OUTLAW CITY

-- OUTLAW CITY --

BLACK SCREEN:

“All the women I know feel a little like outlaws.”

Marilyn French

EXT. CHICAGO - AERIAL ESTABLISHING SHOT - DAWN

Morning sun shines gold across the grime encrusted metro area. We fly over urban streets and buildings to a gentrified neighborhood. The West Loop. To a modern apartment building.

INT. BEDROOM - BRITT’S APARTMENT - CHICAGO - DAY

Frugal décor from Pier One Imports. The bed is unmade. A reprint of a Folies Berger poster featuring Josephine Baker. On the dresser is a drained Muscle Milk single and a banana peel, the remains of breakfast. A budget cell-phone vibrates.

It’s ignored by a WOMAN in the bathroom. We can only see her back, dressed in activewear, brushing her teeth. When she hurries out to the phone, we get a look.

BRITTANY “BRITT” GUNDERSEN, twenties, athletic, intense. Brushing with one hand, she checks the cracked screen. The area code of the call is 775. She rolls her eyes and clicks the ignore button, resuming her hustle to get out the door.

INT. FITNESS STUDIO - CHICAGO - DAY

A ground floor gym, window revealing the downtown sidewalk. Atop an open gym bag, Britt’s cell phone vibrates again.

Nearby, Britt leads a cardio-defense class for women. They deliver synchronized beatings upon male-torso punching bags. Britt inspires the crowd with confident banter over a PA.

The CROWD ROARS with effervescent joy. Britt smiles. Happy.

TIME CUT TO:

Britt towels off the sweat, laughing and smiling with her students. They adore her. High fives, hugs, and good vibes.

INT. OFFICE - VALKYRIE FITNESS INC. - DAY

Open floor plan. Hip millennials on laptops at hot desks.

2.

A large brand logo on the wall features a Norse Valkyrie. Beneath the logo is a Latin motto, “VI. VIRTUS. DIGNITATIS.”

Britt enters, showered, Everlane clad. She’s met by a just as healthy co-worker, SIENNA (20’s). They chat on the move --

Britt swaps smiles and “hello” nods with co-workers.

These women are pumped for another day at the office.

TIME CUT TO:

Britt works on a laptop at a table with Sienna and a few others. Britt ignores the vibration of her cell on the table. Sienna points. Britt sees, 775 again. Powers it off, annoyed.

Britt puts on some noise cancelling headphones, back to work.

TIME CUT TO:

Britt works in the same spot. Alone now. She notices her co-workers have gathered in small groups, clustered around laptops, co-viewing. Weird. Sienna’s headed her way, worried.

Britt is startled by a gentle hand on her shoulder. It’s HELEN FROM HR, thirties, serious. Britt pops off her phones.

3.

Britt follows Helen across the room, past Sienna, who looks freaked. Co-workers glance Britt’s way, awkward. Britt has no idea what they could be watching. But their vibe is tense.

INT. CONFERENCE ROOM - VALKYRIE FITNESS INC. - DAY

BRITT’S POV - LAPTOP SCREEN

Grainy video from a stationary camera at a bachelor party. The image is cropped to frame a pole dancing young woman. Pasties. G-String. She’s got the confident moves of a pro.

It’s Britt. Ten years younger, grinding to the strip anthem, Crazy Bitch by Buckcherry. The faces of her drunk male audience aren’t visible, just the backs of their heads.

BACK TO - BRITT

Looking up from the laptop, surprised but not mortified. She closes the computer lid and the music stops. She’s seated at the opposite end of a long table from Helen, and DANIEL, thirties, heavy-set, hoodie-clad, a code-bro neck-beard.

Britt sees Daniel’s eyes flick up from the laptop in front of him. Then he resumes watching the video. His vibe is gross.

4.

Britt hopes her joke sets the tone for the meeting, nope.

Britt fights to keep the rage out of her voice.

Britt is surprised to be confronted with her past.

5.

Daniel finally looks at Britt with a judgy male gaze.

Daniel stands up. Helen follows his lead. They’re done with Britt. She stands, not done with them --

6.

Daniel and Helen exit, leaving Britt alone in the room. She starts to panic, pacing, sits hands flat on the table, breathing deep, fighting hard not to hyperventilate. We PRE-LAP a MAN’S VOICE, heavy and strong --

Britt regains her composure and rises from the chair.

INT. OFFICE - VALKYRIE FITNESS INC. - DAY

Britt crosses the room, glancing toward Sienna, who talks to Daniel. Britt heads back to her table where a security guard loads her items into a gym bag. Except for the company laptop, which Helen collects, moving off as Britt gets close.

EXT. SIDEWALK - FITNESS STUDIO - DAY

Britt is escorted from the building by the security guard. Through the big window nearby a fitness class is in session. Sienna leads the class, aggressively not looking at Britt.

Britt looks through the glass at all the women beating the male torsos. Her reflection looks back at her. She moves on.

INT. KITCHEN - BRITT’S APARTMENT - NIGHT

Britt shoves Valkyrie branded merch in the garbage, manic.

7.

Britt sags to the floor, exhausted and defeated. She’s got her cellphone in hand, selecting the 775 number, she redials.

EXT. WELLSPRING, NEVADA - AERIAL ESTABLISHING SHOT - DAY

A statue of a Wild West Outlaw, sixty feet tall. He wields a pair of moving six guns, directing travelers to a small city in north eastern Nevada. The neon statue is dark during the day, but when he’s ablaze at night, it’s a sight to behold.

Interstate 80 drops out of the rugged Ruby Mountains to the west, and stretches across the hellish Great Salt Lake to the east. A population of four-thousand makes their living via fast food, gas stations, a small casino, and a brothel hotel.

A road sign: “WELCOME TO WELLSPRING. NEVADA’S OUTLAW CITY. POPULATION: 4,328.”

A Chevy Tahoe drives past, heading into town at high speed.

INT. JOE GUNN’S TAHOE - DRIVING - WELLSPRING - DAY

JOE GUNNDERSEN, sixties, at the wheel, clad in work wear. He drives angry. The SUV’s powerful ENGINE ROARING. Joe hears his CELPHONE RING. It’s in his leather bag on the back seat.

Joe doesn’t slow down as he reaches back for the bag. It’s just a bit too far. One hand on the wheel, he stretches, glancing forward. An intersection ahead, the light’s green.

Joe turns back to keep after the bag and the ringing phone. He doesn’t see the traffic light go from green, to yellow. He finally gets the bag and swings it up onto the front seat, turning just in time to see the light is now red.

Joe jams on the brakes, the car skids to a stop, phone bag slides off the seat into the footwell. That was a close one.

Joe bends down to pick up the bag, phone still ringing. When he sits up -- a van has stopped in the intersection. Some twenty feet in front of the Tahoe. Anticipating what’s to come, Joe pulls a pistol from the bag instead of the phone.

Joe raises his GUN as the side door of the van slides open to reveal two men holding ASSAULT RIFLES. Everyone SHOOTS. The WINDSHIELD of the Tahoe SHATTERS, Joe is hit multiple times.

8.

INT. BRITT'S APARTMENT - CHICAGO - NIGHT

Britt holds her phone, listening.

Britt hangs-up and looks out the window, edgy.

EXT. INTERSECTION - WELLSPRING - DUSK

A crew cab pickup pulls to a stop. Wrapped in the corporate logo for, “MS. FIXIT”, a national home repair franchise.

SAM GUNDERSEN, twenties, gets out, Ms. Fixit boiler suit dirty after a long day of handy-woman visits. She leaves the door wide as she walks fast toward the crime scene.

Joe’s Tahoe is riddled with bullets, front tires flat. A pair of local police cars, ambulance, emergency personnel, and Sam slows at the sight of a body strapped to a gurney, covered in a blood stained sheet. She knows it’s her Dad.

Sam takes a step forward and hears a CLINK sound. She finds a large SHELL CASING at her feet, picks it up. She notices more of them in the intersection, where the van was, a young cop circling each with chalk. Another dead body there, covered.

SHERIFF BRIGGS, forties, approaches Sam, in uniform, Stetson.

Sam starts toward her Dad’s body. Briggs gently holds her back. She wheels on him, angry. Sam’s got a quick temper.

Sam looks at the large shell casing in her hand. Briggs offers his hand, Sam shakes as she deposits the shell.

9.

Sam walks to the curb, sits, head in hands, staring at the crime scene. Her dead father, under that bloody sheet. She pulls out a budget smart phone, dials with a shaking hand.

INT. THE MEET STREET BOOM ROOM - CHICAGO - NIGHT

LOUD MUSIC. LOUD CROWD. Young people get drunk and hook up. Britt’s on the dance floor. Wasted. Shaking her ass with some dude. She follows the guy over to the bar for another round.

As the dude gets the drinks, Britt pulls out her vibrating phone. It’s a different 775 number. She answers, shouting.

Britt gets the sad news. She covers her other ear, trying to be certain she’s hearing this right. The Jameson arrives, she pounds it and moves to find a quiet spot, but is jostled by a group of hard partying dudes. Britt shoves them back --

Britt doesn’t hesitate, dropping the phone so she can punch the guy with a rapid combination. His friends move to restrain Britt, but she’s trained and primed, unleashing a savage flurry of Valkyrie take-down moves. Fast and brutal.

EXT. THE MEET STREET BOOM ROOM - CHICAGO - NIGHT

Britt is shoved out by a bouncer. He tosses her phone after her. Sweaty and scratched, she picks it up. The screen is even more cracked than before. There’s an SMS: “Come home.”

Britt pockets the phone, thinks, starts back into the bar in search of more fighting. But the bouncer cuts her off. She turns away and starts down the street, screams at the sky --

EXT. CRYSTAL’S HOUSE - WELLSPRING, NV - DAY

A residential street on the edge of town, lined with aging single story ranch houses. There’s only one two story neo mini mansion, with an acre of lush greens and a grotto pool.

10.

INT. BEDROOM - CRYSTAL’S HOUSE - WELLSPRING - DAY

DANTE HOBBES, sixties, sleeps with a smile on his face. Under silk sheets in a king sized bed. There’s a curvy WOMAN asleep beside him, but all we can see is her silk turban hair wrap.

The SQUAWK of a PARROT. Dante’s smile turns to a frown, his eyes open, awake. He swings his legs off the side of the bed and sits for a beat. No six-pack, but still able-bodied.

Dante regards an African Grey Parrot in a wrought iron cage. The bird fits right in with the cash money bought luxe décor.

Dante gets out of bed, being quiet so as not to wake his companion. The Parrot watches Dante pad across the floor in bikini-brief underwear to enter the bathroom.

Dante scans a mega collection of beauty products covering the double sink counter, makeup, moisturizer, masks, clips, soaps, perfumes. It’s over the top. He tries to sort through it quietly, selecting a can of aerosol hairspray.

Dante exits the bathroom, on course for the parrot, scooping up a Calibri lighter from a dresser beside his Gucci wallet.

Dante ignites the lighter, sprays the aerosol, testing his mini-flamethrower with a WHOOSH. Dante’s smile returns.

Dante sprays fire into the cage. WHOOSH! The Parrot flaps out of the way, SQUAWK! It tries to hide at the top of the cage. Dante crouches, working to get a good angle. WHOOSH! SQUAWK!

The no-longer sleeping woman vaults out of bed --

CRYSTAL KING, fifties, anti-wrinkle tape strips all over her face, silk pajamas match the silk turban protecting her doo. She charges Dante, spoiling his hunt, dragging him backward.

Dante gives one last WHOOSH! But he’s too far away now. Crystal takes away the hairspray and the lighter, pissed.

11.

Dante pulls her in-close, gentle. They kiss.

SQUAWK! Dante gives the parrot a dark look, this isn’t over.

INT. KITCHEN - CRYSTAL’S HOUSE - DAY

ON TV: Traffic Cam footage of the attack on Joe Gundersen.

ANGLE OFF the TV to find Dante and Crystal have showered and make breakfast with married synchronicity. He whips-up an omelet. While she levers the complex espresso machine.

Dante wears a Versace suit. Crystal rocks Dolce & Gabbana. A dishrag over her shoulder, where the parrot sits, and shits, kills her high fashion vibe. Dante plates their meals. Crystal adds Kahlua to the coffee.

TIME CUT TO:

Crystal and Dante eat at the counter sans bird. The TV plays a FOX NEWS report on the independent Presidential Candidate for the FREEDOM RIDERS party. Crystal and Dante ignore it --

12.

They toast their spiked coffee.

INT. GARAGE - CRYSTAL’S HOUSE - DAY

Crystal opens the trunk of her red Tesla and moves to get behind the wheel, leaving Dante to transfer four identical MCM duffels into the trunk of his black BMW.

Dante slams the trunk and moves to the driver’s window as Crystal turns on the Tesla, Motley Crue pops on the radio.

Crystal burns rubber. Dante shakes his head and goes to the BMW’s trunk. He unzips the duffels, pulls out a wrapped wad of mixed bills. Smells them. The duffels are full of cash.

13.

EXT. TERMINAL - BOULDER CITY AIRPORT - NEVADA - DAY

Britt exits baggage claim, pulling a roller bag. At the curb, she looks toward oncoming traffic.

Britt turns to see MICHAEL HOBBES, twenties, approaching with a roller of his own, dressed for the climate in J.Crew. He’s got the affable charisma of a salesman. Like his Dad.

Michael moves to hug Britt. She takes a defensive step-back, like she’s gonna launch into another brawl. Then forces herself to relent, giving in to her old friend’s embrace.

Britt works on stifling her emotions.

Michael looks past Britt toward oncoming traffic.

14.

Britt turns to see Sam arriving curbside in her work truck. Sam sees them and stops the truck, but she doesn't get out.

Britt chucks her bag in the bed of the pickup, climbs in.

Sam leans across Britt to tell him through the open window --

Sam drives off before Britt can speak, Michael’s left behind.

INT. SAM’S PICKUP - DRIVING - INTERSTATE 15 - DAY

Sam merges across multiple lanes, not looking at Britt. New Country tunes pump their bass heavy licks on the stereo.

Sam drives aggro, Britt braces herself, hides her fear.

15.

Sam HONKS at a slow moving car, swerves around it and flips off the driver. Britt looks as they pass, a scared family.

They settle in for the drive, stoic. The truck’s oversized tires drone like the tension between these reunited sisters.

INT. OBSERVATION ROOM - POLICE STATION - WELLSPRING - DAY

Sheriff Briggs stands with a local reporter, DOUGIE, forties. They gaze through one way glass into a small interrogation room where a lone prisoner sits, shackled to a metal table.

The perp is JOSE LUIZ, twenties, groomed, orange jumpsuit.

16.

A young cop enters the interrogation room with a fresh bag of food from McDonalds. Before the Sheriff and Reporter can comment, Dante enters the observation room to join them.

They watch through the glass as Jose Luis yanks on his cuffs, he can’t eat with the shackles on. Briggs taps the intercom.

The young cop holds the Egg-McMuffin for Jose Luis, awkward.

BEGIN INTERCUT:

FLASHBACK - EXT. HIGHWAY 95 - WELLSPRING - DAY

A Bentley SUV drives past the outlaw statue and into town.

FLASHBACK - EXT. FIRE & BRIMSTONE - WELLSPRING - NIGHT

A modestly sized, three-star hotel and casino, themed with a gaudy western-romantic aesthetic. Various gradients of pink. Stonework columns. Dramatic lighting. Garish neon signage, “FIRE & BRIMSTONE. GARDEN OF HELLACIOUS DELIGHTS.”

17.

The Bentley arrives, a trio of BODYGUARDS get out, driver included, dressed in suits. They let Jose Luiz out of the back, also in a suit. He’s younger, but clearly the boss.

The men unload four MCM duffels from the back of the SUV. We recognize these bags as the ones Dante unloaded from Crystal’s car. Jose Luis and Co take the bags inside.

FLASHBACK - INT. LOBBY - FIRE & BRIMSTONE - NIGHT

Eclectic decadence. Gilded mirrors, fake floral arrangements plenty of velvet. The staff clad in fancy Wild West attire. A saloon style bar. Restaurant featuring a Wild West Burlesque.

The crowd is a mix of long-haul truck drivers, tourists, and weathered gamblers. Patrons check their cellphones and concealed carry guns with security guards at the door, before passing through a metal detector and getting a pat-down.

Jose Luiz watches his men trade bundles of cash from the duffles for chips. A waitress brings him a drink.

WYNTER, twenties, short-hair, smokey eye, shrapnel scar on her cheek. She’s athletic, tattooed, and a fierce coquette.

Jose Luiz gambles, losing, laughs. Winks at passing Wynter.

18.

FLASHBACK - INT. ROADHOUSE SUITE - FIRE & BRIMSTONE - NIGHT

Hell’s Angel theme. Harley motorcycle pierced by a stripper pole. Jacuzzi tub in a massive tire. Fuel Pump juke-box. Corrugated metal walls. More of those ever-present mirrors.

Jose Luiz drinks while gazing out the window at the great salt lake. The basalt wasteland reflects the moonlight. He turns to the door as a few party girls enter. Including Wynter. She’s traded her waitress attire for leather pants and a halter. She goes to him, close, hands on his chest.

FLASHBACK - INT. ROADHOUSE SUITE - FIRE & BRIMSTONE - DAY

Briggs and the young cop are let in by a housekeeper. The cop opens the curtain and sunlight blasts into the room. The lounge is littered with bottles and food. There’s a passed out bodyguard in the hot tub. The bedroom doors are closed.

Briggs approaches a closed bedroom door.

FLASHBACK - INT. BEDROOM - SUITE - FIRE & BRIMSTONE - DAY

Briggs enters to find Wynter atop the sheets, lying face-down, naked. A belt around her neck. Jose Luis is passed out.

Briggs drags Jose Luiz out of bed. He’s overly drowsy, like he’s been drugged. He’s shocked to see Wynter lying dead.

19.

FLASHBACK - EXT. FIRE & BRIMSTONE - DAY

Briggs interviews girls as Jose Luis sits in the back of a cop car. Nobody sees his bodyguards drive off in the Bentley.

FLASHBACK - EXT. DECK - HACIENDA - MEXICO - DAY

The ocean view is epic. HELENA FERNANDEZ, forties, linen dress, sips fresh orange juice while reading the paper.

END INTERCUT:

INT. OBSERVATION ROOM - POLICE STATION - DAY

Dante shakes his head, watching through the glass with the others as the young cop offers Jose Luiz a straw sip of soda.

20.

We’re CLOSE ON Dante as he says this, his eyes welling.

FLASHBACK - EXT. DECK - HACIENDA - MEXICO - DAY

Helena on a sat phone, paces, overlooking the sea, enraged.

FLASHBACK - INT. COWBOY SUITE - FIRE & BRIMSTONE - DAY

A themed room featuring a mounted saddle and wagon bed. Dim light from faux lanterns. Instead of mirrors, the room’s packed with tech. Like an editing bay. A hodge-podge of video monitors and recording equipment, cables into the ceiling.

Dante sits in a wing-back chair, watching night vision video filmed inside the bedroom of the Roadhouse Suite.

DANTE’S POV - MONITOR

Wynter is in bed with Jose Luis, they fuck, she encourages him to play rough with the belt and -- She doesn’t die. After sex, Jose Luiz falls asleep, Wynter lying still at his side.

BACK TO - DANTE

He scrolls the video forward a few hours.

21.

Dante slows the video scroll, watching as Wynter gets-up in the night. Puts the belt around her neck and lies face-down.

Dante watches on the video as Briggs enters the room and drags Jose Luiz out of the bed, arresting him for murder.

After a beat, Wynter gets up and looks directly at the hidden camera she knows is recording her. She does a naked bow, proud. Dante smiles, amused by her bravado, logs the video.

EXT. THE OASIS HOTEL - WELLSPRING - DAY

On the edge of town, a large convention center is under construction. A fifteen-story tower, mostly complete. Pool and grounds still dusty and barren. Workers on the job.

Dante wears a hard hat, leading a group of suit clad business types including -- RAY, forties, American flag lapel pin.

22.

They reach a spot where they can look through massive glass windows into a convention hall, still under construction.

EXT. OFFICE TRAILER - THE OASIS HOTEL - WELLSPRING - DAY

A mobile home for admin services. Dante’s BMW parked out front. Sam’s pickup truck arrives with Britt on the passenger side. Sam hops out and heads for the trailer, calling back --

23.

Britt exits the pickup, approaching a large sign. It features a rendered image of the completed convention center. Along with a photo of her father and Dante at the site, happy partners. Britt regards the dusty mess under construction.

Britt looks over in surprise as Michael approaches, having just arrived via dark SUV.

Michael indicates Dante walking with Ray and the others.

Michael measures his response.

24.

Britt takes him at his word, is about to get real --

WHAM! Sam sucker-punches Michael in the head. Britt moves fast, getting her sister in an arm-lock. Sam struggles against Britt’s grip, shouting at Michael, who recovers.

Sam struggles to attack him again. Britt tightens her grip, steering her sister away and over toward the truck.

Sam gets in via the passenger door. As Britt walks around to the driver’s side, she looks back at Michael, disappointed. He meets her gaze, apologetic, rubbing his temple. Dante arrives beside him with Ray and the rest of their group.

25.

Dante pats Michael on the shoulder. As the group move off, we linger on the Oasis sign, and the photo of Joe and Dante.

EXT. GUNN HOUSE - WELLSPRING - DUSK

Idyllic light. A remote ranch house in the scrubby hills. Barn and stable, no animals. The few muscle cars parked out front are under tarps and in various states of disrepair.

Sam’s truck arrives and the sisters get out. As Sam heads for the front door, Britt needs a moment to take-it-all in.

Sam opens the door and heads inside the house, Britt hesitates, too many bad memories, then enters.

26.

INT. GUNN HOUSE - CONTINUOUS

Britt follows her sister, moving as if through water. The décor should’ve been dumped at a yard sale years ago. Sam moves off to find the bathroom, leaving Britt to melancholia.

INT. DINING ROOM - GUNN HOUSE - NIGHT

Britt enters to find a table stacked with paper-work. PC Laptop. A landline phone. Desk chair. It’s Dad’s home office.

Britt checks-out a mug emblazoned with The Oasis logo. Very old coffee inside. There’s a half-eaten breakfast bar.

Britt notices election materials for, THE FREEDOM RIDERS. Including campaign ephemera for their candidate, Bart Maddox.

INT. BATHROOM - GUNN HOUSE - NIGHT

Sam holds her bruised hand under the tap, wincing in discomfort. Britt enters with a bag of frozen peas.

Britt shuts off the tap, gives Sam the bag of peas.

Britt takes Sam’s hand, puts the peas across her knuckles. Sam wants to pull-away, but she allows this act of kindness.

INT. LIVING ROOM - GUNN HOUSE - NIGHT

Sam sits on the couch, hand elevated, frozen bag across her knuckles. Britt fills two glasses with Jack Daniels.

27.

Britt passes Sam a glass and sits at her side. As they drink, they regard a wall of undusted family photos.

The Gundersen girls had a happy childhood. Based on the pictures, that was all due to their effervescent mother. GRETA is always smiling in the pics, arms around her family.

Sam smiles at her joke about Michael and Dante, only to see that Britt looks even more depressed.

INT. DINING ROOM - GUNN HOUSE - NIGHT

Looking across Joe’s laptop, back at Sam and Britt staring down at the screen. They watch Britt’s blackmail video, the laptop speakers buzzing with, Crazy Bitch by Buckcherry. Britt pushes the volume keys, silencing the song she hates.

28.

Sam glances at the table covered with Joe’s stuff. She notes the mug and breakfast bar, can’t bring herself to touch them.

Britt struggles. Sam is still watching the video.

Britt looks over to the kitchen, lost in a dark memory.

29.

FLASHBACK - INT. KITCHEN - GUNN HOUSE - NIGHT

Young Britt and Young Sam in their tweens, wearing pajamas. They cower with their mother, GRETA, thirties. She’s in a t-shirt. Calm. They look across the room at a man wearing a BALAKLAVA, gun in hand, threatening their father.

Balaklava gestures toward the women and the GUN GOES OFF. The young girls are unhurt, but their mother has been shot, dead.

Joe attacks Balaklava, gets the gun, SHOOTING him. As Balaklava collapses, Joe runs to Greta, putting down the gun so that he can hold her. Young Sam also hangs on to Greta.

But Young Britt is stoic as she recovers the GUN, goes over to the wounded shooter in the Balaklava, and SHOOTS him in the chest until the gun’s clip CLICKS dry, killing him.

Young Brit is stoic as she holds the smoking gun. She looks back to the kitchen where Young Sam clings to their dead mom. Young Brit regards her crying father, he doesn’t look at her.

INT. LIVING ROOM - GUNN HOUSE - WELLSPRING - NIGHT

Britt stands where she shot the intruder, looking at Sam.

Britt lowers herself to the floor and pulls back the rug. She regards a half-dozen old bullet holes in the concrete slab.

Sam gets up, exhausted.

30.

Sam takes the Bourbon and glasses to the kitchen.

SERIES OF SHOTS - AS SAM SHOWS BRITT SOME HIDDEN WEAPONS

Sam opens the lower oven to reveal a machine pistol. Sam opens the snack drawer to reveal an automatic pistol. Sam opens the broom closet to reveal a shotgun and a bullet proof vest. Sam opens the cabinet under the sink, ammunition.

BACK TO:

The living room. Sam tosses folded blankets onto the couch, points to a throw pillow with an embroidered butterfly.

Sam’s emotions rise. Britt starts toward her sister. But Sam holds up an open palm, shakes her head, stay back. Sam resumes her walk to a back bedroom, leaving Britt alone.

TIME CUT TO:

31.

Lights out. Britt lies on the couch, holding the butterfly cushion to her chest, staring at the wall of family photos. We PRE-LAP a WOMAN’S VOICE, gentle and nurturing --

EXT. BRIGGS HOUSE - WELLSPRING - NIGHT

A late model stucco home. Police Car parked out front. In the kitchen window, Sherriff Briggs is visible. Doing the dishes.

INT. KITCHEN - BRIGGS HOUSE - CONTINUOUS

Sheriff Briggs wears an apron as he cleans-up. MRS. BRIGGS, thirties, and their young children sit behind him at the table. The pre-teen boys wear PJs and drink glasses of milk.

We stay on the Sheriff as he applies elbow grease, scrubbing the hard stains off the plates, while listening to his wife reading to their little kids from a book of Aesop’s Fables --

Briggs winces, as if her words have induced physical pain.

TIME CUT TO:

32.

Briggs is alone as he puts away the last clean dish. Time to get that apron off. As he fumbles with the ties, Mrs. Briggs returns. She steps up behind and helps him get it undone.

Briggs hangs up the apron on a hook by his Stetson.

Mrs. Briggs takes his hands, rubbing them with Lubriderm.

33.

Mrs. Briggs leans up and gives her husband a chaste kiss. When she pulls back, he’s lost in thought, forcing a smile.

EXT. CITY LIMITS - WELLSPRING - NIGHT

The neon outlaw statue looms, colorful lights flashing, black hat tilted low over his furrowed brow and sneering smile. His massive six-guns are moving, flashing, pointing at the town.

Three cars pass below. A dirty and dented black Ford sedan that had been a police car. Followed by a silver eighties era Mercedes four-door. And a white Mazda Miata.

INT. BLACK FORD SEDAN - DRIVING - NIGHT

HEAVY METAL loud on the STEREO. Behind the wheel is -- NERO, fifties, bald, a heavy-set bounty hunter. His “vintage” leather jacket has the WB’s Tasmanian Devil on the back.

INT. SILVER MERCEDES SEDAN - DRIVING - NIGHT

COOL JAZZ on the quadraphonic SPEAKERS. Behind the wheel is -- CALLIE, fifties, a repo woman. Bomber jacket, black jeans.

INT. WHITE MIATA - DRIVING - NIGHT

MODERN COUNTRY twangs on the AM RADIO. Behind the wheel is -- DR. BEVERLY “BEV” PFLASTER, fifties, sweater, a veterinarian. He enjoys having the top down, hair blowing in the wind.

EXT. ENTRANCE - FIRE & BRIMSTONE - WELLSPRING - NIGHT

Nero waits near the entrance as a valet drives off with his car. He fidgets with the zipper on his Taz jacket, looking for -- Callie and Bev approach from opposite directions. They meet and head for Nero, talking --

34.

They join up with Nero.

INT. LOBBY - FIRE & BRIMSTONE - NIGHT

Nero, Callie, and Bev pass through the security check point. Looking at each other sheepishly as they turn in their guns, knives, and cellphones. An eclectic mix of cheap hardware.

TIME CUT TO:

Nero, Callie, and Bev regard the establishment in action.

AT THE CRAPS TABLE

Dante cheers on Ray and his team. They’re rolling dice.

35.

Dante spots Nero, Callie, and Bev watching from the lobby.

Crystal follows his gaze to the sketchy trio. A flicker of concern, then her hospitality vibe returns.

Dante walks off. Crystal checks-in with Ray.

Ray follows Crystal’s gaze to a few working girls at the bar.

36.

ACROSS THE ROOM

Dante approaches Nero, Callie, and Bev for a stiff reunion.

As Dante leads them toward the Burlesque Room.

Dante glances up at a clearly marked security camera.

INT. JAILHOUSE SUITE - FIRE & BRIMSTONE - CONTINUOUS

Dante and the trio are visible on one of the monitors. We ANGLE OFF that screen to find Michael watching another, while eating French Fries out of a paper cup.

He’s looking at the video of Jose Luis and Wynter in the hotel bedroom. As they get sexy, he cues the fast forward.

Michael looks back as Wynter exits the bathroom in a towel, post shower. She is definitely not dead. Though her bare neck does have some belt chafing. She leans close to Michael and steals one of his French Fries, clearly flirting.

Michael quick-scrolls all the way through Wynter playing possum and taking her curtain call for the hidden camera.

Winter raises her arms, letting her towel drop. Michael doesn’t look over at her, eyes on the tech hardware.

37.

Wynter responds while refastening her towel.

Wynter straddles Michael.

She lets her towel fall again. Michael feeds her a Fry.

Wynter drapes her arms around his neck, her forearms are lined with cutting scars. Apparent residue of self-harm.

38.

Wynter puts a fry in Michael’s mouth, chews on the opposite end. They’re interrupted as Crystal enters, not amused. Michael’s embarrassed. Wynter doesn’t even know the word.

Wynter climbs off of Michael, collecting her towel. Crystal slaps her bare ass and moves toward the recording gear.

Crystal leans across Michael to remotely activate a camera. Michael is feeling cramped and bothered by these hot ladies. He eases himself up and starts toward the door.

Michael exits. Crystal glares at Wynter. Takes the empty seat and resumes setting-up the video tap of Ray and his team with the working girls.

INT. BURLESQUE THEATER - FIRE & BRIMSTONE - NIGHT

A stripper works the pole to Old Town Road, by Lil Nas X. A dozen tables. Velvet booths in back. In one of these Dante sips tequila, watching Nero, Callie, and Bev feast on steak dinners. None of them pay attention to the woman on stage.

39.

40.

Dante sees Michael enter the room and head over. Dante shakes his head, warning Michael away. Dante slides from the booth.

Dante goes, but we stick with the booth group. They wait a beat for Dante to get clear, before they start talking shit.

41.

Nero motions to their surroundings.

42.

The trio enjoy the food and the booze, ignoring the show.

EXT. POOL PLAZA UNDER CONSTRUCTION - THE OASIS HOTEL - DAY

INSERT: A PORECELAIN URN FILLED WITH JOE’S ASHES

Dante cradles it like a baby, facing the gathered mourners. Everyone wears black. They sit in folding chairs on a patch of dirt, Oasis tower looming behind. In the pool pits and dug channels for the lazy river, shallow water flows, muddy.

Sam and Britt up front, next to each other. Behind them we can see Crystal beside Michael, Dante’s empty seat adjacent.

Further back, Sheriff Briggs is with his wife. In the back row Nero, Callie, and Bev. The trio haven’t changed clothes.

43.

TIME CUT TO:

The banks of the Lazy River where Britt and Sam stand beside Dante as he squats with the urn of ashes, pouring Joe’s dust into the muddy water flowing below. Dante stands with the women, watching the ashes wash away.

Dante hugs Sam, and she hugs him back. After they separate, he moves to embrace Britt. She lets him, arms at her sides. When they separate, Dante regards her with his moist eyes.

Britt considers her response.

44.

Dante considers this for a beat.

Dante walks off, leaving the girls alone.

Off Britt’s intense expression.

TIME CUT TO:

Sam and Britt stand alone at a hi-top table with plates of Mexican food and bottles of Corona.

Britt fights back her emotions.

45.

Sam takes her beer and walks away, leaving Britt alone to ponder this. Britt watches Sam go, then scans the crowd --

BRITT’S POV - DANTE AND SHERIFF BRIGGS

Britt looks across the crowd to see Dante, talking to Sheriff Briggs. Briggs shakes his head, “No.” Then Dante glances over at Britt. The Sheriff does too. They casually look away.

BACK TO - BRITT

As she makes a critical mental connection. She starts to move toward them. Dante splits off, leaving Sheriff Briggs alone.

As Britt gets closer, she watches Mrs. Briggs approach her husband with a plate of food.

Britt stops in her tracks, regarding the happy couple.

46.

Britt turns to find Crystal nearby, standing with Michael, who has a black-eye from Sam’s sucker punch.

Britt is at a loss for words, but her temper’s rising. Is she gonna take a swing? She looks at Michael, he’s embarrassed.

Britt heads off into the crowd.

BRITT

Walks through the crowd scanning for Sam, she can’t help glancing back at Sheriff Briggs and his wife.

DANTE

Approaches Nero, Callie, and Bev, who eat the free food.

47.

Dante gives them all a hard stare, threatening. Then he dons his affable smile and walks away to mingle with the crowd.

Callie and Bev react to his ominous phrasing.

BRITT

Finds her sister drinking with Dougie the reporter. Sam has an arm on his shoulder, happy-drunk, she beckons Britt over.

Britt is stunned, joining them.

Britt looks at Dougie, confused.

48.

Britt glances at Sherriff Briggs eating with his wife. Then she forcefully encourages Sam out of her seat. Time to go.

Sam stumbles along beside Britt, half in the bag.

INT. KITCHEN - GUNN HOUSE - NIGHT

Sam pours alcohol into the sink, watching it swirl across the porcelain and down the drain. She’s lost in her moment, not paying attention to Britt, who moves behind her. Opening and closing various cabinets, taking out all the hidden guns.

49.

Britt muscles her way past Sam to open the cabinet under the sink, rising with a box of bullets. Sam doesn’t even notice.

We go with Britt to the kitchen table, she puts the ammo down beside the shotgun, machine pistol, and butterfly pillow. As she pulls a small pistol from the pillow, she pep talks Sam.

Britt verifies all the weapons are loaded.

Sam is looking out the window as behind her, Britt gets the bullet proof vest from the broom closet and shrugs into it.

Sam stops dumping the booze, considers this, takes a swig. Behind her, Britt zips up a hoodie to cover the vest, then pockets the pistol. Sam turns around, seeing no weapons.

50.

Sam starts toward Britt, but she’s too drunk, and sits down on the floor. In the same spot where their mother died.

With the shotgun at her side, Britt takes car keys from a rack on the wall and heads out, leaving her sister alone.

After a beat, Sam looks around the room. The Oven’s open. So is the broom closet. And the other cabinets. It takes Sam a beat to process that all of the cupboards have been emptied.

EXT. GUNN HOUSE - NIGHT

Sam stumbles out the front door to see Britt driving off in that beat-up Chevelle. Sam watches the taillights disappear.

EXT. BRIGGS HOUSE - NIGHT

The police car parked out front. Sheriff Briggs visible in the kitchen window. Doing his share of the nightly chores.

INT. BRIGGS HOUSE - CONTINUOUS

Sheriff Briggs at the sink, wife reading to the kids behind.

EXT. BRIGGS HOUSE - CONTINUOUS

Britt moves toward the house in a low crouch, shotgun in hand. She finds cover behind the police car and peers toward the kitchen window where the Sheriff scrubs away, unaware.

Britt moves cautiously toward the house, from cover to cover.

51.

INT. KITCHING - BRIGGS HOUSE - NIGHT

Briggs still at the sink, wife still reading to kids.

Briggs stops washing dishes, looks outside, sensing danger.

EXT. BRIGGS HOUSE - NIGHT

Britt makes her way up to the side of the house, under the kitchen window, but Sheriff Briggs is no longer there.

Sheriff Briggs exits the house through the back door, gun in hand. He scans the darkness and moves to go around the side.

Britt sneaks around the house, unaware Briggs is hunting her.

Sheriff Brigg rounds the front of the house as Britt slips around the opposite side, they don’t see each other.

Britt moves along the side of the house, reaches a window, peers inside, seeing Mrs. Briggs scooting her boys down the hallway into their bedroom. Britt eases back, reconsidering.

52.

Sheriff Briggs stands in the front yard, scanning. He reacts to a PHONE ringing inside the house, but stays alert.

Britt holds her shotgun, then starts back the way she came.

Sheriff Briggs starts for Britt’s side of the house.

Britt approaches the corner of the house, not knowing she’s on a collision course with the armed man she came to kill.

Sheriff Briggs nears the edge of the house, unaware of Britt.

Britt is seconds from rounding the corner into the Sheriff.

Britt freezes.

Sheriff Briggs turns to his wife calling from the front door.

The Sheriff has one last look, not knowing he’s inches away from a shootout with Britt, who crouches around the corner.

Britt listens to the Sheriff walk away, after she hears the front door close, she makes her escape into the darkness.

INT. KITCHEN - BRIGGS HOUSE - NIGHT

Briggs sets his gun down on the counter, trading it for the waiting handset of his landline.

53.

INT. SAM’S CHEVELLE - DRIVING HILLSIDE ROAD - NIGHT

Britt drives angry, tears streaming down her cheeks. She pulls to the side of the road and sobs into her arms. It’s been a long time coming. After a beat, she looks out of the open window at her side, gazing down at Wellspring below.

The neon outlaw dominates the skyline. The lights of Fire & Brimstone are visible. Beyond that, the dry lake wasteland.

Britt settles back in the seat, considering her options.

EXT. DRY LAKE HIGHWAY - NIGHT

A black ribbon of road with dry lake on either side. After a beat, Dante’s BMW speeds past, rocketing into the darkness.

INT. DANTE’S BMW - DRIVING - CONTINUOUS

Dante at the wheel, puts a finger to his lips, shushing Michael in the passenger seat. A voice on the SPEAKER PHONE.

54.

Dante ends the call. Now Michael’s got a question --

Dante pauses for effect, then lets it out, laughing --

Michael’s shocked and unsettled, staring straight ahead.

Michael stares into the darkness ahead, unable to regard the darkness beside him. His father gives the devil a bad name.

55.

EXT. ABANDONED AIRFIELD - DRY LAKE - NIGHT

The BMW slow rolls along a dirt road, headlights illuminating an abandoned airplane hanger circa World War Two. The lights catch a familiar Bentley SUV parked in cover, then shut off.

EXT. ABANDONED AIRFIELD - DRY LAKE - NIGHT

Michael walks away from the BMW carrying several bags of McDonalds. He tries to smile as three figures approach out of the shadows. We recognize them as Jose Luiz’s bodyguards.

Michael hands a bag to each bodyguard, occupying their hands.

Michael stands with the bodyguards, watching Dante approach, arms overloaded with those familiar MCM duffle bags.

Dante puts down the bags and calls Michael over.

Michael crouches at the bags as Dante unzips two of them. The bodyguards approach, enjoying their fast food when --

-- Dante and Michael pull SHOTGUNS from the duffel bags and SHOOT the startled bodyguards, FIRING dozens of ‘rounds. After a mad moment of noise, smoke and fire, silence returns.

Dante walks over to check-on the bodies. Yup. They’re dead.

Michael can’t, he’s on his hands and knees, puking his guts out. Dante walks over to his son, offers comforting words.

56.

Michael gets to his feet, wiping his mouth, still freaked.

EXT. DRY LAKE - NIGHT

BINOCULAR POV - ABANDONED AIRFIELD

Illuminated by the moonlight. Dante’s BMW and the BENTLEY SUV barely visible from this distance. Just a hint of movement.

BACK TO - NERO

He leans against his sedan for support, lowers his binoculars, passing them to Callie. She takes a look. Bev is nearby, squinting out into the darkness.

Callie lowers the binoculars, incredulous.

57.

The trio turn around to find Wynter dressed in tactical black, leveling a bump-stock, drum mag, ASSAULT RIFLE in their direction. Before they react, she starts SHOOTING.

EXT. ABANDONED AIRFIELD - NIGHT

Dante and Michael are pouring gasoline on the Bentley full of bodies. They hear GUNFIRE and see faint muzzle flashes in the distance. Michael looks to his father, concerned --

Michael takes a beat, then forces a dark response.

Michael considers this as he watches Dante use a lighter to ignite the Bentley, the flames illuminating father and son.

58.

EXT. HILLSIDE - OVERLOOKING THE DRY LAKE - NIGHT

Wynter lies on the hood of Crystal’s Tesla, watching the distant flames of the Bentley. She smokes a joint and cuts a thin line across her forearm with the tip of a combat knife. It’ll join her other scars, memories of completed missions.

INT. SAM’S BEDROOM - GUNN HOUSE - DAY

Sunlight pours through open shades onto Sam, atop her sheets, still wearing yesterday’s black. She passed out last night. Sam’s eyes creak open, wincing at the light. With a hand over her eyes, she groans, hungover. She sniffs the air, curious.

INT. KITCHEN - GUNN HOUSE - DAY

Sam shambles in holding her head in hang-over pain. Bleary-eyed, she sees breakfast waiting for her at the table. Britt serves up sizzling bacon onto a paper-toweled plate.

Britt puts the bacon on the table and sits, waiting for Sam to join her. After a beat, Sam takes the opposing seat.

Britt pushes forward Joe’s Oasis mug, filled with fresh coffee. Sam takes it in both hands, inhales the scent. She looks around, seeing the cupboards are open. And all the missing weapons have been returned to their hiding places.

Sam tries a bacon strip, likes it.

59.

INT. SAM’S CHEVELLE - DRIVING TO A STOP - DAY

The loud drone of the Chevelle’s powerful motor. Sam in the passenger seat, eyes closed, holding her head. She feels the car stop and hears the driver’s door open. She opens her eyes to find Britt outside, motioning her to get out of the car.

EXT. HILLSIDE ROAD - PARKED - CONTINUOUS

The car’s parked on the side of the road where Britt pulled over the night before. The sisters look out across the valley toward Wellspring. It bakes under that merciless desert sun.

Britt ignores Sam’s query.

60.

Sam hesitates, considering.

TIME CUT TO:

Britt and Sam drive off in the Chevelle, leaving our view to linger on Wellspring, where the giant outlaw stands tall.

CUT TO:

BLACK SCREEN:

“If you climb in the saddle, be ready for the ride.”

Cowboy Proverb

CUT TO:

BLACK.

-- END OF PILOT --

61.

-- OUTLAW CITY: LIMITED SERIES --
Jesse Alexander 08/25/21

A neo-noir crime thriller about estranged sisters investigating their father’s murder in a small town. They uncover a web of blackmail, political conspiracy, and a dark family secret. Comps include Fargo, Ozark, Power.

Britt and Sam live and work together as they search for the location of the blackmail videos. As they put their lives on the line, long-buried emotions and conflicts resurface.

They operate as a spy with a handler. Britt could take a job at Fire and Brimstone as an exotic dancer, seeking clues inside the belly of the beast. While Sam uses her skills with tech and hardware to covertly support Britt from the outside.

Dante must prevent the cartel from discovering he’s stolen their six million dollars. He needs it to complete The Oasis, and secure his son’s political future. Also, he must keep Britt and Sam from learning they’ve inherited half The Oasis.

Michael prepares for his role as a candidate while learning the extent of his father’s blackmail operation. The long-dormant romantic triangle between Britt, Sam, and Michael rekindles, complicating emotional matters for everyone.

Crystal seeks to facilitate Dante’s plans without putting her own operation at risk. An affair with Wynter complicates this. Sherriff Briggs bridles under Dante’s blackmail. He wants to do the right thing, but without losing his family.

Eventually, forces of the cartel and the US Govt will arrive in town, forcing the situation toward a violent conclusion.

In a final showdown, Britt and Sam are heartbroken to learn their father never went straight. He was corrupt all along.

After the moral compromises they’ve made during the season, will Britt and Sam go clean? Or will they take over The Oasis and use it as their own blackmail machine? Making a dark choice, with good intentions, to expose corrupt politicians.

Future seasons of Outlaw City could follow the characters that survive season one. Or present a fresh neo-noir scenario with compelling new characters in another, Outlaw City.