low spade in the hole

8/9/2019 Low Spade in the Hole

1/32


2/32

L O W S P A D E I N T H E H O L E

ACT 1:

FADE IN:

[EXT. NIGHT. DECREPIT DOWNTOWN STREETS.]

A black shoe, methodically followed by another, trekking

along the sidewalk. Footsteps on wet concrete. Quick pace.

And only getting quicker.

A MAN low hat, long coat, high collar hustles along in

the pelting rain. He holds his hands in his pockets,

hunching his shoulders, shielding himself from the

downpour. This man is DEUCES.

[INT. NIGHT. HALLWAY.]

DEUCES silhouette illuminates amidst the doorframe. He

walks down the dim hallway, sparse lights overhead guiding

his footsteps.

He stops at a door and pulls out a short, GOLD KEY. He

inserts the key, jostling the door handle, and hurriedly

enters.

[INT. NIGHT. APARTMENT.]

Shrugging off the rain, DEUCES casually reaches for the

light switch by the door. He toggles it. Toggles it again.

No lights.

A voice:

(O.S.)

Anthony Deuces Armone.

DEUCES jerks around in the darkness, surprised at the sound

of this name.

Suddenly, a lone light ignites from the shadows, searing

through the petty apartment, casting long eerie shadowsaround the walls.

A MAN, clad in a black trench coat, sits at the kitchen

table, his face half hidden in the shadows. One gloved hand

rests on the table a silenced pistol sits under the hand,

pointed directly at DEUCES.


3/32

DEUCES:

Yous back in town?

THE MAN nods, slightly.

DEUCES sighs, as if expecting this. He casually pulls out apack of cigarettes from his coat and offers one to THE MAN.

THE MAN shakes his head, no.

DEUCES grabs a cigarette and puts the pack back in his

coat. He flicks open a lighter and amidst the flame,

DEUCES face is illuminated for just an instant, quivering

as the flickering flame reveals TWO JAGGED SCARS run down

across his nose and face, remnants of a past life.

DEUCES takes a few drags of the cigarette, savoring the

smoke, unhurried and calm. He nonchalantly plops down onthe nearby couch, facing THE MAN.

DEUCES:

Always wondered who hed send todo me It gets

to a man yknow all dat double-crossing secrets

only stay secret for so long

DEUCES takes a long drag, calm, as if talking to a friend.

THE MAN sits motionless.

DEUCES:

But I guess I dont gotta worry no more, do I?

Suddenly, as swift as the last words landing, DEUCES

unveils a pair of SILENCED .45 PISTOLS from the couch

cushions behind his back.

Beat. THE MAN coolly looks down the twin barrels in DEUCES

hands, motionless.

DEUCES:

You never shoulda come back. Im not the man I

was before.

MAN:Nothing ever changes in this city Deuces.

DEUCES:

Tell that my fathers casket. Im not one for

sentiments, but the funeral was nice. You woulda

liked it. But as nice as it was, Im not ready to

shake hands with death just yet.


4/32

DEUCES suddenly pulls the triggers in both guns - CLICK

CLICK. Empty. DEUCES relaxed face quickly shifts with

tension, knowing hes been had.

MAN:

You havechanged, Deuces. Youve gotten sloppy.

THE MAN stands up at the table, calmly. His gloved hand

unfolds, dropping TWO LOADED MAGAZINES on the tabletop,

loaded bullets glistening under the harsh table-light.

MAN:

Dont blame yourself kid. Step away from this

business for too long, everyone gets sloppy.

DEUCES:

Youre one to talk. You still dont get it do

you? One day, your types wont be around nolonger. And yous gonna have to find a decent job

like I did.

MAN:

I know what a decent job does to a man in this

city. But Im not ready to shake hands with death

just yet.

A sly smirk crosses DEUCES face as he takes the cigarette

out of his mouth, burnt down to the butt. He holds the butt

in his hand, examining it as if gazing upon the end of his

own life.

DEUCES:

You can try to ditch your past but itdont let

the man go as easy remember that next time you

pull that trigger, Dealer.

MAN:

Always.

Deuces flicks the cigarette butt into the air.

[C.U.] The smoky trail of the cigarette flutters through

the darkness.

[C.U.] A gloved hand raises the pistol, swiftly.

[C.U.] The cigarette butt falls to the wooden floor,

flinging a puff of red-hot ash into the air.


5/32

[C.U.] A metallic echo resonates through the small room as

a bullet tears through DEUCES head, unleashing an

explosion of dull red blood onto the wall behind him.

[C.U.] The cigarette butt bounces against the floor,

unleashing another puff of ash into the air.

[C.U.] Another bullet tears through DEUCES head, a grisly

splatter of blood stains the wall again.

[C.U.] The cigarette butt comes to a stop on the floor, the

red ash finally settling on the floor.

DEUCES body reverberates from the force of bullets tearing

through flesh, grisly bullet holes where his two eyes once

were, blood flowing down his face like tears.

THE MAN swiftly holsters the gun in his jacket, almost

mechanic. He grabs a phone from his jacket. The lineconnects.

MAN:

Its done.

THE MAN hangs up and, careful to avoid the pooling blood on

the ground, walks to the front door.

THE MAN stops in the doorway, half in shadow, never

revealing his face. He reaches into DEUCES coat pocket on

the hangar and retrieves the GOLD KEY and the pack of

smokes. He turns to the lifeless body, gazing at his

handiwork, shadows filling the voids where his eyes should

be. His face is pure darkness no emotion, no features, no

life.

The door closes. DEUCES dead body lies awkwardly limp on

the couch, the lone light on the kitchen table casting an

eerie shadow on the blood-stained wall behind him.

On the floor, at DEUCES dead feet, rests two empty bullet

casings and an ordinary playing card an ACE OF SPADES

with a bullet hole torn through the center. THE DEALERs

CARD.

[EXT. NIGHT. DOWNTOWN STREETS.]

THE MAN exits the decadent building and drags on a

cigarette, keeping his head down in the pelting rain.


6/32

[V.O.]

Im the best at what I do. And what I do aint

very nice. I was born Alonzo Damiano. But my

friends call me The Dealer.

ALONZO walks up to the drivers door of a random parked

car. He glances up and the down the block no soul insight. He jostles the car handle until it gives, opens the

car door, and sits in the drivers seat, calm and

nonchalant.

[V.O.]

I use that term friends lightly. In my line

of business, money flows freer than blood. And I

get paid real well to make friends.

ALONZO reaches into his coat pocket and pulls out a RING OF

KEYS, dozens of jangling keys - long, short, silver, gold

all looped on a metal ring. He rings DEUCES GOLD KEY ontothe ring of keys, now indistinguishable from the others.

[V.O.]

Most people in this town dont know I exist. And

the few that do often wish they didnt or are

already dead.

He fingers through the keys and begins to try the car

ignition, one key after another. The car engine sputters

and coughs. He swiftly fingers through the variety of keys

and keeps trying the engine until finally, the engine

coughs to life.

[V.O.]

Im alone. No baggage. No strings. No

connections. Its why I do what I do.

Tires screech as ALONZO drives off into the night. CRANE

overhead the car as it speeds towards a sea of glimmering

spires in the distance The City.

[FADE OVER:]

[INSERT SUPERTITLE:]

LOW SPADE IN THE HOLE


7/32

[CUT TO:]

[EXT. NIGHT. HEART OF DOWNTOWN.]

Tires screech as ALONZOS car pulls up to a fancy downtown

building - shimmering lights in the night. Grand granite

pillars guard the grand double-door entrance. A massivesculpted dcor hangs overhead the doors, sculpted into the

marble: AGOSTINA GRAND HOTEL.

[V.O.]

She shines like a light guiding me home. Just

like I remember her. No matter how long its

been, I still love The Agostina just the same.

Always have.

Alonzo steps out of the car. The nearby valet driver a

young, skinny kid barely out of his teens, no older than 16

walks over eagerly. The regal hotel uniform loosely hangsoff his meager frame. This is FATS.

VALET:

Welcome back, sir. Its been a while.

Alonzo tosses him the keys to the car and breezes past him,

ascending the entrance stairs, never revealing his face.

ALONZO:

Not long enough Fats.

FATS:

(yelling after him)

Business tonight?

ALONZO:

(to himself)

Always.

[INT. HOTEL LOBBY. GRAND. SHIMMERING.]

Alonzo strolls through the grand entrance doors, trench

coat billowing, and raises his eyes to the bright hotel

lobby the first time his face is revealed.

Sharp features, crisply combed-back hair, clean shaven. His

eyes stern and intense dart back and forth, scanning

the room as if laying eyes on it for the first time in

years. Instinctively, Alonzos eyes dart to the nearby

LOBBY BAR, as if expecting something. But theres nothing.


8/32

[V.O.]

Shes the only girl I need in my life. The only

one who wont ask questions. The only one I wont

hurt.

A shimmering chandelier drapes overhead the lobby. Marble

pillars support the intricate roof. Bustling bellboys pushcarts back and forth as visitors stroll in fancy night

gowns and sharp suits.

In the far wall is a line of elevators old, golden,

polished doors open and close. Alonzo makes his way through

the lobby crowd to the elevators. He enters the empty

elevator at the far end of the lobby.

[V.O.]

Shes all glimmer and shine, hiding nothing more

than stiff drinks and dizzy dames. This place has

something for everyone if you play your cardsright.

He turns around in the elevator as a couple approaches,

tipsy from the nights excursions. Alonzo shakes his head

slightly, staring a hole through the couple. They stop in

their tracks, intimidated, their drunken giggles ceasing.

The elevator doors close on Alonzo.

[V.O.]

But tonight, I dont come here for whats on the

menu.

[INT. ELEVATOR.]

Inside the elevator, alone, Alonzo opens a compartment in

the wall disguised as a rich mahogany wood panel. He pulls

out his ring of keys, picks a short silver one, and inserts

the key into the wall. The elevator jolts and begins to

move, the lights overhead still indicating L for LOBBY.

[V.O.]

I dont mix business with pleasure. And tonight,

its all business.

[INT. UNKNOWN HOTEL FLOOR. HALLWAY.]

The elevator doors open and Alonzo steps out into a softly-

lit hallway. Overhanging lights shine soft halos of light

on the dark carpet, guiding his footsteps to the only door

at the end of the hallway.


9/32

[V.O.]

Her secrets remind me of my own. All those lonely

nights years ago, when Id step foot in here for

all the wrong reasons.

At the door, Alonzo slides open a nearby wall panel to

reveal a keypad and a key-hole. He enters another key andtypes in a pin. Immediately, the wooden door begins sliding

open with a heavy metallic moan.

[V.O.]

Hed give me names. And a place and time. No

motives. No reason.

[INT. THE VAULT.]

He enters the room as harsh fluorescent lights flicker on

overhead, illuminating the small room and the bits of dustwafting through the air, remnants of a past forgotten.

Bright lights shine against the far wall a polished metal

wall of various PISTOLS and attachments silencers,

cartridges, holsters, etc.

[V.O.]

A complete schedule for the end of a mans life,

planned and scribbled out on little sheets of

paper. And Id give him blood. No questions

asked.

Various photos are pinned on the opposite wall men in

trench coats, smoking, talking on the phone, eating, all

shot from far away in a long lens DECEASED stamped across

the top of the board.

Alonzo walks over to the gun wall, takes out the pistol

from his coat pocket and replaces it on a vacant spot on

the wall. He grabs a new silenced pistol. Beat. He grabs

another identical one and pockets that one too.

[V.O.]

Its how we used to do it. Its how its always

been done.

Alonzo walks over to the DECEASED wall and pins a photo of

Deuces on the wall.

In the middle of the room, a sole table sits under a bright

light a spotless black granite top except for a plain

BLACK SUITCASE with a plainWHITE ENVELOPE on top.


10/32

[V.O.]

And its how its still done. All these years

later, he still runs this town like I remember.

Nothing ever changes in this city.

Alonzo picks up the envelope, printed on it: THE DEALER. He

opens it. Inside is a printed note:

SALVATORE THE BULL BATTISTA.

503 3rd STREET.

TOMORROW. 11pm.

-THE EMPLOYER

Behind the note is a picture of The Bull shot from a

long lens. Hes a big man - gaudy jewelry hangs off his

barrel frame, a thick beard with a sharp mustache covers

his face. Alonzo pockets the picture.

Alonzo opens the black suitcase inside, perfect rows ofcrisp $100 bills, bundled into piles, line the suitcase

walls. A slow smile spreads across Alonzos face.

[V.O.]

And on nights like this, I can think of about

500,000 reasons why Im here. And why I came back

to this town.

CUT TO:

[INT DEUCES APARTMENT.]

Heavy footsteps resonate over cheap carpet. A shadow

approaches DEUCES apartment door as the handle jostles

open.

THE SHADOW, silhouetted against the meager hallway light,

steps foot into the crowded apartment. It stops before

DEUCES dead body, strewn across the couch from the

bullets.

At his feet rest TWO EMPTY BULLET CASINGS and THE DEALERS

CARD the ACE OF SPADES.

THE SHADOW, drenched in darkness, slowly retrieves andpockets the ACE OF SPADES in his coat.

He turns off the light in the apartment, as if paying his

respects to the man, and gently closes the apartment door

on his way out.


11/32

[INT. PAWN SHOP. DARK. SMALL.]

A paper sign hangs in the window, flipped to CLOSED. The

shabby wooden door jostles open as Alonzo enters the small

room, the ring of keys in hand, jingling a rusty bell over

the doorframe.

Dusty, old objects line the walls, long forgotten by

anyone, extending down the lengths of the small room.

Meager lights hang overhead, cutting rays of light through

the dusty air.

A MAN sits behind the counter of the decrepit pawn shop,

leaning back in his chair, hat low over his eyes, feet up

on the counter sleeping loudly. The jangling bell stirs

this man THE LOCKSMITH.

LOCKSMITH:Huh? Were uh were closed

ALONZO:

Youre always closed Locksmith.

The Locksmith lifts his hat from his sleepy eyes, surprised

at the muttering of this name. His face is wrinkled with

the passage of time long years spent in this city. But

his eyes sharpen as they gaze upon a familiar face.

LOCKSMITH:

Alonzo?

ALONZO:

Good seeing you.

LOCKSMITH:

Alonzo! When whend you get back into town?

ALONZO:

Earlier tonight.

LOCKSMITH:

Oh its been too long my boy. Business again? Or

back for good this time?

ALONZO:

Business.

LOCKSMITH:

Oh how many this time?


12/32

ALONZO:

Five names. Five heads.

LOCKSMITH:

A long job huh?

ALONZO:

A last job. An encore presentation for the city

that made me who I am.

LOCKSMITH:

Well thats gotta pay a helluva lotta green. So

whatd ya need me for?

ALONZO:

I need your help. (Beat) I need to go home.

The Locksmiths eyes narrow. Beat. A sly grin spreadsacross his face.

LOCKSMITH:

Lets talk in the back.

[INT. POLISHED ROOM. COLD WALLS.]

A heavy door retreats to the side, silhouetting Alonzos

and The Locksmiths shadows.

Lights flicker on, illuminating a small, clean room. Cold,

dark walls surround the room. On each wall, thousands of

individual keys hang, jangling from the rumble of the door

opening. In the center of the room, a vice and key filers

sit on a crowded desk.

LOCKSMITH:

I remember it like it was yesterday, you coming

in here wide-eyed and stupid

ALONZO:

I was young

LOCKSMITH:

but you were happy. Thats the boy I want to

remember.

The Locksmith sits behind the desk, grabbing a pair of

high-magnification glasses and a basic key template. He

clamps the slab of metal into the vice and begins filing

teeth into the key, focused and alert.


13/32

ALONZO:

Who says Im not happy now?

LOCKSMITH:

That suitcase youre carrying. Those guns in your

coat. The cards you deal

ALONZO:

I didnt come here for a lesson in morals

LOCKSMITH:

I know I know Im not your father. But someone

had to keep you grounded after he bit the bullet.

Just because you live alone doesnt mean you

dont have others in your life.

ALONZO:

I know I didnt mean to

LOCKSMITH:

I watched you grow up in this town. I watched you

lose more people around you than I care to

remember. You dont need to explain yourself to

me son.

ALONZO:

Did you know then? That Id turn out this way?

LOCKSMITH:

Good men do whatevers necessary to survive in

this town. I never expected anything less from

you. And neither would your father.

ALONZO:

Then Im sorry to disappoint you and him

LOCKSMITH:

Youre not a bad man Alonzo. I know that, even if

the world doesnt.

ALONZO:

But do I know that?

Beat. The Locksmith pauses working and looks up into

Alonzos eyes.

LOCKSMITH:

Only you can know that.


14/32

ALONZO:

Ive seen what this place does to good men.

Nothings changed.

LOCKSMITH:

Dont rock the boat Alonzo. This citys alreadyseasick enough. It aint like the old days no

more

ALONZO:

As long as The Employers in control, this town

no different.

LOCKSMITH:

You might be right. Theres always something

pushing us to our place. To our roles. Most of

the time, its The Employer. But other times,

fate steps in.

ALONZO:

Steps in for what? I have no reason to be here.

Why should I even give a damn about this dump

anymore?

The Locksmith opens the metal clamp. He hands Alonzo a

crisply cut SILVER KEY.

LOCKSMITH:

Go home and figure it out my boy.

[EXT. NIGHT. STREETS.]

Alonzo exits the shop doors. He glances around the streets,

breathing in the night air. He pulls out the pack of smokes

and lights one, taking a few drags.

A shadowy FIGURE in a wide fashion hat watches Alonzo from

around the corner. The FIGURE begins following Alonzo as he

walks along the sidewalk.

[V.O.]

The Locksmith is old enough to know: in thistown, it aint the cops or judges who run things.

Here, The Employer holds the citys balls in a

vice. Nobody knows who he is. Not even the old-

timers. Not even me.

The sound of the womans heels click against the concrete

sidewalk, walking behind Alonzo. She follows pace with his

steps.


15/32

[V.O.]

But The Employer pays the right people and he

pays them well. And on account of him owning the

lives of a great many people, this town knows the

rules: stay cool or start shopping for caskets.

Alonzo keeps his head down and quickens his pace. THE

FIGURE quickens. He walks through a small group of people.

THE FIGURE continue to follow through the group of people

and upon emerging on the other side, Alonzo is gone. THE

FIGURE stops, lost.

[V.O.]

Here, some things never change

From the darkness of the adjacent alleyway, a gloved hand

points a silenced pistol to THE FIGUREs head. The wide

fashion hat hides her face.

[V.O.]

but some things do.

ALONZO:

Why are you following me?

WOMAN:

Put the gun away sweetheart.

ALONZO:

I wont ask again.

WOMAN:

Do you really not recognize me anymore Dealer?

She turns her head to face the darkness of the alleyway.

Piercing eyes shine from under the brim of her hat rich

and exotic, piercing. FAMILIAR. Waves of smooth chocolate

hair flow down her shoulders. A coy smile spreads across

her face.

WOMAN:

Or should I say Lon?

She stares into the darkness, waiting. Beat. From the alley

shadows, Alonzo steps out, his face twisted in confusion.

He stares into her eyes, incredulous.

ALONZO:

Adriana?


16/32

ADRIANA:

Good seeing you too handsome. Can we put the gun

away please?

Beat. He finally holsters his gun.

ALONZO:

What are you doing here?

ADRIANA:

Came to see you. Heard you were back in town.

ALONZO:

You followed me.

ADRIANA:

You may be a tough man to find, but I knew youdgo to the Agostina sooner or later. You always

loved that place more than anyone.

She approaches him and grabs his cigarette from his lips.

He stands frozen, watching her every move.

ADRIANA:

Its been a while.

ALONZO:

Seven years.

ADRIANA:

Seven years? Seems like a lifetime ago

ALONZO:

Not long enough.

She takes a drag from his cigarette, slow and sensual,

unhurried.

ALONZO:

What do you want?

ADRIANA:I need your help.

ALONZO:

No.

ADRIANA:

Dont you wanna know what this is about?


17/32

ALONZO:

No.

ADRIANA:

Wont you do it for me Lonnie? For him?

Alonzo stiffens. His apathy gives way to simmering anger.

Shes touched a nerve.

ALONZO:

I dont owe you anything. And dont call me that.

ADRIANA:

Sorry. Would you prefer The Death Dealer? Why

are still doing this? He putting you up to it

again?

ALONZO:I owe him.

ADRIANA:

That was another life. We were young then.

ALONZO:

Youre right. That was another life so drop it

Ana. And dont come looking for me again.

He begins to walk away.

ADRIANA:

Why wont you look me in the eye Alonzo? Still

avoiding your past?

He doesnt stop walking, footsteps resonating on cold

concrete.

ADRIANA:

Still hunting the only enemy you cant find?

Alonzo freezes. Shes hit the nail on the head.

ALONZO:

I cant.

ADRIANA:

Cant? Or wont?

ALONZO:

I cant forgive myself for what happened.

ADRIANA:


18/32

Why wont you let that go? Its been seven years.

Beat.

ALONZO:

Because I dont want to let go. And because you

did so easily.

Alonzo walks away as Adriana watches him walk into the

distant shadows, a single tear rolling down her face.

[CUT TO:]

[INT. HALLWAY. DARK & DINGY.]

Gloved hands insert a SILVER KEY in the lock, jangling from

a ring of dozens of keys. The door opens.

[INT. APARTMENT. PLAIN AND SIMPLE.]

The gloved hand flicks on the nearby light switch. A lonely

ray of light sears through the darkness.

A small, desolate, bare room ignites before Alonzos sad

eyes, barely illuminated by the lone light in the corner.

He looks around the room. Dust thinly coats everything. The

walls are bare. Everything is clean and pristine. A table

sits nearby, spotless. A couch. And the light. A mausoleum

of nothing. This is HOME.

Alonzo drops the suitcase on the table, taking a long

glance around, uneasy in this place.

[V.O.]

Adriana Moretti. I always said the day I saw her

again would be the day I put a bullet between her

eyes.

He walks down the long, dark hallway and enters the

bedroom. Its similarly bare. Nothing but a bed, a stand

and a closet, all covered in a thin layer of dust, long

forgotten. The moonlight outside the window casts eerie

shadows across the room.

Alonzo sits at the bedside, fitful. He pulls out his ring

of keys, inserting one into the nightstand drawer. He opens

it and grabs something.


19/32

[V.O.]

But how could I have know that shed come back

into my life as if our fire had never died all

those years ago? As if nothing had ever happened?

As if I still loved her.

We cant tell what THE OBJECT is. But as he looks at it,

the coldness in his eyes disappears and is replaced by an

ancient sadness.

[V.O.]

What good is a mans life if he comes home to

nothing? What good is a mans home if an empty

room only feels emptier when hes returned?

He lies down on the bed, alone, sad. He tucks a silenced

pistol under his pillow, drifting off to sleep, tightly

holding on to THE OBJECT in his hand.

[V.O.]

She always tried so hard to make us work. To make

me a better man. But that was another life. And

as much as she tries now, Im alone. No baggage.

No strings. No connections. Its why I do what I

do.

SMASH CUT TO:

[DREAM SEQUENCE]

[C.U.] Pure darkness. A light glistens in the distance.

Another shimmer. Eyes.

[C.U.] The eyes flicker in the dark, reflecting whatever

meager light exists. They shine through the shadows - the

youthful, innocent stare of a young boy.

A wave of indistinguishable flashes dark streets,

shimmering lights, silhouetted figures. A distinct sound

echoes over everything the metallic cocking of a gun. The

gun fires BAM.

SMASH CUT TO:

[INT. BEDROOM. THE NEXT DAY. SUNSET.]

Eyes flicker open abruptly. Alonzo stirs in bed, awakening

from the dream.


20/32

He lies in bed, staring at the ceiling of the room, a look

of worry and sadness wash over him. This is Alonzo at his

most vulnerable, a side of him no one ever sees. A side of

him he doesnt like to show.

He feel THE OBJECT in his grasp and just as quickly, his

eyes are replaced with cold steel, reversing back to thekilling machine.

Alonzo returns THE OBJECT to the drawer and locks it. He

pulls out his gun from under the pillow and heads out.

CUT TO:

[EXT. NIGHT. EMPTY PARKING LOT.]

Two sleek black SUVs pull up to a plain building, desolate

and decrepit 503 is faded into the wood above the

weathered door. No other markings on the building. In thebackground, the citys lights shimmer in the darkness.

The SUV doors open 8 men, breathing heavy, greet the 2

bouncers and enter the club. One of these men is a mammoth

of a man clean suit, gaudy jewelry, bald, and a full

beard with a sharp mustache. This is THE BULL.

[V.O.]

It takes me less than 48 hours to remember this

towns heartbeat. A heart of filth and lies and

death.

[INT. NIGHT. CAR. FRONT SEAT.]

Alonzo sits in the seat of a nearby car, shrouded in

darkness. He watches the men enter the building. He peeks

down at his watch 10:58pm. He cocks his gun and opens the

car door.

[V.O.]

A citys secrets not unlike my own.

[EXT. PARKING LOT. CLUB DOORWAY.]

Two bouncers stand at the door, one is a towering man with

a shaved head and a wicked goatee. The other is younger,

arms full of tattoos.

A sole light hangs above the door to the building, casting

a halo of light around the entrance.


21/32

Something stirs from the shadows. The bouncers peer into

the darkness, trying to see anything, cocking their guns

Suddenly, two silenced shots ring out through the night.

Both men jerk their heads back violently and fall limp

against the wall, bullet holes in their foreheads, eyes

staring the cold stare of death.

Footsteps casually approach as Alonzo walks past them,

holstering his guns.

[INT. STRIP CLUB. DINGY AND DARK.]

Alonzo strolls through the door and into a wave of smoke,

sex, and lust. The place is small and the air is thick with

smoke. A few pool tables sit on the far end of the room. A

stripper dances onstage, no older than 16. Men crowd the

tables around the stage, staring at her, breathing hard.

[V.O.]

Nights here still reek of lust and bad

consciences. And everyone tries to turn a blind

eye to the seedy underbelly of this town.

Alonzo casually walks around the room, scouting it, keeping

his head on a swivel.

[V.O.]

But as much as I try to deny it, that knot in my

gut keeps growing, hard and fast, ever since I

got back to town, telling me something aint

right. And deep down I know, DEUCES was right.

This town aint the same.

Alonzo locks onto a back room. Through the crack in the

curtain, he sees THE BULL, getting a private lap-dance,

grinning like an idiot with a fat cigar in his mouth.

[V.O.]

And I aint the man I used to be

Alonzo walks over to the booth, draws open the curtain,

grabs the girl by the arm and shoves a handful of bills inher arms.

GIRL:

Hey whats your deal mister?!

Alonzo keeps his eyes fixed on The Bull, sitting quietly.


22/32

ALONZO:

Keep the tip.

The girl looks down into her hands at the bills.

GIRL:

(feigning sweet & innocent)Oh whatever you say, sugah.

Alonzo closes the curtain. The Bull stares at Alonzo,

neither scared nor surprised. He sits calmly in the leather

booth, relaxed, and takes a slow drag from his cigar.

ALONZO:

Salvatore The Bull Battista.

BULL:

Yea? Youre him, aint ya?

ALONZO:

The one and only.

BULL:

Yea I heard of you. Your reputation

precedes you, my friend.

The Bull takes a drag, smirking, smug. Alonzo stands

motionless.

BULL:

The Dealer, they call you. So what can I do for

you, dealer-man? Or should I say, what can I do

for your employer?

ALONZO:

You know why Im here.

The Bull laughs a hearty rumble, spitting cigar smoke

into the air.

BULL:

HA! Still running around doing his dirty work

huh? You wanna know a secret? Your boss is losing

it. This town aint his no more and he knows it.Why else would he bring back a defect like you?

Ill tell ya, your employeraint the man you

think he is hes a low-life a disgrace! If he

had any balls hed face me himself and not send

some half-witputo to do me!


23/32

The Bull gets all worked up and springs to his feet. Alonzo

swiftly draws his gun, pointing straight at the forehead of

The Bull, stopping him.

ALONZO:

Ill send him your best wishes.

Suddenly, a noise stirs from the far corner of the room,

splitting the tension in the room. Alonzo turns quickly,

gun drawn.

In the meager light, a small frame walks out into the booth

A LITTLE GIRL, no older than 5 or 6, tightly holding her

teddy bear, wearing flowery PJs. She rubs her sleepy eyes.

Alonzo freezes, the cold stare in his eyes now replaced

with genuine shock.

LITTLE GIRL:

Daddy?

Alonzo stands aghast, slowly lowering his gun. A wave of

guilt hits him as he stares into the eyes of the little

girl.

BULL:

Lizzie I told you to go to bed. Daddys busy

right now.

Beat. She stares at ALONZO, trying to hide the sight of the

gun from her young eyes. ALONZO stands frozen.

Suddenly, a set of giant hands grasps Alonzos arm,

dislodging his gun. Another set of hands grasp his

shoulder. More hands reach in from behind the curtain and

drag Alonzo out from the private booth.

The burly arms throw Alonzo against a wall. A group of 7

men surround him. The girls flee from the stage. The Bull

casually strolls out from the private booth, cigar in hand.

BULL:

Someone shoulda told you dealer-man. The house

always wins. And you better get it straight, myfriend. Youre playing in myhouse now.

The Bull pulls out a silver revolver from his jacket.

BULL:

Its very rude, entering a mans home without so

much as a knock at the door. Didnt your poppa

ever teach you that?


24/32

The Bull nonchalantly takes a drag of his cigar. He feigns

remorse.

BULL:

Oh thats right I almost forgot Its a shame

really. He was so young. We used to be such goodfriends. But you had to go and disgrace him like

that. Tsk tsk. No wonder things turned out the

way it did

The Bull throws back his head, letting out a bellowing

laugh. Just as quickly, The Bulls laughter ceases, his

eyes wash over with a deadly serious glare. He cocks his

gun.

Alonzo peers at The Bull square in the eye. Unflinching.

Angry. Alonzo pulls out his 2nd gun from his coat and turns

the closest henchman around. The Bull shoots once,hitting the henchman in the chest. Alonzo keeps moving,

firing 4 shots, each one finding the forehead of the 4

furthest henchmen. The Bull retreats, firing wildly at

Alonzo.

A henchman grabs Alonzo and dislodges his gun, kicking it

away. Alonzo turns and kicks in the guys knee. The last

henchman attacks Alonzo from the side. Alonzo takes him

down, close combat. The Bull runs out of bullets for his

revolver. The henchman with the broken knee, groveling on

the ground, whimpers and moans. Alonzo takes him out.

Alonzo glances over to The Bull a cold stare. Beat.

The Bull tosses his empty gun and calmly takes off his

jacket rippling arms show through his fancy shirt.

Alonzo, without a gun, grabs a nearby pool cue, feeling the

weight in his hands. Amidst the empty club, dead henchmen

at their feet, Alonzo and The Bull charge at each other.

Alonzo swings the pool cue methodically but The Bull

avoids each whizzing swing. Hes quicker than Alonzo had

thought. The Bull lands a few punches, deafening,

stunning blows. Alonzo finally connects a wide swing

against The Bulls body, sending shards of wood spraying

across the club. The Bull doesnt even flinch. He easilyoverpowers Alonzo and rushes him, obviously stronger. He

grabs Alonzo around the waist, digging into his back,

lifting him off the ground. Alonzo feels his back

tightening, on the verge of breaking. Desperate, Alonzo

flings his leg up, solidly catching The Bull in the

groin. The Bull drops Alonzo instantly.


25/32

Alonzo grabs a nearby shard of splintered pool cue and in a

move as swift as it is mechanical, spears it through The

Bulls throat.

A slow gargle exhales from The Bull as his body falls limp

to the ground dead.

Beat. A look of sadness washes over Alonzos face as he

gazes at his own handiwork. But just as quickly, he regains

his composure. He grabs his phone.

ALONZO:

Its done.

Suddenly, a slight whimper resonates from the far side of

the room. Beat. Reveal LIZZIE BATTISTA, scared straight,

hiding in the corner, forgotten in all the commotion.

Alonzo feels the guilt course through his body as her youngeyes pierce his armor. He cant take his eyes off the

little girl. An ancient sadness washes over his eyes as if

this scenario reminds him of something long forgotten

Overwhelmed, Alonzo quickly turns and disappears out the

door.

The little girl slowly walks over to her fathers body

blood flowing from The Bull, pooling around theACE OF

SPADES at her feet. She tightens her hold on her teddy

bear, trying to console herself. A little girl lost in the

world, fatherless

[INT. NIGHT. DOWNTOWN STREETS.]

Tires screech as a slick SUV pulls up to the AGOSTINA GRAND

HOTEL curbside. Fats, the young valet, runs over to the car

door, eyeing the new ride.

Alonzo steps out, clearly flustered, and carelessly tosses

Fats the keys.

FATS:

Hell Mr. D, whered you get this beauty?

ALONZO:

Get rid of this one Fats.

FATS:

Aw you sure? Look at it!


26/32

ALONZO:

Do it.

Alonzo swiftly walks up the stairs, avoiding everything and

everyone, trying to find solace and consolidation in what

he just did.

FATS:

(yelling after him)

Business tonight?

ALONZO:

(to himself)

Not tonight.

[INT. AGOSTINA HOTEL LOBBY.]

Alonzo walks through the crowds bustling in the hotellobby, heading for the elevators. He suddenly stops in the

middle of the traffic.

[V.O.]

I run back to the only place in town I feel safe.

And she takes me in just like I remember. But

this time, the smell stops me in my tracks and

almost makes me forget what I just did to that

little girl.

Adjacent to the lobby, lights from the LOBBY BAR shine, a

halo of warmth and comfort. This is the same place Alonzo

peered at when he first entered the Agostina.

At the BAR counter sits a woman, her back to the main

lobby, rich chocolate hair flows down her back. She sips on

a tall glass martini, patiently waiting.

[V.O.]

Her sweet perfume cuts through all the blood on

my hands and hits me square in the mug.

[INT. HOTEL BAR.]

The bar is dark and elegant, rich mahogany wood lines the

walls. Intricate chandeliers spot the ceiling. All around,

thick leather booths surround polished stone tables. A lone

bartender busies behind the counter, wearing a crisp vest

and bowtie.


27/32

[V.O.]

And just like that first day I met her, I cant

resist her.

Alonzo walks up to the bar stool next to the woman and

slips a crisp bill on the counter.

[V.O.]

I dont want to resist her.

ALONZO:

A shot of the strong stuff tonight, Tiny. And

keep it coming.

TINY:

Yes sir.

The bartender serves up a shot. The woman turns to Alonzo

piercing eyes shimmer through her thick hair, covering halfher face Adriana.

ADRIANA:

Tough night at work, Dealer?

Alonzo downs the shot.

ALONZO:

Something like that.

ADRIANA:

Havent seen you this flustered in a while. Musta

been quite the job.

ALONZO:

Why are you still here Ana?

ADRIANA:

I told you. I need to talk to you.

ALONZO:

Why come to me? Theres plenty of bums looking

for a quick buck in this town.

She inches closer to Alonzo. He tries to refrain fromlooking into her eyes, knowing he wont stand up to them.

She senses somethings wrong she senses his vulnerability.

ADRIANA:

Because I trust you. Tell me the truth Lonnie,

hows the new life? Is it everything you

expected?


28/32

Beat. Alonzo finally looks into her eyes. His glaze of

toughness evaporates, replaced with an ancient sadness that

was long bottled up.

ALONZO:

It is what it is hell without you baby.

ADRIANA:

It never had to be like that. We could have made

it work

ALONZO:

I couldnt do it Ana. Not after what happened.

ADRIANA:

You still think about him?

ALONZO:

How could I not? Not everyone can bury the pastas easily as you

ADRIANA:

You think it was easy for me? I didnt get over

it, I accepted it.

ALONZO:

I dont want to accept it.

She moves in close, peering into his eyes.

ADRIANA:

He had your eyes you know

ALONZO:

I know. Why do you think I left?

ADRIANA:

I know why you left. But nothing we do now can

change what happened then I miss him just as

much as you dobut we gotta move on Alonzo

things change. Youre back here now. And so am I.

ALONZO:Im only here for business.

ADRIANA:

Wont you help me then Im not asking for much

Lonnie. Just for your help. Someones after me. A

man in nothing but black with a scarlet rose

pinned on his lapel


29/32

ALONZO:

You have your connections straight in this town.

You dont need me.

Alonzo downs a shot, nonchalant, feigning uncaring.

ADRIANA:This is bigger than just you or me. Whoever this

is aint just going for my blood, theyre going

for my family. And maybe even the city.

ALONZO:

How do you know that?

ADRIANA:

Last week, the Armone poppa was found dead in his

bathtub, soaking in a pool of his own blood for

nearly 2 days. Last night, Lou Battista bit the

bullet in his own home. They found his body thismorning, picked apart by a swarm of crows

ALONZO:

Why should I care?

ADRIANA:

You know better than anyone, if you want someone

dead in this town, The Employer takes care of it.

Clean and quiet. These werent clean or quiet.

This wasnt The Employer. These were meant to

send a message to the Households.

ALONZO:

The Households? You dont believe in that do you?

ADRIANA:

Its a truce for this city, not the damned Easter

bunny Lon. You should know the importance of

that. Your father died protecting his name. Your

name.

ALONZO:

Hes dead now.

Alonzo downs another shot, drowning away the bitter tastein his mouth.

ADRIANA:

Then wont you help me? If the Battista and Luzio

lines are cut, the Moretti legacys in the

crosshairs. And deep down, I know Im next.

Whoevers been following me Lonnie theyre gonna

use me to get to my father.


30/32

ALONZO:

Franco Morettis outlasted bullets before. Why

should your father be afraid of some lowly thugs?

ADRIANA:

If theres one thing I learned when we weretogether, its how to spot a man thats up to no

good. My fathers been getting threats. Scarlet

roses stained red with blood Lonnie please

hes not safe in this city and for the first

time in a long time, I dont feel safe either I

dont know where else to go or who else to go to

if its money youre looking for-

ALONZO:

This aint about business Ana. You shouldnt have

come to me

ADRIANA:

Will you drop the tough guy act? I came to you

because I still think of you because I still lay

awake wondering where you are wondering if

youre safe or if that job of yours finally

caught up with you

ALONZO:

I did fine without you. And Im doing fine now.

He downs another shot.

ADRIANA:

I know. But tell me the truth, what we had

couldnt have been that bad even someone as cold

as you cant forget everything we shared. You

cant just ditch your past so easily Lonnie.

ALONZO:

I hold onto only what I need

ADRIANA:

I get it, you dont need me. But I still need

you.

ALONZO:

Im not the same man anymore. Why are you still

holding on to what we used to have?

ADRIANA:

Because I want to. And because you let us go so

easily.


31/32

Beat. Alonzos words are shoved back in his face. Hes

speechless and cant bear to look her in the eye. She

calmly slides a key over to him on the bar counter,

understanding.

ADRIANA:

I have the old room. If you want to talk, youknow where Ill be.

She leans in and kisses him on the cheek, gently and

passionately. Alonzo closes his eyes at the touch of her

lips, as if the kiss could wipe away everything hes tried

so hard to forget in their past. She walks out the bar.

He downs a shot. Beat. He stares at the key left on the bar

counter.

[V.O.]

I run to the only place in town I feel safe.

[INT. HOTEL LOBBY.]

Alonzo walks over to the elevators. He gets into the far

one, like usual.

[V.O.]

And she takes me in just like I remember.

[INT. ELEVATOR.]

Alonzo pulls out his ring of keys in one hand. In his other

hand, he holds Adrianas key. Beat. The elevator doors

close on him.

[V.O.]

Her secrets remind me of my own. All those nights

years ago, when Id step foot in here for all the

wrong reasons.

[INT. HOTEL FLOOR HALLWAY.]

Footsteps walk down the dark carpet of a hallway. One step

after another. Fancy wood panels line the walls. Dim

lighting overhead.

[V.O.]

But I dont come here for whats on the menu.


32/32

The feet stop. A door slides open, spilling a ray of light

into the dim hallway. Adriana stands at the door, half

behind the door, emotionless. Alonzo stands at the doorway.

He looks into her eyes. Beat.

V.O.]

I dont mix business with pleasure. Not anymore.

They dont say a word. Her lips finally curl up at the

edges as she grabs his jacket lapel and pulls him into the

room. The door closes, a sign hanging on the doorknob:

PLEASE DO NOT DISTURB.

[V.O.]

And tonight, I aint here for business.

[INT. BATTISTA CLUB. LATE NIGHT.]

Heavy footsteps resonate over the hardwood. A SHADOW slowly

walks across the quiet club floor to the edge of a pool of

blood.

Gloved hands reach down and retrieve THE DEALERS CARD. But

before leaving, THE SHADOW waits. It kneels down to the

height of a little girl LIZZIE BATTISTA and extends a

hand.

Afraid and lost, she slowly clutches onto the gloved hand.

Both figures, hand in hand, turn and walk out the club.

TILT up THE SHADOWs body as he leads Lizzie out the door -

clad in a long coat, black as the night, opulent and thick.

A top-hat drenches the face in shadow. A vibrant SCARLET

RED ROSE is pinned on the lapel.

low spade in the hole

Documents