Nightcrawler Page #9

Synopsis: NIGHTCRAWLER is a thriller set in the nocturnal underbelly of contemporary Los Angeles. Jake Gyllenhaal stars as Lou Bloom, a driven young man desperate for work who discovers the high-speed world of L.A. crime journalism. Finding a group of freelance camera crews who film crashes, fires, murder and other mayhem, Lou muscles into the cut-throat, dangerous realm of nightcrawling - where each police siren wail equals a possible windfall and victims are converted into dollars and cents. Aided by Rene Russo as Nina, a veteran of the blood-sport that is local TV news, Lou blurs the line between observer and participant to become the star of his own story.
Genre: Crime, Drama, Thriller
Director(s): Dan Gilroy
Production: Open Road Films
  Nominated for 1 Oscar. Another 43 wins & 120 nominations.
 
IMDB:
7.9
Metacritic:
76
Rotten Tomatoes:
95%
R
Year:
2014
118 min
Website
3,167 Views


Uh, yes, I do. They're

both Latin American men.

Uh, probably what

you would call Hispanic.

Uh, one is big,

very much on the heavy side.

And the othes

face is scratched.

He has scratches

on his face.

How old are the men?

Uh, thirty.

Perhaps, maybe, 35.

What are they wearing?

The big man is wearing light

pants and a striped sweater,

and the man with scratches is

wearing brown pants and a vest.

He looks like he has a gun.

You said

the suspect is armed?

I believe so, yes.

I'm sorry, I have to go.

Othenuise,

they might see me.

Al!

west units, possible 187.

Suspects there now.

Western and Third.

Western and Third

at Chinatown Express.

Suspects are two

male Hispanics.

Number one, large build.

Number two with scratches on

his face, inside the location.

Possibly armed. Code Three,

incident 357 and 9753.

There's f***ing

people in there.

I count six.

So, they could

start shooting.

They could.

So you said

we were waiting for

a better

neighborhood with more people,

not a f***ing

restaurant.

We work with

what we're given.

Unit 14,

responding to that Code Three.

You're going to

go down the street,

get an angle inside

from over there.

Steady hands.

Use the zoom.

No fast pans.

I'll be filming from here.

F*** that. I'm not

getting out of the car!

I need a second angle

from down the street.

We'll cut it together.

Two angles.

Believe me, it's more

dangerous here in the car.

I don't believe

anything you say.

Man, this is f***ed!

Do you know I've never once

sworn in front of an employer'?

I am not doing it! I'm not

getting out of the car.

You're making a mistake.

I don't care about

the f***ing job title.

What if my problem wasn't that

I don't understand people,

but that I don't

like them?

What if I was obliged to hurt

you for something like this?

I mean, physically.

I think you'd have to believe

afterwards, if you could,

that agreeing

to participate

and then backing out at the

critical moment was a mistake.

Because that's what

I'm telling you.

As clearly as I can.

7-A-14.

We're Code Six to location.

OFFICER 227-A-21.

Show us backing 7-A-14.

Oh, God.

7-A-21.

We're Code Six with 7-A-14.

Oh, God.

Oh, God.

Gun!

Oh, God! Oh, f***!

We have a gun!

Two of them!

Call it in!

Shots fired. Shots fired.

Officer down.

Officer needs help.

One's down!

In pursuit!

Go, go, go!

oh, my God!

OFFICER 12 Suspect

lea ving in a black Escalade

and out of the location,

heading north,

F***!

Did you get it?

There's people

dead in there!

7-A-27. I'm

behind vehicle, we are in pursuit.

7-A-27, roger.

All units at all

frequencies, stand by.

Aim the camera at the car

and start filming.

7-A-27 in pursuit,

northbound through

the alley of 187.

Suspect vehicle is

a black Escaiade.

Rick. Start filming!

Oh!

OFFICER 227-A-27. We

just turned northbound on Western.

Stay on the police car.

You're right up his ass.

Wide angle.

We want all of this.

Requesting

backup and an air unit.

FEMALE DISPATCHERI Any air unit,

come in on Wilshire frequency.

Lou, Lou, Lou!

I got it.

Northbound. 70 miles an hour.

Approaching a fresh red.

Steady hands, Rick.

It's a red light! It's a red light!

Red light!

approaching a red light.

Oh, sh*t!

Six,

North, Charles, Queen,

5-3-2. Black Escalade.

F***!

Give me an ETA

on an airship.

AirA team responding

with a light for mission.

Stand by.

OFFICER 12 Heading northbound

Western, south of suspect.

Approaching another

fresh red.

Suspect is turning...

Oh, sh*t!

7-A-27, come in.

Oh, WI"-

Did you see that?

Did you see that?

No

acknowledgment from 7-A-27.

Lou, look out,

look out!

7-L-0-7. I'm now primary.

Suspect is behind me.

Y-L-Y is now primary.

Lou, Lou, please.

We're way too close.

This guy's crazy.

F***ing sh*t!

He's ramming my vehicle!

All units.

Officer needs help.

Northbound Western.

Suspect now ramming

a police vehicle.

No matter what,

keep shooting.

Continuing northbound.

F***!

Oh, sh*t! Sh*t!

Oh, my God!

7-L-7, come in.

7-L-7, come in.

Turn off the car.

He's dead.

Get this shot.

Steady hands.

Use your zoom.

Hold it right there!

Put the gun down!

He had a weapon.

That was a just fire.

He's not moving.

Let's seal this off.

You saw him.

You saw him!

I cawtjeopardize

my company's success

to retain

an untrustworthy employee.

You're crazy.

Yo [Pr e crazy.

You took my

bargaining power, Rick.

You used it against me.

You would have

done it again.

Just admit it.

I don't know.

I don't know.

I know.

I know.

Don't touch that unless

it's for prints. Make a clean sweep.

Go around the vehicle.

Let them through,

here they come.

Hello, Juliana.

Hello, Willy.

Hello, Ben. Hello, Lisa.

Hi!

Hey. It's Lou, right?

Yes, that's right!

Video News?

That's right.

You got something

good for us tonight?

I think so. I'm about

to show Nina right now.

I can tell by your tie,

it's Friday.

You can leave.

Wasn't that your partner?

As a matter of fact,

that's him.

Oh, I'm floored.

I mean, it's amazing.

Thank you.

I mean, just amazing.

Thank you.

No, thank you.

Thank you for

bringing it to me.

You're welcome.

I want it, obviously.

How much do you want it?

You tell me.

Get this to graphics.

Who's in charge here?

Who are you?

LAPD. Major case.

Pull the footage

from these screens.

Round it up.

Let's go. All copies.

Excuse me.

I'm the news director.

Can I help you?

FRONTIERII:

You can help yourself

by collecting up

every copy of the shootout

the chase, the crash,

all of it. Now.

It's KWLA property.

It's evidence.

Of what?

I got a cop near death

in the hospital,

three dead, four wounded,

and a dozen major crimes

stretching a mile of Third.

This tape is evidence.

It's news footage

bought and paid for

from an independent

contractor.

And how do you think

he got it?

If there's an issue,

speak to him.

Don't get in

the way of this.

Unless you have

a judge's order,

we're going with it

in four minutes.

Hey.

Isn't that him?

Camera One,

stay centered up.

Camera Two, we'll do a

zoom out when we come out.

Joel has got a source on the

taskforce who says they found drugs

at the Granada Hills house.

Cocaine in wrapped packages hidden

in crawlspaces. Over 50 pounds.

He confirmed it with an

investigator at the scene.

It wasn't a home invasion.

It was a drug robbery.

Give it 10 the noon crew.

This is news.

It detracts from the story.

It is the story.

The story is urban crime

creeping into the suburbs.

That's the story.

Jesus, you sound like Lou.

Ten seconds to back.

I think Lou is inspiring all of

us to reach a little higher.

Five, four, three,

two, one. Sting it.

Mics. Dissolve.

You understand that you've

been read your rights,

and you're here voluntarily?

That's right. Yes.

And this is being

recorded and filmed?

Yes, from the camera

up there.

Wide angle.

Mmm-hmm.

Would you tell me

how it is you were

Rate this script:5.0 / 1 vote

Dan Gilroy

Daniel Christopher Gilroy (born June 24, 1959) is an American screenwriter and film director. He is best known for writing and directing Nightcrawler (2014), for which he won Best Screenplay at the 30th Independent Spirit Awards, and was nominated for Best Original Screenplay at the 87th Academy Awards. Before becoming both a writer and director, Gilroy worked mostly as a screenwriter. His screenwriting credits include Freejack (1992), Two for the Money (2005), The Fall (2006), Real Steel (2011), and The Bourne Legacy (2012)—the last in collaboration with his brother Tony Gilroy. His wife, Rene Russo, has also been his frequent collaborator since the two met in 1992 and married later that year. more…

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Submitted on August 05, 2018

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