VOODOO HOODOO MAN

THE VOODOO HOODOO MAN FADE IN: EXT. TRAIN STATION - DAY SUPERIMPOSE: PITTSBURGH, PENNSYLVANIA 1931 LAZARUS FLYNN, thirties, tall, bull-shouldered and fit, wearing workingman’s duds, aviator’s jacket and Stetson hat, steps from the passenger car, a large duffel slung over his back. He looks around and smiles. Good to be back. FLYNN (VO) The name is Flynn. Lazarus Flynn. I have been shot, stabbed, poisoned, bull-gored, snake-bit and have the scars to prove it. Worn the uniform of the US of A and helped Pershing kick the Hun’s ass at Belleau Wood. I give as good as I get in any ruckus and if you want to know the difference between an American and Shanghai jail, I'm your man. EXT. STREET - DAY Flynn enters the Mellon Bank. INT. SAFE DEPOSIT BOX ROOM - DAY Flynn sets into a private room with his new deposit box. He opens the duffel, removes stacks of $100 bills and places them in the box. EXT. HOUSE - DAY A streetcar stops in a working class neighborhood. Flynn hops off and stares at a modest home. He walks onto the porch and rings the doorbell. NELLIE FLYNN, fifties, opens the door. Tears gather. NELLIE Sonny. Praise the saints! Clearly nervous, she glances over her shoulder and steps onto the porch. 2. FLYNN You gonna invite me in, ma? NELLIE I’m in money trouble. A man inside come round to collect. FLYNN Guess I came home just in time. INT. NELLIE’S HOUSE - DAY

THE VOODOO HOODOO MAN FADE IN: EXT. TRAIN STATION - DAY SUPERIMPOSE: PITTSBURGH, PENNSYLVANIA 1931 LAZARUS FLYNN, thirties, tall, bull-shouldered and fit, wearing workingman’s duds, aviator’s jacket and Stetson hat, steps from the passenger car, a large duffel slung over his back. He looks around and smiles. Good to be back. FLYNN (VO) The name is Flynn. Lazarus Flynn. I have been shot, stabbed, poisoned, bull-gored, snake-bit and have the scars to prove it. Worn the uniform of the US of A and helped Pershing kick the Hun’s ass at Belleau Wood. I give as good as I get in any ruckus and if you want to know the difference between an American and Shanghai jail, I'm your man. EXT. STREET - DAY Flynn enters the Mellon Bank. INT. SAFE DEPOSIT BOX ROOM - DAY Flynn sets into a private room with his new deposit box. He opens the duffel, removes stacks of $100 bills and places them in the box. EXT. HOUSE - DAY A streetcar stops in a working class neighborhood. Flynn hops off and stares at a modest home. He walks onto the porch and rings the doorbell. NELLIE FLYNN, fifties, opens the door. Tears gather. NELLIE Sonny. Praise the saints! Clearly nervous, she glances over her shoulder and steps onto the porch. 2. FLYNN You gonna invite me in, ma? NELLIE I’m in money trouble. A man inside come round to collect. FLYNN Guess I came home just in time. INT. NELLIE’S HOUSE - DAY

Flynn and Nellie step through the door into a modestly furnished parlor. A large, shambling man stares up at a cheap painting. He turns when they enter. A classic mob torpedo, his name is RUMMY CHARLES. RUMMY Lazarus Flynn. Long time, no see. FLYNN Picking on old ladies now, Rummy? RUMMY Problem is, your mother’s husband, now deceased, owes my boss. Big time. FLYNN Who’s bossing you around these days? RUMMY Red Malone. FLYNN Any proof of this supposed debt? Rummy reaches into his pocket and hands over a clutch of chits. Flynn sits and stares at the evidence. RUMMY I just follow orders. Providing a friendly reminder, is all. FLYNN Tell Malone he deals with me now. Don’t darken my ma’s door again. RUMMY Whatever you say, Flynn. Where can he find you? FLYNN I’ll find him. 3. Rummy smirks and tips his hat. He departs. Flynn stares at a small table, where a framed photo of him in his Marine uniform sits next to a Purple Heart. He puts his arm around Nellie. INT. KITCHEN - DAY Flynn studies a small bulletin board covered with postcards from European cities. London, Paris, Amsterdam and so on. NELLIE I looked forward to the postcards. So nice knowing where you were. Nellie sets a cup of coffee in front of Flynn, next to a plate of scones. Nellie sits, her face drawn with worry. NELLIE (CONT’D) There’s something else. I’m going to lose the house. FLYNN

Flynn and Nellie step through the door into a modestly furnished parlor. A large, shambling man stares up at a cheap painting. He turns when they enter. A classic mob torpedo, his name is RUMMY CHARLES. RUMMY Lazarus Flynn. Long time, no see. FLYNN Picking on old ladies now, Rummy? RUMMY Problem is, your mother’s husband, now deceased, owes my boss. Big time. FLYNN Who’s bossing you around these days? RUMMY Red Malone. FLYNN Any proof of this supposed debt? Rummy reaches into his pocket and hands over a clutch of chits. Flynn sits and stares at the evidence. RUMMY I just follow orders. Providing a friendly reminder, is all. FLYNN Tell Malone he deals with me now. Don’t darken my ma’s door again. RUMMY Whatever you say, Flynn. Where can he find you? FLYNN I’ll find him. 3. Rummy smirks and tips his hat. He departs. Flynn stares at a small table, where a framed photo of him in his Marine uniform sits next to a Purple Heart. He puts his arm around Nellie. INT. KITCHEN - DAY Flynn studies a small bulletin board covered with postcards from European cities. London, Paris, Amsterdam and so on. NELLIE I looked forward to the postcards. So nice knowing where you were. Nellie sets a cup of coffee in front of Flynn, next to a plate of scones. Nellie sits, her face drawn with worry. NELLIE (CONT’D) There’s something else. I’m going to lose the house. FLYNN

Lazarus Flynn enters Mellon Bank

Lazarus Flynn confronts Rummy Charles in Nellie's Parlor

I paid off the mortgage years ago. Nellie walks to a drawer and pulls out a legal document. NELLIE Harold put the house up for collateral. He was going to make glue sticks and we were going to live in a mansion on Fifth Avenue, he said. She hands the document to Flynn. He reads it. FLYNN Who the hell is James Madison? She shrugs. NELLIE A Negro man, I think. He called two days ago. FLYNN I’ll handle it. Nellie rubs her forehead. NELLIE I feel so alone, sonny. 4. Flynn takes her hands. FLYNN I’m home now. To stay. Nellie beams. FLYNN (CONT’D) (VO) My mother made bad choices in men. My father was a thimblerig shot dead in a card game. She hit the trifecta on her second husband: a drunk, gambler and dreamer. My first task was the visit Red Malone. And my second was to find someone named James Madison. END COLD OPEN 5. ACT ONE INT. GARAGE - DAY Nellie watches as Flynn, in his wife-beater, changes the spark plugs on a 1928 Nash. NELLIE I did like you said. Drove it once a week to church. I must say I was the envy of the gals in the Altar and Rosary Society. Flynn shuts the hood, wipes his hands on a greasy cloth. He climbs behind the wheel and starts the engine, which purrs sweetly. NELLIE (CONT’D) Are you really going to stay? FLYNN Yeah. Seen enough of the world. NELLIE Good!

We can go to church and have lunch every Sunday. He places his hands on Nellie’s shoulders and kisses her cheek. FLYNN Now, go about your business. Don’t worry about a thing. EXT. STREET - DAY Flynn parks the Nash outside the Acme Bar and Grill. He stares at a line of MEN standing outside a nearby soup kitchen. INT. ACME BAR - DAY Flynn enters. A voice roars from behind the bar. VOICE (OS) Look what the cat dragged in! JOCKO DEBLASIO, large and boisterous, bearhugs Flynn. 6. JOCKO It’s been, what? Four years? FLYNN Give or take. How’s business? JOCKO Damned Prohibition. But I got the best chef in town. You staying put? FLYNN Yeah. They sit at a table. JOCKO What can I do you for? FLYNN Red Malone. JOCKO He’s got a floating speakeasy off West End called the ‘Three Spot.’ Easy enough to find, unless you’re a copper. FLYNN You ever heard of a man named James Madison? JOCKO Hoodie Madison? Yeah. Jigaboo gangster runs things down in Little Haiti. Why? FLYNN My mother owes him money. JOCKO Folks say he’s a dangerous dude. FLYNN So am I. JOCKO You gonna join up with Angus Jones again? You two were a fine pair of private dicks, if I remember. FLYNN Who can pay for a private investigator these days? 7. JOCKO Trust me, when it comes to finding out who your old man or lady is humping, folks got money. You

fixing on visiting this Madison? Rough area down there. FLYNN I’ll be fine. EXT. HOUSE - DAY JOHN ROBINSON, a muscular black man, builds a brick wall. Flynn approaches from behind. ROBINSON Whatever you’re selling, I ain’t buying. FLYNN Smiling John. Robinson puts down his trowel and turns. ROBINSON Got-damn. Lazarus Flynn. They man-hug. Robinson sits on a stack of bricks and motions Flynn to sit next to him. ROBINSON (CONT’D) What you been up to? FLYNN Traveling. You know Hoodie Madison? ROBINSON I know of him. Ain’t the sort I want to know. FLYNN Where can I find him? ROBINSON Hangs down at the Paramount. You can’t just walk in to see him. Need to grease the skids. FLYNN Can you help? ROBINSON Hell no. Listen, there’s a white gal who likes black men, if you catch my drift. Name’s Delilah Devereaux. (MORE) 8. ROBINSON (CONT’D) She’s a canary, sings down at a speakeasy called the Three Spot. I hear she hangs with Hoodie. FLYNN Thanks. They shake. Flynn walks away. FLYNN (CONT’D) (VO) As luck would have it, Delilah Devereaux could lead me to both Red Malone and Hoodie Madison. Two birds with one stone. INT. OFFICE BUILDING - DAY Flynn stares at a frosted glass door. Lettered on it: Angus Jones, Private Investigations. He tries the door. Locked. MR. BILLINGS, in a white shirt, sleeves rolled up, a ring of keys on his belt, exits the elevator. BILLINGS He ain’t there. Flynn glances at his watch.

BILLINGS (CONT’D) You’ll be waiting a long time. Jones is dead. FLYNN I used to work with him. Mind if I look inside? Billings shrugs and uses one of the keys to open the door. INT. OFFICE SPACE - DAY The place is dusty though still completely furnished. Flynn opens a second door and peeks inside, then closes it. He finds a photo on a battered bookcase. CLOSE ON PHOTO; ANGUS JONES, heavy-set, in his fifties and a younger Flynn. FLYNN How’d he die? 9. BILLINGS Ticker gave out right in the lobby. Dead when he hit the ground. FLYNN When? BILLINGS Four months ago. Listen, you looking for office space? FLYNN Maybe. BILLINGS Tell you what. Jones still had six months left on the lease. He paid upfront for a year. You sign a year’s lease, you can have the first six at no charge before you start paying. Doesn’t do me any good to have empty offices. FLYNN Sounds good. BILLINGS Come down to the office. INT. APARTMENT - DAY Another LANDLORD showing Flynn a one-bedroom furnished studio apartment. Another handshake. EXT. DOCK - NIGHT Flynn walks toward what looks like a miniature side-wheeler riverboat. Two GOONS guard the dock. GOON Private party. FLYNN Tell Red Malone Lazarus Flynn is here to see him. Goon #1 sends Goon #2 to check. Goon #2 returns, whispers to Goon #1. They step aside. INT. SPEAKEASY - NIGHT The boat pulls away from the dock as Flynn enters. Well-

dressed white PATRONS enjoy booze and games of poker. A WAITRESS greets him. 10. WAITRESS What will it be, big boy? FLYNN Scotch. Neat. What time does Miss Devereaux go on? WAITRESS Any minute now. He follows her to a table near the stage. He sits. The Waitress returns with his drink. A hand comes down on his shoulder. It’s RED MALONE, auburn hair parted in the middle, white sport coat sporting a red carnation. MALONE Upstairs. INT. SECOND FLOOR - MALONE’S OFFICE - NIGHT Malone sits behind his desk. Rummy’s present, as well as two more GOONS. MALONE Where you been? Not that I’ve missed your mug. FLYNN Here and there. MALONE Rummy says you’re gonna step up. FLYNN Depends. I didn’t make the bets and neither did my ma. What’s Harold Henderson’s tab? MALONE Dunnie! A mousy man appears carrying a thick book. This is DUNSTAN. Bookkeeper born. MALONE (CONT’D) What the total tab for Harold Henderson? He opens the book. DUNNIE One thousand, two-hundred, twenty five dollars. 11. FLYNN You let a client run that big of a tab? MALONE He was a good customer. Running even until he put a ton on Sharkey against Schmeling. Then he dropped dead. The vig has a way of growing. Malone leans back in his chair. MALONE (CONT’D) You got that kind of scratch, Flynn? FLYNN Could be. What say, I cover the bets, minus the juice? Malone smirks. MALONE Do I look like a charity? FLYNN Weren’t my bets.

Lazarus Flynn Meets Red Malone in the bar

Malone nods at Dunnie. MALONE What’s the number less the vig? DUNNIE Six-hundred-fifty. FLYNN Six hundred, cash. Malone laughs softly. FLYNN (CONT’D) My ma doesn’t have that kind of bread. I’m the pockets here. Now, you want to make a deal and clear the book, then six-hundred is what you get. Malone purses his lips. MALONE Seven hundred. FLYNN Six-fifty. Malone waves his hand, bored with the matter. 12. FLYNN (CONT’D) Meet me at Mellon Bank at nine in the morning. MALONE You got a lot of spit. Good thing me and your old man did business a long time ago and you’re a no-good Mick, to boot. FLYNN I need a sheet of paper. Malone shrugs and tears a sheet from a legal pad. INT. SPEAKEASY - FIRST FLOOR - NIGHT Flynn takes his seat. DELILAH DEVEREAUX, in a shimmering sequin gown, is already into her act. She’s a knockout. He motions over the Waitress. FLYNN Let me borrow your pencil. She pulls the pencil from behind her ear. Flynn writes on the sheet of paper. Hands it back. Waitress reads. WAITRESS And here I thought you were gonna write me a poem or give me your phone number. FLYNN You’ll see Devereaux gets it? WAITRESS Sure, doll. But don’t get your hopes up. Delilah’s act ends. The lights go up. Flynn waits. The Waitress returns. WAITRESS (CONT’D) Follow the hall to the left of the stage. Last door. INT. HALLWAY - NIGHT

Flynn passes several rooms until he reaches the final door. He knocks. 13. DELILAH (OS) Come in. INT. DRESSING ROOM - NIGHT Flynn enters. Delilah has changed into a robe and sits in front of a mirror. Her hair is wrapped in a towel. Given her caramel skin and features, she could be Italian or Spanish. DELILAH What’s your name? FLYNN Lazarus Flynn. DELILAH There’s a lot of you, Mr. Flynn. FLYNN I enjoyed your act. DELILAH That compliment and a nickel will get me a cup of coffee. Start talking. FLYNN You know Hoodie Madison? She spins around, modestly closing the robe over her thighs. DELILAH You a flatfoot? FLYNN No. This is personal. DELILAH Personal how? FLYNN I’m just a guy trying to take care of my mother’s money problem. Delilah smiles. DELILAH My, my. A momma’s boy. What do you do for a living? FLYNN I’m a private detective. 14. DELILAH Everyone knows where Hoodie is. Not very good at your job, are you? She stands, picks up the note he wrote and stuffs it into his coat pocket. DELILAH (CONT’D) Send him a note. You’re good at it. FLYNN Only a fool thinks you can waltz into Hoodie’s office without an intro. DELILAH You mean a white fool? She moves closer. DELILAH (CONT’D) You asking for a favor then? FLYNN I am. DELILAH I set up the meeting, you owe me. And I always collect. She walks behind a dressing screen. Her robe flops over the

screen. After a moment, she comes out in another dress, tight to her curves. She turns around. DELILAH (CONT’D) Zip me, honey. He stares at her lovely back and zips her up. She turns and wiggles her hips, adjusting the dress. DELILAH (CONT’D) What do you think? FLYNN I’m no fashion expert. She moves closer. DELILAH No opinion at all? FLYNN None that I’d share in polite company. She laughs, throaty, alluring. 15. FLYNN (CONT’D) Leave a message with DeBlasio at the Acme Bar. DELILAH I’m not your appointment secretary, honey. She pulls out the paper from his pocket and writes her phone number in lipstick. DELILAH (CONT’D) You call me. Now, go away, Mr. Flynn. She smiles though, the attraction obvious. EXT. HALLWAY - NIGHT Flynn exits, only to be confronted by two of Malone’s GOONS. They open a door and throw him in an empty room. INT. ROOM - NIGHT Fist’s fly. Flynn gives back good but ends up on the floor. GOON #1 Stay away from Delilah. Understood? They depart. Flynn wipes the blood from his lips as Delilah enters. DELILAH Can’t a working gal get a little peace-- She sees Flynn. FLYNN You shoulda said you were Malone’s personal property. DELILAH I’m no one’s property. She departs and slams the door. END ACT ONE 16. ACT TWO INT. ALLEY - NIGHT Flynn waits in an alley across the street from an apartment building. FLYNN (VO) Jocko was right. He sent all sorts

of folks my way with problems. Husbands and wives wanting to know what their spouse was up to, parents wondering who their daughter was seeing. I called Delilah every day, though she never answered. Flynn sees a MAN exit, raises his camera and takes photos. INT. PHOTO SHOP - DAY Flynn walks up to the counter. A twenty-year-old fireball named TESS TRUHARDT appears in a white lab coat. FLYNN You have photos for me? Tess sticks out her hand. TESS Lazarus Flynn, right? Tess Truhardt, hard ‘d’, soft ‘t’. FLYNN Do I know you? TESS No. But I know you. Angus Jones talked about you all the time. Flynn’s confused. TESS (CONT’D) You’re doing the shamus work, like him. I develop the photos, so I know what your up to. FLYNN How did you know Angus? 17. TESS I was his secretary, though I prefer Gal Friday. A proud graduate of Miss Sarah Simpsons School of Secretarial Studies. And I accept. FLYNN What? TESS Your job offer. FLYNN Not hiring. TESS Look, I have a darkroom in my parent’s basement so you’ll save money. I’ll pay for myself in the long run. FLYNN Like I said, I’m not hiring. He takes his photos and leaves. EXT. STREET - DAY Tess follows him out. TESS Every time you answer the phone or lick a stamp, you can be out hustling. Here’s the deal, one time only. I’ll work for free for a month and if I’m not the best thing

you ever stumbled into, fire me. Flynn eyes her. He likes her gumption. FLYNN One month. See you Monday, 301 Flatiron Building. TESS I’ll bring bagels. She walks off, floating on air. INT. OFFICE - DAY Flynn dials the phone. INT. DELILAH’S BEDROOM - DAY 18. Delilah, lying in a silk-sheeted bed, answers. INTERCUT PHONE CONVERSATION FLYNN You forget about me, Miss Devereaux? DELILAH You were in my dressing room while I was naked. I think we’re on a first name basis. FLYNN You were naked behind a screen. DELILAH Use your imagination. FLYNN You talk to Hoodie, Delilah? DELILAH That’s better. Tomorrow at nine a.m. He’ll come to you, if you actually have an office. FLYNN Three-oh-one Flatiron building. INT. OFFICE - DAY Flynn arrives, bleary-eyed, newspaper under his arm. He places his Stetson on the door hook and walks to his desk. The door swings open. A large black BODYGUARD enters and steps aside. In walks JAMES ‘HOODIE’ MADISON. Small of stature, dressed in a cream-colored double breasted suit, resembling a banker rather than a thug. A black patch covers his left eye. Delilah and another BODYGUARD enter. HOODIE Mr. Flynn, I presume. FLYNN That’s me. Flynn offers his hand. They shake. Flynn moves a chair in front of the desk. BODYGUARD #1 quickly uses his handkerchief to brush the seat clean. Hoodie sits. 19. HOODIE You want to see me about your mother’s note? I told her husband glue sticks were a dumb idea from the get-go.

FLYNN I want to clear the books. HOODIE Full payment? FLYNN That’s right. HOODIE Cash? FLYNN Cash. HOODIE When? FLYNN Say the word. Hoodie glances around at the settings of the office. HOODIE You got a side gig, Flynn? FLYNN I have the money. Doesn’t matter where it came from. HOODIE Oh, but it does. I don’t want any money from ill-gotten gains. FLYNN I did a job in Hong Kong. Money’s clean. HOODIE Hear that, boys? We got ourself a world traveler. What kind of job? FLYNN It involved a gold scarab that once belonged to a Pharaoh. HOODIE You are an interesting man. I might have work for you. 20. FLYNN Always open. Hoodie gives a hard stare. HOODIE Yeah? So you got not problem working for a jungle bunny, coon or stable buck, to use the common vernacular? FLYNN I served with the American Expeditionary Force and fought side by side with Negroes when they were allowed to fight. I've got no cause to belittle a man because of the color of his skin. HOODIE You’re right, Dee. I do like this man. Hoodie stands and walks to the window. HOODIE (CONT’D) I lost my eye in fucking France, fighting for ideals that ain't worth a piss here. DuBois was right. We shoulda never enlisted. Let the white men fight and kill each other. Ever seen a coon Kraut? Heard of Tulsa? FLYNN I know where it is. HOODIE Whites massacred black men, women and children.

No one knows how many brothers and sisters were killed. FLYNN News to me. HOODIE Because the white press won't tell that story. People say my name, they talk like I'm a piece of shit to scrape off the soles of their shoes. They talk about Al Capone like he's fucking Robin Hood. Hoodie turns from the window. 21. HOODIE (CONT’D) You think the cops in this town don't know where the speakeasies are? They on the take, Brother Flynn, and ain't about to bust judges and rich white folk. But they come down on us like they hitting San Juan Hill. I apologize for my passion. It just gets my blood a’ boiling. He takes a deep breath. HOODIE (CONT’D) You ever been to the Paramount, Mister Flynn? FLYNN No. HOODIE Best damn jazz and hooch in the city. Come down Saturday night, as my guest. FLYNN I might, at that. HOODIE As for that note, you call Dee here. She handles certain financial matters for me. Hoodie extends his hand. They shake and all depart. Flynn opens the newspaper and begins to read. The door opens again and two suits walk in. One, heavy-set (O’MALLEY) and the other thin and drawn (FERGUSON). O’MALLEY Lazarus Flynn. Been a long time. FLYNN Not long enough, apparently. FERGUSON You met with Hoodie Madison? FLYNN I did. O’MALLEY About what? FLYNN Nothing for two crack detectives to be concerned with. 22. FERGUSON That’s for us to decide. FLYNN Seems you already decided.

O’MALLEY Still the wiseacre, huh? Back in the shamus game I hear. You got a license? FLYNN You heard wrong. I’m a writer. Flynn taps the typewriter. FERGUSON Yeah? What you writing? FLYNN Novels. I’d send one over if you knew how to read. O’MALLEY Hoodie Madison runs numbers, among other things, down in Little Haiti. We were thinking you could help us, like a good law-abiding citizen. FLYNN As a law-abiding citizen, I want to report a speakeasy run by Red Malone. Anchored in the river near West End. You should pull him in, if you’re done bumping your gums. FERGUSON We got our eye on you. Watch your step. FLYNN I’m always careful. Don’t let the door hit you in the ass on your way out. O’Malley points an index finger like a gun at Flynn and pretends to fire it. INT. MELLON BANK - LOBBY - DAY Delilah arrives, wearing a black and white stripped dress and turban. She looks like a million bucks. Flynn hands over an envelope. She counts the money and hands over the note. 23. DELILAH What time are you picking me up tomorrow? FLYNN For what? DELILAH The Paramount. We’ll meet in front of Bellefield Gardens. Say seven? FLYNN Seven it is. She finger waves and walks to the teller area. EXT. STREET - NIGHT Flynn pulls up to the curb behind a white Cadillac. Red Malone and Delilah are arguing. Flynn, wearing a suit and tie, exits car.

He nods at Rummy, leaning against the Caddy’s fender. FLYNN We’re going to be late for dinner, Delilah. MALONE We are having a private conversation, Flynn. Delilah walks away and stands behind Flynn. Rummy stalks toward Flynn. FLYNN Call off your puppy, Malone. Malone waves Rummy away. MALONE I’m already tired of your face. FLYNN And I'm tired of you picking on widows and pretty women. It’s a free country. Some of us had the balls to fight so it stays that way. Malone makes a fist and Flynn squares up. Malone changes his mind but Rummy charges forward. Flynn clips him with a sharp right to the jaw. Rummy falls to his knees. MALONE You’re day is coming, Flynn. 24. FERGUSON (OS) What’s going on here? O’Malley and Ferguson, who are parked being Flynn’s car, saunter over. FLYNN A little disagreement about the Pirate’s pitching rotation. O’MALLEY You okay, Rummy? Want to file charges? MALONE He’s not worth the trouble, O’Malley. Let it ride. FERGUSON You’re coming with us, Flynn. DELILAH Why don’t you ask me what happened? O’MALLEY I saw Flynn assault another citizen. Don’t need a witness, sweetcakes. Flynn tosses his car keys to Delilah. INT. POLICE STATION - INTERVIEW ROOM - DAY The clock wall reads 8:00. O’Malley and Ferguson enter. Flynn stands. O’MALLEY See, Flynn, the thing of it is-- Ferguson grabs Flynn by the shoulders and O’Malley puts all his bulk behind a punch to Flynn’s stomach. Flynn doubles over, sucking wind. O’MALLEY (CONT’D)

What did you see, Fergie? FERGUSON Prisoner attacked you without warning. You had no choice but to defend yourself. Ferguson shoves Flynn into a chair. 25. FLYNN You two are hilarious. A real Laurel and Hardy act. O’MALLEY We’re charging you with assault and battery on Rummy Charles. FLYNN I take it you didn’t raid Malone’s speakeasy. You on a first-name basis with every mobster? FERGUSON None of your beeswax. FLYNN Before you waste the D.A.’s time, I have a witness to it all, a very pretty woman. You really want to put her on the stand against an ape like Rummy Paul? A court stenographer can’t translate grunts. O’Malley and Ferguson exchange glances. FERGUSON Get the fuck out of here. EXT. STREET - NIGHT Flynn sees his Nash parked on the curb. Gets in. INT. NASH - MOVING - NIGHT Delilah’s behind the wheel. DELILAH What was that all about? FLYNN O’Malley and Ferguson are in Malone’s back pocket. He doesn’t like me, so they don’t. He winces from his sore rib. DELILAH Did they rough you up? FLYNN A bit. They want me to turn on Hoodie, which I won’t. (MORE) 26. FLYNN (CONT’D) By the way, why are you handling certain finances for Hoodie? DELILAH Because he trusts me, silly boy. INT. PARAMOUNT CLUB - NIGHT Delilah and Flynn enter. A jazz combo plays. WHITES and BLACKS enjoy the music. Booze flows. Happy place. Flynn and Delilah sit. FLYNN You gonna sing tonight? DELILAH

No. I’ve got an exclusive contract with Malone. She smiles and puts her arm though his, hugging him close. Hoodie comes over. HOODIE My man! Come on, I want you to meet someone. Flynn follows Hoodie to a rear table, where GUS GREENLEE, older, distinguished black man holds court. HOODIE (CONT’D) Flynn, this is Gus Greenlee. Flynn is good white, Gus. GREENLEE Happy to meet you. They shake. HOODIE Flynn here once chased a treasure owned by a pharaoh. GREENLEE One day I would like to hear about your treasure hunt. Any friend of Hoodie’s is a friend of mine. He eyes Hoodie, who ushers Flynn away, conversation over. HOODIE Sorry about calling your mom, but business is business. FLYNN Forget about it. 27. Hoodie claps Flynn on the shoulder. HOODIE You got some voodoo hoodoo in you, brother. He leads Flynn back to Delilah. Flynn sits. DELILAH You met Greenlee. Consider yourself fortunate. FLYNN He’s a big deal? DELILAH Simple question. Where does a black man go to get a mortgage in the city? FLYNN A bank. She laughs. DELILAH Black man can’t get a mortgage from a white bank, honey. FLYNN What’s your point? DELILAH Greenlee is the damn bank for black folk. Flynn grimaces. DELILAH (CONT’D) Your ribs bothering you? Flynn nods. DELILAH (CONT’D) Then let’s go. You paid your propers. INT. NASH - MOVING - NIGHT FLYNN What is it between you and Malone? DELILAH Business. Anything else is his imagination. 28. FLYNN

Hoodie told me I had some voodoo hoodoo in me. What’s that mean? DELILAH A bag with magical items inside is called a hoodoo. Voodoo is a religion practiced in Haiti. It’s his way of saying there’s something special about you. ‘Je ne sais quoi’ in other words. Flynn eyes Delilah, surprised at her use of French. They pull up in front of her building. DELILAH (CONT’D) You can come up and I’ll put ice on those ribs. FLYNN Thanks, but when I’m in pain I get grumpy. She leans over and kisses him on the lips. DELILAH You have my number. Don’t forget to use it. EXT. OUTSIDE FLYNN’S OFFICE - DAY Flynn arrives. Tess is waiting, a large purse over her shoulder. TESS Morning, boss. INT. OFFICE - DAY Flynn takes off his coat and hat. Tess brushes dust from the desk. She takes a notepad from her purse as well as a small paper bag. TESS One bagel, as promised. Now, I made of list of what needs to be done to get this office properly running. Let’s start with a formal agreement of representation before moving on to the filing system. Flynn realizes he’s hired a hurricane. 29. EXT. STREET - NIGHT Rain pours down as Flynn exits a movie theater. Marquee reads: HELL HARBOR, Starring Lupe Velez. INT. APARTMENT - NIGHT Flynn hangs his wet hat and coat on hangers. Sits down and removes his soggy shoes. The doorbell rings.

He walks over and uses the intercom. FLYNN Who is it? DELILAH (OS) It’s Delilah, Flynn. I need to see you. Flynn buzzes her in. He opens the apartment door. Delilah comes up the stairs, followed by Hoodie. FLYNN What’s going on? She’s frantic. DELILAH It’s my sister. She’s in trouble. I need your help. Flynn motions her to the couch. Hoodie remains standing. DELILAH (CONT’D) My sister didn’t come home after she visited a friend up the road. My mother called an hour ago. FLYNN Did your mother call the police? HOODIE The police ain’t gonna help. FLYNN Look, I can call the station. There are some good cops. HOODIE You don’t understand. Her sister lives in Alabama. Flynn stops short. 30. DELILAH You need to go down there and find her. FLYNN First of all, I don’t know squat about Alabama. DELILAH I do. I’m going with you. Before Flynn can protest . . . HOODIE I’ll cover the cost, Flynn. No questions asked. You do intend to make money as a private eye, don’t you? FLYNN You sure your sister didn’t spend the night with a friend? DELILAH I know my sister. She would never do that without telling my mother. We can leave at first light. Take turns driving. Delilah dabs her wet eyes. DELILAH (CONT’D) I fear something bad has happened. And you do owe me a favor. Flynn takes a deep breath. Hoodie puts his arm around Flynn’s shoulder. HOODIE Don’t sweat it, brother.

You got that voodoo hoodoo. DELILAH I’ll be waiting for you at six tomorrow morning outside my apartment. She hugs Flynn close for a long moment. INT. FLYNN’S APARTMENT - NIGHT Flynn neatly packs his duffel bag with a change of clothes, a dopp kit, binoculars, a sheath knife, flashlight and a camera. Atop it all he sets a shoulder holster holding a Colt pistol. 31. FLYNN (VO) I knew nothing about Alabama. But it was a paying gig and a guy could do a lot worse than having Delilah Devereaux as a client. Besides, I owed her a favor. END ACT TWO 32. ACT THREE EXT. STREET - DAY Flynn pulls to the curb. Delilah waits in a casual outfit and carrying a canvas sack, a suitcase and her purse. INT. NASH - DAY Delilah gets in. DELILAH I brought apples, two sandwiches and a thermos of coffee. Even though you do owe me a favor, I really appreciate this. FLYNN Hoodie hired me, so it’s not a favor. DELILAH Then you still owe me one. She unfolds a map. INT. NASH - MOVING - DAY FLYNN You’re certain a train wouldn’t be faster? DELILAH No express service. Besides, my mother lives in the sticks, so we’d have to bus from Birmingham anyway. FLYNN Tell me about your sister. DELILAH Rachel is a high school senior. We are both named after characters in the Bible. My mother is very religious. FLYNN Are you? 33. DELILAH

Well, let’s say I’m a bit more clear-eyed about the world. Anyway, Rachel is going to Tuskegee on a scholarship. FLYNN You sure she doesn’t have a boyfriend? DELILAH No. She would have told me. We’re very close. FLYNN Where was she before she went missing? DELILAH A mile down the road, at her friend Daisy’s house. She rode her bike. They were studying. FLYNN Daisy has no idea where she is? DELILAH She said Rachel left and said she was going straight home. FLYNN What time did she leave Daisy’s? DELILAH Nine-thirty. Why? FLYNN Because she’s now been missing for nine hours, give or take. DELILAH That’s bad, isn’t it? FLYNN Let’s take it one step at a time. EXT. HIGHWAY - DAY Establishing shot. The Nash hums along. FLYNN (VO) By the time we reached Alabama, Rachel would have been gone for nearly eighteen hours. (MORE) 34. FLYNN (CONT’D) She either had run off or sometime bad had happened. Given what Delilah told me about Rachel, I figured it was the latter. I thought my quest to find Rachel would end up as a search to find her body. INT. NASH - DAY Delilah dozes as the car pulls into a gas station. Flynn nudges her. She wakes with a start. DELILAH Where are we? FLYNN Just over the border in North Carolina. DELILAH Some navigator I turned out to be. Flynn steps out of the car and notices the restroom signs

reading ‘WHITE’ and ‘COLORED.’ The ATTENDANT comes out. FLYNN Fill it up. He buys two COKE’s from the machine and walks over to Delilah, who hands him a sandwich. DELILAH I can drive a bit. He points at the restroom signs. FLYNN I see why Hoodie came north. DELILAH Imagine signs that said 'Irish Only.' and 'All Other White People.' How would you feel? They finish eating and Flynn pays the Attendant. INT. NASH - MOVING - DAY Flynn driving. FLYNN What’s your mother’s name? 35. DELILAH June. Call her Momma, though. So, what this about you and some pharaoh? FLYNN I got mixed up in a search for a trinket that once belonged to a pharaoh. Ended up chasing it from Hong Kong to Milan. DELILAH Did you find it? FLYNN Yeah. I was traveling with a woman who knew more about the scarab than I did. I wouldn’t know it from a pair of old shoes. DELILAH What was her name? FLYNN Why? DELILAH The woman. FLYNN Doesn’t matter. Delilah looks over at him. DELILAH You fell hard for her, didn’t you? FLYNN What makes you say that? DELILAH Because it hurts to say her name. FLYNN Her name was Sonia Ang. Delilah smiles. DELILAH Are you as bitter about the war as Hoodie? FLYNN War smells like shit and rotten meat. That's what I remember. How did you meet Hoodie? 36. DELILAH Now that’s a long story. I think I should drive. We’ll be in ‘Bama

soon enough. Flynn pulls off the road. They change positions. FLYNN Maybe I’ll catch a few winks. DELILAH You’re in good hands, honey. He leans back and closes his eyes. INT. NASH - MOVING - DAY A sign: WELCOME TO ALABAMA Delilah turns off the main road onto a country road. Flynn watches the landscape pass. Rural. Farms. They continue on until Flynn sees something. FLYNN Stop. She does. Flynn stares out at the charred remains of a large cross in the middle of a field. He glances at Delilah. DELILAH Welcome to Alabama. INT. CAR - MOVING They pull up in front of a modest house with a white picket fence. An old pickup parked in the driveway. The word ‘Moore’ is painted on the mailbox. DELILAH (CONT’D) Home again. EXT. HOUSE - DAY Dusk. Delilah and Flynn walk toward the porch. A black DOG hops off the stop and rushes to greet Delilah. DELILAH This is Rufus. I missed this old hound. Why don’t you go on in? Momma’s expecting us. Flynn walks up to the front door and knocks. 37. MOMMA (OS) Come on in. INT. MOMMA’S HOUSE - DAY Flynn enters. MOMMA comes out of the kitchen and turns on the hall light. Flynn blinks. She is darker skinned than Delilah and her hair is kinky. MOMMA And who is this lovely man come walking in my front door? Delilah enters. Flynn looks at her. DELILAH This is Lazarus Flynn. He’s gonna find Rachel. MOMMA

Praise the Lord. Dinner is ready. FLYNN Delilah and I need to talk. He gently nudges Delilah out the door. EXT. MOMMA'S HOUSE They walk to the fence. Delilah smiles sheepishly. DELILAH Yes, I am a Negro, Flynn. FLYNN I don’t understand. DELILAH I’m passing. You know what that means? FLYNN I do now. It’s just that you look-- DELILAH White. FLYNN Why didn’t you tell me? DELILAH Would you have driven eleven hours to rescue a black girl? 38. FLYNN Does Hoodie know? DELILAH He’s my second cousin. He told me to come north, to get away from this madness. I handled some of his finances because I studied accounting. FLYNN You went to college? DELILAH Surprised? FLYNN What about Malone? DELILAH I’m passing, Flynn. FLYNN Right. Look, I didn’t think a black woman could, you know-- DELILAH Could give birth to a light-skinned baby? My father is a white man who raped my mother and my great- grandmother was raped by a slave owner. Flynn holds up his hand. He gets it. INT. MOMMA’S HOUSE - DAY When they enter, Momma places her palms against Flynn’s cheeks. MOMMA I know you are a sturdy, righteous man, praise the Lord. She pulls her hands away. MOMMA (CONT’D) I've got short ribs, sweet potatoes and berry pie. Come on now, sit you down. FLYNN Time’s a wasting. Daisy, the girl Rachel went to meet, lives a mile down the road and Rachel rode her bike? 39. MOMMA Yes. FLYNN

This area safe? MOMMA Well, there is the Klan. But they been quiet for a while. FLYNN You talked to the police, right? MOMMA The Sheriff. Mace Hargrove. He said she probably run off and got married. He didn’t seem all that concerned. Flynn looks away. MOMMA (CONT’D) You think something terrible has happened to my Rachel, don't you? Momma breaks into sobs. Delilah comforts her. FLYNN I’m going to drive down to Daisy’s and see what I can see. DELILAH I’m coming with you. Momma, you got to stay strong. MOMMA Give me my Bible, child. I will seek comfort in the word of the Lord. EXT. ROAD - DAY Flynn parks his car and they exit. He carefully studies the dirt road. FLYNN Looks like her bike tires here. A pickup truck stops, a car engine in the bed. Delilah talks to the driver, a young black man. This is RUFUS JOHNSON. After a moment, he drives off. FLYNN (CONT’D) Who was that? 40. DELILAH A family friend. Rufus Johnson. He runs an auto repair business. They follow the tracks until they reach Daisy’s property. The house is set back a half-mile from the road. Flynn examines the entrance road. He points to the clumps of dirt where the bike tracks meet tire tracks. DELILAH (CONT’D) What do you think? FLYNN I think she came down the driveway on this side. A truck swerved and cut her off where the bike track ends. Work boots walked toward her

and then back to the truck. DELILAH Meaning? FLYNN She may have been kidnapped. Delilah sucks in a breath. DELILAH Oh my God. She throws her arms around Flynn. He gives her a supportive hug. FLYNN The bike’s not here, which means whoever took her took the bike, too. Any ponds or lakes around here? DELILAH About a half-mile that way. FLYNN Let’s move. Growing dark. EXT. LAKE - NIGHT Flynn parks and they exit. DELILAH What are you thinking? 41. FLYNN Having her bike in their possession would be pretty stupid. He grabs his flashlight from the car and walks down the embankment. He scans the pond. FLYNN (CONT’D) There. He grabs a long fallen tree limb and hands it to her. FLYNN (CONT’D) Hang on tight. Flynn grabs the other end and wades into the water. He manages to reach out and grab the handlebars of the bike and pull it out. He struggles back to the shore. FLYNN (CONT’D) This her bike? Delilah takes the flashlight and brushes the mud off the frame. She points to her own name inexpertly inscribed in the paint. DELILAH Yes. Flynn carries the bike back to the road, places it in the trunk and ties the lid down. FLYNN We’re taking this to the Sheriff. Maybe he’ll pay attention now. She grabs his arm. DELILAH NO. We need to talk to Netta. FLYNN Who’s that? DELILAH Hoodie’s great-aunt, if she’s still alive. FLYNN How can she help? DELILAH

She has the juju, Flynn. FLYNN Meaning? 42. DELILAH Second sight. She’s a seer. FLYNN Seriously? DELILAH Trust me. FLYNN You’re the client. INT. NASH - MOVING - NIGHT DELILAH There’s her house. Stop. Flynn stares at the shack twenty yards away. A FIGURE sits on a chair with a torch burning on each side. Two pit bulls sit on either side of the figure. DELILAH (CONT’D) Wait here. Netta thinks white folks are the devil. Flynn watches as Delilah approaches the shack. She talks to the person sitting there, then comes back to Flynn. DELILAH (CONT’D) She wants to meet you. She’s blind, by the way. EXT. SHACK - NIGHT Delilah and Flynn approach. The pit bulls rise but don’t attack. The tiny woman sitting in the chair looks ancient, her dark skin rough as tree bark. Her short white hair looks like newly fallen snow. She uses a cane to rise. This is NETTA. NETTA Come closer, boy. I needs to touch you. Flynn moves closer. Netta places her hand over his heart, fingers spread. NETTA (CONT’D) Be still now. She raises her head toward the sky and mumbles in a strange language before speaking. 43. NETTA (CONT’D) Your spirit is free of the mark of Cain. Netta extends her gnarled hand and grabs Flynn’s. NETTA (CONT’D) Ask your question. FLYNN I need to know if you heard anything last night around nine. She begins to mumble again while caressing Flynn’s fingers. Then she speaks. NETTA

Was a truck drive by. Three white boys clothed in evil. FLYNN You sure it was a truck? NETTA I said so, didn’t I? Flynn glances at Delilah, who puts a finger to her lips. Netta continues to caress Flynn’s fingers. NETTA (CONT’D) There was a fourth. A pure soul. I felt her sorrow. Go find that soul, Lazarus, and unburden her pain. Delilah rubs her thumb against two fingers. Flynn takes out his wallet and places a dollar in Netta’s hand. NETTA (CONT’D) Wait. The truck rattled. INT. NASH - NIGHT Flynn and Delilah enter the car. FLYNN She puts on a good show. DELILAH That’s city folk talk. FLYNN Maybe I am a city boy who thinks everything is a scam. All I know is that if her second sight is wrong, we’ve lost precious time. Your call. Do you believe her? 44. DELILAH Absolutely. FLYNN You say Rufus is good people and works on cars? DELILAH Yes. FLYNN Call Rufus and have him meet us at Momma’s house in an hour. DELILAH What are we going to do in the meantime? FLYNN See that sheriff. DELILAH I don't figure you. You get punched out by Pittsburgh cops and want to talk to a white sheriff you know won't help? FLYNN He might after he sees the bike. We need all the help we can get. END ACT THREE 45. ACT FOUR EXT. SHERIFF’S OFFICE - NIGHT The Nash pulls into the station lot. The station itself is

dark. INT. NASH - NIGHT DELILAH Now what? FLYNN We wait. DELILAH I’m so glad you’re here. FLYNN I haven’t accomplished anything yet. Lights sweep the parking lot. The Sheriff’s cruiser pulls in next to the Nash. A short bulldog of a man, MACE HARGROVE, steps out of the cruiser and shines his light into the driver’s side. HARGROVE What dumb-ass canoodles in front of the Sheriff’s office? He shines the light at Delilah. HARGROVE (CONT’D) Delilah Moore? DELILAH Yes, sir. HARGROVE (To Flynn) You know she’s Negress, boy, even though she don’t look it. Step out of the car. Flynn does. He towers over Hargrove. HARGROVE (CONT’D) Laws against miscegenation in this state. 46. FLYNN Don’t want any trouble, sheriff. HARGROVE Who the hell are you? FLYNN Name is Lazarus Flynn. You know Rachel Moore is missing. HARGROVE What business is it of yours? Flynn walks around to the back of the Nash and shows Hargrove the bike. HARGROVE (CONT’D) Where’d you find this? FLYNN In a lake near where she was abducted. HARGROVE You got a witness to that alleged abduction? FLYNN No. Common sense. HARGROVE Where you from? FLYNN Pittsburgh. HARGROVE Mississippi? FLYNN Pennsylvania. HARGROVE Smart ass Yank come down here to tell me how to do my job? FLYNN I’m asking you to do your job. HARGROVE I could shoot you for talking to me like that. I could say you come after me for no good reason. Or I

could say I caught a nigger sucking your cock. 47. FLYNN You could. Or maybe you could just answer a simple question. HARGROVE What! FLYNN Are you going to help or not? HARGROVE No. FLYNN Then we agree to disagree, don’t we? No harm done. INT. NASH - MOVING - NIGHT DELILAH What now? FLYNN We talk to Rufus. EXT. MOMMA’S HOUSE - NIGHT Flynn pulls his duffel bag from the trunk. He and Delilah walk into the house. INT. MOMMA’S HOUSE - BEDROOM - NIGHT Flynn hands his muddy, filthy pants through the door to Delilah. She departs. He emerges wearing a pair of clean pants. INT. MOMMA’S HOUSE - KITCHEN - NIGHT He opens his duffel and straps on his Colt shoulder holster. He also slips a knife scabbard through his belt. Delilah enters. DELILAH Momma’s asleep. Best that way. A knock at the door. Delilah answers and returns with Rufus. He’s a muscular black man of twenty-five. Flynn introduces himself and they shake. 48. RUFUS Delilah tells me Rachel gone missing and you a private detective. What you thinking? FLYNN You work on cars, right? RUFUS I do. Mostly work on black folks cars. Trucks and tractors, too. FLYNN How about white customers? RUFUS Some, if they too cheap to pay city rates. They always argue about the price, though. FLYNN We’re looking for a white truck owned by a white man with a loose muffler. Rufus scratches his forehead. RUFUS

You know, a good old boy named Hollis Sawyer come in three days ago with a loose muffler. Broken pipe clamp. I told him he'd have to wait and I'd have to charge him an hour labor. He didn't like that, cursed me up and down for being an uppity nigger. Said the damn clamp cost only twenty cent. FLYNN Maybe he fixed it on his own. RUFUS We got an old saying down here. ‘If he could’a, he would’a.’ FLYNN You know the crowd he runs with? RUFUS Sure do. Wild boys, all of 'em in their early twenties. They always drinking and raising hell in one way or the other. Hollis father is Jesse Sawyer. He owns about a thousand acres of farmland. Word is he's with the Klan. (MORE) 49. RUFUS (CONT’D) He gots a lot of juice in this county with the sheriff and the judges. He kicked Hollis out of the family house about a year ago. FLYNN Hollis have any running buddies? RUFUS Jackson Tillis and Billy Ray Grady. DELILAH Three of them, like Netta said. Flynn stands and paces. FLYNN These three go out drinking. Dumb drunk idiots don't think straight. They see Rachel, stop and grab her. Throw her bike into the lake. Maybe that's all they wanted to do at first, but maybe Rachel is too pretty and they have another idea. DELILAH Then you think she might be alive? FLYNN That’s the way I’m going to play it

until I learn otherwise. You know where these three live, Rufus? RUFUS I do. FLYNN We’re going for a ride. I’ll need a length of clothesline. DELILAH Momma has some in the basement. INT. MOMMA’S HOUSE - KITCHEN - NIGHT Flynn uses his knife to cut the clothesline into two foot lengths. DELILAH I’m going with you. FLYNN Not a good idea. DELILAH I’m your client, remember? 50. Flynn’s not in the mood to argue. INT. NASH - MOVING - NIGHT Rufus and Flynn in the front seat. Delilah in back. RUFUS Tillis’ place is closest. Take a left. They drive for a bit. RUFUS (CONT’D) There is it. A single light burns in the living room. RUFUS (CONT’D) He still lives with his parents. DELILAH They buy pies from Momma. Good folk. RUFUS Don’t see his truck. FLYNN Let’s keep moving. They continue on. RUFUS Take a right here. Flynn does. They arrive at a battered clapboard house. No garage or barn. Place is dark. RUFUS (CONT’D) Billy Ray’s place. He drives an old Ford sedan. Ain’t here. FLYNN Hollis Sawyer’s place? RUFUS Two miles from here. They continue to drive. Arrive at the Sawyer place. Another ramshackle house. Dark. No garage. Flynn pulls into the drive and shut off the engine. DELILAH What are you doing? 51. FLYNN I figure if Sawyer is the ringleader, we might find evidence inside that Rachel was here. EXT. SAWYER PLACE - NIGHT

Flynn uses the flashlight butt to smash the door window. Reaches inside. Opens the door. INT. SAWYER PLACE - NIGHT Flynn scans the interior with his flashlight. A total mess. Dishes in the sink. Bottles on the floor. He follows a hallway. INT. BEDROOM #1 - NIGHT An unmade bed. Pulp novels on a shelf. Clothes strewn about. INT. BEDROOM #2 - NIGHT A mattress lies on the floor. A dish on the floor with dried stew. An empty glass. And a sock. INT. NASH - NIGHT Flynn gets in and hands the sock to Delilah. She smells it. DELILAH It’s Rachel’s. FLYNN You certain? DELILAH Smells like peppermint. Momma makes peppermint soap. It’s all Rachel uses. FLYNN They kept Rachel here. Rufus, where could they take her at night and not be discovered? RUFUS White boys like to go to the quarry. They bring girls out to skinny dip. 52. EXT. ROAD - NIGHT The Nash moves down a road that cuts through farmland. To the right, a heavy stand of trees comes into view. INT. NASH - MOVING - NIGHT RUFUS Quarry is through those woods. FLYNN Let’s go, Rufus. DELILAH I’m not sitting here alone. EXT. NASH - NIGHT Flynn opens the trunk, removes the lengths of clothesline and loops them through his belt. EXT. WOODS - NIGHT The flashlight beam cuts through the woods. They arrive at a clearing. Ahead, four trucks, engines running, cast their headlight beams.

In the circle of light is RACHEL, wearing only panties. Four men have her surrounded. She tries to escape, only to be fondled and thrown back. Hooting and hollering. Chugging from beer bottles. DELILAH That’s Rachel! Delilah grabs Flynn’s arm. DELILAH (CONT’D) Kill them all, Flynn. Flynn and Rufus walk through an open field. One of the MEN walks over to a truck to take a piss. RUFUS That’s Johnny Barnes. Flynn creeps up to the tall, skinny guy peeing. BARNES I got sloppy seconds! Flynn taps him on the shoulder. Barnes turns. Flynn nails him with a brutal right. He goes down in a heap. Flynn quickly hogties him. 53. RUFUS Big guy is Hollis. Blonde guy is Billy Ray. Tillis is the fat one. Flynn walks directly toward the remaining three men. Two have pinned Rachel to the ground. Hollis unzips his pans. FLYNN That’s enough. The men freeze, confused. Rachel takes the opportunity to break free, stumble to her feet and run to Flynn. FLYNN (CONT’D) Rufus, take her to Delilah. TILLIS, bare-chested, a flab of fat overflowing his belt, stalks toward Flynn. TILLIS Who the fuck do you think you are, old man! Flynn ducks a wild swing and smashes his fist into Tillis’ stomach. Tillis drops to his knees. Flynn finishes him off with a right cross. BILLY RAY, skinny as a fence post, turns tail and runs toward his truck. Flynn catches up with him and slams his head against the hood.

Down for the count. Flynn turns. SAWYER, buff, has retrieved a baseball bat. He waves it back and forth. Flynn waits until Hollis swings, grabs the bat as it passes and pulls Sawyer close. Flynn whips out his Colt and presses it to Sawyer’s temple. Sawyer’s knees turn to jelly. Flynn cuffs Sawyer’s temple with the butt of the gun, knocking him senseless. Flynn picks up the bat and flings it away. Rufus appears. Flynn tosses the car key to him. FLYNN Take the girls home and come back. RUFUS What you gonna do? FLYNN You don’t need to know. Rufus skedaddles. Flynn begins the process of hog-tying the other three men. He drags them down to the edge of the quarry. Then he shuts off the trucks and takes the keys. 54. He returns to the quarry. He slaps Sawyer hard on the cheek until he comes to. Wide-eyed, he struggles against the bindings. FLYNN (CONT’D) How deep is that quarry? SAWYER You throw us in that quarry we’re gonna drown, peckerhead. Flynn grabs Sawyer’s ear and twists. Sawyer screams in pain. FLYNN What did you call me? SAWYER Nothin’. Why do you care so much about that nigger bitch? My old man gonna take care of you but good. FLYNN He can stand in line. Flynn takes out the truck keys and holds them up. FLYNN (CONT’D) Either the keys go in or you and your friends do. Make the call. SAWYER I ain’t no idiot.

Throw the goddamn keys in. Flynn stands a heaves the keys into the quarry. SAWYER (CONT’D) Who the fuck are you? Flynn leans close. FLYNN I’m the voodoo hoodoo man, peckerhead. He walks away. Sawyer’s screams for help echo in the dark. EXT. MOMMA’S HOUSE - NIGHT The Nash pulls to the curb. INT. NASH - NIGHT Rufus is driving. 55. FLYNN Best head home. You were never here and never heard my name. RUFUS I hear you. Nice wheels, brother. EXT. MOMMA’S HOUSE - NIGHT Flynn knocks on the door. Delilah answers. He enters. DELILAH You didn’t kill them, did you? FLYNN No. She breathes a sigh of relief. They walk into the living room and sit on the couch. DELILAH Rachel’s taking a shower. She’ll be down soon. She’s pretty shook up. FLYNN We need to leave tonight. After a long pause . . DELILAH I’m not going back with you. Rachel appears, wrapped in a robe. She sits next to Flynn and hugs his arm. RACHEL Thank you. Momma appears. MOMMA I knew from the moment I saw you that you would save my precious daughter. Thank goodness she wasn’t violated. Now, how about that meal I cooked? FLYNN Sorry, but I’m heading out. MOMMA Are you sure? It’s awful late. FLYNN I need to get over the state line fast as possible. 56. MOMMA I don’t understand. He stands. FLYNN Sooner or later, someone is going to find those clowns at the quarry.

No doubt they’ll go to the sheriff and he’ll figure it was me. If Hargrove shows up at your door, you've got a choice to make. You can tell them what really happened. Or, you can say it was a misunderstanding and Rachel wasn't kidnapped after all. Hide the bike and tell Hargrove I was mistaken. DELILAH Those boys would never come to trial anyway. Sawyer’s old man will see to it. FLYNN Hargrove will be only too happy to throw me into the slammer for kicks. RACHEL I don’t want to go to trial. I want to go to college. MOMMA You are a fine man Lazarus Flynn. I will pray for you. Now, let me put together some of that food for the road. A big man like you needs sustenance. EXT. MOMMA’S HOUSE - NIGHT Delilah walks Flynn to the car. Flynn carries a paper bag. DELILAH You best follow me. Don’t want you getting lost. I don’t know how to thank you. FLYNN Just doing my job, ma’am. DELILAH I know, I’m only a client. She turns away and walks to the truck. 57. EXT. PARKING LOT - NIGHT The Nash pulls into a motel with the ‘Vacancy’ light flashing. FLYNN (VO) I filed juju, voodoo and hoodoo under things I didn't understand but now believed existed. The South was a different world and the sooner I was back home the happier I’d be. INT. MOTEL - DAY Sunlight streams through the curtains.

Three raps at the door wake Flynn. He peeks out of the curtains and sees Delilah. He pulls on his trousers and opens the door. She enters carrying his clean pants. She’s wearing a knee- length dress with a tiny row of buttons up the front and a slouch hat. DELILAH Morning. Momma washed your pants. FLYNN Thanks. She hands the pants to him. DELILAH I want to explain. FLYNN No need. DELILAH There is. I went north because I was sick of the South. I had white enough skin and straight enough hair, so I was free in a way Momma and Rachel and Rufus could never be. Hoodie said he would protect me and make certain I had more than enough to live on. He always loved my voice and hooked me up with Red Malone, but as you can guess, I made more money working the books for Rufus. She removes the hat and fluffs her hair. 58. DELILAH (CONT’D) Hoodie was right. I live in a nice apartment and walk into any store or restaurant without anyone questioning me. For the first time in my life, I was treated like any other pretty woman. White men wanted me because I was forbidden fruit. I never let them touch me. She slips off her shoes. DELILAH (CONT’D) Before I came north, I spent hours learning how to take the Negro out of me. I drove into town and watched talkies like Old Arizona. I

read novels by Hemingway and learned words I'd never heard. I listened to symphonies, for goodness' sake. When I thought I was ready, I caught a bus north. She walks closer. DELILAH (CONT’D) Then you walked into my dressing room and I caught a fever that couldn't be cooled, an itch that only you would could scratch. It wasn't only that you were a fine- looking man. You wanted to help your mother, for goodness' sake. Then you rescued my sister. I mean, give a gal a break. She unbuttons the top three buttons of her dress. DELILAH (CONT’D) Can I not be a client for an hour or two? FLYNN That can be arranged. DELILAH Good. Because I need a favor. FLYNN What’s that? DELILAH These damn buttons are a pain to loosen. Flynn unbuttons her dress. 59. INT. MOTEL ROOM - DAY Flynn and Delilah lie entwined beneath the covers, passion spent. FLYNN Why did you decide to stay? DELILAH Because I’m Delilah Moore, a black girl from Alabama. I’m tired of pretending I’m something that I’m not. She rolls on top of him, languorous. They kiss. DELILAH (CONT’D) I think I’d better go now or we will never leave this hotel room. FLYNN By the way, I don’t owe you a favor anymore. DELILAH What do you mean? FLYNN The little matter of the buttons? Delilah slaps at him playfully and hops out of bed. She begins dressing. DELILAH You know what I think? FLYNN What’s that?

DELILAH One day you'll tell the story about the time you saved an innocent colored girl way down in Alabama. FLYNN Maybe I will. So? DELILAH I bet ten dollars there’s one detail of the story you will never mention. FLYNN What’s that? DELILAH My name. 60. She leaves. FLYNN (VO) After she left, her subtle peppermint scent lingered, like a memory. I figured one day, by hook or by crook, by hoodoo or voodoo, Delilah Moore would saunter back into my life. FADE OUT