Quentin Tarantino - Reservoir Dogs lyrics

Quentin Tarantino's R E S E R V O I R D O G S October 22, 1990 ----------------- This movie is dedicated to these following sources of inspiration: TIMOTHY CAREY ROGER CORMAN ANDRE DeTOTH CHOW YUEN FAT JEAN LUC GODDARD JEAN PIERRE MELVILLE LAWRENCE TIERNEY LIONEL WHITE --------------------- RESERVOIR DOGS 1 INT. UNCLE BOB'S PANCAKE HOUSE - MORNING Eight men dressed in BLACK SUITS, sit around a table at a breakfast cafe. They are MR. WHITE, MR. PINK, MR. BLUE, MR. BLONDE, MR. ORANGE, MR. BROWN, NICE GUY EDDIE CABOT, and the big boss, JOE CABOT. Most are finished eating and are enjoying coffee and conversation. Joe flips through a small address book. Mr. Pink is telling a long and involved story about Madonna. MR. PINK "Like a Virgin" is all about a girl who digs a guy with a big dick. The whole song is a metaphor for big dicks. MR. BLUE No it's not. It's about a girl who is very vulnerable and she's been f**ed over a few times. Then she meets some guy who's really sensitive-- MR. PINK --Whoa...whoa...time out Greenbay. Tell that bullsh** to the tourists. JOE (looking through his address book) Toby...who the f** is Toby? Toby...Toby...think...think... think... MR. PINK It's not about a nice girl who meets a sensitive boy. Now granted that's what "True Blue" is about, no argument about that. MR. ORANGE Which one is "True Blue?" NICE GUY EDDIE You don't remember "True Blue?" That was a big a** hit for Madonna. sh**, I don't even follow this Tops In Pops sh**, and I've at least heard of "True Blue." MR. ORANGE Look, a**hole, I didn't say I ain't heard of it. All I asked was how does it go? Excuse me for not being the world's biggest Madonna fan. MR. BROWN I hate Madonna. MR. BLUE I like her early stuff. You know, "Lucky Star," "Borderline" - but once she got into her "Papa Don't Preach" phase, I don't know, I tuned out. MR. PINK Hey, f** all that, I'm making a point here. You're gonna make me lose my train of thought. JOE Oh f**, Toby's that little china girl. MR. WHITE What's that? JOE I found this old address book in a jacket I ain't worn in a coon's age. Toby what? What the f** was her last name? MR. PINK Where was I? MR. ORANGE You said "True Blue" was about a nice girl who finds a sensitive fella. But "Like a Virgin" was a metaphor for big dicks. MR. PINK Let me tell ya what "Like a Virgin"'s about. It's about some cooze who's a regular f** machine. I mean all the time, morning, day, night, afternoon, dick, dick, dick, dick, dick, dick, dick, dick, dick, dick, dick. MR. BLUE How many dicks was that? MR. WHITE A lot. MR. PINK Then one day she meets a John Holmes motherf**er, and it's like, whoa baby. This mother f**er's like Charles Bronson in "The Great Escape." He's diggin tunnels. Now she's gettin this serious dick action, she's feelin something she ain't felt since forever. Pain. JOE Chew? Toby Chew? No. MR. PINK It hurts. It hurts her. It shouldn't hurt. Her p**y should be Bubble-Yum by now. But when this cat f**s her, it hurts. It hurts like the first time. The pain is reminding a f** machine what is was like to be a virgin. Hence, "Like a Virgin." The fellas crack up. JOE Wong? MR. PINK f** you, wrong. I'm right! What the f** do you know about it anyway? You're still listening to Jerry-f**ing-Vale. JOE Not wrong, dumb a**, Wong! You know, like the Chinese name? Mr. White snatches the address book from Joe's hand. They fight, but they're not really mad at each other. MR. WHITE Give me this f**ing thing. JOE What the f** do you think you're doin? Give me my book back! MR. WHITE I'm sick of f**in hearin it Joe, I'll give it back when we leave. JOE Whaddaya mean, give it to me when we leave, give it back now. MR. WHITE For the past fifteen minutes now, you've just been droning on with names. "Toby...Toby...Toby... Toby Wong...Toby Wong...Toby Chung...f**in Charlie Chan." I got Madonna's big dick outta my right ear, and Toby Jap I-don't- know-what, outta my left. JOE What do you care? MR. WHITE When you're annoying as hell, I care a lot. JOE Give me my book. MR. WHITE You gonna put it away? JOE I'm gonna do whatever I wanna do with it. MR. WHITE Well, then, I'm afraid I'm gonna have to keep it. MR. BLONDE Joe, you want me to shoot him for you? MR. WHITE sh**, you shoot me in a dream, you better wake up and apologize. NICE GUY EDDIE Have you guys been listening to K- BILLY's super sounds of the seventies weekend? MR. PINK Yeah, it's f**in great isn't it? NICE GUY EDDIE Can you believe the songs they been playin? MR. PINK No, I can't. You know what I heard the other day? "Heartbeat - It's Lovebeat," by little Tony DeFranco and the DeFranco Family. I haven't heard that since I was in fifth f**in grade. NICE GUY EDDIE When I was coming down here, I was playin it. And "The Night the Lights Went Out in Georgia" came on. Now I ain't heard that song since it was big, but when it was big, I heard it a million- trillion times. I'm listening to it this morning, and this was the first time I ever realized that the lady singing the song, was the one who k**ed Andy. MR. BLUE You didn't know Vicki Lawrence k**ed the guy? NICE GUY EDDIE I thought the cheatin wife shot Andy. MR. BLONDE They say it in the song. NICE GUY EDDIE I know, I heard it. I musta zoned out whenever that part came on before. I thought when she said that little sister stuff, she was talkin about her sister- in-law, the cheatin wife. JOE No, she did it. She k**ed the cheatin wife, too. MR. PINK You know the part in "Gypsies, Tramps and Theives," when she says "Poppa woulda shot his if he knew what he'd done?" I could never figure out what he did. The table laughs. The WAITRESS comes over to the table. She has the check, and a pot of coffee. WAITRESS Can I get anybody more coffee. JOE No, we're gonna be hittin it. I'll take care of the check. She hands the bill to him. WAITRESS Here ya go. Please pay at the register, if you wouldn't mind. JOE Sure thing. WAITRESS You guys have a wonderful day. They all mutter equivalents. She exits and Joe stands up. JOE I'll take care of this, you guys leave the tip. (to Mr. White) And when I come back, I want my book back. MR. WHITE Sorry, it's my book now. JOE Blonde, shoot this piece of sh**, will ya? Mr. Blonde shoots Mr. White with his finger. Mr White acts shot. Joe exits. NICE GUY EDDIE Okay, everybody cough up green for the little lady. Everybody whips out a buck, and throws it on the table. Everybody, that is, except Mr. White. NICE GUY EDDIE C'mon, throw in a buck. MR. WHITE Uh-uh. I don't tip. NICE GUY EDDIE Whaddaya mean you don't tip? MR. WHITE I don't believe in it. NICE GUY EDDIE You don't believe in tipping? MR. PINK (laughing) I love this kid, he's a madman, this guy. MR. BLONDE Do you have any idea what these ladies make? They make sh**. MR. WHITE Don't give me that. She don't make enough money, she can quit. Everybody laughs. NICE GUY EDDIE I don't even know a Jew who'd have the balls to say that. So let's get this straight. You never ever tip? MR. WHITE I don't tip because society says I gotta. I tip when somebody deserves a tip. When somebody really puts forth an effort, they deserve a little something extra. But this tipping automatically, that sh**'s for the birds. As far as I'm concerned, they're just doin their job. MR. BLUE Our girl was nice. MR. WHITE Our girl was okay. She didn't do anything special. MR. BLONDE What's something special, take ya in the kitchen and s** your dick? They all laugh. NICE GUY EDDIE I'd go over twelve percent for that. MR. WRITE Look, I ordered coffee. Now we've been here a long f**in time, and she's only filled my cup three times. When I order coffee, I want it filled six times. MR. BLONDE What if she's too busy? MR. WHITE The words "too busy" shouldn't be in a waitress's vocabulary. NICE GUY EDDIE Excuse me, Mr. White, but the last thing you need is another cup of coffee. They all laugh. MR. WHITE These ladies aren't starvin to d**h. They make minimum wage. When I worked for minimum wage, I wasn't lucky enough to have a job that society deemed tipworthy. NICE GUY EDDIE Ahh, now we're getting down to it. It's not just that he's a cheap ba*tard-- MR. ORANGE --It is that too-- NICE GUY EDDIE --It is that too. But it's also he couldn't get a waiter job. You talk like a pissed off dishwasher: "f** those c*nts and their f**ing tips." MR. BLONDE So you don't care that they're counting on your tip to live? Mr. White rubs two of his fingers together. MR. WHITE Do you know what this is? It's the world's smallest violin, playing just for the waitresses. MR. BLONDE You don't have any idea what you're talking about. These people bust their a**. This is a hard job. MR. WHITE So's working at McDonald's, but you don't feel the need to tip them. They're servin ya food, you should tip em. But no, society says tip these guys over here, but not those guys over there. That's bullsh**. MR. ORANGE They work harder than the kids at McDonald's. MR. WHITE Oh yeah, I don't see them cleaning fryers. MR. BROWN These people are taxed on the tips they make. When you stiff 'em, you cost them money. MR. BLONDE Waitressing is the number one occupation for female non-college graduates in this country. It's the one jab basically any woman can get, and make a living on. The reason is because of tips. MR. WHITE f** all that. They all laugh. MR. WHITE Hey, I'm very sorry that the government taxes their tips. That's f**ed up. But that ain't my fault. it would appear that waitresses are just one of the many groups the government f**s in the a** on a regular basis. You show me a paper says the government shouldn't do that, I'll sign it. Put it to a vote, I'll vote for it. But what I won't do is play ball. And this non- college bullsh** you're telling me, I got two words for that: "Learn to f**in type." Cause if you're expecting me to help out with the rent, you're in for a big f**in surprise. MR. ORANGE He's convinced me. Give me my dollar back. Everybody laughs. Joe's comes back to the table. JOE Okay ramblers, let's get to rambling. Wait a minute, who didn't throw in? MR. ORANGE Mr. White. JOE (to Mr. Orange) Mr. White? (to Mr. White) Why? MR. ORANGE He don't tip. JOE (to Mr. Orange) He don't tip? (to Mr. White) You don't tip? Why? MR. ORANGE He don't believe in it. JOE (to Mr. Orange) He don't believe in it? (to Mr. White) You don't believe in it? MR. ORANGE Nope. JOE (to Mr. Orange) Shut up! (to Mr. White) Cough up the buck, ya cheap ba*tard, I paid for your goddamn breakfast. MR. WHITE Because you paid for the breakfast, I'm gonna tip. Normally I wouldn't. JOE Whatever. Just throw in your dollar, and let's move. (to Mr. Blonde) See what I'm dealing with here. Infants. I'm f**in dealin with infants. The eight men get up to leave. Mr. White's waist is in the F.G. As he bu*tons his coat, for a second we see he's carrying a gun. They exit Uncle Bob's Pancake House, talking amongst themselves. 2 EXT. UNCLE BOB'S PANCAKE HOUSE - DAY CREDIT SEQUENCE: When the credit sequence is finished, we FADE TO BLACK: Over the BLACK we hear the sound of SOMEONE SCREAMING in agony. Under the screaming, we hear the sound of a car HAULING ASS, through traffic. Over the screams and the traffic noise, we hear SOMEBODY ELSE SAY: SOMEBODY ELSE (OS) Just hold on buddy boy. Somebody stops screaming long enough to say: SOMEBODY (OS) I'm sorry. I can't believe she k**ed me. Who would've f**in thought that? CUT TO: 3 INT. GETAWAY GAR (MOVING) - DAY The Somebody screaming is Mr. Orange. He lies in the backseat. He's been SHOT in the stomach. BLOOD covers both him and the backseat. Mr. White is the Somebody Else. He's behind the wheel of the getaway car. He's easily doing 80 mph, dodging in and out of traffic. Though he's driving for his life, he keeps talking to his wounded pa**enger in the backseat. They are the only two in the car. MR. WHITE Hey, just cancel that sh** right now! You're hurt. You're hurt really f**ing bad, but you ain't dying. MR. ORANGE (crying) All this blood is scaring the sh** outta me. I'm gonna die, I know it. MR. WHITE Oh excuse me, I didn't realize you had a degree in medicine. Are you a doctor? Are you a doctor? Answer me please, are you a doctor? MR. ORANGE No, I'm not! MR. WRITE Ahhhh, so you admit you don't know what you're talking about. So if you're through giving me your amateur opinion, lie back and listen to the news. I'm taking you back to the rendezvous, Joe's gonna get you a doctor, the doctor's gonna fix you up, and you're gonna be okay. Now say it: you're gonna be okay. Say it: you're gonna be okay! Mr. Orange doesn't respond. Mr. White starts pounding on the steering wheel. MR. WHITE Say-the-goddamn-words: you're gonna be okay! MR. ORANGE I'm okay. MR. WHITE (softly) Correct. 4 INT. WAREHOUSE - DAY The CAMERA does a 360 around an empty warehouse. Then the door swings open, and Mr. White carries the bloody body of Mr. Orange inside. Mr. Orange still is MOANING loudly from his bullet hit. Mr. White lays him down upon a mattress on the floor. MR. WHITE Just hold on buddy boy. Hold on, and wait for Joe. I can't do anything for you, but when Joe gets here, which should be anytime now, he'll be able to help you. We're just gonna sit here, and wait for Joe. Who are we waiting for? MR. ORANGE Joe. MR. WHITE Bet your sweet a** we are. Mr. White gets up from over Mr. Orange and starts to prowl around the warehouse. MR. ORANGE (yelling) Don't leave me! Mr White bends back over him and takes his hand. MR. WHITE I ain't going anywhere. I'm right here. I'm not gonna leave ya. MR. ORANGE Larry, I'm so scared, would you please hold me. Mr. White very gently embraces the bloody Mr. Orange. Cradling the young man, Mr. White whispers to him. MR. WHITE (whispering) Go ahead and be scared, you've been brave enough for one day. I want you to just relax now. You're not gonna die, you're gonna be fine. When Joe gets here, he'll make ya a hundred percent again. Mr. White lays Mr. Orange back down on the mattress. He's still holding his hand. Mr. Orange looks up at his friend. MR. ORANGE Look, I don't wanna be a fly in the ointment, but if help doesn't come soon, I gotta see a doctor. I don't give a f** about jail, I just don't wanna die. MR. WHITE You're not gonna f**ing die, all right? MR. ORANGE I wasn't born yesterday. I'm hurt, and I'm hurt bad. MR. WHITE It's not good... MR. ORANGE Hey, bless your heart for what you're trying to do. I was panicking for a moment, but I've got my senses back now. The situation is, I'm shot in the belly. And without medical attention, I'm gonna die. MR. WHITE I can' take you to a hospital. MR. ORANGE f** jail! I don't give a sh** about jail. But I can't die. You don't have to take me in. Just drive me up to the front, drop me on the sidewalk. I'll take care of myself. I won't tell them anything. I swear to f**ing god, I won't tell 'em anything. Look in my eyes, look right in my eyes. (Mr. White does) I-won't-tell-them-anything. You'll be safe. MR. WHITE Lie back down, and try to-- MR. ORANGE I'm going to die! I need a doctor! I'm begging you, take me to a doctor. Mr. Orange lays his head back on the mattress. Spent from his outburst, he quietly mutters to himself: MR. ORANGE Take me to a doctor, take me to a doctor, please. Suddenly, the warehouse door BURSTS open and Mr. Pink steps inside. MR. PINK Was that a f**ing set-up or what? Mr. Pink sees Mr. Orange on the floor, shot and bloody. MR. PINK Oh f**, Orange got tagged. Throughout this scene, we hear Mr. Orange moaning. MR. WHITE Gun shot. MR. PINK Oh that's just f**ing great! Where's Brown? MR. WHITE Dead. MR. PINK Goddamn, goddamn! How did he die? MR. WHITE How the f** do you think? The cops shot him. MR. PINK Oh this is bad, this is so bad. (referring to Mr. Orange) Is it bad? MR. WHITE As opposed to good? MR. PINK This is so f**ed up. Somebody f**ed us big time. MR. WHITE You really think we were set up? MR. PINK You even doubt it? I don't think we got set up, I know we got set up! I mean really, seriously, where did all those cops come from, huh? One minute they're not there, the next minute they're there. I didn't hear any sirens. The alarm went off, okay. Okay, when an alarm goes off, you got an average of four minutes response time. Unless a patrol car is cruising that street, at that particular moment, you got four minutes before they can realistically respond. In one minute there were seventeen blue boys out there. All loaded for bear, all knowing exactly what the f** they were doing, and they were all just there! Remember that second wave that showed up in the cars? Those were the ones responding to the alarm. but those other motherf**ers were already there, they were waiting for us. (pause) You haven't thought about this? MR. WHITE I haven't had a chance to think. First I was just trying to get the f** outta there. And after we got away, I've just been dealin with him. MR. PINK Well, you better start thinking about it. Cause I, sure as f**, am thinking about it. In fact, that's all I'm thinking about. I came this close to just driving off. Whoever set us up, knows about this place. There could've been cops sitting here waiting for me. For all we know, there's cops, driving fast, on their way here now. MR. WHITE Let's go in the other room... The camera creeps along a wall, coming to a corner. We move past it, and see down a hall. 5 INT. BATHROOM HALLWAY - DAY At the end of the hall is a bathroom. The bathroom door is partially closed, restricting our view. Mr. Pink is obscured, but Mr. White is in view. MR. PINK (OS) What the f** am I doing here? I felt funny about this job right off. As soon as I felt it I should said "No thank you", and walked. But I never f**ing listen. Every time I ever got burned buying weed, I always knew the guy wasn't right. I just felt it. But I wanted to believe him. If he's not lyin to me, and it really is Thai stick, then whoa baby. But it's never Thai stick. and I always said if I felt that way about a job, I'd walk. And I did, and I didn't, because of f**in money! MR. WHITE What's done is done, I need you cool. Are you cool? MR. PINK I'm cool. MR. WHITE Splash some water on your face. Take a breather. We hear the sink running, and Mr. Pink splashing water on his face. MR. WHITE I'm gonna get me my smokes. Mr White opens the bathroom door, walks down the hall, and OUT OF FRAME. We see Mr. Pink, his back turned towards us, bent over the sink. Then he grabs a towels, and dries his face. Mr White ENTERS FRAME with a pack of Chesterfields in his hand. MR. WHITE Want a smoke? MR. PINK Why not? The two men light up. MR. WHITE Okay, let's go through what happened. We're in the place, everything's going fine. Then the alarm gets tripped. I turn around and all these cops are outside. You're right, it was like, bam! I blink my eyes are they're there. Everybody starts going apesh**. Then Mr. Blonde starts shootin all the-- MR. PINK --That's not correct. MR. WHITE What's wrong with it? MR. PINK The cops didn't show up after the alarm went off. They didn't show till after Mr. Blonde started shooting everyone. MR. WHITE As soon as I heard the alarm, I saw the cops. MR. PINK I'm telling ya, it wasn't that soon. They didn't let their presence be known until after Mr. Blonde went off. I'm not sayin they weren't there, I'm sayin they were there. But they didn't move in till Mr. Blonde became a madman. That's how I know we were set up. You can see that, can't you, Mr. White? MR. WHITE Look, enough of this "Mr White" sh**-- MR. PINK --Don't tell me your name, I don't want to know! I sure as hell ain't gonna tell ya mine. MR. WHITE You're right, this is bad. (pause) How did you get out? MR. PINK Shot my way out. Everybody was shooting, so I just blasted my way outta there. CUT TO: 6 EXT. CROWDED CITY STREET - DAY Mr. Pink is hauling a** down a busy city sidewalk. He has a canvas bag with a shoulder strap in one hand, and a .357 MAGNUM in the other. If any BYSTANDERS get in his way, he just knocks them down. We DOLLY at the same speed, right along side of him. FOUR POLICEMEN are running after Mr. Pink. We DOLLY with them. We DOLLY with a young woman on roller skates. ROLLERGIRL is plugged into a walkman. We hear the song she's listening to LOUD over the SOUNDTRACK. She's twirling and skating backwards to the beat of the song. Rollergirl turns a corner and COLLIDES with Mr. Pink. The man and woman CRASH to the ground. Mr. Pink rolls into the street, in front of a moving car that SCREECHES to a stop, narrowly avoiding running over him. 7 INT. CAR (STOPPED) - DAY The CAMERA is in the backseat. A SHOCKED WOMAN is the car's driver. Mr. Pink pulls himself up from the hood, shakes it off, and points his magnum at the driver. MR. PINK Get outta the car! Get the f** outta the car! The Shocked Woman starts screaming. Mr. Pink tries to open the driver's side door, but it's locked. MR. PINK Open the f**ing door! EXTREME C.U. DRIVER'S SIDE WINDOW Mr. Pink SMASHES it in our face. 8 EXT. STREET - DAY DOLLY with Cops coming up fast. Mr. Pink DRAGS the Shocked Woman out of the car. The Cops reach the corner, guns aimed. Using the car as a shield, Mr. Pink FIRES three shots at the Cops. Everybody HITS the ground, or scatters. Mr. Pink HOPS in the car. Cops FIRE. 9 INT. CAR (MOVING) - DAY CAMERA in the backseat, Mr. Pink FLOORS it. SPEEDING down the street, with the Cops FIRING after him. BACK TO: 10 INT. BATHROOM - DAY Mr. Pink and Mr. White still talking in the bathroom. MR. PINK Tagged a couple of cops. Did you k** anybody? MR. WHITE A few cops. MR. PINK No real people? MR. WHITE Uh-uh, just cops. MR. PINK Could you believe Mr. Blonde? MR. WHITE That was one of the most insane f**ing things I've ever seen. Why the f** would Joe hire somebody like that? MR. PINK I don't wanna k** anybody. But if I gotta get out that door, and you're standing in my way, one way of the other, you're gettin outta my way. MR. WHITE That's the way I look at it. A choice between doin ten years, and takin out some stupid motherf**er, ain't no choice at all. But I ain't no madman either. What the f** was Joe thinkin? You can't work with a guy like that. That mother- f**er's unstable. What do you think? Do you think he panicked, or ya think he's just trigger- happy? MR. PINK I think he's a sick f**in maniac! We're awful goddamn lucky he didn't tag us, when he shot up the place. I came this f**ing close-- (hold up two fingers and makes a tiny space between them) --to taking his a** out myself. Everybody panics. When things get tense, everybody panics. Everybody. I don't care what your name is, you can't help it. It's human nature. But ya panic on the inside. Ya panic in your head. Ya give yourself a couple a seconds of panic, then you get a grip and deal with the situation. What you don't do, is shoot up the place and k** everybody. MR. WHITE What you're supposed to do is act like a f**in professional. A psychopath is not a professional. You can't work with a psychopath, 'cause ya don't know what those sick a**holes are gonna do next. I mean, Jesus Christ, how old do you think that black girl was? Twenty, maybe twenty-one? MR. PINK Did ya see what happened to anybody else? MR. WHITE Me and Mr. Orange jumped in the car and Mr. Brown floored it. After that, I don't know what went down. MR. PINK At that point it became every man for himself. As far as Mr. Blonde or Mr. Blue are concerned, I ain't got the foggiest. Once I got out, I never looked back. MR. WHITE What do you think? MR. PINK What do I think? I think the cops caught them, or k**ed 'em. MR. WHITE Not even a chance they punched through? You found a hole. MR. PINK Yeah, and that was a f**ing miracle. But if they did get away, where the f** are they? MR. WHITE You don't think it's possible, one of them got ahold of the diamonds and pulled a-- MR. PINK Nope. MR. WHITE How can you be so sure? MR. PINK I got the diamonds. MR. WHITE Where? MR. PINK I got 'em, all right? MR. WHITE Where? Are they out in the car? MR. PINK No, they're not in the car. No, I don't have them on me. Ya wanna go with me and get 'em? Yes, we can go right now. But first listen to what I'm telling you. We were f**in set up! Somebody is in league with the cops. We got a Judas in our midst. And I'm thinkin we should have our f**in heads examined for waiting around here. MR. WHITE That was the plan, we meet here. MR. PINK Then where is everybody? I say the plan became null and void once we found out we got a rat in the house. We ain't got the slightest f**in idea what happened to Mr. Blonde or Mr. Blue. They could both be dead or arrested. They could be sweatin 'em, down at the station house right now. Yeah they don't know the names, but they can sing about this place. I mean, that could be happening right now. As we speak, the cops could be in their cars, drivin here this minute. MR. WHITE I swear to god I'm f**in jinxed. MR. PINK What? MR. WHITE Two jobs back, it was a four man job, we discovered one of the team was an undercover cop. MR. PINK No sh**? MR. WHITE Thank god, we discovered in time. We hadda forget the whole f**in thing. Just walked away from it. MR. PINK So who's the rat this time? Mr. Blue? Mr. Blonde? Joe? It's Joe's show, he set this whole thing up. Maybe he set it up to set it up. MR. WHITE I don't buy it. Me and Joe go back a long time. I can tell ya straight up, Joe definitely didn't have anything to do with this bullsh**. MR. PINK Oh, you and Joe go back a long time. I known Joe since I was a kid. But me saying Joe definitely couldn't have done it is ridiculous. I can say I definitely didn't do it, cause I know what I did or didn't do. But I can't definitely say that about anybody else, 'cause I don't definitely know. For all I know, you're the rat. MR. WHITE For all I know, you're the rat. MR. PINK Now you're using your head. For all we know, he's the rat. Mr. Pink points OFFSCREEN to Mr. Orange. Mr. White's expression changes. MR. WHITE Jesus Christ! 11 INT. WAREHOUSE - DAY They run over to Mr. Orange, who's unconscious. The CAMERA hovers over the action. Mr. Pink reaches him first. MR. PINK Is he dead? Mr. White pushes him out of the way. He feels the pulse on Mr. Orange's neck. MR. PINK So, is he dead or what? MR. WHITE He ain't dead. MR. PINK So what is it? MR. WHITE I think he's just pa**ed out. MR. PINK He scared the f**in sh** outta me. I thought he was dead fer sure. Mr. White stands up and walks over to a table. MR. WHITE He will be dead fer sure, if we don't get him to a hospital. MR. PINK We can't take him to a hospital. MR. WHITE Without medical attention, this man won't live through the night. That bullet in his belly is my fault. Now while that might not mean jack sh** to you, it means a helluva lot to me. And I'm not gonna just sit around and watch him die. MR. PINK Well, first things first, staying here's goofy. We gotta book up. MR. WHITE So what do you suggest, we go to a hotel? We got a guy who's shot in the belly, he can't walk, he bleeds like a stuck pig, and when he's awake, he screams in pain. MR. PINK You gotta idea, spit it out. MR. WHITE Joe could help him. If we can get in touch with Joe, Joe could get him to a doctor, Joe could get a doctor to come and see him. During Mr. Pink's dialog, we slowly ZOOM in to a C.U. of Mr. White. MR. PINK (OS) Assuming we can trust Joe, how we gonna get in touch with him? He's supposed to be here, but he ain't, which is making me nervous about being here. Even if Joe is on the up and up, he's probably not gonna be that happy with us. Joe planned a robbery, but he's got a blood bath on his hands now. Dead cops, dead robbers, dead civilians...Jesus Christ! I tend to doubt he's gonna have a lot of sympathy for our plight. If I was him, I'd try and put as much distance between me and this mess an humanly possible. MR. WHITE Before you got here, Mr. Orange was askin me to take him to a hospital. Now I don't like turning him over to the cops, but if we don't, he's dead. He begged me to do it. I told him to hold off till Joe got here. MR. PINK (OS) Well Joe ain't gettin here. We're on our own. Now, I don't know a goddamn body who can help him, so if you know somebody, call 'em. MR. WHITE I don't know anybody. MR. PINK (OS) Well, I guess we drop him off at the hospital. Since he don't know nothin about us, I say it's his decision. MR. WHITE'S POV: C.U. OF MR. PINK. MR. WHITE (OS) Well, he knows a little about me. MR. PINK You didn't tell him your name, did ya? MR. WHITE (OS) I told him my first name, and where I'm from. There is a long silence and a blank look from Mr. Pink, then he SCREAMS: MR. PINK Why! MR. WHITE (OS) I told him where I was from a few days ago. It was just a casual conversation. MR. PINK And what was tellin him your name when you weren't supposed to? MR. WHITE (OS) He asked. Mr. Pink looks at Mr. White like he's retarded. MR. WHITE (OS) We had just gotten away from the cops. He just got shot. It was my f**in fault he got shot. He's a f**in bloody mess - he's screaming. I swear to god, I thought we was gonna die right then and there. I'm tryin to comfort him, telling him not to worry, he's gonna be okay, I'm gonna take care of him. And he asked me what my name was. I mean, the man was dyin in my arms. What the f** was I supposed to tell him, "Sorry, I can't give out that information, it's against the rules. I don't trust you enough."? Maybe I shoulda, but I couldn't. MR. PINK Oh, I don't doubt is was quite beautiful-- MR. WHITE (OS) Don't f**in patronize me. MR. PINK One question: Do they have a sheet on you, where you told him you're from? MR. WHITE (OS) Of course. MR. PINK Well that's that, then. I mean, I was worried about mug shot possibilities already. But now he knows: (a) what you look like, (b) what your first name is, (i) where you're from and (d) what your specialty is. They ain't gonna hafta show him a helluva lot of pictures for him to pick you out. That's it right, you didn't tell him anything else that could narrow down the selection? MR. WHITE (OS) If I have to tell you again to back off, me an you are gonna go round and round. Mr. Pink walks out of the C.U. and turns his back on Mr. White. Mr. White's POV PANS over to him. MR. PINK We ain't taking him to a hospital. MR. WHITE (OS) If we don't, he'll die. MR. PINK And I'm very sad about that. But some fellas are lucky, and some ain't. MR. WHITE (OS) That f**in did it! Mr. White's POV CHARGES toward Mr. Pink. Mr. Pink turns toward him in time to get PUNCHED hard in the mouth. END OF POV Mr. White and Mr. Pink have a very ungraceful and realistic fight. They go at each other like a couple of alley cats. As Mr. White SWINGS and PUNCHES, he SCREAMS: MR. WHITE You little motherf**er! Mr. Pink YELLS as he HITS: MR. PINK Ya wanna f** with me?! You wanna f** with me?! I'll show you who you're f**in with! The two men end up on the floor KICKING and SCRATCHING. Mr. White gets Mr. Pink in a HEADLOCK. Mr. Pink reaches in his jacket for his gun, and pulls it out. Mr. White sees this, immediately lets go of Mr. Pink, and goes for his own weapon. The two men are on the floor, on their knees, with their guns outstretched, aiming at one another. MR. WHITE You wanna shoot me, you little piece of sh**? Take a shot! MR. PINK f** you, White! I didn't create this situation, I'm just dealin with it. You're acting like a first-year f**in thief. I'm actin like a professional. They get him, they can get you, they get you, they get closer to me, and that can't happen. And you, you motherf**er, are looking at me like it's my fault. I didn't tell him my name. I didn't tell him where I was from. I didn't tell him what I knew better than to tell him. f**, fifteen minutes ago, you almost told me your name. You, buddy, are stuck in a situation you created. So if you wanna throw bad looks somewhere, throw 'em at a mirror. Mr. Pink lowers his gun and walks towards White. MR. PINK So if you wanna shoot somebody, put that gun in your mouth and shoot yourself. Then from OFF SCREEN we hear: VOICE (OS) You kids don't play so rough. Somebody's gonna start crying. 12 INT. WAREHOUSE - DAY - MEDIUM C.U. ON MR. BLONDE The Voice belongs to the infamous Mr. Blonde. Mr. Blonde sits on a counter, drinking a fast food coke and eating a hot dog. MR. PINK Mr. Blonde! You okay? We thought you might've gotten caught. What happened? Mr. Blonde doesn't answer, he just hops off the counter and starts walking around the warehouse, checking the place out. He doesn't look at either Mr. Pink or Mr. White, he just eats his hot dog and sips his coke. This is making Pink and White nervous as hell. But Mr. Pink tries to talk through it. We HANDHOLD follow Mr. Blonde around the warehouse. MR. PINK Really, how did you get away? Mr. Blonde walks the loft. Silent. MR. PINK You saw what happened to me, I found a hole and booked. Silence. MR. PINK Where's Mr. Blue? Blonde looks in the bathroom. MR. PINK We were hopin you two would be together. Blonde looks out the window. MR. PINK That was the big question we had, what happened to Mr. Blue and you? Blonde walks away from the window. MR. PINK We were worried the cops got ya. Blonde bends down over Mr. Orange. MR. PINK He got it in the belly. He's still alive, but won't be for long. MR. WHITE Enough! You better start talkin to us, a**hole, cause we got sh** we need to talk about. We're already freaked out, we need you actin freaky like we need a f**in bag on our hip. Mr. Blonde looks at his two partners in crime, then moves towards them. MR. BLONDE So, talk. MR. WHITE We think we got a rat in the house. MR. PINK I guarantee we got a rat in the house. MR. BLONDE What would ever make you think that? MR. WHITE Is that supposed to be funny? MR. PINK We don't think this place is safe. MR. WHITE This place just ain't secure anymore. We're leaving, and you should go with us. MR. BLONDE Nobody's going anywhere. Silence takes over the room. Mr. Blonde stops moving. After a few beats the silence is broken. MR. WHITE (to Mr. Pink) Piss on this turd, we're outta here. Mr. White turns to leave. MR. BLONDE Don't take another step, Mr. White. Mr. White explodes, raising his gun and charging towards Mr. Blonde. MR. WHITE f** you, maniac! It's your f**in fault we're in so much trouble. Mr. Blonde calmly sits down. He looks to Mr. Pink. MR. BLONDE (referring to Mr. White) What's this guy's problem? MR. WHITE What's my problem? Yeah, I gotta problem. I gotta big problem with any trigger-happy madman who almost gets me shot! MR. BLONDE What're you talkin about? MR. WHITE That f**in shooting spree in the store. MR. BLONDE f** 'em, they set off the alarm, they deserve what they got. MR. WHITE You almost k**ed me, a**hole! If I had any idea what type of guy you were, I never would've agreed to work with you. MR. BLONDE You gonna back all day, little doggie, or are you gonna bite? MR. WHITE What was that? I'm sorry, I didn't catch it. Would you repeat it? MR. BLONDE (slowly) I said: "Are you gonna bark all day, dog, or are you gonna bite." MR. PINK Both of you two a**holes knock it the f** off and calm down! MR. WHITE (to Mr. Blonde) So you wanna git bit, huh? MR. PINK Cut the bullsh**, we ain't on a f**in playground! (pause) I don't believe this sh**, both of you got ten years on me, and I'm the only one actin like a professional. You guys act like a bunch of f**in n******gs. You ever work a job with a bunch of n******gs? They're just like you two, always fightin, always sayin they're gonna k** one another. MR. WHITE (to Mr. Pink) You said yourself, you thought about takin him out. MR. PINK Then. That time has pa**ed. Right now, Mr. Blonde is the only one I completely trust. He's too f**in homicidal to be workin with the cops. MR. WHITE You takin his side? MR. PINK f** sides! What we need is a little solidarity here. Somebody's stickin a red hot poker up our a**es and we gotta find out whose hand's on the handle. Now I know I'm no piece of sh**... (referring to Mr. White) And I'm pretty sure you're a good boy... (referring to Mr. Blonde) And I'm f**in positive you're on the level. So let's figure out who's the bad guy. Mr. White calms down and puts his gun away. Mr. Blonde returns to the persona we saw at the beginning, talking about Madonna. MR. BLONDE Well, that was sure exciting. (to Mr. White) You're a big Lee Marvin fan, aren't you? Me too. I don't know about the rest of you fellas, but my heart's beatin fast. (pause for a beat) Okay you guys, follow me. Mr. Blonde hops out of his chair and heads for the door. The other two men just follow him with their eyes. MR. WHITE Follow you where? MR. BLONDE Down to my car. MR. WHITE Why? MR. BLONDE It's a surprise. Mr. Blonde walks out. 13 EXT. WAREHOUSE - DAY Three cars are parked out front. Mr. Blonde is walking towards the car he drove. Mr. White and Mr. Pink are walking behind. The Camera is HANDHELD following behind them. MR. PINK We still gotta get out of here. MR. BLONDE We're gonna sit here and wait. MR. WHITE For what, the cops? MR. BLONDE Nice Guy Eddie. MR. PINK Nice Guy Eddie? What makes you think Nice Guy's anywhere but on a plane half way to Costa Rica? MR. BLONDE Cause I just talked to him. He's on his way down here, and nobody's going anywhere till be gets here. MR. WHITE You talked to Nice Guy Eddie? Why the f** didn't you say that in the first place? MR. BLONDE You didn't ask. MR. WHITE Hardy-f**in-har. What did he say? MR. BLONDE Stay put. Okay, fellas, take a look at the little surprise I brought you. Mr. Blonde opens up the truck of his car. A handcuffed, uniformed POLICEMAN is curled up inside the trunk. MR. BLONDE So while we're waitin for Nice Guy Eddie, what say we have a little fun finding out who the rat is. INSERT: TITLE CARD "MR. BLONDE". 14 INT. JOE CABOT'S OFFICE - DAY We're inside the office of Joe Cabot. Joe's on the phone, sitting behind his desk. JOE (into phone) Sid, I'm tellin you don't worry about it. You had a bad couple of months, it happens. (pause) Sid, Sid, Sid...Stop, you're embarra**ing me. I don't need to be told what I already know. When you have bad months, you do what every business man in the worlds does, I don't care if he's Donald Trump or Irving the tailor. Ya ride it out. There's a KNOCK on Cabot's office door. JOE Come in. One of Cabot's goons, TEDDY, opens the door and steps inside. Cabot covers the receiver with his hand and looks towards the man. TEDDY Vic Vega's outside. JOE Tell him to come in. Teddy leaves. JOE (into phone) Sid, a friend of mine's here. I gotta go. (pause) Good enough, bye. He hangs up the phone, stands, and walks around to the front of the desk. Teddy opens the office door, and TOOTHPICK VIC VEGA walks in. Toothpick Vic Vega is none other than our very own Mr. Blonde. Vic is dressed in a long black leather seventies style jacket. Joe stands in front of his desk with his arms open. The two men embrace each other. Teddy leaves, closing the door behind him. JOE How's freedom kid, pretty f**in good, ain't it? VIC It's a change. JOE Ain't that a sad truth. Remy Martin? VIC Sure. JOE Take a seat. Joe goes over to his liquor cabinet. Vic sits in a chair set in front of Joe's desk. JOE (while he pours the drink) Who's your parole officer? VIC A guy named Koons. Craig Koons. JOE How is he? VIC f**in a**hole, won't let me leave the halfway house. JOE Never ceases to amaze me. f**in jungle bunny goes out there, slits some old woman's throat for twenty-five cents. f**in n******g gets Doris Day as a parole officer. But a good fella like you gets stuck with a ball-bustin prick. Joe walks back around his desk and sits in his chair. Vic swallows some Remy. VIC I just want you to know, Joe, how much I appreciate your care packages on the inside. JOE What the hell did you expect me to do? Just forget about you? VIC I just wanted you to know, they meant a lot. JOE It's the least I could do Vic. I wish I coulda done more. (Joe flashes a side grin at Vic) Vic. Toothpick Vic. Tell me a story? What're your plans? VIC Well, what I wanna do is go back to work. But I got this Koons prick deep up my a**. He won't let me leave the halfway house till I get some piece of sh** job. My plans have always been to be part of the team again. There's a KNOCK at the door. JOE Come in. The door opens and in walks Joe's son, Nice Guy Eddie. Vic turns around in his seat and sees him. EDDIE (to Vic) I see ya sittin here, but I don't believe it. Vic gets out of his seat and hugs Eddie. EDDIE How ya doin, Toothpick? VIC Fine, now. EDDIE I'm sorry man, I shoulda picked you up personally at the pen. This whole week's just been crazy. I've had my head up my a** the entire time. VIC Funny you should mention it. That's what your father and I been talkin about. EDDIE That I should've picked you up? VIC No. That your head's been up your a**. I walk through the door and Joe says "Vic, you're back, thank god. Finally somebody who knows what the f** he's doing. Vic, Vic, Vic, Eddie, my son, is a f** up." And I say "Well, Joe, I coulda told you that." "I'm ruined! He's ruining me! My son, I love him, but he's taking my business and flushing it down the f**in toilet!" (to Joe) I'm not tellin tales out of school. You tell 'im Joe. Tell 'im yourself. JOE Eddie, I hate like hell for you to hear it this way. But when Vic asked me how's business, well, you don't lie to a man who's just done four years in the slammer for ya. Eddie bobs his head up and down. EDDIE Oh really, is that a fact? Eddie JUMPS Vic and they fall to the floor. The two friends, laughing and cussing at each other, wrestle on the floor of Joe's office. Joe's on his feet yelling at them. JOE (yelling) Okay, okay, enough, enough! Playtime's over! You wanna roll around on the floor, do it in Eddie's office, not mine! The two men break it up. They are completely disheveled, hair a mess, shirttails out. As they get themselves together, they continue to taunt one another. EDDIE Daddy, did ya see that? JOE What? EDDIE Guy got me on the ground, tried to f** me. VIC You f**in wish. EDDIE You tried to f** me in my father's office, you sick ba*tard. Look, Vic, whatever you wanna do in the privacy of your own home, go do it. But don't try to f** me. I don't think of you that way. I mean, I like you a lot-- VIC Eddie, if I was a pirate, I wouldn't throw you to the crew. EDDIE No, you'd keep me for yourself. Four years f**in punks in the a** made you appreciate prime rib when you get it. VIC I might break you, Nice Guy, but I'd make you my dog's b**h. You'd be s**in the dick and going down on a mangy T-bone hound. EDDIE Now ain't that a sad sight, daddy, walks into jail a white man, walks out talkin like a n******g. It's all that black semen been shootin up his bu*t. It's backed up into his brain and comes out of his mouth. JOE Are you two finished? We were talkin about some serious sh** when you came in Eddie. We got a big problem we're tryin to solve. Now Eddie, would you like to sit down and help us solve it, or do you two wanna piss fart around? Playtime is over and Vic and Eddie know it. So they both take seats in front of Joe's desk. JOE Now Vic was tellin me, he's got a parole problem. EDDIE Really? Who's your P.O.? VIC Craig Koons. EDDIE Koons? Oh sh**, I hear he's a motherf**er. VIC He is a motherf**er. He won't let me leave the halfway house till I get some piece of sh** job. EDDIE You're coming back to work for us, right? VIC I wanna. But I gotta show this a**hole I got an honest-to- goodness job before he'll let me move out on my own. I can't work for you guys and be worried about gettin back before ten o'clock curfew. JOE (to Eddie) We can work this out, can't we? EDDIE This isn't all that bad. We can give you a lot of legitimate jobs. Put you on the rotation at Long Beach as a dock worker. VIC I don't wanna lift crates. EDDIE You don't hafta lift sh**. You don't really work there. But as far as the records are concerned, you do. I call up Matthews, the foreman, tell him he's got a new guy. You're on the schedule. You got a timecard, it's clocked in and out for you everyday, and you get a pay check at the end of the week. And ya know dock workers don't do too bad. So you can move into a halfway decent place without Koons thinkin "what the f**." And if Koons ever wants to make a surprise visit, you're gone that day. That day we sent you to Tustin. We gotta bunch of sh** you needed to unload there. You're at the Taft airstrip pickin up a bunch of sh** and bringing it back. Part of your jab is goin different places - and we got places all over the place. JOE (to Vic) Didn't I tell ya not to worry? (to Eddie) Vic was worried. EDDIE Me and you'll drive down to Long Beach tomorrow. I'll introduce you to Matthews, tell him what's going on. VIC That's great, guy, thanks a bunch. (pause) When do you think you'll need me for real work? JOE Well, it's kinda a strange time right now. Things are kinda-- EDDIE --Nuts. We got a big meeting in Vegas coming up. And we're kinda just gettin ready for that right now. JOE Let Nice Guy set you up at Long Beach. Give ya some cash, get that Koons f** off your back, and we'll be talking to ya. EDDIE Daddy, I got an idea. Now just hear it out. I know you don't like to use any of the boys on these jobs, but technically, Vic ain't one of the boys. He's been gone for four years. He ain't on no one's list. Ya know he can handle himself, ya know you can trust him. Joe looks at Vic. Vic has no idea what they're talking about. JOE How would you feel about pullin a heist with about five other guys? VIC What's the exposure like? JOE Two minutes, tops. It's a tough two minutes. It's a hold up, daylight, during business hours, dealing with a crowd. But you have the fellas to deal with the crowd. It's a j**elry store. They're getting a big shipment of South African diamonds on a certain day. They're like a way station. It's gonna get picked up the next day and sent to Hamburg. When you walk through the door, you'll know right where to go for the rich stones. The fellas are good, me and Nice Guy picked em. Nobody knows anybody else. Nobody's connected. I don't use connected guys for this sh**. VIC What's the cut? JOE Juicy, man, real juicy. Toothpick Vic smiles. So does Nice Guy Eddie. CUT TO: 15 INT. NICE GUY EDDIE'S CAR (MOVING) - DAY Nice Guy Eddie is driving to the rendezvous talking on his portable car phone. The sounds of the seventies are coming out of his car radio in the form of "Love Goes Where My Rosemary Goes" by Edison Lighthouse. EDDIE (into phone) Hey Dov, we got a major situation here. (pause) I know you know that. I gotta talk with daddy and find out what he wants done. FLASH ON 16 INT. WAREHOUSE - DAY The Cop is standing in the warehouse with his hands cuffed behind his back. Mr. White, Mr. Pink and Mr. Blonde surround him and proceed to beat the sh** out of him. "Love Grows .." PLAYS over the soundtrack. 17 BACK TO NICE GUY EDDIE EDDIE (into phone) All I know is what Vic told me. He said the place turned into a f**in bullet festival. He took a cop as hostage, just to get the f** out of there. FLASH ON 18 WAREHOUSE The three men are stomping the cop into the ground. 19 BACK TO EDDIE EDDIE (into phone) Do I sound like I'm jokin? He's f**in driving around with the cop in his trunk. (pause) I don't know who did that. I don't know who has the loot, if anybody has the loot. Who's dead, who's alive, who's caught, who's not... I will know, I'm practically there. But what do I tell these guys about daddy? (pause) You sure that's what he said? (pause) Okay, that's what I'll tell em. CUT TO: 20 EXT. WAREHOUSE - DAY Three cars belonging to the other guys are parked outside the warehouse. Eddie drives his car up to the warehouse. He gets out of the car, looks at the other cars parked outside. EDDIE (to himself) f**ing a**holes. Eddie makes a beeline for the front door, BANGS it open, and steps inside the warehouse. 21 INT. WAREHOUSE - DAY The robbers have the cop tied to a chair and are still WAILING on him. Nice Guy Eddie walks in and everybody jumps. EDDIE What in Sam Hill is goin on? Mr. Pink and Mr. White speak together. MR. PINK MR. WHITE Hey, Nice Guy, we got a You're askin what's goin cop. on? Where the f** is Joe? Nice Guy sees Mr. Orange. EDDIE Holy sh**, this guy's all f**ed up! MR. WHITE No sh**, he's gonna f**in die on us if we don't get him taken care of. MR. PINK We were set up, the cops were waiting for us. EDDIE What? Nobody set anybody up. MR. PINK The cops were there waitin for us! EDDIE Bullsh**. MR. PINK Hey, f** you man, you weren't there, we were. And I'm tellin ya, the cops had that store staked out. EDDIE Okay, Mr. Detective, who did it? MR. PINK What the f** d'you think we've been askin each other? EDDIE And what are your answers? Was it me? You think I set you up? MR. PINK I don't know, but somebody did. EDDIE Nobody did. You a**holes turn the j**elry store into a wild west show, and you wonder why cops show up. MR. BLONDE Where's Joseph? EDDIE I ain't talked to him. I talked to Dov. Dov said he's comin out here, and he's f**ing pissed. MR. PINK (to Mr. White) I told ya he'd be pissed. MR. WHITE (pointing to Mr. Orange) What are you gonna do about him? EDDIE Jesus Christ, give me a f**in chance to breathe. I got a few questions of my own, ya know. MR. WHITE You ain't dying, he is. EDDIE I'll call somebody. MR. WHITE Who? EDDIE A snake charmer, what the f** d'you think. I'll call a doctor, take care of him, fix 'm right up. No, where's Mr. Brown and Mr. Blue? MR. PINK Brown's dead, we don't know about Blue. EDDIE Nobody saw what happened to Mr. Blue? MR. BLONDE Well, he's either dead or he's alive or the cops got him or they don't. DOLLY to MEDIUM on the cop. EDDIE (OS) I take it this is the ba*tard you told me about. (referring to the cop) Why the hell are you beating on him? MR. PINK So he'll tell us who the f** set us up. EDDIE Would you stop it with that sh**! You beat on this prick enough, he'll tell ya he started the Chicago fire. That don't necessarily make it so. Okay, first things f**ing last, where's the sh**? Please tell me somebody brought something with them. MR. PINK I got a bag. I stashed it till I could be sure this place wasn't a police station. EDDIE Well, let's go get it. We also gotta get rid of all those cars. It looks like Sam's hot car lot outside. (pointing to Mr. Blonde) You stay here and babysit Orange and the cop. (referring to Mr. Pink and Mr. White) You two take a car each, I'll follow ya. You ditch it, I'll pick you up, then we'll pick up the stones. And while I'm following you, I'll arrange for some sort of a doctor for our friend. MR. WHITE We can't leave these guys with him. Meaning Mr. Blonde. EDDIE Why not? Mr. White crosses to Mr. Blonde. MR. WHITE Because this guy's a f**ing psycho. And if you think Joe's pissed at us, that ain't nothing compared to how pissed off I am at him, for puttin me in the same room as this ba*tard. MR. BLONDE (to Eddie) You see what I been puttin up with? As soon as I walk through the door I'm hit with this sh**. I tell 'm what you told me about us stayin put and Mr. White whips out his gun, sticks it in my face, and starts screaming "You motherf**er, I'm gonna blow you away, blah, blah, blah." MR. WHITE He's the reason the place turned into a shooting gallery. (to Mr. Pink) What are you, a silent partner? f**in tell him. MR. PINK He seems all right now, but he went crazy in the store. MR. WHITE This is what he was doin. Mr. White acts out Mr. Blonde shooting everybody in the store. MR. BLONDE I told 'em not to touch the alarm. They touched it. I blew 'em full of holes. If they hadn't done what I told 'em not it, they'd still be alive. MR. WHITE That's your excuse for going on a k** crazy rampage? MR. BLONDE I don't like alarms. EDDIE What does it matter who stays with the cop? We ain't lettin him go. Not after he's seen everybody. You should've never took him outta your trunk in the first place. MR. PINK We were trying to find out what he knew about the set up. EDDIE There is no f**in set up! (Eddie takes charge) Look, this is the news. Blondie, you stay here and take care of them two. White and Pink come with me, 'cuz if Joe gets here and sees all those f**ing cars parked out front, he's going to be as mad at me as he is at you. Eddie, Mr. White and Mr. Pink walk out of the warehouse talking amongst themselves. 22 INT. WAREHOUSE - DAY - MR. BLONDE AND COP Mr. Blonde closes the door after them. He then slowly turns his head towards the cop. MR. BLONDE Alone at last. C.U. COP'S FACE. MR. BLONDE (OS) Now where were we? COP I told you I don't know anything about any f**ing set up. I've only been on the force eight months, nobody tells me anything! I don't know anything! You can torture me if you want-- MR. BLONDE (OS) --Thanks, don't mind if I do. COP Your boss even said there wasn't a set up. MR. BLONDE (OS) First off, I don't have a boss. Are you clear about that? He SLAPS the cop's face. MR. BLONDE (OS) I asked you a question. Are you clear about that? COP Yes. MR. BLONDE (OS) Now I'm not gonna bullsh** you. I don't really care about what you know or don't know. I'm gonna torture you for awhile regardless. Not to get information, but because torturing a cop amuses me. There's nothing you can say, there's nothing you can do. Except pray for d**h. He puts a piece of tape over the cop's mouth. COP'S POV Mr. Blonde walks away from the cop. MR. BLONDE Let's see what's on K-BILLY'S "super sounds of the seventies" weekend. He turns on the radio. Stealer's Wheel's hit "Stuck in the Middle with You" PLAYS over the speaker. NOTE: This entire sequence is timed to the music. Mr. Blonde slowly walks toward the cop. He opens a large knife. He grabs a chair, places it in front of the cop and sits in it. Mr. Blonde just stares into the cop's/our face, holding the knife, singing along with the song. Then, like a cobra, he LASHES out. A SLASH across the face. The cop/camera moves around wildly. Mr. Blonde just stares into the cop's/our face, singing along with the seventies hit. Then he reaches out and CUTS OFF the cop's/our ear. The cop/camera moves around wildly. Mr. Blonde holds the ear up to the cop/us to see. Mr. Blonde rises, kicking the chair he was sitting on out of the way. 23 INT./EXT. WAREHOUSE - DAY - HANDHELD SHOT We follow Mr Blonde as he walks out of the warehouse... ...to his car. He opens the trunk, pulls out a large can of gasoline. He walks back inside the warehouse... 24 INT. WAREHOUSE - DAY ...carrying the can of gas. Mr. Blonde POURS the gasoline all over the cop, who's BEGGING him not to do this. Mr. Blonde just sings along with Stealer's Wheel. Mr. Blonde LIGHTS up a match and, while mouthing: MR. BLONDE "Clowns to the left of me, Jokers to the right. Here I am, stuck in the middle with you." He moves the match up to the cop... ...When a bullet EXPLODES in Mr. Blonde's chest. The HANDHELD camera WHIPS to the right and we see the bloody Mr. Orange FIRING his gun. We cut back and forth between Mr. Blonde taking BULLET HITS and Mr. Orange emptying his weapon. Mr. Blonde FALLS down dead. Mr. Orange crawls to where the cop is, leaving a bloody trail behind him. When he reaches the cop's feet he looks up at him. MR. ORANGE (feebly) What's your name? COP Jeffrey. MR. ORANGE Jeffrey what? COP Jeffrey Andrews. MR. ORANGE Listen to me, Jeffrey Andrews. I'm a cop. JEFFREY I know. MR. ORANGE (surprised) You do? JEFFREY Your name's Freddy something. MR. ORANGE Freddy Newendyke. JEFFREY Frankie Ferchetti introduced us once, about five months ago. MR. ORANGE sh**. I don't remember that at all. JEFFREY I do. (pause) How do I look? The gun-shot Mr. Orange looks at the kid's GASHED face and the hole in the side of his head where his ear used to be. MR. ORANGE I don't know what to tell you Jeffrey. Jeffrey starts to weep. JEFFREY That f**ing ba*tard! That f**ing sick f**ing ba*tard! MR. ORANGE Jeffrey, I need you to hold on. There's officers positioned and waiting to move in a block away. JEFFREY (screaming) What the f** are they waiting for? That motherf**er cut off my ear! He slashed my face! I'm deformed! MR. ORANGE And I'm dying. They don't know that. All they know is they're not to make a move until Joe Cabot shows up. I was sent undercover to get Cabot. You heard 'em, they said he's on his way. Don't p**y out on me now, Jeffrey. We're just gonna sit here and bleed until Joe Cabot sticks his f**in head through that door. CUT TO: INSERT: TITLE CARD "MR. ORANGE & MR. WHITE" 25 INT. DENNY'S - NIGHT A tough-looking black man named HOLDAWAY, who sports a Malcom X beard, a green Chairman Mao cap with a red star on it, and a military flack jacket, digs into a Denny bacon, cheese and avocado burger. He sits in a booth all alone. He's waiting for somebody. As he waits, he practically empties an entire bottle of ketchup on his french fries, not by mistake either--that's just how he likes it. We see Mr. Orange, now known as FREDDY NEWENDYKE, wearing a high school letterman jacket, enter the coffee shop, spot Holdaway, and head his way. Holdaway sees Freddy bop towards him with a wide-a** alligator grin plastered across his face. CAMERA DOLLIES FAST down AISLE to MEDIUM SHOT of Holdaway. We fear Freddy OFF SCREEN. FREDDY (O.S.) Say "hello" to a motherf**er who's inside. Cabot's doing a job and take a big fat guess who he wants on the team? HOLDAWAY This better not be some Freddy joke. LOW ANGLE looking up at Freddy, who's standing at the table. FREDDY It ain't no joke, I'm in there. I'm up his a**. CU ON HOLDAWAY Holdaway just looks at his pupil for a moment, then smiles. HOLDAWAY Congratulations. 26 EXT. DENNY'S - NIGHT We see through the window of the restaurant Freddy slide into the booth across from Holdaway. Freddy's doing a lot of talking, but we can't hear what they're saying. 27 INT. DENNY'S - NIGHT FREEZE FRAME ON HOLDAWAY We are frozen on a MEDIUM CU of Holdaway listening to Freddy. We HEAR RESTAURANT NOISE and Freddy OFF SCREEN. FREDDY (O.S.) Nice Guy Eddie tells me Joe wants to meet me. He says I should just hang around my apartment and wait for a phone call. Well after waiting three goddamn days by the f**in phone, he calls me last night and says Joe's ready, and he'll pick me up in fifteen minutes. The freeze frame ENDS. Holdaway comes suddenly up to speed and says: HOLDAWAY Woo all picked you up? From here to end we cut back and forth. FREDDY Nice Guy. When we got to the bar... HOLDAWAY ...What bar? FREDDY The Boots and Socks in Gardena. When we got there, I met Joe and a guy named Mr. White. It's a phony name. My name's Mr. Orange. HOLDAWAY You ever seen this motherf**er before? FREDDY Who, Mr. White? HOLDAWAY Yeah. FREDDY No, he ain't familiar. He ain't one of Cabot's soldiers either. He's gotta be from outta town. But Joe knows him real well. HOLDAWAY How can you tell? FREDDY The way they talk to each other. You can tell they're buddies. HOLDAWAY Did the two of you talk? FREDDY Me and Mr. White? HOLDAWAY Yeah. FREDDY A little. HOLDAWAY What about? FREDDY The Brewers. HOLDAWAY The Milwaukee Brewers? FREDDY Yeah. They had just won the night before, and he made a k**ing off 'em. HOLDAWAY Well, if this crook's a Brewers fan, his a** has gotta be from Wisconsin. And I'll bet you everything from a diddle-eyed Joe to a damned-if-I-know, that in Milwaukee they got a sheet on this Mr. White motherf**er's a**. I want you to go through the mugs of guys from old Milwaukee with a history of armed robbery, and put a name to that face. Holdaway takes a big bite out of his burger. HOLDAWAY (with his mouth full) What kinds questions did Cabot ask? FREDDY Where I was from, who I knew, how I knew Nice Guy, had I done time, sh** like that. Holdaway's talked enough, he's eating his burger now. He motions for Freddy to elaborate. FREDDY He asked me if I ever done armed robbery before. I read him my credits. I robbed a few gas and sips, sold some weed, told him recently I held the shotgun while me and another guy pulled down a poker game in Portland. CAMERA MOVES from a MEDIUM on Freddy to a CU. HOLDAWAY (O.S.) Didja use the commode story? FREDDY f**in-A. I tell it real good, too. 28 INT. MEN'S ROOM - L.A. TRAIN STATION - NIGHT Freddy and Holdaway at one of their many rendezvous. Holdaway wears an extra large Lakers sweatshirt. Freddy sits on one of the sinks, wearing his high school jacket, looking at pieces of paper stapled together. FREDDY What's this? HOLDAWAY It's a scene. Memorize it. FREDDY What? HOLDAWAY A undercover cop has got to be Marlon Brando. To do this job you got to be a great actor. You got to be naturalistic. You got to be naturalistic as hell. If you ain't a great actor you're a bad actor, and bad acting is bull sh** in this job. FREDDY (referring to the papers) But what is this? HOLDAWAY It's a amusing anecdote about a drug deal. FREDDY What? HOLDAWAY Something funny that happened to you while you were doing a job. FREDDY I gotta memorize all this sh**? HOLDAWAY It's like a joke. You remember what's important, and the rest you make your own. The only way to make it your own is to keep sayin it, and sayin it, and sayin it, and sayin it, and sayin it. FREDDY I can do that. HOLDAWAY The things you gotta remember are the details. It's the details that sell your story. Now this story takes place in this men's room. So you gotta know the details about this men's room. You gotta know they got a blower instead of a towel to dry your hands. You gotta know the stalls ain't got no doors. You gotta know whether they got liquid or powdered soap, whether they got hot water or not, 'cause if you do your job when you tell your story, everybody should believe it. And if you tell your story to somebody who's actually taken a piss in this men's room, and you get one detail they remember right, they'll swear by you. 29 INT. FREDDY'S APARTMENT - DAY Freddy paces back and forth, in and out of frame, rehearsing the anecdote. He's reading it pretty good, but he's still reading it from the page, and every once in a while he stumbles over his words. FREDDY ...this was during the Los Angeles marijuana drought of '86. I still had a connection. Which was insane, 'cause you couldn't get weed anyf**inwhere then. Anyway, I had a connection with this hippie chick up in Santa Cruz. All and my friends knew it. And they'd give me a call and say, "Hey, Freddy, you buyin some, you think you could buy me some too?" They knew I smoked, so they'd ask me to buy a little for them when I was buyin. But it got to be everytime I bought some weed, I was buyin for four or five different people. Finally I said, "f** this sh**." I'm makin this b**h rich. She didn't have to do jack sh**, she never even had to meet these people. I was f**in doin all the work. So I got together with her and told her, "Hey, I'm sick of this sh**. I'm comin through for everybody, and nobody's comin through for me. So, either I'm gonna tell all my friends to find their own source, or you give me a bunch of weed, I'll sell it to them, give you the money, minus ten percent, and I get my pot for free." So, I did if for awhile... Freddy exits frame CUT TO: 30 EXT. PARKING LOT - DAY Another empty frame, except obviously outside. Freddy enters frame from the same direction he exited in the previous scene, finishing his sentence. When we move to a wider shot we see Freddy performing his monolog to Holdaway in a parking lot. Holdaway sits on the hood of his beat-up car. Freddy paces back and forth as he performs his story. FREDDY ...but then that got to be a pain in the a**. People called me on the phone all the f**in time. I couldn't rent a f**in tape without six phone calls interrupting me. "Hey, Freddy, when's the next time you're gettin some?" "Motherf**er, I'm tryin to watch 'Lost Boys'-- when I have some, I'll let you know." And then these rinky-dink pot heads come by--there's my friends and everything, but still. I got all my sh** laid out in sixty dollar bags. Well, they don't want sixty dollars worth. They want ten dollars worth. Breaking it up is a major f**in pain in the a**. I don't even know how much ten dollars worth is. "Well, f**, man, I don't want that much around. If I have that much around I'll smoke it." "Hey, if you guys can't control your smokin, that's not my problem. You motherf**ers been smokin for five years, be a adult about it." Finally I just told my connection, count me out. But as it turns out, I'm the best guy she had, and she depended alot on my business. But I was still sick to d**h of it. And she's trying to talk me into not quitin. Now this was a very weird situation, 'cause I don't know if you remember back in '86, there was a major f**in drought. Nobody and anything. People were livin on resin and smokin the wood in their pipes for months. And this chick had a bunch, and was beggin me to sell it. So I told her I wasn't gonna be Joe the Pot Man anymore. But I would take a little bit and sell it to my close, close, close friends. She agreed to that, and said we'd keep the same arrangement as before, ten percent and free pot for me, as long as I helped her out that weekend. She had a brick of weed she was sellin, and she didn't want to go to the buy alone... CUT TO: 31 INT. BOOTS AND SOCKS BAR - NIGHT Freddy, Joe, Nice Guy Eddie and Mr. White all sit around a table in a red-lighted smokey bar. Freddy continues his story. The crooks are enjoying the hell out of it. FREDDY ...Her brother usually goes with her, but he's in county unexpectedly. MR. WHITE What for? FREDDY Traffic tickets gone to warrant. They stopped him for something, found the warrants on 'im, took 'im to jail. She doesn't want to walk around alone with all that weed. Well, I don't wanna do this, I have a bad feeling about it, but she keeps askin me, keeps askin me, finally I said okay 'cause I'm sick of listening to it. Well, we're picking this guy up at the train station. JOE You're picking the buyer up at the train station? You're carrying the weed on you? FREDDY Yeah, the guy needed it right away. Don't ask me why. So we get to the train station, and we're waitin for the guy. Now I'm carrying the weed in one of those carry-on bags, and I gotta take a piss. So I tell the connection I'll be right back, I'm goin' to the little boys room... CUT TO: 32 INT. MEN'S ROOM - TRAIN STATION - DAY MEDIUM ON FREDDY He walks through the door with a carry-on bag over his shoulder. Once he's inside, he stops in his tracks. We move into a CU. FREDDY (V.O.) ...So I walk into the men's room, and who's standing there? FREEZE FRAME on Freddy standing in front of six Los Angeles County Sheriffs and one German Shepherd. All of their eyes are on Freddy. Everyone is frozen. FREDDY (V.O.) ...six Los Angeles County Sheriffs and a German Shepherd. NICE GUY EDDIE (V.O.) They were waiting for you? FREDDY (V.O.) No. They were just a bunch of cops hangin out in the men's room, talkin. When I walked through the door they all stopped what they were talking about and looked at me. 33 BACK TO BAR ECU MR. WHITE MR. WHITE That's hard, man. That's a f**in hard situation. 34 BACK TO MEN'S ROOM ECU GERMAN SHEPHERD barking his head off. FREDDY (V.O.) The German Shepherd starts barkin'. He's barkin' at me. I mean it's obvious he's barkin' at me. We do a slow 360 around Freddy in the men's room. We can hear the dog barking. FREDDY (V.O.) Every nerve ending, all of my senses, the blood in my veins, everything I has was screaming, "Take off, man, just take off, get the f** outta there!" Panic hit me like a bucket of water. First there was the shock of it--BAM, right in the face! Then I'm just standin there drenched in panic. SLOW MOTION CAMERA does a PAN from face to face of the sheriffs. FREDDY (V.O.) And all those sheriffs are lookin at me and they know. They can smell it. As sure as that f**in dog cam, they can smell it on me. FREEZE FRAME Back to the same freeze frame shot of Freddy standing in front of the sheriffs. It suddenly jerks to life, and moves to speed. The dog is barking. Freddy moves to his right, out of frame. We stay on the sheriffs. One sheriff yells at the dog. SHERIFF #1 Shut up! The dog quiets down. Sheriff #2 continues with his story. A couple of the sheriffs look over at Freddy off screen, but as Sheriff #2 talks, turn their attention to him. SHERIFF #2 So my gun's drawn, right? I got it aimed right at him. I tell 'em, "Freeze, don't f**in move." And the little idiot's lookin at me, nodding his head "Yes," sayin "I know...I know...I know." Meanwhile his right hand is creepin towards his glove box. So I scream at him, "a**hole, you better f**in freeze right now!" And he's still lookin right at me, saying "I know...I know...I know." And his right hand's still going for the glove box. The CAMERA PANS away from the sheriffs to Freddy, up against the urinal, playing possum, pretending to piss. SHERIFF #2 (O.S.) I tell 'im, "Buddy, I'm gonna shoot you in the face right now if you don't put your hands on the f**in dash." And the guy's girlfriend, a real s**y Oriental b**h, starts screamin at him, "Chuck, are you out of your mind? Put your hands on the dash like the officer said." And then like nothing, the guy snaps out of it and casually puts his hands on the dash. Freddy finishes his playing possum piss, and walks past the sheriffs over to the sink. The CAMERA PANS with him. A sheriff is sitting on a sink. He looks down and watches Freddy wash his hands. SHERIFF #1 What was he goin for? SHERIFF #2 His registration. Stupid f**in citizen, doesn't have the slightest idea how close he came to gettin shot. Freddy finishes washing his hands. He goes to dry them, but there's only those hand drying machines. Freddy turns on the drying machine. He can't hear anything the sheriffs say now. The sound of the machine dominates the sound track. These following shots are SLOW MOTION. CU OF FREDDY CU of his HANDS, rubbing each other getting blown dry SHOT OF SHERIFFS talking. We can't hear them because of the machine. CU OF MACHINE MEDIUM OF SHERIFF ON SINK, smoking a cigarette, glancing over at Freddy. CU OF GERMAN SHEPHERD Machine turns off. CUT TO: 35 INT. OFFICE - DAY CU MUG SHOT OF MR. WHITE FREDDY (OS) That's him, that's Mr. White. FULL SCENE An office upstairs in the undercover division of the police station. TWO SHOT OF FREDDY AND HOLDAWAY look at mug shot. HOLDAWAY Lawrence Dimick. Let's see what we got on him. CU OF COMPUTER SCREEN the name DIMICK, LAWRENCE is typed in. C.U. ENTER bu*tON IS PRESSED C.U. OF FEMALE COMPUTER OPERATOR, JODIE SEIGEL. JODIE This is your life, Lawrence Dimick! C.U. OF COMPUTER PRINTER printing out sheet. The noise of the printer plays loud over the soundtrack. Jodie's hand comes into FRAME and tears sheet from the printer. CUT TO: 36 INT. HOLDAWAY'S OFFICE - DAY Holdaway sits behind his desk. Freddy sits on the edge of the desk eating a Double-Double with cheese. They look into the CAMERA. We hear Jodie's voice OFFSCREEN. JODIE (OS) Lawrence "Larry" Dimick. Also known as Lawrence Jacobs and Alvin "Al" Jacobs. This guy is Mr. Joe- Armed-Robbery. He's a pro and he makes it a habit not to get caught. MEDIUM SHOT OF JODIE DOLLY slowly into C.U. JODIE He's only been convicted twice, which is pretty good for somebody living a life of crime. Once for armed robbery, when he was twenty- one, in Milwaukee. C.U. FREDDY FREDDY What was it? JODIE JODIE Payroll office at a lumber yard. First offense - he got eighteen months. He didn't get busted again until he was thirty-two. And then it was a backdoor bust. A routine vice squad roust. They roust this bar, out buddy Lawrence is in there knocking down a few. He gets picked up. He's wearing on his person an outlaw .45 automatic, apparently his weapon of choice. Also, on his finger is a diamond ring from a j**elry store robbery a year earlier. He got two years back inside for that. TWO SHOT OF HOLDAWAY AND FREDDY Freddy winces. FREDDY Goddamn, that's hard time. JODIE JODIE So far, it's the only time he's ever done. CU HOLDAWAY HOLDAWAY Was this vice squad bullsh** in Milwaukee? JODIE JODIE No. The vice squad roust was in L.A. He's been in Los Angeles since '77. DOLLY BEHIND HOLDAWAY'S DESK from left to right. FREDDY When did he do this time? JODIE Back in '83, got out late '86. I found something else out I think you two should be aware of. About a year and a half ago, up in Sacramento, an undercover cop, John Dolenz, worked his way into a bank job. Apparently before the job they found out he was a cop. Now picture this: It's Dolenz's birthday, a bunch of cops are waiting in his apartment for a surprise party. The door opens, everyone yells "Surprise!", and standing in the doorway is Dolenz and this other guy sticking a gun in Dolenz's ribs. Before anybody knows what's going on, this stranger shoots Dolenz dead and starts firing two .45 automatics into the crowd. HOLDAWAY What happened? The DOLLY moves behind Jodie. JODIE It was a mess. Cops got hit, wives got hit, girlfriends got hit, his dog got hit. People got gla** in their faces. Three were k**ed, six were wounded. FREDDY They couldn't pin the k**ing on one of the bank robbers? JODIE They tried, but they didn't have a positive I.D. and all those guys had alibis. Besides, we really didn't have anything on them. We had the testimony of a dead man that they were talking about committing a robbery. They never went ahead with the bank job. The DOLLY completes its circle. FREDDY And Larry Dimick was one of the boys? JODIE He was probably the one. ON HOLDAWAY HOLDAWAY Just how sure are you with your cover? PAN to C.U. on Freddy. FREDDY Today they may know something, tomorrow they may know something else. But yesterday they didn't know anything. C.U. OF MR. WHITE'S MUG SHOT FREDDY (OS) What's the next step? HOLDAWAY (OS) Do what they told ya. Sit in your apartment and wait for 'em to call you. We'll have guys posted outside who'll follow you when they pick you up. 35 INT. FREDDY'S APARTMENT - DAY C.U. TELEPHONE It RINGS. Freddy answers it, we FOLLOW the receiver up to his face. FREDDY Hello. NICE GUY EDDIE (OS) (through phone) It's time. Grab your jacket-- 36 INT. NICE GUY EDDIE'S CAR (PARKED) - DAY C.U. of Nice Guy Eddie speaking into the car phone. EDDIE --We're parked outside. FREDDY (OS) (through phone) I'll be right down. We hear the CLICK of Freddy hanging up through the phone. Nice Guy places the receiver back in its cradle. EDDIE He'll be right down. 39 INT. FREDDY'S APARTMENT - DAY The CAMERA follows Freddy as he hops around the apartment getting everything he needs. He puts on his jacket and slips on some sneakers. DOLLY fast toward the front door knob. Freddy's hand comes into FRAME, grabs the knob, then lets go. We MOVE UP to his face. Fear. FREDDY (to himself) Don't p**y out on me now. They don't know. They don't know sh**. (pause) You're not gonna get hurt. You're f**ing Baretta and they believe every word, cuz you're super cool. He exits FRAME. We stay put and hear the door open and close OFF SCREEN. 40 EXT. FREDDY'S APARTMENT - DAY COPS' POV From inside an unmarked car across the street, the TWO COPS watching Freddy see him walk out of his building and up to Eddie's parked car. COP #1 (OS) There goes our boy. COP #2 (OS) I swear, a guy has to have rocks in his head the size of Gibraltar to work undercover. COP #1 (OS) Do you want one of these? COP #2 (OS) Yeah, gimme the bear claw. Freddy gets into the car and it pulls into traffic. Cop #1 starts the engine and follows. 41 INT. NICE GUY EDDIE'S CAR (MOVING) - DAY Nice Guy Eddie is behind the wheel. Mr. Pink is in the pa**enger seat. Freddy and Mr. White are in the backseat together. MR. PINK ...Hey, I know what I'm talkin about, black women ain't the same as white women. MR. WHITE (sarcastically) There's a slight difference. The car laughs. MR. PINK Go ahead and laugh, you know what I mean. What a while b**h will put up with, a black b**h won't put up with for a minute. They got a line, and if you cross it, they f** you up. EDDIE I gotta go along with Mr. Pink on this. I've seen it happen. MR. WHITE Okay, Mr. Expert. If this is such a truism, how come every n******g I know treats his woman like a piece of sh**? MR. PINK I'll make you a bet that those same damn n******gs who were showin their a** in public, when their b**hes get 'em home, they chill the f** out. MR. WHITE Not these guys. MR. PINK Yeah, those guys too. EDDIE Let me tell you guys a story. In one of daddy's clubs there was this black co*ktail waitress named Elois. MR. WHITE Elois? EDDIE Yeah, Elois. E and Lois. We called her Lady E. MR. WHITE Where was she from, Compton? EDDIE No. She was from Ladora Heights. MR. PINK The black Beverly Hills. I knew this lady from Ladora Heights once. (in a stuck up black female voice) "Hi, I'm from Ladora Heights, it's the black Beverly Hills." EDDIE It's not the black Beverly Hills, it's the black Palos Verdes. Anyway, this chick, Elois, was a man-eater-upper. I bet every guy who's ever met her has jacked off to her at least once. You know who she looked like? Christie Love. 'Member that TV show "Get Christie Love"? She was a black female cop. She always used to say "You're under arrest, sugar." MR. PINK I was in the sixth grade when that show was on. I totally dug it. What the f** was the name of the chick who played Christie Love? EDDIE Pam Grier. MR. PINK No, it wasn't Pan Grier, Pan Grier was the other one. Pan Grier made the movies. Christie Love was like a Pam Grier TV show, without Pam Grier. MR. PINK What the f** was that chick's name? Oh this is just great, I'm totally f**in tortured now. EDDIE Well, whoever she was, Elois looked like her. So one night I walk into the club, and no Elois. Now the bartender was a wetback, he was a friend of mine, his name was Carlos. So I asked him "Hey, Carlos, where's Lady E tonight?" Well apparently Lady E was married to this real piece of dog sh**. I mean a real animal. And apparently he would so things to her. FREDDY Do things? What would he do? You mean like beat her up? EDDIE Nobody knows for sure what he did. We just know he did something. Anyway, Elois plays it real cool. And waits for the next time this bag of sh** gets drunk. So one night the guy gets drunk and pa**es out on the couch. So while the guy's inebriated, she strips him naked. Then she takes some crazy glue and glues his dick to his belly. The car reacts to how horrible that would be. EDDIE I'm dead f**in serious. She put some on his dick and some on his belly, then stuck 'em together. The paramedics had to come and cut it loose. The car reacts badly. MR. WHITE Jesus Christ! FREDDY You can do some crazy things with it. EDDIE I don't know what he did to her, but she got even. MR. WHITE Was he all pissed off? MR. PINK How would you feel if you had to do a handstand every time you took a piss. The car laughs. 42 EXT. WAREHOUSE - DAY Nice Guy Eddie pulls up outside the warehouse. The four men climb out of the car and follow Eddie inside. 43 INT. WAREHOUSE - DAY The four men enter the building. At the other end of the warehouse, sitting in chairs, are Mr. Blonde, Mr. Brown, Mr. Blue and Joe Cabot. We shoot this from OVERHEAD, looking down on the men. JOE (to everybody) ...So they're talkin about how they get their wives off, and the French guys says: (in a bad French accent) "All I gotta do is take my pinky and tickle my Fifi's little oo la la and she rises a foot off the bed." Back to Joe. So the dago says: CU ON JOE JOE (in a good Brooklyn accent) "That's nothin. When I take the tip of my tongue and wiggle it against my Mary Louise's little fun pimple, she rises two feet off da bed." Then our friend from Poland says: (in dumb voice) "You guys ain't no co*ksmen. When I get through f**in my Sophie, I wipe my dick on the curtains and you know what? She hits the roof!" Joe laughs like a crazy man. JOE Ha, ha, ha, ha, ha, ha! We hear a lot of laughing OFF SCREEN. JOE Ain't that a masterpiece? Stupid f**in Polack, wipes his dick on the drapes. Joe's eyes greet the new arrivals. JOE You're here, great! Joe EXITS C.U. We now have everybody from the Uncle Bob's Pancake House scene together again. Some sit on folding chairs, some stand. Joe sits in front of them on the edge of a table. A blackboard with a layout of the j**elry store is off to the right. We do a 360 around the men. EDDIE We woulda gotten here sooner, but we got backed up around La Brea and Pico. JOE No hurry. (to the boys) All right, let's get to know one another. With the exception of Eddie and myself, who you already know, you'll be using aliases. Under no circumstances are you to tell one another your real name or anything else about yourself. That includes where you're from, your wife's name, where you might've done time, about a bank in St. Petersburg you might've robbed. You guys don't say sh** about who you are, where you been or what you've done. Only thing you guys can talk about is what you're going to do. This way the only ones who know who the members of the team are are Eddie and myself. And that's the way I like it. Because in the unlikely event of one of you getting apprehended by the cops, not that I expect that to happen - it most definitely should not happen - it hasn't happened, you don't have anything to deal with. You don't know any names. You know my name, you know Eddie's name. That I don't care about. You gotta prove it. I ain't worried. Besides, this way you gotta trust me. I like that. I set this up and picked the men I wanted for it. None of you came to me, I approached all of you. I know you. I know your work, I know your reputation. I know you as men. Except for this guy. Joe points a finger at Freddy. Freddy sh**s a brick. JOE But he's OK. If he wasn't OK, he wouldn't be here. Okay, let me introduce everybody to everybody. But once again, at the risk of being redundant, if I even think I hear somebody telling or referring to somebody by their Christian name... (Joe searches for the right words) ...you won't want to be you. Okay, quickly. (pointing at the men as he gives them a name) Mr. Brown, Mr. White, Mr. Blonde, Mr. Blue, Mr. Orange, and Mr. Pink. MR. PINK Why am I Mr. Pink? JOE Cause you're a f*ggot. Everybody laughs. MR. PINK Why can't we pick out our own colors? JOE I tried that once, it don't work. You get four guys fighting over who's gonna be Mr. Black. Since nobody knows anybody else, nobody wants to back down. So forget it, I pick. Be thankful you're not Mr. Yellow. MR. BROWN Yeah, but Mr. Brown? That's too close to Mr. sh**. Everybody laughs. MR. PINK Yeah, Mr. Pink sounds like Mr. p**y. Tell you what, let me be Mr. Purple. That sounds good to me, I'm Mr. Purple. JOE You're not Mr. Purple, somebody from another job's Mr. Purple. You're Mr. Pink. MR. WHITE Who cares what your name is? Who cares if you're Mr. Pink, Mr. Purple, Mr. p**y, Mr. Piss... MR. PINK Oh that's really easy for you to say, you're Mr. White. You gotta cool-sounding name. So tell me, Mr. White, if you think "Mr. Pink" is no big deal, you wanna trade? JOE Nobody's trading with anybody! Look, this ain't a goddamn f**in city counsel meeting! Listen up Mr. Pink. We got two ways here, my way or the highway. And you can go down either of 'em. So what's it gonna be, Mr. Pink? MR. PINK Jesus Christ, Joe. f**in forget it. This is beneath me. I'm Mr. Pink, let's move on. CAMERA leaves the team and goes to the blackboard with the layout of the j**elry store on it. JOE (OS) Okay fellas, let's get into this. CUT TO: 44 EXT. BLEACHERS - DAY Freddy and Holdaway sit on some bleachers in an empty little league baseball field. HOLDAWAY Okay, we're gonna station men across the street from Karina's Fine Jewelry. But their orders will be not to move in unless the robbery gets out of control. You gotta make sure they don't have to move in. You're inside to make sure that everything goes according to Hoyle. We have men set up a block away from the warehouse rendezvous. They got complete visibility of the exterior. So as soon as Joe Cabot shows up, we'll see it. FREDDY What's your visibility of the interior? HOLDAWAY We can't see sh** on the inside. And we can't risk gettin any closer for fear they'll spot us. FREDDY This is bullsh**, Jim. I get all the f**in danger of having you guys in my back pocket but none of the safety. HOLDAWAY What's the matter, Newendyke? Job too tough for ya? No one lied to you. You always knew we'd hang back until Joe Cabot showed up. FREDDY Oh this is great. You ain't giving me no f**in protection whatsoever. But you are giving me an attitude. HOLDAWAY Since when does an undercover cop have protection? Freddy, you came into this thing with your eyes wide open, so don't start screamin blind man now. I understand you're nervous. I wish the warehouse had more visible windows, but it doesn't. We have to make do with the cards we're dealt. FREDDY I didn't say I wasn't gonna do it. I'm just remarking on how sh**ty the situation is! HOLDAWAY I don't mean to be harsh with ya, but I've found tough love works best in these situations. We have to get Joe Cabot in the company of the thieves and in the same vicinity as the loot. We don't care about these other ba*tards. We're willing to offer them good deals to testify against Cabot. FREDDY Isn't this risk unorthodox? HOLDAWAY What? FREDDY Letting them go ahead with the robbery? HOLDAWAY The whole idea behind this operation is to catch Joe Cabot red-handed. We bust these hired hands, we ain't accomplished sh**. Letting them go through with the heist is a risk, but Cabot's jobs are very clean. We got people surrounding the perimeter. We got a guy and a gal on the inside posing as a couple shopping for rings. We could replace the employees with cops, but we'd run the risk of tipping 'em off. FREDDY That's out. They know the faces of who works what shift. HOLDAWAY These guys are professionals. We're professionals. It's a risk, but I think it's a calculated risk. 45 EXT. KARINA'S FINE JEWELRY - DAY We see MOS SHOTS of the outside of the j**elry store. CUSTOMERS coming and going. STORE CLERKS waiting on customers through the windows. While we look at this we HEAR over the soundtrack Mr. White and Freddy talking OFF SCREEN. MR. WHITE (VO) Let's go over it. Where are you? FREDDY (VO) I stand outside and guard the door. I don't let anybody come in or go out. MR. WHITE (VO) Mr. Brown? FREDDY (VO) Mr. Brown stays in the car. He's parked across the street till I give him the signal, then he pulls up in front of the store. MR. WHITE (VO) Mr. Blonde and Mr. Blue? FREDDY (VO) Crowd control. They handle customers and employees in the display area. 46 INT. MR. WHITE'S CAR (PARKED) - DAY Mr. White and Freddy sit in a car parked across the street from the j**elry store, staking it out. MR. WHITE Myself and Mr. Pink? FREDDY You two take the manager in the back and make him give you the diamonds. We're there for those stones, period. Since no display cases are being f**ed with, no alarms should go off. We're out of there in two minutes, not one second longer. What if the manager won't give up the diamonds? MR. WHITE When you're dealing with a store like this, they're insured up the a**. They're not supposed to give you and resistance whatsoever. If you get a customer or an employee who thinks he's Charles Bronson, take the bu*t of your gun and smash their nose in. Drops 'em right to the floor. Everyone jumps, he falls down, screaming, blood squirts out his nose. Freaks everybody out. Nobody says f**in sh** after that. You might get some b**h talk sh** to ya. But give her a look, like you're gonna smash her in the face next. Watch her shut the f** up. Now if it's a manager, that's a different story. The managers know better than to f** around. So if one's givin you static, he probably thinks he's a real cowboy. So what you gotta do is break that son-of-a- b**h in two. If you wanna know something and he won't tell you, cut off one of his fingers. The little one. Then you tell 'im his thumb's next. After that he'll tell ya if he wears ladies underwear. I'm hungry, let's get a taco. CUT TO: 47 EXT. ALLEY - DAY It's the moment of the robbery. The alley is empty. In the distance we hear all hell breaking loose. Guns FIRING, people SHOUTING and SCREAMING, sirens WAILING, gla** BREAKING... A car whips around the corner, into the alley. The doors BURST open, Freddy and Mr. White hop out. Freddy opens the driver's side door. A bloody SCREAMING Mr. Brown FALLS out. MR. BROWN (screaming) My eyes! My eyes! I'm blind, I'm f**ing blind! FREDDY You're not blind, there's just blood in your eyes. Mr. White loads his two .45 automatics. He RUNS to the end of the alley just as a police car comes into SIGHT. FIRING both .45's, Mr. White ma**acres everyone in the patrol car. Freddy, holding the dying Mr. Brown, looks on at Mr. White's ambush in shock. Mr. Brown lifts his head up, blood in his eyes. MR. BROWN Mr. Orange? You're Mr. Orange, aren't you? By the time Freddy turns his head back to him, Mr. Brown is dead. Mr. White RUNS up to Freddy. MR. WHITE Is he dead? Freddy doesn't answer, he can't. MR. WHITE Did he did or not? Freddy, scared. FREDDY I'm sorry. MR. WHITE What? Snap out of it! Mr. White GRABS Freddy by the coat and YANKS him along as he RUNS. They EXIT the alley and FLEE down a street. A car with a FEMALE DRIVER comes up on the two men. Mr. White JUMPS in her path, stopping the car. He points his jun at her. MR. WHITE Get us outta here! Mr. White climbs into the backseat. Freddy starts to climb in. The Female driver comes up with a gun from under her seat. MR. WHITE The b**h's got a gun! She SHOOTS Freddy in the stomach. On instinct Freddy brings up his gun and SHOOTS her in the face. C.U. ON FREDDY as he FALLS to the ground he realizes what's happened to him and what he's done. SLOW MOTION. Mr White DRAGS the dead female driver out of the car. He SHOVES Freddy in the backseat and DRIVES away. 48 INT. GETAWAY CAR (MOVING) - DAY Freddy holding his stomach and doubled over in pain is CRYING. We replay the scene between Freddy and Mr. White in the getaway car. Except this time, we never leave Freddy. MR. WHITE (OS) Just hold on buddy boy. FREDDY I'm sorry. I can't believe she k**ed me... CUT FROM FREDDY IN THE BACKSEAT TO: 49 INT. NICE GUY EDDIE'S CAR (MOVING) - DAY Mr. Pink is behind the wheel, Nice Guy Eddie is in the pa**enger seat going through the satchel with the diamonds. Mr. White is in the backseat. The car is SPEEDING back to the garage. EDDIE (looking through the case) You know, all things considered, this was pretty successful. MR. WHITE I don't believe you just said that. EDDIE No, it was messy as hell, but do you realize how much you got away with? There's over two million dollars worth of diamonds here. MR. PINK I love this guy. EDDIE Hey, what's done is done. We can all sit around and have a big cry about it or we can deal with the situation at hand. MR. WHITE The situation as hand isn't that f**in satchel. You and Joe have a responsibility to your men. EDDIE Hey, it's the best I could do. MR. WHITE The man is f**ing dying. EDDIE And I'm telling you, Bonnie'll take care of him. MR. WHITE He needs a doctor, not a f**in nurse. EDDIE Ask me how many doctors I called. You wanna embarra** yourself, ask me how many doctors I called. MR. WHITE Obviously not enough. EDDIE f** you! You gotta little black book, then whip is out. If not, listen how it is. I called three doctors and couldn't get through to sh**. Now, time being a factor, I called Bonnie. Sweet broad, helluva broad, and a registered nurse. Told her a bullsh** story, upside: she said bring him to her apartment. MR. WHITE If he dies I'm holding you personally responsible. EDDIE f** you buddy boy! Okay, you wanna play that way. I am personally leaving myself vulnerable with this Bonnie situation. I don't think she'll call the cops, but I don't know for sure. But me being too nice- a-f**in-guy was willin to risk it. But no f**in more. (he grabs his portable phone) I'm callin Bonnie back and tellin her to forget it. You take care of your friend, you know so much about it. MR. PINK Goddamnit, will you guys grow up! EDDIE I don't need to grow up, my friend. I am a grown up. I'm being responsible, I'm taking care of business. MR. WHITE Cut the sh**! I don't think you called anybody except some cooze you once f**ed, who happens to wear orthopedic shoes. And I don't think that's good enough care for a gut-shot man. EDDIE Yeah, well I don't give a flying f** what you think! MR. PINK (to Mr. White) Look, he's not sayin this b**h is gonna operate on him. She's gonna give him better attention than we can until we can get a doctor. Nobody's forgotten about doctors. Joe'll get one in a snap. This is something we're doing in the meantime. I think both of you are actin like a couple of a**holes. EDDIE Yeah, right. I arrange a nurse, I leave myself wide open, and I'm an a**hole. 50 INT. WAREHOUSE - DAY MEDIUM SHOT on the door. Nice Guy Eddie, Mr. White and Mr. Pink walk through it. They stop in their tracks. We see what they see. Mr. Blonde, lying on the ground, shot full of holes. The cop slumped over in his chair, a bloody mess, Mr. Orange lying at the cop's feet, holding his wound. Eddie, Mr. White and Mr. Pink walk into the shot. EDDIE What the f** happened here? Eddie runs over to his friend Mr. Blonde/Toothpick Vic. MR. WHITE (to Mr. Orange) What happened? MR. ORANGE (very weakly) Blonde went crazy. He slashed the cop's face, cut off his ear and was gonna burn him alive. EDDIE (yelling) Who cares what he was gonna do to this f**in pig? Eddie whips out his gun and SHOOTS the cop. The cop and the chair tip over. Eddie stands over him and SHOOTS him once more. EDDIE (to Mr. Orange) You were saying he went crazy? Something like that? Worse or better? MR. ORANGE Look, Eddie, he was pullin a burn. He was gonna k** the cop and me. And when you guys walked through the door, he was gonna blow you to hell and make off with the diamonds. MR. WHITE (to Eddie) Uhuh, uhuh, what's I tell ya? That sick piece of sh** was a stone cold psycho. MR. ORANGE (to Eddie) You could've asked the cop, if you didn't just k** him. He talked about what he was going to do when he was slicing him up. EDDIE I don't buy it. It doesn't make sense. MR. WHITE It makes perfect f**in sense to me. Eddie, you didn't see how he acted during the job, we did. Mr. Pink walks over to the cop's body. MR. PINK He's right about the ear, it's hacked off. EDDIE (to Mr. Orange) Let me say this out loud, just to get it straight in my mind. According to you, Mr. Blonde was gonna k** you. Then when we came back, k** us, grab the diamonds, and scram. That's your story? I'm correct about that, right? MR. ORANGE Eddie, you can believe me or not believe me, but it's the truth. I swear on my mother's eternal soul that's what happened. The CAMERA mover into a C.U. of Nice Guy Eddie. There's a long pause while he rolls over what Mr. Orange has said. Finally: EDDIE You're a f**in liar. Now why don't you drop the f**in fairy tale and tell me what really happened? MR. WHITE (OS) He told you what really happened. You just can't deal with it. MR. ORANGE (OS) Okay, you're right, I'm lying. Even though I'm f**in dyin I'm not above pullin a fast one. Get rid of Blonde, we share his split - no, scratch that, I shot him 'cause I didn't like his hair style. I didn't like his shoes either. If it has just been his hair, I'd've maybe, maybe I said, let him live. But hair and footwear together, he's a goner. EDDIE The man you k**ed was just released from prison. He got caught at a company warehouse full of hot items. He could've walked away. All he had to do was say my dad's name. But instead he shut his mouth and did his time. He did four years for us, and he did 'em like a man. And we were very grateful. So, Mr. Orange, you're tellin me this very good friend of mine, who did four years for my father, who in four years never made a deal, no matter what they dangled in front of him, you're telling me that now, that now this man is free, and we're making good on our commitment to him, he's just gonna decide, right out of the f**in blue, to rip us off? Silence. EDDIE Mr. Orange, why don't you tell me what really happened? VOICE (OS) Why? It'll just be more bullsh**. Eddie steps out of his C.U. and we see Joe Cabot standing in the warehouse doorway. He walks into the room. JOE (pointing to Mr. Orange) This man set us up. CAMERA does a 360 around the men. EDDIE Daddy, I'm sorry, I don't know what's happening. JOE That's okay, Eddie, I do. MR. WHITE (to Joe) What the f** are you talking about? JOE (pointing to Mr. Orange) That piece of sh**. Workin with the cops. MR. WHITE MR. PINK EDDIE What? JOE I said this lump of sh** is workin with the LAPD. MR. ORANGE'S POV Looking up from the floor at everybody. Joe looks down at Mr. Orange. JOE Aren't you? MR. ORANGE (OS) I don't have the slightest f**in idea what you're talkin about. MR. WHITE (very calmly to Joe) Joe, I don't know what you think you know, but you're wrong. JOE Like hell I am. MR. WHITE (very calmly) Joe, trust me on this, you've made a mistake. He's a good kid. I understand you're hot, you're super-f**in pissed. We're all real emotional. But you're barking up the wrong tree. I know this man, and he wouldn't do that. JOE You don't know jack sh**. I do. This rotten ba*tard tipped off the cops and got Mr. Brown and Mr. Blue k**ed. MR. PINK Mr. Blue's dead? JOE Dead as Dillinger. EDDIE The motherf**er k**ed Vic. MR. WHITE How do you know all this? JOE He was the only one I wasn't a hundred percent on. I should have my f**ing head examined for goin forward when I wasn't a hundred percent. But he seemed like a good kid, and I was impatient and greedy and all the things that f** you up. MR. WHITE (screaming) That's your proof? JOE You don't need proof when you got instinct. I ignored it before, but not no more. He WHIPS out a revolver and aims it at Mr. Orange. Mr. White brings his .45 up at Joe. Eddie and Mr. Pink are shook awake by the flash of firearms. Eddie raises his gun, pointing it at Mr. White. EDDIE Have you lost your f**ing mind? Put your gun down! Mr. Pink fades into the B.G., wanting no part of this. MR. WHITE Joe, you're making a terrible mistake I can't let you make. EDDIE Stop pointing your f**in gun at daddy! Joe, never taking his eyes off Mr. Orange. JOE Don't worry, Eddie. Me and Larry have been friends a long time, he ain't gonna shoot. We like each other too much. MR. WHITE Joe, if you k** that man, you die next. Repeat, if you k** that man, you die next! We get many different angles of the Mexican standoff. MEDIUMS ON EVERYBODY Mr. Orange holding his belly, looking from left to right. Joe pointing down on Mr. Orange. Not taking his eyes off him. Mr. White pointing at Joe, looking like he's ready to start firing any minute. Eddie scared sh**less for his father, gun locked on Mr. White. Mr. Pink walking backwards away from the action. Nobody says nothing. FOUR SHOT of guys ready for violence. Mr. Pink in the B.G. MR. PINK C'mon, guys, nobody wants this. We're supposed to me f**in professionals! Joe raises his head to Mr. White. JOE Larry, I'm gonna k** him. MR. WHITE Goddamn you, Joe, don't make me do this! JOE Larry, I'm askin you to trust me on this. MR. WHITE Don't ask me that. JOE I'm not askin, I'm betting. Joe's eyes go back to Mr. Orange. EDDIE Daddy, don't! Joe FIRES three times, HITTING Mr. Orange with every one. Mr. White SHOOTS Joe twice in the face. Joe brings his hands up to his face, screaming, and falls to the ground. Eddie FIRES at Mr. White, HITTING him three times in the chest. Mr. White brings his gun around on Eddie and SHOOTS him. The two men FALL to their knees, FIRING at each other. Eddie COLLAPSES, dead. Joe's dead. Mr. Orange lies perfectly still, except for his chest heaving. The only SOUND we hear is his loud breathing. Mr. White is SHOT full of holes, but still on his knees, not moving. Mr. Pink is standing motionless. Finally he grabs the satchel of diamonds and RUNS out the door. We hear outside a CAR START. Then the SOUND of a BULLHORN yells out: POLICE FORCE (OS) Freeze! Get out of the car and lie face down on the ground! MR. PINK (OS) Don't shoot! We now hear SIRENS, the SOUNDS of more CARS DRIVING UP, MEN RUNNING to the warehouse. While all this noise is going on, Mr. White tries to stand but FALLS DOWN. He somehow makes it to where Mr. Orange lies. He lifts Mr. Orange's head, cradling it in his lap and stroking his brow. MR. WHITE (with much effort) Sorry, kid. Looks like we're gonna do a little time. Mr. Orange looks up at him and, with even more of an effort: MR. ORANGE I'm a cop. Mr. White doesn't say anything, he keeps stroking Orange's brow. MR. ORANGE I'm sorry, I'm so sorry. Mr. White lifts his .45 and places the barrel between Mr. Orange's eyes. The CAMERA MOVES into an EXTREME C.U. of Mr White. The SOUNDS of outside STORM inside. We don't see anything, but we HEAR a bunch of shotguns co*kING. POLICE FORCE (OS) Freeze, motherf**er! Drop your f**ing gun! Mr White looks up at them, smiles, PULLS the trigger. BANG We hear a BURST of SHOTGUN FIRE. Mr. White is BLOWN out of frame, leaving it empty.