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Suburbs More Dream-Like Than Real

pp1-63, 1o1-126 of unnamed screenplay, scanned with errors

first scene heading:

POV from inside a moving car: A tree-lined street, the suburbs, summer. The sound of WIND.

first full dialogue:

ZACK (v.o.) When I was a kid ...


As we begin, these first images should seem pure and vivid, more dream-like than real.

POV from inside a moving car: A tree-lined street, the suburbs, summer. The sound of WIND.

ZACK KING, 10, already old for his age, rides in the front seat of a 1984 Chrysler convertible, top down. His mother, LELA, drives. A scarf protects her hair. Zack's little brother, MATT, age 5, sits in back along with sacks of groceries. Everybody's happy.

ZAeK (v.o.) When I was a kid ...

The car pulls into the driveway of a modest house.

ZACK (V .0.)

My mother was always asking us what we wanted to be when we grew up •••

Zack reaches back and unfastens his brother's seat belt.

ZACK (v.o.)

My brother Matt wanted to be a policeman, then a fireman, then a doctor, then Alice Cooper ...

While Matt runs off to play, Zack helps his mother unload the groceries. He makes sure to carry the heaviest bag.

ZACK (v.o.) As for me?

ENTERING THE HOUSE, Zack almost steps on a pair of men's Penny Loafers in the vestibule. Then he notices his mother seting down her bags and hurrying up the stairs. She turns back to Zack and gestures for him to 'stay put.' But Zack waits a moment, sets down his bag of groceries and goes up after her.

ZACK (V .0.) What did I want to be?

At the top of the stairs, Zack peeks around the corner and sees •••

His mother listening outside a closed door. She appears stunned, as if she'd just been stabbed. She disappears for a moment, then returns with a Polaroid camera and kicks open the door .••

ZAeK (V .0.)

The same thing I want to be now.

EC/Hedges/3-23-09 2.

Zack'S POV: Partial view of his parent's bed. A NAKED MAN and ANOTHER WOMAN are caught in the act.

ZAeK (V .0.) Not my dad.

Close on 10 Year Old Zack squeezing his eyes shut as his mother shouts "Smile" and the Camera Bulb FLASHES.

SMASHeUT TO:

INT. BEDROOM - MIDDLE OF NIGHT

27 Year Old ZACK KING opens his eyes. He's disoriented.

WOMAN'S VOICE (O.C.)

Zack?

Zack looks over at the beautiful HOPE SEACORD, age 27, who is next to him in bed.

HOPE (gently) Bad dream?

Relieved that it was, Zack smiles slightly and says, somewhat impulsively:

ZACR

Marry me.

EXT. TIMES SQUARE - NYC - SUMMER - DAWN

Early morning, the City still asleep, Zack, dressed in a smart suit, heads to work. He talks on his cell phone, using an ear piece. superimpose: Monday.

WOMAN'S VOleE

What happened to the get-down-onone-knee-as-the-ball-drops-in-Times Square plan? Or the put-the-ringin-the-jello-at-ehristmas plan?

ZACK

I don't know. Something came over me. It felt like the right time.

WOMAN'S VOICE So what did she say?

As Zack descends the subway platform

EC/Hedges/3-23-09 3.

ZACK

I'm going under, I'll call you back ...

WOMAN'S VOICE

Hurry--

EXT. 23RD STREET/5TH AVENUE SUBWAY STOP - DAWN

Coming out of the subway station, Zack is back on the phone.

WOMAN'S VOICE ( answering)

So whatdidshesay?

ZAeK Well, she said

FLASHBACK TO:

HOPE (with emotion)

Yes.

EXT. OFFIeE BUILDING - eHELSEA - DAY

ON ZACK, entering the building as the Woman on Phone SHRIEKS WITH HAPPINESS.

ZACK And guess what?

WOMAN'S VOICE

What?!

INT. OFFICE BUILDING LOBBY - DAY

Zack steps into the elevator. As the Elevator doors close:

ZACK

She kept saying 'Yes.'

FLASHBAeK TO:

A SERIES OF QUICK SHOTS: Zack and Hope in a variety of sexual positions. Missionary, Doggystyle. The 'Viennese Oyster.' 'The Suspended Congress.' Each shot punctuated by Hope saying, sighing, shouting

HOPE

Yes.

From a classic '69 position -- Hope takes a break in the action to raise her head and say matter-of-factly, "Yes."

EC/Hedges/3-23-09 4.

Finally, from the cowgirl position, Hope collapses on top of Zack. They're sweaty and out of breath.

HOPE

Yes.

BACK TO ZACR, going up in the elevator with one OTHER PASSENGER.

WOMAN'S VOICE Sounds hot.

ZACK

It was.

WOMAN'S VOICE

(nostalgic)

Because there is nothing hotter than the sex of the newly engaged, am I right?

ZACK

Nothing hotter, that's right.

The only other PASSENGER in the elevator looks perplexed at overhearing Zack's half of the conversation.

WOMAN'S VOICE

So tell me, Zack, are you happy? Are you deliriously-can't-believethis-is-happening-isn't-Lifecompletely-amazing happy?

Zack smiles because

ZACK

Yes.

He is happy. Then BING, the elevator door slams open -HARD CUT TO:

TITLE eARD:

EVERYTHING eHANGES

START MUSIC/eREDITS OVER THE FOLLOWING:

Zack's backpack lands on his deSk. He turns on his desk light, powers up his computer, as he plays voice mail on speaker phone.

wide angle on the honeycomb of office cubicles as Zack takes a seat. The first one at work, as always.

EC/Hedges/3-23-09 5.

INT. PORT AUTHORITY BUS STATION - DAY

eLOSE ON THE GRATE OF A GREYHOUND BUS as it pulls into a terminal. The sounds of BRAKES. The burst of air being released as the bus doors open.

The driver, then a few passengers disembark (only their legs and feet are visible.) Then a man wearing a well-worn pair of Penny Loafers steps out of the bus and keeps moving •••

Pan up to reveal the back of a MAN, mid 50s, wearing a RED MEMBERS ONLY JACKET, pulling a small suitcase on wheels. We move with him through Port Authority Terminal as he walks ...

INT. SPANGLING OFFICES - DAY

From behind, as Zack walks the narrow honeycomb of cubicles. It's mid-morning now. His associates are working all around him. Busy, hectic place.

ZACK

(on his headset)

You wanted the abbreviated lead time. How do I know --

Zack plops into his swivel chair.

ZACH CO.S.)

Because you left a paper trail, Martin --

Pinned to the partition walls, various mock-ups of Zach's current projects: Multi-colored plastic cup holders. Miniature State License Plate name tags.

ZACK (O.S.)

So I suggest you Hansel-and-Gretel it back to your desk and call me when you figure it out.

On a shelf: Prototypes for bobble-head dolls of various pop stars.

Hi, you?

ZACK (O.S.) (new call)

it's Zack. What can I do for Let me call it up --

Camera pans: Between Purchase Orders and Spec Sheets, there are pictures and mementos from his life -- Zack as a Best Man at a wedding, next to an attractive couple. A fingerpainting from a 3 year old. An 8 x 10 photograph of Hope from an attempted modeling career.

EC/Hedges/3-23-09 6.

EXT. CONSTRueTION SITE NEAR TIME'S SQUARE - DAY

eamera continues to pan: BAND and MOVIE POSTERS are plastered on the temporary wood fencing of the construction site. Against this backdrop, the Man in the Red Members Only

Jacket pulls his suitcase into Time'S Square .•.

Close on the Man as he comes to a stop. (We only see his profile. ) What's left of his hair is blowing every which way. There'S something sad but irresistible about the man. Beat as he breathes in the city. He looks around at the myriad of brightly-lit billboards -- the dazzle of the Big

Apple, then he steps out of frame as ...

INT. MEN'S LAVATORY -

Zack King steps up to a urinal, unzips his fly and prepares to pee.

CREDITS END:

Zack'S boss, BILL COCKBURN, mid-50'S, sidles up next to Zack. Both men stare straight ahead.

COCKBURN

King, we got ourselves a situation

with Nike •••

ZACK

Situation? I hear it's a deep

fried fuck-up.

COCKBURN

That, too. Can you help?

ZACK

when do you need it solved by?

COCKBURN Yesterday.

ZAeK

Done.

Cockburn smiles, shakes his johnson.

eoeKBURN

Thanks. I would say, 'Don't let me down,' but you wouldn't know how.

Cockburn flushes and exits.

Finally, Zack can pee in peace. As he does, he glances down, and his face grows concerned. Something is very wrong.

EC/Hedges)3-23-09 7.

ZACK (to himself) That's not good.

INT. OFFleE - DAY

CLOSE ON Zack's computer screen. He googles: Blood in Urine.

JILL THE RECEPTIONIST (O.S.) Craig from Nike, Line 2 __

While skimming the search results, Zack hits line 2.

ZACK

It's Zack

CRAIG FROM NIKE (ON FILTER) The color is off! The swoosh was supposed to be blue!

ZAeK

(calm under pressure)

Look, Craig, I understand you're worried.

CRAIG FROM NIKE (ON FILTER) Worried? I'm downright panicked.

ON COMPUTER SCREEN: Have Blood in Urine? Learn how this can happen and why.

ZAeK

I'm sure it's nothing

CRAIG FROM NIKE Nothing?! I got 50,000 bird's egg blue swooshes, but our spec says color 802 cobalt blue--

Zack exits the web site and clicks open the Nike file.

ZACK

Let me get up to speed, and I'll be in touch later today.

The moment Zack hangs up •..

JILL THE RECEPTIONIST (ON INTERCOM) Lines 1, 3 & 4. Also, Zack, your

fiance called?

The other workers near his station look up. This is news. JJFiance?" "Whoa." IJGet outta here!"

EC/Hedges/3-23-09 8.

ZACK

Guys, there hasn't been time to tell you --

A celebration erupts. The high fives. The back slaps all around. "Congratulations!" "You're the man."

Zack is enjoying all this when the Receptionist's Voice on Intercom cuts through the brouhaha --

JILL THE RECEPTIONIST (ON INTERCOM) Zack, she wanted you to know that

her parents will be joining --

EXT. OFFICE BUILDING - DAY

Zack bursts out the door of the Office building, running Across the street, the Man in the Red Jacket is buying roasted peanuts from a vendor. We only see him from behind as he turns to watch Zack disappear into the subway ...

INT. HARVARD CLUB - DINING ROOM - DAY

Close on HOPE SEACORD, who, incidentally, appears even more stunning in daylight. She's talking to her parents, off screen.

HOPE

Here's what you don't get about Zack:

EXT/INT. GIVENCHY'S JEWELRY STORE - DAY

Zack arrives at Givenchy's Jewelry store, where he pushes through the revolving door and enters the store.

HOPE (O.S.)

He's self-made. He didn't have a trust fund. He put himself through school --

INT. HARVARD CLUB - DINING ROOM - DAY

HOPE

And while SUNY-Buffalo may not be Ivy League, it is known as the Harvard of the greater Buffalo area.

INT. GIVENeHY'S - DAY

Lit glass boxes that seem to float. A crisply-dressed worker takes out the ring zack had placed on layaway.

EC/Hedges/3-23-09 9.

HOPE (0. S. )

He paid off his mom's house, takes care of her and has basically been the father to his brother.

Zack produces two credit cards and says, "You'll need both."

HOPE (0. S. )

And, OK, his job may not be flashy, but he got it all on his own.

INT. HARVARD CLUB - DINING ROOM - DAY

HOPE

Not like someone we know who works at the Gagosian gallery, because her parents are two of their biggest customers--

WOMAN (0 • S • ) Now sweetie --

EXT. STREETS OF NYC - DAY

Among a sea of bodies/faces walking through mid-town, Zack darts and side-steps through the throng until

He stops outside a novelty store on Broadway. In front of a row of GUMBALL MAeHINES, Zack feeds a quarter into the one that spits out toys, souvenirs, plastic rings.

HOPE (0. s. )

No, you have to accept that not everyone's forefathers came over on the Mayflower.

INT. HARVARD eLUB - DINING ROOM - DAY

HOPE

(in tears)

Somebody had to build that boat, and Zack's people probably did. And lucky for us because that boat didn ' t sink --

(scoots out her chair, stands)

He's minutes away. So get a happy face about this, and get one now.

EXT. STREETS OF NYC - DAY

Zack sprints across 44th Street as Hope emerges from the Harvard Club to greet him. As Zack makes it to Hope:

EC/Hedges/3-23-09 10.

ZACK

Hey, you

(sees Hope's been crying) You OK?

Hope puts a smile on, fixes his hair, and brushes off his suit jacket.

HOPE

It slipped out. I couldn't help it. I was so excited

ZACK

No, that's good, right? It gave them time to get over the shock.

HOPE

Yes, but my parents are oldfashioned. And they didn't understand why there was no ...

She stops because Zack holds out a small plastic globe from the gumball machine. Beat. Hope is confused at first. A gumball ring? To Hope's credit, she smiles. Perfect.

But when Hope opens the plastic gumball globe, she finds

a sparkling, out-of-Zack's-price-range diamond ring.

HOPE (melts)

Oh, Zack.

He slips the ring on her finger.

HOPE (means it)

Wow. I love it. It's so ...

INT. HARVARD CLUB - DINING ROOM - DAY

VIVIAN SEAeORD (not thrilled)

Nice.

Meet Hope's mother, VIVIAN SEACORD, as she scrutinizes Hope's engagement ring and its tiny diamond. Vivian's wedding ring sports a fist-sized stone.

She is a long-limbed brunette with a gleaming, Botox-smooth complexion, a pixie haircut and a saccharine smile.

VIVIAN SEACORD Well, it's lovely? Don't you think, Jack?

EC/Hedges/3-23-09 11.

Meet Hope's father, JACK SEACORD, an intimidating presence

a large, athletic, Mitt Romney-like man in his late 50's. He puts on his reading glasses to get a better look.

JACK SEACORD

So it's official. congratulations.

HOPE

Thanks?

An awkward beat.

ZACK

I think you're both handling this very well. If she were my daughter, I'd be in an ambulance with chest pains right about now.

Another awkward beat as they all laugh nervously.

HOPE

Zack --

ZAeK

Look, there's not a guy in the world good enough for your daughter.

Beat. Agreed.

ZACK

You don't know me. I can sit here and tell you how much I love her and I do -- but it'll just be words, won't it? And there's nothing worse than a big talker. Actions speak. I'm confident over time you'll feel differently about me. For now, I'll just look forward to surpassing your astonishingly low expectations

Hope beams. This is why she loves Zack. For Vivianne and Jack Seacord, it's subtle, but something shifts.

ZACK

Waiter, I think we all may need a drink.

INT. MEN'S ROOM - HARVARD CLUB - MOMENTS LATER

Zack steps up to a urinal and unzips. For the moment he's feeling good, as if he's just passed a crucial test.

EC/Hedges/3-23-09 12.

But as he pees, he glances down. That same something unusual has caught his attention. Worried, he sighs. Not again.

MOMENTS LATER, at the bathroom sink, Zack is on his phone.

WOMAN'S VOIeE (ON FILTER) Dr. Shaff's office.

ZACK

Yes, it's Zack King. I'm going to need a referral --

INT. HARVARD CLUB - DINING ROOM - DAY

Zack returns to the table where the mood is not only better, it's downright giddy.

HOPE

that's a wonderful idea .•.

Zack, Mom was just saying

VIVIAN SEACORD

It's true. We don't know you. And it's high time we did. Jack?

JACK SEACORD

Vivian thought a little dinner party this Saturday night •••

HOPE

Informal. Just the two families.

VIVIAN SEAeORD

It'll be nice to finally meet your mother and your brother.

HOPE

Honey, doesn't that sound good?

On Zach, as he forces a smile.

EXT. HARVARD CLUB - DAY

The Door Man blows a whistle and the Seacords' chauffeurdriven town car pulls up to the awning.

The driver opens the back door. Vivian is quick to climb in. Jack looks back at his daughter, and then lowers his eyes to Zack, who is noticeably shorter than Hope.

Zack and Hope smile in Jack's direction.

EC/Hedges/3-23-09 13.

ZACK

(under his breath) Next time lose the heels.

HOPE

Only if you lose the tie.

JACK

Hope.

HOPE eoming, Daddy. (hugs Zack)

They love you. They just don't know it yet.

As she ducks into the back seat, Zack calls out.

ZACK This is a good tie!

Hope smiles as the driver shuts the door.

Zack waves at the pitch black windows as the Seacords' town car drives away.

EXT. STREETS OF NYC - DAY

The street crossing sign flashes 'Don't Walk' but nothing stops the Man in the Red Jacket who walks out into the busy street.

Meanwhile

On another city street, Zack King waits for the street light to give him permission to cross. He's on his cell phone.

ZACK (into phone)

Mom, what are you doing Saturday?

ZACK'S MOM

Let me check my calendar - free why?

Zack sighs. of course. Then a call waiting BEEP. He checks his ealler ID. It reads: Dr. Lamson's Office.

ZACK

I got another call. I'll tell you tonight.

(clicks to the next call) It's Zack --

EC/Hedges/3-23-09 14.

INT. DOCTOR'S OFFICE - DAY

Close on a Green blur.

DOCTOR LAMSON (O.S.) Look, it's always a concern when one pees blood.

A Green eurtain is pulled away, revealing .•.

Zack naked under one of those humiliation-inducing paper robes.

As Zack lies back, the paper robe CRINKLES.

DOCTOR

So we're going to do a routine ultrasound, just to take a look.

During the following, a rather attractive Nurse, wearing latex gloves, applies clear jelly to zack's abdomen.

NURSE Cold, sorry.

Zack smiles, as if to say it's not cold. But it is cold.

DOCTOR

Hematuria can be caused by any number of things, kidney stones, urinary tract infections, jarring physical activity ...

The Doctor begins to rub the probe on Zack's stomach.

ZAeK

Then I think I can explain. My girlfriend and I just got engaged .•• and talk about jarring physical activity. Wow. We've been perhaps a bit over-enthusiastic in the uhm physical expression of our --

Angle on the Ultra-Sound machine monitor. A black and white peek into Zack's insides.

DOCTOR

Now we're looking at your bladder.

Zack strains to see the monitor. The Nurse turns it so he can see better.

EC/Hedges!3-23-09 15.

ZACK

What, with the variety of new positions -- and the significant increase in frequency

(to Nurse) I'm sorry --

NURSE No, please --

ZACK

Pretty much we're going at it nonstop all the time, every moment, some days it's all we do --

DOCTOR Like bunnies --

ZACK

Bunnies could only be so lucky --

Zack laughs and laughs. But he's the only one laughing.

NURSE Roll onto your side.

ZACK's POV: The Doctor's face betrays some concern as he studies the monitor. In the background, the Nurse looks concerned, as well.

ZAeK (growing nervous)

So I think that pretty much most likely is the reason, don't you?

Doe TOR

Hmmrnm.

ZACK

What?

DOCTOR

See that brighter spot right here.

ZACK What is it?

DOCTOR Don't know yet.

(pulling off gloves) But let's hope it's nothing.

Close on Zack. Uh-oh.

EC/Hedges/3-23-09 16.

DOCTOR (o.e.)

We're going to need to schedule an additional test ASAP ...

ZACK How's next week?

DOCTOR

How's first thing tomorrow. (beat)

And in the meantime, Zack, no sex.

EXT. THE GAGOSIAN GALLERY - MADISON AVENUE - DAY

Zack, typing on his Blackberry, enters the Gagosian Gallery on Madison Avenue where ..•

INT. THE GAGOSIAN GALLERY - DAY

Hope is showing a well-heeled, elegantly dressed EUROPEAN COUPLE one of Damien Hirst's House Fly paintings.

HOPE

This black-and-bluish monochrome is made entirely of dead flies. It's so of the moment. Isn't it a perfect metaphor for the fear and uncertainty that prevails ... ?

(notices Zack) Excuse me.

Hope abruptly breaks free and crosses toward Zack.

HOPE

Hey, you!

ZACH

I was in the neighborhood

HOPE

Just this moment when I saw you --

ZACK

At a doctor's appoint (ment)

HOPE

I thought to myself -- Lucky me.

ZACK

No, I feel like I'm the lucky --

This mini-love fest is interrupted by the distant sound of a person clearing their throat. Zack notes the growing impatience of the two European customers in the background.

EC/Hedges/3-23-09 17.

ZACK

This may not be the best time --

HOPE

True.

(backs up) My place tonight?

ZACK ( smiling) You bet.

EXT. NYC STREET - DAY

Rush hour. Crowded streets. Work day over for most people. Not Zack. Among a sea of faces, wearing his wireless ear piece, he rolls calls.

EXT. STREET OUTSIDE ZACK'S APARTMENT BUILDING - DAY

As he walks toward his apartment building, Zack is still on the phone. He stops to adjust a flyer for a neo-punk band taped to a light pole.

ZACK (ON PHONE)

No, Bombay can't swap out the swoosh. Sure, we can try Sri Lanka but what if I can get New Dehli •..

Zack is at the front door of his apartment building, taking out his keys.

ZAeK (ON PHONE)

.•• to piggy back on the laces yes, tomorrow, their time, first thing.

Zack hangs up and starts to turn the key. Behind him, in the door's reflection, the Man in the Red Jacket approaches.

MAN (O.C.) Hello, Zack.

Zack freezes, slowly turns around and finds ...

The MAN in the Red Jacket, mid-50'S, standing near the curb. The Man smiles carefully.

MAN

It's good to see you, too.

Beat as Zack gives the man a quick once over.

EC/Hedges/3-23-09 18.

ZACK

please tell me that's not an erection.

NORM

The wonders of Viagra. My body may be almost 60, but my dick feels 16. (beat)

Look, I know it's been awhile

ZACK I'll be right back.

Zack enters his building.

INT. APARTMENT BUILDING STAIRWELL - MOMENTS LATER

As Zack climbs the stairs, he's back on his cell phone, calling the same friend from earlier that day.

ZACK

You're not gonna believe this

INT. ZACK'S APARTMENT - MOMENTS LATER

Zack closes the door to his modest apartment.

WOMAN'S VOICE

At least now you know he's not dead.

ZACK

No, he's very much alive.

Zack loosens his tie, removes it, pulls open his closet door and hangs it on the tie rack with other pre-knotted ties.

WOMAN'S VOleE What's he doing now?

Zack ~eans to the side so he can look out his window where he sees Norm chatting up the people on the street who pass by.

ZACK

I don't know. Running for mayor?

WOMAN'S VOICE (laughs)

So he's still the same.

Zack's POV: Down below, Norm opens a Red Bull and before he chugs it, looks up toward Zack in a third story window, and raises the can, as if making a toast --

EC/Hedges/3-23-09 19.

ZACK (smiling back) Cheers, you fuck.

WOMAN'S VOICE What did you say?

ZACK

I gotta go. Don't worry about me. I'll just give him what he came for.

Zack yanks open his sock drawer where he finds an envelope filled with cash. He takes the money and exits the frame.

EXT. ZACK'S APARTMENT BUILDING - DAY

Norm tosses -- as if shooting a basket -- the Red Bull can. It banks off the pole with the Neo-Punk band flyer and lands in an NYC-provided trash can. Score.

ZACK (O.S.)

Norm.

Norm turns to find Zack outside his building.

NORM

Zack. The Zack-ster. The Zackattack.

Beat as Zack considers what to say. (Important note: Zack is respectful during the following scene, but slightly detached.)

ZACK

Here, this is what I can spare.

Zack offers the cash-filled envelope.

NORM

I don't need your money. Your old man's flush.

Something about the way Norm is dressed -- the old shoes, the worn out Members Only jacket, suggests Norm may be lying.

ZACK

For a rainy day, then.

NORM

Never rains in Florida.

Beat as Zack reluctantly pockets the money.

EC/Hedges/3-23-09 20.

ZACK

So that's where you been?

NORM

Lately, yes. But as you know, I like to get around.

A PEDESTRIAN passes by Norm and Zack.

NORM Beautiful day, isn't it?

The Pedestrian looks a bit stunned at Norm's uncommon friendliness.

NORM

I was hoping you'd ask me up.

ZACK

Actually, I'm on my way to an appointment.

NORM Then I'll walk you.

They walk. Norm greets two more pedestrians passing by.

ZACK

It might help us both if you just cut right to it and tell me what you want.

NORM

Who said I want anything?

ZACK You usually do.

NORM

I'd like to spend some time with you. Some quality face time.

ZACK It's a bad week.

NORM

I'm sorry to hear that --

ZACK

Bad in a good way. I mean, it's gonna be a great week. It's just bad in terms of --

EC/Hedges/3-23-G9 21.

NORM

You don't have time for me.

ZAeK

There may be a twenty minute window next Tuesday.

NORM

That's the best you can do?

ZACK

Yep.

NORM

Well, by next week, it could be a whole new world. None of us knows how long we have. You could step off that curb and get run over by a garbage truck. I could choke on a chicken bone. An air-conditioner could dislodge from a tenth floor window and crush us both. Now is all we have, son. This moment ... Now.

ZAeK

with all due respect, Norm, do you know how long it's been?

NORM

Five years. Two months, twelve days, nine hours

ZACK You're guessing

NORM

Let's just say it's been too long. Which is why I thought you could fit me in.

Zack arrives at his car. An older model of something modest.

ZACK

Maybe next time if you give me a little warning --

NORM Not my style.

ZACK (smiles) Of course not.

EC/Hedges/3-23-09 22.

NORM

And you can't teach an old dog --

ZACK Understood.

(as he gets So, take care. you're OK.

in his car)

And, Norm, I'm glad

Zack gets in the car,starts the engine. Norm taps the passenger window. Zack rolls it down.

NORM

One thing I appreciate about you, son -- You're easy to find. Same apartment. Same car. Nothing changes.

ZACK

Actually, Norm, everything changes except the wonder that is you.

Norm smiles at the thought.

As Zack drives away:

NORM

Hey, HEY!

Zack checks his rear-view mirror.

Zack's MIRROR POV: Norm King, standing in the middle of the street, waving, getting smaller, shouting .••

NORM

CAN'T YOU CALL ME DAD?

A mixture of feelings run through Zack -- relief, sadness, rage, as he turns the corDer

INT. ZACK'S CHILDHOOD HOME - DAY

Close on LELA KING, mid 50's, a once~upon-a-time beauty who has let herself go, sitting in her Lazy-BOY recliner. Zack has just surprised her with the big news.

LELA KING (O.S.) And she said IYes?'

Zack nods.

EC/Hedges/3-23-09 23.

LELA (heartfelt)

Oh, Zack, I'm so happy for you. It's what you wanted.

Lela gives Zack a hug. It's the hug of a mother and son who love each other.

ZAeK

Now about Saturday night --

INT. LELA'S BEDROOM - MOMENTS LATER

Zack and Lela go through Lela's closet that is stuffed full with clothes, circa 1972-1989.

ZACK

Mom, when was the last time you bought yourself anything --

LELA

Well, if you wait long enough, everything eventually comes back into style.

ZACK

(under his breath)

You may need to keep waiting

LELA

Sweetie, I've got plenty of nice things. Besides, I don't want to waste your money

ZACK

It's not a waste, Mom. get a second chance to impression.

We don't make a first

LELA

Your father used to say that.

Zack shudders at the thought.

ZACK Speaking of Norm

LELA

Let's not. I'm having such a nice time.

Lela pushes past him to do battle with her closet.

EC/Hedges/3-23-09 24.

ZACK

It's just you won't believe --

LELA (interrupting)

I'm relying on your eyes, Zachary.

Tell me --

Lela pulls out TWO PARTY DRESSES. They're colorful and lovely if only this were 1976.

LELA

Which one do you love most?

ZACK

(not liking either) That's a tough call.

LELA

Wait, here's what it's missing.

Lela puts on a big, floppy, floral-patterned hat.

ZACK

I don't know about the hat.

LELA

But it's the whole reason for the outfit!

Zack gently removes the hat.

LELA

Zack, are you worried I'm going to embarrass you?

ZACK

No, Mom, never. Actually, yes.

And Lela laughs.

EXT. ZACK'S CHILDHOOD HOME - DAY

Zack exits his childhood home, followed by Lela. It's a modest house from the Eisenhower era.

LELA

Can't you stay for dinner? You don't look like you've been eating--

ZACK

Hope and I have plans.

EC/Hedges/3-23-09 25.

LELA

But there are things to go over about the house -- some bills, that exterminator (keeps calling) --

ZACK

All of which can wait till next week.

Zack opens the door to his car.

LELA

Zack, honey, you're not yourself.

ZACK

I'm fine. Don't worry.

LELA

It's my experience that when one of my boys says, 'Don't worry,' that's when I probably should.

EXT. ANOTHER SUBURBAN HOUSE - RIVERDALE - MAGIe HOUR

As Zack pulls up to a different modest Eisenhower-era house, he is on his cell phone.

WOMAN'S VOICE

Hello?

ZACK (ON PHONE)

I need a favor. Fashion emergency

WOMAN'S VOICE Zack, hold on •..

In the b.g., a small child can be heard crying out, JlMommy, where is it? Where is it?"

WOMAN'S VOICE

Something's been lost ... and until it's found, I can't do much of anything ..•

Zack's POV: A front lawn strewn with toys, one toy catches Zack's eye.

ZACK (ON PHONE)

Is it partially clothed, blonde, and about eight inches tall?

WOMAN'S VOICE

wait a minute. Where are --?

EC/Hedges/3-23-09 26.

A woman appears in the picture window - meet TAMARA O'MEARA the face behind the voice. She's lovely in that overextended, sleep-deprived, single-parent way.

Zack holds up Barbie.

Seeing Zack with the doll, Tamara hurries out of view ...

Beat. WHOOSH as Tamara pulls open the front door and lets SOPHIE, a three year old girl with break-your-heart curls, run outside to Zack. Tamara follows, flipping off her phone.

Zack hands Sophie her much-missed Barbie and he lifts her in the air.

ZAeK

Hey, you.

Sophie giggles. (Note: Zack is great with Sophie. A natural.) Tamara smiles. Saved by Zack.

INT. SUBURBAN HOUSE - KITCHEN - MOMENTS LATER

The day'S dishes are stacked in the sink. Tamara washes and Zack does his best to dry. During the following, Sophie climbs allover Zack, turning him into a human jungle gym.

TAMARA

Of course I'll take your mom

shopping.

ZACK

She needs something nice -- elegant but understated -- and preferably made in this century.

TAMARA what's the occasion?

ZACK

My engagement party

TAMARA

You don't seem excited

ZACH

NO, I am. It's just ... Norm. He couldn't have picked a worse time to show up. Not to mention he's up to something, and it can't be any

good.

Tamara looks at him. She knows there's something more.

EC/Hedges/3-23-09 27.

TAMARA

And?

Zack sighs, busted.

ZACH

I don't want to upset you.

TAMARA

Upset me.

ZACK

I went to see this doctor about a little medical problem

TAMARA

Okay ...

ZACK

Well, he saw something, says it could be anything - it's probably nothing - which this test tomorrow will prove - but still I'm kind of -

Silence.

TAMARA

Scared.

ZACK

Wow, that's a relief to have finally said it. I mean, for you to have said it.

Tamara smiles.

Zack's Cell Phone RINGS. He sets down Sophie, checks Caller ID, then answers.

ZACK

(on phone, cheerful) Hey, you! I'm just leaving Tamara's.

Zack makes the 'I'll call you' signal to Tamara and then heads to the door. Tamara calls out, "Congratulations."

ZACK (on phone)

She says congratulations. (beat, to Tamara)

Hope wants you to come Saturday. Says you're invited. Please come.

EC/Hedges/3-23-09 28.

Tamara nods.

ZACK She'll come!

(as he exits the house)

Me? No, I'm getting in the car right now. How was your day?

EXT. TAMARA'S HOUSE - EARLY EVENING

As Zack gets in his car, still talking to Hope, he waves toward Tamara and Sophie who watch from the window. Sophie kisses the glass.

INT. HOPE'S APARTMENT - NIGHT

In Hope's swanky apartment, Zack and Hope go at it, kissing, spinning, mauling each other until Zack falls back on the feather bed.

Hope kisses Zack, moves lower as she begins to unbuckle his belt--

ZACK

wait

Zack rolls her over and pushes up her skirt.

Hope smiles as Zack goes down.

HOPE Yes. Yes. Y. e --

The phone RINGS and Hope'S sleek answering machine picks up.

HOPE (RECORDED GREETING) Hi, this is Hope. You know what to do. So do it.

Hope reaches back and, between moans, tries to turn down the vol ume • BEEP.

VIVIAN (ON MAeHINE)

Hope, honey. pick up. We can see that your light is on.

HOPE

(to Zack between her legs) Don't stop.

(answers)

Mom, can I call you back--?

Zack hesitates but Hope signals for him to keep going.

EC/Hedges/3-23-09 29.

VIVIAN (ON FILTER) I'll be quick. Our small dinner party on Saturday is now not so small.

Hope moans softly.

VIVIAN (ON FILTER)

A little bird, your father, told the wentworth's who told the Bells and the Wyeth-Bacons. And now they all want to come •••

HOPE

(at the same time)

But you -- lower -- promised it would be -- higher -- an intimate gathering -- we agreed--

with her available hand, Hope forcefully brings Zack's head between her legs. She moans again.

VIVIAN (ON FILTER) Honey, are you on the toilet?

HOPE

Noooo, Zack's over. He's helping me hang -- oh god -- the Schnabel. Yes, Zack. That's the spot.

VIVIAN (ON FILTER) How does it look?

HOPE

Great. It's great! Mom, I'll call you later --

Hope slams the phone down just as she ORGASMS. But her legs have Zack in a head-lock, and as she thrashes wildly, zack experiences mild whip-lash.

Finally, Zack is released. While Hope comes down to earth, Zack holds his neck as he tries to catch his breath.

HOPE Let me do you.

Hope makes a move on a very interested Zack, who then remembers:

ZAeK

Ohhh. No, can't. The doctor said ••.

EC/Hedges/3-23-09 30.

HOPE

What doctor? Is something wrong?

ZACK

Oh, no. No worries. I'm so good. (looks at Hope, wants her

so badly)

Fuck.

HOPE

What?

ZACK

I can't ... be late for Matt's gig.

HOPE (means it)

That's what I love about you. The way you put others first.

EXT. KENNY'S CASTAWAYS - NIGHT

Zack parks his car, turns off the engine. He lets out a sigh, trying to rid himself of any leftover horniness.

Zack pops his trunk, removes a LARGE BOX which he carries past a line of neo-goth, bleakly dressed in black YOUNG PEOPLE all waiting to get inside. Zack enters the club.

INT. KENNY'S CASTAWAYS - NIGHT

Zack is placing the contents of the box out on the 'Merch' table where a YOUNG MAN sells band T-shirts and self-produced eDs. All items read SeREAM. zack is the 'supplier.'

ZACK

These are the new night shirts and hooded sweat shirts. Cool, huh?

OTTO, from Matt's band, approaches Zack.

OTTO

Help.

INT. GREENROOM - KENNY'S CASTAWAYS - NIGHT

otto leads Zack backstage. For someone covered in tattoos, otto speaks with a surprisingly refined British accent.

OTTO

Seems we've run into a bit of a

jag.

EC/Hedges/3-23-09 31.

Meet MATT, age 24 - shaved head, arms heavily tattooed, his face gaunt and violated at various junctions with metal knobs and bands. Presently, he's throwing things. Kicking chairs. This is not your typical punk rock star tantrum. There's something desperate and sincere about his outburst.

ZACK (gently) Matt.

Matt turns and sees his brother and looks at him with a sudden vulnerability. The look of 'Oh, you're the only person who can truly understand. '

INT. BACKSTAGE - MOMENTS LATER

Matt leads Zack to the corner of the stage, just out of sight from the crowd below.

Matt's hand with painted black fingernails holds back the curtain as Zack peers out into the impatient crowd.

MATT Over in the corner.

ZACK'S POV: In the far, back corner -- even in the dim, club lighting -- Norm King sticks out.

MATT

Can you fucking believe it?

ZACK (sighs)

Aw, shit. I knew he was in town, but I didn't think he'd -

MATT

What do you mean, you knew he was in town?

ZACK

He just showed up this afternoon, out of nowhere.

MATT (stunned)

And you invited him to my gig?

ZACK Of course not.

MATT

Well, you could have warned me!

EC/Hedges/3-23-09 32.

ZACK

I didn't know he'd come here!

MATT

And why's he here? Is he dying or something?

ZACK

I don't know. How would I know?

OTTO

(approaches with Matt's guitar)

There you are, lads. It's time to rock.

MATT

Fuck off! I'm not playing with that fat fuck in the house

Matt storms off.

OTTO

Did I hear him right? He's not playing?

ZACK

Give me a minute. I'll handle it.

INT. KENNY'S CASTAWAYS - MOMENTS LATER

Zack pushes through the standing room only crowd to the back of the club where Norm is holding court. FOUR GROUPIES -dressed in black goth-like garb -- listen as Norm has to speak louder than usual to be heard over the in-house music.

NORM

He was always musical! I'd play Sinatra on the stereo and he'd sit there in his diaper, tapping out the rhythm on his lap!

ZACK Excuse me, Norm ..•

NORM

Hey, Zack. Join us. Everybody, this is Mattie's brother. Not a musical bone in his body. But he has other gifts--

ZACK Can I have a word

EC/Hedges/3-23-09 33.

NORM

This is Panther, Tank, T-Rex. And this is Chloe.

CHLOE

I've slept with more brothers of famous rock stars than any girl here.

Norm laughs the loudest, gives Zack a wink.

ZACK

My brother's not famous.

CHLOE

Sleep with me and he will be.

Norm hoots, slaps Zack on the back.

ZACK I'm engaged--!

NORM

All the more reason, one last fling before you get the ring --

ZACK

Can I speak with you alone please?

Zack pulls Norm away from his new friends.

Engaged? lead?

NORM

What are you, burying the

ZACK What are you doing?

NORM

Me? I came to hear Mattie play.

ZACK

Look, you can drop in out of the blue and see me anytime. Because I can handle it. But Matt can't.

NORM

Well, that's a problem

ZACK

I know. Matt's not gonna play until you leave. So you gotta go.

EC/Hedges/3-23-09 34.

Norm doesn't budge. And the crowd begins to chant "Scream, Scream, Scream."

ZACK

Norm, you need to go!

NORM

I came to hear my son. And that's what I'm going to do --

ZACK

(signals the bouncer) Security!

NORM

And if you want to have Maurice throw me out, bring it on. I wasn't expecting this to be a cakewalk

ZACK You know his name?

NORM

I make friends easily.

Norm nods in Maurice's direction. Maurice gives Norm a thumbs up.

NORM

Look, Zack, I gotta start somewhere. If nothing else, when I'm dead, you and your brother will remember that there was a point at which I tried, and maybe unsuccessfully, but tried nonetheless, to make amends

ZACK

Are you dying? Is that why you're here? Have you come back to die?

NORM

Sorry to disappoint you, son, but we're all dying.

On Zack -- That cuts.

The Crowd chants louder, get in a pushing match.

"Scream, Scream, Scream!" Some fans Someone else turns over a table.

ZACK Listen, Norm. very ugly.

It's about to get

(MORE)

EC/Hedges/3-23-09 35.

ZACK (CONT'D)

People are going to get hurt. So could you please get out of here now!

Then, miraculously, the crowd begins to CHEER and CLAP.

NORM

Well, looks like he's decided to play after all.

In disbelief, zack looks back as .•.

An Angry Matt takes the stage. He storms around like a caged animal, wielding his guitar like a machine gun. The crowd erupts in a frenzy. He comes to a stop in front of his microphone.

Close on Matt. His lined eyes red from rage· or crying, or both. He doesn't move. Looks like at any moment he could explode. He waits for them to stop cheering.

The crowd knows what he wants and gives it to him. The room grows eerily quiet - pin-drop silence.

NORM

And to think you wanted me to miss this.

ZACK

Shh.

Matt is motionless for a time. Then he ..• SCREAMS.

The crowd goes wild as the drums pound and the guitarists wail away.

Matt screams again. And again.

Norm stands motionless, his smile frozen, as the pain of each scream hits Norm like a bullet.

Then, as Matt scratches out a guitar solo, Zack looks at Norm. They speak the following LOUDLY over the music.

NORM

(smiling over the pain) Are there lyrics?

ZACK

No, he just screams. That's what he's known for.

EC/Hedges/3-23-09 36.

NORM

I don't think he's quite yet found his sound. But still, he's very talented

ZACK And angry.

NORM

well, I'm proud of him. Never been prouder.

Norm turns to leave.

ZACK

And he'll know that how?

NORM You'll tell him.

Norm heads to the door.

zack watches Norm leave, then looks back at •••

Matt who sees Norm exiting and then lets out the BIGGEST, MOST-FROM-THE-GUT SCREAM OF ALL .•.

SCREEN TO BLACK.

We hear the sound of WHEELS moving fast on Linoleum.

INT. HOSPITAL HALLWAY - DAY

Zack, on a hospital gurney, being wheeled down the hall.

The gurney BANGS open swinging doors. Superimpose: Tuesday.

ZACK

Yes, regarding my condition

INT. OUTPATIENT SURGICAL ROOM - MOMENTS LATER

All around Zack, the pre-procedure rituals are in full swing. Gloves snapped on. Surgical masks lowered into place. Everything is happening fast.

ZACK

I've noticed a pattern •.. the man who impregnated my mother with me -the last time he showed up -- I got hives. Other times it's been

night sweats.

Bright Overhead Lights are turned on and swung down past his face and focus on his genital area.

EC/Hedges/3-23-09 37.

ZACK

As a kid it was nose bleeds, the kind that came on suddenly and only stopped when he would leave. So could it all be related?

The Nurse hands the Doctor a Draconian-looking metal-pronged surgical device.

ZACK

You've got to be kidding -- no, come on -- Ow, OW!

DOCTOR

Zack --

ZACK

(kicking and writhing) MUTHAH-FUCKAH!!!

DOCTOR LAMSON

We haven't done anything yet.

ZACK You haven't?

DOCTOR

Now you may feel this

Zack goes white.

NURSE Just relax.

ZACK

RELAX?! ! !

INT. HOSPITAL WAITING ROOM - DAY

Zack, post-procedure, gingerly finishes getting dressed. Next to him, Matt waits, asleep. Zack nudges him.

MATT (groggily)

Hey, bro. How was it?

zack shrugs. What does one say?

MATT

Did they really stick a tube up your --

Zack shoots him a look.

EC/Hedges/3-23-09 38.

MATT

It's either that or we talk about what the fuck Norm is up to, showing up at my fucking gig --

The Nurse enters the room. Matt notices.

MATT

(under his breath) Hello, Christmas.

NURSE

Call for your results Friday morning. And the doctor strongly recommends you take it easy the rest of the day.

Zack half laughs. Yeah, right.

EXT. OFFICE BUILDING - DAY

Zack carefully climbs out of the taxi that has pulled up in front of the Spangling Office building. His Blackberry rings.

ZACK

(on cell phone) It's Zack.

Zack kicks -- ow -- the door closed.

TAMARA (ON FILTER)

I just want to make sure you're

OK •••

ZACK

I am now. I mean, I won't know till Friday, but thanks for, uhm, asking.

TAMARA (ON FILTER)

I don't know if you feel up for it.

ZACK

Depends.

Zack stops outside his office building.

TAMARA (ON FILTER)

Well, there'S something you really should see.

ANGLE ON: Norm in his red jacket watches from across the street as

EC/Hedges/3-23-09 39.

Zack hails the next available taxi.

INT. BLOOMINGDALE'S - DAY

Lela stands entranced looking at herself in a three-sided full-length mirror. She wears a classy, understated pantsuit that compliments her shape.

LELA

I don't recognize me. I mean, I know it's me. It's just not the me I know. It's the I-didn't-knowthis-could-be-me me. Zack?

ZACK

Bing-bing-bing. We have a winner.

Lela turns, smiles at her son.

TAMARA

There is one other option.

LELA

Wanna see?

zack nods. He's game. Lela takes Option #2 into the dressing room.

ZACK

This is nice, you're doing this ••.

TAMARA

De nada.

BLOOMINGDALE'S CLERK (appears with a dress)

I knew we had it in your size.

TAMARA Thank you.

(to Zack)

Now if you'll excuse me.

She takes the black dress from the Sales Clerk and heads for a different dressing room while Zack's Blackberry keeps vibrating.

ZACK

(checks his text messages) You don't need to get anything. It's just an engagement party ...

TAMARA

This isn't for your party.

EC/Hedges/3-23-09 40.

ZACK

No?

Tamara steps into a dressing room.

TAMARA

No, I'm going on a date. Ablind date.

Tamara pulls the curtains closed. Beat as Zack processes.

ZACK Wow, that's news.

TAMARA (O.S.)

No, it's weird is what it is. But I can't sit around forever. I mean, it's been almost three years.

Zack continues to type on his Blackberry, but notices •.. Tamara's feet as she steps out of her jeans and into her dress.

TAMARA (o.s.)

My neighbor set it up. Says he '8 a nice guy. So I thought, "Why not?" Can't hurt, right?

We hear the CLACK of the Curtain Rings as Tamara slides open the Curtain.

TAMARA

Hey, I can't seem to reach -- the zipper -- can you ... ?

Zack hesitates before stepping into the dressing room.

ZACK I won't look •.•

Zack closes the curtain, so it's just the two of them.

Alone. Small room. At first Zack fumbles with the zipper at the base of her naked back. But the zipper catches. He laughs nervously.

ZACK

I got it, I got it.

It takes a few tugs. Finally it un-sticks and Zack slowly, carefully, zips up her dress.

EC/Hedges/3-23-09 41.

TAMARA (facing the mirror) So what do you think?

Zack lets himself look at Tamara's reflection in the mirror. He sees her in a way that he's never seen her before. Simply put, she's stunning in the dress.

TAMARA Too slutty?

ZACK

Just slutty enough, I would think.

TAMARA

That's the look I'm going for. (beat)

Is something wrong? Do I have food in my teeth?

ZACK

No, it's just you look - great.

TAMARA

You're just saying that because it's true.

ANGLE ON: Lela's Dressing Room curtain as it slides open, revealing her in an second, equally resplendent outfit. But no one is there to see her.

LELA

Tah-dah! (beat)

Hey, where'd everybody go?

Zack exits out of Tamara's dressing room, followed by Tamara. Lela notices, but is quickly distracted as Zack and Tamara are effusive in their praise. "Wow" -- "It's great, Mom" -"Eileen Fisher must have had you in mind."

LELA KING

But which one? Which one?

ZACK

Is there some law that says you can't have both?

EXT. BLOOMINGDALE'S - DAY

carrying shopping bags, Tamara and Zack squeeze into and share a section of the revolving door, circle around and then exit, LAUGHING onto crowded Lexington Avenue.

EC/Hedges/3-23-09 42.

Lela is right behind them, giddy from a big shopping event for the first time in years.

LELA KING NOW that was fun.

TAMARA Yes, it was.

ZACK (to Tamara)

Thanks. It was nice of you --

As Zack gives Tamara a hug goodbye, he senses something.

It's almost as if he knows someone is watching. He turns and looks acroSS the street toward where Norm is standing ...

ZACK'S POV: A momentary glimpse of a man in a red jacket as a city BuS pulls in front, wiping the screen.

TAMARA What is it?

ZACH

Nobody.

TAMARA

Come on, let's get you back to

work.

INT. ZACK'S CUBICLE - NIGHT

Zack has stayed late -- and is the only one left in his area of the office -- and he's working at his computer.

JILL THE RECEPTIONIST Before you freak -- uh -- you should know I lost mine when I was seven. And I've spent my whole life wishing--

ZACK

What are you talking about?

JILL THE RECEPTIONIST Dads. Yours. He's in the lobby.

INT. SPANGLING CORPORATION - RECEPTIONIST AREA

Zack enters the reception area where Norm is waiting.

NORM

Nice digs. very nice.

EC/Hedges!3-23-09 43.

ZACK What are you doing?

JILL THE RECEPTIONIST (reappears with her coat) Excuse me, Zack's dad.

It's barely noticeable, but Zack's face twitches whenever the word 'Dad' is used in conjunction with Norm.

JILL THE RECEPTIONIST I'd just like to thank you, for what you said. For years, there's been a ... hole.

NORM

So you see what I'm saying? He '8 the proof

JILL THE RECEPTIONIST Yes, I see -- proof.

Jill leaves, grateful for her brief, but clearly profound contact with Norm.

ZACK

Proof?

NORM

Poor girl, she lost her father when he was about your age from a rare, fast-acting cancer ..•

ZACK What am I proof of?

NORM

That you can not have a dad and still turn out wonderful.

ZACK

OK, Norm, this is not OK.

Norm begins to APPLAUD.

ZACK

You can't just show and stop clapping. clapping?

up at my work Why are you

NORM

Your old man's giving you a standing 'a.' Do you know why?

EC/Hedges/3-23-09 44.

ZACK Haven't the slightest.

NORM

I saw you with her today. And I approve.

ZACK

I knew it. You were watching --

NORM

She's perfect for you. Perfect.

ZACK

No, she's not. That's Tamara, Rafe's wife.

NORM

Oh. Rafe -- how is my 01' buddy Rafe?

ZACK

He died in a car crash. Almost three years ago.

NORM

Oh.

(beat as he waits what he thinks to be the proper length of time to wait)

Well, the living still got to eat. Let's get a bite.

ZACK

(laughing in disbelief)

Right, you think you can show up out of nowhere, not say why, spy on me, crash my workplace and then ... I mean, Norm, do you really think I would sit and have a meal with you?

INT. DINER - NIGHT

A WAITRESS (her name tag reads PENNY) flips a page in her pad, ready to take the orders of an on-edge Zack and a relaxed Norm, who sit in a corner booth.

WAITRESS

You guys know what you want?

ZACK

Yes, Norm. What do you want?

EC/Hedges/3-23-09 45.

NORM

Tempt me, Penny. What's good?

PENNY

Depends what you're in the mood for?

NORM

Well, I usually get to know a woman better before I answer that, but since you asked

Norm laughs at his little joke. Zack isn't laughing.

NORM (CONT'D)

He doesn't like to see his old man flirt.

PENNY (charmed)

But you do it so well.

NORM

Thank you, Penny-for-your-thoughts. We'll need a few minutes.

PENNY

I'll be right back then.

NORM

We'll be watching you go.

Penny laughs as she exits.

NORM (CONT'D)

Seems your old man's still got the touch.

(notices Zack's curious stare)

What's up?

ZACK

I'm just sitting here trying

to figure out why you've come back. Why now.

Norm cracks open a menu.

ZACK (CONT'D)

(playful)

Oh, I know -- my autographed Mickey Mantle baseball -- you got it out of hock and you wanted to give it back to me. No?

EC/Hedges/3-23-09 46.

NORM

You may want to peruse the menu.

ZACK

Or. You came back for Matt's 8th grade orchestra concert, but you're just a bit off on the date.

Penny, returning

PENNY

Did you figure out what you want?

ZACK

I want to know why he's here.

Zack smiles. Then Norm smiles.

NORM (to Penny)

We need a little more time.

Penny goes.

NORM

Look, I know I was a terrible dad. You'll get no argument from me --

ZACK

Oh, I got it! You're finally making good on that promise to go camping. Just you and your boys, sleep under the stars, make Norm burgers and smores. Is that right? I can't wait to tell Matt •••

NORM

You're usually better at this. Something's off. Something's bugging you and this time I don't think it's me.

ZACK

(flagging down Penny)

Penny, maybe just bring an assortment of your best desserts

NORM How's work?

ZACK

I don't want to talk about work.

EC/Hedges/3-23-09 47.

NORM How's love?

ZACK

I don't want to talk about love.

NORM

That's too bad because, Zack, there's doing well at work and the love of a good woman -- there's nothing else.

ZACK

That's funny, Norm. I mean, you cheated on mom more times than I probably know, and you haven't ever held down a job for more than a year or two.

Zack notices that a SMALL BOY with a TRASHY LOOKING WOMAN have entered the diner. They wait to be seated.

ZACK (CONT'D)

And, by the way, maybe somewhere in there, one of your great loves should have been your children, don't you think?

NORM

I'm worried about you, Zack.

ZACK That's bullshit. because you want father you never

You're worried to feel like the were.

NORM

Nevertheless, I am. Worried.

ZACK

Well, don't be. I'm fine. I'm better than fine. In fact, I'm doing great.

NORM

You don't seem great.

ZACK

I might have cancer, OK? I was tested today for cancer. They rammed a tube up my penis! Satisfied? Because there's nothing else to say.

EC/Hedges/3-23-09 52.

ZACK (CONT'D) (laughing)

She sends it ... to everyone in Riverdale

TAMARA

I'd heard this but I didn't believe it --

ZACK

And the card reads: This Holiday Season, May All Your Dreams Come True! Love, the King family.

Zack laughs and laughs until

ZACK And then he left

Silence as Zack chokes up. Tamara listens quietly as ...

Zack recovers.

ZACK

I'm sorry. It's late.

TAMARA

No --

ZACK

It's too late for him. Gotta go.

TAMARA Zack? Call anytime.

SCREEN TO BLACK:

EXT. MADISON SQUARE PARK - 23RD & 5TH AVENUE - DAY

At the small park across the street from Zack's Office Building, Zack stops to buy a bagel. The Flat Iron building looms in the background. Superimpose: Wednesday.

NORM (O.S.) Somebody's avoiding me!

Zack turns, stares in disbelief.

ZACK You're still here.

Ec/Hedges/3-23-09 53.

NORM

Of course. How can I leave with so much going on? Your engagement. This cancer scare.

ZACK I can handle it

NORM I'm not so sure

Norm's cell phone rings. He holds up a finger, as if to say 'One moment.'

NORM (whispers) I'll call you back. (beat)

I know, but I need more time •.•

Z~K

Whatever that person wants, go. Because I'm gonna be fine.

Zack heads toward the office entrance. Norm hangs up and follows.

ZACK

Now what are you doing?

NORM

I'm flanking you. Think of me as your wing man.

ZACK (stops)

Norm, how do I say this nicely?

NORM

Don't. Let me have it.

ZACK

Okay. I've never wanted to see you less. There. I really tried to say that nicely

NORM

understood. But Zack, you've never needed a father more --

ZACK

But I don't have a --

EC/Hedges/3-23-09 54.

Zack suddenly stops talking, because what is the point! He crosses the street, darting through traffic, while Norm stays

behind, calling out:

NORM

Yes, you do. Which is why I'll be right here. Waiting. Right here. When you need me! Right here!

Zack disappears inside where he flashes his ID to the security Guard and we hear him say faintly, "Don't let that

man in this building."

START MUSIC:

MONTAGE:

__ Zack, at his station, throws himself into work. E-mails. J-Pegs. Nike-related business. He's on edge, distracted, due to Norm who looms over everything he does on this day.

__ Norm, at his spot, gets situated, overly friendly to all who pass by.

_~ Zack, in an argumentative phone call, is interrupted by Jill who asks: "zack, did you know that your .•. (dad)?" An irritable Zack says, "Yes" and continues with his call.

__ outside, Norm still waits.

__ Close on the MID-DAY SUN, trying to break through an overcast Gray Sky.

__ Zack moves through the office, talking on his wireless headset. Passing the conference room window, zack looks down, sees Norm standing across the street in his spot, speaking with TWO STRANGERS -- a SOMEWHAT TRASHY WOMAN and a YOUNG BOY. Norm appears to be asking them a favor and hands

them money. Zack continues on.

Zack pees. He reluctantly looks down. Yes, blood.

On his return t~om the bathroom, Zack checks again and sees that the TRASHY WOMAN and YOUNG BOY have brought Norm a

£==t 1==g bot doa_ Norm takes it, pretending that it weighs

a ton, m~kQg ~ raCE and thG 19WfG ~QX lau<~ns - LJocK W'o.:U"'''' on"

__ Back at Zack's desk, he takes a bite of sandwich. On Zack's computer, Hope is on video I-Chat, eating a salad as she sits at her desk at the Gallery. They have lunch 'together,' mixing small talk and work. But Zack seems

distracted.


EC/Hedges/3-23-09 55.

-- Down below, Norm hasn't moved. Even though he's beginning to tire.

All of the above culminates with .••

INT. SPANGLING CORPORATION CONFERENCE ROOM - DAY

Late in the day, Zack is in mid-presentation at a production meeting in the conference room.

Zack is too involved to notice that outside LIGHTNING FLASHES. The SOUND of a HARD RAIN slaps against the windows.

ZACK

If we handle this right, from now on, every time you see a blue swoosh on a Nike tennis shoe, we will be responsible for that swoosh. There will be no blue swoosh without us --

Zack's fellow employees APPLAUD.

But one final loud CLAP of THUNDER and FLASH of LIGHTNING cause Zack to stop.

INT. LOBBY

ZACK'S BUILDING - DAY

Zack approaches the lobby's wall of glass, looks outside .•• ZACK'S POV: A thunderstorm, mid-deluge. Across the street, under a street light, Norm stands, getting drenched. As promised, Norm is still right there, waiting.

On ZACK -- aw, fuck.

END MUSIC AS:

INT. ZACK'S APARTMENT - NIGHT

The door is pushed open and Zack enters, followed by a completely drenched Norm. With every step Norm takes, his shoes make the SQUISH sound of something soaking wet.

ZACK

One night. That's all.

Zack flips on a light.

Waterlogged, Norm takes in the room -- sees the organized, everything-in-its-place-ness of it all.

NORM

Just how I pictured it.

EC!Hedges!3-23-09 56.

LATER --

Norm pUllS on Zack's baggiest SUNY-BUFFALO sweatshirt and sweatpants. Zack's clothes on Norm are stretched almost to the point of ripping. A section of Norm's belly is exposed.

Norm looks at pictures from Zack's life. Zack at 13 with a fish he caught. Zack with his mom and brother for the Church Directory. Zack as best man with Rafe and Tamara. Then he finds one photo tucked among the others. It's the Holiday Card from years ago with the picture of Norm in bed with the Secretary. It's a quick moment, but a sobering one for Norm.

LATER STILL

zack exits his room only to find Norm's wet clothes have been arranged on the radiators throughout the apartment and on the shower rod in an effort to help them dry quickly.

ZACK

Norm?

INT. ZAeK'S KITCHEN - CONTINUOUS

Zack enters to find Norm rearranging the dirty silverware in the dishwasher's silverware basket.

zAeK What are you doing?

NORM

It's a little known fact: If you put the dirty forks in one slot, dirty spoons in the next, table knives, you get the picture, then when you go to unload, it's one simple grab.

(demonstrates)

And a real time saver --

There's a KNOCK at the door. Saved. Zack goes to open the door.

NORM (to himself)

So much to teach you.

Zack opens the door and finds Hope on the other side, holding keys.

HOPE

BeYr you. I've been calling --

ECIRedges/3-23-09 57.

ZACK (blocks the door) Oh, right. Hi.

HOPE

You gonna let me in?

ZACK

No.

HOPE Very funny.

Hope tries to enter, but Zack won't let her in. HOPE'S POV: The clutter in Zack's apartment. That's unusual.

HOPE What's going on? (beat)

Are you with someone?

Zack can't find the words but he looks guilty.

HOPE (calmly)

You know, Zack, it's normal to want to have one last fling.

(a slight beat)

I just need you to be honest _

ZACK

Okay, there is someone (here).

HOPE (suddenly in tears) I knew it.

ZACK

He's 57. Balding. On the chubby side.

HOPE

Oh. Oh! He's your dad.

Angle on Norm, listening, as Zack and Hope whisper the following:

ZACK

That's not the word I'd use. He's more of a donor.

Beat as Hope is confused.

EC/Hedges/3-23-09 58.

ZACK

In my dictionary, Dad is a verb.

Angle on Norm, moving down the hall, doing whatever he can so as to get a look at Zack's girl.

ZACK (0. s. )

Dad's do things. And Norm doesn't. Hasn't. Never will.

HOPE

I want to meet him.

ZACK

No, you met my mom and my brother, but I draw the line with Norm.

HOPE

Why?

ZACK

I've spent my whole life trying not to be him. And if you meet him it might very likely freak you out.

HOPE

But what if it only makes me love you more

ZACK

That's not a risk I'm prepared to --

Hope pushes her way into the apartment.

HOPE

Hello? Hello, Mr. King?

Beat. Norm steps out into the living room, wearing the illfitting sweat suit.

HOPE

Hi, I'm Hope. Zack's fiance.

NORM Norman King.

Norm begins a slow cross down the narrow hallway. Although dressed in a mish-mash of Zack's borrowed gym clothes, he carries himself with the gentlemanly air of a man from an earlier era.

EC/Hedges/3-23-09 59.

ZACK

(under his breath, with a tiny hint of respect) Unbelievable.

NORM

But please call me Norm.

In a gallant gesture, he takes her hand and kisses it.

HOPE

Nice to meet you, Norm.

NORM

The pleasure is mine.

ZACK

OK, let's get you a cab.

EXT. ZAeK'S APARTMENT BUILDING - NIGHT

Norm peeks out Zack's apartment window as •••

zack puts Hope in a cab.

HOPE

He's sweet. A big teddy bear. I see a resemblance. You have the same chin, or eyes, or something

ZACK

Oh, no -- I'm nothing like him. Nothing at all.

INT. ZAeK'S APARTMENT - NIGHT

Zack re-enters to find Norm with arms open and a big grin.

NORM

That girl. Whoa. WOW!

ZACK

(basking in this moment) I know, right?

NORM

Son, you got the touch. eause she is lovely, too.

ZAeK (beat)

What do you mean, too?

EC!Hedges/3-23-09 60.

NORM

Well, so's the other one. The widow. I mean, they're both clearly fine, fine women. You've got yourself into quite a pickle

ZAeK

What are you talking about?

And I son. great

Zack sighs.

NORM

don't know how to help you, Except to tell you Norm's two

truths.

NORM

There are many amazing women in the

world.

(beat)

And you can't marry them all.

AS Zack exits into his bedroom:

ZACK Good night.

INT. ZACK'S BEDROOM - LATER THAT NIGHT

Zack lies face down on his bed. There'S a light KNOCK on his door.

NORM Zack, you asleep?

Zack grunts.

Norm flips on the bedroom light switch. Zack squints from the sudden light.

NORM

I was thinking since this is my only night, you might come out and

sit with me --

INT. ZACK'S KITCHEN - NIGHT

Zack takes a seat at his small kitchen table. Norm sets out two cereal bowls, two spoons, and a box of Lucky eharms.

NORM

Your favorite, am I right?

EC!Redges!3-23-09 61.

ZACK

Yeah, when I was five.

Beat. As Norm pours the cereal, the milk:

NORM

Then think of it like old times.

Zack hesitates, then accepts the offering.

Zack and Norm continue to eat Lucky Charms in silence.

FADE TO BLACK:

We hear the sound of a HAIR DRYER.

INT. ZACK'S LIVING ROOM - CONTINUOUS

Norm is dressed for the day in his clothes except for his pants. He's presently using Zack's hair dryer to dry them. Superimpose: Thursday.

Norm --

ZACK (O.S.)

Norm turns. Zack is standing in the doorway, ready for work.

ZACK

I gotta run. I hope you got what you wanted. Just pull the door hard behind you ,make sure it locks.

NORM Uhm, OK. So ...

Zack extends a hand to shake.

ZACK Well, then ••• (beat) Goodbye.

Norm clearly wants more. But the handshake will be all. Zack goes.

INT. ZACK'S CUBIeLE -- DAY

Zack at work. Busy morning. Phone lines lit up. He hits the button for line 2.

It's Zack

ZAeK (ON PHONE)

EC/Hedges/3-23-09 62.

LELA (ON FILTER)

Honey, I tried you at home first.

ZACK (ON PHONE) What's wrong?

LELA (ON FILTER) Everything's fine. I just need $5,000.

Zack can't help but ••• laugh.

SMASH eUT TO:

EXT. STREET eORNER - WILLIAMSBURG, BROOKLYN - DAY

Zack's car comes to a sudden stop at the street corner where Matt stands, waiting.

Matt gets in the car.

ZAeK

This is some shit, huh?

Matt holds up a CD.

MATT

My latest. To take the edge off.

EXT. FDR (EAST SIDE) HIGHWAY - DAY

Zack drives up the FDR with Matt riding shotgun, listening to the heavy percussive beat of Matt's latest. They SHOUT over the music.

MATT

He's staying with you?!

ZACK

Just for one night. Don't worry. Elvis has left the building.

MATT

You mean, fat Elvis!

Beat. The brothers share a moment of levity.

ZACK

Oh, here.

Zack hands Matt a Fed Ex Package. Matt opens it and pulls out ••. various sizes of MAN'S WIG.

EC!Hedges/3-23-09 63.

ZACK

I wasn't sure what size. I can return the others.

MATT

You want me to wear this?

ZACK

Yeah, for the party this Saturday.

MATT

Are you fucking kidding me?

ZACK

Come on, Matt. It's been a rough week. Norm. The tube up my dick! Now this thing with Mom!

MATT

OK, OK, I'll wear it --

Beat. For Zack, a brief moment of relief. Then ..•

As they drive on, Matt(on the eD) starts to SCREAM:

EXT. ZACK'S CHILDHOOD HOME - DAY

Zack's car pulls up at the house.

What Zack and Matt see: The house is in the process of being covered/draped by a huge, striped tent. Long, cylindrical sandbags are being placed along the house's foundation to seal the bottom of the tent. WORKERS empty the house. OTHER WORKERS carry several large industrial fans inside.

ZACK No, this can't be

As Zack and Matt get out of Zack's car, they are met by Lela, who is distraught but smiling.

ZAeK

Mom, what's going on?

LELA

Thanks for coming. It was a free inspection, but somehow it's not so free. It seems we're infested.

And they've got pictures. Wait till you see the pictures -they're chewing away at our foundation --

EC!Redges!3-23-09 64.

ZACK

Mom, Mom -- It's OK. I'll take it from here.

(beat)

Why don't you and Matt go make us all some lemonade?

Matt leads Lela into the house.

ZAeK

OK, gentlemen, let's see the pictures:

MOMENTS LATER --

Close on Pictures taken on a Digital Camera: The images look legitimate. Termite damage. wood shavings on joists. Definite proof.

ZAeK What's this?

WORKER

These are Powder Post Beetles.

Next picture.

ZACK And what's this?

WORKER Drywood Termites.

ZACK

Nasty suckers, no doubt. problem, mother fuckers: not our house.

Just one That's

The Man acts as if he doesn't understand what Zack said.

ZACK

Oh, now you can't speak English -you certainly could when you sold your bill of goods to our mom --

To the workers who have continued to work:

ZACK

You can stop! stop!

WORKER

But, this, only way, to get rid of, infestation .••

EC/Hedges/3-23-09 65.

ZAeK

Here's how we get rid of the infestation. You gather up your shit. You pack it up. And you leave and you never come back --

Zack stops when he sees

Norm standing in the yard.

ZAeK

Oh, Christ. What are you

NORM

Your mother left a long message on your phone machine. And I thought maybe she could use my help.

ZACK (to Norm) You got balls.

(to the workers) Pack it up. Let's go!

NORM

Let's not overlook the larger issue here.

ZAeK

Oh, and what's that?

NORM

Someone's taken advantage of your mom.

ZACK

Someone's always taking advantage of Mom. And I'll handle it the way I always do. Without you.

NORM

Son, I took a subway and two buses to get here. And I'm not turning back --

Lela (followed by Matt) swings open the door. Zack crosses toward them, attempting to block their view --

ZACK

Hey -- OK, I have everything under control

LELA

My lord. Is that Norman?

EC/Hedges!3-23-09 66.

ZACK

Yes.

MATT Un-be-fucking-lievable.

Lela leans against the door frame for support.

LELA What's he want?

ZAeK

I have no clue. He just showed up. And I can't seem to get rid of him.

Lela gingerly assesses her hair, combing it with her fingers, one hand tucks the loose ends behind her ears, while the other hand absently smooths out her blouse.

LELA He's older.

Angle on Norm coming up the walk, his face solemn, his gait slow and formal, milking the gravity of this reunion.

NORM (somberly)

Hello, Lela. You look wonderful.

LELA

(her voice cold and strong)

Hi, Norm. It's been a long time.

NORM Mattie, my boy.

MATT

(a deer in headlights)

Hi

Something in Matt starts to change. His Berlin wall of rage comes tumbling down. zack senses the shift.

zAeK Matt, stay strong

MATT Oh. Oh boy.

ZACK

Be a man

EC/Hedges/3-23-09 67.

MATT

I - can't - help - it. I'vemissed - the big guy.

Matt moves toward his dad for a much-needed hug.

Moved by their reunion, Lela stares awestruck --

LELA

I'll get more lemonade

She starts for the door, but before she gets inside, she bursts loudly into tears.

ZACK (to himself) This is so fucked.

EXT. ZACK'S CHILDHOOD HOME - LATER THAT DAY

Zack supervises the worker's hasty departure. They finish loading up the last of the fumigation supplies - the rolledup tent, the over-sized fans. Zack points out some tarp clips that were left behind. Norm and Matt watch.

NORM

Are they Ukrainian?

ZAeK

They're outta here is what they are.

NORM

In the late 90's, I dated a string of Ukrainian women. Big hips. Great girls. Full of life.

TWO WORKERS pass by, talking in Ukrainian to each other.

WORKER ONE (in Ukrainian)

Asshole Americans. Not my fault she's a dumb broad.

NORM (in Ukrainian)

Did you call her a dumb broad?

Beat. One Worker looks at the other. Then he looks at Norm.

WORKER ONE Yes, that's what I said.

EC/Hedges/3-23-09 68.

Norm smiles. As if he agrees. The Two Workers laugh. Norm laughs. Zack watches wondering What the fuck? Suddenly Norm grabs Worker One by the collar and head butts hlffi!

MATT

(as he dives in) It's on.

Suddenly it's a free-for-all - fists fly - as Norm, Matt and the Workers go at it. Zack is the last to join in.

Lela emerges from the house with a fresh pitcher of lemonade seeing the melee, she drops the pitcher, and as it shatters,

she says:

LELA

No!

EXT. FRONT YARD - ZAeK'S eHILDHOOD HOME - AN HOUR LATER

Police Lights flash from Two Police Cars.

Scraped and bruised, Zack and Matt along with Lela sit on the porch watching as ••.

Norm talks with TWO POLICEMEN. The situation is serious, but whatever Norm says gets the policeman laughing.

ZAeK

In his twisted mind, this will be seen as a victory.

LELA

Sorry, Zack.

Zack waves it off, as if not a problem. When in fact it is turning out to be a huge problem.

The policemen get in their squad cars and drive away.

Norm approaches Lela and the boys.

NORM

That's what I'm talking about! The importance of relationships. Good thino yours truly remembered the arresting officer's father trom ~ne Riverdale Rotary Club. Otherwise I think they would've locked us up -And boys, thanks for having my back. What a team. The Fighting Kings.

EC/Hedges!3-23-09 69.

ZACK

(under his breath) Yeah, we're some team.

NORM

Hey, anybody up for some grub? My treat.

Beat. No takers in sight, it seems.

MATT

Actually

Zack shoots a look at Matt.

MATT

All that fighting got me pumped. I'm starved. Mom?

LELA

Only if we do drive through.

Norm smiles. A partial victory.

NORM

Drive through, it is. Zack?

Zack, in disgust, heads to his car.

Norm, Lela, and Matt watch as Zack backs up quickly and speeds off.

NORM Where's he going?

INT. TAMARA'S KITCHEN - DAY

A CHUNK OF ICE is broken into pieces in the sink. Tamara fills a large Ziploc bag with ice chips.

ZAeK

I don't need (ice)

TAMARA

Yes, you do. Hold still.

Tamara applies the ice to Zack's wrecked hand.

TAMARA

And your dad can't be all bad, defending your morn's honor that way.

EC/Hedges/3-23-09 70.

ZACK

I had it all under control. And then Norm --1 And now they've gone out to dinner, as if nothing ever happened, as if it's all suddenly OK •••

Zack watches as Tamara moves closer to readjust the ice.

ZAeK

They don't get it. He's up to something, he's not to be trusted. Am I the only one who can see that?

Sophie, post-nap, comes into the room.

TAMARA

Maybe try to enjoy him for whatever time you get.

(picks up Sophie) Hey, lamby.

Sophie notices Zack's hand wrapped in ice. She looks worried.

Zack removes the ice to show Sophie his damaged hand.

ZAeK

It's nothing. Just a little scrape, see?

Sophie moves closer, then kisses the hand.

TAMARA Now it's all better.

SOPHIE

No. Mommy, you kiss it, too.

Beat as both Zack and Tamara hesitate. What's the big deal?

Tamara is about to kiss his hand when the phone rings.

TAMARA

I should probably get that --

ZAeK

Yeah, you probably should ...

While Tamara talks on the phone, sophie climbs allover Zack. He's a human jungle gym again.

EC!Hedges!3-23-09 122.

MATT

Last thing, important think, look who I ran into ••.

On Zack. what? Then he sees

Hope standing over by a row of park benches. She smiles, shrugs slightly, as if to say, "This is awkward." (Note:

She's dressed in a less uptight, more downtown style.)

MATT

She's been waiting to talk to you.

EXT. STRAWBERRY FIELDS PLAYGROUND - MOMENTS LATER

Zack and Hope sit on a bench, in mid-conversation. While Hope talks, Zack effortlessly splits his focus with her and Henry who plays with other kids on the nearby jungle gym.

HOPE

And I got my own place in the Village, it's a studio. And I pay for it myself. So it's all good.

ZAeR I'm happy for you.

Henry runs up.

HENRY

Look.

He shows Hope a missing tooth.

HOPE

Wow.

ZAeR

Yep, it's still gone.

Henry turns around and runs off.

HOPE He seems great.

ZAeR (means it)

He is. He's amazing.

A beat as they both watch Henry play.

ZAeR

Look, I'm still (sorry) •.•

EC/Hedges/3-23-09 123.

HOPE

Thanks for your letter. I even showed my parents who, by the way, miss you.

ZACR Yeah, right.

HOPE

No, they really do miss you. (sees someone)

Hey, I'll be right there --

Hope's new boyfriend arrives at the entrance of the playground. Picture a nose ring, slacker, the anti-Zack.

HOPE (CONT'D)

I would introduce you but he might punch you or thank you or both, so next time?

zack gives a friendly wave to the new boyfriend.

ZAeR

You bet.

Hope starts to go, but stops, turns back.

HOPE

Zack -- are you with her?

ZACK Huh? Oh, no. No.

Beat.

HOPE

What's stopping you?

On Zack. A good question. But before he can answer, he is interrupted by Henry who playfully jumps on him.

EXT. GARAGE/DRIVEWAY - ZAeR'S eHILDHOOD HOME - DAY

Zack's car pulls into Lela's driveway. Along with Henry, the car is packed full with camping supplies. Zack honks his horn.

MOMENTS LATER --

In the front yard, Zack is moving the contents of his chest to a larger ice chest he's borrowing from Lela. offers Henry a popsicle, which he takes and begins to open.

ice Lela tear

EC!Hedges!3-23-09 124.

LELA

How long are you going for?

ZAeK

Who knows? We'll figure it out, take it one night at a time.

(to Henry, re: the

popsicle)

How is it, little buddy?

HENRY

Good.

LELA

(softly to Zack)

You and your brother have done such a good job with him. He's doing great. But I worry you're forgetting about you

ZACK (laughs if off)

Mom, I'm on it. I'll take care of me. Later.

LELA

Zack, you're looking at later.

Beat. Zack looks at his mom.

LELA

I worry.

ZACK

Don't.

LELA

I just wish you'd think about what you want --

Zack smiles, because he knows what he wants. And he's ready to go for it. We hear TINK--TINK--TINK!

SMASH CUT TO:

eLOSE ON •••

A tent stake is being hammered into the ground. And Zack is doing the hammering.

ANGLE ON ..•

A picture window. The sounds outside have brought Sophie to the window. Soon Tamara appears

EC/Hedges/3-23-09 125.

TAMARA'S POV: Her front yard. A pup tent has been put up. Zack is driving in the final tent stake.

Moments later --

Henry helps Zack unload the rest of the camping supplies from Zack's car.

Tamara and Sophie come out of the house. Sophie wanders over to Henry.

Zack sees Tamara who looks wary.

ZAeR

I hope you don't mind

TAMARA Actually, I do mind

ZAeK

Since it's Henry's first time, I wanted it to be a real special spot. Soft, level ground.

(looks at Tamara) with a nice view.

TAMARA

Zack, this isn't going to (work)

ZAeK

Before you tell me why this is a bad idea or that you have other plans, just know: The tent's brand new. Sleeps four. But no pressure.

Before Tamara can counter

ZAeR

And we are stocked. We're ready for anything. Aren't we, Henry?

HENRY

Yes.

Henry goes back to playing with Sophie.

Tamara takes in the scene. The kids playing, the vast array of supplies, the tent, and finally, Zack, who stands before her, confident and determined.

ZACK

That said, it's the wild. We'll definitely be roughing it.

(MORE)

EC/Hedges/3-23-09 126.

ZAeR (CONT' D) (beat, smiles)

But it could be an adventure.

On Tamara. She's clearly touched, but we don't know yet what she's going to do.

PRE-LAP ..• the sound of APPLAUSE

INT. BOWERY BALLROOM - NIGHT

Matt steps forward into the bright stage lights of the Bowery Ballroom. We hear a crowd of people eHEERING

MATT

This is for family - old and new •..

And Matt begins to play his newest. (It plays over the rest of the film.) The song is spare, raw, honest. IT HAS WORDS.

As Matt sings, people in the crowd hold up cell phones, flick their lighters

INT. ZAeR'S TENT - TAMARA'S YARD - NIGHT

CLOSE ON the flickering light from an electric lamp~

Zack and Tamara, in sleeping bags -- wide awake. Between them, Sophie and Henry sleep.

Zack and Tamara whisper the following:

ZAeK

So, what's the going rate for the tooth fairy?

TAMARA We do a dollar.

ZAeR

Oh. So I guess ten was too much.

TAMARA

Yes.

ZACK

OK, in no particular order: How often should a five year old shampoo? Is it bad that he still naps? And when do he and I have the sex talk?

Tamara laughs.

EC/Hedges/3-23-09 127.

TAMARA

Maybe after you and I have the sex talk ...

Something in the way they look at each other suggests great possibility.

ZAeR Good point.

without disturbing the kids, Zack crawls to Tamara's side of the tent.

What els ? TAMARA e.

ZACR

Wel.l ...

EXT. TAMARA'S YARD - NIGHT - eONTINUOUS

We're outside the tent now. The camera is slowly pulling back, up and away

ZACK (O.S.)

There are so many questions.

TAMARA ( 0 • S • ) Fire away.

ZAeR (O.S.)

I'd love to know your thoughts on this one: Matt thinks potato chips count as a vegetable.

TAMARA (O.S.) (laughing)

No

ZAeK (O.S.)

But what if they're baked

TAMARA (O.S.)

No!

ZAeR (O.S.)

Good, we agree. Now what about •••

As they continue to talk and laugh, the Camera continues its pull back, slowly rising up. Everything gets smaller, but more can be seen. The glowing tent, the yard, the stars.


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Hero for Hire

pp1-57 of screenplay named Hero for Hire

first line of dialogue:

RICK (Spanish)

I have had an ass-full of you! (beat)

full text:

"HERO FOR HIRE"

FADE IN:

EXT. EL GATO'S VILLA - NIGHT

A large, Spanish style mansion on a secluded estate. It looks like something has crashed through one of the large windows. Maybe a truck.

We hear the sounds of a GUNFIGHT. SHOTS FIRED. SCREAMING. General mayhem.

TITLE OVER BLACK: EL GATO'S LAIR, LA PAZ, MEXICO

CLOSE ON

RICK STAPLE'S determined face. He's 25, cut up, bruised, and battered. His buzz-cut hair and thick mustache dyed an unnatural black.

[NOTE: ALL DIALOG IS SPANISH, UNLESS OTHERWISE NOTED.]

RICK (Spanish)

I have had an ass-full of you! (beat)

I'm calling you out, El Gato.

CLOSE ON

EL GATO'S face. He's 35, mean, sadistic, and slick. His sneer reveals a gold tooth.

EL GATO (Spanish)

You don't know what your getting into.

WIDE to reveal they are in ...

INT. EL GATO'S VILLA - BASEMENT - NIGHT

Expansive. An underground shooting range. WESTERN HATS and antique WESTERN GUNBELTS line one wall.

Rick is dressed in black from head to toe. He has an automatic pistol holstered on his belt.

RICK

Maybe, maybe not. But, I do know one thing: what you do is despicable and it ends right now.

2.

El Gato, wearing a white cowboy hat, dual pistol belt, huge belt buckle and western boots, sizes Rick up.

El Gato is a cross between an extra in an American Western and a straight up gangster, with a neck tattoo that reads:

ONLY GOD CAN JUDGE ME.

He's a bad looking son of a bitch.

EL GATO

A man's got to do something for a living these days.

RICK

Dyin' ain't much of a living, boy.

EL GATO

You're no Outlaw Josey Wales.

Rick reaches over, grabs a BLACK COWBOY hat and puts it on. He looks back at El Gato, determined.

RICK

I am today.

El Gato looks down at the blood pooling around his boot, he makes a show of pointing out a serious gunshot wound to his right arm.

EL GATO I'm injured.

RICK

I don't give a flying shit.

A devilish grin spreads across El Gato's face.

EL GATO

I'm actually better with my left anyway.

RICK (resigned to it) Of course you are.

They square off. Hands hover over holstered guns. The tension builds.

RICK (CONT'D)

Get ready to eat hot, leady death, you rotten bag of dic--

Before Rick completes the sentence, they go for their guns ...

FREEZE FRAME

3.

THE SCREEN GOES BLACK - Over this, a single, deafening GUNSHOT.

TITLE OVER BLACK: TWO WEEKS EARLIER AND 1000 MILES AWAY

EXT. JOSHUA TREE NATIONAL PARK - DAY

A long line of cars extends out of the entrance onto the highway. Irritated FAMILIES peer out of the their cars what's the hold up?

EXT. PARK INFORMATION BOOTH - DAY

Rick, sporting his natural hair color, wearing a crisp, neatly pressed, green Park Ranger uniform and the world's shiniest badge, stands at the window of a giant, old lady car.

The face of the OLD LADY reflects in the mirrored lenses of his aviator shades.

[NOTE: DIALOG IN ITALICS IS ENGLISH WITH SPANISH SUBTITLES.]

REALLY OLD LADY (English)

Is there some sort of problem, officer?

Rick carefully scrutinizes her driver's license, comparing the picture to her face.

RICK (English)

Ranger, Ma'am. United States Park Ranger.

Rick flashes a charming smile and hands her license back.

RICK (CONT'D) Have a nice day, Ma'am.

The Old Lady returns the smile and drives off as ...

Rick's supervisor, MAX, 50, a big, loudmouth jerk steps up. Max doesn't look happy, as he invades Rick's personal space.

MAX

Do you have any idea why people drive for hours - sometimes days - just to visit our beautiful park?

RICK

I would suspect a number of reasons are--

4.

MAX

Shut up answer boy! That was a rhetorical question. I have no idea why people come here, but it isn't to get harassed by over zealous Park Rangers.

Max holds up a couple of complaint letters for Rick's benefit.

MAX (CONT' D)

And yet the complaints keep coming.

RICK

I'm just enforcing the law.

MAX

Leave the law enforcement to the law enforcement Rangers. Your job is to take fees for parking and camping, to check for campsite compliance and to hand out maps. That's it.

Max slaps the complaint letters against Rick's forehead.

MAX (CONT' D) You got that, bunghole?

INT. RICK'S DUMPY APARTMENT - NIGHT

Rick enters and walks immediately to a small table with several pieces of mail on it.

He thumbs through the mail until he reaches an envelope with US DRUG ENFORCEMENT ADMINISTRATION, WASHINGTON, D.C. as the return address.

Rick is nearly beside himself with excitement as he tears the envelope open.

He reads. His face drops. He walks to a large dry erase board mounted to a wall in the small, filthy kitchen.

On the board is a list of law enforcement agencies: ATF, LAPD, ICE, SECRET SERVICE, DSS, DEA, and FBI.

Rick grabs a black marker and crosses off "DEA". He stands there for a long beat staring at the board, all the names have been crossed off, all except FBI.

He lets out a crestfallen SIGH before shuffling into the ...

LIVING ROOM

5.

Where his roommate, MARK, 25, chubby, shaggy, lounges on the couch wearing only his tightie-whities and a McDonalds's uniform shirt.

He's eating French fries out of a huge paper bag, dipping each fry into an industrial size can of "special sauce."

MARK

Want some fries? They fell on the floor, but they're fine if you don't think about it.

Rick shoots Mark a disgusted look and shuffles off to his ...

BEDROOM

Dingy and messy. The walls are plastered with movie posters:

DIE HARD, LETHAL WEAPON, COLORS, POINT BREAK, HEAT, etc.

Rick grabs a magazine, plops onto the bed, picks up a remote control and hits "play."

On the TV/DVD combo: POINT BREAK - Keanu Reeves' Johnny Utah is shooting the piss out of the FBI Range at Quantico, in the rain.

RICK

Oh, Johnny Utah, take me away from this life.

As the sequence ends, Rick falls back onto the bed and opens his magazine: GUNS AND WEAPONS FOR LAW ENFORCEMENT.

After a beat, Rick's eyelids begin to sag. He falls asleep.

EXT. SUBURBAN HOME / FRONT YARD - DAY/NIGHT

Cacophonous, disjointed, and fragmented imagery.

A YOUNG BOY dressed as a cowboy, plays with a toy pistol as a BLACK AND WHITE POLICE CAR pulls to the curb.

MOM, 35, pretty, wipes her hands on an apron as she steps onto the porch as two stoic POLICE OFFICERS climb out of their vehicle.

Daylight plunges into SUDDEN DARKNESS as Mom's face crumples.

The toy pistol slips from the Boy's hand. He watches, frozen in place as his Mom's knees give out.

TIGHT on the Young Boy's face as it becomes ...

ADULT RICK'S face, dripping with sweat. WIDE to reveal ...

6.

EXT. JOSHUA TREE NATIONAL PARK / MOUNTAIN TRAIL - DAY

Rick, riding hard, on a dirt-bike style MOTORCYCLE, tearing up the dirt path.

EXT. JOSHUA TREE NATIONAL PARK / CAMPSITE - DAY

Rick bursts through a clearing, catches some air, and skids into into the campsite, shrouding a camping FAMILY in a dirt cloud.

The Family is startled by the commotion.

FATHER Jesus-jump-roping-Christ, you nearly made me squirt out a log, kid.

A MOTHER, ten year-old SON, and TEENAGE DAUGHTER sit around a campfire. Bacon SIZZLES in a frying pan.

RICK Ranger Staples.

FATHER

Beg pardon?

RICK

Please address me as Ranger Staples.

The Father shoots a look to his family. They all SNICKER. Rick bites his lip.

FATHER

Can I help you with something, slappy? I'm trying to fry up some swine for the kids and the little lady here.

RICK

Your fire is in violation of US Park Code nine-twenty-four-C, in that it's within thirty-six inches of your tent.

(scrutinizes tent)

Which looks to be a BiemCo 47~5. Highly flammable. Manufactured in Thailand in the late 1990's. Not a good tent at all.

The Father and his family stare at Rick for a beat and then burst out LAUGHING.

FATHER (to family)

Can you believe this douche?

7.

The Father goes back to his bacon.

Rick reaches to his BACKPACK, like a samurai going for his sword, and produces ...

A FIRE EXTINGUISHER. He douches the fire (and yes, the bacon) with nasty, pus-colored dry chemical.

The Father's jaw drops, he looks from the ruined pan of bacon to his shocked Family to Rick.

Rick cracks a little smile.

RICK Consider that a warning. (beat)

Slappy.

The Father drops the pan. His face twists up in a knot of rage.

FATHER

I'm going to rip off your ass!

The Father advances on Rick.

SON

Kick him a new corn-shoot, Dad!

Rick pulls his big can of PEPPER SPRAY and shakes it up.

RICK

Today is not the day to mess with me, sir.

The Father ROARS and lunges at Rick.

INT. PARK RANGER OFFICE - DAY

Rick stands at attention, while Max SCREAMS at him.

MAX

What the hell is the matter with you, Staples? Are you out of your mind?

RICK.

No I--

MAX

Don't answer rhetorical questions, dipshit; it's the mark of an idiot. (MORE)

8.

MAX (CONT'D)

(beat)

Pepper spraying the Dad was one thing, I might have only suspended you for that, but the Mom and the two kids? Why?

RICK

Is that a rhetorical question?

MAX

No it's not a goddamn rhetorical question, you ass-wipe.

(beat)

You're fired.

Rick's jaw drops.

INT. RICK'S DUMPY APARTMENT - DAY

Rick, looking despondent and dejected, sits on the couch with Mark, who's wearing a grease-stained McDonald's uniform and eating chicken nuggets out of a black garbage bag.

MARK

What a bummer, dude. have enough money for concert tickets now.

Guess you won't those Rush

RICK Please, shut up. (beat)

This is the worst day of my life.

MARK

Don't worry, I'm sure that FBI recruitment letter will come for you.

Rick SIGHS and slowly gets to his feet. He tosses a letter to Mark before shuffling off.

Mark opens the letter, we notice FBI LETTERHEAD and the word REJECTED stamped in big red letters.

MARK (CONT'D) (calling after Rick;

trying to help)

You can come work with me, dude. I'll get you on the fryer, it'll be tits.

Rick just hangs his head and disappears into his room.

9.

INT. RICK'S DUMPY APARTMENT / RICK'S ROOM - NIGHT

Chinese takeout containers, pizza boxes, and other trash litter the room.

Rick, who's looking like ass - unshaven, stained wife-beater, stained boxers - sits at his computer checking out a webpage called: WORLD'S COOLEST POLICE SHOOT-OUTS

VIDEO WINDOW:

Grainy, amateur video of MEXICAN POLICE and BANK ROBBERS having an outlandish GUNFIGHT.

RICK (O.S.)

Sweet.

REPORTER (V. 0 . )

Today in La Paz, Mexico, Federal Police authorities gunned down eleven heavily armed bank robbers as they attempted to escape after a daring, daylight heist.

Suddenly, the RINGLEADER bolts out of the bank with a bag of money and a pistol.

REPORTER (V.O.) (CONT'D) Roberto Cruz, 22, a bank security guard is being hailed as a hero for setting off a silent alarm and wrestling the ringleader to the ground as he attempted to flee with a sack

of currency.

Security Officer, ROBERTO CRUZ, dashes out of the bank and TACKLES the Ringleader. The bag of money goes flying, spilling currency everywhere.

Cruz stands up, triumphantly, jumping up and down with his hands in the air.

Ringleader stands up, shrugs, and SHOOTS Cruz repeatedly.

REPORTER (V.O.) (CONT'D) Cruz was shot nine times, but is listed as being in stable condition.

BACK TO RICK

RICK

So cool.

He sits back in the chair deep in thought. After a beat Rick leans forward, fingers flying over the keyboard.

10.

A page appears: MEXICAN SECURITY JOBS.

INT. SEGURIDAD SEGURA DE LA PAZ MEXICO - DAY

A hot, cramped, dirty office.

JOSE, 45, in a rumpled, sweat stained, security uniform, chews tobacco at his desk while tying a noose out of a long length of rope.

He stops briefly to take a long pull from a liquor bottle. The guy's a mess. The phone RINGS, Jose answers it.

JOSE (Spanish) Hello?

Tobacco drool runs out of his mouth.

INTERCUT - Between Rick at home with a Spanish/English Dictionary and Jose at his desk.

RICK (broken Spanish) I want· the job.

JOSE Are you sure?

Rick has no idea what Jose said.

RICK

Si.

JOSE

It is very dangerous. The last guard was killed, we found only his penis, nailed to the side of the booth.

RICK

Si.

Jose is slightly puzzled by the response. He shrugs.

JOSE

Okay, you got the job.

Rick pages through the dictionary and reads. His eyes light up - holy shit, I got the job!

MONTAGE - RICK GETS READY TO GO TO MEXICO

-- Rick goes to the bank and withdraws his life savings. The TELLER counts out a decent pile of cash.

11.

-- Rick purchases a large stack of DVD's from a video store:

The Good, The Bad, and The Ugly; Fistful of Dollars; Pale Rider; Magnificent Seven; etc.

Rick and Mark buy PELLET PISTOLS at a sporting goods store.

Rick watches Dora the Explorer to practice his Spanish.

Rick and Mark quick draw with their PELLET PISTOLS. Mark is slow as shit, but he's about twice as fast as Rick. He SHOOTS Rick, who goes down like a sack of shit, hand clamped to his eye.

RICK

Sweet Christ on the Cross, my eyeball!

-- Mark and Rick watch Magnificent Seven. Rick holds an ice pack to his eye. Rick removes the pack and turns to Mark.

RICK (CONT'D) How's it looking?

His eye is purple, swollen and grotesque.

MARK

Dude - wow! (obviously lying) It's almost healed. (beat)

Don't look at it, though.

-- Rick, now sporting a sweet BLACK EYE PATCH, packs clothes, his collection of DVD's, and a portable DVD player into a wheeled suitcase. As an afterthought, he puts an old, ragged toothbrush in the suitcase.

INT. RICK'S DUMPY APARTMENT - NIGHT

Rick, still wearing the previously seen EYE PATCH sits in front of the bathroom mirror, while Mark dyes his hair and mustache a deep, unnatural black.

RICK

(through gritted teeth)

Is it supposed to burn so much?

MARK Yeah, I think so.

(beat)

It might sting a bit now, but I swear you'll look like the El Mariachi

when I'm done with you.

LATER

12.

Rick's hair and mustache are now a deep, coal black. He and Mark admire their work.

MARK (CONT'D)

I got you a going away present--

Mark pulls what is obviously a clumsily gift wrapped Mexican sombrero out from behind his back.

MARK (CONT' D) To help you blend in.

EXT. LOS ANGELES INTERNATIONAL AIRPORT - DAY

A large plane takes off.

EXT. LA PAZ INTERNATIONAL AIRPORT / MEXICO - DAY

A large plane lands.

INT. LA PAZ INTERNATIONAL AIRPORT - DAY

Rick, dressed in a poncho, sombrero, cowboy boots, his eye patch and sticking out like a sore thumb, makes his way through the airport.

PEOPLE sidestep him, MOTHERS clutch their CHILDREN. He looks like a murderous bandit.

EXT. LA PAZ INTERNATIONAL AIRPORT - DAY

Rick climbs into a beat-up taxi.

INT. /EXT. TAXI - DAY

The nervous TAXI-DRIVER eyes up Rick.

[NOTE: ALL DIALOG IS SPANISH UNLESS OTHERWISE NOTED]

TAXI-DRIVER Where to, Sir?

RICK

Seguridad Segura De La Paz. I am Rico the Killer.

The Taxi-Driver's eyes widen and he floors the gas.

A KICK ASS SONG (READERS CHOICE) PLAYS as Rick takes in the local culture on the taxi ride.

He looks out the window and sees:

Herds of donkeys running roughshod.

13.

STREET VENDORS selling food.

Children playing soccer with tattered balls, etc.

WORN AND RAGGED POSTERS OF MISSING CHILDREN on walls and posts.

As the taxi rolls slowly through a jam-packed OUTDOOR MARKET, KIDS approach the car, panhandling and trying to sell Rick trinkets.

The Kids chase after the Taxi, LAUGHING as is picks up speed and leaves the market.

It's like another world. Rick is in awe.

INT. SEGURIDAD SEGURA DE LA PAZ - DAY

Jose sits at his desk sharpening a huge knife on a whetstone.

Rick barges in, surprising Jose, who hurls the knife, pinning Rick to the door frame by his poncho.

Jose pulls a pistol from a desk drawer and aims it at Rick.

(NOTE: Italics indicate Spanish with subtitles.)

JOSE

(tobacco and juice flying from his mouth)

Who sent you? Who sent you to kill me? Salvador? El Gato? Who?

Rick has no idea what Jose said.

RICK

I'm Rico.

Jose thinks for a beat. A smile spreads across his face, revealing teeth the color of strong coffee, littered with chunks of tobacco.

JOSE

Oh, Rico, the new guard for the death mission.

Rick has no idea what to say ...

RICK

si.

Jose puts away his gun, crosses the room, pulls the knife out of the doorjamb and warmly embraces Rick.

Rick makes a face - this guy smells like the beer shits.

14.

JOSE

I'm so happy that you have come. I was worried that I would have to go out to that godforsaken, haunted, death pit, desert myself.

Jose spits a large gob of tobacco juice. foot.

It lands on Rick's

JOSE (CONT'D) Nineteen of my men have met their maker in that place.

(beat)

All of them, relieved of their genitals and tortured for the sport of it.

(beat)

Are you afraid?

Rick goes with the opposite response, preoccupied with trying to shake the gob of spit off of his boot.

RICK

No.

JOSE

Then you will go the desert and die the miserable death of a hero?

Rick perks up, he recognizes the Spanish word for hero.

RICK

Si.

Jose LAUGHS, CLAPS Rick on the back and ushers him to a seat.

Jose sits at his desk, reaches into a drawer and produces a sweat stained tan uniform, a badge, and a bus ticket. He hands the pile to Rick.

RICK (CONT'D)

Gracias.

Rick is captivated by the shiny and very cool looking badge.

JOSE

Now go, I will make arrangements for your funeral. I hope burial in a burlap sack is okay.

RICK

(still staring at the badge)

Si.

15.

Rick stands and leaves. Jose looks after him, shaking his head.

Jose opens a drawer and produces a bottle of tequila and a dirty glass, he pours a stiff shot and hoists it toward the door.

JOSE

That's one tough son of a bitch.

Jose downs the shot and pours another, then takes a huge

pull straight from the bottle. We notice a FRAMED PHOTOGRAPH OF A WOMAN AND TWO CHILDREN on Jose's desk.

INT. SHITHOLE APARTMENT - DAY

One room, filthy kitchenette, soiled mattress. Toilet and gross shower separated from the main room by a dingy curtain.

Keys JINGLE outside. The door swings open and Rick steps in. He surveys the dump for a beat, then drops his bags on the floor.

EXT. STREET MARKET - DAY

Rick, with amazed admiration, walks through a vibrant street market looking for food.

LOCALS bustle around him, shopping and working at various stands and booths.

A MANGEY STRAY DOG approaches Rick, he extends his hand.

RICK (English)

Hey there, little fella.

The Stray Dog SNAPS and SNARLS at him. A couple of the LOCAL KIDS LAUGH. Rick hustles away.

RICK (CONT'D) (English)

Mexican dogs suck ass.

INT. SHITHOLE APARTMENT - NIGHT

Rick holds up his security uniform and examines it. It is wretched: huge salty sweat stains, dried blood, etc.

He takes a whiff and GAGS.

LATER

Rick washes his uniform in the sink, while a pot of eggs boils on the small stove.

16.

Mexican MUSIC plays on a tinny old radio on the counter. Rick dances to the rhythm and HUMS along as he scrubs.

LATER

Rick, in bed, clutches his shiny badge as he drifts off to sleep, a big, silly smile on his face. A man content.

After a beat, a HUGE RAT scampers across Rick's chest. He SCREAMS and leaps out of bed.

EXT. BUS STOP - DAY

Rick, proudly wearing his clean uniform and sombrero, and holding a brown, paper lunch bag in his hand, waits for the bus along with a small group of TRAVELERS.

The bus pulls up. The doors open with a HISS. Rick lets everyone else get on the bus first.

INT. /EXT. BUS - DAY

Rick boards the bus and hands his ticket to the BUS DRIVER. The Bus Driver examines the ticket, then looks Rick up and down.

BUS DRIVER

So you are the next to die shrieking in the desert, your tiny, flaccid penis hacked from your body with a machete?

Rick smiles stupidly and stands near the front of the bus. The Bus Driver stares at Rick and shakes his head.

BUS DRIVER (CONT'D) You are bold, young man. Bold and doomed.

The doors HISS shut and the bus lurches away, Rick loses his balance, and falls in the aisle, among a dozen free-roaming chickens.

He hustles to his feet and moves down the aisle, taking in the other BUS RIDERS.

The bus is packed tight, Rick searches for an open seat. He finds one, next to a sleeping OLD MAN, and quietly sits down.

EXT. CEMETERY / POLICE FUNERAL - DAY/NIGHT

Another disjointed, jumpy DREAM.

YOUNG RICK stands next to his MOM, near a flag draped coffin.

17.

A seven man POLICE HONOR GUARD begins the three volleys of the 21 Gun Salute. BANG. BANG.

The last volley sounds like a THUNDERCLAP and suddenly ...

It's NIGHT and Young Rick is alone at the funeral. He looks around nervously.

LIGHTENING FLASHES followed by another THUNDERCLAP and ...

INT. /EXT. BUS - DESERT - DAY

Rick STARTLES awake. He looks around and sees that the bus is empty except for him and the Bus Driver.

Rick takes a second to snap out of the dream and then remembers that he is on a bus in Mexico.

He checks his watch.

RICK (English)

Holy crap, we've been driving for three hours.

Rick looks around - where the hell am I?

The Bus shudders to a stop.

RICK (CONT'D) (English)

Where the hell are we?

EXT. DESERT - DAY

The bus obscures our view. The doors HISS open and closed. The bus pulls off in a cloud of dust. As the cloud clears, Rick stands in front of a ...

TINY GUARD SHACK, clutching his lunch bag like a security blanket.

RICK (English)

You've got to be shitting me.

Rick looks all around. Not a damn thing on the horizon.

RICK (CONT'D) (English)

Seriously, you've got to be shitting me.

Rick turns and looks closely at the shack. A large, round, analog temperature gauge is mounted to the shack.

18.

The arrow hovers at 118 degrees.

Rick taps the gauge.

RICK (CONT'D) (English)

This thing has to be broken.

Rick taps the gauge.

RICK (CONT'D) (English)

I'll have to bring this up to Jose after my shift.

Rick steps into the shack. It's about three feet by three feet, empty except for a small desk-like ledge and a stool. A pair of huge binoculars hang from a nail on the wall.

He looks at his lunch bag then leans out and looks at the temperature gauge again. He makes a face - not good.

Rick leans back in, puts the lunch bag on the ledge, grabs the binoculars and steps back out in the desert.

RICK (CONT'D) (English)

Okay, Mexican drug runners, let's get it on.

Rick scans the desert.

MUCH LATER

Rick, now sporting some large SWEAT STAINS, puts down the binoculars.

RICK (CONT'D) (English)

Okay, no one's out there.

Rick explores the area a bit and finds an old bicycle lying in the sand. He picks it up, it's dusty and eroded.

Rick looks around - the coast is clear, he climbs on the bike and tries to peddle. He falls over.

He gets back up and tries again. The chain utters a dry SCREECH, but he manages to peddle a little bit.

He is instantly bathed in sweat.

LATER

Rick peddles the bike, struggling and sweating.

19.

LATER

Rick is shirtless now, sweating and peddling.

LATER

Rick, exhausted, collapses from the bike, panting. He looks back to measure his progress and his face drops.

He's made it about twenty feet from the shack.

RICK (CONT'D) Not a great idea, Rick.

Rick gets up and walks back to the shack. He steps in and grabs his lunch bag.

He pulls the can of cola out. The sweat on his hand SIZZLES on the hot can.

RICK (CONT'D)

Ouch.

He puts the can down on the ledge.

Rick pulls out his egg salad sandwich and takes a whiff. He makes a disgusted face - that ain't good.

He puts the sandwich on the ledge and takes a seat on the stool. He looks, longingly at the sandwich and the can of cola.

Rick stares at the food. His stomach GROWLS. Finally he can't take it anymore, he POPS the top on the cola, it explodes allover ...

RICK (CONT'D) (English)

Jesus, that's hot--

He drinks anyway. He puts the can down and BELCHES loudly.

RICK (CONT'D) (English)

Not good.

He grabs the hot, rancid egg salad sandwich and stares at it for a quick beat.

RICK (CONT'D)

(English)

It's hot. Heat kills germs, right? It's like putting it in the oven on low heat for a few hours. It's fine.

20.

Rick takes a huge bite.

LATER

Rick is curled in a fetal position on the floor of the shack. He is pale, sweaty, and shaking.

RICK (CONT'D) (English)

Not again.

Rick gets up and hustles out of the shack. He drops his pants and squats down, O.S. He lets fly and we hear every BLAST.

RICK (O.S.) (CONT'D) (English)

Montezuma's revenge, man.

MUCH LATER - IT'S GETTING DARK

The bus pulls up. The doors HISS open. Rick is slow to get on. The doors HISS shut. The bus pulls away.

INT. SHITHOLE APARTMENT - NIGHT

Rick practically crawls into the apartment and makes a beeline for the bed.

EXT. TINY GUARD SHACK - DAY

Rick, body glistening from suntan oil, sits in front of the guard shack in his boots, underwear and sombrero.

He is seated on a folding lawn chair, under a beach umbrella, drinking water out of an aluminum water bottle. A cooler sits beside him.

Rick glances over at the eroded bicycle, baking under the unforgiving sun.

He grabs the suntan oil and walks over to it.

RICK

Okay, you salty bitch, lets get wet.

He begins to lube up the bike chain.

MONTAGE - RICK HAS HOT FUN IN THE DESERT

Rick scans the empty desert with his binoculars.

Rick pulls SPANISH LANGUAGE versions of his favorite DVD's, out of a shopping bag.

21.

-- Rick watches The Outlaw Josey Wales on his DVD player. Rick is in awe.

ON THE SCREEN:

Josey Wales (Clint Eastwood) faces down a Bounty Hunter.

BOUNTY HUNTER (Spanish)

You're wanted, Wales.

JOSEY WALES (Spanish)

I reckon I'm popular. You a bounty hunter?

BOUNTY HUNTER

A man's got to do something for a living these days.

JOSEY WALES

Dyin' ain't much of a living, boy.

Josey Wales outdraws and guns down the Bounty Hunter.

Rick practices Spanish lessons on his Mp3 player.

Rick does push-ups, using a scorpion as motivation to keep from giving up, while practicing his Spanish.

Rick rides the bicycle like a madman, circling the shack in wild figure eights.

TITLE OVER BLACK: DAY FIVE

Rick scans the empty desert.

Rick does sit-ups, his feet jammed under the edge of the guard shack. A framed photograph of a frowning Clint Eastwood looks on.

-- Rick practices his Spanish while riding the bicycle.

TITLE OVER BLACK: DAY TEN

-- Rick does a set of push-ups then immediately stands and starts doing jumping jacks. He's looking fit. Clint's photograph looks on.

-- Rick, while practicing his Spanish, pulls an egg salad sandwich out of his cooler. He sniffs it, smiles and takes a huge bite.

-- Rick watches Casino Royale: Daniel Craig's James Bond, in a highly badass move, tells his torturer that he has " ... an

22.

itch, down there. Do you mind?" And subsequently receives a rope smash to the nuts.

RICK (English)

You're a bad man, Mister Bond.

-- Rick practices air quick draws, he looks to the framed picture of Clint as if for reassurance.

END MONTAGE

EXT. TINY GUARD SHACK - DAY

Rick, sitting on his beach chair, glances up toward the horizon and sees a cloud of sand being kicked up.

RICK (Spanish)

What the hell is that?

Rick grabs his binoculars.

BINOCULAR VIEW

A pair of silver SUV's speeding through the desert, kicking up a storm of sand behind them.

RICK (O.S.) (CONT'D) (Spanish)

Who are those guys?

Rick puts the binoculars down.

RICK (CONT'D) (Spanish)

Holy shit, I'm speaking Spanish. I speak Spanish! I'm a genius!

[NOTE: FROM THIS POINT ON RICK SPEAKS ONLY SPANISH UNLESS OTHERWISE NOTED]

Rick brings the Binoculars back to his eyes.

The SUV's come to a halt.

HUGE THUG, a giant, mean looking son-of-a-bitch gets out of the lead SUV.

HEAD THUG, a smaller, but even meaner looking bastard gets out of the second SUV.

SKINNY THUG and LONG-HAIRED THUG hop out of Head Thug's SUV and drag out ...

23.

ISABEL PADILLA, 30, a strong, stunning woman with fire in her eyes.

RICK (O.S.) (CONT'D) Ay caramba - look at her.

Head Thug SHOVES Isabel, she turns around and PUNCHES him in the mouth, knocking him to one knee.

RICK (O.S.) (CONT'D)

Holy shit.

Huge Thug steps up to Isabel and takes a swing at her, she nimbly ducks it and KICKS him in the balls, doubling him over.

RICK (O.S.) (CONT'D)

Wow.

Head Thug pulls a pistol from his waistband and aims it at Isabel. She puts her hands up.

Skinny Thug and Long-Haired Thug grab her by the arms and hold her.

Huge Thug recovers from his nut shot and PUNCHES Isabel in the stomach, knocking her to the ground.

RICK (O.S.) (CONT'D) Son of a bitch.

Huge Thug goes to the rear of one SUV and produces a shovel. He throws it to Isabel.

BACK TO RICK

Rick drops the binoculars and addresses Clint's photo.

RICK (CONT'D)

What the hell am I looking at, Clint?

Rick raises the binoculars again.

BINOCULAR VIEW

Isabel is digging a shallow grave, while Huge Thug and Head Thug look on.

RICK (O.S.) (CONT'D) It's a grave. She'S digging her own grave.

He drops the binoculars again. He's getting freaked out. Re looks to Clint.

24.

RICK (CONT'D)

Oh, shit, what do I do? What do I do?

Clint just stares.

RICK (CONT'D) A weapon? Good call.

Rick looks around for a weapon. sweep the dust out of the shack.

All he has is a broom to He grabs it.

RICK (CONT'D)

If I break the handle and fashion a crude spear ...

Rick stomps on the broom handle, it snaps cleanly in half, no sharp end.

RICK (CONT'D)

Shit, I can't do anything right.

Clint Eastwood looks out at Rick disapprovingly.

RICK (CONT'D)

Come on Clint, I don't have the soul of a gunslinger.

The picture doesn't care for Rick's excuses.

RICK (CONT'D) Don't judge me, Clint!

Rick spins around and raises the binoculars again.

BINOCULAR VIEW

The grave is just about big enough to bury Isabel in. Rick scans over to Head Thug, he watches Isabel intently, gun trained on her.

Rick scans over to Huge Thug and - HOLY SHIT - he's looking right at Rick through his own giant pair of binoculars.

BACK TO RICK

Rick is in full panic mode, he drops the binoculars and runs behind the guard shack to hide.

RICK (CONT'D)

Oh, shit, oh shit, he spotted me!

Rick flattens himself against the shack.

25.

RICK (CONT'D)

Maybe he didn't really see me. Just calm down Rick, you're fine. He probably didn't see anything.

Rick low-crawls out from behind the shack and raises the binoculars again.

BINOCULAR VIEW

Huge Thug and Head Thug are engaged in a heated discussion. Huge Thug gestures toward Rick repeatedly and shakes his binoculars at Head Thug.

RICK (O.S.) (CONT'D) Okay, that doesn't mean anything.

Head Thug grabs the binoculars and he looks right at Rick. Rick SHRIEKS. He hurls the binoculars into the desert and hides behind the shack again, curling in to a fetal ball.

EXT. DESERT GRAVE - DAY

Isabel digs her grave with Skinny Thug and Long-Haired Thug standing guard. She listens in as Head Thug and Huge Thug discuss the problem.

HEAD THUG

Just go kill him like you killed the last one.

HUGE THUG

I hate cutting off the tiny penises. It's distasteful.

HEAD THUG

I think it's weird too, but that's what the boss likes. It's like his calling card.

HUGE THUG

Fine, but this is the last one. Make one of the other guys do it next time.

Skinny Thug and Long-Haired Thug makes disgusted faces and shake their heads.

HEAD THUG

They don't have the stomach for it. And Frankly, I don't blame them.

HUGE THUG

What about Diego? He's a sick bastard.

26.

HEAD THUG

Diego works for Salvador now.

HUGE THUG He does? Since when?

HEAD THUG Since last month.

Huge Thug looks perturbed as he takes the shovel away from Isabel and ...

HUGE THUG

No one tells me anything.

WHACKS her over the head with it. She collapses into the shallow pit.

Huge Thug hands the shovel to Head Thug.

HUGE THUG (CONT'D) I've got a date with a tiny penis.

EXT. TINY GUARD SHACK - DAY

Rick peers out from around the side of the shack. He glances over at the disapproving Clint Eastwood photo.

RICK

Are they coming for me Clint?

The photo glares at Rick, unimpressed with his cowardice.

Rick crawls to his binoculars and scans the desert ...

He sees Huge Thug hauling ass toward him in the SUV, a plume of dust rising behind him.

Rick drops the binoculars on the ground.

RICK (CONT'D)

This is your chance, Rick. This is what you've been waiting for.

INT. /EXT. HUGE THUG'S SUV - DAY

Huge Thug reaches into the back seat and grabs a blood stained machete.

EXT. TINY GUARD SHACK - DAY

The SUV skids to a stop near the guard shack. There is no sign of Rick.

Huge Thug climbs out of the SUV brandishing the machete.

27.

HUGE THUG

Come on out, asshole, I don't have all day!

Huge Thug approaches the closed door of the shack, he shoves the door open and hurls his bulk inside the cramped structure.

Rick is not in there. Huge Thug tries to turn himself around but ...

He's too damn big. He's stuck. He struggles to free himself.

Rick steps out from the rear of the guard shack. He tentatively approaches Huge Thug.

Huge Thug can see Rick over his shoulder.

HUGE THUG (CONT'D) Get me out of here, asshole! I'm stuck!

RICK

What? Can you slow down a bit, I'm not catching all that. I've only been speaking Spanish for about four minutes.

HUGE THUG (slowly)

Get me out of this shack and I'll kill you quickly.

RICK

You're really not doing much to further your cause here, guy.

Huge Thug goes apeshit, struggling and SCREAMING at Rick.

RICK (CONT'D)

I'm going to have to put you down, big boy.

Rick looks around and spots his ALUMINUM WATER BOTTLE. He grabs it, winds up like A Rod and BASHES Huge Thug in the back of the head.

HUGE THUG Did you just hit me?

Rick's face drops. This ain't good. Rick winds up and BASHES Huge Thug again.

HUGE THUG (CONT'D)

Stop that.

28.

RICK

Oh, crap.

Rick HITS him again. Huge Thug is enraged and goes apeshit again, the shack strains to contain him.

Rick WHALES on Huge Thug's head with the bottle, frantically.

The fight slowly goes out of Huge Thug and he goes slack, unconscious at last.

Rick is out of breath, GASPING for air. He looks at the now MANGLED water bottle ...

RICK (CONT'D)

Holy shit .

.. . and drops it. He looks to Clint for guidance.

RICK (CONT'D) What now, Man With No Name?

Clint stares.

RICK (CONT'D) You're no help.

(beat)

What would dad do?

Rick thinks hard.

RICK (CONT'D)

Of course, take his phone and his car and save the lady! Hell yeah!

INT. /EXT. HUGE THUG'S SUV - DAY

Rick hauls ass across the desert in the stolen SUV.

EXT. TINY GUARD SHACK - DAY

Clint's abandoned picture just glares at Rick's dust cloud. Rick's got no more time for Clint.

EXT. DESERT GRAVE - DAY

Rick pulls up in the SUV, just as Isabel's fist PUNCHES up through the crusty ground.

Rick jumps out, runs to the grave, drops to his knees and starts to dig with his hands, as Isabel claws her way out of her tomb.

Rick grabs her hands and pulls with all his might; she bursts out of the grave, GASPING for air, covered in dust.

29.

Rick looks Isabel in the face, his jaw drops. Even caked in dirt, hair stringy and filthy, COUGHING and GASPING she's amazing.

Isabel COUGHS a gout of sand into Rick's face. Her eyes are crusted in sand and she's disoriented.

She grabs Rick's arm and JUDO FLIPS him to the ground, her fist poised to pummel him.

RICK

I landed on my wallet!

Isabel drops her fist - that's some weird Spanish.

ISABEL Are you retarded?

RICK

No I'm not retarded, I'm American.

ISABEL

Your Spanish is horrendous, it sounds like a dog vomiting on a sidewalk to me.

RICK

That's really harsh considering I've only been speaking Spanish for about eight minutes now.

ISABEL Who are you?

Isabel tries to brush some grit out of her eyes. Rick takes her in as best he can, while she is preoccupied.

RICK

Rick Staples, I'm a security guard.

ISABEL

You are in great danger, Rick Staples.

RICK

Me? You were the one in the grave, I'd say you're the one in danger.

Isabel LAUGHS.

ISABEL

I can take care of myself, but you just crossed a very powerful man. (MORE)

30.

ISABEL (CONT'D)

A very powerful and regal man, who will not stop until you are dead and your penis is hacked off of your still warm corpse.

Rick makes a face - shit.

RICK What do we do?

ISABEL Kill him first.

INT. WAREHOUSE - DAY

Dark, dank, mostly empty warehouse. Cones of light break up the darkness.

PANDA, 40, athletic and tough looking, hangs from a hook, by his bound wrists. He has clearly been badly beaten and tortured, he is bloodied and bruised.

FAT THUG sits on a stool doing a crossword puzzle.

FAT THUG

What's a four letter word for "the hue of old lace?"

Panda does not respond.

FAT THUG (CONT'D)

Look, we're going to be here a while waiting for the Boss, so why don't we try to pass the time--

Panda SPITS at Fat Thug.

Fat Thug puts down his crossword, walks to Panda PUNCHES him in the stomach, knocking the wind out of him.

FAT THUG (CONT'D)

I was trying to be nice. I don't think that people in our line of work have to be uncivilized, but you had to be rude.

Fat Thug PUNCHES Panda in the face. Panda spits at him again. Fat Thug reaches into his waistband and pulls out a pistol.

EL GATO (0. S . ) What are you doing?

31.

Fat Thug's head snaps around and he sees El Gato striding toward him, wearing his trademark white cowboy hat, snakeskin boots and dual pistol gunbelt.

He's slapping a manilla file folder against his thigh.

Head Thug and Long-Haired Thug trail behind, along with an unidentified MYSTERY MAN, who hangs in the shadows.

Fat Thug is instantly nervous. Panda, previously defiant, is now shitting his pants. This ain't good.

FAT THUG

I was just trying to make a point--

El Gato reaches back like a pimp and SLAPS Fat Thug.

EL GATO

You don't make points around here. I make points. You understand me?

El Gato wheels around to face Panda.

EL GATO (CONT'D) MyoId friend, Panda ... (inspecting Panda's face)

Animals. Look what they did to you.

PANDA

I'm telling you the truth. She was working in a bar when I met her.

EL GATO Yes, I know.

El Gato drops the file folder at Panda's feet. An austere black and white picture of a younger Isabel is clipped to the front flap, next to the word "CLASSIFIED."

PANDA

God as my witness, I had no idea, El Gato.

EL GATO

Using the lord's name in vain--

El Gato reaches into a pocket and pulls out an ornate STRAIGHT RAZOR.

EL GATO (CONT'D) Shame on you.

Panda SWALLOWS hard, wild eyes dart around the room, looking for a way out.

32.

PANDA I didn't know!

EL GATO

It doesn't matter. You brought the bitch into my organization.

EI Gato opens the razor with a SNICK.

Panda, in hysterics now, thrashes against his restraints to no avail.

PANDA No, please, oh God ...

El Gato grabs a handful of Panda's hair.

EL GATO

You are pleading your case to the wrong person, my friend. He doesn't have time for people like us.

El Gato presses the blade against Panda's throat as we ...

CUT TO:

INT. /EXT. HUGE THUG'S SUV - DAY

Rick and Isabel barrel through the desert.

Rick looks over at Isabel, who is quiet, apparently deep in thought and nervously handling a LOCKET NECKLACE around her neck.

RICK

I want to help, but I need to know what's going on.

Isabel, suddenly self-conscious of the locket necklace, tucks it out of sight and puts both hands on the wheel.

ISABEL

If you want to help someone, think about helping yourself - by getting on the first plane back to America.

Rick notices blood running down the side of Isabel's head.

RICK You're bleeding again.

Isabel touches the blood.

ISABEL It's nothing.

33.

RICK

We need to get it cleaned up. I know somewhere safe we can go.

INT. WAREHOUSE - DAY

El Gato wipes the blade of his razor on Head Thug's shirt, leaving a smear of blood.

EL GATO

Call Salvador, we're moving the shipment up.

El Gato looks around.

EL GATO (CONT'D)

And where is that gorilla brother of yours? Panda's penis isn't going to chop itself off.

HEAD THUG

He should be along soon. There was a new security guard in the desert who looked like he needed a circumcision.

El Gato SNORTS and walks off.

INT. SHITHOLE APARTMENT - NIGHT

Rick and Isabel enter the apartment, each carrying a shopping bag.

They set their bags down. Isabel does a quick check of the apartment.

RICK

It's totally safe, no one around here knows anything about me.

Rick goes to a small table with a phone on it and picks up the receiver.

ISABEL What are you doing?

RICK

I'm calling the police--

Isabel darts across the room, grabs the phone, and pulls it out of the wall.

RICK (CONT'D) That's going to come out of my security deposit. Thanks.

34.

ISABEL

You can't call the police.

Why not? us.

RICK

We've got killers after

ISABEL

The police are in on it.

Rick lets the severity of the situation sink in for a beat.

RICK

Well what do we do? Who can we trust?

ISABEL

No one.

Suddenly, the door SMASHES inward, revealing the sunburned, chapped, and heavily pissed off, Huge Thug. His eyes are wild, his breathing heavy, and he clutches the lid to Rick's cooler in one hand.

RICK

What are you doing here?

Isabel squares off in a fighting stance. Rick jumps behind her.

HUGE THUG

I'm here to finish my job.

RICK

You should be dead in the desert, you big, red, bag of dicks.

HUGE THUG

Then you should have killed me yourself, Rick.

RICK

How do you know my name? How did you find us?

Huge Thug holds up the cooler lid. It reads: PROPERTY OF RICO (RICK) SUAVE, 52 MANGROVE ROAD, APARTMENT 3, LA PAZ, MEXICO.

Isabel looks at Rick.

ISABEL

Seriously?

35.

RICK

Shit.

(to Thug)

How did you get out of the desert?

FLASHBACK - MONTAGE

Huge Thug breaks the guard shack apart, freeing himself.
Huge Thug rips the lid off of the cooler.
Huge Thug wraps his shirt around his head like a turban.
Huge Thug starts peddling Rick's bike out of the desert.
Huge Thug gets to a road, dismounts the bike, and flags
down a car. Huge Thug breaks the driver's neck and leaves his corpse at the roadside.

Huge Thug drives into La Paz.

END FLASHBACK

RICK (CONT'D)

Wow, that's some unreal determination, I'll give you that.

HUGE THUG

Now I'm going to kill you both.

He looks to Rick with a mischievous grin.

HEAD THUG And cut off your penis.

ISABEL

Not going to happen. You don't have any of your little friends around to save your ass this time.

Huge Thug throws a big, looping punch at Isabel, who deftly shoves Rick into a corner, as she dodges the blow, while countering with a sharp KICK to the Thug's knee cap, dropping him to the floor.

Isabel grabs a cooking pot and brings it CRASHING down on Huge Thugs head, knocking him flat on his stomach.

Isabel swings the pot again, but Huge Thug quickly flips over and catches her by the wrist. He throws her, and she SLAMS hard against the wall.

36.

Huge Thug gets up and moves toward Rick. Rick puts up his dukes and shuts his eyes.

Isabel recovers and executes a graceful JUMPING ROUNDHOUSE KICK to Huge Thug's head.

He turns, rubs the side of his head, smiles and says:

HUGE THUG

That was a pretty good kick.

RICK

Oh crap.

A little fear creeps into Isabel's face. This ain't great.

Huge Thug charges at Isabel, she sidesteps and drives a finger into Huge Thug's eye. He CRIES OUT.

Huge Thug puts his hand to his eye.

HUGE THUG

You tricky little bitch. That hurt.

Huge Thug smiles again.

HUGE THUG (CONT'D)

I'm going to enjoy ripping you apart.

Huge Thug charges her again. This time Isabel falls backward, grabbing him by his shirt and using his momentum against

him. She uses her legs and ...

LAUNCHES Huge Thug out the third story window.

Isabel and Rick rush to the window and see that Huge Thug has landed on top of a car, crushing the roof.

RICK

That was the coolest thing I've ever seen.

Huge Thug's eye's POP OPEN, and he lets out an ANIMALISTIC GROWL.

Rick and Isabel's jaws drop as Huge Thug rolls off the crushed car and onto the street. He stands up and looks up at them

just as ...

A SPEEDING TRUCK barrels out of the night, hits Huge Thug and carries him O.S.

RICK (CONT'D)

I take it back. That was the coolest thing I've ever seen.

37.

Rick and Isabel hear SIRENS approaching in the distance. They turn from the window.

ISABEL

We don't have much time, we need to get out of here, but we need to get you out of that security uniform. It stands out too much.

Isabel grabs one of the shopping bags and throws it to Rick.

ISABEL (CONT'D)

Get changed. You have thirty seconds.

INT. WAREHOUSE - NIGHT

A secluded section of the warehouse. El Gato stands in front of a series of silhouette shooting targets. He gently caresses his twin six-shooters. A smiles creeps onto his face.

In the blink of an eye, he draws the pistols and lets fly with a barrage of GUNFIRE.

Large, neat, bullet holes appear, in amazingly tight clusters, in the heads and chests of several of the targets.

El Gato does a dive roll to a position of cover, behind some 50 gallon drums. He reloads his six-shooters quickly and efficiently, using speed-loaders from his belt.

El Gato barrel rolls from his cover position, SHOOTING as he goes, again holes in tight clusters appear on the silhouette targets.

El Gato scrambles to his feet and finds another set of drums for cover. He reloads again, pops up from behind the drums, scanning the targets.

They are all dead as shit. He smiles to himself, spins the revolvers with a flourish, and holsters them.

O.S. we hear SLOW CLAPPING.

El Gato turns to see ...

POLICE CHIEF SALVADOR DOMINGUEZ, 50, distinguished, dressed in a police uniform.

SALVADOR Very impressive, El Gato.

El Gato says nothing. Salvador gestures to his own holstered pistol.

38.

SALVADOR (CONT'D)

Would you like to try my automatic?

EL GATO

What would be the challenge in that?

(beat)

Revolvers have a ... dignity about them. A throwback to a simpler time. A better time.

(beat)

Any asshole can grab a Glock, with eighteen bullets in it and spray rounds. It takes a true gunslinger to do it with six.

Salvador cocks an eyebrow - I think he was calling me an asshole.

EL GATO (CONT'D) Are we ready?

SALVADOR

The shipment will be here in an hour.

EL GATO

Good stuff?

SALVADOR

The best my boys could find.

INT. /EXT. HUGE THUG'S SUV - NIGHT

Rick stops the SUV a block from El Gato's warehouse. He's dressed all in black, with a black cowboy hat on, a la Yul Brenner in the Magnificent Seven.

Isabel points out the windshield.

ISABEL

This is the place. El Gato will most likely move up his shipment, he's worried about being raided by the Mexican Secret Service.

Rick perks up at the mention of Secret Service.

Rick notices again, that Isabel is holding her locket necklace.

RICK

So this El Gato's a smuggler?

ISABEL

Right.

39.

RICK

What's he smuggle, drugs, guns, chupacabras? What?

ISABEL Look for yourself.

EXT. WAREHOUSE - NIGHT

A box truck, escorted by Mexican Police Cars, backs into the loading dock. Several POLICE OFFICERS get out of the cars and stand guard.

The truck DRIVER gets out, goes to the garage door and bangs on it.

The garage door rolls up. Head Thug and several more THUGS spill out.

The Thugs and the Driver usher twenty young GIRLS, dressed in ragged clothes, out of the truck and into the warehouse.

INT. /EXT. HUGE THUG'S SUV - NIGHT

Rick's mouth is agape.

ISABEL

You see? You see why El Gato must be stopped?

RICK who are they?

ISABEL

Girls from the slums. El Gato pays the police to go out and round up girls and bring them here.

RICK What happens to them?

ISABEL Terrible things.

Isabel opens the glove compartment of the SUV, revealing two glimmering pistols.

ISABEL (CONT'D) We have to get them out.

RICK

Why don't we just alert the Secret Service?

40.

ISABEL

There's a leak. El Gato's got someone on the inside--

RICK

How do you know all this? Who the hell are you, Isabel?

A long beat.

ISABEL

I'm a Secret Service Agent--

RICK Really? That's so cool.

ISABEL

(ignoring Rick's awe)

But El Gato was tipped off and my cover was compromised. That's how I wound up digging my own grave.

Rick lets it all sink in for a beat then shakes his head.

RICK

Secret Service Agent or not, we can't go in there. There's at least a dozen dudes in there and cops and El Gato and I'm not a hero, I'm a Park Ranger from Joshua Tree National Park. I'm not cut out for this shit.

Isabel hands him a gun.

ISABEL You have to be.

Rick and Isabel's eye's lock. He's falling for her. He's screwed.

ISABEL (CONT'D) I need you, Rick.

INT. WAREHOUSE - NIGHT

El Gato and Salvador oversee as the Girls, scared, CRYING and clinging to one another, are herded into holding cages.

EL GATO

They look good, Salvador. You finally did something right.

El Gato SNAPS his fingers and Head Thug produces a sweet looking metal briefcase and opens it. It's loaded with Mexican currency.

41.

Head Thug quickly shuts the case and hands it to Salvador, who can barely contain himself.

EL GATO (CONT'D) Make sure it all goes smoothly, Salvador.

El Gato walks away.

EXT. WAREHOUSE - NIGHT

Rick and Isabel creep up to the loading dock, hiding behind some garbage cans.

RICK (whisper) What's the plan?

ISABEL (whisper)

We kill as many of them as we can and save the girls.

RICK

I don't know if that really counts

as a plan. Maybe we should rethink--

Isabel breaks cover, runs to the side door of the loading dock and slips in quickly and quietly.

RICK (CONT'D)

Oh, crap.

He runs after her.

EXT. WAREHOUSE - NIGHT

At the opposite side of the warehouse, El Gato climbs into a seven-series BMW. Head Thug and Long-Haired Thug climb into an SUV and they all drive off.

INT. WAREHOUSE - NIGHT

Isabel and Rick creep along in the shadows, hiding behind drums and crates. They hear men's VOICES and LAUGHTER in the distance.

They work their way toward the voices. Isabel is calm and cool. Rick is wide-eyed and scared.

As they get closer, Isabel and Rick hear the frightened Girls CRYING. The male LAUGHTER getting louder as they approach the ...

HOLDING CAGE AREA

42.

From the cover of drums and crates, they see ...

Several THUGS and POLICE OFFICERS sitting at a table playing cards and drinking.

Behind them, several holding cages house the scared Girls.

Isabel's eye's widen with rage. She steps out from behind the crates, pistol aimed at Skinny Thug's head.

Mid-shuffle, Skinny Thug's eyes go wide and he SPRAYS cards allover the place.

Rick steps out, Officers. They the new Rick as almost badass.

his pistol covering the other Thugs and Police freeze. This is our first real good look at Chris from the Magnificent Seven. He looks Almost.

ISABEL

Everyone put their hands in the air, slowly.

Skinny Thug's hand darts for the gun in his waistband.

Isabel SHOOTS Skinny Thug three times, he crumples to the ground.

Chaos breaks out as Thugs, Police Officers, and Rick scramble for cover, while SHOOTING wildly.

Isabel takes careful aim and ...

BANG, she drops Fat Thug in his tracks.

Rick, in his haste to find cover, trips over a HOSE on the ground and falls on his face, his gun CLATTERING to the floor.

He looks up and sees a grinning MUSTACHED COP looming over him, aiming a gleaming pistol at his head. Mustached Cop COCKS the pistol ...

Just as Isabel KICKS it out of his hand. He turns and squares off with her. But, unfortunately for him, she doesn't have time for games.

BANG. He drops like a sack of shit.

ISABEL We don't have time shenanigans, Rick. help me.

(CONT'D) for your

Get your gun and

Rick scrambles to his feet and retrieves his gun.

43.

BALD THUG pops out from behind a crate and SHOOTS at Rick, who dives for cover, while SHOOTING back. He misses by a mile and lands hard, behind a 50 gallon drum.

RICK That was so badass.

Isabel SHOOTS MACHINE GUN COP, who collapses to the ground, his machine gun sliding across the floor toward her.

She stops it with her foot, kicks it up into the air, and catches it.

Rick's jaw drops.

Isabel SPRAYS MACHINE GUN FIRE at the remaining Thugs and Police Officers, who duck for cover behind drums and crates.

ISABEL

Let's get them out of here!

Rick and Isabel open the holding cages and release the Girls.

They take intermittent FIRE, which Isabel RETURNS with the machine gun.

She and Rick herd the Girls to the ...

LOADING DOCK

Isabel scans the group of Girls and picks out OLDEST.

ISABEL (CONT'D) Do you know how to drive?

Oldest Girl nods her head.

ISABEL (CONT'D)

Good.

She rushes the Girls inside the truck while Rick holds off the Cops and Thugs by SHOOTING at the door, wildly.

ISABEL (CONT'D) (to Oldest Girl)

I need you to drive to--

Rick glances over at Isabel and Oldest Girl, while SHOOTING. Isabel appears to be quickly explaining where Oldest Girl should take the truck.

RICK (to Isabel)

I can't hold them off much longer! Get them out of here!

44.

Isabel rushes Oldest Girl to the cab of the truck. As she SHUTS the door, the side view mirror SHATTERS.

The Girls inside the truck SCREAM. Isabel FIRES back at the Thugs.

ISABEL (to Oldest Girl)

You know where to go, right?

OLDEST GIRL

I think so.

A Thug SPRAYS rounds from the loading dock door, STRIKING the back of the truck. More frightened SCREAMS from the Girls.

Rick and Isabel RETURN FIRE, as Oldest Girl starts the truck and tears away.

The truck crashes through a low wall and out onto the street.

A FAST THUG, breaks from cover and RUNS AFTER the truck. Isabel sees it happening and takes off after him.

ISABEL (to Rick)

Get the car!

Rick sprints to Huge Thug's SUV, under a hail of GUNFIRE. He climbs in and takes off after Isabel.

Two Police Officers run for their Police car and give chase.

EXT. LA PAZ STREET - NIGHT

Fast Thug gains on the slow moving truck, he FIRES his pistol as he runs.

Rounds PELT the rear of the truck and SHATTER the driver's side window.

INT. /EXT. BOX TRUCK - NIGHT

Glass shards EXPLODE on the Oldest Girl, she panics and cuts the wheel - hard ...

The truck swerves, SMASHING into parked cars and slowing it even more.

EXT. LA PAZ STREET - NIGHT

Fast Thug pulls up almost even with the cab of the truck.

45.

Isabel is extremely fast, she's gaining on Fast Thug. He doesn't notice as ...

He gets Oldest Girl in his sights ...

Isabel closes the gap, puts her machine gun to Fast Thug's head.

BANG. He drops and rolls like a sack of shit.

Isabel doesn't break stride, Rick catches up in the SUV and swings the passenger door open.

The Police car closes in.

INT. /EXT. HUGE THUG'S SUV - NIGHT

Isabel dives into the car.

ISABEL Stop the car.

RICK Are you nuts?

ISABEL

We have to divert them from following the truck. Stop the car!

Rick floors the brake pedal.

EXT. LA PAZ STREET - NIGHT

Tires SCREAMING, the suv skids to a stop. The Police Car panic brakes to a stop also.

Isabel leans out of her window and SPRAYS the Police Car's windshield and hood with bullets, disabling it.

INT. /EXT. HUGE THUG'S SUV - NIGHT

Isabel turns around and sees:

The Panel Truck full of girls turns off on a side street and disappears.

EXT. LA PAZ STREET - NIGHT

The SUV tears ass away, in the opposite direction.

A SECOND POLICE CAR flies up behind them, lights FLASHING, SIREN WAILING.

46.

INT. /EXT. POLICE CAR - NIGHT

PASSENGER COP, leans out the window of the car and OPENS FIRE.

INT. /EXT. HUGE THUG'S SUV - NIGHT

Rick and Isabel duck, as BULLETS smash through the rear window glass.

RICK

Can you do something about that, please? I can't drive like this!

Rick weaves the SUV in and out of traffic, with the Police car right behind them.

Isabel grabs her machine gun, climbs into the rear of the SUV, and SMASHES out the remaining rear window glass with the gun barrel.

Just as Isabel OPENS FIRE, Rick makes a hard left turn, jumping the curb, and knocking Isabel off balance.

She SHOOTS holes in the roof of the SUV.

RICK (CONT'D)

What are you doing? Firing warning shots now? Shoot at them for shit's sake!

Isabel gives Rick a look - shut up - and lets fly with a BURST of machine gun FIRE.

INT. /EXT. POLICE CAR - NIGHT

The windshield SHATTERS and SPIDERWEBS, DRIVER COP and Passenger Cop both duck.

The Police car spins out of control and CRASHES into a parked truck. Both vehicles burst into FLAMES.

INT. /EXT. HUGE THUG'S SUV - NIGHT

Rick celebrates!

Hell yeah! awesome!

RICK

That was completely

Isabel relaxes for a beat and cracks a small smile. Her first. She and Rick share a moment, until ...

47.

EXT. LA PAZ STREET - NIGHT

A MOTORCYCLE COP, riding a dual-sport bike, blue lights FLASHING, comes tearing off of a side street - right behind the SUV.

INT. /EXT. HUGE THUG'S SUV - NIGHT

Isabel's head snaps around as she hears the MOTORCYCLE coming.

ISABEL

Oh, shit.

Isabel brings up the machine gun, just as Motorcycle Cop accelerates to the rear of the SUV.

She smiles and squeezes the trigger. CLICK.

Isabel makes a face - shit.

EXT. LA PAZ STREET - NIGHT

Motorcycle Cop, in a bold, badass move, LEAPS from the bike, and grabs onto the rear of the SUV.

The motorcycle CRASHES and TUMBLES along behind.

INT. /EXT. HUGE THUG'S SUV - NIGHT

Isabel KICKS Motorcycle Cop in the head, but his helmet protects him.

He has his upper body partially in the SUV now. He draws his pistol ...

But Isabel intercepts his hand. Motorcycle Cop FIRES several rounds, which ....

WHIZ by Rick and SHATTER the front windshield.

RICK

I can't see shit and the bullets whizzing by aren't helping my driving!

The SUV SWERVES and WEAVES wildly down the street, running OTHER CARS off the road.

Suddenly, a small heard of DONKEYS appear in the middle of the road.

RICK (CONT'D)

Donkeys!

PEDESTRIANS and STREET VENDORS dive out of the way, as the SUV mounts the curb and barrels down the sidewalk.

48.

Rick struggles to see out the side window, while Isabel and Motorcycle Cop continue their close-quarter fight.

Rick SWERVES hard, throwing Isabel off balance again, and giving Motorcycle Cop an opportunity ...

He PUNCHES her in the face and then throws himself onto her ...

They tumble into the back seat, Isabel struggles to keep the gun pointed away from her head.

Motorcycle Cop PULLS the trigger several times. Rounds narrowly miss Rick and BLAST HOLES in the roof near his head.

Isabel shoves Motorcycle Cop back, against the rear passenger side door, she drives an elbow into his helmet. He just LAUGHS it off.

She glances up and notices the door handle. She opens the door ...

Motorcycle Cop falls backward, his head and shoulders hanging out of the SUV.

He still manages to press the attack, the gun moves steadily toward her head.

Isabel glances to the left, she cracks a thin smile and leans back into the car ...

The open door HITS A LIGHT POLE and CRASHES SHUT. Motorcycle Cop's helmeted head in squashed in the door with a sickening CRUNCH.

Rick glances back.

RICK (CONT'D)

Gross. That crunching sound was too much.

Isabel, tired and battered, climbs back to the passenger seat.

RICK (CONT'D) Shit, it took you long enough.

ISABEL

Get off my tits, already. You weren't helping.

RICK

I was trying to, you know, swerve and throw him out the back window.

49.

ISABEL

Did you notice that it wasn't working?

RICK

Sort of. (beat)

Where did you send those girls?

ISABEL A safehouse.

RICK

I thought that you were worried about a leak--

ISABEL

Before I went undercover, I set up the safehouse myself. No one else knows about it.

RICK How do we get there?

ISABEL

We can't go there, it would endanger the girls too much.

Rick thinks for a beat.

RICK

I know somewhere we can go.

EXT. SEGURIDAD SEGURA DE LA PAZ / ALLEY - NIGHT

Shadowy, dark, deserted.

Rick parks the SUV near the rear door.

Rick and Isabel get out of the SUV, tucking pistols into their waist bands.

INT. SEGURIDAD SEGURA DE LA PAZ - NIGHT

Jose sits at his desk, drinking tequila from his dirty glass and whittling a wooden knife with his giant, real knife.

Suddenly, Rick and Isabel burst in.

Startled, Jose hurls the giant knife at Rick, whose eyes widen in terror.

Isabel catches the knife, by the handle, in mid-air, and throws it back ...

50.

The knife embeds in Jose's chair, millimeters from his balls, with a THUNK. His jaw drops, a wad of tobacco PLOPS out like a turd.

RICK

That's a shitty way to greet people, Jose. Try something like "Hello," or "Who's there," next time.

Jose regains some composure.

JOSE You're alive?

RICK And kicking ass.

Isabel looks at Rick.

RICK (CONT'D) ( shrugging)

It sounded cool.

JOSE Are you retarded?

RICK No, I'm American.

Jose shrugs.

JOSE (nodding to Isabel) Who is this?

RICK

This is Isabel, I saved her from being buried alive.

Isabel shoots him a look.

RICK (CONT'D) (shrugging)

Kind of.

Jose nods.

RICK (CONT'D)

Is there somewhere we can get cleaned up?

BATHROOM - MOMENTS LATER

Risk pours alcohol on a cotton ball and dabs Isabel's head wound. Isabel WINCES, but doesn't make a sound.

51.

ISABEL

Why did you come to Mexico?

A beat.

RICK

I came here to prove something to myself.

ISABEL

That notion doesn't make sense to me.

Rick thinks for a beat.

RICK

I guess I came down here to try to become a hero.

Isabel CHUCKLES at this.

ISABEL

Heroes don't set out to perform heroic acts, Rick.

(beat)

True heroes are born out of necessity. They find themselves in a moment in time when they must find the courage to push ahead when other turn and flee.

Rick listens with rapt attention.

ISABEL (CONT'D)

Why is it so important for you to become a hero?

RICK

My father.

ISABEL

Your father wants you to be a hero?

RICK

No, my father was a hero. He was a policeman.

ISABEL

Was?

RICK

He died when I was young.

52.

ISABEL

I see now. You're trying to walk in your father's foot steps.

Rick is silent.

ISABEL (CONT'D)

You can't do that Rick. A man who dies a hero is forever held in that moment. You can't live up to that.

Isabel looks at Rick, and sees him in an uncharacteristic, quiet, vulnerable moment.

She softens. She gets it. Their eyes lock. They share a moment. Something is passing between them, until ...

Jose pops his head in, tequila and glasses in hand. The moment is over, Isabel and Rick try to act natural.

JOSE

Let me buy you guys a drink.

JOSE'S DESK - MOMENTS LATER

Rick and Isabel sit at Jose's desk, empty shot glasses in front of them.

ISABEL

We just need somewhere safe to hide for the night.

JOSE

It's not safe hereJ Salvador's cops and El Gato's men will be swarming the streets looking for you two and those girls.

(beat)

You two need to get as far away from La Paz as you can.

ISABEL

That's not an option. First of all, El Gato is not the kind of man who let's things like this slide and I'm not the kind of woman who runs from a fight. Secondly, I don't take kindly to being buried alive in the desert.

(beat)

I will spill his blood before this is over.

53.

INT. EL GATO'S VILLA - GAME ROOM - NIGHT

Beautifully appointed game room: pool table, bar, video games, etc.

El Gato sits at the end of the bar, carefully cleaning his six shooters.

Salvador, looking like a scared little boy, stands in front

of El Gato, nervously starting at the two neat rows of bullets El Gato has lined up on the bar.

Head Thug and Long-Haired Thug look on, equally nervous.

EL GATO

What do you mean "they got away?" Who got away?

SALVADOR The girls got away.

EL GATO

How?

SALVADOR

A woman--

EL GATO

Isabel.

SALVADOR

And a man showed up and freed them. They killed several of your men and mine during the escape.

EI Gato turns to Head Thug as he slowly and deliberately loads bullets into the chambers of a revolver.

EL GATO

How is it that the woman has stolen my shipment? does that work?

you killed How exactly

Head Thug is nervous.

HEAD THUG We buried her alive.

EL GATO

You buried her alive? Why would you do that?

54.

HEAD THUG

It seemed like a good idea at the time.

(nervously chuckling)

We even made her dig her own grave.

El Gato presses the sixth bullet home and SNAPS the cylinder shut. Salvador and the Thugs flinch at the sound.

EL GATO

Why not just shoot her in the head?

HEAD THUG

We thought this was more poetic.

El Gato stands and steps around the end of the bar.

EL GATO

Well, your poetry just cost us millions of dollars.

(beat)

Next time I tell you to kill someone, just shoot them in the head.

EI Gato raises the pistol.

EL GATO (CONT'D)

Like this.

BANG. El Gato SHOOTS Long-Haired Thug in the head.

EL GATO (CONT'D) What was so hard about that?

Salvador and Head Thug are shocked. El Gato turns back to Salvador.

EL GATO (CONT'D) Where are they now?

SALVADOR I don't know.

El Gato moves close to Salvador.

EL GATO

Find them and get those girls back.

I pay you not only to find the girls, but to keep shit like this from happening.

(beat)

Fix this problem, or you'll find yourself sharing a shallow grave with my long-haired friend here.

55.

Salvador hustles off.

EL GATO (CONT'D) (to Head Thug)

Clean up this mess.

Head Thug hustles off. El Gato digs out his cell phone and dials a number.

INT. SEGURIDAD SEGURA DE LA PAZ - NIGHT

Rick, Isabel, and Jose sit at the desk drinking. A RING TONE cuts the silent moment.

Isabel and Jose look at Rick.

RICK

Oh, crap, that's the huge dude's phone.

He pulls it out and hands it to Isabel. The caller ID reads:

EL GATO'S CELL.

Isabel answers the phone.

INTERCUT - ISABEL/EL GATO

ISABEL Missing something?

El Gato smiles.

EL GATO

So you killed the big boy.

ISABEL He had it coming.

EL GATO We all have it coming. (beat)

You know what I want.

ISABEL

Of course, and you know I won't give it to you.

EL GATO

I'll kill you myself this time. You don't have anywhere to hide. I'll find you wherever you go.

ISABEL

Who said anything about hiding. I'll be coming for you, El Gato.

56.

Isabel hangs up. Rick looks at her with undisguised awe and admiration.

INT. EL GATO'S VILLA - GAME ROOM - NIGHT

El Gato tucks the phone away. He's furious, beside himself with anger.

He viciously KICKS Long-Haired Thug's corpse repeatedly.

Head Thug walks in with plastic garbage bags, sees what is happening and immediately walks out.

El Gato stops kicking the body.

EL GATO That little bitch.

Isabel's Secret Service file, lying on the pool table catches El Gato's eye. The corner of a 5x7 COLOR PHOTOGRAPH peeks out from the folder.

El Gato crosses the room, picks up the folder and looks at the photo. We don't see the picture, but we do see a huge smile spread across El Gato's face.

EL GATO (CONT'D)

Check mate.

EXT. ALLEY BEHIND SEGURIDAD SEGURA - NIGHT

A Police car creeps down the alley and stops next to the heavily damaged SUV.

SADISTIC COP, inside the car looks at the SUV then grabs his radio mic.

INT. SEGURIDAD SEGURA DE LA PAZ - NIGHT

Isabel knocks back a shot of tequila.

ISABEL

How is it that you know so much about El Gato and Salvador.

Jose LAUGHS mirthlessly.

JOSE

I used to be the head of the La Paz Police Department Vice Unit. My boss was Salvador, he was in charge of the Vice Unit and the Narcotics Unit.

Isabel nods.

57.

JOSE (CONT'D)

When El Gato was younger, he was a drug trafficker. He paid off many cops, including Salvador. It never effected me in those days, because I worked vice.

ISABEL

But then El Gato became involved in prostitution and human trafficking.

JOSE

Right.

Jose knocks back a shot.

JOSE (CONT'D)

Then I was in direct conflict with El Gato and Salvador. I was trying my best to put him away.

(beat)

I got close, and Salvador had drugs planted in my locker. I was fired and jailed for a year.

RICK

Jesus, did anyone ever touch

you ... down there? Around the bung?

Jose ignores him.

JOSE

I got out and started this business. It's been rough, but it keeps a roof over my head.

(beat)

But not a day has gone by that I have not dreamed of bringing them down. They took everything from me, my family, my career, my life.

RICK

Then help us. Help us get them.

Jose LAUGHS.

JOSE

You have more heart than brains, American. Salvador has an army of cops. El Gato has millions of dollars. You can't fight that.




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