A B C D E F G H I J K L M N O P Q R S T U V W X Y Z #

Rap Genius

"Collaborative Script"

BEANHEAD'S PART - 'A Meal for Many - Chapter 1.'

INT.KITCHEN.POV SHOT FROM THE INSIDE OF THE CUPBOARDS

[0 -3 mins]
We see Mickey reaching into the hole in the wall, cheap roll up ciggarete in his mouth. He is covered in plaster and what not, as he has broken into the wall to extract the guns. He is pulling out various items. He pulls out and hands back some pistols and grenades. He checks each one and throws them down behind him. He pulls out some wads of money and holds them up, inspecting them. Behind him we can see a dripping fluid.

Mickey reaches into the cupboard and pulls out a chrome desert eagle with fancy detailing. He wipes it off. Lovingly, caressing the detailing and placing it into a gun holder by the side of his belt. He stands up,bags the money and grenades.

We track him from the room as he carries the bags to the door. He drops one of the bags and pulls the gun. As he cocks it, the camera pans round and we are staring directly into the face of the victim, nailed or tied to the wall.
blows out a load of smoke, directly into the man's face.

'What the fuck is wrong with you man? Are you a fucking animal? Jesus Christ, that was disgusting.'


Mickey wipes down the front of his jacket, the blood staining his hands and starts dripping onto the floor.

The sit in the cafe, staring at the people opposite them. The small man smiles confidently as the camera pans up. It continues panning up as we see what we thought was a black wall is actually someones torso. The camera keeps panning and we see the face of the man. He is huge, looking directly into the eyes of the two men.

'First, we are gonna come in.'



and through the smoke,we hear and see the group 'Acapella Soul' siging.

Don't Quit Your Day-job

INT. NOT SO ABANDONED ABANDONED BUILDING - AFTERNOON
The camera focuses in on a tough looking group of British
thugs. They are all heavily armed and dressed in matching
cream colored suits. Two hold uzis, one has a revolver,
another has a sawed off shotgun and so on. Their leader
ORREN, is front and center, pumping his shotgun, his face
screwed up like an incensed pitbull.

ORREN
(Cockney)
Come out ere' you gobby wazzocks!

ORREN fires a burst through the door in front of him.

The camera follows the bullets through the door and shifts
to the other side of the door, revealing ACE and ANDY.

ACE is taking cover behind a pillar as the volley blows past
his face. ANDY is on the floor, nearly in the fetal
position. He has his index fingers pressed into his ears,
his eyes down and closed behind his reading glasses, back
pressed against the wall.

ACE is a veteran on the force, of about six or seven years,
coming in at just under thirty years old. He has short brown
hair, a perpetually amused grin on his face and a tall
athletic frame.

ANDY is new to the force, an excellent recruit having passed
all his tests with flying colors. He's average height, with
short black hair and a skinny build. This is the first time
he's ever been shot at.

ANDY
(Panicky)
They're...they're shooting at us.

ANDY has to shout over all the bullets flying through the
wall towards them.

ANDY
I think they're actually trying to
kill us.
ACE
Yeah, and you're making it real
easy for them.

ACE dodges under a bullet and makes his way over to ANDY,
pulling him to his feet and staring him right in the face.

The bullets stop for a second as the goons reload. After a
short pause, bullets start flying again.

ACE
You got a gun right?

ANDY draws his pistol and holds it up to ACE. ACE draws twin
combat pistols with extended clips.

ACE
You like movies Andy?
ANDY
(Confused beyond belief)
What?
ACE
Do you like movies kid?
ANDY
Sure I like movies.
ACE
Good, then this will make a lot
more sense.

ACE grabs ANDY by the jacket.

ACE
Welcome to the party pal!

ACE throws ANDY towards the door. ANDY stumbles through the
door shoulder first, and by the time he looks up, all the
goons are looking at him. The room is dead quiet.

ORREN
Well ain't that a clanger.

ORREN smiles viciously. All the goons raise their weapons
and pull the trigger.

CLICK. CLICK. CLICK.

Every single goon has run through another clip and needs to
reload.

ANDY raises his gun, arms shaking.

ANDY
Everyone freeze...

A torrent of shots ring out from behind the goons. The
bullets slam through the back of their skulls killing them
instantly, except for the bullet shot at ORREN. That
particular bullet tears through the back of his leg, causing
him to cry out in pain and drop to one knee.

ACE is standing in the back of the room, having come in the
other side, guns raised. He lowers them as ORREN tries to
run, but cannot and instead collapses on the floor.

ANDY is glaring at ACE, incredulous.

ANDY
What the hell was that? You shoved
me into a room full of armed
gunmen.

ACE waves this off as he makes his way towards ORREN,
kicking the shotgun away from him.

ACE
Relax, I counted the shots.
ANDY
(Confused)
You counted the shots?
ACE
Yeah. And I knew these guys had no
more than two or three bullets left
when I sent you through the door.

ANDY isn't comforted by this. In fact, the comment has quite
the opposite effect.

ANDY
Two or three?

ACE shrugs it off once again.

ACE
It worked didn't it?
ANDY
(Indignant)
Next time you're going to put me in
the line of fire like that can you
at least give me some kind of
warning.

ACE ignores this and turns his focus to ORREN, hoisting him
up by the back of his shirt and beginning to put handcuffs
on him. ORREN lets out a string of curses as ACE handles
him.

ACE
(to Andy)
You want to Miranda this guy?

ANDY'S frown fades and his ears prick up, excitedly.

ANDY
Really?
ACE
Sure. Then come meet me in the back
to look at the dead guy.
ANDY
There's a dead guy?

ACE nods, causing ANDY to frown again. The camera follows
ACE as he turns and walks away. ANDY can be heard reading
ORREN his rights as ACE walks back through the door he
entered through into a long hallway.

At the end of the hallway, SOME POOR BASTARD is sitting up
against the wall, dead, chest peppered with bullet holes.
Blood is seeping into his Hawaiian shirt through the holes.
His eyes stare blankly up at the ceiling.

As ACE makes his way towards SOME POOR BASTARD and crouches
down to examine his wounds and the bullet casings near him,
ANDY enters the hall and walks up next to ACE.

ANDY sees the body and his face screws up like he just ate a
handful of sour Skittles. ACE looks up at ANDY,
appropriately dour.

ACE
Where's the perp?
ANDY
Backup is here, I left him with
them.
ACE
(Sarcastic)
Backup, just in the nick of time.

ACE picks up one of the bullet casings and examines it
closely, standing up. He turns to ANDY, holding out the
bullet shell.

ACE
(Schwarzenegger)
Uzi. Nine millimeter.
ANDY
Two of the guys out there had uzis.
ACE
How much you want to bet its a
match?

ACE slides the shell into his pocket, turning and starting
to leave the building. ANDY tails him.

ANDY
Wait where are you going?
ACE
(Matter of factly)
I'm going to find out why they
killed this guy.

Cut to
INT. INTERROGATION - LATER
ACE and ANDY view ORREN through the two way mirror as he
sits unfazed in interrogation.

ACE
So you want to try the old good cop
bad cop?
ANDY
(Excitedly)
Sure. I'll be the bad cop.

ACE shoots ANDY a surprised look, crossing his arms, unsure
that ANDY can pull it off.
ACE
You want to be the bad cop?

Close up of ANDY'S beaming face.

ANDY
Trust me Ace, I got this.

Smash cut to

ACE and ANDY both sit in interrogation across from ORREN.

ACE is thumbing through ORREN'S file. ANDY is staring
straight at ORREN, head cocked at a forty-five degree angle,
stone face. ORREN doesn't seem particularly impressed.

ACE
Okay Orren Clarke, any chance you
want to tell us who paid you and
your gang to pump two full clips
into Wilson Meyers?

ACE looks up from the file into ORREN'S face. ORREN remains
unimpressed and intent not to say anything.

ACE
Listen Clarke, it doesn't look good
for you from where I'm sitting. You
might want to consider cooperation.

ORREN still won't budge. He turns to ANDY and motions
curiously.

ORREN
What's the deal with this one ere'?
ANDY
(Whisper)
Don't make me stab you in the
jugular.

ACE and ORREN struggle to hear ANDY.

ORREN
What you say there?
ANDY
(Shouting)
DON'T MAKE ME STAB YOU IN THE
JUGULAR!

ACE looks at ANDY like he's a complete idiot. ANDY'S gaze is
still set on ORREN. A wry smiles creeps into the corner of
ORREN'S mouth.

ANDY stands up emphatically and gets into ORREN'S face,
crouching down to yell at his level.

ANDY
You think that's funny? We'll see
how funny it is when you're locked
up in county. You know what they'll
do to...

CRACK!

ORREN head butts ANDY, causing ANDY to reel back and fall on
the ground, knocking over his chair. ANDY grabs his nose,
wailing in pain. ORREN'S smile is gone.

ACE looks first at ANDY on the ground, then at ORREN,
mirthless and out of patience.

ACE stands up and draws his gun, checking to make sure it's
loaded, then putting it in ORREN'S face.

ORREN
Hate to disappoint you there plod
but this ain't exactly the first
time someone's put a gun in my
face.
ACE
But I'll bet this will be the first
time they use it.

ORREN and ACE are locked in a stare off. ORREN doesn't
seemed fazed at all. ACE is impossible to read.

ORREN
Am I supposed to believe you're
really going to blow my head off
like this?
ACE
The only reason I didn't put that
first bullet through your head is
because I thought you might be
useful. Clearly I was wrong.
ORREN
You aren't going to do a thing.
ACE
I bet your friends would disagree.

By this time, ANDY is done wallowing in pain, and looks up
from the floor to see the situation. ANDY decides he should
play along.

ANDY
(Worried)
Jesus Ace not again. What did the
Chief say last time, if you're
going to shoot someone at least
take them out back first.

ACE looks over to ANDY, and for just a second it seems like
he smiles before his expression firms again. ORREN looks
over too. For the first time he seems a bit worried.

ANDY
I'll tell you one thing, I'm sick
of trying to get the blood off the
walls. You know how hard it is to
do that? No. You don't. Because all
you do is shoot people and then
storm out of here to watch Bad Boys
Two on Netflix again.
ORREN
Hold on now...
ANDY
This isn't Bad Boys Ace. Think of
the consequences for once. You
can't shoot all your problems!

ACE shoots a look over at ANDY, then back to ORREN,
contemplating his next move, gun steady in ORREN'S face.

ACE
That sounds like a challenge Andy.

The distinct sound of ACE'S gun being cocked can be heard.

ORREN
ALRIGHT, ALRIGHT!

ACE and ANDY go silent as they watch ORREN. He wipes a
solitary bead of sweat off of his brow

ORREN
I'll tell ya' what happened.

ACE lowers his gun and smiles, turning to ANDY who has made
his way to his feet, then back to ORREN.

ACE
Well let's hear it then.

THE NEW AGE'S PART
INT. A ROOF TOP
A group of people are gathered around. Matt, who was a genuinely good guy, looked at the people he thought were his friends, Christian and Anne. It turned out they were just schemers, con artists. He shook his head in utter disbelief. Right before him was the biggest criminal in the city, a man named Tom, someone he and his fellow officer, Denzel (who was also a mentor to him), had desperately tried tracking down. Tom had a partial smile on his face, he was a confident and cocky person. And why shouldn't he be? He had a lot of power for a criminal. It was all about connections.

TOM (to Anne and Christian)
Search him.

Matt didn't resist. How could he? There was no one here to help him. Christian searched him, while Anne pointed a gun at him, making sure there was no resistance. All Christian found was Matt's gun and his cell phone. Now there was no way he could get in contact with the department or Denzel. He feared for Natalie's, his fiancee, life. He also thought about his brother, Joe, who was a rookie cop as well as his fiancee, Scarlett.
The camera zooms in on Matt's face, full of confusion and disbelief, as he looks at Christian and Anne, and then at Tom.

Fade out to the title.

Fade in to a club one night. Denzel and Matt are going undercover, and just get out of their car after listening on radio to a World Series game occurring that same night.
They walk into the club, where a few Drake tracks are being played, and head over to the bar.
The club's owner, Robert, immediately notices them and walks over.

DENZEL
One of Tom's men made a hit again tonight. Is he here?

ROBERT
I honestly don't know.

MATT (a bit impatient)
Don't play this game. You know when exactly this dude is in your club because of that vibe.

ROBERT
If you think I'm covering up or somehow involved...

DENZEL
We know, we know. Just answer a simple question. Is he here?

ROBERT
He's usually in the back room.

MATT
He's in your club. It's your club. Why the hell don't you tell him to get out?

ROBERT (to Denzel)
I don't appreciate being talked to like this. Your friend here has to tone it down a bit.

DENZEL
He's asking the right questions.

ROBERT (not missing a beat)
Ah. Well, you and your confrontational friend get to go home early.

MATT
Why is that?

ROBERT
He's not here. Didn't show up today.

MATT
Yeah?

ROBERT
Look, I don't know what you're assuming, but I'm not a criminal. I'm just a club owner, and if you'll allow me, I'd like to head back to work.

Denzel turned to Matt, nodded, and headed out.

MATT
He's a bit sketchy.

DENZEL
Nah, he was just defensive, and he had a right to be.

MATT
My bad.

DENZEL
No need to say 'my bad', you were doing your job and he was doing his. Now let's go catch the game.

As soon as they got back in the car, Matt received a call from his brother, Joe.

MATT
Joe, what's up?

JOE
Another murder. You catch Tom over there? Cause Mike and I just got here in time.

MATT
Nah, we didn't. Listen, where are you guys?

JOE
We're on the corner of South Street.

MATT
Alright, hold up, we'll be there.

Matt put down the phone, expecting Denzel to start driving.

DENZEL
Who's 'we', my dude? I got a World Series game to catch.

MATT
True...

DENZEL (just joking and easing into a smile)
South Street, he said?

MATT
Yeah, another murder. Guessing it's one of Tom's guys again.

DENZEL
Let me get a few things straightened out first...

MATT (cutting him off)
Denzel, we have to head out now.

DENZEL
Hold up there, chief. Is the body still gonna be there in five minutes when we get there?

MATT
You never know in this town.

DENZEL
Come on, now. The body will still be there. Your brother and my son know what they're doing. They're big boys. See how your brother called you for help while my son just relaxed? You can't go through life constantly jumpy. Seriously, you gotta loosen up. And next of all, there's no conclusive evidence that it is Tom or his 'men'...

MATT (cutting him off again)
That's because they always screw with the evidence that will lead to their arrests. Plus, even if they are arrested, there's no real harm that can come to them. He has a lot of friends in high places and you know, Denzel, it's all about connections.

DENZEL
Am I allowed to speak now?

MATT
Sure.

DENZEL
No, am I allowed to speak now?

MATT (shaking his head, yet a bit confused)
Sure, man. Speak your mind.

DENZEL
Alright. Thank you. I will repeat. We have no conclusive evidence that Tom has caused any of this. Right now, it's pure and utter speculation and conspiracy theories, until we find conclusive evidence. I've been in this business longer than you have, at least a few years. I even have a son that's an officer. I'm comfortable with what I'm doing. If you're constantly jumpy, then where's the fun in what you're doing?

MATT
We've been partners in the force for a long time, but we handle things completely different, because we're two different people.

DENZEL
Come on, Matt, that's no excuse. Just relax. Don't kill yourself over everything.

MATT (shrugging the last comments off)
We really should be heading to South Street.

DENZEL (having a partial smile)
Look at me. Matt, look at me.

Matt turns and looks at him, clearly irritated.

DENZEL
Relax.

MATT
But...

DENZEL
Matt, relax.

MATT
Can we just...

DENZEL
Count to ten, and take a breather.

Matt does this.

DENZEL
Alright.

He starts driving to South Street.

A B C D E F G H I J K L M N O P Q R S T U V W X Y Z #
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