Cellular Page #19

NELSON'S VOICE

Muthafuck! My shoulder hurts like

a b*tch. Rodriego puked all over

himself. Here come the cops. I'm

laying the phone down.

We can hear what's been said, distant but understandable.

COP'S VOICE

Are you guys all right?

NELSON:

You could've killed us.

COP'S VOICE

It was the fugitive in the

Chrysler that caused this. We

were trying to overtake him.

NELSON:

No reason to kill innocent

bystanders. Sh*t. I can't hardly

move my neck.

COP'S VOICE

We've already got an ambulance on

the way. Don't try to get out.

NELSON:

I'm not staying in here with him

puking all over the place. Get

this door open!

Theo and Lenore concentrate on the road ahead.

LENORE:

They'll have units blocking us up

ahead.

THEO:

That's why we're turning off onto

a fire road.

LENORE:

Some people fall apart in a pinch.

But you shine.

EXT. MAIN ROAD - DAY

As Theo veers off onto a dirt road kicking up dust.

INT. THEO'S CAR - DAY

Lenore still listens in on the cellular. There are many

voices but they're impossible to decipher. Static, noise.

THEO:

What's happening?

LENORE:

I can't hear. Now there's a

siren. They must be in an

ambulance.

(into phone)

What about the money? Nels?

THEO:

Wonderful feeling of security

knowing your adversaries are both

crippled and unarmed.

LENORE:

(into phone)

The money, Nels ... ?

NELSON:

(through static)

In the backpack with me --

Then he fades out. She's lost him.

He takes the cellular away from her.

THEO:

I'm learning to love this little

invention.

The car plows through backroads that have become overgrown.

LENORE:

Any idea where you're going?

THEO:

I was sentenced to a youth camp

out here when I was fourteen. We

cleared some of these same roads.

LENORE:

They did some great job of

reforming you.

THEO:

That's where this Chicano

correctional officer first taught

me to slap paint on a canvas. I

could copy any f***ing thing he

put in front of me.

LENORE:

Think you could do a picture of

me?

THEO:

I had it in my mind what you'd

look like. "Her," I could've

painted. You, I'd be afraid to

turn my back to mix the colors.

Theo is now turning off down a construction road leading

into a partially completed residential project. Several

small Spanish style home have been left unfinished.

Construction gear stands gathering rust. Theo pulls in and

shuts off the ignition.

THEO:

Developer ran out of money years

back. I'd hate to think about

what's living in there.

LENORE:

Why are we stopping?

THEO:

I need a break. I've been on a

marathon run ever since I had the

misfortune to strike up a

conversation with you.

He removes the ignition key. Taking the gun, he gets out of

the vehicle to stretch his legs. She follows. He has

placed the cellular in his pants pocket.

TRUCKING SHOT - Lenore -- as she catches up with him and he

pauses to look her up and down with an artist's eye. Her

fragile beauty camouflages her true nature.

THEO:

Who'd ever think, to look at you?

LENORE:

As a child I hated being told how

sweet I looked. That angelic

little face wasn't me at all. I

had to hurt people to prove to

them they had the wrong image.

Sometimes words were enough -- but

I wasn't beyond inflicting

physical pain in order to be taken

seriously. I enjoyed seeing the

shock on their poor faces when

they realized who I was. That

same look you gave me when I

turned the gun on you.

THEO:

You've had a lot of fun with me

today.

(a beat)

What would you have done if I

hadn't responded to your call?

LENORE:

We had a backup plan. But I knew

you'd come through for me.

She presses up against him. He reaches up with his left

hand and caresses her breast.

LENORE:

Like steering, it's better if you

use two hands.

But Theo has no intention of relinquishing the .38.

THEO:

Yeah, I was waiting for that

suggestion.

LENORE:

Sooner or later you'll learn to

trust me.

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