story by

Paul Haggis

screenplay by

Paul Haggis
&
Bobby Moresco

Directed by

Paul Haggis

Draft with
Final Revisions
03/18/2004

Bob Yari Productions, Bull's Eye Productions,

Blackfriar's Bridge & The Harris Company
 3/18/04 1.

CRASH

OVER BLACK we hear the sound of a violent rear-end COLLISION,

brakes locking, metal crunching, tires skidding as a car
spins, horns blaring, gravel spitting. Then silence. We
start to glimpse faint, unfocused images of flashing lights.
Superimpose: Tomorrow.

GRAHAM (V.O.)
It's the sense of touch.

RIA (V.O.)
... What?

GRAHAM (V.O.)
Any real city, you walk, you're
bumped, brush past people. In LA,
no one touches you ....

FADE UP to find:

1 INT. GRAHAM& RIA'S SEDAN - CLOSE ON GRAHAM -- NIGHT 1

GRAHAMsits in the passenger seat of a sedan that lies skewed

on the gravel shoulder, red lights playing on the passenger
side window. He's black, thirties, staring off, either dazed
or grappling with a very deep thought.

GRAHAM (continuing)
We're always behind metal and glass.
Think we miss that touch so much,
we crash into each other just to
feel something.

He looks to the driver, RIA, American-born Hispanic, thirties,

heart racing, breathing hard, but watching Graham with real
concern. A MOTORCYCLECOP appears at her open window.

MOTORCYCLECOP
You two all right?

RIA
I think he mighta hit his head.

GRAHAM
You don't think that's true?

MOTORCYCLECOP
Stay in your car.

The officer moves off.

(CONTINUED)
 3/18/04 2.

1 CONTINUED: 1

RIA
Graham, we were rear-ended. We
spun around twice. Somewhere in
there one of us lost our frame of
reference. I'm gonna go look for
it.

She climbs out. Graham looks off through his side window.
The reflections from emergency lights and flares play on his
face; too many lights for a simple traffic accident.

2 EXT. FAIRFAX AVE. - CONTINUOUS 2

Ria walks toward the Volvo that just rear-ended them. Its
driver, KIM LEE, an agitated Korean woman, screams at the
motorcycle cop in Korean. Burning flares squeeze traffic
down to one lane, a cop herds the cars into line.

MOTORCYCLECOP
Calm down, ma'am!

KIM LEE
I am calm!

MOTORCYCLECOP
I need to see your registration and
insurance.

KIM LEE
Why? Not my fault! Her fault!
She do this!

RIA
(approaching)
I do this?

MOTORCYCLECOP
Ma'am, wait in your vehicle.

KIM LEE
Stop in middle of street! Mexicans!
No know how to drive! She blake
too fast!

RIA
I 11blake 11 too fast?? Oh, sorry,
you no see my 11blake lights?"

MOTORCYCLECOP
Ma-am--

(CONTINUED)
 3/18/04 3.

2 CONTINUED: 2

RIA
(to Kim Lee)
I blake when I see long line cars
stop in front of me. You see over
steering wheel, maybe you blake,
too.

MOTORCYCLECOP
(to Ria)
Ma' am- -

KIM LEE
Crazy Mexican! I call immigration
on you! Look you do my car!

RIA
(to cop)
Can you just write in your report
how shocked I am to have been hit
by an Asian driver?

MOTORCYCLECOP
Ma'am--

RIA
(flashing badge)
It's not Ma'am, it's Detective.

MOTORCYCLECOP
Oh, Christ.

CLOSE ON GRAHAM

He pops the flashing red light onto the dash and steps out
the car.

CRANE SHOT

Graham folds his collar against the cold and crosses the
dark street that cuts through this patch of oil fields in
the center of Inglewood. The argument rages in the
background:

KIM LEE
No care you cop, wanna see insurance!
Stupid wetback blake my car!
(etc.)

Graham steps toward a swarm of activity that has nothing to

do with the collision that just occurred -- three police
cars, a coroner's vehicle and crime scene tape tells us

(CONTINUED)
 3/18/04 4.

2 CONTINUED: (2 ) 2

something nasty happened down in the long grass of the

irrigation ditch. He dips under the crime scene tape.

ANGLE ON DETECTIVE CARR

a bored-looking man lighting a cigarette and staring at the

ditch. Graham steps up and watches with him.
DETECTIVE CARR
You okay?
GRAHAM
Freezing.
DETECTIVE CARR
Heard it might snow.
GRAHAM
Get outta here.
DETECTIVE CARR
That's what I heard.

GRAHAM
You got a smoke?
DETECTIVE CARR
(blowing out smoke)
Quit.
GRAHAM
Me, too.
Carr hands Graham a cigarette. He can't help glancing at
Ria's escalating battle. He looks to Graham, the question
implied. Graham gives him a shrug: "don't go there." Carr
understands completely.
GRAHAM (CONT'D)
What have you got?

A tech passes, heading into the crime scene.

DETECTIVE CARR
Dead kid.
Graham notices something odd and walks down into the gully.

DETECTIVE CARR (CONT'D)

You touch anything and it's yours.

He kneels to inspect a piece of evidence hidden in the tall

weeds. A feeling starts to creep over him.

(CONTINUED)
 3/18/04 5.

2 CONTINUED: ( 3) 2

Not a good feeling. As he looks up we FADE TO BLACK. Super:

TODAY.

FADE UP:

3 INT. R&J GUNS - CLOSE ON A HANDGUN - DAY 3

The handgun slides onto the counter. The hand belongs to

DIRK, the impatient salesman.

DIRK (0. S.)

You get one free box of ammunition,
what kind you want?

Widen to see we're

4 INT. R & J GUNS -- DAY 4

FARHAD, Iranian, 50s, looks at the handgun and turns to his

daughter DORRI, 25, who wears a blue suit and a bad mood.

FARHAD
( in Farsi)
What did he say "ammunition"?

DORRI
(in Farsi)
He asked what kind of bullets you
want.

FARHAD
( in Farsi)
The kind that fit in the gun!

DORRI
(in Farsi)
There's more than one type.

FARHAD
( in Farsi)
How do I know? I don't know anything
about bullets.

DORRI
( in Farsi)
Which is a really good reason not
to be buying a gun.

(CONTINUED)
 3/18/04 6.

4 CONTINUED: 4

FARHAD
( in Farsi)
You don't use that tone of voice
with me.

DIRK
Yo, Osama, plan the Jihad on your
own time; what do you want?

FARHAD
( in Farsi)
What is he saying about Jihad?
(to Dirk, in English:)
Are you making insults at me?

DIRK
Am I making insults at you?? That's
the closest you get to English?

FARHAD
I am American citizen--!

DIRK
(here it comes)
--Oh, God.

FARHAD
I have rights like you! I have
right to buy gun!

Dirk pulls the gun back to his side of the counter.

DIRK
Not from my store, you don't.

Dirk nods toward the Security Guard, who heads this way.
Dorri sees him coming.

DORRI
Go wait in the car, Dad.

FARHAD
( to Dirk)
You are ignorant man!

DIRK
Yeah, I'm ignorant; you're liberating
my country and I'm flying 747s into
your mud huts and incinerating your
friends. Get the fuck out of my
store.

(CONTINUED)
 3/18/04 7.

4 CONTINUED: (2) 4

SEC. GUARD FARHAD

(taking his arm) You don't touch! This man
Let's go. cheats me!

DORRI
(to Farhad)
Do you want to get arrested? Go
wait in the car, Dad!

Farhad storms out, the security guard following. Dorri looks

the salesman dead in the eye:

DORRI (CONT'D)
You can give me the gun or give me
the money back, and I'm really hoping
for the money.

Dirk looks Dorri up and down, gives her a lecherous smile

and slides the gun back across the counter.

DIRK
And what kind of ammunition do you
want?

DORRI
Whatever fits.

DIRK
Oh, we got a lot of things that
fit. We got long colts, short colts,
ball heads, flat-nose, hollow points,
wad cutters and a dozen more that
all fit in the same size hole, just
depends how big a "bang" you can
handle.

DORRI
(pointing)
I'll take the ones in the red box.

DIRK
(looks; looks back)
... Do you know what those are?

DORRI
Can I have them?

He takes the box with a snort and places it on the counter

with the gun. Dorri snatches them up and exits.
 3/18/04 8.

5 EXT. WESTWOOD-- NIGHT 5

A couple opens the door and enters a moderately priced Italian

restaurant; call the guy ALLAN, call his date angry.

ALLAN
No, please tell me: what "sin" did
I commit this time?

And we lose them as ANTHONY flies out the door, PETER just
one step behind him. They're in their early twenties, young,
hip, well-dressed black men, friends since third grade.
They button their jackets as they head down the sidewalk.

ANTHONY
You see any white people in there
waiting an hour and thirty two
minutes for a plate of spaghetti?
Huh? And how many cups of coffee
did we get?

PETER
You don't drink coffee and I didn't
want any.

ANTHONY
That woman poured cup after cup to
every white person around us. Did
she even ask you if you wanted any?

PETER
We didn't get any coffee that you
didn't want and I didn't order, and
this is evidence of racial
discrimination? Did you happen to
notice our waitress was black?

ANTHONY
And black women don't think in
stereotypes? When's the last time
you met one who didn't think she
knew everything about your lazy ass
before you even opened your mouth?
That waitress sized us up in two
seconds. We're black and "black
people don't tip" so she wasn't
gonna waste her time; someone like
that, nothing you can do to change
their mind.

(CONTINUED)
 3/18/04 9.

5 CONTINUED: 5

PETER
So how much you leave her?

The angry girl runs past them.

ANTHONY
You expect me to pay for that kinda
service??

Peter laughs; Anthony doesn't. Allan runs by chasing his

date.

ANTHONY (CONT'D) ALLAN

... What? What? Hey, come on! I'm sorry.

PETER
Nothing, nothing.

The camera whips around with Allan. We lose him as he cuts

across the street, and find RICK & JEAN CABOT, white, early
40s, step out of the Blockbuster and head for their car.
Jean pulls her jacket closed as they walk.

RICK
You're seriously jealous of Karen??

JEAN
Hardly. I'd just like to see you
get through a meal without calling
her, or someone else at your office.

RICK
(re: cell phone)
See this? Off. No more calls
tonight.

Jean notices Anthony and Peter and takes Rick's arm.

JEAN
Ten bucks says she calls on the car
phone.

BACK WITH ANTHONYAND PETER

ANTHONY
You see what that woman just did?

PETER
She's cold, man.

(CONTINUED)
 3/18/04 10.

5 CONTINUED: ( 2) 5

ANTHONY
She got colder soon as she saw us.

PETER
--Here it comes.

ANTHONY
Look around! You couldn't find a
whiter, safer or better lit part of
this city. But this white woman
sees two black guys, who look like
UCLA students, strolling down the
sidewalk and her reaction is blind
fear. I mean, look at us! Are we
dressed like gangbangers? Do we
look threatening? No. Fact, if
anybody should be scared, it's us:
the only two black faces surrounded
by a sea of over caffeinated white
people, patrolled by the trigger-
happy LAPD. So, why aren't~
scared?

PETER
Because we have guns?

ANTHONY
You could be right.

Both men reach into their clothing and come out with Saturday-
night specials. They rush toward Rick's black Navigator.

PETER JEAN
Away from the car! Oh my God! Oh my God!
Away from the car! Rick!

ANTHONY RICK
Gimme the keys! Gimme Don't shoot, just don't
the keys! Shut up and shoot.
give me the keys!

PETER
Walk away! Walk away! Turn around
and walk!

6 INT. BLACK NAVIGATOR 6

Anthony hops into the driver's seat, screaming for Peter:

ANTHONY
Get in! Get in!

(CONTINUED)
 3/18/04 11.

6 CONTINUED: 6

PETER
Unlock the door!

Anthony does. Peter hops in as Anthony sparks the ignition.

To Peter's surprise Anthony hops back out ...

7 EXT. WESTWOODBLVD. CONTINUOUS 7

... and he aims his gun at Rick and Jean's back.

ANTHONY
Stop!!

They freeze. Anthony runs up, grabs the DVD.

8 INT. BLACK NAVIGATOR - CONTINUOUS 8

Anthony drops into the seat and tosses the DVD at Peter.

PETER
(reading label)
Haven't seen it.

Anthony shifts into first and screams out of there. Peter

digs into his pocket and pulls out a plastic St. Christopher
statuette. He licks the suction cup and sticks it on the
dashboard.

ANTHONY
No! No! Take that voodoo-ass thing
off there right now! Look at the
marks it makes!

PETER
You're calling St. Christopher
voodoo? Man's the patron saint of
travelers.

ANTHONY
God talk to you, did he? What did
he say? "Go forth my son and leave
big, slobbery suction rings on every
dashboard you find??" Why the hell
do you do that?

PETER
Look at the way you drive, then ask
me again!
 3/18/04 12.

9 EXT. 2ND STREET TUNNEL -- NIGHT 9

A squad car wipes, revealing a sea of flashing red lights.

A Mercedes sits in middle of it all, doors open, body on the
ground beside it. Uniformed cops stand around pretending
they are actually doing something. One of them leads us to:

GRAHAMAND RIA

who walk from their unmarked sedan, accompanied by a uniformed

cop, OFFICER JOHNSON.

OFFICER JOHNSON
Ford pickup and Mercedes driving
North on Hill. The pickup cuts in
front. Driver of the Mercedes gets
pissed, pulls a gun -- he doesn't
realize the guy in the pickup is a
cop coming off shift.

GRAHAM
That the cop?

He nods toward a tall man, long stringy hair, sipping a coffee

and leaning against a squad car, chatting with two uniforms.

OFFICER JOHNSON
Yeah. Name is Conklin. He's a
Narc out of Wilshire. You want to
talk to him?

GRAHAM
Not yet.

OFFICER JOHNSON
Mercedes takes a shot at him.
Detective Conklin returns fire, one
shot. Mercedes hits the wall,
driver opens the door and falls out
dead.

RIA
I got the Mercedes.

Ria splits off toward the Mercedes.

GRAHAM
(re: Conklin)
Looks pretty relaxed for having
shot a man.

(CONTINUED)
 3/18/04 13.

9 CONTINUED: 9

Coming up on Conklin's Ford pickup:

OFFICER JOHNSON
He says he kept trying to drive
away but the Mercedes kept pulling
up next to him, screaming, waving
the gun. Shot back in self-defense.

Graham stoops to see a bullet hole in the driver's door.

GRAHAM
Anyone see who shot first?

OFFICER JOHNSON
They just heard two bangs.

GRAHAM
Find me a witness.

Graham splits off and arrives at the Mercedes, where Ria

examines the body of the dead black driver, a bullet wound
in his head. A pearl handled revolver lies on the floor.

GRAHAM (CONT'D)
Nice gun.

RIA
One bullet fired. The car is
registered to Cindy Bradley. That's
not his name. His name is William
Lewis.
(hands him a wallet)
It was under the front seat.

Graham opens the wallet, revealing a Detective's Badge.

RIA ( CONTI D)
(looking at dead cop's
business card)
Hollywood Division.

Graham lets out a low whistle, then throws a look to Conklin.

GRAHAM
Looks like Detective Conklin shot
himself the wrong nigga.

As Graham stands we cut to:

 3/18/04 14.

10 INT. CARNEY'S - STUDIO CITY - NIGHT 10

Crowded with patrons who order hot drinks. We SLIDE PAST

two Korean businessmen. CHOI JIN GUIH, late 40's, dressed
well, sits across the table from the younger looking PARK.
Park rips a check out of his checkbook, hands it to Choi.

PARK
How soon can I have them?

Choi folds the check and stuffs it in his wallet.

CHOI
Tonight. I'm picking them up right
now. Good doing business with you.

Choi shakes Park's hand and heads out the back door.

RYAN (O.S.)
I keep telling you he's in pain.
He can't sleep.

Choi passes OFFICER RYAN on the pay phone by the door. He's
white, in uniform, and angry.

SHANIQUA (O.S.)
(over phone)
And I told you the clinic is only
open after hours for emergencies--

RYAN
-This is an emergency--

11 INT. HMO ADMINISTRATIVE OFFICES -- NIGHT 11

SHANIQUA, a very tired black administrator is on the other

end of the line.

SHANIQUA
--Mr. Ryan, your father has been to
the clinic three times in the last
month. He's being treated for a
urinary tract infection that is by
no means an emergency. If you have
any more questions about your HMO
plan, you can make an appointment
to come in from ten to four, Monday
through Friday.

(CONTINUED)
 3/18/04 15.

11 CONTINUED: 11

RYAN
What does my father do about sleeping
tonight?

SHANIQUA
I don't know. I'm not a doctor.

12 BACK TO RYAN AT CARNEY'S: 12

RYAN
I want to speak to your supervisor.

SHANIQUA
I .§:.ill my supervisor.

RYAN
What's your name?

SHANIQUA
Shaniqua Johnson.

RYAN
Big fucking surprise that is.

Ryan hears the click and hangs up, exits ...

13 EXT. CARNEY'S - NIGHT 13

... approaches his partner TOM HANSEN, who stirs his coffee.

RYAN
Call any big company with a problem;
why is the person you have to deal
with guaranteed to be black and
stupid? Why? Because corporations
are smart. They actually seek out
the stupidest fucking black people
they can find. They want us to get
so frustrated that we'll go away
and they won't have to spend their
fucking money.
(walking off)
Genius.

Hansen stirs some more. As RYAN exits to the parking lot a

white panel van stops at the sidewalk, CHOI driving.

14 INT. SQUAD CAR -- MOMENTSLATER 14

As Ryan and Hansen climb in they hear:

(CONTINUED)
 3/18/04 16.

14 CONTINUED: 14

DISPATCHER'S VOICE
Black late model Navigator,
California plate: 4PCI315.

15 THEIR POV 15

A black Navigator passes, a 40ish black man at the wheel.

DISPATCHER'S VOICE
Suspects are two black males,
approximately 20 years of age, armed
and dangerous.

16 RYAN 16

Pulls out to follow.

HANSEN
It's not it.
(no response)
It's not the vehicle. The plates
don't match, the driver's in his
forties, and nobody jacks a car and
takes it to Studio City.

Ryan hits the flashers.

17 THEIR POV NAVIGATOR ON RESIDENTIAL STREET AHEAD: 17

A woman pops up in the passenger seat. She may have been

napping in the driver's lap, or she may have been doing
something else. She throws a look back at the cop car.
Caught in the headlights her face looks chalk white.

18 RYAN 18

Sees her face and bumps the siren.

RYAN
They were doing something.

19 EXT. RESIDENTIAL STREET - STUDIO CITY -- NIGHT 19

The Navigator pulls to a stop under a street lamp, the squad

car pulls up behind. Ryan steps out. Hansen clearly doesn't
like this; nonetheless, he steps out and assumes the backup
position. Ryan approaches the window, unsnapping his holster.

RYAN
Keep your hands in plain sight.
(MORE)

(CONTINUED)
 3/18/04 17.

19 CONTINUED: 19

RYAN (CONT'D)
I need to see your license and
registration.

Behind the wheel, CAMERONTHAYER, 40ish, black, tucks his

shirt back into his tuxedo pants and digs out his wallet.

CAMERON
No problem.

Ryan looks to the passenger reapplying her lipstick: CHRISTINE

THAYER, strikingly beautiful, light-skinned black woman in a
cocktail dress. She may have had a bit too much to drink.

RYAN
Evening.

CHRISTINE
(suppressing a smile)
How are you tonight, officer?

CAMERON
I need to reach into the glove
compartment to get the registration.

RYAN
Do it slowly, please.

Ryan lays his hand on his Glock as Cameron reaches over to

get his papers. Ryan's flashlight beam glides from the glove
compartment to Christine's breasts, then up to her face.

CAMERON
Here you go.

He slowly hands the documents to Ryan.

RYAN
Stay in the vehicle, please.

He walks back to the squad car and hands the license and
registration to Hansen and returns to the Navigator.

RYAN (CONT'D)
Step onto the sidewalk, please,
sir.

CAMERON
I haven't been drinking.

(CONTINUED)
 3/18/04 18.

19 CONTINUED: ( 2) 19

RYAN
Then we shouldn't have a problem.

CHRISTINE
He doesn't drink. He's a Buddhist
for Christ's sake.

CAMERON
It's okay, Christine.

BACK IN THE SQUAD CAR - HANSEN

runs the license, keeping his eye on Cameron as he steps

around to the sidewalk.

RYAN
(to Cameron)
Stand on your right foot and touch
your nose with the index finger of
your left hand.

As Cameron does ...

CHRISTINE

steps out of the car.

CHRISTINE
I told you he doesn't drink.

RYAN
Ma'am, I'm only going to tell you
one time to wait in the vehicle.

CHRISTINE
11
Ma I am?? 11

CAMERON
Get in the car, Christine.

CHRISTINE
Don't you 11Ma 1 am 11 me, I'm not your
fucking mammy.

Ryan motions for his partner to join him as ...

RYAN
Both of you, turn around, hands on
your head, interlock your fingers.

(CONTINUED)
 3/18/04 19.

19 CONTINUED: ( 3) 19

CAMERON
Officer, we're a block from home

RYAN
Don't talk to me, put your hands on
your head and interlock your fingers.

HANSEN CAMERON
(approaching) I'm a television director,
What have we got? my wife and I just came
back from an awards dinner--

Ryan grabs Cameron's wrist and slams him up against the

truck ...

RYAN
What did I just tell you?

... and kicks his feet out. Cam puts his hands on his head.

CHRISTINE
Get your hands off him!

RYAN
(to Hansen)
Pat him down.
(to Christine)
Put your hands on your head, ma'am.

Hansen reluctantly pats Cameron down.

CAMERON
Do what he says.

CHRISTINE
(to Cameron)
Fuck you!
(to Ryan)
And you keep your filthy fuckin'
hands off me!

Ryan takes her wrist and twists her into the car face first,
kicking her feet out from under her.

CHRISTINE (CONT'D)
Ow! You fucking pig!

CAMERON
Christine, stop talking.

(CONTINUED)
 3/18/04 20.

19 CONTINUED: ( 4) 19

RYAN
That's quite a mouth you have.
(to Cameron)
Course, you know that.

CHRISTINE
Fuck you. That's why you're doing
this, isn't it? You thought you
saw a white woman blowing a black
man and that just drove your little
cracker ass crazy!

CAMERON
Christine, shut your goddamn mouth!

RYAN
I'd listen to your husband, Ma'am.

Ryan runs his hands up the sides of her torso ...

RYAN (CONT'D)
Do you have any guns or knives on
you, anything I'm going to get stuck
with?

CHRISTINE
I'm wearing a cocktail dress, what
do you think?

RYAN
You'd be surprised the places I've
found weapons.

He slides his hands over the sides of her breasts. Hansen

pretends not to see, as he quickly frisks Cameron. Christine
turns her head so she catches her husband's eyes.

HANSEN
Clean.

But Ryan is nowhere near finished.

RYAN
(to Cameron)
So, what do you think we should do
about this, Mr. Thayer?

Ryan squats and runs his hands down to her ankles ...

(CONTINUED)
 3/18/04 21.

19 CONTINUED: ( 5) 19

RYAN (CONTID)
My partner and I just witnessed
your wife performing fellatio on
you while you were operating a motor
vehicle.

Now his hands start up the inside of her calves.

RYAN (CONTID)
That's reckless endangerment ...

Hansen looks away, knowing this is bullshit.

RYAN (CONTID)
... which is a felony. Then we could
charge your wife here with lewd
conduct and performing a sexual act
in public.

His hands reach up her thighs into her dress and linger there.
Christine looks away from her husband, her rage replaced by
humiliation.

RYAN (CONT'D)
Now, you say you're a block from
home. We can use our discretion,
let you go with a warning. Or we
can cuff you and put you in the
back of the car.

Ryan removes his hands.

RYAN (CONT'D)
What do you think we should do?

CAMERON
We're ... sorry. We'd appreciate it
if you'd ... just give us a warning.

RYAN
(to Hansen)
Man's apologizing, Tommy. I think
we can let them go, don't you?

HANSEN
Yeah.

Ryan looks into Christine's face, daring her to say anything.

She doesn't.

(CONTINUED)
 3/18/04 22.

19 CONTINUED: ( 6) 19

RYAN
Fine. You can go.

CAMERON
... Thank you.

RYAN
No problem.
(walking away)
You folks drive safe now.

Christine climbs into the passenger seat as Cameron circles

the vehicle.

IN THE NAVIGATOR

Cameron gets in the driver's seat, sees Christine is shaking.

Puts his hand on hers. She pulls it away. Cameron starts
the car and drives off.

HANSEN

watches them go. A decision made, he drops into his seat

and closes the car door.

20 INT. CORNER MARKET -- NIGHT 20

SHEREEN, Farhad's wife, repeatedly slams the back door.

Unlike her daughter, she wears traditional dress.

SHEREEN
It won't close.

FARHAD stands with Dorri as she loads the gun from the ammo
box.

FARHAD
Pull it hard.

She keeps trying as ....

FARHAD (CONT'D)
( to Dorri)
I can do that!

She snaps the cylinder in place.

DORRI
You couldn't even get it open.

(CONTINUED)
 3/18/04 23.

20 CONTINUED: 20

FARHAD
( in Farsi)
You have no respect for your father
anymore? Give me the gun.

DORRI
There. Now you can shoot anybody
you want.

She hands him the gun and ammo. He turns on his heel and
exits. Dorri follows him into THE FRONT OF THE STORE. Farhad
pops open a hidden drawer under the cash register and places
the gun and ammo in it.

FARHAD
That man could have killed your
mother. You think I should let
crazy people do what they want to
us?

Shereen comes out from the back room.

SHEREEN
Farhad, it won't close.

Farhad disappears into the back room.

SHEREEN (CONT'D)
(to Dorri)
You should be at work.

Dorri turns and exits.

21 EXT. DARK STREET CORNER NIGHT 21

The stolen black Navigator screams around the corner into a

barren strip of Los Angles, hip-hop blaring from its
speakers.

ANTHONY (V.O.)
No, you want to listen to music of
the Oppressor, you go right ahead.

22 IN THE NAVIGATOR 22

PETER
How in the lunacy of your mind is
Hip-Hop "music of the Oppressor??"

(CONTINUED)
 3/18/04 24.

22 CONTINUED: 22

ANTHONY
Listen to it! Nigga-this, nigga
that; you think white people walk
around calling each other honkies??
"Hey, Honky, how's business?" "Goin'
great, Cracker, we're diversifying."

Peter punches the radio, a country western singer wails.

PETER
This better? You like this? Man's
singing about lynchin' a nigga.

ANTHONY
And you think there's a difference?

PETER
(singing)
"Gonna buy me a rope, and lynch me
a niggaaaaaaa ... "

ANTHONY
You got no idea where Hip-Hop comes
from, do you?

ANTHONY'S POV -- THE ROAD AHEAD

Almost deserted; they fly past small factories and businesses

closed for the night. Only one vehicle in sight, a panel
van parked way up ahead on this side of the street.

ANTHONY (0. S.) (CONT'D) PETER ( 0 . S . )

Back in the sixties we (wailing and twanging)
had smart, articulate "I'd shoot him dead first,
black men. Huey Newton, but I done broke my
Bobby Seale, Eldridge triggaaaaaaaaaa ..... .
Cleaver, Fred Hampton; Gonna get out my sheet,
these brothers were put my hood on my heaaaad ...
speaking out and people
were listening.

A Korean man steps out from in front of the van, stops at

the driver's door, searching his pockets.

(CONTINUED)
 3/18/04 25.

22 CONTINUED: ( 2) 22

BACK IN THE NAVIGATOR

ANTHONY PETER
The FBI said: "Oh, we "Gonna string him up good,
can't have that." and then he'll be deaaaad."
"I know! Let's give
the niggers this music
by a bunch of mumbling
idiots--

Anthony takes his eyes off the road.

ANTHONY PETER
--and they'll all copy (chorus:)
it and sooner or later "In the home of the brave
no one will be able to and the land of the freeeee.
understand a fuckin' Gonna have black boys
word they say! End of swinging, from each old
problem!" oak treeeeee."

BAM! They hit something. Both heads snap front, see

nothing. They spin around to look behind them: nothing there
either.

23 EXTREMELY CLOSE ON THE DOOR OF THE PANEL VAN 23

A set of keys sway back and forth in the lock.

24 BACK IN THE SPEEDING NAVIGATOR 24

Anthony looks to Peter.

ANTHONY
What the fuck was that?

As Anthony stomps on the brakes ...

25 EXT. EMPTY STREET CONTINUOUS 25

The Navigator skids to a stop and they hop out. Peter looks
under the fender and comes flying back up.

PETER
Holy shit, we run over a Chinaman!

ANTHONY
You're saying there's a Chinaman
under this truck?

(CONTINUED)
 3/18/04 26.

25 CONTINUED: 25

PETER
What do you not understand? There's
a Chinaman stuck under the goddamn
truck!

Anthony bends down, looks right into the bleeding face of

the Korean man. Anthony pops up like he's just been shot.

ANTHONY
Where the hell did he come from?!

PETER
Fuckin' China! What do you mean
where'd he come from?!

ANTHONY
He was standing in the street?

PETER
No, I think he comes with the truck,
Anthony! It's an option now, for
people who don't want to go through
all the trouble of running over
their own fucking Buddhahead!

ANTHONY
What the hell he do, leap out in
front of the truck?

PETER
I don't know, maybe the FBI planted
him under there to make car-jacking
black people look bad in the eyes
of the larger community. You got a
theory about that, too?

ANTHONY
This is so completely fucked.

CHOI (0. S.)

Help me.

ANTHONY
Shutup! I'm trying to think!
(paces)
Fuck-fuck-fuck! Okay, come on, get
back in the truck.

PETER
What? You think we didn't drag him
far enough?!

(CONTINUED)
 3/18/04 27.

25 CONTINUED: (2) 25

ANTHONY
We'll drive away, he'll let go.

PETER
He's not gonna let go! He's stuck
under the fucking truck! If he
coulda let go, he probably would
have considered that option half a
block back! Just grab his arm,
we'll pull him outta there.

ANTHONY
You grab his arm it's gonna fall
off! You're gonna be standing in
the street holding a Chinaman's
arm. Then what you gonna do?

PETER
We leave him there, the man dies,
and we're up on murder charges,
Einstein. Now grab his goddamn
arm!

Anthony relents. They reach under and as Choi screams ...

26 INT. CAMERONAND CHRISTINE'S BEDROOM -- NIGHT 26

Christine drops her purse and snatches up the phone.

CAMERON
Who are you calling?

CHRISTINE
I'm gonna report their asses. Sons
of bitches ...

CAMERON
And you actually think they're going
to take you seriously?

CHRISTINE
(slams phone down)
Do you have any idea what that was
like to have that pig's hands all
over me? And you watch him do it
and then you apologize to him??
What the fuck was that about?

CAMERON
What did you want me to do, get us
both shot?

(CONTINUED)
 3/18/04 28.

26 CONTINUED: 26

CHRISTINE
--They were gonna shoot us on Ventura
Blvd??

CAMERON
So, you would have been satisfied
with just being arrested.

CHRISTINE
You're right, Cam, much better to
let him shove his hand up my crotch
than get your name in the paper.

CAMERON
Yeah, that's what I was worried
about.

CHRISTINE
It wasn't? You weren't afraid all
your good friends at the studio
were gonna read about you in the
morning and realize you were actually
black?

CAMERON
You need to calm down here.

CHRISTINE
No, what I need is a husband who
won't just stand there while I'm
being molested!

CAMERON
They were cops! They had guns!
Where do you think you're living,
with mommy and daddy in Greenwich?

CHRISTINE
--Go to hell.

CAMERON
Maybe I shoulda let them lock your
ass up. I guess sooner or later
you should learn what it's like to
be black.

CHRISTINE
Fuck you, like you know. Closest
you ever came to being black was
watching the Cosby Show.

(CONTINUED)
 3/18/04 29.

26 CONTINUED: (2) 26

CAMERON
At least I wasn't watching it with
the rest of the equestrian team.

CHRISTINE
You know, you're right, Carn, I got
a lot to learn. 'Cause I haven't
quite learned how to shuck and jive.
Let me hear it again: "Thank you,
Mr. Poh-licernan. You sure is kind
to us po' black folk. You be sure
to let me know next time you wanna
finger-fuck my wife."

CAMERON
You know what? Fuck you.

CHRISTINE
Oh that's good. A little anger. A
bit late, but nice to see.

He slams out of the room.

27 INT. RICK & JEAN'S HOME (BRENTWOOD) - NIGHT 27

Jean's feet descend the stairs to the expansive kitchen,

where DANIEL, the Hispanic locksmith, re-keys the door.
He's twentyish, close-cropped hair, baggy pants, tattoos.

JEAN
How much longer are you going to
be?

DANIEL
This is the last door.

JEAN
Thanks.

She exits, walking through the butler's pantry into the dining
room, where several staff members work. She turns into the
living room, where Rick and two aides work up strategy.

KAREN ( 0 . S . )
Nothing from Parker Center.

JEAN
( interrupting)
I need to talk to you.

(CONTINUED)
 3/18/04 30.

27 CONTINUED: 27

She exits without waiting for a response. Rick turns to

KAREN, his top aide (young, black, brilliant), who is on her
Trio, laptop in front of her.

RICK
Just find Flanagan.

Karen dials as Rick exits to the ...

THE HALL OFF THE KITCHEN

where Jean waits, arms crossed so tightly they're squeezing

all the air out of her lungs.

JEAN
I want the locks changed again in
the morning.

RICK
Honey, why don't you go bed. Did
you check on James?

JEAN
Of course I checked on James, I've
checked him every five minutes since
we've been home, don't patronize
me! I want the locks changed again
in the morning!

RICK
Shhh, it's okay. You just need to
lie down.

JEAN
Didn't I just ask you not to treat
me like a child?

MARIA
Sorry, Mrs. Jean ...

It's MARIA, their Salvadoran housekeeper and babysitter,

sweater and bag in her arm.

RICK
Yes, Maria?

Jean turns away, livid.

MARIA
Is okay I leave now?

(CONTINUED)
 3/18/04 31.

27 CONTINUED: ( 2) 27

RICK
Yeah, sure, thanks for staying.

MARIA
No problem. Good-night, Mrs. Jean.

JEAN
Good-night.

Maria exits. Jean speaks to Rick as if English is his second

language:

JEAN (CONT'D)
I want the locks changed again in
the morning.

RICK
Jean-

JEAN
And you could mention that we'd
appreciate it if next time they
didn't send a gang member.

RICK
(lowering his voice)
... You're talking about that kid in
there?

JEAN
Shaved head, pants down around his
ass, prison tattoos?

RICK
Oh for Christ sakes, those aren't
prison tattoos!

JEAN
Right, and he isn't going to sell
our key to one of his gang-banger
friends the moment he's out the
door.

RICK
Jean, it's been a tough night. Why
don't you go upstairs and--

JEAN
--wait for them to break in?
(now in a rage)
I just had a gun pointed in my face!

(CONTINUED)
 3/18/04 32.

27 CONTINUED: (3) 27

RICK
(sotto)
Lower your voice!

JEAN
--And it's my fault, because I knew
it was going to happen! But if a
white person sees two black men
walking toward them and turns and
walks the other way, she's a racist,
right? Well, I got scared and I
didn't say anything and ten seconds
later I had a gun in my face! Now
I'm telling you that your amigo in
there is going to sell our house
key to one of his homies! And this
time it'd be really fucking nice if
you acted like you actually cared!!

Jean turns and storms into the kitchen. Rick stares at her
as she makes a show of wiping down the counter.

JEAN

throws a look over her shoulder toward the backdoor, sees ...

DANIEL

packing up his tools, looking right back at her.

JEAN

looks away and busies herself with the dishes.

RICK

turns and walks back to the ...

28 THE LIVING ROOM 28

BRUCE, his second aide, works on a way to spin this. Karen

snaps her cell phone closed and turns to Rick.

KAREN
Flanagan doesn't think anyone has
the story yet.

RICK
Flanagan's an idiot. We're talking
minutes.

(CONTINUED)
 3/18/04 33.

28 CONTINUED: 28

BRUCE
I've called a friend at KCBS--

RICK
--Bruce, you can call God himself:
I'm the fucking District Attorney!
I get my car jacked, it's gonna
make the news. Christ, why did
they have to be black?! No matter
how we spin this I'm gonna either
lose the black vote or the fucking
law and order vote. I got West
Side Jews up the ass; aren't there
any Hasidic kids going bad?

BRUCE
Do you have to say they were black?

RICK
You're right, Bruce, I should have
told my own cops that I couldn't
quite make out the color of two men
standing less than a foot from me.
Give yourself a raise.

KAREN
I think you're worrying too much.
You have a lot support in the black
community.

RICK
So did Gil Garcetti. Remember him?
Former DA, tall guy, had that little
run-in with OJ?

KAREN
They stole your car at gunpoint in
the middle of Westwood!

RICK
Check the LA Weekly tomorrow, I'll
be the one with the gun in my hand.
If we can't duck this thing we have
to neutralize it. You know what I
need? I need a black man I can pin
a medal on. I need a picture of me
pinning a medal on a fucking black
man. What about that fire fighter
who saved those campers in--

(CONTINUED)
 3/18/04 34.

28 CONTINUED: (2) 28

BRUCE
He's Iraqi.

RICK
He's Iraqi? He looked black.

BRUCE
Iraqi. Saddam Khahum.

RICK
Saddam? You want me to pin a medal
on an Iraqi named Saddam?? Are you
out of your fucking mind?

And Rick blows out of the room, as Bruce wonders why he ever
opens his mouth.

29 EXT. RICK & JEAN'S HOME -- NIGHT 29

Daniel the locksmith drops his toolbox onto his seat, starts
his truck and drives off, passing ...

MARIA

who steps out of her dead car and tries to wave him down,
but he doesn't see her.

30 EXT. DANIEL'S BUNGALOW-- NIGHT 30

It's almost pitch black, until headlights appear on the street

and sweep up the drive. The headlamp pulls right up to the
camera and burns out the screen. The lamp switches off, the
filament glows dimly until the scene once again dissolves to
black.

31 INT. DANIEL'S BUNGALOW- HALL -- NIGHT 31

The hall lies dark until Daniel opens the front door. He
places his locksmith box onto the floor and slips out of his
shoes. He notices light spilling out from under a door down
the hall.

32 INT. HIS DAUGHTER'S BEDROOM-- NIGHT 32

Daniel eases open the door, finds the room lit by the bedside
lamp. The bed is stripped of its pillow and blanket, part
of which sticks out from under the box spring.

(CONTINUED)
 3/18/04 35.

32 CONTINUED: 32

UNDER THE BED

Daniel lifts the bedskirt. He kneels and lies on the floor.

His six year-old daughter, LARA, lies awake under the bed,
blanket over her shoulder, pillow scrunched under her head.

DANIEL
How ya doing?

LARA
Okay.

DANIEL
(beat)
You didn't get scared or something,
did you? There's no monsters in
the closet? 'Cause I hate monsters.

LARA
There's no such thing as monsters.

DANIEL
That's a good thing, then.

LARA
I heard a bang.

DANIEL
Like a truck bang?

LARA
Like a gun.

DANIEL
Huh. That's funny. 'Cause we moved
outta that bad neighborhood, not
too many guns 'round here.

LARA
.... How far can bullets go?

DANIEL
Oh, pretty far. But they usually
get stuck in something and stop.

LARA
... What if they don't?

DANIEL
You thinking about that one that
came through your window?

(CONTINUED)
 3/18/04 36.

32 CONTINUED: ( 2) 32

Lara nods.

DANIEL (CONT'D)
Yeah, we never did find it, did we?

Lara shakes her head.

LARA
I think it didn't see me, 'cause I
was under the covers.

DANIEL
And you think it was that same bullet
you heard tonight?

Lara shrugs, she thinks it is but doesn't want to say it.

Daniel settles in, as if only now realizing the enormity of
this situation. He lies there thinking this problem through.

DANIEL (CONT'D)
Huh. You think maybe we should
move again?

LARA
I like it here.

DANIEL
Yeah. Me, too. But if that bullet
found out where we live ...
(realizes something)
Hold on.

LARA
What?

DANIEL
I am so stupid. How could I forget
this?

LARA
What?

DANIEL
Never mind, you're not gonna believe
me.

LARA
Tell me.

(CONTINUED)
 3/18/04 37.

32 CONTINUED: ( 3) 32

DANIEL
Okay. When I was five, this fairy
came into my room one night.

LARA
(skeptical)
Uh-huh.

DANIEL
See, I told you wouldn't believe
me. Okay, you go to sleep now.

LARA
No, tell me.

DANIEL
... Okay, so this fairy comes into
my room. And I'm like, "yeah, .right,
you're a fairy." Anyway, we're
talking, you know, and she's flying
around the room, knocking my posters
down and stuff.

LARA
She was flying?

DANIEL
Yeah, she had these little stubby
wings. But she coulda glued 'em on
or something, right, I'm not gonna
believe she's a fairy. So, she·
says, "I'll prove it. 11
And she
reaches into her backpack and pulls
out this invisible cloak. And she
ties it around my neck, and she
tells me it's impenetrable. You
know what impenetrable means?
(Lara shakes her head)
It means nothing bad can get through
it. Not bullets, nothing. And she
says I should wear this cloak and
nothing will ever hurt me. So, I
did. And my whole life I never got
shot, stabbed, nothing. I mean,
how weird is that? Only she tells
me I'm supposed to give it to my
daughter on her sixth birthday.
And I forgot.

LARA
Can I touch it?

(CONTINUED)
 3/18/04 38.

32 CONTINUED: ( 4) 32

DANIEL
Sure, go ahead.

She touches his arm.

LARA
I can't feel it.

DANIEL
Pretty cool, huh? If you want, I
can take it off and tie it around
your shoulders, 'cause she showed
me how to do that. Unless you think
it's stupid.

LARA
... Don't you need it?

DANIEL
Not anymore. So, what do you think?
You want it?

Lara waits, then nods slightly. Daniel reaches in and pulls

her out.

ANGLE ON LARA'S BED

Daniel places her on the bed.

DANIEL (CONT'D)
Okay.

Daniel "unties" the invisible cloak and takes it off. He

wraps it around her shoulders.

DANIEL (CONT'D)
Hold your chin up.

She does. He ties it around her neck.

DANIEL (CONT'D)
That too tight?

She shakes her head.

DANIEL (CONT'D)
You feel anything at all?

She shakes her head.

(CONTINUED)
 3/18/04 39.

32 CONTINUED: (5) 32

DANIEL (CONT'D)
Good. Then it's just right.

He kisses her on the forehead. He pulls out her pillow and

places it on the bed. She lies down and he covers her. He
turns off her light.

LARA
Do I take it off when I have a bath?

DANIEL
No, you leave it on all the time.
'Till you grow up and have a
daughter, and she turns six. Then
you give it to her. Okay?

LARA
Okay.

And he walks toward the door. Lara strokes her shoulder,

trying to feel it, then closes her eyes.

33 INT. DANIEL'S BUNGALOW- HALL -- CONTINUOUS 33

Daniel eases his daughter's door closed. His beeper goes

off. He silences it quickly, checks the read-out, exhales.

34 EXT. HOSPITAL - EMERGENCYENTRANCE -- NIGHT 34

Anthony and Peter drop Choi on the sidewalk beneath the

emergency sign and run back to the Navigator. As they hop
in:

ANTHONY
What year was that van he was
driving?

PETER
You want to steal the man's van?
You already took his wallet--

As they speed off:

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

--what do you wanna do next: find
his house and shoot his dog?

They disappear around the corner ....

 3/18/04 40.

35 INT. CORNER MARKET - STORAGE AREA - NIGHT 35

There's a shiny new lock. Daniel yanks open the metal door,
sees that it's bowed, slams it closed and turns the bolt; it
only moves a quarter turn.

36 INT. FRONT OF CORNER MARKET 36

Daniel steps in from the storage room to find Farhad locking

the front door.

DANIEL
Excuse me?

FARHAD
I want go home, how long?

DANIEL
I replaced the lock but you got a
real problem with that door.

FARHAD
You fix the lock.

DANIEL
I replaced the lock, but the door
is bent, you gotta fix the door.

FARHAD
Fix the lock!

DANIEL
Listen to me, you need a new door.

FARHAD
I need door? How much?

DANIEL
I don't know, you gotta call someone
who sells doors.

FARHAD
You try and cheat me, right? You
have friend who fix door?

DANIEL
I don't have a friend who fixes
doors.

(CONTINUED)
 3/18/04 41.

36 CONTINUED: 36

FARHAD
You fix the fucking lock, you
cheater!

Daniel pulls out the bill -- printed on blue paper.

DANIEL
Listen, just pay for the lock, I
won't charge you for my time.

FARHAD
You no fix but I pay? You think
I'm stupid. You cheat, you fix the
lock!

DANIEL
I'd really appreciate it if you'd
stop calling me names.

FARHAD
You no fix the fucking lock!

DANIEL
I replaced the lock! You gotta fix
the door!

FARHAD
Fucking cheat! You fucking cheat!

DANIEL
(crumples the bill)
Fine. Don't pay. Have a good night.

Daniel tosses the bill in the waste basket and walks out
through the back ...

FARHAD
You fix fucking lock! You fix
fucking lock!

37 INT. CHOP SHOP -- NIGHT 37

A Porsche screams into the garage, the garage door slams

right behind it. As it disappears into the cavernous room,
we see a couple dozen guys chopping up high-ticket cars.
The Porsche parks beside the Navigator, which sits with its
cargo door open. LUCIEN GREEN tosses away a rag and steps
back to Peter and Anthony.

(CONTINUED)
 3/18/04 42.

37 CONTINUED: 37

LUCIEN
No, I understand. You run over a
Chinaman, stuff him in the back and
then bring the truck here so I can
share in the experience.

ANTHONY
It's a little bit of blood, it'll
wash right off.

LUCIEN
(calls off)
Georgie, burn this thing.

Lucien walks off as Georgie, a mountain of a man, closes the

rear door. Anthony and Peter follow Lucien.

ANTHONY
Come on, man, it's a brand new
Navigator. All you need is a little
piece of carpet.

LUCIEN
You watch the Discovery Channel?

ANTHONY
Not a lot.

PETER
That's some good shit.

LUCIEN
Every night there's a show with
somebody shining a little blue light
and finding tiny specs of blood
spattered on carpets and walls and
ceiling fans, bathroom fixtures,
and special edition plastic Burger
King drink cups. Then the next
thing they show is some stupid
redneck in handcuffs, who looks
absolutely stunned that this is
happening to him. Sometimes, the
redneck is actually watching the
Discovery Channel when they break
in to arrest him. And he still
can't figure out how on earth they
could have caught him. Do I look
like I wanna be on the Discovery
Channel?

(CONTINUED)
 3/18/04 43.

37 CONTINUED: ( 2) 37

ANTHONY
No.

LUCIEN
Then get the fuck out of my shop!

ANGLE ON THE NAVIGATOR

Georgie puts the truck in reverse as Peter reaches in to

pluck St. Christopher off the dashboard.

ANTHONY
Yeah, make sure you get that.
Because without him, things coulda
gone wrong tonight.

38 INT. GRAHAM'S HOUSE BALDWIN HILLS -- NIGHT 38

Looking in from the backyard we barely discern the two naked

bodies lost in each other. We hear the passionate sounds of
sex and find Graham in bed, on top of Ria, her legs wrapped
around his back.

RIA
Oh God! Oh God yes! Yes!

Her fingers dig into his back. He screams, she screams

louder. That's when the phone rings.

GRAHAM
Jesus!

It rings again. He reaches for it.

RIA
Don't you dare!

GRAHAM
It could be S.I.D.

RIA
Don't you--!

He answers it, faking his best "just another day" voice.

GRAHAM
(into phone)
Graham Waters.

She pushes him off the bed. His naked body lands on the
floor. He holds onto the phone, then:

(CONTINUED)
 3/18/04 44.

38 CONTINUED: 38

GRAHAM (CONT'D)
( into phone)
I'm sorry, this is Graham. Hello?

Naked and sweaty, Ria grabs the bottle of water on the

nightstand, gulps it down.

GRAHAM (CONT'D)
(into phone)
Yeah .... No, Ma. He's not here.

RIA
(suddenly ashamed)
Oh, God, it's your mother?

GRAHAM
( into phone)
No, I can't go looking for him.
Ma? Because I can't. He'll be
home, leave it alone.
(finally)
Ma? I gotta go, I'm having sex
with a white woman.

That gets Ria's attention. She gets up, searches for her
clothes. He watches her.

GRAHAM (CONT'D)
(into phone)
Ma, I'll·call you tomorrow. Bye.

He hangs up.

GRAHAM (CONT'D)
Sorry. Where were we?

RIA
(pulling on her pants)
I was white and you were about to
jerk off in the shower.
GRAHAM
Oh, come on. I woulda said Mexican
but it wouldn't have pissed her off
as much.
RIA
That's funny, 'cause if my mother
knew I was sleeping with a black
man, she'd never speak to me again.
Where's my goddamn blouse?

(CONTINUED)
 3/18/04 45.

38 CONTINUED: ( 2) 38

GRAHAM
You put it on I'm just gonna have
to rip it off.
As she yanks on her clothes ....
RIA
You gotta keep everybody at a certain
distance, don't you? What happen,
you start to feel something and
panic?
GRAHAM
Ria--
RIA
Because I am so looking forward to
hearing the "we can't mix career
and personal life" speech. Like
it's such a big mystery which one
you'd choose. You don't pick a
pair of socks without thinking what
they're going to do for your career.
GRAHAM
You're pissed because I answered
the phone.
RIA
That's just where I begin to get
pissed. I don't know how I could
have had sex with a man who could
talk to his mother like that.

GRAHAM
This is about my mother?? What do
you know about my mother?

RIA
I know if I was your father I'd
give you a beating.

GRAHAM
Yeah, I was raised badly. Take
those clothes off and teach me a
lesson.

RIA
You want a lesson? How about
geography? My father is from Puerto
Rico, my mother is from El Salvador;
neither one is Mexico.

(CONTINUED)
 3/18/04 46.

38 CONTINUED: (3) 38

GRAHAM
So, then I guess the big mystery
is: who gathered those remarkably
different cultures together and
taught them all how to park cars on
their lawns?

She gives him a look that should cut through to the back of
his head, then exits, slamming the door behind her.

39 INT. RYAN'S BURBANKDUPLEX - HALLWAY - NIGHT 39

Ryan wakes with a start, thinking he heard something. Bleary-

eyed, in T shirt and boxers, he steps out of his bedroom and
walks toward the sound of someone groaning. He stops at the
bathroom door, which sits slightly ajar.

RYAN
How you doing, Pop?

POP RYAN (O.S.)

If I could piss I'd be doing a lot
better.
(keeps himself from
crying out)
Jesus. All right. I'm done, give
me a hand.

Ryan pushes open the door. POP's in his 70's, but frail and
in pain, which makes him seem more frail. Ryan holds out a
hand. Helps Pop up.

POP RYAN (CONT'D)

Wait a goddamn minute.
(reaching for his
pajamas)
Okay.

Ryan pulls his father up. Pop pulls his pajamas up at the
same time.

RYAN
You're okay. You're okay.

As they head out:

POP RYAN
Stop, stop. I gotta go back.

They turn around. Pop grabs hold of the sink, pulls down
his pajamas and looks to his son.

(CONTINUED)
 3/18/04 47.

39 CONTINUED: 39

POP RYAN (CONT'D)

You gonna stand there and stare at
me?

Ryan moves off as Pop eases himself onto the seat, the pain
obvious on his face.

ANGLE ON RYAN

leaning against the hallway wall, staring off at the window,

the first rays of dawn breaking on his face.

40 INT. CORNER MARKET -- EARLY MORNING 40

Darkness until the door opens -- we're close on the lock,

which has been pried out of the door. Farhad steps in
cautiously, hoping not to see what he knows lies ahead. He
walks through the storage room and into the store where he
stops dead; the place has been ransacked; what hasn't been
stolen has been smashed, racial slurs spray-painted on the
walls. The front door lies open.

Shaniqua, the woman from the HMO, stands there, unsure what
she just stepped into. She isn't sure she should ask, but ...

SHANIQUA
Do you have American Spirit Lights?

Farhad goes behind the counter. There's almost nothing left.

He finds one pack.

FARHAD
Five seventy-five.

Shaniqua hands him six.

FARHAD (CONT'D)
I don't have change.

SHANIQUA
That's okay.

She turns and exits.

41 INT. RICK & JEAN'S HOME - KITCHEN -- MORNING 41

Maria enters through the French doors carrying a car seat

and a cool, large mechanical monster toy.

(CONTINUED)
 3/18/04 48.

41 CONTINUED: 41

MARIA
Sorry to use your car, Mrs. Jean.
I turn my key this morning, nothing.
(placing toy on counter)
James want to take it to school,
but I no want kids to fight over
it.

Jean opens their custom-cabinet dishwasher and stares in.

JEAN
Are these dishes clean or dirty?

MARIA
All clean.

JEAN
You know Maria, just once I'd like
to wake up and find the dishes in
the cupboard.

Jean strides off past Maria, who immediately begins unloading

the dishwasher. As Jean climbs the stairs, Maria grabs a
handful of forks and reaches for the cutlery drawer.

42 INT. POLICE STATION CAPT. DIXON'S OFFICE -- MORNING 42

LT. JOE DIXON, African-American, stuffs some paperwork into

a folder, opens his desk drawer and places the folder inside.
Officer Hansen stands opposite, dressed in his civilian
clothes.

HANSEN
I don't want to cause any trouble,
Lieutenant, I just want a new
partner.

DIXON
I understand; your partner is a
racist prick, but you don't want to
stir up any bad feelings with him.

Dixon pulls open another drawer, grabs his wallet, searches

for his car keys.

HANSEN
He's been on the force a long time--

DIXON
Seventeen years.

(CONTINUED)
 3/18/04 49.

42 CONTINUED: 42

HANSEN
--and I still have to work here,
sir.

DIXON
So, you don't mind that there's a
racist prick on the force, you just
don't want him in your car.

Hansen sees he's being boxed in. Dixon finds his keys, slams
the drawer shut.

HANSEN
If you need me to go on the record
about this, sir, I will.

Dixon crosses, puts on his coat, buttons it.

DIXON
That'd be great, write a full report.
Because I am anxious to understand
how such an obvious bigot could
have gone undetected in this
department for seventeen years,
eleven of which he was personally
supervised by me. Of course that
doesn't speak highly of my managerial
skills, but that's not your concern.
Can't wait to read it.

Hansen gets it loud and clear. Dixon reaches below his desk,
grabs a wrapped X-mas gift, puts it under his arm.

HANSEN
What if I told you I wanted a new
partner for personal reasons?

DIXON
So, now you're saying he's not a
racist, you just don't like him.

HANSEN
Yes, sir.

DIXON
That's not a good enough reason.

HANSEN
Then I should think of a better one
and get back to you.

(CONTINUED)
 3/18/04 50.

42 CONTINUED: (2) 42

DIXON
You think I'm asking you to make
one up?

HANSEN
No, sir. I just can't think of one
right now.

Dixon exits. Hansen follows.

43 INT. POLICE STATION - CORRIDOR - CONTINUOUS 43

Hansen scurries to catch up.

DIXON
You want to know what I heard? I
heard it was a case of uncontrollable
flatulence.

HANSEN
You want me to say he has flatulence?

DIXON
Not him; you. You have
uncontrollable flatulence and are
too embarrassed to ride with anyone
else, so are requesting a one man
car.

HANSEN
I'm not comfortable with that,
Lieutenant.

DIXON
I wouldn't be either; which is why
I understand your need for privacy.
Just like you probably understand
how hard a black man has to work to
get to, say, where I am, in a racist
fucking organization like the LAPD,
and how easily that can all be taken
away. But that said, it's your
decision:
(looks him in the eye)
you can put your career and mine on
the line in pursuit of a just cause,
or you can admit to having an
embarrassing problem of a personal
nature.

Hansen stands speechless.

 3/18/04 51.

44 INT. CRIMINAL COURTS BUILDING CORRIDOR -- MORNING 44

An ADA hands a document to Rick as he and Karen step out of

his office and head down the hall. They walk with purpose.

RICK
He just shot the guy? Did they
know each other, this some kind of
grudge thing?

KAREN
Not as far as we can tell.

RICK
You think it was racially motivated?

KAREN
A dozen people heard the shots, no
one saw anything.

RICK
Who do we have on it?

KAREN
Graham Waters.

RICK
Tell him he talks to no one but me;
I want a report by three-thirty, my
office.

And they're gone.

45 INT. COLUMBIA STUDIOS - STAGE 24 -- DAY 45

CAMERON
Cut! Print! Moving on.

Cameron rises from his director's chair. The crew broom the
set as Cameron and his FIRST A.D. head off for the next set.

FIRST A.D.
The office called, Fred is on his
way down. He has some thoughts.

CAMERON
Oh, Christ.

(CONTINUED)
 3/18/04 52.

45 CONTINUED: 45

FIRST A.D.
(calling out)
Okay people, moving to scene forty-
six!

46 EXT. ANTHONY'S APARTMENT BUILDING -- MORNING 46

Anthony and Peter turn onto the sidewalk, heading toward

Anthony's old Toyota. They pass a skinny black kid their
age.

PETER
(to kid)
How's it going, Mo Phat?

They bump fists and keep walking.

ANTHONY
Man robs purses from old ladies and
you're all "How's it going, Mo Phat."
Nigga would steal teeth from a
cripple.
PETER
You calling him a thief? And we do
what?
They climb in.
ANTHONY
Man steals from black people. Only
reason black people steal from their
own:
(tries ignition)
'Cause they are terrified of white
people. Burbank, Santa Monica,
Sherman Oaks: these are scary-ass
places for a brother to find himself.
(tries again)
Drop "Mo Phat" off at a Starbucks in
Toluca Lake, brother would run like
a rabbit--
( tries again)
- soon as somebody said decaf latte--
what the fuck did you do to my car?
47 EXT. BUSY STREET - MOMENTSLATER 47

Peter and Anthony turn the corner and head down the sidewalk.
PETER
No, no, no. I'm starting to
understand.
(MORE)
(CONTINUED)
 3/18/04 53.

47 CONTINUED: 47

PETER (CONT'D)
By your work you're setting an example
to the neighborhood; sorta like a
big brother kinda thing.
Peter looks over his shoulder, sees a bus coming, waves it
down.
ANTHONY
Laugh. You ever see me steal from a
black person? What in the hell do
you think you're doing?
PETER
Waving down the bus.

ANTHONY
Put your hand down! Are you out of
your mind? You actually expect me
to get on a bus?

PETER
No, I was really hoping we could
push your car into town, because we
never do that anymore.

ANTHONY
You have no idea, do you? You have
absolutely no idea why they put
those great big windows on the sides
of buses? One reason only: to
humiliate the people of color who
are reduced to riding on it.

PETER
I did not know that.

ANTHONY
What you don't know could fill the
Staples Center.

PETER
Kings are playing tonight.

ANTHONY
You don't like hockey!! The only
reason you say you do is to wind me
up!!

PETER
Love hockey.

(CONTINUED)
 3/18/04 54.

47 CONTINUED: (2) 47

CAMERON (V. 0.)

Cut! Print!

48 INT. STAGE 24 -- MORNING 48

CAMERON
Moving on! Real nice work, Jamal.
Good work, Eddie.

The crew start to break the camera and lights down.

FIRST A.D.
Okay, we're in scene twelve.

FRED, the Executive Producer flirting with the script girl,

realizes that they're moving on and calls out:

FRED
Hold on-hold on! Cam, you got a
second?

CAMERON
Yeah, Fred?

The AD shares a "here it comes" look with the camera operator.

FRED
I think we need another take, buddy.

CAMERON
(restraining himself)
I don't know, Fred, that last one
was pretty terrific.

FRED
This is gonna sound strange, but ...
is Jamal seeing a speech coach or
something?

CAMERON
What do you mean?

FRED
Have you noticed--this is weird for
a white guy to say--but have you
noticed that he's talking a lot
less black lately?

CAMERON
I'm afraid I haven't noticed.

(CONTINUED)
 3/18/04 55.

48 CONTINUED: 48

FRED
Really? This last scene, he was
supposed to say, "Don't be talkin'
'bout dat." And he changed it to
"Don't talk to me about that."

CAMERON
And you think, because of that,
people won't recognize him to be a
black man?

FRED
... Is there a problem here, Cam?

CAMERON
No problem.

FRED
Because all I'm saying is it's not
his character. I mean, Eddie is
supposed to be the smart one. Not
Jamal, right? I mean, you're the
expert here, but to me it rings
false.

CAMERON
(decides to eat it)
Okay, Fred.
(calling to crew)
One more, please!

FIRST A.D.
Everybody back, one more please!

FRED
Thanks, buddy.

Cameron heads back to his director's chair, feeling the eyes

of the crew as they reassemble the camera and redress the
set. Fred settles into the chair just behind him.

49 INT. HMO ADMINISTRATIVE OFFICES - MORNING 49

Shaniqua Johnson enters, wearing an overcoat, carrying a

briefcase and finishing a Starbucks latte. CAROL, her
assistant, sits behind her desk.

SHANIQUA
(checking)
Morning.

(CONTINUED)
 3/18/04 56.

49 CONTINUED: 49

CAROL
You have a walk-in; a Mr. Ryan.

Shaniqua turns to see Officer Ryan, dressed in his civilian

clothes, who sits waiting.

SHANIQUA
Send him in.

Shaniqua exits to ...

50 INT. HMO ADMINISTRATIVE OFFICES - CUBICLE -- MORNING 50

Shaniqua opens the file, looks up to see Ryan step into her
cubicle. She stands and holds out her hand.

SHANIQUA
Mr. Ryan my name is Shaniqua Johnson.
I believe we spoke last night.

RYAN
Yeah, I wanted to apologize for
that crack. I haven't been sleeping
a lot. My father is in a lot of
pain.

SHANIQUA
(like a stone)
I'm sorry to hear that.

RYAN
This doctor he's been going to tells
him he has this urinary tract
infection, and he's been taking
this medicine for a month now, and
he's just getting worse.

SHANIQUA
(reading file)
And he's been back to see Dr.
Robinson?

RYAN
Yeah, and between me and you the
man is an idiot.

SHANIQUA
Really?

(CONTINUED)
 3/18/04 57.

50 CONTINUED: 50

RYAN
No offense, but the guy sees a
hundred patients an hour. I think
his nurses do most of the work.

SHANIQUA
If you're unhappy, your father is
welcome to see a doctor outside the
network.

RYAN
And if this new doctor says it isn't
an infection, says it's his prostate
and it needs to be operated on, is
that covered?

SHANIQUA
No. Not unless Dr. Robinson--

RYAN
So, what good would that do?

SHANIQUA
(with finality)
I'm sorry but there is nothing else
I can do.

RYAN
(beat)
Do you know what I can't do? I
can't look at you without thinking
of the five or six better qualified
white men who didn't get your job.

SHANIQUA
Time for you to be going.

RYAN
I'm saying this because I'm really
hoping I'm wrong about you. I'm
hoping that someone like yourself,
who may have been given a helping
hand, might have a little compassion
for someone in a similar situation.

Shaniqua picks up her phone and speaks into the intercom:

SHANIQUA
Carol, I need security in my office.

(CONTINUED)
 3/18/04 58.

50 CONTINUED: (2) 50

RYAN
You don't like me? Fine, I'm a
prick. But my father doesn't deserve
to suffer like this. He was a
janitor, struggled his whole life,
saved enough to start his own
company. Twenty-three employees,
all black. Paid them equal wages,
when no one else was doing that.
Forty years he worked side by side
with those men, sweeping, carrying
garbage.

The burly security guard appears at her door. She motions

for him not to interrupt.

RYAN (CONT'D)
Then the city council decides to
give minority-owned companies
preference in city contracts. And
overnight, my father loses
everything. His business, his home,
his wife, everything; and not once
did he blame you people.
(beat)
I'm not asking you to help me. I'm
asking that you do this small thing
for a man who lost everything so
that people like you could reap the
benefits. And do you know what
it's gonna cost you? Nothing.
Just the flick of your pen.

Silence.

SHANIQUA
You're father sounds like a good
man. And if he'd come in here today
I probably would have approved this
request. But he didn't come in,
you did. And for his sake, that's
a real shame.
(to security guard)
Get him out of here.

Ryan strides out of the room, past the line of cubicles, the
guard following. Ryan's face hardens with anger as he bangs
through the double glass doors.
 3/18/04 59.

51 INT LOCK & KEY COMPANY- DISPATCH OFFICE -- DAY 51

A delivery man enters, bringing us to the OFFICE MANAGER, a

less than sympathetic woman.

OFFICE MANAGER
(into phone)
Sir, I spoke to our employee. He
told you that you needed to replace
or repair the door.

52 INT. CORNER MARKET - AT THAT MOMENT 52

Dorri steps through the door, dressed for work, unprepared

for the extent of the damage.

FARHAD (O.S.)
He say he fix lock! You come here,
see how fix it is! ...

Dorri drifts in, mouth agape, passing her father at the

counter yelling into the phone. Sees her mother washing the
walls, trying to remove the spray-painted ethnic slurs.
"Fuck the Towelheads." "9 11 ! 9 11 ! 11 "Arab Scum."

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

I'm not yelling, I am angry!
(calls out)
Shereen! Stop washing! Insurance
need to take pictures!

Shereen turns, sees her daughter. They embrace.

DORRI
Are you all right?

SHEREEN
I'm okay, we're okay.
(turning back/in Farsi)
You see what they wrote? They think
we're Arabs. When did Persians
become Arabs?

Shereen goes back to scrubbing.

DORRI
What can I do?

SHEREEN
Go to work. Do you want to be fired,
too?

(CONTINUED)
 3/18/04 60.

52 CONTINUED: 52

DORRI
I called, I switched shifts.
(realizes)
Oh my God.

Dorri darts to the counter.

FARHAD
I want his name; give me name.

DORRI
Dad--

OFFICE MANAGER
(phone f i 1 ter)
Sir, I can't give you his name.

FARHAD
Bastard no fix my lock! Give me
name!

DORRI OFFICE MANAGER (V.O.)

Dad! I'm hanging up now, sir.

FARHAD
No hang up! No hang up on
( click)
Son-of a-bitch!

He slams down the phone.

DORRI
DAD!

FARHAD
WHAT?!

DORRI
Did they take the gun?

Farhad snaps open the hidden compartment as Dorri moves behind

the counter.

CLOSE ON THE SECRET COMPARTMENT

The gun's still there.

DORRI (CONT'D)
Thank God.
 3/18/04 61.

53 INT. LOUISE'S APARTMENT - COMPTON -- DAY 53

Graham sweeps a bent rusty spoon and other drug paraphernalia

off the kitchen counter into a drawer and closes it. The
apartment door lies open behind him. Without removing his
coat, Graham steps deeper into the apartment. He sees LOUISE
sitting on the balcony, a woman in her fifties, on the nod.
He steps out onto the balcony and squats beside her.

GRAHAM
Ma? ... It's cold.

Her eyes flutter open but don't find him before they close
again. Graham picks her up in his arms, carries her into ....

54 LOUISE'S LIVING ROOM 54

And lays her on the sofa and pulls a blanket over her. She
opens her eyes.

LOUISE
Did you find your brother?

GRAHAM
No, Ma.

LOUISE
I was doing good, baby. I was doing
real good.

GRAHAM
I know, Ma.

LOUISE
(forgot she asked)
Did you find your brother?

GRAHAM
Not yet, Ma.

LOUISE
Tell him to come home. Tell him
I'm not mad, okay?

GRAHAM
Okay.

And she closes her eyes again. Graham kisses her forehead.
He looks to a photo on the bureau. It's a birthday party
for Graham, age sixteen. Louise holds Graham's infant brother
in her arms. She looks young and healthy. Better times.
 3/18/04 62.

55 ANGLE ON LOUISE'S REFRIGERATOR 55

Graham opens it, checks out the meager contents, opens the
carton of milk and smells it: rancid. He drops it in the
trash.

56 INT. RIA'S SEDAN -- MOMENTSLATER 56

Graham approaches. Ria pops open the door locks and Graham
jumps in.

RIA
You apologize to your mother?

GRAHAM
Couldn't. She wasn't there.

RIA
Internal Affairs called. They found
something in the Mercedes.

Graham gives her a look as an SUV wipes frame ...

57 INT. STAGE 24 DAY 57

The grips fly a wall revealing ...

FIRST A.D.
That's lunch, one hour! We're back
at three o'clock.

The crew breaks. Cameron heads for the stage door. The
grips push it open and he sees Christine standing outside,
waiting for him.

58 EXT. STUDIO LOT -- DAY 58

She meets him and they walk together.

CHRISTINE
I tried to call, it sounded like
you were having a hard day.

CAMERON
Yeah.

CHRISTINE
I got scared, Cam. I mean, it's
not like I haven't been pulled over
before. But not like that.
(MORE)

(CONTINUED)
 3/18/04 63.

58 CONTINUED: 58

CHRISTINE (CONT'D)
And I was a little drunk and I
shouldn't have been mouthing off,
it was stupid. But when that man
put his hands on me ... I just couldn't
believe you'd let him do that. I
know what you did was the right
thing, I know that, but ... I was
humiliated ... for you. I couldn't
watch. I couldn't stand to see
that man take away your dignity.

CAMERON
( coldly)
Yeah. That's what happened.

CHRISTINE
Don't do this.

CAMERON
You're right. Leave it at that.
I've got to go.

And he walks away.

CHRISTINE
Do not walk away from me. You
bastard, I apologized! Don't you
walk away from me! ... Cam!!

He keeps going, she fights back tears and rage. Turns on

her heel and ...

59 INT. CORNER MARKET -- DAY 59

Farhad collects broken glass in the trash can. Dorri waits

for KEN HO, the Korean insurance adjuster, to get off his
cell phone.

KEN HO
Yeah, I understand. Thanks.
(hangs up/to Dorri)
Has your father read his policy?

Farhad puts down the can, approaches with a look to Dorri.

DORRI
He doesn't read English.

(CONTINUED)
 3/18/04 64.

59 CONTINUED: 59

FARHAD
( in Farsi)
What is he saying?

KEN HO
Mr. Golzari, you told me you called
the locksmith.

FARHAD
Yes, I tell him fix!

KEN HO
But they said their man told you
(Dorri translates)
- that you needed to replace the
door, and you didn't do so.

DORRI
So you're saying it's his fault?

KEN HO
The insurance company is calling it
negligence.
(Dorri translates)
They're not covering any of this.

Farhad looks at Dorri, turns away, picks up the waste-paper

basket full of glass and exits into the storage room.

KEN HO (CONT'D)
I really am sorry.

He turns and exits, leaving Dorri reeling.

60 INT. STORAGE ROOM -- CONTINUOUS 60

Dorri finds her father picking up trashed merchandise. She

tries to comfort him.

DORRI
It'll be okay, Dad, we'll figure it
out.

FARHAD
Go to work.

DORRI
Dad ...

(CONTINUED)
 3/18/04 65.

60 CONTINUED: 60

FARHAD
(in Farsi)
You want to lose your job, too? Go
to work.

Dorri kisses her father's head and reluctantly leaves. Farhad

keeps cleaning, trying to lose himself in the work.

61 EXT. POLICE STATION - PARKING LOT - THE VALLEY -- AFTERNOON 61

The back door opens; officers come out in pairs and head to
their assigned squad cars. Hansen walks alone toward his.
He sees Ryan leaning up against it, waiting. Hansen is
confused and apprehensive. Ryan nods to him as he approaches.

RYAN
Hey.

HANSEN
Hey.
(an awkward beat)
Maybe they didn't tell you? I've
been reassigned.

RYAN
Yeah, they told me. I just wanted
to say good luck and good riding
with you.

Ryan offers his hand. Hansen takes it, shakes. Ryan doesn't
let go.
RYAN (CONTID)
Wait 'till you've been on the job a
few more years.

HANSEN
Yeah.

RYAN
Look at me. Wait 'till you've been
doing it a few more years. You
think you know who you are? You
have no idea.

Ryan releases his hand, pats him on the shoulder and walks
off toward his new partner, GOMEZ, who waits by his car.

RYAN (CONT'D)
Yo, Carlos. We rolling?

(CONTINUED)
 3/18/04 66.

61 CONTINUED: 61

OFFICER GOMEZ
I am.

They get in the car and pull out. Hansen gets in, starts
the engine and keys the radio.

HANSEN
21L23 clear.

OFFICER #1 (V.O.)
21L23, I'm ha--
( fart sound)
--trouble with the radio.
(fart sound)
--sort of strange interfer--
(fart sound)

OFFICER #2 (V.O.)
Likewise, 21L -
(fart sound)
- -do you- -
(fart)
- your mike open,
(fart)
--any chance?

Hansen clenches his jaw and drives out.

62 INT. POLICE IMPOUND GARAGE - NORTH HOLLYWOOD- AFTERNOON 62

A squad car passes to reveal a Detective from Internal Affairs

popping the trunk of the Mercedes. Ria and Graham step up.
He throws back the floormat to reveal the wheel well -- in
place of the spare tire lies stacks of bills, bound by rubber
bands. Lots of stacks. He slams the trunk.

63 EXT. REAR OF CORNER MARKET - DAY 63

The dumpster lid bangs closed. Farhad turns and walks back
toward his store. And then he just stops; a man destroyed.
After what seems like an eternity he looks down at the waste
paper basket dangling from his hand ... and he remembers. He
looks back over his shoulder and then charges the dumpster,
pulling out trash until he finds a crumpled blue paper.

64 EXT. VALLEY STREET (CRASH SITE) - STUDIO CITY DAY 64

Ryan and Gomez step out of their squad car to find out why
traffic ahead is at a standstill.

(CONTINUED)
 3/18/04 67.

64 CONTINUED: 64

THEIR POV

Over the tops of the cars they see a Hummer with a mangled
fender and a piece of shit Dodge with its engine on fire,
driver and passenger doors open. A white Jeep sitting wheels
up in the middle of the road.

BACK TO SCENE

RYAN
Call it in!

Ryan takes off at a run toward the Jeep. He covers the

distance in a few seconds.

65 EXT. CRASH SITE -- CONTINUOUS 65

A couple of motorists stand near the inverted Jeep, unsure

what to do. The roof on the driver's side has been crushed;
the car lies tilted forward with its hood on the ground and
trunk in the air. Gasoline streams down from the ruptured
tank.

RYAN
Get that engine fire out!

Ryan gets to the car and drops to the pavement on the

passenger side of the car. The window open. He sees the
driver, scrunched upside down, still belted into her seat.

RYAN (CONT'D)
Ma'am? Ma'am can you hear me?

No response. Ryan puts his head through the window. Sees

the gasoline dripping down into the car. Hears the soft
voice of a woman crying.

RYAN (CONT'D)
Ma'am? We're gonna get you out of
there.

Gomez runs up, looks in.

OFFICER GOMEZ
Paramedics are rolling, they'll be
here in two minutes.
(sees gas)
Jesus.

(CONTINUED)
 3/18/04 68.

65 CONTINUED: 65

RYAN
Get an extinguisher, get that fire
out.

Gomez runs back to the patrol car.

RYAN (CONT'D)
Ma'am, are you hurt? Can you move?
Ma'am?

Just quiet painful sobs. Ryan looks at:

THE POOLING GAS (THROUGH THE CRACKED WINDSHIELD)

running out under the Jeep, in the direction of the car fire.

RYAN

realizes she may not have two minutes, makes his decision.

RYAN (CONT'D)
It's okay. I'm gonna get you out.

He snakes his torso into the passenger seat, leaving his

feet dangling out the window.

66 INT. UPSIDE DOWNJEEP -- CONTINUOUS 66

Ryan feels around for the seat buckle.

RYAN
It's okay. It's okay.

Drifting out of shock, the woman turns to see Ryan's face

right in front of hers and SCREAMS. It's Christine.

CHRISTINE
No! Stay away from me! Get away
from me!

She flails at him.

RYAN
Lady, I'm not gonna hurt you.

CHRISTINE
(still swinging)
Don't touch me! Don't touch me!
Get away from me!

(CONTINUED)
 3/18/04 69.

66 CONTINUED: 66

RYAN
LADY! I'm trying to help you!

Anger is taking over from shock:

CHRISTINE
Fuck you! Not you! Not you!
Somebody else! Not you!!
Ryan ignores her, reaches across her lap to find where the
belt is snagged. She flails at him again, striking his back.

CHRISTINE (CONT'D)
NO! Keep your filthy fucking hands
off me!

RYAN
Stop moving! I've almost got it!

CHRISTINE
NOOO!

Ryan screams in her face:

RYAN
Lady, I am not going to fucking
hurt you!!
And she starts to sob uncontrollably. Ryan throws a look to
the window: gas flowing away from the car. Looks back to
her.
CHRISTINE
Please. Please. Don't touch me.

And Ryan looks into her face and sees her pain and
humiliation, and knows he was the cause of it. Finally:

RYAN
(quietly, kindly:)
Ma'am? Ma'am, there's no one else
here yet, and that's gasoline there,
so we have to get you out right
away.
She looks, noticing the dripping gasoline for the first time.

RYAN (CONT'D)
Your seat belt is caught on
something, it's jamming the buckle.
Can you feel where it's caught?

(CONTINUED)
 3/18/04 70.

66 CONTINUED: ( 2) 66

She tries.

CHRISTINE
No.

RYAN
I need to reach across your lap.
Can I do that, please?

She nods, fear starting to play on her face.

RYAN (CONT'D)
Thanks.

He reaches across her lap, tugging her skirt down a little

to cover her bare leg. He can't get it loose.

RYAN (CONT'D)
I need you to move a little, can
you do that?

She nods, tries to move. He jams his hand in again and works
the buckle.

RYAN (CONT'D)
Are you hurt, anything broken?

CHRISTINE
I don't think so.

RYAN
That's good.

CHRISTINE
Are you going to get me out?

RYAN
Yeah, I'm gonna get you out.

CHRISTINE
Okay.

RYAN
( cuts his hand)
Fuck! Sorry.

CHRISTINE
That's okay.

Ryan reaches into his pocket and pulls out a jackknife.

Christine reacts instinctively. He notices.

(CONTINUED)
 3/18/04 71.

66 CONTINUED: ( 3) 66

RYAN
I'm going to cut the belt, okay?

She nods. Ryan saws away at it with the dullish blade.

67 RYAN'S POV: THROUGH THE WINDSHIELD 67

Gomez gets to the flaming Dodge with the extinguisher.

68 UNDER THE DODGE -- THE FLAMES 68

Catch on the trail of gasoline.

69 GOMEZ 69

Runs to try and beat the flames to the Jeep as a FIRE TRUCK
arrives.

OFFICER GOMEZ
Ryan! Get out of the earl

70 INSIDE THE JEEP 70

Ryan works to cut the belt. Suddenly they both notice:

71 THEIR POV - THROUGH THE WINDSHIELD 71

The fire rushes toward them.

72 CHRISTINE 72

shrieks, Ryan keeps cutting, just an inch to go when ...

THE FLAMES

burst into the Jeep, enveloping them. Ryan cuts the belt
loose. Suddenly, he's yanked out by the feet! He makes a
grab for Christine.

CHRISTINE

grabs for him, misses.

73 RYAN 73

is pulled from the flaming car by Gomez and a motorist.

Ryan kicks at them and crawls right back in.

74 CHRISTINE 74

sees him coming for her, reaches out.

(CONTINUED)
 3/18/04 72.

74 CONTINUED: 74

RYAN

grabs her wrists. Locked together, they share a desperate

look and a heartbeat later ...

75 GOMEZ AND TWO MOTORISTS 75

pull and

RYAN

drags Christine out with him.

GOMEZ AND THE MOTORISTS

pull Ryan and Christine away from the Jeep and toss a blanket
over them, smothering their smoldering clothing. In the
background, the firemen arrive and attack the flames.

RYAN

sits on the pavement, cradling Christine tightly in his arms

as she sobs. Christine looks up at him, sobbing, confused,
angry, grateful -- she searches his eyes for answers, some
way to make sense of what just happened.

RYAN
Shhhh. Shhhhhh.

The PARAMEDICS (one of whom is Allan, the guy chasing his

date in Westwood) try to lift Christine from Ryan's arms.
Ryan bats him away.

ALLAN
It's okay, we just have to check
her. Are you hurt? Can you walk?
(she nods, they lift
her to her feet)
Let's take you over to the ambulance.

Ryan lets her go and they walk her toward the waiting
ambulance, continuing to QUESTION HER.

CHRISTINE

throws one look back over her shoulder - hate filled with
fear and gratitude.

(CONTINUED)
 3/18/04 73.

75 CONTINUED: 75

RYAN

watches her, equally confused, overwhelmed and embarrassed

by his feelings.

76 INT. COLUMBIA STUDIOS - STAGE 24 -- DAY 76

CAMERON
And cut.

Cameron sits slumped in his director's chair. He says

nothing. The A.D. looks to him with the implied question:
are we printing or doing another? Then, tentative:

FIRST A.D .
.. . So, what do you want to do?

Cameron doesn't move, doesn't say anything. People start to

notice and grow silent. And still Cameron just sits. And
the A.D. and all the crew and actors just wait.

77 EXT. DANIEL'S BUNGALOW- WESTCHESTER -- AFTERNOON 77

A battered white Honda pulls to the curb. On the seat is an

open phone book. Behind the wheel sits Farhad. He looks to
the house across the street. A yellow school bus pulls up,
blocking his view. It honks its horn and drives away, and
we see a couple kids disperse onto the sidewalk. One of
them waves to the others; Lara, Daniel's daughter. Lara's
mother meets her and walks her inside. There's no truck in
the driveway.

Farhad pulls the gun out from under the phone book, opens
the cylinder and sees that it is loaded. He snaps it closed
and shoves it back. And waits.

78 INT. D.A. 'S CONFERENCE ROOM -- DAY 78

Karen shows Graham into a conference room the size of a

bowling alley. Inside we find Bruce, answering his cell
phone, and JAKE FLANAGAN, kingmaker and "Head of Media
Relations."

KAREN
The D.A. asked me to apologize, he
wanted to be here himself.

(CONTINUED)
 3/18/04 74.

78 CONTINUED: 78

FLANAGAN
(offers hand with a
smile)
No, he didn't. If he did his own
dirty work, none of us would have
jobs. Jake Flanagan, Media Relations.

Bruce snaps shut his cell phone, to Flanagan:

BRUCE
He's just pulling into the garage.

FLANAGAN
The press conference is in ten
minutes, so we'll make this short.
(flips open file)
Internal Affairs says this Conklin
has two suspicious shootings on his
record - both black men, both times
he was cleared but only just.
Detective Lewis makes black man number
three. You know any reason why we
shouldn't hang Conklin for this?

GRAHAM
It looks a little more complicated
than we thought. We found over three
hundred thousand dollars in the trunk
of the car Lewis was driving.

FLANAGAN
Shit.
(to Bruce)
Get down to the garage, tell him to
stay there until he hears from me.

Bruce bolts for the door.

KAREN
You found the money in the Mercedes?
I thought that wasn't his car.

GRAHAM
It's registered to a Cyndee Bradley,
we haven't been able to speak to
her, as she "left town" this morning.

FLANAGAN
So, it wasn't Lewis' car. He may
not have even known the money was in
it.

(CONTINUED)
 3/18/04 75.

78 CONTINUED: ( 2) 78

GRAHAM
If you say so.

KAREN
Latasha Harlins, Rodney King, these
names ring a bell, Detective?

GRAHAM
Yeah.

FLANAGAN
We have attorneys for this slain
police officer camping in our offices.
We have his mother and a half-dozen
men of the cloth who swear that Lewis
was one of the twelve apostles of
Christ. We have two black city
councilmen and a congresswoman who
call every hour on the hour demanding
to know what the District Attorney
intends to do about this and you
want him to walk into that press
room and tell them all that the
situation is "complicated"??

A moment of silence, then a decision.

FLANAGAN (CONT'D)
(to Karen)
Give us a minute.

Karen stands, exits.

FLANAGAN (CONT'D)
Who knows about the money?

GRAHAM
You're kidding me, right?

FLANAGAN
There are only two people in this
room.

GRAHAM
(beat)
Myself, my partner and Ferguson in
Internal Affairs.

FLANAGAN
Jim Ferguson?

(CONTINUED)
 3/18/04 76.

78 CONTINUED: ( 3) 78

GRAHAM
Yes.

FLANAGAN
(beat)
Okay. I guess I don't see a problem
here. As it wasn't Lewis' car, the
money isn't clear evidence of any
wrong-doing. Even if it was, we
aren't going to prosecute a dead
man. Which means the money that
Internal Affairs is holding can't
even be considered evidence.

GRAHAM
Well, you can do this dance, but
when the Coroner's report comes in
tomorrow, my bet is it says Detective
Lewis was coked out of his head.

FLANAGAN
Fucking black people, huh?

GRAHAM
... I 1 m sorry?

FLANAGAN
I mean, I know all the sociological
reasons why eighty percent of the
men in prison in this state are
black ... schools are a disgrace,
lack of opportunity, bias in the
judicial system, all that stuff ...
but still it's gotta get to you, I
mean on a gut level, as a black man.
They just can't keep their hands out
of the cookie jar.

Graham laughs at this asshole.

FLANAGAN (CONT'D)
Course you and I know that's not the
truth, but that's the way it always
plays, doesn't it. And assholes
like Lewis just keep feeding the
flames. It's got to get to you.

FLANAGAN (CONT'D)
(beat)
You coach ball down in Compton, am I
right?

(CONTINUED)
 3/18/04 77.

78 CONTINUED: ( 4) 78

GRAHAM
Don't try and pretend you know
anything about me.

FLANAGAN
(opening a file)
Oh, I know more than you think.
(beat)
What do you think those kids need?
To make them believe; to give them
hope? You think they need another
greedy black asshole? Another
drugdealing cop? Or do you think
they need a fallen black hero?

GRAHAM
If you're finished being the black
man's best friend, you want to just
tell me what I'm being offered here?

FLANAGAN
Oddly, the DA's squad is losing its
lead investigator next month. Rick
is quite adamant that his replacement
be a person of color. It's a high
profile position, and he wants to
send the right message to the
community.

GRAHAM
And that message is what, look at
the Black Boy I bought? Thanks for
thinking of me.

FLANAGAN
Actually we were thinking of you
until we saw this.

Flanagan slides a piece of paper out of the file and across

the table toward Graham.

FLANAGAN (CONT'D)
It's a warrant for your brother's
arrest. Twenty-something years old
and already his third felony. Three
Strikes Law, kid's going away for
life for stealing a car. Christ
that's an unfair law. But still, he
had every opportunity you had.
Fucking black people, huh?

(CONTINUED)
 3/18/04 78.

78 CONTINUED: ( 5) 78

GRAHAM
(beat)
So, to make this disappear, all I
have to do is frame an innocent man.

FLANAGAN
What are you, the fucking Defender
of All Things White?! We're talking
about a white man who shot three
black men and you're arguing that
maybe we're not being "fair" to him?!
(beat)
You know what, maybe you're right:
maybe Lewis did provoke this. Maybe
he got what was coming to him. Or
maybe, stoned or not, just being a
black man in the Valley was enough
to get him killed. No one was there
to see who shot first, so there is
no way to know. Which means we could
get this wrong.
(re: warrant)
Maybe that's what happened with your
brother. Maybe we got it wrong.
Maybe Lewis isn't the only one who
deserves the benefit of the doubt.
(beat)
You're the one closest to all this.
You need to tell us. What does your
gut tell you?

Graham looks to Flanagan and struggles with the decision.

79 INT. CRIMINAL COURTS BUILDING CORRIDOR -- DAY 79

Flanagan has disappeared. Reporters hover in the press room

at the far end of the hall. Down at this end Graham and
Karen wait uncomfortably. The stairwell door opens and Rick
approaches.

RICK
So, Graham. What do I tell them?
You tell me, and I'll tell them.

GRAHAM
... Given Detective Conklin's
history ... I'd say it's clear what
happened last night.

RICK
Okay.

(CONTINUED)
 3/18/04 79.

79 CONTINUED: 79

Rick nods and heads for the press room at the end of the
hall. Karen hesitates, almost disappointed, then follows.
Graham watches as Rick shakes hands with a couple of waiting
reporters and then disappears into the cavernous room. We
hold on the open doors and push in.

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

Before I get to why we're here, I
know you may have heard that we had
our car stolen last night. As you
can imagine, my wife is pretty shaken
up, but we're both okay. And Jean
and I appreciate the calls and your
concern.
(beat/fends off
questions)
Now. Just after nine p.m. last
night, Detective William Lewis, an
eight year veteran of the force and
an active member of the black
community was gun downed by a fellow
officer.

Bruce closes the doors.

80 INT. LOUISE'S APARTMENT -- AFTERNOON 80

The thick drapes are pulled tight, it looks like a cave in

here. Graham stands in the kitchen, looking at his mother,
passed out cold on the sofa. The image breaks his heart.
He pushes it out of his mind, turns and places the two Whole
Foods bags down on the counter. He opens Louise's
refrigerator and fills it with groceries.

81 EXT. SHERMANOAKS SIDE STREET -- AFTERNOON 81

Cameron's black Navigator glides to a stop at a quiet

intersection. It's just a stop sign and there's no cross
traffic, so there's no reason for the truck to just sit there.
It should move on. It doesn't.

82 INT. THE NAVIGATOR 82

Cameron sits, oblivious to the fact that he should be driving

forward. He's lost and in pain, and not sure exactly where
he is going. And his impulse is to turn around, go home.
Suddenly his passenger door jerks open and Peter levels his
weapon.

PETER
Get outta the car!

(CONTINUED)
 3/18/04 80.

82 CONTINUED: 82

Anthony shoves his gun in the driver's side window.

ANTHONY
Gimme the keys! Gimme the--

Anthony freezes when he sees Cameron's black face.

ANTHONY (CONT'D)
--what in the fuck?!

PETER
Get outta the car! You deaf? Get
out of the car!

Cameron ignores Peter, ignores the gun Anthony has pointed

in his face - just stares.

ANTHONY
Don't you hear the man? Get out of
the muth-

Cameron flings open his door, sending Anthony flying. As

Cameron steps out:

ANTHONY (CONT'D)
What the fuck are you doing? You
want to get killed, nigga?J

The Navigator starts to roll. Peter scrambles over the seat

to keep the car from driving up onto the lawn, as ...

CAMERON

slams the butt of his palm into Anthony's chest, knocking

him back into the glare of the headlights.

CAMERON
Say that again.

IN THE DRIVER'S SEAT

Stunned by what he sees, Peter jumps out to help.

PETER
Hey!

ANTHONY

trips and lands awkwardly on his ass--

(CONTINUED)
 3/18/04 81.

82 CONTINUED: ( 2) 82

ANTHONY
You stupid mutherfucker!

--aims his gun. Cameron kicks him in the gut.

ANTHONY (CONT'D)
OHHHHH!

Anthony buckles in two. Cameron stomps on his gun hand,

pins it to the ground, and with his other foot kicks Anthony
in the gut, sending him rolling toward the curb.

Cameron ignores the gun on the ground, just stalks Anthony.

ANTHONY (CONT'D)
Jesus Christ!

Peter now has his gun aimed at Cameron's back.

PETER
I'll shoot you! Back off or I'll
shoot you!

Cameron kicks Anthony again.

ANTHONY
AHHH!

PETER
Stop kicking him! I'll shoot you
dead!

ANTHONY
Stop talking and shoot this muther--

Cameron kicks him again. This time Anthony rolls and grabs
Cameron's legs, knocking him down ... and the two men roll in
the street, swinging on each other.

ANTHONY (CONT'D)
Shoot him! Shoot the prick!

The sound of a car passing in the distance makes Peter turn.

A block away he sees ...

A SQUAD CAR

passing through an intersection. It brakes just before it

disappears completely.

(CONTINUED)
 3/18/04 82.

82 CONTINUED: ( 3) 82

PETER

PETER
Cops!

AT THE INTERSECTION

The squad car backs up and stops.

PETER

grabs Cameron and throws him off Anthony.

PETER (CONT'D)
Cops!

Peter takes off. Anthony scrambles after him -- but Cameron

grabs his ankle and twists him back to the ground. Anthony
tries to kick him away. Sees the gun on the street. Reaches
for it as THE SIREN bursts and ...

CAMERON

jerks his head around to see:

THE SQUAD CAR

turn from the intersection and head their way, red lights
flashing.

ANTHONY

makes a break for his gun. Cameron sees what he's doing and
runs for the driver's side.

PETER

jumps a fence. His coat catches, tears. He drops into a

garden and disappears behind the house.

83 INT. NAVIGATOR 83

Anthony leaps into the passenger seat and scrambles for the
wheel. Cameron barely makes it into the driver's seat first
and slams him back to the other side.

ANTHONY
What the fuck you doing?! Get outta
the car!

(CONTINUED)
 3/18/04 83.

83 CONTINUED: 83

CAMERON
Fuck you!

The squad screams up behind them. Over loudspeaker:

OFFICER STONE
Step out of the car!

Cameron stomps on the accelerator--

84 EXT. SHERMAN OAKS SIDE STREET - CONTINUOUS 84

THE NAVIGATOR climbs over the lawn and through two hedges
before finding the street again.

85 INT. SQUAD CAR OFFICER STONE 85

grabs for the radio as his partner, OFFICER HILL, stomps on

the accelerator.

86 INT. NAVIGATOR 86

swerving through the side streets.

ANTHONY
You fucking idiot, get out of the
car!

CAMERON
You get out of the car!

ANTHONY
I'll blow you away! Get outta the
car!

CAMERON
You get out of the car!

ANTHONY
Get the fuck out of the car!

Cameron swerves around a corner.

87 EXT. SIDE STREETS -- AFTERNOON 87

A second squad car joins in the pursuit, pulls in right behind

the Navigator.

88 INT. SECOND SQUAD CAR -- AFTERNOON 88

It's Hansen, reading the plate number into his radio--

(CONTINUED)
 3/18/04 84.

88 CONTINUED: 88

HANSEN
4PCI --
(realizes)
I know this guy.

DISPATCHER'S VOICE
Say again?

89 INT. NAVIGATOR - CONTINUOUS 89

They're still screaming at the top of their lungs:

ANTHONY
Get out of the fucking car!!

CAMERON
You get out of the fucking car!!

ANTHONY
Get out of the fucking car!!

CAMERON
It's my fucking car!

ANTHONY
It's my fucking gun!

Cameron snatches it away from him in one swift stroke.

CAMERON
It's my fucking gun now!

ANTHONY
Give me my fucking gun!

CAMERON
Get out of my car!

Suddenly Cameron slams on the brakes. And

90 EXT. CUL DE-SAC -- CONTINUOUS 90

The NAVIGATOR skids to a stop just inches from the concrete

embankment.

ANTHONY
Cul-de-sacs! Another fucking reason
black people have no business living
in Sherman Oaks!

(CONTINUED)
 3/18/04 85.

90 CONTINUED: 90

HANSEN'S SQUAD CAR

brakes at the entrance to the cul-de-sac. The other squad

goes right past, pulling in behind the Navigator. Stone
grabs the shotgun and he and Hill spring out, guns drawn and
aimed.

OFFICER HILL
Hands in plain sight! Step out of
the vehicle!

IN THE NAVIGATOR

Anthony sees no escape route; slides down in his seat.

CAMERON
Get out of my car!

ANTHONY
You so brave, you get outta the
car!

HANSEN

pulls his sidearm and assumes a backup position.

IN THE NAVIGATOR

Cameron turns to Anthony, who is hunching down in his seat.

OFFICER HILL (O.S.)

Hands in plain sight, step out of
the vehicle!

Cameron pulls up his sweater and jams the handgun into the
belt in the small of his back. He flings open the door and
steps out into ..

THE CUL-DE SAC

CAMERON
This what you want? You want me,
pig fucks?

OFFICER STONE

pumps his shotgun, standing guard as Hill approaches Cameron.

ANTHONY

sinks down deeper in the seat.

(CONTINUED)
 3/18/04 86.

90 CONTINUED: ( 2) 90

HANSEN

takes aim.

OFFICER HILL
Lie face down on the ground, spread
your arms and legs.

CAMERON
No, you lie on the ground, you spread
your arms and legs!

OFFICER HILL
Sir, I need you to lie on the ground.

CAMERON
And I need you on the ground!

ANTHONY

is crouching so low he's almost on the floor.

OUTSIDE

Cameron moves forward until the barrel of Officer Hill's gun

is just inches from his face.

OFFICER HILL
Don't come any closer. Down on
your knees.

CAMERON
Fuck you! You get on your knees!

OFFICER STONE
On your knees, now!

Cameron swivels and redirects his wrath to Officer Stone.

CAMERON
You get on your knees and suck my
dick while you're down there!

HANSEN

watches, sweating, as Cameron is pinched between two cops

and their shotguns.

CAMERON

keeps moving in on Officer Hill.

(CONTINUED)
 3/18/04 87.

90 CONTINUED: ( 3) 90

OFFICER HILL
Do I look like I am fucking joking
with you?

CAMERON
Yeah, you look like a fucking joke!
You look like a bad fucking joke!

OFFICER HILL
This man is making threatening
gestures.

HANSEN

sees exactly how this is gonna end.

CAMERON
This isn't threatening gestures.
You want to see threatening
gestures?!

Hansen holsters his weapon and strides right up between

Cameron and Hill.

HANSEN
I know this man!

OFFICER STONE
Get back!

HANSEN
I know this man!

OFFICER HILL
Get out of the way!

HANSEN
Give me some fucking room, will
you?! I know this man!

CAMERON
(to Hansen)
Who the fuck are you?!

OFFICER STONE
(to Hansen)
Step away!

HANSEN
(to Officer Stone)
Fuck off and give me some room!

(CONTINUED)
 3/18/04 88.

90 CONTINUED: ( 4) 90

OFFICER HILL
Are you fucking nuts? Get out of
the way!

CAMERON
(to Officer Hill)
Fuck you!

Hansen spins on Cameron.

HANSEN
You see what's happening here? You
want to die here?! Is that what
you want?? 'Cause these guys really
want to shoot you, and the way you
are acting they will be completely
fucking justified.

CAMERON
Fuck you.

OFFICER HILL
Step away from him!

HANSEN
(to Cameron)
Fuck me? I'm not the one who is
fucked here! You're the one who is
fucked, 'cause you're the one who
is gonna have his head blown across
the street and onto that man's patio!

OFFICER HILL
Officer Hansen, step away now!

HANSEN
( turns on them)
He's a friend of mine, ok?! He's a
fucking friend of mine! He is not
armed and he is not gonna shoot me
or anybody else! So give me two
fucking seconds here!

Stone and Hill share a look. Hill lowers his weapon and
steps away, really pissed. Stone keeps the shotgun trained.
Hansen steps back to Cameron and speaks softly.

HANSEN (CONT'D)
Are you starting to understand the
situation here?

(CONTINUED)
 3/18/04 89.

90 CONTINUED: ( 5) 90

The shock is wearing off and Cameron is starting to grasp

the insanity of the situation.

CAMERON
... What the fuck you want?

HANSEN
Unless you think your wife is gonna
be better off with a husband who
has a bloody stump for a head, I
want you to sit on that curb, put
your hands on your head and do
nothing until I speak to these
officers.

CAMERON
I'm not putting my hands on my head
or sitting on any fucking curb!

HANSEN
Then stand where you are and keep
your hands in plain sight! Can you
do that?

CAMERON
.... Yeah.

HANSEN
( to other cops)
I've told this man to stay where he
is and keep his hands in plain sight.

Hansen approaches Hill. Stone moves to join in the

conversation.

OFFICER HILL
This man better be related to you
by blood, because this is fuckin'
nuts.

HANSEN
-I need this favor. You can run
his name and license there's no
priors, no warrants. I need to let
him go with a warning.

OFFICER HILL
... What kind of fucking warning?

HANSEN
A harsh warning.

(CONTINUED)
 3/18/04 90.

90 CONTINUED: ( 6) 90

Reads the stunned silence as agreement.

HANSEN (CONT'D)
Thanks.

Hansen walks back to Cameron.

HANSEN (CONT'D)
(angrily)
You've been warned, you understand?
Do you understand me?

Cameron stares back defiantly.

CAMERON
You want to do something to me?
I'm right here.

HANSEN
I am trying to fucking help you.

CAMERON
Did I ask for your help?

HANSEN
(beat)
Go home.

CAMERON
That I can do.

Cameron turns, walks back to the Navigator, opens the door

and climbs in.

ANTHONY

stares at him as if he is a patient from an insane asylum.

Cameron pulls shut his door. Cameron starts the engine as
Hansen turns and walks back to the other cops.

OFFICER HILL
You're writing this up.

The cops get back into their cars as the Navigator pulls out
past them and cruises off.

91 INT. THE NAVIGATOR 91

Anthony stares up from the floor in disbelief, tries to figure

out what in the hell just happened.
 3/18/04 91.

92 EXT. CUL-DE-SAC - HIGH ANGLE 92

The Navigator disappears and the cops back out. As they

pass Hansen, Stone shakes his head. Then they're gone,
leaving Hansen standing alone in the cul de-sac.

93 INT. NAVIGATOR - LATE AFTERNOON 93

Cameron drives down Ventura Blvd. Anthony slowly pulls

himself up into his seat, still trying to figure out what
Cameron's angle is here. Cameron pulls over to the curb.

CAMERON
Look at me.

Cameron hands him back his gun.

CAMERON (CONT'D)
You embarrass me. You embarrass
yourself.

For the first time in his life, Anthony's got nothing to

say. He shoves his gun into his pocket and gets out, and
the Navigator pulls away. He walks off down the sidewalk.

94 EXT. DANIEL'S BUNGALOW- WESTCHESTER -- LATE AFTERNOON 94

Farhad watches in his rearview mirror as Daniel's truck glides

down the street and pulls into his driveway, giving a little
toot of his horn.

95 INT. DANIEL'S BUNGALOW-- CONTINUOUS 95

Lara runs to the window, sees that ...

LARA
Daddy's home!

96 EXT. DANIEL'S BUNGALOW-- CONTINUOUS 96

Farhad opens the door of his Honda and starts across the
street, toward the truck in the driveway, toward Daniel,
walking down the sidewalk. Daniel looks up, momentarily
confused, recognizing Farhad but not remembering from where.

LARA opens the front door as ...

FARHAD raises the pistol and steps right up to Daniel ...

FARHAD
You give my money.

(CONTINUED)
 3/18/04 92.

96 CONTINUED: 96

DANIEL
What? What money?

LARA
Daddy?

DANIEL
(calling)
ELIZABETH! Come get Lara!

LARA
Daddy?

FARHAD
You pay my store! Give my money!
You pay my store!

LARA
Daddy?

DANIEL
You go inside, honey. Elizabeth!!

LARA
Mommy?!

97 INT. DANIEL'S BUNGALOW CONTINUOUS 97

The CAMERA SWOOPS in from the living room to find Elizabeth

washing dishes, unable to hear because of the running water.

98 EXT. DANIEL'S BUNGALOW CONTINUOUS 98

FARHAD
I want money! You give me truck!

DANIEL
It's not my truck!

LARA
Daddy!

DANIEL
Elizabeth! !

99 INT. DANIEL'S BUNGALOW-- CONTINUOUS 99

Elizabeth shuts off the running water, thinking she's heard

something.

(CONTINUED)
 3/18/04 93.

99 CONTINUED: 99

ELIZABETH
What?!

She wipes her hands and heads for the front door, annoyed.

100 EXT. DANIEL'S BUNGALOW-- CONTINUOUS 100

DANIEL
(digging for his wallet)
Here, I got about fifty dollars-

Farhad grabs the wallet and flings it away, money flying.

FARHAD
Fifty dollars?? I lose everything!
You give me truck! You give me
home! You give me everything!

Farhad's whole arm shakes from fear and anger.

101 INT. DANIEL'S BUNGALOW CONTINUOUS 101

As Lara suddenly has a horrible realization ...

LARA DANIEL
(turns to Mom) I don't know what you're
He hasn't got it! talking about, it's not my
house, I don't have that
ELIZABETH kind of money!
(approaching)
Hasn't got what? FARHAD
You lie! Give me
LARA everything!
I have it! He hasn't
got his 'penetrable DANIEL
cloak! You want the truck? It's
not mine! Take it!

Lara bolts out the door. Elizabeth chases after her.

ELIZABETH
Lara? LARA!

102 EXT. DANIEL'S BUNGALOW-- CONTINUOUS 102

Lara almost flies down the walk and across the grass.

LARA FARHAD
Daddy! You lie! You cheat me!
You son-of-a-

(CONTINUED)
 3/18/04 94.

102 CONTINUED: 102

Daniel doesn't see her coming until she's almost upon him,
leaping into his arms. Just as Farhad's finger jerks on the
trigger .... BANG! The bullet hits Lara straight in the back ...

FARHAD (CONT'D) ELIZABETH

(in horror) (running)
AHHHHH. Lara!!!!!

Daniel knows she is dead without even looking. The horror

registers on his face -- and on Farhad's.

But then, Daniel forgot something. Lara's wearing her

impenetrable cloak. Which is why she's able to lift her
head and look into his eyes.

LARA
It's okay, Daddy. I'll protect
you.

DANIEL
What?

Daniel feels her back, no sign of a wound, no sign of a hole,

this is impossible. Elizabeth is right there, throwing her
arms around her daughter and husband. Farhad looks at his
smoking gun. It falls to his side.

ELIZABETH
Baby!

Farhad opens his mouth to apologize but can't say anything.

Daniel just stares at Farhad, then walks his family toward

his house.

LARA
(whispers in his ear)
It's a really good cloak.

He closes the door behind them. Leaving ...

FARHAD

standing on the street, his mind reeling, neighbors staring.

103 INT. POLICE STATION - LOCKER ROOM -- EARLY EVENING 103

Hansen sits on the bench, changing his clothes with the rest
of the cops who are coming off shift. He nods to a passing
black officer.

(CONTINUED)
 3/18/04 95.

103 CONTINUED: 103

HANSEN
How's it going?

The black officer just gives him a look and walks off out
the door. Hansen looks around, sees the last few officers
exit in their civvies, completely ignoring him.

Now alone, Hansen leans back against the wall and watches
the last drop of daylight disappear from the room. And
suddenly he slams his locker closed.

104 INT. RICK AND JEAN'S HOME -- EARLY EVENING 104

Jean pads up the back stairs. She's wearing her workout

clothes and a pair of sweat socks, the cordless phone to her
ear. She heads down the hall carrying a book and a stuffed
animal. She drops off the animal in her son's room and keeps
walking under the following:

JEAN
I sent her for groceries, that was
two hours ago .... Carol, you should
talk, you go through six housekeepers
a year .... I'm not snapping at you,
I'm just angry; I'm sorry ....
(with growing agitation)
Yes, at them! And the police and
Rick and Maria and the dry cleaner
who ruined another blouse and the
gardener who keeps over-watering
the lawn and ....
(stops, grapples with
an explanation)
I just woke up this morning and I
thought I'd feel better. You know?
But I was still mad ... and I realized
... it wasn't about having my car
stolen. That's how I wake up every
morning .... I'm angry all the time.
(at the point of tears)
And I don't know why. Carol, I
don't know why.
(beat/listens)
Yeah, call me back.

She hangs up the phone and heads for the front stairs. Her
foot slips on the top step and she falls.
 3/18/04 96.

105 EXT. FAIRFAX AVE. -- NIGHT lOS

Peter shuffles across the intersection, sticking his thumb

out to try and catch a passing car. It cruises on past. He
turns up his collar and heads up the dark street.

106 INT. RYAN'S ANCIENT AMERICAN SEDAN -- NIGHT 106

Back in his civilian clothes, Ryan cruises up to a stop light

in a dark part of town. The traffic light turns green, but
Ryan doesn't notice, lost in his thoughts. The car behind
him lays on the horn and he takes notice and pulls out.

107 EXT. FAIRFAX AVE. HIGH ANGLE - FURTHER UP THE ROAD 107

A dark patch in the road that twists through the oil fields,
not a car in sight. Peter shoves his hands in his jacket
pocket, feels something, comes out with the gun. He snaps
the revolver open - no bullets. He pitches the cylinder
over the fence, far into the scrub brush, then tosses the
rest of the gun in the other direction and walks on.

108 EXT. VENTURA BLVD. -- NIGHT 108

Anthony stands hitching at a corner of the busy street. No

one is ever gonna pick him up and he knows it. Which is
when he sees:

A BUS

heading in his direction. And ...

ANTHONY

looks away, sees that he's standing at a bus stop. Shit.

As the bus stops and the doors open, Anthony has to make a
decision.

109 INT. HANSEN'S 1993 CROWNVICTORIA -- NIGHT 109

Hansen drives home, barely listening to the country and

western song that plays softly on the radio, his mind on the
night's events.

He passes a hitch hiker but thinks nothing of it, just another

black kid. Something makes him reconsider. He pulls over
and Peter runs up to the car, opens the door and climbs in.

PETER
Really appreciate this.

(CONTINUED)
 3/18/04 97.

109 CONTINUED: 109

HANSEN
No problem.

Being a cop, Hansen can't help checking Peter out.

HANSEN (CONT'D)
Don't usually stop.

PETER
Don't usually hitch.

HANSEN
How long you been out there?

PETER
Hour maybe.

HANSEN
That's a big surprise.

PETER
Yeah, this ain't exactly pick up a
brother territory.

HANSEN
(smiles)
True. So, where you heading?

PETER
Anywhere the other side of the hill.

HANSEN
I'm going to El Segundo.

PETER
El Segundo's cool.

HANSEN
You been there?

PETER
Fuck no.
(a moment)
Good music.

Hansen gives him a look. He doesn't believe that either.

PETER (CONT'D)
No, really. I'm starting to
understand it. Wrote a country
song myself just yesterday.

(CONTINUED)
 3/18/04 98.

109 CONTINUED: (2) 109

HANSEN
I'll bet you did.

PETER
My hand to God.

We notice Hansen is tapping his left leg double time to the

music, a little too fast. The adrenaline is still pumping
through him, and he's fighting it.

PETER (CONT'D)
That's some rhythm you got working.

Hansen gives him a sideways glance; pays a little more

attention to his clothing now, particularly the small tear
in his baggy coat.

HANSEN
So, what was happening in the Valley
tonight?

Hansen notices the mud coating Peter's sneakers.

PETER
Ice skating.

HANSEN
Ice skating?

PETER
Love to skate. Always wanted to be
a goalie.

Hansen forces a chuckle.

PETER (CONT'D)
You think that's funny?

HANSEN
I think you're having fun.

PETER
Whatever.

Peter lets it
go, but it still digs at him. Then he notices
the plastic statue of St. Christopher on the dash. And he
starts to laugh.

HANSEN
Something else funny?

(CONTINUED)
 3/18/04 99.
109 CONTINUED: (3) 109

PETER
(still laughing)
Oh yeah.

HANSEN
So, what's that?

PETER
Just people, man.

HANSEN
People like me?

PETER
No, man, I'm not laughing at you.

HANSEN
Yeah, I can see that. How about
you laugh outside?

PETER
Why you getting all bent outta shape?

HANSEN
I'm not getting bent, just pulling
over.

And he does.

PETER
Come on, man, keep driving, I said
I'm not laughing at you.

HANSEN
And I'm not telling you to get out
of my car.

PETER
Why you being a jerk? Drive the
car.

HANSEN
I gotta better idea, why don't you
get out right now.

PETER
Fine. You want me to show you?
I'll show you.

Peter thrusts his hand deep into his jacket pocket. Hansen
reacts instinctively:

(CONTINUED)
 3/18/04 100.

109 CONTINUED: (4) 10

HANSEN
Take your hand out of your pocket!

PETER
Fuck you.

HANSEN
Put your hands where I can see them!

PETER
Who the fuck do you think you are?

HANSEN
Hands in plain sight!

PETER
You wanna see what's in my hand?!
I'll show you what's in my fucking
hand!

Peter jerks his hand up out of his pocket and Hansen swings
his revolver out with his left hand and fires .... hitting
Peter dead in the chest. Peter looks down at the hole in
his chest, looks at his right hand, opens it to reveal the
plastic statuette.

HANSEN
Oh God. Oh God.

And it's obvious to both of them that Peter is going to die.

And Hansen reaches over for him, and supports his neck as
Peter gurgles blood ... and looks back at Hansen, dumfounded.
And while they look in each other's eyes, Peter dies. And
Hansen panics.

HANSEN (CONT'D)
Oh God. Oh no. Oh God.

His mind racing, Hansen reaches over and opens the passenger
door ... and Peter falls out.

103 EXT. FAIRFAX AVE. HIGH ANGLE CONTINUOUS 103

The Crown Vic disappears into the distance, we tilt up to

see the twinkling city lights below and FADE TO BLACK.

102 INT. HANSEN'S CROWNVIC -- CONTINUOUS 102

Hansen stares straight ahead, his mind gone numb.

 3/18/04 101.

104 OVER BLACK 104

CRASH! Metal crunching, tires skidding, horns blaring.

Then a long silence. Finally:

DETECTIVE CARR (V.O.)

Heard it might snow.

GRAHAM (V.O.)
Get outta here.

DETECTIVE CARR (V.O.)

That's what I heard.

GRAHAM (V.O.)
... What have you got?

DETECTIVE CARR (V.O.)

Dead kid.

We FADE UP to find:

105 EXT. FAIRFAX AVE. - EXTREME HIGH ANGLE SHOT -- NIGHT 105

Graham and Detective Carr at the crime scene. Graham walks

down into the gully.

DETECTIVE CARR
You touch anything and it's yours.

Then Graham spots a SNEAKER in the grass, marked by an

evidence flag. He looks up and sees something that makes
his face turn to ash.

106 INT. RTD BUS - A BARREN PART OF TOWN -- NIGHT 106

Anthony glances out the window at the shuttered stores and

factories. He looks at the other occupants of the bus, an
old black couple and three Hispanic housekeepers, laughing,
in the midst of an animated story. And he thinks "this is
my fucking life." And looks back out the window. And sees
something he recognizes. He yanks at the bell and stands.

107 EXT. CLOSE ON A SET OF CAR KEYS - NIGHT 107

They hang in the lock of the van door, exactly as we last

saw them. Anthony's hand reaches in and turns them.

(CONTINUED)
 3/18/04 102.

107 CONTINUED: 107

ANGLE TO REVEAL ANTHONYAND "THE CHINAMAN'S" PANEL VAN

Anthony climbs in, turns the engine over and drives off down
the deserted street. Smiles.

108 INT. HOSPITAL -- NIGHT 108

Kim Lee, the Korean Woman who rear-ended Ria, frantically

searches the rooms on either side of the hospital corridor-

KIM LEE
Choi Jin Gui! Choi Jin Gui!

A NURSE steps out into her path, stops her.

NURSE HODGES
Can I help you?

KIM LEE
Choi Jin Gui! Choi Jin Gui!

NURSE HODGES
Do you speak English?

KIM LEE
I am speak English, you stupid cow!
My husband name Choi Jin Gui!

109 INT. HOSPITAL WARD -- NIGHT 109

The nurse opens the door and Kim Lee bursts in, hysterical ....

KIM LEE
Jin Gui! Oh God, Jin Gui!

NURSE HODGES
Ma'am--
The nurse gives up and exits and Kim Lee runs to her husband's
bed and throws her arms around him. Choi, "The Chinaman,"
his body bandaged and cast, sees her through drug heavy eyes.

CHOI
... Kim Lee?

KIM LEE
( in Korean)
I thought you were dead -- I called
every hospital.

(CONTINUED)
 3/18/04 103.

109 CONTINUED: 109

CHOI
It's okay, I'm okay.

She kisses him repeatedly, as if barely believing he is alive.

KIM LEE
I went crazy, speeding. I drove
into a car.

CHOI
Oh my God, are you all right?

KIM LEE
(nods, then ... )
Got in big fight with poor woman.
Call her names.

He laughs through the pain.

KIM LEE (CONT'D)

Oh fine, I die from worry, you laugh.

CHOI
(squeezes her hand)
Thank you ... for finding me.

She smiles through tears.

CHOI (CONT'D)
Will you do something for me?

KIM LEE
Anything.

CHOI
Go to the locker.

She walks to the four lockers that line the entrance to the
ward.

CHOI (CONT'D)
The next one.

She finds it, opens it.

CHOI (CONT'D)
In my shirt pocket.

She reaches in, pulls out a check the company check that
the other Korean man gave him in the deli.

(CONTINUED)
 3/18/04 104.

109 CONTINUED: (2) 109

CHOI (CONT'D)
Bring it here.

She does. He motions her to lean close. He folds it into

her hand and whispers into her ear.

CHOI (CONT'D)
(in Korean)
Cash it right away.

110 INT. CITY MORGUE - BASEMENT CORRIDOR -- NIGHT 110

RIA walks slowly along the corridor. Covered bodies on

gurneys line the wall, overflow from the crowded morgue.
She braces herself, then turns and looks back down the
corridor, to see ....

GRAHAMAND LOUISE standing further down the hall in front of

one particular gurney. The female coroner tech flips back
the sheet enough for them to see. Louise's legs buckle.
Her face contorts, her mouth opens, no sound able to escape.

RIA turns away, unable to watch as ...

THE PATHOLOGIST covers the body, offers a sympathetic look

and exits. As she gets closer we realize that she is Dorri,
Farhad's daughter. She approaches the wall phone in the
hall, it's hold light flashing. She answers it quietly.

DORRI
Hello?

111 INT. CITY MORGUE - ADJACENT CORRIDOR -- MOMENTSLATER 111

Graham and Ria lower Louise onto a bench.

LOUISE
My baby, my poor baby.

Ria walks to the nearby dispenser to get Louise some water.

Graham, his face tear-stained, kneels beside his mother.

GRAHAM
Shh. It's ok. Shhhh. I promise
you. I promise you I'll find out
who did this to him.

LOUISE
I already know.

Graham looks back, confused.

(CONTINUED)
 3/18/04 105.

111 CONTINUED: 111

LOUISE (CONT'D)
You did.

His mind reels as he tries to grasp her meaning.

LOUISE (CONT'D)
I asked you to find your brother.
But you were busy. We weren't much
good to you anymore, were we?

As her meaning stabs him in the heart ...

LOUISE (CONT'D)
You got things to do. You go ahead,
I'll sign the papers.

GRAHAM
... Ma?

LOUISE
I just want to wait with my baby.

Graham gets to his feet and somehow finds the strength to

walk down the hall.

LOUISE (CONT'D)
He came home. You know that? My
little boy. When I was sleeping.
He brought me groceries. Last thing
he did.

Graham nods, turns and walks past Ria, barely looking at

her. Ria watches him go, her heart breaking for them.

112 INT. CHOP SHOP -- NIGHT 112

Anthony talks to Lucien. We see the van parked in b.g.

LUCIEN
No, I get it; when I said "get me a
black Lincoln Navigator", you thought
I said "get me a white piece of
shit panel van."

ANTHONY
Just give me whatever.

Georgie opens the back doors.

GEORGIE
Lucien? You should see this.

(CONTINUED)
 3/18/04 106.

112 CONTINUED: 112

Lucien and Anthony step to the rear of the panel van, look
in to see:

A DOZEN OR SO ILLEGAL ALIENS

All Asian; incredibly thin, scared, their clothes filthy and

urine drenched, chained together, men, women and children,
the chain locked to the van with a padlock. Lucien and
Anthony are speechless. Until ...

LUCIEN
I'll take the van.

ANTHONY
They're chained to the van.

LUCIEN
So, I'll take them, too.

ANTHONY
You want to buy these Chinamen?

LUCIEN
Don't be ignorant. They're Thai or
something; entirely different kinda
chinks. How much you want for them?
Georgie, count 'em up.

As Georgie counts:

ANTHONY
What the hell you gonna do with
them?

LUCIEN
Sell 'em, what the hell you think?
I'll give you five hundred a piece
and you can keep the van.

Anthony looks at the Illegals and ...

MARIA (V.O.)
Mister Rick?

113 INT. CRIMINAL COURTS BUILDING - ROTUNDA -- NIGHT 113

Rick shuffles the papers under his arm as as he strains to

hear his cell phone.

RICK
Maria? What's wrong?
 3/18/04 107.

114 INT. RICK & JEAN'S HOME - MASTER BEDROOM-- AT THAT MOMENT 114

MARIA
Mrs. Jean needs to talk to you.

Maria hands the phone to Jean, who sits in bed, her ankle
taped and propped on a pillow.

JEAN
Rick?

RICK
What's wrong?

JEAN
I fell on the stairs.

He pushes the elevator button.

RICK
Are you okay?

JEAN
When I couldn't reach you I called
everyone; Julie and Marg and Suz ....

RICK
(checks his watch/shit)
I'm leaving right now.

JEAN
It's okay, Maria drove me; it's
just a bad sprain. I couldn't get
through to anyone. Carol was the
only one home. She said she couldn't
come, she was having a massage.
She's been my friend ten years.

RICK
The bitch. You okay?

JEAN
Yeah, I'm okay.

115 INT. ROTUNDA - CONTINUOUS 115

Karen steps up beside him at the elevators.

RICK
I'm on my way.

(CONTINUED)
 3/18/04 108.

115 CONTINUED: 115

JEAN (O.S.)
Okay.

A brief look passes from Rick to Karen: it's not going to

happen tonight. She understands. The elevator doors open.

116 INT. RICK & JEAN'S HOME - MASTER BEDROOM - CONTINUOUS 116

Jean puts the phone back on the cradle as Maria returns with
a cup of tea.

MARIA
You want to sit up?

Jean nods. Maria puts the cup down. She wraps her arms
around Jean's shoulders and pulls her up so that Jean's
leaning against the headboard. Maria goes to move away, but
Jean holds on. Her eyes are tearing up.

JEAN
You want to hear something funny? ...
You're the best friend I have.

Maria rubs her back as Jean holds on tight.

117 INT. THE CHINAMAN'S PANEL VAN -- NIGHT 11"

Anthony drives alone in the night, through a desolate part

of town. A slim hand reaches through the chain-link divider
behind the seat, the fingers touch his head. Anthony jerks
his head away. Another tiny hand reaches out and touches
his ear. Anthony swats it away. A third hand reaches to
touch his head, then a fourth, a fifth. Anthony tries to
ignore them now, just keeps his eyes on the road and drives
into the night. Suddenly his face is lit by a distant
fireball reaching into the sky. Anthony turns and looks
across the distant dirt field.

118 EXT. DIRT FIELD NIGHT 118

As the fireball settles, the flames consume a 1993 shit-brown

Crown Victoria. Hansen tosses a gas can into the field and
walks away, silhouetted by the flames. He peels off his
work gloves and stuffs them in his pocket. When we finally
see his face clearly we can tell he is a man destroyed, lost,
no idea how he got here.

119 INT. CORNER MARKET NIGHT 119

Dark, save for the moonlight filtering through the windows.

The glass door opens, Dorri enters.

(CONTINUED)
 3/18/04 109.
119 CONTINUED: 119

The headlights of a passing car reveal Farhad sitting alone

in the empty market, the gun in his hand, his face ashen and
strained.

Dorri crosses to her father, squats before him. He looks

into her eyes, tries to find the words, can't. She stares
down at the gun, fearing the worst.

DORRI
What did you do?
(no answer)
Dad, what did you do?

FARHAD
I shot a little girl.

Dorri gasps.

FARHAD (CONT'D)
She's fine. She isn't hurt. I was
this far from her, I shot her in
the back.

DORRI
Oh my god.

FARHAD
( in Farsi)
She was my firishta.

DORRI
What are you talking about?

FARHAD
My firishta. You don't know your
faith. She was my angel. She saved
me. She saved us all.
(offers her the gun)
Take it. Please.

Dorri takes it.

ANGLE ON THE REGISTER

Dorri opens the hidden compartment, looks in to see the red

box of ammo she placed there. For the first time we're close
enough to read the label: .32 SMITH & WESSON BLANK Black
Powder BLANKS. She slips the box into her purse, checking
to see if her father noticed.
 3/18/04 110.

120 INT. CAMERON'S NAVIGATOR - DARK STREET -- NIGHT 12

Cameron drives, staring ahead. Suddenly he notices something

through the windshield.

HIS POV

Snow falls all around the car. A fire burns in the vacant
lot on the corner just ahead.

CAMERON

doesn't know what the hell he's looking at. He stops the
car.

121 EXT. STREET -- NIGHT 121

Cameron gets out, marvelling at the "snow" falling all around

him. He touches a flake on his white shirt -- it smears
black. Ash. He crosses the street, to where a half a dozen
black kids who should be in bed all dance and play around
the car fire, throwing junk in - cardboard boxes, an old
table, having a heck of a time, as ash rains down all around
them.

Cameron joins them, watching the Crown Victoria burn, watching

the kids laugh and chase each other. He smiles to himself.
His cell phone rings. He checks the readout: HOME.

122 EXT. CAMERONAND CHRISTINE'S BEDROOM-- NIGHT 122

Looking in through their window we see Christine sitting on

the bed in the dark, wearing her sweats, hair wet, looking
scraped and worse for the wear, phone to her ear.

123 WITH CAMERON 123

Staring at the readout. He finally makes the decision and

presses TALK.

CAMERON
(tenderly)
Hi.

124 CHRISTINE 124

Almost cries.

CHRISTINE
(tenderly)
... Hi.
 3/18/04 111.

125 CAMERON 125

Watches the boys play. One of them tosses a broken chair in

the fire. Cameron smiles.

126 CHRISTINE 126

brushes away the tears that fall.

127 EXT./INT. RYAN'S DUPLEX NIGHT 127

Looking in from outside we see Ryan, hands bandaged, helping

his frail and aging father into the bathroom. After some
difficulty he eases him down onto the toilet. Where his
father weeps. No apparent reason, just weeps. And Ryan
kisses his forehead and holds him.

128 EXT./INT. DANIEL'S BEDROOM- NIGHT 128

Lara sleeps in her parents' bed, nestled close to her mother.

Daniel stands at the window, looking out into the night ...
wondering if that bullet is still out there somewhere.

129 EXT./INT. RICK & JEAN'S HOME - KITCHEN - NIGHT 129

Rick locks the kitchen door, the lock we saw Daniel replacing.
Something makes him unlock it and lock it again. And then
he slowly looks up, at the darkness of the yard beyond. And
he stands there, unable to move, now finally alone, all his
fears washing over him.

130 EXT. FAIRFAX AVE. -- NIGHT 130

All that's left is the crime scene tape. Graham stands alone,
in the headlights of his own car. He fingers the cracked
St. Christopher statuette in his hand, then stares out into
the long grass; lost.

131 EXT. CHINATOWN -- NIGHT 131

The streets are busy, but most people just hurry on their
way. The Chinaman's panel van pulls to a stop, a couple
cars back from the light.

Anthony looks around, sees all the Chinese. He puts the van
in park, yanks the keys out of the ignition and walks around
back.

He flings open the back door of the van, stuffs a key in the
padlock and pulls out the chain. The chain slips through
the metal cuffs on their ankles.

(CONTINUED)
 3/18/04 112.

131 CONTINUED: 131

The Illegals stare at him, unmoving.

Anthony yells at them:

ANTHONY
Pull 'em off!

He pries open one of the anklets to show them how. The other
kids follow his example.

ANTHONY (CONT'D)
Come on-come on-come on, this is
America, time is money.

One of the kids steps out of the van, then another.

ANTHONY (CONT'D)
Chop-chop, let's go.

And from there, two dozen wide eyed Illegals step out into
the street and get their first real look at America. They
weave off through traffic, and down the crowded sidewalk.

ONE stops at a fruit and vegetable stand, marvelling at the

variety of produce -- pokes something strange.

ANOTHER TWO step out of the van and find the fish market --
they laugh and finger the fish on ice.

The MARKET OWNER rushes out of his store YELLING in CHINESE

and shooing them away.

ANOTHER COUPLE stop at the store displaying bins of CD's -

and push a stack back and forth like dominoes.

A FRIGHTENED man squats on the sidewalk, his back to a shop

wall, watches the passing faces, nodding hellos to strangers
who ignore him.

A WOMANwalks, stunned and awed by the signs above her, being

jostled and bumped by stern-faced pedestrians.

BACK AT THE VAN

An impatient driver behind the van lays on the horn. The

last few Illegal climbs out of the van. Anthony stuffs a
couple twenties in one man's hand.

ANTHONY (CONT'D)
You split that up. Buy everybody
chop suey, you understand?

(CONTINUED)
 3/18/04 113.

131 CONTINUED: (2) 131

The man walks off into the street.

ANTHONY (CONT'D)
Dopey fucking Chinamen.

Anthony closes the back door, climbs back into the van and
drives off. As he disappears around the corner

A CAR

brakes hard in the extreme foreground and is immediately

REAR ENDED.

THE DRIVER

of the first car climbs out. It's Shaniqua.

SHANIQUA
What in the hell is wrong with you
people?

The two HISPANIC OCCUPANTS of the second car step out and
argue with her in Spanish.

SHANIQUA (CONT'D)
Don't talk to me unless you can
speak American.

A CHINESE STORE OWNER decides to set her straight.

SHANIQUA (CONT'D)
(to store owner)
You mind your own business and
(to Hispanic Driver)
You show me your insurance.
(more argument)
Don't pretend you don't know what
I'm talking about: the word starts
with the letters I-N-S, which is
who I'm gonna call if you don't
hand it over pronto.

And as we rise we see the twisted chaos of the intersection,

the cars and the people and the Illegals disappearing into
the maw of the churning city. And it starts to snow.

FADE OUT

THE END