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A N G E L S
Written by Alex Olivier
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FADE IN: EXT. ALLEYWAY - LATE AT NIGHT The 1990s. An old, brown, boxy-looking car sits with the engine running and the lights off in an alleyway, facing the street. INT. CAR - LATE AT NIGHT Inside the car sit JASON, 33, and GUY, 32. Two scruffy, weathered looking guys. Black suits. Cigarettes. GUY The Bentley job. JASON What? No. Doesn’t count. GUY What do you mean it doesn’t count? Sure it counts. JASON No, it doesn’t count. Was or was not that job successfully completed? GUY Well yeah, but you still fucked up during the completion of the job. That’s eight fuck ups for you. I’m still at three. JASON No, that’s still only seven fuck ups. The Bentley job was a success. GUY You’re not listening are you? You can still complete a job successfully, while fucking up the process of completing it. JASON You know what? I’m thinking back on the Bentley job now, and to be honest, I don’t see where you consider my fuck up to be. Guy sighs.
2. GUY Okay fine, let’s go play-by-play of this shit, if that’s what it’s gonna take to get you to accept that you have eight fuck ups and I only have three. Please. JASON
GUY Okay, you remember the Bentley job? JASON Yeah, simple B and E job. GUY Yes. Okay, so if I recall correctly, we were in the house, we had the drop on the guy, and all that remained was to simply knock him out and take the keys, yes? JASON Well yeah, but... GUY But what? You’re gonna tell me you did that perfectly? Because you and I both know that’d be a damn filthy lie. Jason opens his mouth to speak, but closes it and says nothing. GUY (CONT’D) No. You had to go and get distracted and give the guy a moment to get the drop on us. JASON Hey, it’s not everyday you enter someone’s home and see a framed photo on their wall of a monkey blowing itself. Guy grins and stifles his laughter, careful to hide it from Jason.
3. GUY So he got the drop on us, dove behind the couch and we had to shoot at him for like twenty fuckin’ minutes. Fuck up? I think so. A car drives past the front of the alley. JASON Hey was that...? GUY No. We’re lookin’ for a black Lincoln. Remember? Right. JASON
GUY Good God. You’re lucky I don’t count that number nine. JASON Oh come on. Now you’re just being ridiculous. GUY Hey don’t forget... JASON Black Lincoln. Guy stops speaking and turns his attention to the street. Sure enough, there’s a black Lincoln coming towards them. GUY Okay, swerve in front of it and cut him off. They both pull black wool masks over their faces. Jason steps on the pedal and the car starts driving in reverse. He slams on the brakes, jolting himself and Guy, puts the car in drive, and floors it. EXT. CITY STREET - LATE AT NIGHT The car zooms out of the alley and into the street with screeching tires, hitting the black Lincoln square in the driver’s side door. Broken glass all over the street. Both car’s engines steaming.
4. INT. CAR - LATE AT NIGHT Jason and Guy both slowly collect themselves and push their way out of the car. GUY That’s nine. Fuck off. JASON
EXT. CITY STREET - LATE AT NIGHT The two get out of their car, both brandishing handguns. Guy shoves open the driver door of the Lincoln. The driver is slumped forward in his seat, dead. Head bloody and resting on the steering wheel. Guy reaches down past him and pops the trunk. Guy and Jason both hurry and open up the back doors. Inside is CIGAR SAM, 53, a short man wearing a nice suit and a eyepatch, and a BODYGUARD. Both are groggy and disheveled. Guy aims his gun at Sam. GUY Make a move and get it. Jason runs and opens the trunk. Inside are two canvas bags. He opens them and sees that there are lots of little baggies of COCAINE inside. He closes the bags and hurries and puts them in the trunk of their car. He puts his gun away in favor of a large hunting knife, which he uses to slash the tires of the Lincoln. As Jason slashes the tires, and the car sinks a bit each time, Sam stares unblinking and unflinching at Guy, with a cold, calculating face. Jason finally finishes and gets in the car. He starts it up and pulls up next to Guy, who slowly backs into the passenger seat, still aiming his gun at Sam. They drive away.
5. EXT. PAWN SHOP - LATE AT NIGHT A parking lot on an empty street in front of a closed pawn shop. MIKEY, 27, a James Dean-looking kind of guy in jeans and a leather jacket finishes and tosses his cigarette as he pulls a chain out of the back of his pickup truck. He fastens the chain at one end to the back of his truck and takes the other end and walks toward an ATM in front of the pawn shop. He ties the chain around the ATM. He gets in his truck and starts the engine. He looks out the window back at the ATM as he jets the truck forward. The ATM comes flying out of its foundation. Mikey gets out and lifts the ATM onto the bed of the truck. He picks up the chain and tosses it back there too. He gets in the truck and drives away. EXT. ROAD - LATER Mikey is driving his pickup along an empty road, past sleeping houses and apartments. HEADLIGHTS appear in his rearview. He takes a right. So does the car behind him. Mikey accelerates. Flashing red and blue lights come on in the car behind him. Fuck! MIKEY
Mikey accelerates more, and the cop car follows him in hot pursuit. Mikey zooms quickly around a corner, only to see a JOGGING MAN directly in front of him. The man freezes and tenses up as Mikey swerves to the left of him, towards a wall. Mikey slams on the brakes and slows down just enough so that his impact with the wall only dents his car and nothing else.
6. The cop car screeches up behind him and an OFFICER quickly gets out. The officer draws his gun and aims it at Mikey. POLICE OFFICER Hands! Let me see your hands! Mikey sighs and puts his hands up. INT. CAR - LATE AT NIGHT Jason and Guy are driving in a rundown part of town. Lots of abandoned buildings. Lots of garbage on the street. JASON You sure we can’t just bring the stash to the Wizard to hang onto while shit cools off? GUY No, trust me, the Wizard knows the guy we just ripped off, we can’t go to him, we’ve gotta hide it. JASON Wait, the Wizard knows this guy? And we know the Wizard? Doesn’t that put us in a bit of a dangerous spot? GUY No, the Wizard knows us, but he doesn’t know we were the ones on this job. And besides, the Wiz is a pal, he wouldn’t sell us out like that. JASON So where we gonna hide the stash? I thought you said this area was good. GUY This area is good and that’s exactly why we’re here. We’re gonna hide the stash in one of these abandoned houses. No one ever goes into these fuckin’ places and no one would ever think to look in this fuckin’ place for hidden stolen drugs.
7. JASON Okay, I suppose that makes sense. So which house? GUY I’m thinkin’ this one. Guy points at an abandoned house on the corner. GUY (CONT’D) Got two floors and an attic. Figure we hide the shit up in the attic. Seem good? JASON Yeah, let’s do it. Jason pulls the car over. INT. PRISON - DAY Mikey is in an orange prison jumpsuit, being led by PRISON GUARDS down the halls to his cell. We hear the JUDGE from his trial reading the charges against him. JUDGE (v.o.) One count of grand larceny. Mikey walks past cell after cell of other PRISONERS. JUDGE (CONT’D) (v.o.) One count of reckless endangerment. Mikey arrives at his cell at the end of the block and awaits as the guards unlock the door for him. JUDGE (CONT’D) (v.o.) One count of resisting arrest. The guards slide the cell door open and show Mikey inside. JUDGE (CONT’D) (v.o.) And one count of destruction of private property. Mikey sits upright on his cot as the guards slide his cell door shut and lock it.
8. JUDGE (CONT’D) (v.o.) Michael Campbell, you are hereby notified that you are to serve no less than three years in a federal penitentiary, during which time you will exhibit good behavior. Do you understand? Mikey sits in silence, listening to the footsteps of the guards walking away. EXT. SIDEWALK - DAY Jason and Guy are walking down the street. Jason is eating a donut while Guy smokes a cigarette with his coffee. GUY Listen to me, there’s absolutely no way that would ever happen. JASON But Danny said... GUY Danny’s wrong. No matter where you shoot a guy, bullet either goes in and out, or stays in. Never, not once in the history of recorded time has anyone’s head exploded from a gunshot. JASON You know what? I’m gonna prove you wrong. One of these days, when we’ve gotta off a guy, I’ll shoot ‘em right in the correct spot in his head, and you’ll see. You’ll see how wrong you really are. GUY Oh man. I can’t wait. Can’t wait to see that look of disappointment on your face when you realize you’re wrong, followed by that look of realization that you’re sure to have when you realize you’re a fuckin’ idiot for believing somethin’ so preposterous. JASON I’ll show ya. One of these days.
9. They turn the corner to their apartment building and stop dead in their tracks. There is a POLICE CAR parked out front, with two COPS, and an UNMARKED CAR, with two DETECTIVES leaning on it. They all look up at Jason and Guy. INT. BAR - DAY Cigar Sam is seated by himself at a booth in a bar, drinking a glass of wine. CHOPIN is playing from the bar stereo on an old vinyl record. Around the pool table are several other GANGSTERS, all dressed in black suits, playing a game. One of the gangsters approaches the record player and turns the volume down a little. Walking back to the pool table, he sees Cigar Sam glaring at him. He about faces and goes and turns the music back up. Sam looks back down at his wine and the gangster returns to his game. The door to the bar opens and in walks DONNY, 40, also in a black suit. Donny goes straight to Cigar Sam and whispers in his ear. DONNY No word or sign of the coke. Likewise for those two fuckin’ clowns. Sam finishes his wine and gets up. The BARTENDER goes to front door and flips the sign from ‘open’ to ‘closed.’ Sam walks into the back room of the bar, where, tied up in a char, sits THE WIZARD, 35, a kind of nerdy and boyish looking guy with glasses and a hoody. Beside him stands Sam’s bodyguard. Sam pulls up a chair in front of The Wizard.
10. CIGAR SAM Wizard, you know that we’ve always been happy with your services, and that it’s always a pleasure for you to stop by, but perhaps it’s time I tell you why they call me Cigar Sam. The Wizard swallows heavily. CIGAR SAM (CONT’D) You see, my father was a bookie. Not a very good one. He owed some money to some people. Oh, I also forgot to mention, he was an alcoholic too. Sam’s bodyguard closes the door to the rest of the bar and walks back over to The Wizard. CIGAR SAM (CONT’D) So, when I came downstairs late one night, and he was stone drunk in his office, in front of a desk full of papers, it was exceedingly careless of me to spill his bottle of whiskey all over him and his ledger. Sam takes a cigar out of his jacket. He runs it under his nose and inhales deeply, savoring the body and flavor of the scent. He cuts off the tip, puts it in his mouth, and lights it. CIGAR SAM (CONT’D) In my father’s drunken fury towards me, he reached for the nearest item to him, which, in this case, was a lit cigar, and, he shoved the burning end into my eye. Sam stands up. His bodyguard grabs The Wizard by the head and holds his eye open. The Wizard struggles and thrashes but the bodyguard is too strong. CIGAR SAM (CONT’D) Wizard, who stole my coke?
11. The Wizard hesitates for a moment, so Sam takes a deep puff of his cigar, blows the smoke in The Wizard’s face, and holds the cigar over his eye, like a knife. THE WIZARD Alright! It was two small-time crooks named Jason and Guy. They live in Korea Town and work freelance. I swear I don’t know how they knew about your coke. Sam takes another puff on his cigar. The Wizard looks terrified, on the verge of tears. He pisses his pants. Beat. CIGAR SAM Thanks Wizard. Have a drink on the house. Sam opens the door and exits the room. INT. PRISON - DAY Mikey is sitting in his cell, reading, when he hears shouting coming from the end of the hall. He gets up and peers through the bars to see Jason and Guy, both clad in orange prison suits, being restrained by the prison guards. JASON Hey, no need to search me down and grab my balls ya fuckin’ gorilla! The guards open a cell door and shove Jason and Guy inside. The close the door and walk away. JASON (CONT’D) Your mother sucks cocks in hell! GUY Real original, Jason. INT. PRISON CAFETERIA - DAY Mikey is shuffling down the lunch line with his tray of disgusting food.
12. SHANE, 37, a beast of a man with neck tattoos and a shaved head is a couple of spots in front of Mikey. Shane gets down to the end of the line and Mikey notices the FOOD SERVER behind the counter discreetly slip him something that Shane hides in his prison suit. Shane looks up at Mikey just as he puts his head down and keeps to himself. Shane walks down past the tables towards one inhabited only by Jason and Guy. He approaches them and firmly clamps his hand over Guy’s mouth as he shanks Jason in the neck. He immediately shanks Guy in the neck and walks away, out of sight. Jason and Guy sit, dead and bleeding all over their table for a good beat before a PRISONER yells in shock, causing everyone, including Mikey to turn their attention and notice the bodies. Chaos erupts in the cafeteria. Prisoners start attacking the guards, who throw tear gas into the crowd. Mikey stands by the lunch line with his hands in the air, eyes wide shut, nervously hyperventilating. The guards open fire on the crowd advancing on them. Prisoners collapse to the floor and eventually the guards surround the remaining prisoners, who yield and put their hands in the air. INT. PRISON HALLWAY - LATER Mikey, face slightly bruised, along with several other prisoners, get escorted back to their cells by armed guards. EXT. PRISON - DAY Three years later. Mikey is being released. As he is walking through the gates, he is talking to WALT KABLONSKY, 60, a cop. Kind of the grizzled Clint Eastwood type, but not so old-looking.
13. WALT Listen Mikey, don’t go fucking about now. If there’s anything I felt I’ve taught you, it’s that not many people get a second shot. You’re lucky. MIKEY I wouldn’t have made it all three years without your help. WALT Don’t thank me yet. I’ve got one other thing to tell you before you go home to Shellie. They halt just before crossing the final gate. WALT (CONT’D) The new mayor just introduced a gentrification plan for the projects on the south side. I’ve got a buddy in the construction business who hires ex-cons. Mikey opens his mouth to speak but Walt puts a hand up to silence him. WALT (CONT’D) I’ve set you up with a job working on this project. Not taking no for an answer. MIKEY I’ll do that Walt. Thank you. They hug it out and Mikey walks through the prison gate. EXT. PRISON PARKING LOT - DAY Mikey walks through a dirt parking lot, looking around. Out of an old, kind of beat-up 70s model FORD PINTO, emerges SHELLIE, 29, a strikingly attractive blonde who wouldn’t look too out of place roller skating from car to car at a drivein. She runs over to Mikey, who drops his bag and the two hug passionately. Hey you. MIKEY
14. They stare at each other with a palpable sense of having missed each other. Mikey kisses Shellie. MIKEY (CONT’D) I’ll drive. INT. CAR - SUNSET Shellie leans against Mikey as he drives. Both windows are rolled all the way down, allowing the breeze to flow through each of their hair. EXT. CONSTRUCTION SITE - DAY Mikey is dressed in a dirty undershirt, with a tool belt and hard hat. The FOREMAN walks past Mikey with a douchey fake smile on. FOREMAN How’s it comin’ Mikey? MIKEY Best job I ever had. The foreman walks away, just a step before Mikey finishes his sentence. Mikey rolls his eyes and shakes his head as he continues his work. He looks out towards the street and sees Walt sitting in his parked unmarked cop car. MIKEY (CONT’D) (to fellow construction worker) Hey I’m gonna take five. The WORKER nods. Mikey cheerfully walks over to Walt’s car and gets in. INT. CAR - DAY Mikey and Walt inhabit the front seats.
15. WALT How’s the work? MIKEY Best job I ever had. WALT Pshh. The only job you ever had. MIKEY Yeah, so, I ain’t lyin’. Walt pulls out a little bag of weed and starts rolling a joint. MIKEY (CONT’D) Nah, though. It’s okay. It’s work. WALT Glad to hear. Walt seals the joint and lights it. He takes a hit and passes it to Mikey. Mikey hits it as Walt coughs. MIKEY Oh man, this shit is way better than what we got in the joint. WALT That’s the outside for ya. MIKEY This stuff from Phil? Sure is. WALT
MIKEY How is he these days? I’ve gotta pay him a visit soon to pickup some of this shit. WALT Same as always. When I was over there he was watching some crazy Japanese game show. Mikey perks up excitedly. MIKEY He showed you that too?
16. WALT Showed me what? MIKEY The game show where they get pepper sprayed up the ass then run around an ass-irritating obstacle course. WALT That’s the one. Mikey is laughing hard thinking about the show. WALT (CONT’D) Oh, grow up. It’s not that funny. MIKEY (joking) Okay, dad. Beat. WALT So how’s Shellie? MIKEY She’s great. Still designing dresses. WALT Oh yeah? Sell any? MIKEY No, not yet, but once she does I can worry a lot less about finding a job after this. WALT You two still coming over Sunday night? MIKEY Yep, we’ll be there. WALT What I like to hear. Walt finishes what little of the joint is left. WALT (CONT’D) Well I’ll let you get back to playing with your little building blocks.
17. MIKEY Yeah and I’ll let you get back to beating up black people, copper. Walt chuckles as Mikey gets out of the car. WALT See ya Sunday Mikey. Mikey waves as he heads back to the construction site. INT. MIKEY’S APARTMENT - NIGHT Mikey enters his apartment. It’s pretty neat, but not enough to say that it’s a neat apartment. Low-budget furnishings, mostly Ikea and thrift store items. He takes off his jacket and tosses it on the couch. Shellie? MIKEY
Shellie’s voice comes from behind the bathroom door. SHELLIE (o.s.) In here. Just a minute. Mikey strolls into the kitchen and pours himself a bowl of cereal and puts on a pot of coffee. Shellie comes in and puts her arm around him. SHELLIE (CONT’D) Hey there. How was work? MIKEY Same old shit. Shellie sees that Mikey’s having cereal for dinner. SHELLIE Oh come on Mikey, have a real meal for once. MIKEY This is a real meal. See, even says on the box. “Part of a balanced breakfast.” SHELLIE You ain’t eatin’ breakfast Mikey.
18. MIKEY Anytime’s a good time for breakfast. I put some coffee on too if you want any. Uuummm... SHELLIE
MIKEY Right. I forgot how you are about hot beverages. SHELLIE Well am I wrong? You’ve met my aunt. Mikey starts laughing. MIKEY That’s right, with the burns on her tongue that makes her talk like Don Corleone. SHELLIE Yeah, and you know how she got that burn? Coffee was too hot. MIKEY Oh man, you have no idea the selfrestraint that I have to use not to start quoting The Godfather around her. Mikey is still laughing. SHELLIE Oh come on quit laughing, it isn’t that funny. MIKEY What, me laughing? What about you? Shellie isn’t quite laughing, but she’s totally cracking a grin and holding it back. SHELLIE All I’m sayin’ is I’d rather not get second-degree burns from a beverage. Beat.
19. SHELLIE (CONT’D) So, have, uh, have you thought about what you’re gonna do in the future? Mikey slows his chewing down, caught off guard by the question. MIKEY What do you mean? SHELLIE Well I know you’re not in the most ideal spot for up and starting a career, but you can’t keep working construction forever. MIKEY What’s the rush? Well... SHELLIE
MIKEY As long as I’ve got enough money to buy PBRs and Reds, I’m all set. SHELLIE Quit joking around, I’m trying to be serious for a second. MIKEY Why are you so worried anyway? Don’t you have dresses you can sell? Shellie sighs, frustrated. She pulls her arms out from beneath the table to reveal a HOME PREGNANCY TEST in her hands. She shows it to Mikey. It reads positive. Mikey freezes and stops eating. He has a momentary look of ambivalence on his face before becoming joyous. Shellie notices the ambivalence. Mikey hugs Shellie.
20. MIKEY (CONT’D)
He smiles and chuckles. MIKEY (CONT’D) I don’t know what to say, babe, this is wonderful. Mikey puts his hand on the back of Shellie’s head and strokes her hair. SHELLIE Yeah. It is. I... Shellie looks down, then back up. SHELLIE (CONT’D) I need something from you right now though. What? MIKEY
SHELLIE I need you to be the best for me. I can’t have you ever leaving me alone again. I need to know that isn’t you anymore because now with this baby on the way, I’m not gonna be able to sell dress designs for a while. That means this kid’s future is on you. Can you handle that? Mikey leans in to her. MIKEY I know I’ve fucked up before, but that was then. You can count on me. Shellie smiles, somewhat with a sense of relief. She hugs Mikey tight, seeming a bit more endearing now. He kisses her. EXT. CONSTRUCTION SITE - DAY Mikey and the construction crew are standing around an old abandoned house as the foreman speaks to them. It’s the same abandoned house where Jason and Guy had stashed the drugs before they were arrested.
21. FOREMAN Okay boys, listen up. This is the last house on the block. That means last house of the project. It’s a fixer-upper, so enjoy. He points to some of the workers. FOREMAN (CONT’D) You, you, and you. Start in the basement. He points at some others. FOREMAN (CONT’D) You guys, take the first floor. He points at a few others. FOREMAN (CONT’D) You all. Second floor. He points at Mikey and JAY, 36, a down-home-on-the-farm type guy. FOREMAN (CONT’D) And you two. Attic. I want to see working, not jerking, okay. Let’s go. The workers break and head to their respective areas. Mikey walks over to the foreman. MIKEY This is the last house we’re doing? FOREMAN That’s what I said. MIKEY So, is there any work to be done once we finish this? FOREMAN ‘Fraid not. Mikey looks deep in concerned thought. FOREMAN (CONT’D) Come on now, I don’t want to be here all day. Mikey seems to snap out of a daze.
Oh, sorry. INT. ATTIC - DAY
Mikey and Jay are working in the attic, ripping up old rotting floorboards. Mikey is on one side of the room and Jay is on the other. MIKEY That’s the point though, it’s not supposed to be some masterpiece of a movie, it’s a tribute to those old B-movies that didn’t have great production value, but still stirred up something inside of you. Made you feel like getting on a fuckin’ motorcycle and driving down an empty highway at four in the morning, blasting Elvis as loud as she goes. JAY Yeah but everything in that movie looks so fake. How do they expect me to stay invested? MIKEY No, see again, man, you ain’t listenin’ to what I’m preachin’ here. The Rocky Horror Picture Show looks the way it does on purpose. The ridiculous costumes and sets. Man, it’s like bein’ at a Halloween party. JAY So it’s a Halloween movie? MIKEY No man. No. I mean yes, but, no. JAY Yes but no? MIKEY You either get it or you don’t. JAY I can feel your judgement from over here.
23. Mikey chuckles. MIKEY (sarcastic) Hey, no judgement from me poppa G. Jay laughs and gets up. JAY I’m gonna take a piss. This argument ain’t over. Jay leaves. Mikey finishes ripping up a floorboard and moves to the next one. He pulls it up, revealing the two canvas bags Jason and Guy had stolen from Cigar Sam underneath. Mikey curiously opens the bags and sees all the baggies of cocaine inside. MIKEY Well, hot patootie, bless my soul. Mikey stares at the bags for a moment, unsure of what to do. He stands up, walks to the other end of the room, and walks back, only to see that the cocaine is still there. He hears Jay’s footsteps coming back up the attic stairs, so he quickly grabs both canvas bags and puts them inside his work bag just before Jay steps back into the room. EXT. CONSTRUCTION SITE - DUSK Mikey and Jay are packing up their tools as other workers are leaving. The foreman comes up to them. FOREMAN I’m not waitin’ around for you two slackers. Be here tomorrow at seven. MIKEY We ran late because we found a wasp nest in the drywall. The foreman is already walking away, not listening.
24. MIKEY (CONT’D) Fuckin’ prick. Mikey looks down into his tool bag and looks at the canvas coke bags, unsettled. JAY Mikey, is my hammer out here? MIKEY It’s inside in the dining room. So is my monkey wrench. INT. CONSTRUCTION HOUSE - DUSK Mikey and Jay walk into the house, through the front foyer and into the dining room. In the middle of the room sits a RACCOON, clutching Mikey’s monkey wrench. Mikey runs forward. MIKEY Hey you little thief, that’s mine! The raccoon runs away as Mikey chases it. Jay also chases after it. Mikey and Jay chase the raccoon throughout the house. It still has the monkey wrench. Eventually Mikey and Jay chase it into a corner. JAY Okay, watch out, I got this. What? MIKEY
JAY Well you don’t want to get hit do you? Stand back a bit. Jay raises his hammer. MIKEY What the fuck are you doing?
25. JAY What? I’m gonna hit the raccoon with a hammer. Get your wrench back. MIKEY No, you aren’t. JAY Relax, I used to deal with vermin on the farm all the time back when they’d be stealin’ food from our hens. MIKEY You used a hammer? JAY Well, no, but right here and now I seem to find myself with a hammer in this here situation. MIKEY Look, don’t kill this thing with a hammer. Jesus. I’ll get the wrench back myself. Jay shrugs. JAY Okay. Say goodbye to your wrench though. Mikey slowly and cautiously approaches the raccoon. MIKEY Hey little buddy. Jay rolls his eyes, watching. Mikey bends down and reaches out to the raccoon. It crawls into Mikey’s arms and he picks it up. He takes the wrench as the raccoon crawls onto his shoulder. MIKEY (CONT’D) Fuckin’ Jesus, Jay. EXT. CONSTRUCTION SITE - DUSK Mikey and Jay emerge from the house, raccoon still on Mikey’s shoulder.
26. Mikey bends down and lets the raccoon climb to the ground. It scampers away as Mikey watches. JAY Christ, Mikey. For a minute there I thought you’d give that little critter a name and take it home with ya. Mikey chuckles. MIKEY No man. I like that little guy though. Mikey and Jay each put their respective tools away and close their bags. JAY C’mon man, let’s go grab a brew at the tap. MIKEY Eh, I wish, but I should get home to Shellie. JAY Aw come on man. MIKEY Fine. One or two drinks then I gotta dart. INT. BAR - NIGHT Mikey and Jay take a seat at the bar. The BARTENDER approaches the two of them. JAY Whiskey sour for me, but I’m pretty sure my friend here will have a Shirley Temple. MIKEY Yeah, yeah, real fuckin’ funny. Gin and tonic. The bartender goes to fetch their drinks. WILLIE, 42, an unkempt and unshaven man despite his nice clothes, slides up to the bar.
27. WILLIE Would either of you fellas happen to be betting men? Depends. MIKEY
WILLIE Ponies. Got a sweet piece of action riding tomorrow. MIKEY No, see there’s nothing I can do there to influence the outcome of that. WILLIE Ain’t that more thrilling sometimes? MIKEY I suppose you ain’t wrong, but there’s a time and a place for it and I’m just not feeling it. Gonna have to pass, sorry. I don’t leave things like that up to chance. WILLIE Neither do I. Thanks for the time though. Wille gets up and leaves just as the bartender returns with Mikey and Jay’s drinks. BEGIN MONTAGE: I. The two of them play pool. There are several empty bottle on the side of the table. II. The bartender serves flaming shots, which Mikey and Jay drop into their beer glasses and chug. III. Mikey and Jay stagger out of the bar, wasted. :END MONTAGE INT. MIKEY’S APARTMENT - NIGHT Mikey walks through the door, still pretty drunk. Shellie emerges from the bedroom, looking agitated.
28. SHELLIE Jesus, Mikey! It’s one in the morning. Where the hell were you? MIKEY Went and had a few drinks after work with Jay. Who? SHELLIE
MIKEY Jay. He’s a co-worker. Cool dude. Shellie is still annoyed. SHELLIE Well thanks for letting me know. MIKEY I’m sorry, I just, you know... Mikey is slurring his words. SHELLIE Look, you’re drunk. We can talk about it in the morning. Just get some sleep now. Shellie takes him by the arm and walks him to bed. MIKEY I’m sorry. So sorry. I love you so much. Mikey collapses on the bed and falls asleep before Shellie can even respond. Shellie sighs and looks at him. SHELLIE Love you too. INT. CONSTRUCTION HOUSE - NEXT DAY Mikey and Jay are both working in the attic again. MIKEY Well look, the matter isn’t over whether or not it’s all that of a masterpiece. (MORE)
29. MIKEY (CONT'D) I mean, don’t get me wrong, it’s pretty great, but I’m more just stunned by the fact that you haven’t seen it. JAY Mikey, you’re forgetting that I grew up on a farm. We didn’t watch very many movies, and if we did, my daddy always said he didn’t wanna seem ‘em if Tom Waits wasn’t in ‘em. MIKEY I can appreciate that man, but there’s just something wrong with an adult male who’s never seen Star Wars. The foreman’s voice comes from downstairs, shouting up. FOREMAN (o.s.) Lunch! One hour! Mikey and Jay stop working. MIKEY Hey, listen, I’ve gotta duck out. Cover for me this afternoon, yeah? JAY (annoyed) Fuckin’ A, Mikey. MIKEY I know, I know, it’s shitty. But I gotta do somethin’ alright? I’ll get ya a six-pack. JAY Shiner Bock? MIKEY I’ll get ya a six-pack of Shiner Bock. JAY Fuckin’ A Mikey, we got a deal. They shake on it.
30. INT. PHIL’S APARTMENT - AFTERNOON A small, messy apartment. Large, expensive-looking bongs overlook clothes strewn about and empty food and soda containers scattered around everywhere. PHIL, 28, out of shape, sits in his bathrobe, eating cereal on the couch, watching Road Runner and Wile E. Coyote. The doorbell rings. Phil groans. He shuffles over to the door and opens it to Mikey, who’s holding both canvas bags he found in the house. PHIL Ay, Mikey! Come on in! Mikey enters the apartment. MIKEY Long time, eh? PHIL No fuckin’ kidding. I actually don’t even know exactly how long it’s been. MIKEY Three years. PHIL Right. Sorry, I’m not good with time and dates and stuff. Mikey laughs. MIKEY So what’ve you been up to this whole time? PHIL Ah, you know. Smokin’ and stuff. Mikey laughs. Okay. MIKEY
PHIL So what brings you by? Came to pick up?
31. MIKEY Well, not exactly, Phil. I, uh...was wondering if, in your professional expertise, you could help me out with something. Phil looks intrigued. PHIL Lay it on me. MIKEY I’ve found myself in the unique and advantageous position of having acquired a pretty hefty stash of coke without anyone else’s knowledge. Phil sits up. MIKEY (CONT’D) I want to sell it. Doesn’t have to be for every single penny it’s worth, just needs to be quick. Beat as Phil looks at Mikey, curious. MIKEY (CONT’D) Know anyone? PHIL Jesus, Mikey. Since when did you step up from your small time shit to the big leagues? Is this a favor for someone in the slammer who protected you? MIKEY No, it’s nothing like that, trust me. The less I tell you, the better off I think you’ll be. I just need a name of someone I can go to. Beat. MIKEY (CONT’D) Walt can’t know about this. PHIL I sell pot. Not coke. What makes you think I would have that resource?
32. MIKEY Hey, look, you’d know more than me man. Phil sighs. PHIL Well, there was one guy I once worked with who might be more knowledgable than I. It was a few years ago though, and I don’t really know the guy too well, so don’t hold me liable if he can’t help you. MIKEY Alright. Who is he? Where can I find him? PHIL His name’s Vince. MIKEY I need you to get me in touch with him. Phil looks reluctant, almost angry at Mikey. Fine. PHIL
EXT. PAYPHONE - NIGHT Mikey is on the phone. MIKEY (into phone) Yeah, hi, Seymour Scagnetti please. Beat. MIKEY (CONT’D) (into phone) He’s my parole officer. Beat. MIKEY (CONT’D) (into phone) Yeah, I’ll hold. Beat.
33. MIKEY (CONT’D) (into phone) Hi Seymour. This is Mikey Campbell. Beat. MIKEY (CONT’D) (into phone) Yes, I am aware of the time. Beat. MIKEY (CONT’D) (into phone) Oh, gee, no, I’m sorry, I didn’t think you’d be asleep already. Beat. MIKEY (CONT’D) (into phone) Yes sir. Beat. MIKEY (CONT’D) (into phone) No sir. Beat. MIKEY (CONT’D) (into phone) Yes sir, I’m working construction. Beat. MIKEY (CONT’D) (into phone) Yes that’s right. Beat. MIKEY (CONT’D) (into phone) Yes sir. Thanks. Sorry again for waking you. Bye. Mikey hangs up the phone. MIKEY (CONT’D) (to himself) Fucking asshole.
34. EXT. APARTMENT BUILDING - DAY Mikey is standing just outside the doorway of a crummy, rundown-looking apartment building in a bad part of town, nervously clutching his canvas bags and smoking a cigarette. He stands and looks around at the street for a moment, watching PASSERSBY. SAL, 44, a disheveled guy with a thick New York accent approaches Mikey. SAL Hey buddy, you got a cigarette I can bum? Mikey feels in his pocket. Yeah. MIKEY
He pulls one out and hands it to the guy. Hey ya go. MIKEY (CONT’D)
The guy puts it in his mouth. SAL You got a light too? Mikey chuckles as he pulls out a lighter. MIKEY You don’t smoke do you? SAL No. They just put my old man in the hospital. My wife won’t speak to me. My kids won’t shut up. My boss is a prick and a half but he gets away with it ‘cause I need the money. Always bustin’ my balls. I got a rash on my ass that chafes when I sit down. I can’t solve any of these problems right now, so I’m just gonna smoke this cigarette and forget about ‘em for a couple minutes. Beat as Mikey looks at the guy. Jesus. MIKEY
35. SAL What’s your name pal? Mikey. MIKEY
Sal reaches out to shake hands. Mikey obliges. SAL I’m Sal. Pleased to meet ya. Likewise. MIKEY
SAL Anyone ever tell you that you look like Lee Marvin? Mikey looks nothing like Lee Marvin. MIKEY (laughing) Can’t say as anyone has. SAL As a kid I had an Italian nanny. You know how the Italians are. Always yammering on. Sal does a caricature impression of what Italian speech sounds like. SAL (CONT’D) She used to say I looked like Karl Malden. I never knew who that was so it always annoyed me. Then one day I saw On the Waterfront and was staggered by it. I wanted to talk about Karl Malden all day with her, but that was the very day she got a new job. Beat. SAL (CONT’D) Never saw her again. Shame. They both simultaneously finish their cigarettes. SAL (CONT’D) Anyways pal, thanks for the cigarette. Take it easy.
36. MIKEY Yeah, you too. Sal walks away. MIKEY (CONT’D) (to himself) There goes Sal. Mikey wears a puzzled expression, like ‘am I dreaming right now?’ After a beat, the door in the alcove of the apartment building opens, and ELI, 30, an unkempt guy with bags under his eyes in a beaten-up leather jacket and greasy hair, looks both ways down the street before focusing on Mikey. You Mikey? Mikey nods. Eli eyes the canvas bags Mikey’s holding. Is that? Mikey nods again. Eli squints his eyes and gives Mikey a once over. ELI (CONT’D) Alright, come on up. INT. APARTMENT STAIRCASE - DAY Mikey follows Eli up the stairs. Beneath the flickering fluorescent lights, paint is peeling off the water-stained walls and the banister is loosely dangling from its holds. INT. VINCE’S APARTMENT - DAY Eli escorts Mikey into Vince’s small apartment. Aside from the old, stained mattress with bed bugs in the corner, the junky, pawn shop-purchased TV, a coffee table fished out of a dumpster, and the couch you wouldn’t want to sit on with a passed-out GIRL, 24, on it, the living room is bare. ELI (CONT’D) ELI
37. Just like in the stairwell, paint chips are flaking off the walls. NINE INCH NAILS blasts from the next room, where VINCE, 40, long greasy hair slicked back over his head, and wearing a dirty wife-beater, emerges from. VINCE (to Eli) This the guy? Eli nods. Vince extends his hand to Mikey. VINCE (CONT’D) Vince. Nice to meet you. Mikey shakes. Mikey. MIKEY
As they shake hands, Mikey notices trackmarks on Vince’s arms. VINCE So, I understand you have some product? MIKEY That’s right. VINCE Well then, let’s have a look. Mikey sets the bags on the coffee table and opens them. Vince sits down on the couch. Eli stands by the door, behind Mikey. May I? Mikey nods. Sure. MIKEY VINCE (CONT’D)
Vince pulls a switchblade out of his boot and cuts a slit in one of the little baggies of cocaine.
38. He takes a bump of the coke on the edge of his blade, brings it up to his nose, and sucks it up. Hot damn! VINCE
Eli grins as Vince rubs his nose. VINCE (CONT’D) Well now that there is some goddamn sweet, sweet nose candy. Best I’ve come across in a while. Can tell you didn’t cut it with nothin’. Mikey remains silent, though still appears a bit apprehensive. VINCE (CONT’D) Somethin’s a tellin’ me to do a little business with you eh? I can feel it. Feel it in my nose and in the back of my throat. Vince laughs at his own joke, as Eli joins in. Mikey feigns laughter as best he can. The door buzzer goes off. VINCE (CONT’D) Aw, who in pig shit is that? Eli answers the buzzer. Yeah? A voice responds. VOICE (o.s.) Hey man, it’s Billy and Johnny, mind if we come up for a minute? Eli looks at Vince. Fine. VINCE ELI
ELI (into buzzer) Be right down. Eli walks out the front door, down the stairwell.
39. There’s a beat of awkward silence as Vince looks at Mikey standing in his bare living room. Vince leans forward, grinning. Hey... VINCE
He flicks his eyebrows up, like ‘check this out.’ Mikey obliges his attention. Vince beckons at the passed-out girl on the couch. VINCE (CONT’D) This is my girlfriend, Sandra. Vince puts his hand up the front of Sandra’s skirt. As he does so, Mikey notices a handgun tucked into the back of his belt. Vince, still with his hand up Sandra’s skirt, turns to Mikey and makes an excited facial expression. He pulls his hand out and holds his fingers under Sandra’s nose, and brushes them over her lips. Mikey watches, not liking what he’s seeing. VINCE (CONT’D) She never lets me kiss her after I go down on her ‘cause she says she don’t like the taste o’ her pussy juice. Well how does she think I fuckin’ feel huh? Vince finally takes his hand down. VINCE (CONT’D) Fuckin’ jokes on her now, eh? Vince cracks up with laughter. Mikey feigns an amused grin. The door opens and Eli walks through with BILLY, 25, and JOHNNY, 27, behind him. Vince quickly closes over the bags of cocaine on the table. JOHNNY Hey Vince, how’s it hangin’?
40. There’s a quiver in his voice. VINCE Fraid I’m gonna have skip the formalities boys, I’m kinda in the middle of somethin’ here. He beckons towards Mikey. Johnny extends his hand towards Mikey. JOHNNY Hey man, how’s it going? Mikey remains motionless as he looks at Johnny. Johnny retracts his arm. VINCE So what’ll it be? JOHNNY Monkey dust. Just need a couple grams. Johnny is trembling at this point. He pulls his jacket tighter around him. VINCE Eli, go get him what he needs. Eli walks into the next room. VINCE (CONT’D) (to Johnny) You got the money? Yeah. JOHNNY
Johnny fumbles in pulling some crumpled up twenties and drops them on the table. Vince picks them up and counts them. Mikey watches Billy, who is biting his lip so hard that it starts to bleed. Eli returns with a couple of pharmaceutical prescription canisters full of pills. He looks at Vince.
41. Vince nods. Eli tosses the canisters to Johnny and Billy, both of whom drop them and scramble to pick them up. Eli chuckles at this as Vince looks up and grins. Both Billy and Johnny clutch their canisters and shove them into their pockets. VINCE Til next time boys. JOHNNY Thanks Vincent. Thank you. BILLY
Eli opens the door and Billy and Johnny leave. Eli shuts the door and stands back in front of it. So, Mikey. VINCE
Mikey looks back over to Vince. He sees Sandra lick her lips in her sleep. Her first movement. VINCE (CONT’D) Back to business, eh? Let’s talk details. I’m prepared to give... Mikey interrupts him. MIKEY You know what, I’m gonna stop you here, for a second. Vince looks surprised. MIKEY (CONT’D) I, uh, I’m not actually sure I want to sell this just yet. What? VINCE
He chuckles to himself as he speaks.
42. VINCE (CONT’D) You’re well past that point, my friend. Vince takes another bump of coke from the edge of his knife and snorts it. He stands up. VINCE (CONT’D) I know that you didn’t get in contact with me and bring your extremely fine product over to my own fucking apartment just to piss in my face and not sell it to me. Mikey remains stoic-looking as Vince stares him down. Vince’s face morphs into one of extreme anger. VINCE (CONT’D) You know what? Fuck selling! I’m not buying shit from you! But I will be taking and keeping this fucking nose candy, and there isn’t a goddamn thing you can do about it. Vince holds his knife up to Mikey’s throat. Mikey grabs Vince’s arm and squeezes it hard, causing Vince to drop his knife and howl in pain. Eli lunges toward Mikey. Mikey lets go of Vince, who crumples to the floor. Eli and Mikey wrestle and go at it for a bit, before Mikey is able to grab Eli’s head and shove it down into a MIRROR on the floor. The mirror shatters and the floor becomes awash in blood and broken glass. Mikey goes over and zips up and collects his canvas bags from the coffee table as Vincent struggles to pull his gun out from the back of his pants. He pulls it out just as Mikey heads for the door. Vincent fires all around the room, but can’t hit Mikey because of his weak, bruised arm.
43. VINCE (CONT’D) Fuck you! Fuck you! Mikey flinches with each gunshot, but makes it out the front door. EXT. STREET - DAY Mikey walks down the sidewalk with his bags, shaken up. He goes a block, and sees his car parked another block down. He walks towards it. As Mikey walks, he passes a gas station, where there are two COPS leaning against their parked car. They see Mikey look at them. He looks down and keeps walking. The cops casually get in their car and slowly start down the street, behind Mikey. Mikey abruptly turns into an alley and picks up his pace. He looks back, and upon not seeing the cop car, runs. Mikey emerges from the end of the alley and runs down the street. He runs around the block, evading the cop car. Mikey books it to his car, gets in, and ducks down just as the cop car comes driving around the corner. The cop car drives past Mikey’s car with Mikey still ducking down inside. Mikey strains himself to get as low as he can. The cop car goes past and further on down the street, eventually turning. Mikey perks up, quickly starts his car and drives innocuously but hastily away. INT. MIKEY’S APARTMENT - DAY Mikey enters his apartment, still shaken up, but trying to quickly compose himself. Shellie? MIKEY
44. No response. MIKEY (CONT’D) Hello? Shellie? Still no response. MIKEY (CONT’D) (to himself) Not home yet. Thank god. Mikey eases up a bit and goes and puts the canvas bags in his work bag. He goes into the bathroom and splashes water on his face. As he looks in the mirror, he notices an open fresh cut just below his eye. He tends to the cut and cleans himself up. As Mikey is in his bedroom putting on cleaner clothes, he hears the front door. Shellie? (o.s.) Mikey? In here. MIKEY (CONT’D) SHELLIE
SHELLIE (o.s.) Gee, you’re home early. I just went shopping. Mikey finishes getting dressed. Shellie walks into the bedroom just as Mikey turns to face her. Oh my god! SHELLIE (CONT’D)
She briskly walks over to him and caresses the scar on his face. SHELLIE (CONT’D) What happened?
45. MIKEY Just an accident at work. Wooden beam fell and cracked me in the cheek. Oh my god. SHELLIE
MIKEY Don’t worry about it though. I’m fine. Didn’t even really hurt. That’s why I’m home early. Shellie looks at him skeptically. MIKEY (CONT’D) What’d you get from the store? SHELLIE Well, just some groceries, but I also went and got a few baby books. I thought that maybe in your spare time you could chip away at ‘em and have them read by the time you’ll need to have them read. Mikey looks like that’s the last thing on his mind. MIKEY Sure, baby, sure. Here, let’s go in there, I’ll help fix us some dinner. SHELLIE It’s a tad early, no? MIKEY I don’t mind. INT. BAR - NEXT DAY Vince is escorted into the bar by Donny. His face is bruised and beaten-up. DONNY Take a seat Vince, Sam’ll be with you in a minute. Vince sits down in an unoccupied booth. The bartender shouts from behind the bar.
46. BARTENDER What’ll it be? Red Dog. VINCE
The bartender cracks open a can and brings it to Vince. Sam enters and sees Vince sitting at the booth. CIGAR SAM Vince. Good to see you. to excuse my tardiness, matter to attend to. We fresh supply of product distribute though. Sam sits across from Vince. CIGAR SAM (CONT’D) Good Christ, what the hell happened to your face? VINCE Oh, got in a bit of a fight with this shithead who busted up Eli real bad. Over what? CIGAR SAM You’ll have but I had a do have a for you to
VINCE This fuckin’ guy wants to sell me two and a half pounds of uncut cocaine... Sam becomes very solemn, listening to Vince. VINCE (CONT’D) ...but then backs outta the deal at the last second, roughs up Eli and me, trashes my fuckin’ place, then splits man. Vince stops talking because he sees the serious and intense expression on Sam’s face. CIGAR SAM Did you say two and a half pounds of uncut cocaine? Yeah, why? VINCE
47. CIGAR SAM You get this prick’s name? VINCE Yeah, name was Mikey. CIGAR SAM (to Donny) Donny, get everyone down here now. DONNY Sure thing boss. Donny leaves the room. CIGAR SAM So Vince, tell me about this Mikey fellow. VINCE What’s this about? CIGAR SAM Since you are being so kind as to tell everything I want to know from you, that’s my fucking coke Vince. That’s my fucking coke that moron was trying to flip on you. My fucking coke from three years ago Vince. Three years. You know how much it worries a man of business, such as myself, when two and a half pounds of uncut cocaine go missing? VINCE Really? Well, perhaps whatever I know about this guy is worth somethin’ eh? Eh? Cigar Sam stares at Vince, deadpan and grave, before letting out an exasperated sigh, and wiping his brow. CIGAR SAM I couldn’t give a fuck less about the extra percentage your distribution of my product is making me. I can live without it. Sam takes an extended pause.
48. CIGAR SAM (CONT’D) What you can’t live without, among several things, is your shriveled little two-inch junkie pecker, so unless you want to take pisses through catheter tubes the rest of your life, you better give me an answer if I ask you a goddamn question. Vince nods. CIGAR SAM (CONT’D) Good. Now, you were saying? INT. POLICE STATION - DAY Walt walks into the police chiefs office. Sitting behind his desk is CHIEF ELLROY, 60, looks like he belongs in a boxing ring. WALT You asked to see me? CHIEF ELLROY Yes, have a seat. Walt sits. CHIEF ELLROY (CONT’D) I’m taking you off the Drexel case. Walt cocks his head. WALT Come again? CHIEF ELLROY I know you were eager to get back in the field, and that’s why I’m gonna reassign you to something else. Walt opens his mouth to speak but is interrupted by Chief Ellroy. CHIEF ELLROY (CONT’D) Not to worry, Nicholson and Dimes are taking care of the Drexel case. WALT So what are you reassigning me to?
49. CHIEF ELLROY We’ve been picking up reports of increased drug dealing activity coupled with violence on the south side. We think this may be an indication of a rather sizeable trade going down. I want you to assemble a task force to investigate this and bust these fuckers so they can’t see another sunny day outside of prison bars. WALT What activity are you talking about? CHIEF ELLROY Two off-duties pursued and lost a very suspicious-looking guy carrying large bags the other day just a block from where there were reports of gunfire. This coincides with other leads we’ve been following that relate to Sam DeLuca. Cigar Sam. WALT
CHIEF ELLROY Exactly. It’d be nice to finally put that piece of shit away. WALT Yes it would. CHIEF ELLROY Can I count on you for this? Walt nods. Oh yeah. WALT
INT. PHIL’S APARTMENT - NIGHT Phil is sitting on his couch, smoking a bong in front of a paused video game. His door opens and Cigar Sam and a couple cronies enter. Hello? PHIL
50. CIGAR SAM It’s Phil isn’t it? Um, yeah. PHIL
Vince follows Cigar Sam through the door. Phil recognizes Vince and immediately becomes visibly frightened. CIGAR SAM We won’t hurt you if you tell us what we want to know. If you give us bullshit, then make no mistake. We will hurt you. Sam pulls out a straight razor from his jacket as his cronies grab Phil and hold him still. Phil drops his bong in the process, which shatters all over the floor. Sam forcefully holds the straight razor in Phil’s mouth, cutting him a bit, and threatening to carve up his tongue and cheeks. CIGAR SAM (CONT’D) I want to know everything about this Mikey guy. INT. MIKEY’S APARTMENT - NIGHT It’s late in the evening. Shellie is sitting at the kitchen table doing a crossword in the newspaper, while Mikey is in the next room watching TV. The phone rings. Shellie gets it. SHELLIE (into phone) Hello? Beat. SHELLIE (CONT’D) (into phone) One moment. Shellie sets the phone down.
51. SHELLIE (CONT’D) (to Mikey) Mikey, phone’s for you! Mikey picks up the receiver in the next room. MIKEY (to Shellie) Got it in here thanks babe! Mikey holds the phone to his ear. MIKEY (CONT’D) (into phone) Hello? Shellie puts the phone to her ear for a split second before hanging up. VOICE ON PHONE (o.s.) This Mikey? MIKEY (into phone) Yeah, who is this? VOICE ON PHONE (o.s.) I’m interested in your product. Is it still for sale. MIKEY (into phone) Oh... Mikey turns and looks into the next room to see that Shellie isn’t within earshot. MIKEY (CONT’D) (into phone) Yeah. Still for sale. VOICE ON PHONE (o.s.) Good. I want to meet up and test it out. MIKEY (into phone) Who are you?
52. VOICE ON PHONE (o.s.) A friend of Phil’s. INT. PHIL’S APARTMENT - NIGHT A bruised, bloody, and very distraught Phil is on his knees with a gun to his head from Cigar Sam, beside Donny, who is on the phone. DONNY (into phone) Yeah, I’m just a friend of Phil’s that he passed word to about this whole deal. INT. MIKEY’S APARTMENT - NIGHT Mikey is still on the phone. MIKEY (into phone) Okay yeah, well listen, I can meet with you pretty soon. When’s good for you? VOICE ON PHONE (o.s.) There’s a diner on the west side called The Korova. Come by tomorrow evening with the product. MIKEY (into phone) Okay. How will I recognize you? VOICE ON PHONE (o.s.) Don’t worry about that. I’ll recognize you. He hangs up. Mikey holds the receiver for a moment, sort of staring off into space, before putting it down. SHELLIE Who was that? Mikey turns, somewhat startled, to see Shellie standing in the doorway.
53. MIKEY Oh, just someone from work. Got a small job they want me to help out on this weekend. Paid gig. Shellie appears skeptical. Oh. Great. SHELLIE
She walks back into the kitchen. INT. POLICE DEPARTMENT - DAY
Walt is sitting at his desk looking over some papers. He flips through them until he comes across a police report on Cigar Sam. He reads the report curiously. INT. POLICE CHIEF’S OFFICE - DAY Walt walks to the doorway of the office and knocks on the open door. Chief Ellroy looks up. Come in. CHIEF ELLROY
Walt drops the file on Cigar Sam on Chief Ellroy’s desk. WALT Chief, I’ve been looking over this case file on Sam DeLuca. It says here we were investigating him three years ago for basically the same thing you want to me to investigate now. CHIEF ELLROY That’s right. WALT Why wait three years then? Why didn’t we bust him during that investigation? CHIEF ELLROY We tried. He came out clean, more or less. (MORE)
54. CHIEF ELLROY (CONT'D) We were expecting him to carry out a pretty big coke deal and get him on trafficking charges but the son of a bitch didn’t have any. WALT What do you mean he didn’t have any? CHIEF ELLROY We showed up with a warrant to search the place and didn’t find anything. We looked everywhere. Nothin’. Best we got at the time was a couple misdemeanor charges. Chief Ellroy sits back in his chair. CHIEF ELLROY (CONT’D) I’d love it if we could finally bust this asshole and put him away for life. WALT Well I’ve also been going over the files of some of his known associates. I think you may be right about him being involved in something. CHIEF ELLROY Good. Keep it up. INT. MIKEY’S APARTMENT - DAY Shellie enters a vacant apartment with a small paper bag of groceries. She walks into the kitchen and sets it down. Sensing something amiss, she slowly turns around to see Cigar Sam sitting in the a chair in the corner of the room. CIGAR SAM Hello there. Shellie shrieks and runs the other way, but bumps into Donny, who grabs her and doesn’t let go, despite her squirming. Sam firmly clamps a strip of duct tape over her mouth. CIGAR SAM (CONT’D) You’re coming with us.
55. He runs his hand down her breasts and stomach and touches her vagina and walks out the door. Donny follows, with Shellie. INT. POLICE DEPARTMENT CONFERENCE ROOM - DAY A podium overlooks several rows of folding chairs, in which about fifteen or so POLICE OFFICERS sit. Walt enters the room and walks up to the podium. WALT Listen guys, this isn’t another boring lecture about the community or the importance of your paperwork that you could get away with only half-paying attention to. Walt pulls up a mugshot and file of Cigar Sam on an overhead projector. WALT (CONT’D) This is Sam DeLuca, otherwise known as Cigar Sam. He’s the head of an organized crime family in this city, and is responsible for the distribution of a significant portion of the hard drugs in this city. Walt clears his throat. WALT (CONT’D) I’ve been investigating him recently, and believe that he’s involved in a large drug deal that’s going to occur soon. For this reason I’ve assembled you all here as a special task force to work on taking him down. Half of you will be doing as much background research and planning as required, and half of you will be doing round the clock surveillance. He starts to step down from the podium. WALT (CONT’D) If you have any questions, come to my office.
56. INT. FOREMAN’S TRAILER - DAY Mikey is standing in a line with fellow construction workers in front of the foreman’s desk. Jay is standing behind him. JAY It never lights for me. MIKEY Okay, I’ll go over it again. First, you gotta pull the actual lighter part out of the case. Uh huh. JAY
MIKEY Then, unscrew the little screw, pull up the cotton part, soak it in lighter fluid, push it back down, then screw the screw back into place. Okay. JAY
MIKEY All you gotta do then is put the metal lighter back in its shell and bam, you got yourself a working lighter. Mikey arrives in the front of the line, at the foreman’s desk. FOREMAN Ahh, Mikey Campbell, let’s see here. The foreman rifles through a little envelope he has in front of him. He pulls out a slip of paper and a check. FOREMAN (CONT’D) Okay, since you missed a couple of days, and since I didn’t think you were up to snuff quite as much as you should’ve been over the course of these projects, here’s your final pay.
57. He hands Mikey the check. Mikey looks at it. MIKEY Oh, come on man. I know I earned more than this. FOREMAN No, actually, that’s exactly what you earned. MIKEY No, no listen. I need more than this. I’ve got a little kid on the way. FOREMAN Gee, that’s too bad. That’s too bad for you that it isn’t my problem. Otherwise, I’d do something about it. Mikey gives the foreman a dirty look and walks away, folding the check and putting it in his pocket. EXT. FOREMAN’S TRAILER - DAY Mikey is having a cigarette. Jay steps out of the trailer and joins him. MIKEY Fuckin’ bullshit man. JAY Hey, fuck it dude. Let’s go get a drink and forget about it. MIKEY I would but I can’t. I’ve got shit to do later today. JAY What do you have to do that you can’t put off? MIKEY No, I know, I know. I really can’t put this off though. I’ve gotta do it. Everything will be fine. Beat as Mikey flicks his cigarette butt into the wind.
58. MIKEY (CONT’D) Everything will be fine. FLASHBACK TO: INT. MIKEY’S OLD APARTMENT - DAY A small bachelor apartment. Shellie, asleep on the couch, stirs awake. She sits up and looks around, wide-eyed and somewhat disheveled. MIKEY (o.s.) Ah, we have signs of life. Shellie looks over to the kitchen to see Mikey, approximately college-aged at the stove, cooking eggs. MIKEY (CONT’D) You came here with Norma last night right? Yeah. SHELLIE
MIKEY She ended up going home with my buddy. I get to hear him brag for the next month now about how he got laid at my party. SHELLIE She left without me? MIKEY Pretty shitty of her, I know. You were pretty hammered too. Did a good number on that bottle. Mikey points to a half-empy bottle of Sailor Jerry on his coffee table. Ugh. SHELLIE
Beat as Shellie looks around, getting her bearings. Did we...? SHELLIE (CONT’D)
59. Mikey chuckles. No. Beat. MIKEY (CONT’D) Feel like puttin’ some food in you? SHELLIE Yeah. I should go get something. MIKEY How you like your eggs? SHELLIE Oh, please, no, you’ve already been so hospitable...I wouldn’t ask more from you right now. MIKEY Ain’t no problem. I’d just be spendin’ my day watchin’ Twin Peaks if you weren’t around. Shellie laughs. SHELLIE Thank you. Sunny side up. MIKEY Sunny side up it is. SHELLIE So, this is an embarrassing question, but, what’s your name again? Mikey laughs. MIKEY Name’s Mikey. SHELLIE Shellie. Sorry. MIKEY No need to apologize. I’m terrible with names. Once got fired in my first week of working at a movie theater because I kept forgetting my boss’ name. MIKEY
60. Mikey puts all the food on two plates and brings them over to the couch. He gives one to Shellie. MIKEY (CONT’D) You want anything to drink? SHELLIE Water would be great. Mikey goes into the kitchen and fills a glass with water as Shellie starts to eat. MIKEY So tell me a bit about yourself. SHELLIE Well, I go to school with Norma for fashion design. How do you know Norma by the way? Mikey returns with the water and gives it to Shellie, who takes it and drinks thankfully. MIKEY High School. We always would hang out together and avoid all the cliques. Just get a little drunk and high by ourselves. Good times. Good friend, Norma. SHELLIE Yeah, we’re studying fashion together. Cool. MIKEY
SHELLIE You in school? MIKEY Nope. Couldn’t afford it. Probably just as well though, since when it came time to decide what I wanted to do, I didn’t even know. Still don’t. SHELLIE So you work then?
61. MIKEY Yeah sorta here and there. I’m in between jobs at the moment, but I’m gettin’ by. SHELLIE You do freelance work? MIKEY Somethin’ like that. Enough about me though, what about you? What’s your deal? SHELLIE Well, I’m not from the city. Only came out because of school. Lived in the country my whole life. MIKEY What’s your favorite movie? Um... SHELLIE
She thinks about it for a moment. SHELLIE (CONT’D) You know, I’ve never been a hundred percent decided. It’s always been a toss up for me between Rebel Without a Cause and Some Like it Hot. Mikey grins and nods his head. MIKEY Good choices. SHELLIE What about you? What’s your favorite film? Mikey answers without missing a beat. The Sting. MIKEY
SHELLIE Wow, pretty quick on the draw there. MIKEY That’s cause I’m damn sure that’s my answer to that question.
62. SHELLIE I’ve never seen The Sting. Mikey tilts his head back and bulges his eyes in a sort of joking ‘are you kidding me’ sort of way. MIKEY Oh. You’ve gotta see it. Yeah? SHELLIE
MIKEY Oh yeah. Paul Newman and Robert Redford in their prime. The only way that movie could be any cooler is if it had a leather jacket on. Shellie laughs. SHELLIE Do you have it? MIKEY Sure do. That’s like askin’ if beaches got sand. Shellie laughs again. SHELLIE You said you weren’t doing anything today. Neither am I. Let’s watch it. Mikey looks delighted. FLASH FORWARD TO: INT. WAREHOUSE - DAY The Wizard sits with a bunch of briefcases on a brown table that stands alone in the middle of an otherwise empty warehouse. He checks his watch. The door opens and Cigar Sam and his crew walk in. Sam nods at The Wizard. Wizard. CIGAR SAM
63. The Wizard nods back. Sam. THE WIZARD
CIGAR SAM So, what’ve you got? The Wizard hops off the table and starts opening the briefcases. Inside the briefcases are various different types of handguns. THE WIZARD I’ll give you the same deal as always. Money up front as well as a piece of collateral and you can have the guns. Return ‘em to me and get your collateral back. CIGAR SAM I know the deal, Wizard. I meant what new toys have ya got? THE WIZARD Okay well, as you know, I take all of these guns apart and combine then using different spare parts in order to prevent them from getting traced. Yeah... CIGAR SAM
THE WIZARD Well, as I was doing this with this last batch of guns, I started modifying them. Now with this batch here... The Wizard pulls up a briefcase that has guns in it. THE WIZARD (CONT’D) ...we’ve got traditional IMI Desert Eagles but with the type of adjustable sight you might find on old Browning 1911s. I’ve also extended the cartridge casing, allowing for bigger magazines. Great. CIGAR SAM
64. THE WIZARD I’ve also outfitted it with a muzzle brake that’s you’d see on most Springfield Armory handguns. CIGAR SAM Sounds fine Wizard. We’ll take ‘em. INT. POLICE DEPARTMENT - DAY Walt sits at his desk, doing paperwork. His shoulder-mounted walkie-talkie crackles and a voice comes through. COP 1 (o.s.) Lieutenant. Come in. WALT (into walkie-talkie) I’m here. What’s up? COP 1 (o.s.) We’ve finally got a visual on Cigar Sam. WALT (into walkie-talkie) That’s great, detective. COP 1 (o.s.) Well, it’s just that he seems to be with a lot of other people, including a few we’ve recognized as known associates. Walt appears a bit more concerned than he did a moment ago. WALT (into walkie-talkie) Where is he now? COP 1 (o.s.) He’s heading into this diner. The Korova. WALT (into walkie-talkie) Okay listen. (MORE)
65. WALT (CONT'D) He does anything suspicious, you let me know. I mean anything. COP 1 (o.s.) Copy that. Will do. EXT. ALLEYWAY - SUNSET Mikey is leaning against the wall behind a dumpster, out of sight. He appears nervous. He pulls a wrapped-up cloth from inside his jacket. He unwraps the cloth to reveal a HANDGUN. He checks the see that it’s loaded then stuffs it in his belt and discards the cloth. He walks out of the alley. EXT. SIDEWALK - SUNSET As Mikey walks down the sidewalk, we can see the Korova diner. He has the bags of cocaine with him. MIKEY (to himself) You can do this. You can do this because you’re super cool. You’re Charlie Bronson smokin’ a Lucky Strike. You’re Humphrey Bogart’s hat and coat. You’re Jake and Elwood fuckin’ Blues. He takes a deep breath and walks into the diner. INT. DINER - SUNSET Mikey steps into the Korova. The place is straight outta the fifties. Old kitchy movie posters adorn the walls. The diner itself is in front of several shiny red bar stools. A jukebox in the corner plays CONNIE FRANCIS.
66. Mikey looks around and sees Cigar Sam with a briefcase, sitting in a booth. Sam sees Mikey with the bags, and beckons for him to come over. Mikey eyes the briefcase Sam has and obliges, and sits down at the booth. MIKEY You the guy I spoke to on the phone? A WAITRESS, 26, comes over. WAITRESS Anythin’ for you, hon? MIKEY Just coffee please. WAITRESS You sure you don’t want any cherry pie, hon? We got the best damn cherry pie you’ll ever have. Mikey grins. MIKEY Man, that does sound tempting. We’ll see how I feel in ten minutes. WAITRESS Sure thing. The waitress walks away. CIGAR SAM Perhaps you’re wondering why I chose to meet you in such a public location. MIKEY That had crossed my mind, yes. But I think it’s better than somewhere hidden away where you can try to fuck me over and get away with it. CIGAR SAM He comes out guns blazing. And here I was hoping for an amicable exchange.
67. MIKEY You’ll have to pardon me. I’ve encountered a couple characters over the course of tryin’ to make this sale that’ve left a pretty bad taste in my mouth. Sam sips his coffee. CIGAR SAM Oh, I’m sure. The waitress comes by with a mug and a pot of coffee. She fills it for Mikey. Thanks. MIKEY
WAITRESS Sure thing darlin’. She walks away. MIKEY So as I was saying, I think your choice to hold this little meeting in public was a good idea. Sam grins. CIGAR SAM Oh, I know it was a good idea. MIKEY So, how do you wanna do this? CIGAR SAM Well Mikey, as I was just getting to, I did in fact have a particular reason for wanting to meet with you in public. MIKEY How do you know my name? CIGAR SAM Well you don’t control most of this city’s drug trade without eventually learning everything there is to know about the moron who wants to sell your own stolen coke back to you. Realization dawns on Mikey.
68. CIGAR SAM (CONT’D) See, there ain’t gonna be no sale here for you. You’re gonna give me what’s mine and I’m gonna keep my money. MIKEY Gee, I don’t know. Kind sounds like I’d be getting a pretty shitty end of the stick there. CIGAR SAM So let’s talk a bit, eh? Mikey sips his coffee. CIGAR SAM (CONT’D) Even though I know who you are, you may not know who I am. Perhaps if I shed some light on myself, that’d inspire you to use some common sense today, and allow Shellie to live to see tomorrow. INT. CAR - SUNSET Shellie sits, tied up and alone in the back of an old Lincoln parked in the alley behind the diner. All of the windows are heavily tinted. INT. DINER - SUNSET Mikey glares at Sam. Sam has struck a nerve. CIGAR SAM I’m afraid that she’s the only person you can save today, as your fate has already been sealed, my friend. Beat as Sam takes a drink of coffee. CIGAR SAM (CONT’D) So, let’s talk. Let’s. MIKEY
CIGAR SAM I’ve been doin’ this shit since before you were born. (MORE)
69. CIGAR SAM (CONT'D) I’ve seen it all, done it all. Killed people with guns, knives, bats, wrenches, my bare hands, fire, hatchets, and one time with a black rubber dildo. Mikey remains deadpan. CIGAR SAM (CONT’D) That’s why I’m so elated about sitting here with you right now. MIKEY Come again? CIGAR SAM Sortin’ out wiseguys for the last couple decades just got so...boring. MIKEY You don’t say? CIGAR SAM But dealing with you and tracking down my stolen cocaine, and settin’ up a meeting. It’s exciting. It’s like being a fuckin’ kid again. MIKEY I take it you weren’t the type of kid who was satisfied with climbing trees and watching Tom and Jerry. CIGAR SAM No, I was the kid who could get further with a baseball bat and a dirty look than you could with your goddamn cartoons. MIKEY Let’s not talk shit about Tom and Jerry okay? CIGAR SAM Have it your way. The point is that it’s refreshing for me to settle a big score like this with an amateur such as yourself. MIKEY Glad I could provide you with such joy.
70. CIGAR SAM See, that’s what I’m talkin’ about. People who I deal with on a daily basis would never patronize me like that ‘cause they’re too fuckin’ scared. And maybe it’s just ‘cause I’m in a good mood, but ordinarily if you said somethin’ so fresh to me, your balls would be in the middle of the street right now, for some stray mutt to pick up. Mikey and Sam simultaneously take a drink of coffee. MIKEY It is kind of exhilarating, isn’t it? Sam nods agreeably. MIKEY (CONT’D) I mean, I don’t ever want to do this again, but there’s a noticeably different breathing pattern you have in your chest when you’re doing something like this versus when you stick to small-time shit like I used to. CIGAR SAM It’s somethin’ else isn’t it? Beat. CIGAR SAM (CONT’D) You ever kill anyone? Mikey shakes his head. No. MIKEY
Sam chuckles and whistles. CIGAR SAM Boy do I envy you. If I could kill someone for the first time again...man...ain’t no feelin’ like it in the world. (MORE)
71. CIGAR SAM (CONT'D) You could have a french vanilla blonde in a blue velvet dress capable of suckin’ a golf ball through a garden hose wrappin’ her lips around your cock and not once would you even consider that a bigger thrill than takin’ another man’s life. MIKEY That’s why you’re sitting over there, and I’m sittin’ over here. I have no desire to kill anyone, except maybe you. When that happens though, I’ll be sure to let you know how it feels for me. Sam laughs. CIGAR SAM See that you do. But just between you and me, lookin’ at ya from over here, I can tell. You ain’t got it in ya. You don’t have that killer’s eye, kid. You could learn a thing or two from me. MIKEY Well I may not have a killer’s eye, but I’ve still got one more eye than you do. Cigar Sam bellows a laugh. CIGAR SAM Oh, ho! And he’s got a serpent’s tongue to boot. Ha ha, that’s fuckin’ rich let me tell ya. Sam leans forward on the table. CIGAR SAM (CONT’D) You want to know how I lost this eye? Sam takes Mikey’s silence as a yes. CIGAR SAM (CONT’D) I lost it because my drunk fuckin’ old man shoved a lit cigar into it when I was a little fuckin’ kid. Straightened me right the fuck out. Sam takes a drink of coffee.
72. CIGAR SAM (CONT’D) You could use a little fire in your eye, kid. It’ll do ya a world of good. Mmm hmm. MIKEY
CIGAR SAM So, I’m curious. How’d an idiot like you end up with my coke? Because I remember when it was stolen from me, and it wasn’t by you. MIKEY I found it. Sam laughs. What? CIGAR SAM
MIKEY I found it. Really? Yeah. CIGAR SAM MIKEY
CIGAR SAM No bullshit? MIKEY I’m not bullshittin’ you. I just found it one day. Sam laughs again. CIGAR SAM Ah, man. Ain’t this a funny old world? MIKEY You ain’t just whistlin’ dixie there. CIGAR SAM Where’d you find it? Mikey hesitates.
73. CIGAR SAM (CONT’D) Don’t worry, I’ve already killed the idiots that stole it from me. It’s okay, you can tell me. MIKEY In an abandoned house. CIGAR SAM (musing to himself) In an abandoned house. Holy shit. MIKEY That’s right. CIGAR SAM Well it looks like I’ve gotta spend more of my days wandering into abandoned houses. The jukebox pauses for a moment to flip over to a different record. After a second of silence, FRANK SINATRA comes on over the speakers. Cigar Sam groans joyously. CIGAR SAM (CONT’D) And here I was thinkin’ they’d be playin’ Leave it to Beaver bullshit all night. You fond of the Chairman of the Board? MIKEY Actually I have always been partial to his rendition of Moon River. CIGAR SAM That’s fuckin’ right. Andy Williams didn’t have shit on Franky. Gets all the renown for it. Mikey sips his coffee. MIKEY That’s life, eh? Sam shrieks with laughter, almost disingenuous. Sam leans back in his seat and takes a sip of coffee.
74. CIGAR SAM Fuck. I like you. Why the fuck couldn’t you have come work for me? Why’d you have to go and be a cunt and get on my bad side, huh? MIKEY It’s like I said before. I’ve got no desire to kill anyone, and once this is all over, I’m out. I’ve done time and I’ve seen people get killed. It’s ugly and I don’t like it. CIGAR SAM Let me tell you a story. Sam leans forward. CIGAR SAM (CONT’D) About thirty years ago, down on twenty-sixth street, there used to live this old, retired schoolteacher. His wife had died years back, and he lived alone with his dog. Mikey takes a drink of coffee. CIGAR SAM (CONT’D) He was the type of guy who lived by an exact same schedule every fuckin’ day. Up at seven in the goddamn morning. Eggs and oatmeal with the newspaper. Walk his dog. Water his garden and talk with the neighbors. Sit on his porch all day sayin’ hello to people. Beat. CIGAR SAM (CONT’D) Well, one day his dog got loose through a hole in his yard’s fence and went missing for a day. This guy spent all fuckin’ day walking around looking for his dog. Nothin’. Eventually it got pretty late and he found himself in an unfamiliar part of town. Sam sips on his coffee.
75. CIGAR SAM (CONT’D) He found himself confronted by a kid in his early twenties, with a straight razor, demanding his wallet. Beat. CIGAR SAM (CONT’D) The old man got real nervous and dropped the wallet while handing it to the kid. Since this kid was pretty nervous himself, and had been huffin’ glue all day, he panicked and cut the old man’s throat, grabbed the wallet and scrammed the fuck outta there. Beat as Mikey and Sam stare at each other, somber and challenging, without breaking eye contact. CIGAR SAM (CONT’D) That was the first person I ever killed. Beat. CIGAR SAM (CONT’D) And you know what I did with the money? MIKEY What’d you do? CIGAR SAM I bought a bunch of heroin and sold it to some high school seniors. Made a fuckin’ killing. Beat. CIGAR SAM (CONT’D) You live with your head under the sand, kid, and you’ll find yourself on the wrong end of a razorblade one day. Then what? You won’t know what to do ‘cause it’s a dog eat dog world and you’re a fuckin’ pussy. Get me? The two sit in a dour silence as the waitress comes by and refills each of their cups of coffee. She walks away.
76. MIKEY That’s where you’re wrong. I saw people in the slammer who had done unspeakable things and were going to be livin’ in clown college for the rest of their lives. Half of them remained the same cold, heartless bastards they were when they were brought in the joint, and half of them changed. CIGAR SAM What’s that supposed to prove? MIKEY Some folks get chewed up and spit out by the world while others chew up and spit out the world itself. The rest of us are caught in between, either waiting for one of those scenarios to play out, or tryin’ their best not to let that happen. And guess what? What? CIGAR SAM
MIKEY I sure as shit ain’t no fuckin’ pussy. Mikey quickly grabs his cup of coffee and hurls it at Sam. The scalding hot coffee hits him in the face, and he thrashes around in furious pain. Several other GANGSTERS sitting in various spots around the diner all get up and pull out their guns. Mikey dives to cover behind a booth and pulls his gun from out of his belt as they all fire at him. EVERYONE ELSE in the diner hits the deck. One person tries to escape through the front door but gets hit by the crossfire. The gunfire is interrupted by a WALT’S VOICE coming through a bullhorn outside.
77. WALT (o.s.) Cease your fire and give yourselves up! This is the police and we have you surrounded! EXT. DINER PARKING LOT - SUNSET Walt and a team of OFFICERS take cover behind their sidewaysparked cars in the parking lot. Walt has a handgun and bullhorn, but many of the cops are armed with higher powered weapons. They are all aiming inside the diner. INT. DINER - SUNSET Cigar Sam finally stands up with slight burn marks on his face from the coffee. CIGAR SAM (to other gangsters) Grab them. He points at all the civilian diners who are crouching on the floor. The gangsters grab the civilians and hold guns to each of their heads. CIGAR SAM (CONT’D) Get them in a group and one of you keep your crosshairs on ‘em. The rest of you, go in the kitchen get the cooks. The gangsters run into the kitchen while one of them keeps his gun pointed at the huddled-together hostages, all trembling with terror. Cigar Sam cracks the window open and yells out. CIGAR SAM (CONT’D) Alright you bastards, listen up! We’ve got hostages here so if anyone wants to be a hero, we’ll send bodies out the door, one by one. Ya got it?
78. WALT (o.s.) No need to do that. Just be calm and reasonable here. The other gangsters get back from the kitchen with the hostage COOKS and a JANITOR. Sam looks like he just remembered something. CIGAR SAM Where’s that little fuck-head Mikey? Mikey pops up from behind a trash can, pointing his gun at the gangsters. From his perspective, Sam is low-percentage shot. MIKEY I’ve got the drop on you now, so don’t be stupid. CIGAR SAM Look who’s fucking talking. MIKEY Let the hostages go or I’ll shoot. CIGAR SAM Shoot and we kill the hostages. A hostage’s phone goes off in his pocket. One of the gangsters fires instinctively, killing the hostage at point blank. All the hostages scream. Police rain bullets down on the diner. Sam pulls a hand-cannon of a gun out and aims it outside towards the police. Fuck you! CIGAR SAM (CONT’D)
He fires recklessly at them, shattering windows. The police return the fire and the diner becomes an absolute bullet-fest.
79. Sam and the other gangsters quickly flip over some tables and get behind them, or dive behind the actual diner itself, and fire back. Mikey is firing at the gangsters, who divide their attention between him and the cops. Shattered glass fucking everywhere. Civilians scramble to run outside. Some of them make it while others get lit up in the crossfire. A few gangsters get painted red by bullets. EXT. DINER PARKING LOT - SUNSET A few cops get painted red by bullets. Most of the windows on the cop cars are shattered, and the cars themselves are taking a hell of a beating from the oncoming gunfire. INT. DINER - SUNSET Mikey starts focusing his fire exclusively at Sam. Sam does the same for Mikey. Mikey moves to a different cover, closer to the bags of cocaine and briefcase of money that are under the table they were sitting at. They continue to exchange fire. EXT. DINER PARKING LOT - SUNSET Walt and another officer move their way across the parking lot, towards the side of the diner. WALT Let’s move in the back door, catch ‘em by surprise. The other officer nods in acknowledgement. INT. DINER - SUNSET Mikey and Sam continue to trade gunfire, while the other gangsters and the cops outside do the same.
80. Mikey comes close enough to the booth he and Sam were sitting at that he dives to it, under the table. He frantically opens the canvas bags, and pulls out the smaller baggies of cocaine. He slides them across the floor and shoots them, causing all of the cocaine powder to fly up into the air. Mikey does this several more times, while hiding from Sam’s gunfire. Eventually, the powder clouds the air so much that it obscures Sam’s vision. Mikey grabs the briefcase of money and sprints towards the kitchen. As he runs by a cloud of cocaine particles, Sam emerges from it and tackles him. Mikey drops the briefcase. Sam lunges for and grabs the briefcase. Mikey shoots and misses at Sam, who runs out the back door. EXT. ALLEYWAY - SUNSET Sam bursts through the back door of the diner, into the alley. He runs towards the parked Lincoln by the alley entrance. Mikey comes racing through the back door of the diner into the alley, just as Walt and the cop come running into the entrance of the alley. A standoff ensues as Walt and Sam simultaneously aim their guns at each other, Mikey aims at Sam, and the other cop aims at Mikey. WALT (to Sam) Drop it. OFFICER (to Mikey) You too drop it. Now. CIGAR SAM Fuck you. You drop it.
81. Walt sees that it’s Mikey behind Sam. He sighs deeply. WALT (to himself) God fucking damnit Mikey. He yells it now, much louder. WALT (CONT’D) God fucking damnit Mikey! Both Sam and the other officer appear confused as to what’s going on. WALT (CONT’D) I told you not to go fucking about didn’t I? MIKEY I’m sorry. I really am. This isn’t how planned this to turn out at all. You gotta trust me when I say I did it for the right reasons. WALT God damnit Mikey. Sam looks amused now. CIGAR SAM You two fucking pricks know each other? He lets out a laugh. CIGAR SAM (CONT’D) Ah, that’s rich, ain’t it? WALT Shut up. Drop your weapon and shut the fuck up. CIGAR SAM No. You drop your weapon or I’ll shut you the fuck up. OFFICER What’s going on here Lieutenant? WALT Keep your bead on the suspect.
82. MIKEY If you shoot that man you will get a fucking bullet to the face, I swear to fuck. WALT Keep it shut Mikey, I’ve got this. CIGAR SAM Fuck both of you. Sam shoots Walt, who fires back and hits Sam in the shoulder. Mikey, distressed, shoots Sam square in the chest. The officer shoots Mikey, who collapses onto the ground. INT. CAR - SUNSET Shellie sees Mikey get shot through the window of the Lincoln. She screams through her gag, hard. EXT. ALLEYWAY - SUNSET The officer is the only one remaining standing. The others all lie on the ground, motionless. The officer shouts into his shoulder-mounted walkie. OFFICER Officer down! Officer down! Back alleyway behind the diner along with two suspects. Send paramedics ASAP! He rushes over and checks Walt’s vital signs, and to see if he’s still breathing. Walt shows signs of life. Banging sounds emanate from within the car. The officer raises his gun and cautiously approaches the door. He reaches out with one hand and opens the door to see Shellie, still all tied up, kicking furiously at the side of the car.
83. OFFICER (CONT’D) M’am, I need you to calm down. I’m going to untie you, but I need you to calm down. Shellie can’t hold back the tears any longer. She sits sobbing as the officer unties her. As soon as she’s free, she runs over to Mikey’s body and begins slapping him on the cheek. SHELLIE Wake up. Wake up Mikey. Mikey rolls his head, still alive. Shellie sobs with relief, on a roller-coaster of emotions. PARAMEDICS and COPS come rushing around the corner, into the alley. INT. HOSPITAL - DAY Mikey lies in a hospital bed. Eyes shut. Tubes flow out of him to various machines, each with various readings and measurements, and each emitting various beeps. His eyes flicker open. He tilts his head up and looks around, taking in his environment. The room is empty, aside from him. Mikey drinks it all in for a moment and looks bewildered. Hey! Hey! MIKEY
A NURSE comes running in from the next room. MIKEY (CONT’D) Who are you? Where am I? NURSE I’m a nurse. You’re at Saint Vincent’s hospital. Coma ward. Coma ward? MIKEY
84. NURSE You’ve been in a coma for the past month. Gunshot related injury. Mikey suddenly remembers the whole incident at the diner with Cigar Sam. His eyes go wide. MIKEY The diner! Shellie! Walt! NURSE Calm down. Calm down. We have an officer who asked to be notified when you woke up. I’ll be right back after I notify him and my superiors. The nurse leaves as Mikey breathes heavily and nervously, rolling his head anxiously against his pillow. INT. HOSPITAL - LATER The nurse returns, followed by Walt, whose arm is in a sling. Mikey perks up at the sight of Walt. Walt greets him with a smile and pulls up a chair. WALT (to nurse) Give us a minute, eh? The nurse nods and leaves the room. Mikey and Walt look at each other for a beat. Mikey... WALT (CONT’D)
Mikey hangs his head a little. I know. MIKEY
WALT What were you doin’, huh? What were you thinkin’? MIKEY I needed to get the money for Shellie. She...
85. WALT I know all about that. I’ve already spoken to her. MIKEY How is she? WALT Well Mikey, it’s tough to say. She loves ya and hates ya. MIKEY I don’t blame her. WALT Can’t say I do either. MIKEY She gonna come speak to me? WALT I wouldn’t think just yet, but give her some time. Beat. MIKEY I’ve got a few questions. Walt sort of chuckles. WALT Oh, I’ll bet you do. MIKEY What happened at that diner? Who was that? WALT That was Sam DeLuca. Known in the criminal underworld as Cigar Sam. He basically ran the crime in this city. Is he... MIKEY
WALT No, he’s alive and in custody. We’ll prosecute him and I’m sure he’ll have a fun time in prison. (MORE)
86. WALT (CONT'D) I know that there are a few people in there who wouldn’t mind having a firm talk with him if you know what I mean. Hmm. MIKEY
WALT Don’t get down on yourself too much Mikey. For what it’s worth, Cigar Sam was a scumbag, and you helped bring him down. Most of the boys down at the station consider you something of a hero. MIKEY I don’t feel like a hero. I couldn’t even get the money for Shellie. WALT Oh, I wouldn’t say that. Mikey looks up. WALT (CONT’D) I know why you were at that diner that day Mikey. So do the other officers who were at the scene. But according to all of us in our formal report, that cocaine belonged to Sam and his men. That’s why it was there. What? MIKEY
WALT Like I said. You helped take down a man that brought this city and countless individuals decades of pain and murder. Mikey looks a bit relieved as Walt speaks to him. WALT (CONT’D) And according to the report I filed, that briefcase of money was yours. You brought it as ransom for Shellie. Let’s not forget that she was kidnapped by Sam.
87. MIKEY That bastard. WALT Yes. Well, according to this city, that money belongs to you. Mikey speaks as soon as he comprehends this. MIKEY It’s all going to Shellie. WALT You can do with it what you like. Mikey smiles, actually happy. WALT (CONT’D) Know though, you are gonna have to do a little bit of time. MIKEY Come again? WALT Well, you were in violation of your parole, as well as in possession of an unlicensed firearm. However,I don’t see the sentence being more than a year. Think you can handle it? I have to. Good. MIKEY WALT
MIKEY Walt, I, I don’t what to say. How can I thank you? WALT I’m pretty sure you’ve taken from this little experience what you ought to’ve. Walt stands up.
88. WALT (CONT’D) Besides. I’ve watched you go from a drunk dumbass small-time crook who ripped off ATMS to someone who’d risk their life for his pretty little wife. I’ve come this far with you. It just wouldn’t make sense to give up on you now. Mikey smiles. MIKEY Thank you. Thank you so much. WALT (as he leaves the room) You’re welcome Mikey. EXT. PRISON PARKING LOT - DAY A year later. Mikey walks through the dirt parking lot, looking around. He has a limp, and looks less like James Dean rebel-type now, and more like an adult. After a minute or so of looking up and down rows of cars, he spots an old-looking Ford Pinto parked. He walks over to it, excited. Once he gets close enough, he sees that it’s vacant, and the excitement fades from his face. SHELLIE (o.s.) Now why would I still be driving around in that old rusty, rickety death trap? Mikey spins around to see Shellie getting out of a new car. Their BABY is in the backseat. Mikey runs over to her as fast as he can. They hug passionately. Hey you. MIKEY
They kiss, endearingly.
89. MIKEY (CONT’D) I’ll drive. THE END. FADE OUT.
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