《CRASH》剧本（英文版）（Paul Haggis）

2006-11-02 10:19:19 来自: harvy

这个一个百分百的电影剧本，之所以贴出来其一是因为它所获得的诸多至高荣誉；其二是因为编剧Haggis的写作风格受话剧影响不浅；其三最重要的是剧本本身的质量很高，以及我对“剧迷十有八九也是影迷”的坚信。

CRASH

story by

Paul Haggis

screenplay by

Paul Haggis
&
Bobby Moresco

Directed by

Paul Haggis

Property of Bull's Eye Productions,
all rights reserved.

CRASH

OVER BLACK we hear the sound of a violent rear-end COLLISION,
brakes locking, metal crunching, tires skidding as a car
spins, horns blaring, gravel spitting. Then silence. We
start to glimpse faint, unfocused images of flashing lights.
Superimpose: Tomorrow.

GRAHAM (V.O.)
It's the sense of touch.

RIA (V.O.)
...What?

GRAHAM (V.O.)

Any real city, you walk, you're

bumped, brush past people. In LA,

no one touches you....

FADE UP to find:

1 INT. GRAHAM & RIA'S SEDAN - CLOSE ON GRAHAM -- NIGHT 1

GRAHAM sits in the passenger seat of a sedan that lies skewed
on the gravel shoulder, red lights playing on the passenger
side window. He's black, thirties, staring off, either dazed
or grappling with a very deep thought.

GRAHAM (continuing)

We're always behind metal and glass.

Think we miss that touch so much,

we crash into each other just to

feel something.

He looks to the driver, RIA, American-born Hispanic, thirties,
heart racing, breathing hard, but watching Graham with real
concern. A MOTORCYCLE COP appears at her open window.

MOTORCYCLE COP
You two all right?

RIA
I think he mighta hit his head.

GRAHAM
You don't think that's true?

MOTORCYCLE COP
Stay in your car.

The officer moves off.

(CONTINUED)

2.
1 CONTINUED: 1
RIA
Graham, we were rear-ended. We
spun around twice. Somewhere in
there one of us lost our frame of
reference. I'm gonna go look for
it.
She climbs out. Graham looks off through his side window.
The reflections from emergency lights and flares play on his
face; too many lights for a simple traffic accident.
2 EXT. FAIRFAX AVE. - CONTINUOUS 2
Ria walks toward the Volvo that just rear-ended them. Its
driver, KIM LEE, an agitated Korean woman, screams at the
motorcycle cop in Korean. Burning flares squeeze traffic
down to one lane, a cop herds the cars into line.
MOTORCYCLE COP
Calm down, ma'am!
I am calm!
KIM LEE
MOTORCYCLE COP
I need to see your registration and
insurance.
KIM LEE
Why? Not my fault!
She do this!
Her fault!
RIA
(approaching)
I do this?
MOTORCYCLE COP
Ma'am, wait in your vehicle.
KIM LEE
Stop in middle of street! Mexicans!
No know how to drive! She blake
too fast!
RIA
I "blake" too fast?? Oh, sorry,
you no see my "blake lights?"
Ma-am-MOTORCYCLE
COP
(CONTINUED)

3.
2 CONTINUED: 2

RIA

(to Kim Lee)
I blake when I see long line cars
stop in front of me. You see over
steering wheel, maybe you blake,
too.

MOTORCYCLE COP
(to Ria)
Ma'am--

KIM LEE
Crazy Mexican! I call immigration
on you! Look you do my car!

RIA

(to cop)
Can you just write in your report
how shocked I am to have been hit
by an Asian driver?

MOTORCYCLE COP
Ma'am--

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

MOTORCYCLE COP
Oh, Christ.

CLOSE ON GRAHAM

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

CRANE SHOT

Graham folds his collar against the cold and crosses the
dark street that cuts through this patch of oil fields in
the center of Inglewood. The argument rages in the
background:

KIM LEE
No care you cop, wanna see insurance!
Stupid wetback blake my car!

(etc.)

Graham steps toward a swarm of activity that has nothing to
do with the collision that just occurred -- three police
cars, a coroner's vehicle and crime scene tape tells us

(CONTINUED)

4.
2 CONTINUED: (2) 2

something nasty happened down in the long grass of the
irrigation ditch. He dips under the crime scene tape.

ANGLE ON DETECTIVE CARR

a bored-looking man lighting a cigarette and staring at the
ditch. Graham steps up and watches with him.

DETECTIVE CARR
You okay?

GRAHAM
Freezing.

DETECTIVE CARR
Heard it might snow.

GRAHAM
Get outta here.

DETECTIVE CARR
That's what I heard.

GRAHAM
You got a smoke?

DETECTIVE CARR
(blowing out smoke)
Quit.

GRAHAM
Me, too.

Carr hands Graham a cigarette. He can't help glancing at
Ria's escalating battle. He looks to Graham, the question
implied. Graham gives him a shrug: "don't go there." Carr
understands completely.

GRAHAM (CONT'D)
What have you got?

A tech passes, heading into the crime scene.

DETECTIVE CARR
You know, it's great to see a cop
who cares as much as you. Here you
should be going home, but you come
by just to see if I need coffee or
anything.

(CONTINUED)

5.
2 CONTINUED: (3) 2

GRAHAM
All this paperwork, you just coming
off that celebrity shooting, my
heart was going out to you.

DETECTIVE CARR
Cause I hate those kinda guys who
cruise up, try and snag someone
else's case.

GRAHAM
You and me both. It's all about
team work. I mean, I get a call
but my phone's out of range, you're
right there to jump in and take it
for me.

DETECTIVE CARR
(feigning innocence)
You got the call?

GRAHAM
Just heard the message.

DETECTIVE CARR
Can you actually catch a call if
you don't actually answer the phone?
I'm just curious.

GRAHAM
That would be a question for people
much further up the ladder than you
or me. So, what do you have here?

DETECTIVE CARR
Dead kid. Guess it's yours, if you
want it.

GRAHAM
(hopeful)
White kid?

DETECTIVE CARR
I should really let you gather your
own facts.

The game is up.

GRAHAM
Uh-huh. Nah, you keep it, you're
doing good.

Graham notices something odd and walks down into the gully.

(CONTINUED)

6.
2 CONTINUED: (4) 2
DETECTIVE CARR
You touch anything and it's yours.
He kneels to inspect a piece of evidence hidden in the tall
weeds. A feeling starts to creep over him. Not a good
feeling. As he looks up we FADE TO BLACK. Super: TODAY.
FADE UP:
3 INT. R&J GUNS - CLOSE ON A HANDGUN -- DAY 3
The handgun slides onto the counter.
DIRK, the impatient salesman.
The hand belongs to
DIRK (O.S.)
You get one free box of ammunition,
what kind you want?
Widen to see we're -4
INT. R & J GUNS -- DAY 4
FARHAD, Iranian, 50s, looks at the handgun and turns to his
daughter DORRI, 25, who wears a blue suit and a bad mood.
FARHAD
(in Farsi)
What did he say "ammunition"?
DORRI
(in Farsi)
He asked what kind of bullets you
want.
FARHAD
(in Farsi)
The kind that fit in the gun!
DORRI
(in Farsi)
There's more than one type.
FARHAD
(in Farsi)
How do I know? I don't know anything
about bullets.
DORRI
(in Farsi)
Which is a really good reason not
to be buying a gun.

(CONTINUED)

7.
4 CONTINUED: 4

FARHAD

(in Farsi)
You don't use that tone of voice
with me.

DIRK
Yo, Osama, plan the Jihad on your
own time; what do you want?

FARHAD
(in Farsi)
What is he saying about Jihad?
(to Dirk, in English:)
Are you making insults at me?

DIRK
Am I making insults at you?? That's
the closest you get to English?

FARHAD
I am American citizen--!

DIRK
(here it comes)
--Oh, God.

FARHAD
--I have rights like you! I have
right to buy gun!

Dirk pulls the gun back to his side of the counter.

DIRK
Not from my store, you don't.

Dirk nods toward the Security Guard, who heads this way.
Dorri sees him coming.

DORRI
Go wait in the car, Dad.

FARHAD
(to Dirk)
You are ignorant man!

DIRK
Yeah, I'm ignorant; you're liberating
my country and I'm flying 747s into
your mud huts and incinerating your
friends. Get the fuck out of my
store.

(CONTINUED)

8.
4 CONTINUED: (2) 4

SEC. GUARD
(taking his arm)
Let's go.
FARHAD
You don't touch!
cheats me!
This man
DORRI

(to Farhad)
Do you want to get arrested? Go
wait in the car, Dad!

Farhad storms out, the security guard following. Dorri looks
the salesman dead in the eye:

DORRI (CONT'D)
You can give me the gun or give me
the money back, and I'm really hoping
for the money.

Dirk looks Dorri up and down, gives her a lecherous smile
and slides the gun back across the counter.

DIRK
And what kind of ammunition do you
want?

DORRI
Whatever fits.

DIRK
Oh, we got a lot of things that
fit. We got long colts, short colts,
ball heads, flat-nose, hollow points,
wad cutters and a dozen more that
all fit in the same size hole, just
depends how big a "bang" you can
handle.

DORRI
(pointing)
I'll take the ones in the red box.

DIRK
(looks; looks back)
...Do you know what those are?

DORRI
Can I have them?

He takes the box with a snort and places it on the counter
with the gun. Dorri snatches them up and exits.

9.
5 EXT. WESTWOOD -- NIGHT 5

A couple opens the door and enters a moderately priced Italian
restaurant; call the guy ALLAN, call his date angry.

ALLAN

No, please tell me: what "sin" did

I commit this time?

And we lose them as ANTHONY flies out the door, PETER just
one step behind him. They're in their early twenties, young,
hip, well-dressed black men, friends since third grade.
They button their jackets as they head down the sidewalk.

ANTHONY

You see any white people in there

waiting an hour and thirty two

minutes for a plate of spaghetti?

Huh? And how many cups of coffee

did we get?

PETER

You don't drink coffee and I didn't

want any.

ANTHONY

That woman poured cup after cup to

every white person around us. Did

she even ask you if you wanted any?

PETER

We didn't get any coffee that you

didn't want and I didn't order, and

this is evidence of racial

discrimination? Did you happen to

notice our waitress was black?

ANTHONY

And black women don't think in

stereotypes? When's the last time

you met one who didn't think she

knew everything about your lazy ass

before you even opened your mouth?

That waitress sized us up in two

seconds. We're black and "black

people don't tip" so she wasn't

gonna waste her time; someone like

that, nothing you can do to change

their mind.

PETER
So how much you leave her?

(CONTINUED)

10.
5 CONTINUED: 5
The angry girl runs past them.
ANTHONY
You expect me to pay for that kinda
service??
Peter laughs; Anthony doesn't.
date.
Allan runs by chasing his
ANTHONY (CONT'D)
...What? What?
ALLAN
Hey, come on! I'm sorry.
PETER
Nothing, nothing.
The camera whips around with Allan. We lose him as he cuts
across the street, and find RICK & JEAN CABOT, white, early
40s, step out of the Blockbuster and head for their car.
Jean pulls her jacket closed as they walk.
RICK
You're seriously jealous of Karen??
*
*
JEAN
Hardly. I'd just like to see you
get through a meal without calling
her, or someone else at your office.
*
*
*
*
RICK
(re: cell phone)
See this? Off. No more calls
tonight.
*
*
*
*
Jean notices Anthony and Peter and takes Rick's arm.
JEAN
Ten bucks says she calls you in the
car.
*
*
BACK WITH ANTHONY AND PETER
ANTHONY
You see what that woman just did?
PETER
She's cold, man.
ANTHONY
She got colder soon as she saw us.
PETER
--Here it comes.
(CONTINUED)

11.
5 CONTINUED: (2) 5

ANTHONY

Look around! You couldn't find a

whiter, safer or better lit part of

this city. But this white woman

sees two black guys, who look like

UCLA students, strolling down the

sidewalk and her reaction is blind

fear. I mean, look at us! Are we

dressed like gangbangers? Do we

look threatening? No. Fact, if

anybody should be scared, it's us:

the only two black faces surrounded

by a sea of over-caffeinated white

people, patrolled by the trigger-

happy LAPD. So, why aren't we

scared?

PETER
Because we have guns?

ANTHONY
You could be right.

Both men reach into their clothing and come out with Saturday-
night specials. They rush toward Rick's black Navigator.

PETER JEAN
Away from the car! Oh my God! Oh my God!
Away from the car! Rick!

ANTHONY RICK
Gimme the keys! Gimme Don't shoot, just don't
the keys! Shut up and shoot.
give me the keys!

PETER

Walk away! Walk away! Turn around

and walk!

6 INT. BLACK NAVIGATOR 6

Anthony hops into the driver's seat, screaming for Peter:

ANTHONY
Get in! Get in!

PETER
Unlock the door!

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

2006-11-02 10:19:59 harvy

12.
7 EXT. WESTWOOD BLVD. -- CONTINUOUS 7
...and he aims his gun at Rick and Jean's back.
Stop!!
ANTHONY
They freeze. Anthony runs up, grabs the DVD.
8 INT. BLACK NAVIGATOR -- CONTINUOUS 8
Anthony drops into the seat and tosses the DVD at Peter.
PETER
(reading label)
Haven't seen it.
Anthony shifts into first and screams out of there. Peter
digs into his pocket and pulls out a plastic St. Christopher
statuette. He licks the suction cup and sticks it on the
dashboard.
ANTHONY
No! No! Take that voodoo-ass thing
off there right now! Look at the
marks it makes!
PETER
You're calling St. Christopher
voodoo? Man's the patron saint of
travelers.
ANTHONY
God talk to you, did he? What did
he say? "Go forth my son and leave
big, slobbery suction rings on every
dashboard you find??" Why the hell
do you do that?
PETER
Look at the way you drive, then ask
me again!
9 EXT. 2ND STREET TUNNEL -- NIGHT 9
A squad car wipes, revealing a sea of flashing red lights.
A Mercedes sits in middle of it all, doors open, body on the
ground beside it. Uniformed cops stand around pretending
they are actually doing something. One of them leads us to:

(CONTINUED)

13.
9 CONTINUED: 9

GRAHAM AND RIA

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

OFFICER JOHNSON

Ford pickup and Mercedes driving

North on Hill. The pickup cuts in

front. Driver of the Mercedes gets

pissed, pulls a gun -- he doesn't

realize the guy in the pickup is a

cop coming off shift.

GRAHAM
That the cop?

He nods toward a tall man, long stringy hair, sipping a coffee
and leaning against a squad car, chatting with two uniforms.

OFFICER JOHNSON

Yeah. Name is Conklin. He's a

Narc out of Wilshire. You want to

talk to him?

GRAHAM
Not yet.

OFFICER JOHNSON

Mercedes takes a shot at him.

Detective Conklin returns fire, one

shot. Mercedes hits the wall,

driver opens the door and falls out

dead.

RIA
I got the Mercedes.

Ria splits off toward the Mercedes.

GRAHAM

(re: Conklin)

Looks pretty relaxed for having

shot a man.

Coming up on Conklin's Ford pickup:

OFFICER JOHNSON

He says he kept trying to drive

away but the Mercedes kept pulling

up next to him, screaming, waving

the gun. Shot back in self-defense.

(CONTINUED)

14.
9 CONTINUED: (2) 9
Graham stoops to see a bullet hole in the driver's door.
GRAHAM
Anyone see who shot first?
OFFICER JOHNSON
They just heard two bangs.
GRAHAM
Find me a witness.
Graham splits off and arrives at the Mercedes, where Ria
examines the body of the dead black driver, a bullet wound
in his head. A pearl handled revolver lies on the floor.
Nice gun.
GRAHAM (CONT'D)
RIA
One bullet fired. The car is
registered to Cindy Bradley. That's
not his name. His name is William
Lewis.
(hands him a wallet)
It was under the front seat.
Graham opens the wallet, revealing a Detective's Badge.
RIA (CONT'D)
(looking at dead cop's
business card)
Hollywood Division.
Graham lets out a low whistle, then throws a look to Conklin.
GRAHAM
Looks like Detective Conklin shot
himself the wrong nigga.
As Graham stands we cut to:
10 INT. CARNEY'S - STUDIO CITY -- NIGHT 10
Crowded with patrons who order hot drinks. We SLIDE PAST
two Korean businessmen. CHOI JIN GUIH, late 40's, dressed
well, sits across the table from the younger looking PARK.
Park rips a check out of his checkbook, hands it to Choi.
PARK
How soon can I have them?
Choi folds the check and stuffs it in his wallet.
(CONTINUED)

15.
10 CONTINUED: 10
CHOI
Tonight. I'm picking them up right
now. Good doing business with you.
Choi shakes Park's hand and heads out the back door.
RYAN (O.S.)
I keep telling you he's in pain.
He can't sleep.
Choi passes OFFICER RYAN on the pay phone by the door.
white, in uniform, and angry.
He's
SHANIQUA (O.S.)
(over phone)
And I told you the clinic is only
open after hours for emergencies-RYAN
--This is an emergency-11
INT. HMO ADMINISTRATIVE OFFICES -- NIGHT 11
SHANIQUA, a very tired black administrator is on the other
end of the line.
SHANIQUA
--Mr. Ryan, your father has been to
the clinic three times in the last
month. He's being treated for a
urinary tract infection that is by
no means an emergency. If you have
any more questions about your HMO
plan, you can make an appointment
to come in from ten to four, Monday
through Friday.
RYAN
What does my father do about sleeping
tonight?
SHANIQUA
I don't know. I'm not a doctor.
12 BACK TO RYAN AT CARNEY'S: 12
RYAN
I want to speak to your supervisor.
SHANIQUA
I am my supervisor.
(CONTINUED)

16.
12 CONTINUED: 12
RYAN
What's your name?
SHANIQUA
Shaniqua Johnson.
RYAN
Big fucking surprise that is.
Ryan hears the click and hangs up, exits... *
13 EXT. CARNEY'S -- NIGHT 13
...approaches his partner TOM HANSEN, who stirs his coffee. *
RYAN
Call any big company with a problem;
why is the person you have to deal
with guaranteed to be black and
stupid? Why? Because corporations
are smart. They actually seek out
the stupidest fucking black people
they can find. They want us to get
so frustrated that we'll go away
and they won't have to spend their
fucking money.
(walking off)
Genius.
Hansen stirs some more. As RYAN exits to the parking lot a
white panel van stops at the sidewalk, CHOI driving.
*
*
14 INT. SQUAD CAR -- MOMENTS LATER 14
As Ryan and Hansen climb in they hear:
DISPATCHER'S VOICE
Black late model Navigator,
California plate: 4PCI315.
15 THEIR POV 15
A black Navigator passes, a 40ish black man at the wheel.
DISPATCHER'S VOICE
Suspects are two black males,
approximately 20 years of age, armed
and dangerous.
16 RYAN 16
Pulls out to follow.
(CONTINUED)

17.
16 CONTINUED: 16

HANSEN
It's not it.

(no response)

It's not the vehicle. The plates

don't match, the driver's in his

forties, and nobody jacks a car and

takes it to Studio City.

Ryan hits the flashers.

17 THEIR POV - NAVIGATOR ON RESIDENTIAL STREET AHEAD: 17

A woman pops up in the passenger seat. She may have been
napping in the driver's lap, or she may have been doing
something else. She throws a look back at the cop car.
Caught in the headlights her face looks chalk white.

18 RYAN 18

Sees her face and bumps the siren.

RYAN
They were doing something.

19 EXT. RESIDENTIAL STREET - STUDIO CITY -- NIGHT 19

The Navigator pulls to a stop under a street lamp, the squad
car pulls up behind. Ryan steps out. Hansen clearly doesn't
like this; nonetheless, he steps out and assumes the backup
position. Ryan approaches the window, unsnapping his holster.

RYAN

Keep your hands in plain sight. I

need to see your license and

registration.

Behind the wheel, CAMERON THAYER, 40ish, black, tucks his
shirt back into his tuxedo pants and digs out his wallet.

CAMERON
No problem.

Ryan looks to the passenger reapplying her lipstick: CHRISTINE
THAYER, strikingly beautiful, light-skinned black woman in a
cocktail dress. She may have had a bit too much to drink.

RYAN
Evening.

CHRISTINE
(suppressing a smile)
How are you tonight, officer?

(CONTINUED)

18.
19 CONTINUED: 19

CAMERON
I need to reach into the glove
compartment to get the registration.

RYAN
Do it slowly, please.

Ryan lays his hand on his Glock as Cameron reaches over to
get his papers. Ryan's flashlight beam glides from the glove
compartment to Christine's breasts, then up to her face.

CAMERON
Here you go.

He slowly hands the documents to Ryan.

RYAN
Stay in the vehicle, please.

He walks back to the squad car and hands the license and
registration to Hansen and returns to the Navigator.

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

CAMERON
I haven't been drinking.

RYAN
Then we shouldn't have a problem.

CHRISTINE
He doesn't drink. He's a Buddhist
for Christ's sake.

CAMERON
It's okay, Christine.

BACK IN THE SQUAD CAR - HANSEN

runs the license, keeping his eye on Cameron as he steps
around to the sidewalk.

RYAN

(to Cameron)
Stand on your right foot and touch
your nose with the index finger of
your left hand.

As Cameron does...

(CONTINUED)

19.
19 CONTINUED: (2) 19

CHRISTINE

steps out of the car.

CHRISTINE
I told you he doesn't drink.

RYAN
Ma'am, I'm only going to tell you
one time to wait in the vehicle.

CHRISTINE
"Ma'am??"

CAMERON
Get in the car, Christine.

CHRISTINE
Don't you "Ma'am" me, I'm not your
fucking mammy.

Ryan motions for his partner to join him as...

RYAN
Both of you, turn around, hands on
your head, interlock your fingers.

CAMERON
Officer, we're a block from home --

RYAN
Don't talk to me, put your hands on
your head and interlock your fingers.

HANSEN CAMERON
(approaching) I'm a television director,
What have we got? my wife and I just came
back from an awards dinner--

Ryan grabs Cameron's wrist and slams him up against the
truck...

RYAN
What did I just tell you?

...and kicks his feet out. Cam puts his hands on his head.

CHRISTINE
Get your hands off him!

(CONTINUED)

20.
19 CONTINUED: (3) 19

RYAN
(to Hansen)
Pat him down.
(to Christine)
Put your hands on your head, ma'am.

Hansen reluctantly pats Cameron down.

CAMERON
Do what he says.

CHRISTINE
(to Cameron)
Fuck you!

(to Ryan)
And you keep your filthy fuckin'
hands off me!

Ryan takes her wrist and twists her into the car face first,
kicking her feet out from under her.

CHRISTINE (CONT'D)
Ow! You fucking pig!

CAMERON
Christine, stop talking.

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

CHRISTINE
Fuck you. That's why you're doing
this, isn't it? You thought you
saw a white woman blowing a black
man and that just drove your little
cracker ass crazy!

CAMERON
Christine, shut your goddamn mouth!

RYAN
I'd listen to your husband, Ma'am.

Ryan runs his hands up the sides of her torso...

RYAN (CONT'D)
Do you have any guns or knives on
you, anything I'm going to get stuck
with?

(CONTINUED)

21.
19 CONTINUED: (4) 19

CHRISTINE
I'm wearing a cocktail dress, what
do you think?
RYAN
You'd be surprised the places I've
found weapons.
He slides his hands over the sides of her breasts.
pretends not to see, as he quickly frisks Cameron.
turns her head so she catches her husband's eyes.
Hansen
Christine
Clean.
HANSEN
But Ryan is nowhere near finished.
RYAN
(to Cameron)
So, what do you think we should do
about this, Mr. Thayer?

Ryan squats and runs his hands down to her ankles...

回应删除举报广告
2006-11-02 10:20:45 harvy

RYAN (CONT'D)
My partner and I just witnessed
your wife performing fellatio on
you while you were operating a motor
vehicle.

Now his hands start up the inside of her calves.

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

Hansen looks away, knowing this is bullshit.

RYAN (CONT'D)
...which is a felony.

RYAN (CONT'D)
Then we could charge your wife here
with lewd conduct and performing a
sexual act in public.

His hands reach up her thighs into her dress and linger there.
Christine looks away from her husband, her rage replaced by
humiliation.

RYAN (CONT'D)
Now, you say you're a block from
home.

(MORE)

(CONTINUED)

22.
19 CONTINUED: (5) 19

RYAN (CONT'D)
We can use our discretion, let you
go with a warning. Or we can cuff
you and put you in the back of the
car.

Ryan removes his hands.

RYAN (CONT'D)
What do you think we should do?

CAMERON
We're...sorry. We'd appreciate it
if you'd...just give us a warning.

RYAN

(to Hansen)
Man's apologizing, Tommy. I think
we can let them go, don't you?

HANSEN
Yeah.

Ryan looks into Christine's face, daring her to say anything.
She doesn't.

RYAN
Fine. You can go.

CAMERON
...Thank you.

RYAN
No problem.
(walking away)
You folks drive safe now.

Christine climbs into the passenger seat as Cameron circles
the vehicle.

IN THE NAVIGATOR

Cameron gets in the driver's seat, sees Christine is shaking.
Puts his hand on hers. She pulls it away. Cameron starts
the car and drives off.

HANSEN

watches them go. A decision made, he drops into his seat
and closes the car door.

23.
20 INT. CORNER MARKET -- NIGHT 20

SHEREEN, Farhad's wife, repeatedly slams the back door.
Unlike her daughter, she wears traditional dress.

SHEREEN
It won't close.

FARHAD stands with Dorri as she loads the gun from the ammo
box.

FARHAD
Pull it hard.

She keeps trying as....

FARHAD (CONT'D)
(to Dorri)
I can do that!

She snaps the cylinder in place.

DORRI
You couldn't even get it open.

FARHAD

(in Farsi)
You have no respect for your father
anymore? Give me the gun.

DORRI
There. Now you can shoot anybody
you want.

She hands him the gun and ammo. He turns on his heel and
exits. Dorri follows him into THE FRONT OF THE STORE. Farhad
pops open a hidden drawer under the cash register and places
the gun and ammo in it.

FARHAD
That man could have killed your
mother. You think I should let
crazy people do what they want to
us?

Shereen comes out from the back room.

SHEREEN
Farhad, it won't close.

Farhad disappears into the back room.

(CONTINUED)

24.
20 CONTINUED: 20
SHEREEN (CONT'D)
(to Dorri)
You should be at work.
Dorri turns and exits.
21 EXT. DARK STREET CORNER -- NIGHT 21
The stolen black Navigator screams around the corner into a
barren strip of Los Angles, hip-hop blaring from its
speakers.
ANTHONY (V.O.)
No, you want to listen to music of
the Oppressor, you go right ahead.
22 IN THE NAVIGATOR 22
PETER
How in the lunacy of your mind is
Hip-Hop "music of the Oppressor??"
ANTHONY
Listen to it! Nigga-this, nigga
that; you think white people walk
around calling each other honkies??
"Hey, Honky, how's business?" "Goin'
great, Cracker, we're diversifying."
Peter punches the radio, a country western singer wails.
PETER
This better? You like this? Man's
singing about lynchin' a nigga.
ANTHONY
And you think there's a difference?
PETER
(singing)
"Gonna buy me a rope, and lynch me
a niggaaaaaaa..."
ANTHONY
You got no idea where Hip-Hop comes
from, do you?
ANTHONY'S POV -- THE ROAD AHEAD
Almost deserted; they fly past small factories and businesses
closed for the night. Only one vehicle in sight, a panel
van parked way up ahead on this side of the street.
(CONTINUED)

25.
22 CONTINUED: 22
ANTHONY (O.S.) (CONT'D)
Back in the sixties we
had smart, articulate
black men. Huey Newton,
Bobby Seale, Eldridge
Cleaver, Fred Hampton;
these brothers were
speaking out and people
were listening.
PETER (O.S.)
(wailing and twanging)
"I'd shoot him dead first,
but I done broke my
triggaaaaaaaaaa......
Gonna get out my sheet,
put my hood on my heaaaad...
A Korean man steps out from in front of the van, stops at
the driver's door, searching his pockets.
BACK IN THE NAVIGATOR
ANTHONY
The FBI said: "Oh, we
can't have that."
"I know! Let's give
the niggers this music
by a bunch of mumbling
idiots-PETER
"Gonna string him up good,
and then he'll be deaaaad."
Anthony takes his eyes off the road.
ANTHONY
--and they'll all copy
it and sooner or later
no one will be able to
understand a fuckin'
word they say! End of
problem!"
PETER
(chorus:)
"In the home of the brave
and the land of the freeeee.
Gonna have black boys
swinging, from each old
oak treeeeee."
BAM! They hit something. Both heads snap front, see
nothing. They spin around to look behind them: nothing there
either.
23 EXTREMELY CLOSE ON THE DOOR OF THE PANEL VAN 23
A set of keys sway back and forth in the lock.
24 BACK IN THE SPEEDING NAVIGATOR 24
Anthony looks to Peter.
ANTHONY
What the fuck was that?
As Anthony stomps on the brakes...

26.
25 EXT. EMPTY STREET -- CONTINUOUS 25

The Navigator skids to a stop and they hop out. Peter looks
under the fender and comes flying back up.

PETER
Holy shit, we run over a Chinaman!

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

PETER
What do you not understand? There's
a Chinaman stuck under the goddamn
truck!

Anthony bends down, looks right into the bleeding face of
the Korean man. Anthony pops up like he's just been shot.

ANTHONY
Where the hell did he come from?!

PETER
Fuckin' China! What do you mean
where'd he come from?!

ANTHONY
He was standing in the street?

PETER
No, I think he comes with the truck,
Anthony! It's an option now, for
people who don't want to go through
all the trouble of running over
their own fucking Buddhahead!

ANTHONY
What the hell he do, leap out in
front of the truck?

PETER
I don't know, maybe the FBI planted
him under there to make car-jacking
black people look bad in the eyes
of the larger community. You got a
theory about that, too?

ANTHONY
This is so completely fucked.

(CONTINUED)

27.
25 CONTINUED: 25

CHOI (O.S.)
Help me.

ANTHONY
Shut up! I'm trying to think!

(paces)
Fuck-fuck-fuck! Okay, come on, get
back in the truck.

PETER
What? You think we didn't drag him
far enough?!

ANTHONY
We'll drive away, he'll let go.

PETER
He's not gonna let go! He's stuck
under the fucking truck! If he
coulda let go, he probably would
have considered that option half a
block back! Just grab his arm,
we'll pull him outta there.

ANTHONY
You grab his arm it's gonna fall
off! You're gonna be standing in
the street holding a Chinaman's
arm. Then what you gonna do?

PETER
We leave him there, the man dies,
and we're up on murder charges,
Einstein. Now grab his goddamn
arm!

Anthony relents. They reach under and as Choi screams...

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