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TRANSCRIPT:
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TEASER
 
INT. DAVID's HOUSE - DAY
 
David McNorris is asleep on the couch in his office, still dressed in yesterday's suit.  We hear a cell phone RINGING.  Looking possibly hungover, he gropes for the phone on the coffee table and answers.
 
DAVID
What?  I don't watch TV.  All right, what channel?  Yeah.  (to self)  God.
 
He grabs the remote and clicks on a button.  His eyes can barely open.
 
 
CLOSE UP of TV, showing a blond, female, 30-something NEWS REPORTER.
 
NEWS REPORTER
... Public Profile.  A disturbing video has emerged showing what many believe to be a recurring pattern of intimidation and brutality within the ranks of the police.
 
We see silent footage of JOEL shoving and getting physical with a camera man in a warehouse, and McNorris's reaction to the video, as the News Reporter narrates.
 
NEWS REPORTER (V.O.)
This explosive footage, which shows robbert/homicide detective Joel Stevens physically assaulting a documentary filmmaker is already setting off a storm of criticism among civil rights activists.  The police department and district attrorney's office have yet to comment on this highly contraversial video.
 
The television coverage switches back to a head shot of the News Reporter.
 
NEWS REPORTER
Stay tuned for further coverage of this alarming story as it develops. 
 
MAIN TITLES
 
FADE IN
 
INTERTITLE: RAY
 
EXT. CITY PARK - DAY
 
TERESA and another paramedic crouch by the body of a homeless man found on a cement landing near the edge of a duck pond.  RAY and TOM have just arrived at the crime scene.
 
We hear garbled speech from the police radio.  RAY and TOM approach TERESA.
 
TERESA
He was already gone when we got here.  Whoever swung that brick had to smash him pretty hard to crack his skull.  Can you pull prints from a brick?
 
RAY
From some of them, but that one looks too porous.
 
TOM
Teresa, anybody approach you guys, say they saw anything?
 
TERESA
No, but there was a news crew here.
 
TOM
News crew?
 
TERESA
Free lance E.N.G.s
 
PARAMEDIC
Guys, there's a letter.
 
RAY
May I?
 
Ray reaches for the letter, but the paramedic draws it back.
 
PARAMEDIC
Gloves.
 
RAY
Teresa?
 
Teresa holds the letter for Ray.
 
RAY
"Dear Bradley, I thought you might like your old jacket again. I just had it cleaned.  It's new again, just like you.  I am so proud of you, I knew you could do it.  Now go live your dream. All my love, Mom." 
 
The paramedic shows Ray another sheet of crumpled paper.  Ray reads from it.
 
RAY (cont'd, to Tom)
Ann Dawson, Simi Valley.
(beat)
I don't think it's the dream she had in mind.
 
CUT TO:
 
INT. POLICE STATION - DAY
 
Tom and Ray stand by the coffee machine.  Tom sips from a styrofoam cup.
 
ANN DAWSOn
I wrote it six months ago.  I got his jacket cleaned.  For when he got out of rehab.  And I wrote him the note.  I was proud of him.  So proud.  But I wasn't paying enough attention.
 
SCOTT DAWSON
Oh, God.  Ann, it isn't our fault.
 
ANN
I didn't say it was our fault.  I said it was my fault.
 
Scott makes eye contact with Joel.
 
SCOTT
This was his fourth rehab.  His fourth.  And every time was the last.  This is it, I got it licked.  Every time after about a month, ... gone.  (beat) Where's the body?
 
FEARLESS
His body's down at the morgue.  You can make the ID by photograph if you'd like to do that.
 
SCOTT
Okay.
 
Fearless lays out photographs in front of Scott.  Ann is crying.  Scott starts crying too.
 
SCOTT
Oh, God.
 
FEARLESS
Is that your son, sir?
 
SCOTT
No.
 
ANN
That's not Bradley.
 
RAY
It ain't the kid?
 
TOM
No.
 
CUT TO:
 
INT. POLICE STATION - LATER
 
Fearless shows an 8x10 photograph of a young man to Ray and Tom.
 
FEARLESS
This is Bradley Dawson.
 
RAY
Good lookin' kid.
 
FEARLESS
Yeah, maybe not.  He's been livin' on the street for the last five years.  I ened you guys to find him.  He may know something about the John Doe who was wearing his jacket.
 
TOM
Any idea where we might find him?
 
FEARLESS
Try around MacArthur Park.
 
Fearless heads off.
 
TOM
You got that?
 
RAY
To the park we go.
 
EXT. MacARTHUR PARK - DAY
 
Guys play dominoes at a built in table as Ray and Tom cruise the park in their vehicle.
 
A homeless man drags a cart of junk out of the way of the police car.
 
INT. POLICECAR - CONTINUOUS
 
RAY
Look at these people.  Ever ask yourself how a guy could come to a place like this in his life.
 
TOM
Probably by bus.
 
RAY
Must you always be so cynical.
 
TOM
Yeah, pretty much.
 
A homeless man crosses in front of the car before it passes.  Ray hails him.
 
RAY
Hey, buddy!
 
The man turns.
 
HOMELESS MAN
What?
 
Ray shows him a photograph.
 
RAY
Seen this guy?
 
HOMELESS MAN
No.  But, hey, I got a full bladded, want me to piss on your car?
 
RAY
Only if you've been drinkin' ArmorAll.
 
TOM
Yeah, we're good, thanks.
 
RAY
That guy looks like Jonesy.  Remember Jonesy?  Guy who used to paint those words down on the river?  You know his story, or is that before your time?
 
TOM
Vaguely.
 
RAY
Eh, Jonesy was an artist, and he was a drinker.  One night, he needed it so bad, he left the kids in their beds, went out to the local watering hole. 
 
Tom is watching the homeless man they just psoke to as he strolls across the park.
 
RAY (cont'd)
Fire started in the wall, burned the house down, and all the four kids in it.  I don't know how a guy comes back from a thing  like that. 
 
Tom seems to see something in the distance.
 
RAY (cont'd)
So, Joney's way was just to stay two fingers below the label at all times.
 
TOM
What do we got over here?
 
The homeless guy passes by some cement benches, waking a guy in a red jacket.
 
RAY
Is that our guy?
 
TOM
He fits the profile.
 
The guy in the red jacket starts to limp away.
 
The police car wails its siren once.  Tom speaks into the loudspeaker.
 
TOM
Bradley Dawson. 
 
RAY
Hit him again.
 
TOM
Bradley Dawson.
 
The man continues to limp away.
 
RAY
There he goes.
 
The police siren wails again.
 
TOM
Pull in front.  I'll jump out and get him.
 
RAY
No way  This guy's not Carl Lewis.
 
The car pulls up by Bradley and he turns away, toward the center of the park.
 
RAY
No, no, Bradley.  Don't go over there.  Then we gotta drive on the grass.  It's bad for the sod, bad for the ducks.  That's it.  Please let us know when you get tired.
 
The car pulls up beside Bradley again, and he is clearly in pain, GROANING.  Then he collapses.
 
RAY
All right now.
 
Ray and Tom stop.  Tom gets out.
 
RAY (cont'd)
Not working out, huh?
 
BRADLEY
I used to be a long-distance runner.  I did a 3:07 marathon.  That's like running seven--seven miles.
 
RAY
Bradley, just turn over.
 
TOM
We just want to ask you a few questions.
 
RAY
Hands our to your sides.  That's it.
 
They cuff him.
 
FADE OUT
 
INTERTITLE:  JOEL
 
FADE IN:
 
INT POLICE INTERROGATION ROOM - DAY
 
Bradley is seated at the table, hands in fists, shaking.  He has all the signs of delirium tremens.  Joel and Fearless are interrogating him.
 
BRADLEY
You think you could get me, just, like a little bit of something?  This is gonna get a lot worse?
 
FEARLESS
You see anything at the park this morning, Bradley?  Anyone having a fight?  Anyone getting robbed?
 
BRADLEY
In the park this morning?  I don't know.
 
JOEL
You weren't awake?
 
BRADLEY
No, I don't know.
 
JOEL
Bradley, you don't know whether you were awake or not?
 
BRADLEY
No.
 
FEARLESS
Were you blacked out this morning?
 
BRADLEY
No, I'm tryin' to tell you that, I don't know.  Listen to me, I'm like powerless to alcohol, it's like a friggin' disease.
 
JOEL
Do you have any idea why you're here, Bradley?
 
BRADLEY
Drunk in public.
 
JOEL
No, you're here because a dead John Doe was found in the park this morning with his head caved in.
 
BRADLEY
Oh, man.
 
JOEL
You know what he was wearing? 
 
FEARLESS
Your jacket.  Imagine that.
 
BRADLEY
My jacket?  How'd he get my jacket?
 
FEARLESS
That's what we're trying to figure out.
 
CUT TO:
 
INT. POLICE STATION BY JOEL'S DESK - DAY
 
Joel and Fearless are talking to Teresa.
 
FEARLESS
So, these guys with the camera, they say why they were there?
 
TERESA
They said they pulled up when the saw the ambulance, but that didn't really make much sense.
 
FEARLESS
Why not?
 
TERESA
Well, I'm pretty sure the car they left in was already there when Randy and I pulled up.
 
FEARLESS
You remember the car?
 
TERESA
It was a big SUV.  Black.  And I even got the plates.
 
JOEL
You got the plates?
 
TERESA
Yeah.  It was one of those vanity plates.  BRAWLER.  B-R-A-W-L-E-R
 
Fearless and Joel chuckle.
 
TERESA
What?
 
JOEL
Nobody ever remembers license plates.
 
TERESA
It was parked in the blue zone.  And I always check to see if cars in the handicapped zone have their tags.  And this one didn't.  I guess the name just stuck.
 
FEARLESS
Well, if you ever get tired of driving that big red truck, come be a cop.
 
CUT TO:
 
INT. PETER CORMAN'S APARTMENT - DAY
 
Fearless and Joel are at the door to BRAWLER's apartment.  Corman opens the door.
Fearless shows him his badge.
 
FEARLESS
L.A.P.D.  Detective Smith, Detective Stevens.  We're looking for Peter Corman.
 
CORMAN
I'm Peter Corman.  What can I do for you?
 
FEARLESS
Can we come in?
 
CORMAN
Oh, sure.  What is it?
 
FEARLESS
Were you in MacArthur Park this morning?
 
CORMAN
Uh, why?
 
JOEL
Just answer the question, please.
 
CORMAN
I'm sorry, this is weird.  Um, Gordan, the police are here.
 
We see a roommate in an office in the corner of the apartment.
 
CORMAN (cont'd)
This is about the dead homeless guy, isn't it?
 
CUT TO:
 
INT. CORMAN'S APARTMENT - LATER
 
FEARLESS
Paramedics said you guys were E.N.G.s?
 
CORMAN
E.N.G.s?
 
JOEL
Electronic News Gatherers.  Freelance ghouls who show up at crime scenes, shoot footage of dead bodies.  Sell it to TV stations.
 
CORMAN
Uh, no.  We're not that.
 
PARTNER (GORDON)
We're filmmakers. 
 
CORMAN
We're making a documentary about homeless in L.A.
 
GORDON
No narration, the people speak for themselves.  It's like Frederick Wiseman, only hipper.  Not propaganda.
 
FEARLESS
One of the paramedics said she thought you were there before they arrived.
 
CORMAN
Yeah, we were there all night.
 
FEARLESS
You see something?
 
CORMAN
Yeah, more than something.
 
FEARLESS
So you got something to show us.
 
CORMAN
And I know we should have stuck around, and given a statement, but we were so freaked out.  We didn't know what to do.
 
GORDON
We didn't know what we had in the camera til we got back here.
 
JOEL
Let's see it. 
 
CORMAN
I have to warn you.  It's pretty harsh.
 
As Fearless and Joel move to see the computer screen, we hear groans and punches and breaking glass.
 
CUT TO:
 
INT. POLICE STATION - DAY
 
Fearless and Joel talk to the Dawsons again.
 
ANN DAWSON
How's Bradley?
 
FEARLESS
He was a little disoriented at first, but he's okay.
 
ANN DAWSON
Can I talk to him?
 
FEARLESS
In a little while.
 
Joel serves them coffe.
 
SCOTT DAWSON
Did he know anything about the man who was killed?
 
Joel and Fearless are silent for a beat.
 
FEARLESS
Mr. and Mrs. Dawson, I'm sorry to say your son was more than a witness.  Seems he was the perpetrator.
 
SCOTT
Perpetrator? 
 
ANN
What do you mean?
 
SCOTT
You're saying he murdered this other man?
 
ANN
No.
 
JOEL
We wish it wasn't the case.
 
ANN
You're mistaken.  It's impossible.  You don't know Bradley.
 
FEARLESS
Ma'am, we have a videotape of your son killing the other man.
 
Fearless lays a video cassette on the desk.
 
FADE OUT:
 
ACT II
 
FADE IN:
 
INT. POLICE STATION - CONTINUOUS
 
ANN
He begged us, Scott.  Begged us to go back into rehab.
 
SCOTT
How do you know this time would be any different from all the others?
 
ANN
At least he wouldn't be out in the street doing--.  A man is dead because we let go of our son.  Isn't that what you say in your support groups and your meetings?
 
SCOTT
Well, why don't you come with me and find out?
 
ANN
I have to go outside.  Will we be able to talk to Bradley?
 
FEARLESS
We'll see what we can do, ma'am.
 
Scott looks disgusted and walks away.
 
FEARLESS (to Joel)
You okay, partner
 
JOEL
Yeah.  I just don't understand how you can let someone go.
 
SCOTT
What did you just say?
 
JOEL
Sir, I was just thinking out loud.
 
SCOTT
You think I'm a monster, don't you?  You think I don't care about my son.
 
JOEL
No, I don't sir.  I don't think you're a monster.  I mean, I'm sure you care very much about your son.
 
SCOTT
Are you married, Detective?
 
JOEL
Yes, I am..
 
SCOTT
You have any children?
 
FEARLESS
Mr. Dawson--
 
SCOTT
I'm talking to your partner now, okay?
 
JOEL
It's all right, Fearless.  It's okay.  Mr. Dawson, if I said anything--
 
SCOTT
Do you have any children?
 
JOEL
A boy.
 
SCOTT
Hmm. How old?
 
JOEL
Eight.
 
SCOTT
That's a magic age.  You can play catch, but you can still chase him and tickle him.  You ever just watch him? Without him knowing? Just watch him. The back of his head.  His hair.  You look at that, and you just can't believe it, beacuse you never thought you could love anybody so much, or be so loved.
 
JOEL
Yes, sir.
 
SCOTT
Okay. Now jump forward twenty years, and that same little perfect boy is a hopeless drunk.  You have tried everything you can think of to help him, and nothing works, and every time the phone rings, you think, "Well, this is it, he's dead."  And then one day, the call does come, and you look at a jacket, and you think, "My boy died in that jacket."  Can you imagine how that feels, Detective.
 
JOEL
No, sir, I can't.
 
SCOTT
Well, try.  You go home tonight to your wife and your little boy and you try to imagine exactly that.
 
Mr. Dawson heads off.  Joel is left standing at his desk, shamed.
 
FLASHBACK TO:
 
INT. JOEL'S HOUSE - NIGHT
 
Joel is coming home late.  The house is dark.
 
JOEL
I'm home. 
 
He shuts the door, and drops his keys on the side table.
 
JOEL (cont'd)
I'm home. Kel?
 
There is no response.  The house is silent.  Joel stands there in the entryway for a moment. We hear WATER RUNNING in the bathroom.
 
He proceeds down the hallway to a closed door.
 
He opens the door, silently, with a surprised, pained expression on his face from what he sees there.
 
He raises his hand to his face.
 
CUT TO:
 
INT. POLICE STATION - DAY
 
Joel is sitting at his desk, hand to his forehead, with a pained expression.
 
CUT TO:
 
INT. POLICE INTERROGATION ROOM - DAY
 
CLOSE UP on TV:  We see the footage of Bradley screaming and then smashing another man over the head with a brick at the crime scene, and hitting him in the head a second time, as he lays prone on the cement.
 
We CUT TO Bradley, Fearless and Joel as they watch the footage.
 
BRADLEY   
Turn it off.
 
FEARLESS
What, you don't want to watch it?  See, I can understand that, because I don't want to watch it either, but sometimes, we got to watch things, man.
 
JOEL
You remembering things better now, Bradley?
 
FEARLESS
All that program talk about the disease, my blackouts, I'm saving my little pennies to get into rehab.
 
JOEL
You weren't blacked out, Bradley, were you?
 
BRADLEY
I just wanted to get my jacket back.
 
FEARLESS
That guy stole your jacket?
 
BRADLEY
What?  Frank?  No, he had it, but he didn't take it.
 
JOEL
That was his name, Frank?
 
BRADLEY
Frank... Baker, I think.
 
FEARLESS
So he had your jacket, but he didn't steal it?
 
BRADLEY
No. They gave it to him.
 
JOEL
Who gave it to him, Bradley?
 
BRADLEY
The guys.
 
JOEL
What guys?
 
BRADLEY
The guys.  They took my jacket.  I mean, They took it while I was sleeping, I guess.  I usually wear it so no one takes it, but I guess I wasn't wearing it then, and they gave it to Frank, so they could see me fight him for it.  And I did.  But, um, I couldn't do it,  not with these hands.
 
JOEL
So, you picked up a brick?
 
BRADLEY
No.
 
JOEL
And you bashed Frank's head in?
 
BRADLEY
I mean, yeah, but--
 
JOEL
(shouts)
But what?!
 
BRADLEY
But, I-- I didn't pick up the brick.  I mean, they gave it to me.  It wasn't like I was looking for a brick.
 
JOEL
Who gave you the brick, Bradley?
 
BRADLEY
The guys, they said they would give me two bottles if I could get it back.  And then they handed me this brick, and I said, "well, I could really hurt Frankie with that brick," and they said, "Don't worry about it, we'll give you another bottle."  So I took it, I took the brick.
 
FEARLESS
These guys, these guys you keep talking about, these guys, who are they?
 
BRADLEY
The guys who make the videos.
 
FEARLESS
What videos?  What videos, man?
 
CUT TO:
 
INT. POLICE BRIEFING ROOM - DAY
 
We start with a CLOSE-UP of TV MONITOR showing a brawl video, with Bradley fighting another man near some abandoned warehouse
 
TOM (V.O.)
These videos started in Vegas last year.  Popped up in San Diego.
 
We PAN to Tom speaking to the gathered squad.
 
TOM (cont'd)
And a few months ago, they popped up here in L.A.  And it's not just bums fighting, get them to do anything, from jumping off billboards, drinking urine, whatever suits your viewing pleasure.
 
JOEL
Besides your partner, who buys this crap?
 
INTERCUT with CLOSE-UP scenes of the fight on the MONITOR. 
 
TOM
A lot of people, Joel.  Mostly on-line.  But the L.A. one, it's only been out a month, sold over 100,000 copies.
 
FEARLESS
100,000?  I never knew this stuff existed.
 
TOM
There he is.  Bradley Dawson, apparently use him a lot.  Somewhat of a star, in fact, he even made the cover.
 
FEARLESS
Let me see that.
 
Tom hands Fearless the cover for the video.
 
FEARLESS
"Produced by Peter Corman and Gordon Sinclair"
 
CUT TO:
 
INT. PETER CORMAN'S APARTMENT - DAY
 
We see Joel and Fearless confronting Peter and Gordon through their camera lens.
 
JOEL
You lied to us.  
 
GORDON
Well, no, actually we didn't.  See, Monsters Brawl is a documentary.
 
JOEL
It's a documentary, but you left out a few important details.  We want to know why, excuse me.
 
Joel pushes away the camera.
 
PETER
Because people get on their high horse.  Like you, right now.
 
FEARLESS
What high horse?  A man was murdered, we're just doin' our job.
 
PETER
So are we.
 
JOEL
Will you stop that please?
 
PETER
He doesn't have to.
 
FEARLESS
You film desperate destitute men fighting, you don't see the problem with that?
 
PETER
Oh, I get it, these bums are children who have to be protected from themselves, is that it?  Maybe you buy all this "Alcoholism is a disease" crap?  Not my fault, your honor, I didn't mean to wipe out that family with my car, but you see, I'm a drunk.
 
JOEL
Yeah, what about you? You wipe out Bradley Dawson and his family.  What's your excuse.  Hey, I'm asking you politely to get that camera out of my damn face.
 
GORDON
And I'm ignoring you.
 
FEARLESS
Hey, Look, filming people who fight may be legal, but giving a man some booze to hit another man in the head with a brick, that's against the law.
 
PETER
Who did that?
 
FEARLESS
You, according to Bradley.
 
PETER
Bradley?  Well, of course, he's gonna say that.  He'll do anything to shift responsibility.
 
JOEL
We're inclined to believe him.
 
PETER
Oh, come on.  Let's imagine what a judge and jury would think, okay?  On the one hand, you have an aspiring filmmaker and a Stanford law grad.  On the other hand, you've got a self-admitted alcoholic with a strong motivation to avoid responsibility for murder. Talk to your lawyer, you see, you have no case.
 
FEARLESS
No, how about you talk to our lawyer.  Let's go.
 
CUT TO:
 
INTERTITLE:  DAVID McNORRIS
 
INT. POLICE INTERROGATION ROOM - DAY
 
David McNorris enters.  Corman is seated in the room, staring blankly.
 
DAVID
Hey, there.  I'm Deputy District Attorney David McNorris.
 
CORMAN
(bored)
Hello.
 
David takes some paperwork out of his briefcase.
 
CORMAN
How long are we gonna play the silence until I talk game?
 
DAVID
Game?  Oh, no, this is not a game.  We both know you're more than a passive observer in the death of Frank Baker.
 
CORMAN
I'm a documentarian.  Being a passive observer is my job.
 
DAVID
Hmm, here we go.  Peter Corman, graduated middle of the pack at Stanford Law.  passed the bar on his second try.  Ooh.  Congratulations.
 
CORMAN
Well, not all of us can be order of the Coif like you.
 
DAVID
I didn't realize you were so sensitive about that.  Says here that you gave Bradley Dawson cash and alcohol to fight.  What was he, kinda like some personal gladiator?  What does it feel like now having the death of a man on your hands?
 
CORMAN
If as a charitable gesture I gave him a sandwich on occassion, it doesn't mean I aided and abetted a homicide.  We both read 'People v. Beeman,' Mr. McNorris.
 
DAVID
Which is why you're sitting here.
 
CORMAN
Where's the specific intent?  You can't prove I did anything to encourage Bradley to kill Frank, what's his name, Baker?
 
DAVID
Frank Baker.  You should try to remember that, since your actions brought about his death.
 
CORMAN
Okay, a couple things.  First of all, my actions didn't do anything.  And second, a dead wino is your sympathetic client.  Good luck at trial, Mr. McNorris.  Frank Baker was no more than a gin-soaked wretch.  he was a walking genetic flaw.  The world won't miss him.  i can't imagine a jury will either.
 
DAVID
You know what I'm gonna really enjoy?  Cross-examining you.  Mmm. (grunts)
 
CORMAN    
Counselor, if you had anything on me, we wouldn't be talking right now, would we?
 
David gets up to leave.
 
DAVID
Enjoy the coffee.
 
CORMAN
I will.
 
David exits.
 
CUT TO:
 
INT. POLICE STATION HALLWAY - CONTINUOUS
 
David meets Fearless and Joel outside.
 
DAVID
We're screwed.
 
JOEL
Why is that?
 
DAVID
They've protected themselves on every angle.  We have nothing to charge them with.
 
JOEL
They staged a murder.
 
DAVID
No, they filmed a murder.  That's a huge legal difference.
 
FEARLESS
So, you're saying, they walk.
 
DAVID
Into the sunset.  Told you guys, this was gonna be an uphill battle.
 
JOEL
You didn't try hard enough.
 
DAVID
Oh, I did, I tried hard--
 
JOEL
You did not try hard enough.
 
DAVID
I tried as hard as I could--
 
JOEL (yelling)
You did NOT try hard enough!
 
DAVID
within California law, Detective Stevens, if that's not good enough for you, I suggest you run for Governor.
 
JOEL
They're guilty.
 
DAVID
They're guilty.  How do you know that?
 
JOEL
We have a witness.
 
DAVID
Your only witness, as young Peter says, is a self-admitted alcoholic with a motive to lie.
 
JOEL
They gave him a brick, they gave him a payoff.  They're guilty.
 
DAVID
Why are they guilty?  Because they're white and rich?  Because one kid went to Stanford, the other wants to be Spielberg?  If that were the criteria, half of this town would be in jail. Good night, gentlemen.
 
He exits.
 
EXT. POLICE STATION - DAY
 
David is walking and talking to a GUY.  They part ways as he approaches ANDREA.
 
DAVID
That's great.  All right, Jay, I'll give you a call Thursday?
(to Andrea)
Should have expected to see you here?
 
ANDREA
Sorry?
 
DAVID
Well, the whole Monster's Brawl story.  Murder, mayhem, prearranged appeal.  Your kinda stuff, isn't it?
 
ANDREA
Yes it is, but I'm not covering it.
 
DAVID
Why not?
 
ANDREA
I'm just not.  It lost it's appeal.  I'm gonna bring another writer up to speed.
Excuse me, I gotta go.
 
David smiles as she leaves.
 
CUT TO:
 
INT. DAVID'S HOME - EARLIER
 
David just received the phone call from the opening scene, and flips on the TV.
 
NEWS REPORTER
A disturbing video has emerged showing what many believe to be a recurring pattern of intimidation and brutality within the ranks of the police.
 
We see silent footage of JOEL shoving and getting physical with a camera man in a warehouse, and McNorris's reaction to the video, as the News Reporter narrates.
 
NEWS REPORTER (V.O.)
This explosive footage, which shows robbert/homicide detective Joel Stevens physically assaulting a documentary filmmaker...
 
CUT TO:
 
INTERTITLE: JOEL
 
INT. HALLWAY - EARLIER
 
McNorris is walking down the hallway with Joel.  The scene and dialog repeats.
 
DAVID
I tried as hard as I could--
 
JOEL (yelling)
You did NOT try hard enough!
 
DAVID
within California law, Detective Stevens, if that's not good enough for you, I suggest you run for Governor.
 
CUT TO:
 
INT. CORMAN'S APARTMENT - DAY
 
We see the scene of Joel and Fearless confronting Peter and Gordon from Gordon's camcorder.
 
JOEL
I'm asking you to stop.
 
GORDON
Hey, as long as I'm not touching you, it's okay, right, Peter?
 
JOEL
I'm trying to have a conversation with your friend here, and you're making it very difficult.
 
GORDON
Look at the veins on your forehead. It looks like a map of the Alps.
 
JOEL
Look, listen to me, I don't care what you said or didn't say to Bradley.
 
PETER
I said nothing.
 
JOEL
I just think his parents have a right to know the truth.  Just talk to them.
 
PETER
Why would I do that?
 
JOEL
Peter, do you have parents?
 
PETER
Well, that's what they're called.
 
JOEL
Don't let Bradley's mother and father hang in limbo.  (to Gordon) Hey, back off!
 
GORDON
Oh, did you hear his voice crack?
 
JOEL
I'm warning you kid.
 
GORDON
Looks like we touched on a raw nerve here folks.
 
JOEL (shouts)
Hey, Back off!
 
GORDON
I'm sorry--
 
Joel pushes Gordon back
 
JOEL
Take your camera outta my face.
 
GORDON
Hey, come on--
 
Joel pushes him again.
 
JOEL
Take the camera outta my face.
 
GORDON
Easy, man.  Hey, come on.  Take it easy.
 
Joel shoves him to the ground.
 
JOEL
Get the camera outta my face, before I kick the snot out of you.
 
Joel walks a few steps away and starts to cool down.
 
PETER
You all right, Gordon?
 
GORDON
My legs are numb.  Dude, I really think you hurt my back.
 
JOEL
Look, I'm sorry.  All right?  I'm sorry.
(to Peter)
Think about what I said, Peter. Don't let Coppola junior here take you down with him.  You wanna make a deal, we'll make a deal.
 
FADE OUT
 
ACT III
 
FADE IN
 
INT. POLICE ROOM - DAY
 
Tom is watching the Monster's Brawl video closely, as Ray paces the room.
 
CLOSE-UP of Bradley beating on a man on the video.
 
RAY
Usually our Detective Stevens lets us search the dumpsters, so this is a nice change of pace, watching TV.
 
CLOSE-UP of Bradley and the man, still brawling.
 
RAY (cont'd)
You remind me of that guy in Blow up.  Searching the photos, looking for a killer.
 
Tom looks at Ray.
 
RAY (cont'd)
Blow Up.  Oh, it's a great movie.  Made back in the sixties.  It's about this photographer who thinks he's captured a murderer on film, only he can't prove it.  Made by some Italian French guy or whatever. 
 
Another CLOSE-UP of Bradley still brawling.
 
RAY (cont'd)
Cherie made me watch it.  She says I need cultural development.  Course, I made her watch the chariot race in Ben Hur like a dozen times.
 
Ray steps in between Tom and the TV.
 
TOM
Hey!
 
Tom pushes Ray out of the way gently.
 
RAY
You know, they rehearsed that sequence for over a year.  Stunt man died during the course of the filming.  Most people think it's when Messala goes under the wheels, but it's not.  It's when the swing the wide--
 
TOM
Ray, don't make me kill you, all right?
 
CLOSE-UP of Bradley on the video again
 
TOM (cont'd)
Hold up.
 
Tom freezes the video.
 
TOM (cont'd)
How'd they get that shot?
 
RAY
Well, I'm no Vilmos Siegmond, but I think they used a camera.
 
TOM
They use this view when they're talking to people.  It's liek those little lipstick cameras they put on skateboarders at the X-games.
 
RAY
You watch the X-games?
 
Tom starts the video again.  We hear a ROAR from the video.
 
RAY (cont'd)
You know, any guy the age of Tony Hawk makes a living from skateboarding that oughtta be a crime. 
 
As Ray talks, we see INTERCUT with the video and TOM studying it silently.
 
RAY (cont'd)
In fact, all skateboarding oughta be a crime.  Especially with one of those weasels with more piercings than a voodoo doll trying to do that grind thing on my split rail fence at three AM in the morning.  You want coffee?
 
TOM
Son of a bitch.
 
RAY
What?
 
Tom pops out the tape and heads out the door.
 
RAY (cont'd)
Detective Tom?  You found something?
 
INT. POLICE STATION HALLWAY - CONTINUOUS
 
Ray and Tom head down the hallway.  Ray looks through the window into the interrogation room as he passes.  We linger on the window.  Inside, we see David McNorris talking. 
 
The camera moves through the window of the interrogation room.
 
INT. POLICE STATION INTERROGATION ROOM - CONTINUOUS
 
David is talking to Joel inside.
 
DAVID
That's department disciplinary procedure.  The District Attorney's office serves the people of Los Angeles. 
 
JOEL
So you're gonna prosecute?
 
DAVID
Yeah.  We are.  And do you know why?
 
JOEL
Yeah, because you're a politically motivated back-stabbing son-of-a-bitch?
 
DAVID
That may be true, but the District Attorney's office is going to prosecute you, Detective Stevens, because after rampart and Rodney King and Englewood, this city is fed up with cops acting like thugs.  That's what the D.A.'s office is going to do.  Now I'm going to tell you what I'm going to do.  I'm going to help you beat these charges.  You know how?  You gotta get these sons of bitches before they get you.  Get 'em for soliciting murder and whatever they have against you will vanish like the morning fog. 
 
JOEL
You said we didn't have a case.
 
DAVID
Prove me wrong.
 
JOEL
I gotta go.
 
DAVID
Get 'em fast Joel.  Because after these police brutality cases start rolling they take on a life of their own.  My office can only mislay the paperwork for so long.  Yeah, you may go.
 
Joel exits into
 
INT.  POLICE STATION HALLWAY - CONTINUOUS
 
Ray, Tom and Fearless are speaking in the hallway.
 
RAY
Reason I'm interested is , if they have other footage on the camera.
 
FEARLESS
How'd they do it?
 
Fearless sees Joel step out of the room.
 
FEARLESS (cont'd)
How'd that go?
 
JOEL
He told me to take down Peter and Gordon and the charges against me will disappear.  I swear as long as I live I'll never understand McNorris.
 
FEARLESS
Did you tell him what's going on?
 
JOEL
No, not on your life.
 
FEARLESS
Good, because you're playing a dangerous game, partner.  Because if Peter or Gordon stumble upon what you left at their place of business.
 
JOEL
They won't.
 
FEARLESS
You sure about that?
 
JOEL
No.
 
FEARLESS
You're risking your entire career to catch two fools.
 
JOEL
Well, you didn't hear what Gordon said.  I know he's got something.  We just gotta figure out what it is.
 
FEARLESS
Well, as it happens, there's been a development.  I know for sure that Gordon's got something.
 
JOEL
What is it?
 
FEARLESS
Tom!
 
CUT TO:
 
INTERTITLE: PETER
 
INT. PETER'S APARTMENT - DAY
 
We hear a KNOCK on the door.  Peter answers.
 
Fearless and a large crew of police and reporters are camped outside.  Fearless and the police enter, apparently executing a search warrant.
 
PETER
What are you doing?  You better have a warrant.
 
FEARLESS
I got your warrant right here.
 
RAY
That's it there, boys.  Everything goes.
 
Peter notices Fearless at the bookshelf, taking down a book.
 
PETER
Hey, what are you doing there?
 
FEARLESS
I'm just admiring your collection.
 
PETER
(to Gordon)
Don't say anything to them.  Nothing.  The other cop left something there.  The other cop left some listening device.  And you just picked it up. 
 
FEARLESS
Listening device?  Listen at you.  What do I look like, the CIA?
 
PETER
Officers, I hereby invoke my rights to citizen arrest.  I request that you search this man for possible evidence of illegal wiretap and surveillance.
 
RAY
Your mother drop you on your head when you were an infant?
 
PETER
I know my rights, I went to Stanford, you fat--
 
FEARLESS
It's cool.  You want to search me, Peter, go ahead.  All you're gonna find are my cigarettes, my lighter, and my cell phone.
 
PETER
Your cell phone...
 
CUT TO:
 
INT. PETER'S APARTMENT - EARLIER
 
Joel, Peter and Gordon are talking.  Joel is waving his cell phone at Peter.
 
JOEL
I just think his parents have a right to know the truth.  Just talk to them.  Call them.
 
DISSOLVE TO:
 
Joel pushes Gordon
 
GORDON
I'm sorry, am I getting--
 
JOEL
Get out of my face
 
DISSOLVE TO:
 
He pushes again
 
GORDON
Hey, come on--
 
JOEL
Get that camera out of my face, before I kick the snot out of you.
 
DISSOLVE TO:
 
Joel is standing by the bookshelf.  He turns back to face Peter and Gordon.
 
JOEL
Look, I'm sorry.  All right.
 
Joel holds up both hands, and they're empty.
 
PETER (V.O.)
That's not your cell phone.
 
CUT TO:
 
INT. PETER'S APARTMENT - PRESENT
 
FEARLESS
Oh, right, my bad. This is my partner's cell phone.  I must have picked it up accidently back at the station.
 
PETER
He left it here.  He left it on, to listen to us.  Your partner let his cell phone here, and you just picked it up.
 
FEARLESS
You know, I gotta think that that's just about impossible to prove.  Even with a degree from Stanford.
 
PETER
(to Gordon)
It doesn't matter.  It doesn't matter.  They're just fishing.  They got nothing on us.  They got nothing.
 
Gordon looks back at the police officers who are collecting all of their video equipment and tapes.
 
FADE OUT
 
ACT IV
 
FADE IN
 
INTERTITLE: GORDON
 
INT. PETER'S APARTMENT - EARLIER
 
Gordon is watching raw footage on his screen, talking on the phone.
 
GORDON
What about that guy at Dreamworks?  Hey, you think Spielberg's seen the video yet?  No, you're right.  Oh, tasty.  I'm just cutting footage of this moron chewing glass. 
 
PETER (O.S.)
What are you doing? 
 
Fearless has just entered, holding out a search warrant.
 
FEARLESS
I got your warrant right here.
 
GORDON
You know, I'm gonna have to call you right back, man.
 
He hangs up.
 
GORDON
Hey, what's going on?
 
Ray enters.
 
RAY
What's going on, Hitchcock, is we're taking all your footage and you are coming down to the station for an interview.
 
GORDON
Oh, wait, can they do that?
 
RAY
Our powers are mighty.  Everything goes boys.
 
Peter sees Fearless by the bookshelf.
 
PETER
Hey, what are you doing there?
 
FEARLESS
i'm just admiring your collection.
 
PETER
Don't say anything to them.  Nothing.  The other copy left something. 
 
CUT TO:
 
INT. PETER'S APARTMENT - EARLIER
 
Gordon is on the floor, feeling his sore back, still holding the camera.
 
Joel backs away from Peter.
 
JOEL
(to Peter)
You wanna make a deal, we make a deal.
 
GORDON
Oh, dude, that was brilliant.  We're gonna sue the police department.  We're gonna sue the city.
 
PETER
You know why he came, don't you?  Try to drive wedge between us.  It's their only hope to get us to turn on each other. 
 
GORDON
Yeah, but we're not gonna turn on each other, so...
 
PETER
Of course not.
 
GORDON
I mean, I know I'd never turn on you.  I'm sure you'd never turn on me.
 
PETER
I appreciate the trust.
 
GORDON
Not as much as trust.
 
PETER
How so?
 
Gordon is pouring a drink from the fridge and slowly stops and looks up.
 
GORDON
Well, let's just say, that you went to the police with your version of events.
 
INTERCUT WITH:
 
INT. DARK SPACE - CONTINUOUS
 
We see Joel listening to the exchange.
 
GORDON
Then I could go to the police with my version.  And I've got something to back up my version.
 
PETER
What are you talking about?
 
GORDON
Peter, don't underestimate me.  I know you think of me as just your cameraman.
 
PETER
What are you talking about?
 
Gordon laughs.
 
GORDON
Dude, I'm just screwing with you.
 
PETER
Don't do that.
 
GORDON
Oh, I had you going there, brother.  I think we should get this tape down to the TV station, don't you think?  I like that little vixen on channel six.
 
Gordon growls.
 
CUT TO:
 
INTERTITLE:  FEARLESS
 
INT. POLICE INTERROGATION ROOM - DAY
 
Fearless speaks to Gordon.
 
FEARLESS
We found the tape, Gordon.
 
GORDON
Okay, what tape?
 
FEARLESS
Come on. Don't play dumb, Gordon.  It doesn't even suit you, man.  Loko how silly you look.
The tape that you made with that tiny lipstick camera that you always wore.  See, you made a tape the morning that Frank Baker was murdered.
 
GORDON
Come on, man, you guys don't have any tape.
 
FEARLESS
Look here sport, why do you think I waited so long to come in here.  I didn't want to come in here to talk to you until I had the thing in hand.  Now see, I gotta think that there is something of value on that tape, otherwise you wouldn't have gone to all this trouble to hide it so well.  Is there somethign you wanna tell me, becfore we take a look at it.
 
GORDON
I'm not saying anything until my lawyer gets here.
 
FEARLESS
Peter told you that.  That's good advice, generally speaking.  But see, the problem is, that tape is going to be playing on the TV set in roll call in ten minutes, actually in about eight minutes, now if there's nothing on that tape for you to be worried about, then by all means, then you go ahead and sit tight, cause the truth will set you free.  But if there's anything questionable on that tape, you may want to go ahead get your interpretation early to help frame the discussion.  Cause Peter, Peter, he got some demons.  That boy got him some Joneses for homeless winos.  But, hey, you know what, that's his dig.  All right.  But you, you got talent, you got a career.  I may think the subject matter is reprehensible, but your videos do have style.  There's no doubt you have an eye.  But I guess you just gonna throw all that away, man.
 
Gordon sighs.
 
FEARLESS
That's cool.  What's cool with you is cool with me, man.  I guess we're just gonna go in here and watch this tape and see whatever we see, and take it from there.
 
Fearles opens the door to leave.
 
GORDON
Hey.
 
Fearless shuts the door.
 
GORDON
I tried to make him stop.  Okay?  The audio on the tape is not very good, so you can, you can hear Bradley and you can hear Peter, but you can't hear me very well, so what I'm saying to Bradley is that Peter was wrong, and that he shouldn't do it.
 
FEARLESS
Shouldn't do what?
 
GORDON
Shouldn't hit Frank with the brick.  Okay?  That's what I'm saying, in case you can't hear it.
 
FEARLESS
Well, I'll go take a look at it.
 
GORDON
Hey, uh, how'd you guys get into the bank on Sunday?
 
FEARLESS
The bank?
 
He smiles at Gordon.
 
GORDON       
You didn't have the tape, you lied to me man.
 
FEARLESS
Yeah, I lied to you.  We the police.  We get to lie.
 
CUT TO:
 
EXT. CITY PARK BY THE DUCK POND - NIGHT
 
A bloody-faced Bradley is talking to Peter.
 
BRADLEY
I can't!
 
PETER
look, you're not even trying.
 
BRADLEY
Come on, man.  All right, he can have my jacket.  I'll get another jacket.
 
PETER
You want another bottle.  You get the jacket back-- Listen, you get the jacket back, you make it look good, I'll give you three bottles.  Not two, I'll give you three.
 
BRADLEY
No, I don't thinkn I can get my jacket back.
 
Peter picks up a brick.
 
PETER
Use this.
 
CUT TO:
 
INT. POLICE INTERROGATION ROOM - DAY
 
Fearles and Peter are watching the video.
 
BRADLEY (on screen)
No, I could hurt him with this one.
 
PETER (on screen)
He's got your jacket.
 
BRADLEY (on screen)
I could kill him.
 
PETER (on screen)
You're not gonna kill him.  Do you want-- do you want another bottle, or not?
 
Fearless switches off the tape.
 
FEARLESS
So who was it?  You father?  An uncle, or brother?
 
PETER
Excuse me?
 
FEARLESS
Who was it that Frank Baker reminded you of so much that you wanted him dead?
 
PETER
I know you're speaking English, but I really have no idea what you're saying.
 
FEARLESS
You know, I heard you in there with McNorris.  You've got a special hatred for these men.  So I was just wondering, who the wino was in your family.
 
PETER
I was making a sociological observation, Detective.  I wouldn't read anything into it.  just like I wouldn't read anything into that tape.  It's subject to many different interpretations, that is if it's even admissible.  Is my lawyer here?
 
FEARLESS
You need a lawyer.
 
PETER
Everybody needs a lawyer, detective.  If you don't let me see mine soon, you're going to need one.
 
FEARLESS
Ooh.  I'll go check.
 
PETER
I bet you feel really good, right now, don't you?  You've got the evil little white boy, dead to rights, enjoy the moment, it won't last.  I guarantee you, I won't be doing any time.
 
FEARLESS
Yeah, well you keep on thinkin' like that, Peter, all right.  See, what I would do, if I was as smart as you, I would spend my time, strategizing how I'm gonna survive on the inside.  I would suggest that your first day in general population, you look around, and find the biggest meanest denizen of the weight pile, and you make yourself his wife
 
PETER
That supposed to scare me, Detective.
 
FEARLESS
No, honestly, it's supposed to help you.   
 
CUT TO:
 
INTERTITLE: SCOTT DAWSON
 
INT. POLICE STATION - EARLIER
 
Scott speaks to Joel.
 
SCOTT
And then one day, the call does come, and you come down to a police station, and you look at a jacket, and you think, my boy died in that jacket.  Can you imagine how that feels detective?
 
JOEL
No, sir, I can't.
 
SCOTT
Well, try.  You go home tonight to your wife and your little boy and you try to imagine exactly that.
 
CUT TO:
 
INT. SUPPORT GROUP MEETING - DAY
 
Scott speaks to the group, seated in a circle in the room.
 
SCOTT
I just didn't want him to think I was a lousy father.  At any rate, I know what I have to do.  Tomorrow, I am going to go back to that police station and I am going to make amends with that detective.  The irony is, I owe a tremendous debt of gratitude.  He and his partner showed such humanity and udnerstanding for my son and they caught the two guys who goaded Bradley, and they say they are both going to go to prison.  Of course, so is Bradley.  But uh, I'm sorry, I went over my time, But uh, thank you all for just being here.
 
MODERATOR
We are just about out of time.  We have time for one burning desire.
 
ANDREA (O.S.)
(coughs)
May I?
 
MODERATOR
Yes.
 
ANDREA
This isn't my first meeting, but it is the first time I'm speaking, and I'm incredibly nervous.
 
MODERATOR
What's your name?
 
ANDREA
Andrea.  My name is Andrea, and my father is an alcoholic.
 
EVERYONE
Hi Andrea.
 
CUT TO:
 
INT. JOEL'S HOUSE - NIGHT, PAST
 
Joel enters the front door.
 
JOEL
I'm home.
 
He hangs his jacket on a hook on the wall, and drops his keys on the side table.
 
JOEL
Kel, I'm home.  Kel?
 
There's no response.  He looks to the bathroom door, which is shut.
 
He opens the door.
 
This time the bloody mess, his wife, slumped in the tub, water and blood running across the floor.
 
Joel raises his hand to his face, a pained expression taking hold.
 
He goes to her side, holds her, kisses her, and weeps.
 
CUT TO:
 
INT. JOEL'S HOUSE - NIGHT, PRESENT
 
Joel opens the bathroom door and enters.
 
His wife is lying in the bath, covered with suds, listening to her headphones.
 
She suddenly notices him there and gasps.
 
KELLY
Don't do that!
 
JOEL
Sorry.
 
KELLY
How long you been standing there?
 
JOEL
Couple of seconds.
 
He looks at her, she thinks a moment, gets a sad expression on her face and looks away, slowly putting her headphones on her ears again.
 
Joel shuts the door.
 
CUT TO:
 
EXT. HOT DOG STAND - NIGHT
 
Fearless and Joel wait for their meal.
 
FEARLESS
Gordon still thinks he's gonna make it in the movie business being a director.  He'll be lucky if he gets a job directing a porno.  My cousin Reggie, all he wanted to do was direct pornos.  Man, be a porno director.  Cause he was never going to be a performer, because the big ol' dude is hung like a gerbil. 
 
They collect their food and head for their car.
 
FEARLESS (cont'd)
So anyway, one day, my man finally gets him a job working on some little backyard porno out in the valley, right?  He was a towel boy or somethin'.  So after his first day, I called him, just to see how it went.  He hated it.  Hated it.  Almost ruined sex for him.  Almost killed him.  So he said, he would never ever do it again.  Cause he realized, that there was no mystery, there was no romance, nothing but sex.
 
They reach their car and get in.  Joel looks troubled.
 
FEARLESS (cont'd)
Reminded me of the time, I took a summer job working at the chocolate factory.  They told me I could eat all the chocolate I wanted to eat.  Can you imagine that?  Tellin' a brother he can eat all the chocolate he wanted to eat?  I thought I had died and gone to heaven.  Then I found out why they let me eat all that damn chocolate.  Cause after one day stuffing my face, I was sick as a dog.  Sick as a dog, Bro.  Chocolate in, chocolate out, know what I'm saying.
 
JOEL
Fearless--
 
FEARLESS
I didn't eat chocolate for about ten years after that--
 
JOEL
Fearless.
 
Fearless is finally quiet.  There is a long silence as he waits for Joel to say something.
 
JOEL (cont'd)
Kelly tried to kill herself, after our baby died.  I know you know, and you haven't said anything and I appreciate it.  It was just so hard for her.  She had severe postpartum depression.  Then one morning we woke up, and our little baby was cold. 
 
He cries.
 
JOEL (cont'd)
About two weeks after the service, I went home early, because I knew Kelly wasn't doing too well.  I found her in the bathtub.  20 minutes later and she would have bled out.  So I wrapped her wrists and I called 911.  I broke the shower door for an excuse, but I knew nobody was gonna believe it.  You see, for Bradley's Dad, it's coming home, hearing the phone ring, and thinking it's gonna be news that his son's dead.  But for me, it's coming home, finding a knife out in the kitchem, thinking I'm gonna see Kelly and all that blood again.  Even today, I just hearing the bathtub running--
 
FEARLESS
How's she doing now?      
 
JOEL
She's better.  Started around Halloween.  We had a good Thanksgiving.  I guess, I don't know, I feel like she's hiding her feelings from me.  Please, please don't tell me to let go.
 
FEARLESS
I'm not telling you anything partner, and you know that.
 
JOEL
I broke the law, I broke the law, so I could try to give the Bradley's family a little relief for their pain.  I'd do anything to ease Kelly's pain.  I can't let go.  Sometimes I wish I could.
 
FADE OUT
 
THE END