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FAIR WARNING
WGA REGISTRATION
933507
MARK A SPENCER
EXT: NIGHT MUSIC
WATERFRONT DOWNTOWN SAN FRANCISCO, SHOT OF SAN FRANCISCO SKYLINE, SHOT OF BOATS IN THE WATER, NO PEOPLE ARE IN SITE. A BLACK LIMOUSINE IS PARKED BY THE WATER THREE MEN ARE STANDING BY THE LIMOUSINE TALKING, SMOKING.
A BLACK VAN PULLS UP, THE LIMOUSINE FLASHES THE LIGHTS, TWO MEN GET OUT OF THE LIMOUSINE, AND THREE GET OUT OF THE VAN. THE THREE MEN WALK OVER TO THE LIMOUSINE; ONE MAN HAS TWO CASES IN HIS HANDS.
ERIC
LET’S MAKE IT HAPPEN.
PAUL
ARE YOU THE MAN?
ERIC
I’M HERE AREN’T I?
TWO OF THE MEN START TO WHISPER AND LAUGH
ERIC
YOU FIND SOMETHING FUNNY.
PAUL
YEA YOU.
EVERYBODY LAUGHS EXCEPT FOR ERIC AND HIS BOYS
ERIC
CUT THE BULLSHIT AND LET DO THE DEAL.
(LOOKING SERIOUS)
PAUL NODS FOR THE MAN TO PUT THE CASES ON THE HOOD OF THE LIMOUSINE. ERIC OPENS UP ONE OF THE CASES SHOWS IT TO ONE OF THE MEN THE CASE IS FILLED WITH COCAINE. ERIC TAKES ONE OF THE PACKS CUTS IT OPEN AND TASTE THE DOPE THEN HE SPITS IT OUT KNOWING IT’S GOOD.
PAUL
I’VE SHOWED YOU MINE, NOW SHOW ME YOURS.
THEY LAUGH ERIC MOTIONS TO ONE OF THE MEN, HE WALKS OVER WITH A CASE IN HIS HAND, AND HE OPENS THE CASE AND SHOWS THE MONEY.
PAN TO: OTHER SIDE OF THE FRONT THERE IS A VAN PARKED WITH SEVERAL AGENTS IN IT. THE AGENTS SEE A WATERFRONT SECURITY OFFICER APPROACHING.
CUT TO: INSIDE THE VAN
AGENT 1
WHAT THE HELL IS GOING ON?
AGENT 2
WHO IS THAT GUY?
(THE CAPTAIN GETS ON THE RADIO)
CAPTAIN
THERE IS A SECURITY GUARD HERE ON THE FRONT,
WHAT THE HELL IS HE DOING HERE, CALL THE PORT HIM AND GET
HIM
THE FUCK OUT OF THERE.
VOICE ON THE TALKIE
EVERYONE WAS INFORMED NOT TO BE ON THE FRONT.
CAPTAIN
SHIT!
(PAN BACK TO THE VAN)
GUARD
THE FRONT IS CLOSED AFTER SEVEN, WHAT ARE
YOU GUYS DOING HERE?
PAUL
JUST HANGING OUT HAVING A LITTLE CONVERSATION.
GUARD
YOU BOY’S PLANNING A TRIP? WHAT’S IN THE CASES?
PAUL
SOME VERY EXPENSIVE WINE.
GUARD
I’M SOMEWHAT AN EXPERT ON WINE,
LET’S TAKE A LOOK AT WHAT YOU GOT.
PAUL
WE’RE JUST RAPPING UP, MAYBE NEXT TIME.
GUARD
NO, THIS TIME, OPEN THE CASES, NOW!
PAUL NODS TO ONE OF THE MEN, THE MAN GOES OVER AND OPENS THE CASE. HE TURNS HIS BACK TO THE GUARD AND PULLS OUT A PISTOL FROM UNDER HIS JACKET, AND BLAST THE GUARD THREE TIMES HITTING HIM TWICE IN THE CHEST AND ONCE IN THE HEAD.
CUT TO: INSIDE VAN
CAPTAIN
OH! SHIT, ITS GOING DOWN, MOVE IN.
THE DEA RUSHES OUT OF THE VAN RUNNING TO THE WATERFRONT, THE MEN NOTICE THE AGENTS.
CAPTAIN
DEA DON’T MOVE! GET YOU ASS UP AGAINST THE CAR.
THEY EXCHANGE GUNFIRE; ONE OF THE MEN IS HIT IN THE ARM ONE MAN TAKES OFF RUNNING THE OTHERS GET IN THE LIMOUSINE AND TAKE OFF THE DEA GIVES CHASE.
CUT TO: EXT: NIGHT DOWNTOWNS SAN FRANCISCO THERE ARE A LOT OF PEOPLE, CARS, AND TRAFFIC. THE MAN COMES RUNNING FROM AROUND THE CROWED CORNER, HE IS BEING CHASED BY ONE OF THE AGENTS (AGENT BURKE A BLACK FEMALE). THE MAN TURNS STOPS AND FIRES HIS PISTOL HE HITS THE WINDOW OF A CAR AND SMASHES THE WINDOW, BURKE DUCKS AND FIRES BACK HITTING BUILDING. THE MAN RUNS INTO THE STREET CHASING A STREETCAR, HE JUMPS ONTO THE STREETCAR AND SITS NEXT TO A MOM WITH TWO YOUNG KIDS.
Burke is running along the side of the streetcar with her gun out. She is running very hard almost to the back of the streetcar. She catches up with the streetcar and jumps on the back.
THE MAN GRABS THE LITTLE BOY AND PUTS THE GUN TO HIS HEAD. PEOPLE ARE MOVING OUT OF THE WAY VERY FAST, BURKE RAISES HER GUN.
BURKE
PUT THE GUN DOWN, AND LET THE BOY GO (BEAT) NOW!
(THE MAN PULLS THE BOY CLOSER TO HIM)
MAN
I’LL BLOW HIS FUCKING HEAD OFF, NOW BACK THE
FUCK UP.
BURKE
I’M NOT GOING TO DO THAT YOU HAVE ONLY TWO
CHOICES, PUT THE GUN DOWN, OR DIE, THAT SIMPLE.
MAN
YOU DON’T THINK I’LL SHOOT.
THE MAN COCKS THE TRIGGER AND PUTS IT TO THE BOY’S HEAD. PEOPLE ARE SCREAMING, CRYING HOLDING EACH OTHER THE BOY STARTS TO CRY HARDER.
BURKE
I’M NOT GOING TO TELL YOU AGAIN, PUT THE GUN
DOWN AND LET THE BOY GO.
(BURKE TAKES AIM)
MAN
YOU CAN’T SHOOT ME, YOU’RE A COP.
BURKE SHOOTS, THE BULLET HITS THE MAN IN THE HEAD, HE DROPS TO THE FLOOR, AND THE BOY RUN’S TO HIS MOTHER. BURKE WALKS OVER TO THE MAN WITH GUN OUT; SHE CHECKS THE BODY.
THE MAN IS DEAD, PEOPLE START TO CLAP, AND THE LITTLE BOY GRABS THE LEGS OF BURKE THANKING HER.
POLICE CARS STOP THE STREETCAR AND THE DEA AGENT’S RUSH THE STREETCAR, THE CAPTAIN LOOKS AT BURKE; THEY LOOK AT EACH OTHER THE BOY IS STILL ON HER LEGS.
CUT TO: INT.; MORNING DEA HEADQUARTERS OFFICE OF THE COMMISSIONER THE DEA CAPTAIN AND OTHERS ARE IN THE OFFICE.
COMMISSIONER
WHAT THE HELL IS THIS, SHE SHOOTS ON A
CROWDED STREETCAR WITH A LITTLE BOY IN THE
LINE OF FIRE, THIS IS UNEXCITABLE.
CAPTAIN
IT WAS ALL BY THE BOOK SIR; BURKE IS THE BEST THAT I HAVE. AND SHE FELT HE WAS GOING TO
KILL THE BOY.
COMMISSIONER
I DON’T GIVE A SHIT, THIS IS.
CAPTAIN
WHAT IF IT WAS YOUR KID, SIR?
COMMISSIONER
WELL, THE ONLY POSITIVE IS THE MAN SHE KILLED IS WANTED IS FIVE STATES.
MAN 2
SHE SHOULD BE PAID FOR KILLING THAT SCUM.
COMMISSIONER
THIS DRUG, GANG SHIT HAS TO STOP NOW!
WHAT DO WE PAY YOU GUYS FOR, HUH?
CAPTAIN
WE NEED SOME NEW FACES; I THINK ITS TIME FOR
THAT NEW TASK FORCE YOU TALKED ABOUT.
Commissioner
YOU WILL GET YOUR WISH, YOUR NEW RECRUITS
WILL BE HERE IN ABOUT ONE HOUR, AND YOU
BETTER MAKE IT WORK. THE MAYOR IS UP AND DOWN MY ASS,
AND I CAN BARELY SIT DOWN. NOW GET OUT OF MY
OFFICE.
CAPTAIN
YOU GOT IT SIR.
(CAPTAIN WALKS OUT OF THE OFFICE AND LOOKS AT GINA SITTING AT HER
DESK.)
CAPTAIN
I NEED TO SEE YOU RIGHT AWAY IN MY OFFICE.
(GINA AND HER PARTNER FRANK LOOK AT EACH OTHER)
FRANK
WELL IT WAS NICE WORKING WITH YOU.
GINA
SEE YOU ON THE UNEMPLOYMENT LINE.
(THEY LAUGH)
(GINA GETS UP AND GOES IN THE CAPT. OFFICE)
PAN TO OFFICE INT.; CAPTAINS OFFICE
CAPTAIN
HAVE A SEAT GINA.
GINA
CAPTAIN LISTEN, I DID WHAT I HAD TO DO
AND I KNOW YOU GOT YOUR ASS CHEWED BUT.
CAPTAIN
SLOW DOWN GINA, AND JUST LISTEN THAT’S NOT THE
ISSUE.
Gina
OH, IT’S NOT, WHAT’S UP
CAPTAIN
THAT IS NOT TO SAY THAT THE COMMISSIONER WAS NOT
HAPPY ACTUALLY HE WANTED YOUR HEAD AS USUAL, AND
I GAVE HIM MIND INSTEAD.
GINA
THANKS CAPT. I OWE YOU ONE.
CAPTAIN
OK THIS IS THE DEAL; THE COMMISSIONER WANTS THIS
SHIT, STOPPED ASAP.
GINA
WELL IT’S NOT LIKE WERE NOT CATCHING ANYBODY
WE HAVE THE BEST RECORD THAT THIS DEPARTMENT
HAS EVER HAD, SO…..
CAPTAIN
GINA, ITS COOL, THE BIG MAN WANTS US TO START
THE TASK FORCE.
GINA
AND WHEN IS THIS SUPPOSED TO HAPPEN
THEY TOLD ME THAT BEFORE.
CAPTAIN
THIS IS IT, YOU SHOULD HAVE FOUR NEW FACES IN
JUST ABOUT.
THERE’S A KNOCK ON THE DOOR; THE CAPT. WAVES HIS HAND MOTIONING
THEM TO COME INTO THE OFFICE, THERE ARE THREE MEN AND ONE
WOMEN. THEY ENTER THE OFFICE AND THE CAPT. INTRODUCES THEM TO
GINA.
CAPTAIN
LET ME MAKE SURE I GET THIS RIGHT.
(POINTING AT THE NEW PEOPLE)
CAPTAIN
YOU ARE LAWRENCE, AND YOU HOLT AND YOU ARE
JACOBS THIS IS AGENT BURKE; SHE WILL
BE IN CHARGE OF YOUR TRAINING,
SO I’LL LEAVE HER WITH YOU ALL TO GET STARTED.
THE CAPTAIN GETS UP FROM HIS SEAT AND STARTS HEADING OUT THE
DOOR.
CAPTAIN
AND ONE MORE THING AGENT BURKE,
GINA
AND WHAT’S THAT CAPT.
CAPTAIN
DON’T MESS UP MY OFFICE LIKE YOU ALWAYS DO.
(THEY LAUGH; GINA SITS BEHIND THE CAPTAIN. DESK.)
GINA
I’LL MAKE THIS SHORT A SWEET.
GINA NOTICES THAT ONE OF THE NEW AGENTS IS STARING AT HER IT IS
HOLT.
GINA
IS THERE SOMETHING WRONG AGENT HOLT?
HOLT
NO MA'AM
GINA
AS I WAS SAYING, ONE THING THAT I REQUIRE (BEAT)
PAY ATTENTION, WHEN WE GET ON THE STREET WE HAVE
TO DEPEND ON EACH OTHER TO GET THE JOB DONE,
I WATCH YOUR BACK YOU WATCH MINE. THIS IS NOT TV
I’M NOT FOR THAT GUN HO MACHO BULL-SHIT, ALL THAT
WILL DO IS GET YOU KILLED, OR MAYBE ME.
AND I LOVE MYSELF TOO MUCH FOR THAT. THIS TASK FORCE IS VERY,
IMPORTANT, NOT ONLY TO THIS DEPARTMENT BUT
ALSO TO THE CITIZENS OF SAN FRANCISCO, SO WITH
THAT SAID I’D SEE ALL OF YOU AT EIGHT SHARP IN
THE AM.
THEY ALL WALK OUT OF THE OFFICE, GINA STANDS UP AND MOTIONS TO
FRANK TO COME INTO THE OFFICE.
FRANK
WELL YOU’RE STILL HERE, SO IT WASN’T THAT BAD.
GINA
THE BIG CHEESE HAS PUT IT DOWN, HE WANT THIS
TASK FORCE PUT TOGETHER ASAP WITH NO FAIL
OPTION, I’M GOING TO REALLY NEED YOUR HELP.
FRANK
DOES THIS MEAN THAT IF I HELP I CAN?
GINA
NO FRANK, YOU CAN’T GET A DATE.
FRANK
SHIT GINA, IT’S…
Gina
NOT NOW FRANK,
FRANK
ALL RIGHT, SO WHEN DO WE ROCK AND ROLL?
GINA
EIGHT AM, WE JUST MIGHT HAVE A GOOD GROUP OF
AGENTS TO WORK WITH.
FRANK
YEA OUR LIFE MAY DEPEND ON IT.
(THEY LOOK AT EACH OTHER)
CUT TO EXT.: NIGHT AT TED’S HOUSE
THERE ARE LOTS OF CARS IN FRONT OF THE HOUSE PEOPLE ARE STANDING
TALKING DRINKING HAVING A GOOD TIME. WE SEE A DROP TOP MUSTANG
PULL UP IN FRONT OF THE HOUSE; JAMIE AND SEAN GET OUT OF THE CAR
AND GO INTO THE HOUSE.
PAN INTO HOUSE, PEOPLE ARE HAVING A GOOD TIME HANDS IN THE AIR.
PEOPLE ARE WALKING AROUND DRUNK; A WOMAN IN A CAGE IS DANCING,
JAMIE AND SEAN MAKE THERE WAY THROUGH THE CROWD, SOME HANDS
GIVE JAMIE AND SEAN A DRINK. A WOMEN COMES UP AND GIVES
SEAN A BIG HUG AND KISS, HE TURNS TO DANCE WITH THE WOMAN, JAMIE
SPOTS THE WOMAN IN THE CAGE AND MAKES HIS WAY OVER TO HER, HE
STARTS TO DANCE WITH HER PUTTING HIS HANDS AROUND THE CAGE, SEAN
LOOKS OVER AT JAMIE AND THEY LAUGH.
PAN TO SEAN AND THE WOMAN PAIGE RAMAN) THEY ARE WALKING OUTSIDE
TO THE BALCONY, THEY STAND AND LOOK AT THE SKY.
PAIGE
HOW COME I HAVE NOT HEARD FROM YOU SEAN?
SEAN
YOU KNOW I’M TRYING TO GET READY FOR
THE DEA AND I START FIRST THING IN THE MORNING.
PAIGE
THAT’S WHAT I WANTED TO TALK TO YOU ABOUT.
SEAN
SHIT NOT NOW PAIGE, THIS IS THE TIME TO….
PAIGE
SEAN YOU NEED TO LISTEN, LOOK AT WHAT YOU ARE GIVING UP, AND FOR WHAT, TO PLAY COPS AND ROBBERS.
SEAN
LIKE I TOLD YOU BEFORE, I AM NOT MY FATHER
AND I CAN’T LIVE MY LIFE FOR MY FATHER.
I’M NOT IMPRESSED WITH MATERIAL THINGS.
PAIGE
I THINK WE NEED TO GO SOMEWHERE QUIETER SO WE CAN
TALK, DRINK SOME WINE AND YOU CAN RELAX.
SEAN
AND WHAT DID YOU HAVE IN MIND?
PAIGE WHISPERS IN THE EAR OF SEAN HE SMILES, HE WALKS OVER TO
JAMIE DANCING IN FRONT OF THE CAGE AND SAYS SOMETHING TO JAMIE,
THEY SLAP FIVES AND JAMIE CONTINUES TO DANCE. PAIGE AND SEAN WALK
OUT OF THE PARTY HOLDING HANDS.
CUT TO; EXT. PAIGE HOUSE SEAN AND PAIGE ARE WALKING UP TO THE
HOUSE KISSING, TAKING EACH OTHER’S CLOTHES OFF SEAN STOPS KISSING.
SEAN
WHAT ABOUT THAT WINE?
PAIGE
WHICH WOULD YOU RATHER HAVE, (BEAT)
WINE OR ME?
SEAN
NO CONTEST.
(HE TAKES HER ON THE FLOOR, KISSING, TOUCHING HER EVERYWHERE.)
CUT TO: INT.: MORNING SEAN AND PAIGE ARE SLEEPING, PAIGE WAKE UP AND LOOKS AT THE CLOCK, SHE SMILES AND TURNS IT OFF AND GOES BACK TO SLEEP.
CUT TO: SHOT OF MUSTANG GOING THROUGH A NICE HOOD WITH THE TOP DOWN. WE SEE JAMIE SINGING TO THE MUSIC.
CUT TO: INT.: PAIGE HOUSE SEAN AND PAIGE ARE SLEEPING, SEAN JUMPS UP.
SEAN
SHIT WHAT TIME IS IT?
(LOOKING AT THE CLOCK.)
SEAN
AH SHIT IT’S SEVEN THIRTY, I HAVE TO REPORT AT
EIGHT.
(HE RUSHES TO PUT HIS CLOTHS ON.)
SEAN
WHAT THE FUCK HAPPEN TO THE ALARM?
PAIGE
I DON’T KNOW, I’M SORRY.
SHE WALKS OVER TO SEAN, HE IS GETTING DRESSED AND ON THE CELL
PHONE.
CUT TO: EXT. SHOT OF JAMIE ANSWERING HIS CELL PHONE DRIVING IN HIS
CAR.
JAMIE
THIS IS JAMIE, (BEAT) WHAT’S UP?
VOICE
I OVER SLEPT WHERE ARE YOU?
JAMIE
COMING UP THE STREET, I’LL BE THERE IN FIVE.
FADE TO: INT.: PAIGE HOUSE
(SEAN IS GETTING DRESSED VERY FAST; PAIGE COMES UP TO HIM.)
PAIGE
JUST THINK IF YOU TOOK YOUR FATHERS OFFER
WE COULD DO THIS EVERYDAY, RELAX BEFORE YOU
START YOUR DAY.
(SHE STARTS TO RUB ON SEAN CHEST)
SEAN
NOT NOW! SHIT PAIGE I’M LATE.
(HE REACHES OVER TO GIVE PAIGE A KISS; SHE MOVES HER HEAD AWAY.)
SEAN
IS IT LIKE THAT NOW? (BEAT) OH I UNDERSTAND.
PAIGE
YOU UNDERSTAND (BEAT) THAT’S BULLSHIT WHAT YOU ARE DOING
IS STUPID, YOU HAVE A CHANCE TO HAVE IT ALL, AND YOU WANT
TO THROW IT AWAY, FOR SOME DEAD-END JOB.
SEAN
IT’S ALL ABOUT CONTROL, HA PAIGE, OR SHALL I
SAY IT’S ALL ABOUT THE MONEY.
(WE HERE A HORN BLOW)
SEAN
LISTEN, I NEED TO GO JAMIE IS BLOWING.
PAIGE
YOU NEED TO DO WHAT IS RIGHT, AND LISTEN TO
YOUR DAD, I DID NOT SPEND ALL THIS TIME FOR NOTHING.
SEAN
WHAT’S RIGHT IS LISTENING TO MYSELF AND IF YOU FEEL YOU
HAVE WASTED YOUR TIME THEN,
(HE LOOKS AT PAIGE AND WALKS OUT THE DOOR.)
PAN TO EXT: SEAN IS RUNNING TO THE CAR, HE JUMPS INTO THE CAR.
JAMIE
DUDE, THIS IS IT, LET’S ROCK AND ROLL
ARE YOU READY?
SEAN
READY AS I’M GOING TO BE.
(JAMIE PUTS HIS HAND OUT, THEY SLAP FIVE.)
JAMIE
LET’S DO IT.
(THEY DRIVE OFF)
CUT TO: INT: HOUSE OF MIKE SNOW, THERE ARE SEVERAL MEN SITTING AT
A TABLE COUNTING MONEY.
SNOW
YOUR MAN IS LATE.
GUY 1
I TOLD HIM EIGHT O’CLOCK, HE SHOULD BE PULLING
UP.
(THERE IS A MAN LOOKING OUT THE WINDOW)
GUY 2
IS HE IN A GREEN MINI-VAN?
GUY 1
THAT’S HIM.
GUY ONE WALK'S OVER TO THE DOOR TO LET THE MAN IN THE HOUSE. THE
MAN WALKS IN THE DOOR WITH TWO CASES IN HIS HANDS.
DUSTY
WHAT’S UP BOYS?
(THEY ALL SPEAK TO DUSTY)
DUSTY
LET’S MAKE IT HAPPEN, I HAVE THREE OTHER
STOPS.
SNOW
THIS SHIT BETTER BE GOOD, OR OUR BUSINESS IS
OVER, (BEAT) AND FOR YOUR SAKE, IT BETTER BE.
DUSTY
WHO THE HELL IS THIS GUY? I ONLY DO GOOD
BUSINESS.
(DUSTY GIVES SNOW A LONG STAIR.)
GUY 1
HE DID NOT MEAN ANYTHING
COME ON GUYS LETS HANDLE OUR BUSINESS.
DUSTY OPENS ONE OF THE CASES AND PULLS OUT A BAG OF COCAINE AND
THROWS IT TO SNOW, HE CATCHES THE BAG AND GIVES IT TO ONE OF HIS
MEN.
SNOW
CHECK IT OUT, AND CHECK IT WELL.
DUSTY
YOU ACT AS IF YOU DON’T TRUST ME.
SNOW
I DON’T.
DUSTY
YOU KNOW WHAT?
SNOW
WHAT!
DUSTY
KISS MY ASS.
GUY 2
COME ON GUYS, THIS IS BUSINESS.
CUT TO: EXT: DAY OUTSIDE DEA VAN
AGENT 1
ALL THE PLAYERS ARE IN PLACE, UNIT THREE
GET READY, UNIT FOUR ARE YOU READY?
VOICE ON RADIO
UNIT FOUR READY.
AGENT 1
ALL UNITS MOVE IN, MOVE IN!
THE DEA RUSHES OUT OF THE VAN THEY MOVE QUICKLY TO THE HOUSE, THEY
POSITIONED IN THE FRONT AND BACK OF THE HOUSE. ONE AGENT HAS A
BATTERING RAM IN THE FRONT OF THE DOOR. THE AGENTS LINE UP, THE
AGENT RAMS THE DOOR, KNOCKING IT DOWN. THE MEN RUSH INTO THE
HOUSE. THE MEN IN THE HOUSE SCATTER.
AGENT 1
DEA DON’T MOVE, GET YOUR ASS ON THE FLOOR.
EVERYONE IS MOVING VERY FAST, THE AGENTS ARE TAKING DOWN THE GUYS.
ONE MAN COMES OUT OF THE BATHROOM WITH A SHOTGUN AND STARTS TO
(BLAST AWAY.)
AGENT 8
GUN! THERE’S A GUN!
THE MAN WITH THE GUN SPOTS AGENT 8 AND FIRES AT HIM, HITTING HIM
IN THE CHEST, THE MAN TURNS AND FIRES AT AGENT 10 AND HITS HIM IN
THE LEGS. AGENT ONE SPOTS THE MAN RAISES HIS WEAPON AND FIRES AT
THE MAN HITTING HIM IN THE HEAD.
PAN TO AGENT 6 CHASING A MAN THROUGH THE KITCHEN, HE CATCHES UP
WITH UP WITH THE MAN. HE GRABS HIM AND THEY BOTH FALL OUT OF THE
WINDOW, THEY HIT THE GROUND AND ROLL TO GET POSITION. THE MAN IS
ON TOP OF THE AGENT, THE MAN PULLS HIS PISTOL AND POINTS IT AT THE
AGENTS HEAD. AGENT 3 SPOTS THE TWO AND AIMS HIS WEAPON AND FIRES
AT THE MAN HITTING HIM IN THE CHEST. THE MAN FALLS, AGENTS LOOK
AT EACH OTHER, AGENT 3 WINKS AT AGENT 6.
CUT TO: DAY INSIDE HOUSE
THE AGENTS ARE FINISHING UP THE BUST, COLLECTING THE DOPE.
CUT TO: DAY DEA HEADQUARTERS
AGENTS ARE MOVING ABOUT THE STATION, PAN TO THE CAPTAIN’S OFFICE
THE CAPTAIN AND GINA ARE IN THE OFFICE.
CAPTAIN
I KNOW YOU HERD ABOUT THE BUST THIS MORNING?
GINA
YEA CAPT., I HERD, AND WE HAD TWO DOWN.
CAPTAIN
WELL WE HAVE A NO OPTION WITH THIS
TASK FORCE, THINGS ARE OUT OF CONTROL, GINA
MAKE IT HAPPEN.
GINA
YOU GOT IT CAPTAIN, LET’S JUST HOPE THE NEW
AGENTS HAVE WHAT IT TAKES.
CAPTAIN
WELL YOU ARE ABOUT TO FIND OUT, THERE’S
YOU’RE NEW AGENTS NOW.
(POINTING AT THE WINDOW)
CAPTAIN
GOOD LUCK.
GINA
THANK CAPTAIN I’LL NEED IT (BEAT) AND THEN SOME.
GINA LEAVES THE CAPTAINS OFFICE AND MEETS WITH THE NEW AGENTS.
THEY ARE TALKING TO EACH OTHER.
GINA
YOUR ATTENTION PLEASE, (BEAT) TAKE A GOOD
LOOK AT THE PERSON NEXT TO YOU. GET TO KNOW
THAT PERSON (BEAT) YOU MUST GET INTO EACH OTHERS
HEAD, YOUR LIFE MAY DEPEND ON IT. LOOK AT THE
PERSON ON YOUR LEFT, THIS IS YOUR PARTNER.
GINA WALKS OUT OF THE OFFICE, TO A TRAINING AREA; THERE IS AN OLD
HOUSE IN THE MIDDLE OF A FIELD.
GINA
OK WITH ALL THAT SAID, THIS IS THE LIFE
HOUSE.
JAMIE
WHY IS IT CALLED THE LIFE HOUSE?
GINA
THE TRAINING THAT YOU ARE GOING TO GET HERE
WELL, LET’S JUST SAY THAT IT COULD SAVE YOUR
LIFE. THIS TRAINING IS CALLED CQC, CLOSE
QUARTER COMBAT.
IN QUICK MOMENT THREE MEN DRESSED IN BLACK ENTERS THE HOUSE
BLAZING GUNS, FIRING AT THE TARGETS, RIPPING THEM UP. THE NEW
AGENTS LOOK STUNNED SHOCKED, AND SOME SCARED. THE SHOOTING STOPS
AND WE SEE A CLOUD OF SMOKE.
GINA
IS EVERYONE IS OK?
(WITH A SMILE ON HER FACE)
JAMIE
SHIT NO! DAMN!
PAM
OH! THAT WAS AWESOME.
GINA
OK, PLEASE PAY ATTENTION; YOU WILL BE USING LIVE ROUNDS,
AND GUESS WHAT, (BEAT) THEY KILL.
THE TRAINEES LOOK AT EACH OTHER AND REALIZE THAT THIS IS ALL VERY REAL AND THAT THEY WILL NOT BE ABLE TO AFFORD ANY MISTAKES.
GINA
NOW GET WITH YOUR PARTNERS.
HOLT (JAMIE). JACOBS (CORY). YOU’RE ON!
(THEY GRAB THEIR GEAR AND START TOWARDS THE LIFE HOUSE.)
GINA
ARE YOU READY? LET’S DO IT!
CUT TO: EXT.: PAN CAMERA THROUGH NICE HOOD, PAN TO A VERY LARGE HOUSE ON THE TOP OF A HILL. WE SEE A BENZ PULL UP IN THE DRIVEWAY; A TALL WHITE HAIR MAN GETS OUT OF THE CAR AND WALKS UP TO THE DOOR.
CUT TO: INT.: WE SEE THE INSIDE OF A VERY NICE HOUSE. EXPENSIVE FURNITURE AND PAINTING EVERYWHERE. WE CAN SEE THE POOL FROM THE LIVING ROOM THROUGH THE GLASS DOOR. THERE ARE THREE MEN DRESSED IN NICE SUITS SITTING BY THE POOL.
MILK
WHEN THAT PHONE RINGS, WE ARE ALL IN A WORLD OF
SHIT.
(PAN TO THE PHONE)
HE IS GOING TO BE PISSED THE FUCK OFF.
WE HAVE ALREADY LOST OVER TEN KILOS IN THE PAST
MONTH.
THE PHONE RINGS AND THE MEN ALL LOOK AT THE PHONE AND THEN AT EACH OTHER.
MAN 6
WELL SHIT! PICK IT UP.
MILK
THIS IS MILK (BEAT) YES SIR (BEAT) YES SIR
BEAT) I UNDERSTAND (BEAT) IT WILL BE DONE.
OK THIS IS THE DEAL. WE HAVE THREE SHIPMENTS
COMING IN OVER THE NEXT FIVE DAYS. HE HAS
STATED THAT IF WE LOSE EVEN ONE OF THE
SHIPMENTS WELL, DO I HAVE TO SAY?
MAN 6
WE ARE GOING TO NEED SOME EXTRA HELP.
I’M GOING TO CONTACT BIG ROY.
MAN 5
GOOD IDEA, WE COULD USE THE HELP. GIVE
HIM THE SCOOP AND HAVE THEM MEET US AT
THE STRIP FIELD.
EXT.: DAY:
SCENERY: OLD AIRSTRIP
THERE ARE SEVERAL VANS AND CARS PARKED WAITING FOR THE PLANE. THERE ARE MEN STANDING SMOKING AND TALKING. ONE OF THE MEN IN WALKING BACK AND FORTH. WE CAN SEE THE PLANE COMING INTO VIEW. THE MEN LOOK EXCITING. THE PLANE LANDS AND THE VANS RUSH TO THE PLANE AND START TO UNLOAD. THEY LOAD THE VANS AND THEY ALL CHEER.
MAN 10
GOOD JOB BOYS. NOW LET’S GET THE FUCK OUT OF
HERE.
THE VANS DRIVE OFF.
EXT.: DEA TRAINING. SHOW PAM MISSING TWO TARGETS IN A ROW. THEN GINA YELLS OUT OVER LOUD SPEAKERS.
GINA
HOLD YOUR FIRE. PAM, STEP OUT.
GINA GRABS HER GEAR AND AS SHE’S WALKING INTO THE LIFE HOUSE, PAM IS EXITING.
GINA
WATCH WHAT I DO (BEAT) AND TRY TO FOLLOW
MY RHYTHM. THIS SHOULDN’T BE ANYTHING NEW
TO YOU, JUST GET YOUR HEAD TOGETHER.
GINA AND SEAN FIRE THROUGH THE SIMULATION WITH ABSOLUTE PRECISION, NOT MISSING A TARGET. THEN SHE WALKS OVER TO PAM.
GINA
CAN YOU TAKE OVER FROM HERE? CAN YOU
HANDLE PROTECTING YOUR LIFE AND YOUR
PARTNERS AT THE SAME TIME.
PAM
YES MA’AM.
GINA
IF YOU CAN’T, YOU NEED TO TELL ME (BEAT) SOON.
BEFORE SOMEONE DIES.
PAM
YES, MA’AM. I’M READY.
GINA
SHOW ME (BEAT). YOU’RE UP.
PAM AND SEAN ENTER THE LIFE HOUSE AND BEGIN THE LIVE SIMULATION. GINA IS INTERJECTING WITH FEEDBACK OVER THE LOUD SPEAKER.
GINA
GO-GO-GO. THAT’S IT. KEEP IT UP. GREAT JOB.
(AFTER SIMULATION, AGENT BURKE TALKS TO THE NEW RECRUITS.)
GINA
THE NEXT TIME WE MEET, WE’RE GOING TO GO OVER THE
CASE YOU WILL ALL BE ASSIGNED TO. YOU GUYS ARE
DISMISSED (BEAT) YOU ALL DID A GREAT JOB TODAY.
THE NEXT TIME IT MAY BE THE REAL THING.
EVERYONE GATHERS HIS OR HER EQUIPMENT AND YOU HEAR A PHONE RINGING. HOLT, JACOBS, AND HOUSTON WALK AWAY AND ARE TALKING AMONGST THEMSELVES AS THEY EXIT THE PICTURE. SEAN IS STILL STANDING TALKING ON HIS PHONE.
SEAN
YEAH (BEAT) I’M JUST FINISHING UP.
CUT TO: PAIGE DRIVING TO THE STORE AND TALKING ON HER PHONE.
PAIGE
ARE YOU STILL COMING OVER FOR DINNER TONIGHT?
CUT TO: SEAN, FORGETTING THAT HE HAD MADE PLANS.
SEAN
DINNER? YEAH, YEAH, I’LL BE THERE.
PAIGE
YOU DON’T SOUND TOO SURE ABOUT YOURSELF.
SEAN
I SAID I’D BE THERE, SO I’LL BE THERE.
I PROMISE.
PAIGE
YOU PROMISE? YOU’RE NOT JUST SAYING THAT.
SEAN
NO, I’LL BE THERE; (BEAT) WE NEED THIS.
PAIGE
I LOVE YOU, SEAN.
SEAN NOTICES GINA WALKING AWAY AS PAIGE IS SAYING I LOVE YOU. HE DOESN’T APPEAR TO HEAR HER.
SEAN
I GOT TO GO, BYE.
(SEAN PICKS UP HIS STUFF AND RUNS TO CATCH UP WITH GINA.)
SEAN
(HE YELLS OUT) AGENT BURKE.
GINA
YES LAWRENCE. WHAT CAN I DO FOR YOU?
SEAN
TODAY WAS EXCITING, THANKS FOR STEPPING IN
AND SHOWING ME HOW THINGS ARE REALLY
SUPPOSED TO BE DONE. SO WHEN DO WE GET
TO START IN ON THIS CASE?
GINA
WELL, WE ARE GOING TO START THE REVIEW
IN THE MORNING, BUT IF YOU WANT A HEAD
START, I HAVE SOME FREE TIME TO GO
OVER SOME OF THE DETAILS.
THE TWO OF THEM WALK TO GINA’S OFFICE.
CUT TO: EXT LATE DAY: THE VANS ARE PULLING INTO THE DRIVEWAY OF A NICE HOME AND INTO THE GARAGE. WE SEE THE GARAGE DOOR CLOSE AND AS SOON AS THE DOOR CLOSES COMPLETELY ANOTHER DOOR OPENS AND THE VANS DRIVE THROUGH AND DOWN A RAMP INTO THE BASEMENT. BASEMENT IS WELL LIT AND THE MEN JUMP OUT OF THE VAN AND QUICKLY UNLOAD THE VAN’S CONTENT INTO A LARGE VAULT.
PAN TO: INT: HOUSE:
THE MEN ARE TESTING THE DOPE, COUNTING MONEY, DRINKING AND TALKING ABOUT HOW THEY ARE GOING TO BE RICH.
WE SEE MILK COME THROUGH THE DOOR LEADING TO BASEMENT. HE WALKS THROUGH THE HOUSE, UP THE STAIRS TO A ROOM WITH CLOSED DOORS. HE KNOCKS A SECRET KNOCK.
NEIL IS SITTING WITH THE BACK OF HIS CHAIR TO THE DOOR WATCHING SURVEILLANCE OF THE BASEMENT. AS MILK KNOCKS ON DOOR HE LOOKS TO THE TV SCREEN WITH THE VIEW OUTSIDE HIS DOOR. HE BUZZES MILK INTO THE ROOM.
NEIL
WELL DONE MILK. IT LOOKS LIKE YOUR
BOYS HAVE FINALLY GOT THEIR SHIT TOGETHER.
MILK
WHERE DO WE GO FROM HERE?
NEIL
YOUR NEXT ASSIGNMENT IS IN THE FOLDER BEHIND ME.
(MILK IS LOOKING AROUND, TRYING TO FIND THE FOLDER.)
NEIL
ON THE DESK.
(MILK GRABS THE FOLDER AND TUCKS IT UNDER HIS ARM.)
MILK
DO YOU NEED ANYTHING ELSE FROM ME?
NEIL
JUST MAKE IT HAPPEN! TONIGHT (BEAT). I’VE
ALREADY MADE ALL THE ARRANGEMENTS FOR THIS ONE
(BEAT) THERE SHOULD BE NO COMPLICATIONS.
CUT TO: INT: EVENING PAIGE HOUSE
DINNER IS READY AND ON THE TABLE. PAIGE IS WAITING FOR SEAN TO SHOW UP. HE IS ALREADY ONE HOUR LATE.
CUT TO: GINA’S OFFICE
SEAN AND GINA ARE GOING OVER PAPER WORK. GINA LOOKS AT HER WATCH.
GINA
ARE YOU HUNGRY? (BEAT)
I’LL ORDER SOME TAKE OUT?
SEAN
OH SHIT!
(SEAN GATHERS HIS BELONGINGS UP QUICKLY.)
GINA
WHAT? DO YOU HAVE A BIG DATE?
TONIGHT?
SEAN
I GOTTA GO. I’LL TELL YOU ABOUT IT
TOMORROW. MAYBE, OVER DONUTS
AND COFFEE?
GINA
O.K. 7 AM. (BEAT) WE’LL MAKE IT A DATE.
O.K., BUT YOU BETTER NOT BE LATE.
(GINA LAUGHS AND SEAN WINKS AT HER AS HE WALKS OUT THE DOOR.)
CUT TO: EXT: SEAN IS ON HIS WAY TO HIS CAR. HE IS TRYING TO GET HIS KEYS INTO THE DOOR, BUT DROPS THEM FIRST BECAUSE HE IS SO HURRIED. HE FUMBLES GETTING HIS DUFFEL AND HIMSELF INTO MERCEDES. AS HE SPEEDS AWAY HE MUMBLES TO HIMSELF, TRYING TO PREPARE A FORGIVENESS SPEECH. PAIGE, I’M SORRY. I LOST TRACK OF TIME. I WAS TRYING TO GET A JUMP-START ON THE CASE I AM GOING TO BE ASSIGNED TO, ETC.
CUT TO: INT: PAIGE HOUSE
PAIGE IS SITTING ON THE COUCH FINISHING UP HER PLATE OF FOOD.
SEAN ENTERS APOLOGETIC. PAIGE DOES NOT EVEN LOOK UP.
PAIGE
AN HOUR AND A HALF SEAN. (BEAT)
YOU BETTER HAVE A DAMN GOOD EXCUSE.
SEAN
I’M REALLY SORRY BABE. I WAS BUSY
WORKING ON MY FIRST CASE AND I JUST
LOST TRACK OF TIME.
PAIGE
I SAID A GOOD EXCUSE SEAN.
SEAN
WHAT? WHAT’S THE BIG DEAL?
WHY ARE YOU SO MAD?
PAIGE
YOU PROMISED YOU’D BE HERE. SO I
CAME HOME AND I COOKED. I DON’T GET IT SEAN.
YOU ARE THE ONE WHO SAID WE NEEDED
THIS AND NOW IT’S NO BIG DEAL. I
SHOULD HAVE KNOWN.
SEAN
OH YOU SHOULD HAVE KNOWN, HUH? KNOWN
TOLD YOU I WAS BUSY. I HAVE MORE
IMPORTANT THINGS TO WORRY ABOUT RIGHT
NOW. WE CAN HAVE DINNER ANY NIGHT.
PAIGE
IT’S NOT ABOUT THE DINNER SEAN AND
YOU KNOW IT. THIS IS ABOUT US AND
YOU NOT HAVING TIME FOR US. I TOLD
YOU NOT TO GO INTO THE DEA. YOU
SHOULD HAVE JUST TAKEN THE JOB WITH
YOUR DAD.
SEAN
OH, COME ON. I DON’T NEED THIS RIGHT
NOW, ESPECIALLY NOT FROM YOU. I GET
ENOUGH OF IT FROM MY DAD. WHAT IS SO
APPEALING ABOUT BEING HAND A JOB AND
FOLLOWING DADDY’S FOOTSTEPS?
PAIGE
IT WOULD JUST BE BETTER FOR YOU. IF
YOU WOULD JUST THINK ABOUT IT AND NOT TURN
NEIL DOWN JUST TO SPITE HIM AND SHOW HIM
THAT YOU CAN MAKE IT ON YOUR OWN. YOUR
POINTS BEEN MADE SEAN, NOW GROW UP AND
THINK ABOUT.
SEAN
NO, STOP. NO ONE SEEMS TO CARE WHAT I
WANT. YOU ALL JUST THINK ABOUT YOURSELVES
AND HOW YOU PLANNED YOUR LIFE OUT. I
THOUGHT THAT YOU’D BE JUST A LITTLE
SUPPORTIVE AFTER ALL, I AM DOING THIS FOR
US, SO THAT WE
PAIGE
WHAT DO YOU MEAN US AND WE? I AM
NOWHERE IN THIS PICTURE. IT’S BEEN ONLY
YOU FOR A WHILE NOW AND I JUST
CAN’T DO THIS ANYMORE.
SEAN
DO WHAT? WHAT ARE YOU SAYING?
PAIGE
THIS SEAN (BEAT) THIS.
AS PAIGE SAYS THIS THE FIRST TIME, SHE POINTS TO THE TABLE.
THE SECOND TIME SHE MOTIONS BETWEEN THE TWO OF THEM.
PAIGE
I THINK YOU NEED TO HAVE SOME TIME TO
YOURSELF RIGHT NOW SO YOU CAN THINK
ABOUT WHAT IS IMPORTANT TO YOU.
SEAN
THAT’S AN EASY ONE. I ALREADY KNOW WHAT’S
IMPORTANT TO ME. MAYBE YOU NEED THE TIME
TO THINK ABOUT WHY YOU ARE WITH ME IF YOU
CAN’T BE SUPPORTIVE OF THE DECISIONS I AM
MAKING AND WHAT I’M TRYING TO DO.
PAIGE
SEAN WHAT ARE YOU DOING? I’VE TOLD YOU
BEFORE NONE OF THIS WOULD BE HAPPENING IF
YOU WOULD JUST LISTEN TO YOUR DAD. HE IS
OFFERING YOU A GREAT OPPORTUNITY. ITS
JUST THE MONEY, IT A GOOD CAREER.
SEAN
HIS MONEY. THE DEA IS MY CAREER NOW,
PERIOD MY DAD HAS BEEN CONTROLLING MY WHOLE
LIFE AND IT HAS TO STOP (BEAT) NOW. ARE
YOU WITH ME?
PAIGE STARTS TO TEAR UP IN RESPONSE TO SEAN’S QUESTION. HER VOICE IS QUIVERING.
PAIGE
WE NEED TIME (BEAT) I NEED TIME.
BYE SEAN, I’LL CALL YOU WHEN I’M READY.
SEAN
DON’T BOTHER.
SEAN WALKS OUT THE DOOR WITHOUT FURTHER ARGUMENT AND PAIGE STARTS TO CRY.
CUT TO: EXT: NIGHT: 11 PM
SHOT OF VAN PARKED ON A DARK STREET. FROM INSIDE THE VAN, WE SEE LOTS OF PEOPLE GOING IN AND OUT OF A RUN DOWN BUILDING. PAN TO THE TOP OF THE BUILDING. SHOT OF 3 MEN WITH GUNS.
MAN 7
WE NEED TO MAKE THIS FAST. MY GUY
TELLS ME THE DOPE IS IN THE KITCHEN,
BEHIND THE STOVE. DO NOT GO DIRECTLY
TO THE STOVE. MAKE IT LOOK GOOD.
MAN 8
THE BOSS WANTS NO WITNESSES.
THE MEN IN THE VAN LOOK AT EACH OTHER. THEY START TO PULL DOWN THEIR MASKS. THEY COCK THEIR WEAPONS.
MAN 7
WHEN RICH GETS INSIDE THE DOOR, WE MAKE
OUR MOVE PAUL, MATT, YOU GO TO THE
FIRE ESCAPE AND TAKE OUT THE GUARDS ON THE
ROOF.
CUT TO: INT VAN: THE MEN ARE LOOKING AT THE FRONT DOOR. RICH WALKS UP TO THE DOOR AND WHISPERS TO THE MAN STANDING IN FRONT OF THE DOOR. RICH AND MAN BOTH WALK INTO THE BUILDING.
BACK INSIDE THE VAN.
MAN 2
LET’S MOVE!
THE FOUR MEN GET OUT OF THE VAN, PUTTING THEIR GUNS UNDER THEIR COATS. THEY GET TO THE FRONT DOOR. THE GUARD AT THE DOOR STOPS THE FIRST MAN TO THE DOOR. THE MAN PULLS A SILENT PISTOL FROM UNDER HIS COAT AND PUMPS 3 BULLETS INTO THE GUARD’S CHEST. THEY PUSH HIM INSIDE AND START GOING UP THE STAIRS.
A MAN WALKS OUT OF A DOOR WITH HIS UNDERWEAR ON.
MAN 10
WHO THE FUCK ARE YOU?
MAN 11
HEY BRO, I’M LOOKING FOR DINO.
MAN IN UNDERWEAR LOOKS AT THE MEN AND TAKES OFF RUNNING. ONE MAN RAISES HIS GUN AND FIRES 4 SHOTS INTO THE RUNNER’S BACK. HE FALLS INTO A ROOM AND THE WOMEN IN THE ROOM START TO SCREAM. TWO MEN JUMP UP AND GO FOR THEIR GUNS. THE MEN OPEN FIRE, SPRAYING THE ROOM AND HITTING EVERYONE IN THE ROOM. THE SHOOTING STOPS.
MAN 30
OH! SHIT! WHAT A FUCKING RUSH.
CUT TO: INT: BUILDING OUTSIDE OF DINO’S DOOR.
THERE ARE MEN STANDING WITH GUNS OUT. THE DOOR OPENS. ONE MAN PUTS HIS GUN TO THE WOMAN’S FOREHEAD PUSHING HER BACK INTO THE ROOM. ONE MAN JUMPS UP, ONE OF THE OTHER MEN FIRES AND HITS THE MAN IN THE HEAD. ONE WOMAN SCREAMS.
CUT TO: INT: DINO’S ROOM
THERE ARE ABOUT SEVEN PEOPLE IN THE ROOM. ONE WOMAN IS COUNTING MONEY. TWO WOMEN ARE (DOPING?) UP WITH DINO. THE OTHERS ARE JUST HANGING OUT.
DINO
GO SEE WHAT THE FUCK IS GOING ON WITH
ALL THAT SCREAMING.
CUT TO: INT: BUILDING
MAN 11
SHUT THE FUCK UP!
(POINTING HIS GUN AT HER. HE WALKS OVER TO THE WOMAN)
MAN 11
WHERE IS DINO?
LADY
IN THE ROOM.
(LADY IS CRYING AND POINTING TO THE ROOM.)
MAN PUSHES THE WOMAN OUT OF THE WAY. THE MEN GET IN FRONT OF THE DOOR. THEY LOOK AT EACH OTHER AND START TO COUNT DOWN FROM 3-2-1. THEY BUST INTO THE ROOM.
THERE IS NO ONE IN THE ROOM. THE MEN START TO SEARCH. ONE MAN GOES TO THE BATHROOM DOOR. HE PUSHES THE DOOR OPEN SLOWLY. HE MOVES OVER TO THE SHOWER AND PULLS BACK THE CURTAIN. DINO IS STANDING IN THE TUB AND IS SMILING WITH HIS GUN POINTED TO THE MAN HEAD. HE BLASTS THE MAN 3 TIMES AND RUNS OUT OF THE BATHROOM. THE MEN OUTSIDE THE BATHROOM SPOT DINO AND BEGIN TO FIRE AT HIM. DINO FIRES BACK AS HE IS RUNNING THROUGH THE HOUSE. HE DIVES BEHIND THE COUCH AND COMES UP FIRING. HE RUNS TO THE DOOR, STILL FIRING, BUT IS HIT IN THE ARM AND THE LEG. HE FALLS TO THE FLOOR. HE IS STILL FIRING HIS WEAPON, BUT THE AMMO IS GONE. A MAN WALKS OVER TO DINO LYING ON THE FLOOR.
MAN
YOU SHOULD HAVE TAKEN THE DEAL.
DINO
FUCK YOU!
THE MAN SHOOTS DINO ONCE IN THE HEAD.
MAN
GET THE DOPE AND LET’S GET THE HELL OUT OF
HERE.
THE MEN GO TO THE STOVE, PULL IT BACK FROM THE WALL AND PULL OUT A PANEL. THEY FIND THE DOPE AND PUT IT INTO THEIR BAGS.
MAN 7
JACK POT!
CUT TO: INT: EARLY MORNING: COMMISSIONER’S OFFICE
BURKE AND THE CAPTAIN ARE SITTING OUTSIDE THE OFFICE.
CAPTAIN
I’M SURE YOU GOT THE WORD ABOUT LAST NIGHT?
GINA
YES. 3 DEAD. 1 WOUNDED.
CAPTAIN
I TOLD THEM OVER A YEAR AGO THAT WE NEEDED
THIS TASK FORCE AND THEY TOLD ME THERE WAS
CAPTAIN
NO BUDGET FOR IT.
GINA
BUT WHEN THE SHIT GETS OUT OF HAND
(BEAT) THEN THERE’S A BUDGET.
(THE DOOR OPENS. AN OFFICER IS STANDING AT THE DOOR.)
OFFICER
THE COMMISSIONER WILL SEE YOU NOW.
THEY BOTH WALK INTO THE OFFICE. THE COMMISSIONER AND THE MAYOR ARE ALREADY SEATED.
COMMISSIONER
HAVE A SEAT. MR. MAYOR, YOU KNOW CAPTAIN
DERRICK BECHETTI AND THIS IS AGENT BURKE.
(THEY SHAKE HANDS.)
COMMISSIONER
I’M SURE YOU KNOW WHY YOU’RE HERE (BEAT)
THE MAYOR AND I HAVE SOME CONCERNS.
CAPTAIN
AND SO DO WE, SIR.
COMMISSIONER
I TOLD YOU GUYS, YOU HAD FOUR WEEKS TO GET
THE TASK FORCE TOGETHER. WELL, LAST NIGHT
JUST MOVED UP YOUR DEADLINE.
MAYOR
THE TIME IS NOW. THIS DRUG SHIT IS TEARING
MY CITY APART AND I WILL NOT STAND
FOR THIS. WHAT IS YOUR PLAN OF ATTACK?
CAPTAIN
WE HAVE ONLY A FEW DAYS OF TRAINING IN.
WE NEED.
COMMISSIONER
TO GO NOW! THAT’S IT.
CAPTAIN
THE NEW AGENTS NEED MORE TRAINING, SIR.
I DON’T WANT TO SEND THEM OUT THEY’RE
UNPREPARED.
COMMISSIONER
WELL, THIS IS THE PLAN. I DON’T CARE IF
YOU HAVE TO GO UNDERCOVER YOURSELVES. WE
GO AS IS (BEAT). STARTING TONIGHT
GINA
SIR, I UNDERSTAND THAT WE NEED TO PUT A
STOP TO THIS, HOWEVER, THE AGENTS ARE
NOT READY. WE NEED MORE TIME.
MAYOR
BURKE? THAT’S YOUR NAME RIGHT?
GINA
YES, SIR.
MAYOR
THESE GUYS OUT THERE ARE NOT GOING TO
WAIT FOR US TO GET READY. AT THIS RATE WE
WILL NOT HAVE A CITY TO SAVE. AS I GET
THE PRESSURE, THEN YOU GET THE PRESSURE AND
IF YOU CAN’T GET THE JOB DONE (BEAT).
GINA
IT WILL BE DONE.
MAYOR
GOOD.
COMMISSIONER
EXCELLENT, LET’S MAKE IT HAPPEN.
(THE COMMISSIONER REMOVES A FILE FROM HIS DESK.)
COMMISSIONER
THIS IS ALL THE INFO WE HAVE ON THE DRUG
ACTIVITY IN ORDER TO BRING THIS TO A STOP.
COMMISSIONER
WE NEED THE TOP MAN.
GINA
DO WE KNOW WHO THAT IS?
COMMISSIONER
NO, THAT’S THE CHALLENGE. WE NEED TO TRACK
HIM DOWN ASAP. THIS PERSON HAS BEEN VERY GOOD
AT AVOIDING DETECTION. TRACK HIS ASS DOWN AND
BRING HIM IN (BEAT) BY ANY MEANS NECESSARY.
MAYOR
PERIOD.
(THE COMMISSIONER PASSES THE FILE TO THE CAPTAIN.)
CUT TO: INT: DEA HEADQUARTERS
SEAN ARRIVED EARLY AND WAS EATING DONUTS BY HIMSELF. JAMIE WALKS IN AND SEES SEAN SITTING DOWN.
JAMIE
WHAT’S UP MAN? WHAT ARE YOU DOING HERE?
SO EARLY. WHO’S ASS ARE YOU TRYING TO
KISS?
SEAN
I WAS MEETING WITH AGENT BURKE.
JAMIE
(LAUGHING) DID SHE STAND YOU UP?
NO MAN, I UNDERSTAND (BEAT) I’D
KISS THAT ASS ANY DAY.
SEAN
SHUT UP HOLT! HAVE SOME RESPECT.
JACOBS AND HOUSTON WALK IN TOWARDS JAMIE AND SEAN. SEAN GLARES AT JAMIE AS IF TRYING TO SHUT HIM UP SO THAT HE WOULD NOT SAY ANYTHING STUPID IN FRONT OF JACOBS AND HOUSTON. ALL FOUR OF THEM LOOK OVER TOWARDS BURKE’S OFFICE AS THE PEOPLE COME OUT OF HER OFFICE. GINA NOTICES THAT ALL FOUR RECRUITS ARE TOGETHER SO SHE CALLS THEM ALL INTO HER OFFICE.
CUT TO: INT: GINA’S OFFICE
ALL FOUR RECRUITS ARE SITTING IN GINA’S OFFICE WHEN THE CAPTAIN RE-ENTERS. THE RECRUITS ARE ALL TALKING AMONGST THEMSELVES WONDERING WHY THEY HAVE BEEN CALLED INTO THE OFFICE.
CAPTAIN
ALL RIGHT PEOPLE, CALM DOWN (BEAT)
O.K., THE COMMISSIONER AND THE MAYOR
WANT US ON THE STREETS TODAY. THAT MEANS
YOU ARE ALL GOING OUT WITH WHAT TRAINING
YOU HAVE.
(THE RECRUITS START TO TALK TO EACH OTHER AGAIN.)
CAPTAIN
I KNOW THIS IS SHORT NOTICE, BUT I THINK WE
HAVE A GREAT TEAM HERE. ONE THAT CAN GET THE JOB DONE.
GINA GOES TO HER DESK AND REMOVES SOME FOLDERS FROM ONE OF THE DRAWERS.
CAPTAIN
O.K. WITH THAT SAID, HERE ARE YOUR
ASSIGNMENTS.
(GINA HANDS OUT REPORT FOLDERS TO ALL FOUR RECRUITS.)
CAPTAIN
ALL RIGHT, LET’S HIT THE STREETS.
THE CAPTAIN WALKS OUT OF THE OFFICE. AS HE OPENS THE DOOR HE TURNS BACK.
CAPTAIN
AND GUYS.
(THEY ALL TURN TO FACE THE CAPTAIN.)
CAPTAIN
BE CAREFUL OUT THERE (BEAT)
AND KICK SOME ASS.
(THE CAPTAIN SHUTS THE DOOR AND THE RECRUITS TURN BACK TOWARDS GINA)
GINA
THESE ASSIGNMENTS ARE LOCAL DRUG DEALERS.
I’M NOT SURE WHERE THIS GUY IS GOING TO HIT
WANT. TO HAVE AS MANY OF THESE GUYS
WATCHED AS I CAN. TOMORROW YOU WILL REPORT
BACK TO ME WITH. FULL DETAIL OF YOUR
STAKEOUT. THIS IS NO LONGER TRAINING.
IT’S THE REAL DEAL. YOU ARE DISMISSED.
THE AGENTS STAND AND EXIT GINA’S OFFICE. THEY ALL SEEM VERY EXCITED AND NERVOUS AT THE SAME TIME.
PAM
SEAN, I’LL CATCH UP WITH YOU IN A MINUTE.
SEAN
SURE, I’LL WAIT RIGHT HERE FOR YOU.
PAM LINGERS OUTSIDE GINA’S OFFICE AND WAITS FOR THE CAPTAIN TO LEAVE. HE WALKS OUT AND PAM WALKS BACK INTO GINA’S OFFICE.
PAM
AGENT BURKE, CAN I TALK TO YOU FOR A
MINUTE?
GINA
SURE HOUSTON, WHAT IS IT?
PAM
I’M HAVING SECOND THOUGHTS (BEAT)
THIS IS ALL HAPPENING TOO FAST, ESPECIALLY
NOW. I’M JUST NOT READY FOR THIS MENTALLY.
GINA
DO YOU WANT ME TO TAKE YOU?
OFF THE CASE AND PUT YOU BACK TO
YOUR OLD JOB?
PAM
IF THAT’S POSSIBLE.
GINA
I’LL ARRANGE THE TRANSFER. SO REPORT
THERE TOMORROW MORNING.
PAM
THANK YOU.
(AGENT BURKE WALKS PAM TO THE DOOR.)
GINA
HOUSTON, YOU’D BE A GREAT AGENT AND
I’D LOVE TO HAVE YOU ON MY FORCE. (BEAT)
(GINA GRABS THE DOORKNOB.)
GINA
WHEN YOU’RE READY?
(PAM SMILES AT GINA AS SHE WALKS PAST SEAN.)
GINA
LAWRENCE, CAN I SEE YOU IN MY OFFICE?
SEAN WATCHES PAM WALKING AWAY. WITH A CONFUSED LOOK, HE WALKS INTO GINA’S OFFICE. GINA SHUTS THE DOOR BEHIND HIM. SEAN WALKS TO THE EMPTY CHAIR AND SITS DOWN.
GINA
AGENT HOUSTON IS NO LONGER GOING TO
BE YOUR PARTNER.
SEAN
WHAT HAPPENED WITH HOUSTON?
GINA
SHE GAVE ME HER RESIGNATION AND REQUESTED
TO BE TRANSFERRED BACK TO HER OLD PRECINCT
SHE JUST FELT THAT SHE WASN’T READY. SO,
THIS IS THE NEW PLAN. FOR THE REST OF THIS
CASE, YOU ARE GOING TO BE WORKING WITH ME.
EXPECT TO PUT IN A LOT OF HOURS BECAUSE NOT
ONLY WILL I BE WORKING WITH YOU ON YOUR
STAKEOUTS, BUT YOU WILL BE WORKING WITH ME
ON THE PAPERWORK.
SEAN
WHEN SHOULD WE GET STARTED?
CUT TO: EXT: DAY
GINA AND SEAN ARE SITTING IN THEIR CAR, STAKING OUT A BAR. SHOT OF PEOPLE WALKING DOWN THE STREETS, GOING IN AND OUT OF THE RESTAURANT.
CUT TO: INT: CAR
SEAN IS TAKING PICTURES OF PEOPLE GOING IN AND OUT OF THE BAR. GINA IS LOOKING AT A PICTURE.
GINA
DAMN, 25 PEOPLE HAVE ALREADY
GONE INTO THE BAR, AND NOT ONE OF
THEM IS OUR GUY.
SEAN
BE PATIENT. IT TAKES TIME. 25
PEOPLE IS NOT A WHOLE LOT.
(A CALL COMING IN OVER THE NEXTEL INTERRUPTS SEAN.)
VOICE
BURKE BURKE
GINA
GO AHEAD, STAN.
STAN
OUR GUY IS HEADING YOUR WAY WITH
TWO MEN. HE IS THE ONE IN THE
BLACK JACKET, WITH THE HAT ON.
GINA GLANCES UP THE STREET AND SPOTS THE MEN; SHE GETS BACK ON THE NEXTEL
GINA
GOT ‘EM. STAND DOWN UNTIL I GIVE THE WORD.
THE MEN ARE WALKING TO THE BAR, LAUGHING AND TALKING. THEY STEP TO THE ENTRANCE AND LOOK AROUND BEFORE ENTERING.
GINA
STAN, GET INTO POSITION. TAKE THE CORNER.
(TWO AGENTS TAKE POSITION AROUND THE CORNER.)
STAN
WE’RE IN POSITION.
CUT TO: INT: CAR
GINA
O.K. SEAN, LET’S ROCK.
GINA AND SEAN GET OUT OF THE CAR AND HEAD TOWARDS THE BAR.
CUT TO: INT: BAR
THE MEN CLOSE THE BAR DOOR BEHIND THEM AND LOCK IT. THEY WALK INTO A BACK ROOM.
CUT TO: EXT: FRONT DOOR OF BAR
THE AGENTS ARE LINED UP. GINA PULLS A LOCK KIT OUT OF HER JACKET AND OPENS THE DOOR SLOWLY.
GINA AND SEAN PULL THEIR GUNS OUT. THEY CAN HEAR VOICES COMING FROM THE BACK ROOM. THE STEADY THEMSELVES. YOU CAN SEE SWEAT COMING DOWN SEAN’S FACE. GINA AND SEAN LOOK AT EACH OTHER. GINA NODS HER HEAD. STAN KICKS THE DOOR OPEN.
INT: BACK ROOM
THE AGENTS RUSH IN.
SEAN
DEA. NOBODY MOVE!
PEOPLE ARE RUNNING TO GET OUT OF THE WAY. SEAN TURNS AND THERE IS A GUN POINTED AT HIS FACE. HE DOES NOT MOVE. THE MAN IS HIT IN THE BACK OF THE HEAD BY GINA’S PISTOL. GINA WINKS AT SEAN AS THE MAN FALLS TO THE FLOOR. SEAN HAS A SHOCKED LOOK ON HIS FACE. GINA SEES ONE OF THE THUG'S PISTOLS ON THE CARD TABLE AND THE MAN LOOKS AT THE SAME TIME, SHE PUTS HER FOOT ON THE EDGE OF THE TABLE AND THE GUN FLIES IN THE AIR. GINA CATCHES IT AND FIRES AT THE MAN, SHE CROSSES ARMS AND THEN FIRES AT ONE MAN WITH THE OTHER GUN. THE BULLETS RIP INTO THE BODIES OF BOTH MEN. BURKE SPOTS TONY AND GOES AFTER HIM. HE IS RUNNING TOWARDS THE BACK END OF THE BAR. TWO AGENTS ARE CUFFING PEOPLE TO THE BAR POLE.
BURKE CATCHES UP WITH TONY AT THE BACK DOOR. SHE GRABS HIM FORCEFULLY AND PUSHES HIM BACK INTO THE ROOM; TWO OF HIS MEN DRAW THEIR WEAPONS AND POINT THEM AT GINA. THEY DO NOT FIRE BECAUSE GINA HAS HER PISTOL POINTED AT TONY’S HEAD.
TONY
DON’T SHOOT, BE COOL.
GINA
IF YOU WANT THIS ASSHOLE TO LIVE, PUT YOUR
GUNS DOWN.
(THE TWO MEN LOOK AT TONY FOR INSTRUCTION.)
TONY
SHE WON’T SHOOT. TAKE HER OUT (BEAT) NOW!
GINA
GO AHEAD, SHOOT ME. I DARE YOU.
BUT I BET THAT YOU WILL FIND HIS
BRAINS ALL OVER THIS WALL.
(GINA COCKS HER GUN.)
GINA
COME ON, LET’S DO IT.
(SEAN RUSHES INTO THE ROOM WITH HIS GUN OUT.)
SEAN
PUT DOWN THE FUCKING WEAPONS, NOW!
GINA HAS HER GUN AT TONY’S HEAD. THE TWO MEN HAVE THEIR GUNS POINTED AT GINA. SEAN HAS HIS GUN POINTED AT THE TWO MEN. GINA AND SEAN HAVE THE UPPER HAND. GINA PULLS TONY CLOSER TO HER.
TONY
O.K., O.K., SHIT! I THINK THIS BITCH
IS SERIOUS. PUT YOUR PIECES DOWN.
THE MEN DO AS TONY SAYS AND PUTS THEIR WEAPONS ON THE FLOOR. SEAN WALKS OVER TO THEM WITH HIS WEAPON STILL DRAWN.
SEAN
STAND UP VERY SLOWLY, TURN AROUND
AND GET UP AGAINST THAT WALL.
AS SEAN IS CUFFING THE TWO MEN, GINA HITS TONY IN THE HEAD WITH HER GUN.
GINA
I MAY BE A BITCH, BUT YOU DON’T HAVE THE
RIGHT GET HIM THE HELL OUT OF HERE.
SEAN
YOU OK
GINA
I’M COOL, AND YOU?
SEAN
SHIT, THIS IS A SERIOUS RUSH.
GINA
KEEP IT UNDER CONTROL.
THE OFFICERS ARE CLEANING UP THE BUST, GINA AND SEAN ARE WALKING OUT THE FRONT DOOR, AND THE CAPTAIN COMES WALKING UP TO THEM.
CAPTAIN
EXCELLENT JOB BURKE.
GINA
THANKS SIR, BUT WE HAVE A LOT OF WORK LEFT.
CAPTAIN
WELL THIS IS A GOOD START, KEEP UP THE GOOD
WORK.
SEAN
I UNDERSTAND YOU SAID YOU WOULD NEED MY
ASSISTANCE ON SOME PAPERWORK.
GINA
YEA, AND THIS IS GOING TO BE A MESS, I’M
GOING TO BE UP ALL NIGHT.
SEAN
ONCE AGAIN, CAN I BE OF SOME ASSISTANCE?
GINA (CONTINUED)
NA, THAT’S COOL, YOU GO HAVE A NICE
EVENING, YOU DESERVE IT I UNDERSTAND HOW IT
IS ON YOUR FIRST CASE, YOU NEED TO RELAX.
SEAN
HOW ABOUT THIS, WE DO THE PAPERWORK
TOGETHER, AND CALL IN SOME DINNER.
GINA
I DON’T THINK THAT’S A GOOD IDEA, YOU
SHOULD GO HOME TO YOUR GIRLFRIEND AND
RELAX.
SEAN
IF I AM YOUR PARTNER, WELL I THINK WE
SHOULD BE DOING THIS AS PARTNERS, AND HOW AM I
GOING TO LEARN?
GINA
OK YOU HAVE A GOOD POINT, TELL YOU WHAT, WE
CAN WORK ON THIS FOR AN HOUR, THEN YOU GO
HOME.
SEAN
YOU GOT A DEAL, LET’S DO SOME PAPERWORK.
CUT TO: DAY WAREHOUSE WE SEE A FEW VANS PULL IN FRONT OF THE GATE, THERE ARE THREE MEN STANDING WITH AUTOMATIC WEAPONS SMOKING SOME POT, PASSING BACK AND FOURTH. ONE MAN WALKS OVER TO THE VAN AND BLOWS SOME SMOKE INTO THE VAN, THE MAN ON THE PASSENGER SIDE, WAVES HIS HANDS BACK AND FORTH, THE GUY SMILES AND MOTIONS THE VANS THROUGH. THE VANS DRIVE INTO THE WAREHOUSE. THREE MEN WITH SUITES GET OUT OF EACH OF THE VANS AND GO UPSTAIRS INTO A ROOM. THERE ARE SEVERAL MEN SITTING AT A TABLE WITH LOTS OF TEST EQUIPMENT, TEST TUBES, SCALES, BURNERS ETC WITH COCAINE ALL OVER THE TABLE. THERE IS A MAN WITH A WHITE LAB COAT ON; HE NODS TO MR. BROWN.
MR. BROWN
HOW ARE WE LOOKING PROFESSOR?
PROFESSOR
I LET YOU KNOW IN JUST A MOMENT.
THE PROFESSOR CONTINUES TO TEST THE DOPE; HE STARTS TO TURN SOME DIALS
PROFESSOR
AN EXCELLENT PRODUCT WILL START TO MELT AT
140 DEGREES.
THE PROFESSOR CONTINUES TO TEST THE PRODUCT; HE STARTS TO GET A WIDE-EYED EXPRESSION ON HIS FACE AS THE DOPE BOILS.
PROFESSOR
OH MY GOD! THIS IS THE SHIT; THIS CAN BE
CUT 10 TIMES YOUR GOING TO MAKE A BILLION
DOLLARS, EXCELLENT PRODUCT, TOP GRADE.
MR. BROWN
EXCELLENT, THE MAN WILL BE HAPPY.
(MR. BROWN PULLS OUT HIS CELL PHONE AND MAKES A CALL)
MR. BROWN
MR. BROWN HERE SIR, (BEAT) YES SIR, THE
PRODUCT IS TOP GRADE, THE BEST WE HAVE GOT
SO FAR, (BEAT) YES SIR, THANK YOU SIR.
(HE HANGS UP THE PHONE)
MR. BROWN
GOOD JOB PROFESSOR, IF YOU CAN GET THIS
DONE BY TONIGHT THERE’S A BONUS FOR YOU.
PROFESSOR
HOW ABOUT A LINE (BEAT) SHIT?
MR. BROWN
HOW ABOUT I BUST YOUR ASS.
PROFESSOR
IT NOT THAT IMPORTANT TO ME.
(THEY LAUGH)
MR. BROWN
KEEP UP THE GOOD WORK, HAVE IT READY FOR
PICK UP.
(THE MEN SHAKE HANDS)
CUT TO;
DEA OFFICE, GINA AND SEAN ARE DOING PAPER WORK; THEY ARE SITTING ACROSS FROM EACH OTHER.
SEAN
THIS IS A LOT OF PAPERWORK; SHIT I’M TIRED.
GINA
SO AM I IT HAS BEEN A LONG DAY, AND THERE
GOING TO GET LONGER.
SEAN
HOW ABOUT THIS? (BEAT)
(GINA LOOKS AT SEAN WITH A SMILE ON HER FACE)
SEAN
WHAT, I HAVE NOT SAID ANYTHING.
GINA
YOU DON’T HAVE TO, YOU FACE SAYS IT ALL.
SEAN
SAYS WHAT? SAY’S THAT I THINK WE SHOULD PUT
THIS PAPERWORK DOWN AND GO GET SOME DINNER.
GINA
SEAN, WHAT DID I SAY BEFORE?
SEAN
YOU HAVE TO EAT DON’T YOU? DAM GINA, I’M
HUNGRY.
GINA
OK SO AM I, IF I DON’T GET SOMETHING TO EAT
SOON I’M GOING TO DIE.
SEAN
SO LETS DO IT, AND IF YOU BE NICE TO ME
(BEAT).
GINA
WHAT?
SEAN
I’LL BE THE GENTLEMAN THAT I AM (BEAT) AND
PAY.
GINA
WOW! I’M JUST SO IMPRESSED.
SEAN
VERY FUNNY, LET’S GO BEFORE I HAVE TO PUMP
YOU WITH IV’S.
(THEY LAUGH GET THEIR COATS AND LEAVE THE OFFICE)
CUT TO:
OLD WAREHOUSE-DAY EVENING
TWO BLACK VANS PULL UP VERY FAST TO THE DOOR OF AN OLD WAREHOUSE; TWO MEN OPEN THE BIG DOORS AND WAVE THE VAN INTO THE WAREHOUSE. TWO MEN GET OUT OF THE VAN, THERE ARE FIVE OR SIX GUYS WITH GUNS STANDING LOOKING, AND ONE MAN WITH A GUN GOES OVER TO THE TWO MEN AND FRISKS THEM TOP TO BOTTOM. THERE IS A MAN WITH A NICE SUIT STANDING IN THE WINDOW SMOKING A CIGAR OF AN OLD OFFICE, LONG SHOT OF MAN, (WE CAN ONLY SEE HIS SHADOW) AFTER HE FRISK THE MEN HE GIVES THE THUMBS UP TO THE MAN IN THE WINDOW.
THE MEN START TO UNLOAD THE VANS. ONE MAN PULLS OUT A DUFFEL BAG AND OPENS IT UP; HE PULLS OUT A WHITE BRICK OF COCAINE. HE PULLS A KNIFE OUT OF HIS PANTS AND CUTS INTO THE BRICK; HE PUTS A LITTLE ON HIS TONGUE AND SPITS IT OUT. HE LOOKS UP AT THE OFFICE AND GIVES THE THUMBS UP, THE MAN IN THE OFFICE TURNS AND WALKS AWAY FROM THE WINDOW. THE MEN DOING THE DEAL SHAKE HANDS.
CUT TO:
JAN’S DELI NIGHT INT;
GINA AND SEAN ARE SITTING HAVING DINNER, LAUGHING HAVING A GOOD TIME
SEAN
YOU KNOW (BEAT) IF I WAS NOT MISTAKEN
(BEAT)(TAKES A DRINK) ARE YOU HAVING A GOOD
TIME?
GINA
NO (BEAT) (TAKES A BITE) EATING.
SEAN
OK IF YOU SAY SO.
GINA
I SAY SO, LISTEN SEAN.
SEAN
NO YOU LISTEN.
(GINA GIVES SEAN A STRANGE LOOK)
SEAN
NO GINA, THIS IS SOMETHING I HAVE TO SAY
(TAKES A DRINK) LISTEN, (HE LEANS ON THE
TABLE) I UNDERSTAND THAT IT IS VERY HARD
DATING SOMEONE YOU WORK WITH, I UNDERSTAND
YOU MAY FEEL I AM COMING ON VERY STRONG,
HOWEVER GINA EVER SINCE I SEEN YOU I
HAVE BEEN ATTRACTED TO YOU.
GINA
SEAN, THIS IS NOT RIGHT.
SEAN
YOU KNOW, (BEAT) NEVER MIND.
GINA
NO GO AHEAD SEAN, SO I CAN SET YOU STRAIGHT.
SEAN
ALL MY LIVE, PEOPLE HAVE BEEN TELLING ME
WHAT IS NOT RIGHT I WANTED TO WEAR A
CERTAIN TYPE OF CLOTHS, NO THAT’S NOT RIGHT
I WANTED TO BECOME AN AGENT, THAT’S RIGHT,
SO PLEASE TELL ME WHAT IS RIGHT?
GINA
I’M SORRY I DID NOT MEAN TO UPSET YOU, BUT SEAN
YOU KNOW NOTHING ABOUT ME.
SEAN
NO I’M SORRY; IT’S JUST (BEAT) THAT IS THE
STORY OF MY LIFE AND NOW ITS TIME FOR ME TO TAKE
CONTROL OF IT AND DO WHAT I WANT.
BOTTOM LINE IS (BEAT) I AM VERY MUCH
ATTRACTED TO YOU AND I HAVE NEVER FELT THIS
WAY ABOUT ANY WOMAN AND
(GINA SMILES)
GINA
DID I MISS SOMETHING HERE; DON’T YOU HAVE A
GIRLFRIEND? AND FOR 2 I DON’T DATE AGENTS.
SEAN
I THOUGHT I DID.
GINA
MEANING?
SEAN
MEANING I UNDERSTAND NOW THAT SHE WAS JUST
LIKE MY DAD, DO WHAT SHE WANTS, NOT WHAT I
WANT SHE IS ALL ABOUT THE MONEY AND WHAT I
CAN BUY FOR HER, WHERE I CAN TAKE HER. THAT
IT NOT WHAT I WANT, I KNOW WHAT I WANT.
GINA
AND WHAT IS THAT MR. LAWRENCE?
SEAN
YOU, (BEAT) PERIOD.
GINA
SEAN I THINK WE BETTER GO, THIS IS GETTING TO
DEEP.
SEAN
PLEASE GINA JUST LISTEN, DON’T TURN AWAY
I’M SURE ABOUT HOW I FEEL ONE THING THAT I
UNDERSTAND IS THAT MY HEART DOES NOT LIE,
AND WHAT I FEEL ABOUT YOU IS REAL, GINA
LISTEN, I AM NOT TRYING TO MAKE YOU
UNCOMFORTABLE OR PUSH MYSELF ON YOU IT’S
JUST I KNOW WHAT I WANT AND I’M JUST
ASKING FOR A CHANCE TO SHOW YOU HOW MUCH I
CARE.
GINA
I MUST SAY THAT I’M FLATTERED, HOWEVER I HAVE WORKED
MY ASS OF TO GET WHERE I’M, AND I WILL NOT BLOW
IT.
SEAN
SO WHAT ARE YOU SAYING GINA? (SMILING) ARE
YOU SAYING…
GINA
NO I’M NOT SAYING IT CAN HAPPEN, JUST NOT WITH ME, IT
WOULD BE TOO HARD.
SEAN
ONLY HARD AS WE MAKE IT.
GINA
LOOKING AT HER WATCH IT’S GETTING LATE, WE
BETTER GO.
SEAN
A GINA
(GETTING HIS COAT AND WALKING BEHIND GINA HE PULLS
HER CHAIR OUT AND HELPS HER WITH HER COAT)
SEAN
I’M NOT GOING TO APOLOGIZE FOR WHAT I SAID.
GINA
I DON’T EXPECT YOU TO, AND IF YOU DID
BEAT) (SHE MOVES OVER TO KISS SEAN ON THE CHEEK)
YOU DID NOT MEAN WHAT YOU SAID
SEAN
OH I MEANT JUST WANT I SAID; I AM
VERY MUCH ATTRACTED TO YOU SO WITH
THAT SAID, HOW ABOUT DINNER THIS
WEEKEND OR BETTER YET HOW ABOUT I
COOK DINNER FOR YOU.
GINA
SEAN, I LOVE MY LIFE, YOU COOKING,
WELL I NEED TO MAKE SURE MY
INSURANCE IS UP TO DATE, I’LL TAKE A
RAIN CHECK.
SEAN
THAT IS SO FUNNY, BUT (BEAT) YOU HAVE
TO EAT IN ORDER TO BE SICK.
GINA
OK SEAN, I’LL THINK ABOUT IT.
SEAN
AND I HAVE JUST ONE THING LEFT TO SAY.
GINA
AND WHAT IS THAT SEAN?
SEAN
MY CAR IS AT THE STATION; CAN I GET A
RIDE?
GINA
WHY SURE MR. SEAN BUT I HAVE TO STOP
AT HOME TO PICK UP SOME CD’S TO TAKE
OVER MY SISTERS HOUSE.
SEAN
COOL I’M JUST ALONG FOR THE RIDE.
THEY GET THEIR GEAR AND HEAD OUT THE DOOR
CUT TO: SEAN PARENTS HOUSE, SHOT OF A DROP TOP BENZ PULLING INTO THE DRIVEWAY OF A NICE HOME, A LONG LOVELY LADY GETS OUT OF THE CAR AND GOES TO THE FRONT DOOR, SHE RINGS THE BELL AND A WOMAN ANSWERS THE DOOR, IT IS SEAN MOTHER.
APRIL
HI PAIGE HOW ARE YOU DOING?
(THEY HUG EACH OTHER WITH EXCITEMENT)
PAIGE
I’M DOING FINE MRS. LAWRENCE HOW ARE YOU.
APRIL
I’M DOING FINE, PLEASE COME IN, YOU
KNOW SEAN IS NOT HERE, HE’S BEEN
STAYING WITH JAMIE.
PAIGE
YES I KNOW, I WANTED TO SPEAK WITH
YOU IF YOU HAD ANY TIME.
APRIL
SURE I HAVE TIME, COME ON INTO THE
DEN.
(THEY WALK THROUGH THE HOUSE TO THE DEN)
APRIL
CAN I GET YOU SOMETHING?
PAIGE
WHITE WINE WOULD BE FINE.
(APRIL GOES TO THE BAR AND GETS SOME WINE)
APRIL
SO HOW’S THINGS BEEN GOING WITH YOU,
(BEAT) YOU JUST GRADUATED A FEW
MONTHS AGO RIGHT?
PAIGE
YEA AND I HAVE A GREAT OFFER WITH A
FIRM DOWNTOWN.
APRIL
WELL THAT’S GREAT PAIGE, WHEN DO YOU
START.
PAIGE
I HAVE NOT ACCEPTED IT YET.
APRIL
AND WHY IS THAT, I KNOW YOU HAVE
WORKED VERY HARD TO FINISH AND GET
THE POSITION YOU HAVE ALWAYS WANTED,
WHAT’S GOING ON?
PAIGE
I ‘M JUST A LITTLE CONFUSED RIGHT
NOW, (BEAT).
SHE PUT HER HEAD DOWN AND STARTS TO CRY APRIL WALKS OVER TO HER AND PUTS HER ARE AROUND HER.
APRIL
PAIGE IT WILL BE OK WHAT’S WRONG?
PAIGE
IT’S SEAN
APRIL
(JUMPS UP)
WHAT ABOUT SEAN, IS HE OK?
PAIGE
NO IT’S NOT THAT, IT’S…
APRIL
WHAT, TALK TO ME?
PAIGE
I DO NOT UNDERSTAND HOW SEAN CAN TAKE
SUCH A LOW LIFE JOB AND JUST THROW
AWAY OUR FUTURE, YOU KNOW WE HAD PLANED TO BE
MARRIED AND MOVE INTO THE HOUSE THAT
MY DAD WANTED TO GIVE US.
APRIL
WO, WO, PAIGE SLOW DOWN, SO WHO SAID
THOSE PLANS HAVE CHANGED HAS SEAN CHANGED
IS MIND.
PAIGE
I GUESS SO, HE TOOK THE JOB FOR THE
DEA AND NOT THE JOB WITH YOUR
HUSBANDS FIRM AND I AM NOT GOING TO
BE WAITING UP ALL NIGHT FOR A PHONE
CALL TELLING ME THAT MY HUSBAND HAS
BEEN KILLED AND LIVING PAYCHECK TO PAYCHECK
ON A DEAD COP’S PENSION, I’VE WORKED TO HARD
FOR THAT.
APRIL
WELL WHAT DOES SEAN HAVE TO SAY ABOUT
THIS?
PAIGE
THAT HE WANTS TO DO WHAT HE WANTS TO
DO, AND IF I CAN NOT EXCEPT HIM FOR
HIS SO CALLED CAREER.
(NEIL WALKS INTO THE ROOM AS HE HEARS PAIGE CRYING)
NEIL
I TRIED TO TALK TO THAT BOY PAIGE, WHAT
HE’S DOING IS FUCKING UP HIS LIFE.
PAIGE
AND MIND IN THE PROCESS.
NEIL
WELL I AM NOT GOING TO STAND FOR THIS
SHIT; IT’S GOING TO CHANGE, WHAT I WORKED
FOR WILL NOT BE FOR NOTHING.
APRIL
YOU GUYS (BEAT) AREN’T WE MISSING THE
BIG PICTURE (BEAT) SEAN AND WHAT HE
WANTS.
NEIL
THAT’S BULLSHIT APRIL, I’M NOT GOING
TO HAVE MY SON RUNNING AROUND HERE
PLAYING COPS AND ROBBERS RISKING HIS
LIFE FOR SOME LOW LIFE DOPE DEALER, AND
STREET THUGS, WHO WOULD KILL HIM IN A INSTANT
SHIT IF THEY WANT TO KILL THEMSELVES
LET’S THEM DO IT, I DON’T NEED MY SON
CAUGHT UP IN THAT STREET BULLSHIT, WHO IN
THERE RIGHT MIND WOULD GIVE UP A FORTUNE
TO BE A COP, DOESN’T MAKE ANY SINCE.
APRIL
LET ME MAKE SURE I’M HEARING WHAT I’M
HEARING, BOTH OF YOU FEEL THAT SEAN
SHOULD LIVE HIS LIFE FOR YOU TWO AND
NOT HIS OWN LIFE (BEAT) IS THAT WHAT
I’M HEARING.
NEIL
I HAVE WORKED ALL MY LIFE TO ASSURE
THAT SEAN HAS A GOOD LIFE, AND I’M
NOT GOING TO LET HIM JUST THROW IT
AWAY, I HAVE A TRADITION TO UPHOLD.
APRIL
SO YOU ARE GOING TO LIVE HIS LIFE FOR
HIM, I THINK YOU BOTH SHOULD LEAVE
HIM ALONE AND PAIGE IF YOU WANT TO BE
A REAL WOMAN TO HIM (BEAT).
(APRIL GETS UP AND HEADS OUT THE ROOM)
APRIL
THEN YOU SHOULD SUPPORT HIM, (BEAT)
NO MATTER WHAT HE WANTS TO DO?
NEIL
APRIL YOU SHOULD SHUT THE FUCK UP,
YOU DON’T KNOW WHAT YOU’RE TALKING
ABOUT; IT’S NOT YOUR CONCERN.
(APRIL GETS UP TO WALK OUT OF THE ROOM)
APRIL
WHAT EVER NEIL.
PAIGE
I’M SORRY MR. LAWRENCE I DID NOT MEAN
TO CAUSE ANY PROBLEMS, IT’S JUST I
LOVE SEAN VERY MUCH AND HE IS NOT
DOING THE RIGHT THING.
NEIL
YOU DAMN RIGHT HE’S NOT, HE AND I HAD
THIS CONVERSATION LAST WEEK AND HE IS
STILL FIXED ON FUCKING UP HIS LIFE.
PAIGE
WELL I AM GOING TO CALL HIM SO WE
HAVE DINNER, AND I WILL PUT A STOP TO
THIS.
NEIL
AND HOW ARE YOU GOING TO DO THAT,
SHIT IF YOU NEED SOME HELP JUST LET
ME KNOW, I’LL DO WHAT EVER IT TAKES
TO PROTECT MY SON AND MAKE SURE HE’S
THINKING STRAIGHT.
PAIGE
THANK YOU SIR, I FEEL THE SAME I WILL
DO WHAT EVER IT TAKES TO MAKE HIM
UNDERSTAND, IT’S JUST I LOVE HIM SO MUCH.
PAIGE GETS UP AND HEADS TO THE DOOR, LAWRENCE WALKS HER OVER TO THE DOOR, APRIL IS STANDING IN THE DINNING ROOM WITH SOME PAPERS IN HER HAND, SHE IS GLARING AT PAIGE.
PAIGE
THANKS FOR EVERYTHING SIR, I’LL BE IN
TOUCH, BYE MRS. LAWRENCE.
NEIL
LIKE I SAID, ANYTHING YOU NEED,
ANYTHING.
NEIL AND PAIGE HUG EACH OTHER. PAIGE STARTS OVER TO APRIL TO GET A HUG, APRIL TURNS AND WALKS AWAY.
(SHE WALKS OUT THE DOOR)
APRIL
YOU’RE AN ASSHOLE.
CUT TO: PAIGE IS PULLING UP IN THE STATION PARKING LOT; SHE IS LOOKING IN THE MIRROR PUTTING ON SOME LIPSTICK, AS SHE IS PUTTING ON THE MAKEUP SHE NOTICES GINA AND SEAN WALKING TO THE CAR LAUGHING. SHE SLUMPS DOWN IN THE SEAT, NOT TO BE NOTICED, SHE WATCHES SEAN OPEN THE DOOR FOR GINA, THEY GET IN THE CAR AND DRIVE OFF. PAIGE STARTS THE CAR AND FOLLOWS SEAN AND GINA. SEAN AND GINA PULL IN THE DRIVE WAY PAIGE STOPS HER CAR ON THE STREET AND WATCHES GINA AND SEAN GO INTO THE HOUSE.
PAIGE
HE IS NOT GOING TO JUST FUCK OVER ME.
PAIGE STARTS THE CAR AND SPEEDS OFF.
DISSOLVE TO: GINA’S HOUSE NIGHT INT;
GINA PUTS HER KEYS INTO THE LOCK AND OPENS THE DOOR, HER AND SEAN WALK IN THE APARTMENT GINA THROWS HER KEYS ON THE TABLE.
GINA
CAN I GET YOU SOMETHING SEAN?
SEAN
HOW ABOUT A GLASS OF WINE, IF YOU
HAVE SOME.
GINA
SURE, THAT’S PERFECT, IT CAN KEEP YOU
OCCUPIED WHILE I LOOK FOR MY SISTERS
CD’S.
SHE GOES TO THE WINE RACK AND PULLS A BOTTLE FROM THE RACK, GETS THE BOTTLE OPENER AND STARTS TO OPEN THE BOTTLE.
SEAN
I TAKE IT YOU MUST BE A WINE EXPERT,
WITH SUCH A NICE COLLECTION.
GINA
NO NOT REALLY, I JUST ENJOY GOOD
WINE.
(SHE POURS SEAN A GLASS AND WALKS IT OVER TO HIM)
SEAN
I FEEL SO SPECIAL, YOU ARE SERVING
ME.
GINA
SERVING YOU, SERVING YOU, SEE SEAN
THAT’S THE PROBLEM WITH YOU MEN, IT’S
ALL ABOUT WHAT US WOMEN CAN DO FOR
YOU NO GOOD MEN AND..
SEAN
OK GINA, JUST KIDDING, WELL SINCE YOU
THINK ALL GUYS ARE THE SAME.
SEAN GETS UP AND WALKS INTO THE KITCHEN AND GETS CLOSE TO GINA
GINA
BACK UP LOVER BOY.
SEAN
I’LL TELL YOU WHAT; (BEAT) I WILL
PROVE TO YOU THAT I AM DIFFERENT.
GINA
AND HOW IS THAT?
SEAN
ONE DAY, AND UNDERSTAND THIS IS JUST
A SUGGESTION I WILL SERVE
YOU, I WILL COOK YOU DINNER, PUT
ON A WHITE SHIRT AND BLACK TIE PUT A
TOWEL OVER MY ARM AND SERVE YOU.
(GINA LAUGHS)
SEAN
OH YOU FIND THAT FUNNY?
GINA
OH HELL YES, THAT WILL BE THE DAY.
YOU’RE COOKING.
(SHE LAUGHS AGAIN)
SEAN
I’LL TELL YOU WHAT, HOW MANY TIME DOS
WE HAVE, BECAUSE I CAN DO IT NOW.
GINA
NO THAT’S QUITE ALL RIGHT I DO WANT
TO LIVE ANOTHER DAY.
SEAN
AH SHIT GINA THAT’S COLD.
(THEY LAUGH AS GINA IS STILL LOOKING FOR THE CD’S)
GINA
THIS IS CRAZY, I CAN NOT FIND THOSE
CD’S, MY SISTER IS GOING TO KILL ME.
(GINA LOOKS AT HER WATCH AND THE PHONE RINGS, SHE ANSWERS)
GINA
GIRL I AM GETTING YOUR CD’S NOW, SO
DON’T PRESS ME (BEAT) HERE I
AM STRESSING TO FIND YOUR CD’S AND
YOU CAME AND GOT THEM THIS MORNING
WHAT ARE YOU TRYING TO DO AVOID ME, I HAVE NOT
SEEN YOU IN A WHILE, (BEAT) WELL YOU COULD HAVE TOLD ME, (BEAT) OK (BEAT) LETS GET TOGETHER
LATER, LOVE YOU BYE.
(GINA HANGS UP THE PHONE)
SEAN
EVERYTHING OK?
GINA
YEA, WELL SINCE SHE GOT HER CD’S THIS
MORNING, I DON’T HAVE TO RUSH ARE YOU IN A
HURRY?
SEAN
NO, I’M NOT TO EXCITED ABOUT GOING HOME AND
DOING NOTHING.
GINA
SO YOU WOULDN’T MIND IF I TAKE A
SHOWER, IT WILL BE JUST A FEW MINUTES
THEN I’LL DROP YOU OFF.
SEAN
IF I CAN GET ANOTHER GLASS OF WINE, I
MIGHT THINK ABOUT IT.
(GINA GRABS THE BOTTLE AND WALKS OVER TO SEAN)
GINA
YOU CAN HAVE THE WHOLE BOTTLE IF THAT
WILL KEEP YOU QUIET.
GINA GIVES SEAN THE BOTTLE AND HEADS TO THE SHOWER, SEAN GETS UP AND GOES INTO THE KITCHEN AND LOOKS IN THE FRIDGE, HE CLOSES THE FRIDGE AND PEAKS AROUND TO SEE IF GINA
IS COMING, HE SPOTS AN APRON HANGING AND PUTS IT ON.
CUT TO: MILKS HOUSE, THERE ARE LIMO'S PULLING UP TO THE HOUSE, PEOPLE ARE COMING IN AND
OUT OF THE HOUSE, PAN TO INSIDE OF HOUSE
INT: NIGHT; INSIDE HOUSE
PEOPLE ARE PARTYING EVERYWHERE, THERE ARE WAITERS, A BAND PLAYING MUSIC, AND WE CAN SEE A FEW PEOPLE SITTING WITH THEIR HEADS OVER THE TABLE PUTTING COKE UP THERE NOSE.
CUT TO: INT BEDROOM THERE ARE SEVERAL MEN SITTING COUNTING MONEY, USING A MONEY COUNTER THERE IS MONEY EVERYWHERE, THREE MEN WITH SUITS ARE STANDING UP YOU CAN SEE THE GUNS FROM UNDER THEIR COATS. MATT IS STUFFING DOPE BAGS INTO A CASE
MATT
THIS IS TEN KILOS, YOU GET THE OTHER
TEN WHEN WE GET THE REST OF THE
MONEY.
RAY
I ASKED FOR FIFTEEN, WHAT IS THE
FUCKING PROBLEM.
MATT
I WAS TOLD TEN, SO TEN IS WHAT YOU
GET.
RAY
A I DON’T HAVE TIME FOR THIS PUNK
ASS SHIT EITHER WE DO BUSINESS OR
FUCK IT.
MATT
WELL I GUESS WE’LL SAY (MATT STARTS
TO TAKE THE DOPE OUT THE CASE)
FUCK IT!
RAY
I DID NOT COME ALL THIS WAY FOR THIS
BULLSHIT HE GETS OUT HIS CELL PHONE AND STARTS
DIAL.
RAY (ON THE CELL PHONE)
THIS IS RAY, WHAT KIND OF SHIT ARE
YOU TRYING TO PULL, (BEAT) I NEED
FIFTEEN, AND HE’S ONLY TALKING TEN,
WHAT THE FUCK (BEAT) WELL A (BEAT)
BUT THIS (BEAT) SORRY SIR.
(HE HANGS UP THE PHONE)
RAY
THIS IS BULLSHIT, THE NEXT TIME I
WANT WHAT I ASK FOR.
MATT
NEXT TIME YOU GET WHAT YOU PAY FOR.
(THEY LOOK AT EACH OTHER WITH A LONG STARE)
ADAM
BOYS, BOYS, HEY NO NEED FOR THE STARE
DOWN WE ALL ARE GOING TO MAKE LOTS OF
MONEY LETS PARTY.
THEY CONTINUE TO LOOK AT EACH OTHER; ADAM WALKS OVER TO MATT AND PUTS HIS ARMS AROUND
ADAM
A FUCK THIS STUPID SHIT, LET’S GO GET SOME WOMEN AND HAVE SOME FUN.
MATT
YOU’RE RIGHT, PACKAGE HIS SHIT UP.
THE MEN PUT THE DOPE BACK IN THE CASES, ADAM WALKS OVER TO RAY AND PUTS HIS HAND OUT, AND THEY SHAKE HANDS.
ADAM
THANKS WE WILL SEE YOU IN TWO DAYS.
THEY ARE WALKING OUT THE DOOR ADAM HAS HIS ARM AROUND ONE OF THE BOYS
ADAM
NOT BAD FOR A DAYS PAY HA.
MATT
THIS IS THE SHIT; WE ARE MOVING FIVE
KEYS A WEEK AT THIS RATE WE WILL CONTROL THE
ENTIRE CITY.
ADAM
THAT’S THE WHOLE IDEA.
(THEY SHAKE HANDS AND LAUGH)
CUT TO: GINA’S HOUSE INT NIGHT
SEAN IS WORKING VERY HARD IN THE KITCHEN; HE IS TAKING SOME PASTA TO THE SINK TO WASH IT. HE PUTS IT ON A PLATE; HE GOES OVER TO THE STOVE AND TASTES SOME OF THE SAUCE THAT IS COOKING ON THE STOVE. HE TASTE THE SAUCE AND GIVE THE THUMBS UP, HE HEARS GINA COMING OUT OF THE
BATHROOM AND RUSHES TO SET THE TABLE, HE IS IN THE PROCESS OF LIGHTING THE CANDLES AS GINA COMES OUT.
GINA
AND WHAT IS THIS SEAN?
SEAN
I THOUGHT I WOULD TAKE THE PLEASURE OF FIXING
US A LITTLE SOMETHING, AND TO SHOW
YOU THAT I WON’T KILL YOU (SEAN WALKS
OVER TO GINA CHAIR AND PULLS IT AWAY
FROM THE TABLE)
GINA
WELL SINCE YOU WENT TO SO MUCH
TROUBLE AND BEING THAT YOU ARE
EATING WITH ME; I CAN TAKE THAT CHANCE.
THEY BOTH SIT DOWN AND START TO EAT
CUT TO: INT., NIGHT: DOPE HOUSE, MEN ARE MOVING FAST PUTTING DOPE INTO LARGE DUFFEL BAGS
CARL
HURRY THE HELL UP, WE HAVE TO GET
THIS DONE, GET THE SHIT PACKED AND
PUT INTO THE VANS.
(PAUL COMES INTO THE ROOM AND WALKS UP TO CARL)
PAUL
I WANT EXTRA SECURITY ON THIS ONE, WE HAVE LOST TWO SHIPMENTS AND IT CAN
NOT HAPPEN AGAIN, WE ARE LOSING
MONEY AT A STUPID RATE, AND THE
BOTTOM LINE IS IF WE LOOSE ANOTHER
SHIPMENT, YOU WILL BE TAKEN OUT,
PERIOD.
DISSOLVE TO BACK ALLEY, THERE IS A VANS PARKED THE MEN ARE LOADING THE VAN QUICKLY
PAUL COMES OUT TO THE VAN; HE TAKES ONE OF THE MEN AND PUTS HIS ARM AROUND HIM.
PAUL
LISTEN, THIS IS VERY IMPORTANT TO OUR
OPERATION, YOU DELIVER THIS AND
THERE’S A BONUS FOR YOU I DON’T CARE
WHAT IT TAKES.
PAUL PATS THE MAN ON THE BACK AND THEY WALK TO THE VAN
NIGHT.
GINA AND SEAN ARE JUST FINISHING UP DINNER; THERE ARE A COUPLE BOTTLES OF WINE ON THE TABLE SEAN IS WIPING HIS MOUTH.
GINA
WELL L MUST ADMIT, THE DINNER WAS
VERY NICE, AND…
SEAN
AND YOU IT DIDN’T KILL YOU (BEAT) OR
ME…
THEY LAUGH, A SONG COMES ON THE RADIO GINA JUMPS UP AND STARTS TO DANCE
GINA
OH YEA, THAT’S MY SONG.
GINA IS DANCING HAVING A GOOD TIME; SEAN STARTS TO CLEAN UP THE TABLE LOOKING LAUGHING AT GINA.
GINA
AND HE CLEANS TO (BEAT) WOO I JUST
MIGHT KEEP YOU.
SEAN
YEA SURE USE ME AND ABUSE ME.
(THEY BOTH LAUGH, A SLOW SONG COMES ON THE RADIO)
SEAN
NOW THIS IS MY KIND OF MUSIC, WOULD
YOU LIKE TO DANCE?
GINA
WHY SURE SEAN.
SEAN GRABS HER HAND AND THEY WALK TO THE MIDDLE OF THE FLOOR AND START TO DANCE.
AS THE SONG GOES ON THEY GET CLOSER AND CLOSER TO EACH OTHER, LOOKING INTO EACH OTHER’S EYES
GINA
I THINK WE NEED TO STOP THIS RIGHT
NOW.
(GINA PULLS AWAY)
SEAN
I UNDERSTAND, DANCING IS JUST NOT
RIGHT.
GINA
NO IT’S NOT THAT, IT’S JUST THAT I
FEEL.
SEAN
GOOD THINGS ARE RIGHT.
THEY LOOK AT EACH OTHER, SEAN MOVES CLOSER TO GINA, THERE LIPS ARE GETTING CLOSER AND CLOSER, BUT THEY BACK AWAY, THEY CONTINUE TO DANCE, THEY STOP AND LOOK AT EACH OTHER AND BEGIN TO KISS SLOWLY THEY STOP AND PULL AWAY AND START AGAIN.
PAN TO: INT: BEDROOM
THE ROOM IS VERY DARK. WE SEE SHADOW OF GINA AND SEAN KISSING WHILE WALKING INTO THE ROOM. SEAN LAYS GINA DOWN ON THE BED. THERE IS MUSIC PLAYING. GINA GETS ON TOP OF SEAN AND STRADDLES HIS CHEST; HER BREASTS ARE IN HIS FACE. HE PUTS HIS HANDS ON HER BREAST. GINA LEANS IN AND BEGINS TO KISS SEAN.
THE CAMERA IS BEHIND AND ON THE SIDE OF THEM. GINA LEANS OVER AND PUTS HER TONGUE IN HIS MOUTH. HE KISSES HER BACK. GINA TAKES SEAN’S HANDS AND PUTS THEM ABOVE HIS HEAD. GINA POSITIONS HERSELF AND USES HER HAND TO PUT HIM INSIDE OF HER. SHE ARCHES HER BACK, HER HIPS BEGIN TO GRIND HER HEAD TILTS BACK, AND SHE STARTS TO MOAN.
MUSIC!
CUT TO: BACK ALLEY THE VAN IS READY TO MOVE, THEY DRIVE OFF AND WE SEE A SERIES OF SHOTS OF THE VAN TRAVELING.
CUT TO: INT. VAN THE DRIVER OF THE VAN LIGHTS UP A CIGARETTE
DRIVER
AFTER THE DROP, I GOT A SURPRISE FOR
YOU, MICHELLE AND SHERRY ARE COMING OVER FOR
SOME DRINKS AND…
PASSENGER
AND SHE WILL NOT GIVE ME THE TIME OF
DAY, I DON’T KNOW WHAT THE FUCK HER PROBLEM IS WITH ME,
DRIVER
YOU EVER THOUGHT ABOUT JUST BEING
NICE TO HER.
PASSENGER
FUCK THAT, THIS IS ME, AND IF SHE DON’T
LIKE THEM SHE CAN.
DRIVER
OK COOL, I JUST ASKED.
THE TWO CONTINUE TO DRIVE, THEY COME TO A TOW TRUCK STOPPED PICKING UP A CAR THE PASSENGER KEEP TALKING
DRIVER
SHIT, HURRY THE FUCK UP.
(HE STARTS TO BLOW THE HORN)
DRIVER
WE DO NOT NEED THIS SHIT RIGHT NOW,
WE CAN’T BE LATE.
HE BLOW THE HORN, SUDDENLY TWO MEN APPEAR AT BOTH WINDOWS WITH SHOTGUNS, THE MAN TAKES HIS SHOTGUN A HITS THE PASSENGER WINDOW AND BREAKS IT, TWO MORE MEN RUSH THE VAN
THEY PULL OUT THE DRIVER AND THE PASSENGER, ONE MAN GOES TO THE BACK OF THE VAN AND OPENS THE DOOR, A MAN IN THE BACK COMES OUT WITH A SEMI-AUTOMATIC AND STARTS TO FIRE AT THE MAN WHO OPEN THE DOOR HITTING HIM SEVERAL TIMES IN THE CHEST. HE JUMPS OUT OF THE VAN AND GOES TO THE LEFT SIDE PEEKING AROUND, THE MAN ON THE DRIVERS SIDE COMES AROUND THE VAN AND GETS BEHIND THE MAN WITH THE SEMI, HE PUTS THE GUN TO HIS HEAD AND FIRES. HE WALKS OVER TO THE MAN LAYING SHOT AND KICKS HIM OUT THE WAY
BIG ROY
ROOKIE
THE MAN MOTIONS TO A CAR THAT IS PARKED WITH THE LIGHT OFF, TO COME FORWARD, THE CAR PULLS UP AND SEVERAL MEN GET OUT OF THE CAR.
BIG ROY
GET THIS VAN UNLOADED AND LET’S GET
THE HELL OUT OF HERE.
THE MEN START TO UNLOAD THE VAN; WE CAN HEAR SIRENS IN THE BACKGROUND
BIG ROY
HURRY THE FUCK UP, COME ON MOVE.
SUDDENLY A POLICE CAR COMES UP THE STREET, BIG ROY SPOTS THE POLICE CAR, HE GOES INTO THE MIDDLE OF THE STREET, RAISES HIS SEMI AND STARTS TO FIRE CUTTING THE CAR IN HALF, HITTING THE WINDOWS SHATTERING THEM, THE CAR STOPS IN ITS TRACKS.
PAN TO INSIDE OF POLICE CAR, WE CAN SEE THE GLASS BREAKING POLICE 1 ARE ON THE RADIO
POLICE 1
THIS IS CAR 561 (BEAT) WE ARE TAKING
HEAVY FIRE FROM SEMI AUTOMATIC
WEAPONS GET ME SOME BACK UP. NOW!
POLICE 2
SHIT GET OUT OF THE CAR, GET OUT
BOTH OFFICERS GET OUT OF THE CAR AND TAKE COVER BEHIND ANOTHER CAR, AND RETURN FIRE BIG ROY IS STILL FIRING AT THE OFFICERS.
JOE
THE CAR IS LOADED LETS RIDE.
THE CAR PULLS BY MAN 12 HE STOPS FIRING AND GETS INTO THE CAR, HE LEANS OUT THE WINDOW AND CONTINUES TO FIRE, LAUGHING. THE CAR SPEEDS OFF
PAN TO: EXT. NIGHT THE TWO OFFICERS ARE STILL TAKING COVER
POLICE 2
SHIT, SHIT, WHAT THE FUCK.
POLICE 1
DID YOU GET A DESCRIPTION?
HE LOOKS AT THE OFFICER WITH A LONG LOOK ON HIS FACE
POLICE 2
AH YEA SURE I DID, I WAS LOOKING
WHILE HE WAS TRYING TO BLOW MY BRAINS
OUT, NO I DIDN’T GET A DESCRIPTION.
DID YOU?
CUT TO: INT. MORNING WE CAN SEE THE LIGHT COMING THROUGH THE WINDOW, GINA IS LAYING IN THE BED SHE LEANS UP AND LOOKS OUT THE WINDOW COVERING HER EYES FROM THE SUN AND LAYS BACK DOWN.
GINA
SHIT GIRL, WHAT ARE YOU THINKING.
SHE LIES BACK DOWN. SEAN COMES IN THE ROOM WITH A TRAY WITH BREAKFAST AND A LONG STEM ROSE, HE GOES OVER TO THE BED, GINA PULLS THE COVER OVER HER HEAD.
SEAN
ARE WE SHY THIS MORNING, MISS BURKE.
GINA
VERY FUNNY SEAN.
SEAN
WELL SINCE WE ARE SO SHY THIS MORNING
I SHOULD JUST TAKE THIS BREAKFAST
BACK.
GINA PULLS THE COVER FROM OVER HER HEAD
GINA
NOT THAT SHY, (BEAT) I’M STARVING.
SEAN IS SITTING ON THE BED, HE TAKES A STRAWBERRY AND PUTS IT TO GINA MOUTH, SHE PULLS BACK AND THEN SHE TAKES THE STRAWBERRY FROM SEAN HAND.
GINA
SEAN WE NEED TO TALK ABOUT LAST NIGHT.
SEAN
GINA PLEASE, (BEAT) PLEASE DO NOT SAY
THIS IS WRONG, WE JUST TALKED ABOUT
THIS. I AM NOT WRONG, WE JUST TALKED
ABOUT THIS. I AM NOT GOING TO
APOLOGIZE FOR WHAT HAPPEN, I HAVE
VERY DEEP FEELING FOR YOU AND LAST
NIGHT WAS A WAY FOR BOTH OF
US TO EXPRESS HOW WE FEEL.
(HE GETS UP AND STARTS OUT OF THE ROOM)
SEAN
I WILL NEVER HIDE WHAT I FEEL, I’M
SURE THERE’S THE WHOLE BLACK AND
WHITE ISSUE, THE JOB ISSUES AND JUST
PLAIN I’M TRYING TO PROTECT MY
FEELING TYPE OF THING AS WELL.
GINA
SEAN PLEASE SLOW DOWN, CAN I GET A
WORD IN EDGE WISE? HAVE A SEAT.
(SEAN SITS ON THE BED)
GINA
I HAD A WONDERFUL TIME LAST NIGHT.
(SHE LEANS OVER TO KISS HIM ON THE CHEEK)
GINA
I HAVE NOT BEEN INVOLVED WITH ANYONE
IN SUCH A LONG TIME, WITH WORK AND
WHAT I DO IT’S HARD FOR SOMEONE TO
UNDERSTAND. THIS IS THE FIRST TIME
THAT I HAVE HAD FEELINGS FOR SOMEONE
IN A LONG TIME AND I TRY TO PROTECT
MYSELF.
SEAN
SO WHAT ARE YOU TRYING TO SAY GINA?
THAT LAST NIGHT WAS A MISTAKE AND
GINA
AND NO THAT’S NOT WHAT I’M TRYING TO SAY.
(SHE GETS UP OFF THE BED AND WALKS TO THE BATHROOM)
GINA
I’M SAYING I ENJOY YOUR COMPANY AND
IF WE ARE TO SEE EACH OTHER WE NEED
TO BE CAREFUL.
SEAN
GINA I’M NOT GOING TO HIDE, I DON’T
GIVE A SHIT WHAT.
GINA
IT’S NOT ABOUT HIDING; IT’S ABOUT
WHAT WE DO AND HOW WE DO IT I HAVE
SURVIVED THIS FAR BY NOT HAVING TIES
THAT CAN COME BACK TO HAUNT ME, SO I
THINK WE SHOULD JUST TAKE IT SLOW AND
SEAN
SLOW IS GOOD ENOUGH FOR ME.
(THEY KISS EACH OTHER)
GINA
I NEED TO GET DRESSED, I THINK YOU SHOULD
DO THE SAME.
GINA GOES INTO THE BATHROOM; SEAN TURNS ON THE RADIO AND STARTS TO SING AS HE IS GETTING DRESSED. AS HE IS DANCING HIS CELL PHONE RINGS
(TALKING VERY LOW)
SEAN
SEAN HERE (BEAT) WELL GOOD MORNING TO
YOU PAIGE (2 BEATS) WHAT THE HELL YOU
MEAN WHERE WAS I LAST NIGHT (BEAT) PAIGE
YOU NEED TO LISTEN, WHAT DID I SAY
BEFORE, (BEAT) PAIGE I’M MOVING ON
WE NEED TO TALK.
HE MOVES THE PHONE FROM HIS EAR AND THERE IS YELLING ON THE OTHER END
SEAN
LISTEN PAIGE; I AM NOT GOING TO DO
THIS RIGHT NOW.
GINA COMES OUT OF THE BATHROOM SINGING AND DANCING; SHE WALKS INTO THE LIVING ROOM
GINA
THAT’S MY SONG, SEAN TURN THAT UP.
SHE WALKS IN THE ROOM AND SEES SEAN ON THE PHONE, SHE COVERS HER MOUTH AND WALKS OUT THE ROOM, SHE TURNS AND WHISPERS TO SEAN
GINA
SORRY.
GINA GOES BACK TO GET DRESSED; SEAN IS WALKING AROUND THE ROOM AT A FAST PACE
VOICE
WHO THE HELL IS THAT SEAN, WHAT THE
FUCK YOU THINK YOU ARE DOING. YOU ARE NOT
GOING TO GET AWAY WITH THIS BULLSHIT.
SEAN
WHAT DID I JUST SAY PAIGE I TOLD YOU
WHAT I WAS LOOKING FOR AND (BEAT).
(THE PHONE HANGS UP)
SEAN
DAMN, I CAN NOT BELIEVE THIS SHIT.
(GINA COMES IN THE ROOM)
GINA
WHAT’S WRONG SEAN?
SEAN
THE SAME BULLSHIT.
GINA
IS EVERYTHING COOL?
SEAN
ACTUALLY GINA, LIFE IS GOOD, AS LONG
AS YOU STAY IN IT.
GINA
YOU SAY THAT NOW.
HE WALKS OVER TO GINA AND GIVES HER A KISS, GINA DROPS HER BAG AND THEY CONTINUE TO KISS.
GINA
WE NEED TO GET TO WORK, AND YOU NEED
TO GET YOUR CAR AND A CHANCE OF CLOTHS.
CUT TO: MORNING POLICE HEADQUARTERS
THERE IS A CROWD OF PEOPLE STANDING ON THE STEPS OF THE
POLICE STATION, THE PRESS, AND A FEW HIGH RANKING OFFICIALS. THE MAYOR WALKS UP TO THE PODIUM AND STARTS TO ADDRESS THE MEDIA. GINA COMES RUNNING TO HER SEAT SHE IS LATE, SHE SITS NEXT TO FRANK, HE LOOKS AT HER WITH A STRANGE LOOK.
MAYOR
THIS IS A VERY SPECIAL MOMENT FOR OUR
DEPARTMENT WE WOULD LIKE TO COMMEND
AGENT GINA BURKE FOR HER BRAVERY IN
THE LINE OF DUTY AND BRINGING THOSE
IN RESPONSIBLE FOR THE FIVES DEATHS
AND THE SEIZURE OF TWO TONS OF
COCAINE. FROM MYSELF AND THE PEOPLE
OF SAN FRANCISCO WE THANK YOU AND
PRESENT YOU WITH THIS MEDAL OF VALOR,
MISS GINA BURKE.
GINA WALKS ON TO THE STEPS, THE MAYOR DRAPES THE MEDAL AROUND HER NECK, AND THEY SHAKE HANDS, IN THE CROWD KIM (GINA SISTER) IS STANDING LOOKING VERY PROUD; HE CLAPS LOUDER THAN ANYONE DOES. THE CAMERA PANS BACK TO THE STEPS WE SEE THE CAPT. COME OUT OF THE BUILDING AND WHISPERS
SOMETHING TO GINA, IN THE BACK GROUND WE CAN SEE
CAPTAIN
GINA WHAT THE HELL ARE YOU DOING, YOU
CAN’T BE UP HERE THERE NO TELLING WHO
IS OUT THERE, YOU ARE ABOUT TO BLOW
YOU’RE COVER, IF YOU HAVEN’T ALREADY,
LET’S GO
THE CAPT. AND GINA WAVE TO THE CROWD TURN AND WALK AWAY, PAN TO A MAN IN THE CROWD WITH A CAMERA, HE IS TAKING PICTURES
OF GINA, KIM GLANCES AT THE MAN, THEY LOCK EYES THE MAN SMILES AND LEAVES, THE CAMERA PANS THROUGH THE CROWD AND SPOTS PAIGE LOOKING AT GINA.
DISSOLVE TO: INT POLICE HEADQUARTERS
GINA AND CAPT. ARE WALKING INTO AN OFFICE WITH A FAST PACE THE CAPT. GOES BEHIND HIS DESK
CAPTAIN
SHUT THE DOOR AND SIT DOWN
GINA
DAM CAPT. WHAT’S THE DEAL
CAPTAIN
WHAT THE HELL ARE YOU DOING?
GINA
CAPT. LISTEN
CAPTAIN
NO GINA YOU LISTEN (GETTING UP FROM
CHAIR) YOU ARE THE BEST AGENT THAT I
HAVE AND NOT ONLY THAT YOUR ARE A
GOOD FRIEND, BUT GINA YOU ARE A
UNDERCOVER DEA AGENT LET ME REPEAT
UNDERCOVER GOING ON THOSE STEPS
COULD BE DANGEROUS AND
GINA
OK CAPT. I GET YOUR POINT HOWEVER, I
DID NOT KNOW UNTIL LATE LAST NIGHT
AND I INSTRUCTED THE MAYOR THAT WAS
NOT A GOOD IDEA HE TOLD ME I HAD NO
CHOICE, SO I WENT.
CAPTAIN
I’LL SPEAK WITH THE MAYOR, SO GINA
NEXT TIME JUST LET ME KNOW.
GINA
NO PROBLEM CAPTAIN.
CAPTAIN
SO I SEE YOU GUYS HAD TWO MORE BUST
AND THE LAST ONE NETTED TWO TONS, DAM
GINA EXCELLENT JOB KEEP UP THE GOOD
WORK.
THE CAPT. WALKS OVER TO THE FILES AND PULLS OUT A FOLDER, HE WALKS BACK TO HIS DESK AND GIVES THE FILE TO GINA, SHE OPENS IT AND SEES A PICTURE OF MILK
GINA
WHO THE HELL IS THIS?
(GINA RECOGNIZE HIM FROM THE CROWD)
CAPTAIN
THAT IS MR. BROWN.
GINA
AND.
CAPTAIN
MR. BROWN IS OUR MAN, WE BELIEVE HE
IS BEHIND THE DOPE RAIDS THAT IS
LEAVING ALL THESE PEOPLE DEAD.
GINA
WELL YOU WANT ME TO PICK HIM UP OR
WHAT?
CAPTAIN
NO THAT’S THE PROBLEM, WE HAVE NO
EVIDENCE SO I WANT THE REST OF YOUR
TEAM TO FOCUS ON STOPPING THIS SHIT
AND I WANT YOU AND AGENT LAWRENCE TO
STAKEOUT
CAPTAIN (CONTINUED)
MR. BROWN AND FIND A REASON TO BRING
HIM IN (BEAT) EVEN IF IT IS JUST TO
RATTLE HIS CAGE, YOU CAN FIND HIM AT
WIRED FOR SOUND IT’S A NIGHTCLUB
BY THE WATERFRONT, HE OWNS IT OR HE
MANAGES IT.
GINA
WELL IF HE MANAGES THE CLUB WHO OWNS
IT?
CAPTAIN
IF WE FIND OUT WHO OWNS IT, THAT
MIGHT BE OUR SO LET’S SEE WHAT WE CAN
DIG UP.
GINA
YOU GOT IT CAPT.
(GINA GRABS THE FILE AND WALKS OUT THE DOOR.)
CUT TO: INT; SEAN HOUSE, SEAN IS PUTTING HIS KEYS INTO THE DOOR, HE STEPS IN THE APARTMENT AND PAIGE IS SITTING ON THE FLOOR.
SEAN
WHAT THE HELL ARE YOU DOING HERE?
SHE WALKS UP TO SEAN AND SLAPS HIM ON HIS FACE, HE TURNS, AND SHE TRIES TO HIT HIM AGAIN
HE GRABS HER HAND.
SEAN
YOU NEED TO CHILL, AND KEEP YOUR
HANDS TO YOUR SELF.
(SEAN LETS HER ARM GO AND GOES TO THE CLOSET TO GET HIS GEAR)
PAIGE
I DON’T KNOW WHAT KIND OF SHIT YOU
PAIGE (CONTINUED)
ARE TRYING TO PULL, AND WHO IS THIS?
BITCH YOU’RE SEEING.
SEAN
FIRST OF ALL, I DON’T ANSWER TO YOU;
SECOND SHE IS NOT A BITCH THIRD, IF
YOU WOULD HAVE LISTEN TO WHAT I
SAID WE WOULD NOT BE HAVING THIS
CONVERSATION, I TOLD YOU I WANTED
SOMEONE WHO WOULD SUPPORT ME NO
MATTER WHAT I DO, AND I WOULD DO THE SAME
PAIGE
SO YOU ARE GOING TO THROW AWAY ALL WE
HAVE BUILT FOR SOME ONE-NIGHT STAND,
OR FOR SOME BITCH YOU DON’T EVEN
KNOW.
SEAN
YOU KNOW WHAT?
(SEAN STARTS TO GET PAIGE PURSE AND COAT)
SEAN
THIS IS OVER, YOU NEED TO GET YOUR
SHIT AND GET OUT, AND I HAVE TO BE AT
WORK IN AN HOUR.
PAIGE
I CAN’T BELIEVE HOW YOU HAVE CHANGED,
EVER SINCE YOU WENT TO THAT STUPID
ASS DEA, YOU HAVE CHANGED
AND YOU NEED TO LOOK AT WHAT IS GOOD
FOR YOU AND GET YOUR SHIT TOGETHER.
SEAN
AND I TAKE IT THAT MEANS YOU.
PAIGE
YOU DAWN RIGHT, I HAVE PUT THE TIME
IN AND I DESERVE WHAT IS MINE.
SEAN
PAIGE IT IS NOT GOING TO HAPPEN, I AM
VERY HAPPY WITH GINA AND IF IT WAS
UP TO ME I WOULD MARRY HER.
PAIGE
YOU ARE SO FULL OF SHIT, I CAN’T
BELIEVE YOU.
SHE GRABS HER STUFF AND STARTS TO GO OUT OF THE DOOR; SHE STOPS AND TURNS TO SEAN
PAIGE
THIS IS NOT OVER BY FAR; I WILL GET
WHAT I WANT.
SEAN
YOU NEED TO LEAVE IT ALONE, AND FIND
SOMEONE WHO WANTS THE TYPE OF LIFE
YOU ARE LOOKING FOR, WITH ALL THE
TRIMMINGS SOMEONE WHO WILL CATER TO
YOUR HIGH PRICED NEEDS.
PAIGE
AND YOU WERE LIKE THAT BEFORE YOU
CHANGED, BEFORE YOU GOT INTO THAT
DOPE SHIT, I’M NOT GOING TO STAND BY
AND LET THIS HAPPEN.
SEAN
YEA STUPID LIKE THAT, YOU DON’T HAVE A CHOICE
PAIGE ITS OVER, YOU SHOULD GET ON
WITH YOUR LIFE, (BEAT) BECAUSE I AM
(SEAN WALKS OVER TO THE DOOR AND OPENS IT)
SEAN
I HAVE TO GET READY FOR WORK.
(PAIGE WALKS OUT THE DOOR AND STOPS, SHE TURNS TO SEAN)
PAIGE
YOU NEED TO THINK ABOUT WHAT YOU ARE
DOING, AND GET YOUR HEAD OUT OF YOUR ASS.
SEAN
THAT‘S WHY WE ARE DONE, I HAVE BEEN
THINKING CORRECTLY.
PAIGE
YOU’RE A FUCKING ASSHOLE, AND YOU ARE SADLY
MISTAKEN IF YOU THINK I AM GOING TO JUST SIT
BY AND LET THIS HAPPEN.
SEAN
YOU DON’T HAVE A CHOICE
PAIGE
WE’LL SEE ABOUT THAT.
(SHE WALKS OFF)
CUT TO: DAY INT. WIRE FOR SOUND CLUB
WE SEE MILK AND TWO OTHER MEN GO INTO THE CLUB, PAN CAMERA TO
EXT. DAY; INT. DEA CAR TWO AGENTS ARE SITTING STAKING OUT THE CLUB, THEY GET ON THE RADIO
AGENT 50
THIS IS AGENT 50 WE HAVE THE SUSPECT
IN SIGHT, HE HAS JUST ENTERED THE
CLUB WITH TWO MEN, THE SUSPECT IS
WEARING A BLACK SUIT WITH A BLACK
TIE, WE ARE WAITING FOR INSTRUCTIONS
OVER.
VOICE ON RADIO
KEEP HIM UNDER SURVEILLANCE WE WILL
GET THE AGENT IN CHARGE ON THE WAY.
AGENT 50
TEN FOUR.
CUT TO: DEA HEADQUARTERS INT.: GINA IS COMING INTO WORK; SHE GOES THROUGH THE OFFICE AND SPEAKS WITH EVERYONE, AND THE DESK SARGENT COMES UP TO GINA
SARGENT
YOU HAVE A GUEST IN YOUR OFFICE.
GINA
WHO
SARGENT
THEY WANTED IT TO REMAIN A SECRET
GINA GOES TO THE OFFICE, SHE SHE’S HER SISTER KIM THEY RUSH AND HUG EACH OTHER
GINA
WHAT THE HELL ARE YOU DOING HERE?
KIM
OH IT COULDN’T BE THAT I MISS MY
LITTLE SISTER, I HAVE NOT SEEN YOU
IN OVER TWO WEEKS.
(THEY HUG AGAIN)
KIM
WELL BEING THAT YOU ASKED, WHAT EVER
HAPPEN TO YOU YESTERDAY? YOU TOLD ME
FEW HOURS, AND YOU KNOW I DO NOT LIKE
WAITING.
GINA
I AM SO SORRY; YOU KNOW I AM A LADY
OF MY WORD, I JUST GOT CAUGHT UP IN A
COUPLE OF THINGS.
KIM
YEA I BET, YOU GOT CAUGHT UP.
GINA
AND WHAT IS THAT SUPPOSED TO MEAN?
KIM
WELL I WAS ON MY WAY IN TO WORK AND I
SAID WELL SINCE I AM IN THE HOOD,
I’LL JUST STOP BY SINCE YOU STOOD ME
UP THE NIGHT BEFORE.
(KIM GETS UP AND GOES TO THE WINDOW)
GINA
WHAT THE HELL ARE YOU TALKING ABOUT
KIM?
KIM
AS I WAS COMING UP THE STREET I SEE
YOU AND SOME WHITE GUY COMING OUT OF
YOUR APARTMENT. HOLDING HANDS, I
THOUGHT I WAS YOUR BIG SIS, WHAT’S
UP?
GINA
NOT NOW KIM, ITS NO BIG DEAL.
KIM
IT MUST BE, HOLDING HANDS, KEEPING
SECRETS, I MEAN YOU HAVEN’T TOLD ME,
SO.
GINA
IT’S NOT WHAT YOU THINK, WE ARE.
(THE CAPTAIN COMES INTO THE OFFICE IN A RUSH)
CAPTAIN
EXCUSE ME, BURKE, WE HAVE BROWN UNDER
SURVEILLANCE AT THE WIRED FOR SOUND
CLUB I NEED YOU AND AGENT LAWRENCE TO
GET YOUR ASSES OVER THERE NOW.
(GINA RUSHES TO GET HER GEAR)
GINA
HAVE AGENTS HALL AND STEWART MEET US
THEY’RE FOR BACKUP.
CAPTAIN
YOU GOT IT.
GINA
SIS, WE ARE GOING TO HAVE TO CONTINUE
THIS CONVERSATION LATER.
KIM
YOU BEST BELIEVE WE WILL.
KIM LOOKS AT GINA WITH A MAD LOOK, AND THEN SEAN COMES INTO THE OFFICE, EVERYONE EYES FOCUS ON SEAN.
SEAN
WHAT’S UP, WHY ARE YOU GUYS LOOKING
AT ME LIKE THAT?
(KIM LOOKS AT SEAN AS SHE IS GOING OUT THE OFFICE)
GINA
I’LL TALK TO YOU LATER KIM, OK?
KIM
WHATEVER GINA.
(KIM WALKS OUT OF THE OFFICE)
GINA
GET YOUR GEAR IN ORDER; WE HAVE
BROWN UNDER SURVEILLANCE AT WIRED FOR
SOUND, AGENT STEWARD AND HALL WILL
BE YOUR BACK UP. WE ROLL IN FIVE.
SEAN STARTS OUT THE DOOR AND STOPS, HE TURNS TO GINA
SEAN
WHO WAS THAT GIRL?
GINA
MY SISTER KIM.
SEAN
SHE LOOKS AS IF SHE IS UPSET.
GINA
SHE IS ALWAYS UPSET, WHEN I DON’T DO
WHAT SHE WANTS ME TO, YOU EVER HERD THAT BEFORE BUT THAT IS NOT THE ISSUE NOW,
WE NEED TO GET OUR ASSES OVER
TO WIRED FOR SOUND AND
SHAKE UP MR. BROWN, LET’S MAKE IT
HAPPEN.
GINA AND SEAN GET THEIR GEAR AND HEAD OUT OF THE OFFICE.
CUT TO: EXT. DAY STAKEOUT IN FRONT OF WIRED FOR SOUND, GINA AND SEAN PULL UP BEHIND THE TWO AGENTS. THEY BOTH EXIT THE CAR AND GO TO THE UNDERCOVER CAR PARKED UP THE STREET; THEY BOTH GET IN THE BACK SEAT.
GINA
OK GUYS WHAT’S GOING ON?
AGENT 50
THE SUSPECT ENTERED THE CLUB WITH TWO
OTHERS AND HAVE BEEN IN FOR ABOUT AN
HOUR
GINA
ANY OTHERS GOING IN OR OUT.
AGENT 50
NOT FOR THE PAST HOUR.
GINA
SO HOW MANY DO WE HAVE?
AGENT 50
THERE SHOULD BE FOUR INCLUDING MR.
BROWN.
GINA
OK WE WILL WAIT FOR HIM TO EXIT,
BEFORE WE APPROACH.
AGENT 50
A BURKE, WE JUST WANTED TO SAY THAT
WE ARE GLAD TO HAVE THIS ASSIGNMENT
WITH YOU, I HEAR YOUR ONE OF THE
BEST, THE FIRST PERSON TO HAVE THEIR
OWN SQUAD IN SUCH A SHORT TIME.
GINA
THANKS PETE, I’VE BUST MY ASS TO GET
WHERE I’M AT AND IT‘S FINALLY PAYING
OFF.
AGENT 50
WELL THE WORD IS (BEAT) SOME PEOPLE
WOULD LIKE TO SEE YOU DEAD.
(SEAN LOOKS AT GINA WITH A CONCERNED FACE.)
GINA
THAT DOESN’T BOTHER ME, WHEN YOU
START BUSTING AT THE TOP THEY WANT TO
PUT A STOP TO IT; THEY HAVE TRIED 3
TIMES BEFORE.
AGENT
WELL REMEMBER, WE’VE GOT YOUR BACK
AND WE WOULD LOVE TO WORK WITH YOU.
GINA
THANKS
WE CAN SEE FROM INSIDE THE CAR TWO GUYS COMING OUT OF THE CLUB HEADING TO A PARKED CAR; THE AGENTS SPOT THE TWO MEN. THE AGENTS GET OUT AND HEAD TOWARDS THE TWO MEN, GINA GOES UP TO THE DRIVER’S SIDE, THE MAN NOTICES HER AND TRIES TO START THE CAR. GINA PULLS OUT HER GUN AND GOES TO THE WINDOW
GINA
STOP; GET YOU HANDS OFF THE WHEEL.
BIG ROY
WHO THE HELL ARE YOU?
GINA
DEA AGENT BURKE, GET OUT OF THE CAR.
BIG ROY
YOU CAN’T DO THIS TO ME, DO YOU KNOW
WHO I AM?
GINA
YES I DO, THAT’S WHY I’M TAKING YOU
DOWN, NOW GET YOUR FAT ASS OUT THE CAR.
THE MAN TRIES TO BREAK LOOSE, HE TAKES A SWING AT GINA AND CATCHES HER ON THE SIDE OF HER MOUTH, AND GINA GRABS HIM KNEES HIM IN THE STOMACH AND THEN ELBOWS HIM TO THE HEAD A FEW OF HIS TEETH ARE SMASHED AND BLOOD SPLATTERS FROM HIS MOUTH, SHE THROWS HIM ON THE CAR.
BIG ROY
DAWN BITCH, YOU BROKE MY TEETH, DIDN’T YOU GET YOUR FIVE THOUSAND THIS MONTH.
(BLEEDING FROM THE NOSE)
GINA
FIVE THOUSAND, OH THAT’S THE GOING
RATE NOW?
SEAN
SHIT GINA, CAN WE RETIRE ON THAT.
GINA
NA I DON’T THINK SO, AND WITH THAT
SAID (BEAT) YOU’RE UNDER A REST FAT BOY.
THEY READ THE MAN HIS RIGHTS AND START TO SEARCH THE CAR; GINA GETS ON THE WALKIE-TALKIE
GINA
THIS IS BURKE; I HAVE TWO MEN I ‘M
BRINGING.
CUT TO: INT. INTERROGATION ROOM SHOTS OF DETECTIVE GRILLING THE MAN SHOT OF GINA, SEAN AND THE CAPT. WATCHING THROUGH THE GLASS, ONE OF THE DETECTIVES COMES OUT OF THE ROOM.
DETECTIVE
WE NEED TO MAKE THIS GUY A DEAL; MILK
IS NOT THE MAN
GINA
THAT’S BULLSHIT CAPT.
DETECTIVE
WE DO NOT HAVE A DETAILED DESCRIPTION
HOWEVER THE MAN WE ARE LOOKING FOR
WILL BE AT THE NEXT SHIPMENT, IT IS
MY UNDERSTANDING HE ALWAYS WEARS DARK
GLASSES, IF WE CAN STAKEOUT THE PIER
WE WILL HAVE OUR MAN.
GINA
YOU BETTER BE RIGHT.
(GLARING AT THE DETECTIVE)
CAPTAIN
WHEN IS IT GOING DOWN?
DETECTIVE
WITHIN THE NEXT 72 HOURS.
CAPTAIN
OK GET THE DA IN HERE AND MAKE HIM A
DEAL, GINA GET A STAKEOUT TEAM
TOGETHER AND GET TO THE PIER RIGHT
AWAY, I WANT THE ENTIRE PIER UNDER
SURVEILLANCE, NO SLIP UPS THIS MAY BE
OUR ONLY SHOT AT THIS GUY LETS MOVE
ON THIS.
GINA
I WILL HAVE DAVIS AND STEWARD ON IT RIGHT AWAY.
(THEY LEAVE THE ROOM)
CUT TO: SERIES OF DEA SURVEILLANCE SHOT ON THE PIER, A FEW DAYS HAS PASSED.
SHOT OF GINA AND SEAN SITTING IN THE SURVEILLANCE CAR, SEAN IS TAKING PICTURES OF THE ACTIVITY GOING IN AND OUT OF ONE OF THE WAREHOUSES. THE CAPTAIN COMES UP TO THE DRIVERS
SIDE WINDOW
CAPTAIN
HOW ARE YOU GUYS DOING?
GINA
WHERE GOOD CAPT., LOTS OF ACTIVITY
BUT NOT OUR GUY YET.
CAPTAIN
I GOT SOME BAD NEWS, IF HE DOES NOT
SHOW UP WITHIN THE NEXT FORTY-EIGHT
HOURS, WE HAVE TO PULL THE PLUG.
SEAN
WHAT THE HELL YOU MEAN, PULL IT, I
THOUGHT THIS WAS A PRIORITY,
THE MAYOR WANTS IT STOPPED, HE IS
WILLING TO GO THE EXTRA MILE.
CAPTAIN
I GET THE PICTURE, MY HANDS ARE TIED,
THAT COMES STRAIGHT FROM THE
TOP.
SEAN
THAT’S BULLSHIT CAPT., AND YOU KNOW
IT.
CAPTAIN
JUST DO WHAT YOU HAVE TO (BEAT)
WITHIN THE LAW OF COURSE TO GET THIS
GUY, (BEAT) BY THE WAY HOW LONG HAVE
YOU TWO BEEN HERE?
GINA
JUST TWO DAYS.
CAPTAIN
THAT’S WHAT I THOUGHT, YOU TWO GO
HOME, HENDERSON AND MORRIS ARE HERE
TO RELIVE YOU.
GINA
WE’RE OK CAPT.,
CAPTAIN
NO YOU’RE NOT, YOU TWO NEED SOME
REST, GET A FEW HOURS AND COME BACK.
CUT TO: INT. NIGHT WIRE FOR SOUND INSIDE OF THE CLUB THERE ARE WOMEN DANCING GETTING READY FOR THE NIGHT, PEOPLE CLEANING UP, CHECKING THE SOUND ETC. PAN TO THE CLOSED DOOR IN THE BACK OF THE CLUB.
INT. INSIDE ROOM: THERE ARE SEVERAL MEN SITTING TALKING, A COUPLE OF MEN ARE COUNTING MONEY WITH A MONEY MACHINE; MILK IS ONE OF THE MEN ALONG WITH MR. BROWN. WE HEAR THE SOUND OF A PHONE RINGING; MILK REACHES IN HIS POCKET AND PULLS OUT HIS CELL PHONE AND ANSWERS.
WHO THE HELL IS THE DEA AGENT THAT’S
A PAIN IN MY ASS?
MILK
I UNDERSTAND IT IS AN AGENT NAMED
BURKE?
(2 BEATS)
VOICE
I WANT HER UNDER CONTROL NOW, YOU GOT
ME?
MILK
YES SIR, BUT (BEAT)
VOICE
IS THERE A PROBLEM MILK?
MILK
NO SIR, IT’S JUST (BEAT) THIS IS A
DEA AGENT.
VOICE
IF YOU HAVE A PROBLEM WITH IT, I CAN
GET SOMEONE ELSE TO GET IT DONE, OR
IF YOU ARE GETTING SOFT, MAYBE WE
SHOULD
MILK
NO SIR, IT WILL BE DONE.
(MILK HANGS UP THE PHONE)
MILK
SCOTT I NEED YOU TO CALL DETROIT, NOW.
SCOTT
WHO’S THE MARK?
MILK
DEA AGENT BURKE.
SCOTT
AN AGENT, SHIT MILK THIS COULD BRING
THE HOUSE DOWN ON US AND FUCK UP
EVERYTHING WE HAVE, THIS IS NOT A
GOOD IDEA, I THINK
MILK
LISTEN I DON’T PAY YOU TO THINK JUST
CALL DETROIT.
CUT TO: EXT. NIGHT STAKEOUT CAR, SEAN AND GINA ARE PREPARING TO LEAVE WALKING TO THEIR CAR.
SEAN
I NEED TO GO BY MY PARENT’S HOUSE;
I’LL SEE YOU LATER?
GINA
I HAVE SOME THINGS I HAVE TO DO ALSO;
I NEED TO GO BY MY BEACH HOUSE TO SEE
MY FRIEND
(SEAN LOOKS AT GINA WITH JEALOUS LOOK)
GINA
NOT THAT KIND OF FRIEND, IT’S MY
GIRLFRIEND DANA SHE IS FLYING IN FROM
NEW YORK, SHE IS A STEWARD AND SHE
STAYS AT MY PLACE WHENEVER SHE IS IN
TOWN. MEET ME THERE AT ELEVEN.
SEAN
OK BABY.
(HE LEANS TO GIVE HER A KISS ON THE CHEEK, SHE KISSED HIM BACK)
CUT TO: EXT. NIGHT SEAN IS PULLING IN THE DRIVEWAY OF HIS PARENT’S HOUSE, HE GETS OUT OF THE CAR AND GOES TO THE DOOR, HE TRIES TO USE HIS KEY AND IT DOES NOT WORK, HE RINGS THE BELL FURIOUS. HIS MOM ANSWERS THE DOOR
MOM (APRIL)
SLOW DOWN SEAN, WHAT’S THE PROBLEM, COME IN
SEAN
WHAT’S UP WITH THE LOCKS MOM?
(THEY ARE WALKING INTO THE KITCHEN; SHE DOES NOT SAY ANYTHING)
SEAN
HEY MOM, WHAT’S GOING ON?
(MOM IS WASHING SOME DISHES)
SEAN
DID YOU HEAR ME MOM?
APRIL
IT’S YOU FATHER, (BEAT)
SEAN
WHAT DO YOU MEAN, WHAT’S UP?
APRIL
HE HAD THE LOCKS CHANGED.
SEAN
I CAN’T BELIEVE THIS SHIT, SORRY MOM,
SO WHAT NOW I’M NOT HIS SON ANYMORE;
HE DOES NOT WANT ME OVER HERE
APRIL
IT’S NOT THAT SON; IT’S JUST (BEAT)
SEAN
JUST WHAT MOM, COME ON.
APRIL
SINCE YOU HAVE TAKEN THAT JOB WITH
THE DEA, (BEAT) IT HAS MADE YOUR
FATHER UPSET, HE IS OUT OF CONTROL.
SEAN
THAT’S BULL MOM, HE HAS ALWAYS LOOKED
DOWN ON ANYTHING I WANTED TO DO THAT
DID NOT INVOLVE HIM.
APRIL
IT’S NOT LIKE THAT; IT’S JUST YOUR
FATHER WANTS THE BEST FOR YOU AND
PAIGE, HE HAS WORKED HARD TO GIVE YOU
A GOOD LIFE AND HE FEELS YOU ARE
THROWING IT AWAY.
SEAN
WHAT ABOUT YOU MOM (BEAT) HOW DO YOU
FEEL?
APRIL
YOU KNOW I SUPPORT YOU IN ANYTHING
THAT YOU DO, IT’S (BEAT) YOU KNOW
YOUR FATHER IS VERY OLD SCHOOL AND.
SEAN
MOM OK THIS IS THE DEAL, FIRST PAIGE
AND I DO NOT SEE EACH OTHER ANYMORE,
SECOND IF HE FEELS HE DOES NOT WANT
TO BE A PART OF MY LIFE BECAUSE OF
WHAT I DO.
(HE STARTS TO PUT HIS JACKET BACK ON)
SEAN
THEN I’LL GIVE HIM WHAT HE WANTS.
APRIL
NO SEAN YOU’RE GETTING THIS ALL WRONG.
SEAN
MOM (BEAT) STOP STANDING UP FOR HIM,
I’M HIS SON HE SHOULD SUPPORT ME IN
WHATEVER I WANT TO DO, I’M NOT THE
ONE SELLING THE DRUGS, JUST TRYING TO
STOP THEM; WELL ANYWAY I CAME BY HERE
TO LET YOU KNOW THAT I FOUND A VERY
NICE YOUNG LADY AND
APRIL
WELL I’M SURPRISED I THOUGHT YOU AND
PAIGE WOULD BE MARRIED YOU GUYS ARE
SO GOOD TOGETHER.
SEAN
SHE IS GOOD AT CONTROLLING, AND
GETTING WHAT SHE WANTS AND SHE FEELS
THAT I AM WASTING MY LIFE ALSO, SO I
FELT I NEEDED A CHANGE.
APRIL
SO WHO IS THIS YOUNG LADY WHO HAS MY
SON’S HEART.
SEAN
YOU GOT IT RIGHT MOM, SHE DOES HAVE
MY HEART, SHE IS SMART, FUNNY
AND THE BEST LOOKING WOMAN I HAVE
EVER SEEN IN MY LIFE, SHE IS
SUPPORTIVE OF WHAT I DO AND WANT’S TO
BE A PART OF IT THAT’S WHO I WANT TO
MARRY.
APRIL
WOW, WELL I MUST SAY THAT I AM VERY
HAPPY FOR YOU, WHAT IS HER NAME AND
WHAT DOES SHE DO, HOW OLD, GIVE ME
SOME DETAILS.
SEAN
HER NAME IS GINA BURKE SHE IS AN AGENT
ALSO, (BEAT) AND SHE IS BLACK.
APRIL
EXCUSE ME
(SUDDENLY THE DAD IS STANDING IN THE DOORWAY OF THE KITCHEN)
DAD
WHAT THE FUCK DID YOU JUST SAY?
SEAN
I THINK IT’S TIME FOR ME TO GO MOM.
(HE GRABS HIS JACKET AND STARTS OUT OF THE KITCHEN)
DAD
I KNOW YOU DID NOT SAY, A BLACK WOMAN
SEAN
YEA I DID, IS THERE A PROBLEM? AND IF
IT IS TOO BAD.
HE STARTS TO WALK AWAY, HIS DAD GRABS HIM BY THE ARM, AND SEAN LOOKS AT HIM
DAD
WHAT THE HELL IS ON YOUR MIND? I
DON’T UNDERSTAND YOU FIRST YOU GO OFF
AND BE SOME STUPID ASS AGENT, THEN
YOU’RE DATING A NIGGER, WHAT THE FUCK
IS YOUR PROBLEM?
(SEAN PULLS HIS ARM AWAY FROM HIS DAD)
SEAN
YOU NEED TO LOOK IN THE MIRROR AND
CHECK YOURSELF, I AM NOT YOU, AND
DON’T WANT TO BE YOU, AS FAR AS ME
SEEING A BLACK WOMAN (BEAT) WELL I
KNEW THAT WOULD BE YOUR RESPONSE.
DAD
YOU DON’T UNDERSTAND, I HAVE A
REPUTATION TO UP HOLD IN THIS CITY, I
CAN’T DO BUSINESS WHEN MY SON IS
DATING SOME.
SEAN
I DON’T HAVE TO LISTEN TO THIS
BULLSHIT NEED TO GO.
DAD
THAT’S YOUR FUCKING PROBLEM, YOU NEED
TO LISTEN IF YOU WOULD HAVE LISTEN TO
ME YOU WOULD NOT BE IN THE SHIT YOU
ARE IN NOW.
SEAN
I’M NOT IN ANY SHIT; THIS IS WHAT I
WANT FOR MY LIFE I AM GOING TO MARRY
HER AND WE THAT SAID.
(HE LEANS OVER AND GIVES HIS MOM A KISS AND OPENS UP THE DOOR)
DAD
I AM NOT DONE WITH YOU; I AM NOT
GOING TO ALLOW THIS TO HAPPEN
I HAVE TOO MUCH AT STAKE; I AM GIVING
YOU FAIR WARNING, NOT TO DO THIS.
SEAN
STANDING IN THE DOORWAY
SEAN
AS USUAL IT’S ALWAYS ABOUT YOU, WELL
THIS TIME THERE’S NOTHING YOU CAN DO,
JUST STAY OUT OF MY LIFE.
DAD
IT WILL NEVER BE OVER.
(SEAN SLAMS THE DOOR)
CUT TO: EXT. NIGHT SHOT OF LOVELY BEACHFRONT HOMES, PEOPLE ARE WALKING HAVING FUN ON THE BEACH. PAN TO A NICE BEACHFRONT HOME
CUT TO INT.: BEACH HOME OF GINA, WE CAN HEAR THE MUSIC PLAYING, SHOT OF CLOTHS ON THE FLOOR AND A VOICE SINGING IN THE SHOWER. SHOT OF BLACK GLOVES OPENING UP A WINDOW, SHOT OF SHADOW WALKING THROUGH THE APARTMENT, THE PERSON GETS TO THE SHOWER DOOR, WE CAN HEAR THE PERSON SINGING IN THE SHOWER. SHOT OF PERSON PULLING OUT A PISTOL AND PUTS ON A SILENCER ON IT, THE PERSON OPENS THE DOOR AND STARTS TO FIRE IN THE SHOWER, THREE SHOTS TO THE HEAD WE CAN SEE THE BLOOD HITTING THE SHOWER CURTAIN, THE PERSON PUMPS FIVE SHOTS. THE PERSON TURNS AND CLOSES THE DOOR, AS THE PERSON IS WALKING THROUGH THE APARTMENT THEY STOP AND GRAB AN APPLE ON THE TABLE AND STARTS TO EAT IT.
CUT TO: EXT. NIGHT BEACH HOUSE, SHOT OF A CAR PULLING INTO THE DRIVEWAY, IT IS SEAN HE GETS OUT OF THE CAR AND GOES TO THE FRONT DOOR. HE KNOCKS ON THE DOOR, NO ANSWER, HE KNOCKS AGAIN, NO ANSWER, AND HE LOOKS AT THE CAR IN THE DRIVEWAY AND KNOCKS AGAIN, NO ANSWER.
HE GOES AROUND THE HOUSE CHECKING THE GROUNDS, HE SPOTS WINDOW OPEN WITH THE CURTAIN BLOWING OUT, AND HE TAKES OUT HIS GUN AND ENTERS THE WIDOW. HE CHECKS AROUND AND SPOTS NO ONE. HE HEARS THE SHOWER RUNNING AND GOES TO THE DOOR, HE CALLS FOR GINA, NO ANSWER, HE GETS HIS GUN SET AND ENTERS
THE BATHROOM, HE SPORT BLOOD EVERYWHERE, ON THE WALLS, THE SHOWER CURTAIN. HE TURNS AND THROWS-UP.
DISSOLVE TO: THERE ARE POLICE EVERYWHERE DOING INVESTIGATION, SEAN IS SITTING WITH HIS HEAD IN HIS HANDS, THE CAPTAIN COMES IN AND SPOTS SEAN ON THE COUCH.
CAPTAIN
WHAT THE HELL HAPPEN HERE?
SEAN
SHIT CAPT., I CAME BY TO PICK UP GINA
AND.
CAPTAIN
TAKE YOUR TIME SEAN.
SEAN
I KNOCKED ON THE DOOR; GOT NO ANSWER
I KEPT KNOCKING NO ONE ANSWERED; I
SAW A CAR IN THE DRIVEWAY, SO I
THOUGHT IT WAS A LITTLE STRANGE, SO I
CHECKED AROUND THE AREA AND FOUND
A WINDOW OPEN WITH THE CURTAIN
BLOWING OUT, I PROCEEDED TO ENTER
THE WINDOW AND STARTING SEARCHING THE
AREA, I HERD THE SHOWER RUNNING SO I
THOUGHT SHE WAS IN THE SHOWER, I
CALLED (BEAT) NO ANSWER, I ENTERED
AND (BEAT) FUCK CAPTAIN.
SEAN
WHO EVER DID THIS SHIT IS GOING TO
PAY AND I DO MEAN PAY.
CAPTAIN
YOU NEED SOME TIME OFF; I’LL GET A
RADIO CAR TO TAKE YOU HOME.
SEAN
I DON’T NEED TO GO HOME I NEED TO
FIND OUT WHO DID THIS SHIT?
SEAN GETS UP AND STARTS TO WALK AROUND; SUDDENLY GINA COMES RUSHING IN THE DOOR
SEAN SPOTS GINA AND RUNS TO HER, THEY HUG SEAN IS HOLDING HER VERY TIGHT, GINA PULLS AWAY.
SEAN
SHIT YOUR ALIVE, GOD DAM, YOU’RE ALIVE
GINA
WHAT THE HELL IS GOING ON HERE, I
HERD THE CALL ON THE RADIO WHERE IS
DANA?
THE CAPTAIN WALKS OVER TO GINA AND PUTS HIS ARM AROUND HER
CAPTAIN
COME OVER HERE, I NEED TO SPEAK WITH
YOU.
GINA
WHERE IS DANA CAPTAIN?
THEY ARE BRINGING OUT SHANNON ON A STRETCHER GINA SPOTS THE STRETCHER AND BREAKS DOWN
CAPTAIN
WHO IS THIS GINA?
GINA
IT’S MY BEST FRIEND DANA GRANT; SHE
IS A FLIGHT ATTENDANT.
CAPTAIN
WHAT IS SHE DOING HERE?
GINA
SHE STAYS HERE WHENEVER SHE IS IN
TOWN FOR A FEW DAYS, I CAN’T
BELIEVE THIS SHIT.
GINA STARTS TO BREAK DOWN, SEAN COMES OVER TO HER, AND HE LOOKS AT THE CAPTAIN AS TO SAY LET ME HOLD HER, GINA GRABS SEAN AND HOLDS HIM TIGHT. KIM COMES RUSHING IN THE DOOR
KIM
ARE YOU O.K?
GINA
NO!
KIM
WHAT THE HELL IS GOING ON?
THEY GET UP AND GO INTO THE BEDROOM
GINA
I CAME OVER TO HAVE BREAKFAST WITH
(CRYING) SHANNON AND NEXT THING YOU KNOW, THEY ARE
BRINGING HER OUT ON A STRETCHER.
KIM
I WAS OUTSIDE TALKING TO ONE OF THE DETECTIVES
THEY HAVE NO REASON FOR SOMEONE TO WANT TO
KILL SHANNON.
KIM
WHAT ABOUT YOU GINA? ANYBODY WANT TO SEE YOU
HURT?
GINA
HOW CAN YOU ASK ME THAT, SHANNON IS DEAD, WHY
DON’T YOU STOP BEING A LAWYER AND BE MY SISTER
FOR ONCE.
KIM
WHAT THE HELL YOU MEAN HOW CAN I ASK YOU
THAT, SHIT GINA YOU BUST DRUG DEALERS FOR A
LIVING AND YOU THINK PEOPLE DON’T WANT TO SEE
YOU DEAD. OR MAYBE SOME PEOPLE DON’T WANT TO
SEE YOU WITH SOME PEOPLE.
GINA
WHAT THE HELL ARE YOU TALKING ABOUT KIM?
(GINA STARTS TO WALK OUT KIM GRABS HER ARM)
KIM
I KEEP TRYING TO TELL YOU ABOUT THIS BLACK AND
WHITE THING AND SOME PEOPLE ARE NOT GOING TO
STAND FOR THAT.
(GINA PULLING HER ARM AWAY)
GINA
YOU GO TO HELL KIM, BECAUSE YOU’RE BEING STUPID.
KIM
I KNOW I’M NOT WRONG, WHEN ARE YOU GOING TO
LEARN, HAVE YOU FORGET ABOUT WHAT HAPPEN
WITH CHRIS, AND HOW HIS FAMILY FELT ABOUT HIM
DATING A NIGGER.
GINA
FIRST OF ALL I AM NOT A NIGGER, SECOND
KIM THIS IS NOT THE TIME FOR THIS BULLSHIT,
THIS IS ABOUT SHANNON.
KIM
WELL DAM GINA, YOU WERE TELLING ME ABOUT
HOW HIS DAD DOES NOT LIKE BLACKS, SO ALL
I’M SAYING IS YOU BETTER LISTEN TO ME ON THIS
ONE.
GINA
LET ME TELL YOU SOMETHING MISS HIGH AND MIGHTY
I LIKE SEAN FOR WHO HE IS, NOT FOR WHO HE IS
NOT (BEAT) AS FOR HIS DAD (BEAT) HE CAN GO TO
HELL (BEAT) AS FOR YOU (BEAT) DON’T TALK ABOUT
WHAT YOU DON’T KNOW.
GINA START FOR THE DOOR
KIM
DON’T WALK AWAY FROM ME, (BEAT) KNOWING,
KNOWING, (BEAT) LET ME TELL YOU SOMETHING
LITTLE SISTER, WHEN I WAS IN LAW SCHOOL I DATED
A WHITE GUY (BEAT) FOR TWO YEARS, AND LET ME
TELL YOU THIS; I WAS SO IN LOVE WITH HIM AND I
WAS JUST AS BLIND AS YOU ARE. THEN REALITY
HIT, HIS DAD TOLD HIM IF HE CONTINUED TO SEE
THAT BLACK TRASH, THAT HE WOULD NOT GET A DIME
FOR HIM, (BEAT) OH HE TOLD ME HE DIDN’T CARE
ABOUT THE MONEY, AND THE LOVE WE HAD NO AMOUNT
OF MONEY CAN TAKE THAT AWAY, WELL TWO WEEKS
LATER HE WAS GONE. SO DON’T TELL ME I DON’T
KNOW.
KIM STARTS TO CRY
GINA
I AM SO SORRY KIM THAT YOUR RELATIONSHIP DID
NOT WORK OUT FOR YOU (BEAT) AND THIS IS NOT
THE STONE AGE, IF PEOPLE BACK DOWN FOR WHAT
THEY BELIEVE IN, THEN THE PEOPLE WHO FOUGHT
FOR OUR RIGHTS (BEAT) FOUGHT FOR NOTHING.
KIM
IT’S NOT ABOUT THAT GINA, IT’S ABOUT YOU AND
SOMEONE TRYING TO KILL YOU, I THINK SOMEONE
DOES NOT WANT THIS TO HAPPEN.
GINA
GET OUT OF MY FACE KIM, (BEAT) YOUR JUST
JEALOUS BECAUSE YOURS DID NOT WORK.
KIM
YOU NEED TO GROW UP GINA AND LISTEN.
GINA TRIES TO WALK AWAY, KIM GRABS HER ARM
KIM
I’M NOT DONE WITH YOU.
GINA
OH, YES YOU ARE.
THEY BEGIN TO PUSH AND GRAB EACH OTHER, SEAN COMES RUSHING IN THE ROOM AND BREAKS THEM UP.
SEAN
YOU TWO NEED TO CHILL! NEITHER ONE OF YOU KNOW
WHAT THE HELL IS GOING ON.
KIM
I’M NOT GOING TO LET KNOW ONE HURT YOU.
LOOKING AT SEAN
GINA
I CAN TAKE CARE OF MYSELF.
THE CAPTAIN COMES IN THE ROOM
CAPTAIN
SO WHAT THE HELL YOU THINK HAPPEN
HERE GINA?
GINA
THEY WERE LOOKING FOR ME, AND NOW
THAT SHANNON IS DEAD (BEAT)
SHE GOES TO THE CLOSET AND PULLS OUT A GUN CASE, SHE OPENS IT, A FORTY-FOUR MAG, SHE TAKES OFF HER SHOULDER HOLSTER AND STARTS TO PUT ON ANOTHER HOLSTER.
GINA
I’LL MAKE SURE THEY CAN FIND ME.
CUT TO: INT: WIRED FOR SOUND CLUB GINA PULLS UP TO THE CLUB AND JUMPS OUT OF THE CAR AND RUSHES TO THE CLUB. SHE ENTERS THE CLUB AND MOVES PURPOSEFULLY THROUGH THE CROWDED CLUB SHE SPOTS THE MAN WHO SHE ARRESTED EARLIER, SHE GRABS HIM AND FORCEFULLY PUSHES HIM DOWN THE HALL AND OUT INTO THE BACK ROOM.
SHE PUNCHES THE MAN IN THE FACE WITH HER GUN. TWO OTHER MEN RACE INTO THE ROOM, GUNS DRAWN, BUT HOLD BACK FROM FIRING BECAUSE GINA HAS HER GUN IS POINTED AT THE MAN’S HEAD.
GINA
GO AHEAD SHOOT, AND I’LL PUT HIS
BRAINS ALL OVER THIS ROOM.
MAN 100
WHAT THE FUCK ARE YOU DOING? WHAT’S
THE DEAL?
GINA
TELL THEM TO PUT DOWN THE WEAPONS.
MAN 100
A (BEAT) BLOW HER HEADS OFF, GET THIS BITCH
OFF ME.
(SHE HITS HIM ON THE HEAD)
GINA
GO AHEAD, SHOOT, AND YOU BEST BELIEVE
I WILL TAKE HIM FIRST.
MAN100
OK, OK WHAT THE FUCK DO YOU WANT?
GINA
TELL ALL OF THESE SO-CALLED MEN TO
GET THE HELL OUT.
THE MAN DOES NOT COMPLY, GINA COCKS THE GUN AND PUTS IT CLOSER TO THE MANS HEAD.
GINA
I’M NOT GOING TO ASK TWICE.
(SHE PULLS TIGHTER)
MAN 100
ALL RIGHT BOYS, LEAVE US, PUT THEM
DOWN.
(THE MEN HESITATE BUT PUT THE GUNS DOWN AND WALK OUT OF THE ROOM.)
MAN 100
NOW WHAT FUCK DO YOU WANT?
(GINA PUSHES THE MAN ACROSS THE ROOM)
GINA
YOU LISTEN AND YOU LISTEN GOOD, AS
YOU CAN SEE, YOUR GUYS FAILED
I’M STILL HERE, AND I WILL BE HERE,
YOU KILLED A VERY GOOD FRIEND
OF MINE AND SOMEONE IS GOING TO PAY.
SO THIS IS THE DEAL I WANT THE TIME
AND THE PLACE OF THE NEXT SHIPMENT.
MAN 100
NO FUCKING WAY, HE’S NOT GOING TO
KILL ME; YOU ARE JUST GOING TO
HAVE TO KILL ME, NO WAY, NO.
(GINA WALKS UP TO THE MAN AND PUT THE GUN IN HIS MOUTH)
GINA
OK I’LL DO WHAT I HAVE TO DO.
(GINA COCKS THE GUN)
MAN 100
THIS IS NOT RIGHT, I COULD GET KILLED.
GINA
WELL YOU HAVE A CHOICE, DIE NOW OR
LATER AND THIS IS THE LAST TIME I WILL
I WILL ASK YOU.
(SHE SHOVES THE GUN HARDER)
MAN 100
OK, OK (BEAT) IT’S COMING IN TOMORROW
NIGHT, WHAT THE FUCK IS WRONG WITH
YOU?
GINA
WHERE AND WHAT TIME?
MAN 100
AT THE PIER TEN O’CLOCK, DOCK 52
(GINA PULLS THE GUN BACK)
GINA
VERY GOOD, NOW SPREAD THE WORD, AND WHEN I FIND OUT WHO KILLED MY FRIEND,
I WILL KILL HIM (BEAT) UNDERSTAND.
MAN 100
WHAT EVER, YOU GOT WHAT YOU WANT, I’M
NOT YOUR DELIVERY BOY.
GINA
I’LL TELL YOU WHAT; YOU DO WHAT I SAY I’LL LET YOUR BOSS KNOW WHO GAVE
ME THE INFORMATION.
MAN 100
YOU KNOW (BEAT) YOU ARE A REAL BITCH.
GINA
I KNOW.
SHE SMILES AND WALKS OUT OF THE ROOM, SHE WALKS PASS THE MEN OUTSIDE THE ROOM, SHE MAKE A SUDDEN MOVE AND THE MAN JUMPS, SHE WINKS AT THE MAN AND WALKS OUT OF THE BAR.
CUT TO DAY INT DEA OFFICE GINA AND SEAN ARE IN THE OFFICE TALKING:
SEAN
SO WHAT DO YOU THINK?
GINA
WELL IT’S ALL WE HAVE SO LET’S GO WITH IT
SEAN
I’LL MAKE SURE WE HAVE ENOUGH BACKUP.
GINA
WE’LL NEED IT, THIS COULD GET UGLY.
SEAN
WHY DO YOU SAY THAT?
GINA
WE HAVE HIT THEM HARD OVER THE PAST FEW MONTHS
SO I AM EXPECTING SOME HEAVY RESISTANCE.
SEAN
YEA I AGREE WE MIGHT NOT GET AN
OPPORTUNITY LIKE THIS AGAIN.
GINA
GO HOME AND GET SOME REST, WE HAVE
BIG DAY TOMORROW. I’M GOING TO MAKE
SOME CALLS AND I’LL MEET YOU AT HOME
IN ABOUT AN HOUR.
(SEAN GETS UP AND GIVES GINA A KISS ON HER FOREHEAD)
SEAN
I’LL SEE YOU LATER.
(SEAN WALKS OUT AND GINA GETS ON THE PHONE.)
CUT TO: GINA HOUSE EARLY EVENING. GINA WALKS IN TO A DARK HOUSE, BUT SHE CAN SEE A DIM LIGHT COMING FROM THE DINING ROOM. SHE PUT HER GEAR DOWN AND WALKS INTO THE DINNING ROOM TO FIND CANDLES ALL OVER WITH DINNER ON THE TABLE. MUSIC START TO PLAY AND SEAN WALKS UP BEHIND HER. HE PUTS HIS ARMS AROUND HER AND STARTS KISSING HER NECK, SHE TURNS AROUND AND THEY BEGIN TO KISS.
GINA
I THOUGHT I TOLD YOU TO GET SOME
REST, NOT DECORATE MY HOUSE.
SEAN
I WAS GOING TO, BUT I COULDN’T STOP
THINKING ABOUT YOU AND I WANTED TO
HAVE A GOOD NIGHT BEFORE WE KICK SOME
ASS.
SEAN ESCORTS GINA TO THE TABLE AND PULLS OUT THE CHAIR HE SITS ACROSS FROM HER AND POURS SOME WINE. SEAN IS ALL SMILES AS GINA GRABS HER NAPKIN TO UNFOLD IT. THE NAPKIN IS TIED AROUND THE MIDDLE, AS SHE TURNS IT OVER TO UNTIE IT SHE SEES AN ENGAGEMENT RING. SHE LOOKS UP AT SEAN WITH A TEAR IN HER EYE. SEAN GETS UP AND WALKS OVER TO HER AND AS HE GETS ON ONE KNEE GINA TAKES A DEEP BREATH.
SEAN
GINA, I KNOW WE HAVE ONLY KNOWN EACH
OTHER FOR A SHORT TIME, BUT EVER
SINCE MY FIRST DAY ON THE JOB, I KNEW
THERE WAS SOMETHING ABOUT, YOU THAT I
COULDN’T GET ENOUGH OF. I WANT TO
FEEL THIS WAY FOR THE REST OF MY LIFE
AND I WANT YOU TO LET ME LOVE YOU FOR
THE REST OF YOURS, SO PLEASE GINA,
WILL YOU BE MY WIFE?
(GINA LOOKS IN SHOCK, BUT SHE ANSWERS)
GINA
THIS IS NOT SOMETHING THAT I CAN ANSWER
RIGHT AWAY, BUT I’M NOT SAYING NO.
SEAN TAKES THE RING FROM GINA AND PUTS IT ON HER FINGER HE STANDS UP AND PULLS OUT OF HER CHAIR. SHE KISSES HIM AND HUGS HIM HARD. SHE LOOKS AT THE RING AND THEN LOOKS UP AT SEAN WITH TEARS ROLLING DOWN HER FACE AND A SMILE ON HER FACE. THEY KISS, THE PHONE STARTS TO RING SEAN PICKS IT UP AND HANDS IT TO GINA, SHE TAKES IT BUT PUTS IT DOWN, SHE GRABS SEAN HAND AND THEY GO TO THE BEDROOM.
CUT TO: EXT. EARLY EVENING: OUTSIDE A LARGE WAREHOUSE IN A RUN DOWN PART OF TOWN. THERE’S NO TRAFFIC ON THE STREETS, GINA AND SEAN ARE SITTING IN AN UNMARKED CAR, AND THEY ARE A DISTANCE FROM THE WAREHOUSE. THEY ARE LOOKING AT THE ENTRANCE; A VOICE COMES OVER THE TALKIE.
CAPTAIN
ANY ACTIVITY YET, BURKE?
GINA
NOTHING, BUT WE’VE ONLY BEEN HERE FOR
ABOUT A HALF-HOUR, (BEAT) IT’S EARLY.
CAPTAIN
I KNOW, BUT IF SOMETHING DOESN’T
HAPPEN SOON.
GINA
NOTHING, BUT WE’VE ONLY BEEN HERE FOR
ABOUT A HALF-HOUR, (BEAT) IT’S EARLY.
CAPTAIN
I KNOW, BUT IF SOMETHING DOESN’T
HAPPEN SOON, IT’S OFF WE DON’T HAVE
THE MANPOWER FOR THIS.
GINA
JUST GIVE IT SOME MORE TIME, IT WILL
COME THROUGH.
CAPTAIN
LET’S HOPE IT GOES DOWN.
(GINA PUT THE TALKIE ON THE DASHBOARD AS SHE IS PULLING HER HAND BACK SHE CATCHES A GLIMPSE OF THE RING. SHE LEANS OVER AND KISSES SEAN ON THE CHEEK.)
SEAN
ANY REGRETS YET?
GINA
ONLY THAT IT DIDN’T HAPPEN SOONER.
TWO HEADLIGHTS ARE COMING UP BEHIND THEM, THEY MOVE DOWN IN THE SEAT SO THEY CAN NOT BE SEEN. A TRUCK PULLS INTO THE AREA AND GOES INTO THE BACK; SEAN GRABS THE TALKIE AND CALLS THE CAPTAIN.
SEAN
WE HAVE SOME MOVEMENT.
CAPTAIN
KEEP COOL LET’ NOT JUMP THE GUN,
WHAT’S UP?
SEAN
A BIG TRUCK JUST PULLED AROUND THE
BACK
CAPTAIN
ALL THE AGENTS ARE IN PLACE ALONG
WITH THE UNIFORMS, WE WILL GO ON YOUR
CALL.
SEAN PUTS THE TALKIE BACK ON THE DASH; TWO MORE CARS DRIVE UP FROM THE OPPOSITE DIRECTION
AND PULL INTO THE WAREHOUSE, GINA GETS ON THE RADIO.
GINA
THIS IS BURKE WE HAVE TWO MORE CARS
ON THE SCENE, WE ARE GOING TO GIVE
THEM ABOUT FIFTEEN MINUTES TO GET
SETTLED AND THEN WE MAKE OUR MOVE
WHEN THE BACK UP GETS HERE, HAVE THEM
STAND BY FOR MY WORD, ARE YOU READY FOR THIS?
SEAN
HELL YES, THIS SON OF A BITCH HAS TO
GO DOWN.
GINA
SEAN LISTEN, WHEN WE GET IN THERE
(BEAT) KEEP COOL DON’T GET TOO
EXCITED, IT CLOUDS THE JUDGEMENT.
SEAN
SHIT I’M READY, I HAD A GOOD
TEACHER.
GINA
WE ARE ABOUT TO FIND OUT, LET’S ROCK
AND ROLL.
SEAN AND GINA GET OUT OF THEIR CAR AND PUT A FEW EXTRA CLIPS IN THEIR BELT. THEY WALK TOWARD THE WAREHOUSE AS THEY GET CLOSER WE CAN HEAR FORKLIFTS MOVING AROUND. THEY FIND A WAY INTO THE WAREHOUSE AND START TO LOOK AROUND, THEY STUMBLE ON THE SITE AND THEY CAN NOT BELIEVE HOW MANY DRUGS ARE BEING STASHED. THEY SEE ABOUT A DOZEN MEN STANDING GUARD THEY ALSO SEE MILK TALKING TO ANOTHER MAN WHOSE FACE WE CAN NOT SEE IT IS BLOCKED. GINA GETS ON HER RADIO.
GINA
(TALKING LOW)
OK WE HAVE THEM IN SIGHT, THERE ARE
ABOUT A ARMED GUYS PLUS MILK AND
ANOTHER NEW GUY, SO MOVE IN.
VOICE
TEN FOUR.
WHEN THE AGENT OUTSIDE COMES OVER THE RADIO GINA RADIO GETS SOME VERB BECAUSE IT IS TOO LOUD. SEAN SEES MILK AND OTHER MAN LOOK AROUND TO SE WHERE THE SOUND CAME FROM. GINA LOCKS EYES WITH MILK AND SHE KNOWS THEY’VE BEEN SPOTTED; MILK TURNS TO NEIL AND POINTS TO WHERE GINA IS TAKING COVER. NEIL AND MILK BOTH SCATTER.
GINA
SHIT LET’S GO.
GINA AND SEAN TAKE OFF RUNNING AFTER THE MEN, SEAN HEADS IN MILKS DIRECTION AND GINA TAKES OFF AFTER THE OTHER MAN.
CUT TO: SEAN IS CHASING MILK ON THE TALKIE
SEAN
I NEED SOME UNITS ON THE SOUTH SIDE
OF THE WAREHOUSE, WE HAVE TWO MEN ON
THE RUN, I AM IN PURSUIT OF MILK
AND BURKE IS IN PURSUIT OF THE SECOND
SUSPECT, I DO NOT KNOW HER
LOCATION GET ME SOME BACK UP HERE
NOW!
VOICE
WE ARE CUFFING THE SUSPECTS, AND ON
OUR WAY.
SEAN GETS CLOSER TO MILK AS THE OTHER UNIFORMS CUT OFF MILKS PATH, HE OPEN FIRE ON THEM, ONE OFFICER IS HIT AND TWO OTHERS TAKE COVER. THE FOURTH OFFICER FIRES AT MILK AND HITS HIM IN THE ARM, MILK LAUGHS AND STUMBLES LONG ENOUGH FOR SEAN TO CATCH HIM AND PUSH HIM AGAINST THE WALL. MILK KICKS SEAN IN THE CHEST, SEAN BACKS UP, MILK ATTACKS SEAN WITH A SERIES OF KICKS AND PUNCHES. HE CATCHES SEAN WITH ONE OF THE KICKS AND A PUNCH TO THE FACE, SEAN FALLS TO THE FLOOR, MILK STANDS OVER SEAN AND LAUGHS. SEAN JUMPS TO HIS FEET, MILK AND SEAN SQUARE OFF, MILK TAKES A SWING AND CATCHES SEAN IN THE FACE, HE THROWS ANOTHER PUNCH, SEAN BLOCKS IT AND THROWS A RIGHT HAND CATCHING MILK IN THE FACE. MILK DOES NOT MOVE, MILK LAUGHS AND GRABS SEAN AND PUTS HIM IN A BEAR HUG. SEAN HEADS BUTTS HIM IN THE FACE, MILK LETS SEAN GO. SEAN KICKS MILK IN THE HEAD, THEN IN THE CHEST, HE THEN START TO CATCH MILK WITH A SERIES OF PUNCHES AND KICKS. MILK IS BARELY STANDING, SEAN WALKS UP TO MILK AND SMILES, HE THEN HITS MILK WITH A OPEN PALM, MILK IS KNOCKED OUT COLD.
SEAN
(ON THE RADIO)
WE HAVE TWO OFFICERS DOWN; I NEED
EMERGENCY SERVICES NOW!
CAPTAIN
IS BURKE WITH YOU?
SEAN
NO SIR, SHE IS FOLLOWING THE OTHER
SUSPECTS.
(SEAN IS TALKING TO THE OTHER OFFICERS)
SEAN
GET THIS GUY OUT OF HERE; I’M GOING
TO ASSIST BURKE COME IN
(ON THE TALKIE)
(THERE IS NO RESPONSE)
SEAN
BURKE, GINA COMES IN.
CUT TO: GINA IS CHASING NEIL, SHE HEARS HER RADIO CLICKING
GINA
THIS IS BURKE, I’M CHASING A SUSPECT.
SEAN
WHAT IS YOUR LOCATION?
GINA
I NOT SURE, I THINK I’M ON THE NORTH
SIDE OF THE WAREHOUSE BY THE LARGE FANS.
SEAN
OK I’LL TRY TO CUT HIM OFF.
THE MAN STOP AND BEGINS TO FIRE AT GINA, SHE TAKES COVER BEHIND SOME CREATES
CUT TO: GINA TURNS A CORNER CAREFULLY; AS SHE TURNS SHE IS PUSHED TO THE GROUND. SHE FLIPS ONTO HER BACK AND FINDS HERSELF LOOKING DOWN THE BARREL OF A FOURTH FIVE. LOOKING
PAST THE GUN SHE SEES NEIL STANDING ABOVE HER, HE STANDS HER UP BUT KEEPS THE GUN POINTED AT HER HEAD, GINA IS BREATHING HEAVILY, SHE GLANCES OVER TO SEE HER GUN LAYING ACROSS FROM HER.
NEIL
SO YOU’RE THE BITCH THAT’S BEEN
CAUSING TROUBLE FOR ME, I BET YOU
THOUGHT YOU WERE PRETTY SMART.
TRYING TO FIGURE OUT MY OPERATION BUT
I’LL BET YOU DIDN’T EXPECT THIS A.
GINA
I GOT JUST WHAT I EXPECTED, TO BUST
YOUR ASS.
NEIL
YOU DON’T KNOW WHO YOU’RE FUCKING WITH.
THIS IS MY CITY, AND SOME LITTLE
BITCH IS NOT GOING TO TAKE DOWN
WHAT I HAVE BUILT.
HE COCKS THE GUN AND HE HEARS SOME NOISE, HE BACKS OFF GINA JUMPS UP AND THEY BEGIN TO FIGHT FOR THE GUN. GINA KICKS THE GUN OUT OF NEIL HAND THE GUN GOES ACROSS THE FLOOR. GINA AND NEIL SQUARE OFF, NEIL TAKES A SWING AT GINA, SHE BLOCKS IT, DOES A MOVE AND THROWS HIM TO THE GROUND, HE GETS UP AND THROWS ANOTHER PUNCH, GINA DUCKS AND KICKS THE MAN IN THE FACE. NEIL FALLS BACK; HE TAKES HIS HAND ACROSS HIS MOUTH AND SPOTS SOME BLOOD.
NEIL
ENOUGH OF THIS BULL SHIT.
NEIL RUSHES GINA AND THEY THROW AND KICK AT EACH OTHER, WITH GINA GETTING THE BEST OF NEIL, THEY BOTH FALL TO THE FLOOR, HE GETS ON TOP OF HER AND PUNCHES HER IN THE FACE WITH BOTH HANDS. HE TRIES TO PUNCH HER AGAIN, SHE BLOCKS AND ROLLS HIM OVER AND PUNCHES HIM. HE GETS UP AND STUMBLES TO THE GUN AND PICKS IT UP, HE WALKS BACK OVER TO GINA.
NEIL
YOU WERE THE BEST YET, BUT NOT GOOD
ENOUGH.
NEIL FIRES THE GUN HITTING GINA, AS HE IS FIRING THE GUN SEAN COMES RUNNING AROUND THE CORNER AND SEE THE MAN FIRING THE GUN AT GINA
SEAN
NO, SHIT NO.
THE MAN SPOTS SEAN AND TAKES OFF RUNNING. SEAN RUNS UP TO GINA LYING ON THE GROUND. HE GRABS HER WITH BOTH ARMS AND IS ROCKING WITH HER. HE GETS ON THE TALKIE.
SEAN
I NEED EMERGENCY SERVICES NOW! WE
HAVE AN AGENT DOWN HURRY.
(SEAN IS TALKING TO GINA)
SEAN
COME ON GINA, HANG IN THERE, COME ON.
GINA
GO GET HIS ASS.
SEAN
NO I’M STAYING HERE WITH YOU, I LOVE YOU.
GINA
I NEED YOU TO GET HIM.
(SHE GRABS SEAN’S SHIRT)
GINA
SEAN (BEAT) TAKES HIM DOWN.
SEAN STARTS TO RUN AFTER THE MAN, HE CHASES HIM IN TO A ROOM WITH NO EXIT, THE MAN STOPS BUT IS FACING THE WALL.
SEAN
DROP YOUR GUN AND TURN AROUND SLOWLY,
DEA IF YOU MOVE TO FAST, WELL
JUST GIVE ME A REASON.
(THE MAN PUTS HIS HANDS IN THE AIR, BUT STILL HAS THE GUN)
SEAN
I’M NOT GOING TO TELL YOU AGAIN, DROP
THE GUN NOW!
HE TURNS TO SEE IT IS HIS SON, SEAN REALIZES IT IS HIS DAD. SEAN LOWERS HIS GUN IN SHOCK
SEAN
DAD WHAT THE FUCK! WHAT THE HELL IS
GOING ON
NEIL
I TRIED TO GIVE YOU FAIR WARNING NOT
TO GO INTO THE DEA.
SEAN
WHY BECAUSE YOU ARE SELLING DOPE,
WHAT THE HELL ARE YOU DOING DAD.
(BEAT) WHY? DAD WHY?
NEIL
I HAD TO DO WHAT I HAD TO I HAD TO
MAKE A LIVING FOR YOU AND YOUR.
SEAN
THIS IS NOT A WAY TO MAKE A LIVING.
NEIL
DON’T TELL ME ABOUT MAKING A LIVING,
YOU HAVE NO IDEA WHAT ITS LIKE.
SEAN
NO TELL ME, PLEASE TELL ME.
NEIL
LET ME TELL YOU SOMETHING, MR. I KNOW
IT ALL I LOST MY JOB WHEN YOU WERE
THIRTEEN YEARS OLD, HAD NO PROSPECTS
AND NO MONEY I HAD TO DO WHAT I HAD
TO (BEAT) TO KEEP FOOD ON THE TABLE
AND A ROOF OVER YOUR HEAD.
SEAN
YOU COULD HAVE FOUND A JOB, ANYTHING
BUT DRUGS.
NEIL
HOW DO YOU THINK YOU GOT INTO YALE?
HOW DO YOU THINK YOU HAD THE BEST OF
EVERYTHING, HA.
SEAN
WELL IF I KNEW YOU WERE SELLING
DRUGS, THEN I COULD HAVE DONE
WITHOUT.
NEIL
YOU KNOW NOTHING ABOUT LIFE; I DID MY
BEST TO KEEP YOU IN A NICE LIFESTYLE.
SEAN
OR WERE YOU TRYING TO KEEP YOURSELF
IN IT?
(THEY BOTH LOOK AT EACH OTHER)
SEAN
YOU KNOW I CAN’T LET YOU GO.
NEIL
WHAT THE HELL YOU MEAN, YOU CAN’T LET
ME GO, SHIT YOU HAVE TO LET ME GO
(BEAT) I’M YOUR DAD. NEIL STARTS TO
FIX HIS CLOTHS NOW HOW YOU WANT TO
HANDLE THIS, LET’S JUST SAY (BEAT)?
YOU COULD NOT FIND ME.
SEAN
I CAN’T DO THAT; I HAVE TO ARREST YOU.
NEIL
THINK I’M GOING TO LET YOU TAKE ME TO JAIL.
SEAN
DADS THIS IS NOT RIGHT, JUST TURN
YOURSELF IN.
NEIL
NONE OF THIS BULLSHIT WOULD BE
HAPPENING IF DETROIT WOULD HAVE
DID HIS JOB AND THAT BITCH YOU WORK
WITH WOULD BE DEAD?
SEAN
WHAT THE FUCK ARE YOU TALKING ABOUT?
WHAT DOES THAT HAVE TO DO WITH THIS.
SEAN REALIZES THAT HIS DAD WAS THE ONE WHO HAD SHANNON KILLED LOOKING FOR GINA
SEAN
PLEASE TELL ME I AM NOT HEARING WHAT
I THINK I’M.
NEIL
YOU GOT DAM RIGHT, THAT BITCH WAS
THREADING MY ENTIRE OPERATION
AND I COULD NOT LET THAT HAPPEN, SO
SINCE DETROIT FAILED.
(FIXING HIS TIE)
NEIL
I DIDN’T.
(SEAN IS LOOKING AT NEIL WITH TEARS IN HIS EYES)
SEAN
THAT WOMAN YOU TRIED TO KILL (BEAT) I
ASKED HER TO MARRY ME (BEAT) SHE IS GOING TO
BE MY WIFE
NEIL
WHAT THE FUCK ARE YOU THINKING ABOUT?
HOW ARE YOU GOING TO MARRY SOME
NIGGER AND DISGRACE MY NAME?
SEAN
YOU HAVE ALREADY DISGRACED YOUR NAME
(BEAT) I’M JUST TRYING TO PROTECT MIND
SEAN
MIND
NEIL
I DON’T HAVE TIME FOR THIS BULL; YOU
NEED TO GET OVER IT.
(NEIL STARTS TO GO TO THE DOOR, SEAN RAISES HIS GUN)
SEAN
DAD STOP, YOU’RE UNDER
ARREST.
(NEIL DOES NOT STOP)
SEAN
DAD PLEASE STOP
(HE DOES NOT RESPOND SEAN COCKS HIS WEAPON)
SEAN
DAD I’M NOT GOING TO ASK YOU AGAIN,
DROP THE WEAPON.
(NEIL TURNS AROUND WITH HIS GUN TO HIS SIDE)
NEIL
WELL I GUESS YOU ARE GOING TO HAVE TO
SHOOT ME.
THEY BOTH LOOK AT EACH OTHER, NEIL STARTS TO TURN AND WALK AWAY
(SEAN RAISES HIS GUN)
SEAN
DAD STOP (BEAT) I’M NOT GOING TO TELL
YOU AGAIN.
(NEIL KEEPS WALKING, SEAN COCKS HIS GUN)
(NEIL STOPS AND TURNS TO SEAN)
NEIL
I CAN’T GO TO JAIL SON.
(SEAN HAS TEARS IN HIS EYES)
SEAN
YOU DON’T HAVE A CHOICE.
NEIL RAISES HIS GUN, WE HERE TWO SHOTS, THE SCREEN GOES BLACK.
DISSOLVE TO: WE SEE NEIL WALKING AWAY FROM THE SCENE. HE DROPS TO THE GROUND AND THE CAMERA FOCUSES BACK ON SEAN COMING FROM THE BACK, HIS WEAPON IS STILL POINTED OUT AND HE IS SHAKING. OTHER OFFICER’S RUSH TO ASSIST SEAN, THEY ARE CHECKING TO MAKE SURE SEAN IS OK.
SEAN
DON’T WORRY ABOUT ME, WHERE IS AGENT
BURKE?
CUT TO: OUTSIDE THE WAREHOUSE THERE ARE COP CARS EVERYWHERE; SEAN EMERGES FROM THE BUILDING, THE CAPTAIN RUSHES TO HIM
CAPTAIN
I’M SORRY SEAN, I JUST HEARD IT WAS
YOUR DAD.
SEAN
HE QUIT BEING MY DAD A LONG TIME AGO
WHERE IS BURKE?
THE CAPTAIN LOOKS DOWN AND PUTS HIS ARMS AROUND SEAN THEY START TO WALK
SEAN
CAPTAIN (BEAT) WHERE THE HELL IS GINA?
CAPTAIN
THEY TOOK HER TO GENERAL; IT DOES NOT
LOOK GOOD BUT BEFORE THEY TOOK HER,
SHE WANTED ME TO GIVE YOU SOMETHING
(BEAT) I’M SORRY SEAN
THE CAPTAIN TAKES OUT A RING FROM HIS POCKET, IT WAS THE RING HE GAVE TO GINA, AND GIVES IT TO SEAN. HE TAKES THE RING AND KISSES IT, LOOKS BACK AT THE BUILDING AND STARTS TO CRY AS IT STARTS TO RAIN; HE STANDS IN THE RAIN KISSING THE RING.
FADE TO BLACK, THE END.
.
.
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