BRICK
Written by
Rian Johnson
1
SUPER MAIN TITLES
Over a grimy concrete wall creeping by. We emerge from...
EXT. RUNOFF TUNNEL - EARLY MORNING
A gaping hole in the concrete side of a freeway. On the
embankment beside the hole BRENDAN FRYE squats, shoulders
hunched. His dark eyes behind thin glasses watch the
shallow stream of water which flows into the tunnel.
THE WATER
not more than six inches deep. Just beneath the surface a
young woman's pale blue arm in gaudy bracelets bats against
the edge of her body like a docked boat. A pebble plinks
into the water beside it.1
TITLE CARD OVER BLACK: "2 DAYS PREVIOUS"
INT. LOCKER CAGE - DAY
A single locker. That same arm, bracelets and all, slips a
note through the slats, then leaves quickly.
As the cage empties a lone figure slumps to the locker.
Opens it. The note falls to his feet.
The figure is Brendan. He unfolds the note (folded in a
triangle) -- "12:30 PICO & ALEXANDER".
A STREET SIGN
Pico and Alexander.2
A WRIST WATCH
12:43. Brendan looks up from the watch.
EXT. STREET CORNER - DAY
He sits on the curb of a wide suburban street, eats lunch
from a brown bag and watches a phone booth on the corner. He
shows no surprise when it begins to ring. Brendan goes to
the phone and puts the receiver to his ear. Silence for a
moment, then a thin female voice from the phone.
1
Originally Dode was later revealed to have been hiding above the tunnel.
2
The street names were changed in production to match existing streets (we couldn't
afford to create custom street signs.)
2
VOICE
(over phone)
Brendan?
BRENDAN
Emily?
EMILY
(weakly)
Yeah. How's things?
BRENDAN
(slow, deliberate)
Status quo.
EMILY
Yeah?
BRENDAN
Uh huh.
EMILY
That's good.
Her voice thins to a high, strained breath. She is crying.
BRENDAN
What's going on, Em?
EMILY
(through strained crying)
It's good to see you, Brendan.
Brendan's eyes glance around the surrounding street. Emily
is crying again.
EMILY (CONT'D) (cont'd)
It's been some time.
BRENDAN
Two months.
EMILY
Yeah. I didn't even know your locker. I
had to ask Brain.
More crying noises.
BRENDAN
Em, why don't we meet somewhere?
EMILY
I can't.
3
BRENDAN
Why not?
EMILY
I screwed up real bad. I really screwed
up.
BRENDAN
Screwed up how?
EMILY
(blubbering, fast and
incoherent)
I did what she said with the brick, I
didn't know it was bad, but the pin's on
it now for poor Frisco and they're
playing it all on me-
BRENDAN
Slow down now, what?
EMILY
You gotta help me Brendan I think tug-
Oh!
With a sharp breath the line clicks dead just as a black
mustang roars by. Brendan drops the receiver and spins out
of the booth.
There, another pay phone up the hill -- empty.
Brendan turns to the black mustang, far down the street. A
man's hand drops a cigarette butt from the driver side
window.1
The mustang turns the corner, gone.
Brendan walks after it, finds the cigarette butt on the
street. Still smoking.
A pale blue arrow is printed on the filter.
In the distance the class bell rings.
EXT. SCHOOL HALLWAY - DAY
The high school is open air - the hallways are alleyways
between buildings. A short kid with eyeglasses the size of
1
Because of the orientation of the street, this was all flipped when we shot it, and the
hand came from the passenger window. The dialogue in the ending field scene was
changed to match, causing mass confusion for about half an hour on set.
4
Volkswagen headlights sits against the wall. Brendan enters,
leans on the wall beside him.
BRENDAN
Brain.
THE BRAIN
Hey Brendan. It's been awhile. Where you
been eating?
BRENDAN
Back of school.
THE BRAIN
Huh. Yeah, no one's seen you. What's it
been, a couple months?
BRENDAN
Yeah, it's been awhile. You gave Emily
my locker number?
THE BRAIN
A few days ago. Was I wrong?
BRENDAN
What?
THE BRAIN
To give it?
BRENDAN
No.
THE BRAIN
It's been so long, I don't know you
two's stats.
BRENDAN
It has been awhile. Who's she been
eating with?
THE BRAIN
(uncomfortable)
I dunno. It's hard to keep track.
BRENDAN
Is it?
THE BRAIN
(shrugs)
Can be.
The Brain avoids Brendan's gaze.
5
BRENDAN
Uh huh.
A beat.
THE BRAIN
She hasn't been doing too good.
BRENDAN
Yeah well. I'm not looking for a patch
up. Em's life is her own. But she
asked for my help.
THE BRAIN
Help with what?
BRENDAN
I don't know. I don't even care, it's
not my business. I just want to know
she's ok, so I've got to find her.
That's all this is.
THE BRAIN
Well. I know she was poking in with the
Ivy-bound cheerleading elite. Laura
Dannon's crowd.
Across the parking lot a beautiful girl with dark long hair
kisses an football player.
BRENDAN
Laura Dannon there with the Rabbit?
THE BRAIN
Yeah. Brad Bramish with her. Cream on
the upper crust.
Brad laughs heartily.
BRENDAN
(softly)
He's a sap.
THE BRAIN
Know him?
BRENDAN
By sight.
THE BRAIN
I won't argue then. Anyway Em tagged
after them for a bit, but it didn't
work. So she picked her way down the
food chain. Last I seen she was with
whasshername, that drama vamp. Small
time dealer, augh, the evil one, the one
you dated-
BRENDAN
Kara.
THE BRAIN
That's my bus.
BRENDAN
You know her locker number?
THE BRAIN
Kara's?
BRENDAN
Em's.
THE BRAIN
239.
BRENDAN
Thanks Brain. Keep your specs on, find
me if she shows.
THE BRAIN
Sure.
The Brain trots off. In the distance Brad and Laura laugh,
and he kisses her. Her hair blows in the wind.
EXT. LOCKER CAGE - DAY
Empty. Locker 239 is open, its door swinging gently in the
wind.
EXT. BACK OF GYM - DAY
Brendan sits against the massive building, flipping through
loose papers. He finds two photographs, one of Emily hugging
him, the other of Emily with a beautiful sharp-eyed girl at
a party, drinks in hand.
Sorting more papers, he finds a red card with a sequined
mask on the front. The bottom edge has been torn off.
EXT. PARKING LOT - DAY
Sixth period has broke. Masses of students pile into busses.
7
EXT. SCHOOL THEATER - DAY
A huge chunk of brown building. Brendan strides towards it.
INT. SCHOOL THEATER - CONTINUOUS
Drama people sit on the floor facing the stage. Brendan
steps behind one, the sharp-eyed girl from the picture. She
holds a freshman boy's head in her lap. Pets it like a dog.
She looks back at Brendan, her face in shadow.
GIRL
(through a mocking smile)
Hello, Brendan.
BRENDAN
Kara.
KARA
Come to see the show?
Kisses the freshman's forehead, purring.
BRENDAN
No, I didn't.
(nudges the freshman with his
toe)
Lapdog, blow.
The freshman sits up, looks to Kara like a spooked puppy.
KARA
(to the lapdog)
Stay.
(to Brendan)
Don't be mean.
BRENDAN
I'm all friendly.
(to the lapdog)
Watch your head, kid - that thing bites.
The dog pops up again. Kara pulls him down and nuzzles his
ear.
BRENDAN (CONT'D) (cont'd)
I need words.
KARA
I'm listening.
8
BRENDAN
About Emily Kostich.
She stops nuzzling a little too quickly.
KARA
(to the dog)
Get me my purse.
(he goes)
Hurry!
He breaks into a trot. Kara smiles at Brendan.
BRENDAN
Still picking your teeth with freshmen?
KARA
You were a freshman once.
She slides her fingers up his arm. He growls and pushes them
away.
BRENDAN
Way once, sister. You and Em were tight
for a bit. Who's she eating with now?
KARA
Eating with?
BRENDAN
Eating with. Lunch. Who.
KARA
You're a cutie.
BRENDAN
You gonna tell me?
KARA
Guess you're up from the underneath
then. The whole Jerr thing blown over.
Lucky strikes, you and your partner get
bulled, you come up clean. But I guess
you were always the brains of the
outfit.1
1
One of many instances of an allusion to the Jerr backstory, most of which were
trimmed back in the editing process for clarity. The author has threatened to write it as
a stand alone short story, but probably never will, so in a nutshell: when Brendan and
Emily were still an item she started hanging out with Jerr, a small time dealer. Brendan
didn't approve, so he partnered up with Jerr then ratted him out to Trueman. Emily
found out, and that led to their breakup on the field, which we see in a flashback.
9
BRENDAN
Where's Emily?
KARA
Sometimes I wonder why I dumped you.
BRENDAN
(standing to go)
God.
KARA
I don't know where she's at, Brendan.
BRENDAN
I know you do, so why don't you want me
to find her?
KARA
Maybe I'm looking out for you.
BRENDAN
(going)
Well I appreciate that.
KARA
Brendan... you looking to get back into
things? I could use you.
He is gone. Behind Kara, the play goes on.
INT. BACKSTAGE OF THEATER - CONTINUOUS
The play is seen in shadow-play through the backdrop.
Brendan slips in through an exit door, crosses the backstage
area and enters the dressing rooms.
INT. DRESSING ROOM - CONTINUOUS
Cramped and empty. Pictures of Kara with friends are stuck
in the mirror. Brendan roughly searches drawers, bags,
pockets... nothing. He stops. A red edge behind one of the
photos - the same red card with a mask on it, but whole.
Across the bottom in small print: "Halloween in January -
Call for DETAILS - 555-2394"
INT. BRENDAN'S ROOM - NIGHT
Brendan pulls a phone across his desk and dials the number
on the flyer.
10
WOMAN'S VOICE
(over phone)
Hello?
Brendan hesitates.
BRENDAN
Hello, ma'am, this is Tom, I'm a friend
from school. Could I speak to...
He trails off.
WOMAN'S VOICE
(over phone)
Oh, hi Tom. Laura's here, hold on.
LAURA'S VOICE
(over phone)
Yes?
BRENDAN
I'm calling for details.
LAURA'S VOICE
For what?
BRENDAN
Details about the party.
LAURA'S VOICE
Who is this?
BRENDAN
I don't think we've met.
LAURA'S VOICE
Well then I don't think you're invited
to my party. It's a rather exclusive
gathering.
BRENDAN
I can imagine.
(she starts to speak, he cuts
her off)
You should really work on your invite
management. That might be a personal
'room for improvement' area in your
life. But discretion of your invite
sending aside, I have procured a certain
someone's invitation, and would like
details.
A beat of silence.
11
LAURA'S VOICE
You think you're cute, whoever you are.
BRENDAN
Wait'll you get a load of my felt fedora
and spats.
LAURA'S VOICE
Who are you? Or I'll hang up.
BRENDAN
You don't know me - I'll save you some
time.
LAURA'S VOICE
I know everyone and I've got all the
time in the world.
BRENDAN
Folly of youth. Ask whose invitation
I've got.
LAURA'S VOICE
(slightly)
What you said.
BRENDAN
Emily Kostich.
A beat.
LAURA'S VOICE
15 Bush street, up in Stockton Cove.
Buzz 42 at the gate. Nine o'clock. But
who-
Brendan hangs up. He folds his hands under his chin and
stares at the phone, perfectly still. The clock on his desk
says 4:53.
DISSOLVE TO:
7:37
Brendan at his desk, tapping away at Tetris.
DISSOLVE TO:
8:30
The desk is empty, Tetris paused. A shower runs behind an
ajar door in the background.
12
EXT. STOCKTON COVE GATE - NIGHT
An imposing private community gate. Brendan coasts up on his
bike and ditches it in the bushes. He checks the call box
directory: "42 -- DANNON"
Using the call box as a hand hold he hops the gate and walks
briskly up the street.
EXT. STOCKTON COVE STREET - NIGHT
Shiny cars line the curb. Party noises come from an upscale
two story house. Brendan takes a short breath, then strides
up to the front door.
INT. LIVING ROOM
Large and clean, with a two story ceiling and a railed
staircase at one end. Fifteen or twenty clean people, some
in costumes, mill about in cliques. Brendan comes in as if
he doesn't mind who sees him coming in. He gets a couple odd
stares, but no one stops him.
With non obtrusive confidence he cuts through the crowd to
the beer keg in back and draws half a cup.
INT. PARLOUR - SAME
Richly adorned, crowded, lit with bright pools of light.
Brendan drifts in and stands in the back, deep in shadow.
The music comes from a baby grand piano set against one
wall. Laura Dannon leans against it. She wears a red
kimono, and is striking against the velvet black piano.
Laura's kid sister, 11 years old with glasses, sits at the
piano playing "All I do is Dream of You".
Laura sings, lovely and soft but with strength.1
Brendan watches from the back, his face obscured in shadow,
but his eyes gleam. Through the darkened window behind him
a match flares up, and someone standing outside lights a
cigarette.
Laura finishes the song. The room applauds, and she ruffles
her kid sister's hair.
Brendan ducks out, and into
1
By the time we got around to production this had changed to "Someone to Watch Over
Me," but the publishing rights proved too expensive (i.e. not free.) We chose the Gilbert
& Sullivan song, which besides being lovely was also in the public domain (i.e. free.)
13
INT. LIVING ROOM - SAME
Brad Bramish, the jock who was kissing Laura in the parking
lot, sits slouched on the couch in a dense crowd. He holds a
cup and speaks much too loudly to a guy named Biff at his
elbow.
BRAD
If the coach wants to play me I'll play,
but I can't put my best game in if I've
got to worry about whether I'm going to
be in there. Halftime last game, coach
is pissed I ran it on a pass play, out
on the field he says to me 'you gotta
think about the team and you gotta' you
know and 'if you run that ball again
you're out', and I said to him you gotta
let me play! I'm out there, let me play,
and he's saying 'no you're out' and I
kept saying 'Let me play! Let me play!
Let me play!', just right in his face-
BIFF
He was!
BRAD
Just 'Let me play! Let me play! Let me
play!' 'No you gotta' 'No, let me play!
Let me play! Let me play!'
Brad hunches forward, his face swollen purple, yelling that
over and over. Tom steps in front of Brendan, blocking his
line of sight.
Brendan scans the rest of the room. His eyes catch on Laura,
leaning against a divan. Her bright, sharp eyes cut through
the room, straight into Brendan.
He wags his eyebrows at her.
She looks away quickly. Brendan turns back to Brad, still
shouting 'let me play'. Tom stands between them.
BRENDAN
Tom!
Brad falls silent. Most of the room follows suit. Tom turns
around. Brendan smiles good naturedly.
BRENDAN (cont'd)
Could you step aside, please? I'm
trying to follow Brad's story, and it's
difficult when I can't see his face.
14
The room watches Brendan. Tom mumbles something and steps
aside. Brad stares at Brendan stupidly. Brendan flashes a
dopey grin and tips his glass.
BRAD
(stumbles)
He doesn't give me a play to make, what
can I do, you know?
He falls into awkward silence. Biff starts babbling.
Brendan looks at Brad, who is staring back at him.
Brendan then slowly drags his gaze over to Laura, staring at
him too, her eyes slightly amused. Brendan cocks an eyebrow.
The slightest hint of a smile takes the corner of her mouth,
and she wags her eyebrows once at him.
Brendan glances back at Brad, looking at Laura now, not
amused at all.
Brendan stands to go. Biff chatters on. Brad cuts him off.
BRAD (cont'd)
Hey. Hey! What are you doing here?
BRENDAN
Leaving.
BRAD
Oh yeah?
BRENDAN
Uh huh. Unless your anecdote's got a 2nd
act.
BRAD
Why don't you leave?
BRENDAN
(leaving)
That's what I was doing.
INT. DARK ROOM
With a lit wet bar at one end. Brendan goes to the bar, puts
ice in a glass and cracks it with liquor.
LAURA
(O.S.)
Whiskey?
Brendan pauses, glass touching his lips.
15
BRENDAN
Jameson.
He downs half of it.
LAURA
I like a man who knows what he's
drinking.
BRENDAN
That's a pretty sick thing to be
attracted to.
LAURA
Brad's not a good guy to get on the
wrong side of.
BRENDAN
Uh huh.
They stare at each other in silence. She studies his face.
The broken light of the bar makes her features seem liquid.
LAURA
Fearless flyer. Quit your yappin and fix
me one.
and slips out a sliding glass door.
He fills another glass with whiskey and cuts his with water.
EXT. BACK PATIO - NIGHT
Brendan joins Laura, hands her a drink. Suburban lights fill
the valley below. Laura sips her drink.
LAURA
I'll never get through all this.
BRENDAN
Uh huh.
She sips more.
LAURA
I knew your old partner Jerr since grade
school. Tough break. How long were you
two joined up before your operation got
the sting?
16
BRENDAN
A few months. Could have helped himself
out by turning me in, but he took the
heat. He was a good guy. Solid.
LAURA
Was he?
BRENDAN
You knew him.
LAURA
Yeah I did. So why are you here tonight?
BRENDAN
I'm looking for Emily.
LAURA
She wasn't invited.
BRENDAN
She had an invitation.
LAURA
Well like you said, I've got to work on
that. Em's been AWOL for a good month,
nobody's seen her.
BRENDAN
I saw her yesterday.
LAURA
Nearly nobody's seen her. So what did
she tell you?
BRENDAN
(winces)
Score 0 for finesse.
LAURA
Listen, you're scratching at the wrong
door. I wasn't with Emily enough to know
details of what she was in, I just got
wind of the downfall, and I didn't get
any details of that, except that it was
bad. So now that we're showing some
cards...
BRENDAN
If you haven't got a finger in Em's
troubles, why'd her name get me into
your rather exclusive party?
17
LAURA
Keep up with me now. I don't know, but
it sounded like you did, and a body's
got a right to be curious. Now I'm not
so sure.
BRENDAN
Well I'll put that body to bed. I don't
know a damn thing about whatever
troubles, and that works for me. I just
want to find her.
A long beat. Laura studies Brendan's face, then seems to
come to a decision.
LAURA
Coffee and pie.
The words hang in the air a moment. A look of recognition
from Brendan.
BRENDAN
Coffee and pie oh my?
LAURA
And you didn't hear it from me.
He sips his drink. A voice calls from the glass door.
Another girl. Laura flashes Brendan a look and goes to her.
They have quick, quiet words and the girl leaves. Laura
turns back to Brendan.
LAURA (CONT'D) (cont'd)
Will you wait here for me?
BRENDAN
Sure.
LAURA
You'll stay right here and wait -- I'll
be five minutes.
BRENDAN
Yes.
The moment she leaves Brendan runs across the lawn and hops
the fence, into the neighbor's yard.
EXT. SIDE OF HOUSE
Brendan runs to the edge of the neighboring house and peeks
around. Laura comes out the front door, cuts across the
lawn and sidewalk and trots out into the street. Brendan
18
begins to follow, but a noise from behind the fence stops
him - a match being struck.
Brendan creeps towards the fence and peers through a
splintered hole.
BRENDAN'S POV - THROUGH THE FENCE
A brightly lit window in the side of Brad's house, and
through the window the party.
A dark figure wearing a long coat and broad rimmed hat, all
inky black. The figure smokes a cigarette and watches the
party, absently stroking his cheek.
Brendan steps back - SNAP! A twig.
The figure freezes. Then, making no noise at all, it spins
to face Brendan, a towering black form against the window.
The glowing cigarette falls to the grass.
A metallic glint, and a clicking sound not unlike a gun.
Brendan throws himself backwards onto the grass. A beat.
Through the hole the black of the figure's cloak whips away.
Brendan hesitates, then hops the fence.
EXT. SIDE OF BRAD'S HOUSE - SAME
Brendan lands on his feet. No black figure to be found.
The cigarette still smolders on the ground. Hand rolled,
plain paper.
Brendan gazes through the window, catching his breath. Then
he breaks the trance and creeps towards the street.
EXT. FRONT LAWN - NIGHT
Peeking around the house, Brendan sees Laura cut across the
lawn and trot into the street. Using parked cars as cover,
Brendan follows.
EXT. STREET
Between cars, Brendan sees a lanky kid in baggy jeans and
engineer boots with a clean shaven head leaning against a
black Mustang. Laura goes to him and speaks quickly.
19
The dark figure in the hat emerges from the shadows. Laura
says something to him. Grunting something angrily, he gets
in the car with the bald kid and peels off.
Laura turns and slowly walks towards the house.
When she is gone Brendan stands, throws a look back at the
house and walks off down the street, towards the guard gate.
EXT. BACK PATIO
The two drinks, where Brendan left them. Laura takes hers
and drains it. The suburban lights twinkle like stars.
EXT. CARROWS PARKING LOT - DAY
The sun rises over Carrows family restaurant, a squat
structure backed against the weedy edge of the runoff tunnel
ravine.
A banner from 1973 in the window - "Coffee and Pie oh my!"
A pack of six pale stoners slump against the rear dumpster.
Their beady eyes follow Brendan in sync as he approaches.
He goes to the nearest one.
BRENDAN
Where's Dode?
STONER 1
Dunno, bra.
Silence and blank stares. Brendan calmly moves to the next
stoner.
BRENDAN
Dode?
STONER 2
Uh uh.
Brendan moves to the next one.
A thin head pokes from around the dumpster.
DODE
Hey Brendan. Maybe you shouldn't be
here.
Brendan steps around the dumpster. Dode slumps against the
wall, thin and delicate in dusty black. Slivery eyes, pale
lips, muffled intelligence.
20
BRENDAN
Kara told me you know where Em's at.
DODE
Uh huh. And why are you looking for Em?
BRENDAN
She asked for my help.
DODE
Uh huh. Listen man, I've got plenty on
my plate without dealing with some
jilted ex.
BRENDAN
It's not about that.
DODE
Whatever it's about, act smarter than
you look and drop it.
BRENDAN
Where is she?
DODE
She's with me, and right now that's the
best place for her. Leave the low life
to the low lifers and dangle.
BRENDAN
You're on the bright side of dim, Dode,
but if I thought you had this half-
handled I'd be eating lunch. Where's
she at?
DODE
Better get while it's good.
Brendan doesn't.
DODE (cont'd)
Heel it now, dig?
The 5 big stoners appear behind Brendan, threatening. Dode
turns his head away to light a joint.
Brendan's fist slams into his face, sending the joint
spinning. Brendan slams Dode's frail frame against the
dumpster.
The 5 stoners stand in the exact same position, deer in the
headlights. One makes a half hearted motion to intervene.
21
BIG STONER
Back off.
BRENDAN
Throw one at me if you want, hash head.
I've got all five senses and I slept
last night, that puts me six up on the
lot of you.
BIG STONER
Just easy-
Brendan slams Dode into the wall.
BRENDAN
(to Dode)
Where's Em?
DODE
(deliberate)
She's with me. She was tight when she
called you, man. Came to and freaked.
She told me to shake you if you came by.
Said you'd only make things worse.
Brendan covers how shaken he is by this statement fairly
well. He drops Dode.
STONER 1 (O.S.)
Put him down, man!
DODE
Deal with whatever this ain't about and
drop it.
BIG STONER
(to Brendan)
Nothing more here, bra.
BRENDAN
Tell Emily I want to see her. Tell her
if she still wants my help or not that's
her business, but I want to hear it
straight from her.
DODE
She don't -
Brendan walks away.
BRENDAN
Today. She knows where I eat lunch.
22
When Brendan is a safe distance away the biggest stoner
shouts with conviction
BIG STONER
And stay out, punk!
EXT. SIDEWALK - CONTINUOUS
Brendan hides behind a tall clump of bushes.
A moment later Dode hustles away from Carrows. Brendan
follows.
EXT. STREET - EARLY MORNING
The sun is rising as Brendan tails Dode through the twisty
suburban streets.
Brendan takes cover as Dode stops by a white hatchback.
A girl gets out of the car and embraces Dode. Her wrist is
adorned with the same cheap plastic bracelets as the dead
girl's arm. Dode speaks quickly to her, she nods and speaks
back. He hands her a slip of paper, which she tucks into a
brightly colored address book and slips in her jacket
pocket. They embrace again, Dode walks off and the girl gets
in her car.
Brendan stumbles after the car, but it is quickly gone. He
watches it go, then follows Dode back towards school.
EXT. SCHOOL THEATER - MORNING
Dode slumps into the front door of the brown building.
Brendan watches him from a distance, eyes thoughtful. After
a beat he turns and walks off into the thickening crowds of
students.
FADE OUT:
FADE UP
EXT. BACK OF SCHOOL - MIDDAY
Brendan eats lunch alone on a concrete wall beside a long,
empty utility road behind the school.
LATER
Reclining on the wall, reading "Lord of the Flies". He
raises his eyes, and sits up suddenly.
23
Off in the distance on the utility road a tiny figure
approaches, stumbling. Brendan jumps and hits the ground
running towards the figure.
Meet the girl with cheap bracelets, the girl Dode spoke to,
the dead girl, Emily. He catches her just as she stumbles
and falls and carries her into the shade of a covered
hallway.
EXT. SCHOOL HALLWAY - CONTINUOUS
Emily and Brendan sit in silence. She is very pretty, but
she looks bad. Too much makeup, not enough sleep. She
sniffles, speaks to her shoes.
EMILY
I must have sounded pretty crazy on the
phone. Yesterday.
She taps her shoes together lightly, eyes fixed on them.
EMILY (cont'd)
It was dumb, I got paranoid over a
really stupid thing. I was high, I went
crazy for a little bit, but now you have
to forget about it. Please. That's how
you can help me now, forget about it.
She turns her weak eyes to Brendan for the first time. His
stare is unwavering, searching. She pushes on.
EMILY (cont'd)
Brendan, I know you're mad at all these
people, cause you think I went away from
you and went to them. But you've got to
start seeing it as my decision, stop
being angry because where I want to be
at's different from where you wanna be
at.
BRENDAN
(angry)
Who fed you that line, Em?
She looks back at her shoes.
EMILY
And stop picking on Dode. He's a good
guy.
BRENDAN
The Carrows rat?
24
EMILY
He's a good friend.
BRENDAN
So what am I?
EMILY
(strained anger)
Yeah, what are you? Eating back here,
not liking anybody, how are you judging
anyone? I loved you alot but I couldn't
stand it, I had to get with people. I
couldn't heckle life with you, I had to
see what was what.
A beat. She taps her clogs. One has a hole worn through the
sole. Her face contorts, seizes up, and she is sobbing.
EMILY (cont'd)
I'm sorry Brendan.
She buries her face in his shoulder. He has a hard time
speaking.
BRENDAN
You've got to come back to me, Em.
EMILY
No. No. Never. I'm sorry. Never. I can't
love on your terms, Brendan. I can't do
that, I'm not like you.
BRENDAN
You're in a spot, I can get you out of
it. Come back to me, and whatever heat
follows you I'll deal with.
EMILY
No. You're not hearing me, no. I don't
want to be put away and protected. No.
EMILY (cont'd)
No.
BRENDAN
Tell me about the trouble, the brick and
the pin -
EMILY
You gonna fix things like you did with
Jerr? No. I came to say goodbye, for
good. Whatever you have to do to let me
go, do it. I'm gonna let you go, I've
25
decided that. Make sure that, you've got
to, promise you won't torture yourself,
that you'll let me go.
She embraces him, enveloping him in her jacket. His face is
a frozen mask.
EMILY (cont'd)
Let me go.
As she pulls away he mechanically slips an address book from
her jacket pocket.
He watches her as she walks away.
INT. CLASSROOM
Brendan sits in the back, flipping through the address book.
The teacher drones on about the significance of the pig's
head in "Lord of the Flies".1
THE ADDRESS BOOK
Illegible scribbles, names, numbers, nothing that stops his
search - then the note Dode gave her, a corner of loose-leaf
paper which looks like this:
Brendan studies the paper intently.
EXT. SCHOOL HALLWAY - DAY
The Brain studies the paper. Busses pull into the parking
lot behind them. Brendan is distant, lost in thought.
THE BRAIN
Hm. Do you know anything else about
this?
1
Our one and only scene in a classroom was moved to Brendan's lunch spot to save us
a location change. The degree to which the lack of classroom time in the film has been
commented on has always bemused the author, who cannot for the life of him
remember a single interesting thing that happened in a classroom in high school.
26
BRENDAN
(shakes his head)
Mm.
THE BRAIN
Slim pickings. Why'd you let Dode fly
when he came back to whose-her-name, at
the theater?
BRENDAN
(shrugs dismissively)
Kara. It's their turf, I couldn't hear
them without being seen, and that would
only biff their play. Best to know it's
there, let it ride and see what comes of
it.
(touches the paper)
But anyway.
THE BRAIN
Hm. Well, if this is what I think it is,
it didn't come straight from Dode, less
he's playing out of his league.
(beat)
I can only give you my best guess.
BRENDAN
Yeah.
THE BRAIN
When the upper crust does shady deeds
they do them in different spots around
town. I know under the pier's one, down
by the bike trails in the state park's
another. There's alot of them. The pitch
is they've got little symbols for each
one, and that's how they tell each other
the place, so word won't get around. So
this might be that.
BRENDAN
But Dode wouldn't know it?
THE BRAIN
This is upper crust. Dode's pie pan
grease.
Brendan studies the symbol.
BRENDAN
Call anything up?
27
THE BRAIN
How many places start with 'A'? Or if
it's a shape, or just a random symbol.
Anyway, even if you figured it out, what
good could you do? She's smart, she
knows the play, she's gunning to square
things.
BRENDAN
Yeah.
THE BRAIN
You said her business was none of yours,
so she's alright, forget it now. Go
home, sleep.
INT. BRENDAN'S BEDROOM - NIGHT
Sparsely furnished. Brendan plays Tetris on his computer,
staring off into space. His mom's voice calls "Good night"
and the hallway light turns off.
LATER
10:30 by the clock radio on Brendan's nightstand. The slip
of paper rests beside it. Brendan lies in bed, staring at
the symbol on the paper. His eyes tense.
THE SYMBOL
Growing larger, burning with a searing intensity, then
folding into darkness. Water rushes overhead, over concrete,
concrete with a hole in it -- the runoff tunnel, just for an
instant, then back underwater, screaming. Brendan choking,
screaming, plunging upwards. A woman with no face falls from
the darkness and kisses him, her long hair sweeping around
him then pulling away. As the last strands slide off his
face he wakes up with a start.
The clock says 3:46. Brendan drips with sweat, breathing
raggedly. He takes the paper and a pencil from the
nightstand and shades the symbol to look like this:
FLASH CUT - The runoff tunnel, lining up perfectly with the
now shaded symbol.
BACK TO BRENDAN
28
His eyes turn uneasy as he removes his glasses and clicks
off the light.
EXT. BRENDAN'S HOUSE - DAWN
Brendan walks off into the hazy pre-dawn light.
EXT. EDGE OF RAVINE
Brendan stops at a high wall of weeds, listening to the low
gurgle of moving water. Slowly, robotically he pushes
through.
EMILY'S BODY
Face down, bobbing gently in shallow water. Bluish white.
Red foam clings to her.
EXT. RUNOFF TUNNEL
Silently, as if lowered by a string Brendan sinks down,
squatting in the mud. His lungs empty in one choppy breath.
He pulls his glasses off sluggishly.
EMILY'S ARM
Lifeless, pale.
BRENDAN'S FACE
A contorted, frozen mask, eyes wet.
EMILY'S HAIR
Stringy, flowing gently in the water.
BRENDAN'S EYES
Dazed, drifting... then suddenly snapping to attention.
A noise. From the tunnel.
Brendan freezes. The inky blackness of the tunnel mouth
opens like a vacuum... silent, but then -
The scrape of a shoe against concrete, then echoing
footsteps running away.
Brendan springs like a cat, sprinting into the tunnel.
29
INT. TUNNEL
Nearly pitch black. 2 sets of running footfalls. Brendan is
chasing, running full speed into the blackness, heart
pounding - we almost don't notice that Brendan's are now the
only footfalls.
Brendan notices. He stops. Silence in the darkness, except
for Brendan's breath... and someone near...
SLAM! Brendan takes a fist in the cheek and goes down. An
inky black figure steps from the shadows and kicks him in
the stomach. Brendan curls on the ground, the figure over
him.
FIGURE
(low whisper)
Your little Em.
The figure runs off. Brendan raises his head painfully - the
figure is silhouetted briefly against the distant bright end
of the tunnel, then is gone.
EXT. RUNOFF TUNNEL - EARLY MORNING
Emily's body is still there. Brendan crawls out of the
tunnel and collapses in the shallow water, beside the body.
He rests his head on his arm, eyes on Em's hair.
EXT. CAMPUS - EARLY MORNING
Cold and barren, nearly empty. Brendan limps across the
barren lawns.
EXT. PHONE BOOTHS
A line of phone booths on campus. Brendan nearly collapses
against one. He dials, still in a stupor.
VOICE ON PHONE
Saint Clement police.
Brendan stares into space, eyes burning
VOICE ON PHONE (cont'd)
Saint Clement police, hello? Hello?
Brendan hangs up.
EXT. LIBRARY - CONTINUOUS
Early morning mist below a squat brick building.
30
INT. LIBRARY
Warmly lit, sheltering the few souls scattered here and
there at tables. The Brain sits at one of them reading an
impossibly large book. He watches curiously as Brendan
approaches him.
THE BRAIN
Hey, Brendan.
Brendan falls into a chair. The Brain looks him over.
THE BRAIN (cont'd)
You're up early.
BRENDAN
(thick, distant)
I couldn't sleep.
THE BRAIN
(nods, back to his book)
Find Emily?
Brendan breathes out softly.
THE BRAIN (cont'd)
You alright?
BRENDAN
Yeah. What, are you here for zero?
THE BRAIN
Nah, I gotta take the early bus, cause
the others don't run by my street.
BRENDAN
Bad break.
THE BRAIN
Eh. Time to read's nice. So what's the
word with Em?
BRENDAN
She's gone.
THE BRAIN
Can't raise her?
BRENDAN
No, I can't.
THE BRAIN
So what now?
31
BRENDAN
Now. I don't know. I guess it's... I
don't know.
Brendan takes a long moment. He stares down at his glasses,
wet with condensation.
BRENDAN (cont'd)
Brain, I can't let her go. I was set to
but I can't. I don't think I can.
THE BRAIN
You think you can help her?
BRENDAN
No.
THE BRAIN
You think you can get the straight,
maybe break some deserving teeth?
BRENDAN
Yeah. I think I could.
THE BRAIN
Well.
Brendan rubs his forehead.
BRENDAN
Kara tried to rope me. She came right
out and asked. She was scared. Tell me
to walk from this, Brain. Tell me to
drop it.
THE BRAIN
Walk from it. Drop it.
(grins)
You're thick as what-all, Brendan.
BRENDAN
Yes I am.
Brendan cleans his glasses. He looks Brain in the eye, and
his mannerisms come back into focus.
BRENDAN (cont'd)
I'd need you to Op. Like on Jerr, but
that was cake to this. And unlike Jerr,
there's not much chance we'll come out
clean. Twenty four seven on this one.
You okay to op for me again?
32
The Brain barely smiles.
THE BRAIN
What first, tip the bulls?
Brendan puts on his glasses, stands to go.
BRENDAN
No, bulls would gum it. They'd flash
their dusty standards at the wide-eyes
and probably find some yegg to pin,
probably even the right one. But they'd
trample the real tracks and scare the
real players back into their holes, and
if we're doing this I want the whole
story. No cops, not for a bit.
THE BRAIN
So what first?
BRENDAN
I don't know. Your mom still have the
cell?
THE BRAIN
In her car.
BRENDAN
Borrow it for a few days, get me the
number.
(stands to go)
Wait for my word, and cover for me first
period. I'm going to be a little late.
EXT. BASKETBALL FIELD - DAY
A vast field of asphalt segmented by a dozen basketball
courts outlined in cracked paint.1 Brendan trudges across
it, his steps heavy. He stops and stands very still, staring
at the ground for a beat then raising his eyes to
THE HORIZON
Flat, gray, pin straight. Brendan's voice starts speaking
rapidly, confident and clear.
1
This describes the location at my school that the "showdown" scenes were originally
written for. Between when I wrote the script and when we shot it, however, the school
expanded and built portable classrooms on the basketball field, and so we reluctantly
moved these scenes to the football field.
33
BRENDAN (O.S.)
Yeah it was personal. Jerr spooked some
decent gees and ran around some what was
straight with him, but I'm nobody's bull
runner. This wasn't a business sit. But
yeah. I bulled him. Got in tight,
partnered up and sent him over.
PAN AROUND to reveal BRENDAN. He looks different, edgier,
more alive, wearing different clothes and a thin goatee1. He
keeps talking directly at us.
BRENDAN (cont'd)
I'd bull the lot of them, Em, I'd burn
down the whole party if they tried to
play you again. Jerr and whoever's next.
I want to keep you safe.
An ARM swings into frame, wearing cheap plastic bracelets
and pale blue fingernail polish. It slaps Brendan hard in
the face. He catches it. Emily wrenches her arm away and
stumbles backwards onto the pavement.
Brendan grabs her sleeve. She twists away. He grabs her
shoulder, grabs her waist, she resists, and suddenly they
are struggling with violent pent up intensity until with a
shout she breaks away and falls to the ground.
A beat. Gulls cry in the distance.
EMILY
You can't keep me safe, Brendan. I'm in
a bigger world now, and you can't hide
me from it, and you can't beat it. Not
if I don't want you to.
Brendan's face looks lumpish, while Emily's is strong. She
stands and walks off into the distance across the barren
field.
BRENDAN'S FACE
Watching her go. It is back to present day, pale, clean
shaven, sullen. His eyes are cold with resolve.
EXT. RUNOFF TUNNEL - EARLY MORNING
Brendan sloshes down into the water. Without delicacy he
lifts Emily's body and pulls her back into the tunnel.
INT. RUNOFF TUNNEL
1
Which Joe would not even consider, thank god.
34
Pitch back. Brendan lays the body down. Two beady eyes peer
at him from the darkness - he freezes. The eyes hop forward
- a gull. The two watch each other for a moment, then the
gull squawks and flutters out the bright mouth of the
tunnel. Brendan follows it without looking back at the
body.1
EXT. CROWDED HALLWAY - DAY
Brendan and the Brain lean against a wall. The Brain slips
him a piece of paper.
THE BRAIN
There's the cell number.
BRENDAN
Keep it on vibrate.
THE BRAIN
(pats his jacket pocket)
Yeah.
BRENDAN
Better stop meeting me in the open too.
I'm going to start getting visible, and
I need you on the underneath. I'll call.
THE BRAIN
Trueman asked for you. Wants words in
his office.
BRENDAN
I bet. Keep him off me - stonewall him,
he won't bite, just keep him away from
me.
THE BRAIN
I'll try. So what's first?
BRENDAN
Make Em's troubles mine. I'm going to
throw a few words at you, tell me if
they catch. Brick.
THE BRAIN
No.
1
A very early draft held on the tunnel after Brendan left, and revealed a dark figure
(Dode) creeping away from the top of the tunnel, causing the pebble described on page
1 to plink into the water.
35
BRENDAN
Or bad brick.
THE BRAIN
No.
BRENDAN
Tug.
THE BRAIN
Tug... that might be a drink.
BRENDAN
Drink?
THE BRAIN
Vodka and milk or something, or maybe
not.
BRENDAN
Poor Frisco.
THE BRAIN
Frisco. Frisco Farr1 was a sophomore
last year, I think. Real trash, maybe
hit a class a week. Didn't know him
then, and haven't seen him around.
BRENDAN
Pin.
THE BRAIN
Pin... the Pin?
BRENDAN
The Pin, yeah.
THE BRAIN
The Pin's kind of a local spook story.
You know the Kingpin?
BRENDAN
I've heard it.
THE BRAIN
Same thing. Supposed to be old, like 26,
lives in town.
1
All apologies to Frisco Farr, who the author did actually go to school with, and who
was neither a druggie nor `real trash', but was a great guy who simply had a very cool
sounding name. He is now (the author was horrified to learn) practicing law.
36
BRENDAN
Jake1 runner, right?
THE BRAIN
Big time... maybe. Ask any dope rat
where their junk sprang they'll say they
scraped it from that who scored it from
this who bought it off so, and after
four or five connections the list'll
always end with the Pin. But I'll becha
you got every rat in town together and
said 'show your hands' if any of them've
actually seen the Pin, you'd get a crowd
of full pockets.
BRENDAN
You think the Pin's just a tale to take
whatever heat?
THE BRAIN
(shrugs. Beat)
But what's first?
BRENDAN
A show of hands.
INT. BACKSTAGE OF THEATER
Brendan strides past forest scenery and drama geeks, through
another door and into sunlight.
EXT. BACK OF THEATER - DAY
Kara smokes a cigarette. Brendan leans beside her.
KARA
(annoyed)
Hey Brendan. Here for the show?
BRENDAN
No.
KARA
Would you go then, honey, cause I've got
this headache.
BRENDAN
Try smoking like a chimney, I've heard
that helps.
1
In an admittedly paltry concession to clarity, this was changed to `Dope runner' in post
production.
37
Brendan grabs the pack of cigarettes.
BRENDAN (cont'd)
Isn't this Dode's brand?
Kara snaps her head towards him, a flash of anger. She
catches herself and smiles cooly.
KARA
You don't know Dode's brand.
BRENDAN
Oh I do now.
Angry again, Kara snatches the pack from him.
BRENDAN (cont'd)
I'm going to start shaking things up.
Give me the story and you might miss the
bite.
KARA
The story about what?
BRENDAN
Alright.
He turns and walks away.
KARA
The story about what?
BRENDAN
I don't want to play games if you've got
a headache. Get me if you want to spill
it, but I can't guarantee safe passage
after tonight.
KARA
I don't know what-
At the stage door, not slowing.
BRENDAN
Tell the Pin that Brad was my calling
card, and I need words.
KARA
Brad Bramish?
Through the door and into the theater.
38
INT. BACKSTAGE OF THEATER - CONTINUOUS
He spins to see Kara's face just before the door closes.
She's worried.
EXT. CROWDED SCHOOL HALLWAY - DAY
The Brain walks out of a classroom and Brendan swings behind
him.
BRENDAN
(fast and low)
Tail Kara through lunch. She's got
rehearsal but she'll blow early. She
goes home, drop her, else wait for my
call.
The Brain turns and Brendan's gone.
EXT. PARKING LOT - LUNCH
Brendan wanders through the thick lunchtime crowd towards a
cluster of 3 or 4 flashy luxury cars set aside at the far
end of the lot.
Brad Bramish sits slouched in the front seat of his
convertible, front door open. A small crowd hangs about
Brad, his crony Biff at his elbow.
BRAD
That's all I'm saying, is put me in the
game and I'll do what needs to be done,
but they don't put me in, what needs
doing don't get done and don't come
crying to me, man. Get off my grill man,
you didn't put me in, don't come to me
if you didn't let me play.
BIFF
They didn't!
Brendan scans the rest of the cars. His eyes catch on Laura
Dannon sitting in another convertible, off to the side. Her
bright eyes cut through the crowd, straight into Brendan.
He wags his eyebrows at her. She looks away. Brendan walks
into Brad's direct line of view and obviously leans against
one of the cars.
BRAD
Hey! What are you doing here?
39
BRENDAN
Listening.
BRAD
Uh huh.
BRENDAN
Alright, you got me. I'm a scout for the
Gophers.
BRAD
(not amused)
Oh yeah?
BRENDAN
Of all things, yeah. Been watching your
game for a month, but that story just
now clenched it. You've got heart, kid.
How soon can you move to Minneapolis?
A few snickers around the crowd, but nowhere near Brad.
BRAD
(flat with anger)
Yeah?
BRENDAN
Cold winters, but they've got a great
public transit system.
BRAD
Yeah?
BRENDAN
Yeah.
BRAD
Oh yeah?
BRENDAN
There's a thesaurus in the library.
'Yeah's under 'Y'. Go ahead, I'll wait.
BRAD
Who invited you?
BRENDAN
To the parking lot? Well gee I kind of
invited myself.
BRAD
I think you'd better leave then.
40
BRENDAN
No, I'm having too good a time.
BRAD
Just the same.
Brendan smiles slightly, and very deliberately crosses his
legs. Brad's face tenses.
BRAD (cont'd)
Maybe you want to go someplace more
private.
BRENDAN
With you?
Brad says 'who else?' by lifting his arms.
BRENDAN (cont'd)
(as if he's been asked to the
movies)
Sure.
Brendan stands and walks off. Brad follows and the rest of
the crowd trails after him.
He leads them behind a parked VW van and turns to face Brad.
People gather around in a wide circle.
Brendan pulls his jacket off as Brad hangs back, mumbling.
BRAD
You know what's good for you you'll just
beat it. Beating a small frye won't win
me anything and it's not going to do you
any good-
Laura pulls up in her convertible, behind Brad, watching.
In the next moment Brendan cuts Brad off by putting his fist
in his face.
Brad grunts but doesn't lose ground. Brendan throws his
short stocky frame into Brad's larger one and tenderizes his
midsection with jabs.
Brad tags Brendan in the ribs, then smacks the palm of his
hand into Brendan's face, shoving him back onto the
pavement.
He comes at Brendan with his big fists clenched.
Brendan kicks Brad full force in the shins.
41
Brad tumbles, and Brendan comes up fast, connecting hard
with the point of Brad's chin. Brad gets his balance fast,
and before Brendan can throw another he throws one himself,
then another, both into Brendan's stomach. Brendan pulls
back and kicks Brad's shin where he had kicked it before.
Brad roars and hits Brendan very hard in the face.
Brendan bounces back like a rubber ball and throws his
weight into a square punch right into Brad's nose.
The sound of eggs breaking, and Brad falls backwards like a
board.
He stays down, holding his face.
Brendan staggers back, breathing hard, and looks up at the
small crowd. Some stare at Brendan, some at Brad, but nobody
seems about to do anything. Brendan runs his sleeve over his
face and walks unsteadily off, pushing past the last few
people rushing over.
STRAGGLER
Hey, is there a fight?
BRENDAN
Yeah.
He throws a last look at Laura, who meets his gaze and
drives off.
EXT. SCHOOL PARKING LOT SIDEWALK - CONTINUOUS
Brendan walks away from the lot, towards the school. Laura
pulls up beside him in her car.
LAURA
Hey.
Brendan ignores her and b-lines for the school. Laura brakes
hard, parking by the curb.
EXT. SCHOOL HALLWAY - CONTINUOUS
Brendan limps down the hallway. Laura appears behind him,
trotting to catch up.
LAURA
You're quite a pill.
BRENDAN
Uh huh.
42
LAURA
Where are you going?
BRENDAN
Home.
LAURA
Why did you take a powder the other
night?
BRENDAN
Same reason I'm taking one now.
LAURA
Hold it.
(he keeps walking)
I don't get you. That's a chilly heel to
be giving a girl who's where you want to
know about.
BRENDAN
I'll get where I'm going just fine.
LAURA
I want to help you.
BRENDAN
Go away.
Silence behind him. He stops, turns wearily. She looks
genuinely hurt.
BRENDAN (CONT'D) (cont'd)
Look, I can't trust you. You ought to be
smart enough to know that. I didn't
shake the party up to get your
attention, and I'm not heeling you to
hook you. Your connections could help
me, but the bad baggage they bring could
make it zero sum game or even hurt me,
so I'm better off coming at it clean.
LAURA
I wouldn't have to lead you in by the
hand-
BRENDAN
I can't trust you. Brad was a sap, you
weren't, you were with him and so you
were playing him, so you're a player.
With you behind me I'd have to tie one
eye up watching both your hands, and I
can't spare it.
43
LAURA
You're not Brad.
BRENDAN
No, I'm not.
He turns and walks away. She doesn't follow.
EXT. SCHOOL PAYPHONE - AFTERNOON
Brendan slumps against it, receiver to his ear, licking a
bruised lip. He wears dark glasses.
THE BRAIN
(on the phone)
You didn't call.
BRENDAN
Sorry. Kara went home though, didn't
she?
THE BRAIN
Yeah, but she stopped at a payphone and
made two calls that she didn't want on
her phone bill.
BRENDAN
Get the numbers?
THE BRAIN
No. Sorry.
BRENDAN
S'alright. Are me and Brad front page
news?
THE BRAIN
All the buzz. You really do that?
BRENDAN
Yeah.
THE BRAIN
Why? Is Brad the Pin?
BRENDAN
Brad's a sap. I downed him on his field
and his crew didn't bite. So now I know
he's a sap and anyone who acts like he
isn't is profiting by it. That's not why
I roughed him, though.
44
BRAIN
For kicks?
BRENDAN
Economics. Brad's the school's biggest
jake buyer, so if this Pin is behind all
the selling, I just got his attention.
Anyway, now's just shaking things out.
Look, you know a kid around the burgh,
lanky, short, shaved head, turns a black
tang?
THE BRAIN
I told you before I don't know the car.
Those types are a nickel a pound, but
nobody I know that you don't. And
Trueman again-
BRENDAN
Keep him off. And keep your specs on - I
need to find that kid.
THE BRAIN
Okay.
Brendan hangs up and turns sluggishly.
A lanky kid with a short shaved head and engineer boots
punches him in the face.
Brendan hits the pavement. The lanky kid is over him in a
split second, beating his face and body with short, heavy
blows.
Flashes of the lanky kid - a shiny scar shaped like a thin
triangle runs down the side of his face.
After a brief silent thrashing the kid walks off with
several other blurry figures. A car peels out and roars off
O.S.
Brendan lies still. The class bell rings, very distant. Legs
criss cross before his eyes, each blurring the world a bit
more until it is completely smeared.
FADE OUT.
FADE IN:
INT. OFFICE
Brendan sits with an ice pack against his head in a tiny
office. A man in his early thirties behind a wood colored
45
desk and name plate, "GARY TRUEMAN, ASSISTANT VICE
PRINCIPAL" plays with a pencil.
TRUEMAN
You didn't know this boy?
BRENDAN
No sir, never seen him.
TRUEMAN
And he just hit you?
BRENDAN
Like I said, he asked for my lunch money
first. Good thing I brown bagged it.
Trueman trains a good natured dubious eye on Brendan.
TRUEMAN
Alright Brendan. I've been looking to
talk to you.
Brendan doesn't react.
TRUEMAN (cont'd)
You've helped this office out before.
BRENDAN
No. I gave you Jerr to see him eaten,
not to see you fed.
TRUEMAN
Fine, and well put.
BRENDAN
Accelerated English, Mrs. Kasprzyk.
TRUEMAN
Tough teacher?
BRENDAN
Tough but fair.
TRUEMAN
Mm. Anyway then, we know you're clean,
and you've, despite your motives, you've
been an asset to us. I think you're a
good kid.
BRENDAN
Uh huh.
46
TRUEMAN
I want to run a couple names by you.
Brendan stands to go.
TRUEMAN (cont'd)
We're not done here.
BRENDAN
(angry)
I was done here three months ago. I told
you then I'd give you Jerr and that was
that, I'm not your inside line and I'm
not your boy.
TRUEMAN
That's not a very helpful-
BRENDAN
(anger builds)
You know what I'm in if the wrong yeg
saw me pulled in here?
TRUEMAN
What are you in?
BRENDAN
No. And no more of these informal chats
- if you've got a discipline issue with
me write me up or suspend me and I'll
see you at the parent conference.
TRUEMAN
Hold it, I could - hold it - could write
you up for talking back to a VP. For
looking at me in a threatening way. I'd
exercise a little more tact, Mr. Frye.
You can't pull a play like that unless I
need you for something. So do I?
BRENDAN
Maybe.
TRUEMAN
So maybe you're gonna need me too.
BRENDAN
Maybe. Alright, I need you off my back
completely for a few weeks. There might
be some heat soon.
47
TRUEMAN
(interested)
If it's something I can't cover, I won't
go to bat for you.
BRENDAN
If I get caught like that it's curtains
anyway - I couldn't have brass cutting
me favors in public. I'm just saying now
so you don't come kicking in my homeroom
door once trouble starts.
Trueman bites a thumbnail.
TRUEMAN
Okay, here's what I can do. I won't pin
you for anything you aren't caught at.
I'll ride it a little while, as long as
it doesn't get too rough. But if
anything comes up with your fingerprints
on it, I can't help you. Also, if I get
to the end of whatever this is and it
gets hot and you don't deliver, The Veep
will need someone to hand over, police-
wise. And I'll have you. There better be
some meat at the end of this like you
say, or at least a fall guy, or you're
it.
BRENDAN
Sure I am. Got one more favor to ask.
EXT. ADMINISTRATION BUILDING - AFTERNOON
Gary Trueman throws Brendan out.
TRUEMAN
Get the hell off my campus, punk!
Brendan glances around, and limps off.
EXT. CARROWS PARKING LOT - AFTERNOON
No stoners, no Dode. Brendan breathes uneasily.
EXT. PAYPHONE BY CARROWS - AFTERNOON
Brendan leans against it.
THE BRAIN
No, Dode's MIA all around.
48
BRENDAN
I'm 9 of 10 that Kara's got him, but who
knows where. I shook but she's not
spilling.
THE BRAIN
No more job offers? So she's got a play.
BRENDAN
And I know enough about Kara to let that
worry me. Alright, keep your specs on
for him. Any other news?
THE BRAIN
Some. Laura Dannon came to me looking
for you.
BRENDAN
(considers this)
She did, huh?
THE BRAIN
Fourth period, nearly shook me upside
down. Can't say I didn't enjoy it, but
why'd she come to me?
BRENDAN
She's tapping Kara, and Kara knows you
know me.
THE BRAIN
Yeah, well. She's some piece of work. If
I had known where you were I might have
told her.
BRENDAN
That's the spirit. Ask around for Dode,
tail Kara again at lunch. I got knives
in my eyes, I'm going home sick. I'll
call you tonight.
EXT. SIDEWALK - LATE AFTERNOON
Bordering a supermarket. Brendan trudges along. Suddenly he
stops. Parked in the supermarket parking lot is a black
mustang.
EXT. PARKING LOT - LATE AFTERNOON
The sun hangs low. Brendan approaches the car and walks
around it slowly. He peers inside. A tuft of paper pokes out
from under the seat. He pulls the door handle, locked.
49
Brendan picks up a broken chunk of concrete from the ground,
waddles over to the car and holds the chunk above his head,
ready to drop it through the window.
He stops. His eyes catch something in the distance.
The lanky shaved-head kid, whose name is Tugger. Coming
towards him fast.
Brendan stands there for a moment, then lets the chunk fall
to the ground. He casually leans against the car, removes
his glasses, puts them in a hard case and puts the hard case
in his pocket.
Tugger hits him like a train and throws him across the
pavement. Tug turns back to the car and takes out his keys.
Brendan gets up and comes towards Tug, his face stiff. Tug
turns and pops him once squarely in the mouth. Brendan falls
to his knees.
While Tug unlocks the door Brendan stands up woozily.
Grunting, Tug spins and grabs Brendan's jacket, pushing him
back while he slaps him hard in the face, back and forth,
three times. When Tug lets go Brendan drops like a stone,
catching himself on his hands and knees. The car door slams.
The mustang drives about a hundred yards out into the
parking lot, spins around and stops, facing Brendan. Its
motor purrs deeply. Brendan begins to limp towards it
doggedly, head up, eyes fixed.
A crackling roar and short squeal of tires spit the mustang
forward. It comes straight at Brendan, rumbling like a tank.
Brendan stops walking and stands very still, eyes steady.
The gap between him and the car closes in no time at all.
It speeds past him not six inches to his left, brushing the
edge of his jacket. Brakes squeal behind him. Brendan turns
and lopes towards the mustang, idling about fifty feet away.
He stops at the window. Tugger eyes him curiously, with
some respect.
BRENDAN
I want to see the Pin.
TUGGER
(nods slightly)
Yeah, I guess you do.
50
EXT. STREETS
Twisty and narrow. The black mustang flies through them at
impossible speeds, roaring past like a bullet.
DARKNESS
Loud engine noise, jostling, grunting. Then a metallic
jangle, some scraping, and a CLINK!
EXT. REAR OF FAST MOVING MUSTANG - LATE AFTERNOON
The trunk pops open, revealing Brendan holding a jack rod.
INT. MOVING MUSTANG - CONTINUOUS
Tug is putting a tape in the deck, eyes down. Behind him
the trunk pops open, then pulls down out of sight just as he
looks back up.
INT. TRUNK OF MOVING MUSTANG
Brendan holds the trunk about three inches open, just enough
to see which street signs pass by. Loud music plays from the
car -- "Sweet Baby James" by James Taylor.1
The car zooms on.
BRENDAN'S POV
Through the ajar trunk. The mustang slides to a stop beside
an elaborate wooden mailbox carved as an eagle's head.
Brendan closes the trunk.
EXT. FRONT OF HOUSE - LATE AFTERNOON
A small one story house, slightly run down. Tugger opens the
trunk and drags Brendan out, covering his eyes with a palm,
slams the trunk and goes inside.
When they are gone the broken trunk drifts open.
INT. BASEMENT HALLWAY
A very dim narrow hall with a steep stairway at one end,
dark doors down the length of it and a lit door at the other
end. Tugger drags Brendan down the stairway, drops him and
goes into the lit room.
1
Unfortunately Mr. Taylor flatly refused, which, given the context, was probably wise.
51
Brendan lifts his head painfully. Surrounding him in the
darkened doorways are dozens of boys, some dressed like
Tugger, others dressed in black.
Tug pokes his head out.
TUGGER
Alright.
Arms pop out of the darkness and drag Brendan towards the
lit room.
INT. KINGPIN'S DEN
A small room, amazingly messy. Clothes strewn about, groves
of empty bottles, precarious piles of books. The overall
impression though is not of jumbled chaos, but of a nest,
comfortably woven and very worn in.
A slim figure with wispy hair sits facing the wall at a
small desk, writing under a green bookkeeper's lamp.
Brendan is shoved into the center of the room. Tug and his
clones slump against the surrounding walls. Brendan watches
the thin figure's back. For a beat the only noise is the
scratching of the thin man's pencil. Then he sighs and
swivels around.
Mid to late twenties. Sallow features, tired eyes. His
clothes are so richly black it is difficult to make out
specific items -- he is just one inky black mass from the
neck down and eyebrows up.
BRENDAN
You the Pin?
PIN
Yeah.
(beat of silence)
So now I'm very very curious what you're
going to say next.
BRENDAN
Maybe I'll just sit and bleed at you.
The Pin shifts in his seat, bored.
PIN
Helled if you're gonna go breaking my
best clients' noses and expect me to
play sandbag. Anyway you've been
sniffing me out before then, sniffing
for me like a vampire bat for a horse
52
with a nick on its ear he can suck on.
They do that.
(Brendan blinks)
So now you got Tugger to bring you here,
which he never does, and you got me
listening, so I'm curious what you've
got to say that better be really, really
good.
BRENDAN
Call Ms. Dannon in from the hall first;
she oughta hear this.
PIN
(amused)
No dice, soldier. Would have been a neat
trick, though.
BRENDAN
(shrugs, then slowly)
I was going to make up some bit of
information or set up some phony deal,
anything so you'd let me walk. Then I
was going to go to the vice principal
and spill him the street address of the
biggest dope port in the burgh.
The Pin's eyes shoot to Tugger, who doesn't flinch.
TUGGER
He knows zippo.
BRENDAN
1250 Vista Blanca, the ink blotter at
the desk in the den in the basement of
the house with the tacky mailbox.
The world turns on its side as Tugger pushes Brendan's head
down into the carpet.
TUGGER
You gonna do what now?!
The Pin walks towards them. One of his shoes is twice the
size of the other.
PIN
No good, soldier.
The cronies around the room begin cackling. Tug's face is a
mask of rage. Brendan can't breath. His face swells.
53
PIN (cont'd)
Alright, let up.
But Tug doesn't let up. Brendan's world grows hazy, the
cackling laughter reverberates, then a clean voice pierces
the din.
LAURA
(OS)
Tug, stop.
Tug's face breaks for a moment, and he lets go. Brendan's
head lolls to the side. Laura stands in the dark doorway.
Brendan sees Tug's knuckles and a flash of white for a split
moment as Tug hits him in the face. The Pin's black body
spills out across the frame, leaving us in black.
FADE UP
SMALL DARK ROOM
Brendan wakes up curled on a mattress on the floor. A bare
light bulb hangs from the ceiling. Tugger sits five feet
away, watching him like a hungry dog. Brendan stares back at
him through thick, glazed eyes.
BRENDAN
Where are my glasses?
(Tugger grins)
Hell with ya then. Which wall's the door
in?
Tug points, amused. Brendan heaves himself up, and Tug
shoves him back down.
Brendan winks at him, stands and lurches towards the door
again.
Tugger grabs his shirt and slams him into the wall, but
freezes when he hears a door latch click. Sneering, he drops
Brendan back onto the mattress and sits against the opposite
wall.
Sounds of a door opening and closing come from the darkness.
Light footsteps clack on the cement floor. Suddenly Tug
vanishes -- the room's darkness just seems to swallow him.
The thin whispery voice of the Pin speaks softly.
PIN
Sorry about this kid, but what the hell
with what you said before.
54
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