Get Carter Page #5

Synopsis: Jack Carter (Michael Caine) is a cold-blooded London gangster, and not the sort of man you want to cross. When Carter's brother winds up dead, he travels to Newcastle to arrange the funeral. Convinced that his brother was murdered, Carter questions local thug Eric (Ian Hendry), who eventually leads him to kingpin Kinnear. From there, Carter carves a bloody trail of revenge through the seedy underbelly of Newcastle in search of his brother's killer.
Genre: Action, Crime, Drama
Production: Warner Bros. Pictures
  5 nominations.
 
IMDB:
5.1
Metacritic:
24
Rotten Tomatoes:
11%
R
Year:
2000
102 min
$14,551,088
Website
705 Views


DOREEN:

Uncle Jack? You know, just forget

it.

A frustrated Doreen goes to get another Coke.

CUT QUICKLY TO:

JACK AND EDDIE:

Ajit sits with his plate of food. Jack looks to the

presence of security cameras.

(CONTINUED)

27.

CONTINUED:

He takes note of three cameras over the bar.

EDDIE:

They gotta do something with this

area. Last five years it’s turned

into a damn cesspool. This

morning, my building had fresh

graffiti on it. These animals are

everywhere.

JACK:

Those animals didn’t have anything

to do with it, Eddie.

Doreen joins Jack, Eddie and Ajit with her Coke.

JACK:

Wasn’t even a robbery. It was a

hit.

EDDIE:

They took his wallet, Jack.

JACK:

They took his wallet to make it

look like a robbery.

EDDIE:

They stripped the car.

JACK:

Yes, and left behind a $600 CD

player. It’s a 1966 Mustang,

Eddie. A classic. Robbers slash

gangbangers would’ve taken it

straight to a chop shop where

they’d sand off any identifiable

marks and serial numbers. They’d

take an air gun, blow the original

paint off, give it a new color,

new papers, new plates, take it

out of state. Maybe Arizona or

Texas, and sell it for forty

grand. The last thing they’ddo

is strip it.

(after a long beat)

Someone wanted to make it look

like a robbery but didn’t know

how.

AJIT:

Why would they do that?

(CONTINUED)

28.

CONTINUED:

JACK:

To hide the fact that it was

personal.

Everyone looks at Jack, dumbfounded.

EDDIE:

Who’d want to murder Frank? He

was a good lad.

Doreen jumps up and throws her Coke in Eddie’s face.

DOREEN:

How the hell would you know?!

The entire proceeding stops while Doreen stares at Eddie.

Gloria quickly makes her way over to regain control.

Doreen looks to Jack.

DOREEN:

Or you?! None of you knew! He

was my dad! I knew!

Doreen storms out, leaving everyone stunned. Gloria

gives a pleading look to Jack. Jack goes after her.

EXT. HALF MOON PARKING LOT -TIGHT ON DOREEN

She cries as she moves between the cars.

JACK:

Doreen, I’m sorry! It wasn’t the

time nor the place! Doreen!

(turning her around)

It was stupid and I’m sorry.

DOREEN:

I need a ride.

CUT TO:

INT. OLDSMOBILE -MOVING

Jack and Doreen drive down the upscale, tree-lined

street. Jack makes a feeble attempt at small talk.

JACK:

So... how’s school?

DOREEN:

I haven’t been. I’ve been sick.

(CONTINUED)

29.

CONTINUED:

JACK:

What’ve you been doing then?

DOREEN:

Working, I guess. Make a left

here.

JACK:

You’ve been too sick for school

but you’re okay to work?

(as Doreen nods,

almost defiantly)

Where do you work?

DOREEN:

Baskin Robbins.

JACK:

Thirty-one flavors?

(as Doreen nods)

That sounds important. Knowing

which flavor is which and all

that.

Doreen looks over and finally breaks into a half-smile.

JACK:

What do you say we go out to

dinner tonight, Doreen? Anywhere

you want, my treat.

DOREEN:

I can’t. I’ve got plans.

JACK:

Tonight you’ve got plans?

DOREEN:

Will you do me a favor? Will you

please stop talking to me like

you’re my father? Please?

Jack takes a moment before he nods.

JACK:

I’m sorry. That’s the last thing

I wanted to do, Doreen.

DOREEN:

It’s up there on the right.

Jack pulls up to a large Tudor-style house tucked inside

the surrounding gate.

(CONTINUED)

30.

CONTINUED:

JACK:

Nice. Who lives here?

DOREEN:

Thanks for the ride.

Doreen exits, rings inside and the GATE BUZZES. She

stares back at Jack and heads inside. Jack exits.

CUT TO:

INT. HALF MOON BAR AND GRILL

Jack enters. No one from the funeral remaining. Eddie,

now behind the bar, gets change from the register. Ajit

spots Jack and informs Eddie. Eddie makes his way over.

EDDIE:

Mr. Brumby’s upstairs, Jack.

Wants to speak with you. Come on.

INT. GRANITE LOBBY -CONTINUOUS ACTION

Eddie leads Jack into the elevator.

EDDIE:

Gloria wanted me to tell you that

she took a ride home with Mrs.

Brumby.

INT. POLISHED WOOD ELEVATOR -SAME TIME

Jack stares at the floor lights. Penthouse is lit.

INT. MARBLE HALLWAY -STEADY ON JACK

He follows Eddie towards a door.

INT. BEAUTIFUL OFFICE -JACK’S POV

Expensive works of art. Behind a vast desk, Cliff Brumby

talks on the phone and motions for Jack to wait.

BRUMBY:

(into the receiver)

Yes, I know it’s Saturday.

Tomorrow’s Sunday. Obviously I

don’t give a damn because I’m

here. Fine.

(CONTINUED)

31.

CONTINUED:

EDDIE:

(softly to Jack)

Come back down and I’ll pull you a

Guinness. On the house.

BRUMBY:

(covering the receiver)

My ass ’on the house!’

Eddie laughs and hastily exits. Brumby smiles, hangs up

and greets Jack.

BRUMBY:

I didn’t know who the hell you

were, Jack, I’m sorry. My goddamn

wife had to tell me.

JACK:

How were you supposed to know?

BRUMBY:

You’re his brother. I should’ve

went out of my way to find out.

Have a seat.

(as Jack sits)

I want to express my deepest

sympathies, Jack. Frank was a

great employee and an even better

friend.

Brumby looks Jack straight in the eye and gets emotional.

JACK:

That’s good to know. Thank you.

BRUMBY:

I know you two had a falling out

way the hell back when, but if it

makes any difference... I know he

hoped you two could someday, you

know...

JACK:

Be brothers again?

(off Brumby’s nod)

Me too.

BRUMBY:

Only he didn’t think your ass was

interested.

(CONTINUED)

32.

CONTINUED:

JACK:

I’m afraid that couldn’tbe

further from the truth. We were

just... really stupid. I was

stupid.

Brumby waits for a reason why. There isn’t one.

JACK:

Are you involved with the

day-to-day operations of the

restaurant at all, Mr. Brumby?

BRUMBY:

No, that was all Frank. A great

restaurant man, your brother.

Great with staff, the books -

JACK:

Were there any flaws in his

running the show?

Brumby stares:
a strange question from the bereaved.

BRUMBY:

I don’t know. He was too

generous, I guess. Wouldn’t fire

bartenders for overpourin’.

(smiling)

Especially that I.R.A. bastard.

Brumby laughs while Jack forces a smile.

JACK:

Is that why you had those security

cameras installed over the bar?

BRUMBY:

(nodding)

Mostly just to scare them.

Cheaper than computers, believe it

or not. Can’t be havin’ that sh*t

and turn a respectable profit.

Jack nods. Then, an uncomfortable silence. Finally -

Brumby’s PHONE RINGS.

BRUMBY:

Anyways, I just wanted to say that

I’m sorry, Jack. And if you or

Gloria or Doreen need anything...

you name it.

(CONTINUED)

33.

CONTINUED:

JACK:

Well, I appreciate it, Mr. Brumby.

Thank you.

Brumby answers it. Jack stares at him and exits.

CUT TO:

INT. HALF MOON BAR -TIGHT ON GUINNESS

Eddie hands the pint of beer to Jack.

WIDER:

Jack looks at a security camera above the bar.

JACK:

You think one of your cameras

might’ve picked anything up?

Rate this script:3.0 / 1 vote

David McKenna

David McKenna (born August 14, 1968) is an American screenwriter and producer. He worked as executive producer of E-Ring. He used the screen name Zachary Long for Bully. more…

All David McKenna scripts | David McKenna Scripts

0 fans

Submitted by aviv on November 03, 2016

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

    "Get Carter" Scripts.com. STANDS4 LLC, 2024. Web. 25 Jul 2024. <https://www.scripts.com/script/get_carter_470>.

    We need you!

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

    Watch the movie trailer

    Get Carter

    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?

    »
    What is a "cold open" in screenwriting?
    A An opening scene that jumps directly into the story
    B A scene set in a cold location
    C The opening credits of a film
    D A montage sequence