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Shades of Gray By Mark Skinner EXT. LAKE DAY (FLASHBACK) SUPER: 1982 The lake is small and surrounded by trees. It's situated in the hills not far from the Pacific coast, California. Santa Cruz is a bike ride away. TAYLOR and BRIAN SPENCER, 12 and 13 years old respectively, throw sticks out toward the center of the lake. Taylor is baby-faced and is the shorter of the two boys. GROWN-UP TAYLOR (V.O.) (a gravelly voice) We would come here every weekend when we were kids, more often during the summer vacation. Even then it was a retreat, at that time from our parents, or at least for Brian and myself is was an escape from our stepfather. Not that he ever beat us. To be honest don't think he had the strength to do so even if he wanted to. He was just, well, just not our father and mainly an asshole. The kind of person that once you're grown up and realize what people are about, you wouldn't want to share so much as a superficial conversation with, let alone everyday evening meals and watch him slobbering over his wife, in this case our mother, like a hopeful dog drooling over a bone. Another boy, SAMUEL BENDIS (13), approaches from behind the other two boys with a huge log and heaves it into the water. It doesn't go very far and neither Taylor nor Brian gets a chance to move back from the water's edge. All three boys are showered from the splash. Taylor stumbles and falls on his backside. Brian runs at Samuel. Samuel grins but fails to make any kind of escape, as Brian grabs his T-shirt. Both fall into the water. Amidst smiles and laughter they spray water at each other. Taylor takes a running jump and joins them. GROWN-UP TAYLOR (V.O.)(CONT'D) Didn't know too many people back then with broken homes, except Sam, who was the other boy that made up our gang so to speak. Others came and went but the backbone was the three of us. And it remained that way until life really took hold, decisions had to be made, and school ended. The point that most children look forward to, believing that it marks freedom to roam. GROWN-UP TAYLOR (V.O.)(CONT'D) The point when the safety line is gone and you're set to freefall through the days of your life. Most of which are lined with tragedy, and the hopeless search for the definitions of love, happiness and why. EXT. LAKE DAWN SUPER: Present day September. Some leaves are already colored by autumn's hues. Mist creeps across the surface of the water and weaves, ghostlike, between the tree trunks. A fly hook lands and pierces the mercurial surface, barely causing a ripple. The attached line floats gently downwards and charts the path back to the lone artist on the shore. Samuel Bendis is now 35 years old, has an elf-like face, and appears content. A shot rings out. CUT TO: UNDERWATER A good-sized trout takes the fly just as the water shudders, as if feeling the vibrations from a dead weight crashing through its serenity. The trout darts away, with the line striking its trail. The trout passes beneath the sinking face of Samuel. EXT. LAKE/ WOODS DAWN Brian Spencer stares blankly toward the lake. He is also 35 years old, and has a build that suggests he was once very fit. Despite a hero's jaw his face is thin and tired. He's just a matter of feet behind the semi immersed body of Samuel. An antique nickel-plated .38 Colt Lightning is held limply in his right hand. He turns and walks away. EXT. WOODS/ ROADSIDE DAWN A Silverado truck, with an extended cab, is parked awkwardly, half on the verge, half in the road. Brian approaches. He gets in the truck, guns the engine and pulls away. Before the tires grip asphalt the back of the truck swings out slightly, wheels spinning and dirt spraying into the air. The truck disappears round a bend. Tranquility returns. EXT. ROAD/ OCEAN DAWN The road winds over a rise and towards the ocean. The truck speeds along. EXT. ROAD/ CLIFF DAWN The truck is stopped on a bend above a sea-cliff that drops away to the rocks. At the moment the tide is out and rock pool microhabitats are exposed. Brian stands near the edge. He takes the .38 and hurls it out into mid air. He watches as it plummets to the rocks below. EXT. ROCKS DAWN A faint splash is heard. A small 4-year-old boy, WIL, treads gingerly amongst the rocks, searching for creatures left by the tide. He's ominously near the landing spot of the gun. Brian watches from above in fearful anticipation. Wil approaches the rock pool where the gun landed. EXT. ROCK POOL DAWN The gun is at the bottom of a shallow pool, colored with urchins, anemones, and a plethora of shells. Apart from one crab, what other creatures there might be have retreated into their submersed hiding places. Wil crouches, reaches down, and grabs...the crab. He doesn't do this very carefully, and doesn't account for the crab's claws. EXT. ROAD/ CLIFF DAWN Brian watches. Wil's identity is hard to make out from this position. WIL (O.S.) Mommy. Mommy. Look, look. Brian's eyes widen with fear. When he realizes the boy has hold of a crab and not the gun he lets out a marginal sigh of relief. EXT. ROCK POOL DAWN WIL Mommy. The crab manages to pinch one of Wil's fingers and he drops it back into the pool. He makes a 'dumbass' face to himself. He crouches down again and spears his hand through the surface of the water. EXT. ROAD/ CLIFF DAWN Brian's face again fills with desperate anticipation. UNDERWATER/ ROCK POOL DAWN Fingers dredge the bottom for the crab, which has backed to safety under a ledge. Wil touches, clasps and lifts, the .38. EXT. ROCK POOL DAWN Wil stares at the antique firearm in awe. His finger hangs innocently over the trigger. He turns, twists, and stares at the weapon. MOMMY (O.S.) Wil. He jumps, startled by his mother's voice because of the object in his hand. BANG. CUT TO BLACK EXT. ROAD/ CLIFF DAWN Brian watches, dumbstruck, as Wil falls backwards into the pool. EXT. ROCK POOL DAWN Wil's mommy, MEGAN, 34 years old and curiously pretty, comes running round the corner, seemingly oblivious to the terrain she's crossing. She slips. At the speed she was moving at, like a rag doll, she crashes forward, grating her legs on rocks. Broken, she claws her way toward her son. EXT. ROAD/ CLIFF DAWN Brian is unable to identify Megan from his vista. BRIAN Jesus fucking Christ. Shit. Fuck. He falls to his knees, his head bowed, as if praying for forgiveness. His eyes glaze. EXT. ROCK POOL DAWN Megan manages to reach Wil and turns him over. She takes his head in her hands. Tears stream down her cheeks. Small crabs venture out from their stony pockets of retreat as if beckoned by the scent of tears. EXT. BRIAN'S HOUSE A LITTLE LATER An olive tree in corner of the front lawn is the only fixed object that presents a difference between this house and all others on the street. Brian pulls into the drive. The garage door is already open but there is no room for any vehicle. Brian cuts the engine and sits staring at the cluttered garage. A bicycle hangs on the back wall. Apart from being some sort of BMX it's unidentifiable. Brian's wife, HEATHER (early 30s), comes through the garage and up to the truck. Her eyes seem to arrive before her, gray/ blue and emanating a hopeful compassion. She taps on the driver's side window. Brian opens it. HEATHER Did we need milk? Brian looks at her then back at the garage. HEATHER (CONT'D) (glancing with him momentarily) You can help me tidy it if you like? She strokes his cheek. Her eyes slowing lose their luster as she fights to maintain her good humor. HEATHER (CONT'D) Hey? Brian returns his look to her. HEATHER (CONT'D) You want a coffee because if you do you're going to have to get out? He opens the door. A little boy, JIMMY, exactly the same age as Wil, comes trundling through the garage. He runs to Brian as he steps down from the truck. Brian crouches in order receive his embrace. JIMMY Hello papa. Brian stokes his son's brow. Brian's conscience burns and he looks past Jimmy rather than at him. Heather peers into the truck. JIMMY (CONT'D) Can... HEATHER Where's Flea? BRIAN (closing his eyes) Shit. JIMMY (restraining a giggle) Shit. Brian lets go of him. HEATHER Not funny Jimmy. Go into the house. Jimmy walks back into the house through the garage. He breaks into a run halfway. Brian stays crouched, staring after his boy. Heather crouches next to him. HEATHER (CONT'D) You want to tell me why you got up earlier than you ever have before in your life on a day off to walk our dog and then come back without him? Brian is as still as a lizard basking in the sun. HEATHER (CONT'D) Did you lose him? Did he piss you off? Did you sell him? Did you kill him? Brian turns to look at her sharply. HEATHER (CONT'D) I didn't mean that. They both pause. Brian returns his gaze to the garage. HEATHER (CONT'D) Just tell me what happened. You know you can tell me whatever it is? We promised each... BRIAN I fucked up. I fucked things up for us Heather. HEATHER Come on. She strokes his brow. HEATHER (CONT'D) Can't be that bad? BRIAN Can't it? HEATHER On a scale of one to ten? BRIAN This isn't a joke Heather. HEATHER (a private barometer) Come on, it can't be worse than Pearl Harbor? BRIAN (straining) This isn't a joke Heather. This isn't some pop quiz, post movie analysis. She stands. HEATHER I'm... BRIAN Do you really think we tell each other everything? Do you? HEATHER Whatever happened to Flea isn't the end of the world Brian. He's just a dog after all. Let's just say you managed to get him run down, even that isn't the end. It's sad, very sad, but...you killed our dog. How many... He stands. BRIAN I didn't kill the dog. He pushes past her and gets back in the truck. HEATHER I saw you, this morning, before... Brian looks at her, almost apologetically. HEATHER (CONT'D) Did you kill someone Brian? He turns the ignition. BRIAN I'm sorry. He reverses out, wheels the front of the truck round, shifts the gears to forward and speeds away. He does this all as if in one fluid motion. Heather stands and watches as if the sky had just fallen in on her. EXT. POLICE DEPARTMENT BUILDING MORNING Grown-up Taylor (Taylor from now on) sits on the steps outside the entrance and studies an unopened quart of whiskey. Despite his tired eyes and two days of stubble, his hangdog good looks make his 34 years a little hard to believe. Even though it isn't the warmest of September days he doesn't wear a jacket. He cracks it open the bottle and takes a swig. He takes a detective badge from the pocket of his shirt and holds it flat in the palm of his hand. COP 1 approaches with a forlorn, half-baked, and cuffed YOUTH. Cop 1 stares at Taylor. The youth does the same. YOUTH Spare me some Mr. Cop 1 yanks him forward. COP 1 Quit your small talk fuckhead. YOUTH Fuckhead? Taylor stands and gestures a toast to the youth and takes a swig. YOUTH (CONT'D) Fuck you. COP 1 (shouting after Taylor) Fucking childish Taylor. TAYLOR If only. Taylor walks on down the steps. Behind him, as Cop 1 and the youth enter the building, TWO HOODS walk out. EXT. SIDEWALK MORNING Taylor strolls, grim faced and deep in thought. The two hoods follow and quickly gain on Taylor. All three approach an alleyway. The two hoods suddenly break forward and charge Taylor. EXT. ALLEY MORNING Taylor snaps away and turns to face his assailants. His gaze is sad and his mind is elsewhere. HOOD 1 (drawing a knife) Your wallet? TAYLOR OK. He puts his hand into his pocket. HOOD 1 Careful? TAYLOR Know of any guns that wouldn't bulge like a hard-on if they were stuffed in your pocket? Hood 2 draws a .32 caliber pistol. HOOD 1 (to Hood 2 nervously) What the fuck? I told... Quickly looking back at Taylor. HOOD 1 (CONT'D) Slowly. He casts another glance at Hood 2. HOOD 2 What? HOOD 1 I told you I don't like guns. Taylor slowly removes his wallet. Hood 1 snatches it from him, looks inside and then pockets it. TAYLOR Why don't you like guns? HOOD 1 Give me your watch. TAYLOR (holding his wrists up) Don't wear one. HOOD 1 Is it true that Jay's dead? TAYLOR True as this day. HOOD 1 That's fucked up. TAYLOR It's all fucked up. Too many goons... (glancing at Hood 2) ...with guns and notions of grandeur. Hood 2 instantaneously throws a haymaker at Taylor, sending him clean off his feet, into the air, and crashing to the ground. The detective badge tumbles out of his pocket and to the ground. Hood 1 looks at his partner as if to say, "what was that?" HOOD 2 He called me a goon. HOOD 1 Not just you. HOOD 2 Have you seen the show? Taylor writhes in the grime. HOOD 1 (to Taylor) Sorry about that. Taylor moves and observes his own fingers as if it were the first time he had ever seen them. Hood 2 picks up the badge, looks at it and shows it to Hood 1. HOOD 2 He's a cop. Hood 1 turns to walk away. HOOD 1 He was. Hood 2 pockets the badge and follows. They disappear round the corner and out of Taylor's life. Taylor remains mesmerized by his fingers as a DOG, the Littlest Hobo, wanders up and begins to lick his face. As if it were his wake-up call Taylor drags himself to his feet and walks out of the alley, the dog in tow. TAYLOR (to himself) For the first time in my life I don't give a shit. INT. DINER MORNING A washed out, dingy establishment, and empty but for two WAITRESSES, a CHEF and Taylor. Taylor sits himself down at the counter. ROBIN, a 24 year old, elegant and make-up free waitress, sets a mug of coffee down in front of him. Taylor offers a smile in thanks. ROBIN It's not even mid-day and you already look like you've had enough of today? TAYLOR And tomorrow. ROBIN And the day after that? TAYLOR (grins) Maybe this is the penance I have to serve to deserve that night. ROBIN Why? Am I sin? TAYLOR Just to look at. ROBIN Cheesy. TAYLOR Yeah. ROBIN You want anything to eat? Taylor shakes his head. TAYLOR Just coffee thanks Robin. ROBIN About Friday... TAYLOR (smirking) Our first date. ROBIN You must be getting nervous? TAYLOR Prepared my questions already. Robin smiles. ROBIN About, our first date... TAYLOR Friday. ROBIN I was hoping we could meet a little later? I have a seminar and... TAYLOR On what? ROBIN About heroes, history and origins... (embarrassed) Sorry... TAYLOR Gimme a call when you're done. ROBIN It's not that I don't want to see you. It... Taylor smiles compassionately. TAYLOR Do you have a favorite hero? ROBIN You mean fairy-tale hero? TAYLOR Fairy-tale, comic, bible, whatever? ROBIN Not really. Do you? TAYLOR Not really...I always wanted the underdog to win. ROBIN Because you felt sorry? TAYLOR No. But I guess that puts me in favor of the antihero, the ultimate loser. ROBIN Not always. TAYLOR Not when you venture into the myth and philosophy of the extraordinary, but apart from the books you read. Long John Silver didn't sail to glory, the Joker loses his smile, and Billy the Kid allegedly gets it in his sle... ROBIN The list is endless, but you're a cop, does the same happen in reality? A look of defeat colors Taylor's face. TAYLOR Nope. A pause. Taylor begins to lose his tongue as the morning starts to strangle his thoughts. TAYLOR (CONT'D) (absentmindedly) How's your mom? ROBIN She's good. How's Brian? Taylor's mind drifts for a second. He pauses. TAYLOR I remember something you told me once, about heroes. Something about yesterday's hero becoming tomorrow's villain... Sadness grips Taylor and his eyes glaze. He tries to maintain his composure with a fixed stare. TAYLOR (CONT'D) Brian's dead. FADE TO BLACK EXT. STREET DAY (FLASHBACK) Three first generation Kuwahara BMXs (all Magician models) skid out of an alley and into the street. They almost continue on and into the passing traffic but for some nifty turns and jumps onto the sidewalk. Horns sound. Voices rasp and bellow. The young Taylor, Brian and Samuel pedal hard. They simultaneously hop a fence and bounce down some steps onto a leafy suburban street. They quickly break off into the front yard of a family home, dump their bikes and bound through the front door. INT. BENDIS HOUSE/ LOUNGE DAY MRS. BENDIS (Samuel's mom), the spitting image of Bewitched's Samantha, sits on the couch with her three year-old daughter, DREW. They watch "loony toons". Speedy Gonzalez 'arribas' across the screen. Samuel enters with his rogue colleagues. SAMUEL Did you tidy my room? MRS. BENDIS That's your job Sam. SAMUEL I will. It's just... MRS. BENDIS Tomorrow, I know. She turns to look at her son. MRS. BENDIS (CONT'D) It's for your own good. Drew ate Gredo's blaster. SAMUEL (glaring at Drew) Mom. MRS. BENDIS We put things back as good as we could. SAMUEL Why did you let her in there? MRS. BENDIS I know Taylor thinks I'm a witch. She looks at Taylor with a rye smile. He doesn't know where to look. MRS. BENDIS (CONT'D) But that doesn't mean I have eyes in the back of my head and with your father out more than in it gets a little difficult sometimes Sam. Drew moves over and hands Samuel Gredo's blaster from inside her toy purse. Samuel tries to stem the smirk that twitches at the corners of his mouth. Taylor shuffles nervously. TAYLOR I, I never...I don't think you're a witch Mrs. Bendis. Mrs. Bendis gifts him a rye smile. MRS. BENDIS I know Taylor. Samuel moves to the stairwell. SAMUEL Come on. Brian follows. TAYLOR I said you look like the witch on that TV series, and she's real pretty. Taylor turns and follows his friends. Mrs. Bendis is comforted by Taylor's flattery. Samuel leads his followers up the stairs. INT. BENDIS HOUSE/ SAM'S BEDROOM DAY Some mock scene from Star Wars is set up all around the room. Figures and craft galore. The three boys enter. TAYLOR (picking up a TIE Fighter) Today the Empire wins. SAMUEL Evil never wins. BRIAN Why not? TAYLOR (sarcastically) Because evil are always bad shots. BRIAN What about the A-Team? SAMUEL (responding to Taylor) Depends. TAYLOR On what? Brian has his own topic. BRIAN (pushing for a response) Everybody in the A-Team is a bad shot. SAMUEL (to Taylor) I don't know. TAYLOR Exactly. Besides evil does win in the Empire Strikes Back. BRIAN Evil won in King Kong. TAYLOR Nobody really wins in King Kong. BRIAN So it was a draw? SAMUEL (to Taylor) Do you think you're a better shot than me? TAYLOR I don't know? Samuel ducks under his bed and slides out a Buck-a-roo game box. He opens it and takes out two BB guns (replicas of .45 Peacemakers). TAYLOR (CONT'D) Does your mom know you've got those? SAMUEL What do you think? Samuel hands one to Taylor. Taylor looks at him somewhat dumbstruck. Brian quietly admires the guns. SAMUEL (CONT'D) Like the cowboys do. He pretends he has a holster and simulates a draw to his own call. SAMUEL (CONT'D) (simultaneously raising his pistol) Draw. Taylor, not prepared in anyway but reacting like the Sundance Kid to the call that he's become familiar with from afternoon matinees and park games, raises his pistol and fires in one fluid motion and with lightening speed. Samuel is hit in the hand and lets out a scream, which he attempts to stifle. SAMUEL (CONT'D) What did you do that for? BRIAN (proudly) What a shot. TAYLOR Why was mine loaded? SAMUEL I don't know. TAYLOR Sorry Sam. SAMUEL (holding out his hand) Gimme the gun. Brian edges out a rye smile. Taylor hands the gun to Samuel. Samuel returns both pistols to the box and slides the box back under his bed. SAMUEL (CONT'D) If we did it fairly, like cowboys... BRIAN Cowboys cheat. SAMUEL If we both drew at the same time, I reckon I'd beat you. BRIAN Only if you shot him in the back of the head. Taylor realizes his friend's irritability. TAYLOR I agree. I was lucky. BRIAN And Sam was too slow. FADE TO: EXT. STREET MORNING (FLASHBACK) SUPER: May 2000 Brian hurries down the street with a take-out coffee in one hand and a half-eaten muffin in the other. He sips the coffee as he walks. He spills some down his T shirt. BRIAN Fuck. He takes one more bite of the muffin and hurls the rest into the street. EXT. STREET/ WHEEL The remainder of the muffin is crushed into the tread of a slow moving tire. BACK TO: EXT. STREET MORNING Brian lamely tries to wipe the coffee off his shirt with a napkin whilst a brand spanking new black Chevrolet Blazer pulls up alongside and rolls along in time with his step. The passenger window slides down. JAY, a weasel-faced Spanish/ Anglo-American hybrid, regards Brian. JAY Having difficulty? BRIAN (not even snatching a glance at Jay) I can't do anything for you right now. JAY Did you hear me ask? A brief moment elapses. Brian doesn't offer a response and doesn't break his stride. JAY (CONT'D) She's having it right now? BRIAN And I'm late. JAY Should be more careful at intersections in future. BRIAN I got to go. JAY I got a job for you. BRIAN I told you... JAY How else you gonna afford a new vehicle, and you got a kid... (a provoking smile) ...sorry kids, on their way too. BRIAN Fuck you. JAY Fucking hasn't helped your situation so far. BRIAN I got a job. JAY (scrutinizing) What? An all action desk jockey cop who sells a bit of weed on the side? No money there. Every fucking cop has the same plan, unless they were sharp enough to get into computers, and you weren't sharp. Brian stops and snaps back at the criticism. The Blazer stops. BRIAN Sharper than any fucker on the range. And could have fried your slimy ass a long time ago. JAY (chuckling) You couldn't pin the tail on the donkey with your eyes wide and his ass flashing. BRIAN You're one... JAY Just kidding. You're right about being sharp on the range. Word travels. And that's why I am being so kind as to offer you a job. BRIAN And? JAY You want a lift? BRIAN If Heather sees me with you... JAY You just said she's about to pop. She's hardly going to be peering out the window. And if you're that worried I'll drop you a block away. Brian moves to get in the back. JAY (CONT'D) Toss the coffee. Brian halfheartedly searches for a trash-can. He doesn't find one, gives up, and throws the cup on the floor. He gets in the back and the Blazer pulls away. A pool of coffee grows on the sidewalk and trickles into the drain. INT. HOSPITAL ROOM MORNING (CONTINUOUS) Heather is in bed with her newborn BABY in her arms. A couple of NURSES tend to her. Brian pokes his head through the doorway. Heather smiles. HEATHER He was early, not like his father. Brian walks in. BRIAN I was held up. HEATHER Literally? Brian stands beside her and looks at the tiny baby. HEATHER (CONT'D) He has your eyes. BRIAN That's all I hope. HEATHER (ominously) What's wrong? Brian delicately touches the baby's brow. BRIAN Nothing. HEATHER Brian... (looking at Brian and pausing for a response) ...I thought we agreed? BRIAN Nothing, really. He stands back and looks around the room. BRIAN (CONT'D) So...clinical. HEATHER Brian, I've just had a baby but I'm not stupid. We promised everything in the open so we can deal with it together. BRIAN There's a time and a place though Heather. HEATHER There's now Brian. BRIAN Heath... HEATHER (simultaneously) Brian, please. Brian takes a breath and returns to her side. BRIAN (stroking the baby's brow) I'm a thirty-one year old burnt out cop who lost his driving license, got demoted, works at a desk, and has a family he can't support. Heather regards him almost pitifully, yet lovingly. She recognizes his demons, from the knowledge of their battles, and their triumphs. HEATHER I thought we could call him Stephen? Brian smiles. BRIAN After your dad? HEATHER My dad, the Bionic Man, Steve McQueen. Brian strokes the baby's forehead. BRIAN Stephen James Spencer. Welcome to the world. He kisses Heather on the forehead. BRIAN (CONT'D) I'm going to grab a coffee quickly. I'll be back before he realizes I'm gone. HEATHER How many this morning? BRIAN (in the doorway) One, and I spilt that. He leaves the room. Heather appears a little disappointed. FADE TO BLACK EXT. STREET MORNING (FLASHBACK CONT'D) The air is crisp. Sunlight bleeds into the day. Leaves swirl in the gutters and on the sidewalk. SUPER: Nine months earlier. EXT. BEACH DAWN Brian watches the foaming water spill up the sand and then drag itself back to its mysterious domain, leaving the area it washed over as smooth as if it were a virgin land. A couple of surfers straddle their boards out beyond the rocks, waiting. Megan walks up behind Brian and puts her arms around his waist. Brian breaks from her embrace. Megan takes out a cigarette and smokes. MEGAN You want one? Brian doesn't answer. MEGAN (CONT'D) Do you love her? BRIAN I'm married to her aren't I? MEGAN That wasn't the question. Brian stares at the surfers. BRIAN They wait, and they know what they're waiting for. We wait for someone but we never know who or when. MEGAN Have you ever surfed? BRIAN I did love her. MEGAN Do you love me? BRIAN No. MEGAN Then it's easy. She drops her cigarette in the sand and steps beside Brian. MEGAN (CONT'D) I don't love you either. He looks at her. MEGAN (CONT'D) But Christopher used to beat me and beat me, and I used to let him. I never knew why. But I knew why I stayed so long, not because I loved him, but because I felt sorry. I felt sorry and thought I could help him, change him. Even thought I could love him. MEGAN (CONT'D) I felt sorry for five years, then I felt hate. I didn't call the cops on that day because I thought he was going to kill me, I called them because I thought I was going to kill him. BRIAN You were practically broken? MEGAN But I knew it in my heart. I could taste death on my tongue. You know when they say you see red in moments of uncontrolled rage. I didn't see any color, but I didn't feel pain either, until it was over. BRIAN He had the gun? MEGAN I put it in his hands. Brian turns. MEGAN (CONT'D) Because I knew you cops would shoot first and ask questions later. Brian takes his shoes off and rolls his trousers up. MEGAN (CONT'D) What's it feel like to kill Brian? BRIAN Doesn't feel like anything. He tests the water with his toe. BRIAN (CONT'D) Cold. MEGAN I wanted to be with you in that instant because I knew you had guts and people with guts don't beat their women. BRIAN No, they just cheat on them. EXT. WATER/ SURFER As if he'd seen a shark the SURFER turns and paddles frantically towards the shore. The water bulges behind him. He paddles. The bulge gets bigger, its crest beginning to fray. The surfer paddles harder, grips the sides of his board, about to pop up. BACK TO: INT. HOSPITAL ROOM MORNING Heather sits with newborn Stephen James Spencer in her arms. Her disappointed look still shrouds her face as she stares at the door through which Brian just passed. EXT. HOSPITAL ROOM/ CORRIDOR MORNING Brian steps out of Heather's room. He wanders over to a coffee machine and drops in some coins. He waits, takes his coffee and walks down the corridor. He stops at a different room, pauses for thought, and walks in. Megan sits upright in the bed, just like Heather, with a newborn baby, BABY 2, in her arms. BRIAN (sipping his coffee) How are you? MEGAN It's a boy. Brian smiles. MEGAN (CONT'D) Heather's a boy too? Brian nods. MEGAN (CONT'D) Two sons, lucky you. BRIAN You absolutely sure? MEGAN Brian, I hadn't fucked anyone for two years before you so unless I'm the Virgin Mary you're having a very weird day right now. BRIAN No shit. MEGAN I don't want anything from you. BRIAN I got nothing to give. MEGAN Go to Heather. BRIAN She deserves more. MEGAN What do I deserve? An awkward pause. MEGAN (CONT'D) At least give one boy a normal life. FADE TO: INT. SEDAN / STREET DAY (FLASHBACK CONT'D) Brian sits in the passenger seat. Taylor drives. TAYLOR Stephen's a nice name. Brian muses over the people, the shops, the businesses, and the sidewalk as they pass by. BRIAN Wish I kept my Star Wars toys now. He fiddles with the glove compartment. BRIAN (CONT'D) Some woman sold all she had for $10,000 the other day. That's a shit load of cash for nothing. Can you believe that? He looks across at Taylor, who keeps his eyes fixed on the road. BRIAN (CONT'D) (returning his gaze to the sidewalk) Thing I don't get though is how she managed to keep them all in the boxes. He throws a second glance at Taylor. BRIAN (CONT'D) I mean, Christmas comes you feel around for the shape of those figure boxes. Remember? The card...hoping it isn't some pen in flashy case... TAYLOR Yeah. BRIAN You find one, you rip the fucker open, trash the box after you've scanned the back for the next additions to your collections, and then you play movie with whatever household sets you can kind find. Blasters sound; figures fly; all round galactic mayhem. It's some kind of foresight keeping boxes, or better still not even opening the fucker. What kind of child doesn't take a toy out of the box because of the possibility that it might be worth something later on? Or what kind of parent makes a child do such a thing? (shaking his head at the absurdity of his idea) Too many people miss the fucking point. TAYLOR (keeping his eyes fixed on the road) You want something to eat? BRIAN (looking at Taylor) You listening to me? TAYLOR You sold what you had to pay for a pair of Z Rims, a 'Let There Be Rock' album and a Led Zeppelin patch. Brian ponders Taylor's riposte for a second. BRIAN You ever want to go back? TAYLOR Every time I talk to you. Brian smiles. EXT. TAYLOR'S HOUSE NIGHT A full moon. Despite the darkness it is clear that this house is not too dissimilar from Brian's. Xerox homes. The Sedan is in the drive. The porch light is on. INT. TAYLOR'S HOUSE/ LOUNGE NIGHT Clearly lacking a woman's touch. Not messy but basic. A framed poster of Buck Rogers dominates the wall behind the TV. Taylor slouches in single-male armchair comfort about to delight in Battlestar Gallactica re-runs. The opening credits begin. Before the credits end the muffled ring tone of a phone is heard. Taylor squeezes his hand down the side of the armchair, between the cushion and the main body of the chair. The ring tone gets louder as he lifts out a cordless phone and answers it. He listens for no more than thirty seconds. TAYLOR (sighing) I'll be there in 10 minutes. He puts the phone down, snaps on a pair of sneakers and leaves the house. EXT. BRIAN'S HOUSE NIGHT Apart from the pale amber glow that illuminates the porch no lights are on. A police car pulls up to the curb at the same time as a reasonably large TV comes hurtling out of the window and crashes on the front lawn. TWO COPS step out of the car. One, the younger cop, RANDY, goes to draw his gun. The other, CHARLIE, shakes his head and gestures with his hand for him not to do so. Charlie makes use of his seniority. CHARLIE Stay here. Randy is either nervous or itches for action. RANDY The guy's a fucking nut. CHARLIE Just stay here. Charlie walks across the lawn and peers into the house through the broken window. The room looks as if it's been turned over by some drugged up thieves. Nobody can be seen. CHARLIE (CONT'D) Brian? You OK Brian? BRIAN (O.S.) Fantastic. In fact super fantastic. The barrel of a .45 automatic appears in Charlie's face as Brian, holding the gun, seems to roll into view from behind the front wall. BRIAN (CONT'D) Hey there Charles. Brian lowers the gun. CHARLIE Fuck me Brian, one of these days it's not going to be me and you're going to be blown halfway across your living room. Randy back there was about ready to storm the house and he's one trigger-happy son-of-a-bitch. BRIAN Why do you suppose that? CHARLIE What? BRIAN He's a trigger-happy son-of-a bitch? CHARLIE For the same reasons you were when you first wore the badge. BRIAN No, no. Bullshit. He shakes his head. BRIAN (CONT'D) Those sons-of-bitches aren't cops anymore. They're psycho children. Look at the fucking games they play, the movies they watch. It's all fucked up. They live in their rooms, their dreams breed in front of a screen. Brian's next door neighbor, a spinster woman, MRS. SIMPSON, steps onto her porch. MRS. SIMPSON (hollering) You should be locked up. You cops are all the same. BRIAN (leaning out of the broken window) Fuck you Mrs. Simpson. MRS. SIMPSON God only knows what that wife of yours sees in you. She walks back into her house, slamming the door. BRIAN Damned if I know. But fuck you anyway, and that rat-faced sister of yours. He returns to face Charlie. For a moment he stares past him to the TV. BRIAN (CONT'D) That was expensive too. CHARLIE You don't know when to quit do you? BRIAN What was I talking about? CHARLIE I think you need to sit down and relax. Forget talking for a while. His eyes blaze with the recollection of his words before the interruption. BRIAN Kids. CHARLIE What? BRIAN Kids today. You think somebody who spends his days blasting people to bits in some graphic console game makes a cop? The world isn't a global village; it's a fucking breeding ground for murderers and killers. You and me can't escape anymore. Space isn't the final frontier, Buck Rogers doesn't make kids smile, kids don't make tree houses... CHARLIE Because there ain't no trees Brian. BRIAN Whatever. They don't wish upon a Kuwahara. They practice killing in the confines of a claustrophobic parent exempt bedroom or some virtual destruction range calling itself an Internet... (emphasizing with the French pronunciation) ...cafe. Charlie realizes the source of Brian's possible anxiety driven anger. CHARLIE Heather had the baby? BRIAN Yeah. CHARLIE When she come home? BRIAN I'll get all this fixed by noon. CHARLIE Don't fuck it up Brain. BRIAN I've already done that. Taylor pulls up behind the police car. He gets out and nods to Randy as he walks up to the house. He heads for the front door. TAYLOR (turning to Charlie at the window) Hey there Charlie. Taylor opens the door and walks in. INT. BRIAN'S HOUSE/ LOUNGE NIGHT Taylor switches on the light. Brian has turned to face Taylor. He stands at the broken window in just his jeans. His feet bleed, as he stands barefoot on the shards of broken glass. The .45 hangs loosely in his hand. Taylor flips the overturned couch back to its upright position and sits down. TAYLOR I'm tired Brian. Silence. Brian looks through and beyond Taylor. TAYLOR (CONT'D) Why now? Why today? The silence becomes uncomfortable. TAYLOR (CONT'D) You got everything Brian. Brian shifts forward aggressively across the glass, exaggerating his expression by waving the gun around. BRIAN No. You've got fucking everything. TAYLOR (gesturing to the gun) Do you mind? Brian tucks the gun down the front of his jeans. TAYLOR (CONT'D) You know that's not true. BRIAN What? If you haven't got it you'll get it. You're a great cop. Taylor stands. TAYLOR And that pisses you off? BRIAN Because you don't see it. Taylor lunges at Brian and grabs him round the neck. He pins him to the wall. TAYLOR I know I'm a great cop and it pisses me off as much as it pisses you off because unlike you my wife left me. I didn't do half the shit you do but she left me. My job, that's all I've got Brian. You became a father today so take responsibility for that. My kid died before I could give him a name, so you just take care of what you have, or next time I'll let some punk cop deal with you and just having that tucked in your pants will see him put a hole in your gut. Brian's energy has completely escaped him. BRIAN I fucked up. Brian drops to his knees. BRIAN (CONT'D) Sorry. Sorry Taylor. You know I don't mean it. Heather doesn't deserve me. I don't deserve her. I don't deserve to be a father. Taylor squats beside him. BRIAN (CONT'D) I became a father to two boys today. He looks at Taylor somewhat resigned. BRIAN (CONT'D) Can you believe it? Me...a father. TAYLOR I thought...twins? BRIAN No. TAYLOR Then what? BRIAN (sheepishly) Megan. Remember Megan? TAYLOR What the fuck are you talking about? Taylor stands. Brian follows suit. BRIAN Heather and Megan had baby boys today, and I...I'm the father of both. He smiles with neither conviction nor sense. Taylor pauses to take in the situation. Then, SMACK. He cracks Brian on the jaw, dropping him to the floor like a sack of potatoes. EXT. BRIAN'S HOUSE NIGHT Taylor walks out and stands on the porch. He takes out a pack of cigarettes and taps the pack on the back of his hand, almost magically making just one cigarette pop up. He hangs it on his lower lip and feels around for a lighter. Charlie trundles over and flicks open his Zippo. Taylor lights the cigarette, inhales deeply and then breathes out, coloring the darkness with smoke. CHARLIE You OK? TAYLOR Ever feel like your life is a nightmare and you hope one day you can just fall asleep and wake up in a sweet dream? CHARLIE Can't say I do. Taylor and Charlie amble across the lawn. TAYLOR You're lucky then Charlie. Taylor stops. TAYLOR (CONT'D) Get out of here. CHARLIE Brian gonna be alright? TAYLOR Yeah. Charlie pats Taylor on the shoulder and heads for the police car. He indicates to Randy to get in as he does so. The police car pulls away. Taylor watches it disappear into the pale luminosity of the night. He looks at the busted up TV and shakes his head. He sits himself down on it and lets himself be hypnotized by the myriad of stars that color the black blanket of sky, as the smoke from his cigarette snakes upward, almost pointing to pathways between the dead and dying spheres of sparkle. CUT TO: INT. CIRCUIT CITY MORNING A wall of TVs. Taylor studies them. He searches for a match between the scribbled details of the busted one on a piece of paper and those that face him. EXT. BRIAN'S HOUSE MORNING Taylor pulls up behind an unmarked Express van with a glass carrying rack on the side. Two WINDOW REPAIR GUYS take measurements of the frame at the broken window. Taylor shouts to them. TAYLOR Couldn't give me a hand could you? Just one of you. Both men turn round and one, JACK, walks over. Taylor opens the back door of his Sedan. TAYLOR (CONT'D) Didn't think you'd be around so fast Jack? JACK What happened? Looks like somebody tossed a TV though the damn thing? TAYLOR Should've been a cop yourself. JACK Na, don't like drinking coffee all day long. Taylor shunts the boxed TV to the edge of the seat. Jack grabs the front. Taylor heaves the back out and takes hold. They walk toward the house. JACK (CONT'D) How come you don't come to Marilyn's no more? TAYLOR Busy. JACK With covering up for Brian? With being a cop? You need to be Taylor every now and again. They shuffle through the front door. INT. BRIAN'S HOUSE/ HALL TO LOUNGE MORNING Taylor and Jack pass through with the box. TAYLOR Being a barfly doesn't appeal anymore. They lay the box down on the floor in the lounge. The mess is as it was the previous night but for the absence of Brian. JACK Having a few drinks and laughing with your pals doesn't have to turn you into an alcoholic. Taylor looks at the picture of Brian and Heather on the wall. JACK (CONT'D) Sorry man. I didn't mean that shit about being alcoholic. Taylor smiles. TAYLOR I know, and you're right. He looks around the room. TAYLOR (CONT'D) Do you like fixing windows? JACK Nope. But it kills time and pays the bills. Every other year offers Bernie and me a holiday with the kids. Got to look after what you got. Brian appears in the doorway, disheveled, thick lipped, and dressed as he was the night before. JACK (CONT'D) Fuck me, if it ain't the Wolfman himself. Did the TV hit you first? Brian shrugs and looks at Taylor. BRIAN Something like that. TAYLOR How you feeling? BRIAN Pretty fucking bad. He sees the new TV on the floor. TAYLOR (to Brian) Coffee? Taylor heads out of the room. BRIAN (shouting after Taylor) Thanks. Jack pats Brian on the shoulder as he moves to leave. JACK Nobody's ever owed someone as much as you owe him. Jack leaves. Brian stands, motionless. He stares into the destruction he delivered upon his own living room. END FLASHBACK EXT. BRIAN'S HOUSE/ LAWN DAY Heather prunes the olive tree whilst Stephen James Spencer, or Jimmy, now four years old, lies on the grass eye-balling a two year old German Shepherd/ Labrador cross, FLEA. HEATHER Don't tease him Jimmy. Jimmy pokes the dog's nose with an olive branch. EXT. CHURCH DAY Dilapidated and apart from any signs of civilization, the place seems more like the Devil's Keep. The sky is gray and a wind is picking up. All in all, the entire ambience is cruel. A beetle creeps around in the dirt on the pathway that meanders through the crumbling headstones. A boot stamps down on it, crushing it into the dirt for no apparent reason. The boot belongs to DAVE 'THE CAT' TYLER. Grim. Leather skinned, scars above each eye, and an empty gaze. He's dressed all in black and wears a gray Borsalino dress hat. Samuel leans against a headstone. He smokes and handles the antique nickel-plated .38 Colt Lightning. THE CAT You ever fired one of those before? SAMUEL (not looking at The Cat) Nope. THE CAT Watch. Pass it to me. Samuel hands it to him and stands. THE CAT (CONT'D) See the Virgin on that stone? Samuel looks. The Virgin Mary, sculpted in stone on an elaborate headstone, about twenty feet away. SAMUEL Yeah. THE CAT Watch. SAMUEL You said that already. The Cat snaps a fierce glance at Samuel before he quickly swivels his head, lifts, and fires. The Virgin explodes in a cloud of dust and stone fragments. Samuel raises an eyebrow. THE CAT How's that for blasphemy? SAMUEL And the price? THE CAT You know why they call me the Cat? SAMUEL I can guess. The Cat hands the pistol back to Samuel. THE CAT When you kill someone, do you just kill 'em? SAMUEL What do you mean? The Cat presses his thumb on Samuel's forehead. THE CAT Bang, bang. Quick, clean and gone. SAMUEL That's the general idea, yeah. Samuel studies the artistry of the weapon. THE CAT You ever watch a cat? Samuel looks at the remains of the Virgin Mary then down at the floor at the crushed beetle. SAMUEL See where you just shot? The Cat looks. Samuel raises the pistol and shoots The Cat in the side of the head, through his hat. EXT. CHURCH/ BELFRY SAME No bell, no chime. A couple of Ravens take to the air. BACK TO: EXT. CHURCH DAY The Cat slumps to the floor, dead. SAMUEL I don't like cats; they're cruel fucking animals. Samuel takes out his own .44 Magnum. With a gun in each hand he walks through the gravestones toward a parked Cadillac Eldorado Convertible with THE CAT's DRIVER in it. The Driver shakes and rolls his head to the rhythm of the music that screams through the headphones of his MP3 player. He's no more than twenty-five and has a face that advertises 'wise-ass'. SAMUEL (CONT'D) (shouting from the passenger side) Turn it off? The Driver fails to even notice Samuel. SAMUEL (CONT'D) (to himself) Fuck's sake. Samuel walks round the front of the car to the driver's side, stuffing the Colt Lightning down the front of his pants. He snaps the headphones off the Driver's head and replaces the left earpiece with the barrel of his .44. The Driver freezes. SAMUEL (CONT'D) You're not Goldfish? DRIVER No. I'm Joseph T. Burn... SAMUEL I didn't ask you who you were I said who you weren't. Do you know Goldfish? The Driver (JOSEPH) is about to answer. Samuel pushes the barrel of .44 further into his ear. SAMUEL (CONT'D) Think carefully before you answer. JOSEPH (turning without thinking) You... Joseph now looks straight down the barrel of the .44. SAMUEL That could have been messy. Joseph realizes the recklessness of his sudden movement. JOSEPH I'm... SAMUEL (simultaneously) Goldfish? JOSEPH He usually... Samuel cuts him off. SAMUEL Not usually, not sometimes. Do you know him, yes or no? JOSEPH OK. Sorry, yes. SAMUEL He usually follows the Cat everywhere, why didn't he come today? JOSEPH That's what I was going to say. Cocky. Samuel holds up his finger to signify Joseph's last chance. JOSEPH (CONT'D) (dropping any sign of bravado) He shot himself in the foot. SAMUEL Shot himself in the foot? JOSEPH Watching TV. Samuel's face contorts with disbelief. SAMUEL Goldfish, ex-sniper, arms dealer, and once minor league superstar pitcher, shot himself in the foot watching TV? JOSEPH That's what I thought. FADE TO: INT. GOLDFISH'S HOUSE/ LIVING ROOM PREVIOUS NIGHT GOLDFISH, a lanky, muscular man who looks like he styles himself on Iggy Pop, wears just his boxers and loads the antique nickel-plated .38 Colt Lightning. His feet are up on the coffee table and pornography colors the TV. A signed baseball rests on top of the TV. Goldfish and all his vice looks somewhat out of place in the otherwise typical family living room. EXT. GOLDFISH'S HOUSE NIGHT A station wagon pulls into the drive and stops. ERIN, Goldfish's wife, and their eight-year-old son, IGGY, get out. Erin moves to the passenger side to help her MOTHER out. Iggy runs to the house. Erin leads her mother slowly up the drive. BACK TO: INT. GOLDFISH'S HOUSE/ LIVING ROOM NIGHT Goldfish cocks the gun admiringly as... IGGY (O.S.) (shouts) Papa. Goldfish's face is a cartoon. He jumps out of his skin. Reflexes burn uncontrollably. His finger snaps down on the trigger. Bang. He's shot himself in the foot and drops back down on the couch. He writhes in agony as IGGY enters. IGGY (CONT'D) Papa. He sees blood splattered on the TV screen. IGGY (CONT'D) What are you watching? Goldfish grimaces and clutches his foot. GOLDFISH Is your mother with you? IGGY And grandma. GOLDFISH Fuck. He hands Iggy the pistol. Iggy stares at it in awe and amazement. GOLDFISH (CONT'D) Hide it, in your room. Iggy is rooted to the spot. GOLDFISH (CONT'D) Now. Iggy runs out of the room. GOLDFISH (CONT'D) (shouting after him) And be careful with it. Goldfish takes a T-shirt from the back of the couch and hobbles to the TV. He tries frantically to wipe away the blood. He looks down at the carpet: blood prints everywhere. It's no use. Small mercies. He haphazardly changes the channel on the TV. Pornography becomes the National Geographic channel and a documentary about mating habits. He bends down awkwardly and picks up the baseball. He loses himself in the absurdity of chance. The bullet is embedded in the ball. The front door can be heard closing. ERIN (O.S.) Hi Honey. Goldfish tosses the blood stained T-shirt in the wastebasket and stands innocently beside the TV, a difficult smile on his face. Erin pokes her head around the door. ERIN (CONT'D) (frowning) Are you OK? She steps into the room. ERIN (CONT'D) I thought I heard a gunshot? Sounded close too, did you not hear it? Her mother is about to walk in when Erin sees blood on the carpet. ERIN (CONT'D) Is that? GOLDFISH I guess... Erin's mother is in the doorway. GOLDFISH (CONT'D) (waving) Hello Catherine. She stares at the TV. Hippopotami fornicate. MOTHER (CATHERINE) Oh look, I like those monster truck shows. Erin and Goldfish look at each other quizzically. Erin motions her mother out of the room. ERIN Those weren't trucks ma. They leave the room. Iggy enters. Goldfish sits back down. He has the baseball in one hand and picks up the TV control with the other. He doesn't switch channels and instead he sits, captivated by the documentary. Iggy sits down next him. IGGY Why's there blood on the carpet papa? Goldfish looks at him and hands him the baseball. Iggy takes it. GOLDFISH A souvenir. Iggy stares at the ball and then at the TV. IGGY Why's there blood on the TV papa? Goldfish squints at the TV and the sanguineness splatters. GOLDFISH (watching the TV) What's your favorite animal? IGGY (looking at his father) Why do they call you Goldfish? GOLDFISH (turns to Iggy) Is the goldfish your favorite animal? BACK TO: INT. CADILLAC/ HIGHWAY DAY Music blares from the radio. Samuel sits in the passenger seat as the car barrels down the highway. EXT. CADILLAC/ HIGHWAY DAY The city comes into view like a sprawling swathe of apocalyptic grayness. The car barrels towards it. INT. CADILLAC/ STREET DAY Suburbia has surrounded them. JOSEPH What happens to me? Samuel turns the radio down. SAMUEL What do you mean? JOSEPH I mean, you're about to kill Goldfish and you already killed... SAMUEL And since I found you with them you're thinking I'm going to shoot you too? JOSEPH Are you? SAMUEL What would you do if you were me? JOSEPH I guess I'd shoot me. They stop at an intersection. SAMUEL How far now? JOSEPH Couple of blocks. They the cross the intersection. SAMUEL What number? JOSEPH 2144. SAMUEL Pull over. Joseph does as he's told. Samuel turns to face Joseph, one hand slung over the back of the seat, the other fingering his .44. SAMUEL (CONT'D) Cut the engine. Joseph does so. SAMUEL (CONT'D) About what you asked me before? Joseph regards him with a deadpan expression. Samuel meets and holds his gaze. Joseph backs down. SAMUEL (CONT'D) The man I work for gave me two names, yours wasn't one of them. So, be nice, your life is my hands. Stay here, wait for me to come back, and drop me where I tell you, and then be gone, far beyond the state line. That way whether you live or die no longer has anything to do with me. Any variation on that, like you're not here when I get back, or I see you even helping an old lady cross the street, you make your way to God's front porch. Joseph sits apparently calmly, given the orders he's just received. JOSEPH OK. SAMUEL OK, a deal, or OK you understand the options and will think about it? Goldfish hobbles by, alone, on crutches. Joseph and Samuel look on in disbelief. Samuel looks back at the Joseph. SAMUEL (CONT'D) So? JOSEPH I'll be here. SAMUEL I'm glad. Samuel turns the radio up. Martha Reeves and the Vandellas 'Nowhere to run' plays. Samuel chuckles to himself and gets out. SAMUEL (CONT'D) (to Joseph) Think about where you might like to go when I'm gone. He walks off down the sidewalk, .44 held tightly at his side. Goldfish is just a little way ahead. EXT. SIDEWALK DAY Samuel catches up with Goldfish and slows to walk beside him. Goldfish glances across not recognizing Samuel's profile. GOLDFISH You want something? SAMUEL You hear what happened to Dave 'The Cat' Tyler? Goldfish stops. He and Samuel turn to face each other. GOLDFISH Dead? SAMUEL Yeah. GOLDFISH When? SAMUEL A few hours ago. GOLDFISH Where do want to do this? SAMUEL Not that fussed, except right here is... GOLDFISH My place? SAMUEL Your family? GOLDFISH Out for the day. SAMUEL (pointing to Goldfish's bandaged foot) That's what you thought when that happened. They start to walk, hobble. Goldfish stops. SAMUEL (CONT'D) You need a hand? Samuel supports Goldfish for a second or two as he gets himself comfortable on the crutches. GOLDFISH Joseph tell you? They proceed onward. SAMUEL Yeah. GOLDFISH Slimy fucker. Never liked him. Don't know why we even needed a fucking driver. Hope you blew out his brains too. Regret flickers through Samuel's thoughts for a moment. SAMUEL Nope. GOLDFISH Nope? He chuckles. GOLDFISH (CONT'D) These things got a way of coming back at you. SAMUEL (sure of himself) I don't think so. GOLDFISH You work for Jay right? SAMUEL Yeah. Feel better knowing where the bullet comes from? GOLDFISH When you tread on a man like Jay's toes you know what's coming. SAMUEL Yeah. GOLDFISH We all got our time. SAMUEL Doesn't bother you? Knowing yours is now? GOLDFISH Family has enough to live well. Erin... SAMUEL (as if remembering something) Erin? GOLDFISH My wife. She knew. Marry me and I probably wouldn't make it to the bedpan stages. He smiles at Samuel. GOLDFISH (CONT'D) Maybe you thought, or still think, I was going to put up a fight? SAMUEL It crossed my mind. GOLDFISH What kind of fight would that be with me and this foot? He motions to his foot with a nod. GOLDFISH (CONT'D) Things could get messy, a shot goes off, hits someone, or worse still me, in the side of the head, disabled is the word and I'm pissing in bedpans anyway. No thanks. I'll take it clean. SAMUEL Why d'you do it? GOLDFISH Thought I was clever. Even thought because I was an old friend he might turn a blind eye. Even though you and I know there are no friends in our businesses. They arrive at 2144. EXT. GOLDFISH'S HOUSE DAY Samuel and Goldfish walk up the drive. SAMUEL You should change your name? GOLDFISH Fuck you. SAMUEL Just kidding. GOLDFISH It was business; everything is fucking business. People have babies; babies need food, clothes...business. The sick need medicine, business. We all think we need everything, business. I give the cops a tip off, Jay loses a little trade, and I fill the gap, business. Why are you going to kill me? Because I ratted on Jay or because you want the money he pays you? Goldfish opens the door and disappears into the house. Samuel follows. INT. GOLDFISH'S HOUSE DAY Goldfish leads Samuel through the house. They pass through the hall. GOLDFISH There's no such thing as loyalty. There is no trust. There is no respect. Money is all there is and people live and die according to that. One minute you're somebody's friend and the next, you're not. They pass into the kitchen. GOLDFISH (CONT'D) You think the cops'll feel sorry when they find out I'm dead? Or you? We kill each other then great, less expense for the department. Business. Simple as flushing the John. He stops at the glass-paneled sliding door that leads to the back yard. GOLDFISH (CONT'D) You mind if we do it out back? SAMUEL Nope. EXT. GOLDFISH'S HOUSE/ DECK DAY Goldfish sits himself down in an old rocking chair. He lays the crutches on the ground beside him. Samuel observes the contradiction. Toys, barbecue, washing line with adult and child clothes, flowers in the neatly kept garden, and Goldfish. GOLDFISH Do you have the Colt Cat thought he was going to sell you? SAMUEL (taking it from his pants) Right here. Samuel now has a gun in each hand. GOLDFISH Do you mind using it? SAMUEL No difference to me. GOLDFISH Mind if I put a record on? Goldfish moves to get up. He fumbles for the crutches. SAMUEL (friendly) Sit down. He sees the old turntable and a box of vinyls. He crouches down beside them. He lays the guns on the ground. SAMUEL (CONT'D) Any preferences? GOLDFISH Louis Armstrong. West End Blues. Samuel flicks through the vinyls and brings out the one requested. He unsheathes it, lays it carefully on the turntable and lets the needle down. There's an effervescent crackle and then the music begins. GOLDFISH (CONT'D) Just let me listen for a few minutes. Samuel sits on the deck and looks back at Goldfish, who stares toward the sky. SAMUEL You ever want out of all this shit, alive? GOLDFISH And live to piss my pants and forget my own name? SAMUEL (stumped) Or... GOLDFISH Do you like music? SAMUEL Depends. GOLDFISH How do you get away from all the demons that rage in your head? SAMUEL Don't try and make me feel sorry for you. GOLDFISH You already do. He locks eyes with Samuel. GOLDFISH (CONT'D) But if you don't do what you've got to do, it'll be you who asks for just one more song. SAMUEL Fishing. I go fishing. Goldfish closes his eyes and lays back in the rocking chair. Samuel watches the record turn for a minute or two. Whether he listens to the music or simply waits to silence the voices in his head is impossible to note. A look of emptiness comes over him and he stands, picks up the .38 and grabs a cushion. He walks over to Goldfish. CUT TO: EXT. SIDEWALK DAY The Cadillac Eldorado has gone. Samuel approaches. He stops and ponders the moment. SAMUEL Mother-fucker. He looks around as if disoriented. A car approaches, Erin's station wagon, and slows to a halt in front of Samuel. The window slides down. Erin, her mother and Iggy are inside. ERIN You lost? Samuel stands back and tries not to look conspicuous. SAMUEL No. (clears his throat) I was just doing some business in the area, my car's up the road. Thanks. ERIN Do I know you? SAMUEL No. She looks away and then back again, just as Samuel is about to move off. ERIN Sam? She nods to herself in gleeful recognition. ERIN (CONT'D) Samuel Bendis. A look of 'this can't be happening' sweeps Samuel's face. SAMUEL I'm sorry, not me. ERIN You rode a Kuwahara Magician, same as your two friends. I'd see you at the old brickyard. Who was the other... She's lost in reminiscence. ERIN (CONT'D) I loved that bike. Samuel watches Iggy watch him. SAMUEL Naw, wasn't me. Erin is away with the fairies. ERIN Taylor, yeah, Taylor was the other guy. Samuel turns his head and rolls his eyes. SAMUEL I'm sorry lady. ERIN Erin. SAMUEL I'm sorry Erin but that wasn't me. ERIN You remind me of him so much. SAMUEL We all look like someone. He taps his hand on the roof and walks away. The car pulls away. ERIN'S MOTHER (O.S.) A friend dear? ERIN (O.S.) A memory mom, just a memory. ERIN'S MOTHER (O.S.) That's life dear. Samuel looks back down the street after the car as Iggy stares back at him through the rear window and flicks him the bird. EXT. GOLDFISH'S HOUSE/ DECK HOUR OR SO LATER Erin stands with two DETECTIVES as Goldfish is carried away in a body bag by a couple of PARAMEDICS. Randy, the cop, stands in the doorway. Detective 1 looks like a stereotypical surfer. DETECTIVE 1 Do you recall anything out of the ordinary your husband had done recently? Erin grins. DETECTIVE 1 (CONT'D) What's so amusing? ERIN Nothing. At a glance Detective 2 resembles John Belushi. DETECTIVE 2 Had Goldfish made any bad deals recently? ERIN Not... DETECTIVE 1 Who's Goldfish? DETECTIVE 2 (to Detective 1) Just look for clues will you. DETECTIVE 1 What... Crouches to look at the box of vinyls. DETECTIVE 1 (CONT'D) (lifting out the Beatle's White Album) Sweet. ERIN (to Detective 2) Not that I know. DETECTIVE 2 Is there... DETECTIVE 1 (to his partner) You know, I reckon you're insecure dude. That's why... DETECTIVE 2 (to Erin) Psychology major. Got to watch everything you say. DETECTIVE 1 Fuck you Dirty Harry. ERIN Do you two need some time alone? DETECTIVE 2 Goldfish, aka your husband, (looking at his partner) ...helped us out a short while ago. ERIN I know. That was meant to be anonymous? DETECTIVE 2 This was a hit, and more than likely it came from Jay. Given that it was fresh there's a chance you could have seen the shooter on your way home. Did you see anyone, different, out of the ordinary, in the area today? Or, a strange car even? ERIN Not that I can think of. Detective 1 stands back up. ERIN (CONT'D) Can I get you two anything, coffee? DETECTIVE 1 Coffee'd be nice. She turns to go. Detective 2 checks her behind out. DETECTIVE 2 (to Detective 1) Wouldn't mind a piece of... Erin turns. ERIN Wait. Maybe it's nothing, but I did see someone today, an old face. Said it wasn't him but I'm certain it was. You don't forget a face, especially someone you thought you loved. DETECTIVE 2 You cheated on your husband? Could be probable... ERIN (smiles) No. Loved when I was twelve. DETECTIVE 2 That's a while ago. He holds his hand up apologetically. DETECTIVE 2 (CONT'D) I didn't mean...just that faces change. ERIN It was him. DETECTIVE 2 And you think he might have something to do with your husband's death? ERIN No, but you asked if I'd seen... DETECTIVE 2 OK, OK. What's his name? Just to put him in the clear at least. You remember his name? ERIN Sam Bendis. DISSOLVE TO: INT. MARILYN'S BAR NIGHT A large signed poster of Marilyn Manson hangs behind the bar. Jack and his BUDDIES stand and exchange stories beside the bar top. EXT. MARILYN'S BAR NIGHT A painted picture of Marilyn Monroe precedes the neon lit 'Marilyn's' sign. Taylor stands across the street and contemplates Jack's words. Two YOUNG MEN approach him. They stop, one either side of Taylor, and look at the bar with him. Both are twenty-five or less, and possess an aura of streetwise confidence. DENNY, the taller of the two, breaks the silence. DENNY Beautiful wasn't she? His friend, TOBY, plays along with his banter. TOBY Preferred Ali McGraw myself. DENNY She in Cheers? TOBY Naw, that was Kirstie Alley fool. TAYLOR She was in Convoy. TOBY The Getaway too, with Steve McQueen. Even think she was married to him at one point? DENNY (smiles) They call him the encyclopedia. Man can link Bruce Willis to Charles de Gaulle. How you doing Detective Taylor? Don't think you're going to get served unless you go in. Taylor smiles. DENNY (CONT'D) Got myself a job. Taylor looks at him and frowns. DENNY (CONT'D) (smirking) Legal. Social security, pension...the full house. TAYLOR Glad to hear that. DENNY Down to you. You gave me a chance. DENNY (CONT'D) Not many folks give to many others chances these days. Greed's the word. Soul is cheap. TAYLOR I'm glad Denny. DENNY If all cops were like you... Taylor cuts him short. TAYLOR So now you like Marilyn Monroe? DENNY Naw, just knew it get your attention. Never really got into them movies you gave me. Old, too old looking, and heard the stories before. Mom liked them though. TAYLOR Think those stories came before the ones you've heard. TOBY We going to get a beer or what? DENNY Yeah. Steps into the street and faces Taylor. DENNY (CONT'D) Come on, I owe you Taylor; let me at least buy you a beer. Taylor raises his hand in farewell. TAYLOR Some other time Denny. Denny and Toby start across the street. TAYLOR (CONT'D) (shouting after them) Stay out of trouble. DENNY Always. Denny and Toby disappear into the bar. Taylor continues on down the sidewalk and slowly disappears as he blends into the shadows of the night. EXT. STREETS DAY Without names they're all the same. Color is little beyond gray. Monochrome structures stand, rise and fall, and merge with urbanized flora as far as the eye can see. People of all types and forms, shift along their set time-lines in their private worlds, rational or irrational, some as pedestrians, others in their vehicles of choice or purpose. Rules and laws organize the otherwise chaos. EXT. DINER DAY Taylor stands out front. He seemingly waits for someone. Longtime deserted building sites surround the diner. Two trees have wrestled the sands of time and remain rooted and alive in front of the front windows. INT. DINER DAY Robin moves about her habitual chores, despite the serious lack of customers. Taylor comes in and looks around. Robin watches him as he takes a seat at the counter. There's an impulsive first sight attraction there. She walks over to him. ROBIN Hello sir. Can I... TAYLOR Just a coffee thanks. Before she can turn to get the coffee pot. TAYLOR (CONT'D) Did you see anybody outside before me, like they were waiting? ROBIN Just you. TAYLOR Nobody came in? She grabs a coffee pot and fills his mug. ROBIN Just you. TAYLOR All day? ROBIN Well, we had our regulars. Most of the time it's pretty quiet. Robin lets her thoughts get the better of her and investigates. ROBIN (CONT'D) I'd notice...maybe she... Taylor sips his coffee. TAYLOR My brother seems to have stood me up. Hope remains as relief makes Robin grin. ROBIN But you got to talk to me? TAYLOR This must get pretty boring. What do... Robin nervously cuts him off. ROBIN Count the leaves left on the trees. TAYLOR (smirking) What you going to do when the leaves have all fallen? She blushes and moves to refill his mug, trying not to look at him. TAYLOR (CONT'D) Can you give me a take-out cup? ROBIN Am I boring you? TAYLOR No. She fills a take-out cup with coffee, puts a lid on it, and hands it to him. He takes it and stands. Taylor and Robin's eyes meet for a split second. He gestures a farewell and leaves. Robin smiles to herself and waves to Taylor as he passes the window. He pulls a leaf off one of the trees and lets it drop to the ground. EXT. STREET DAY Joseph, headphones on, walks along to the beat of the music on his MP3 player. Two men in suits, Toby and Denny, approach from the opposite direction. They each have a clipboard and are carrying out a conservation survey for some corporate enterprise. Denny looks to Toby, both are considerably bigger than Joseph. They're about to tempt fate. Denny blocks Joseph's path, forcing Joseph to look up, and mouths 'excuse me'. Joseph is stone faced. Denny mimes for him to remove his headphones. Joseph looks at Toby, who flanks him, and somewhat disgruntled he obliges and lets the headphones hang around his neck. DENNY We don't mean to annoy you. JOSEPH You did that just by opening your fucking mouth. Denny provokes him by feigning 'shock and horror' at the cuss words. DENNY (playing the part of a preacher of the bible) We was just wondering if you believe... Joseph cuts him off. JOSEPH Fuck you. He barges past Denny. DENNY (shouting after him) Believe in conserving the city's parks mother-fucker. Joseph puts his headphones back on and flicks Denny the bird. DENNY (CONT'D) People like that are the reason nothing ever gets done in this fucking country. TOBY Why him? DENNY Just wanted to confirm. TOBY Confirm what? DENNY That surveys are nothing but fucking middle class hopes and desires. TOBY Probably thought we were preaching Jesus. DENNY Then least you can do is respectfully decline whether you believe or not. TOBY Do you believe? Jay's Chevrolet Blazer, now a few years older, but immaculately kept, pulls up and stops. DENNY In what? The window rolls down. Jay looks across at Denny. JAY How you doin' little nephew? Denny stands back. All of a sudden he's nervous and edgy. He knows his uncle's way of life all to well. DENNY I'm good. JAY Who's your shadow? DENNY Toby. Jay stretches his hand out to Toby. Toby takes it but stares past Jay to his driver, ELLIOT, a huge monster of a man. Jay smirks. JAY Good to meet you Toby. Toby snaps his look back to Jay. TOBY Good to meet you too... He hesitates. JAY Jay. Toby glances at Denny. TOBY Yeah, good to meet you Jay. JAY You two want some work? DENNY We got a job. JAY What? Preaching the gospel? DENNY No, we're doing a survey about protecting city parks. JAY Thought you were working at the boat yard? DENNY Got laid off. JAY Now you're the man with the clipboard. Nobody wants to protect shit except their bank balance. They're probably going to build some shopping mall. You two are just their public relations bitches. DENNY Not everybody's like you. JAY No, some like to call themselves law-abiding. You used to be sharp, what happened to you kid? DENNY I don't want mom to have to visit me inside again. Take it easy Jay. He walks away. Before Toby gets a chance to leave. JAY (to Toby) Come here. Toby glances at Denny as he crosses the street. JAY (CONT'D) Come here. Toby leans towards the window. JAY (CONT'D) How much you pick up a week? TOBY $250. JAY $2500 each, one night's work. TOBY I don't know. JAY Convince him. Jay hands him a $100 bill. JAY (CONT'D) I'm offering more than ten weeks work in one night, and if you do it good, more to come. TOBY I'll try. JAY No, you will. Tell him if he doesn't the installments for his mother's treatment stops. Toby steps back. The Blazer pulls away. INT. POLICE DEPARTMENT BUILDING DAY People mill about doing what they have to do. Brian sits at his desk. He stares at the mound of files and paperwork that grows ominously as colleagues walk past and drop anything and everything on his desk. Somebody drops a copy of Penthouse Magazine. Brian shakes his head. BRIAN For fuck's sake. He grabs it and drops it in the trash. When he looks up an over-weight, all tooth cop, COP 4, stands beside him and holds out a pencil. In the background, Taylor walks through the entrance. He carries the take-out coffee from Robin's diner. COP 4 (to Brian) Sharpen this desk boy. Brian barely shifts in his chair. BRIAN (not looking at Cop 4) Sharpen it yourself. From what I hear your wife's cunt's as dry as a lizard's back. Maybe that'll do the trick? Cop 4 moves cumbersomely and lunges for Brian. Brian falls backwards off his chair and lands splay legged. Cop 4 stabs the pencil into the ground between his legs, a little too close to Brian's crotch for comfort. Brian looks up, steely faced, at Cop 4. Only now do people rush to the scene. Two more cops, COP 5 and 6, pull the big man back. Taylor arrives and helps Brian to his feet. Before any verbal retaliation ensues the CAPTAIN comes over. CAPTAIN Sitting at a desk that hard Brian? BRIAN Tell Smokey the Elephant there to keep his fat mouth shut. COP 4 He insulted me. BRIAN I insulted your wife. COP 4 And your wife? I bet she fu... Taylor purposely spills his coffee on cop 4. COP 4 (CONT'D) You fuck... Taylor shrugs his shoulders as he looks from Cop 4 to his Captain. TAYLOR (simultaneously) Oh, I'm sorry. CAPTAIN Nobody insults anyone. Understand? Cop 4 nods as he halfheartedly attempts to wipe the coffee away. CAPTAIN (CONT'D) (looking at Brian) Understand? Captain nods at Cop 4 to go. Cop 4 walks away with his colleagues. Brian bends down and picks the Penthouse Magazine from the trash. Before anyone can say anything he's hurled it at Cop 4. BRIAN You need it more... TAYLOR (grabbing Brian's arm) Give it up Brian. Cop 4 turns but is urged to walk away by his colleagues. The Captain looks down at the floor and shuffles his feet. His expression displays near pity for Brian. CAPTAIN Feel better? Brian stands with Taylor at his side. BRIAN How long do I have to do this shit for? CAPTAIN Until you learn control, and today wasn't too good an example of that, was it? BRIAN He started it. CAPTAIN How old are you? BRIAN Sorry Captain? CAPTAIN How old are you? Brian looks at Taylor bemused and then back at the Captain. BRIAN Thirty-five. CAPTAIN How long have you been in the force? BRIAN Since I was twenty-two. CAPTAIN Thirteen years. You know how old I am? BRIAN No. CAPTAIN Guess. BRIAN Forty, forty...forty-five? The Captain raises an eyebrow. Taylor chuckles to himself. CAPTAIN (to Taylor) Don't laugh. This applies to you too. (back to Brian) Thirty-three. Brian rolls his eyes in embarrassment. CAPTAIN (CONT'D) You know how long I've been in the force? Brian shakes his head. CAPTAIN (CONT'D) (to Taylor) You know? TAYLOR Less than thirteen? CAPTAIN Exactly. And I'm your Captain. Why is that? BRIAN Because we're bad at our job? CAPTAIN (pointing to Taylor) He's one of the best I've ever seen. Not what Brian needed to hear. CAPTAIN (CONT'D) You on the other hand... Taylor cuts in. TAYLOR Because, because we lack a college education sir. The Captain bows his head and smiles to himself. CAPTAIN Lead by example Taylor, because you don't know when to keep your mouths shut. (to Brian) Go home. Take the rest of the day to think about how to improve yourself. He walks away. Taylor picks the chair up. Brian stands and watches the Captain walk away. BRIAN Mother-fucker. Taylor pushes the chair back to the table. TAYLOR Why? Because he's right? Brian turns to Taylor. BRIAN Do you think I'm a bad cop? Taylor hesitates. BRIAN (CONT'D) Do you? TAYLOR No, you're not a bad cop Brian, but you've done some stupid things and if you're still doing them and somebody in here gets the call on you, they'll take pleasure in taking you down. If you weren't my... BRIAN Don't say it Taylor. Don't patronize me now. EXT. DENNY'S HOUSE NIGHT The place is tidy but the roof is a little rickety and broken in places and the walls could do with a coat of paint. An old Chevelle is parked in the drive. INT. DENNY'S HOUSE/ BEDROOM NIGHT Denny sits on the edge of his bed and clenches his teeth. He takes a deep breath, stands up and exits the room. INT. DENNY'S HOUSE/ LOUNGE NIGHT DENNY'S MOM, gaunt, losing her hair because of cancer, and clearly suffering, watches TV. Denny enters and kisses her on the top of the head. She reaches up and touches his cheek. DENNY I'll be back to put you in bed mom. He leaves. She watches him go and holds her gaze on the door as it closes. DENNY'S MOM My good boy. The rumble of the Chevelle as it is fired up and leaves is heard above the TV sounds. EXT. CHEVELLE/ STREET NIGHT The car cruises through the quiet streets. INT. CHEVELLE NIGHT Denny drives. Toby rides shotgun. DENNY Can't believe I'm doing this. Sick fuck. Her own brother, her own fucking brother making threats against her life. TOBY How is she? DENNY Just finished another round of chemo. A tear squeezes out of the corner of Denny's eye. He quickly wipes it away. Toby notices but looks straight ahead. Headlights suddenly burn through the driver's window and the discourse is terminated abruptly amidst a loud, ear piercing crash, as Denny's door implodes, jerking and throwing Denny and Toby about like a rag dolls. EXT. CADILLAC/ STREET/ CHEVELLE NIGHT Repeat. The Cadillac Eldorado, with Joseph at the wheel, headphones on and minus concentration, jumps a red light and slams into the driver's side of the Chevelle. The force of impact knocks the Chevelle onto its side. EXT. STREET NIGHT All is silent apart from the two-car crash sculpture. Joseph climbs out of the convertible. He's cut, bloody and shaken. He hobbles over to the Chevelle. EXT. CHEVELLE NIGHT Joseph peers in. Denny lies crumpled. He's bloody and lifeless. Toby is still fixed by his safety belt. He's covered in blood and battered, but alive. He catches Joseph's stare and looks straight back at him. JOSEPH (in a broken voice) The preachers. He chuckles to himself. JOSEPH (CONT'D) Now, he gets to see if there really is a God. Toby suffers with just the effort to speak. Joseph hobbles away. INT. DENNY'S HOUSE/ LOUNGE NIGHT The lights and TV are still on. Denny's mom sits, as she was, her head now bowed, asleep. Lights from a car shine through the front window and then go out. There's a knock at the door, followed by a pause, another knock, and then the sound of the door as it opens. TAYLOR (O.S.) Hello? Mrs. Johnson? Taylor walks into the lounge. He looks at the sick, sleeping lady, MRS. JOHNSON (Denny's mom), and decides it best not to wake her. He sits and watches the TV without any conviction, contemplating what to do and what to say when the time comes. INT. DENNY'S HOUSE/ LOUNGE LATER SAME NIGHT Taylor sleeps bolt upright on the couch. Mrs. Johnson opens her eyes and sees the unexpected figure. She stands and ambles over to him. She shakes Taylor's arm. MRS. JOHNSON Detective. Taylor shifts slightly. MRS. JOHNSON (CONT'D) Detective Banks. Taylor opens his eyes. MRS. JOHNSON (CONT'D) Taylor. Taylor wrestles from his sleep. TAYLOR Sorry Mrs. Johnson. He stands automatically. MRS. JOHNSON Something's happened? TAYLOR You might want to sit down. MRS. JOHNSON Don't be formal with me Taylor. My boy? TAYLOR Was killed in a car accident. She sits herself back down. Taylor does the same. Mrs. Johnson pauses for thought then takes a deep breath. MRS. JOHNSON Was it a chase? TAYLOR (shaking his head) No. Just an accident. Tears begin to roll down her cheeks. MRS. JOHNSON My boy. My little boy. Taylor struggles to hold back his own tears at the sight before his eyes. TAYLOR Can I get you anything? Is there anyone I can call? She looks at Taylor for a long hard moment. They both know who else there is. MRS. JOHNSON No, no one. CUT TO: EXT. MOTEL/ CAR PARK DAWN It's a run down establishment. A real estate sign advertises it as 'For Sale'. Jay sits in the Blazer, arm out of the window. Samuel stands beside the window. Elliot reads a TV guide. A neat Chevrolet Impala pulls in. It stops beside the Blazer. Jay steps out of the Blazer whilst two HEAVIES drag Joseph out of the Impala. Joseph's a little rough around the edges but otherwise he seems fine. He spots Samuel. JOSEPH Hey, long time no see. Sorry I didn't wait. HEAVY 1 gives him a short jab to the gut. He doubles over. They start to drag him towards one of the rooms. Jay looks at Samuel. JAY (to the heavies) Stop. Jay walks over to Joseph and takes him by the chin. JAY (CONT'D) You know this man? Jay motions for Samuel to come over. He does so. JOSEPH (looking at Samuel) Told you I would have shot me when I had the chance. Now look what fate's gone and done. Jay delivers a downward punch to Joseph's head. JAY Take him in. The heavies drag Joseph into the first room and shut the door behind them. Samuel doesn't know where to look. SAMUEL He was no one. Jay slaps Samuel across the face, once, twice, three times. JAY And now he's someone. SAMUEL He was just a driver? Jay's rage burns deep into Samuel's soul. SAMUEL (CONT'D) You gave me the hit on Goldfish and the Cat. Remember? Jay's expression is one of blankness. SAMUEL (CONT'D) Goldfish went and shot himself in the foot, so they needed a driver, and this guy...Joseph I think, yeah, was it. JAY Just a driver? SAMUEL He seemed harmless. JAY Harmless? Jay whips out his .45 automatic. This is the first time Samuel has seen Jay raise a gun in anger. He looks indefinably evil. He holds it to Samuel's head. JAY (CONT'D) This is also fucking harmless, until I pull the trigger. Samuel is near panic. JAY (CONT'D) He was a loose end. Not no one, not anyone, he was a fucking loose end. And what do we do with loose ends? Samuel is lost for words. JAY (CONT'D) We tie them. Otherwise what can loose ends create? Samuel can't speak as he strains to look at Jay's trigger finger. JAY (CONT'D) Problems, problems like now. With the help of fate... (Waving the gun towards the room) Joseph, as we can now so aptly call him, has killed my nephew, ironically by doing what he did when you knew him, driving. He dies, easy as mud on a pig's back. You though, my friend, my employee, present another problem. In effect, and without knowing, you have made yourself accessory to the murder of my nephew. Samuel's face shrouds with disbelief. SAMUEL How do you...? Jay slaps him in the face. JAY Shut the fuck up. He takes a breath. JAY (CONT'D) You're lucky, for now, I can't decide what to do with you. So, you'll have to live and wonder. Even though I think you know what's coming. He turns to go to the room and turns straight back round again. JAY (CONT'D) (holding out his free hand) The gun...the Colt you were going to get yesterday? Samuel takes it from inside his jacket and hands it over, butt first. JAY (CONT'D) Very nice. He turns to head toward the room, a gun in each hand. JAY (CONT'D) I don't want to see your face ever again. And count everyday as a gift from me and enjoy each one as if it were your last. Jay walks into the room. The door closes behind him. Samuel remains transfixed, staring at the door. A thought crosses his mind for a moment. He puts his hand beneath his jacket and fingers his .44. Reason, in the shape of Elliot, steps out of the Blazer and eclipses Samuel's view of the entire room. SAMUEL What does a guy like you do in his spare time Elliot? Elliot watches Samuel's every move. SAMUEL (CONT'D) Is it a gland problem? Elliot takes a chocolate bar from his pocket and munches happily. Samuel turns and walks out of the car park. A hail of gunfire sounds from the motel room. EXT. BRIAN'S HOUSE/ BACK YARD DAY Brian stands with a mug of coffee as he watches Jimmy and Flea chase each other in and out of the shrubs. Heather can be seen through the patio window as she prepares dinner in the kitchen. Flea skids onto the deck and crashes in a heap at Brian's feet. He almost spills his coffee on him. The dog scrambles back to his feet before Jimmy gets to him. Brian puts his mug down. BRIAN (to Jimmy) What did I tell you? He walks towards Jimmy, who is now rooted to the spot and looks sheepishly at his father. Flea rounds a bush and makes another charge just as Brian lunges and grabs Jimmy round the waist playfully. He holds him like a bedroll at his side. Jimmy laughs. BRIAN (CONT'D) (more to himself than to Jimmy) Enjoy being a kid because it's the best time of your life little buddy. With Jimmy under his arm he chases Flea around the garden before crumpling to the ground with Jimmy on his chest. Flea takes his opportunity and charges, hurling himself at his playmates. A phone rings in the house. HEATHER (O.S.) (calling from the house) Phone-call Brian. Brian drags himself to his feet, pulling Jimmy up with him, and giving Flea a friendly shake. BRIAN Love you Jimmy. Jimmy resumes his tireless game with Flea. Brian walks to the house and picks his mug up as he enters. INT. BRIAN'S HOUSE/ KITCHEN DAY Heather chops and dices vegetables. Brian brushes past her. The cordless phone is face down on the breakfast bar. BRIAN (to Heather) Who is it? He puts his mug down and picks the phone up. HEATHER Didn't say. BRIAN (into the phone) Hello? INT. JAY'S HOUSE/ LOUNGE DAY An oversized room made to look even bigger by the lack of furniture. Jay stands in front of the super-sized flat screen TV, the control in one hand and the phone held to his ear with the other. JAY How you doing Brian? INT. BRIAN'S HOUSE/ KITCHEN DAY BRIAN (into the phone) What do you want? INT. JAY'S HOUSE/ LOUNGE DAY Jay flicks through the channels as he talks on the phone. JAY Have a job for you. INT. BRIAN'S HOUSE/ KITCHEN DAY Heather looks over at Brian. BRIAN (into the phone) No thanks. INT. JAY'S HOUSE/ LOUNGE DAY Jay still stands but has stopped flicking channels and watches 'The Big Lebowski' (the levitation scene) with curiosity. JAY (into the phone; not concentrating) I don't think you have a choice Brian. The old brick yard at 8 tonight. Jay hangs up. INT. BRIAN'S HOUSE/ KITCHEN DAY Brian still speaks into the phone despite Jay having already hung up. BRIAN No thanks. He hangs up. HEATHER Who was it? BRIAN No one. HEATHER (turning to look at him) No one? He sips his coffee and spits it back into the mug. BRIAN Shit. Cold. Heather looks at him. BRIAN (CONT'D) Just somebody about the ad. HEATHER Is he coming round? BRIAN No. She looks at him lovingly, somewhat pitifully. She dries her hands and comes over to him. HEATHER (stroking his face) Don't sell it. BRIAN We need the money. HEATHER I can get more hours. Brian turns to leave. BRIAN I might be late. Don't wait for me. Heather watches him leaves with an air of defeat. INT. BRIAN'S HOUSE/ GARAGE DAY Brian looks up at the immaculate Kuwahara Magician that hangs on the back wall. He gently lifts it down and rolls it out and into the drive. A couple kids breeze past his entrance on new edition BMXs. Brian lifts one leg over the frame. He puts one foot on the pedal and kicks away. He pedals into the street and rides off. Heather watches from the lounge window. EXT. STREET DAY Brian pedals, like a happy kid, down the sidewalk. Memories grip him. DISSOLVE TO: EXT. SAME STREET DAY (FLASHBACK) The young Brian pedals down the street on the same bike, with his friends, Taylor and Samuel, by his side. SAMUEL (breaking into a pedaling frenzy) Last one pays for the candy. Brian and Taylor follow Samuel's lead, their bikes being almost thrown from side to side. Brian and Taylor quickly catch Samuel and overtake him. It seems more of a personal battle between the two than anything else. They charge a railway crossing as the lights flash and the signal sounds. They squeeze under the dropping gate and make the other side. Lucky. Just after they make the other side the train trundles by. Samuel is forced to wait. EXT. BRICKWORKS DAY It's disused and a little creepy. A dirt track runs around and through the rubble. A couple of ramps have been built in places. A homemade quarter-pipe backs up against a broke-down wall. A couple of KIDS sit by their bikes near the track. Another KID fiddles with the chain on his bike just next to them. A girl, a young ERIN, sits on top of the quarter-pipe. Her legs dangle over the top of the ramp. A truck pulls up and stops. Samuel and his bike are in the flatbed. He gets out and lifts his bike down. SAMUEL (to the driver, TOM) Thanks Tom. The truck pulls away. Its horn sounds a couple of times. Erin watches Samuel like a hawk as he pushes his bike over to the other three kids. TRAVIS, the kid fiddling with his chain, looks up. TRAVIS Hey Sam. SAMUEL Trav. TRAVIS (pointing to his two friends) Kyle, Ritchie. They both smile. TRAVIS (CONT'D) My cousins. Never ridden them bikes further than school. The larger of the two, KYLE, reacts to his cousin's remark. KYLE Not true. We got a ramp, in the park. TRAVIS (patronizing) Really? Before anything more is said TWO RIDERS come flying over the rise. Taylor just edges Brian. They blast towards Samuel and Travis without any sense of slowing. As they get closer Samuel and company scramble backwards. Taylor and Brian skid to an abrupt halt in front of them. Their back wheels swing through the dirt and shower their friends with grit and dust. A cacophony of 'arrghs' and 'urghs' ensues. Taylor arrived first, by a cat's whisker. TRAVIS (CONT'D) (dusting down) What you do that for? Kyle, RITCHIE, and Samuel dust themselves down. SAMUEL Crazy... TAYLOR How...? BRIAN How d'you get here so fast? SAMUEL Old Tom... TAYLOR We left you at the crossing? SAMUEL Old Tom picked me up. TAYLOR Cheat. BRIAN Doesn't count then? TAYLOR What? BRIAN The race, if he cheated. SAMUEL No way! TAYLOR Who was first out of us two Travis? Travis looks at Brian. TRAVIS (pointing at Taylor) You. BRIAN No way! TRAVIS It was close. BRIAN I'm not going. Brian rides off onto the track and begins a lap. Samuel and Taylor look at each other. A stare-off. Samuel drops his gaze and picks up his bike. He gets on and rides away, defeated. Brian completes his lap and rejoins the group. BRIAN (CONT'D) (shouting after Samuel) Get me a pack of stickers Sam. Erin drops off the top of the quarter-pipe and slides down the ramp. The whole maneuver seems somewhat painful. She picks her bike up and takes off after Samuel. EXT. STREET DAY Samuel rides along with Erin in tow a little further back. He stands, pedals faster and quickly pulls away from her. EXT. BRICKWORKS DAY Samuel returns. He drops a brown paper bag full of candy in front of his friends. He takes a pack of ET collectors' stickers from his pocket and hands them to Brian. Brian grins like a Cheshire cat. BRIAN I was just kidding Sam. Erin drops back to the quarter-pipe. Samuel looks at her. TAYLOR (to Samuel) She likes you. SAMUEL She's weird. BRIAN So are you. SAMUEL You can give me those back if you like? BRIAN (teasing) She's called Erin. Go talk with her. TAYLOR Make her day. Samuel fiddles with another pack of stickers, trying to open them. SAMUEL Get lost. END FLASHBACK EXT. BRICKWORKS EARLY EVENING Daylight fades. The area has been cleared and flattened, becoming the site for a new building project. The Blazer is parked. Jay is inside with the window down. Elliot leans against the hood, munching on a chocolate bar. Brian rides up and over the rise on his BMX. He's a little more careful compared to when he was younger and brakes as he nears the vehicle. He remains seated for a split second. JAY (not bothering to get out) A little big for that aren't you? Brian wheels the bike over toward the Blazer. Elliot watches curiously. JAY (CONT'D) Not going to catch too many bad guys on that Brian. Department really cutting down or is that a desk boy special edition? BRIAN You want to buy it? JAY Never got in to that shit. BRIAN What d'you want me for? Elliot steps over to the bike. ELLIOT How much you want for it? Jay wipes his brow. JAY Get back in Elliot. Elliot drops the remainder of his chocolate bar to the ground. BRIAN (to Elliot) $500. JAY (to Brian) One of my employees has become a bit of a liability and... Elliot leans into the Blazer, on the driver's side. ELLIOT Mind if I have a look at the bike boss? JAY (pauses) No. Go ahead. Elliot walks over to Brian. ELLIOT Mind if I have ride? Brian lets him take it. BRIAN (to Jay) Why me? Elliot rides away. His huge frame dwarfs the bike. Jay can't help but watch. Brian turns to look. JAY (smiles) Even ET would have problems getting that fucker off the ground. Brian smirks. JAY (CONT'D) (back to Brian) This employee forgot to tie up some loose end, caused the death of my nephew, and just today became the suspect for two murders. BRIAN Whose murders? JAY Goldfish and Dave 'The Cat' Tyler. BRIAN Friends of yours? JAY Were. BRIAN Your hits? Jay stares at Brian. They both know the answer to that question. JAY And if he gets picked up I get nervous. BRIAN He likely to squeal? JAY Like a pig. BRIAN Who is it? JAY Why? Will that make a difference? BRIAN Guess not. JAY Samuel. Brian's head drops. Sadness chokes him. BRIAN Why me? JAY You knew this day might come, whether it was me asking or just you as a cop on a job. All of a sudden Brian seems to have aged physically as the energy drains from his body. His weaknesses, his quandaries, and his failings as a father, as a cop, as a human being, have brought him to this obscene situation. BRIAN Surely you have other...? JAY All indisposed. BRIAN But... JAY You owe me Brian. You know I have you by the balls. Brian takes a deep breath and shuffles the dirt. JAY (CONT'D) He's a bad man Brian. As a cop you've pulled the trigger on better men than him. BRIAN I've killed people as a cop and I've killed people for you but not any more. I can't...I can't live like... JAY (pointedly) Brian... BRIAN He was my friend. JAY (remorselessly) Life moves on. Brian takes few seconds to compose himself. BRIAN When? JAY Dawn. Brian is stunned at the proximity of the occasion. Elliot skids to a halt in front of Brian. In his excitement he's kicked up a cloud of dust. Jay closes his eyes for a few seconds whilst the dust settles. ELLIOT $450? Brian looks at him, lost for words. JAY The man said $500. Jay takes some cash from his own pocket and hands Brian $500. Brian takes it. JAY (CONT'D) (to the Elliot) Comes out of your wages. He points to the bike. JAY (CONT'D) Put it in the back. Brian watches his beloved bike, his memory, as it disappears from his present, his future. The back door is slammed shut. Elliot moves to get in the vehicle. JAY (CONT'D) He collects them. To Elliot as he gets in. JAY (CONT'D) How many's that now? ELLIOT Fourteen. JAY (to Brian) Can you believe that? Brian drowns in his sinking world. JAY (CONT'D) Get in. BRIAN I'd rather walk. Jay offers Brian a cruel smile, reaches down for a moment, then sits back and holds the Colt Lightning out to Brian, barrel first. JAY Take it. Brian reluctantly takes the weapon. Jay keeps hold of it for a second. His finger edges toward the trigger. His sickly gaze locks onto Brian's sad frown for a moment. JAY (CONT'D) Use it. Your friend deserves to die by more than just a commoner's piece. Jay releases the weapon and bangs on the dashboard. Elliot turns the ignition. JAY (CONT'D) My guess is the lake. BRIAN I know. JAY It's done or Heather gets to know little Stephen has a half brother, and that's just for starters. The Blazer pulls away as Brian is covered in grit and dust. Brian stares at the gun for a moment and then tucks it down the front of his pants, covering it with his shirt. He takes a minute to take everything in, searching his surrounds for a portal to the past. He then begins his walk home. EXT. STREETS NIGHT Darkness has become. A three quarter moon nestles in a nest of translucent cumulus. Cars sit in their drives. Families are together for the night. Brian walks, watches, and drifts, lost in his own private universe. EXT. COFFEE SHOP NIGHT A Denny's establishment. Robin walks in. INT. COFFEE SHOP NIGHT Busy with people munching on their chosen delights. Robin enters. She looks around for a table when she spots Taylor. Taylor sits alone and reads. His coffee mug is full and his plate is clean. Robin walks over. Taylor reads an old, dog-eared copy of J.M. Barrie's Peter Pan, probably bought from a second-hand store. ROBIN (looking at the book) Didn't think tough guys read children's books? He looks up and smiles. TAYLOR What are you doing here? ROBIN Same as you probably. TAYLOR Eying up the waitress? ROBIN Maybe. Aren't you going to ask me to sit down? TAYLOR Go ahead. She sits. TAYLOR (CONT'D) Peter's a bit of a tough guy too. The WAITRESS comes over. Robin speaks before she gets a chance to open her mouth. ROBIN (to the waitress) Tuna Melt and a beer please. The waitress jots the order down. WAITRESS We only have Bud, Michelob, and Heineken today? ROBIN Bud'll be fine. WAITRESS (to Taylor) Anything else for you sir? TAYLOR (to the waitress) No, thanks. The waitress saunters back to the kitchen melee. TAYLOR (CONT'D) (returning his gaze to Robin) You don't trust where you work for your own consumption then? ROBIN Would you? TAYLOR I was passing and... ROBIN That's exactly why this country has an obesity problem. TAYLOR Denny's? ROBIN The temptation to eat is everywhere. TAYLOR Peter has a point? The waitress comes over with the beer. ROBIN (to the waitress) Thanks. She sips beer from the bottle and returns to the discourse with Taylor. ROBIN (CONT'D) Eternal youth? TAYLOR Did you have dreams when you were a kid? ROBIN Yeah. TAYLOR What? ROBIN And you? Taylor chuckles to himself at her evasiveness. TAYLOR A cop. ROBIN And now? TAYLOR I am a cop. Robin smiles. ROBIN Is this a date? TAYLOR Why? ROBIN Neither of us is at work and we're on neutral ground talking about stuff. TAYLOR We've talked about stuff before? ROBIN Why don't you drink? TAYLOR Is this a date question? ROBIN You don't have to answer. TAYLOR But you want me to tell you? ROBIN Yeah. TAYLOR When I was married we had a child... ROBIN What was her name? TAYLOR Who? ROBIN I don't know your wife's name. TAYLOR Olivia. Robin smiles. TAYLOR (CONT'D) The baby died about two hours after being born. The tuna melt arrives. Robin mimes a 'thanks' to the waitress as Taylor continues to talk. TAYLOR (CONT'D) After that, Olivia wouldn't speak to me. So I started being a cop more and a husband less. I went out more... ROBIN Did you try and speak with her? TAYLOR That was the sole purpose of everyday, to begin with, but she became more and more a recluse, weird even. And...I started to drink. She never said anything even when I... Taylor pauses and looks into Robin's eyes. TAYLOR (CONT'D) Then one day she was gone. He sips his coffee. ROBIN Did you hit her? TAYLOR No, I never hit her. He feels the tug of his memories. TAYLOR (CONT'D) You're the first woman to hear that story. ROBIN Is that bad? TAYLOR No. EXT. DENNY'S NIGHT Robin and Taylor exit the establishment. ROBIN I guess you don't... TAYLOR Need a lift? No. ROBIN I enjoyed tonight. TAYLOR Was it a date then? ROBIN If you want it to be. Taylor smiles. They go their own ways. EXT. STREET/ BRIAN'S HOUSE NIGHT A soft glow emanates from the front window, through the drapes. Brian observes his own house from across the street. He crosses and approaches the door. He pauses for thought and turns. He opens the truck and puts the Colt in a toolbox behind the seat. He locks the truck and moves to the open garage. He goes to an old refrigerator. By opening the door he casts a spotlight on himself. He takes out a beer and then closes the door. Flea begins to bark inside. Brian walks back out to lean against the back of his truck. He cracks open the beer and drains half of it in one gulp. The front door opens as Flea bounds over to Brian, leaving Heather to stand alone on the porch. Brian crouches to stroke Flea and looks back at Heather. She walks over and stands beside him, taking the beer and having a sip. HEATHER (handing the beer back) It's past midnight? BRIAN I sold the bike. HEATHER Have you eaten? BRIAN Not hungry. HEATHER There's some lasagna in the oven. She looks out at the street. HEATHER (CONT'D) Are we OK Brian? BRIAN Jimmy's happy. HEATHER Us Brian? Brian takes the $500 from his pocket and fans it out on the truck bed. BRIAN $500 bucks. How much would you sell a memory for? Heather offers him resigned look. BRIAN (CONT'D) I love you Heather. HEATHER That's not what I asked. Brian looks away, downing the remainder of his beer and then clenching his jaw. BRIAN (looking back at her, smiling) Like Innerspace. Puts his arm around her. BRIAN (CONT'D) And that was more than OK. She smiles. Their own private barometer. INT. SAMUEL'S APARTMENT/ LOUNGE NIGHT Messy. The typical abode of a single, semi-impoverished male. A framed Ferris Bueller Poster is the only sign of decoration. Bladerunner is on the TV. It nears its conclusion. The sound of flushing is heard as Samuel enters from the bathroom. He sits down on the couch, takes a sip of his beer, and rummages beneath the papers and junk on the table, eventually taking hold of a small wooden case, about the size of a can of sardines. He places it in front of him and opens it. Inside are five neatly laid fly hooks. Other part made flies, hooks, feathers and tools, are now recognizable amidst the junk on the table. Samuel looks up, drawn to the TV. DECKARD looks down at BATTY'S dead body. Samuel mimes the last lines of voice over narration and softly voices the final line. SAMUEL Then he was dead. EXT. TAYLOR'S HOUSE/ LOUNGE NIGHT Taylor sits in the glow of a small table lamp. The flickering images on the TV intermittently intensify the light of the room, depending on their own brightness. Bladerunner plays. Taylor flicks through old photographs. He stops at one in particular and stares at it. CU THE PHOTOGRAPH The young Taylor, Brian and Samuel all pose proudly on their BMXs. Taylor chuckles to himself. TAYLOR Happiness: frozen and preserved in an instant. He looks deep beyond the image. TAYLOR (CONT'D) Three innocent musketeers. He pauses. TAYLOR (CONT'D) What are we now we've broken free of those chains of youth we thought shackled us? Eh? He chuckles. TAYLOR (CONT'D) You were always faster than me Sam, and you were right, evil never wins. He drops the photograph down on the table and joins in the end of Bladerunner at the same moment that Samuel was miming the words. INT. BRIAN'S HOUSE/ LOUNGE NIGHT Brian and Heather sit on the couch in darkness apart from the TV. Bladerunner plays. Brian watches. Again, the same moment that found Samuel miming. Heather sleeps, nestled up against Brian's shoulder. FADE TO BLACK INT. TAYLOR'S HOUSE/ LOUNGE DAWN Taylor is asleep on the couch when the phone rings. INT. BRIAN'S HOUSE/ BEDROOM DAWN Heather peers between the drape and the window that overlooks the back yard. HEATHER (on the phone) He's sitting on the deck, dressed, with a gun. INT. TAYLOR'S HOUSE/ LOUNGE DAWN Taylor sits up, the phone to his ear. TAYLOR (standing) I'm on my way. INT. BRIAN'S HOUSE/ BEDROOM DAWN Heather now lies on the bed, still speaking into the phone. HEATHER I hope he's not involved with... INT. TAYLOR'S HOUSE/ KITCHEN DAWN Taylor grabs an old take out cup, tosses the cold coffee out, and pours in what little coffee has been made from the time set percolator. He does all this with his left hand, the phone in his right. TAYLOR Don't worry. Call me on my cell if anything happens between now and then. Have you got a gun? INT. BRIAN'S HOUSE/ BEDROOM DAWN HEATHER (alarmed) Why? She hears someone coming. She quickly switches off and stuffs the phone under the pillow and rolls over in to the fetal position, eyes closed, feigning sleep. Brian stands in the doorway. He looks at her for a few moments then gently closes the door and leaves. FADE TO BLACK EXT. WOODS DAWN A thin early morning mist colors the air. Dewdrops hang precariously on the leaves of the surrounding flora and glisten on the ground. Samuel treks through the dawn shadows, his tackle bag slung over his shoulder and a two-piece rod in his hand. The lake comes into view, surrounded by trees on all sides, almost mystical, especially given the mist hanging over the mercurial water. Samuel nears the waters edge. He lays down his bag and rod and stands for a moment, taking in the beauty of a newborn day whilst feeling the tug of his childhood memories. EXT. BRIAN'S HOUSE DAWN Brian comes out of the house with Flea close behind. Not too sure of the idea, or what is about to take place, he gets into the truck. Like a flash Flea clambers over Brian and into the passenger seat. Brian fires the truck up and reverses out. He then takes off down the street. EXT. STREET DAWN Taylor's Sedan reaches Brian's street just as Brian reverses out and accelerates away. Taylor sails past the house and follows Brian, keeping his distance. Ultimately this is cop versus cop. Brian notices. INT. SEDAN/ STREET DAWN Brian's truck can be seen up ahead. Taylor sips coffee from his recycled take-out cup. EXT. STREET DAWN The railway crossing is up ahead and the warning lights start to flash. Brian guns the engine and clears the tracks before the barriers come down. The coffee cup is hurled out of the window of Taylor's car as he attempts to maintain pursuit. Taylor's forced to break hard. He skids to a halt just as the barrier comes to rest, a mere centimeter or two from the hood of his car. TAYLOR (O.S.) Shit. God-dam-it. INT. SEDAN/ CROSSING DAWN Taylor watches a freight train slowly crawl along the tracks. TAYLOR Shit. EXT. JAY'S HOUSE DAWN It's big. Not just a carbon copy of every other house in the vicinity. Not quite Beverly Hills but it does have a high perimeter fence and an electric gate is in the process of being fitted. Wires dangle from the intercom. Money personalizes. Crime pays. The front yard is well kept, probably by a gardener, and is the size of Brian's front and back yard put together. Parked in the driveway, in front of the closed double garage door, is a black 80s GMC van and a Corvette Stingray. Taylor pulls up. He seems to be walking in slow motion as he admires the Corvette but soon explodes to life as he ferociously kicks the front door in. INT. JAY'S HOUSE DAWN (CONTINUOUS) Taylor walks in to face Jay and the twin barrels of a shotgun that point straight at him. Jay wears his boxers, a white T-shirt, a bathrobe and has a pair of dusty thongs on his feet. JAY I could blow you away right here and now just for breaking and entering. Taylor holds his hands up. JAY (CONT'D) If you came in peace why didn't you knock? TAYLOR Where's Brian? JAY Who's Brian? TAYLOR Don't play games. What have you got him doing? How much does he owe you? JAY Lots of people owe me lots of things? TAYLOR Where's Brian? JAY I know you? TAYLOR Will that help? JAY Big town, small world eh? TAYLOR Where? JAY You helped my Denny out. TAYLOR People deserve chances. JAY Does Brian? Wil, Megan's kid, comes round the corner. Jay instinctively lowers the gun. JAY (CONT'D) (shaking his head) Jesus Christ. He tries to hide the gun, albeit unsuccessfully. JAY (CONT'D) (to Wil) Get out of here. His glance darts between Taylor and the boy. JAY (CONT'D) To your room, go on. Wil simply stares, transfixed. JAY (CONT'D) (shouting) Meg, Megan. MEGAN (O.S.) What? Megan, half naked and with a bruise down the side of her face, comes round the corner. MEGAN (CONT'D) What? She immediately shies away when she sees Taylor. Taylor remains calm and acts as if he fails to recognize her. MEGAN (O.S.) (CONT'D) Wil. Jay gives the kid a nudge with his foot. JAY (shouting back at Megan) Take him to the beach or some shit; just get out of the fucking house. He looks back at Taylor, raises the gun and then lowers it again. JAY (CONT'D) Where were we? TAYLOR Wh...? JAY (back to Megan) Take the van, Corvette's leaking oil again. Waits for an answer momentarily. Nothing. JAY (CONT'D) Family. TAYLOR Yeah, family. JAY You got a family? TAYLOR Just Brian and I'm trying to find out where he is before he fucks his life up so bad not even the priest will have a good word to say. A slow, sly grin stretches across Jay's face. JAY You know whose kid that was? Taylor nods. JAY (CONT'D) Your brother owes her, for the kid, so unless you're going to pay off the rest of their lives, I don't think there's too much you can offer. Unless you got $64, 000 handy 'cause that's what he owes me following interest and missed payments on his truck and on some toy collection he has. TAYLOR Toy collection? JAY Between my client and me there is just loan and repayment. What people do with the money is their own fucking business. Your brother, probably feeling the dirty kind of guilt you feel when you bury yourself in debt and can't meet the payments, and find yourself having to do my dirty work, attempted to justify himself to me on one occasion, after he shot a rotten associate of mine, just after Wil was born in fact, and mentioned something about Star Wars being an investment. I just thought it was a cheesy movie to be... TAYLOR Where is he? JAY Funny how fate works, don't you think? He takes a photograph from his bathrobe pocket. It's a copy of the one with the three young BMX riders that Taylor had. JAY (CONT'D) I was wondering who the third person was in this picture, and now I know. He hands the picture to Taylor. Taylor looks at it. JAY (CONT'D) Megan had it. He regards Taylor for a moment. JAY (CONT'D) I can't afford to have loose ends walking around like children at a fairground. Samuel has become a loose end. TAYLOR Samuel's his hit? JAY When you're a kid friendships feel like they're going to last forever, don't you think? Only one thing is forever and we've all got it coming sometime. TAYLOR Just fuck... Jay raises the shotgun once more. JAY Let's not spill any more blood. You're in my house so you listen to what I have to say. TAYLOR Please... JAY What would you rather, a bullet from a friend or one from a two bit psycho in the street? Brian's a good shot, bad cop, but a good shot. TAYLOR What if I got you $32,000 cash by this afternoon? JAY Was Samuel your friend too? TAYLOR A long time ago. JAY Too late. No bargains. No deals. Your brother should have cleared some debts before most people have tasted their first coffee of the day. TAYLOR Where? JAY Sorry. Now leave before I call the cops. TAYLOR I am cop. JAY Then you should know what cops need before breaking down people's doors. He lowers the shotgun, turns and walks back towards the kitchen. JAY (CONT'D) Fuck off. Taylor leaves. EXT. BEACH DAWN Megan and Wil arrive at the beach in the black 80s GMC van. EXT. JAY'S HOUSE DAWN Taylor gets in his car. His face is colored with frustration, despair, sadness, and anger. He guns the engine and speeds away. EXT. ROAD DAWN Brian hauls ass up a winding road that passes into the wooded hills that feed inland from the coast. EXT. LAKE DAWN Mist floats around and over the lake. Ever increasing circles break the surface of the water in places as fish touch the surface. Samuel prepares his line. EXT. SAMUEL'S APARTMENT DAWN Taylor walks around like a bear with a sore head. He tries frantically to find some clue to Samuel's whereabouts in the mess. EXT. ROADSIDE/ WOODS DAWN Brian leaves the truck parked half in the road, half on the verge, and heads into the woods. INT. TRUCK DAWN Flea is strapped to the steering wheel and sits resignedly. The passenger side window is open, a little too much should Flea get loose and attempt an escape. INT. SAMUEL'S APARTMENT DAWN Taylor finds some fly hooks on the table and some part made efforts. He puts his car keys on the table and picks up the hooks, studying them curiously. Samuel has quite a talent. Taylor quickly heads out, forgetting his keys. BACK TO: EXT. LAKE DAWN Samuel casts. Brian can be seen standing behind him, barely twenty feet away. He closes his eyes for a split second then opens them. His memories color his thoughts. He forces his blood to run cold. EXT. SAMUEL'S APARTMENT/ STREET DAWN Taylor gets to his car. He fingers the ignition, no keys. He searches his pockets, no keys. TAYLOR Shit. He runs back to the apartment. EXT. WOODS DAWN A shot rings out. EXT. TRUCK/ ROADSIDE DAWN Flea pulls and yanks at the knotted lead until it comes undone. He dives for the window and lands safely on the ground outside. He runs, lead trailing, into the woods. EXT. FLEA/ WOODS DAWN His nose and the plethora of smells have him running all over the place. Haphazardly, he searches through bushes and scrub for the unknown. EXT. BRIAN/ WOODS DAWN Brian runs through the trees. He and Flea fail to cross paths He sees the truck. BACK TO: EXT. TRUCK/ ROADSIDE DAWN Brian gets in the truck, guns the engine and pulls away. Before the tires grip asphalt the back of the truck swings out slightly, wheels spinning and dirt spraying into the air. The truck disappears round a bend. Tranquility returns. EXT. ROAD DAWN Taylor's Sedan charges up the road. EXT. ROCK POOL DAWN Megan sobs with Wil, dead, in hers arms. The sounds of tires screeching from the cliff above rise above the sounds of the sea. A STROLLER walks towards her across the rocks. He's still too far away to be aware of her situation. Megan can't summon a voice to hasten his arrival. EXT. ROADSIDE DAWN Taylor's Sedan is parked where Brian's truck was a few minutes ago. EXT. LAKE DAWN Flea lies at Samuel's feet. Taylor appears through the trees. Flea stands and his tail begins to wag. Taylor strokes the dog. TAYLOR Hey there boy. Taylor drags Samuel, by the feet, out of the water. He sees the bullet hole in the back of his head and rests back on his haunches. Flea nudges him for more attention. Taylor stares out over the lake, stroking the dog. TAYLOR (CONT'D) Sorry Sam. He stands and heads back to the car, Flea follows. EXT. ROADSIDE DAWN Taylor is on the police radio in his car. Flea is in the car. FADE TO BLACK/ BACK TO: EXT. BRIAN'S HOUSE MORNING BRIAN I didn't kill the dog. EXT. BRIAN'S HOUSE MORNING/ SECONDS LATER Brian reverses out, wheels the front of the truck round, shifts the gears to forward and speeds away. He does this all as if in one fluid motion. Heather stands and watches as if the sky had just fallen in on her. EXT. STREET/ JAY'S HOUSE MORNING Brian sits in his truck a little ways down the road from Jay's house. INT. TRUCK MORNING Brian takes his .45 from the glove box. EXT. BRIAN'S HOUSE MORNING Taylor pulls up outside Brian's house. He steps out of his car and walks straight into the house. TAYLOR (O.S.) Heather?! A police cruiser pulls up. INT. BRIAN'S HOUSE MORNING Taylor looks around. He walks up the stairs. TAYLOR Heather? INT. BRIAN'S HOUSE/ LOFT MORNING Heather stands beside a meticulously crafted landscape decorated with hundreds of vintage Star Wars craft, figures and accessories. Taylor's head peers through the loft-hatch in the floor. TAYLOR Heather? He climbs in. TAYLOR (CONT'D) (seeing the collection) Holy shit. HEATHER All he's ever wanted is to be a kid again. She looks at Taylor. HEATHER (CONT'D) You too eh Taylor? TAYLOR Where is he? HEATHER We were never OK, not from the day Jimmy was born. TAYLOR Heather, help me please. Do you know where he is? HEATHER He came back and he left. TAYLOR When? HEATHER He was acting strange, since yesterday... TAYLOR Heather, please? HEATHER Ten minutes ago. She becomes more alert to the situation. HEATHER (CONT'D) He came and then he drove off like a lunatic. COP 5 (O.S.) Mrs. Spencer? Heather and Taylor look at each other. INT. BRIAN'S HOUSE/ HALL MORNING COP 5 stands in the entrance. Taylor and Heather come down the stairs. COP 5 Howdy Taylor. TAYLOR What is it? The cop looks nervous. COP 5 Maybe... TAYLOR (to Heather) Just gimme a minute, will you? HEATHER If this is about Brian I want to hear. TAYLOR Just gimme a minute Heather. He walks out with the cop. EXT. BRIAN'S HOUSE MORNING Taylor and Cop 5 stand in the drive. COP 5 It was Samuel Bendis. TAYLOR I know. COP 5 We also picked up a lady with a kid blown his own brains out after finding a .38 Colt Lightning in a rock pool. TAYLOR Jesus. COP 5 Checked it for prints already. TAYLOR Brian? The cop nods. TAYLOR (CONT'D) Where was the rock pool? COP 5 Bottom of the cliff at Toker's bend. TAYLOR The road to the lake? COP 5 Yeah. TAYLOR Guess folks are putting two and two together, huh? COP 5 Got a warrant for Brian's arrest. Sorry Taylor. TAYLOR Were you going to tell all this to her? COP 5 Not my intention. Just the warrant... TAYLOR He have a name? The kid...? COP 5 Don't know. Mother's still at the station; she's all cut to pieces. TAYLOR She tried to top herself already? COP 5 Naw, fell on the rocks. Sweet thing she is. Megan, same name as my daughter. Those rocks can cut you... TAYLOR Her name? COP 5 Megan. Why? TAYLOR Pretty, bruise on her face, blond? COP 5 You know her? Taylor holds his head. TAYLOR Jesus fucking Christ if he could organize such a coincidence in heaven. He takes a moment. TAYLOR (CONT'D) Get your men to 3992 Ocean. EXT. JAY'S HOUSE MORNING Brian walks up to the broken down door of Jay's house. The .45 is in his hand. He's ready to kill. He walks in. INT. JAY'S HOUSE MORNING TV sounds can be heard. Brian looks in and out of each room. He nears the kitchen. INT. JAY'S HOUSE/ KITCHEN MORNING Jay sits at the breakfast bar eating a bowl of cereal and watching the cartoon channel. His shotgun rests against the cupboard door down beside his leg. Brian appears in the doorway, gun raised and ready. Jay stops momentarily, in mid-spoonful, and then continues to eat. The breakfast bar obscures Brian's view of the shotgun. JAY You nearly gave me a fright there. He eyes the .45. JAY (CONT'D) You want a coffee? Brian steps a little further into the room. JAY (CONT'D) Job done? Jay lays his spoon down carefully on the bar top. He stretches his arms out and yawns. JAY (CONT'D) How's it feel to kill a friend? Brian grits his teeth. He's nearer to tears than anything else. JAY (CONT'D) Funny, the paths we take in life, eh? Friends today, gone tomorrow. He takes a sip of his coffee. JAY (CONT'D) I had good friend once... BRIAN Shut the fuck up. JAY Don't come in my house and tell me... BRIAN Shut up. Shut the fuck up. JAY Exactly. Now, if you have nothing better to say, at least listen to my story. Brian strains, the gun starts to shake, a breakdown is imminent. His life is in tatters. BRIAN (a tear rolling down his cheek) I shot my friend; I shot my friend in the back of the fucking head. And for what? Jay looks at him with intent, realizing that he hasn't got anything left, definitely no will or strength to pull the trigger. JAY My friend, Lee, was his name. One of those people you can count on. The one in a group of good buddies who is your best buddy. He stole $20 from my father's wallet whilst he was in my house. I saw him do it. But I didn't say anything. Even when my father beat the shit out of me for being a thief, and I wasn't, not then, I didn't say anything. I lost my trust in people instead, in friends, in Lee. He was the first person I shot. My buddy, my partner in my memories. Brian lowers the gun. JAY (CONT'D) For money Brian, you shot your friend in the back of the head for money. Jay whips the shotgun up and levels it on Brian before Brian gets a chance to react. He pulls the trigger, one, twice, fast as lightening, slamming Brian into the back wall. Brian slides down the wall, blood painting his decent to the floor, dead. Jay sits back down, reloads the shotgun with cartridges from his bathrobe pocket, and once again places the shotgun by is leg. He adds a few more Cheerios to his bowl and munches away. He chuckles as Woody Woodpecker begins on the TV. Sirens are heard outside. Jay doesn't flinch. He continues to eat. EXT. JAY'S HOUSE MORNING Police cars are everywhere. COPS, armed and running, surround the house. Taylor's Sedan pulls up. He gets out and walks toward the house. Four COPS join him. Two of whom are Randy and Charlie. INT. DINER MORNING Robin stands at the counter. She absentmindedly flips the pages of the daily newspaper. INT. JAY'S HOUSE MORNING Cops pass in and out of each room. Taylor walks straight ahead, towards the kitchen. INT. JAY'S HOUSE/ KITCHEN MORNING Jay stops eating and watches Taylor enter. Cops swarm the door, guns trained on Jay. Taylor looks down at his brother and then back at Jay. Charlie looks and sees Brian. CHARLIE Christ. JAY (smiling at Taylor) I'll take that $32,000 now. Everything happens in a flash. Jay drops his shoulder to draw the shotgun. Before any cop fires a shot, a shot rings out from Taylor's .45 and Jay is sent flying backwards. He crashes to the floor, dead. Taylor stands, gun at his side, staring, as the machine gun sound of Woody Woodpecker screams from the TV. Randy looks at Taylor, lost for words. Taylor turns and pats Randy on the shoulder. TAYLOR (not looking at him) Sorry kid. Today was Taylor's draw. He leaves the room, a tear welling in the corner of his eye. EXT. JAY'S HOUSE/ DOORWAY MORNING The sprinklers have come on in the garden. Taylor stands in the doorway and watches them, tears in his eyes. Paramedics brush past him and into the house. Cops come and go. INT. BRIAN'S HOUSE/ KITCHEN MORNING Heather has slumped to the floor, her back against the kitchen units. She sobs. INT. POLICE DEPARTMENT BUILDING MORNING Later the same morning. Taylor stands near the entrance, about to leave. The Captain approaches him. CAPTAIN Taylor. Taylor turns. CAPTAIN (CONT'D) Hey. TAYLOR Hey. The Captain discretely takes a quart bottle of whisky from his pocket and offers it to Taylor. TAYLOR (CONT'D) You know I don't drink? CAPTAIN It's times like these just the smell softens the nerves. Taylor smiles and takes it. TAYLOR Not just a promotion junkie after all. The Captain smiles. CAPTAIN I hate kissing ass, but if you want to climb the ladder that's what you got to do in this age. TAYLOR Don't kiss too much or your lips'll get burned. He's about to turn to leave. TAYLOR (CONT'D) See... The Captain takes a detective badge from his pocket. CAPTAIN Maybe now's not the time to quit Taylor? He drops the badge in Taylor's top pocket. CAPTAIN (CONT'D) Just call it a time-out. TAYLOR No, now is the time Captain. Taylor leaves. The Two Hoods can be seen at a desk in the background. EXT. POLICE DEPARTMENT BUILDING MORNING (CONTINUOUS) Taylor stands for a moment before sitting on the steps. He studies the bottle of whisky. EXT. BEACH DAY Jimmy catches his first wave. Heather applauds from the shore. Megan approaches from behind Heather. She pauses before tapping Heather on the shoulder. Heather turns and contemplates Megan blankly. MEGAN I'm... Heather cuts her off. HEATHER I know who you are. Megan tries, nervously, to maintain her composure. MEGAN I'm sorry. HEATHER I'm not sure who needs to be sorry for what. But thank you. Jimmy wades through the water, making his way to the shore, surfboard in tow. Megan watches him for a moment, losing herself. Heather looks at Megan and touches her arm. HEATHER (CONT'D) Are you OK? Megan looks back at her. MEGAN Yeah. They both look at each other, unsure as how to act, react. Megan's eyes are beginning to glaze over. HEATHER I, I hope things get better. MEGAN Thank you. Megan turns and walks away as Jimmy reaches his mother. Heather watches Megan walk away for a moment before crouching down to greet Jimmy. EXT. CORVETTE STINGRAY/ HIGHWAY DAY Megan is at the wheel. Luggage is beside her and wherever space allows. Another life beckons. A picture of Wil and the picture of the three BMX bandits hang from the rear view mirror. EXT. CEMETERY DAY Toby lays a small bunch of flowers on each of two graves. The headstones bear the names of Denny and his mother. EXT. MARILYN'S BAR NIGHT Taylor stands across the street, staring at the bar. Robin appears from the shadows, smiling and pretty as a princess. She stands beside Taylor and touches his shoulder. ROBIN You OK? Taylor looks at her with an air of vulnerability. TAYLOR (nodding) Yeah. Taylor looks back at the bar, at the picture of Marilyn Monroe. He smiles to himself. TAYLOR (CONT'D) Only movie stars live forever. He turns to Robin. TAYLOR (CONT'D) And our lives seem like nothing, no more than lonely memories. He drops his gaze to the ground. TAYLOR (CONT'D) You sure you... Robin brushes his chin, making him look at her. ROBIN I can't promise you anything Taylor, nobody can promise anything, other than my hopes are in a tomorrow, with you. Taylor smiles. TAYLOR (he starts across the road) Come on. She catches up and takes his hand. TAYLOR (CONT'D) Starbuck or Luke Skywalker? ROBIN A coffee shop or a Jedi Knight? TAYLOR You never saw Battlestar Gallactica? INT. MARILYN'S BAR NIGHT Jack smiles broadly, greeting Taylor and Robin as they reach the bar. Robin is introduced, hands are shaken, and drinks are ordered. EXT. MARILYN'S BAR NIGHT It's just another bar on just another Friday night. A couple more people walk in. EXT. NIGHT SKY The velvety black sky seems to be filled with countless stars. They sparkle brightly, yet apart from each other. Single star dying constellations. EXT. LAKE DAWN The place where Samuel last stood. A mist floats above the surface of the water, a surface so still it begs to mirror all that surrounds it. At once this offers an aura of calm, peace and tranquility, but also a foreboding sense of loneliness. FADE OUT.
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