Wild At Heart Page #17

Synopsis: After serving prison time for a self-defense killing, Sailor Ripley (Nicolas Cage) reunites with girlfriend Lula Fortune (Laura Dern). Lula's mother, Marietta (Diane Ladd), desperate to keep them apart, hires a hit man to kill Sailor. But he finds a whole new set of troubles when he and Bobby Peru (Willem Dafoe), an old buddy who's also out to get Sailor, try to rob a store. When Sailor lands in jail yet again, the young lovers appear further than ever from the shared life they covet.
Genre: Comedy, Crime, Drama
Production: Media Home Entertainment
  Nominated for 1 Oscar. Another 4 wins & 10 nominations.
 
IMDB:
7.2
Metacritic:
52
Rotten Tomatoes:
65%
R
Year:
1990
125 min
842 Views


LULA:

That you, Sail, honey?

SAILOR:

The only one.

Lula opens her eyes and looks at him.

LULA:

You find any work?

SAILOR:

Maybe. Met a guy named Red, owns a

garage, could have some work in

about a week. Met a few hard luck

boys who’s stayin’ here. What’s

that smell?

LULA:

I barfed. Tried to make it to the

bathroom... Turned out it was the

wrong door anyways... I sorta got

it cleaned up.

SAILOR:

You sick?

LULA:

A little, I think... Darlin’?

SAILOR:

Yeah?

LULA:

Come sit by me.

Sailor goes over and sits on the bed.

LULA:

I don’t know that this is the right

place for us.

Sailor strokes Lula’s head.

SAILOR:

It ain’t gonna be forever, peanut.

Lula closes her eyes.

LULA:

I know, Sailor. Nothin’ is.

CUT TO:

128. EXT. SKY OVER BIG TUNA - EVENING

The darkening evening sky is filled with flying monkeys.

CUT TO:

129. INT. IGUANA MOTEL - COURTYARD - NIGHT

Sailor, Lula, Sparky, and Buddy are sitting in the courtyard of the

motel sharing Sparky’s fifth of Ezra Brooks. An electric bug killer is

working overtime. Buddy is reading from a newspaper.

BUDDY:

(reading from paper)

“Robert Brenton, twenty-five, was

killed when his car went off the road

on State Highway 118, according to the

Department of Public Safety. Brenton

and two passengers, William Reese and

Susan Day, were thrown from the

automobile, reports said.”

Sailor looks at Lula.

SAILOR:

Susan Day...

The assistant manager, TOMMY THOMPSON, speaks from the shadows behind

the group.

TOMMY:

Robert Brenton, that dumb f***. That

stupid sh*t... That f***in’ Bob was

so f***in’ dumb... He deserved to

die... That a**hole.

They all look over at Tommy.

BUDDY:

Hey, Tommy... What’s goin’ on over

there in number four where al them

bright lights are all the time?

TOMMY:

Them are makin’ a pornographic movie...

Texas style... Why? You wanna join in?

SPARKY:

How do you get sixteen Haitians into

a Dixie Cup?

LULA:

How?

SPARKY:

Tell ’em it floats.

BUDDY:

Sparky’s big on Florida jokes.

SPARKY:

You need a active sense of humor to

survive in the Big Tuna.

BOBBY PERU walks in and comes over.

BOBBY:

Hey, everybody.

BUDDY:

Sailor, Lula, this here’s the man

himself. Bobby, this is Sailor

and Lula, the most recent strandees,

economic variety.

Bobby nods to Lula and offers a hand to Sailor.

BOBBY:

Bobby Peru, just like the country.

Sparky and Buddy laugh.

BUDDY:

Accordin’ to Red and Rex, Bobby’s

the most excitin’ item to hit Big

Tuna since the ’86 cyclone sheared

the roof off the high school.

SPARKY:

Only in town two months and there

ain’t a young thing around don’t

know how that cobra tattoo works,

right, Bob?

Bobby laughs. He has a lopsided grin that exposes only three brownish

front teeth and he has flat black eyes that seem to reflect no light.

LULA:

You from Texas, Mr. Peru?

Bobby pulls up a chair and pours himself a shotglass full of whiskey.

BOBBY:

I’m from all over.

SAILOR:

(noticing a USMC tattoo

on Bobby’s right hand)

You was in the Marines, huh?

Bobby looks down at his hand, flexs it.

BOBBY:

Four years.

SPARKY:

Bobby was at Cao Ben.

LULA:

What’s Cao Ben?

BOBBY:

(to Lula)

How old are you?

LULA:

Twenty.

BUDDY:

Lotta women and kids and old people

died at Cao Ben.

BOBBY:

March, 1968. We torched a village

and the government made a big deal

out of it.

Bobby sips the whiskey and closes his eyes for several seconds before

reopening them and looking at Buddy. His eyes open slowly and they

practically burn a hole in Buddy.

BOBBY:

(to Buddy)

You was on a ship, pardner. Hard to

make contact with the people when

you’re off floatin’ in the Gulf of

Tonkin.

SPARKY:

(changing the subject)

Hey Bobby, have yourself another

glass ’a Jack.

Sparky refills Bobby’s shotglass. Bobby tosses it back in one gulp.

BOBBY:

Don’t mind if I f***in’ do...

Speakin’ ’a Jack... One-eyed Jacks

yearnin’ to go a peepin’ in a

seafood store... Good meetin’ you.

Adios, boys.

He walks out and after he’s gone...

LULA:

Somethin’ in that man scares me.

BUDDY:

No sh*t.

SPARKY:

(pouring himself another shot)

Bobby’s got a way... Can’t shake

that institution odor.

Lula puts a hand on Sailor’s leg.

LULA:

Darlin’, I still ain’t feelin’ so

well. I’m goin’ to bed.

SAILOR:

I’ll come along.

They say goodnight to Sparky and Buddy and head for their room.

CUT TO:

130. INT. IGUANA MOTEL - SAILOR AND LULA’S ROOM - NIGHT

SAILOR:

Man, that barf smell don’t fade fast.

Lula goes right to the bed and flops down on it.

SAILOR:

Anything I can do for you?

LULA:

No, I don’t think so, Sail. I

just need to lie down.

Lula listens to Sailor brush his teeth, urinate into the toilet and

flush it. Sailor comes out of the bathroom and climbs into bed.

LULA:

Sailor? You know what?

SAILOR:

I know you ain’t particularly pleased

bein’ here.

LULA:

Not that. Look at what I wrote down

cause I can’t say it.

Lula hands Sailor a note which reads “I’m pregnant.” Sailor looks into

her eyes.

SAILOR:

It’s okay by me, peanut.

LULA:

Well, nothin’ personal, but I ain’t

sure it’s okay by me.

Sailor crumples the note and puts it in the ashtray.

LULA:

Really, Sailor, it ain’t nothin’

against you. I love you.

SAILOR:

Love you, too.

LULA:

I know. Just I’m sorta uncomfortable

about the way some things is goin’,

and this don’t help soothe me.

SAILOR:

I know this ain’t easy, Lula, but

I ain’t gonna let things get no

worse, I promise.

CU of Lula setting fire to the pregnant note in the ashtray.

DISSOLVE TO:

131. INT. IGUANA MOTEL - SAILOR AND LULA’S ROOM - DAY

CU of flies on vomit stain.

There is a knock on the door which wakes Lula from her nap. She opens

the door. Bobby Peru stands outside.

BOBBY:

Hey, pretty woman... Sailor here?

LULA:

No, he’s out changin’ the oil in

the car.

BOBBY:

Man, I gotta take a piss bad... Can

I use your head there?

LULA:

Well... Yeah - okay.

BOBBY:

I don’t mean your head head - I’m

not gonna piss on your head - your

hair an’ all... Just piss in the

toilet. Y’all take a listen -

here a deep sound comin’ down from

Bobby Peru.

Bobby enters the bathroom and starts to urinate.

CUT TO:

132. EXT. PERDITA DURANGO’S HOUSE - DAY

Sailor pulls the T-Bird up front and hurries up to the screen door.

Flies are buzzing all around. PERDITA DURANGO comes forward out of the

darkness inside.

PERDITA:

(recognizing him)

Oh... Look at this... What do you

want, snakeskin?

SAILOR:

Just passin’ through on my way to

who knows where...

PERDITA:

Sure... I figured I’d see you

sometime...

SAILOR:

Hopin’ you could tell me if there’s

a contract out on me. I really

need to know.

PERDITA:

By who?

SAILOR:

I think Santos or Marietta Fortune.

PERDITA:

Heard you was goin’ out with that

b*tch’s daughter.

SAILOR:

You heard right.

PERDITA:

You really are one dumb a**hole.

SAILOR:

Life is unpredictable.

PERDITA:

Does that girlfriend of yours know

that her mama and Santos killed her

daddy?

(Sailor doesn’t answer -

Perdita smiles)

Does she know her own daddy was one

of the biggest drug dealers around -

till he started snortin’ the sh*t

himself?...

(Sailor doesn’t answer)

Does she know you was around that

night her daddy was set fire to?

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David Lynch

David Keith Lynch (born January 20, 1946) is an American director, screenwriter, visual artist, musician, actor, and author. Known for his surrealist films, he has developed a unique cinematic style. The surreal and, in many cases, violent elements contained within his films have been known to "disturb, offend or mystify" audiences. more…

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