CRASH (2004)
      
Story by Paul Haggis 
screenplay by Paul Haggis & Bobby Moresco
      
Directed by Paul Haggis 



   
Chris 'Ludacris' Bridges.......................Anthony
Sandra Bullock..............................Jean Cabot
Don Cheadle.........................Det. Graham Waters
Tony Danza........................................Fred
Keith David..................................Lt. Dixon
Matt Dillon..........................Officer John Ryan
Jennifer Esposito..................................Ria
Brendan Fraser..............................Rick Cabot
Terrence Howard.........................Cameron Thayer
Thandie Newton........................Christine Thayer
   
   
   
                                     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   

     GRAHAM sits 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
               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 MOTORCYCLE COP appears at her open window.

                                     MOTORCYCLE COP
               You two all right?

                                     RIA
               I think he mighta hit his head.

                                     GRAHAM
               You don't think that's true?

                                     MOTORCYCLE COP
               Stay in your car.

     The officer moves off.

                                     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.

-----------------------------------------------------------------------------------------------------
                                                                         2.


     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.

                                     MOTORCYCLE COP
               Calm down, ma'am!

                                     KIM LEE
               I am calm!

                                     MOTORCYCLE COP
               I need to see your registration and 
               insurance.

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

                                     RIA
                    (approaching)
               I do this?

                                     MOTORCYCLE COP
               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 "blake" too fast?? Oh, sorry, you 
               no see my "blake lights?"

                                     MOTORCYCLE COP
               Ma-am--

                                     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.

                                     MOTORCYCLE COP
                    (to Ria)
               Ma'am--

-----------------------------------------------------------------------------------------------------
                                                                         3.


                                     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?

                                     MOTORCYCLE COP
               Ma'am--

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

                                     MOTORCYCLE COP
               Oh, Christ.

     CLOSE ON GRAHAM

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

-----------------------------------------------------------------------------------------------------
                                                                         4.


                                     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.

     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 (O.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.

-----------------------------------------------------------------------------------------------------
                                                                         5.


                                     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.

                                     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!

-----------------------------------------------------------------------------------------------------
                                                                         6.


     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.

                         SEC. GUARD
                    (taking his arm)
                 Let's go.

                                                       FARHAD
                                               You don't touch! This man 
                                               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.

-----------------------------------------------------------------------------------------------------
                                                                         7.


                                     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.

 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?
                                     (MORE)

-----------------------------------------------------------------------------------------------------
                                                                         8.


                                     ANTHONY (CONT'D)
               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.

                                     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)
                 ...What? What?

                                                       ALLAN
                                               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 ANTHONY AND PETER

                                     ANTHONY
               You see what that woman just did?

                                     PETER
               She's cold, man.

-----------------------------------------------------------------------------------------------------
                                                                         9.


                                     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 we 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
                 Away from the car! 
                 Away from the car!

                                                       JEAN
                                               Oh my God! Oh my God! Rick!

                         ANTHONY
                 Gimme the keys! Gimme 
                 the keys! Shut up and 
                 give me the keys!

                                                       RICK
                                               Don't shoot, just don't 
                                               shoot.

                                     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!

                                     PETER
               Unlock the door!

     Anthony does. Peter hops in as Anthony sparks the ignition. 
     To Peter's surprise Anthony hops back out...

-----------------------------------------------------------------------------------------------------
                                                                        10.


 7   EXT. WESTWOOD BLVD. -- 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!

 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:

     GRAHAM AND RIA

     who walk from their unmarked sedan, accompanied by a uniformed 
     cop, OFFICER JOHNSON.

-----------------------------------------------------------------------------------------------------
                                                                        11.


                                     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.

     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.

-----------------------------------------------------------------------------------------------------
                                                                        12.


     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 (CONT'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:

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.

-----------------------------------------------------------------------------------------------------
                                                                        13.


                                     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.

                                     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 am 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.

-----------------------------------------------------------------------------------------------------
                                                                        14.


                                     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 -- MOMENTS LATER                               14   

     As Ryan and Hansen climb in they hear:

                                     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.

-----------------------------------------------------------------------------------------------------
                                                                        15.


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. I 
               need to see your license and 
               registration.

     Behind the wheel, CAMERON THAYER, 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.

-----------------------------------------------------------------------------------------------------
                                                                        16.


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

                                     CAMERON
               I haven't been drinking.

                                     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
               "Ma'am??"

                                     CAMERON
               Get in the car, Christine.

                                     CHRISTINE
               Don't you "Ma'am" 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.

-----------------------------------------------------------------------------------------------------
                                                                        17.


                                     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
                    (approaching)
                 What have we got?

                                                       CAMERON
                                               I'm a television director, 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.

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

-----------------------------------------------------------------------------------------------------
                                                                        18.


                                     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...

                                     RYAN (CONT'D)
               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 (CONT'D)
               That's reckless endangerment...

     Hansen looks away, knowing this is bullshit.

-----------------------------------------------------------------------------------------------------
                                                                        19.


                                     RYAN (CONT'D)
               ... 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.

                                     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.

-----------------------------------------------------------------------------------------------------
                                                                        20.


     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.

                                     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.

-----------------------------------------------------------------------------------------------------
                                                                        21.


                                     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??"

                                     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 is 
               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.

-----------------------------------------------------------------------------------------------------
                                                                        22.


                         ANTHONY (O.S.) (CONT'D)
                 Back in the sixties we 
                 had smart, articulate 
                 black men. Huey Newton, 
                 Bobby Seale, Eldridge 
                 Cleaver, Fred Hampton; 
                 these brothers were 
                 speaking out and people 
                 were listening.

                                                       PETER
                                                  (wailing and twanging)
                                               "I'd shoot him dead first, 
                                               but I done broke my 
                                               triggaaaaaaaaaa...... Gonna 
                                               get out my sheet, put my 
                                               hood on my heaaaad...

     A Korean man steps out from in front of the van, stops at 
     the driver's door, searching his pockets.

     BACK IN THE NAVIGATOR

                         ANTHONY
                 The FBI said: "Oh, we 
                 can't have that. "I 
                 know! Let's give the 
                 niggers this music by 
                 a bunch of mumbling 
                 idiots--

                                                       PETER
                                               "Gonna string him up good, and then 
                                               he'll be deaaaad."

     Anthony takes his eyes off the road.

                         ANTHONY
                 --and they'll all copy 
                 it and sooner or later 
                 no one will be able to 
                 understand a fuckin' 
                 word they say! End of 
                 problem!

                                                       PETER
                                                  (chorus:)
                                               "In the home of the brave 
                                               and the land of the freeeee.  
                                               Gonna have black boys 
                                               swinging, from each old 
                                               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                                             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!

-----------------------------------------------------------------------------------------------------
                                                                        23.


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

                                     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 (O.S.)
               Help me.

                                     ANTHONY
               Shut up! 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?!

-----------------------------------------------------------------------------------------------------
                                                                        24.


                                     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. CAMERON AND 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?

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

-----------------------------------------------------------------------------------------------------
                                                                        25.


                                     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.

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

                                     CHRISTINE
               You know, you're right, Cam, 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-liceman. You sure is kind to us 
               po' black folk. You be sure to let
                                     (MORE)

-----------------------------------------------------------------------------------------------------
                                                                        26.


                                     CHRISTINE (CONT'D)
               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 (O.S.)
               Nothing from Parker Center.

                                     JEAN
                    (interrupting)
               I need to talk to you.

     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.

-----------------------------------------------------------------------------------------------------
                                                                        27.


                                     RICK
               Honey, why don't you go to 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?

                                     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.

-----------------------------------------------------------------------------------------------------
                                                                        28.


                                     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!

                                     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.

-----------------------------------------------------------------------------------------------------
                                                                        29.


     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.

                                     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 of support in the 
               black community.

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

-----------------------------------------------------------------------------------------------------
                                                                        30.


                                     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--

                                     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.

-----------------------------------------------------------------------------------------------------
                                                                        31.


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.

     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?

-----------------------------------------------------------------------------------------------------
                                                                        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.

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

                                     LARA
                    (skeptical)
               Uh-huh.

-----------------------------------------------------------------------------------------------------
                                                                        33.


                                     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." 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?

                                     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.

-----------------------------------------------------------------------------------------------------
                                                                        34.


                                     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.

                                     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.

-----------------------------------------------------------------------------------------------------
                                                                        35.


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 - EMERGENCY ENTRANCE -- 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....

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!

-----------------------------------------------------------------------------------------------------
                                                                        36.


                                     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.

                                     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.


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.

                                     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
                                     (MORE)

-----------------------------------------------------------------------------------------------------
                                                                        38.


                                     LUCIEN (CONT'D)
               him. Do I look like I wanna be on 
               the Discovery Channel?

                                     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:

-----------------------------------------------------------------------------------------------------
                                                                        39.


                                     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?

                                     GRAHAM
               You put it on I'm just gonna have to 
               rip it off.

     As she yanks on her clothes....

-----------------------------------------------------------------------------------------------------
                                                                        40.


                                     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.

                                     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.

-----------------------------------------------------------------------------------------------------
                                                                        41.


39   INT. RYAN'S BURBANK DUPLEX - 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.

                                     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.

-----------------------------------------------------------------------------------------------------
                                                                        42.


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.

                                     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.

-----------------------------------------------------------------------------------------------------
                                                                        43.


     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.

                                     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
                                     (MORE)

-----------------------------------------------------------------------------------------------------
                                                                        44.


                                     DIXON (CONT'D)
               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.

                                     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.

-----------------------------------------------------------------------------------------------------
                                                                        45.


                                     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.

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.

-----------------------------------------------------------------------------------------------------
                                                                        46.


     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.

                                     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.


47   EXT. BUSY STREET -- MOMENTS LATER                             47   

     Peter and Anthony turn the corner and head down the sidewalk.

                                     PETER
               No no no. I'm starting to understand. 
               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.

-----------------------------------------------------------------------------------------------------
                                                                        48.


                                     CAMERON (V.O.)
               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.

                                     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."

-----------------------------------------------------------------------------------------------------
                                                                        49.


                                     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.

                                     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.


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?

                                     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--

-----------------------------------------------------------------------------------------------------
                                                                        51.


                                     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.

                                     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.
                                     (MORE)

-----------------------------------------------------------------------------------------------------
                                                                        52.


                                     RYAN (CONT'D)
               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.

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!" "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.

-----------------------------------------------------------------------------------------------------
                                                                        53.


                                     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?

                                     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 filter)
               Sir, I can't give you his name.

                                     FARHAD
               Bastard no fix my lock! Give me name!

                         DORRI
                 Dad!

                                                       OFFICE MANAGER (V.O.)
                                               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?

-----------------------------------------------------------------------------------------------------
                                                                        54.


     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.

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.

-----------------------------------------------------------------------------------------------------
                                                                        55.


     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.

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 -- MOMENTS LATER                             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. And I was 
               a little drunk and I shouldn't have
                                     (MORE)

-----------------------------------------------------------------------------------------------------
                                                                        56.


                                     CHRISTINE (CONT'D)
               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.

                                     FARHAD
                    (in Farsi)
               What is he saying?

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

                                     FARHAD
               Yes, I tell him fix!

-----------------------------------------------------------------------------------------------------
                                                                        57.


                                     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...

                                     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.

-----------------------------------------------------------------------------------------------------
                                                                        58.


                                     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 (CONT'D)
               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?

                                     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,
                                     (MORE)

-----------------------------------------------------------------------------------------------------
                                                                        59.


                                     OFFICER #2 (V.O.) (CONT'D)
                    (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.

     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.

-----------------------------------------------------------------------------------------------------
                                                                        60.


                                     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.

                                     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 DOWN JEEP -- 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.

-----------------------------------------------------------------------------------------------------
                                                                        61.


                                     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!

                                     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.

-----------------------------------------------------------------------------------------------------
                                                                        62.


     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?

     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.

-----------------------------------------------------------------------------------------------------
                                                                        63.


     Ryan reaches into his pocket and pulls out a jackknife. 
     Christine reacts instinctively. He notices.

                                     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 car!

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.

     RYAN

-----------------------------------------------------------------------------------------------------
                                                                        64.


     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.

     RYAN

     watches her, equally confused, overwhelmed and embarrassed 
     by his feelings.

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

                                     CAMERON
               And cut.

-----------------------------------------------------------------------------------------------------
                                                                        65.


     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.

                                     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.
                                     (MORE)

-----------------------------------------------------------------------------------------------------
                                                                        66.


                                     FLANAGAN (CONT'D)
               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.

                                     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"??

-----------------------------------------------------------------------------------------------------
                                                                        67.


     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?

                                     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'm sorry?

                                     FLANAGAN
               I mean, I know all the sociological 
               reasons why eighty percent of the 
               men in prison in this state are
                                     (MORE)

-----------------------------------------------------------------------------------------------------
                                                                        68.


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

                                     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.

-----------------------------------------------------------------------------------------------------
                                                                        69.


                                     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?

                                     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.  

-----------------------------------------------------------------------------------------------------
                                                                        70.


                                     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.

     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. SHERMAN OAKS 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.

-----------------------------------------------------------------------------------------------------
                                                                        71.


     Suddenly his passenger door jerks open and Peter levels his 
     weapon.

                                     PETER
               Get outta the car!

     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?!

     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--

-----------------------------------------------------------------------------------------------------
                                                                        72.


                                     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.

     PETER 

                                     PETER
               Cops!

     AT THE INTERSECTION

-----------------------------------------------------------------------------------------------------
                                                                        73.


     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!

                                     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.

-----------------------------------------------------------------------------------------------------
                                                                        74.


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--

                                     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! !

-----------------------------------------------------------------------------------------------------
                                                                        75.


                                     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 reason fucking 
               black people have no business living 
               in Sherman Oaks!

     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.

-----------------------------------------------------------------------------------------------------
                                                                        76.


                                     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.

     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!

-----------------------------------------------------------------------------------------------------
                                                                        77.


                                     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.

                                     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!

-----------------------------------------------------------------------------------------------------
                                                                        78.


                                     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!

                                     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!

-----------------------------------------------------------------------------------------------------
                                                                        79.


     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?

     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.

-----------------------------------------------------------------------------------------------------
                                                                        80.


     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.

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.

-----------------------------------------------------------------------------------------------------
                                                                        81.


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.

                                     DANIEL
               What? What money?

                                     LARA
               Daddy?

-----------------------------------------------------------------------------------------------------
                                                                        82.


                                     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                                        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                                        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.

                                     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.

-----------------------------------------------------------------------------------------------------
                                                                        83.


                                     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                                      101   

     As Lara suddenly has a horrible realization...

                         LARA
                    (turns to Mom)
                 He hasn't got it!

                                                       DANIEL
                                               I don't know what you're 
                                               talking about, it's not my 
                                               house, I don't have that 
                                               kind of money!

                         ELIZABETH
                    (approaching)
                 Hasn't got what?

                                                       FARHAD
                                               You lie! Give me everything!

                         LARA
                 I have it! He hasn't 
                 got his 'penetrable 
                 cloak!

                                                       DANIEL
                                               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
                 Daddy!

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

     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)
                    (in horror)
                 AHHHHH.

                                                       ELIZABETH (RUNNING)
                                               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.

-----------------------------------------------------------------------------------------------------
                                                                        84.


                                     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.

                                     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
                                     (MORE)

-----------------------------------------------------------------------------------------------------
                                                                        85.


                                     JEAN (CONT'D)
               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.

105   EXT. FAIRFAX AVE. -- NIGHT                                  105   

     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...

-----------------------------------------------------------------------------------------------------
                                                                        86.


     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 CROWN VICTORIA -- 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.

                                     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.

-----------------------------------------------------------------------------------------------------
                                                                        87.


                                     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.

                                     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.

-----------------------------------------------------------------------------------------------------
                                                                        88.


                                     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?

                                     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.

-----------------------------------------------------------------------------------------------------
                                                                        89.


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

                                     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.

110   EXT. FAIRFAX AVE. - HIGH ANGLE                              110   

     The Crown Vic disappears into the distance, we tilt up to 
     see the twinkling city lights below and FADE TO BLACK.

111   INT. HANSEN'S CROWN VIC -- CONTINUOUS                       111   

     Hansen stares straight ahead, his mind gone numb.

     OVER BLACK

     CRASH!  Metal crunching, tires skidding, horns blaring. Then 
     a long silence. Finally:

-----------------------------------------------------------------------------------------------------
                                                                        90.


                                     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:

112   EXT. FAIRFAX AVE. -- EXTREME HIGH ANGLE SHOT -- NIGHT       112   

     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.

113   INT. RTD BUS - A BARREN PART OF TOWN -- NIGHT               113   

     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.

114   EXT. CLOSE ON A SET OF CAR KEYS -- NIGHT                    114   

     They hang in the lock of the van door, exactly as we last 
     saw them. Anthony's hand reaches in and turns them.

     ANGLE TO REVEAL ANTHONY AND "THE CHINAMAN'S" PANEL VAN

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

115   INT. HOSPITAL -- NIGHT                                      115   

     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!

-----------------------------------------------------------------------------------------------------
                                                                        91.


     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!

116   INT. HOSPITAL WARD -- NIGHT                                 116   

     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.

                                     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.

-----------------------------------------------------------------------------------------------------
                                                                        92.


                                     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.

                                     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.

117   INT. CITY MORGUE - BASEMENT CORRIDOR -- NIGHT               117   

     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...

     GRAHAM AND 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...

-----------------------------------------------------------------------------------------------------
                                                                        93.


     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?

118   INT. CITY MORGUE - ADJACENT CORRIDOR -- MOMENTS LATER       118   

     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.

                                     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.

-----------------------------------------------------------------------------------------------------
                                                                        94.


     Graham nods, turns and walks past Ria, barely looking at 
     her. Ria watches him go, her heart breaking for them.

119   INT. CHOP SHOP -- NIGHT                                     119   

     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.

     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?
                                     (MORE)

-----------------------------------------------------------------------------------------------------
                                                                        95.


                                     LUCIEN (CONT'D)
               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?

120   INT. CRIMINAL COURTS BUILDING - ROTUNDA -- NIGHT            120   

     Rick shuffles the papers under his arm as as he strains to 
     hear his cell phone.

                                     RICK
               Maria? What's wrong?

121   INT. RICK & JEAN'S HOME - MASTER BEDROOM -- AT THAT MOMENT  121   

                                     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?

-----------------------------------------------------------------------------------------------------
                                                                        96.


                                     JEAN
               Yeah, I'm okay.

122   INT. ROTUNDA - CONTINUOUS                                   122   

     Karen steps up beside him at the elevators.

                                     RICK
               I'm on my way.

                                     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.

123   INT. RICK & JEAN'S HOME - MASTER BEDROOM -- CONTINUOUS      123   

     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.

124   INT. THE CHINAMAN'S PANEL VAN -- NIGHT                      124   

     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.

125   EXT. DIRT FIELD NIGHT                                       125   

     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.

-----------------------------------------------------------------------------------------------------
                                                                        97.


126   INT. CORNER MARKET -- NIGHT                                 126   

     Dark, save for the moonlight filtering through the windows. 
     The glass door opens, Dorri enters.

     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.

-----------------------------------------------------------------------------------------------------
                                                                        98.


127   INT. CAMERON'S NAVIGATOR - DARK STREET -- NIGHT             127   

     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.

128   EXT. STREET -- NIGHT                                        128   

     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.

129   EXT. CAMERON AND CHRISTINE'S BEDROOM-- NIGHT                129   

     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.

130   WITH CAMERON                                                130   

     Staring at the readout. He finally makes the decision and 
     presses TALK.

                                     CAMERON
                    (tenderly)
               Hi.

131   CHRISTINE                                                   131   

     Almost cries.

                                     CHRISTINE
                    (tenderly)
               ...Hi.

132   CAMERON                                                     132   

     Watches the boys play. One of them tosses a broken chair in 
     the fire. Cameron smiles.

-----------------------------------------------------------------------------------------------------
                                                                        99.


133   CHRISTINE                                                   133   

     brushes away the tears that fall.

134   EXT./INT. RYAN'S DUPLEX -- NIGHT                            134   

     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.

135   EXT./INT. DANIEL'S BEDROOM -- NIGHT                         135   

     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.

136   EXT./INT. RICK & JEAN'S HOME -- KITCHEN -- NIGHT            136   

     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.

137   EXT. FAIRFAX AVE. -- NIGHT                                  137   

     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.

138   EXT. CHINATOWN -- NIGHT                                     138   

     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.

     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.

-----------------------------------------------------------------------------------------------------
                                                                       100.


                                     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 WOMAN walks, 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 Illegals climb 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?

     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

-----------------------------------------------------------------------------------------------------
                                                                       101.


     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