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THE PROFESSIONALS
FADE IN:
EXT. CITY STREET-- NIGHT
Many cars driving back and forth on road. People walking on
sidewalks. A slice of nightlife in a city. The camera moves
closer to front of Nightclub. The sign 'THE LIVING END"
lights up the night. The sound of rock music is heard
throbbing out from behind walls.
CUT TO:
INT. THE LIVING END CLUB -- CONTINUOUS
People are dancing to the music from a live rock and roll
band on crowded floor. Stinky, sweaty atmosphere to it all
Couples of all sizes, types and descriptions are seen. Good
times with desperation.
CUT TO:
INT. MENS WASHROOM- CONTINUOUS
Patrons crash in and out of the door in various states of
intoxication or sobriety. They stand, they weave, they lean.
A KID is sitting on counter trying to shoot up but is not too
successful at it. His hands keep moving to the beat of the
music from outside which frustrates him. The sound of sex is
also heard coming from one stall and puking from another. Two
feet in well made shoes are hanging out of one stall on the
floor.
CUT TO:
INT. MENS WASHROOM STALL - CONTINOUS
The feet belong to a person in the stall. A beaten up body
hunched over a toilet. It abruptly wakes up with a shock.
This is RYAN CLINCH. Muffled music is heard in background.
RYAN CLINCH (V.O.)
This is me and this is my life. It
don't mean much at all.
RYAN CLINCH turns his head and manages to crawl up with both
hands on toilet seat. Drool and blood run from his mouth. He
slumps his head down to rest.
CUT TO:
A brochure of Calgary Chamber of Commerce or something local
is on floor of the stall along with a police brochure.
CUT TO:
RYAN CLINCH picks up the brochure with a battered hand.
RYAN CLINCH (V.O.)(CONT'D)
This is what I remember most. Just
wanting to do some good.
Peter and me. Always trying to be
good. He saw more then his share. I
should never have come here.
CUT TO:
Black and white photo of RYAN CLINCH and PETER DIAMOND,
hugging in front of a new car.
CUT TO:
Black and white photo of THE MANGLE BROTHERS
CUT TO:
Black and white photo of a car wreck.
CUT TO:
Black and white photo of two older people JOE VALARI and
CLAIRE VALARI on wedding day.
Other photos start to show families together interspersed
with color photos of people shot. Over this is a voice over.
RYAN CLINCH (V.O.) (CONT'D)
I don't know how or why this whole
thing happened but it did. Some
crazy up scheme. This isn't even a
"Get rich or die trying" story
more a "Get rich or try dying."
Praise for the dyslexic memory. I
think I remember.
RYAN CLINCH passes out with an almost serene look on his
face. More photos of the past come up. RYAN CLINCH'S family,
muzzle of a gun, PETER DIAMOND driving car and laughing.
Street lights in fog. A person kicking the washroom door in,
shaking him and then slamming the door again.
SLOW FADE TO:
INT. AIRPORT ARRIVAL LOUNGE -- DAYTIME
People walking through arrival gate. Different types from
families to stressed out business people, backpackers all
trying to find or get away from someone in this small area.
FADE IN:
Title in frame for a few seconds.
CALGARY INTERNATIONAL ARRIVAL AREA---- 72 HOURS AGO.....
JOE VALARI and CLARE VALARI emerge from the lounge door
into the chaos. JOE VALARI is well dressed, slightly
distinguished looking with a big smile on his face. CLAIRE
VALARI dressed fashionably as well, perhaps over dressed for
a plane trip. She is carrying high heeled shoes in one hand.
JOE VALARI
I wonder where everyone is?
CLAIRE VALARI
We should try to get to the baggage
pick up?
CUT TO:
INT. AIRPORT BAGGAGE PICKUP AREA -- CONTINUOUS
JOE VALARI and CLARE VALARI are at the edge of conveyer belt
with bags going around. They both look rumpled by there trip
through the crowd. They hug long and softly.
JOE VALARI
It was a good trip wasn't it?
CLAIRE VALARI
We needed it. Just a little time
away. I love you Joseph P. Valari.
JOE VALARI
I love you to Claire Alice Valari.
They kiss.
A voice is heard off camera.
RYAN CLINCH (O.S.)
Stick em' up.
JOE VALARI freezes
RYAN CLINCH (O.S.)(CONT'D)
I said stick em up.
CLAIRE VALARI
No. Not so soon.
JOE VALARI
Do as he says. This is a public
place.
JOE VALARI and CLAIRE VALARI turn slowly around to see. RYAN
CLINCH and PETER DIAMOND. Well dressed men. They have serious
expressions on their faces that become big grins.
PETER DIAMOND
Got ya!
JOE VALARI
Yeah you did. I should never have
let my guard down.
RYAN CLINCH and PETER DIAMOND move forward. JOE VALARI
embraces each of them in greeting. Everyone is having a
laugh. CLAIRE VALARI is dumbfounded.
CLAIRE VALARI
You know these guys?
JOE VALARI
Sure I do. Meet Ryan Clinch and
Pete Diamond. They work for me.
RYAN CLINCH acknowledges CLAIRE VALARI by shaking her hand.
PETER DIAMOND takes the same hand and kisses it. JOE VALARI
is impressed.
JOE VALARI (CONT'D)
That's Pete Diamond.
CLAIRE VALARI
I am sure it is.
RYAN CLINCH
We already have your bags Mister
Valari.
PETER DIAMOND
I think you may have missed one.
PETER DIAMOND goes off to check. JOE VALARI watches him go.
JOE VALARI
Anything for a pretty face. Better
go make sure he doesn't get lost.
RYAN CLINCH moves off in direction that PETER DIAMOND went.
CUT TO:
INT. AIRPORT BAGGAGE PICKUP AREA -- CONTINOUS
RYAN CLINCH and PETER DIAMOND are standing side by side,
looking down as the bags pass them on the belt.
RYAN CLINCH
Found them yet?
PETER DIAMOND
Nope.
RYAN CLINCH
Why did you have to act like an ass
hole with the kiss.
PETER DIAMOND
I knew you were going to say
something about that.
RYAN CLINCH
Ever since grade school you always
do shit like that.
PETER DIAMOND
She wants me. Ryan. I can tell.
RYAN CLINCH
You can tell? How many times have
I heard that.
PETER DIAMOND
I know. This time I mean it. I can
tell. The way she looked in my eyes
after the kiss on the hand.
RYAN CLINCH
She's the bosses wife.
PETER DIAMOND
I know. I know. He's old and I am
young, ready.
RYAN CLINCH
That's what you call it?
PETER DIAMOND
That's what I call it. Not my fault
you got married. That you gave up
your prime time.
RYAN CLINCH
Who's to say that would stop me?
PETER DIAMOND
I know you. It would. You're not
like me. Here comes the oldman's
garment bag.
RYAN CLINCH grabs the garment bag off the belt.
RYAN CLINCH
This is Mrs Valari's.
PETER DIAMOND grabs it out of RYAN CLINCH'S hands and runs
off with it. He stops on the other side of the belt.
PETER DIAMOND
Mine this time. I going to pick up
something special at the little
souvenir store. A welcome home
gift. Meet you at the car.
PETER DIAMOND disappears into the crowd.
CUT TO:
EXT. AIRPORT ARRIVAL LANE- DAYTIME
A large black car is parked. JOE VALARI is sitting in back
seat. CLAIRE VALARI is putting something in trunk with
assistance of RYAN CLINCH.
CLAIRE VALARI
Thanks. Didn't know I brought that
much stuff. Where's your friend?
RYAN CLINCH
Getting the garment bag.
CLAIRE VALARI
You're not like him are you?
RYAN CLINCH
Me...no. Nobody is like Peter
Diamond. They broke the mold when
they made him.
CLAIRE VALARI
Yeah he's a type alright. You're
different. Trust me. Stay
different. If you don't, you can
get swallowed up.
RYAN CLINCH
What do you mean?
CLAIRE VALARI
I mean....nothing. Its all part of
being the wife of Joe Valari.
RYAN CLINCH
I suppose. That little stick up
before was your husband's idea. He
wanted to be sure he could protect
you.
CLAIRE VALARI
He let his guard down.
RYAN CLINCH
Yeah. He did.
CLAIRE VALARI
Lucky it was you two. Sure is
taking your friend a long time.
RYAN CLINCH
I'll go see
RYAN CLINCH moves a short distance away. CLAIRE VALARI turns
back to car. She hears the same voice off screen.
VOICE (O.S.)
Stick'em up!
RYAN CLINCH stops in mid stride, turns around. He is not far
from CLAIRE VALARI. JOE VALARI notices CLAIRE has stopped.
CLAIRE VALARI
That setup again making sure you
are on your guard.
JOE VALARI
That was inside the airport.
VOICE (O.S.)
I said stick'em up!
JOE VALARI get out of car. RYAN CLINCH moves towards them.
JOE VALARI
It's that fucker Diamond, being
funny.
CLAIRE VALARI turns around to RYAN CLINCH
CLAIRE VALARI
Tell you friend to knock it off.
We're late.
VOICE (O.S.)
No. We are right on time.
CLAIRE VALARI moves to hug JOE VALARI. Two gun shots are
heard. CLAIRE VALARI leans against her husband. Blood is
coming from her mouth.
JOE VALARI
NOOOOOOOOOOOOOOOO !
RYAN CLINCH runs to place himself as a shield.
RYAN CLINCH
GET DOWN SIR!
JOE VALARI is cradling CLAIRE VALARI in his arms. She looks
up at him.
CLAIRE VALARI
What did I do? They're killing us
all.
A kill shot to the head of CLAIRE VALARI occurs and she
slumps in JOE VALARI's arms.
We hear the sound of a plane landing mixed with the sobs of
JOE VALARI. The sobs slowly fade out. The images of
spectators, airport police, medics are seen over the
following dialogue.
RODNEY KINDER (V.O.)
Take it easy. What's your full
name. Speak it into the microphone
on the desk.
RYAN CLINCH (V.O.)
You mean this little thing. (Static
is heard as adjustments are made.)
The name is Ryan Clinch. What's
your name?
RODNEY KINDER (V.O.)
Detective Rodney Kinder presiding.
RYAN CLINCH (V.O.)
That's a nice name.
RODNEY KINDER (V.O.)
I'm a nice man. So you killed
someone?
RYAN CLINCH (V.O.)
I didn't say anything like that.
RODNEY KINDER
I thought I would start off with
something we both knew.
CUT TO:
INT.POLICE INTEROGATION ROOM -- DAYTIME.
The snap of a metal blind being yanked up is heard. DETECTIVE
RODNEY KINDER turns from pulling up the blind. He is eating a
pastry.
RODNEY KINDER
Sorry does the sun bother you? I
like to look at it a lunch time.
(Sits down in a chair.)
Makes me feel that I am not the
only one alive in the world.
CUT TO:
RYAN CLINCH is seated in chair across the table. He slowly
raises his head.
RYAN CLINCH
What you want to talk about now?
RODNEY KINDER
That time after this whole shit
storm hit. Indulge me.
CUT TO:
INT. HOSPITAL EMERGENCY WARD--NIGHT
A gurney crashes through a set of metal doors. A ambulance
crew the running down a hall with a woman CLAIRE VALARI on
the gurney. One of the attendants is doing CPR on the woman
as they move through the halls.
JOE VALARI is crying and trying to get closer to the gurney
but is being held back by an attendant, PETER DIAMOND and
RYAN CLINCH. Everyone is agitated as to what is going on.
The gurney goes through more doors into what looks like an
Operating Theatre.
RODNEY KINDER (V.O.)
You want to tell me about the
hospital?
RYAN CLINCH (V.O.)
What's to tell? Its a place where
sick people go.
RODNEY KINDER
What's the deal with your friend's
wife and a mess of gunfire?. Did I
say your friend, I meant your boss.
RYAN CLINCH
I don't have a boss. I only have
friends. You were right the first
time.
RODNEY KINDER
Diamond was one of them?
RYAN CLINCH
I knew him.
RODNEY KINDER
Yeah? So did I. Didn't we all.
(OPENS FOLDER.)
Peter Driscoll aka Peter Diamond.
Guess he thought Diamond was a cool
name? Father deceased. Mother
alive. Had a breakdown after
husband's death. Lives alone in the
same house that Peter was raised.
Ryan Robinowitz aka Ryan Clinch. I
will say that is a better name.
Want me to go on?
RYAN CLINCH
Looks good on a business card.
RODNEY KINDER
You both are about the same age
maybe late to early forties or is
that bullshit as well?
RYAN CLINCH
I can't help it if I don't look my
age.
RODNEY KINDER
Both spawned in the same cesspool
neighborhood. In fact about half a
block from each other. Both went to
the same school and in the same
classes when you bothered to show
up. Did the usual sports. Probably
slept with the same girls. You
probably got sloppy seconds. In
short you were joined at the hip
since birth. So close I was
wondering which of you two was
going to have the child.
RYAN CLINCH
Why are you asking me all this?
RODNEY KINDER (V.O.)
Because I got a dead woman killed
in front of everybody public at an
airport during tourist season and I
need answers. I know the line of
work you do. Lots of fun stuff can
happen but this happened in broad
daylight, a public place. If you
are protecting your friend Diamond?
I met him a while back. We have a
history.
P.O.V. CAR DASHBOARD -- NIGHT
Automobile traffic is seen over a dashboard. Turn to look at
people on the sidewalk. The car moves forward then stops
abruptly. A hand comes into frame, leans on the horn. The car
moves slowly forward again. Start to see that this is a
police cruiser. The car turns down a nearby alley and cruises
down the middle of it. The life of a big city goes by.
Suddenly, the car stops at the end of the alley to turn. A
number of street people types in the alley. One of them is
one of the MANGLE BROTHERS. He looks up from a garbage can.
PETER DIAMOND who is across the street, notices the car. He
starts to walk briskly in the opposite direction. The car
follows along the road, almost matching his speed. PETER
DIAMOND suddenly breaks into a run down a nearby alley. The
screech of tires is heard as he is followed.
The car lights go to high beams as PETER DIAMOND is running
ahead of the car in the cross beams of the lights. The car
speeds up to catch him. PETER DIAMOND falls to the pavement.
The car screeches to a halt. The drives side door opens
EXT. CITY ALLEYWAY -- CONTINUOUS
RODNEY KINDER
Not this time.
PETER DIAMOND
What did I do, Kinder, walk too
fast?
RODNEY KINDER slams PETER DIAMOND against the alley wall.
RODNEY KINDER
That's traffic and I don't do that.
PETER DIAMOND
It's a shame. You know it really
is. A fine upstanding lawman like
you.
RODNEY KINDER
Word has it, something is going to
happen and I want to know what it
is?
PETER DIAMOND
Nothing. I have no idea.
RODNEY KINDER
Out for a little jog after a
stressful day? It's tough isn't it
being you. It's not enough-- so
increase the memory.
PETER DIAMOND
Watch the suit.
RODNEY KINDER
The suit is OK. It is the garbage
wrapped in skin that has it on is
what I am concerned about.
PETER DIAMOND
I am a citizen of this great land.
You can't intimidate me.
RODNEY KINDER
Listen fuck...you and that bullshit
boss of yours Joe Valari think you
take the whole enchilada. Watch
your step. The time will come when
you will crawl to me. You'll be
eating a whole banquet of shit
sandwiches and you know what? I'll
be serving them to you.
PETER DIAMOND
Make sure it's low calorie. I'm
watching my figure.
PETER DIAMOND adjusts his clothes and starts to walk away,
increasing speed as he does.
RODNEY KINDER
You'll all be gone. Mark my words
Peter Diamond. Tell your friends
that. All be gone. Like you never
existed.
PETER DIAMOND
Think so? Fuck you. Fuck you slowly
and with feeling. We go and ten
maybe a hundred more come up. You
can't stop it so grow with it.
RODNEY KINDER looks at PETER DIAMOND with a cold stare. PETER
DIAMOND just backs away slowly down the street.
PETER DIAMOND (CONT'D)
Can't stop it? A hundred more.
PETER DIAMOND turns and runs. RODNEY KINDER just stares at
the spot where PETER DIAMOND was standing.
CUT TO:
INT. POLICE INTEROGATION ROOM--LATER
RODNEY KINDER is sitting back against the wall. RYAN CLINCH
is at the table, rolling a pencil between his outstretched
hands. RODNEY KINDER watches this for a moment till it falls
off the table. RYAN CLINCH watches it rolls on the floor.
RODNEY KINDER
I know all that.
RYAN CLINCH
You mean that a pencil can fall?
RODNEY KINDER
I need to know about Diamond and
what you guy's had planned ?
RYAN CLINCH
Diamonds are hard.
RODNEY KINDER
Not as hard as you are trying to
be. Tell me about the day?
EXT. A CITY STREET -- MORNING
A busy street corner. Lots of vehicles going back and forth.
EXT. CONVENIENCE STORE -- CONTINUOUS
We see the storefront, its grimy. Through all this grime and
trash walks PETER DIAMOND. He is still dressed fashionably
yet looks a little more worn. He occasionally looks behind
himself and to the side as he walks. . A HOMELESS MAN is in
front of the store. He approaches PETER DIAMOND.
HOMELESS MAN
Hey buddy, you got any spare
change?
PETER DIAMOND looks the HOMELESS MAN.
PETER DIAMOND
Just-- I've had a hard night and
I'm a little slow.
HOMELESS MAN
Was thinking that you might have
some spare change or a cigarette?
PETER DIAMOND
That's what I thought you said. I
had a long night. If I give you
this cigarette or some money, what
do I get?
HOMELESS MAN
I dunno, just thought you could
help.
PETER DIAMOND
I get asked for help twenty or so
times a day by you people.
For once I'm going to ask, what's
in it for me?
HOMELESS MAN
What do you want?
PETER DIAMOND
What would you do for, say ten
bucks?
HOMELESS MAN
I just wanted cigarette, that's
all.
PETER DIAMOND
Come on Man, ten bucks all for
yourself. How about a hundred?
What would you do? Would kill the
next person who can through that
door, for me, for a hundred bucks?
The HOMELESS MAN is shaking with fear yet can't move. The
door of the store opens and MAN IN THE STREET comes running
out, almost running into PETER DIAMOND.
MAN ON STREET
Sorry, just kind of, you know how
it is?
PETER DIAMOND and the MAN ON THE STREET exchanges looks at
each other. MAN ON THE STREET is going to say something but
more but backs off and heads down sidewalk.
PETER DIAMOND
Have a better day than me.
PETER DIAMOND flips the HOMELESS MAN some paper money.
HOMELESS MAN doesn't pick it up but shuffles away down
street.
EXT. A CITY STREET -- CONTINUOUS
PETER DIAMOND watches him leave. He picks up the money a
pockets it. MAN IN THE STREET is walking away down sidewalk.
PETER DIAMOND catches up with MAN IN THE STREET at a bus stop
near a bench.
PETER DIAMOND (CONT'D)
Hey, you got any change for a
twenty?
A bus pulls up at stop. The MAN IN THE STREET moves to get on
the bus.
PETER DIAMOND cuts in front of him, moves him back to the
bench and in one motion trips forward towards the MAN ON THE
STREET. We see the sudden glint of a knife blade. The MAN IN
THE STREET slumps forward onto PETER DIAMOND'S shoulder.
EXT. A CITY STREET -- CONTINUOUS
We see MAN IN THE STREET'S face close to PETER DIAMOND'S
face. DIAMOND is supporting the weight.
PETER DIAMOND
You don't look so good Maybe you
should sit down and rest.
People at bus stop are looking at the two of then. PETER
DIAMOND notices this.
PETER DIAMOND (CONT'D)
Its ok. I'll make sure he gets
home.
We hear the sound of the bus door close and begin to pull
away as PETER DIAMOND whispers something in the MAN ON THE
STREET'S ear.
EXT. A CITY STREET -- CONTINUOUS
We see PETER DIAMOND helping MAN ON THE STREET to an alley
and disappears around a corner. Another huge bus drives by.
EXT. ALLEYWAY -- CONTINUOUS
We see MAN ON THE STREET and PETER DIAMOND arguing back and
forth among the garbage. One punch by PETER DIAMOND is thrown
and the MAN IN THE STREET is on the pavement. He is battered
some more by PETER DIAMOND who is standing above him. Through
all of this we hear the sound of buses pulling up and opening
doors.
INT. LIVING ROOM RYAN CLINCH'S HOUSE -- LATER
We see SYLVIA CLINCH sitting on couch, knitting a sweater and
watching television at the same time. RYAN CLINCH looks at
the scene for a moment, perhaps savoring it, then he sneaks
behind the couch. SYLVIA CLINCH is intent on the television
and does not see him.
RYAN CLINCH
WHERE IS THE KID?
SYLVIA CLINCH lets out a scream, almost falls off the couch.
RYAN CLINCH comes around the couch and sits down, barely
containing his laughter. SYLVIA CLINCH grabs a pillow and
whacks him.
SYLVIA CLINCH
You bastard. He's playing with his
friends. I could have missed a
stitch.
RYAN CLINCH
Or stabbed yourself. Dangerous
hobby.
They hug. They are very much in love and not afraid to show
it. SYLVIA CLINCH tries to hug back but feels RYAN CLINCH'S
gun through his coat. RYAN takes the gun out.
RYAN CLINCH (CONT'D)
Sorry.
Puts gun on table in front of the. Realizes he has turned
barrel to them, turns it away. SYLVIA CLINCH looks at the gun
on the table then back at RYAN CLINCH.
SYLVIA CLINCH
So, how was your day?
RYAN CLINCH
Good, so far anyway. Have a place
to go tonight?
SYLVIA CLINCH
Yeah? I know, I know. Its-- I'm not
supposed to know.
RYAN CLINCH
I could get in so much trouble even
having you know that I was going
somewhere. Just the thought of it.
SYLVIA CLINCH
I think I could figure it out when
I see you're not here later on.
RYAN CLINCH
Its just that, the other wives,
they don't know much and that's
better.
SYLVIA CLINCH
Better for who? The single guys,
don't have that problem.
RYAN CLINCH
Some have girlfriends and live
in's.
SYLVIA CLINCH
You ever wish you had a live-in?
RYAN CLINCH
I kind of do.
RYAN CLINCH again gets hit with the pillow.
SYLVIA CLINCH
Do you ever wish that we didn't get
married. Not as if we had to you
know. Not like some of our friends.
Going down the aisle in a handcart.
RYAN CLINCH
Not in the least do I ever regret
the time that I met you. The time
that I spent with you. The years we
will have.
SYLVIA CLINCH
You're shitting me?
RYAN CLINCH
No I'm not. I swear to God on my
father's grave and stack of what
ever books you think are sacred.
SYLVIA CLINCH grabs a stack of magazines and holds them out
to RYAN CLINCH.
RYAN CLINCH (CONT'D)
These are sacred.
SYLVIA CLINCH
To me they are. Now swear?
RYAN CLINCH
I- Ryan Clinch do hereby swear to
pledge a lifetime of fun and
complete devotion to one Sylvia
Diane Clinch. For she is everything
that is sacred to me.
She is one the right hand of the
God the father. Always has and
always will be for me.
They kiss passionately. SYLVIA CLINCH breaks the kiss and
looks into RYAN CLINCH'S eyes. She is almost crying.
RYAN CLINCH (CONT'D)
Did I say something wrong?
SYLVIA CLINCH
No. Its just that. I worry about
you. It's a shitty world out there
and sometimes we seem to be having
a banquet of stale sandwiches.
RYAN CLINCH
Education is a wonderful thing My
dad said that. You think that all
by yourself or read it somewhere?
SYLVIA CLINCH
Hey, before I took up with you
Mister, I had quite a few years in
school. Not far from my teaching
degree.
RYAN CLINCH
What does all that learning teach
you now?
SYLVIA CLINCH
To worry about you each time you
walk through that door away for us.
To think that tonight, right now
maybe our last time together. To
have Rick grow up without his
father.
RYAN CLINCH
You did okay without your oldman.
SYLVIA CLINCH
Did I really? I know this is a
different world then with my
parents and yours. We think we're
better at raising kids without one
parent. We try so hard to do that.
RYAN CLINCH
He'll have his mother, the smart
one.
SYLVIA CLINCH
Don't joke about it. This time it
feels different. I don't know why
or how or how but this time, I
really wish you would stay home.
RYAN CLINCH
You know I can't. There would be
talk
SYLVIA CLINCH
Is that really so bad? Sticks and
stones may break my bones, but
names can never harm me. Sometimes
I just want to close my eyes and
wish it all away.
RYAN CLINCH
It wouldn't stop at that. You don't
think it worries me? It does,
sometimes when I am out, my
thoughts come back to you and Rick
and I almost have to slap myself to
get back to where I am. If I mess
up. Things happen.
SYLVIA CLINCH
If you stay home? You, yourself
said they let one of the guy's off
because he had a cold.
RYAN CLINCH
He said he had a cold and now back
driving a truck. Years from the big
money.
SYLVIA CLINCH
Is that so bad?
RYAN CLINCH
Yeah it is. This is the way you
move up, more people looking to you
to do things. Look at this place. I
want better for you and me and
Rick. I don't want you to work at
that piece of shit school where
some of the kids pack better
weapons then what we have. I don't
want to end up like my father.
Wanting what he could have had if
he had just tried to get it.
Going through life thinking could
have, would have, should have. I
want, just simply peace of mind.
SYLVIA CLINCH
Then you take care of yourself
Mister Peace of Mind.
RYAN CLINCH
I'm the lowest of the low and
sometimes it hurts.
SYLVIA CLINCH
I know. What do you want for
dinner?
RYAN CLINCH
It's all we can do.
RYAN CLINCH gets up off couch.
RYAN CLINCH (CONT'D)
I'll have something later. Right
now I need to get some sleep. It's
tough to do that. I'll sleep when
I'm dead.
RYAN CLINCH moves to bedroom. SYLVIA CLINCH is on couch by
herself, looking at the gun on the table.
SYLVIA CLINCH
I'll look in on you later.
The sound of a door closing is heard.
CUT TO:
INT. POLICE INTEROGATION ROOM--LATER
RODNEY KINDER has just shut the door of the room and is
coming back. He is carrying two cups of coffee with plastic
cover. He drops one in front of RYAN CLINCH.
RODNEY KINDER
Did I disturb your thoughts? I'm
sorry I didn't ask what you take in
your coffee.
RYAN CLINCH
Or even if I drank the stuff.
RODNEY KINDER sits down in front of RYAN CLINCH and pulls his
chair so close that he is almost in his face.
RODNEY KINDER
Then that is just something we
would have to make due. Something
you had do for a good part of your
life. That was supposed to change.
RYAN CLINCH
Maybe?
RODNEY KINDER sits back in his chair.
RODNEY KINDER
You were there when Claire Valari
was shot?
RYAN CLINCH
Someone is dead?
RODNEY KINDER
First rule of crime, deny
everything. We have the security
cam footage of you standing near
the door.
RODNEY KINDER takes out a photo from an envelope and slides
it across the table. RYAN CLINCH doesn't look at it.
RODNEY KINDER (CONT'D)
That's you in the dark suit.
RYAN CLINCH
Suppose it is. If that is me then
you know I didn't pull the trigger.
RODNEY KINDER
You were a good distance away just
when the whole thing started.
Coincidence?
RYAN CLINCH
Just luck.
RODNEY KINDER
Anything happen before you went
outside that I should know about?
RYAN CLINCH
The Valari's were coming back from
vacation. We were there to pick
them up.
RODNEY KINDER
Just like the good friends you
really are. You can't make anything
up can you? Your school reports
said you had an active imagination
RODNEY KINDER gets up and moves closer to RYAN CLINCH. The
Detective is speaking into RYAN CLINCH'S ear.
RODNEY KINDER (CONT'D)
You were there you dumb fuck. You
didn't pull the trigger but you
damn well set this whole thing up.
You and your little friend Diamond
who also in not there. Another
coincidence?
RYAN CLINCH is shaking in chair
Still photos of Alleyway with MAN IN THE STREET that PETER
DIAMOND beat up. RODNEY KINDER'S VOICE is heard over this.
RODNEY KINDER (V.O.) (CONT'D)
It's just a game to you guys. Make
the body jump with the bullets
wasn't it. You and the others. Did
you laugh at all Ryan? I think you
did? I think one of you sick
assholes enjoyed it?
CUT TO:
RODNEY KINDER'S EYES LOOKING INTO CAMERA
RODNEY KINDER (V.O.)
Maybe one you guys will wack off
tonight thinking about the fun you
had. Maybe that's you Ryan?
CUT TO:
RYAN CLINCH'S FACE
Just a slight tug job when no one
is looking because you were there.
You were so close to pulling the
trigger because you loved it.
RYAN CLINCH
NO !
RODNEY KINDER
I will get you to confess to this.
RYAN CLINCH
The camera says I was no where
close enough.
RODNEY KINDER
I know your little mind. How it
works for you guys. Big takeover
time, Boss away the mice will play.
Everyone thinks you were in on it
and your friend. You want to face
them. Last time I looked, they
don't listen too well.
RYAN CLINCH
I did nothing.
RODNEY KINDER
Not what you think, its what they
think. Look. If you tell me what
happened, who set it up. I will
protect you. On the streets you'll
have nothing.
RYAN CLINCH
I was there, far away. I told Joe
to get down that was it.
RODNEY KINDER
Now you think are different. From
soldier to Captain all in one shot.
RYAN CLINCH
I'm nothing.
RODNEY KINDER
That's right son. If you don't
believe me then I have someone in
the next room who will tell you.
RODNEY KINDER goes to the door, opens it. JOE VALARI walks in
slowly.
JOE VALARI
How are things Ryan?
RYAN CLINCH
Mister Valari. Tell them. It was
not me. I was there but it wasn't.
I shielded you.
JOE VALARI
I know you did.
RYAN CLINCH
Why am I here?
JOE VALARI
It was a setup. Only a trusted few
knew where we were going to be.
RYAN CLINCH
I can take care of myself.
JOE VALARI
Your father said that to me years
ago. I told him to let us handle
the situation. Like you he wouldn't
listen. You know what happened. Our
families go back a long way. I'm
appealing to you with that in mind.
Where is Diamond?
RYAN CLINCH
I don't know. We got the garment
bag. It was your wife's. He grabbed
and said he was going to bring it
plus a souvenir.
RODNEY KINDER
That was it?
RYAN CLINCH
I saw him run off. I lost him in
the crowd with the ambulances, the
blood. It all happened so fast.
JOE VALARI
We need to find him.
RYAN CLINCH
I don't know where he went. He
hasn't called. Not that I could get
any calls since I've been here.
JOE VALARI (TO KINDER.)
I say let him go.
RODNEY KINDER
This man is an accessory to your
wife's murder. You filed a charge
against him.
JOE VALARI
And I'm dropping it. For old times
sake. Because I got a feeling that
he isn't part of it.
RODNEY KINDER
Alright. You're the boss, what you
say goes. (To CLINCH.) You can
pickup your belongings from the
Officer at the front desk.
RYAN CLINCH
Thank you.
JOE VALARI
You know. I'm just on hunch with
this but others on the street may
not be so broadminded.
RODNEY KINDER
He's right. I can't protect you out
there or your family.
RYAN CLINCH goes to speak.
JOE VALARI
I know I know. You can take care of
yourself.
RYAN CLINCH
What do you want me to do Mister
Valari?
JOE VALARI
I need you to find Peter Diamond
and bring him to me.
RODNEY KINDER
We talked about this Joe?
JOE VALARI
Yeah we did. I want you to bring
him to us.
RYAN CLINCH
I'll try.
RODNEY KINDER
Oh you'll do better then try. We'll
be watching. When you go the can,
we'll bring you toilet paper if you
need it. That close.
RYAN CLINCH
I'm not wearing a wire.
JOE VALARI
Never even mentioned that. I never
would expect you to.
RYAN CLINCH
I won't let you down Mister Valari.
Not this time.
JOE VALARI
The only person you'll let down is
yourself and your family. Remember
that.
RYAN CLINCH
I will. Anything else.
RODNEY KINDER
There is. You are to check in with
us everyday. If you leave the city,
you tell us where you are going.
RYAN CLINCH
Fine.
JOE VALARI
Now get out of here before I change
my mind. Find him and bring him.
We just want to ask him some
questions. That's all. Now go.
RYAN CLINCH exits out the door.
JOE VALARI and RODNEY KINDER look at each other wondering if
they had done the right thing. JOE VALARI slumps in the
chair.
JOE VALARI (CONT'D)
What the fuck am I doing?
RODNEY KINDER
I was going to ask that? I give him
forty eight hours tops before we
get a call and put him on a slab.
JOE VALARI
I give him twenty four. If there is
anything left to put on a slab.
CUT TO:
INT. PETER DIAMOND'S MOTHERS APARTMENT HALL -- NIGHT
An agitated PETER DIAMOND enters a hallway. It is dingy,
filled with garbage. The stairs and the wood make noises as
he walks. In some cases, the place is in need of repair.
PETER DIAMOND is watched by a CARETAKER who stops painting a
banister. PETER DIAMOND makes a motion to the door in the
hall that he is walking towards.
PETER DIAMOND
It's okay.
PETER DIAMOND continues to walk slowly towards the door
keeping his eyes on the CARETAKER who is watching him.
INT. PETER DIAMOND'S MOTHERS APARTMENT -- CONTINUOUS
The sound of a radio playing some smooth Jazz music in a low
tone. PETER DIAMOND slowly enters and closes the door.
PETER DIAMOND
Ma...hello Ma..are you here?
PETER DIAMOND walks down the hall. The rooms are filled with
junk from a life of memories. Meaningless to others but
priceless to the occupant. PETER DIAMOND continues to walk
through the rooms till he stops near a doorway at end of
hall.
INT. BED-SITTING ROOM -- CONTINUOUS
A old woman sitting in a rocking chair, moving back and
forth, just looking out the window. PETER DIAMOND enters the
room. The woman speaks just as PETER DIAMOND takes a few
steps into the room. She does not turn around to face him.
ELISE DRISCOLL
I watched the News today. Heard
about that man in the alley.
PETER DIAMOND stops dead still in his tracks. ELISE DIAMOND
continues to rock back and forth.
PETER DIAMOND
Whatever happened to Hi, how are
you?
ELISE DRISCOLL
I saw the News, yes I did. I truly
did.
PETER DIAMOND
Ma. How many times have I told you
to keep your door locked. You don't
know who can get in.
ELISE DIAMOND laughs
ELISE DRISCOLL
I saw the News.
PETER DIAMOND
Yes You saw the News.
ELISE DRISCOLL
I saw that man in the alley...on
the News.
PETER DIAMOND just nods.
PETER DIAMOND
I just stopped by to see if you
need anything.
ELISE DRISCOLL continues to rock back and forth and stare.
She still has not looked at him.
ELISE DRISCOLL
My son wouldn't do a thing like
that. That was on the News.
PETER DIAMOND
I came over to get some things
before I head off. Have some
business.
ELISE DRISCOLL
My son Petey was a good boy.
PETER DIAMOND
Yes a good boy.
ELISE DRISCOLL
He was the best boy always coming
around. Would sing to me. In that
sweet voice of his that he would
learn in church.
PETER DIAMOND
Do you need anything Ma. You okay
for food. Got to keep the windows
closed. You might catch cold.
PETER DIAMOND move to a nearby open window.
PETER DIAMOND (CONT'D)
You were always telling me that.
ELISE DRISCOLL
He died.
PETER DIAMOND
Who died Ma, who?
ELISE DRISCOLL
He's dead.
PETER DIAMOND
Who Ma? Is it Mrs Morganstern's
Husband, next door? You know she
was always sick? He died huh thats
too bad. She's sick and he dies.
What a fucken world.
ELISE DRISCOLL continues to rock back and forth.
PETER DIAMOND (CONT'D)
He took real good care of her. I
remember He would always be
struggling up the stairs with his
gimp leg. Always carrying the
groceries in one hand and the
newspaper in another. Was it him?
ELISE DRISCOLL
He's gone now?
PETER DIAMOND
That's tough for her. Ma. I just
need to get some things and make
sure you're ok. Can't be too
careful. I'll be right back.
PETER DIAMOND moves to the door.
ELISE DRISCOLL
My son is dead.
PETER DIAMOND stops, slowly turns around.
PETER DIAMOND
Ma..I'm your son.
ELISE DRISCOLL
He is dead.
PETER DIAMOND moves to the rocking chair.
PETER DIAMOND
It's me Petey. Petey Driscoll,
Peter Diamond.
ELSIE DRISCOLL looks PETER DIAMOND right in the eye. She
speaks softly.
ELISE DRISCOLL
My son?
PETER DIAMOND
Yes its me.
ELISE DRISCOLL
My son..is dead..to me.
PETER DIAMOND does not know what to say.
ELISE DRISCOLL (CONT'D)
My poor Petey.
PETER DIAMOND
I'm not dead.
ELISE DRISCOLL
To me..he is? Never come around.
Him on the News.
PETER DIAMOND
I'm here now. Don't say that.
ELISE DRISCOLL
Was bad.
PETER DIAMOND
Don't say that Ma. I know I tried
to help. Things just not going fast
enough.
ELISE DRISCOLL
Dead to us. Its time he was.
PETER DIAMOND
No. Please don't.
ELISE DRISCOLL
Dead to me for years.
PETER DIAMOND tries to walk away but can't move. ELISE
DRISCOLL starts to softly hum the hymn 'ABIDE WITH ME" PETER
DIAMOND, finds the strength to back out of the room.
INT. PETER DIAMOND'S MOTHERS APARTMENT -- CONTINUOUS
ELISE DRISCOLL rocks back and forth, singing the hymn in a
soft voice. A single tear is on her cheek.
FADE OUT:
FADE IN:
INT. AIRPORT DEPARTURE LOUNGE -- DAY
RYAN CLINCH is playing a video shooter game. We see the
reflection of JOE VALARI in the games glass as walks up
behind him. The pixel violence plays on their faces.
JOE VALARI
I heard you were here. You got a
minute?
JOE VALARI disturbs RYAN CLINCH'S concentration on the game.
CLINCH turns to see him just as he is killed in the game.
RYAN CLINCH
Never been good at these. My kid
gets me all the time.
JOE VALARI
Family is good.
JOE VALARI puts more money in the machine and it activates.
JOE VALARI (CONT'D)
Keep going, please, keep going.
RYAN CLINCH starts to play the game again.
JOE VALARI (CONT'D)
Watch the corners. They sneak up in
you. Everyone can sneak up on
anyone. Remember that.
RYAN CLINCH
Okay?
JOE VALARI
Your friend killed my wife.
RYAN CLINCH is caught off guard.
JOE VALARI (CONT'D)
Keep playing, don't say anything.
Change in plans. I want you to put
things right when you find him.
RYAN CLINCH
What about Kinder?
JOE VALARI
He'll be told it was an accident.
RYAN CLINCH
Never done that before.
JOE VALARI
I don't give a fuck about that now.
I didn't want to show this but
here.
JOE VALARI takes out a letter and hands it to RYAN CLINCH who
looks at the envelope.
RYAN CLINCH
This is old. The day is a week
before my dad died.
JOE VALARI
Butchered you mean. Go ahead read
it.
RYAN CLINCH opens the envelope and begins to read.
JOE VALARI (CONT'D)
It's from some idiot capo up in
your area of the city. He is no
longer able to serve our needs or
anyone else. It detail plans, gives
names, locations, home addresses,
even favorite restaurants and times
they go into them.
RYAN CLINCH
Why show this to me?
JOE VALARI
Your fathers is listed second from
the bottom. It's a list of people
that were coming up to retirement
age. I can't put it more plain then
that.
Look at the signature at the
bottom. John Driscoll. Your
friend's father.
RYAN CLINCH
The night at the wharf, the
accidental crossfire.
JOE VALARI
It wasn't accidental. Planned down
to last moment.
RYAN CLINCH
Why this? Why now. You kept it all
these years even from my mother.
JOE VALARI
It would break her heart to have
known this. This list was people
that this ass hole capo felt were
moving to take over. This friend's
family has a history with you. They
lied to you. Killed your father.
Let you live this lie for years.
RYAN CLINCH
We grew up together. Went to school
together. Drank together.
JOE VALARI
And all the while he knew the truth
and didn't tell you or your mother.
RYAN CLINCH
Does Kinder know about this?
JOE VALARI
Are you crazy? This is our
business. Do with this little
information what I told you but
remember, no mess ups.
RYAN CLINCH
I know.
JOE VALARI
I am sure you do. You are a good
boy Ryan. Like your father said you
would be. Keep the letter. It will
remind you of things. Spur you on
to set things right.
RYAN CLINCH starts the video game again and is killed
immediately
RYAN CLINCH
I will have to hear him say he
didn't know. Have to look him in
the eyes and see if it's true.
JOE VALARI
Do this for me. Get him drunk, get
him with a woman, get him to say
it. You will find it within you for
once at least be on the left hand
of God. It's a thorny place to be.
RYAN CLINCH starts the game again is again is killed almost
immediately. JOE VALARI looks over RYAN CLINCH's shoulder We
see his face in the game glass.
JOE VALARI (CONT'D)
Got to watch those corners.
RYAN CLINCH
You didn't talk that way to my
father.
JOE VALARI
You are not your father. Remember
that. You are close but not him.
RYAN CLINCH
I can't just do this?
JOE VALARI
If you make this thing right for us
it is worth five thousand dollars
and a place in my good book for as
they say in sports for future
considerations.
RYAN CLINCH
Five grand? He means that much to
you ?
JOE VALARI
You were with me. You tried to
shield me.
I sent the word out for the
reception tab of two grand. Lot of
people are in on it. You get three
thousand more reasons to do this
because of the past.
RYAN CLINCH
Thanks for the warning.
JOE VALARI
If you don't get to the reception
on time. I will have your family
relocated to a place where you
won't have to worry about them.
Conversely they will not have to
worry about you. It will be a
peaceful transition but direct and
maybe with some mess. We will take
care of the clean up. You have
twelve hours.
RYAN CLINCH
Its a big city for fuck sake.
JOE VALARI
I want this done. You're his
friend. You grew up together. You
think like him. Use that. Don't
think of taking a look for Diamond
in another city. My associates are
paying your wife a visit now. Just
in case your family needs to be
relocated. The reception plans are
set for here. Make it right anyway
you can. No questions asked. I will
see to it.
JOE VALARI walks away.
FADE OUT.
FADE IN:
INT. PETER DIAMOND'S ROOM MAPLE GROVE HOTEL -- MORNING
PETER DIAMOND is laying unmade bed in undershirt, smoking a
cigarette. He sits up to stretch, reaches for a nearby cup of
coffee, realizes he has butted cigarettes out in it, puts the
cup down. This is a person in pensive thought.
CUT TO
INT. PETER DIAMOND'S MAPLE GROVE HOTEL -- CONTINUOUS
The room is a mess and so is PETER DIAMOND. He gets up and
moves to window, realizes this is not a good thing to do
especially if someone is after him, sits down in chair which
is covered with his suit he wore to the airport. PETER
DIAMOND notices something off camera that we do not see which
he finds disturbing. He begins almost to pray which he
quickly realizes will do no good, then slowly breaks down .He
takes out his gun, loads it, looks at it and puts the barrel
to his mouth.
CUT TO:
INT. PETER DIAMOND'S MAPLE GROVE HOTEL -- CONTINUOUS
Silhouette of PETER DIAMOND with a gun in mouth. Foreground
is large frame photograph of CLAIRE VALARI. The sound of car
horn is heard.
CUT TO:
INT. PETER DIAMOND'S CAR-- DAYTIME
PETER DIAMOND realizes he has been daydreaming. The sound of
the horn is heard again. He looks in the rear view mirror and
sees a woman ANNE SHERIDAN in car behind him.
ANNE SHERIDAN
HEY, YOU WANT TO MOVE YOUR HEAP.
SOME OF US HAVE THINGS TO DO.
PETER DIAMOND
Yeah sure, keep your shirt on.
PETER DIAMOND notices her more.
PETER DIAMOND (CONT'D)
On second thought take it off.
ANNE SHERIDAN
What was that?
PETER DIAMOND
Not a thing I haven't said before.
PETER DIAMOND moves his car out of way. ANNE SHERIDAN drives
up beside him
ANNE SHERIDAN
You okay. You were just staring.
PETER DIAMOND
Fine. Just fine.
ANNE SHERIDAN
Sure?
PETER DIAMOND
Look. What's it to you anyway?
ANNE SHERIDAN
Nothing at all. Someday you may
need someone sooner then you think.
ANNE SHERIDAN presses the gas, squeals the tires and
disappears. PETER DIAMOND is stunned that anyone would say
that to him. He smiles, puts the car in gear and speeds off
in same direction
CUT TO:
INT. MAPLE GROVE HOTEL LOBBY -- CONTINUOUS
RYAN CLINCH is talking to FRONT DESK CLERK. THE CLERK is
reluctant to give information. RYAN CLINCH is clearly
frustrated but thanks THE CLERK.
CUT TO
INT. MAPLE GROVE HOTEL -- CONTINUOUS
RYAN CLINCH walking down the stairs into the Hotel bar. He
comes out a few seconds later. He goes to pay phone, dials a
number.
RYAN CLINCH (IN PHONE.)
Mister V. I still haven't found
Peter. Fucken clerk is doing his
job of confidentiality too well.
Just keeping you informed. He's not
even in the bar yet.
RYAN CLINCH hangs up phone and walks out.
CUT TO
INT. THE PEACOCK CLUB BAR-- EVENING
A luxury watering hole. People talking in hushed tones. Most
people have expensive clothes all in their own private world
which is their booth. Gentle piano cocktail music is heard.
This is all in contrast to what is happening on the dance
floor.
PETER DIAMOND and ANNE SHERIDAN can barely contain their
passion. Clothes opening all in within one long slow kiss.
CUT TO
INT. THE PEACOCK CLUB BAR -- CONTINUOUS
RYAN CLINCH leaning against bar. Watching the crowd.
CUT TO:
INT. THE PEACOCK CLUB BAR-- CONTINUOUS
PETER DIAMOND and ANNE SHERIDAN are still on the dance floor.
They realize where they are. PETER DIAMOND whispers something
in ANNE SHERIDAN'S ear. It is something provocative. They
both make their way slowly off the dance floor.
CUT TO:
EXT. PARKING LOT OF THE PEACOCK CLUB -- CONTINUOUS
PETER DIAMOND and ANNE SHERIDAN burst through the front
doors, laughing loudly. They kiss once again quickly then
slowly.
ANNE SHERIDAN
So, do you have car?
PETER DIAMOND
Not on me.
ANNE SHERIDAN
What will we do now?
PETER DIAMOND
I only met you a few hours ago.
Honking your horn at me.
ANNE SHERIDAN
Uh huh. People need people at the
strangest times for the strangest
things.
ANNE SHERIDAN gives PETER DIAMOND a long slow kiss on the
lips then looks up at him.
ANNE SHERIDAN (CONT'D)
It's called....sex.
PETER DIAMOND
Pick one. Any one?
They start walking in the parking lot, not caring who sees
them or hears them
ANNE SHERIDAN
You're kidding?
PETER DIAMOND
Nope. Pick one. Anyone.
ANNE SHERIDAN is excited. She runs from car to car in the
lot. PETER DIAMOND is just watching her. ANNE SHERIDAN
finally crashed on the hood of a car. She just lays there
laughing.
ANNE SHERIDAN
This one fits I think.
PETER DIAMOND comes running over to it. Takes a look around,
plus out a Slim Jim and opens the door and gets in. He starts
the engine and begins driving a short way with ANNE SHERIDAN
on the hood. He stops the car, she gets off.
ANNE SHERIDAN (CONT'D)
Yeah..it fits.
PETER DIAMOND grabs her hand and pulls her in the car. They
speed off. They stop after a short distance on the side of
the road.
INT. BACK SEAT OF LARGE CAR -- MOMENTS LATER
PETER DIAMOND and ANNE SHERIDAN making love in car.
CUT TO
INT. THE PEACOCK CLUB -- CONTINUOUS
RYAN CLINCH is talking to a woman at the bar. She is
laughing. RYAN CLINCH is having a good time but he is still
scanning the crowd.
CUT TO:
INT. BACK SEAT OF LARGE CAR -- MOMENTS LATER
PETER DIAMOND and ANNE SHERIDAN have just finished and are in
mutual pleasure zone. ANNE SHERIDAN sits up and goes to light
a cigarette. PETER DIAMOND stops her with his hand.
PETER DIAMOND
What are you doing. Maybe the
person doesn't like people smoking
in their car.
They both start to laugh and kiss at the same time. PETER
DIAMOND starts the car and lets it coast a distance to near
THE LIVING END CLUB.
ANNE SHERIDAN
Never been to this place. I live
not far from here.
PETER DIAMOND
Been going here for years.
ANNE SHERIDAN
Its tradition then to come here
after your conquests. You must have
lots of friends inside.
PETER DIAMOND
I don't have conquests and I don't
have friends.
PETER DIAMOND gets out of car, slamming the door.
CUT TO:
EXT. THE LIVING END CLUB -- CONTINUOUS
PETER DIAMOND is walking fast towards the door of the bar. He
has hands in his pockets. ANNE SHERIDAN catches up with him
and spins him around to face her.
ANNE SHERIDAN
Hey I didn't mean anything by that.
PETER DIAMOND
Then why did you say it?
ANNE SHERIDAN
Its is a silly defense mechanism I
have. I mean...I don't do what we
did all the time.
PETER DIAMOND
Neither do I.
ANNE SHERIDAN
Okay. Then were even.
PETER DIAMOND
You insult people I walk away.
ANNE SHERIDAN
I know. Sorry I said that. I had no
right. Its just that...I feel we
have something more in common
then...you know.
PETER DIAMOND
You don't know shit about me.
PETER DIAMOND starts to walk away. ANNE SHERIDAN stops him.
ANNE SHERIDAN
I'm not good at this. Maybe I'm
doing this for all the wrong
reasons. I lost my parents
recently. Old age does funny
things. Sad things.
PETER DIAMOND
Why are you telling me this?
ANNE SHERIDAN
I don't know maybe because we have
just been intimate in the way most
men and women have been for
centuries.
PETER DIAMOND
You never can tell in this
neighbourhood. Men and women...men
and men...women and women.
ANNE SHERIDAN
I felt..I sensed that there is
something missing from you and from
me. The same thing but I don't even
know what it is in me so what's the
use.
ANNE SHERIDAN puts out her hand.
ANNE SHERIDAN (CONT'D)
Guess this is it. Thanks for the
lay. It was great. Maybe see you
around sometime. Don't be a
stranger...isn't that what you are
supposed to say?
ANNE SHERIDAN turns and walks away. PETER DIAMOND watches her
for a moment then runs after her..spins her around. A car
playing loud music plus up in front of THE LIVING END to let
PEOPLE out. The music drowns out what is said. PETER DIAMOND
and ANNE SHERIDAN shake hands gently then embrace.
CUT TO:
INT. THE LIVING END CLUB -- CONTINUOUS
The sounds of a band trying to play a song they have not done
before and not doing a good. They stop and start etc.
which is heard over the following. RYAN CLINCH finishes his
drink. Makes his way to a bouncer at the door. RYAN CLINCH
shows the BOUNCER a photo of PETER DIAMOND. THE PEOPLE that
were let out of the car out front, walk slowly into the club.
The BOUNCER nods that he has not seen him. RYAN CLINCH is
frustrated but he leaves slowly. The BOUNCER watches him go.
A sudden expression of relief appears on the face of the
BOUNCER. One of THE MANGLE BROTHERS comes up behind the
BOUNCER with a large gun and a silencer. The BOUNCER just
looks at the gun. MANGLE BROTHER smiles, gives him and
envelope of cash and leaves. The BOUNCER watches the Mangle
brother leave. THE BOUNCER then collapses against a beer tub
in relief.
EXT. THE LIVING END CLUB -- CONTINOUS
PETER DIAMOND and ANNE SHERIDAN kiss passionately she
whispers something in his ear. PETER DIAMOND smiles, they get
in car and drive off. RYAN CLINCH comes around the corner
just seeing them leave.
FADE OUT.
FADE TO:
INT. POSH HOTEL ROOM -- LATER
ANNE SHERIDAN lays back on bed. The sound of shower running
is heard. She gets up, moves to window. PETER DIAMOND comes
out of washroom wearing towel.
PETER DIAMOND
Hi. Do I know you?
ANNE SHERIDAN
Maybe. I was a model at one time.
Do you think I could be.
PETER DIAMOND
I think you could do anything you
want.
ANNE SHERIDAN
Yeah right. I bet you say to all
the girls.
PETER DIAMOND
There are no other girls.
ANNE SHERIDAN
Told you that you would need
someone sometime.
PETER DIAMOND
No I mean it. I'm also was a artist
at one time, a Painter.
ANNE SHERIDAN
Would you paint me?
PETER DIAMOND
An artist should always put a
little of himself into his work.
PETER DIAMOND walks over to ANNE SHERIDAN during this, start
A knock at the main door is heard. This changes PETER DIAMOND
from passionate man to man on guard. He grabs ANNE SHERIDAN
and pushes her into washroom, locking the door. She begins
pounding on the door in protest.
ANNE SHERIDAN (O.C.)
Let me out. I'm not married. It's
not my husband.
PETER DIAMOND
I don't give a fuck whether its
your husband and your boyfriend.
PETER DIAMOND takes out a gun, loads a clip. ANNE SHERIDAN is
still pounding on door. PETER DIAMOND goes to the door and
slams his palm against it
PETER DIAMOND (CONT'D)
Shut the fuck up.
The pounding on the bathroom door stops. PETER DIAMOND goes
to the door. Another knock at the main door is heard. PETER
DIAMOND has back against wall near door. He is holding his
breath, counts to ten, grabs the door knob and tears the door
open. He comes face to face with RYAN CLINCH.
PETER DIAMOND (CONT'D)
Don't you ever do anything that
other guys do?
RYAN CLINCH
Never saw the point. It's idiotic.
PETER DIAMOND
Fuck you it is. Don't I look cool?
PETER DIAMOND strikes a pose. It looks ridiculous.
PETER DIAMOND
Maybe not.
RYAN CLINCH
Where's your friend?
PETER DIAMOND
Washroom, powdering her nose.
RYAN CLINCH
Why did you leave the airport?
PETER DIAMOND
I was scared.
RYAN CLINCH
You scared?
PETER DIAMOND
What does it matter? Were you
followed?
RYAN CLINCH
No.
PETER DIAMOND moves the window, drop down on knees keeping a
look out.
RYAN CLINCH (CONT'D)
You sound like my dad.
PETER DIAMOND
Never had the time for that.
Loud knock is heard from the bathroom.
PETER DIAMOND (CONT'D)
It's just the maid delivering
towels.
PETER DIAMOND is checking his weapon. He clicks it closed.
PETER DIAMOND (CONT'D)
I mean I never had the opportunity
for a child. That I knew of anyway.
I would be a lousy dad. He or she
would turn out like me.
RYAN CLINCH
You don't like kids?
PETER DIAMOND
I enjoy the practice of making
them.
RYAN CLINCH
I got a kid. Best thing that ever
happened to me.
PETER DIAMOND
The missus?
RYAN CLINCH
A Teacher, little school 7th and
Granville.
PETER DIAMOND
I was never one for school.
RYAN CLINCH
Always there when we need them.
PETER DIAMOND
Who?
RYAN CLINCH
Parents. Always there when it
counts.
PETER DIAMOND
Yeah.
RYAN CLINCH and PETER DIAMOND look at each other. Then back
to the street again.
PETER DIAMOND (CONT'D)
Why are you telling me this.
RYAN CLINCH
Hiding my true intentions.
PETER DIAMOND is looking out the window. He sees something.
PETER DIAMOND
I thought you said you were not
followed. You know these guys in
the black sedan?
RYAN CLINCH moves to window.
RYAN CLINCH
No. I took the back road and walked
the rest of the way.
PEER DIAMOND goes the bathroom door.
PETER DIAMOND
Honey. I have to go now. I left
your dinner in the fridge, Be sure
to let the cat out.
PETER DIAMOND is dressing during this speech. The pounding on
the bathroom door continues.
PETER DIAMOND (CONT'D)
We have bridge club tomorrow. Don't
forget to call me if you can't
make it.
PETER DIAMOND has his clothes tossed on him. RYAN CLINCH is
ready to go out the door. Just about to exit when PETER
DIAMOND stops. He runs back to the bathroom door.
PETER DIAMOND (CONT'D)
And honey. I do love you.
PETER DIAMOND opens the bathroom door. He and RYAN CLINCH run
out of the room. ANNE SHERIDAN slowly opens the door.
ANNE SHERIDAN
Hello...Hello...?
ANNE SHERIDAN finds herself alone in the room. She runs to
the window, looks out then goes the phone and dials a number.
ANNE SHERIDAN (CONT'D)
He's gone. I don't know where. I
couldn't do it.
EXT. POSH HOTEL PARKING LOT -- NIGHT
PETER DIAMOND and RYAN CLINCH are walking through parking
lot.
PETER DIAMOND
I didn't need to be rescued.
RYAN CLINCH
We're in a lot shit right now.
PETER DIAMOND
Yeah.
PETER DIAMOND and RYAN CLINCH walk slowly among the cars.
Each in their own thoughts. PETER DIAMOND sees something just
ahead of them.
PETER DIAMOND (CONT'D)
Come on.
PETER DIAMOND breaks into a run. RYAN CLINCH starts late but
catches up to him.
EXT. POSH HOTEL PARKING LOT -- CONTINUOUS
PETER DIAMOND runs, jumps and throws himself on the hood of
black sports car. He is laughing like a kid and coughing due
to exertion. RYAN CLINCH finds him.
RYAN CLINCH
What the fuck are you doing. You're
lucky the alarm didn't go off.
PETER DIAMOND sits up on hood.
PETER DIAMOND
Yeah.
PETER DIAMOND lays on hood and does a "snow angel" Then gets
up.
PETER DIAMOND (CONT'D)
Its just. I always wanted one of
these since I was a kid. Never
thought I would see one again. LETS
TAKE IT.
RYAN CLINCH
You want to steal a car. Right now.
You're out of fuckin mind.
PETER DIAMOND
COMPLETELY. YOU WANT TO HELP ME OR
WATCH A MASTER AT WORK.
RYAN CLINCH
Now?
PETER DIAMOND
Yeah
RYAN CLINCH
Right now.
PETER DIAMOND
Yeah.
PETER DIAMOND is working on opening the door of the car.
PETER DIAMOND (CONT'D)
I'll make you a deal. We'll go to a
drive through. I'll let you toot
the horn.
PETER DIAMOND tosses the car keys in the air. RYAN CLINCH
catches them.
RYAN CLINCH
This time, my turn.
PETER DIAMOND is impressed.
PETER DIAMOND
Well. Living dangerously?
PETER DIAMOND opens the car door, no alarm sounds, PETER
DIAMOND smiles.
PETER DIAMOND (CONT'D)
It doesn't matter anyway.
RYAN CLINCH get in the car and speeds off, squealing the
tires.
INT. SPORTS CAR -- CONTINUOUS
RYAN CLINCH is driving. PETER DIAMOND is in the front seat
beside him.
PETER DIAMOND
Look at this CD player. Nice
system. Wonder what we have for
music?
PETER DIAMOND rummages around, finds some CD's
PETER DIAMOND (CONT'D)
Fuck we got Barry Manilow, The
Guess who, whoever the fuck that
is?
RYAN CLINCH
I guess you're supposed to guess.
PETER DIAMOND
Fleetwood Mac, and something called
HA HA the clown. Must have kids.
RYAN CLINCH and PETER DIAMOND sit in silence.
PETER DIAMOND (CONT'D)
The car of my dreams and its got
shitty music.
RYAN CLINCH slams his fist against the steering wheel.
RYAN CLINCH
What are we going to do?
PETER DIAMOND
What are we supposed to do old
buddy?
PETER DIAMOND slams his foot on the accelerator
EXT. A CITY STREET -- CONTINUOUS
The car surges forward. We hear the squealing of tires around
a corner again and again.
INT. SPORTS CAR -- CONTINUOUS
PETER DIAMOND is alarmed at the speed. RYAN CLINCH is calm,
cool and enjoying himself.
RYAN CLINCH
Feeling good about it? This handles
like I thought it would.
EXT. A CITY STREET -- CONTINUOUS
The car is going very fast down a straight road.
RYAN CLINCH
I'm going to level with you.
PETER DIAMOND
Due tell?
RYAN CLINCH
I'm supposed to bring you in to
Valari. He thinks you had something
to do with his wife's murder.
PETER DIAMOND
That's bullshit.
RYAN CLINCH
You were nowhere to be found after
the shooting. You want to tell me
where you went?
PETER DIAMOND
I went to get a welcome home gift.
There was a long line at the cash.
RYAN CLINCH
You could hear what was going down
in front?
PETER DIAMOND
I didn't think it would be such a
hot place for me to be.
PETER DIAMOND slams on the brakes.
EXT. A CITY STREET -- CONTINUOUS
The car screeches to a halt right in the middle of the road
at an intersection.
INT. SPORTS CAR -- CONTINUOUS
RYAN CLINCH looks up from the wheel.
RYAN CLINCH
A hot place? I have orders to
bring you in. Valari wants you to
tell him what happened face to
face.
PETER DIAMOND
I can't do that.
RYAN CLINCH
You got something to hide? That's
what everyone thinks. That you
set it up.
PETER DIAMOND
Just enjoying life. My friend.
RYAN CLINCH slams on the accelerator again He draws his
weapon out and points it at PETER DIAMOND CLINCH while
driving.
RYAN CLINCH
Did you set this whole thing up?
PETER DIAMOND
NO.
RYAN CLINCH swerves the right. PETER DIAMOND reacts.
PETER DIAMOND (CONT'D)
DON'T BULLSHIT ME. NOT NOW. WE BOTH
GOT A HELL OF A LOT TO LOSE.
RYAN CLINCH swerves the car again.
PETER DIAMOND (CONT'D)
I didn't do anything.
RYAN CLINCH
YOU WANT TO THINK ABOUT THAT?
EXT. SPORTS CAR -- CONTINUOUS
The car screeches down an alleyway.
INT. SPORTS CAR -- CONTINUOUS
PETER DIAMOND
My favorite place.
RYAN CLINCH looks over at PETER DIAMOND who has drawn his
gun.
PETER DIAMOND (CONT'D)
STOP THE CAR. NOW.
RYAN CLINCH
NO. GO AHEAD AND SHOOT RIGHT NOW.
PUT US OUT OF OUR MISERY.
RYAN CLINCH slows the car down.
PETER DIAMOND
JUST YOU AND I. That was your true
intention back there wasn't it?
The car rolls to a halt. PETER DIAMOND looks at RYAN CLINCH
they both have weapons out. PETER DIAMOND puts his own gun to
his head.
RYAN CLINCH
Saving me the trouble?
PETER DIAMOND
The way I got it figured. I'm dead
already.
RYAN CLINCH just stares at PETER DIAMOND.
PETER DIAMOND (CONT'D)
What better person to send my
childhood friend as my executioner.
RYAN CLINCH
Valari told me he thought it was
you. Your oldman fucked over my
father that night of the crossfire.
PETER DIAMOND cocks the weapon. RYAN CLINCH watches him
horrified. PETER DIAMOND pulls the trigger. We here a click.
PETER DIAMOND
Now we've all our cards on the
table. I was just enjoying life.
You think I would put a loaded gun
near this face.
RYAN CLINCH
Was it you?
PETER DIAMOND looks at RYAN CLINCH. He has kind of a lazy
smile on his face.
PETER DIAMOND
I was there. So were you.
RYAN CLINCH
Just answer the questions?
PETER DIAMOND
I'll give you a free shot,
sometime. It wasn't supposed to
happen that way.
RYAN CLINCH
Get out of the car.
RYAN CLINCH still has his gun pointed at PETER DIAMOND.
RYAN CLINCH (CONT'D)
Mine is loaded.
RYAN CLINCH turns engine off, pockets the keys, opens his
door, runs to passenger side. PETER DIAMOND gets out slowly
with his hands on his head. RYAN CLINCH backs away from him.
PETER DIAMOND
Giving me a head start?
RYAN CLINCH
I saw a letter with your oldman's
signature on it. An old time survey
sheet of restaurants. My dad's name
was there. I should kill you now
but if I don't bring you in my
family dies. Now one more time,
did you set this whole thing up.?
PETER DIAMOND
No. And as far as the other thing
with your father. I don't know .
That night was never spoken about
once it happened.
RYAN CLINCH reaches into his pocket, takes out a silencer
that he screws onto the weapon.
RYAN CLINCH
Valari said no questions would be
asked if you end up dead. Its all
the same to me.
PETER DIAMOND
I didn't do anything.
RYAN CLINCH
Then tell me why you didn't show
up? You hid in the background in
the hospital. You didn't have to
put up with his rage. Where did you
fucken go?
PETER DIAMOND
Hey we're friends for a lot of
years.
RYAN CLINCH
I know that you had something to do
with this, just the same as your
father had something to do with
that night of the crossfire
PETER DIAMOND
I didn't do anything now or then.
She did it all.
RYAN CLINCH
Who?
PETER DIAMOND
Mrs Valari. Claire did it. We tried
to hide it and we did. We were
having an affair. Been going on for
a long time. We would meet when we
could. Why do you think I kissed
her on the hand they way I did and
she got so pissed off?
PETER DIAMOND moves closer to RYAN CLINCH.
PETER DIAMOND (CONT'D)
Claire wanted to leave him. How do
you leave someone like Joe Valari?
RYAN CLINCH
So its just something as simple as
you couldn't keep it in your pants
with the bosses wife?
PETER DIAMOND
That's like saying you only read
the war parts of War and Peace.
It's complicated
RYAN CLINCH
Try me?
PETER DIAMOND
Its tough to put into words, We
just have this thing, this crazy
thing happens when we meet.
RYAN CLINCH
The electricity. Basically you just
like going behind people's backs.
Its a way of life with you and you
could say your families.
PETER DIAMOND
I told you I had nothing to do with
it.
RYAN CLINCH
You fuck the bosses wife. You fuck
my family. You and now you are
fucking my life.
PETER DIAMOND
I guess that's one way to look at
it. Its just....
PETER DIAMOND's words trail off. He grabs RYAN CLINCH'S gun.
Slams him against the alley wall. Pistol whips him viciously
on the face. RYAN CLINCH falls to the ground in the garbage.
PETER DIAMOND (CONT'D)
Sorry had to do that. That is going
to leave a scar. Maybe your wife
will like it. But yeah I couldn't
keep it in my pants.
PETER DIAMOND gets the keys from RYAN CLINCH, does a mock
salute, gets in car and speeds off down road.
EXT. CITY STREET -- EARLY MORNING.
PETER DIAMOND walking down the street near a TRAIN STATION,
whistling a tune. The car he took is in background. He passes
by some store fronts that he looks in. He rounds a corner to
see a group of people line up to get in a club. They look at
him and he walks by. He rounds another corner and stops.
EXT. CITY STREET TRAIN STATION-- EARLY MORNING.
ANNE SHERIDAN just turning the corner with a group of
friends.
PETER DIAMOND
Hey, hey you got a minute?
PETER DIAMOND runs around corner to find nobody. He continues
to walk, finding himself at a train track. The platform is
long and empty. A group of people suddenly run up the stairs
from the other side. PETER DIAMOND keeps his distance. Its a
group of friends, two guys, two girls, they are laughing. A
train comes up the tracks and the get on the train pulls out
and PETER DIAMOND is alone again. He turns to leave the
platform and comes face to face with ANNE SHERIDAN.
ANNE SHERIDAN
I thought I saw you.
PETER DIAMOND
I've been around.
ANNE SHERIDAN looks different then before. She is dressed in
what obviously is her best clothes for work. Hair and makeup
are vastly different.
PETER DIAMOND (CONT'D)
Now that you are here. I want to
apologize for last night.
ANNE SHERIDAN is embarrassed at the remark.
ANNE SHERIDAN
I know. I have had guys ditch me
before. Its nothing new. Usually
I'm asleep when they tip toe out.
PETER DIAMOND
Why? I mean, you are, beautiful.
The guys must be busting the doors
down in this town.
Either that or they need to have
their eyes examined.
ANNE SHERIDAN
Nice line.
PETER DIAMOND
Its not a line. You really are.
PETER DIAMOND and ANNE SHERIDAN just stand, looking awkward
at each other, Anyway but directly at each other.
PETER DIAMOND (CONT'D)
Waiting for a train?
ANNE SHERIDAN
Kind of.
PETER DIAMOND
I saw you with, I think I saw you
with some friends before.
ANNE SHERIDAN
That was Matt and Jenny from work.
To be honest. I haven't had
breakfast. I ran out of money. I
just have enough for train fare
home.
PETER DIAMOND
This is your lucky day. You can't
go to work after your only night
out in a while. I need to get my
mind of some things what do you
say?
ANNE SHERIDAN
No thanks. I have a lot of things
waiting for me.
PETER DIAMOND
Come on just for a while.
ANNE SHERIDAN
I've got this thing about paying my
way.
PETER DIAMOND
Just the morning. That's all.
ANNE SHERIDAN
Ok. It's a deal.
PETER DIAMOND
I don't even know your name.
ANNE SHERIDAN
You don't remember?
PETER DIAMOND and ANNE SHERIDAN shake hands. ANNE is trying
not to laugh. She finally breaks in giggles.
PETER DIAMOND
I do. Lets start over.
ANNE SHERIDAN
This is so stupid. I mean what
happened before between us. Me
babbling
PETER DIAMOND grabs her hand and pulls he with him as they
walk off the platform.
PETER DIAMOND
No its not. My name is Pete. Lets
just leave it at that.
ANNE SHERIDAN
What do you do for work Pete?
Please say you work in a book shop
and you are really a secret agent.
PETER DIAMOND
Something like that.
EXT. A CITY STREET -- MORNING
PETER DIAMOND and ANNE SHERIDAN walking.
ANNE SHERIDAN
Why do you think we met again?
PETER DIAMOND
I had just left a friend who had
taken sick all of a sudden. I turn
a corner and boom there you are.
ANNE SHERIDAN
That was more out of necessity.
That was the only train station
around here for blocks.
PETER DIAMOND
Wow destroy my romantic ideas. I
thought it was fate written in the
stars.
ANNE SHERIDAN
Those are street lights you we
looking at last night. Some how you
don't seem the type of guy to look
at stars or have things happen by
chance.
PETER DIAMOND
One of the mysteries of life.
ANNE SHERIDAN
Its no mystery. Just like you not a
mystery. I know exactly who you
are. I know exactly what you've
done.
PETER DIAMOND (APPREHENSIVE)
You do?
ANNE SHERIDAN
Yes. You are so easy to read. Peter
if that's even your real name.
PETER DIAMOND (APPREHENSIVE.)
It is. So what do you know about
me.
ANNE SHERIDAN
Oh lets say, you're a man with a
deep past. Something happened
recently to a close friend. It have
greatly effected you. You're lonely
inside. You have friends but nobody
really close to you or your heart.
You also try to make like you have
a lot of money when you are just
like most of us, just scrapping by.
PETER DIAMOND (RELIEVED.)
I'm impressed.
ANNE SHERIDAN
Just something I picked up in a
book I read in a book once on how
people send signals out that they
don't know about. The money thing
wasn't that hard to figure.
That's the same suit you were in
the last night.
PETER DIAMOND
I've got to get more complicated.
ANNE SHERIDAN
Not very.
CUT TO:
INT. POLICE INTERROGATION ROOM -- DAYTIME.
RODNEY KINDER is sitting at his desk. JOE VALARI is pacing
back and forth in front of the desk.
JOE VALARI
We should have heard something by
now.
RODNEY KINDER
Yeah you're right. Like the kid
said. Its a big city.
JOE VALARI
Its times like these I wonder why
we pay public servants like the
Police force.
RODNEY KINDER
You want me to send some officers
out to find your one man vigilante
squad? How is that suppose to look?
JOE VALARI
Like we are doing something instead
having hands up our asses.
RODNEY KINDER
You know and I know the word is
already out on the street about
Claire. It was out probably before
she even hit the ground. You're
other associates know as well.
JOE VALARI
They will be coming to collect
pretty soon.
RODNEY KINDER
Joe, in all our years working
together, this is the worst I have
ever seen you. All sweaty and
nervous.
JOE VALARI
I just want this fixed. My honour
back.
RODNEY KINDER
Its a pretty big fix Joe. I told
you at the beginning this was a
fucked up thing to do. Sending
that kid out to find Diamond.
JOE VALARI
It's the cleanest way to do it for
everyone concerned. I told him his
family will be relocated or he gets
five grand. Which would you take?
I sound like a fucken lottery.
RODNEY KINDER
Talk about no pressure. If it makes
you feel any better. I have a few
places I can check out to see
what's happening.
JOE VALARI
Thanks. It will help.
RODNEY KINDER
You sit tight here. Just make sure
you don't decide to go for a cruise
around. A least not yet.
RODNEY KINDER gets his coat and goes to door.
RODNEY KINDER (CONT'D)
Just remember you owe me one.
RODNEY KINDER exits out door.
CUT TO:
EXT. ALLEYWAY --- EARLY EVENING.
A figure is moving down an alleyway. It becomes RYAN CLINCH
who is some what battered on the face by the pistol whipping
he received. He steps out onto the street, looking for a
taxi.
He sees none, looks at watch gets more frantic in his
walking. A car pulls up beside him, a window rolls down. Its
one of the MANGLE BROTHERS.
ART MANGLE
Need a lift stranger? Not many cabs
in this part a town.
RYAN CLINCH stops walking.
RYAN CLINCH
I'm just looking for a friend
that's all. No big deal. He was
supposed to meet me back there.
Didn't show up.
ART MANGLE
That's what friends are for to let
you down sometimes. We can cover
more ground in the car? I am not
trying to hustle you either if that
is what you think.
RYAN CLINCH
Never in my head.
ART MANGLE
Just trying to help out. You picked
a pretty tough place to meet
someone.
RYAN CLINCH
Wasn't my idea.
ART MANGLE
Besides you look a like you have
seen better days, some nasty marks.
RYAN CLINCH
I cut myself shaving.
ART MANGLE
Quite a few times by the look of
you.
RYAN CLINCH starts to walk in opposite direction the car is
going.
RYAN CLINCH
On second thought thanks. The fresh
air will do me good. Like you said
I look like I have seen better
days.
ART MANGLE pulls out a large gun and points it directly at
RYAN CLINCH'S testicles.
ART MANGLE
I went out for a walk as a man,
come back less then a man. Do
yourself a favour. Get in..NOW.
The driver's side door opens and the second MANGLE BROTHER
gets out and opens the passenger door.
RYAN CLINCH
Your invitation......is accepted.
RYAN CLINCH goes to the passenger door and gets in the car.
The Mangle brother holding the door gets in. The car does a
u-turn squealing the tires as it speeds off into the night.
CUT TO:
EXT. SIDEWALK --- NIGHT --- CONTINUOUS
PETER DIAMOND and ANNE SHERIDAN stop in front of a children's
toy shop. PETER DIAMOND notices a teddy bear in the window.
It is very large and has glasses on its nose, which seems to
fascinate him. ANN SHERIDAN notices this.
ANNE SHERIDAN
You like kids? Sorry that was
stupid.
PETER DIAMOND
Everyone keeps asking me that.
ANNE SHERIDAN
My mother always said I had a big
mouth and it would get me in
trouble one day.
INT. TOY STORE WINDOW -- CONTINUOUS
The bear is in middle of display. The sound of gun shots is
heard and blood appears on bear. PETER DIAMOND sees this and
turns away.
ANNE SHERIDAN
What is it?
PETER DIAMOND looks again.
PETER DIAMOND
Just part of my crazy life toots.
INT. TOY STORE WINDOW -- CONTINUOUS
The bear is normal looking.
PETER DIAMOND
Come on
PETER DIAMOND slips his arm through her's and they move
rapidly away from the storefront where the bear was.
ANNE SHERIDAN
You are hurting my arm.
PETER DIAMOND and ANNE SHERIDAN continue to move except he is
almost dragging her. They stop after going around a corner.
PETER DIAMOND pushes ANNE SHERIDAN against the brick wall.
The MANGLE BROTHERS car speed by them down the alley.
PETER DIAMOND
I'm sorry about all this. I'm not
someone that can be involved with
someone like you. In fact I should
have packed my things and skipped
this place a long time ago. Instead
I am out here in the wide open
spaces.
ANNE SHERIDAN
I can understand if you want to go
now.
PETER DIAMOND
Something happened today at work
you might say. It was an accident
but not quite the way it was
supposed to happen. Lots of people
are after me now. Including what
you could call my best friend.
ANNE SHERIDAN
You want to tell me about it?
PETER DIAMOND
I wish I could.
ANNE SHERIDAN
I mean its not as if someone put
out money for your head. Is it?
PETER DIAMOND
Too much shit going down all at one
time.
It was not supposed to happen like
this. I have some death wish,
that's why I am out here now on the
street.
The car driven by the MANGLE BROTHERS drives by.
PETER DIAMOND (CONT'D)
That's the second time I have seen
that car tonight.
ANNE SHERIDAN
You can tell that?
PETER DIAMOND walks out onto the street, looks down the
direction the car went.
PETER DIAMOND
Its gone now, turned a corner.
PETER DIAMOND walks back to ANNE SHERIDAN
PETER DIAMOND (CONT'D)
What do you think?
ANNE SHERIDAN
I have no idea. All I know is that
in the parkade, I met you. I met
you again this morn. I cut work,
probably get fired and now here,
why again? Is that coincidence? For
me its just good luck. Maybe it is
for you as well?
PETER DIAMOND
Maybe.
ANNE SHERIDAN
And what happened with you and your
work. It brought us to this moment.
Isn't that good enough for now at
least.
PETER DIAMOND
I've got to stop thinking.
A POLICE CAR drives by RODNEY KINDER can be seen driving it.
PETER DIAMOND watches the car turn away.
ANNE SHERIDAN
What?
PETER DIAMOND
That car. That was one of the
people involved in my work thing
this morning. They are all coming
home to roost. How far did you say
you place was again?
ANNE SHERIDAN
Three blocks that way.
ANNE SHERIDAN points straight ahead.
PETER DIAMOND
Best news I heard. Come on.
ANNE SHERIDAN and PETER DIAMOND walk quickly in the direction
that was indicated.
CUT TO:
EXT. STREET -- NIGHT -- CONTINOUS
A police car sitting in the alleyway. The figure in the car
lights up a cigarette revealing it is RODNEY KINDER. He puts
the car in gear and drives slowly in the direction that ANNE
SHERIDAN and PETER DIAMOND went.
INT. CAR DRIVEN BY MANGLE BROTHERS -- CONTINOUS
RYAN CLINCH is in the passenger seat. SAM MANGLE is driving,
the other ART MANGLE is in the back seat.
ART MANGLE
So glad you took us up on our
hospitality. We don't get enough
company sometimes. My name is Art
and the cute driver is Sam. We are
the collectively known as The
Mangle Brothers.
RYAN CLINCH
Thanks for the lift.
SAM MANGLE
Its our pleasure like Art says we
don't get enough company sometimes.
Other times we have too much.
RYAN CLINCH
You don't have to take me that far.
I don't want to take you out of
your way.
ART MANGLE
You'll go as far as we are willing
to take you. Isn't that right Sam?
SAM MANGLE
That's so right Art. More right
then we have been in ages.
RYAN CLINCH
How far is that?
SAM MANGLE
It depends how far you are willing
to go with us.
ART MANGLE
What Sam means is that it entirely
depends on you.
SAM MANGLE turns the car into an alley. RYAN CLINCH is
looking out the window.
CUT TO:
RYAN CLINCH'S P.O.V. OF ALLEYWAY.
PETER DIAMOND is walking arm in arm with ANNE SHERIDAN. PETER
DIAMOND looks up just as they disappear from view.
CUT TO:
FACE OF RYAN CLINCH.
RYAN CLINCH
That couldn't be him.
ART MANGLE
Couldn't be who?
RYAN CLINCH
Just someone I thought I knew.
SAM MANGLE
Funny how things can go that way.
See bits of our past mixed with the
future.
ART MANGLE
Its like they both have to be
together to be whole.
ART MANGLE hits RYAN CLINCH with a vicious right cross punch
sending RYAN CLINCH into the dashboard. SAM MANGLE continues
to drive without incident.
ART MANGLE (CONT'D)
Now where is he? The guy you
thought you knew but you really do
know.
SAM MANGLE
You know..Peter Diamond in the
rough.
SAM MANGLE gives RYAN CLINCH an uppercut sending RYAN CLINCH
into the glass of the passenger side door. SAM MANGLE
continues to drive without a problem.
RYAN CLINCH
Why does everyone think I know
where he is?
ART MANGLE grabs RYAN CLINCH'S jaw that has just been hit
and begins to twist his neck.
ART MANGLE
Because you do. You know his every
move. You know what he eats, where
he eats, where he craps and who he
fucks.
SAM MANGLE
My brother really likes necks. Its
been a while since he's done what
he is doing to you.
ART MANGLE
Tell me when it hurts. Then I will
keep going.
ART MANGLE gives RYAN CLINCH'S neck another vicious twist
then releases it.
RYAN CLINCH
FUCK ME. I DON'T KNOW WHERE HE IS.
VALARI THINKS I DO. KINDER THINGS
I DO.
SAM MANGLE
KINDER? The shit heal. He wants to
know?
ART MANGLE grabs RYAN CLINCH'S HAND, again viciously turns it
to his fingers are spread, then places he thumb on RYAN
CLINCH'S finger and presses it down. RYAN CLINCH screams in
pain.
ART MANGLE
Seems everyone wants the dough.
RYAN CLINCH
Dough?
SAM MANGLE
Money. Your friend Joe Valari has
but up five thousand for your
friend.
RYAN CLINCH
And now everyone wants it.
ART MANGLE
Wouldn't you?
RYAN CLINCH
I guess friendship doesn't mean
anything.
SAM MANGLE
We like you. As a friend I mean.
That's the only keeping us from
putting your body parts in various
dumpsters in the city.
ART MANGLE slams RYAN CLINCH against the glass of the car
door.
ART MANGLE
Now I don't want to hurt you again.
As a friend I am asking where is
Peter Diamond?
RYAN CLINCH
I DON'T KNOW
ART MANGLE slams RYAN CLINCH'S face against the car door
glass several times almost breaking his noise.
SAM MANGLE
We are reasonable.
RYAN CLINCH
I STILL DON'T KNOW. IF I DID DON'T
YOU THINK I WOULD GO THERE MYSELF.
ART MANGLE grabs RYAN CLINCH's jaw, spins him around so he
almost facing the back seat.
ART MANGLE
No You would do what everyone else
would do. Get him yourself and
deliver him to old man Valari or
just kill him out right.
ART MANGLE mashes RYAN CLINCH'S head into the car door glass.
Takes out a lighter from his pocket, starts a flame and holds
it close to RYAN CLINCH'S eyeball.
SAM MANGLE
I hate this part. Do yourself a
favour and tell us where he is.
We'll even cut you in for some of
the money.
RYAN CLINCH
I DON'T KNOW. I TOLD YOU?
ART MANGLE Hold the flame closer to RYAN CLINCH'S eye.
ART MANGLE
The first thing you smell is your
eyebrow burning.
CUT TO:
RYAN CLINCH'S P.O.V.
The flame is near his eye plus ART MANGLE'S face. RYAN CLINCH
turns away from flame to see only for the briefest moment
PETER DIAMOND talking to ANNE SHERIDAN on the street. PETER
DIAMOND again looks up almost in recognition and is gone.
CUT TO:
INT. CAR DRIVEN BY MANGLE BROTHERS -- CONTINOUS
Sam Mangle is driving. Takes out a cigarette, puts it in his
mouth.
SAM MANGLE
Hey, light me.
ART MANGLE moves the lighter to light the cigarette. SAM
MANGLE takes a long drag on the cigarette and exhales the
smoke.
SAM MANGLE (CONT'D)
These things will kill you.
SAM MANGLE reaches into compartment in car and pulls out some
CD'S, selects one and puts it in the player. The music fills
the car. It is also an unspoken signal between the MANGLE
BROTHERS. ART MANGLE grabs RYAN CLINCH'S wrist and bends it
back breaking it just as SAM MANGLE turns up the volume of
the CD.
INT. HALL OF ANNE SHERIDAN'S APARTMENT BUILDING -- LATER
PETER DIAMOND and ANNE SHERIDAN are locked in a long,
passionate kiss. It breaks and they lean against each others
foreheads
ANNE SHERIDAN
Really living.
PETER DIAMOND and ANNE SHERIDAN kiss again. She slowly pulls
away from him and opens door. Sits him on the couch. Kisses
him again.
PETER DIAMOND
How come I can do this with you?
Why does it feel right.
ANNE SHERIDAN
I don't know and I don't really
want to find out.
PETER DIAMOND
I feel that I can tell you
anything.
ANNE SHERIDAN
You have. The rest will come in
time.
PETER DIAMOND
The whole truth.
ANNE SHERIDAN
I know. I'll be just a minute.
ANNE SHERIDAN exists into another room. We hear the door
close.
INT. ANNE SHERIDAN'S APARTMENT -- CONTINUOUS
PETER DIAMOND watches her leave, He reclines on the couch.
Notices several newspapers all with the crime page open.
PETER DIAMOND
What to do, what to do what to do?
The sound of a gun shot is heard. PETER DIAMOND is alert, he
has his gun drawn. He moves slowly towards the bedroom. The
door is slightly open. PETER DIAMOND opens the door.
INT. ANNE SHERIDAN BEDROOM -- CONTINUOUS
ANNE SHERIDAN laying on the bed, face up. She has been shot
in the head. She has a phone on her right hand. PETER DIAMOND
advances into the room and sits on the bed. He looks at the
body. The door of the bedroom slams. RODNEY KINDER is
standing against wall with gun drawn.
RODNEY KINDER
Told you I don't like being left in
the cold.
RODNEY KINDER advances into the room. He puts the phone to
his ear then hangs it up.
RODNEY KINDER (CONT'D)
Imagine that. She was phoning
someone about you.
PETER DIAMOND
Such a popular guy...my curse
RODNEY KINDER
No...My curse. Her name was Margo.
PETER DIAMOND
It was Anne. That's all I knew.
RODNEY KINDER
Like shit she was. Her name was
Margo, alias Maggot. Maggot Styles.
She is a trained soldier strictly
freelance for another gang. An
assassin.
RODNEY KINDER moves to bed, and reaches under the pillow and
pulls out some piano wire.
RODNEY KINDER (CONT'D)
You should thank me. You would be
coming and going at the same time.
PETER DIAMOND
Why?
RODNEY KINDER
Because of what you know about him.
When you were fucking Claire which
is bad enough, didn't it cross your
mind once why she knew so much
about the business.
PETER DIAMOND
No she did know a lot yes but I
figured she was helping Joe.
RODNEY KINDER
Claire wasn't kidding when she said
you were stupid. You were all cock
and no head.
PETER DIAMOND
She wanted to get away from Joe
this whole place. That is why we
staged that little gun battle at
the airport. She would be dead, the
ambulance drivers were friends of
mine, after we left the airport we
would ditch the vest and we would
start a new life somewhere. It
wasn't supposed to happen the way
that it did. She wasn't to really
die.
RODNEY KINDER
You thought you were so smart with
her in a bulletproof vest under
that dress. It protects you yes but
not from a head shot. Don't you
know you can never get out. She
was the business sonny boy. She ran
the whole thing. Valari is just a
figurehead.
PETER DIAMOND
The other shots they were real.
RODNEY KINDER
Yes Joe Valari's idea. He thinks
you know he is not the real brains
of this. The world is fucked up.
You and your little friend are on
borrowed time. You got five G's on
your head. Did you know that? I
need you for other things. Me, I
just made a little on the side,
helping you. You owe me another
one.
PETER DIAMOND
For what?
RODNEY KINDER
We can still talk deal you know.
What's your life worth to walk out
that door. I just say you escaped.
or I kill you now and get the five
thousand. At least I am giving you
some options.
PETER DIAMOND
What is to stop you from calling
someone, telling them where I am.
RODNEY KINDER
Very good, very good. I call
someone and get something out of
you. Either way I end up a winner.
So what is it to be?
PETER DIAMOND say nothing
RODNEY KINDER (CONT'D)
My choice.
RODNEY KINDER takes out a cell phone and dials a number.
RODNEY KINDER (CONT'D)
Its done. Call in the report.
RODNEY KINDER snaps the cellphone closed. Then dials a second
number.
RODNEY KINDER (CONT'D)
Give me Joe Valari. (Waits a few
seconds.)
Hi glad you could make it. I have a
little someone you will be wanting
to see....yes That's right...
he is standing right in front of
me. He's already told me
everything. Lets say we meet at The
Living End club, that dump that you
own. In one hour. See you then.
RODNEY KINDER snaps the cellphone shut. The room lights
flicker and go dark. The sound of police cars, fire trucks is
heard.
RODNEY KINDER (CONT'D)
Fucking power failure.
The lights come back on. PETER DIAMOND is now where to be
seen. RODNEY KINDER runs to the stairwell door and tears it
open.
INT. ANNE SHERIDANS APARTMENT STAIRWELL -- CONTINUOUS
RODNEY KINDER running down the stairs.
INT. ANNE SHERIDAN APARTMENT -- CONTINUOUS
PETER DIAMOND opens closet door and comes out. Sees no one is
around. Walks over to body of ANNE SHERIDAN on bed. Lightly
kisses here on forehead, smooths her hair then leaves by
hallway door.
INT. ANNE SHERIDAN'S STAIRWELL -- CONTINUOUS
It is empty, what can be seen with emergency lights. A gun
shot is heard. PETER DIAMOND ducks for cover. He runs quickly
to the doorway, opens it to the stairwell and exits.
INT. ANNE SHERIDAN APARTMENT STAIRWELL -- CONTINUOUS
RODNEY KINDER reaches bottom of stairwell and crashes through
the door.
INT. ANNE SHERIDAN APARTMENT LOBBY -- CONTINUOUS
Mass confusion of people all trying to get answers from each
other. No one is listening. RODNEY KINDER moves into the
crowd, trying to make his way to the door when he sees SAM
MANGLE on one side of the room near the door and ART MANGLE
on the other side of the room near the door. They are
looking at the people filing out. RODNEY KINDER makes his way
out of crowd near a desk.
INT. ANNE SHERIDAN APARTMENT LOBBY -- CONTINUOUS
PETER DIAMOND slowly opens door into lobby. Starts to walk
out when he is nabbed from behind by RODNEY KINDER and
dragged behind the desk.
RODNEY KINDER
Your guardian angel strikes again.
The Mangle brothers are out there
near there door. You would have no
chance.
PETER DIAMOND
I get to pick which way I want to
die.
RODNEY KINDER
Something like that. Looks like we
are together.
PETER DIAMOND
Just till we get out of this. Just
for the sake of the old
neighborhood I go my own way when
we are clear. Deal?
RODNEY KINDER
Deal..Sergeant Rock. Anything you
say.
INT. POSH HOTEL HALLWAY -- CONTINUOUS
No one in hall. Some lights have been restored.
DETECTIVE RODNEY KINDER
Those assholes cut the power to
cover the others.
PETER DIAMOND
So?
RODNEY KINDER
The parkade in the basement.
INT. HOTEL PARKADE -- MOMENTS LATER
PETER DIAMOND looks around a concrete pillar to see many cars
in dim light.
PETER DIAMOND
Lots of cars. Lots of hiding
places.
RODNEY KINDER
We split up.
PETER DIAMOND
I'll cover you.
RODNEY KINDER
You're kidding right. You firing a
gun when I'm running.
PETER DIAMOND
Yeah that will work real well. Any
other ideas?
RODNEY KINDER
Next time we'll call ahead.
PETER DIAMOND
Go, go now. I'll take the chance.
Somewhere, anywhere, just go.
RODNEY KINDER
Keep the gun away from me. Wouldn't
want an accident.
RYAN CLINCH
Don't worry about it. It will be
just like football.
RODNEY KINDER
I didn't make my school team.
RODNEY KINDER goes he ducks between cars and lies prone near
a tire.
INT. HOTEL PARKADE -- CONTINUOUS
PETER DIAMOND is watching the others. He slowly draws his gun
out and takes aim at RODNEY KINDER
P.O.V PETER DIAMOND'S GUN--- CONTINUOUS
RODNEY KINDER in cross hairs. He is signaling that all is
clear.
INT. HOTEL PARKADE -- CONTINOUS
PETER DIAMOND crashes against car near RODNEY KINDER Stops,
adjusts his coat
RODNEY KINDER
Why not tell them what we want for
dinner?
PETER DIAMOND
I slipped on some oil. Ruined the
pants.
INT. HOTEL PARKADE -- CONTINUOUS
RODNEY KINDER runs, ducks, and swerves. We hear two gun
shots.
INT. HOTEL PARKADE -- CONTINUOUS
A Black sedan pulls up and two men come out of it. They are
carrying large shot guns. They are walking towards RODNEY
KINDER and PETER DIAMOND.
RODNEY KINDER
You take the one on the left I'll
take the right.
PETER DIAMOND is shaking, he cannot point the gun. RODNEY
KINDER watches the men approaching.
The two men advance into the middle of the parkade. They turn
and fire there weapons into opposite directions at targets.
We hear the screams as the bodies of the two gunmen in the
parkade are torn apart. The men get in their car and drive
away. Then silence.
INT. HOTEL PARKADE -- MOMENTS LATER
RYAN CLINCH and RODNEY KINDER get up and move towards the
bodies of the gunmen.
PETER DIAMOND
Who were those guys?.
RODNEY KINDER
My guardian angels. The Mangle
Brothers.
RODNEY KINDER moves closer to check the bodies out. He finds
that they are both women.
RODNEY KINDER (CONT'D)
These aren't the Mangle brothers.
Unless the model has changed,
these are women. They are still out
there. I don't know about the car.
The crashing sound of an aluminum door is heard. RODNEY
KINDER looks up. PETER DIAMOND is not seen anywhere.
RODNEY KINDER (CONT'D)
THE ALLEYWAY!
EXT. HOTEL PARKADE -- CONTINUOUS
RODNEY KINDER crashes through the doorway into alleyway.
THE MANGLE BROTHER'S car is in alleyway at far end. PETER
DIAMOND is struggling as he is being forced into the car.
RODNEY KINDER runs as hard as he can but the door shuts and
the car speeds away just as he gets there. PETER DIAMOND is
gone.
RYAN CLINCH
FUCK---FUCK---FUCK FUCUUUUK.
CUT TO:
INT. PETER DIAMOND'S MOTHERS APARTMENT -- NIGHT
ELISE DIAMOND making some dinner, stirring a pot on a stove.
She dishes up a plate of food and shuffles to the other room
INT. PETER DIAMOND'S MOTHERS APARTMENT-- CONTINUOUS
The sound of the television going. ELISE DRISCOLL goes to sit
down in large chair but she stumbles and the food goes one
way and the large spoon she had falls to the floor. She just
looks at them, Then back to the tv.
EXT. PETER DIAMOND'S MOTHERS APARTMENT -- CONTINUOUS
A large black car drive up and the Mangle Brothers get out.
INT. PETER DIAMOND'S MOTHERS APARTMENT -- CONTINUOUS
ELISE DRISCOLL is just watching the tv.
INT. PETER DIAMOND'S MOTHERS APARTMENT HALL -- CONTINUOUS
Two sets of feet on stairs walking slowly up.
INT. PETER DIAMOND'S MOTHERS APARTMENT -- CONTINUOUS
ELISE DRISCOLL is playing with the remote control of the TV.
She hears a loud knock from a door. She moves to go down the
hall to the door.
INT. PETER DIAMOND'S MOTHERS APARTMENT HALL -- CONTINUOUS
ELISE DRISCOLL is walking to the door.
ELISE DRISCOLL
No more NEWS.
ELISE DRISCOLL reaches the door and opens it.
INT. DOORWAY OF DIAMOND'S HOUSE -- CONTINUOUS
PETER DIAMOND standing in the doorway. He is wrapped head to
toe in bandages, bailing wire, His face badly bruised and
bloody. PETER DIAMOND falls forward face first.
ELISE DRISCOLL
My son. My son is home.
ELISE DRISCOLL cradles PETER DIAMOND's head and hums a
lullaby. ART MANGLE moves his head around the corner of the
outside door near ELISE DRISCOLL. He just tips his hat and
slowly exits.
INT. JOE VALARI'S CAR NIGHT --- CONTINUOUS
JOE VALARI and RODNEY KINDER are sitting in back seat.
RODNEY KINDER
Thanks for giving me a lift.
JOE VALARI
This is to be finished tonight. I
told you that.
RODNEY KINDER
It will I promised.
JOE VALARI
People promise lots of things in
this town. You went and lost that
prick Peter Diamond. He was right
beside you.
RODNEY KINDER
I know. I'm sorry. But just
remember that without me, your work
would be a whole lot more tougher
to do in this town.
JOE VALARI
Do you know who your are talking
to? Do you know what I can do with
you? This isn't some punk off the
boat this is JOE VALARI talking to
you.
RODNEY KINDER
Yeah I know.
JOE VALARI
Then why the fuck are you speaking
like that.
RODNEY KINDER
I know. You play it well.
JOE VALARI
What do you mean by that?
RODNEY KINDER
Just that I know you had a great
teacher. Your father.
RODNEY KINDER sits back and smiles.
JOE VALARI
Funny thing to say bringing up my
father now.
RODNEY KINDER
I knew him, that was all. When I
was first starting out on the
force.
JOE VALARI
It hard to believe but our families
go way back.
RODNEY KINDER
Almost as if we were related.
JOE VALARI
But you are no son of mine.
RODNEY KINDER
Sometimes that feels pretty good.
JOE VALARI
You're an asshole. Maybe thats why
we get along.
RODNEY KINDER'S cellphone rings. He hesitates to answer it.
JOE VALARI (CONT'D)
Someone checks up on you. That's
good. Shows your wife cares.
RODNEY KINDER
I'm not married.
JOE VALARI
I didn't think so. Answer the
fucking thing.
RODNEY KINDER answers the phone.
RODNEY KINDER (IN PHONE.)
Hello...What?...who Is this?
RODNEY KINDER looks at the phone then touches a few buttons.
JOE VALARI
What is it?
RODNEY KINDER flips the phone shit.
RODNEY KINDER
Just as I thought. Number blocked.
Why do we pay for have fucken call
display when everyone blocks their
numbers. Its a tip form someone.
Peter Diamond is dead. They want
there money and we are to go to
LIVING END CLUB now.
JOE VALARI
Looks like someone did your job. I
need proof before I pay. Why that
place for fuck sake The LIVING END,
a stupid name. I gave it to Claire
as gift. The music there kills my
ears.
RODNEY KINDER
The voice said go to the club now
and all will be square. It was a
Man's voice.
JOE VALARI
And you don't know who it was. Was
his friend Clinch, He's another
fucker who disappeared.
RODNEY KINDER
I don't know who it was.
JOE VALARI
Call yourself a detective? Sounds
like I don't need any of you.
JOE VALARI taps hard on the glass in front of him to get the
driver's attention. A hand slides the small glass opening
back. The sound of loud Rock and Roll is heard. JOE VALARI
yells the word to go to the THE LIVING END CLUB. We don,t
hear the words only the music.
CUT TO:
EXT. STREET---NIGHT---CONTINUOUS
The car makes a fast right turn down the street and
disappears.
EXT. THE LIVING END CLUB --- NIGHT
The MANGLE BROTHERS car pulls up. ART MANGLE out followed by
SAM MANGLE. They drag the broken body of RYAN CLINCH into to
doorway of the club.
INT. THE LIVING END CLUB --- CONTINOUS
The interior is filled with people. The band is not playing
as it is between sets. THE MANGLE BROTHER move through the
crowd with ease. The people just part for them All are
looking at what they are dragging in. The MANGLE BROTHERS
disappear into Mens washroom.
INT. THE LIVING END WASHROOM--- CONTINUOUS
Lot of people in room. They leave very fast when they see the
MANGLE BROTHERS come in. They take the body of RYAN CLINCH
and dump it into a far stall. Then they walk to the mirror
and begin to wash their hands.
SAM MANGLE
I hate this place. I often wonder
why we come here.
ART MANGLE
So do I.
SAM MANGLE has finished washing. Looks in mirror, unbuttons
shirt to reveal a party shirt. Slips off pants to show a
medium length skirt, takes off hat to show long blonde hair
and begins to touch up makeup in mirror. Looks over at ART
MANGLE. He is a female.
ART MANGLE (CONT'D)
I can never understand why our
parents wanted two boys Samantha.
SAM MANGLE
Neither can I.
SAM MANGLE finishes primping up. Turns to ART MANGLE.
SAM MANGLE (CONT'D)
Do you think Diamond will like the
bait?
ART MANGLE
You did your research well.
SAM MANGLE
Just little old me. Let's find our
friend Joe.
INT. THE LIVING END CLUB -- CONTINUOUS
The band on stage has not yet started to play. Recorded music
is playing at loud volume. Large crowd of people again very
diverse in their dress and manner. SAMANTHA MANGLE and ART
MANGLE make their way through the crowd. Some heads turn as
SAMANTHA MANGLE passes people. ART MANGLE signals that he
will be over in the corner out of the way. SAM MANGLE signals
that she understands, makes her way to the bar to get a
drink.
INT. MENS WASHROOM- CONTINOUS
RYAN CLINCH is men's stall. Same position as the beginning.
Muffled music is heard in background.
RYAN CLINCH (V.O.)
That was how I ended up at the shit
end of life.
RYAN CLINCH turns his head and manages to crawl up with both
hands on toilet seat. He slumps his head down to rest. A few
second pass then head snaps up.
RYAN CLINCH (CONT'D)
I know. Peter, Joe the club. Its
all outside.
RYAN CLINCH crawls out of the stall. No one seems to notice
or care as he limps to the sink. He is just someone having a
night. A KID is still sitting on the counter trying to shoot
up. RYAN CLINCH just gives him a casual look as he washes up
etc. The KID finally finds his vein, shoot up and just looks
at RYAN CLINCH. RYAN CLINCH spreads his arms like and
airplane and the KID laughs.
INT. THE LIVING END CLUB -- CONTINUOUS
The dance floor activity is frantic. RYAN CLINCH is making
his way through the crowd. He looks like hell but no one
cares. He stops to light a cigarette and realizes his mouth
hurts but he still smokes it, looking out at dance floor and
people.
RYAN CLINCH (V.O.)
People dance how they fuck. The
Human race is in serious trouble.
RYAN CLINCH takes a swig of nearby whiskey shot that was on a
table, makes his way through the crowd.
CUT TO:
RYAN CLINCH P.O.V.
RYAN CLINCH looking around the crowd. Sees ART MANGLE at door
trying to blend in. Quickly turns in opposite direction.
CUT TO:
INT. THE LIVING END CLUB -- CONTINUOUS
JOE VALARI comes through the front door. RYAN CLINCH tries to
get close to JOE VALARI but can't due to crowd. He turns and
comes face to face with SAM MANGLE whom he doesn't recognize
but she knows him. They drift apart into the crowd. RODNEY
KINDER comes through the door. RODNEY KINDER and JOE VALARI
talk. JOE VALARI is violently upset with something that is
said. He slams RODNEY KINDER across the face. TWO BOUNCERS
notice this and move towards JOE VALARI. The BOUNCERS get
closer JOE VALARI pulls out a gun and shoots one BOUNCER.
The other BOUNCER backs off. Full panic in the crowd when the
gun goes off. The band gradually stops playing. People
scatter, some people take out cell phones, some don't care
they laugh, some pray.
JOE VALARI (TO RODNEY KINDER.)
You know it all?
RODNEY KINDER
Pretty much.
JOE VALARI
She deserved to die. She was
fucking him in front of my face.
RODNEY KINDER
Who did you think you were? A boss?
JOE VALARI
Yeah, I did-- for a few moments I
did.
JOE VALARI is overcome with emotion.
JOE VALARI (CONT'D)
Had to be done.
RODNEY KINDER
Yeah, not that way. Let me let you
in on a few things. (To crowd.)
Its alright everything is under
control. I am a police officer.
(Hold up badge, then flips it
shut.)
JOE VALARI
BIG MAN BIG POLICE DETECTIVE.
(To crowd.)
Someone here said they have proof
for me. Some here is the lucky
winner of five thousand hard urged
dollars. Look at everyone. Its a
game show.
(He discharges his weapon once.
People scream. Some in the crowd
move forward to be a hero.)
The hero move forward. Care to try
your luck.
CUT TO:
INT. THE LIVING END CLUB -- CONTINUOUS
ART MANGLE and SAM MANGLE step through the crowd.
ART MANGLE
I phoned you.
JOE VALARI
We have a winner.
RYAN CLINCH steps through the crowd.
JOE VALARI (CONT'D)
Look it's old home week.
RYAN CLINCH
Mister Valari I can explain.
RODNEY KINDER
Shut up Ryan. You don't know what
you are saying.
JOE VALARI (TO ART MANGLE.)
You phoned tonight. I want proof.
I want to know what you did to the
yellow bastard.
SAM MANGLE
We brought him back to his mother's
place. He won't talk again.
ART MANGLE steps forward and hands JOE VALARI a small package
of tissue paper. Then walks back. VALARI tosses it to RODNEY
KINDER.
JOE VALARI
Open it.
RODNEY KINDER opens the tissue paper and winces.
RODNEY KINDER
It's a human tongue.
A person in a crowd laughs and makes a happy comment.
JOE VALARI
So how do I know this is real?
CUT TO:
INT. THE LIVING END ---CONTINUOUS
A person in crowd near from steps out.
CROWD PERSON
It has to be it was all over the
News just before I arrived.
BOUNCER
It's true. See for yourself.
BOUNCER turns up sound on Television. JOE VALARI turns to
look at it.
TV ANNOUNCER (V.O.)
And the body was discovered by
police this evening at the address
of Elise Diamond, a recluse elderly
woman. All people could get out of
her was that it was her son who had
come home finally. Police are not
saying much but there does appear
to be some mutilation of the body
in the facial area. No leads are
being followed at this time.
BOUNCER turns sound down. JOE VALARI thinks , looks at RODNEY
KINDER, then at RYAN CLINCH, then at MANGLE BROTHERS. He
turns to faces in crowd.
JOE VALARI
You understand that it had to be
done. She would have taken
everything from me. Everything I
had worked for all these years. No
one would have looked up to me.
Never again. I am Joe Valari a
name you will never forget. I am
somebody. She can't take that away
from me.
(VALARI breaks down.)
I loved her so much and she loved
me. That was our mistake.
RODNEY KINDER moves towards JOE VALARI with cuffs. The sound
of police sirens are heard.
JOE VALARI (CONT'D)
What are you doing?
RODNEY KINDER
You give me no choice now. I gotta
arrest you in front of all these
witnesses. Don't worry its just
for show.
JOE VALARI
No cuffs please. I want to walk out
like a man. Like a boss.
JOE VALARI walks forward through the crowd. RYAN CLINCH moves
to walk beside him. They look at each other, brief hug then
begin walking out. ART MANGLE steps in front to block the
door followed by SAM MANGLE who has taken a vicious looking
gun out and is pointing at them.
ART MANGLE
You owe us five thousand dollars.
SAM MANGLE
We want it now.
JOE VALARI
You'll get it.
A scuffle starts, some pushing as the crowd closes in around
them. Fists fly out. People drop. A gun goes off twice. The
crowd move apart to show ART MANGLE and JOE VALARI wounded
badly on floor. SAM MANGLE is stunned, she is quickly
disarmed by RODNEY KINDER who slams her hard against the
wall.
RODNEY KINDER
Enough of this?
RYAN CLINCH is at the side of JOE VALARI. He is holding his
head up.
JOE VALARI
Its better this way. You can be
boss now.
RYAN CLINCH
I don't have any idea.
JOE VALARI
Neither did I. Claire was boss. Me
I just am the mouth.
RODNEY KINDER
Don't listen to him.
JOE VALARI
Its time.
JOE VALARI dies. RYAN CLINCH looks at all the faces around
him in bewilderment. The sound of sirens is heard.
INT. HOSPITAL -- LATER
RYAN CLINCH is in bed. SYLVIA CLINCH is holding his hand as
he slowly walks up.
RYAN CLINCH
Is this heaven?
SYLVIA CLINCH
No. Its home.
RYAN CLINCH
Bullshit. I'm dead.
SYLVIA CLINCH kisses him on the lips.
RYAN CLINCH (CONT'D)
Sorry about the breath.
SYLVIA CLINCH
The Doctor said you were touch and
go for a while. They got you in
time.
RYAN CLINCH looks around the room.
RYAN CLINCH
How can we afford this?
SYLVIA CLINCH
Some one has signed for all this.
But its all taken care of.
SYLVIA CLINCH hands RYAN CLINCH the papers. He reads them.
INT. HOSPITAL -- CONTINUOUS
The papers have initials printed on bottom "R,K"
INT. HOSPITAL -- CONTINUOUS
RYAN CLINCH in bed. He starts to laugh a little.
SYLVIA CLINCH
You know who it is?
RYAN CLINCH
My old pal Rodney Kinder.
RODNEY KINDER walks into room a little slower then before.
RODNEY KINDER
In the flesh. I heard you were
here.
RYAN CLINCH
That's nice.
RODNEY KINDER
Will you excuse us please?
RODNEY KINDER waits for SYLVIA CLINCH to move away.
RODNEY KINDER (CONT'D)
That day at the airport the
bullets were meant for Claire and
her fuck buddy Peter Diamond.
RYAN CLINCH
Peter wasn't there.
RODNEY KINDER
No, you were. Valari found out
about Diamond and his wife plotting
their assassinations. All shots to
the body compliments of the Mangle
brothers. She had a vest on.
Valari found out about it tosses
more money the Mangle brothers way
and well a vest doesn't protect
the head.
RYAN CLINCH
Head shots for Peter as well.
RODNEY KINDER
Yes both dead. Valari continues.
RYAN CLINCH
I'm not really the boss now am I?.
RODNEY KINDER
Maybe to some people. Valari was
just the figurehead. He liked it.
Claire was the brains.
He was pissed at your friend
Diamond for enjoying her too much.
She wanted to end it with Joe. If
it happened he would be dead.
RYAN CLINCH
That's the way it all went.
RODNEY KINDER
Yes it all somehow comes out. We
have to get our story straight.
This is what you are going to say.
You knew nothing, you were just a
pawn. Trust me it will work out.
Money floats a lot of boats in the
right places.
RYAN CLINCH
What about you?
RODNEY KINDER
We got Sam or should I say Samantha
Mangle. Its good enough for now.
She told us the whole thing.
Listen you got a chance here to get
out. Me, I'm too deep in it to see
over the top.
RYAN CLINCH
These is another thing I need to
find out. How my dad died years
ago. Its almost like this a set up.
RODNEY KINDER
I got no answers on that one. We
may never know. Facts change with
memories.
RYAN CLINCH
That doesn't help me.
RODNEY KINDER
It will do for now.
RODNEY KINDER and RYAN CLINCH shake hands. SYLVIA CLINCH
comes in to stand beside RYAN CLINCH. RODNEY KINDER ends the
hand shake fast, turns to leave, walks a few steps, he looks
back at RYAN CLINCH and SYLVIA CLINCH who are hugging and
look very much in love.
RODNEY KINDER (CONT'D)
No this ain't for you at all.
RYAN CLINCH watches RODNEY KINDER walk slowly from his room
like a man with a burden on his shoulders. RODNEY KINDER
slowly shuts the door as he leaves.
INT. HOSPITAL CORRIDOR -- CONTINUOUS
RODNEY KINDER looks down the corridor both ways. Lots of
activity, families, patients, Doctors etc. ART MANGLE walks
up behind him and puts a large envelope on his right
shoulder. KINDER takes it, opens it, flips through a large
amount of paper money and nods his head. Bends over to
KINDER'S ear and says.
ART MANGLE
Thanks for the tip about Diamond.
RODNEY KINDER
Don't mention it. Thanks for
telling me about Joe.
ART MANGLE
Just so we know where we stand.
RODNEY KINDER
In the middle of it all.
ART MANGLE turns and exits. RODNEY KINDER has resigned look
on his face as the camera pulls back down the hospital
corridor. KINDER is swallowed up by the activity of a busy
hospital around him.
END.
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