Screenwriter Community |
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by ryan (nycityboy621@aol.com)
Rated:
Genre: Drama
User Review: NOT YET RATED
This screenplay is copyrighted to its author. All rights reserved. This screenplay may not be used or reproduced without the express written permission of the author.
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WHO CAN YOU TRUST
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FADE IN:
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EXT. APARTMENT BUILDING - DAY |
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SEAN EXITS THE APARTMENT BUILDING WHERE HE LIVES. WALKS DOWN
THE STOOP AND ENTERS HIS CAR |
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INT. SEANS CAR 2004 ESCALADE EXT - DAY |
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SEAN STARTS HIS CAR THEN PULLS DOWN THE REARVIEW MIRROR TO
CHECK HIS HAIR LINE AND EYEBROWS HE THEN FIXES HIS MIRROR
GOES IN TO THE MIDDLE CONSUL TAKES OUT A HARD CORE RAP/HIP
HOP CD INSERTS IT INTO THE CD PLAYER TURNS UP THE VOLUME AND
PULLS OFF |
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EXT. SPA - DAY |
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SEAN PULLS UP AND PARKS IN FRONT OF THE SPA AND EXITS HIS
CAR. AS HE IS ABOUT TO ENTER THE SPA TONY EXITS, THEY ALMOST
WALK IN TO EACH OTHER BOTH LOOKING SUPRISED |
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TONY
(PUTTING HIS RIGHT
HAND ON SEAN'S
LEFT SHOULDER)
SEAN! HOW YOU BEEN? |
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SEAN
(WITH HIS RIGHT
HAND ON TONY'S
LEFT SIDE)
NOT BAD TONY! HOWS THE FAMILY? |
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TONY
(FACE GESTURE)
GOOD! |
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SEAN AND TONY DROP THEIR HANDS FROM EACH OTHER AND STEP
ASIDE FROM THE FRONT DOOR |
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SEAN
YOU COME HERE ALOT? I NEVER SEEN
YOU HERE BEFORE |
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2.
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TONY
NAH, JUST HEARD ABOUT THIS SPOT.
THEY DO PRETTY GOOD EYEBROWS. |
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SEAN
(SMIRKING)
YEAH,YOU TRY THE PEDICURES |
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TONY
O WATTA YA THINK I'M A FRUIT OR
SOMTHIN. |
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SEAN LAUGHS |
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TONY
AH, MAYBE NEXT TIME. YOU IN A RUSH |
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TONY AND SEAN BEGIN TO WALK |
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TONY
(LOOKING STRAIGHT
AHEAD)
HEY SEAN! LISTEN, WE BEEN FRIENDS
FOR A VERY LONG TIME, AND I HOPE
THAT IF YOU EVER NEEDED ME FOR
ANYTHING, YOU WOULD COME TO ME. |
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SEAN
(LOOKING AT TONY)
TONY! THAT GOES WITH OUT SAYIN |
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TONY AND SEAN STOP WALKING THEY TURN TO EACH OTHER AND |
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TONY
(CONCEREND)
THEN WHAT'S THE SHIT I HEAR YOU
STCK YOUR BALLS ON THE STRRET. |
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SEAN
(CARELESS ATTITUDE)
I GOT CAUGHT UP IN GAMBLIN FOR A
WHILE. WHY WHATS THE BIG FUCKIN
DEAL |
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TONY
I'LL TELL YOU WHAT THE BIG FUCKING
DEAL IS.WHEN WE MET AND STARTED
HANGIN TIGHT I LIKED YA STYLE.YOU
(MORE)
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3.
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TONY (cont'd)
WERE DA HARD WORKIN KID DAT GOT
EVERYTHING HE WANTED,
GIRLS,CARS,THE FANCY CLOTHES
ANYTHING,YOU ALWAYS HAD A STACK OF
MONEY IN YOUR POCKET TO DO
WHATEVER YOU WANTED, AND NOBODY
CAN SAY ANYTHING CAUSE YOU DID
THINGS RIGHT. |
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SEAN
TONY WHAT ARE YOU TALKIN ABOUT? WE
WERE THE SAME WAY, WHATEVER I GOT
YOU GOT WHATEVER I HAD YOU HAD |
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TONY
YOUR RIGHT! BUT YOU HAD ONE THING
I DID'NT HAVE. |
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TONY
A CLEAR HEAD, SEAN YOU WERE LEGIT
EVERYTHING YOU HAD AND EVERYTHING
YOU GOT WAS YOURS NO ONE COULD
EVER TAKE IT FROM YOU WHY WOULD
YOU WANNA GIVE IT AWAY FOR. |
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SEAN
COME ON TONY, WATTA U KNOW ABOUT
ME. WE HAVE'NT BEEN AROUND EACH
OTHER SINCE YOU CAME HOME. |
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TONY
I DONT NEED TO BE AROUND YOU, I
KNOW WHAT GOES ON IN YOUR LIFE.I
HEAR AND SEE EVERYTHING YOU DO.
EVERYBODY KNOWS WHO YOU ARE TO ME
AND WHAT YOU DID FOR ME AND MY
FAMILY WHILE I WAS AWAY |
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TONY
LISTEN ITS NOT THAT I DONT WANNA
BE AROUND YOU ITS |
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4.
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SEAN
SO WHAT IS IT? YOU CAME HOME AND
STARTED MAKIN MONEY. YA NEVER PUT
YOURSELF AROUND ME, YOU MAKE ME
LAUGH |
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TONY
SEAN I KNOW YOU GOT THE HEART FOR
ANYTHING AND THE BALLS TO TAKE ON
THE WORLD, BUT I LOST TEN YEARS OF
MY LIFE, AND ALOT OF GUYS I
THOUGHT WERE MY FRIENDS CAUSE THEY
WERE RATS, THEY COULD'NT HANDLE
THE PRESSURE! LISTEN NOBODY EVER
REALLY KNOWS WHO THEY ARE TILL
THEY GET THERE, THESE FEDS THEY,
THEY PLAY MIND GAMES WIT YOU, THEY
CAN MAKE YOU THINK YOUR MOTHERS
RATTIN YOU OUT TO GET YOU TO
TALK,YOU GOTTA BE MIND STRONG
SEAN! WOULD YOU REALLY WANNA BE
PUT IN THAT POSITION |
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SEAN
LISTEN TONY I, I REALLY GOTTA RUN.
WHERE YOU GONNA BE LATA AROUND TEN |
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SEAN
GOOD! WHY DONT YOU PASS BY THIS
PLACE TONIGHT. |
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SEAN GOES INTO HIS POCKET AND HANDS TONY A BUSINESS CARD
TONY LOKKS AT IT |
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SEAN
WE'LL HAVE A COUPLE OF DRINKS. |
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SEAN AND TONY TURN FROM EACH OTHER AND WALK AWAY |
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INT. SPA - DAY |
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SEAN ENTERS THE SPA AND WALKS STRAIGHT TO THE BACK WHERE
THERE IS A DOOR THAT LEADS DOWN STAIRS |
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5.
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INT. SPA DOWN STAIRS - DAY |
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SEAN ENTERS AND SEES MARIA HUGGING HER AND KISSING HER ON
THE LIPS |
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SEAN
ANYONE COME IN YET TODAY |
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MARIA
NO I JUST OPENED UP ABOUT A HALF
HOUR AGO |
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SEAN LET'S GO OF HUGGING MARIA |
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SEAN
YOU GOT THE THING READY FOR NICKY |
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MARIA
(WITH A WORRIED
LOOK)
YEAH, LET ME GET IT FOR YOU |
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MARIA WALKS AWAY TOWARD THE BACK AND SEAN HEADS BEHIND THE
COUNTER TO A SMALL REFRIGERATOR OPENS IT AND GRABS A BOTTLE
OF WATER PUTS IT ON THE COUNTER THEN MARIA WALKS UP WITH AN
ENVELOPE AND HANDS IT TO SEAN |
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SEAN
NO! WATTA YA MEAN NO! |
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MARIA
(WORRIED)
IT WASN'T THAT BUSY THIS WEEK
SEAN! |
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SEAN
(PISSED OFF)
WHAT THE FUCK! MARIA YOU KNOW I
GOTTA COME UP WIT AT LEAST
TWENTY-FOUR HUNDREAD A WEEK TO
COVER THE VIG.HOW MUCH IS HERE? |
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6.
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SEAN PUTS THE ENVELOPE IN HIS POCKET AND TAKES A SIP OF
WATER THEN SLAMS IT DOWN ON THE COUNTER AND SLOWLY SHAKES
HIS HEAD |
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SEAN
I'LL MAKE IT UP NEXT WEEK. |
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SEAN TURNS TOWARD MARIA |
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SEAN
AND WHERE DA FUCKS HEAVY? HE
SUPPOSE TO BE HERE WATCHIN YOU AND
DA PLACE. |
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MARIA
SEAN I'M FINE, NOBODY BOTHERS ME. |
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SEAN
ALRIGHT, LET ME RUN I GOT SOME
ERRANDS I GOTTA DO, AND TELL HEAVY
TO CALL WHEN HE GETS HERE. |
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SEAN BEGINS TO WALK AWAY AND MARIA STOPS HIM |
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MARIA
SEAN LISTEN, I KNOW YOU DON'T WANT
ME TO WORK BY NICKY'S BUT, I COULD
REALLY USED THE EXTRA MONEY. CAN
YOU JUST THINK ABOUT IT.? |
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SEAN KISSES HER ON THE FOREHEAD |
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EXT. SPA - DAY |
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SEAN EXITS THE SPA AND REACHES FOR HIS PHONE FLIPS IT OPEN
AS HE IS WALKING TOWARD HIS CAR REACHES HIS CAR TURNS AROUND
AND LEANS ON THE HOOD HE BEGINS DIALING PLACEING THE PHONE
TO HIS EAR |
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7.
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SEAN
(TALKING ON THE
PHONE)
YO NICKY WHATS UP? |
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SEAN
NAH EVREYTHING'S GOOD. I'M LEAVING
MY SPOT TO DO MY ROUNDS BUT A I
WANNA ASK YA SOMETHIN |
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SEAN
NAH, ITS MY GIRL SHE BEEN BREAKING
MY BALLS TO COME WORK FOR YOU, CAN
YA FIT HER IN? |
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SEAN
TEN SOUNDS GOOD.I'LL TELLA NOW |
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SEAN PULLS THE PHONE FROM HIS EAR AND BEGINS TO DIAL PUTS
THE PHONE BACK TO HIS EAR |
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SEAN
I JUST TALK TO NICKY YOU START
TONIGHT AT TEN |
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SEAN
(WITH A LAUGH)
CALM DOWN! CALM DOWN! |
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SEAN
I KNOW YOUR EXCITED.YOU COULD MAKE
SOME GOOD MONEY OVA DER.JUST DO DA
RIGHT THING AND DON'T LET NOBODY
DISRESPECT YOU. |
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SEAN
ALRIGHT BABY LOVE YOU TOO.BYE |
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SEAN CLOSES THE PHONE LOOKING STRAIGHT AHEAD WITH A SMIRK
AS IF HE'S HAPPY TO HAVE PUT A SMILE ON HIS GIRLS FACE. HE
THEN LEANS UP OF THE HOOD OF HIS CAR AND BEGINS TO WALK
AROUND TO THE OTHER SIDE TO LEAVE. |
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8.
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EXT. NICKY'S PLACE CAFE/LOUNGE/BAR/PRIVATE CLUB - NIGHT |
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SEAN PULLS UP IN FRONT PARKS AND GETS OUT GREETED OUTSIDE BY
A COUPLE OF LOCALS THAT HANG OUT THERE |
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LOCAL #1
WHATS UP SEAN?
(HAND SHAKE) |
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SEAN
(HAND SHAKE)
HEY! HOW YOU DOIN? |
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LOCAL
HEY SEAN
(PAT ON BACK) |
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INT. NICKY'S PLACE - NIGHT |
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SEAN WALKS IN (RAP HIP HOP PLAYING) STOPS BY THE BAR |
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SEAN
HEYY..... VITOO WATTA YOU DOIN |
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VITO
NUTTIN MUCH! HOW ARE YOU? |
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VITO
CAN I GET YOU ANYTHING? |
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SEAN
YEAH..PLEASE CRANBERRY AND GREY
GOOSE HOLD THE ICE |
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VITO
YOU GOT IT MY MAN COMEING RIGHT UP |
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SEAN
YOU SEE NICKY AROUND? |
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VITO
HE WAS HEAR...CHECK THE BACK |
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9.
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INT. BACK ROOM OF NICKY'S/ POKER TABLES - NIGHT |
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sean enters back poker room and closes door behind him to
where the music from the front is at a muffle he sees nicky
sitting at poker table playing poker with three other guys
all have stacks of chips in front of them and two guys
sitting behind nicky watching the game |
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POKER GUYS
(simutaniously)
HEY IRISH |
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SEAN
HEY NICKY YOU GOTTA MINUTE |
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NICKY PUSHING CHAIR BACK TO STAND UP |
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SEAN
TAKE A WALK DOWN STAIRS |
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NICKY TURNS TO PLAYER # 1 |
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NICKY
(SOFT SPOKEN)
PLAY A COUPLE OF HANDS FOR ME |
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PLAYER #1 REACTS SEAN AND NICKY TURN AWAY |
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INT. BASEMENT OF NICKYS PLACE/STOCK ROMM - NIGHT |
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SEAN ENTERS THE BASEMENT AND NICKY FOLLOWS CLOSING THE DOOR
BEHIND HIM NICKY TURNS ON THE LIGHTS |
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SEAN HANDING NICKY A STACK OF ENVOLOPES |
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10.
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NICKY
WHY ONLY NINTY-SIX HUNDG? YA SEEN
EVRYONE. |
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NICKY
SO WHAT ARE YOU SHORT? EIGHT
HUNDREAD |
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NICKY TURNS TO A STACK OF BOXES OPENS THE ENVOLOPES STACKS
ALL THE MONEY TOGETHER AND BEGINS COUNTING TO HIMSELF AS
SEAN STANDS THERE AND WATCHES WHEN NICKY FINISHES COUNTING
HE TURNS BACK TO SEAN WITH THE MONEY IN HIS HAND |
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NICKY
SO I GOTTA GIVE YOU TWO THEN AND
WERE EVEN FOR THIS WEEK |
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NICKY LOOKS DOWN AT THE MONEY AND PEELS OFF TWO ONE HUNDREAD
DOLLAR BILLS AND HANDS THEM TO SEAN |
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NICKY
WATTA YOU MEAN GUESS I PAY YOU A
GEE A WEEK FOR COLLECTING YOUR
SHORT EIGHT |
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SEAN
NAH..NAH..ITS NOT THAT..IT JUST
FUCKS ME UP THAT I CAME UP SHORT
AT MY SPOT. |
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PLAYER #1
(OFF SCREEN
YELLING)
YO NICKY THE GAMES BREAKIN UP |
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11.
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NICKY
(YELLING)
ALRIGHT TAKE CARE OF IT I'LL BE
RIGHT UP |
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NICKY
I'M SURE IT WAS JUST A BAD WEEK |
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SEAN
YEAH I HOPE YOUR RIGHT |
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NICKY PUTS HIS ARM AROUND SEAN |
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NICKY
COME ON LETS GO GET A DRINK |
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INT. LOUNGE AREA NICKY'S PLACE - NIGHT |
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(MUSIC PLAYING)SEAN AND NICKY ENTER THE LOUNGE THROUGH A
VELOUR CURTAIN AND SEE TONY SITTING ON THE COUCH WITH A SHOT
OF COGNAC IN HIS LEFT HAND AND MARIA'S BOTH HANDS COMING OFF
OF TONY'S CHEST WITH HIS RIGHT HAND SLIDING DOWN HER ARM AS
SHE IS MOVING TO WLAK AWAY NICKY AND SEAN CONTINUE TO WALK
TOWARD TONY WITH SEAN HAVING A DISTRAUGHT LOOK ON HIS FACE |
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SEAN
(DISTRAUGHT LOOK)
TONY GLAD YOU COULD MAKE IT.(LEANS
IN AND GIVES A KISS ON THE CHEECK)
YOU REMEMBER NICKY RIGHT? |
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TONY
HEY NICKY HOW YOU DOIN? |
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NICKY
PRETTY GOOD THANKS FOR ASKING HOW
YOU DOIN? I HEAR THE BUSINESS IS
TAKING OFF |
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SEE VITO WALK IN THEN BACK TO TONY |
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TONY
YEAH I'VE BEEN VERY FORTUNATE |
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VITO
EXCUSE ME GUYS! HEY SEAN I DIDNT
SEE YOU SO I KEPT YOUR DRINK ON
ICE |
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12.
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VITO LOOKING AT NICKY |
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VITO
NICKY CAN I GET YOU ANYTHING? |
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NICKY
YEA GET ME A CORONA AND BACK THESE
GUYS UP ON DA HOUSE I GOT IT |
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NICKY SITS DOWN ACROSS FROM TONY |
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SEAN
GUY'S I'LL BE RIGHT BACK GOTTA GO
CHECK SOMETHING |
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SEAN TURNS AND WALKS AWAY |
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INT. FRONT BAR NICKY'S PLACE(MUSIC PLAYING) - NIGHT |
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SEAN ENTERS AND LOOKS FOR MARIA SEES HER BEHIND THE BAR |
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SEAN
MARIA..COME HERE A SECOND |
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MARIA WALKS TOWARD SEAN HE TAKES HER BY THE ARM GENTLY AND
WALKS WITH HER TO THE FRONT LETS GO OF HER ARM AND FACES HER |
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SEAN
(ANGRILY)
WHAT DA FUCK WAS THAT? |
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MARIA
(NERVOUS)
WHAT....WHAT SEAN |
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SEAN
I WALKED IN AND SEEN YOU ALL OVER
TONY.WHAT DA FUCK? |
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MARIA
(NERVOUS LAUGH)
I WAS'NT ALL OVER HIM I BARELY
KNOW HIM I HAD JUST WALKED IN TO
START MY SHIFT AND VITO ASKED ME
TO BRING TONY HIS DRINK CAUSE HE
WAS BUSY SERVING OTHER CUSTOMERS
AND HE DIDNT WANT HIM TO
WAIT....WHAT DA FUCK SEAN DONT YOU
(MORE)
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13.
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MARIA (cont'd)
TRUST ME..IF YOUR GONNA LET ME
WORK HERE TO MAKE EXTRA MONEY I
DONT WANNA HAVE TO DEAL WITH SHIT.
THIS IS WHY WE CAN GET ALONG YOUR
ALWAYS MAKING ME FEEL LIKE I'M
DOING SOMETHING WRONG AND I'M NOT
THEN I GOTTA SIT HERE AND EXPLAIN
TO YOU IN DETAIL WHAT HAPPENED |
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SEAN
THEN WHAT DA FUCK WERE YOUR HANDS
DOIN ON HIM...I SEEN HIM HOLDING
YOUR ARM |
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MARIA
(CALM)
OK SEAN WHEN I WALKED IN THE FOUR
GUYS SITTIN BEHIND YOUR TABLE HAD
ASKED ME TO GET THEM ANOTHER ROUND
I THEN TURN TOWARD TONY BENT DOWN
TO PUT HIS DRINK ON THE TABLE AND
WHEN HE LEANED UP TO GET IT HIS
LEG LIFTED AND KICKED ME AND I
FELL TOWARD HIM ALL HE DID WAS
GRAB ME TO STOP ME FROM FALLING ON
HIM......JESUS CHRIST(SHAKING HER
HEAD IN DISBELIEF)I CANT DEAL WITH
THIS SHIT |
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SEAN RESTING HIS FOREHEAD ON HERS AND PUTTING HIS ARMS
AROUND HER LOWER BACK |
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SEAN
(CALMLY)
I'M SORRY BABY ITS JUST THAT YOU
KNOW I LOVE YOU AND...JUST FORGET
IT I'M SORRY |
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MARIA
ITS OK SEAN FORGET IT...LET ME GET
BACK TO WORK I GOT CUSTOMERS
WAITIN FOR THERE DRINKS |
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SEAN AND MARIA TURN AND WALK TOWARD THE LOUNGE MARIA STOPS
TO GRAB TRAY OF DRINKS OF THE BAR SEAN CONTINUES TO WALK
THEN STOPS AND TURN BACK TOWARD MARIA |
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SEAN
HEY BABE!BY THE WAY DID YOU TELL
HEAVY TO CALL ME |
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14.
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SEAN TURNS AND CONTINUES TOWARD THE LOUNGE GRABING HIS PHONE
FROM HIS WAIST AND LOOKING AT IT |
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SEAN
(MUMBLES)
WAT DA FUCK |
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INT. LOUNGE NICKY'S PLACE - NIGHT |
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SEAN ENTERS THROUGH A VELOUR CURTAIN WITH MARIA FOLLOWING
BEHIND WITH THE TRAY OF DRINKS SHE BENDS DOWN TO PUT THE
DRINKS ON THE TABLE OF FOUR MALE PATRON WHEN SEAN HEARS |
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PLAYER #1
(ABNOXIOUS)
HEY SWEETHEART IS IT POSSIBLE TO
ASK FOR JUST ONE MORE THING BEFORE
YOU GO |
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MARIA
(SWEET AND POLITE)
SURE ANYTHING FOR MY CUSTOMERS |
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PATRON #1
(SMILING)
SO I GUESS A BLOW JOB AINT TO MUCH
TO ASK FOR THEN |
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AS SEAN TURNS WITH VIOLANT REACTION VITO WALKS IN WITH THE
ROUND OF DRINKS THAT NICKY ORDERD SEAN QUICKLY IN ONE MOTION
AS HES TURNING GRABS THE NECK OF NICKY'S CORONA BOTTLE AND
CRACKS IT OVER PATRON#1'S HEAD |
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SEAN
(FURIOUS)
I GOT YOUR FUCKIN BLOW JOB YOU
MUTHA FUCKA |
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PATRON#1 FALLS OFF HIS CHAIR TO THE FLOOR AS PATRON#1,#2,AND
#3 STAND UP VITO BACKS AND SEAN THROWS A SIDE KICK TO
PATRON#2'S CHEST BACKING HIM UP TO THE WALL AS HE MOVES IN
WITH POUNDING BLOWS TO PATRON#2'S BODY AND HEAD TONY AND
NICKY MOVE IN. MARIA RUNS AWAY |
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MARIA
(SCREAMING)
O MY GOD! |
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15.
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NICKY BEGINS BITCH SLAPPING PATRON#3 NUMEROUS AMOUNT OF
TIMES AS PATRON#3 BENDS DOWN AND COVERING HIS HEAD AND FACE
WITH HIS HANDS |
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NICKY
(ANGRILY)
YOU DISRESPECT MY PLACE...MY
PEOPLE YOU MUTHA FUCKER |
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TONY GRABING A GUN FROM HIS WIAST BAND STEPS UP TO PATRON#4
AND BEGINS PISTAL WHIPPING PATRON#4 IN HIS HEAD FOUR TIMES
KNOCKING HIM TO THE FLOOR HE THEN TURNS TOWARD NICKY AND
SEAN |
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TONY
(ANXIOUSLY)
COME ON LETS GET DA FUCK OUTA HEA
AS NICKY AND SEAN TURN TO LEAVE
SEAN TAKES THREE KICKS AT PATRON#1
WHILE HE'S LAYING ON THE FLOOR |
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SEAN
(OUT OF BREATH)
THERE..THERES YOUR FUCKIN BLOW JOB |
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EXT. OUTSIDE NICKY'S PLACE - NIGHT |
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TONY EXITS NICKY'S PLACE FOLLOWING BEHIND IS NICKY AND SEAN
TONY TURNS TO NICKY AND SEAN |
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TONY
(A LITTLE
AGGITADED)
MUTHA FUCKA'S ARE LUCKY I DIDN'T
PUMP TWO IN EACH OF THERE HEAD |
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NICKY LOOKING AT SEAN AND TONY |
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NICKY
(PISSED OFF)
FUCK... DIS IS BAD FOR BUSINESS.AH
FUCK IT WATTA YOU GONNA DO. |
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SEAN TURNS AND LOOKS AT NICKY |
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SEAN
(HUFFIN)
NICKY I'LL TAKE THE HIT FOR THIS
DONT WORRY ABOUT IT |
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16.
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NICKY
NAH ITS NOT A PROBLEM I GOTTA
COUPLE OF COPS ON DA ARM ANYWAY
THEY'LL TAKE CARE OF IT....ALRIGHT
LETS GET DA FUCK OUTA HEA.. DEAL
WIT DIS SHIT TOMORROW. TONY SEE
YOU AROUND. |
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TONY
ALRIGHT NICKY TALK TO YA |
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TONY WALKS OFF SCREEN |
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NICKY
SEAN CALL ME TOMORROW. |
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NICKY BEGINS TO TURN AND WALK QUICKLY SEAN WALKS TO HIS CAR |
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INT. SEANS CAR - NIGHT |
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SEAN BEGINS TO PILL AWAY AND NOTICES COPS ARE COMING TOWARD
HIM HEARING THE SIRENS AND SEEING THE LIGHTS SEAN WITH HIS
LEFT HAND ON THE STEERING WHEEL RAISES HIS ARM A BIT AS TO
WANTING TO COVER HIS FACE AND TURNS TOWARDS COPS IN CARS
PASSING HIM TO SEE IF THEY TAKE NOTICE OF HIM AND OR HIS
VEHICLE THEY SEEM TO PAY NO MIND SO HE TURNS HIS HEAD
STRAIGHT AND LOOKS THROUGH REARVIEW MIRROR JUST TO BE SURE
NO ONE IS POINTING HIM OUT TO COPS AS HE'S DRIVING AWAY
MAKES THE NEXT LEFT TURN POSSIBLE AND GLANCES ONE MORE TIME
TO BE SURE THEN TAKES A DEEP BREATH AND RUBS HIS HAND OVER
HIS HEAD AS A SIGH OF RELIEF |
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EXT. PARKING LOT IN MALL GYM/SPORTS CLUB - DAY |
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SEAN PULLS IN AND PARKS |
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INT. GYM/SPORTS CLUB - DAY |
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SEAN ENTERS THE SPORTS CLUB WITH A GYM BAG IN HIS LEFT HAND
AND A BOTTLE OF WATER IN HIS RIGHT HAND WALKS TO THE FRONT
DESK WHERE KEVIN AND STEVE ARE STANDING SIDE BY SIDE WAITING |
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17.
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STEVE LOOKING AT SEAN |
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STEVE
NUTTIN PLAYIN WIT OUR DICKS WAITIN
FOR YOU. |
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KEVIN LOKKING AT SEAN |
|
|
KEVIN
MAN YOU LOOK LIKE SHIT WHAT
HAPPENED TO YOU? |
|
|
SEAN LOKKING AT KEVIN AND STEVE WAVING HIS BOTTLE OF WATER |
|
|
|
SEAN,STEVE AND KEVIN BEGIN TO WALK TOWARD THE BENCH PRESS
MACHINES |
|
|
SEAN
HAD A LITTLE BEEF LAST NITE BY MY
FRIEND NICKY'S PLACE |
|
|
|
STEVE
GET OUTA HERE WHAT HAPPENED |
|
|
|
SEAN
REMEMBER I TOLD YOU MARIA WANTED
TO WORK BY NICKY'S |
|
|
|
|
|
SEAN
AND I TOLD YOU GUYS I DONT THINK
IT WOULD BE A GOOD IDEA |
|
|
SEAN LAYING DOWN ON THE BENCH REACHING UP TO GRAB THE BARS
AS HE BEGIN TO START DOING HIS WITH STEVE BEHIND HIM
SPOTTING HIM |
|
|
|
SEAN BENCH PRESSING USING ENERGY |
|
|
SEAN
(PUSHING UP
WEIGHTS)
WELL...I WAS RIGHT. |
|
|
ON KEVIN WHILE HE'S DOING CURLS |
|
18.
|
|
KEVIN
GET DA FUCK OUTA HERE |
|
|
ON SEAN STILL PRESSING |
|
|
|
SEAN PUTTING THE WEIGHT BAR BACK ON THE RACK WITH STEVES
HANDS ON THE INSIDE OF THE BAR GUIDING HIM |
|
|
|
SEAN SITTING UP GRABING HIS TOWEL IN FRONT OF HIM BETWEEN
HIS LEGS THEN STANDING UP AND MOVING OFF THE BENCH AS STEVE
WALKS AROUND TO GET ON THE BENCH WITH KEVIN MOVING TO SPOT
STEVE AND SEAN GOING TO GRAB THE DUMB BELLS AS HE BEGINS HIS
SET OF CURLS |
|
|
SEAN
SOME JERK OFF ASK HER FOR A BLOW
JOB BEING BEIN A DICK AND I HEARD
SO HIM AND HIS BOYZ GOT IT |
|
|
KEVIN STANDING BEHIND STEVE SPOTTING HIM |
|
|
KEVIN
WHO WAS WIT YOU ANYONE |
|
|
SEAN STILL DOING CURLS |
|
|
|
SEAN DROPPING THE DUMB BELLS STEVE PUSSING UP HIS LAST REP
WITH KEVIN BEHIND HIM WITH HIS HANDS ON THE INSIDE OF THE
BAR GUIDING HIM TO THE RACK STEVE SITS UP SEAN TURNS FACING
STEVE AND KEVIV |
|
|
SEAN
GUYS LISTEN WE GOOTA TALK |
|
|
|
|
|
SEAN
NOT HERE LISTEN WHY DONT YOU GUYS
MEET ME FOR DINNER TONIGHT AT MC
BRADY'S |
|
|
|
|
19.
|
|
|
|
|
|
|
|
|
|
INT. SEANS CAR - DAY |
|
SEANS DRIVING WITH THE MUSIC ON AND HIS PHONE RINGS THROUGH
THE CAR SPEAKER CUTTING THE MUSIC OF HE HIT A BUTTON TO TALK |
|
|
|
ON TONY SITTING AT HIS DESK IN HIS OFFICE |
|
|
|
ON SEAN DRIVING |
|
|
|
ON TONY |
|
|
|
ON SEAN |
|
|
|
ON TONY |
|
|
|
ON SEAN A BEEP COMING OVER THE SPEAKERS INDICATING ANOTHER
CALL COMING IN |
|
|
SEAN
TONY HOLD ON A SEC I GOTTA TAKE
THIS CALL |
|
|
SEAN HITS A BUTTON TO SWITCH OVER |
|
20.
|
|
|
ON HEAVY AT THE MASSAGE POLAR |
|
|
|
ON SEAN |
|
|
SEAN
HEAVY WAT DA FUCK WHERE ARE |
|
|
ON HEAVY |
|
|
HEAVY
I'M AT DA SPOT WHAT HAPPEN TO YOU
YESTERDAY |
|
|
ON SEAN |
|
|
SEAN
WHAT HAPPEN TO ME WHERE DA FUCK
WHERE YOU ALL DAY |
|
|
ON HEAVY |
|
|
|
SEAN CUTS HEAVY OFF |
|
ON SEAN |
|
|
SEAN
LISTEN HEAVY FORET IT I'M ON DA
OTHA LINE I TALK TO YO LATA |
|
|
SEAN HITS A BUTTON TO SWITCH BACK TO TONY |
|
|
|
ON TONY |
|
|
|
ON SEAN |
|
|
SEAN
IM SORRY BOUT DAT WHAT WERE YOU
SAYIN |
|
|
21.
|
ON TONY |
|
|
TONY
WANNA TALK ABOUT A COUPLE OF
THINGS YOU BUSY TONIGHT |
|
|
ON SEAN |
|
|
SEAN
YEAH TONE I GOTTA MEET UP WIT A
COUPLE OF GUYS FOR DINNER WHY
EVRYTHING ALRIGHT |
|
|
ON TONY |
|
|
TONY
YEAH EVERYTHING'S FINE CALL ME
WHEN YOU GOT SOME TIME TA MEET UP
AND TALK |
|
|
ON SEAN |
|
|
SEAN
AIRIGHT TONE YOU GOT IT |
|
|
THE CALL ENDS AND THE MUSIC COMES BACK ON SEAN CONTINUES
DRIVING HE PULLS UP TO A RED LIGHT AND STOPS HE THEN NOTICES
A FLORIST ON THE CORNER HE PULLS OVER PUTS HIS CAR IN PARK
SHUTS THE ENGINE AND GETS OUT |
|
|
|
|
EXT. OUTSIDE MARIA'S CONDO - DAY |
|
SEAN WALKS UP THE STEPS WITH A DOZEN RED ROSES IN HIS HAND
RINGS THE BELL AND PUTS THE ROSES BEHIND HIS BACK.THERE IS
SLIGHT DELAY THEN MARIA OPENS THE DOOR IN T-SHIRT AND SHORT
SHORTS SHE LOOKS AT HIM THEN GRABS HIM AND GIVES HIM A BIG
HUG HOLDING HIM |
|
|
MARIA
SEAN THANK GOD YOUR ALRIGHT I WAS
CALLING YOU BUT IT KEPT GOING
STRAIGHT TO VOICEMAIL |
|
|
SEAN TAKING HIS ARMS FROM BEHIND HIS BACK AND HUGGING MARIA
WITH THE ROSES BEHIND HIS BACK LIFTS HER UP SHE WRAPS HER
LEGS AROUND HIS WAIST AND WALKS IN HER APARTMENT KICKING THE
DOOR CLOSED WITH HIS FOOT |
|
|
|
|
22.
|
INT. MARIA'S CONDO - DAY |
|
|
SEAN
I KNOW BABY THATS WHY I'M HERE |
|
|
WALKING WITH HER IN HIS ARMS TO HER SOFA AS HE'S LAYING HER
DOWN WITH HIMSELF ON TOP OF HER HE PULLS THE ROSES OUT FROM
BEHIND HER BACK AND HANDS THEM TO HER |
|
|
|
MARIA TAKES THE ROSES AS SEAN IS ON TOP OF HER SOFTLY RUBING
HER HEAD AND DOWN THE SIDE OF HER FACE WHILE KISSING HER ON
HER NECK UNDERNEATH HER EAR |
|
|
SEAN
(WHISPERING)
I LOVE YOU BABY YOU MEAN SO MUCH
TO ME |
|
|
MARIA WITH HER HEAD LEANING BACK PLACES THE ROSES ON THE
COFFEE TABLE THEN TAKING HER HAND AND RUBBING THE BACK OF
SEAN'S HEAD THEN MASSAGING THE BACK OF HIS NECK BRINGING HER
MOUTH UP TO HIS EAR |
|
|
MARIA
(WHISPERING
/MOANING)
O GOD SEAN I LOVE YO SO MUCH |
|
|
SEAN THEN GRABS HER AND THEY GENTLY ROLL FROM THE SOFA TO
THE FLOOR WHERE MARIA IS NOW ON TOP. SEAN GENTLY MOVES HER
UP TO A SITTING POSITION.HE TAKES HIS FINGERS AS HE IS
LOOKING AT HER AND GENTLY RUBS THEM BOTH DOWN THE SIDES OF
HER FACE WITH HIS FINGERS MOVING TO HER SHOULDERS DOWN HER
ARMS TO HER HANDS THAT ARE RESTING ON HER THIGHS HE THEN
RUBS UP INSIDE HER THIGHS TO THE BOTTOM OF HER SHIRT AS
MARIA SLOWLY BEGINS TO LIFT HER ARMS UP SEAN FOLLOWS WITH
REMOVING HER SHIRT SHE THEN LAYS BACK DOWN ON TOP OF HIM
SLOWLY ROLLING EACH OTHER OVER HE BEGINS REMOVING HIS PANTS
THEN HER SHORTS SHE THEN BEGINS TO TAKE OF SEANS SHIRT TO
WHERE HE IS NOW TOTALY BEAR AND THER ENGAGING IN HOT
PASSIONAT SEX WITH MARIA'S LEGS WRAPPED AROUND SEANS WAIST
SHES MOANING HEAVILY AS SHE HAS BOTH OF HER HANDS RUBING HIS
HEAD IN CIRCULAR MOTION SHE BEGINS TO PUSH DOWN ON HIS HEAD
INDICATING ORAL SEX SEAN BEGINS KISSING HER NECK DOWN THE
MIDDLE OF HER CHEST AS HE TAKES HIS HAND AND BEGINS
CARESSING HER BREAST HE BRINGS HIS MOUTH TO HER NIPPLE
GENTLY KISSING AND LICKING HER NIPPLE WORKING HIS WAY DOWN
HER STOMACH PASSING HER BELLY BUTTON GENTLY TAKING HIS OTHER
HAND CARESSING THE SIDE OF HER BODY DOWN TO HER THIGH
LIFTING HER LEG IN THE AIR AND BEGINS GIVING HER ORAL SEX
|
23.
|
WITH MARIA'S BACK ARCHED AND HER HEAD SLOWLY GOING SIDE TO
SIDE SHE BEGINS TO TAKE HER FINGER TIPS AND RUBS THEM UP AND
DOWN HER STOMACH TO HER BREAST AND AROUND HER NIPPLES IN
CIRCULAR MOTIONS AS SHE BEGINS TO HAVE MUTIPLE ORGASIMS |
|
|
MARIA
(MOANING)
O...O GOD SEAN IT FEELS SO GOOD
(BREATHING HEAVY)PLE...PLE..DON'T
STOP DONT STOP MOANING..MOANING
UHH.UHH. |
|
|
MARIA TAKES A DEEP BREATH IN A SIGH OF RELIEF SEAN SLOWLY
MOVES UP HER BODY TO HE REACHES FACE SOFTLY KISSING HER FACE
AND HOLDING HER TIGHTLY |
|
|
SEAN
(IN A WHISPER)
I LOVE YOU |
|
|
|
|
|
INT. MC BRADY'S BAR/RESTAURANT - NIGHT |
|
SEAN ENTERS AND SEES KEVEN AND STEVE SITTING AT THE BAR |
|
|
SEAN
HEY GUYS LETS GRAB A TABLE IN DA
BACK. |
|
|
KEVIN AND STEVE STAND UP AND FOLLOW SEAN TOWARD THE BACK
WHERE THEY FIND A TABLE IN A QUITE CORNER AWAY FROM THE
NOISE THEY ALL TAKE A SEAT WITH SEAN SITTING ACROSS FROM
STEVE AND KEVIN |
|
|
KEVIN
SO WHATS GOIN ON YOUR LOOKING
PRETTY SERIOUS |
|
|
|
|
|
|
|
SEAN
STEVE WHATS GOING ON WITH YOU |
|
|
|
|
24.
|
|
SEAN
WITH WORK YA KNOW FINACIALLY YOU
DOIN ALRIGHT OR |
|
|
|
STEVE
COME ON MAN YOU KNOW I'M JUST
ALWAYS GETTIN BY |
|
|
SEAN WITH HIS LEFT ARM ON THE TABLE AND HIS HAND RUBBING HIS
CHIN WITH HIS ELBOW RESTING ON THE TABLE |
|
|
SEAN
YEA...YEA.. DATS WHAT I FIGIURED |
|
|
SEAN LOOKING AT KEVIN |
|
|
|
WAITER STEPS IN |
|
|
WAITER
EXCUSE ME GUYS CAN I START WITH
GETTING YOU SOME DRINKS |
|
|
|
STEVE
YEA I'LL TAKE A CORONA |
|
|
|
KEVIN
YA KNOW WHAT MAKE THAT TWO
CORONA'S |
|
|
|
SEAN
MATTA OF FACT MAKE IT THREE WERE
EASY |
|
|
|
WAITER
VERY WELL THREE CORONA'S WOULD YOU
LIKE TO HEAR THE DINNER SPECIALS |
|
|
|
STEVE
YOU KNOW WHAT HOW ABOUT GIVING US
THREE OF THEM STEAK DINNERS |
|
|
STEVE LOOKING AT SEAN AND KEVIN |
|
|
STEVE
YOU GUYS OK WIT THAT I HAD IT LAST
TIME IT WAS REALLY GOOD |
|
|
|
|
25.
|
|
|
WAITER WALKS AWAY |
|
|
SEAN
SO WHAT ABOUT YOU KEV |
|
|
|
KEVIN
I'M ALRIGHT.......WHY WHERE YOU
GOING WITH THIS |
|
|
|
SEAN
LISTEN GUYS MY SITUATION AINT NO
SECRET.I FUCKIN BURRIED MYSELF AND
I GOTTA GET DA FUCK OUT OF IT |
|
|
|
STEVE
SO WATTA YA LOOKIN TO DO |
|
|
|
SEAN
THATS THE THING I GOT A IDEA BUT I
WANT YOU GUYS TO PUT YOUR HEADS
TOGETHER TO SEE IF YOU CAN COME UP
WITH SOMETHING |
|
|
|
KEVIN
YOUR SERIOUS ABOUT THIS |
|
|
SEAN WITH A SERIOUS LOOK |
|
|
SEAN
KEV DO I LOOK LIKE I'M JOKIN |
|
|
|
STEVE
SO YA SAYIN YOU WANNA DO A JOB |
|
|
|
|
|
STEVE
I THINK YOU BEEN HANGIN AROUND
YOUR ITALIAN FRIENDS TOO MUCH IF
YA ASK ME |
|
|
|
SEAN
YO STEVE IF YA NOT GONNA TAKE ME
SERIOUS WALK DA FUCK OUT |
|
|
|
STEVE
YO IF YOUR REALLY SERIOUS IM DOWN |
|
|
26.
|
|
|
|
KEVIN
I GOT SOMETHING ALREADY I'M GONNA
LOOK INTO IT AND WE'LL TALK IN A
FEW DAYS |
|
|
|
|
WAITER STEPS IN WITH THERE DRINKS AND PUTS THEM ON THE TABLE
SEAN KEVIN AND STEVE GRAB THERE BEERS AND TAP THEM TOGETHER |
|
|
|
|
EXT. TONY'S CONSTRUCTION SITE - DAY |
|
SEAN PULLS IN AND PARKS NEXT TO TONY'S OFFICE TRAILER |
|
SEAN BEGINGS TO EXIT HIS TRUCK |
|
|
|
|
INT. INSIDE TONY'S OFFICE TRAILER - DAY |
|
SEAN WALKS IN |
|
|
|
TONY STANDS UP GREETIN SEAN WITH A KISS ON HIS CHEECK |
|
|
|
|
TONY
ME I THOUGHT I DID SOMETHIN I
CALLED YOU LAST WEEK |
|
|
|
SEAN
YEAH I BEEN KINDA BUSY AND SHIT
RUNNIN AROUND FIGURE JUST STOP BY
AND CHECK OUT THE SITE |
|
|
|
TONY
NO NO I'M GLAD YA DID COME ON I'LL
SHOW YOU AROUND |
|
|
|
|
|
27.
|
EXT. TONY'S CONSTRUCTION SITE - DAY |
|
TONY AND SEAN ARE WALKING THROUGH THE SITE |
|
|
TONY
HEY SEAN I BEEN WANTIN TO TALK TO
YOU ABOUT SOMETHIN |
|
|
SEAN ACKNOWLEDGES WITH A HEAD AND HAND GESTURE |
|
|
TONY
I HEAR YOU BEEN DOIN SOME
COLLECTIN FOR YOUR FRIEND NICKY |
|
|
SEAN STOPS AND TURNS TOWARD TONY |
|
|
SEAN
TONE YOU MAKE ME LAUGH WATTA U
SOME KIND A FED (WITH A LAUGH) |
|
|
|
TONY
(SMIRK/LAUGH)
SEAN I SHOULD KILL YOU JUST FOR
SAYIN DAT |
|
|
|
SEAN
YEAH I DO SOME COLLECTIN WHY? |
|
|
|
|
|
|
|
|
|
SEAN
TONE IF YOU DONT MIND ME ASKIN WHY
ALL THE QUESTIONS? |
|
|
|
TONY
SEAN I DID TEN YEARS YOU DONT
TRUST ME |
|
|
|
|
|
|
|
SEAN
EIGHT THOUSAND A WEEK |
|
|
28.
|
|
TONY
AND HE'S PROBABLY CHARGING FOUR
POINTS THAT MEANS HE GOT ABOUT TWO
HUNDREAD LARGE OUT THERE RIGHT |
|
|
|
SEAN
TWO HUNDREAD PLUS THE SIXTY I OWE
HIM |
|
|
|
TONY
AND WHATS HE CHARGING YOU |
|
|
|
|
|
TONY
JESUS CHRIST SEAN HOW DA FUCK DID
YOU GET YOUR SELF IN THIS MESS |
|
|
|
SEAN
I THOUGHT YOU HEARD THINGS |
|
|
|
TONY
SEAN I'M TALKIN IN GENERAL YOU
NEVER GOT YOURSELF CAUGHT UP IN
SHIT |
|
|
TONY AND SEAN BEGIN TO WALK |
|
|
|
|
SEAN
HE GIVES ME A HALF ON THE TWO SO
IT ACTUALLY DROPS MY VIG A
THOUSAND |
|
|
|
TONY
LISTEN I WANNA HELP YOU |
|
|
|
|
|
TONY
I WANNA PUT MY MONEY OUT DARE YOU
CHARGE THEM TREE POINTS AND YOU
TAKE ONE |
|
|
|
SEAN
TONE ITS IMMPOSSABLE |
|
|
|
|
29.
|
TONY AND SEAN STOP WALKING |
|
|
SEAN
CAUSE THESE GUYS THERE DOING
ALRIGHT BUT THEY AINT GOT MONEY
LIKE THAT NICKY WOULD NEVER
BELIEVE IT |
|
|
|
TONY
SEAN I'M NOT TALKING ABOUT NEXT
WEEK.OVER TIME THE NEXT COUPLE OF
WEEKS COLLECT DA VIG THEN COME SEE
ME AND I GIVE YOU SOME MORE ON TOP |
|
|
|
SEAN
YEAH BUT TONE I DONT WANNA BACK
DOOR DA GUY HE'S BEEN GOOD TA ME |
|
|
|
TONY
LISTEN THATS THE THING YOUR NOT
BACK DOORIN HIM YA HELPIN HIM
DOES'NT HE GOTTA HEAT RIGHT NOW
THATS WHY YOUR COLLECTIN FOR HIM |
|
|
|
SEAN
HE NEVER SAID ANYTHING TO ME ABOUT
HAVING HEAT HE JUST ALWAYS SAID
HAVING ME DO THE COLLECTING WOULD
HELP ME OUT.I MEAN I KNOW THE FEDS
ARE WATCHING HIM |
|
|
|
TONY
SO NOW WHAT HAPPENS WHEN IF ONE
DAY THESE GUYS CANT PAY ANYMORE
NOW YOU HIM OR SOMEONE ELSE IT
BECOMES A BIGGER PROBLEM DARES
GONNA HAVE BE SOME TYPE OF ACTION
TAKEN AND WIT DA HEAT HE'S GOT
RIGHT NOW IT'S JUST ANOTHER CHARGE
HE DONT NEED OR IS GONNA WANT YA
UNDERSTAND WAT I'M SAYIN |
|
|
|
SEAN
TONE I GOTTA THINK ABOUT THIS I'M
NOT SURE I COULD DO THAT TO HIM |
|
|
|
TONY
IT WILL BE BETTER FOR ALL OF
US.I'LL HAVE SOME MONEY OUT THERE
YOU COLLECT IT DOUBLE WHAT YOUR
MAKING NOW AND NICKY HE MADE HIS
FAIR SHARE ALREADY PLUS MAYBE HE
WONT HAVE TO WORRY ABOUT THIS
(MORE)
|
|
30.
|
|
|
SEAN LOOKING PAST TONY |
|
|
SEAN
TONE I'M GONNA HAVE TA SAY NO NOT
NOW ITS GOING AGAINST WHAT I
BELIEVE IN I COULD'NT DO IT TO YOU
AND I CANT DO IT TA HIM I'M SORRY |
|
|
|
TONY
HEY I RESPECT YOUR DECISON BUT DA
OFFA STANDS IF YA CHANGE YA MIND |
|
|
SEAN AND TONY SHAKE HANDS AND KISS ON THE CHEECK GOOD-BYE |
|
|
|
|
INT. SPA DOWN STAIRS - DAY |
|
SEAN ENTERS (MUSIC PLAYIN) HE SEES MARIA BEHIND THE COUNTER
TALKING TO HEAVY SEAN LOOKS AT HEAVY |
|
|
|
SEAN LOOKS AT MARIA |
|
|
SEAN
HEAVY JUST LOOK AT HER ISNT SHE SO
BEAUTIFUL GOD I LOVE YOU |
|
|
MARIA SMILING AND WALKING TO SEAN WITH A HUG AND KISS |
|
|
|
SEAN HUGGING HER BACK THEN BACKING HER UP A LIITLE BIT WITH
HIS HANDS ON HER SHOULDERS JUST ENOUGH TO LOOK AT HER IN THE
FACE |
|
|
SEAN
SWEETIE CAN YOU LEAVE ME ALONE WIT
HEAVY FOR A MINUTE |
|
|
|
MARIA
I'LL BE IN THE BACK IF YOU NEED ME |
|
|
MARIA WALKS OFF SCREEN WITH SEAN WATCHING HER THEN SEAN
TURNS TO HEAVY |
|
31.
|
|
|
|
HEAVY
SEAN I BEEN TRYING TO CALL YOU
BUT...... |
|
|
|
SEAN
FORGET IT HEAVY. I GOT A JOB |
|
|
|
HEAVY
WHAT LIKE A REAL ONE |
|
|
|
SEAN
NO YOU STUPID FUCK A SCORE I'VE
BEEN TALKING TO STEVE AND KEVIN
WERE JUST TRYIN TO WORK OUT DA WAY
IT'S GONNA GO DOWN BUT WHEN WERE
READY YOU WANT IN |
|
|
|
|
|
SEAN
GOOD I'LL LET YA KNOW WHEN WERE
READY.YOU GOT DA DING |
|
|
|
HEAVY
YEAH SEAN I GOT IT BUT ITS NOT ALL
HERE AFTER WE TAKE OUT EVERYTHIN
WE SUPPOSE TO TAKE OUT |
|
|
|
SEAN
WHAT DA FUCK WERE YOU HERE ALL
WEEK |
|
|
|
HEAVY
YEAH FROM OPEN TA CLOSE EXCEPT FOR
WHEN I MAKE THE DROP |
|
|
|
|
|
|
|
|
|
HEAVY
NO NO DARES FOUR-TEEN HERE |
|
|
32.
|
|
SEAN
MUTHA FUCKA YOU BEEN HERE ALL WEEK
YOU SURE |
|
|
|
|
|
SEAN
HOW CAN WE BE DOIN THIS BAD |
|
|
|
HEAVY
NOT SURE WE BEEN BUSY |
|
|
SEAN TURNS WITH A LOOK OF CONCERN TOWARD THE BACK WHERE
MARIA IS |
|
FLASH BACK |
|
|
MARIA
MARIA
(WORRIED)
IT WAS'NT THAT BUSY THIS WEEK SEAN
I'M NOT SURE WHATS GOIN ON I NEVER
SEEN IT LIKE THIS |
|
|
|
MARIA
MARIA
SEAN LISTEN I KNOW YOU DONT WANT
ME TO WORK BY NICKY'S BUT I COULD
REALLY USED THE EXTRA MONEY CAN
YOU JUST THINK ABOUT IT. |
|
|
SEAN LOOKING BACK AT HEAVY |
|
|
SEAN
HEAVY I GOTTA GO WATCH DA PLACE
KEEP YOUR EYES OPEN |
|
|
HEAVY ACKNOWLEDGES WITH A HEAD GESTURE |
|
|
|
|
INT. NICKY'S PLACE BACK POKER ROOM - DAY |
|
SEAN WALKS IN AND NICKY'S SITTING AT THE POKER TABLE GOING
OVER SOME PAPPER WORK |
|
|
|
SEAN GOES IN TO HIS POCKET AND TAKES OUT SOME ENVOLOPES
PLACES THEM ON THE TABLE AND SITS DOWN |
|
33.
|
|
NICKY
HOW'D WE DO THIS WEEK |
|
|
|
SEAN
NO GOOD I'M SHORT THOUSAND |
|
|
NICKY SHAKING HIS HEAD |
|
|
NICKY
COWBOY YOUR WORKING FOR FREE |
|
|
|
|
SEAN PUTS HIS HEAD DOWN THEN LOOKS UP AT NICKY |
|
|
SEAN
HEY NICKY LISTEN YOU THINK YOU CAN
GIMME A POINT |
|
|
|
NICKY
COWBOY LISTEN YOUR MAKIN GOOD
MONEY HEAR I.M LETTING YOU COLLECT
SO ITS NOT SO MUCH MONEY OUT OF
YOUR POCKET EVERY WEEK I MEAN IF
YOUR SPOTS DOIN BAD RIGHT NOW YOU
CANT EXPECT ME TO TAKE THE HIT |
|
|
|
SEAN
WELL NICK THATS NOT THE ONLY
REASON WHY I'M ASKING |
|
|
|
NICKY
WHAT OTHER REASON CAN THERE BE? |
|
|
|
SEAN
BECAUSE I THINK ITS TIME TO PUT
PRESSURE ON THESE GUYS |
|
|
|
NICKY
WHAT KINDA PRESSURE WHATA YOU
TALKING ABOUT |
|
|
|
SEAN
TO GET THEM TO SETTLE UP AND I
FIGURE IF I CAN MAKE A COUPLE |
|
|
|
NICKY
O COWBOY WHY WOULD I WANT THEM TO
SETTLE UP I'M MAKIN EIGHT GRAND A
WEEK OFF THESE GUYS |
|
|
34.
|
|
SEAN
THATS MY POINT THEY GOT THE MONEY
RIGHT NOW THEY HAVE NO PROBLEM
PAYING DA VIG ITS THERE BUSIEST
TIME OF THE YEAR GIVE IT ANOTHER
MONTH OR TWO AND WHATEVER THEY GOT
THERE GONNA STACK AWAY TO MAKE IT
THROUGH THE WINTER |
|
|
|
NICKY
THEY CAN STACK AWAY ALL THEY WANT
THEY STILL GOT PAY ME |
|
|
|
SEAN
IF THEY AINT GOT IT HOW THEY GONNA
PAY |
|
|
|
NICKY
I'LL BREAK THERE FUCKIN HEADS |
|
|
|
SEAN
BREAK THERE HEADS THEN WHAT WONDER
EVERY DAY IF THERE EVER GONNA DIME
YOU OUT AND GO TO THE FEDS CAUSE
THERE SCARED AND THERE BROKE |
|
|
NICKY SITS THERE AND THINKS |
|
|
NICKY
MAYBE YOUR RIGHT GO AHEAD BUT
NUTTIN CHANGES YOU STILL GET A
HALF |
|
|
SEAN STANDS UP |
|
|
SEAN
ALRIGHT NICKY I GOTTA RUN |
|
|
NICKY STANDS UP AND THEY SHAKE HANDS |
|
|
|
|
INT. GENTLEMANS CLUB - NIGHT |
|
SEAN STEVE AND KEVEN ENTER WITH THE MUSIC PLAYING MEN AND
WOMEN ALL OVER BEUTIFUL WOMEN STRIPERS DANCING ON STAGE AND
WALKING THE FLOOR THEY TAKE A SEAT IN THE VIP SECTION AT A
TABLE WHERE A BEUTIFUL WITRESS WALKS UP |
|
|
WAITRESS
HEY GUYS! WHAT KIND OF BOTTLE
WOULD YOU'S LIKE |
|
|
35.
|
|
KEVIN
HEY SWEETIE HOW ABOUT GREY GOOSE
AND A GIMME A COUPLE OF ENERGY
DRINKS |
|
|
|
WAITRESS
YOU GOT IT BE RIGHT BACK |
|
|
WAITRESS WALKS OFF SCREEN STEVE LOOKS AT KEVIN AND SEAN |
|
|
STEVE
YO YOU SEE THE ASS ON THAT BITCH |
|
|
SEAN ACKNOWLEDGES WITH A HEAD GESTURE AND A SMIRK |
|
|
SEAN
COME ON STEVE WATTA SHE GOTTA BE A
BITCH FOR THATS SOMEONE DAUGHTER
WAT DA FUCK |
|
|
KEVIN LOOKING AT SEAN |
|
|
KEVIN
YOU MAKE ME LAUGH YOU THINK EVERY
GIRL IS MARIA LOOSEN UP |
|
|
|
SEAN
NAH.. IM NOT SAYIN ANYTHING JUST
CHILL A LITTLE SHE A GIRL YA KNOW |
|
|
STEVE LOOKING AT SEAN |
|
|
STEVE
YO IT AINT LIKE SHE HEARD ME CALL
HER A BITCH |
|
|
SEAN WITH A SMIRK |
|
|
SEAN
ALRIGHT ALRIGHT FORGET IT JESUS
YOU KNOW ME I'M JUST BIG ON THE
WHOLE RESPECT THING |
|
|
KEVEN LOOKING AT SEAN |
|
|
KEVIN
ALRIGHT LISTEN THIS IS WHAT I GOT.
YOU REMEMBER MY COUSIN JIMMY |
|
|
|
SEAN
YEAH FROM MANHATTEN.HOWS HE BEEN |
|
|
36.
|
|
KEVIN
HE'S DOING GOOD HE'S WORKING A
SECOND JOB NOW |
|
|
SEAN LOOKING AT STEVE THEN BACK AT KEVIN WITH A HEAD AND
HAND GESTURE |
|
|
SEAN
ALRIGHT GOOD FOR HIM HES MAKING
MONEY WHAT DA FUCK DOES DAT HAVE
TO DO WIT US |
|
|
WAITRESS STEPS IN AND PUTS TWO BUCKETS ON THE TABLE ONE
HAVING A BOTTLE OF VODKA AND THE OTHER ONE WITH ENERGY
DRINKS WITH THE BUS BOY FOLLOWING WITH A TUB OF ICE AND A
STACK OF GLASSES THE WIATRESS AND BUS BOY WALK OFF SCREEN
SEAN LOOKS AT STEVE |
|
|
SEAN
COME ON YOU FUCKIN PERVERT PUT
YOUR TOUNGE BACK IN YOUR MOUTH YOU
ACT LIKE YOU DONT GET LAID |
|
|
STEVE LOOKING AT SEAN LAUGHING |
|
|
STEVE
WATTA YOU WANT ME TO DO SHES HOT |
|
|
SEAN SHAKING HIS HEAD WITH A LAUGH LOOKS BACK AT KEVIN |
|
|
|
|
KEVIN
HIS SECOND JOB IS HE DRIVES A AMOR
TRUCK |
|
|
STEVE AND SEAN SITTING UP IN THERE CHAIRS LOOKING SERIOUS |
|
|
|
|
KEVIN
WE DONT HAVE TO TRUST HIM HE'S NOT
GONNA KNOW |
|
|
|
STEVE
YEAH BUT THESE GUYS PACK WHAT IF
SOME SHIT HAPPENES I'M GONNA DO
WHAT I GOTTA DO I DONT PLAN ON
HAVING ANYONE OF US LEAVE THERE IN
A BODY BAG AND THIS IS YOUR COUSIN
NOT JUST SOME STRANGER |
|
|
37.
|
|
SEAN
YEAH KEV WHY DONT WE JUST BRING
HIM IN ON IT HOW MUCH MONEY WE
TALKIN |
|
|
|
KEVIN
THE MOST IN HAND HE CARRY'S TO THE
TRUCK IS OVER THREE HUNDRED LARGE
AT THIS ONE BANK DOWN BY THE BEACH |
|
|
|
SEAN
SO WHAT DA FUCK WE MAKE HIM A
PARTNER WE SPLIT IT FIVE WAYS |
|
|
|
|
|
SEAN
I'M BRINGIN HEAVY IN ON IT |
|
|
|
STEVE
YO FORGET THESE ITALIAN MUTHA
FUCKA'S |
|
|
SEAN LOOKS WITH HIS EYES AND MOTIONS HIS HEAD |
|
|
SEAN
YO STEVE CHECK OUT THAT GIRLS ASS |
|
|
STEVE LOOKING AROUND |
|
|
STEVE
WHICH ONE...WHICH ONE |
|
|
SEAN ROLLIN HIS EYES LOOKING BACK AT KEVIN |
|
|
|
|
KEVIN
LISTEN HES A FAMILY GUY I DONT
WANNA GET HIM CAUGHT UP HE DOESNT
HAVE TO KNOW |
|
|
|
SEAN
WELL LIKE STEVE SAID WHAT IF SOME
SHIT GOES DOWN THESE GUYS DO CARYY
GUNS YOU GONNA BE ABLE TO LIVE
WITH YOUR COUSIN OR ONE OF US
LOOSIN OUR LIFE |
|
|
38.
|
|
KEVIN
THE LAST TIME I TALKED TO HIM HE
TOLD ME HIS SHIT AINT LOADED CAUSE
HE ALMOST SHOT A KID RIDING TOWARD
HIM ON A BIKE YELLING GIMME DA
MONEY GIMME DA MONEY |
|
|
|
SEAN
(WITH HAND AND
HEAD GESTURE)
WATTA U MEAN ALMOST |
|
|
|
KEVIN
THE KID WAS TALKING TO HIS MOTHER
SHE TOLD HIM THAT IF HE FOUND
SOMETHIN FOR LESS THE TWENTY
DOLLARS THAT HE COULD GET IT |
|
|
|
|
|
SEAN
AND WHAT ABOUT HIS PARTNER |
|
|
|
KEVIN
I'M SURE HE'S LOADED UP |
|
|
SEAN MAKING A DRINK |
|
|
SEAN
THIS SOUNDS GOOD WE GOTTA STAKE IT
OUT FOR A WHILE I WANNA DO THIS
RIGHT I WANN KNOW WHERE ALL
SURVALANCE CAMERA'S ON HOW BUSY
THE STREETS ARE WHERE THE CLOSEST
POLICE STATION IS AND FIGURE THE
RESPONSE TIME OUT AND THE BEST
ESCAPE ROUTE OUTA THERE |
|
|
|
STEVE
YO I CAN GET US SOME VEST |
|
|
|
|
|
|
|
SEAN
WE GOTTA GET HEAVY AND WE ALL
GOTTA DO THIS TOGETHER NOBODY
MAKES A MOVE OR A DECISION WITH
OUT US ALL AGREEING AND KNOWING
WHAT THE FUCK IS GOIN ON I DONT
(MORE)
|
|
39.
|
|
SEAN (cont'd)
WANT NOBODY HURT AND I WANNA MAKE
SOME MONEY |
|
|
|
KEVIN
WE'LL SCOPE IT OUT FOR A COUPLE OF
WEEKS I KNOW HE'S GOIN ON VACATION
AND WHEN HE COMES BACK WE'LL DO IT |
|
|
|
SEAN
AND YOUR ONE HUNDRED PERCENT YOUR
COUSIN AINT PACKIN LOADED |
|
|
|
KEVIN
LISTEN HE TOLD ME THAT DAY IS THE
DAY HE REALISED THAT ALL THE MONEY
IN THE WORLD AINT WORTH NOBODY'S
LIFE HE WOULD JUST HAND IT UP HE
JUST WANTS TO GO HOME TO HIS
FAMILY |
|
|
SEAN LOOKING AT STEVE FOLLOWING THE GIRLS WALKING BACK AND
FOURTH WITH HIS HEAD THEN LOOKING AT KEVIN WHILE HE BEGINS
TO STAND UP |
|
|
SEAN
DO ME A FAVOR GET THIS FUCKIN
PERVERT A LAP DANCE I GOTTA TAKE A
PISS |
|
|
SEAN WALKS OFF CAMERA STEVE LOOKING AT KEVIN BOTH HAVE
DRINKS IN THERE HANDS |
|
|
STEVE
YO WHATS HIS PROBLEM |
|
|
KEVIN WITH A FACE GESTURE |
|
|
KEVIN
YOU A FUCKIN PERVERT |
|
|
KEVIN TAKES A SIP OF HIS DRINK |
|
|
STEVE
WERE IN A TITTY BAR AND I'M A
PERVERT |
|
|
LOOKING IN THE DIRECTION OF THE RESTROMMS AT THE OTHER SIDE
OF THE BAR KEVIN AND STEVE TAKE NOTICE OF A MALE CUSTOMER
DISRESPECTFULLY GRABING AND HANDLEING A WAITRESS |
|
|
|
40.
|
|
STEVE
YEAH I SEE IT MIND YOUR BUSINESS
WATTA WE GOTTA GET INVOLED FOR |
|
|
STEVE TAKING A SIP OF HIS DRINK |
|
|
KEVIN
CAUSE LOOK WHO'S WALKIN RIGHT IN
TO IT DA GREASTEST AMERICAN HERO
HIMSELF |
|
|
STEVE LOOKING |
|
|
|
STEVE AND KEVIN BEGIN TO SATND UP SEAN WALKS UP TO THE MALE
CUSTOME AND PUTS HIS LEFT HAND ON HIS BACK AND BEGINS TO
TALK TO HIM LOOKING REASONABLE THE MALE CUSTOMER LETS GO OF
THE GIRL AND STEPS CHEST TO CHEST WITH SEAN....SEAN TAKES A
STEP BACK RAISING HIS HANDS AS IN NOT WANTING ANY TROUBLE
THEN THROWS A KNEE TO THE MALE CUSTOMERS GROIN THE MALE
CUSTOMER BENDS OVER HOLDING HIS GROIN IN PAIN STEVE AND
KEVEIN WALK ON SCREEN WITH STEVE BENDING OVER LOOKING AT THE
MALE CUSTOMER |
|
|
STEVE
(TALKING LOUD)
YO HAVE A LITTLE RESPECT THATS
SOMEONE DAUGHTER |
|
|
STEVE STANDS UP AS THEY ALL START TO WALK AWAY LOOKS AT SEAN
WITH A SHRUG OF HIS SHOULDERS AND A FACE GESTURE SEAN SMIRKS
AND LOOKS AT KEVIN |
|
|
KEVIN
(LAUGHS)
HE'S YOUR FRIEND |
|
|
|
|
|
INT. STEVES VAN - DAY |
|
STEVE DRIVING WITH SEAN IN THE FRONT AND KEVIN AND HEAVY IN
THE BACK |
|
|
SEAN
YO KEVIN WHICH WAY AT THE STRIP
RIGHT OR LEFT |
|
|
KEVIN LEANING FOWARD |
|
41.
|
|
KEVIN
MAKE A RIGHT ABOUT A HALF A MILE
THE BANK SHOULD BE ON THE LEFT SET
BACK OF THE STREET A LITTLE BIT |
|
|
DRIVING STEVE GETS TO THE STRIP AND MAKES A RIGHT CONTINUING
ABOUT A HALF A MILE KEVIN POINTS THE BANK OUT |
|
|
KEVIN
RIGHT THERE STEVE PULL OVER |
|
|
|
SEAN
NO DONT PULL OVER MAKE A RIGHT
WE'LL PARK ON THAT BLOCK |
|
|
STEVE MAKING A RIGHT |
|
|
HEAVY
HOW WE GONNA SEE ANYTHING FROM
HERE |
|
|
|
SEAN
YOU SAID WHEN YOU STAKED THIS OUT
THE TRUCK WAS SHOWING UP BETWEEN
ONE AND THREE RIGHT |
|
|
|
|
|
SEAN
ITS TWELVE O'CLOCK WE'LL GET A
BITE TO EAT AT THE DINER AND SCOPE
IT FROM THERE |
|
|
SEAN BEGINS TO EXIT THE VAN |
|
|
|
|
EXT. SIDEWALK IN FRONT OF DINER - DAY |
|
SEAN,STEVE,HEAVY AND KEVIN TURN THE CORNER WALKING IN FRONT
OF THE DINER SEAN LOOKING ACROSS THE STREET AT THE BANK
WHILE TRAFFIC IS PASSING IN HIS LINE OF SITE |
|
|
SEAN
FUCK ALOT OF ACTION OVER HERE HUH |
|
|
|
HEAVY
THAT WAS MY CONCERN |
|
|
|
SEAN
WE'LL WORK IT OUT COME ON |
|
|
42.
|
THEY TURN AND WALK INTO THE DINER |
|
|
|
|
INT. DINER - DAY |
|
SEAN,STEVE,HEAVY AND KEVIN SITTING AT A BOOTH WITH WITH A
TABLE OF FOOD AND DRINKS PARTIALLY GONE |
|
|
STEVE
HEAVY HOW MANY TIMES HAVE YOU
STAKED THIS OUT |
|
|
|
|
|
KEVIN
AND YOU NEVER HAD A PROBLEM WITH
ANYONE OR ANYTHING WHILE YOU WERE
HERE |
|
|
|
HEAVY
I NEVER EVEN CAME IN HERE |
|
|
|
SEAN
HEAVY WHAT I THINK HE'S TRYING TO
SAY IS IN GENERAL WERE U POSSABLY
NOTICE BY ANYONE THAT WHEN THEY DO
AN INVESTIGATION THAT YOU WOULD
STICK IN SOMEONES HEAD CAUSE YOU
REALLY DONT COME AROUND HERE ALOT |
|
|
|
HEAVY
NO NOT AT ALL I WOULD ACTUALLY
PARK RIGHT THERE |
|
|
HEAVY LOOKING OUT THE WINDOW AT A PARKING SPOT IN FRONT OF
THE DINER JUST BEFOR THE INTERSECTION WHERE THERE IS A
TRAFFIC LIGHT |
|
|
HEAVY (CONT'D)
I'D GET HERE AROUND EIGHT AND I
LEAVE AFTER THE TRUCK LEFT |
|
|
|
KEVIN
ALRIGHT GOOD JUST MAKING SURE
SOMETHING STUPID LIKE BEING
NOTICED CAN BECOME A PROBLEM |
|
|
43.
|
|
STEVE
AND YOU DONT THINK SITTING IN A
CAR IN THE SAME SPOT FOR SIX SEVEN
HOURS AINT NOTICABLE |
|
|
|
SEAN
NAH IN A DESERTED AREA I'D SAY
YEAH AROUND HERE ITS ALL WALKING
TRAFFIC AND WITH THE BEACH DOWN DA
BLOCK PEOPLE PROBABLY LEAVE THERE
CARS HERE ALL DAY |
|
|
STEVE WITH A HAND AND FACE GESTURE |
|
|
STEVE
YEAH I GUESS YOUR RIGHT |
|
|
|
HEAVY
YO KEVIN IS YOUR COUSIN BACK YET
CAUSE I HAVE'NT SEEN HIM ON THE
TRUCK |
|
|
|
KEVIN
YEAH I SPOKE TO HIM HE GOT BACK
LAST NITE..HE'LL BE ON THE TRUCK
THIS WEEK |
|
|
|
SEAN
ALRIGHT LETS GET OUT OF HERE HEAVY
YOU GO WIT KEVIN STEVE YOU COME
WITH ME AND KEEP YOUR EYES OPEN
WHEN THE TRUCK LEAVES WAIT TEN
MINUTES AND MEET BACK AT THE VAN
THEN WE'LL GO OVER EXACTLY HOW
WERE GONNA DO THIS NEXT WEEK |
|
|
SEAN SLIDES OUT FROM THE BOOTH |
|
|
|
|
EXT. FRANKIE'S AUTO SPA - DAY |
|
SEAN PULLS UP AND EXITS HIS VEHICLE WALKING TOWARD FRANKY
WITH HIS HAND ETENDED THEY REACH EACHOTHER AND SHAKE HANDS |
|
|
|
|
INT. FEDS CAR - DAY |
|
SULLIVAN WATCHING FRANKY'S AND TAKING PICTURES WITH A HIGH
TECH CAMERA |
|
44.
|
|
AGENT SULLIVAN
WHO IS THAT |
|
|
SATORA SITTING UP AND GRABBING HIS BINOCULARS AS HE LOOKING
THROUGH THEM |
|
|
|
|
EXT. FRANKY'S AUTO SPA - DAY |
|
SEAN AND FRANKY LETTING GO OF THERE HAND SHAKE BUT SEANS
LEFT HAND STIIL ON FRANKY'S RIGHT SHOULDER AND BEGINS MOVING
HIS RIGHT HAND AS IF HE WAS TALKING AND EXPLAINING SOMETHING |
|
|
|
|
INT. FEDS CAR - DAY |
|
|
AGENT SATORA
YOU GOTTA BE KIDDING ME I CANT
BELIEVE THIS YOU GETTING THIS |
|
|
WITH SULLIVAN CONTINUSLY SNAPPING PICTURES |
|
|
AGENT SULLIVAN
YEAN I'M GETTING IT BUT WHAT WHO
AND WHAT AM I GETTING |
|
|
|
AGENT SATORA
(LOOKING THROUGH
BINOCULARS)
THATS SEAN RILEY TONY MONGIA'S
VERY GOOD FRIEND |
|
|
|
AGENT SULLIVAN
WHAT DO WE HAVE ON HIM |
|
|
|
|
|
EXT. FRANKY'S AUTO SPA - DAY |
|
FRANKY HANDING SEAN A ENVOLOPE |
|
|
|
|
45.
|
INT. FEDS CAR - DAY |
|
|
AGENT SATORA
NOTHING AT ALL TILL RIGHT NOW DID
YOU GET THAT |
|
|
|
|
|
|
|
EXT. FRANKY'S AUTO SPA - DAY |
|
SEAN STEPS AWAY FROM FRANKY WAVES GOOD BYE GET IN TO HIS CAR
AND PULLS OUT |
|
|
|
|
INT. FEDS CAR - DAY |
|
FEDS LOOKING IN SEANS DIRECTION |
|
|
AGENT SATORA
GO GO FOLLOW HIM |
|
|
|
AGENT SULLIVAN
WHAT ABOUT FRANKY |
|
|
|
AGENT SATORA
FRANKY JUST GOTTA BRAKE FOR A
LITTLE WHILE I WANT TONY |
|
|
FEDS BEGIN TO PULL AWAY |
|
|
|
|
INT. FEDS CAR - DAY |
|
FEDS PULL OVER TO A CURB AND TAKE NOTICE OF SEAN STOPING IN
FRONT OF A SIDE WALK CAFE |
|
|
|
|
EXT. SIDEWALK CAFE - DAY |
|
SEAN EXITS HIS CAR AND WALKS UP AND TAKE A SEAT AT ONE OF
THE OUTSIDE TABLES JONNYBOY COMES WALKING UP SHAKES HIS HAND
AND HAVES A SEAT THEY TALK FOR A FEW MINUTES THEN JONNYBOY
SLIDES HIM A ENVOLOPE SEAN PICKS IT UP AND PUTS IT IN HIS
|
46.
|
POCKET THEY SHAKE HANDS ACROSS THE TABLE AND SEAN WALKS
TOWARD HIS CAR AND LEAVES |
|
|
|
|
INT. FEDS CAR - DAY |
|
SATORA POINTS WITH HIS HEAD AS TO FOLLOW SEAN THEY BEGIN TO
PULL AWAY |
|
|
|
|
EXT. SAL AND SONS AUTOBODY - DAY |
|
SEAN PULLS UP AND SAL WALKS OVER TO HIS WINDOW HANDS HIM A
ENVOLOPE THEY TALK FOR A FEW SECONDS |
|
|
|
|
EXT. FEDS CAR - DAY |
|
FEDS CAR PULLS UP AND PARKS ON THE CORNER |
|
|
|
|
INT. FEDS CAR - DAY |
|
SULLIVAN PICKS UP CAMERA AND BEGINS TO TAKES PICTURES |
|
|
|
|
EXT. SAL AND SON AUTOBODY - DAY |
|
SEAN PULLING AWAY FROM SAL AND SONS AUTOBODY |
|
|
|
|
EXT. FEDS CAR PULLING AWAY - DAY |
|
|
|
|
EXT. INTERNATIONAL BAR AND GRILL - DAY |
|
SEAN PULLS UP AND PARKS EXITS HIS VEHICLE AND ENTERS THE BAR
AND GRILL |
|
47.
|
|
|
|
EXT. FEDS CAR PARKING - DAY |
|
SATORA GETS OUT AND JOGS ACROSS THE STREET DODGEING TRAFFIC
AND ENTERS THE BAR AND GRILL |
|
|
|
|
INT. BAR AND GRILL - DAY |
|
SATORA ENTERS AND NOTICES SEAN AT THE END TALKING TO PAULY
HE LOOKS AT A PAY PHONE ON THE WALL AND PRETENDS TO MAKE A
CALL WATCHING SEAN CLOSLEY |
|
|
|
|
INT. BAR AND GRILL - DAY |
|
SEAN AND PAULY TALKING AND SEAN TAKING A ENVOLOPE PUTING IT
IN HIS POCKET AND TURNING TO WALK AWAY SEAN EXITS |
|
|
|
|
EXT. INTERNATIONAL BAR AND GRILL - DAY |
|
SEAN PULLING AWAY AND SATORA JUMPING IN THE FEDS CAR AS
SULLIVAN PULLS UP |
|
|
|
|
EXT. EXTRAVAGENT HAIR AND NAIL SALON - DAY |
|
SEAN PARKS IN FRONT AND GETS OUT OF HIS CAR |
|
|
|
|
EXT. FEDS CAR - DAY |
|
PULLS UP ON THE CORNER AT LOOKS SEANS WAY |
|
|
|
|
EXT. EXTRAVEGANT HAIR AND NAIL SALON - DAY |
|
SEAN WALKS INSIDE |
|
48.
|
|
|
|
INT. FEDS CAR - DAY |
|
SATORA AND SULLIVAN GIVE A HI-FIVE |
|
|
AGENT SATORA
WERE ON TO SOMETHING |
|
|
|
|
|
EXT. TONY'S CONSTRUCTION SITE - NIGHT |
|
SEAN PULLS IN AND PARKS EXITS HE VEHICLE TONY COMES OUT OF
HIS OFFICE TRAILER WALKS UP TO SEAN |
|
|
|
TONY LOOKING AROUND TO SEE IF ANYBODY'S WATCHING EVERYTHING
LOOKS OK |
|
|
SEAN
TONE WHY WE MEETIN UP SO LATE FOR |
|
|
|
TONY
(LOW)
LOOK AROUND........... YOU SEE
ANYTHING OR ANYONE |
|
|
|
|
|
TONY
(LOW)
THERES YOUR ANSWER |
|
|
SEAN WITH A FACE GESTURE UNDERSTANDING |
|
|
TONY
(LOW)
DID U SEE THE GUYS TODAY |
|
|
|
SEAN
(LOW)
YEAH AND I TOLD THEM NEXT WEEK
THAT THE VIG'S GONNA DROP THE
POINT |
|
|
49.
|
|
TONY
(LOW)
THEY UNDERSTAND YOUR DOIN THEM A
FAVOR TO KEEP THERE MOUTH SHUT
RIGHT |
|
|
|
SEAN
I TOLD THEM I GOTTA GOOD FRIEND
LOOKING OUT FOR ME AND THAT I
WANTED TO DO THE SAME FOR THEM TO
MAKE SURE THEY KEEP IT QUITE |
|
|
|
|
TONY LOOKS AROUND TO MAKE SURE NOBODYS AROUND |
|
|
TONY
(LOW)
ALRIGHT GOOD.... |
|
|
TONY AND SEAN STEP IN TO EACOTHER WHILE HUGGING TONY SLIPS A
ENVOLOPE INTO SEANS WAIST |
|
|
TONY
THATS THE REST OF THE MONEY PAY
NICKY OFF TOMORROW |
|
|
THEY STEP BACK FROM EACHOTHER |
|
|
SEAN
I'M NOT GONNA SEE HIM THIS WEEK I
TOLD HIM I SHOULD BE ABLE TO
SETTLE UP WITH THESE GUYS NEXT
WEEK I;M KINDA BUSY GOT SOME SHIT
I GOTTA TAKE CARE OF |
|
|
SEAN AND TONY BEGIN TO WALK BACK TOWARD THERE CARS |
|
|
SEAN
YO THE TEN YEARS YOU DID GOT YOU A
LITTLE PARNOID HUH |
|
|
|
TONY
SEAN BEING PARANOID AND BEING
SMART ARE TWO DIFFERENT THINGS
PARANOID IS ANOTHER WORD FOR
SCARED..I'M NOT SCARED BEING SMART
IS TOU SEE THAT RAT OVER THERE BY
THE DUMSTER RUNNING AROUND |
|
|
SEAN LOOKS AT THE DUMPSTER AND SEE A RAT SNIFFING AROUND |
|
50.
|
|
|
|
TONY
TO ME.. THAT FUCKIN THING IS A FED
ITS PROBABLY GOTTA CHIP IN IT OR
SOME SHIT |
|
|
SEAN LAUGHS |
|
|
TONY
(SERIOUS LOOKING
AT SEAN)
DONT LAUGH SEAN..DONT TRUST
ANYTHING OR ANYONE |
|
|
SEAN STOPING AND LOOKING AT TONY |
|
|
SEAN
(SERIUOS)
THEN WHY YOU TRUSTING ME NOW |
|
|
|
TONY
(TONY LOOKING SEAN
IN THE EYES)
YOU BEEN BY SIDE THROUGH EVRYTHING
YOU NEVER TURNED YOUR BACK ON ME
OR MY FAMILY YOU HELPED ME OUT IN
ALOT WAYS I WILL NEVER FORGET BUT
IF I EVER FELT THAT YOU WERE A
THREAT TO ME SEAN. I WOULD KILL
YOU LIKE YOU WERE MY WORST ENEMY |
|
|
SEAN LOOKING AT TONY WITH A DISTURBED LOOK |
|
|
SEAN
(DISTURBED LOOK)
YOU DONT HAVE TO WORRY ABOUT THAT |
|
|
|
|
SEAN AND TONY BEGIN TO WALK TOWARD THERE CARS WITH TONY
PUTTING HIS ARM AROUND SEAN |
|
|
TONY
(TONY LOOKING AT
HIS WATCH)
COME ON TAKE ARIDE WITH ME. I
GOTTA MEET SOMEONE |
|
|
|
|
|
51.
|
EXT. RUN DOWN FACTORY'S IN A DESERTED AREA - NIGHT |
|
TONY'S DRIVES DOWN THE STREET WITH HIS LIGHTS OFF |
|
|
|
|
INT. TONY'S CAR - NIGHT |
|
|
|
TONY PULLS OVER AND POINTS TO SEAN TO GET OUT OF THE CAR
THEY BOTH EXIT THE CAR AND SEAN FOLLOWS TONY DO A DOORWAY |
|
|
|
|
EXT. DOORWAY - NIGHT |
|
TONY TURNS TOWARD SEAN GOES INTO HIS WAIST AND PULLS A GUN
OUT AND COCKS IT HANDS IT TO SEAN THEN GOES INTO HIS ANKLE
AND GRABS ANOTHER AND COCKS IT |
|
|
TONY
YOU SEE THAT CAR PARKED AT THE END
OF THE STREET |
|
|
SEAN LOOKS DOWN THE END OF THE STREET AND SEES A CAR |
|
|
SEAN
(A LITTLE NERVOUS)
YEAH |
|
|
|
TONY
THATS MY BROTHER IN LAW AND HIS
PARTNER YOU SEE THSE FACTORY'S |
|
|
SEAN LOOKING AROUND |
|
|
|
|
TONY
WELL I HAD THIS JOB TILL THIS
MUTHA FUCKA SAW MY PUPOSAL AND
UNDER BID ME |
|
|
|
|
52.
|
|
TONY
THATS WHY THERE HERE HIS PARTNERS
SETTIN HIM UP |
|
|
|
SEAN
(NERVOUS WHISPER)
TONY YOUR GONNA KILL YOUR BROTHER
IN LAW |
|
|
|
TONY
AND YOUR GONNA KILL HIS PARTNER |
|
|
|
SEAN
(NERVOUS WHISPER)
TONY WHY WE GONNA CLIP HIS PARTNER
FOR HE DID THE RIGHT THING BY
TELLING YOU |
|
|
|
TONY
THATS MY POINT HE TOLD ME ABOUT MY
BROTHER-IN-LAW WHY WOULD'NT HE ONE
DAY TELL THE FEDS ABOUT ME....HE'S
GOTTA GO NO WITNESSES |
|
|
|
|
|
EXT. DESERTED STREET WITH FACTORY'S - NIGHT |
|
TONY BEGINS WALKING WITH SEAN AT HIS SIDE THERE HANDS IN
THERE JACKET HOLDING THE GUNS SEAN LOOKING A LITTLE NERVOUS |
|
|
TONY
(TALKING LOW)
TAKE THE PASSENGER SIDE AS SOON AS
YOU GET TO THE WINDOW POP HIM AND
DONT STOP MAKE SURE HE'S DEAD ONE
MISTAKE ITS YOUR LIFE |
|
|
TONY AND SEAN MOVING UP ON THE BACK OF THE CAR TONY GOING
AROUND THE DRIVERS SIDE WITH SEAN GOING TO THE PASSENGER
SIDE AT THE SAME TIME THEY BOTH STOP BY THE BACK DOORS
DRAWING THERE GUNS AND POINTING THEM AT THE FRONT DOOR
WINDOWS SEAN LOOKING A LITTLE NERVOUS PULLING THE TRIGGER
NONE STOP CLICK CLICK CLICK CLICK CLICK CLICK HE DROPS THE
GUN TO HIS SIDE AND BEGINS TO BACK UP LOOKING AT TONY..TONY
BEGINS TO WALK AROUND THE OTHERSIDE OF THE CAR LOOKING AT
SEAN LOOKING CONFUSED AND NERVOUS |
|
|
TONY
RELAX SEAN CALM DOWN ITS NOT
LOADED I NEEDED TO SEE WHERE YOUR
AT |
|
|
53.
|
BROTHER IN LAW AND PARTNER EXIT THE VEHICLE AND STAND THERE |
|
|
SEAN
(YELLING)
YO FUCK YOU TONY WHAT THE FUCK IS
WRONG WIT YOU MAN |
|
|
TONY PUTTING HIS LEFT ARM AROUND SEAN WHILE HE'S FACEING HIS
BROTHER-IN-LAW AND THE PARTNER |
|
|
TONY
SEAN COME ON.... COME ON CALM
DOWN......CALM DOWN |
|
|
TONY RAISES HIS GUN AND SHOOTS HIS BROTHER-IN-LAW AND THE
PARTNER IN THE HEAD |
|
|
SEAN
(YELLING)
FUCK! I THOUGHT YOU WERE ONLY
TESTING ME? |
|
|
|
TONY
AND THATS WHAT THEY THOUGHT.... I
HAD TO GET THEM HERE COME ON |
|
|
TONY AND SEAN BEGIN TO WALK AWAY WITH SEAN LOOKING BACK AT
THE BODIES LAYING ON THE FLOOR EVERTHING FEELS LIKE ITS IN
SLOW MOTION |
|
|
|
|
INT. SEAN'S APARTMENT - NIGHT |
|
SEAN WALKS IN LOOKING DRAWN AND DISTRAUGHT WALKS IN TO HIS
LIVING ROOM DROPS HIS KEYS ON THE COFFEE TABLE SITS ON HIS
COUCH AND RESTS HIS HEAD IN HIS HANDS RUBING HIS HEAD WITH
HIS HANDS HE THEN LEANS BACK LOOKS UP AT THE CIELING HE
HEARS THE DOOR OPEN AND LOOKS TO SEE MARIA WALKED IN HE PUTS
HIS HEAD BACK AND MARIA LAYS ON THE COUCH WITH HER HEAD
RESTING ON HIS LAP HE YAKES HIS HAND AND BEGINS RUBBING HER
HEAD |
|
|
MARIA
SEAN IS EVERYTHING ALRIGHT |
|
|
SEAN WITH HIS HEAD BACK LOOKING UP AT THE CIELING |
|
|
SEAN
(SOUNDING
DEPRESSED)
MARIA I DONT EVEN KNOW ANYMORE |
|
|
54.
|
MAARIA SITS UP AND HOLDS SEANS ARM LOOKING AT HIM |
|
|
|
SEAN THEN RESTS HIS HEAD ON MARIA'S |
|
|
|
|
INT. SEANS APARTMENT - DAY |
|
MARIA WAKES UP LAYING ON THE COUCH AND SEES SEAN IN THE
KITCHEN |
|
|
MARIA
SEAN WHAT ARE YOU DOING |
|
|
SEAN TURNING AROUND AND DRESSED FOR THE DAY ALREADY |
|
|
SEAN
I'M SORRY BABY I WANTED TO SUPRISE
YOU I MADE BREAKFAST |
|
|
MARIA WALKS IN THE KITCHEN AND SITS DOWN AT THE TABLE |
|
|
|
|
SEAN
I'LL GET SOMETHING LATA |
|
|
SEAN KISSES MARIA ON THE HEAD |
|
|
SEAN
I GOT SOME RUNNIN AROUND I GOTTA
DO I'LL BE BY THE SPA LATER TRY TO
GET THERE EARLY OK |
|
|
SEAN WALKS OFF SCREEN MARIA SITTING AT THE TABLE |
|
|
|
|
SEAN
(OFF SCREEN)
LOVE YOU TOO |
|
|
HEAR DOOR SHUT |
|
|
|
|
55.
|
INT. TINTED AND SOUPED UP 4DR STOLEN CAR BANK PK LOT - DAY |
|
KEVIN IN THE DRIVERS SEAT SEAN IN THE PASSENGER SEAT STEVE
BEHIND SEAN AND HEAVY BEHIND KEVIN THERE IS A SLIGHT SILENCE
THEN |
|
|
KEVIN
YO SEAN WHATS WRONG |
|
|
SEAN LOOKING VERY UNAWARE |
|
SEAN LOOKING VERY UNAWARE THEN SHAKING IT OFF |
|
|
SEAN
NAH....I'M JUST THINKING ABOUT
SOMETHING I'M ALRIGHT COME ON
SATTLE UP |
|
|
THERE IS SILENCE AS SEAN BENDS DOWN AND GRABS HIS BULLETE
PROOF VEST AT HIS FEET BEGINS TO LIFT IT OF THE FLOOR THEN
TO HEAVY PUTTING HIS FIRST ARM THROUGH HIS THEN TO STEVE
PUTTING HIS SECOND ARM THROUGH HIS THEN TO KEVIN ZIPPING HIS
UP THEN TO SEAN BUTTONING HIS SHIRT HEAVY PULLING OUT HIS
MAGAZINE THEN TO STEVE LOADING HIS REVOLVER THEN TO KEVIN
SLAPPING HIS MAGAZINE IN THEN TO SEAN COCKING HIS GUN |
|
|
SEAN
ALRIGHT GUYS........LETS DO THIS
AS QUICK AS POSSABLE AND I DONT
WANT ANYONE HURT........ANYONE!!!
BUT UNDERSTAND ONE THING IF
SOMETHING GOES WRONG MAKE SURE YOU
DO WHAT YOU HAVE TO DO NO MATTER
WHAT IT IS TO PROTECT EACHOTHER
AND LEAVE NOONE BEHIND....WE ALL
AGREE AND UNDERSTAND THAT RIGHT |
|
|
|
STEVE
I CAME HERE WITH YOU GUYS I'M
LEAVING WITH YOU GUYS |
|
|
|
KEVIN
I NEVER IN MY LIFE LET ANYONE DOWN
I AINT GONNA START NOW |
|
|
|
HEAVY
WHERE AM I GONNA GO KEVIN'S
DRIVING AND I'M TO FAT TO RUN |
|
|
|
SEAN
SEAN SMIRKS.....ALRIGHT WHEN THE
TRUCK PULLS UP ITS BEEN PAEKING
RIGHT IN FRONT OF THE ENTRANCE
WITH THE PASSANGER DOOR TO THE
(MORE)
|
|
56.
|
|
SEAN (cont'd)
SIDEWALK RIGHT |
|
|
|
|
|
SEAN
ALRIGHT WE WAIT TILL YOUR COUSIN
GOES IN THE BANK AND HIS PARTNER
STANDS GUARD AS WE SEE YOUR COUSIN
LEAVING THE BANK.......KEVIN YOU
PULL UP TO THE DRIVER SIDE OF THE
TRUCK STAY IN THE CAR WE'LL USE
THE TRUCK AS A SHIELD SO THEY DONT
SEE US COMING IF ITS TIMED RIGHT
STEVE ME AND YOU GET OUT WALK
AROUND THE BACK OF THE TRUCK WE
SHOULD BE FACE TO FACE WITH THEM
AT THAT POINT I'LL PULL OUT ON HIS
PARTNER STEVE YOU GRAB THE MONEY
HEAVY YOU GO AROUND FRONT AND USE
THE TRUCK AS A SHIELD AND MAKE
SURE YOU HANDLE BANK SECURITY IF
THEY COME OUT STEVE WHEN YOU GRAB
THE MONEY GET BACK TO THE CAR BUT
MAKE SURE YOU GET BEHING
KEVIN...KEVIN WHEN HE GETS IN BACK
THE CAR UP SO I CAN GET IN THE
BACK SEAT WITHOUT TAKING MY GUN
OFF OF THEM WHEN I GET IN PULL UP
AS FAST AS YOU CAN DIP THE CAR IN
FRONT OF THE TRUCK JUST ENOUGH SO
IT WILL SHIELD HEAVY GETTIN IN AND
DRIVE THIS MOTHER FUCKER OUT HEAR
LIKE ITS THE LAST THING YOU'LL
EVER DO |
|
|
SEAN,KEVIN,STEVE AND HEAVY ALL ACKNOWLEGDE WITH A POUND OF
FISTS THEY SIT BACK AND WAIT THEN |
|
|
KEVIN
GET READY GUYS HERE THEY COME |
|
|
|
|
|
EXT. BANK PARKING LOT - DAY |
|
TRUCK TURNS IN OFF OF STRIP COMING UP TOWARD THE FRONT OF
THE BANK PARKS RIGHT IN FRONT WITH THE PASSANGER SIDE
AGAINST THE SIDEWALK JIMMY GETS OUT OF THE DRIVERS SIDE AND
WALKS AROUND THE FRONT HIS PARTNER GETS OUT OF THE PASSENGER
|
57.
|
SIDE AND OPENS THE SIDE BACK PASSENGER DOOR FOR A
UNSUSPECTED PARTNER OUT OF SEAN,STEVE,HEAVY AND KEVINS VIEW |
|
|
|
|
INT. STOLEN CAR - DAY |
|
SEAN,KEVIN,STEVE AND HEAVY WATCH AS JIMMY'S PARTNER WALKS IN
THERE VIEW AND STANDS GUARD AT THE FRONT DOOR OF THE BANK |
|
|
|
|
EXT. SIDEWALK PASSENGER SIDE OF TRUCK - DAY |
|
STANDING BY THE BACK SIDE PASSENGER DOOR TO THE TRUCK |
|
|
PARTNER#2
JIMMY YOU SURE YOUR OK OUT HERE |
|
|
|
JIMMY
YEAH I'LL BE FINE GOD FORBID
ANYTHING I GOT THE SHOT GUN RIGHT
INSIDE THE DOOR AND BESIDE THAT I
KNOW YOU CANT WAIT TO SEE YOUR
LITTLE GIRLFRIEND INSIDE |
|
|
PARTNER # 2 PATTING JIMMY ON THE SHOULDER |
|
|
PARTNER#2
(SMIRKING)
ALRIGHT......THANKS |
|
|
PARTNER #2 BEGINS TO WALK AWAY |
|
|
|
|
INT. STOLEN CAR - DAY |
|
SEAN,KEVIN,STEVE AND HEAVY TAKE NOTICE OF THE BACK SIDE OF
PARTNER #2 BELIEVING ITS JIMMY ENTERING THE BANK |
|
|
SEAN
ALRIGHT GUYS THIS IS IT |
|
|
THERE IS A SLIGHT WAIT AND THEN STEVE TAKES NOTICE OF WHO
THEY BELIEVE JIMMY IS WALKIG FROM INSIDE THE BANK ON HIS WAY
OUT |
|
|
|
58.
|
KEVIN STARTS TO PULL OUT OF THE PARKING SPOT WHICH IS ONLY A
FEW SPOTS AWAY FROM WHERE THERE TRUCK IS.HE STOPS ON THE
DRIVERS SIDE OF THE TRUCK |
|
|
|
|
EXT. BANK PARING LOT DRIVERS SIDE AND BACK OF TRUCK - DAY |
|
HEAVY EXITS AND HEADS TOWARD THE FRONT OF THE TRUCK STEVE
AND SEAB EXIT AND QUICKLY WALK TOWARD THE BACK OF THE TRUCK
AS THEY TURN BEHIND THE TRUCK THEY COME FACE TO FACE WITH
PARTNER #1 AND PARTNER #2 SEAN AND STEVE QUICKLY RAISE THERE
GUNS WITH SEAN HOLDING HIS AT PARTNER #1 HEAD LOKKING AT
STEVES EYES THROUGH HIS MASK AS STEVE MOVES AROUND PARTNER#1
HOLDING HIS GUN POINTING AT PARTNER #2 WITH STEVE LOOKING IN
SEANS EYES THROUGH HIS MASK BOTH WITH CONFUSED LOOKS IN
THERE EYES |
|
|
SEAN
DROP TO YOUR FUCKING KNESS AND
KISS THE FLOOR AND DONT EVEN THINK
ABOUT MOVING |
|
|
PARTNER #1 COMPLIES AS STEVE MOVES CLOSER TO PARTNER #2 |
|
|
STEVE
YOU HAND ME THE FUCKING MONEY AND
DO THE SAME TRY ANTHING AND I
SWEAR TO YOU YOU'LL EAT A BULLET |
|
|
|
PARTNER#2
PARTNER#2 COMPLIES |
|
|
|
|
|
EXT. BANK PARKING LOT FRONT AND PASSENGER SIDE OF TK - DAY |
|
JIMMY HEARS THE COMOTION AND QUICKLY OPENS THE SIDE
PASSENGER DOOR REACHING FOR THE SHOTGUN |
|
|
|
|
EXT. BANK PARKING LOT DRIVERS SIDE AND BACK OF TRUCK - DAY |
|
CAR BACKS UP STEVE RUNS AROUND BACK OF THE CAR OPENING THE
DOOR |
|
|
|
|
59.
|
INT. STOLEN CAR - DAY |
|
STEVE GETS IN SLAMMING THE DOOR REACHES OVER AND OPENS THE
DOOR FOR SEAN WHILE SEAN IS BACKING UP TO GET IN HE
CONTINUES TO HOLD HIS GUN ON PARTNER#1AND2 |
|
|
STEVE
(YELLING)
STEVE COME ON COME ON |
|
|
|
|
|
EXT. BANK PARKING LOT FRONT PASSENGER SIDE OF TRUCK - DAY |
|
JIMMY WITH THE SHOTGUN IN HIS HAND JERKS THE GUN TO COCK IT
SLAMS THE DOOR OF THE TRUCK SHUT TURNS AND BEGINS TOWARD THE
FRONT OF THE TRUCK AND RUNS INTO HEAVY HEAVY BEGINS TO BACK
UP A BIT |
|
|
HEAVY
(YELLING)
DROP THE FUCKING GUN DROP IT NOW |
|
|
JIMMY QUICKLY RAISES THE SHOTGUN POINTING IT AT HEAVY |
|
|
HEAVY
(YELLING)
NOOOOOOOO |
|
|
HEAVY BEGINS FIRING AT JIMMY CONTINUOUSLY |
|
|
|
|
INT. STOLEN CAR - DAY |
|
SEAN SLAMS THE DOOR SHUT AS THEY HEAR THE SHOT RINGING OUT
KEVIN BEGINS PULLS FOWARD AND DIPS IN FRONT OF TRUCK REACHES
OVER AND OPENS THE DOOR FOR HEAVY |
|
|
SEAN
(YELLING)
HOLY SHIT WHAT THE FUCK |
|
|
|
|
|
EXT. BANK PARKING LOT FRONT SIDE PASSENGER OF TRUCK - DAY |
|
HEAVY BACKING UP TOWARD THE CAR STILL FIRING SHOTS |
|
|
|
|
60.
|
INT. STOLEN CAR - DAY |
|
HEAVY GETS IN SLAMMING THE DOOR KEVIN PEELS AWAY WITH SEAN
OUT THE BACK PASSENGER WINDOW SHOOTING AT PARTNER#1 AND
PARTNER# 2 |
|
|
|
|
EXT. BANK PARKING LOT BACK DRIVERS SIDE TRUCK - DAY |
|
PARTNER #1 AND #2 FIRING AT THE STOLEN CAR AS IT PEELING
AWAY WATCHING IT AS IT TURNS OUT OF THE PARKING LOT |
|
|
|
|
INT. STOLEN CAR - DAY |
|
THE STOLEN CAR TURNING ON TO THE STRIP FISH TALEING OUT OF
THE PARKING LOT THE CAR STRAIGHTENS OUT KEVIN PALMING THE
DASH BOARD WITH FIERCE IN HIS EYES |
|
|
KEVIN
(SCREAMING)
WHAT THE FUCK HAPPENED HEAVY WHAT
THE FUCK HAPPENED |
|
|
HEAVY RUBING HIS HEAD FROM HIS FOREHEAD UP OVER HIS HAIR
THEN BACK DOWN AND OVER HIS FACE |
|
|
HEAVY
(IN SHOCK(CALMLY))
HE PULLED A SHOTGUN ON ME.......I
TOLD HIM TO DROP IT.HE....HE
POINTED IT RIGHT AT ME
KEVIN(SHAKING HIS HEAD) I'M SORRY
I'M SO SORRY |
|
|
|
KEVIN
(YELLING)
HEAVY DONT TELL ME IT WAS MY
COUSIN |
|
|
HEAVY LOOKING FOWARD IN A DEAD STARE THEN KEVIN LEANING
FOWARD AND BACKWARD AS HE'S DRIVING THEN TURNS TOWARD HEAVY |
|
|
KEVIN
(SCREAMING)
HEAVY TELL ME IT WAS'NT MY COUSIN
HEAVY |
|
|
HEAVY DROPS HIS HEAD KEVIN BEGINS PUNCHING THE DASHBOARD |
|
61.
|
|
KEVIN
(SCREAMING)
FUUUUCCCK........... MOTHER FUCKER
SEAN IT WASNT SUPPOSE TO GO DOWN
LIKE THIS |
|
|
|
SEAN
(YELLING)
CALM THE FUCK DOWN JUST CALM THE
FUCK DOWN |
|
|
KEVIN MAKING A TURN AT A HIGH SPEED |
|
|
KEVIN
(SCREAMING)
YOUR TELLING ME TO CALM THE FUCK
DOWN MY COUSIN IS DEAD SEAN HE
SHOT MY FUCKIN COUSIN |
|
|
|
STEVE
(YELLING)
I KNEW SOME SHIT LIKE THIS WAS
GONNA HAPPEN..... FUCK |
|
|
|
SEAN
(YELLING)
HOW THE FUCK YOU EVEN KNOW HES
DEAD STOP FUCKING YELLING YOU
THINK WE WANTED THIS |
|
|
KEVIN TURNS ANOTHER CORNER SEAN LEANS UP TO HEAVY |
|
|
SEAN
(LOUD VERY STERN)
HEAVY LISTEN SNAP OUT OF IT WHAT
DO YOU THINK YOU THINK YOU KILLED
HIM |
|
|
KEVIN LOOKING AT HEAVY.........HEAVY LOOKING OUT THE
PASSENGER WINDOW IN A DEAD STARE |
|
|
KEVIN
(SOBBING)
AH SEAN HE HAS A FAMILY..HE HAS A
FAMILY SEAN |
|
|
SEAN LEANING BACK IN HIS SEAT RUBBING HIS FACE MAKES A FIST |
|
|
|
62.
|
|
KEVIN
(SOBBING)
MY COUSINS DEAD JESUS CHRIST |
|
|
|
|
|
INT. SEANS OFFICE AT THE SPA - NIGHT |
|
SEAN ENTERS AND SHUTS THE BLINDS TO A SMALL WINDOW THAT
LOOKS OUT AT A COMMUNITY DRIVEWAY BEHIND HIS SPA KEVIN,HEAVY
AND STEVE FOLLOW IN BEHIND TAKING A SEAT ON THE SOFA SEAN
GRABS THE REMOT CONTROL AND TURNS THE TV ON THE NEWS COMES
ON |
|
|
NEWS REPORTER
I'M STANDING HERE LIVE AT THE
QUEENSBORO BANK WHERE EARLIER
TODAY THERE WAS AN AMORED CAR HOLD
UP AS THREE MASKED GUNMAN AND A
GETWAY DRIVER AMBUSED THREE ARMED
SECURITY GUARDS AS THEY WERE
LEAVING THE BANK WITH AN
UNSPECIFIED AMOUNT OF CASH.WITNESS
SAY IT APPEARED FOUR THUGS PULLED
UP NEXT TO THE AMORED TRUCK AND
USED IT AS A SHIELD TO BLOCK THE
VIEW OF ARMED SECURITY GUARDS FROM
SEEING THIS AMBUSH UNFOLD.COPS AND
EMT WORKERS CONFIRM ONE SECURITY
GUARD DIED TRYING TO FOIL THE
HIEST |
|
|
|
COP
WE HAVE TAKEN STATEMENTS FROM THE
TWO SURVING SECURITY GUARD OF THIS
COWARDLY ACT AND THEY BOTH CONFIRM
THAT INDEED THEY WERE AMBUSH BY
TWO THUGS AT POINT BLANK RANGE
WHEN THEY REACHED THE BACK OF THE
TRCUK. THE OTHER UNARMED SECURITY
GUARD WAS STANDING GUARD AT THE
PASSENGER SIDE OF THE TRUCK WHEN
HE HEARD THE COMOTION HE THEN
REACHED IN THE SIDE PASSENGER DOOR
AND ARM HIS SELF WITH A SHOTGUN
WHEN HE WENT TO RUN AROUND THE
FRONT SIDE OF THE TRUCK HE WAS
CONFRONTED BY THE THIRD THUG WHO
FIRED UPON HIM WITH NO APPARENT
WARNING |
|
|
63.
|
KEVIN STEVE AND HEAVY WATCHING KEVIN DROPS HIS HEAD INTO HIS
HANDS |
|
|
NEWS REPORTER
WITNESSES AND THE SECURITY GUARDS
SAY TWO OF THE THREE MEN WERE
MEDIUM BUILD AND THE SHOOTER A
LARGER MAN THE DRIVER OF THE
GETAWAY CAR WAS NEVER IN VIEW.WE
ARE IN THE PROCESS OF GETTING THE
BANK SURVALANCE TAPES TO AIR LATER
ON IN HOPES THAT SOMEONE CAN
RECONIZE THESE INDIVIDULES AND
BRING THEM TO JUSTICE.WE ALSO ASK
ANYONE WITH ANY FURTHER INFORMATIN
ON THIS HIEST TO PLEASE COME
FOWARD ALL CALL WILL BE
CONFIDENTAL |
|
|
SEAN HITS THE POWER BUTTON ON THE RMOTE AND TURNS THE TV OFF
THERE IS A SLIGHT SILENCE |
|
|
STEVE
YO I THINK WE SHOULD LAY LOW FOR A
WHILE |
|
|
|
SEAN
WE CANT LAY LOW WE GOTTA KEEP
DOING WHAT WE BEEN DOING |
|
|
|
KEVIN
YEAH ITS EASY FOR YOU TO SAY I GOT
A DEAD COUSIN AND A FAMILY IN
MOARNING |
|
|
|
SEAN
KEVIN I DONT WANNA SOUND LIKE I
DONT GIVE A FUCK BUT THERE'S
NOTHING WE CAN DO ITS DONE IF YOU
DONT GET MIND STRONG YOUR CONCIOUS
IS GONNA BRING YOU DOWN AND THEN
ITS GONNA BRING US ALL DOWN |
|
|
|
KEVIN
WHAT THE FUCK ARE YOU TRYING TO
SAY SEAN |
|
|
|
HEAVY
HE AINT TRYING TO SAY ANYTHING |
|
|
64.
|
|
KEVIN
HEAVY YOU NEED TO SHUT THE FUCK UP
RIGHT NOW YOUR THE LAST PERSON I
WANNA HEAR FROM |
|
|
|
STEVE
LISTEN KEVIN NONE OF US WANTED
THIS TO HAPPEN BUT IT DID NOTHINGS
GONNA CHANGE THAT |
|
|
KEVIN SLOWLY SHAKES HIS HEAD IN DISBELIEF |
|
|
KEVIN
I KNOW.......(ACKNOWLEDING WITH
HIS HEAD)..I KNOW |
|
|
|
|
|
INT. NICKY'S PLACE FRONT BAR - DAY |
|
SEAN ENTERS AND WALKS UP TO THE COUNTER |
|
|
|
VITO TURNING AROUND FROM MAKING EXPSRESSO |
|
|
VITO
HEY SEAN..YOU ALRIGHT YOU DONT
LOOK GOOD |
|
|
SEAN WITH HIS HANDS ON THE COUNTER LIFTS HIS HAND UP A
LITTLE AND PUTS IT BACK DOWN AS IN WHATEVER.VITO LOOKING AT
SEAN |
|
|
VITO
WANNA A FRESH COFFEE? I JUST MADE
IT |
|
|
|
SEAN
YEAH V PLEASE. THANKS |
|
|
VITO TURNS AND POORS A CUP OF COFFEE THEN TURNS BACK TO SEAN
PUTS IT ON THE COUNTER |
|
|
VITO
I KNOW ITS PROBABLY NONE OF MY
BUSINESS BUT YOU WANNA TALK ABOUT
IT |
|
|
SEAN TAKES A SIP OF COFFEE THEN RESTS IT BACK ON THE COUNTER
WITH HIS HAND STILL HOLDING THE CUP |
|
65.
|
|
SEAN
NAH ITS COOL V. YOU SEE NICKY? |
|
|
|
VITO
YEAH HE'S IN THE BACK |
|
|
SEAN LIFTS THE COFFEE OFF THE COUNTER WITH HIS RIGHT HAND
AND TURNS TO WALK AWAY TAPPING THE COUNTER TWICE WITH HE
LEFT HAND |
|
|
|
|
|
|
INT. NICKY'S PLACE BACK POKER ROOM - DAY |
|
SEAN ENTERS AND SEES NICKY PLAYING GYN WITH A POKER PLAYER |
|
|
SEAN
(CALM)
YO NICKY WHATS UP |
|
|
NICKY LOOKING UP AT SEAN |
|
|
NICKY
COWBOY WHATS UP BABY |
|
|
NICKY STANDS UP AND SHAKES HANDS WITH SEAN |
|
|
SEAN
(CALM)
YOU GOTTA MIN? LETS GO DOWN STAIRS |
|
|
NICKY LOOKS AT POKER PLAYER |
|
|
|
NICKY BEGINS TO WALK AWAY |
|
|
|
|
INT. NICKY'S PLACE STOCK ROOM BASEMENT - DAY |
|
NICKY ENTERS SEAN BEHIND HIM NICKY TURNS TOWARD SEAN AND
SEAND HANDING HIM ENVOLOPES NICKY LOOKING SUPRISED AND
TAKING THE ENVOLOPES FROM SEAN |
|
|
|
66.
|
|
|
|
NICKY
EVREYTHING? YOURS TOO |
|
|
NICKY TURNS TOWARD A STACK OF CRATES AND STARTS TAKING THE
MONEY OUT OF THEM AND STACKING THEM IN INDIVIDUALE PILES |
|
|
SEAN
NAH I JUST PAID FOR THE WEEK BUT
EVERYTHING ELSE |
|
|
NICKY TURNS BACK TOWARD SEAN |
|
|
NICKY
SEAN I'M NOT REALLY SURE IF YOU
DID ME A FAVOR BUT I KNOW YOU
FUCKED YOURSELF |
|
|
|
SEAN
WHY YOU SAY THAT FOR? |
|
|
|
NICKY
CAUSE YOU WERE COLLECTING KNOCKING
YOUR VIG DOWN A GEE A WEEK |
|
|
|
SEAN
I'M NOT EVEN WORRIED ABOUT IT I
GOT SOME MONET COMING TO ME IN THE
NEXT FEW WEEKS SO I'LL JUST TAHE
CARE OF IT |
|
|
|
NICKY
YEAH..WHAT YOU DO ROB A BANK OR
SOMETHING |
|
|
NICKY LAUGHS |
|
|
SEAN
YOU KNOW NICKY IT WOULD'NT BE A
BAD IDEA.....BUT NO |
|
|
SEAN BEGINS TO WALK AWAY |
|
|
NICKY
HEY SEAN SPEAKING OF BANKS YOU
HEARD ABOUT THAT AMORED TRUCK
HIEST DOWN BY THE BEACH A COUPLE
OF DAYS AGO |
|
|
SEAN STOPS AND TURNS BACK TOWARD NICKY |
|
67.
|
|
SEAN
YEAH ACTUALLY I JUST HEARD ABOUT
ON THE RADIO THIS MORNING |
|
|
|
NICKY
YEAH THEY SAID FOUR GUYS ONE WAS
FAT |
|
|
|
SEAN
O YEAH GOOD FOR THEM MAYBE THE
POOR BASTARD NEEDED THE MONEY TO
GET HIS STOMACH STAPLED |
|
|
SEAN SMIRKS TONY LAUGHS |
|
|
SEAN
ALRIGHT NICK I GOTTA RUN |
|
|
SEAN TURNS AND AND AS HE WALKING AWAY |
|
|
NICKY
HEY SEAN FOUR GUYS ONE FAT SOUNDS
LIKE YOUR CREW |
|
|
SEAN WALKING UP THE STAIRS |
|
|
SEAN
HEY NICKY I DONT HAVE A CREW AND
THATS A VERY BAD ACCUZATION |
|
|
NICKY LOOKS DOWN AT THE MONEY THEN LOOKS UP THE STAIRS WHERE
SEAN JUST WENT WITH A CONCERNED LOOK |
|
|
|
|
EXT. NITE CLUB ON A BUSY STREET - NIGHT |
|
SEAN PULLS UP TO VALET HE EXITS THE DRIVERS SIDE KEVIN EXITS
THE FRONT PASSENGER SIDE AND STEVE EXITS FROM THE BACK
PASSENGER SIDE SEAN WALKS AROUND FRONT AND MEETS THE VALET
ATTENDANT WHERE HE GETS HANDED A TICKET |
|
|
SEAN
KEEP IT UP FRONT AND THIS IS FOR
YOU |
|
|
|
VALET ATTENDENT
HEY THANKS PAL |
|
|
VALET ATTENDANT WALKS OFF SCREEN SEAN KEVIN AND STEVE WALK
TO THE OUTSIDE OF THE ROPES SEAN REACHES FOR HIS PHONE AND
BEGINS DIALING PLACING THE PHONE TO HIS EAR |
|
68.
|
|
STEVE
WE'RE NEVER GETTING IN HERE |
|
|
|
SEAN
I'M CALLING MY COUSIN MIKE HE DOES
SECURITY (TALKING LOUD)MIKE....
MIKE CAN YA HEAR ME....... ITS
SEAN I'M OUTSIDE |
|
|
SEAN CLOSE HIS PHONE AND PUTS ITS BACK ON HIS WAIST |
|
|
KEVIN
NOW WHO'S THIS PARTY FOR |
|
|
|
SEAN
ITS FOR ONE OF MY FRIEND TONY'S
FRIEND TONY HE FINISHES PAROLE
MONDAY SO THIER THROWING HIM A
BASH |
|
|
|
KEVIN
WHY DID'NT HEAVY COME |
|
|
|
|
|
|
|
SEAN
I DONT KNOW MAYBE JUST BEING
CAUSTIOUS THIS GUYS COMING OFF
PAROLE WHO KNOWS WHO'S GONNA BE
HERE WATCHING AND THAT THING TWO
WEEKS AGO THREE MEDIUM BUILT GUYS
ONE FAT ONE |
|
|
|
SEAN
I DONT KNOW MAYBE JUST BEING
CAUSTIOUS THIS GUYS COMING OFF
PAROLE WHO KNOWS WHO'S GONNA BE
HERE WATCHING AND THAT THING TWO
WEEKS AGO THREE MEDIUM BUILT GUYS
ONE FAT ONE |
|
|
SEAN MAKES A FACE |
|
|
SEAN
I DONT WANT ANYTHING TO LOOK
ODVIOUS |
|
|
SEAN LOOKS TOWARD THE FRONT DOOR OF THE CLUB STANDINGG ON
HIS TOES |
|
69.
|
|
SEAN
COME ON THERES MY COUSIN |
|
|
SEAN BEGINS WALKING THROUGH A CROWD OF PEOPLE WITH HIS HAND
UP TRYING TO GET MIKES ATTENTION |
|
|
|
MIKE LOOKING ACROSS THE CROWD TO SEE IF HE CAN SEE SEAN HE
TAKES NOTICE AND WAVES HIM ON MIKE WALKS UP TO ANOTHER
BOUNCER AND POINTS SEAN OUT SEAN MAKES IT TO THE FRONT AND
THE BOUNCER OPENS THE ROPE |
|
|
|
|
INT. NITE CLUB - NIGHT |
|
MUSIC PLAYING THE PLACE IS PACKED MIKES WALKING SEAN STEVE
AND KEVIN THROUGH THE CROWD MIKE TURNS TO SEAN |
|
|
MIKE
(TALKING LOUD)
YO LISTEN YOU GUYS GOT A LOT HEADS
HERE TONIGHT DO ME A FAVOR DONT
START NO SHIT I GOTTA BREAK OUT
FOR BUT I'LL BE BACK LATA |
|
|
|
SEAN
(TALKING LOUD)
MIKE I HEAR FOR A COUPLE OF DRINKS
THE I'M GETTIN THE FUCK OUT OF
HEAR MYSELF DONT EVEN WORRY ABOUT
IT |
|
|
THEY REACH THE BACK OF THE CLUB WHERE THERE IS A ROPED OFF
SECTION MIKE OPENS THE ROPE AND SEAN IS GREETED BY TONY WITH
EVERYONE DANCING IN THE BACKROUND |
|
|
TONY PAROLE
(TALKING LOUD)
SEAN WHATS UP MY MAN |
|
|
TONY PAROLE PUUTING HIS RIGHT HAND ON SEANS LEFT SHOULDER AS
HE LEANS BACK CHECKING HIM OUT |
|
|
TONY PAROLE
(SMILEING)
YOU LOOK GREAT |
|
|
70.
|
|
SEAN
(TALKING LOUD)
YOU TOO BABY CONGRADULATIONS |
|
|
|
TONY PAROLE
O DONT CONGRADULATE ME YET I STILL
GOTTA GET THROUGH THE NITE |
|
|
|
SEAN
TONY THIS MY FRIEND KEVIN AND
STEVE |
|
|
TONY PAROLE SHAKES KEVINS HAND THEN STEVES |
|
|
TONY PAROLE
HEY GUYS HOW YOU DOING |
|
|
|
KEVIN
GOOD THANKS FOR ASKING |
|
|
STEVE ACKNOWLEDGEDS WITH HIS HEAD GOOD |
|
|
TONY PAROLE
YO GUYS WE GOT THE WHOLE BAR IN
HERE HELP YOURSELVES TO WHATEVER I
WANNA TRY TO BANG THIS BITCH OVER
HERE I'LL BE BACK |
|
|
SEAN SMIRKS TONY PAROLE TURNS AND WALKS OFF SCREEN SEAN
STEVE AND KEVIN CONTINUE TOWARD THE TABLE SAYING HELLO TO
EVERYONE SEAN STOPS TO HAVE A CONVERSATION STEVE AND KEVIN
START MAKING THEMSELF A DRINK |
|
|
STEVE
YO I'M GONNA POUND THIS DRINK AND
GO FIND ME A BITCH |
|
|
|
|
STEVE AND KEVIN ON THE DANCE FLOOR SWEATING WITH THIER
SHIRTS UN BUTTONED ROCKIN IT WITH TWO GIRLS WHILE SEAN IS
STANDING OFF TO THE SIDE JUST MOVING TO THE BEAT TONY MONGIA
AND TONY PAROLE WALK UP TO SEAN WITH DRINKS IN THIER AND AND
HAND ONE TO SEAN |
|
|
TONY
(LOOKING AT KEVIN
AND STEVE)
THESE GUYS ARE GOOD GUYS HUH? |
|
|
71.
|
|
SEAN
(SMILING)
YEAH TONE THIER MY BOYZ |
|
|
|
TONY
WHATS UP YOU SCARED TO DANCE
THERES ALOT OF BITCHES HERE |
|
|
|
SEAN
(LAUGHING)
NAH MAN I GOT MY GIRL I LOVE HER
WHAT THE FUCK AM I GONNA DOE WITH
THESE HOES |
|
|
|
TONY
WELL I'LL SHOW WHAT I'M GONNA DO
WITH THEM |
|
|
SEAN LAUGHS AND TONY WALK TOWARD THE DANCE FLOOR |
|
|
TONY PAROLE
YO SEAN TAKE A WALK I GOTTA PISS |
|
|
TONY PAROLE BEGINS TO WALK AWAY WITH SEAN FOLLOWING |
|
|
|
|
INT. BATHROOM - NIGHT |
|
SEAN AND TONY TAKING A PISS SIDE BY SIDE WITH A CROWDED
BATHROOM |
|
|
TONY PAROLE
HEY SEAN YOU KNOW WHATS FUNNY |
|
|
|
|
|
TONY PAROLE
TILL THIS VERY MOMENT I WOULD
SWEAR YOU HAD SOME ITALIAN IN YOU |
|
|
|
SEAN
O YEAH!!AND WHY NOT NOW |
|
|
TONY PAROLE LOOKS DOWN TOWARD SEAN AS HE PISSING |
|
|
SEAN
(LAUGHIN)
GO FUCK YOURSELF |
|
|
72.
|
SEAN AND TONY PAROLE STEP BACK FROM THE URINALS AND PROCEED
TO THE SINK WHEN A COMOTION STARTS BETWEEN A GROUP OF GUYS |
|
|
SEAN
COME ON LETS GET THE FUCK OUT OF
BEFORE WE END UP IN THE MIDDLE OF
THIS SHIT |
|
|
SEAN AND TONY PAROLE START MAKING THIER WAY TOWARD THE EXIT
OF THE BATHROOM WHEN A FIGHT BREAKS OUT TONY PAROLE GRABBING
SEAN AND BRINGING HIM BACK TO THE WALL THE BOUNCERS COME
RUSHING IN MAN HANDLINH EVERYONE INSIDE AND BEGIN PUSHING
THEM OUT OF THE BATHROOM SEAN AND TONY PAROLE ARE AGAINST
THE WALL WITH THIER HANDS UP TRYING TO STAY OUT OF THE WAY
WHEN A BOUNCER GRABS SEAN |
|
|
BOUNCER
COME ON YOU GOTTA GO |
|
|
SEAN PUSHES THE BOUNCES HANDS OFF OF HIM |
|
|
SEAN
YO BUDDY I'M NOT WITH THOSE GUYS |
|
|
THE BOUNCER PUSHING SEAN WITH FORCE SEAN STUMBLE FOWARD |
|
|
BOUNCER
YO I SAID YOU GOTTA GO |
|
|
|
SEAN
YO MY MAN RELAX I TOLD YOU I AINT
WITH THOSE GUYS |
|
|
WITH ALL THE COMOTION STILL GOING ON AND PEOPLE GETTING
GRABED AND WRESTLED OUT OF THE BATHROOM THE BOUNCER AGAIN
GOES TO GRAB SEAN TONY PAROLE STANDING THERE WITH A FIERCE
LOOK IN HIS EYES STEPS UP |
|
|
TONY PAROLE
YO BOSS LISTEN YOUR MAKIN A
MISTAKE ME AND MY FRIEND HERE WERE
JUST TAKING A PISS WE TRIED TO
STAY OUT OF THE WAY |
|
|
WITH THAT THREE MORE HUGE BOUNCERS STEP IN SPRAYING SEAN
WITH MACE AND TACKLING HIM TO THE FLOOR TONY PAROLE TURNS
AROUND AND GRABS A BOTTLE OFF THE FLOOR AND BREAKS OVER THE
BOUNCER HEAD SPLITTING HIS HEAD OPEN |
|
|
TONY PAROLE
(YELLING)
YO I TOLD YOU WE HAD NOTHING TO DO
WITH THIS |
|
|
73.
|
SEAN BLINDED BY MACE THE BOUNCERS PROCEED TO WRESTLE WITH
TONY PAROLE BRINGING BOTH OF THEM OUT THE BACK DOOR TO WHERE
COPS ON THE STREET ARE TRYING TO TAKE CONTROL OF THE FIGHT
THAT CONTINUED OUTSIDE TWO PLAIN CLOTHES OFFICERS GRAB TONY
PAROLE AND THROW HIM TO THE FLOOR HANCUFFING HIM AS SEAN IS
BENT OVER RUBING HIS EYES HOLDING THE WALL STEVE AND KEVIN
WALK UP AND GRAB SEAN |
|
|
STEVE
YO COME ON IT'S ME STEVE GRAB THE
BACK OF MY SHIRT |
|
|
|
|
|
STEVE
THEY GOT HIM IN CUFFS ALREADY COME
ON |
|
|
|
|
|
|
|
INT. SEANS OFFICE SPA - DAY |
|
SEAN SITTING DOWN GO OVER PAPER WORK MARIA WALKS IN |
|
|
|
MARIA WALKS OVER AND OPEN THE BLINDS TO LET SOME SUN LIGHT
IN THEN WALKS OVER TO SEAN AND KISSES HIM ON THE HEAD |
|
|
|
|
MARIA
YOU OK LOOKS LIKE SOMETHING
BOTHERING YOU |
|
|
SEAN LOOKING AT MARIA |
|
|
SEAN
NAH I'M ALRIGHT JUST GOING OVER
SOME OF THE BILLS |
|
|
|
MARIA
YOU WANT SOME HELP THATS WHAT I'M
HERE FOR |
|
|
74.
|
|
|
SEAN GOES INTO HIS POCKET AND TAKES SOME MONEY OUT AND HANDS
IT TO MARIA |
|
|
SEAN
WHY DONT YOU TAKE OFF TODAY AND GO
SHOPPING FOR YOURSELF COME ON ITS
ON ME |
|
|
|
MARIA
THATS WHY I LOVE YOU |
|
|
MARIA LEANS IN AND GIVES SEAN A HUG |
|
|
MARIA
I WILL DEFINITLY TAKE THE DAY BUT
YOUR MONEY NO YOU ALWAYS BUY ME
THINGS ITS TIME I SPEND SOME MONEY
ON YOU |
|
|
MARIA TURNS AND WALKS OF SCREEN |
|
|
MARIA
(OF SCREEN)
CALL ME IF YOU NEED ME |
|
|
SEAN LOOKING DISTURBED |
|
|
|
|
EXT. OUT DOOR CAFE - DAY |
|
SEAN SITTING AT A TABLE AND TONY WALKS UP THEY GREET
EACHOTHER AND TONY TAKES A SEAT |
|
|
|
SEAN GOES INTO HIS BACK POCKET AND SLIDES THE ENVOLOPE
ACROSS THE TABLE |
|
TONY GRABS IT LOOKING AROUND |
|
|
TONY
WHAT THE FUCK IS WRONG WITH YOU |
|
|
|
SEAN
YOU ASKED ME IF I HAD IT |
|
|
75.
|
|
TONY
YEAH I ASKED IF YOU HAD NOT TO
GIVE IT TO ME |
|
|
|
SEAN
TONY RELAX NOBODY'S WATCHING |
|
|
|
TONY
YOU GET ME NERVOUS WHEN YOU TALK
LIKE THAT SEAN YOU GOT ALWAYS BE
ON POINT ALWAYS EXPECT THE WORST
SO IF IT HAPPENES IT DONT COME AS
A SUPRISE |
|
|
|
SEAN
YEAH BUT THERE ARE JUST SOME THING
I DONT WANNA THINK THE WORST ABOUT |
|
|
|
TONY
JESUS CHRIST SEAN WHAT THE FUCK |
|
|
|
SEAN
TONY IT'S NOT WHAT YOUR THINKING |
|
|
|
TONY
THANK GOD I THOUGHT I WAS GONNA
HAVE TO CLIP YOU HERE |
|
|
SEAN SMIRKS |
|
|
TONY
WHATS THE MATTER TALK TO ME |
|
|
|
SEAN
ALRIGHT DONT GET AFFENDED BUT
REMEMBER WHEN I RAN INTO AT THE
SPA |
|
|
|
TONY
YEAH OF COURSE THE ONE WHERE YOUR
GIRL WORKS |
|
|
SEAN LOOKING DOWN AND THEN BACK TO TONY |
|
|
SEAN
YEAH WELL I WASNT JUST THERE TO SE
MY GIRL |
|
|
|
TONY
SO WHAT ARE YOU TELLING ME YOU
WERE GETTING YOUR TOES DONE WHO
GIVES A FUCK |
|
|
76.
|
|
SEAN
COME ON TONY I TRYING TO TALK TO
YOU HERE |
|
|
|
TONY
SO GET TO THE POINT WHAT ARE SAYIN |
|
|
|
|
|
|
WAITER STEPS IN |
|
|
WAITER
CAN I GET YOU GUYS ANYTHING |
|
|
|
TONY
YEAH JUST GIVE US A COUPLE OF
BEERS |
|
|
WAITER WALKS OFF SCREEN |
|
|
TONY
THATS YOUR PLACE ITS A HOT SPOT
WHY DIDNT YOU TELL ME WHATS WRONG
WITH YOU |
|
|
|
SEAN
SEE TONY I DIDNT WANNA AFFEND YOU |
|
|
|
TONY
I'M NOT AFFENDED....WELL MAYBE A
LITTLE BIT BUT WHY WOULDNT YOU
TELL ME YOU KNOW HOW MANY PEOPLE I
COULD SEND OVER THERE I COULD MAKE
YOU A FORTUNE |
|
|
|
SEAN
THATS EXACTLY WHY WITH ALL THE
PEOPLE I KNOW AND ALL THE PEOPLE
THAT THEY KNOW EVERYBODY STARTS
COMING IN LOOKING FOR A FREE DAY
AT THE SPA SO I JUST FIGURE I KEEP
IT LOW AND LET BUSINESS BUILD ON
ITS OWN WITH NO HELP |
|
|
|
TONY
YOU SEE I UNDERSTAND WHAT YOUR
SAYING CAUSE I'M YOUR FRIEND BUT
YOUR RIGHT SOME PEOPLE DONT LOOK
AT IT LIKE WE DO THIS IS WHATS
(MORE)
|
|
77.
|
|
TONY (cont'd)
BOTHERING YOU |
|
|
|
SEAN
TONY YOU ONLY MET MY GIRL A FEW
MONTHS AGO BUT I BEEN WITH HER FOR
ALMOST TWO YEARS AND I LOVE HER
LIKE THERES NO TOMORROW |
|
|
|
TONY
WHAT DO YOU NEED MONEY FOR A RING
YOU WANNA PURPOSE WHAT IS IT |
|
|
SEAN LOOKS UP AT THE WAITER STEPPING IN PUTTING THE BEERS ON
THE TABLE THEN LOOKS BACK AT TONY |
|
|
SEAN
TONY I THINK SEE'S ROBBING ME |
|
|
|
TONY
WHY DO THINK THAT FOR |
|
|
|
SEAN
I KNWO WHAT I BEEN DOING OVER
THERE SINCE I OPENED AND EVERY
WEEK IT WAS JUST GETTING BETTER
THEN ALL OF A SUDDEN I WAS COMING
UP SHORT EVERY WEEK SHE TELLS ME
IT HASNT BEEN THAT BUSY AND MY GUY
HEAVY'S TELLING ME HE CANT
UNDERSTAND ITS BEEN BUST AS HELL |
|
|
|
TONY
HOW DO YOU KNOW HEAVY AINT CLIPPIN
YOU |
|
|
|
SEAN
THATS WHAT I SAID TO MYSELF BUT HE
HASNT BEEN AROUND HE'S STAYING
AWAY FOR A WHILE AND I STILL COME
UP SHORT WHAT AM I SUPPOSE TO DO |
|
|
|
TONY
I'LL TELL YOU WHAT I WOULD'NT DO
DONT CONFRONT HER A REALATIONSHIP
IS BUILT ON TRUST AND IF YOU LOVE
HER YOUR GONNA TAKE A BIG CHANCE
IN LOOSING HER |
|
|
|
SEAN
SO WATTA I DO I WENT OVER ALL THE
PAPER WORK NOTHING ADDS UP WHEN I
WORK OUT ALL THE NUMBERS THE PLACE
COMES UP EXACTLY A GEE A WEEK
(MORE)
|
|
78.
|
|
SEAN (cont'd)
SHORT THATS FOUR GRAND A MONTH |
|
|
|
TONY
FOR NOW LET IT RIDE JUST KEP YOUR
EYES OPEN LIKE I SAID BEFORE
ALWAYS EXPECT THE WORST SO IF AND
WHEN IT HAPPENES AND YOU KNOW ONE
HUNDREAD PERCENT IT WONT BE AS
SUCH A SUPRISE |
|
|
TONY LOOKING AT SEAN AND SEAN LOOKING TOWARD THE STREET TONY
TAKES A SIP OF BEER |
|
|
|
|
INT. FEDS CAR - DAY |
|
SULLIVAN IN THE DRIVERS SEAT AND SATORA IN THE PASSENGER
SEAT LOOKING IN TONY AND SEANS DIRECTION |
|
|
|
|
EXT. OUT DOOR CAFE - DAY |
|
SEAN AND TONY STAND UP TONY GOING INTO HIS POCKET AND
GRABING MONEY AND THROWS IT DOWN ON THE TABLE SEAN BEGINS TO
WALK OUT TOWARD THE SIDEWALK WITH TONY FOLLOWING |
|
|
|
|
INT. FEDS CAR - DAY |
|
SATORA CONTINUOUSLY TAKING PICYURES AS TONY AND SEAN ARE
WALKING
AND TALKING WHILE USING HAND GESTURES |
|
|
|
|
EXT. SIDEWALK BLOCK OF OUTDOOR CAFE - DAY |
|
SEAN AND TONY SLOWLY WALKING AND TALKING |
|
|
SEAN
OH TONY HOW DID YOUR FRIEND MAKE
OUT |
|
|
|
|
79.
|
|
|
|
TONY
YOUR COUSIN MIKE TO CARE OF IT THE
SAME NITE THEY WENT DOWN TO THE
PRIECENT AND SAID IT WAS'NT HIM |
|
|
|
|
TONY AND SEAN STOP BY A CIGAR STAND AND TONY BUYS A CIGAR
THEY CONTINUE WALKING WITH TONY LIGHTING HIS CIGAR HE TAKES
A COUPLE OF PUFFS HE THEN STOPS AND TURNS TO SEAN |
|
|
TONY
YOU KNOW I BEEN THINKING ALOT
ABOUT WHAT HAPPENED THAT NITE |
|
|
|
|
|
TONY
WHO KNOW THE NITE WHY I A |
|
|
|
|
|
INT. FEDS CAR - DAY |
|
SATORA SNAPPING PICTURES AT TONY AND SEAN AND CATCHES TONY
MAKING A PISTOL SYMBOL WITH HIS FINGERS BETWEEN HIS AND
SEANS STOMACH |
|
|
|
|
EXT. SIDEWALK BLOCK OF OUTDOOR CAFE - DAY |
|
|
|
|
TONY
I WAS JUST THINKING MAAYBE I
SHOULD OF DONE IT DIFFERENT |
|
|
|
SEAN
THERES ONLY ONE WAY YOU COULD DO
WHAT YOU DID WHAT OTHER WAY COULD
YOU HAVE DONE IT |
|
|
80.
|
|
TONY
I MEAN WITH YOU THERE MAYBE I
SHOULD'NT OF DID IT WITH YOU THERE |
|
|
|
SEAN
I KNOW WHAT YOUR SAYING BUT LISTEN
I HAVE'NT TOLD ANYONE ABOUT THIS
BUT I'M GONNA TELL YOU |
|
|
SEAN LOOKS UP AND TAKES A BREATH |
|
|
SEAN
I'M SURE YOU HEARD ABOUT THE
AMORED TRUCK HIEST DOWN ON MAINT
ST A COUPLE OF WEEK AGO |
|
|
|
TONY
YEAH THE ONE WITH THE FOUR GUYS
THEY KILLED DA....WAIT A MINUTE
THAT WAS YOU |
|
|
|
SEAN
YEAH IT WAS THE DAY AFTER YOU |
|
|
|
TONY
(WAVING HIS HAND)
YEAH YEAH YEAH FORGET ABOUT IT |
|
|
|
SEAN
WELL ANYWAY I KNOW WHAT YOUR
TRYING TO SAY SOMETIMES WOU WISH
YOU DID CERTAIN THINGS BY YOURSELF
CAUSE YOUR ALWAYS GONNA ASK
YOURSELF WHO CAN YA TRUST |
|
|
|
TONY
ALRIGHT LETS GET THE FUCK OUT OF
HEAR WELL TALK IN A COUPLE OF DAYS |
|
|
TONY AND SEAN SHAKES HANDS AND PART WAYS |
|
|
|
|
INT. FEDS CAR - DAY |
|
SATORA WITH HIS HEAD TO SULLIVAN TO LEAVE |
|
|
|
|
81.
|
EXT. NICKY'S PLACE - NIGHT |
|
SEAN PULLS UP |
|
|
|
|
INT. FRONT BAR NICKY'S PLACE - DAY |
|
SEAN ENTERES THE PLACE HAS NO CUSTOMERS AND MARIA IS WIPING
DOWN THE BAR SEAN WALKS UP AND GIVES HER A KISS |
|
|
SEAN
ARE YOU SURE THIS WAS A GOOD IDEA |
|
|
|
|
|
SEAN
YOU WORKING HERE IT LOOKS LIKE
YOUR BAD FOR BUSINESS |
|
|
SEAN SMILES MARIA GOES TO SMACK HIM SEAN BACKING HIS FACE UP |
|
|
MARIA
(LAUGHING)
FUCK YOU SEAN |
|
|
|
SEAN
I'M ONLY KIDDING BABY |
|
|
SEAN BEGINS TO WALK TOWARD THE BACK |
|
|
|
|
MARIA
JUST TONY AND NICKY |
|
|
SEANS STOPS AND LOOKS TOWARD MARIA |
|
|
SEAN
(CONFUSED LOOK)
MY FRIEND TONY |
|
|
|
MARIA
(LOOK OF DISGUST)
YEAH.......YOUR FRIEND |
|
|
SEAN WALKS BACK TOWARD MARIA |
|
|
SEAN
YO WHATS YOUR PROBLEM WITH TONY |
|
|
82.
|
|
MARIA
I JUST DONT LIKE HIM |
|
|
|
SEAN
MARIA STOP THE SHIT HE'S A STAND
UP GUY AND HE'S MY GOOD FRIEND AS
LONG AS HE SHOWS YOU RESPECT YOU
RESPECT HIM BACK |
|
|
MARIA ROLLS HER EYES AND SHAKES HER HEAD SEAN CONTINUES
THROUGH VELOUR CURTAIN |
|
|
|
|
INT. LOUNGE ARE - NIGHT |
|
SEAN ENTERS CONTINUING TO WALK THROUGH THE LOUNGE TO ANOTHER
VELOUR CURTAIN WHERE THER IS A HALLWAY THAT LEADS TO THE
BACK POKER ROOM AND A DOOR TO THE BASEMENT |
|
|
|
|
INT. HALLWAY - NIGHT |
|
SEAN ENTERS THE HALLWAY AND HEARS TALKING HE NOTICES THE
DOOR TO THE BASEMENT IS SLIGHTLY OPEN HE WALKS UP TO THE
DOOR AND LISTENS |
|
|
|
|
INT. BASEMENT STCK ROOM NICKY'S PLACE - NIGHT |
|
|
NICKY
I THINK HE HAD SOMETHING TO DO
WITH THAT HIEST |
|
|
|
TONY
SO WHAT IF HE DID......THE KID
CANT EARN |
|
|
|
NICKY
I'M NOT SAYING HE CANT EARN GOD
BLESS HIM BUT ITS A COINSIDENCE
THAT NOT ONLY MY MONEY'S OFF THE
STREET BUT HE KNOCKED HIS BILL OFF
TWO WEEKS LATER |
|
|
|
|
|
83.
|
INT. HALLWAY - NIGHT |
|
SEAN STANDING BY THE DOOR |
|
|
SEAN
(UNDER HIS BREATH)
FUCK......SHIT |
|
|
SEAN WALKS BACK TOWARD DOWN THE HALLWAY MAKING NOISE SO HE
CAN BE HEARD |
|
|
|
|
|
|
INT. NICKY'S PLACE BASEMENT - NIGHT |
|
NICKY WALKING OVER TOWARD THE BOTTOM OF THE STAIRS |
|
|
|
|
|
|
|
SEAN COMES JOGGING DOWN THE STAIRS TONY TAKES HIS BELT OFF
AND WRAPS IT AROUND NICKY'S NECK NICKY GOES TO GRAB THE BELT
FROM HIS NECK AND STRUGGLING TO BREAK LOOS FROM TONY'S GRIP
SEAN STANDS THERE IS IN A BIT OF SHOCK |
|
|
|
TONY SWINGING NICKY AROUND AND THROWING HIM ON THE FLOOR
FACE DOWN WITH HIMSELF ON TOP OF HIM SEAN PACES BACK AND
FORTH NOT KNOWING WHAT TO DO |
|
|
|
TONY'S FACE BEAT RED AND HIS TEETH GRINDING FROM USES SO
MUCH STRENGTH NICKY'S BODY FINALLY RELAXES TONY LETS GO OF
HIS HOLD TAKES HIS BELT OFF OF NICK'S NECK STANDS UP AND
STARTS TO PUT IT BACK THROUGH THE LOOP OF HIS PANTS SEAN
SITS DOWN ON THE STEPS WITH HIS ELBOWS RESTING ON HIS KNEES
BENDS HIS HEAD DOWN THEN BACK UP WITH OPENING HIS MOUTH AND
HIS HANDS IN DISBELIEF |
|
84.
|
|
TONY
(A LITTLE OUT OF
BREATH)
YOUR GIRLS UPSTAIRS RIGHT |
|
|
|
|
TONY GOES IN TO HIS POCKET TAKES MONEY OUT AND THROWS AT
SEAN |
|
|
TONY
TAKE THIS TELL HER NICKY WANTS HER
TO GO BANK AND GET CHANGE AND THAT
YOUR GONNA WATCH THE FRONT AS SOON
AS SHE LEAVES |
|
|
TONY HADNS SEAN HIS CAR KEYS |
|
|
TONY
GET MY CAR AND BRING IT AROUND
BACK |
|
|
SEAN TURNS AND JOGS UP THE STAIRS TONY TURNS AROUND AND
LOOKS AT NICKY WHILE ADJUSTING HIS CLOTHES |
|
|
|
|
EXT. AIRPORT PASSENGER PICK UP - DAY |
|
|
|
|
INT. CAR - DAY |
|
STEVE AND KEVIN SITTING IN A CAR WAITING FOR HEAVY KEVIN
LOOKING INTO THE CROWD |
|
|
|
STEVE LOOKING TO THE RIGHT MOVING HIS HEAD A LIITLE BIT |
|
|
STEVE
(LAUGHING)
WATTA YOU THINK HE LOST FIFTY
POUNDS HE BEEN AWAY FOR A WEEK AND
A HALF |
|
|
|
KEVIN
NOT OVER THERE TO THE LEFT |
|
|
85.
|
STEVE LOOKING IN THE DIRECTION TO THE LEFT |
|
|
STEVE
O YEAH...... LOOK AT THAT THE
LIITLE FAT GUY LOST MAYBE TEN
POUNDS |
|
|
KEVIN SMIRKS |
|
|
|
STEVE BEGINS TO GET OUT OF THE CAR AND KEVIN QUICKLY GRABS
HIM BY THE ARM |
|
|
|
|
STEVE
WHAT WHATS THE MATTER |
|
|
|
|
KEVIN POINTING WITH HIS HEAD STEVE LOOKING TWO GUYS IN SUITS
GRAB HEAVY BY HIS ARMS |
|
|
|
STEVE AND KEVIN SLOUCH DOWN IN THIER SEATS A LITTLE BIT |
|
|
KEVIN
YOU FUCKIN BELIEVE THIS |
|
|
STEVE LOOKING RIGHT AT HEAVY |
|
|
|
|
EXT. AIPORT PASSENGER PICK UP - DAY |
|
THE TWO GUYS IN SUITS BEGIN TO ESCORT HEAVY AWAY HEAVY TURNS
HIS HEAD A BIT AND LOOKS THROUGH THE CROWD RIGHT AT STEVE
AND WINKS HIS EYE |
|
|
|
|
INT. CAR - DAY |
|
STEVE LOOKING IN HEAVY'S DIRECTION |
|
86.
|
|
STEVE
HE LOOKED RIGHT AT ME |
|
|
|
|
|
STEVE
NOT THE FEDS HEAVY (PAUSE) HEAVY
LOOKED RIGHT AT ME (PAUSE) COME ON
LETS GO |
|
|
KEVIN BEGINS TO PULL AWAY |
|
|
|
|
INT. SPA - DAY |
|
SEAN AND MARIA STANDING BY THE COUNTER TALKING TO A MAN AND
HIS WIFE PEOPLE WALKING PAST IN THE BACKROUND KEVIN AND
STEVE ENTER KEVIN WALKING UP TO MARIA KISSING HER ON THE
CHEEK THEN TURNING TO SEAN |
|
|
KEVIN
HEY EXCUSE ME GUYS SEAN YOU GOT A
MINUTE |
|
|
SEAN LOOKING AT KEVIN AND STEVE NOTICING HEAVY AND WITH THEM |
|
|
SEAN
YEAH COME ON WE'LL GO TO MY OFFICE |
|
|
LOOKING BACK TOWARD MARIA AND THE COUPLE |
|
|
|
SEAN BEGINS TO WALK AWAY FOLLOWING KEVIN AND STEVE |
|
|
|
|
INT. SEANS OFFICE SPA - DAY |
|
KEVIN STEVE AND SEAN ENTER SEAN CLOSES THE DOOR THEN GOING
TO THE SMALL WINDOW AND CLOSING THE BLINDS |
|
|
KEVIN
THEY GRABBED HEAVY AT THE AIRPORT |
|
|
SEAN TURNING AROUND |
|
87.
|
|
|
SEAN THROWS HIS ARMS UP WITH HIS HANDS OPEND SHAKES HIS HEAD
THEN COMING DOWN SLAPPING HIS HANDS ON HIS DESK RESTING THEM
THERE AS HE BENDS OVER |
|
|
SEAN
WHERE?WHAT?WHAT HAPPENED |
|
|
|
STEVE
WE WENT TO PICK HIM UP(PAUSE) WE
WERE WAITING FOR HIM...THEY
GRABBED HIM ON THE WAY TO THE CAR |
|
|
SEAN LETS OUT A BREATH AND SITS IN HIS CHAIR LOOKING
STRAIGHT |
|
|
|
SEAN LOOKS AT KEVIN |
|
|
SEAN
WATTA YOU MEAN NOW WHAT? (PAUSE)WE
WAIT |
|
|
THERES A MOMENT OF SILENCE AS SEANS THINKING |
|
|
|
|
EXT. MCC - DAY |
|
TRAFFIC PASSING BY PEOPLE WALKING UP AND DOWN THE STEPS IN
AND OUT OF THE BUILDING HORNS BLOWING ECT. |
|
|
|
|
INT. INTERGATION ROOM MCC - DAY |
|
HEAVY SITTING IN A ROOM WITH ALL WHITE WALLS AND NO WINDOWS
LOOKING AT HIS NAILS TWO FEDS WALK IN WITH YELLOW ENVOLOPES
IN THERE HANDS ONE OF THE FEDS PULL A CHAIR UP AND TAKES A
SEAT FACE TO FACE WITH HEAVY |
|
|
AGENT SATORA
MR.PUCHIO I'M GONNA INTRODUCE MY
SELF AGAIN I'M AM AGENT SATORA |
|
|
SATORA LOOKS UP AT SULLIVAN |
|
88.
|
|
AGENT SATORA
AND THIS IS AGENT SULLIVAN |
|
|
HEAVY LOOKING AT SATORA |
|
|
AGENT SATORA
ALRIGHT(LICKS HIS LIPS)I SEE WE'RE
NO GONNA BE FRIENDLY SO WE'LL GET
STRAIGHT TO THE POINT |
|
|
SULLIVAN HANDS SATORA THE ENVOLOPES SATORA OPENS IT AND SHOW
THE CONTENTS TO HEAVY HEAVY JUST LOOKS AT THEM |
|
|
AGENT SATORA
DO YOU KNOW WHAT YOUR LOOKING AT |
|
|
HEAVY LOOKS AT HIS NAILS AGAIN |
|
|
AGENT SATORA
I TELL YOU WHAT YOUR LOOKING.YOUR
LOOKING AT LIFE POSSABLY THE DEATH
PENALTY IF YOU DONT START TALKING |
|
|
HAEVY YAWNS THEN THERES A MOMENT OF SILENCE |
|
|
AGENT SATORA
OK(PAUSE) HOW ABOUT YOU AT LEAST
TELL ME WHY ON THREE DIFFERENT
OCCASIONS YOUR CAR WAS CAUGHT BY A
RED LIGHT CAMERA FOUR TO FIVE
TIMES A DAY FROM THE HOURS |
|
|
MAKES A WISE LOOKING FACE |
|
|
AGENT SATORA
LETS SAY NINE AM TO MAYBE AROUND
THREE PM PARKED IN A SPOT RIGHT AT
THE INTERSECTION OF MAIN ST AND
THE DRIVEWAY OF A DINER THATS SITS
DIRECTLY ACROSS THE STREET FROM A
BANK WHERE THERE WAS A AMORED
TRUCK HIEST THAT LEFT ONE OF THE
GUARDS BY COINCIDENCE THAT HAPPENS
TO BE A COUSIN TO A FRIEND OF
YOURS THAT NORMALLY DOES'NT CARRY
A LOADED WEAPON DEAD |
|
|
HEAVY IN A DEAD STARE AT SATORA |
|
|
AGENT SATORA
AND YOU WANNA KNOW THE BEST PART
(PAUSE)THE SHOOTER(PAUSE) HE WAS
FAT |
|
|
89.
|
|
HEAVY
I'M SORRY YOU SAID YOUR NAME WAS
SATORA |
|
|
|
AGENT SATORA
YES SATORA AND SULLIVAN |
|
|
|
|
|
AGENT SATORA
WELL(PAUSE) WERE GONNA GO GET A
BITE TO EAT AND GIVE YOU SOME
ALONE TIME TO THINK ABOUT WHAT WE
SPOKE ABOUT AND WHEN WE COME BACK
WE'LL MAKE OUR DECISION |
|
|
SATORA STANDS UP THEN HEAVY STANDS UP |
|
|
|
|
AGENT SATORA
AND WHATS THAT |
|
|
|
HEAVY
I'M GONNA LEAVE AND GO GET MYSELF
SOMETHING TO EAT AND YOU GUYS CAN
SIT HERE AND THINK ABOUT WHAT YOU
SPOKE ABOUT |
|
|
HEAVY BEGINS TO WALK OUT SATORA STILL LOOKING STRAIGHT AND
SULLIVAN TURNS TO WATCH HIM |
|
|
AGENT SATORA
CAN I ASK YOU SOMETHING |
|
|
HEAVY TURNS AROUND |
|
|
HEAVY
WHY WOULD I STOP YOU NOW |
|
|
|
AGENT SATORA
WHY DID YOU AGREE TO COME WITH US
FOR QUESTIONING |
|
|
|
HEAVY
THERES ONE THING I LEARNED GROWING
UP IF SOMEONE IS WILLING TO TALK
YOU CAN GET SMART BY
LISTENING...GOOD NITE GENTLEMEN |
|
|
90.
|
HEAVY WALKS OUT THE DOOR SULLIVAN WATCHES SATORA THROWS THE
PICTURES |
|
|
|
|
EXT. TONY'S CONSTRUCTION SITE - DAY |
|
SEAN LEANING UP AGAINST THE HOOD OF HIS CAR AND TONY WALKS
OVER
SEAN LEANS UP OF HIS CAR AND THEY START WALKING SLOWLY
THROUGH THE SITE |
|
|
TONY
YOU DONT LOOK GOOD WHATS A MATTER |
|
|
|
SEAN
THE FEDS GRABBED HEAVY WHEN HE GOT
OFF THE PLAIN YESTERDAY |
|
|
|
|
|
SEAN
I HEARD HE GOT OUT A FEW HOURS
LATER BUT WE HAVENT HEARD FROM HIM
YET |
|
|
|
|
|
SEAN
YEAH IT GOES STRAIGHT TO VOICE
MAIL |
|
|
TONY AND SEAN STOP WALKING THEY TURN TO EACHOTHER |
|
|
TONY
THE FEDS NORMALLY DONT COME FOR
YOU UNLESS THEY HAVE YOU UNLESS
THIER HAVING A VERY HARD TIME
BUILDING A CASE AND THEY TRY TO
SCARE ONE OUT OF YOU OR TWO HE
WENT BAD AND THEY GOT A VERY CLOSE
EYE ON HIM WHILE HE'S OUT HERE
HELPING THEM DIG A LITTLE DEEPER |
|
|
|
|
|
TONY
DID YOU ASK HIM TO DO THIS WITH
YOU BECAUSE YOU TRUSTED HIM OR
BECAUSE YOU JUST NEEDED ANOTHER
(MORE)
|
|
91.
|
|
|
|
SEAN
BECAUSE I TRUSTED HIM |
|
|
|
TONY
DOE YOU REMEMBER WHEN I TOLD YOU
THAT I TRUST YOU AND IF I EVER
FELT YOU WERE A THREAT TO ME I
WOULD KILL YOU LIKE MY WORST ENEMY |
|
|
|
|
|
TONY
ONLY YOUR GONNA KNOW WHAT YOU FEEL |
|
|
SEAN REACHES OUT AND SHAKES TONY'S HAND AND GIVES HIM A HUG
AT THE SAME TIME LETS GO AND WALKS AWAY TONY WATCHING HIM |
|
|
|
|
INT. SEAN'S OFFICE SPA - NIGHT |
|
SEAN GOING OVER RECIETS USING A CALCULATOR GOING THROUGH
BILLS ADDING AND SUBTRACTING ADDING AND SUBTRACTING
FUSTRATED HE PUSHES ALL THE PAPERWORK ON THE FLOOR AND
THROWS THE CALCULATOR AGAINST THE WALL |
|
|
SEAN
(TALKING TO
HIMSELF)
HOW COULD THIS BE (PAUSE) HOW THE
FUCK IS THIS POSSABLE FIRST ITS A
THOUSAND A WEEK AND NOW ITS TWO
THSI FUCKING GIRL GOTTA BE KIDDING
ME I WOULD DO ANYTHING FOR HER
ANTYTHING |
|
|
SEAN STANDS UP LEANING AGAINST THE WALL WITH HIS HANDS MARIA
WALKS IN |
|
|
|
SEAN WITH HIS BACK TOWARD MARIA |
|
|
|
MARIA STARING AT HIM |
|
92.
|
|
SEAN
I JUST GOT ALOT GOING ON RIGHT NOW
I'LL BE FINE |
|
|
|
|
|
MARIA
YEAH I'LL TALK TO YOU LATER |
|
|
MARIA LOOKING UPSET |
|
|
|
SEAN STANDS THERE WITH NO REPLY MARIA EYES WATER UP SHE
TURNS AND WALKS OUT THERE IS A SLIGHT DELAY THEN SEANS PHONE
RINGS A FEW TIMES HE SEEMS TO BE IGNORING IT THEN HE ANSWERS |
|
|
SEAN
(DISGUSTED/RUN
DOWN)
YEAH |
|
|
|
|
|
INT. EMERCENCY ROOM - NIGHT |
|
STEVE ON A PAY PHONE |
|
|
|
|
SEAN
(OFF SCREEN)
WHERE YOU CALLING ME FROM |
|
|
|
STEVE
THE EMERGENCY ROOM HEAVY HAD A
HEART ATTACK |
|
|
|
|
|
INT. SEANS OFFICE SPA - NIGHT |
|
|
SEAN
JESUS CHRIST WHEN IS HE ALRIGHT |
|
|
|
STEVE
(OFF SCREEN)
YEAH HE'S FINE HE SAID HE GRABBED
A CAB AFTER HE GOT OUT OF MCC AND
(MORE)
|
|
93.
|
|
STEVE (cont'd)
FELT CHEST PAINS SO THE CABBIE
TOOK HERE |
|
|
|
|
|
|
|
INT. EMERCENCY ROOM - NIGHT |
|
|
STEVE
DONT BOTHER SEAN THERE RELEASING
HIM I'M GONNA TAKE HIM HOME |
|
|
|
|
|
INT. SEANS OFFICE SPA - NIGHT |
|
|
SEAN
ALRIGHT UH LISTEN CALL KEVIN AND
TELL HEAVY IF HE'S UP TO IT I
WANNA MEET TOMORROW NITE THE SAME
PLACE WE LAST HAD A DISCUSSION
ABOUT HIM AND BRING BAG |
|
|
|
STEVE
(OFF SCREEN)
WHAT TIME |
|
|
|
SEAN
I'LL BE THERE AROUND ELEVEN BUT IF
YOU WANT GET THERE EARLY SO MY
FRIEND CAN LEAVE |
|
|
|
STEVE
(OFF SCREEN)
YOU GOT IT |
|
|
SEAN HANGS THE PHONE UP AND WALKS TOWARD THE DOOR AND SHUTS
THE LIGHT |
|
|
|
|
EXT. SPA - NIGHT |
|
LIGHTS GO OFF THEN SEAN EXITS TO A DARK DESERTED STREET HE
TURNS AND LOCKS THE DOOR STEPS BACK AND TO THE SIDE PUTS A
KEY IN A BOX AND TURNS IT SO THE GATES COME DOWN STEPS BACK
TO WATCH THE GATE GO DOWN ALL THE WAY HE BEGINS TO TURN
|
94.
|
AROUND AND AGENT SATORA IN PLAIN STREET CLOTHES IS FACE TO
FACE WITH HIM |
|
|
|
|
|
|
AGENT SATORA
I'M NOT ASKING |
|
|
|
|
SATORA GOES INTO HIS POCKET AND HANDS SEAN A PIECE OF PAPER
THEN GOES INTO HIS OTHER POCKET AND HANDS HIM A TAPE
RECORDER |
|
|
AGENT SATORA
CALL ME IF YOU WANNA TALK THIS IS
JUST A LITTLE GIFT |
|
|
SEAN LOOKS AT THE RECORDER THEN OPENS THE PAPER UP THERE IS
JUST A PHONE NUMBER HE LOOKS UP AND SATORA GETS IN HIS CAR
AND PULLS AWAY |
|
|
|
|
INT. SEANS BEDROOM - DAY |
|
THE ALARM SOUNDS FOR A FEW SECONDS SEAN ROLLS OVER AND SHUTS
IT OFF AND TAKES NOTICE OF THE RECORDER HE GRABS IT AND
STARES AT IT WITH HIS FINGER ON THE PLAY BUTTON BUT NEVER
PUSHES IT HE PUTS IT BACK ON THE NITE STAND AND GETS OUT OF
BED |
|
|
|
|
EXT. STREET - DAY |
|
SEAN WALKING DOWN THE STREET AND JUST TAKING NOTICE TO ALL
THEY HAPPY COUPLES WALKING AND HOLDING HANDS LITTLE KIDS
WITH THIER FATHERS AND MOTHERS PEOPLE LAUGHING AND JUST
ENJOYING THIER DAY AS IF THEY DONT HAVE A CARE IN THE WORLD
HE THEN COMES ACROSS A JEWLERY STORE WHERE THER IS A DIMOND
RING SITTIN IN THE DISPLAY HE STOPS AAND STARES THEN SHAKES
HIS HEAD AND CONTINUES WALKING HE COMES UP TO A PUB LOOKS
AND DECIDES TO GO INSIDE |
|
|
|
|
95.
|
INT. PUB - DAY |
|
HE TAKES A SEAT AT THE BAR AND ORDERS A DRINK THEN ANOTHER
THEN A SHOT HE GOES INTO HIS POCKET AND TAKES THE RECORDER
OUT AND STARES AT IT HE PUTS IT BACK AND ORDERS ANOTHER SHOT
HE STANDS UP TAKES MONEY OUT OF HIS POCKET AND PUTS A
HUNDREAD ON THE BAR THE BARTENDER WALK UP TAKES THE MONEY
FROM THE BAR AND SEAN BEGINS TO WALK OUT WITH THE BARTENDER
WAVING THANKYOU FROMBEHIND SEAN ACKNOWLEDGES BY RAISING HIS
HAND AS HE WALS OUT THE DOOR |
|
|
|
|
INT. SEANS CAR - DAY |
|
SEANS DRIVING DOWN AN OPEN ROAD AND APPEARS TO BE DOING ALOT
OF THINKING LOOKING UP AT THE SKY OUT THE WINDOWS AT THE
TREES NOTICING THE SUNS SETTING AND LOOKING THROUGH AN OPEN
FIELD AT THE HORIZON HE TURNS HIS HEAD AND TAKES A LOOK AT
THE PASSENGER SEAT WHERE THE RECORDER SITS HESTARES AT IN
FOR A SECOND THEN GRABS IT AND PULLS OVER |
|
|
|
|
EXT. SIDE OF THE ROAD - NIGHT |
|
SEAN LOOKS AT THE RECORDER AND HITS PLAY |
|
|
|
|
INT. NICKY'S PLACE POKER ROOM - DAY |
|
NICKY SITTING AT THE POKER TABLE SMOKING A CIGERETTE TONY
WALKS IN |
|
|
|
NICKY STANDS UP AND EXTENDS HIS HAND TONY REACHES OUT AND
SHAKES NICKY'S HAND |
|
|
NICKY
YEAH TONY YOUR COWBOYS GOOD FRIEND
HOW YOU DOIN I HEARD ALOT ABOUT
YOU |
|
|
THEY BOTH TAKE A SEAT |
|
|
|
96.
|
|
NICKY
WHAT CAN I DO FOR YOU |
|
|
|
TONY
ROOMER HAS IT THE KID BEEN PLAYING
CARDS, BETTING SPORTS AND LOST A
TON OF MONEY |
|
|
|
NICKY
ITS NOT A ROOMER THE KID WENT FOR
HIS LUNGS HE LOST OVER THREE
HUNDREAD LARGE IN THE PAST SIX
MONTH EASY |
|
|
|
|
|
INT. SEANS CAR SIDE OF ROAD - NIGHT |
|
SEAN WITH HIS HEAD LEANING BACK ON THE HEAD REST CONTINUING
TO LISTEN TO THE TAPE |
|
|
TONY
DOES HE OWE YOU ANYTHING |
|
|
|
NICKY
SIXTY THOUSAND.... ITS NOTHING |
|
|
|
TONY
YEAH WELL I WANNA TAKE CARE OF IT
FOR HIM |
|
|
SEAN LOOKING DEPRESSED BUT MANAGES TO PUT A SMIRK ON HIS
FACE |
|
|
|
|
INT. NICKY'S POKER ROOM - DAY |
|
NICKY LEANS UP OUT OF HIS CHAIR |
|
|
NICKY
HEY TONY LISTEN I KNOW THE KID IS
A GOOD FRIEND OF YOURS
BUT(PAUSE)THE THING IS HE'S PAYING
TWENTY-FOUR HUNDREAD A WEEK
(PAUSE) I MEAN THIS IS BUSINESS I
TELL YOU WHAT I MADE ABOUT
FORTY-EIGHT BACK IN VIG ALREADY
YOU GIVE ME THE TWELVE AND WE GO
HALF AND HALF ON THE VIG PLUS WERE
PARTNERS ON THE SIXTY |
|
|
97.
|
|
|
|
INT. SEANS CAR SIDE OF THE ROAD - NIGHT |
|
SEAN PICKS HIS HEAD UP OFF THE HEAD REST AND LOOKS AT THE
RECORDER |
|
|
|
|
NICKY
EVERY WEEK HE OPENED UP THE SPA A
COUPLE OF MONTHS AGO HE'S
COLLECTING FOR ME YOUR BOYS DOING
ALRIGHT |
|
|
|
|
|
NICKY
THE NEW SPA OVER ON THE AVE HIS
FRIEND HEAVY AND HIS GIRL RUN IT
WHY YOU DIDNT KNOW ABOUT IT |
|
|
|
TONY
I HAVENT TALKED TO HIM IN A
WHILE(PAUSE)HIS GIRL ITS THE SAME
GIRL HE BEEN TALKING TO |
|
|
|
NICKY
YEAH MARIA SHE'S A PIECE OF ASS |
|
|
|
TONY
YEAH I REMEMBER I WANTED TO BANG
RIGHT IN THE ASS WHEN I MET HER YA
NEVER KNOW MAYBE I STILL WILL |
|
|
SEAN GETTING FURIOUS |
|
|
NICKY
YOU HAVE A BETTER CHANCE BANGIN
HIS FRIEND HEAVY THAT GIRL MARIA
SHE WOULD DIE HIM |
|
|
|
TONY
SHE WOULD DIE FOR HIM HUH AND WHAT
ABOUT THIS HEAVY U GOT A NUMBER
FOR HIM |
|
|
NICKY GRABS A PEN AND PAPER LOOKS THROUGH HIS PHONE AND
RIGHTS IT DOWN AND SLIDES IT TO TONY |
|
98.
|
|
TONY
ALRIGHT NICKY WE GOTTA DEAL I'LL
PASS BY ONCE A MONTH TO SEE YA |
|
|
THE TAPE STOPS AND SEAN THROWS THE CAR INTO DRIVE AND FLOORS
IT MAKING A U-TURN |
|
|
|
|
INT. SPA - NIGHT |
|
MARIA WALKS THE LAST CUSTOMER OF THE NITE TO THE DOOR
FOLLOWING BEHIND IS A GIRL MASOUSE MARIA TURNS TOWARD THE
MASOUSE |
|
|
MARIA
JUST WALK HIM OUT AND LOCK UP
BEHIND YOU'S PLEASE |
|
|
THE MASOUSE ACKNOWLEDES WITH A WAVE MARIA TURNS AROUND AND
BEGINS SWEEPING STEVE IS SITTING ON THE SOFA WITH A DUFFEL
BAG NEXT TO HIM STARING AT MARIA'A ASS . MARIA GRABS A THE
DUST PAN AND BENDS OVER TO SWEEP THE DIRT IN TO |
|
|
STEVE
MARIA CAN I TELL YOU SOMETHING |
|
|
|
|
|
STEVE
ITS KINDA LIKE A SECRET SO CAN YOU
KEEP IT BETWEEN ME AND YOU |
|
|
MARIA WALKS OVER AND SITS NEXT TO STEVE |
|
|
|
|
STEVE
YOU KNOW FOR A LONG TIME I ALWAYS
IMAGINED WHAT YOU WOULD LOOK LIKE
NAKED |
|
|
MARIA GETS UP OF THE SOFA WITH A DISTURBED LOOK AND
CONTINUES TO SWEEP |
|
|
MARIA
STEVE YOUR A FUCKIN PIG AND I DONT
APPRECIATE YOU TALKING TO ME LIKE
THAT |
|
|
99.
|
|
|
|
INT. SEANS CAR DRIVING - NIGHT |
|
|
SEAN
(TALKING TO
HIMSELF)
THIS FUCKING SCUMBAG MOTHER FUCKER
AND HE SUPPOSE TO BE STAND UP |
|
|
SEAN MAKING A TURN AT A HIGH RATE OF SPEED |
|
|
|
|
INT. SPA - NIGHT |
|
STEVE LAUGHING WALKIG OVER TO THE STEREO TURNING ON THE
MUSIC THEN WALKING UP BEHIND MARIA AND GRABING HER ASS |
|
|
STEVE
WOULD YOU APPRECIATE THIS MORE |
|
|
|
|
|
INT. SEAN CAR - NIGHT |
|
SEAN TURNING INTO THE COMMUNITY DRIVE BEHIND HIS SPA |
|
|
SEAN
MAYBE I SHOULD JUST FUCKIN KILL
THIS MOTHER FUCKER TAKES ME FOR A
JERK OFF RUN ME AROUND LIKE A
NIGGER |
|
|
SEAN PARKS AND GETS OUT WALKING UP TO THE BACK DOOR OF HIS
SPA |
|
|
|
|
INT. SPA - NIGHT |
|
|
STEVE
WHAT THE FUCK YOU SMACK ME FOR YOU
LIKE IT RUFF |
|
|
STEVE TAKES MARIA AND THROWS HER ON THE SOFA |
|
100.
|
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MARIA
(SCREAMING/CRYING)
STEVE GET THE FUCK OFF ME WHATS
WRONG WITH YOU DONT TOUCH ME |
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SEAN WALKS IN AND HEARS STEVE TALKING LOUD AND MARIA
SCREAMING |
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STEVE
(OFF SCREEN)
COME ON MARIA YOU KNOW YOU WANT
BITCH |
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MARIA
(SCREAMING/CRYING)
PLEASE STEVE STOP GET OFF OF ME |
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SEAN ENTERS THE ROOM AND SEE'S STEVE ON TOP OF MARIA WITH
HIS PANTS OPEN MARIA FIGHTING STEVE OFF SEAN WALKS OVER TO
STEVE GRABBING HIM AND THROWING HIM AGAINST THE WALL SEAN
REACHES IN HIS PANTS AND PULLS OUT A GUN COCKS IT WALKS UP
TO STEVE |
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SEAN
(YELLING)
WHAT THE FUCK IS WRONG WITH YOU
WHAT THE FUCK STEVE THATS MY
FUCKING GIRL YOU MOTHER FUCKER POP
POP POPOPOPOPOPOPOP |
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STEVES BODY JERKING AS HE'S BEING SHOT THEN SLOWLY SLIDES
DOWN THE WALL SLOUCHED OVER WITH BLOOD STREAKS ON THE WALL |
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MARIA
(CRYING/IN SHOCK)
O MY GOD SEAN O MY GOD |
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SEAN TURNS AROUND TO MARIA AND WALKS UP TO HER |
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SEAN
(YELLING)
AND WHAT ABOUT YOU MARIA WHAT THE
FUCK ABOUT YOU |
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MARIA
(CRYING/CONFUSED)
O MY GOD SEAN I DIDNT DO ANYTHING
HE ATTCKED ME YOU SEEN IT WITH
YOUR OWN EYES |
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SEAN
(YELLING)
NOT THAT MARIA YOUR FUCKING
ROBBING ME YOUR ROBBING ME MARIA
(MORE)
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101.
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SEAN (cont'd)
FIRST A THOUSAND A WEEK THEN IT
WAS'NT ENOGH YOU HAD GO FOR TWO
TWO FUCKIN THOUSAND A WEEK FROM ME
FROM ME MARIA I GAVE YOU
EVERYTHING I HAD I'D DO ANYTHING
FOR YOU AND THIS IS HOW YOU REPAY
ME |
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HEAVY COMES BARGING IN AIMING HIS GUN AROUND |
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HEAVY
(YELLING)
WHAT THE FUCK IS GOING ON |
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SEAN TURNS AND STRAIGHTENS HIS ARM OUT WALKS RIGHT UP TO
HEAVY WITH THE GUN RIGHT TO HEAVY'S FACE |
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SEAN
(YELLING)
OPEN YOUR FUCKIN SHIRT HEAVY OPEN
IT NOW |
|
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HEAVY
(YELLING)
GET THAT FUCKING GUN OUT OF MY
FACE SEAN |
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SEAN
(YEALLING)
NOW OPEN YOUR FUCKING SHIRT I AINT
PLAYING |
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HEAVY OPENING HIS SHIRT SEAN CHECKS HIM FOR WIRES |
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MARIA
(O/S
CRYING/YELLING)
SEAN PLEASE |
|
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SEAN
NOW DROP YOUR FUCKING PANT |
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HEAVY
WHAT THE FUCK IS WRONG WITH YOU
MAN WHAT THE FUCK SEAN |
|
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HEAVY UNBUTTONS HIS PANTS AND DROPS THEM AROUND HIS ANKLES
SEAN PATS HIM DOWN AND AROUND HIS UNDERWEAR |
|
102.
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HEAVY
(TALKING LOUD)
I CANT BELIEVE YOU |
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HEAVY BEGINS TO PICK HIS PANTS UP AS SEAN PUTS THE BUTT OF
HIS GUN AND WALKS OVER TO MARIA AND SITS DOWN ON THE SOFA
NEXT TO HER |
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SEAN
(RUN DOWN&DISRAUT)
EVERYTHINGS GOING WRONG |
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MARIA
(SOBBING)
BABY...BABY ARE YOU OK |
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HEAVY WALKS OVER STEVE |
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|
HEAVY
YO SEAN I KNOW YOUR NOT FEELING
RIGHT BUT WE GOTTA DO SOMETHING
WITH HIM AND WHAT THE FUCK
HAPPENED |
|
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MARIA
(SOBBING)
HE TRIED TO RAPE ME |
|
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HEAVY PULLS HIS GUN OUT AND POPS STEVE FIVE MORE TIMES THEN
KICKS HIM IN THE HEAD TWICE WHILE MARIA GRABS ON TO SEAN AND
START TO CRY HYSTERICLE |
|
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HEAVY WALKS OVER TO MARIA AND STEVE AND GETS DOWN ON ONE
KNEE |
|
|
HEAVY
SEAN LISTEN TO ME I DONT KNOW WHAT
HAPPENED TO YOU IN THE LAST
TWENTY-FOUR HOURS BUT WE GOTTA GET
RID OF HIM NOW |
|
|
SEAN LOOKS AT MARIA |
|
103.
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|
SEAN
BE HONEST WITH ME LOOK ME IN MY
EYES AND TELL ME YOU WERE ROBBING
ME |
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|
HEAVY STANDING UP AND BACKING UP IN SHOCK LOOKING AT MARIA
THERE IS A SLIGHT DELAY THEN MARIA LOOKS AT SEAN WITH TEARS
ROLLING DOWN HER FACE MARIA GETS UP AND WALKS BEHIND THE
COUNTER AND GRABS HER BIG POCKET BOOK WITH SEAN AND HEAVY
WATCHING SHE WALKS BACK OVER SITTING DOWN NEXT TO SEAN WITH
THE BAG RESTING ON HER LAP LOOKING AT SEAN IN HIS EYES WITH
SUCH HURT |
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MARIA
(SOBBING)
DO YOU REMEMBER THE DAY I ASKED
YOU IF I COULD WORK BY NICKY'S
CAUSE I COULD REALLY USE THE MONEY |
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SEAN JUST LOOKING AT MARIA |
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MARIA
WELL TONY WAS HERE HE THREATENED
ME WITH YOUR LIFE AND SAID HE WAS
GONNA START TAKING A THOUSAND A
WEEK FROM THE PLACE AND IF I TOLD
YOU HE WOULD KILL YOU |
|
|
SEAN LOOKS AT HEAVY WITH A FIERCE LOOK IN HIS EYES |
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MARIA
IT STARTED WITH A THOUSAND SEAN
AND THEN A COUPLE OF WEEKS AGO HE
CAME IN AND SAID THE COST OF
PROTECTING YOU JUST WENT UP AND HE
STARTED TAKING TWO |
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|
SEAN GETS UP WITH RAGE PACES BACK AND FORTH |
|
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MARIA
SEAN I WANTED TO WORK BY NICKY'S
PLACE SO I COULD HELP YOU |
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MARIA OPENS HER BAG AND SHOWS SEAN IT'S FILLED WITH STACKS
OF MONEY |
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MARIA
(CRYING)
EVERY PENNY I EARNED IS RIGHT HERE
I SWEAR I NEVER EVEN SPENT A
DOLLAR ON MY SELF IT WAS ALL FOR
YOU O GOD SEAN I LOVE YOU |
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|
104.
|
MARIA STANDS UP AND GRABS SEAN WITH SUCH A TIGHT HOLD
SHAKING WITH HER HEAD IN HIS CHEST SEAN GRABS HER TIGHTLY
BACK |
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SEAN
(VERY STERN)
MARIA I LOVE YOU MORE NOW THEN I
DID YESTERDAY AND I'M GONNA LOVE
YOU MORE TOMORROW THE I DO TODAY |
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|
HEAVY LOOKS AT SEAN AND MARIA |
|
|
SEAN
HEAVY BRING YOUR CAR AROUND BACK |
|
|
SEAN WALKS OVER TO THE SOFA AND GRABS MARIA'S BAG AND PUTS
IT INSIDE THE DUFFLE BAG THEN HANDS IT TO MARIA |
|
|
SEAN
GO RIGHT HOME AND DONT MOVE TILL I
COME AND GET YOU |
|
|
SEAN KISSES HER ON THE FOREHEAD |
|
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|
INT. HEAVY'S CAR - NIGHT |
|
HEAVY IN THE DRIVERS SEAT AND SEAN IN THE PASSENGERS SEAT
PARKED DOWN THE BLOCK FROM THE SPA AS THEY WATCH THE PLACE
BURN AFTER SEAN SETTING IT A FIRE HEARING FIRE ENGINE COMING
FROM A DISTANCE SEAN LOOKS AT HEAVY |
|
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EXT. HEAVY'S CAR - NIGHT |
|
IN A DESERTED WOODED AREA HEAVY AND SEAN TOSSES STEVE'S BODY
IN TO A HOLE THEY JUST DUG AS HEAVY BENDS DOWN TO GRAB A
SHOVEL SEAN PUMPS A BULLET INTO HEAVY'S BACK HEAVY FALLS IN
THE HOLE ON TOP OF STEVE FACE UP GASPING FOR AIR LOOKING AT
SEAN,SEAN WITH HIS GUN STILL AIMED AT HEAVY'S HEAD REACHES
DOWN AND PULLS A RECORDER FROM HEAVY'S POOCKET SEAN THEN
STANDS UP LOOKS AT HEAVY AND PUNPS TWO MORE SHOTS INTO HIS
HEAD HE THEN REACHES FOR THE SHOVEL AND STARTS BACK FILLING
THE HOLE |
|
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105.
|
EXT. TONY'S CONSTRUCTION SITE - NIGHT |
|
TONY STANDING IN FRONT OF HIS CAR WITH THE LIGHTS ON, SEAN
PULLS IN WITH HIS LIGHTS ON AND NOSES UP TO TONY KEEPING
ABOUT FIVE FEET BETWEEN THEM SEAN EXITS AND WALKS UP AND
LEANS ON THE FRONT OF HIS CAR WITH HIS HANDS CROSSED OVER IN
FRONT OF HIS WAIST |
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TONY
WHY WHAT SEAN WHAT ARE YOU TALKING
ABOUT |
|
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SEAN
WHY'D YOU GO SEE NICKY WITH SUCH
GOOD INTENTIONS AND LET THEM TURN
BAD |
|
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TONY
GOOD INTENTIONS TURN BAD WHAT ARE
YOU SAYIN SEAN |
|
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SEAN
THEN YOU COME TO MY PLACE SHAKE MY
GIRL DOWN AND THREATEN HER WITH MY
LIFE YOU EXTORT ME! |
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TONY GOES TO MOVE AND SEAN GRABS A GUN FROM HIS OWN WAIST
RAISES HIT AND POINTS IT AT TONY'S HEAD |
|
|
SEAN
(AGNGRILY)
DONT FUCKIN MOVE TONY |
|
|
TONY STOPS |
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|
TONY
YOUR GONNA SHOOT ME SEAN |
|
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|
SEAN
IF I FEEL YOUR A THREAT TO ME LIKE
MY WORST EMENY REMEMBER THAT TONY |
|
|
TONY LAUGHS |
|
|
SEAN
LET ME ASK YOU TONY WERE YOU GONNA
KILL ME LIKE YOU KILLED NICKY YOUR
BROTHER-IN-LAW AND HIS PARTNER OR
(MORE)
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|
106.
|
|
SEAN (cont'd)
WERE YOU JUST GOT HAVE ME BE YOUR
FUCKIN NIGGER |
|
|
THE BACK DOOR TO SEANS'S CAR OPENS AND SOMEONE GETS OUT
THIER WALKING TOWARD THE FRONT OF THE CAR BUT TONY CANT MAKE
OUT WHO IT IS UNTILL AGENT SATORA REACHES THE FRONT OF THE
CAR HOLDING A DUFFLE BAG IN HIS HAND |
|
|
AGENT SATORA
HOW YA DOIN TONY |
|
|
SEAN DROPS HIS GUN FROM PINTING AT TONY TONY LOOKS AT SEAN |
|
|
TONY
YOU FUCKIN RAT YOU CO-OPERATING
MUTHER FUCKING RAT |
|
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|
SEAN
A RAT IS SOMEONE WHO TESTIFIES AND
PUTS SOMEONE AWAY YOUR NOT PAYING
WITH TIME TONY YOUR GONNA PAY WITH
YOUR LIFE |
|
|
SATORA PULLS HIS GUN OUT AND AIMS IT AT TONY |
|
SATORA HANDS SEAN THE BAG SEAN OPENS IT AND TAKES NOTICE TO
PHOTO'S SURVALINCE TAPES RECORDERS EVERYTHING THAT LOOKS
LIKE EVIDENCE AGAINST HIM |
|
|
|
|
TONY
WHAT THE FUCK IS THAT |
|
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|
AGENT SATORA
EVERYTHING YOUR A FREE MAN |
|
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|
TONY
YOR GONNA FUCKING TRUST THIS
MOTHER FUCKER SEAN |
|
|
SATORA SHOOTS TONY NUMEROUS AMOUNT OF TIMES WITH TONY
JERKING UP AGAINST HIS CAR THEN FALLING DEAD ON THE GROUND
AS SATORA STARTS TO LAUGH SEAN RAISES HIS GUN AND SHOOTS
SATORA IN THE HEAD TURNS AND LOOKS AT TONY |
|
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SEAN
NO DONT TRUST ANYONE OR ANYTHING
REMEMBER THAT |
|
|
107.
|
SEAN WITH THE BAG IN HIS HAND WALKS TO HIS CAR AND BACKS
AWAY |
|
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INT. SEANS CAR - DAY |
|
SEANS DRIVING UP THE SIDE OF A MOUNTAIN WITH HIS WINDOWS
OPEN ADMIRING WEATHER WITH THE SUN SHINING SEAN HITS THE
BUTTON TO HIS SUNROOF ALLOWING THE SUN TO SHINE IN HE
REACHES OVER TO THE PASSENGER SEAT AS IF HE GRABBING
SOMETHING HE LOOKS DOWN AND OPENS A RING BOX THAT HOLDS THE
DIAMOND RING HE HAD WANTED TO BUY FOR MARIA WITH THE SUN LIT
GLISSERING OFF OF IT HE SMILES HE THEN GLOSES THE RING BOX
AND CONTINUES DRIVING |
|
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|
EXT. SENIC OVER LOOK - DAY |
|
MARIA'S CAR PARKED NOSE IN FACING THE VIEW SHE IS LEANING ON
THE TRUNK OF HER CAR SEAN PULLS IN AND EXITS HIS VEHICLE AND
START TO WALK TOWARD MARIA WITH THE RING IN HIS POCKET WHEN
HE REACHES ABOUT TEN FEET AWAY HER TWO BACK DOORS OPEN UP
AND KEVIN AND AGENT SULLIVAN STEP OUT WITH THEM BOTH FACEING
SEAN HE STOPS DEAD IN HIS TRACKS AND LOOKS AT MARIA WITH
SUCH HURT IN HIS EYES MARIA BEGINS TO CRY AS KEVIN AND
SULLIVAN BEGIN WALKING TOWARD SEAN KEVIN STOPS A FEW FEET IN
FRONT OF MARIA AS SULLIVAN CONTINUES WALKING TOWARD SEAN
WITH HIS GUN AIMED AT HIM |
|
|
KEVIN
SEAN I'M SORRY I COULDNT LIVE WITH
MY SELF |
|
|
SEAN NOT EVEN PAYING ATTENTION TO KEVIN CUTTING HIM OFF HES
STILL LOOKING AT MARIA WITH TEARS COMING DOWN HER FACE
SULLIVAN STOPS |
|
|
AGENT SULLIVAN
SEAN TURN AROUND AND BACK UP TO
THE SOUND OF MY VOICE |
|
|
SEAN STILL LOOKING AT MARIA |
|
|
|
108.
|
|
MARIA
(TEARS DOWN HER
FACE)
NO SEAN |
|
|
MARIA GOES BEHIND HER BACK PULLS A GUN SCARED AND SHAKING
MARIA SHOOTS SULLIVAN THREE TO FOUR TIMES SULLIVAN FALLS TO
HIS KNEES THEN CHEST WITH HIS FACES RESTING ON ITS SIDE
KEVIN BEGINS TO BACK AWAY SHE AIMS AND SHOOTS KEVIN THREE TO
FOUR TIMES WITH KEVINS BODY JERKING BACKWARDS HE FALLS TO
HIS KNEES MARIA LETS OUT A CRY SEAN LOOKS AT KEVIN WITH
KEVIN HAVING BLOOD COME OUT OF HIS MOUTH HE MOUTHS TO SEAN
I'M SORRY THEN FALLS ON HIS CHEST SEAN LOOKS BACK TOWARD
MARIA AND WALKS OVER TO HER AS SHE IS SHAKING UNCONTROLABLY
HE GRABS HER HE BEGINS TO CRY |
|
|
SEAN
(NARORATING)
FROM THE MOMENT YOU ARE BORN, YOU
BEGIN TO LEARN LESSONS IN LIFE.
YOU LEARN HOW TO LOVE, RESPECT,
HONOR, TRUST, AND BE LOYAL TO THE
PEOPLE THAT ARE CLOSEST TO YOU.
YOU ALSO SEARCH FOR THAT ONE
PERSON WHO WILL BE BY YOUR SIDE IF
THE WORLD FALLS APART AROUND YOU.
IN THESE DAYS, WE ALL AT SOME
POINT IN OUR LIVES, FIND IT VERY
HARD TO FOLLOW THESE LESSONS WE'VE
COME TO LEARN. SOME OF US FIND IT
HARD BECAUSE OF
GREED,JELOUSY,PAIN,HATE,AND SOME
BECAUSE OF SELFISHNESS. WE ARE ALL
TO BUSY SEARCHING FOR THE LIFE WE
WANT TO LIVE, INSTEAD OF LETTING
THE LIFE WE'RE SUPPOSE TO,JUST
HAPPEN.ONE THING EVERYONE SHOULD
ALWAYS HAVE IN LIFE IS FAITH,
BECAUSE NO MATTER WHO YOU ARE,
WHERE YOU ARE FROM, WHAT YOU DID,
OR WHAT YOU NEVER GET TO DO, WHAT
YOU HAVE AND WHAT YOU'LL NEVER GET
TO HAVE, WHAT YOU'VE SEEN, OR WHAT
YOU NEVER WILL SEE. THE DAY IS
GONNA COME WHEN YOUR FAITH WILL BE
JUDGED! |
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THE END |
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