Original subtitles

(wind whooshing)

(bell dinging)

(sirens blaring)

(dog barking)

(intense synth music)

- Don't you think it's strange?

- What's that?

- There's all these people in the world, none of 'em know each other.

I was just watching this woman walk down the street.

Where's she going?

Who is she?

- Is this one of those trees falling in the fucking forest

kind of things?

- No, no.

- [Ray] You promise?

- Yeah. - Good, 'cause I hate that shit.

- You're the one who brought the tree into this.

- Sorry.

You're right, sorry.

- Look, Ray,

if I passed you in the street and I didn't know you yet,

would I even recognize you if I saw you again?

- I don't know.

- It makes you think.

Maybe I'm just seeing the same hundred people

over and over again, just different outfits.

How would I know?

How would they know me?

- What the fuck, Mickey, are you okay?

- Yeah.

Actually, I didn't sleep too well last night.

All this shit kept me up later.

- Yeah, well, that's why I'm trying to focus on the fucking story here.

- When do you think it'll be finished?

- Relax, huh?

I mean, it looks almost done.

- Are we fucking assholes for doing this?

- Trying to stay positive.

The guy we're gonna have the meeting with,

he knows how it is.

He came from nothing.

- Right.

How do you know this producer?

- He's a friend of my brother's.

We grew up in the same neighborhood.

He was, one day he's working at the deli

on the corner of my block, the next day,

boom, big shot producer.

He sold some fucking script, made a fucking fortune.

- Holy shit.

God, that could be us.

- Yeah, well, that's why I'm trying to finish the fucking story here.

- All right, all right.

This is it, though, right?

You're writing the end of the film?

- Right.

- This is huge, Ray.

We gotta celebrate.

(dramatic synth music)

- What do you think?

- I think we're gonna be rich.

- Hmmm.

To a rough go of making something out of this.

(blues music)

- Tomorrow could be it.

I mean, maybe we could really make this happen.

- It could be a foot in the door, huh?

It's a start.

- Well, it's a bit more than that, Ray.

- What, you think we're gonna get rich off of this?

- Well, you said it yourself,

isn't that why we're doing this?

Sell something, make it big, live like rock stars?

- All right.

What would you do with the money?

- For starters,

I would get some fucking socks.

(Ray laughing)

All of mine have holes so,

what?

They do.

- You're fucking crazy. - Let's do some shots.

You know, for good luck.

- No no no no no, the only reason I agreed to come out

with you was 'cause you said one drink, and this is it.

We got a big day tomorrow, Mickey.

I don't need you all hungover, talkin' in circles.

- You're no fun.

When are you gonna learn to enjoy the ride?

- When there's a ride to enjoy, Mickey.

We gotta nail this meeting tomorrow

if we're gonna be something.

I'm gonna call it a night.

You told your boss you're leaving work early, right?

- Yeah.

- Okay, I'm gonna pick you up from the job, four o'clock.

That's your last drink, right?

- Yeah, mom.

I'm all done.

- [Ray] Okay.

See you tomorrow.

- Darlene, give me another one of these.

(door alarm beeping)

- [Mr. White] Mickey?

- Hey, Mr. White.

- You just coming in now?

- No.

No, I've been here.

I had to step out and make a really quick phone call.

- Go help that guy.

- Hey, sir, how are you?

- Hi, I'm looking for polyurethane tubing.

- Yes, uh, right this way.

- [Mr. White] Aisle four, Mickey. - Yep, yep, sorry, sorry.

There it is.

(funk music)

- Hey, I got three minutes left

and then I'm outta here, okay?

This is it.

- What am I gonna do with my meat when my best guy goes to Hollywood.

- I don't know, but I know what I'm gonna do with my meat

once I get out there, that's for damn fucking sure.

(both laughing)

- Fair enough.

- (laughing) Look at this asshole.

- Yeah, hey, I got you a suit.

Here, try it on.

- Hey.

What is this, a child's small?

I know children that wouldn't fit into this.

- Look, it's gonna have to do, okay?

Come on, get dressed in the car, we gotta get there.

- Ahhh.

- And grab the briefcase.

I got you a briefcase.

You gotta look important today.

Okay, run it again, kid.

Mr. Fortunado, this is my writing partner,

Mickey Hanson.

Nice to see you again.

"Hey, Ray."

Nice to see you again.

You look great.

You been working out?

"You're probably getting laid all the time now."

- [Mickey] Come on, you fucker. - Just trying to loosen you up.

So, what's your screenplay about?

- So, we have these two brothers,

they move out to LA to start their dream business.

After they fail, they fall on hard times.

Just when they seem to reach rock bottom, they meet a powerful business man

who promises to help them start their company

at a price.

He wants them to kill some people who are standing the way of his success.

Although they're against the idea of killing,

they have no other choice.

Murder becomes their life.

Ashamed, the older brother goes off on his own,

but the younger brother continues to kill

for the businessman.

The older brother begins to experience some success of his own,

but the two brothers were never able to together.

The younger brother,

obsessed, filled with envy,

ends his brother's life.

He murders him.

- Great, great.

Run it again, kid.

- So, we have these two brothers-

(all chattering)

- Hey, we have an appointment with Mr. Fortunado.

- [Receptionist] Oh, yes.

Mr. Fortunado's expecting you.

Down the hall, second door on the left.

- Second on the left.

Thank you.

- Oh.

- Hey, hey, hey.

Remember, he's just like us, okay?

He's gonna love this.

Come on. - Okay.

I'm sorry.

- Hey, hey, hey.

Come here a second.

How far have we gone?

- Real real far.

- Okay, how many more steps to that door?

He's just a guy in a suit.

- We got suits.

- That's right.

We got suits.

- We've got briefcases.

- We've got briefcases.

We got everything we need.

Come on.

This is gonna be the beginning of something great.

Come on.

Here you go.

So, how's your sister?

- So, how's your brother doing?

Is he still running the factory?

- Yes, he's very well.

Thank you.

He and Margaret are gonna renew their vows soon.

- Oh, good.

Good for him.

- Listen, for you to take the time out of your day

to meet with us, I mean, we really appreciate that.

- You know, I didn't know you were a screenwriter.

Have you written anything that I may have seen?

- No, no.

- Have you sold anything?

- Not yet.

- What do you mean?

- Well, this is our first script.

- Okay.

Let me hear the pitch.

- Our story is about two brothers.

- Son of a bitch.

Write what we know.

What the fuck did you know?

You worked in a fucking deli.

Fucking scumbag.

Son of a bitch.

Son of a bitch!

Write what we know.

What if we wanna know murder, huh?

I thought we had this.

- Could've used the money.

- You know what?

It's always the same with you, Mickey.

We just got thrown back to square one

and all you're concerned about is getting fucking paid.

- What are you talking about?

How long we been working on this screenplay, huh?

I've given everything to this.

- You've given everything?

Your head's in the fucking clouds, Mickey.

You want all the perks of being a writer without any of the actual work.

And you're so concerned about getting fucking paid

that you're fucking that we could create something here

that really fucking matters.

- Ray,

Ray.

Your blood pressure.

Just take a breath.

Clear your head.

- I know I can write, Mick.

I can do this.

I can't keep doing things the way they are.

Okay, I feel like I'm fucking drowning.

- I understand.

- Hey, hey, hey.

You're gonna hurt yourself.

- If Fortunado doesn't get it,

no one else is gonna give us the time of day.

My boss, my brother, my ex-wife.

I see people on the street looking at me.

They look at me like I'm nothing.

- What do you think they do to me, huh?

What am I?

I'm right there with you.

- No one is gonna ruin my shot, Mickey.

No one is gonna ruin my shot.

We start again tomorrow.

(driving dance music)

- Excuse me, Miss.

Are you Claire Danes?

- [Jess] No.

- Oh, it's just you're so pretty.

I write for films, so that's my mistake.

- You write movies?

- Yeah.

It's an honest living.

What can I say?

- I'm an actress.

- No way.

- Yeah.

- Get the fuck outta here.

- You wanna buy me a drink?

- Yeah.

Hey, whatever she wants

and you know what I want.

- So-

- [Mickey] Mickey.

- Mickey. - [Mickey] Yeah.

- Jess.

- Jess.

- Tell me about the films you've written.

Well, let's see.

I just finished a picture with a major studio.

It's my third picture with them.

And I got a deal coming up to write a feature

for a George Clooney.

- Really?

- Yeah, yeah.

It's a musical.

His kids keep getting up and singing in class.

He can't get through the fucking math lesson he's trying to teach.

It's a heartwarming story.

- Wow, that is just amazing.

- Mm-hmm.

- Well, let me say,

that I have been looking for my next role

for a little while now.

- [Mickey] Oh, yeah?

- Do you think you could-

- Think I could what?

- Maybe you could show me some pointers?

- Sure, sure.

Yeah, I could tell you some things.

Well, let me teach you

the main thing you need to know first.

In the entertainment industry,

it's all about three kinds of power.

All right, there's the money you have behind you,

there's the work you've done,

and there's the people you know.

- Which kind do you have?

- [Mickey] Why don't you come back to my place, I'll show you.

- Hey.

- Oh, shit. - I called you nine times.

- Yeah, Ray.

- What are you doing here, man? We had a script meeting.

- I was just gonna call you. - Oh, bullshit.

- Mickey. - This is my associate.

- Listen, don't listen to a word this guy tells you.

He ain't writing shit for Clooney.

Let's go. - Okay.

We're outta here.

- Come on, Mick. - Hey, I'm gonna find you.

- [Ray] Yeah, come on.

Let's go.

- What the fuck, man?

She was all over me in there.

- And I've been looking all over for you, okay?

You missed our session tonight.

- Ray, we've been writing every day for two years.

- No no no no, I've been writing every day for two years.

You just sit there and you chime in from time to time

like some fucking peanut gallery.

You need to step up.

- I've read seven books cover to cover.

I've learned about murder, murder weapons,

blood spatter, serial killers.

- And I've read more.

- My point is, don't I get a fucking break?

I've learned so much about how I can die, but I'm afraid to fucking live.

- If you ever wanna sell this script, there is no break.

We don't even have a shot at getting this right if you're unfocused.

Kid, there are writers out there who know what they're doing, okay?

They've got years of experience.

They've got films made.

And some of those guys don't always get their stories sold.

If we work hard and we do this right,

I really think we got a chance.

Now, I got my cop friend, Sales.

He's gonna bring us to an actual crime scene tonight.

Now, are you coming or not?

- Like we're actually gonna see it, firsthand?

- It's exactly what we need.

Come on, Mickey.

Come on, let's dot this right.

Let's go.

- You see any hookers?

- Just focus, will you?

- What does he drive?

Is he picking us up in a cop car?

- Here he is.

Hey.

- Just so you know, that chick you hooked me up with

wasn't worth this.

- Sales, I appreciate it.

This is my buddy, Mickey.

- How's it going?

- Come on, let's go.

- Hey, Ray.

Ray, Ray, Ray, Ray.

- What? - He's a cop?

- Yeah, I've known him for years.

- He looks a little rape-y.

- Will you shut up and get in the car?

So, how's homicide treating you, Sales?

- Tremendous.

- How many cases have you solved?

- I don't know, hundreds.

- That many, huh?

- That many.

So, what is this shit you guys are writing?

- It's kind of like a murder, thriller type of thing.

That's why we're so gung-ho

about being around a crime scene like this.

- All right, listen, this can break off in my ass.

It's gonna be a quick in and out type of deal.

Are we clear?

- No problem.

We just wanna get a better idea of what we're trying to write.

We're pretty well-informed about this kinda stuff, okay?

We won't embarrass you, I promise.

(suspenseful percussive music)

- If anybody asks, you're from county.

You're checking on procedure.

Don't say anything, don't do anything else.

- What county are we from?

- Relax, Mick.

Nobody's gonna ask.

- No, no.

We don't have any badges or anything.

Where the hell did you find this guy?

- Do you wanna do this or not?

Come on, let's go.

- They're with me.

- We have a 25-year-old white female,

numerous blows to the right side of her skull.

Wounds on her wrist indicates that there was a struggle.

- [Sales] Priors?

- [Jones] We checked with vice.

She was arrested on three counts of prostitution.

- [Sales] What's the TOD?

- Recent.

Body was just discovered.

- You guys have any luck identifying the murder weapon?

- Blood pattern analysis shows that the victim

was assaulted from behind.

- No defensive wounds?

- Our DNA analyst is collecting samples

underneath her fingernails.

It appears that she may have tried to scratch the assailant.

(ominous atmospheric music)

(camera shutter clicking)

- It's typical shit.

It's total psycho-sexual, fuck her, kill her,

dump her here.

- Trying to say that one of her clients did this?

- He knew her.

- Seems kind of peaceful, huh, Mick?

Mick?

- What do you think the killer was thinking when he did this to her?

- Hey, thanks, man.

We got great stuff.

My house, tomorrow night, good?

- Yeah.

- [Ray] Eight o'clock.

- Hey, you think we can go on more of these crime scenes?

- We got enough of stuff to write with.

- Yeah, but it's just gonna get better, like experiencing this stuff.

- Let's just take it one step at a time, okay?

Let's meet tomorrow as planned, and then we'll

talk about maybe going out with Sales again.

- Yeah.

- Hey, Mickey.

Are you all right?

- Yeah, I'm great.

- Tomorrow night, eight o'clock.

(jazz music) - [Man On TV] Late at night

was when I got my best work done.

I was struck with madness.

I was on the cusp of something great.

It was all becoming very clear to me.

Something in me had changed.

I had suddenly realized what every man was capable of.

We are primitive.

We are animals.

And when we are backed into a corner,

you don't know what can happen.

- I figured it out. - Figured what out?

- We've been going about this whole story wrong from the beginning.

- What are you talking about?

- I'm saying murder is natural.

I mean, think about it.

The way the world works.

Human beings, we're meant to conquer, and what is conquering if not murder?

You eliminate what's in front of you to create something better in its place.

It's like purification.

It's the first step in progression.

- Okay, keep going, keep going.

- All right, stay with me. Are you listening?

- I'm listening, yes.

I'm just trying to make sense of what you're saying.

So, you're trying to justify murdering somebody.

- No.

I mean,

I'm talking about our script.

I'm saying that guy who killed that girl last,

he doesn't think he's doing anything wrong.

He's making the world a better place in his eyes.

- Okay, keep going, come on.

- I finally,

I finally figured out who the younger brother character is.

- [Ray] Who's the younger brother character?

- We gotta rewrite the whole script.

- Rewrite the whole sc - [Mickey] Yeah, yeah.

- Are you nuts?

No way.

- We're scrapping everything.

- Scrapping everything? - Everything.

- Mickey, that's two years worth of work.

All we gotta do is fix a few scenes.

- No, we gotta-

- Mickey, did you even go to sleep last night?

You're wearing the same outfit.

- Yeah, I'm doing this for our story. - Our story, exactly.

Listen, hold on, whoa, shh, stop.

You know what?

Maybe we shouldn't have got together to write tonight.

Maybe we should've just let it settle in a little bit.

That's a lot of heavy duty stuff we saw last night.

- Yeah.

- Come on, a murder scene like that?

I'll tell you what,

we'll talk about this tomorrow.

I think we should use tonight

to go out and have a good time.

I'll tell you what,

I got a friend, very close friend, her name is Chloe.

I'll give her a call.

I'll ask her to bring a friend for you.

Come on, what do you say?

- A friend? - Come on, what do you say?

Come on, all right?

Come on.

- Yeah, okay.

- Come on. - Okay.

- All right, good, I'll just go change my shirt.

- Okay.

(rock music)

- Chloe, you're always the life of the party.

You play too much.

- I'm just having a good time.

- I am having such a good time.

- So, this is my friend,

Mickey Hanson I was telling you about.

- Oh, you didn't say he was so handsome.

- Yeah, he's all right.

- So, what do you guys do?

Ray said you guys work together?

- Guess.

- How am I supposed to do that?

- What do we look like we do?

- Uh, well.

(clearing throat) I could think of a few things.

- I could think of a few things for you too.

- Oh, yeah?

Like what?

- Janitor.

(Chastity laughing)

- I've never been one for keeping things too clean.

- Oh.

- Well, I've been known to get dirty from time to time.

But I still know my way around the broom closet.

- Well, see that's your problem right there.

- [Chloe] How so?

- Because a broom rarely gets the job done.

What you need is a good waxing.

- You know anyone who can help me with that?

- All right.

He's not a fucking janitor, okay, so-

- So, what do you guys do?

- We write for movies.

- (laughing) Anything I've seen?

- Well, they have to be made before you can watch 'em.

- Ignore her, will ya?

She doesn't know what she's fucking talking about.

- [Chloe] Moody.

- Moody?

Give me a break.

I'm not moody.

Hey, enough, enough, hey.

Stop.

- No, no.

We're really onto something, Ray and I.

We got a good script.

- Yeah, we can have a great one if this guy would just write a little bit more.

- Well, maybe if you'd heard me out earlier,

you'd realize that I'm really onto something.

- Sure, great.

We'll just throw out two years worth of work, and spend

another two fucking years rewriting the whole fucking script.

Maybe the two of you should fucking write the script together, huh?

Maybe that's what you should do.

- Hey, I'm sure whatever you guys are writing is great.

- So, Chastity.

- Hmm.

- What do you actually do?

- Well, why don't I show you later?

- Ah, let's get some more drinks.

- Okay. - Okay.

- Come here, let me talk to you for a second.

- Hey, relax.

- Hey, nothing, huh?

What are you embarrassing me for?

- Jesus, they're really going at it over there.

- He's always upset at her for something.

This or that.

She says he blows up over the smallest things.

It's complicated.

- Should we go over there?

- Let's not let their drama ruin our night.

So, how about I show you what I do?

What's the first thing you look for?

- Yes, you are.

Yes, you are.

- You don't own me.

- Hey, come here.

Get over here. - Get the fuck off of me.

- Hey, hey, hey, hey. - Don't touch me.

Don't you fucking touch me.

- [Mickey] What's up? - I was just leaving.

If you find yourself looking for some company,

give me a call.

Come on, Chas.

- Bye. - Bye.

What was that about?

- Nothing.

Catch you later.

- Ray.

- I overslept.

I apologize.

- Five hours and 32 minutes late.

I'm tired of this.

I mean, I can't count on you anymore.

- I know.

I understand.

I just need to work through this.

- Kid, I keep giving you chances.

Do you remember what you were supposed to do this morning?

I mean, even if you were here, I'd have to remind you.

Remember, I needed those keys picked up.

- Fuck.

Yeah, I'll go-

- Nevermind.

I got Jose to get 'em.

Mickey, you're not focused.

You're late most days.

You fall asleep on the job.

I've lost customers because of you.

- Mr. White,

I need this job.

- I know and I need my business run right.

These are not good times for me either.

- I'll work doubles.

I'll stay late.

- Mickey,

I have to let you go.

(door opening)

- What happened?

- Mr. White's fired me.

- Holy shit, I'm sorry.

I got some stuff if you want.

- How would that fix anything.

- It'll still make you feel better.

- Well, I don't do that shit no more.

- Well, maybe a bump or two will even you out.

- Okay, here you go.

- Thank you. - Thanks, Jim.

All right, thank you.

Say hello to Donna.

- [Jim] I will.

(phone buzzing)

- Where the,

yeah, hello.

- [Mickey] I have no bottom, Ray.

I'm all in. I just went through an enlightenment.

I'm free to grow, I'm free to explore the depths of my mind.

- Whoa whoa, slow down, Mickey.

What are you talking about?

- I just got fired. (laughing)

- Holy shit.

What happened?

- Who cares?

It's for the best.

You know, it's a sign.

This is destiny.

What are you doing right now?

Let's meet up.

I'm good to write.

- [Ray] I'm at work.

- Ray, I am busting with ideas.

I realize why I sounded so crazy last night when I was talking about murder.

I can explain it better now.

I'm good. I just bought this writing journal.

I've been putting my ideas down in it, so I can organize my mind.

- Listen, hey hey, Mickey, Mickey, slow down, will you,

because you're talking way too fast right now.

I can't even understand what you're saying.

- I just did a couple lines.

- What?

What the hell are you doing coke for, huh?

I mean, you're back to that again?

- Relax, Ray, okay?

It's not gonna be like last time.

I am better than I have ever been.

Everything happens for a reason.

- (sighing) Damn it.

Where are you right now?

- [Mickey] I'm a couple blocks from you. I'm just down the street

from that coffee shop, you know, the fucking vanilla swirl.

- Okay, stay right there, okay?

I'm on my way over now.

- Okay.

- Okay.

Shit.

Hey, Jimmy.

I'm gonna take an early lunch.

- Okay, Ray.

- Okay.

- Hey.

- Mickey, come on.

Let me look at you.

Hold on a second.

Oh, fucking Mickey, you look all fucked up.

- Come on, let's write. - Let's write?

What are you kidding me?

I just took off. I still got half a shift.

I just took off of work just to come and see you.

- All right, I'll come with you anywhere. - No, no, no, no.

You can't come in looking like this.

Damn it.

- What? - Listen, go to my apartment, okay?

I got a spare key under the front mat.

Just go in there and wait for me, okay?

I'll be there after work.

Mickey.

- Yeah, I'm good.

- Don't make a mess.

(phone ringing)

(Chloe sighing)

- What do you want, Ray?

- Come on, that's how you greet me, babe?

- [Chloe] Sure, you're just another client.

- Ah, I think we're a little bit more than that.

(Chloe sighing)

- [Chloe] What do you want, Ray?

I'm unavailable tonight.

- Listen, I wanted to apologize, okay?

I was all worked up about Mickey

and I ended up taking it out on you.

- [Chloe] Mickey wasn't the problem.

- Anyway,

I just wanted to say I'm sorry

and look, I'd love to see you tomorrow night.

- Yeah.

- Yeah?

Okay, all right, good.

So, I'll give you a call and-

Hey, Mickey.

Mickey.

Hey, Mickey.

Mickey, come on, you're leaving the do-

Oh, no fucking way.

No fucking way.

Mickey.

Come on, Mickey.

Mickey.

Son of a-

Where's my fucking laptop?

Holy shit.

Mickey, what the fuck?

- What, Ray? - [Ray] What happened?

Where's all my shit?

- What are you talking about? - You left my apartment door open, okay?

My, the computer's gone.

- I didn't even notice.

I just ran to the library for two seconds.

- Of course you didn't notice.

Mickey, the fucking script, Mickey.

The script was on the laptop.

It's gone, all that fucking work.

It's fucking gone.

Not to mention whatever else they might've fucking taken.

- All right, Ray, I know you're upset.

Let me just help you clean it up.

- This is, stop it, you know what?

No, no, no.

Just- - I'm sorry I messed up, okay?

- Not this time, not this time.

Man, you don't fucking get it.

- We'll write it again. - Just don't fucking get it.

- We're gonna write it again. - Every fucking time,

it's the same shit with you.

I don't want your fucking help.

I can't fucking do this anymore.

I can't fucking do this.

I start trying to write and all you do is you start

talking about people out the window, walking past you

and some other stupid fucking new age fucking horseshit.

Okay, you're just fucking dead weight, Mickey.

You're fucking dead weight.

- I'll go.

- Good, get the fuck out.

- [Chloe] Hello?

- Hey, it's Mickey.

- [Chloe] Hey, 'bout time.

- Where are you?

- [Chloe] Straight to business then. - Yeah, I know what I want.

- Yeah, and what is it that you want?

(both moaning)

Oh, fuck.

Um,

I'm curious, does Ray know you're here?

- Why would I care?

- I'll take that as a no.

- Yeah, sure, go ahead.

- What happened?

- Just

going in different directions.

- He's got a lot of issues.

You're better off not knowing him.

- Why do you still deal with him then?

- I deal with a lot of people I don't wanna deal with.

(knocking on table)

- Let's go out?

- Yeah?

- Yeah.

- Can I have a minute?

- Not if I'm on the clock here.

I left the money on the dresser.

- I didn't know you partied like that.

(Mickey sniffing)

- Don't you?

(dance music)

(both laughing)

- Let's go.

(dance music)

(Mickey sniffing)

- Don't touch her.

(Mickey moaning)

- Hey.

Hey, hey, hey, hey.

Relax, relax.

Come here.

- Oh, shit.

What happened?

- You got into a fight over me.

- Oh, how'd I do?

(Chloe laughing)

Oh, that good, huh?

Ow.

(Mickey groaning)

What time is it?

- 12, why?

- Shit, I gotta go.

- What's the rush? - [Mickey] I gotta write.

- I thought you and Ray stopped writing together.

- Yeah, we did.

I'm writing a new version of that script,

a better one.

Hey,

thanks.

- No,

thank you

for hitting that asshole.

I've got a few more bills around if you have time later.

- I have time.

(phone ringing)

(door closing)

(dramatic synth music)

(Chloe laughing)

(Mickey laughing)

(both moaning)

(woman breathing heavily)

(woman screaming)

(man laughing on TV)

(both moaning)

- Is that where the magic happens?

All in the little diary?

- It's a journal. (laughing)

It's ideas, notes.

The whole story so far is all right here.

I don't know.

Something feels wrong.

I feel like the, I want the murders to feel real

when they happen.

Fucking Ray never wanted to go far enough.

- Oh, when's the last time you saw that jerk off?

- It's been a while.

(Mickey sniffing)

- You think Ray's writing the story over again too?

(Mickey sniffing)

- That's why I have to get this done.

I have to finish the script before he does.

(Chloe laughing)

- So,

murder, hmm?

Do you need a victim?

- You know what I need?

I've hit a wall.

I need someone to talk to.

- About what?

- I don't know.

I need to get closer.

(Mickey whistling)

- Yo, Mickey.

What do you want, man?

Make it fast.

I told him I had to take a shit.

I'm surprised he believed me.

- Just give me an eight ball. - All right.

You look like shit, man.

- Hey, Jose, hey, listen.

I never asked you,

this guy who's your supplier,

like what kind of guy is he?

- What kind of, what the fuck are you talking about, man?

- Listen, dude, I'll be straight up with you, all right?

No bullshit.

I'm doing research.

I'm writing a feature film.

It's about two murderers.

In order to make it realistic,

I gotta meet someone who's experienced some bad shit.

- You write movies for Hollywood?

- Yeah.

Can you help me out?

- You said murder?

- Yeah, you think he's experienced anything like that?

- Yeah.

- Could you set up a meeting for me?

I mean, I always had your back at the store.

- [Jose] No, it's too risky for me, man.

- How much is it worth to you?

(door knocking)

Mrs. Peters, good afternoon.

- A reminder that you owe me half of last month

and this month now.

Don't be late.

- Listen, Mrs. Peters, I was just gonna tell you.

I got a raise last week.

- You're lying to me.

- All right, here it is.

Look, don't say anything stupid.

Don't say anything at all.

What are you fucking doing, man?

No, I need you to be straight if we're going in there?

- Yeah, I need this if I'm gonna be straight.

(Mickey sniffing)

(door beeping)

(door knocking)

- Just a sec.

(sighing) What the hell are you doing here?

- [Ray] I brought you flowers. - [Chloe] Give them to someone else.

- [Ray] Come on, don't be like that. - Goodbye, Ray.

- Wait, come on.

Why are you ignoring my phone calls, huh?

What, is my money not good enough for you, anymore?

- No, I found someone's money who runs longer.

- Oh, yeah?

- [Chloe] Yeah, actually he's an old friend of yours.

- [Ray] Oh, is he now?

You trying to fuck with my head, huh?

Is that it?

What's his name?

- You already know who it is.

- Are you trying to make me jealous, you fucking bitch?

- No, no.

If I was trying to do that, I would tell you

he's a much better writer without you.

- What the fuck are you talking about?

- [Chloe] You know what I mean, sweetheart.

- Open the door.

Come on, open the door.

- Fuck off.

- Open the fucking door.

I'll fucking kill you.

Do you hear me?

Open the fucking door.

You fucking, you fuck.

(door opening and closing)

(door knocking)

- Yo, Rome.

They're not here, man.

Let's go.

- Wait, wait, wait.

- Come on. - Shh.

Voices.

- [Jose] You don't know who you're dealing with.

What the fuck are you doing?

(muffled voices chattering)

- [Rome] I asked you a question, right?

Right?

- [Man] Yeah.

- [Rome] Yeah. - [Man] Yeah.

- He said enough. That's good. That's good, he said enough, so I can talk to him now.

You see what I'm saying?

- Rome, man. - "Rome, man."

You hit him in the mouth?

- I swear, man. - Who hit him in the mouth?

That's good, man.

That's good.

- [Man] I swear, man. - You swear what?

Talk to me, tell me.

You swear what?

- [Man] I didn't.

- You didn't what?

Wake up.

I asked you a question, right?

- Rome, I didn't take your money.

- You didn't take my money.

Don't fucking lie to me, man.

Let me tell you what's gonna happen right now, okay?

If you don't tell me where my money is,

I'm going to kill you

right now.

I'm gonna let the gun say it to you,

'cause you don't understand what I'm saying.

Clearly you ain't listening to me.

Listen to the gun.

- I didn't, man.

- The gun, the gun, the gun is singing your name, nigger.

Now, tell me where my motherfucking money is, nigger.

Tell me, 'cause I'm fucking tired.

(muffled screaming)

- Hey, what the fuck?

- Yo, what's up?

It's Jose.

I was just coming by to see Rome.

- Jose.

Yeah, he right through there.

- Yeah, I know.

He just seemed kind of busy.

I was gonna come back another night.

- Oh, no no.

Ya'll can go in right now.

- All right.

What's good, Rome?

- Stay put, nigger.

We have visitors.

Who the fuck is he?

- He's my boy, he's cool. - Oh, he's your boy, he's cool?

He looks like a fucking junkie.

And what the fuck are you doing here?

- Just came to drop off your money, man. - Yeah?

Yes! (laughing)

It's all good, man.

See?

See, now, I ain't even gonna count this shit.

You know why?

Huh?

'Cause that motherfucker never lies.

Hold my money.

He's loyal.

He's been slinging for me for what?

Two-

- Three years, yeah.

- Yeah, three years, never once tried to skimp me.

Now, your dumb ass been working for me for what,

a couple months?

And had the balls to try to take what's mine.

Look at me.

Yeah, yeah, you either crazy

or you don't know who the fuck I am.

This shit, it ain't nothing to me.

I'll survive.

I built this shit from the ground up.

That's why they call me Rome.

I'll kill a nigger dead any day of the week

in order to keep what's mine.

I'm in this shit till death, motherfucker.

Now that we on the same page now,

you remember what this gun was singing to you earlier.

That song about to end.

It would be appropriate to cry now.

Mm-hmm.

- Get the fuck outta here.

- Hey, hey, no, no.

No, come on, wait wait.

- [Rome] Ain't nobody give a fuck about you.

(gun firing)

- Come on, man.

(ominous electronic music)

- [Man] We are primitive.

We are animals.

And when we are backed into corners.

You don't know what can happen.

I've got nothing against sitting around, and

waiting till you got the right moment to strike,

that moment when things all line up.

Waiting won't do much good

if you haven't some idea of what it's about.

(video rewinding)

Listen, kid, there's a time and a day for thinking,

but today is a day for action.

(video rewinding)

Listen, kid, there's a time and a day for thinking,

but today is a day for action

(video rewinding)

Listen, Mickey, there's a time and a day for thinking,

but today is a day for action.

(Mickey whispering)

- Yes!

Hey.

- Mickey, it's late.

- It's almost done.

- Yeah?

- Yeah.

- You don't look well, Mickey.

- What are you worried about?

Let me tell you, I have never written like this before.

It's just, it's so real.

- You work fast.

I love the cash on your counter.

(door closing)

- No no no. (sniffing)

So, this shit's still going on?

- You never asked me to stop.

- Don't, don't say that.

- What did you think, huh?

I got another job?

I mean, how else did you think I was paying my rent, huh?

- Have you been fucking Ray this whole time too?

- Ray?

What's Ray going to do with this?

I swear you're obsessed with him.

- Have you?

- Yeah, I've been fucking Ray this whole time too.

(Mickey yelling)

Not you too, Mickey.

(Mickey moaning)

(Mickey breathing heavily)

(Mickey sniffing)

- Mrs. Peters.

- [Mrs. Peters] You gotta get out.

- Please, I have like $200 here.

Just please take it.

Let me stay.

- [Mrs. Peters] You have till the end of next week to get all your stuff out.

(door closing)

(suspenseful synth music)

- Hey.

Hey, that's my apartment.

Hey, wait.

Stop.

Ray?

Stop.

Ray.

Ray.

(phone ringing)

- Hello.

- My journal's missing.

- What, Mickey?

- He stole it.

- [Chloe] Who?

- Ray.

I saw him leave my apartment.

I chased after him, but he lost me on the street.

He has it now.

He can, he has everything now, he can do anything he wants.

Ahhh.

- Why can't you,

I don't get it,

why can't you just sell it?

I mean, you know the script.

You've been writing in non-stop.

Why can't you just sell the idea first?

- Yeah.

Yeah,

there's this producer we pitched it to

who wanted me and Ray to make a bunch of changes,

a guy named Fortunado.

- Why don't you try to go see him?

- Yeah.

I guess I can do that.

- Mickey, everything's gonna be all right.

Promise me you'll get some sleep.

- I promise.

- [Chloe] I'll talk to you tomorrow.

- Yeah.

All right, listen.

(mumbling and whispering overlapping)

- [Receptionist] Uh, no.

Let me just see if I can just pull up the files

that he's-(door alarm ringing)

Uh, excuse me, stop.

Excuse me.

- Whoa.

Can I help you?

- Do you remember me? - I'm sorry, sir.

He just barged in.

- No, I-

- Wait a minute, how do I know you? - I pitched you a script a while back.

- Wait a minute, now you're Ray's old partner, right?

- Right, right.

- [Fortunado] Yeah, it's okay.

Thank you.

- That's right.

- Yeah, well, how can I help you?

- Okay.

I've been working on a new version of the script

and I put in everything that you asked for.

It's way more truthful now.

I know about violence.

I know about murder.

- Wait a minute.

Ray pitched me a revised version of the script.

I liked it.

- Okay.

You don't understand that that's,

that's my script.

- Well, look, it had his name on it, and he's the one that-

(phone ringing) - He stole if from me.

- I don't know what to tell you.

I gotta take this.

Excuse me.

Hello?

Yeah, this is him.

Well, yeah, hold on a second.

Hey, you know what?

Good luck to you, okay?

Well, look, when I told you the deadline

was the deadline, that was it.

I don't have any more,

I'm sorry, I don't have any more.

(phone ringing)

- [Ray] Hello, this is Ray Ferguson.

Please leave a message.

(phone beeping)

- You knew some day I'd call, didn't you?

Yeah.

I know what you did.

You know, I've learned a lot since I last saw you,

about the way things work.

Let me tell you what I know now.

Society's slipping.

It's quicksand, Ray.

We all just sink lower and lower every day,

unless you got something to latch onto,

otherwise you just get dragged down to the bottom

until you're fighting just to breathe.

You're know at the bottom, people lose it,

they're gone, they're animals,

they want nothing more than to just keep breathing.

You better watch out, 'cause I'm gasping for air.

I'm sinking.

I'm almost at your fucking level.

- Mr. Ferguson, good evening?

- Good evening.

(Mickey whispering and mumbling)

(phone ringing)

- [Mickey] Chloe.

- What's the matter?

- Ray stole my script.

I'm reading Ray's script.

These are my words, it's my story.

He took it and he sold it.

I mean, it's fucking everything.

The murders, the way they happen, the character names,

the plot.

- (sighing) I'm sorry.

- I just saw him getting into a limo,

dressed up.

He is making money on my script.

- Where are you?

I'm coming to you right now.

- After everything we went through.

We were in this together.

This was gonna be our shot.

(suspenseful electronic music)

- I wanna thank you very much.

- Hey, I look forward to working with you, but I gotta be honest with you, Ray.

The day you came in my office,

I thought you were kind of a schmuck,

but what you wrote is special

and people are gonna respect your work.

Goodnight.

- Goodnight.

Thank you.

(clapping hands)

- Good night?

- Great night.

- [Mickey] Hey, it's Mickey.

I'm not around right now, so-

You knew some day I'd call, didn't you?

I know what you did.

I've learned a lot since I last saw you,

about the way things work.

- Thank you.

Oh, let me, uh-

- Have a good night, sir.

- Oh, okay.

Goodnight.

(light jazz music)

(men grunting)

Fucking Mickey.

(men grunting)

Now, Mickey, what the fuck?

(Mickey screaming)

You cocksucker.

(glass smashing)

Get the fuck out, Mickey.

Hey.

(knife stabbing) (Mickey groaning)

(knife stabbing) (Mickey yelling)

(Ray groaning)

(both breathing heavily)

- Okay.

- Mickey.

Mickey.

- [Man On TV] He went that way.

Stop, stop right there or I'll shoot.

Listen, Mac, this is the end of the line.

It was you and me once long ago,

but now it's gotta be your or me.

Don't try it. You'll see if you try to make a break for it

that it will all come down to chance.

Chances are you won't be lucky enough to get away.

But even if you are, the next time someone comes around

for you, you'll roll the dice once again

and then again and again until your luck finally runs out.

You're better off taking you chances with me, old pal.

You see, all I want is the truth,

but even that can be a dangerous thing.

You had a bead on that day down by the docks.

Tell me you wanted to run down to the picture.

Wait.

(gun firing)

(light jazz music)

None of us ever start out good or bad.

We all begin somewhere in between the shadows

and the light.

At the end of day, can you really blame a man

for falling completely into darkness,

if he was already halfway there?

(ominous electronic music)

(light electronic music)