DESTINY

By

R.J. Smith

BASED ON TRUE EVENTS

Represented by: Julie Stern JS INTEGRITY MANAGEMENT [email protected] (917) 439-4189

FADE IN SUPER: “That which does not kill us makes us stronger.” Friedrich Wilhelm Nietzsche (1844-1900) FADE TO:

EXT. MANHATTAN - NIGHT Shoppers frantically dash in and out of Macy’s as SANTA CLAUS rings a bell. SANTA CLAUS HO! HO! HO! Merry Christmas. Passersby drop coins into a red bucket at his feet. Santa reaches into his jacket, retrieves a pint of Mad Dog 20/20 and generously drinks from it. A 1978 Camaro moves slowly along 34th street.

INT. CAMARO - SAME JOEY JACOBS, a sweet-faced typical 13 year old boy, stares out the car window at a boy carrying a large Christmas gift. JOEY Wow! This is great, Mom! Christmas is awesome! Joey’s mother, PATTY, 30, a white trash brunette, struggles to steer the car while lighting a cigarette with trembling hands. MOM Son of a bitch, I hate Christmas! Joey glances at his mother in disappointment. MOM (CONT’D) Ah, shit. Sorry kid. I’m not a mother. Look at me, I’m barely breathing. She pulls a crucifix chain from her neckline and loops it around Joey’s head. JOEY Mom, you do all right. (looking at chain) (MORE) 2. JOEY (CONT'D) You’re giving me this? Really? Super cool! MOM It was your Dad’s chain. He gave it to me and now I’m giving it to you. JOEY Sure wish I could remember him. MOM And don’t start asking me all those questions about who he is again. Joey stares back out the window. HOOKERS strut along the street illuminated by BLINKING Peep Show lights. JOEY Why, Mom? She sighs then glances at her son. MOM Why what? JOEY Why’d Dad leave us? MOM It’s not important. JOEY It is to me. Patty grabs a Salem pack from the console. MOM It’s Christmas, Joey, all right? Give me a fucking break. JOEY Who’s my father, Mommy? She crushes the empty pack of Salems - MOM Shit. - and throws it into the backseat, slamming her hand against the steering wheel. 3.

JOEY What’s wrong? She ignores him and glances out the window. MOM Thank heavens. There’s a store right there. She pushes a few bills into Joey’s hand. MOM (CONT’D) Go get Mommy a pack, will ya? Joey glances at street kids standing by a Mini-Market.

EXT. TIMES SQUARE STREET CORNER - NIGHT Joey steps from the car, slams the door, then bounces toward the Mini-Market. MARCO ALVAREZ, 15, a baby-faced tough Puerto Rican, wearing a Batman sweatshirt, takes an interest in Joey. MARCO Hey, Yo, whatcha doing, man? The Camaro fishtails away. JOEY Mom! Joey jolts back into the street and chases the car. A horn blares and a box truck heads straight for Joey. MARCO Hey, man, watch out! JOEY Mommy! Don’t leave me! Marco leaps and knocks Joey to safety seconds before the truck speeds by. Marco and Joey land hard on the snowy ground. MARCO I got you, man. You’re all right. JOEY My Mom! My Mom! 4.

ANSON WILLIAMS, 15, a tough African-American thug, walks to Marco and pulls him to his feet. ANSON Marco, who’s the white boy? Marco reaches to Joey on the ground. MARCO (to Anson) It’s good, Anson. He’s one of us now. (to Joey) I got you, bro. Joey grabs Marco’s hand and stumbles to his feet. JOEY She left me! MARCO Hey, you got a name, YO? JOEY Joey. MARCO Well, Joey, it’s motherfucking cold out here. Let’s get some hot chocolate. ANSON God damn right! Now you’re talking! They walk to the Mini-Market and Joey glances over his shoulder. JOEY She’s not coming back, is she? ANSON Parents suck, man. MARCO (puts arms around Joey) You’re with us now. They walk into the Mini-Market and disappear. JOEY (V.O.) I knew at that moment nothing would ever be the same for me and that my life had descended into hell. 5.

EXT. TIMES SQUARE - NIGHT It is New Years Eve and Times Square is packed with jubilant crowds awaiting the apple drop atop the Times Building. Joey, Anson and Marco walk along 42nd street teasing a group of HOOKERS. Anson leans in to Joey. ANSON This is how it’s done. Smooth as can be. He bumps into a DRUNKEN MAN and pickpockets his wallet. DRUNKEN MAN (to Anson) Hey, watch where you’re walking, will ya? The boys hurry off into the crowd. JOEY You just took that guy’s wallet and he didn’t feel a thing! MARCO You try it, Joe. Just bump into somebody and reach into their pocket. They’re so drunk they won’t even notice. ANSON (to Joey) Yeah, go ahead, give it a try. JOEY (to Anson) I wouldn’t be any good at it. ANSON Come on, what are you, a pussy? JOEY I ain’t no pussy. Joey glances to a VERY DRUNK MAN, pushes into him and reaches into his pocket grabbing his wallet. The man pats his pockets, realizes he’s been robbed and chases Joey before tripping to the pavement. 6.

VERY DRUNK MAN Hey, you punk! Gimme back my wallet! Joey sprints into the crowd and bumps into a Molly Ringwald look-a-like, JENNA, 16. VERY DRUNK MAN (V.O.) (CONT’D) Somebody grab that kid! Jenna smiles and for a moment Joey is frozen in her stare. JENNA You better get out of here and quick! Joey scrams through the crowd. JOEY (V.O.) Injustice is where this story begins. In the background, the new year arrives and everyone cheers.

INT. SUBWAY CAR - SAME Anson divvies up the cash from the stolen wallets as Marco teases Joey. MARCO You looked like you were gonna shit your pants. JOEY I was not! MARCO Was too! ANSON (to Joey) Whitebread, I think if that guy didn’t fall on his face he would have chased you to Brooklyn. They laugh. MARCO Don’t worry Jo-Jo, you’ll get the hang of it. Anson hands Joey a twenty dollar bill. 7.

ANSON Here’s your share. They walk through the subway car harassing passengers.

INT. APARTMENT - LIVING ROOM - SAME It’s a flop house. Beat up Super Hero posters line the dirty walls. Duct tape runs along a broken window. Marco and Anson bounce through the door then collapse onto a raggedy couch. Marco pulls out a book of matches and lights a candle. Joey enters the apartment and closes the door. MARCO (to Joey) You can stay here with us. JOEY You guys live here? ANSON Yeah, man. Welcome to the playboy mansion. MARCO Motherfucking right. Can’t beat the price neither. JOEY It’s cool. Like a tree-house or something. Marco and Anson laugh. ANSON (to Joey) I saw you looking at the girl in the square, man. MARCO (to Joey) Yeah. Comic girl was staring you up and down like a piece of raw meat. JOEY (interested) You guys know her? 8.

ANSON Hell, yeah. We know all the kids in Timeville, man! Her Dad owns that comic book store on Forty Eighth Street. JOEY You gonna hook me up with her? ANSON (puts arm around Joey) Sure man.

EXT. A DARK STREET - NIGHT Super: 8 Years Later A liquor store’s lighted sign is very bright. It’s the only business open on this very dark, quiet street. An alarm rings. Suddenly the doors burst open and an older Joey emerges gripping a gun. Marco follows holding a brown bag, they run like hell from the store. The LIQUOR STORE OWNER exits the store. LIQUOR STORE OWNER Help, Help! They robbed me! MARCO See you later cock sucker! Joey and Marco dash down the street and disappear. Sirens wail in the distance, getting louder.

INT. APARTMENT - LIVING ROOM - SAME Joey and Marco burst into the room breathing heavily and sweating profusely. Marco’s baby face now reveals a large scar on its cheek. MARCO That fucker! We shudda put holes in his ass. Joey, aged by the streets, dumps cash from the bag onto a cracked coffee table. 9.

JOEY Man, Marco, this is peanuts. Marco places a beat-up .38 revolver next to the cash. MARCO What’s that? Three hundred dead presidents? Marco and Joey sit on the couch and stare at one another. MARCO (CONT’D) Want to count it? Joey counts the bills and throws them back on the table. JOEY Fuck, not even two hundred bucks. MARCO Wanna go smoke? JOEY Yeah. They bounce to the window and climb out.

EXT. APARTMENT BUILDING FIRE ESCAPE - NIGHT Joey and Marco scurry up a fire escape to the roof.

EXT. APARTMENT BUILDING ROOF - SAME Joey and Marco sit on a roof ledge smoking a joint. In the background lies the Manhattan skyline. JOEY Did you see that fucker’s face when you pulled the piece? MARCO I thought Gordo was gonna drop dead on the potato chips. Who needs a pussy father like that, huh? We should have shot his ass! JOEY Nah, we’re not killers, Marco. MARCO Yeah, but we’re just a heartbeat away from murder. (MORE) 10. MARCO (CONT'D) Look what happened to Anson, doing five years in Attica for burglary. Silence, and then Joey gets angry. MARCO (CONT’D) What is it, bro? What’s wrong? JOEY Everything, Marco. I don’t know who I am anymore or what I’ve become. MARCO You’re my best friend, Jo-Jo. JOEY Awe, shit, man. That’s some bull shit dream of suburban kids who don’t realize childhood friends disappear like pennies down a sewer. No, Marco, we’re crime partners who scratch and claw at the edges of life. MARCO Crimies? That’s what you think we are? Fuck that fantasy-land shit about childhood best friends. What the fuck do we know about that, huh? We’re more than dreamers, Joey, we’re survivors of the mean streets! Silence and then. JOEY When I was a kid, I used to stare at my mother behind the bar mixing drinks for the losers who drank their lives away. I could tell she was sick of the pricks who stroked her hand and slapped her butt. She knew how to act. She had them all fooled, but not me, I saw the pain in her eyes. MARCO You still think of her? After all this time? 11.

JOEY Yeah. When I was a boy growing up in Ossining, my Mom was everything to me. My Dad? Who the fuck knows who he is! MARCO Yeah, I can dig that madness. JOEY I thought when I grew up I would be a writer, you know? MARCO (surprised) What? Like Clark Kent? JOEY Mother fucking Superman! They crack up laughing. MARCO Ya know, most superheroes are orphans like us. JOEY Yeah. But they have powers and kick ass. Look at us, what do we have, huh? MARCO We got each other, bro. That’s stronger than what those kids back in Ossining have. Joey appears lost in a memory. MARCO (CONT’D) You ever go back to that bar to look for your Mom? JOEY Nah. When people throw the garbage out, they don’t want it back. Marco puts his arm around Joey and they stare off at the skyline. MARCO You know what we are? JOEY What? 12.

MARCO Dead End Friends, bro. JOEY To the end of time.

INT. APARTMENT - LIVING ROOM - DAY Sunlight pierces through the window. Joey and Marco sleep on opposite ends of the couch. There is a bang on the door. NYPD COP (O.S.) Open up, New York Police Department! Marco leaps from the couch, wipes sleep from his eyes then rushes to the door. MARCO Joe, hide the gun! Marco peers into the peep hole. MARCO (CONT’D) Fuck, it’s the pigs! Joey grabs the cash then pushes the gun into his waistband. JOEY We gotta get outta here!

INT. APARTMENT BUILDING - HALLWAY - SAME An NYPD COP pounds on the door. Multiple street cops approach with a ramming pole. NYPD COP NYPD search warrant! Open the door! The cops swing the ramming pole into the door.

INT. APARTMENT - LIVING ROOM - SAME Joey climbs out the window. 13.

JOEY Hurry up, Marco, before those cops get in! Marco runs from the door and scrambles out the window.

INT. APARTMENT BUILDING - HALLWAY - SAME The cops ram the apartment door and it flies off the hinges. NYPD COP Police Department! The cops storm over the fallen door.

EXT. APARTMENT BUILDING - MORNING Joey and Marco frantically scramble down the fire escape ladder. The cops climb out onto the fire escape. NYPD COP (O.S.) Get on the ground! JOEY Marco, hurry up! Joey leaps off the bottom rung hitting the pavement. Marco unhooks the ladder and jumps. The ladder crashes to the ground stranding the cops on the fire escape. MARCO (to cops) See ya later, assholes! Marco flips the cops the bird and disappears with Joey around a corner. NYPD COP Son of a bitch!

EXT. CHRISTOPHER STREET PIER - DUSK Joey and Marco ignite bottle rockets on the end of the pier. Hundreds of people wait expectantly for something. 14.

Jenna, now in her twenties and another sexy Latino girl, GINA, 20-something, emerge through the crowd and call out to the boys. JENNA Hey, Joey! GINA Hey, Marco! MARCO What’s up, Gina? The boys kiss the girls. Joey hands Jenna a wad of hundred dollar bills. JOEY Use that to buy yourself something nice. JENNA Awe, Joey, you rock my world. JOEY That’s because I love you. On the river NYPD Police Boats patrol near firework barges. JENNA I feel like I’m going to lose you to the streets. I have nightmares that one day I’ll find out your blood is draining down a gutter somewhere. MARCO (to Jenna) Don’t say that. Ain’t nothing like that gonna happen. JENNA (to Joey) But, what if it does? JOEY (to Jenna) It won’t. (to Marco) Tell her, Marco. Marco looks away. 15.

JENNA (to Joey) I have to tell you something. JOEY You can tell me anything. JENNA I’m pregnant! Marco glances between her and Joey. Fireworks explode over the river, the crowd cheers. JENNA (CONT’D) Promise me, baby. Give me your word! JOEY What? Anything! JENNA Promise me that you won’t die! JOEY I’ll never die. Not as long as you love me.

EXT. SUPERMARKET PARKING LOT - DAY Heavy rain pounds shoppers sprinting to and from their vehicles. Joey and Marco step from a black car wearing overcoats and NY Mets caps.

INT. SUPERMARKET - LOBBY - SAME Joey and Marco walk confidently through the door then hurry over to an office where a MANAGER emerges. Marco shows the Manager the .38 tucked into his waistband. MARCO Back in there, Wonder Bread. They disappear into the office.

INT. SUPERMARKET - MANAGERS OFFICE - SAME Marco points the .38 pistol at the Manager’s head while he nervously turns the dial of a safe. 16.

MARCO (to Manager) Let’s not make any mistakes that will cause me to use this gun. MANAGER Okay, no mistakes. No problem. Please don’t shoot. The safe clicks open. MARCO (to Joey) Get the money, bro. Joey fills a bag with cash. JOEY I got it. MARCO (to Manager) You move one fucking inch and you’re dead! Joey opens the door and they disappear through it.

EXT. MANHATTAN CITY STREET - NIGHT A black car moves through rain drenched streets then pulls into a vacant parking lot. A flame illuminates Joey’s face through the windshield.

INT. BLACK CAR - SAME Joey lights a joint then passes it to Marco. Raindrops can be heard pelting the roof. JOEY There must be ten grand in the bag! MARCO Finally some real cash, Jo-Jo, but we need more. JOEY How much is more? 17.

MARCO To get away? To live a life on the beaches of Miami? Maybe ten times what’s in that bag. JOEY Fuck man, how the hell are we gonna get that much scratch? MARCO I got an idea.

EXT. FIRST PRECINCT - NIGHT Rain assaults POLICE OFFICERS running into the building. A cop car peels out with sirens blaring.

INT. FIRST PRECINCT - POLICE SQUAD ROOM - SAME The room is packed with DETECTIVES. A Hispanic Detective, RAUL RODRIGUEZ, sits at a metal desk writing a report. A prostitute, LUCY, is cuffed to the desk trying to slip off the handcuff. LUCY Raul, I’m telling you. I didn’t take that trick’s money. He’s lying on me! RAUL Sure, Lucy, and I’m the tooth fairy. Give it a rest, will ya? A phone on the desk rings and Raul answers it. RAUL (CONT’D) Rodriguez, First Precinct Robbery Homicide. Raul writes on a pad. RAUL (CONT’D) Yeah, yeah, I got it. He hangs up the phone, leaps from his desk, then hurries through the squad room. 18.

RAUL (CONT’D) Anybody seen Becker? LUCY Hey, don’t leave me here! What about me? Raul glances over his shoulder. RAUL Your sweet ass is shipping to Rikers, baby! An Irish Detective, MICHAEL BECKER, stomps through the squad room. BECKER (to Raul) What you got, partner? RAUL Grab your coat, Mike! Our kids just hit the Associated Food Store at 77 Fulton! BECKER Get the fuck outta here! They just robbed a liquor store last week! RAUL Continued criminal activity, partner, that’s what keeps us in business.

EXT. SUPERMARKET - PARKING LOT - NIGHT Police vehicles cram the parking lot where an unmarked car pulls to the curb. Raul and Becker urgently step from it, their badges hanging from their necks. They duck under crime scene tape, pass UNIFORMED COPS, then disappear into the supermarket.

INT. SUPERMARKET - MANAGER’S OFFICE - SAME A PATROL COP is writing a report beside the Manager when Raul and Becker burst in. 19.

BECKER (to cop) We got it from here. The Patrol Cop leaves the office while Raul points to himself and Becker. RAUL Sergeants Rodriguez and Becker. We’re from Robbery Homicide. MANAGER (confused) Homicide? RAUL Tell us what happened from the time they walked in. MANAGER Two kids. The Spanish one held a revolver to my head, the white one emptied the safe. RAUL Kids? MANAGER Not older than twenty, I think. BECKER What about the Caucasian, what did he look like? MANAGER What do I know? He was white and had bright blue eyes. RAUL You ever see either of them in the store before? The Manager shakes his head. BECKER Can you describe the Hispanic male? MANAGER Are you guys kidding me? I didn’t see too well with the gun to my head. He points to his head as if it were a gun. 20.

RAUL Then what happened? MANAGER They put the money in a paper-bag then walked outta here. Becker pulls photos from his pocket and throws them onto the desk. They land face-up and we see pictures of Marco and Joey. BECKER Are those the guys who robbed you? MANAGER That’s them all right!

EXT. SUPERMARKET - PARKING LOT - LATER Raul and Becker stand with MORE COPS around their car. The photos of Joey and Marco lay on the hood. BECKER The Manager identified our suspects from these liquor store surveillance photos. RAUL We need bracelets on their wrists, gentlemen. COP #1 Fucking animals! Raul points to the horizon. RAUL So, get your asses into the zoo and hunt them down!

INT. CAR - LATER Joey and Marco, now high from the joint, listen to Tupac’s “Dear Mama” on the radio. MARCO I think of my old girl when this song plays. I don't know why it hurts so much to think of my mother. (MORE) 21. MARCO (CONT'D) I mean, I ain't seen her in ten years. Why the fuck did our parents throw us away like dogs, huh? JOEY Fuck if I know, Marco. MARCO All I ever wanted from her was love, ya know? A family, me and her, maybe a father. Ain't that how it's supposed to be? JOEY Only in the movies. Marco SLAMS his fist onto the dash-board. MARCO Fuck! Fuck! Fuck! Joey grabs Marco’s hand. JOEY You’re always gonna have me. You’re like a big brother to me, we’re family. It's you and me against the world, Marco! MARCO Yeah, sure, you’re right, JO-JO. Joey reaches into his shirt, pulls out the crucifix chain then kisses it.

INT. FIRST PRECINCT - CONFERENCE ROOM - DAY Dozens of NYPD OFFICERS fill a large conference room listening to Becker who is speaking at a podium. He holds up pictures of Joey and Marco. BECKER We are looking for these guys, eighteen to twenty three years of age. Raul emerges from a side door. RAUL Over the past few years they’ve robbed a dozen local businesses and seem to know exactly who to target. 22.

BECKER They’re methodical, aren't seen by many customers and don't appear out of the ordinary. RAUL That places them in our sights as armed and dangerous criminals. New York’s most wanted list! A PATROLMAN stands up. PATROLMAN Do we have last known addresses or relatives? BECKER We got nothing! They’re ghosts. We had a line on a flop house in Washington Heights but they scrambled when Midtown executed a search warrant.

INT. CITI BANK - LOBBY - DAY A SECURITY GUARD sips coffee and is reading a newspaper when Marco bounces in through the front door. MARCO Good morning, sir. The Security Guard glances up. SECURITY GUARD Morning. Three TELLERS, one female and two males, work the counter. Marco approaches the FEMALE TELLER and reaches into his jacket. FEMALE TELLER What can I do for you today? MARCO I need some money. What do you think I want? FEMALE TELLER Oh Lord, please don’t hurt me! MARCO What the fuck do you mean, lady? 23.

FEMALE TELLER You’re robbing me! MARCO I’m ain’t fucking robbing you. Marco places a hundred dollar bill on the counter. MARCO (CONT’D) Fucking crazy broad. Gimme some change, will ya? FEMALE TELLER For a minute there - MARCO What? You thought I was gonna push a piece in your face? She grabs the hundred and places five twenties on the counter. FEMALE TELLER Yeah, sorry. MARCO I get it, I’m Puerto Rican and you think all Spics are robbers, huh? FEMALE TELLER I’m really sorry. Marco points at her with his thumb and forefinger like a pistol. MARCO Bang, bang. You’re dead.

EXT. CITI BANK - DAY Marco emerges from the bank, shoots his middle finger back towards the bank, then hops in the car.

INT. BLACK CAR - SAME Joey drives the car into heavy traffic. Beside him Marco seems troubled. JOEY Everything straight? 24.

MARCO Fuck, no! JOEY Come on, Marco, what’s up? MARCO Why is it when people look at me they think I’m going to beat their ass and take their money. JOEY Because you do beat their ass and take their money. MARCO But they don’t know that. JOEY Sure they do, man. It’s just like the lions at the Bronx zoo. We know they’d rip us to pieces if they could. MARCO Why the fuck is that? JOEY Because predators always know their prey, brother.

EXT. MANHATTAN STREET - FURTHER ALONG - SAME The black car snakes its way through traffic.

EXT. MOTEL 6 - PARKING LOT - SAME The black car speeds into the lot and pulls up to a room. Joey and Marco bounce out the doors, scramble across the lot and disappear into a room.

INT. MOTEL 6 ROOM - LATER Joey and Marco lay sprawled on the floor studying a hand drawn map of the bank. A TV plays in the background. 25.

MARCO (pointing at map) We got four cameras. Here, here, here and there. Joey points to an X on the map. JOEY This is the security guard? MARCO Yeah, older guy, too busy reading the paper to worry about me. JOEY Three tellers, right? MARCO One cunt and two dicks. Joey chuckles as Marco draws a circle on the map where the tellers are located. MARCO (CONT’D) I counted six employees including the guard. JOEY So, we're good to go? MARCO This time, I will be robbing her ass! Joey glances at Marco. JOEY Still sore at that bank teller, huh? MARCO Fuckin’ A. Marco climbs to his feet and paces the room. MARCO (CONT’D) We have to pull this off! There’s no other way. Your girl is pregnant and the cops found our shit hole apartment. Anson is in jail. (glancing around room) I mean, damn! Look at how we’re living? We need some money! I wanna give the girls a better life. 26.

JOEY You think we can get away with it? MARCO Jo-JO, you are a lion, aren't you? JOEY Yeah. MARCO Then act like a predator. Joey playfully growls.

INT. COMIC BOOK STORE - DAY Jenna is busy restocking comic book shelves when Joey troops through the door holding roses. JOEY I got a hard dick and bubble gum, too, for later. JENNA Stupid boy. What are you doing here? JOEY I'm here for lunch with my girl. Maybe you know her? JENNA (grabbing roses) Nope, but I'll take these! She takes the roses to the counter then pushes them into a vase. JOEY I thought you’d like those.

EXT. CENTRAL PARK - AFTERNOON It is a sunny winter day. A jogger sprints past Joey and Jenna who lounge on a park bench eating Big Macs. Joey counts out a few hundred dollar bills. 27.

JOEY Is this enough to help with the bills this week? JENNA Thank you, baby. Joey points to young children walking with their parents. JOEY That will be us one day. A real family. JENNA We are barely adults ourselves and kids cost money, you know, lots of it. JOEY Your mother will never approve of us being together. I get the feeling Rebecca and Gerry don't like me much. JENNA They'll come around. Besides, Dad never says anything bad about you. JOEY And your mother? What does she say? JENNA (laughing) She hates you. Joey smirks, then kisses her.

INT. CAR - DAY Joey and Marco load their guns. The Citibank is visible outside. MARCO (convincingly) It's like taking candy from a baby, remember? JOEY Yeah, but what if Mister T is in there? Marco pulls the .38 and a shotgun from under the seat. 28.

MARCO Then we’ll take his gold chains. JOEY I dunno. Maybe we should forget the bank and find something smaller. MARCO And do what? Support your girl and baby boy on Seven Eleven hold-ups? JOEY We could do it.

INT. CITI BANK - LOBBY - SAME Marco and Joey storm into the lobby. Marco approaches the Security Guard and places the shotgun against his head. The bank is busy with CUSTOMERS. MARCO Don’t move, my man! Joey runs to the teller counter, jumps over it, then POINTS the .38 at the Tellers. JOEY Ladies and gentlemen, this is just a friendly neighborhood withdrawal. Nobody screams and nobody gets hurt! He throws a bag to the Female Teller. JOEY (CONT’D) (pointing at Marco) Fill this up for your friend over there, lady! MARCO (to Teller) Remember me? FEMALE TELLER Oh, my God! JOEY (to customers) Everybody on the floor! 29.

The bank customers drop to the floor. One of the customers is DETECTIVE AUGUSTA, a middle aged nard nose. He reaches into his coat jacket, pulls out a gun and then points it at Marco. DETECTIVE AUGUSTA Drop the gun, now! Let me see your hands! Marco points the shotgun towards the detective. Augusta fires his weapon at Marco who collapses in a spray of blood. The customers scream. Pandemonium breaks loose. JOEY Marco! Joey jumps off the counter while firing his pistol at Detective Augusta. The bullets knock away the detective’s gun. Augusta falls to the floor revealing a NYPD Police Badge clipped to his belt. Joey glances at Marco lying in a pool of blood. JOEY (CONT’D) Marco! Marco! Marco doesn’t move. DETECTIVE AUGUSTA Kid, you haven't killed anyone, yet. JOEY (to detective) God damn it! Oh, man, you killed him! Sirens wail in the distance as the customers whimper in fear. JOEY(CONT’D) (to detective) This isn't what I wanted, mister! Joey lowers the .38. 30.

JOEY (CONT’D) I didn't want this! I’m not a killer. He scrambles from the bank.

EXT. CITI BANK - PARKING LOT - AFTERNOON Cops string crime scene tape through the parking lot. Becker and Raul scan the crowd as DETECTIVE JOHN, a thirty year veteran, approaches. BECKER What do we got, Johnnie? DETECTIVE JOHN Come on, I'll walk you bums through. They walk across the lot and disappear into the bank doorway.

INT. CITI BANK - LOBBY - SAME Detectives John, Raul and Becker stare at the crime scene. DETECTIVE JOHN We found a Hispanic suspect spread out here with a single GSW to the chest. Raul inspects the pool of blood. RAUL Gun shot got him pretty good. Detective John hands Becker a surveillance camera photo showing Marco and Joey robbing the bank. BECKER Wonderful, nice and clear for a jury. DETECTIVE JOHN The one we have is nineteen to twenty years of age. Haven't run him through NCIC yet. He’s still in critical condition at Saint Vincent’s Hospital. 31.

BECKER A nice welcome to the major leagues. DETECTIVE JOHN They are going down swinging.

EXT. CITI BANK - PARKING LOT - LATER A light rainstorm begins as Detective John shows Becker and Raul Joey’s escape route. DETECTIVE JOHN (pointing) The other suspect ran out these doors and across the parking lot. RAUL And, then? Detective John spreads his arms and shrugs. DETECTIVE JOHN Poof! Disappeared into thin fucking air! Thunder claps and lightning flashes. DISSOLVE TO:

EXT. CONEY ISLAND BOARDWALK - NIGHT Joey is creeping through the thunderstorm on the deserted boardwalk. He coughs into his fist and peers into the sky. Lightning streaks through the clouds. FLASHBACK

EXT. APARTMENT BUILDING - NIGHT Joey, a 10 year old innocent boy, peers through a window. Thunder rumbles.

INT. BOYS BEDROOM - SAME A drunk man, FREDDIE, 30-something, snatches Joey from the window, then slaps him around. 32.

Patty, in her late twenties, runs into the room and leaps onto Freddie’s back. PATTY Leave him alone, Freddie! FREDDIE Stay out of it, bitch! PATTY Please, Freddie, stop! He's not your son! FREDDIE Patty, get off me, you whore! Freddie knocks her off his back and then throws Joey across the room. The boy crashes against the wall and screams. Patty stumbles to her feet then runs from the room. FREDDIE (CONT’D) (to Joey) I’ll show you who is the boss around here! JOEY Mommy, help! Freddie unbuckles his belt. FREDDIE I’m gonna whip you within an inch of your life, boy! Freddie cracks the belt against Joey’s back and keeps cracking. JOEY Ow! No! Freddie, please! Patty races back into the room with a carving knife in her hand. She jumps onto Freddie’s back and stabs him in the neck. PATTY You bastard! Blood spurts from Freddie’s neck and he stumbles to the floor. Patty pulls the knife out, raises it over her head. 33.

PATTY (CONT’D) Leave my son alone! And thrusts the blade deep into Freddie’s chest. JOEY Mommy, Mommy! Patty lifts Joey into her arms then runs from the room. PATTY I’m sorry, baby. Mommy won’t let anybody hurt you again. END FLASHBACK

EXT. CONEY ISLAND BOARDWALK - NIGHT Thunder, lightning and rain pound Joey where he is kneeling on the boardwalk. He raises his fists towards the heavens. JOEY Momma!

INT. FIRST PRECINCT - CONFERENCE ROOM - NIGHT MORE COPS pack the room watching a surveillance video of the bank robbery. Raul and Becker approach the video screen. RAUL Listen up, people! As you mucks know the first precinct was chasing these guys who think this is their fucking playground. BECKER That is, until yesterday when they robbed CITI Bank at One Eleven Wall Street. A photo of Detective Augusta comes up on the screen. RAUL Many of you know Detective Augusta from property crimes. He was in the bank when our suspects pulled the heist. 34.

The video displays a photo of Marco. BECKER The Hispanic suspect, Marco Alvarez, is currently listed as critical and we have him in custody at Saint Vincent. Joey’s picture comes up on the screen. BECKER (CONT’D) A warrant for this perp, Joey Jacobs, is on the wire. White male, early twenties, six feet tall. Raul hands out BOLO sheets. RAUL I want this prick marched into Robbery Homicide today! On those BOLO alerts is an East Village address where he might be held up. BECKER Bring him in, hard! The cops rush out of the room.

EXT. TIMES SQUARE - MORNING Joey darts along Forty Second Street. Homeless people camp out on the sidewalk. Before him stands the Mini Market where his mother abandoned him. He pulls a loose brick from the wall, removes a tin can from the hole and inserts his crucifix chain. He glances up and down the street then pushes the can into the wall.

EXT. AN EAST VILLAGE STREET - DAY A two story brownstone is surrounded by dozens of STREET COPS and a growing crowd of SPECTATORS. Becker and Raul speak to a POLICE OFFICER who points to Jenna and Gina being led, handcuffed, out of the building and to a police car. 35.

POLICE OFFICER We found them packing bags in the apartment. RAUL Rabbits, huh? Maybe they thought a vacation was in order. BECKER (to Police Officer) Did they say where our suspect might be hiding? Behind Becker, and unseen by the cops, Joey is on the prowl through the crowd. POLICE OFFICER Not yet. But both girls said they are willing to make statements about what they know. BECKER They told you that? POLICE OFFICER Yeah. Want me to take their statements? BECKER Nah. We’ll get it downtown. Gotta love the honor among thieves. RAUL (to Becker) I’m gonna toss the apartment and see if there’s anything that can tell us where this guy is hiding. Raul hurries up the stairs and disappears inside. BECKER (to Police Officer) Did you check the area? POLICE OFFICER Yeah, we got units out checking MTA and Port Authority. So far, no sign of him at the terminals. BECKER Keep me posted. Becker turns to the building, climbs the stairs, then turns back and pans the crowd. 36.

But, Joey’s gone. BECKER (CONT’D) A needle in a fuckin’ haystack! He walks into the building.

EXT. SEVENTH AVENUE SUBWAY - AFTERNOON Joey, appearing tired and dirty, descends the subway stairs.

INT. SEVENTH AVENUE SUBWAY PLATFORM - SAME Joey shuffles along the busy platform. A train horn blares as the #1 subway car pulls into the station. Joey boards the train.

INT. SUBWAY CAR - SAME Joey, appearing tired, grips the strap above his head and then glances around at the TRAIN PASSENGERS. His eyes flutter closed for a moment. INTERCOM (V.O.) Next stop, Penn Station, 33rd and 34th streets. Joey blinks awake, releases the strap, yawns then runs his hands down his face. The subway car jerks to a stop, the doors open and the passengers rush out.

INT. PENN STATION - SAME A tiled wall states we’ve arrived at “34th Street PENN Station”. Joey struggles along the packed platform and drops a coin into the case of a saxophonist playing a jazz piece.

INT. PENN STATION - LOBBY - SAME Joey follows the crowd through the lobby and then hurries toward the exit. 37.

EXT. PENN STATION - DAY The Madison Square Garden marquee flashes videos of NY KNICKS games across its Jumbo Screen. Joey emerges from the station and heads towards dozens of yellow cabs lining the sidewalk. A NYPD van pulls to the curb.

INT. NYPD VAN - SAME Two NEW YORK CITY COPS stare at Joey, a picture of him lies in the passenger’s hands. The driver points to the radio. NEW YORK CITY COP #1 That’s him! Call it in.

EXT. PENN STATION - DAY The New York City Cops leap out of the van and sprint towards Joey. NEW YORK CITY COP #1 (to Joey) Hey, buddy, come over here! Joey looks at the cops and then runs for his life pushing pedestrians out of his path. NEW YORK CITY COP #2 (into radio) Five Charlie, 2204, we have eyes on the bank robbery suspect, over? They give chase squeezing though gaps of pedestrians.

EXT. 34TH STREET - DAY Joey runs for his life past Macy’s. The Empire State Building looms ahead. Sirens wail in the distance.

EXT. AVENUE OF THE AMERICAS - DAY Joey sprints along Avenue Of The Americas with the cops hot on his trail. 38.

NEW YORK CITY COP #1 (O.S.) Police, stop! Joey knocks over a pretzel vendor’s cart and almost falls. He glances over his shoulder at the cops closing on him.

EXT. BRYANT PARK - DAY Joey, out of breath, jolts across the grounds of the New York Public Library. MORE STREET COPS appear from behind the fountain with guns leveled at Joey. There is nowhere to run. NEW YORK CITY COP #2 (out of breath) Get on the ground, now! NEW YORK CITY COP #1 Don’t move! A NYPD helicopter swoops out of the sky, a sniper at the open jump port. Beside him crouches Becker and Raul. Raul speaks through a bullhorn. RAUL This is the NYPD, you are under arrest! Get on the ground and you wont be hurt! Joey, tired and surrounded, is not able to take another step and he tumbles to the ground spreading his arms to his sides. JOEY All right! Don’t shoot! The chopper lands. Raul and Becker jump out, approach Joey and handcuff him.

EXT. MANHATTAN CRIMINAL COURTHOUSE - MORNING DEFENDANTS, LAWYERS and MORE COPS hurry along the steps of the courthouse. 39.

INT. COURTHOUSE - LOBBY - SAME A suave looking lawyer, TERRY WOODWARD, 40-something, makes his way through hordes of people.

FURTHER ALONG The lawyer glances at his watch then hurries through the busy corridor. A door opens revealing an OLD WOMAN being supported by family members. OLD WOMAN Oh, Lord! He can't do life! Not my grandson! Mr. Woodward moves through the doors and they swing shut behind him.

INT. COURTHOUSE - COURTROOM - SAME The courtroom buzzes with activity as a JUDGE bangs his gavel repeatedly on his bench. JUDGE Order in the court or I’ll clear the room! On the wall behind him hangs the Seal of New York County. Raul and Becker sit in the courtroom. Mr. Woodward moves past DETENTION OFFICERS who push a handcuffed BLACK DEFENDANT towards a door next to the jury box. BLACK DEFENDANT I ain't did shit! This is kangaroo court! JUDGE (to Bailiffs) Get him out of here! Spectators yell as the Detention Officers drag the Black Defendant to the door. SPECTATORS (chanting) No justice! No peace! No justice! No peace! 40.

The Judge points at the Black Defendant. JUDGE Tell them your story in Attica! The Black Defendant is pushed through the door and the spectators get herded out of the courtroom. SPECTATORS No justice! No pea - The courtroom doors close and order is restored. JUDGE Jesus H. Christ! What’s next? Alice in Wonderland? Mr. Woodward takes a seat at the defense table and then glances at BECKY ABRONSON, 33, an overworked prosecutor, whispering to Raul and Becker. JUDGE (CONT’D) (to clerk) What’s behind door number two? CLERK (shuffling papers) State of New York versus Joey Jacobs, Section 160.15 Robbery in the First and 265.03 Criminal possession of a weapon in the Second. JUDGE Wonderful! Beautiful! Isn’t this a treat! The side door opens and the Detention Officers emerge escorting Joey to the defense table. Much time has passed and he’s obviously healthier. MR. WOODWARD Morning, Your Honor. Terry Woodward present for the defendant, Joey Jacobs, under section 18-b. BECKY ABRONSON Becky Abramson for the State, your honor. 41.

JUDGE Ah, yes, this should be quite interesting. No murders today, Mr. Woodward? MR. WOODWARD Not today, Judge. Sorry. JUDGE Don't worry, counselor, there's always tomorrow! The Judge peers over the bench at Joey. JUDGE (CONT’D) A white robbery defendant is a rare event around here, isn’t it? BECKY ABRONSON Your Honor! JUDGE Calm down, Miss Prosecutor. Neither you or I are card carrying members of the Human Rights Committee. (to Mr. Woodward) Mr. Jacobs entered a plea of guilty in September with his codefendant, correct? MR. WOODWARD That's correct, Judge. A negotiated plea. JUDGE (to the prosecutor) I’m sure your office has something to say? BECKY ABRONSON The state requests twenty five years to life, your honor. He shot at a New York City Detective and held the customers of a bank hostage. JUDGE His co-defendant was sentenced a few months ago by this court to fourteen years, right? MR. WOODWARD That’s right. 42.

BECKY ABRONSON Yes, judge, but that is - JUDGE (interrupting) - save the speech, counselor. He gets the same sentence as his immigrant friend. BECKY ABRONSON Your honor, he shot at a detective! JUDGE Equal rights, counselor. That’s the law, even for the lowest of scumbags in the County of New York.

EXT. A COUNTRY ROAD - DAY It is spring as a prison bus rolls along a mountain road.

INT. PRISON BUS - SAME A CORRECTIONS OFFICER peers into the back of the bus where chained convicts stare out the windows. Joey and DARREN, a white, mid-thirties, down and out lifer, sit together in the middle of the bus. DARREN (to Joey) Hey, kid, what’s your name? JOEY They call me Jo-Jo. DARREN I’m Darren, but they call me Slick. JOEY Slick? DARREN Yeah, cause I know how to make things happen. JOEY Like what? Darren chuckles. 43.

DARREN You ask a lot of questions. First time, huh? JOEY Yeah. First and last. DARREN That’s what everybody says. JOEY But I mean it! This shit ain’t for me. DARREN Right. I’ve been to Sing Sing four times. JOEY Four times, really? For what? DARREN First time was for possession, and like you, I said I would never come back. JOEY What happened? DARREN Once a man goes to prison, he learns all kinds of shit. The penitentiary is a college for criminals. My first time in the house of pain I met someone who taught me how to get around burglar alarms. So when I got released, I became a burglar. JOEY No shit? Darren shakes his head. DARREN If it wasn’t for bad luck, I’d have no luck at all. My last bid, I ended up with three-to-five for breaking into a detective’s brownstone. I was riffling through the wife’s jewelry box when the lights flashed on and a cop in his boxer shorts pointed his service revolver at my head. 44.

JOEY That is bad luck. DARREN My third time in, I met a guy who taught me how to make counterfeit twenty dollar bills. You’ll learn how to commit all kinds of crimes. JOEY Sounds like you know the ropes. What are you in for now? DARREN Murder. Guy walked in on me as I was robbing his store. I let him have it with a tire iron. JOEY Damn, you killed somebody? DARREN Shit happens, you know? One thing leads to another, someone pulls a gun and then suddenly you’re facing life without parole. JOEY Fuck! DARREN I don’t care. At least I don’t have to worry about rent or where my next meal will come from, know what I mean? JOEY That’s some heavy shit. DARREN In prison, every day is like the one before it. You get invisible, my friend, that’s the key to making it behind bars. Keep your head down and mind your own business. Joey stares out the caged window at a sign, “Sing-Sing Correctional Facility”.

EXT. SING-SING CORRECTIONAL FACILITY - DAY Sing-Sing lies on the bank of the Hudson River surrounded by its concrete walls. 45.

EXT. SING-SING BUS ENTRANCE - SAME GUN TOWER GUARD #1 watches the bus roll through the iron gate. A prison steam whistle BLOWS. Five PRISON GUARDS holding night sticks and a SERGEANT surround the bus as the gate slides closed. The Corrections Officer steps off the bus followed by the prisoners dragging leg chains. PRISON GUARD #1 Let’s go, shit heads, get your lousy asses off my bus! MORE prisoners emerge from the bus. PRISON GUARD #2 Let’s move it, ladies. Move along! Prison Guards #3 and #4 remove the leg chains from the prisoners as they exit the bus. PRISON GUARD #3 Once these officers remove your chains put your hands on top of your heads. Joey and Darren emerge from the bus and are approached by Prison Guard #4. This is OFFICER BOB, a skinny kind-faced man in a sea of anger. OFFICER BOB What’s your names? JOEY Joey Jacobs. DARREN Darren Langford. Officer Bob removes the chains. OFFICER BOB (to Joey) A baby faced boy like you must be careful in here. Officer Bob points to a brick building. OFFICER BOB (CONT’D) That’s your destination. 46.

Joey and Darren shuffle towards the building. Prison Guard #5 watches them from beside the door. PRISON GUARD #5 (to Joey) Double time it, inmate. This isn’t a fucking Sunday afternoon stroll in the park.

INT. PRISON RECEPTION AREA - SAME The Sergeant paces back and forth tapping his nightstick into the palm of him hand. In front of the Sergeant stands a long line of naked prisoners which includes Joey and Darren. SERGEANT Welcome to Sing-Sing. You have graduated from your momma’s womb and have landed right fucking here in daddy’s lap. PRISON GUARD #5 (to naked men) Turn around, spread your ass-cheeks and bend over. The prisoners comply except for a SPANISH PRISONER who steps out of line. SPANISH PRISONER I ain’t doing that shit! The Sergeant swings his nightstick and cracks his skull open. The Spanish Prisoner falls unconscious onto the floor, blood is gushing from his head. SERGEANT (to naked prisoners) This is my house and you will follow the regulations outlined by my staff. Convicts don’t run shit here at Sing-Sing. Prison Guards #1 and #2 drag the Spanish Prisoner away. His blood leaves a trail on the cement floor. 47.

SERGEANT (CONT’D) (pointing at blood) We can spill more blood today or you can surrender your balls, shut your fucking mouths and join the ranks of losers who have been skulking through these gates since 1826. Suddenly, another naked man falls to the floor in an epileptic fit.

INT. CELLBLOCK TIER - NIGHT Prison Guard #6 drags his nightstick over the cell bars as he walks down the dim tier. Prisoners are locked in their cells. Some read books, write letters, sleep or work out. Darren is seated on his bunk staring at the naked steel walls. Prison Guard #6 passes Darren’s cell and then stops in front of another. He peers into the cell then bangs his stick on the bars. PRISON GUARD #6 Ain’t nobody listening, son. You're in hell. A light from the tier outlines Joey on his knees praying. PRISON GUARD #6 (CONT’D) Just like the rest of ‘em, get in the joint and suddenly find God. He drags his stick along the bars and then shuffles down the tier, whistling. Joey approaches the bars and grabs them tightly. JOEY (to cell next door) Hey, Darren, you still up? Darren walks to his cell bars. DARREN Yeah, kid? 48.

JOEY What happens now? DARREN You try to survive the belly of the beast. A LOUDSPEAKER (V.O.) Lights out! We pull back from Joey and Darren showing the entire cellblock. The lights go off and a searchlight moves across the exterior windows and over the dark cells. A VOICE (O.S.) Oh, God! Oh, my God! DISSOLVE TO:

EXT. EXERCISE YARD - DAY It is spring as a Prison Guard #7 patrols a gun tower. Hundreds of prisoners wait expectantly by the cellblock. A prisoner in a wheelchair, RICHARD BLAKE, a mid-fifties intellectual, is chatting with Marco. RICHARD They should be coming out soon, right? MARCO God damn right! RICHARD You think you’ll recognize him after all this time? MARCO We grew up together on the streets. He’s like a brother to me. Ya never forget blood. Joey and Darren, now bald headed, emerge from the cellblock with dozens of other new arrivals. VOICE #1 (O.S.) Fresh Meat! 49.

VOICE #2 (O.S.) Newjacks! Two BLACK CONVICTS step forward and then blow kisses towards Joey. BLACK CONVICT #1 Sexy ass white boy! BLACK CONVICT #2 Boy, you gonna be my bitch. Black Convict #2 grabs Joey by the arm then stares into his eyes. JOEY Hey, man, leave me the fuck alone! BLACK CONVICT #1 It’s either shit on my dick or blood on my knife. Which one you want? Black Convict #2 slaps Joey across the face, the force of the blow sends him to the ground. Black Convict #1 seems ready to jump on Joey, but Marco pushes through the crowd and clobbers him. MARCO He’s my brother, Yo. It ain’t going down like that. Black Convict # 2 moves towards Marco, but Marco pulls a shank from his waistband. BLACK CONVICT #2 (to Marco) Man, you can’t save him from the wolves. Marco raises the shank. MARCO Motherfucker, I am a wolf and you don’t want to be my enemy. BLACK CONVICT #2 This ain’t the end of this, Chico! Darren helps Joey to his feet. DARREN You okay, buddy? 50.

Marco watches the Black Convicts backing away, then turns to Joey and wipes blood from his lip. MARCO Jo-Jo, you okay? JOEY I thought I’d never see you again! MARCO It’s destiny. Friends to the end, remember? JOEY Destiny, huh? MARCO Yeah, that’s right. JOEY This ain’t much of a destiny, Marco. Marco points to Richard. MARCO Joey, meet Ritchie. We call him Speedy. Joey nods at Richard and points to Darren. JOEY This is my new pal, Slick. We met on the bus. RICHARD (to Darren) Good to meet you. (to Joey) Sometimes a person’s destiny starts in hell. JOEY Can’t get any lower than being bitch slapped in a prison yard! MARCO That’s true, you did look like a sissy for a minute. JOEY Hey, screw you, man! Everybody laughs. 51.

INT. CELLBLOCK - LOWER TIER - MONTHS LATER The scene’s loud as MORE convicts play a poker game at a steel picnic bench. Joey’s hair is grown out. He is scribbling on a note pad. In his pocket is a Stephen King novel. He glances over at Marco placing four aces next to three kings. MARCO I told ya, homeboys! I run this shit! Marco pulls in a pile of cigarette packs. He opens a pack of Newports and then throws a pack of Marlboros to Joey. MARCO (CONT’D) (to Joey) Hey, bro, stop writing poetry and let's go smoke. Joey pushes the pad into his pocket and they bounce down the crowded tier. MARCO (CONT’D) You remember? You and me smoking up on the rooftop, the city lights off in the distance? JOEY Hell, yeah, I remember. Those were the days, huh? MARCO Fuckin-A, damn straight. I’d give anything for those times back. You, me, Gina and Jenna. Fireworks explodin’ over our heads. Damn. JOEY Yeah. It seems like a dream now. MARCO Shit, it’s the small things I miss. A fist fight breaks out nearby. Guards run through the crowd. An alarm RINGS. LOUDSPEAKER (VO) Lockdown! Lockdown! 52.

Marco and Joey disappear into the crowd.

INT. JOEY’S CELL - MANY MONTHS LATER Joey sits on his bunk writing on the pad, beside him is a Sidney Sheldon novel. His cell is crowded with belongings, he’s been in prison now for quite some time. Prison Guard #6 appears at the cell and tosses an envelope onto the floor. PRISON GUARD #6 (O.S.) Mail call, Jacobs. Somebody is wasting their time writing your sorry ass. Joey puts down the pad, poems are written on it. He picks up the envelope then rips it open. He stares at photographs of Jenna and a baby boy. He reads the letter. JENNA’S VOICE (V.O.) I thought I would tell you what a beautiful 18 month old son I have. His name is Matthew and he has my eyes, but what the hell - Black Convict #1 storms into the open cell and places a knife to his throat. BLACK CONVICT #1 I told you, white boy, that I was coming for you. Joey screams.

EXT. SING-SING PRISON - NIGHT Sing Sing lies dimly illuminated on the snow filled bank of the Hudson River. JOEY (V.O.) (screaming) Nooooooooo! Search lights move across its walls. 53.

A prison steam whistle blows. FADE TO MORNING

INT. INFIRMARY - DAY Marco sits beside Joey who lies badly beaten upon a hospital bed. HOP SING, 22, a sleight Asian prison trustee, places an ice pack on Joey’s swollen face. HOP SING Hold this on your face for a while. Joey places his hand on the ice pack. MARCO I’m sorry, Jo-Jo, I’m so sorry, brother. Hop Sing hurries away leaving Joey and Marco alone. JOEY It was that guy. MARCO Who? JOEY The brother who slapped me in the yard that first day. Joey moans in pain. MARCO Broke a couple of your ribs, huh? JOEY Marco, he, he, he- MARCO What? What is it? But Joey only stares at his friend. MARCO (CONT’D) It’s all right. We don’t have to talk about it. JOEY Okay. 54.

Officer Bob approaches and places a hand on Marco’s shoulder. OFFICER BOB Come on, Alvarez, it’s lock down time. Back to your cell. (to Joey) You want protective custody? Joey glances at Marco. MARCO (to Bob) Fuck no, he ain’t going to P.C. OFFICER BOB (to Marco) They’ll make another move on him, you know that. MARCO Maybe they will, and maybe they won’t. OFFICER BOB If they do, let one of us know and we’ll do our best to protect him. MARCO You can’t protect anybody in here, Officer Bob, you know that. Officer Bob turns to leave. JOEY (to Bob) Hey, C.O. Bob? OFFICER BOB (turning back) Yes? JOEY Thanks. Officer Bob sighs, nods to the boy and shrugs. OFFICER BOB Think about what I said, they’ll come for you again. Hop Sing returns, sits beside Joey, then moves the ice pack to Joey’s jaw. 55.

HOP SING (to Marco) I’ll take good care of him. Marco reluctantly moves in beside Officer Bob, then glances back to Joey. MARCO (to Joey) Dead End Friends, brother. Don’t give up on me, ya hear? I’ll take care of that motherfucker for doing this to you.

INT. CELLBLOCK TIER - NIGHT Marco stomps angrily along the tier with a shank in his hand. CONVICTS nervously dart out of his path. A VOICE (O.S.) He’s got a shank! ANOTHER VOICE (O.S.) Marco, what are you doing, bro? Marco steps into a shower room.

INT. SHOWER ROOM - MOMENTS LATER Black Convict #1 is in the shower as Marco attacks, repeatedly stabbing him in the chest. He collapses to the floor. MARCO Say hello to the devil. Marco drops the shank and then scurries through the shower room. In the background, the convict’s body trembles and then stops. He is dead. His blood is running down the drain.

EXT. EXERCISE YARD - WINTER Marco helps Joey around the yard, he has a limp to his walk. He is recuperating from the attack. 56.

The tree branches are absent leaves, a football game is underway in the background. MARCO Come on bro, we have to get you strong again. Joey struggles with each step. CUT TO:

EXT. BASKETBALL COURT - SPRING Marco and Joey are doing push-ups beside the court, the tree’s are blooming, spring has arrived. Darren is counting the push ups. DARREN (to Joey) Come on, just five more! Joey appears stronger. He finishes the push-ups and stands to his feet, takes a few steps, the limp is gone. CUT TO:

EXT. EXERCISE YARD - SUMMER Joey, Darren and Marco race around the fence line. Joey is tougher, months have passed. LOUDSPEAKER (V.O.) Inmate Jacobs report to the mail room. MARCO (to Joey) What up? You expecting something? JOEY Nah, maybe it’s something from Jenna, I haven't heard from her in a long time. DARREN Better get over there and see what it is, that lady who works there is a bitch. 57.

INT. PRISON CORRIDOR - MAILROOM WINDOW - DAY Joey walks up to a FEMALE GUARD, 40-something, a rattle snake of a woman, standing on the other side of a window. FEMALE GUARD (uninterested) Name? DC number? JOEY Jacobs, 89-A-5235. FEMALE GUARD (looking around mail room) Got a big box back here for you somewhere. She digs through a pile of boxes, pulls a large box up to the counter, cuts it open with a box cutter and hands over a Smith-Corona Word Processor. FEMALE GUARD (CONT’D) (with attitude) What are you going to do with that? JOEY Not sure. FEMALE GUARD There is a letter in the box, too. Do you know how to read? She hands it over and Joey glances at it. It’s from Terry Woodward, Attorney at Law.

INT. JOEY’S CELL - LATER Joey places the word processor on the steel desk, then sits on his bunk and reads the letter. There are novels everywhere, Stephen King, Anne Rice, Sidney Sheldon. JOEY (V.O.) Life is about promises. To yourself and to the people who care about you. I care about whether you make it when you get out of there or whether you fall into the swill of humanity. Joey stands and paces the floor. 58.

JOEY (V.O.) I received the poems you sent me, and I thought you might be able to use this writing machine. Consider it an investment in your future. I consider it an investment in you. Joey glances to the machine, runs his fingers across its keyboard and sits before it.

INT. CHOW HALL - THANKSGIVING DAY Undecipherable conversations overlap as a long line of PRISONERS move along a holiday decorated food serving line. MORE Prison Guards patrol dozens of tables where hundreds of prisoners sit eating. Joey, carrying a food tray, notices Richard, Darren, Marco and Hop Sing waving to him from a table. Joey sits in an empty seat. RICHARD (to Joey) Happy Thanksgiving! Welcome to Tavern on the Green! JOEY Doesn’t feel like Turkey Day, does it? DARREN Nope, seems like any other day. JOEY (to Darren) I can’t believe this is our third year in this dump. Maybe a miracle will happen and the walls will fall down. DARREN Good luck with that. We’re a long way from a Miracle on 34th Street. RICHARD Maybe next month Santa Claus will leave us presents. JOEY The fat guy who drinks? 59.

HOP SING Santa Claus drinks? JOEY The first time I saw the fat man he was drinking Mad Dog 20/20 outside Macy’s on 34th Street. MARCO That fucker is a lush. No matter where he is, he’s drunk. DARREN I saw him in the subway passed out on a bench. He smelled like a brewery. Richard appears lost in a memory. RICHARD When I was a kid, my mother and father convinced me there was a jolly ole fat man who lived up north and brought toys for Christmas. But I soon learned, like every other kid does, that Mom and Dad were in on the bamboozlement of childhood dreams. JOEY Pathological liars is what they are. HOP SING And they wonder why we all grow up and become thugs. DARREN Ain’t that the truth! JOEY (to Richard) The only Santa that existed on 42nd street had a hooker on his arm. DARREN Now, that’s a Christmas present. MARCO Or a case of the crabs. Everybody laughs. 60.

RICHARD Isn’t it funny how they repackage Santa when kids reach puberty? DARREN And not just him! What about the Easter Bunny, Tooth Fairy and Cupid! It never ends. HOP SING Then, when you’re old enough to know they fed you a line of shit, they tell you about God. RICHARD Hell of a tale, though! Church people scared the hell out of me with their stories of angels and demons! MARCO Don’t forget the saints. Holy crap! RICHARD It’s all bull shit to keep people under control. Misbehave and off ya go straight to hell - JOEY - or wind up in a cell! HOP SING Do not pass go, do not collect two hundred dollars. MARCO What about the 40 virgins? RICHARD That’s another story. JOEY You’re all demented. Of course there’s a God! RICHARD (to Joey) Come on! Really? People with wings? DARREN Richard’s right. I think it’s a load of shit. 61.

HOP SING I mean, the whole notion of Heaven and Hell is ridiculous. RICHARD Don’t tell the Pope that! DARREN He’s got a funny hat! MARCO And a cool mansion! RICHARD The Vatican would have you believe they live a life of poverty. Yet their bank accounts are fat and their churches are filled with gold. Everyone laughs. LOUDSPEAKER (V.O.) The following inmates report to the visiting room. Maxwell Thomas and Joey Jacobs. RICHARD (to Joey) Expecting somebody? DARREN Might be the Easter Bunny! Joey gathers his tray and then walks off while his friends continue laughing.

INT. VISITING ROOM - LATER A room decorated with Thanksgiving decorations is packed with VISITORS and CONVICTS who sit at tables softly talking. Jenna is seated at a table holding MATTHEW, now three years old. Joey hurries to Jenna, tries to hugs her, gets rejected and then sits in a chair. JOEY Jenna, it’s so good to finally see you. (reaching for Matthew) And my son! 62.

Jenna pulls Matthew from Joey’s reach and then places him on her lap. JENNA Don’t you touch him! JOEY (shocked) What? What’s wrong, Jenna? This is what its about, isn’t it? Us being together? Jenna shakes her head. JOEY (CONT’D) I thought maybe you had forgotten about me, about us. JENNA There is no us! No you! We aren’t together. I came here to tell you that, how much I hate you and that you’ll never see your son again. She motions to the other prisoners in the room. JENNA (CONT’D) You belong to this! The world outside these walls has forgotten you! JOEY What are you talking about, babe? JENNA (screaming) You promised me! You gave me your word that you wouldn't die! But you're as good as dead! JOEY I’m not dead. You and Matthew are all I have! There isn’t a minute of any day that passes where I don’t think of what if and why. JENNA What if? Why? You threw away what if by robbing that bank, Joey, that’s why. It’s all just an if now! Joey reaches for Jenna, gently, pleadingly. 63.

JOEY I’m not dead, baby! This will all pass. We will go on with our lives and things will change. JENNA No, it won’t go away. You're dead to me, Joey. And you're as good as dead to my son! You’re nothing but a common criminal! JOEY I did what I did for us, to provide something for you while you were pregnant, remember? You didn’t have any problem spending the money from the robberies before I got caught! JENNA (stands out of her seat) My mother was right about you, Joey. You ruined my life! JOEY (outraged) What? I ruined your life? I’m the one in prison, Jenna! You were ready to testify against me to save yourself! You think I didn’t know about your statement to Detective Becker? JENNA Fuck you, Joey! Jenna spits in Joey’s face, then hurries towards the exit. JOEY (leaps out of seat) He’s my son, too! Let me hold my son! He chases after her, but after Prison Guard #9 stops him in his tracks he falls to his knees. JOEY (CONT’D) (screaming in desperation) You and him are all I got, Jenna!

INT. JOEY’S CELL - NIGHT Joey is staring at photos of Jenna and Matthew taped on the wall. 64.

On the table sits the word processor. He leans over and kisses a picture of his son. JOEY I love you, Matty! He pounds his fists against the wall. The pictures fall onto the word processor. He knocks everything to the floor in a rage and then crumples to his knees sobbing. Joey picks up the photo of his son and stares at it. JOEY (CONT’D) It ain't right, it ain't right. LOUDSPEAKER (V.O.) Lights out! The cell is thrust into darkness. FADE TO MORNING Joey still lies on the floor surrounded by the photos and the word processor. A steam whistle blows. He snaps awake, raises his head, then resumes the position on the floor.

INT. GYM - DAY Richard rolls his wheelchair across the basketball court where a game is underway. Marco dunks the ball and swings from the rim. Prisoners cheer from the sidelines as Marco leaps to the floor. MARCO Yeah, boy! RICHARD (O.S.) Marco! Hey, Marco! Marco turns to see Richard speeding down the court. The convicts shout their disapproval. 65.

WHITE CONVICT #1 Get your ass out of here! LATINO CONVICT #1 Marco, come on, we don't have all day! BLACK CONVICT #2 Fuck ass cripple! Marco stares down Black Convict #2, there’s bad blood there. He turns to Richard and pulls the wheelchair close to him. MARCO Yo, Richard, what’s up, man? You see me playin’ ball here, right? RICHARD I can’t find Joey anywhere, and I mean nowhere. You haven't seen him? MARCO What you expect, Ritchie? I hear Jenna kicked his ass to the curb yesterday in the visiting room. RICHARD What? Nobody told me! And you're here playing a game of basketball? The convicts get rowdy. Black Convict #2 points at Marco. BLACK CONVICT #2 You and I have some business to handle. MARCO Is that right? BLACK CONVICT #2 Yeah, that’s right, Chico! Marco runs to the convict and gets in his face. MARCO What you want to do about it, huh? BLACK CONVICT #2 You killed my homeboy and you got to answer for that. 66.

He pushes Marco and they engage in a shoving match. MARCO Get the fuck outta my face, punk! BLACK CONVICT #2 I’m coming for you, chump! MARCO I’m right here! I ain’t hiding, motherfucker! When you come for me, ya better come right! The Black Convict glances at the gun tower and observes a guard watching the scene through binoculars. BLACK CONVICT #2 I’ll be seeing you. Marco pushes Richard towards the sidelines as the spectators scream. A group of LATINO CONVICTS yell to Marco. LATINO CONVICT #1 Brother! Come on! LATINO CONVICT #2 Are we playing here or what? LATINO CONVICT #3 Leave the old man alone, Marco! Black Convict #2 stares at Marco as he crosses the yard and moves out of view.

INT. CELLBLOCK TIER - LATER Marco hurries along the tier and then stops at Joey’s cell peering into it. Joey is busy taping the photos back onto the wall. The table is littered with books, balled up paper and empty cigarette packs. An ashtray overflows with butts. MARCO What’s up with you, brother? JOEY Hey, man. 67.

Marco walks into the cell and grabs a pack of cigarettes, shakes two from it and hands one to Joey. MARCO You straight? JOEY Yeah, I’m all right. Just thinking about shit, you know? Marco pulls matches from his shirt and lights their smokes. MARCO Yeah? Whadda ya thinking about? JOEY (turning to his friend) All I ever wanted was to have a normal life, maybe one day have a son, raise him better than we got. To look him in the eyes and swear my life to him. Guess I failed, just like my mother failed me, and yours failed you, huh? MARCO Nah. You ain't failed him, man! Jenna did, she took his father from him. But one day, and it might be years from now, that boy is gonna want to know who his daddy is and he’ll find you. JOEY I feel like I lost everything. I’m dead inside. Like my heart has stopped beating. MARCO There ain’t no scorecard in here. Ya gotta live life on life’s terms! Remember, on the streets, the shit we had to do in order to survive? JOEY Yeah. We’ve been through hell, huh? MARCO There and back, my man! JOEY You think we're ever going to get out of here and make something of our lives? 68.

MARCO Of course, we're gonna get outta here! Things will be better than ever before. Come on, Jo-Jo, this ain't the end of the world. JOEY It feels like it. MARCO Yeah? You think this is it for us? This place? Prison beats a man down and rips apart his soul, but we were not born for this. JOEY Yeah, maybe you’re right. MARCO Maybe? Joey thinks about that for a minute. JOEY I’m gonna head to the library. I’ll see you later? MARCO Not before I see you. Marco shuffles out of the cell and down the tier.

INT. LIBRARY - LATER Joey sits at a table reading David Copperfield. Behind the counter, Darren is checking out a book and handing it over to Hop Sing. DARREN (pointing at Joey) Hop Sing, look who’s over there. Hop Sing waves to Joey and heads out the door as Richard rolls in. RICHARD Hey, Hop Sing, what’s up? HOP SING Not much, Richard. Richard wheels over to the table where Joey sits. 69.

RICHARD Hey, brat! Marco said you’d be here. JOEY Tattle tale Puerto Rican. RICHARD Still reading David Copperfield? JOEY Yeah, and the Elements of Style. RICHARD Oh, really? I don’t remember seeing that intellectual literature in this high brow place. Joey chuckles. JOEY My defense attorney, Mr. Woodward, sent it to me along with the word processor. He said I should write about things in my life that are important. RICHARD I think I like this lawyer, and trust me, that would be a first. JOEY I sent him some hand written poems and stories I wrote. He said I'm an investment. Richard points around the room. RICHARD Take a look at what these guys are reading. Joey glances around the room. Nobody holds a book in their hands. They are all reading magazines. RICHARD (CONT’D) Not exactly Charles Dickens, huh? Richard taps his fingers on the table. 70.

RICHARD (CONT’D) Sounds to me like this lawyer might know a thing or two. There’s a writing class in the education building you should consider. It might give you the tools to write better. JOEY You think I could really be a writer? Maybe write a novel, a movie? RICHARD If you work hard enough, anything in life is possible. An agitated FAT CAPTAIN approaches. All eyes are on him. FAT CAPTAIN Blake and Jacobs, there is no talking in my library! RICHARD What’s this, Captain? The Twilight Zone? Everybody’s talking! The prisoners within earshot snicker. The Fat Captain shakes his head, walks to the exit and forcefully pushes it open. FAT CAPTAIN (to Joey) Jacobs, take your disabled friend out of here before I throw him out of that chair! RICHARD One day I'll get out of this chair, Captain, and you won't be able to push me around. FAT CAPTAIN Over my dead body! Joey picks up his book and pushes Richard through the open door.

EXT. EXERCISE YARD - LATER Gun Tower Guard #2 holds binoculars to his face scanning the frosty exercise yard. 71.

Hundreds of prisoners undertake various activities. Joey and Richard are seated on bleachers watch a football game. RICHARD How you holding up? JOEY Toughest day of my life! RICHARD It’s gotta be hard after how you grew up. JOEY I’d be lucky to have a dad like you, Ritchie! RICHARD Did your mother ever tell stories about your father? JOEY Nah. She gave me a load of crap about him dying in Vietnam, but I never believed what she said. RICHARD Why not? JOEY She was never one for telling me like it was. The truth, it escaped her. Joey stares into the distance, lost in a memory. JOEY (CONT’D) When Marco and I were younger I’d ask him why we were the only kids in the world who didn’t have parents who loved them. RICHARD What did he say? JOEY He told me superheroes were orphans like us. Richard shakes his head in disbelief and glances at an airplane moving across the sky. 72.

JOEY (CONT’D) Pitiful, right? Stan Lee doesn’t write shit like that in comic books. RICHARD (looking back to Joey) No, I suppose not. JOEY You know what? RICHARD What? JOEY Superheroes suck! RICHARD Yeah. Marco runs up. MARCO Hey, family! They’re playing Scarface tonight in the auditorium. JOEY I love that movie. MARCO (imitating Tony Montana) I kill a communist for fun, but for a green card, I gonna carve him up real nice. They laugh.

INT. CHAPEL / AUDITORIUM - NIGHT Hundreds of prisoners fill wooden pews. On a wall, the movie Scarface plays. Tony Montana is being interrogated by Immigration Officials. IMMIGRATION OFFICIAL (on screen) You ever been to jail, Tony? TONY MONTANA (on screen) Me? Jail? No way, no. 73.

IMMIGRATION OFFICIAL Been in a mental hospital? TONY MONTANA Oh, yeah, the boat coming over. IMMIGRATION OFFICIAL What about homosexuality, Tony? You like men, huh? You like to dress up like a woman? TONY MONTANA What the fuck is wrong with this guy, man? Is he kidding me, or what? Joey, Marco, Richard, Darren and Hop Sing cheer with the audience.

EXT. GUN TOWER - NIGHT Gun Tower Guard #3, wearing a heavy coat, patrols the balcony and swings a searchlight over the frozen grounds. In the distance the Hudson River reflects moonlight from its icy water.

INT. CHAPEL / AUDITORIUM - SAME Black Convict #2 prowls the audience looking for someone. On the wall, the movie shows the Immigration Official looking at Tony Montana’s scar. IMMIGRATION OFFICIAL (on screen) Where’d you get the beauty scar, tough guy? Eating pussy? TONY MONTANA (on screen) How am I gonna get a scar like that eating pussy, man? This was when I was a kid. You know? You should see the other kid. You can’t recognize him. The prisoners cheer. 74.

EXT. ANOTHER GUN TOWER - NIGHT Gun Tower Guard #4 wearing a coat, watches another search light blinking on and off in the distance. He leans his rifle against the banister, pulls a cigarette from his jacket and lights it. DISSOLVE TO:

INT. CHAPEL /AUDITORIUM - SAME A cigarette hangs from Marco’s lips as he repeats Tony Montana’s lines as AL PACINO speaks on screen in the background. MARCO You a communist, huh? How’d you like it, they tell you all the time what to do, what to think, what to feel? What, you wanna be like a chimp? Like all those other people, man? Bah, Bah, Bah. The prisoners hoot and holler. Black Convict #2, holding a shank, is creeping down the aisle and thrusts the blade into Marco’s chest. Marco leaps up and stares at the shank sticking out of his chest. MARCO (CONT’D) I’m stabbed! JOEY Holy shit! The convicts run for the doors as the lights flash on. Marco falls into Joey’s arms, blood spurts onto Joey’s face. RICHARD (to Joey) Don’t pull it out! MORE Guards run into the auditorium shouting into hand held radios. JOEY Help, somebody! Blood bubbles through Marco’s lips. 75.

JOEY (CONT’D) Oh, God! No, Marco! Please, Marco, no! Joey lowers his ear to Marco’s lips. MARCO (whispering) Friends to the end. JOEY Marco! Marco! But Marco is dead. A siren blows. Richard pulls Joey away from Marco’s body.

INT. JOEY’S CELL - LATER Joey is sobbing while slouched over on his bunk. His white tee-shirt is drenched with blood. Richard wipes more blood from Joey’s face. RICHARD Joey, get yourself together. JOEY He was all I had. DARREN (to Joey) We know, buddy. RICHARD (to Joey) You’re going to be okay, ya hear me? JOEY Noooooooo! A buzzer sounds. LOUDSPEAKER (V.O.) Lockdown! Everyone exits the cell and stares back at Joey. FADE TO MORNING 76.

Joey is still awake staring at a photo showing Marco holding up a baseball in a mitt. FLASHBACK

EXT. YANKEE STADIUM - DAY It is a warm spring day as Marco catches the baseball in his mitt during a Yankee game against the Boston Red Sox. The crowd cheers when the Jumbo Screen displays Marco holding up the ball. Joey takes a picture of his friend.

INT. YANKEE STADIUM - ANNOUNCERS BOOTH - SAME The YANKEE ANNOUNCER points towards the center field Jumbo Screen. YANKEE ANNOUNCER And that, Yankee fans, would have been a home run with just a little more lift! But look at that kid, huh? Ya gotta love these fans. He’s loving it! Boston just can’t win in the house that Ruth built! On the Jumbo Screen Marco jumps up and down waving the ball. He’s on top of the world. BACK TO PRESENT Joey stares at another photo of Marco pointing at the Statue of Liberty. He shuffles across the floor, holds the photo against the steel wall, stares at it, and then closes his eyes lost in a memory. FLASHBACK

EXT. STATUE OF LIBERTY - DAY Marco points at the Statue of Liberty aboard the Circle Line Ferry as it rocks to-and-fro n choppy water. Joey and Marco step off the ferry and playfully run around the statue laughing and pushing one another. 77.

INT. CELLBLOCK - MONTHS HAVE PASSED Richard rolls quickly along the tier and stops outside Joey’s cell. He peers into the cell at Joey leaning against the wall. RICHARD Hey, kid, everything okay? JOEY (glancing at Richard) Just need to be alone, Rich. RICHARD (hesitant) Okay. If you need anything, just let me know. Joey doesn’t respond and Richard scrams.

INT. CELLBLOCK - LATER Richard rolls up to a pay phone and dials a number.

EXT. OFFICE BUILDING - DAY Snow falls on a one story law office where a Jaguar XJS is parked in the driveway. A sign on the frosted window reads “Terry Woodward, ESQ.” A phone rings. ZOOM through the window.

INT. LAWYERS OFFICE - SAME Terry Woodward sits in a cramped office and answers the ringing phone on his desk. Behind him a large picture window reveals the falling snow. MR. WOODWARD Terry Woodward, Criminal Law firm. RICHARD (V.O.) Mr. Woodward, you don’t know me, but I’m a friend of Joey Jacobs here at Sing Sing. 78.

MR. WOODWARD Has something happened? RICHARD (V.O.) His girlfriend left him, his best friend was stabbed to death - MR. WOODWARD Marco is dead? RICHARD (V.O.) Yeah. He died in Joey’s arms. MR. WOODWARD Aw, shit. RICHARD (V.O.) He needs somebody to talk sense to him, get his head right, you know? I understand you’re all he has out there in the street. He turns to the window and peers at the falling snow. MR. WOODWARD Yeah, yeah. I care about him. Is he okay? RICHARD (V.O.) He’s been hibernating in his cell for months, I think he’s given up hope. MR. WOODWARD Let me clear some things off my calendar and see if I can break away and get up there. RICHARD (V.O.) Thanks, Mr. Woodward. MR. WOODWARD Um, wait! Who is this? RICHARD (V.O.) Just a friend. The lawyer hangs up the phone and stares at it.

INT. JOEY’S CELL - DAYS LATER Joey lies on his bunk. He is unkept and dirty. Some time has passed. 79.

He gets up, shuffles to the calendar and places an X over December 23rd.

EXT. A NEW YORK HIGHWAY - DAY Heavy snow falls on a New York State Trooper car that is pulled to one side of a highway where a vehicle has rolled over. A TROOPER waves cars through the accident scene.

INT. JAGUAR XJS - SAME Mr. Woodward peers through the windshield wipers that struggle to clear the snow from the glass. The Trooper waves Mr. Woodward through. RADIO (V.O.) WABC New York with you on what just may be a white out situation throughout today and probably into the weekend. The roads are nasty, folks, and as the temps drop later tonight we’re expecting icy conditions throughout the tri-state area.

EXT. A LONELY COUNTRY ROAD - DAY SUPER: Ossining, New York The Jaguar XJS passes a Sing-Sing Correctional Facility sign. Gun towers loom in the distance above the prison walls. The Jaguar XJS turns into the parking lot.

INT. SING SING - RECEPTION AREA - SAME Mr. Woodward, in a hat and coat, moves through the reception area shaking snow from the hat. A fake Christmas tree stands uninviting in a corner. He approaches Prison Guard #10, who wears a Santa hat, standing beside a metal detector. 80.

PRISON GUARD #10 (routinely) Through the detector. Everybody goes though the detector. MR. WOODWARD How many times do you have to say that line every day? The lawyer walks through the metal detector. PRISON GUARD I lost count fifteen years ago. Cold as a witch’s tit out there today, huh? MR. WOODWARD The White Witch.

INT. VISITING ROOM - SAME The room is decorated with cheap Christmas decorations. Mr. Woodward briskly walks towards Joey and places his wet hat and coat on the table in front of his client. Joey stands from a table as Mr. Woodard approaches. Terry places his hat and coat on the table and hugs Joey. MR. WOODARD (light hearted) Looking pretty good for a prisoner! JOEY (faking a jab) Still a public pretender, huh? The two sit in plastic back chairs on either side of a fold- out wooden table. MR. WOODARD (regrettably) I heard about Marco. Tough break. How you holding up? Joey clears his throat nervously, clasps his hands on the table in front of him and stares at them for a moment. MR. WOODARD (CONT’D) (leaning forward) Prison is a tough place. Things like that happen. (MORE) 81. MR. WOODARD (CONT’D) That tough kid I met in the courtroom years ago isn't so tough any more, is he? JOEY Hey, what doesn't kill you makes you stronger, right? MR. WOODARD You’re kidding? Friedrich Nietzsche? JOEY What? MR. WOODARD (smiling, chuckles) You should know who and what you're quoting or else it's just bullshit. JOEY (sensitive, defensively) What are you, Terry? A philosopher or something? MR. WOODARD Something.

Prison Guard #10 walks to the table and points at his wrist watch.

ZOOM IN TO WATCH FACE PRISON GUARD #10 (O.S.) You have one hour.

INT. RICHARD’S CELL - SAME ZOOM OUT FROM WATCH FACE Richard stares at his wrist watch then sprinkles fish food into a fishbowl where a gold fish swims. RICHARD Don't do anything I wouldn't do, Bubba. He rolls out of his cell. G-101 is painted over it. 82.

INT. CELLBLOCK TIER - SAME MORE convicts play poker at steel tables, watch television and stand about talking as Richard rolls through the cellblock.

INT. PRISON CORRIDOR - SAME Richard continues rolling along a long hallway. He avoids the shuffling convicts by speeding around them.

INT. GYM - SAME Richard enters as a basketball game is underway. Hop Sing and Darren jog around an indoor track. Richard clutches his chest and grimaces in pain. DARREN (O.S.) Hey, Richard! You all right? Richard blinks and falls out of his chair.

RICHARDS POV: The gym begins to blur and so does Darren’s face. HOP SING (O.S.) Richard, Richard! You okay?

INT. VISITING ROOM - LATER Joey seems bothered by something. Almost as if he’s daydreaming. MR. WOODARD Did you hear me? How’s the writing coming along? JOEY I can't think enough to write anything. With Marco dying I feel like a piece of me is gone. The writing part. MR. WOODARD What’s one got to do with the other? 83.

JOEY I just can’t think straight. MR. WOODARD You’re getting out soon. Are you ready for that? JOEY I think so. MR. WOODARD (changing the subject) You are quoting Friedrich Wilhelm Nietzsche. Read up on him. JOEY What is he, a Nazi or something? You keep bringing him up. MR. WOODARD No, not a Nazi, a philosopher and a poet. But, he was German. JOEY Why do I care about him? MR. WOODARD Well, you should know who you're quoting, don't you think? And the quote actually goes like this. Mr. Woodard clears his throat and KNOCKS his knuckles HARD on the wooden table. MR. WOODARD (CONT’D) “That which does not kill us makes us stronger”. Joey puts his hands up as if he's surrendering. MR. WOODARD (CONT’D) Many attribute that to Alexander the Great, but it's not that romantic. It's about conquering your demons and overcoming obstacles. He spreads his arms out and motions around the room. MR. WOODARD (CONT’D) This is your demon and if you want you can beat this. Others have. Write about it. 84.

JOEY Nobody wants to read about guys like me. I am a nobody, an unknown writer, that’s what they’ll tell me. MR. WOODARD (sternly) What makes you think that? JOEY I know a guy who wrote a book in here. He told me that’s what they told him. MR. WOODARD Who told him? JOEY His agent. A somebody. MR. WOODARD This friend of yours, he has an agent? JOEY He did, until she called him a nobody and then dropped him. The lawyer chuckles. MR. WOODARD Not so smart, but the agent was probably an unknown herself trying to become a somebody. Joey laughs. JOEY I bet you’re right. MR. WOODARD The Purpose of life is to be happy! No one gets a free pass in life. Not me, not you and not even Friedrich Nietzsche. You know what made Nietzshce stronger? JOEY (glancing up interested) What, that he wasn't a Nazi?? 85.

MR. WOODARD (smiling) He questioned everything. He even wrote that “God is dead” and insinuated that people were Gods. JOEY Why did he question everything if he was so smart? MR. WOODARD Asking questions forces a man to think about who he is and what he wants. What do you want, Joey? JOEY I’m not sure. Not this, though. MR. WOODARD Then you have to start growing up. This is your moment to change! JOEY (giggles) Tell me about this guy Fred? MR. WOODARD (shaking his head) Nah, too easy. You have to put in the work, use your brain and research him!

INT. PRISON CORRIDOR - SAME Officer Bob and a NURSE run beside a gurney being pushed by Darren and Hop Sing. Richard lies upon the gurney with an oxygen mask over his face. NURSE (to Richard) Keep your eyes on me, Mr. Blake. The Nurse cuts off his shirt as a DOCTOR appears and places a stethoscope onto his chest. DOCTOR Notify security, STAT! We’re calling Ossining Rescue! 86.

INT. VISITING ROOM - MUCH LATER Prison Guard #10 rushes over to the table where Joey and Mr. Woodward sit. PRISON GUARD #10 (to Mr. Woodward) Sir, I have to ask you to leave. We have a medical emergency. Prison Guard #10 puts handcuffs on Joey’s wrists and pushes him towards a doorway. MR. WOODWARD (YELLING across the room) Joey! What makes you stronger?

INT. JOEY’S CELL - HOURS LATER Joey searches through a box of legal pads. He picks one out and blows dust from it. He is staring at a handwritten screenplay titled Destiny. He flips through its pages.

INT. CELLBLOCK TIER - SAME Officer Bob patrols the tier jingling a huge key ring. Stopping at cell G-101, he pulls open the cell door, reaches into it and removes Richard’s fish bowl.

INT. JOEY’S CELL - MUCH LATER Joey glances through the bars where Officer Bob stands holding the fishbowl. He knows something has happened. JOEY What’s happened to Richard? OFFICER BOB He's gonna be okay. Chest pains. They had to take him to the hospital. 87.

OFFICER BOB (CONT’D) Thought you might want to take care of Bubba. Somebody has to watch out for his pal. Officer Bob opens the cell door and hands the bowl over. Joey places the fishbowl next to his word-processor. JOEY Guess I'm sleeping with the fishes, huh?

INT. PRISON CORRIDOR - DAY Joey and Darren walk past a classroom with WRITING CLASS painted on the door. DARREN Did C.O. Bob say if Richard’s going to be okay? JOEY Told me some bull about chest pains. DARREN Sounds like something more. JOEY Yeah, like a fucking heart attack.

INT. JOEY’S CELL - MONTHS LATER Joey paces the cell while reading aloud a Friedrich Nietzsche book. JOEY Whoever fights monsters, should see to it that in the process, he does not become a monster - He glances at his cell wall and a photo of his son. The calendar shows it’s now February. He glances back at the book and reads aloud. JOEY (CONT’D) - and if you gaze long enough into the abyss, the abyss will gaze back into you. 88.

He gets it, places the book on this desk and kisses the picture of his son. JOEY (CONT’D) (to the picture) I don’t want to be a monster anymore, Son.

INT. PRISON CORRIDOR - DAY Joey approaches the writing class door. He peeks in through the window. MS. MAXWELL, a sweet, yet wise, 40 year old teacher, glances at Joey as he hurries away.

INT. JOEY’S CELL - LATER Joey lies on his bunk staring at the Yankee Stadium photo of Marco. JOEY I miss you, bro. He gets up, rolls toilet paper into a ball and places it on the metal toilet seat. LOUDSPEAKER (O.S.) Lights out. Lights out. The cell is thrust into darkness. Joey strikes a match and sets the ball of toilet paper on fire. The flame casts flickering shadows on the cell walls. He sits at the word processor and begins to type.

EXT. EXERCISE YARD - DAY It’s early spring, melting snow is on the ground. Joey, wearing a tee-shirt covertly stalks Black Convict #2 across the yard and into an outdoor bathroom. Black Convict #2 urinates in a toilet and Joey slams his head into the wall. Black Convict #2 groggily turns and stares at Joey. Blood streaks his face. 89.

BLACK CONVICT #2 You here to get payback for your Puerto Rican daddy, huh? He wipes the blood from his face. JOEY Fuck you. Black Convict #2 charges Joey and knocks him to the floor. BLACK CONVICT #2 You walked right into your worst nightmare. He throws a punch but Joey jerks his head to the side and the convict’s hand crashes into the floor. The convict screams and Joey seizes his opportunity, jumps on top of him and beats the prisoner senseless. Blood splashes onto his tee-shirt. JOEY You killed my best friend, bitch! Joey chokes him and the convict passes out. DARREN (O.S.) Joey, don’t do it, man! Darren and Hop Sing run into the bathroom and pull Joey off the man. HOP SING Come on! Come on! He’s not worth it! Joey spits on the man. JOEY (to Black Convict #2) You’re not worth a life sentence motherfucker!

INT. PRISON CORRIDOR - MOMENTS LATER Darren, Hop Sing and Joey rush along the corridor and come upon the classroom. Darren stares at the blood soaked shirt on Joey. 90.

DARREN (to Joey) Switch shirts with me, man! Joey and Darren switch shirts. JOEY (fed up) There has to be something more than this bull shit. Darren pushes Joey against the wall and then points to the classroom. DARREN Fuck feeling sorry for yourself. You can walk in that door and change your life, or keep walking through life with a chip on your shoulder and end up like me. HOP SING (pointing at class) You said you wanted to be a writer, maybe this is where you need to be. DARREN But choose right now, life in prison, or something better. Joey pushes Darren off of him. JOEY Get the Fuck off me! Joey is agitated, but glances through the window at the teacher.

INT. WRITING CLASSROOM - SAME Ms. Maxwell notices Joey on the other side peering back at her. MS. MAXWELL (to students) Give me a second. Just keep reading the next paragraph. She hurries to the door, pushes it open and stares at Joey. MS. MAXWELL (CONT’D) Is everything all right? Can I help you with something? 91.

DARREN (pointing to Joey) Got room for one more? MS. MAXWELL (nodding to Joey) Come in and have a seat. Joey glances at his friends. DARREN Ain’t no turning back now, only pussies give up. JOEY I ain’t no pussy. MS. MAXWELL The first thing we need to work on is your language. JOEY Sorry. MS. MAXWELL (to Hop Sing and Darren) You going to join us? Hop Sing and Darren laugh, turn and walk away. Joey walks into the classroom and takes an empty seat by a window. The inmate students stare at him. JOEY What are you looking at? They glance away and Joey peers out the window. Prison Guards #2, #3, #4 and #5 carry Black Convict #2 on a stretcher. FADE TO: The winter view through the window changes to one of multiple changing seasons. Years pass by. Joey is now in his thirties. MS. MAXWELL (O.S.) Joey? Are you with us? 92.

Joey, seemingly in a memory, turns from the window and stares at Ms. Maxwell who writes “STORY DEVELOPMENT” on a chalkboard. The teacher puts down the chalk and walks amongst the students. MS. MAXWELL (CONT’D) Developing a professionally written story isn’t much different than telling a lie or talking about old times with your friends. FADE TO:

INT. DINING ROOM - LATER Joey sits alone at one of the tables. The sounds of overlapping conversations fill the room. He stares at the disgusting food on his tray, gets up and throws it into a trash can before walking out of the dining room.

INT. JOEY’S CELL - NIGHT Joey sits before the word processor. He cracks his knuckles and begins to type. ‘Destiny’ appears on the paper as he types. JOEY (V.O.) Some stories are meant to be told. Others, like this one, are meant to be digested. Next to the machine lies a copy of Syd Field’s, The Foundations of Screenwriting.

INT. GYM - DAY Joey, wearing a sweat suit, does a dozen pull ups. JOEY (V.O.) On the streets, I learned that my life can be stolen at any moment. In prison, I found that if is the middle word of life and that means nothing is for certain. 93.

INT. CLASSROOM - MONTHS LATER Ms. Maxwell writes “Graduation Day” on the chalkboard. JOEY (V.O.) Time is temperamental and provisional. It can be stolen from any one of us at the stroke of the clock. The teacher walks amongst the students handing out sheets of paper. JOEY (V.O.) Friedrich Nietzsche once wrote that ‘a man cannot learn to forget, but hangs on the past, however far or fast he runs, that chain runs with him.’ The teacher moves through the students and hands Joey a certificate. JOEY (V.O.) And although it may be true that he who fights with monsters might become a monster. A bell rings. Joey and the other students move towards the door looking at the certificates in their hands. JOEY (V.O.) As for me, I chose to climb from the abyss, to rise above the quicksand and grasp for something better than myself, the hope for redemption. The belief that I could do anything, maybe even one day write a movie. Ms. Maxwell leans against her desk, folds her arms and squints. MS. MAXWELL Joey, can I have a word? Joey sits in an empty chair. MS. MAXWELL (CONT’D) (pointing to the paper in Joey’s hand) You earned that! 94.

Joey glances at a certificate of completion for “CREATIVE WRITING”. JOEY Thank you, Ms. Maxwell, really. This class and what you taught me, it means everything. MS. MAXWELL You have a gift, Joe. She opens a drawer, pulls out a stack of magazines and selects one of them. Joey stares at the face of HAROLD SPARTI, 50, on the cover. A caption reads “The Hollywood Connection.” MS. MAXWELL (CONT’D) (pointing to the magazine) Mr. Sparti wants to help you. He’s a producer and a close friend. JOEY All my life everybody has told me what a loser I was. Now here you are telling me, what? That I can write? I know that, but a producer? That ain't for guys like me. MS. MAXWELL I told him about you and sent some of your stories from class. He read them and believes you possess a natural writing ability. JOEY The guards in here tell me every day I'm useless, I'm a shithead. The State put me in here and labeled me an animal. So that's how I acted, that's what I became! MS. MAXWELL That is not you any longer. Frustrated, Joey points out the window to the yard. JOEY And I live in a caged jungle. So, now what? 95.

MS. MAXWELL You’re going home soon. Forget what the guards tell you and start listening to what’s inside your heart and soul. That’s the key to your kingdom. Ms. Maxwell places her hand on his shoulder and glances to the magazine in Joey’s hand. TEACHER Mr. Sparti wants you to write a script about this place, about your life and send it to him. What’ve you got to lose? JOEY I could lose the only dream I have left! The one good thing in my lousy life, how to write about the monsters that stalk my nightmares! TEACHER Joey, I think you're a great writer! Joey peers at her with hope.

EXT. SING-SING PRISON - NIGHT The prison lies in darkness as a gun tower search light scans the grounds.

INT. CELLBLOCK - SAME The prisoners are locked in their cells as we pan the scene. Only the sound of typing reverberates.

INT. JOEY’S CELL - SAME Joey sits typing intently on his word processor. A stack of legal pads lie on his desk. LOUDSPEAKER (V.O.) Lights out, gentlemen. The lights go out. Joey lights a candle. 96.

JOEY (V.O.) Late at night, sitting in a steel cell and shivering from the dampness that penetrates to the very core. Loneliness crushes the heart and whispers of suicide torment the mind.

INT. CELLBLOCK TIER - SAME Convicts stand at their cell bars with drawn faces as we move past them and down the tier. JOEY (V.O.) When the bowels of prison engulf a man, friends disappear, wives file for divorce and the world just creeps past the life you once had. In one of the cells, a dead man hangs. His body is blue from death’s embrace. We close in on the body. JOEY (V.O.) For many, life becomes what if and how come, and seclusion is all the reason they need to give up and move on into nothingness.

INT. JOEY’S CELL - LATER A candle burns next to the word processor. The melted wax of two more sit nearby. Joey is typing feverishly, as he does so the words come alive on the paper. MALE VOICE (O.S.) C.O. on deck! ANOTHER VOICE (V.O.) Five-Oh walking! Joey turns the machine off, leans over and blows out the flame and thrusting the cell into darkness.

INT. CELLBLOCK TIER - SAME Prison Guard #4 strolls along the tier peering into the cells with a flashlight. 97.

The light illuminates Joey’s cell. He lies on his bunk pretending sleep. Prison Guard #4 moves down the tier. FADE TO MORNING Prison Guard #3 bangs his nightstick on Joey’s cell. PRISON GUARD #3 Morning, sunshine. Let's get that stinking cell cleaned up, you hear? Joey wakes and lifts his head from the word processor. On the table lies a finished movie script.

INT. PRISON CORRIDOR - MAILROOM WINDOW - DAY Joey hands a manila envelope to the Female Guard who inspects it. The envelope is addressed to Harold Sparti, Film Producer. FEMALE GUARD (looking at envelope) Are you kidding me? She stamps “Mailed from a correctional institution” on it and tosses it into a bin. FEMALE GUARD (CONT’D) You think a producer is going to read that? They’re way too busy to be bothered with low life inmates. JOEY How do you know he won’t read it? FEMALE GUARD I know they don’t have time for the likes of you! Richard appears and whacks him on the leg. RICHARD Hey there, sport! Joey hugs his friend. JOEY Richard, what’s up, Pop? 98.

FEMALE GUARD You need to take that noise somewhere else! Richard yanks Joey’s shirt. RICHARD Not worth it, kiddo. Come on, let's go to the library. JOEY Yeah, you're right. RICHARD Ignore that nasty woman. Joey pushes Richard down the walkway.

INT. LIBRARY - LATER Richard reads the last page of Joey’s script. RICHARD Destiny, huh? Not a bad story. JOEY You like it, or are you just saying you do because you have to? RICHARD I haven’t gone crazy, and I do not have to say it’s good. JOEY So it sucks, then? RICHARD It does not suck, in fact, it’s good. I like the title, too. JOEY All my dreams are packed into that stack of paper. It’s what I hope to do with the rest of my life. Richard nods. RICHARD What doesn’t kill you makes you stronger, right? JOEY Yeah. Something like that. 99.

INT. CHAPEL / AUDITORIUM - MUCH LATER The auditorium has been re-arranged into a Chapel. A large wooden cross replaces the spot where Scarface played on the wall. Joey sneaks down the isle and stares at the spot where Marco died ten years before. FLASHBACK

EXT. SAINT PATRICK’S CATHEDRAL - DAY Wind swept leaves blow along the grounds. The Stars and Stripes and Vatican flags wave proudly in the wind above the cathedral. Hordes of rough looking street kids tread into the cathedral in winter clothes.

INT. SAINT PATRICK’S CATHEDRAL - SAME An organ sends heavenly notes over the scene. A PRIEST preaches at the pulpit before the large group of street kids. PRIEST Loving Father, on this Thanksgiving day, we thank you for all you have given us. Sanctify our efforts to bring peace and justice to our world and we ask you to bless these children and this food which we receive gratefully in the Name of Jesus, Our Lord. Joey and Marco, in their late teens, sit in one of the pews playfully nudging each other. PRIEST (CONT’D) Amen. EVERYONE Amen. The Priest cuts the air with the sign of the cross. 100.

PRIEST In the Name of the Father, and the Son, and the Holy Spirit. Amen. The organ music fades. PRIEST (CONT’D) Children, please join the Sisters for Thanksgiving dinner. Everyone moves to tables of food where NUNS pile it high onto paper plates. Marco and Joey get their plates, sit back in the pews and quickly dig into the feast. END FLASHBACK

INT. CHAPEL / AUDITORIUM Joey’s eyes blink open, a tear rolls down his face. JOEY Why, God? Why did you have to take him? He kneels down, places his palm on the blood stained carpet and whispers. JOEY (CONT’D) Friends to the end. FATHER O’MALLEY (O.S.) Is everything okay here? Joey stands and looks at a Priest, FATHER O’MALLEY, a grey haired middle aged kind soul, who stares at Joey. FATHER O’MALLEY (CONT’D) I’m Father O’Malley. What is this about? Joey collapses in tears to the floor. The Priest bends down and consoles him. FATHER O’MALLEY (CONT’D) Let it out, son. God sent you here for a reason. He helps Joey up. They sit in the pew where Marco was killed. 101.

JOEY Ten years ago today my best friend, the only friend I ever had, he died right here, Father, in my arms. A look of recognition and then. FATHER O’MALLEY Marco Alverez? Joey nods. JOEY (choked up) We grew up together on the streets. When he ate, I ate. When I slept, he slept. And we came here for the same crime. He stares into the face of the Priest. JOEY (CONT’D) But now, I’m here alone and my friend, my brother, is dead! Father O’Malley points to the wooden cross. FATHER O’MALLEY You see that? Joey peers at it. JOEY Yeah, what about it? It’s just a silly piece of wood. FATHER O’MALLEY It’s stained with the blood of people like your friend, like you, like me. But its also stained with the love of our Lord and that’s powerful enough to purify all that blood. Joey bows his head. FATHER O’MALLEY (CONT’D) Can I pray for you, son? JOEY Yeah, Father, you can pray for me. The Priest lays his hand on Joey’s head and whispers a prayer. 102.

INT. SING-SING - RECEPTION AREA - DAY The Fat Captain escorts Harold Sparti, a laid back Hollywood type, past the metal detector. He’s casually dressed in jeans, sneakers and jacket. FAT CAPTAIN (nasty) The Warden is expecting you. MR. SPARTI (genuinely interested) How many guys do you have here? FAT CAPTAIN Fluctuates, never less than a thousand of New York’s worst convicts. MR. SPARTI They can’t all be that bad. FAT CAPTAIN You’ve been watching too much television. These guys never get better, regardless of what the media reports. MR. SPARTI There are a lot of well known actors and writers who have committed crimes. They seem to have turned out all right. FAT CAPTAIN What’s your point? MR. SPARTI (stares at Fat Captain) People make mistakes. FAT CAPTAIN (shrugs) So does my dog, he’s an animal, just like these guys. They continue down the hall and turn a corner.

INT. WARDEN’S OFFICE - LATER Mr. Sparti enters through a door. 103.

The WARDEN, an obese angry man, greets Mr. Sparti in front of a plate glass window that overlooks the prison yard below. WARDEN It’s a pleasure to meet you. I understand this is about one of my inmates? MR. SPARTI Why, yes, that’s right. Mr. Sparti is intrigued by something outside the window and walks to it.

EXT. EXERCISE YARD - DAY An INMATE QUARTERBACK is tackled hard by a group of PRISONERS. Cheers of excitement rise from INMATE SPECTATORS lining the field. The Quarterback’s teammates sprint up to him. MR. SPARTI (O.S.) Ouch, that was one hell of a hit!

INT. WARDEN OFFICE - SAME The Warden looks to his watch impatiently glancing over to Mr. Sparti. WARDEN Just a simple game, really, between convicted criminals. Nothing special or out of the ordinary. They love to hurt one another in some fashion or another. Mr. Sparti shakes his head, glances at the Warden and points out the window. MR. SPARTI That’s how we used to play! Real football! No pads! A man didn’t have to worry about who their enemy was, you know? He stares at the Warden. WARDEN Ah, yes. That was some time ago. 104.

MR. SPARTI Now a days, sheep and wolves, they mingle, isn’t that right? It is a sarcastic dig.

EXT. EXERCISE YARD - DAY Hop Sing leads a group of Prisoners across the field with a stretcher. A VOICE (O.S.) Make way! They load the shaken Quarterback onto it and hurry off the field past Richard and Joey on the sidelines. RICHARD (to Joey) He looks hurt, all right! Richard glances to Joey sitting beside him, realizing something. RICHARD (CONT’D) By the way, have you heard anything about the script you mailed out? JOEY Nope, zilch, nothing! RICHARD I’m not surprised. Nepotism is rampant in the entertainment industry. JOEY What does nepotism mean? RICHARD Favoritism. Cronyism. It means the people in power tend to only let their friends or family break into the business. Doesn’t matter how good you are, but rather, who you know. JOEY That sucks. Doesn’t look good for someone like me. 105.

RICHARD You’ll get there. You just have to work harder than everyone else. Joey shakes his head, shrugs and looks off into the distance. JOEY The cards are always fucking stacked against me.

INT. WARDEN’S OFFICE - LATER Mr. Sparti flicks his thumb back to the window. MR. SPARTI Seems like just yesterday I could play. But I’m not much for games these days. WARDEN The days get shorter and the nights longer. MR. SPARTI Isn’t that the truth. The Warden motions to a couch nearby. WARDEN Have a seat. Tell me about this script you received and how I can help? MR. SPARTI It’s quite simple, really. I'm here to save one of your guys.

INT. JOEY’S CELL - LATER Joey types on the word processor to the music of Eminem blasting from a radio on his desk. He stands and bobs his head to the music. He spreads his arms across the cell touching each wall with his fingertips. PRISON GUARD #5 (O.S.) Hey, Jacobs. Turn that crap off! Prison Guard #5 stands at his cell door, yelling. 106.

PRISON GUARD #5 (CONT’D) Turn off the radio! JOEY What’s up? The guard rushes into the cell and throws the radio to the ground silencing it. PRISON GUARD #5 Get your uniform on right now! JOEY What about my radio, man? You can’t do that shit. PRISON GUARD #5 Never did like that rapper, anyway. JOEY That’s because the truth he’s singing hurts when you hear it!

INT. WAITING ROOM - SAME It is a drab puke green waiting room. Joey walks in and sits on a hard wooden bench. A secretary sits at a desk answering a phone while painting her finger nails. SECRETARY (into phone) Warden’s Office, this is Sheryl. A tapping sound is heard as the woman transfers the call.

CLOSE UP OF BOOTS Brown Timberland’s tap the office floor.

ZOOM OUT SLOW The boots belong to Joey wringing his hands nervously. The Secretary is bothered by the sound of Joey’s tapping boots. SECRETARY Do you mind not doing that? 107.

JOEY Doing what? SECRETARY That. The tapping, it irks me. A door marked WARDENS OFFICE opens and the Warden emerges motioning for Joey to follow him inside. WARDEN Jacobs, come with me. Joey follows the Warden into the office. JOEY Hey, Warden, this ain’t right. That guard broke my radio!

INT. WARDEN’S OFFICE - SAME The Warden escorts Joey through the office. WARDEN Inmate Jacobs, this is - Mr. Sparti turns from the window extending his hand. MR. SPARTI - Harold Sparti, nice to finally meet you, Joseph. JOEY Oh, my God, you came! MR. SPARTI Yes, I did. And I really loved your script.

EXT. MAIN ENTRANCE - DUSK A bored to tears CHAUFFEUR stands beside a limousine parked at the prison entrance. In the background SING-SING is lit up.

INT. PRISON RECEPTION AREA - SAME Officer Bob walks through the reception area. 108.

INT. PRISON CORRIDOR - SAME We follow Officer Bob through the prison corridors. Only his footfalls echo through the scene.

INT. CELLBLOCK TIER - SAME Officer Bob walks down the tier looking into the cells performing a head count. We see Richard in his cell crunching a bag of Cheetos and a Maruchan instant soup into a bowl. OFFICER BOB Hey, Richard. Can’t stand that chow hall food, huh? RICHARD Yeah. Today’s offering was unpalatable. OFFICER BOB Yup, can’t say that I blame you. RICHARD That food will kill ya. Officer Bob chuckles. OFFICER BOB You know the kid is in the Warden’s office right now meeting with some big shot producer in the entertainment business. RICHARD Right now? OFFICER BOB Yeah. Not sure what it’s about, but it can’t be bad. RICHARD No, it sure can’t. OFFICER BOB This kid you’ve taken under your wing, he has a shot. Maybe he won’t get out and come right back like most of the guys in here. 109.

RICHARD Yeah, that’s my hope. I’d like to see him make something of himself, ya know? OFFICER BOB Maybe you have a talk with him before he gets out, he might wise up if it comes from you. RICHARD I think I’ll do just that. OFFICER BOB Have a good night. Officer Bob moves down the tier jingling a set of keys.

EXT. MAIN ENTRANCE - NIGHT Mr. Sparti emerges from the prison and hurries to the limo. He glances back over his shoulder at the prison walls. MR. SPARTI What a God awful place! CHAUFFEUR Is it like the movies in there? The Chauffeur opens the door. MR. SPARTI Something tells me it’s much worse. He glances up at a full moon, pulls the collar of his coat around his neck and steps into the car.

INT. JOEY’S CELL - SAME Joey leans on the iron bars and stares through them at the cellblock windows. The moon is bright in the night sky. LOUDSPEAKER (V.O.) Lights out, gentlemen. The lights go out and a searchlight beam moves over the cells illuminating Joey. 110.

EXT. SING-SING - MORNING The prison lies on the bank of the Hudson River. We zoom across the river, past the prison walls and into the recreation yard.

EXT. PRISON YARD - MORNING Richard waits expectantly with Darren and Hop Sing by the cellblock door. Joey exits the cellblock, jumps into the air and yells with joy. JOEY He liked my script! RICHARD So? What did Mr. Hollywood have to say? JOEY (to everyone) He said my screenplay has interest from a Hollywood production company! DARREN Shut the fuck up! RICHARD What’s it feel like to be struck by lightning? HOP SING Holy shit! Is this for real? JOEY And Mr. Sparti want’s to represent me. RICHARD (to Joey) Listen to me. JOEY What’s wrong? 111.

RICHARD (seriously) There may have been a time when you deserved this place and it deserved you. But those days are over. Next week you’ll be a free man with a future. JOEY I don’t know what a future is except it’s through these gates and I’ll be there to face it. Darren jabs his finger into Joey’s chest. DARREN You have to get on with the business of living. HOP SING But never forget where you came from, what it was like, what you went through. JOEY I’ll never forget. Joey walks to Hop Sing and hugs him. JOEY (CONT’D) Thanks for taking care of me in the hospital. You brought me back to life. He grabs Darren by the shoulders. JOEY (CONT’D) And you have been along for the whole ride from day one. I’ll never forget you. DARREN I won’t forget you either, Hollywood. Joey hugs Darren and then he kneels beside Richard. RICHARD (emotional) Let’s not make a big deal out of this, huh? No good byes, no drawn out drama. 112.

JOEY They say Hollywood doesn’t make dramas anymore. Richard laughs. RICHARD You’re gonna do just fine. I have faith in you. I know you’ll make me proud. Joey hugs Richard. JOEY I love you as if you were my father. RICHARD And you as my son.

INT. JOEY’S CELL - DAY Joey stands in his barren cell holding a box. C.O. Bob walks up and smiles. C.O. BOB Today is the first day of the rest of your life. Are you ready to make a change? JOEY As ready as I’ll ever be. C.O. BOB There’s a lot of people pulling for you, guys you don’t even know about. JOEY I won’t let ‘em down. C.O. BOB Don’t let yourself down. The cell door opens. Joey steps onto the tier and glances back over his shoulder at the empty cell.

EXT. SING SING - RELEASE GATE - MORNING The green gate slides open and Joey walks through it and into freedom carrying the box. 113.

He turns and watches the gate close behind him with a clang. Glancing up at the gun tower, he peers at ANOTHER GUARD holding a rifle and staring down at him. MR. WOODWARD (O.S.) Joey? Joey turns to the voice and observes the lawyer standing beside his Jaguar. JOEY Thanks for coming. MR. WOODWARD Wouldn't have missed it. You've come a long way. Joey glances back at the prison one last time. JOEY (to himself) It didn’t kill me and it did make me stronger! MR. WOODWARD I have someone who wants to meet you. A boy, Matthew, now 13, steps from the car and stares at Joey. MATTHEW Dad? JOEY (to Matthew) Matty, Son? (to Mr. Woodward) How did you find him? MATTHEW It’s me, Dad. I found you. Joey drops the box and grabs his son. Tears fall down his cheeks. JOEY I’m sorry, Son. I should have been there for you. MATTHEW Be here now, Dad. 114.

EXT. TIMES SQUARE - DAY The Jaguar moves through Times Square. Matthew and Joey stare out a window pointing at attractions.

EXT. TIMES SQUARE STREET CORNER - DAY The Jaguar stops in front of the Mini Market, now lying abandoned and in ruins. A BLACK BUM mumbles to himself while picking through a dumpster. Joey climbs from the Jaguar, walks to the brick wall and digs out the brick. MATTHEW (O.S.) Dad, what are you doing? JOEY (to Matthew) I’m coming full circle, Son. Joey reaches into the hole, retrieves the tin box and opens the lid. JOEY (CONT’D) (a whisper) Mother. The crucifix chain lies inside the tin box. He carries it back to the Jaguar with a bounce to his step. The MUTTERING Black Bum calls out to Joey. BLACK BUM Joey, right? It’s been a long time, yes, indeed! JOEY Do I know you? BLACK BUM It’s me, Anson, don’t you remember? JOEY Damn, Anson! What happened to you? BLACK BUM Life, man, the school of Hard Knocks. 115.

JOEY Yeah. Anson turns back to the dumpster forgetting all about Joey.

INT. JAGUAR XJS - SAME Joey sits in the back seat beside Matthew as Mr. Woodward drives through Time Square. Joey opens the tin can, pulls out the crucifix chain and loops it around Matthew’s neck. MATTHEW This is seriously cool, Dad! Joey fights to choke back tears and places his hand on his son’s shoulder. JOEY My Mom gave it to me when I was your age, now I pass it on to you. MATTHEW My grandmother? Where is she now? JOEY I wish I knew. MR. WOODWARD (to Joey) Everything okay? JOEY Everything’s just fine, now.

EXT. TIMES SQUARE - DAY The Jaguar moves through the streets of Manhattan. FADE TO: Super: Joey followed his dreams and now writes movie scripts and novels. He lives n Florida with his dog Oscar.

FADE OUT.