Payin’ For It
FADE IN
INT. CAR — EVENING
90’s hip hop plays on the radio. JAMES, 35, is behind the steering wheel. His big brother, TONY, 41, sits in the passenger seat.
JAMES
Look, I know you don’t fuck with this stuff, but thanks for ridin’.
TONY
Yo, dawg, I ain’t trynna walk outta this place cursed or nothing by no voodoo queen. What the hell is this place anyways?
JAMES
It’s a metaphysical shop — or, at least, that’s what folks are callin’ ‘em these days.
TONY
What the fuck is a metaphysical shop?
JAMES
It’s like, uh… I don’t know, man. They got spiritual stuff.
TONY
Like, uh, what kind of spiritual stuff, bro?
JAMES
Man, you goin’ in the store with me — you can see for yourself.
TONY
Yea, yea, yea.
The car is filled with a heavy silence. But soon, it grows awkward.
JAMES
Listen, I don’t want no bullshit — I ain’t lookin’ to get in no trouble up in here.
James briefly cuts his eyes at Tony. Tony frowns with a raised eyebrow.
TONY
You trynna elaborate there, MOM?
JAMES
I ain’t lookin’ to get in no trouble in this store. We gonna go in, get what we need, and get out. Don’t start no shit in here.
TONY
Dammit, I’m not that bad.
JAMES
You ARE that bad, Tony. Shit, man, you just asked me to do a job with you — Jesus, it’s only been two years since you got out and you just itchin’ to get back in.
TONY
I know what I asked you, Jimmy. And you said no, so let’s leave it the fuck there.
JAMES
I agree.
TONY
And you let ME worry about whatever itch you think I got.
JAMES
Yea, well, you just keep whatever itches you got to your damn self. Like I said, no bullshit.
TONY
No bullshittin’. In and out.
EXT. DOMA’S SHOP — EVENING
The car stops in front of a ramshackle house. Its simplistic beauty is carved into its rich greens, reds, and old English structure.
TONY (off screen)
This the place?
TONY (o.s.)
Yea, that’s what SIRI says.
TONY (o.s.)
Hmmm…This don’t look like-
JAMES (o.s.)
I know. But that’s what SIRI said.
TONY (o.s.)
I guess.
They exit the car, peering at the desolate-looking house.
INT. DOMA’S SHOP — EVENING
They enter a chilly atmosphere once in the quaint shop. There is an assortment of trinkets scattered about on shelves and racks such as crystals, bottles of oils and liquids, candles, etc.
DOMA, middle-aged shop owner adorned in long white garbs, stands in the middle of the foyer with her back turned on her new customers.
JAMES
Hey. You open?
DOMA
Ya come t’rough da door, right.
JAMES
Right.
DOMA
Well, then, welcome. What ya come for?
JAMES
It’s my anniversary and my wife loves this kind of stuff.
DOMA
What stuff ya talkin’?
JAMES
I’m not quite sure. She got shiny rocks and she has cards and I think she mixes potions or something. I really don’t know. I, myself, ain’t quite into it.
DOMA
No? Why ya not?
JAMES
(chuckles)
Well, I think that’s a story for another day.
DOMA
Den it be anudda day. But ya look ‘round first. Let me know what ya see.
JAMES
Thank you.
He and Tony step off and ponder around the macabre shop.
TONY
Bro, what we lookin’ for?
JAMES
I don’t know… She made it seem like I’d know when I saw it.
TONY
(raspberries)
Here we go with the woo-ha shit. That’s how they get you: they get all mystique and oogy-boogy and then they got you buyin’ every damn thing in the store. All the while, the shit ain’t worth a damn.
JAMES
I thought I said no bullshit when we got in here.
TONY
You know I’m right, though.
JAMES
Keep the shit up, then you’ll really be walking outta here cursed with the woo-ha.
Tony rolls his eyes.
James’ attention is captured by a marvelous hand-held vintage mirror. It is mildly rusted and discolored but its beauty shows through the scratches and kinks on its exterior.
He glares at his reflection, noticing a distortion around his eyes-
Doma swiftly walks up on him; almost charging him like a mad bull.
DOMA
Not dat one.
She angrily snatches the mirror from his grasp.
JAMES
Wait– really?
DOMA
Ya don’t want it. Pick anudda one.
TONY
Look, we got cash. How much you want for it?
DOMA
It’s not fa sale.
TONY
Come on, it’s their anniversary.
TONY (cont’d)
I’m sure you can make an exception… Maybe you could just give us a number?
DOMA
Ya money won’t do me any… Ya not gettin’ da mirror.
She saunters off.
TONY
Yikes– what a scrooge. I didn’t like that. Let’s get outta here, bro.
JAMES
(sarcastically)
No, I thought we’d stay and tip-tap across her nerves one more good time.
The brothers shuffle out of the store. Unbeknownst to them, Doma watches them with disdain as they get in their car.
CUT TO:
INT. BAR — NIGHT
It’s dimly lit, with a few other customers spread out between the bar, booths, and pool table.
James and Tony sit in a quiet booth.
TONY
Dude you gotta be more assertive. Put ya foot down.
JAMES
You mean, be a bully? Like you?
TONY
I ain’t no damn bully. I just know how to get what I want.
JAMES
All that time in the pen? You ain’t learn nothin’?
There’s a pause. Tony takes a nervous, hard sip of his vodka; after all that time in the pen, he still takes it on the rocks.
He fiddles with the ring on his index finger. It’s a ring that once belonged to their deceased father.
JAMES
Listen, you been out long enough. I know its hard — I know. But I just need you to be the hell still.
TONY
Yea, yea, yea.
(pauses)
You know, sometimes, I feel like YOU’RE the big brother.
JAMES
(under his breath)
Me, too, goddamnit.
TONY
I still think you shoulda got that mirror. I mean, even though Nelley is blind and technically won’t be able to use it, it ain’t about that. It’s ‘bout gettin’ what you want.
JAMES
And money?
TONY
And money.
JAMES
You’re so full of shit, Tone. You know that, right? She’ll be fine with the necklace I got.
TONY
Whatever you say, lil’ brother.
They finish their drinks and leave the bar separately.
CUT TO:
INT. CAR — AFTERNOON
With the empty box in his grasp, James frantically searches his car for the necklace he previously bought Vanelle.
Empty-handed, he enters the house.
INT. JAMES’ AND VANELLE’S KITCHEN — AFTERNOON
James walks in on a purple, velvet box on the counter.
JAMES
What–
TONY
Wassup lil’ brother.
JAMES
What’s this?
TONY
You were lookin’ for somethin’ out there? In the car?
JAMES
(suspiciously)
Yea… The necklace — you seen it?
TONY
Check the box.
JAMES
Check the bo– Look, you know how much Van hates you in the house and I’m not trynna start no shit before tomorrow. What the hell you doin’ here?
TONY
Oh, shut up you fuckin’ nerd. You know you shoulda took HER last name, right?
JAMES
What-do-you-want?
TONY
Just check the damn box. ‘Fore her square ass come down here.
James scoffs then opens the box. He gasps.
The rusted and discolored vintage mirror stares up at him.
JAMES
What the hell did you do, Tone? How the hell did you get this?
TONY
You don’t need to worry about that. But you really don’t have a choice since it appears you have lost the other shit. So, you’re welcome. Happy anniversary, little bro.
Just as James opens his mouth to scold Tony, VANELLE, 38, walks into the kitchen.
VANELLE
I thought I heard you in here, Tony. How ya doin’?
TONY
I’m great, Vanelle.
He shuffles to the door and gives James the peace-out sign.
James scowls at him and slides the purple, velvet box into a cabinet.
TONY
I was just leaving.
VANELLE
Have a good night.
Tony leaves the house.
VANELLE
Do I even wanna know what that was?
JAMES
Not really. Just Tony being Tony.
VANELLE
That’s what I’m afraid of.
JAMES
Ah, don’t be afraid, sweetheart.
He scoops her up in his arms.
JAMES (cont’d)
He don’t mean no harm. Now, how ‘bout we forget ‘bout him and focus on us. We got a big day tomorrow, we should hit the hay.
CUT TO:
INT. CHEY’S DINER — SUNSET
The couple enjoy a romantic dinner at the diner they enjoyed on their first date.
EXT. PARK — NIGHT
After dinner, the couple find a secluded area in a nearby park and make intensely passionate love underneath a shower of bright stars and a plump full moon.
They then lounge in each other’s grasp at the bank of the accompanying lake.
JAMES
Honey, I love you.
VANELLE
I love YOU.
JAMES
I got something special for you — you want it now?
VANELLE
I guess, since it’s that special.
JAMES
Fine, if you gonna beg me.
They share a laugh.
James pulls the mirror from his bag and places it in her hands.
She gasps.
JAMES
I know a hand mirror really ain’t the most… useful for you. But I… It- it’s beautiful and I thought you’d sure fancy it.
VANELLE
James, I–
She fingers its cold, embellished surface. A slight smile turns the side of her mouth.
VANELLE
Baby, I do love it.
CUT TO:
MONTAGE — VANELLE BECOMING POSSESSED BY THE MIRROR
— She stares into the mirror with blank eyes.
— In the reflection, a distortion forms across her eyes.
— An extreme close-up of her distorted eyes reflected in the mirror.
— A close-up of her face. It is angry and crazed.
— She is yelling at James. Back and forth.
— Another extreme close-up of her looming eyes in the mirror.
CUT TO:
INT. JAMES’ AND VANELLE’S HOME — EVENING
Just getting off work, James stands in the front room, peculiarly scanning his surroundings. Something’s missing.
JAMES
Vanelle, babe? You home?
With no answer, he searches the house. No Vanelle.
INT. BEDROOM — EVENING
He plumps down on the bed, his breaths erratic and heart racing.
JAMES
Oh, God… I’m just overreacting. Yea, overacting. I mean, she didn’t say she was going nowhere. Hmmm. I’ll try Dondra.
He whips out his cellphone and makes multiple calls; Vanelle’s job, her close friend, her sister. But they–
JAMES
–haven’t seen her all day?
No one has.
He calls Tony. No answer. He calls again. No answer, again.
He gets up, almost defeated. His attention is quickly pulled toward the bedside dresser.
The purple, velvet box that once contained the mirror hangs on the edge, its shimmering coat taunting him.
JAMES
Son… of a bitch.
CUT TO:
EXT. DOMA’S SHOP — NIGHT
James hovers underneath the face of the old English structure. It is dark and looks empty.
He is ambivalent and teeter-totters on his tiptoes before stepping up to the door.
He pulls the handle and the door creaks open.
INT. DOMA’S SHOP
The foyer is dark, save the candle atop a table in the middle of the room. The purple, velvet box seated atop as well.
Doma sits behind the table, a dark smile on her face.
DOMA
I knew ya come back.
JAMES
You know why I’m here?
Doma smirks and gestures to the chair. James takes it as he eyes the box.
DOMA
O’ course I know, James… Ya brudda, him take what didn’t belong to him t’inkin’ him didn’t have to pay for it.
DISSOLVE TO:
FLASHBACK — WHAT HAPPENS TO TONY
INT. CAR — NIGHT
With a cool tone, Tony answers his cellphone as he sits outside of the bar he and James frequent.
TONY
Yo. I just got back from my brother’s. What’s up?
(pauses)
I told you he said no, Delmore. And I, also, told you I ain’t goin’ in without him.
(pauses)
I’m just bein’ what?
(pauses)
You done forgot who you talkin’ to? You think I got SOFT in the pen? You think I won’t fuck you up?
(pauses)
Listen, dickhead, you and Gerry are on your own on this one. You claim it’s the last one so it should be a milk run for ya’ll.
(pauses)
Whatever, man. Just don’t call me with this shit again.
With an annoyed upturn of his lip, he hangs up, tosses his phone in the backseat, and squeezes the steering wheel in frustration.
TONY
Goddamn idiot. Do that shit yourself.
Tony attempts to move, but his hands are stuck to the steering wheel. Grimacing and growling, he struggles to free himself from the invisible bond, but to no avail.
Then smoke rises from his body.
TONY
What the– AAAH!
In a matter of seconds, his body explodes in a thick tuft of purple and black smoke. Only his hands are left, still hanging from the steering wheel.
EXT. BAR PARKING LOT — NIGHT
Doma stands, propped against the side of the building. She watches as purple and black smoke wafts from the cracked driver’s window. She shakes her head with pity.
DOMA
TSK- TSK- TSK. I told ya no.
DISSOLVE BACK TO:
INT. DOMA’S SHOP — NIGHT
JAMES
What the hell you do to my brother?
DOMA
Aye– him shoulda known betta dan to steal.
JAMES
Look, I ain’t even know he did that–
DOMA
It don’t matta.
JAMES
You right– you’re absolutely right! And me, I went right along wit’ him. But Vanelle– my wife– she’s innocent to all this. It’s just me, you, and Tony. You wanna make somebody pay, you take it outta my ass — not hers.
DOMA
It’s da mirror, James.
JAMES
Yes — it’s some kind of cursed or somethin’! It– it– it did somethin’ to Van. She– she’s gone. She just disappeared.
DOMA
Da mirror–
JAMES
I heard you the first time ‘bout da damn mirror! I’m telling you: you can have it back! I wanna give it back — pay you for the hard feelings and get Vanelle back. Just please don’t hurt her.
DOMA
Pay me?! I told ya: ya money don’t do me nun… Ya already payin’ for it.
JAMES
What the hell’s that supposed to mean?
DOMA
Remember ya told me ya don’t believe?
JAMES
You full of shit. Where’s my wife?
DOMA
I don’t know where ya wife. It’s da mirror– is cursed. Is not da same in every hand. I told ya no before — ya no listen.
JAMES
Please– please just take the mirror back!
DOMA
I told ya, James– issa curse. Ya brudda broke opened da curse. ‘Em want blood.
JAMES
Fuck you, you voodoo bitch!
In furious vengeance, James leaps up and throws the table aside.
Doma goes to stand but–
JAMES
Sit the hell down, woman.
He walks over to where the box lay, smashed and broken open.
He gags. At his feet, a severed, dark brown male hand.
JAMES
What the-
He looks closer at the hand. There’s a ring on its index finger.
It’s the ring Tony wore, their father’s ring.
DOMA
It don’t matta if ya believe or not, James. I told ya no.
Upon seeing a cold darkness in her eyes, James bolts through the front door and into his car.
CUT TO:
EXT. JAMES’ AND VANELLE’S DRIVEWAY — NIGHT
James pulls up to the house and gets out. He runs up the porch and into the house.
INT. JAMES AND VANELLE’S HOME — NIGHT
Sweat drips down his face, despite the frigid coldness of the house.
He mumbles nearly incoherently to himself in a crazed haze.
JAMES
…curses…bullshit…You don’t want the shit back– FINE! Imma throw that fucker down a goddamn volcano.
INT. STAIRWELL — NIGHT
James reaches the stairs but stops dead in his tracks.
Vanelle stands at the top, her face shadowed, with her arms crossed behind her back.
JAMES
Vanelle?
VANELLE
Good evenin’, husband… Where were you?
JAMES
Vanelle– I looked everywhere for you.
He sighs with shocked relief and drops to his knees.
JAMES (cont’d)
I looked EVERYWHERE for you and you–
He narrows his eyes at her.
JAMES
You– Are you LOOKING at me?
VANELLE
I am, James.
JAMES
But– but– how–
VANELLE
Your gift —
She holds the mirror in front of her chest with a malevolent grin across her lips.
VANELLE (cont’d)
It kept on giving.
JAMES
Van, honey, you give me the mirror.
VANELLE
Why, James? What are you afraid of?
JAMES
Gimme the fucking mirror!
VANELLE
How ‘bout you come and get it, husband.
James leaps up the stairs. Vanelle swings the mirror across his face just as he tackles her to the floor. They tussle, then she smashes the mirror across his head again.
JAMES
FUCK! Don’t-
With blood dripping down the crown of his head, James manages to grab the mirror from Vanelle.
He throws it to the floor. It shatters loudly.
VANELLE
NO!
She crawls to the silver, glinting shards.
VANELLE
What have you done?!
JAMES
Van-
Vanelle dives at him. Blood sprays across her eyes as she slices his throat with a shard of the mirror.
She blinks blood out of her once-again-sightless eyes, as if waking from a dream.
VANELLE
JAMES?! JAMES!
His last breaths gurgle in his throat.
VANELLE
JAMES! No! It wasn’t me… Please, James. It wasn’t me!
Her pain-filled wails fill the silent house.
At the bottom of the stairs, the mirror lays. It is completely intact save a noticeable distortion across its visage.
FADE OUT
THE END