Freight Train

FREIGHT TRAIN:

BY BRIAN J. DONGELEWIC

COPYRIGHT # 1-11339116139

APRIL 25, 2022

FADE IN:

EXT. LOS ANGELES STREETS - NIGHT

OPENING MONTAGE:
Shots and scenes that show some of the situations and people mentioned in the following narration.

NARRATOR (V.O.)

Los Angeles never sleeps. People pass each other on the streets, encountering all manner of existence; homeless people sleeping in doorways and even on bare sidewalks; panhandlers trying to score a few bucks for their next bottle; would be actors hurrying to their waiter/waitress jobs; business men and woman, dressed as best they can based upon their ability to do so; gang members proudly displaying their own colors...within their own territory, of course.

Ladies of the evening, the unemployed and the unemployables, just killing time, any way they can. This is Los Angeles. It is the summer of 1965. L.A. is one of the original birth-places of modern rock and roll. Everything here has its price; everything has its value; and everyone here has their dream. Only the very few will ever achieve it.

L.A. is known world-wide as the Film Capital of the World. This city is also known for great rock and roll. The music scene here in L.A. is like nowhere else and this is where careers are made and broken. L.A. is not for the weak and weary. Everyday life here is a challenge; sex, drugs and rock and roll.

In the music world, The Beatles are right on top with no one else even close. British Beatle Mania has spread everywhere.

But American music is still holding its own...and getting better with groups like The Doors, The Grateful Dead and Jefferson Airplane leading the way. The success of these bands is the driving force for up and coming artists who are yet to be recognized. Among these bands is Freight Train.

The Spice Factory is a classic rock and roll haven in Los Angeles. The place is packed with loud, rowdy and half-drunk fans. The opening act is Freight Train, an up and coming band that is starting to draw some very serious reviews. A lot of people here are here just to be seen and acknowledged. Up and coming and would be musicians meandering through the crowd; each with their own agenda.

END OPENING MONTAGE

INT. THE SPICE FACTORY - NIGHT

We focus on the stage from the audience's viewpoint after moving the camera to show the large crowd. We zoom in slowly to focus on the middle of the curtain that hangs down to the stage.

The patrons erupt when the HOUSE MANAGER steps to one of the microphones on the stage, and after parading back and forth across it, encouraging the fans to get even louder. He stops and smiles broadly.

HOUSE MANAGER:

Ladies and Gentlemen... Please welcome...Freight Train!

The curtain slowly rises to show the band members, the fans explode. Front and center on the stage is RYDER KENNEDY, singer and frontman of the band. His brother CLUTCH KENNEDY is on lead guitar. TRUCKER VALANCE on drums, CURT BLACKWOOD on rhythm guitar, GRINGO MARTINEZ on keyboard, and IAN MORRISON on bass, comprise the rest of the band.

Ryder could easily pass as being Jim Morrison's younger brother. Tall and lean with model looks, Ryder is striking. As Ryder struts to center stage, he takes it all in. This is his playground and he loves it.

He leans slightly backward to shake his long hair from his face and faces the audience...he smiles as he looks at one of the men right before the stage and blows him a kiss. He takes the microphone from the stand and walks across the stage.

RYDER:

Hello Los Angeles! Ready to rock!?

Freight Train kicks into gear and within minutes they own the place. This band is tight and their music completely captivates their audience.

The bouncers are having a hard time keeping people from getting on the stage. Unbeknownst to them, a major rock and roll manager is among the crowd.

The camera zooms in to focus on BRIAN DUFFY, who is seriously impressed. These guys are the real deal. He sits quietly and considers the possibilities. Joining him is his current girlfriend, TRACIE BENNETT.

Meanwhile, several members of Black Diamond, the featured band, are watching Freight Train from the safe confines of the stage's rear curtains. DAMON, the band's front man, whispers to KENDRICK, the band's lead guitarist.

DAMON:

These guys are good.

KENDRICK:

Yeah, they are.

DAMON:

The problem is that they are TOO good. They have to go. We can't have them opening for us anymore. They steal the show.

KENDRICK:

I think we're stuck, man. They have a signed contract for this tour.

DAMON:

Well, we have to find a way to boot them.

KENDRICK:

Hell, why not just screw around with their sound system?

DAMON:

Oh, that's brilliant. Screw around with the same system that we use too?

KENDRICK:

They're only going to open for us three times on the dates we have left. Then they will be out of our hair.

DAMON:

Yeah, and by then the damage will already be done. They have to go.

KENDRICK:

Well, I don't know, man. Why don't we just buy them out?

DAMON:

If we do, it comes out of your pocket, not mine!

Kendrick just shrugs.

KENDRICK:

Whatever.

INT. THE SPICE FACTORY - NIGHT

It is just past closing time now; all of the patrons are gone. STONER MCCULLUM stands firm, observing everything. He sits down in his chair, making sure that the roadies are finishing up the packing and storage of the bands' equipment.

The roadies are close to completing their packing and storage of the bands equipment; but they have a ways to go before they are finished.

STONER:

Come on, you lazy bums...get a move on. I don't have all night, you know.

All of the roadies turn to acknowledge Stoner, and quickly return to their work.

Stoner's eyes sweep the room and he notices someone, BOBBY, sliding along a side wall, moving slowly toward the stage's rear exit, the exit that the bands use when departing the stage. Looking closer, he sees that the man is carrying a stack of uniform boxes...pizza boxes.

STONER:

Hey, you! Where do you think you're going?

Bobby freezes in his tracks...scared that he has been seen, but determined to accomplish his mission.

BOBBY:

I uh...I'm just delivering pizza to the band.

Bobby then turns and continues to walk toward the exit door.

STONER:

Stop right there! We didn't order any pizza. What are you doing here?

Stoner is now standing and staring at the man, clearly aggravated. Bobby stops again and faces Stoner.

BOBBY:

I'm just doing my job. Someone ordered these pizzas. I was told to deliver them personally to the band.

Stoner is not amused. He starts walking slowly toward this unwanted guest.

STONER:

That ain't gonna happen, friend. Put those boxes down on one of those chairs and get out of here.

Bobby quickly looks around at the roadies and then at the exit door.

BOBBY:

But...I have to deliver these pizzas to the band. I could lose my job if I don't. Just let me deliver these pizzas and I get out of here, OK?

Stoner is very angry now. He is tired of this unwanted guest. He looks at two of his bigger roadies.

STONER:

Remove him, now!

As the two ROADIES approach Bobby, he drops the pizzas on a chair, but all of the pizza boxes fall to the floor. He then runs to the front door and bolts out of the building, leaving the door open as he does so. The two roadies turn and stare at Stoner.

ROADIE 1

What do you want us to do with these pizzas, Stoner?

Stoner isn't angry anymore and he smiles.

STONER:

You guys can have them, once you finish up here.

INT. THE BLUE PELICAN - HOTEL ROOM 1 - NIGHT

Clutch and Ryder are sitting on a couch sharing Chinese take-out when they are interrupted by a knock on their door.

CLUTCH:

Go away! Leave us alone. Ahh...I'll get it.

Clutch stumbles to the door and opens it to see a complete stranger standing before him.

BRIAN:

Hello, Clutch. My name is Brian Duffy. May I come in?

CLUTCH:

Who are you?

Brian smiles, holding eye contact with Clutch.

BRIAN:

I'm your savior.

RYDER:

Look. We don't have time for anyone who isn't connected with our band or our goals. Who are you exactly and why are you here?

BRIAN:

As I said, my name is Brian Duffy. I represent some of the greatest talent in rock and roll. I saw you perform tonight and I liked what I saw. I am prepared to offer you an opportunity to make it to the big time.

Ryder and Clutch exchange looks and roll their eyes collectively. Ryder's face changes as he recognizes this name. This guy is a big-time talent agent.

RYDER:

Yeah, like we haven't heard THAT before.

Brian adjusts his facial expression to show his displeasure.

BRIAN:

OK, I won't take it personal that you don't know who I am and what I bring to the table. But understand this -- I make stars....period. If people know that I represent you, they want you to perform for them in their businesses. I don't waste my time on want-to-be's and everyone knows it. For tonight only, I am offering you my talents, experience, connections and expertise in exchange for a fair piece of the pie. By the way, word travels fast here...I know this was your last gig opening for Black Diamond. I don't see any future bookings lined up for you presently. I change all that.

Ryder and Clutch look at each other and maintain the look for several seconds, trying not to appear desperate.

RYDER:

Ok. First of all, I do want to inquire about you. That much is reasonable. Secondly, if we do accept you as our manager, what does this mean to you and what does it mean to us?

Brian is smiling now. He knows he has succeeded.

BRIAN:

Listen, Ryder, if I am your manager, I will be responsible for pretty much every facet of your business lives. This means bookings, financial matters, legal matters, marketing, promotion and anything else that is associated with your success as a working band.

RYDER:

Well, OK, but I will need to talk to the other band members first.

Clutch walks up to Ryder and faces him, closely.

CLUTCH:

No you don't, Ryder. You and I make all of the decisions for the band. I believe in this guy. I think we should go forward with him.

Ryder stares at Clutch, and then he looks at Brian. Ryder is quiet for a moment, and then he walks toward Brian.

RYDER:

What is in this for you?

Brian smiles and places his hand on Ryder's shoulder.

BRIAN:

I would only take 15% off the top of your net earnings...that's net, not gross. That is more than fair in this business. I will front all expenses to be recovered when you are capable of doing so. See, I am putting my hard earned money out there to insure your success before you have achieved it. Do you think anyone else would make you this offer?

Ryder considers this. He actually expected Brian to ask for 20% or more. Based upon his recent inquiries, he knows that 15% is very reasonable. Ryder walks over to Clutch.

RYDER:

Well, what do you think? Should we do it?

Clutch smiles broadly.

CLUTCH:

Hell yeah. Let's do it.

RYDER:

Ok. We have a deal.

Brian opens his briefcase and removes several paper documents.

BRIAN:

Ryder and Clutch...you'll need to sign here on these legal documents as I direct.

Brian presents the documents on a table for the brothers to sign and shows them where they need to sign. After both brothers briefly read the documents, they both sign in all of the appropriate areas. With the exception of Brian having to file the necessary paperwork, the deed is done.

INT. THE SPICE FACTORY - NIGHT

Freight Train is on stage before a packed crowd and they are about halfway through a song when Clutch, once again, extends his guitar solo and climbs on to the drum riser to position himself in front of the drum set.

After a minute or so, Ryder walks over to Clutch and makes a throat-cutting gesture to tell Clutch to end his solo and get back on track with the song layout.

Clutch looks at Ryder, sees the motion, smiles and turns his back on Ryder, all the while continuing his guitar solo. When Clutch does this, Ryder loses it.

Ryder storms over to Clutch's amplifier and rips the cord from the amp. The crowd roars, thinking this is an intended part of their act; it isn't.

Clutch screams at Ryder.

CLUTCH:

Plug my guitar back in, asshole!

Ryder faces Clutch and calmly gives him the finger.

Suddenly, Clutch rids himself of his sling and guitar, letting his guitar drop to the stage, and bolts for Ryder. Before anyone can intervene, Ryder and Clutch are rolling around the stage doing their best to punch each other.

Fortunately for both brothers, the other band members immediately stop playing and they separate the two brothers before they can seriously hurt each other.

When this happens, RANDALL GINSBERG, who had been watching the show from the stage's back exit, directs his staff to lower the stage's curtain, effectively distancing the band from the audience. He then takes center stage, grabbing one of the microphones.

RANDALL:

This is all part of their act, folks. Hope you enjoyed it. Now we are going to take a short break before the boys return to the stage.

He signals again for the staff to turn on the venue's lights, replaces the microphone in the stand and calmly walks back behind the curtain.

When Randall goes backstage, he sees that Brian has beaten him to the boys. It's obvious that Brian isn't happy and he is letting both brothers know it. After a bit of finger-pointing and posturing by both brothers, Brian makes his point to both and their anger subsides.

Brian orders them to shake hands, which they do, then they hug each other with each apologizing to the other and to their band members.

After about ten minutes, Randall once again takes center stage as the lights dim.

RANDALL:

Ladies and Gentlemen...Freight Train!

The rest of the performance is uneventful.

INT. THE SPICE FACTORY - NIGHT

Randall is sitting in his office when he hears a slight disturbance. He looks out the office door and sees Clutch berating one of the roadies for doing, what he sees, as improper storage of a Fender Stratocaster, Clutch's favorite guitar.

CLUTCH:

What is wrong with you? What are you doing? Be more careful when you pack our stuff. That guitar is irreplaceable.

The roadie has heard this routine before; but he also knows who butters his bread.

ROADIE 2

Sorry, man. I'll be more careful.

Clutch walks away.

CLUTCH:

You better be. Do that again and you're history.

Randall loses interest and he returns to his office. His thoughts are interrupted by Brian, who appears seemingly out of nowhere. Brian has seen better days, but lately, things are beginning to look promising.

BRIAN:

Well, Randall. Looks like the boys kicked some serious ass tonight. They are regularly packing everywhere they go now. Looks like you and I will have to talk about their future fees.

Randall, annoyed, avoids looking at Brian for the moment...considering the obvious. Then he looks at Brian, smiles, and flashes him the finger.

Brian smiles at Randall.

BRIAN:

That was classy, Randall. And guess what? Their price just went up.

INT. THE BLUE PELICAN – HOTEL ROOM 1 - NIGHT

Ryder exhales deeply after taking a hit on some pot. With him is his present girlfriend, JULES AVALON.

Ryder smiles and slaps a spot next to him on the sofa, inviting Jules to join him. As she does, she reaches out to kiss him, but Ryder turns his face to the side. She kisses him on his cheek, instead.

JULES:

Something on your mind tonight, Babe?

After a slight pause, Ryder looks at Jules and smiles.

RYDER:

Nothing of the kind, Babe...just thinking about business stuff ...nothing to be concerned about.

Jules considers this and thinks that something IS on Ryder's mind, but decides not to challenge him.

JULES:

Ok, honey. Can I get you anything?

Ryder shakes his head affirmatively.

RYDER:

Yeah. Get me another bottle of Jack.

JULES:

Sure thing, Babe.

Jules gets up to fetch another bottle of Jack Daniels whiskey from the room's honor bar, but quickly sees that the honor bar doesn't have any more of those bottles.

JULES:

Gotta run downstairs, Babe. We're out of Jack.

Ryder nods in agreement.

INT. THE BLUE PELICAN - HALLWAY/ELEVATOR - NIGHT

Jules leaves the room and walks to the elevator. After a short wait, she enters the elevator and goes down to the main floor to visit the bar.

INT. THE BLUE PELICAN - BAR - NIGHT

Jules enters the bar and walks toward the BARTENDER, who quickly moves to meet her when he sees who it is.

BARTENDER 1

What can I do for you, Jules?

JULES:

Our honor bar is slacking. I need a bottle of Jack Daniels, please.

The bartender smiles.

BARTENDER 1

Sure thing.

As the bartender goes to get a bottle, Jules hears someone behind her. She turns around and sees TRACIE BENNETT standing before her, holding a glass of wine.

LISA:

Hi, Jules. What brings you down here?

JULES:

We're all out of Jack Daniels. Ryder wants another bottle.

LISA:

My God, what a tragedy.

They both laugh.

JULES:

Lisa, can I ask you a personal question?

LISA:

Well, I'm not going to tell you my age.

Both ladies laugh again.

JULES:

Well, maybe I am just insecure... but...does Brian express his love for you on a regular basis?

LISA:

Hmmm. Interesting question, Jules. Brian works very hard every day and sometimes he almost falls asleep at the dining table. He's not a kid anymor,e you know. But I know he loves me.

JULES:

OK, but Ryder isn't old and he isn't a work-a-holic by any means. But he's just not as romantic with me as he used to be. Do you think there might be somebody else?

LISA:

I haven't heard anything. But you know what it's like to be a musician on the road. I guess it's possible. Best follow your gut feelings...but don't judge him to be guilty unless you have proof.

JULES:

Yeah, I guess you're right. I'll just have to work on him.

LISA:

You do that, honey. Things will be just fine.

Lisa turns and walks away. Just then, the bartender returns, holding a bottle of Jack Daniels.

BARTENDER 1

What room, Jules?

JULES:

303.

The Bartender returns to another section of the bar to wait on customers as Jules departs.

INT. THE BLUE PELICAN – HOTEL ROOM 1 - NIGHT

Clutch and Ryder are in a deep discussion regarding upcoming material for their new to be released album.

Meanwhile, sitting quietly on the side, is KEN SUMMERS, who is intently listening to every word from both bandmates, making notes as he sees fit. Ken is a senior writer for Revolution Magazine. Ken sits patiently, waiting for a pause in the conversation.

KEN:

You guys have won over your fans based upon a solid balance of everyone's talents. Why rock the boat? Yeah, sure, you two can put a song or two into the mix that lets you strut around with everyone's eye focused on just you as an individual, but maintain the balance that is the band's trademark. Your fans eat this shit up. Hell, we all eat this shit up. If it's not broke, don't fix it.

Ryder and Clutch stare at Ken for a spell, and then they look at each other. After a long silence, they both turn to look at him.

RYDER/CLUTCH

Go screw yourself, Ken.

Clutch laughs and tosses a small bag of pot at Ken, which hits him in the chest. Everyone laughs at this. Ken smiles and dismisses these comments easily as he places the pot in his coat pocket. Then Curt lights up a joint, inhales, and passes it to Ryder.

INT. DUKE DEVLIN'S OFFICE – DAY

DUKE DEVLIN is sitting behind his desk. He has what appears to be contract papers before him. He is surrounded by various items of victory including a goodly amount of gold records and photos on the back wall. Sitting across from him is Brian.

BRIAN:

So, Duke, I think we can get this done pretty easily. It's not like the boys are asking for the moon...they are on fire right now...you know it and I know it. What's fair is fair. We just want our fair piece of the pie.

DUKE:

Look, Brian, we've known each other since dinosaurs roamed the planet. It is what it is. The boys are a B band...no more, no less. As such, I can go only so far. With current expenses being what they are, I can offer a 10% increase in their contract...over the course of the next three years...which will cover a minimum of five new full-length albums, OK? That is the best and final offer I can make you. Of course, if you don't like that...

Brian does his best to maintain a sense of dignity, but Duke has him, and he knows it.

BRIAN:

10% is not a lot of money based on where the boys are today. You know that the sky's the limit when it comes to them. There is a lot of money to be made, Duke. We just want a larger piece of the pie. Their day is coming.

Duke stares at Brian, completely unemotional.

DUKE:

That day isn't here yet, Brian. The nut to cover these boys isn't exactly pocket change. I was only going to go to a 5% increase, but I do believe in the boys. This IS my best and final offer...for now.

Brian reluctantly rises from his seat and extends his hand toward Duke.

BRIAN:

Done.

INT. THE BLUE PELICAN – HOTEL ROOM 1 - NIGHT

Just as Ken is leaving, Brian enters the room. He appears to be uncomfortable. He doesn't have his usual swagger; instead, he looks...troubled.

Ryder and Clutch acknowledge him at the same time and wave him toward a chair. Brian smiles at both of them.

BRIAN:

Gentlemen, I have news to share with you...good news. I just accepted an agreement that gives you a nice raise in your existing contract.

Ryder and Clutch face each other. Clutch turns to face Brian.

CLUTCH:

Really? How much of a raise, Brian? Tell us the dirty details.

Now it's Ryder's turn.

RYDER:

Yeah, Brian, tell us why we are giving you so much of our hard-earned money.

BRIAN:

Well, it wasn't easy boys, but I was able to convince Devlin to give you a 10% raise that will be applied to your next three years under contract, and you only have to produce five new albums.

A quick look at the faces of Ryder and Clutch tells Brian that they are not at all happy with this news. Ryder's face says it all.

RYDER:

Only 10%...with five new albums? Are you kidding me, man? We have been busting our asses for him. All of our shows are selling out. People are waiting in line for hours to get tickets; we have one hit record in Billboard's top twenty and another in the top twenty-five, and he is offering us a lousy 10%?

CLUTCH:

Screw this. This is bullshit, Brian. We don't need this.

Brian is doing his best to maintain a positive composure and it isn't easy.

BRIAN:

Hey. This is just the beginning. It gives me another step up the ladder. I won't quit. I will do everything I can to get more money for you guys. But I have to start somewhere. I am talking to other labels, but right now, this is the best offer I have. You guys are breaking out...this is only temporary.

Ryder stands and starts pacing around the room. After a few minutes of silence, he turns to face Brian.

RYDER:

I am not happy with this. But if this is the best you can do for us now, I can live with it. But there will only be ten new songs, maximum, on each of the new albums.

Ryder turns to face Clutch.

RYDER:

You OK with this, Clutch?

CLUTCH:

Whatever, man...but I don't like it. You better get us more money, or else...you got that?

Brian smiles at Clutch and shakes his head yes.

BRIAN:

Absolutely. You know you can always count on me, boys.

INT. THE GRIST MILL RECORDING STUDIO - NIGHT

Freight Train is taking a break from their recordings, surrounded by half-eaten food and beverages. There is some light conversation among several of the musicians.

Curt sits in the corner by himself, as usual, with his arm resting on his perfectly folded Marine Camo jacket...the one he wore in Viet Nam. He runs his fingers over the many ribbons it contains. No one says anything about this to him; they know better.

BURT SAMUELS is pacing back and forth behind the mixing board, deep in thought. ALLISON MAYFIELD is making a few minor adjustments in the board controls to correct what she sees as too much reverb. She looks up at Burt and clears her throat...loudly. Burt looks at her.

BURT:

Did you just lose a lung?

This brings laughter from most everyone in the studio. Allison smiles at Burt.

ALLISON:

I think the majority of this is working OK, but there are some intangibles that really need to be worked on here.

RYDER:

Intangibles? What intangibles?

LISA:

Hell, you guys sound great. I'd buy your music.

Burt, Allison, and Brian turn to look at Lisa, but say nothing. Clutch faces Allison and animatedly holds up his hands if he were waiting to catch something.

CLUTCH:

Yeah, what intangibles? We've played this damn song nine times already. It seems fine to me.

Burt is standing there facing Clutch.

BURT:

Allison is right. Clutch...every time you play this song, you change your riffs. You can't do that. You have to find one that works and stick with it. And you have to keep the riffs to the same length every time as well. You are disrupting the flow of the rest of the band, which is bullshit.

Burt turns his head to face Ryder.

BURT:

And Ryder, you don't have to show off ALL of your range every time you sing something. For Christ's sake, give it a kick when you need to, but not during every damn song you sing. The rest of you guys are OK...Trucker...you are absolutely killing this...best drumming I've seen from you in a long time.

Trucker has been the drummer for more bands then he wants to remember. He is the consummate professional; he is cool as ice and nothing bothers him. Trucker acknowledges the compliment with a wave of his hand.

TRUCKER:

Easy to do when you dig the songs, Burt. I eat this up.

BRIAN:

Look, fellows, Burt and Allison have made some good points. Don't take it personal.

BURT:

OK, let's do it one more time, from the top.

Burt now faces Allison.

BURT:

Less reverb...and Clutch...we don't need twenty minute solos. You can show off a little but contain it, OK?

Clutch gives Burt a look but keeps his thoughts to himself. Allison just nods her head in agreement. Trucker starts the song by hitting his sticks together four times.

TRUCKER:

One, two, three, FOUR!

The band kicks in and this time, it works; this one is going to be the keeper.

INT. THE BLUE PELICAN – RESTAURANT - DAY

Jules is sitting alone with her breakfast order in front of her, untouched...deep in thought. Last night, Ryder told her that he expects to be working until very late on some new songs and it would be better for both of them if she didn't join him.

INT. THE BLUE PELICAN – HALLWAY – DAY

The elevator door opens and Jules steps out. She takes a deep breath, momentarily considering if this is the right time to do this. She starts walking down the hall until she finds herself standing before Ryder's room.

She hesitates...but does not knock on the door. She tries the door handle and it isn't locked. She opens the door and enters the room.

INT. THE BLUE PELICAN – HOTEL ROOM 1 - DAY

As Jules proceeds deeper into the room, she sees that the bedroom door is ajar. She timidly walks toward it. She opens the door and the scene before almost brings her to her knees.

Lying there before her in the master bed is Ryder and another man. They are asleep in each other's arms. As she stares at them, she recognizes the other man. It's ROMAN HARRISON.

Jules can't believe her eyes. She backs out of the room, then she closes the bedroom door to the position it was previously. Tears begin to flow down her cheeks as she walks softly to the front door and leaves without looking back.

INT. THE BLUE PELICAN – HALLWAY – DAY

Jules walks to the elevator and pushes the down button, wiping away her tears as she does.

INT. THE BLUE PELICAN – RESTAURANT – DAY

The Freight Train band members and crew are having breakfast. Trucker, Ian, and Gringo are sharing one table near the front while Stoner, Roman and the other two roadies are seated at a table that is loaded with breakfast offerings.

The three bandmates are joking with each other. At a small, rear table, Ryder and Jules are eating together. Ryder is relishing his blueberry pancakes with maple syrup while Jules has ignored the food on her plate. She is in deep thought...and very quiet.

RYDER:

(without looking up from his plate)

So, what's the problem, Jules? Your stomach acting up again? You want something else to eat?

Jules slowly tries to meet Ryder's eyes. This isn't going to be easy for her, but she must do what she must do.

JULES:

Ryder, we need to talk.

Ryder finishes chewing his bacon and answers her without looking up from his plate.

RYDER:

What is this all about?

JULES:

We don't share nearly the same intimacy that we used to. I know that life on the road is hard and there is a lot of stress, but what I didn't know is that you've been keeping a secret from me.

Ryder is starting to get a bit agitated.

RYDER:

What do you mean by that? I don't have any secrets. What's your problem?

Jules is sitting quite still and staring at Ryder.

JULES:

I don't think it is me that has a problem.

Ryder is now clearly getting annoyed and drops his fork on the table.

RYDER:

Look, I don't have time for games. You got something to say to me, spit it out!

JULES:

I went to visit you in your room this morning. I didn't want to wake you, so I didn't knock on your door...I just...went in.

Ryder freezes.

RYDER:

You did what?

JULES:

I entered your room.

Ryder's eyes are switching right and left as he thinks this over...this can't be good.

RYDER:

So, what did you see?

Jules pauses for just a moment, for full effect.

JULES:

You know what I saw, Ryder. I saw you and Roman together asleep and holding each other in your bed.

At this, Ryder just stares at his plate, without making a move. Jules stands up and wipes her face with a napkin.

JULES:

Ryder, I don't know if you are bi-sexual or just gay, but I won't accept that in a loving relationship.

Ryder doesn't speak. He just stares at his plate. Jules stands up and faces Ryder.

JULES:

Ryder, I've given this a lot of thought. I have a few friends who are gay. Heck, one even hit on me. But we talked it out and I could see her point. Being gay isn't a decision...it's what you are. You don't choose it, it chooses you.

RYDER:

(whispering)

I'm not gay. It was just an experiment, that's all.

JULES:

I don't believe that for a minute, Ryder. But that's OK, I get it. Don't let this destroy you as a person. You are who you are. Frankly, it explains everything now.

Ryder just sits there, speechless.

JULES:

I have to go now, Ryder. You'll be better off without me. I don't hate you. But right now, I need some time to myself. I wish you well.

Jules stands up, continuing to face Ryder.

JULES:

I love you Ryde. I always will. Goodbye.

She then turns and leaves the room, leaving Ryder looking shocked, embarrassed, and humiliated. No one else in the room seems to notice what has just occurred.

INT. THE BLUE PELICAN - RESTAURANT – DAY

Nobby stirs his coffee while sitting at a table that overlooks the entrance to the restaurant. He hears approaching footsteps and looks up to see Jules enter the restaurant. Jules seems distracted, irritated, and...sad.

A waitress approaches Jules. They exchange a few words and the waitress hands Jules a menu, which she immediately starts reading. Jules sees what she wants quickly and places her order. The waitress leaves to place her order.

After watching to see if she would be joined after placing her to-go order, Bobby picks up his check from his table; drops tip money, and walks toward Jules.

Jules is standing right next to the cashier, so Bobby's appearance should not be seen as obtrusive. As he stands there, measuring the words he wants to say to her, he hears someone approaching.

He looks and sees another young girl enter the restaurant. He has no idea who she is but she is gorgeous. Bobby moves back a step when the girl, PENNY WILLIAMS, approaches Jules at the register. Penny walks up to Jules and stands next to her, facing her.

PENNY:

So, how does it feel to be replaced, Ho?

Jules turns to face the unexpected and unknown visitor and says...

JULES:

Excuse me?

Penny just smiles.

PENNY:

You heard me.

Bobby is momentarily frozen, totally unsure about what if anything he should do for a moment; then addresses Penny.

BOBBY:

Hey, do you know who this is? Show a little respect.

Penny ignores Bobby completely while Jules stares at her, sizing her up and down.

JULES:

Who are you and what do you want?

Penny continues to smile at Jules.

PENNY:

I just wanted to introduce myself...I'm your replacement. I will be fucking Ryder from now on. You're just yesterday's news. So keep away from him. He's all mine now, bitch.

Jules just stands there...transfixed...with a blank expression.

JULES:

Well, good luck with that.

Then as Jules turns to leave, she looks back at Penny and smirks.

JULES:

You do know that Ryder is gay, right? You got parts I don't know about?

Jules gives Penny her very best smile, then pivots and walks out of the restaurant, leaving both Bobby and Penny staring open-mouthed. Bobby and Penny are still standing in place; both deeply shocked.

PENNY:

Do you believe that bitch? She is just desperate. She knows that Ryder is going to dump her for me.

BOBBY:

Do you really think she is lying about Ryder? I mean...you don't think he is a queer, do you?

PENNY:

If he is, it sure would be a waste. But no, I don't believe it at all.

They remain standing there for several more minutes, both looking out the door.

INT. THE BLUE PELICAN HOTEL – FRONT LOBBY – DAY

Ryder and Roman are standing in the lobby, keeping a safe distance from each other...for the sake of appearance. Roman is relaxed and seemingly very happy at the moment, but Ryder seems to be very much on edge.

ROMAN:

What's up, Ryder?

Ryder is staring straight ahead.

RYDER:

That was the last time, Roman.

Roman does not want to hear what he just did from Ryder.

ROMAN:

What do you mean, man?

Ryder turns to face Roman.

RYDER:

It's over.

Roman leans in and whispers.

ROMAN:

What's over?

Ryder takes a step back.

RYDER:

You and me.

Roman is clearly stressed now.

ROMAN:

But, why? Did I do something wrong?

Ryder exhales deeply.

RYDER:

No, but I did. We can't be together. My public will never understand. I have to think about my career; it's all I have.

ROMAN:

But, Ryder...

Ryder raises his hand as if to block Roman from advancing toward him and cuts him off.

RYDER:

Sorry, but I already had a talk with Stoner; we have to let you go. I can't have you around me anymore. Stoner will give you a solid recommendation and fair severance pay. Don't try to contact me again.

ROMAN:

Ryder, you can't go on hiding who you are from everyone. It will continue to eat away at you. Just come out already. Hell, a lot of people probably already know the truth. You're not some freak...and you're not alone.

RYDER:

Come out? You can't be serious. This would destroy the band. Nobody wants to be associated with a band that has a queer in it...especially the lead singer.

ROMAN:

You're wrong, Ryder. What, you think you're the only gay musician out here? Be serious, man. Don't do this. What you and I have is special.

RYDER:

Had. And it wasn't so special to me. It's over Roman. Deal with it.

Ryder then turns and walks away as Roman stands there dejected and unsuccessfully fighting back tears.

INT. BRIAN DUFFY'S OFFICE – DAY

Brian is sitting behind his desk. He is just ending a telephone call when there is a knock on the door.

BRIAN:

Come in.

The door opens and an enormously large black man, RUFUS JONES, enters, wearing what surely must be a custom-tailored suit that must have cost a fortune. The man walks to Brian's desk and stands there smiling down on Brian.

BRIAN:

My time is valuable. What can I do for you?

The big man points at an adjacent chair next to Brian's desk.

RUFUS:

May I sit?

Brian shakes his head affirmatively and points to the same chair. Rufus sits down.

RUFUS:

I'm here to do you a favor. Might be something in it for me, too.

BRIAN:

Yeah? How so?

Rufus continues to smile, staring straight into Brian's eyes.

RUFUS:

I do what you do, only I do it bigger and better.

This irritates Brian, but Brian keeps a blank look on his face.

BRIAN:

Go on.

RUFUS:

I want to buy out your contract to manage Freight Train.

Brian shakes his head "no."

BRIAN:

Nope. I don't think so. Their contract isn't for sale, not to you, not to anybody.

RUFUS:

Word is you're really stretched for cash. How are you going to pay the band's expenses, or your own? Let me take them off your hands. I'll give you a fair profit so you can just walk away.

BRIAN:

You heard wrong, friend. We're all doing just fine as it is.

RUFUS:

You made what, about $20,000 from the boys this year? I'll give you $25,000 right now to sign and walk away. What do you say?

Brian ponders this, but only for a few seconds.

BRIAN:

Sorry, friend. My answer is no. These guys are going to the top, and I'm going there with them. Now, if you'll excuse me, I have other matters to attend to.

Rufus's smile fades quickly and he stands up.

RUFUS:

You know, problems happen on tour all the time. I would hate to see something bad happen to you or any of your band members.

Brian opens the drawer in his desk and takes out a large handgun.

BRIAN:

This, my friend is a Smith & Wesson 38 caliber. Some people call it a Saturday Night Special. Funny though, it works just as good on any other day of the week. If I ever see you again, we'll both find out just how well it works. Now get the f*ck out of my office!

Brian slowly stands, holding the pistol in shooting mode just to the right of Rufus. Rufus slowly backs up toward the door with his eyes never leaving the gun.

RUFUS:

You're making a big mistake, Brian. I'm not someone who is used to hearing the word "No" when I want something.

BRIAN:

Then I guess now is a good time for you to get used to it. Now get out of my office.

Rufus glares at Brian, but doesn't say anything more. He turns and exits and quietly closes the door.

INT. DUKE DEVLIN'S OFFICE – DAY

Brian sits across from Duke.

DUKE:

So, Brian. First of all, let me congratulate you on the success of the band's latest album. It is a brilliant piece of work; by far, the best they have done to-date.

BRIAN:

Thanks, Duke. I appreciate hearing that from you.

Duke smiles and tries to play the few cards he can.

DUKE:

I want you to know that I am willing to waive our agreement and offer a better compensation plan for you and the boys.

Brian is completely relaxed and focused on what he knows is coming.

BRIAN:

Really? Tell me more. I'm all ears.

Duke rises from his chair and moves out from behind it, closer to Brian.

DUKE:

Brian...I like you and the band. You have been able to deliver on what I hoped to see from you. I think it will only get better from here on. So, I am prepared to amend our contract to cover the next five years, during which I will offer you an increase of 20%; and the band will only have to record the same five new albums we originally agreed to.

Brian looks at Duke and smiles. The past circumstances are now completely reversed.

BRIAN:

I have received offers from six other recording companies; your offer is not competitive with theirs.

Duke attempts to maintain his smile and retain any semblance of control.

DUKE:

Mmmm...well, what is my main competition?

Brian looks past Duke, admiring the many gold records on the wall.

BRIAN:

I wouldn't normally share that information with you Duke; but you and I have worked together for many years. Pacific Records is the front runner; they are offering us 28% for five years, and the boys would only have to produce four new albums -- ten singles in each album.

Duke reflects on this.

DUKE:

What term of coverage are the boys looking to get and how many new albums do they realistically want to produce during that time?

Brian considers these questions.

BRIAN:

The boys aren't really greedy; they just want their fair compensation. I think an offer of a 30% increase and a reasonable increase for operating expenses for four years coverage and only four new ten-single track albums would do it. Of course, I would have to run this by them.

Duke is thinking that this is doable; he will have to make some contract adjustments, but it is doable.

DUKE:

Then that is my offer. Are we in agreement, pending band approval?

BRIAN:

Yes. I will speak with the boys and get back to you within a couple of days. But from my point of view, consider it done.

EXT. LOS ANGELES HARBOR – NIGHT

It's near midnight. A police car with flashing lights is parked in the immediate area to one of the docks. There is also an ambulance.

Several policemen are speaking in earnest with the responders of the ambulance who are removing what appears to be a dead body that was taken from the water. The dead person's pockets are filled with heavy rocks, as is the front of the dead person's shirt.

One of the OFFICERS is now looking at a wallet that was previously removed from the body. He removes a drivers' license and looks back and forth between the photo ID and the body, then looks at his fellow officer.

OFFICER 1

Well, Frank, I'm going to go out on a limb and say that Mr. Roman Harrison here has decided that life isn't worth living anymore.

One of the RESPONDERS looks at the officer and shakes his head in agreement.

RESPONDER 1

Definitely a suicide, as far as I'm concerned.

OFFICER 1

Hey, what's that sticking out of his pocket?

Responder 1 reaches to remove an envelope that is wrapped and taped in plastic. He opens the envelope and removes a letter, which he immediately starts to read.

RESPONDER 1

Yup, it's a suicide alright. Looks like our man was booted from a love relationship...with another man. The letter is addressed to a Brian Duffy. There is a business card with the letter. Looks like Duffy manages a band. This guy may be connected to Duffy some way.

OFFICER 1

Well, give that to me. I'll see that Duffy gets it.

INT. BRIAN DUFFY'S OFFICE – DAY

Brian and all of the members of Freight Train are there.

BRIAN:

The thing is boys; we have to expand your tour dimensions if we are going to rise to the next level. The U.S. of A. has been like a playground for you guys over the course of the last few years, but it's time to branch out. This means international events.

Ryder and Clutch look at each other while considering this. Trucker, Curt, and Ian don't appear to have a problem with this. Ian just laughs.

IAN:

Bring it on then, mate.

Curt is sitting there quiet; he tends to stick to himself. Curt has some serious issues after recently returning from Viet Nam where he spent a year, facing hell.

Curt doesn't really have any friends, just associates. If not for his amazing talent with a guitar, he would not be present today. Gringo is also sitting by himself, looking deeply troubled.

IAN:

Gringo...cool it, mate. I'm sure Brian can come up with something that will cover you, right Brian?

Brian is sitting quietly...obviously in deep thought himself. Gringo is now staring at Brian; in essence, he is pleading with his eyes for Brian to reassure him.

Brian rises from behind his desk and looks directly at Gringo.

BRIAN:

Look, Gringo...we love your work. You're never a problem. You come ready to work and your play is always perfect. We certainly aren't looking to replace you with someone else. However...there are ...limitations as to what I can do for you. You understand?

Gringo cannot look into Brian's eyes and lowers his head. Reluctantly, he shakes his head to signify his agreement with the situation.

Brian walks past Gringo...stops momentarily...then turns to face him.

BRIAN:

I may have an idea, but it is not going to be cheap.

Brian looks at Gringo for a response, but Gringo is just sitting there, frozen, with no expression this time. Brian realizes that Gringo has nothing to say to him at this point.

Ryder points to Brian.

RYDER:

OK, Brian. Exactly what do you have in mind? Do you have a plan to resolve this...yes or no?

Now all of the band members are sitting still and quiet, while staring at Brian, who grunts.

BRIAN:

Let me make a couple of calls. I might be able to work something out. But I'm not going to front the cost of this idea. The band is going to have to fully reimburse me for any costs associated with this plan. Is everyone in agreement with this?

Curt is the first to respond.

CURT:

How much money are we talking about, Brian?

Ian stares daggers at Curt.

IAN:

It doesn't matter, mate. This is Gringo we're talking about. If YOU have a problem with that, let's you and me take it outside.

Curt smiles at Ian and flips him the finger.

CURT:

Any time you like. I'm free right now.

Brian immediately steps between Ian and Curt.

BRIAN:

Whoa! Take it easy. There's no need for this crap. To answer your question, Curt, I don't know. I'm thinking the cost will be somewhere in the range of $5,000 to $10,000...and it will have to be in cash.

CLUTCH:

How do you figure that amount, Brian?

Brian shrugs.

BRIAN:

The person I'm thinking about has done me similar favors in the past. He works with the Feds. He's not cheap. And he's not a very nice person. But he is highly effective at doing dirty work.

Gringo is trying hard, but he isn't very successful, in holding back tears.

GRINGO:

Please...please help me. I will give you every dime I can toward this. Please don't turn your backs on me.

Ryder rises from the couch and walks over to Gringo. He bends down, looking Gringo straight in the eyes and smiles.

RYDER:

We've got your back, bud.

Now, looking directly at Brian, Ryder winks and smiles again.

RYDER:

This IS a done deal, right, Brian?

Brian shrugs and shakes his head affirmatively. At this, everyone stands up and collectively they leave Brian's office. Brian remains sitting behind his desk.

He reaches into his in-box to grab a letter that arrived today. Prior to opening it he sees that the return address is from a local police department. He opens the envelope and reads the letter inside. What he reads disturbs him greatly.

INT. THE GRIST MILL RECORDING STUDIO – NIGHT

All the band members are present, along with Brian, Lisa, Burt, Allison, SHANNON DELATOUR and several groupies.

Burt stands up and claps his hands, loudly.

BURT:

OK, boys. We are pretty close to nailing this. We only need three more songs and this is a done deal. I like these songs as strong options: Black Roses, Love Me Tonight, and Don't Let Me Be Alone. I really think these three are our best options here. Anyone disagree?

No one disagrees.

BURT:

That being said, I don't know about you boys, but I am fucking exhausted. Let's call it a night. We'll pick it up tomorrow at 1 PM sharp. OK? Good. Be safe. See you all here tomorrow.

All of the band members pack up what they need to take with them and leave everything else as it is. Together, they exit the studio. Burt leaves the studio as well. Ian delays his departure.

He has had his eye on Shannon all night, and now with Curt leaving without her, he sees his chance to score. Shannon obviously has the same idea, as she has tried to be in the background all night. She subsequently remained behind, enjoying her drink, while she waited for Ian. Ian and Shannon are the last ones to leave, and they leave together.

EXT. SIDEWALK – NIGHT

Ian holds Shannon's hand as they walk to Ian's car. They kiss and then they both get in.

INT. THE GRIST MILL RECORDING STUDIO – DAY

The following day, the band is back, ready to go. Everyone has returned today, including Shannon.

As the individual musicians attend to pre-performance routines, tuning their guitars and the drum kit, Allison is attending to the details of today's recordings.

Brian is sitting in the back with Lisa.

BRIAN:

I'll be right back. I have to talk with Ryder for a minute.

Brian walks over to Ryder.

BRIAN:

Ryder, I want to talk to you. It will just take a minute.

RYDER:

Sure thing, Brian.

INT. THE GRIST MILL RECORDING STUDIO – HALLWAY – DAY

Brian and Ryder go out into the hallway, which is empty.

RYDER:

So, what's up, Brian?

BRIAN:

I know about you and Roman, Ryder. Don't know how long, don't know why and don't care. What I do care about is that this has got to be kept secret. This would destroy you and it would destroy the band.

RYDER:

What are you talking about? I never...

BRIAN:

Stop the bullshit, Ryder. I know and you know. No one else needs to. You gotta keep this quiet. And you gotta stop this NOW, or I'm gone. You understand me?

Ryder just stands there in silence before shaking his head in agreement. Together, they return to the studio.

INT. THE GRIST MILL RECORDING STUDIO – DAY

Burt is sitting behind the drum kit, playing the drums to some background music. He is obviously enjoying himself. Brian walks over to him and stands there for a minute, just watching Burt play.

BRIAN:

Miss it, Burt?

BURT:

The music, not the life. I paid my dues.

BRIAN:

I know you did, Burt. You could still carry your own up there on the kit.

BURT:

Those days are long gone, my friend.

Burt puts down the drum sticks and gets off the throne. Now he is ready to go to work. Burt claps his hands together, loudly.

BURT:

OK, listen up. We will start with Black Roses, and I want your very best effort on this one. Next up...well...you know the line-up. Don't screw this up. Give it your best effort. I don't want twenty-something takes on each song. You guys are pros. So show me something.

Trucker hits his drum sticks together and the band starts in after the final count.

INT. THE HOLLYWOOD BOWL - NIGHT

Freight Train arrives, and because the bouncers at the door recognize the members immediately, the band is quickly let in. This upsets the line of people already waiting to get in.

The band and their entourage are given a large, excellent table that is right in front of the stage. They are quickly welcomed by the House Manager who is very happy to see them.

The Station Manager makes sure that drinks are quickly brought to their table. The Hollywood Bowl House Manager leans in and whispers to the Station manager.

HOLLYWOOD BOWL HOUSE MANAGER

Whatever they want tonight is on the house.

The Station Manager nods in agreement and they both exit. The band and their entourage, which includes Brian, Lisa and Stoner, are reveling in the moment.

For the most part, the great majority of Freight Train's fans are being respectful and they are not bothering the band. Unfortunately, there always seems to be someone for whom the idea of respect doesn't exist.

Such is the case now. Brian sees a male FAN working his way through the crowd, coming toward their table. The man stops when he gets there.

FAN:

Hey, I'm your number one fan. I'll buy all of you a drink if you let me join you.

BRIAN:

Thank you. We appreciate your offer, but we'll pass on it. We do appreciate it, however.

Brian continues to look at the fan who he quickly determines is obviously very drunk.

FAN:

What, I'm not good enough for you?

Great, Brian thinks, now he is getting belligerent.

BRIAN:

Look, I didn't say that. This is a private gathering and we're conducting some business. Please leave us alone. No offense intended, friend.

FAN:

Friend? Friend? If I was your ...friend, you would invite me to sit down with you. And no offense? No offense, my ass. You think you're real hot shit, don't you? I should just kick your ass.

LISA:

Listen, Buddy, why don't you just leave us alone? Go away.

Unbeknownst to the fan, Stoner has been observing the entire scene. After seeing that this huge man was drunk and potentially dangerous to the band members and/or their entourage members, he has calmly positioned himself just off the back shoulder of the fan.

Just then, the fan grimaces and steps toward the table while raising a huge right hand that looks like a ham.

Stoner springs into action immediately. Grabbing the fan by the shoulder, he spins him around effortlessly and shoots a lightning quick punch that hits the fan squarely on the chin. The fan buckles like a wet sack of potatoes.

He's out before he hits the floor. Stoner looks down on the fan.

STONER:

Next time, you'll meet Jehovah.

The venue's security members arrive immediately and remove the fan from the premises. From the stage, the lead singer stops, as does her band.

LEAD SINGER:

Alright Dude! Way to go. Now let's party on!

The band returns to their song while Brian and Lisa both make eye contact with Stoner, smiling, and giving him a thumbs up. Stoner smiles back and heads to the bar and takes a seat, continuing to keep a watch on the band.

As he does, Penny, who has been standing aways off and obviously has been watching, sees what she thinks is a clear way to get to Ryder.

She hurries to the bar, sits next to Stoner, smiles widely at him and whispers...

PENNY:

I just saw you in action, darling. I like your moves. Tough guys are a real turn on for me.

Stoner smiles back at her.

STONER:

Yeah?

Penny continues to smile before she leans in closer to whisper into Stoner's ear...

PENNY:

I won't waste time, sweetie. I want to hook up with Ryder. If you get me in his room tonight, I'll give you a real treat.

Stoner's smile fades from his face. He has seen this many times before; just another tramp. As he looks more closely at her, he can sees signs of drug usage.

STONER:

Time to leave...Sweetie...stay away from everyone in the band or I will personally see that you regret it. Capiche?

Penny just sits there, stunned. No one turns down her advances...ever.

STONER:

I said beat it. Now! Or you will be forcibly removed.

Penny stands up, straightening her oh so short mini-skirt and attempts to regain her composure.

PENNY:

Well, you don't have to be such a jerk. Your loss, not mine.

Stoner watches Penny walk away before turning to the bartender and pointing to his empty glass.

STONER:

When you see that this glass is empty, fill it up again.

Stoner returns to his watch of Freight Train's table.

INT. THE HOLLYWOOD BOWL - BAR – NIGHT

It is late in the night, and the majority of the patrons have exited, including most employees. The few remaining patrons now include all of the members of Freight Train.

Ian and Curt are sitting next to each other at the bar. Ian is quite drunk; Curt has only been drinking tonic water with lime, all night. Ian swallows the last of his drink.

IAN:

Well, I really think this new album is going to kick some serious ass. I think we should have a sit down with Brian and demand a whole lot more money and a whole lot more extras. What do you boys think?

Curt decides he has work to do. He takes a look around his surroundings. He wants to see exactly who is here, and where they are. After registering this, he turns to face Ian.

CURT:

Hey. I want to show you something, but I don't want to show it to you here. Let's step outside.

All of the other band members and their respective lady friends are engrossed in chatter among themselves. None of them have heard Curt's invitation to Ian.

But unbeknownst to Curt, someone is indeed watching...Bobby. Bobby has positioned himself...almost within reach of the band members...without anyone being the wiser. Bobby sips his drink as he sits half-hidden at the bar.

Ian is really drunk.

IAN:

Really? Sounds...interesting...and spooky too...

Ian laughs. Curt looks around again.

CURT:

No, seriously. Come outside with me. You won't believe what I want to show you.

IAN:

Really, mate? Oh well. What the hell.

Ian shrugs, downs the remainder of his drink and rises unsteadily from his seat.

IAN:

I'm all yours, mate, Let's go.

Curt stands up, takes a careful look around him, and together, he and Ian head for the rear exit door, unaware that Bobby has his eyes on them.

EXT. OUTSIDE OF THE HOLLYWOOD BOWL - NIGHT

Upon exiting the establishment, Ian sees that there is no one in sight; they walk together in an alley that is adjacent to the Hollywood Bowl. Ian is very unsteady on his legs. They approach a large dumpster at the end of the alley and stop there.

IAN:

So, mate, what is it you want to show me?

Curt smiles and just stands there with his hands in his coat, while continuing to stare at Ian.

CURT:

You're never satisfied with having enough, are you, Ian? You always want everything, regardless of how it might affect others. You really are a thoughtless prick.

IAN:

What are you talking about, mate? I'm not following you.

Curt smiles and removes his right hand from the pocket of his trench coat. He is now holding a revolver, which is now pointed directly at Ian. There is a towel wrapped around the barrel of the gun.

Ian stares at the gun and he is instantly immobilized.

IAN:

Curt...what are you doing?

Curt continues to smile at Ian.

CURT:

I'm taking care of business, asshole. What...you never had to take care of important business?

IAN:

OK...you're scaring me now. This isn't funny. I don't know what you are up to, but...you need to stop this...right now.

Curt doesn't take his eyes from Ian.

CURT:

Oh, I fully intend to. Shannon... you screwed her the other night. Well, I love her...I mean, I really love her. You can have anyone you want...anytime you want. But no, you had to screw the only woman I care about. Why? How could you do this to me? We're supposed to be friends...family.

Ian is sobering up, quickly.

IAN:

Hey man; things just got out of hand. We both had been drinking and...things just happened; this won't happen again.

Curt shakes his head affirmatively.

CURT:

You're right. This won't happen again.

Without hesitation, Curt pulls the trigger and shoots Ian directly in his forehead. Ian falls immediately to the grown, dead upon impact.

At this moment, Curt has A BRIEF FLASHBACK OF HIS TIME IN VIET NAM. He has seen so many dead bodies...many from his own actions. They meant nothing to him then and seeing Ian dead means nothing to him now.

Curt SNAPS OUT OF HIS FLASHBACK and looks around. There isn't anyone here. The muffled shot has not brought attention as no one seems to have heard anything. Curt drags Ian's now lifeless body behind the dumpster where it can't be seen from the street.

The trash bin is nearly full. He removes all of the remaining bullets from his gun. Using the remains of a t-shirt he finds in the trash bin, Curt wipes the bullets and handgun clean then he wraps it in another discarded garment and places it deep within the confines of the trash bin.

He takes a final look at Ian, and then turns and walks out of the alley.

Curt walks back to the Hollywood Bowl. He opens the rear door slowly...quietly...and peers inside. No one is looking at him as he re-enters.

INT. THE HOLLYWOOD BOWL - BAR – NIGHT

Curt enters, being careful to slip back into the mix. He fails to see Bobby, who hides his face when Curt passes him. Shortly thereafter, Bobby leaves the bar, unnoticed by Curt or anyone else.

INT. THE BLUE PELICAN – PRIVATE DINING ROOM – DAY

All of the band members are gathered in the private room that has again been reserved for them to have breakfast. Everyone is in a good mood. Clutch seems to notice for the first time that Ian is missing.

CLUTCH:

Did anyone try to wake up that rascal Ian this morning? Why isn't he here?

Trucker is seriously studying the menu.

TRUCKER:

Not my job to keep tabs on him...or anybody else, for that matter.

He looks toward their waitress and signals for her to come over. Clutch has already decided on his food choice.

CURT:

Yeah, well...he probably hooked up with someone last night, and he's giving it another go.

With this, everyone cracks up. The consensus is...not to worry; he'll show up later.

INT. BRANDAN'S CAFÉ – DAY

Brian sits by himself at a rear table, nursing his coffee and contemplating the few remains of the breakfast order on his plate. He is growing impatient.

JAMES MCMILLAN (O.S.)

Hello, Brian.

Brian looks up to see JAMES MCMILLAN, who quickly takes a seat at the table. Brian smiles at him.

BRIAN:

It's been awhile, my friend. How have you been?

James is matter-of-fact in his response.

JAMES:

Living the dream. You?

Brian is happy to see James.

BRIAN:

Life is good, my friend.

A waitress appears to take James' order.

JAMES:

Just coffee for me, hon, black.

The waitress leaves to get the coffee. Brian pushes a sheet of paper in front of him.

BRIAN:

I need citizenship papers for this man.

James picks up the paper and reads it.

JAMES:

Who is he?

Brian clears his throat.

BRIAN:

He is a musician. He is a member of a band that I manage. He has been trying to get his citizenship card for more than four years now and we need for him to have it as soon as possible.

James looks at Brian.

JAMES:

Is there anything about his past history that I need to know about?

Brian shrugs.

BRIAN:

No. He's clean as far as I know.

James shakes his head in agreement.

JAMES:

This will take me a few days to look into. It will cost you $750.

Brian has assumed as much.

BRIAN:

How soon can you do this for us?

James shrugs.

JAMES:

Might take 3-4 days at most.

Brian nods in acceptance.

BRIAN:

Great. Make it happen.

INT. BRIAN DUFFY'S OFFICE – DAY

Brian completes a phone call and hangs up the phone. While he is reading papers that are before him on his desk, the phone rings.

BRIAN:

Brian Duffy here.

PETR (V.O.)

Mr. Duffy, my name is Petr Romanoscovic; I am the concierge at The Blue Pelican. I am very sorry to disturb you, but there were two detectives here from the Los Angeles Police Department. They want to speak with you.

Brian considers this.

BRIAN:

Police? What do they want?

PETR (V.O.)

They did not say, sir.

BRIAN:

Well, what did you tell them?

PETR (V.O.)

I did not tell them anything. Mr. Duffy. I just told them you were not a registered guest here.

This gets Brian thinking. Why would the police go there, looking for him?

BRIAN:

Anything else, Mr. Romanoscovic?

PETR (V.O.)

Well sir, I asked them how you could contact them and they gave me a business card. They told me they were returning to their precinct and they expected to be there for the rest of today.

Petr gives Brian the necessary contact information.

PETR (V.O.)

Is there anything more I can do for you, Mr. Duffy?

BRIAN:

No.

Brian immediately hangs up the phone.

EXT. ENTRANCE TO THE L.A. POLICE DEPARTMENT – DAY

Brian's driver pulls up in front of the building. Brian exits the car and enters the police station alone.

INT. L.A. POLICE DEPARTMENT – FRONT RECEPTION DESK – DAY

Brian approaches the desk and waits to be acknowledged. An officer, FRANK PISCATELLA is on duty there. He acknowledges Brian, reluctantly.

OFFICER PISCATELLA

(clearly not wanting to help at all)

Help you?

BRIAN:

My name is Brian Duffy. I got word that your detectives want to talk to me.

The officer studies him.

OFFICER PISCATELLA

Do you know who they are?

Brian clears his throat.

BRIAN:

What?

Officer Piscatella glares at Brian.

OFFICER PISCATELLA

The detectives who called for you; do you know who they are?

Brian is now feeling a bit threatened.

BRIAN:

Uh...no.

Officer Piscatella is clearly not happy with this. More work for him to do. He gives Brian a dirty look.

OFFICER PISCATELLA

Stay right here.

INT. L.A. POLICE DEPARTMENT – HALLWAY - DAY

Officer Piscatella walks down the hall and approaches a glass-enclosed area, filled to near capacity with working officers and their staff.

INT. L.A. POLICE DEPARTMENT SQUAD ROOM – DAY

OFFICER PISCATELLA

Anyone here want to talk to Brian Duffy?

From the rear of the room, DETECTIVE GREENE calls out.

DETECTIVE GREENE

Yeah, we do. Is he here?

OFFICER PISCATELLA

Yeah, he's at the reception desk.

DETECTIVE GREENE

Good. Send him down here.

INT. L.A. POLICE DEPARTMENT – FRONT RECEPTION DESK – DAY

Officer Piscatella returns to the reception desk. Brian is clearly not comfortable being there; he stands there impatiently, fidgeting with his watch band.

He looks at his watch...again. Officer Piscatella takes a slip from one of the baskets on the desk and hands it to Brian, along with a pen.

OFFICER PISCATELLA

Here, fill this out.

Brian looks at the form.

BRIAN:

What's this?

Officer Piscatella stares at Brian, clearly becoming angry now.

OFFICER PISCATELLA

It's standard procedure. Just complete the form.

Brian looks at the form again. He quickly completes the form, signs it, and returns it to Officer Piscatella, who then removes a pass card from another basket, writes the number on the completed form and hands the pass card to Brian.

OFFICER PISCATELLA

Use the clip on the pass card and attach it to your clothing. Don't remove it while you are here. Bring it back here before you leave the building. Understand? Go down the hall and enter through the fourth door on the left. Ask to speak with Detective Greene. Got that?

Brian shakes his head "yes.'

BRIAN:

Yes, I will. Thank you for...

Officer Piscatella turns his back to Brian; summarily dismissing him before Brian can finish his sentence.

INT. L.A. POLICE DEPARTMENT – HALLWAY – DAY

As Brian walks down the hall, he sees a Hooker being questioned in one room. Another room has two small crying Children, while the single adult with them is frantically trying to speak with another officer who, thankfully, is multilingual.

A third room has several plain clothes officers arguing about something over the coffee pot. Brian reaches his target room and enters.

INT. L.A. POLICE DEPARTMENT – SQUAD ROOM – DAY

From the back of the room, Detective Greene, seated next to DETECTIVE KLEIN, calls out.

DETECTIVE GREENE

You Brian Duffy?

BRIAN:

Yes.

Again, from the rear of the office...

DETECTIVE GREENE

Come over here.

Brian does as he is asked.

DETECTIVE GREENE

Take a seat here. I'm Detective Greene. This is my partner, Detective Klein.

Brian just nods to acknowledge the introductions.

DETECTIVE GREENE

I'll get right to the point, OK? You're the manager of a band called Freight Train. Is that right?

Brian looks back and forth between the two detectives.

BRIAN:

Yes, I am. Why am I here?

DETECTIVE GREENE

Ian Morrison is a band member, yes?

Brian considers this and wets his lips.

BRIAN:

Yes. Has he done something wrong? And by the way, I have several questions for you: How do you know I'm the manager of Freight Train? How do you know who Ian is, and how did you know that he is a guest at that specific hotel?

Detective Greene looks at Detective Klein, then back at Brian.

DETECTIVE GREENE

We'll get to that later. When was the last time you saw Mr. Morrison...umm...Ian?

Brian thinks about this.

BRIAN:

Maybe a couple of days ago. The band just completed the recording of a new album a few days ago. I planned on getting everybody together in a couple more days to discuss a new tour. This will be the band's first exposure in Canada. Everyone is really psyched to start.

DETECTIVE GREENE

Did that include Ian?

Brian shakes his head affirmatively.

BRIAN:

Yes, it includes everybody.

DETECTIVE KLEIN:

Do you know of any personal issues or problems that Ian might have had with anyone? Anyone at all?

Brian is puzzled.

BRIAN:

Ian? Hell no. Everyone loves this guy...especially, the ladies. Well, maybe some of their boyfriends didn't care much for him. He definitely has an eye for the ladies.

Detective Greene smirks.

DETECTIVE GREENE

Not anymore, he doesn't.

BRIAN:

What do you mean by that? Has he been arrested for something?

Detective Greene is just matter of fact.

DETECTIVE GREENE

Nope. He's dead.

This hits Brian very hard.

BRIAN:

Dead? How can this be? What happened?

Detective Klein interjects within the conversation.

DETECTIVE KLEIN:

Sorry to have to break it to you like this...but we wanted to see your reaction to this news.

Brian is not happy. In fact, he is downright angry.

BRIAN:

My initial reaction? Do you think I had anything to do with him?

Detective Greene is watching Brian closely.

DETECTIVE GREENE

Take it easy, Mr. Duffy. Everyone and anyone who had regular contact with Ian must be considered as a person of interest. We're not saying you did anything wrong, but we have to find out what happened to him.

Brian considers this for a moment and his anger begins to fade.

BRIAN:

How did he die? I am assuming he didn't die from natural causes.

Detective Klein looks at Detective Greene.

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