Screenwriter Community |
|
|
|
by Mark Becker, Jr. (warrior_swan_86@hotmail.com)
Rated:
Genre: Drama
User Review:
4 friends try to clean up their drug-ridden and violence filled town and become victims of an outside gang.
NOTE:
Graphic scenes of violence and gore.
Graphic sexual abuse.
In the sexual abuse scenes, I have no intentions of showing pornography. The film is hard R due to violence and language. No actual nudity is involved. Those are the films I'm trying NOT to make.
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.
|
CHILDREN OF THE NIGHT (COMPLETE REVISED SHOOTING SCRIPT)
|
EXT. PROPRIETER'S PARK - DAY |
|
A quiet riverside park in a small south Jersey town. It
looks run down, suggesting that it's a poor neighborhood.
|
|
TITLE OVER:
OCTOBER 10
PROPRIETER'S PARK
GLOUCESTER CITY, NEW JERSEY
4:30 PM |
|
CINDY sits on a bench. FAOLAN stands nearby. |
|
|
FAOLAN
Listen, I don't know what time
we're getting done tonight. The
meeting starts at eight. I'd blow
it off, but it's important. We
need these guys ready as soon as
possible.
|
|
|
|
CINDY
I know. Don't worry about it.
|
|
|
|
FAOLAN
Well, I am worried about it. And
I'm worried about you. What time
do you get done tonight? |
|
|
|
FAOLAN
It's Sunday night, so it's a short
shift. We should be out by 9.
|
|
|
|
FAOLAN
Everyone leaves at the same time?
You can't hang around an extra
little while until I get there? An
hour is a little bit short for a
meeting like this.
|
|
|
FROST walks by, neither seem to notice.
|
|
2.
|
|
CINDY
What do you even have to have this
stupid meeting for, anyway?
|
|
|
|
|
|
CINDY
You're throwing your life away,
Faolan. Seriously. What the hell
are you even doing on these
streets, when you could be getting
a real education. You're so much
smarter than all this. Listen to
you talk. You don't talk like
everybody else. |
|
|
|
FAOLAN
The way I speak doesn't matter to
anybody else, why should it matter
to you?
|
|
|
|
CINDY
It doesn't matter. That's not even
the point I'm trying to make. I
just want to know what you're
doing out there every night. You
and your idiot friends. What are
you fighting for?
|
|
|
Faolan looks toward the gazebo on top of the hill, facing
the water. BAST, KAI, and TATE hang around inside.
|
|
|
FAOLAN
We're trying to make these streets
safer. There's no reason for so
many people to die out there every
night. It's a fact that we want to
change. We're trying to rebuild
this town to what it once was. And
if it takes sweat and blood, then
this city will be built on my
sweat and my blood. What are you
so worried about it for? |
|
|
|
CINDY
I'm worried about you being one of
those people. I sit home every
night, scared to death, waiting
for the police to knock on the
(MORE)
|
|
3.
|
|
CINDY (cont'd)
door and tell me they found your
body, I cry myself to sleep every
fucking night.
|
|
|
|
FAOLAN
Well, stop worrying about it. I'm
not going to be one of those
people.
|
|
|
|
CINDY
You can't promise me that. Damn
it, Faolan, you don't belong out
here. You belong in a lab or
something, searching for the cure
for cancer. If you really want to
save lives, go to school, become a
doctor.
|
|
|
|
FAOLAN
This is where I belong. Doctors
save the lives of people who wind
up in the hospital because of
places like these, and not all of
them make it out alive. I want to
save these lives before they even
make it to the hospital. |
|
|
|
CINDY
But you're so much better than
this. You could be so much more.
|
|
|
|
FAOLAN
I'm not better than anyone. Nobody
is.
|
|
|
|
CINDY
At least become a cop. Do it the
right way. |
|
|
|
FAOLAN
The cops are corrupt. I would try
to get the drugs off the street,
get rid of the weapons coming in,
but my superiors would never allow
it. The cops get a cut of
everything that goes on here.
They're no better than the crooks
they refuse to bust. You think
(MORE)
|
|
4.
|
|
FAOLAN (cont'd)
they don't know what goes on? They
get paid for it. Why do you think
Sanchez still runs north Broadway?
Everyone in the city knows who he
is and what he's doing, including
the cops. |
|
|
|
CINDY
So instead, you start a gang, and
decide to challenge their income?
Before you know it, they'll be
coming down on your head.
|
|
|
|
FAOLAN
I know. I expect it any day. |
|
|
|
CINDY
And that doesn't worry you? Your
little gang against the entire
police force. These guys are all
you have, cops can get help from
other departments. How do you hope
to win?
|
|
|
|
FAOLAN
It's not about hope, it's about
giving enough of a damn to try. We
might be an example. If we can get
enough people behind us, things
have to change. There's no other
way.
|
|
|
|
CINDY
Come on, why don't we just move?
Forget about this piece of shit
town.
|
|
|
|
FAOLAN
You don't get it, do you? I was
born here. This is my home. This
is the only place I've ever known.
I've never been anywhere except
the shore. This place is my entire
world. Sure, the city's fucked up.
Crime, drugs, murder, whatever.
But I love it, and you should too.
We're trying to clean up our home,
make it livable again. I don't
ever want to live anywhere else. I
(MORE)
|
|
5.
|
|
FAOLAN (cont'd)
want to raise a family here, like
I was. I want to grow old here. I
want to send my children to the
same school I grew up in, and know
that they'll be safe. |
|
|
|
CINDY
It's a nice thought and all, but
seriously, get real. Things are
just not fixable. |
|
|
|
FAOLAN
Well, I can't just stand by and
watch things happen. I know that
I'm supposed to be here right now,
to do this. I've seen some awful
things out here, and it kills me.
Drives me insane. Do you remember
Jimmy Bronson's kid sister? |
|
|
|
|
|
FAOLAN
Her birthday just passed. She just
turned 13. I watched her die.
|
|
|
|
EXT. BURLINGTON AVE. - NIGHT |
|
FLASHBACK |
|
A young girl walks down a very dark, empty street in the
middle of the night.
|
|
TITLE OVER:
OCTOBER 8
2:30 AM |
|
A shadowy figure moves across the street half a block behind
her.
The girl walks alone in silence.
She walks to the corner, preparing to cross.
The figure runs up to her from behind, and throws her
violently to the ground.
|
|
6.
|
|
FAOLAN (VO)
The guy was a junkie, looking for
a quick fix. He either figured she
was holding, or at least thought
he could get some cash for a hit.
|
|
|
The man is scruffy and dirty looking. He's wild and strung
out.
|
|
|
THIEF
Just give me your purse you little
cunt, and no one gets hurt.
|
|
|
He tries to grab her purse, and she fights him for it.
|
|
|
FAOLAN (VO)
2:30 in the morning. What's a 13
year old girl doing on the street
that time of night? The same thing
he is. I found out from her
friends that she was carrying a
decent amount of coke. She was the
group's runner that night.
|
|
|
|
THIEF
Come on, bitch! Give me your
fucking purse!
|
|
|
The girl kicks him in the face. He pulls a decent sized
knife out of his pocket.
Faolan walks alone on the connecting street. The girl
screams, and he sees the attack. He runs toward them.
The thief stabs the blade into the girl, letting out a
splatter of blood.
The girl screams and gurgles as her lungs begin to fill with
blood.
Faolan's footsteps grow closer.
The man stabs again and leaves the blade in her body. He
grabs the purse and takes off. Faolan gives chase, but loses
the guy quickly.
Faolan makes his way back to the intersection. The girl
|
7.
|
makes gurgling sounds. She tries to reach out toward Faolan
with a bloody hand. Her fingers curl as her muscles stiffen
from the pain.
Faolan rushes over and kneels by her.
|
|
|
FAOLAN
(whisper)
Oh, Jesus. |
|
|
He fights back tears. Sirens approach in the distance.
Faolan stands silent in the middle of the intersection,
watching the girl.
|
|
|
EXT. PROPRIETER'S PARK - DAY |
|
Faolan stands with his back to Cindy.
|
|
|
FAOLAN
I couldn't stop it. But if we can
get enough people behind us, we
might be able to prevent things
like this. |
|
|
Faolan seethes.
|
|
|
FAOLAN
Don't try to tell me these aren't
my people. They are my people, you
are my people. I want to know that
you're safe if you walk home from
work on your own. I want to build
a future here, maybe with you,
maybe with somebody else, I don't
know. And I don't really care.
This is my home. |
|
|
Cindy stands and hugs him.
|
|
|
CINDY
I'm sorry. All this running around
in the streets worries me. I want
to know that you're alright.
|
|
|
8.
|
Faolan pulls away and holds her face in his hands.
|
|
|
FAOLAN
Just know that if I die, it’s not
for a lost cause. My death would
only cause more people to open
their eyes. And never forget, I
died for you. Maybe I have to die
to make changes. I have accepted
this possibility as fate, I need
you to do the same.
|
|
|
|
|
They stand in silence for a moment.
|
|
|
CINDY
I think I better get going. I'll
be late for work.
|
|
|
|
FAOLAN
Alright, I'll see you tonight. |
|
|
She pulls away and starts walking.
|
|
|
|
Faolan stands alone and watches her walk across the park
toward the street. He sighs and shakes his head, then walks
toward the gazebo.
|
|
|
EXT. GAZEBO - DAY |
|
Bast nervously paces back and forth.
Tate sits against a pillar, fiddling with his switchblade.
Kai sits calmly on the stairs, overlooking the river. |
|
|
BAST
Man, I swear, these new recruits
better be tough. I don't want to
have to worry about who's covering
my ass. |
|
|
9.
|
|
KAI
Don't worry about it. They're
heavy. Faolan wouldn't be letting
them in otherwise. |
|
|
|
BAST
He let you in, didn’t he?
|
|
|
|
TATE
Shut up, you fat fuck. Kai’s got
more to offer the gang than you
ever will.
|
|
|
|
BAST
Oh yeah? Then why the hell am I
the enforcer?
|
|
|
|
TATE
Because of your size, no other
reason. You can't run, you can
barely fight. You're just a
fucking pussy. |
|
|
|
BAST
What do you got, then, you scrawny
bitch?
|
|
|
|
TATE
Speed, reflexes, quick thinking,
and I’m damn good with a decent
blade.
|
|
|
|
BAST
Without that blade, you’re
nothing.
|
|
|
|
TATE
I’ll fuck you up, bare hands. I
don’t need a blade, it just helps.
|
|
|
|
BAST
Bullshit. You're a little faggot. |
|
|
|
KAI
Come on guys, cool it.
|
|
|
10.
|
|
BAST
That’s not what Tate’s mom said
last night.
|
|
|
Tate hops to his feet, shoves Bast back against a pillar,
and puts a knife to his throat.
Kai stands to watch.
Bast grabs Tate's hand, and presses the blade against his
own throat. |
|
|
BAST
Cut me, if you got the balls. |
|
|
Tate stares him down in silence. |
|
|
BAST
Scared of a little blood? Why
won’t you cut me?
|
|
|
Faolan walks up from the direction of the bench.
|
|
|
FAOLAN
(annoyed)
What the fuck is this?
|
|
|
Nobody speaks. Tate and Bast stare eachother down. |
|
|
FAOLAN
Huh!? What the fuck is going on? |
|
|
Kai stares at Faolan. |
|
|
FAOLAN
Tate, stand down, and put the
blade away.
|
|
|
No one moves. |
|
|
|
Tate scoffs and pulls back, closing his blade and shoving it
in his pocket.
|
|
11.
|
|
FAOLAN
Bast, cool down. Tate, come over
here with me a minute.
|
|
|
Faolan walks away down the hill, and Tate follows. The two
speak quietly.
|
|
|
FAOLAN
What the fuck is this, huh? Come
on man, we’re a gang. We gotta
stick together or we’ll just get
wasted. Then everything we’re
working so hard for is gone. All
week, and we’re already building a
rep and bringing in some decent
cash. But you can forget
protection money, forget drug
money, forget every fucking thing.
Is that what you want? Huh!?
|
|
|
|
TATE
Come on, Faolan, this is bullshit!
The guy walks around like he's got
a 2 foot dick, and can take
anything that comes at him. I'm
telling you, if the shit hits the
fan, and anyone gets wasted, he's
the first to go. |
|
|
|
FAOLAN
I don’t care. We need bodies, and
we need strength. Attitude is
secondary at this point.
|
|
|
|
TATE
Having a loose cannon like that
running around, soldiering our
name isn't going to look good for
the rest of the gang. |
|
|
|
FAOLAN
Just let it go. I’m in charge,
remember? Not you. And don’t
forget, damn it, that we’re all
brothers. We watch out for each
other, not try to kill each other.
No matter what’s said.
|
|
|
12.
|
|
TATE
Alright. What’s up your ass,
anyway?
|
|
|
|
FAOLAN
Don’t worry about it. Come on.
|
|
|
Faolan walks away and back up the hill, followed by Tate.
They rejoin the others. |
|
|
FAOLAN
Alright, guys, we'd better move.
We have to swear in the new blood. |
|
|
Bast gives Tate a quick glare, and falls in line with the
others. The guys walk down the hill toward the street. |
|
|
EXT. HUNTER STREET - DAY |
|
The boys make their way down the street, towards Broadway.
They look around at the people outside who are having a good
time, sitting out in the late evening's summer sun, children
running through the streets. |
|
|
KAI
Damn, I can't wait until I get
older, man. Have me some kids,
hang out with my family out front
on warm summer nights, watch the
kids play. |
|
|
|
|
|
BAST
If you ask me, kids are nothing
but trouble. Whining, shitting,
making big ass messes. Fuck that,
man, I'm going stag forever,
getting inside whatever I can. |
|
|
|
TATE
Yeah, even if it’s a dog, huh?
Like a fucking dalmation?
(queer, high-pitched tone)
Oh spot! Oh Jesus! You feel so
good! MMMM! I’m gonna blow a
fuckin’ load!
|
|
|
13.
|
Bast swings at him, and the others laugh. Faolan takes up
stride beside Kai, and plops a hand on his shoulder.
|
|
|
FAOLAN
Don’t listen to these haggard
shits, huh, little brother? I
think it’s awesome that you’re
thinking of the future, you got
goals, man. You’re setting up your
life now, making these streets
safe for your own kids. I respect
that, and I dig it.
|
|
|
|
|
The two brothers pound fists.
|
|
|
FAOLAN
That’s right, be your own man.
Fuck all else.
|
|
|
They approach the group of recruits, waiting on the corner
of Hunter and 5th. Faolan hops up on the red porch in front
of the abandoned house, and the other 3 hang around.
|
|
|
FAOLAN
Good job, guys. You made it
through the testing and training.
Out of a group of at least 35, you
are the few who made it all the
way. You're worthy of bearing the
name of the Wizards. You've done
extremely well. Now remember the
rules. Don't give anybody your
real information. Phone number,
address, full name. That way, if
one of your boys gets picked up,
he can't turn you in. Why lose 5
or 6 guys because one dude got
arrested? It's bullshit. Now it's
time to start getting things done.
Camden is slowly taking our city.
Our streets are lined with drugs,
our sewers run like rivers of
blood. It's time to stand up and
take our city back. |
|
|
|
14.
|
EXT. TOMLIN'S PIZZA ON BROADWAY - NIGHT |
|
Cindy sits alone on the steps in front of the pizza shop.
The street sits dark and empty. The traffic is light. |
|
TITLE OVER:
Tomlin's Pizza, 9:05 PM |
|
Cindy looks at her watch. It's getting darker, and she seems
irritated. |
|
|
CINDY
(to herself)
Faolan, where are you?
|
|
|
She sits a few seconds longer, then sighs, grabs her bag,
and stands up.
She walks briskly toward Market Street.
4 Silhouetted figures watch from across the street. |
|
|
ROCK
You were right, dude, she's alone. |
|
|
|
FROST
Shit, I told you she would be.
Some kind of meeting. Faolan said
himself he'd be late. |
|
|
|
JACKAL
Well, quit bullshitting and let's
grab her ass before those faggots
show up. |
|
|
|
ROCK
Alright, let's move. |
|
|
They creep out of the shadows, and move quietly across
Broadway, and move up behind her.
Frost grabs her free hand, and she turns, swinging her bag
around, hitting him in the head. His head bounces off the
wall, leaving a small splatter of blood.
He falls, and doesn't get back up.
Jackal whips around behind her, and grabs her bag arm, and
twists it up behind her back. She pulls a blade out of her
pocket with her free hand.
|
15.
|
She tries to stab Rock, who sidesteps it, then grabs her
wrist, and twists, causing her to drop the knife.
Danny punches her in the head, knocking her out.
She goes limp.
Cindy's POV. Her head falls. Her vision goes blurry and
fades to black. |
|
|
EXT. CORNER OF 5TH AND HUNTER - NIGHT |
|
Faolan talks to one of the newbloods. Kai steps up behind
him and taps him on the shoulder. Faolan looks back at him. |
|
|
|
|
FAOLAN
We'd better take off then. Bast,
Tate, let's go. We'll see you guys
next week when you all receive
your colors. |
|
|
|
EXT. TOMLIN'S PIZZA - NIGHT |
|
The pizza shop sits on the corner, dark, quiet, and empty.
The corner is dark and deserted. |
|
TITLE OVER:
9:15 PM |
|
The 4 Wizards walk up to the store. Cindy is nowhere to be
seen. |
|
|
FAOLAN
What the fuck? Wouldn’t we have
seen her on our way up if she left
without us?
|
|
|
|
TATE
Yeah, we would have, unless she
took another way home. |
|
|
|
FAOLAN
Where else would she even go? |
|
|
16.
|
A glint on the sidewalk catches Faolan's eye. It's Cindy's
knife. He walks to it, leans over, and picks it up. He holds
it, and moves it around in his hand. |
|
|
FAOLAN
Hey, this is the blade I gave her
the night she almost got wrecked.
|
|
|
|
KAI
(under his breath)
Jesus Christ. |
|
|
|
BAST
Are you sure it’s the same one? |
|
|
Faolan turns it over to reveal his name carved into the
handle.
|
|
|
FAOLAN
Why would she have to use this? |
|
|
He glares at the others.
|
|
|
TATE
Don't get so worked up. There's no
blood anywhere. Not even on the
blade. |
|
|
|
FAOLAN
But she’s still not here. |
|
|
|
|
|
FAOLAN
Let’s fucking hope. |
|
|
Faolan seethes as he folds the knife up and slips it into
his front pocket, moving the war chain out of the way.
|
|
|
FAOLAN
Let’s take a look around, huh?
|
|
|
Faolan walks around the corner, followed by Kai.
Bast and Tate stay on their side of the building, and start
looking through the shadows, then up and down the street.
|
17.
|
After poking around a minute, Bast finds her bag, the handle
is torn off on one side, and the contents are spilling out. |
|
|
|
He grabs the bag and starts walking toward Faolan, who is
just coming from around the corner.
|
|
|
|
|
TATE
She's not around, man. What do you
want to do? |
|
|
|
FAOLAN
It's not about what I want to do.
It's about what has to be done. I
can't just leave her. I'm going to
find her. She's the only thing
that matters to me, all that keeps
me going. I live for her, not for
myself, or anybody else. |
|
|
|
KAI
So, let's get moving. |
|
|
Faolan nods miserably, and starts walking. |
|
|
BAST
Hey, hold up, where are we going? |
|
|
|
FAOLAN
We're going to start in Ghost
Town, it's the best place to hide. |
|
|
|
TATE
What about the dealers down there?
|
|
|
|
FAOLAN
Fuck them, this is bigger than
even they are. |
|
|
Faolan walks away from the others. They all look at each
other, questioning silently, then follow. |
|
|
18.
|
EXT. GHOST TOWN - NIGHT |
|
A small hut, boarded up and abandoned sits on a dark, empty
corner. The 4 Wizards walk up from the direction of Market
Street.
Down the street, an exchange of drugs for money. |
|
TITLE OVER:
GHOST TOWN
9:45 PM |
|
|
FAOLAN
Maybe this mother fucker can give
us a little help.
|
|
|
|
|
|
FAOLAN
Let's take him out. |
|
|
The druggie walks by them, already cracked out, carrying
more in his hand. Faolan grabs him, slams him into the
ground, and takes his drugs. |
|
|
FAOLAN
Quit doing this shit!
|
|
|
The 4 walk toward the dealer, who also appears cracked out.
Faolan steps up to him, holding the baggie up. |
|
|
|
|
DEALER #1
What the fuck are you supposed to
be? It's none of your fucking
business. |
|
|
Faolan grabs the guy by his collar, and pulls him close.
|
|
|
FAOLAN
This is my fucking town, and I'm
through watching you assholes
destroy it. |
|
|
19.
|
|
DEALER #1
Back the fuck up, asshole!
|
|
|
The dealer pulls back and produces a gun, which he points at
Faolan.
Faolan quickly pulls his blade out, flips it open, and
slices the dealer's hand, causing him to drop his gun and
fall to his knees.
Faolan then grabs the Dealer by the head, and slices his
throat, spraying blood out. The dealer falls onto his back,
staring up, and grasping at his throat.
Faolan wipes the blade off on his own pants, then slips it
into his back pocket, not bothering to close it. He watches
in grim satisfaction as the dealer gurgles his dying
breaths. |
|
|
FAOLAN
This is my town, never forget
that. |
|
|
Bast searches the dealer’s pockets, finding drugs and cash.
|
|
|
FAOLAN
Give me the drugs. |
|
|
Bast makes a disgusted face, and shoves them into Faolan’s
hand. He then pockets the cash. Bast checks out the gun.
|
|
|
BAST
Empty. He didn't have any bullets. |
|
|
|
FAOLAN
He pulled a fucking gun, acted
like it was loaded... he deserved
what he got.
|
|
|
|
BAST
Jesus Christ, Faolan, none of that
had to go down, this man didn’t
have to die! You didn’t even have
to confront him.
|
|
|
Faolan steps up into Bast’s personal space, but not directly
in his face.
|
|
20.
|
|
FAOLAN
Do I have to remind you why we’re
here? I would rather that man die,
than let him kill these people
with his fucking DRUGS! You pick,
the life of one piece of shit? Or
the lives of dozens of kids in
this city? Now that’s it... let’s
go.
|
|
|
Faolan hands the drugs off to Kai.
|
|
|
FAOLAN
Dump these in the sewer. |
|
|
Kai moves to the sewer and drops the drugs in. |
|
|
EXT. GHOST TOWN - NIGHT |
|
Faolan sits on the curb across the street from the little
field in darkness. The others stand around, fidgeting. |
|
TITLE OVER:
10:45 PM |
|
|
TATE
How much longer we gotta wait,
man?
|
|
|
|
FAOLAN
I’m trying to think. |
|
|
|
|
|
FAOLAN
About where Cindy might be, or who
might have taken her.
|
|
|
|
BAST
Well this is bullshit.
|
|
|
|
FAOLAN
I’m trying to think of where to
begin.
|
|
|
21.
|
|
BAST
If you really want to find her,
let's go. I don't feel like
sitting around all night, when I
could be getting some action
somewhere. |
|
|
|
TATE
Hey, lay off, man. No one’s making
you stick with us.
|
|
|
|
BAST
Well, maybe I should just take off
then. This is stupid. It's a poor
man's crusade. And why the fuck
should I care? She's Faolan's
woman, not ours. |
|
|
|
TATE
We’ve been with Faolan since we
were kids, man, are you just going
to abandon him now, when he needs
us the most?
|
|
|
|
BAST
Do you think Faolan would be doing
this if it was anybody else? No.
This is selfish bullshit, he's
only going through this for her,
for his woman. He's not willing to
do anything for anybody else
unless it suits him. |
|
|
|
KAI
Come on, guys, cool it. |
|
|
|
BAST
What are you in this for, Tate?
Huh? Because you care about Cindy?
Or is it loyalty to Faolan? Is
this your cause, or is it his? |
|
|
Momentary silence.
|
|
|
BAST
That’s what I thought. I think
it’s fine and dandy to help out a
friend, but this is asking a lot.
|
|
|
22.
|
A group of silhouettes move toward them. |
|
|
|
Faolan looks up, and sees them.
|
|
|
FAOLAN
Assume they're civilians, nobody's
got reason to war on us. |
|
|
|
BAST
Nobody had any reason to grab
Cindy, either. |
|
|
|
TATE
They outnumber us by double, and
then some. |
|
|
|
FAOLAN
Everybody relax. Let me talk. |
|
|
|
BAST
And if they're hostile? |
|
|
|
FAOLAN
Wait until we reach that bridge. |
|
|
Faolan stands and walks into the street. The two groups
meet.
|
|
|
|
JACKAL steps forward. |
|
|
|
|
|
|
JACKAL
Probably not... but everyone knows
you. You got a pretty decent rep
around here.
|
|
|
23.
|
|
FAOLAN
Have you guys seen a girl around?
She might be by herself, maybe
looks a little roughed up. Kinda
heavy-set, dark hair, brown eyes. |
|
|
|
|
|
FAOLAN
(hopeful, yet
fearful)
Where? |
|
|
|
|
Faolan seethes, breathing heavily. |
|
|
JACKAL
You got good taste. She’s real
tight. That Cindy’s something
else, buddy.
|
|
|
Faolan screams out, savagely, and smashes Jackal in the head
with a balled up fist as hard as he can.
Jackal falls back a couple feet, falling into some of his
other guys. The Wizards take off, minus Faolan. |
|
|
TATE
Faolan! Let’s go! Move it!
|
|
|
Faolan doesn't listen. He grabs another by the throat, and
throws him aside. The Wizards grab him, and pull on him.
After a struggle, Faolan gives in, and runs. |
|
The Wizards run down the middle of Water street, the others
behind them, chasing after. |
|
|
FAOLAN
Get to the park! We’ll turn and
fight in the open! |
|
|
|
EXT. PROPRIETER'S PARK - NIGHT |
|
The park, empty in the dark.
They run through the park, and up into the gazebo. |
|
24.
|
|
|
They all turn and face the coming enemies. |
|
|
FAOLAN
(quietly)
Take ‘em out.
|
|
|
They charge at the coming enemies, Kai charges and swings
his fist, hitting the nearest in the gut, causing him to
double over. Kai then knees him in the head, knocking him
back onto the ground. |
|
Bast swings wildly at a group around him, hitting, and
throwing. Tate fights one on one against a baseball bat. |
|
Faolan unclips his war chain from his wallet. He swings it
around one guy's throat, and uses it to choke him.
The guy flips him over onto his back, and brings a knife
down into his hand, just between the ring finger and pinky.
Blood squirts slightly, and Faolan yells out in pain. Tate
takes down his attacker.
Faolan reaches over, grabs the blade, and hands it to Tate,
who wipes it off.
Faolan pulls out his own blade, pops it open, and flips it
into his left hand. He carries the chain in his right. |
|
Kai stomps on the face of a downed soldier, and bends down,
picking up a board with nails through it. He clenches it
tightly in his hand, and looks around, trying to find
someone to hit.
He turns to his right, and swings the board sideways,
sticking the nails into a guy's back. He pulls back, and the
guy bends over in pain.
Kai brings the board down, jamming the nails into his skull.
Blood shoots up. Bast charges across the screen, carrying a
guy on his shoulders, yelling the whole way. |
|
Bast smashes the guy into the ground, and stomps into his
face. Another guy tries to grab Bast from behind. Tate comes
up behind the soldier, and jams both knives down into his
back, and then slits his throat. |
|
25.
|
The sound of sirens rips through the air.
|
|
|
FAOLAN
Fuck! Let’s move it! Come on! |
|
|
Police tear through the crowd, swinging, hitting, and
grabbing. They cuff several of the guys. |
|
|
FAOLAN
Make it to the rendezvous point.
The woods on this side of the
bridge. |
|
|
2 officers attack Faolan. One cracks Faolan in the head, the
other slams him into the ground. They beat on him, and cuff
him. |
|
The other Wizards break away, and run down the street. |
|
|
INT. BASEMENT - NIGHT |
|
A dark, empty basement. The only light comes from a small
lamp in the corner.
Cindy sleeps on a blanket with a pillow against the wall.
Her nose bleeds slightly, she appears to have been beaten. |
|
TITLE OVER:
GLOUCESTER CITY, 11:20 PM |
|
She stirs slightly, and groans in pain. She opens her eyes
and rubs them slowly. As she sits up, she cries out in pain.
She wipes away some tears. |
|
The door upstairs opens. Rock and Danny descend. |
|
|
ROCK
I thought I heard you. How you
feeling? A little sore? |
|
|
Rock laughs. |
|
He kneels down in front of her, and reaches out to touch her
face. She slaps his hand away.
|
|
|
|
26.
|
|
ROCK
A tough one, too. This kid knows
how to pick them, huh? |
|
|
|
DANNY
Hell yes. I'll bet she tastes good
too, man. |
|
|
|
|
|
CINDY
What are you going to do with me?
|
|
|
|
ROCK
Ah, we're not doing anything with
you, but we're doing plenty to
you. We might as well have some
fun while we're sitting here,
waiting for your lame ass
boyfriend to show up, huh? |
|
|
Rock reaches out to touch her again, and she smacks his hand
away.
|
|
|
ROCK
Hey, we’ll tie you down if we have
to. Just go along with it, and
things might go easier for you.
|
|
|
She cries. |
|
|
ROCK
Or, you could tell me where he
lives. We’ll go to his house, fuck
him up, and let you go. It’s up to
you.
|
|
|
|
CINDY
What the fuck do you want from us? |
|
|
|
ROCK
I want him out of this town. He’s
fucking everything up. |
|
|
|
CINDY
He’s making it better!
|
|
|
27.
|
|
ROCK
Not according to the mayor, the
cops, the people... |
|
|
|
CINDY
They don't see what he's doing. |
|
|
|
ROCK
They see plenty, tags up on the
walls, protection money, violence.
The city has never been more
dangerous.
|
|
|
|
CINDY
But it’s getting better. There’s
less drugs on the street.
|
|
|
|
ROCK
Are there really? Every time they
cut down a dealer, two more take
his place. |
|
|
|
CINDY
I know what this is really about. |
|
|
|
ROCK
You're right. It's not so
altruistic as all that. We're
being paid by the city to take
them out. But I'm here to get rid
of these wimpy ass Wizards, and
take over these streets. We could
use a little more turf, and this
is a good place to do business.
Plenty of places to hide and all
that. |
|
|
|
CINDY
No, this is about you, and Faolan.
Your personal vendetta.
|
|
|
|
ROCK
Not really, that's more of a
bonus. But I'm not going to lie,
it's a pleasure seeing you again. |
|
|
|
|
Rock kicks her in the face. |
|
28.
|
|
ROCK
You asked for it, you little
bitch. |
|
|
He grabs her by the hair and yanks her to her feet. He grabs
her, and kisses her neck.
She fights him, trying to hit him.
He throws her down on the ground, and rips her pants off. He
grabs her legs, and pushes himself between them. |
|
|
EXT. JOHNSON'S BLVD. - NIGHT |
|
A quiet intersection by a lake. |
|
TITLE OVER:
Martin's Lake - 11:45 |
|
The Wizards run across Johnson's Blvd, followed by police.
Sirens echo in the distance. |
|
The boys run and hop down the hill, and over the tracks. |
|
Baseball fields stretch the entire length of the woods. The
boys split up, and take different directions all around the
baseball fields, heading toward the woods. |
|
|
EXT. PROPRIETOR'S PARK - NIGHT |
|
The park by the river, in the aftermath of the battle.
Cuffed gang members lie throughout, police catalog their
prisoners. |
|
Faolan lies on his stomach in the grass, still cuffed. He
pulls his wallet out of his back pocket, and unclips his
chain from it. He straightens the clip, and uses it to pick
the lock on his cuffs.
Once he frees himself, Faolan runs into the darkness, police
following. |
|
|
EXT. WOODS - NIGHT |
|
A stony creek bed in dark woods. |
|
Kai and Tate stumble into the woods, breathing heavily. |
|
29.
|
|
|
|
|
|
TATE
And what about Faolan? |
|
|
|
KAI
Cops cuffed him in the park. |
|
|
|
TATE
He'll find a way out. But we lost
Bast in the field. Bast! |
|
|
Bast stumbles in behind.
|
|
|
BAST
(out of breath)
Hey, I’m here.
|
|
|
|
TATE
Did you see anyone following us? |
|
|
A resounding no, in different variations.
|
|
|
TATE
Is everybody alright? Who has
injuries? |
|
|
They all speak at once, but the general idea is that they're
all ok. |
|
|
BAST
Come on, man, what the hell are we
doing out here?
|
|
|
|
KAI
Will you keep your fucking voice
down, soldier? You never know
who's creeping around. |
|
|
|
TATE
Yeah, quit whining you little
bitch. |
|
|
30.
|
|
KAI
Shut it. You're both acting like
little bitches. Just sit down and
shut up. |
|
|
|
TATE
You heard him. Keep your mouth
shut fatshit. |
|
|
Bast tries to hit Tate, Kai stops him. |
|
|
KAI
Both of you sit the fuck down, and
don't speak a single word. God
help me, I'll murder both you
pansies on the spot. I'm not
kidding, so don't fuck around with
me. |
|
|
The two sit down. Bast grumbles.
|
|
|
KAI
I'm going to take a look around
and make sure we're safe. Don't
move until I get back. |
|
|
Kai makes his way through the brush to a secluded area
beside the water. He leans against a tree. He shakes his
head, and sighs. |
|
|
INT. LIVING ROOM - DAY |
|
FLASHBACK |
|
A decent looking, middle-class living room. Kai sits on the
couch, TV remote in hand. |
|
TITLE OVER:
September 24th
10:30 AM |
|
Faolan enters the front door. He appears very happy. |
|
|
KAI
Where the hell have you been all
night?
|
|
|
31.
|
|
FAOLAN
Having the greatest night of my
life. |
|
|
|
|
|
FAOLAN
You should know by now, that me
and Cindy have been together for
an entire year. |
|
|
|
|
|
FAOLAN
Well, to celebrate, we had an
evening away, just the two of us.
Nice dinner, movie, rented a room,
you know? |
|
|
|
KAI
I’m digging it so far.
|
|
|
|
FAOLAN
Well, I proposed last night.
|
|
|
|
KAI
Holy shit. What happened? |
|
|
|
|
|
KAI
That's awesome. I'm really happy
for you. |
|
|
|
FAOLAN
You know you have to be my best
man! |
|
|
|
KAI
Really? Are you sure?
|
|
|
|
FAOLAN
Fucking right, I’m sure, who
better?
|
|
|
32.
|
|
|
|
FAOLAN
We don’t know yet. But we don’t
want anything big, just some close
friends and family.
|
|
|
|
KAI
Where you going to live? |
|
|
|
FAOLAN
Right here, man. You know I can’t
abandon my little brother. Mom’s
not home enough to even notice.
|
|
|
|
KAI
That’s really great man.
|
|
|
|
EXT. WOODS - NIGHT |
|
Kai stands by the water alone, still leaned against the
tree. |
|
He shakes his head, and wipes sweat from his face.
|
|
A figure lurks silently behind him in the shadows.
He moves forward, stealthily.
He produces a knife from his pocket.
He moves up around Kai's side, jamming the blade into his
gut.
Kai doubles over, and the guy pulls the blade out with a
sickening fleshy sound.
Kai falls over onto his side, and rolls onto his back. Pairs
of legs walk by him, moving into the woods. |
|
|
INT. BASEMENT - NIGHT |
|
A dark basement, lit only by a small lamp in the corner. |
|
33.
|
Frost and JENNY hold Cindy down as rock waves a knife in
front of her face. |
|
TITLE OVER:
12:30 |
|
|
ROCK
This is where I get tough. You
still got a chance to talk, take
it.
|
|
|
He moves the blade down to her wrist.
|
|
|
ROCK
You’ve got 2 seconds until I cut
your pretty little skin.
|
|
|
She closes her eyes, and breathes heavily, preparing for the
stab.
|
|
The knife pierces the flesh, and blood spills out. He very
slowly drags it up her arm, slicing the flesh, creating a
gash about 2 inches long. She whines the whole way, but
doesn't scream. |
|
Tears stream down her face, she bites her lip. |
|
|
ROCK
Tell me where he is!
|
|
|
|
CINDY
I don’t know where he is!
|
|
|
|
ROCK
Give us his address, then. We’ll
wait for him at home.
|
|
|
She shakes her head. He pushes the blade into her other arm,
and she screams out in pain.
|
|
|
EXT. PROPRIETER'S PARK - DAY |
|
34.
|
FLASHBACK |
|
A sunny afternoon by the river.Tate, Bast, Danny, Rock, and
Cindy hang around the gazebo. |
|
TITLE OVER:
August 20
Last Year |
|
Faolan walks across the grassy park, toward the gazebo. |
|
|
|
Tate turns and nods.
|
|
|
TATE
Yo, brother, what’s going on? |
|
|
|
|
He moves closer to Tate.
|
|
|
FAOLAN
Look, man, I got fired this
morning.
|
|
|
|
|
|
FAOLAN
Yeah, I know. They called me this
morning, woke me up too.
|
|
|
|
TATE
What are you going to do?
|
|
|
|
FAOLAN
Fuck if I know. What about my
little brother? How am I going to
take care of him?
|
|
|
35.
|
|
TATE
Hey, don’t worry man, shit’s going
to find a way, it always does.
|
|
|
|
|
|
TATE
Hey, come on. You remember my
cousin, Cindy?
|
|
|
|
FAOLAN
Been a long time, but yeah.
|
|
|
|
TATE
Well, say hi, you ignorant fucker! |
|
|
|
FAOLAN
Holy shit. This is her? Little
Cindy?
|
|
|
|
CINDY
I’m not little anymore.
|
|
|
|
FAOLAN
Yeah, I can see that.
|
|
|
|
CINDY
And I’m less than a year younger
than you. |
|
|
|
FAOLAN
Yeah, but you were a little kid
then, a lot smaller than us.
|
|
|
|
CINDY
I’m sorry about your job.
|
|
|
|
FAOLAN
It’s cool, we’ll be fine. We’re
just about 6 months behind on
rent, I’ll make it up.
|
|
|
36.
|
|
CINDY
Oh wow, 6 months huh? That’s not
too bad.
|
|
|
|
|
Faolan walks away and stands in front of the guard rail by
the river. He looks out over the water, alone. Cindy follows
a few seconds later, and stands by him.
|
|
|
CINDY
(looking up at
Faolan)
Hey, what are you doing?
|
|
|
|
FAOLAN
Nothing, I guess. Just thinking.
|
|
|
|
|
|
FAOLAN
Yeah, something like that. |
|
|
|
CINDY
Don’t let it get you down, you’ll
find another.
|
|
|
|
FAOLAN
I hope so, I have to take care of
my little brother, too.
|
|
|
|
CINDY
You’ll be fine, trust me.
|
|
|
He gives her a side look, and raises a brow.
|
|
|
FAOLAN
How do you figure?
|
|
|
37.
|
|
CINDY
I just do. Things are never bad
forever.
|
|
|
|
|
He looks back out over the water. She looks at him for a
long moment, then turns, and goes back up the stairs to the
gazebo. He watches over his shoulder as she leaves, then
looks back over the water. When he turns back to the group,
Cindy and Rock hold hands. |
|
|
EXT. ROUTE 130 - NIGHT |
|
A dark highway. Faolan walks along the side of the road by
the "Stop In" restaurant. He crosses the street into the Red
Barn parking lot. |
|
Faolan makes his way onto Nicholson Rd. A group walks down a
dark side street in the opposite direction.
He quietly makes his way closer to them.
The group of Demons walks along, unknowing. Especially
Danny, who lags behind. |
|
Faolan goes around the block, and waits for the group to
pass by. When they do, he grabs Danny, and pulls him into
the bushes. |
|
|
FAOLAN
Don't move, and don't make a
sound, or I swear to God I will
splatter your fucking brains all
over the street. |
|
|
|
EXT. WOODS - NIGHT |
|
Tate and Bast still sit in the woods in silence. |
|
|
TATE
Yo, where the fuck is Kai? It
shouldn't take this long. |
|
|
|
BAST
Don't know. Maybe we oughta go
looking for him. |
|
|
38.
|
|
|
The bushes rustle as someone is moving through. |
|
|
|
|
|
The shadow charges them, and swings a bat.
Tate dodges, and pulls out his blade, jamming it into the
eye of the attacker. |
|
|
|
Tate runs out of the woods, back across the baseball fields.
Bast follows.
4 Demons follow them, chasing them all through the fields
into the dirt by the snack stand. One carries bat, one
carries a chain, one carries machete, and the last carries a
board.
Bast turns, and swings at the first, causing his feet to fly
out from beneath him. He goes airborne. |
|
Bast picks up the bat, and smashes machete in the face,
causing a spray of blood from his nose.
|
|
|
BAST
Don’t fucking fuck with me!
|
|
|
The chain gets wrapped around Tate's throat, the demon
forces him onto the ground.
The demon smashes his face into the wall of the snack stand. |
|
Bast grabs the machete from the ground, turns, and brings it
down into the skull of the demon with a splattering of
blood. He then turns, and brings it down into the spine of
the other. |
|
Tate stands up, his face bleeding, battered, and bruised. |
|
39.
|
|
|
Kai lies on his back by the water. He bleeds, tears stream
down his face. His breaths come shallow, and he makes no
sound. |
|
|
EXT. BACKYARD - DAY |
|
FLASHBACK |
|
Faolan and Kai's backyard. A sunny afternoon. Kai dumps
bottles into the recyclable can. |
|
TITLE OVER:
October 10th
2:00 PM |
|
The backdoor to the house opens. Faolan steps out, carrying
black fabric. |
|
|
FAOLAN
Hey, what’s going on?
|
|
|
|
|
Faolan stands next to him.
|
|
|
FAOLAN
Look, I want you to have my back,
man. |
|
|
|
KAI
You know I always got your back.
|
|
|
|
FAOLAN
I know that. I know. But uh, I
mean all the time, on the streets.
I need your help.
|
|
|
|
KAI
Doing what, man? You’re not making
any sense.
|
|
|
40.
|
|
FAOLAN
Well, you know how we always
talked about cleaning up the town
a little bit? Taking out the
trash?
|
|
|
|
|
Faolan hands him the fabric, which is unfolded to reveal it
as a Wizards vest. |
|
|
FAOLAN
What do you think? We can do it,
for real.
|
|
|
|
KAI
What? You mean like, in a gang?
|
|
|
|
FAOLAN
Well yeah, why not? There’s nobody
out there I would rather have on
my back than you.
|
|
|
|
KAI
Alright. Yeah, what do we have to
lose, right?
|
|
|
|
FAOLAN
Hey, alright! Good looking out,
man. |
|
|
The two clasp hands.
|
|
|
EXT. GLOUCESTER HEIGHTS - NIGHT |
|
A dead end street, very dark. |
|
Faolan and Danny sit together on the guard rail, with
Danny's hands chained behind his back. |
|
TITLE OVER:
Lehigh Ave
1:15 AM |
|
41.
|
Faolan pulls a Black & Mild pack out of his pocket, pops one
out, unwraps it, and puts it between his lips.
He slips the pack back into his pocket, and produces a
lighter from the other.
He lights his smoke, then puts the lighter back in his
pocket. |
|
|
DANNY
Hey, I got a pack of cigarettes in
my right pocket here, you mind
lighting me up one?
|
|
|
|
FAOLAN
(hesitation)
Sure, I guess I can do that.
|
|
|
Faolan reaches into his pocket, pulls out the pack of
cigarettes, and grabs one.
He puts the pack away, and sticks the smoke between Danny's
lips.
He then pulls his lighter out again, lights the cigarette,
and puts it back in his pocket again. |
|
The two sit in silence a moment, smoking. |
|
|
FAOLAN
So, I assume you know where Cindy
is.
|
|
|
|
|
|
FAOLAN
What did you assholes do to her?
|
|
|
|
DANNY
Believe me, you don’t want to
know.
|
|
|
|
FAOLAN
Did you stick your dick in her,
too? Like that scrawny faggot?
|
|
|
42.
|
Danny laughs. |
|
|
FAOLAN
What the fuck is so funny? |
|
|
|
DANNY
That’s not all we did to her. I
can’t imagine what they’re doing
right now. She’s got a sweet ass,
man. You got a good eye.
|
|
|
Faolan tenses, but doesn’t move.
|
|
|
DANNY
I wish you could have heard her
screaming. I think she liked it.
She’s a fucking nympho.
|
|
|
Faolan stands up, balls his fist a few times, tenses, then
quickly and suddenly strikes.
He smashes Danny in the temple with his fist, causing him to
fall to the side.
He puts his boot in Danny's face. |
|
|
FAOLAN
Where the fuck is she? I will not
hesitate to fucking kill you! |
|
|
|
DANNY
They got her in a house!
|
|
|
|
|
He doesn’t answer.
|
|
|
|
Faolan lifts his foot, bringing it down hard into Danny's
face.
He holds it there, pinning Danny's face into the asphalt.
|
43.
|
He leans down, and unhooks the war chain from Danny's
wrists.
He grabs Danny by the neck, and forces him up to his feet.
He punches Danny in the throat, causing him to double over
and gasp for breath.
Faolan wraps the war chain around his neck, and kicks his
feet out from under him.
Danny lands hard on his knees.
Faolan puts his knee into Danny's back, and pushes in,
pulling back on the war chain, hard enough to cause blood to
ooze out. Danny tries to talk. |
|
|
|
He releases one hand from the war chain, and swings it
around his other, releasing Danny, and kicking him down onto
his face.
Danny vomits, and rolls over onto his back, staring up. |
|
|
DANNY
(gasping for
breath)
A house on Hunter, near Broadway. |
|
|
|
FAOLAN
Get the fuck out of my sight, you
piece of shit. Before I decide to
kill you anyway.
|
|
|
Danny quickly gets up, and weakly runs to the end of the
street, then turns the corner. |
|
Faolan bends down, picks up his Black, takes a puff,
exhales, and lets it rest in his lips.
|
|
|
FAOLAN
That's right, head on back to
whoever is running this God damned
thing. Let him know I'm on my way.
Let him know that every breath is
precious.
(pause)
You never know which one could be
his last. |
|
|
44.
|
Faolan inhales, and releases another puff of smoke.
A ring tone goes off, and Faolan quickly reaches into his
pocket.
He pulls out his cell phone and pushes the send button, then
puts the phone to his ear. |
|
|
|
|
JENNY (O.S.)
(filtered)
Faolan.
|
|
|
|
|
|
JENNY (O.S.)
(filtered)
Where are you, right now?
|
|
|
|
FAOLAN
I’m in the heights, on my way back
into town. Who the hell is this?
|
|
|
|
JENNY (O.S.)
(filtered)
It’s Jenny.
|
|
|
|
FAOLAN
What the fuck? Jenny? Irony, I
guess. You picked a hell of a
night to call me. What do you
want?
|
|
|
|
JENNY (O.S.)
(filtered)
I need to see you.
|
|
|
Faolan looks puzzled, but thoughtful.
|
|
45.
|
|
JENNY (O.S.)
(filtered)
Faolan?
|
|
|
|
|
|
JENNY (O.S.)
(filtered)
I’m on my way out there. I’ll meet
you somewhere. |
|
|
|
FAOLAN
What the fuck did you do, Jenny?
Huh? What the fuck do you have to
do with this night?
|
|
|
|
JENNY (O.S.)
(filtered)
Let’s talk about it later, in
person.
|
|
|
|
FAOLAN
Jesus Christ, Jenny.
|
|
|
|
JENNY (O.S.)
(filtered)
Please?
|
|
|
|
FAOLAN
Fuck. Alright, meet me at the
bridge, ok? I’ll be there in ten
minutes.
|
|
|
|
JENNY (O.S.)
(filtered)
I’ll be there in twenty. |
|
|
He hangs up, and slips the phone back in his pocket.
|
|
|
|
46.
|
Faolan stands still, takes a deep breath, and starts
walking.
|
|
|
EXT. PROPRIETER'S PARK - DAY |
|
FLASHBACK |
|
A sunny afternoon in the park by the river. |
|
Faolan, Bast, Tate, Rock, Danny, Jenny, and Cindy hang
around in the park. |
|
TITLE OVER:
August 25
Last Year |
|
Bast, Danny, and Tate attempt to play Hacky-sack, Cindy
stands with Rock in front of the river, Faolan and the
others hang around the benches by the hedges. |
|
Jenny sits by Faolan. His eyes are on Cindy.
|
|
|
JENNY
What’s up with Cindy?
|
|
|
|
|
|
JENNY
Well, you like her don’t you?
|
|
|
Faolan shrugs.
|
|
|
|
|
JENNY
What do you think about me?
|
|
|
|
|
47.
|
|
JENNY
Do you like me, at all?
|
|
|
|
FAOLAN
We’re friends aren’t we? |
|
|
|
JENNY
Yeah, but, I want something more. |
|
|
Faolan looks at her.
|
|
|
FAOLAN
What? You mean like, go out?
|
|
|
|
JENNY
Well yeah. Why not, right?
|
|
|
|
FAOLAN
You’re like one of the guys, I
couldn’t date you any easier than
I could Bast over there.
|
|
|
|
JENNY
What the hell is that supposed to
mean? I got tits, don’t I?
|
|
|
|
FAOLAN
So does he! Besides, there's more
to it than that. |
|
|
|
JENNY
Hasn’t Cindy been your friend for
like, ever?
|
|
|
|
FAOLAN
That hardly counts, I only saw her
a couple times. |
|
|
|
JENNY
I really like you. This isn’t easy
for me, you know. |
|
|
|
FAOLAN
I know it’s not. I’m sorry. I
just, don’t think of you like
that, man. |
|
|
48.
|
|
JENNY
She’s dating Rock, you don’t have
a chance anyway.
|
|
|
|
FAOLAN
Damn it, Jenny, she has nothing to
do with it. It would be weird to
date you.
|
|
|
|
JENNY
You know what? Fine. Whatever.
|
|
|
Jenny gets up and leaves. Danny walks over to Faolan.
|
|
|
DANNY
Hey, what the hell was that all
about?
|
|
|
|
FAOLAN
Ah, she’s got some kind of
schoolgirl crush on me. I told her
I wasn’t into her like that.
|
|
|
|
|
|
FAOLAN
I tried not to be. |
|
|
|
DANNY
Don’t worry about it, she’ll get
over it.
|
|
|
|
|
Faolan looks over at Cindy and Rock again, they hold hands.
Faolan shakes his head. |
|
|
EXT. CORNER OF 5TH AND POWELL - NIGHT |
|
49.
|
FLASHBACK |
|
A quiet suburban street corner. Cindy and Rock argue. |
|
TITLE OVER:
Sptember 22
Last Year |
|
|
ROCK
Just let me have the fucking
money, alright!? |
|
|
|
CINDY
So you can go see your dealer? No,
you’re not getting the fucking
money.
|
|
|
Faolan walks down the street towards Hunter. |
|
Rock grabs her arm, and twists. She cries out.
|
|
|
ROCK
Fucking give it to me!
|
|
|
Faolan steps up.
|
|
|
FAOLAN
(sarcastically)
Hey, Rock, how are things? |
|
|
|
ROCK
I’m fine, Faolan. Really.
|
|
|
|
FAOLAN
If you’re fine, then why don’t you
let go?
|
|
|
Rock shoves Cindy back, and turns to face Faolan head on.
|
|
|
ROCK
Why don’t you mind your own
fucking business?
|
|
|
50.
|
|
FAOLAN
Since you started that shit, you
haven’t been the same. I don’t
even want to look at you, talking
to you makes me sick. But the
minute you hurt her, it became my
fucking business.
|
|
|
|
|
|
FAOLAN
Because, unlike you, I care about
people. I work my ass off to
support my brother. I don't have
to. I'm 16 years old, I'm not his
father, but I'm doing it anyway.
And when I'm on my way home from
work, where I'm busting my ass for
another person that I don't have
to, to see someone I care about
being hurt by someone she cares
about, it pisses me off. |
|
|
|
ROCK
Just go home Faolan. You live a
block away. We don’t need you
here. We don’t need you, period.
|
|
|
|
FAOLAN
Maybe you don’t, but she does.
You’ve gone mad.
|
|
|
Rock shoves Faolan.
|
|
|
FAOLAN
You should be more careful. |
|
|
He shoves Faolan again.
|
|
|
ROCK
What are you going to do? Hit me?
You are going to hit me!? Do it! |
|
|
Faolan steps back.
|
|
51.
|
|
|
|
|
Rock takes a swing at Faolan, it connects, and blood
splatters from Faolan’s mouth. Faolan steps back, looks at
Rock, wipes his bloody lip, and stares hard. His fist
closes, and he tenses. |
|
|
FAOLAN
(quietly)
Now, you're in trouble. |
|
|
Faolan glares at Cindy.
|
|
|
FAOLAN
(quietly)
Back up.
|
|
|
His glare turns back to Rock. His fist comes lightning fast
into Rock's jaw. His fist smashes into Rock's face. Blood
splatters. |
|
Rock falls backward, and lands on the ground.
|
|
|
|
Rock groans.
|
|
|
FAOLAN
Did you hear me? Get the fuck up! |
|
|
Faolan grabs him by the head, and pulls him to his feet. He
pulls Rock's head down, and smashes it off his knee, causing
his head to snap back, and crack onto the ground with a
sickening thud. |
|
Faolan looks to Cindy, and nods.
|
|
|
FAOLAN
(quietly)
I'm sorry. |
|
|
52.
|
He turns, and walks away. Faolan walks down the street
towards Hunter. Cindy watches. After a few seconds, she runs
after him. As she gets near, Faolan stops and turns. She
leaps into his arms, sobbing. |
|
|
FAOLAN
Hey, it’s cool. If he fucks with
you again, let me know.
|
|
|
|
CINDY
No, I don’t want to be with him. I
always wanted you.
|
|
|
|
|
|
CINDY
I don’t know, you’re just a good
person. I know I’m safe with you.
|
|
|
|
FAOLAN
No one is ever really safe.
|
|
|
|
INT. BASEMENT - NIGHT |
|
The dark, empty basement.
Cindy lies on her back, bloody and crying.
|
|
TITLE OVER:
October 10
1:50 AM |
|
She looks up and notices the window, she looks at it for a
moment.
Cindy stands, and walks to the window. She tries to force it
open, but it won't move.
The door opens upstairs. Rock and Frost descend. |
|
53.
|
|
ROCK
What are you doing, you little
whore?! HUH!?
|
|
|
She leans against the wall, and slides down to a sitting
position.
|
|
|
ROCK
Trying to get out of here? Yeah,
in case you didn’t notice, it’s
fucking nailed shut.
|
|
|
He grabs her by the hair, and pulls her to her feet.
|
|
|
ROCK
Tell me where your piece of shit
boyfriend lives!
|
|
|
|
|
Rock hits her in the face, and she cries harder.
|
|
|
FROST
Fucking right! Give it to her, but
good!
|
|
|
Rock backhands Frost.
|
|
|
|
|
FROST
What the hell, man?
|
|
|
Rock releases Cindy, and she scrambles into the corner,
sobbing. |
|
|
ROCK
You’re leading the next war party.
Keep your guys on this side of
Johnson’s, ok? Troll the area
around Brown Street and Little
(MORE)
|
|
54.
|
|
ROCK (cont'd)
Somerset. GO!
|
|
|
Frost turns, and runs back up the stairs. Rock stands still
a second, then turns, staring at Cindy. He moves over to
her, and kneels down. He slowly caresses her face. |
|
|
ROCK
Scream, I like it when they
scream.
|
|
|
She appears mortified, but doesn't scream. She sits still,
shaking, and crying. |
|
|
EXT. LITTLE SOMERSET - NIGHT |
|
A very dark street.
Bast and Tate make their way down the street in silence.
Bast still carries the bat. |
|
Whispers echo throughout.
Bast watches carefully, his eyes moving all over.
He nudges Tate, and nods toward an alley where cars are
parked.
Tate nods and heads off in that direction, hiding in the
shadows behind a car.
Someone silently comes from out of the shadows behind Bast.
His foot scrapes the asphalt just as he's about to strike
with his chain.
Bast hears, and turns quickly, cracking the bat across his
face.
The guy falls. |
|
4 more come from the shadows.
|
|
|
BAST
Come on, you fucking pansies! I’m
trying to go home!
|
|
|
Two have bats, one carries a pipe, and the last holds a
knife.
|
55.
|
One of the bats gets too close, and Bast knocks him out with
his own. The pipe hits him in the face, knocking him silly.
The bat chokes him from behind.
The blade goes in, twisting, and pulling out as blood spills
onto the ground.
Bat guy releases Bast, who falls to his knees, and pukes
blood.
Bast swings his bat up, smacking the blade guy in the balls.
He hits the ground, and yells.
The bat guy hits him in the head, causing him to smash his
face into the street, right in his own bloody vomit. |
|
Tate watches from the shadows, fighting not to make a sound.
The guys walk away, nut shot guys is struggling. |
|
Bast lies still, eyes wide open, shaking.
|
|
|
FROST
The other one’s got to be around.
Send the word, jump up our
patrols. Don’t let him go.
|
|
|
|
TATE
(under his breath)
Oh, shit.
|
|
|
Bast lies still in the street, pale. |
|
|
EXT. BROADWAY - DAY |
|
FLASHBACK |
|
A busy street in the bright afternoon. Faolan and Bast walk
down the street. They see a drug deal. |
|
TITLE OVER:
October 2 |
|
56.
|
|
FAOLAN
Holy shit man, not a day goes by
where I don't see at least one
drug deal. It's fucking sick. |
|
|
|
BAST
Don’t worry about it, man. |
|
|
|
FAOLAN
What do you mean, don’t worry
about it? This city’s being run on
drugs. It’s pissing me off.
|
|
|
|
BAST
Well what the fuck do you want to
do about it?
|
|
|
Faolan steps up to the dealer, and shoves him into the wall.
|
|
|
FAOLAN
Whose your supplier?
|
|
|
|
|
|
FAOLAN
Whose your FUCKING supplier? I
want a name, and an address.
|
|
|
|
DEALER #2
You’re fucking crazy.
|
|
|
|
FAOLAN
No, you are. Peddling this shit in
my town.
|
|
|
|
DEALER #2
Back the fuck up.
|
|
|
Faolan pulls his blade, and puts it right up to the dealer’s
throat, slicing a little skin.
|
|
57.
|
|
FAOLAN
Tell me what I want to know,
unless you want to drown in your
own blood, asshole.
|
|
|
|
DEALER #2
Whoa! Holy shit, man! I’ll tell
ya!
|
|
|
|
EXT. GHETTO HOUSE - DAY |
|
FLASHBACK (CONT) |
|
Faolan and Bast walk up to the door, both carrying bats.
Faolan walks up the front steps to the door, and bangs on it
with his bat. |
|
A grungy looking house in a bad neighborhood. |
|
|
FAOLAN
Go check around back, make sure he
doesn’t slip out.
|
|
|
Faolan bangs again as Bast moves to the corner. |
|
|
FAOLAN
Open the door! Quit being a pussy!
|
|
|
Faolan bangs again.
|
|
A guy comes running out from an alley, into the connecting
street, away from Bast.
|
|
|
BAST
Faolan! He’s running!
|
|
|
Faolan leaps off the porch, and jets around the corner.
|
|
58.
|
|
FAOLAN
You better just fucking stop! I
will catch you!
|
|
|
Faolan gains on him a bit.
He throws his bat, smacking the guy in the back.
He falls forward and does a somersault.
Faolan grabs his bat, and stands over the guy. |
|
|
FAOLAN
You’re selling drugs in my town.
Killing my people.
|
|
|
|
DEALER #3
You got nothing! |
|
|
Faolan smacks him in the head with his bat.
|
|
|
|
Dealer #3 spits out blood. |
|
Faolan grabs him by the head, and drags him to the curb.
He sticks the guy's mouth on the curb, and jumps on his
head.
The guy screams in pain, and rolls over on his back.
The entire lower half of his face bleeds.
Faolan kicks him in the head, and knocks him down. He lies
flat on his back in the street. |
|
|
FAOLAN
You’re done, mother fucker.
|
|
|
Faolan places his bat across the guy's throat, and jumps
into the air to slam it into his throat.
Blackness.
AUDIO ONLY:
Faolan lands. |
|
|
59.
|
EXT. NICHOLSON RD. - NIGHT |
|
An overpass hangs over the street. The area dimly lit by
neon lights in the distance. |
|
TITLE OVER:
2:30 AM |
|
Faolan walks under the overpass, smoking his black, and
taking his time, the war chain still wrapped around his
fist. |
|
He makes his way up the hump bridge over the creek.
He stands in the middle of the street, at the peak.
He hangs his head in grief, and stands still.
Faolan walks over to the side of the bridge, and leans over,
peering down into the murky water.
He straightens up, and pulls himself up onto the side of the
bricge.
He stands, raises his arms to the sides, and looks down into
the water. He looks up at the sky, then closes his eyes
tightly. |
|
|
FAOLAN
(quietly, to
himself)
Why not? Why shouldn't I die? |
|
|
He opens his eyes again, and tears stream down his face.
He wipes his eyes, and hops back down.
He sits, with his back to the side of the bridge, and cries.
He stifles his sobbing, dries his eyes, and looks straight
out. |
|
Jenny walks up the bridge from the direction of Broadway.
|
|
|
|
60.
|
|
FAOLAN
(hesitating)
Jenny.
|
|
|
They sit in silence, just staring at each other.
Faolan appears angry.
He stands up, and climbs over the guard rail, into the
street. |
|
|
FAOLAN
What are you doing? |
|
|
|
|
|
FAOLAN
Why? Where the fuck is Cindy?
Whose in on it? What did you do?
|
|
|
|
JENNY
Don’t worry about that right now. |
|
|
She reaches out to touch his face, and he grabs her arm,
hard.
|
|
|
FAOLAN
Don’t tell me not to worry about
my fucking fiancée.
|
|
|
|
JENNY
Engaged, huh? When did that
happen?
|
|
|
|
FAOLAN
None of your damn business.
|
|
|
There is silence as they stare at each other. Faolan
breathes heavily, anger is evident.
|
|
61.
|
|
FAOLAN
I know what this is about. I know
you had something to do with this.
I can never be with you,
especially not after all this. |
|
|
|
JENNY
At least hear me out. |
|
|
|
FAOLAN
No chance. I can’t fucking believe
you, selfish cunt. I should break
your fucking arm off.
|
|
|
He seethes, and shoves her away.
|
|
|
FAOLAN
I can’t stand to look at you. |
|
|
He turns, and walks down the bridge, toward Broadway. |
|
|
JENNY
I know where she is. |
|
|
|
|
|
EXT. TRACKS BEHIND SR. HOME - NIGHT |
|
Train tracks set in gravel. Foliage lies to one side. The
dark corridor dimly lit by distant fluorescents. |
|
Tate walks the tracks alone, heading toward the trestle. The
sound of a truck in the distance.
Tate darts across the street into the shadows by the tracks. |
|
They just barely see him run in. They go down a block.
|
|
Tate releases a sigh of relief as he sees them go.
|
|
They turn around.
|
|
|
|
62.
|
They drive over the tracks, slowly.
|
|
|
GANG MEMBER
Come on out, you fucking chicken
shit!
|
|
|
Tate just hides in the shadows.
|
|
They go down to the next block, and turn back again.
|
|
|
GANG MEMBER
You’re fucking dead anyway! |
|
|
Tate watches as they go down to the next block, and turn the
corner.
He gets up and runs down the tracks to the split near the
trestle.
He takes the track to the right, across Broadway, and into
Ghost Town. |
|
As he crosses Broadway, the truck heads toward him. It
misses Tate by only a couple of feet.
He follows the tracks into Ghost Town, down to the entrance
of the desert. |
|
|
EXT. GHOST TOWN - NIGHT |
|
He crouches in the bushes by the fence to his right. |
|
His eyes peer around in the darkness, searching among the
old factories and warehouses. There appears to be no one
around. |
|
Tate stands, and moves out from behind the bushes into the
street.
He runs into the dark shadows beneath the tin roof over the
truck parking.
He crouches by the edge of the building, pushing against the
wall so as to not be seen. |
|
Voices in the distance.
He panics, but doesn't move.
|
63.
|
Footsteps in the distance.
Tate notices an old, dirty make-up kit lying face down,
open, in the dirt a few feet away.
He gets up, grabs it, and returns to his position. He uses
his shirt to wipe the filth off the mirror inside.
Tate very slowly moves the mirror past the wall, against the
ground. |
|
4 guys walk half a block down in the reflection of the
mirror. They spread out as they move, but they talking loud
enough to be heard. Each carries a knife. |
|
Tate looks around on the ground. He finds a bottle, and
holds it up, about to throw it. |
|
The bottle lands in the middle of the 4, and they all give a
shout. |
|
Tate comes running out from behind the wall, a knife in his
left hand, and another bottle in the right. |
|
He cracks the nearest in the head with the bottle, then
stabs him in the throat with the remains. The guy falls to
the ground, with the bottle actually jammed into his throat. |
|
One of the others throws his knife at Tate. He dodges. |
|
Tate runs forward, screaming, and jams the blade just
between the guy's shoulder blades. The guy goes rigid, and
falls to the ground. |
|
One of the others stabs Tate, and gets his arm. Blood
squirts out. |
|
Tate grabs his blade hand, and pulls him forward into his
own, jamming it just below his rib cage in the center. He
pulls it out, and jams it into the guy's eye. Tate drops
him, and the blade. |
|
The last guy runs away as Tate turns, falls to his knees,
and pukes. |
|
|
EXT. JOGGING TRACK - NIGHT |
|
A grassy field with a wooden playground in the middle. Lit
by orange fluorescents. |
|
64.
|
Faolan makes his way across the field, right by the
playground. |
|
Sounds of muffled screaming and struggling come from inside
the playground. |
|
Faolan stops, and listens for a moment. The sound of a woman
in pain comes from inside. |
|
He turns, and moves toward the park. He vaults over the
wooden fence, and looks around. |
|
He makes his way around to the monkey bars, and sees two
guys grabbing a woman. One holds her from behind, trying to
cup her mouth. The other tries to pull her pants off. |
|
Faolan notices her open purse lying to the side, which has
been emptied out. His muscles tense, and his jaw tightens.
His look hardens on the guys. |
|
|
FAOLAN
(quietly)
Let her go. |
|
|
They turn and see him. |
|
|
GUY #1
Hey, fuck you, man, it ain't none
of your business. |
|
|
Faolan steps up, closer to the Guy #1. |
|
|
FAOLAN
(quietly)
I said, let her go. |
|
|
Guy #1 lets go, and forcefully shoves her onto the ground. |
|
|
FAOLAN
(quietly)
Now get movin'. Both of you. |
|
|
|
|
|
FAOLAN
(quietly)
I'm not here to hurt anyone. |
|
|
Guy #2 walks over, and gets in Faolan's face. |
|
65.
|
|
GUY #2
You gonna sit here and ruin our
fun, then tell us you ain't trying
to hurt no one? What do you think,
I'm fucking stupid or something? |
|
|
|
FAOLAN
(quietly)
Just back off, man, and there
won't be any trouble. |
|
|
Guy #1 swings at Faolan, Guy #2 takes his legs out from
under him. |
|
Guy #1 jumps on top of Faolan, and starts hitting him in the
face. Faolan blocks his arm after a few shots, and forces
him off. |
|
Faolan gets up, and kicks Guy #1 in the head as hard as he
can, knocking him back onto the ground. |
|
Faolan quickly pulls out the warchain, wrapping it around
his right hand. |
|
Faolan swings at Guy #2 and the chain tears his flesh apart.
He goes down, and Faolan kneels over him, pummeling him over
and over again.
Faolan begins to scream loudly, in pure, blind rage, as he
pounds, harder and harder. Blood shoots up, and his chain
tears Guy #2's face apart. |
|
Faolan pulls back real far, and puts his entire body into
the final blow, which creates a disgusting crack, and a
large spray of blood. |
|
Faolan sits back, and breathes heavily. Guy #2's head has
been indented in the side, and blood pours out, oozing
through his hair. |
|
|
FAOLAN
(quietly, to
himself)
Holy shit. |
|
|
Faolan leans against a wooden pillar in the park, curled up,
and buries his face in his arms. He begins to sob loudly,
covering his face in his arms. |
|
The lady looks petrified. She runs, screaming. Guy #1 still
lies on the ground, groaning now and then. |
|
|
66.
|
EXT. GHOST TOWN - NIGHT |
|
Tate takes off his vest. He crouches down behind a truck
across the street from the silo, near the fenced in field. |
|
He peers around the back of the truck. One guy sneaks around
the truck, searching. Tate comes around, and meets him head
on. |
|
|
TATE
Hey, he's not around back here.
Already looked. |
|
|
|
GANG MEMBER
Alright, I'll go check around down
there somewhere. |
|
|
The guy turns back, and starts heading down the block. |
|
Tate takes off, headed toward Jersey Avenue. He runs across
the CVS parking lot, and down broadway. He turns the corner,
just past Pat's Italian Restaurant, and hits the tracks
again, headed toward Market. |
|
He runs full force down the tracks, across Market, past the
storage place. |
|
|
EXT. RIDGEWAY - NIGHT |
|
Faolan heads down the street, about to cross the tracks,
when the distant sound of footsteps on the rocks rips
through the air. He looks, and sees a figure running toward
him. He stops in the middle of the tracks, and waits. |
|
Tate comes running up. |
|
|
FAOLAN
Tate? What the hell happened?
Where's everybody else? |
|
|
|
TATE
Holy shit, you're covered in
blood, you ok? |
|
|
|
FAOLAN
Yeah, don't worry, I'm ok. Most of
it's not mine. Now where is
everybody? |
|
|
67.
|
|
TATE
Shit. I haven't heard from Kai
since the woods... Bast got
wasted. |
|
|
|
FAOLAN
I hope Kai's alright, I haven't
seen him either. I figured you
would have been ok without me.
Guess I was wrong. |
|
|
|
TATE
You never showed up in the woods
like you said, you abandoned us.
Where the fuck have you been? |
|
|
|
FAOLAN
I didn't abandon you, I did you a
favor. Bast was right. This is my
war, it's my problem. I was
putting your lives in danger for
my own cause. |
|
|
|
TATE
Shouldn't that have been for us to
decide? |
|
|
|
FAOLAN
No. You would have all come with
me, willing or not, and you
probably would all have been
killed. Bast was. We don't know
about Kai, my little brother... I
shouldn't have even told him. |
|
|
|
TATE
Damn it, Faolan! It's not your
fault! None of this is! |
|
|
|
FAOLAN
Yes, it is. I figured it out...
It's Rock, he's taking his revenge
on me for stealing Cindy from him.
Or so, that's how he sees it.
Whether there's an ulterior motive
or not, I don't know. But he's got
everyone involved. Jenny, Danny...
who the hell knows who else? This
is huge, man. You know who I
almost killed tonight? Danny. A
good friend. Someone we've known
since we were little. I've known
him almost as long as I've known
you or Bast... longer than I'd
(MORE)
|
|
68.
|
|
FAOLAN (cont'd)
known Kai. |
|
|
|
TATE
Jesus Christ, Faolan. You know
Rock ain't been the same since he
and the Demons started peddling
smack. He's been using it too. |
|
|
|
FAOLAN
The same goes for the whole crew
we left behind. That's a scene we
didn't want... it's a scene I
didn't want Cindy to be a part of.
I love her, man. |
|
|
|
TATE
It's a fucking shame, man. Our
best friends are now a rival
gang... what the hell can we do? |
|
|
|
FAOLAN
I don't know... but do you know
what the worst part is? The
feeling of not knowing, but
knowing... and not knowing how to
deal with knowing. I had the
feeling it might have had
something to do with all this... I
mean, a lot of the dealers we
waste work for Rock. He hated me
already. |
|
|
|
TATE
I hear you. Did you find anything
out? How do you know all this? |
|
|
|
FAOLAN
I talked to Jenny. And Danny. I
found out from him that they've
got her in a house on Hunter, by
Broadway. Other than that, I'm
clueless. So, I'm gonna stake out
the area, wait to see who comes in
and out of each house. No one
fucks with me, or my shit. I'm
gonna take them out. |
|
|
|
|
|
FAOLAN
Where are you colors, anyway, man? |
|
|
69.
|
|
TATE
They took 'em. Kicked my ass and
ganked my vest, man. |
|
|
|
FAOLAN
Why didn't they waste you, like
they did the others? |
|
|
|
TATE
I don't know, it doesn't make any
sense. |
|
|
Faolan notices the buldge in Tate's pocket, and the black
fabric hanging out. |
|
He gives Tate a hard look, then grabs the fabric, and pulls
it out. He opens it to reveal the vest. |
|
|
FAOLAN
They fucking took you vest, huh?
What the fuck is this? |
|
|
|
TATE
I didn't know what else to do! I
was stuck in Ghost Town, the
streets were crawling with Demons,
man. |
|
|
|
FAOLAN
I don't give a shit. You NEVER
take off your colors. What the
hell's the matter with you? You
know you soldier the colors no
matter what. What about honor?
There's no excuse for this shit. I
want you out of the gang, for
good. You've just proven your
worth to me, which is nothing. I
don't want you watching my back.
Now get the fuck out of my sight. |
|
|
|
TATE
I thought we were brothers! |
|
|
|
|
|
TATE
Come on, we've been friends since
we were like, knee-high, are you
seriously going to throw it all
away? |
|
|
70.
|
|
FAOLAN
You know what? That's what makes
this hurt even worse. You would
think your own brother, who you've
known so long, is gonna be the one
to watch your back, no matter
what. But I was wrong. I now know
I have no true friends. Just leave
me alone. |
|
|
Faolan throws the vest on the ground, and walks off toward
Broadway. |
|
|
INT. BASEMENT - NIGHT |
|
The dark basement. Cindy sits against the wall, hugging a
pillow. |
|
TITLE OVER:
3:40 AM |
|
The door opens. Rock descends the stairs. |
|
Tears pour from her eyes, but she makes no sound. |
|
Rock stands over her. |
|
|
ROCK
You're a tough chick, I admire
that... but it's pissing me off.
Just tell me what I need to know. |
|
|
|
CINDY
You're going to be fucking sorry
when he gets here! He'll fucking
kill you! |
|
|
|
ROCK
I don't think he's coming, doll
face. We told him where we were.
He's just a fucking coward.
Doesn't even have the balls to
come for the woman he supposedly
loves. |
|
|
|
CINDY
Shut the fuck up! He's not afraid
of anything, especialy you! He's
coming. |
|
|
71.
|
Rock grabs her by the hair, and pulls her to her feet. He
grabs her throat, and smashes her head into the wall. He
squeezes her throat. |
|
|
ROCK
Tell me where this fucker lives. |
|
|
She shakes her head and cries silently. |
|
Rock pulls back and punches her in gut. She vomits onto the
floor. |
|
|
ROCK
How tough are you now, bitch?
Huh!? Get the fuck up then! |
|
|
She lies on her side, next to her vomit, and sobs. |
|
Rock grabs her by the hair again, and pulls her to a sitting
position. He drags her to the wall, and props her up. |
|
Violently, he reaches for her pants.
She attempts to fight him off, kicking, hitting, and
screaming.
He yanks her pants off. He throws her down, and pushes
himself roughly inside. She screams, loudly, hitting him
repeatedly. |
|
|
EXT. BROADWAY - NIGHT |
|
The empty main road of the city.
Faolan walks along, just past Market Street, in front of the
Coffee Corner. He calmly puffs away at a Black & Mild. |
|
|
INT. BASEMENT - NIGHT |
|
Cindy leans against the wall, wearing her pants which are
still unzipped.
Rock kneels in front of her, his hand on her throat. |
|
He pulls a knife from his pocket, and puts it in her face. |
|
|
ROCK
This is it, I'm not fuckin'
playin' around anymore. Either you
tell me, or I'll kill you right
now. |
|
|
72.
|
He makes a quick slash across her leg, and blood oozes out.
He slashes again, but on the other leg. She screams both
times. |
|
Rock pulls the weapon back, ready to stab, when the door
opens, and footsteps fly down the stairs. Danny emerges. |
|
|
DANNY
Faolan's on his way! He's coming
here, now! |
|
|
|
ROCK
What the fuck do you mean!? |
|
|
|
DANNY
I had to tell him! He was going to
kill me! |
|
|
|
|
Rock jumps up, slits Danny's throat, and lets him fall. Rock
then goes up the stairs. |
|
After a moment, Cindy gets up, and goes to the stairs. She
looks up, and no one seems to be around. She makes her way
up the stairs, step by step, slowly. |
|
|
EXT. HUNTER STREET - NIGHT |
|
Rock stands outside on the porch, watching as Faolan walks
up from a distance.
Tate crouches down behind a car, watching Rock.
Rock steps down, and once his back is to Tate, Tate tears
across the street, and runs around to the side.
He enters the backyard through the back alley. |
|
|
INT. HOUSE - NIGHT |
|
Cindy reaches the top of the stairs and steps through the
doorway into the kitchen.
3 Demons sit at the table.
The 3 look at her simultaneously. No one moves as they
stare.
Cindy appears terrified, motionless.
|
73.
|
One of the demons nods to her.
She weakly nods up and down a couple times, indicating her
understanding.
She moves through the kitchen, then through the house, and
out the front door. |
|
|
EXT. HUNTER STREET - NIGHT |
|
Faolan and Rock stand face to face in front of the house.
Cindy steps out, and sees Faolan.
The two stare at eachother for a long moment of silence. A
tear forms in Faolan's eye.
Cindy cries, and she runs down the stairs, wrapping herself
around Faolan. He hugs her tightly, and more tears fall from
his eyes. |
|
|
FAOLAN
Jesus Christ... I wasn't sure I'd
ever see you again. |
|
|
|
CINDY
I didn't know where you were...
and I never told them anything. |
|
|
|
FAOLAN
You should have told them
everything they wanted to know.
There was no reason for you to go
through all of that. |
|
|
|
CINDY
I'm sure they would have killed
me. |
|
|
|
FAOLAN
This isn't over. Go. Leave. Go
home. I'll catch up with you
later. |
|
|
|
CINDY
I can't leave you again. I'm
afraid I'll never see you again. |
|
|
|
FAOLAN
I'll be at your place within an
hour. I promise. Now get moving. |
|
|
74.
|
She releases him, and starts walking Broadway, towards
Market. |
|
|
INT. KITCHEN - NIGHT |
|
The 3 Demons sit at the table in the kitchen.
Tate enters through the back door. |
|
Tate pulls out his blade, and jams it into the neck of the
nearest demon, dumping him out his chair. He raises the
chair, and brings it down into another Demon, knocking the
guy backwards onto the floor. He doesn't move. |
|
The third jumps up. He grabs a beer bottle from the counter,
and cracks Tate in the head. It doesn't break.
Tate grabs the guy by the throat, and smashes him into the
ground, where he holds him down. |
|
|
TATE
Where the fuck is she!? |
|
|
|
GANG MEMBER
She's gone! She left! |
|
|
|
TATE
Bullshit! Now tell me where she
is! |
|
|
|
GANG MEMBER
I'm telling you the truth! We let
her go! |
|
|
Tate grabs the bottle off the floor, and smashes it into the
guy's face. He then stands up, and goes to the basement. |
|
He sees blood on the floor, vomit, and Cindy's blankets.
Danny lies dead on the floor in a pool of his own blood. |
|
|
|
|
EXT. ROCK'S HOUSE - NIGHT |
|
Faolan steps closer. |
|
|
FAOLAN
Now, what the fuck do you want?
What did you do all this for? You
still pissed of because Cindy's
with me? News of the engagement
(MORE)
|
|
75.
|
|
FAOLAN (cont'd)
too much to handle? You just
fucking snapped? |
|
|
|
ROCK
That's not what this is about...
but I do want you dead. I came
here for you. |
|
|
|
FAOLAN
Go back to Westville, you junkie
fuck. |
|
|
|
ROCK
Not a chance in hell, you faggot.
Gloucester is my turf now. And it
always will be. |
|
|
|
FAOLAN
You think you can take my town
over, huh? This is all about turf?
No, I don't think so. This goes a
lot deeper than new turf. |
|
|
|
ROCK
It's good to see you again,
Faolan. I really missed you. |
|
|
|
FAOLAN
Avoiding the subject? Too painful?
Hurts to think of me with her for
the rest of our lives. To know
that I'm inside her every night.
It drove you fucking mad. And now
the drugs, the drugs make it
worse. You just had to get
revenge. Well, here I am. Do your
worst. Time for revenge. |
|
|
Tate steps outside, and sees the two. |
|
|
FAOLAN
Tate, don't move. Don't speak.
This is personal. |
|
|
Rock pulls out his gun, and points it directly at Faolan. |
|
|
FAOLAN
You don't even have the fucking
balls. But just in case, I'll see
you in hell. |
|
|
76.
|
The dark, empty barrel points directly at Faolan.
Blackness.
AUDIO ONLY:
Echoing gunshot. |
|
|
EXT. POLICE STATION - DAY |
|
News people and police bustle about in front of the station. |
|
TITLE OVER
6:15 AM |
|
The anchorwoman, TRISH TAYLOR, is set up in front of the
camera, with DETECTIVE RAMIREZ by her side. |
|
|
TRISH
This is Trish Taylor with your
early AM news, reporting live from
Gloucester City, New Jersey, after
a night of chaos has torn the
entire city apart. I'm standing
here with Detective Ramirez of the
Gloucester City Police Department.
Detective, what can you tell us
about what happened here last
night? |
|
|
|
RAMIREZ
Well, there's actually not much I
can say at this point, because we
simply have no details. All we
know for sure, is that it's all
been gang related. We believe
drugs were the basis for much of
the violence, but we can't say for
sure. We've never seen anything
with this level of brutality in
the history of our town. I mean,
sure, we've had riots, and
murders, but nothing with this
level of violence. This brutality.
We've decided to increase our
patrols, crack down on drugs
harder than ever, and we've
instated a new zero tolerance
policy. We're determined to make
these streets safer. |
|
|
77.
|
INTERCUT WITH:
Police cars in different parts of town.
The dead gang members lying where they were dropped.
Shots around the city of people looking forlorn and worried. |
|
|
TRISH
Thank you, Detective. More on this
story at noon. For your early
morning news, this is Trish
Taylor. |
|
|
|
EXT. PROPRIETER'S PARK - DAY |
|
The park in sunlight.
Tate stands alone in the gazebo looking out over the river. |
|
TITLE OVER
10:00 AM |
|
Cindy walks up behind him, and stands a few feet back. |
|
|
|
Tate looks back, then looks back out on the river.
|
|
|
|
|
CINDY
Have you heard anything else?
|
|
|
|
TATE
Yeah. Kai's dead. They found him
in the woods. I watched Bast get
shanked... Faolan was shot by
Rock, right after you left... |
|
|
|
CINDY
The cops came by already to tell
me about Faolan... |
|
|
|
|
78.
|
|
CINDY
Yeah. It's just a shock... still
doesn't seem real. |
|
|
There's a long silence. |
|
|
CINDY
I've got something to tell you. |
|
|
|
|
There's silence as she looks down. |
|
|
|
Tate raises a brow, but doesn't look at her. |
|
|
|
|
|
|
TATE
And it's ok, after everything? |
|
|
|
CINDY
Yeah, they checked me out when I
went to the hospital this morning.
The baby's fine. |
|
|
|
TATE
How far along are you? |
|
|
|
|
|
|
|
CINDY
Yeah, he knew for a little while. |
|
|
|
|
|
|
79.
|
|
TATE
That’s exactly what Faolan didn’t
want. He wanted his kids to grow
up with a father, he didn’t want
them growing up like all the other
ghetto brats.
|
|
|
|
|
|
TATE
He wanted better for his. |
|
|
|
CINDY
I just hope it was worth it... his
life I mean. I hope the streets
really are safer for our child. |
|
|
|
TATE
I hope so, too... I can’t imagine
this night being in vain. It was
too horrible.
|
|
|
|
|
A long moment of silence. |
|
|
CINDY
I better get going, I'll be late
for work. |
|
|
|
TATE
OK, I guess I'll see you later,
then. |
|
|
|
|
She stands there for a moment, then walks off.
Tate stands there, motionless for a long while, staring out
over the river.
A tear falls, and he wipes it away.
Anger takes him over, and he squeezes his vest with all his
might.
He throws his vest down in anger.
|
80.
|
He removes his cross necklace, and dangles it in front of
him, staring at it.
He drops it, and walks away. |
|
FADE OUT. |
|
FADE IN.
The cross lies there on the cement.
Tate's hand comes in and grabs the necklace.
He stares at it dangling from his hand forr a moment, then
he puts it back on, and walks off. |
|
THE END
|
|
FADE OUT. |
|
|
|
|
Feedback |
From Nick Hanks |
Date 4/5/2008 |
0 stars |
I felt that I had to clarify, this is not a shooting script. The shooting script is the result of your spec script being bought. Then several drafts after that, the shooting script is the final script that is used in the making of the film after it has been doctored by all the directors, (director of photography, head director, producer etc.). This is a spec script, (for speculation). Keep writing. |
From Andy Carbon |
Date 8/27/2007 |
|
Complete revised shooting script? Then what's this:
FAOLAN
Well, I am worried about it. And
I'm worried about you. What time
do you get done tonight?
FAOLAN
It's Sunday night, so it's a short
shift. We should be out by 9.
FAOLAN
Everyone leaves at the same time?
You can't hang around an extra
little while until I get there? An
hour is a little bit short for a
meeting like this.
Those careless mistakes are what divides a masterpiece from a B-movie. Story is average. Been there, done that. Dialogue is common too. Try harder. |
From Stuart |
Date 8/23/2007 |
|
good job man, liked the dialogue and the story. I'd say it was a bit short, clocked in around the same time as a disney movie, but other than the length good job. |
|
|
|
Leave Feedback |
You must be logged in to leave feedback. |
|
|