COOPER
by
Dennis Landmann
CONTACT: SECOND DRAFT
Dennis Landmann (c) November 22, 2001
cheese4sale (a) hotmail (.) com
FADE IN:
FIRST TITLES UP
EXT STREET - NIGHT
SECOND TITLES UP
A red Camaro drives down the street. It's a rainy day.
THIRD TITLES UP
CUT TO:
INT CHINESE RESTAURANT - NIGHT(30 MINUTES LATER)
MELISSA, 33, blonde hair, beautiful look, sits on a table in
a chinese restaurant.
THE CAMERA WIDENS TO INCLUDE an empty chair. The table is
decorated with two plates, glasses, candles, etc. Melissa
waites for Larry to come. But he ain't coming.
Melissa goes to the exit. A chinese employee tabs her
shoulder. She turns. They talk. Then, the employee nods and
Melissa makes a smile. She exits.
CUT TO:
EXT CHINESE RESTAURANT/PARKING LOT - CONTINOUS ACTION
Melissa exits. She walks to her car that stands at the end of
the parking lot. She opens the trunk and gets out a jacket.
She closes the trunk and gets in the car.
CUT TO:
INT RED CAMARO - CONTINOUS ACTION
Melissa sits in the car. She puts on her jacket. It's a cold
night. She waits for Larry. She lays back in the seat.
She looks at the clock that is right above the radio.
INSERT - ON CLOCK
It reads: 9:51 P.M.
BACK TO SCENE
Melissa is disappointed. She falls asleep.
CUT TO:
INT RESTAURANT/SOMWHERE - NIGHT
LARRY, 33, energetic, well-dressed, sits on a table in a
restaurant.
THE CAMERA WIDENS TO INCLUDE A WOMAN. Her name is JULIE, 32,
blonde, good looking, and sweet.
LARRY
You know, I like you very much but
I gotta tell you that I just left
my other date all alone... just so
I can be with you.
JULIE
You did? Come here.
They kiss. Then once again, and again.
CUT TO:
EXT RED CAMARO - NIGHT
WE SEE THREE BLACK MALES walking on the parking lot.
INSERT - CLOCK IN THE RED CAMARO
It reads: 10:36 P.M.
BACK TO SCENE
The three black males walk up to the car and look in.
THEIR POV - MELISSA
Still sleeping in the seat. She turns her head to the right.
BACK TO SCENE
BLACK MALE#1
She's sleepin'.
BLACK MALE#2
Let's do it.
BLACK MALE#1
Wait. Wait. Let's make sure nobody
sees us.
They check the area.
BLACK MALE#2
Nobody here.
Black Male #2 tries the door, and it opens. He leans in and takes Melissa's purse that sits on the passenger seat.
We CRANE UP, then -
FADE OUT:
TITLE SEQUENCE: COOPER
CUT TO:
BLACK SCREEN
A Title Card fades in.
It reads: "LOS ANGELES - ONE YEAR LATER"
CUT TO:
EXT BEVERLY BLVD. - ACROSS FROM HARD ROCK CAFE - MORNING
A new black Jaguar crosses an intersection.
In the middle of the intersection, a new yellow Volkswagen
Beetle crashes into the Jaguar's right side.
Some cars slow down a little to look at the accident.
LARRY (O.S.)
(from inside Jaguar)
What the fuck.
Larry, now 36, well-dressed, exits the Jaguar and looks at it.
LARRY
(continuing; covering
face)
Oh shit, what the fuck is that?
PETER, 40, playing a nerd, casually dressed, steps out of his
new Volkswagen Beetle.
PETER
(in oxfort english;
looking at Larry)
What the bloody hell?
LARRY
(hits the roof with
his fist)
Don't tell me shit you fucking
asshole. That's a new fucking car
you son-of-a-bitch.
PETER
What the bloody hell are you
talking about?
LARRY
No no no no... 'the fuck are you
talking about?
PETER
No, what the bloody hell are you
talking about?
LARRY
I'm talking about you, you son of
a bitch.
PETER
I'm calling the cops.
LARRY
Yeah, do that.
Peter takes out a cellular phone and calls the police.
Larry looks at the damage. Both of the right side doors are
jammed and the windows shattered.
LARRY
(continuing)
Oh, fuck.
WE HEAR SIRENS APPROACHING in the b.g.
A police car approaches. Peter walks over to the cops. The
cops exit the car. One of them is JIM, 37, nice guy, good
cop. The other, GARY PARKER, is in his mid-forties. He's the
darker side of a police officer.
PARKER
(to Jim)
Let's get it going with these two
guys.
JIM
Let's get it going.
PETER
(to Jim)
Hey. What are you doing here so
fast? I just called you cops
couple of seconds ago.
Larry walks toward them.
JIM
Well I'm a cop. And this is an
accident, right?
PETER
Yes indeed.
LARRY
(to Jim)
He crashed into my new Jaguar.
PETER
(to Larry)
Well, you certainly didn't watch
the lights, did you?
LARRY
(to Jim)
What the hell's he talkin' about?
PETER
You didn't see the lights.
LARRY
How do you know? It was fucking
green. I saw the fucking light and
it was fucking green. You can't
fucking prove me wrong, you stupid
motherfuck-
JIM
(to Larry)
Wow, wow, wow. Can we please watch
the language. There's no need to
act like a maniac.
LARRY
I ain't no fucking maniac.
JIM
Sir? Please? Calm down. Everything
is going to be fine. We'll handle
this. Just give us a minute.
Jim and Parker turn away from Larry and Peter. They decide
what to do. Larry and Peter continue their word fights.
LARRY
(slowly calms down)
My new fucking car gets fucked the
first fucking day. I can't believe
this shit.
PETER
I'm awfully sorry, sir!
LARRY
What the fuck do you care?
PETER
I care because - you see that
yellow Beetle? It's a new car,
too. So I care. My car is fucked,
too.
LARRY
Your fucking accent gives me the
nerves. Try to talk like an
American.
COP#1 (O.S.)
Hold on there.
PETER
I can't talk like an American. I'm
English. I can talk however I
want. You bloody bastard.
LARRY
(imitates Oxford
English)
You bloddy bastird-
(breaks accent)
Fuck this shit!
Jim and Parker turn back to Larry and Peter. Larry looks
anxciously at Jim.
JIM
(to Peter)
Would you please go to my partner,
Officer Parker, and let him ask
you some questions!?
PETER
Of course.
Peter leaves.
Larry and Jim walk over to the Jaguar and the Beetle.
JIM
Now. I will ask you questions
about the accident. And if you
don't cooperate with us, we'll
have to take you downtown. I think
you got the point.
LARRY
I got it.
JIM
Let's get started.
EXTREME CLOSE UP - LARRY'S FACE
Looking fucked up. He is mad because of three things. His
Jaguar got fucked, his time wasted, and he's late for a
meeting.
PETER AND PARKER
Parker has a notepad in his left hand where he's taking
notes. Peter looks patiently at Parker.
PARKER
Okay. What is your name?
PETER
Peter. Actually it's Pete Shaw.
PARKER
That's what I wanted to know.
Okay. Second question. What was
the color of the light when you
were crossing that intersection?
PETER
(hesitates)
Green.
PARKER
Are you sure about that?
PETER
(fast)
I'm sure.
PARKER
So it was green. Then what do you
think the Jaguar did in the
intersection when you were
crossing on green?
PETER
I have no idea.
PARKER
What is your guess?
PETER
Guess?
PARKER
Yes! Okay. Let me rephrase that
question.
(clears throat)
What was the Jaguar-
BACK TO LARRY AND JIM
JIM
-doing in the intersection when
you were crossing?
LARRY
How the fuck should I know?
JIM
Please, sir. Watch the language.
LARRY
I guess that Beetle intended to
crash into my new Jaguar. When I
looked out of my window I could
see the Beetle. It was on
collision course with my new
fucking Jaguar.
JIM
Okay, I see. But-
LARRY
(slow)
What's your fucking problem, man?
It wasn't my fucking fault,
dammit.
JIM
X'cuse me? What was that?
LARRY
I'm sorry. I was just on my way to
the bank. Then I had a meeting,
which is now fucked, because I'm
standin' here and answer some
stupid questions.
JIM
Have you been drinking, sir?
LARRY
I haven't seen a bottle in three
years. No. I don't drink. I ain't
no alcoholic. Why do you ask me
that?
JIM
It's just, you were acting a
little strange, I assumed you
maybe under the influence. This is
a routine question. I bet my
partner is asking the same
question just now?
BACK TO PETER AND PARKER
PETER
No, I haven't. But I think the
other guy has been drinking.
PARKER
How do you know?
PETER
I was just saying.
(breaks character)
Do I have to do this shit? I don't
need to answer these questions. I
just want the money.
PARKER
Will you shut the fuck up! They
can hear us. And when they do,
this whole plan is fucked, god
dammit.
PETER
Bloody hell!? How long is this
going to take?
PARKER
I don't know. We'll just do so as
if we're talking.
PETER
All right. But you should have
told me about this. I did this
because of money and because I owe
you one.
PARKER
All right, all right. I know that
you ain't English. I know your
name ain't Pete Shaw, which is a
stupid fucking name. I also know
that we should have told you. Okay?
PETER
(break in accent)
Tell me now or I'll walk over
there and tell both of them what's
really going on.
PARKER
Don't even think about it.
Peter turns to face Jim and Larry.
PARKER
(continuing)
Okay, okay. I'll tell you. Now
turn around.
Peter does.
PARKER
(continuing)
The plan was to go like this. You
crash his car. We take care of it.
We find a gun in his car. We
arrest him. He was on the way to
a meeting. And with the gun, he
was going to kill the guy he was
going to have a meeting with. The
guy who called the meeting works
at an art gallery and he would
speak out against your new friend
here. We would then convict him of
attempted murder. Actually, it's
not about money, more about
revenge. But that's none of your
business.
PETER
That's the whole fucking plan?
What's this guy's name?
PARKER
The guy from the gallery?
PETER
No. The guy's Jaguar I just
crashed.
PARKER
Larry Cooper.
PETER
Okay. You must know who I am, too.
So we can stay in contact, right?
(shakes hands)
I'm Pete Duane. I'm the best-
PARKER
Are you crazy? Don't shake my
fucking hand, you stupid idiot!
PETER
Do you want my help?
PARKER
Why would I need your help?
PETER
Because I can get things done. You
have certain restrictions as a cop.
PARKER
I'll come back to you later. Right
now, we have to see what the
situation is gonna be.
BACK TO LARRY
Larry and Jim inspect the Jaguar.
LARRY
I really don't know what this is
doing there?
JIM
(holds up a .45)
You telling me this ain't yours.
Larry gets up and turns to Peter and Parker.
LARRY
Your partner is still questioning
him? How long do you guys think to
keep us here? A day?
JIM
No. We're done here. We'll just
take you downtown.
LARRY
God dammit!
Jim and Larry walk to Parker and Peter. Jim puts the .45 in
a plastic bag he just got out of his pants.
Parker walks toward Jim and lays his arm around Jim's
shoulder, like a friend. They walk off. They stop in front of
their car. Jim opens the driver's door and goes in.
PARKER
What are you doing, Jim?
JIM
I'm calling the guys.
PARKER
Why do you want to do that? Can't
you handle this little incident?
JIM
I can. But I don't want to.
PARKER
Then I'll handle it.
JIM
No you won't. The guys will handle
it. And you know why? Because I
found a gun in Larry Cooper's
Jaguar.
PARKER
(hesitates)
What did he say?
JIM
He doesn't know about it.
PARKER
Yeah, right.
CUT TO:
INT LAPD BUILDING/CELL - DAY
Larry is in the cell. The celldoor closes.
CUT TO:
INT LAPD BUILDING/SQUAD ROOM - DAY - ON JIM AND PARKER
They sit behind their desks. Jim puts the .45 in the plastic
bag on his desk. Parker looks at it.
PARKER
(to Jim)
He's busted.
JIM
Yeah, but why would we bust his
ass? I mean, he just had an
accident.
PARKER
What?
JIM
I said why would we bust his ass?
PARKER
He has this gun. I mean, he says
it's not his. Does he have papers
for it? No. So, there you go.
JIM
So? It's not serious. I mean, a
fine will do.
PARKER
A fine? I think we should talk to
him again. Larry Cooper seems to
have some temper, huh!? I think we
oughta talk to him right now.
JIM
But where does the gun fit in?
PARKER
He obviously wanted to kill the
guy he was supposed to have a
meeting with. There's where I see
a connection to the gun.
JIM
We can't prove it.
PARKER
I know we can't. Not right now.
We're just assuming. But what we
can do is hold him for twenty four
hours. In the meantime, we gotta
check out the person he was going
to meet. And yes, as of right now,
all we've got is a gun with his
fingerprints on it. But that's
beside the point--
JIM
Do we know his name?
PARKER
Whose name?
JIM
The other guy.
PARKER
Marcus Sean? Oh. He owns an art
gallery in Beverly Hills. That's
not too far from the accident.
(beat)
See? Cooper was up to something.
JIM
When I asked him all these
questions he really seemed to have
nothing to do with this.
PARKER
Everybody doesn't seem to be the
ones you're expecting them to be.
You never know, Jim.
JIM
What a coincidence that was?!
PARKER
(almost catches
himself)
Coincidence? What are you...? Oh!
Yeah! Pete Shaw crashing his car.
Of course.
(beat)
Tough luck, rookie. Get used to it.
CUT TO:
INT CELL - DAY
Larry on the bed; his arms under his head.
LARRY
(to himself; thinking)
Why the hell am I in here? I
didn't do shit?!
(starts counting)
I didn't go on red, I don't have
a gun, I haven't been drinking,
and--
(screaming)
--I didn't try to kill anyone.
GUARD (O.S.)
Quiet in there!
LARRY
Fuck you.
CUT TO:
INT LAPD BUILDING/SQUAD ROOM - DAY
FOLLOW Jim and Parker as they walk to the Captain's office.
They pass some other detective's desks. Parker walks ahead
while Jim stops at TRACI HARPER's desk.
She is 36, black hair, funny, and single. Traci reads the
newspaper.
JIM
(leans over her)
What are you reading?
Traci comes up with her head and hits Jim's chin.
TRACI
Argghh. Dammit, Jim. That hurt.
JIM
I'm sorry. I didn't mean to hurt
you. I just wanted to know what
you're reading.
TRACI
You know what it is?
JIM
You're still looking up the single
ads? So... you're still single?
TRACI
Yes. Why?
JIM
I don't know. Maybe we could--
TRACI
You know I don't--
PARKER (O.S.)
Jim! The captain's waiting!
CLOSE ON JIM
He makes a weird gesture with his face to shut Parker up.
JIM
(to Traci)
Will you think about going out
with me?
TRACI
Do I have a choice?
Traci looks up to Jim.
JIM
I don't know. All right. Do you
wanna go out with me tonight?
TRACI
I'll see what I can do.
Jim leaves.
Traci turns to KATE, 37, sitting at the adjacent desk.
TRACI
(continuing)
What a jerk.
KATE
You really think he's a jerk?
TRACI
I was just saying. Ugh, I don't
know. Should I go out with him?
KATE
You're a single and on the look
out, am I right?
CUT TO:
INT CAPTAIN'S OFFICE - DAY
Parker and Jim sit down in front of their captain. MITCHELL
HAYWOOD, 60, bearded, tall, stands by the window. He turns
around.
HAYWOOD
Tell me Gary. What do we have?
PARKER
We have this guy.
HAYWOOD
What's his name?
JIM
Larry Cooper, sir.
HAYWOOD
What did he do?
CUT TO:
INT. CELL
Larry on the bed. He gets up.
LARRY
(calls out)
Guard!
(waits for a response)
Anybody there?
GUARD (O.S.)
What?
LARRY
Is there a way I can get some
water? I need fluid.
GUARD (O.S.)
Got your piss, don't ya?
LARRY
(pissed)
Hey, how would you like to be in
here? This is all a
misunderstanding!
GUARD
Save it for the judge.
LARRY
What judge?
OFF SCREEN: A phone RINGS. Sound of Guard picking up.
GUARD (O.S.)
Yeah? Uh huh. Sure. Okay.
ON LARRY
By the cell door.
LARRY
(in intervals)
Hey. Man! Come on! Ah fuck you.
CUT TO:
INT. CAPTAIN'S OFFICE
Mid-conversation between Haywood, Parker and Jim:
PARKER
Larry Cooper is rich, but I
figured he wants more. The guy he
was supposed to meet is Marcus
Sean. He's fourty-nine years old.
HAYWOOD
Let me get this straight. He was
on his way to Sean's gallery with
the intent to kill him?
Jim shrugs.
PARKER
Yes, that's correct.
HAYWOOD
I don't know what to say. But
listen now. If you can only come
up with theories, then I will have
to let him go.
Haywood gets up. Jim and Parker do so, too.
HAYWOOD
(continuing)
Now, Jim. I want you to check out
the gallery. Got it, Swanson?
JIM
(nods)
Yes, sir.
CUT TO:
INT CELL - DAY
Larry wanders around. He looks through the cell bars, trying
to see the guard.
LARRY
(yelling at guard)
Yo, guard!? I want to make a phone
call. That's my fucking right.
GUARD
Shut up! You're gonna stay here
for a while.
LARRY
Why? I didn't do shit!
GUARD
Hey! I said, shut up.
LARRY
I want my fucking lawyer. You hear
me. Get Rick Vans to come down
here. You hear me, asshole?
CUT TO:
INT LAPD BUILDING/SQUAD ROOM - ON JIM
Jim and Parker walk towards the exit.
PARKER
You check out the gallery, all
right? I have something else to do.
JIM
What's that?
PARKER
This perk I busted months ago. I
got word he's in trouble again. I
gotta check it out.
Parker keeps walking. Jim slows down.
WE PAN TO THE RIGHT AND CATCH Traci walking by. She taps
Jim's shoulder.
TRACI
Hey.
JIM
Hey.
TRACI
Um, about going out tonight. I
thought about it... and I don't
know... why not?
JIM
All right.
(beat)
Maybe you want to come with me? I
have to go to Beverly Hills; check
out a possible witness.
CUT TO:
INT CELL - DAY
Larry sits on his bed and thinks.
We hear FOOTSTEPS O.S.
The GUARD, 54, overweight, short hair, comes and opens the
cell door.
GUARD
(to Larry)
You can make your phone call now.
LARRY
Well, it's about time.
Larry walks out. The Guard closes the cell door.
CUT TO:
CLOSE ON - LARRY ON THE PHONE
Larry picks up the receiver and holds it to his ear. He
punches some numbers.
LARRY
This is Larry. I need to talk to
Rick.
(beat)
Rick who? Fucking Rick Vans!
FEMALE VOICE (V.O.)
One second, please.
Larry looks around the corner and sees the Guard looking at
the security monitors. Larry turns back.
LARRY
(low voice)
Rick? This is Larry. I got fucking
arrested this morning. My car got
fucked. The police gave me a
fucking ticket and I even had--
RICK (O.S.)
(over phone)
Calm down now. Where exactly are
you right now?
LARRY
I'm in a cell.
RICK (O.S.)
(over phone)
I'm gonna be there as fast as I
can. Hold on, okay? And don't say
anything.
Larry hangs up the receiver.
LARRY
(to himself)
How good the day started--
DISSOLVE TO:
FLASHBACK INT LARRY'S HOUSE/BEDROOM - MORNING
Larry and his wife JULIE, now 35, blond, sexy, are having sex.
CUT TO:
FLASHBACK INT BATHROOM - MORNING
Larry brushes his teeth. His hair is all wet and a towel
covers his feet.
JULIE (O.S.)
Honey?
LARRY
Yeah?
JULIE (O.S.)
Come on Larry, you gonna be late.
You have to go to the bank and
meet Mr. Sean from the galley.
LARRY
Yeah, all right. What time is it?
JULIE (O.S.)
It's 7:42. Oh, Larry?
LARRY
Yeah?
CUT TO:
FLASHBACK INT BEDROOM - MORNING
Larry dresses. Then he walks in front of a big mirror.
CUT TO:
FLASHBACK EXT SANTA MONICA BLVD./INTERSECTION - MORNING
Larry's Jaguar crosses the intersection. In the middle of the
intersection a new Volkswagen Beetle crashes into the
Jaguar's right side.
CUT TO:
FLASHBACK EXT INTERSECTION - MORNING (1 MINUTE LATER)
Peter calls the police with his cellular phone. Just seconds
later, the police arrives. Jim and Parker get out and go to
Larry and Peter.
CUT TO:
FLASHBACK EXT INTERSECTION - MORNING (2 MINUTES LATER)
Jim questions Larry. We can't really make out what they're
saying. Larry stands with his back to Parker and Pete. Then,
Larry turns around.
LARRY'S POV - ON PARKER AND PETE DUANE
Parker and Pete shake hands. Larry sees how Parker mouths:
"What the fuck are you doing".
BACK TO SCENE
Larry looks confused.
DISSOLVE TO:
INT CELL - DAY
Larry on the bed. He sits up with confused look on his face.
We hear CHATTERING O.S.
LARRY
(re: Parker and Pete
Duane)
What the hell were they doing?
GUARD (O.S.)
Hey, Cooper. Your friend Rick Vans
is here.
RICK VANS, 50, bearded, casually dressed, walks up to the
cell door.
CUT TO:
Larry and Rick talking, sitting on the bed.
RICK
Now Larry. Tell me what happened.
LARRY
I can tell you three things.
First, I don't own a gun. Second,
I ain't a killer. And third, I
went on green.
RICK
Okay. Where were you going?
LARRY
I wanted to go to the bank to get
the money. Then I was gonna meet
with Marcus. I wanted to pick up
my painting I bought last month.
RICK
Last month?
LARRY
Yeah. I bought it last month. I
didn't have enough money during
that time to pay him the $500,000.
RICK
Okay. Do you know if they have any
proof? I mean, what is the deal
about the gun?
LARRY
That's the weirdest part. I have
no fucking idea how the gun got
into my car.
RICK
Well, somebody could've planted it.
LARRY
I don't know what this is all
about. It was a normal day for me
and anybody else. Then this
fucking Beetle crashed into me.
That fucking asshole went on red.
He was the only one driving.
RICK
Maybe the Beetle went on yellow
and it turned red after he crossed.
LARRY
What the fuck's the difference?
RICK
Can you prove your innocense?
LARRY
What the fuck are you talking
about?
RICK
Have you seen anything strange?
What questions did the police ask
you?
LARRY
I was questionend in a room. Two
detectives were asking me about
the gun and what I was doing with
it. The two detectives who asked
me were the two at the accident
scene.
RICK
That's all right. What else?
Larry thinks. Then he remembers Parker and Peter shaking
hands.
LARRY
The most fucked up thing, which I
hardly remember, is that I turned
around and saw Parker shaking the
guy's hand. I could see him words:
"what the fuck are you doing".
RICK
What guy?
LARRY
The guy in the Beetle. The guy who
fucked up my car. I don't know his
name.
(beat)
Do you know what time it is right
now? I really have no sense of
time.
RICK
It's 10:50.
LARRY
10:50? I'm supposed to be at my
other meeting at twelve.
RICK
What other meeting?
LARRY
Me and Martin were thinking about
eating lunch together.
RICK
Martin Trent?
LARRY
Yeah. You know him?
RICK
Larry, we met at your birthday
party.
LARRY
(realizing)
That's right. You met him, alright.
Rick gets up an walks to the cell door.
RICK
Guard!
LARRY
(to Guard)
Yo.
GUARD
What is it, Cooper?
LARRY
Can you get me something to read?
GUARD
We ain't no library. We don't have
books for guys like you.
LARRY
But I didn't do anything.
GUARD
That's what everyone says to me.
"I'm innocent. I didn't do it. It
was somebody else. I don't know
what's going on." It's the same
old shit. Now, shut the fuck up.
CUT TO:
INT PARKER'S FORD - DAY
Parker holds the wheel.
We HEAR THE PHONE RINGING. Parker picks up.
PARKER
(into phone)
Yeah?
MARCUS (V.O.)
It's me. Marcus.
PARKER
What are you calling me for? I'm
on my to you. Just wait until I
get there.
EXT PARKER'S FORD - DAY
The Ford races down the street.
CUT TO:
INT LAPD BUILDING/SQUAD ROOM - ON RICK
He's on his way to the Captain's office when Jim cuts in
front of him.
JIM
Can I help you?
RICK
Yeah. I need to talk to your
Captain.
JIM
Who are you?
RICK
I'm Rick Vans. I'm Larry Cooper's
lawyer.
JIM
(realizes)
You're his lawyer? Oh! Okay.
Follow me.
CUT TO:
INT CAPTAIN'S OFFICE - DAY
Jim and Rick stop in front of Haywood's desk.
HAYWOOD
(to Rick)
Can I help you?
RICK
Yes.
(sits down on a chair)
My name is Rick Vans and I have
some questions for you regarding
my client.
Rick gets out his biz card and hands it to Haywood.
HAYWOOD
(reads off card)
Rick Vans. Lawyer.
(beat)
So? What do you want to know?
RICK
There seems to be a conflict
between you and my client.
HAYWOOD
Well?
RICK
He doesn't know why he's being
kept in a cell.
JIM
(to Rick)
He had a gun in his car and he had
no license for it. He also got a
ticket because he caused a car
accident.
HAYWOOD
Thanks, Jim.
(to Rick)
Now. We have the gun with his
fingerprints on it. That should
let us to believe that it's his
gun and he had the intent to use
it.
RICK
What a load of crap! There is no
truth to this whatsoever. This is
all speculation.
HAYWOOD
Excuse me Mr. Vans, but we really
don't give a shit.
RICK
I can understand you very good,
Mr. Haywood. I wouldn't give a
shit either. You know?
HAYWOOD
It's Captain Haywood!
(pause)
All right Mr. Vans. Your client is
free, but under two conditions.
RICK
Yes?
HAYWOOD
First, he can't leave the city
under any circumstances. Second,
if we get more proof then he has
to let us take him in.
RICK
That won't be necessary. You won't
find a thing. Now, if you'll
excuse me. I have to get going.
CUT TO:
EXT BEVERLY HILLS/ART GALLERY - DAY - ESTABLISHING
Parker's Ford parks in front of the gallery.
CUT TO:
INT ART GALLERY - DAY
There are many pictures that hang on the wall. Some are
standing on the floor.
PARKER
walks through a long floor and then enters left into an
office.
CUT TO:
INT OFFICE - DAY
Parker comes in. He walks to Marucs' desk.
PARKER
Hello, Marcus.
PARKER'S POV - MARCUS' DESK
Marcus turns in his chair. A young woman, maybe 20, sucks his
dick. By the mention of his name, Marcus pushes the woman and
she falls on the floor. He stands up and zips his fly.
BACK TO SCENE
MARCUS
(looking at Parker)
Oh, hi. Parker, what are you doing
here?
PARKER
Having fun?
MARCUS
Well, yes, she is my assistant.
The woman leaves the office.
PARKER
(to woman)
Bye ma'am.
MARCUS
Yeah, bye Sheena.
Parker walks toward Marcus and stops in front of the desk.
PARKER
I'm here because I have to warn
you.
MARCUS
What the fuck are you talking
about?
PARKER
My partner Swanson is probably on
his way here. He'll ask you
questions about Cooper.
MARCUS
I know what to say. You shouldn't
have come down here.
PARKER
Fuck you, Marcus. I just wanted to
go over the questions Swanson will
ask you.
MARCUS
Then go ahead, dammit.
PARKER
Do you know Larry Cooper?
MARCUS
Yes I do!
PARKER
Not like that. You need to stay
calm. Answer like you're lazy.
MARCUS
(annoyed)
I got it. Next question, dammit.
PARKER
What was the purpose of your
meeting with Mr. Cooper?
MARCUS
(lazy, calm)
We had a sort-of deal. If he picks
up his damn painting today, he
just...
PARKER
Stop.
(beat)
Marcus, don't fuck with me. Just
answer the fucking questions. And
don't... don't do that.
MARCUS
(lazy, calm)
...has to pay me five hundred
thousand fucking dollars.
PARKER
You just don't get it, do you?
What kind of painting?
MARCUS
A painting. What kinda fucked up
question is that?
PARKER
If you start using those words
when Swanson asks you I'm gonna
fuck you up.
MARCUS
(lazy, calm)
A nice oil painting with blue,
red, green, and pink ink colors.
It's a Michaelangelo painting.
PARKER
Do you have that picture in your
gallery?
MARCUS
No I don't. I just made it up.
PARKER
See, Marcus. Don't do this shit.
You're gonna fuck up this whole
plan, you stupid fuck.
MARCUS
Parker. Remember that this is my
thing. I asked for your help. Yes,
but I'm the guy in charge here,
and I know what to do. You don't
need to be here.
PARKER
(walks to the door)
I'll see you later Marcus.
MARCUS
See you around. Now, fuck off.
PARKER
(opens the door)
Can you tell me what time it is?
MARCUS
(looks at his watch)
It's 11:30.
PARKER (O.S.)
Thanks... bitch!
Marcus picks up his phone.
MARCUS
(into phone)
Shina. Can you come here please?
I need your assistance on some
hard work. I'd appreciate it,
thanks.
CUT TO:
INT ART GALLERY/FRONT - DAY
Parker walks along the floor. SHINA, sexy, has an open bra,
short dress, long legs, walks past Parker
PARKER
(to Shina)
Enjoy.
SHINA
Blow me!
PARKER
(stops, turns around)
You serious?
No response. She keeps walking.
PARKER
(continuing)
That son of a bitch.
CUT TO:
INT CELL - DAY
Larry talking to Rick and Jim outside the cell.
RICK
You're free.
Larry is relieved.
LARRY
(to Guard)
There you have it. I'm free. I'm
innocent.
JIM
(to Larry)
I'm sorry to disappoint you.
You're sorta on probation. You're
free until we get more proof.
LARRY
There's nothing that goes against
me.
RICK
They won't believe you.
LARRY
(to Jim)
Where's your partner?
JIM
None of your business. You're free
for now. Just get outta here.
LARRY
We'll see about that.
CUT TO:
EXT LAPD BUILDING - DAY - ON RICK AND JIM
They exit and walk toward Rick's Lincoln.
Rick gets in. Larry leans against the passenger door. He
looks at Rick through the window.
RICK
(to Larry)
See you.
LARRY
Yeah, Bye.
Larry closes the door. Rick drives off.
Larry sees the Jaguar, totally jammed.
CUT TO:
INT/EXT JAGUAR - DAY
Larry drives along the street. He LISTENS to the radio
station FM 103.9. BRUCE SPRINGSTEEN with BORN TO RUN is
playing. Larry looks down the street.
The Jaguar drives down the street. Leaving us behind with the
music playing.
CUT TO:
EXT. BANK OF AMERICA/PARKING LOT - DAY
He stops at THE BANK OF AMERICA. He pulls into the parking
lot. He exits the Jaguar. He continues toward the Bank.
CLOSE ON SIGN - READING "BANK OF AMERICA"
The letters are all upper-case in red.
BACK TO SCENE
Larry enters the Bank. A WOMAN, exits.
CUT TO:
INT BANK OF AMERICA - DAY
It's just a small Bank with just a few windows/counters open.
There are just 6 or 8 people in the Bank. Larry walks to an
open window.
CASHIER
(to Larry)
Can I help you sir?
LARRY
Yes.
(gets out a check)
I want to have my money now.
He puts the check on the table. The cashier reads the check.
CASHIER
(reads off check)
Five hundred thousand.
THE CASHIER
goes to his computer and types in some commands. He comes
back and puts the check back on the table.
CASHIER
(continuing)
I'm sorry, sir, but this check is
no good.
LARRY
What do you mean it's no good?
CASHIER
It means that you can't get any
money with this check.
LARRY
What's wrong with it?
CASHIER
Nothing!? Uh, now, sir, is there
some kind of aah...
LARRY
The fuck're you talking about?
The cashier gives the check back to Larry.
CASHIER
Just take the check, please.
The cashier suddenly RUNS THROUGH THE BANK and moves with his
arms like a chicken and makes CHICKEN SOUNDS.
LARRY
What the fuck?
People look after the cashier running through the Bank.
CLOSE ON DOOR - THREE MASKED MEN
Throw open the door and run into the Bank.
They're FIRING WITH THEIR SILENCED MPK5's IN THE AIR.
They are dressed like Aarabics from the desert. They have
black hair, long mustaches, and white and black clothes.
People don't hear the shooting. But they're irritated and
drop to the ground because the masked men point their guns at
'em.
THE MASKED MEN are mid 30-ish. They are MITCH, PAT, and ZIGGY.
We HEAR AD LIBS in b.g.
LARRY
(continuing)
Now what the fuck?
MITCH
(screaming)
Everybody on the floor. No sudden
moves or you'll see the carrots
growing upside down.
PAT
(to Mitch)
What's that mean?
MITCH
It means they'll die!
PAT
Right!
(screaming)
On the floor with y'all!
Larry still stands by the teller.
The cashier is still waddling through the bank.
MITCH
(walking towards
Larry)
I said "down".
LARRY
I heard what you said, bitch!
MITCH
Well, then I don't understand what
you're doing standing there?
LARRY
I simply don't want to get down.
MITCH
(pointing MPK5 at
Larry)
Will you go down now?
LARRY
(drops down fast)
Right, dude!
PAT
walks over to the cashier who continues doing his hicken
sounds. He grabs the cashier by the arm and turns him around.
PAT
What kinda fucked up weirdo are
you?
CASHIER
I'm high.
PAT
High? You mean, like high!?
CASHIER
(whispering)
You got it.
(screaming)
I'm high.
(rapid fire)
I'm high. 500,000 feet over the
ground flying like a bird over Los
Angeles. I'm high. And I can see
your fucking bitch ass.
PAT
(irritated)
What the fuck are you sayin'?
CASHIER
(threatening voice)
What's your fucking problem? You
fucked up motherfucker?
Pat points his MPK5 at the cashier's head.
CASHIER
(continuing)
Are you gonna shoot me?
PAT
(whispering)
I'll be makin' you fly for real!
He shoots the cashier twice in the head. The cashier drops
down like sand.
Pat runs over to Mitch and Ziggy.
CLOSE ON FEMALE CUSTOMER
She sees the cashier's blown-off head. She SCREAMS.
BACK TO SCENE
MITCH
(to female customer)
Shut up, bitch!
(to Pat; pissed off)
Why the fuck did you shoot him? We
just wanted money. No fucking
killings. You fuck!
PAT
Relax.
(to bank employees)
Did anybody of you fucks push the
little red buttom that-
MITCH
If you don't come out now we'll
kill everybody except you and then
we'll make you feel very very-
A male employee, mid 30-ish, jumps up from behind a teller.
PAT
Do you want to die?
MALE EMPLOYEE
No! Please. Don't kill-
PAT
Shut up!
MALE EMPLOYEE
No, no. Don't kill me, plea-
PAT
(screaming)
Shut the fuck up!
The employee does.
LARRY'S POV - MITCH AND ZIGGY
They still have their guns drawn. Ziggy's face reveals that
he is somehow confused and nervous.
Mitch watches Pat.
BACK TO SCENE
PAT
(continuing)
Now. Did you push that button or
did you not?
MALE EMPLOYEE
I did.
PAT
And what happens with the one's
who push them buttons?
The employee doesn't understand. He shrugs.
PAT
(continuing)
They die!
Pat brings up his gun right between the employee's eyes.
MITCH (O.S.)
(to Pat)
Don't kill him. If you do I will
have to kill you.
Pat turns around.
PAT
What was that? I didn't hear right!
MITCH
Just don't kill him, man!
Pat turns to the employee. He's gone.
PAT
Where are you?
The male employee jumps up.
PAT
(continuing)
Good. Did you push it? Did you
push the button? Think really good!
(beat)
So?!
MALE EMPLOYEE
(after a thought)
I did.
PAT
Then you have to die!
Pat shoots the employee to the ground.
MITCH
(to Pat; screaming)
What the fuck are you doing?
SERIES OF SHOTS: IN SLOW MOTION
Mitch raising his MPK5.
Pat turning around. They both locking eyes.
Larry looking up to them in fear.
Ziggy holding up his gun, looking irritated.
Mitch's gun firing five times.
Pat reacting by jumping over the open window. He goes down.
MITCH
(continuing; pissed
off)
Shit.
END SLOW MOTION
PAT (O.S.)
(to Mitch)
Are you crazy?
MITCH
(slowly walking to
the window)
You are! Why the hell did you
shoot him? You turned into a
fucking psycho motherfucker!
CLOSE ON PAT
Leaning against the counter.
PAT
He pushed that button, you know!?
MITCH'S POV - PAT'S MPK5
Comes up and FIRES several times.
BACK TO SCENE
Mitch drops quickly to the floor, escaping the deadly bullets.
We PAN TO ZIGGY TAKING THE BULLET HITS. He drops down.
ZIGGY
(to Mitch)
Mitch?
(gasps, then coughs)
What's going on?
Mitch looks at him. He pushes himself away from the window
with his feet.He slides on the floor and FIRES THROUGH THE
LOWER PART OF THE WINDOW/COUNTER.
Mitch gets up slowly. He takes a look over the teller window--
REVEALING Pat lying on the floor with blood all over the
place and bullet hits throughout his body.
Mitch puts the gun on the counter.
Larry CUTS IN and snatches the gun from Ziggy. Larry raises
the MPK5 at Mitch.
MITCH
(to Pat)
I'm sorry Pat, but you got outta
control.
LARRY
(to Mitch)
Same as your plan.
Mitch turns around. He knows he hasn't got the slightest
chance.
MITCH
(to Larry)
Come on, man. Put that gun down.
You're gonna hurt yourself with
it. Whatcha say?
Mitch glimpses his gun on the counter.
LARRY
Don't even think about it?
MITCH
You got a lot of nerves pulling
off this thing by yourself.
LARRY
What the fuck are you talking
about?
MITCH
Just put the gun away and you
won't get hurt.
LARRY
I have a gun and you don't. So you
better shut your fucking hole. Get
down. Get down on the floor!
MITCH
(he does)
What're you planning, man?
LARRY
Shut the fuck up. Get down on the
fucking floor.
Mitch gets down. Larry walks toward him.
LARRY
(continuing)
Now put your hands behind your
back.
Mitch turns around. Larry stands in front of him.
Mitch kicks Larry in the balls. He goes down.
Mitch gets the gun.
MITCH
(to everybody)
On the ground with y'all!
LARRY
(to Mitch)
You wanna fight?
MITCH
Actually, no. But you don't leave
me another option.
LARRY
Another option?
Larry gets up. He locks eyes with Mitch.
Mitch points the gun in Larry's face.
Larry drop-kicks Mitch in the balls.
Mitch goes down in pain, holding his crotch.
MITCH
Son of a bitch!
LARRY
(steals Mitch's gun)
Now I have the fucking gun and you
better do what I tell you to do.
MITCH
Threatening me? Well, I better
watch out, huh?
LARRY
That's right.
MITCH
(holding his balls)
Let me tell you something.
LARRY
No, I won't. Shut the fuck up.
MA5R
You seem pretty slick. What do you
think we team up and rob this
place together?
LARRY
Fuck you. You just said I'm slick,
which I am, in fact.
And now you want me to join you in
robbing this place? Damn, man,
you're so fucking dumb. Now get
your ass up.
Mitch gets up. He locks eyes with Larry.
MITCH
What?
LARRY
Listen good and listen carefully.
MITCH
What the fuck do you want?
LARRY
I'm just gonna say this once.
MITCH
(loses it)
Get to the fucking point!
LARRY
(screams at Mitch)
Get on the fucking floor!
Mitch drops on his stomach. Hands in the air.
Larry gets his belt and ties Mitch's hands together.
MITCH
And I thought you wanted to
strangle me...
Larry goes to the counter and grabs Mitch's gun. He walks to
a male customer and hands him Mitch's gun.
LARRY
(to nearby male
customer; hands the
gun over)
Take this. If that guy moves I
want you to use this.
Mitch has to move because his arm is squeezed tight by the
belt.
LARRY
(continuing)
I'll show you what I mean.
Larry fires. Several bullets hit the floor. Mitch stops
moving.
CUSTOMER
I got it.
LARRY
You better.
(to Mitch)
Now to you. Don't fucking do this
again. If I ever cross your way
again and you kick me I'll fucking
kick your ass
MITCH
Yeah. Fuck you, too.
LARRY
(matter-of-fact)
I'm already fucked!
Larry walks off. He's gone.
MITCH
(to Customer)
Hey man. I'm really hurt here. Can
you please untie me? My hands hurt
like shit.
CUSTOMER
(letting out his fear)
Shut up, motherfucker.
MITCH
Oh, come on man.
Mitch tries to untie himself.
The gun goes off and hits Mitch twice in the foot.
MITCH
(continuing;
screaming in pain)
Ahhhrrrrggg!
CUT TO:
EXT BANK OF AMERICA - DAY
Larry runs over to his Jaguar.
LARRY
(to himself; tired,
pissed off)
What kind of fucked up day is this?
Off the CLOSING SOUND of the door, we -
CUT TO:
INT JIM'S CHRYSLER - DAY
Jim and Traci sit in the car.
JIM
(to Traci)
I can't believe Cooper got free.
TRACI
What do you mean?
JIM
Cooper's lawyer appeared and
wanted him outta there because we
don't have enough evidence to hold
him any longer.
TRACI
Twenty four hours minumum, right?
JIM
Fuck that. We just have the gun
with the fingerprints. That is
absolutly not enough.
JIM'S POV - SIGN ON TOP SEAN'S ART GALLERY
The sign reads: "SIR SEAN'S ART GALLERY OF BEVERLY HILLS".
JIM (O.S.)
(continuing; reads
off sign)
Sir Sean's Art Gallery of Beverly
Hills.
BACK TO SCENE
JIM
(continuing;
sarcastic)
Wow, how original.
CUT TO:
EXT JIM'S CHRYSLER - CONTINUOUS ACTION
Jim and Traci exit the car.
CUT TO:
INT ART GALLERY/FRONT - DAY
Jim walks up to Shina, who sits behind her desk.
Traci looks at the paintings.
JIM
(to Shina)
Hi.
SHINA
Hi. Can I help you?
JIM
I'm Detective Jim Swanson from the
LAPD. I have to talk to your boss.
SHINA
(shows him the way)
Sure. You just need to walk down
the floor and his office is to the
left.
Traci joins Jim. They walk down the corridor.
Shina picks up the phone and pushes a button.
SHINA
(continuing; into
phone)
Mr. Sean? Two detectives are on
the way to your office.
CUT TO:
EXT BANK OF AMERICA - DAY
Police cars surround the bank. Several officers are going in
the bank in defense position.
CUT TO:
INT SEAN'S OFFICE - DAY
Marcus sits on his chair. He has a pack of cokain on his
desk. Just as Jim and Traci are about to enter, he puts the
cokain away.
JIM
(to Marcus)
Howdy!
MARCUS
(to Jim and Traci)
Please sit.
They do.
JIM
I'm Detective Swanson.
(points to Traci)
Detective Harper.
TRACI
(to Marcus)
Nice to meet you.
MARCUS
Nice to meet you, too. What can I
do for you?
JIM
We have some questions about a
person named Larry Cooper. Ever
heard of that name?
MARCUS
(lazy, calm)
Yeah. I know Larry. What about him?
JIM
We know that you two were supposed
to meet up today. But he didn't
come along, right?
Marcus nods.
JIM
(continuing)
What was the purpose of your
meeting?
MARCUS
He bought a picture from me.
JIM
Right. And?
MARCUS
(lazy, calm)
Well, he was to come here, pick up
his painting, give me my five
hundred thousand dollars and then
he'd leave, I guess.
JIM
So you're not sure?
Marcus starts to feel confused.
MARCUS
Well, I wouldn't know what he'd do
after paying me.
JIM
Okay. Was there any relationchip?
In any kind of way?
MARCUS
Me and Larry?
JIM
Well, yes!
MARCUS
Sure there was. We were friends.
He sometimes used to come by here.
JIM
Really!?
(beat)
Did you notice something strange
about him lately?
MARCUS
No. Oh. Wait. Yeah I did. I got a
strange phone call once.
JIM
When was that?
MARCUS
Actually yesterday night. But -
JIM
But what?
MARCUS
What I heard was this familiar
voice.
JIM
Okay. Please tell me more.
MARCUS
Well, it sounded like Larry.
JIM
Are you sure?
MARCUS
Yeah. Pretty much.
JIM
Do you talk over the phone a lot?
MARCUS
Occasionally, yes.
JIM
Is that so? Okay...
(to Traci)
We gotta call Frank. I want him to
check out Cooper's phone calls he
made in the last couple of days.
MARCUS
(out of the blue)
I think I made myself an enemy.
(off of Jim's
reaction)
Larry always was kind of jealous.
I don't know why, but I think that
Larry was in fact serious. Who
knows. He could have shown up in
front of my door any second
yesterday.
JIM
He could have. We caught Mr.
Cooper today. He also had a gun
with him.
MARCUS
He was about to kill me then?!
JIM
That's what stands in question.
MARCUS
In question? What's in the way of
arresting him?
Jim gets up.
JIM
I believe you helped us a lot here
Mr. Sean. We'll get back to you as
soon as we have more news.
MARCUS
If there is anything else I can
help you with I'll be glad to. I
hope you find Larry before he
finds me, huh!?
Jim chuckles.
JIM
Don't worry. We'll definetly get
back to you.
Jim and Traci leave. A beat. Marcus goes to the office window.
MARCUS' POV - THROUGH THE WINDOW
Traci gives us a nod with a smile on her face.
BACK TO SCENE
Marcus nods back.
CUT TO:
INT WELLS FARGO BANK - DAY
Larry enters. It's a big elegant Bank. He walks over to the
counter window where a young female cashier flips through 100
dollars bills.
LARRY
Excuse me?
THE CASHIER, 28, blonde, long hair, nice lookin', puts the
100 dollars bills into an envelope. She puts it away.
CASHIER
(to Larry)
Can I help you?
LARRY
Yes. I have this check.
Larry gets out the check and puts it on the table. The
cashier takes it and reads it.
CASHIER
Can I see you drivers licence,
please?
Larry gets his drivers licence out of his wallet and hands it
to the woman.
She reads it and gives it back.
CASHIER
(continuing)
How do you want the five hundred
thousand dollars?!
LARRY
How do I...?
CASHIER
100s? 50s? You know...?
LARRY
(smiling)
Surprise me, won't you?
CUT TO:
INT JIM'S CHRYSLER - DAY
Jim drives, looking at Traci.
JIM
I think Mr. Art Gallery just gave
us the right information.
TRACI
He did. What about Frank?
JIM
Frank? Yeah. Frank's number is
under C in my cell phone.
Traci nods. Her right hand goes into Jim's pants. She fizzles
to get the cell phone out.
Jim feels uneasy. His instict goes wild and the wheel
suddently turns right, causing the car to swerve.
Traci gets out the phone and smiles at Jim. He smiles back.
CUT TO:
INT KAISER GRILLE - DAY
Larry and MARK TRENT, black male, 38, sit at a tiny table.
The place is crowded.
LARRY
(looks at the menu)
So, what will I have for lunch?
A waiter approaches Larry's table. The waiter pours water in
the glasses.
LARRY
(continuing)
No water for me.
(the waiter stops
pouring waiter)
Thanks.
The waiter leaves.
LARRY
(continuing)
Goddamn waiters. They always come
and pour you a glass of water.
What if I don't want any goddamn
water? Huh? They pour you anyway.
They should ask you if you want
water. "I don't want water." "No,
I'm fine." That's what most people
say. And why do they say it? They
say it because they don't want any
water and they got to explain it
to the waiter first. So why should
we, the people, say something. The
damn waiters should just fucking
ask if we care for a pour o'
water. But goddamn. The system
just sucks.
TRENT
(matter of fact)
The service sucks.
LARRY
(holds up his right
hand)
You always gotta raise your damn
hand so these fucks know you want
something.
(another waiter
approaches)
Here comes the service now.
The waiter is BOB, 40-ish, gay-ish, little heavy, bearded,
wearing black clothes. He takes out a pen.
BOB
Hi, my name is Bob. I'll be your
waiter today. Can I take your
orders, gentlemen?
LARRY
Can you tell us about your
specials?
BOB
Sure. We have roasted beef with
baked potatoes. In front of that,
you can choose from the soup of
the day or the Caesar Salad. Then
if you want, you can order a
desert. We have tiramisu. We have
chocolate cake. We also have our
new homemade cookie cheesecake.
Tastes really good. Right from
Mama's kitchen.
TRENT
Mama's kitchen?
BOB
Oh, yes. Our restaurant serves a
variety of homemade and very
delicious foods. So what would you
like? The Mama's kitchen special?
Or something from the menu perhaps?
LARRY
Do you have a Papa's kitchen
special? I'd take it if you do.
BOB
(kind, but irritated)
No. No, I'm sorry. We do not have
a Papa's special.
LARRY
What about Grandpa's special?
BOB
I'm sorry, no.
TRENT
Is there a kid's special, maybe?
BOB
Actually, yes, there is. But you
can't order the kid's special.
TRENT
Why can't we order the kid's
special?
BOB
The kid's special is only for kids
between the ages of four to twelve.
TRENT
What's wrong with us?
BOB
(beat; irritated)
You are adults. Adults don't order
the kid's special and we can't
give the kid's special to adults.
It's just for small kids. I'm
sorry. Is there something else you
like?
TRENT
What if I only want to eat
something small. I don't want to
eat big. You know, I'm on a diet.
BOB
Oh. Well, I could bring you the
beverages menu. We have a lot of
variety beverages. We have french
fries to taquitos. We have baked
potatoes and a lot more. Would you
like the beverages menu, sir?
(no response, then:)
What would you like!?
TRENT
Nothing.
(beat)
I'll take the New York steak with
fried rice and a soda.
BOB
(takes the order down)
What kind of soda would you like?
TRENT
Sex on the beach.
BOB
(thinks)
That's not a soda. That's a
cocktail.
TRENT
Cock-tail?
LARRY
(laughs)
I'll have the same.
BOB
If you want a cocktail you have to
go to the bar. We don't serve
cocktails at the regular tables.
TRENT
Okay. I'll change my order.
Bob nods. Trent looks at Larry. Larry shrugs.
TRENT
(continuing)
I have aquestion.
BOB
Uh huh.
(beat)
Yes. What's your question?
TRENT
I'm just curious, could I meet
Mama?
BOB
Excuse me?
TRENT
Yeah. I... I wanna meet her.
BOB
You seem to be over the line. May
I ask you what the hell I did to
you? I'm just a waiter, you know.
Why are you giving me all this
crap? About you wanting to meet
Mama! You want a soda when you
actually want a cocktail--
TRENT
No! I wanted a cock-tail. Not a
cocktail. You know, dogs have a
tail. And you have a cock. A
cocktail is something else.
LARRY
Yeah, man. The difference is this:
The cock-tail is bigger than the
cocktail. So the difference lies
in the size.
Bob feels very uneasy.
BOB
Can we please get back to the
ordering, gentlemen? What will you
be having this afternoon?
TRENT
I'll stay with the New York steak.
LARRY
(checks the menu)
I'll have the artichoke dip plate.
BOB
--dip plate. All right. Thank you.
Bob collects the two menus while Trent leans in.
TRENT
(whispers)
What's your size?
BOB
What?
TRENT
Forget about it. Thank you.
Bob throws a hard look on Trent and Larry and leaves.
LARRY
We totally fucked him.
TRENT
I've never seen such a waiter.
Doesn't even know the difference
between a cocktail and a cocktail.
LARRY
Not everybody is educated about
the certain differences between
sodas and cocktails.
TRENT
I guess so.
(beat)
So what's going on with you and
the cops?
CUT TO:
EXT STREET - DAY
The Chrysler comes to a hard stop at a traffic light.
Jim almost hits a GRANNY, 70, who's crossing the street.
GRANNY
What the fuck is going on here?
Granny continues to the other end of the street. She pushes
a button for the other traffic light.
The Chrysler's window rolls down. Jim looks at Granny.
JIM
Beat it, Grandma!
TRACI
(smiling)
You almost hit her.
JIM
I almost certainly did.
TRACI
I guess you better watch your
driving... skills?!
JIM
I got driving skills, alright.
The Granny stands near the traffic light --
It turns green.
She starts to cross the street when suddenly --
A white Pontiac APPEARS OUT OF NOWHERE AND STRIKES HER,
sending the Granny FLYING THROUGH THE AIR.
The Pontiac RACES AWAY.
CUT TO:
INT/EXT JIM'S CHRYSLER - DAY
Jim checks out the situation with Granny. He turns back in
disgust and TURNS on a red light, starting the pursuit of the
Pontiac.
CUT TO:
EXT BEVERLY HILLS/OAKHURST DRIVE - DAY
The Chrysler RACES down the street.
The Pontiac is ahead.
CUT TO:
EXT BANK OF AMERICA - LATER
A Ford approaches the scene. Parker steps out and looks at
the bank.
PARKER
(to a nearby officer)
What happened here?
OFFICER WEST
A robbery. Five dead. Fucking
psycho's killed themselves.
PARKER
What psycho's?
OFFICER WEST
The bad guys. The robbers. They
killed each other. I haven't seen
this since -- just check it out
for yourself.
CUT TO:
INT BANK OF AMERICA - DAY
Parker stands in the middle of the bank.
A cop, FRANK CEDRICKS, 35, average height, appears behind
Parker. Cedricks takes a look at the bodies covered by white
blankets.
CEDRICKS
Geez! What the hell happened here?
PARKER
Robbery. It didn't go well and
they all smoked each other away.
We also have reports of Larry
Cooper's involvment in this. He
actually was in the bank when this
thing happened.
CEDRICKS
Son of a bitch.
PARKER
Right on, man.
CEDRICKS
So what's with the Cooper guy?
PARKER
Nothing. Just routine stuff.
Nothing for you to worry about. I
might as well get out of here.
CEDRICKS
I guess I'll be seeing you later?
Parker's cell phone is RINGING. He picks up:
PARKER
(into phone)
Who is it?
DUANE (V.O.)
It's Pete Duane. I have something
for you.
PARKER
(into phone)
What's that?
DUANE (V.O.)
Just meet me at Sean's Gallery.
PARKER
(into phone)
What the hell are you doing there?
DUANE (V.O.)
Me and Sean have a plan.
PARKER
I'm coming over there. Don't do
anything without me.
Parker flips his phone closed. Puts it in his jacket.
CEDRICKS
Who was that?
PARKER
An old friend.
(runs off)
Later, Frank.
Off Cedricks's look, we --
CUT TO:
EXT BANK OF AMERICA - DAY
A black Sedan parks on the opposite side.
Larry in the passenger seat and Trent holding the wheel.
TRENT
That's fucked up.
LARRY
I know. That's what I been saying
all day long.
He looks out the window.
LARRY'S POV - PARKER
runs to his Ford, jumps in and drives off.
BACK TO SCENE
LARRY
(continuing)
Follow that piece of shit.
CUT TO:
INT JIM'S CHRYSLER - DAY
Jim in pursuit of the Pontiac. He's got his cell phone
connected to his car with a wire. A dial tone in the f.g.
JIM
Pick up, Cedricks!
The line connects:
CEDRICKS (V.O.)
Yes?
JIM
Frank, this is Jim. I need you to
do me a favor.
CEDRICKS (V.O.)
What's that?
JIM
Get me a list of Larry Cooper's
phone calls of the last couple of
days. I need it right away.
CEDRICKS (V.O.)
I can do that. Where are you?
CLICK. Jim disconnects. As Jim speeds up, we -
CUT TO:
EXT CORNER OF FAIRFAX/BEVERLY BLVD. - CONTINUOUS ACTION
The Pontiac makes a hard right at the corner.
The Chrysler follows. Wheels around the corner. Drives up to
the Pontiac's bumper. Hits it.
The Pontiac speeds up.
CUT TO:
EXT BEVERLY BLVD. - CONTINOUS ACTION
A Honda pulls out of another street.
The Pontiac hits it right ahead, causing the Honda to spin
around. The Pontiac is still on the road.
The Crysler evades the Honda, forced to drive against
oncoming traffic. Cars swerve out of the way.
THE CAMERA ZOOMS IN: A TRAFFIC LIGHT TURNS RED UP AHEAD
Several cars stop and wait for their turn to drive again.
People cross the street.
BACK TO SCENE
The Pontiac approaches the light. A green car waits in the
line the Pontiac is driving in.
The Chrysler comes closer, hitting the Pontiac's bumper again.
This gives the Pontiac a push. It approaches the green car
with about 90 mph. The Pontiac slides up the car's rear end.
It goes flying over two more cars, the people crossing the
street, and the crossing light itself.
The Chrysler fishtails around the waiting cars.
The Pontiac in mid-air. It overturns fast. It finally
plummets and smashes onto the pavement, chrushing the roof
from the impact.
The Chrysler races to the Pontiac.
Jim jumps out and runs to check on the driver:
JIM
(calling out)
Hello? Somebody there?
TRACI (O.S.)
(gets out of the car)
Jim!
JIM
Sshhh!
(calling out)
Are you there, man?
Jim looks in the passenger seat.
JIM'S POV - CRUSHED PASSENGER SEAT
The wheel is broken off, both seats have metal in it, the guy
is lying there with his neck broken. Blood all over the place.
BACK TO SCENE
Jim jumps up in disgust.
JIM
(continuing)
Shit! Fuck!
Traci approaches Jim.
TRACI
Is he dead?
JIM
Take a look for yourself if you
want?
TRACI
No, thanks.
Jim walks to his car and grabs the c.b. radio.
JIM
(into c.b. radio)
This is Swanson. I need an
ambulance and some backup. I'm
on...
JIM'S POV - STREET SIGN
It reads: "Beverly Boulevard". We move to the right and see
a sign which reads: "Fuller Avenue" across the intersection.
JIM (O.S.)
(into c.b. radio)
Beverly Boulevard and Fuller
Avenue. Make it quick.
BACK TO SCENE
POLICE DISPATCHER (V.O.)
(filtered)
Backup's on the way. Over.
Jim turns to Traci.
TRACI
What do we do?
JIM
Let's get back to the station. I
want to check Cooper's file.
CUT TO:
INT/EXT BLACK SEDAN - DAY
Trent drives, Larry looks for Parker's Ford.
LARRY'S POV - PARKER'S FORD
Is making a right at an intersection.
BACK TO SCENE
TRENT
You know what Larry? This fucking
guy ain't goin' nowhere. He just
drives around. He saw us, man.
LARRY
That guy? Fuck Parker. Just follow
him.
CUT TO:
EXT OAKHURST DRIVE/SOUTH - CONTINOUS ACTION
The Ford drives onto the Oakhurst Drive. The Sedan follows.
CUT TO:
EXT ART GALLERY - DAY
The Ford stops in front of Marcus's Gallery. Then the Ford
turns into an alleyway and parks in front of a door.
The Sedan pulls by the alleyway.
LARRY'S POV - PARKER
Knocks three times on the door. Then the door opens and
Parker walks in.
BACK TO LARRY AND TRENT IN THE SEDAN
LARRY
Park the car right here.
TRENT
Do you want to go in there?
LARRY
I have to.
CUT TO:
INT ART GALLERY/BACKSIDE - DAY
There's a table in the middle of the room. The room is full
with different kinds of pictures and paintings.
There are three chairs by the table. Three men walk to the
table and down.
THE CAMERA MOVES TO THE TABLE TO REVEAL MARCUS, PETE DUANE
AND PARKER SITTING AROUND IT.
Marcus puts a briefcase on the table and opens it.
PARKER
And now?
MARCUS
(takes a paper out of
the briefcase)
Here. This is the list of Cooper's
phone calls. Pete here has some
friends who manipulated Cooper's
phone calls.
PETE DUANE
(to Parker)
My friends owed me one.
PARKER
(sarcastic)
That's great!
MARCUS
You're not taking this seriously,
are you?
PARKER
Sure I am.
BACK DOOR - LARRY AND TRENT
enter from the back door and hide behind several paintings
and other stuff. We HEAR AD LIBS from Marcus, Parker, and
Pete Duane in the f.g.
LARRY
(to Trent; recognizes)
Damn, man. There is Marcus and
that fucking guy from the
accident. What the hell are they
doing here?
TRENT
Looks like they're doin' business.
Larrys hides behind some paintings.
Trent gets out a photo camera.
TRENT
(continuing; to
Larry; explaining)
This is my lucky eight. I always
have it with me, 'cause you never
know.
LARRY
Cool. Can you take some pictures
of these motherfuckers?
Trent nods
AT THE TABLE --
PETE DUANE
Come on, man. Don't you wanna
thank me?
PARKER
(beat)
Thank you.
PETE DUANE
No problem. Anytime.
MARCUS
(to Parker; re: Larry)
Now all you gotta do is find this
motherfucker.
PARKER
I'll call Jim.
PETE DUANE
So. Ah. When do we get to my part?
MARCUS
Your part?
PETE DUANE
Yeah. You know!? My part!
PARKER
You don't have a part. You're
history, man.
Parker pulls out his Glock and holds it on Pete Duane's head.
PETE DUANE
(afraid; threatening)
What're you doing? Shit! Don't
man. My friends will fuck you up.
I swear. They'll kill you if you
kill me.
PARKER
Really? I see forward to that one.
PETE DUANE
You'll pay for this... you fucking
son of a bit-
Parker pulls the trigger. Pete Duane takes a bullet in the
chest and drops. We HEAR HIS BODY COLLAPSING.
MARCUS
That was great. And now?
PARKER
Get rid of that motherfucker. He
stinks like horse shit.
Parker takes the list of Cooper's phone calls. He stuffs it
into his pocket.
MARCUS
You can't just leave?
PARKER
I have a job to do.
MARCUS
What's that?
PARKER
Playing the good cop.
MARCUS
What about Traci?
PARKER
She's all right. She's with Jim.
She'll do him.
MARCUS
Fuck him?
PARKER
No!
(beat)
Kill him!
Marcus grabs Pete Duane --
LARRY AND TRENT
Are still hiding. Trent takes a picture of Marcus picking up
Pete Duane.
TRENT
(re: Parker)
That guy is lethal, man.
PARKER
helps Marcus to cover Pete Duane's body. He then starts to
leave for the back door.
MARCUS
(calling after Parker)
You get him, right?
Parker just raises his hand.
LARRY AND TRENT
crawl around the paintings to avoid being seen by Parker.
Larry and Trent get up.
TRENT
What now?
LARRY
Let's get into some Q&A with an
old friend of mine.
Larry runs to the table and kicks Marcus in the stomach.
TRENT
(calling out)
Do you want me to follow Parker?
Larry turns.
LARRY
No.
Larry locks eyes with Marcus.
LARRY
(continuing; to
Marcus)
What the fuck's going on?
MARCUS
(pointing out)
You don't know?
LARRY
If I would I wouldn't ask. Now
what's going on?
MARCUS
(accuses Larry)
It was your fucking fault. She
died because you cheated on her.
LARRY
What the hell are you--
(remembering Melissa)
Melissa?
MARCUS
Melissa, you fucking cocksucker.
LARRY
Hey, fuck you!
MARCUS
Just because of you she had to
die.
LARRY
I'm sorry, but I forgot that I had
another date.
MARCUS
Another date? What a bullshit
excuse.
LARRY
Hey, how the fuck do you know her?
MARCUS
I'm her husband. No. Now I'm a
lonely bastard because of you.
LARRY
She didn't tell me anything. So
why should I... ah fuck this whole
story!
(apologizing)
Okay. All right. We were together
for one week. It was nothing. I
didn't love her. I just liked her
tits. We just met. We wanted to go
out. But when I met--
MARCUS
Fuck that.
LARRY
I forgot about her and I'm fucking
married now. You should have taken
care of her. Not me.
MARCUS
We were about to divorce.
LARRY
Ain't you lucky? I'm the one who
probably saved you a lot of money.
MARCUS
(gets up)
Fuck you.
Larrys kicks Marcus in the knee. Marcus goes down.
LARRY
You can't fucking blame me for the
death of your beloved... Mellisa
was it? And I certainly won't
accept the fact that you blame me
anyway. So fuck you. Fuck
everybody.
Larry leaves. Trent holds him back.
TRENT
Hey? Ask him about Parker.
LARRY
He won't tell us. Why don't you
ask Mr. Fucker over there?
TRENT
(to Marcus)
Where's Parker going?
MARCUS
You'd like to know, huh?
LARRY
(turns)
Yes, I'd like to know. And you'll
tell me.
MARCUS
You wish.
LARRY
(kicks Marucs)
Tell us!
MARCUS
Watch it, asshole.
(beat)
He's going to the station.
TRENT
What station?
MARCUS
Police station.
LARRY
What's he doing there?
MARCUS
They're looking for you now.
TRENT
We have evidence that Parker makes
business with you and the dead guy
on the table.
MARCUS
I don't give a shit what you have.
Marcus kicks Trent in the thigh.
TRENT
(in pain)
Aarrgghh! That fucking... you
motherfucker!
Trent and Larry leave.
MARCUS
(screaming out)
You two will burn in fucking hell.
LARRY (O.S.)
You first.
MARCUS
Motherfucker!!!
CUT TO:
INT LAPD BUILDING/SQUAD ROOM - DAY
Jim sits behind his desk. Traci sits in Parker's chair,
drinking coffee. Jim looks at Cooper's file.
JIM
There's no record of him.
TRACI
Cooper has got to have a record.
JIM
Nothing. No reports of any crimes.
TRACI
Am I to understand that Cooper has
a totally clean file?
JIM
Yes. That's what I'm telling you.
(beat)
Why shouldn't he have a clean
file? He's an ordinary man.
TRACI
What about the list of the phone
calls?
JIM
Cedricks is working on it.
Cedricks appears behind Jim.
CEDRICKS
Jim. I got it the list
JIM
(turns)
You got it?
CEDRICKS
(holds it up)
Right here.
JIM
(takes it)
Thanks, Frank.
CEDRICKS
No problem.
Jim checks the list. Reads it. Then --
JIM
(to Traci)
There was a call to Sean's
Gallery. It lastet 30 seconds. The
caller ID is 555 1209.
TRACI
A cellular?
CEDRICKS
You betcha.
JIM
Now all we gotta do is to call him
on it and confirm it's him.
CEDRICKS
(gets out his cell
phone and hands it
to Jim)
Here.
JIM
(takes it and dials)
Let's hope this works.
There's a dial tone.
TRACI
(in anticipation)
And? Somebody there?
JIM
Hold on.
CUT TO:
INT TRENT'S SEDAN - DAY
Trent drives Larry.
A phone STARTS RINGING.
Larry searches for his cellular. He finds it. Answers:
LARRY
(into cellular)
Talk.
JIM (V.O.)
Larry Cooper?
LARRY
Who's this?
INTERCUT: JIM AND LARRY
JIM
LAPD.
LARRY
(thinks; beat)
Parker?
JIM
(surprised)
No.
(beat)
It's Jim Swanson.
LARRY
Who are you?
JIM
That's not important right now.
Are you Larry Cooper?
LARRY
Yeah, I am. Who the hell are you?
JIM
It's Detective Swanson.
LARRY
I want to talk to Parker.
JIM
He's not here. What do you want
from him?
LARRY
I need to exchange some
motherfucking vocabulary. Get it?
JIM
Can I take a message?
LARRY
I'm afraid not. All you need to
know is that Parker is making a
deal with Marcus Sean. And fuck
all of you. I didn't try to kill
anybody.
JIM
Cooper, wait--
Larry disconnects and pockets the phone.
CUT TO:
INT LAPD BUILDING/SQUAD ROOM - DAY
Jim turns to face Traci.
TRACI
It was him, wasn't it?
JIM
Yeah.
TRACI
What are we waiting for?
JIM
We don't have his location.
CEDRICKS
Why didn't you trace the location?
JIM
Because I was the one calling him.
(beat)
Where's Parker?
TRACI
I don't know.
JIM
What's the time?
TRACI
(checks her watch)
4:20.
PARKER
enters the squad room. He approaches Jim, Traci and Cedricks.
TRACI
(continuing)
Where were you?
PARKER
Don't ask. I had to take care of
some nasty business.
JIM
(hands Parker the
phone list)
Cooper made a call to Sean.
PARKER
All right. All we need know is
where he is. You got anything?
JIM
No.
PARKER
Nothing at all?
JIM
I don't have anything.
PARKER
All right. We'll wait and see.
JIM
Yeah, uh, Traci.
TRACI
Yeah?
JIM
Could you make me some coffee, or
get me a Sprite. Please?
Traci looks at Jim in anticipation that he's gonna tell her
why he wants her to go. She doesn't get it.
TRACI
Is there any --
So she takes off.
JIM
(smiles)
Just a coffee. Thanks.
Cedricks follows her.
JIM
(continuing)
Why don't we take a walk outside?
PARKER
Okay. Sure.
JUMP CUT TO:
EXT LAPD BUILDING - LATER
Parker and Jim walk the parking lot.
JIM
I was wondering why. I didn't know
why he said it. What he meant. He
asked for you. The first thing he
wanted to know was if it was you.
Can you explain that?
PARKER
Are you talking about Larry?
JIM
Yes.
PARKER
He asked for me? When?
JIM
I called him over the phone.
PARKER
Why did he ask for me?
JIM
I thought you could answer that
question.
PARKER
I can't... because I don't know.
JIM
You don't know why he asked for
you or you don't know how to
answer the question?
PARKER
What the fuck is the difference?
Why are you asking me this?
JIM
I'm asking you because I can't
explain it.
PARKER
What's there to explain?
JIM
I figured you could tell me that.
PARKER
Figured. What the fuck have you
got figured?
JIM
Cooper talked about you doing shit
with Sean.
PARKER
(walks away)
What the fuck is your problem now?
You trying to tell me that you
believe that motherfucker?
JIM
Gary, all I know is that Cooper
wanted to talk to you. How come
he's asking for you specifically?
Why not the fucking Captain? Or
me? He wanted something from you!
CUT TO:
INT TRENT'S SEDAN - DAY
Trent drives Larry.
LARRY
Dammit, man.
TRENT
What?
LARRY
All we do is drive around.
TRENT
Then what do you suggest we do?
Larry looks at him.
CUT TO:
INT CAPTAIN'S OFFICE - DAY
Haywood reclines in his chair. Jim and Parker enter.
HAYWOOD
(mad)
Can you please knock, first.
JIM
Sorry, Captain.
HAYWOOD
Better be.
(beat)
What is it?
JIM
We want to kick some ass.
HAYWOOD
Kick whose ass?
PARKER
Larry Cooper's ass.
HAYWOOD
Why do you want to kick his ass?
JIM
It's just a thing you say if--
HAYWOOD
I know what you mean, for christ
sakes.
PARKER
So, you agree?
HAYWOOD
You want to get Larry Cooper and
put him in?
JIM
Yeah.
HAYWOOD
Why do you waste my time? I'm not
the one who's gonna hold you back.
JIM
I'm sorry for wasting your time.
HAYWOOD
Better be. Time is precious. Time
is money. Time is all the stuff in
the world. Time is money.
JIM
You said that already, sir.
HAYWOOD
What?
JIM
You said: "Time is precious. Time
is money. Time is all the stuff in
the world. Time is money." You
said "Time is money" twice.
HAYWOOD
(confused)
I know! What the f...?
JIM
Sorry.
HAYWOOD
What did I just--
JIM
--Yes, sir!
HAYWOOD
What are you still doing here? You
better get the hell outta here
before I change my mind.
JIM
We appreciate it, sir.
HAYWOOD
Don't appreciate in front of me.
I hate it when people appreciate
for the little things. They always
go: "Thank you so much. You're the
best. I appreciate your help. I
appreciate your cooperation." I
apreciate. I appreciate. It's
fucked up.
JIM
Okay then, sir.
HAYWOOD
Get out. Get out.
Jim and Parker exit quickly.
HAYWOOD
(continuing; to
himself)
Goddamn.
CUT TO:
EXT BEVERLY BLVD. - ACROSS FROM HARD ROCK CAFE - DAY
Trent's Sedan drives by the Hard Rock Cafe and the Beverly
Center. On the opposite side is the Sofitel hotel.
The Sedan pulls into a small street behind the hotel.
CUT TO:
EXT SOFITEL HOTEL - DAY
Larry and Trent stand in front of the entrance.
LARRY
(looks the hotel)
Man, this is it. It's here
somewhere.
TRENT
What is here?
LARRY
There is a camera outside of this
hotel and outside of the Hard Rock
cafe down the street. Maybe one of
the cameras recorded something
from this morning.
TRENT
Let's try the hotel. I don't think
the Hard Rock has any cameras.
CUT TO:
INT SOFITEL HOTEL/SECURITY ROOM - DAY
Trent closes the door of the security office.
Larry turns to a female security guard. She sits at a
computer.
In the room, we see several monitors displaying the exterior
and interior of the hotel.
LARRY
(flips Trent's wallet)
I need the tape that records the
Beverly Blvd and Vincente.
FEMALE SEC GUARD
(points to a VCR)
It's running.
LARRY
I need to see it.
FEMALE SEC GUARD
Wait just a couple of seconds.
She leans forward to a VCR tape deck.
LARRY
gives Trent his wallet back.
LARRY
Here's your... shield.
TRENT
Oh, you're so kind.
LARRY
All right.
(to the guard)
Let's see it.
Larry and Trent check out a monitor.
LARRY'S POV - THE MONITOR SCREEN (B&W)
Parker talks to Pete Duane are talking by the squad car.
Jim and Larry talk some thirty feet away from them.
BACK TO SCENE
LARRY
(continuing; to the
guard)
Can you rewind that?
She does.
INSERT - THE MONITOR
Rewinding. The scene where Jim and Parker exit their police
car goes by.
BACK TO SCENE
LARRY
(continuing)
Stop here.
The guard pushes "PLAY".
LARRY
(continuing; off the
playing tape)
There's the bastard!
INSERT - THE MONITOR SHOWS
The VW Beetle is intentionally crashing into Larry's Jaguar.
The two drivers (Larry and Pete) get out, conversing. A line
of spectators forms slowly.
Among the spectators is an conspicuious woman. She approaches
Larry's car and ducks in. When she comes up she pockets a
handkerchief. She quickly turns into the crowd and is gone.
BACK TO SCENE
LARRY
(continuing)
Who the hell is that?
TRENT
It was a woman. That's all I could
make out.
LARRY
I have to find out who she is.
TRENT
The only way to find out is to cut
a deal with the cops.
LARRY
A deal?
TRENT
If it's a cop, for the sake of
your convenience, and let's say
that in fact it is a woman, well,
then, she'd most likely be there
for the deal.
LARRY
Good thinking, man.
TRENT
Don't forget who I am.
LARRY
A cop. And people respect your
authoritah!
TRENT
Nice line, Cartman.
LARRY
Thanks.
(beat)
Let's make a phone call.
Larry gets his cell phone out.
CUT TO:
INT LAPD BUILDING/SQUAD ROOM - DAY
Jim waits near the soda machine.. Cedricks approaches.
CEDRICKS
Jim, what's up?
JIM
Nothing much. I guess we just have
to stay put.
CEDRICKS
Why, man?
JIM
Sit and wait.
CEDRICKS
What's up with Parker? Or-or-or
Haywood?
JIM
Haywood gave the go-ahead. Parker
just doesn't seem ready at all. I
mean, sure, what do we have to
lose? But then again, what do we
have to gain?
They approach Traci at her desk.
JIM
(continuing)
Hey, Trace.
TRACI
(turns from the
computer)
Hey.
CEDRICKS
(cuts a smile)
Hi, Traci.
TRACI
(smiles back)
Hey, Frankie.
CEDRICKS
Frank is more preferable.
TRACI
(smiles)
Hey, Frank.
CEDRICKS
Hey.
JIM
(to both of them)
Let's cut the bullshit chatter,
all right?!
(to Traci)
What are you up to?
TRACI
What's so important about me?
Aren't you going to get Cooper and
get put him in?
JIM
Yes, but I don't know where to
look.
TRACI
Well, you're obviously not going
to find him by looking somewhere.
You gotta put some effort into it.
JIM
Okay...
TRACI
You know how this works.
JIM
I just think it would be great if
I could get a break on this story
right now.
The phone on Traci's desk RINGS. She picks up:
TRACI
(into phone)
Detective Traci Harper here.
What's your emergency?
LARRY (V.O.)
Can I speak with the lady of the
house please?
TRACI
The lady of the house?
LARRY (V.O.)
Yeah, you got it, babe!
TRACI
Well, you can talk to me.
LARRY (V.O.)
I think you can help me. There's
something I got to figure out.
TRACI
All right. Go ahead.
LARRY (V.O.)
I'm Larry Cooper and I want to cut
a deal with you coppers! You catch
my drif--
Traci puts the receiver to her chest.
TRACI
(to Jim)
I got Cooper on the line.
JIM
No shit?!
TRACI
He wants to cut a deal.
JIM
All right. Cut a deal, then.
TRACI
(into phone)
Larry?
LARRY (V.O.)
Why you not answering my question?
You talking to Parker? That
motherfucker. Huh?
TRACI
What's the deal you're talking
about?
LARRY (V.O.)
I want Parker and the other cop.
I got something for them.
TRACI
Just let me know where to find you
and everything will be resolved.
CUT TO:
INT BEVERLY CENTER/FOOD STANDS - LATER
Larry and Trent approach the food stands.
A lot of people here who eat. It's very crowded.
Larry leans against a trashcan next to a pizza stand.
LARRY
They should be here any minute now.
TRENT
I think they might already be here.
ON PARKER AND TRACI
They come off the elevator.
THEIR POV - TRENT
grabs Larry by the arm. Both vanish into the crowd of people
ordering food.
BACK TO SCENE
PARKER
Shit.
Jim and Cedricks come off the stairwell and approach Parker
and Traci.
JIM
(to Parker)
Find him yet?
PARKER
No, but we gotta get these people
outta here as fast as possible.
CEDRICKS
Why are there so many people?
INSERT - A SIGN
Reads: "FUDGE BAKERY: GRAND OPENING - FREE SAMPLES".
TRACI (O.S.)
(off the sign)
Fudge Bakery? Free Samples.
BACK TO SCENE
TRACI
(to Cedricks)
Will that answer your question?
CEDRICKS
(buys her joke)
Yeah. I bet that's it.
PARKER
(to Jim)
Let's get this crowd outta here.
ON LARRY AND TRENT
They hide behind a line of people.
TRENT
They're here.
LARRY
Where?
TRENT
What does it matter? They're here.
Show them what you got.
The line starts to disintegrate.
People from all around are starting to go for the exit.
Then, out of nowhere, we HEAR:
JIM (O.S.)
(screams)
LAPD. There's a bomb in here. Get
out of here. Move People. Move.
Get out.
ON PARKER
PARKER
That's right ladies. You too.
ON LARRY AND TRENT
They're all alone. Both get up to face Jim and Parker.
Larry pulls a gun from his pants, but lets it dangle next to
his thigh.
The crowd descends the stairways and escalators.
Parker, Traci, Jim and Cedricks close in. They surround Larry
and Trent in front of the Fudge Factory.
ON LARRY
He turns to Trent.
LARRY
Shit, it's her.
Trent looks --
HIS POV - TRACI
draws her gun.
BACK TO SCENE
TRENT
Shit, man. She's our mystery guest
from the tape. Get it out!
Larry gets out the tape.
LARRY
(to Jim; re Traci)
This tape shows that she put
something in my car this morning.
(beat)
I'm talking about the fucking gun!
(to Parker)
And I saw you talking to Sean this
afternoon. Guess who also joined
your party?
(beat)
Mr. Volkswagen Beetle.
PARKER
You're talking shit.
TRENT
(gets out his camera)
I don't think so, man, 'cuz I got
some great pictures of you and
your friends right here.
CEDRICKS
(to Larry)
Give us your gun, man.
PARKER
(to Cedricks)
Shut the fuck up.
CEDRICKS
(to Larry)
Give it to me. Come on.
LARRY
(holds it up)
You want this gun?
CEDRICKS
Just place it on the floor and
we'll handle the rest, all right?
LARRY
Not all right.
PARKER
Give it up.
LARRY
(points gun at Parker)
I want you all to loose your guns.
TRACI
(to Larry)
How can it be me? I was at the
office all morning.
LARRY
Yeah, well this tape proves you
wrong.
(means it)
I said I want all of you to loose
your guns.
Parker ignores this and SHOOTS at Larry. He misses. A chair
goes down instead.
Larry DROPS and SHOOTS at Parker.
Parker THROWS himself behind Traci.
Traci takes the bullet in the chest and drops instantly.
Trent pulls out a .45 and SHOOTS at Jim and Cedricks.
They FREE-FALL behind a counter of a fast food stand.
Bullets ripple the counter and lots of glass.
Parker leaves Traci to take cover behind another food stand.
Larry gets up from hiding, runs towards Parker and shoots.
He's out of Ammo. Reloads. Shoots again.
Jim leans out from hiding and SHOOTS.
Trent takes a bullet in the arm.
Jim gets up and runs to Trent. He helps him up. They duck
behind some chairs.
FIRING continues.
JIM
(to Trent)
Are you sure you have proof on the
tape and the camera?
TRENT
I'm fuckin telling you. You think
we're fucking with you now? The
fucking pictures show it all.
Still think your parnter's a good
guy?
Jim shrugs, unsure.
Parker is face to face with Larry.
Larry's gun goes CLICK. Parker draws his.
LARRY
What now? Are you gonna kill me?
PARKER
I thought about that, yes.
LARRY
What about your friends?
PARKER
I'll shoot 'em and say it was you.
Larry cracks up.
Jim shows up suddenly.
JIM
Gary!
PARKER
What do you want?
JIM
I want to know what's going on
here? Is Cooper right about Traci
and you?
PARKER
(appalled)
What?! Come on, Jim. Look at you
trying to play the good cop.
(re: Larry)
He's fucking you up. I can't
believe the shit that's coming out
of your fucking mouth!
LARRY
Now you're the one who's talking
shit!
Jim takes out the radio.
JIM
(into radio)
This is Swanson. Need backup at
the Beverly Center, over.
(beat)
Captain I just... What? Sean
talked? What did he say? Captain,
are you sure? Parker and Cooper
are right here with me.
(ends it; somewhat
sarcastic)
Well shit!
PARKER
(nervous)
What did Sean say?
JIM
He said he paid you off. Ten
grand, was it? He got Traci, too.
PARKER
That can't be, man. You know why?
'Cuz Sean's talking shit! I don't
even know who that is. I bet he's
some fat fuck jerking off to his
assistant.
(beat)
This isn't happening, Jim. Tell me
this isn't happening.
LARRY
Man, it's happening right now!
PARKER
(to Larry)
Shut the fuck up!
JIM
I was bluffing, Gary. The radio
wasn't even turned on.
Parker puts his gun to Larry's head.
PARKER
(to Jim)
Drop to the floor, Jim. Get the
fuck down.
Jim drops.
PARKER
(continuing)
Throw away your piece.
Jim does.
JIM
You just calm down now, won't you,
please? We can talk about this,
you know.
PARKER
Listen, motherfucker. Don't you
fucking sweet-talk me into doing
shit you know I'll never do. I got
the gun here. I'm calling the
fucking shots, all right!?! Now
stay down.
For a split second, Parker takes his eyes off the gun. Larry
takes the opportunity and knocks Parker down.
The gun goes flying. Larry runs to catch it in the air. He
turns and points it at Parker.
LARRY
Who's calling the shots now,
motherfucker!
Jim gets up, approaching Larry very safely.
Larry moves to put the gun to Parker's neck.
JIM
Take it easy, Larry.
LARRY
Your friend fucked up my whole
day. Not to mention, my car got
fucked in this deal, too.
(to Parker)
One single question. If you answer
me right I'll let you live. If not
you'll lose 100 points... and die.
PARKER
I can handle a hundred points.
LARRY
How did my fingerprints get on
that fucking gun?
PARKER
It's all about the fingerprints,
isn't it? The myth of
fingerprints, eh.
(beat)
What difference does it make when
you're already as far as having
blown my story?
LARRY
Wrong answer. Would you like to
try again?
PARKER
If you know Marcus you know he's
a snobby motherfucker!
LARRY
That fuck!
PARKER
I still think you're a piece of
shit, you know that.
LARRY
Know what I think?
(sucker-punches
Parker in the face)
You suck fucking donkey balls!
Parker recovers. He slowly gets up.
PARKER
Fuck you.
Larry sqeezes the gun's trigger.
JIM
Come on, Larry. He's already told
us what happened. You're going to
be okay. Give me the gun now.
Larry is about to hand it over --
When suddenly Parker PULLS a pistol and aims it.
Larry turns and drops to the floor. Aims at Parker. FIRES.
Parker gets off a prayer shot, but ultimately--
TAKES IN TOO MANY BULLETS AND DROPS DEAD.
Larry lets the gun drop.
Jim eyes Larry.
JIM
(continuing)
It didn't have to end this way.
LARRY
It wasn't entirely up to me, you
know. He did pull a gun.
JIM
If that's the way he wanted to end
it, so be it.
Larry runs to meet with Trent.
TRENT
(holding his shot arm)
You okay.
LARRY
I was about to ask you that
question. You shot?
TRENT
I can take it.
ON TRACI
She gets up, in pain. Pulls a gun. Aims --
Jim slides towards the gun he dropped earlier and SHOOTS.
Traci drops. Dead.
TRENT
(continuing)
Stop shooting the motherfuckers
and help me up.
Larry and Jim help Trent to his feet.
Jim turns on the radio.
JIM
Are you guys going to be okay?
TRENT
I can take it.
LARRY
(to Jim)
What happends now?
JIM
The tape and pictures should clear
your name.
(beat; sarcastic)
Unless, well, some bad shit
happens.
LARRY
(wide eyes)
Don't start with that shit!
JIM
Just kidding.
LARRY
Goddamn right you are!
JIM
An exciting day, wasn't it!
LARRY
(echoes; can't
believe his ears)
YOU FUCKING KIDDING ME?
FREEZE FRAME ON LARRY'S FACE
Then, WE --
FADE OUT:
END CREDITS ROLL. AFTER THEY ARE OVER--
CUT TO:
INT/EXT LARRY'S BMW - DAY
Larry, driving a new BMW. He lights a Marlboro.
He crosses the intersection at Beverly Blvd and Vincente Dr.
LARRY
New day. New car. New suit. New
job. New hopes.
(sigh of relief)
Goddamn.
ON THE TRAFFIC LIGHT
It turns GREEN.
ON LARRY
He gears his BMW over the intersection.
ON A SCHOOL BUS
Approaching the BMW from the left.
ON LARRY
He sees the bus and CUTS into the right lane.
CRASH!
Larry looks back.
ON POLICE CRUISER
Two officers look out.
OFFICER
(OVER the car's blow
horn)
Stay where you are.
ON LARRY
Fucked!
LARRY
Cocksucker motherfuckerr!!!
SLAM CUT TO:
BLACK SCREEN.
LEGEND: Larry is fucked, but he got out. He just needed some
fingerprints and a dead hooker to frame those two cops. He's
doing okay nowadays, but who knows, sometimes bad shit
happens too often to some people.
THE END