City by the Sea Page #6

Synopsis: New York City homicide detective Vincent LaMarca has forged a long and distinguished career in law enforcement, making a name for himself as a man intensely committed to his work. But on his latest case, the stakes are higher for Vincent--the suspect he's investigating is his own son. He and Joey have been painfully estranged ever since Vincent divorced his wife and left the decaying boardwalks of Long Beach, Long Island for the anonymity of Manhattan and a successful career with the NYPD. He lives his life in solitude, keeping his girlfriend at arm's length; the closest relationship he maintains is with his partner, Reg--and Vincent makes sure that stops at the precinct door. As long as Vincent lives in the protection of the present, he doesn't have to deal with the pain of his past--or his sorrow over his broken relationship with Joey. But this murder investigation is drawing Vincent home to Long Beach, the self-proclaimed City by the Sea, where the past has been waiting for him to r
Genre: Crime, Drama, Mystery
Director(s): Michael Caton-Jones
Production: Warner Bros. Pictures
  1 nomination.
 
IMDB:
6.1
Metacritic:
50
Rotten Tomatoes:
47%
R
Year:
2002
108 min
$22,369,941
Website
362 Views


chasing you. You a junkie!

Only place you're going is the morgue.

County, motherf***er!

Wait a minute! What are you doing?

There's nothing in there for you.

Want to come over and see my soup?

Look, here's grandpa.

This is Evelyn Hancock.

She's an old friend.

You're a big boy, Angelo.

Evelyn is with Child Services.

What's going on?

She's taking Angelo until

Gina comes back. It's temporary.

She's not coming back.

I can't take care of him.

- Can I talk to you?

- Sure.

Go see this nice lady.

I just wanna talk to him

for a minute.

- What are you doing?

- What am I supposed to do?

- Take care of him. You're his grandfather.

- Nice idea, but I can't.

Vincent, Gina's gone.

You think his father is coming back?

- This is the best thing for him.

- No, you're the best thing for him.

- I can help you.

- You never had kids, you don't know.

- You're gonna walk away from him.

- What do you mean, walking away?

- Like with Joey.

- I'm not walking away!

- That's what you told me you did with Joey.

- I'm not- Walk away?

Let me show you something.

Let me show you something.

You think I want him growing up with

this? Like the son of Frankenstein?

"You never know what he might do. "

"Don't mention his father!"

Call it walking away, but I'm doing

the best thing for him.

That is not about Angelo.

That's about you.

You told me. You told me

you never had a choice, right?

- Well, you got one right here.

- Michelle, try to understand.

Right now it's more than I can handle.

I can't do it.

That's how you make a choice.

Goodbye.

Morning.

Let's try to wrap this up.

We got pretty substantial evidence.

Fingerprints are clear.

There are no others on the gun.

Shells and ballistics

identify it as the shooter's.

We know he frequented the carousel

and used drugs there.

- Excuse me, sir.

- Go ahead, Dave.

A shoe print in the blood

doesn't match LaMarca's size.

So, what do we think?

That O.J. was there?

Maybe Bruno Magli?

One last thing.

This kid has killed twice.

Don't give him a chance

to do it again. We got that?

You got a phone call on my phone.

How come you're giving out my number?

- I don't even know your number.

- This guy knows it.

Make sure you leave a nickel

in the ashtray.

Dave Simon.

I couldn't call you direct.

What's going on?

I have something you should see.

Could we meet at York

and 59th Street Bridge?

It's copies of crime scene photos

I tried to mention.

What are they?

Footprints in the blood

at the top of the ladder.

We can account for all of them...

...except for one heel from a size 10

cowboy boot made by Justin Boots.

At your ex-wife's

we found some of Joey's stuff.

Joey wears a size 121/2 shoe.

There's no 121/2 prints

anywhere in this blood.

I appreciate this.

Well, you know,

it doesn't all have to be bullshit.

- You born in Long Beach?

- No, Army brat. We lived all over.

- Distant climes, huh?

- We traveled a lot.

- Now we got a baby. I hardly get out.

- Kids change everything.

Isn't that the truth.

Sir, listen,

I'm real sorry about your son.

I appreciate it. Thank you very much.

I appreciate that.

It's more than I can handle.

- We just pretend we got a choice.

- We don't have a son, I do.

I wasn't gonna feel that again.

- You think I love you?

- I should've tried harder.

You said you never had a choice.

- What are you, a cop or my father?

- That's my son.

Please help him. You're all he's got.

He's your son!

- This is something you can't run away from.

- Just like his dad.

Sorry, sir. We're closed.

- Anybody know where Spyder is?

- We're closed, mister.

Where's Spyder?

Peace, brother. Peace.

Stick the Friar Tuck act up your ass.

Where's Spyder?

- You know who I am?

- Yeah-

Tell Spyder I know he killed

my partner. I got proof.

He wants to see me, I'm at the Seaway

Motel. Room 105. You got that?

Yeah.

105. Seaway Motel.

Here's where we're

expecting the storm.

On our map, lots of green.

And within that, yellows and reds.

These are the areas

where we're expecting heavy rain.

In New York City, the storm

will move in by tomorrow morning.

You got something for me?

Dave Simon.

Lt. LaMarca.

Got it.

I want backup and emergency units

to Ocean and Neptune. Lt. Katt?

Don't f***ing move!

Don't move a finger.

Give me the gun.

Give me the f***ing gun! Go ahead.

Move!

What the f*** is this?

What are you doing

telling people I shot that cop?

I know you killed my partner,

scumbag.

It was your junkie kid.

I'm not the only one that thinks so.

You left a footprint in his blood.

Are those Justin, size 10?

- You're a long way from Manhattan.

- But too close to home for you.

You broke into my property.

I'm within my rights to defend it.

I couldn't take the chance

he'd hurt Gina or Angelo.

Would be just like him.

You broke in here pretty good.

You learn that in cop school?

So, what now, Joey?

Hold back and hold your fire!

Hold your fire!

Keep eyes on that door

and those windows!

Block that road!

I don't want one TV van!

Right up there.

Okay, enough. Give me the gun.

It'll be hard enough getting you

out alive without them seeing that.

This is no game, son. Please.

You saved my life but they

didn't see it. They don't care.

- I ain't going to jail.

- I understand. I wanna help you, just...

Just give me the gun.

Lt. LaMarca, signal your location!

All right, talk.

Talk?

What are you now, f***ing Oprah?

You got a son and a woman that

loves you. Don't run away from that.

- You did.

- Yeah.

I did.

And I'm sorry.

I've regretted it ever since.

We all gotta pay

one way or another, right?

What's going on?

It's called "suicide by cop. "

Quick and easy.

No pills. No f***ing around.

I thought I'd try it.

How did we get this way?

I remember the day you were born.

Well, I remember the day you left.

So we're even.

- I'm not gonna kill you, son.

- Well...

Your friends out there will.

You know it.

- There he is!

- You two!

Hold back! Hold your fire!

Get the building secure.

Give me the gun.

- I don't want to shoot you.

- You do. You think I deserve it.

- Get back!

- But you won't. It's not the real you.

- You don't know anything about me.

- I do. You're my kid.

You're not a bad kid. You're a scared kid

whose old man left him.

You didn't get a choice and it hurt. I know.

But you're my son. You always will be.

Then why did you leave?

I was stupid. I forgot

what it felt like to be alone.

You don't want to do to Angelo what

I did to you. What my old man did to me.

- You can't.

- He don't need a junkie.

You're not a junkie to him.

My old man wasn't a killer to me.

When my old man left, I hated him

all my life for what he did to me.

But all I wanted was for him to walk

in the door because I missed him.

I didn't want to be alone

anymore.

We all pay a price for what we do,

but when's enough?

Because I paid. And you paid. And what?

Now Angelo has to pay?

You can't! We got a second chance

Rate this script:0.0 / 0 votes

Ken Hixon

Ken Hixon is a screenwriter whose films include Welcome to the Rileys, City by the Sea, Inventing the Abbotts, Incident at Deception Ridge, Morgan Stewart's Coming Home, and Grandview, U.S.A.. more…

All Ken Hixon scripts | Ken Hixon Scripts

0 fans

Submitted on August 05, 2018

Discuss this script with the community:

0 Comments

    Translation

    Translate and read this script in other languages:

    Select another language:

    • - Select -
    • 简体中文 (Chinese - Simplified)
    • 繁體中文 (Chinese - Traditional)
    • Español (Spanish)
    • Esperanto (Esperanto)
    • 日本語 (Japanese)
    • Português (Portuguese)
    • Deutsch (German)
    • العربية (Arabic)
    • Français (French)
    • Русский (Russian)
    • ಕನ್ನಡ (Kannada)
    • 한국어 (Korean)
    • עברית (Hebrew)
    • Gaeilge (Irish)
    • Українська (Ukrainian)
    • اردو (Urdu)
    • Magyar (Hungarian)
    • मानक हिन्दी (Hindi)
    • Indonesia (Indonesian)
    • Italiano (Italian)
    • தமிழ் (Tamil)
    • Türkçe (Turkish)
    • తెలుగు (Telugu)
    • ภาษาไทย (Thai)
    • Tiếng Việt (Vietnamese)
    • Čeština (Czech)
    • Polski (Polish)
    • Bahasa Indonesia (Indonesian)
    • Românește (Romanian)
    • Nederlands (Dutch)
    • Ελληνικά (Greek)
    • Latinum (Latin)
    • Svenska (Swedish)
    • Dansk (Danish)
    • Suomi (Finnish)
    • فارسی (Persian)
    • ייִדיש (Yiddish)
    • հայերեն (Armenian)
    • Norsk (Norwegian)
    • English (English)

    Citation

    Use the citation below to add this screenplay to your bibliography:

    Style:MLAChicagoAPA

    "City by the Sea" Scripts.com. STANDS4 LLC, 2024. Web. 17 Nov. 2024. <https://www.scripts.com/script/city_by_the_sea_5602>.

    We need you!

    Help us build the largest writers community and scripts collection on the web!

    Watch the movie trailer

    City by the Sea

    The Studio:

    ScreenWriting Tool

    Write your screenplay and focus on the story with many helpful features.


    Quiz

    Are you a screenwriting master?

    »
    What is one key element that makes dialogue in a screenplay effective?
    A Long monologues
    B Excessive use of slang
    C Overly complex vocabulary
    D Natural-sounding speech that reveals character and advances the plot