Quentin Tarantino's
R E S E R V O I R D O G S
October 22, 1990
-----------------
This movie is dedicated to these following sources of
inspiration:
TIMOTHY CAREY
ROGER CORMAN
ANDRE DeTOTH
CHOW YUEN FAT
JEAN LUC GODDARD
JEAN PIERRE MELVILLE
LAWRENCE TIERNEY
LIONEL WHITE
---------------------
RESERVOIR DOGS
1 INT. UNCLE BOB'S PANCAKE HOUSE - MORNING
Eight men dressed in BLACK SUITS, sit around a table at a
breakfast cafe. They are MR. WHITE, MR. PINK, MR. BLUE,
MR. BLONDE, MR. ORANGE, MR. BROWN, NICE GUY EDDIE CABOT,
and the big boss, JOE CABOT. Most are finished eating and
are enjoying coffee and conversation. Joe flips through a
small address book. Mr. Pink is telling a long and
involved story about Madonna.
MR. BROWN
"Like a Virgin" is all about a
girl who digs a guy with a big
dick. The whole song is a
metaphor for big dicks.
MR. BLUE
No it's not. It's about a girl
who is very vulnerable and she's
been over a few times.
Then she meets some guy who's
really sensitive--
MR. BROWN
--Whoa...whoa...time out Greenbay.
Tell that to the
tourists.
JOE
(looking through his
address book)
Toby...who the is Toby?
Toby...Toby...think...think...
think...
MR. BROWN
It's not about a nice girl who
meets a sensitive boy. Now
granted that's what "True Blue" is
about, no argument about that.
MR. ORANGE
Which one is "True Blue?"
NICE GUY EDDIE
You don't remember "True Blue?"
That was a big as
Madonna. , I don't even
follow this Tops In Pops , and
I've at least heard of "True
Blue."
MR. ORANGE
Look, , I didn't say I
ain't heard of it. All I asked
was how does it go? Excuse me
for not being the world's biggest
Madonna fan.
MR. PINK
I hate Madonna.
MR. BLUE
I like her early stuff. You know,
"Lucky Star," "Borderline" - but
once she got into her "Papa Don't
Preach" phase, I don't know, I
tuned out.
MR. BROWN
Hey, all that, I'm
making a point here. You're gonna
make me lose my train
of thought.
JOE
Oh , Toby's that little china
girl.
MR. WHITE
What's that?
JOE
I found this old address book in a
jacket I ain't worn in a coon's
age. Toby what? What the
was her last name?
MR. BROWN
Where was I?
MR. ORANGE
You said "True Blue" was about a
nice girl who finds a sensitive
fella. But "Like a Virgin" was a
metaphor for big dicks.
MR. BROWN
Let me tell ya what "Like a
Virgin"'s about. It's about some
cooze who's a regular
machine.
I mean all the time, morning, day,
night, afternoon, dick, dick,
dick, dick, dick,
dick, dick, dick, dick, dick,
dick.
MR. BLUE
How many dicks was that?
MR. WHITE
A lot.
MR. BROWN
Then one day she meets a John
Holmes mother er, and it's
like, whoa baby. This mother
er's like Charles Bronson in
"The Great Escape." He's diggin
tunnels. Now she's gettin this
serious dick action, she's feelin
something she ain't felt since
forever. Pain.
JOE
Chew? Toby Chew? No.
MR. BROWN
It hurts. It hurts her. It
shouldn't hurt. should
be Bubble-Yum by now. But when
this cat s her, it hurts. It
hurts like the first time. The
pain is reminding a machine
what is was like to be a virgin.
Hence, "Like a Virgin."
The fellas crack up.
JOE
Wong?
MR. BROWN
, wrong. I'm right! What
the do you know about it
anyway? You're still listening to
Jerry- -Vale.
JOE
Not wrong, dumb ass, Wong! You
know, like the Chinese name?
Mr. White snatches the address book from Joe's hand. They
fight, but they're not really mad at each other.
MR. WHITE
Give me this thing.
JOE
What the do you think you're
doin? Give me my book back!
MR. WHITE
I'm sick of in hearin it Joe,
I'll give it back when we leave.
JOE
Whaddaya mean, give it to me when
we leave, give it back now.
MR. WHITE
For the past fifteen minutes now,
you've just been droning on with
names. "Toby...Toby...Toby...
Toby Wong...Toby Wong...Toby
Chung... in Charlie Chan." I
got Madonna's big dick outta my
right ear, and Toby Jap I-don't-
know-what, outta my left.
JOE
What do you care?
MR. WHITE
When you're annoying as hell, I
care a lot.
JOE
Give me my book.
MR. WHITE
You gonna put it away?
JOE
I'm gonna do whatever I wanna do
with it.
MR. WHITE
Well, then, I'm afraid I'm gonna
have to keep it.
MR. BLONDE
Joe, you want me to shoot this
piece for you?
MR. WHITE
, you shoot me in a dream, you
better wake up and apologize.
NICE GUY EDDIE
Have you guys been listening to K-
BILLY's super sounds of the
seventies weekend?
MR. PINK
Yeah, it's reat isn't it?
NICE GUY EDDIE
Can you believe the songs they
been playin?
MR. PINK
No, I can't. You know what I
heard the other day? "Heartbeat -
It's Lovebeat," by little Tony
DeFranco and the DeFranco Family.
I haven't heard that since I was
in fifth rade.
NICE GUY EDDIE
When I was coming down here, I was
playin it. And "The Night the
Lights Went Out in Georgia" came
on. Now I ain't heard that song
since it was big, but when it was
big, I heard it a million-
trillion times. I'm listening to
it this morning, and this was the
first time I ever realized that
the lady singing the song, was the
one who killed Andy.
MR. BROWN
You didn't know Vicki Lawrence
killed the guy?
NICE GUY EDDIE
I thought the cheatin wife shot
Andy.
MR. BLONDE
They say it in the song.
NICE GUY EDDIE
I know, I heard it. I musta zoned
out whenever that part came on
before. I thought when she said
that little sister stuff, she was
talkin about her sister- in-law,
the cheatin wife.
JOE
No, she did it. She killed the
cheatin wife, too.
MR. PINK
You know the part in "Gypsies,
Tramps and Theives," when she says
"Poppa woulda shot his if he knew
what he'd done?" I could never
figure out what he did.
The table laughs. The WAITRESS comes over to the table.
She has the check, and a pot of coffee.
WAITRESS
Can I get anybody more
coffee.
JOE
No, we're gonna be hittin it.
I'll take care of the check.
She hands the bill to him.
WAITRESS
Here ya go. Please pay at the
register, if you wouldn't mind.
JOE
Sure thing.
WAITRESS
You guys have a wonderful day.
They all mutter equivalents. She exits and Joe stands up.
JOE
I'll take care of this, you guys
leave the tip.
(to Mr. White)
And when I come back, I want my
book back.
MR. WHITE
Sorry, it's my book now.
JOE
Blonde, shoot this piece ,
will ya?
Mr. Blonde shoots Mr. White with his finger. Mr White
acts shot. Joe exits.
NICE GUY EDDIE
Okay, everybody cough up green for
the little lady.
Everybody whips out a buck, and throws it on the table.
Everybody, that is, except Mr. Pink.
NICE GUY EDDIE
C'mon, throw in a buck.
MR. PINK
Uh-uh. I don't tip.
NICE GUY EDDIE
Whaddaya mean you don't tip?
MR. PINK
I don't believe in it.
NICE GUY EDDIE
You don't believe in tipping?
MR. BLONDE
(laughing)
I love this kid, he's a madman,
this guy.
MR. WHITE
Do you have any idea what these
ladies make? They make .
MR. PINK
Don't give me that. She don't
make enough money, she can quit.
Everybody laughs.
NICE GUY EDDIE
I don't even know a Jew who'd have
the balls to say that. So let's
get this straight. You never ever
tip?
MR. PINK
I don't tip because society says I
gotta. I tip when somebody
deserves a tip. When somebody
really puts forth an effort, they
deserve a little something extra.
But this tipping automatically,
that 's for the birds. As far
as I'm concerned, they're just
doin their job.
MR. BLUE
Our girl was nice.
MR. PINK
Our girl was okay. She didn't do
anything special.
MR. BLUE
What's something special, take ya
in the kitchen and ?
They all laugh.
NICE GUY EDDIE
I'd go over twelve percent for
that.
MR. PINK
Look, I ordered coffee. Now we've
been here a long in time, and
she's only filled my cup three
times. When I order coffee, I
want it filled six times.
MR. WHITE
What if she's too busy?
MR. PINK
The words "too busy" shouldn't be
in a waitress's vocabulary.
NICE GUY EDDIE
Excuse me, Mr. White, but the last
thing you need is another cup of
coffee.
They all laugh.
MR. PINK
These ladies aren't starvin to
death. They make minimum wage.
When I worked for minimum wage, I
wasn't lucky enough to have a job
that society deemed tipworthy.
NICE GUY EDDIE
Ahh, now we're getting down to it.
It's not just that he's a cheap
--
MR. ORANGE
--It is that too--
NICE GUY EDDIE
--It is that too. But it's also
he couldn't get a waiter job. You
talk like a off dishwasher:
" those s and their
tips."
MR. BLUE
So you don't care that they're
counting on your tip to live?
Mr. White rubs two of his fingers together.
MR. PINK
Do you know what this is? It's
the world's smallest violin,
playing just for the waitresses.
MR. WHITE
You don't have any idea what
you're talking about. These
people bust their ass. This
is a hard job.
MR. PINK
So's working at McDonald's, but
you don't feel the need to tip
them. They're servin ya food, you
should tip em. But no, society
says tip these guys over here, but
not those guys over there. That's
.
MR. ORANGE
They work harder than the kids at
McDonald's.
MR. PINK
Oh yeah, I don't see them cleaning
fryers.
MR. BROWN
These people are taxed on the tips
they make. When you stiff 'em,
you cost them money.
MR. WHITE
Waitressing is the number one
occupation for female non-college
graduates in this country. It's
the one jab basically any woman
can get, and make a living on.
The reason is because of tips.
MR. PINK
all that.
They all laugh.
MR. PINK
Hey, I'm very sorry that the
government taxes their tips.
That's up. But that ain't
my fault. it would appear that
waitresses are just one of the
many groups the government s
in the ass on a regular basis.
You show me a paper says the
government shouldn't do that, I'll
sign it. Put it to a vote, I'll
vote for it. But what I won't do
is play ball. And this non-
college you're telling
me, I got two words for that:
"Learn to in type." Cause if
you're expecting me to help out
with the rent, you're in for a big
in surprise.
MR. ORANGE
He's convinced me. Give me my
dollar back.
Everybody laughs. Joe's comes back to the table.
JOE
Okay ramblers, let's get to
rambling. Wait a minute, who
didn't throw in?
MR. ORANGE
Mr. Pink.
JOE
(to Mr. Orange)
Mr. Pink?
(to Mr. Pink)
Why?
MR. ORANGE
He don't tip.
JOE
(to Mr. Orange)
He don't tip?
(to Mr. Pink)
You don't tip? Why?
MR. ORANGE
He don't believe in it.
JOE
(to Mr. Orange)
He don't believe in it?
(to Mr. White)
You don't believe in it?
MR. ORANGE
Nope.
JOE
(to Mr. Orange)
Shut up!
(to Mr. Pink)
Cough up the buck, ya cheap
, I paid for your goddamn
breakfast.
MR. PINK
Because you paid for the
breakfast, I'm gonna tip.
Normally I wouldn't.
JOE
Whatever. Just throw in your
dollar, and let's move.
(to Mr. WHITE)
See what I'm dealing with here.
Infants. I'm in dealin with
infants.
The eight men get up to leave. Mr. White's waist is in
the F.G. As he buttons his coat, for a second we see he's
carrying a gun. They exit Uncle Bob's Pancake House,
talking amongst themselves.
2 EXT. UNCLE BOB'S PANCAKE HOUSE - DAY
CREDIT SEQUENCE:
When the credit sequence is finished, we FADE TO BLACK:
Over the BLACK we hear the sound of SOMEONE SCREAMING in
agony.
Under the screaming, we hear the sound of a car HAULING
ASS, through traffic.
Over the screams and the traffic noise, we hear SOMEBODY
ELSE SAY:
SOMEBODY ELSE (OS)
Just hold on buddy boy.
Somebody stops screaming long enough to say:
SOMEBODY (OS)
I'm sorry. I can't believe
she killed me. Who would've
in thought that?
CUT TO:
3 INT. GETAWAY GAR (MOVING) - DAY
The Somebody screaming is Mr. Orange. He lies in the
backseat. He's been SHOT in the stomach. BLOOD covers
both him and the backseat.
Mr. White is the Somebody Else. He's behind the wheel of
the getaway car. He's easily doing 80 mph, dodging in and
out of traffic. Though he's driving for his life, he
keeps talking to his wounded passenger in the backseat.
They are the only two in the car.
MR. WHITE
Hey, just cancel that right
now! You're hurt. You're hurt
really bad, but you ain't
dying.
MR. ORANGE
(crying)
All this blood is scaring the
outta me. I'm gonna die, I know
it.
MR. WHITE
Oh excuse me, I didn't realize you
had a degree in medicine. Are you
a doctor? Are you a doctor?
Answer me please, are you a
doctor?
MR. ORANGE
No, I'm not!
MR. WRITE
Ahhhh, so you admit you don't know
what you're talking about. So if
you're through giving me your
amateur opinion, lie back and
listen to the news. I'm taking
you back to the rendezvous, Joe's
gonna get you a doctor, the
doctor's gonna fix you up, and
you're gonna be okay. Now say it:
you're gonna be okay. Say it:
you're gonna be okay!
Mr. Orange doesn't respond. Mr. White starts pounding on
the steering wheel.
MR. WHITE
Say-the-goddamn-words: you're
gonna be okay!
MR. ORANGE
I'm okay.
MR. WHITE
(softly)
Correct.
4 INT. WAREHOUSE - DAY
The CAMERA does a 360 around an empty warehouse. Then the
door swings open, and Mr. White carries the bloody body of
Mr. Orange inside.
Mr. Orange still is MOANING loudly from his bullet hit.
Mr. White lays him down upon a mattress on the floor.
MR. WHITE
Just hold on buddy boy. Hold on,
and wait for Joe. I can't do
anything for you, but when Joe
gets here, which should be anytime
now, he'll be able to help you.
We're just gonna sit here, and
wait for Joe. Who are
we waiting for?
MR. ORANGE
Joe.
MR. WHITE
Bet your sweet ass we are.
Mr. White gets up from over Mr. Orange and starts to prowl
around the warehouse.
MR. ORANGE
(yelling)
Don't leave me!
Mr White bends back over him and takes his hand.
MR. WHITE
I ain't going anywhere. I'm right
here. I'm not gonna leave ya.
MR. ORANGE
Larry, I'm so scared, would you
please hold me.
Mr. White very gently embraces the bloody Mr. Orange.
Cradling the young man, Mr. White whispers to him.
MR. WHITE
(whispering)
Go ahead and be scared, you've
been brave enough for one day. I
want you to just relax now.
You're not gonna die, you're gonna
be fine. When Joe gets here,
he'll make ya a hundred percent
again.
Mr. White lays Mr. Orange back down on the mattress. He's
still holding his hand. Mr. Orange looks up at his
friend.
MR. ORANGE
Look, I don't wanna be a fly in
the ointment, but if help doesn't
come soon, I gotta see a doctor.
I don't give a about jail, I
just don't wanna die.
MR. WHITE
You're not gonna die, all
right?
MR. ORANGE
I wasn't born yesterday. I'm
hurt, and I'm hurt bad.
MR. WHITE
It's not good...
MR. ORANGE
Hey, bless your heart for what
you're trying to do. I was
panicking for a moment, but I've
got my senses back now. The
situation is, I'm shot in the
belly. And without medical
attention, I'm gonna die.
MR. WHITE
I can' take you to a hospital.
MR. ORANGE
jail! I don't give a
about jail. But I can't die. You
don't have to take me in. Just
drive me up to the front, drop me
on the sidewalk. I'll take care
of myself. I won't tell them
anything. I swear to god,
I won't tell 'em anything. Look
in my eyes, look right in my eyes.
(Mr. White does)
I-won't-tell-them-anything.
You'll be safe.
MR. WHITE
Lie back down, and try to--
MR. ORANGE
I'm going to die! I need a
doctor! I'm begging you,
take me to a doctor.
Mr. Orange lays his head back on the mattress. Spent from
his outburst, he quietly mutters to himself:
MR. ORANGE
Take me to a doctor, take me to a
doctor, please.
Suddenly, the warehouse door BURSTS open and Mr.
Pink steps inside.
MR. PINK
Was that a set-up or what?
Mr. Pink sees Mr. Orange on the floor, shot and bloody.
MR. PINK
Oh , Orange got tagged.
Throughout this scene, we hear Mr. Orange moaning.
MR. WHITE
Gun shot.
MR. PINK
Oh that's just great!
Where's Brown?
MR. WHITE
Dead.
MR. PINK
Goddamn, goddamn! How did he die?
MR. WHITE
How the do you think? The
cops shot him.
MR. PINK
Oh this is bad, this is so bad.
(referring to Mr. Orange)
Is it bad?
MR. WHITE
As opposed to good?
MR. PINK
This is so up. Somebody
us big time.
MR. WHITE
You really think we were set up?
MR. PINK
You even doubt it? I don't think
we got set up, I know we got set
up! I mean really, seriously,
where did all those cops come
from, huh? One minute they're not
there, the next minute
they're there. I didn't hear any
sirens. The alarm went off, okay.
Okay, when an alarm goes off, you
got an average of four minutes
response time. Unless a patrol
car is cruising that street, at
that particular moment, you got
four minutes before they can
realistically respond. In one
minute there were seventeen blue
boys out there. All loaded for
bear, all knowing exactly what the
they were doing, and they
were all just there! Remember
that second wave that showed up in
the cars? Those were the ones
responding to the alarm. but
those other mother ers were
already there, they were waiting
for us.
(pause)
You haven't thought about this?
MR. WHITE
I haven't had a chance to think.
First I was just trying to get the
outta there. And after we
got away, I've just been dealin
with him.
MR. PINK
Well, you better start thinking
about it. Cause I, sure as ,
am thinking about it. In fact,
that's all I'm thinking about. I
came this close to just driving
off. Whoever set us up, knows
about this place. There could've
been cops sitting here waiting for
me. For all we know, there's
cops, driving fast, on their way
here now.
MR. WHITE
Let's go in the other room...
The camera creeps along a wall, coming to a corner. We
move past it, and see down a hall.
5 INT. BATHROOM HALLWAY - DAY
At the end of the hall is a bathroom. The bathroom door
is partially closed, restricting our view. Mr. Pink is
obscured, but Mr. White is in view.
MR. PINK (OS)
What the am I doing here? I
felt funny about this job right
off. As soon as I felt it I
should said "No thank you", and
walked. But I never
listen. Every time I ever got
burned buying weed, I always knew
the guy wasn't right. I just felt
it. But I wanted to believe him.
If he's not lyin to me, and it
really is Thai stick, then whoa
baby. But it's never Thai stick.
and I always said if I felt that
way about a job, I'd walk. And I
did, and I didn't, because of
in money!
MR. WHITE
What's done is done, I need you
cool. Are you cool?
MR. PINK
I'm cool.
MR. WHITE
Splash some water on your face.
Take a breather.
We hear the sink running, and Mr. Pink splashing water on
his face.
MR. WHITE
I'm gonna get me my smokes.
Mr White opens the bathroom door, walks down the hall, and
OUT OF FRAME. We see Mr. Pink, his back turned towards
us, bent over the sink. Then he grabs a towels, and dries
his face. Mr White ENTERS FRAME with a pack of
Chesterfields in his hand.
MR. WHITE
Want a smoke?
MR. PINK
Why not?
The two men light up.
MR. WHITE
Okay, let's go through what
happened. We're in the place,
everything's going fine. Then the
alarm gets tripped. I turn around
and all these cops are outside.
You're right, it was like, bam! I
blink my eyes are they're there.
Everybody starts going ape .
Then Mr. Blonde starts shootin all
the--
MR. PINK
--That's not correct.
MR. WHITE
What's wrong with it?
MR. PINK
The cops didn't show up after the
alarm went off. They didn't show
till after Mr. Blonde started
shooting everyone.
MR. WHITE
As soon as I heard the alarm, I
saw the cops.
MR. PINK
I'm telling ya, it wasn't that
soon. They didn't let their
presence be known until after Mr.
Blonde went off. I'm not sayin
they weren't there, I'm sayin they
were there. But they didn't move
in till Mr. Blonde became a
madman. That's how I know we were
set up. You can see that,
can't you, Mr. White?
MR. WHITE
Look, enough of this "Mr White"
--
MR. PINK
--Don't tell me your name, I don't
want to know! I sure as hell
ain't gonna tell ya
mine.
MR. WHITE
You're right, this is bad.
(pause)
How did you get out?
MR. PINK
Shot my way out. Everybody was
shooting, so I just blasted my way
outta there.
CUT TO:
6 EXT. CROWDED CITY STREET - DAY
Mr. Pink is hauling ass down a busy city sidewalk. He has
a canvas bag with a shoulder strap in one hand, and a .357
MAGNUM in the other. If any BYSTANDERS get in his way, he
just knocks them down. We DOLLY at the same speed, right
along side of him.
FOUR POLICEMEN are running after Mr. Pink. We DOLLY with
them.
We DOLLY with a young woman on roller skates. ROLLERGIRL
is plugged into a walkman. We hear the song she's
listening to LOUD over the SOUNDTRACK. She's twirling and
skating backwards to the beat of the song.
Rollergirl turns a corner and COLLIDES with Mr. Pink. The
man and woman CRASH to the ground.
Mr. Pink rolls into the street, in front of a moving car
that SCREECHES to a stop, narrowly avoiding running over
him.
7 INT. CAR (STOPPED) - DAY
The CAMERA is in the backseat. A SHOCKED WOMAN is the
car's driver. Mr. Pink pulls himself up from the hood,
shakes it off, and points his magnum at the driver.
MR. PINK
Get outta the car! Get the
outta the car!
The Shocked Woman starts screaming.
Mr. Pink tries to open the driver's side door, but it's
locked.
MR. PINK
Open the door!
EXTREME C.U. DRIVER'S SIDE WINDOW
Mr. Pink SMASHES it in our face.
8 EXT. STREET - DAY
DOLLY with Cops coming up fast.
Mr. Pink DRAGS the Shocked Woman out of the car.
The Cops reach the corner, guns aimed.
Using the car as a shield, Mr. Pink FIRES three shots at
the Cops.
Everybody HITS the ground, or scatters.
Mr. Pink HOPS in the car.
Cops FIRE.
9 INT. CAR (MOVING) - DAY
CAMERA in the backseat, Mr. Pink FLOORS it. SPEEDING down
the street, with the Cops FIRING after him.
BACK TO:
10 INT. BATHROOM - DAY
Mr. Pink and Mr. White still talking in the bathroom.
MR. PINK
Tagged a couple of cops. Did you
kill anybody?
MR. WHITE
A few cops.
MR. PINK
No real people?
MR. WHITE
Uh-uh, just cops.
MR. PINK
Could you believe Mr. Blonde?
MR. WHITE
That was one of the most insane
things I've ever seen.
Why the would Joe hire
somebody like that?
MR. PINK
I don't wanna kill anybody. But
if I gotta get out that door, and
you're standing in my way, one way
of the other, you're gettin outta
my way.
MR. WHITE
That's the way I look at it. A
choice between doin ten years, and
takin out some stupid
mother er, ain't no choice at
all. But I ain't no madman
either. What the was Joe
thinkin? You can't work with a
guy like that. That mother-
er's unstable. He's a sick
in maniac. We're awful
goddamn lucky he didn't tag us, when
he shot up the place. I came this
close--
(hold up two fingers
and makes a tiny
space between them)
--to taking his ass out myself.
MR. PINK
Everybody panics. When things get
tense, everybody panics.
Everybody. I don't care what your
name is, you can't help it. It's
human nature. But ya panic on the
inside.
Ya panic in your head. Ya give
yourself a couple a seconds of
panic, then you get a grip and
deal with the situation. What you
don't do, is shoot up the place
and kill everybody.
MR. WHITE
What you're supposed to do is act
like a in professional. A
psychopath is not a professional.
You can't work with a psychopath,
'cause ya don't know what those
sick s are gonna do next.
I mean, Jesus Christ, how old do
you think that black girl was?
Twenty, maybe twenty-one?
MR. PINK
Did ya see what happened to
anybody else?
MR. WHITE
Me and Mr. Orange jumped in the
car and Mr. Brown floored it.
After that, I don't know what went
down.
MR. PINK
At that point it became every man
for himself. As far as Mr. Blonde
or Mr. Blue are concerned, I ain't
got the foggiest. Once
I got out, I never looked back.
MR. WHITE
What do you think?
MR. PINK
What do I think? I think the cops
caught them, or killed 'em.
MR. WHITE
Not even a chance they punched
through? You found a hole.
MR. PINK
Yeah, and that was a
miracle. But if they did get
away, where the are they?
MR. WHITE
You don't think it's possible, one
of them got ahold of the diamonds
and pulled a--
MR. PINK
Nope.
MR. WHITE
How can you be so sure?
MR. PINK
I got the diamonds.
MR. WHITE
Where?
MR. PINK
I got 'em, all right?
MR. WHITE
Where? Are they out in the car?
MR. PINK
No, they're not in the car. No, I
don't have them on me. Ya wanna
go with me and get 'em? Yes, we
can go right now. But first
listen to what I'm telling you.
We were in set up! Somebody
is in league with the cops. We
got a Judas in our midst. And I'm
thinkin we should have our in
heads examined for waiting around
here.
MR. WHITE
That was the plan, we meet here.
MR. PINK
Then where is everybody? I say
the plan became null and void once
we found out we got a rat in the
house. We ain't got the slightest
in idea what happened to Mr.
Blonde or Mr. Blue. They could
both be dead
or arrested. They could be
sweatin 'em, down at the station
house right now. Yeah they don't
know the names, but they can sing
about this place.
I mean, that could be happening
right now. As we speak, the cops
could be in their cars, drivin
here this minute.
MR. WHITE
I swear to god I'm in jinxed.
MR. PINK
What?
MR. WHITE
Two jobs back, it was a four man
job, we discovered one of the team
was an undercover cop.
MR. PINK
No ?
MR. WHITE
Thank god, we discovered in time.
We hadda forget the whole in
thing. Just walked away from it.
MR. PINK
So who's the rat this time? Mr.
Blue? Mr. Blonde? Joe? It's
Joe's show, he set this whole
thing up. Maybe he set it up to
set it up.
MR. WHITE
I don't buy it. Me and Joe go
back a long time. I can tell ya
straight up, Joe definitely didn't
have anything to do with this
.
MR. PINK
Oh, you and Joe go back a long
time. I known Joe since I was a
kid. But me saying Joe definitely
couldn't have done it is
ridiculous. I can say I
definitely didn't do it, cause I
know what I did or didn't do. But
I can't definitely say that about
anybody else, 'cause I don't
definitely know. For all I know,
you're the rat.
MR. WHITE
For all I know, you're the in rat.
MR. PINK
Now you're using your head. For
all we know, he's the rat.
Mr. Pink points OFFSCREEN to Mr. Orange. Mr. White's
expression changes.
MR. WHITE
Jesus Christ!
11 INT. WAREHOUSE - DAY
They run over to Mr. Orange, who's unconscious. The
CAMERA hovers over the action. Mr. Pink reaches him
first.
MR. PINK
Is he dead?
Mr. White pushes him out of the way. He feels the pulse
on Mr. Orange's neck.
MR. PINK
So, is he dead or what?
MR. WHITE
He ain't dead.
MR. PINK
So what is it?
MR. WHITE
I think he's just passed out.
MR. PINK
He scared the in outta
me. I thought he was dead fer
sure.
Mr. White stands up and walks over to a table.
MR. WHITE
He will be dead fer sure, if we
don't get him to a hospital.
MR. PINK
We can't take him to a hospital.
MR. WHITE
Without medical attention, this
man won't live through the night.
That bullet in his belly is my
fault. Now while that might not
mean jack to you, it means a
helluva me. And I'm not
gonna just sit around and watch
him die.
MR. PINK
Well, first things first, staying
here's goofy. We gotta book up.
MR. WHITE
So what do you suggest, we go to a
hotel? We got a guy who's shot in
the belly, he can't walk, he
bleeds like a stuck pig, and when
he's awake, he screams in pain.
MR. PINK
You gotta idea, spit it out.
MR. WHITE
Joe could help him. If we can get
in touch with Joe, Joe could get
him to a doctor, Joe could get a
doctor to come and see him.
During Mr. Pink's dialog, we slowly ZOOM in to a
C.U. of Mr. White.
MR. PINK (OS)
Assuming we can trust Joe, how we
gonna get in touch with him? He's
supposed to be here, but he ain't,
which is making me nervous about
being here. Even if Joe is
on the up and up, he's probably
not gonna be that happy with us.
Joe planned a robbery, but he's
got a blood bath on his hands now.
Dead cops, dead robbers, dead
civilians...Jesus Christ! I tend
to doubt he's gonna have a lot of
sympathy for our plight. If I was
him, I'd try and put as much
distance between me and this mess
an humanly possible.
MR. WHITE
Before you got here, Mr. Orange
was askin me to take him to a
hospital. Now I don't like
turning him over to the cops, but
if we don't, he's dead. He begged
me to do it. I told him to hold
off till Joe got here.
MR. PINK (OS)
Well Joe ain't gettin here. We're
on our own. Now, I don't know a
goddamn body who can help him, so
if you know somebody, call 'em.
MR. WHITE
I don't know anybody.
MR. PINK (OS)
Well, I guess we drop him off at
the hospital. Since he don't know
nothin about us, I say it's his
decision.
MR. WHITE'S POV:
C.U. OF MR. PINK.
MR. WHITE (OS)
Well, he knows a little about me.
MR. PINK
You didn't tell him your name, did
ya?
MR. WHITE (OS)
I told him my first name, and
where I'm from.
There is a long silence and a blank look from Mr. Pink,
then he SCREAMS:
MR. PINK
Why!
MR. WHITE (OS)
I told him where I was from a few
days ago. It was just a casual
conversation.
MR. PINK
And what was tellin him your name
when you weren't supposed to?
MR. WHITE (OS)
He asked.
Mr. Pink looks at Mr. White like he's retarded.
MR. WHITE (OS)
We had just gotten away from the
cops. He just got shot. It was
my in fault he got shot. He's
a in bloody mess - he's
screaming. I swear to god, I
thought we was gonna die right
then and there. I'm tryin to
comfort him, telling him not to
worry, he's gonna be okay, I'm
gonna take care of him. And he
asked me what my name was. I
mean, the man was dyin in my arms.
What the was I supposed to
tell him, "Sorry, I can't give out
that information, it's against the
rules. I don't trust you
enough."? Maybe I shoulda, but I
couldn't.
MR. PINK
Oh, I don't doubt is was quite
beautiful--
MR. WHITE (OS)
Don't in patronize me.
MR. PINK
One question: Do they have a sheet
on you, where you told him you're
from?
MR. WHITE (OS)
Of course.
MR. PINK
Well that's that, then. I mean, I
was worried about mug shot
possibilities already. But now he
knows: (a) what you look like, (b)
what your first name is,
(i) where you're from and (d) what
your specialty is.
They ain't gonna hafta show him a
helluva lot of pictures for him to
pick you out. That's it right,
you didn't tell him anything else
that could narrow down the
selection?
MR. WHITE (OS)
If I have to tell you again to
back off, me an you are gonna go
round and round.
Mr. Pink walks out of the C.U. and turns his back on Mr.
White. Mr. White's POV PANS over to him.
MR. PINK
We ain't taking him to a hospital.
MR. WHITE (OS)
If we don't, he'll die.
MR. PINK
And I'm very sad about that. But
some fellas are lucky, and some
ain't.
MR. WHITE (OS)
That in did it!
Mr. White's POV CHARGES toward Mr. Pink.
Mr. Pink turns toward him in time to get PUNCHED hard in
the mouth.
END OF POV
Mr. White and Mr. Pink have a very ungraceful and
realistic fight. They go at each other like a couple of
alley cats.
As Mr. White SWINGS and PUNCHES, he SCREAMS:
MR. WHITE
You little mother er!
Mr. Pink YELLS as he HITS:
MR. PINK
Ya wanna with me?! You wanna
with me?! I'll show you who
you're in with!
The two men end up on the floor KICKING and SCRATCHING.
Mr. White gets Mr. Pink in a HEADLOCK.
Mr. Pink reaches in his jacket for his gun, and pulls it
out.
Mr. White sees this, immediately lets go of Mr. Pink,
and goes for his own weapon.
The two men are on the floor, on their knees, with their
guns outstretched, aiming at one another.
MR. WHITE
You wanna shoot me, you little
piece ? Take a shot!
MR. PINK
, White! I didn't create
this situation, I'm just dealin
with it. You're acting like a
first-year in thief. I'm
actin like a professional. They
get him, they can get you, they
get you, they get closer to me,
and that can't happen. And you,
you mother er, are looking at
me like it's my fault. I didn't
tell him my name. I didn't tell
him where I was from. I didn't
tell him what I knew better than
to tell him. , fifteen
minutes ago, you almost told me
your name. You, buddy, are stuck
in a situation you created. So if
you wanna throw bad looks
somewhere, throw 'em at a mirror.
Mr. Pink lowers his gun and walks towards White.
MR. PINK
So if you wanna shoot somebody,
put that gun in your mouth and
shoot yourself.
Then from OFF SCREEN we hear:
VOICE (OS)
You kids don't play so rough.
Somebody's gonna start crying.
12 INT. WAREHOUSE - DAY - MEDIUM C.U. ON MR. BLONDE
The Voice belongs to the infamous Mr. Blonde.
Mr. Blonde sits on a counter, drinking a fast food coke
and eating a hot dog.
MR. PINK
Mr. Blonde! You okay? We thought
you might've gotten caught. What
happened?
Mr. Blonde doesn't answer, he just hops off the counter
and starts walking around the warehouse, checking the
place out.
He doesn't look at either Mr. Pink or Mr. White, he
just eats his hot dog and sips his coke.
This is making Pink and White nervous as hell. But Mr.
Pink tries to talk through it.
We HANDHOLD follow Mr. Blonde around the warehouse.
MR. PINK
Really, how did you get away?
Mr. Blonde walks the loft. Silent.
MR. PINK
You saw what happened to me,
I found a hole and booked.
Silence.
MR. PINK
Where's Mr. Blue?
Blonde looks in the bathroom.
MR. PINK
We were hopin you two would be
together.
Blonde looks out the window.
MR. PINK
That was the big question we had,
what happened to Mr.
Blue and you?
Blonde walks away from the window.
MR. PINK
We were worried the cops got ya.
Blonde bends down over Mr. Orange.
MR. PINK
He got it in the belly. He's
still alive, but won't be for
long.
MR. WHITE
Enough! You better start talkin
to us, , cause we got
we need to talk about. We're
already freaked out, we need you
actin freaky like we need a in
bag on our hip.
Mr. Blonde looks at his two partners in crime, then moves
towards them.
MR. BLONDE
So, talk.
MR. WHITE
We think we got a rat in the
house.
MR. PINK
I guarantee we got a rat in the
house.
MR. BLONDE
What would ever make you think
that?
MR. WHITE
Is that supposed to be funny?
MR. PINK
We don't think this place is safe.
MR. WHITE
This place just ain't secure
anymore. We're leaving, and you
should go with us.
MR. BLONDE
Nobody's going anywhere.
Silence takes over the room. Mr. Blonde stops moving.
After a few beats the silence is broken.
MR. WHITE
(to Mr. Pink)
Piss on this turd, we're outta
here.
Mr. White turns to leave.
MR. BLONDE
Don't take another step, Mr.
White.
Mr. White explodes, raising his gun and charging towards
Mr. Blonde.
MR. WHITE
, maniac! It's your
in fault we're in so much
trouble.
Mr. Blonde calmly sits down. He looks to Mr. Pink.
MR. BLONDE
(referring to Mr.
White)
What's this guy's problem?
MR. WHITE
What's my problem? Yeah, I gotta
problem. I gotta big problem with
any trigger-happy madman who
almost gets me shot!
MR. BLONDE
What're you talkin about?
MR. WHITE
That in shooting spree in the
store.
MR. BLONDE
'em, they set off the alarm,
they deserve what they got.
MR. WHITE
You almost killed me, ! If
I had any idea what type of guy
you were, I never would've agreed
to work with you.
MR. BLONDE
You gonna back all day, little
doggie, or are you gonna bite?
MR. WHITE
What was that? I'm sorry, I
didn't catch it. Would you repeat
it?
MR. BLONDE
(slowly)
I said: "Are you gonna bark all
day, dog, or are you gonna bite."
MR. PINK
Both of you two s knock it
the off and calm down!
MR. WHITE
(to Mr. Blonde)
So you wanna git bit, huh?
MR. PINK
Cut the , we ain't on a
in playground!
(pause)
I don't believe , both of
you got ten years on me, and I'm
the only one actin like a
professional. You guys act like a
bunch of in s. You ever
work a job with a bunch of
s? They're just like you
two, always fightin, always sayin
they're gonna kill one another.
MR. WHITE
(to Mr. Pink)
You said yourself, you
thought about takin him out.
MR. PINK
Then. That time has passed.
Right now, Mr. Blonde is the only
one I completely trust. He's too
in homicidal to be workin with
the cops.
MR. WHITE
You takin his side?
MR. PINK
sides! What we need is a
little solidarity here.
Somebody's stickin a poker
up our asses and we gotta find out
whose hand's on the handle. Now I
know I'm no piece ...
(referring to Mr.
White)
And I'm pretty sure you're a good
boy...
(referring to Mr.
Blonde)
And I'm in positive you're on
the level. So let's figure out
who's the bad guy.
Mr. White calms down and puts his gun away.
Mr. Blonde returns to the persona we saw at the beginning,
talking about Madonna.
MR. BLONDE
Well, that was sure exciting.
(to Mr. White)
You're a big Lee Marvin fan,
aren't you? Me too. I don't know
about the rest of you fellas, but
my heart's
beatin fast.
(pause for a beat)
Okay you guys, follow me.
Mr. Blonde hops out of his chair and heads for the door.
The other two men just follow him with their eyes.
MR. WHITE
Follow you where?
MR. BLONDE
Down to my car.
MR. WHITE
Why?
MR. BLONDE
It's a surprise.
Mr. Blonde walks out.
13 EXT. WAREHOUSE - DAY
Three cars are parked out front. Mr. Blonde is walking
towards the car he drove. Mr. White and Mr. Pink are
walking behind. The Camera is HANDHELD following behind
them.
MR. PINK
We still gotta get out of here.
MR. BLONDE
We're gonna sit here and wait.
MR. WHITE
For what, the cops?
MR. BLONDE
Nice Guy Eddie.
MR. PINK
Nice Guy Eddie? What makes you
think Nice Guy's anywhere but on a
plane half way to Costa Rica?
MR. BLONDE
Cause I just talked to him. He's
on his way down here, and nobody's
going anywhere till be gets here.
MR. WHITE
You talked to Nice Guy Eddie? Why
the didn't you say that in
the first place?
MR. BLONDE
You didn't ask.
MR. WHITE
Hardy- in-har. What did he
say?
MR. BLONDE
Stay put. Okay, fellas, take a
look at the little surprise I
brought you.
Mr. Blonde opens up the truck of his car. A handcuffed,
uniformed POLICEMAN is curled up inside the trunk.
MR. BLONDE
So while we're waitin for Nice Guy
Eddie, what say we have a little
fun finding out who the rat is.
INSERT: TITLE CARD "MR. BLONDE".
14 INT. JOE CABOT'S OFFICE - DAY
We're inside the office of Joe Cabot. Joe's on the phone,
sitting behind his desk.
JOE
(into phone)
Sid, I'm tellin you don't worry
about it. You had a bad couple of
months, it happens.
(pause)
Sid, Sid, Sid...Stop, you're
embarrassing me. I don't need to
be told what I already know. When
you have bad months, you do what
every business man in the
worlds does, I don't care if he's
Donald Trump or Irving the tailor.
Ya ride it out.
There's a KNOCK on Cabot's office door.
JOE
Come in.
One of Cabot's goons, TEDDY, opens the door and steps
inside. Cabot covers the receiver with his hand and looks
towards the man.
TEDDY
Vic Vega's outside.
JOE
Tell him to come in.
Teddy leaves.
JOE
(into phone)
Sid, a friend of mine's here. I
gotta go.
(pause)
Good enough, bye.
He hangs up the phone, stands, and walks around to the
front of the desk.
Teddy opens the office door, and TOOTHPICK VIC VEGA walks
in.
Toothpick Vic Vega is none other than our very own Mr.
Blonde. Vic is dressed in a long black leather seventies
style jacket.
Joe stands in front of his desk with his arms open.
The two men embrace each other. Teddy leaves, closing the
door behind him.
JOE
How's freedom kid, pretty
ood, ain't it?
VIC
It's a change.
JOE
Ain't that a sad truth. Remy
Martin?
VIC
Sure.
JOE
Take a seat.
Joe goes over to his liquor cabinet. Vic sits in a chair
set in front of Joe's desk.
JOE
(while he pours the
drink)
Who's your parole officer?
VIC
A guy named Koons. Craig Koons.
JOE
How is he?
VIC
in , won't let me leave
the halfway house.
JOE
Never ceases to amaze me. in
jungle bunny goes out there, slits
some old woman's throat for
twenty-five cents. in
gets Doris Day as a parole
officer. But a good fella like
you gets stuck with a ball-bustin
prick.
Joe walks back around his desk and sits in his chair.
Vic swallows some Remy.
VIC
I just want you to know, Joe, how
much I appreciate your care
packages on the inside.
JOE
What the hell did you expect me to
do? Just forget about you?
VIC
I just wanted you to know, they
meant a lot.
JOE
It's the least I could do Vic. I
wish I coulda done more.
(Joe flashes a side
grin at Vic)
Vic. Toothpick Vic. Tell me a
story? What're your plans?
VIC
Well, what I wanna do is go back
to work. But I got this Koons
prick deep . He won't
let me leave the halfway house
till I get some piece job.
My plans have always been to be
part of the team again.
There's a KNOCK at the door.
JOE
Come in.
The door opens and in walks Joe's son, Nice Guy Eddie.
Vic turns around in his seat and sees him.
EDDIE
(to Vic)
I see ya sittin here, but I don't
believe it.
Vic gets out of his seat and hugs Eddie.
EDDIE
How ya doin, Toothpick?
VIC
Fine, now.
EDDIE
I'm sorry man, I shoulda picked
you up personally at the pen.
This whole week's just been crazy.
I've had my head the
entire time.
VIC
Funny you should mention it.
That's what your father and I been
talkin about.
EDDIE
That I should've picked you up?
VIC
No. That your head's been
. I walk through the door and
Joe says "Vic, you're back, thank
god. Finally somebody who knows
what the he's doing. Vic,
Vic, Vic, Eddie, my son, is a
up." And I say "Well, Joe, I
coulda told you that." "I'm
ruined! He's ruining me! My son,
I love him, but he's taking my
business and flushing it down the
in toilet!"
(to Joe)
I'm not tellin tales out of
school. You tell 'im Joe.
Tell 'im yourself.
JOE
Eddie, I hate like hell for you to
hear it this way. But when Vic
asked me how's business, well, you
don't lie to a man who's just done
four years in the slammer for ya.
Eddie bobs his head up and down.
EDDIE
Oh really, is that a fact?
Eddie JUMPS Vic and they fall to the floor.
The two friends, laughing and cussing at each other,
wrestle on the floor of Joe's office.
Joe's on his feet yelling at them.
JOE
(yelling)
Okay, okay, enough, enough!
Playtime's over! You wanna roll
around on the floor, do it in
Eddie's office, not mine!
The two men break it up. They are completely disheveled,
hair a mess, shirttails out. As they get themselves
together, they continue to taunt one another.
EDDIE
Daddy, did ya see that?
JOE
What?
EDDIE
Guy got me on the ground, tried to
me.
VIC
You in wish.
EDDIE
You tried to me in my
father's office, you sick .
Look, Vic, whatever you wanna do
in the privacy of your own home,
go do it. But don't try to
me. I don't think of you that
way. I mean, I like you a lot--
VIC
Eddie, if I was a pirate, I
wouldn't throw you to the crew.
EDDIE
No, you'd keep me for yourself.
Four years in punks in the ass
made you appreciate prime rib when
you get it.
VIC
I might break you, Nice Guy, but
I'd make you my dog's bitch.
You'd be suckin and going
down on a mangy T-bone hound.
EDDIE
Now ain't that a sad sight, daddy,
walks into jail a white man, walks
out talkin like a . It's
all that black semen been shootin
up his butt. It's backed up into
his brain and comes out of his
mouth.
JOE
Are you two finished? We were
talkin about some serious
when you came in Eddie. We got a
big problem we're tryin to solve.
Now Eddie, would you like to sit
down and help us solve it, or do
you two wanna piss fart around?
Playtime is over and Vic and Eddie know it. So they both
take seats in front of Joe's desk.
JOE
Now Vic was tellin me, he's got a
parole problem.
EDDIE
Really? Who's your P.O.?
VIC
Craig Koons.
EDDIE
Koons? Oh , I hear he's a
mother er.
VIC
He is a mother er. He won't
let me leave the halfway house
till I get some piece job.
EDDIE
You're coming back to work for us,
right?
VIC
I wanna. But I gotta show t
I got an honest-to-
goodness job before he'll let me
move out on my own. I can't work
for you guys and be worried about
gettin back before ten o'clock
curfew.
JOE
(to Eddie)
We can work this out, can't we?
EDDIE
This isn't all that bad. We can
give you a lot of legitimate jobs.
Put you on the rotation at Long
Beach as a dock worker.
VIC
I don't wanna lift crates.
EDDIE
You don't hafta lift . You
don't really work there. But as
far as the records are concerned,
you do. I call up Matthews, the
foreman, tell him he's got a new
guy. You're on the schedule. You
got a timecard, it's clocked in
and out for you everyday, and you
get a pay check at the end of the
week. And ya know dock workers
don't do too bad. So you can move
into a halfway decent place
without Koons thinkin "what the
." And if Koons ever wants to
make a surprise visit, you're gone
that day. That day we sent you to
Tustin. We gotta bunch
you needed to unload there.
You're at the Taft airstrip pickin
up a bunch and bringing it
back. Part of your jab is goin
different places - and we got
places all over the place.
JOE
(to Vic)
Didn't I tell ya not to worry?
(to Eddie)
Vic was worried.
EDDIE
Me and you'll drive down to Long
Beach tomorrow. I'll introduce
you to Matthews, tell him what's
going on.
VIC
That's great, guy, thanks a bunch.
(pause)
When do you think you'll need me
for real work?
JOE
Well, it's kinda a strange time
right now. Things are kinda--
EDDIE
--Nuts. We got a big meeting in
Vegas coming up. And we're kinda
just gettin ready for that right
now.
JOE
Let Nice Guy set you up at Long
Beach. Give ya some cash, get
that Koons off your back, and
we'll be talking to ya.
EDDIE
Daddy, I got an idea. Now just
hear it out. I know you don't
like to use any of the boys on
these jobs, but technically, Vic
ain't one of the boys. He's been
gone for four years. He ain't on
no one's list. Ya know he can
handle himself, ya know you can
trust him.
Joe looks at Vic.
Vic has no idea what they're talking about.
JOE
How would you feel about pullin a
heist with about five other guys?
VIC
What's the exposure like?
JOE
Two minutes, tops. It's a tough
two minutes. It's a hold up,
daylight, during business hours,
dealing with a crowd. But you
have the fellas to deal with the
crowd. It's a jewelry store.
They're getting a big shipment of
South African diamonds on a
certain day. They're like a way
station. It's gonna get picked up
the next day and sent to Hamburg.
When you walk through the door,
you'll know right where to go for
the rich stones.
The fellas are good, me and Nice
Guy picked em. Nobody knows
anybody else. Nobody's connected.
I don't use connected guys for
.
VIC
What's the cut?
JOE
Juicy, man, real juicy.
Toothpick Vic smiles.
So does Nice Guy Eddie.
CUT TO:
15 INT. NICE GUY EDDIE'S CAR (MOVING) - DAY
Nice Guy Eddie is driving to the rendezvous talking on his
portable car phone. The sounds of the seventies are
coming out of his car radio in the form of "Love Goes
Where My Rosemary Goes" by Edison Lighthouse.
EDDIE
(into phone)
Hey Dov, we got a major situation
here.
(pause)
I know you know that. I gotta
talk with daddy and find out what
he wants done.
FLASH ON
16 INT. WAREHOUSE - DAY
The Cop is standing in the warehouse with his hands cuffed
behind his back. Mr. White, Mr. Pink and Mr. Blonde
surround him and proceed to beat the out of him.
"Love Grows .." PLAYS over the soundtrack.
17 BACK TO NICE GUY EDDIE
EDDIE
(into phone)
All I know is what Vic told me.
He said the place turned into a
in bullet festival. He took a
cop as hostage, just to get the
out of there.
FLASH ON
18 WAREHOUSE
The three men are stomping the cop into the ground.
19 BACK TO EDDIE
EDDIE
(into phone)
Do I sound like I'm jokin? He's
in driving around with the cop
in his trunk.
(pause)
I don't know who did that. I
don't know who has the loot, if
anybody has the loot. Who's dead,
who's alive, who's caught, who's
not...
I will know, I'm practically
there. But what do I tell these
guys about daddy?
(pause)
You sure that's what he said?
(pause)
Okay, that's what I'll tell em.
CUT TO:
20 EXT. WAREHOUSE - DAY
Three cars belonging to the other guys are parked outside
the warehouse.
Eddie drives his car up to the warehouse. He gets out of
the car, looks at the other cars parked outside.
EDDIE
(to himself)
s.
Eddie makes a beeline for the front door, BANGS it open,
and steps inside the warehouse.
21 INT. WAREHOUSE - DAY
The robbers have the cop tied to a chair and are still
WAILING on him.
Nice Guy Eddie walks in and everybody jumps.
EDDIE
What in Sam Hill is goin on?
Mr. Pink and Mr. White speak together.
MR. PINK MR. WHITE
Hey, Nice Guy, we got a You're askin what's goin
cop. on? Where the is
Joe?
Nice Guy sees Mr. Orange.
EDDIE
Holy , this guy's all
up!
MR. WHITE
No , he's gonna in die on
us if we don't get him taken care
of.
MR. PINK
We were set up, the cops were
waiting for us.
EDDIE
What? Nobody set anybody up.
MR. PINK
The cops were there waitin for us!
EDDIE
.
MR. PINK
Hey, man, you weren't
there, we were. And I'm tellin
ya, the cops had that store staked
out.
EDDIE
Okay, Mr. Detective, who did it?
MR. PINK
What the d'you think we've
been askin each other?
EDDIE
And what are your answers? Was it
me? You think I set you up?
MR. PINK
I don't know, but somebody did.
EDDIE
Nobody did. You s turn the
jewelry store into a wild west
show, and you wonder why cops show
up.
MR. BLONDE
Where's Joseph?
EDDIE
I ain't talked to him. I talked
to Dov. Dov said he's comin out
here, and he's .
MR. PINK
(to Mr. White)
I told ya he'd be .
MR. WHITE
(pointing to Mr.
Orange)
What are you gonna do about him?
EDDIE
Jesus Christ, give me a in
chance to breathe. I got a few
questions of my own, ya know.
MR. WHITE
You ain't dying, he is.
EDDIE
I'll call somebody.
MR. WHITE
Who?
EDDIE
A snake charmer, what the
d'you think. I'll call a doctor,
take care of him, fix 'm right up.
No, where's Mr. Brown and Mr.
Blue?
MR. PINK
Brown's dead, we don't know about
Blue.
EDDIE
Nobody saw what happened to Mr.
Blue?
MR. BLONDE
Well, he's either dead or he's
alive or the cops got him or they
don't.
DOLLY to MEDIUM on the cop.
EDDIE (OS)
I take it this is the you
told me about.
(referring to the
cop)
Why the hell are you beating on
him?
MR. PINK
So he'll tell us who the set
us up.
EDDIE
Would you stop it with that !
You beat on this prick enough,
he'll tell ya he started the
Chicago fire. That don't
necessarily make it so. Okay,
first things last, where's
the ? Please tell me somebody
brought something
with them.
MR. PINK
I got a bag. I stashed it till I
could be sure this place wasn't a
police station.
EDDIE
Well, let's go get it. We also
gotta get rid of all those cars.
It looks like Sam's hot car lot
outside.
(pointing to Mr.
Blonde)
You stay here and babysit Orange
and the cop.
(referring to Mr.
Pink and Mr. White)
You two take a car each, I'll
follow ya. You ditch it, I'll
pick you up, then we'll pick up
the stones. And while I'm
following you, I'll arrange for
some sort of a doctor for our
friend.
MR. WHITE
We can't leave these guys with
him.
Meaning Mr. Blonde.
EDDIE
Why not?
Mr. White crosses to Mr. Blonde.
MR. WHITE
Because this guy's a
psycho. And if you think
Joe's at us, that
ain't nothing compared to how
off I am at him, for puttin
me in the same room as this
.
MR. BLONDE
(to Eddie)
You see what I been puttin up
with? As soon as I walk through
the door I'm hit with .
I tell 'm what you told me about
us stayin put and Mr. White whips
out his gun, sticks it in my face,
and starts screaming "You
mother er, I'm gonna blow you
away, blah, blah, blah."
MR. WHITE
He's the reason the place turned
into a shooting gallery.
(to Mr. Pink)
What are you, a silent partner?
in tell him.
MR. PINK
He seems all right now, but he
went crazy in the store.
MR. WHITE
This is what he was doin.
Mr. White acts out Mr. Blonde shooting everybody in the
store.
MR. BLONDE
I told 'em not to touch the alarm.
They touched it. I blew 'em full
of holes. If they hadn't done
what I told 'em not it, they'd
still be alive.
MR. WHITE
That's your excuse for going on a
kill crazy rampage?
MR. BLONDE
I don't like alarms.
EDDIE
What does it matter who stays with
the cop? We ain't lettin him go.
Not after he's seen everybody.
You should've never took him outta
your trunk in the first place.
MR. PINK
We were trying to find out what he
knew about the set up.
EDDIE
There is no in set up!
(Eddie takes charge)
Look, this is the news. Blondie,
you stay here and take care of
them two. White and Pink come
with me, 'cuz if Joe gets here and
sees all those cars
parked out front, he's going to be
as mad at me as he is at you.
Eddie, Mr. White and Mr. Pink walk out of the warehouse
talking amongst themselves.
22 INT. WAREHOUSE - DAY - MR. BLONDE AND COP
Mr. Blonde closes the door after them. He then slowly
turns his head towards the cop.
MR. BLONDE
Alone at last.
C.U. COP'S FACE.
MR. BLONDE (OS)
Now where were we?
COP
I told you I don't know anything
about any set up. I've
only been on the force eight
months, nobody tells me anything!
I don't know anything! You can
torture me if you want--
MR. BLONDE (OS)
--Thanks, don't mind if I do.
COP
Your boss even said there wasn't a
set up.
MR. BLONDE (OS)
First off, I don't have a boss.
Are you clear about that?
He SLAPS the cop's face.
MR. BLONDE (OS)
I asked you a question. Are you
clear about that?
COP
Yes.
MR. BLONDE (OS)
Now I'm not gonna you. I
don't really care about what you
know or don't know. I'm gonna
torture you for awhile regardless.
Not to get information, but
because torturing a cop amuses me.
There's nothing you can say,
there's nothing you can do.
Except pray for death.
He puts a piece of tape over the cop's mouth.
COP'S POV
Mr. Blonde walks away from the cop.
MR. BLONDE
Let's see what's on K-BILLY'S
"super sounds of the seventies"
weekend.
He turns on the radio.
Stealer's Wheel' "Stuck in the Middle with You" PLAYS
over the speaker.
NOTE: This entire sequence is timed to the music.
Mr. Blonde slowly walks toward the cop.
He opens a large knife.
He grabs a chair, places it in front of the cop and sits
in it.
Mr. Blonde just stares into the cop's/our face, holding
the knife, singing along with the song.
Then, like a cobra, he LASHES out.
A SLASH across the face.
The cop/camera moves around wildly.
Mr. Blonde just stares into the cop's/our face, singing
along with the seventie .
Then he reaches out and CUTS OFF the cop's/our ear.
The cop/camera moves around wildly.
Mr. Blonde holds the ear up to the cop/us to see.
Mr. Blonde rises, kicking the chair he was sitting on out
of the way.
23 INT./EXT. WAREHOUSE - DAY - HANDHELD SHOT
We follow Mr Blonde as he walks out of the warehouse...
...to his car. He opens the trunk, pulls out a large can
of gasoline.
He walks back inside the warehouse...
24 INT. WAREHOUSE - DAY
...carrying the can of gas.
Mr. Blonde POURS the gasoline all over the cop, who's
BEGGING him not to do this.
Mr. Blonde just sings along with Stealer's Wheel.
Mr. Blonde LIGHTS up a match and, while mouthing:
MR. BLONDE
"Clowns to the left of me,
Jokers to the right. Here I am,
stuck in the middle with you."
He moves the match up to the cop...
...When a bullet EXPLODES in Mr. Blonde's chest.
The HANDHELD camera WHIPS to the right and we see the
bloody Mr. Orange FIRING his gun.
We cut back and forth between Mr. Blonde taking BULLET
HITS and Mr. Orange emptying his weapon.
Mr. Blonde FALLS down dead.
Mr. Orange crawls to where the cop is, leaving a bloody
trail behind him.
When he reaches the cop's feet he looks up at him.
MR. ORANGE
(feebly)
What's your name?
COP
Jeffrey.
MR. ORANGE
Jeffrey what?
COP
Jeffrey Andrews.
MR. ORANGE
Listen to me, Jeffrey
Andrews. I'm a cop.
JEFFREY
I know.
MR. ORANGE
(surprised)
You do?
JEFFREY
Your name's Freddy something.
MR. ORANGE
Freddy Newendyke.
JEFFREY
Frankie Ferchetti introduced us
once, about five months ago.
MR. ORANGE
. I don't remember that at
all.
JEFFREY
I do.
(pause)
How do I look?
The gun-shot Mr. Orange looks at the kid's GASHED face and
the hole in the side of his head where his ear used to be.
MR. ORANGE
I don't know what to tell you
Jeffrey.
Jeffrey starts to weep.
JEFFREY
That ! That
sick !
MR. ORANGE
Jeffrey, I need you to hold on.
There's officers positioned and
waiting to move in a block away.
JEFFREY
(screaming)
What the are they waiting
for? That mother er cut off my
ear! He slashed my face! I'm
deformed!
MR. ORANGE
And I'm dying. They don't know
that. All they know is they're
not to make a move until Joe Cabot
shows up. I was sent undercover
to get Cabot. You heard 'em, they
said he's on his way. Don't
out on me now, Jeffrey. We're
just gonna sit here and bleed
until Joe
Cabot sticks his in head
through that door.
CUT TO:
INSERT: TITLE CARD "MR. ORANGE & MR. WHITE"
25 INT. DENNY'S - NIGHT
A tough-looking black man named HOLDAWAY, who sports a
Malcom X beard, a green Chairman Mao cap with a red star
on it, and a military flack jacket, digs into a Denny
bacon, cheese and avocado burger. He sits in a booth all
alone. He's waiting for somebody. As he waits, he
practically empties an entire bottle of ketchup on his
french fries, not by mistake either--that's just how he
likes it.
We see Mr. Orange, now known as FREDDY NEWENDYKE, wearing
a high school letterman jacket, enter the coffee shop,
spot Holdaway, and head his way. Holdaway sees Freddy bop
towards him with a wide-ass alligator grin plastered
across his face.
CAMERA DOLLIES FAST down AISLE to MEDIUM SHOT of Holdaway.
We fear Freddy OFF SCREEN.
FREDDY (O.S.)
Say "hello" to a mother er
who's inside. Cabot's doing a job
and take a big fat guess who he
wants on the team?
HOLDAWAY
This better not be some Freddy
joke.
LOW ANGLE
looking up at Freddy, who's standing at the table.
FREDDY
It ain't no joke, I'm in there.
I'm .
CU ON HOLDAWAY
Holdaway just looks at his pupil for a moment, then
smiles.
HOLDAWAY
Congratulations.
26 EXT. DENNY'S - NIGHT
We see through the window of the restaurant Freddy slide
into the booth across from Holdaway. Freddy's doing a lot
of talking, but we can't hear what they're saying.
27 INT. DENNY'S - NIGHT
FREEZE FRAME ON HOLDAWAY
We are frozen on a MEDIUM CU of Holdaway listening to
Freddy. We HEAR RESTAURANT NOISE and Freddy OFF SCREEN.
FREDDY (O.S.)
Nice Guy Eddie tells me Joe wants
to meet me. He says I should just
hang around my apartment and wait
for a phone call. Well after
waiting three goddamn days by the
in phone, he calls me last
night and says Joe's ready, and
he'll pick me up in fifteen
minutes.
The freeze frame ENDS. Holdaway comes suddenly up to
speed and says:
HOLDAWAY
Woo all picked you up?
From here to end we cut back and forth.
FREDDY
Nice Guy. When we got to the
bar...
HOLDAWAY
...What bar?
FREDDY
The Boots and Socks in Gardena.
When we got there, I met Joe and a
guy named Mr. White. It's a phony
name. My name's Mr. Orange.
HOLDAWAY
You ever seen this mother er
before?
FREDDY
Who, Mr. White?
HOLDAWAY
Yeah.
FREDDY
No, he ain't familiar. He ain't
one of Cabot's soldiers either.
He's gotta be from outta town.
But Joe knows him real well.
HOLDAWAY
How can you tell?
FREDDY
The way they talk to each other.
You can tell they're buddies.
HOLDAWAY
Did the two of you talk?
FREDDY
Me and Mr. White?
HOLDAWAY
Yeah.
FREDDY
A little.
HOLDAWAY
What about?
FREDDY
The Brewers.
HOLDAWAY
The Milwaukee Brewers?
FREDDY
Yeah. They had just won the night
before, and he made a killing off
'em.
HOLDAWAY
Well, if this crook's a Brewers
fan, his ass has gotta be from
Wisconsin. And I'll bet you
everything from a diddle-eyed Joe
to a damned-if-I-know, that in
Milwaukee they got a sheet on this
Mr. White mother er's ass. I
want you to go through the mugs of
guys from old Milwaukee with a
history of armed robbery, and put
a name to that face.
Holdaway takes a big bite out of his burger.
HOLDAWAY
(with his mouth full)
What kinds questions did Cabot
ask?
FREDDY
Where I was from, who I knew, how
I knew Nice Guy, had I done time,
like that.
Holdaway's talked enough, he's eating his burger now. He
motions for Freddy to elaborate.
FREDDY
He asked me if I ever done armed
robbery before. I read him my
credits. I robbed a few gas and
sips, sold some weed, told him
recently I held the shotgun while
me and another guy pulled down a
poker game in Portland.
CAMERA MOVES from a MEDIUM on Freddy to a CU.
HOLDAWAY (O.S.)
Didja use the commode story?
FREDDY
in-A. I tell it real good,
too.
28 INT. MEN'S ROOM - L.A. TRAIN STATION - NIGHT
Freddy and Holdaway at one of their many rendezvous.
Holdaway wears an extra large Lakers sweatshirt. Freddy
sits on one of the sinks, wearing his high school jacket,
looking at pieces of paper stapled together.
FREDDY
What's this?
HOLDAWAY
It's a scene. Memorize it.
FREDDY
What?
HOLDAWAY
A undercover cop has got to be
Marlon Brando. To do this job you
got to be a great actor. You got
to be naturalistic. You got to be
naturalistic as hell. If you
ain't a great actor you're a bad
actor, and bad acting is
in this job.
FREDDY
(referring to the
papers)
But what is this?
HOLDAWAY
It's a amusing anecdote about a
drug deal.
FREDDY
What?
HOLDAWAY
Something funny that happened to
you while you were doing a job.
FREDDY
I gotta memorize all ?
HOLDAWAY
It's like a joke. You remember
what's important, and the rest you
make your own. The only way to
make it your own is to keep sayin
it, and sayin it, and sayin it,
and sayin it, and sayin it.
FREDDY
I can do that.
HOLDAWAY
The things you gotta remember are
the details. It's the details
that sell your story. Now this
story takes place in this men's
room. So you gotta know the
details about this men's room.
You gotta know they got a blower
instead of a towel to dry your
hands. You gotta know the stalls
ain't got no doors. You gotta
know whether they got liquid or
powdered soap, whether they got
hot water or not, 'cause if you do
your job when you tell your story,
everybody should believe it. And
if you tell your story to somebody
who's actually taken a piss in
this men's room, and you get one
detail they remember right,
they'll swear by you.
29 INT. FREDDY'S APARTMENT - DAY
Freddy paces back and forth, in and out of frame,
rehearsing the anecdote. He's reading it pretty good, but
he's still reading it from the page, and every once in a
while he stumbles over his words.
FREDDY
...this was during the Los Angeles
marijuana drought of '86. I still
had a connection. Which was
insane, 'cause you couldn't get
weed any inwhere then. Anyway,
I had a connection with this
hippie chick up in Santa Cruz.
All and my friends knew it. And
they'd give me a call and say,
"Hey, Freddy, you buyin some, you
think you could buy me some too?"
They knew I smoked, so they'd ask
me to buy a little for them when I
was buyin. But it got to be
everytime I bought some weed, I
was buyin for four or five
different people. Finally I said,
" ." I'm makin this
bitch rich. She didn't have to do
jack , she never even had to
meet these people. I was in
doin all the work. So I got
together with her and told her,
"Hey, I'm sick of . I'm
comin through for everybody, and
nobody's comin through for me.
So, either I'm gonna tell all my
friends to find their own source,
or you give me a bunch of weed,
I'll sell it to them, give you the
money, minus ten percent, and I
get my pot for free." So, I did
if for awhile...
Freddy exits frame
CUT TO:
30 EXT. PARKING LOT - DAY
Another empty frame, except obviously outside. Freddy
enters frame from the same direction he exited in the
previous scene, finishing his sentence. When we move to a
wider shot we see Freddy performing his monolog to
Holdaway in a parking lot. Holdaway sits on the hood of
his beat-up car. Freddy paces back and forth as he
performs his story.
FREDDY
...but then that got to be a pain
in the ass. People called me on
the phone all the in time. I
couldn't rent a in tape
without six phone calls
interrupting me. "Hey, Freddy,
when's the next time you're gettin
some?" "Mother er, I'm tryin
to watch 'Lost Boys'-- when I have
some, I'll let you know." And
then these rinky-dink pot heads
come by--there's my friends and
everything, but still. I got all
my laid out in sixty dollar
bags. Well, they don't want sixty
dollars worth. They want ten
dollars worth. Breaking it up is
a major in pain in the ass. I
don't even know how much ten
dollars worth is. "Well, ,
man, I don't want that much
around. If I have that much
around I'll smoke it." "Hey, if
you guys can't control your
smokin, that's not my problem.
You mother ers been smokin for
five years, be a adult about it."
Finally I just told my connection,
count me out. But as it turns
out, I'm the best guy she had, and
she depended alot on my business.
But I was still sick to death of
it. And she's trying to talk me
into not quitin.
Now this was a very weird
situation, 'cause I don't know if
you remember back in '86, there
was a major in drought.
Nobody and anything. People were
livin on resin and smokin the wood
in their pipes for months. And
this chick had a bunch, and was
beggin me to sell it. So I told
her I wasn't gonna be Joe the Pot
Man anymore. But I would take a
little bit and sell it to my
close, close, close friends. She
agreed to that, and said we'd keep
the same arrangement as before,
ten percent and free pot for me,
as long as I helped her out that
weekend. She had a brick of weed
she was sellin, and she didn't
want to go to the buy alone...
CUT TO:
31 INT. BOOTS AND SOCKS BAR - NIGHT
Freddy, Joe, Nice Guy Eddie and Mr. White all sit around a
table in a red-lighted smokey bar. Freddy continues his
story. The crooks are enjoying the hell out of it.
FREDDY
...Her brother usually goes with
her, but he's in county
unexpectedly.
MR. WHITE
What for?
FREDDY
Traffic tickets gone to warrant.
They stopped him for something,
found the warrants on 'im, took
'im to jail. She doesn't want to
walk around alone with all that
weed. Well, I don't wanna do
this, I have a bad feeling about
it, but she keeps askin me, keeps
askin me, finally I said okay
'cause I'm sick of listening to
it. Well, we're picking this guy
up at the train station.
JOE
You're picking the buyer up at the
train station? You're carrying
the weed on you?
FREDDY
Yeah, the guy needed it right
away. Don't ask me why. So we
get to the train station, and
we're waitin for the guy. Now I'm
carrying the weed in one of those
carry-on bags, and I gotta take a
piss. So I tell the connection
I'll be right back, I'm goin' to
the little boys room...
CUT TO:
32 INT. MEN'S ROOM - TRAIN STATION - DAY
MEDIUM ON FREDDY
He walks through the door with a carry-on bag over his
shoulder. Once he's inside, he stops in his tracks. We
move into a CU.
FREDDY (V.O.)
...So I walk into the men's room,
and who's standing there?
FREEZE FRAME
on Freddy standing in front of six Los Angeles County
Sheriffs and one German Shepherd. All of their eyes are
on Freddy. Everyone is frozen.
FREDDY (V.O.)
...six Los Angeles County Sheriffs
and a German Shepherd.
NICE GUY EDDIE (V.O.)
They were waiting for you?
FREDDY (V.O.)
No. They were just a bunch of
cops hangin out in the men's room,
talkin. When I walked through the
door they all stopped what they
were talking about and looked at
me.
33 BACK TO BAR
ECU MR. WHITE
MR. WHITE
That's hard, man. That's a in
hard situation.
34 BACK TO MEN'S ROOM
ECU GERMAN SHEPHERD
barking his head off.
FREDDY (V.O.)
The German Shepherd starts
barkin'. He's barkin' at me. I
mean it's obvious he's barkin' at
me.
We do a slow 360 around Freddy in the men's room. We can
hear the dog barking.
FREDDY (V.O.)
Every nerve ending, all of my
senses, the blood in my veins,
everything I has was screaming,
"Take off, man, just take off, get
the outta there!" Panic hit
me like a bucket of water. First
there was the shock of it--BAM,
right in the face! Then I'm just
standin there drenched in panic.
SLOW MOTION
CAMERA does a PAN from face to face of the sheriffs.
FREDDY (V.O.)
And all those sheriffs are lookin
at me and they know. They can
smell it. As sure as that in
dog cam, they can smell it on me.
FREEZE FRAME
Back to the same freeze frame shot of Freddy standing in
front of the sheriffs. It suddenly jerks to life, and
moves to speed. The dog is barking. Freddy moves to his
right, out of frame. We stay on the sheriffs. One
sheriff yells at the dog.
SHERIFF #1
Shut up!
The dog quiets down. Sheriff #2 continues with his story.
A couple of the sheriffs look over at Freddy off screen,
but as Sheriff #2 talks, turn their attention to him.
SHERIFF #2
So my gun's drawn, right? I got
it aimed right at him. I tell
'em, "Freeze, don't in move."
And the little idiot's lookin at
me, nodding his head "Yes," sayin
"I know...I know...I know."
Meanwhile his right hand is
creepin towards his glove box. So
I scream at him, " , you
better in freeze right now!"
And he's still lookin right at me,
saying
"I know...I know...I know." And
his right hand's still going for
the glove box.
The CAMERA PANS away from the sheriffs to Freddy, up
against the urinal, playing possum, pretending to piss.
SHERIFF #2 (O.S.)
I tell 'im, "Buddy, I'm gonna
shoot you in the face right now if
you don't put your hands on the
in dash." And the guy's
girlfriend, a real Oriental
bitch, starts screamin at him,
"Chuck, are you out of your mind?
Put your hands on the dash like
the officer said." And then like
nothing, the guy snaps out of it
and casually puts his hands on the
dash.
Freddy finishes his playing possum piss, and walks past
the sheriffs over to the sink. The CAMERA PANS with him.
A sheriff is sitting on a sink. He looks down and watches
Freddy wash his hands.
SHERIFF #1
What was he goin for?
SHERIFF #2
His registration. Stupid in
citizen, doesn't have the
slightest idea how close he came
to gettin shot.
Freddy finishes washing his hands. He goes to dry them,
but there's only those hand drying machines. Freddy turns
on the drying machine. He can't hear anything the
sheriffs say now. The sound of the machine dominates the
sound track.
These following shots are SLOW MOTION.
CU OF FREDDY
CU of his HANDS, rubbing each other getting blown dry
SHOT OF SHERIFFS talking. We can't hear them because of
the machine.
CU OF MACHINE
MEDIUM OF SHERIFF ON SINK, smoking a cigarette, glancing
over at Freddy.
CU OF GERMAN SHEPHERD
Machine turns off.
CUT TO:
35 INT. OFFICE - DAY
CU MUG SHOT OF MR. WHITE
FREDDY (OS)
That's him, that's Mr. White.
FULL SCENE
An office upstairs in the undercover division of the
police station.
TWO SHOT OF FREDDY AND HOLDAWAY
look at mug shot.
HOLDAWAY
Lawrence Dimick. Let's see what
we got on him.
CU OF COMPUTER SCREEN
the name DIMICK, LAWRENCE is typed in.
C.U. ENTER BUTTON IS PRESSED
C.U. OF FEMALE COMPUTER OPERATOR, JODIE SEIGEL.
JODIE
This is your life, Lawrence
Dimick!
C.U. OF COMPUTER PRINTER
printing out sheet. The noise of the printer plays loud
over the soundtrack. Jodie's hand comes into FRAME and
tears sheet from the printer.
CUT TO:
36 INT. HOLDAWAY'S OFFICE - DAY
Holdaway sits behind his desk. Freddy sits on the edge of
the desk eating a Double-Double with cheese. They look
into the CAMERA.
We hear Jodie's voice OFFSCREEN.
JODIE (OS)
Lawrence "Larry" Dimick. Also
known as Lawrence Jacobs and Alvin
"Al" Jacobs. This guy is Mr. Joe-
Armed-Robbery. He's
a pro and he makes it a habit not
to get caught.
MEDIUM SHOT OF JODIE
DOLLY slowly into C.U.
JODIE
He's only been convicted twice,
which is pretty good for somebody
living a life of crime. Once for
armed robbery, when he was twenty-
one, in Milwaukee.
C.U. FREDDY
FREDDY
What was it?
JODIE
JODIE
Payroll office at a lumber yard.
First offense - he got eighteen
months. He didn't get busted
again until he was thirty-two.
And then it was a backdoor bust.
A routine vice squad roust. They
roust this bar, out buddy Lawrence
is in there knocking down a few.
He gets picked up. He's wearing
on his person an outlaw .45
automatic, apparently his weapon
of choice. Also, on his finger is
a diamond ring from a jewelry
store robbery a year earlier. He
got two years back inside for
that.
TWO SHOT OF HOLDAWAY AND FREDDY
Freddy winces.
FREDDY
Goddamn, that's hard time.
JODIE
JODIE
So far, it's the only time he's
ever done.
CU HOLDAWAY
HOLDAWAY
Was this vice squad in
Milwaukee?
JODIE
JODIE
No. The vice squad roust was in
L.A. He's been in Los Angeles
since '77.
DOLLY BEHIND HOLDAWAY'S DESK
from left to right.
FREDDY
When did he do this time?
JODIE
Back in '83, got out late '86. I
found something else out I think
you two should be aware of.
About a year and a half ago, up in
Sacramento, an undercover cop,
John Dolenz, worked his way into a
bank job. Apparently before the
job they found out he was a cop.
Now picture this: It's Dolenz's
birthday, a bunch of cops are
waiting in his apartment for a
surprise party. The door opens,
everyone yells "Surprise!", and
standing in the doorway is Dolenz
and this other guy sticking a gun
in Dolenz's ribs. Before anybody
knows what's going on, this
stranger shoots Dolenz dead and
starts firing two .45 automatics
into the crowd.
HOLDAWAY
What happened?
The DOLLY moves behind Jodie.
JODIE
It was a mess. Cops got hit,
wives got hit, girlfriends got
hit, his dog got hit. People got
glass in their faces. Three were
killed, six were wounded.
FREDDY
They couldn't pin the killing on
one of the bank robbers?
JODIE
They tried, but they didn't have a
positive I.D. and all those guys
had alibis. Besides, we really
didn't have anything on them. We
had the testimony of a dead man
that they were talking
about committing a robbery. They
never went ahead with the bank
job.
The DOLLY completes its circle.
FREDDY
And Lar