Detroit Page #9

Synopsis: A police raid in Detroit in 1967 results in one of the largest RACE riots in United States history. The story is centred around the Algiers Motel incident, which occurred in Detroit, Michigan on July 25, 1967, during the racially charged 12th Street Riot. It involves the death of three black men and the brutal beatings of nine other people: seven black men and two white women.
Genre: Crime, Drama, History
Director(s): Kathryn Bigelow
Production: Annapurna Pictures
  5 wins & 16 nominations.
 
IMDB:
7.4
Metacritic:
77
Rotten Tomatoes:
83%
R
Year:
2017
143 min
$16,788,494
Website
1,517 Views


- Get your f***ing story straight.

- Oh, f***.

Hey, get your head straight.

I'm serious.

All right,

just take a minute.

Stay here.

(GROANS)

Oh, God.

(DOOR SHUTS)

Oh, f***.

(GROANING)

(WHISPERING) Marty shot the guy.

What?

- He did?

- Yeah.

Point blank.

We need to wrap this up

and get out of here.

We don't have a suspect.

Should we just

arrest them all?

No, no, not now. We just need

to get out of here, you know?

And... Us and them.

If they're smart, they're not

gonna say anything, all right?

All right. Let's do this.

You come with me.

KRAUSS:
Listen to me.

You're free to go.

But you don't talk about this

to anyone, ever.

You understand?

'Cause I got your name,

...and I know

exactly who you are.

I don't got your name.

I don't know

nothin' about you.

(WHIMPERING)

Please don't kill me.

(SNIFFLES)

Please don't kill him.

What's this here?

I don't see nothin'.

KRAUSS:
All right.

Get going.

FRED:
(SOBBING)

Hey, we don't know nothin'.

We don't know nothin'.

No, no, no, no!

Relax.

Listen.

What if I told you you can

run out that door right now,

...but you never talk about

what you saw here?

Understand?

FRED:
Please don't kill him.

Please don't kill him.

(PANTING)

No, no, no!

(BREATHING HEAVILY)

Listen to me.

What do you see here?

You killed him.

You killed him.

(BREATHING SHAKILY)

We're gonna try this again.

I don't see anything.

There's a dead guy

right there.

(GUNSHOTS)

(THUDDING)

(WHIMPERING)

(GUN C*CKS)

(GUNSHOT)

(GUN COCKING)

(SIRENS BLARING IN DISTANCE)

(PANTING)

OFFICER DAVID:
Halt!

(PANTING)

Please, please, please...

Please, please, please...

OFFICER DAVID:
Hey.

Hey.

Oh, my God.

Who could do this

to someone?

Hey, hey, hey. I'm here

to help you, all right?

Come on. Hey.

I'm gonna get you

to the hospital, okay?

All right? Relax.

Okay? Hey, hey,

it's all right.

Come with me. Come on.

Come on.

We're gonna get you there.

Come on, brother.

Don't you go on me, all right?

Come on. Come on.

We got him.

Let's go.

(MACHINERY WHIRRING)

(PEOPLE CONVERSING

INDISTINCTLY)

Aubrey! Phone call!

Aubrey, hey!

You got phone call!

- Say again?

- You got a call from home.

Something's wrong.

Kid's in trouble or hurt,

or something.

Bet it's my youngest.

He's always googy-googy.

(CHUCKLES)

Yes?

ROBERTA:
(ON PHONE)

Well, Aubrey,

(SOBBING)

...they found Aubrey dead this

morning at the Algiers Motel.

No. No. Aubrey's supposed

to be at home.

It's gotta be somebody else.

(DIAL TONE)

(CONVERSING INDISTINCTLY)

What is this, Ma?

A mistake?

It's gotta be a mistake.

Aubrey's got more sense

than that.

Well, baby, you never know.

Let's go see.

(GROANS)

(SNIFFLES)

(HAMMERING CONTINUES)

(INDISTINCT CONVERSATIONS)

OFFICER:
Dismukes?

Is he there?

(INDISTINCT CONVERSATIONS

CONTINUE)

Looking for a Dismukes.

Appreciate it.

Any of you fellas

named Dismukes?

Yeah, that's me.

I have to ask you

to come with us, sir.

Is there a problem?

No. I don't think so.

Rather not have

to ask again, though.

Y'all tell the boss, huh?

You got this?

- Take care of yourself.

- OFFICER:
This way.

Come on, I ain't got all day.

(INDISTINCT CONVERSATIONS)

Take a seat.

(PHONE RINGING IN DISTANCE)

(DOOR OPENS)

DISMUKES:
I'm sorry, I...

I assume this is about

what went on at the motel?

What happened at the motel?

DISMUKES:
If you don't know,

I'll tell you.

I was working security

by Wisconsin.

And on Tuesday night,

we heard gunfire...

...coming from the area

near the Algiers.

DETECTIVE THOMAS: Oh.

In that direction.

Police was there. State

police, National Guard.

It was a lot of shooting.

(WHISTLES IN DISMAY)

And when I went in there,

three kids had been killed.

No.

- Yes, sir.

- This right there, right?

Is that what

you're talking about?

(LIGHTER SNAPS SHUT)

Yes, sir.

Yeah.

He was lying just like this.

The blood was fresh.

It hadn't congealed yet.

So they were killed

right before you got there?

(EXHALES)

Yes, sir.

You carry a.38, right?

A revolver.

Do you carry a revolver?

I do have a.38.

Hmm. You ever shoot anyone?

- No.

- Strike anyone?

- Not the way you mean, sir.

- What do I mean?

Fellas,

...you know, sometimes,

...when a black guy's put

in a position of authority,

...other black guys, they like

to single you out, okay?

Because I'm not supposed

to tell 'em what to do.

When we have

these conversations,

...we do them in stages, okay?

Stage one, witnesses.

Stage two, suspects.

What stage are we in?

You don't know

what stage we're in?

No. Could you

specify for me?

DETECTIVE JONES:

Yeah, we're in stage two.

You're a suspect.

I didn't do it.

The police...

Ah, here we go.

The police shot those kids.

DETECTIVE THOMAS: See,

how the hell do you know that...

...when you weren't inside

the building...

...until after

the shooting stopped?

So, are you lying to us now,

...or were you lying

just a minute ago?

DETECTIVE JONES:
That's

a good question, Detective.

DETECTIVE THOMAS:

You need to think real hard.

You need to answer me.

All due respect,

I am telling the truth.

I'm not lying.

I told you what I saw.

I saw these kids...

- DETECTIVE JONES: Melvin.

- Okay. Okay.

- We're here to help you, okay?

- Yes, sir.

Melvin, do you

wanna go home?

Yeah.

DETECTIVE THOMAS: Can we

let him think about it?

DETECTIVE JONES:
Yeah. You

think about it, okay, Melvin?

I didn't do it.

(DOOR CLOSES)

DETECTIVE JONES:
(ON INTERCOM)

Number four, step forward.

You're doing

a real good job, honey.

(PRISONERS CLAMORING)

(BANGING ON BARS)

Eddie...

Has he woken up?

No, man.

(SIGHS)

Hey.

Larry.

Hey, wake up, brother.

(SNIFFLES)

Hey.

Be gentle.

JIMMY:
It's all right, man.

It's us.

You know where

my little brother is?

The police are saying

Fred is dead,

...but I can't get nobody

to tell me what's going on.

(STRAINED) What's going on?

You tell us, man.

The police...

The police?

LARRY:
The police...

They...

(BREATHING SHAKILY)

(SOBBING)

- You have children?

- Oh, yes. I have three boys.

The oldest is 12.

Then nine and seven.

You know

how youngsters are then.

(CHUCKLING) Oh, boy...

The way they communicate,

grunts and groans.

My little cavemen.

Especially boys. (CHUCKLES)

It's like they don't know if

they wanna be slick, you know?

That's right.

They're still trying

to find their place in life...

...and we have

to allow for that.

AUBREY SR.:
Uh-huh.

DR. BREYER:
Oh, yes.

AUBREY SR.:
Hmm.

Well,

I can see

you want to go back there.

Sure.

(DOOR CLOSES)

MAN:
(ON TV)

We helped put out fires.

We helped try to keep the riots

down and keep the corner clear.

What can you say...

...about having all this

murdering and confusion?

Everybody isn't thieves

and murderers.

I wish that things could be

better for the negro people.

(INDISTINCT CONVERSATIONS)

KRAUSS:
Just, uh...

Remember what I told you, and

this whole thing's gonna blow over.

All right?

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Mark Boal

Mark Boal (born January 23, 1973) is an American journalist, screenwriter and film producer. Before he became a prominent figure of cinema, Boal worked as a journalist for such publications as Rolling Stone, The Village Voice, Salon and Playboy. Boal's 2004 article "Death and Dishonor" was adapted for the film In the Valley of Elah, which Boal also co-wrote. In 2009, he wrote and produced The Hurt Locker, for which he won both the Academy Award for Best Original Screenplay and the Academy Award for Best Picture. In 2012, he wrote and produced Zero Dark Thirty, teaming again with director Kathryn Bigelow, about the tracking and killing of Osama bin Laden. The film earned him Academy Award nominations for Best Original Screenplay and Best Picture and a Writers Guild of America Award for Best Original Screenplay. The pair collaborated a third time for 2017's Detroit. As of 2013, Boal has won two Academy Awards (four nominations), a BAFTA Award, two Writers Guild of America Awards, a Producers Guild of America Award and four Golden Globe Award nominations. He has also won several critics awards. more…

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Submitted on August 05, 2018

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    "Detroit" Scripts.com. STANDS4 LLC, 2024. Web. 24 Dec. 2024. <https://www.scripts.com/script/detroit_6805>.

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