IN THE LINE OF FIRE

SCRIPT (first draft)
 
Opening Scenes


EXT - METROPOLITAN CITY - NIGHT

We see a number of high-rise buildings.

DOUG (V.O.)
When I leave my apartment each morning, I try not to think about the fact that I might not live to see it that night.

EXT - DARKENED ALLEY - NIGHT

An alleycat rumamges through an overturned garbage can.

DOUG (V.O.)
When I signed the contract, I didn't realize I was signing my own death warrant.

EXT - SIDEWALK - NIGHT

A drunkard lies asleep in the gutter. A row of decrepit storefronts line the sidewalk. This is definitely the wrong side of the tracks.

DOUG (V.O.)
It's a tough job. Well, I'm a tough cookie, with chocolate chips that are like razor blades.

EXT - ANOTHER SIDEWALK - NIGHT

A working lady stands by a bus stop. A tan car pulls up to her. After a few moments, she enters the car and it pulls away. The distant whine of a train can be heard.

DOUG (V.O.)
The only way I make it through those lonely nights is with a little help from my friend Jack. You might've heard of him - he goes by the name of Daniels.

EXT - METROPOLITAN CITY - NIGHT

We see the same high-rise buildings as before, this time from a different angle.

DOUG (V.O.)
Sometimes, as I lie on the floor in a drunken stupor, I stare up at the ceiling and I ask myself: "How did I get myself into this mess?"

Roll credits.

Blackness. Steps can be heard. A door squeaks opens, revealing the silhouette of a man and a small dog, which barks . He enters through the door and closes it behind him, leaving the screen in darkness again. The sound of a light switch is heard, and lights turn on, revealing...

INT - DOUG'S OFFICE - EVENING

A messy hellhole of a place. Trash is strewn everywhere. Pizza boxes and beets litter the floor. Wood paneling. In the center is DOUG, a gruff white male in his mid-thirties with thinning hair wearing a grey suit, with a small grey dog at his leg. Doug stares straight ahead, and the camera turns to reveal that A YOUNG MAN is standing in front of a desk, holding a framed picture. He does not appear to have noticed Doug's entry. After a few seconds, Doug speaks up.

DOUG
Excuse me.

YOUNG MAN
Ah, Mr. Funnie! It is an honor to meet you.

The young man sets the picture back on the desk and moves toward Doug, extending his hand for a handshake. Doug, however, makes no motion to shake hands.

DOUG
Who are you, and how did you get into my office?

To be continued...