the following is inspired by true events

8/14/2019 The Following is Inspired by True Events.

1/45

THE FOLLOWING IS INSPIRED BY TRUE EVENTS.

INT. CONNIES BEDROOM - LATE AFTERNOON

CONNIE BONVENTURE lays her outfit on her bed. She standsover it, admiring it.

She tilts her head to the side, running her hand over thefabric. Judging the look on her as her other hand holdsthe towel against her body.

She smiles.

Walking across the room, she stands in front of a mirror,

looking at her appearance. The reflection showing that ofa voluptuous teenager.

Turning to the side, she flexes her legs in a dancerspose.

CUT TO:

INT. CONNIES BATHROOM - CONTINUOUS

CONNIE takes out the skin foundation, applying it to her

forehead. Dousing around.

Putting the foundation down, she reaches for theeyeliner.

The black pencil is rolled gently underneath her eye asshe looks up.

CONNIE pauses, looking in the mirror, striking a seriouspose, while brushing her long, brunette hair.

CUT TO:

INT. CONNIES BEDROOM - CONTINUOUS

CONNIE slowly pulls the leotard over her thighs, andaround her pelvic area slowly before rising it, and tyingit around the back of her neck.

Running her hands down her front, she smoothens out anyof the bumps in the fabric.

Walking over to her bedroom, across from the mirror,

CONNIE slips on the white skirt, twirling around in itonce it's completely on her.


2/45

Her smile widens as she admires her figure.

A small jewelry box is opened as CONNIE retrieves twoGold-plated earings, two hoops and two studs along withthem.

Looking up into the mirror, CONNIE admires her finished

touches as she takes a lip pencil, tracing the outeredges of her lips. Looking down she sees something on thejewelry box.

A golden necklace with a horn. She grabs it, puttingaround her neck.

She glances down, fingering the horn around the necklace,in thought.

CUT TO:

INT. BERNARDS APARTMENT - MOMENTS LATER

The texture of a mans fingers are seen picking a somewhathealed scab on the end of an elbow.

From behind, a slightly overweight man leans over,sitting on a swivel chair, concentrated.

With poor lighting the man winces as part of his scabcomes undone, a little bit of blood starting to becomeproduced.

Over one of the windows in the room is a blue bed spread,held up by two nails. One on each end.

BERNARD ROSENFELD leans over further, grasping at hislocks of black hair as he clenches his eyes in pain.

CUT TO:

EXT. SAM THORTONS BACKYARD - CONTINUOUS

An old, grey wooden run down house sits alone in thespring night. The side of the walls chipped horribly withpaint. In need of dire repair.

A large, black dog comes from the darkness, lookingaround. On a cliff looking down below into the backyard,the dog looks up, seeing the many lights coming from thelarge storied apartment complex. The dog barks. Droolcoming out of it's mouth.

The dog barks again, the sound echoing off into thenight.

CUT TO:


3/45

INT. BERNARDS APARTMENT - CONTINUOUS

BERNARD grabs his hair harder in pain, his handstrembling.

PAN LEFT: to BERNARDS left, on the wall is a messagescribbled in red pencil in large letters on the wall.

It reads: SAM THORNTON IS MY MASTER.

Sweat begins to drip down BERNARDS head, as he hangs itlow in the darkness.

He still trembles.

He stops, wiping his face, and turning around, his facepartially concealed in the darkness. He looks over

towards his bed.

BERNARDI am a servant.

He continues to stare at his bed spread, silently. Thesound of the dog's bark begins to disappear.

The dog's howl arrives once more loud and sharp as itechoes inside BERNARDS room.

BERNARD (CONT'D)I must do as I am told.

He stands up walking over to a small space in the wall inbetween his small kitchen and another window covered witha yellow bed cover.

He leans over writing something on the wall, we cannotsee what he is writing.

BERNARD stops, looking down. He retreats away from thewall. Looking forward, another message is scrawled intothe wall. It reads: SAM'S DOG HOWLS FOR MORE BLOOD. ICAN'T SAY NO. THE EVIL KING EVERGREEN MUST GET WHAT HEWANTS. BLOOD FROM A PRETTY PRINCESS.

BERNARD sits in the darkness, on his bed, waiting.

CUT TO:

INT. BONVENTURE'S LIVING ROOM - MOMENTS LATER

On the television, the credits for "All in the Family"roll down the screen.

SALVATORE BONVENTURE reaches for the television, walkingwith an uneven limp. He switches the channel to theYankee's game.


4/45

CONNIE comes down the stairs, into the living room. Uponreaching the foot of the stairs, she walks calmly, as tonot show the slit in her dress in front of her parents.

SALVATORE, sitting back down, notices CONNIE.

SALVATOREWhere are you going dressed likethat?

CONNIETo a dance.

Her mother, GINA BONVENTURE, enters the living room.

GINA(Concerned)

So late?

CONNIEOh mama. Things don't get started'til late. It's Saturday night.

SALVATORE shakes his head in disgust.

SALVATOREWho you going with?

CONNIEKathy. Kathy Grasso.

SALVATOREThat's good. You come home withKathy, too. You come home by oneo' clock.

CONNIEWe won't get there till after ten,and the music'll just be starting.We'll be back by, oh, two thirty.

SALVATORE points at her.

SALVATOREYou'll be home by two. Your mamadoesn't go to sleep til you gethome.

CONNIE smiles, leaning over, kissing SALVATORE on hischeek as the front door bell rings.

SALVATORE (CONT'D)I want to get up for masstomorrow. And your going too, itwon't hurt you.

CONNIE opens the door to see her friend, KATHY GRASSO.

KATHY giggles at the sight of CONNIE as they smile


5/45

together.

KATHY(Smiling)

When you become a big star, willyou introduce me to Al Pacino?

CONNIEAnd Robert DeNiro.

KATHYWe'll take them for a ride, in myfather's Cutlass. He's letting meuse it tonight.

CONNIEGood. Are we going to NewRochelle? The Short Giraffe?

KATHYNo. I figured someplace differentthis time. I heard of this placein Queens. Great music. Greatdancers. Great DJ.

KATHY and CONNIE head out the door.

SALVATORELove you.

CONNIELove you too, Daddy.

CUT TO:

EXT. CONNIES HOUSE - CONTINUOUS

CONNIE and KATHY walk down the stairs to the Cutlass.

CONNIEYou know how to get there?

KATHYIt's easy. Just take the thruwayover Throg's Neck and it's onlyabout ten minutes from there.

CONNIE slips inside the passenger seat as KATHY getsbehind the wheel of the car.

CUT TO:

INT. BERNARDS APARTMENT - CONTINUOUS

BERNARD picks at the scab once more, this time rippingoff the tissue. Small blood is seen as he winces back, a


6/45

tear rolling down his cheek. He leans back in his swivelchair, closing his eyes.

CUT TO:

EXT. TEXACO OFFICE BUILDING/FLASHBACK - MORNING

Five men unload a large sheet metal duct from the back ofthe truck. At the end is BERNARD, barely lifting the ductup.

HUGGY(Yelling)

Rosie, you're fuckin' everybody.

BERNARD puts his head down, continuing to try to lift.

HUGGY stops, looking at BERNARD in disgust.

HUGGY (CONT'D)I said you're fuckin' everybody!

BERNARDI'm lifting.

HUGGY(Shouting)

Liftin', my prick!

BERNARD looks up at HUGGY as everyone else lifts.

Suddenly the bottom of the duct shifts, hitting his leftelbow hard.

BERNARD lets go of the duct, holding his elbow.

HUGGY stops lifting and walks over to BERNARD sternly.

HUGGY (CONT'D)You fuck!

BERNARD looks at the ground, trying not to notice HUGGY.

BERNARDI hurt my arm.

HUGGYYou fuckin' hump!

BERNARD looks out of the corner of his eye, up at HUGGYand begins to cry.

A tear rolls down his cheek. BERNARD heaves his chest,trying to prevent a sob.

HUGGY shakes his head in disbelief.

HUGGY (CONT'D)You fuckin' pussy.


7/45

HUGGY walks back over to where BERNARD used to be holdingthe duct and the men presume lifting the duct once more.

CUT TO:

INT. LOADING DOCK/FLASHBACK - AFTERNOON

BERNARD stands in the corner of the dock. HUGGY walksover to another unloader, yelling obscenities in hisface.

BERNARD closes his eyes, walking over to the corner ofthe dock, and begins to sob uncontrollably.

CUT TO:

BERNARD opens his eyes as he sits in the apartment. Helooks around. Silence.

Suddenly a loud bark breaks the silence, causing BERNARDto jump. BERNARD runs over to his bed, collapsing ontoit, holding his hands to his ears so rough that his handsstart to become red.

For a few seconds, BERNARD grimaces in pain.

He walks over to a switch on the wall, turning on thelight. A pale light source lights the room.

Khaki socks hang over an open closet door. BERNARD walksup to them, feeling the texture cascade over his fingers.

He walks back over to his bed, grabbing a pair of blacksocks. Neck to where BERNARD is sitting down is a longspread of Detective magazines. BERNARD stops putting onone of his socks to look at the cover of one.

On the front cover is a frightened girl with a pink sheetaround her. BERNARD slightly smirks, grabbing themagazine, opening it up.

Suddenly he looks up at the clock, putting the magazineback down onto his bed.

The wristwatch reads almost 10 o'clock as he glances downat it.

A black Styrofoam toolbox is opened as it sits on thefloor. BERNARD takes out a small plastic bag.

He opens a box of bullets, taking out 7 slugs, and thensticks the bullets into the plastic bag.

He shoves the bag into the pants pocket of his jeans.

Alongside the toolbox is a wooden handle protruding froma green garbage bag. BERNARD reaches down, grabbing the


8/45

garbage bag.

He opens the door, shutting the light off, and closingthe door of the apartment into complete darkness.

CUT TO:

EXT. APARTMENT COMPLEX HALLWAY - CONTINUOUS

BERNARD looks to his right as he exits his apartment.

Two black women stand at the end of the hallway,laughing, waiting for an elevator.

BERNARD nervously turns back around, fidgeting for hiskeys in his pocket. He looks back over slowly towards theend of the hallway. Both women still stand waiting for

the elevator.

BERNARDS heart begins to pound faster as he jiggles thekeys into the lock.

He stops as the doors to the elevator open, letting bothwomen inside. BERNARD turns the lock and takes out hiskeys, breathing a sigh of relief.

Walking up to the elevator doors he looks aroundnervously.

The doors open as BERNARD walks into the elevator,

shoving the remnants of the green garbage bag into thepocket of his jacket.

CUT TO:

INT. APARTMENT COMPLEX LOBBY - CONTINUOUS

The doors open as BERNARD shuffles quickly through thelobby of the apartment complex, over the dark green anddark colored yellow rugs.

CUT TO:

EXT. APARTMENT COMPLEX - - CONTINUOUS

BERNARD walks up the flight of steps to the sidewalk andstops, looking around. He looks up the street to see hiscar, a cream colored Galaxie with a black top.

CUT TO:

INT. BERNARDS CAR - CONTINUOUS


9/45

Stepping inside his car, BERNARD shoves a black sneakeroff the seat, throwing it to the floor at the bottom ofthe passenger seat.

He tosses the green garbage bag, crumpled up around anitem inside of it, on top of another sneaker and a pair

of shorts, an empty cranberry juice jar, a toothbrush,and a bottle of Canoe and a road map of Queens and LongIsland.

BERNARD starts the car, driving off into the night.

CUT TO:

EXT. WHITESTONE BRIDGE - MOMENTS LATER

BERNARD's car drives over the large bridge, which standsout rising from the darkness, ablaze with lights.

BERNARD taps the dashboard of his car, stopping at thegate before entering across the bridge. Leaning over, hedrops his quarters into the mesh basket.

Looking around, BERNARD waits for the gate, slightlybecoming agitated.

The gate rises as BERNARD drives through, spitting on thegate.

Looking out of the window, the city of Queens lights thenight, followed by the blaze of New York City.

Crossing the bridge, BERNARD's headlights shine on a signto his right that reads NORTHERN BOULEVARD.

At the sight of the sign, BERNARD becomes slightlyexcited.

BERNARDPretty Queens girls!

(Voice Rising)Pretty Queens girls!

Jethro Tull's "Thick as a Brick" plays on the radio, asBERNARD turns the knob on the radio, increasing thevolume.

The handle of the hand gun sticks out of the green bag,on the passenger seat.

CUT TO:

INT. JINNI DISCOTHEQUE - CONTINUOUS

CONNIE stands at the bar, bopping her head to the music


10/45

as she sips her Pepsi.

FRANK PARASI, looks up from a small group of guys,noticing CONNIE. He stares at her intently, smiling. Hewalks over to CONNIE, squeezing himself in amongst thedancing crowd.

FRANKHey, didn't I dance with you onenight at The Tides?

CONNIE looks at FRANK, confused.

CONNIENo. I don't think so.

FRANK(Smiling)

You forgot me? Jeez. I didn't

think that you would forget me.

CONNIE smiles, looking down at the bar while FRANK lookson.

CONNIE(Smiling)

You must me mistaking me forsomeone else.

FRANKWell my apologies. Say, you uh,you dance really good.

CONNIEHow can you tell?

FRANKThe way you move, thats all. I'vebeen watching you. Not in an oddway, just been hanging with thefellas over there.

CONNIE turns, facing FRANK, her cheeks blushing.

CONNIE(Excited)

Really?

FRANKReally really. Wanta dance?

CONNIESure.

CONNIE holds out her hand, letting FRANK enclose his handon hers. He guides her through the crowd of peopledancing inside the club.

Once around other dancers, CONNIE shakes her hips, herdress moving around like water, exposing the side of her


11/45

thigh.

FRANK presses his fingers around her thigh, holding hertightly against him.

CUT TO:

EXT. JINNI DISCOTHEQUE - CONTINUOUS

BERNARD stands in the shadow outside the club, looking atthe blue light in the front. He looks around curiously,nervously.

Walking across the street, he suddenly turns down theside of the club, shuffling along. Nearing the end of theclub, he stands off near the shadows, looking through anopen door, leading into the kitchen.

CUT TO:

INT. JINNI KITCHEN - CONTINUOUS

Two dishwashers stand in front of the sick, with a pileof dirty dishes off to the side. Another man, LEE, walksinto the kitchen, sporting a suit.

LEE(Loudly)

So?

The two dishwashers don't answer, continuing to wash thedishes.

LEE (CONT'D)So, I just axt you, why did youuse my fuckin' name with thosegirls?

The men remain silent. BERNARD looks on, glaring at LEEin the darkness. He closes his eyes.

LEE (CONT'D)(Angry)

I told you to never use my fuckin'name!

BERNARD walks away from the club. LEE throws one of thedishes on the floor in anger.

BERNARD sits inside the car, and begins to sob.

CUT TO:

INT. JINNI DISCOTHEQUE - CONTINUOUS


12/45

FRANK and CONNIE finish dancing. FRANK leans in,whispering into her ear, amongst the loud music.

FRANK(Shouting)

Let's get some air.

CONNIE nods her head in approval.

CONNIEI could use that.

FRANK walks past her heading outside. CONNIE turns toKATHY.

CONNIE (CONT'D)I'm just going outside for a fewminutes for some air. Be right

back.

KATHY(Smiling)

Have fun.

CUT TO:

INT. BERNARDS CAR - SECONDS LATER

BERNARD sits in his car, nervously looking around.

Looking out the window, he grabs the green plastic bag,his eyes red from crying.

BERNARD(To self)

Thank you, Sam.

BERNARD exits the car.

CUT TO:

EXT. JINNI DISCOTHEQUE/ALLEYWAY - CONTINUOUS

BERNARD walks towards the open area of the kitchen, wherehe can hear LEE yelling again.

LEE(Yelling)

I told you that I want to know.

DISHWASHER 1I told you already.

LEETold me what?


13/45

DISHWASHER 1I said I told you.

LEE(Angry)

You told me bullshit!

BERNARD walks past the doorway, towards an open parkinglot. Weaving in and out of the cars, he stops to lookback at the entrance of the Jinni club. His hand tightensaround the handle of the .44.

Looking up, BERNARD closes his eyes. His eyes begin towince as the sharp barking of a dog begins once more,echoing inside his head.

His hand grasps the handle of the .44 harder.

Finally BERNARD looks around, stepping back into the

darkness.

CUT TO:

EXT. JINNI KITCHEN - CONTINUOUS

LEE(Yelling)

Scumbag!

LEE yanks the DISHWASHER by the shirt, tossing him to the

ground.

DISHWASHER 1(Pleading)

I told you-

LEEYou told me bullshit!

LEE slaps the man again and again, the sound echoing offthe walls in the ally.

DISHWASHER 1(In pain)

Shit! You're shit!

LEE stands up, kicking the DISHWASHER in the stomach.

LEESay it again, Motherfucker. Say itagain you fuck.

LEE kicks the DISHWASHER again.

Outside the front, FRANK and CONNIE stop next to a tall,

muscular man standing guard outside the door.

FRANK


14/45

Hey Jess, can I use your car?

JESSTo drive, or to sit in?

FRANKSit.

JESSBobby's almost finished. When he'sout, it's yours until one.

FRANK pats JESS on the shoulder. Both walk down thesidewalk, towards JESS's car.

FRANKYou smoke?

CONNIE

Sometimes.

FRANKHow old are you anyway?

CONNIEEighteen. Well, almost eighteen.

FRANK(Whistling)

Well I never would have guessed.You look, you know, older. I'd saytwenty or twenty one.

As FRANK and CONNIE walk in front of JESS's car, BOBBYYANKOSEK and a girl come out from the car. FRANK grabsBOBBY's hand, smiling.

FRANK (CONT'D)How ya doin', Bobby?

BOBBY(Grinning

I'm stoned, good and stoned.

FRANKThat's what I like to hear.

BOBBYHey watch it though, some weirdfuck stuck his face up against thewindow of the car. Scared the shitout of me.

FRANKI think I saw him in the club too.Probably some freak.

BOBBY nods, walking off towards the club with the girl.

CUT TO:


15/45

INT. JESS'S CAR - SECONDS LATER

FRANK sits into the drivers seat, closing the door asCONNIE looks around her. He opens up the cigarette

lighter, pushing it in.

Sticking his hand into his pocket, FRANK takes out ajoint. He sticks it inside his mouth, lighting the endwith a lighter.

He hands it towards CONNIE.

FRANKWant a hit?

CONNIE nods, taking the joint, holding it against her

lips.

FRANK slowly moves his hand onto her thigh. CONNIE looksover, smiling.

BERNARD's feet touch the pavement as he walks along thesidewalk. Nervously grasping the handle of the .44, Helooks in front of him, seeing the two heads inside thecar.

The bark of the dog now is joined by a chorus of othersas sweat drips down his forehead.

BERNARD stops outside the passenger side car door,slowly, turning to see CONNIE's brunette hair. Takingout his hand he breaks his knees, going into a halfcrouching position.

The barrel of the gun is leveled with the window of thecar.

BERNARD pulls the trigger.

The entire window of the passenger side shatters intothousands of pieces, CONNIE's strands of brunette hairfly in the light of the blast of the fun. The blood spotsexploding onto the dashboard, the smoke escaping into thecar.

BERNARD pulls the trigger again. The gun jerks back, thesound of the blast overriding the barking of the dog.

CONNIE slowly slumps in the seat, FRANK, in slow motion,trying to desperately move.

BERNARD pulls the trigger again, this time the gun almostjumping from his hand. CONNIE's head falls onto the seat,her eyes wide open as two more shots are fired, the blast

from the barrel of the gun lighting up the inside of thecar.


16/45

Blood is drenched in CONNIE's hair as BERNARD looks ather head, exhaling into the night.

The green paper bag flutters on the ground as BERNARDturns and runs off into the darkness.

CUT TO:

INT. RECEPTION HALL - SAME TIME

DOM CARILLO sits in his chair at a table, surrounded byother guests. A speaker dressed in a tux and tie, standsin front of a room of well dressed men and women.

JOHN MALONEY nudges CARILLO.

MALONEY

You hear that?

CARILLOHe's definitely something.

The man at the podium, LEAHY, looks around, the spotlightshining on him.

LEAHYWhen the Irish first got here,they got all their power from theSaloon owner. Anytime you had aproblem, where did you go? To the

Saloon owner. Now the Italians,they do it in a different way.With bookmakers.

The audience applauses and laughs at the joke. MALONEYclaps CARILLO on the shoulder.

CARILLOI detect a note of bigotry here.

MALONEYOh come on. It's not bigotry. It'sthe truth.

MALONEY bursts into laughter.

CARILLO looks down, in thought.

MALONEY (CONT'D)Oh, boy? Will you be a good fellaand get us some ice?

The waiter nods his head. Carillo takes a sip of hiswhiskey before standing up, and walking towards the door.

CUT TO:


17/45

EXT. RECEPTION OFFICE - CONTINUOUS

CARILLO walks into the office, nodding to a man behindthe desk.

CARILLO picks up the phone, resting it on his shoulder.

CARILLOInspector Carillo.

CLARK(On Phone)

Hey, Inspector. How's the racketgoing? I'll bet you-

CARILLOYou called?

CLARKYeah. Yeah, we got two peopleshot. A boy and a girl sitting ina car. Northern Boulevard and218th Street.

CARILLOWhen was this?

CLARKAbout ten to fifteen minutes ago.

CARILLO

I'll take a run over.

CUT TO:

EXT. NORTHERN BOULEVARD - MOMENTS LATER

CARILLO pulls up in his car, outside the yellow policetape. Exiting his car, he approaches an officer.

HENDERSONRight around the corner,Inspector.

CARILLO nods, walking underneath the tape, walkingunderneath the awning of the Jinni Discotheque, pinninghis badge to his suit.

He walks around the corner, seeing the television crewstanding next to the car.

CARILLO(Yelling)

Hey keep out! That's a crime

scene.

The television crew notices CARILLO as he rushes forward.


18/45

He walks around to the squad car parked up the streetfrom the glass riddled car.

A PATROLMAN sits behind the wheel, the lights ablaze ontop of the roof.

CARILLO (CONT'D)

Officer.

PATROLMANYes sir?

CARILLOI want everybody who is not PoliceDepartment out of this areaimmediately.

PATROLMANThe television crew too?

CARILLOThem first, especially.

CARILLO walks around the hood of the car, ushering backthe television crew as several other officers walk themaway from the crime scene. He stops briefly, looking atthe car. The complete passenger window blown out.

Several policemen and detectives stand around the car.

CARILLO (CONT'D)Anyone who is not with Homicide

Division needs to leaveimmediately. No cars are allowedon this street for any reason.

CARILLO looks at the driver's side. GALLAGHER kneelsdown, flashlight in hand, looking across the surface ofthe floor of the car.

Another detective, JOHNNY DWYER, walks over to CARILLO.

DWYERKids.

CARILLOHow young?

DWYERBoy's twenty one. The girl's alittle younger I believe.Apparently they both exitedJinni's after midnight. Someone inthe kitchen thinks he heard shotssoon after. Not too sure.

CARILLO

What is this world coming to?

DWYER


19/45

A man walking to his car foundthem. They were taken to Flushingimmediately, around twelve twenty.

CARILLOWho went with them?

A blank expression comes across CARILLO's face.

DWYERWhat do you mean-

CARILLO(Angrily)

You mean to tell me you don't haveanyone down there trying tointerview them?

The other officers around the scene look towards CARILLO.

DWYERLook I'll get-

CARILLOHow many men do you have outcanvassing for witnesses?

DWYERWell we have-

CARILLO points to five policemen standing at the rear ofthe car.

CARILLOYou have five more right there.

DWYER motions for the officers to walk towards him as alarge station wagon pulls up. On the side it readsFORENSICS DIVISION.

CARILLO kneels down on the passenger side of the door,putting on a pair of latex gloves.

CARILLO (CONT'D)Narcotics?

DWYERNo. The owner says nothing drugrelated. Just two kids. Hell fromwhat I learned they didn't evenknow each other.

CARILLOWho's the car belong to?

DWYERThe bouncer. He lets kids use his

car for grass.

CARILLO


20/45

And blow-jobs.

DWYERI guess so.

OFFICER BRESLINHey, Detective.

DWYER turns, walking to the patrolman. CARILLO looks on,waiting for a response. DWYER turns to CARILLO with asomber look on his face.

CARILLO(Agitated)

What?

GALLAGHER stands up, looking towards DWYER, who standsthere motionlessly.

DWYERThe girl's dead.

CARILLO looks down at the ground.

CARILLOMotherfucker.

DWYERThe boy's going to be alright.He's in shock now, a bullet in histhigh.

CARILLODid we talk to either of them?

DWYERNo. In an hour we'll have someoneinterviewing the boy.

DWYER walks off with the patrolman. GALLAGHER walksaround the car, up to CARILLO.

GALLAGHERYou want to know how I feel allabout this? I got a daughter thisage. It's frightening.

CARILLOIt's worse than that. Nobody wasthere to talk to her.

CARILLO looks down at the passenger seat, stained withblood. The lights from the lamps over head, along withthe echoing ambience from the police cars highlight thedashboard of the car.

Dry blood is stained along the front, and through the

crevices of the radio.

CUT TO:


21/45

INT. CAHILLS BEDROOM - EARLY MORNING

CAHILL reaches over to his night stand, turning on thelamp. He scratches his head while dialing his phone.

CAHILLWhat's doin'?

RUBINI'm shaving.

CAHILLSo what do I care?

RUBINI do, and therefore I'm hanging up

and going back to shaving.

CAHILLHow's Sara?

CAHILL sits up in bed, adjusting his glasses.

RUBINI'll tell you how she is. The onlydecision I'm going to make todayis whether or not I should killSara.

CAHILLDon't worry about it.

RUBINWhat do you mean don't worry aboutit?

CAHILLShe's too young for an old guylike you. Let's be truthful here.Your an old guy and in five yearsyou'll be sixty. She'll be thirtyseven. How the fuck would thatwork?

RUBINAge has nothing to do with it.

CAHILLOh it does. Pretty soon you'll betoo old to have children.

RUBIN(Angrily)

You son of a bitch.

CAHILLBen, I have to get off and help


22/45

out with the kids.I got a nice large family. Bearound me when I'm an old man.

CAHILL slams the phone down, elated.

He looks around in his bedroom.

CAHILL (CONT'D)(Yelling)

You get me the freakin' paper yet?

PATRICK(Yelling back)

Yes.

On the stairs leading downstairs, PATRICK nudges hissmaller brother.

CAHILLBring it up to the bedroom,Patrick.

PATRICK rolls his eyes.

PATRICKSure. In a minute.

CAHILL stands up, adjusting his robe as he opens hisdresser, taking out a freshly ironed dress shirt. PATRICKenters the room with the newspaper.

PATRICK (CONT'D)Here's the paper.

CAHILL takes the newspaper.

CAHILLGod bless.

CAHILL walks back over to his bed, reclining backwards,opening the newspaper. CAHILL's eyebrows raise,concerned.

CAHILL (CONT'D)(To self)

What the fuck?

CAHILL shifts through the paper, settling on the lastpage.

CAHILL (CONT'D)They got me buried on page four.What the fuck happened? Did Carterquit? Did the fucking Pope die?

CAHILL turns to page three, the headline large in bold

letters. It reads: COUPLE SHOT IN PARKED CAR - GIRL DIES.

CAHILL throws the paper down, standing up, buttoning his


23/45

shirt.

CAHILL (CONT'D)Who cares. Some two-bit murder inQueens, and they play it over me.Some cunt gets blown away by acrazy ex boyfriend. Happens every

night.

CUT TO:

INT. BERNARDS APARTMENT - NIGHT

BERNARD sits on the swivel chair, slowly rocketing backand forth. His hands pressed against his forehead.

He clutches the newspaper in his hand, grasping it

angrily.

BERNARD(To self)

The bullets were deflected.(Angry)

How did that happen?!

He stands up, motioning back and forth, looking towardsthe covered window, at the yellow bed spread coveredacross it.

BERNARD (CONT'D)

It was either you, or God, whodeflected the bullets on me. Godwouldn't have let me kill her. Itwas you.

BERNARD grabs a red marker, and walks over to the wall,sweat dripping down the side of his face. He motions towrite something but is suddenly brought to his knees bythe piercing sound of the bark of a dog. He sobs

BERNARD (CONT'D)(Crying)

You deflected them and now youblame me for not killing them.

The bark becomes louder as BERNARD's eyes wince. On thewall in front of him, in red letters reads:

KILL FOR SAM THORNTON

Underneath the phrase is another message, scribbled intothe wall with red marker as well. It reads:

SAM THORNTON IS MY MASTER.

BERNARD (CONT'D)(Shouting)

You stopped me from my job! You


24/45

deflected the bullets!

BERNARD puts his fist into the wall, shattering theplaster. Dust dissipates into the air. He slumps againstthe wall, sobbing as he closes his eyes.

Pulling back, BERNARD curls into a ball, crying himself

to sleep.

CUT TO:

EXT. OUTSIDE OF SHACK - MORNING

BERNARD stands outside of a shack. Trying to pick at hiselbow he looks around. The wrist watch on his wrist readsNine Thirty.

Looking back up, BERNARD starts to walk towards his car.

HUGGY(Yelling)

Rosie, you hump!

BERNARD stops, turning around, facing HUGGY.

HUGGY (CONT'D)Where the fuck have you been? Whatare you, Rosie? A fuckin' mutt? Afuckin' dog in the street? Youruncle got your sorry ass a job

here and this is what you do tohim?

BERNARD looks down at the ground. HUGGY's face becomescontorted in anger.

HUGGY (CONT'D)Now why are you gettin' here late,Rosie?

BERNARD stands still, looking down.

HUGGY (CONT'D)(Yelling)

Rosie!

HUGGY slams his fist into BERNARD's shoulder, knockinghim back. BERNARD looks up at HUGGY's face. HUGGY takeshis open palm, slamming it against the back of BERNARD'shead.

BERNARD almost stumbles to the ground, holding his handagainst the back of his head, crying.

CUT TO:


25/45

EXT. LOADING DOCK - SECONDS LATER

BERNARD shuffles through the loading dock area. Menaround look at him. BERNARD looks down as he walks on,the voices echoing inside his head.

CUT TO:

EXT. COUNTRY CLUB ROAD - NIGHT

MADELINE GIORDANO stands across from her friend, MARIEPERROTTI, who sits leaning on her fathers car, which isparked in a narrow street, with trees lined on bothsides.

MARIEThen she pushed in. "Like that. He

said to me, "There, now you keepthat."

MADELINESo he got a cheap feel?

MARIENo. No, you don't understand. Hedidn't even know he was getting afeel. It was that he was openingmy zipper in front of all thosepeople, and he still didn't care.

MADELINEAnd he still got a feel.

MARIENo it wasn't.

MADELINEOh come on, Madeline. That's notbeing a friend. I thought friendsare supposed to tell each otherstuff.

MARIEWhat do I care? I'm tired ofsittin' here.

MARIE stands up, retreating away from the car, standingin the street.

She closes her eyes, and rocks her head back and forth,dancing to the music in her head.

MADELINE follows, dancing along with MARIE as she makesher way towards a metal gate, leading to her house.

BERNARD steps out from behind a car a few feet away, andstarts walking towards the girls. MADELINE taps MARIE onthe shoulder.


26/45

MADELINEWho's this, Marie?

MARIE stops, looking at BERNARD.

MARIE

I don't know who he is.

MADELINEWell what's he doin' here?

MARIEYeah. Who's this friggen guy?

BERNARD nervously motions his lips, grasping the handleof the gun in his pocket as he walks towards them closerand closer.

He stops, feet away from them, smiling.

BERNARDExcuse me, girls, but could youplease tell me how to get to-

BERNARD takes out the .44 From his pocket, holding itstraight out with his right hand. The two girls freeze.

He pulls the trigger, Blood explodes from the back ofMARIE knocking her to the ground. MADELINE turns butanother bullet slams into her back, splattering the brickwall.

BERNARD pulls the trigger again and again, the gun almostslipping once more from his fingertips.

He stops, motionless and silent as he sees the girls fallto the ground. Smiling, he turns and races back down thesidewalk, disappearing in the darkness.

CUT TO:

INT. BAR - AFTERNOON

CAHILL looks down at the newspaper spread out on the barin front of him.

CAHILLSpic.

He takes a sip of his glass.

CAHILL (CONT'D)Fuckin' boyfriend probably shother in the back. I thought guineas

always stabbed in the back.

COHEN walks over, from behind the bad, sitting down


27/45

another glass next to CAHILL.

COHENHere. Have another drink.

CAHILLTomato juice.

COHENC'mon Danny. You gotta have morethan that.

CAHILLToo early.

COHENIt's after lunch time.

CAHILL

No thanks, I got to write today.

COHENYou write better with a couple inyou.

CAHILLWhat you talkin' about? I can'teven take a glass of beer before Iwrite.

COHENWhen did this begin?

CAHILL stretches out his arms.

CAHILLAll my life.

COHEN shrugs, walking away.

CUT TO:

INT. SUSANS CAR - NIGHT

SUSAN MCAULIFFE sits behind the drivers seat, lookingover at JACKIE DUGAN.

SUSANDo you think Rosemary knowsanything about Lorraine?

JACKIESure she knows.

SUSAN

She'd kill Buddy if she caught himwith Lorraine.


28/45

JACKIENever.

SUSANNever, huh? Rosemary would go outof her mind if she ever thought-

JACKIEIf Buddy got the two of themtogether, believe me, I know whatI'm telling you, Buddy would talkthem into making a sandwich forhim.

JACKIE starts to laugh.

SUSANJackie!

SUSAN playfully slaps JACKIE in his arm.

JACKIEDon't get mad.

SUSANI don't like to hear that.

JACKIEIt's true. He'd get them to do it.I shit you not.

SUSAN

Well, I don't want to hear it.

As JACKIE is turned in the seat, facing SUSAN, the shapeof someone comes from behind, against the window. BERNARDtakes out his gun, aiming it down at the rear of JACKIE'shead.

The window explodes into a sea of glass as JACKIE slumpsforward, blood exploding in mid air.

SUSAN turns her face as the gun goes off plenty moretimes. She lays her hand on the steering wheel as theshape outside the window disappears.

JACKIE looks around, blood flowing down his foreheadbefore closing them.

CUT TO:

INT. BERNARDS CAR - MORNING

BERNARD sits behind the steering wheel, car parked,flipping through the DISPATCH. He stops and looks down at

the headline on page 8.

His mouth opens slightly, his face becoming slightly


29/45

enraged.

CLOSE UP: Article of the newspaper that reads the words"Young man from Queens receives superficial head woundlast night."

CUT TO:

INT. 15TH HOMICIDE DIVISION - MOMENTS LATER

As CARILLO weaves through the desks inside the largeroom, a bald man, SERGEANT EDWARD HANLON, speaks on thephone. At the sight of CARILLO he puts his receiver downon the desk.

HANLON puts one fist on top of the other, tilting hisshoulders pretending to hold a baseball bat.

HANLONChambliss.

HANLON swings back and forth as if swinging the bat.

CARILLO grabs the Dispatch paper on the corner ofHANLON's desk, rolling it up and standing in the pose ofa left handed batter. He brings the paper around, as ifalso swinging a bat.

CARILLOChambliss.

HANLON laughs, sitting back down at his desk, picking hisreceiver up. Walking over to his office, CARILLO looksthrough the door to see two detectives standing over ablack man. CARILLO turns around, leaning on the outsidenear the door.

He looks down, opening the Dispatch at the back picturesof Chambliss running towards home base.

CARILLO (CONT'D)The only thing between me and himis a curve ball going under mybat.

HANLON laughs once more.

The two detectives walk out of CARILLO's office with theblack prisoner.

DETECTIVE 1Sorry about the wait Carillo.

DETECTIVE 2You fooled us. You came in a half

hour early today.

CARILLO raises his eyebrows, walking into his office. He


30/45

sits down, turning his fan on while shuffling through thepapers in his inbox.

As he reads through one of the reports, he throws it inthe corner of his desk. He begins to look at another one.Suddenly the look on his face becomes serious as he sitsforward, more intent as he continues to read.

CARILLOThat son of a bitch.

(Pause)Hanlon!

HANLON walks to the doorway of CARILLO's office.

HANLONYeah?

CARILLO holds up the report.

CARILLOYou see this?

HANLONNot yet.

CARILLOTake a look at it.

He hands it to HANLON, who takes it, reading it as heleans in the doorway.

HANLON shrugs his shoulders.

HANLONAlright?

CARILLOI want you to check that area. Seeif any traffic tickets were givenout.

HANLONWell they must've done thatalready.

CARILLOWell do it anyways just to besure.

HANLON looks at the report once more.

HANLONBut Inspector, they don't give outtickets in this section at all.There's no parking signs or metersaround there.

CARILLOThere are fire hydrants.


31/45

HANLONWhat the fuck. Nobody parks infront of a fire hydrant aroundthere.

CARILLO

Well we don't know that. Maybesomeone did yesterday. Find outfor me will ya?

HANLON walks off.

CARILLO (CONT'D)Hey.

HANLON stops, noticing he has the report still in hishand.

HANLONSorry, Inspector.

HANLON hands the report back to CARILLO. CARILLO reachesover, grabbing his phone while dialing a number.

He leans back in his chair, waiting for someone to pickup on the other end.

CARILLO(Into Phone)

Deputy Inspector Carillo. QueensHomicide.

BAUERSergeant Bauer.

CARILLOSergeant, we had a shooting inFlushing-

BAUER(Interrupting)

We have it.

CARILLOHave it?

BAUERYeah. Your man brought it overhere himself this morning. Gave usa rush delivery.

CARILLOWhich man?

BAUERDwyer I believe.

CARILLOHe's there with you now?


32/45

BAUERNo he left. But we have theevidence. We'll let you know.

CARILLOWell Sergeant we're waiting for

this one.

BAUERI'm working on it.

CARILLOThanks.

CARILLO hangs up the phone, biting his nail. He looks atthe calendar on the wall and then the clock on the wall.

CARILLO (CONT'D)

(Yelling)Hanlon!

HANLONYes sir?

CARILLO(Loudly)

Those tickets from last night!

CUT TO:

INT. BALLISTICS ROOM - AFTERNOON

BAUER looks through two eyepieces of a microscope.

BAUER's POV: Looking through the scope, the surface ofthe bullet can be see. It resembles that of a greysurface with crevices and irregularities.

BAUER turns the small wheel. The lines of the bulletsturn at opposite ends, passing each other. BAUER stops,twisting the knob the opposite direction.

The bullet at the right is turned to where the bottompart is bent in and dented. He turns the wheel once moreslightly, trying to line up two lines of both bullets.

The horizontal lines on the bullets are off, not matchingup.

BAUER leans in intently, looking through the microscopein the dark room. The sound of soft music can be heardcoming from the radio.

BAUER stands up, pulling out a cigarette from his pocket,

lighting it in the dark room. He exhales the cigarettequickly, setting it in the ash tray next to him.


33/45

BAUER tilts his neck, cracking it before leaning backover to look into the microscope. He cranks the ends ofthe bullets as two horizontal lines meet each other. Hesteps back, wiping his glasses before leaning forwardagain, observing.

After several seconds, he walks over to the wall, turning

on the light switch to the room.

BAUERDwyer there?

(Pause)Well then get me Carillo.

CARILLO sits behind his desk working on a report when thephone rings. He picks up the phone, cradling it betweenhis shoulder and left ear, while writing.

CARILLO

Carillo.

BAUERIt's a match.

CARILLO immediately stops writing. He sits up straight,listening even more intently.

CARILLOA match?

BAUERYeah. Both came from the same gun.

A 44 caliber Bulldog. It's made bythe Charter Arm's Company up inConnecticut.

CUT TO:

EXT. UNION TURNPIKE/FOREST HILLS - NIGHT

LAURA DAVIDSON walks along the sidewalk, holding herschool books close to her chest. She looks down at thesame time, smiling to herself.

She looks up, crossing the street, looking back downagain at the ground.

LAURA stops, looking up at the sight of someone walkingtowards he. She suddenly stops in her tracks as the mancontinues to get closer.

BERNARD flashes a weird smile as he protrudes the gunfrom the pocket of his coat. LAURA's face becomescontorted with fright as she raises up the school book toher face, about to scream.

BERNARD sticks the barrel of the gun against the book,pulling the trigger.


34/45


35/45

CUT TO:

INT. CAHILLS LIVING ROOM - CONTINUOUS

CAHILL stands in the living room.

CAHILLWhat?

(Pausing)Hold on.

CAHILL turns around.

CAHILL (CONT'D)Jesus Christ Patrick turn thatdamn music down.

PATRICK turns the music down as CAHILL brings the phoneback up to his ear.

CAHILL (CONT'D)Where'd you say?

WILLIAMSUnion Turnpike. Near Burns Street.Forest Hills.

CAHILLYou fuckin' yankin' my chain?

WILLIAMSNo.

CAHILLThat's six blocks from here. Whattime is it?

CAHILL looks around trying to find the time.

WILLIAMSTwenty after nine.

CAHILLI won't make the eleven-thirty.

WILLIAMSThere's an edition you could makeat one a.m.

CAHILLThat's the one I'll make.

CAHILL slams down the phone.

CUT TO:


36/45

EXT. UNION TURNPIKE/FOREST HILLS - MOMENTS LATER

CAHILL arrives on the scene, walking along the sidewalk.He stops, looking over at the yellow chalk outline ofwhere LAURA's body used to be. CARILLO stands around witha few detectives and notices CAHILL.

CAHILL nods as he walks under the police rope. CARILLOwalks over to him.

CAHILLI don't mind you coming into myneighborhood socially, but, Idon't like seeing you here onbusiness.

CARILLO stands there motionlessly, staring around.

CAHILL (CONT'D)Young girl, huh? You'll get therat bastard.

CAHILL produces a cigarette from his pocket.

CARILLOI don't know.

CAHILLWhat do you mean you don't know?C'mon you've been through thingslike this before.

CARILLOThis is worse.

CAHILLWhat do you mean, worse?

CARILLOJust that.

CAHILLI think we better have a drink.

CARILLOGive me a few. These damn Irishcops are chewin' up time.

CAHILLI'll see you around the corner atthe bar. I'll get some drinks forus.

CUT TO:

INT. BAR - MOMENTS LATER


37/45

CARILLO sips a brandy as he sits next to CAHILL, who issmoking another cigarette.

CARILLOYou remember the Bonventureshooting in Bayside?

CAHILLYeah. I remember that. I know theguy who runs the joint. Billy Lee.

CARILLOAnd do you remember the two girlswho were shot while they werestanding on a stoop in the Bronx?

CAHILLVaguely.

CARILLOThen there was a couple sitting ina parked car in Flushing. Guy gotshot in the head. Lucky. Just asuperficial wound. A scar, someheadaches.

CAHILL(Confused)

No.

CARILLOWell there's no reason that you

should. No reason that I shouldeither except for one thing. Thebullets. All three involved a 44caliber gun. That's unusual.

CAHILLWhat ya gettin' at?

CARILLOJust hold on.

(Pausing)The bullet from the Bronx couldn'tbe used because it was smashedbeyond belief. But, the Bonventurebullet and the Dugan matched.Perfectly.

CAHILL(Realizing)

They came out of the same gun.

CARILLOSame thing. Same guy.

CARILLO gulps his brandy. CAHILL sits there in a state of

semi-shock.

CARILLO (CONT'D)


38/45

This one tonight too. We won'tknow until tomorrow for sure untilballistics gets it. But I know it.I just know it.

CARILLO leans over, grabbing one of CAHILL's cigarettes.CAHILL looks on not caring.

CAHILLFuckin' a.

CARILLOCounting tonight 6 people havebeen shot.

CAHILLYou sure its a guy?

CARILLO

I'm sure of nothing. That's thething. The one's who've beenwounded, who've gotten a glimpseof him say it was a man.

(Pausing)One of them. The Giordano girlsays she wants to help us. But shecan't. She says the water scaresher.

CAHILL continues to look on at CARILLO in amazement.

CARILLO (CONT'D)

And tonight, he kills LauraDavidson around 9 o'clock. Butthis one scares me. It breaks fromthe pattern.

CAHILLGuy up in Harlem. Mutilated sixsmall boys. Just a year ago.

CARILLOSpade crime. Nobody notices.These people will have us upagainst the wall, and they should.That's my daughter on the groundout there.

CAHILLMine too.

CAHILL downs his glass of water, before looking over atCARILLO once more.

CAHILL (CONT'D)I'm going to write about this.

CARILLOI know. I want you to. Otherwise,I would have had one quiet brandy.


39/45


40/45

He leans his head back onto the pillow, staring up at theceiling. Eyes wide open.

CUT TO:

INT. PRESS ROOM - CONTINUOUS

The paper lies on a conveyor belt as it moves along at afast pace.

People stand to the side of a large machine, pointing outat the papers as they pass through. The type machinedescends, as sounds produce all over. The matrixes beginfalling into place on the Linotype machine.

Water pours over the white-hot semicircular lead plate.The water, hitting the hot steel, begins to hiss

furiously as the steam begins to subside. The plate thenclatters out onto a conveyor belt running through thelong pressroom.

Great rolled sheets of paper run at an enormously fastpace through large rollers through the large machine. Thepapers exit out of the machine quickly, CAHILL's articleclearly visible.

CUT TO:

EXT. DISPATCH PRESS WORK ROOM - EARLY MORNING

A small line of black Dispatch trucks are lined up,backed to the large doors of the Dispatch press room. Menstand on the dock throwing the bundles of paper into theback of the trucks.

From the inside of the truck a man throws one of thebundles in, then hops from the dock shutting the doorinto subliminal darkness.

CUT TO:

EXT. CANDY STORE - MOMENTS LATER

The black Dispatch truck pulls up to the front doorway ofa candy store. The delivery man steps out from the truck,throwing the bundle in the doorway before driving off.BERNARD exits out of his yellow Galaxie, parked on thecorner as he walks up to the doorway. He leans down,yanking the paper from the bundle, hurrying back to hiscar, shutting the door.

CUT TO:


41/45

INT. BERNARDS APARTMENT - HOURS LATER

BERNARD races into his apartment, flinging his coat ontothe floor, jumping onto his bed opening the newspaperquickly.

He looks down at the article, beginning to smile. Hisface quickly turns into anger as he throws the paperaside, standing up.

He begins to pace back and forth, holding his hand to hismouth, running his hand through his thick black hair.

BERNARD(To self)

He called me a woman hater.

BERNARD begins to shake his head back and forth in

disagreement. His face begins to tremble as he holds hishand to his forehead, on the verge of sobbing.

BERNARD (CONT'D)I don't hate them.

(Voice gettinglouder)

It's my job!

BERNARD throws his fist into the wall, creating a smallhole through the plaster. He begins to cry as his chestheaves in and out, his words coming in between sobs.

BERNARD (CONT'D)Don't they know that?

(Pausing)I do...it because it's

(Pauses)It's my job. Why doesn't Cahill

(Sobbing harder)Why doesn't Cahill say that?

BERNARD falls to his knees.

BERNARD (CONT'D)(Yelling)

Why doesn't he put down that Ijust do my job?

(Furious)Why does he let the Inspector saythat I hate women?!

CUT TO:

INT. 15TH HOMICIDE DIVISION - EARLY MORNING

CARILLO arrives amongst a large group of detectivesclamored around desks and tables. A thick atmosphere ofsmoke lingers in the air.


42/45

As CARILLO tries to pass a desk, another man, LUZINSKIholds out his arm, preventing him from passing.

LUZINSKIInspector, I got a woman here onthe corner of Markwood Road who

says she worked for the CIA. Shewants this man followed. He walksthrough the neighborhood. Shouldwe bring her down now?

CARILLOMorning.

CARILLO glances down at LUZINSKI's notepad.

CARILLO (CONT'D)(Annoyed)

Which is which?

LUZINSKIWhat's that?

CARILLO's fingers stab LUZINSKI's notepad.

CARILLOWhat happened, your pen run out?

LUZINSKIOh. No. The stuff in pencil isfrom the suicide in Maspeth

yesterday.

CARILLOThe ink?

LUZINSKIThat's from yesterday night. TheDavidson killing.

CARILLOYou're supposed to use a freshnotebook for each case.

LUZINSKI(Surprised)

Geez, Inspector.I didn't have time to get nearhere last night, you know-

CARILLOI didn't ask if you had time; Itold you to use a fresh notebookon every case.

LUZINSKI shrugs his shoulders.

CARILLO (CONT'D)Take all your notes on this case


43/45

and put them into a freshnotebook.

LUZINSKIYes, Inspector.

CARILLO walks into his office, sitting back in his chair.

He undoes his tie, unbuttoning his shirt. He looks aroundat the detectives outside his office.

Sighing, he leans forward, rubbing his forehead.

CARILLO(To Self)

I'm fucked.

CARILLO stands back up, walking over to the doorway,leading into the large room of desks.

CARILLO (CONT'D)(Yelling)So what do we do with this prick?

Everyone in the room stops, focusing their attention onCARILLO.

CARILLO (CONT'D)We have 6 shooting's by the workof one man. He uses a 44 caliberhandgun. A Charter Arms Bulldog.Manufactured in Connecticut.

(Pausing)

What do we do? Do we startsweeping out area's looking forthe guy, or do we investigate theshit out of this?

HANLONInvestigate it all day long.

Some of the detectives agree out loud.

DWYERWe've got so much shit to follow.The Bonventure girl worked onesummer in Alexander's. We justfound out yesterday McAuliffeworked there too. Same place.

(Sighing)I mean, we got to check out everyfuckin' stock boy Alexander's everhand. We just gotta do it.

CARILLOWe'll get this bastard. And it'llbe from something small. A trafficticket. Or maybe a red light and

someone looks him over and findsthe gun. Case closed. We'll belooking for a break. Begging for


44/45

one.

LUZINSKIWe lookin' for one guy, or two?

DWYEROne. It's gotta be just one.

CARILLOOur best information is that it'sonly one person. That's all weknow. We've got to figure outwhere he lives, what he does, howhe gets to and from theshooting's.

HANLONAlso how he knows his way aroundthese different neighborhoods.

DWYERHe obviously knows the streets. Imean he must spend alot of time onthe streets or somethin'.

LUZINSKICould be a mailman?

HANLONCould drive a cab?

CARILLO

(To Self)Cab driver.

CARILLO turns around walking back into his office,sipping his coffee.

He leans over, writing into his note book. In large,capital letters, he writes: CAB DRIVER?

He rips the sheet off, placing it on the side of his deskbefore walking hurriedly out of the office. He walks tothe big assignment board, standing in front of it.

CARILLO (CONT'D)Shifts will be from 6PM to 2AM.Friday, Saturday, and Sundaynights. If we're going to do this,we have to do it right. Some of uswill have to sacrifice alot ofthings. But it'll pay off in theend.

CUT TO:

EXT. JINNI DISCOTHEQUE - NIGHT


45/45

DWYER and HANLON step out of a unidentified police car,parked behind another car.

DWYER looks and notices two people sitting in the frontseat, making out. Walking up to the drivers window, DWYERwraps his flashlight on the glass, frightening the twoyoung teens inside.

The BOY rolls down the window as DWYER flashes his badge.

DWYERAre you a complete imbecile?

BOYWhy?

DWYERDon't you two read the papers?Don't you hear anything? Two

people got shot in this same spot.

BOYWe know.

DWYERThen what are you doing here?

BOYBecause he already done it here.

DWYERRight where you're sitting.

BOYSo?

DWYERWhat do you mean, so?

BOYSo two times the lightening.

DWYER leans back up, looking over to the other side ofthe car at HANLON, shaking his head in disbelief.

DWYERFucking kids.

CUT TO:

EXT. BERNARDS CAR - MORNING

the following is inspired by true events

Documents