Everybody else is doing it so...here's my script.

[MADMAN]

I figure if Rath had the guts, and I'm probably about to rip him a new one, since I got his in the email and I need some input from some hardcore film fans here goes.

BETTER

FADE IN:

EXT. STREET – NIGHT

It is late at night. A slight fog is rising off the slick, black asphalt. Several tricked out cars line the street on either side. A large group of young people is milling about. The street stretches into darkness in either direction.

A dark blue HONDA PRELUDE and a black ’67 MUSTANG are at one end of the group, they are prepped for a race. An attractive ASIAN GIRL in her late teens/early twenties is standing in front of and between them. She is holding her hands in the air.

THE ASIAN GIRL

drops her arms and the cars ROAR past her.

THE CARS

are neck and neck.

THE PRELUDE

edges into the lead. The engine catches fire. The hood flies off and flames push out around the front wheel wells.

THE MUSTANG

skids to a halt doing a near one-eighty. TOMMY McGREGOR, 15, leaps out.

THE PRELUDE

explodes. The blast lifts it into the air. It drops back down to roll across the finish line, a burning hulk.

CUT TO:

INT. TOMMY’S BEDROOM – DAY

It is early morning. The clock beside the bed reads 7:00 a.m.

There are moving boxes scattered about.

Several framed pictures lie haphazardly across the stacks. They are of a young Tommy and his father, JOSEPH McGREGOR, a youthful mid-forties, in various scenes. Working on cars, at races etc. The last is of the two of them in black suits standing in front of a church. None of them are later than 15.

There are also pictures of Tommy and another young boy, NICK BOWEN; they range from toddlers in a sandbox to the two at fifteen working on a dark blue Honda prelude.

In a crate, in a corner, are several certificates of achievement that date back through elementary school. The last one is from his Freshman year.

A pair of driving gloves lies among the crumpled papers and broken trophies.

TOMMY

now 18, startles awake. He sits up. After a moment he blinks, staring at the moving boxes and clothes in bewilderment.

He stands and moves stiffly into the bathroom.

INT. TOMMY’S BATHROOM – CONTINUOUS

Tommy stands before the sink. The water is running. He rinses his face off and stares at himself in the mirror. A chain dangles at his neck. There is a Honda style key attached.

INT. TOMMY’S BEDROOM – CONTINUOUS

Tommy’s mother MAUREEN McGREGOR, late thirties walks into the room just as Tommy is coming out of the bathroom.

MAUREEN
My God, the dead walk.
(beat)
Hurry up, you don’t want to
be late for your first day at
a new school.

TOMMY

picks up a pair of cargo shorts from the floor and begins to slide them on. Maureen continues speaking to him as she turns to his dresser and pulls out a clean pair. She pushes them into his stomach as he passes her.

MAUREEN
I hope that you’ll take this
year more seriously. That
maybe you’ll pull up your
G.P.A. and get into a good
university.
(beat)
I just want you to do your
best, that’s all.

TOMMY

ignores his mother as he rummages around the closet for a flannel.

Maureen reaches into the crate and comes up with a trophy that is still whole. She sighs, wiping the dust off before placing it on an empty shelf.

MAUREEN
I know it sounds like I’m
nagging you all the time but
I only want good things for
you o.k.?

Tommy grunts and slides into the flannel as Maureen pulls the door shut behind her.

EXT. SCHOOL PARKING LOT – DAY

It is early morning, just before the first bell, students are engaging in various activities and conversations.

A BLACK 4X4 PICK-UP TRUCK pulls into the parking lot.

INSERT SHOT – LICENSE PLATE

The license plate reads: BEAR

THE TRUCK

turns into a stall.

WIDER ANGLE

As the Truck pulls in, a group of tricked out cars speeds into the parking lot. Each of the cars has the “PLAYERS CLUB” logo emblazoned on its windshield. They are weaving in and out, attempting precision driving.

The lead car, a crayola orange MITSUBISHI ECLIPSE, which is covered in decals, clips the pick-up.

THE ECLIPSE

skids to a halt and the driver gets out. LUCAS SOJOURN a hiply dressed 20, stalks over to the driver side door of the pick-up and yanks it open.

TOMMY

steps out.

LUCAS

gestures to his car.

LUCAS
You wanna explain this?

WIDER ANGLE

Tommy crosses his arms and cups his chin. He studies the damage.

TOMMY
Looks like a busted head light
and a pretty bad dent.

DALE MENDOZA, TROY ASHTON, JEFF RONAN, MIKE LAWSON, and TIM HATHAWAY, all late teens, have gotten out of their cars and are standing around, watching.

LUCAS
I guess we got ourselves a
comedian here, boys. Let me
rephrase that: How are you
going to fix it?

TOMMY
Well, if it were me, I’d start
by pulling off the fender and
banging it out, then I’d –

LUCAS
Look asshole, you’re not funny.
You hit my car and now you’re
gonna fix it.

TOMMY
I won’t be fixing anything
because I didn’t hit anything.
Now why don’t you run along
back to the arcade and practice
your driving.

Tommy brushes past Lucas and heads toward the school as the boys chuckle.

LUCAS

turns to Troy and slams Troy’s head onto the trunk of his HONDA ACCORD.

INT. SCHOOL AUDITORIUM – DAY

The last of the senior class files in and finds their seats. There is a random ebb and flow of MURMURED chatter.

The PRINCIPAL GERALD CROSS, frumpish, mid-fifties takes the stage.

CROSS
Welcome back to Prescott
Preparatory Academy, ladies
and gentlemen. Today, you
embark upon one of the
greatest journeys you will
ever undertake.
(beat)
Your Senior year.

There is a burst of wild APPLAUSE.

CROSS
Before you left last year
we had you do something a
little different. We had you
vote on the theme for your
prom. We did this for two
reasons. First we wanted to
give your prom committee ample
time to prepare.

There are a few mild CHUCKLES and the miscellaneous harassment of the prom committee seated in the front row.

CROSS
Second, we wanted to structure
this year’s other events
around the same theme.
(beat)
You all chose: “Be Your Best,”
a theme I think is absolutely perfect.
(beat)
When you leave here in June—

Another burst of APPLAUSE.
CROSS
When you leave here in June,
I would hope that you are the
best you can be…

Dale leans toward Lucas and mimes sticking his finger down his throat.

CROSS
That you are on your way to
being the best you will be.
All of you are talented and
creative. You can have a great
impact on this world.
(beat)
But you must take that first
step.
(beat)
Be your best.

Tommy slumps down in his chair, leaning his head on his hand.

Cross looks around sheepishly.

CROSS
And have a kick ass Senior
year!

The whole auditorium is on its feet, CHEERING.

Tommy is still seated, lost in the wilderness of cheering bodies, absently stroking the key between thumb and forefinger.

INT. FRENCH CLASS – DAY

Tommy is sitting in a desk that is butted up next to another students, MOISES RAMIREZ, a bookish mid-teens. The two are staring intently at their shared text as MISS MARTINEZ, the teacher, walks past. When she is out of earshot, Moises takes off his glasses and starts to clean them.

MOISES
(sotto voce)
Anyway, that was pretty
stupid what you said to Lucas.

TOMMY
(sotto voce)
What? That guy was a joke.

MOISES
(sotto voce)
That’s not what the last guy
who crossed him said when
Lucas was through.

TOMMY
(sotto voce)
What happened? Did R.C.
Pro-am run over his foot?

MOISES

finishes cleaning his glasses and puts them on.

MOISES
Lucas put him in the hospital.

INT. ENGLISH CLASS – DAY

It is the last class of the day.

Tommy is sitting in the back row. His notebook is closed and he looks as if he is about to fall asleep. He yawns once and gazes around the room.

His eyes fall on SERA CASPIAN who is scribbling notes furiously.

The teacher BILL GRIFFIN, mid forties, continues to speak.

GRIFFIN (O.S.)
Now don’t forget, Next week we
test on both this material and
your outside reading. Make
sure you all get a copy of
“Hamlet” and read it.

Tommy looks at his watch, then back at Sera, who notices him this time.

She looks up at him and smiles slightly, giving him a burdened look, then goes back to her notes.

The BELL rings and the class files out.

AT THE DOOR

Tommy is about to leave. Griffin calls him back.

GRIFFIN (O.S.)
Mr. McGregor, a moment.

Tommy turns around slowly and walks to the front of the classroom. Griffin gestures to one of the desks and leans on his own.

GRIFFIN
Have a seat, son.
(beat)
I’m not gonna beat around the
bush here. I don’t know what
they let you get away with
in public school but it ends
now.

Tommy opens his mouth to speak and Griffin cuts him off.

GRIFFIN
Now, I’ve seen your test
scores so I know what you’re
capable of. I’ve also
transcripts for the last two
years and I think they’re

CONTINUED:
GRIFFIN (CONT’D.)
bullshit. I won’t let you crap
your God given ability away
while you just go through the
motions.
(beat)
Are we clear?

Tommy stares at Griffin. He is dumbfounded. He nods.

EXT. SCHOOL PARKING LOT – DAY

Tommy walks to the truck.

Moises jogs up to him from behind, trying to catch his breath.

MOISES
Yeah man, they race every
Friday somewhere out in the
desert. I got this old Camaro
I’m working on.
(beat)
Hey, maybe when it’s finished
you can drive it.

TOMMY

reaches up and grabs a key that is hanging around his neck.

TOMMY
I don’t think so.

MOISES

frowns.

MOISES
But, I thought you said that
you—

TOMMY

releases the key and looks away.
TOMMY
Not anymore.

Tommy looks out into the parking lot and sees a member of Lucas’ crew, Dale Mendoza, running from his truck.

Dale jumps into Lucas’ Eclipse and they cruise by.

LUCAS

looks out the driver side window and grins sadistically as they pass.

WIDER ANGLE

Dale sticks his head out of the sunroof and yells.

DALE
P.C., vato.

The Eclipse peels out.

TOMMY

runs to

THE TRUCK

The tires are slashed and deflated.

TOMMY
Son of a bitch!

INT. BOWEN HOUSE – DAY

The late afternoon sun slants through gauzy lace curtains
onto MAY BOWEN, a well-worn, late thirties. May sits
motionless in a wooden rocking chair, dull eyes staring into nothing.

The walls are adorned with pictures of Nick, a shrine to him and happier times at the Bowen house.

TOMMY

shuffles in, head hung low. Gingerly he kisses May on the top of the head.

WIDER ANGLE

May does not bother to look up. Tommy sits on the edge of the bed a couple of feet away. Several long beats.

FOOTSTEPS sound in the hall and NIKLAUS BOWEN, mid forties, enters. A big man, his shoulders are slumped. He nods to Tommy and goes to his wife.

Niklaus places a hand on her shoulder while Tommy sits alone. The three gaze out the window into an empty, bruised sky.

EXT. STREET – NIGHT

It is the same street from Tommy’s dream. The truck is parked off to one side and Tommy is crouching in the middle of the street.

The asphalt is bubbled and warped. There are four indentations where tires would be on a car. The impressions of tread have been left.

TOMMY’S HAND

is pressing into one of them.

TOMMY

reaches up to the key hanging at his neck and holds it between his thumb and forefinger. He rubs the charm absently.

TOMMY
(sotto voce)
Happy birthday, Nick.

EXT. FREEWAY – NIGHT

The truck is cruising down the freeway when The Players Club Cars ease up behind. In quick motions the Cars surround the Truck and force it onto an interchange.

EXT. DESERT – NIGHT

Tumbleweeds drift across an empty highway. Just off the road is a short stretch of aged, crumbling, tarmac leading to a broken down ticket booth. The prices are still marked on the front in fading enamel. Mike Lawson lounges within.

Behind the booth is a rusted chain-link fence, opaqued by decrepit plastic slats.

Rising above and behind are the tattered remains of the cinema screen.

As the cars turn off the highway a Dark Green ACURA INTEGRA cruises slowly past, pausing, then speeding away.

THE ECLIPSE

bounces across the tarmac followed by the other club Cars, who still surround Tommy’s truck.

The vehicles pass the ticket booth, Mike waving them forward, and enter…

EXT. ABANDONED DRIVE-IN – NIGHT

Tricked out cars and young people as far as the eye can see. They mill about alone or in groups, with much AD-LIB conversation.

A number of heads turn to the Eclipse and entourage. The decibel level drops.

Lucas opens the door and eases up out of driver’s seat. Slowly, he surveys the crowd, a smile on his face. These people belong to him, and he knows it.

AT THE TRUCK

Tommy opens the door roughly, the corner tagging Troy’s Accord.

TROY
Fuckin-A man! Look what you
did to my car!

LUCAS (O.S.)
Deal with it.

Lucas walks up behind Troy and puts an arm over his shoulders.

LUCAS
After all, he is my guest.

TOMMY
Did you bring me here for a
reason, or because you love
my company?

LUCAS
Oh, don’t worry, I got
somethin’ for ya.

TOMMY
Probably not anything I want.

Lucas is about to answer when Jeff puts a hand on his shoulder and whispers in his ear.

LUCAS
(to Tommy)
Enjoy yourself, I have other
business.

Lucas and Jeff walk away. The other club members disperse, leaving Tommy alone.

TOMMY
What the hell?

WIDER ANGLE

A TEENAGE BOY and GIRL are standing a few feet away from Tommy.

GIRL
Who’s that guy?

BOY
They call him the Bear.

GIRL
Is he good or something?

BOY
Used to be.

GIRL
He doesn’t look that tough.

BOY
He used to race The Hangar.

GIRL
The hangar? What’s that?

BOY
Where’d you say you moved
from? Mars?

GIRL
Alaska. Are you gonna tell me
what the hangar is or not?

BOY
Okay, okay. The Hangar is an
old airstrip. At the quarter
mile mark are a couple of
buildings.

GIRL
Yeah, so.

BOY
There’s only room for one car
between them.

GIRL
So that means…

BOY
Somebody crashes and burns.

ON LUCAS

Lucas and Jeff walk toward the snack bar.

JEFF
I’ve been hearing things about
this guy. From the way they
talk he’s the stuff of
legends. Before he quit
racing, he was unbeatable, he
was the best.
LUCAS
I’m the best.

AT THE SNACK BAR

Jeff pauses with a hand on the doorknob.

JEFF
Not until you beat him.

Jeff opens the door and enters.

AT THE TRUCK

Tommy closes the door and leans against it. He looks around, blowing air out harshly.

WIDER ANGLE

Tommy spots KWIK, late teens, hip-hop style and Kwik’s crew. Tommy smiles and creeps over to them.

WHEELS, late teens, is talking animatedly with Kwik. Wheels spots Tommy over Kwik’s shoulder.
Tommy shakes his head and puts a finger to his lips. Wheels continues talking as if Tommy wasn’t there. Tommy steps up behind Kwik.

TOMMY
Waaaaaaaassuuuuuuuup?

KWIK

jumps, startled.

KWIK
What the fu-

Kwik turns and recognizes Tommy. He smiles wryly.

KWIK
Yo! My white nigga! S’up?
What you doin’ here?

WIDER ANGLE

Tommy and Kwik tap fists, then slap each other on the back in a quick hug.

TOMMY
My new friends decided I
needed to get out more.

KWIK
A mu-fuckin’ intervention,
huh?
TOMMY
Yeah, a bunch of assholes
with too much time on their
hands sticking their noses
where they don’t belong.

KWIK
Huh. Player’s Club? More like
played out club.

Kwik shakes his head.

KWIK
Now here your sorry ass moves
a little fifteen miles away
a you can’t roll up in the
hood no more?

TOMMY
Well you know us uppity white
folk can’t be seen on that
side of town.

KWIK
Yeah, and my momma’s Aunt
Jemima
(beat)
So how is the whitebred,
suburban cesspool treatin’
my truck?


TOMMY

cocks his head and raises an eyebrow.


TOMMY
You’re truck? Hey you sold
her to me fair and square.

KWIK

grins.

KWIK
Yeah, but that was before I
knew how fly a four by could
look.

WIDER ANGLE

Lucas walks up with Troy and Dale in tow.

LUCAS
I hate to interrupt this
episode of The Walton’s
Compton style, but we have
business.

LUCAS

raises his hands and addresses the crowd.

LUCAS
I feel the need…

WIDER ANGLE

The CROWD has gathered around.

CROWD
The need for speed!

LUCAS
That’s what I’m talking
about. Now we’re gonna start
this little session of ‘AREA 51’
off with something different.
(beat)
A circuit.

The crowd fidgets. A voice comes out of the crowd asking the question on everyone’s mind.

VOICE
A what?

LUCAS
Any fool can drive a quarter
mile in a straight line. It
takes real skill to dodge the
cops on a busy freeway for
thirty miles or so.
(beat)
So, who’s in?

Several DRIVERS raise their hands and Lucas smiles. He turns to Tommy.
LUCAS
How about you, funny boy,
you in?

Tommy shakes his head and laughs.

KWIK
My boy here don’t race.

LUCAS
I didn’t ask you, porch
monkey.

Kwik grins.

KWIK
That attitude ain’t gonna get
daddy re-elected next year.

Lucas pushes Kwik.

LUCAS
Fuck you, asshole.

Kwik adjusts his clothes and looks at Lucas.

KWIK
You best watch yourself,
doughboy.

LUCAS
Why is that?

Kwik stares at Lucas for another beat, then smiles.

KWIK
Cuz you ain’t Bruce Leroy.

As if to punctuate Kwik’s statement a couple of guns are COCKED behind him.

Lucas is non-plussed. After a beat, Dale and Troy lean in toward him and he smiles, again in control. Lucas spreads his arms at his sides.

LUCAS
Nobody wants a war.

Lucas points at Tommy.

LUCAS
But he’s going to race.

Kwik and Wheels take a step toward Lucas.

KWIK
Didn’t I make it clear to
you, mother fucker?

Tommy puts a hand on Kwik’s shoulder.

TOMMY
It’s okay, man.
(To Lucas)
I think you got your
answer, tough guy.

LUCAS
Oh, but I insist. The fee
is two grand.

TOMMY
Well there you go, I don’t
have that kind of money.

LUCAS
Don’t you worry about that.
I think we can get most of
it when we sell your truck
for scrap.

TOMMY

raises an eyebrow.

TOMMY
I don’t think so.

Sera pushes through the crowd. She has a wad of money in her hand.
SERA
I’ll cover him.

LUCAS, TOMMY AND KWIK
What?

There is a burst of AB-LIB chatter from the crows. Lucas turns to Sera.

LUCAS
Not going to happen.

SERA
Oh, but I insist.

LUCAS

plucks the money from Sera’s hand.

LUCAS
Now you gotta race, funny boy
or the lovely Miss Caspian is
gonna be out two large.

TOMMY

looks first at Kwik, then at Sera. His hand reaches up to the necklace.

TOMMY
(sotto voce)
Shit.

LUCAS
What was that?

TOMMY
I’m in.

THE CROWD

CHEERS.

KWIK

shakes his head.

LUCAS

grins triumphantly.

TOMMY

stares into the distance, absently rubbing the key.

WIDER ANGLE

Lucas collects the money from the other participants and hands it to a twenty-something, trailer-trash blonde.

LUCAS

takes Troy, Dale and Tim aside.

LUCAS
(sotto voce)
You take that son of a bitch
out. I don’t care what you
have to do, you take him out.

CUT TO:

EXT. ABANDONED DRIVE IN – NIGHT
AT THE ECLIPSE

Lucas lays out a map on the hood. The participants and crowd push inward, jostling for a better view. Lucas twirls a laser pointer for a beat.

LUCAS
It begins there.

Lucas slashes the beam across an open section of asphalt near the exit. Two people run toward each other from either side, spraying the ground with red paint.

LUCAS
You’ll line up, two by two.
WIDER ANGLE

The drivers head to their cars and get in.

LUCAS (V.O.)
You head straight out the
exit and go south.

INT. TROY’S ACCORD – CONTINUOUS

Troy pulls the seat belt over his head and SNAPS the lower straps into place. A web cam sits on his dash

LUCAS (V.O.)
Head down to Rural Route 9 and
take it west.

INT. DALE’S SENTRA – CONTINUOUS

Dale positions a web cam on his dash and plugs it into the laptop on his passenger seat.

LUCAS (V.O.)
When you get to the 5, take
the Northbound interchange.

EXT. ABANDONED DRIVE IN – CONTINUOUS

The cars line up two by two. A late teens GOTH GIRL, going for the “Mistress of the Macabre” look, strides haughtily out between the lead cars. She glances over the assembled racers with patented ‘Goth’ disdain.

LUCAS (V.O.)
The 5 will take you right
back to Highway 18 about a
mile north of here.

INT. TOMMY’S TRUCK – CONTINUOUS

Tommy passes a CD over his fingers, then slides it into the player.

LUCAS (V.O.)
There will be several
checkpoints along the way.
You want to pass them all.

INT. SNACK BAR – CONTINUOUS

Jeff sits in front of a bank of monitors showing image feed from various ‘Player’s Club’ cars. Some are along the proscribed route, others are among the racers themselves. His fingers move rapidly over a laptop keyboard.

LUCAS (V.O.)
Believe me, I’ll know…

EXT. ABANDONED DRIVE IN – CONTINUOUS

Lucas slips a headset on and speaks into the mike.

LUCAS
Network, you ready?

INT. SNACK BAR – CONTINUOUS

Jeff flips a couple of switches and rolls his chair back in front of the laptop and monitors. He slides his headset on.

JEFF
Network is five-by… and
broadcast ready.

EXT. ABANDONED DRIVE IN – CONTINUOUS

Lucas gets the Goth Girl’s attention with a raised hand.

LUCAS
Checkpoints and cams?

A series of “readies” and “checks” filters through.

LUCAS
Drivers?

Tim, Troy and Dale respond in the affirmative.

Lucas points two fingers at the Goth Girl.

THE GOTH GIRL

pulls a white lace handkerchief from her bodice and twirls it around.

LUCAS (O.S.)
Fire it up, baby!

She releases the handkerchief.

THE HANDKERCHIEF

drifts lazily to the ground.

WIDER ANGLE

When the handkerchief hits, tire SQUEAL and the cars surge forward.

AT THE EXIT

There is little room to maneuver and the cars bunch up as they go out.

EXT. HIGHWAY – CONTINUOUS

The cars fan out and jockey for position.

EXT. ABANDONED DRIVE IN – CONTINUOUS

The crowd fidgets, wondering what to do now.

LUCAS

watches with a look of smug satisfaction.

LUCAS
And God said…

INT. SNACK BAR – CONTINUOUS

Jeff punches a couple of commands and looks out the window.

JEFF
…let there be light.

EXT. ABANDONED DRIVE IN – CONTINUOUS

The screen lights up with the image from Dale’s feed. The crowd GASPS and APPLAUDS.

LUCAS
Who’s the man?

INT. SNACK BAR – CONTINUOUS

Jeff punches a couple of keys and the image switches to another from the bank of monitors.

JEFF
You da man, boss, you da man.

EXT. HIGHWAY – NIGHT

Dark desert stretches on either side of the black ribbon, illuminated only by the headlamps of the cars.

INT. TOMMY’S TRUCK – NIGHT

Tommy bobs his head in time to the music, cruising casually at the end of the pack, the taillights of the cars ahead dimming in the distance.

EXT. HIGHWAY – NIGHT

Troy’s Accord and Dale’s Sentra disengage from the ever thinning group and slide into position on either end of the truck.

THE LEAD CAR

eases around a bend past a Player’s Club sport utility vehicle parked off to one side of the highway.

INT. SNACK BAR – NIGHT

Jeff types a command into his laptop. His right hand slides over to a soundboard and eases a couple of levers up.

EXT. ABANDONED DRIVE IN – NIGHT

The audience is watching and now they’re listening. RACING EXHAUST is heard over the MURMUR of the crowd. The screen flips to the feed from the S.U.V.

EXT. HIGHWAY – NIGHT

Troy and Dale have Tommy boxed in. Suddenly the night is filled with red as Troy slams on the brakes.

The Accord shudders as it stops.

Tommy hauls the wheel over. The Truck switches lanes.

The Sentra follows, then passes the Truck as Tommy moves back to the right.

The Accord accelerates behind the Truck.

AT THE DRIVE IN

The screen shows Dale’s feed. The Truck hauls over and the picture is washed in red. The Sentra cruises around and passes the Truck.

EXT. INTERSTATE 5 INTERCHANGE – NIGHT

Barely visible in the darkness is the I5 north sign. Parked off to one side is a sport compact with the “Player’s Club” logo clearly visible on the windshield.

THE LEAD CAR

flies past the sport compact and misses the interchange. The second car follows the first into the darkness. Red light splashes the highway, the SCREECH of brakes is heard followed by a CRASH.

THE OTHER RACERS

cruise past and onto the 5.

EXT. INTERSTATE 5 – NIGHT

The 5 is one lane in either direction. Troy, Dale and Tommy are several miles behind the other cars. Headlights appear in the other lane.

AT THE DRIVE IN

Troy’s feed is showing. The oncoming car looms closer. Dale brakes abruptly as the car passes the Sentra. The Truck feints toward the oncoming lane then swerves onto the dirt shoulder. The Truck disappears into a ditch.

TROY’S P.O.V.

The truck claws its way onto the road, throwing up dirt behind it.

AT THE DRIVE IN

The crowd CHEERS.

LUCAS

crushes the map in his fist.

IN THE TRUCK

Tommy shifts up into fifth gear.

EXT. INTERSTATE 5 – NIGHT

Further up a POLICE CRUISER idles behind a billboard.

THE LEAD CAR

barrels forward as the interstate opens up into a four lane superhighway.

The second car flits into the number three lane and attempts to pass.

EXT. INTERSTATE 5 – NIGHT

The Accord settles into position in front of the Truck, the Sentra behind.

TOMMY

shakes his head.

TOMMY
Determined, huh boys?

THE LEAD CARS

are dead even as they approach a convoy of semi trucks. The semis occupy the third lane and number two is forced back behind the leader.

The convoy passes the billboard.

When they reach the first truck in the convoy the second car jerks beneath the trailer and out the other side, accelerating around both the semi and the former lead car.

AT THE POLICE CRUISER

OFFICERS MERTON and HANKS sip from their lattes and peruse a couple of skin mags when the high pitched WHINE of racing exhaust reaches them.
MERTON’S P.O.V.

He watches the lead change hands and the two officers look at each other.

HANKS
Holy Shit!

The other racers pass by and the two Cops toss their magazines and coffees out the windows.

EXT. INTERSTATE 5 – NIGHT

Troy, Dale and Tommy reach the tail end of the convoy of semis. The Accord in the lead now.

TOMMY

skips the track ahead on the c.d. The music becomes harder.

TOMMY
(sotto voce)
Let’s go then.

Tommy grinds the Truck down into third just as Troy hits the brakes.

THE TRUCK

bangs up against the rear of Troy’s accord. The tires catch and carry it up the trunk.

The Accord’s rear end collapses, spraying sparks across the asphalt.

The Truck hangs with its front end in the air, then falls forward.

The front end of the Accord collapses under the weight of the truck. Sparks fly as the accord skids to a stop.

TROY

screams inside the roll cage.
AT THE DRIVE IN

The crowd sits in stunned disbelief as the truck bounces down off of the Accord’s hood and continues forward.

Standing with his back to the screen Lucas whispers into his celular phone.

AT THE POLICE CRUISER

Merton and Hanks gape as the Truck surges on.

MERTON
Son of a…

DALE’S SENTRA

skids for a moment as he corrects and slides around the accord and falls in behind the last semi.

THE TRUCK

is doggedly gaining on the rearmost of the racers. Dale paces Tommy by a couple of car lengths.

INT. POLICE DEPARTMENT – RADIO ROOM – NIGHT

Officer FRIEDA POOLE, late forties, dozes over her copy of Cosmopolitan Magazine.

Prominently displayed on the wall behind her is a plaque proclaiming the building to have been proudly donated by SOJOURN ENTERPRISES.

Through an open door beside it we see Duty Sergeant FRANK MILLER, early fifties, a marshmallow.

On the phone, he nods, pulling a stack of bills out of an envelope. Glancing at his watch he mutters something inaudibly and hangs up.

The radio SQUEALS and Frieda startles awake.

HANKS (V.O. FILTER)
…repeat this is Unit 76,
Frieda, where the hell are
you?

FRIEDA
This is dispatch, go ahead 76.

HANKS (V.O. FILTER)
Unit 76 in pursuit of
possible street racers on I5
heading west at mile marker 170.
Requesting back up, please
advise, over.

Miller hefts his bulk out of the chair and lumbers into the Radio Room. He leans heavily on the console, shaking his head.

Frieda frowns.

FRIEDA
76, backup is unavailable.

HANKS
What about the chopper?

The Police air unit is visible through the window behind Frieda.

Miller shakes his head again.

FRIEDA
Uh, 76, the air unit is
unavailable. Dispatch out.

INT. POLICE CRUISER – NIGHT

Hanks replaces the CB microphone while Merton continues to drive. They glance at one another, confused.

EXT. INTERSTATE 5 – NIGHT

Tim Hathaway’s late model TOYOTA CELICA detaches itself from the group and sidles up beside Tommy’s pick-up.

The Celica and the Sentra pace the truck in the breakdown lane.

IN THE TRUCK

Tommy glances at the two cars alongside.

WIDER ANGLE

The Celica slashes toward the Truck. The Truck jukes into the number 3 lane.

The Sentra and the Celica move into the number 4 lane and repeat the maneuver.

The Truck swerves into the number 2 and the two Cars move in next to the Truck.

The Sentra feints toward the truck.

The Truck moves into the number 1 lane. The Celica and the Sentra sidle up next to the truck.

The Truck is now boxed in, the center divider on the left hand side, the two Cars on the right. The Truck slows a bit and the Cars pace it.

IN THE SENTRA

Dale jams the earpiece to his cell phone into his ear.

DALE
On three, Tim. 1…2…

EXT. ABANDONED DRIVE IN – NIGHT

The crowd pushes toward the screen for a better view.

On screen the two cars ride alongside the truck.
DALE (V.O FILTER)
Three…

On screen the two Cars dart towards the Truck. The Truck surges forward. The Celica collides with the center divider. The Sentra clips the rear end of the Celica and spins it around.

The crowd CHEERS.

LUCAS

punches out a car window.

THE POLICE CRUISER

dodges less than nimbly past Dale and Tim. The two cars extricate themselves and give chase.

INT. POLICE DEPARTMENT – RADIO ROOM – NIGHT

Miller consults his watch, nods to himself and clears his throat.

MILLER
Okay Frieda, have Dave and
Jimmy set up a roadblock at
mile marker 220.

The radio HISSES.

HANKS (V.O. FILTER)
Dispatch, this is 76, we’re
still waiting on that back-up.

Miller takes the microphone.

MILLER
Air unit still unavailable,
John, but we’ll see if we
can’t scare up something.

HANKS (V.O. FILTER)
Understood.

EXT. POLICE MOTORPOOL – NIGHT

A black garbed, helmeted figure approaches a black and white, late-model, Camaro. As he gets closer we see the name badge, COLTRAINE.

EXT. INTERSTATE 5 – NIGHT
MILE MARKER 220

Two black and whites sit angled toward one another across four lanes of highway.

Beyond them three of the cars in the race are parked in the break down lane. The drivers sit, handcuffed, in the dirt.

THE TRUCK

speeds toward the roadblock. Tim’s Celica passes the Police cruiser.

At the last second, the Truck jukes hard into the ditch next to the breakdown lane going around the roadblock.

THE CELICA

plows into the roadblock.

THE POLICE CRUISER

SCREECHES to a halt.

AT THE DRIVE IN

Dale’s feed is showing. We see the back of the Police Cruiser as the sentra plows into it.

EXT. INTERSTATE 5 – NIGHT

On an empty, darkened stretch of asphalt there is a lone vehicle sitting in the breakdown lane pointed in the wrong direction. It is a battered PLYMOUTH HORIZON. The paint is peeling away from a dented body. Slightly askew and obviously hand painted is the player’s club logo.

NINA RONAN, sweet sixteen, and Jeff Ronan’s sister, rubs her hands together briskly, trying to warm them. Her breath steams the air as she stares raptly at her laptop’s screen. The web-cam mounted on the dash seems out of place above the gutted console.

After a moment Nina realizes that her own feed is showing and she looks up.

NINA’S P.O.V.

in the far distance is Tommy’s Truck. The only racer to have made it this far.

THE CAMARO

speeds down the highway, rapidly gaining on the truck.

AT THE DRIVE IN

The crowd is hushed now as the Truck approaches them, on-screen. The Camaro a black shape in the distance.

IN THE TRUCK

Tommy glances in the rear view and sees the Camaro, gaining fast, mute siren twirling on the dash.

IN THE CAMARO

A black gloved hand reaches down and shifts into fifth.

NINA’S P.O.V.

The truck SCREECHES nearly to a halt, turns perpendicular to its previous course and lunges forward. The Camaro cuts immediately in that direction.
AT THE DRIVE IN

The crowd sucks in a breath as, on screen, the Truck crosses the breakdown lane, leaps into the ditch and bounds up the opposite slope.

THE CAMARO

follows, flying over the edge and flattening its front end on the opposite slope.

IN NINA’S CAR

Nina cheers wildly.

EXT. ABANDONED DRIVE IN – NIGHT

The screen is blank. There is a great deal of AD-LIB chatter.

Tommy’s truck races in and grinds to a halt amidst a cloud of dust.

The crowd CHEERS.

Tommy steps out of the truck to face Kwik and Sera.

KWIK
Yo dog, that was the shit
right there!

TOMMY
Well it was kinda tight in a
couple of spots, but all in
all it wasn’t to tough.

A single person begins to CLAP. The crowd quiets then parts to reveal Lucas.

Lucas continues to clap for a beat, then stops.

LUCAS
Impressive.
(beat)
Most impressive.
TOMMY
Well, I guess that’s it
then. You can give the lady
her money and I’ll be on my
way.

LUCAS
Oh, it’s not over yet, funny
boy.

TOMMY
Circuits finished. I won.
Get over it.

LUCAS
The circuit is done, but
there’s still the question
of the quarter mile.
(beat)
And me.

KWIK
How’s he supposed to make a
run in a four by four?

LUCAS
He’s a hot driver, he can
handle it.

TOMMY
I thought you said any fool
can drive a quarter mile in a
straight line.

LUCAS
That’s right. You’re that
fool.

Lucas leaves.

Tommy turns to face the truck.

TOMMY
(sotto voce)
I suppose it wouldn’t make
any difference if I said I
don’t make runs anymore.

Kwik taps Tommy on the shoulder with his fist.

KWIK
You got this.

Kwik walks away.

Sera moves closer to Tommy.

SERA
Tommy I—

Tommy puts up a hand to silence her. She leaves. Tommy leans his head against the driver side window of the truck.

TOMMY
Shit.

AT THE STARTING LINE

Five cars are lined up, including Lucas’ Eclipse and Tommy’s Truck.

TOMMY

grips the steering wheel with white knuckles. He tries desperately to catch his breath.

LUCAS

punches a couple of keys on his laptop.

INSERT SHOT - LAPTOP

NOS INITIALIZED – ALL SYSTEMS OPERATIONAL

WIDER ANGLE

The cars gleam in the light from the sodium vapor lamps. Their engines idle with a brutal basso RUMBLING.

TOMMY

squints and blinks. Sweat pours down his face. He reaches up to the bridge of his nose.

LUCAS

meticulously dons a pair of driving gloves. He looks across to Tommy and smirks.

WIDER ANGLE

A statuesque, twentysomething, REDHEAD from the scream queen school of fashion, sashays out in front of the cars.
She raises her hands.

LUCAS

reaches down to the shift lever.

TOMMY

reaches up to the key.

THE REDHEAD

drops her arms.

TOMMY

puts his hand on the shift lever.

TOMMY
Fuck it.

ON THE REDHEAD

as her arms reach her waist.

TOMMY

thrusts the shift lever into gear.

LUCAS

thrusts the shift lever into gear.

WIDER ANGLE

Tires spin and SQUEAL, rubber burns. The cars launch past the Redhead.

The Truck shoots back away from the starting line.

LUCAS

glances in his rearview mirror and sees the Truck.

THE TRUCK

does a one-eighty.

TOMMY

jams it into first.

THE TRUCK

peels out.

WIDER ANGLE

Lucas wins the race. His car skids to a halt and he jumps out to see

THE TRUCK

kicking up dust as it races into the desert night.

INT. SCHOOL HALLWAY – DAY

Tommy exits English class and heads for his locker. He fumbles with his textbook and a dog-eared copy of “HAMLET” that threaten to slide out of his hands.

STUDENTS

whisper and point as he passes.

SERA

intercepts Tommy in an empty section as the books slip from his grasp. She crouches down before him, looking at the books.

She hands him the text book. Their hands touch and she looks at him, wry amusement clashing with annoyance on her face.

SERA
How’s it going?

TOMMY
Been better.

Tommy finishes collecting his books and the two stand.

SERA
Moi tells me you work on
cars.

TOMMY
Moi talks too much.

SERA
So you don’t?

Tommy pauses for several beats. His hand snakes up to the key.

TOMMY
That was a long time ago.

Abruptly Tommy starts walking again. Sera must rush to catch up.

SERA
What about your truck?

TOMMY
You taking a poll or
something?

SERA
Not really, I, uh, I just
well, you know, my dad, he
kinda owns a couple of
body shops and I thought
you, maybe, might want,
like, a job or something.

Tommy continues down the hall.

TOMMY
I don’t do that anymore.

AT THE LOCKER

Tommy spins the dial for the combination. Sera creeps up behind him and whispers in his ear.

SERA
(sotto voce)
Maybe you can do something
else.

She bounces toward the door.

TOMMY
Uhh, okay.

AT THE DOOR

Sera looks over her shoulder.

SERA
Good, because you owe me two
grand.
AT LUCAS’ LOCKER

Lucas slams the door shut and his face is revealed. His eyes narrow and his jaw bunches as he clenches his teeth.

INT. SAME

It is later that same day. The hall is empty save for Sera who is reorganizing her locker.

LUCAS (O.S.)
Honey, I’m home.

Sera shoves the rest of her books in her locker, slams it shut and stalks off.

Lucas rushes up behind her.

LUCAS
Hey, c’mon, I just wanna
talk.

Sera continues walking.

SERA
You’re beating a dead horse.

Lucas catches her and grabs her arm.

LUCAS
What can I say, I’m into all
that kinky stuff.

Sera shrugs out of his grasp and walks away. Lucas shoves her against a locker. Sera tries to move away and he pushes her back harder.

LUCAS
Hey, I said I want to talk.

SERA
Fine, talk.

LUCAS
Look, I’m willing to
forgive you for leaving me.

Sera scoffs.

LUCAS
I know it’s hard to believe,
but you were going through a
rough patch, fighting with
your mom and all. You made
some bad decisions.

SERA
Getting back together with
you is going to fix my
relationship with my mother?

LUCAS
It’s a start.
(beat)
C’mon I’ll take you to the
mall, we’ll get you some new
clothes.

SERA
Really, you mean it?

LUCAS
Sure I do.

SERA
And then, next year I can win
“Miss Teen California” again!

LUCAS
It would make your mother and
I very happy.

SERA
Whatever.

Sera pushes past Lucas and heads down the hall.

LUCAS
No girl leaves me! What makes
you so special?

SERA
Not special, just smart.

INT. CAFETERIA – DAY

The room is abuzz with AD-LIB chatter and the CLATTER of dishes. Tommy and Moises are in line with their trays.

MOISES
I swear, you got a death
wish, man.

TOMMY
Huh, what?

MOISES
Geez you got it bad.

AT THE REGISTER

The two pay for their food and go off in search of a table.

AT THE TABLE

They sit down.
MOISES
Look, I’ll give it to you
straight. She’s a sweetheart
but she’s bad news.

Tommy shovels food into his mouth.

TOMMY
What are you babbling about?

MOISES
Sera, I’m talking about this
infatuation you have with
Sera.

TOMMY
It ain’t like that.

MOISES
What’s it like then?

Tommy shovels more mystery meat in.

TOMMY
We’re just friends, we were
in the first grade together.

MOISES
That’s not what it looks like
from where I’m sitting.

Tommy finishes the last bite of his food and downs his can of soda in one gulp.

TOMMY
What’s the big deal anyway?

Moises stares at him for a beat.

TOMMY
Lovely.
(beat)
But that doesn’t change
anything, I won’t stop being
friends with her because of
king ding-a-ling.

MOISES
You keep pushing him and
you’re gonna end up with a
mushroom tattoo. Right about
there.

Moises pokes Tommy in the forehead between his eyes.

TOMMY
He ain’t superman.

MOISES
Maybe not, but he is five
time champion of the ‘All
SoCal Martial Arts
Tournament. And whatever
he can’t beat down he buys
off.

EXT. BASEBALL FIELD – DAY

It is early afternoon. Tommy and his p.e. class are running laps. There is a stand of pine trees behind the fence at center field.

AT THE TREES

The cinder block wall on two sides, the curve of the outfield fence on the other. Shadows in between. The trees stand in the corner made by the fence.

Students jog past alone or in small groups.

Tommy jogs through alone.

Lucas walks around from the opposite direction, Troy and Dale are with him.

As Tommy realizes who it is, Lucas shoots a leg out and Tommy goes down.

LUCAS
Get him up.

Troy and Dale grab Tommy and haul him up.

Tommy slams a heel down on Dale’s foot and elbows him in the gut. Dale releases him and doubles over.

Tommy swivels his elbow to catch Troy in the nose with his fist. Troy topples backwards.

Lucas catches Tommy across the face with a roundhouse kick.

Tommy collapses like a house of cards.

Lucas folds his arms across his chest and watches his two flunkies struggle to their feet.

LUCAS
If at first you don’t
succeed…

Troy and Dale haul a more docile Tommy to his feet. Another STUDENT jogs around the corner and hesitates.

Lucas stares hard at the Student.

The Student sprints away.

Lucas turns his attention back to Tommy. Tommy, bleary eyed, gazes back. His lips are split and bleeding. Blood runs from his nose as well. There is an ugly bruise forming on the left side of his face.

LUCAS
Well, well, well, if it isn’t
our favorite comedian.

Tommy’s head lolls forward and Troy grabs it.

LUCAS
Yeah, look at me when I’m
talking to you.
(beat)
Now, that, see, that was
nothing, I can make that
seem like a peck on the
cheek. Just keep doing what
your doing.
(beat)
That was some stunt you
pulled the other night. I was
really pissed. I wanted to
hurt you pretty bad. But I’m
thinking we can come to some…
(beat)
other arrangement.

Lucas leans in close to Tommy.

LUCAS
(sotto voce)
I know who you are.
(beat)
That’s right. I know all
about you. Tommy McGregor.
The Bear. They told me you
used to literally maul people
in the quarter mile. They
told me you were the best,
that no one ever beat you.
(beat)
Oh, wait, that’s right,
somebody did beat you.
You’re little boyfriend,
Nicky, was it? Yeah, Nicky.
They said you retired after
that.
(beat)
You see, that’s really my
problem, because, well, I’m
the best and if you’re
retired that means you don’t
race. And if you don’t race I
can’t beat you. And that
would just break my heart.
Because, then everyone would
be comparing me to you.
(beat)
We can’t have that now, can
we?

Lucas rubs Tommy’s head and puts his hands behind Tommy’s neck.

LUCAS
No, we can’t.

Lucas slaps Tommy’s bruise lightly.

LUCAS
So what do you say, big guy?
For my piece of mind?
(beat)
I’ll make it worth your
while.

Tommy hawks a thick glob of bloody phlegm into Lucas’ face. Methodically Lucas rips a piece off of Tommy’s shirt and wipes his face.

Lucas grabs Tommy and knees him in the gut. Tommy drops like a sack of potatoes.

LUCAS
That was a mistake.

Lucas drops the rag onto Tommy.

EXT. SCHOOL PARKING LOT – DAY

It is late afternoon and the parking lot is unnaturally empty. The wind blows across the asphalt, picking up various pieces of schoolyard litter. The truck sits alone amidst a sea of empty stalls.

TOMMY

shuffles slowly out of the main building, his aches are evident. He holds and ice pack to his face, which he lowers to reveal an ugly black bruise that covers most of the side of his face. Tommy looks out into the parking lot, drops the ice pack and breaks into a run.

AT THE TRUCK

Tommy runs his finger across the starburst pattern of a major dent, tracing the octagonal indentation from a sledgehammer. Two fingers slide easily into a gaping wound in the fender.

The pick up sits at an odd angle, the tires, slashed and gouged.

Tommy looks in through the shattered windshield to find the interior sliced to ribbons. Tufts of upholstery stuffing are scattered over everything, bits of it floating in the air. Taped to the wheel is a note.

INSERT SHOT

The note reads: “Mess with the best, die like the rest.”

TOMMY

balls up the note in his fist. He kicks the tire and slams his fists down on the hood.

INT. SERA’S ROOM – DAY

Clothes are strewn everywhere in a room where the occupant has grown up but the décor has not. Several shoeboxes and full bags from expensive retail stores sit collecting dust in a chair.

Sera, in T-shirt and panties, roots around on the floor in the closet.

RITA CASPIAN, an early thirtysomething, ex-beauty queen, flits around picking up clothes. After a beat she gives up on the clothes and begins to straighten the vanity. Rita rubs the dust between her fingers and grimaces.

She adjusts a picture of herself and young Sera at a “Little Miss” pageant. The two are cheek to cheek and beaming.

SERA (O.S.)
Can I take a rain check, ma?
It’s not like I can’t just
rewind and play it back later.
(beat)
Have you seen my boots?

Rita fondles the “Miss Teen California” sash hanging on the corner of the mirror.

RITA
On the back porch.

Sera crawls out of the closet with a pair of grease stained jeans.

SERA
Why are they out there?

RITA
They were getting the Berber
dirty.

Sera rolls her eyes and climbs into the jeans.

Rita turns to Sera.

RITA
There’s still time to
register.

Sera grabs a workshirt off the back of a chair and heads out the door.

SERA
Didn’t we go over this last
year, ma?

INT. CASPIAN HALLWAY – CONTINUOUS

Rita follows Sera out the door.

RITA
I want to go over it again.

Sera works her hair into a braid while she walks.

SERA
And you’re going to get the
same answer.

The two pass several pictures on the wall, similar to the one on Sera’s vanity.

AT THE BACK DOOR

Sera pulls open the back door and retrieves her boots.

SERA
Now, if you’ll excuse me, I’m
late.

INT. CASPIAN LIVING ROOM – DAY

Sera heads for the front door. Rita pauses by a trophy case with several child-size tiaras in it.

RITA
Sera Caspian, I forbid you to
leave this house!

AT THE FRONT DOOR

Sera whirls around.

SERA
Why, so we can go upstairs
and play dress up? So you can
make me into the perfect
little barbie doll clone of
you? So that I can be the
beauty queen you never got to
be? Well, I’m sorry mother but
that’s not who I am, and if you
can’t accept that, too bad.

Sera slams out the door, leaving her mother standing by the trophy case.

INT. CASPIAN BODYWORKS – DAY

The garage is clean and well maintained. Several cars are in the process of being repaired.

Sera is working on the custom front end of a Toyota Supra. She repeatedly looks up at the shop clock on the wall above the open garage door.

AT THE DOOR

In the gray light of twilight Tommy’s Truck limps up.

SERA

picks up a rag and wipes her hands. She walks over to the door.

SERA
Took you long en—

AT THE DOOR

Tommy climbs down out of the truck. The light catches his bruised and battered face.

SERA
Oh, Jesus…

Sera flips on the exterior flood lights to reveal the equally battered Truck.

SERA
My, God…
(beat)
That bastard, that fucking
bastard! I swear to God,
I’ll—

TOMMY
Hey it’s okay. It’s not that
bad.

Sera runs to Tommy and hugs him tightly, burying her face in his chest.

SERA
I’m so sorry, this is all my
fault.

Abruptly Sera pulls away and turns around. Absently she gestures toward an empty section of the garage.

SERA
Put it over, there.

TOMMY
That’s okay, I can take care
of it.

SERA
No.
(beat)
No, it’s my fault and I’ll
help, just let me, uh, let
me get a drink of water.

Sera sniffs and wipes her face with her hands as she walks away.

INT. JACK SOJOURN’S OFFICE – DAY

Lucas and his father, JACK SOJOURN, a distinguished fortysomething with hard eyes and a plastic smile, are arguing. Jack is seated behind his elaborate, marble desk. He shuffles through some paperwork.

Lucas is seated in a plushly uncomfortable, leather easy chair.

JACK
I heard about you little
stunt with McGregor’s truck.

LUCAS
Don’t start with me, Jack.

JACK
These bullshit games are
beginning to wear a little
thin.

LUCAS
Next you’re going to tell me
I need to take life more
seriously, I need to stop
going through the motions and
take charge right?

JACK
One of these days, you’re
going to outsmart yourself
and I won’t be there to bail
you out.

LUCAS
Maybe I don’t need you to,
Jack.

JACK
Just like you haven’t needed
me for the past twenty years.

Lucas gets up and walks over to the wet bar. He pours himself a drink.

LUCAS
I never asked you to rescue
me, dad.
JACK
Well that’s just too bad. I
couldn’t afford for your
screw ups to cost me my
career.

Lucas lifts his glass and stares into it.

LUCAS
(sotto voce)
Oh, your precious career.

JACK
Now you end this thing with
McGregor, you end it now!

Lucas gulps the drink and slams the glass on the counter, breaking it.
INT. CASPIAN BODYWORKS – NIGHT

Tommy and Sera are working on the truck. There are bondo patches on it and one of the fenders is removed. The tires are off and it sits on blocks.

Tommy has his head down in the engine compartment and Sera is removing the passenger side fender.

SERA
It was really hard on her
when I told her I wanted to
quit, but I felt like I was
just going through the
motions, you know?

Tommy continues to take out the head screws.

SERA
Anyway, I wasn’t getting to
see my dad too much so I just
showed up here one day and
started helping.

TOMMY
Been here ever since, huh?

SERA
Yeah, something like that.

Tommy looks up at Sera.

TOMMY
Exactly like that.

Tommy touches Sera’s nose with a grease stained finger, leaving a black mark.

SERA
Hey!

TOMMY
Yeah, now that’s how a grease
monkey should look.
(beat)
Then again…

Tommy marks Sera’s face in several places. Sera playfully fends him off.

SERA
So how about you, what do you
wanna do with yourself?

Tommy stops.

TOMMY
Doesn’t really matter much.

Sera blinks at him.

TOMMY
You shoot for a star, you get
knocked on your ass.

INT. McGREGOR KITCHEN – DAY

Tommy is fixing a sandwich. The bruise on his face is nearly healed.

Tommy’s father comes in through the back door. He sets his briefcase on the table and unbuttons his coat.

JOSEPH
How you doin’, son?

Tommy grunts and puts the mayonnaise back in the refrigerator.

JOSEPH
You know, your mother’s
worried about you.

TOMMY
My grades are up.

JOSEPH
I know, son, and we’re real
proud of you, but that’s not
what I mean. You’re out late,
you leave early. The worst
thing is, you still won’t
talk to us.

TOMMY
Well, dad, I’m sorry I’m not
the perfect son.

JOSEPH
I’m not asking you to be.
We’d just like to be a part
of your life, to know what’s
going on.

TOMMY
Nothing, same as always.

JOSEPH
What about that girl you’ve
been getting rides from? I
think your mother would feel
a lot better if you were, at
least, dating.

TOMMY
Well, I guess she’ll be
disappointed in me, yet
again. Sera’s just helping me
fix the truck.

JOSEPH
The truck? What’s wrong with
the truck, I thought the truck
was in the garage?

TOMMY
No, dad, it’s in the shop.

JOSEPH
What happened?
TOMMY
I guess the team needed a little
batting practice.
(several beats)
C’mon dad, it’s no big deal.

JOSEPH
Nothing’s ever a big deal to
you anymore. When the hell are
you going to start taking things
seriously again?

Tommy points at the back door.

TOMMY
When Nick walks through that
door!

Tommy stomps out.

INT. ENGLISH CLASS – DAY

The mid-afternoon sun slants sullenly through half open blinds. This is the last period of the day and the students are obviously hot, tired and bored. Bill Griffin stands at the head of the class with a stack of papers in his hands.

GRIFFIN
I appreciate that most of you
actually attempted this
assignment. I know that
writing sonnets is not an
easy thing. Overall you guys
grasped the concept pretty
well. On of you, however,
really impressed me.

The students perk up, one of them is about to be singled out, a possibly shaming experience.

GRIFFIN
Mr. McGregor, I’d like you to
come up here and read your
piece to the class.

Tommy looks up from examining the backs of his hands. All eyes are on him. He glances at Sera, who sits next to him now, then looks around.

Dale sits low in his desk, laughing silently.

Griffin clears his throat and Tommy stands. he shuffles slowly to the front and takes the paper from Griffin.

TOMMY

moves to stand behind a slim, music stand-like, podium.
Hesitantly he sets the paper down and stuffs his hands deep into his pockets.

WIDER ANGLE

The class sits poised on the edge of their seats, wolves scenting blood.

TOMMY
Rotting flesh and harsh
burning embers./Black as
night in this dawn of this
dead/

The mood of the class perceptibly changes, he is speaking the language of teenage angst and they are listening.

TOMMY
Alone in the gray of this
cold December/My heart
pouring out in a sea of red.

Sera listens, rapt.

TOMMY
Where are you now, that you
have gone before?/waiting for
me, that I might follow./Into
the darkness on black wings
you soar/Torn by the winds a
helpless swallow/
(beat)
Is there something that I
might see,/in this place I’ve
never been? Waiting/for the
time to come when it will be
me./

Dale is no longer laughing.

TOMMY
Now I watch as this light is
fading/Beyond the shadows of
all I have seen/I look at
these hands and none are
clean.

Tommy stares at the page. The class sits stunned.

The BELL rings, signaling the end of the school day and the class snaps back into reality, rushing madly for the door.

EXT. SCHOOL PARKING LOT – DAY

School’s out for the day. Students hustle to their cars or the bus stop or after school practice. The lot is a cacophony of after school activities with cars STARTING and driving and students TALKING loudly to one another.

TOMMY AND SERA

head across the parking lot to Sera’s car. They exist at this moment in an amiable silence, bags slung over their shoulders, occasionally bumping into one another as they walk.

WIDER ANGLE

Lucas, Troy and Dale are walking back towards the school when they notice Tommy and Sera.

DALE
Well if it ain’t Shakesqueer
himself.

TOMMY
That’s cute, did you make
that up all by yourself?

Tommy and Sera try to pass them, but Troy and Dale block their path.

LUCAS
Man, you are just too damn
funny, but you know what they
say: Ass bandits make the
best comediennes.

SERA
This from the man who
couldn’t get out of the
second grade.

LUCAS
You better watch that mouth
little girl, cuz it ain’t so
cute no more.

Sera mimes ripping her eyeballs out and turning them around to face her mouth.

TOMMY
Did you want something
besides an audience for your
stupidity?

LUCAS
Actually, funny boy, I wanted
a poetry lesson.

Troy and Dale laugh. Sera makes a “That’s real cute” face.
TROY
Sweaty flesh and hot hard
members…

DALE
Lubed and wet in my little
brown hole…

SERA
Jesus, you guys are
neanderthals.

Troy and Dale give each other high fives.

TOMMY
I got one for you. Roses are
red, violets are blue. Lucas
likes ass, don’t let him
stand behind you.

LUCAS
Oh, real good, funny boy.
We’ll see you around.

SERA
Not if we see you first.

Lucas walks away. Troy and Dale make kissy noises, then turn and follow.

TOMMY AND SERA

shake their heads and continue on to Sera’s car.

AT SERA’S CAR

Sera pops the trunk and they sling their bags in. Lucas’ Eclipse is parked a few stalls away, taking up four spaces. Tommy grabs a crowbar out of the trunk and heads for it.

AT THE ECLIPSE

Tommy looks around. The lot is nearly empty now.

SERA
Tommy, what are you—

He smashes out the passenger side taillight and walks back.

AT SERA’S CAR

Sera looks at Tommy, he smiles, she smiles, the two begin to giggle and finally laugh. He tosses the crowbar in and she shuts the trunk.

EXT. UPSCALE SUBURBAN STREET – NIGHT

It is late night or early morning depending on how you look at it. The neighborhood is devoid of life and sparsely lit.

A POLICE CRUISER sits in the deeper shadows beneath an overhanging tree. The glowing bluish light of the onboard computer is visible through tinted windows.

INT. LUCAS’ ECLIPSE – NIGHT

The MUSIC is deafening. Lucas bobs his head, lost in the rhythm. He reaches for a bottle of tequila laying on the passenger seat.

Beneath the bottle is a party flier, its day-glo green a stark contrast to the black seat. The words “FURIOUS FUKIN PARTY” are visible.

Lucas spins the top off the bottle and slugs it back. Finishing it, he looks around for the lid, shrugs and tosses the bottle into the backseat.

LUCAS
Fuck, my upholstery!

EXT. UPSCALE SUBURBAN STREET – NIGHT

The Eclipse passes the squad car and SCREECHES to a halt, the broken taillight clearly visible.

The black and whites’ engine ROARS, the lights flash and the SIREN blurts. It pulls out and around the eclipse.

IN THE ECLIPSE

Lucas finishes rooting around in the back and comes up with the bottle a “HA, GOT IT!” expression on his face. The squad car can be seen through the windshield.

LUCAS
Oh, shit.

Lucas drops the bottle onto the passenger seat and hits the mute button on the radio.

AT THE SQUAD CAR

The driver side door opens and OFFICER RICHARD MURPHY steps out. A tall, broad shouldered, late twenties, Murphy takes his job very seriously. His uniform jacket is immaculate.

As he places slips his nightstick into place we can see that the creases in his pants are razor sharp and his shoes gleam with reflected light.

AT THE ECLIPSE

Lucas rolls down the window.

LUCAS
Can I help you, Ossifer?

MURPHY
Why the sudden stop?

LUCAS
Oh, I thought I saw a cat.

MURPHY
Mm-hmm.
(beat)
Were you aware that you have
a taillight out?


LUCAS
No, Ossifer, I wasn’t aware.

MURPHY
I’ll need to see your license
and registration.

LUCAS
Why?

MURPHY
Fix-it ticket.

Lucas mutters under his breath. Pulling out his wallet he hands over his license.

LUCAS
This really pisses me off.

Murphy finishes filling out the ticket and hands the pad to Lucas.

MURPHY
Too bad. Sign here.

Lucas signs the ticket, noticing the officer’s signature: Richard Murphy.

LUCAS
You know what, Dick? You’re
pissing me off too, but I’m
talking about that fucking
ass-pirate, McGregor. He
busted out my light. Man,
that bitch is fucking up my
universe. Fucking comes outta
nowhere and suddenly he’s the
best? Bullshit! I’m the—

Lucas hangs his head out the window and vomits all over Murphy’s lower legs and shoes.

Murphy catches sight of the empty bottle in the passenger seat.

MURPHY
All right, out of the car.
Hands on the hood and spread
em.

Lucas wipes his mouth and looks blearily up at Murphy.

LUCAS
Not without dinner and
dancing.

In a flash Murphy has his gun out. He pulls the hammer back with a CLICK.

MURPHY
Outta the car, mother fucker,
now!

INT. JACK SOJOURN’S OFFICE – DAY

Early morning sunlight slants through the floor to ceiling window showcasing the Los Angeles skyline.

Jack Sojourn stands facing the glass, telephone handset to his ear, the cord stretches back to his desk.

JACK
You have to understand my
position here, Mike.

INT. POLICE COMMISIONER’S HOME

COMMISSIONER MICHEAL GOLDWYN, middle-aged and balding, steps through a doorway into his dining room, escaping the early morning clamor that comes with having three children.

Goldwyn holds a phone to his ear.

JACK (V.O. FILTER)
I can’t have my son in jail,
much less go to trial on a
DWI.

GOLDWYN
What are you asking from me,
Jack?

JACK (V.O. FILTER)
I’m calling in a favor.

GOLDWYN
Jack, you know I can’t—

INT. JACK SOJOURN’S OFFICE – DAY

Sojourn turns away from the window.

JACK
Damn what you can’t Goldwyn!
This is my reputation at
stake here. Now you flush
this thing. I don’t care what
you have to do, you flush it,
and that Murphy or whatever
his name is too, if it comes
to that.
(beat)
I’ll pick the bastard up in
an hour.

Sojourn slams the handset into the cradle.

EXT. POLICE STATION – DAY

A pair of bored, disheveled reporters lounge on the steps.

A black limousine slides up to the curb.

One of the glass doors opens and Lucas steps out. The reporters rush him.

REPORTER #1
Is it true you were arrested
on a DWI, last night?

REPORTER #2
How do you think this will
affect your father’s
re-election campaign?

JACK (O.S.)
All just a big
misunderstanding I assure you.

The reporters move away from Lucas as Jack puts an arm around him.

REPORTER #1
Senator Sojourn, what’s your
reaction to your son’s
arrest? And will this affect
any presidential aspirations?

JACK
Young man, the police are
human beings and they make
mistakes just like everyone
else. Lucas and I aren’t holding
any grudges. Now, if you’ll
excuse us.

Jack and Lucas head for the limo, leaving the two reporters on the steps.

REPORTER #2
God, I’d love to knock him
down a couple of pegs.

REPORTER #1
Yeah? Well this story could
do it.

REPORTER #2
Too bad they won’t let us
print a word of it.

The limo pulls away.

INT. LIMOUSINE – DAY

Lucas stares out through the smoked glass window, simultaneously dejected and angry. He fondles an empty scotch glass.

Jack pours himself a drink.

JACK
Fucked up again, didn’t you?
Yeah, I guess you did.

Jack swallows the drink in one gulp.

JACK
Do you have any concept of
how this bullshit affects my
poll results? Do you?

LUCAS
It wasn’t—

JACK
Shut the fuck up.

Lucas’ grip tightens and the glass CREAKS slightly.

JACK
One more screw up, just one
more and you’ll finish the
term at a boarding school in
Siberia.

As Jack speaks a lifted, black pick up passes by. Lucas’ hand clenches into a fist, shattering the glass.

Veins stand out on his forearm and his hand trembles as blood leaks out around his fingers.

EXT. FROSH-SOPH LOCKERS – DAY

It is late afternoons as Tommy walks toward us beneath the awning. He passes the open gate. Troy and Dale rush out and grab him.

INT. FROSH-SOPH LOCKERS – CONTINUOUS

Troy and Dale toss Tommy onto the gray concrete floor at Lucas’ feet. The other members of the ‘Player’s Club’ gather into a half circle, cutting him off.

Lucas leans next to the back door, beneath the sickly green glow of the exit sign. He massages the bandage on his hand.

Tommy pushes himself up and Troy kicks his arms out from under him.

LUCAS
I pegged you for someone with
a few more brain cells,
McGregor.

Tommy tries to stand and Dale kicks him in the ribs.

Lucas steps away from the wall and crouches in front of Tommy.

LUCAS
That little stunt you pulled
with my taillight was
foolish.

Lucas nods. Troy and Dale pick Tommy up. Lucas Stands.

TOMMY
Is it just me or didn’t we
already play out this little
melodrama?

Dale slaps Tommy.

DALE
Quiete, pendejo.
LUCAS
You crossed a line, funny
boy. I was still willing to be
generous. I was even going to
let you keep the girl, as a
consolation prize. All you had to
do was race.

TOMMY
Sera’s not a trophy.

LUCAS
It doesn’t really matter, now,
I’ve decided to keep her, after
all.

Lucas back hands Tommy across the face. Tommy stumbles to the right and Lucas puts a foot on his butt, pushing him.

Tommy slams into the lockers and slides down onto his knees.

Mike Lawson pulls him up and passes him over to Dale, who drops a trash can onto his head.

Lucas and the others take turns kicking the can.

When the can gets to Jeff Ronan he pushes it away. Tommy hits his knees and falls forward, the can rolling away.

JEFF
Aren’t we taking this a
little too far?

Lucas stares at Jeff for a moment, then lifts Tommy up and throws him face first into the lockers again. Tim plants a booted foot in Tommy’s back.

JEFF
Fuck this, man, I’m outta
here.

Troy and Tim look to Lucas who glances at Jeff’s retreating back and shakes his head.

Dale grabs Tommy by the shirt and pushes him back toward Lucas.

Lucas stops him with a palm open strike to the chest, then elbows him in the face with the same arm.

Tommy stumbles into a fist in the gut from Dale and doubles over. Troy smashes both fists down on the back of his head.

Tommy hits the ground.

EXT. BEHIND FROSH-SOPH LOCKERS – DAY

Moises Ramirez and the OFFICERS of the computer club are approaching the back door of the lockers.

VICE PRESIDENT
Ice Cream sales are up, but
we haven’t found a way to
keep people from stealing.

MOISES
Let’s see if we can get a
room in the 400 building and
sell from there.

INT. FROSH-SOPH LOCKERS – DAY

Lucas stands over Tommy. Lifting him by the shirt collar, Lucas slams Tommy back against the wall.

Tommy bounces off and stumbles forward.

Lucas charges. Leaping into the air Lucas catches Tommy squarely in the chest and with both feet and sends him flying out the back door.

EXT BEHIND FROSH-SOPH LOCKERS – CONTINUOUS

Tommy flies out of the door right in front of Moises.
The other club officers gawk for a beat then turn and run.

Moises rushes to Tommy.

The back door slams shut.

INT. EMERGENCY ROOM - EXAM AREA – NIGHT

Tommy is seated on a gurney in a curtained area of the emergency room. He is shirtless with bandages taped to his right side. Both eyes are blackened and swollen, his lips cracked.

JOSEPH (O.S.)
Doctor, is my son going to be
alright?

Tommy slides down off the gurney and picks up his T-shirt.

MASTERS (O.S.)
He’s going to be fine, Mr.
McGregor.

Tommy slides the shirt on, slowly.

JOSEPH (O.S.)
What happened?

Tommy pulls a stool over and sits on it.

MASTERS (O.S.)
He says he fell down the
stairs.

Tommy bends down, wincing, to put his shoes on.

JOSEPH (O.S.)
Fell down the stairs?

MASTERS (O.S.)
That’s his story.
(beat)
He has a couple of badly
bruised ribs a few
lacerations and a concussion.

Tommy stands and exits through the curtain.

INT. EMERGENCY ROOM – NIGHT

Joseph McGregor stands with his arm around his wife Maureen speaking with DOCTOR MASTERS, early thirties, outside a curtained exam area.

JOSEPH
All that from a fall down the
stairs?

MASTERS
I doubt it, but—

Tommy steps out through the curtain. Maureen rushes to him, enfolding him in her arms. Tommy winces.

Maureen releases Tommy to stand before his father.

JOSEPH
How do you feel, son?

TOMMY
Like Jeff Hostetler on a bad
day for the Offensive line.

JOSEPH
What the hell happened?

TOMMY
Stair boarding accident.

MAUREEN
A what?

TOMMY
You know, when you stand on a
board and skim down the
stairs. If you think I look
bad, you should see the
board.

Masters smirks, crossing an arm over his chest to cover his mouth.

JOSEPH
Dammit, will you be serious
for one minute?

TOMMY
Alright. You want serious? I
seriously got my ass kicked,
okay?

JOSEPH
No, it’s not okay. Who did
this?

MAUREEN
Joe, please stop yelling.

JOSEPH
Stay out of this Maureen.
(to Tommy)
I want to know who did this.

TOMMY
It doesn’t matter.

JOSEPH
Just like everything else?
Well I’ll tell you something,
son, Nick isn’t going to be
walking through any doors
ever again, and the sooner
you deal with that the
better.

MAUREEN
Joseph McGregor!

JOSEPH
Maureen, we’ve coddled him on
this for too long.
(to Tommy)
Now tell me who did this so I
can take care of it.
Tommy heads toward the exit.

TOMMY
I’ll take care of it myself.

The door slides shut behind him.

EXT. CASPIAN BODYWORKS – NIGHT

Sera works on the same Toyota Supra as before. She has made little progress. Periodically she will look at the clock or the phone.

Sera stands and wipes her hands on a rag. She heads for the phone. As her hand touches the receiver, there is a knock at the door.

She runs over to the door and pulls it open to reveal Tommy. She pulls him into a hug, causing him to wince. Sera pulls away and they stand apart.

Tommy limps over to the completed truck. He runs his hand along the gleaming black fender, then opens the door on a completely redone interior.

Tommy turns to thank Sera and she is there, jumping into his arms and kissing him.

CUT TO:

INT. SAME

Later.

Tommy and Sera lay holding each other in the bed of the pick-up. The two stare up at the night sky through the open skylight.

SERA
Remember what you said about
shooting for a star?

Tommy grunts.

SERA
What did you mean?

Tommy takes a deep breath.

TOMMY
There was a time that I
wanted to be the best, at
everything. Didn’t matter
what it was, I was going
to be better than everyone
else.

Sera lifts herself up to look Tommy in the face.

SERA
Sounds like your classic “Type
A” personality.

TOMMY
Funny.

SERA
I try.

TOMMY
I found out the hard way that
every time you take another
step toward that star, you
kick someone in the teeth.

SERA
What happened?

TOMMY
Being the best cost me the
closest thing to a brother
I’ll ever have.

Sera kisses Tommy on the forehead.

EXT. SCHOOL PARKING LOT – DAY

The usual morning rituals are occurring as students arrive.

THE TRUCK

pulls into the parking lot and heads turn in amazement.

TOMMY

opens the door and a MURMUR of shock runs through the crowd. He slides painfully from the driver’s seat. Sera walks around from the other side and hands him his backpack.

TOMMY AND SERA

again exist in that amiable silence. Beyond them Lucas and the Boys pull into the parking lot, Troy, Tim and Dale’s cars are missing.

Oblivious to everything Tommy and Sera face each other, sporting a matching set of goofball grins. Sera reaches up on tip-toe and delivers a chaste kiss.

LUCAS (O.S.)
Lookie what we have here.

The boys rush up to separate Tommy and Sera. Jeff is not with them. Lucas saunters over to Tommy, who is being held by Tim and Mike.

Lucas leans in close.

LUCAS
(sotto voce)
I thought I told you she was
mine.

TOMMY
I told you she wasn’t a
trophy.

LUCAS
As I recall, I beat the shit
out of you after that.

Lucas delivers a palm strike to Tommy’s ribs. Tommy screams. The crowd GROANS.

Sera struggles to pull away from Dale.

Tommy takes a beat to catch his breath.

TOMMY
You gonna beat my ass some
more? C’mon, tough guy, Mr.
five time martial arts champ,
show me some moves!

Lucas backhands Tommy, playing to his audience. Tommy’s head snaps back and lolls forward.

LUCAS
I own you, McGregor.

SERA
Stop it!

Lucas surveys the crowd. Principal Cross and two STAFF MEMBERS are heading in his direction. Lucas shakes his head and they hesitate.

Tommy groans and Lucas backhands him again without turning around.

TOMMY
(sotto voce)
Makes you feel good doesn’t
it?

Lucas does an about face.

TOMMY
Doesn’t it? But you know
what? It don’t mean shit.

Tommy gestures with his head at the crowd.
TOMMY
It won’t make them respect
you. It won’t show all these
people you’re the best.

Lucas glances furtively at the crowd.

LUCAS
Shut up.

TOMMY
The truth hurts.

LUCAS
If beating your ass with my
fists won’t do it, I’ll beat
you on the street.

TOMMY
I don’t need to race you to
know who the best is.

LUCAS
Who is it, then?

TOMMY
Not you.

The crowd LAUGHS.

LUCAS
Fuck you, alright! Fuck You!
I’m the best, okay! I’m the
fucking best! I am the best!

Lucas glances at the crowd, embarrassed, He wipes spittle from his chin.

The crowd has taken a collective step back, stunned.

Lucas pulls himself together and glares at Tommy.

LUCAS
(sotto voce)
Maybe you’re afraid.
TOMMY
(sotto voce)
Maybe I am.

Lucas strides over to Sera. He runs his fingers through her hair, gently, as a lover, then pulls hard. He grabs her cheeks with his other hand and squeezes.

LUCAS
If you don’t race, I’ll carve
my initials into her face.

TOMMY
You wouldn’t dare.

LUCAS
Try me.

Tommy pulls free and stares at Lucas. Lucas stares back, still pulling Sera’s hair.

TOMMY
Alright asshole, you got
yourself a race but I decide
where and when.

LUCAS
I run this show.

TOMMY
Not if you want your shot at
the title.

Lucas tugs one more time and releases Sera’s hair.

LUCAS
I suppose I can be generous.
Decide.

TOMMY
Tonight. Midnight. The
Hangar.

The crowd GASPS.
Lucas licks his lips, frightened. After several beats he shrugs, trying to look tough.

LUCAS
Your funeral.

Lucas walks away, snapping his fingers for the boys to follow.

The crowd disperses.

AT THE TRUCK

Tommy opens the door to get in. Sera stops him.

SERA
What was that?

Tommy looks at her.

SERA
The fucking Hangar? Are you
out of your mind?

TOMMY
Maybe.

SERA
Do you know how far apart
those buildings are?

TOMMY
Ten feet.

SERA
Jesus.
(beat)
I thought you said you were
done trying to be better than
everyone else.

TOMMY
Guess not.

SERA
Do you remember what it cost
you the last time?

Tommy’s hand snakes up to the key. He climbs into the truck.

SERA
Where are you going?

TOMMY
There’s someone I need to
see.

Tommy shuts the door.

EXT. CEMETERY – DAY

The late afternoon sun crouches just beyond the foothills overlooking an old fashioned cemetery. It bathes the slate and onyx colored stones in a bloody light.

Tommy crests a rise and pauses, looking around. He continues forward slowly, with reverence, the key gripped tightly in his fist.

He stops before a lonely headstone and sinks to his knees.

AT NICK’S GRAVE

A slight breeze rustles the shadows of leaves on the face of the headstone. The red light ripples like flames.

Tommy releases the key and swipes at the dust over the inscription.

INSERT SHOT – THE INSCRIPTION

Nicholas Bowen – Beloved Son 1983-1998 He lifted his face to the light.

There is a streak of dust from Tommy’s hand.

TOMMY

falls forward, clutching the headstone.

TOMMY
Oh God, I’m sorry. I’m so
sorry.

INSERT SHOT

Tears streak the dust.

DISSOLVE TO:

EXT. STREET – NIGHT

It is the same street from Tommy’s dream, earlier that night. The starting line is unoccupied.

The Prelude and Mustang are parked on opposite sides of the street.

Tommy and NICK BOWEN, 15,are off to one side, alone.

NICK
I’m tired of this shit. Tired
of living in your shadow.

TOMMY
What are you talking about?

NICK
Jesus, you’re so fucking
blind. Don’t you think I get
tired of being the sidekick?
Man, once, just once, I’d
like to be the best at
something. But you, you can’t
let that happen, can you?

TOMMY
What do you mean? You’re
good—

NICK
See, that’s just what I’m
talking about. I’m not the
best, I’m not better than
you. It’s always like that.
You’re car is better, you
drive better. Hell, you’re
even better in school.

TOMMY
What’s that got to do with
anything?

NICK
For as long as I can
remember, you and I have both
gotten straight A’s. But
everyone says your better.
The prelude matches the Dark
Horse, point for point, but
the Dark Horse, your car, is
still better. You’ve never
beaten me in a race, but
everyone thinks you’re the best.
I’m sick of it. And now I’m
gonna show everyone, I’m gonna
show you, that I’m the best.

TOMMY
You don’t have to prove
anything.

NICK
That’s where your wrong.
You see all these people here?
They wanna see me kick your ass,
so let’s go.

Nick stomps away, leaving Tommy alone in the street.

CUT TO:

THE STARTING LINE

The Mustang and Prelude are lined up.

Tommy stares out the window at Nick, who ignores him.

IN THE MUSTANG

The shift lever hovers near reverse before Tommy finally locks it home in first.

Tommy slides on his driving gloves.

He picks up a C.D. labeled ‘Race Tracks’ and rolls it over his fingers before sliding it into the player.

TOMMY
(sotto voce)
Let’s go then.

The race is the same as Tommy’s dream sequence.

DISSOLVE TO:

EXT. CEMETARY – NIGHT

The sun has set and gray light clings to the world. Tommy
sits with his back to the headstone, knees drawn up and head hung low.

Joseph McGregor crests the rise and walks over to Tommy.

JOSEPH
Finally decided to pay your
respects?

AT NICK’S GRAVE

Joseph hunkers down in front of Tommy.

TOMMY
I made a promise, dad. I
promised I’d never race
again. I promised Nick that
he could be the best.

CONTINUED:
TOMMY (CONT’D.)
(beat)
I have to now. Lucas will
never let us alone. I don’t
know if I want to.
(beat)
I don’t know if I can.

JOSEPH
You do what you think is right,
son. That’s all any of us can
ask of you. But I’ll tell you
something. There’s always going
to be someone better than you in
this world. That’s just the way
it is. Now, you can take that
two ways, you can give it up and
pack it all in, or you can
strive to be the best you can be
and forget everybody else.

Joseph stands up. Tommy stands with him.

JOSEPH
You think on that, son.

Joseph turns and walks down the hill. After a few steps he turns back.
JOSEPH
You might need these.

He tosses Tommy a set of keys. Tommy catches them and holds them up. An old-style ford key on a mustang key chain.

EXT. CEMETARY – NIGHT

Tommy walks down the hill. The prelude key hangs from Nick’s head stone.

EXT. McGREGOR GARAGE – NIGHT

The truck pulls into the driveway, splashing the closed garage door with light. Sera and Moises are revealed.

Tommy gets out and goes over to them. Tommy and Sera stare at each other for a beat.

Sera throws herself into Tommy’s arms, hugging him tightly.
Tommy grimaces slightly from the pressure on his ribs. After a couple of beats Sera pulls back and looks into Tommy’s eyes. A look that says “I understand”.

Sera reaches for the key and finds it missing. Tommy smiles grimly and holds up the mustang key. Sera and Moises smile.

INT. PEGASUS RACING GARAGE – NIGHT

Lucas’ Eclipse is sitting on a raised hydraulic lift. Wires run from the engine to a bank of computers. Six TECHS scurry back and forth. One is in the process of installing a large NOS bottle.

INT. McGREGOR GARAGE – NIGHT

Tommy pulls the cover off the front end of the Mustang revealing the personalized license plate.

INSERT SHOT – LICENSE PLATE

DRKHORS (Dark Horse)

THE CLOCK

on the worktable points to 6:30.

Sera drops a couple of bags on the worktable while Moises and Tommy remove the hood.

Sera looks into the engine well, examining the V-8 350 big block, external blower and accoutrements. She grins.

SERA
Are you sure it’s big enough?

INT. PEGASUS RACING GARAGE – NIGHT

The Techs continue to scurry.

On the wall are two digital readouts. One shows the time, 6:38 p.m. The other is a countdown clock moving backward from 5:22:59.

LUCAS
Pull it out, It’s not big
enough, I want the six
cylinder.

TECH #1
Sir, we don’t even know if
the six will fit.

LUCAS
Make it fit.

INT. McGREGOR GARAGE – NIGHT

Tommy and Sera are stealing kisses in the corner. Moises rolls his eyes and goes back to the distributor.

INT. PEGASUS RACING GARAGE – NIGHT

Lucas stands before the two readouts, which are now 8:40 p.m. and 3:20:17. The veins stand out in his neck as he screams at the Techs.

INT. McGREGOR GARAGE – NIGHT

Sera smacks Tommy on the behind with a rolled up towel as he bends over the engine compartment, replacing spark plugs.

INT. PEGASUS RACING GARAGE – NIGHT

Lucas slaps Tech #1 across the face and turns him around to the car, pushing him. Oil sprays out from above and below.

INT. McGREGOR GARAGE – NIGHT

Tommy is beneath the car. Oil sprays into his face as he removes the pan plug. Moises and Sera look down through the engine compartment and laugh at him.

INT. PEGASUS RACING GARAGE – NIGHT

Lucas stares over Tech #1’s shoulder at the computer readouts scrolling across the screen as the Eclipse’s engine is revved.

The digital clock reads 10:55 p.m. and 1:05:45

INT. McGREGOR GARAGE – NIGHT

Tommy guns the engine once and lets the Mustang idle. He and Moises give each other a high five.

Sera picks up a C.D. jewel case from the worktable. She tosses it to Tommy.

Tommy catches it and we see the label: “Race Tracks”.

INT. PEGASUS RACING GARAGE – NIGHT

The Techs lower the hydraulic lift.

Tech #1 holds the keys out to Lucas who snatches them.

INT. McGREGOR GARAGE – NIGHT

Tommy is alone. He wipes the Mustang down slowly.

Tommy steps over to the worktable. Beneath assorted junk is a picture of Tommy, Nick, Joseph and Niklaus standing in front of both the Mustang and the Prelude.

Tommy wipes the picture off and hangs it up. The clock next to him on the table points at 11:35.

EXT. THE HANGAR – NIGHT

The Hangar is an abandoned airfield. On one end of the runway sit a pair of low barracks-style building, a mere ten feet separates them.

Cars line both sides of the runway and there is an air of hushed anticipation.

The Eclipse sits alone at the starting line.

Opposite the buildings, at the end of the runway, the Acura Integra sits alone.

Lucas stands with his boys. Kwik and crew stand near them in the center of a mass of bodies.

LUCAS
Looks like your boy ain’t
gonna show.

KWIK
Oh, he’ll show, don’t you
worry about that.

LUCAS
What should I worry about,
then?

KWIK
Let me put it to you this
way, you better hope your
momma paid your insurance up.

LUCAS
Ahh, what do you know? You’re
just a fucking ****** .

Wheels and a couple of Kwik’s crew surge forward, guns out. Kwik holds out his arms, restraining them.

KWIK
Naaw, don’t worry about that
shit, you know The Bear gonna
get him. Let it go.
A heavy RUMBLING echoes across the concrete.

THE MUSTANG

takes shape out of the darkness. Tommy pulls it up to the starting line next to the eclipse and gets out.

LUCAS
What the fuck is this?

Sera steps out of the crowd with Moises.

SERA
It’s a car, dipshit.

LUCAS
That’s not the car I agreed
to race.

SERA
Did you want to race him or
the truck?

Tommy leans non-chalantly against the Mustang. He smirks as he puts on his driving gloves.

LUCAS
That’s not even his car!

KWIK
Bullshit boy, I seen him race
that a long time ago. That’s
his car, and he can drive it.

Several heads nod in agreement.

LUCAS
It doesn’t matter, I’ll kick
his ass anyway.

Tommy smiles knowingly and nods.

LUCAS
Fuck you, man. Let’s go.
Lucas stalks over to the Eclipse.

Tommy slides into the Mustang.

Sera leans in through the Mustang’s window and kisses Tommy.

IN THE ECLIPSE

Lucas spears the keys on his laptop.

IN THE MUSTANG

Tommy rolls the “Race Tracks” C.D. over his fingers and slides it into the player.

TOMMY
(sotto voce)
Let’s go then.

AT THE STARTING LINE

Sera stands between the two cars.

TOMMY

nods to her as the music starts.

SERA

drops her arms.

THE ECLIPSE

shoots into the lead as

TOMMY

grips the steering wheel, fighting the torque. He jams it into second.

THE MUSTANG

surges forward, passing the Eclipse.

LUCAS

panics and glances at his laptop.

INSERT SHOT – LAPTOP SCREEN

STAGE 1 NOS INITIALIZED.

LUCAS

thumbs the red button on his steering wheel marked “NOS1”.

THE ECLIPSE

jets forward.

THE SLOT

looms closer.

TOMMY

smirks and shifts into third, then fourth.

IN THE ECLIPSE

Lucas watches the Mustang pass him. He frantically spears keys on his laptop.

LUCAS
C’mon, c’mon.

INSERT SHOT – LAPTOP

STAGE 2 NOS INITIALIZING…

ON LUCAS

The computer BEEPS at him and he thumbs the NOS 2 button.

THE ECLIPSE

edges its nose past the Mustang.

IN THE MUSTANG – ON THE PEDALS

Tommy’s right foot presses the accelerator to the floor while the left pumps the clutch.

IN THE MUSTANG – ON THE SHIFT LEVER

Tommy locks it into fifth.

ON THE MUSTANG – THE BLOWER

The throttle plates open wide.

LUCAS P.O.V.

Lucas looks from the Mustang to find the wall looming over his windshield, filling it.

THE MUSTANG

edges past the Eclipse and cuts into the slot.

THE ECLIPSE

swerves, trying to clip the mustang.

THE MUSTANG

sails out the other side.

THE ECLIPSE

slews out of control. The rear end spins into the wall and sends the car careening in the other direction. The passenger side slams into the opposite corner and collapses inward.

THE MUSTANG

stops and Tommy gets out.

ON THE ECLIPSE

The driver side door swings out wide and falls off. Lucas collapses onto the pavement. He crawls a couple of feet.
TOMMY

walks up and crouches over Lucas. Lucas lays on his elbows looking up at Tommy.

TOMMY
There’s always gonna be
somebody better than you
mother fucker.

Tommy stands, looking down at Lucas. Lucas looks back at him.

Tommy shakes his head.

Lucas collapses.

ON TOMMY

as he walks away toward the crowd.

FADE OUT.

END CREDITS.

FADE IN:

EXT. STREET – NIGHT

The Mustang is stopped at a street light. The Integra glides up beside it.

ON THE INTEGRA

The passenger window rolls down to reveal a stocky ASIAN who looks out at Tommy from behind mirror shades.

THE ASIAN

Tightens his gloves and revs the engine.

TOMMY

looks at Sera, then back out the window and shrugs.

THE STREETLIGHT

turns green.

THE CARS

go!

THE INTEGRA

wins, running through a yellow.

THE MUSTANG

stops for the red light.

IN THE MUSTANG

Tommy shrugs and looks at Sera.

TOMMY
You hungry?

Sera laughs.

FADE OUT.

THE END

The paste came out kinda screwy but you get the idea.

Thanks for reading.

[Rath/Brendan]

I like it. It's realistic and it's smart.

Fast and the Furious with a Brain. Good stuff.