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by Brian Carney (briancarney213@yahoo.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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FADE IN:
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EXT. TACONY TRAIN STATION - PHILADELPHIA, PA - NIGHT |
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Small train stop. Graffiti covered brick shelters on each
side. Onto the track stumbles -- |
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BRIAN, early twenties, chinstrap beard, baggy clothes,
fitted ball cap. |
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Brian chugs a bottle of liquor. Smashes it. Looks to the
sky. |
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BRIAN
Let's see you prove it! |
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Brian drops to his knees. Looks to the sky. Anger turns to
sadness. Eyes drown in tears. |
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A train speeds by. Blows its whistle. |
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EXT. TACONY TRAIN STATION - FIVE YEARS EARLIER - NIGHT |
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A train speeds by. |
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SUPER: 1995 |
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Inside the brick shelter stands -- |
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YOUNG BRIAN, early teens, baggy clothes, baseball cap tilted
to its side, guzzles a bottle of liquor. Passes it to -- |
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YOUNG TOMMY, early teens, pants sagging, backwards baseball
cap, gulps the liquor. Passes it to -- |
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YOUNG JIM, early teens, baggy clothes, bandanna on his head. |
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YOUNG JIM
So wait, why they call you Brain? |
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Young Jim gulps the liquor. |
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YOUNG BRIAN
Because I misspelled my name -- |
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YOUNG TOMMY
On a spelling test, Jim! He
misspelled his name, on a spelling
test! We should call brain dead. |
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Everybody laughs. |
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2.
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YOUNG JIM
Yo Tommy, why don't we call him
Brainstorm? That'll be a dope rap
name. |
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YOUNG TOMMY
I like that!...Yo, why don't you
beat-box something for him. |
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Young Jim beat-boxes the instrumental to Dr. Dre's "Nothin'
But a G Thang." |
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YOUNG BRIAN
One, two, three and to the fo'/
My name's Brainstorm and I'm
coming though the do'/
Ready to place an order, so back
on up -- |
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YOUNG TOMMY
Cause you know he about to rip
food up/ |
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YOUNG BRIAN
Now gimme the quarter pounder
first so I can bust like a bubble/
Burgers and fries together, now
you know that was trouble/
Ain't nothing but a Big Mac, baby/
I'm a crazy mother fucker gone
crazy/
McDonald's is the label that feeds
me/
Inedible, so please don't try to
eat me/ |
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Young Tommy and young Jim laugh. Young Brian gulps the
liquor. Wobbles. |
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YOUNG BRIAN
Shit! What time is it? |
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Young Jim looks at his wristwatch. |
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YOUNG BRIAN
Fuck, I gotta go. |
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Young Brian hands the bottle of liquor to Young Tommy. |
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3.
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YOUNG TOMMY
Don't be a pussy! We still got a
lot left. |
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YOUNG BRIAN
My parents are gonna kill me. I'll
see ya guys tomorrow. |
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Young Brian slaps hands with Young Tommy and Young Jim.
Walks away. |
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EXT. BRIAN'S HOUSE - NIGHT |
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A small row home. Well kept. Young Brian unlocks the door. |
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INT. BRIAN'S HOUSE - LIVING ROOM - NIGHT |
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Young Brian enters. Slightly sways. Looks at -- |
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MARYJANE, mid forties, short, curly hair, watches TV with -- |
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MIKE SR, mid forties, mustache, police uniform. |
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MIKE SR
Do you know what time it is? |
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YOUNG BRIAN
I'm sorry. We were uh playing
basketball and um -- |
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YOUNG BRIAN
What? Drunk? Pfft! |
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Mike Sr stands up. Angry. Maryjane grabs Mike Sr's arm. |
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Mike Sr pulls his arm away. Stands up. |
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MIKE SR
I have to go to work. |
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Mike Sr exits. Slams the door. Young Brian sits next to
Maryjane. |
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MARYJANE
You're too young to be drinking. |
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4.
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YOUNG BRIAN
Yea, but everyone else -- |
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MARYJANE
If everyone else jumped off a
bridge, would you follow? |
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Young Brian shakes his head no. |
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MARYJANE
I'm worried about you. |
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Young Brian stands up. Trips. Slams head. Maryjane picks him
up. Helps him up the stairs. |
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MARYJANE
OK. Go sleep it off. We'll talk
about this tomorrow. |
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INT. BRIAN'S HOUSE - BEDROOM - DAY |
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A small bedroom. Young Brian sleeps. In walks --
MIKE, early twenties. Behind him walks --
KIM, early twenties.
Mike holds a metal pot in one hand. A lid in the other.
Bangs them together. Clang. Cling. Clang. Young Brian
abruptly awakes. |
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YOUNG BRIAN
Yo Mike, what the fuck man? |
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Mike and Kim laugh. Young Brian holds his head in pain. |
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KIM
Heard you got caught last night.
You gotta be careful next time. |
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YOUNG BRIAN
I know Kim, but it's so much fun.
Mike, can get us beer tonight? |
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MIKE
Are you crazy? Dad said you're
grounded. |
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YOUNG BRIAN
Ugh, what? For how long? |
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5.
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MIKE SR (O.S.)
For a month! |
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PAN to the doorway, where Mike Sr. stares young Brian down.
Awkward silence. |
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MIKE SR
No friends. No phone. No TV. Got
it? |
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Young Brian, too scared to speak, nods in agreement. |
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MIKE SR
The only time you step out of this
house is to go to school. |
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Mike Sr. exits. |
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EXT. LARGE ALLEY - DAY |
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Young Brian and Young Tommy walk down a large secluded alley
behind a block row homes. Dressed in catholic school
uniforms. |
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YOUNG TOMMY
I can't believe you got caught. |
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YOUNG BRIAN
Tell me about it. |
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YOUNG TOMMY
I got something that'll make you
feel better though. |
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Young Tommy flashes a joint. Brian shakes his head no. |
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YOUNG BRIAN
I don't wanna end up like Shawn. |
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YOUNG TOMMY
Man, this ain't crack! It's weed. |
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Young Tommy lights the joint. Puffs it. Hands it to Young
Brian. Young Brian reluctantly takes it. |
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YOUNG BRIAN
I know, but -- |
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YOUNG TOMMY
You'll be fine. I promise. |
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6.
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Young Brian puffs the joint. Coughs. Puffs again. Passes it
to Young Tommy. |
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YOUNG TOMMY
Just wait. You're gonna love it. |
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Young Tommy takes a hit. Passes it to Young Brian. Young
Brian tokes it. Chuckles. Puffs again. Laughs out loud. |
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YOUNG TOMMY
What's so funny? |
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YOUNG BRIAN
I don't know. |
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Young Brian laughs again. Young Tommy joins in. They laugh
uncontrollably. A car horn silences their laughter. |
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YOUNG TOMMY
Fuck! Scared the shit outta me. |
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A car is trying to pass. Young Brian and Young Tommy move
out of the way as the car passes. |
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YOUNG BRIAN
Shit we're gonna be late. Come on,
let's go. |
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Young Tommy tosses the joint roach as they hurry away. |
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INT. FATHER JUDGE HIGH SCHOOL - CLASS ROOM - DAY |
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A red eyed Young Brian bops his head to an imaginary beat.
Writes in his notebook. Other STUDENTS, catholic school
uniforms, pay attention to the --
TEACHER, male, writes on -- |
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THE CHALKBOARD |
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The chalkboard reads: -2X + 6 = 4 |
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Young Brian silently raps the lyrics from his book. |
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TEACHER
Mr. Storm, what did you get for X? |
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Young Brian looks at the teacher. |
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7.
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Everybody laughs. |
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TEACHER
Write down the problem and give me
the answer. |
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YOUNG BRIAN
Do I have to write it down? |
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TEACHER
You're not going to figure it out
unless you write it down. |
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YOUNG BRIAN
Bullshit! The answer is 1. |
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Everybody laughs. |
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TEACHER
OK smart ass, I'll see you in
detention. |
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Young Brian throws the pen on his desk. Crosses his arms. |
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INT. PUBLIC BUS (MOVING) - DAY |
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Young Tommy and Young Brian sit in the back of the bus. |
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YOUNG BRIAN
Fuck that. I got the fucking
answer right, why should I go to
detention? |
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YOUNG TOMMY
He's a prick. I hate that bullshit
class. |
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Young Tommy reaches in his pocket. Pulls out a pill bottle. |
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YOUNG TOMMY
You want some zannies? |
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Tommy pops a few pills in his mouth. Swallows them. |
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YOUNG BRIAN
Nah man, I think I'm cool. |
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YOUNG TOMMY
C'mon, if you like weed then
you're gonna love these. |
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CLOSE on Brian's hand. Three blue Xannax fall into his palm. |
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8.
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INT. PUBLIC BUS (MOVING) - FIVE YEARS LATER - DAY |
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CLOSE on Brian's hand holding three blue Xannax. PULL BACK
to reveal Brian is now five years older. Brian pops the
pills in his mouth. Swallows them. |
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SUPER: Five years later |
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Brian hands a wrapped blunt to --
TOMMY, now early twenties, takes a bag of weed from --
JIM, now early twenties, sips liquor from a brown bag. |
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TOMMY
Yo, don't be stealing shit at the
mall. I know how you get when you
take these. |
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BRIAN
I won't steal anything. I promise! |
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INT. POLICE DISTRICT - JAIL CELL - NIGHT |
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Brian sleeps on the floor. Wakes up. Confused. Looks at a --
JUNKIE, mid thirties, dirty, sits on the bench. |
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JUNKIE
What's up brother. What brings you
to this fine establishment? |
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BRIAN
I um...I don't know. |
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JUNKIE
One of those nights huh? |
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The junkie coughs violently. |
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BRIAN
Yea, no more zannies for me. |
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Brian stands up. |
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9.
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JUNKIE
Do yourself a favor. Don't end up
like me. |
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The junkie lifts his shirt. A large scar across his chest. |
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JUNKIE
Got that from a bar fight. I'm
damn lucky to be alive. |
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The junkie reveals his arms. Bruises. Track marks. |
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JUNKIE
I didn't just wake up one day and
say to myself "I think I might
start shooting dope today." |
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BRIAN
I ain't ever doing that shit. |
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JUNKIE
Shit, I said the same thing. |
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BRIAN
No offense, but I'm nothing like
you. |
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JUNKIE
You say that now, brother...You
say that now. |
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A TURNKEY unlocks the cell door. Behind him stands Mike Sr,
wears police uniform. Shakes his head in disappointment. |
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BRIAN
Dad, I'm sorry. I -- |
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MIKE SR
I don't want to hear it. You need
to do something with your life. Go
to school, join the military,
whatever. Just do something! |
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Mike Sr. begins to walk away. |
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BRIAN
Wait, can I get a ride? |
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MIKE SR
I'm going back to work. You got
yourself here, so get yourself
home. |
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10.
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INT. BRIAN'S HOUSE - LIVING ROOM - NIGHT |
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Brian enters. Maryjane carries a laundry basket full of
clothes. Brian helps her. Grabs the basket. |
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Brian and Maryjane walk to the -- |
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BASEMENT/LAUNDRY ROOM |
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Brian drops the basket on the floor. Maryjane turns on the
washing machine. They add clothes. |
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MARYJANE
Something needs to be done about
your room. It stinks. |
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BRIAN
I can't right now. I'm going out. |
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MARYJANE
Don't get in any trouble. |
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Brian closes the washing machine lid. |
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MARYJANE
I worry about you. |
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BRIAN
I promise, I wont get in any
trouble. I gotta go, love you. |
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Brian kisses Maryjane on the cheek. Exits. |
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EXT. BRIAN'S HOUSE - NIGHT |
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An Oldsmobile Cutlass idles. Brian gets in the Cutlass. |
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INT. OLDSMOBILE CUTLASS (MOVING) - NIGHT |
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Tommy sits in the driver seat. Brian enters. Shakes hands
with Tommy. Tommy shifts the car. Drives off. |
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11.
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BRIAN
You ready to get fucked up? |
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TOMMY
Hell yeah, but this better not be
another sausage party. |
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BRIAN
That wasn't my fault man. |
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TOMMY
I'm just busting balls. I gotta
stop for smokes real quick. |
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EXT. CONVENIENT STORE - PARKING LOT - NIGHT |
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The Cutlass parks. Brian and Tommy exit. Walk towards the
store. Across the parking lot is a group of -- |
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PUNKS, early twenties. With them is their --
LEADER, early twenties. |
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LEADER
Hey. Hey, come here. I gotta ask
you a question. |
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Brian and Tommy walk over. Punks surround them. |
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FLASHBACK - FIGHT SCENE |
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The leader lies on the ground. Brian kicks him. Urinates on
him. Laughs. |
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BACK TO PRESENT DAY |
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A fist cracks Brian's face. Punks pin Tommy to the ground. |
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TOMMY
Get the fuck off me. |
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Punks surround Brian. Punch. Kick. Slam him to the ground. |
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12.
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The leader jumps on Brian. Slips on a pair of brass
knuckles. Pummels Brian's face. Police sirens wail in the
distance. The leader gets up. |
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LEADER
Come on, we gotta go. |
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Punks let go of Tommy. Brian lies on the ground. Badly
bruised eye. Broken nose. Spits blood. Tommy helps Brian.
They get into the Cutlass. |
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INT. OLDSMOBILE CUTLASS (MOVING) - NIGHT |
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Brian rides shotgun. Tommy drives. Reverses the car. |
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BRIAN
Let's get everyone and come back
and fuck these mother fuckers up! |
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Tommy breathes heavy. Shows his teeth. Furious. Psychotic. |
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TOMMY
No, we're gonna fuck them up right
now. |
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Tommy slams the gas pedal. Steers towards the punks. |
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EXT. CONVENIENT STORE - PARKING LOT - NIGHT |
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Tires screech. The cutlass jolts. Hits the leader. Crashes
into another car. The leader's leg crushed between the cars. |
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LEADER
You broke my fucking leg, you
crazy motherfuckers! |
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INT. OLDSMOBILE CUTLASS (MOVING) - NIGHT |
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The back windshield shatters. Tommy turns the wheel. |
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BRIAN
Shit, Tommy. Are you fucking nuts? |
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13.
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EXT. CONVENIENT STORE - PARKING LOT - NIGHT |
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Tires screech. The cutlass speeds off. Punks pile into a
car. Give chase. |
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EXT. BUSY STREET - NIGHT |
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A red light. The cutlass stops. The punks pull behind it. |
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INT. OLDSMOBILE CUTLASS - NIGHT |
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A car door slams. Brian looks in the -- |
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REAR VIEW MIRROR |
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In the mirror: Punks approach. Lead pipes in hand. |
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BRIAN
Shit, run the light. Go. Go! |
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EXT. BUSY STREET - NIGHT |
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The Cutlass runs a red light. A cop car crosses the
intersection. Lights flash. The Cutlass pulls over. A YOUNG
OFFICER exits the cop car. Tommy gets out of the Cutlass. |
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TOMMY
Look what they did to my boy! |
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Tommy points towards Brian. The young officer draws his gun. |
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YOUNG OFFICER
Sir, put your hands on the car. |
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TOMMY
Why you pointing that at me? |
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Tommy points as the punks drive pass them. |
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YOUNG OFFICER
Sir, hands on the roof of the
vehicle! |
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Tommy places his hands on the roof. The young officer places
Tommy in handcuffs. Brian gets out of the Cutlass. |
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BRIAN
Why are you arresting him? Arrest
the punks that did this. |
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14.
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Brian points to his eye. |
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YOUNG OFFICER
Sir, get back in the car. I will
call you an ambulance. |
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Brian gets back in the Cutlass. The young officer walks
Tommy to the cop car. Lights flash on top of the cop car. |
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EXT. BUSY STREET - NIGHT |
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Lights flash on top of an ambulance. Brian sits in the back.
Swollen eye. Broken nose. In front of him stands an --
EMT, applies medicine to Brian's face. |
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EMT
You have to go to the hospital. |
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Brian shrugs. |
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BRIAN
It doesn't even hurt that much. |
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EMT
Maybe not, but it looks really -- |
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BRIAN
Listen, I just want to go home. |
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Brian stands up. Walks away. |
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INT. BRIAN'S HOUSE - BASEMENT/LAUNDRY ROOM - NIGHT |
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Brian adds a bloody shirt to the washing machine. Picks up a
drivers license from the dryer. Belongs to --
SHAWN STORM, mid-twenties, resembles Brian. |
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Brian pockets the license. Takes a shirt from the dryer.
Puts it on. Walks to the -- |
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FIRST FLOOR |
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Brian opens the door. Maryjane watches TV. Looks at Brian.
Covers her mouth in shock. |
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15.
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MARYJANE
Brian, what happened? |
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MARYJANE
We should go to the hospital. |
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BRIAN
The ambulance said I was fine. |
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MARYJANE
Why are you lying? You can't keep
living like this. |
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BRIAN
Mom, it wasn't my fault. |
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MARYJANE
It's never your fault. |
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Brian leaves. Slams the door. |
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INT. PRINCE CAFE - NIGHT |
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A small bar. Dirty. A hole in the wall. A SLOPPY DRUNK hands
an empty mug to --
GROUCHO, middle aged, bartender, looks like Groucho Marx.
Brian enters. Walks towards -- |
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MIKE, now in his late twenties. Drinks with --
PAUL, mid twenties, skinny, goatee. |
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PAUL
What the fuck happened to you? |
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BRIAN
Got rolled on by a couple pussies. |
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MIKE
Where they at? Let's go get them! |
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BRIAN
Tommy already got them. Ran them
the fuck over with his car. |
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16.
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Paul walks away. Groucho greets Brian. |
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GROUCHO
How you doing? You got ID? |
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Brian hands Groucho the driver's license. Groucho quickly
looks. Hands it back. |
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GROUCHO
What can I get ya? |
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BRIAN
Lemme get a Yuengling. |
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Groucho fills a mug with beer. Hands it to Brian. |
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MIKE
Groucho, this one's on me. |
|
|
|
|
Groucho takes Mike's money. Brian tastes his beer. Mmmm. |
|
|
|
|
|
|
|
Brian walks to the -- |
|
|
|
BATHROOM |
|
|
One toilet. One urinal. Paul holds a dollar bill. White
powder under his nose. Brian walks in. Startles Paul. |
|
|
|
|
|
|
|
Brian walks to the urinal. Unzips his pants. Pisses. |
|
|
| |
PAUL
You wanna do a line? |
|
|
|
| |
BRIAN
Noooo. I don't do that shit. |
|
|
|
|
Brian zips up. Flushes. Brian and Paul walk back to the -- |
|
|
|
BAR |
|
|
|
Paul and Brian take their seats. |
|
|
17.
|
|
|
|
|
|
Groucho places shot glasses on the bar. Fills them up. |
|
|
| |
PAUL
Wait wait. I wanna make a toast. |
|
|
|
|
Everybody raises their shot glasses. |
|
|
|
|
|
|
|
Everybody says "To Brian's eye!" Drinks their shots. |
|
|
| |
|
INT. BRIAN'S HOUSE - BRIAN'S ROOM - DAY |
|
|
Brian slowly wakes up. Holds his head in pain. Walks to his
dresser. Picks up a pack of cigarettes. Exits. |
|
|
| |
|
EXT. BRIAN'S HOUSE - BACKYARD - DAY |
|
|
Concrete back yard. Brian steps outside. Lights a cigarette.
A neighbor's door slams. Out walks --
MARK, late teens, thuggish, baggy clothes. |
|
|
|
|
|
|
|
Mark hops the gate. Lights a cigarette. Looks angry. |
|
|
| |
MARK
My old head was suppose to get us
forties tonight. |
|
|
|
| |
BRIAN
I can get them, I got Shawn's ID. |
|
|
|
| |
MARK
Why didn't you fucking tell me?
You can sell coke in the bars. |
|
|
|
| |
BRIAN
I don't mess with that shit. |
|
|
|
| |
MARK
Exactly. You won't snort it up! |
|
|
|
| |
BRIAN
I dunno if that's for me man. |
|
|
|
18.
|
| |
MARK
You can make good money. You'll be
drinking and smoking for free. |
|
|
|
| |
BRIAN
Ya know what? Fuck it, why not? |
|
|
|
| |
MARK
Come on. I'll show ya what to do. |
|
|
|
Brian and Mark hops the gate. They walk to the door. A hand
turns the knob. |
|
|
| |
|
INT. PRINCE CAFE - NIGHT |
|
|
A hand turns the door knob. Brian enters. PATRONS crowd the
bar. Groucho pours shots. Paul, Tommy, and Jim drink beers. |
|
|
| |
TOMMY
Hey, you ain't twenty one yet. |
|
|
|
|
|
|
|
|
Everybody laughs. |
|
|
| |
BRIAN
Yo, I got uh, Pepsi, if you want. |
|
|
|
| |
PAUL
Seriously? Let me get one. |
|
|
|
| |
TOMMY
Let me get one too. |
|
|
|
|
Brian takes money from Tommy and Paul. Hands them coke. |
|
|
| |
BRIAN
(Yells)
Yo Groucho, need a Yuengling! |
|
|
|
|
Groucho fills a mug with beer. Hands it to Brian. |
|
|
| |
JIM
You see that girl over there? |
|
|
|
|
Jim discreetly points at -- |
|
|
PAM, early twenties, waits for bartender. Four GUYS hawk
her. Pam is uninterested. |
|
|
19.
|
| |
TOMMY
Yea, what about her? |
|
|
|
| |
JIM
I bet she don't go home with any
of them! |
|
|
|
| |
BRIAN
Cause she's going home with me. |
|
|
|
| |
PAUL
Ha-ha. Wanna put money on that? |
|
|
|
|
Brian tosses money on the bar. Shakes hands with Paul. |
|
|
| |
|
INT. BRIAN'S HOUSE - LIVING ROOM - DAY |
|
|
Brian and Pam sleep on the couch. Half naked. Maryjane walks
down the stairs. |
|
|
| |
MARYJANE
Brian! You're late for work! |
|
|
|
|
Brian and Pam abruptly awake. Sit up. |
|
|
| |
BRIAN
Come on Mom, it's my day off. |
|
|
|
| |
MARYJANE
And who is this? |
|
|
|
|
|
|
|
|
Brian turns to Pam. |
|
|
| |
BRIAN
Whats your name again? |
|
|
|
|
Pam rolls her eyes. |
|
|
|
|
|
|
|
Brian turns back to Maryjane. |
|
|
| |
BRIAN
This is Pam. She got locked out of
her house. |
|
|
|
|
Maryjane shakes her head in disappointment. |
|
|
20.
|
| |
MARYJANE
You need to get your life
together. Me and dad aren't going
to be around forever. |
|
|
|
| |
BRIAN
I know, you tell me all the time. |
|
|
|
| |
MARYJANE
I have to go to work. We'll talk
more about this later. |
|
|
|
|
Maryjane exits. Slams the door. Pam stands up. |
|
|
|
|
|
|
|
|
|
|
| |
PAM
Next time you bring a girl home,
at least remember her name the
next morning. |
|
|
|
|
Pam exits the front door. A knock on the back door. |
|
|
| |
|
EXT. BRIAN'S HOUSE - BACKYARD - DAY |
|
|
Mark stands outside. Brian opens the door. Steps outside.
Shakes hands with Mark. Lights a cigarette. |
|
|
|
|
|
|
| |
MARK
How'd ya do last night? |
|
|
|
|
Brian pulls cash from his pocket. Hands it to Mark. |
|
|
| |
MARK
You going again tonight? |
|
|
|
|
|
|
|
| |
MARK
Aight. Here, I got more for you. |
|
|
|
|
Brian's hand. Receives a couple bags of coke. |
|
|
| |
21.
|
|
INT. PRINCE CAFE - NIGHT |
|
|
Brian's hand. Slips a bag of coke to a --
COKE-HEAD, scruffy, stands up. Exits. |
|
|
|
The bar looks practically empty. Brian sits alone. |
|
|
| |
BRIAN
Yo Groucho, where is everyone at? |
|
|
|
|
Groucho stands behind the bar. Dries a mug. |
|
|
| |
GROUCHO
Maybe Larry scared them all away. |
|
|
|
Groucho looks across the bar at --
LARRY, an old drunk. |
|
|
| |
LARRY
Kiss my ass you prick! |
|
|
|
| |
GROUCHO
You might like that! |
|
|
|
|
Groucho and Brian laugh. |
|
|
| |
LARRY
I wonder about you sometimes. |
|
|
|
| |
BRIAN
So Groucho, tell me. Why they call
you Groucho? |
|
|
|
| |
LARRY
He looks like Groucho Marx! |
|
|
|
| |
BRIAN
Who is Groucho Marx? |
|
|
|
|
Groucho shakes his head in disappointment. |
|
|
| |
GROUCHO
Who's Groucho Marx? Ay yi yi. He's
a movie star from many years ago. |
|
|
|
| |
BRIAN
Must have been an ugly mother
fucker! |
|
|
|
|
Brian sips his beer. |
|
|
22.
|
| |
LARRY
Whoa! I like this kid! His next
drink is on me. |
|
|
|
|
Mike enters. Walks to Brian in a hurry. |
|
|
| |
MIKE
Bri, Mom's in the hospital. |
|
|
|
| |
BRIAN
What? Why? What happened? |
|
|
|
| |
MIKE
I don't know. Come on, let's go. |
|
|
|
|
Brian quickly leaves with Mike. |
|
|
| |
|
INT. HOSPITAL - ROOM - NIGHT |
|
|
Maryjane is unconscious. Tubes. Breathing machine. A monitor
beeps. Mike Sr holds her hand. KIM, now late twenties,
pregnant, sits next to Mike Sr. Brian walks in with Mike. |
|
|
|
|
|
|
| |
KIM
It's a brain aneurysm. |
|
|
|
|
|
|
|
| |
MIKE SR
Aneurysm. A bubble in her brain. |
|
|
|
| |
BRIAN
They can fix it, right? |
|
|
|
|
Silence fills the room. Brian shakes his head no. |
|
|
| |
BRIAN
No! No, they gotta fix it. They
have to. |
|
|
|
Kim shakes her head no. Hugs Brian. Tears glide down his
cheeks. Mike and Mike Sr join in. Group hug. |
|
|
| |
|
EXT. CEMETERY - DAY |
|
|
Brian stands among his FRIENDS AND FAMILY. Everyone holds a
single rose. Listens to --
|
23.
|
FATHER CHADELLI, stands beside a casket. Holds a bible. |
|
|
| |
FATHER CHADELLI
We gather here today in memory of
Maryjane. She was a loving mother,
a devoted wife, a cherished
sister, and a joyous friend to
many. Her soul was a unique one,
for she brought smiles to everyone
around her. May her spirit live on
through us, for Maryjane would not
want us to grieve her death, but
rather celebrate her life. |
|
|
|
Brian stares at the casket. Friends and family brush past
him. Place roses on the coffin. Mike Sr hugs Brian. |
|
|
| |
MIKE SR
I know this is tough, but don't go
drowning yourself in booze. You
can't drink the pain away, OK? |
|
|
|
Brian nods in agreement. Tommy and Jim approach. Mike Sr
walks away. |
|
|
| |
TOMMY
Come on, let's go get a drink. |
|
|
|
Brian watches his father walk away. Looks at the grave site.
Looks at Tommy. |
|
|
| |
|
INT. PRINCE CAFE - NIGHT |
|
|
Tommy drinks with Jim. A few YOUNG DRUNKS sit at other end
of the bar. Groucho bar-tends. |
|
|
| |
JIM
My parents are gone for the
weekend. We should just get some
take out and chill at my crib. |
|
|
|
| |
TOMMY
Yea, whenever Brain gets out the
bathroom. What the fuck is he
doing in there? |
|
|
|
|
Tommy looks to the -- |
|
|
|
BATHROOM |
|
|
|
Brian snorts a line of coke. Wipes his nose. Exits to the -- |
|
|
24.
|
|
BAR |
|
|
Brian sits between Jim and Tommy. Groucho hands a beer to --
BLAKE, early twenties, short, skinny. Looks over at Brian. |
|
|
| |
BLAKE
Brain Storm! I knew that was you. |
|
|
|
|
Blake approaches. Shakes hands with Brian, Tommy, and Jim. |
|
|
| |
JIM
Blake? What you doing here? |
|
|
|
| |
BLAKE
My uncle Groucho works here, so -- |
|
|
|
| |
BRIAN
Wait, Groucho is your uncle? |
|
|
|
| |
BLAKE
Yea, he told me you got that... |
|
|
|
Blake presses his nostril. Clogs the airway. Snorts. Brian
nods yes. Exchanges money for drugs with Blake. |
|
|
| |
TOMMY
We're about to head to Jim's
house, you should chill with us. |
|
|
|
| |
BLAKE
I have to meet my girl, but I'll
swing by later. |
|
|
|
|
Blake walks away. Brian, Tommy, and Jim exit. |
|
|
| |
|
INT. JIM'S HOUSE - NIGHT |
|
|
Tommy snorts a line. Brian drinks a forty. Jim puffs a
blunt. |
|
|
| |
TOMMY
I'm just saying, ain't nothing
wrong with a little ya-yo. |
|
|
|
|
|
|
|
Brian and Tommy slap hands. A knock on the door. Jim opens
it. Blake enters with --
DIANE, early twenties. |
|
|
25.
|
| |
BLAKE
Wassup Everyone. This is my girl
Diane. |
|
|
|
|
Everybody waves to Diane. Nods their heads. |
|
|
| |
BLAKE
Brain, you still got that? |
|
|
|
|
Brian nods his head yes. Exchanges with Blake. |
|
|
| |
BLAKE
Remember brain would spit rhymes
for a quarter in high school? |
|
|
|
|
Everyone laughs. |
|
|
|
|
|
|
| |
BRIAN
I spent all my lunch money on
weed. How else was I gonna eat? |
|
|
|
|
Everyone laughs. Brian empties a bag of coke on a CD case. |
|
|
| |
DIANE
I wanna hear you spit something. |
|
|
|
|
Brian snorts the coke. Sets the CD case on the table. |
|
|
| |
BRIAN
I love rhymes/ I do this for the
fun times/ I use to do it for
change, waiting in the lunch line/
It's lunch time and emcees are
what I'm eating man/ I got more
punchlines than your favorite
comedians/ Raps I blast off have
you laughing yo ass off/ I spit
quick like a pitcher when I'm
hitting the fast ball/ Right past
y'all/ even knocking yo hats off/
You can't stop me, I'm like a bad
cough/ |
|
|
|
Brian fake coughs. Everyone laughs. Brian guzzles his forty.
Enjoys it. Closes his eyes. |
|
|
| |
26.
|
|
INT. JIM'S HOUSE - DAY |
|
|
Brian's eyes bolt open. Brian lies on the recliner. Jim
passes a blunt to Tommy. Blake and Diane sit next to them. |
|
|
| |
BRIAN
I know you ain't smoking without
me. |
|
|
|
|
|
|
|
|
Everybody laughs. Brian Stands up. Holds his head. Hangover. |
|
|
|
|
|
|
| |
JIM
I got aspirin if you need it. |
|
|
|
| |
TOMMY
Don't Mark got perks? |
|
|
|
| |
BRIAN
Yea, I'm gonna hit him up. |
|
|
|
|
Brian puts his phone to his ear. It rings on the other end. |
|
|
| |
|
EXT. TIM'S HOUSE - DAY |
|
|
|
A Honda Civic idles. A phone rings. |
|
|
| |
|
INT. HONDA CIVIC - DAY |
|
|
|
Mark sits in the drivers seat. Picks up his cell phone. |
|
|
| |
MARK
Hello?...Yea. I got them. How
many?...Aight, gimme ten minutes. |
|
|
|
|
Mark hangs up the phone. Brian sits in the passenger seat. |
|
|
| |
MARK
Sorry Brain. Whats good with you? |
|
|
|
| |
BRIAN
Nothing, just woke up man. |
|
|
|
| |
MARK
You just -- What? It's five thirty
in the afternoon! |
|
|
|
27.
|
| |
BRIAN
Cocaine is a hell of a drug. |
|
|
|
|
Mark smiles. Shakes his head in disappointment. |
|
|
| |
MARK
Well, these will help ya. |
|
|
|
|
Mark slips Brian some pills. Brian swallows them. |
|
|
| |
MARK
Hit me up later or something. |
|
|
|
|
Brian and Mark shake hands. Brian exits. |
|
|
| |
|
INT. JIM'S HOUSE - LIVING ROOM - DAY |
|
|
|
Jim, Tommy, Blake and Diane's lounge around. Brian enters. |
|
|
| |
JIM
Here Blake, roll the next blunt. |
|
|
|
|
Jim throws a cigar to Blake. |
|
|
| |
DIANE
I'm going to get a forty. Anybody
wanna come with me? |
|
|
|
|
Diane seductively looks at Brian. |
|
|
| |
BRIAN
Yea, I'll go with ya. |
|
|
|
|
Diane and Brian exit. |
|
|
| |
|
INT. BUICK CENTURY (MOVING) - DAY |
|
|
|
Diane drives. Brian rides shotgun. |
|
|
| |
BRIAN
How long you two been together? |
|
|
|
| |
DIANE
About five years now. |
|
|
|
| |
BRIAN
You two are serious then. |
|
|
|
| |
DIANE
Yea, something like that. |
|
|
|
| |
28.
|
|
EXT. TYGH'S PUB - DAY |
|
|
A small bar. The Buick parks outside. Brian and Diane get
out. Walk in the bar. |
|
|
| |
|
INT. TYGH'S PUB - DAY |
|
|
A small dive bar. The BARTENDER reads a magazine. Two OLD
DRUNKS shoot darts. Brian and Diane drink beers. |
|
|
| |
DIANE
So why don't you have a girl? |
|
|
|
|
Brian shrugs his shoulders. |
|
|
| |
BRIAN
The one I like already has a man. |
|
|
|
| |
DIANE
So? Try anyway. You never know. |
|
|
|
Diane looks at Brian. Bites her lip. Brian kisses her, but
quickly pulls away. |
|
|
| |
BRIAN
I'm sorry. I shouldn't have -- |
|
|
|
Diane grabs Brian. Pulls him closer. Makes out with him. Hot
and heavy. |
|
|
| |
BRIAN
Come on, let's get out of here. |
|
|
|
|
Brian grabs Diane's hand. Leaves with her. |
|
|
| |
|
EXT. DELAWARE RIVER - NIGHT |
|
|
A deserted parking lot. The Buick rocks back and forth.
Fogged windows. Diane screams in pleasure. Climaxes. |
|
|
| |
|
INT. BUICK CENTURY - NIGHT |
|
|
Brian and Diane naked in the backseat. Breathe heavily. Get
dressed. |
|
|
| |
BRIAN
Yo, we been gone for a minute. |
|
|
|
| |
DIANE
Yea, we need to get back. |
|
|
|
29.
|
Diane and Brian climb to the front seats. Diane kisses
Brian. Blows a kiss. Winks. Turns the key. Engine starts. |
|
|
| |
|
EXT. DELAWARE RIVER - NIGHT |
|
|
|
The Buick Century drives away. |
|
|
| |
|
INT. JIM'S HOUSE - NIGHT |
|
|
Blake, Jim, and Tommy sit on the couch. The door opens.
Brian and Diane enter. Forties in hand. |
|
|
| |
TOMMY
Damn, It's about time. |
|
|
|
| |
BLAKE
That back seat has a lot of room.
Easy to get lost back there. |
|
|
|
|
|
|
|
| |
BLAKE
What? He knows I'm just kidding. |
|
|
|
|
Blake and Brian laugh. Brian opens his forty. Chugs it. |
|
|
| |
|
INT. JIM'S HOUSE - NIGHT |
|
|
Blake sleeps on the recliner. Jim sleeps on the floor. Brian
and Diane relax on the couch. |
|
|
| |
BRIAN
Why don't you come home with me? |
|
|
|
|
|
|
|
| |
BRIAN
He's assed out. He won't even
know. Come on. You know you wanna. |
|
|
|
|
Brian places his hand on Diane's leg. Kisses her neck. |
|
|
| |
DIANE
You're so bad. I fucking love it. |
|
|
|
|
Diane looks over at Blake. Still passed out. |
|
|
30.
|
| |
DIANE
Come on then. Let's go. |
|
|
|
|
Brian and Diane exit. |
|
|
| |
|
INT. BRIAN'S HOUSE - BRIAN'S BEDROOM - DAY |
|
|
Brian and Diane sleep naked on the bed. Brian wakes up. Puts
on clothes. His movement wakes Diane. |
|
|
| |
DIANE
Good morning you sexy beast. |
|
|
|
| |
BRIAN
Takes one to know one. |
|
|
|
|
Brian opens a pill bottle. Swallows a few pills. |
|
|
| |
DIANE
I'm thirsty. Wanna go get a drink? |
|
|
|
|
Brian laughs. |
|
|
| |
BRIAN
It's eleven A.M. You really wanna
go to the bar? |
|
|
|
| |
|
INT. TYGH'S PUB - DAY |
|
|
The bartender pours whiskey for three DRUNKS. Brian and
Diane drink beers. |
|
|
| |
BRIAN
We need to tell Blake. He's gonna
find out eventually, right? |
|
|
|
| |
DIANE
I been thinking that too. I'll
just get it over and done with. |
|
|
|
Diane dials a number. Steps outside. The bartender fills
Brian's glass. Brian drinks. A knock on the window. Diane
stands outside the window. Signals Brian to come outside. |
|
|
| |
|
EXT. TYGH'S PUB - DAY |
|
|
Brian steps outside. Diane is hysterical. Mascara runs down
her tear-soaked cheeks. |
|
|
31.
|
|
|
|
|
|
|
|
|
| |
DIANE
He overdosed. Apparently he was
doing heroin. |
|
|
|
| |
BRIAN
Heroin? What?...Holy shit! |
|
|
|
|
Brian hugs Diane. Diane gently pushes him away. |
|
|
| |
DIANE
I need to be alone right now. |
|
|
|
| |
BRIAN
Are you sure you -- |
|
|
|
| |
DIANE
I can't. I'll call you later. |
|
|
|
|
Diane gets in the Buick Century. Drives away erratically. |
|
|
| |
|
EXT. KEYSTONE BASKETBALL COURTS - NIGHT |
|
|
A dirty basketball court. Broken glass. A chain linked fence
separates it from the train tracks. Tommy, Mark and Brian
sit on the bench. Mark puffs a blunt. |
|
|
| |
MARK
I can't believe he's gone. |
|
|
|
| |
BRIAN
I feel like a fucking dick head. |
|
|
|
| |
MARK
What you did was fucked up, but
it's not your fault he's dead. |
|
|
|
|
Mark passes the blunt to Brian. |
|
|
| |
BRIAN
Why was he fucking with heroin? |
|
|
|
| |
TOMMY
You take Percs, don't ya? |
|
|
|
|
|
|
|
32.
|
| |
TOMMY
It's basically the same thing,
only a lot stronger. It's like
taking forty Percs at once. |
|
|
|
|
Brian passes the blunt to Tommy. |
|
|
| |
BRIAN
I rather have forty Percs. I swear
on my mother's grave, I won't ever
touch that shit! |
|
|
|
| |
TOMMY
You say that now, Brain...You say
that now. |
|
|
|
|
Tommy tokes the blunt. |
|
|
| |
|
INT. BRIAN'S HOUSE - BRIAN'S BEDROOM - DAY |
|
|
Brian wakes up. Walks to the dresser. Retrieves a pill
bottle. Swallows four pills. Exits. |
|
|
| |
|
INT. BRIAN'S HOUSE - LIVING ROOM - DAY |
|
|
Brian walks a bicycle to the door. Places headphones on his
ears. Walks the bike out the door. |
|
|
| |
|
EXT. TULIP ST - DAY |
|
|
|
Brian rides his bike. His headphones play a rap beat. |
|
|
| |
BRIAN
I'm so hungry my stomach is
rumbling/ Riding to Micky D's to
get some egg McMuffins/ Yea,
that's how I roll. I'm getting
down/ I might spring the extra
cash and get some hash browns/ |
|
|
|
Brian's eyes focus up ahead. A Buick Century. Diane's Buick
Century. Parked. Brian stops. Takes off his headphones.
Looks inside the car. |
|
|
| |
BRIAN
You gotta be fucking kidding me! |
|
|
|
33.
|
Brian slams his bike to the ground. Walks to a nearby house.
Bangs on the door. The door opens. In the doorway stands --
JIM'S MOM. |
|
|
| |
JIM'S MOM
May I help you? |
|
|
|
| |
BRIAN
Can I talk to Diane. |
|
|
|
| |
JIM'S MOM
I think you have the wrong house. |
|
|
|
| |
BRIAN
I know she's in there. Where's
Jim? -- Let me talk to Jim. |
|
|
|
|
|
|
|
| |
BRIAN
Whatever. Tell Jim he can have
her, I don't give a fuck. |
|
|
|
|
Brian gets on the bike. Rides off. |
|
|
| |
|
INT. PRINCE CAFE - NIGHT |
|
|
|
Brian slams shots with Mike and Tommy. |
|
|
| |
TOMMY
Yo fuck that bitch. You're better
off without her. |
|
|
|
| |
MIKE
There's plenty of fish in the sea
bro. You'll find a girl like that. |
|
|
|
|
Mike snaps his fingers. Brian focuses on the front door. |
|
|
| |
BRIAN
How about a girl like that? |
|
|
|
Brian nods his head towards --
PENELOPE, early twenties, walks with two GIRL FRIENDS. |
|
|
| |
BRIAN
I'll be right back. |
|
|
|
34.
|
Penelope and her friends sit down. Brian walks over. Sits
next to Penelope. |
|
|
| |
BRIAN
Don't you work at the airport? |
|
|
|
| |
PENELOPE
No, that must be someone else. |
|
|
|
| |
BRIAN
Well, you should get a job there,
cause you're so fly! |
|
|
|
|
Penelope smiles. Her friends giggle. |
|
|
| |
PENELOPE
Wow. That's the worst pick-up line
I have ever heard. |
|
|
|
|
Brian nods his head yes. |
|
|
| |
BRIAN
Yea, I guess it is kinda corny. |
|
|
|
| |
PENELOPE
Just a little bit. |
|
|
|
| |
BRIAN
They call me Brain. What's your
name? |
|
|
|
| |
PENELOPE
I'm Penelope. Nice to meet you. |
|
|
|
| |
BRIAN
So Penelope, whatcha gonna cook me
for breakfast tomorrow? |
|
|
|
|
Penelope laughs. |
|
|
|
|
|
|
| |
BRIAN
OK, fine, I'll cook. What you
wanna eat? |
|
|
|
Penelope laughs. Smiles. Eyes locked with Brian's. Love at
first sight. |
|
|
| |
35.
|
|
INT. BRIAN'S BEDROOM - DAY |
|
|
|
Penelope sits in Brian's bed. Half naked. |
|
|
| |
BRIAN
Hello? What do you want to eat? |
|
|
|
| |
PENELOPE
French Toast. Mmmmm. |
|
|
|
| |
BRIAN
French toast coming right up. |
|
|
|
|
Brian exits. |
|
|
| |
|
EXT. BRIAN'S HOUSE - KITCHEN - DAY |
|
|
Brian opens a loaf of bread. Sips a glass of water. A knock
on the door. Brian opens it. Mark enters. Teary eyed. |
|
|
| |
BRIAN
Yo wassup? What's wrong man? |
|
|
|
| |
MARK
You better sit down dog. |
|
|
|
Brian sits down at kitchen table. Drinks the rest of his
water. Sets glass down. |
|
|
| |
MARK
Tommy was found dead this morning. |
|
|
|
| |
BRIAN
What?...No. No, what do you mean? |
|
|
|
|
Tears leak from Mark's eyes. |
|
|
|
|
|
|
| |
BRIAN
Heroin? No. That don't make no
sense. He don't even do heroin. |
|
|
|
| |
MARK
I'm sorry, he's gone dog. |
|
|
|
| |
BRIAN
No man. No! That's my boy! No! No! |
|
|
|
Brian shakes his head no. Eyes flood with tears. A tear
drips from his eye. Falls into Brian's empty glass. |
|
|
| |
36.
|
|
INT. PRINCE CAFE - NIGHT |
|
|
A drop of beer drips into an empty glass. Suddenly spouts
until glass is full. Groucho brings the glass to Mike. Takes
money from Mike. Brian drinks next to Mike. |
|
|
| |
BRIAN
I'm done. I done, I can't be next. |
|
|
|
| |
MIKE
Maybe you should go to rehab. |
|
|
|
|
Brian shakes his head no. Sips his beer. |
|
|
| |
BRIAN
No rehab. I can do it on my own.
Might even cut back on drinking. |
|
|
|
| |
MIKE
Not yet. Tomorrow's your birthday! |
|
|
|
|
Groucho brings change back to Mike. |
|
|
| |
GROUCHO
Happy Birthday! How old you gonna
be? |
|
|
|
| |
BRIAN
I'm turning twenty one. |
|
|
|
|
Groucho stares at Brian. Shakes his head in disbelief. |
|
|
|
|
|
|
|
Groucho smiles. Brian chugs the rest of his beer. |
|
|
| |
BRIAN
I'm gonna head home bro. |
|
|
|
|
|
|
|
| |
BRIAN
I'm foreal about cutting back, and
right now I'm as skunk as a drunk. |
|
|
|
|
Brian shakes hands with Mike. Exits. |
|
|
| |
37.
|
|
EXT. CHURCH - NIGHT |
|
|
Brian stumbles down the street. Stops outside a small
church. Kneels down. Looks to the sky. |
|
|
| |
BRIAN
(slurring)
God, I know we don't talk much,
but please, I don't wanna get high
anymore. I don't wanna drink
either. I'll go to church if -- if
that's whatcha want. I just...just
want to stop. Help me stop. |
|
|
|
|
Brian lies down on the steps. Rests his eyes. |
|
|
| |
|
EXT. CHURCH - DAY |
|
|
A church bell rings. Brian awakes on the church steps. Sits
up. Holds his head. |
|
|
|
|
|
|
|
Brian pulls out his phone. Dials a number. |
|
|
| |
FEMALE VOICE (V.O.)
Hello? |
|
|
|
| |
BRIAN
Sorry, I dialed the wrong number. |
|
|
|
| |
FEMALE VOICE (V.O.)
You looking for Mark? |
|
|
|
|
|
|
|
| |
FEMALE VOICE (V.O.)
Naw, he got locked up last night. |
|
|
|
| |
BRIAN
Are you serious? Fuck!...Aight,
thanks for letting me know. |
|
|
|
|
Mike approaches Brian. |
|
|
| |
MIKE
Did you really sleep here? |
|
|
|
38.
|
| |
BRIAN
I must have passed out. Yo, Mark
got locked up. I'm losing friends
one by one. |
|
|
|
|
Mike sits down next to Brian. |
|
|
| |
MIKE
Shit. That sucks, but that's what
happens when you sell drugs. |
|
|
|
| |
BRIAN
Life ain't looking too good right
now. Maybe I should join the
military or something. |
|
|
|
| |
MIKE
You know they drug test, right? |
|
|
|
| |
BRIAN
A few weeks it'll be outta my
system. I'll drink, nothing else. |
|
|
|
| |
MIKE
If you think you can, then do it. |
|
|
|
| |
BRIAN
I need to get away from this
neighborhood. Get a fresh start. |
|
|
|
| |
MIKE
What about Penelope? |
|
|
|
| |
BRIAN
I'll tell her the truth. I'll say
to her "Look, I know we just met,
but I'm joining the military." |
|
|
|
| |
|
INT. PENELOPE'S APARTMENT - NIGHT |
|
|
|
Penelope sits on her couch. |
|
|
| |
PENELOPE
Joining the military? I'm really
starting to like you. You can't
just leave and join the military. |
|
|
|
| |
BRIAN
It's just something I need to do. |
|
|
|
| |
PENELOPE
It's not fair. Not fair at all! |
|
|
|
39.
|
| |
BRIAN
I'm sorry. I really am. |
|
|
|
| |
PENELOPE
What about a long distance
relationship? We can write to each
other and talk on the phone. |
|
|
|
| |
BRIAN
Yea, why not? We should definitely
do that. Look, I know it sucks. I
wish you could just come with me. |
|
|
|
| |
PENELOPE
Well, I can't, so I'm gonna miss
the fucking shit out of you! |
|
|
|
|
Penelope squeezes Brian. Her tears drip onto Brian's shirt. |
|
|
|
MONTAGE - BOOT CAMP |
|
|
A) Brian's sweat drips onto his shirt. Does push-ups.
B) Brian marches in formation with other RECRUITS.
C) Brian opens a letter from Penelope. Looks at her picture.
D) Brian does jumping jacks with other recruits. |
|
|
| |
|
EXT. GREAT LAKES NAVAL BASE - STADIUM - DAY |
|
|
Brian and the recruits stand in formation. The bleachers are
crowded with FRIENDS AND FAMILY. At the podium stands a --
TALL PETTY OFFICER |
|
|
| |
TALL PETTY OFFFICER
I am proud of each and every one
of you. Your family and friends
are proud of you. It was an honor
to train such a fine group of
young men that will help to defend
this great country. |
|
|
|
|
The crowd cheers. |
|
|
| |
|
INT. GREAT LAKES NAVAL BASE - BAR - NIGHT |
|
|
A crowd cheers on the TV. Football game. Many PEOPLE wear
Navy uniforms. Two BARTENDERS. Everyone smiles. Laughs.
|
40.
|
Brian drinks alone. Miserable. Chugs his beer. Slams it on
the bar. Exits. |
|
|
| |
|
INT. GREAT LAKES NAVAL ACADEMY - BARRACKS - NIGHT |
|
|
BRIAN'S BUNK MATE plays video games. Brian enters. Wobbles.
Lies down on the bed. Dials a number on his phone. |
|
|
| |
BRIAN
Hey hey hey, how you doin? Listen,
there's something I have to -- |
|
|
|
| |
PENELOPE (V.O.)
Hahaha, are you drunk again? |
|
|
|
| |
BRIAN
Well yea. What else am I gonna do?
This place fucking sucks. |
|
|
|
| |
PENELOPE (V.O.)
Can't you just quit and come home? |
|
|
|
| |
BRIAN
I tried. It ain't that easy. The
only way is if... |
|
|
|
| |
PENELOPE (V.O.)
If what? Tell me! |
|
|
|
| |
BRIAN
When you visit me next week, bring
some weed with you. |
|
|
|
| |
PENELOPE (V.O.)
I thought you were done? Why you
want me to bring weed? |
|
|
|
| |
|
INT. GREAT LAKES NAVAL ACADEMY OFFICE - DAY |
|
|
A large office. Behind a desk sits --
PETTY OFFICER JACKSON, early forties, angry. |
|
|
| |
PETTY OFFICER JACKSON
Mr. Storm, you tested positive for
marijuana. Explain yourself! |
|
|
|
|
Brian sits in front of a desk. |
|
|
41.
|
| |
BRIAN
Sir, I no longer wish to serve in
the United States Navy, Sir! |
|
|
|
| |
PETTY OFFICER JACKSON
You fucking idiot! You will regret
this. Report to your barracks and
pack your belongings. |
|
|
|
|
Brian exits the office. Smiles. |
|
|
| |
|
EXT. PHILADELPHIA INTERNATIONAL AIRPORT - NIGHT |
|
|
|
An airplane lands. |
|
|
| |
|
EXT. PHILADELPHIA INTERNATIONAL AIRPORT - NIGHT |
|
|
Brian hails a cab. Puts his suitcase in the trunk. Gets in
the cab. Pulls away. |
|
|
| |
|
INT. PENELOPE'S APARTMENT - NIGHT |
|
|
Penelope watches TV. A knock on the door. She stands up.
Opens the door. Brian stands there. Suitcase in hand. |
|
|
|
|
|
|
Penelope hugs Brian. Kisses him. Runs to the next room.
Comes back. Holds up a bottle of liquor. |
|
|
| |
PENELOPE
Let's celebrate! |
|
|
|
|
Penelope pours liquor into a cup. |
|
|
|
MONTAGE - LIFE WITH PENELOPE |
|
|
A)INT. PENELOPE'S APARTMENT - NIGHT - They cuddle.
B)EXT. USED CAR LOT - DAY- They buy a Chevy Lumina.
C)INT. FANCY RESTAURANT - NIGHT- They eat dinner.
D)INT. BAR - NIGHT- They drink at a bar.
E)INT. BATHROOM - NIGHT- Brian swallows pills. Snorts coke. |
|
|
| |
42.
|
|
INT. PENELOPE'S APARTMENT - BEDROOM - DAY |
|
|
Brian and Penelope sleep. A phone rings. Brian picks it up.
Walks to the -- |
|
|
|
LIVING ROOM |
|
|
|
|
|
|
| |
MARK (V.O.)
Yo! What's up man? |
|
|
|
| |
BRIAN
Mark? They let you out? Are they
crazy? |
|
|
|
|
Mark and Brian laugh. Brian opens his wallet. No Money. |
|
|
| |
MARK (V.O.)
Yea, I came home a few weeks ago.
We gotta hang out dog. |
|
|
|
|
Brian opens Penelope's purse. Steals an ATM card. |
|
|
| |
BRIAN
Yea, definitely...Yo, you still in
business? I need something. |
|
|
|
| |
MARK (V.O.)
Nah, I been laying low. My boy
Jerry got them though. |
|
|
|
|
|
|
|
| |
|
EXT. PLAYGROUND - DAY |
|
|
At a deserted playground stands --
JERRY, mid twenties, red-head. |
|
|
| |
JERRY
I'm Jerry. Wassup Bud? |
|
|
|
Brian sits on a bench. Jerry sits down next to him. They
discreetly exchange money and drugs. |
|
|
| |
JERRY
I'm always around. Day or night.
Just hit me up whenever, aight? |
|
|
|
43.
|
| |
BRIAN
Aight, sounds good. Thanks man. |
|
|
|
|
Brian and Jerry shake hands. Brian walks away. |
|
|
| |
|
INT. PENELOPE'S APARTMENT - DAY |
|
|
Brian enters. Bloodshot eyes. Scruffy face. Penelope digs
through her purse. |
|
|
| |
PENELOPE
Babe, have you seen my ATM card? |
|
|
|
| |
BRIAN
It's not in your purse? |
|
|
|
| |
PENELOPE
If it was, I wouldn't be asking
you. |
|
|
|
|
Brian walks into the -- |
|
|
|
BEDROOM |
|
|
Brian looks behind him. Pulls out the ATM card. Throws it
under the bed. Penelope walks in. |
|
|
|
|
|
|
|
Brian bends down. Picks up the ATM card. |
|
|
| |
PENELOPE
Are you fucking kidding me? |
|
|
|
|
|
|
|
|
Penelope snatches the ATM card from Brian's hand. |
|
|
| |
PENELOPE
I saw you throw it under
there...How much did you steal? |
|
|
|
| |
BRIAN
What? I didn't steal -- |
|
|
|
| |
PENELOPE
Ya know what? It don't matter. I'm
done with you. Get the fuck out! |
|
|
|
44.
|
Penelope holds the door. Brian sighs. Shakes his head.
Leaves. Penelope slams the door. |
|
|
| |
|
INT. CHEVY LUMINA (MOVING) - DAY |
|
|
|
Brian drives. Jerry rides shotgun. Rolls a blunt. |
|
|
| |
BRIAN
I dunno, I think she's serious
this time. |
|
|
|
| |
JERRY
You can crash on my couch if ya
want. |
|
|
|
| |
BRIAN
Thanks man, but my brother's
letting me crash there. |
|
|
|
| |
JERRY
Oh Aight. Yo, can you drive me
somewhere? I'll hook you up. |
|
|
|
| |
BRIAN
Yea, where we gotta go? |
|
|
|
| |
|
EXT. SIDE STREET NEAR SIXTH AND LEHIGH - DAY |
|
|
A small street. Run-down houses. THUGS hang on the corner. A
STRAY DOG digs through a trash bag. The Chevy parks. |
|
|
| |
|
INT. CHEVY LUMINA - DAY |
|
|
Brian waits in the drivers seat. Nervous. Looks out windows.
Looks in the rear view mirrors. Looks out the back window. |
|
|
| |
|
EXT. SIDE STREET NEAR SIXTH AND LEHIGH - DAY |
|
|
|
Jerry walks to the Chevy. Opens the door. |
|
|
| |
|
INT. CHEVY LUMINA (MOVING) - DAY |
|
|
|
Jerry enters. Brian drives away. |
|
|
| |
JERRY
Can we stop at Third and Indy too? |
|
|
|
45.
|
| |
BRIAN
What they got there? Coke? |
|
|
|
|
|
|
|
|
|
|
|
| |
JERRY
It's either ten dollars for dope,
or a hundred for perks. And I
ain't got money like that. |
|
|
|
| |
BRIAN
Hmmm...Never thought of it like
that. Can you grab me one too? |
|
|
|
| |
|
EXT. FIFTH ST - DAY |
|
|
A busy street. Small mom & pop stores. Many PEDESTRIANS. The
Chevy stops at a red light. |
|
|
| |
|
INT. CHEVY LUMINA - DAY |
|
|
|
Brian points towards the passenger side of the street. |
|
|
| |
BRIAN
I think that's my old head. |
|
|
|
| |
|
EXT. FIFTH ST - DAY |
|
|
Down the street walks --
ADAM, early thirties, scruffy face, baggy clothes.
The light turns green. The Chevy pulls up next to Adam. |
|
|
| |
|
INT. CHEVY LUMINA - DAY |
|
|
Brian honks the horn. Leans towards the passenger side
window. |
|
|
| |
BRIAN
Hey sweet cheeks, how much? |
|
|
|
|
Adam laughs. Leans in the passenger side window. |
|
|
46.
|
| |
ADAM
You wish! Whatcha doing down here? |
|
|
|
| |
BRIAN
Um...trying to cop some weed. |
|
|
|
| |
ADAM
Nah, I know what you down here
for. Come on, I'll show where the
good shit is at. |
|
|
|
|
Adam enters the car. |
|
|
| |
|
EXT. ELLA STREET NEAR CAMBRIA ST - DAY |
|
|
The Chevy drives down a dirty street. Abandoned houses.
Spanish DRUG DEALERS. A HOMELESS MAN pushes a shopping cart. |
|
|
| |
|
INT. CHEVY LUMINA (MOVING) - DAY |
|
|
|
Brian stops the Chevy at a stop sign. |
|
|
| |
ADAM
Brain, let me out here. Drive
around the block and pick me up. |
|
|
|
|
Adam gets out. |
|
|
| |
|
EXT. ELLA STREET NEAR CAMBRIA ST - DAY |
|
|
The Chevy turns back onto Ella street. A CRACK-HEAD hits a
crack pipe. A CRAZY MAN slaps himself. Screams. |
|
|
| |
|
INT. CHEVY LUMINA (MOVING) - DAY |
|
|
|
Jerry shakes his head in disbelief. |
|
|
| |
BRIAN
If I ever turn out like this, just
fucking shoot me. |
|
|
|
|
Adam waits at the stop sign. The Chevy stops. Adam gets in. |
|
|
| |
JERRY
We gotta get outta here. |
|
|
|
|
Brian quickly pulls away. |
|
|
| |
47.
|
|
EXT. INTERSTATE 95 - DAY |
|
|
|
A major highway. The Chevy moves with the flow of traffic. |
|
|
| |
|
INT. CHEVY LUMINA (MOVING) - DAY |
|
|
|
Brian drives. Jerry draws heroin from a cap into a syringe. |
|
|
| |
ADAM
Brain, you can't be serious? |
|
|
|
|
Brian wraps a belt around his arm. |
|
|
| |
BRIAN
Come on, you got it yet? |
|
|
|
Jerry hands Brian the syringe. Brian lets go the wheel.
Steers with his knees. |
|
|
| |
ADAM
Jesus fucking Christ. |
|
|
|
Brian sticks the needle in his vein. Unwraps the belt. Grabs
the steering wheel. Jerry and Adam both shake their heads. |
|
|
| |
JERRY
You're fucking crazy. |
|
|
|
|
Brian laughs. |
|
|
| |
BRIAN
Yea, maybe a little. |
|
|
|
| |
|
EXT. JERRY'S APARTMENT - DAY |
|
|
|
The Chevy drives down the street. Stops. |
|
|
| |
|
INT. CHEVY LUMINA - DAY |
|
|
|
Brian shakes hands with Adam and Jerry. |
|
|
| |
JERRY
Swing by later if ya wanna chill. |
|
|
|
| |
BRIAN
Can't. Gotta baby sit my niece. |
|
|
|
| |
48.
|
|
INT. MIKE'S HOUSE - NIGHT |
|
|
Brian sits on the recliner. Mike kisses --
BABY KELSEY, infant, stands in her crib. |
|
|
| |
MIKE
I should be home around one. If
there are any problems, call me. |
|
|
|
| |
BRIAN
OK. I should be fine though. |
|
|
|
|
Mike exits. Brian looks at the clock. It's eight thirty. |
|
|
| |
|
INT. MIKE'S HOUSE - NIGHT |
|
|
Brian's sweats. Leg shakes repeatedly. Looks at the clock.
Ten thirty. Picks up his phone. Dials. Automatic voice mail. |
|
|
| |
|
INT. MIKE'S HOUSE - NIGHT |
|
|
|
Brian sweats. Leg shakes. Glances at the clock. Midnight. |
|
|
| |
BRIAN
Ugh, Kelsey. What am I gonna do? |
|
|
|
Brian opens a liquor cabinet. Grabs a bottle of vodka. Pulls
a syringe from his pocket. Shrugs his shoulders. |
|
|
| |
BABY KELSEY
(Baby talk)
Ba ba la la la gog |
|
|
|
Brian wraps a belt around his arm. Draws Vodka into the
Syringe. Injects it. Grabs his arm. Painful. Worried. |
|
|
|
|
|
|
|
Brian lets go of his arm. Sighs. Shakes his head. |
|
|
| |
BRIAN
What the fuck is wrong with me? |
|
|
|
The door knob turns. It's locked. Keys jingle. Brian pockets
the syringe. The door opens. Mike enters. Drunk. |
|
|
| |
MIKE
You're the best little brother
ever. Wanna do a shot? |
|
|
|
49.
|
|
Mike picks up the bottle of vodka. |
|
|
| |
BRIAN
Thanks, but I'm exhausted. I'm
just gonna get to bed. |
|
|
|
|
|
|
|
|
Brian exits to the basement. |
|
|
| |
|
INT. MIKE'S HOUSE - BASEMENT - NIGHT |
|
|
An analog clock ticks. Tocks. It's five fifteen. Brian lies
wide awake on a air mattress. Restless leg syndrome. Stands
up. Runs to the sink. Vomits. |
|
|
| |
BRIAN
Ugh, I can't take it. |
|
|
|
|
A box cutter sits on a nearby shelf. Brian grabs it. Exits. |
|
|
| |
|
EXT. TACONY TRAIN STATION - PATH - NIGHT |
|
|
A dark path leads to the Tacony Train Station. Brian hides
behind a tree. A taxi parks. Door opens. Out steps a -- |
|
|
BUSINESSMAN, middle aged.
The businessman walks down the path. The taxi pulls away.
Brian steps out from behind the tree. |
|
|
| |
BRIAN
Do you know what time it is? |
|
|
|
|
The businessman looks at his watch. |
|
|
| |
BUSINESSMAN
It is five twenty five. |
|
|
|
|
Brian points the box cutter at the businessman. |
|
|
| |
BRIAN
Gimme your cash mother fucker! |
|
|
|
|
The businessman puts his hands in the air. |
|
|
| |
BUSINESSMAN
Please, don't do anything stupid. |
|
|
|
|
The businessman hands Brian his wallet. Brian darts off. |
|
|
| |
50.
|
|
INT. MIKE'S HOUSE - NIGHT |
|
|
Brian walks in. Out of breath. Walks to the sink. Cups water
in his hand. Drinks. Looks in the mirror. Disgusted. |
|
|
| |
BRIAN
What are you doing? |
|
|
|
|
Brian shakes head in disappointment. |
|
|
| |
BRIAN
I gotta go to rehab or something. |
|
|
|
| |
|
INT. PARKSIDE METHADONE CLINIC - FRONT DESK - DAY |
|
|
A small lobby. Christmas decorations. Brian walks to the --
RECEPTIONIST, wears a Santa hat. |
|
|
| |
BRIAN
How do I get on the methadone? |
|
|
|
| |
RECEPTIONIST
It's Christmas eve. Doctors ain't
here. You gotta come back Monday. |
|
|
|
| |
BRIAN
Aight. I need to go Christmas
shopping today anyway. |
|
|
|
|
A SECURITY GUARD enters. |
|
|
| |
SECURITY GUARD
Anybody own a Chevy Lumina? It's
about to get towed. |
|
|
|
| |
|
EXT. PARKSIDE METHADONE CLINIC - DAY |
|
|
Brian runs out the door. A tow truck lifts the Chevy off the
ground. Operated by --
A TOW TRUCK DRIVER. |
|
|
|
|
|
|
| |
TOW TRUCK DRIVER
Unpaid parking tickets. |
|
|
|
| |
BRIAN
I barely owe them anything. |
|
|
|
51.
|
| |
TOW TRUCK DRIVER
Hey buddy, I'm just doing my job. |
|
|
|
The driver hops in the tow truck. Drives away. Brian walks
to the corner. A bus stop. Sits on a bench. Waits. |
|
|
| |
|
INT. ELEVATED TRAIN (MOVING) - NIGHT |
|
|
PASSENGERS give spare change to --
A BLACK HOMELESS MAN. |
|
|
| |
BLACK HOMELESS MAN
Merry Christmas eve. 'Tis the
season for giving. Anything you
could spare would be appreciated. |
|
|
|
Brian rides the train. Holds a bag with Christmas gifts. The
train stops. Doors open. |
|
|
| |
TRAIN CONDUCTOR (AUTOMATED VOICE)
Welcome to Somerset Station. |
|
|
|
|
Brian steps off the train. |
|
|
| |
|
EXT. ELLA STREET NEAR CAMBRIA - NIGHT |
|
|
Brian walks towards an abandoned house. The only house with
Christmas lights. On the step sits --
A SPANISH DOPE DEALER and a BLACK DOPE DEALER. |
|
|
| |
SPANISH DOPE DEALER
Dope! Powder! Rocks! What's up?
You brought me Christmas gifts? |
|
|
|
|
Everybody laughs. |
|
|
|
|
|
|
|
Brian exchanges with the Spanish dope dealer. |
|
|
| |
SPANISH DOPE DEALER
Merry Christmas white boy. |
|
|
|
|
|
|
|
|
Brian walks away. |
|
|
| |
52.
|
|
EXT. E TUSCULUM STREET AND RUTH STREET - NIGHT |
|
|
A secluded street. Brian sits outside an abandoned house.
Sticks a needle in his arm. |
|
|
| |
BRIAN
Merry Christmas Brain. Merry -- |
|
|
|
Brian slumps over. Slams his head. Needle still in his arm.
Motionless. |
|
|
| |
|
EXT. E TUSCULUM STREET AND RUTH STREET - DAY |
|
|
Brian lies in the same position. A firetruck pulls up. Door
opens. Out comes --
A TALL FIREMAN and a SHORT FIREMAN. |
|
|
| |
TALL FIREMAN
Sir, are you OK? |
|
|
|
Brian doesn't respond. The tall fireman shakes Brian.
Brian's eyes spring open. |
|
|
|
|
|
|
|
|
|
|
| |
SHORT FIREMAN
Come on, let's get you some help. |
|
|
|
|
The short fireman extends his hand to Brian. Helps him up. |
|
|
| |
BRIAN
Where's my Christmas gifts? |
|
|
|
| |
TALL FIREMAN
What I look like, Santa Claus? |
|
|
|
| |
BRIAN
No. They were right here. |
|
|
|
|
Brian reaches into his pocket. |
|
|
| |
BRIAN
Fuck! My wallet and cell phone. |
|
|
|
| |
SHORT FIREMAN
Want us to call the police? |
|
|
|
53.
|
|
|
|
|
|
Brian walks away. The firemen shake their heads. |
|
|
| |
SHORT FIREMAN
Merry Christmas. |
|
|
|
| |
|
EXT. OUR LADY OF CONSOLATION CHURCH - DAY |
|
|
Brian walks on other side of street from the church. Looks
over at the --
CHURCHGOERS, dressed nicely, happy, enter the church. |
|
|
|
Brian re-directs towards the church. Enters. |
|
|
| |
|
INT. OUR LADY OF CONSOLATION CHURCH - DAY |
|
|
A small church. Brian stands in the back. Watches the --
USHERS, early sixties, collect donations from CHURCH GOERS. |
|
|
| |
FATHER CHADELLI
An evil man does not fear God, for
he is too proud to recognize his
sin. He does not care about doing
what is right. He plans ways to
sin while he lies in bed. He is
committed to a sinful lifestyle
and does not reject what is evil. |
|
|
|
The ushers place collection money into an envelope. Brian
quietly slips out a nearby door. |
|
|
| |
|
EXT. OUR LADY OF CONSOLATION CHURCH - DAY |
|
|
Brian stands outside. An USHER exits the church. Envelope in
hand. Brian walks towards him. |
|
|
| |
USHER
Good morning! God bless you. |
|
|
|
|
Brian is frozen. The usher stops. Looks at him. |
|
|
| |
USHER
Are you OK young man? |
|
|
|
|
Brian runs away. |
|
|
| |
54.
|
|
INT. MIKE'S HOUSE - KITCHEN - DAY |
|
|
Brian stares into the mirror. Dark circles under Brian's
bloodshot eyes. Cheeks sunken in. Scruffy face. Wild hair.
Brian sits at the table. Picks up pen and paper. Writes. |
|
|
| |
BRIAN (V.O.)
Mike, I don't know how to tell you
this, but I got myself hooked on
dope. I been going to a methadone
clinic, but it ain't working. I
been robbing and even stealing
from you. I'm sorry. Everyday I
wake up hoping to die, so I'm just
gonna go ahead and do it. Take
care of yourself. Love ya Bro. |
|
|
|
|
Brian leaves the letter on the table. Wipes away his tears. |
|
|
| |
|
EXT. KEYSTONE BASKETBALL COURTS - DAY |
|
|
Broken bottles on the court. Chain linked fence separates it
from train tracks. A path leads to the Tacony Train Station.
Brian looks at his palm. A handful of various pills. |
|
|
|
|
|
|
|
SERIES OF SHOTS |
|
|
|
-- Brian pops the pills in his mouth. Chugs the liquor. |
|
|
|
-- Puffs on a blunt. Chugs the liquor. |
|
|
|
-- Hits a crack pipe. |
|
|
|
-- Pulls a bloody needle from his arm. |
|
|
| |
|
EXT. KEYSTONE BASKETBALL COURTS - NIGHT |
|
|
Brian sleeps on the park bench. Rolls off. Slams on the
ground. Stands up. Sways. Tries to keep his balance. |
|
|
| |
BRIAN
I can't do anything right! |
|
|
|
A train speeds by on the nearby tracks. Brian looks. Nods
his head yes. Grabs his liquor. Stumbles along the path. |
|
|
| |
55.
|
|
EXT. TACONY TRAIN STATION - NIGHT |
|
|
Brian chugs a bottle of liquor. Smashes it. Looks to the
sky. |
|
|
| |
BRIAN
Let's see you prove it. |
|
|
|
Brian drops to his knees. Looks to the sky. Anger turns to
sadness. Eyes drown in tears. A phone rings. Brian pulls out
his -- |
|
|
|
CELL PHONE |
|
|
|
Phone screen: Incoming call from Penelope |
|
|
Brian's thumb hovers over the green button. Moves to the red
button. |
|
|
A train speeds by the station. Blows its whistle. Moves out
of view. Brian walks away on the other side of the tracks. |
|
|
| |
|
INT. MIKE'S HOUSE - DAY |
|
|
|
Brian walks in. Mike holds the letter. Shows it to Brian. |
|
|
| |
MIKE
Please tell me it's a joke. |
|
|
|
| |
BRIAN
It's nothing. Just forget it. |
|
|
|
|
Brian reaches for the letter. Mike doesn't let him have it. |
|
|
| |
MIKE
No. You need to go to rehab. |
|
|
|
|
|
|
|
| |
MIKE
Yes you can. You have to. |
|
|
|
| |
BRIAN
No, I'm on methadone. I can't just
quit and go to rehab. |
|
|
|
| |
MIKE
Well look, you have two options.
Go to rehab or get the fuck out. |
|
|
|
|
Mike points to the door. |
|
|
56.
|
| |
BRIAN
OK. Let me talk to the methadone
clinic and see what they say. |
|
|
|
| |
|
INT. PARKSIDE METHADONE CLINIC - COUNSELOR OFFICE - DAY |
|
|
Brian sits in front of a desk. Behind the desk is a --
METHADONE COUNSELOR, Female, black. |
|
|
| |
METHADONE COUNSELOR
I talked to B-H-S-I. They agreed
to send you to detox and rehab. |
|
|
|
|
|
|
|
| |
METHADONE COUNSELOR
You have to report to Kensington
detox. Can you get there today? |
|
|
|
| |
BRIAN
I'll go right now. Thank you so
much! |
|
|
|
|
Brian exits. |
|
|
| |
|
INT. KENSINGTON HOSPITAL - FRONT DESK - DAY |
|
|
Brian walks to the front desk. Greeted by a --
SPANISH RECEPTIONIST |
|
|
| |
SPANISH RECEPTIONIST
Hello, can I help you? |
|
|
|
| |
BRIAN
Yea, my name is Brian Storm and -- |
|
|
|
| |
SPANISH RECEPTIONIST
Hi Brian, we been waiting for you. |
|
|
|
The Spanish receptionist looks over at a --
WORKER, male. |
|
|
| |
SPANISH RECEPTIONIST
Can you bring him upstairs? |
|
|
|
| |
WORKER
Sure. Come on pal, follow me. |
|
|
|
57.
|
|
The worker walks down the hall. Brian Follows. |
|
|
| |
|
INT. KENSINGTON HOSPITAL - MEN'S BEDROOM - DAY |
|
|
A large room with many beds. A game of cards played by --
A SPANISH PATIENT, SKINNY PATIENT and a BLACK PATIENT. They
all wear blue paper scrubs.
Brian, wears blue paper scrubs, walks in with the worker.
The worker points to a bed. |
|
|
| |
WORKER
That's your bed down there. |
|
|
|
| |
WORKER
Are you hungry? You look hungry.
Lets get you something to eat. |
|
|
|
| |
|
INT. KENSINGTON HOSPITAL - CAFETERIA - DAY |
|
|
Brian sits at a table. Eats a sandwich. In walks --
TONYA, early twenties, blue paper scrubs, holds a food tray. |
|
|
| |
TONYA
Anyone sitting here? |
|
|
|
| |
BRIAN
Uh...No. Here, sit down. |
|
|
|
|
Brian pulls the chair out. Tonya smiles. Sits down. |
|
|
| |
BRIAN
I'm Brian, but everyone calls me
Brain. |
|
|
|
|
|
|
|
|
Brian and Tonya shake hands. Tonya stares at Brian. |
|
|
|
|
|
|
|
Brian wipes his face. Tonya laughs. |
|
|
| |
TONYA
I'm sorry. You're just really
fucking cute! |
|
|
|
58.
|
|
Brian blushes. |
|
|
| |
BRIAN
So whats up, you got a man? |
|
|
|
| |
TONYA
Nah. What about you? |
|
|
|
| |
BRIAN
Nah, I don't swing that way. |
|
|
|
|
Tonya laughs. |
|
|
| |
TONYA
So you're cute and funny. You're
really on a roll here. |
|
|
|
| |
BRIAN
Glad you think so. Listen, I'm
gonna take a shower, but I'll be
talking to you later. |
|
|
|
| |
TONYA
Aight. I'll see ya around. |
|
|
|
|
Brian grabs his empty tray. Walks away. |
|
|
| |
|
INT. KENSINGTON HOSPITAL - TV ROOM - DAY |
|
|
Brian sits in a window sill. Writes in a notebook. Tonya
watches TV with other patients. Looks over at Brian. Walks
towards him. |
|
|
|
|
|
|
| |
BRIAN
Just writing a rhyme. |
|
|
|
| |
TONYA
Let me hear you spit something! |
|
|
|
|
Tonya turns towards everyone down the hall. |
|
|
| |
TONYA
Yo! He's gonna spit a rhyme. |
|
|
|
|
The other patients join Tonya and Brian. |
|
|
| |
BRIAN
They call me the Brain/ and
clearly I'm insane/ Cause I was
out there in the streets sticking
(MORE)
|
|
59.
|
| |
BRIAN (cont'd)
needles in my veins/ Now my main
complaint is that this building is
freezing/ Wearing paper scrubs,
for real, I feel like leaving/
feel like scheming and plotting/
hitting the block and copping
rocks/ But with my luck, I'll
probably get locked up by the
cops/ Then I'll be back to this
same situation/ My mind is a
prison, man I need a vacation/ |
|
|
|
|
The black patient slaps hands with Brian. |
|
|
| |
SPANISH PATIENT
White boy got skills! |
|
|
|
|
|
|
|
The worker walks in with a --
YOUNG SPEAKER and an OLD SPEAKER. |
|
|
| |
WORKER
Fun time is over. The AA meeting
is about to start. |
|
|
|
| |
|
INT. KENSINGTON HOSPITAL - MEETING ROOM - DAY |
|
|
The speakers sit at a large table. Brian, Tonya and the
other patients join them. |
|
|
| |
BRIAN
This is A.A.? But I'm an addict. |
|
|
|
| |
OLD SPEAKER
It's all the same disease. |
|
|
|
|
The young speaker knocks on the table. Silences the room. |
|
|
| |
YOUNG SPEAKER
I'm an alcoholic named Bill. |
|
|
|
|
Everyone says "Hi Bill." |
|
|
| |
OLD SPEAKER
I'm Bob and I'm an alcoholic. |
|
|
|
|
Everyone says "Hi Bob." |
|
|
60.
|
| |
OLD SPEAKER
I'm gonna tell you what my life
use to be like, what happened, and
what it's like today. |
|
|
|
| |
|
INT. KENSINGTON HOSPITAL - MEETING ROOM - DAY |
|
|
|
Everybody leaves the room. The worker approaches Brian. |
|
|
| |
WORKER
They need you in the office. |
|
|
|
| |
|
INT. KENSINGTON HOSPITAL-OFFICE - DAY |
|
|
Brian knocks on an office door. Behind a desk sits a --
FAT WORKER, male, flamboyant homosexual. |
|
|
| |
FAT WORKER
Hi Brian, I want to talk about
rehab after you leave here. |
|
|
|
|
Brian sits down. The fat worker hands him pamphlets. |
|
|
| |
FAT WORKER
There's a bed at Self Help
Movement, an all male facility -- |
|
|
|
| |
BRIAN
Wait? All male? So no girls? |
|
|
|
| |
FAT WORKER
Yes. That is correct. |
|
|
|
| |
BRIAN
Nah man. That ain't gonna work. |
|
|
|
| |
FAT WORKER
Brian, forget about girls. You
have to focus on recovery. |
|
|
|
|
Brian shakes his head no. |
|
|
| |
FAT WORKER
Well, Self-Help is the only bed -- |
|
|
|
| |
BRIAN
Fuck it. I don't need rehab. Tonya
will keep me clean. |
|
|
|
|
The fat worker sighs. Shakes his head in disappointment. |
|
|
61.
|
| |
FAT WORKER
Well, I wish you both lots of
luck. |
|
|
|
| |
|
EXT. KENSINGTON HOSPITAL - DAY |
|
|
|
Brian holds a trash bag of clothes. Tonya wears a backpack. |
|
|
| |
BRIAN
Yo, thank God I get my
unemployment money today. |
|
|
|
| |
TONYA
Are you sure we can move in today? |
|
|
|
| |
BRIAN
He said it's available now. If
not, we sleeping on a park bench. |
|
|
|
| |
|
EXT. BRIAN AND TONYA'S PLACE - TWENTY SIXTH STREET - DAY |
|
|
|
A run down house. Dirty windows. Brian knocks. |
|
|
| |
|
INT. BRIAN AND TONYA'S PLACE - LIVING ROOM - DAY |
|
|
A small house. Falling apart. Yellow stains on the walls.
Towards the door walks the --
HOMEOWNER, early fifties, black, opens the door. |
|
|
| |
HOMEOWNER
You must be Brian & Tonya, come on
in. |
|
|
|
|
Brian and Tonya walk in. |
|
|
| |
HOMEOWNER
Y'all surprised me when I saw
white folk. Ain't no white folk
live around here. |
|
|
|
|
Everyone laughs. |
|
|
| |
HOMEOWNER
Come on, I'll show you the room. |
|
|
|
|
The homeowner walks up the steps. Brian and Tonya follow. |
|
|
| |
62.
|
|
INT. BRIAN AND TONYA'S PLACE - BEDROOM - DAY |
|
|
A small bedroom. Small bed. Eroding wallpaper. Dresser with
a missing drawer. Window faces a brick wall. Brian and Tonya
stand in the doorway. The homeowner stands behind them. |
|
|
| |
TONYA
It's better than being homeless. |
|
|
|
| |
HOMEOWNER
It's yours if you want it. |
|
|
|
| |
BRIAN
Yea, we'll take it. |
|
|
|
|
Brian hands cash to the homeowner. Homeowner exits. |
|
|
| |
TONYA
I'm gonna check out the bathroom. |
|
|
|
|
Tonya exits. Brian unpacks the clothes. |
|
|
| |
|
INT. BRIAN AND TONYA'S PLACE - BEDROOM - DAY |
|
|
Brian throws the empty bags under the bed. Looks at the
clock. Exits to the -- |
|
|
|
HALLWAY |
|
|
|
Brian knocks on a closed door. |
|
|
|
|
|
|
|
Silence. Brian knocks again. |
|
|
|
|
|
|
|
Brian opens the door to the -- |
|
|
|
BATHROOM |
|
|
Tonya is on the toilet seat. Face between her knees. Bloody
syringe on the floor. Brian picks her head up. |
|
|
|
|
|
|
|
Tonya barely opens one eye. |
|
|
| |
63.
|
|
INT. BRIAN AND TONYA'S PLACE- BEDROOM - DAY |
|
|
|
Tonya sits on the bed. Brian stands in front of her. |
|
|
|
|
|
|
| |
TONYA
I just couldn't do it, OK? |
|
|
|
| |
BRIAN
What if I go and get high then? |
|
|
|
Tonya throws a bag of heroin and a syringe on the bed. Brian
looks at the heroin. Looks at the door. Looks at Tonya.
Grabs the heroin. Rolls up his sleeve. |
|
|
| |
|
INT. BRIAN AND TONYA'S PLACE- BEDROOM - DAY |
|
|
|
Brain and Tonya cuddle. High as a kite. |
|
|
| |
BRIAN
What are we gonna do about money? |
|
|
|
| |
TONYA
I can get money from my ex? |
|
|
|
|
Brian nods his head yes. Tonya picks up the phone. Dials. |
|
|
| |
TONYA
Hey Bruce. It's Tonya. |
|
|
|
| |
|
EXT. JASPER ST AND CUMBERLAND ST - NIGHT |
|
|
A secluded street. Tonya stands alone. Here comes --
BRUCE, late thirties, Spanish.
Tonya smiles at Bruce. Hugs him. |
|
|
|
|
|
|
| |
BRUCE
I thought you went to rehab. |
|
|
|
| |
TONYA
I did! I have two weeks clean. |
|
|
|
Behind Tonya approaches a --
|
64.
|
CRIMINAL, Brian in a ski mask, black clothes, grabs Tonya's
hair. Presses a knife against her throat. |
|
|
| |
TONYA
O my God, please, don't. |
|
|
|
| |
CRIMINAL
Bitch, shut up. Whatcha got? |
|
|
|
|
Tonya hands the criminal two dollars. |
|
|
| |
CRIMINAL
Two fucking dollars? What about
you poppy? |
|
|
|
| |
BRUCE
You ain't got the balls. |
|
|
|
The criminal presses harder with the knife. A drop of blood
rolls down her neck. |
|
|
| |
CRIMINAL
Don't fucking test me. |
|
|
|
| |
BRUCE
OK. OK. Just...Here. |
|
|
|
|
Bruce hands cash to the criminal. The criminal runs off. |
|
|
| |
|
INT. BRIAN AND TONYA'S PLACE - BEDROOM - NIGHT |
|
|
Tonya opens the door. Makeup runs down her face. Brian,
wears black clothing, sits next to a ski mask. Counts money. |
|
|
| |
TONYA
Yo, you really cut me. |
|
|
|
|
Tonya points to a small cut on her neck. |
|
|
|
|
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|
|
|
|
|
| |
BRIAN
About three hundred! |
|
|
|
| |
TONYA
Nice! That should last us, I
dunno, at least -- |
|
|
|
| |
65.
|
|
EXT. LEHIGH AVE AND KENSINGTON AVE - DAY |
|
|
Brian and Tonya walk down an avenue. Dope sick. Approach
another avenue that runs below elevated tracks. |
|
|
| |
TONYA
Two days. I can't believe we spent
it all in two days. |
|
|
|
| |
BRIAN
I know. We can just use the rent
money and replace it later. |
|
|
|
| |
TONYA
No, listen, I have an idea...but
you're not gonna like it. |
|
|
|
Tonya looks at the --
PROSTITUTES, under the elevated tracks, look for dates. |
|
|
| |
BRIAN
Please tell me your joking. |
|
|
|
| |
TONYA
It's not like I'll enjoy it. |
|
|
|
| |
BRIAN
No, there has to be another way. |
|
|
|
| |
TONYA
Hey, don't you want to get high? |
|
|
|
|
Brian sighs. Reluctantly nods in agreement. |
|
|
| |
|
EXT. KENSINGTON AVE AND HUNTINGDON ST - DAY |
|
|
Tonya stands under the elevated tracks. Brian leans on a
wall. A car pulls next to Tonya. She leans in the window.
Nods her head. Gets in the car. Brian hides his tears. |
|
|
| |
|
EXT. KENSINGTON AVE AND HUNTINGDON ST - DAY |
|
|
Brian paces on the corner. A car pulls up. Tonya gets out.
Hair messed up. Walks to Brian. |
|
|
|
|
|
|
|
Tonya nods yes. |
|
|
66.
|
| |
BRIAN
OK. Let's get this shit and go the
fuck home. |
|
|
|
|
Brian and Tonya walk away. |
|
|
| |
|
INT. BRIAN AND TONYA'S PLACE - BATHROOM - DAY |
|
|
Tonya leans into the bathtub. Scrubs socks with a bar of
soap. Brian walks in. |
|
|
| |
BRIAN
I'm taking two dollars from the
rent money to get a loaf of bread. |
|
|
|
| |
TONYA
You're gonna eat plain bread? |
|
|
|
| |
BRIAN
Nah, we got them sugar packets. |
|
|
|
|
Tonya smiles. Nods her head yes. |
|
|
| |
|
INT. BODEGA - DAY |
|
|
Brian walks in. Grabs a loaf of bread. Takes it to the --
BLACK CASHIER. |
|
|
| |
BLACK CASHIER
You need a bag? |
|
|
|
|
|
|
|
|
Brian hands the cashier money. Exits. |
|
|
| |
|
INT. BRIAN AND TONYA'S PLACE - BEDROOM - DAY |
|
|
Brian enters. Holds a loaf of bread. Dresser drawers are
open. Clothes are everywhere. |
|
|
|
|
|
|
Brian searches the dresser. Shakes his head. Pulls the
drawer out. Throws it. Kicks the dresser. |
|
|
| |
BRIAN
That fucking bitch! |
|
|
|
67.
|
Brian picks up a folded piece of paper on the dresser.
Unfolds it. Reveals a ten dollar bill and a -- |
|
|
|
LETTER |
|
|
Letter reads: Dear Brain, I'm sorry. I left you ten dollars
so you can get one more bag.
Brian shakes his head. Crumbles the letter. Throws it. |
|
|
| |
|
EXT. ABANDONED FACTORY - DAY |
|
|
Brian carries a bag of clothes. An abandoned factory.
Boarded up window. Brian pushes the board on the window. It
falls back. Brian climbs through the window. |
|
|
| |
|
INT. ABANDONED FACTORY - DAY |
|
|
Brian climbs in. Places the board back against the window.
Debris covers the floor. An old ripped up couch. A dirty
mattress. Footsteps are heard. |
|
|
| |
SPENCER (O.S.)
Who's that? |
|
|
|
| |
BRIAN
It's Brain. Who's that? |
|
|
|
From the shadows comes --
SPENCER, mid twenties, scruffy. |
|
|
| |
SPENCER
Oh, I seen you around before. My
name is Spencer. |
|
|
|
| |
BRIAN
I just got evicted and -- |
|
|
|
| |
SPENCER
Say no more. Just don't fuck with
my shit. I'm going to somerset to
sell works. You coming? |
|
|
|
| |
BRIAN
I ain't got works to sell. |
|
|
|
Spencer reaches under the couch. Pulls out a bag full with
syringes. Gives Brian a handful. |
|
|
68.
|
| |
BRIAN
O shit, That's wassup. Thanks man. |
|
|
|
| |
SPENCER
We gotta look out for each other.
Nobody else gives a fuck about us. |
|
|
|
|
Brian follows Spencer out the window. |
|
|
| |
|
EXT. KENSINGTON AVE AND SOMERSET ST - DAY |
|
|
Steps lead to the elevated train above. PEOPLE walk down. At
the bottom of the steps stands Brian, Spencer and a --
SKINNY JUNKIE. |
|
|
| |
BRIAN
Works! Works! Works! |
|
|
|
|
|
|
|
| |
SKINNY JUNKIE
Subs! Subs! |
|
|
|
A FEMALE JUNKIE buys a syringe from Brian. A CLOSET JUNKIE
buys a syringe from Spencer. Tonya walks towards Brian. |
|
|
|
|
|
|
| |
BRIAN
What the fuck do you want? |
|
|
|
|
Brian walks away. Tonya follows. |
|
|
| |
TONYA
Let me make it up to you. |
|
|
|
|
Brian turns to face Tonya. |
|
|
|
|
|
|
| |
TONYA
I got something better than money. |
|
|
|
| |
|
INT. ABANDONED BUILDING - DAY |
|
|
Brian and Tonya cuddle on an old couch. Used syringes next
to them. |
|
|
69.
|
| |
TONYA
I have to tell you something. |
|
|
|
|
Brian pulls away from Tonya. Leans forward. |
|
|
|
|
|
|
| |
TONYA
I got tested the other day...It
came back positive. |
|
|
|
|
Brian looks at Tonya in shock. |
|
|
| |
BRIAN
You're fucking pregnant? |
|
|
|
|
Tonya punches Brian in the arm. |
|
|
| |
TONYA
No! Not that kind of test. |
|
|
|
| |
BRIAN
Well, then what kind of -- Oh! --
Are you serious? |
|
|
|
| |
TONYA
I wouldn't joke about that. |
|
|
|
|
An awkward silence. |
|
|
| |
TONYA
Well, say something. |
|
|
|
| |
BRIAN
I don't know what to say. |
|
|
|
| |
TONYA
You're gonna leave me now. |
|
|
|
|
Brian shakes his head no. Pulls Tonya closer. Holds her. |
|
|
| |
|
INT. HIV TESTING CENTER - EXAM ROOM - DAY |
|
|
Brian sits on an examination table. In walks a --
HIV TESTER |
|
|
| |
HIV TESTER
OK Brian, good news. The HIV test
came back negative. |
|
|
|
70.
|
|
Brian sighs. The HIV tester hands him condoms. |
|
|
| |
HIV TESTER
You have to get tested every three
to six months. OK? |
|
|
|
|
Brian nods yes. |
|
|
| |
|
EXT. KENSINGTON AVE AND SOMERSET ST - DAY |
|
|
Brian and Spencer stand near the steps. Towards him
approaches --
MANNY, early twenties, Spanish. |
|
|
| |
MANNY
Yo, come here for a minute. |
|
|
|
|
Brian walks with Manny. |
|
|
|
|
|
|
| |
MANNY
You wanna make some money? |
|
|
|
| |
BRIAN
Fuck yea! I like money. |
|
|
|
|
|
|
|
|
Brian shakes hands with Manny. |
|
|
| |
BRIAN
I'm Brian, but everyone calls me
Brain. |
|
|
|
| |
|
EXT. BOUDINOT AND AUBURN STREET - DAY |
|
|
Brian and Manny sit outside an abandoned house. Manny hands
Brian a bundle of heroin. |
|
|
| |
MANNY
You give me back a buck twenty and
keep the rest. |
|
|
|
Manny walks across the street. Brian hides the heroin inside
a crumbled up brown bag. Towards Brian walks an --
OLD JUNKIE. |
|
|
71.
|
|
|
|
|
| |
OLD JUNKIE
Ha-ha. Yea right. Nice try. |
|
|
|
| |
BRIAN
Nah, foreal. You can even ask him. |
|
|
|
Brian points across the street. The old junkie looks. Manny
points to Brian. Nods his head yes. |
|
|
| |
OLD JUNKIE
OK. Let me get two then. |
|
|
|
Brian grabs the brown bag. Retrieves two bags of heroin.
Hand-to-hand sale with the old junkie. Spencer approaches as
the old junkie leaves. |
|
|
| |
SPENCER
Graduated to dope dealer already? |
|
|
|
| |
BRIAN
I'm a fast learner. |
|
|
|
|
Brian and Spencer laugh. |
|
|
|
|
|
|
|
Brian retrieves two more bags of heroin. Sells to Spencer. |
|
|
| |
SPENCER
You going to the soup kitchen for
Thanksgiving dinner tomorrow? |
|
|
|
| |
BRIAN
Nah, I'm going to my sister's. |
|
|
|
| |
SPENCER
Oh you lucky you still got
family...I'll catch ya later cuz. |
|
|
|
|
Spencer walks away. |
|
|
| |
|
INT. KIM'S HOUSE - KITCHEN - DAY |
|
|
A nice kitchen. Large table with a turkey centerpiece.
Thanksgiving Dinner. Mike, Mike Sr, and Kim eat with --
CAITLYN, nine years old.
JENNA, five years old.
|
72.
|
KELSEY, four years old.
Everybody looks happy. A doorbell rings. Kim opens the door.
Brian stands there. Sweaty. Scruffy face. |
|
|
| |
KIM
Brian! Happy Thanksgiving. I
wasn't sure if you were coming. |
|
|
|
|
Brian hugs Kim. Walks in. |
|
|
| |
BRIAN
Happy Thanksgiving everybody. |
|
|
|
|
Jenna, Caitlyn, and Kelsey run to Brian. Hug him. |
|
|
| |
JENNA
Uncle Brian, I missed you! |
|
|
|
|
|
|
|
|
Brian sits down. Fills a plate with food. |
|
|
| |
MIKE SR
So how was rehab? |
|
|
|
| |
BRIAN
It was OK. Met a girl in detox,
and we were able to go to the same
rehab. So, that was pretty cool. |
|
|
|
|
Mike and Mike Sr look at each other. |
|
|
| |
BRIAN
I have to use the bathroom. I'll
be right back. |
|
|
|
|
Brian stands up. Exits the room. |
|
|
| |
|
INT. KIM'S HOUSE - BATHROOM - DAY |
|
|
Brian sits on the toilet. Wraps a belt around his arm.
Sticks a needle in his arm. Has trouble. Can't find a vein. |
|
|
|
|
|
|
The syringe is bloody. Sweat drips down his face. The door
swings open. Kim stands there. Angry. |
|
|
73.
|
| |
KIM
You've got to kidding me! |
|
|
|
|
Brian looks at her. Guilt. Shame. |
|
|
| |
KIM
Get out. Just fucking leave! |
|
|
|
|
Brian unwraps the belt. Leaves. |
|
|
| |
|
EXT. BOUDINOT AND AUBURN STREET - DAY |
|
|
Manny sits on the steps with --
P-ROCK, early twenties, Spanish.
BLACK, late twenties, black, leans against the wall.
Brian walks towards them. |
|
|
| |
P-ROCK
Dope! Dope! Dope! How many poppy? |
|
|
|
| |
MANNY
Yo chill, that's my
white-boy...Brain, you trying to
work today? |
|
|
|
|
|
|
|
| |
P-ROCK
They call me P-Rock and this -- |
|
|
|
| |
BLACK
They call me Black. |
|
|
|
|
Brian shakes hands with everyone. |
|
|
| |
P-ROCK
Aight. Here. You up now then. |
|
|
|
|
P-Rock hands a bundle of heroin to Brian. |
|
|
Across the street a white van parks. Out steps a --
HEAD-BANGER. |
|
|
|
|
|
|
74.
|
|
|
|
|
|
|
|
|
Brian walks to the head-banger. Makes the sale. Head-banger
walks away. Brian looks at the money. Poorly counterfeited. |
|
|
| |
BRIAN
Yo, you think you slick? |
|
|
|
|
Brian grabs the head-banger's shirt. |
|
|
| |
HEAD-BANGER
I'm sorry dude. I'm real sick. |
|
|
|
|
The head-banger hands Brian two empty bags of heroin. |
|
|
| |
BRIAN
These ain't the same bags. |
|
|
|
The head-banger hides the real heroin in his other hand.
Brian pries it open. Takes the heroin back. |
|
|
|
|
|
|
Brian punches the head-banger. Manny punches the
head-banger. |
|
|
| |
BRIAN
Fall back. This pussy's mine. |
|
|
|
|
The head-banger runs. Brian follows. Catches up to him -- |
|
|
|
DOWN THE STREET |
|
|
|
Brian grabs the head-banger's shirt. Pummels him. |
|
|
| |
|
EXT. BOUDINOT AND AUBURN STREET - DAY |
|
|
Manny, P-Rock, and Black steal tools from the white van.
Stash them in the abandoned house. Black stops to look -- |
|
|
|
DOWN THE STREET |
|
|
Brian's fist smashes the head-banger's jaw. The head-banger
falls to the ground. Brian stands over him. |
|
|
75.
|
|
HEAD-BANGER - POV - ON THE GROUND |
|
|
|
A foot stomps his lights out. Fade to -- |
|
|
| |
|
EXT. BOUDINOT AND AUBURN STREET - NIGHT |
|
|
Darkness. Clear night sky. Below the night sky Manny and
Black sit outside the abandoned house. Brian leans against
the wall. The skinny junkie approaches. |
|
|
|
|
|
|
| |
MANNY
Five minutes poppy, five minutes. |
|
|
|
Here comes an --
UNDERCOVER COP. |
|
|
| |
UNDERCOVER COP
Hey, let me get two dope. |
|
|
|
|
|
|
|
The undercover cop tackles Brian. Black and Manny run. The
undercover handcuffs Brian. An unmarked police car pulls up. |
|
|
| |
BRIAN
I don't even have anything on me. |
|
|
|
Out from the unmarked car steps a --
BLACK UNDERCOVER COP, squats down near Brian. Tosses heroin
and cocaine near him. |
|
|
|
|
|
|
| |
UNDERCOVER COP
Who do you think the judge will
believe, me or you? |
|
|
|
|
The undercover cops laugh. |
|
|
| |
|
INT. 25TH DISTRICT - HOLDING CELL - NIGHT |
|
|
|
SERIES OF SHOTS |
|
|
|
-- Brian paces back and forth. |
|
|
76.
|
|
-- Bangs on the wall. |
|
|
|
-- Restless leg syndrome. |
|
|
|
-- Sits on the floor. Holds his stomach. |
|
|
|
-- Vomits. |
|
|
| |
|
INT. 25TH DISTRICT - HOLDING CELL - DAY |
|
|
Brian sits on the floor. Uneasy. Restless leg syndrome. The
cell door opens. We see --
SPANISH TURNKEY, early thirties, male. |
|
|
| |
SPANISH TURNKEY
Brain Storm? -- No, Brian Storm.
Come on. You are being released on
your own recognizance. |
|
|
|
| |
|
EXT. BOUDINOT AND AUBURN STREET - DAY |
|
|
Black and P-rock play wall-ball. Brian approaches. Wears a
white T-shirt. |
|
|
| |
BLACK
They let you out already? |
|
|
|
|
|
|
|
|
|
|
|
| |
BRIAN
Yo, I need a favor. |
|
|
|
|
P-rock nods to Black. |
|
|
| |
P-ROCK
You're on next if you wanna work. |
|
|
|
Black hands Brian a bag of heroin. Brian sighs in relief.
Walks into the abandoned house. |
|
|
| |
|
INT. ABANDONED HOUSE - BOUDINOT STREET - DAY |
|
|
A couch. Missing cushion. Brian sticks the needle in his
arm. Sighs. Eyelids are heavy. Nods off. |
|
|
| |
77.
|
|
INT. ABANDONED HOUSE - DAY |
|
|
|
The door swings opens. P-Rock stands there. |
|
|
| |
P-ROCK
Brain! You up my nigga! |
|
|
|
| |
|
EXT. BOUDINOT AND AUBURN STREET - DAY |
|
|
|
P-Rock hands Brian bundles of heroin and coke. |
|
|
|
|
|
|
P-Rock nods his head yes. Spencer approaches with two
PROSTITUTES. |
|
|
| |
BRIAN
Dope. Dope. Powder. Powder. |
|
|
|
| |
SPENCER
Three dope and three powder. |
|
|
|
|
Brian makes an exchange with Spencer. |
|
|
|
SERIES OF SHOTS |
|
|
|
-- Brian makes an exchange with two JUNKIES. |
|
|
|
-- Exchanges with three more JUNKIES. |
|
|
|
-- P-Rock hands Brian two bundles of coke. |
|
|
|
-- Brian exchanges with four more JUNKIES. |
|
|
|
-- A block away, a cop car turns the corner. |
|
|
|
|
|
|
Brian and JUNKIES scatter. The cop car's lights flash.
Sirens scream. |
|
|
| |
|
EXT. BOUDINOT AND CAMBRIA STREET - DAY |
|
|
|
Brian runs full speed. Turns the -- |
|
|
|
CORNER |
|
|
Brian runs across the street. Ducks into an alley. The cop
car turns the corner. Drives past the alley. |
|
|
| |
78.
|
|
EXT. KENSINGTON AVE - THRIFT STORE - DAY |
|
|
Brian exits the alley on the other side. Quickly walks
across the avenue. Enters a thrift store. |
|
|
| |
|
EXT. KENSINGTON AVE - THRIFT STORE - DAY |
|
|
Brian exits the thrift store. Now wears a black T-shirt,
black hat, and sunglasses. Holds his white T-shirt in his
hand. Throws it into a trashcan. Walks away. |
|
|
| |
|
EXT. BOUDINOT AND AUBURN STREET - DAY |
|
|
|
Black and P-rock sit on the steps. Brian walks towards them. |
|
|
| |
P-ROCK
Yo, scared money equals no money! |
|
|
|
The skinny junkie walks with --
A SPANISH JUNKIE. |
|
|
| |
BRIAN
Dope. Powder. Dope. Powder. |
|
|
|
| |
SPANISH JUNKIE
Four dope. Four powder. |
|
|
|
Brian makes an exchange. Walks back to the steps. Sits down.
A cop car drives by. Slows down. Stares. Drives off. |
|
|
| |
BLACK
Aight...We gotta shut it down. |
|
|
|
| |
P-ROCK
Yea, just come back tomorrow
Brain. |
|
|
|
|
Black and P-rock walk away. Brian walks the opposite way. |
|
|
| |
|
EXT. ABANDONED FACTORY - DAY |
|
|
|
Brian looks around. Climbs through the window. |
|
|
| |
|
INT. ABANDONED FACTORY - DAY |
|
|
Brian climbs through the window. Spencer is on the couch.
Head between his legs. Doped out. |
|
|
79.
|
|
|
|
|
Spencer doesn't respond. Brian picks his head up. Drops it.
No response. Brian pulls out a box cutter. Slices Spencer's
pants pocket. Two bags of heroin fall to the floor. |
|
|
|
|
|
|
| |
|
INT. ABANDONED FACTORY - NIGHT |
|
|
Spencer is still doped out. Brian lies on the mattress.
Pulls a bloody needle from his arm. |
|
|
| |
BRIAN
Whoa. Yea, this is that shit. |
|
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|
Brian's eyes roll in back of his head. Passes out. |
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|
INT. ABANDONED FACTORY - DAY |
|
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|
Brian lies asleep on the mattress. Spencer kicks him. |
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| |
BRIAN
Yo what the fuck man! |
|
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|
Brian stands up. |
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| |
SPENCER
You stole my dope. |
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| |
BRIAN
What? I didn't do shit. |
|
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| |
SPENCER
My pocket's cut, my dope is gone,
and you the only one here. |
|
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| |
BRIAN
It was probably your girl. I saw
her leaving when I was coming in. |
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| |
SPENCER
Are you serious?...Shit! -- What
the fuck...My bad bro. |
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| |
BRIAN
Don't sweat it...Look, I got court
today, gotta go make money before
I go. I'll catch ya later man. |
|
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|
80.
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|
Brian exits through the window. |
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| |
|
EXT. BOUDINOT AND AUBURN STREET - DAY |
|
|
The sun rises. P-rock and Black sit outside the abandoned
house. Brian approaches. |
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| |
P-ROCK
Wassup Brain. You're here early. |
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| |
BRIAN
Gotta get a bag before court. |
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|
P-Rock shakes his head no. |
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| |
P-ROCK
Manny got booked last night. We
staying low right now. |
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| |
BRIAN
Fuck! Aight, I'll be back later. |
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| |
BLACK
Come back tonight. We definitely
be open by tonight. |
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|
Brian walks away. |
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| |
|
EXT. KENSINGTON AVE AND HUNTINGDON ST - DAY |
|
|
Tonya stands with two other PROSTITUTES. Brian approaches.
Sweats. Looks uneasy. Grasps his stomach. |
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| |
TONYA
I thought you had court today. |
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| |
BRIAN
I'm sick. I'll just go tomorrow. |
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| |
TONYA
Come on, let's get you something. |
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|
Brian and Tonya walk away. |
|
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| |
|
INT. ABANDONED FACTORY - DAY |
|
|
Brian and Tonya sit on the couch. Brian takes a syringe out
of his arm. Sighs in relief. Unwraps a belt from his arm. |
|
|
81.
|
| |
TONYA
So whats up with the block? |
|
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|
| |
BRIAN
They shut it down for the day. |
|
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| |
TONYA
Damn. Whatcha gonna do? |
|
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| |
BRIAN
They'll be open tonight...Just
gotta make it until then. |
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| |
TONYA
Don't worry. I'll take care of ya. |
|
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|
Brian cuddles with Tonya. |
|
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| |
|
EXT. BOUDINOT AND AUBURN STREET - NIGHT |
|
|
Black hands Brian a bundle of coke. Brian tucks it in his
sock. Everybody begins to play wall ball. A cop car pulls
up. Out of the car steps -- |
|
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|
OFFICER BENJAMIN AND OFFICER YOUNG. |
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| |
OFFICER BENJAMIN
You guys playing wall ball or
selling drugs? |
|
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| |
P-ROCK
We don't sell drugs officer. We're
law abiding citizens. |
|
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|
|
Officer Benjamin points at Brian. |
|
|
| |
OFFICER BENJAMIN
Are you lost? |
|
|
|
|
Everybody laughs. |
|
|
| |
OFFICER YOUNG
You have ID on you? |
|
|
|
Brian hands over his ID. Officer Young walks to the police
car. Brian looks nervous. |
|
|
| |
BLACK
Why can't all cops be like you?
Most cops be disrespecting us. |
|
|
|
82.
|
| |
OFFICER BENJAMIN
That's because you haven't pissed
me off yet. |
|
|
|
Officer Young walks towards Brian. Throws him against the
wall. Handcuffs him. |
|
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|
|
|
|
| |
OFFICER YOUNG
You have a bench warrant for
missing your court date. |
|
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|
| |
BRIAN
I was gonna go tomorrow. |
|
|
|
| |
OFFICER BENJAMIN
Got any drugs on you? |
|
|
|
Brian shakes his head no. Officer Young pats him down.
Searches his pockets. Finds nothing. |
|
|
| |
OFFICER BENJAMIN
OK, lets go. |
|
|
|
Officer Benjamin walks Brian to the car. Places him in the
back seat. Closes the door. |
|
|
| |
|
INT. 25TH DISTRICT - PROCESSING ROOM - NIGHT |
|
|
A room with a small table. Officer Young fills out
paperwork. Officer Benjamin wears latex gloves. |
|
|
| |
OFFICER BENJAMIN
You know the routine. Shoes and
socks off. |
|
|
|
Brian takes his shoes and socks off. Tries to conceal the
coke in his sock. Officer Benjamin snatches the drugs. |
|
|
| |
OFFICER BENJAMIN
Are you fucking kidding me? You
just caught yourself another case.
You dumb prick! |
|
|
|
| |
|
INT. CURRAN-FREEHOLD CORRECTIONAL FACILITY - DAY |
|
|
A large room. Two floors. Many cell doors. Large open area
in the center. Many CONVICTS. Orange jumpsuits. Scattered
throughout the area. Brian uses a pay phone. |
|
|
83.
|
| |
BLACK (V.O.)
Yo, I can't answer right now. You
know what to do. |
|
|
|
|
A beep is heard through the phone. |
|
|
| |
BRIAN
Yo, answer your phone. You gotta
bail me out man. |
|
|
|
| |
|
INT. CURRAN-FREEHOLD CORRECTIONAL FACILITY - CELL - DAY |
|
|
Brian lies on the top bunk. Shakes his leg. On the lower
bunk lies his --
CELL-MATE. |
|
|
| |
CELL-MATE
Yo, chill with all that shaking. |
|
|
|
|
Brian jumps to the ground. Runs to the toilet. Vomits. |
|
|
| |
CELL-MATE
You need to leave that dope alone. |
|
|
|
|
|
|
|
|
Brian vomits again. |
|
|
| |
|
INT. CURRAN-FREEHOLD CORRECTIONAL FACILITY - DAY |
|
|
|
Brian picks up the pay-phone. Dials. Looks pale. Weak. |
|
|
|
|
|
|
| |
BRIAN
Mike...It's Brian, I fucked up. |
|
|
|
| |
|
INT. FORD TAURUS (MOVING) - DAY |
|
|
|
Mike drives. Brian rides shotgun. |
|
|
| |
MIKE
You gotta get off the drugs before
it's too late |
|
|
|
84.
|
| |
BRIAN
I'm done. It's been a few days,
it's out my system now. No more. |
|
|
|
| |
MIKE
I hope so. I'm worried about you. |
|
|
|
| |
BRIAN
Nah. I'm serious man. I'm done. |
|
|
|
| |
MIKE
O, I almost forgot. Kim wanted me
to give you this letter. |
|
|
|
|
Mike opens his center console. Hands an envelope to Brian. |
|
|
| |
BRIAN
Thanks, I'll read it later. |
|
|
|
| |
MIKE
So where am I dropping you off? |
|
|
|
| |
|
EXT. BOUDINOT AND AUBURN STREET - DAY |
|
|
The Ford Taurus drops Brian off. Drives away. Brian walks to
Black and P-Rock. |
|
|
| |
BLACK
Yo. I didn't know your PP number,
so I couldn't bail you out. |
|
|
|
| |
BRIAN
Don't even sweat it man...Can you
toss me a bag until later? |
|
|
|
|
|
|
|
P-Rock slips Brian a bag of heroin. Brian enters the
abandoned house. |
|
|
| |
|
INT. ABANDONED HOUSE - DAY |
|
|
|
Brian sits on the couch. Takes a needle out of his arm. |
|
|
| |
BRIAN
OK. That's it. No more. I swear. |
|
|
| | |
