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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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