TRUE romance



«True Romance» was Tarantino`s first script. He originally wrote it for himself, but made his buddy Roger Avary as his partner.

When the script first was tendered, no one would touch it. Largely because of the controversial dialogue- racist utterings and extreme violence. The movie was since restructured in a more linear format for shooting, and the raw ending was changed. The original script structure meant that an unsuspecting innocent reading for the first time could certainly be hit in the face with some provocative material.

On pages 1 and 2, for example, there was a debate on whether one would or would not have homosexual sex with Elvis.

Also in the first script Clarence died. A bullet hit him in his eye.

These things and many other was changed in the new script. Into a lighter version.

« True romance» is like any other Quentin Tarantino films, full of famous actors. Names like: Christian Slater, Val Kilmer and Samuel L. Jackson. Some of these actors even have small, minor roles.

«True Romance» is Tarantino`s most personal film. The hero in the movie Clarence Worley is a total movie kid, according to Tarantino, lives and breathes movies, positively revelling in trash culture along the way. Tarantino himself loves movies and all this stuff Clarence love. Through Clarence, Tarantino is able to indulge his obsessions- Elvis, kung- fu movies, and junk food.

Unlike the violence in for example. «Reservoir Dogs» where you have this long build up before the violence actually take action, the violence in «True Romance» is just on you and it`s over.

Critically «True Romance» was generally well- received. For example: `Dynamite. A full throttle blast of action and fireworks, a savagely funny thrill ride, `said Rolling Stone.


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The Story

The Characters

Additional Material


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The Story
It’s his birthday, and as usual the Detroit movie- nerd Clarence Worley is at the movies to see a kung- fu triple- feature. His boss on the comic book store has ordered a rookie hooker for his birthday. A girl named Alabama Whitman. Alabama walks through the doors with her bounty of food. She makes a quick scan of the theatre. Not many people are there. She makes a beeline for the front, which happens to be Clarence's area of choice. She picks the row of seats just behind Clarence and starts asking her way down it. Clarence turns and sees this beautiful girl all alone moving towards him. He turns his attention back to the screen, trying not to be so obvious. When Alabama gets right behind Clarence, her foot thunks a discarded wine bottle, causing her to trip and spill her popcorn over Clarence. Clarence tries to wipe her out of his mind, which isn't easy, and get back into the movie. They both watch the screen for a moment. Then, Alabama leans forward and taps Clarence on the shoulder.

The theatre light goes up. Alabama's now sitting in the next seat to Clarence. They're both applauding.

Clarence and Alabama are sitting in a booth at an all-night Denny's. Clarence is having a piece of chocolate cream pie and a coke. Alabama's nibbling on a peace of heated apple pie and sipping on a large Tab.

Later Clarence has taken Alabama to where he works. It's a comic book store called Heroes For Sale. Alabama thinks this place is super-cool.

Clarence's bedroom is a pop culture explosion. Movie posters, pictures of Elvis, anything you can imagine. The two walk through the door. Clarence and Alabama slow dance in the middle of his room to Janis Joplin's "Piece of My Heart". Clarence wakes up in his bed, alone. He looks around, and no Alabama. Then he hears crying in the distance. He puts on a robe and investigates. She's curled up in a chair crying. Clarence approaches her. She tries to compose herself. She says she’s a call-girl. This doesn’t seem to bother Clarence since asks her to be his wife.

The newlyweds are snuggling up together on the couch watching TV. Alabama watches the screen, but every so often she looks down to admire the ring on her hand.

In the bathroom Clarence splashes water on his face, trying to wash away the images that keep polluting his mind. Then, he hears a familiar voice. Clarence turns and sees that the voice belongs to Elvis Presley. Clarence isn't surprised to see him. He looks at Elvis. Elvis which is Clarence fantasy- person makes Clarence go to Alabama’s pimp to pick up her things. Clarence sticks a gun down his athletic sock.

His heart's really racing now. He climbs a flight of stairs and makes his way down a dark hallway to apartment 22, the residence of Drexl Spivey. Clarence knocks on the door. A figure jumps in the doorway wearing a yellow T-shirt. This is not how Clarence expected to confront Drexl, but this is exactly what he expected Drexl to be like. He positions himself in front of the food table, demanding Drexl's attention. He says he’s going to pick up Alabama’s things. Clarence takes out an envelope and throws it on the table. Drexl drops his chopsticks and opens the envelope. It's empty. Drexl starts slamming fists into Clarence's face. He’s on the top of him. Drexl bends down and looks for Clarence's wallet in his jacket. He flips it open to driver's license. He hands Marty the driver's license. Marty goes to get the car keys and a jacket. He’s going to pick up Alabama. While Drexl has his attention turned to Marty, Clarence reaches into his sock and pulls out the .38. he sticks the barrel between Drexl's legs. Drexl, who's standing over Clarence, looks down just in time to see Clarence pull the trigger and blow his balls to bits. Tiny spots of blood speckle Clarence's face. Clarence doesn't hesitate, he shoots Marty four times in the chest.

A hooker handles a suitcase to Clarence. Alabamas things. Clarence's forgotten his driver's license in Marty's bloody hand.

When Clarence gets back to Alabama and opens the suitcase they both get a surprise. The suitcase is full of cocaine. They are now leaving to Hollywood to sell the drug. On their way, they drop by Clarence father Cliff. They haven’t met eachother for four years, but after a short visit, they continue their little trip.

When the couple reached Hollywood, they visited Clarence friend, Dick. He has a friend that can help them sell the cocaine. A meeting is arranged.

Meantime some bad- guys have found Clarence drivers- licence. They pay his father a visit. Concotti and his men are just about to get friends with Cliff, when he starts telling this story about how Sicilians became niggers. Concotti can’t stand this story and sends three bullets in Cliff’s head.

Alabama is also in trouble while Clarence is trying to sell the cocaine. When she’s just about to die, she manages to get herself on her feet. Picks up a shotgun and kills the bad-guy. Clarence finds Alabama bloody on the motelroom. They clean her up, and leaves to finish the deal.

When they finally is about to finish the deal with the byers, the cops storms the room. Dicks friend Elliot has told the police all about this deal. Not long after the bad- guys enter the room. Unknown of this, Clarence is on the bathroom. When he comes out of the bathroom, have the gunfight between the cops and the bad- guys started. In the middle of this Clarence gets hit. Alabama thinks his dead, but he has just got a scratch beside his left eye. They both survived.

Since all the other is dead, Clarence and Alabama can just walk out of the room with all the money. They drive into the sunlight with a suitcase filled with money.


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The Characters
Clarence Worley: Clarence is a total movie kid. He`s in the twenties and he loves Elvis, kung-fu movies and junk food. He doesn’t kill of his own accord, he does it on instructions imparted by the ghost of Elvis Presley. When he looks in the mirror, he sees the ghost of Elvis, and Elvis helps Clarence with different problems. Clarence kills because he`s seen it in the movies. He`s seen a zillion movies about pimps beating up whores. Clarence is very human, but part of the thing, though, is that he`s had as much a brush with this kind a stuff as anybody else. Everything he knows about this, he knows through seeing movies and when he goes to take out Drexl, you know he`s like a guy in a movie, he`s thinking of himself as coming in there and kicking ass and doing what a movie hero does. Through Alabama he has found his soul mate.

Alabama Whitman: Alabama has an undisclosed past. She has the same interests as Clarence. She loves movies, especially kung- fu movies. She has been a whore for four days or four clients before she meets Clarence. These four days is long enough for her to pick up a vicious pimp. Alabama is forced to kill one of the bad guys, when she’s just about to get killed herself



The Elvis ghost: The ghost Clarence sees when he looks in the mirror. He is a fantasy person. Gives instructions to Clarence when he’s going to kill the pimp. The ghost helps Clarence with different problems. He’s a symbol of Clarence mind. Everytime Elvis end his conversation with Clarence, he close it with; «Clarence, I like ya. Always have, always will.»

Drexl Spivey: Drexl is Alabamas pimp. He has spent ten years of his life i Jamaica and he has a sort of half rasta, half Queens accent. He’s the real owner of the drug Clarence mistakenly drags with him.

Clifford Worley: Clarence father. He’s a cop, and he has several years behind him as a alcoholic. Cliff hasn’t talked to Clarence for several years. He gets killed when he helps Clarence by not telling the bad- guys where he is. An unpopular story about how Sicilians became Negroes, ended his life. What a way to go!!


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Additional Material
The Elvis ghost and Clarence

Clarence is a Elvis fan, and when Clarence is in trouble or need help with something, Elvis help him. All of the things Elvis say are in Clarence`s head. Elvis is a symbol to visualise his thinking process, and when he looks in the mirror, he can see Elvis walking around saying the things Clarence thinks. All the things Elvis say, will Clarence do.

This is the part before Clarence goes to Drexl’s place:

Clarence splashes water on his face, trying to wash away the images that keep polluting his mind. Then, he hears a familiar voice. Clarence turns and sees that the voice belongs to Elvis Presley. Clarence isn't surprised to see him.



Time and place

The story takes place in Detroit in the early nineties, it is here Clarence meet Alabama, and it`s here both of them lives. After the killing and the switching with the bags. Alabamas clothes and the cocaine. They hit the road to Hollywood where most of the story takes place. We get a view of different places they visits in the Detroit an Hollywood areas.



The theme

The theme is quite clear. I think the title of the movie says it all. True romance. Clarence and Alabama fall in love with eachother. Clarence is willing to do anything for Alabama. He is so in love with her that he even kills to make her free. He does all these things just for his love for Alabama.

The same with Alabama. Even though Clarence has dragged Alabama into a lot of problems, she still loves him. In the end Alabama says this to Clarence when she thinks he is dead



ALABAMA

I could have walked away. I told you that. I told you I could have walked away. This is not my fault. I did not do this. You did this one hundred percent to yourself. I'm not gonna give you the satisfaction of feeling bad. I should laugh 'cause you don't deserve any better. I could get another guy like that. I'm hot looking'. What are you? Dead! Dumb jerk. Asshole. You're a asshole, you're a asshole, you're a asshole. You wanted it all, didn't ya? Didn't ya? Well watcha got now? You ain't got the money. You ain't got me. You ain't even got your body anymore. You got nothing'. Nada. Zip. Goose egg. Nil. Donut.



Initiation

There is also initiation in this story. Both Clarence and Alabama starts with this nice personality, but after Clarence unfortunately visit at Drexl’s place all of this change. Clarence drags Alabama with him in the mess he made by killing Drexl, and by taking the drug in stead of Alabama’s clothes. They run away with the drug to sell it, and later does also Alabama have to kill. The nice persons in the beginning are suddenly not so nice anymore.



The language

The language in this movie is like all the other Tarantino movies tough. Even if the first script was changed, the language is hard. This is a romantic movie, but the language doesn’t help proving this at all. Hard language and conversations between the couple indicates that this is a different romance movie.



The ending

Parts of the movie are pretty raw for a romantic movie to be, but the ending is so romantic that you almost forget how raw it really is. Clarence doesn’t die and the happy couple drives into the sunlight with a briefcase full with money.

Like I mentioned the ending at the first script was to bloody for anyone to touch it. Her is a part of the ending at the first script.

Alabama breaks down and starts crying. She pulls the car over to the side. The song continues. She wipes her eyes with a napkin that she pulls out her jacket. She tosses it on the dashboard. She picks up the .38 and sticks it in her mouth. She pulls back hammer. She looks up and sees her reflection in the rear-view mirror. She turns it the other way. She looks straight ahead. Her finger tightens on the trigger.

2.R E S E R V O I R D O G S'1992


Quentin Tarantino's

R E S E R V O I R D O G S








October 22, 1990

-----------------


This movie is dedicated to these following sources of

inspiration:


TIMOTHY CAREY

ROGER CORMAN

ANDRE DeTOTH

CHOW YUEN FAT

JEAN LUC GODDARD

JEAN PIERRE MELVILLE

LAWRENCE TIERNEY

LIONEL WHITE

---------------------

RESERVOIR DOGS

1 INT. UNCLE BOB'S PANCAKE HOUSE - MORNING

Eight men dressed in BLACK SUITS, sit around a table at a
breakfast cafe. They are MR. WHITE, MR. PINK, MR. BLUE,
MR. BLONDE, MR. ORANGE, MR. BROWN, NICE GUY EDDIE CABOT,
and the big boss, JOE CABOT. Most are finished eating and
are enjoying coffee and conversation. Joe flips through a
small address book. Mr. Pink is telling a long and
involved story about Madonna.

MR. PINK
"Like a Virgin" is all about a
girl who digs a guy with a big
dick. The whole song is a
metaphor for big dicks.

MR. BLUE
No it's not. It's about a girl
who is very vulnerable and she's
been fucked over a few times.
Then she meets some guy who's
really sensitive--

MR. PINK
--Whoa...whoa...time out Greenbay.
Tell that bullshit to the
tourists.

JOE
(looking through his
address book)
Toby...who the fuck is Toby?
Toby...Toby...think...think...
think...

MR. PINK
It's not about a nice girl who
meets a sensitive boy. Now
granted that's what "True Blue" is
about, no argument about that.

MR. ORANGE
Which one is "True Blue?"

NICE GUY EDDIE
You don't remember "True Blue?"
That was a big ass hit for
Madonna. Shit, I don't even
follow this Tops In Pops shit, and
I've at least heard of "True
Blue."

MR. ORANGE
Look, asshole, I didn't say I
ain't heard of it. All I asked
was how does it go? Excuse me
for not being the world's biggest
Madonna fan.

MR. BROWN
I hate Madonna.

MR. BLUE
I like her early stuff. You know,
"Lucky Star," "Borderline" - but
once she got into her "Papa Don't
Preach" phase, I don't know, I
tuned out.

MR. PINK
Hey, fuck all that, I'm
making a point here. You're gonna
make me lose my train
of thought.

JOE
Oh fuck, Toby's that little china
girl.

MR. WHITE
What's that?

JOE
I found this old address book in a
jacket I ain't worn in a coon's
age. Toby what? What the fuck
was her last name?

MR. PINK
Where was I?

MR. ORANGE
You said "True Blue" was about a
nice girl who finds a sensitive
fella. But "Like a Virgin" was a
metaphor for big dicks.

MR. PINK
Let me tell ya what "Like a
Virgin"'s about. It's about some
cooze who's a regular fuck
machine.
I mean all the time, morning, day,
night, afternoon, dick, dick,
dick, dick, dick,
dick, dick, dick, dick, dick,
dick.

MR. BLUE
How many dicks was that?

MR. WHITE
A lot.

MR. PINK
Then one day she meets a John
Holmes motherfucker, and it's
like, whoa baby. This mother
fucker's like Charles Bronson in
"The Great Escape." He's diggin
tunnels. Now she's gettin this
serious dick action, she's feelin
something she ain't felt since
forever. Pain.

JOE
Chew? Toby Chew? No.

MR. PINK
It hurts. It hurts her. It
shouldn't hurt. Her pussy should
be Bubble-Yum by now. But when
this cat fucks her, it hurts. It
hurts like the first time. The
pain is reminding a fuck machine
what is was like to be a virgin.
Hence, "Like a Virgin."

The fellas crack up.

JOE
Wong?

MR. PINK
Fuck you, wrong. I'm right! What
the fuck do you know about it
anyway? You're still listening to
Jerry-fucking-Vale.

JOE
Not wrong, dumb ass, Wong! You
know, like the Chinese name?

Mr. White snatches the address book from Joe's hand. They
fight, but they're not really mad at each other.

MR. WHITE
Give me this fucking thing.

JOE
What the fuck do you think you're
doin? Give me my book back!

MR. WHITE
I'm sick of fuckin hearin it Joe,
I'll give it back when we leave.

JOE
Whaddaya mean, give it to me when
we leave, give it back now.

MR. WHITE
For the past fifteen minutes now,
you've just been droning on with
names. "Toby...Toby...Toby...
Toby Wong...Toby Wong...Toby
Chung...fuckin Charlie Chan." I
got Madonna's big dick outta my
right ear, and Toby Jap I-don't-
know-what, outta my left.

JOE
What do you care?

MR. WHITE
When you're annoying as hell, I
care a lot.

JOE
Give me my book.

MR. WHITE
You gonna put it away?

JOE
I'm gonna do whatever I wanna do
with it.

MR. WHITE
Well, then, I'm afraid I'm gonna
have to keep it.

MR. BLONDE
Joe, you want me to shoot him for
you?

MR. WHITE
Shit, you shoot me in a dream, you
better wake up and apologize.

NICE GUY EDDIE
Have you guys been listening to K-
BILLY's super sounds of the
seventies weekend?

MR. PINK
Yeah, it's fuckin great isn't it?

NICE GUY EDDIE
Can you believe the songs they
been playin?

MR. PINK
No, I can't. You know what I
heard the other day? "Heartbeat -
It's Lovebeat," by little Tony
DeFranco and the DeFranco Family.
I haven't heard that since I was
in fifth fuckin grade.

NICE GUY EDDIE
When I was coming down here, I was
playin it. And "The Night the
Lights Went Out in Georgia" came
on. Now I ain't heard that song
since it was big, but when it was
big, I heard it a million-
trillion times. I'm listening to
it this morning, and this was the
first time I ever realized that
the lady singing the song, was the
one who killed Andy.

MR. BLUE
You didn't know Vicki Lawrence
killed the guy?

NICE GUY EDDIE
I thought the cheatin wife shot
Andy.

MR. BLONDE
They say it in the song.

NICE GUY EDDIE
I know, I heard it. I musta zoned
out whenever that part came on
before. I thought when she said
that little sister stuff, she was
talkin about her sister- in-law,
the cheatin wife.

JOE
No, she did it. She killed the
cheatin wife, too.

MR. PINK
You know the part in "Gypsies,
Tramps and Theives," when she says
"Poppa woulda shot his if he knew
what he'd done?" I could never
figure out what he did.

The table laughs. The WAITRESS comes over to the table.
She has the check, and a pot of coffee.

WAITRESS
Can I get anybody more
coffee.

JOE
No, we're gonna be hittin it.
I'll take care of the check.

She hands the bill to him.

WAITRESS
Here ya go. Please pay at the
register, if you wouldn't mind.

JOE
Sure thing.

WAITRESS
You guys have a wonderful day.

They all mutter equivalents. She exits and Joe stands up.

JOE
I'll take care of this, you guys
leave the tip.
(to Mr. White)
And when I come back, I want my
book back.

MR. WHITE
Sorry, it's my book now.

JOE
Blonde, shoot this piece of shit,
will ya?

Mr. Blonde shoots Mr. White with his finger. Mr White
acts shot. Joe exits.

NICE GUY EDDIE
Okay, everybody cough up green for
the little lady.

Everybody whips out a buck, and throws it on the table.
Everybody, that is, except Mr. White.

NICE GUY EDDIE
C'mon, throw in a buck.

MR. WHITE
Uh-uh. I don't tip.

NICE GUY EDDIE
Whaddaya mean you don't tip?

MR. WHITE
I don't believe in it.

NICE GUY EDDIE
You don't believe in tipping?

MR. PINK
(laughing)
I love this kid, he's a madman,
this guy.

MR. BLONDE
Do you have any idea what these
ladies make? They make shit.

MR. WHITE
Don't give me that. She don't
make enough money, she can quit.

Everybody laughs.

NICE GUY EDDIE
I don't even know a Jew who'd have
the balls to say that. So let's
get this straight. You never ever
tip?

MR. WHITE
I don't tip because society says I
gotta. I tip when somebody
deserves a tip. When somebody
really puts forth an effort, they
deserve a little something extra.
But this tipping automatically,
that shit's for the birds. As far
as I'm concerned, they're just
doin their job.

MR. BLUE
Our girl was nice.

MR. WHITE
Our girl was okay. She didn't do
anything special.

MR. BLONDE
What's something special, take ya
in the kitchen and suck your dick?

They all laugh.

NICE GUY EDDIE
I'd go over twelve percent for
that.

MR. WRITE
Look, I ordered coffee. Now we've
been here a long fuckin time, and
she's only filled my cup three
times. When I order coffee, I
want it filled six times.

MR. BLONDE
What if she's too busy?

MR. WHITE
The words "too busy" shouldn't be
in a waitress's vocabulary.

NICE GUY EDDIE
Excuse me, Mr. White, but the last
thing you need is another cup of
coffee.

They all laugh.

MR. WHITE
These ladies aren't starvin to
death. They make minimum wage.
When I worked for minimum wage, I
wasn't lucky enough to have a job
that society deemed tipworthy.

NICE GUY EDDIE
Ahh, now we're getting down to it.
It's not just that he's a cheap
bastard--

MR. ORANGE
--It is that too--

NICE GUY EDDIE
--It is that too. But it's also
he couldn't get a waiter job. You
talk like a pissed off dishwasher:
"Fuck those cunts and their
fucking tips."

MR. BLONDE
So you don't care that they're
counting on your tip to live?

Mr. White rubs two of his fingers together.

MR. WHITE
Do you know what this is? It's
the world's smallest violin,
playing just for the waitresses.

MR. BLONDE
You don't have any idea what
you're talking about. These
people bust their ass. This
is a hard job.

MR. WHITE
So's working at McDonald's, but
you don't feel the need to tip
them. They're servin ya food, you
should tip em. But no, society
says tip these guys over here, but
not those guys over there. That's
bullshit.

MR. ORANGE
They work harder than the kids at
McDonald's.

MR. WHITE
Oh yeah, I don't see them cleaning
fryers.

MR. BROWN
These people are taxed on the tips
they make. When you stiff 'em,
you cost them money.

MR. BLONDE
Waitressing is the number one
occupation for female non-college
graduates in this country. It's
the one jab basically any woman
can get, and make a living on.
The reason is because of tips.

MR. WHITE
Fuck all that.

They all laugh.

MR. WHITE
Hey, I'm very sorry that the
government taxes their tips.
That's fucked up. But that ain't
my fault. it would appear that
waitresses are just one of the
many groups the government fucks
in the ass on a regular basis.
You show me a paper says the
government shouldn't do that, I'll
sign it. Put it to a vote, I'll
vote for it. But what I won't do
is play ball. And this non-
college bullshit you're telling
me, I got two words for that:
"Learn to fuckin type." Cause if
you're expecting me to help out
with the rent, you're in for a big
fuckin surprise.

MR. ORANGE
He's convinced me. Give me my
dollar back.

Everybody laughs. Joe's comes back to the table.

JOE
Okay ramblers, let's get to
rambling. Wait a minute, who
didn't throw in?

MR. ORANGE
Mr. White.

JOE
(to Mr. Orange)
Mr. White?
(to Mr. White)
Why?

MR. ORANGE
He don't tip.

JOE
(to Mr. Orange)
He don't tip?
(to Mr. White)
You don't tip? Why?

MR. ORANGE
He don't believe in it.

JOE
(to Mr. Orange)
He don't believe in it?
(to Mr. White)
You don't believe in it?

MR. ORANGE
Nope.

JOE
(to Mr. Orange)
Shut up!
(to Mr. White)
Cough up the buck, ya cheap
bastard, I paid for your goddamn
breakfast.

MR. WHITE
Because you paid for the
breakfast, I'm gonna tip.
Normally I wouldn't.

JOE
Whatever. Just throw in your
dollar, and let's move.
(to Mr. Blonde)
See what I'm dealing with here.
Infants. I'm fuckin dealin with
infants.

The eight men get up to leave. Mr. White's waist is in
the F.G. As he buttons his coat, for a second we see he's
carrying a gun. They exit Uncle Bob's Pancake House,
talking amongst themselves.


2 EXT. UNCLE BOB'S PANCAKE HOUSE - DAY

CREDIT SEQUENCE:

When the credit sequence is finished, we FADE TO BLACK:

Over the BLACK we hear the sound of SOMEONE SCREAMING in
agony.

Under the screaming, we hear the sound of a car HAULING
ASS, through traffic.

Over the screams and the traffic noise, we hear SOMEBODY
ELSE SAY:

SOMEBODY ELSE (OS)
Just hold on buddy boy.

Somebody stops screaming long enough to say:

SOMEBODY (OS)
I'm sorry. I can't believe
she killed me. Who would've
fuckin thought that?

CUT TO:

3 INT. GETAWAY GAR (MOVING) - DAY

The Somebody screaming is Mr. Orange. He lies in the
backseat. He's been SHOT in the stomach. BLOOD covers
both him and the backseat.

Mr. White is the Somebody Else. He's behind the wheel of
the getaway car. He's easily doing 80 mph, dodging in and
out of traffic. Though he's driving for his life, he
keeps talking to his wounded passenger in the backseat.

They are the only two in the car.

MR. WHITE
Hey, just cancel that shit right
now! You're hurt. You're hurt
really fucking bad, but you ain't
dying.

MR. ORANGE
(crying)
All this blood is scaring the shit
outta me. I'm gonna die, I know
it.

MR. WHITE
Oh excuse me, I didn't realize you
had a degree in medicine. Are you
a doctor? Are you a doctor?
Answer me please, are you a
doctor?

MR. ORANGE
No, I'm not!

MR. WRITE
Ahhhh, so you admit you don't know
what you're talking about. So if
you're through giving me your
amateur opinion, lie back and
listen to the news. I'm taking
you back to the rendezvous, Joe's
gonna get you a doctor, the
doctor's gonna fix you up, and
you're gonna be okay. Now say it:
you're gonna be okay. Say it:
you're gonna be okay!

Mr. Orange doesn't respond. Mr. White starts pounding on
the steering wheel.

MR. WHITE
Say-the-goddamn-words: you're
gonna be okay!

MR. ORANGE
I'm okay.

MR. WHITE
(softly)
Correct.

4 INT. WAREHOUSE - DAY

The CAMERA does a 360 around an empty warehouse. Then the
door swings open, and Mr. White carries the bloody body of
Mr. Orange inside.

Mr. Orange still is MOANING loudly from his bullet hit.

Mr. White lays him down upon a mattress on the floor.

MR. WHITE
Just hold on buddy boy. Hold on,
and wait for Joe. I can't do
anything for you, but when Joe
gets here, which should be anytime
now, he'll be able to help you.
We're just gonna sit here, and
wait for Joe. Who are
we waiting for?

MR. ORANGE
Joe.

MR. WHITE
Bet your sweet ass we are.

Mr. White gets up from over Mr. Orange and starts to prowl
around the warehouse.

MR. ORANGE
(yelling)
Don't leave me!

Mr White bends back over him and takes his hand.

MR. WHITE
I ain't going anywhere. I'm right
here. I'm not gonna leave ya.

MR. ORANGE
Larry, I'm so scared, would you
please hold me.

Mr. White very gently embraces the bloody Mr. Orange.
Cradling the young man, Mr. White whispers to him.

MR. WHITE
(whispering)
Go ahead and be scared, you've
been brave enough for one day. I
want you to just relax now.
You're not gonna die, you're gonna
be fine. When Joe gets here,
he'll make ya a hundred percent
again.

Mr. White lays Mr. Orange back down on the mattress. He's
still holding his hand. Mr. Orange looks up at his
friend.

MR. ORANGE
Look, I don't wanna be a fly in
the ointment, but if help doesn't
come soon, I gotta see a doctor.
I don't give a fuck about jail, I
just don't wanna die.

MR. WHITE
You're not gonna fucking die, all
right?

MR. ORANGE
I wasn't born yesterday. I'm
hurt, and I'm hurt bad.

MR. WHITE
It's not good...

MR. ORANGE
Hey, bless your heart for what
you're trying to do. I was
panicking for a moment, but I've
got my senses back now. The
situation is, I'm shot in the
belly. And without medical
attention, I'm gonna die.

MR. WHITE
I can' take you to a hospital.

MR. ORANGE
Fuck jail! I don't give a shit
about jail. But I can't die. You
don't have to take me in. Just
drive me up to the front, drop me
on the sidewalk. I'll take care
of myself. I won't tell them
anything. I swear to fucking god,
I won't tell 'em anything. Look
in my eyes, look right in my eyes.
(Mr. White does)
I-won't-tell-them-anything.
You'll be safe.

MR. WHITE
Lie back down, and try to--

MR. ORANGE
I'm going to die! I need a
doctor! I'm begging you,
take me to a doctor.

Mr. Orange lays his head back on the mattress. Spent from
his outburst, he quietly mutters to himself:

MR. ORANGE
Take me to a doctor, take me to a
doctor, please.

Suddenly, the warehouse door BURSTS open and Mr.
Pink steps inside.

MR. PINK
Was that a fucking set-up or what?

Mr. Pink sees Mr. Orange on the floor, shot and bloody.

MR. PINK
Oh fuck, Orange got tagged.

Throughout this scene, we hear Mr. Orange moaning.

MR. WHITE
Gun shot.

MR. PINK
Oh that's just fucking great!
Where's Brown?

MR. WHITE
Dead.

MR. PINK
Goddamn, goddamn! How did he die?

MR. WHITE
How the fuck do you think? The
cops shot him.

MR. PINK
Oh this is bad, this is so bad.
(referring to Mr.
Orange)
Is it bad?

MR. WHITE
As opposed to good?

MR. PINK
This is so fucked up. Somebody
fucked us big time.

MR. WHITE
You really think we were set up?

MR. PINK
You even doubt it? I don't think
we got set up, I know we got set
up! I mean really, seriously,
where did all those cops come
from, huh? One minute they're not
there, the next minute
they're there. I didn't hear any
sirens. The alarm went off, okay.
Okay, when an alarm goes off, you
got an average of four minutes
response time. Unless a patrol
car is cruising that street, at
that particular moment, you got
four minutes before they can
realistically respond. In one
minute there were seventeen blue
boys out there. All loaded for
bear, all knowing exactly what the
fuck they were doing, and they
were all just there! Remember
that second wave that showed up in
the cars? Those were the ones
responding to the alarm. but
those other motherfuckers were
already there, they were waiting
for us.
(pause)
You haven't thought about this?

MR. WHITE
I haven't had a chance to think.
First I was just trying to get the
fuck outta there. And after we
got away, I've just been dealin
with him.

MR. PINK
Well, you better start thinking
about it. Cause I, sure as fuck,
am thinking about it. In fact,
that's all I'm thinking about. I
came this close to just driving
off. Whoever set us up, knows
about this place. There could've
been cops sitting here waiting for
me. For all we know, there's
cops, driving fast, on their way
here now.

MR. WHITE
Let's go in the other room...

The camera creeps along a wall, coming to a corner. We
move past it, and see down a hall.

5 INT. BATHROOM HALLWAY - DAY

At the end of the hall is a bathroom. The bathroom door
is partially closed, restricting our view. Mr. Pink is
obscured, but Mr. White is in view.

MR. PINK (OS)
What the fuck am I doing here? I
felt funny about this job right
off. As soon as I felt it I
should said "No thank you", and
walked. But I never fucking
listen. Every time I ever got
burned buying weed, I always knew
the guy wasn't right. I just felt
it. But I wanted to believe him.
If he's not lyin to me, and it
really is Thai stick, then whoa
baby. But it's never Thai stick.
and I always said if I felt that
way about a job, I'd walk. And I
did, and I didn't, because of
fuckin money!

MR. WHITE
What's done is done, I need you
cool. Are you cool?

MR. PINK
I'm cool.

MR. WHITE
Splash some water on your face.
Take a breather.

We hear the sink running, and Mr. Pink splashing water on
his face.

MR. WHITE
I'm gonna get me my smokes.

Mr White opens the bathroom door, walks down the hall, and
OUT OF FRAME. We see Mr. Pink, his back turned towards
us, bent over the sink. Then he grabs a towels, and dries
his face. Mr White ENTERS FRAME with a pack of
Chesterfields in his hand.

MR. WHITE
Want a smoke?

MR. PINK
Why not?

The two men light up.

MR. WHITE
Okay, let's go through what
happened. We're in the place,
everything's going fine. Then the
alarm gets tripped. I turn around
and all these cops are outside.
You're right, it was like, bam! I
blink my eyes are they're there.
Everybody starts going apeshit.
Then Mr. Blonde starts shootin all
the--

MR. PINK
--That's not correct.

MR. WHITE
What's wrong with it?

MR. PINK
The cops didn't show up after the
alarm went off. They didn't show
till after Mr. Blonde started
shooting everyone.

MR. WHITE
As soon as I heard the alarm, I
saw the cops.

MR. PINK
I'm telling ya, it wasn't that
soon. They didn't let their
presence be known until after Mr.
Blonde went off. I'm not sayin
they weren't there, I'm sayin they
were there. But they didn't move
in till Mr. Blonde became a
madman. That's how I know we were
set up. You can see that,
can't you, Mr. White?

MR. WHITE
Look, enough of this "Mr White"
shit--

MR. PINK
--Don't tell me your name, I don't
want to know! I sure as hell
ain't gonna tell ya
mine.

MR. WHITE
You're right, this is bad.
(pause)
How did you get out?

MR. PINK
Shot my way out. Everybody was
shooting, so I just blasted my way
outta there.

CUT TO:


6 EXT. CROWDED CITY STREET - DAY

Mr. Pink is hauling ass down a busy city sidewalk. He has
a canvas bag with a shoulder strap in one hand, and a .357
MAGNUM in the other. If any BYSTANDERS get in his way, he
just knocks them down. We DOLLY at the same speed, right
along side of him.

FOUR POLICEMEN are running after Mr. Pink. We DOLLY with
them.

We DOLLY with a young woman on roller skates. ROLLERGIRL
is plugged into a walkman. We hear the song she's
listening to LOUD over the SOUNDTRACK. She's twirling and
skating backwards to the beat of the song.

Rollergirl turns a corner and COLLIDES with Mr. Pink. The
man and woman CRASH to the ground.

Mr. Pink rolls into the street, in front of a moving car
that SCREECHES to a stop, narrowly avoiding running over
him.


7 INT. CAR (STOPPED) - DAY

The CAMERA is in the backseat. A SHOCKED WOMAN is the
car's driver. Mr. Pink pulls himself up from the hood,
shakes it off, and points his magnum at the driver.

MR. PINK
Get outta the car! Get the fuck
outta the car!

The Shocked Woman starts screaming.

Mr. Pink tries to open the driver's side door, but it's
locked.

MR. PINK
Open the fucking door!

EXTREME C.U. DRIVER'S SIDE WINDOW

Mr. Pink SMASHES it in our face.


8 EXT. STREET - DAY

DOLLY with Cops coming up fast.

Mr. Pink DRAGS the Shocked Woman out of the car.

The Cops reach the corner, guns aimed.

Using the car as a shield, Mr. Pink FIRES three shots at
the Cops.

Everybody HITS the ground, or scatters.

Mr. Pink HOPS in the car.

Cops FIRE.


9 INT. CAR (MOVING) - DAY

CAMERA in the backseat, Mr. Pink FLOORS it. SPEEDING down
the street, with the Cops FIRING after him.

BACK TO:


10 INT. BATHROOM - DAY

Mr. Pink and Mr. White still talking in the bathroom.

MR. PINK
Tagged a couple of cops. Did you
kill anybody?

MR. WHITE
A few cops.

MR. PINK
No real people?

MR. WHITE
Uh-uh, just cops.

MR. PINK
Could you believe Mr. Blonde?

MR. WHITE
That was one of the most insane
fucking things I've ever seen.
Why the fuck would Joe hire
somebody like that?

MR. PINK
I don't wanna kill anybody. But
if I gotta get out that door, and
you're standing in my way, one way
of the other, you're gettin outta
my way.

MR. WHITE
That's the way I look at it. A
choice between doin ten years, and
takin out some stupid
motherfucker, ain't no choice at
all. But I ain't no madman
either. What the fuck was Joe
thinkin? You can't work with a
guy like that. That mother-
fucker's unstable. What do you
think? Do you think he panicked,
or ya think he's just trigger-
happy?

MR. PINK
I think he's a sick fuckin maniac!
We're awful goddamn lucky he
didn't tag us, when
he shot up the place. I came this
fucking close--
(hold up two fingers
and makes a tiny
space between them)
--to taking his ass out myself.
Everybody panics. When things get
tense, everybody panics.
Everybody. I don't care what your
name is, you can't help it. It's
human nature. But ya panic on the
inside.
Ya panic in your head. Ya give
yourself a couple a seconds of
panic, then you get a grip and
deal with the situation. What you
don't do, is shoot up the place
and kill everybody.

MR. WHITE
What you're supposed to do is act
like a fuckin professional. A
psychopath is not a professional.
You can't work with a psychopath,
'cause ya don't know what those
sick assholes are gonna do next.
I mean, Jesus Christ, how old do
you think that black girl was?
Twenty, maybe twenty-one?

MR. PINK
Did ya see what happened to
anybody else?

MR. WHITE
Me and Mr. Orange jumped in the
car and Mr. Brown floored it.
After that, I don't know what went
down.

MR. PINK
At that point it became every man
for himself. As far as Mr. Blonde
or Mr. Blue are concerned, I ain't
got the foggiest. Once
I got out, I never looked back.

MR. WHITE
What do you think?

MR. PINK
What do I think? I think the cops
caught them, or killed 'em.

MR. WHITE
Not even a chance they punched
through? You found a hole.

MR. PINK
Yeah, and that was a fucking
miracle. But if they did get
away, where the fuck are they?

MR. WHITE
You don't think it's possible, one
of them got ahold of the diamonds
and pulled a--

MR. PINK
Nope.

MR. WHITE
How can you be so sure?

MR. PINK
I got the diamonds.

MR. WHITE
Where?

MR. PINK
I got 'em, all right?

MR. WHITE
Where? Are they out in the car?

MR. PINK
No, they're not in the car. No, I
don't have them on me. Ya wanna
go with me and get 'em? Yes, we
can go right now. But first
listen to what I'm telling you.
We were fuckin set up! Somebody
is in league with the cops. We
got a Judas in our midst. And I'm
thinkin we should have our fuckin
heads examined for waiting around
here.

MR. WHITE
That was the plan, we meet here.

MR. PINK
Then where is everybody? I say
the plan became null and void once
we found out we got a rat in the
house. We ain't got the slightest
fuckin idea what happened to Mr.
Blonde or Mr. Blue. They could
both be dead
or arrested. They could be
sweatin 'em, down at the station
house right now. Yeah they don't
know the names, but they can sing
about this place.
I mean, that could be happening
right now. As we speak, the cops
could be in their cars, drivin
here this minute.

MR. WHITE
I swear to god I'm fuckin jinxed.

MR. PINK
What?

MR. WHITE
Two jobs back, it was a four man
job, we discovered one of the team
was an undercover cop.

MR. PINK
No shit?

MR. WHITE
Thank god, we discovered in time.
We hadda forget the whole fuckin
thing. Just walked away from it.

MR. PINK
So who's the rat this time? Mr.
Blue? Mr. Blonde? Joe? It's
Joe's show, he set this whole
thing up. Maybe he set it up to
set it up.

MR. WHITE
I don't buy it. Me and Joe go
back a long time. I can tell ya
straight up, Joe definitely didn't
have anything to do with this
bullshit.

MR. PINK
Oh, you and Joe go back a long
time. I known Joe since I was a
kid. But me saying Joe definitely
couldn't have done it is
ridiculous. I can say I
definitely didn't do it, cause I
know what I did or didn't do. But
I can't definitely say that about
anybody else, 'cause I don't
definitely know. For all I know,
you're the rat.

MR. WHITE
For all I know, you're the rat.

MR. PINK
Now you're using your head. For
all we know, he's the rat.

Mr. Pink points OFFSCREEN to Mr. Orange. Mr. White's
expression changes.

MR. WHITE
Jesus Christ!


11 INT. WAREHOUSE - DAY

They run over to Mr. Orange, who's unconscious. The
CAMERA hovers over the action. Mr. Pink reaches him
first.

MR. PINK
Is he dead?

Mr. White pushes him out of the way. He feels the pulse
on Mr. Orange's neck.

MR. PINK
So, is he dead or what?

MR. WHITE
He ain't dead.

MR. PINK
So what is it?

MR. WHITE
I think he's just passed out.

MR. PINK
He scared the fuckin shit outta
me. I thought he was dead fer
sure.

Mr. White stands up and walks over to a table.

MR. WHITE
He will be dead fer sure, if we
don't get him to a hospital.

MR. PINK
We can't take him to a hospital.

MR. WHITE
Without medical attention, this
man won't live through the night.
That bullet in his belly is my
fault. Now while that might not
mean jack shit to you, it means a
helluva lot to me. And I'm not
gonna just sit around and watch
him die.

MR. PINK
Well, first things first, staying
here's goofy. We gotta book up.

MR. WHITE
So what do you suggest, we go to a
hotel? We got a guy who's shot in
the belly, he can't walk, he
bleeds like a stuck pig, and when
he's awake, he screams in pain.

MR. PINK
You gotta idea, spit it out.

MR. WHITE
Joe could help him. If we can get
in touch with Joe, Joe could get
him to a doctor, Joe could get a
doctor to come and see him.

During Mr. Pink's dialog, we slowly ZOOM in to a
C.U. of Mr. White.

MR. PINK (OS)
Assuming we can trust Joe, how we
gonna get in touch with him? He's
supposed to be here, but he ain't,
which is making me nervous about
being here. Even if Joe is
on the up and up, he's probably
not gonna be that happy with us.
Joe planned a robbery, but he's
got a blood bath on his hands now.
Dead cops, dead robbers, dead
civilians...Jesus Christ! I tend
to doubt he's gonna have a lot of
sympathy for our plight. If I was
him, I'd try and put as much
distance between me and this mess
an humanly possible.

MR. WHITE
Before you got here, Mr. Orange
was askin me to take him to a
hospital. Now I don't like
turning him over to the cops, but
if we don't, he's dead. He begged
me to do it. I told him to hold
off till Joe got here.

MR. PINK (OS)
Well Joe ain't gettin here. We're
on our own. Now, I don't know a
goddamn body who can help him, so
if you know somebody, call 'em.

MR. WHITE
I don't know anybody.

MR. PINK (OS)
Well, I guess we drop him off at
the hospital. Since he don't know
nothin about us, I say it's his
decision.


MR. WHITE'S POV:

C.U. OF MR. PINK.

MR. WHITE (OS)
Well, he knows a little about me.

MR. PINK
You didn't tell him your name, did
ya?

MR. WHITE (OS)
I told him my first name, and
where I'm from.

There is a long silence and a blank look from Mr. Pink,
then he SCREAMS:

MR. PINK
Why!

MR. WHITE (OS)
I told him where I was from a few
days ago. It was just a casual
conversation.

MR. PINK
And what was tellin him your name
when you weren't supposed to?

MR. WHITE (OS)
He asked.

Mr. Pink looks at Mr. White like he's retarded.

MR. WHITE (OS)
We had just gotten away from the
cops. He just got shot. It was
my fuckin fault he got shot. He's
a fuckin bloody mess - he's
screaming. I swear to god, I
thought we was gonna die right
then and there. I'm tryin to
comfort him, telling him not to
worry, he's gonna be okay, I'm
gonna take care of him. And he
asked me what my name was. I
mean, the man was dyin in my arms.
What the fuck was I supposed to
tell him, "Sorry, I can't give out
that information, it's against the
rules. I don't trust you
enough."? Maybe I shoulda, but I
couldn't.

MR. PINK
Oh, I don't doubt is was quite
beautiful--

MR. WHITE (OS)
Don't fuckin patronize me.

MR. PINK
One question: Do they have a sheet
on you, where you told him you're
from?

MR. WHITE (OS)
Of course.

MR. PINK
Well that's that, then. I mean, I
was worried about mug shot
possibilities already. But now he
knows: (a) what you look like, (b)
what your first name is,
(i) where you're from and (d) what
your specialty is.
They ain't gonna hafta show him a
helluva lot of pictures for him to
pick you out. That's it right,
you didn't tell him anything else
that could narrow down the
selection?

MR. WHITE (OS)
If I have to tell you again to
back off, me an you are gonna go
round and round.

Mr. Pink walks out of the C.U. and turns his back on Mr.
White. Mr. White's POV PANS over to him.

MR. PINK
We ain't taking him to a hospital.

MR. WHITE (OS)
If we don't, he'll die.

MR. PINK
And I'm very sad about that. But
some fellas are lucky, and some
ain't.

MR. WHITE (OS)
That fuckin did it!

Mr. White's POV CHARGES toward Mr. Pink.

Mr. Pink turns toward him in time to get PUNCHED hard in
the mouth.

END OF POV

Mr. White and Mr. Pink have a very ungraceful and
realistic fight. They go at each other like a couple of
alley cats.

As Mr. White SWINGS and PUNCHES, he SCREAMS:

MR. WHITE

You little motherfucker!

Mr. Pink YELLS as he HITS:

MR. PINK
Ya wanna fuck with me?! You wanna
fuck with me?! I'll show you who
you're fuckin with!

The two men end up on the floor KICKING and SCRATCHING.

Mr. White gets Mr. Pink in a HEADLOCK.

Mr. Pink reaches in his jacket for his gun, and pulls it
out.

Mr. White sees this, immediately lets go of Mr. Pink,
and goes for his own weapon.

The two men are on the floor, on their knees, with their
guns outstretched, aiming at one another.

MR. WHITE
You wanna shoot me, you little
piece of shit? Take a shot!

MR. PINK
Fuck you, White! I didn't create
this situation, I'm just dealin
with it. You're acting like a
first-year fuckin thief. I'm
actin like a professional. They
get him, they can get you, they
get you, they get closer to me,
and that can't happen. And you,
you motherfucker, are looking at
me like it's my fault. I didn't
tell him my name. I didn't tell
him where I was from. I didn't
tell him what I knew better than
to tell him. Fuck, fifteen
minutes ago, you almost told me
your name. You, buddy, are stuck
in a situation you created. So if
you wanna throw bad looks
somewhere, throw 'em at a mirror.

Mr. Pink lowers his gun and walks towards White.

MR. PINK
So if you wanna shoot somebody,
put that gun in your mouth and
shoot yourself.

Then from OFF SCREEN we hear:

VOICE (OS)
You kids don't play so rough.
Somebody's gonna start crying.


12 INT. WAREHOUSE - DAY - MEDIUM C.U. ON MR. BLONDE

The Voice belongs to the infamous Mr. Blonde.

Mr. Blonde sits on a counter, drinking a fast food coke
and eating a hot dog.

MR. PINK
Mr. Blonde! You okay? We thought
you might've gotten caught. What
happened?

Mr. Blonde doesn't answer, he just hops off the counter
and starts walking around the warehouse, checking the
place out.

He doesn't look at either Mr. Pink or Mr. White, he
just eats his hot dog and sips his coke.

This is making Pink and White nervous as hell. But Mr.
Pink tries to talk through it.

We HANDHOLD follow Mr. Blonde around the warehouse.

MR. PINK
Really, how did you get away?

Mr. Blonde walks the loft. Silent.

MR. PINK
You saw what happened to me,
I found a hole and booked.

Silence.

MR. PINK
Where's Mr. Blue?

Blonde looks in the bathroom.

MR. PINK
We were hopin you two would be
together.

Blonde looks out the window.

MR. PINK
That was the big question we had,
what happened to Mr.
Blue and you?

Blonde walks away from the window.

MR. PINK
We were worried the cops got ya.

Blonde bends down over Mr. Orange.

MR. PINK
He got it in the belly. He's
still alive, but won't be for
long.

MR. WHITE
Enough! You better start talkin
to us, asshole, cause we got shit
we need to talk about. We're
already freaked out, we need you
actin freaky like we need a fuckin
bag on our hip.

Mr. Blonde looks at his two partners in crime, then moves
towards them.

MR. BLONDE
So, talk.

MR. WHITE
We think we got a rat in the
house.

MR. PINK
I guarantee we got a rat in the
house.

MR. BLONDE
What would ever make you think
that?

MR. WHITE
Is that supposed to be funny?

MR. PINK
We don't think this place is safe.

MR. WHITE
This place just ain't secure
anymore. We're leaving, and you
should go with us.

MR. BLONDE
Nobody's going anywhere.

Silence takes over the room. Mr. Blonde stops moving.

After a few beats the silence is broken.

MR. WHITE
(to Mr. Pink)
Piss on this turd, we're outta
here.

Mr. White turns to leave.

MR. BLONDE
Don't take another step, Mr.
White.

Mr. White explodes, raising his gun and charging towards
Mr. Blonde.

MR. WHITE
Fuck you, maniac! It's your
fuckin fault we're in so much
trouble.

Mr. Blonde calmly sits down. He looks to Mr. Pink.

MR. BLONDE
(referring to Mr.
White)
What's this guy's problem?

MR. WHITE
What's my problem? Yeah, I gotta
problem. I gotta big problem with
any trigger-happy madman who
almost gets me shot!

MR. BLONDE
What're you talkin about?

MR. WHITE
That fuckin shooting spree in the
store.

MR. BLONDE
Fuck 'em, they set off the alarm,
they deserve what they got.

MR. WHITE
You almost killed me, asshole! If
I had any idea what type of guy
you were, I never would've agreed
to work with you.

MR. BLONDE
You gonna back all day, little
doggie, or are you gonna bite?

MR. WHITE
What was that? I'm sorry, I
didn't catch it. Would you repeat
it?

MR. BLONDE
(slowly)
I said: "Are you gonna bark all
day, dog, or are you gonna bite."

MR. PINK
Both of you two assholes knock it
the fuck off and calm down!

MR. WHITE
(to Mr. Blonde)
So you wanna git bit, huh?

MR. PINK
Cut the bullshit, we ain't on a
fuckin playground!
(pause)
I don't believe this shit, both of
you got ten years on me, and I'm
the only one actin like a
professional. You guys act like a
bunch of fuckin niggers. You ever
work a job with a bunch of
niggers? They're just like you
two, always fightin, always sayin
they're gonna kill one another.

MR. WHITE
(to Mr. Pink)
You said yourself, you
thought about takin him out.

MR. PINK
Then. That time has passed.
Right now, Mr. Blonde is the only
one I completely trust. He's too
fuckin homicidal to be workin with
the cops.

MR. WHITE
You takin his side?

MR. PINK
Fuck sides! What we need is a
little solidarity here.
Somebody's stickin a red hot poker
up our asses and we gotta find out
whose hand's on the handle. Now I
know I'm no piece of shit...
(referring to Mr.
White)
And I'm pretty sure you're a good
boy...
(referring to Mr.
Blonde)
And I'm fuckin positive you're on
the level. So let's figure out
who's the bad guy.

Mr. White calms down and puts his gun away.

Mr. Blonde returns to the persona we saw at the beginning,
talking about Madonna.

MR. BLONDE
Well, that was sure exciting.
(to Mr. White)
You're a big Lee Marvin fan,
aren't you? Me too. I don't know
about the rest of you fellas, but
my heart's
beatin fast.
(pause for a beat)
Okay you guys, follow me.

Mr. Blonde hops out of his chair and heads for the door.

The other two men just follow him with their eyes.

MR. WHITE
Follow you where?

MR. BLONDE
Down to my car.

MR. WHITE
Why?

MR. BLONDE
It's a surprise.

Mr. Blonde walks out.


13 EXT. WAREHOUSE - DAY

Three cars are parked out front. Mr. Blonde is walking
towards the car he drove. Mr. White and Mr. Pink are
walking behind. The Camera is HANDHELD following behind
them.

MR. PINK
We still gotta get out of here.

MR. BLONDE
We're gonna sit here and wait.

MR. WHITE
For what, the cops?

MR. BLONDE
Nice Guy Eddie.

MR. PINK
Nice Guy Eddie? What makes you
think Nice Guy's anywhere but on a
plane half way to Costa Rica?

MR. BLONDE
Cause I just talked to him. He's
on his way down here, and nobody's
going anywhere till be gets here.

MR. WHITE
You talked to Nice Guy Eddie? Why
the fuck didn't you say that in
the first place?

MR. BLONDE
You didn't ask.

MR. WHITE
Hardy-fuckin-har. What did he
say?

MR. BLONDE
Stay put. Okay, fellas, take a
look at the little surprise I
brought you.

Mr. Blonde opens up the truck of his car. A handcuffed,
uniformed POLICEMAN is curled up inside the trunk.

MR. BLONDE
So while we're waitin for Nice Guy
Eddie, what say we have a little
fun finding out who the rat is.


INSERT: TITLE CARD "MR. BLONDE".


14 INT. JOE CABOT'S OFFICE - DAY

We're inside the office of Joe Cabot. Joe's on the phone,
sitting behind his desk.

JOE
(into phone)
Sid, I'm tellin you don't worry
about it. You had a bad couple of
months, it happens.
(pause)
Sid, Sid, Sid...Stop, you're
embarrassing me. I don't need to
be told what I already know. When
you have bad months, you do what
every business man in the
worlds does, I don't care if he's
Donald Trump or Irving the tailor.
Ya ride it out.

There's a KNOCK on Cabot's office door.

JOE
Come in.

One of Cabot's goons, TEDDY, opens the door and steps
inside. Cabot covers the receiver with his hand and looks
towards the man.

TEDDY
Vic Vega's outside.

JOE
Tell him to come in.

Teddy leaves.

JOE
(into phone)
Sid, a friend of mine's here. I
gotta go.
(pause)
Good enough, bye.

He hangs up the phone, stands, and walks around to the
front of the desk.

Teddy opens the office door, and TOOTHPICK VIC VEGA walks
in.

Toothpick Vic Vega is none other than our very own Mr.
Blonde. Vic is dressed in a long black leather seventies
style jacket.

Joe stands in front of his desk with his arms open.

The two men embrace each other. Teddy leaves, closing the
door behind him.

JOE
How's freedom kid, pretty fuckin
good, ain't it?

VIC
It's a change.

JOE
Ain't that a sad truth. Remy
Martin?

VIC
Sure.

JOE
Take a seat.

Joe goes over to his liquor cabinet. Vic sits in a chair
set in front of Joe's desk.

JOE
(while he pours the
drink)
Who's your parole officer?

VIC
A guy named Koons. Craig Koons.

JOE
How is he?

VIC
Fuckin asshole, won't let me leave
the halfway house.

JOE
Never ceases to amaze me. Fuckin
jungle bunny goes out there, slits
some old woman's throat for
twenty-five cents. Fuckin nigger
gets Doris Day as a parole
officer. But a good fella like
you gets stuck with a ball-bustin
prick.

Joe walks back around his desk and sits in his chair.

Vic swallows some Remy.

VIC
I just want you to know, Joe, how
much I appreciate your care
packages on the inside.

JOE
What the hell did you expect me to
do? Just forget about you?

VIC
I just wanted you to know, they
meant a lot.

JOE
It's the least I could do Vic. I
wish I coulda done more.
(Joe flashes a side
grin at Vic)
Vic. Toothpick Vic. Tell me a
story? What're your plans?

VIC
Well, what I wanna do is go back
to work. But I got this Koons
prick deep up my ass. He won't
let me leave the halfway house
till I get some piece of shit job.
My plans have always been to be
part of the team again.

There's a KNOCK at the door.

JOE
Come in.

The door opens and in walks Joe's son, Nice Guy Eddie.
Vic turns around in his seat and sees him.

EDDIE
(to Vic)
I see ya sittin here, but I don't
believe it.

Vic gets out of his seat and hugs Eddie.

EDDIE
How ya doin, Toothpick?

VIC
Fine, now.

EDDIE
I'm sorry man, I shoulda picked
you up personally at the pen.
This whole week's just been crazy.
I've had my head up my ass the
entire time.

VIC
Funny you should mention it.
That's what your father and I been
talkin about.

EDDIE
That I should've picked you up?

VIC
No. That your head's been up your
ass. I walk through the door and
Joe says "Vic, you're back, thank
god. Finally somebody who knows
what the fuck he's doing. Vic,
Vic, Vic, Eddie, my son, is a fuck
up." And I say "Well, Joe, I
coulda told you that." "I'm
ruined! He's ruining me! My son,
I love him, but he's taking my
business and flushing it down the
fuckin toilet!"
(to Joe)
I'm not tellin tales out of
school. You tell 'im Joe.
Tell 'im yourself.

JOE
Eddie, I hate like hell for you to
hear it this way. But when Vic
asked me how's business, well, you
don't lie to a man who's just done
four years in the slammer for ya.

Eddie bobs his head up and down.

EDDIE
Oh really, is that a fact?

Eddie JUMPS Vic and they fall to the floor.

The two friends, laughing and cussing at each other,
wrestle on the floor of Joe's office.

Joe's on his feet yelling at them.

JOE
(yelling)
Okay, okay, enough, enough!
Playtime's over! You wanna roll
around on the floor, do it in
Eddie's office, not mine!

The two men break it up. They are completely disheveled,
hair a mess, shirttails out. As they get themselves
together, they continue to taunt one another.

EDDIE
Daddy, did ya see that?

JOE
What?

EDDIE
Guy got me on the ground, tried to
fuck me.

VIC
You fuckin wish.

EDDIE
You tried to fuck me in my
father's office, you sick bastard.
Look, Vic, whatever you wanna do
in the privacy of your own home,
go do it. But don't try to fuck
me. I don't think of you that
way. I mean, I like you a lot--

VIC
Eddie, if I was a pirate, I
wouldn't throw you to the crew.

EDDIE
No, you'd keep me for yourself.
Four years fuckin punks in the ass
made you appreciate prime rib when
you get it.

VIC
I might break you, Nice Guy, but
I'd make you my dog's bitch.
You'd be suckin the dick and going
down on a mangy T-bone hound.

EDDIE
Now ain't that a sad sight, daddy,
walks into jail a white man, walks
out talkin like a nigger. It's
all that black semen been shootin
up his butt. It's backed up into
his brain and comes out of his
mouth.

JOE
Are you two finished? We were
talkin about some serious shit
when you came in Eddie. We got a
big problem we're tryin to solve.
Now Eddie, would you like to sit
down and help us solve it, or do
you two wanna piss fart around?

Playtime is over and Vic and Eddie know it. So they both
take seats in front of Joe's desk.

JOE
Now Vic was tellin me, he's got a
parole problem.

EDDIE
Really? Who's your P.O.?

VIC
Craig Koons.

EDDIE
Koons? Oh shit, I hear he's a
motherfucker.

VIC
He is a motherfucker. He won't
let me leave the halfway house
till I get some piece of shit job.

EDDIE
You're coming back to work for us,
right?

VIC
I wanna. But I gotta show this
asshole I got an honest-to-
goodness job before he'll let me
move out on my own. I can't work
for you guys and be worried about
gettin back before ten o'clock
curfew.

JOE
(to Eddie)
We can work this out, can't we?

EDDIE
This isn't all that bad. We can
give you a lot of legitimate jobs.
Put you on the rotation at Long
Beach as a dock worker.

VIC
I don't wanna lift crates.

EDDIE
You don't hafta lift shit. You
don't really work there. But as
far as the records are concerned,
you do. I call up Matthews, the
foreman, tell him he's got a new
guy. You're on the schedule. You
got a timecard, it's clocked in
and out for you everyday, and you
get a pay check at the end of the
week. And ya know dock workers
don't do too bad. So you can move
into a halfway decent place
without Koons thinkin "what the
fuck." And if Koons ever wants to
make a surprise visit, you're gone
that day. That day we sent you to
Tustin. We gotta bunch of shit
you needed to unload there.
You're at the Taft airstrip pickin
up a bunch of shit and bringing it
back. Part of your jab is goin
different places - and we got
places all over the place.

JOE
(to Vic)
Didn't I tell ya not to worry?
(to Eddie)
Vic was worried.

EDDIE
Me and you'll drive down to Long
Beach tomorrow. I'll introduce
you to Matthews, tell him what's
going on.

VIC
That's great, guy, thanks a bunch.
(pause)
When do you think you'll need me
for real work?

JOE
Well, it's kinda a strange time
right now. Things are kinda--

EDDIE
--Nuts. We got a big meeting in
Vegas coming up. And we're kinda
just gettin ready for that right
now.

JOE
Let Nice Guy set you up at Long
Beach. Give ya some cash, get
that Koons fuck off your back, and
we'll be talking to ya.

EDDIE
Daddy, I got an idea. Now just
hear it out. I know you don't
like to use any of the boys on
these jobs, but technically, Vic
ain't one of the boys. He's been
gone for four years. He ain't on
no one's list. Ya know he can
handle himself, ya know you can
trust him.

Joe looks at Vic.

Vic has no idea what they're talking about.

JOE
How would you feel about pullin a
heist with about five other guys?

VIC
What's the exposure like?

JOE
Two minutes, tops. It's a tough
two minutes. It's a hold up,
daylight, during business hours,
dealing with a crowd. But you
have the fellas to deal with the
crowd. It's a jewelry store.
They're getting a big shipment of
South African diamonds on a
certain day. They're like a way
station. It's gonna get picked up
the next day and sent to Hamburg.
When you walk through the door,
you'll know right where to go for
the rich stones.
The fellas are good, me and Nice
Guy picked em. Nobody knows
anybody else. Nobody's connected.
I don't use connected guys for
this shit.

VIC
What's the cut?

JOE
Juicy, man, real juicy.

Toothpick Vic smiles.

So does Nice Guy Eddie.

CUT TO:


15 INT. NICE GUY EDDIE'S CAR (MOVING) - DAY

Nice Guy Eddie is driving to the rendezvous talking on his
portable car phone. The sounds of the seventies are
coming out of his car radio in the form of "Love Goes
Where My Rosemary Goes" by Edison Lighthouse.

EDDIE
(into phone)
Hey Dov, we got a major situation
here.
(pause)
I know you know that. I gotta
talk with daddy and find out what
he wants done.


FLASH ON

16 INT. WAREHOUSE - DAY

The Cop is standing in the warehouse with his hands cuffed
behind his back. Mr. White, Mr. Pink and Mr. Blonde
surround him and proceed to beat the shit out of him.
"Love Grows .." PLAYS over the soundtrack.


17 BACK TO NICE GUY EDDIE

EDDIE
(into phone)
All I know is what Vic told me.
He said the place turned into a
fuckin bullet festival. He took a
cop as hostage, just to get the
fuck out of there.


FLASH ON

18 WAREHOUSE

The three men are stomping the cop into the ground.


19 BACK TO EDDIE

EDDIE
(into phone)
Do I sound like I'm jokin? He's
fuckin driving around with the cop
in his trunk.
(pause)
I don't know who did that. I
don't know who has the loot, if
anybody has the loot. Who's dead,
who's alive, who's caught, who's
not...
I will know, I'm practically
there. But what do I tell these
guys about daddy?
(pause)
You sure that's what he said?
(pause)
Okay, that's what I'll tell em.

CUT TO:


20 EXT. WAREHOUSE - DAY

Three cars belonging to the other guys are parked outside
the warehouse.

Eddie drives his car up to the warehouse. He gets out of
the car, looks at the other cars parked outside.

EDDIE
(to himself)
Fucking assholes.

Eddie makes a beeline for the front door, BANGS it open,
and steps inside the warehouse.


21 INT. WAREHOUSE - DAY

The robbers have the cop tied to a chair and are still
WAILING on him.

Nice Guy Eddie walks in and everybody jumps.

EDDIE
What in Sam Hill is goin on?

Mr. Pink and Mr. White speak together.

MR. PINK MR. WHITE
Hey, Nice Guy, we got a You're askin what's goin
cop. on? Where the fuck is
Joe?

Nice Guy sees Mr. Orange.

EDDIE
Holy shit, this guy's all fucked
up!

MR. WHITE
No shit, he's gonna fuckin die on
us if we don't get him taken care
of.

MR. PINK
We were set up, the cops were
waiting for us.

EDDIE
What? Nobody set anybody up.

MR. PINK
The cops were there waitin for us!

EDDIE
Bullshit.

MR. PINK
Hey, fuck you man, you weren't
there, we were. And I'm tellin
ya, the cops had that store staked
out.

EDDIE
Okay, Mr. Detective, who did it?

MR. PINK
What the fuck d'you think we've
been askin each other?

EDDIE
And what are your answers? Was it
me? You think I set you up?

MR. PINK
I don't know, but somebody did.

EDDIE
Nobody did. You assholes turn the
jewelry store into a wild west
show, and you wonder why cops show
up.

MR. BLONDE
Where's Joseph?

EDDIE
I ain't talked to him. I talked
to Dov. Dov said he's comin out
here, and he's fucking pissed.

MR. PINK
(to Mr. White)
I told ya he'd be pissed.

MR. WHITE
(pointing to Mr.
Orange)
What are you gonna do about him?

EDDIE
Jesus Christ, give me a fuckin
chance to breathe. I got a few
questions of my own, ya know.

MR. WHITE
You ain't dying, he is.

EDDIE
I'll call somebody.

MR. WHITE
Who?

EDDIE
A snake charmer, what the fuck
d'you think. I'll call a doctor,
take care of him, fix 'm right up.
No, where's Mr. Brown and Mr.
Blue?

MR. PINK
Brown's dead, we don't know about
Blue.

EDDIE
Nobody saw what happened to Mr.
Blue?

MR. BLONDE
Well, he's either dead or he's
alive or the cops got him or they
don't.

DOLLY to MEDIUM on the cop.

EDDIE (OS)
I take it this is the bastard you
told me about.
(referring to the
cop)
Why the hell are you beating on
him?

MR. PINK
So he'll tell us who the fuck set
us up.

EDDIE
Would you stop it with that shit!
You beat on this prick enough,
he'll tell ya he started the
Chicago fire. That don't
necessarily make it so. Okay,
first things fucking last, where's
the shit? Please tell me somebody
brought something
with them.

MR. PINK
I got a bag. I stashed it till I
could be sure this place wasn't a
police station.

EDDIE
Well, let's go get it. We also
gotta get rid of all those cars.
It looks like Sam's hot car lot
outside.
(pointing to Mr.
Blonde)
You stay here and babysit Orange
and the cop.
(referring to Mr.
Pink and Mr. White)
You two take a car each, I'll
follow ya. You ditch it, I'll
pick you up, then we'll pick up
the stones. And while I'm
following you, I'll arrange for
some sort of a doctor for our
friend.

MR. WHITE
We can't leave these guys with
him.

Meaning Mr. Blonde.

EDDIE
Why not?

Mr. White crosses to Mr. Blonde.

MR. WHITE
Because this guy's a fucking
psycho. And if you think
Joe's pissed at us, that
ain't nothing compared to how
pissed off I am at him, for puttin
me in the same room as this
bastard.

MR. BLONDE
(to Eddie)
You see what I been puttin up
with? As soon as I walk through
the door I'm hit with this shit.
I tell 'm what you told me about
us stayin put and Mr. White whips
out his gun, sticks it in my face,
and starts screaming "You
motherfucker, I'm gonna blow you
away, blah, blah, blah."

MR. WHITE
He's the reason the place turned
into a shooting gallery.
(to Mr. Pink)
What are you, a silent partner?
Fuckin tell him.

MR. PINK
He seems all right now, but he
went crazy in the store.

MR. WHITE
This is what he was doin.

Mr. White acts out Mr. Blonde shooting everybody in the
store.

MR. BLONDE
I told 'em not to touch the alarm.
They touched it. I blew 'em full
of holes. If they hadn't done
what I told 'em not it, they'd
still be alive.

MR. WHITE
That's your excuse for going on a
kill crazy rampage?

MR. BLONDE
I don't like alarms.

EDDIE
What does it matter who stays with
the cop? We ain't lettin him go.
Not after he's seen everybody.
You should've never took him outta
your trunk in the first place.

MR. PINK
We were trying to find out what he
knew about the set up.

EDDIE
There is no fuckin set up!
(Eddie takes charge)
Look, this is the news. Blondie,
you stay here and take care of
them two. White and Pink come
with me, 'cuz if Joe gets here and
sees all those fucking cars
parked out front, he's going to be
as mad at me as he is at you.

Eddie, Mr. White and Mr. Pink walk out of the warehouse
talking amongst themselves.


22 INT. WAREHOUSE - DAY - MR. BLONDE AND COP

Mr. Blonde closes the door after them. He then slowly
turns his head towards the cop.

MR. BLONDE
Alone at last.


C.U. COP'S FACE.

MR. BLONDE (OS)
Now where were we?

COP
I told you I don't know anything
about any fucking set up. I've
only been on the force eight
months, nobody tells me anything!
I don't know anything! You can
torture me if you want--

MR. BLONDE (OS)
--Thanks, don't mind if I do.

COP
Your boss even said there wasn't a
set up.

MR. BLONDE (OS)
First off, I don't have a boss.
Are you clear about that?

He SLAPS the cop's face.

MR. BLONDE (OS)
I asked you a question. Are you
clear about that?

COP
Yes.

MR. BLONDE (OS)
Now I'm not gonna bullshit you. I
don't really care about what you
know or don't know. I'm gonna
torture you for awhile regardless.
Not to get information, but
because torturing a cop amuses me.
There's nothing you can say,
there's nothing you can do.
Except pray for death.

He puts a piece of tape over the cop's mouth.


COP'S POV

Mr. Blonde walks away from the cop.

MR. BLONDE
Let's see what's on K-BILLY'S
"super sounds of the seventies"
weekend.

He turns on the radio.

Stealer's Wheel's hit "Stuck in the Middle with You" PLAYS
over the speaker.

NOTE: This entire sequence is timed to the music.

Mr. Blonde slowly walks toward the cop.

He opens a large knife.

He grabs a chair, places it in front of the cop and sits
in it.

Mr. Blonde just stares into the cop's/our face, holding
the knife, singing along with the song.

Then, like a cobra, he LASHES out.

A SLASH across the face.

The cop/camera moves around wildly.

Mr. Blonde just stares into the cop's/our face, singing
along with the seventies hit.

Then he reaches out and CUTS OFF the cop's/our ear.

The cop/camera moves around wildly.

Mr. Blonde holds the ear up to the cop/us to see.

Mr. Blonde rises, kicking the chair he was sitting on out
of the way.


23 INT./EXT. WAREHOUSE - DAY - HANDHELD SHOT

We follow Mr Blonde as he walks out of the warehouse...

...to his car. He opens the trunk, pulls out a large can
of gasoline.

He walks back inside the warehouse...


24 INT. WAREHOUSE - DAY

...carrying the can of gas.

Mr. Blonde POURS the gasoline all over the cop, who's
BEGGING him not to do this.

Mr. Blonde just sings along with Stealer's Wheel.

Mr. Blonde LIGHTS up a match and, while mouthing:

MR. BLONDE
"Clowns to the left of me,
Jokers to the right. Here I am,
stuck in the middle with you."

He moves the match up to the cop...

...When a bullet EXPLODES in Mr. Blonde's chest.

The HANDHELD camera WHIPS to the right and we see the
bloody Mr. Orange FIRING his gun.

We cut back and forth between Mr. Blonde taking BULLET
HITS and Mr. Orange emptying his weapon.

Mr. Blonde FALLS down dead.

Mr. Orange crawls to where the cop is, leaving a bloody
trail behind him.

When he reaches the cop's feet he looks up at him.

MR. ORANGE
(feebly)
What's your name?

COP
Jeffrey.

MR. ORANGE
Jeffrey what?

COP
Jeffrey Andrews.

MR. ORANGE
Listen to me, Jeffrey
Andrews. I'm a cop.

JEFFREY
I know.

MR. ORANGE
(surprised)
You do?

JEFFREY
Your name's Freddy something.

MR. ORANGE
Freddy Newendyke.

JEFFREY
Frankie Ferchetti introduced us
once, about five months ago.

MR. ORANGE
Shit. I don't remember that at
all.

JEFFREY
I do.
(pause)
How do I look?

The gun-shot Mr. Orange looks at the kid's GASHED face and
the hole in the side of his head where his ear used to be.

MR. ORANGE
I don't know what to tell you
Jeffrey.

Jeffrey starts to weep.

JEFFREY
That fucking bastard! That
fucking sick fucking bastard!

MR. ORANGE
Jeffrey, I need you to hold on.
There's officers positioned and
waiting to move in a block away.

JEFFREY
(screaming)
What the fuck are they waiting
for? That motherfucker cut off my
ear! He slashed my face! I'm
deformed!

MR. ORANGE
And I'm dying. They don't know
that. All they know is they're
not to make a move until Joe Cabot
shows up. I was sent undercover
to get Cabot. You heard 'em, they
said he's on his way. Don't pussy
out on me now, Jeffrey. We're
just gonna sit here and bleed
until Joe
Cabot sticks his fuckin head
through that door.

CUT TO:


INSERT: TITLE CARD "MR. ORANGE & MR. WHITE"


25 INT. DENNY'S - NIGHT

A tough-looking black man named HOLDAWAY, who sports a
Malcom X beard, a green Chairman Mao cap with a red star
on it, and a military flack jacket, digs into a Denny
bacon, cheese and avocado burger. He sits in a booth all
alone. He's waiting for somebody. As he waits, he
practically empties an entire bottle of ketchup on his
french fries, not by mistake either--that's just how he
likes it.

We see Mr. Orange, now known as FREDDY NEWENDYKE, wearing
a high school letterman jacket, enter the coffee shop,
spot Holdaway, and head his way. Holdaway sees Freddy bop
towards him with a wide-ass alligator grin plastered
across his face.

CAMERA DOLLIES FAST down AISLE to MEDIUM SHOT of Holdaway.
We fear Freddy OFF SCREEN.

FREDDY (O.S.)
Say "hello" to a motherfucker
who's inside. Cabot's doing a job
and take a big fat guess who he
wants on the team?

HOLDAWAY
This better not be some Freddy
joke.

LOW ANGLE

looking up at Freddy, who's standing at the table.

FREDDY
It ain't no joke, I'm in there.
I'm up his ass.

CU ON HOLDAWAY

Holdaway just looks at his pupil for a moment, then
smiles.

HOLDAWAY
Congratulations.


26 EXT. DENNY'S - NIGHT

We see through the window of the restaurant Freddy slide
into the booth across from Holdaway. Freddy's doing a lot
of talking, but we can't hear what they're saying.


27 INT. DENNY'S - NIGHT

FREEZE FRAME ON HOLDAWAY

We are frozen on a MEDIUM CU of Holdaway listening to
Freddy. We HEAR RESTAURANT NOISE and Freddy OFF SCREEN.

FREDDY (O.S.)
Nice Guy Eddie tells me Joe wants
to meet me. He says I should just
hang around my apartment and wait
for a phone call. Well after
waiting three goddamn days by the
fuckin phone, he calls me last
night and says Joe's ready, and
he'll pick me up in fifteen
minutes.

The freeze frame ENDS. Holdaway comes suddenly up to
speed and says:

HOLDAWAY
Woo all picked you up?

From here to end we cut back and forth.

FREDDY
Nice Guy. When we got to the
bar...

HOLDAWAY
...What bar?

FREDDY
The Boots and Socks in Gardena.
When we got there, I met Joe and a
guy named Mr. White. It's a phony
name. My name's Mr. Orange.

HOLDAWAY
You ever seen this motherfucker
before?

FREDDY
Who, Mr. White?

HOLDAWAY
Yeah.

FREDDY
No, he ain't familiar. He ain't
one of Cabot's soldiers either.
He's gotta be from outta town.
But Joe knows him real well.

HOLDAWAY
How can you tell?

FREDDY
The way they talk to each other.
You can tell they're buddies.

HOLDAWAY
Did the two of you talk?

FREDDY
Me and Mr. White?

HOLDAWAY
Yeah.

FREDDY
A little.

HOLDAWAY
What about?

FREDDY
The Brewers.

HOLDAWAY
The Milwaukee Brewers?

FREDDY
Yeah. They had just won the night
before, and he made a killing off
'em.

HOLDAWAY
Well, if this crook's a Brewers
fan, his ass has gotta be from
Wisconsin. And I'll bet you
everything from a diddle-eyed Joe
to a damned-if-I-know, that in
Milwaukee they got a sheet on this
Mr. White motherfucker's ass. I
want you to go through the mugs of
guys from old Milwaukee with a
history of armed robbery, and put
a name to that face.

Holdaway takes a big bite out of his burger.

HOLDAWAY
(with his mouth full)
What kinds questions did Cabot
ask?

FREDDY
Where I was from, who I knew, how
I knew Nice Guy, had I done time,
shit like that.

Holdaway's talked enough, he's eating his burger now. He
motions for Freddy to elaborate.

FREDDY
He asked me if I ever done armed
robbery before. I read him my
credits. I robbed a few gas and
sips, sold some weed, told him
recently I held the shotgun while
me and another guy pulled down a
poker game in Portland.

CAMERA MOVES from a MEDIUM on Freddy to a CU.

HOLDAWAY (O.S.)
Didja use the commode story?

FREDDY
Fuckin-A. I tell it real good,
too.


28 INT. MEN'S ROOM - L.A. TRAIN STATION - NIGHT

Freddy and Holdaway at one of their many rendezvous.
Holdaway wears an extra large Lakers sweatshirt. Freddy
sits on one of the sinks, wearing his high school jacket,
looking at pieces of paper stapled together.

FREDDY
What's this?

HOLDAWAY
It's a scene. Memorize it.

FREDDY
What?

HOLDAWAY
A undercover cop has got to be
Marlon Brando. To do this job you
got to be a great actor. You got
to be naturalistic. You got to be
naturalistic as hell. If you
ain't a great actor you're a bad
actor, and bad acting is bull shit
in this job.

FREDDY
(referring to the
papers)
But what is this?

HOLDAWAY
It's a amusing anecdote about a
drug deal.

FREDDY
What?

HOLDAWAY
Something funny that happened to
you while you were doing a job.

FREDDY
I gotta memorize all this shit?

HOLDAWAY
It's like a joke. You remember
what's important, and the rest you
make your own. The only way to
make it your own is to keep sayin
it, and sayin it, and sayin it,
and sayin it, and sayin it.

FREDDY
I can do that.

HOLDAWAY
The things you gotta remember are
the details. It's the details
that sell your story. Now this
story takes place in this men's
room. So you gotta know the
details about this men's room.
You gotta know they got a blower
instead of a towel to dry your
hands. You gotta know the stalls
ain't got no doors. You gotta
know whether they got liquid or
powdered soap, whether they got
hot water or not, 'cause if you do
your job when you tell your story,
everybody should believe it. And
if you tell your story to somebody
who's actually taken a piss in
this men's room, and you get one
detail they remember right,
they'll swear by you.


29 INT. FREDDY'S APARTMENT - DAY

Freddy paces back and forth, in and out of frame,
rehearsing the anecdote. He's reading it pretty good, but
he's still reading it from the page, and every once in a
while he stumbles over his words.

FREDDY
...this was during the Los Angeles
marijuana drought of '86. I still
had a connection. Which was
insane, 'cause you couldn't get
weed anyfuckinwhere then. Anyway,
I had a connection with this
hippie chick up in Santa Cruz.
All and my friends knew it. And
they'd give me a call and say,
"Hey, Freddy, you buyin some, you
think you could buy me some too?"
They knew I smoked, so they'd ask
me to buy a little for them when I
was buyin. But it got to be
everytime I bought some weed, I
was buyin for four or five
different people. Finally I said,
"Fuck this shit." I'm makin this
bitch rich. She didn't have to do
jack shit, she never even had to
meet these people. I was fuckin
doin all the work. So I got
together with her and told her,
"Hey, I'm sick of this shit. I'm
comin through for everybody, and
nobody's comin through for me.
So, either I'm gonna tell all my
friends to find their own source,
or you give me a bunch of weed,
I'll sell it to them, give you the
money, minus ten percent, and I
get my pot for free." So, I did
if for awhile...

Freddy exits frame

CUT TO:


30 EXT. PARKING LOT - DAY

Another empty frame, except obviously outside. Freddy
enters frame from the same direction he exited in the
previous scene, finishing his sentence. When we move to a
wider shot we see Freddy performing his monolog to
Holdaway in a parking lot. Holdaway sits on the hood of
his beat-up car. Freddy paces back and forth as he
performs his story.

FREDDY
...but then that got to be a pain
in the ass. People called me on
the phone all the fuckin time. I
couldn't rent a fuckin tape
without six phone calls
interrupting me. "Hey, Freddy,
when's the next time you're gettin
some?" "Motherfucker, I'm tryin
to watch 'Lost Boys'-- when I have
some, I'll let you know." And
then these rinky-dink pot heads
come by--there's my friends and
everything, but still. I got all
my shit laid out in sixty dollar
bags. Well, they don't want sixty
dollars worth. They want ten
dollars worth. Breaking it up is
a major fuckin pain in the ass. I
don't even know how much ten
dollars worth is. "Well, fuck,
man, I don't want that much
around. If I have that much
around I'll smoke it." "Hey, if
you guys can't control your
smokin, that's not my problem.
You motherfuckers been smokin for
five years, be a adult about it."
Finally I just told my connection,
count me out. But as it turns
out, I'm the best guy she had, and
she depended alot on my business.
But I was still sick to death of
it. And she's trying to talk me
into not quitin.
Now this was a very weird
situation, 'cause I don't know if
you remember back in '86, there
was a major fuckin drought.
Nobody and anything. People were
livin on resin and smokin the wood
in their pipes for months. And
this chick had a bunch, and was
beggin me to sell it. So I told
her I wasn't gonna be Joe the Pot
Man anymore. But I would take a
little bit and sell it to my
close, close, close friends. She
agreed to that, and said we'd keep
the same arrangement as before,
ten percent and free pot for me,
as long as I helped her out that
weekend. She had a brick of weed
she was sellin, and she didn't
want to go to the buy alone...

CUT TO:


31 INT. BOOTS AND SOCKS BAR - NIGHT

Freddy, Joe, Nice Guy Eddie and Mr. White all sit around a
table in a red-lighted smokey bar. Freddy continues his
story. The crooks are enjoying the hell out of it.

FREDDY
...Her brother usually goes with
her, but he's in county
unexpectedly.

MR. WHITE
What for?

FREDDY
Traffic tickets gone to warrant.
They stopped him for something,
found the warrants on 'im, took
'im to jail. She doesn't want to
walk around alone with all that
weed. Well, I don't wanna do
this, I have a bad feeling about
it, but she keeps askin me, keeps
askin me, finally I said okay
'cause I'm sick of listening to
it. Well, we're picking this guy
up at the train station.

JOE
You're picking the buyer up at the
train station? You're carrying
the weed on you?

FREDDY
Yeah, the guy needed it right
away. Don't ask me why. So we
get to the train station, and
we're waitin for the guy. Now I'm
carrying the weed in one of those
carry-on bags, and I gotta take a
piss. So I tell the connection
I'll be right back, I'm goin' to
the little boys room...

CUT TO:


32 INT. MEN'S ROOM - TRAIN STATION - DAY

MEDIUM ON FREDDY

He walks through the door with a carry-on bag over his
shoulder. Once he's inside, he stops in his tracks. We
move into a CU.

FREDDY (V.O.)
...So I walk into the men's room,
and who's standing there?

FREEZE FRAME

on Freddy standing in front of six Los Angeles County
Sheriffs and one German Shepherd. All of their eyes are
on Freddy. Everyone is frozen.

FREDDY (V.O.)
...six Los Angeles County Sheriffs
and a German Shepherd.

NICE GUY EDDIE (V.O.)
They were waiting for you?

FREDDY (V.O.)
No. They were just a bunch of
cops hangin out in the men's room,
talkin. When I walked through the
door they all stopped what they
were talking about and looked at
me.


33 BACK TO BAR

ECU MR. WHITE

MR. WHITE
That's hard, man. That's a fuckin
hard situation.


34 BACK TO MEN'S ROOM

ECU GERMAN SHEPHERD

barking his head off.

FREDDY (V.O.)
The German Shepherd starts
barkin'. He's barkin' at me. I
mean it's obvious he's barkin' at
me.

We do a slow 360 around Freddy in the men's room. We can
hear the dog barking.

FREDDY (V.O.)
Every nerve ending, all of my
senses, the blood in my veins,
everything I has was screaming,
"Take off, man, just take off, get
the fuck outta there!" Panic hit
me like a bucket of water. First
there was the shock of it--BAM,
right in the face! Then I'm just
standin there drenched in panic.

SLOW MOTION

CAMERA does a PAN from face to face of the sheriffs.

FREDDY (V.O.)
And all those sheriffs are lookin
at me and they know. They can
smell it. As sure as that fuckin
dog cam, they can smell it on me.

FREEZE FRAME

Back to the same freeze frame shot of Freddy standing in
front of the sheriffs. It suddenly jerks to life, and
moves to speed. The dog is barking. Freddy moves to his
right, out of frame. We stay on the sheriffs. One
sheriff yells at the dog.

SHERIFF #1
Shut up!

The dog quiets down. Sheriff #2 continues with his story.
A couple of the sheriffs look over at Freddy off screen,
but as Sheriff #2 talks, turn their attention to him.

SHERIFF #2
So my gun's drawn, right? I got
it aimed right at him. I tell
'em, "Freeze, don't fuckin move."
And the little idiot's lookin at
me, nodding his head "Yes," sayin
"I know...I know...I know."
Meanwhile his right hand is
creepin towards his glove box. So
I scream at him, "Asshole, you
better fuckin freeze right now!"
And he's still lookin right at me,
saying
"I know...I know...I know." And
his right hand's still going for
the glove box.

The CAMERA PANS away from the sheriffs to Freddy, up
against the urinal, playing possum, pretending to piss.

SHERIFF #2 (O.S.)
I tell 'im, "Buddy, I'm gonna
shoot you in the face right now if
you don't put your hands on the
fuckin dash." And the guy's
girlfriend, a real sexy Oriental
bitch, starts screamin at him,
"Chuck, are you out of your mind?
Put your hands on the dash like
the officer said." And then like
nothing, the guy snaps out of it
and casually puts his hands on the
dash.

Freddy finishes his playing possum piss, and walks past
the sheriffs over to the sink. The CAMERA PANS with him.
A sheriff is sitting on a sink. He looks down and watches
Freddy wash his hands.

SHERIFF #1
What was he goin for?

SHERIFF #2
His registration. Stupid fuckin
citizen, doesn't have the
slightest idea how close he came
to gettin shot.

Freddy finishes washing his hands. He goes to dry them,
but there's only those hand drying machines. Freddy turns
on the drying machine. He can't hear anything the
sheriffs say now. The sound of the machine dominates the
sound track.

These following shots are SLOW MOTION.

CU OF FREDDY

CU of his HANDS, rubbing each other getting blown dry

SHOT OF SHERIFFS talking. We can't hear them because of
the machine.

CU OF MACHINE

MEDIUM OF SHERIFF ON SINK, smoking a cigarette, glancing
over at Freddy.

CU OF GERMAN SHEPHERD

Machine turns off.

CUT TO:


35 INT. OFFICE - DAY

CU MUG SHOT OF MR. WHITE

FREDDY (OS)
That's him, that's Mr. White.

FULL SCENE

An office upstairs in the undercover division of the
police station.


TWO SHOT OF FREDDY AND HOLDAWAY

look at mug shot.

HOLDAWAY
Lawrence Dimick. Let's see what
we got on him.

CU OF COMPUTER SCREEN

the name DIMICK, LAWRENCE is typed in.


C.U. ENTER BUTTON IS PRESSED


C.U. OF FEMALE COMPUTER OPERATOR, JODIE SEIGEL.

JODIE
This is your life, Lawrence
Dimick!


C.U. OF COMPUTER PRINTER

printing out sheet. The noise of the printer plays loud
over the soundtrack. Jodie's hand comes into FRAME and
tears sheet from the printer.

CUT TO:


36 INT. HOLDAWAY'S OFFICE - DAY

Holdaway sits behind his desk. Freddy sits on the edge of
the desk eating a Double-Double with cheese. They look
into the CAMERA.

We hear Jodie's voice OFFSCREEN.

JODIE (OS)
Lawrence "Larry" Dimick. Also
known as Lawrence Jacobs and Alvin
"Al" Jacobs. This guy is Mr. Joe-
Armed-Robbery. He's
a pro and he makes it a habit not
to get caught.


MEDIUM SHOT OF JODIE

DOLLY slowly into C.U.

JODIE
He's only been convicted twice,
which is pretty good for somebody
living a life of crime. Once for
armed robbery, when he was twenty-
one, in Milwaukee.


C.U. FREDDY

FREDDY
What was it?


JODIE

JODIE
Payroll office at a lumber yard.
First offense - he got eighteen
months. He didn't get busted
again until he was thirty-two.
And then it was a backdoor bust.
A routine vice squad roust. They
roust this bar, out buddy Lawrence
is in there knocking down a few.
He gets picked up. He's wearing
on his person an outlaw .45
automatic, apparently his weapon
of choice. Also, on his finger is
a diamond ring from a jewelry
store robbery a year earlier. He
got two years back inside for
that.


TWO SHOT OF HOLDAWAY AND FREDDY

Freddy winces.

FREDDY
Goddamn, that's hard time.


JODIE

JODIE
So far, it's the only time he's
ever done.


CU HOLDAWAY

HOLDAWAY
Was this vice squad bullshit in
Milwaukee?


JODIE

JODIE
No. The vice squad roust was in
L.A. He's been in Los Angeles
since '77.


DOLLY BEHIND HOLDAWAY'S DESK

from left to right.

FREDDY
When did he do this time?

JODIE
Back in '83, got out late '86. I
found something else out I think
you two should be aware of.
About a year and a half ago, up in
Sacramento, an undercover cop,
John Dolenz, worked his way into a
bank job. Apparently before the
job they found out he was a cop.
Now picture this: It's Dolenz's
birthday, a bunch of cops are
waiting in his apartment for a
surprise party. The door opens,
everyone yells "Surprise!", and
standing in the doorway is Dolenz
and this other guy sticking a gun
in Dolenz's ribs. Before anybody
knows what's going on, this
stranger shoots Dolenz dead and
starts firing two .45 automatics
into the crowd.

HOLDAWAY
What happened?

The DOLLY moves behind Jodie.

JODIE
It was a mess. Cops got hit,
wives got hit, girlfriends got
hit, his dog got hit. People got
glass in their faces. Three were
killed, six were wounded.

FREDDY
They couldn't pin the killing on
one of the bank robbers?

JODIE
They tried, but they didn't have a
positive I.D. and all those guys
had alibis. Besides, we really
didn't have anything on them. We
had the testimony of a dead man
that they were talking
about committing a robbery. They
never went ahead with the bank
job.

The DOLLY completes its circle.

FREDDY
And Larry Dimick was one of the
boys?

JODIE
He was probably the one.


ON HOLDAWAY

HOLDAWAY
Just how sure are you with your
cover?

PAN to C.U. on Freddy.

FREDDY
Today they may know something,
tomorrow they may know something
else. But yesterday they didn't
know anything.


C.U. OF MR. WHITE'S MUG SHOT

FREDDY (OS)
What's the next step?

HOLDAWAY (OS)
Do what they told ya. Sit in your
apartment and wait for 'em to call
you. We'll have guys posted
outside who'll follow you when
they pick you up.


35 INT. FREDDY'S APARTMENT - DAY

C.U. TELEPHONE

It RINGS. Freddy answers it, we FOLLOW the receiver up to
his face.

FREDDY
Hello.

NICE GUY EDDIE (OS)
(through phone)
It's time. Grab your jacket--


36 INT. NICE GUY EDDIE'S CAR (PARKED) - DAY

C.U. of Nice Guy Eddie speaking into the car phone.

EDDIE
--We're parked outside.

FREDDY (OS)
(through phone)
I'll be right down.

We hear the CLICK of Freddy hanging up through the phone.
Nice Guy places the receiver back in its cradle.

EDDIE
He'll be right down.


39 INT. FREDDY'S APARTMENT - DAY

The CAMERA follows Freddy as he hops around the
apartment getting everything he needs. He puts on
his jacket and slips on some sneakers.

DOLLY fast toward the front door knob. Freddy's hand
comes into FRAME, grabs the knob, then lets go. We MOVE
UP to his face.

Fear.

FREDDY
(to himself)
Don't pussy out on me now. They
don't know. They don't know shit.
(pause)
You're not gonna get hurt. You're
fucking Baretta and they believe
every word, cuz
you're super cool.

He exits FRAME. We stay put and hear the door open and
close OFF SCREEN.


40 EXT. FREDDY'S APARTMENT - DAY

COPS' POV

From inside an unmarked car across the street, the TWO
COPS watching Freddy see him walk out of his building and
up to Eddie's parked car.

COP #1 (OS)
There goes our boy.

COP #2 (OS)
I swear, a guy has to have rocks
in his head the size of Gibraltar
to work undercover.

COP #1 (OS)
Do you want one of these?

COP #2 (OS)
Yeah, gimme the bear claw.

Freddy gets into the car and it pulls into traffic.

Cop #1 starts the engine and follows.


41 INT. NICE GUY EDDIE'S CAR (MOVING) - DAY

Nice Guy Eddie is behind the wheel. Mr. Pink is
in the passenger seat. Freddy and Mr. White are in the
backseat together.

MR. PINK
...Hey, I know what I'm talkin
about, black women ain't the same
as white women.

MR. WHITE
(sarcastically)
There's a slight difference.

The car laughs.

MR. PINK
Go ahead and laugh, you know what
I mean. What a while bitch will
put up with, a black bitch won't
put up with for a minute. They
got a line, and if you cross it,
they fuck you up.

EDDIE
I gotta go along with Mr. Pink on
this. I've seen it happen.

MR. WHITE
Okay, Mr. Expert. If this is such
a truism, how come every nigger I
know treats his woman like a piece
of shit?

MR. PINK
I'll make you a bet that those
same damn niggers who were showin
their ass in public, when their
bitches get 'em home, they chill
the fuck out.

MR. WHITE
Not these guys.

MR. PINK
Yeah, those guys too.

EDDIE
Let me tell you guys a story. In
one of daddy's clubs there was
this black cocktail waitress named
Elois.

MR. WHITE
Elois?

EDDIE
Yeah, Elois. E and Lois. We
called her Lady E.

MR. WHITE
Where was she from, Compton?

EDDIE
No. She was from Ladora Heights.

MR. PINK
The black Beverly Hills. I knew
this lady from Ladora Heights
once.
(in a stuck up black
female voice)
"Hi, I'm from Ladora Heights, it's
the black Beverly Hills."
EDDIE
It's not the black Beverly Hills,
it's the black Palos Verdes.
Anyway, this chick, Elois, was a
man-eater-upper. I bet every guy
who's ever met her has jacked off
to her at least once. You know
who she looked like? Christie
Love. 'Member that TV show "Get
Christie Love"? She was a black
female cop. She always used to
say "You're under arrest, sugar."

MR. PINK
I was in the sixth grade when that
show was on. I totally dug it.
What the fuck was the name of the
chick who played Christie
Love?

EDDIE
Pam Grier.

MR. PINK
No, it wasn't Pan Grier, Pan Grier
was the other one. Pan Grier made
the movies. Christie Love was
like a Pam Grier TV show, without
Pam Grier.

MR. PINK
What the fuck was that chick's
name? Oh this is just great, I'm
totally fuckin tortured now.

EDDIE
Well, whoever she was, Elois
looked like her. So one night I
walk into the club, and no Elois.
Now the bartender was a wetback,
he was a friend of mine, his name
was Carlos.
So I asked him "Hey, Carlos,
where's Lady E tonight?" Well
apparently Lady E was married to
this real piece of dog shit. I
mean a real animal. And
apparently he would so things to
her.

FREDDY

Do things? What would he do? You
mean like beat her up?

EDDIE
Nobody knows for sure what he did.
We just know he did something.
Anyway, Elois plays it real cool.
And waits for the next time this
bag of shit gets drunk. So one
night the guy gets drunk and
passes out on the couch. So while
the guy's
inebriated, she strips him naked.
Then she takes some crazy glue and
glues his dick to his belly.

The car reacts to how horrible that would be.

EDDIE
I'm dead fuckin serious. She put
some on his dick and some on his
belly, then stuck 'em together.
The paramedics had to come and cut
it loose.

The car reacts badly.

MR. WHITE
Jesus Christ!

FREDDY
You can do some crazy things with
it.

EDDIE
I don't know what he did to her,
but she got even.

MR. WHITE
Was he all pissed off?

MR. PINK
How would you feel if you had to
do a handstand every time you took
a piss.

The car laughs.


42 EXT. WAREHOUSE - DAY

Nice Guy Eddie pulls up outside the warehouse.
The four men climb out of the car and follow Eddie inside.


43 INT. WAREHOUSE - DAY

The four men enter the building.

At the other end of the warehouse, sitting in chairs, are
Mr. Blonde, Mr. Brown, Mr. Blue and Joe Cabot.

We shoot this from OVERHEAD, looking down on the men.

JOE
(to everybody)
...So they're talkin about how
they get their wives off, and the
French guys says:
(in a bad French
accent)
"All I gotta do is take my pinky
and tickle my Fifi's little oo la
la and she rises a foot off the
bed."

Back to Joe.

So the dago says:


CU ON JOE

JOE
(in a good Brooklyn
accent)
"That's nothin. When I take the
tip of my tongue and wiggle it
against my Mary Louise's little
fun pimple, she rises two feet off
da bed." Then our friend from
Poland says:
(in dumb voice)
"You guys ain't no cocksmen. When
I get through fuckin my Sophie, I
wipe my dick on the curtains and
you know what? She hits the
roof!"

Joe laughs like a crazy man.

JOE
Ha, ha, ha, ha, ha, ha!

We hear a lot of laughing OFF SCREEN.

JOE
Ain't that a masterpiece? Stupid
fuckin Polack, wipes his dick on
the drapes.

Joe's eyes greet the new arrivals.

JOE
You're here, great!

Joe EXITS C.U.

We now have everybody from the Uncle Bob's Pancake House
scene together again. Some sit on folding chairs, some
stand. Joe sits in front of them on the edge of a table.
A blackboard with a layout of the jewelry store is off to
the right.

We do a 360 around the men.

EDDIE
We woulda gotten here sooner, but
we got backed up around La Brea
and Pico.

JOE
No hurry.
(to the boys)
All right, let's get to know one
another. With the exception of
Eddie and myself, who you already
know, you'll be using aliases.
Under no circumstances are you to
tell one another your real name or
anything else about yourself.
That includes where you're from,
your wife's name, where you
might've done time, about a bank
in St. Petersburg you might've
robbed. You guys don't say shit
about who you are, where you been
or what you've done. Only thing
you guys can talk about is what
you're going to do. This way the
only ones who know who the members
of the team are are Eddie and
myself. And that's the way I like
it. Because in the unlikely event
of one of you getting apprehended
by the cops, not that I expect
that to happen - it most
definitely should not happen - it
hasn't happened, you don't have
anything to deal with. You don't
know any names. You know my name,
you know Eddie's name. That I
don't care about. You gotta prove
it. I ain't worried. Besides,
this way you gotta trust me. I
like that. I set this up and
picked the men I wanted for it.
None of you came to me, I
approached all of you. I know
you. I know your work, I know
your reputation. I know you as
men. Except for this guy.

Joe points a finger at Freddy.

Freddy shits a brick.

JOE
But he's OK. If he wasn't OK, he
wouldn't be here. Okay, let me
introduce everybody to everybody.
But once again, at the risk of
being redundant, if I even think I
hear somebody telling or referring
to somebody by their Christian
name...
(Joe searches for the
right words)
...you won't want to be you.
Okay, quickly.
(pointing at the men
as he gives them a
name)
Mr. Brown, Mr. White, Mr. Blonde,
Mr. Blue, Mr. Orange, and Mr.
Pink.

MR. PINK
Why am I Mr. Pink?

JOE
Cause you're a faggot.

Everybody laughs.

MR. PINK
Why can't we pick out our own
colors?

JOE
I tried that once, it don't work.
You get four guys fighting over
who's gonna be Mr. Black. Since
nobody knows anybody else, nobody
wants to back down. So forget it,
I pick. Be thankful you're not
Mr. Yellow.

MR. BROWN
Yeah, but Mr. Brown? That's too
close to Mr. Shit.

Everybody laughs.

MR. PINK
Yeah, Mr. Pink sounds like Mr.
Pussy. Tell you what, let me be
Mr. Purple. That sounds good to
me, I'm Mr. Purple.

JOE
You're not Mr. Purple, somebody
from another job's Mr. Purple.
You're Mr. Pink.

MR. WHITE
Who cares what your name is? Who
cares if you're Mr. Pink, Mr.
Purple, Mr. Pussy, Mr. Piss...

MR. PINK
Oh that's really easy for you to
say, you're Mr. White. You gotta
cool-sounding name. So tell me,
Mr. White, if you think "Mr. Pink"
is no big deal, you wanna trade?

JOE
Nobody's trading with anybody!
Look, this ain't a goddamn fuckin
city counsel meeting! Listen up
Mr. Pink. We got two ways here,
my way or the highway. And you
can go down either of 'em. So
what's it gonna be, Mr. Pink?

MR. PINK
Jesus Christ, Joe. Fuckin forget
it. This is beneath me. I'm Mr.
Pink, let's move on.

CAMERA leaves the team and goes to the blackboard
with the layout of the jewelry store on it.

JOE (OS)
Okay fellas, let's get into this.

CUT TO:


44 EXT. BLEACHERS - DAY

Freddy and Holdaway sit on some bleachers in an empty
little league baseball field.

HOLDAWAY
Okay, we're gonna station men
across the street from Karina's
Fine Jewelry. But their orders
will be not to move in unless the
robbery gets out of control. You
gotta make sure they don't have to
move in. You're inside to make
sure that everything goes
according to Hoyle. We have men
set up a block away from the
warehouse rendezvous. They got
complete visibility of the
exterior. So as soon as Joe Cabot
shows up, we'll see it.

FREDDY
What's your visibility of the
interior?

HOLDAWAY
We can't see shit on the inside.
And we can't risk gettin any
closer for fear they'll spot us.

FREDDY
This is bullshit, Jim. I get all
the fuckin danger of having you
guys in my back pocket but none of
the safety.

HOLDAWAY
What's the matter, Newendyke? Job
too tough for ya? No one lied to
you. You always knew we'd hang
back until Joe Cabot showed up.

FREDDY
Oh this is great. You ain't
giving me no fuckin protection
whatsoever. But you are giving me
an attitude.

HOLDAWAY
Since when does an undercover cop
have protection? Freddy, you came
into this thing with your eyes
wide open, so don't start screamin
blind man now. I understand
you're nervous. I wish the
warehouse had more visible
windows, but it doesn't. We have
to make do with the cards we're
dealt.

FREDDY
I didn't say I wasn't gonna do it.
I'm just remarking on how shitty
the situation is!

HOLDAWAY
I don't mean to be harsh with ya,
but I've found tough love works
best in these situations. We have
to get Joe Cabot in the company of
the thieves and in the same
vicinity as the loot.
We don't care about these other
bastards. We're willing to offer
them good deals to testify against
Cabot.

FREDDY
Isn't this risk unorthodox?

HOLDAWAY
What?

FREDDY
Letting them go ahead with the
robbery?

HOLDAWAY
The whole idea behind this
operation is to catch Joe Cabot
red-handed. We bust these hired
hands, we ain't accomplished shit.
Letting them go through with the
heist is a risk, but Cabot's jobs
are very clean. We got people
surrounding the perimeter. We got
a guy and a gal on the inside
posing as a couple shopping for
rings. We could replace the
employees with cops, but we'd run
the risk of tipping 'em off.

FREDDY
That's out. They know the faces
of who works what shift.

HOLDAWAY
These guys are professionals.
We're professionals. It's a risk,
but I think it's a calculated
risk.


45 EXT. KARINA'S FINE JEWELRY - DAY

We see MOS SHOTS of the outside of the jewelry store.

CUSTOMERS coming and going. STORE CLERKS waiting on
customers through the windows.

While we look at this we HEAR over the soundtrack Mr.
White and Freddy talking OFF SCREEN.

MR. WHITE (VO)
Let's go over it. Where are you?

FREDDY (VO)
I stand outside and guard the
door. I don't let anybody come in
or go out.

MR. WHITE (VO)
Mr. Brown?

FREDDY (VO)
Mr. Brown stays in the car. He's
parked across the street till I
give him the signal, then he pulls
up in front of the store.

MR. WHITE (VO)
Mr. Blonde and Mr. Blue?

FREDDY (VO)
Crowd control. They handle
customers and employees in the
display area.


46 INT. MR. WHITE'S CAR (PARKED) - DAY

Mr. White and Freddy sit in a car parked across the street
from the jewelry store, staking it out.

MR. WHITE
Myself and Mr. Pink?

FREDDY
You two take the manager in the
back and make him give you the
diamonds. We're there for those
stones, period. Since no display
cases are being fucked with, no
alarms should go off. We're out
of there in two minutes, not one
second longer. What if the
manager won't give up the
diamonds?

MR. WHITE
When you're dealing with a store
like this, they're insured up the
ass. They're not supposed to give
you and resistance
whatsoever. If you get a customer
or an employee who thinks he's
Charles Bronson, take the butt of
your gun and smash their nose in.
Drops 'em right to the floor.
Everyone jumps, he falls down,
screaming, blood squirts out his
nose. Freaks everybody out.
Nobody says fuckin shit after
that. You might get some bitch
talk shit to ya. But give her a
look, like you're gonna smash her
in the face next. Watch her shut
the fuck up. Now if it's a
manager, that's a different story.
The managers know better than to
fuck around. So if one's givin
you static, he probably thinks
he's a real cowboy. So what you
gotta do is break that son-of-a-
bitch in two. If you wanna know
something and he won't tell you,
cut off one of his fingers. The
little one. Then you tell 'im his
thumb's next. After that he'll
tell ya if he wears ladies
underwear. I'm hungry, let's get
a taco.

CUT TO:


47 EXT. ALLEY - DAY

It's the moment of the robbery. The alley is empty.

In the distance we hear all hell breaking loose. Guns
FIRING, people SHOUTING and SCREAMING, sirens WAILING,
glass BREAKING...

A car whips around the corner, into the alley.

The doors BURST open, Freddy and Mr. White hop out.

Freddy opens the driver's side door. A bloody SCREAMING
Mr. Brown FALLS out.

MR. BROWN
(screaming)
My eyes! My eyes! I'm blind, I'm
fucking blind!

FREDDY
You're not blind, there's just
blood in your eyes.

Mr. White loads his two .45 automatics. He RUNS to the
end of the alley just as a police car comes into SIGHT.

FIRING both .45's, Mr. White massacres everyone in the
patrol car.

Freddy, holding the dying Mr. Brown, looks on at Mr.
White's ambush in shock.

Mr. Brown lifts his head up, blood in his eyes.

MR. BROWN
Mr. Orange? You're Mr. Orange,
aren't you?

By the time Freddy turns his head back to him, Mr. Brown
is dead.

Mr. White RUNS up to Freddy.

MR. WHITE
Is he dead?

Freddy doesn't answer, he can't.

MR. WHITE
Did he did or not?

Freddy, scared.

FREDDY
I'm sorry.

MR. WHITE
What? Snap out of it!

Mr. White GRABS Freddy by the coat and YANKS him along as
he RUNS.

They EXIT the alley and FLEE down a street.

A car with a FEMALE DRIVER comes up on the two men.

Mr. White JUMPS in her path, stopping the car. He points
his jun at her.

MR. WHITE
Get us outta here!

Mr. White climbs into the backseat.

Freddy starts to climb in.

The Female driver comes up with a gun from under her seat.

MR. WHITE
The bitch's got a gun!

She SHOOTS Freddy in the stomach.

On instinct Freddy brings up his gun and SHOOTS her in the
face.


C.U. ON FREDDY

as he FALLS to the ground he realizes what's happened
to him and what he's done. SLOW MOTION.

Mr White DRAGS the dead female driver out of the car. He
SHOVES Freddy in the backseat and DRIVES away.


48 INT. GETAWAY CAR (MOVING) - DAY

Freddy holding his stomach and doubled over in pain is
CRYING.

We replay the scene between Freddy and Mr. White in the
getaway car. Except this time, we never leave Freddy.

MR. WHITE (OS)
Just hold on buddy boy.

FREDDY
I'm sorry. I can't believe she
killed me...


CUT FROM FREDDY IN THE BACKSEAT TO:


49 INT. NICE GUY EDDIE'S CAR (MOVING) - DAY

Mr. Pink is behind the wheel, Nice Guy Eddie is in the
passenger seat going through the satchel with the
diamonds. Mr. White is in the backseat. The car is
SPEEDING back to the garage.

EDDIE
(looking through the
case)
You know, all things considered,
this was pretty successful.

MR. WHITE
I don't believe you just said
that.

EDDIE
No, it was messy as hell, but do
you realize how much you got away
with? There's over two million
dollars worth of diamonds here.

MR. PINK
I love this guy.

EDDIE
Hey, what's done is done. We can
all sit around and have a big cry
about it or we can deal with the
situation at hand.

MR. WHITE
The situation as hand isn't that
fuckin satchel. You and Joe have
a responsibility to your men.

EDDIE
Hey, it's the best I could do.

MR. WHITE
The man is fucking dying.

EDDIE
And I'm telling you, Bonnie'll
take care of him.

MR. WHITE
He needs a doctor, not a fuckin
nurse.

EDDIE
Ask me how many doctors I called.
You wanna embarrass yourself, ask
me how many doctors I called.

MR. WHITE
Obviously not enough.

EDDIE
Fuck you! You gotta little black
book, then whip is out. If not,
listen how it is. I called three
doctors and couldn't get through
to shit. Now, time being a
factor, I called Bonnie. Sweet
broad, helluva broad, and a
registered nurse. Told her a
bullshit story, upside: she said
bring him to her apartment.

MR. WHITE
If he dies I'm holding you
personally responsible.

EDDIE
Fuck you buddy boy! Okay, you
wanna play that way. I am
personally leaving myself
vulnerable with this Bonnie
situation. I don't think she'll
call the cops, but I don't know
for sure. But me being too nice-
a-fuckin-guy was willin to risk
it. But no fuckin more.
(he grabs his
portable phone)
I'm callin Bonnie back and tellin
her to forget it. You take care
of your friend, you know so much
about it.

MR. PINK
Goddamnit, will you guys grow up!

EDDIE
I don't need to grow up, my
friend. I am a grown up. I'm
being responsible, I'm taking care
of business.

MR. WHITE
Cut the shit! I don't think you
called anybody except some cooze
you once fucked, who happens to
wear orthopedic shoes. And I
don't think that's good enough
care for a gut-shot man.

EDDIE
Yeah, well I don't give a flying
fuck what you think!

MR. PINK
(to Mr. White)
Look, he's not sayin this bitch is
gonna operate on him. She's gonna
give him better attention than we
can until we can get a doctor.
Nobody's forgotten about doctors.
Joe'll get one in a snap. This is
something we're doing in the
meantime. I think both of you are
actin like a couple of assholes.

EDDIE
Yeah, right. I arrange a nurse, I
leave myself wide open, and I'm an
asshole.


50 INT. WAREHOUSE - DAY

MEDIUM SHOT on the door. Nice Guy Eddie, Mr. White and
Mr. Pink walk through it. They stop in their tracks.

We see what they see. Mr. Blonde, lying on the ground,
shot full of holes. The cop slumped over in his chair, a
bloody mess, Mr. Orange lying at the cop's feet, holding
his wound. Eddie, Mr. White and Mr. Pink walk into the
shot.

EDDIE
What the fuck happened here?

Eddie runs over to his friend Mr. Blonde/Toothpick Vic.

MR. WHITE
(to Mr. Orange)
What happened?

MR. ORANGE
(very weakly)
Blonde went crazy. He slashed the
cop's face, cut off his ear and
was gonna burn him alive.

EDDIE
(yelling)
Who cares what he was gonna do to
this fuckin pig?

Eddie whips out his gun and SHOOTS the cop. The cop and
the chair tip over. Eddie stands over him and SHOOTS him
once more.

EDDIE
(to Mr. Orange)
You were saying he went crazy?
Something like that? Worse or
better?

MR. ORANGE
Look, Eddie, he was pullin a burn.
He was gonna kill the cop and me.
And when you guys walked through
the door, he was gonna blow you to
hell and make off with the
diamonds.

MR. WHITE
(to Eddie)
Uhuh, uhuh, what's I tell ya?
That sick piece of shit was a
stone cold psycho.

MR. ORANGE
(to Eddie)
You could've asked the cop, if you
didn't just kill him. He talked
about what he was going to do when
he was slicing him up.

EDDIE
I don't buy it. It doesn't make
sense.

MR. WHITE
It makes perfect fuckin sense to
me. Eddie, you didn't see how he
acted during the job, we did.

Mr. Pink walks over to the cop's body.

MR. PINK
He's right about the ear, it's
hacked off.

EDDIE
(to Mr. Orange)
Let me say this out loud, just to
get it straight in my mind.
According to you, Mr. Blonde was
gonna kill you. Then when we came
back, kill us, grab the diamonds,
and scram. That's your story?
I'm correct about that, right?

MR. ORANGE
Eddie, you can believe me or not
believe me, but it's the truth. I
swear on my mother's eternal soul
that's what happened.

The CAMERA mover into a C.U. of Nice Guy Eddie.

There's a long pause while he rolls over what Mr. Orange
has said. Finally:

EDDIE
You're a fuckin liar. Now why
don't you drop the fuckin fairy
tale and tell me what really
happened?

MR. WHITE (OS)
He told you what really happened.
You just can't deal with it.

MR. ORANGE (OS)
Okay, you're right, I'm lying.
Even though I'm fuckin dyin I'm
not above pullin a fast one. Get
rid of Blonde, we share his split
- no, scratch that, I shot him
'cause I didn't like his hair
style. I didn't like his shoes
either. If it has just been his
hair, I'd've maybe, maybe I said,
let him live. But hair and
footwear together, he's a goner.

EDDIE
The man you killed was just
released from prison. He got
caught at a company warehouse full
of hot items. He could've walked
away. All he had to do was say my
dad's name. But instead he shut
his mouth and did his time. He
did four years for us, and he did
'em like a man. And we were very
grateful. So, Mr. Orange, you're
tellin me this very good friend of
mine, who did four years for my
father, who in four years never
made a deal, no matter what they
dangled in front of him, you're
telling me that now, that now this
man is free, and we're making good
on our commitment to him, he's
just gonna decide, right out of
the fuckin blue, to rip us off?

Silence.

EDDIE
Mr. Orange, why don't you tell me
what really happened?

VOICE (OS)
Why? It'll just be more bullshit.

Eddie steps out of his C.U. and we see Joe Cabot standing
in the warehouse doorway. He walks into the room.

JOE
(pointing to Mr.
Orange)
This man set us up.

CAMERA does a 360 around the men.

EDDIE
Daddy, I'm sorry, I don't know
what's happening.

JOE
That's okay, Eddie, I do.

MR. WHITE
(to Joe)
What the fuck are you talking
about?

JOE
(pointing to Mr.
Orange)
That piece of shit. Workin with
the cops.

MR. WHITE MR. PINK EDDIE
What?

JOE
I said this lump of shit is workin
with the LAPD.


MR. ORANGE'S POV

Looking up from the floor at everybody.

Joe looks down at Mr. Orange.

JOE
Aren't you?

MR. ORANGE (OS)
I don't have the slightest fuckin
idea what you're talkin about.

MR. WHITE
(very calmly to Joe)
Joe, I don't know what you think
you know, but you're wrong.

JOE
Like hell I am.

MR. WHITE
(very calmly)
Joe, trust me on this, you've made
a mistake. He's a good kid. I
understand you're hot, you're
super-fuckin pissed. We're all
real emotional. But you're
barking up the wrong tree. I know
this man, and he wouldn't do that.

JOE
You don't know jack shit. I do.
This rotten bastard tipped off the
cops and got Mr. Brown and Mr.
Blue killed.

MR. PINK
Mr. Blue's dead?

JOE
Dead as Dillinger.

EDDIE
The motherfucker killed Vic.

MR. WHITE
How do you know all this?

JOE
He was the only one I wasn't a
hundred percent on. I should have
my fucking head examined for goin
forward when I wasn't a hundred
percent. But he seemed like a
good kid, and I was impatient and
greedy and all the things that
fuck you up.

MR. WHITE
(screaming)
That's your proof?

JOE
You don't need proof when you got
instinct. I ignored it before,
but not no more.

He WHIPS out a revolver and aims it at Mr. Orange.

Mr. White brings his .45 up at Joe.

Eddie and Mr. Pink are shook awake by the flash of
firearms.

Eddie raises his gun, pointing it at Mr. White.

EDDIE
Have you lost your fucking mind?
Put your gun down!

Mr. Pink fades into the B.G., wanting no part of this.

MR. WHITE
Joe, you're making a terrible
mistake I can't let you make.

EDDIE
Stop pointing your fuckin gun at
daddy!

Joe, never taking his eyes off Mr. Orange.

JOE
Don't worry, Eddie. Me and Larry
have been friends a long time, he
ain't gonna shoot. We like each
other too much.

MR. WHITE
Joe, if you kill that man, you die
next. Repeat, if you kill that
man, you die next!

We get many different angles of the Mexican standoff.


MEDIUMS ON EVERYBODY

Mr. Orange holding his belly, looking from left to right.

Joe pointing down on Mr. Orange. Not taking his eyes off
him.

Mr. White pointing at Joe, looking like he's ready to
start firing any minute.

Eddie scared shitless for his father, gun locked on Mr.
White.

Mr. Pink walking backwards away from the action.

Nobody says nothing.


FOUR SHOT

of guys ready for violence. Mr. Pink in the B.G.

MR. PINK
C'mon, guys, nobody wants this.
We're supposed to me fuckin
professionals!

Joe raises his head to Mr. White.

JOE
Larry, I'm gonna kill him.

MR. WHITE
Goddamn you, Joe, don't make me do
this!

JOE
Larry, I'm askin you to trust me
on this.

MR. WHITE
Don't ask me that.

JOE
I'm not askin, I'm betting.

Joe's eyes go back to Mr. Orange.

EDDIE
Daddy, don't!

Joe FIRES three times, HITTING Mr. Orange with every one.

Mr. White SHOOTS Joe twice in the face. Joe brings his
hands up to his face, screaming, and falls to the ground.

Eddie FIRES at Mr. White, HITTING him three times in the
chest.

Mr. White brings his gun around on Eddie and SHOOTS him.

The two men FALL to their knees, FIRING at each other.

Eddie COLLAPSES, dead.

Joe's dead.

Mr. Orange lies perfectly still, except for his chest
heaving. The only SOUND we hear is his loud breathing.

Mr. White is SHOT full of holes, but still on his knees,
not moving.

Mr. Pink is standing motionless. Finally he grabs the
satchel of diamonds and RUNS out the door.

We hear outside a CAR START. Then the SOUND of a BULLHORN
yells out:

POLICE FORCE (OS)
Freeze! Get out of the car and lie
face down on the ground!

MR. PINK (OS)
Don't shoot!

We now hear SIRENS, the SOUNDS of more CARS DRIVING UP,
MEN RUNNING to the warehouse.

While all this noise is going on, Mr. White tries to stand
but FALLS DOWN. He somehow makes it to where Mr. Orange
lies.

He lifts Mr. Orange's head, cradling it in his lap and
stroking his brow.

MR. WHITE
(with much effort)
Sorry, kid. Looks like we're
gonna do a little time.

Mr. Orange looks up at him and, with even more of an
effort:

MR. ORANGE
I'm a cop.

Mr. White doesn't say anything, he keeps stroking Orange's
brow.

MR. ORANGE
I'm sorry, I'm so sorry.

Mr. White lifts his .45 and places the barrel between Mr.
Orange's eyes.

The CAMERA MOVES into an EXTREME C.U. of Mr White.

The SOUNDS of outside STORM inside. We don't see
anything, but we HEAR a bunch of shotguns COCKING.

POLICE FORCE (OS)
Freeze, motherfucker! Drop your
fucking gun!

Mr White looks up at them, smiles, PULLS the trigger.

BANG

We hear a BURST of SHOTGUN FIRE.

Mr. White is BLOWN out of frame, leaving it empty.