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The Rookie(2000)
Titles: White on Black: The Rookie FADE UP: A ROOKIE COP stands in front of a closed door listening to the screaming match. The Rookie is visibly nervous, beads of sweat break out on his forehead. WOMAN(O.S.) CUT TO: MCCAIN They're going to kill each other. What are you waiting for? Roy gathers courage and reaches to open the door. CUT TO: A LARGE MAN is pushing a TINY WIRY WOMAN around the room. They are in their late 20's early 30's, they both have long hair and are disheveled and sweaty from fighting. He's holding a broken beer bottle at his side. They are drunk and out of control. Roy walks into the room followed by McCain. The woman is fighting back but the man has an obvious physical advantage, his long thick arms hold the woman at bay. The woman is carelessly waving a knife at the man. She swipes at him with the knife. The guy emits a threatening laugh. This enrages her and she throws her entire body into the fight. WOMAN She's wild, arms flailing about. Roy tries to unlock his leaden feet, one foot moves in front of the other as he moves towards them. He swallows to wet his parched throat. ROY The couple ignores Roy. The woman jumps on the man's back - delivering a mean beating to his head. Roy looks at Officer McCain who stands by the door covering him. The man swings back and pulls the woman off his back. She drops to the floor. Roy steps up and bends forward to help her. She kicks Roy in the head and jumps to her feet. Then, with little effort, the woman grabs Roy's gun and turns it on him. Roy stands flushed and helpless, not knowing what to do.
McCain's face hardens with anger. TWO POLICE OFFICERS watch the action in the room through a two-way mirror as Roy, the two actors and McCain stand there baffled. The SENIOR COP, a tough, compact, burly guy with a crew cut in his early 50's, storms out of the room, slamming the door. The other officer, CONSTABLE CHOI, 30 years old, Asian, turns on a microphone and speaks to the actors. CONSTABLE CHOI 4 INT. PLAIN ROOM - DAY 4 The Senior Cop, Harvey, from the control booth enters the room. He's the boss, he nods approval at the actors and then Harvey dismisses McCain. McCain looks at the mirror (control booth) and mocks Roy for the benefit of his audience behind the window. CUT TO: CUT TO: HARVEY ROY HARVEY ROY HARVEY The man and the woman look at each other then the woman gives Roy a sympathetic look. Roy smiles at her and stands up a little taller. HARVEY (CONT.) ROY CUT TO : McCain and Choi watch Harvey chew out Roy through the mirror. CHOI MCCAIN CHOI MCCAIN In the background we can see the negotiation between the Senior Officer, the Rookie and the Actors. CHOI 6 INT. PLAIN ROOM - DAY 6 As Harvey talks to Roy he swings a jocular play punch to the actor who immediately blocks it. The actor returns a slow motion punch to Harvey's gut. Harvey gives the actor a pat on the back. HARVEY (to Roy) Shelley smiles at Roy. Roy smiles at Shelley. Harvey walks out of the room slamming the door behind him. 7 INT. CORRIDOR - DAY 7 Lockers line the corridor. Roy places his hat on a locker shelf and takes out his leather jacket. The actress, Shelley, is walking down the hall towards him. She's friendly and relaxed. Her appearance has soften considerably since the previous scene. SHELLEY ROY Shelley notices that Roy's hand is trembling as he tries to fit the combination lock into the locker door. Roy is embarrassed by his visible nervousness. ROY Shelley smiles. ROY Roy smiles at her as Shelley nods goodbye. ROY SHELLEY ROY SHELLEY They smile before Shelley heads on. Roy closes the lock and watches her walk down the hall. INT. KITCHEN - EVENING Senior Officer Harvey Tremblay sits at the kitchen table reading the newspaper. He seems bullish, out of place, in the immaculate, homey kitchen. Harvey aggressively hits the fold of the paper, muttering, he noisily shifts his weight in the chair, filling the room with his physical presence. Helen sits Roy down on a chair. She kneels in front of her son and takes his sock off. Roy's foot is bleeding; drops of blood hit the shiny floor. Helen goes off to get the first aid kit. Harvey watches as his son picks up the broken glass. HARVEY The steak Helen cooked for Harvey spits, smokes and sizzles on the stove. HARVEY ROY HARVEY ROY Harvey picks up his newspaper and goes into the living room. Roy sits in silence then gets up and tends to the broken plate. Mrs. Tremblay grabs a sponge and wipes the blood off the floor. She goes back to the sink and looks out the window, catching her breath. Roy comes and puts his arms around her. 11a EXT. PARKDALE UNDERPASS - EVENING HA Roy walks through the grimy underpass, then up the hill towards the Gladstone Tavern. 11 EXT. THE GLADSTONE TAVERN - EVENING 11 Roy approaches the Gladstone Tavern. 12 INT. THE GLADSTONE TAVERN - EVENING 12 Roy walks into the smoky working class tavern and goes up to the bar. Roy scans the room; half empty, the patrons all know each other, middle aged drinkers most of whom enjoy a smoke and a good laugh. Every night the big draw is KARAOKE talent night. The EMCEE is a short, cocky guy who holds court with a table of regulars. The Emcee is a ball of nervous energy; he spots Roy and immediately comes over. EMCEE Roy shrugs. EMCEE He holds out a microphone. EMCEE Roy spots Shelley sitting in the corner with a friend. His heart does a little leap. The Emcee's voice drones on. EMCEE A patron in the corner yells: The Emcee goes over to him and shows him the mic. Roy watches Shelley from across the room. She talking with her friend Karen. Karen is drowning her sorrows in beer and Shelley appears to console her. A guy comes out of the bathroom and joins them. He sits close to Shelley. Shelley puts her hand on the guy's arm. Roy wonders if that's a boyfriend. EMCEE The patrons cheer for Joseph, an intense guy with a jerky gait, as he makes his way to the stage. The background music kicks in and Joseph mumbles incoherently while trying to keep pace with the music. The crowd lovingly cheers him on. The Emcee does a little dance off to the side of the stage competing for the crowd's attention. He nods to Roy to see if he'll do a number. Roy gives him the nod. EMCEE Roy takes to the stage. He brings the microphone up to his mouth and softly closes his eyes as the warm tones of a guitar float through the room. Then in a soft, melodic, low sexy voice Roy begins his version of a Blue Rodeo Song: ROY You've got troubles on your mind Roy opens his eyes and looks directly at Shelley. Shelley is smiling, drinking Roy in as the warmth of his voice floods through her body. Roy is in complete control of the song as he croons to Shelley. ROY And we'll throw our candles Roy and Shelley have locked eyes. Shelley's girlfriend is surprised by the intensity of Roy and Shelley's gaze. The room has grown silent, as the patrons are enchanted with Roy's song. ROY I'll understand you know I'll understand The room breaks out in to wild applause as Roy shyly smiles at Shelley. Shelley grins back. The Emcee pats Roy on the back. EMCEE (clapping) Cut to: Roy, Shelley and her friend Karen and the guy sit at the table. The room is loud and they have to yell at each other. ROY SHELLEY ROY Shelley. (She points to her friend.) Karen. Karen nods but feels squeezed out Shelley doesn't bother to introduce the guy who has turn all of his attention onto his beer. 13 EXT. THE GLADSTONE - NIGHT 13 Roy, Shelley and Karen stand together on the street. It's an awkward time to part company. KAREN ROY KAREN starts to walk away. KAREN SHELLEY Roy takes Shelley's arm. ROY Shelley looks at Karen. ROY Karen wants a drive. Shelley hesitates, unsure. KAREN Roy SHELLEY ROY Karen shoots Shelley a look of surprise mixed with warning. EXT. STREET - NIGHT EXT. STREET - NIGHT EXT. STREET - NIGHT INT. BUNGALOW - NIGHT INT. BEDROOM - NIGHT INT. VESTIBULE - NIGHT EXT. BUNGALOW - NIGHT INT. BEDROOM - NIGHT Angle on: HARVEY ROY HARVEY Roy ignores his Dad as he runs to his car in the driveway. Harvey comes up to Roy in his car; Roy locks the door and drives off, leaving Harvey standing on the lawn. EXT. GLADSTONE - NIGHT INT. CAR - NIGHT KAREN Shelley KAREN ROY KAREN SHELLEY ROY 14 INT. CAR - NIGHT LATER 14 Shelley and Roy sit in the parking lot, both staring ahead. SHELLEY Roy tries to put the keys in the ignition but stops and turns to Shelley. They both move towards each other and kiss. ROY SHELLEY Roy starts the car and they drive off. 15 INT. CAR - NIGHT 15 They pull up beside a low rise apartment building. Roy goes to kiss Shelley again but she hesitates. SHELLEY ROY SHELLEY ROY SHELLEY Shelley gets ready to leave the car, then turns to Roy and gives him a quick kiss. She gets out of the car. Roy catches his breath as he watches her climb the stairs. He continues to wait until she is out of sight. 16 INT. APARTMENT HALLWAY - NIGHT 16 Shelley quietly opens the door to her flat. 17 EXT. PHONE BOOTH - LATE NIGHT 17 Roy pulls his car up to a phone booth. He gets out of his car and enters the booth. He dials Shelley's number. RECORDING RECORDING 18 EXT. SHELLEY'S APARTMENT BUILDING - LATE NIGHT 18 Roy gets out of the car and goes up the stairs of Shelley's 19 INT. APARTMENT BUILDING, CORRIDOR - LATE NIGHT 19 The sounds of angry voices are heard ringing out in the hallway. Roy follows the sound and recognizes Shelley's voice. KEVIN (O.S.) SHELLEY (O.S.) Loud banging and the sound of something breaking can be heard in the hall. Roy stands paralyzed outside of Shelley's apartment door.... THE END
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