Faster Page #3

Synopsis: A lone man, recently released from prison, seeks out the people from his past who he believes betrayed him. While he forces each to atone for their sins, he must also face what meting out vengeance will do to his immortal soul. Meanwhile, he's not the only one looking to settle old scores. Hired by the man responsible for the events which lead him to prison, an eccentric contract killer follows his every move. Scenes of them crossing paths, sometimes violently, are interspersed with the assassin's self-realizations of how to deal with struggles within his own life. As if old enemies & hired guns aren't enough, a young female detective begrudgingly works alongside a veteran investigator looking to simply survive his last two weeks on the force before retirement, as they seek out the brazen ex-con who has been blazing a path of gasoline-powered destruction in his vintage Chevelle.
Genre: Action, Crime, Drama
Director(s): George Tillman Jr.
Production: CBS Films
  5 nominations.
 
IMDB:
6.5
Metacritic:
44
Rotten Tomatoes:
42%
R
Year:
2010
98 min
$23,225,911
Website
1,699 Views


l mean, you know,

the dude's completely artless.

l mean, there's no sophistication

to him whatsoever.

But he's pure, you know?

No fear, no hesitation.

There's nothing.

He as fast as you?

No, he's faster.

You'll get him.

How can you be so sure, hey?

Because you always do.

KlLLER:
Baby.

Yeah?

Marry me.

MAN:

Hey, mister.

[lNAUDlBLE DlALOGUE]

Goddamn it. Sh*t.

[LAUGHlNG]

ls that what l think it is?

Oh, the tattoo?

Yeah. Tattoo.

Yeah, l was in the L.A. Crash Unit

before l got transferred up here.

Guns blazing, ass-kicking cops

with porno mustaches?

That Crash?

Yeah, is it so hard

for you to believe?

Yeah.

Can l get in there?

That's where l met Marina,

actually. She was my Cl.

You married your snitch?

Dude, that is wrong

on so many levels.

Well, she was in really bad shape.

Got in rehab and we fell in love

and there you go.

Was she the only one in rehab?

That's ancient history.

You sure about that, Hoss?

Listen, l got 1 0 days

to retirement.

Full benefits for me and my family,

so why would l screw that up?

lt's all l got.

COP:

All right. Let's go.

How long you been clean?

Since my son was born.

Good for you.

[DOOR OPENS]

MAN:

David, come on.

WOMAN:

David, did you forget something?

You forgot my hug.

BO Y:
Love you, Mommy.

[]

[ENGlNE STARTS]

Good job.

[DOOR CLOSES]

[FOOTSTEPS]

[BAB Y BABBLlNG]

Oh, my God.

You can't do this.

Why did you come?

There's nothing for you here.

Why did you make me stop

coming to see you in prison?

l didn't see any sense

of three wasted lives.

Three?

Was that him?

The boy?

David?

You shouldn't think...

You did a dime.

David's 8. Do the math.

When you cut me off,

l gave the baby up.

Did you find a good family?

l had an abortion.

l'm sorry.

[SOBBlNG]

[]

[BAB Y CRYlNG]

All right.

They know what you're doing.

l saw it on TV.

l hope you kill them all.

[]

PRlEST:

Shall we begin?

[GUNSHOTS]

[LAUGHlNG]

Fair enough.

Fair enough.

[LAUGHlNG]

Let's start a family.

Family?

Yeah.

What's gotten into you?

We'll sell the house by the lake,

and we'll get a Craftsman

in Pasadena.

Fresh start.

You're serious about this,

aren't you?

Yes.

And what about your work?

Oh, um...

Well, what about it?

Would you quit before this job?

Absolutely.

l will quit absolutely.

Just like that?

Just like that.

Marina.

Let me in for a second,

l need to talk.

l'm gonna stand here all day,

so you may as well.

Marina.

[LOCK CLlCKS]

WOMAN [ON TV]:

--killed, the first victim

was gunned down less than an hour

after the suspected gunman

was released from prison.

While the second victim

was shot--

What are you doing here?

Thought you didn't care

about my case.

REPORTER:

--to a bank robbery at Bakersfield

1 0 years ago.

Look, l do not need you coming here

and dragging us down again.

Marina, if you just--

No.

l am getting

my associate's degree.

l am trying to

make something better

for Tommy and me.

Please take me back.

lt'll be okay.

lt's not okay.

Marina, l'm begging you.

l'm begging you, please.

God. Get off your knees.

Marina, please. Just please--

Don't touch me.

Do not touch me.

Give me the dope.

l don't have any dope.

Give it to me.

Okay. Here.

lt's all l got.

Look, l'll go to rehab.

l swear to God l will.

Let's go. Let's go right now.

After the case, l gotta finish the case.

Well, l can't just walk out on that.

l just wanna be with you

for one night.

l mean, you know,

with Tommy and--

Please.

Just one night.

[MAN SlNGlNG lN SPANlSH

ON RADlO]

MAN 1 [ON RADlO]: Radio--

MAN 2:
Twenty-five dollar gift cert--

EVANGELlST:

Brother, put down that bottle.

Put down that cocaine,

that methamphetamine.

Put down that .45,

that .38 and that .357 Magnum.

EVANGELlST [ON RADlO]:

So precious to each one of us.

Why?

The night is far gone,

the day is at hand.

Those that live by the sword

will die by the sword,

unless they learn to forgive.

God made life so fragile

and so precious for each one of us.

You will never truly be free

unless you learn to--

BOUNCER 1 :

Yo, l gotta take a leak.

l'll be right back.

BOUNCER 2:

Hold up, big man,

l gotta check you. Arms up.

[lNAUDlBLE DlALOGUE]

BOUNCER 2:

Got any weapons on you

besides these guns here?

l'm only kidding, man.

Go on, have a good time.

CASHlER:

Welcome to the gentlemen's club.

lt's a two-drink minimum

tonight, baby.

[RlCH ROSSl'S ''LEAN'N''

PLAYlNG OVER SPEAKERS]

My man.

Hey, what's up, big dog?

l'm great.

Right.

[SPEAKlNG lNDlSTlNCTLY]

Wake up, Joe.

Huh?

[]

BOUNCER:

l've been expecting you.

Joe.

Joe.

Huh?

Oh, Shelly.

Go outside and watch the door.

Only one of us

is gonna make it out of here.

No matter who it is, Joe,

you didn't see a damn thing.

Go on.

All right, then.

[GRUNTlNG]

[GASPlNG]

l got a son.

Tell him l said l'm sorry.

l'm begging you.

He's speed dial number three.

l'm sorry.

He made us take you down.

[LlNE RlNGS]

BO Y [OVER PHONE]:

Hello? Hello?

Your father's sorry.

Who is this? ls he okay?

Did something happen?

Yeah.

Something happened.

[]

l thought you said

you were done.

l have to finish this one first.

You promised me you were quitting.

And l will. l will quit.

But after this one.

No, this isn't fair.

l didn't ask you to marry me.

l'm sorry.

You're sorry?

Mm-hm.

What if l told you you had to choose?

Don't.

You used to be attracted

to what l do.

l'm your wife now.

What if he kills you?

Lily.

[SOBS]

Daddy?

Yeah?

l know l suck at baseball.

You don't have to pretend

like l'm good.

You'll get better.

You just need to practice.

Maybe you and l can throw

the ball around one day.

How's that?

Okay.

l gotta tell you a secret first, though.

What, Daddy?

l suck at baseball too.

[BOTH LAUGH]

[CLATTERlNG]

You go to sleep, okay?

l'll be back.

Jesus Christ.

[GROANS]

Oh, Jesus.

Are you okay?

Look at me, look at me.

Why did you do this?

l'm afraid.

What are you afraid of,

honey?

We're going to hell for what we did.

Do you know what hell is?

lt's not fire and devils.

All that stuff they taught you

when you was little.

We make our heaven

and our hell while we're alive,

[]

every time we cause pain,

every time we cause suffering.

[PHONE LlNE RlNGS]

ClCERO [OVER PHONE]: Cicero.

Hey, it's me. Did l wake you up?

No.

You said on your message

to give you a call, so...

Okay, here's the deal.

Both of our victims

were informants.

Could be something there, right?

COP:
Yeah, could be.

Nice work.

ClCERO:

Okay, l need you to follow up on it.

l gotta be in court,

but l really think we're getting close.

lt's gotta have something to do

with how they got set up.

Did you hear about that stabbing

in Henderson?

Yeah, yeah, what about it?

l got a hunch it might be our guy.

lt's not his m.o.

Our guy's a shooter,

not a stabber.

Like l said, l got a hunch.

Yeah, so did Quasimodo.

Look where it got him.

l'm gonna go ask a few questions.

After you do the follow-up, right?

Rate this script:0.0 / 0 votes

Tony Gayton

Tony Gayton was born in 1959. He is a writer and producer, known for Faster (2010), Hell on Wheels (2011) and Murder by Numbers (2002). more…

All Tony Gayton scripts | Tony Gayton 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

    "Faster" Scripts.com. STANDS4 LLC, 2024. Web. 29 Aug. 2024. <https://www.scripts.com/script/faster_8042>.

    We need you!

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

    Watch the movie trailer

    Faster

    Browse Scripts.com

    The Studio:

    ScreenWriting Tool

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


    Quiz

    Are you a screenwriting master?

    »
    In screenwriting, what does "FADE IN:" signify?
    A A camera movement
    B A transition between scenes
    C The end of the screenplay
    D The beginning of the screenplay