it comes to a chugging stop.
It pushes the stack of crates as the top one falls off. Jay, feeling an eternity past by without hearing a noise, opens his eyes and turns around to see that the train had mysteriously stopped in its tracks and nothing happened.
He gets Roxanne's attention shaking her shoulder. She stands up.
Jay opens up the freight train door and hops inside. Several barrrels are there. He pops the lid on one and waffs it. He then takes both hands and cups the liquid substance.
Roxanne walks up to the freight.
ROXANNE
I checked the locomotive. Nobody's there. The engine runs on oil.
Apparently, there was enough in there to make it this far before it ran out.
JAY
Water. All of these barrels are filled with water.
ROXANNE
We were set up.
Jay hops off the freight.
JAY
However he's transporting the alcohol, it's not by train.
Jay starts walking back toward the car.
ROXANNE
Where are you going?
JAY
Home.
ROXANNE
... You're giving up.
JAY
We just travelled half way across the country in search of what's akin to a needle in a haystack.
Roxanne runs up to him.
ROXANNE
I don't think you know what's at stake here.
JAY
I'm perfectly aware of what's at stake and to be honest, I'm done
giving a damn. Risking life and limb to try and make a living.
Shamelessly, killing people to make a buck. At what cost are you willing to keep going? This business isn't for people like me.
I've lost far more than I've gained in it.
Jay starts walking away. Roxanne begins laughing hysterically.
JAY (CONT'D)
What's so funny?
She continunes laughing.
JAY (CONT'D)
You've lost your damn mind.
Jay continues walking.
ROXANNE
You act like you've got options. You really don't and you know it. You say one thing, but inside you don't mean it. You don't just love
(MORE)
ROXANNE (CONT'D)
this, you're addicted to it and you can't walk away from it no matter how hard you try. Face it, you had as much a hand in killing Thelma as I did.
JAY
You're just saying that so you can get what you want.
Roxanne smiles.
ROXANNE
No, I'm just saying it because it's the truth.
EXT. MOUNTAINSIDE - DAY
Jay and Roxanne inspects the wall of the mountain patting down every sqaure inch like a blind person finding their way around.
ROXANNE
This is hopeless.
JAY
Keep trying.
ROXANNE
So this is how the great Jay Jones operates.
JAY
Pretty much.
ROXANNE
I hope you know I'll be using a few tricks I picked up from you.
JAY
I hope you know you don't have the wherwithal to pull off any of the tricks I used.
ROXANNE
You know the both of us have a little bit in common.
JAY
I doubt that.
ROXANNE
Really, we do. We both grew up without our mother, we're great smugglers and after today we'll both have killed off family members.
Jay scolds her as she smiles back.
ROXANNE
So tell me, how did you find where Hustace is?
The rock wall swivels open as Jay is taken inside where a guard is pointing his tommy gun at him. Jay puts his hands in the air.
INT. UNDERGROUND BASE - DAY
The facility looks like a big, dimly lit mining cave with an underground train that tunnels underground into the vicinity. Jay is tied up by the neck about to be hung.
JAY
Underground transit. I should have known.
PERMANSKY
I severely underestimated you, Mr. Jones.
JAY
What do you mean?
PERMANSKY
As calculating as I am, there's no way I could have foreseen you killing Roxanne.
Jay smiles.
JAY
And that bothers you, doesn't it? That for once in your life, your
meticulous planning could have been ruined for a moment's lapse in judegement. Perhaps maybe you're
not as invincible as you think you are.
PERMANSKY
Maybe, but then I realize that it's all in my head. Drop'em!
Jay drops when suddenly a throwing star cuts the noose before it suspends him by the neck in the nick of time.
PERMANSKY (CONT'D)
Over there!
Permansky points up at Roxanne in one of the tunnels. An explosion goes off just when his men are rushing over to her blowing them all away. Several more explosions follow as the rock from the mountains begins to crumble down.
Permansky makes a break for it but Jay blocks his path.
He tackles Permansky. Jay unloads a series of punches on him. He relentlessly punches Permansky to the point of bloodying him.
Suddenly, Jay pauses. His fist primed to deliver the final blow, but he sees Thelma that he's about to give the blow too.
In Jay's hesitation, Permansky jams a knife into his arm and pushes him off. Roxanne rips off a piece of her clothing and wraps it around the power line as she comes zip lining down. She kicks Permansky out of the way as she falls to the ground.
Permansky, quick to get back to his feet, pulls a gun on both of them.
PERMANSKY (CONT'D)
Two for the price of one.
A huge rock begins to crumble from the ceiling and Permansky takes off. Jay and Roxanne duck out of the way. Roxanne cuts the rope off Jay's neck.
JAY
Let's go.
They head for the exit tunnel but the rocks close it off leaving them trapped. They look around in a panic.
JAY (CONT'D)
The train!
They rush over to the control panel and try to open the train's doors. The door opening lever Jay pulls does nothing.
JAY (CONT'D)
Come on!
They run over to the train and he tries to open the doors with his hands.
ROXANNE
Here!
Roxanne tosses a crobar to him. Jay uses it to pry open the doors. The doors open just enough for Roxanne to squeeze in. She aids him in pulling the doors open so Jay can stick the crobar between the two doors.
JAY
I'll try to start it.
Jay rushes to the control panel and starts the train. He runs back to the train to find the doors that was held open by the crobar are now closed. Roxanne stands idly inside as Jay tries to open it.
JAY (CONT'D)
Roxanne open the doors!
ROXANNE
Tell me where Hustace is.
Beat
ROXANNE (CONT'D)
That's what I thought.
The train starts taking off.
ROXANNE (CONT'D)
See you on the other side, Jay.
Jay is out of ideas to escape. As the train takes off, Jay scrambles. The rocks finally begin to tumble down destroying the base.
SUPER: THREE MONTHS LATER
EXT. LAKE - DAY
Johnny is seen with one knee down kneeling at Jay's grave next to Thelma's saying a prayer. He gets up and puts flowers down at his headstone.
INT. SPEAKEASY - NIGHT
Johnny walks into the bar and sees a man sitting at the counter.
JOHNNY
Go home. We're closed.
Jay grabs a broom and begins sweeping. The man doesn't move.
JOHNNY (CONT'D)
You hear what I said? Beat it!
The man still doesn't move. Jay walks around the counter to get in his face.
JOHNNY (CONT'D)
Listen you little...
Johnny sees his face.
JOHNNY (CONT'D)
You've gotta be a ghost.
JAY
Boo.
JOHNNY
Jay, you're alive! But how? You've been gone for months.
JAY
Vacationing in the midwest.
JOHNNY
I'm just glad you're not dead. I
know I was encouraging you to hang it up before, but things just haven't been the same without you.
JAY
Your profits fell.
JOHNNY
Yup.
Jay notices a letter on the counter.
JAY
What's that?
Johnny grabs it and hands it to him.
JOHNNY (CONT'D)
It came for you while you were gone. All the way from N'awlins.
Jay opens it revealing a tarot card that reads DEATH on it.
JAY
Isn't that cute?
He sticks the card back in the envelope.
JAY (CONT'D)
Remind me to send my regards.
JOHNNY
Does that mean you're not leaving the business?
JAY
... I'll notify you on the fifth.
Jay sticks a cigar in his mouth, grabs his hat off the counter and begins leaving.
JOHNNY
Jay!
As Jay turns back around Johnny picks up a newspaper to read and on the back of the newspaper the headline says "THE CRIMSON SLY WILL STRIKE AGAIN!"
Jay puts on his fedora and leaves the bar.
FADE OUT:
END
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