You had to have a pitch to secure the pre-sales. What was it? That is what you need to bring out in the first act. Neither the title nor the first ten pages suggest what this is about. What you've essentially done is tell us after the fact what have been stated up front.
"DOA" is an example of a thriller where the protagonist wanders into the police station to report a murder, his own. If you had even had some exchange between Mikey and the truck owner, MIKEY: "Go ahead. Pull the trigger. The worst you can do is kill me. Do it! I'm already dead inside." Man shakes his head, kicks him, then hops in the truck and squeals off.
Now you have my interest. Now do something with Mikey that makes him interesting. The car with the headlights, makes someone get out. You make a reference on p. 23 to this scene but not as you portray it here. Instead you jump right after the truck leaves to him waking up in the van. You're at the bar, he has those liquor bottles we see later, bring the bar into it. It's the only reference. Compact it with another relevant location. Maybe merge it with the gas station scene. That would be a good segue into cleaning up, buying a bottle of cough syrup and heading off. It saves location expense and makes relevant an otherwise irrelevant scene (gas station). The interior of his car when he wakes up could just as well be played out when he's parked outside Wes' house and looks over at the buick. Changing the order would simplify the shoot and make the scenes more relevant.
Really. As far as number of scenes, from a practical view, prioritize. Seriously, shoot the main bulk shots first and pick up the icing shots last. The gas station stop is an icing shot. It contributes nothing to the story. Monies are a funny thing when shooting. What you don't want to have happen is shooting icing shots and not have enough for the bread and butter scenes and post.
After reading your comments, I persisted and the story gets better. I do like where it heads and I think after page 15 things pick up. However, it's that slow pacing in the beginning which is a killer. Though I truthfully never developed an interest in Mikey. Even with the later interchange between Wes and Mikey about his father, it felt flat and unbelievable.
I appreciate this is a passion project. But at some point, this is a business venture where money is on the line. Even with an art film, you have to give the audience a reason to want to watch. I've watched films just because they were a slow motion trainwreck. That's how this one appears. A film to be watched just to see the resolution without really caring about any of the characters. It's the sort of book story I'd jump to the end to after page 20 to see how it ends to see if it's worth continuing to read. (Or go to IMDb to see if there's a summary). Skipping ahead to the end, it felt rather anti-climactic. Hey, I know it's not fair, but that's how the films are often judged. Despite the action after page 20, there was not enough interest in Mikey to keep me engaged. It's not a fatal flaw (many old noir films have flat characters) as long as the ending sells it. Your ending was anticlimactic.
On p. 23 you make a reference back to the truck owner, something that never clearly happened in the beginning. I'm trying hard to follow and then you throw in a reference that doesn't make sense. Relationships are not clearly developed. Still not sure who Wes is. Lover, roommate, brother, friend? It's for these reasons that I had to stop--lack of clarity, lack of development and no clear story.
It needs to engage the audience more and be consistent and compelling. I appreciate you're telling the story with your own voice and this is your baby. I think the story could work but the pacing and development needs to be ramped up a bit. The first reference to Haywood house--the title--is page 68. Just be careful that slow burn doesn't mean 'fizzle out'. I realize production is close at hand. Take heart that "African Queen" was being written even while in production. Not a good model to follow though.
I appreciate this is close to you. Writers often live with the back story and their characters in their heads. They are real and 3D. Not all of that has been translated into this script. Mikey goes through actions like a puppet; he doesn't feel real to me. The events seem contrived and without purpose.
If you develop the characters and relationships as well as create a sense of what the story (or presumed story) is about in the first act, it would make it more understandable and gripping. In the second act, some how link in Haywood so that come the third act there is a sense of resolution. It can be a cryptic breadcrumb but you need to make it relevant. There is an "Angel Heart" type quality to the script that needs further development. I think the story idea has potential. It may not be what you want to hear at this juncture but I think it's fixable. Every movie script often goes through revisions even while in production. The action scenes with Rocko et al. seem fine so could probably be shot without much alteration. Congratulations and best wishes as you move into production.