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PARADISE COVE
Screenplay and story by
Jack Stone
FADE IN:
EXT. LOS ANGELES/CITY STREET - NIGHT
Police lights flash on a car.
What first appears to be a lone police cruiser in a high-
speed pursuit on a Los Angeles city street is actually a full
blown police chase in progress.
Sirens wail and police lights illuminate as the Los Angeles
police department are in pursuit of a stolen police cruiser.
INT. POLICE CRUISER - CONTINUOUS
CHANCE LOOMIS (34), a thin and muscular man with short-
cropped, greasy hair sits behind the wheel of the police
cruiser.
He's sporting a grin from ear to ear, obviously having a
great time in this cat and mouse pursuit.
EXT. LOS ANGELES/CITY STREET - CONTINUOUS
A police officer runs to the edge of the street as the stolen
police cruiser approaches.
The officer tosses a tire spike strip across the street and
retreats safely away.
INT. POLICE CRUISER - CONTINUOUS
Chance races toward the spike strip as the remainder of the
police cruisers continue in pursuit.
EXT. LOS ANGELES/CITY STREET - CONTINUOUS
The stolen cruiser rapidly approaches and crosses the spike
strip.
Suddenly, the tires are blown out on the passenger side of
the cruiser, which causes the vehicle to swerve.
INT. POLICE CRUISER - CONTINUOUS
Chance loses control of the car as it skids into the center
lane divider.
The cruiser comes to a stop crushed against the divider.
Chance tries to open the driver side door. Its stuck. He
moves toward the passenger side door.
EXT. LOS ANGELES/CITY STREET - CONTINUOUS
Police converge on the cruiser with guns drawn. The cops
bust out the passenger window.
Guns are positioned point blank at Chance's head, one COP
shouts out orders.
COP
Let me see your hands. Show me your
hands or I'll shoot you in the face.
INT. POLICE CRUISER - CONTINUOUS
Chance holds up his hands.
The officers grab Chance's arms and yank him out of the
passenger side door. He's tossed to the ground roughly.
COP
Get down. Stay down.
Chance continues to sport a grin.
COP (cont'd)
Wipe that grin off of your face you
idiot. And put your arms behind you.
Chance is roughly cuffed and dragged to a police cruiser. It
becomes obvious that he's inebriated.
CHANCE
Easy, boys.
Chance stumbles and is yanked back up.
CHANCE (CONT'D)
You done real good boys.
Chance is tossed into the back of one of the police cruisers.
The officer who's police vehicle that was stolen approaches
the car.
OFFICER
That's the guy that stole my cruiser?
Chance sits in the vehicle while the officer does some paper
work.
Vehicles begin to pass the crime scene.
One of the passing vehicles that is rubbernecking is a Buick
sedan. It's passengers, a male (ROBERT SULLIVAN), and female
(REBECCA), watch as Chance is swiftly swept away.
INT. LOS ANGELES COUNTY CRIMINAL COURT - DAY
A criminal court room filled with suspects, police and
lawyers. Two of the people in the courtroom are Chance's
MOTHER and father, POPS.
Chance stands in an orange prison jump suit before a judge.
A public defender is at his side.
A judge shakes his head in disgust.
JUDGE
Seven years.
He bangs his gavel.
Chance turns to look back at his parents. His mother is
looking away. Pops sadly looks back at Chance.
Chance is led from the courtroom.
EXT. SAN QUENTIN STATE PENITENTIARY - DAY
Overwhelming walls surround this aging prison.
Hawkeyed, rifle toting marksmen keep a keen eye out from the
prison towers.
Armed guards stand at the ready, prepared to terminate any
skirmish that may arise.
Prisoners go about their daily routine in the prison yard.
INT. SAN QUENTIN STATE PENITENTIARY/DINING HALL - DAY
Chance is wearing his new prison uniform.
He's in a line that is being led by a guard into the prison
dining area.
He stands in the chow line and a really big, tough looking
prisoner, TINY (35), tries to step in front of Chance.
Chance doesn't allow him to do it.
TINY
That was a big mistake new fish.
The prisoner moves away.
He privately starts to talk with another prisoner in line.
Chance takes his food and sits at a table and begins to eat
his meal alone. He doesn't like the food. He pushes the
tray away.
The prisoners sitting next to him begin to scrape his plastic
tray clean.
The group of prisoners that started the beef with Chance take
their seats and stare him down.
INT. SAN QUENTIN STATE PENITENTIARY/LAUNDRY ROOM - DAY
Chance works folding prison uniforms.
Tiny steps to Chance.
Chance looks exasperated.
CHANCE
What now?
Tiny begins to stab Chance in the chest and arm with a
contraption that looks like a homemade knife.
Chance falls to the floor a bloody mess. He grimaces, but
his smirk never leaves his face.
TINY
Welcome to San Quentin.
FADE TO BLACK.
Two and a half years later.
INT. SAN QUENTIN STATE PENITENTIARY - DAY
A lone guard walks down a long corridor that is lined with
many cells.
Prisoners sit in each cell. One is doing push-ups, while
another writes a letter. A few other are lying in their
beds.
A couple of trustees are either sweeping, or mopping the
polished cement floor.
There is a sign that reads, Isolation Chambers.
The guard unlocks and opens a door that separates the main
prison from those kept in isolation.
The guard enters and locks the door.
INT. SAN QUENTIN/ISOLATION CHAMBERS - CONTINUOUS
CHARLIE PARKER (47), a small time crook with an appetite for
anything that he can shoot into his veins, watches the guard
approach from a hand held mirror.
Chance sits alone in his 5X9 cell that is adjacent to
Charlie's cell. Chance is reading a National Geographic
magazine, on the cover of the magazine is a picture of Costa
Rica.
Chance is reading the article on Costa Rica, the article is
titled; Paradise Found.
The guard reaches Chance's cell.
GUARD
Let's go Loomis.
Chance Loomis places a bookmarker on the page he's reading
and puts down his book.
He stands and turns, placing his hands outside the prison
cell. The guard places cuffs on his wrists, then opens the
cell door.
GUARD (cont'd)
OK.
Chance begins to lead the guard down the corridor past
Charlie.
Charlie's only forty-seven, but the emaciated looking man
looks sixty-six. The only place Charlie manages to stay
clean is on the inside of prison walls.
CHARLIE
Good luck Chance. I hope you make it
this time.
CHANCE
I'll see ya soon Charlie. They ain't
gonna let me go just yet. Hell, I know
that.
Charlie continues to yell down the corridor to Chance as he
walks on.
CHARLIE
Don't give Ôem any trouble. And keep
your cool. You gotta play the game their
way.
CHANCE
Alrighty, Charlie I will.
Charlie sticks his mirror out of the cell and watches as
Chance continues on.
Charlie watches as the large door of the isolation chamber
slams shut.
INT. SAN QUENTIN STATE PENITENTIARY/PAROLE HEARING ROOM - DAY
Three parole commissioners sit at the front of the small room
that is exclusively used for parole hearings.
Mr. White (60), a plump black man with white hair, Mr. Romano
(55), a middle aged Latino with a pencil thin mustache, and
Mr. Ferrotte (60), a tall and lean, good ol' country boy.
The three commissioners are going over Loomis' prison record.
The door is unlocked from the outside of the room.
Chance Loomis is led into the hearing room by the prison
guard.
A bit nervous, Chance tries to straighten his mussed hair.
Chance's having been through this routine before knows
exactly what to do. He seat himself front and center of the
three commissioners.
The three parole officers continue to silently examine
Loomis' prison record.
Mr. White breaks the silence.
MR. WHITE
You stole a police vehicle?
CHANCE
I wouldn't exactly say I stole it.
MR. WHITE
What exactly would you call it?
CHANCE
I just drank too much that evening. I
happened by a unoccupied police vehicle
and thought it would be a gas to take it
for a spin.
MR. WHITE
Mr. Loomis, I suggest next time you want
a ride, you take the bus.
CHANCE
I plan on it sir.
MR. FERROTTE
Mr. Loomis, how many years have you
served for this particular offense?
CHANCE
Four. It's been four years sir.
MR. FERROTTE
Four years. Uh hmm, I see.
MR. WHITE
Grand theft auto is what originally
landed you hear is it not?
CHANCE
Yes, sir. Grand theft auto.
MR. WHITE
You were originally released after
serving only one year and two months of
that sentence. Isn't that correct?
Chance begins to sink.
CHANCE
Yeah.
MR. WHITE
And you returned shortly thereafter for
violating your probation?
MR. FERROTTE
For stealing a police cruiser?
CHANCE
Yep.
MR. ROMANO
You got a thing for cars do you?
CHANCE
Just fast cars sir. I like to drive fast
cars.
MR. FERROTTE
Your record shows that you're thirty-four
years old. And that you've spent the
best part of twenty-three of those years,
either in youth facilities, jails or
incarcerated in one state penitentiary or
another. That's not a very impressive
rŽsumŽ.
CHANCE
I guess I'm a born loser, sir.
MR. WHITE
Why do you think you deserve to be
released back into society?
CHANCE
I can't really answer that.
MR. FERROTTE
Do you have anything at all you'd like to
add on your behalf?
CHANCE
Yeah, there is something that I'd like to
say.
MR. WHITE
We're listening.
CHANCE
I never committed no serious or violent
offense. Mostly, just car theft, a few
burglaries here and there. You know
things like that.
MR. WHITE
Mr. Loomis, those are pretty serious
offenses.
CHANCE
Sir, I made a lot of mistakes. I know
that, hell I'm the first to admit it.
But, I ain't gonna make anymore.
MR. FERROTTE
How do you plan on convincing us of this?
CHANCE
I don't think I can convince you of
anything. Eventually, I'll get out one
way or another, paroled or when my time
is up.
MR. WHITE
This report shows us that you have not
participated in any work detail, but
you've attend just about any counseling
offered you. Why is this?
CHANCE
Sir, I've been in isolation for most of
the past two and a half years I've been
back. Presently, I ain't eligible for
work.
MR. FERROTTE
What about all this counseling?
CHANCE
Well, sir. Just between you and I, I'll
do whatever it takes to get me out of
that cell. I've listened to priests,
preachers, rabbis. I've been to NA, and
AAA meetings, domestic violence
counseling, psychiatric counseling, hell
you name it, I've heard it all.
MR. FERROTTE
I see. Uh hmm.
MR. ROMANO
How do you feel about being here in San
Quentin?
CHANCE
I hate this place. I hate the way it
looks, its steel gray walls, the way it
sounds, the way it smells, the coldness
of the walls during winter and those hot
as hell summer nights. Sir, I can
honestly say, I hate everything about
this place. Everything!
MR. FERROTTE
Well, you have to admit it's the
consequences of your actions that have
landed you here.
CHANCE
Yes, sir I realize that. Look, I just
want to put this all behind me. I'm
tired of being told when to take a shit,
when to eat. When I can shower or when I
can have recreation. I may have broken
the law and not exactly been an
outstanding citizen, but I never break a
promise. Give me a break. Let me out of
here and it's the last you'll ever hear
from me again. So help me god.
MR. WHITE
Mr. Loomis, I don't think that your
promise to keep a clean nose alone will
help us in determining your release.
Mr. White thumbs through Loomis' record again.
MR. WHITE (cont'd)
You stated that you've been on isolation
lock up for the past two and a half
years. Do you want to talk about it?
CHANCE
I don't get along with most other
prisoners.
MR. ROMANO
Why, is this?
CHANCE
This ain't no club med, this is a
dangerous place filled with dangerous men
who have been incarcerated for violent
offenses. Have you ever spent time
inside a place like this? No, I guess
not. Well, it's every man for himself, a
daily struggle just to stay alive. It's
a fear so deep you can smell it. One
like you'll never know unless you
experienced it first hand.
Loomis pulls up his shirt that reveals severe knife stab
wounds in his chest and arms.
CHANCE (cont'd)
I received this just because I wouldn't
give up my place in the chow line.
He pulls up a pant leg, which reveals a long gash running
down his thigh, down toward his foot.
CHANCE (cont'd)
And this little trophy because some guy
wanted my commissary. A lousy two bucks.
That's when I was placed in solitary.
For my own protection. And to tell you
the truth, that was OK by me.
MR. WHITE
(to the other commissioners)
Is there any other questions you
gentlemen have for Mr. Loomis?
The men shake their heads no.
MR. WHITE (cont'd)
(to Chance)
Anything else you'd like to add?
CHANCE
No, I guess that's about it.
MR. WHITE
(to Chance)
You'll find out about our decision soon
enough. That's all.
Loomis stands and exits the room.
INT. SAN QUENTIN STATE PENITENTIARY/ISOLATION CHAMBER - DAY
One of the isolation inmates plays a blues harmonica.
Chance Loomis is exercising in his cell. He's engaged in
doing scores of push-ups.
Charlie calls out to Chance from his cell.
CHARLIE
Hey, Chance!
CHANCE
Yeah, Charlie. What do you want now?
CHARLIE
Any word yet?
CHANCE
Nothing. Not a word.
CHARLIE
You should have heard something by now.
What? It's been a couple of weeks
already.
Chance continues to exercise.
CHARLIE (cont'd)
Just hang in there.
CHANCE
There ain't nothing else I can do.
CHARLIE
Well, that can't keep us forever.
Chance continuing to exercise.
CHANCE
It's all about the wait.
INT. SAN QUENTIN STATE PENITENTIARY/ISOLATION CHAMBER - DAY
The guard enters the chamber. He approaches Chance's cell
and hands him an envelope.
Chance quickly opens it. He feigns disappointment.
GUARD
Well, what's it say?
CHANCE
I guess you're stuck with me for at least
another year, you hard on.
Then Chance begins to shout aloud. He shows the guard the
letter.
CHANCE (cont'd)
Ha! What's that say. What's it say.
Chance jumps up and down.
CHANCE (cont'd)
Hey, Charlie can you believe it? They're
releasing me. Ha! Ha! Can you believe
it? I'm out of here.
Chance climbs up the bars of his cell.
CHANCE (cont'd)
Yahoo. Did you hear that Charlie? I'm
out of here.
GUARD
Get your stuff together. You're being
released this afternoon.
Chance picks up his National Geographic magazine.
CHANCE
I'm ready to go.
Chance places his hands outside the cell to be cuffed.
GUARD
No need for that.
The guard opens the door and Chance is led out of his cell.
CHANCE
(to Charlie)
I'll see you around ol' timer. Look me
up when you get out of here.
CHARLIE
It shouldn't be too much longer.
CHANCE
I'm gonna miss our late night talks.
CHARLIE
I'll see you around.
CHANCE
Yeah, I'll see you.
They shake hands and turns to the guard.
CHANCE (cont'd)
Well, let's go.
Chance leads the guard to the security doors as the other
prisoners watch him being led from the chamber.
The guard unlocks the door and they exit the chamber.
INT. SAN QUENTIN STATE PENITENTIARY - DAY
They continue on.
GUARD
You're one lucky son of a gun, Loomis.
If it wasn't for all this over crowding
you'd be sticking around for a while.
CHANCE
I'll have to write a letter to the
governor and thank him.
GUARD
Well, I hate to see you go.
CHANCE
I'll bet you do.
EXT. SAN QUENTIN STATE PENITENTIARY - DAY
Chance Loomis exits the prison.
The guard shouts out to Loomis.
GUARD
See ya soon Loomis.
CHANCE
The hell you will.
INT. METRO CITY BUS - LATER SAME DAY
The bus moves down a street in a dilapidated part of downtown
Los Angeles.
Chance, holding his National Geographic magazine watches as
the streets pass him by.
Finally, he pulls on the bell cord.
The bus pulls over.
Chance exits the bus in front of a four story, run down, ram-
shackled, and worn hotel known as, The Marmalade Hotel.
He enters the building.
INT. MARMALADE HOTEL/FRONT OFFICE - CONTINUOUS
A FAT LADY (55), sit at the front desk watching some cheap TV
show.
Chance walks to the desk.
CHANCE
My name is Chance Loomis. I'm supposed
to see you about a room?
He hands her a piece of paper. She inspects it and looks up
at Chance.
FAT LADY
Another con. Why do they keep sending me
a bunch of cons?
I prefer section eight, they may be crazy
as hell, but I get my money on time,
first of the month. And I don't have
probation officers snooping around,
always sticking their nose in my
business.
She pulls down a key from a shelf.
FAT LADY (cont'd)
You'll find your room on the third floor.
There's a toilet and shower at the end of
each hallway. There's no drinking or
illegal drug use in this hotel. I won't
have it. If I catch you doing anything
illegal, I'll call the police. Do you
understand?
CHANCE
Yes, I surely do.
Chance takes the key and signs his name.
CHANCE (CONT'D)
Thank you very much. It's been nice
talking with you.
He points down the hall.
CHANCE (cont'd)
This way?
The ladies already watching the TV.
INT. MARMALADE HOTEL/HALLWAY - CONTINUOUS
Chance exits the staircase and moves down the hallway looking
for his room.
An argument from a couple comes from one of the rooms.
WOMAN (VO)
Don't shout at me.
MAN (VO)
Shut the hell up and bring me my dinner.
WOMAN (VO)
You can get your dinner yourself.
Other seedy looking tenants pop their heads out of their
doors as they watch Chance move down the hallway.
Chances reaches his room and opens the door. He enters.
INT. MARMALADE HOTEL/CHANCE'S ROOM - CONTINUOUS
The room is barely larger than his prison cell and in much
worse condition.
He watches as a cockroach quickly crawls down one of the
walls and disappears into a large crack.
CHANCE
(disgusted)
Jesus Christ.
He drops his National Geographic magazine on the shabby
nightstand and looks out the window. The alley is filled
with garbage, spray painted walls and transients.
CHANCE (cont'd)
Welcome home.
EXT. LOS ANGELES COUNTY PAROLE OFFICE - DAY
The parole office sits amidst a cluttered group of federal
and city office buildings.
INT. PAROLE OFFICE - DAY
Chance enters the parole office.
He approaches the secretary that is too busy answering phones
lines.
SECRETARY
I'll have to put you on hold.
She pushes another button.
SECRETARY (cont'd)
County probation services.
(a pause)
No, he's not in. I'll connect you to his
voice mail.
She pushes another button and looks up at Chance.
SECRETARY (cont'd)
What do you want?
CHANCE
(to the secretary)
I have an appointment with Donald
Hendricks.
The phones continue to ring.
SECRETARY
What's your name?
CHANCE
Chance Loomis. That's C, H...
SECRETARY
Just go over there and have a seat.
He'll get to you when he gets around to
it.
She continues answering the phones.
SECRETARY (cont'd)
County probation services. Hold please.
Chance finds a seat next to another newly released convict,
WARREN STAPLES (45), a black man with severe acne scars.
Staples pulls out a cigarette.
WARREN
(to Chance)
You got a light?
Chance points up to a no smoking sign.
CHANCE
I don't smoke.
WARREN
That's too bad.
CHANCE
Not really. I gave it up while I was in
the can.
WARREN
I'm not talking about cigarettes, I'm
talking about Hendricks.
Chance doesn't want to hear anything this guy has to say.
CHANCE
Yeah, well some guys got all the luck.
WARREN
Donald Hendricks. Man, they sure stuck
you with the meanest, nastiest, hard on
mutha fucka that ever paroled a parolee.
That sorry son of a bitch, violated me
and sent me back two times now.
Look, don't even think about spittin' on
the sidewalk or pissin' in an alley.
You'll find yourself pissin' up a rope.
That sucker don't fool around, you better
stay on the up and up or you're up shit's
creek with a turd for a paddle.
CHANCE
Yeah, well. That's OK by me, cause I
plan on doing just that. Staying on the
up and up this time. I'm gonna keep my
nose clean.
DONALD HENDRICKS (45), a crewcut, ex-military man, exits his
office.
HENDRICKS
(calling out)
Loomis?
Chance stands.
CHANCE
Right here!
HENDRICKS
Get in here.
Chance stands and enter Hendricks office as Hendricks give
him the evil eye.
INT. HENDRICKS' OFFICE - CONTINUOUS
The office is immaculate, filled with knickknacks and items
that allude to Hendricks' no nonsense attitude.
There are certificates and trophies for all aspects of civil
duty, including an honorary degree from a prominent military
college.
There is also a picture of a younger Hendricks as a marine
sitting on his own desktop.
Hendricks give Chance the once over.
HENDRICKS
Sit down.
Chance takes a seat.
Hendricks glares at him, sits down and wipes away a spot of
dust from his desktop.
CHANCE
(grinning)
It's nice to see you again.
HENDRICKS
Don't give me any of your bullshit
Loomis. For the record I personally sent
those commissioners a letter stating that
they'd be making a big mistake letting
you out early.
CHANCE
I'm real sorry, you must be disappointed.
HENDRICKS
Cut the crap and let's get one thing
straight, right from the get go. You're
going to tow the line this time. You got
that?
CHANCE
Yeah, I got it.
HENDRICKS
Yes, sir I got it.
CHANCE
Yes, sir. I got it.
HENDRICKS
Now let me make myself crystal clear.
I'm gonna be all over you like stink on
shit. You thought you had it bad in the
pen? Well, let me tell you one thing
mister, you ain't seen nothing yet. I'll
be looking for any reason to put you back
where you belong.
CHANCE
I'm sure you will. Is that all?
HENDRICKS
No, that's not all. You want to buck
against the system, try bucking horns
with me. Guys like you, always looking
for a fast track easy way out, but
there's no fast and easy way pal. Do you
understand where I'm coming from?
CHANCE
Yes, sir. Crystal clear.
HENDRICKS
You better if you know what's good for
you. Alright, first things first.
Hendricks hands Chance a piece of paper.
HENDRICKS (cont'd)
This is where you'll report for work.
When you're not there you better be in
route or at home. If there is anywhere,
and I mean anywhere that you need to go.
You better notify me first.
Hendricks hands an empty container to Chance.
HENDRICKS (cont'd)
You make sure you report to my office
every Monday, and Friday immediately
after work. And since it's just a hop,
skip and a jump around the corner, you'll
have no excuse to not always be right on
time isn't that right?
CHANCE
Whatever you say. It's your game, I'm
just playing in your park.
Hendricks hands Chance a stack of papers.
HENDRICKS
You know the terms and conditions of you
probation.
(he tosses Chance a pen)
Now sign these papers.
Chance tries to read the papers.
HENDRICKS (cont'd)
Don't read Ôem just sign Ôem.
Chance signs the papers.
HENDRICKS (cont'd)
Now take that vile into the bathroom and
fill it for me. Then report to your
employer, who happens to be a very close
friend of mine.
Chance begins to stand.
HENDRICKS (cont'd)
One more thing.
Chance stops halfway out of his seat.
HENDRICKS (cont'd)
You better be on the up and up with me
mister. I'm not going to cut you any
slack this time around. Now get out of
here.
Chance exits.
HENDRICKS (cont'd)
(shouting loudly)
Who's next!
EXT. DRUG REHABILITATION CENTER - LATER SAME DAY
Chance walks up the street looking for the address of his new
work place. He finds it, a skid row drug rehabilitation
center.
The front steps of the building is filled with dope heads and
losers.
Chance looks up at the dilapidated old building he smiles and
grimaces. He enters.
INT. DRUG REHABILITATION CENTER - DAY
Chance and his new boss, DR. COLTER (45), walk down the long
corridor of this skid row rehabilitation center.
Dr. Colter is as much a hard on in his own way as Hendricks
is.
DR. COLTER
Look, I don't really care about what you
did in the past. That doesn't concern
me. It's what you do here that matters
to me. Remember, I have to report every
infraction to Hendricks so, mind you own
business and if you know what's good for
you, you'll stay out of trouble.
They come to a hallway janitorial closet.
Dr. Colter opens the door to the closet. There are brooms,
mops and other typical cleaning equipment.
DR. COLTER (cont'd)
Here's where the cleaning supplies are
kept. I expect you to make sure the
patients rooms are mopped and cleaned
daily.
Keep the toilets sanitized and clean at
all times. I can't stand to see piss all
over a toilet seat.
Dr. Colter closes the door and they continue down the
hallway.
DR. COLTER (cont'd)
Also, make sure that the trashcans are
emptied and have clean bags. If there's
one thing I don't like, it's to see
trash piling up all over the place.
They come upon a room that is locked with a sign that reads;
KEEP OUT.
CHANCE
What's in there?
DR. COLTER
None of your goddamn business. That's
why the sign says keep out. Anything
else you want to stick your nose in?
CHANCE
No.
DR. COLTER
Good. Well, so much for the grand tour.
Get to work.
There is a trashcan that is full of trash. Dr. Colter points
to it.
DR. COLTER (cont'd)
You see that?
CHANCE
Yeah.
DR. COLTER
You can start with that. Get it out of
here.
Chance picks up the trashcan and takes it down the hallway.
CHANCE
(his trademark grin slipping
from view)
They sure know how to make you feel right
at home.
EXT. DRUG REHABILITATION CENTER/ALLEY - CONTINUOUS
Chance takes the trash and empties it in a large green
dumpster. He kicks an aluminum can.
It's a hot summer day and the sky is filled with the typical
smoggy summer haze.
Chance sits on the steps outside of the rehabilitation center
and stews about his misfortune.
A bum walks past him.
BUM
Hey, mister you got an extra smoke?
CHANCE
No, I don't.
The bums moves on.
From one of the windows on the second floor an argument
ensues between two patients.
PATIENT I
How many times have I told you to mind
your own business? Just back off!
PATIENT II
Get off the phone, I've been waiting and
waiting to make a call. You know the
rules.
Chance covers his ears and tries to block out the banter.
INT. MARMALADE HOTEL/CHANCE'S ROOM - NIGHT
Chance enters his room. He falls onto his bed and looks up
at the ceiling.
He closes his eyes. The sounds of police sirens wail
somewhere in the distance.
The noisy sounds of the city streets begin to fade. The
sound of flowing water takes its place.
FADE TO:
EXT. COSTA RICA/A RAINFOREST COVE - DAY
The only audible sound is that of water. The way water
resonates through the human ear while underwater.
The sun shines bright overhead.
A rain forest waterfall flows down a mountainside. A frail
leaf from a tree floats away from the waterfall.
Chance floats on the surface of the crystal and clear blue
water.
His eyes are closed and his face is filled with a radiant and
serene demeanor.
FADE TO BLACK.
Six months later.
EXT. DRUG REHABILITATION CENTER - DAY
It's a cold winter day.
People move about in winter coats and hats.
Street people huddle with newspapers stuffed into their thin
clothing.
INT. DRUG REHABILITATION CENTER - DAY
Chance is mopping one of the long hallways.
There is the sound of a man screaming profanities coming from
at the other end of the hallway. It's the sound of a man
going through cold turkey withdrawals.
Chance mops his way to the opening of the room and looks in.
The man is strapped to a bed and sweating profusely.
The binds on the man's wrists are already cutting into the
man's skin.
Chance notices that it's his old prison buddy, Charlie.
CHARLIE
Goddamn it, cut me loose. Won't
somebody come and cut me loose?
Chance enters the room.
INT. DRUG REHABILITATION CENTER/CHARLIE'S ROOM - CONTINUOUS
Charlie's too long gone to notice his friend Chance.
Chance watches as Charlie goes through the throws of
detoxification. He approaches him.
CHANCE
Charlie!
CHARLIE
(struggling)
Cut me loose! I can't take it anymore.
Chance shakes Charlie.
CHANCE
Charlie, don't you recognize me?
Charlie's eyes finally meet Chance's eyes.
CHARLIE
Hey fella, cut me loose would you? Just
help me out of these things, that's all
I'm asking.
CHANCE
I can't do that.
Charlie notices that it's his old friend standing over him.
CHARLIE
Chance Loomis is that you? I must be a
sight for sore eyes.
CHANCE
Ah, you don't look half bad. How are you
doing Charlie?
CHARLIE
I'm doing real swell. Never been better.
CHANCE
When did you get out?
CHARLIE
I don't know. A couple months I guess.
C'mon, let me out of this contraption
would you?
CHANCE
I can't do that and you know it.
CHARLIE
Have a heart. Help out your old buddy.
CHANCE
I thought you were going to stay clean
this time? I thought you said you had it
with that shit?
Charlie's still pulling against the straps.
CHARLIE
I had enough of it alright. It just
didn't have enough of me.
(pleading)
Help me out Chance! Help out your ol'
buddy and get me something, anything that
will take the pain away. What do you
say?
CHANCE
I can't Charlie. I ain't gonna do
anything that will jeopardize me going
back to the can.
CHARLIE
I understand.
Suddenly, a nurse enters the room.
NURSE
(abruptly to Chance)
What are you doing in here?
CHANCE
I was just...
NURSE
(impatiently interrupting)
You were just what?
CHANCE
I was just leaving.
NURSE
Well, then go on! Get out of here.
CHANCE
Take it easy Charlie.
Chance exits the room.
CHARLIE
(shouting)
I'll take it anyway I can get it.
INT. DRUG REHABILITATION CENTER/HALLWAY - CONTINUOUS
Chance continues mopping the floor.
Chance listens as Charlie tries to persuade the nurse to let
him go.
CHARLIE
Cut these damn straps off of me. Goddamn
it.
Chance comes upon the room of the hospital with the sign that
reads; KEEP OUT.
He looks at the room and then continues to mop the floor.
INT. MARMALADE HOTEL/CHANCE'S ROOM - NIGHT
Chance lies in his bed as he listens to a man and woman, who
are making a big deal out of a trivial argument.
WOMAN (VO)
Where the hell have you been? I've been
sitting here all night waiting for you.
MAN (VO)
Since when do I got to answer to you?
WOMAN (VO)
I asked you where you've been?
MAN (VO)
I've been out.
WOMAN (VO)
I can see that, I'm not blind.
Something crashes against the wall.
MAN (VO)
You fuckin' bitch. I'll teach you to
throw things at me.
The couple begin to beat on each other.
WOMAN (VO)
(screaming for help)
Get off of me. You're gonna killing me.
MAN (VO)
You're goddamn right I'm gonna kill you.
Chance places a pillow over his head. He can't keep the
noise out of his head.
WOMAN (VO)
Help, somebody help me.
Chance bangs against the wall.
CHANCE
Keep it down will you? Shut the hell up,
I'm trying to sleep!
WOMAN (VO)
Shut the hell up yourself and mind your
own goddamn business.
CHANCE
You're driving me up the wall.
Chance gets up and exits his room, slamming his door. The
argument and beating continue.
INT. MARMALADE HOTEL/STAIRCASE - CONTINUOUS
Chance runs out of the staircase and to the front desk.
The fat lady sits at her TV.
CHANCE
Listen to that? He's gonna kill her.
FAT LADY
He's been killing her for eighteen years.
CHANCE
Can't you do anything about it?
FAT LADY
What do you want me to do about it? If I
go up there and say anything, it'll just
prolong the argument. It'll be over in a
few minutes.
She turns up her TV to cover up the screaming of the woman.
Chance exits the building.
EXT. MARMALADE HOTEL - NIGHT
Chance walks up to a phone booth.
He places some coins in the phone and dials a number. He
places some more coins in the phone.
Chance waits for an answer.
CHANCE
Hello Ma? It's me Chance.
(a pause)
It's me, Chance. No, I'm out. Yeah,
I've been out a while now.
No I didn't call to ask you for any
money. Look, I just called to let you
know that I'm out and I'm OK. So, how
you're doing?
(a pause)
Not so good? I'm sorry to hear that. So
how's pops? I'd like to say hello if you
don't mind?
(a pause)
Oh, I didn't know. When did it happen?
That's too bad. I'm sorry to hear that.
Yeah, OK. I understand. Take care Ma.
Good-bye.
Chance hangs the phone up saddened to find out that his
father had died while he was in prison and nobody bothered to
let him know.
Chance can still hear the couple from the room above as they
toss things around and continue to argue.
Chance sits on the steps of the building. His eyes fill with
tears. He wipes the tears away.
INT. DRUG REHABILITATION CENTER/HALLWAY - DAY
Chance is pushing a cart full of trash.
He stops to pick up some old newspapers that are stacked on
the floor.
One of the patients, LENNY (50) an uptight and annoying
trouble-maker approaches Chance.
LENNY
Hey, did you hear?
CHANCE
Here what?
LENNY
Charlie's, out of detox.
Lenny holds up a cigarette to his lips.
LENNY (cont'd)
You got a light?
Chance reaches into his pocket and lights the cigarette.
LENNY (cont'd)
Thanks.
Lenny continues on.
INT. DRUG REHABILITATION CENTER/RECREATION ROOM - DAY
Charlie and some of the rehabilitation center patients are
busy at a game of cards.
Charlie's about as sober as he can get, a cigarette hanging
out of his mouth and a large cup of coffee at his side.
Charlie tosses down his hand.
CHARLIE
Read Ôem and weep fellas. Read Ôem and
weep.
Charlie pulls the few bills towards his small-time stack. He
sees that Chance has entered the room.
CHARLIE (cont'd)
Hey, Chance old pal, how ya doin?
CHANCE
I'm OK, Charlie. Same old, same old, if
you catch my drift.
CHARLIE
(to Chance)
I know it all too well.
(to the fellas playing cards)
Chance and me go way back. You could say
we were practically neighbors.
CHANCE
I guess you could say that.
CHARLIE
Why don't you pull up a chair and play a
few hands?
CHANCE
You know I can't do that. I'd like to
but, I'm working.
Charlie deals out another hand as Chance continues to work.
CHARLIE
Listen, I wanted to apologize. I'm sorry
that you had to see me like that.
CHANCE
Yeah, me too.
CHARLIE
I'm gonna stay clean this time around, I
mean it. This time it's for good.
Charlie takes a few new cards and continues in the game with
the other rehab patients.
INT. MARMALADE HOTEL/HALLWAY - NIGHT
Chance walks up the flight of steps to his room. He puts the
key in the door and notices the door is already unlocked.
He pushes the door open and finds his room has been ransacked
and his meager belongings scattered about.
He also finds his parole officer, Hendricks sitting in the
only chair in the room reading his National Geographic
magazine.
CHANCE
Make yourself at home.
HENDRICKS
I already have.
CHANCE
What can I do for you?
HENDRICKS
I just stopped by to see how you're
doing. Living in the lap of luxury I
see. Well, it's not much, but it's a
hell of a lot better than the inside of a
cell.
CHANCE
I'm not too sure of that.
HENDRICKS
Well, we could make arrangements for
you're return. Just give me one good
goddamn reason and it's adios to you.
CHANCE
Look, I'm doing the right thing. Why do
you have to keep busting my balls?
HENDRICKS
It's my job to bust your balls.
CHANCE
No, it's your job to keep me looking over
my shoulder. It's ain't your job to give
me a hard time every time I run into you.
Hendricks jumps up and punches Chance in the gut and slaps
him in the face.
Chance doubles over and tries to catch his breath.
Hendricks grabs Chance's collar and pulls him back up.
HENDRICKS
Watch your tongue punk. You better
remember who you're dealing with. I can
violate you and send you back to San
Quentin any time I please.
(he snaps his finger)
Just like that, boy.
Hendricks pushes Chance down on the bed.
HENDRICKS (cont'd)
Don't you forget it either.
Hendricks straightens his own shirt collar.
HENDRICKS (cont'd)
It's been nice chatting with you Loomis.
I'll see you on Friday, and don't forget
to be on time.
Hendricks drops the magazine next to Chance and exits the
room.
Chance sits up and manages to finally catch his breath. He
closes the door to his room.
EXT. DRUG REHABILITATION CENTER - DAY
All manner of bums sit on the steps outside of the center
waiting to get their dose of methadone.
Charlie exits the rehabilitation center just as Chance is
arriving for work.
CHANCE
Hey, there Charlie where you going?
They shake hands.
CHARLIE
I've been released. Cast off like the
bum that I am.
Charlie begins to leave.
CHARLIE (cont'd)
I'll see you around.
CHANCE
(grabbing Charlie's arm)
Hold on. I got a few minutes before I
gotta go.
They take a seat on the steps.
A guy sitting on the steps pulls out a pack of cigarettes.
CHARLIE
(to the guy)
Hey, got a smoke?
The guy gives Charlie a smoke. He lights it.
CHANCE
What's your plans? Gonna get yourself a
job or something?
CHARLIE
Or something. C'mon, who the hell's
gonna hire an ex-con junkie? Look, I
still got a few tricks up my sleeve.
(he pulls in close)
Remember, I told you about taking the rap
for some fella that owned a bar in
downtown LA?
CHANCE
Vaguely. I think I remember you saying
something about it.
CHARLIE
The way I figure it, he owes me.
CHANCE
What if he don't figure it the same way?
CHARLIE
He owes me. He owes me big time I kept
my mouth shut and took the rap for him.
Took it like a man.
CHANCE
I think you're getting yourself mixed up
with the wrong crowd.
CHARLIE
I heard he's down on his luck and I got a
scheme that's fool proof.
CHANCE
Charlie, you gotta stay away from that
guy. You're just gonna get in hot water.
CHARLIE
What have I got to lose? I've got to
give it one last hurrah.
CHANCE
What the hell you talking about? You're
a two time loser. If you get caught up
in anything you'll never get out again.
CHARLIE
Them's the chances you got to take.
CHANCE
Jesus, Charlie! You're out of your mind.
Charlie steps out his cigarette and stands.
CHARLIE
Time to go. I'll see you around.
Chance and Charlie shake hands. Charlie starts to walk away.
CHANCE
You take care old man.
Chance watches as Charlie walks off.
The door to the rehabilitation center opens and the junkies
file in.
EXT. CHINA TOWN/JOE'S DANCE CLUB - NIGHT
Joe's Dance Club is on a downward spiral.
The club sits in the midst of old China Town.
INT. JOE'S DANCE CLUB - NIGHT
A seedy little dive.
There's an empty stage complete with a cat-walk.
It's been a few years since it was a popular strip joint.
Now it's just another downtown dive in the middle of China
Town.
Music plays on an old jukebox.
A tough looking, BARTENDER (55), that looks like he once
could've fought for a heavy weight title, makes a few stiff
ones for a couple OLD TIMERS.
Charlie enters and sits at the bar.
BARTENDER
Well look who it is. Ain't this a
surprise. What'll it be?
CHARLIE
Where is he? I'd like to have a few
words with him.
BARTENDER
He's in the back. I'll let him know
you're here.
The bartender goes to the back of the barroom.
He returns after a few seconds.
BARTENDER (cont'd)
He says go on in.
CHARLIE
Thanks.
BARTENDER
Don't mention it.
The bartender watches as Charlie enters into the back room.
INT. JOE'S BAR/BACK ROOM - CONTINUOUS
A distinguished looking gentleman, ROBERT SINCLAIR (65), an
extremely attractive, buxom and raven-haired beauty, REBECCA
(24), JOHNNY RAY (45), a tall brooding man and FAT RALPH
(45), a large and obese man are sitting at a table.
Rebecca sits at Sinclair's side.
SINCLAIR
Well, look who's here?
Sinclair stands and shakes Charlie's hand.
SINCLAIR (cont'd)
(to Charlie)
This calls for a celebration.
(to Rebecca)
Honey, why don't you get our friend here
a drink?
(to Charlie)
What'll it be?
CHARLIE
(referring to a soda)
The usual.
SINCLAIR
(referring to heroin)
Sorry, I'm not in that racket anymore.
CHARLIE
I meant a soda.
SINCLAIR
(to Rebecca)
You heard him. Bring him a soda.
(to Charlie)
Damn, it's good to see you.
(to Fat Ralph)
Get up.
Fat Ralph gets up.
SINCLAIR (cont'd)
(to Charlie)
Have a seat.
Charlie sits down.
SINCLAIR (cont'd)
So how long has it been?
CHARLIE
Five years, three months and two weeks
and four days.
Sinclair understands what he means.
CHARLIE (cont'd)
It looks like things aren't going too
well.
SINCLAIR
It's a bit slow. Things have changes.
CHARLIE
I can see that.
SINCLAIR
So what brings you to this part of town?
CHARLIE
I'm here to discuss business.
SINCLAIR
Business? What kind of business are you
talking about?
CHARLIE
The kind of business that we know best.
I'm going to get to the point, the way I
figure it, you owe me.
Sinclair addresses the two thugs.
SINCLAIR
You guys beat it for a while.
Johnny Ray and Ralph split.
SINCLAIR (cont'd)
Look, I appreciate all that you've done
for me, but I going to give it to you
straight. There's no room for a junkie
in my racket.
CHARLIE
I'm clean.
SINCLAIR
You're clean now yeah, I can see that.
But for how long? Five year? Three
month? Four weeks? A couple of days? I
can't take the chance.
CHARLIE
Look, I said I'm clean. And we both know
that as long as I am, there ain't a
better man than me for any job.
Charlie looks at the two thugs.
CHARLIE (cont'd)
Any man.
SINCLAIR
This dope thing of yours is what got you
in hot water last time around.
And I can't afford another screw up. I
mean, look at this place, nobody comes
here anymore. The cops have been all over
me. They've done everything short of
running me out of town.
CHARLIE
That's why you need to listen to what I
have to say.
Rebecca returns with the drinks.
SINCLAIR
OK. I owe you one. I'll hear you out.
But, get this, if you don't stay clean.
You're out. Deal?
CHARLIE
Deal.
They shake hands.
SINCLAIR
Now, tell me what you got.
CHARLIE
When I was in the can, I heard a great
idea about robbing one of those security
credit union...
FADE TO:
EXT. DRUG REHABILITATION CENTER - DAY
Police cruiser sirens flood the street with noise.
Overhead a police helicopter circles the area.
TWO YOUNG PUNKS, gang member types, run full speed down the
alley behind the rehabilitation center.
One of the punks pulls a pistol out of his belt and tosses it
into the green trashcan.
The punks jump a fence, skirt up a wall and disappear into a
building.
A cop car screeches to a halt in the entrance of the alley.
He spots nothing and continues on.
INT. DRUG REHABILITATION CENTER/BATHROOM - DAY
Dr. Colter stands at a urinal relieving himself. Chance is
busy wiping up a mess in the restroom.
DR. COLTER
When you finish in here, I'd like to have
my office cleaned up.
CHANCE
Yes sir.
DR. COLTER
And make sure you run the vacuum tonight.
CHANCE
Yes sir. I won't forget.
Chances boss zips up and exits the bathroom. He doesn't
flush the john or wash his hands.
Chance goes to the john and flushes it for him.
He empties a trashcan into his cart and replaces the trash
bag.
He continues on in his duties.
EXT. DRUG REHABILITATION CENTER/ALLEY - ALMOST DARK
Chance opens the dumpster and empties a trash can into it.
He spots the gun that the punk had tossed in the dumpster.
Chance picks up the gun and looks it over. Not wanting any
part of it, he tosses it back into the dumpster.
He looks around and then, closes the dumpster lid.
INT. MARMALADE HOTEL/CHANCE'S ROOM - NIGHT
Chance sits out on the balcony of his room. He watches the
street people down below.
Some are huddled in cardboard boxes that are their makeshift
home for the night.
A COUPLE OF BUMS are arguing over a bottle of booze, but the
argument is not intelligible, mostly just the bantering that
is associated with the degenerate homeless.
There's a knock on the door.
CHANCE
(shouting toward the door)
It's open!
Charlie opens the door and enters.
CHANCE (cont'd)
Oh, hey Charlie. I thought your were my
parole officer Hendricks. He's the only
visitor I ever get.
CHARLIE
We need to talk.
CHANCE
Talk about what?
CHARLIE
I need to have a serious talk with you.
CHANCE
About that job?
CHARLIE
Yeah, I need you. You in?
CHANCE
Charlie. We've been over this before.
I'm through with all that.
CHARLIE
This job is a cinch.
CHANCE
I can't do it Charlie. I just can't.
CHARLIE
Look, around you. What do you see? A
whole bunch of nothin'. That's it.
Charlie pulls up his arm sleeve. Besides the ancient
imbedded track marks he has a faded tatoo that reads; Born To
Lose.
CHARLIE (cont'd)
You see what that says? It says born to
lose. I got it back East after Dallas
got whipped by Pittsburg in Superbowl
thirteen. I lost a mint that day.
Headed west to avoid my debt to the
bookies.
CHANCE
What's the point Charlie?
CHARLIE
The point is there ain't no point. And
you ain't got nothin' to lose when you
ain't got nothin'. So what do you got to
lose? Nothin'!
CHANCE
I can lose my freedom.
CHARLIE
Freedom. What the hell is that? You're
in a prison no matter where you turn.
Just look around you. Feelin' free are
we?
CHANCE
I just don't have it in me anymore.
CHARLIE
I got a couple of fellas that would like
to meet with you. I've been over the
plan, over and over again. It's the
easiest job either one of us has ever
done. More than two and a half million
for the taking.
CHANCE
Two and a half million?
CHARLIE
Two and a half million for the taking.
It's iron clad and we need you Chance.
We need your auto expertise.
Charlie pulls out a cigarette pack. Chance sits down slowly.
CHANCE
Give me one of those.
Charlie lights Chance's cigarette. He takes a drag.
CHARLIE
What do you say?
CHANCE
I never participated in anything that
big.
CHARLIE
There's a first time for everything.
CHANCE
Charlie, I got this Hendricks fellow
crawling up my ass, now when do you think
that I'm gonna have the time to meet with
these fellas?
CHARLIE
You get a lunch break right? Everybody's
got to eat.
CHANCE
Yeah, but its for only a half an hour.
CHARLIE
Fix it so you can have a little extra
time, come up with something, anything.
CHANCE
It's not that easy. They're always
hawking over me, just waiting for me to
screw up.
CHARLIE
You got something to write with?
CHANCE
Yeah.
Chance pulls out a piece of paper and a pencil and hands it
to Charlie. Charlie scribbles out a number.
CHARLIE
Here, take this. When you know you can
get away. Give me a call and we'll pick
you up in front of the rehab.
Chance looks at the number and thinks this thing out.
CHANCE
Charlie!
CHARLIE
Look, this is your ticket to paradise.
Take it and run with it.
Chance gives it some thought.
CHANCE
Ok, but don't meet me in front of the
rehab. Down the block there's a place
called Jones' plumbing. I'll meet you
there.
CHARLIE
(excited)
Now you're talking.
CHANCE
What am I getting myself into?
Charlie pats Chance on the back and begins to exit.
CHARLIE
You won't regret it.
Chance sits down.
CHANCE
I'm regretting it already.
EXT. MARMALADE HOTEL - NIGHT
Charlie exits the hotel and goes to the pay phone.
He picks up the phone and dials a number and waits for an
answer.
CHARLIE
It's a go.
He hangs up.
INT. DRUG REHABILITATION CENTER - DAY
A group meeting is in session. A social worker oversees the
group's conversation.
A guy named PAULY (35), is talking about addiction.
PAULY
I still don't get it, I mean, we're
supposed to stay clear of anything that's
addictive right?
SOCIAL WORKER
Yes, that's correct.
PAULY
Well, look around you. Everyone's got
their cigarettes and their supercharged
caffeine coffee, aren't these things
considered addictive as well as any other
kind of drug?
SOCIAL WORKER
Well, it's just different.
PAULY
Different? How? I don't see the
difference.
LENNY
It's OK to be jumped up on coffee and
caffeine, because they're legal.
SOCIAL WORKER
One could say that even food is addictive
to those that eat too much. But, if we
don't eat food, eventually we'll all die
from starvation.
PAULY
What kind of an answer is that? I'm
trying to find credence in this whole
thing and that's all you can come up
with?
LENNY
Look, you're not going to die from
cigarettes and coffee anyway, so what's
the point?
PAULY
Where have you been, cigarettes are the
number one cause of death. Not heroin,
not weed, not cocaine.
LENNY
Yeah, what about booze? Its legal and I
know lots of people die from booze.
PAULY
You're confusing the issue.
LENNY
You're confusing me.
PAULY
Look, I'm trying to bring up a valid
point here. Why can't you just stay with
the flow of the subject without going off
into left field? You always do that.
A feud begins to break out between, Lenny and a guy they like
to call ROMEO (28).
LENNY
I have a bone to pick with Romeo.
ROMEO
Don't call me Romeo. I don't like it.
LENNY
Suddenly you don't like being called
Romeo. So, what should we call you then
Romeo?
ROMEO
There you go again.
(to the social worker)
Did you hear that, he called me Romeo
even though I specifically asked him not
to call me that.
LENNY
The issue here is not your fucking name,
you nimrod.
ROMEO
What the fuck is the issue Lenny?
LENNY
The issue is you! You going through the
other patients mail.
ROMEO
(jumping up and all defensive)
What the fuck are you accusing me of?
LENNY
I'm not accusing you, I'm saying for a
fact what I have witnessed.
ROMEO
What is it that you claim that you saw
you fuckin' genius?
LENNY
I'm getting to it.
ROMEO
I asked you what you claimed that you
saw?
Lenny reaches into his pocket and pulls out a piece of paper.
LENNY
(holding the paper up for a guy
named Jim to see)
Recognize this?
Jim looks confused.
ROMEO
What's that supposed to mean?
LENNY
(to the group)
I was going through Romeo's drawer and I
found this letter in it. It's a letter
that was addressed for Jim. A letter for
Jim and it was stashed away in his
drawer.
ROMEO
What the fuck were you going through my
drawer for?
LENNY
There you go again changing the subject.
The subject is Jim's letter that I found
in your drawer.
PAULY
The subject was about addictive
substances.
Jim tries to intervene.
JIM
I can explain.
ROMEO
(reaching for the letter)
Give me that.
Lenny snatches it away. A fight ensues over the letter.
Chance and a couple of staff members jump in to break up the
scuffle.
JIM
Uh, Lenny. I gave him the letter.
Finally, the fight between Lenny and Romeo is broken up an
the two are separated by being dragged apart.
SOCIAL WORKER
Why don't we continue this discussion
tomorrow, OK?
Everyone goes there separate ways.
ROMEO
Hey, fuck you Lenny. Stay out of my
belongings.
Chance approaches the social worker. He starts to pick up
the chairs and place them back in the circle.
CHANCE
All this shouting and yelling is driving
me crazy. Listen, do you mind if I slip
out for a while and get myself something
to eat?
SOCIAL WORKER
No, just make sure you sign out before
you go.
CHANCE
Right.
INT. DRUG REHABILITATION CENTER - DAY
Chance punches out on a clock.
He goes to the phone, pulls out the number Charlie gave him.
He looks around and places a call.
EXT. JONES PLUMBING - DAY
Chance nervously awaits the arrival of Charlie.
A Buick sedan pulls up to the curb.
Charlie rides in the passenger seat. He points to the
backseat of the car. Chance jumps in and the car pulls off.
INT. BUICK SEDAN - CONTINUOUS
Sinclair is seated with his girl, Rebecca in the middle.
Chance takes notice.
CHANCE
How're you doing Charlie?
CHARLIE
Never better. Never better.
Chance puts his hand out to greet Sinclair. Chance has
caught Rebecca's eye.
CHANCE
(to Sinclair)
How are you doing? My name's...
SINCLAIR
Let's get one thing straight, I'm not
interested in your name.
Who you are or what you do or anything
about you. The less we know about each
other the better.
Chance drops his hand.
CHANCE
Sure, I understand.
Chance can't take his eyes off of Rebecca. He's mesmerized.
The car continues on.
INT. JOE'S BAR/BACK ROOM - LATER SAME DAY
The boys are going over the plan.
Sinclair spreads a map out on the table.
SINCLAIR
Here's what we got. The credit union on
Vine disperses a huge cash layout every
other Friday of each month to its
employees. At least two and a half
million cash on hand. That's a lot of
dough.
Chance lights up a cigarette.
CHANCE
A lot of dough just lying around for us
to take.
SINCLAIR
That's right we just walk in and take it.
CHANCE
What do you mean we just walk in and take
it?
SINCLAIR
Just what I said, we walk in and take it.
CHANCE
If it's that easy what do you need me
for? And why hasn't anyone thought about
it before?
CHARLIE
We need you to get us some cars.
CHANCE
I can do that with my hands tied behind
my back.
SINCLAIR
Look, every cop in town will be hot on
our heels, when we pull this off, they'll
be looking for a bunch of guys right?
CHANCE
That don't answer my question.
CHANCE (cont'd)
You're the car expert. We'll need five
vehicles for this operation. Once we get
the money we split up. Each of us going
our separate ways.
Chance can't take his eyes off of Rebecca as she listens in
on the plan.
CHANCE (cont'd)
Just where do you plan on stashing these
vehicles once we got Ôem? You can't
leave them out front of a place like
this.
SINCLAIR
There's an abandoned warehouse outside of
town off of highway 61. We'll store them
there.
CHARLIE
And when the jobs over, we'll meet back
at the warehouse, split up the money and
go our separate ways.
CHANCE
How much is my cut of this two and a half
mill?
SINCLAIR
I take one million off the top. You guys
split up the remainder.
CHANCE
Do you mind me asking why you get one
million?
SINCLAIR
Look, if you don't like it you can leave
right now.
CHARLIE
Wait a minute. Everybodies got to keep
calm.
CHANCE
I don't like it. I think we should cut
the money up evenly. We're all putting
our necks out on the line.
SINCLAIR
Look, all we need you to do is get us a
few lousy cars and go along for the ride.
We've got this whole thing worked out and
we did it without you.
CHARLIE
(to Chance)
Listen to me, that's about four hundred
grand. Four hundred grand! You ever
seen that much money in your life?
CHANCE
No.
CHARLIE
C'mon. Think about it.
Chance looks at Sinclair and glares, then smiles.
CHANCE
Alright. Look, I got to get back to
work. We'll continue this discussion
tomorrow.
SINCLAIR
(to Rebecca)
Give him a ride back to work.
REBECCA
(to Sinclair)
Sure.
(to Chance)
Let's go.
CHANCE
One minute, so when do you plan on
pulling off this little caper?
SINCLAIR
This Friday.
CHANCE
This Friday?
SINCLAIR
What is there an echo in here.
CHANCE
That's out of the question. I can't get
all this done by then. Besides, I got to
see my parole officer Friday right after
work.
SINCLAIR
That's your problem.
CHARLIE
Look, once you got your money you'll be
on your way to paradise.
INT. BUICK SEDAN - CONTINUOUS
Rebecca drives down the street, while Chance looks down at
her long bare legs that escape the cover of her skirt.
She notices him looking and pulls it down a bit.
Chance laughs.
CHANCE
I don't get it? What is it with you and
that old man?
Rebecca ignores him.
CHANCE (cont'd)
What do you see in him?
REBECCA
What's it to you?
CHANCE
I'm just trying to strike up some
interesting conversation.
REBECCA
Well, keep it to yourself.
CHANCE
Don't go getting all hot. I was just
making some small conversation.
REBECCA
No, you were just trying to be cute and I
don't think you succeeded.
CHANCE
No, I guess I didn't.
The Buick pulls up in front of Jones' Plumbing.
Chance exits.
EXT. JONES PLUMBING - DAY
CHANCE
Well, thanks for the ride.
The Buick sedan pulls off without another word being said.
Amused Chance watches as the car drives off.
EXT. NEIGHBORHOOD STREET - NIGHT
A new Lincoln Towncar driver side doorlock has been pulled.
INT. LINCOLN TOWNCAR - CONTINUOUS
Chance is crouched down, trying to stay out of sight.
He rips out the steering lock of the car, pulls out some
wiring and hot-wires the car.
The Lincoln Towncar takes off down the street.
INT. LINCOLN TOWNCAR - CONTINUOUS
Chance drives down the street in the freshly stolen car.
A cop car pulls out of a strip mall and pulls up behind the
Lincoln.
Chance nervously looks in the rear view mirror.
The cop car turns off of the main street.
Chance breaths a sigh of relief.
INT. ABANDONED WAREHOUSE - NIGHT
Four cars sit in the abandoned warehouse.
The Lincoln Towncar is one of them.
Johnny and Ray open the warehouse doors, Chance pulls a new
Cadillac into the warehouse. They close the doors.
Chance turns off the car and jumps out.
JOHNNY RAY
Man, you sure know how to pick Ôem.
CHANCE
That's me daddy, a real class act. Now
get me back to my pad, pronto.
They race off to the Buick sedan.
It drives off.
EXT. MARMALADE HOTEL/CHANCE'S ROOM - NIGHT
Chance creeps up the steps on the fire escape that leads up
to his room.
INT. MARMALADE HOTEL/CHANCE'S ROOM - NIGHT
Chance opens the window and crawls in. He's home free.
There's a knock on the door. He's startled.
He goes to the door to open it and finds Rebecca standing
there. Chance doesn't believe his eyes.
REBECCA
Aren't you going to invite me in?
CHANCE
What are you doing here?
REBECCA
I came to apologize.
CHANCE
Apologize for what?
REBECCA
For the way I behaved the other day. I'm
sorry, that wasn't very nice of me.
Well, are you going to let me in or not?
CHANCE
For what?
Rebecca enters anyway.
REBECCA
You just got to give me the name of your
decorator.
CHANCE
That's cute, real cute. Now what do you
want?
REBECCA
I already told you, I stopped by to
apologize.
CHANCE
How'd you find out where I live?
REBECCA
Charlie.
CHANCE
Charlie?
REBECCA
Yes, Charlie. Do you happen to have
anything to drink? It's awful hot.
CHANCE
(cynically)
The bars closed.
She smiles at Chance and begins to fan herself.
CHANCE (CONT'D)
Women, you're all trouble. You know how
to spell women? Capitol, T.R.O.U.B.L.E.
REBECCA
I'm sorry you feel that way. About that
drink?
CHANCE
I ain't got nothing to drink.
Chance takes her by the arm and escorts her to the door.
CHANCE (cont'd)
OK, out you go. Good-night. If that
fellow of yours, whatever his name is,
finds out you're here, my goose is cooked
and that's all I need. So, so long
honey. I got a long day tomorrow.
REBECCA
Wait a minute. Hold on! I just wanted
to talk to you for a while that's all.
CHANCE
Talk about what? There's nothing for us
to talk about.
REBECCA
Look, don't you get it? I like you. I
was hoping that... Oh, what the use,
just forget it.
She opens the door, Chance slams it shut.
CHANCE
You were hoping for what?
REBECCA
Look, I know what you think. You think
that I hang around some old guy so he can
get me things and I'll do just about
anything for him in return, well your
mistaken mister.
CHANCE
I never said nothing.
REBECCA
You don't have to. I know what you're
thinking, but you're wrong. He helped me
out. He took care of me when know one
else would, it's not what you think it
is.
CHANCE
What do you think that I think it is?
REBECCA
Look, I know as soon as this thing is
over, he'll be back in the money and
he'll leave me out in the cold. I heard
you were planning to get out of here,
once and for all. You wanted to start
something new. Make a clean break.
CHANCE
Charlie talks too much.
REBECCA
Maybe so, but he's the best friend you
ever had. Look, I saw the way you were
looking at me. I know you like what you
see.
CHANCE
Oh, I like what my eyes see. But, I
don't believe a word that my ears hear.
REBECCA
Oh, be reasonable, what good will it do
once you got your cut, I mean to have a
whole bunch of money and still be all
alone in this world. No good looking
young man should ever be alone.
(she smiles at him)
That's why god made women.
Rebecca lies down on his bed.
REBECCA (cont'd)
To be his companion.
CHANCE
What do you know about god?
REBECCA
More than I care to know.
She pats on the bed beside her for Chance to take a seat. He
does.
FADE TO:
INT. APOSTOLIC CHURCH OF THE GOSPEL OF CHRIST - DAY
Rebecca's stepfather stands at the pulpit giving a sermon to
a sparse, but enthusiastic crowd.
A young Rebecca (13), sits in the front row pew. It's
obvious even back then that Rebecca was a well developed
young woman for her age.
Rebecca fans herself from the intense heat that can't escape
the old wooden building.
Sitting next to Rebecca is her mother. The women sits
totally enthralled by the words of her new, preacher
husbands.
The preacher animatedly pounds the podium in his brand new
and expensive, three piece suit.
The congregation shouts out, Amen.
REBECCA
I was just a little girl, but I looked
like a grown woman physically anyway. My
momma had just recently got remarried to
a preacher man. He was charming and
charismatic. The whole congregation
would've followed him into hell.
And unbeknownst to them they were doing
exactly that. Following him straight
into hell.
EXT. APOSTOLIC CHURCH OF THE GOSPEL OF CHRIST - DAY
The preacher man and Rebecca get into his new Cadillac car.
The Cadillac drives away from the church parking lot while
his faithful and devoted female followers wave good-bye.
REBECCA
My momma would stay behind after the
service and look after things. My new
dear old daddy would always take me after
Sunday night service to Carvel for a nice
cold ice cream cone. And that wasn't
exactly all that we did together. I
always had to earn my ice cream.
EXT. ROADSIDE - NIGHT
The Cadillac pulls into some brush off of the side of a road.
INT. ROADSIDE/PREACHER'S CADILLAC - CONTINUOUS
A bible sits on the dash of the car.
The preacher unzips his trousers while the helpless young
girl looks on.
The preacher lays his hands on the back of her head. This
time it's not for the Christian act of laying on the hands.
The girls surprised face disappears into the preachers lap.
REBECCA
He would give me a personal sermon in
that fancy car of his, night after night.
He'd tell me that it was a sin for me to
allow the boys to touch me between my
legs. That thing, as he would say was
made for only one purpose, and that was
to conceive children. He told me that he
wanted to be the one to teach me how to
please a man. That it was one of his
fatherly duties. He taught me a good
lesson, he said that by using my mouth in
that manner, I could get just about
anything I ever wanted from a man. And
it didn't take me long to learn he was
right.
Rebecca's messed up face appears from between the preachers
lap. He zips his pants.
He takes a handkerchief from his fancy coat pocket and wipes
the girls lips.
REBECCA (cont'd)
He told me I learned real fast and that I
could do anything that I wanted if I put
my mind to it.
EXT. CARVEL ICE CREAM PARLOR - NIGHT
Rebecca sits next to the preacher man. She's licking an ice
cream cone with a stunned look that fills her eyes. The
vanilla ice cream drips down her hands.
REBECCA
Well, I did just that. I put my mind to
getting as far away from that man as I
could. I took to what I new the best.
INT. JOE'S DANCE CLUB - NIGHT
Rebecca's on the catwalk performing a burlesque style strip
tease for a club filled with eager men.
REBECCA
Pleasing men.
Rebecca removes her clothing, stripping down to her bra and
panties.
In the corner of the bar sits Robert Sinclair who's sipping a
bourbon and watching Rebecca perform her strip act.
REBECCA (cont'd)
One night I was in the middle of one of
my routines...
Rebecca removes her top.
Unnoticed by Rebecca the preacher enters the club and takes a
seat front and center.
REBECCA (cont'd)
And would you believe it, could you
believe it.
Rebecca walks down the catwalk and as she removes her panties
she's surprised to find the preacher and his cold eyes
staring back at her.
REBECCA (cont'd)
There he was, my momma's preacher man.
The preacher man smiles and claps his hands.
The preacher man reaches into his pocket and tosses a few
bills her way.
Rebecca tries to continue her dance, but she begins to shake
in shame at the sight of the preacher man.
REBECCA (cont'd)
I couldn't believe my eyes. I ran as far
away from him as I could and there he
was, right before my very eyes. Praise
the lord, he said to me.
Rebecca picks up her clothing and rushes from the stage. The
audience begins to boo her.
The preacher man sits back and orders a beer.
REBECCA (cont'd)
I ran from the stage. I was running once
again.
INT. STRIP CLUB/DRESSING ROOM - CONTINUOUS
Rebecca sits in the back dressing room crying her eyes out in
front of a mirror.
There's a knock at the door. Robert Sinclair enters.
REBECCA
Not only had he taken special interest in
me, but he owned the club as well. He
knew there was something wrong.
Rebecca falls into Sinclair's arms crying.
REBECCA (cont'd)
That was when I told him who that man
was.
Sinclair pats Rebecca on the back and turns to exit the room.
Rebecca grabs him, pleading with him not to do hurt the
preacher.
REBECCA (cont'd)
I pleaded with him not to do anything.
Sinclair exits the back room.
REBECCA (cont'd)
My words fell on deaf ears.
EXT. STRIP CLUB/PARKING LOT - NIGHT
The preacher is dragged across the parking lot by several
large men that look like bouncer types.
He's beaten severely, while his nice new Cadillac car is
totally destroyed.
Almost unconscious the preacher is lifted from the ground to
his knees.
One of the larger men, the bartender steps in front of the
preacher. He unzips his trousers.
REBECCA
He pleaded with them not to do it.
The preacher man is forced to perform oral sex on the
bartender.
INT. BUICK SEDAN - CONTINUOUS
A Buick sedan drives through the strip club parking lot.
Rebecca is seated in the passenger seat and watches the
preacher man perform his obligation.
When the preacher finished, the Buick sedan's window roles up
and Sinclair drives off.
REBECCA
His words fell on deaf ears.
The preacher man drops to the ground.
INT. MARMALADE HOTEL/CHANCE'S ROOM - NIGHT
Chance lies next to Rebecca on his bed.
CHANCE
That's a touching story but, what's the
difference? I mean, you still ended up
with an old man that expected your
personal favors.
REBECCA
(slightly laughing)
No. There's is a big difference.
CHANCE
I'm waiting to hear this.
REBECCA
He's never once touched me in that way.
He's impotent. Don't you see, he can't.
Rebecca turns to Chance.
REBECCA (cont'd)
I need a real man. One that can take
care of all my needs.
Rebecca kisses Chance.
There's a knock on the door.
CHANCE
Talk about timing.
Chance opens the door. It's Charlie.
CHANCE (cont'd)
What're you doing here?
Charlie's all nervous and sweating profusely.
CHANCE (cont'd)
You look terrible. What's wrong?
CHARLIE
You got to help me. I need it. I need
it bad.
Charlie enters.
CHANCE
You got to pull yourself together. We go
tomorrow morning.
CHARLIE
I can't. Not without a fix.
CHANCE
You got to pull yourself together. We
can't pull it off without you.
Charlie shows Chance his nervous shaking hands.
CHARLIE
I need it. You don't understand. I need
it bad, or I won't be of any use.
CHANCE
(to Rebecca)
You got to get out of here.
REBECCA
Sure. I understand.
(to Charlie)
You take it easy Charlie.
Rebecca leaves as Chance leads Charlie to the bed so he can
lie down.
CHANCE
I know what to do. Just stay calm. I'll
be right back.
Chance leaves the room.
EXT. DRUG REHABILITATION CENTER - LATER SAME NIGHT
Chance creeps down the alley toward the back door.
Chance manages to open a window and slips in.
The alarm goes off.
INT. DRUG REHABILITATION CENTER - CONTINUOUS
Chance comes upon the room with the sign that reads; KEEP
OUT.
Using an old crowbar, Chance pries the door open and slips
into the room.
Chance takes out a flashlight and shines in on the stacks of
drugs that are piled up on numerous shelves.
He finds vials of methadone. Chance places some of the vials
into his pocket and races out of the room.
He clamors out of the window.
EXT. DRUG REHABILITATION CENTER - CONTINUOUS
Lenny stands in the window above. He watches as Chance
disappears into the night.
INT. MARMALADE HOTEL/CHANCE'S ROOM - NIGHT
Prepared to inject some of the stolen drugs, Charlie sticks a
needle into his vein.
Chance watches Charlie calmly sit back on the bed and closes
his eye
FADE TO BLACK.
INT. ABANDONED WAREHOUSE - EARLY MORNING
The gang are going over the last minute details of the plans.
Charlie, Chance, Sinclair and the two thugs are present.
There are several security uniforms hanging on an iron rod.
Sinclair passes out some eerie looking masks that can easily
be stored in the mens pants pockets.
Rebecca sits in the background eyeing Chance.
SINCLAIR
We only got time to go over this one last
time, Charlie you block the street with
your car.
(to Chance)
You make sure you don't forget to pick up
Charlie.
CHANCE
I got it. How many times do we got to go
over this?
SINCLAIR
Till we get it absolutely perfect.
RALPH
I don't want to wear this mask.
SINCLAIR
I don't care what you want. You're going
to wear the mask.
RALPH
Why do we gotta wear these masks anyway?
CHANCE
What kind of question is that?
JOHNNY RAY
Just wear the mask alright?
SINCLAIR
There'll be cameras everywhere. Do you
want the whole world to recognize you?
RALPH
I just think that it'll get in my way.
SINCLAIR
I'm so sorry to hear that you think
you'll be inconvenienced. Just wear the
mask and do what you're told. Christ,
you'd think you were some kind of prima-
donna.
RALPH
C'mon, I was just busting your balls. Of
course I'll wear the stinking mask.
SINCLAIR
If you gentlemen are finished fooling
around, I'd like to get back to business
here.
CHANCE
Let's get this straight. We park the
cars outside of the credit union on
eighth street. Charlie waits for us our
signal and then we...
FADE TO:
EXT. EIGHTH STREET - DAY
Three cars pull up and park on eighth street.
Charlie remains in one of the cars.
Sinclair, Chance, Ralph and Johnny Ray dressed in security
uniforms and caps exit the remaining two vehicles.
They walk toward the credit union building.
They enter a staircase that leads up to the second floor.
INT. CREDIT UNION BUILDING/STAIRCASE - CONTINUOUS
Sinclair, Chance, Ralph and Johnny Ray walk up a flight of
steps toward the credit union office.
As the men walk, they place their masks over their faces and
pull sacks out from under their jackets.
INT. CREDIT UNION OFFICE - CONTINUOUS
The credit union office employees go about their daily
routine.
The men rush into the office with their guns drawn.
TWO TELLERS, office workers and a the OFFICE MANAGER are
surprised by the attack. They raise their arms and are
frozen in fear.
SINCLAIR
(shouting aloud)
This is a robbery.
JOHNNY RAY
(violent in his demeanor)
Everybody down. Move it! Move it!
Johnny Ray helps one of the tellers to the floor with a
pistol at her head. The other credit union employees hit the
floor.
SINCLAIR
Who's the office manager?
The office manager, a smallish man wearing thick bifocals
speaks.
OFFICE MANAGER
I'm the manager.
SINCLAIR
(to Chance)
Take this man to the safe. And do
exactly what he tells you.
The office manager leads Chance to the safe.
Chance, Ralph and Johnny Ray begin to place large amounts of
money in their sacks from the teller stations.
Sinclair stands at the door, gun drawn and watches his watch.
SINCLAIR (CONT'D)
(shouting)
Less than one minute.
Chance is lead to a back room and is surprised that the door
to the large safe is not locked.
CHANCE
Get in there.
The office manager enters the safe.
INT. CREDIT UNION/SAFE - CONTINUOUS
Chance enters the safe and can't believe his eyes.
Piles of money sit on moveable carts.
CHANCE
Unbelievable.
SINCLAIR (VO)
Thirty seconds.
Chance rapidly places the money in his sack.
CHANCE
(to the office manager)
Don't worry about a thing. We don't
intend to hurt anyone. We just want the
money.
Chance continues filling his sack.
CHANCE (cont'd)
This money insured?
OFFICE MANAGER
I believe so.
CHANCE
Then you don't have nothing to worry
about.
SINCLAIR
Hurry up in there. Let's go.
Johnny Ray enters the safe with the shaken employees at
gunpoint. He helps Chance load up the remaining bills.
SINCLAIR (VO)(cont'd)
We're over time. Let's get moving.
Chance and Johnny Ray race out, but Chance has something to
say before he locks them into the safe.
CHANCE
(to the credit union employees)
Thank you very much for your full
cooperation.
He tips his hat and closes the door.
INT. CREDIT UNION OFFICE - CONTINUOUS
Chance and Johnny Ray leap over the teller counter.
SINCLAIR
What the hell took you so long?
CHANCE
Let's just get out of here.
The men exit the credit union.
INT. CREDIT UNION HALLWAY - CONTINUOUS
As the men race out of the credit union and into the hallway.
They're surprised by three armed security guards who are
coming up the steps.
The security guards notice that the men are removing their
masks and carrying sacks of money.
Sinclair pulls his gun and shoots one of the guards almost
point blank.
The other guards race back down the stairwell, firing back at
the gang of robbers.
CHANCE
Shit, now what are we going to do?
SINCLAIR
There's only one thing we can do.
Sinclair unloads his clip toward the only exit, forcing the
security guards back down the stairwell and out onto the
street.
They race toward the building entrance.
Sinclair exits the building shooting it out with the security
guards. Johnny Ray's followed by Ralph and then Chance.
EXT. CREDIT UNION BUILDING - CONTINUOUS
The security guards take cover as they begin to shoot it out
with Sinclair, Johnny Ray and Ralph.
Suddenly, Charlie races one of the stolen vehicles up to
block the driveway.
Johnny Ray and Sinclair use the vehicle to make a run toward
eighth street.
Charlie begins to shoot at the security officers. He exits
the vehicle and is shot. Charlie falls against the building.
Chance runs to his aid.
CHANCE
C'mon Charlie, we got to get out of here!
Chance notices that Charlie is bleeding bad.
CHANCE (cont'd)
Jesus, Charlie you're a mess.
He tries to lift Charlie and run toward eighth street.
CHARLIE
I ain't gonna make it. You better get
out of here.
Bullets crash all around Chance as he tries to take cover.
CHANCE
I can't leave you like this.
Suddenly, the sound of police sirens come from the distance.
CHANCE (cont'd)
You don't have any choice.
Charlie dies in Chance's arm.
CHANCE (CONT'D)
So long, Charlie.
Chance softly places Charlie's head on the ground. He gains
his composure, pops in a new clip and begins to fire wildly
at the security guards. He takes off.
As he races toward eighth street, the security guards that
killed Charlie pursues him on foot. The guards shots land
near Chance as he dodges for cover.
Chance returns fire, killing the security guard. He freezes,
realizing that he just killed someone.
Sinclair opens fire, as he pulls one of the cars up to
Chance. He throws the door open for Chance enter.
SINCLAIR
What the hell are you doing? Let's get
out of her.
Sirens get louder as the police vehicles get closer to the
scene.
Sinclair fires at the remaining security officer as Chance
makes it to the car.
The car races off as the last security guard races to the
street firing as the vehicle turns the corner and disappears.
EXT. CITY STREET - CONTINUOUS
Police sirens continue to wail in the distance.
The car Sinclair drives pulls over quickly to the curb.
Sinclair and Chance rapidly pull off their security uniforms.
Chance and Sinclair jump out of the car.
They place the sacks of money in one of the cars trunks.
Sinclair jumps in.
SINCLAIR
I'll see you at the warehouse. Good
luck.
Sinclair drives off.
Chance goes to another vehicle and drives off in a different
direction.
EXT. ABANDONED WAREHOUSE - NIGHT
Chance pulls his car up to the warehouse. He gets out of the
car. The place is silent.
He slowly moves toward the warehouse weary of anything out f
the ordinary.
Realizing that know one's around he rushes into the
warehouse.
INT. ABANDONED WAREHOUSE - NIGHT
Know one's around.
CHANCE
Hey, where is everybody?
Chance has been duped. He begins to smash anything in his
path.
He falls to the floor.
CHANCE (CONT'D)
(crying aloud)
Charlie. Charlie.
INT. MARMALADE HOTEL/HALLWAY - NIGHT
Chance walks up the steps that lead to his room.
One of the tenants, RAYMOND (30), peeks out of his doorway.
Raymond is a section 8 tenant that has several related mental
problems.
RAYMOND
There was a man that came by to see you.
CHANCE
Yeah, what of it?
RAYMOND
He was asking all kinds of questions
about you. But, I didn't tell him
anything.
Raymond follows Chance down the hallway.
RAYMOND (cont'd)
He was asking questions about a robbery
that took place today. He said there was
a shoot out and some men were killed.
CHANCE
What does that have to do with me?
RAYMOND
He thinks you were in on it.
Chance gets to his door.
CHANCE
Thanks Raymond. Thanks for the
information.
RAYMOND
If I was you, I'd get out of here. He
was wanting to take you away. He said,
if I saw you to give him a call.
Raymond hands Chance a card. Chance sees that it's Hendricks
card.
Chance enters his room.
He stashes his gun under the mattress. He sits in his chair
not knowing what to do.
There is a knock at the door.
Chance leaps from the chair and runs out on the fire escape.
As he does he recognizes the voice of Rebecca.
Rebecca repeatedly knocks at the door.
REBECCA
It's me Rebecca. Let me in!
Chance steps back into the room and opens the door. Gasping
for breath as if she has been running.
REBECCA (cont'd)
Where have you been? I've been looking
all over for you!
CHANCE
Charlie didn't make it, he got shot by
one of the security guards.
REBECCA
I know, its all over the news.
CHANCE
It was bad. Real bad. Nothing happened
like it was supposed to. Nothing!
REBECCA
You've got to get out of here. They'll
be coming to look for you.
CHANCE
The cops have already been asking
questions. What am I going to do? I
went to the warehouse and nobody was
there. They ripped me off. Now what?
He hangs his head.
CHANCE (cont'd)
And, Charlie poor Charlie, he never had
a chance.
REBECCA
Why are you so concerned about that damn
junkie.
CHANCE
Don't say anything about Charlie.
REBECCA
He's the one who got you into this mess.
CHANCE
What are you talking about?
REBECCA
You want to know something? You want to
know what I know?
Suddenly, Chance grabs Rebecca and begins to shake her.
CHANCE
What you know? What the hell are you
talking about?
REBECCA
Charlie set you up.
CHANCE
Charlie wouldn't do that.
REBECCA
He would and he did.
CHANCE
What are you saying?
REBECCA
Charlie was a junkie and he cared about
one thing and one thing only and that was
his next fix. What I'm saying is Charlie
was in on it with the others. They
planned all along to use you for the job
and then cut you out of your share.
Chance can't believe his ears. He begins to fall to pieces
apart.
REBECCA (cont'd)
I know where they are.
CHANCE
(leaping up)
Where are they? Tell me where they are.
Chance shakes Rebecca wildly.
REBECCA
Stop it you're hurting me.
CHANCE
Where are they? Where did they go with
the money?
Rebecca pulls herself away from Chance.
REBECCA
Why do you think I came here?
CHANCE
I don't know why you're here. Why are
you here?
REBECCA
To tell you where they went with the
money. Now we can have it all.
CHANCE
I'll kill them. Each one of them.
Chance smashes his fist into a mirror making a bloodied mess
out of his hand.
REBECCA
You got to keep your head.
She sees that his hand is bleeding bad.
REBECCA (cont'd)
You can't go after them like this.
She rips a bedsheet and wraps his hand.
REBECCA (cont'd)
They're dangerous men. They'll kill you
if they have the opportunity.
CHANCE
They won't get the chance. Just tell me
where they are?
REBECCA
You can find them at a place called Joe's
bar.
CHANCE
Where is it?
REBECCA
It's on Broadway and fourteenth. But,
they're not there yet. They plan to meet
at midnight. You still have some time.
CHANCE
That's beautiful. They thought they'd
get away with it. I can't wait the see
the look in their faces when I walk in
on them. I just wish Charlie was still
around. I'd kill him too.
Rebecca reaches into her purse and pulls out a set of car
keys.
REBECCA
Here's the keys to the Buick and the keys
to the club. They'll be in the back
room. They won't be expecting you, so
you can take them by surprise.
CHANCE
(taking the keys)
Right.
Rebecca smiles at Chance.
REBECCA
Don't screw this up.
CHANCE
Honey, we're gonna take that money and
make a run to Costa Rica. A new start.
I heard you can get a couple of
housemaids and live like a king. I'll
fish all day and not have a care in the
world.
REBECCA
There won't be any need for a couple of
housemaids. I won't let you out of my
sight.
Chance scribbles something on a piece of paper.
CHANCE
You know where the abandoned warehouse is
out on highway 61 right?
REBECCA
Yeah, I think I can find it.
CHANCE
OK, there's an old hotel a couple of
exits east of it. I think it's called
Paradise Cove. It ain't paradise. It's
a dump, but it's gonna be the last dump
either one of us ever stays in again.
You go on out there and wait for me.
We'll hide out the night and then be on
our way.
REBECCA
You wouldn't leave me stranded would you?
CHANCE
Not a chance in the world.
Chance kisses her. They hug.
CHANCE (cont'd)
Now, go on. Get out of here.
Rebecca exits the room.
Chance starts to throw his meager belongings together.
There is a knock at the door. Chance rushes to the door and
opens it.
CHANCE (cont'd)
Did you forget something?
Hendricks stands at the door. Chance freezes in place.
Hendricks enters.
HENDRICKS
Nice to see you Loomis.
He sees that Chance is packing.
HENDRICKS (cont'd)
Were you planning on going somewhere?
CHANCE
No, I was just...
HENDRICKS
(interrupting)
You were just what?
Chance is extremely nervous.
CHANCE
I was just straightening things out.
HENDRICKS
Word is you missed work today? Any
particular reason?
CHANCE
I wasn't feeling to well.
HENDRICKS
But, you're feeling well enough to do a
bit of spring cleaning I see.
CHANCE
Nah, I still don't feel to good.
HENDRICKS
That must be the reason you also missed
out on our little meeting today.
CHANCE
Yeah, I was just going to give you a call
about that.
HENDRICKS
I'm sure you were. I'm sure you were.
CHANCE
I'm real sorry about missing my
appointment. I was going to give you a
call. I'm really not feeling to well.
HENDRICKS
Yeah, you don't look to good either. It
wouldn't have anything to do with the
rehabilitation center being broken into?
Chance plays dumb.
CHANCE
I didn't hear anything about that.
HENDRICKS
You didn't?
Chance shakes his head no.
HENDRICKS (cont'd)
That's funny, one of the patients said he
saw someone that looked alot like you
running from the scene.
CHANCE
C'mon, you know that dope ain't my bag.
HENDRICKS
Who said anything about dope?
Chance keeps his mouth shut.
HENDRICKS (cont'd)
And you don't happen to know anything
about a robbery that took place at a
security credit union either?
CHANCE
Yeah, I heard about it. Look, I was
always strictly small time. Besides,
when did I ever get involved with things
that big.
HENDRICKS
I'd say since your old jail pal, Charlie
was identified as one of the robbers that
was killed during the hold-up. That's
too coincidental Loomis. You missed work
today. You missed your meeting with me,
and now it looks like your about to skip
out of town.
Chance starts to run. Hendricks trips him up and Chance
falls to the floor.
Hendricks pulls out a gun.
HENDRICKS (cont'd)
Alright. Start talking.
CHANCE
I don't know anything.
Hendricks lifts Chance and tosses him against the wall.
Hendricks quickly frisks Chance and cuffs his hands behind
his back.
Hendricks begins to toss the place looking for a clue.
HENDRICKS
You're one of the stupidest men I've ever
met Loomis. And I know you'd have to be
a complete idiot to have any of that
money in this room. But, if it's here
I'll find it.
CHANCE
I don't have any money and I didn't have
anything to do with no robbery. You've
got to believe me.
Hendricks tosses the mattress and finds the gun.
HENDRICKS
What have we here?
Chance sinks.
HENDRICKS (cont'd)
Did I mention that two security guards
were killed in the shoot-out? I wonder
what ballistics will find out about this
gun. Oh, the stories they do tell.
Hendricks places Chance's gun in his belt. He places his gun
at Chance's back.
HENDRICKS (cont'd)
Alright, Loomis let's go.
Hendricks turns Chance around.
Chance knees Hendricks in the balls and rushes him. They
both hit the floor.
They struggle for Hendricks gun. Chance crawls toward the
gun and Hendricks pulls at Chance's leg.
Chance manages to grab the gun from behind his back and point
it straight at Hendricks.
CHANCE
Alright, now tough guy. You're gonna do
as I say, or I'll blow your balls off.
Chance sticks the gun in Hendricks groin area and pulls back
on the hammer.
CHANCE (cont'd)
Get out those keys and do it nice and
slow. Do it or I swear I'll blow your
balls right off.
Hendricks nervously pulls out the keys.
CHANCE (cont'd)
Now, don't do anything sudden you stupid
son of a bitch. Just unlock these cuffs.
Hendricks unlocks the cuffs.
Chance stands. He kicks the other gun across the floor of
the room.
CHANCE (cont'd)
Jesus, you're about as dumb as the day is
long.
Chance kicks the cuffs toward Hendricks.
CHANCE (cont'd)
Now you're gonna cuff yourself to the
bedframe.
Chance kicks him.
CHANCE (cont'd)
Do it, I don't have all night.
Hendricks cuffs himself to the bedframe. Chance tosses the
key out the window.
CHANCE (cont'd)
Now, I'm going to teach you a long
overdue lesson.
Chance pistol whips Hendricks over and over. Again and
again, brutally.
HENDRICKS
(whining and pleading)
Stop, please don't. Please don't.
Please. No.
The cries of Hendricks cease.
Chance stands and kicks Hendricks in the face over and over,
again and again.
Chance, a sweating and hysterical mess, runs out of the hotel
room.
Hendricks lays dead in a pool of blood.
EXT. JOE'S BAR - NIGHT
Chance stands on the fire escape of a building outside of
Joe's bar. He notices Sinclair, Johnny Ray and Ralph
standing around a table and counting out the money from the
robbery.
Chance slides down the fire escape and makes his way toward
the front door.
He fumbles with the keys and finally finds the one that
unlocks the door.
He pulls out his gun and slips inside the bar.
INT. JOE'S BAR - CONTINUOUS
The wide-eyed Chance slowly moves through the empty barroom.
He sees the worn stage that Rebecca had once danced on.
He notices the stool that Sinclair had sat while he drank his
bourbon during better days, while naked women danced for his
patrons.
Chance makes his way toward the back room.
INT. JOE'S BAR/BACK ROOM - CONTINUOUS
Chance stands in the door and listens as Sinclair and the
others count out the money.
SINCLAIR
(laughing)
Well, that's it. More than two and a
half million dollars, just like we
thought. It's too bad about Charlie.
JOHNNY RAY
Yeah, too bad. I guess we'll have to
donate his share to the presidents war on
drugs.
RALPH
I got a better idea. Why don't we keep
it ourselves?
SINCLAIR
Look boys, since everything went so well.
I've had a change in heart. You guys
deserve a better cut.
RALPH
I say.
JOHNNY RAY
Now you're talking.
SINCLAIR
What do you say you guys take six hundred
grand a piece, huh?
Chance steps into the room.
CHANCE
What do you say if I say no deal.
Sinclair, Johnny Ray and Ralph are surprised to see him.
SINCLAIR
Boy it's good to see you. I was worried
sick. I thought you got picked-up by the
cops.
CHANCE
You thought wrong. Now step away from
the money and keep your hands in the
clear where I can see them.
Sinclair doesn't answer.
Ralph goes for his gun.
CHANCE (cont'd)
(pulling back on the hammer of
his gun)
I wouldn't do that if I was you.
Ralph drops his hands. Chance steps into the room and begins
to pack up the money.
SINCLAIR
Now wait a minute, you got it all wrong.
CHANCE
Do I? You played me for a sucker sending
me on a wild goose chase, but your plan
backfired.
Chance steps over to Ralph and removes his gun.
SINCLAIR
Now, don't do anything you'll regret.
CHANCE
(to Sinclair)
I already have.
Chance continues to load up the money, while he keeps an eye
on Sinclair and his men.
Suddenly, the bartender begins to sneak into the room. He
moves toward Chance with a large baseball bat in his hands
ready to bust open his head.
Chance has all the money packed away.
CHANCE (cont'd)
It's been nice doing business with you.
Look me up some time.
The bartender takes a swipe at Chance's head missing as
Chance ducks out of the way. He shoots the bartender in the
face.
Johnny Ray goes for his gun and shoots at Chance hitting him
in the arm.
Chance shoots at Johnny Ray and hits him in the chest twice.
Sinclair dives out the window. Chance runs to the window and
shoots a couple of times toward Sinclair.
Sinclair hits the pavement and crawls around the corner of
the building and disappears.
Chance turns to Ralph who's got his arms raised into the air.
Chance steps to Ralph.
RALPH
No, please don't. Please!
Chance unloads the gun into Ralph's head. He looks around at
the surrealistic mess he's left.
He grabs the money and races out of bar.
EXT. BUICK SEDAN - A LITTLE LATER
Chance is driving down highway 61.
EXT. PARADISE COVE HOTEL - NIGHT
Chance pulls into the hotel parking lot.
The hotel attendant, an OLD REDNECK (65), peers out of the
hotel's office window.
Chance pulls up to one of the hotel rooms. Rebecca opens the
hotel room door.
Chance shuts off the car, turns off the lights and exits the
car.
He opens the trunk and pulls out the large sack of money as
an extremely excited Rebecca approaches him.
REBECCA
I've been worried sick about you.
Chance grabs her and picks her up.
CHANCE
We did it! We did it.
He dances around in circle and finally settles down a bit.
CHANCE (cont'd)
Look at all that money. Just look at it!
He fumbles through the bag.
REBECCA
I never seen that much money in my entire
life. We need to get it in the hotel
room quickly.
Chance reaches to pick up the sack. Rebecca notices his hand
has gotten worse.
REBECCA (cont'd)
Let me take a look at that hand.
She takes his hand.
REBECCA (cont'd)
You need some bandages. We also need to
get rid of this car. You take the money
into the room and get yourself cleaned
up. I'm going to pick up some supplies
and get rid of this car.
Chance agrees, he yanks the sack out of the trunk.
CHANCE
You hurry on back.
They kiss real hard.
Rebecca jumps in the car and starts it. As she begins to
back out of the space she opens the window.
REBECCA
I love you.
CHANCE
I love you too honey.
They kiss again.
Chance watches as the car pulls away. He enters the hotel
room.
INT. PARADISE COVE HOTEL/ROOM - NIGHT
Chance drops the sack of money.
CHANCE
(shouting)
Yahoo.
He begins to take off his clothes and prepare for a shower.
He enters the bathroom and then goes back into the room and
picks up the sack of money.
He locks himself into the bathroom with the sack of money.
INT. DRUG STORE - NIGHT
Rebecca stands at the counter purchasing some first aid
supplies.
INT. PARADISE COVE HOTEL/BATHROOM - NIGHT
Chance takes a shower. He's happier than he's ever been.
A large amount of blood is washed down the tub.
Chance whistles the song, Unchained Melody.
EXT. DARK STREET - NIGHT
Rebecca parks the Buick in a deserted parking lot.
She exits carrying a paper bag and begins to walk away.
INT. PARADISE COVE HOTEL/ROOM - NIGHT
Rebecca knocks on the door.
Chance grabs his gun and peeks through the windows curtains.
CHANCE
Who is it?
REBECCA
It's me silly. You expecting someone
else?
Chance opens the door and Rebecca has a bottle of Champagne
and the first aid supplies.
She falls into his arms laughing.
REBECCA (cont'd)
Boo.
They laugh.
Chance peeks out of the hotel room making sure the coast is
clear and then locks the door.
Rebecca opens the Champagne bottle and it spurts a fountain
of foam. She takes a sip and passes it to Chance.
REBECCA (CONT'D)
I couldn't find any Champagne glasses at
this time of night.
CHANCE
A toast. To us.
REBECCA
To us.
They each take a swig.
CHANCE
Did you get rid of the car?
REBECCA
Yes, I did.
Chance looks at the Champagne bottle.
CHANCE
I never had Champagne before. I'm not
sure if I like it.
Rebecca takes a handful of the money out of the sack and
tosses it in the air.
Chance grabs Rebecca and tosses her onto the bed. He begins
to kiss her hard and hot.
REBECCA
Wait a minute.
Chance doesn't listen to her.
REBECCA (cont'd)
Wait!
CHANCE
Wait for what?
REBECCA
You're making a bloody mess of
everything. Let me fix that up.
She gets up, grabs the first aid supplies and begins to fix
Chance's bad hand.
REBECCA (cont'd)
Look at this! You know you should be
more careful.
CHANCE
It don't hurt or nothing.
REBECCA
Still. Men, you dummy.
CHANCE
Honey, we did it. We really did it. You
ain't never gonna have to take your
clothes off for no man you don't want to.
Never again.
REBECCA
That's the nicest thing anyone ever said
to me.
She continues to work on his hand as Chance drinks the
Champagne. He give Rebecca a swig.
She finishes working on his hand.
REBECCA (cont'd)
How's that?
CHANCE
I don't feel a thing.
REBECCA
Paradise Cove, what a name for a hotel
like this. The only Paradise Cove I ever
heard of is in Malibu.
CHANCE
Well, we'll soon be in paradise. Just
you wait and see.
He grabs her and tosses her down on the mattress. Again he
begins to manhandle her.
REBECCA
Chance?
CHANCE
Yeah, baby?
REBECCA
What are we going to do now?
CHANCE
We're gonna leave the states. Drive
south to Mexico and then hop a plain to
Costa Rica.
REBECCA
What made you decide on Costa Rica?
CHANCE
Once, when I was locked up, I got hold of
a National Geographic magazine and saw a
whole spread on the place. Man, it's
beautiful, mountains, crystal blue water.
All kinds of crazy animals that are
running wild and free.
REBECCA
Like what kind of animals?
CHANCE
There was these strange looking birds and
tiny little monkey like creatures that
live in trees.
REBECCA
Really?
CHANCE
Yeah, I knew that when I made it out I
was going to high tail it out of this
crazy place and get myself to paradise.
And the fishing, there ain't no place on
the planet like it.
REBECCA
I never been fishing.
CHANCE
It won't be long now.
REBECCA
Chance, are you going to marry me?
CHANCE
Just as soon as we cross the border.
He jumps up.
CHANCE (cont'd)
Were gonna have a real fine home. And a
house full of young ones. And them kids
will want for nothing. We'll spoil Ôem
rotten.
Chance begins to kiss her softly.
CHANCE (cont'd)
I feel all warm inside.
REBECCA
What do you mean?
CHANCE
I mean, I never felt so good in my life.
Real serene, like nothing could ever go
wrong again.
They begin to make love.
REBECCA
Don't cum inside me.
FADE TO BLACK.
INT. PARADISE COVE HOTEL/ROOM - NIGHT
Rain begins to run down the hotel window pane. The soft
sound of rain is heard as it falls into the street outside.
Chance lies sleeping in the bed. He looks content.
Rebecca lies next to him sleeping.
EXT. PARADISE COVE HOTEL - EARLY MORNING
The sun rises on the horizon.
Everything seems peaceful and normal.
Swat police slowly and quietly begin to converge onto the
hotel grounds.
INT. PARADISE COVE HOTEL - CONTINUOUS
Chance lies sleeping in the bed.
EXT. PARADISE COVE HOTEL - NIGHT
The Swat team is dug in. The hotel is completely surrounded.
The Swat team leader, SERGEANT MORRISON (45), speaks over a
microphone.
MORRISON
Chance Loomis, this is Sergeant Morrison.
We've got the hotel completely
surrounded.
INT. PARADISE COVE HOTEL/ROOM - NIGHT
MORRISON (VO)
Come out with your hands raised over your
heads.
Chance begins to wake from his deep sleep.
MORRISON (VO)(cont'd)
Chance Loomis, we've got the hotel
surrounded. There is no way out.
Chance reaches over to where Rebecca was lying in the bed.
CHANCE
What's that?
He touches the bed where Rebecca had been lying. Rebecca's
gone.
Chance sees his gun on the bed where Rebecca had been laying.
He leaps from the bed and surveys the room. He sees that
Rebecca is gone and so is the money.
He knows he's been had. Chance sinks into himself.
He grabs his gun and runs to the window. He peeks out of the
curtain and sees that the parking lot is filled with police
vehicles.
He slides down the wall. The rain that roles down the window
reflects like tears running down his face.
MORRISON (VO)
Chance Loomis, this is Sergeant Morrison
speaking. Come out with your hands up.
Chance covers his face with his hands. He knows that he's
cornered.
He stands and walks into the bathroom. He turns on the light
and looks at his reflection in the mirror.
CHANCE
You really did it this time.
MORRISON (VO)
Loomis, come out with your hands up.
Chance runs to the window and breaks it out with his gun.
He fires several shots toward the police.
CHANCE (cont'd)
(shouting out the window)
You come in and get me.
He fires a few more rounds.
Police return the fire.
MORRISON (VO)
Hold your fire. Throw out your gun and
I'll see to it that you won't be hurt.
CHANCE
(yelling out the window)
I ain't going back to prison.
The rain really begins to come down.
FADE TO:
EXT. PARADISE COVE HOTEL/ROOM - LATER SAME DAY
The hard rain continues as the sun begins to set.
Sergeant Morrison watches the hotel room. He nods his
approval for a tear gas cannister to be shot into the hotel
room.
The tear gas cannister explodes into the hotel window.
INT. PARADISE COVE HOTEL/ROOM - NIGHT
Chance covers the cannister with the hotel room's mattress.
Chance grabs a towel and covers his face.
CHANCE
(shouting out of the window)
You want me to come out. OK, I'll come
out.
Chance stands and removes his clothing. He moves to the
door. He grins to himself.
He hesitates for a moment and then throws the door open.
EXT. PARADISE COVE HOTEL/ROOM - NIGHT
Chance rushes out of the hotel room racing into the pouring
rain with his gun rapidly firing its last rounds.
Swat police take aim. They fire.
Freeze Frame. Chance begins to fall to the muddy ground.
Freeze Frame. Chance's gun falling from his hand.
Freeze Frame. Chance continues to fall to the muddy ground.
FADE TO:
EXT. COSTA RICA/A RAINFOREST COVE - DAY
Slow Motion. Chance has leaped from the top of a waterfall
toward the clear blue water below.
He lands into the water and begins to ascend toward the
surface.
He breaks the surface as if he has exploded into a new world.
He shakes the water from his face.
There is an old man fishing on the shore. Chance looks
toward the old man. He recognizes him and smiles.
CHANCE
Pops.
He swims toward the old man.
EXT. LOS ANGELES/CITY STREET - NIGHT
The rain pours down from the sky.
The Buick sedan cruises down a city street.
INT. BUICK SEDAN - CONTINUOUS
Rebecca steers the car down the city street.
The sack of money sits in the back seat of the car.
EXT. LOS ANGELES/CITY STREET - CONTINUOUS
A light changes to red.
The Buick sedan stops at the light.
INT. BUICK SEDAN - CONTINUOUS
The light changes to green.
Rebecca continues on.
Eventually the Buick sedan pulls over to the curb.
A loan figure carrying a black umbrella and wearing a trench
coat and hat, crosses in front of the Buick. Rebecca watches
him as he continues toward the vehicle.
The man moves toward the driver side door of the car.
Rebecca unlocks the door and slides over. The man drops the
umbrella in the street.
The man gets in the car. He removes his hat.
Robert Sinclair looks into the backseat of the car. He sees
the money.
Sinclair removes his hat and tosses it out the window. He
removes his trench coat, tossing it in the backseat.
Sinclair reaches into his pocket and pulls out a gun.
Rebecca looks at the gun.
Sinclair smiles at Rebecca, she smiles back.
Sinclair tosses it out the window.
EXT. LOS ANGELES/CITY STREET - CONTINUOUS
The car moves forward.
The C's in the sign of, Joe's Dance Club blow out.
The gun lies dormant in the street as the wind picks up.
The open umbrella begins to come apart at the seams, and is
blown down the city street.
The umbrella continues to tumble down the street.
CUT TO:
INT. BUICK SEDAN - NIGHT
Sinclair and Rebecca sit in stone cold silence.
EXT. LOS ANGELES/CITY STREET - NIGHT
The Buick sedan continues down the city street as the heavy
rain continues to fall from the sky.
FADE OUT.
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