THE SALTON SEA
by
Tony Gayton
FADE IN:
INT. RESIDENTIAL HOTEL ROOM - NIGHT
A MAN recumbent on the bed, playing a TRUMPET, his white dress shirt
defaced by a flower of blood. The room is ON FIRE all around him.
He is playing Miles Davis' moody, Spanish-influenced SAETA, a haunting
and lonely piece.
DANNY (V.O.)
My name is Tom Van Allen ...
(beat)
or Danny Flynne ...
A DUFFLE BAG FULL OF MONEY ON THE BED. The money burning, tiny flaming
pieces floating around the room.
DANNY (cont'd)
... I don't know anymore.
(beat)
Maybe I'll let you decide. Maybe you
can help me, friend. As you can see,
I don't have a hell of a lot of time left.
A PHOTOGRAPH of a woman taped to the inside of a trumpet case. The
photo is on fire. Only her smile remains.
DANNY (cont'd)
Avenging angel ... Judas Iscariot ...
Loving husband ... Prodigal Son ...
The prince of Denmark ...?
A GREETING CARD on the floor, a teddy bear and the word,
CONGRATULATIONS! on the front. The wind from the fire blows the card
open. Inside, a BLACKENED BLOOD STAIN.
DANNY (cont'd)
All of these? None of these? You
decide, friend. You decide. Trumpet
player? Speed freak?
(beat)
Speed freak.
(beat)
That's as good a place as any.
(beat)
But first, a little background on the
mad world of the tweaker ..
FADE OUT.
FADE IN.
INT. LABORATORY - DAY
EXTREME CLOSE-UP of a glass pipette dripping a clear liquid into a
glass beaker.
DANNY (V.O.)
Methedrene was first distilled by a
Japanese scientist before WWII.
Hand it to the Japanese, they knew a
good thing when they saw it.
INT. JAPANESE ZERO - DAY
A wide-eyed, jaw-grinding KAMIKAZE PILOT with a death-grip on the
controls.
DANNY (V.O.)
This guy's so tweaked, he probably thinks
he can survive this without a scratch.
STOCK BATTLE FOOTAGE - a Japanese Zero crashes into a battleship,
bursting into a ball of flames.
DANNY (V.O.)
Maybe not.
(beat)
By some estimates, 2% of the Japanese
population had a meth problem after
the war: factory workers, soldiers,
pilots. Maybe that's why it took two
bombs to get 'em to surrender. A
nuclear blast is just a minor
nuisance to a determined tweaker.
INT. HOUSE - DAY
A wide-eyed, June Cleaveresque housewife in a picture-perfect white
dress vacuums the floor of a picture-perfect house.
DANNY (V.O)
In the fifties, the housewives got
ahold of it. Dexedrine. Benzedrine.
Methedrene ...
She attacks the same spot over and over again, one hand clutching the
vacuum, the other stiffly holding a cigarette.
DANNY (cont'd)
Now that's a classic speed freak for
you, skinny and cleaning the house. I'll
bet her poor husband never knew what
hit him in the sack either.
INT. BEDROOM - NIGHT
THE LEG OF THE BED rattling and bouncing loudly off the floor.
STOCK FOOTAGE - J.F.K. pumping the hand of NIKITA KRUSCHEV.
DANNY (V.O.)
There were even rumors that one of
our presidents dabbled with
mysterious "energy shots". Imagine
that: a slammer in the White House.
Kennedy talking animatedly.
DANNY (cont'd)
If it's true, I'll bet ol' Krushchev
never got a word in edgewise.
EXT. TRUCK STOP PARKING LOT - NIGHT
A sleepy-eyed TRUCKER emerges from his tractor-trailer and approaches a
loitering HELL'S ANGELS-type.
DANNY (V.O.)
By the late 60's the government
finally cracked down and sent the
whole thing underground. Bikers
controlled the market for a while.
INT. TRACTOR-TRAILER - NIGHT
The trucker gripping the wheel with the same death-grip as the
Kamikaze.
DANNY (V.O.)
But now anyone with a basic chemistry
kit and the right ingredients can
cook it up at home.
INT. PHARMACY - NIGHT
A CASHIER scanning container after container of COLD MEDICATION.
DANNY (V.O.)
Ever see a long-haired tattooed freak
buying up all the cold medicine he
can lay his hands on at three in the morning.
The cashier looks up at the aforementioned FREAK, a frozen grin
plastered on his face.
DANNY (cont'd)
Take it from me, he ain't got no
cold. He's a cook. Look in his
kitchen and you'll find a whole
grocery list of unsavory ingredients.
INT. KITCHEN - NIGHT
TRACK DOWN the kitchen counter on various containers.
DANNY (V.O.)
Drain cleaner, hydrochloric acid,
match heads for red phosphorus,
ether and of course the cold
medicine .. that's for Ephedrene,
soon to become Methedrene
CONTINUE TRACKING to a series of BURNERS, BEAKERS and TUBING
DANNY (cont'd)
This guy's a regular Julia Child.
Problem is, I'll be even Miss Julia
fucks up the bouillabaisse from time to time.
The freaky cook sees something he doesn't like. His eyes widen.
DANNY (cont'd)
Oh-oh.
EXT. TRAILER - NIGHT
As the structure explodes.
INT. PARTY HOUSE - UNKNOWN
Thick blankets and tinfoil taped over the windows.
A huge container of empty beer cans, washed and neatly arranged.
Lines of crystal meth on a mirror as precisely arranged as Nails as the
Nuremberg rally.
A GROUP OF TWEAKERS in the middle of a binge.
Two skinny women, NANCY and Teresa bent over a drawer-full of neatly
folded socks on the living room floor. They stare at the drawer as if
they were pondering a Rembrandt.
NANCY
It ain't right
TERESA
You think?
NANCY
Something's off.
TERESA
We can do better.
They take the socks out and being rearranging them again.
Three guys squeezed onto a couch together: KUJO, JIMMY THE FINN and
CREEPER. Kujo is talking a blue-streak. He makes Dennis Leary took
mealy-mouthed.
Creeper and Jimmy stare straight ahead, clearly bugging.
KUJO
So the alphabet, I mean look at it,
there's 26 letters. Why not 27 or 28
or 106? And the vowels: a, e, i, o, u.
What the hell is up with that?
CREEPER
And sometimes y.
KUJO
What I'm saying is that I love it!
It's great. I could go on all night about it.
And he does.
KUJO (cont'd)
Let's take every letter individually.
I mean, let's really break the
mother's down.
DANNY is sitting in an armchair. He is the only one who looks tired.
He sits there, taking the scene in.
ALL SOUNDS FADE OUT
DANNY (V.O.)
And so this is where I find myself.
No. I should choose my words more
wisely: this is the world I sought
out. The land of the perpetual night-
party. Day swallowing night and
night swallowing day. The crank
compressing time like some divine
piston on its awesome downstroke.
DANNY'S P.O.V. - SCANNING THE ROOM. NO SOUND. The girl's folding the
socks ... Kujo ranting on ... Creeper and Jimmy the Finn grinding their
jaws ... the BLANKETS AND TINFOIL ON THE WINDOWS.
DANNY (cont'd)
We've been at this for three days ...
or is it four? Tweakerrs, lokers,
slammers coming and going, swearing
eternal allegiance and undying love
for one another, only to wake up
after the binge and realize you
wouldn't walk across the street to
piss on one of 'em if their head was on fire.
(beat)
Is it three days or is it four?
BACK ON DANNY. He blinks lethargically.
DANNY (cont'd)
I know what you're thinking. But
don't give up on me just yet. And
for God's sake, don't pity me. Don't
make any judgments until you've seen
my whole story.
(beat)
And keep your eyes open.
(beat)
Nothing is what it seems.
Suddenly ...
KUJO (O.S.)
OH SHIT! WE'RE OUT OF DRUGS!
INT. PARTY HOUSE - NIGHT
Danny and Jimmy the Finn walking towards the front door.
DANNY
How the hell did we get this detail?
JIMMY
Guess it's our turn.
Danny nods.
DANNY
What time is it?
JIMMY
Twelve
DANNY
Midnight?
EXT. PARTY HOUSE - DAY
As the door opens, Danny discovers that it is TWELVE NOON and the sun
is blazing.
The party house is revealed as a cheap stucco apartment building
crammed in the middle of BUSY BUSINESS DISTRICT at a major
intersection.
Jimmy and Danny slip on sunglasses and brave the light.
DANNY
Where to?
JIMMY
I know a guy.
DANNY
Lead the way.
They slink along like two albino rat vampires with sunglasses.
JIMMY
Nice day
DANNY
I hadn't noticed.
(beat)
I've seen you around. What's your name?
JIMMY
Jimmy. Everyone calls me Jimmy the Finn.
DANNY
Why's that?
JIMMY
My features. They're Finnish.
DANNY
You don't say.
JIMMY
Finland is a country.
DANNY
Well, Jimmy the Finn, let's go score some gack.
INT. CHEAP MOTEL ROOM - DAY
Danny and Jimmy standing there looking at something OFF SCREEN. Danny
and Jimmy looking at one another, then back at what they were looking
at.
A GUY sitting on the bed in his underwear, looking down at his left arm
and holding a can of BUG SPRAY at the ready in his right hand.
He is completely motionless, studying his arm with hypnotic intensity.
JIMMY
Bobby?
BOBBY
Shhh.
Bobby never takes his eyes off his arm.
BOBBY (cont'd)
(whispering)
They're coming.
JIMMY
(likewise whispering)
What?
BOBBY
The spiders.
Bobby readies the can of bug spray, his eyes widening.
BOBBY (cont'd)
(sing-song)
I'm ready for you this time.
Bobby lets loose with the spray, dousing his arm.
BOBBY
Aha! Yeah!
(super rapid-fire)
You thought you could fuck with
Bobby, you thought you could fuck
with Bobby, you thought you could
fuck with Bobby!
Bobby's mouth wide with stupid joy and continues to cloud the air with
bug spray.
BOBBY (cont'd)
With Bobby you thought you could fuck?
Danny and Jimmy wait silently. Bobby finally stops spraying, satisfied
he has killed the imaginary spiders.
He looks up at Jimmy and Danny, his eyes swimming with stupid, drug-
addled confusion.
BOBBY (cont'd)
Who the fuck are you?
JIMMY
It's me ... Jimmy
Bobby squints.
BOBBY
Jimmy, Jimmy, Jimmy, Jimmy. Rhymes with Simmy.
JIMMY
Yeah.
BOBBY
What can I do for you?
JIMMY
Um, coupla' eight balls oughta do us.
Danny and Jimmy notice something simultaneously.
There is something under the mattress - A HUGE BULGE.
BOBBY
Don't pay her no mind.
A MUFFLED MOAN from under Bobby. She is between the mattress and the
box springs.
BOBBY (cont'd)
Shut the hell up, goddamit!
Bobby starts slapping the top of the mattress with his hand. New
MUFFLED SCREAMS from underneath.
BOBBY (cont'd)
I got no vocation skills! What the
fuck you want from me?
(keeps slapping)
I got no vocation skills!
JIMMY
Hey man, take it easy.
Bobby immediately stops. Looks at Jimmy with incredulity.
BOBBY
What?
JIMMY
Come on. Ease off the girl.
Bobby springs from the bed, grabbing something as he rises.
Danny and Jimmy suddenly staring at a SPEARGUN which is loaded with two
stainless steel spears.
Bobby stands there alternately pointing the speargun at Jimmy, then
Danny.
BOBBY
Did you bring the plastic men?
Bobby nods towards something behind Danny. Danny and Jimmy don't move
or speak.
BOBBY (cont'd)
Did you bring the plastic men?
(beat)
Did you bring the plastic men?
Bobby rubs his nose.
BOBBY
Did ... you ... bring ... the ... plastic ... men?
DANNY
Nah, we didn't bring 'em. That's
just your good crank talking, brother.
Bobby tilts his head.
DANNY (cont'd)
We were hoping to catch a few ourselves
if you'll hook us up.
BOBBY
(calmer)
You bring the plastic men?
DANNY
Like I said.
JIMMY
Fuck man. Come on, Bobby.
BOBBY
Bobby, Bobby, Bobby. Rhymes with ...
(he draws a blank)
DANNY
Hobby?
Bobby twists a smile, revealing speed-blackened teeth.
BOBBY
That's a good man. I like that.
DANNY
(calmly)
Hey, Bobby, look .. What you got
going with your old lay, it's none
of our business. We're just a couple
of dope fiends trying to score.
Bobby lowers his speargun.
BOBBY
Two eight balls?
Jimmy breaths a sigh of relief.
EXT. CHEAP MOTEL ROOM - DAY
Danny and Jimmy exit the room, closing the door behind them. Danny
looks at Jimmy.
DANNY
Nice dealer you got there, Jimmy.
JIMMY
Oh ... that. Ah, he was just juiced.
He wouldn't have did nothin'
WHAP, WHAP! Two spears plunge through the cheap door, stopping inches
from Danny's head.
They run like hell.
EXT. SKY - DAY
TIME LAPSE. The sun plunges down. The sky turns black. The moon
races up and down. The sky lightens. The sun races up and down.
Night comes again.
INT. PARTY HOUSE - NIGHT
Everyone crashing. Jonestown, post Kool-Aid. It looks like they have
all simultaneously fallen asleep where they were standing or sitting.
Danny stirs awake. Looks around. He stretches. KNOCKING OVER A
BOTTLE OF BEER.
ALL OTHER SOUND FADES OUT AS the beer SPLATTER to the floor. IT IS
UNNATURALLY LOUD.
DANNY staring intently at the spilling liquid.
The beer pools up on the floor.
Danny transfixed by the image.
The last few drops of beer LOUDLY splashing down.
EXT PAYPHONE - NIGHT
Danny on the phone.
DANNY
C.I. number 678-43K-107
(beat)
Tanner and Garcetti
He hangs up.
EXT. ALLEY - NIGHT
Danny waiting in the shadows.
A car, sans headlights, pulls into the alley and stops.
Danny emerges from the shadows, opens the back door and lays on the
back seat.
INT. CAR - SAME
Two guys in suits in the front, TANNER and GARCETTI. Tanner. blue eyes
and SHAVED HEAD, an air of ex-military around him. Garcetti: swarthly
and serious, a MIASMA OF BAD-ASS ATTITUDE.
DANNY
(lying on the back seat)
I've got a hot one.
TANNER
You go, boy.
DANNY
If it's all the same to you, I'd
rather not dish right here in the
middle of Crankville.
Tanner drives out of the alley.
TANNER
Feeling the paranoia tonight, are we?
DANNY
Well, you know what they say, just
because you're paranoid, doesn't mean
everyone's not out to slice your
balls off and shove 'em down your throat.
EXT. PART - NIGHT
Danny, Tanner and Garcetti outside the car in a deserted park. Danny
pacing.
TANNER
You got a name?
DANNY
Bobby, rhymes with hobby.
TANNER
What?
DANNY
Never mind. Dude had a backfull of
jailhouse tatts.
QUICK FLASHES OF BOBBY'S TATTOOS.
TANNER
No last name?
DANNY
It was all pretty informal. Didn't
have a lot of time to exchange
pleasantries.
Garcetti produces something from the front seat of the car and trudges
over.
GARCETTI
This the guy?
DANNY
It speaks!
The humorless Garcetti hands Danny a "WANTED POSTER". Bobby's mug shot
glaring.
DANNY
That's him. He's a lot prettier in
person though.
GARCETTI
Cut to the fucking chase, Flynne.
DANNY
Dude is bugging. Transparent
spiders, plastic men - the whole nine yards.
GARCETTI
What's he holding?
FLASHBACK - INT. CHEAP MOTEL ROOM - DAY
Bobby's hand extracting the eightballs from a nylon bag full of meth.
DANNY (O.S.)
Couple of eightballs, maybe more.
QUICK SHOT of an open drawer. A GUN can be glimpsed inside.
DANNY (cont'd)
Cheap ass techno knockoff in the
drawer with extra mags.
ANOTHER QUICK GLIMPSE of the closet. A shotgun butt visable
DANNY (cont'd)
12 gauge in the closet.
TANNER (O.S.)
Any company?
The WOMAN'S HAND protruding from underneath the mattress.
DANNY (O.S.)
Alas, the lovely Mrs. Bobby was
playing the bologna in a Posturpedic sandwich
(beat)
And there was a kid.
A SILHOUETTE visible through a crack in the BATHROOM DOOR.
TANNER (O.S.)
A kid? Are you sure?
A BEAT-UP ELMO DOLL and SOME COLORING BOOKS on top of the dresser.
EXT. PARK - NIGHT
Back on Danny.
DANNY
Yeah. Pretty sure.
(beat)
Oh yeah ... he had a spear gun, too.
TANNER
God damn, Flynne, you are one observant tweaker.
DANNY
Somebody has to help you lazy bastards.
Garcetti looks at Danny with contempt. They head back to the car.
DANNY (cont'd)
Hey Tanner ... you be careful, okay?
TANNER
Danny, I'm touched.
DANNY
Don't be. I'm worried about the kid.
GARCETTI
Then why didn't you help the kid when
you were there?
DANNY
Hey, you want me to do all your work
for you, numbnuts?
Garcetti throws Danny up against the car. Nose-to-nose.
GARCETTI
I'll tell you why you didn't help -
because you're a chickenshit tweaking
snitch. You're a bottom feader,
Flynne.
DANNY
Garcetti, you're teeth, they're fucking perfect.
Garcetti lets Danny go. Stomps off.
DANNY
You're welcome.
EXT. CHEAP MOTEL ROOM - DAY
A GAGGLE OF ONLOOKERS, including a NEWS CREW, watching from the parking
lot.
BOBBY'S WOMAN screaming at the top of her lungs as she tries to get a
Bobby's sheet-covered body.
A SWAT TEAM packing up nearby. One of them suddenly does a graceful
little Tai-Chi gesture.
A LITTLE GIRL clutches at the screaming woman's legs.
REVEAL DANNY, amongst the onlookers. His expression gives nothing
away.
A ribbon of blood snakes from Bobby's body, over the parking lot curb
and runs into a storm drain.
As the blood SPLATTERS to the bottom, mixing with a pool of filthy
water. THE SOUND IS UNNATURALLY LOUD.
INT. RESIDENTIAL HOTEL - GARDENA - NIGHT.
The place cries out "YOU HAVE FINALLY HIT THE ABSOLUTE BOTTOM!"
Danny exist the stairwell and approaches his door.
A WOMAN ONE DOOR DOWN FROM DANNY'S ROOM struggles with her groceries.
When she goes to open the door, one of the bags breaks, spilling its
contents onto the floor.
Danny walks over.
DANNY
(approaching)
Let me help you with those.
She scoops up the groceries and hurries into her room. Slamming the
door behind her.
DANNY (cont'd)
(loud through the door)
And to think Miss Manner was
living down the hall from me and I
didn't even know it!
There is a can on the floor. Danny bends down to pick it up.
DANNY (cont'd)
Hey, you left a can of ...
He looks at the can.
INSERT - CAN
The label is in CHINESE.
DANNY (cont'd)
... some Chinese looking shit out here.
No reaction.
DANNY (cont'd)
I'll just leave it by the door here.
(beat)
I'm going now!
After a moment, the door swings open. Danny is holding the can out
with a big smile on his face.
DANNY (cont'd)
You really oughta be more careful.
This is not a good neighborhood.
The woman smiles. A pretty smile. Sad too.
WOMAN
I was rude. I'm sorry. I'm kinda new around here.
DANNY
You did the right thing.
(handing the can over)
What is this stuff anyway?
WOMAN
Fermented soybean curd.
DANNY
Yummy.
She smiles again. World-weary. Sweet. Those eyes. Sad. Sexy. Sad
and sexy.
DANNY (cont'd)
My name is Danny Flynne.
(off her silence)
And you are?
WOMAN
Colette Aragon. Thank you, Danny.
She closes the door abruptly.
INT. RESIDENTAL HOTEL ROOM - NIGHT
The burning room from the opening scene. Danny's dirty clothes on the
bed.
He emerges from the shower, a towel wrapped around his waist. There is
a BIG STAR-SHAPED SCAR on Danny's shoulder.
He walks over to the closet, takes a METAL LOCKBOX from the top shelf
and puts it on the bed.
Pulls a key from his pocket and unlocks the box. He sits there staring
at the contents for a moment, then gingerly takes them out ...
... CLOTHES. A white dress shirt, black slacks and wingtips.
INT. RESIDENTIAL HOTEL ROOM - NIGHT
Danny dresses in his clothes, combing his hair. He goes back in the
lock box and pulls something else out ...
... A TRUMPET CASE. He walks over to the cheap vanity and sits down in
front of the mirror and stars for a very long time.
DANNY
My name is Tom Van Allen
(beat)
I play the trumpet.
He slowly opens the trumpet case revealing a GLEAMING HORN inside.
Runs his fingers along the length of it and up to ...
... A PHOTO OF A WOMAN taped to the inside of the lid. A self-
conscious smile on her face like she's uncomfortable with having her
picture taken.
DANNY (cont'd)
(distant)
My name is Tom Van Allen. I play the trumpet.
He takes the trumpet from the case - A CHECK from a LIFE INSURANCE
COMPANY and a DRIVER'S LICENSE with Danny's picture and the name TOM
VAN ALLEN.
DANNY (cont'd)
My name is Tom Van Allen and I play the trumpet.
He starts to play. "Saeta" again.
AN IMAGE appears on THE BLANK WALL BESIDE HIM. MOVE OFF DANNY AND UP
TO THE IMAGE.
IN THE IMAGE - A HUGE LAKE in the middle of the DESERT. CONTINUE
MOVING IN ON IMAGE AS WE CUT TO ...
EXT. SALTON SEA - SUNSET (FLASHBACK)
Danny and THE WOMAN FROM THE PHOTOGRAPH sitting on the shore. Watching
the sunset. She is his wife, LIZ.
Danny playing "SAETA" on his trumpet.
Danny and Liz are alone, except for the myriad birds, silhouetted by
the falling sun.
A gust of wind rushes across the lake, blowing Liz's hair all around
her face.
A dying fish on the waterline, gills pumping for oxygen.
Danny finishes playing.
Silence.
IMPORTANT: DANNY WILL BE KNOWN AS TOM IN THIS SCENE.
LIZ
That's so ...
(not finishing the word)
DANNY / TOM
Melancholy?
LIZ
Yes, it hurts my heart. What a
beautiful composition.
DANNY/TOM
And the performance?
LIZ
(goofing)
A virtuoso rendition. TOM VAN ALLEN
is nothing short of dazzling in his
interpretation of Miles Davis'
haunting, moody piece.
DANNY/TOM
Thank you. Thank you very much.
LIZ
And he has a really hot ass with hardly
any hair on it.
DANNY/TOM
Again, I thank you.
LIZ
I was talking about Miles.
Danny playfully tackles her to the ground.
DANNY/TOM
You, madam, are a heartless wench.
LIZ
And you've got wiener breath.
DANNY/TOM
Really?
LIZ
It's that disgusting hot dog you had for lunch.
Danny starts kissing her over and over again.
LIZ
(laughing)
Tom! Gross!
She finally pushes him off. He rolls off of her and snuggles up next
to her, spooning her in the sand.
DANNY/TOM
You know how I make that song
melancholy when I play it?
I think of what my life would be like
without you.
Liz smiles, snuggles closer to Danny.
LIZ
Tom, let's spend the night here.
DANNY/TOM
There's no motels around here.
LIZ
No. Right here on the beach. Come
on. Let's do it.
INT. RESIDENTIAL HOTEL ROOM - NIGHT
Danny sitting at the vanity holding the trumpet. THE IMAGE IS STILL
PROJECTED ON THE WALL BEHIND HIM.
DANNY
(at the vanity, whispering)
Okay, we'll stay. We'll stay.
NOW THE DANNY IN THE IMAGE ANSWERS ....
DANNY/TOM
(on the beach)
Come on, Liz. We'll get eaten alive.
DANNY
(at the vanity, softly)
No ... We'll stay.
BACK ON THE IMAGE as Danny and Liz walk away from the shore.
The sun sinks completely below the horizon.
A long fish hawk floats on the last of the thermals.
The dying fish breaths its last.
Danny (at the vanity) closes his eyes.
SERIES OF QUICK CUTS
The trumpet goes back in the case.
The lid is closed.
The case goes back in the box.
The neatly folded clothes are laid on top.
The box goes back to the shelf.
The light in the closet is turned off.
FADE OUT.
FADE IN.
EXT. DESERTED PARK - NIGHT
Danny and Tanner sitting across from one another at a picnic table.
Tanner writing serial numbers down as he counts out SEVERAL HUNDRED
DOLLAR BILLS.
Danny watching silently.
Tanner puts the bills in an envelope, licks the flap, seals it and
slides it over to Danny, who doesn't touch it.
The envelope lays there between them for the following conversation.
DANNY
You think I'm a Judas?
TANNER
Hard to compare the people you're
taking down with the Lord.
DANNY
Garcetti thinks I'm a pile of shit.
TANNER
Garcetti thinks everything is shit.
He doesn't even like dolphins.
Danny smiles.
TANNER (cont'd)
I'm serious. He hates 'em. You ever
hear of anyone who didn't like dolphins?
Tanner shakes his head and smiles.
DANNY
Thanks for not judging me.
TANNER
It's not my place.
DANNY
Don't you wonder why I do it?
TANNER
The money? The drugs? Keeping yourself
out of jail? I know the drill.
DANNY
You don't find that repugnant?
TANNER
Just the way the world works. Look,
as far as tweakers go, you aren't a
bad guy. You never hurt anyone but
yourself as far as I know.
DANNY
Tell that to Bobby ... and his wife and kid.
TANNER
Bobby laid his own tracks. He could
have gone quietly but he played the
hard-ass con till the end. And as
far as I'm concerned, he wife and
kid are a hell of a lot better off
without him.
(beat)
Now take the money.
Danny stuffs the money into his jacket.
TANNER (cont'd)
One think I do want to know is how
the hell did you get yourself into
this position to start with? You
seem like a smart enough guy.
DANNY
It's a long story. Maybe I'll tell
you all about it some day.
Garcetti emerges from the men's room, zipping up.
DANNY (cont'd)
Hey, Garcetti ... You ever get
confused and try to flush yourself?
Garcetti
(all business)
You tell him?
TANNER
I was getting to it.
DANNY
(to Tanner)
Tell me what?
GARCETTI
I'll tell him.
DANNY
(worried)
Tell me what?
Garcetti sits down next to Danny. Sighs.
GARCETTI
(mock concern)
Danny, it's really pains me to have to
tell you this, but do you remember
DOMINGO, that wetback you helped us
put away for trafficking a few months back?
DANNY
Yeah. What about him?
GARCETTI
Turns out he's connected.
DANNY
To who?
GARCETTI
The Mexicali Boys
DANNY
And what does this have to do with me?
Garcetti puts his hand on Danny's shoulder, really playing it up.
GARCETTI
He knows somebody ratted him.
DANNY
What?!
GARCETTI
And he's making a lot of noise about
having his homies hang a Colombian
necktie on whoever it was.
Garcetti leans in close
GARCETTI (cont'd)
You know that thing where they slit
your throat and pull your tongue out
of the hole.
Danny knocks Garcetti's hand away and stands up. Garcetti stalks him.
GARCETTI (cont'd)
Apparently they call it a necktie
because it hangs down about yay long
and looks very similar to a tie.
Isn't that weird, Danny? Isn't that
weird?
DANNY
Shut up, Garcetti!
Danny turns to Tanner
DANNY
If he finds out it's me, I'm a dead man.
TANNER
Danny, he isn't gonna find out it's
you. Domingo was a slinger, he must
have sold to hundreds of different people.
Danny paces back and forth.
TANNER (cont'd)
And if you're that worried about it,
maybe you ought to get out of town.
DANNY
How the hell am I gonna do that? You
guys are still stringing me a long on
that possession charge.
GARCETTI
(mock surprise)
You mean that hasn't been cleared up yet?
Garcetti chuckles at Danny's fear
DANNY
Fuck you, Garcetti. I been at this
for almost a year. I've done
everything you guys have asked of me.
GARCETTI
Anyone ever ask you to be such a
disrespectful smart-ass all the time?
TANNER
Look, we'll talk to the A.D.A.
DANNY
When?
TANNER
Soon. I promise. We'll get the
charges dropped and you can
disappear. In the mean time, trust
me, he has no idea that you ratted him out.
EXT. CEMETERY - NIGHT
Danny sitting cross-legged in front of a gravestone.
A PICKUP TRUCK slowly winds its way up the access road towards Danny.
Danny stands up. Dusts his pants off.
The truck stops nearby. The strains of GARTH BROOKS from inside.
Danny approaches. The passenger's side window rolls down revealing ...
... A BAD-ASSED ASIAN DUDE behind the wheel. He wears a cowboy hat and
a rodeo belt. He looks like the Chinese Marlboro man. This is BUBBA.
An AIRBRUSH painting on the door panel - a bad likeness of Bubba
astride a horse, dressed as a cowboy with a huge-breasted Pamela
Anderson-type on the saddle behind him.
DANNY
(checking out the painting)
Ride 'em cowboy)
BUBBA
(southern twang)
You like that?
DANNY
Who wouldn't?
BUBBA
First rate, ain't it?
DANNY
It's downright classy is what it is.
Bubba fires up a cigarette, revealing a pock-marked face. He carries a
gun in a tooled leather shoulder holster.
DANNY (cont'd)
You consider my presentation?
BUBBA
Get in, hoss. We'll talk it over.
Danny climbs in. The window goes back up. As the care pulls away, we
...
... MOVE back over to the gravestone.
The stone reads: "ELIZABETH VAN ALLEN. BELOVED WIFE"
EXT. THE CINDER BLOCK BAR - NIGHT
A non-descript. cinder block bar. No windows. No frills.
INT. CINDER BLOCK BAR - SAME
Danny sitting at the bar, nursing a drink. He looks nervous, eyes
darting around for potential assassins.
He has nothing to worry about with this crowd, harmless alcoholics all.
Jimmy The Finn enters and approaches Danny. Danny signals for Jimmy to
go to the back, then gets up and follows him, carrying two beers.
DANNY
Jimmy, you don't look so hot.
Jimmy has dark circles under his eyes.
JIMMY
I'm hurting.
DANNY
You on a roll?
JIMMY
Was. I'm on the fucking ghost train
right now, man. You got anything for
me?
DANNY
Sorry.
JIMMY
Why does it have to feel so bad?
DANNY
You're brain is in reverse mode ...
cutting off your supply of dopamine.
Here. Have a beer.
Jimmy sighs, scratches his arms. They are all scabbed up.
DANNY (cont'd)
You see the crank bugs?
JIMMY
Oh yeah.
(guzzles some beer)
Man, Danny, how do you keep your shit
together so tight?
Danny chuckles.
DANNY
That's a good one.
JIMMY
I'm serious, dude. You always seem
to be on top of things, even when
you're tweakin'.
DANNY
I guess there's just no substitute
for good genes.
Jimmy finishes his beer. Danny signals to the cocktail waitress for
more beer.
DANNY (cont'd)
You hear about Bobby?
JIMMY
Yeah, it's a pity. Truly a pity.
Danny smiles at Jimmy's choice of words.
JIMMY (cont'd)
He was a good supplier.
(gets an idea)
You think maybe there's any drugs
left in his room? You know, like
hidden?
DANNY
I kind of doubt it, Jimmy.
The beers arrive. Jimmy lays into his, downing it in one long gulp.
Danny slides his over.
JIMMY
So, why'd you want to see me?
DANNY
Business. I need to leave town and I
find myself in dire need of some cash.
JIMMY
See that? That's just what I'm talking about.
DANNY
What?
JIMMY
You. You're smooth. You use words like dire
and shit. You got language skills, man.
DANNY
Don't get carried away.
JIMMY
I find myself in dire need of some cash.
Jimmy shakes his head in wonder.
DANNY
You remember that guy you told me
about ... said he could handle a big
hook-up?
JIMMY
Yeah, Pooh-Bear. Dude is a big-time
cook. I'm talking dire.
DANNY
I know a buyer. Guy's looking for a
quarter's worth.
Jimmy frowns.
JIMMY
A quarter? Danny that ain't even worth ...
DANNY
A quarter of a million, Jimmy.
Jimmy's a drug-addled eyes catch a glimmer.
JIMMY
Fuuuuuck
DANNY
Can your man handle that?
JIMMY
I think so. I mean, we'd have to
talk to him.
DANNY
Can you set that up?
JIMMY
Sure.
Jimmy sucks what's left of his beer down.
JIMMY (cont'd)
What's in it for us?
DANNY
I'm getting a 10% finder's fee from
my man if I can get the right price.
JIMMY
10%. That's ...
Jimmy becomes paralyzed by the math.
DANNY
25 grand. You introduce me to your
boy, I'll cut you five grand out of
my take. That's all you gotta do,
just get me in the door.
EXT. STREET - NIGHT
Danny walking home. Sparse traffic on the street. He walks with his
head down and his hands thrust in his pockets.
A RED CAR approaches from the opposite direction. It SLOWS as it passes
Danny.
Danny looks over.
The DRIVER is obscured by the reflected glare of a streetlight, but it
is obvious that he is staring right at Danny.
Danny plays it cool. Keeps walking.
The red car pulls a SLOW U-TURN.
Danny hauls ass.
The red car catching up.
7Danny runs down a service street which runs through the back of a
series of apartment complexes.
The red car follows, slowly prowling the street.
Danny squeezed behind a dumpster, watching.
It is now too dark to see the driver. The car comes to a stop.
Danny hugging the dumpster tight.
Another car pulls into the tight street, behind the red car. The
driver of the other car SOUNDS HIS HORN. The red car speeds off.
Danny walks quickly the other way.
INT. BARE APARTMENT - NIGHT
A WAY-TOO-YOUNG BLACK KID stares DIRECTLY AT CAMERA, an ARRAY OF
HANDGUNS, KNIVES, RIFLES AND SECURITY EQUIPMENT spread out on the
dining room table before him.
He is squeezed into a terry-cloth jumpsuit, his body festooned with
gold jewelry, his hair all wet jerry-curl.
He looks like Barry White, Jr.
KID
Mister, I only deal in high-end
weapons. All guaranteed stolen and
traceable only to their original
owners. All sales are final and all
prices are negotiable.
The kid speaks in a HUSKY MONOTONE, completely FLAT and HUMORLESS. He
sounds like one of those kids selling candy door-to-door with a
memorized pitch told by rote.
KID (cont'd)
(rapid fire delivery)
Glock semi-automatic 9 mm. Tenifer
matte finish, Polymer grip, fixed
sights, 4 and 1/2 inch barrel, 22
ounces, double action and a 10 round
magazine. Mister, I could hook you up
with this gun for the low price of
three hundred and "fitty" dollars -
well below market value.
(next gun, no pause)
Tangfolio semi-automatic. This a 9mm
too - seems to be the weapon of choice -
try one and you'll understand why.
Rubber grips, adjustable 3 dot
sights, 4 and 1/2 inch barrel, 33
ounces. Check out the eye-catching
extended beaver tail just above the
grip. Got mad-ass double action and a
surprising 16 round magazine.
Mister, I want to sell you this gun
and I can hook you up for the low
price of 200 dollars.
(next gun, breakneck pace)
Maybe you looking for something in
a chrome finish. Something to
impress the ladies. This right here
is a Llama Mini-Max .38 Super Auto.
semi-automatic.
Fresh satin chrome, black rubber
grip, 3 dot fixed sights, 3 and 1/2
inch barrel, skeletonized hammer with
an extended slide release, eight
capacity magazine and single action.
Mister, I won't lie to you, this gun
is not the bomb - it'll do the job,
KID (cont'd)
but it ain't all that. That's why
you can walk out of here with this
gun for the incredible low price of
one hundred and "fitty" dollar.
(next one)
Maybe you looking for power, mister.
This gun got mad power, mad kick and
mad reputation. That's right, it's
the Colt .357 Magnum revolver.
Rubber combat-style grip, fixed rear,
ramp front sights, 2 inch barrel.
Weighs in at a feather-like 21
ounces. 6 shot capacity with double
action. Mister, if you're looking
for impact, the Magnum will satisfy
all of your needs.
(the last gun)
I don't know you, mister, but you
look like a man of style so maybe you
in the market for a custom piece.
Mister, it's your lucky day 'cause
this gun got style to burn. You
lookin' at the Les Baer Custom
Premier Tactical 45. Fresh blue
finish, deluxe grips, 5 inch barrel,
37 ounces, guaranteed to shoot 1 1/2
groups at a distance of 50
yards. Aluminum speed trigger,
throated barrel, single action with
12 shot capacity magazine. I could see
you with this gun, mister. And I can
give it to you for the low price of
seven hundred and ninety-five
dollars. Mister, these are my guns.
All sales are final, and all prices
are negotiable.
He finishes .... staring at ...
Danny and Jimmy, standing there, wide-eyed and amazed by the incredible
sales pitch.
EXT. BAD NEIGHBORHOOD - NIGHT
Rows of decaying stucco apartment buildings. Danny and Jimmy walking
away from one of the structures.
Danny pockets the GLOCK he just purchased. He also carries a BULLET-
PROOF VEST over this shoulder.
DANNY
Jimmy, where do you find these people?
JIMMY
The Del Ammo Mall mostly.
They walk along.
JIMMY
You wanna score some go-fast?
DANNY
Not tonight.
They continue on. Jimmy looks at the vest.
JIMMY
Hey, why do you need a gun and a vest anyway?
DANNY
Personal protection. It's a
dangerous world we live in, Jimmy, a
very dangerous world.
INT. RESIDENTIAL HOTEL - NIGHT
A TRASHY LOOKING DUDE banging on Colette's door.
Danny at his door, fumbling with his keys, watching the dude.
DUDE
(sees Danny eyeballing him)
You mad dogging me, Bitch?
DANNY
Heavens no. I was just admiring your boots.
The dude looks down at this beat-up motorcycle boots.
DANNY
Did you purchase them locally?
The dude ignores Danny and keeps pounding on the door.
DANNY (cont'd)
Goodbye now. Nice meeting you.
INT. RESIDENTIAL HOTEL ROOM - NIGHT
Danny enters. AN ARGUMENT ENSUES NEXT DOOR between the dude and
Colette.
The sounds of a struggle. Colette screams. The dude yelling at the
top of his lungs. A LOUD SMACK. SILENCE.
Colette sobbing. The dude talking in hushed tones, contrite.
EXT. FREEWAY - DAY
A spray painted rusty Chevy Vega belching black smoke. All of the
lights are broken.
INT. VERA - SAME
Jimmy driving. Danny in the passenger's seat, looking down at ...
... the floorboard, or lack thereof. It is completely rusted out. The
freeway rushes by underneath.
DANNY
You know, Jimmy, you might as well
put a sign on the back of this thing
asking the cops to pull you over.
JIMMY
You mean, like to throw 'em off?
DANNY
Yeah, that's what I mean.
(beat)
Where the hell does this guy live anyway?
JIMMY
Palmdale
DANNY
Why do they call him Pooh-Bear?
JIMMY
I think on account of his nose.
DANNY
You're going to have to explain that
one.
JIMMY
He doesn't have one.
DANNY
You're going to have to give me a little
more than that, Jimmy.
JIMMY
Well, you know how Winnie the Pooh
always got his nose stuck in the honey jar?
Well, Pooh-Bear snorted so much
crank, they had to cut his nose off.
He's got a plastic one though.
Danny wonders what he's getting himself into.
JIMMY (cont'd)
You know, they say he hasn't slept in
over a year.
DANNY
You ever see Queen Elizabeth sleep?
JIMMY
No
(beat)
You think she's a tweaker?
EXT. POOH-BEAR'S COMPOUND - DAY
A sprawling old ranch house tucked into the remote hills of the desert.
A GUY passes out in the front yard. A DOG sniffs at him, then starts
pissing on him. He never moves.
A PILE OF DEAD PIGEONS near the driveway.
CLOSE ON POOH-BEAR - he does indeed have a prosthetic nose. It almost
blends in with his face but not quite, making it that much more
disconcerting.
He takes a huge hit of crystal meth from a pipe, holds it, then blows a
long exhale.
POOH-BEAR
Okay, here we go gentlemen ...
A REMOTE CONTROLLED CAR trundles out of the garage and along the
driveway. Inside the car, FOUR PIEGEONS, their bodies wrapped in tape.
Pooh-Bear working the remote control device.
POOH-BEAR (cont'd)
Zapruder?
A GUY filming the whole thing with a super-8 camera.
GRAINY SUPER 8 FOOTAGE: the pigeons continue along, their stupid eyes
glazed with confusion.
ZAPRUDER
Ready.
POOH-BEAR
Oswald?
ANOTHER GUY sighting a scoped pellet gun.
OSWALD
Roger that.
POOH-BEAR
Grassy knoll?
A THIRD GUY aiming a pellet gun further down and to the right of
"Oswald".
GRASSY KNOLL
Ready
POOH-BEAR
Third shooter?
THE THIRD SHOOTER is also armed with a pellet gun
THIRD SHOOTER
It's a go.
Pooh-Bear watches anxiously.
POOH-BEAR
President Kennedy waving to the
crowd, his lovely wife looking
radiant beside him as they turn into
Dealey Plaza ...
GRAINY FOOTAGE: the car making a turn, the pigeons oblivious.
POOH-BEAR (cont'd)
Stand by, gentlemen. Stand by ...
(beat, eyes widening)
Steady .... steady ... FIRE!
The three men open up simultaneously.
GRAINY FOOTAGE: a mass of feathers flying as the pigeons are hit.
Pooh-Bear pumps his fist.
POOH-BEAR (cont'd)
Yes! Yes!
(beat)
Out! That's a wrap. Good job, boys. Good job.
The car continues rolling past the feet of ...
... Danny and Jimmy, who have been watching the whole thing from the
periphery
POOH-BEAR (cont'd)
(to Danny and Jimmy)
So? What do you think?
DANNY/JIMMY
(ad-libbing)
- Cool.
- Yeah. Interesting.
Pooh-Bear takes the camera from "Zapruder".
POOH-BEAR
(holding up the camera)
I'm gonna get this developed and send
it to the Warren Commission.
DANNY
Um, I think the Warren Commission has
been closed for a while.
POOH-BEAR
No shit?
(thinking)
Fuck it. I'll send it to Oliver Stone then.
He'll get them to reopen the bastard.
OSWALD (O.S.)
Pooh-Bear! We got a problem.
Oswald is standing over the car, prodding one of the pigeons with his
pellet gun.
OSWALD (cont'd)
J.F.K.'s still alive.
(beat)
Should I finish him off?
INT. POOH-BEARS HOUSE - DAY
Pooh-Bear and Danny alone in the kitchen.
POOH-BEAR
So, Danny, Jimmy tells me you have a
proposition for me.
Pooh-Bear picks at a plate of SCRAMBLED EGGS on his lap.
DANNY
Yeah, I uh, have a buyer who's
looking for about a quarter's worth.
POOH-BEAR
Crank or glass?
DANNY
The good stuff. Can you handle that?
Pooh-Bear chews his food and nods.
POOH-BEAR
I'm sorry. Would you like a taste?
DANNY
No, I'm good.
POOH-BEAR
I insist. It's delicious. Just a taste.
Not wanting to offend him, Danny concedes. Pooh-Bear shovels some eggs
into Danny's mouth.
DANNY
Not bad.
POOH-BEAR
Secret recipe.
Pooh-Bear winks and shovels some more down.
DANNY
Can we talk price?
POOH-BEAR
Make me an offer.
DANNY
I don't know, 14,000 a kilo?
POOH-BEAR
I deal in U.S. pounds, friend. None
of that faggot metric crap for me.
DANNY
Okay ... How about um .. 6,000 a ounce.
POOH-BEAR
(enthusiastic)
Hey, okay.
Danny looks surprised. It was too easy.
DANNY
You're serious?
POOH-BEAR
Anything for a dear friend.
DANNY
But I just met you.
POOH-BEAR
But you're a friend of Jimmy's. I
think of you as a brother already.
Pooh-Bear takes another bite of eggs.
DANNY
So that's 40 lbs. at 6 a pound then?
POOH-BEAR
If you say so.
DANNY
Pooh-Bear, I don't mean to be rude,
but I get the feeling you aren't
taking me seriously.
Pooh-Bear puts the plate down.
POOH-BEAR
Maybe you're the one who isn't taking
me seriously.
DANNY
Why do you say that?
POOH-BEAR
I welcome you here with open arms and
you got the nerve to low-ball me like
some slick used car salesman.
DANNY
Hey, I was just trying to ...
POOH-BEAR
(never losing his smile)
I want to tell you about the last guy
who tried to jam me up on a deal.
DANNY
Hey, I don't play that.
POOH-BEAR
I'm sure you don't. At least I'm
sure you think you don't. Anyway, I
want to tell you. It's a good story,
guaranteed to break the ice at a party.
Pooh-Bear leans back, grinning broadly
POOH-BEAR (cont'd)
Dude shorted me eleven dollar ...
thought I wouldn't count it till I
got home. Wrong.
(beat)
You know what I did?
(beat)
I clamped his head in a vice.
QUICK FLASH BACK: LOW ANGLE SLOW-MOTION CLOSE-UP of Pooh-Bear staring
down at something OFFSCREEN, a menacing look on his face.
POOH-BEAR (V.O.)
You should have heard him howling.
BACK TO PRESENT: Pooh-Bear lights a cigarette
POOH-BEAR
Then I took a Saws All and I cut
His skull open
QUICK FLASH: CONTINUE SLOW MOTION CLOSE UP. Pooh-Bear reaching for
something OFFSCREEN.
POOH-BEAR (V.O.)
(calmly)
You know, those Saws All really do
cut through everything.
BACK TO PRESENT: Danny getting nervous.
DANNY
Look, you don't have to ...
POOH-BEAR (cont'd)
So I'm standing there looking at this
dude's brain and I'm thinking to
myself, you know, this guy doesn't
really need this thing. I mean,
anyone stupid enough to jam me up
doesn't really use their brain to
begin with. You know what I'm
saying?
(beat, dead serious)
So I took it.
Pooh-Bear makes a POPPING SOUND as he illustrates with his hands.
QUICK FLASH BACK: Pooh-Bear looking down at SOMETHING in his hand, his
face blossoming into a sick smile.
BACK TO PRESENT: Danny listens somberly.
POOH-BEAR (cont'd)
Hell, I make better use out of it
than he ever did. Got it up in my
freezer. I take it out from time-to-
time, mix a little of it up in my
dinner ....
(looks at the plate of eggs)
... of breakfast.
ON THE PLATE - little chunks of gray matter mixed in with the eggs.
Pooh-Bear smiles knowingly. Danny turns pale.
POOH-BEAR
10,000 a pound
Danny decides to nerve it out
DANNY
Now you're insulting me. Nice
talking business with you.
Danny gets up to leave. One of his hands shaking uncontrollably. He
steadies it with the other hand.
POOH-BEAR
9,000. Take it or leave it.
Danny stops.
DANNY
I'll leave it. Eight is as high as
I'll go. See ya'.
Danny goes to leave again.
POOH-BEAR
All right, all right. Don't get your
knickers in a knot. I can live with eight.
Pooh-Bear stands up.
POOH-BEAR (cont'd)
You got a deal.
They shake hands.
POOH-BEAR
God damn, Danny, you got some nerve.
Pooh-Bear respects that.
(beat)
Oh, by the way ...
Pooh-Bear takes something from the kitchen counter and tosses it on the
table ...
... a store-bought package of COW BRAINS.
QUICK FLASH BACK: REVEAL that Pooh-Bear has been standing at the meat
section in a GROCERY STORE. He is looking down at the package of COW
BRAINS in his hand.
POOH-BEAR
(in the grocery store)
Hmm. Good price.
Pooh-Bear tosses the package in his cart and walks away, whistling.
BACK TO PRESENT:
POOH-BEAR (cont'd)
You want to stay for lunch?
Danny has been had. Pooh-Bear laughs uproariously.
INT. VEGA - DAY
Danny slouched in the passenger's seat.
Jimmy holds out a bullet dispenser of crank.
JIMMY
You want a hit?
DANNY
No. I'm good.
Jimmy pockets the drugs.
JIMMY
Can I ask you something?
DANNY
Sure, Jimmy.
JIMMY
What does J.F.K. stand for?
DANNY
John Fitzgerald Kennedy.
JIMMY
Was he the president?
DANNY
Yes, Jimmy
Jimmy drives for a while, then ...
JIMMY
Danny?
DANNY
Yes, Jimmy.
JIMMY
Thanks for not laughing at me.
INT. CINDER BLOCK BAR - NIGHT
A DAPPER OLD MAN in a wheelchair crooning a Muzak-like version of Lou
Reed's WALK ON THE WILD SIDE on a cheapo Karaoke set-up in the back of
the bar.
OLD MAN
(softly, a la Perry Como)
Sugar Plum Fairy never once gave it away.
Everybody had to pay and pay ...
Danny, Jimmy, Kujo and Creeper sitting in a booth.
Jimmy and Creeper are amped, jaws grinding, eyes bugging.
Kujo rambles on but Danny isn't listening. He looks exhausted, his face
is pinched, there are bags under his eyes. He scans the bar, stopping
on ...
... Colette AND HER TRASHY DUDE BOYFRIEND
Colette sees Danny looking. Smiles at him. Danny returns the smile
until the trashy dude looks over. Danny looks away.
KUJO
Danny, listen up. Here's the deal ...
my wife's pimp knows a guy who works
at Cedars Sinai medical lab. They're
getting a very special delivery a
week from this Friday.
JIMMY
What is it, drugs?
KUJO
Better than drugs.
Kujo leans in and lowers his voice
KUJO
Bob Hope's stool specimen
(beat)
We're gonna boost it.
DANNY
Why in God's name would we want
to do that?
KUJO
So we can sell it.
DANNY
To who?
KUJO
I don't know. A collector. Fuck
Danny, it's Bob Hope.
CREEPER
He is a national treasure.
Danny shakes his head in amazement, then looks back at Colette again.
She sneaks another look at him.
ON THE TABLE - Kujo slides a drink glass in front of him.
KUJO
Check it out. This is the lab.
INT. HALLWAY - DAY (FLASH FORWARD)
A stark hospital hallway. A placard on one of the doors - MEDICAL LAB.
A TITLE APPEARS - "KUJO'S BIG HEIST"
INT. CINDER BLOCK BAR - NIGHT
Creeper points at the glass.
CREEPER
What is that?
KUJO
It's the lab.
CREEPER
I mean what kind of drink?
KUJO
Cuba Libre
JIMMY
What is that? Rum and coke?
KUJO
Don't worry about it.
JIMMY
I just want to be straight on the
details. Can I taste it?
KUJO
No, you can't taste it. It's the fucking
lab! Now shut up.
Danny amused by the conversation. He sees something out of the corner
of his eye ...
The boyfriend kissing Colette roughly. She obviously isn't enjoying
it.
Danny watching intently.
KUJO (cont'd)
Danny, come on. If I'm gonna let you
in on the opportunity of a lifetime,
the least you can do is pay
attention.
Danny turns back to the table. Kujo slides another glass over.
KUJO (cont'd)
This is the courier
CREEPER
You should use something smaller.
He's the same size as the office. It
doesn't ring true.
Kujo rolls his eyes. He uses a peanut instead.
OLD MAN (O.S.)
And the colored girls sing doot-de-doot ....
INT. HALLWAY - DAY (FLASH FORWARD)
A courier exits from the elevator carrying a medical sample case.
KUJO (O.S.)
He delivers at four o'clock on the
nose every Friday. Alpha team will
be in the elevator with the courier.
That'll be Danny and Creeper.
MOVE INTO THE ELEVATOR - Creeper standing in the corner alone, asleep
on his feet, drool trickling down his mouth.
KUJO (cont'd)
Every member of the team will be
equipped with night vision goggles, a
police scanner and two-way radios.
The elevator door closes on the dosing Creeper.
INT. CINDER BLOCK BAR - NIGHT
He slides over two peanuts behind the courier peanut.
KUJO (cont'd)
... number two team, which will be
me and Jimmy, will be positioned in
the stairwell at the other end of the hall.
Kujo slides over two more peanuts.
The trashy dude heads into the bathroom. Danny sneaks another look at
Colette. This time, she gives him a big smile.
INT. HALLWAY - DAY (FLASH FORWARD)
Kujo emerges from the stairwell, also alone, approaching the courier.
He is wearing shorts, a tank top and after-ski boots. He has a big
powdery crank donut around his nostrils.
KUJO (cont'd)
With alpha team following from the
elevator, number two team will
approach from the stairwell, cutting
the courier off before he reaches the lab.
Creeper still fast asleep inside the elevator. He wakes with a start,
breaking down into a karate stance.
INT. CINDER BLOCK BAR - NIGHT
The courier peanut is now surrounded by the other peanuts and the
cashew.
KUJO (cont'd)
Facing superior numbers and an array of high-tech weapons,
the courier will have no choice but to comply with our demands.
INT. HALLWAY - DAY (FLASH FORWARD)
Kujo and the courier playing tug-of-war with the case. Kujo points a
dustbuster vacuum at the courier like it was a gun.
INT. CINDER BLOCK BAR - NIGHT
Jimmy listening intently, takes some of the peanuts.
KUJO
Jesus Jimmy, you at the alpha team.
JIMMY
I thought you were done.
Jimmy pulls peanut paste from his mouth and mounds them up on the
table.
OLD MAN
I said hey sugar, take a walk on the wild side ...
KUJO (cont'd)
Now here's the beautiful part. The
getaway. Both teams will rappel
right down the center of the
stairwell, change clothes and walk
right out the front door like nothing
happened.
INT. HOSPITAL - DAY (FLASH FORWARD)
Kujo tumbling head-over-heals down the metal steps. He gets to his
feet, a bloody mess.
The kit has sprung open, sending shit samples everywhere.
Kujo quickly scrapes as much as he can back into a container and runs
off.
EXT. CEDARS SINAI - DAY (FLASH FORWARD)
Kujo bolts out the front door, into the street and directly into the
path of ...
... an ONCOMING AMBULANCE, which drags him underneath for a good fifty
feet.
INT. CINDER BLOCK BAR - NIGHT
Danny watches as the trashy dude exits the bathroom.
KUJO
So what's it gonna be, Danny boy?
You in or out?
Trashy dude goes to Colette. It looks like he wants to leave and she
doesn't.
KUJO (cont'd)
Danny!
Trashy dude grabs her by the back of the neck, lifts her off the stool
and pushes her out the front door.
DANNY
(watching Colette)
I'm afraid I'm gonna have to pass on
this one, boys.
Danny watches her exit.
INT. RESIDENTIAL HOTEL - NIGHT (LATER)
Danny approaches his door. Stops.
Colette is sitting in the hall, head in hands, sobbing.
Danny starts to say something. Stops. Goes to this door. Stops again.
DANNY
You okay?
She nods.
DANNY (cont'd)
Well...good night then.
Danny starts to enter again. Stops again.
DANNY (cont'd)
Why are you out here?
COLETTE
Quincey, my boyfriend... he kicked me out.
Danny isn't quite sure what to do. He takes a half-step towards her.
DANNY
Look...I'd like to help you out ... but I
really don't want to get involved.
COLETTE
I understand. Thanks anyway.
She looks up. That face. Those eyes. Everything about her says "Get
involved."
INT. COFFEE SHOP - NIGHT
Danny and Colette in a near-deserted retro coffee shop.
A LONE WAITRESS AND COOK mull behind the counter.
Colette's mascara is running. Danny hands her a napkin.
COLETTE
Thanks.
She dabs at her eyes.
COLETTE (cont'd)
I'm so embarrassed.
DANNY
Don't be.
She looks at herself in a compact mirror.
COLETTE
Jesus, I look like a raccoon.
DANNY
I was thinking Alice Cooper.
She puts her head in her hands. Sighs.
COLETTE
Oh God.
DANNY
Come on, cheer up. It could be worse.
She looks up.
COLETTE
How?
DANNY
I don't know .... you could be staking
your financial future on stealing Bob
Hope's stool specimen.
She laughs
DANNY (cont'd)
See. No matter how bad things are,
there's always someone a little worse off.
COLETTE
What about the guy on the very bottom?
DANNY
Leave me out of this.
COLETTE
That bad, huh?
Danny holds up his water glass.
DANNY
Nevertheless, I still try to see
the glass as half-full.
He takes a sip.
DANNY (cont'd)
Problem is, it's usually half-full of
something that tastes a lot like urine.
He pulls a face. Sets the glass down.
COLETTE
Could be worse.
(beat)
Oh sorry, forgot who I was talking to.
DANNY
Ouch.
Colette sips her coffee. Danny looks around nervously.
DANNY (cont'd)
Hey, did I mention that I was a coward?
Colette frowns, not sure what he means.
DANNY (cont'd)
Quincey. You sure he isn't gonna
come looking for you?
COLETTE
Don't worry, he's probably passed out
with his head in the toilet by now.
DANNY
This man sounds like a real catch.
COLETTE
Oh, he's a keeper all right.
DANNY
Colette ...
He stops.
COLETTE
What?
DANNY
Nothing.
COLETTE
Go ahead.
DANNY
Look, it's really none of my business
but why don't you just dump this guy?
COLETTE
It's not that easy.
DANNY
Don't tell me, down deep he's really
not a bad person and you don't want
to see him get hurt.
COLETTE
Who the fuck are you, Dr. Joyce
Brothers?
(beat)
I hate the son-of-a-bitch.
DANNY
Then leave.
COLETTE
I can't.
DANNY
Why not?
COLETTE
You don't understand.
DANNY
There's nothing to understand.
The guy is a pig.
COLETTE
I can't leave.
DANNY
You get off on abuse or
something?
COLETTE
Fuck you.
DANNY
Then why don't you leave?
(beat)
Just give me one good reason.
COLETTE
Because he'll kill me.
The waitress and cook look up.
COLETTE (cont'd)
Is that simple enough for you?
DANNY
Why don't you call the cops?
COLETTE
Why? They don't hold him for more
than a day or two.
DANNY
That's long enough to get out of town.
COLETTE
I can't. I've got a kid. She lives
with my parents. Quincey knows where
they live.
Danny chews it over for a second then ...
DANNY
Then make sure he gets put away for longer.
COLETTE
How?
Danny hesitates, not sure of how much he wants to get involved.
COLETTE (cont'd)
Tell me how.
DANNY
I don't know.
(beat)
Let me think about it.
EXT. STREET - NIGHT
Urban blight abounds
INT. BURNED OUT BUILDING - NIGHT
The grafitti-filled, cluttered shell of what used to be some sort of
offices.
BUBBA THE ASIAN COWBOY sitting on a desk. Danny pacing back and forth
in front of him.
BUBBA
(Texas drawl)
I wanna do a small buy first. Ten
thousand. We'll see how it goes.
DANNY
Why? The guys is ready to deal now.
BUBBA
Because I don't know him and I don't
really know you, partner.
DANNY
Now that's down-right insulting.
BUBBA
I'll have to live with that. My money
my risk, my rules.
Bubba takes a plastic-wrapped bundle of money from his pocket. Tosses
it on the table.
EXT. ALLEY - SAME
Tanner and Garcetti ensconced in an alley diagonally across the street.
Garcetti pointing a LONG-RANGE PARABOLIC MICROPHONE at the burned out
building. He and Tanner wear earpieces, which are attached to the
mike.
DANNY (O.S.)
(filtered, broken)
I guess I don't have a hell of a lot
of choice.
BUBBA (O.S.)
(filtered)
Get used to it. You're in a very
tenuous position on the food chain, hoss.
Garcetti removes his earpiece and turns to Tanner.
GARCETTI
You thinking what I'm thinking?
TANNER
Yeah. This could be the one we're
looking for.
EXT. BURNED OUT BUILDING - SAME
Bubba exits the building and disappears around the corner.
INT. BURNED OUT BUILDING - SAME
Danny now alone. He picks up the bundle of cash. Turns to leave when
...
... Tanner and Garcetti enter the building. Danny turns and runs the
other way.
TANNER
Hold it right there, Flynne.
Danny stops.
DANNY
Jesus, you almost gave me a heart attack!
Danny secretly pockets the bundle of cash.
DANNY
What the hell are you doing here?
TANNER
Question is, what are you doing here?
DANNY
I was trying to score some dope.
TANNER
Cut the shit, Flynne.
DANNY
Someone want to tell me what the hell
is going on here?
TANNER
Okay, asshole, you wanna play, we'll play.
Tanner takes out a pair of black leather gloves.
DANNY
(serious)
What did I do?!
Tanner approaches him. Danny backs into a corner.
DANNY (cont'd)
This is a joke, right? You put him
up to this, Garcetti?
Garcetti is mum. Tanner raises his fists. Danny covers his face.
DANNY (cont'd)
Come on Tanner ... don't ...
Tanner starts swinging but SOMETHING UNEXPECTED ...
TANNER HITS LIKE A WIMP.
The punches have absolutely no effect.
Danny can't help it. HE STARTS LAUGHING. Tanner throws some more
creampuffs.
Garcetti shakes his head with shame.
TANNER
(shrieking, failing)
You think this is funny motherfucker?
DANNY
(still laughing and covering up)
I can't help it, Tanner, you hit like
a fucking girl.
This makes Tanner even madder. His punches become wilder and even less
effective.
DANNY
Garcetti, do something.
Garcetti tires of the whole show. He pulls a small SHOCK GUN from his
pocket, switches it on and sticks Danny behind the neck with it.
Danny crumples to the floor. Tanner kicks him in the face.
Garecetti squats down next to Danny.
GARCETTI
We know what's going on.
DANNY
(in pain)
I still don't know what you're
talking about.
Garcetti jams the stun-gun into Danny's crotch. DANNY HOWLS. Garcetti
lays off. Danny lays there whimpering.
GARCETTI
Okay, let me help you. You're setting
up a deal with a Chinese redneck.
Quarter of a million.
Garcetti holds up a tap.
GARCETTI (cont'd)
We just listened to the whole thing.
Danny gaped-mouthed. He can't believe it.
GARCETTI (cont'd)
Somebody tipped up, dipshit.
DANNY
Jimmy?
GARCETTI
Who the hell is Jimmy?
DANNY
He's the only one I told.
GARCETTI
And he probably only told two people
and they probably only told four
people and on and one. You know
better than to tell a secret to a
tweaker, Flynne. Might just as well
broadcast it on the evening news.
INT. BURNED OUT BUILDING - NIGHT (LATER)
Danny sitting on a crate. He is sporting a BLACK EYE from where Tanner
kicked him.
Garcetti at the desk dusting the plastic wrapper on the bundle of cash
for prints. Tanner paces back and forth in front of Danny.
DANNY
I met the guy at a party. He said he
wanted to do a biggie. He's new in
town so I offered my services.
TANNER
This chink have a name?
DANNY
Bubba.
Tanner rolls his eyes.
DANNY (cont'd)
I swear. That's all he gave me.
Hell, I didn't give him my real name either
(off their skeptical looks)
He figured the less we know about
each other, the better.
TANNER
You better not be blowing smoke up
My ass, Flynne.
DANNY
After that ass-whipping you gave me?
Garcetti suppresses a smile.
GARCETTI
(finishing up with the bundle)
What's on the other end of this thing?
DANNY
Now that I can help you with. Nasty
boy ... goes by the name of Pooh-Bear.
He's a chef.
Check with Palmdale P.D. I'm sure
they're keeping box scores on the guy.
GARCETTI
Sounds like you hooked up with some
fine citizens, Flynne.
DANNY
Oh they're all that and the
proverbial bag of chips.
TANNER
What're your taking down?
DANNY
Standard vig. Minus five for a
certain blabber-mouth moron by the
name of Jimmy the Finn, who's living
proof that natural selection is a
flawed theory.
Tanner looks at Danny quizzically.
TANNER
Did you really think you were slick
enough to pull this off?
DANNY
Look man, I just wanted to make some
dough and disappear. I didn't want
to wait around for Domingo to figure
out who doubled back on him.
Danny holds his hands up
DANNY (cont'd)
But now I've seen the error of my
ways. I'll just walk away ... call
the whole deal off.
GARCETTI
Wrong.
He tosses the bundle of cash to Danny.
DANNY
You mean you want me to roll on these guys?
Their silence is answer enough.
DANNY (cont'd)
No. No way. These guys catch a
whiff and I'm a fucking bag of Bandini.
TANNER
You've got no choice.
DANNY
Whata you mean I've got no choice?
TANNER
Well, if you'd rather do a stretch in
la casa grande ...
DANNY
For that old possession charge?
Gimme a break.
TANNER
No. You just handed us a new one. We
can go Federal on your ass right now:
ongoing criminal conspiracy. Intent
to buy and distribute $250,000 worth
of crank. What's the mandatory on
that, Al?
GARCETTI
Dime, minimum.
MOVE OFF GARCETTI and over to a wall mounted heating vent. MOVE INTO
THE VENT, then ...
... OUT OF A VENT in another room.
BUBBA lurking in the shadows. Listening to the conversation through the
wall vent in the other room.
TANNER (O.S.)
And believe me, word will get out that
you're a pro rat.
GARCETTI (O.S.)
That's not good in prison. It's just
not good.
Bubba listens intently.
INT. CAR - NIGHT
Danny hunkered down in the back sea. Garcetti sniffing the air.
GARCETTI
What's that smell?
DANNY
That would be me.
GARCETTI
What'd you do, piss your pants?
DANNY
Hell, yes! What the hell do you expect
zapping Mr. Johnson with that crackler?
Garcetti looks back at Danny with a twisted smile.
GARCETTI
Who'd have thought it? Danny
"Chickenshit" Flynne trying to go
large right under our noses.
DANNY
Lay off, Garcetti. I'm not in the mood.
GARCETTI
No. You've got me all wrong. I
mean, in you own pussified way, you
actually got some nuts in your little sack.
TANNER
Bullshit. He's a liar.
DANNY
News-flash, Tanner. I'm a fucking rat.
TANNER
You think you're so god damned smart,
don't you?
The dynamic has suddenly changed in the trio's relationship. Tanner is
now the bad cop.
TANNER (cont'd)
Well, you played the wrong mark this
time, asshole.
EXT. RESIDENTIAL HOTEL - NIGHT
Danny approaching the building, we hear shots ...
... THE RED CAR from earlier, prowling the streets. Danny ducks into a
liquor store and watches from the window.
The red car cruises slowly past.
Danny squinting, trying to make out ...
... THE LICENSE PLATE NUMBER. A street light illuminates the tag
momentarily. A VANITY PLATE: IFORGIV.
Danny frowns, not sure that to make of it.
INT. COLETTE'S ROOM - NIGHT
Colette and Quincey lying in bed. THE LILTING SOUND of Danny's trumpet
wafting in the air.
Quincey is fast asleep. Colette lays there, eyes open, listening to
the coolly hypnotic strains of Miles Davis' "Generique."
INT. RESIDENTIAL HOTEL ROOM - SAME
Danny in his good clothes, sitting in front of the mirror, playing his
trumpet, staring at the photos of his wife.
INT. COLETTE'S ROOM - SAME
Colette now sitting on the floor of the adjoining wall with her arms
around her knees. She closes her eyes and leans her head against the
wall, soaking in the music.
INT. RESIDENTIAL HOTEL ROOM - SAME
Danny continues playing. He sneaks down a look at ...
... A GREETING CARD on the vanity in front of him. The word,
"CONGRATULATIONS" printed on the front.
THE FLASHBACK IMGERY appears on the wall behind him again. MOVE from
Danny to the image as we ...
CUT TO:
EXT. DIRT ROAD - THE HIGH DESERT (FLASHBACK)
The car jolting slowly back and forth over the bumpy road.
INT. CAR - SAME
Danny driving. Liz in the passenger seat looking pissed.
The Salton Sea can be seen far below in the distance shimmering under a
full moon.
AGAIN. REMEMBER, DANNY IS KNOWN AS TOM IN THIS SCENE.
LIZ
Why didn't you just ask for
directions back there?
DANNY/TOM
Come on, where's your pioneer spirit?
LIZ
You mean like the Donner Party?
DANNY/TOM
Hey, do you think you could eat me if
you had to? And if so, which part do
you think you would find the most
delicious?
LIZ
Tom, quit fucking around.
DANNY/TOM
Okay, okay.
(peering through the windshield)
There's a house up there. I'll go ask
for directions.
EXT. ROAD - SAME
A dilapidated house further up in the hills, lights glowing.
INT. CAR - SAME
Liz sees the run-down old house.
LIZ
You think that's a good idea?
DANNY/TOM
What do you mean?
LIZ
Look at that place. It's creepy.
Danny steers the car onto the narrow dirt approach to the house.
DANNY/TOM
First you want me to ask for
directions, then you don't. Which is it?
LIZ
I wanted you to ask back there. You
know, before you got us lost.
DANNY/TOM
Just no pleasing you, is there?
LIZ
Just admit you're wrong.
DANNY/TOM
We all know how much you like hearing
that. Okay, Liz, I was wrong.
There. You happy?
LIZ
Quit feeling sorry for yourself, Tom.
It gets old.
DANNY/TOM
No. You know what gets old? Being
reminded what a loser you are every
time you screw up.
LIZ
Here it comes, poor Tom.
DANNY/TOM
But that's okay, Liz, you're the one
with the steady job, you pay all the
bills. I'm just an unemployed
musician. You have every right.
LIZ
That is so unfair.
Danny stares straight ahead, steering the car towards the house.
DANNY/TOM
My sentiments exactly.
LIZ
Why are you doing this?
Danny doesn't answer.
LIZ (cont'd)
I never once asked you to stop
playing. I wouldn't dream of it. So
don't take your low self-esteem out
on me.
Danny continues to ignore her.
LIZ
... Tom ... screw it. Tell me when you're
ready to apologize.
INT. RESIDENTIAL HOTEL ROOM - NIGHT
DANNY lying on the bed, reliving the moment. THE IMAGE STILL PROJECTED
ON THE WALL.
DANNY
(on the bed, whispering)
I'm sorry, Liz. I love you and I'm sorry.
But the DANNY IN THE IMAGE never answers.
INT. RESIDENTIAL HOTEL ROOM - DAY
It is raining buckets outside. Danny sleeping soundly.
The roof of Danny's room is leaking, PUDDLING UP ON THE FLOOR NEAR HIS
BED.
Danny's eyes pop open. He lays there rigidly. LISTENING TO THE WATER.
ALL OTHER SOUND FADES OUT AS THE WATER PATTERS AND PUDDLE ON THE FLOOR.
IT IS UNNATURALLY LOUD.
INT. CINDER BLOCK BAR - NIGHT
The bar is almost empty.
Danny quietly playing chords on a beat-up old upright piano in the back
of the room - the through-line of Davis' "All Blues."
COLETTE (O.S.)
This seat taken?
Danny looks up.
DANNY
Oh. Hi.
COLETTE
What happened to your eye?
DANNY
Turns out I'm allergic to steel-toed boots. Go figure.
(beat)
By the way, I'm not looking for a
matching set.
(off her puzzled look)
Where's Quincey?
COLETTE
Don't worry. He's out of town.
DANNY
How far out of town?
COLETTE
Trust me. We're safe.
Colette sits down on the piano bench next to Danny.
COLETTE (cont'd)
Please keep playing.
He continues. She sits there listening for a few moments.
COLETTE (cont'd)
That's nice. What is it?
DANNY
Miles Davis. "All Blues."
COLETTE
Never heard of him.
DANNY
Just a fucked-up guy who played
beautiful music.
COLETTE
Like you?
DANNY
Nah. I'm strictly minor league...
except for the fucked-up part.
Danny continues to play.
DANNY
Dude played his soul right out the
end of the horn. No false notes.
Always honest.
COLETTE
And you admire that?
DANNY
It's the only way to play.
Colette slides closer.
COLETTE
Is that how you play?
DANNY
I try.
COLETTE
No false notes?
She pulls even closer.
COLETTE
No deep dark secrets?
She goes to kiss him. Danny stops playing. Pulls away from her.
DANNY
(cold and abrupt):
What are you up to?
COLETTE
Nothing.
DANNY
What do you want from me, Colette?
COLETTE
I don't want anything. Why are you
so suspicious?
DANNY
It gets me through the day.
COLETTE
You really need to lighten up.
She puts her hand on his leg.
COLETTE (cont'd)
Just relax.
He moves his leg away.
DANNY
Look, I can't help you with Quincey
if that's what you're after.
COLETTE
This has nothing to do with him.
DANNY
So you're just attracted to me, is that it?
COLETTE
Yes. Why do you find that so hard to believe?
DANNY
How much time do you have?
COLETTE
What is wrong with you?
DANNY
How much time do you have?
COLETTE
You've got a comeback for everything,
don't you, Danny? You use 'em like
some sort of shield.
DANNY
Who the fuck are you? Dr. Joyce Brothers?
COLETTE
There you go again. You're nothing
but false notes.
DANNY
You don't like the tune, find another
station.
COLETTE
What are you hiding, Danny?
DANNY
Therapy session is over.
He closes the keyboard cover.
COLETTE
You think you're the only one down
here with a sad story?
DANNY
No. But I'm the only one with my sad
story.
(beat)
And that's how it's gonna stay.
INT. CAR - DAY
Still raining. Tanner negotiates the slow traffic.
Danny looking at a MUG SHOT OF POOH-BEAR.
Garcetti
Harlan Dale Monty a.k.a. Pooh-Bear.
Did five years manslaughter for
beating a pimp to death with an
electric wheelchair.
DANNY
Excuse me?
GARCETTI
Several possession charges, but nothing major.
DANNY
Why doesn't Palmdale P.D. just raid the guy?
GARCETTI
They have. But they never found a lab.
TANNER
That's because he doesn't have one.
DANNY
Whata you mean? He told me -
TANNER
Guy scores dope and dollar from
ripping off other drug dealers. As
least that's what the word is.
DANNY
What's to stop him from just ripping me off then?
TANNER
That's probably what he would have
done if we hadn't found out about
your get-rich-quick scheme.
GARCETTI
You're lucky, Flynne.
DANNY
Funny, I don't feel lucky.
GARCETTI
We're coordinating with Palmdale P.D..
We'll have your sorry ass covered.
DANNY
What if he caps me before you can
make a move?
TANNER
Golly, I hadn't thought of that.
GARCETTI
Don't we always take good care of you?
Danny doesn't look reassured.
DANNY
Speaking of which ... you run that license
plate for me?
GARCETTI
You mean the menacing red car?
Garcetti and Tanner exchange a smile.
DANNY
What? Is it bad?
TANNER
I'm afraid so, Danny.
DANNY
Who is it?
GARCETTI
Brace yourself.
Danny's eyes dart back and forth between Garcetti and Tanner.
DANNY
Come on! Who is it? Domingo's boys?
GARCETTI
Worse. Much worse.
(beat)
A teacher.
Garcetti and Tanner break out laughing.
TANNER
Car is registered to a Mrs. Nancy Plummer.
Danny reacts to the name, not listening to the rest of what Garcetti
and Tanner have to say.
GARCETTI
She's 57 and she's been teaching
third grade for the last 33 years.
TANNER
Now that's scary!
Danny lost in thought.
GARCETTI
You're paranoid, Flynne. I think
that crank is finally starting to get
the best of you.
EXT. STREET - NIGHT
Danny waiting on the corner.
GARCETTI (V.O.)
When is the deal going down?
DANNY (V.O.)
I'm making the small buy tonight ...
if I don't get beaten to death with a
wheelchair or something. If
everyone is happy, we'll do the big
deal later in the week.
Jimmy's Vega sputters to a stop in front of Danny. Jimmy gets out and
hands Danny the keys.
ON THE BUMPTER, a hand-made sign. It reads: PULL ME OVER. I DARE YOU!
Danny sighs. Walks to the back, rips the sign off and gets in the car,
leaving Jimmy with the sign.
JIMMY
You sure you don't want me to go with you?
Danny burns rubber.
EXT. POOH-BEAR'S COMPOUND - NIGHT
Danny being led towards a trailer by TWO OF POOH-BEAR'S MEN. LITTLE
BILL AND BIG BILL. Little Bill is big and Big Bill is little.
INT. HOUSE - SAME
Pooh-Bear sitting in a recliner, obscured by shadows when Danny and his
escorts enter.
A WIRE CAGE IN THE CORNER, SOMETHING MOVING AROUND INSIDE. It too is
obscured by shadows.
Pooh-Bear doesn't look up. He is preoccupied with something in his hand
which he is cleaning with a toothbrush.
DANNY
Pooh-Bear, my man. What's up?
Pooh-Bear doesn't respond. Continues brushing.
LITTLE BILL
He's blue.
BIG BILL
Comin' down from a 10 day ride.
Danny closes his eyes. Not what he wanted to hear.
DANNY
You want to do this some other time?
POOH-BEAR
(gloomy and tired)
Pull your pants down.
DANNY
I'm sorry?
POOH-BEAR
Pull your motherfucking pants down.
Danny looks to the two Bills for help.
DANNY
(laughing nervously)
Come on, guys ...
POOH-BEAR
Big Bill.
Big Bill pulls a 19th century double-barreled FLINTLOCK PISTOL from his
jacket and points it at Danny's head.
BIG BILL
Argh, matie. I'm a pirate.
POOH-BEAR
Little Bill
Little Bill drops Danny's trousers. Danny about to object when he is
started into silence.
The saturnine Pooh-Bear raises his head, illuminating his face. He
isn't wearing his prosthetic nose. A GAPING HOLE WHERE HIS NOSE SHOULD
BE. He looks like some obscene human bat.
Pooh-Bear holds up the plastic nose he has been cleaning, inspecting it
under the light.
POOH-BEAR (cont'd)
Introduce him to Captain Steubing.
He pops his nose back into place, but it goes on crooked.
The Bills escort Danny over to the cage. There is A GIGANTIC CRAZED
WEASEL INSIDE.
The cage is divided by a large piece of Plexiglas.
POOH-BEAR (cont'd)
You'll have to excuse him, he ain't
ate for over a week.
The weasel is foaming at the mouth.
POOH-BEAR (cont'd)
That and the rabies. Don't make for
a happy weasel.
DANNY
(trying to stay calm)
Pooh-Bear. come on, man. What is
this?
(off Pooh-Bear's silence)
It's me, Danny. I thought we had a deal.
POOH-BEAR
Big Bill
Big Bill pushes Danny up to the cage, which comes up to about waist
level.
POOH-BEAR
Captain Steubing thinks you might
work for the police.
DANNY
What?!
Pooh-Bear holds up his hand.
POOH-BEAR
Don't address me. I didn't make the
accusation.
DANNY
Please .. I don't know what you're ...
POOH-BEAR
Uh-uh-uh ...
He points to the cage. Danny looks down at the weasel, which is
trying to gnaw through the Plexiglas.
DANNY
Jesus Christ.
(to the weasel)
Um ... I'm not .. Captain Steubing.
I'm not working for the cops.
The weasel continues to gnaw.
POOH-BEAR
He don't believe you. Big Bill.
BIG BILL
Drop your package in the cage.
DANNY
My what?
BIG BILL
Put your pee-pee through the hole.
There is a hole in the top of the cage on the opposite side of the
Plexiglas from Captain Steubing.
DANNY
This is fucking crazy!
Big Bill pulls back the hammer on the gun.
BIG BILL
Yo-ho-ho and a bottle of rum.
DANNY
Oh fuck ... oh Jesus ...
Danny's eyes dart quickly over to Little Bill, who like everyone else,
is watching the weasel.
Little Bill is wearing a big, filthy pea coat with A LARGE TEAR on the
side.
Danny still hasn't complied with Pooh-Bear's order.
POOH-BEAR
Shoot him.
DANNY
Okay! Okay!
From behind, we see Danny bend slightly, dropping his privates into the
cage.
DANNY (cont'd)
(eyeing the wild rodent)
Oh my God ... oh-my-fucking-God ...
Danny tries to stay calm, shoots another look at Little Bill who is
standing right next to him.
POOH-BEAR
Now get talkin'
DANNY
I didn't fucking do anything! I
swear to God!
Pooh-Bear leans forward and opens the Plexiglas partition about half an
inch.
THE WEASEL bolts for the opening, gnashing its teeth, trying to squirm
through.
POOH-BEAR
You got something to tell Captain
Steubing, you'd better do it now.
The weasel squirms and squeals and bangs against the Plexiglas.
Danny uses the diversion. He quickly TAKES SOMETHING from him own
jacket pocket and SLIPS IT IN THE HOLE IN LITTLE BILL'S JACKET between
the coat and the lining.
No one notices.
Pooh-Bear opens the Plexiglas even more. The weasel is able to get his
head through the hole. He bares his filthy teeth.
DANNY
(rapid-fire)
Captain Steubing, listen to me.
You're after the wrong guy. This is
the fuck you should be talking to.
He nods towards Little Bill. Pooh-Bear cocks his head.
DANNY (cont'd)
Jimmy told me that Little Bill's been
shorting Pooh-Bear ... settin' up his
own stuff on the side.
LITTLE BILL
That's a pack of discharge.
Danny now makes eye contact with Pooh-Bear, who listens intently.
DANNY
It's true. Jimmy saw him flashing a
pimp role at a bar the other night ...
said he was dissin' your ass in front
of one of your customers.
Pooh-Bear rises slowly. Approaches the triumvirate.
Danny keeps one eye on ...
... the weasel as it continues its assault on the opening.
POOH-BEAR
Man'll say a lot of thing when he's
sporting weasel food for a pecker.
LITTLE BILL
Damn straight.
POOH-BEAR
Least I can do is check it out though.
Pooh-Bear pulls a chrome .45 from his waistband.
DANNY
Can I pull my dick out now?
Pooh-Bear limply aims the .45 at Little Bill.
POOH-BEAR (cont'd)
Big Bill
Big Bill pats Little Bill down.
LITTLE BILL
(holding up his arms)
Go ahead. I got nothing to hide.
Big Bill checks all of Little Bill's pockets, coming up empty.
The weasel has squeezed about a third of the way through the hole.
DANNY
Can I pull my dick out?
Danny, panicked, eyes the hole in the pea coat.
BIG BILL
He's clean.
Danny can't believe it. But when Little Bill lowers his arms, a big
roll of cash protrudes from the hole.
Pooh-Bear and Big Bill see it immediately.
LITTLE BILL
What?
He follows their gaze to the cash.
DANNY
CAN I PULL MY FUCKING DICK OUT?!
POOH-BEAR
(eyes on Little Bill)
Yeah.
Danny extracts himself from the cage just as ...
... the weasel bolts through the opening and springs for the hold in
the cage.
INT. POOH-BEAR'S KITCHEN - NIGHT (LATER)
Danny sitting at the kitchen table. THE SCREAMS OF LITTLE BILL AUDIBLE
FROM THE OTHER ROOM.
Danny is FIDDLING WITH SOMETHING UNDER THE TABLE when he HEARS POOH-
BEAR APPROACHING.
Danny finishes up, stuffing a roll of DUCT TAPE into his pocket.
Pooh-Bear drops a zip-lock bag of METH on the table.
DANNY
I ought to just call this whole thing
off right now.
POOH-BEAR
Don't do that. Please. Or I'll kill
you. Please, Danny.
DANNY
What the hell was that? Who told you
I was five-0?
POOH-BEAR
No one. It was just a test. I need
to be sure of who I'm dealing with
from time-to-time.
Pooh-Bear nudges the baggie towards Danny.
POOH-BEAR (cont'd)
Take it easy. You passed.
Danny hands over the bundle of cash. Pockets the dope.
DANNY
Did it ever occur to you that someone
might cop to something they didn't do
rather than have their balls chewed
off by a rabid weasel?
POOH-BEAR
I'll keep that in mind.
MOVE UNDER THE TABLE - Danny's Glock taped to the underside, out of
sight.
EXT. DESERTED PARK - NIGHT
Danny, Garcetti and Tanner. Tanner doing a chemical test on the meth
with a field kit. The tester turns a tell-tale blue.
TANNER
We're in business.
GARCETTI
Good work, Flynne. You're a first-rate rat.
DANNY
That's real sweet, Garcetti. Thanks.
TANNER
We got the 411 on your good old boy.
Tanner produces a print out from an F.B.I criminal computer file. A
MUG SHOT OF BUBBA. The name BUFORD "BUBBA" NGUYEN underneath.
TANNER (cont'd)
Nothing local so we ran his prints
through the F.B.I. Believed to be a
major supplier in Texas. Jumped bail
on a murder rap last April.
DANNY
Murder. Beautiful.
TANNER
Pumped fifty-seven bullets into a police informant.
Danny heaves a sign and plops down on a bench.
DANNY
You know, I'm starting to think I'd
rather take my chances with Domingo
than go through any more of this shit.
GARCETTI
Didn't you hear? Domingo's dead.
Danny looks up.
TANNER
Took a pig-slicker to the heart.
DANNY
Jesus.
TANNER
I thought you'd be happy.
DANNY
Yeah.
He doesn't look happy.
INT. PRISON - NIGHT
Domingo sprawled face-down on the tile floor of the shower room. Blood
leaking from underneath him.
WATER PATTERS DOWN FROM THE SHOWER HEAD. DILUTING THE POOL OF BLOOD.
THE SOUND IS UNNATURALLY LOUD.
EXT. PALOS VERDES - NIGHT
The red car with "IFORGIV" plates parked in the driveway of a modest
Spanish-style house.
INT. PALSO VERDES - NIGHT
NANCY AND VERNE PLUMMER watching TV.
Photos of Liz on top of a baby grand piano. A SHRINE OF SORTS.
CATHOLIC ICONS ABOUND: crucifixes, Virgin Mary's, needle point prayers.
A KNOCK ON THE DOOR. Nancy gets up to answer.
NANCY
Who is it?
DANNY (O.S.)
It's Tom.
Nancy and Verne look at one another.
INT. PALOS VERDES HOUSE - NIGHT
Danny and Verne sitting at the dining room table. Nancy brings in a
pot of coffee. Verne eyes Danny silently. Danny won't look him in the
eye.
DANNY
All right, Nancy, how'd you track me down?
NANCY
Billy Sutcliffe said he saw you at a
bar down in Gardena a few weeks ago.
Said you looked so bad, he barely
recognized you.
Nancy pours the coffee.
NANCY (cont'd)
Billy's a cop now, you know.
VERNE
Highway Patrol.
NANCY
He said you were ... the people you
Were with ... well ...
VERNE
Said you were a drug addict.
DANNY
Maybe I should just go.
Danny pushes away from the table. Nancy grabs Danny's wrist.
NANCY
No. We want to help you, Tom.
Danny stays put.
NANCY (cont'd)
I know everyone deals with grief in
their own way. I know how hard it is
to find closure.
DANNY
Closure? How do you find closure
when her killers are still running
around out there?
NANCY
I found forgiveness in my heart for
the people who killed my daughter. I
gave my grief to Jesus Christ.
DANNY
Is that what you want me to do? Put
it all on Jesus? Let him sort it out
in the afterlife?
NANCY
You've got to deal with this sooner
or later, Tom. You can't keep
hiding.
DANNY
Maybe I am dealing with it.
NANCY
I know it's not my place to pass
judgement on you but ...
Danny looks at the shrine to Liz on top of the piano.
DANNY
Then why don't I see any pictures
Of me up there?
VERNE
That was my idea.
DANNY
You never did like me much, did you
Verne?
(beat)
And you can't stand it that I walked
out of there alive and Liz didn't.
You think I'm a coward,
don't you?
Verne's silence is answer enough.
DANNY (cont'd)
I don't blame you for hating me. At
least I understand that.
(back to Nancy)
But forgiving the butchers who killed
Liz well I'm having some trouble
with that one.
NANCY
Love your enemies, bless them that
curse you, do good to them that hate
you, and pray for them which
despitefully use you, a persecute
you.
Danny touches Nancy's hand tenderly.
DANNY
I'm genuinely happy that you found
some peace, Nancy. But you can't
forgive for Liz. No one can. And
you can't forgive for me.
NANCY
Your hatred makes them stronger and
you weaker.
DANNY
I don't buy that. There's a place for hatred.
(beat)
Did you know that Liz and I got into an argument the night
she was killed? I acted like an ass and I never had a
chance to apologize to her. Do you know what that feels like?
NANCY
It's not too late to show her you're sorry.
DANNY
How?
Verne slams his hand down on the table.
VERNE
By not disgracing her memory!
DANNY
What does that mean?
VERNE
You might as well be spitting on her
grave every time you put drugs up
your nose. Or did you just
conveniently forget that it was drug
dealers who killed my daughter?
Verne glares at Danny. No forgiveness in his heart.
VERNE (cont'd)
You ever think you might be buying
drugs from the very people who took
her life?
DANNY
You don't understand.
VERNE
Understand what?
Danny starts to say something. Stops.
DANNY
Nothing. It's ... it's complicated. I
just want you to know ... I'm not what
you think I am.
INT. RESIDENTIAL HOTEL ROOM - NIGHT
Danny sitting at a table, the lockbox open in front of him.
He is endorsing the back of a life insurance check. His Tom Van Allen
driver's license laying next to it.
A KNOCK AT THE DOOR
DANNY
Who is it?
COLETTE (O.S.)
It's me.
DANNY
I'm kind of busy.
COLETTE (O.S.)
Please open the door, Danny.
He pockets the check and the license, closes the lockbox and goes over
to the door.
Colette standing on the other side. Her FACE AND ARMS ARE BLACK AND
BLUE WITH BRUISES.
DANNY
Oh Jesus.
He lets her come in. Colette looks away.
DANNY (cont'd)
Colette ... You've gotta leave.
COLETTE
We been through that.
DANNY
What about a battered woman's
shelter? You can move you kid in
with you.
COLETTE
I need my paycheck.
DANNY
You can still work.
COLETTE
He knows where I work.
DANNY
Find a new job.
COLETTE
It's not that easy. I just got a
raise. I need the money.
DANNY
You always been this stubborn?
Colette cracks a crooked smile.
COLETTE
From day one.
(beat)
I was a breach birth. They tried for
hours to turn my little butt around.
But I wouldn't let 'em.
DANNY
Ass first into the world.
COLETTE
I been that way ever since.
Danny smiles. He gently touches her eye. Colette reaches up and
touches Danny's bruised eye.
COLETTE (cont'd)
Look at us. What a pair.
Colette leans in to kiss him, but they bump bad eyes.
COLETTE/DANNY
Ouch.
They laugh.
COLETTE
Can we try that again?
They kiss again. Deep and long. Danny suddenly pulls back mid-kiss.
DANNY
I can't.
Colette goes to touch him. He pulls away.
DANNY (cont'd)
I can't.
COLETTE
Why not?
DANNY
I just can't. Okay?
Danny paces uncomfortably.
COLETTE
What's wrong, Danny?
DANNY
Look, maybe you oughta' leave.
COLETTE
No. I want to know what the hell
is going on.
DANNY
I can't tell you.
Colette comes to a slow realization.
COLETTE
There's someone else, isn't there?
THE FLASHBACK IMAGERY suddenly FLICKERS TO LIFE on the wall behind
Danny - THE MOONLIGH SALTON SEA.
Danny freezes. Looks up at Colette.
DANNY
Yes.
Colette waits a beat, then turns to leave.
DANNY (cont'd)
Don't go.
(beat)
Please, Colette.
(she stops)
Stay and talk to me, please.
Something about Danny's voice - a raw vulnerability - which we haven't
seen in him before. MOVE OFF of Danny and ONTO THE FLASHBACK IMAGE.
DANNY (O.S.)
I'm so tired of lying.
CUT TO:
EXT. CREPPY HOUSE - SALTON SEA - NIGHT (FLASHBACK)
Danny's car parked out front.
INT. CREEPY HOUSE - SALTON SEA - NIGHT
A CHUBBY GUY sitting on the couch in his underwear, watching A MEXICAN
WESTERN. He sits there with wide eyes, GRINDING HIS JAWS.
Danny, Liz AND BO, the affable owner of the house, looking at a map on
the kitchen table.
BO
What you want to do is go back the
way you came and make a left at the
bottom. It'll take you right to the
highway.
DANNY/TOM
That's it?
BO
Are you Australian?
DANNY/TOM
No.
BO
Good. I fucking hate Australians.
Danny and Liz share a look.
DANNY/TOM
You got a bathroom I can use before
we hit the road?
BO
Yeah? First door on the right.
It ain't that dirty. Just kinda'
filthy is all.
DANNY/TOM
(to Liz)
You mind?
BO
No, I don't mind. That's how come I
told you about it.
DANNY/TOM
I was talking to my wife.
LIZ
Try to make it fast.
Danny heads down the hallway, Liz looks a little uncomfortable.
LIZ (cont'd)
(trying to make small talk)
So. What do you do for a living around here?
BO
You know. This and that.
ON THE SHELVES, SUNDRY ITEMS USED TO DISTILL METH.
Bo scratching his arms.
Liz notices TRACK MARKS ALL OVER BO'S ARMS. He sees her looking.
BO
Skeeters. They're bad up here.
INT. BATHROOM - SAME
Danny peeing WHEN HE HEARS ANOTHER CAR PULL UP OUTSIDE. CAR DOORS OPEN
AND CLOSE. HUSHED VOICES OUTSIDE THE BATHROOM WINDOW.
Danny finishes up. He steps up onto the tub and peaks out the bathroom
window.
THROUGH THE WINDOW - TWO FIGURES CROSS IN FRONT OF THE HEADLIGHTS OF
THE CAR. THE ENGINE REMAINS RUNNING.
Danny frowns, not sure what to make of it. He steps down from the tub
and is just about to exit when THE FRONT DOORS IS KICKED OPEN AND SHOTS
ARE FIRED.
VOICES SHOUTING.
Danny freezes, not sure what to do. His eyes dart around for a weapon.
He picks up a large plumber's wrench and goes to the bathroom door.
MORE SHOTS. SEMI-AUTOMATIC FIRE.
SEVERAL BULLETS slam through the bathroom wall, one striking Danny in
the shoulder.
He slumps to the floor.
THE PANDEMONIUM continues in the front room.
There is a BULLET HOLE about the size of a fifty cent piece in the wall
next to Danny's head. He puts his eye to the hole and looks out.
DANNY'S P.O.V. THROUGH THE HOLE - scanning the room. Stopping on ...
... LIZ. In the confusion, she has managed to hide from the intruders.
She is squeezed into a tiny space between the sofa and the wall. She
clings tightly to the curtains, her hands shaking violently.
ONE THE CURTAIN RINGS - pulled taught by Liz's grip.
Danny adjusts his gaze through the hole.
THROUGH THE HOLE - scanning to the other side of the room. Bo and the
other guy sprawled on the floor. INTRUDER ONE stands over them, only
his legs visible.
BACK ON LIZ - scared to death, clinging to the curtains.
The curtain rings are pulled to the breaking point.
INTRUDER ONE
Let's go!
INTRUDER TWO emerges from the back carrying a small nylon bag. They
start to head out the front door when ...
... one of the curtain rings breaks with a METALLIC "TING".
ON DANNY - freaking. His eyes shooting back to Liz.
SILENCE.
Listening.
Then the CREAKING FOOTSTEPS of Intruder One approaching. It takes an
eternity.
Liz can't possibly see Danny through the hole but it looks like she is
staring directly at him, her body rigid with fear.
Danny grabs the wrench again. Tries to get to his feet but slips back
down, either too weak from loss of blood or just plain scared. His
hand is shaking violently.
He looks through the hole again.
THROUGH THE HOLE - Liz still staring at Danny. THE FOOTSTEPS CONTENCE
at a agonizing slow pace, then stop.
A GUN, ever so slowly, enters FRAME. EXTREME CLOSE UP on Liz's eyes as
they widen.
EXTREME CLOSE UP on Danny's eye peering through the hole. A SHOT IS
FIRED. His eye closes.
ON DANNY-his mouth opens to scream BUT NOTHING COMES OUT.
And with that it is all over.
Danny tries to get to his feet again. Fails, His eyes flutter. All is
silent except for A FAINT LIQUID SPATTERING.
LONG SHOT-Back on the Salton Sea, placid and silvered with moonlight.
INT RESIDENTIAL HOTEL ROOM- NIGHT (LATER)
Danny and Colette face-to face- in profile, silhouetted by the IMAGE of
the sea.
DANNY
She died knowing that I was a coward...
that I didn't lift a finger to help her.
COLLETTE
There was nothing you could have done.
She is inches closer to him.
DANNY
No, you're wrong, I tried to tell
myself the same thing but I could
have gotten up. I could have done
something.
COLETTE
They would have killed you too.
DANNY
(finally looks her in the eye)
Nothing could be worse then this
slow death I'm living now.
Colette puts her arms around him and hugs him tight. The IMAGE OF THE
SEA FLICKERS AND FADES behind them.
CLOSE ON DANNY-holding Colette.
DANNY
(looking up)
Colette...I want to help
you, with Quincey.
Colette pulls back.
COLETTE
No Danny, Don't-
DANNY (cont'd)
But you gotta be serious about it.
COLETTE
Really, I don't want to.
DANNY
I want to do this for you. I
want to do something good
for a change.
Danny goes over to the dresser. Takes out a baggie of meth.
DANNY (cont'd)
I want you to hide this
somewhere where Quincy
won't find it.
COLETTE
What is it?
DANNY
Never mind. Just do what I say.
He holds out the baggie. Colette backs away.
COLETTE
I don't want to.
Danny stalks her.
DANNY
I'm offering you the chance to take
care of your problems. Take it.
(she still hesitates)
Don't make the same mistake I did,
Colette. Do something while you
have a chance. Do it for your daughter
before something happens.
(beat)
Believe me, you don't want to
live with this burden.
(firm)
He helds the baggie out again. Colette
reluctantly takes it from him.
DANNY (cont'd)
Tommorrow night, when he is asleep.
I want you to beep me at this number.
He writes the number down on a dollar bill.
DANNY
Will you do that?
(off her nod)
Then I want you to get out of the room.
COLETTE
Why?
DANNY
Don't worry about it. Just go across
the street and watch. You'll know
when it's safe to go back.
Colette goes to protest. Danny puts his hand to her mouth the same way
she did to him earlier.
DANNY
Just do it. All your problems with
Quincey will be taken care of.
INT. CINDER BLOCK BAR - DAY
Empty except for Danny and Jimmy in a back booth. Danny slides an
envelope over to Jimmy.
JIMMY
What's this?
DANNY
Tem thousand dollars. Everything I could spare.
(beat)
It's for you.
JIMMY
But why? You only owe me five. And
that's not till after we close the deal tonight.
DANNY
You aren't coming with me.
Jimmy looks hurt.
DANNY (cont'd)
I need you to do me a favor instead.
JIMMY
Okay
DANNY
Wait till I tell you what it is.
JIMMY
It don't matter. I'll do it. And you
sure as hell don't have to pay me.
Jimmy slides the money back over.
DANNY
Why?
JIMMY
You're my best friend, man. I'd do
anything for you.
Danny smiles, genuinely touched.
DANNY
Jimmy, look, there's something I have
to tell you.
JIMMY
Hey, check it out...
Jimmy rolls his sleeve up, revealing a tattoo.
DANNY
What the hell is that?
ON THE TATTOO: CRUDLEY DRAWN FACE.
JIMMY
(Proudly)
It's you! I didn't have a picture or
nothin' so I had to describe you to
the guy. Not bad though, huh?
Jimmy sits there, admiring the tattoo.
Danny stares at Jimmy with pity.
DANNY (cont'd)
I really have to tell you something.
It's important.
JIMMY
What?
DANNY
I'm not a tweaker.
(beat)
I don't use drugs. I never had.
Danny is deadpan. Jimmy starts laughing
DANNY (cont'd)
I'm not joking.
Jimmy keeps laughing. Danny staring, deadpan, Jimmy slowly stops
laughing.
JIMMY
But...I've seen you.
DANNY
When? When did you ever see me use?
JIMMY
This isn't like that Queen Elizabeth
question, is it?
DANNY
You ever notice how I always showed
up, in the middle of a binge? Left
before it was over? How I sneak away
for cap-naps? How when the crank
came around to me, I always said I'd
just done one?
Jimmy slack-jawed.
DANNY (cont'd)
You asked me how I always keep my
shit together. Well, that's how.
JIMMY
No one ever noticed?
DANNY
Are you kidding me? A bunch of amped
-out tweakers? It was easy.
Jimmy is agitated and confused.
JIMMY
But... why? Why would you pretend?
DANNY
I can't tell you.
JIMMY
You don't trust me?
DANNY
I don't trust anybody.
JIMMY
And you want me to do you some big favor?
DANNY (cont'd)
It's cool. I understand
Danny gets up to leave.
JIMMY
Wait
(beat)
If you don't trust me, why did you
tell me that stuff about not using drugs?
DANNY
Because I don't want to see you end
up like Kujo and those other losers.
(beat)
I thought that maybe if you knew that
I didn't use, you might see it in
yourself to go clear.
EXT. BACK OF CINDERBLOCK BAR- DAY (LATER)
Jimmy and Danny squinting in the mid-morning sun. They stand face-to-
face.
DANNY
You mad at me, Jimmy?
Jimmy shrugs.
JIMMY
I don't know... a little. I wish you
would have let me in on it from the
beginning.
DANNY
I'm sorry. I couldn't.
Danny taps Jimmy's arm.
DANNY
You know you can get that tattoo removed,
don't you.
Jimmy rubs his arm where the tattoo is.
JIMMY
Nah... I want to keep it.
(beat)
Maybe I can use it for like, inspiration
...you know...like when
I detox?
DANNY
Good for you Jimmy.
Danny takes the envelope from his pocket.
DANNY
I really want you to take this.
Danny tries to hive Jimmy the envelope. Jimmy pushes it away.
JIMMY
Wouldn't be a favor if you were
paying me. I'll just take my five
when the deal is done.
DANNY
You're a good man. Jimmy the Finn.
EXT. PARK-DAY
Tanner and Garcetti's car parked on the periphery.
INT. CAR-SAME
Danny in the back seat dialing a CELL PHONE. A MICRORECEIVER ATTACHED
TO THE PHONE.
Tanner and Garcetti listening through earpieces.
INT. UNKNOWN-SAME
BUBBA answers a cell phone on the other end.
BUBBA
Yeah.
CONVERSATION WILL INTERCUT BETWEEN TWO LOCATIONS
DANNY
Everything go?
BUBBA
Yeah.
DANNY
Just make sure you come alone. This
guy won't like any surprises
BUBBA
I ain't a idiot, asshole.
DANNY
I'll see you tonight.
Bubba hangs up.
Danny turns the phone off.
TANNER
Man of few words.
Danny hands the phone back to Garcetti
GARCETTI
Nervous?
DANNY
With you clowns watching my back? What
do you think?
Danny opens the back door.
GARCETTI
Just make sure you hit the floor when
we come in. It could get ugly in there.
TANNER
Yeah, I'd hate to shoot you by accident.
Danny gets out of the car. Shuts the door.
EXT. CAR-SAME
Danny watches them drive away. When he is sure that they are gone, he
looks around. Sees...
...A PLUMBER'S TRUCK parked on the other side of the park.
INT. PLUMBER'S TRUCK-SAME
AN HISPANIC GUY behind the wheel.
HISPANIC GUY
He's coming in.
As Danny approaches the truck, the door slides open. He piles in.
VOICES (O.S.)
How'd it go?
DANNY
You tell me.
Danny pulls a TINY MICROPHONE AND WIRE from inside his shirt and hands
it to...
...Bubba, who sits in front of a BANK OF LISTENING EQUIPMENT.
BUBBA
You ready to go meet the team?
EXT. FEDERAL BUILDING - WESTWOOD - DAY
The PLUMBER'S TRUCK enters the underground parking lot.
INT. F.B.I. OFFICES-DAY
TEN F.B.I. AGENTS in a small conference room, looking at...
...Danny and Bubba, sitting at the head of the table. BUBBA is now
wearing his security badge, which reads, SPECIAL AGENT TEX TRAHN. He
stands up and addresses the group.
And he really does have a SOUTHERN ACCENT.
TRAHN
For those of you who don't know this
is Tom Van Allen... a.k.a. Danny
Flynne.
Danny looks self-conscious.
TRAHN (cont'd)
About a year and half ago, Mr. Van
Allen's wife was murdered at a meth
lab out near the Salton Sea. No one
was ever apprehended for the crime
but local authorities have always
assumed it was a hit and grab
perpetrated by rival drug dealers.
That is, until Tom here took it upon
himself to conduct a one-man
undercover operation at great risk to
his own personal safety.
One of the agents pipes up...
AGENT ONE
He's a civilian?
(off Trahn's nod)
How the hell did you pull this off?
Trahn turns to Danny.
DANNY
I played the long shot. Just got lucky.
INT. SALTON SEA SHERIFF'S STATION (FLASHBACK) - DAY
Danny and DETECTIVE BOOKMAN, a homicide detective, sitting at a table.
BOOKMAN
How about the car? The model?
Danny shakes his head.
BOOKMAN (cont'd)
Was it a truck? S.U.V.? Sedan?
DANNY
All I saw was the headlights. The high
beams were on.
BOOKMAN
Not even a guess?
DANNY
(pissed off0
How many times do we have to go through
this?
ANOTHER DETECTIVE enters the room, hands something to bookman, then
whispers into Bookman's ear. Bookman nods.
BOOKMAN (cont'd)
You said one of the perpetrators crossed
in front of the headlights ...
DANNY
Yeah, but he was in silhouette.
BOOKMAN
How about in the house?
DANNY
They were wearing ski masks. I told
you all of this.
BOOKMAN
Did you see his hair color?
DANNY
No, Why?
Bookman holds up a small plastic evidence baggie.
BOOKMAN
Forensics found this on your wife.
Bookman holds it up to the light. Inside, ONE BRIGHT RED HAIR.
ON DANNY staring at the hair, remembering something...
EXT. SALTON SEA GAS STATION - DAY (FLASHBACK WITHIN THE FLASHBACK)
Danny putting gas in his car, Liz in the passenger's seat reading.
On the other side of the pump, A RED HAIRED MAN with a bad comb-over.
The brightest, reddest hair you've ever seen with a BIG STREAK OF WHITE
RUNNING THROUGH IT.
His back is TURNED. We can't see his face.
His arm and hands resting on top of the pump.
Danny looks at the guy's hand. A GUADY CLASS RING on his finger: EL
CAMINO COLLEGE, CLASS OF '84.
INT. SALTON SEA SHERIFF'S STATION - DAY
Danny staring absently at the red hair in the baggie.
BOOKMAN
What is it?
DANNY
Nothing, I'm trying to remember...
Danny feigns frustration.
DANNY (cont'd)
I'm sorry... I didn't see his hair
color... I'm sure of it.
INT. F.B.I. OFFICES-NIGHT
AGENT ONE
Why didn't you tell him?
Danny looks up.
DANNY
Because I wanted to find them myself
(beat)
I wanted to kill them.
INT. EL CAMINO COLLEGE LIBRARY-DAY
Danny sitting at a table, poring over a YEARBOOK for the class of'84.
VARIOUS SHOTS OF REDHEADS along with their majors.
Danny continues thumbing through the book. Stops. A LOOK OF RECOGNITION
ON HIS FACE.
DETAIL OF A PHOTO: a balding red head with a streak of white running
through it.
Danny staring intently.
REVEAL REST OF PHOTO: It is TANNER. Underneath the photo, his major:
criminology.
INT. EL CAMINO COLLEGE LIBRARY - DAY (LATER)
Danny at a library computer.
ON THE COMPUTER SCREEN. DANNY SCROLLING THROUGH an alumni listing,
STOPPING ON...
...TANNER, GUS, CLASS OF 1984. DETECTIVE, GARDENA police Department.
EXT. GARDENA POLICE DEPARTMENT-DAY
Danny sitting on a bus bench across from the parking lot.
TANNER AND GARCETTI exit the building and head over to their car.
Danny watches from behind a magazine as they drive past him.
DANNY (V.O.)
I swear to God I would have done 'em
right then and there...but I had to
be positive. And even if Tanner was
involved, I had to be sure about
Garcetti
EXT. D.M.V-DAY
Danny talking to a MEXICAN DUDE on the corner.
Danny slips the guy some money.
DANNY (V.O.)
So I became Danny Flynne.
EXT. D.M.V.- DAY (LATER)
The Mexican dude holds up something for Danny to see...
...A DRIVER'S LICENSE. It is him on the photo, but the name reads,
DANIEL FLYNNE.
EXT. STREET - NIGHT
On Danny's last line, we see TWO CAR BUMPERS COLLIDING AT LOW SPEED.
Tanner and Garcetti in the car that has been rear-ended.
Danny in the offending car, empty beer cans scattered on the front
seat.
EXT. STREET-NIGHT (LATER)
Danny spread-eagle over the hood with Garcetti roughly searching him.
DANNY (V.O.)
I dropped myself right in their laps.
Garcetti pulls a baggie of meth from Danny's pocket.
EXT. DESERTED PARK-NIGHT
Danny, Garcetti and Tanner at the picnic table, talking.
DANNY (V.O.)
I gave up whoever they asked for,
whenever they wanted. I was a
fucking dream rat. But the whole
time I was sizing them up, looking
for any evidence that they were the
guys who killed my wife.
EXT. APARTMENT BUILDING-NIGHT
Danny watching from the shadows as Tanner and Garcetti haul a DOPE
DEALER away in cuffs.
DANNY (V.O.)
But they did everything by the book.
F.B.I. OFFICES-DAY
DANNY
I knew that if these were the guys I
was looking for, I'd have to set up a
deal so sweet, they wouldn't be able
to walk away from it.
TRAHN
That's when he called me. He told me
his story and he pitched me a plan.
DANNY
These guys are smart. I knew they
wouldn't hit a deal unless they knew
all the players. I needed a big buyer.
EXT. ROOFTOP-NIGHT
Tanner and Garcetti watching Battle enter the building.
TRAHN (V.O.)
We had one of our C.I.'s call Tanner
and Garcetti with an "anonymous" tip
about the deal.
TANNER
(the line takes on a whole new meaning)
This could be the one we're looking for.
INT. POLICE STATION - DAY
Garcetti scanning the print he took from the plastic wrapper.
A COMPUTER SCREEN - the F.B.I. fingerprinting database. A MATCH IS
MADE. BUBBA/ TRAHN'S PHOTO appears, along with the pertinent
information.
BATTLE (V.O.)
...I dumped a dummy file into the
system. They took the bait and we
were off to the races.
INT. F.B.I. OFFICES-DAY
Another agent kicks in.
AGENT TWO
How sure are you that you're not
chasing two good cops? I mean all
you've really got is one red hair.
That's still your only evidence.
TRAHN
Not anymore. We tapped these guys' phones
and computers at Gardena P.D.
Tanner and Garcetti didn't
report on this deal. Not a peep.
They haven't coordinated with
Palmdale P.D. They're keeping it off
the books. It looks like we've got
the right guys.
(beat)
We'll find out for sure tonight.
INT. F.B.I. OFFICES-DAY (LATER)
The meeting breaking up. Trahn walks Danny away from the conference
room.
TRAHN
How you holding up?
DANNY
I'm fine. Little nervous...little
disappointed that I didn't finish
this myself.
TRAHN
Hey, you did the right thing. You
wouldn't have stood a chance against
these boys by yourself. They have
eaten your ass alive.
Danny's PAGER STARTS BEEPING. He checks the readouts.
DANNY
Oh shit
TRAHN
What?
DANNY
Can you do me a favor? This girl I
know, her boyfriend's a real piece of
shit-dude's really jamming her up.
I promised her I'd try to help.
Danny pockets the pager.
DANNY (cont'd)
Could you call Gardena P.D. tell 'em
you got a tip that the guy's holding?
Maybe have 'em send out a patrol car?
TRAHN
I'll see what I can do.
INT. BANK-DAY
Danny at the counter with a big gym bag.
A TELLER COUNTS out stacks of money.
THE LIFE INSURANCE CHECK lays on the counter in front of her. We see
the amount -- $250,000.00
EXT. RESIDENTIAL HOTEL ROOM-NIGHT
Colette standing across the street, looking at...
...TWO COPS exiting a patrol car.
Colette is crying her eyes out. She is HOLDING the BAGGIE OF METH that
Danny gave her.
The cops enter the building just as...
... Danny drives by in Jimmy's car, followed by...
... TWO OF THE AGENTS from the conference room. They remain a good
half-block behind him.
INT. JIMMY'S CAR-NIGHT
Danny at the wheel. He is wearing a black baseball cap pulled down low
on his head.
DANNY
Hey guys...
INT. F.B.I. CAR-SAME
Danny is wired for sound. The agents monitor him on a receiver.
DANNY (O.S.)
(filtered)
I need to stop for some cigarettes.
EXT. MINI-MARKET-SAME
Danny pulls into the market.
The agents pull over to the curb, watching.
Danny is in and out in no time. He hustles back into his car and drives
away.
EXT. REMOTE LOCATION-SAME
Tanner and Garcetti outside of a car we have never seen before. The
truck is open.
Garcetti putting a phony license plate. Tanner sifting through the
trunk.
IN THE TRUNK - A sawed off SHOTGUN, TWO SEMI-AUTOMATIC HANGUNS, TWO
KNIVES, GLOVES AND SKI -MASKS.
INT. POOH-BEAR'S COMPOUND - NIGHT
Pooh-Bear loading a chrome .45, Big Bill his Flintlock.
INT. TRAHN'S CAR-SAME
Trahn driving on the freeway. he opens a briefcase on the passenger's
seat. Inside, his F.B.I. BADGE, TWO BARETTA 9mm and TWO PAIRS OF
HANCUFFS.
EXT. BLUFF-NIGHT
Tanner and Garcetti negotiating a washboard dirt road in the hills.
EXT. DESERT MOTEL - NIGHT
The Vega pulls into the lot of a tumbleweed motel in the middle of
nowhere.
INT. F.B.I. CAR - SAME
The car passes the motel.
AGENT ONE
(into min-mike)
All right people, heads up. Blue team?
EXT. DESERT MOTEL - SAME
TWO MOTEL MAIDS pushing a cleaning cart. They are wearing small ear
piece receivers.
Danny in the motel office, checking in.
MAID ONE
I've got a visual.
AGENT ONE
(filtered)
Red team?
TWO WORKMEN, repairing the motel sign out front.
WORKMAN ONE
He's heading to his room.
The workman watch Danny head into a room at the far end of the
facility. As he enters the room ...
AGENT ONE
(filtered)
Black team?
INT. ADJACENT ROOM - SAME
TWO AGENTS on the other side of the wall from Danny's room. MONITORING
WITH A FIBER-OPTIC CAMERA.
ON THE MONITOR. DANNY enters and sits on the bed, his back to the
camera.
INT. F.B.I. CAR - SAME
They continue down the road, away from the motel.
AGENT ONE
Okay. It's all yours.
EXT. BLUFF - NIGHT
Tanner pulls the car in behind a rock formation on the bluff.
INT. CAR - SAME
Tanner kills the engine. Garcetti checks his watch.
GARCETTI
Half an hour to kickoff.
Tanner takes a pair of NIGHT VISION BINOCULARS from under the seat.
EXT. DESERT MOTEL - NIGHT
Trahn pulls into the lot. He emerges from the car with his briefcase,
looks around, then heads down to the room.
Trahn checks his watch, then KNOCKS ON THE DOOR.
DANNY (O.S.)
It's open.
INT. DESERT MOTEL ROOM - NIGHT
Trahn enters. Danny sitting with his back to Trahn.
ON THE BLACK AND WHITE SURVEILLANCE MONITOR NEXT DOOR.
TRAHN
You alone?
Danny nods.
TRAHN (cont'd)
Any word from Pooh-Bear?
Danny shakes his head.
TRAHN (cont'd)
You okay, hoss?
BACK INSIDE THE ROOM
Trahn walks over to Danny, who sits there with his head down, his face
obscured by a baseball cap. Slowly, he looks up.
IT IS JIMMY.
TRAHN (cont'd)
What the hell?
JIMMY
Danny told me to tell you that he was sorry.
(beat)
He said he had to take care of this himself.
EXT. BLUFF - NIGHT
Tanner scanning with the night vision glasses.
TANNER
Here he comes.
REVEAL that the car is on a bluff above POOH-BEAR'S COMPOUND.
Danny pulls up in a rental car.
INT. DANNY'S CAR - SAME
Danny's hand is shaking uncontrollably.
DANNY
Easy, boy.
He looks at his hand again. It continues to shake. He takes a deep
breath.
TANNER'S P.O.V.
As Danny gets out of the car and goes to the trunk.
Tanner watching.
TANNER
Where's Bubba?
GARCETTI
Maybe he isn't showing.
Danny takes a gym bag out of the trunk and approaches Pooh-Bear's
house.
TANNER
Looks like Flynne's handling the
cash. Let's get into position.
They get out of the car and trek down the bluff towards the house.
INT. POOH-BEAR'S HOUSE - NIGHT
Big Bill lets Danny in, then pats him down for weapons. Satisfied, he
leads Danny to the kitchen.
IN THE KITCHEN - Danny enters and stops. A worried look.
Pooh-Bear along with THREE OTHER MEN. The men eye Danny silently.
They look like ex-cons.
DANNY
What the hell is this?
POOH-BEAR
Just some buddies.
DANNY
This is bullshit. You didn't say
anything about anybody else being here.
POOH-BEAR
What the fuck are you gonna do about
it, dickhead?
The other guys snicker, one of them almost spitting his beer out.
Danny smiles good-naturedly. Shoots a look over at ...
... one of the guys sitting where he taped his gun earlier.
DANNY
Come on, man, let's deal.
He throws the bag on the table, knocking a beer into the guys lap. The
guy springs up, pissed off.
POOH-BEAR
Cool it. We got business.
DANNY
Yeah, dickhead.
Danny moves over and plops down in the guys seat.
UNDER THE TABLE - Danny fumbling with the gun, trying to untape it
without being too obvious.
Pooh-Bear unzips the bag. Inside, a lot of cash.
POOH-BEAR
Oh my, oh my.
(beat)
Big Bill, come take a look at this.
Big Bill is behind Danny, over by the sink. He pulls his FLINTLOCK and
walks over.
Danny continues trying to get the gun loose. Something catches his eye
...
... the MICROWAVE OVEN DOOR is open, casting a reflection of the room
behind him. Big Bill approaches Danny, pointing the gun at Danny's
head.
The other men ease back from the table a little.
UNDER THE TABLE - Danny still can't get the gun loose.
ON THE REFLECTION - Big Bill right behind Danny. He raises the
flintlock.
Danny bugging. He rips at the gun. Too late.
Big Bill goes to fire. Using the reflection, Danny ducks at the last
instant.
Big Bill FIRES.
The guy across the table takes the mini-ball in the chest.
ALL IN AN INSTANT - Danny extricates the gun. Turns on Big Bill, who
sees the gun and holds his hands up.
Danny SHOOTS TWICE, the bullets blowing through Big Bill's hands and
thumping into his chest. Big Bill crumples.
When Pooh-Bear goes to pull his gun from his waist-band, it discharges,
shooting him in the thigh.
The muzzle flash ignites his pants leg. POOH-BEAR HITS THE FLOOR,
SCREAMING, slapping at the fire on his leg.
Danny wheels on the other two guys at the table, who are going for
their guns. Danny opens up on them with the Glock, flooring them
before they can get a shot off.
OUTSIDE - still descending the bluff, Tanner and Garcetti hear the
gunfire.
INSIDE - Danny turns on Pooh-Bear, who sits there staring at his
injured leg.
Danny puts the gun to Pooh-Bear's head, closes his eyes and starts to
pull the trigger.
Pooh-Bear lifts his gun and SHOOTS DANNY IN THE TORSO THREE TIMES.
Danny collapses.
Pooh-Bear gets to his feet.
POOH-BEAR
Oh lordy, oh lordy, oh lordy. Pooh-
Bear done shot himself.
He's in shock. He grabs the duffle bag from the table and staggers
down the hallway, into the living room.
OUTSIDE - Tanner and Garcetti at the front door, listening. They pull
their ski-masks on, take out their guns, then silently enter.
INSIDE - gunsmoke abounds. One of the guys MOANS on the floor.
Tanner and Garcetti enter the kitchen, guns drawn and ready. They
survey the scene.
Bodies everywhere.
Big Bill lays there dying, staring with confusion at the stigmata in
his hands.
Danny lying in a heap, next to Big Bill.
Suddenly, they hear POOH-BEAR MUMBLING from somewhere in the house.
Tanner signals for Garcetti to take point. They head down the long
hallway, slowly and silently. When they are gone ...
... Danny stirs on the floor. His eyes open. He opens his shirt and
checks his torso REVEALING THAT HE IS WEARING HIS BULLET-PROOF VEST.
He struggles to a sitting position, in great pain from the impact
bruises left by the bullets.
He picks up his gun, gets up on wobbly legs and follows Tanner and
Garcetti down the hall.
ON DANNY as he creeps down the hall.
INT. CREEPY HOUSE - SALTON SEA - NIGHT
Exiting the bathroom and creeping towards the front room.
DANNY
Anybody there?
ONLY THE SPLATTERING LIQUID SOUND.
Danny continues.
He stops at the end of the hall. His eyes go wide with fear and
revulsion.
THE LIQUID SOUND BECOMES LOUDER AND LOUDER UNTIL IT IS ALL THAT CAN BE
HEARD.
Liz is still in her hiding place behind the end of the couch. Her head
is resting comfortably on the arm of the couch. She looks fine. There
is even a slight smile on her lips.
DANNY (cont'd)
Liz?
Then he notices it ...
... a widening pool of BLOOD seeps from under the couch like some
living thing. More blood patters down from some UNSEEN WOUND on the
side of her head.
Danny staggers towards her.
Her eyes flutter slightly.
Danny sits next to her. Holds her hand. There is nothing he can do.
Liz tries to speak. Can't.
DANNY
I'm here, Liz. I'm here.
She squeezes his hand. Then goes limp.
INT. POOH-BEAR'S HOUSE - NIGHT
Danny continues down the hall, remembering.
INT. CREEPY HOUSE - SALTON SEA - NIGHT (FLASHBACK)
Danny sitting there with Liz in a pool of blood. He notices something
on the floor ...
... LIZ'S PURSE, the contents spilled on the floor. A GREETING CAR
with a teddy bear and the word "CONGRATUALTIONS" on the front.
Danny goes over and picks up the card.
INSERT - CARD
He opens it ... "YOU'RE A DADDY!" A home pregnancy test taped inside,
the reading is POSITIVE.
Danny drops the card. Stares down at it as ...
... the blood from the floor pools out and engulfs the card.
EXT. SALTON SEA - NIGHT
On the placid sea as DANNY'S HORRIFIC SCREAM resounds from the house in
the distance.
INT. POOH-BEAR'S HOUSE - NIGHT
ON DANNY standing in the hallway, staring, his face a blank.
ON POOH-BEAR - cooking up a huge dose of meth with a lighted hundred
dollar bill.
He draws the meth into a syringe then turns on the stereo with a
remote.
A YODELING INSTRUCTION TAPE BLASTS FROM THE SPEAKERS.
Pooh-Bear prepares to dose, looking for a vein in his neck, never
noticing ...
... Garcetti's gun moving to the back of Pooh-Bear's head.
Pooh-Bear about to plunge the drugs when GARCETTI FIRES.
Pooh-Bear pitches forward, dead. The syringe falls to the floor.
Tanner and Garcetti standing over him. They pull their ski masks off.
GARCETTI
Get the bag.
Garcetti holsters his weapon and picks up the bag of money from the
floor.
GARCETTI (cont'd)
Let's get out of here.
A GUNSHOT. Garcetti goes down where he stands. He lays there
twitching like a rabbit.
Tanner staring down the sucker's end of Danny's gun.
TANNER
Danny?
DANNY
My name is Tom.
Tanner frowns.
DANNY (cont'd)
Tom Van Allen
Danny raises his gun.
TANNER
Whatever you say, man. Look ... can
we talk about this?
DANNY
Yeah. Okay. Listen carefully ...
(beat)
You're in the bathroom. You've been
shot in the shoulder ...
Danny shoots Tanner in the shoulder. He collapses to the floor.
ON GARCETTI - his eyes flutter and open.
Danny walks over to Tanner and stands above him.
DANNY (cont'd)
... there's two guys with masks and
guns in the other room about to kill
your wife.
Tanner looks at Danny, confused.
DANNY (cont'd)
But you know if you go out there,
they'll kill you, too. You'll both
die. What do you do?
Tanner realizes what Danny is talking about.
DANNY (cont'd)
Do you go out there and die like a
man or do you live to fight another day?
Tanner doesn't answer.
Danny (cont'd)
What do you do?
Still no answer.
DANNY (cont'd)
Answer the question!
Tanner is ghost white, loosing blood quickly.
Danny (cont'd)
What do you do!
TANNER
Please ... don't do this ...
DANNY
Answer the fucking question!
When Danny goes to shoot Tanner again ...
... Tanner pulls a K-BAR KNIFE from the back of his belt and plunges it
into the back of Danny's gun hand. The gun discharges, missing Tanner.
Danny drops the gun. Tanner snatches it up.
Tanner immediately has the gun inches from Danny's head. Danny freezes
...
TANNER
Does that answer your question?
(beat)
I fight.
I fight and I die like a man.
(beat)
You're a fucking coward, Flynne. You
lived like one and now you're gonna
die like one.
Danny looks up at the gun, his face a blank.
DANNY
(mumbling)
Glock semi-automatic 9 mm ...
CLOSE ON THE BARREL OF THE GUN. ALL SOUND FADES OUT.
MOVE INTO THE BARREL OF THE GUN. THE BLACK KID'S FACE APPEARS INSIDE.
KID
Tenifer matte finish, Polymer grip,
fixed sights, 4 and 1/2 inch barrel,
22 ounces, double action and a ...
QUICK FLASHES of all the shots Danny fired with the Glock.
- TWO at Big Bill
- FOUR at the guys at the table
- ONE at Garcetti
- THREE at Tanner
THE KID AGAIN.
KID
... and a TEN ROUND magazine ...
ON DANNY. Still staring at the gun. He knows the gun is empty. He
notices something on the floor ...
... THE LOADED SYRINGE.
KID (cont'd)
Or did I say ELEVEN?
Danny trying to remember.
KID (cont'd)
Which was it, mister? Was it ten or was it eleven?
(beat)
Pretty big fucking difference if you ask me.
DANNY starts chuckling. Looks up at Tanner.
DANNY
It doesn't matter.
Danny looks down at the syringe again. Tanner sees it too.
TANNER
Too late to be a hero.
Danny picks up the syringe.
Tanner pulls the trigger.
INSIDE THE GUN - MOVING SLOWLY towards the firing pin as it springs
forward toward CAMERA with a LOUD CLICK.
THE GUN IS EMPTY.
DANNY
Ten it is.
Danny jams the SYRINGE INTO TANNER'S THROAT all the way down to the
plunger, dosing him with the meth.
Tanner goes down, blood bubbling from his throat around the syringe.
His eyes roll back as he convulses from the drugs.
Danny struggles to his feet.
Tanner quivers from head to toe like some freaked-out Pentecostal in
the throws of a holy possession.
Danny pulls the syringe from Tanner's throat. A LONG WET WEEZE
ESCAPES.
Suddenly, A NOISE BEHIND DANNY.
Garcetti standing there pointing his gun at Danny, rocking slightly
back and forth, a bullet hole in his cheekbone. He looks brain dead.
Danny doesn't move. TANNER STILL WHEEZING.
Garcetti looks like he wants to shoot his gun, but can't. He keeps
looking down at his hand, trying to get it to obey.
Danny calmly walks over and takes the gun from Garcetti.
Garcetti puts his hand to his nose and blows out a clot of blood. He
looks down at his hand.
He has hacked up the bullet he was shot with.
Garcetti smiles an embarrassed smile at Danny. TANNER'S WHEEZING
CONTINUES.
DANNY
(softly)
You're dead.
Garcetti nods slightly. He goes to a kneeling position, then curls up
on the floor like he is taking a nap and dies.
Danny goes over to the couch and sits down.
Danny with his head in his hands, emotionally and physically exhausted.
TANNER WHEEZING LOUDER AND LOUDER.
CLOSE ON DANNY'S FACE. Blank. Devoid of anything. He stuffs
Garcetti's gun into his own mouth, hand shaking.
He takes the gun out.
Stuffs it back in again, shoving it way down, almost gagging on it.
The barrel clatters against his teeth. He takes it out again. THE
WHEEZING CONTINUES.
Danny starts crying. Lifts the gun halfway again, then drops it.
He jumps up. Goes over to the still-wheezing Tanner and empties his
clip into him. When the clip is spent, Danny keeps pulling the trigger
... over and over again.
He stands there pulling the trigger again and again and again and
again.
FADE OUT.
FADE IN:
INT. RESIDENTIAL HOTEL ROOM - NIGHT
Danny dressed in his "Tom" clothes. He limps over to the bed and picks
up the trumpet case. Carries it over to the mirror.
Danny staring at his reflection. He lights a cigarette.
DANNY
My name is Tom Van Allen. I'm a
trumpet player.
Danny smiles.
VOICE (O.S.)
Nah, you're Danny Flynne.
He turns.
COLETTE and QUINCEY standing there. Quincey holds a nine millimeter
with a muzzle suppressor.
QUINCEY
You're a motherfucking rat.
He shoots Danny in the stomach. Danny slumps to the floor. His
cigarette falls out of his mouth and rolls under the bed.
Colette freaks.
COLETTE
You said you wouldn't kill him!
She tries to go to Danny but Quincey stops her.
COLETTE
You lied to me!
QUINCEY
Oops. My bad.
Danny looks at them, confused, a blood stain blossoming on his white
shirt.
DANNY
Colette, what happened? Didn't the cops ...
QUINCEY
The cops came. But they didn't find
nothing. Turns out their C.I. game
'em some bad information.
Quincey holds up the baggie of drugs.
Danny looks from Quincey to Colette. Colette looks away.
QUINCEY (cont'd)
You fuck with the Mexicali Boys, this
is what you get, homes.
UNDER THE BED - the cigarette smoldering on the carpet.
QUINCEY (cont'd)
Domingo thought you might be the one
who went rat on him.
Quincey looks at Colette
QUINCEY (cont'd)
So I brought in a rat of my own.
Danny looks at Colette, dumbfounded.
DANNY
You set me up?
QUINCEY
Bitch played you like a squeezebox, Romeo.
Danny can't help from laughing at the irony. Beads of sweat are
forming on his blanched face. He looks at Colette with a wry smile.
DANNY
You're good, princess. I'll give you that.
COLETTE
Danny, it's not what you think.
Danny looks down at his bloody stomach.
COLETTE
I owed them money ... a lot of
money ... they didn't give me a
choice. You know how it works. When
I got to know you, I tried to back
out ... that's when they did this ...
(she indicates the bruises)
But I told them I wouldn't do it .. I
didn't want to see you get hurt.
Danny stares at her, not sure what to believe. He looks over at
Quincey.
DANNY
She selling me a bill, home boy?
Quincey shakes his head.
QUINCEY
Nah, she ain't lying. She took a
pretty good beating from you, ace. I
seen grown men crack after a lot
less. But not this bitch.
(beat)
It was very touching.
DANNY
Then why are we here?
COLETTE
They threatened to kill my daughter.
(beat)
I had no choice.
(beat)
I'm sorry, Danny.
Danny looks at Colette, imagining the awful beating she must have
taken.
DANNY
It's okay. It's okay.
(Danny touches her face.)
(beat)
God damn, you're beautiful.
UNDER THE BED - THE CARPET IGNITES. The fire spreads quickly.
QUINCEY
Jesus.
Quincey grabs her arm.
QUINCEY (cont'd)
Let's go.
COLETTE
No!
The drapes go up in flames. Quincey puts the gun to the back of her
head.
QUINCEY
You wanna die here with him or come with me?
DANNY
Colette, go.
COLETTE
I don't want to leave you.
DANNY
Your daughter needs you. Go.
The fire continues to spread. Colette kisses Danny on the lips.
Quincey pulls her away.
Collette looks back one last time just as the flames reach the door,
cutting off any escape.
Danny breathing hard. He gets up. Staggers over to the mirror where
his trumpet is.
He opens the case and takes the trumpet out.
He plops down on the bed and BLOWS A FEW NOTES. He stops for a second,
a smile on his lips.
He starts to play SAETA.
DISSOLVE TO:
INT. BURNING ROOM - NIGHT
Back to the opening scene. The whole room ablaze. Danny lying on the
bed, playing the horn.
DANNY (V.O.)
So what is it? Who am I after it's
all said and done?
Pieces of the roof start falling in.
DANNY (cont'd)
Tom Van Allen or Danny Flynne?
(beat)
Avenging angel or plain old Judas?
He stops playing.
DANNY (cont'd)
(weakly)
You decide, friend. You decide.
He closes his eyes.
DANNY (cont'd)
I'm too tired ... so you decide.
He drops his trumpet and lays his head back.
CUT TO:
BLACK SCREEN
THEN BLURRY, VAGUE SLOW MOTION - moving through the flames.
CLOSE ON DANNY'S HEAD - seemingly floating through the fiery room.
DANNY (V.O.)
Oh shit. What is this?
Emerging from the flames into a dark hallway.
Danny's eyes flutter as he seemingly continues to float.
DANNY (cont'd)
Am I dead?
A linoleum floor rushes underneath.
DANNY (cont'd)
Linoleum. This must be hell.
Danny head sags, finds himself staring at ...
... A TATTOED LIKENESS OF HIMSELF. The tattoo smiles and speaks.
TATTO
(warped, distorted)
Hang in there buddy.
Stairs rush by underneath. Then another hallway.
DANNY'S P.O.V. - a bright white light at the end of the hall.
DANNY (cont'd)
Oh no. What a fucking cliché.
On Danny's face, floating through the hall. His eyes fluttering.
MOVING TOWARDS the light. Closer. Closer.
Danny's eyes close, his head droops.
FADE TO WHITE:
CLOSE ON DANNY as his eyes flutter and open.
DANNY'S P.O.V. - an image slowly coming into focus ...
... JIMMY staring down at him with concern.
Danny blinks his eyes again. Looks up at ...
... A PARAMEDIC working on him.
Danny smiles a weak smile at Jimmy.
Jimmy just sits there, nodding his head, a big shit-eating grin on his
face.
The paramedic continues to work on Danny. His eyes slowly close.
FADE OUT.
FADE IN:
EXT. THE CITY - DAY
Danny exits a cab and heads towards a coffee shop. He looks like a new
man.
DANNY (V.O.)
Well, I've had some time to think
about it and it's pretty simple after
all. I guess it's like the man said -
"Man is the measure of all things."
I should know. I ran the gamut.
Avenging Angel, Judas, loving
husband, prodigal son, prince of
Denmark. I was all of those things.
(beat)
Tom Van Allen got his revenge.
Good for Tom. And Danny Flynne? He
got gut-shot for being the low-life
rat that he was. Sucks for him.
(beat)
But as far as I'm concerned, they're both dead.
Danny looks through the window of the shop.
Colette inside, working the counter, pouring coffee.
DANNY (cont'd)
But what about this guy? Who is he?
Danny enters the shop.
DANNY (cont'd)
To tell you the truth, I don't know yet.
INT. COFFE SHOP - SAME
Danny takes a seat at the counter. Colette turns and sees him.
DANNY (cont'd)
But I like his chances.
They stare at one another for a beat, then smile. Colette pours him
some coffee.
DANNY (cont'd)
I really like his chances.
They strike up a conversation as we ...
FADE OUT.
THE END