RIDING THE EXPRESS
by
Dennis Landmann
Based upon the film "Tchao Pantin"
Written & Directed by Claude Berri
Based on the novel by Alain Page
SECOND DRAFT
REVISED
JULY 28, 2002
© Dennis Landmann
moviefreak4@hotmail.com
805-241-9323
EXT. CITY STREETS - NIGHT
It's raining. Wind blows. No one on the street.
In the distance, we can see a young man (20s) wheeling a
motorcycle towards us.
Behind the man is a police patrol with its lights flashing.
The young man who now comes to an intersection. He turns
right into another street. He stops next to a line of parked
cars. Looks back, desperate.
The patrol car has made the turn and slows down now.
The man turns around, facing the street ahead. He sees:
A GAS STATION with four pumps. Full-serve. Empty now. This
one is at least ten years behind.
The man looks back one last time and then wheels the moped
towards the gas station. The patrol car stays.
INT. GAS STATION OFFICE - NIGHT
A man (50s), with his back to us, looks out the window. He
wears a dark blue jacket. He turns around -- LAMBERT has a
thin mustache and black hair. His face looks drowzy and beat.
The young man enters through the door, brushing off.
BENJAMIN
Hi.
LAMBERT
Breakdown?
BENJAMIN
No.
LAMBERT
Oh. So you much do you need?
BENJAMIN
What?
LAMBERT
Gas.
BENJAMIN
I'm not out of gas.
LAMBERT
Then what do you want?
BENJAMIN
Spark plug.
LAMBERT
What for?
BENJAMIN
My bike.
Lambert looks at him. Then out the window:
HIS POV - THRU WINDOW
The patrol car waiting, flashing its lights.
BACK TO SCENE:
Lambert walks to open a drawer. He searches but finally turns
around and looks out the window again.
HIS POV - THRU WINDOW
The patrol car drives off.
BACK TO SCENE
Lambert turns to Ben.
LAMBERT
I'm all out.
BENJAMIN
It's okay.
Ben leaves for the door. Lambert shrugs.
EXT. GAS STATION - NIGHT
Ben exits and walks up the street, but stops. He turns back
and sees his motorcycle leaning against the gas station door.
He walks back to get it and wheels it up the street.
ANGLE - LAMBERT
He's watching through the window. He's unsure what to think
of this kid, but has a feeling he'll see more of him.
The rain washes away the images behind the window. We see
Lambert retreating to his desk. He takes a bottle of whiskey
and drinks up.
ANGLE - UP THE STREET
Ben wheels the bike and disappears into the rain.
INT. APARTMENT COMPLEX - NIGHT
Ben walks through the poorly lit hallway.
INT. BENJAMIN'S APARTMENT
Ben bolts in and closes the door immediately. He closes the
balcony window across the room. He then drops his jacket on
the ground and picks up a towel from the chair that is in
front of him.
INT. BENJAMIN'S APARTMENT - BATHROOM
Ben stands in front of the mirror, naked, combing his air.
INT. BENJAMIN'S APARTMENT - LIVING ROOM
Ben holds a bag over the living room table. Several contents
fall out:
A tiny flashlight, basketball cap, wad of cash, and two
plastic bags (one blue, one red). He empties the blue bag,
and several small wrappers (about half the size of gum
wrappers) drop on the table.
Ben takes the cash and wrappers, and walks to a big rack of
small pocketbooks that's next to the apartment door. He grabs
a book from the top and flips to the center of it. He drops
the wrappers in it and puts it back up. He now takes another
book to drop the cash in, which he puts back up. He sneezes.
EXT. STREET - MORNING
A man on a bicycle travels down the street. He turns a corner
and approaches the gas station.
INT. GAS STATION - BATHROOM
Lambert washes his hands in front of a mirror.
EXT. GAS STATION - MORNING
Lambert exits the office and sees a car waiting for service
in the background. The man on the bicycle drives up.
LAMBERT
Morning, Dave.
DAVE
How was the night?
LAMBERT
Slow.
Lambert leaves.
EXT. CAFE - MORNING
Lambert crosses a street and enters the cafe.
DISSOLVE TO:
INT. RANDALL'S BAR - NIGHT
A skinny guy (mid 20s) in a leather jacket enters. He looks
around and sees Ben in the back. Ben notices and nods. Gil
walks towards the restroom and enters.
INT. RANDALL'S - RESTROOM
Gil waits. Ben walks in.
GIL
You want the cash?
Benjamin stalls.
GIL
Hurry up. Come on. Where's the
stuff, man?
BENJAMIN
It's not here.
(beat)
Wait for me at the bar.
GIL
(shakes head "no")
No, man. I want it right now.
BENJAMIN
(heads for the door)
I'll be right back.
Gil stops him.
GIL
I need it now.
BENJAMIN
(addressing)
Wait for me at the bar, okay. I
won't be long.
Gil relents and hands Ben a wad of cash.
EXT. APARTMENT BUILDING - NIGHT
Ben walks up to RICHARD (18) who is patrolling the door.
RICHARD
Doing well?
Ben nods.
INT. APARTMENT BUILDING
Ben approaches the mailboxes. He takes out the tiny
flashlight to be able to see. He opens one of the mailboxes
and takes out a small plastic bag. He holds it upside down
and a few small wrappers fall into his palm.
INT. RANDALL'S
Gil, smoking a ciggarette, waits by the bar. Ben enters. Both
nod and do the handshake switch. Ben walks away, while Gil
turns to look at the drugs he bought.
EXT. CITY STREETS - NIGHT
Nobody around except Ben. He picks a lock. PULL BACK to
reveal Ben wheeling a motorcycle onto the street. He hops on,
short circuits it, and drives off with it.
INT. GAS STATION OFFICE - NIGHT
Lambert breaks two eggs on a gas-powered pan. A loud HONK in
the b.g. Lambert ignores it and pours some salt over the
eggs. Another HONK.
LAMBERT
(more to himself)
Fuck off.
He prepares scrambled eggs with a fork.
MAN'S VOICE (O.S.)
(impatient)
Andybody here?!?
Lambert scoffs.
EXT. GAS STATION - NIGHT
Ben drives up on the motorcycle.
A MAN (60s) waits by his car. He leans inside and blows the
horn. Ben approaches him.
BENJAMIN
What do you need?
IMPATIENT MAN
What do I...? I need some gas.
(beat)
Do you work here?
Ben nods, and turns off the motorcycle.
BENJAMIN
Yes, I do.
IMPATIENT MAN
Do you know how long I've been
waiting here? I've got a place to
go and I'm stuck here without any
gas.
(looks at the pumps)
Why doesn't this place have self
service?
BENJAMIN
We're old style, alright.
(beat)
Now take it easy, huh. I was uh...
just out for a delivery.
IMPATIENT MAN
Fill it up, will you.
BENJAMIN
Yeah, just don't wake up the whole
neighborhood.
Ben goes around the car and opens the car's fuel lid.
BENJAMIN
Unleaded?
IMPATIENT MAN
Yeah. What else.
Ben takes the nozzle and fills up.
Lambert exits the office and walks over.
LAMBERT
Who's making all this damn noise?
IMPATIENT MAN
(proudly)
I am.
LAMBERT
Can't a guy take a shit?
IMPATIENT MAN
Who works here? You or him?
LAMBERT
What the hell do you care? He's...
my nephew.
(beat)
You want gas, right?
Lambert relives Ben.
BENJAMIN
Thanks.
IMPATIENT MAN
(as he goes inside
the car)
Could you check the oil, too?
BENJAMIN
Should I?
LAMBERT
No.
He leaves the nozzle to fill up itself and goes to the car's
hood to check the oil.
Ben nods and walks to Lambert's office. He takes a look back
and then enters.
INT. GAS STATION OFFICE - NIGHT
Ben closes the door. Looks around.
It doesn't have as big of a selection as AM/PM, but it is
enough. Ben spots some cookies and pops them open.
BEN'S POV - THRU WINDOW
Lambert finishes checking the oil. The Impatient man nods.
BACK TO SCENE
Ben puts a cookie in his mouth. Looks around. He turns as--
Lambert walks in through the door.
LAMBERT
Thanks. You saved my dinner.
BENJAMIN
I'm hungry, too. Nothing's open
around here at this time.
Lambert walks over to the sink that is next to the gas-
powered pan. He washes his hands, takes the pan of eggs and
fork with him and sits down at a table.
BENJAMIN
(re: cookies)
How much?
LAMBERT
(eating the eggs)
One fifty.
Ben empties his pockets and puts a couple of quarters on the
table. As he does, he offers Lambert some cookies.
LAMBERT
No thanks.
Lambert opens a small fridge next to the chair. Takes out a
whiskey bottle, pours a glass, and offers some to Ben.
BENJAMIN
(eating cookies)
I don't drink.
LAMBERT
(drinks up)
What, is it against your religion
or something?
BENJAMIN
What religion is that?
LAMBERT
(stares)
You tell me.
BENJAMIN
Don't you get bored working here
all alone?
LAMBERT
(holds up the whiskey)
I'm not alone.
(sets the glass on
the table)
You live around here?
BENJAMIN
Yeah. Down the block. Nearby.
LAMBERT
(gets up)
You work in a garage?
Ben shakes his head "no".
BENJAMIN
What do you mean?
LAMBERT
(looks out the window)
You're changing motorcycles.
BENJAMIN
Oh no, I swap them with my
friends.
LAMBERT
(turns to face him)
You shouldn't leave them out there
like that. They're easy to steal.
BENJAMIN
Tell me about it. Don't worry man,
I've got a good lock.
LAMBERT
Ah. So, do you work?
BENJAMIN
I do odd jobs. I'm a bartender
most of the time, though.
LAMBERT
How old you are you anyway?
BENJAMIN
Do you ever stop asking so many
questions?
LAMBERT
You're right. I'll stop.
(sits back down)
I haven't talked for a while.
Ben sits down across from Lambert.
BENJAMIN
Want some gum?
(no response)
You want to know how old I am?
LAMBERT
(downs the glass of
whiskey)
Who cares.
INT. BAR - MORNING
Lambert and Ben sit by the bar. Ben has a Coke.
BENJAMIN
They say I'm half Catholic, half
Jew.
LAMBERT
Says who?
BENJAMIN
My father.
LAMBERT
Is he Catholic?
BENJAMIN
My mom was.
LAMBERT
She converted?
BENJAMIN
No, she's dead.
LAMBERT
I'm sorry. Is your father a
religious man?
BENJAMIN
He wasn't until he was diagnosed
with a terminal illness. He tried
to make up for it in the last
couple of months. I guess it
didn't work for him.
LAMBERT
Do you have relatives in the city?
BENJAMIN
I have an uncle. Andrew Schwartz.
He owns a liquor store chain.
LAMBERT
So why not work for him?
BENJAMIN
I want to make it on my own.
LAMBERT
Like what? Do you have any plans?
BENJAMIN
Sure. Don't you?
LAMBERT
Not anymore.
BENJAMIN
(checks his watch)
Man, we've been talking for three
hours now and I don't even know
your name.
LAMBERT
Lambert.
BENJAMIN
Lambert what?
LAMBERT
Lambert.
BENJAMIN
Lambert Lambert?
LAMBERT
(no reaction; then)
What's yours?
BENJAMIN
Benjamin Schwartz.
(off Lambert's stare)
You married? Got any kids?
Lambert doesn't want to go further than this. He sees the
bartender close by.
LAMBERT
(to bartender)
What do I owe you?
EXT. CITY STREETS - MORNING
It's early, maybe 6am. Not many people around.
Lambert and Ben walk. Ben wheels the motorcycle he stole.
BENJAMIN
Hey, do you want to borrow my bike?
LAMBERT
No, I take the subway home.
They turn a corner --
EXT. BEN'S APARTMENT COMPLEX - MORNING
-- into this smaller street in front of the apartment complex.
BENJAMIN
This is where I live.
LAMBERT
(beat)
I'll remember that.
They walk for a bit, and then shake hands. Ben wheels the
motorcycle into the apartment complex. Lambert says goodbye
and walks down the street.
FADE OUT TO:
EXT. RANDALL'S RESTAURANT - NIGHT
Ben approaches and enters.
INT. RANDALL'S
It's rather quiet in here, except for six guys (all in their
late 40s or beginning 50s) playing cards at a table.
Ben walks over. He waits behind a man with black hair sitting
at the table. This is VICTOR RANDALL (early 50s).
Ben watches the game play out.
Randall throws his cards on the table, defeated. He gets up,
sees Ben, and leads him into the kitchen nearby.
INT. RANDALL'S - KITCHEN
Ben takes out some cash and hands it all to Randall who then
starts counting it.
INT. RANDALL'S - LATER
A regular waits by the bar. Randall serves up a Heineken.
Ben walks up.
RANDALL
Hey Ben, go get the bike for me.
(throws him the keys)
Hurry up, okay? I'm closing.
Ben catches the keys and is out the door.
EXT. GARAGE - NIGHT
Ben opens the garage door with Randall's keys. It's dark
inside. He takes a few steps inside the garage and switches
on the light.
A gorgeous Harley Davidson waits for him inside. Ben wheels
it out, switches off the light, and closes the garage door.
EXT. STREET - NIGHT
Ben wheels the Harley out of a dark street. He looks over to
Randall's. Nobody on the look-out. He wheels the Harley a
little further down, then turns it on and drives off.
EXT. CITY STREET - NIGHT
Ben makes a right turn onto a busy street. He enjoys the
ride. Looks at the high-rise buildings. The people. The shops.
INT. GAS STATION OFFICE - NIGHT
Lambert at the table, smoking a cigarette.
Someone's bright HEADLIGHTS glare through the window. Lambert
looks out, but is blinded.
A HONK from outside. Lambert gets up and looks out the window.
The bright lights vanish as Ben drives off on the Harley.
Lambert sits back down and takes a hit off the cigarette. He
empties a glass of whiskey.
CUT TO:
A MAN'S FACE. He's in his mid-30s, bearded, tall. He is NATE.
He observes somebody O.S.
INT. RANDALL'S
Randall plays cards with some guys. He gets up.
RANDALL
Nate, what are you doing here? You
know you shouldn't be here. You're
coming to the wrong place. I don't
have anything for you.
NATE
But they said--
RANDALL
--They were wrong. Do you
understand me?
NATE
I've got money.
RANDALL
I don't want it.
NATE
Come on, man. What... What's your
price?
RANDALL
Listen to me, all right! I don't
know what you're talking about.
(beat)
Get out.
NATE
I've got cash.
RANDALL
Take a walk!
EXT. RANDALL'S - NIGHT
Ben approaches, wheeling the Harley. Randall shoves Nate out
the door. He sees Ben.
RANDALL
Where the hell were you?
Ben hands him the keys.
RANDALL
Did you take it for a ride?
BENJAMIN
No, I didn't. I swear.
RAVEL
(checks the Harley's
engine)
The engine is hot.
BENJAMIN
It wasn't me.
RAVEL
(raises his voice)
Don't give me that shit!
BENJAMIN
I don't even have a fucking
license.
RANDALL
(almost threatening)
Watch who you're bullshitting,
asshole.
BENJAMIN
It wasn't me.
RANDALL
Just get out of here!
Ben throws him a look. Randall goes back inside.
EXT. CITY STREET - NIGHT
Nate approaches as Ben walks down the street.
NATE
They said you have the stuff on
you. I need it real bad.
BENJAMIN
What do you need?
They walk down the street.
NATE
Stuff, man. The stuff.
BENJAMIN
What stuff?
NATE
The drugs, man.
BENJAMIN
You don't look like a guy with the
kind of money.
NATE
I do. I mean, I have it.
BENJAMIN
You know Randall?
NATE
No.
BENJAMIN
So why did he throw you out?
NATE
Listen, man, I'm just here to buy
some dope, okay. You got any?
BENJAMIN
Not on me. Wait for me in front of
Randall's place. I'll be back
there in twenty minutes.
NATE
Thank you, man. I'll wait.
INT. GAS STATION - OFFICE - NIGHT
Ben sits at the table, holding a joint.
Lambert walks in as a car drives off in the background. He
sees Ben lighting the joint.
LAMBERT
What's that shit? Drugs?
Lambert takes a swing at Ben who drops the joint and almost
hits his head on the table.
LAMBERT
Are you crazy?
BENJAMIN
What?! It's only a joint!
LAMBERT
(concerned)
It all starts with a fucking joint!
BENJAMIN
(jumps up)
Are you nuts? Fuck, man. What's
with you?
(points to a whiskey
bottle by the sink)
Look what you shoot up every night.
Lambert lets him talk. He walks to the sink and grabs the
bottle of whiskey. He takes a seat.
BENJAMIN
You've got your shit, I've got
mine!
Ben grabs his stuff off the table and pockets it. He storms
out.
PUSH IN ON Lambert as he just looks on, staring off into
nothing.
FADE OUT TO:
INT. RANDALL'S - MORNING
TWO GUYS in a conversation.
Randall enters behind them. His Harley waits outside.
DRUNK GUY
Hey, morning Victor. What's up?
Randall walks by and just nods.
Ben plays cards with DOC (60s) by the bar.
Randall walks up.
RANDALL
Give the bike a polish and put it
back in the garage, please.
Randall hands Ben the keys. Ben puts down his cards.
BENJAMIN
See ya later, Doc.
RANDALL
Hey, before you go... we gotta
talk.
INT. RANDALL'S - KITCHEN - LATER
Randall speaks with Ben.
RANDALL
I need you to go drop something
off for me.
BENJAMIN
What?
RANDALL
Nevermind what.
BENJAMIN
I would like to know what I'm
dropping off. I don't want the
cops to catch me with any shit I
don't know about.
RANDALL
(gives in)
All right! Fremont's weekly
payment is due.
BENJAMIN
Oh I know him. Okay. I can do that.
RANDALL
But don't forget the polish.
EXT. CITY STREETS - DAY
Ben rides the Harley down the street.
EXT. FREMONT'S BAR - DAY
This is the first time we see the bar from the outside. Ben
dealed Gil here earlier.
Now Ben arrives on the Harley. He gets off and walks to the
building next to the bar.
INT. BUILDING - BY FREMONT'S APARTMENT
Ben walks up. A tag on the door reads "Fremont's". Under it
it says "Leave mail in the mailbox". Benjamin looks at the
mailbox on the wall. He takes the envelope and puts it in.
EXT. MARKETPLACE - DAY
This is one of the city's most populated areas. There's an
underground Subway station on the corner of the main street.
Ben drives up on the Harley, then turns off the engine. He
walks to a liquor store up ahead.
A group, and most of them drunk, pass him on his way to the
store. Among the group is a cute blonde girl in her mid 20s.
The group keeps walking, but one guy keeps collapsing.
LIZ
Come on, don't throw up on the
street.
Some of the guys in the group help the guy up. Liz stops as
she sees the Harley. She walks over and looks in the rearview
mirror, checking her hair.
Ben stops as he sees Liz checking out the Harley. He walks
over. They look at each other.
BENJAMIN
You like it?
Liz looks at him like "whatever". She goes around the Harley
to check it out some more. She doesn't think it's Ben's.
BENJAMIN
You want to go for a ride?
She smiles to herself.
BENJAMIN
Want a ride?
LIZ
Whatever.
BENJAMIN
What?
LIZ
This isn't yours.
BENJAMIN
Oh? Why not?
LIZ
Fuck off.
Ben is taken aback a little, but ignores it. He hops on the
Harley and turns on the engine.
Liz turns around; interested. Her group is doing stupid shit
in the background.
Ben looks over his shoulder. He revvs up the engine.
LIZ
(walks to Ben)
Wait.
She gets on and Ben drives off. One of the guys in the group
runs up.
TREY
Hey! Liz!
LIZ
(calling out)
I'll be back later!
Ben and Liz take off down the street.
INT. GAS STATION OFFICE
Lambert and Ben sit by the table.
LAMBERT
They're all whores.
BENJAMIN
She's just a girl I met.
LAMBERT
All women are whores. At least
whores are honest about it.
BENJAMIN
(snickers)
My mother was no whore.
LAMBERT
How do you know?
BENJAMIN
I just know.
LAMBERT
Well, hey, I've got nothing
against whores.
BENJAMIN
What's your argument against women
anyway?
(beat)
Sometimes I think I could fall for
a whore.
LAMBERT
You want to be a pimp?
BENJAMIN
No. No, that's not what I mean.
It's just that, you know, I wonder
why they do it. Maybe I could help
out one of them.
LAMBERT
Why can't you meet a girl who
isn't a whore?
Ben shrugs.
LAMBERT
Do you only fuck whores?
BENJAMIN
No.
(laughs; then)
Who do you fuck?
LAMBERT
Myself.
He stares at the ground.
EXT. GAS STATION - NIGHT
Ben washes the windshielf of a car. Lambert fills up the tank
and then walks up to the driver's side. The driver hands him
some cash and drops two quarters into Ben's hand.
INT. GAS STATION OFFICE
They walk in. Lambert goes to the table and pours a glass.
BENJAMIN
Hey, come on. How about a Coke?
LAMBERT
Yeah, sure. With lots of rum if
you got it.
(drinks)
So finish your story.
BENJAMIN
Well, I've got a date with her
tonight. I'm freaking out.
Lambert empties the glass of whiskey and sets it down.
LAMBERT
Freaking out, huh. You don't know
where to go?
BENJAMIN
We're going to a rock club
downtown.
LAMBERT
A rock club?
BENJAMIN
It's called the "Rock House".
LAMBERT
Rock House... that place still
exists?
Ben nods. Lambert gets up and walks out the door. Ben follows.
EXT. GAS STATION - NIGHT
They both exit and walk towards the Harley.
LAMBERT
I think she's after your Harley.
BENJAMIN
I don't know.
LAMBERT
Whose it it?
BENJAMIN
It belongs to my boss. Victor
Randall.
LAMBERT
You stole it?
BENJAMIN
No no. I just borrowed it.
LAMBERT
I bet you don't have a license, do
you?
BENJAMIN
Hey, don't worry. I can take care
of myself.
They stop at the Harley.
LAMBERT
I believe you, but leave your bike
here. See if it's you she's after.
BENJAMIN
Cut the wise talk. Please.
LAMBERT
(forceful)
I don't want you to take it. Leave
it here. I'm telling you. Just
walk there.
BENJAMIN
Hey, how about minding your own
business. The other night you hit
me across the face for rolling a
joint and now this? Why should I
take your advice? You don't even
know about women.
(gets on the Harley)
Don't preach to me, all right? I
can do what I want.
(turns on the engine)
Take a good look, Lambert. You
won't see me again.
He speeds away. Lambert looks on, disappointed.
EXT. ROCK HOUSE - NIGHT
A popular crowd hangs out in front.
Ben drives up on the opposite side of the street.
Among the crowd is Liz and her clique of friends. They turn
after Ben honks O.S.
LIZ'S FRIEND
Is that your date?
GROUP MEMBER
(amused)
Look at that guy.
LIZ
Leave me alone.
(points to the club)
Go in already.
She crosses the street.
GROUP MEMBER
Don't go.
She approaches Ben.
BENJAMIN
You ready?
LIZ
I can't go.
BENJAMIN
You said...
LIZ
I know. I changed my mind.
(looks over)
I'm with my friends.
BENJAMIN
Okay. So... what are you doing
tomorrow?
LIZ
No way, I'm busy.
BENJAMIN
Tough luck, huh.
LIZ
I'm sorry. How about Tuesday
night? I'm free then.
BENJAMIN
Yeah. Sure. But not here.
LIZ
Okay. Uh, how about the place
where we first met? Say 10pm at
the marketplace?
BENJAMIN
(nods)
Don't forget.
Liz runs back to her friends.
LIZ
Later.
Ben watches her go, then takes off down the street.
EXT. GARAGE - NIGHT
Both doors are open. Ben wheels the Harley inside. He closes
the doors with a LOUD THUMP. Locks them and walks away.
INT. APARTMENT COMPLEX - NIGHT
Ben walks towards a dark hall up ahead. He turns on the
lights, but as they turn on --
REVEAL TWO THUGS by the stairs smoking cigarettes. They are
KEN MARDONI (30s) and SAL (late 20s). Ben retreats.
SAL
Hey Ben. We scare you?
MARDONI
Benjamin, how are you doing?
BENJAMIN
(suspects something,
but keeps cool)
Hey Mardoni. What's up? Something
wrong?
MARDONI
Nothing's wrong. We just came here
to chat with you a little...
regarding Randall's Harley.
BENJAMIN
(deep stare)
What?
EXT. GAS STATION - NIGHT
Lambert just stares out into the sky. The sound of a
motorcycle coming closer O.S. He looks down the street;
curious.
But it is just someone in a red shirt, speeding by.
Lambert looks on. It's a dead night. Nobody on the streets.
No service. He goes back inside his office.
INT. GAS STATION OFFICE
Lambert drinks from the whiskey bottle. Then stares --
HIS POV - THRU WINDOW
The same exact street he saw earlier, but this time there is
no patrol car and no rain. The street is empty.
INT. CAFE - MORNING
Lambert at a table. Waiting. A waitress brings him a coffee.
CHRISTINA
Your coffee, Lambert.
LAMBERT
Thanks, Christina.
CHRISTINA
Are you doing alright these days?
LAMBERT
No.
CHRISTINA
Your loss is still getting you
down?
LAMBERT
(nods)
It's not easy being alone.
MALE VOICE (O.S.)
Christina! Order 37 is ready.
CHRISTINA
I'm sorry. Maybe we can chat some
more later.
Christina leaves. Lambert nods, sips the coffee.
EXT. CITY STREETS - DAY
Lambert walks down the street he and Ben walked down earlier.
He turns the corner into the small street and enters the
apartment complex.
INT./EXT. APARTMENT COMPLEX
Lambert walks out into the open and to the flight of stairs
where Mardoni approached Ben just last night.
INT. APARTMENT COMPLEX HALL
Lambert walks up to an open door and walks in.
INT. BENJAMIN'S APARTMENT
Lambert finds Ben passed out on the bed. He kneels down to
his side. Ben wakes up. His face is cut and bloody.
LAMBERT
Who did this to you?
BENJAMIN
Ken Mardoni.
LAMBERT
(concerned)
I warned you about that bike.
Ben looks helpless.
LAMBERT
Don't move. I'll fix you up.
He gets up and walks OUT OF FRAME.
INT. BENJAMIN'S APARTMENT - LATER
Benjamin, his face now swollen and blue, gets fixed up.
Lambert uses a wet towel to clear some of the cuts.
BENJAMIN
Thanks, Lambert.
(beat)
You know how to take care of
someone. Were you married?
LAMBERT
Come on, don't give me that shit.
So what about the rocker girl?
BENJAMIN
She's a bitch.
LAMBERT
Why? Didn't she show up?
BENJAMIN
She did, but she wasn't alone. Her
friends were there. She didn't
want to go out.
(beat)
But we have a date Tuesday.
LAMBERT
You're going?
BENJAMIN
I don't know. She kinda pisses me
off. I think I'll just... I don't
know... fuck her, maybe.
LAMBERT
(chuckles)
Looking like this?
BENJAMIN
I don't really care.
Lambert puts a band aid on Ben.
LAMBERT
You should get some sleep.
He helps Ben stand up. Ben finally gets a good look around
the apartment. His pocketbooks are all over the place. A mess.
BENJAMIN
Oh shit. Look at what those
cocksuckers did to my books.
Lambert sees this. He goes to pick some of them up.
FADE OUT TO:
EXT. CITY STREETS - NIGHT
Ben, with a bag around his chest and looking better now,
crosses an intersection. He sees an unattended Honda
motorcycle leaning against a building. He tries the engine
and it jumps to life. He looks around, somewhat suspiciously,
and takes off on it in a hurry.
EXT. MARKETPLACE - NIGHT
Liz waits by the liquor store. It appears she's been waiting
for a while. She lights a ciggarette, then walks up to the
Subway station just up the street. She leans on the railing.
Ben arrives on the Honda, drives up to her.
LIZ
Hi.
BENJAMIN
Hey.
LIZ
(notices the Honda)
That's not your bike.
BENJAMIN
What?
LIZ
Do you think I'm blind or
something?
BENJAMIN
Come on. Let's go.
LIZ
Where's your bike? The Harley?
BENJAMIN
Oh yeah. It's at the shop. I got
into an accident. Luckily I didn't
get hurt too bad.
(refers to his cuts)
Just a couple of minor scratches.
(after her look)
Are you coming or not?
LIZ
So is this your bike?
BENJAMIN
The shop let me have this one
until they fixed the other one.
Liz thinks. She then hops on, but almost falls off when Ben
starts up too fast.
LIZ
Oh shit. Slow down.
They drive off down the street.
EXT. BEN'S APARTMENT COMPLEX - NIGHT
Ben drives up to the main door. Liz gets off.
LIZ
Where are you taking me?
BENJAMIN
I live here.
He turns off the engine and wheels it inside the complex.
LIZ
You live alone?
BENJAMIN
Yeah. Please come in.
INT. BENJAMIN'S APARTMENT
Darkess. The door opens. Liz walks in with Ben right behind
her. He turns on the lights while she looks around.
BENJAMIN
This is it.
He turns on two more lights by the recliner and the bed.
Liz turns to the rack of books. They're all in place again.
She scans some of the titles.
LIZ
Did you read all of these?
Ben kneels by the fridge and opens it. He takes out a bottle
of champagne.
BENJAMIN
(turns to her)
Some of them, yeah.
Liz walks over to Ben. He holds the bottle in one hand and
grabs two glasses from a cupboard above the fridge. He pours
her a glass.
BENJAMIN
Say when.
LIZ
(about half way)
That's fine.
She takes her glass. Ben pours one for himself.
BENJAMIN
Please, sit down.
She sits down on the bed behind her, then sips the champagne.
He sits down next to her. He waits a few seconds, then goes
to kiss her. She pulls back.
LIZ
You don't waste any time, do you?
BENJAMIN
You turn me on.
LIZ
Wait.
(beat)
I have to take my lipstick off.
BENJAMIN
No, keep it on.
LIZ
I'll smear it all over your face,
not to mention my own.
Ben nods, gets up and walks to the bathroom. He comes back
with a towel and hands it to her. She wipes off her lipstick,
when:
BENJAMIN
(takes her hand)
Are you sure you wouldn't rather
keep it on? I like to kiss women
who've got lipstick on.
LIZ
But then we won't kiss.
BENJAMIN
No no. It's fine. Go ahead.
She wipes her lipstick off. He slowly caresses her thigh.
BENJAMIN
(notices her pants)
Do you ever wear skirts?
LIZ
You don't like my pants? I haven't
even taken them off yet.
BENJAMIN
Oh no. They're fine.
They have a silent moment looking at each other. She kisses
him. Ben begins to caress her neck. More kissing. They fall
back onto the bed and OUT OF FRAME.
INT. GAS STATION OFFICE - MORNING
Lambert is eating from a pack of cookies. Ben is next to him.
LAMBERT
(chewing)
Did you fuck her?
BENJAMIN
Only once.
Lambert throws him a look.
INT. BENJAMIN'S APARTMENT - NIGHT
Ben and Liz fuck on the bed. She sits on top of him. They
don't talk. Liz goes up and down. After a while, she stops
and falls onto the bed, lying next to Ben.
INT. GAS STATION OFFICE - MORNING
Lambert looks at Ben still.
BENJAMIN
She wouldn't do it again.
LAMBERT
Why?
BENJAMIN
I don't know. It doesn't really
matter. But it was great. Maybe I
could've screwed her all night,
but she wanted to go for a ride...
so we did.
EXT. CITY STREETS - NIGHT
Ben and Liz cruising down a lonely street.
BENJAMIN (V.O.)
It was great for a while until we
ran into a problem.
A police motorcycle comes up behind them and sounds its
SIREN. Ben looks back. The cop gains speed and pulls up next
to them. He points to Ben's head.
STREET COP
Where's your helmet, huh?
Ben goes for a quickie and hits the cop across the face. He
bolts out of there with Liz screaming. Liz looks back and
sees the cop holding his head and drastically slowing down.
LIZ
(hits Ben)
Are you crazy? Why'd you do that?
They disappear into another street.
EXT. EMPTY CITY STREET - NIGHT
TRACK WITH THEM as they drive down.
LIZ
Stop the bike or I'll jump off.
Ben doesn't like her attitude.
LIZ
I swear I'll jump.
He slows down, stops. Liz jumps off.
LIZ
You crazy asshole.
He takes off after taking in those words, leaving her all
alone on the street.
INT. GAS STATION OFFICE - MORNING
Lambert and Ben at the table which is full of cookies.
LAMBERT
Take it easy. Nobody will find you
here. I wouldn't worry.
BENJAMIN
(goes on about
something else)
She came. I know she did.
(beat)
I heard her.
LAMBERT
(eats a cookie)
These are great. Sure you don't
want one?
Ben declines. Lambert eats another.
BENJAMIN
(gets up)
Hey, I gotta go to work. See you
later, Lambert.
He leaves. Lambert watches him go.
FADE OUT TO:
EXT. CITY STREETS - DAY
Traffic backed up. Red lights. Pedestrians crossing
intersections. Mass commuting.
EXT. CITY SHOPPING MALL - DAY
Ben and a young man, called THEO, are waiting outside.
Shoppers come in and out of this massive, populated mall.
Theo checks his watch.
THEO
Who are we waiting for anyway?
BENJAMIN
Jordan.
THEO
Who?
BENJAMIN
Relax, Theo. We're going through
this together. You'll pick up
fast.
(beat)
I usually don't train Randall's
new guys.
THEO
You mean to tell me you didn't
start out as a new guy?
BENJAMIN
Not really. I picked up where my
dad left off.
THEO
Why'd you do that?
A cell phone RINGS. Ben checks his pockets and takes it out.
BENJAMIN
(into cell)
Yeah?
VOICE ON CELLULAR
We're waiting and expect you here
in less than five.
BENJAMIN
You'll see us down there in two.
VOICE ON CELLULAR
Us?
BENJAMIN
Don't worry, it's a new guy.
VOICE ON CELLULAR
Randall know about this?
BENJAMIN
He asked me to train this guy.
(beat)
Trust me, all right.
VOICE ON CELLULAR
You just wasted a minute talking
too much. Four to go. I suggest
you hurry.
Ben flips it closed.
BENJAMIN
Fuckin' punks.
(runs off)
Theo, come on.
Theo follows Ben into the shopping mall.
INT. SHOPPING MALL - THIRD FLOOR
Ben and Theo in the men's department. They walk towards the
dressing room.
INT. SHOPPING MALL - MEN'S DRESSING ROOM
Ben and Theo walk in.
HEATHER (30s), beautiful, black hair, exits one of the
dressing stalls. She stops them.
HEATHER
Can I interest you in a jacket?
BENJAMIN
You sure can, lovely lady.
She leads them into the last stall in the back. They enter.
JOSEPH JORDAN (early 40s) holds a black suit.
JORDAN
Ah, our model.
Heather closes the door. Ben takes off his jacket and hands
it to her. Jordan hands the suit to Ben who puts it on.
JORDAN
Fits your size perfectly.
BENJAMIN
Oh, yes it does. Great. Where's
the runway?
JORDAN
Second floor to the garage.
BENJAMIN
See you on the runway, Jordan.
Jordan nods. Ben and Theo walk out. Heather closes the door
behind them.
JORDAN
Check his jacket for me Heather,
will you?
INT. SHOPPING MALL - SECOND FLOOR
Ben and Theo leave the women's department and exit through a
heavy door labeled "Parking Garage".
BENJAMIN
Smooth transaction, wasn't it?
THEO
Yeah, but I don't get it.
INT. PARKING GARAGE ELEVATOR
DING. Ben and Theo get off at level Zero.
BENJAMIN
What's not to get?
EXT. STREET NEAR PARKING GARAGE - DAY
Theo throws Ben a look as they walk down the street.
BENJAMIN
(off Theo's look)
You don't like Armani suits?
THEO
No, that's not it. What the hell
happened in there?
BENJAMIN
Switch off, Theo. I traded my
jackets for this one. Pre-paid,
you see. It's all in here.
THEO
You mean to tell me you're wearing
them? The drugs?
BENJAMIN
Yeah, and you can only guess what
was in my jacket.
THEO
Money?!
BENJAMIN
You're not sure?
THEO
No, it makes sense. Yeah.
BENJAMIN
Then it'll be your turn next time.
They turn a corner.
An OLDSMOBILE follows them around the corner.
INT. OLDSMOBILE (MOVING) - DAY
The man behind the wheel is CHUCK BRIDGES (approaching 50).
He has a strange but relaxed way about him. NATE, the addict
buying drugs from Ben earlier, rides shotgun.
BRIDGES
You paying attention here, Nate?
NATE
(nods)
Yeah.
BRIDGES
We know about these switches. It's
no secret. That's why I had you
follow them.
NATE
The guy who is wearing the suit
dealed me drugs earlier. Why don't
you pull them over?
BRIDGES
Benjamin Schwartz is the least of
our problems. It's George Randall
we're looking to catch in the act.
NATE
They deal in front of his place.
BRIDGES
Yeah, but it's small time stuff.
We come for the big stuff,
remember.
Bridges drives on.
EXT. CITY STREETS - DAWN
It's getting darker. Traffic and commuting slows.
DISSOLVE TO:
EXT. STREET/GAS STATION - NIGHT
Ben, wearing a jacket again (a different one), holds a white
bottle. He turns the corner and walks to the station. He sees
Lambert working on a car.
LAMBERT
Hey, what are you doing here?
Shouldn't you be at work?
BENJAMIN
My shift is over.
(hands him the bottle)
I brought you something.
Lambert takes the bottle.
BENJAMIN
Jamaican rum.
INT. GAS STATION OFFICE
Lambert takes two tiny glasses out of a small cupboard. He
sits down across the table from Ben.
BENJAMIN
I bought it downtown.
Lambert fills up both glasses. He takes a shot and sets it
down.
BENJAMIN
Don't you like it?
LAMBERT
It's great. Thanks!
He refills the glass.
LAMBERT
This is good!
Ben looks at Lambert for a while, thinking about something.
BENJAMIN
Can I tell you something?
Lambert downs the drink and looks at him.
LAMBERT
(nods)
Go ahead. I'm listening.
BENJAMIN
I'm not a bartender.
LAMBERT
(surprised)
Oh?
BENJAMIN
I'm a small-time dealer.
ON LAMBERT
He looks at him for a while. Beat.
LAMBERT
You're crazy.
BENJAMIN (O.S.)
You don't believe me.
LAMBERT
(beat)
Sure I do. You deal. You sell
drugs.
Benjamin nods.
LAMBERT
Who's your connection?
BENJAMIN
George Randall
Lambert doesn't say anything, waits.
BENJAMIN
Are you disappointed?
LAMBERT
(stares at him)
I don't give a damn.
(pours a drink)
Who cares.
A HONK sounds O.S. Lambert gets up.
LAMBERT
You'll die soon enough.
Lambert stumbles and hits a rack. Ben gets up and helps him.
BENJAMIN
Hey. Stay here. I'll go.
He helps Lambert sit down. Lambert watches him walk out,
shakes his head and exhales.
Outside, Ben fills up somebody's car.
EXT. APARTMENT BUILDING - NIGHT
RICHARD, on the look-out again, leans against the door. Ben,
on the opposite side of the street, crosses and walks towards
him. He nods and walks in.
Richard looks after Ben and turns back to the street just as--
MARDONI and SAL pull up on a motorcycle. They nod to Richard
and then take off.
INT. APARTMENT BUILDING - HALL
Ben opens his mailbox at the end of the row. He looks if his
plastic bag and everything else is still there. It is. He
takes a plastic bag from his pocket and looks inside.
INSIDE THE BAG
Roughly two dozen small wrapers are inside.
BACK TO SCENE
He puts it back inside the mailbox, closes it.
INT. BAR
A girl (20s) in a black jacket enters. She approaches the bar
and orders something. She looks around.
Ben sits at a able with a couple of guys. They ignore him
mostly. He stares at someone O.S.
The girl, it appears, is looking directly at Ben. Ben nods.
The girl lights a smoke, inhales, and lets the smoke escape
her mouth slowly, somewhat sexy. She smiles, then nods. Ben
lets out a smile, but more to himself.
EXT. BAR - NIGHT
Ben exits the bar.
EXT. APARTMENT BUILDING - NIGHT
Ben runs up and finds the door is closed. Richard is not on
the look-out anymore. Ben looks around; not fond of this.
INT. APARTMENT BUILDING - HALL
Ben lets himself in. He stops in front of his mailbox and
opens it. It's empty. He closes it, enraged.
BENJAMIN
Shit.
(pounds the mailbox)
Shit.
EXT. CITY STREETS - NIGHT
Ben is running. He stops after he sees a unattended
motorcycle leaning against a building. He runs for it, but
someone steps out the building and stops him.
MOTORCYCLE OWNER
You don't steal my bike twice,
asshole.
Ben has no time to argue. He strikes the owner across the
face. The owner falls, dizzy to react to anything. Ben kneels
down and takes the keys out of the owner's pockets. Ben turns
on the motorcycle and hurries off on it down the street, just
avoiding an uncoming car coming up the street.
INT. GAS STATION OFFICE - NIGHT
Ben storms in. Lambert is reading a book.
LAMBERT
(surprised to see him)
Hey, what's the hurry?
Ben walks in circles.
BENJAMIN
I'm in real fucking trouble. It's
all gone. Shit! I've got to pay
Randall back.
LAMBERT
How much?
BENJAMIN
Forty hits. 4,000 dollars!
LAMBERT
Do you have it?
BENJAMIN
(faces Lambert)
No, I only have around 900
dollars. I'm fucked, Lambert.
Lambert gets up.
LAMBERT
(grabs cash from his
pocket)
Here's 200 dollars.
He kneels down and grabs a cashbox from beneath the table.
LAMBERT
(sets it on table)
Take the cashbox.
(opens it, counts)
Here's 800 dollars. Plus 200. I've
got a 1000 right here. With your
money that's 1900 dollars. Give
him that. I'll get an advance on
my salary tomorrow.
Ben looks at him.
LAMBERT
(closes the cashbox)
Take it. It'll cut down on the
whiskey. I can't buy any without
money. Come on.
Ben takes it reluctantly, looks at Lambert.
BENJAMIN
I don't know what to say.
LAMBERT
Don't say anything.
BENJAMIN
(looks at the cash; )
I better go pick up my money and
pay him back.
LAMBERT
When are you coming back?
BENJAMIN
I'll come by as soon as I can.
LAMBERT
Watch out, all right?
BENJAMIN
Yeah.
(leaves for the door;
turns back)
Thank you, Lambert.
EXT. GAS STATION - NIGHT
Ben walks out. The motorcycle he stole earlier leans against
the door. He turns it around, hops on, and just as he hurries
out of there--
A car enters the station.
Lambert comes out the door. He walks towards the car.
Above the gas station, a bald man (40s) opens the door to his
balcony and looks out. He's watching.
The car's driver watches Lambert fill up the car. Lambert
looks up and sees the man watching him.
The bald man leans on the balcony, looking down.
Lambert watches still.
ON CAR'S GAS TANK
It overflows and fuel spills onto the ground.
ON LAMBERT
He doesn't notice.
OBSERVANT DRIVER (O.S.)
Hey. It's overflowing, man!
Lambert notices. He calmly stops and puts the nozzle back.
The driver approaches him.
LAMBERT
Sorry.
OBSERVANT DRIVER
Sorry? Fuck man, the gas is too
damn expensive to just be sorry.
LAMBERT
(nods)
Twenty.
The driver hands him the cash and gets in the car. Lambert
walks back to his office. The car speeds away.
ON THE BALD MAN
He keeps on looking. Has nothing better to do.
INT. GAS STATION OFFICE
Lambert by the table. He takes the cashbox and puts it away.
He walks to the window and looks out.
HIS POV
A motorcycle in the distance. It comes closer and ultimately
stops right in front of the window. It's Ben. He pounds on
the window and screams for help.
SAL and MARDONI (he's wearing a black helmet) drive up behind
Ben on a black motorcycle. Ben accellerates. They chase him
through the station. Lambert has seen enough.
EXT. GAS STATION - NIGHT
Lambert storms out of the office. He stops at the sight of --
ON BEN
He falls off the motorcycle.
SAL turns up right behind him. MARDONI grabs Ben by the
collar. SAL starts up which leaves Ben riding the hard
asphalt.
BEN tries to fight off MARDONI, but it has no effect.
SAL stops and MARDONI pulls a gun.
BEN takes one last look at LAMBERT who is in shock. Then
looks at SAL and MARDONI.
ON LAMBERT
A SHOT RINGS OUT O.S. His face goes blank.
SAL AND MARDONI
pull away and leave Ben lying on the ground.
LAMBERT runs to one of the gas nozzles.
SAL accelerates the motorcycle. MARDONI aims his gun.
LAMBERT holds the nozzle and sprays SAL, then sprays MARDONI
who at the same time fires at Lambert, but misses.
A FLAME IGNITES AFTER MARDONI GETS SPRAYED AND SHOOTS. HE
LIGHTS UP. The FLAME SPREADS TO SAL who then loses control.
THEIR MOTORCYCLE COLLIDES WITH A PARKED CAR.
SAL shoots over the car and lands on his head. Dead.
MARDONI lands on the roof of the car. He drops and rolls onto
the hood, trying to choke the flames on his jacket.
ON LAMBERT
He kneels by Ben's side and sees the hole in his chest.
BENJAMIN
(in pain)
I'm sorry. I fucked up.
Lambert can't speak.
BENJAMIN
It was Mardoni.
(tries for air)
I'm sorry I got you into this,
Lambert.
LAMBERT looks to the street and sees --
MARDONI, his jacket burned, puts out the flame on his leg. He
looks in our direction and limps off down the street.
LAMBERT
(turns back to Ben)
Don't talk.
BENJAMIN
(last breath)
It hurts.
Lambert feels his heartbeat. Ben slowly stops breathing.
PUSH IN on Lambert. He kisses dying Ben on the forehead.
FADE OUT TO:
Lambert leans against a wall, staring at the ground. He wears
only a shirt. His hair is messy. After a while, he looks at
something.
He touches a framed picture.
The picture shows a 16 year-old boy with curly black hair.
Lambert takes his hand off the picture and gets up slowly.
PULL BACK to reveal --
INT. LAMBERT'S APARTMENT
He exits his room, walks through the living room, and enters
the kitchen. He opens the fridge and takes out a one-gallon
milk carton. Lambert sits down at the kitchen table and
drinks from the milk carton. His thoughts are not in this
room. It's very quiet.
INT. LAMBERT'S APARTMENT - LATER
Lambert sleeps on the bed. His son's picture is on the night
table next to the bed.
EXT. CITY STREETS - MORNING
It's fairly quiet this morning.
EXT. BEN'S APARTMENT COMPLEX - DAY
Lambert turns the corner to Ben's apartment complex.
EXT. APARTMENT COMPLEX - DAY
Lambert approaches the flight of stairs.
INT. APARTMENT COMPLEX
Lambert walks up the stairs.
INT. BENJAMIN'S APARTMENT
Bridges, the man driving the Oldsmobile, holds a small
notebook. He's in the center of the room. He turns as Lambert
walks in through the door.
BRIDGES
Looking for something?
Lambert doesn't answer.
BRIDGES
(approaches Lambert)
I'm Detective Chuck Bridges. I'm
investigating the death of
Benjamin Schwartz. He lived here.
(flips the badge)
Are you a friend of his?
LAMBERT
(hesitates)
Oh no. I work at the gas station
where he died. He told me he lived
here.
BRIDGES
Let me get this right. You work at
the station, but you don't know
him?
LAMBERT
Right.
(after Bridges's look)
Well, he came in for gas a few
times, you know, but otherwise I
didn't know him.
He hands Bridges a Zippo lighter.
LAMBERT
I found this lighter while
cleaning up. I think it might be
his. I don't know, maybe his
family would appreciate it.
BRIDGES
He lived alone.
(looks at lighter)
You know what? Keep it. It might
not even be his. I wouldn't want
to go through the trouble of
working up a report on it.
Lambert frowns. Bridges walks over to the book rack.
BRIDGES
What did he do with all these
books?
LAMBERT
Maybe he read them.
BRIDGES
(shoots a look)
You think so?
LAMBERT
How would I know?
Bridges closes the apartment door. He faces Lambert.
BRIDGES
He was a small-time pusher, you
know.
LAMBERT
(shrugs off his
knowledge)
Yeah?
BRIDGES
(paces around)
I've had my eyes on him for a
while now. I waited to bust him
and some others later.
(beat)
You know, I'm glad you stopped by.
I'd hate to have you come down to
meet me at the precinct. Saved me
some time. Of course, I still need
to speak to some other witnesses,
but I'm glad we met.
Lambert doesn't quite share his enthusiasm there.
BRIDGES
(beat)
So how did it happen?
LAMBERT
What?
BRIDGES
How did Benjamin die?
LAMBERT
(beat)
Well, he was getting gas. Someone
showed up on a motorcycle and
shot him.
BRIDGES
Did you know the assailant?
LAMBERT
No.
BRIDGES
What did the assailant look like?
LAMBERT
Some guy in his late 20s.
BRIDGES
How did he die?
LAMBERT
He was out of control.
BRIDGES
You're saying it was an accident?
LAMBERT
It looked like one, yeah.
(beat)
Any more questions?
BRIDGES
No.
LAMBERT
Well. Goodbye.
He leaves the apartment. Bridges looks around and walks to
the book rack again. He examines it. Checks some titles.
Thinks something about them ain't kosher.
INT. PHONE BOOTH - DAY
Lambert talking on the phone.
LAMBERT
Just for a few days. It's not too
much to ask.
(beat)
I need a check-up with the doctor.
(beat)
Find someone to replace me, can't
you? I'll be back as soon as
possible.
(beat)
Thank you. Goodbye.
He exits the booth and walks away.
EXT. ALLEY - DAY
Lambert comes out and crosses a street. He walks over to--
EXT. RANDALL'S - DAY
Lambert walks up and enters.
INT. RANDALL'S
Randall chats with a customer. He fills up a beer for
somebody. He looks for a second as Lambert takes a seat at
the bar. Theo works behind the bar. He approaches Lambert.
THEO
How are you?
LAMBERT
Okay. A whiskey, huh?
Theo prepares a glass.
Lambert looks around the room. He sees a third bartender
chatting with two regulars. He also sees three guys at a
table in the back of the restaurant.
Theo sets the whiskey in front of Lambert.
LAMBERT
(nods)
Thanks.
He drinks up and looks over to Randall, curious as to who he
is.
A skinny customer walks up to Randall.
SKINNY GUY
Randall, my man, pour me a
Heineken.
Randall goes to fill up a beer. He looks over to Lambert.
Lambert holds a deep stare.
EXT. ROCK HOUSE - NIGHT
Lambert walks up. He's greeted by the bouncer.
BOUNCER
Can I help you?
LAMBERT
What does it take to get in?
BOUNCER
Got cash?
INT. ROCK HOUSE
Lambert leans against a wall. He watches the crowd.
Clubbing is going down in here. The noise is obscene. A rock
group performs on stage. The audience is clubbing to their
heavy metal song.
ROCK GROUP MEMBER
(into mic)
Yo everybody! Ready to rock?
(dances around stage)
To hell with country and rap!
Taste the noise of "rock"!
Liz is among the huge crowd. She's enjoying this. Laughs. Her
friends are around. She sings along.
Lambert keeps observing this rowdy crowd of clubbers. He's
unimpressed, looks around for somebody. He asks one of the
clubbers a question. The clubber doesn't know. Lambert thanks
him and walks out.
EXT. ROCK HOUSE - NIGHT
Lambert exits. He's smoking. The bouncer turns to him.
BOUNCER
Not your type of music huh?
LAMBERT
You know a girl named Liz?
EXT. ROCK HOUSE - NIGHT
A crowd of clubbers storm out. Some drunk. Some horny.
Lambert waits a few paces away and approaches them.
LAMBERT
Hey. Anybody of you know Liz?
They hardly pay attention to him and just keep walking. A
blonde girl walks out with her friends.
LAMBERT
(to girl)
Are you Liz?
She shakes her head "no" and walks away.
LAMBERT
(to anybody)
I'm looking for a blonde girl.
MALE VOICE (O.S.)
Get movin' oldie.
Liz's friends exit the club and pass Lambert. Among them is
Trey. Lambert walks up to him.
LAMBERT
Do you know a girl named Liz?
TREY
(keeps walking)
Yeah. She already left.
LAMBERT
(follows)
Do you know where I can find her?
LIZ'S FRIEND
(points across the
street)
I think that's her over there.
Lambert looks across the street.
Liz and RICKY are in an argument. He's all over her, which
she doesn't like. Other clubbers hang and walk past them.
RICKY
Come on.
LIZ
(tries to keep him
off)
Get off, Ricky.
RICKY
(lets go)
What's wrong with you?
LIZ
Fuck you. We broke up months ago.
Get over it.
RICKY
Fuck you, too.
He takes off with some of the other clubbers.
Lambert walks up beside Liz, but she walks away. He follows.
LAMBERT
Excuse me? Can we talk?
LIZ
(keeps walking)
What do you want?
INT. BAR
Liz and Lambert walk through the bar, looking for a free
table. They eventually find a table in the back, next to the
window. They sit. Liz looks impatient.
LAMBERT
Are you Liz?
LIZ
Who are you?
LAMBERT
Lambert.
LIZ
So what? What do you want?
LAMBERT
I just want to talk.
LIZ
(not in the mood for
guessing)
About?
LAMBERT
Benjamin.
LIZ
Who?
LAMBERT
How about the hot-looking Harley?
LIZ
(remembers)
I didn't know he stole it. He told
me it was his Harley. I didn't
know. Has he been arrested?
LAMBERT
He's dead.
She takes this in, but is interrupted by --
A KNOCK on the window O.S.
She looks over. Trey looks at her from outside.
TREY
(screaming)
Who is that guy, Liz?
Trey's friend pushes him out of sight.
TREY (O.S.)
Come on!
Liz turns back to Lambert.
LIZ
I'm sorry.
Lambert acknowledges.
LIZ
I didn't know him well. I only saw
him twice.
LAMBERT
You slept with him, didn't you?
LIZ
What? What you talking about? You
gotta be kidding.
LAMBERT
He told me.
LIZ
So, what if I did? What's it to
you?
LAMBERT
I'm sorry I brought that up. It's
none of my business.
(beat)
Do you know how he made his living?
LIZ
I told you I don't really know him.
LAMBERT
He was small-time dealer.
LIZ
(defends herself)
I don't know anything about that.
I don't take that shit. Besides,
I spent only a few hours with the
guy. I didn't know him.
Lambert looks at her deeply and listens.
LIZ
(beat)
What do you expect me to do?
LAMBERT
(beat)
I need your help.
LIZ
Help a cop? Yeah right. No way.
LAMBERT
(laughs)
I work at a gas station.
LIZ
(looks him over)
You look like a cop.
(beat)
I don't give a shit.
She gets up, but Lambert doesn't let her. She sits back down.
LAMBERT
Sit down. Please, I need your help.
LIZ
Why?
LAMBERT
My name is Lambert.
LIZ
Yeah, you told me that already.
LAMBERT
(serious)
Please listen. Lambert's an easy
name to remember. I live on 3600
Westchester Avenue. Apartment 204.
(beat)
You have until tomorrow to decide.
LIZ
Yeah, that's great. But what do
you want me to do?
LAMBERT
I have to find Ken Mardoni. He
killed Benjamin. And I need his
address. He hangs out at a
restaurant called "Randall's".
LIZ
Why don't you go there yourself?
LAMBERT
I look like a cop.
LIZ
(leans back)
Ugh. You know... just leave me out
of this, okay?
She gets up and starts to walk off, but Lambert cathes up
with her.
LAMBERT
Think it over, will you?
LIZ
Geez. Leave me the fuck alone, all
right?
EXT. BAR - NIGHT
Liz exits. She sees Trey driving up in a beat-up Mustang. He
gets out.
TREY
Are you coming?
LIZ
Not in that pice of shit I won't.
TREY
Come on. Hurry up.
He takes her hand, but she retreats.
LIZ
Take your hands off, okay.
TREY
Let's go, Liz. Come on.
LIZ
Trey, listen to me, okay? I don't
feel like it.
TREY
(grabs her jacket)
Fine! Don't bother coming back to
our shack.
LIZ
(pulls away)
Who gives a shit about that place!?
TREY
You're crazy!
LIZ
Loser!
Trey pushes her and walks back to the Mustang. He drives off.
Liz walks down the street.
INT. LAMBERT'S APARTMENT - BEDROOM
It's dark and quiet. He's sleeping on the bed.
The door bell RINGS O.S. And again.
Lambert wakes up and turns on the light. He's wearing last
night's clothes.
INT. LAMBERT'S APARTMENT
Lambert opens the door. Liz is standing in the hallway.
LIZ
Gee, what took you so long? Are
you deaf or something?
LAMBERT
I was sleeping.
She walks in. Lambert closes the door and shows Liz into the
dark living room.
LAMBERT
Have you decided?
LIZ
Can you turn on the light?
Lambert turns on the light and then sits at the table in
front of her. A glass and a whiskey bottle are on the table.
LIZ
What do you want me to do?
LAMBERT
I told you already.
He pours himself a glass of whiskey.
LIZ
Did he really die?
LAMBERT
He died in my arms.
LIZ
(after a thought)
He lives in what used to be a
motel.
(beat)
1630 Northern Drive. Number 102.
They look at each other. Lambert is surprised she has the
information and she is surprised she helped.
INT. LAMBERT'S APARTMENT - LATER
Liz looks out the window, smoking a ciggarette. She turns and
looks around the apartment.
A FLUSH in the b.g. She turns to the bathroom.
Lambert opens the bathroom door and walks out with a towel
around his head. He looks at her, then disappears into his
bedroom.
Liz looks on. She then walks OUT OF FRAME.
INT. LAMBERT'S APARTMENT - BEDROOM
Lambert straightens his suit and tie. He walks to the closet
and turns on the light. A gun-holstered shoulder strap hangs
among several suits and jackets. He takes it and puts it on.
INT. LAMBERT'S APARTMENT - LIVING ROOM
Lambert feels the silence. Liz isn't here. He sees the
apartment door wide open and closes it right away.
INT. LAMBERT'S APARTMENT - BEDROOM
He grabs a towel off the bed, unravels it, and aims the
emerging Baretta pistol out the window. He then checks the
clip for bullets. They're all there. Satisfied, he shoves the
clip back in and holsters the Baretta.
EXT. 1630 NORTHERN DRIVE - DAWN
It's raining like hell again. A taxi drives up and stops in
front of what looks like an old motel. Lambert gets out. The
taxi drives off and Lambert approaches the motel.
INT. MOTEL
Lambert closes the squeaky door. The windows are plastered
with white paint. The place is dark. Lambert takes out Ben's
Zippo lighter and flicks it. The flame gives off some light.
He proceeds down the motel's dark hallway with the small
flame giving him some sense of direction. He comes to a door.
He holds the lighter close. The number "101" appears. He
walks on, holds the lighter close and sees "102" on the door.
He knocks twice.
MAN'S VOICE
Who is it?
LAMBERT
Randall sent me.
MAN'S VOICE
What do you want?
LAMBERT
Open up.
The door opens and Mardoni, wearing a burned coat, looks out.
Lambert storms in and --
INT. MARDONI'S ROOM
-- pushes Mardoni inside. Lambert kicks the door closed.
It's awfully bright in here. It takes Lambert time to adjust.
MARDONI
What the fuck? Are you nuts?
Mardoni attacks Lambert. They struggle. Lambert shoves
Mardoni on the bed where a naked woman lies passed out.
MARDONI
What the fuck is this?
LAMBERT
(adjusts his eyesight)
It's about Benjamin.
MARDONI
Who the fuck is that?
LAMBERT
You've never heard of him?
MARDONI
I don't know what you're talking
about, man.
LAMBERT
Don't move, Mardoni.
(sees his coat)
Why's your coat burned, huh?
MARDONI
It's not my fucking coat. What the
fuck are you doing here?
LAMBERT
Your coat got burned at a gas
station. Do you know who was
wearing it?
Lambert takes out his gun.
MARDONI
No!
LAMBERT
(slaps the gun on
Mardoni's chest)
You.
MARDONI
You a goddamn cop?
LAMBERT
(slight smile)
No.
MARDONI
Then what the fuck? Who the fuck
are you after?
LAMBERT
Did you kill him on Randall's
orders?
MARDONI
Kill who?
Lambert has enough of his lies and hits him across the face.
Mardoni falls back against the wall. He falls to the ground.
His nose bleeds.
MARDONI
(in pain)
Fuck! Stop!
Lambert strikes him with the butt of the gun.
LAMBERT
Answer the question.
Mardoni is in a lot more pain and his face bleeds even
stronger. He begins to cy, touches his face.
MARDONI
We didn't mean to kill him.
LAMBERT
Maybe not, but he's dead now.
Mardoni just looks, begging for his life. Lambert holsters
the gun. He looks at the girl on the bed.
LAMBERT
Did you kill her, too?
MARDONI
(oblivious)
What?!
LAMBERT
The girl.
MARDONI
(gets up slowly)
No! She passed out.
LAMBERT
Why?
MARDONI
No, man! She... she took too
fucking much. What the fuck do you
care?
LAMBERT
I don't!
MARDONI
(walks to the bed)
So get the fuck out!
LAMBERT
Why did you kill him?
MARDONI
He owed Randall. He didn't pay up
full price. Nobody owes him and
gets away with it. It's just
business, man!
LAMBERT
It won't be anymore. You tell him
that.
MARDONI
(sits on the bed)
Fuck off!
LAMBERT
Fuck you!
He leaves for the door.
Mardoni's hands go under the bedsheet. The girl wakes up.
GIRL
Why did you wake me--
Lambert turns at those words.
Mardoni pulls a gun.
Lambert beats him to it and FIRES off a shot.
Mardoni falls back.
The girl screams. She sees if Mardoni is alive, but finds out
he's dead.
Lambert holsters the gun and walks out the room, leaving the
girl screaming.
INT. TAXI (MOVING) - DAY
It is a silent drive. Lambert looks out the window.
EXT. 3600 WESTCHESTER AVENUE - DAY
Lambert walks up as the taxi drives off in the background.
EXT. BUILDING 3600 - HALLWAY - DAY
He walks past a row of mailboxes.
EXT. BUILDING 3600 - COURTYARD - DAY
He walks into the open yard and continues to the stairs.
INT. LAMBERT'S APARTMENT
Liz is sleeping on the couch which is right by Lambert's
bedroom. She wakes up and curls over. Looks at the door.
INT. LAMBERT'S APARTMENT - BEDROOM
Liz quietly enters his room. She kneels down in front of
Lambert who is sleeping. She watches him. She then looks
around the room and sees a framed picture hanging on the
wall. She goes to it.
ON LAMBERT'S PICTURE
His portrait at a wedding.
ON LAMBERT
He opens his eyes, looks up and sees Liz.
LAMBERT
Did you sleep well?
LIZ
Okay.
LAMBERT
What are you doing here anyway?
LIZ
Is this the thanks I get?
LAMBERT
How did you get in? Why did you
come back?
LIZ
I wanted to know if you're okay.
LAMBERT
Well here I am. I'm okay.
LIZ
Where did you go?
LAMBERT
Forget it.
LIZ
I helped you out. Don't you forget
that!
LAMBERT
Well?
She mocks him, "what?".
LAMBERT
You know how to make coffee?
LIZ
Not really.
LAMBERT
Well, there's some instant on the
kitchen table.
Liz exits his room. Lambert sits up and takes a ciggarette
and Ben's lighter from the night table. He almost lights it,
but decides not to.
INT. LAMBERT'S APARTMENT - KITCHEN
Liz sits at the table. She's drinking milk. Lambert walks in
and sits down. A glass of coffee waits in front of him.
LAMBERT
Not having any?
LIZ
It tastes like shit.
Lambert takes a sip. His face goes berserk. He spit the
coffee out into the sink.
LAMBERT
What did you do with this?
LIZ
Hey, it's not my fault.
Lambert sits back down.
LAMBERT
Look in the fridge.
LIZ
For what?
LAMBERT
You could make some eggs.
LIZ
(doesn't appreciate
his behavior)
Who do you think I am, your maid?
Make your own eggs.
LAMBERT
I think I will.
LIZ
It's your place afterall!
LAMBERT
It is.
LIZ
Something is bothering you, isn't
it?
LAMBERT
I'm sorry. I just don't think it's
right. This is not the place for
you to be. Not for a beautiful
girl like you.
LIZ
Bullshit.
LAMBERT
(rolls his eyes)
Get out.
Liz looks at him.
LAMBERT
I don't mean to kick you out...
but you don't belong here. I'm not
somebody to hang around with. I
appreciate your help... but that's
it. I don't have any money. And
look at me, I'm a fucking drunk.
LIZ
Who asked for your help?
LAMBERT
I don't know.
(beat)
What do you want?
LIZ
You don't... nothing! I don't want
anything!
LAMBERT
Then get out.
She has enough of his barking and gets up.
LIZ
You are just a drunk.
She leaves for the door.
Lambert looks after her. He doesn't know whether to feel
better or regret what he said.
INT. LAMBERT'S APARTMENT - BEDROOM - DAY
Some light infiltrates his room. It's raining outside.
Lambert lies in bed, staring off into space.
The door bell RINGS O.S. He looks up. wondering.
INT. LAMBERT'S APARTMENT - DAY
Lambert walks to the door.
LAMBERT
Who is it?
BRIDGES (O.S.)
Inspector Bridges.
Lambert looks surprised. He opens the door.
LAMBERT
Come in.
Bridges does. Lambert closes the door and shows him to the
living room.
LAMBERT
Have a seat.
Bridges nods and sits down. Several whiskey and beer bottles
are on the table.
BRIDGES
(re: the booze)
Are you busy?
LAMBERT
No.
He takes the whiskey and pours a shot.
BRIDGES
So why didn't you tell me?
LAMBERT
Tell you what?
BRIDGES
That you were one of us.
LAMBERT
(hands Bridges the
glass)
That's history. Long time ago.
BRIDGES
(takes the glass)
Tell me about it.
(beat)
You retired after your son's death?
LAMBERT
You came here to talk about my son?
Bridges takes out a handkerchief and wipes his wet forehead.
BRIDGES
Wasn't he an addict?
LAMBERT
What's your point?
BRIDGES
I'm just trying to piece things
together.
LAMBERT
Leave my son out of this, please.
BRIDGES
Okay.
(beat)
I just don't understand why you
didn't tell me the truth.
LAMBERT
What are you talking about?
BRIDGES
The truth always comes out in the
end. You should know that as a
former cop.
(beat)
Asthma.
LAMBERT
What about it?
BRIDGES
Terrible illness, know what I mean?
LAMBERT
No, I don't. You're asthmatic, is
that it?
BRIDGES
No, I'm not. But the man who lives
above the gas station is. He saw
what happened to Ben. You didn't
serve him gas. He came to you for
help. He was pounding against your
window.
(beat)
You mentioned just one assailant
when there were actually two. One
of them shot Benjamin, so you went
after them. You sprayed them with
gas. You didn't know, but a flame
somehow ignited and lit them of
fire. Their bike crashed into a
car, killing one of them. The
other got away.
(beat)
Why did you lie?
Lambert stares at the ground.
LAMBERT
Drop it, okay?
BRIDGES
You know I can't.
LAMBERT
(looks up)
Why can't you?
BRIDGES
Because I'm a cop.
LAMBERT
(worked up)
Well I'm not.
(beat)
I'm nothing. I'm nobody. Just
leave me alone.
BRIDGES
(looks at Lambert for
a while; then:)
You didn't work last night, did
you?
LAMBERT
No. I took some days off.
BRIDGES
(pulls out a notebook)
Do you know the man on the day
shift, Dave Thornton?
LAMBERT
Yes, he's a good man.
BRIDGES
He's dead.
Lambert is confused. He holds a long stare.
BRIDGES
He took your shift last night.
They really messed him up. He
looked like as if he's been
tortured. A horrible sight.
(beat)
They got the wrong man, of course.
They were after the night shift.
That's where you come in. You
better watch yourself when you get
back to work.
(beat)
He probably gave them your address
before he died.
LAMBERT
Who cares.
BRIDGES
Well, I'm just telling you. Watch
your ways, know what I mean? These
people don't leave things open-
ended. No happy endings. Get it?
LAMBERT
Yeah.
The door bell RINGS O.S. Bridges looks at the door. Lambert
doesn't move a muscle.
BRIDGES
Aren't you going to answer?
LAMBERT
It's probably the wrong door.
A KNOCK sounds O.S. Bridges watches as Lambert reluctantly
gets up to answer the door.
LAMBERT
Who is it?
LIZ (O.S.)
It's me, Liz.
Lambert opens up.
LIZ
Are you still catching up on your
sleep?
Lambert leads her inside.
Bridges gets up and greets Liz.
BRIDGES
(to Lambert)
Your daughter?
LIZ
(to Lambert)
Who is he?
LAMBERT
A pig.
LIZ
That's obvious.
Lambert walks to the table and sips a glass of whiskey.
LIZ
(to Bridges)
I'm his girlfriend.
BRIDGES
What a lucky man.
Bridges turns to Lambert.
BRIDGES
(almost whispering)
Another two-bit dealer got himself
killed this morning.
LAMBERT
Oh?
BRIDGES
Does the name Ken Mardoni ring a
bell?
LAMBERT
No.
BRIDGES
The composite drawing looks quite
a lot like you.
Lambert shrugs.
BRIDGES
(beat)
Well, okay Lambert. We'll see each
other later.
(to Liz)
Goodbye.
He walks out the door. Lambert sits down and pours another
glass. He drinks up and pours another.
LIZ
Stop drinking.
LAMBERT
(drinks up)
Leave me alone.
LIZ
Alcoholic bastard.
LAMBERT
What's your point?
She gets up and takes the bottle of whiskey away from him. He
gets up and faces her.
LAMBERT
What do you want? What are you
after? Sex?
LIZ
With you? You gotta be kidding.
LAMBERT
Then what do you want?
LIZ
(leans in close)
Kiss me.
LAMBERT
You're crazy. I just want to be
left alone, don't you understand?
LIZ
I'm staying.
(beat)
I'll make you some eggs.
LAMBERT
You can't. My life is scrambled
enough as it is. So here it is:
Just go. Forget you ever knew me.
I don't exist. Get it?
(grabs her arm)
Come on. Get out.
LIZ
Don't touch me, okay?
LAMBERT
It's dangerous for you to hang
around here. Don't tell me later
I didn't warn you.
He leaves her alone and walks to his bedroom.
LIZ
Why don't you just run away from
all this?
Lambert takes one last look at her and then disappears behind
the closing door of his bedroom.
INT. LAMBERT'S APARTMENT - BEDROOM
It's mostly dark, but a lamp on the night table gives off
some light. Lambert sits on the bed, setting the alarm clock.
It reads "7:40pm". He pushes the "alarm" button and it reads
"11:40pm". He releases and the clock goes back to "7:40pm".
He checks the volume. It's too loud so he turns it down. He
sets the alarm clock back on the night table and in return
grabs the Baretta off of it.
Lambert puts his head on the pillow and sets the gun by his
side. He closes his eyes.
INT. LAMBERT'S APARTMENT
CLOSE ON - A CASSETTE PLAYER
Someone puts a cassette in the player and pushes play.
PULL BACK: Liz by the player. She is inside a room that looks
like it belongs to a teenager. Everything is about ten years
behind today's time. The speakers give off "To The End" by
BLUR. Liz checks out the walls. They're full of rock bands
posters.
INT. LAMBERT'S APARTMENT - LIVING ROOM
Liz walks in. She sees Lambert's dishes on the table and
decides to pick them up. She continues into the kitchen.
INT. LAMBERT'S APARTMENT - BEDROOM
The clock reads "9:50pm". Lambert is sleeping. He slowly
opens his eyes.
INT. LAMBERT'S APARTMENT
Lambert exits his room and walks towards the room where the
music is coming from. He turns off the music, turns off the
light, and closes the door as he walks out. He approaches Liz
in the living room.
LAMBERT
Liz.
LIZ
Why did you stop the music?
LAMBERT
Stay out that room please.
LIZ
I didn't touch anything.
Lambert, knowing her response was a lie, walks to his room.
LIZ
Whose room is it?
She follows him.
INT. LAMBERT'S APARTMENT - BEDROOM
Lambert sits down on the bed. Liz leans against the door.
LIZ
Is it your son's room?
LAMBERT
(inhales)
Could you close the door, please?
I need more sleep.
She hesitates for a bit, then closes as he asked. Lambert
lies down on the pillows and pulls the covers over his body.
DISSOLVE TO:
INT. LAMBERT'S APARTMENT - BEDROOM - LATER
It's dark. The only thing visible is the time on the alarm
clock, which reads "11:39pm". It BEEPS at the turn of "11:40".
Lambert leans over and turns on the lamp. He looks out the
window. It is dark outside. He gets up and walks to the
closet, opens it and takes out a black leather jacket.
INT. LAMBERT'S APARTMENT - BATHROOM
Lambert combs his hair until it sits just right. He looks at
his wristwatch on his way out.
CLOSE ON - WRISTWATCH
It reads "11:45pm".
CUT TO:
SOMEBODY'S POV THROUGH A GLASS DOOR - RANDALL'S RESTAURANT
We're right across the street from Randall's. The Harley Ben
used to impress Liz with waits in front. The door opens and
several drunk customers walk out. Randall and a friend follow
soon after. They say goodbye. Randall walks back inside.
REVERSE ANGLE - THROUGH THE GLASS DOOR
Lambert is hiding behind it, watching closely.
LAMBERT'S POV -
Randall walks out and locks one of the doors.
PULL BACK: A dark hallway. Lambert walks out the door.
EXT. RANDALL'S - NIGHT
Randall is about to close the other door when Lambert
approaches him with the gun drawn.
LAMBERT
Don't move and don't say a word.
Randall turns around slowly, sees the gun.
RANDALL
Who are you? What do you want?
LAMBERT
Roll the Harley inside.
RANDALL
Are you fucking kidding me?
LAMBERT
(indicates his gun)
Do it.
Randall complies and rolls the Harley inside. Lambert looks
around for anybody, but the streets are dead.
LAMBERT
Hurry up.
Lambert walks inside and shuts the door behind him. CLUNK.
INT. RANDALL'S
Randall rolls the bike still.
LAMBERT
(from behind)
Pull it on the stand.
Randall does as told. Lambert walks up. They stand on
opposite sides of the bike. Randall isn't as cool now that he
doesn't have anybody to back him up.
RANDALL
Who are you?
LAMBERT
I ask the questions here. Now that
I cleared that up for you I want
you to clear up something for me.
RANDALL
What do you want?
LAMBERT
To talk.
RANDALL
What about?
LAMBERT
That's top secret my friend!
RANDALL
You're a cop?
LAMBERT
I ask the questions, you need to
remember that.
(beat)
Benjamin Schwartz. Do you know him?
RANDALL
Benjamin Schwartz? Who is that?
LAMBERT
Oh, so you don't know him?
He smashes the bike with the gun's butt. The seat. Tank.
Randall protests.
LAMBERT
You listen now, understand! I'm
the one who shot Mardoni.
RANDALL
(has had enough!)
What the fuck do you want?
Lambert aims the gun at Randall's head
LAMBERT
Answer this for me: Was it your
idea to kill the man at the gas
station?
RANDALL
Who the fuck are you talking about?
Lambert smashes the bike's headlights. Not once, but three
times. Randall shouts.
RANDALL
Stop! Stop!
LAMBERT
Stop what, Randall? My aggression?
Randall looks at Lambert, confused.
LAMBERT
Surprised I know your fucking
name, are you?
(beat)
I ask you again: Was it your idea
to kill the man at the gas station?
RANDALL
Who!?
LAMBERT
The one you tortured to death! The
witness to Benjamin's killing!
ON RANDALL
He knows that Lambert knows.
ON LAMBERT
LAMBERT
You fucked up, asshole. It was me.
I saw your fucking guys kill Ben.
I'm the witness.
RANDALL
I don't get it!
Lambert smashes the bike again.
RANDALL
The attendant gave us your name!
You're a dead man!
LAMBERT
What the fuck do I care? You'd be
doing me a favor.
Silence.
LAMBERT
You've got three seconds.
Lambert turns his back on Randall, walks around a bit. He
cocks the gun.
RANDALL turns on the bike's engine and jumps on.
LAMBERT turns around and aims.
RANDALL STARTS UP IN LAMBERT'S DIRECTION
LAMBERT fires off a shot.
RANDALL takes it in the chest and falls off the Harley.
The Harley SMASHES into a set of tables at the back of the
restaurant. The gas tank is leaking.
LAMBERT looks at the spreading fuel and walks over. He takes
out Benjamin's lighter and flips it.
LAMBERT
Thank you.
He drops it on the floor. The FLAME ignites a FIREBALL that
spreads through the restaurant.
LAMBERT walks away. He steps over Randall's dead body.
Approaching the door, he turns around for one last look.
The Harley EXPLODES. A FIREBALL ERUPTS. THE FLAMES ENGULF THE
PLACE and RANDALL DISAPPEARS BEHIND THEM.
EXT. RANDALL'S - NIGHT
Lambert hurries out and SHUTS THE DOORS. He calmly walks away.
The FLAMES light up the night.
EXT. CITY STREET - NIGHT
Lambert walks down the street. He holsters his gun. There's
nobody around. He hears distant SOUNDS of fire trucks on
their way.
INT. LAMBERT'S APARTMENT - BEDROOM
Lambert appears in the doorway. He looks at --
Liz in deep sleep on his bed.
His shadow falls on her face. She wakes up and looks at him.
LIZ
Where have you been?
Lambert just looks on.
LIZ
You look strange. What's wrong?
LAMBERT
I'm tired.
LIZ
Come to bed.
LAMBERT
No. You go back to sleep.
ON LIZ
She watches him walk out. The door closes. The room is dark.
INT. LAMBERT'S APARTMENT - LIVING ROOM
Lambert sits on the couch. He takes his jacket off and hangs
it over a chair nearby. He takes off the shoulder holster and
drops it on the ground. He turns off the lamp behind the
couch.
The moon gives off some light, penetrating the windows.
Everything around Lambert is dark, except he himself.
PUSH IN on Lambert as he begins to fall asleep.
FADE OUT TO:
INT. LAMBERT'S APARTMENT - BEDROOM
Some light through the window lights Liz in her sleep.
BRIDGES (O.S.)
(his voice sounds
familiar, but isn't
exactly clear)
We've discovered that Benjamin was
a friend of Ken Mardoni. They used
to hang out at George Randall's
restaurant.
Liz wakes up as she hears the talking.
LAMBERT (O.S.)
Why are you so interested?
BRIDGES (O.S.)
It's my job, isn't it?
She gets out of bed completely naked.
BRIDGES (O.S.)
I've been trying to crack their
ring for many months.
She leans against the door and listens.
INT. LAMBERT'S APARTMENT - LIVING ROOM
Lambert and Bridges sit at the table.
BRIDGES
Randall and Mardoni are dead. Or
to be more precise: They were
executed... in one instance or
another.
(points at Lambert)
If Fremont got it next I'd think
someone was taking the law into
his own hands.
Lambert knows he's guilty, but waits what Bridges has to say
next. When he doesn't say anything...
LAMBERT
Who's Fremont?
BRIDGES
Keep this to yourself.
Lambert sighs.
BRIDGES
He's the top man who supplied
Randall. Randall isn't alone.
There are hundreds of people like
him. You know, just forget you
ever heard this.
LAMBERT
(straight)
Don't worry, Inspector Bridges. I
sell gas, not drugs.
BRIDGES
Fremont has a front. A fancy night
club. It goes by the name
"Champagne Flair". It's open late.
He lives right above it. The
apartment facing the street.
LAMBERT
(intrigued)
I've never heard of it. What are
you here for?
Bridges lights a smoke.
BRIDGES
Where were you tonight?
LAMBERT
Why?
BRIDGES
That's why I'm here. I'm here to
find out where you were.
Lambert stares at the floor.
BRIDGES
Personally, I don't really care.
In fact, I have my assumptions,
but I'd like to hear it from you.
(beat)
Well?
LIZ (O.S.)
He was with me.
Lambert looks up. Liz walks up next to him, placing her arm
around his shoulder.
LIZ
We stayed home and fucked through
the night.
Lambert looks at her, surprised. He decides to test Bridges.
LAMBERT
What if I told you I went to
Randall, killed him, and set his
place on fire?
BRIDGES
(takes a hit off the
cigarette)
You've got a good alibi.
He puts the cigarette out.
BRIDGES
I still like my theory.
(beat)
An enforcer.
ON LAMBERT AND LIZ - They listen.
BRIDGES (O.S.)
Someone who gets the criminal
before the police do. Someone who
sets scores. Old scores, perhaps.
What do you think?
LAMBERT
I don't think.
BRIDGES
(gets up)
Right!
(faces them)
I thought so.
LAMBERT
You thought what?
BRIDGES
(walks to the door)
You're a man of action, Lambert.
You've proven it twice to me.
Three's the charm, they say.
(beat)
Good night.
Lambert follows Bridges to the door.
BRIDGES
(opens it)
Don't worry. You've got a great
alibi.
He leaves. Lambert turns and looks at Liz.
EXT. CITY STREET - NIGHT
Lambert and Liz walking "on the street".
LIZ
(persuasive)
Don't go. You can't kill them all.
LAMBERT
Leave me alone.
LIZ
Well I won't let you go. I'm
coming with you.
Lambert keeps walking. Liz holds on to his jacket.
LIZ
Don't you see they are going to
kill you?
Lambert stops and looks into her eyes.
LAMBERT
I'm dead aldready.
He sees something O.S. and walks up to an intersection.
A taxi drives up.
Lambert opens the door. He takes one last look at Liz. a
He gets inside and the taxi drives off. Liz watches.
EXT. CHAMPAGNE FLAIR CLUB - NIGHT
The taxi drives up. Lambert gets out and pays the driver. He
walks towards the club. He finds the club is closed, so he
heads to the building next to it. He looks up.
HIS POV -
The building reaches several stories up.
BACK TO SCENE:
Lambert tries the door. It opens.
INT. BUILDING
It's rather dark in here save for a single lamp. Lambert
approaches the stairs and walks up.
INT. BUILDING - 1ST FLOOR - BY FREMONT'S APARTMENT
Lambert comes up the stairs and turns left into a short hall.
He stops in front of the first door. This is where Benjamin
delivered the envelope earlier.
A tag on the door reads "Fremont". Under it it says "Leave
mail in the mailbox". Lambert looks at the box. He opens it
and looks inside. He takes out a thick envelope. A bundle of
$100 bills inside. Lambert pockets it and RINGS the doorbell
three times.
FREMONT (O.S.)
Who is it?
LAMBERT
(takes the gun out)
It's Randall. Open up.
FREMONT (O.S.)
What do you want at this hour?
LAMBERT
Open up, Fremont.
FREMONT (O.S.)
Fuck you.
Lambert looks at the peep hole, realizing his bluff didn't
have a chance. He shoots the door lock and KICKS IN the door.
INT. FREMONT'S APARTMENT
Lambert runs in. It only takes one second for him to see the
elegance of this apartment. Expensive furniture and more.
INT. FREMONT'S APARTMENT - LIVING ROOM
Lambert enters.
JACKIE FREMONT (50s), wearing a goldchain and a sadin pajama,
is on the phone. He's sweating.
Lambert walks over and points the gun at him.
LAMBERT
Wrong number.
FREMONT
(into phone)
Yes, I'm sorry. Wrong number.
(hangs up; scared)
Who are you? What do you want?
Lambert throws the thick envelope to Fremont who catches it.
LAMBERT
That's yours, right?
Fremont opens it and sees the cash. He pockets it.
FREMONT
You're goddamn right it is. What
the hell are you doing here?
LAMBERT
Where did it come from?
FREMONT
What?!
Lambert SHOOTS the TV behind Fremont.
LAMBERT
I ask you again. Where did you--
FREMONT
(pissed and scared)
--what do you want me to say? I
own a club. I make money.
LAMBERT
Cut the bullshit. Who the fuck
pays $50,000 in cash?
FREMONT
Certain people have their ways.
What's it to you?
LAMBERT
You supply a drug ring. Is that
where the money comes from? Is
that how you can afford all this
shit?
(shoots a collection
of glassware)
Shit like this?
(shoots the couch)
Or this?
(aims at Fremont)
Tell me.
FREMONT
(about to wet his
pants)
The club is just a cover. I'm one
of several suppliers in the city.
LAMBERT
Go on.
FREMONT
I supply all sorts of drugs.
Whatever sells, I get 80% of the
profits.
(beat)
It's good money!
LAMBERT
Good money for you, but small-time
dealers get fucked over. Do you
ever think about them?
FREMONT
Who cares!?!
Lambert hits Fremont across the face.
LAMBERT
I do.
Fremont falls to the ground. He checks his nose. It bleeds.
FREMONT
What do you want?
LAMBERT
(spits in his face)
How does it feel to get fucked?
Look at all your fancy things now.
Your TV is shot. Your collection
is in pieces. Your couch is
worthless.
(aims the gun at
Fremont's head)
And you.
Lambert stares at him. Fremont looks helpless and scared.
LAMBERT
This is pathetic. Your wealth can
get you anything, but it can't
help you out this situation. Now
you're just like one of them. A
streat dealer who can get killed
at any moment. Just one of the
many unlucky money runners, most
of whom you employ.
Lambert still holds the gun. Fremont pisses his pants.
BRIDGES (V.O.)
Three's the charm, they say.
Lambert thinks. Fremont is on the ground.
FREMONT
What do you want from me?
LAMBERT
I don't know.
FREMONT
I've got money. If that's what you
want, you can have it. Please,
take it all and just leave.
LAMBERT
Your money is not a penny. What's
your motivation? Be rich? Famous?
Respected? Feared? Powerful?
FREMONT
How can your motivation not be at
least one of those things?
LAMBERT
I haven't thought about it.
FREMONT
Well, you should. What is your
motivation for being here? You're
pointing your gun in my face
threatening to kill me. You shoot
up my valuable belongings. Are you
not being feared? Are you not
powerful?
LAMBERT
This is different.
(beat)
My motivation is to enforce the
law and avenge the death of a
friend.
FREMONT
I'm sorry your friend is dead, but
I did not kill him.
LAMBERT
If you did not kill him, how do
you know he was killed?
Fremont doesn't respond. Even if he did or did not have
something to do with Ben's death, he's screwed either way.
FREMONT
What do you want from me?
LAMBERT
Pay up, just like George Randall
did. And Ken Mardoni. They didn't
give me any other choice but to
pull the trigger. But you, you ran
them. They answered to you. Now
you answer to me.
Fremont doesn't want to conquer, he wants this to end, if
possible. Lambert fingers the gun's trigger.
FREMONT
What's the question?
LAMBERT
Do you appreciate the dealers who
practically make all your money
for you? Without them, you'd be
like me. A busted old guy without
a future.
FREMONT
I appreciate the business they
bring to the table.
LAMBERT
Yeah, and when they don't bring
any to the table, they become
expendable. Randall is expendable,
but you're clearly not.
FREMONT
I'm glad you got the balls to
admit that fact--
LAMBERT
--unless I make you expendable.
Fremont freezes. He looks at Lambert. At the gun.
ON THE GUN - It goes off!
WIDE SHOT:
Lambert steps over Fremont's body. He walks out the living
room.
PUSH IN ON FREMONT'S BODY. As we get closer we can see a
small pistol in his palm.
INT. TAXI (MOVING) - MORNING
Lambert in the backseat. He just stares at the road ahead and
waits for the ride to end.
EXT. WESTCHESTER DRIVE/BUILDING 3600 - DAY
The taxi turns into the street. It stops in front of
Lambert's building. Lambert gets out.
INT. BUILDING 3600 - HALLWAY
Lambert walks down the hall and sees --
Liz is waiting in front of his apartment.
They walk towards each other. Lock eyes and hug. A kiss, too.
INT. LAMBERT'S APARTMENT - BEDROOM
Lambert and Liz sit up in bed. Both are naked.
LAMBERT
I was a cop's cop. You know the
type. "Detective Lambert". One
patriotic son of a bitch.
LIZ
That was back then.
LAMBERT
I was your typical asshole.
LIZ
Stop insulting yourself, okay?
Sometimes it helps, but in your
case it doesn't. Try to think
positive. You can only benefit.
LAMBERT
(tears develop)
I never had time for my son
Nick... except to yell at him.
Work was all that mattered to me.
(beat)
One day he had enough of my shit.
I wasn't a good father. He started
shooting up at sixteen. I wanted
him to quit. I locked him in his
room for two weeks with just bread
and water for a diet. Like a real
cop... I would've put him in jail
if I could. He kept screaming for
a fix.
(beat)
What he really needed was a father.
(beat)
One day my wife opened the door...
and he ran away.
(beat)
He died of an overdose a week
later. A colleague found him in a
bathroom at the train station.
(beat)
My wife left me and I stopped
being an asshole. It was then that
I realized... it was all too late.
Liz leans in and touches his face:
LIZ
Kiss me.
They kiss.
LIZ
I want to run away.
LAMBERT
Where to?
LIZ
I don't know.
(beat)
Anywhere but this place. It's
dragging both of us down.
LAMBERT
I know a place in mountains. My
wife, Nick and I used to stay over
there during the summer breaks...
when everything was still making
sense, including myself.
LIZ
(kisses him)
What's holding you back?
LAMBERT
(shrugs)
Memories.
(looks at her)
But that was back then.
They kiss and hug.
FREEZE IMAGE.
DISSOLVE TO:
INT. BUILDING 3600
Lambert and Liz run down the stairs. They turn into--
INT. BUILDING 3600 - HALLWAY
Liz stops.
LIZ
I forgot my purse.
Lambert looks at her.
LIZ
Where are the keys?
Lambert gives them to her.
LAMBERT
I'll wait in the yard.
Liz nods and runs up the stairs. Lambert continues down the
hallway and turns the corner into--
EXT. BUILDING 3600 - COURTYARD - DAY
A stray black cat runs up to Lambert out of nowhere. He looks
at it, then watches the cat run away.
INT. LAMBERT'S APARTMENT
Liz, with her purse in hand, runs out the door.
EXT. BUILDING 3600 - DAY
Lambert waits by the door. He looks at the street and sees a
black car driving by. He smells the air. He looks up at the
sun. Then at the adjacent building--
HIS POV - THE ROOFTOP
At least a dozen birds fly off as if something disturbed
their peace.
EXT. BUILDING 3600 - COURTYARD - DAY
Liz runs through the yard.
EXT. BUILDING 3600 - DAY
Lambert hears Liz running up and turns around.
A SHOT RINGS OUT!
LAMBERT's back takes in a large bullet. BLOOD PAINTS the door.
LIZ stops! Looks! Her happiness turns to terror! She screams!
TRACK WITH LIZ as she runs towards Lambert.
Lambert holds his back. He takes out his gun and SHOOTS
outside.
IN SLOW MOTION:
A SECOND BULLET HITS LAMBERT IN THE CHEST. He collapeses onto
the ground. His face shows no expression, except for a small
smirk.
LIZ runs up, kneels down, and takes his gun. She LEANS
AGAINST THE DOOR and TAKES AIM at SOMEBODY OUTSIDE.
LIZ SHOOTS. SCREAMS IN FEAR and SADNESS.
FREEZE IMAGE -- LAMBERT ON THE GROUND AND LIZ SHOOTING.
FADE OUT:
THE END