SUNSET TAKEDOWN

FADE IN: TWO PIGEONS scuffle over a piece of tortilla. They flap their wings and claw at each other, pretty harmless, but they mean business. EXT. A & B LIQUOR - DAY

In a seedy Eastside neighborhood of Los Angeles, the store sits between other rundown, faceless shops. Two young thugs, SIDNEY and CHRIS, head towards A & B’s entrance. The pigeons abandon the tortilla and take flight as they walk past. Sidney and Chris flash a suspicious glance around, then enter. INT. A & B LIQUOR - CONTINUOUS The entrance

Behind the counter, a CLERK reads a tabloid. BUZZES. He glances up as the thugs enter.

He closes his magazine and raises his head, sensing trouble. Sidney eyes the clerk, then strolls down an aisle to the back, towards the beer. Chris approaches the counter. He stares at the clerk, says nothing. The clerk eyes Sidney behind him. He looks back to see Chris has a GUN resting on the counter. Register. CHRIS Empty it.

The clerk does nothing. He glares back at Chris. Chris raises the gun, the barrel inches from the clerk’s forehead. Now. CHRIS (cont’d)

Reluctantly, the clerk abides, filling a black baggy with the register’s contents. SIDNEY (from back of store) Help me carry one of these cases. Chris turns back to his accomplice.

2. CHRIS We don’t got time for that shit. The clerk hands over the bag of cash. CHRIS (cont’d) Turn around until we’re gone. The clerk does what he’s told. Let’s go! CHRIS (cont’d)

SIDNEY Come grab a case. CHRIS We don’t have time. What kind you grabbing? None of that light shit. Chris heads to the back to assist Sidney. The clerk watches him through the security mirror. With the two robbers distracted, he bends down and opens a cupboard behind the counter. A SHOTGUN lays inside. Next to an ASSAULT RIFLE.

The clerk moves as if he might grab one of them, but bypasses both and grabs a long METAL CASE. He pulls it from the cabinet, puts it on the floor and opens it. Inside lays an RPG. He pulls the heavy weapon free, rests it on his shoulder and turns to the assailants in the back of the store. CLERK You picked the wrong store, assholes! Sidney and Chris turn as the clerk fires. THE ROCKET FLIES DOWN THE AISLE CHASED BY ITS TAIL OF SMOKE. EXT. A & B LIQUOR - CONTINUOUS

KA-BOOM! The clerk greatly underestimated the rocket’s power. The explosion obliterates A & B Liquor, its neighbors and whatever cars were parked on the street.

3. The massive fire ball mushrooms into the sky, obscuring the sun rising above Los Angeles. CUT TO: INT. CAR - DAY

SHANE MATTHEWS, mid-thirties, big, but not fat. Always in need of a shave and a haircut. He drives on Ocean Ave., selfishly weaving through traffic. Shane pulls off Ocean onto a strip of stacked condos. stops his car. A MOVING VAN has caught his eye. He gets out. EXT. SANTA MONICA RESIDENTIAL AREA - CONTINUOUS He

MOVERS carry furniture and boxes from the van into a thin, three story condo. Shane navigates past them and enters. INT. NANCY’S CONDO - CONTINUOUS

The condo is cramped, but nice. Leather couch, big TV, tasteful art. Oversized windows give it plenty of natural light. NANCY MATTHEWS comes from the kitchen on the ground level. Even with her hair up and wearing sweats for the move, her natural beauty is evident. She freezes at the sight of Shane. Shane? NANCY What are you doing here?

SHANE I just came to get my grill. The grill? NANCY

SHANE Yeah, I’m having a huge BBQ next weekend, gonna be a rager. So...I’ll need the grill. To borrow? NANCY

4. SHANE I think I’ll just take it. NANCY Didn’t I buy the grill? SHANE I don’t want to argue. quick. I’ll be

He goes up the stairs, she follows. EXT. NANCY’S CONDO - ROOF - CONTINUOUS

Nancy’s roof has a descent view of Santa Monica with neighboring rooftops spread out below and the horizon of the ocean visible in the distance. Away from the patio furniture and glass table, a behemoth, stainless steel GRILL sits against the railing. Shane exits onto the patio and makes a beeline to the grill. Nancy waits at the door. NANCY You’re going to carry that down by yourself? Shane stops. he talks. Turns back to Nancy. He moves closer to her as

SHANE Okay, can I be honest? I don’t like any of this. I don’t like your boyfriend moving in. I don’t like the distance between us. Where did it go wrong, Nance? NANCY Just get your grill. He’s right next to her. SHANE I’ve grown up a lot in this last year. You...showed me to me. And I didn’t like what I saw. He moves a strand of hair from her face, she slaps his hand away. NANCY What is wrong with you?

5. SHANE (defensive) Oh, I’m sorry, a man can’t miss his wife. Nancy leans in and smells him. NANCY Have you been drinking? in the mornIt’s ten

SHANE I’m not even going to dignify that with a response. Shane goes back to the grill, folds up the sides, and puts the tarp over it. NANCY How are you going to get thatSHANE (snapping) I’ll throw it off the roof if I have to! Honey? Nancy freezes. Shane disregards the grill and moves closer to Nancy. SHANE (whispering) Is that him? JOE REED steps onto the roof. Joe’s in his early 30s, fit, groomed, and confident. He wears a sharp suit that matches his perfectly parted jet-black hair. JOE (eyes on Shane) Hey...sweetie. NANCY (shit) Joe! Hey, baby. JOE (re: Shane) Who’s this? JOE (O.S.)

6. NANCY This is Shane.

Joe.

Shane stands still, eyes trained on Joe. Shane. JOE Heard a lot about you. Shane sizes up Joe,

Joe steps forward and extends his hand. doesn’t shake his hand.

SHANE Haven’t heard anything about you. NANCY Shane was just borrowing our grill. Borrowing? SHANE It’s mine, Nance.

Joe regards Nancy, his friendly demeanor drops. JOE How long you going to need it for? SHANE Forever. It’s mine. She gave it to me. She’s a liar. Can you give me a hand with this, slick? Shane drops to a knee and grabs an end of the grill. Joe steps forward, Nancy puts a restraining hand on his chest. Joe gently pulls it off. He walks to the kneeling Shane. JOE I think you should probably leave the grill alone. Shane chuckles, stands to meet Joe face to face. SHANE Look, you can have the house. You can have my wife. I’m done with them. But you can’t have my grill. Shane leans in closer to the unintimidated Joe. I need it. BBQ. SHANE (cont’d) I’m having a fucking

7. JOE I’m sure we’d be happy to lend it to you. Shane leans in even closer. SHANE None of this is your business. JOE Seeing as how I live here now, it very much is my business. Shane stabs a finger into Joe’s chest. SHANE Maybe you... Pokes him again. SHANE (cont’d) ...should back... Again. ...up. SHANE (cont’d)

Goes to poke him again, but Joe grabs his hand, spins him around and shoves him back. Shane stumbles into the patio furniture, stopping himself just short of falling. Shane laughs, turns to Joe. SHANE (cont’d) You did it now. Oh, man. You have any idea what you just did? Shane produces a BADGE. SHANE (cont’d) You just assaulted a detective of the Los Angeles Police Department. You know what that means? That means I’m going to handcuff you, throw you off this roof, and smash your head in my car door. You feeling tough now, cowboy? Joe produces an FBI BADGE. JOE You’re threatening the safety of a federal agent, Detective.

8. Shane studies the badge, closes his and pockets it. SHANE We’re all on the same team here. Let’s not get... (claps his hands together) It’s my move-in present. Congratulations. Shane forces a fake smile. Shane’s CELL PHONE rings. They’re silent as they watch him.

SHANE (cont’d) Excuse me a moment. He turns his back and answers his phone. SHANE (cont’d) (into cell) Okay. Yeah. Text the address. I’ll be right there. Closes the phone, turns back around. SHANE (cont’d) Got to run. Nancy. (beat) Jesus you look great. Shane goes to Joe, moves in and playfully shadow boxes him. Joe’s unmoving. Shane eventually stops. SHANE (cont’d) I like to mess around. No hard feelings? Shane brushes past Joe and leaves. JOE Can’t believe it didn’t work out between you two. NANCY He’s not going to take that well. JOE He’s a Los Angeles detective. like that are cut from steel. Guys CUT TO:

9. INT. SHANE’S CAR - DAY

Shane sobs uncontrollably. With one hand on the wheel, he reaches over to the glove-box and takes out a BOTTLE OF BLACK VELVET WHISKEY. He takes a long swig and tosses it into the passenger seat. Shane wipes the tears away with his forearms. SHANE (mumbles between sobs) Keep the fucking grill. I can buy five grills...fucking assholes. He puts the car in gear, cranks up the hard rock, and peels out down the road. CUT TO: INT. SHANE’S CAR - DAY

Shane pulls to a stop and shuts off the car. He takes a glance in the mirror, runs his fingers through his hair, and exits his car EXT. A & B LIQUOR - CONTINUOUS

A & B liquor has been reduced to ruble. Ash, glass, and pieces of concrete are scattered everywhere. A crowd has gathered, taking in the view. Cops have taped off the area and try to keep the crowd at bay. Shane, holding his badge in the air, forces his way through, all but shoving people out of the way. SHANE (to crowd) All right, all right, back the fuck up. Police business. Out of my way! Shane gets through the barricade of people and takes in the crime scene. OFFICER BARNES, a aging, black beat cop, approaches him. BARNES Looks like somebody had a blast.

10. SHANE It’s a goddamned war zone. BARNES I think someone over there wants to talk to you. Thirty feet away, Shane sees a tall ASIAN MAN in a suit. barks orders to everyone in earshot. SHANE That guy wants to talk to me? is he? BARNES Smells like a fed. Shit. SHANE You got any Visine? Who He

The Asian man spots Shane and waves him over. SHANE (cont’d) Fuck, never mind. Shane saunters over. He passes by a FORENSICS TEAM picking up dismembered pieces of the blast victims. ASIAN MAN Detective Matthews, I’m Federal Agent Samuels, Assistant Director for the Bureau of Los Angeles. Shane shakes SAMUELS’ hand. SAMUELS We were hoping you may assist us. Okay. SHANE With what?

SAMUELS Witnesses said the blast came from inside the liquor store. From the surveillance tapes we’ve salvaged, it was the clerk who fired it. We don’t think he knew what he was doing. He was being held up at the time. Had no idea what degree of weapon he was brandishing. Yeah? SHANE What was he using?

11. SAMUELS A shoulder mounted AT-4 RPG launcher. SHANE Isn’t that a military weapon? Very good. SAMUELS It is.

Shane regards the totaled liquor store. SHANE How do military weapons get into this shitty neighborhood? SAMUELS That’s what we want your help finding out. SHANE What do you need? SAMUELS Your superiors tell me you have some of the best informants in Los Angeles. A real connection with the streets. SHANE They’re not overexaggerating. SAMUELS I’d like to partner you up with our lead on this case. He’s not overly familiar with Los Angeles. Sure. SHANE Who’s the agent?

SAMUELS Actually, here he comes now. Passing under the taped off area, and heading towards them, is, of course, Joe. Fuck. SHANE All. He lays eyes on Shane, they glower

Joe approaches the men. at each other.

12. SAMUELS Agent Reed, this is Detective Matthews. He’s assured us he’ll help in anything you need. JOE (eyes never leaving Shane) Great. SHANE Looking forward to working with you. Silence as they continue to lock eyes. tension. Gentlemen. SAMUELS Is there aSamuels senses the

SHANE No problem. We’ll take my car. CUT TO: EXT. LOS ANGELES - DOWNTOWN - DAY

Shane’s car aggressively fights through traffic. The towering buildings leave the streets in perpetual shadows. INT. SHANE’S CAR - DAY

Shane and Joe drive in an uncomfortable silence. Joe notices the bottle of Black Velvet rolling around the floor at his feet. JOE You’re a big drinker. What? SHANE

Joe picks up the bottle and waves it to Shane. SHANE (cont’d) What’s it to you? JOE I’m not judging. I have vices, too. You don’t drink on the job do you?

13. SHANE Only on Fridays. JOE Shane, if we’re going to be workingSHANE Detective Matthews. JOE Detective Matthews, I’m just trying to make this as easy as possible for each of us. I don’t care if you drink. But if you can refrain from doing it while we’re working together, I’d appreciate it. Fine. Silence. Then... SHANE (cont’d) What’s your vice? My vice? JOE SHANE

SHANE You said you have vices. mine, what’s yours.

You know

JOE Um...yeah sure. If I had to say something...sports betting. SHANE Sports betting? You little devil. JOE Just recreational. more interesting. Baseball? Yeah. SHANE Makes baseball

JOE You like baseball?

SHANE Not really. Ever since my injury. Injury? JOE You played ball?

14. SHANE Yeah, you could say that. JOE In college? SHANE Yep. Bruins, but only for a year before I went into the draft. JOE (impressed) No kidding? You were drafted? Sixteenth. SHANE Third round.

JOE You’re shitting me. SHANE Nah. I had a cup of coffee with the Astros before I blew out my shoulder. JOE Too bad you got injured, but that’s great you made it to the show. SHANE I never played baseball. Joe deflates. SHANE (cont’d) Baseball is gay. JOE I didn’t chose this situation. Know that right now. SHANE What situation? JOE Can we just put our personal shit aside and get this day behind us? SHANE I would if you’d let me. Joe goes quiet.

15. Shane begins whistling “Take Me Out To The Ball Game,” bobbing his head with the tune. CUT TO: INT. MARVIN’S APARTMENT - DAY black, thin and stoned out of his mind, sits on the his dingy apartment smoking weed. He loads a giant he speaks with TWO THUGS sitting across from him, impatiently. MARVIN Nothing is better than what I serve. This is called Ferdinand the Bull. It’s better than the Vasco De Gamma product I had last week. You smoke this and it will open doors in your mind you didn’t even know existed. One of the thugs checks his watch. INT. MARVIN’S APARTMENT BUILDING - HALLWAY - CONTINUOUS

MARVIN, sofa in bong as waiting

Shane and Joe walk down the hallway and stop outside Marvin’s room. JOE So what are we doing here? SHANE Trust me, suit. This guy is one of my top informants, if weapons are moving through LA, he’d know about it. But he spooks easily, so just be calm and follow my lead. INT. MARVIN’S APARTMENT - CONTINUOUS

Marvin weighs the last pinch on an electric scale and shoves it into a Ziplock bag. One of the thugs throws two hundred dollars on the coffee table. MARVIN You two aren’t purchasing drugs, you’re investing in a piece of artwork.

16. BLAM! The door is kicked in. Shane storms in, gun in hand. SHANE FREEZE YOU FUCKING JUNKIES! GET DOWN ON THE GROUND! I’LL BLOW YOUR FUCKING HEADS OFF! The two thugs freak and hit the floor. Marvin throws his hands up and presses himself back into the couch. Joe apprehensively holds his gun, confused. Shane swaggers over to the coffee table and picks up the ounce. SHANE (cont’d) What do we have here? Looks to me like twenty years. Hard time! He spikes the bag down, jumps on the back of a thug, straddling him. SHANE (cont’d) I’m so sick of this fucking shit! You’re polluting my city! Did you think I wouldn’t know!? In my city? Shane puts his gun to the back of the thug’s head. SHANE (cont’d) I’m ending this now. JOE Detective... Shane turns to him. SHANE NO! I’M SO SICK OF IT! ANYMORE! JOE Put the gun down. Shane lowers it. SHANE You’re right. They’re not worth it. NOT

17. Shane stands. SHANE (cont’d) You two, get outta here. Run back to Boys’ Town. I want a word alone with your dealer. Shane cocks his gun and points it at Marvin. The two thugs jump up and flee the room. and gone... SHANE (cont’d) Annnnnnnnnd, scene! Shane takes a bow. Joe exhales. After they’re good

MARVIN Shane. My friend. Let me know you’re coming next time. SHANE I wanted it to be visceral. MARVIN Although you’re timing is impeccable. Now I have the product AND the money. Shane takes a seat. MARVIN (cont’d) (points to Joe) Who’s this guy? SHANE My ridealong. MARVIN What did you need? SHANE Some cockface is putting some heavy shit on the streets. Shit? Weapons. MARVIN SHANE Big ones.

MARVIN Sounds out of your price range.

18. SHANE So you know something. Marvin takes a rip off his bong. thinks. He holds it in while he

MARVIN I know a lot of things. Regarding this subject, I happen to have an address where your inquiries may be more relevant. JOE Who’s address? MARVIN No one’s talking to you! SHANE Yeah, motherfucker! up! (to Marvin) What’s the place? Shut the fuck

MARVIN This information isn’t exactly affordable. SHANE You want vice crawling up your ass? Because that’s what you’re gonna get if you don’t start talking. MARVIN Empty threats carry no water. How much? SHANE

MARVIN I don’t know. Say a g. A g. SHANE Okay. Deal.

Marvin scratches down the address on the back of a pizza receipt. SHANE (cont’d) You’re a sweetheart, Marv, thanks. Shane and Joe head for the door.

19. MARVIN Shane, you’re forgetting my payment. SHANE Got to make sure this pans out first. MARVIN You’re disappointing me. SHANE Love ya, Marv! They exit. CUT TO: EXT. VENICE BEACH - DAY

A bongo drumline pulses over a colorful assortment of tourist, locals and bums. Crafts and artwork are sold along the sidewalk opposite eateries and head shops. Shane and Joe walk through the people. JOE How are you sure we can trust this Marvin guy? SHANE We can trust him. JOE How are you so sure? SHANE I know the world can seem scary from behind a desk, but in the real world, on the streets, police work is done by keeping your nose to the grindstone. Our informants are our bureau of information. JOE Investigation. SHANE Right now it’s just two guys following a lead. Shane stops outside of a TATTOO PARLOR. address Marvin gave him. He checks the

20. SHANE (cont’d) This is it. INT. VENICE TATTOO PARLOR - CONTINUOUS

Aside from the TWO EMPLOYEES, the parlor is empty. VICK has blonde hair that reaches past his shoulders in waves. He flips through a muscle car magazine. HERMAN, thin with a short mohawk and tribal loop earrings stretching out his earlobes, practices five finger fillet with a dull pocket knife. His hands covered in tiny scars. The bell rings as Shane and Joe enter. Vick looks up from his magazine and closes it. Herman pulls his knife to his body. They know police when they see them. Fellas. SHANE

Shane observes the wall of tattoo art with his arms behind his back like a potential customer. Fancy. SHANE (cont’d) One of you guys the artist?

Vick tucks a blonde strand of hair behind his ear. Yeah. VICK Yeah, I do most of it.

SHANE You got talent. HERMAN You looking to get cut today? Shane swivels his head to Herman. SHANE What did you just say? Herman rolls his knife in his hand. HERMAN You looking to get some ink? Me? Nah. SHANE My parents loved me.

VICK Then what do you want?

21. SHANE We’re looking for weapons. Herman glances at Vick, growing nervous. He places his knife on the counter and reaches behind his back. SHANE (cont’d) Big weapons. Shit you can’t find lying around. VICK You got the wrong place. tatoos. SHANE That’s too bad. Shane pulls out a pair of handcuffs. SHANE (cont’d) You two are with us. You have the right toHerman pulls out a GUN. Shane! JOE We do

They both drop. Herman fires off two shots, shattering the front window, then he runs out the back. Vick grabs his own gun and fires once at Shane and Joe before following Herman. JOE (cont’d) They’re running. Joe and Shane get up and chase after them. EXT. VENICE BACK ALLEY - CONTINUOUS

Vick and Herman run together to the end of the alley. They turn to see Joe and Shane not far behind. They each fire a few shots, causing Joe and Shane to seek cover. Vick takes a right at the alley’s exit. Herman takes a left.

Joe and Shane run to where they split up. SHANE Take the blonde, I got the ‘hawk.

22. Shane follows Herman. Joe chases Vick. CUT TO: EXT. GEORGIAN HOTEL - DAY

Towering over the beach, the luxury hotel is alive with tourist streaming in and out. Vick runs through them, tossing people out of his way. Move! Joe chases him. INT. GEORGIAN HOTEL - CONTINUOUS He runs VICK Move!

Vick bursts into the lobby, people fleeing his path. and jumps into an open elevator.

Joe enters behind him. Spots him on the elevator, its doors closing. Joe dashes after him, but he won’t make it. Vick and Joe lock eyes as the elevator doors close. DING. Behind Joe. An elevator door opposite to Vick’s opens. Joe jumps in and observes the buttons. What floor? He quickly presses TWO. INT. VICK’S ELEVATOR He thinks about it. Changes

Vick’s panel has TEN lit up. his mind and presses TWO. INT.

GEORGIAN HOTEL - 2ND FLOOR He cautiously steps off the

BING. Vick’s door opens. elevator. BING.

Joe’s opens across from him.

Vick steps back into his elevator and points his gun at the opposite elevator. It’s empty. His doors begin to close. Joe, hiding in the opposite elevator, whips his head out for a quick glance.

23. Vick FIRES A SHOT in surprise. Both doors close. INT. JOE’S ELEVATOR Presses THREE. Joe dives down.

Joe considers the buttons. INT. VICK’S ELEVATOR

Vick also considers the buttons.

Presses THREE. CUT TO:

EXT.

SANTA MONICA PIER - DAY

Herman runs down the beach boardwalk, dodging bikers and rollerbladers. Shane’s not far behind him, shoving his way through the crowd. SHANE Get out of here! way! Get out of the

Herman reaches the foot of the pier. Aging arcades, restaurants and carnival games stretch over the ocean, complete with a roller coaster and ferris wheel. HERMAN TURNS AND OPENS FIRE AT SHANE. Shane ducks the errant shots as people run and scream. Herman runs onto the pier and disappears inside an ARCADE. Shane catches up to the arcade just as a BEAT COP approaches, aiming his gun at Shane. Shane uses one hand to flash his badge. SHANE (cont’d) I’m a detective! Call back up. Now! The cop takes off. Shane enters the arcade. CUT TO:

24. INT. JOE’S ELEVATOR

Joe’s pressed to the side of the elevator. The doors open onto the third floor. He hears Vick’s elevator doors open across from him. Silence. buttons. INT. The doors finally close again. Presses FOUR. Joe looks to the

VICK’S ELEVATOR His gun drawn, his

The FOUR button is already lit up. breathing quickens. His doors open. INT. GEORGIAN HOTEL - 4TH FLOOR

Vick pops out and FIRES. FIRES.

Joe pops out at the same time and The doors

Each get three shots off, none of them connecting. close. INT. JOE’S ELEVATOR

Joe presses FIVE without a thought. INT. VICK’S ELEVATOR

Vick presses FIVE without a thought. CUT TO: INT. ARCADE

A claustrophobic racket of aged arcade games and pinball machines. Shane stalks through, gun leading the way. He moves down a row of games, anime figures dancing across their screens. Herman dashes past the end of the aisle, behind Shane. Shane crouches and creeps against the games.

25. He passes by a Hoop Shoot, reaches back and palms one of the tiny basketballs. He casually tosses it behind him at the basket. DINK DINK The ball bounces off the rim and rolls down the ramp. Shane stops, takes a step backwards holding his gun out in front, reaches back, grabs another ball and tosses it at the hoop. DINK DINK. He misses again. EXT. ARCADE He points his gun

Herman runs out. He bumps into A WOMAN. at her. She SCREAMS and runs off. INT. ARCADE

Shane is now directly in front of the Hoop Shoot. Gun resting on the counter, he tosses ball after ball at the basket. He hears the woman’s SCREAM. He snaps out of it, grabs his gun and runs to the exit. EXT. SANTA MONICA PIER Looks in every direction.

Shane runs out.

Down the pier, Herman climbs over the rail and leaps off into the ocean. Shane sprints to the spot. Looks over, a long drop. Herman swims to shore. Shane considers jumping, thinks twice. He holsters his gun and runs to the front of the pier. CUT TO: INT. VICK’S ELEVATOR Then he

Vick checks his clip. He slides it back in. inexplicably holsters his gun.

26. INT. JOE’S ELEVATOR He aims at

Joe faces the door, not shying away this time. the doors. A long, tense beat. BING. His doors open.

Vick dives in the elevator, spearing Joe, knocking his gun onto the hallway floor. He pins Joe down. CRACKS him across the jaw. Vick smiles.

Joe bucks, but Vick maintains his mount. CRACKS him again.

Joe flails a hand up to Vick’s face. Vick slaps it away. Joe’s hand finds Vick’s face and he violently jams his thumb into his eye. Vick screams. hallway. Joe tosses him off and crawls into the

Vick finds his feet, hand over eye, pissed. Joe spins to his back. He’s FOUND HIS GUN. HE FIRES.

His first SHOT MISSES. The SECOND SHOT NAILS VICK IN THE FOREHEAD, blood sprays the back of the elevator. Vick stands for a moment, then his knees start to give. As he crumbles: BING. The doors close, Joe never sees him hit the ground. CUT TO: EXT. UNDER SANTA MONICA PIER

Herman fights the waves as he comes to the beach, struggles to avoid the pillars. He finds his footing and drags himself to shore. Soaked and panting, he unholsters his gun. Checks the chamber and glances up. Shane’s there. He leaps in the air and awesomely roundhouse kicks Herman in the jaw. Herman drops in the water, out cold.

27. Shane grabs Herman by the legs and drags him from the tide. CUT TO: INT. FEDERAL BUILDING - DAY

Full body X-Ray scanners screen everyone that enters. The walls are lined with glass offices, allowing the upper ups to monitor the floor of cubicles. Everything is transparent, zero sense of privacy. Shane and Joe enter. awestruck. Shane takes in the sight, reluctantly

SHANE It’s so...clean. Samuels pops out of his office. You two. INT. SAMUELS Get in here.

FEDERAL BUILDING - SAMUELS’ OFFICE - CONTINUOUS

Samuels waits for them to enter then closes the door behind them. SHANE Nice setup you guys got here, Chief. SAMUELS I’m not your chief. sir. You’ll call me

Samuels hits a switch on the glass wall and a tint turns the glass a sharp black. Whoa! Sit. Joe sits. SHANE That is fucking awesome! SAMUELS

Samuels crosses to his side of the desk. SHANE It just goes black like that. SAMUELS Sit down, Detective.

28. Shane does, but he still looks behind him at the glass. SAMEULS You two need to understand that this- Detective! Shane turns to him. SAMUELS This agency can’t afford any black eyes from the media. Do your jobs. And don’t let the world know what you’re up to. SHANE But we’re making leeway. SAMUELS Leeway? We have a dead suspect with no connection to any form of weapon smuggling. And another one who’s still unconscious. Hopefully his lawyer will let us speak to him before they file assault charges. Samuels removes his glasses and rubs the bridge of SAMUELS (cont’d) Look, anything right now must be considered progress. But keep your noses clean. You represent the entire bureau when you’re in the field. Now get back to work. CUT TO: his nose.

EXT.

FEDERAL BUILDING -

DAY

The sun sets over Los Angeles, turning the sky into a sharp orange. Shane waits in front of the emerald Federal building, the sun causing the dark green glass to sparkle. He leans against the flagpole, the American flag waving high above his head. Joe exits, stops in his tracks when he sees Shane. waves. Joe heads towards him. JOE You’re done with your paperwork already? Shane

29. SHANE Yeah, I’m a fast

Oh. Yeah. writer.

JOE Have a good night, Shane. Joe moves to leave. SHANE Where you going? Thought we’d go grab a drinkipoo. JOE Not tonight. Thanks, though. SHANE Let me give you a ride home. JOE Got my own car, Shane. Joe moves on. SHANE Great, I’ll walk you to it. Shane catches up with him. Joe’s annoyed, but stomachs it. They pass through the lines of vehicles. SHANE (cont’d) You’re quiet, man, what’s eating you? JOE Not much. Other than the fact I killed a man today. SHANE Oh, that. Can’t kill some people without making an omelette, right? He nudges Joe. LookJoe stops, Shane stops with him. JOE

SHANE Wait, wait. Was that your first kill? JOE That’s not-

30. SHANE Oh, you poor slugger. The first one’s always the hardest. Shane gazes off at nothing as he talks, as if remembering an old battle. SHANE (cont’d) Shoot, I don’t know how many people I’ve killed. In general or behind the badge. It’s easy for me now. I’ve...hardened to it. You’re soft. It’s okay. Shit, sometimes I wish I were still soft, like you. Still green. Maybe I’d be able to sleep nights. Like a baby, like you. You know? He shakes his head, forlorn, gives his attention back to Joe. SHANE (cont’d) Here. I had a date cancel, why don’t you take these, get your mind off it. Shane produces TWO TICKETS. JOE What is this? SHANE Some Fleetwood Mac cover band. Take Nancy. She’ll love it. Joe takes the tickets. (wary) Yeah? JOE

SHANE Trust me. Nancy’s a big fan. You’ll be her hero. Joe thinks a second, then takes the tickets. Thanks. JOE This is great.

SHANE Hey. We’re going to have to watch each others’ backs, right? I just want you to know that I’m someone you can trust.

31. JOE I appreciate that. Here. SHANE Skin it. Joe regards it.

Shane puts his hand out.

SHANE (cont’d) Oh, come on, suit. Skin it. Joe skins Shane’s hand. SHANE (cont’d) You have fun tonight. Shane walks off, Joe watches him go, looks down at the tickets. CUT TO: INT. MARINA DEL REY CONCERT HALL - NIGHT

It’s an intimate venue, seating about a hundred people. Joe and Nancy sit arm in arm watching THE CHAIN, the Fleetwood Mac cover band. The band is dressed just like Stevie Nicks, Lindsey Buckingham, etc. They finish up “Go Your Own Way” to much applause from the audience. Nancy looks up to Joe and smiles. Joe smiles back.

PSEUDO LINDSEY BUCKINGHAM addresses the audience. LINDSEY Thank you so much everyone. All the positive energy from your spirits is warming my soul. He glances offstage and nods. LINDSEY (cont’d) We have a very special treat for you all tonight. One of my dear friends is going to come up here and do a solo performance. He’s got a beautiful voice, he loves the Mac, and he’s the best guy to have on your side in team paintball. We’re at the X-Zone off the 101 on Sundays at three if any of you want to come out. If you dare.

32. He chuckles. LINDSEY (cont’d) Everyone give a big hand to the acoustic stylings of Shane Matthews. Shane skips onto the stage, holding a guitar. The audience applauds. Nancy, pleasantly surprised, gawks at Joe who glares straight ahead, his eyes narrowing. Shane steps up to the mic. SHANE (his voice huskier than usual) Thanks so much everyone for opening your hearts up to me tonight. You’re about to make this farmboy’s dreams come true. He clears his throat. SHANE (cont’d) This goes out to a very special lady in the audience. You know who you are. He tunes the guitar. SHANE (cont’d) It’s Nancy. Joe stares coldly ahead. Shane strums the opening chords of “Landslide”. dancing like a ballerina across the strings. SHANE (cont’d) This is for you, baby. (he sings) I took my love and I took it down. His voice like an angel that chain smokes. SHANE (cont’d) Climbed a mountain and turned around. And I saw my reflection in the snow-covered hills. Till the landslide brought it down. His fingers

33. The audience is rapt in silent appreciation. EXT. MARINA DEL REY CONCERT HALL - CONTINUOUS

In the dark alley behind the concert hall, a filthy BUM digs through a dumpster. He stops and stares off into the night sky. SHANE (V.O.) Oh, mirror in the sky - What is love? Can the child within my heart rise above? Can I sail through the changin' ocean tides? Can I handle the seasons of my life? A single tears rolls down the bum’s cheek, making a line through the dirt of his face. INT. HOSPITAL - CONTINUOUS

A DOCTOR closes the eyes of his PATIENT, the steady stream of a flatline rolls past on the heart rate monitor. The doctor looks off into nothing, his face full of longing and hope. SHANE (V.O.) I don't know, I don't know. Well, I've been afraid of changin', because I've built my life around you. He’s thinking of someone he once loved, a childhood sweetheart, perhaps. EXT. SPACE

An ASTRONAUT floats through space, Earth sprawled beneath him. A weightless feather gliding across the black void. SHANE (V.O.) But time makes you bolder, even children get older and I'm getting older, too. And as he turns, and his face becomes visible inside the visor, his eyes are wild in fear as he screams for salvation. A salvation that will never come.

34. INT. MARINA DEL REY CONCERT HALL - CONTINUOUS

Joe’s teeth are clenched. He glances at Nancy, who’s mouth is open, eyes wide in reverence, lost in Shane’s voice. SHANE So, take my love, take it down Climb a mountain and turn around And if you see my reflection in the snow-covered hills. Well, the landslide will bring it down. The landslide... (he speaks the last line) ...will bring it down. He stops, lowers his guitar. For a moment, silence. Then an eruption of applause. Everyone stands, except Joe. He watches in bewilderment as people yell and scream for Shane, many of them crying. SHANE (cont’d) (humble) Thank you. You’re all...thank you. CUT TO: INT. TOM’S DINER - NIGHT

Joe and Nancy are now accompanied by Shane, sitting at the window booth of a late night dive. Nancy is cracking up at one of Shane’s stories as Joe gazes out the window. SHANE ...so I told him, “Yeah I voted for Clinton, just the wrong one!” They laugh. NANCY When did you get into politics? I dabble. SHANE

A middle-aged WAITRESS approaches the table. SHANE (cont’d) Oh, hi. I’ll have a hot water with a slice of lemon please. NANCY That sounds good. Make it two.

35. JOE Coffee, dash of skim. SHANE And would you be a doll and bring me a packet of honey? My throat’s a little dry. Thanks gorgeous. She leaves. JOE Wish you would have told us you were performing tonight. SHANE And ruin the surprise? Somebody call the Fun Police cause you’re under arrest. Nancy and Shane laugh. NANCY I didn’t know you were still singing. I forgot what a great voice you have. SHANE Well, I’m a little embarrassed discussing this with Joe being here and all, but to be honest I had trouble finding a reason to sing after we, uh, didn’t work out. Nancy nods, knowingly. Joe rolls his eyes. a time. I’m back. And me.

SHANE (cont’d) But, ya know, one day at With exercise and prayer starting to get my voice that’s very important to

NANCY It sounds like you’re making a real positive effort to better your life. And I think that’s great. Shane blushes. SHANE (to Joe) I hope you know what a heck of a lady you got here. She is an angel. Don’t blow it. (to Nancy) (MORE)

36. SHANE (cont'd) Like I did. Unfortunately. guess second chances areJOE I have to use the bathroom. Joe stands and heads to the bathroom. SHANE Our bladders must be twins, because I have to go, too. I’ll be right back. INT. BATHROOM - LATER Shane takes the one next to him. I

Joe’s already at a urinal.

SHANE Swordfight? Just kidding, I’d win. But seriously, can I ask you a question? You have to promise not to get mad. Joe ignores him. SHANE (cont’d) I know it’s tough for you to be impartial about this, but here goes. What would you say my chances with Nancy are? Because from where I’m standing... (he goes on his tiptoes and glances down at Joe) ...they’re looking pretty good. Joe zips up, turns to Shane. JOE You better be joking. Hadn’t I? SHANE

Shane zips up, faces Joe. JOE If you weren’t a (air quotes) “cop”, we wouldn’t be having this discussion. You’d be on the ground. Picking up your teeth.

37. SHANE Oh, yeah, nighthawk, that’s all that’s stopping you? Shane fishes out his wallet, tosses to the ground. SHANE (cont’d) There you go. I ain’t a cop. Where’s yourJoe violently swings his leg in a perfectly executed Judo kick straight into Shane’s diaphragm. Shane gasps for air and drops. Joe drops with him, swinging his legs around like a spider, he wraps up Shane’s arm and puts it in an arm bar. SHANE (cont’d) You’re going to break it! Shane frantically attempts to tap out. I give! SHANE (cont’d) You win! Shane gets to his hands and

Joe releases him and stands. knees. You win.

SHANE (cont’d)

Shane uppercuts Joe in the nuts. Joe goes to drop to his knees in agony, but Shane catches him by the head. He stands him up. SHANE (cont’d) (whispering in his ear) Welcome to a street fight. He rushes Joe forward and smashes his head into the hand dryer. INT. TOM’S DINER - CONTINUOUS

Nancy and the other patrons look up at the CRASHING SOUNDS coming from the bathroom and filling the eatery. INT. BATHROOM - CONTINUOUS

Shane stands over Joe with a garbage can over his head, dumping the trash onto Joe.

38. SHANE You got something on your suit! He’s about to launch the empty can when he’s speared by Joe. INT. TOM’S DINER - LATER

Nancy waits, tapping her fingers, it’s taking them a long time. Shane comes out, disheveled and bleeding. He limps to Nancy. SHANE Nancy. So glad you could make it tonight, but alas, I must get going. Have to put these in milk... (he holds out a few of his TEETH) ...and call an oral technician. He walks away from the stunned Nancy. SHANE (cont’d) And I don’t mean a hooker. No response. SHANE (cont’d) You really look great. He turns and leaves. INT. JOE’S CAR - NIGHT Joe examines his wounds from the fight in the Stops and turns.

Nancy drives. visor mirror.

NANCY I can’t believe you fought him? And after he gave us those tickets. JOE What did you ever see in that guy? NANCY Shane’s a good man, okay? He’s just been through a lot this year. Oh yeah? JOE Like what?

39. NANCY Lots of things...all that money he lost in that pyramid thing. JOE He fell for a pyramid scheme? NANCY No, some touch-screen pyramid game at Bicycle Casino. He lost close to five figures. And he feels horrible about not being able to pay me back. JOE You lent him money to cover a gambling debt? NANCY And it’s eating him up inside. Joe flips the visor closed. JOE You know he’s trying to get back together with you, right? Nancy smiles. NANCY That’s Shane for ya. JOE That doesn’t bother you? No. NANCY Are you jealous? Hardly.

JOE Of that fucking guy?

NANCY If this is going to be a problem, maybe you shouldn’t invite me to go out with you two. I didn’t! JOE That’s the whole issue!

They drive in silence. Joe clenches his fists. CUT TO:

40. INT. FEDERAL BUILDING - DAY

Joe sits at his faceless cubicle staring into his laptop and typing. Shane rushes up to him, overly excited and out of breath. SHANE He talk yet? Who? JOE

SHANE The perp I took down yesterday. They said he was awake. JOE We can’t talk to him yet. lawyers areBullshit. His

SHANE Let’s shake him down.

JOE That’s not how this works. Anything weSHANE This guy’s our soft spot in the dam. Just a little push and all that water from the river’s going to come in and flood the village that is our case. Now, you coming with me or you going to sit around here playing with your dingus? JOE I’d love to, Shane. But this isn’t some TV show. This is real work andSHANE Real work? Real work? That’s what this is? Don’t you know anything about following a hunch? Instincts? Ninety-percent of police work is gut feelings. JOE What about physical evidence? Forensics? Facts? Why don’t you run off and play TV cop, I’ll be here. Making progress.

41. SHANE (sincere) Thanks. He heads off. Stops. Turns.

SHANE (cont’d) Oh, and Joe. Great armbar last night. I didn’t see it coming. But now I’m on high alert. JOE That’s great, Shane. SHANE Not for you it isn’t. Shane runs off. CUT TO: INT. FEDERAL BUILDING - INTERROGATION ROOM - DAY

Herman sits at the table, which is the only piece of furniture in the room. His scarred hands cuffed in front of him. Next to him is his LAWYER, chubby and sharp. watch. Shane enters. The lawyer stands. He checks his

LAWYER I made it clear my client wasn’t ready to give a statement. I want to know why he’s been pulled from holding. SHANE And you deserve an explanation. This is way out of line. These fucking feds. Can we talk outside for a moment? Shane leads the lawyer out of the room. He slams the door behind him, locks it. The lawyer pounds on the door. Shane slides a chair under the doorknob. He spins around, facing the nervous Herman. table and sits on the corner. SHANE (cont’d) This is nice. Just the two of us. He goes to the

42. The lawyer continues to pound on the door. HERMAN What the hell you think you’re doing, man? SHANE Just thought we’d have more fun without the chaperone. Shane nods towards Herman’s hands. You play? What? SHANE (cont’d) HERMAN

Shane pulls out a BOWIE KNIFE, spins it expertly and slams it into the table. SHANE We always called it Bishop. You youngins probably know it as Five Finger Fillet. Let’s have a game. HERMAN Get my lawyer back in here. Shane gets up, strolls behind Herman. Weapons. SHANE What do you know? Leans down.

HERMAN I know you better let him in here. Shane grabs Herman’s hand, violently forces it flat on the table. Weapons. SHANE

HERMAN You’re nuts! Shane pulls the Bowie knife free, holds it over Herman’s hand. SHANE Haven’t played since the army. Might be a bit rusty.

43. HERMAN I’m going to sue the fuck out of you, man! SHANE Let’s see...it goes one... He pokes the outside of Herman’s hand, then inside the thumb and forefinger. ...two. bike. SHANE (cont’d) Man, it’s like riding a

HERMAN Let go of me! Weapons. SHANE

Shane speeds up, the knife thudding into the table between Herman’s stretched out fingers. HERMAN I don’t know anything about weapons! The pounding on the door gets louder. Shane! JOE (O.S.) Shane are you in there! Better

SHANE We don’t have much time. speed this up. Shane increases the tempo. SHANE (cont’d) Weapons, asshole.

HERMAN You’re going to cut my fingers off! What... SHANE

The knife’s moving so fast it becomes a blur. SHANE (cont’d) ...do you know?! HERMAN Ohgodohgodohgodohgod...

44. The thudding of the knife becomes a constant drone. Shane! JOE (O.S.)

Joe kicks at the door, the chair impeding his progress. SHANE I’ve never gone this fast before! Can’t do this forever! Please! HERMAN Please God!

SHANE Tell me what you know! Joe kicks through the door, the chair slides away. Mechanics! Joe tackles Shane. from the room. HERMAN

The lawyer runs to Herman and pulls him

LAWYER (to Shane) You’ve just fucked yourself! Joe holds Shane back. SHANE Suck my balls! The lawyer leads Herman out. Joe’s furious.

JOE Do you have any idea what you’ve done!? Shane shoves Joe away. Yeah. SHANE My job.

Shane storms from the room. CUT TO: INT. FEDERAL BUILDING - EVIDENCE - DAY

Shane walks through rows of lockers filled with bagged evidence. Joe’s at his heels.

45. JOE They’re going to release him now. SHANE I don’t give a shit. Shane stops at the locker he’s looking for. JOE Samuels will have your head. SHANE I don’t work for Samuels. He pulls out a BAG. JOE What is that? SHANE Herman’s belongings. He opens it and pours it out on the ground. He rummages through the crap. Smokes, a couple pocket knives, money clips, change and a PEN. Shane examines the pen and pockets it. JOE You can’t steal from evidence. it back. Put Opens it.

SHANE You’re a real uptight sonofabitch, you know that. Put. It. JOE Back. Shane

Joe steps to Shane, ready to fight for his cause. smirks. Okay. way. SHANE Okay. We’ll play it your

Shane tosses the pen in the pile of junk and walks away. JOE You’ve ruined this entire investigation.

46. Shane doesn’t stop walking, flips Joe the bird before turning down an aisle and out of sight. CUT TO: EXT. HOLLYWOOD AND HIGHLAND - DAY

Shane speed walks through the crowds of tourists. Costumed super heros and long dead movie stars are stopped by passersbyers for photo-ops. EXT. HOLLYWOOD AND HIGHLAND CENTER - CONTINUOUS

Shane passes the Kodac Theater and enters the middle of the mall. It’s a three-story outdoor shopping center. Overpriced tourist shops, celebrity impersonators, and other Hollywood trademarks accompany the various outlet stores. In the middle of the courtyard, kids play in a WATER SPRAYGROUND, a circular, ground-level fountain that shoots streams and balls of water all synchronized to BLARING POP MUSIC. Shane stops in front of a designer clothing store. He peeks in the window to see Nancy working behind the counter. INT. CLOTHING STORE - LATER

Nancy removes jeans from a mannequin, she expertly folds them and places the naked mannequin back on the stand. She moves to the next one, unbuckles the belt... SHANE (O.S.) What will we tell Joe? She looks up, it’s Shane. Shane! NANCY Jesus.

Shane steps down from the stand. I got you. SHANE

NANCY That’s not funny.

47. SHANE Oh, don’t be a stick in the mud. Come on, I’ll buy you lunch. EXT. HOLLYWOOD AND HIGHLAND CENTER CONTINUOUS

Across the courtyard, coming up on the escalator, is Joe, flowers in hand. As he reaches the top, he sees Shane and Nancy exit the store together. He tosses the flowers in the trash can and follows them. Shane and Nancy pass by a CHARLIE CHAPLIN IMPERSONATOR entertaining tourists with some vaudeville schtick. As they walk by, Chaplin gives Shane a cold stare. He silently excuses himself from the crowd and follows them. Joe sees this and stops. He eyes Chaplin.

Shane and Nancy continue on, oblivious. SHANE You look really fucking hot today. Stop. You stop. NANCY SHANE

Shane and Nancy approach a PRETZEL STAND. Chaplin creeps up behind them. He reaches into his coat and pulls out a REVOLVER. Joe sees this and runs towards him. Shane! JOE Behind you!

Joe’s voice is drowned out by the loud music. Chaplin aims his gun at Shane. Shane and Nancy continue talking. Chaplin cocks his gun. Joe tackles into him and they fall into the sprayground. gun skitters across the ground. Shane and Nancy eat their pretzels, unaffected. The

48. Joe stands, Chaplin stands with him. Water shoots up all around them. Joe reaches for his gun. JOE (cont’d) You’re under arrest! Chaplin smirks. Runs and leaps into the air, does a back flip and crashes down into Joe. He puts his weight on Joe, pinning him. Tourist circle them, a crowd grows. Pictures are taken.

Joe pushes himself up, Chaplin rolls off. Joe stands, Chaplin points Joe’s gun at him. But before he can fire, a water ball shoots up and knocks the gun to the ground. Joe rushes in and clocks him square in the jaw, dropping Chaplin. The crowd cheers. Joe walks to the gun, but Chaplin scissors his legs and brings him down. Joe reaches for the gun, but a water ball kicks it further away. Shane and Nancy are on the outskirts of the crowd, oblivious. They’re putting on different funny hats from a stand. Laughing it up, really enjoying themselves. SHANE Who am I supposed to be? NANCY I don’t know, who? SHANE Annie Hall! They both crack up. Chaplin has Joe by the back of the head, smearing his face over a water hole. Water continuously flies into Joe’s mouth, threatening to drown him. Joe flips his head back, bashing Chaplin in the face, forcing him to release his grip. Joe stands, Chaplin is pissed. water. They’re both drenched in

Chaplin whips off his jacket revealing the cut physique of a fighter, zero bodyfat. His suspenders remain on. Resembles a roided out Hitler more than the timeless comedic icon we all admire.

49. Chaplin takes his bowler hat off, flings it into the clamoring crowd. The hat lands on Shane’s head. Nancy and Shane laugh and clap at this improbable, but pleasant little surprise. Oh my God! now? SHANE (cont’d) Who am I supposed to be

NANCY Abe Lincoln! SHANE (imitating Richard Nixon, two v-fingers and all) I like to fuck my slaves! He wags his tongue out and shakes his head violently. laughs so hard she can’t breath. Chaplin runs at Joe and drop kicks him in the chest. falls back and lies still. Nancy Joe

Chaplin steps to Joe’s gun, bends down to pick it up, but accidently kicks the gun away. He tries to pick it up, again kicks it away. He shrugs to the audience, goes to pick it up, kicks it again. He’s getting some solid laughs from the crowd. He dives on the gun. Stands and fires a shot in the air.

The crowd cowers, realizing for the first time that this might be real. Chaplin turns around and sees Shane, standing right in front of him. Shane awesomely roundhouse kicks Chaplin square in the jaw. Chaplin flies a few feet back, then hits the concrete, out cold. The crowd cheers wildly. Shane is swarmed. Nancy runs up and hugs him. The crowd puts Shane on their shoulders. Joe blinks through blood and water running into his eyes, too weak to stand. He sees Shane being lauded by the crowd. And Nancy, cheering hardest of them all. FREEZE FRAME ON SHANE BEING HOISTED BY THE PEOPLE. CUT TO:

50. FRONT PAGE LOS ANGELES TIMES. The picture of Shane being hoisted. HERO COP SAVES DAY. INT. SAMUELS’ OFFICE DAY The headline reads:

Samuels slams the newspaper down on the desk. Shane and Joe stand at attention as Samuels paces back and forth. SAMUELS Great work, guys. Any news on our suspect? Is he talking? JOE No, sir. He refuses to break character. Samuels paces to the window and stares out. SAMUELS Way to redeem yourself, Detective Matthews. I don’t know what we’ve stumbled on to here, gentlemen. But this attempted hit means you two are on the right track. Keep at it. Shane and Joe nod. They move to exit.

SAMUELS (cont’d) Shane. I’d like a word with you privately. Shane stays behind. INT. FEDERAL BUILDING CONTINUOUS

Joe exits Samuels’ office. He hears Samuels and Shane laugh. He looks back, jealous. Shane sees him, walks to Samuels’ door, his eyes narrow in an evil sneer, then he tints Samuels’ windows. INT. FEDERAL BUILDING - LATER Muffled laughter

Joe sits at his desk, waiting impatiently. comes from Samuels’ office.

The office door finally opens. Samuels and Shane step out, both chuckling to themselves. Shane holds an empty glass of brandy in his hand. He gives it back to Samuels.

51. SHANE Thanks for the snort, great stuff. SAMUELS Mi casa es su casa. They cross forearms in a camaraderie salute. SAMUELS (cont’d) Don’t forget the tee-time on Sunday. I’ve had the reservations for a month. SHANE Kobe’s really going to be there? SAMUELS You bet your ass. He’s dying to meet you. Samuels shuts the door. Shane struts over to Joe’s desk. SHANE What a character. JOE You seem to be getting pretty chummy with Samuels. SHANE Yeah, he likes my style. Shane takes a seat across from Joe. SHANE (cont’d) By the way, tough guy. I found a lead. Shane pulls out the PEN from Herman’s belongings. in front of Joe. JOE What’s this? Read it. SHANE Tosses it

JOE (reads it) Hank’s Auto Shop. from evidence?

Is this the pen

52. SHANE Relax, prissy, and listen. So I went through Herman’s vehicle history and guess what. He’s never been to a Hank’s Auto Shop. So I went through Hank’s Auto Shop work history and it says they’ve never had Herman as a customer. So tell me something, cheevo, where’d Herman get this pen if he’s never been to Hank’s? JOE Shane, they probably hand these out at every car wash and gas station in Los Angeles. Besides, pens go through circulation, it means absolutely nothing. SHANE But guess what he said before you interrupted my interrogation: mechanic. Joe tosses the pen away, disinterested. JOE Why were you there yesterday? Where? SHANE

JOE Why were you with Nancy? SHANE I was already in the area. figured I’dJOE Don’t go near her again. Shane leans back in his chair and wipes the corners of his mouth. SHANE I wish I could do that, Joe. Unfortunately I just don’t know how safe she’d be. JOE What’s that mean? I

53. SHANE Well, judging from front page news, you can’t protect her. You’re not man enough like me. She doesn’t need a suit. She needs a supercop. Joe stands up, puts an arm on each of Shane’s chair arms and leans in. JOE You can only fool people for so long. Pretty soon, everyone is going to see you for the idiot you really are. SHANE Then I hope Nancy likes being with idiots. Because that’s what she’s gonna get. And she’s gonna get it hard. JOE I’m warning you Shane. me. Don’t push

SHANE Put your claws away, little kitty. Before you scratch yourself. Shane gets up and pushes past Joe. He stops. SHANE (cont’d) Oh, and one more thing. Nancy told me you have trouble staying hard sometimes. And I think that’s pretty fucking lame. He walks away. Joe stays by his desk, fuming. He grabs the newspaper with Shane’s face on the front and rips it in half. An impressive display of strength. CUT TO: INT. SUNSET STRIP BAR - EVENING

Shane sits on a stool at the end of the bar. It’s a dimly lit dive, with only a few depressed regulars scattered about.

54. Shane sparks a cigarette and glances at the Dodgers game. The bartender, BUD, approaches. BUD Am I gonna have to drag you outta here tonight? SHANE Don’t know yet. Depends on how you pour ‘em. BUD Real stiff, like always. SHANE That’s funny, I plan on stiffing you, too. Hey, did you read the paper today? No. BUD

Shane takes the newspaper that’s stuffed in the back of his jeans and slams it on the bar. He points at the headline. That’s me. Bud glances at it. Bullshit. BUD Bud starts reading. SHANE

Shane spins it around.

SHANE That should be good for one drink, right? Why not. BUD

SHANE Whiskey and 7-up. double. Bud goes to fix his drink.

Make it a

The door opens. Sunlight floods in. shield there eyes from the light.

A few of the patrons

A WOMAN’s figure appears in silhouette.

55. She enters the bar and closes the door, returning the bar to its dark setting. She takes a stool at the other end of the bar, away from Shane. Shane takes his attention away from the TV and studies her over. She has long, curly, red hair and wears a tight red dress, which accentuates her hourglass figure. Bud approaches her. BUD What can I get you? WOMAN Vodka gimlette. Extra cherries. While Bud fixes her drink, Shane lights up a smoke. The woman leaves her stool and makes her way to Shane. WOMAN (cont’d) I hate to ask, but could I bum one of those from you, cowboy? Shane discreetly covers his pack with his hand and puts it back in his pocket. SHANE Sorry, fresh out. WOMAN Do you mind if I take a drag of yours then? She plucks the smoke from Shane’s hand. She takes a drag and glances down at the paper, seeing the headline and the picture of Shane on the front page. WOMAN (cont’d) Do you like to read about yourself? SHANE I just appreciate good journalism. WOMAN So what’s a hero cop doing in a juke-joint like this?

56. SHANE That’s funny. I was about to ask you the same thing. WOMAN But I’m not a cop. SHANE Yeah...but...What are you doing here? WOMAN I’m here for the game. Bud brings her drink over. WOMAN (cont’d) What’s the damage? SHANE I got this. And bring her two more. Take a seat, Trouble. She does. WOMAN How’d you know my middle name? SHANE It’s written all over that dress. WOMAN You’re pretty quick. SHANE Yeah, watch this. Shane takes a cigarette out and flicks it into his mouth at lightening speed. WOMAN I thought you were out. SHANE You think a lot. WOMAN What am I thinking now? SHANE You’re thinking you hit the jackpot.

57. WOMAN I haven’t even put a quarter in yet. SHANE We can change that. Shane motions to Bud. SHANE (cont’d) We’ll take those drinks to go. BUD Can’t do that. SHANE (to Woman) Looks like we gotta chug. CUT TO: SECURITY FOOTAGE: The muted and grainy black and white footage of a hotel room. Shane and the woman tumble in, ripping at each other’s clothes. Shane throws her on the bed, goes to the counter. He pours a bag of coke out on the dresser. Does an insane rail, rips his shirt off and screams. He begins to sway to unheard music. He pulls his belt off, cracks it over his head like a whip, taking out a lamp. He approaches the woman, who moves away from him, getting skittish from his behavior. He grabs at her, she kicks at him. He leads her over to the dresser, points at the coke and screams. He grabs the back of her head and shoves it in the coke, screaming the whole time, veins popping from his neck. He pulls her head up, covered in coke. Shane laughs hysterically, pulls her into him and licks her face. POLICE BURSTS THROUGH THE DOOR! They tackle Shane to the ground. INT. FEDERAL BUILDING - INTERROGATION ROOM - CONTINUOUS

Joe plays the security video to Samuels in the dark of a bare interrogation room. They stand over Shane, who sits between them, eyes on his hands, trying not to watch. He’s a wreck, same clothes from the night before, bloodshot eyes. Samuels flips off the video.

58. SAMUELS You screwed the whole investigation. Me? SHANE

SAMUELS You’re out. And I’ll see to it your superiors see this video. You’re finished with law enforcement. (to Joe) My office. He exits. Joe ejects the tape. SHANE I wasn’t doing anything wrong, Joe. You got to believe me. JOE Solicitation, possession, resisting arrest. You finally crossed the line. Joe moves to leave. Shane grabs his wrist.

SHANE You got to help me. Help you? would I? JOE Even if I could, why

SHANE Because I’m your partner. JOE You’ve been torturing me since we met. You just got what was coming your way. Joe pulls his wrist free, goes to the door. SHANE I’ll give you what you want. Joe stops. JOE And what is it I want, Shane?

59. SHANE Nancy. I’ll stay away. She’s yours. JOE You think by danglingSHANE I don’t want much in return. Try to convince Samuels not tell my chief. And don’t tell Nancy about this. Joe’s silent, thinking about it. SHANE (cont’d) And I’ll stay away. You’ll never see me again. You or Nancy. JOE I’m not even sure Samuels would listen to me. Try. SHANE

Forever.

JOE So I try to convince Samuels to go easy on you and never tell Nancy about this and you’re gone? Gone gone? SHANE No tricks. No games. and that’s that. You do this

Joe taps the tape against his open palm. JOE Okay. You got a deal, Shane. I’ll talk to Samuels. And Nancy wont hear a thing. SHANE Good. Then I guess I’ll never see either of you again. Good. Joe exits. JOE

60. INT. SAMUELS’ OFFICE - LATER

Joe knocks as he enters. Sit. Joe does. JOE I was thinking. Is it entirely necessary to notify Detective Matthews’ superiors about thisSAMUELS So what the hell you going to do? Sir? JOE SAMUELS

SAMUELS You just lost the only person on this case that was making any headway. So what the hell you going to do? JOE Detective Matthews was providing more harm than good. SAMUELS Not where results are concerned he wasn’t. He hit the pavement. Something you seem incapable of. JOE You’re not being fair. SAMUELS And you’re not doing your job. Clock’s ticking, Agent Reed. A knock and another FED pops their head in. FED You’re wanted in the interrogation room, Joe. He closes the door. Go on. SAMUELS We’re done here.

61. EXT. FEDERAL BUILDING - LATER A

Shane pulls out, stops at the security checkpoint. SECURITY GUARD approaches his car. Hi there. SECURITY GUARD Got your parking pass?

Shane searches his person. Shit. INT. SHANE I left my wallet inside.

FEDERAL BUILDING - LATER

Shane strides past the rows of cubicles, heading to the interrogation room. He gets to the door and sees his wallet on the chair. He enters the room and slows when he see a of light coming from a TWO-WAY MIRROR. Joe and the woman are on the other side in a muted conversation. Curious, Shane clicks the intercom on the wall. WOMAN You’re going to have to pay me way more now. I’ve been with some fucked up johns, but that guy was insane. JOE He didn’t hurt you. WOMAN You want to see the bite marks? JOE Okay, okay. I’ll double it. takeJust

Shane clicks the intercom off. He backs from the mirror into the darkness, never taking his eyes off Joe and the woman. CUT TO: INT. NANCY’S CONDO - NIGHT

Joe enters the dark condo and throws his keys on the counter.

62. JOE NANCY (O.S.)

Nancy... In here.

Joe follows Nancy’s voice into the living room. Shane is there, his face smothered in Nancy’s shoulder. JOE What the hell is he doing here? Shane looks up, his eyes red from crying. Joe! NANCY Can’t you see he’s hurting?

JOE We had a deal. What deal? NANCY

Joe puts his hands on his hips like a lecturing father. JOE Shane. I told you what would happen if you didn’t live up to your end of the bargain. Nancy stands. NANCY What are you talking about? JOE (to Shane) I warned you. (to Nancy) We caught Shane with a prostitute. Doing cocaine. He’sNANCY I know. That’s why he’s here. He’s lost and needed someone to talk to. JOE He told you? NANCY Yes, he told me.

63. SHANE Honesty is the foundation of any successful relationship. JOE Shut up! He’s playing you, Nancy. He’s playing both of us. SHANE What did I do, Joe? What did I do to make you hate me so much? NANCY He doesn’t hate you. JOE Yes, I do. I hate you so goddamned much. (to Nancy) He’s doing everything in his power to come between us. Because he’s crazy and because he’s evil. SHANE I only wanted to be your friend. JOE You’re up to one of your games. I worked too hard to get you out of the picture. Shane stands, receiving the in he was waiting for. SHANE What does that mean, Joe? JOE (caught) What? SHANE What do you mean you worked hard to get me out of the picture? Yeah. NANCY What does that mean?

JOE It doesn’t mean anything. SHANE You’re not being honest. be honest here. You can

64. JOE Get out of my house. NANCY Joe, what did you do? Joe faces her. lie. She waits expectantly, he doesn’t want to

JOE I kind of...I sort of entrapped him. You what? NANCY

JOE But I didn’t make him buy the cocaine and I certainly didn’t make him bite her! Bite? NANCY

SHANE (changing subject back to Joe) Shame on you! JOE Get out of my house! NANCY No, Joe. Maybe you should be the one to leave. Nancy... JOE

NANCY You crossed a line. Are you-? JOE You know what. Fine.

Joe walks from the living room, comes back. JOE (cont’d) You win, Shane. I hope you’re happy. Joe storms off, the front door slams behind him.

65. SHANE Man, Nancy. You sure know how to pick ‘em. NANCY (not listening) I’ll be right back. She runs after Joe. EXT. NANCY’S CONDO - CONTINUOUS Nancy runs after him.

Joe hurries to his car in a huff. Wait. NANCY

Joe stops and faces her, defeated. NANCY (cont’d) What is going on? This is way out of character. JOE I was only trying to fight for you. NANCY By attacking Shane? JOE You believe everything he says. But he’s lying to you. NANCY When has he lied to me? Joe thinks. Has nothing.

NANCY (cont’d) You never gave him a chance. Not really. He’s a good person, he is. Most the time Shane’s just crying for help. JOE Then go help him. Joe goes to his car, opens the door. JOE (cont’d) Because I can’t do this anymore.

66. INT. NANCY’S CONDO - LATER

Shane pours two glasses of chardonnay and hands one to Nancy as she enters. SHANE He’s got a lot on his shoulders right now. Shane takes a long sip, drinking most of his glass. SHANE (cont’d) Man, that’s good wine. NANCY Shane, I think you should see a psychiatrist. Shane stares into his wine. SHANE You might be right. I’m having a hard time accepting... Shane puts his glass down, moves in close to Nancy. SHANE (cont’d) ...this change. It’s hard waking up alone. Not having...shit, Nancy, not having you there. NANCY You’re being crazy. He moves in even closer, nodding. SHANE It sounds crazy. I know.

He slides a loose strand of her hair behind her ear. SHANE (cont’d) Maybe this whole world’s crazy. Shane... She pushes him away. NANCY (cont’d) I need to be left alone right now. She moves around him, dumps her wine in the sink. the glass, not looking at him. She cleans NANCY

67. SHANE You want me to go? NANCY I have a lot of work to do. SHANE You work in retail. Please. NANCY

Shane nods, goes to the door. He watches her for a moment, then leaves. CUT TO: EXT. HOLLYWOOD HILLS - NIGHT

Joe speeds through the winding hills, dangerously passing cars and playing chicken with oncoming traffic. INT. JOE’S CAR - CONTINUOUS

He strums the steering wheel, eyes narrowed, blowing off some steam. He’s lost in his own world. Remembering... INSERT SCENES: --Shane and Joe shaking hands at the opening crime scene. Gentlemen. SAMUELS Is there a-

SHANE No problem. We’ll take my car. --Shane raiding Marvin’s room. SHANE (cont’d) I’m so sick of this fucking shit! You’re polluting my city! Did you think I wouldn’t know!?! --Shane, Joe and Nancy at the diner after Shane’s performance. NANCY It sounds like you’re making a real positive effort to better your life. And I think that’s great.

68. --Nancy looking at Joe with disappointment outside her condo. NANCY (cont’d) He’s a good person, he is. Most the time Shane’s just crying for help. --Samuels lecturing Joe in his office. SAMUELS He hit the pavement. Something you seem incapable of doing. BACK TO SCENE: Joe strums harder against the steering wheel, getting riled up. He slams on the brakes, screeching to a halt. behind him, but he’s in a trance. Thinking. SHANE (V.O.) ...in the real world, on the streets, police work is done by keeping your nose to the grindstone. Our informants are our bureau of information. Joe hits the gas pedal, peeling away. CUT TO: INT. MARVIN’S APARTMENT - NIGHT Cars honk

Marvin’s having a party. His apartment is crammed with people, all silhouettes in the darkness. A strobe light flashes on a group grinding in his living room, HIP-HOP drowns all sound. Marvin sits on his couch, bong in hand, his teeth glowing from a blacklight. A nearly inaudible POUNDING comes from his door. goer standing nearby opens it. A party-

Joe enters. All eyes turn to him. He squeezes through the guest, making his way to Marvin. He pushes through the dancers and stands in front of Marvin, who glances up. Marvin smiles. MARVIN Kill that music! Kill it!

69. The music dies. Silence. Everyone watching Joe and Marvin.

MARVIN (cont’d) I know you? JOE I’m a friend of Shane’s. What? name. MARVIN I don’t know anyone by that Are you law enforcement?

Marvin stands. A few of his friends circle behind Joe, cutting off his exit. MARVIN (cont’d) Because I don’t remember inviting any pigs to my soiree. JOE I need information. MARVIN Perfect. Because I have some information for you. You’ve entered a world of hurt. JOE You know more than what you gave us. MARVIN I didn’t give you shit! Marvin nods to one of his friends who grabs Joe by the shoulder. Joe grabs his hand and twists until it breaks. The friend screams and drops to his knees. Joe draws his gun, never letting go of the guy’s hand, aims it at Marvin. JOE Nobody move. Everybody freezes. Joe releases the guy.

MARVIN Why are you ruining my party? JOE What do you know?

70. MARVIN I don’t know what you’re referring to. Marvin sits, packs a bowl into his bong. MARVIN (cont’d) I’m just trying to unwind. You have to come in here...I’m just trying to unwind. He lights the bong, but before he can pull the smoke through, Joe steps forward and rips the bong from his hand. The party-goers watch as Joe takes a massive hit, gun still trained on Marvin. Joe pulls the bong away and exhales a cloud of smoke then turns and smashes the bong against a wall, scattering people. JOE Fucking tell me what you know!!! Joe dives on top of Marvin, puts the gun to Marvin’s temple. JOE (cont’d) What the fuck do you know!? MARVIN I don’t know anything, man! crazy. I’m crazy? You’re

JOE I’m fucking crazy!

Joe puts the gun to his own temple. JOE (cont’d) You’re going to have to explain why you have a fed’s brains all over your floor! Who’s crazy now? People quickly exit the party. MARVIN What did I do? JOE What did I do!? MARVIN They use vans! That’s all I know! They move everything by van! Joe lowers the gun, realization flooding in. Marvin’s near tears.

71. JOE

Jesus.

MARVIN That’s all I know, man. You’re crazy. I’m sorry. That’s all I know. CUT TO: EXT. BASEBALL FIELD - NIGHT

The stadium lights illuminate an empty field. Shane’s all alone, knocking balls deep into the night from a pitching machine. He can hit, ball after ball leaves the park. JOE (O.S.) So you did play ball. Shane glances over his shoulder, sees Joe walking onto the field. Shane leans down and pulls from a bottle of Black Velvet by his feet. SHANE Well look who it is. Joe? How goes it,

Joe goes to the pitching machine and turns it off. SHANE (cont’d) How did you find me? JOE Tracked your cell. Shane pulls his cell out, regards it, then tosses it in the air and obliterates it with a swing from his bat. SHANE Track that, spook. JOE I came to tell you you may have been right. About your lead. SHANE No shit. Wish you would have listened to me when I was a cop. They took my badge, Joe. Shane points his bat at him.

72. SHANE (cont’d) You play a mean game of fuck-yourbuddy. JOE Told you to back off. Joe picks up a ball, stands on the mound. He fires a strike. Shane doesn’t take the bat off his shoulders. Takes another drink of whiskey. JOE (cont’d) Had seventeen wins and a three-five ERA my senior year. SHANE That right? Joe picks up another ball. JOE Get a piece and I’ll leave. Nancy? No. SHANE

JOE I’ll leave you alone.

Joe gets in a pitching stance, waits for Shane. Shane caps the whiskey and enters the batters box. Joe slings one in, Shane cracks it out of the park. Joe watches it go. Jesus. JOE (cont’d) You got a bat. SHANE Leave.

You lose.

JOE Don’t you want to get these guys? SHANE No. You got what you wanted. out of the picture. I’m

Shane picks up his bottle, shoulders his bat and turns to leave. Joe fires a ball just past Shane’s turned head, smashing into the backstop. Shane stops, coldly squints at Joe.

73. JOE It was never about Nancy with you. It was about not getting what you want. Like a child. You walk away now, and you’ll always be a child. SHANE Why the fuck do you care? Joe steps from the mound, approaching Shane. JOE Because you can be a good cop. Except you let your situation control you, instead of taking control of the situation. SHANE They’re never giving me my badge back, no matter what happens. JOE Then don’t do it for that. Maybe you act the way you do, because you can’t stand yourself. And knowing you, I can’t blame your self. Do this for you. SHANE Thanks for the lecture, Joe. Now if you’ll excuse me, I have a death to drink myself to. Shane walks off the field. CUT TO: EXT. HOLLYWOOD HILLS - NIGHT

Shane speeds through the winding hills, dangerously passing cars and playing chicken with oncoming traffic. INT. SHANE’S CAR - CONTINUOUS

He strums the steering wheel, eyes narrowed, blowing off some steam. He’s lost in his own world. Remembering... INSERT SCENES: --WITHOUT LIMITS. Donald Sutherland tries to get through to a stubborn Billy Crudup.

74. BILL BOWERMAN Know what your problem is, Pre? Vanity! Vanity? PREFONTAINE

BILL BOWERMAN Yes, vanity, Pre! Your belief that you have no talent is the ultimate vanity. If you have no talent then you have no limits, it's all an act of will. --PATCH ADAMS. Robin Williams gives an impassioned speech.

HUNTER PATCH ADAMS You treat a disease, you win, you loose. You treat a person, I guarantee you, you'll win, no matter what the outcome. If we're going to fight a disease, let's fight one of the most terrible diseases of all, indifference. --AMERICAN BEAUTY. Wes Bently explains the beauty behind a plastic bag caught in the wind. RICKY FITTS Video's a poor excuse, I know. But it helps me remember...and I need to remember. Sometimes there's so much beauty in the world I feel like I can't take it, like my heart's going to cave in. BACK TO SCENE: Shane strums harder against the steering wheel, getting riled up. He slams on the brakes, screeching to a halt. behind him, but he’s in a trance. Thinking. RAMBO (V.O.) And nobody would help! Nobody would help! He's saying, sayin' "I wanna go home! I wanna go home!" He keeps calling my name! "I wanna go home, Johnny! I wanna drive my Chevy!" I said, "With what? I can't find your fuckin' legs! I can't find your legs!" Cars honk

75. Shane hits the gas pedal, peeling away. CUT TO: INT. FEDERAL BUILDING - NIGHT

Joe’s all alone, working late at his cubicle. The lone light on the entire floor. Shane appears above him. Shane? I’m in. JOE SHANE CUT TO:

EXT.

SUNSET BOULEVARD - HANK’S AUTO SHOP - DAY

The generic, faceless body shop is just east of the tourist section of Sunset. It’s hidden in plain site amongst other generic storefronts. HANK’S AUTO SHOP is stenciled in faded white above the closed garage doors. Parked across the street and fifty feet away from Hank’s Auto Shop, Shane and Joe sit in a car. INT. SHANE’S CAR - CONTINUOUS

Shane flips through the radio stations, bored. Joe watches Hank’s with a pair of small binoculars, he scrawls a log of arrival and departure times on a yellow notepad. SHANE This is what you call police work? JOE We need to obtain a warrant. Our best bet in doing that is with surveillance. Right. SHANE Pussy shit.

JOE If we cut corners it could hurt any hope of prosecution. They could walk.

76. A car parallel parks in the street directly in front of them. Joe lowers the binoculars. JOE (cont’d) Is that Nancy? Nancy gathers two COFFEES in a holder and exits her car. SHANE I called her. See if she’d bring us some joe. JOE You called her? Nancy approaches Joe’s window. He lowers it.

NANCY You two order the coffee? She hands Shane a coffee. NANCY (cont’d) An Irish for Shane. SHANE Thanks, Nance. She hands Joe his coffee. NANCY A dash of skim. He dumbly takes it. Shane leans over Joe.

SHANE You look great today. She smiles. Enjoy. NANCY I’m off to work.

She looks at Joe who does nothing but gawk at her. Okay. NANCY (cont’d) Bye.

She walks to her car. Shane takes the lid off his coffee and gingerly sips, the steam rising into his face.

77. SHANE I’m already showing you how to be a cop, do I have to show you how to be a man? Joe watches Nancy, barely listening. What? JOE

SHANE Go talk to her. Joe snaps out of it. Yeah? Go. Why? Go! Yeah. JOE

SHANE Before she leaves. JOE When did youSHANE JOE Yeah. Thanks.

Here...

He tosses the notepad and pen to Shane, hands him the binoculars as he exits. JOE (cont’d) Keep the log. I’ll be right back. Joe jogs to Nancy’s passenger side and knocks on the window. She unlocks it and he gets in. INT. NANCY’S CAR - CONTINUOUS JOE I didn’t know you’d be coming by. NANCY I wasn’t, but Shane can be pretty convincing. JOE I’m glad you came. I haven’t really had the opportunity to apologize. You’re right, I was way out of character. (MORE)

78. JOE (cont'd) But...that’s only because I thought I was losing you. Losing me? Joe nods. NANCY (cont’d) Joe, you were never in any danger of losing me. To anyone. INT. SHANE’S CAR - CONTINUOUS NANCY To who, Shane?

Shane watches them, taking unhealthy swigs of the hot coffee. Still bothered by Joe and Nancy. He sees them lean into each other and kiss. Bullshit. SHANE

He regards the notepad, Joe’s chickscratch, the binoculars. Fuck this. SHANE (cont’d)

He peers at Hank’s Auto Body. He sees HERMAN APPROACH THE SHOP. enters. SHANE (cont’d) Mother fucker! Shane sees Nancy and Joe, still engaged in a kiss. He chugs the last of his coffee. SHANE (cont’d) Take control. He slides out of his car and silently closes his door so Joe can’t hear. INT. HANK’S AUTO SHOP - DAY Herman looks around, then

The garage is small, with barely enough room to work on one car at a time. Flickering florescent lights only offer a dim glow in the dark garage. A lone WHITE VAN is parked inside, the front facing the closed garage door.

79. HANK carries two long metal cases under each of his muscle bound, tattooed arms. He’s built like a drill sergeant, crew cut, a stone face with a constant frown. He brings the cases to the white van and hands them to his young and eager-to-please employee, ANDRES. Andres opens the back of the van and slides the cases inside. THE VAN IS FULL OF WEAPONS. Assault rifles, automatic machine guns, RPG’s and heavy cases full of ammo and the like. HANK Make sure nothing’s bouncing around. ANDRES Oh yeah. No worries, sir. Everything will be strapped in good and tight. Andres climbs into the back and slides the cases to the side. An air-pressure door hisses from the end of the garage as Herman enters. HANK Were you followed? For a bit. HERMAN I managed to lose them.

HANK This is the last run. Things are getting hot. Make sure nothing goes wrong. Hank walks to the side of the garage and hits a button. garage door noisily opens, pouring sunlight inside. SHANE STANDS AT THE OPENING DOOR. Herman is the first to spot him. HERMAN That’s him! That’s the cop! HANK (through clinched teeth) Shut up. He frantically waves Andres from the van. The

80. HANK (cont’d) You two get in the cab. Take off at the first sign of trouble. Go. Herman and Andres make their way to the cab. Herman takes the passenger side to avoid being seen by Shane. Shane passes Andres, who eyes him. Andres ignore him. Shane spots Hank behind the van, sliding in a CANNISTER and closing the back doors just as Shane walks up. Hey! SHANE What was that?

Hank isn’t intimidated by his presence. HANK Who are you? Why are you in my shop? Shane goes to the door. Hank locks eyes with Herman as he climbs into the passenger side of the van. Shane tries to open the door. Hank grabs his wrist, his hands huge and strong. Shane looks down at it, up to Hank. HANK (cont’d) You better have a search warrant. Yeah. SHANE I got it.

He headbutts Hank, sending him crashing to the ground. INT. VAN - CAB - CONTINUOUS He turns

Herman sees Hank falling from the sideview mirror. to Andres in a frantic whisper. Go! Go! HERMAN

Andres fumbles with the keys, drops them. Shit! ANDRES

81. INT. HANK’S AUTO SHOP - CONTINUOUS

Shane grabs the door’s handle, swings open the back of the van. He steps back in awe at the sight of the weapons. Goddamn! SHANE

Hank remains on the ground holding his nose. INT. VAN - CAB - CONTINUOUS

Andres searches by his feet for his keys. Herman reaches down and angrily grabs them, shoves them in Andres’ face. INT. VAN - BACK - CONTINUOUS

Shane climbs into the van. He caresses some of the weapons. Takes out a walkie talkie, presses the button. Drop it. HANK

Hank points a gun at Shane. HANK (cont’d) I’ll kill you here. Shane drops the walkie. Hank climbs into the van.

HANK (cont’d) Where’s your backup? SHANE Must of left it in my other pants. HANK You actually came here alone? INT. VAN - CAB - CONTINUOUS He

Andres jams the keys in the ignition, the van starts. guns it. INT. VAN - BACK - CONTINUOUS

Shane is thrown into Hank as the van takes off. He wrestles with him, knocking the gun lose and it bounces out of the speeding van.

82. Hank lands a kidney shot on Shane, shoves him out the back, but Shane manages to grab the open door. INT. NANCY’S CAR - CONTINUOUS

Joe holds Nancy. JOE Let’s not let anything get between us again. NANCY You’re the one thatThe screeching of the van fishtailing onto Sunset interrupts her. Joe spots Shane clinging to the swinging door. Shane! JOE

Nancy turns, eyes wide. Go! Go? Go! Go! JOE (cont’d) NANCY JOE

Nancy starts the car. NANCY You want me to chase them? JOE Drive, Nancy! She speeds after them. EXT. SUNSET STRIP - CONTINUOUS

The van barrels through a red light, an intersecting car honks and almost takes out Shane, who pulls his legs into his body at the last second. Nancy follows more cautiously, but makes it through the intersection. A POLICE CRUISER spots the pursuit and turns on its sirens.

83. INT. VAN - BACK - CONTINUOUS

Hank balances himself inside the van, makes his way to the clinging Shane. He spots Nancy and the cruiser giving chase. HANK You’re fucking everything up! SHANE Tough titty! Hank grabs hold for leverage, then kicks at Shane’s grip. Shane grunts at the pain, his grip loosens. Hank goes to kick again. Shane sweeps his grounded leg, knocking Hank back into the van. Shane struggles to find traction with his kicking legs and manages to pull himself inside. INT. NANCY’S CAR - CONTINUOUS NANCY Joe, I can’t do this. JOE Stay on them. You’re doing great. INT. VAN - BACK - CONTINUOUS

Shane moves in on Hank. Hank grabs an AK from the rack and swings it into Shane. Shane falls against the side of the van. Hank leaps on him, pressing the body of the weapon against his windpipe. INT. VAN - CAB - CONTINUOUS More

Herman observes the swirling lights behind them. CRUISERS have joined the pursuit. Fuck man! Shut up. ANDRES Fuck! HERMAN

Herman glances around, thinking. He opens the divider door between the cab and cargo area of the van.

84. INT. VAN - BACK - CONTINUOUS Herman sees Shane pinned under Hank. You okay? HERMAN

HANK I got this bastard! tails!

Lose our

Herman glances at the weapons. He licks his lips as he thinks, then grabs hold as Andres makes a sharp swerve. Herman picks up an AK. Thinks about it, thinks better and discards it. He opens various containers, filled with night vision goggles, navigation tools, nothing useful. He opens another one. It’s filled with GRENADES. EXT. SUNSET STRIP - CONTINUOUS

The van plows through an intersection, pushing a car out of its way. The traffic begins moving to the sides in compliance with the police sirens. Even more POLICE OFFICERS join the pursuit. INT. VAN - BACK - CONTINUOUS

Shane, eyes red, his face turning blue, knees Hank, freeing himself. He grabs an RPG and swings it into Hank, smacking him in the head. He stands over Hank, enraged. SHANE Payback jack! INT. VAN - CAB - CONTINUOUS His lap full of Herman rolls down his

Herman falls into the passenger seat. grenades. Andres eyes them, worried. window. INT. NANCY’S CAR - CONTINUOUS

Joe studies the van.

Herman’s arm pops out the window.

JOE What’s he doing?

85. Herman drops the grenade. pass over it. Joe looks back. BOOM. The grenade EXPLODES UNDER A CRUISER. The cruiser flips into the air and rolls, smashing into a store front. INT. VAN - CAB - CONTINUOUS Nice! INT. ANDRES Fucking nice! It bounces towards them and they

NANCY’S CAR - CONTINUOUS Holy shit! NANCY What the hell was that?

INT.

VAN - CAB - CONTINUOUS Drops the grenade out the window.

Herman pulls another pin. INT.

NANCY’S CAR - CONTINUOUS The grenade

Nancy sees it this time, swerves out of the way. passes them. EXT. SUNSET STRIP - CONTINUOUS

At the heart of the strip, several miles before it becomes Beverly Hills, the van leads the pursuit. Nancy’s car keeping pace. A cluster of cruisers bringing up the rear. The GRENADE EXPLODES UNDER ANOTHER CRUISER. Lifting it into the air, sending police next to it off course, smashing into civilian cars. Others swerve and lose control, crashing into outside eateries, causing people to flee patios, one breaks through a bookstore, a fire starting inside. Only a few cruisers makes it through the fray. INT. VAN - BACK - CONTINUOUS

Shane stands over Hank. From the ground, Hank grabs an RPG and swings it into Shane. Shane paries with his RPG, but it gives Hank time to stand.

86. He swings into Shane again, who holds his RPG above his head with both hands, blocking the attack. INT. VAN - CONTINUOUS

Herman eyes the mirror, sees Nancy and Joe still behind them. Grabs another grenade. He pulls the pin and holds it out the window. ANDRES What are you doing? HERMAN They’re seven second grenades. ANDRES Fucking awesome. Fucking smart. INT. NANCY’S CAR - CONTINUOUS

Joe watches Herman’s hand, not releasing the grenade. His eyes go wide as he realizes. Herman drops the grenade. Brake! Nancy brakes. EXT. SUNSET - CONTINUOUS JOE

A cruiser behind them rear ends Nancy. They duck as the grenade detonates in front of them, shrapnel shatters their windshield. INT. VAN - CONTINUOUS

Andres sees them dwindling behind them. Holy God! Calm down! INT. ANDRES Oh oh. HERMAN Fuck yes!

NANCY’S CAR - CONTINUOUS JOE Go, sweetie!

87. Nancy gets her wits about her and turns the key. Nothing. She pumps the gas, turns the key, it roars to life. INT. VAN - CONTINUOUS

Andres is hyped, smiling, adrenaline pumping. Awesome! ANDRES You da man, Herman! Ignoring Andres.

Herman studies the mirror.

He sees Nancy and Joe round the bend behind them. Speed up. EXT. HERMAN

SUNSET - CONTINUOUS

They gain ground on the van. Nancy’s car spits sparks out behind it, steam rising from the engine. But it still manages driving at full speed. It closes in on the van. INT. VAN - CONTINUOUS Holds it inside the van this time.

Herman pulls another pin. INT.

SHANE’S CAR - CONTINUOUS

Joe watches Herman’s window like a hawk. A GRENADE IS FLUNG OUT. Speed up! JOE

NANCY I’m trying! Nancy punches it. EXT. The engine strains.

SUNSET - CONTINUOUS

They speed over the bouncing grenade, it EXPLODES just behind them, destroying the back windshield and taking out any cruisers left in the chase.

88. INT. NANCY’S CAR - CONTINUOUS

Nancy and Joe pop up from cover. JOE Slam into them. What? NANCY

JOE Slam into them.

Now!

Joe kicks his leg over and jams Nancy’s foot into the pedal. INT. VAN- BACK - CONTINUOUS

Hank kicks Shane in the knee, then smacks him over the head once his guard is down. Shane hits the ground. Hank drops the RPG and grabs a fallen AK. He flips open a cannister and pulls out a clip. He slams it in. Points at Shane. INT. VAN - CONTINUOUS Holds it. Tense. Gets ready to

Herman pulls another pin. fling it. SLAM!

They’re jerked by the collision. Herman bobbles the grenade. It bounces around the cab and lands at Andres’ feet. eyes go wide. INT. NANCY’S CAR - CONTINUOUS His

The van’s cab FLASHES in an explosion. The van swerves and collides with cars parked on the street. It goes onto two wheels, then flips and rolls. INT. VAN - BACK - CONTINUOUS

Hank and Shane are tossed around the van as it spins around them. Weapons rain onto the street before it comes to a screeching halt.

89. EXT. SUNSET - CONTINUOUS Her and Joe step out.

Nancy stops the car. INT.

VAN - BACK - CONTINUOUS He looks

Hank lifts his head, blood dripping in his eyes. around. Shane lies still. He takes him for dead.

Hank hears sirens fast approaching, a HELICOPTER blares outside. He stands, rummages through the litter of weapons. An open compartment reveals an assortment of BODY ARMOR. grabs a heavy KEVLAR VEST and quickly puts it on. He straps on a helmet, clicks the chin strap. thick sleeves and hooks them to the vest. EXT. SUNSET - CONTINUOUS He turns He

He pulls on

Joe pulls his gun, cautiously approaches the van. to see Nancy following. JOE Stay at the car, Nancy. NANCY Shouldn’t you wait for backup? JOE I have to check on Shane.

A loud, dull EXPLOSION comes from inside the tipped van. A MISSILE flies from the back, heading right for Nancy and Joe. Down! JOE (cont’d)

Joe tackles Nancy into the street. The missile barely misses them, flying over the heads and detonating into Nancy’s car, which explodes into the air. Joe covers his and Nancy’s head as fire and debris fall around them. Hank steps from the van in full armor, loading another rocket. A police helicopter hovers overhead.

90. INT. VAN - BACK - CONTINUOUS

Shane comes to. Glances around, gets his bearings. Sees Hank just outside the van. He rises, glances around. Grabs a RPG, but can’t find rockets. He notices the entrance to the cab, ammo containers strewn inside. INT. VAN - CAB - CONTINUOUS

Shane squeezes in. Andres is a stain of blood and flesh in the driver’s seat. Herman breathes in broken wheezes. Half his body burnt to a crisp, shrapnel sticks out of his chest. Shane kneels down and their eyes meet. Shane puts his finger into Herman’s chest. Herman, with all his strength, drops his head to look at it. Shane flicks his finger up into Herman’s face. Boop. SHANE

Herman grunts in anger and his eyes close. Shane moves from him and grabs a cannister. rockets. EXT. SUNSET - CONTINUOUS It’s full of

Joe lifts Nancy up, they run hunched over for cover behind parked cars. Hank tracks them, ready to fire. But the police helicopter overhead thunders in his ears. He points the RPG up and takes aim at the helicopter. Fires. INT. HELICOPTER - CONTINUOUS

The pilot sees the rocket flying at him. PILOT He’s got an RPG! The pilot veers the copter, the missile passes them by mere inches.

91. EXT. SUNSET - CONTINUOUS

The rocket misses the evading bird and hits the upper level of a ten-story building, taking out a healthy portion in fire and glass. The helicopter flees from Hank. Ha! HANK

Countless police cruisers have cut off both ends of the street, causing an eerie silence. Hank loads another rocket and walks towards where Joe and Nancy are hidden. HANK (cont’d) This is what you get for fucking with me! He aims. Hey! Hank turns. Shane steps from behind the van, into the street, a good distance from Hank. He holds his RPG at his hip, casual like a gunslinger. Hank faces him. fashion. The two size each other up in high noon SHANE

HANK You did this. You did all of this. They pace, sizing each other up. HANK (cont’d) You’re just a cop. You don’t know how to use that thing. SHANE We’re gonna find out. EXT. SUNSET - BETWEEN CARS - CONTINUOUS

Joe and Nancy hunch down. Joe pops his head up, sees Shane and Hank circling each other.

92. JOE He’s going to get himself killed. Joe draws his pistol. NANCY What are you doing? JOE I have to help him. NANCY Don’t go out there. He regards her pleading eyes. I have to. JOE Stay here.

He puts his hand behind her head and pulls her into a kiss. EXT. SUNSET - CONTINUOUS Shane tightens his

Hank’s finger wraps around the trigger. grip. It’s really fucking tense. Hank pulls his RPG up, fires!

Shane dives out of the way, in mid-dive, he fires his. Hank’s missile hits the spot where Shane was, his dive keeping him safe from the blast. Shane’s missile misses horribly. Screaming well away from Hank and into The Comedy Factory, causing the entire building to erupt. Oops. Hank laughs. Shane. SHANE Aims at the frozen BLAM! BLAM! Two

Loads another missile.

BLAM! A bullet pelts Hank in his helmet. more bullets bounce off his kevlar.

Joe steps forward, gun in front, uselessly firing bullets into his armor. Hank angrily swings the RPG at him. HANK Stop shooting me! Drop it.

93. Hank threateningly jabs the RPG at him. drops his gun. HANK (cont’d) Go stand next to your friend. Joe walks to Shane. Joe has no choice,

Now!

They stand shoulder to shoulder.

Hank takes his time mounting the RPG on his shoulder, taking careful aim. SHANE You should have stayed hidden. JOE Couldn’t do that. HANK At least I’ll be able to take you assholes down with me. EXT. SUNSET - BETWEEN CARS - CONTINUOUS

Nancy watches the proceedings. Both Joe and Shane about to be murdered. She frantically fumbles around, searching for a way to help them. A few GRENADES are scattered near her in the street. picks one up. Hands shaking, she pulls the pin. EXT. SUNSET - CONTINUOUS SHANE Just want you to know, you’re not that bad of guy. JOE You are. But I still should have given you more credit. Hank wraps his finger around the trigger. SHANE See you on the other side. Nancy’s grenade rolls into the street, stopping between Hank’s feet. He looks down. Hank kicks it away and dives. BOOM! Shane and Joe cower from the blast. She

Hank’s helmet tumbles to their feet. He hurries to stand, grabs his RPG and points it at Nancy.

94. HANK Get over there!

Get up!

Nancy emerges from her hiding spot. HANK (cont’d) Go stand next to your boyfriends. Nancy runs to Joe and Shane. She grabs Joe in a tight hug.

JOE What were you thinking? NANCY I don’t know. Shane grabs Hank’s helmet as he rises. HANK Throw me my helmet! This? Now! SHANE HANK

SHANE You got it, boss. Shane bends down and slides the helmet over. HANK Now you’ll all fucking die together! Hank puts the helmet on, but it doesn’t fit properly. adjust it and it slips onto his head. HANK (cont’d) What the hell... A GRENADE slides from the top of the helmet and gets trapped between Hank’s head and the clear visor. Right in front of his eyes. Oh fucHANK (cont’d) He

BOOM! Hank’s helmet, with the bloody remains of his head inside, shoots off his body like a bottle rocket and spirals into the air.

95. Shane, Joe and Nancy watch as his headless body stumbles forward, blood squirting from his neck. It falls to its knees then collapses to the street. Moments later, his destroyed helmet falls to the ground a few feet away. Nancy and Joe turn to Shane. SHANE I didn’t think that’d work. LATER Police and feds surround the scene, placing alphabet markers and taking photographs. News helicopters hover above. Nancy sits on the back of a fire truck. Joe sits next to her, his arm around her. Shane leans against it, doing everything he can to not look at them. Samuels approaches. SAMUELS So it turns out this guy’s name is Hank Stover. Ex-marine. It looks like him and a few buddies robbed an army warehouse for the weapons. We retrieved his laptop with a full, detailed list of his contacts. His distributors, financiers, everything. The whole ring has been brought down. I can’t say it enough: great job, gentlemen. JOE It was all Shane. It was his lead, his hunch, his work. He did it all. SHANE Bullshit. I’d be drunk in a gutter right now if it weren’t for Joe. SAMUELS You’ll both receive the credit. As partners. You’ve made us look good. Stay put, I have to address the media. Samuels walks away.

96. NANCY I’m proud of you, Shane. JOE You really are a good cop. Shane blushes, tears form in his eyes. Shane... NANCY

SHANE (choking back tears) Shut up. He walks away. NANCY Shane, where are you going? SHANE I gotta go find a drink or something. They grow tiny as the Sunset Strip becomes visible in its entirety. The path of their destruction is immense, burning buildings and cars, smoke tendrils spiraling into the sky. Flashing police lights are the only traffic that remains on the boulevard. CUT TO: EXT. CAYMEN ISLANDS - DAY

The white beach leads to the soft waves of turquoise water along the Seven Mile Beach. Joe and Nancy lean back on beach chairs, sipping tropical drinks and gazing at the water. NANCY It’s so peaceful. this. Thank you for

JOE After what we went through, we deserved a vacation. She nods. NANCY I hope Shane’s okay.

97. JOE Let’s not...I don’t even want to hear his name. NANCY You’re right. Sorry. They go back to enjoying the sound of the lazy waves. A SHADOW crosses over them, they look up. Shane. Nancy! Shane? SHANE Joe! What the fuck! NANCY It is, of course,

Joe immediately jumps up. JOE What the hell are you doing here? SHANE I decided to take a little vaycay. The question is, Catfish, what the heck are you two doing here? JOE I told you we were going to the Caymen Islands. SHANE I didn’t know it’d be THIS Caymen Island. Joe grabs Nancy’s hand and drags her away. SHANE (cont’d) Where you guys going? Want to grab a drink? JOE (turning back) You’re sick, Shane!

Get help!

Nancy waves at Shane as she’s pulled away. SHANE Hey, I’ll catch you guys later! Gonna go snorkeling! I’ve never been!

98. Joe pulls Nancy further along, hurrying away from Shane who watches them go. SHANE (cont’d) Let’s get dinner one night! FADE TO BLACK.

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