Parkour Cop PRT1

8/9/2019 Parkour Cop PRT1

1/13

PARKOUR COP(PART ONE)

by

Hafsah Mijinyawa

RevisionsSecond Draft - July 9th


2/13

OVER BLACK

MAN (V.O)Well fuck.

INT. SHABBY APARTMENT/BATHROOM - DAY

Two THUGS wearing laminated "HI, MY NAME IS (ROSH) (ZANE)"tags -- are standing over...

...a bathtub full of ZIPLOCK BAGS OF WHITE POWDER.

Rosh picks up a bag and opens it. Powder spills out. Hewiggles his finger in the opening and tastes some of thepower. Nods to Zane.

ROSH

Mint.

ZANE...flavored?

Rosh stares at his friend.

ROSHNo, douchebag.

Rosh thrusts his hand in the bag, searching around inside ofit -- looking for something that he doesnt find.

ROSH (CONT'D)Help me out.

Zane starts searching the other bags in like manner. Roshtosses the bag hes holding aside and joins the search.

BANG BANG BANG -- loud but muffled -- someones at the frontdoor. Rosh and Zane's head whirl towards it simultaneously.They glance at each other.

ZANEMaybe it's the mailman?

ROSHMaybe it's your mother.

ZANE(unamused)

Maybe it's your face.

IN THE LIVING ROOM

2.


3/13

Rosh enters frame -- peeks through the eye-hole.

SEEN THROUGH THE EYE-HOLE - FISHEYE LENSE STYLE - Two GUYSwearing black sunglasses stare back.

Rosh pulls back from the door --

ROSHShit.

IN THE BATHROOM

Zane frantically dumps out bags of white powder into the tub -- a FOLDED SHEET OF PAPER falls out of one of them -- hesnatches it up, skims it -- theres NUMBERS all over it --this is what theyve looking for --

ZANE

Yes.(giddy laughter)

Motherfucker!

-- then stuffs it in his pants, rushes to the bathroom windowand pulls it up just as Rosh bursts into the bathroom --

ROSHWe gotta go brah --

ZANE-- way ahead of ya.

GUY #1 (O.S)(yelling; outside thedoor; from the livingroom)

Hey, open up! We know you're inthere!

EXT. APARTMENT DOOR - CONT'D

SEEN FROM THE BACK -- the two guys wearing urbanclothing...they both have guns behind their backs.

GUY #2This is the Freerunner Five-O,we've got some questions we'd liketo...

They hear the THUD of escape. The two guys -- not "Guys"anymore, these are FREERUNNERS -- know what's up and startBASHING THE DOOR IN -- !

3.


4/13

INT. SHABBY APARTMENT - CONT'D

The Freerunners dash through the house --

IN THE BATHROOM

Zane and Rosh -- disappearing out the window.

EXT. SHABBY APARTMENT/FIRE ESCAPE - CONTINUOUS

The boys leap down to the fire escape, taking leaping jumpsdown the fire escape steps.

INT. SHABBY APARTMENT/BATHROOM

-- the Freerunners bursting in, their eyes going from thestuff in the tub to the open window -- they both bolt for it,and --

EXT. SHABBY APARTMENT/FIRE ESCAPE - CONTINUOUS

-- look out -- see Zane and Rosh making the final leaps tothe bottom. Zane looks up -- flips them the bird and dashesoff --

The Freerunners leap out of the window, taking huge leapsdown the stairs to the bottom --

EXT. ALLEY BELOW APARTMENT COMPLEX - DAY

Zane and Rosh, running like champions, and as theyre running-- Zane pulls the folded slip of paper from his jacket --

ZANEGot a present for ya.

-- and passes it to Rosh who jackets it --

ROSHLose em and rendezvous at Jacksonand fourteenth.

-- and with that, the guys split up, and as they part --like dark horses behind them, the freerunners.

WHIP PAN - as Zane and Rosh blow past. ...And, momentarily,the Freerunners. The boys dash out of the alley.

4.


5/13

EXT. DOWNTOWN STREETS - TRACKING WITH ROSH

Rosh dashes across the street -- frantically waving down aslowing black Charger. The passenger side opens and he leaps

in --

ROSHGo! Go, go!

-- REFLECTED in the cars windows, the Freerunners, too lateas their target speeds off in the Charger.

REVERSE ANGLE to the Freerunners -- looking to the leftbecause theres still Zane.

INT. GRAFFITTI ALLEY

Zane swerves into the alley -- panting. He hurries down agauntlet of trash and other shit -- looking for something --a quick exit perhaps. He turns into --

MORE GRAFFITTI ALLEY

-- and ambles down it, looking furtively behind him.

LOW ANGLE - a LADDER reaching up to God-knows-where, but thisis what hes been looking for, so he latches on, startsclimbing it.

As he ascends, the FIGURE of one of his Freerunner pursuersenters the alley -- gun at his side.

FREERUNNER #2Hey Zane!

Zane jerks his head -- makes eye contact -- shit -- startsclimbing faster, but the Freerunners got his gun-hand up andpulls the trigger -- POP POP!

Zane drops from the ladder like a bug -- WHUMP! -- into apile of trash.

The Freerunner stands there for a moment -- looks around --making sure nobody saw/heard that -- then walks over. FrisksZanes pockets, looking for the prize. Nothing. He kicks thebody and walks away.

CUT TO:

5.


6/13

A RUMPLED PIECE OF PAPER is smoothed out and tacked with push-pins to a tackboard. Its covered with typed binary code:001001010100000111101100010100101...

REVERSE ANGLE, the person whos regarding it -- tousle

haired, bleary-eyed, generally looks like shit. This is ourguy, PARKER. He puffs a cigarette -- blows smoke at us.

PARKERWhat the hell is this?

INT. PARKERS HIDEOUT

Behind Parker, Rosh and a girl in the deep background, inperfect focus, painting her nails -- TASH.

Parker turns to Rosh --

PARKERThis is what you got fromKristoffs?

Rosh shrug/nods.

PARKER (CONT'D)You searched the place, right? LikeI told you?

ROSHCorner to corner. Big coke stash in

the bathroom -- this was in one ofthe bags.

(a smirk)I got proof in the duffel if youreinterested.

Parker turns to back to the paper on the wall, puzzled.

PARKERIts just binary. What the fuckm Isposed to do with binary?

His puzzled countenance FREEZES -- and now, a bunch of MATCHCUTS of his same face, same pose but different clothes --background locations -- hairstyles - till we end on PARKER ASFREERUNER, outside by an --

6.


7/13

EXT. ABANDONED BUILDING BY TRAIN TRACKS - MORNING

WHIRL AROUND HIM to find hes standing on a cement ledge -- aWOMAN in a trench coat before him -- hands in her pockets

and shades on her face. CAIRO.

A LEGEND: Three Weeks Ago

Parker hops down off the ledge. This is a different guy froma minute ago -- he looks prepared. Sharp. Official. He takeshis shades off and clips them to his shirt. His FreerunnerFive-O Badge reads HI, MY NAME IS PARKER.

He addresses the woman:

PARKERCairo.

Shes not that imposing, but in the shades and black trench,she seems...dangerous. A grin barely curves her mouth.

CAIROParker.

PARKERYouve been getting into it Cairo.You and your little cartel. Whatsit all about, hun?

CAIRO

You tell me. You know what I want.And you know Im gonna get it.

PARKERIs that so? And what specialthing...

(walking closer)...do you think youre going to dothat will preclude me from stoppingyou?

Again, nothing real emotive from this woman. Just thatgoddamned smug smirk. She says -- coy, but again -- fuckingdangerous:

CAIROYou dont know about me, do you?

On her. FREEZE FRAME. Now its her turn to get a bunch ofMATCH CUTS of her same face, same pose but different clothes -- background locations -- hairstyles - till we end on CAIROWITHOUT SHADES, looking down at something...

7.


8/13

PARKER (V.O.)(narrating)

Yeah I know about her. Aint gonnatell you about her though.

EXT. ABANDONED WAREHOUSE

...PULLING BACK slightly enough to reveal the GUN in herhand. She ARMS it. POW!

PARKER (V.O.)(narrating)

Or you might get as messed up asshe is.

REVERSE ANGLE: A GUY, bound and gagged to a pole. The lightshave gone out, but theres still frozen terror in his dead

eyes.

Cairo, coldly eyeing the scene. Hands her gun off to a nearbyGOON. Starts walking -- and we never leave her countenance asshe goes, accompanied by two of her GOONS.

PARKER (V.O.) (CONT'D)I wanna tell you a story, okay?Its kinda fucked up for me but youmight like it. See, theres thisbig time kingpin...or maybequeenpin, I dunno the politicallycorrect term to use.

Cairo puts her shades on...and unravels a piece of pinkbubblegum from a glittery round dispenser...

PARKER (V.O.) (CONT'D)Long time ago, she killed mybrother. That was the sad sapagainst the pole you saw earlier.He was a chain in her gang. Not thebrightest screw in the bag if youcan imagine.

Cairo, now OUTSIDE IN A PARKING LOT, enters her BMW...sheblows a huge bubblegum bubble as she leans in...

PARKER (V.O.) (CONT'D)Her M.O.? You guessed it first.Revenge.

...and the door shuts. INSIDE THE CAR -- its dark, kind ofnoir. Cairo is enveloped in menacing shadow...

8.


9/13

PARKER (V.O.) (CONT'D)See, Cairos a jilted bird. Used tobe one of us.

INSIDE THE BMW - as a SHADOW PASSES OVER HER, Cairos

countenance changes for a brief moment -- now shes in ajeans jacket with a HI, MY NAME IS ALLISON badge.

PARKER (V.O.) (CONT'D)(narrating)

The Freerunner Five-O, that is. Thelast vanguard in this messed uptown.

Another SHADOW PASSES OVER HER, and her countenance returnsto its former badgeless, silent, dark calm...she turns herhead slightly, looking towards the window which has,reflected in it like a low-opacity TV, scenes from the

following story Parker narrates:

PARKER (V.O.) (CONT'D)(narrating)

See, her sad storys that a longtime ago, I put her sister away forrespectable enough reasons. But thekid died in prison -- suicide. So,Allison became Cairo and popped mystupid brother.

We move in on Cairo. PARKERS FACE reflects in her shades.

PARKER (V.O.) (CONT'D)Now shes out to put the Five-Oaway.

MATCH CUT/DISSOLVE from PARKERS REFLECTION in her sunglassesback to...

EXT. PARKERS HIDEOUT

-- Parkers disheveled countenance -- from the same angle asbefore. He bows his head slightly, wearily.

PARKERCairo...

He glances over to Tash who is pacing in the background,glibly babbling on her cellphone. La Vie en Rose plays froma tapedeck somewhere.

9.


10/13

As the song plays, we..

CUT TO:

EXT. STREETS - EVENING

Parker, wearing a hoodie, walks briskly down an empty plaza.He glances furtively behind him now and then, carrying thedemeanor of a man pursued.

NEW ANGLE - FROM A ROOFTOP

A high angle. Were watching him as he hurries across thestreet.

NEW ANGLE - BEHIND A STREET CORNER

A stealthy angle. Were peering from the corner, as Parkerheads down an alley. We move out, following him.

ANGLE ON PARKER peering behind himself -- sees a DUO walkingdown the sidewalk. One of them in a leather coat -- lookskind of shady.

Parker hurries up the stairs of a rickety looking buildingthat stands on its own in a parking-lot. He rattles the knoband knocks. He glances across the street.

A FIGURE is leaning against a tree, facing his direction, hishands in his pockets -- like he might have a gun...?

The door to the building opens -- its a guy, CASE.

CASEYoure late.

Parker shoves by. Case scans the perimeter -- sees theFIGURE, doesnt like it -- and closes the door.

INT. CASES LAIR

Inside, its a mess -- papers everywhere -- a laptop on acoffee table, a small TV parked on a desk barely flickers.Case starts gathering up his belongings.

CASEThey followed you, man. I told youto be careful --

PARKERI was careful.

10.


11/13

CASETch, yeah, right, then whys EagleEye out there by the road gropinhimself, huh? Fuckit -- just when Iwas all nice and comfy.

Case tosses Parker a pack of cigarettes.

PARKERCant say Im sorry -- its anemergency as you know.

CASEDid you bring the binary?

Parker pulls the paper out of his hoodie pocket, tosses it toCase. Case skims it briefly.

CASE (CONT'D)Like I thought -- top-of-the-linecommand code. Its an interfacehack, only the fellow whoprogrammed thisll be able tooverride it.

Case tosses the paper back to Parker.

PARKERWait -- holdit, you sayin youcant fix this?

CASESorry bub, looks like you wasted atrip.

Parker -- adamant -- grabs Case by the shoulder.

PARKERListen, the Five-Os in realtrouble here, Im outta contactwith the HUB, outta contact withINTEL, if I cant get back in therethis means Cairos won! I cant lether do that!

KNOCK KNOCK KNOCK. The mens heads jerk towards the door.

CASEBell tolling.

Case runs around the room -- stuffing gear in his back --runs to open a window -- the knob on the door RATTLING --

11.


12/13

CASE (CONT'D)Shame for you, but Im in deep shitenough as it is. If Cairo finds outIve been two-timing on the cartelshell have my head and that aint

gonna be good for anybody --especially me.

He gets the window open and slips out just as the DOOR SWINGSOPEN.

Parker turns and faces TWO FREERUNNERS -- same ones frombefore at the shabby apartment. They ATTACK -- coming atParker with their fists.

Parker engages -- blocking and dodging -- then its nothingbut fist and elbow -- he smashes one of them in the face andkicks the other one into some furniture -- takes his chance

and makes a break for the wide open door --

EXT. CASES LAIR

Parker -- LEAPING like a cat over the full flight of stairs.Lands it and is down the street running...

The two freerunners aint about to stop -- theyre down thestairs after him!

EXT. PARKING LOT - CONTINUOUS

MOTION -- flat out. Parker streaks across the lot --slaloming through a gauntlet of cars.

The freerunners split up after him -- one of them LEAPINGclean over a car to ace a position behind Parker --

Parker shoves a random solitary basket in the path of thefreerunner who deftly dodges it.

Parker cuts a hard left, disappearing behind a large parkedvehicle. On the other side of it though -- the otherfreerunner, rushing at him --! The two men collide, scufflingon the ground. Parker fights him off and scrambles to hisfeet -- running for a set of stairs.

AT THE STAIRS

Parker -- skipping steps -- bounds up -- but stops because...

Hes hit a wall of FREERUNNERS. Five of them. Just standingthere, fists clenched, ready to take him out.

12.


13/13

Parker turns to escape the way he came, but the other tworunners are staggering up below the stairs -- out of breath,but grinning.

A hand lands on his shoulder. Parker twists around -- looks

the runner in his eyes.

FREERUNNERTime to come home copper.

FADE TO BLACK.

TO BE CONTINUED...

13.

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Parkour Cop PRT1