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Film starts - FILM DISTRIBUTOR LOGOS ETC -
Film opens -
1 INT. MALT SHOP - NIGHT 1
The film opens with two girls in mid conversation. At this
point it is unimportant who they are as we catch up with them
later in our story. One girl is blonde and the other is a
brunette. They are both pretty and appear to be wearing similar
clothes. The look of someone who is wearing the very best that
the second hand store had to offer. They are sitting at a corner
booth and each drinking a milk shake. Their names are Amy and
Sophie and are both in their 20s.
The camera gives us a side shot as both girls take a sip of
their drink. Amy puts her drink down and speaks -
AMY
There's three kinds of girls in porn.
The ones that love sex, right? The
ones who fully believe that the films
they are making are that of Oscar
winners. Then there's those types who
are kinda' forced, like they owe a
great debt.
SOPHIE
Like Linda Lovelace, right?
AMY
The very same. Now then there's the
guys. Some, if not all, do it just for
the joy of fucking. While others I
think are somehow convinced they're
providing a service to those guys who
just can't get a girl.
SOPHIE
(smiles)
You're fulla' shit.
AMY
Am I?
The screen goes black.
MAIN TITLES AND MAIN TITLES TRACK - Billy Joel - Vienna.
TITLE CARD - New York City, the 90s.
2 INT. KITCHEN - DAY 2
A MAN, mid 30s, NICKY, a gambler, short brown hair, thin,
unshaven. Sits at his kitchen table. An empty cereal bowl can be
seen among a small amount of loose coins and a casino chip. His
apartment is unkempt looking, and it is obviously the maids day
off. Dressed in a blue dressing gown that has seen better days,
he's sweaty and panicky. He's sealing down a medium sized
vanilla colored envelope.
TITLE CARD - An unexpected gift.
3 EXT. STREET - DAY 3
A GUY in his mid 40s, heavily built, opens up the back of his
van. He takes a quick look inside, then closes it. He gets in,
starts up, drives off.
4 EXT. HOSPITAL - DAY 4
A yellow cab pulls up to the curb. The door opens. Out steps
MICHAEL DEAN, smartly dressed in the best suit money can buy.
Mid 40s, slim, dark hair. A married man, Freelance Pediatrician
and one of the members of the hospital board. Standing outside
HOPE - the recently established hospital complex for children
with special needs. He slams the cab door shut as it drives off.
5 INT. OFFICE - DAY 5
Michael is finishing off talking to a table full of doctors,
each with their own degree of importance.
MICHAEL
Bottom line here people. You want
these things, it's gonna' cost. I know
Henry and I -
(points)
- have thrown together a list of the
things we need. It's down to us all to
make this happen.
LADY
Well, Michael, where's the money going
to come from?
MICHAEL
Well, it looks to me as if none of us
are going to win the lottery anytime
soon. Not only that, there's no chance
I will ever win.
LADY
Why?
MICHAEL
I don't do it.
They laugh. They needed this moment.
MICHAEL (CONT'D)
Ok. Here's the list of the things I
think would be beneficial.
(passing them a list of
items)
Ok, number one on the list is...
6 EXT. STREET - DAY 6
Downtown: Nicky, now washed and shaved is walking to the
sidewalk. He's dressed in the best second hand suit money can
buy. He steps to the curb. The traffic is heavy. He walks into
the busy traffic, his mind on other things. He's clutching a
medium bulky envelope under one arm, flicking the morning's news
paper open with his other hand to read the day's headlines. He
hears the sound of car horns, suddenly realizing he's in the
middle of the road. In a flash a yellow cab tries it's best to
slam on the breaks as it sounds it's horn. He's hit (slow motion
shot). As he falls, his paper flying up one way, his envelope
the other. All within a split second. He's out cold. The area
becomes that of pandemonium. The taxi driver is first at his
side.
TAXI DRIVER
Someone better call...
ONLOOKER
It's Ok, I already did.
In a flash the paramedics are there with their spine board and
technical jargon.
PARAMEDIC #1
(to co-worker)
He's out. Get the trolly.
PARAMEDIC #2
Ok.
They lift Nicky up and into the back of the ambulance. The doors
close and the two paramedics drive slowly away, siren on. The
street returns to it's day.
7 EXT. SIDEWALK - DAY 7
On his way to school a 12-year old boy, SAM, sees a medium sized
bulky looking envelope wedged under a not as yet used hotdog
stand. In a flash it's picked up.
He hears the school bell, runs, turns corner, then up a flight
of stairs. On his way indoors he runs into someone. Looking up
we see a woman in her late 30s. SARAH DEAN, smartly dressed,
dark hair, blue eyes, slim. The head Principal of NYC junior
school.
8 INT. SCHOOL - DAY 8
SARAH DEAN
Hey, where's the fire?
SAM
Sorry, miss.
SARAH DEAN
That's Ok, just no running indoors.
You know that, Sam.
In his rush to save the bell, Sam has dropped the envelope.
Sarah notices this.
SARAH DEAN (CONT'D)
Is this yours?
SAM
Er... No I found it.
SARAH DEAN
I see... you did, did you? Ok. Well,
let's say I'll take care of it now.
So, where exactly did you find it?
SAM
On the way to school, it was laying
there in the gutter.
SARAH DEAN
Well, thank you, Sam. I'll see if we
can get it back to it's owner.
SAM
(disappointed)
Yes, miss.
SARAH DEAN
Ok, now along to assembly. Don't
forget to sign the book.
9 INT. SARAH DEAN'S OFFICE - DAY 9
Sarah enters an office, says hello to her secretary. Enters her
office, closes door. She places the envelope into a tray amongst
letters to be opened. Gets herself ready for morning assembly.
10 INT. HOSPITAL BOARD ROOM - DAY 10
Meeting that took place earlier has finished. As each consultant
leaves they thank him.
CONSULTANT
Didn't go too bad, I thought. So, what
are your plans for the rest of your
day?
MICHAEL
Well, I gotta' head out to angel this
afternoon. So...
CONSULTANT
Good luck on that. Say hi to Sarah for
me, Ok? You guys should come over,
it's been too long.
The consultant leaves the room before Michael can thank him. He
takes a moment as the office is empty.
11 INT. HOSPITAL - DAY 11
Nicky, the guy from our highway knockdown, is resting in a room.
Slowly he starts to come around. A very attractive nurse enters.
NICKY
How long have I been here?
NURSE
There you are, you've been out a few
hours. Just try to rest, OK?
NICKY
Where are my things? Where have you
guys got'em?
NURSE
(points)
It's OK, don't worry. They're in that
cabinet next to the bed.
Nicky leans down. He seems Okay, and pretty much untouched from
his knock down. Opening the cabinet he pulls out his clothes. He
now realizes his envelope has gone.
NICKY
OK ...I give up. Where did you put
them?
NURSE
Everything's there that came off you.
I'll go get the doctor for you. Is it
anything important?
NICKY
You could say that. It's sort of an
envelope, so big...
Nicky gets more and more frustrated as his time ticks away. The
nurse leaves to find his doctor. Nicky gets up, starts to put on
his clothes.
12 INT. SARAH DEAN'S OFFICE - DAY 12
Sarah enters the secretary's office. It's just after lunchtime,
about 1.30pm. She enters holding a cup of coffee.
SECRETARY
I've just finished those fliers you
wanted. Aren't you having any lunch
today?
Sarah leans over to the desk, picks up a flier. It reads:
13 SPORTS DAY 23RD OF SEPT. 13
This years event is raising funds for the new local children's
hospital.
SARAH
No, this coffee's fine. So, these are
them? They look pretty good. Let's
hope we do some good this year. You
bringing your little one?
SECRETARY
Sure, we'll be there.
Sarah puts the fliers down and enters her office. She takes a
moment to herself, picks up her intercom.
SARAH
Kathy, could you give me about 20
minutes before anyone wants me, Ok?
SECRETARY
No problem.
She falls back into her chair, takes some letters out of her
pending tray. They don't seem to be of major importance. She
notices the vanilla envelope, picks it up. She gets up, walks to
the window. Holds it in front of the glass.
Trying to look inside. It's sunny outside, but she still can't
see. She throws it down onto the table, slumps down into her
chair, looking at it...
14 INT. HOSPITAL - DAY 14
Nicky, now dressed, is about to use his mobile phone as the
nurse enters.
NURSE
Can you switch that off please.
It interferes with our machines.
Nicky reluctantly closes his phone.
NICKY
Ok. In that case, where are the god
damn phones?
NURSE
They're thru god-damn there!
She smiles at Nicky and points to a phone just outside his room.
A pay phone.
15 INT. SARAH DEAN'S OFFICE - DAY 15
We pan in on a close up of Sarah's face: A look of stunned
silence, shock and amazement all in one. The camera pulls back
slowly. We see her looking down at her desk. But we don't know
as yet what she is looking at.
CUT TO:
16 INT. CORRIDOR - DAY 16
NICKY
(into phone)
I'll be there... I got it, yes. I said
I will be. Just... just tell The Man I
have 25, Ok? I know I owe 50. Look,
it's all I could get... Ok? 4 o'clock.
Outside the...(pause) Ok, I got it.
17 INT. SARAH DEAN'S OFFICE - DAY 17
Sarah picks up her intercom, pushes button, speaks:
SARAH
Hi, Kathy, any calls?
KATHY
Not at the moment, it's pretty quiet.
Can I get you a coffee?
SARAH
No thank you. Could you get my husband
on the phone please.
KATHY
Sure, no problem.
Inside the office Sarah thanks Kathy, sits down, looks over the
desk. A beep alerts her to the phone. She picks the receiver up.
SARAH
Thanks, Kathy.
18 INT. CORRIDOR - DAY 18
Nicky slams down the phone.
NICKY
Mother fucker!
Nicky turns and leaves phone. As he turns around he comes into
contact with a Doctor. Almost spilling his coffee over him.
NICKY (CONT'D)
Shit! I'm sorry, man. I... I didn't
see you.
We see that it is Michael, the pediatrician.
MICHAEL
It's Ok, my fault. Ok, sorry, take
care.
Michael walks off into the direction of the hospital canteen.
Nicky enters back into his room. As Michael enters the canteen
his phone rings.
19 INT. CANTEEN - DAY 19
Michael takes a seat, places his coffee down. His phone
continues to ring.
MICHAEL
Sorry everyone.
(into phone)
Hello? What's wrong? You know I only
use this for emergencies. No, it's Ok,
go on...
20 INT. SARAH DEAN'S OFFICE - DAY 20
SARAH
What if I was to say, I think an angel
has been thinking of you.
The scene cuts back and forth between the husband and wife. The
sound is mute (possible musical score here?)
21 INT. CANTEEN - DAY 21
The canteen is empty apart from Michael who is sitting there
almost identical to Sarah. Staff clear away plates, cups etc.
The camera pulls back slowly.
22 INT. SARAH DEAN'S OFFICE - DAY 22
Sarah smiles as the camera pans down onto the table. As the
camera slowly pulls away it reveals the table covered in dollar
bills. The envelope shredded and in the bin. Sarah looks at a
loose flier on her desk, and smiles.
23 INT. NICKY'S ROOM - DAY 23
He looks up at a clock on the wall. It reads: 2.30pm. As Nicky,
panicky, starts to sweat. A Doctor enters his room.
DOCTOR
Ok, sorry it's been a long wait, Mr.
er...? And what is this? You should be
in bed, you've been hit.
The doctor reads Nicky's chart from the end of his bed. He gives
it a full once over.
NICKY
C'mon, Doc, for Christ's sake. I'm
fine. I'll take full responsibility
for my death, Ok?
DOCTOR
Well, I'm not about to let that
happen. But saying that, we can't keep
you here, so...
NICKY
Am I fine?
Doctor just looks.
DOCTOR
I advise you stay in.
NICKY
I'm fine see? I look fine, feel fine,
me stayin' the night ain't gonna'
happen.
The doctor looks at his watch, stands there for a second as if
to take in something someone is saying. A voice that cannot be
heard. Nicky looks puzzled.
DOCTOR
It's time, Nicky... it's time.
NICKY
Ain't that the truth.
The doctor leaves as quickly as he had arrived. Nicky, now
hyper, sweating, opens his door. Slightly bruised and a little
worse for wear, walks slowly down the corridor towards the exit.
He sees a Policeman standing by an open door. We hear the sound
of his heart pounding as he gets closer and closer to the
entrance. As he goes past the cop, the cop nods. In the distance
we hear the sound of a nurse. Nicky turns around to look as he
exits the hospital.
NURSE
(to policeman)
David, you can go in and see your
daughter now.
The policeman enters the room.
24 EXT. CARPARK - DAY 24
Nicky walks briskly. He stops, checks his watch. It's 2.55. He
looks over towards a car, sees a man dressed all in black just
standing there. He waves slowly at Nicky. He thinks this a
little odd but goes to wave back. But the man has gone. Suddenly
a black van, tinted windows, pulls in. Out come two guys,
heavily built, bouncer looks. Taking Nicky in a strong hold,
they sling him into the van. It squeals off. We are left looking
at the space were the van pulled up and sped off. We hear (off
screen) the sound of the most horrific car crash.
25 EXT. STREET - DAY 25
It's a car pile up. The van in which Nicky was in is now twisted
metal in flames. The sound of a fire engine and ambulance can be
heard.
FADE TO BLACK:
FLASHBACK:
We cut back to see Nicky being slung into the back of the van.
This time we follow him inside.
THE MAN
So, where's my money?
NICKY
You see a funny thing happened to me
today. You wouldn't believe me if I
told you.
Suddenly from nowhere the van from scene two appears, cutting up
traffic. It clips the Black van. As it's knocked, it's wheel is
uncontrollable. Nicky let's out a scream as it goes over on it's
side hitting a parked car. Another car then hits the back of the
van. (boom, explosion)
26 END OF 26
FLASHBACK:
27 EXT. STREET - DAY 27
We are on a closed street. It's quiet and almost angelic. We see
a man in the distance. We pan in on him. It's a guy wearing the
best second hand suit money can buy. He's a little worse for
wear, bruised battered, suit ripped, but with a smile. As he
walks towards the end of the street, he sees a nun carrying a
collection tin.
NICKY
(to himself)
Jesus!
(looking up into the
sky)
Sorry, God.
As Nicky walks past he stops, looks at the nun.
NUN
(smiles)
You've been in the wars.
NICKY
Slightly... I'll be Ok. I think.
The nun shakes her tin as Nicky searches for any kind of money.
He reaches into his pocket grabs a small handful of coins, puts
a few coins into the tin.
NUN
You're an angel.
NICKY
(smiles)
That's funny, no one has ever said
that to me before.
Nicky walks off slowly. As he gets to the end of the street, he
turns the corner. A man crosses the street as Nicky turns. He's
reading the morning paper.
CUT TO:
A shot of the back of Nicky walking down the long street. The
screen starts to go out of focus. With just enough time to let
us see Nicky disappear as if by magic... slowly fading to black:
FADE IN:
28 EXT. CITY - NIGHT 28
It's around 10.00pm on Wed, 20th September. We see the New York
night life around us. Traffic is quiet, for this area. Camera
pans in: On a yellow cab. Inside we see a girl. SOPHIE, 21,
prostitute, small, short dark hair, pink top, leather skirt,
trashy looking. She has a vacant expression on her face. She
listens, uninterested in the cab driver's conversation. A one
sided talk.
29 INT. CAB - NIGHT 29
CAB DRIVER
...An another thing, they say that
when you go, you return to that age
you were most happy at in your life.
SOPHIE
(bored)
Really...?
30 EXT. THE STREET - NIGHT 30
The cab pulls into the curb. Door opens the girl gets out, slams
the door shut, starts to walk. Cabby stops her.
CAB DRIVER
Hey, lady, your change.
Sophie takes it, the cab drives off. Continues her short walk,
until she reaches a corner. On this corner is a malt shop.
CHARLIE'S. An all night cafe stop.
31 INT. CHARLIE'S - NIGHT 31
CHARLIE, a guy in his late 60s grey hair, very thin, wearing an
old fashioned 50s uniform, is cleaning the tables. She enters
the bar. Looks around, it's pretty quiet. Parks herself in one
of the small booths. Charlie comes up to her table.
CHARLIE
Hello, beautiful. A shake is it?
SOPHIE
(smiles)
Not tonight.
Charlie, being slightly deaf,mostly mishears what people say.
CHARLIE
What?
SOPHIE
No thank you. Stick of gum though.
CHARLIE
Ok.
She empties some belongings from her purse. Compact, lipsticks,
condoms and a small amount of dollars. The camera moves slowly
from her, taking us to the corner booth. In front of her, his
back to us, is a man. Big, 6ft, black leather jacket, black hair
combed back. Known simply as "THE MAN". He has two men with him.
One is next to him in the booth, the other is facing him. These
guys are heavily built with bouncer looks. The man is in mid
conversation with Nicky. We never see his face.
THE MAN
Y'got till Friday, then I'm gonna'
have to break somethin'. Maybe your
head.
NICKY
I can get 25 to you no problem.
THE MAN
(holding up his fingers
like a peace sign)
Two days.
The young guy nods.
THE MAN (CONT'D)
Now(beat)leave!
Nicky walks slowly towards the entrance. Stops near the counter.
Acknowledges the girl, she turns away.
NICKY
Let me have... a small coffee, lots of
milk.
The girl gets up, puts her things in her bag crossing to
counter.
SOPHIE
Got my gum, Charlie?
CHARLIE
Here you go, my princess.
Charlie slides a pack of chews down the counter, she picks it
up, goes to leave.
NICKY
Hey, I'll get that. Put it with my
coffee, Charlie.
SOPHIE
No, it's fine.
NICKY
It's no trouble.
SOPHIE
I got it!
She puts a coin onto the counter. The guy looks down at it.
Before he can respond, she's left.
CHARLIE
Here's your coffee.
NICKY
It's Ok, I better be going. Sorry,
Charlie. How much, man?
CHARLIE
Three-ten.
Nicky hands Charlie $5.00
NICKY
It's all I've got, keep it.
32 EXT. THE STREET - NIGHT 32
He makes his way quickly out of the malt shop, tries to catch
the girl. She's gone.
FADE TO BLACK:
33 TITLE CARD - TWO DAYS LATER. 33
FADE IN:
34 EXT. OUTSIDE - DAY 34
It's a hot sunny day in New York. It's around 8.00am, a guy of
medium build, closes the back of his almost falling apart van.
He gets in and drives slowly away.
TITLE CARD - Supercops.
35 INT. POLICE PRECINCT - DAY 35
Two cops are standing in an office, being reprimanded by their
Captain, who sits behind his desk. JOHN PETERSON and RAY
STEPHENS, two undercover cops. They are both dressed in over the
top Hawaiian shirts, jeans and sneakers. Stephens has a pair of
cheap sunglasses perched on the top of his head. Both men are
dark haired, mid 30s, thin. CAPTAIN REED, mid 50s, medium build,
bald, white shirt, red tie.
CAPTAIN REED
One word, gentlemen.
Peterson and Stephens look at each other.
CAPTAIN REED (CONT'D)
Fuckups!
PETERSON
Fuckups?
CAPTAIN REED
That's what I'll be putting in my
report. I was told to have my head
examined, takin' you two on.
STEPHENS
Hey, we've been pretty good this week.
CAPTAIN REED
Well, if you're this good, how come
"The Man" ain't locked up downstairs?
PETERSON
Well, you see, there's the rub. He has
this amazing ability to get past us,
just as we're closing in. But I gotta'
feeling he's gonna' get what's coming
to him.
CAPTAIN REED
Oh, is this when you went out for
pizza on a stakeout? Or could it be
when you were in fact staking out the
wrong fucking building?
STEPHENS
It wasn't pizza, Captain.
PETERSON
Yeah, we couldn't decide you see? Was
it original cheese and tomato, or the
kinds with all shit on top. Pepperoni,
anchovies...
STEPHENS
You can't go wrong with plain old
cheese and tomato. In the end we got
Chinese.
Captain Reed cuts in.
CAPTAIN REED
Quiet! Do I look like a fucking chef?
There's a moment of silence.
CAPTAIN REED (CONT'D)
Look... It seems to me as though you
two guys could be in need of a small
vacation. I think you have yours
coming up soon, Peterson?
PETERSON
The start of next month.
CAPTAIN REED
Well, its just been brought forward.
PETERSON
Sir...
CAPTAIN REED
(points)
And as for you, I suggest you take
yours now also.
STEPHENS
Ok, Captain.
CAPTAIN REED
And another thing - You somehow have
to redeem yourselves, gentlemen. Cos
you know if you don't, You're going
downstairs.
PETERSON
No way!
STEPHENS
You wouldn't do that to us, Captain,
would you?
CAPTAIN REED
All I have to do is sign a piece of
paper. And you know once you get down
there, you're never comin' out.
PETERSON
Vice. Shit!
STEPHENS
Not just vice, every fuckin' shit job
there is.
CAPTAIN REED
So, take this time out to decide were
your priorities lie gentlemen. Or
should I call you "The Supercops"?
What, didn't think I heard about your
nickname?
STEPHENS
Some of the guys like to call us that.
I think it's a jealousy thing.
PETERSON
(nods)
Uh huh...
CAPTAIN REED
Ok, you can go. Get out of my office.
I don't wanna' see your faces for a
week. You got it? Any questions?
PETERSON
Could we borrow your boat, Captain?
Captain Reed just looks.
CAPTAIN REED
What boat is this?
PETERSON
Oh... the one you go sailing on each
month, just about the same time you
tell your secretary to tell your wife
you're away on some police event.
STEPHENS
(to Peterson)
I have a feeling he isn't going to be
letting us have it, John.
PETERSON
I don't think so either, Ray. You see,
Captain, I hear things too.
Peterson and Stephens make there way out of the office.
PETERSON (CONT'D)
(nods)
Captain.
STEPHENS
(Points)
Stay cool.
Stephens puts his sunglasses on. Both men sort of strut out of
the office. Stephens closes the door behind him. (Close up of
door handle).
36 MEANWHILE: IN 36
THE CITY.
The van shown earlier is slowly being driven. It pulls into the
sidewalk. As it slams on its brakes, it rocks as if its going to
fall apart at any second. The guy jumps out, enters a
tobacconists. The camera pans back slowly, as two guys, early
30s dressed in heavy coats, jeans and trainers, walk past the
van. One guy notices the keys still in the ignition. And in a
flash they have jumped in, started up, and slowly driven it
away. Our van guy exits the shop. He's dumbfounded, as if just
smacked.
VAN DRIVER
(to himself)
I don't believe it...
CUT TO:
37 EXT. PRECINCT CAR PAR - DAY 37
Peterson and Stephens are walking down the steps of the front
entrance. They continue to car park area. Peterson has stopped
near their car. An early 90s soft top BMW. Red in color, tinted
windows. He gets his keys out.
PETERSON
(To Stephens)
Well, any ideas?
STEPHENS
Fancy a hotdog?
PETERSON
(looks at watch)
It's 9.30, Ray.
STEPHENS
So, when isn't there a good time for
dogs? Plus, I can't think on an empty
stomach. C'mon...
PETERSON
(smiles)
38 OK. 38
39 EXT. THE STREET - DAY 39
Peterson and Stephens are walking slowly down the side walk,
taking in the busy Friday morning. Crossing a small main road.
As they do, their paths cross with a young boy. He's 12 years
old, dressed in smart but casual clothes. He's carrying a bulky
looking envelope under his arm. He turns the corner and walks
down sidewalk, as Peterson and Stephens make it to across the
street. (Shot in slow motion). As the two cops cruise along, in
front we see a man. FRANK, late 50s, bald, large build, white T
shirt, apron. He is positioning his soon to be used hotdog stand
onto the sidewalk. Ready for the day's business. Catching
Frank's eye, Stephens walks ahead.
STEPHENS
Hey, Frank.
FRANK
Hey, my friend.
STEPHENS
How's business, Frank?
FRANK
It's as good as ever. You know me, I
don't complain.
PETERSON
Morning, Frank.
FRANK
Hey, the gang's all here. Hi, John.
STEPHENS
Well, I have to say, I'm fuckin'
starvin', Frank.
FRANK
Can't help yet, sorry.
STEPHENS
You can't?
FRANK
Ain't got any cooked yet.
STEPHENS
It's Ok, Frank. How about a couple of
bottles of water?
Frank opens his plastic container, takes out two ice cold
bottles of water.
FRANK
Here you go, my friends.
STEPHENS
How much?
FRANK
(smiles)
You know your money's no good here,
Ray.
STEPHENS
Thanks, man.
FRANK
You're welcome.
PETERSON
(Looks up into sky)
Gonna' be a hot one today huh, Frank?
FRANK
A scorcher.
The two cops thank Frank, and head off downtown. They take a
short cut. Stephens swigs back the last of his water, throws the
empty bottle into an open refuge container.
TIME CUT:
The cops, now walking down a quiet street, in conversation and
laughing about nothing in particular. Suddenly a yellow cab
appears screeching its breaks to it's halt. The driver exits the
cab looking frantic. He has that typical NYC Cabby kinda' look.
Waving his arms franticly.
CABBY
Hey, you guys, hey.
Stephens and Peterson run over.
PETERSON
(To Stephens)
Fuck's wrong with this guy?
CABBY
We're havin' a baby here.
STEPHENS
Baby?
CABBY
Yeah, she's in the back, some cops
wife. You better stay with her. I'm
gonna' go for help. My phone's dead.
Stay here you guys.
The cabby runs off in the direction of a phone booth.
STEPHENS
Why didn't he use his two-way?
PETERSON
To late to go into that now.
Peterson opens the cab door, closes his eyes, opens them. A
woman, late 20s brown hair, blue eyes, wearing a blooded summer
dress. Screams as her half-in half-out baby is about to come
into the world.
STEPHENS
Jesus!
PETERSON
(smiles)
Not quite. Ok, beautiful, it's gonna'
be fine. I'm John, this is Ray.
Now, the driver's gone to get help,
Ok? In the meantime, we're gonna' try
and make this as easy as possible.
STEPHENS
Don't know how long this cabby's
gonna' be.
PETERSON
Yeah. Y'better chase another one up.
Stephens dials into his mobile.
STEPHENS
(Into phone)
Ambulance please...
PETERSON
What's your name?
STEPHENS
They're on their way.
Stephens walking towards cab.
PETERSON
Ray, meet Carol.
CAROL
Hi, Ray.
STEPHENS
Hello, Carol.
Carol leans back, let's out a scream, pushing out.
PETERSON
No, no, no. Wait!
STEPHENS
Shit!
CAROL
Please call my husband.
PETERSON
Sure, the number?
CAROL
He's a cop, like you guys.
Stephens flicks open his mobile ready to dial. She notices
Peterson's badge still pinned to his shirt.
CAROL (CONT'D)
Y'know in the city?. His names David.
STEPHENS
Got it.
PETERSON
It's gonna' be Ok.
CAROL
I gotta' push, it hurts, it hurts!
PETERSON
I can imagine... No, no!
Carol nearly passes out as Stephens talks into mobile.
STEPHENS
Ok, now you phone me as soon as he
gets this, Ok? It's an emergency.
Stephens closes his phone, looks at watch, walks over towards
cab.
PETERSON
And...?
STEPHENS
He's out. Got a message to him though.
He's got this number.
Peterson and Stephens look into the cab, step back slightly,
face each other, Peterson talking low.
PETERSON
(To Stephens)
You know we're gonna' have to deliver
this.
STEPHENS
Really?
PETERSON
No other way. It's half out as it is.
STEPHENS
You ever done anything like this?
PETERSON
Yeah. I do it every week, twice on
Sundays.
STEPHENS
(smiles)
Isn't there any other way?
PETERSON
Well, if there is you tell me. God
only knows when the ambulance is
gonna' get here.
CAROL
Anything wrong you guys?
PETERSON
It's Ok, Carol. Now Ray and I are
gonna' have to be the doctors here, so
I want you do what I ask, Ok? I
promise I'll be as careful as I
possibly can.
Stephens closes his mobile phone, puts it in pocket, leans into
cab. Peterson hands Stephens his unopened bottle of water. He
holds out his hands as Stephens pours the water onto them.
Taking out a handkerchief from his back pocket, dries his hands
carefully.
PETERSON (CONT'D)
(To Stephens)
Take your shirt off.
STEPHENS
My shirt?
PETERSON
Just do it, man.
Carol takes slow pants as Peterson's hands move in.
PETERSON (CONT'D)
Take her hand.
STEPHENS
Ok.
PETERSON
Now, Carol, I apologize beforehand but
I've got to open you up a little.
CAROL
It's fine, just make the pain stop.
PETERSON
Ok, now... slowly push... gently,
gently...
Carol screams. It echoes the deserted street.
PETERSON (CONT'D)
Ok, I got the head, I got the head...
I think.
(To Stephens)
It's a head, right?
Stephens leans in, Carol leans over, they both answer.
CAROL
Yes.
STEPHENS
You got it.
Outside shot of the taxi. Carol gives out an almighty scream as
the camera moves slowly into the back of the cab. CLOSE UP:
Carol's exhausted face, gives us a smile.
PETERSON (CONT'D)
(To Stephens)
Lay your shirt there.
Stephens lays his shirt in between Carol's legs, her legs
covered in blood. As the shirt is laid, a beautiful baby girl is
placed onto it. He wraps her up carefully and hands her to
Carol. They share a quiet moment. Suddenly not one but two
ambulances from both directions of the street pull in. Stephens
sorts out the situation.
STEPHENS
About time, you guys.
Both drivers jump out, talk to each other.
PARAMEDIC #1
We'll get this, angel's nearer.
PARAMEDIC #2
Sure. No problem.
The exiting ambulance U-turns and drives quickly out of the
area. A paramedic opens the door of his van, takes out a
trolley. Stephens's mobile rings. A tired looking Carol talks
with Peterson.
PETERSON
Any names yet?
CAROL
I dunno yet. I was thinking of Mary.
Peterson looks into the baby's eyes. The two paramedics cut in.
Peterson steps back, walks to Stephens.
STEPHENS
(Into phone)
Yeah, she's fine, man, just a sec.
Carol's slowly lifted onto the trolly, her baby placed on her
chest. The trolly is glided past the two cops as Stephens hands
her his phone.
STEPHENS (CONT'D)
It's David...
CAROL
David, honey...
Peterson and Stephens stroll slowly up to the back of the van.
Peterson leans in takes a paper towel. Carol finishes on phone.
CAROL (CONT'D)
She's beautiful. Looks like us both. I
love you... Ok... bye.
Carol closes the phone, Stephens leans into the back of the
ambulance, takes it from her. She looks down at her beautiful
baby girl wrapped in an over the top Hawaiian shirt, looks up at
the two guys.
CAROL (CONT'D)
Thank you.
Both Peterson and Stephens answer at the same time.
PETERSON/STEPHENS
You're welcome.
They step back as a paramedic quickly shuts the back. Thanking
the two cops, they get in, start up, drive off. Both guys take a
moment.
STEPHENS
Don't know what to say.
PETERSON
(smiles)
Then don't say anything.
The two cops walk off slowly, their backs to us.
FADE TO BLACK:
TITLE CARD - A few hours later.
40 EXT. APARTMENT BLOCK - DAY 40
Peterson and Stephens exit their apartments, walk down steps.
They are dressed in T-shirts and jeans, each holding a hold all.
PETERSON
Ready for Vegas?
STEPHENS
You bet.
PETERSON
Glad we're out of those clothes.
STEPHENS
Yeah, we looked like a couple of
extras from a Johnny Holmes flick.
PETERSON
(smiles)
I know!
Peterson takes out his car keys, beeps the alarm off, Stephens
enters the passenger side.
41 INT. CAR - DAY 41
Peterson switches on the intercom.
STEPHENS
C'mon, man, don't turn that thing on.
We're on vacation now.
They listen as through intercom a lady speaks, giving a
description of a crime recently committed.
LADY
(through intercom)
...Licence plate on back, partial
index, Six-nine-two, over.(pause)
LADY (CONT'D)
(through intercom)
Early 90s Mercedes van. White in
color, used in possible bank heist.
Last seen heading into the
direction of downtown, over.
Peterson picks up the receiver.
PETERSON
This is three-eleven.
LADY
(through intercom)
Thought you two guys were on
vacation?, over.
STEPHENS
(to Peterson)
That got around fast.
PETERSON
Not until end of day, over.
LADY
(through intercom)
That's a conformation, three eleven,
over.
PETERSON
Any more details on that van?, Over.
LADY
(through intercom)
No licence plate on front. Licence
plate on back, partial index, Six nine
two, over.
Peterson places the handset back. They both look at each other
and smile.
STEPHENS
One call won't hurt will it?
PETERSON
One call won't hurt.
42 EXT. THE STREET - DAY 42
The car starts up it's engine, slowly driving off down the
street, it picks up speed as it turns a corner. The screen
slowly fading to black.
FADE IN:
43 INT. APARTMENT - DAY 43
We open on an attractive women in her early 20s. AMY, 22,
prostitute, blonde hair, blue eyes, pretty. Though a loser in
life, not a loser herself. She is in her underwear and has
clothes laid out on her bed. She picks them up and starts
getting dressed.
CUT TO:
44 EXT. ALLEYWAY - DAY 44
Amy makes her way down a steel ladder. A framed set of stairs
that lead up to and down from her apartment. With an unlit
cigarette in her mouth. As she climbs off, she takes a lighter
out of her handbag and lights up her smoke. As she walks out of
the alleyway and onto the sidewalk, she sees a guy close the
door on his falling apart white van and take off down the
street. We are left with an empty shot of the alleyway.
We next see Amy in various time cuts:
We see her getting in and out of a car.
We see her leaning into an open car window.
We see her walking down various sidewalks.
On the final time cut scene that is shown, we continue with her
on her walk.
45 EXT. SIDEWALK - DAY 45
Amy is walking down the sidewalk. She is just about to walk past
an open alleyway, as not one but two ambulances bring her back
onto the pavement. They both enter the alleyway in a hurry with
their sirens on. Amy walks past and continues her walk. She sees
in front of her, Frank, the hotdog guy. She smiles as the two
meet. As they chat, the screen fades into black.
TITLE CARD - A Few hours later...
46 EXT. THE STREET - DAY 46
We're at the corner of an almost quiet street. The camera pans
slowly down the street. We see a nun carrying her collection
tin, as a young guy passes her. As he turns the corner, a man
reading his morning newspaper is crossing from the opposite
side. He disappears out of shot. A van, almost falling apart,
comes charging down the street. Screeching it's breaks to a
halt. As the van comes to a violent stop, two men jump out,
slamming the doors shut. They are dressed kinda' scruffy, with
jeans and trainers. Each wearing a heavy jacket. They run off
down the street. Leaving the keys of the van in the ignition,
just the way they had found it. The camera pans in-slowly to the
back of the van.(Off-screen) we hear the sound of a police car
slamming on it's breaks. Two shots are fired. As the wind blows
the shutters on the back of the van, it moves up an inch, then
back down. The camera pulls slowly away, taking us to the front
of a shop.
47 INT. HENRY'S - DAY 47
HENRY runs the local tobacconists. He's of medium build, 55
years old, grey hair. He is serving a young woman - Amy. She's
dressed in the best second hand clothes money can buy.
AMY
Can I have my usual smokes, Henry?
HENRY
You know those -
Amy finishes off his sentence.
AMY
Things'll kill ya?
HENRY
Yep.
Amy picks up her cigarettes, slams down her money. She opens the
shop doorway, looks back at Henry.
AMY
(smiles)
Y'know, I've had worse things in my
mouth.
Closing the door behind her.
HENRY
(to himself)
I can only imagine.
TITLE CARD - One Dollar.
48 EXT. THE STREET - DAY 48
Amy lights up a smoke, making her way up to her corner. On her
way round the corner is Amy's friend Sophie. Could be a lot
prettier but for her use of makeup. She too is wearing the best
the second hand store has to offer. They meet.
AMY
Hey.
SOPHIE
Hey. Has he been around yet?
AMY
I don't think so. I've avoided him so
far.
SOPHIE
Well, he hasn't missed every third
hour in the day since I started work
for him.
AMY
Are you short?
Amy takes out a few notes from her purse.
SOPHIE
It's Ok, I got it covered.
AMY
You sure?
SOPHIE
I'll be Ok, it's just it's slow today.
The two girls chat as a car pulls into the side. Inside, four
men, medium build, part of a street gang. The passenger side
driver leans out.
GANGMEMBER #1
Say, how about you two ladies... fancy
putting on a bit of a show for us?
SOPHIE
Go suck yourself!
AMY
Yeah, you wanna' do us all a favour?
..Get the fuck outta' here, before you
have us all pinched.
Amy points across the street to a slow moving cop car doing it's
rounds.
GANGMEMBER #2
Well, if you get in we'll move.
AMY
Fuck you!
Henry the tobacconist notices this, he exits his shop. Carrying
a base ball bat. Makes his way over to the car. Both girls try
to stop him.
HENRY
Leave those girls.
AMY
It's Ok, Henry, they're just leaving.
GANGMEMBER #1
Yeah, you better listen to your
daughters, dad.
They start their engine, turning up their music so it's almost
bursting it's speakers.
GANGMEMBER #2
(to Amy)
You're pretty.
Showing Amy a gun, slides the tip of it down his neck, looks
into her eyes.
SOPHIE
(to gangmember #2)
You're not, so fuckin' move.
The car drives away, as if stolen. Music pumping as it turns the
corner.
AMY
Thank you, Henry.
SOPHIE
Our hero...
Sophie leans in to give Amy a hug from the side.
HENRY
Just be careful.
SOPHIE
(salutes Henry)
Yes, sir.
HENRY
Just.. just be careful. I don't want
any trouble round my shop, Ok?
AMY
It's Ok, Henry, we will.
SOPHIE
No problem.
Henry enters his shop. The two girls walk back and forth as the
local cops drive past.
SOPHIE
(salutes the cops)
Good evening.
AMY
(laughing)
You're crazy.
Amy notices a man dressed in black. He's looking at her from the
opposite side of the street. As the cop car drives past, in a
flash he's gone. A car pulls up. Sophie leans in. She makes her
way to the passenger side. Sophie blows Amy a kiss. Amy gives
her a wink as she enters the car. It starts up, drives off. She
takes a look over the road to where the stranger had been.
FADE OUT:
FADE IN:
49 INT. CHARLIE'S - EVENING 49
Amy is sitting at the end corner booth, Charlie is polishing the
counter. The bar is empty.
CHARLIE
I'm just popping into the back, give
us a holla. Ok, princess?
AMY
Sure, Charlie.
She empties some of her purse on to the table. Lights up a
smoke, takes a pull. Blows out her smoke. Suddenly looking at
her from across the table, is the man Amy had seen from across
the street. The man is mid 50s, short dark hair, medium build.
Black suit, shirt and tie to match. Immaculate. Amy doesn't
appear to be nervous, it's as if she was kind of expecting him.
AMY (CONT'D)
(points)
I know you... I've seen you somewhere.
THE STRANGER
Please don't be nervous. I'm here to
help you.
AMY
Help me?
THE STRANGER
When it happens I promise it will hurt
only for a second. I give you my word.
AMY
You seem like a nice guy, but are you
fuckin' crazy? What the hell are you
talkin' about?
The stranger takes a hold of her hand. Amy would move if not for
this sudden interest in her.
THE STRANGER
Just listen, Amy.
AMY
What...?
Amy leans back into the booth. Her heart is pounding.
AMY (CONT'D)
I never give my name out to anyone. I
don't remember ever saying it to you.
THE STRANGER
I know all there is to know about you.
That's my job.
AMY
I get it now, I should of known.
You're one of Carlo's guys right...
my money?
The stranger slowly shakes his head.
AMY (CONT'D)
Well, you can tell him from me,
when I have it he'll get it. I have
to pay my rent, then there's my
food, my cat, my... I gotta' live
y'know?
THE STRANGER
No, Amy. I don't know anyone of
that name, I only know you.
She takes a drag from her cigarette.
AMY
Now you're scaring me.
THE STRANGER
I don't mean to.
Amy puts out her cigarette.
AMY
Ok. You don't work for Carlo,
right?
THE STRANGER
Right.
AMY
You're not here to hurt me?
THE STRANGER
That is correct.
AMY
So... You're like my guardian angel
or something?
THE STRANGER
..."Or something".
The stranger takes her hand, looks into her eyes.
THE STRANGER (CONT'D)
He's not with us, Amy. Oh, he
tried. But Peter makes the
decisions, you know. He didn't get
in.
THE STRANGER
You know who I mean don't you?
Amy Nods her head slowly. Looks into the strangers eyes and
starts to cry. The stranger wipes her tear away.
THE STRANGER
Where we are going no one will ever
hurt you again.
CUT TO:
50 EXT. OUTSIDE - NIGHT 50
The camera slowly pans in to Charlie's malt shop. Charlie is
nowhere to be seen, Amy sits alone at the corner booth.
CUT TO:
51 INT. CHARLIE'S - NIGHT 51
AMY
(through tears)
How could you know? I was only 12
years old... I don't understand.
THE STRANGER
It's Ok, you will.
Amy wipes her eyes, and in a flash he's gone. She gets up out of
her booth, runs to the door, looking out thru the glass. Charlie
comes thru from the back.
CHARLIE
Hey, anyone been in?
AMY
Y'know what? ... I dunno.
CHARLIE
It's just I lock the door these days.
You know when things are a little
slow.
Amy pulls the door, it's as she thought it would be - locked.
CHARLIE (CONT'D)
You want out? Just a second.
Charlie snaps down the lock on the door. Amy collects her things
from her corner booth table, exits the malt shop.
AMY
(unsure)
Thanks, Charlie.
CHARLIE
See you later?
AMY
I'm sure you will...
FADE OUT:
FADE IN:
52 INT. HENRY'S - NIGHT 52
Amy is mid-conversation with Henry. Talking about that 70s TV
show - The Incredible Hulk. Outside we see the car shown earlier
dropping off Sophie at the sidewalk.
AMY
And that's why the reporter is always
one step behind.
HENRY
I see now. Still doesn't explain why
he had only that small sports bag, yet
had thousands of shirts.
AMY
(laughing)
I know!
As they laugh, Sophie enters the shop.
SOPHIE
(looks at henry)
You fuckin' guys are gonna' be the
death of me.
HENRY
(raising his hands)
Hey, leave me outta' this.
SOPHIE
It's Ok, Henry, I don't mean you. Just
the other bastards.
AMY
Hey...
SOPHIE
Hey.
AMY
Pack of my smokes, Henry.
She takes a note out of her purse, looks at it. Puts it back.
AMY (CONT'D)
On second thoughts, no.
SOPHIE
What, no smokes?
AMY
I quit.
SOPHIE
As of when?
AMY
What time y'got, Henry?
HENRY
(looking at watch)
A little after eleven.
AMY
(smiles)
As of now.
SOPHIE
Charlie's?
AMY
Charlie's.
HENRY
See you girls later. Stay outta'
trouble.
SOPHIE
Hey, you know us.
HENRY
Yeah, I know you.
The two girls make there way out of the shop. Sophie exits, Amy
hangs back. Takes Henry's hand.
AMY
Good-bye, Henry, and thank you. You
always been like...like my dad.
HENRY
What..? are you... You're welcome. Are
you goin' some place?
She looks into his eyes.
AMY
Thank you.
She leaves. Henry watchers the girls walk slowly away.
CUT TO:
53 INT. CHARLIE'S - NIGHT 53
The girls enter. A few people are inside. Charlie's reading the
day's newspaper.
SOPHIE
Two shakes, Charlie.
CHARLIE
Two cakes, what type? The chocolate's
good tonight.
AMY
Shakes, Charlie, shakes.
SOPHIE
(raised voice)
Y'know, like milk?
CHARLIE
I got it, I got it. Why you girls
always shout?
They make their way over to the empty corner booth.
SOPHIE
Y'need new batteries, Charlie.
AMY
(smiles)
So how did it go?
SOPHIE
Hmmm...I dunno. Pretty good I think.
AMY
Many there?
SOPHIE
The usual meat wagon, I guess.
Sophie lights up a smoke, Charlie brings the drinks. Two large
vanilla shakes, two straws. Amy takes a sip.
AMY
Thanks, Charlie. Taste good.
SOPHIE
Yeah, thanks, dad.
CHARLIE
Only the best for my princesses. They
share a quiet moment.
AMY
Y'know a funny thing happened to me
before...
SOPHIE
Uh huh.
AMY
Yeah, this guy sorta' came in I was
sittin' here minding my own, when
suddenly he starts talkin' about how
he's gonna' be "Taking me away from
all this".
SOPHIE
Sounds like a whacko.
AMY
I dunno... I'm tired I guess. Maybe I
fell asleep.
SOPHIE
Well, next time you see him, I'll have
a word, Ok?
AMY
(smiles)
54 OK. 54
Amy leans back into the booth.
AMY (CONT'D)
So... about this agency.
SOPHIE
What's to say, it went down pretty
much like this...
Sophie tells her tale as we are taken to her flashback.
55 INT. ELEGANT DEMON - DAY (FLASHBACK) 55
We are at the offices of Elegant Demon. An adult film agency.
Catering for young girls in the world of hard-core pornography.
A line of girls of various age, sit nervously outside.
56 INT. AGENT'S OFFICE - DAY (FLASHBACK) 56
A man late 50s, balding, fat, black T shirt, baseball cap. Sits
reading a sheet of paper. His office is walled with posters of
erotic films. There's a knock.
AGENT
Ok, come in.
A very nervous looking Sophie enters the room.
AGENT (CONT'D)
Ok, take a seat. You're er..?
SOPHIE
Sammy.
AGENT
Ok, good.
Flicking thru some sheets of papers, reaching Sophie's
questionnaire.
AGENT (CONT'D)
It says here you're from New York?
SOPHIE
Yes.
AGENT
That's good, we're after local people.
Good, good.
Takes a large drag from his cigar, ticking of her answers in his
head, sometimes reading aloud.
AGENT (CONT'D)
Good body, yes. Nice tits, yes. Face,
hmmm pretty good. Ok.
Looks at a nervous Sophie. Giving a look as if wishing she
wasn't there.
AGENT (CONT'D)
Ok.
(puts paper down)
It says you'll try anything?
SOPHIE
Pretty much.
AGENT
If you want to get pretty much ahead
in this business, you gotta' be
prepared to do most things. You're
over 18 right?
SOPHIE
Twenty-one.
AGENT
Ok, Sammy, we're just about done here.
SOPHIE
Cool.
AGENT
There's just one last thing I'd like
to ask, it's what I ask all my
artists.
SOPHIE
Ok...
AGENT
How will you convince me that you're
the girl we want?
The agent looks into Sophie's eyes, pulls down the zip of his
pants.
57 CU. - SOPHIE'S FACE 57
She turns and looks directly into camera.
SOPHIE
What would you do...?
58 END OF 58
FLASHBACK:
59 INT. CHARLIE'S - NIGHT 59
As we return to Charlie's, Sophie continues her story.
SOPHIE
He said I had a lot of potential.
AMY
Was this before or after you gave
him a blow job?
SOPHIE
During.
(laughs)
The two girls laugh. Sophie notices Charlie looking straight
at them. She stops Amy mid-laugh, looks at Charlie then back
at Amy.
SOPHIE (CONT'D)
I swear that guy can fuckin' hear
T
e girls fall into a giggle
AMY
I'm glad you're safe.
SOPHIE
Me? Sure.
AMY
You know my take on this? I told you
this before.
SOPHIE
I know, but you're gonna' tell me
again, right?
AMY
Only until it soaks into that dumb
head of yours.
They both take a sip of their drinks.
AMY (CONT'D)
There's three kinds of girls in porn.
The ones that love sex, right? The
ones who fully believe that the films
they are making are that of Oscar
winners. Then there's those types who
are kinda' forced, like they owe a
great debt.
SOPHIE
Like Linda Lovelace, right?
AMY
The very same. Now then there's the
guys. Some, if not all, do it just for
the joy of fucking. While others I
think are somehow convinced they're
providing a service to those guys who
just can't get a girl.
SOPHIE
(smiles)
You're fulla' shit.
AMY
Am I? (pause) I even believe that men
actually get away with real abuse
here. Saying or thinking - "It's only
my character, it's not me". Yeah,
right.
SOPHIE
You feel strongly about this don't
you?
AMY
I just don't wanna' see you get used
or hurt.
Amy takes her hand. Sophie takes the last few sips of her shake.
AMY (CONT'D)
What I have to say now is important.
SOPHIE
Ok.
Taking hold of Sophie's hands.
AMY
Do you love me?
SOPHIE
You know I do, I love you with my
heart.
AMY
Then you have to promise me something,
right?
SOPHIE
Right.
AMY
And when you make a promise and you
say yes, you gotta' keep it.
SOPHIE
I know...
AMY
So promise me you won't enter
into that world. 'Cos however many
showers you have, you can never
wash it away.
Sophie takes a moment to answer.
SOPHIE
I promise.
AMY
Thank you.
They look at each other for a moment. Charlie walks up, leans
over, collects the empty glasses.
SOPHIE
Packed tonight huh, Charlie?
CHARLIE
(smiles)
It's a little slow. Can I get you two
girls anything else? Maybe some ice
cream?
AMY
No thank you, Charlie.
He leaves the booth, wipes around various tables.
SOPHIE
He's missing his daughter.
AMY
(looks at Charlie)
I know, I can feel it.
SOPHIE
He's a nice old guy, huh?
AMY
He sure is.
Amy checks her purse. Placing some things onto the table.
Lipstick, compact, condoms and money. Putting them back into her
purse. Reeling them off like a sergeant. Sophie replies like a
private.
AMY (CONT'D)
Lipstick.
SOPHIE
Check.
AMY
Condoms.
SOPHIE
Check.
Lifting up her compact and small make up kit.
AMY
Battle dress
SOPHIE
(laughs)
Check.
AMY
Mmmm money.
SOPHIE
You got it.
Shes just about to close her purse over when Sophie notices a
crumpled up $1.00.
SOPHIE (CONT'D)
What's this crumpled fuckin' thing?
Looks like it's been up someone's
snatch.
AMY
(smiling)
Wash you mouth out, young lady.
SOPHIE
What are you...my mom now?
AMY
Yep. No... that, is a dollar I found
this morning.
SOPHIE
Hmmm.
AMY
See a dollar, pick it up, and all day
long you'll have good luck.
SOPHIE
That's kinda' funny. It's a penny,
silly, not a dollar.
AMY
Hmmm. Well, ain't brought me much luck
today. Maybe that's why.
She picks up the screwed up bill, opens it out, hands it to
Sophie.
AMY (CONT'D)
Here take it. Maybe it'll bring you
luck.
Amy gets up, stretches, walks to the exit. Looks at Charlie.
AMY (CONT'D)
How much, Charlie?
SOPHIE
It's Ok, I got it.
AMY
(to Charlie)
She's got it.
She leans in and gives Charlie a hug and a kiss.
AMY (CONT'D)
Good-bye, Charlie.
CHARLIE
Bye...
Sophie has her back to us as Amy exits the malt shop.
SOPHIE
Be there in two, Ames.
CUT TO:
60 EXT. THE STREET - NIGHT 60
The camera moves steadily down the sidewalk. It suddenly pans in
on a young girl laying on the pavement. It's Amy, she has been
shot. Her blood flows into the gutter. A car turns the corner,
its music is turned up to its highest volume, as it slowly
fades. The street for a moment is silence. Amy moves her hand
slightly. Sophie runs out of the malt shop.
SOPHIE
Fuck no!
Gets to her bloody body. Slumps to her knees, sobbing
uncontrollably.
SOPHIE (CONT'D)
You're Ok, you're fine. You're my
friend, my friend. I love you. Please
wake up. Open your eyes.
A small group of people have now formed
SOPHIE (CONT'D)
Fuck are you looking at? Fuck
off, all of you!
Amy pulls her near to her face.
SOPHIE (CONT'D)
What? What, you wanna' tell me
something? It's gonna' be Ok... it's
gonna' be Ok.
AMY
Good-bye.
Amy lays there motionless as Sophie shakes. She cradles her up
in her arms.
SOPHIE
Bye...
61 EXT. THE STREET - NIGHT (FLASHBACK) 61
Amy is walking down the side walk, smiling to herself, taking in
the night air. She's near to the corner, when suddenly the car
first seen in scene two appears. It enters the street slowly. It
stops right next to her. Amy looks into the car, it's dark and
unclear as to who is in the vehicle. Suddenly an arm shoots out
from passenger side. She is looking at a gun. A shot is fired,
catching her in the neck. She drops to the floor (SLOW MOTION
SHOT)
CUT TO:
62 INT. CHARLIE'S - NIGHT (FLASHBACK) 62
Sophie is in the corner booth, getting ready to leave. Putting
things in her purse. (CLOSE UP) as she's doing this we hear in
the background the sound of rap music. It is being played at
it's highest volume. It's there one second gone the next. Sophie
suddenly realizing she has heard that music before, grabs her
purse, exits the malt shop.
63 END OF 63
FLASHBACK:
64 EXT. THE STREET - NIGHT 64
It's just on midnight. The camera pans slowly away from Amy and
Sophie. Taking us to an aerial shot of the street. An ambulance
and cop car pull in, police direct people back. Charlie exits
his malt shop. As we hear the music track - If leaving me is
easy - performed by Phil Collins.
65 SLOWLY FADE TO 65
BLACK:
66 EXT. THE STREET - DAY 66
A young woman in her 20s is walking down the street. Though we
don't see her fully at first, there's something about this young
lady that is familiar. As the camera moves slowly up to her
face, we see that it is Sophie.
Looking beautiful and dressed in the very best clothes money can
buy. She steps off the curb, waving her hands wild. Purposely
stopping a yellow cab. Screeching it's breaks to a halt.
SOPHIE
(sarcastic)
Taxi!
The driver is also familiar to us. As we have seen him before.
She gives the taxi driver a salute as she enters the cab.
SOPHIE (CONT'D)
Uptown...
THE CABBY
You got it.
He smiles as the cab drives slowly away.
FADE INTO
WHITE:
We fade into what appears to be a large room or area filled with
a sort of white mist. It is silent and angelic as two figures
appear. They are that of a man, thin, 6ft, white hair, white
suit, tie, shirt and shoes. Immaculate. It is Nicky. We almost
don't recognize him. He is holding the hand of a 12 year old
girl. She is wearing a white dress, with blonde curled hair and
carrying a small white kitten. They are in mid conversation.
NICKY
You see, Amy, that's why they say,
that when you make that final journey,
you return to that age you best loved
in your life.
Amy gives the man a smile as they walk away together. Slowly
disappearing into the mist.
FADE TO BLACK:
END TITLES TRACK - Billy Joel - Leave a tender moment alone.
67 THE END 67
68 © 2003/2008 New Version. 68
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