Dead Men by Jeremy Gabryszak

Dead Men by Jeremy Gabryszak Current revisions By Jeremy Gabryszak

SCREEN BLACK TITLE INT. JFK AIRPORT - GATE 23 - AFTERNOON VINCENT, a handsome Irishman with a black military cut, is staring at the New York skyline. He is wearing a black hooded sweatshirt and blue jeans. VINCENT (V.O.) It’s been a long hard road. A lot of blood, guts, and bullets have stained this road. It all started twenty years ago. INT. PHILLIP’S MUSTANG - AFTERNOON SUB-TITLE: 20 YEARS EARLIER DETECTIVE PHILLIP SANTIAGO, a handsome Hispanic in his midtwenties sits in his car. He has a buzz cut and goatee. He is drinking a Pepsi and listening to a basketball game on the radio. RADIO ANNOUNCER (O.S.) 5 seconds left on the clock. Sanchez jumps and SLAM DUNK! Phil slams the Pepsi on the dashboard. PHILLIP Fuck! The passenger door opens. CONNOR gets in the car. Connor is in his early thirties and has short, blonde hair. CONNOR What are you bitching about? PHILLIP Sanchez fucked me. CONNOR Isn’t he Cuban like you? PHILLIP Yeah. Whatever. How’s Emily?

CONNOR She’s good. You still with that cheerleader? PHILLIP Yeah. CONNOR Your parents are okay with you fucking a high school graduate? PHILLIP I don’t give a fuck what those two think. CONNOR Sorry. PHILLIP So you got something good? CONNOR Yeah. O’Doyle’s underboss is making a move to power. PHILLIP Which one? There’s three of them. CONNOR Not anymore. Two of them got taken out and now O’Reilly is making a move. PHILLIP Really. Where did you hear this? CONNOR I heard some drunk in the bar talking about it. PHILLIP Good job. I might need you tonight. I’ll let you know. CONNOR Okay. Cool. Connor opens the passenger door and leaves. He looks over his shoulder and gives Phil a slight nod. Phillip starts the car and drives to a phone booth.

INT. STREET CORNER - PHONE BOOTH - MOMENTS LATER Phillip picks up the phone. He looks around and puts 35 cents into the phone. PHILLIP (into phone) Yeah. It’s me. He knows. Alright. That’s a little light. Can’t you be a little more aggressive? Okay. INT. FLANAGAN HOUSE - LIVING ROOM - AFTERNOON EMILY, a beautiful raven haired woman, sits on the couch. She rests her head on her hands. The door opens. Connor walks in. EMILY So where were you? CONNOR I don’t want to talk about it. Where’s the kids? EMILY In the basement. You need to stop this. CONNOR Stop what? Connor opens the door into the basement and heads down. INT. FLANAGAN HOUSE - BASEMENT - CONTINUOUS Connor’s and Emily’s kids CONNOR JR. and NATALIE play in the basement. Connor Jr. sits on the floor, putting a big jigsaw puzzle together. He is 8 years old and bears a striking resemblance to his dad, but he has black moptop hair. His little sister Natalie colors a picture in her coloring book. Natalie is four with a short bob hair cut. She looks exactly like Emily. CONNOR JR. What are you coloring?

NATALIE A princess. You think daddy will like it? Connor Sr. sneaks up behind Natalie. He quickly grabs her and tickles her. Natalie screams and laughs. NATALIE Daddy. What do you think of my picture? CONNOR I love it. NATALIE Jr. said you would like it because you used to be a princess. CONNOR Oh. He did, huh? Connor Jr. is laughing when he finishes his puzzle. CONNOR Alright Nattie, head upstairs and get ready. NATALIE Okay. Natalie runs upstairs. Connor walks over to Connor Jr. and looks at the finished puzzle. CONNOR Good job son. CONNOR JR. Thanks. You think it’s good? Connor starts rubbing Connor Jr.’s hair in a crazy manner. CONNOR Yeah. Even princesses love puzzles. Is this the fifty piece? CONNOR JR. Yeah. CONNOR Good job. Maybe tonight, we can put the 100 piece together.

A jigsaw puzzle box sits on the table in the corner. It has a picture of a man with a hat walking into the sunset. INSERT-BOX LABEL 100 PIECE BACK TO SCENE CONNOR JR. Can we? CONNOR Maybe. CONNOR JR. Oh. You have a secret mission tonight? CONNOR Maybe. If I do, we’ll put the puzzle together tomorrow. Alright? CONNOR JR. Okay. Connor Jr. runs upstairs. Emily comes down and confronts Connor. EMILY So how’s work going? CONNOR I’m not talking about this. EMILY We are talking about this god damn it. You know I don’t like you spying on those people. You know what they do to people like you. CONNOR You don’t think I know that. I might be working tonight. I won’t know until Santiago talks to me. EMILY You know I never trusted that Cuban bastard. CONNOR I grew up with the guy and I trust him. So you’ll have to live with that.

Emily turns around and heads over to the stairs. She stops when the phone rings. Connor picks it up. CONNOR (into phone) Hello. Yeah it’s me. So I’m off tonight. Thank you. Yeah, I’ll be home all day. Why? Hello? Connor looks at the phone and hangs it up. CONNOR Are you happy? EMILY I’ll be happy when you stop being someone’s snitch. CONNOR I’m not a fucking snitch! I’m helping put pieces of shit in jail. The people I inform on are tearing this neighborhood apart. The mayor is trying to kick all the Irish people out and put all those fucking yuppies in here as a solution to this problem. EMILY You have everything figured out, don’t you? CONNOR O’Doyle is trying to run all the good people on this block out of their homes so they can build mansions for the other Italian bastards. Hell, I do not even know why I call that dago bastard O’Doyle. EMILY Oh. Did you find that out on your spying mission? Emily turns around and storms upstairs. Connor has his hands on his sides and looks at the ground. Connor cracks his neck and heads upstairs.

EXT. HELL’S KITCHEN, NEW YORK - FLANAGAN HOUSE - TWO HOURS LATER. There are sounds of kids playing. A bicycle rides by the Flanagan house. A black cadillac pulls in front of the house. The driver’s door opens and a man dressed in black steps out. His face isn’t seen until he slides a black ski mask on. The passenger door opens and out steps another man dressed in black, also wearing a black ski mask, but this one is wearing a tan trench coat. The MAN IN TAN speaks with a raspy Hispanic accent and the MAN IN BLACK speaks with an Irish accent. MAN IN TAN You sure about this. MAN IN BLACK I don’t give a fuck that he informed on O’Doyle but I can’t have him inform on me. I need to send a message to all the informers out there. MAN IN TAN Just him and his family? MAN IN BLACK No. Just him. Anyone else there, they didn’t see our faces. MAN IN TAN What if anyone hears our voices? MAN IN BLACK We won’t be anywhere near them to hear our voices. MAN IN TAN That sounds good. The trunk is popped open. The Man In Black pulls out a .357 magnum and the Man in Tan pulls out a double barrel shotgun. Man in Tan also pulls out a nine millimeter. The two guys load up their guns and head toward the door.

INT. FLANAGAN HOUSE - LIVING ROOM - CONTINUOUS Connor and his brother DECLAN are sitting down playing cards. Emily and Declan’s wife NANCY are sitting at the dining room table talking. NANCY I don’t care. Middle aged or not, I’ll still fuck him. DECLAN Hey. Will you shut the hell up? I don’t want to hear about you fucking Harrison Ford. NANCY You shut the fuck up and play your cards. Declan looks at Connor and smiles. DECLAN (TO CONNOR) That’s my wife. You got to love her. NANCY Why don’t you get more defensive when I say I would fuck Harrison Ford. DECLAN I like Harrison Ford. You can get me an autograph when you’re done fucking him. NANCY You asshole. Declan laughs when the doorknob is shot open. Everyone jumps out of the chairs. DECLAN What the fuck! Declan runs toward the Man in Tan. The Man in Tan shoots Declan in the chest with the shotgun. CONNOR No! Connor is shot in the leg by the Man in black. Connor tries to grab Black with his left hand, but gets his fore, middle, and ring fingers shot off.

Nancy is screaming and crying. The Man in Tan steps forward and shoots her in the head with his nine millimeter. The Man in Black grabs The Man in Tan. MAN IN BLACK What the fuck! I said just him. MAN IN TAN Too late! The Man in Black shakes his head and grabs Emily by the hair. He punches her. Emily falls on her husband. Black shoots Emily in the shoulder. The bullet passes through her and hits Connor. Tan grabs Emily and handcuffs her hands behind her back. Tan goes towards the kitchen. He is about to walk in when he sees Natalie standing in the kitchen. She is holding her teddy bear and crying. Tan hunches down and waves Natalie on over. MAN IN TAN Come here. It’s okay. I won’t hurt you. As she approaches, Tan pulls out his nine millimeter. Black is keeping guard on Connor and Emily when he hears Natalie’s scream and a gunshot. Black runs over to Tan. Black’s eyes pop wide open as he sees Natalie’s dead body. He turns to look at Tan. MAN IN TAN What? MAN IN BLACK What the fuck do you mean what? How fucking old do you think that girl is? I did say send a message but not draw a lot of attention. A dead little girl draws a lot of attention. MAN IN TAN It’s too late.

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MAN IN BLACK Okay. Fine. I call dibs on the big mouth. Black grabs Connor’s head and turns it to look at Emily. Tan pulls Emily’s head back. Tan pulls out his knife and slits Emily’s throat. CONNOR No! Black closes his eyes and shakes his head. He then punches Connor’s shoulder wound and pulls out his .357. Black cocks the gun. MAN IN BLACK So you like to talk a lot. Black puts the gun in Connor’s mouth and shoots. The back of Connor’s head splatters the wall. Blood pours out of Connor’s mouth. Black cleans the blood off of his barrel. MAN IN BLACK (to Man in Tan) That will teach him. Search the rest of the house. Just in case anyone else is here. MAN IN TAN If there is? MAN IN BLACK Do whatever you want. Tan heads toward down into the basement. Black starts walking toward the door. He hears kids screams coming from the basement, followed by two gunshots. He lowers his head. MAN IN BLACK God forgive me. He opens the door and leaves. Tan comes out of the basement and heads out the door.

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EXT. HELL’S KITCHEN, NEW YORK - FLANAGAN HOUSE - CONTINUOUS Tan is walking toward the door when a cop pulls up. Tan shoots the cop in the head when the cop gets out. Tan gets in the car and the car drives away. CUT TO: EXT. HELL’S KITCHEN, NEW YORK - FLANAGAN HOUSE - CONTINUOUS THE CREDITS ROLL. A mustang drives by the house but stops abruptly. Phil Santiago gets out and runs over to the dead cop. He pulls out his gun and walks up to the house. People next door come out of their house. PHILLIP Stay in your house! He runs inside. EXT. HELL’S KITCHEN, NEW YORK - FLANAGAN HOUSE - ON-CAMERA There is police tape around the yard. CORONERS are taking a body bag to a black station wagon with CORONER in big white letters on the side. A REPORTER is talking to the camera. REPORTER I am here at the house of Connor Flanagan, a steel worker, who was murdered along with his wife, brother, and sister-in-law. The reporter presses an ear piece and shakes his head disapprovingly. REPORTER It has been confirmed that the children of both couples were killed. Phillip walks with a body bag being carried out on a gurney. REPORTER Detective Santiago. Can you tell me something?

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PHILLIP No. REPORTER Please. One word. PHILLIP How about two? Fuck and you. REPORTER Come on. You can’t say that. Please. How do you feel? PHILLIP How do I feel! A four-year-old was executed you stupid fuck! How do you think I feel! Phillip grabs the reporter and throws him on the ground. OFFICER MARCUS JONES grabs Phillip and pulls him out of the crime scene. Marcus is a handsome, black man in his early twenties. He is clean-shaven and bald. EXT. HELL’S KITCHEN, NEW YORK - FLANAGAN HOUSE - OFF CAMERA MARCUS You alright? PHILLIP No. They killed my informant. MARCUS Who? PHILLIP I don’t know who? Look in there, it’s a fucking massacre. MARCUS Okay. You get out of here. I’ll handle everything. Phillip lights a cigarette. He takes quick panicked hits off his cigarette. INT. O’DOYLE’S PUB - BOOTH - NIGHT SEAMUS O’REILLY, a handsome Irishman in his mid-twenties, sits with BOSS O’DOYLE, a fifty something balding Italian man.

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Seamus is wearing a black suit with black shirt. His hair is a short hazel crew cut. BOSS O’DOYLE Is everything a go for tomorrow? SEAMUS Yes. BOSS O’DOYLE You still hanging around that fucking Mexican? SEAMUS Yeah. And he’s Cuban. BOSS O’DOYLE I don’t give a fuck you fucking homo. And don’t give me that fucking bullshit about him being our informant. SEAMUS He is my informant. And don’t call me a homo. BOSS O’DOYLE I’ll call you whatever the fuck I like. You understand me you Irish son of a bitch. I’m the boss here. You and all these other Irish fucks need to take a note from me and my son Johnny Boy. Now go get me a knife for my steak. Seamus walks toward the bar. Johnny Boy is sitting at the bar and turns to Seamus. JOHNNY BOY You better start showing me and my daddy respect. My fellows at the end of the bar will take care of you and all your Irish friends. Seamus looks at the end of the bar and sees four ITALIANLOOKING GUYS with sunglasses. He grabs a steak knife from the bar. Seamus walks back toward the table when the bells from the door ring. Fitzy, a dark haired, fairly handsome guy with a thick Irish accent, walks in and sits next to Johnny Boy. JOHNNY BOY Are you out of your fucking mind?

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FITZY No. Why? JOHNNY BOY I don’t let anyone sit next to me, especially some chic. FITZY It’s mick. JOHNNY BOY I don’t give a fuck. The bells ring again. Three 20-year-old kids walk in. They all have black coats and hats like dock workers. Fitzy looks at them and turns to look at Seamus. Seamus winks at Fitzy and Fitzy turns to look at the dock workers. He taps his nose three times. One of the dock workers walks up behind one of the Italians. He pulls out some piano wire and strangles the first Italian. Another dock worker stabs the second Italian in the back of the head with a screwdriver. The third dock worker pulls out two guns equipped with silencers. He shoots the third Italian in the back of the head and shoots the last Italian 10 times when he turns around. Johnny Boy gets up from his bar stool but Fitzy throws his jacket over Johnny’s head. BOSS O’DOYLE Seamus get the fuck up and do something. Help me! SEAMUS Okay. Watch this. Seamus grabs the steak knife and sits up from the booth. He walks to Johnny and slits his throat. BOSS O’DOYLE No! Why? Why would you do this? Haven’t I been good to you? SEAMUS No you haven’t. I have taken your insults and your bitching for far too long. You wanted me to do something. Well.

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Seamus walks over to O’Doyle and stabs him repeatedly in the chest. He then drags O’Doyle out of the booth and throws him on the floor. Seamus sits back down and starts to eat the steak on the table. The BARTENDER stands up from behind the bar and yells to Seamus. BARTENDER So boss, should we call the police? Everyone in the bar starts to laugh. SEAMUS Yeah. Call Phillip. Seamus gets up and climbs onto the bar. He points his knife at each of the soldiers in the bar. SEAMUS Now hear this. I’m the boss now. No robbery, murder, or weapons deal goes down without me knowing about it. No drugs. If you’re caught with drugs, you will eat whatever amount you have. Seamus hands his knife to Fitzy. SEAMUS We going by medieval rules. You steal from me, I’ll cut your fucking hand off. You do weapons deals behind my back, I will shoot you in the back. You try to kill me, well you know what will happen then. Don’t think it will be quick. I’m a very patient man and I like to take my time. A new era is starting. It’s time for the Irish to take back the neighborhood and everything else. Seamus looks at blood on his hands. He jerks his hand down splattering blood on the floor. SEAMUS You see that. I’m spilling the blood of Italians who thought they can come in my neighborhood and run things. I will spill more of their blood if they think they can come in and run down the Irish mob. (MORE)

16. SEAMUS (cont'd) This is our neighborhood and it is the first in a monopoly of places that will fall to us. First, Hell’s Kitchen and then, New York!

Everyone in the bar starts to cheer. EXT. FLANAGAN HOUSE - FRONT YARD - SAME TIME Police tape surround the yard outside the house. A chalk outline of a body is out in the street. Connor Jr. crawls out from under the house. He sniffles and wipes his eyes with his hands. Connor Jr. looks at the house and stares out into the street. He has a somewhat cold-blooded stare. CLOSE UP on his blue eyes. FADE IN: INT. VINCENT’S PENTHOUSE - LIVING ROOM - NIGHT - 20 YEARS LATER SUB-TITLE 20 YEARS LATER Connor Jr., now being called VINCENT, lays on his couch. He is wearing a black button-up shirt and dress pants. He has a military cut and is clean-shaven. A silver nine millimeter equipped with silencer is in his hand resting on his chest. EXT. UPSTATE NEW YORK - OUTSIDE GATES OF BANK - SAME TIME It is a beautiful starry night. There are trees by the barbed wired gates that surround the bank. A white van sits right next to the bank. INT. INSIDE THE WHITE VAN - NIGHT Four guys and a girl sit around a blueprint. The leader, LUCAS, is pointing to areas of the page. Lucas, a twenty-year-old that bears a striking resemblance to Seamus, is showing the rest of the teams their entries. The team consists of Lucas’ friend RILEY, who is about the same age as Lucas.

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Riley is short with brown, curly hair and a big nose. The other members are BOBBY and BILLY, two twins with the same slick greasy hair and chubby faces. The last member is SHEILA, a beautiful raven-haired woman, the girlfriend of Lucas. LUCAS You guys remember the vault locks? RILEY Yes. The access switches are in the President’s office and the Treasurer’s office. LUCAS And? BILLY The main security room? LUCAS Yes. RILEY What about the second lock? LUCAS That’s what the lock picks are for. BOBBY Is anyone in the bank on our side? LUCAS Yeah. The main and west security room guards are getting a cut, or so they think. The guard at the front desk is ours, too. RILEY Then why are we going in through the roof and fire door? We can just go through the front door. LUCAS Where’s the fun in that? RILEY Alright. When do we move in? LUCAS We don’t come down until Sheila gives us the signal. Then we signal the twins.

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SHEILA Honey, what’s the purpose of the fake e-mails? LUCAS The e-mails make sure we get away scot-free. When the cops or the feds investigate the robbery, the employees go down and we go down...to Jamaica. SHEILA Always planning ahead. LUCAS You know I do. Everyone know their plans? BILLY AND BOBBY Yeah. RILEY Yes. SHEILA Of course. LUCAS Let’s get ready to rumble. EXT. OUTSIDE NEW YORK BANK GATES - IN FRONT OF VAN CONTINUOUS Lucas steps out of the van wearing a black commando like uniform. Sheila steps out wearing a women’s business suit and glasses. Riley, Bobby, and Billy are wearing the same clothes as Lucas. Lucas walks over to the driver’s door. The driver, SILAS, an older British man in his forties, rolls down the window. LUCAS Remember to take off at 2:00 or if you hear any alarms. We’ll find another escape. SILAS Consider it done. I prefer to wait around if my share is in jeopardy.

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Bobby and Billy are putting some sort of liquid into two syringes. They put the syringes in their breast pocket. Riley is putting a toy gun and a lock pick into a satchel. He straps it to his body. Lucas hands Riley, Billy, and Bobby flash drives. He then loads a lock pick and a circular lock pick in his bag. Lucas hands Bobby a pair of wire cutters. Bobby runs over and cuts the barbed wire. Billy boosts Bobby over the wall. EXT. OUTSIDE NEW YORK BANK - INSIDE THE GATES - CONTINUOUS Bobby ties the rope to a tree within the gates. He throws a rock over the wall. EXT. NEW YORK BANK - IN FRONT OF VAN - SAME TIME LUCAS Let’s go. The group walks toward the wall. INT. PHIL’S BEDROOM - EARLY MORNING Phil’s room has chipped blue paint on the wall. On the table by the bed is a dusty old picture of a younger Phil holding a beautiful blonde in a green cap and gown. Phil is sleeping on a king-sized bed. He has blue covers that cover him from his chest on down. Phil is wearing a wife white tanktop. Now in his forties, Phil has wavy black hair with gray coming in, and on his face is black and gray beard stubble. He is sleeping, but is awakened by the phone ringing. Phil picks up the phone. PHILLIP (into phone) Hello?

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INT. NEW YORK BANK - RECEPTION - SAME TIME Marcus, now in his forties with a black fade haircut, stands in the middle of the reception area. Two UNIFORMED POLICE are talking to the guard at the front desk. MARCUS (into phone) Someone robbed this bank outside of Manhattan. I never heard of this fucking place. INTERCUT WITH PHIL’S LOCATION PHILLIP Can’t you ever say hello? MARCUS Hello. Get down here and check this out. PHILLIP I’m off. Get your brother to look into it. MARCUS Last time I checked you were Robbery and Homicide. PHILLIP I am but I’m off. Why the fuck would I care about some secret bank? MARCUS Because the money stolen has O’Reilly written all over it. Phil sits up quickly. He covers the mouth part of the phone. PHILLIP Fuck. Phil lightly bites the antenna of the phone. PHILLIP You still there? MARCUS Yeah.

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PHILLIP I’ll be down there in half an hour. What road did you take? INT. NEW YORK BANK - RECEPTION - LATER Phil walks in. He is now wearing a casual shirt and pants and a leather jacket. He puts white surgical gloves on his hands. A uniformed cop walks by Phil. UNIFORM #1 How’s the queen of the Kitchen? PHILLIP Fuck yourself. Phil walks over and greets Marcus. PHILLIP What do we got? MARCUS The head guard claims he didn’t hear anything out of the ordinary. He heard the sunroof over the teller area of the bank open, but he says it does that every night. PHILLIP How did he know the bank got robbed? MARCUS He says he was going to punch out when he heard moaning from the back area. He walks back there and finds the guards of the wing areas bound and gagged. Sounded an alert and all the security went and checked the vault. PHILLIP Let me guess. The door was wide open and everything was gone. MARCUS Well not everything. Just deposit box 623. PHILLIP Whose box is that?

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A man in a brown suit hands Marcus two sheets stapled together. MARCUS Your old pal Seamus’. PHILLIP What was the amount stolen? Marcus flips the page and runs his finger to the bottom of the page. MARCUS It doesn’t say. Even secret banks don’t know the contents of safe deposit boxes. PHILLIP It was probably a lot. I thought he would be smart and put it in a Swiss bank account. This stupidity is about to bite him in the ass and pay off for us. MARCUS Why is that? PHILLIP I called the IRS on the way over here. Just to ask if they knew about this place. They had no fucking clue there was a bank over here. MARCUS So what are you saying? PHILLIP That this is a tax man’s wet dream. How many tax evader’s we have at this bank? MARCUS Are you saying you want to try the Ness route? PHILLIP The what? MARCUS You can’t pin any crime on Seamus so you’re going for the tax evasion charge.

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PHILLIP Why not? Not even Capone or Mickey fucking Cohen could beat that charge. And I believe in my sick, twisted mind that the IRS can’t account for this money. And I also believe that Seamus didn’t file a return for any amount of cash he has here? MARCUS It sounds like a wild goose chase. PHILLIP Yeah but now the goose’s ass is going to get chased right to Sing Sing. Phil walks out of the bank, pushing Uniform #1 on the way out. EXT. NEW JERSEY - STREET - LATER A mustang stops in front of a yellow house. Phil gets out and waves to a pizza van across the street. He walks up to the white door of the house. EXT. NEW JERSEY - HOUSE - SAME TIME Phil knocks on the white door. KIM, the same blonde from the picture on Phil’s table but now in her late thirties, opens the door. PHILLIP Hello. KIM What do you want? PHILLIP Can I come in? KIM For? PHILLIP I need to see your husband. Kim rolls her eyes and waves Phil in.

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INT. KIM AND SEAMUS’ HOUSE - LIVING ROOM - CONTINUOUS The living room is white. There is a plasma TV on the wall. A black leather couch is right by the window across from the TV. There is brown mahogany table in the middle. There is a TV Guide, Entertainment Weekly, and TIME magazine with Seamus on the cover. In the middle of the table, there are pictures of Kim holding a baby, Seamus holding Kim, and Seamus and a ten-year-old Lucas wearing Yankee jerseys and hats. There is the sound of a shower running in the background. PHILLIP So where is he? KIM He’s in the shower. What do you want with him? PHILLIP It is something in his best interest. KIM Oh. Is that your code to rat something out? PHILLIP You know you were always a smart ass little bitch. KIM Yeah. PHILLIP So. How are things? KIM Oh that’s nice. You come in my house. Better yet, Seamus’ house and call me bitch. And now you have the nerve to ask me how are things. Things are going good. They were good when I dumped your ass twenty years ago and they’re good now. PHILLIP How’s your son?

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KIM I don’t know. I haven’t seen him in a week. PHILLIP I know. KIM How would you know that? PHILLIP What? Did you think that a pizza man was living across the street from you? KIM You fucking pigs and your fucking Patriot Act. PHILLIP Patriot Act? Please. The pigs were surveilling people long before the Patriot Act. Damn you blondes are stupid. KIM Ha ha. Forget the surveillance and tell me why no police will help me find my son. PHILLIP What are you talking about? KIM I called the police when Lucas didn’t come home and they were more worried about using him as bait to cause Seamus to do something stupid. The shower sound stops. PHILLIP Alright I will look into it. Tell your hubby to reach me. KIM Okay. (whispering to herself) I should tell him to kill you. PHILLIP What?

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KIM Nothing. I’ll let him know. Now, please try to find Lucas. Phillip walks out. Kim sits down when Seamus walks out of the bathroom. Seamus is wearing a normal black suit. SEAMUS Who was that? KIM Your cop. SEAMUS What did he want? KIM He said it was something in your best interest. SEAMUS Okay. You alright? Seamus sits down next to Kim. Kim starts to cry. KIM I’m just worried. It’s not like Lucas to do this. SEAMUS It’s okay. He is probably out with his girlfriend or that retard Riley. God I hate that fucking idiot. KIM He is out there with Riley doing your kind of work, in hope that you will be impressed and consider asking him to join the crew. SEAMUS He can do all he likes, but he is not going to be a part of my crew. I don’t want him to deal with the stuff that I had to deal with growing up. KIM Thank you. SEAMUS But really. Did Phillip do anything when he was here?

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KIM No. SEAMUS Are you lying? KIM No. SEAMUS Okay. I love you. He gets up and walks to the door. KIM I wish you could stay around for a while. I really like it when you’re here. SEAMUS I have to go to the bar to see how things are going. I can stay for a little while longer. What do you want to do? KIM I was thinking. Kim lies back on the couch and starts smiling big. Seamus starts smiling. SEAMUS Oh really. The guys can wait for a while. Seamus takes his jacket off. He walks over to the couch and gets on top of Kim. They start kissing passionately. EXT. HELL’S KITCHEN, NEW YORK - O’REILLY’S PUB - AFTERNOON Seamus steps out of a black Santa Fe. DRIVER I wish you would let me open the door for you sir. SEAMUS I’m not fucking crippled. I can open a door. Is Fitzy here?

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DRIVER So is Loomis and Vincent. SEAMUS Vincent’s here. Good. Pull around back because Loomis is taking a trip up the Hudson. DRIVER Alright sir. SEAMUS What’s with this sir business? I’m not that fucking old. DRIVER Sorry Mr. O’Reilly. Seamus opens the door and heads inside. INT. O’REILLY’S PUB - CONTINUOUS Fitzy is at the bar with guys crowded around him. He is laughing and enjoying himself. Everybody backs away when Seamus walks in. Fitzy lowers his head and closes his eyes. SEAMUS Hey Fitz. FITZY Yes. He turns around and faces Seamus. Seamus has a cold, emotionless stare on his face. SEAMUS Whaddya hear, whaddya say. Seamus’ face brightens with a big smile. He walks over and gives Fitzy a big hug. SEAMUS God I missed you. FITZY You son of a bitch. You scared the shit out of me. SEAMUS What? Did you think I was going to kill you? You did nothing wrong. (MORE)

29. SEAMUS (cont'd) Now where is the guy that did something wrong?

Everyone points to the end of the bar. LOOMIS, a sort of chubby balding man in his thirties, takes big gulps of his pint. Seamus and Fitzy walk over and sit down right next to Loomis. SEAMUS Loomis. How was the slammer? LOOMIS It was nothing. I can’t fucking believe it. 10 years for some bitch saying she wanted me to stop plowing her. SEAMUS She did say no, right? LOOMIS My hearing’s not so good, so I couldn’t tell the difference between o and no. SEAMUS Was it necessary to beat her too and have my friend drive you away from your little indiscretion? LOOMIS Well, maybe the little Spanish bitch shouldn’t have clawed my eyes. SEAMUS That’s funny. Can I tell you a story? LOOMIS Sure. SEAMUS You see there was this stupid alcoholic. He was a big pussy. This guy liked to beat and rape his wife because it made him feel like a man. This guy had a son who constantly warned him to stop being brutal to his mom. One day, the guy tied his son up and forced the son to watch him beat, rape, and kill the mother. (MORE)

30. SEAMUS (cont'd) You have no fucking idea what that does to a kid. The dad goes to make himself some toast with his whiskey. The kid breaks free of his bonds and grabs a wooden bat. This kid rushes into the kitchen and Babe Ruth’s the living shit out of his dad. The dad wasn’t dead yet. So the kid grabbed his dad’s silver .357 Magnum and put it into his dad’s mouth.

Seamus bends his fingers to look like a gun. SEAMUS And blows his brains out the back of his head. The moral of that story is that when someone gives you a fucking warning, you better listen to it and not laugh it off. Loomis starts sweating. LOOMIS I’m sorry. I better go. He stands up and Seamus and Fitzy stand up. SEAMUS Why don’t you take the basement way? LOOMIS No. I better go this way. Loomis starts to walk forward and Fitzy kicks him in the testicles. Seamus grabs Loomis’ pint of lager and smashes it on Loomis’ head. Loomis falls against the wall, his head bleeding. Fitzy grabs him and throws him against the bar. Fitzy starts to kick him. Seamus grabs Fitzy. SEAMUS Fitz. Stomping is more effective. Seamus and Fitz start stomping Loomis. Loomis starts to scream and cry. Seamus stops.

31.

SEAMUS Take this raping piece of shit to the basement. LOOMIS No! SEAMUS Take the blow torch and do a little preemptive maintenance. A group of mob soldiers grab Loomis and drag him to the basement. Seamus and Fitz sit down at the bar. SEAMUS Bartender. A pint for me and my friend here. BARTENDER Coming right up. Oh yeah. Seamus there was a call for you earlier. SEAMUS Who was it? BARTENDER I don’t know. Some Latin guy. Seamus gets up and walks over to the pay phone. He picks up the phone and dials a number. SEAMUS (into phone) You call. What’s up. What bank! He slams the phone down. INT. O’REILLY’S PUB - BASEMENT - LATER A bald man is tied to a chair with his legs stretched out. Seamus walks in and takes his jacket off. Fitzy hands Seamus a wooden bat. Seamus twirls the bat around. SEAMUS You are the head of security. Is that correct? HEAD OF SECURITY Yes.

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Seamus is handed a thin aluminum box. He shows it to the head of security. SEAMUS Do you know what this is? HEAD OF SECURITY A safety deposit box. SEAMUS Do you know what’s wrong with it? HEAD OF SECURITY I don’t know. Seamus hits the head of security with the deposit box and slams the bat down on his legs. The man screams. SEAMUS It’s fucking empty! Don’t worry. The bat is hitting your legs label side out. So the only thing that’s going to break is your fucking knees if you don’t tell me what the fuck happened with my money! The head of security starts crying. HEAD OF SECURITY Okay. I’ll talk. I was paid to just look the other way. SEAMUS By who? HEAD OF SECURITY Some guy. Lucas something? Seamus starts to rub his face. SEAMUS Alright. I’m sorry about this. It was necessary. Seamus walks upstairs. INT. O’REILLY’S PUB - MOMENTS LATER Vincent is sitting in a booth reading an article on genocides in the Balkans. Seamus sits down across from him.

33.

SEAMUS Vincent. My friend. How are you today? VINCENT Good. What did you call me down here for? SEAMUS You only come down here when there is work. Well, there’s work. VINCENT Who’s the mark? SEAMUS Marks. Three of them. Tail them until you see any evidence of them handling large quantities of money. When you find out it’s mine, let me know. Then they’re contracts will be updated to kill. VINCENT The price for surveillance is... SEAMUS I know. 400 grand now and a million when contract is completed. Remember no trace to me. VINCENT Any actual hits? SEAMUS Actually, yes. I want you to kill the people who work in this bank. This has to be done tonight when they are all there. Your assignment starts with the head of security downstairs. Seamus nods to the bartender who stops cleaning glasses and pulls out two big stacks of money. One of Seamus’ soldiers takes the money over to Vincent. SEAMUS There’s 450 thousand. I’ll wire you 2 million when those idiots are gone. VINCENT I’ll be done by midnight.

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SEAMUS Sounds good. Vincent gets up to leave. He walks right into Phillip. PHILLIP You mind dickhead? VINCENT Sorry. I didn’t mean to ruin your designer jacket. PHILLIP It’s alright. Be careful. This thing cost me 900 dollars. VINCENT You got fucked then because that is a knockoff. PHILLIP You’re shitting me. How do you know that? VINCENT I’m very good at knowing things like you stepping in dog shit. Phillip looks at his foot as Vincent walks away. He looks at Vincent, who turns around for a second to slightly nod. Phillip has a look of familiarity. He walks over to Seamus’ table and sits. SEAMUS What’s the word? Phillip looks over his shoulder at the door. SEAMUS Hey. PHILLIP What? Oh, um, the IRS are piggybacking the investigation because they found you had 500 million dollars in barabonds and they don’t have a return for it. They might get the idea of bringing tax evasion charges against you. SEAMUS Oh. They’ll change their minds.

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PHILLIP I hope you got something good because I have no idea how to get you out of this predicament. By the way, who the fuck was the Terminator that just left? SEAMUS That’s Vincent. He’s really good at his work. My protege. PHILLIP You trained him? Something familiar about him. His name is Vincent? SEAMUS Yeah, Vincent. I found him on the street. He had a vicious streak. Some punks tried to beat him to death so I stepped in. That was too much talent to be killed off by some preppy asshole. Seamus looks down with a look of regret. PHILLIP You always had an eye for detail. SEAMUS You hear of any suspects? PHILLIP Yeah. These twins from Boston. Billy and Bobby McGann. Fucking Red Sox fans. Their stupid cousin Riley McGann. You know them. SEAMUS I know Riley. PHILLIP Lucas is supposedly leading it. Him and his girlfriend. SEAMUS I knew about Lucas. His mother’s a wreck. She’s flipping out about Lucas pulling jobs for me, when he isn’t. The bank’s head of security told me about Lucas. PHILLIP I haven’t talked to him yet.

36.

SEAMUS You won’t need to because he is going to take a trip. PHILLIP I don’t want to know. SEAMUS I think you do. Seamus has a devilish smile on his face. EXT. OUTSIDE O’REILLY’S PUB - ALLEY - NIGHT Vincent is driven up in a Jeep Compass by JEREMY. Jeremy is a tall, white man with a pale complexion. He has black combed down hair and a moustache with a triangle patch under his bottom lip. He is wearing a White Sox jacket, T-shirt of the band H.I.M., and blue faded jeans. Jeremy is reading a Punisher graphic novel. JEREMY Do we do clean up? VINCENT No. Just kill. You’ll need to take the bullet out so no trace is left. JEREMY Is that it? VINCENT Just for him. Then we go to the bank. JEREMY What do we do there? VINCENT You’ll figure it out as we go along. JEREMY Cool by me. I got no plans. Jeremy puts the book down. Vincent and Jeremy head inside.

37.

MONTAGE- VINCENT KILLING THE BANK EMPLOYEES -Vincent walks into the pub basement and shoots the chief of security in the head with a pistol equipped with a silencer. -Jeremy pulls out a tiny white statue. He pushes the center of it and a blade pops out. Jeremy digs the bullet out of the chief of security’s head. -Vincent walks through the gates of the bank. -Vincent snaps a guard’s neck. -Vincent strangles the other guard with the guard’s nightstick. JEREMY (to the dead body) You just got fucked up. -The doors of the bank opens. -Vincent shoots the desk guard in the head. -Jeremy digs the bullet out of the desk guard’s head. JEREMY I hate when the bullet goes this fucking deep. -Vincent stabs the guy guarding the retinal scan locks. -The guys in the East Wing security booth are sitting down when two bullets pierce the glass and hit them. -Jeremy enters the East Wing security booth and digs the bullets out of the bodies. -The guys in the West Wing security booth are shot. -The President of the Bank is asleep. Vincent taps him. When the President awakes, Vincent chops the bridge of his nose, killing him. -The Treasurer of the Bank is putting files into a briefcase. Vincent walks in and pulls out a knife. He throws the knife into the throat of the Treasurer. -Jeremy is trying to pull the knife out of the Treasurer’s throat. He puts his foot on the Treasurer’s chest and the knife comes out of the throat. Jeremy pulls a rag out of his jacket and wipes the blood of the knife. END MONTAGE

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INT. NEW YORK BANK - MAIN SECURITY BOOTH - CONTINUOUS The room is see-through because the walls are glass. There are steel shelves with computers and other equipment. Vincent walks into the room with his pistol drawn. He sees two middle-aged men. VINCENT Where’s the guy and girl? GUARD #1 They have the night off. Vincent leaves the room and starts walking toward the laser grid area. GUARD #1 Man that was close. Vincent walks back to the booth. He walks into the room and shoots both guards. Jeremy walks into the booth, shaking his head. He pulls his statue knife out and whips the blade out. Jeremy rolls his eyes and flips an oblivious Vincent the middle finger. He digs the bullets out and puts them into a plastic bag with other bullet casings. Jeremy puts the bag back into his pocket. EXT. NEW YORK - INTERSTATE - LATER The Compass speeds down the interstate. INT. JEREMY’S CAR - INTERSTATE - SAME TIME Vincent stares blankly out of the window. Jeremy looks at him and back at the road. JEREMY You mind if I listen to some music? VINCENT Sure. Jeremy puts on the radio. The song “Hold Tight” by Davy Dee, Dozy, Beaky, Mick, and Tich plays. Jeremy rocks his head to the song.

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VINCENT Who’s this? JEREMY Davy Dee, Dozy, Beaky, Mick, and Tich. VINCENT Who are they? JEREMY A pop band in the 60’s. You know Pete Townsend almost left the Who to join that band. VINCENT Really? Where did you see that? In some magazine or Behind the Music? JEREMY Grindhouse. VINCENT The double feature theater? JEREMY Kind of. Grindhouse was a movie that was a homage to those movies. VINCENT Any good? JEREMY Possibly the greatest movie ever made. I just got it on blu ray, if you ever want to watch it. VINCENT No, that’s alright. I don’t watch movies. JEREMY Okay. What do you do on your free time? VINCENT Nothing really. JEREMY Do you play with yourself? Vincent looks at him with his signature blank stare.

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JEREMY Not that there’s anything wrong with that. I sometimes do that when I’m stressed. VINCENT I don’t jerk off. JEREMY Good. I don’t either. I was just saying that so you would feel better. VINCENT Relax, man. It’s not like I’m going to kill you. JEREMY You’re not, right. Vincent laughs a little bit and, then gives his blank stare. Jeremy’s face, which was smiling, turns to shock. Vince laughs and smacks Jeremy on the back. VINCENT I’m kidding. Vince continues laughing and Jeremy fake laughs. EXT. NEW YORK - OUTSIDE OF PENTHOUSE BUILDING - LATER The Santa Fe stops by the front door. Vincent gets out. Jeremy rolls the window down as Vincent walks over to the front door. JEREMY Hey! Let me know if you need anything. I’ll get rid of the items. VINCENT Okay. You want to come inside? JEREMY No, that’s okay. I’m really busy. Vincent waves and heads inside.

41.

JEREMY (to himself) “Come inside.” Fuck that. Yeah, so you can strangle me. No, sir. Jeremy drives off. INT. VINCENT’S PENTHOUSE - LIVING ROOM - CONTINUOUS The penthouse is pure white. Vincent walks into the front door. He puts his gun on a glass table in front of a black leather couch. Vincent walks to a table by the window. The table has a frame of a jigsaw puzzle put together. Vincent takes a puzzle piece out of the box and adds it to the frame. He takes a silver remote and presses the button. The blinds open up. The window is massive and has a view of New York City. Vincent is looking at the city, drinking a glass of Irish whiskey. He sits on a black leather couch and pours himself another glass. Vincent drinks it and sits back. Vincent picks up a black remote off the couch and hits a button on it. The lights turn off and blinds close. Vincent turns on the T. V. and changes the channel to the History channel. An episode of the History channel show True Crime comes on. T. V. ANNOUNCER (V.O.) I’m Robert Osborne and welcome to True Crime. Tonight we will go over the theory of the night that Connor Flanagan and his family was murdered execution style. Vincent pours himself another glass of whiskey. He stares blankly at the T. V. T. V. ANNOUNCER (V.O.) Was this senseless murder? Vincent drinks his glass. T. V. ANNOUNCER Or the extermination of a rat?

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Vincent angrily throws the glass at the T. V. He turns the T. V. off and leans his head back. Vince falls asleep. INT. VINCENT’S PENTHOUSE - LIVING ROOM - MORNING Vincent is asleep. There is the sounds of a little girl screaming, followed by a gunshot. Vincent wakes up. He jumps up from the couch with his gun drawn. He sits back down and rubs his eyes. There is a beeping sound in the back ground. INT. VINCENT’S PENTHOUSE - BEDROOM - CONTINUOUS There is a beeper on the dresser. Vincent looks at the beeper. He picks up a cell phone by his bed. He dials a number. VINCENT (into phone) Hello. SEAMUS (V.O.) Good job last night. As you wished, 2 million dollars has been transferred into your account. What’s going on with the three other targets? VINCENT I don’t do two jobs at once. I will start surveilling the three today. SEAMUS (V.O.) I will warn you now. There might be a detective tailing you. Don’t worry. He’s one of mine. If he gets in the way of your assignment, I won’t hold it against you if you have to take him down. VINCENT Understood. Vincent hangs up.

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EXT. NEW YORK - OUTSIDE OF PENTHOUSE BUILDING - MOMENTS LATER Vincent walks out of the building. He looks across the street at a Mustang. Vincent heads right down the street. He gets into a Charger and takes off. EXT. NEW YORK - STREETS - CONTINUOUS Phil is in his Mustang tailing Vincent. Vincent drives into Hell’s Kitchen. EXT. HELL’S KITCHEN, NEW YORK - OUTSIDE BROWNSTONE APARTMENT BUILDING - CONTINUOUS Vincent stops in front of a building. He sits in his Charger until Riley comes out of the apartment and runs across the street into another building. Vincent gets out of his car and enters the building Riley exited. Phil parks his car and turns it off. Phil rests his left arm against the window and rests his head against his hand. He closes his eyes. FADE OUT: EXT. HELL’S KITCHEN, NEW YORK - OUTSIDE BROWNSTONE APARTMENT BUILDING - MOMENTS LATER There is a loud knock. Phil’s head bounces up. He looks at his window and sees Vincent smiling and waving. Vince twirls his finger around in a circular motion. Phil rolls the window down. VINCENT There’s a diner around the corner. Let’s talk. INT. KRISTY’S DINER - BACK ROOM - SAME TIME AMI, a beautiful brunette woman in her twenties, gets ready for work. She puts on a pink waitress dress. Ami puts make-up on her face to cover up a bruise under her left eye. KRISTY walks in.

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Ami turns to greet her. KRISTY Hey. Your shift is...oh my god! AMI It’s nothing. KRISTY God damn it. Why do you let that son of a bitch smack you around? AMI It was the last time. KRISTY What? Did he cry and say he was sorry? It will never happen again. That son of a bitch is out there eating. At least have the common decency to poison his ass. AMI I’m saying it’s the last time because we’re through. If he tries to say anything, I’ll tell him straight. KRISTY That’s good. AMI Did Sheila call? KRISTY No. AMI Oh man. I got a bad feeling. KRISTY You have no reason to worry. You should know your sister was up to no good when she messed around with the Prince of Hell’s Kitchen. AMI Yeah but Lucas will never get a position in his dad’s syndicate. His dad will never allow it.

45.

INT. KRISTY’S DINER - MOMENTS LATER People eat at the booth and the counter. A COOK pulls papers with orders off of the spin rack. DAVID sits at the counter sipping his coffee. David is a white man in his thirties with red hair and a red handle bar moustache He wears a red T-shirt and black vest with his name stitched on it. David wears a hat with LADIES MAN on it. His jeans are faded blue and torn. Ami walks over with a disappointed look. AMI May I take your order? DAVID Yes. Can I get a cheeseburger and a blow job. AMI You’re sick. DAVID Why haven’t you taken my calls? AMI Cause I’m not talking to you anymore. We’re done. DAVID You dirty Irish bitch. AMI And how nice it is to bring your Aryan beliefs into an Irishoccupied diner. Two guys dressed very similar to David walk in. AMI Oh. You brought your two goons with you. DAVID Oh. How asshole of me. This is Adam and Seth. AMI I don’t care. Just order and get the hell out of here.

46.

SETH Hey. You watch how you talk to him. I know people who could make you disappear. Ami goes to walk away and SETH grabs her arm. He pulls her into the counter and David starts choking her. David stops choking her when he hears whistling behind him. PHILLIP I don’t think Seamus would like you beating on a woman in his neighborhood. SETH Fuck Seamus and fuck you. PHILLIP Fuck me. Phil opens his jacket and shows his badge that is on his waist. PHILLIP No. Fuck you. David and his buddies let Ami go and back off. PHILLIP You alright, miss? DAVID She’s fine. PHILLIP I’m not talking to you dickless. AMI I’m fine. PHILLIP Good. I’m looking for a friend of mine. Very quiet. Likes to wear black. Ami points to a booth in back. AMI He’s back there. PHILLIP Thanks.

47.

AMI He’s cute. PHILLIP He sure is. Phillip rolls his eyes and walks over to Vincent’s booth. He sits down. Phil and Vince stare each other down. PHILLIP So. Tell me about yourself. Who are you? VINCENT I’m just a wanderer. Riding my pale horse. PHILLIP Behold the pale horse. VINCENT And the name who sat upon it was Death. And Hell followed with him. PHILLIP So you’re Death personified? VINCENT No. I just bring it, I guess. PHILLIP Why all the black? VINCENT It suits me. PHILLIP What made you join this profession? VINCENT Personal problem. PHILLIP Personal problem? That’s why I do what I do. Personal problems. VINCENT If the department found out the real story, then my personal problems would become legal problems. The same would probably happen for you.

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PHILLIP How’s the department going to find out? Are you going to tell them? What are you, a rat? VINCENT No. I just kill rats. PHILLIP How good of a killer are you? VINCENT So good that I can take this napkin holder and show you many different ways I can kill you with it. Ami walks over to the table. AMI Can I take your order, Detective? PHILLIP Just coffee. Ami looks over at Vincent. She is speechless for a second. AMI And..uh..sorry. And what can I get for you. Hi. Vincent looks up at her and is speechless, then VINCENT Hi. Oh yeah. Uh, can I get two eggs, two sausages, and two French toast. I’ll have a coffee. Are you okay? AMI Yeah. She starts blushing. Ami walks behind the counter. AMI Hey Ryan. Can I get two eggs, sausage, and French toast? RYAN (O.S.) Sure sweetie. Kristy stands next to Ami.

49.

KRISTY So. What’s next? You guys going to take each other’s clothes off and let him screw you on the counter. AMI What are you talking about? KRISTY You have to be kidding me. It looks like you two were about to have a heart attack. AMI He’s cute. He’s a quiet one though. Ami gets the tray with Vincent’s order and brings it to Vincent’s table. She pours Phillip and Vince coffee. Vince puts a thing of cream and sugar in his coffee, then watches Ami leave. VINCENT Why didn’t you order anything? PHILLIP You know what, I will. VINCENT No. It’s too late. I’m not going to let you waste her time trying to get your food. PHILLIP Okay, fine. Didn’t your parents ever teach you any fucking manners? VINCENT Did yours? Or did they teach you how to be crooked? What does your mom and dad think about you being a corrupt cop? PHILLIP I don’t fucking care what that bitch or my fucking father thinks. What about your parents? Is your mommy and daddy happy with you being a killer? VINCENT Don’t talk about my parents.

50.

PHILLIP Why? Did I touch a nerve? What? Is your daddy a candy ass and your mom a whore? Vince quickly grabs Phil’s throat. People stop and look at the booth. Vince gives them a cold stare. Everyone turns away. VINCENT Don’t ever talk about my parents. He lets go of Phil. Phil rubs his throat and gets up. PHILLIP Listen. You leave the thieves alone. I have the common decency to let the IRS put Seamus in jail. He isn’t going to be the boss for long. Smiley is coming in to town to take over and you’ll be fucked. Vincent takes a bite of a sausage. He swallows it. VINCENT And? Phil stares at Vincent and walks away with a confident grin. Vincent continues eating. Ami walks over and sits down. AMI Hi. Where’s your friend? VINCENT He left. AMI So here you are eating alone again. You know that’s kind of pathetic. VINCENT What is? AMI Eating alone. I understand someone going to the movies by themselves, but eating alone. That shows how lonely someone is. VINCENT I’ll keep that in mind.

51.

AMI You go to movies alone? VINCENT I haven’t been to the movies in a long time. AMI What was the last movie you saw? VINCENT Batman. AMI Batman Begins. VINCENT Begins? They made other Batman movies. AMI Which one did you see? VINCENT The one with Beetlejuice. AMI The first one. You telling me you haven’t seen a movie in twenty years? VINCENT Wow. It’s been twenty years. I don’t remember that much. AMI Was the last thing you remember? VINCENT My little sister Natalie. AMI Oh that’s sweet. Vince hears the sound of a little girl screaming, followed by a gunshot. David walks over to the booth and grabs Ami. He pulls her out of the booth and throws her on the floor. People get up and leave. David starts kicking Ami. Vince starts to get up but Seth puts his hand in front of Vince.

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SETH You stay there. Vince bends Seth’s fingers in the opposite direction. Seth screams in agony. Vince kicks Seth back into the counter. He walks up and chops Seth in the head. Vince walks over to David. ADAM throws a punch at Vince. Vince ducks and elbows Adam’s ribs. He follows up with a punch. David stops kicking Ami and sees Vince slamming Adam’s head on the counter. Vince walks over to David. DAVID You think that black suit and those fancy moves scare me? VINCENT If it doesn’t, you should see the way I make a salad. David swings his head forward to attempt a head butt. Vince forearms David in the head, knocking him out. Vince lightly grabs Ami’s arm and escorts her out. INT. KIM AND SEAMUS’ HOUSE - BOARD ROOM - LATER Seamus sits at one end of the table. The door opens and Fitzy leads three men in. One of them is BENNY, a twenty-something Asian. The others are SING, an Arab with a beard and turban, and NIKOLAI, a white forty-year-old with a Russian accent. Fitzy leaves the room. Kim walks in and grabs Nikolai’s coat. KIM Let me take your coat. NIKOLAI Get your hands off of me you stupid American bitch. SING You better get your head in gear bitch or I’ll have you flogged.

53.

SEAMUS Don’t talk to my wife like that. BENNY He can talk to her, however, he likes. SEAMUS Sure. Tell your friend to take that bandana off his head. I don’t like hats in my house. SING It is not a bandana. It is my turban and it is a part of me. Benny, Sing, and Nikolai sit down at the table. SEAMUS Now, how much is Smiley offering me for the warehouse? BENNY You don’t get the clear picture. When Smiley wants something, he takes it. He wants your warehouse and he is going to get it. SEAMUS You guys have a lot of nerve to come in my house and threaten me and my wife. BENNY We don’t have the nerve. We have the will. We are the multi-national mob. SEAMUS Wow, that was the gayest punchline I ever heard. The multi-national mob? What is that some sort of club Smiley started? BENNY No! It is made up of multi-national mobsters. Don’t talk about Smiley. He’s a vet. SEAMUS So why should I be scared of a man that treats animals. I respect men who do that. It takes patience. I like patience.

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Seamus nods his head at Fitz who smirks. BENNY A veteran. He was in a war. SEAMUS As a photographer. That is not a soldier. That doesn’t even count as a veteran. I’m a soldier. The things I’ve done like the throats I slit and the heads I put bullets in. That makes me a soldier. BENNY What military were you in? SEAMUS The A.R.W. BENNY The what? SEAMUS The Army Ranger Wing. They’re the Irish Special Forces. I have been cutting my teeth in the trenches. Smiley just put a uniform on and said he was a soldier. BENNY He is a soldier. And he wants your warehouse. Just like he took your bar. INT. O’REILLY’S PUB - SAME TIME A bunch of Asian guys enter the bar with MP5’s and shoot O’Reilly’s soldiers and bartender. EXT. HELL’S KITCHEN, NEW YORK - O’REILLY’S PUB - CONTINUOUS A black kid climbs a ladder to the sign above the door. He puts a sign saying “SMILEY” over the “O’REILLY’S” part of the sign. A black limo pulls up. MR. SMILEY steps out Mr. Smiley is a short, somewhat fat man in his sixties. He has gray slicked back hair and black rimmed glasses.

55.

INT. KIM AND SEAMUS’ HOUSE - BOARD ROOM - SAME TIME Fitzy walks in the room and hands Seamus a phone. Benny, Sing, and Nikolai smile. SEAMUS (into phone) Hello? MR. SMILEY (V.O.) This is really nice bar. It will need some renovating to repair the bullet holes and blood. What do you think? SEAMUS I think when you mess with the bull, you get the horns. I have a nice present for you. You’re going to love this. Seamus hands the phone to Fitzy and smiles at Benny, Sing, and Nikolai. SEAMUS My wife is making ham hash and I totally forgot that Sing, you don’t eat ham. SING No I don’t. SEAMUS And Nikolai. You’re a big fan of blood sausage. NIKOLAI Yes. SEAMUS Well good. My wife is making that as well and Sing, she is also very good at making Mid East cuisine. I have tried some. Why don’t you go on into the kitchen and ask her to make you some food? Oh right, tell her to make you some. NIKOLAI Okay. SING Sure. How do you get there?

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SEAMUS Just follow Fitzy. (to Fitzy) Hey Fitz, show them the kitchen. Make sure they have a really good time. FITZY Sure thing. Fitzy and Seamus wink at one another. Fitzy leads Sing and Nikolai out of the room. BENNY I would like some ham hash. SEAMUS Well good. So what organization did Smiley recruit you from? The Triads or the Tongs? BENNY How do you know the names? SEAMUS I’m a mobster. Why wouldn’t I? Kim brings in two plates of ham hash. She places the plates in front of Benny and Seamus. Kim smiles at Seamus on her way out of the room. Seamus and Benny start eating. BENNY Are my associates coming back? SEAMUS Yeah. My wife is probably cooking their meals right now. BENNY I feel better eating with my associates. SEAMUS You do know they have names right? Do you call them Associate 1 and 2? BENNY Yeah. Do you have a problem? SEAMUS No.

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BENNY Where’s the kitchen? SEAMUS My wife doesn’t like to be disturbed when she cooks. BENNY If that’s so, where’s Nikolai and Sing. INT. KIM AND SEAMUS’ HOUSE - BASEMENT - CONTINUOUS Sing falls to ground. His eyes have a dead stare. There is railroad spike nailed in the top of Sing’s head. Blood rushes out of the wound. Nikolai dangles in the air. His hands are handcuffed to a meat hook on the ceiling. His mouth is taped shut. Nikolai wiggles his body around but stops. Fitz walks in with a raincoat on. He puts on goggles and picks up a chainsaw. He starts the chainsaw up. Nikolai screams as Fitz walks over with the chainsaw revving. INT. KIM AND SEAMUS’ HOUSE - BOARD ROOM - CONTINUOUS BENNY Listen. I’m not listening to you or saying another fucking word until my friends come back. SEAMUS Sure thing. Hey, Fitz! FITZY (O.S.) Yeah. SEAMUS Will you bring this man his friends. FITZY (O.S.) Sure thing. SEAMUS You see.

58.

Fitzy walks in with a wooden stool. Benny looks at the stool and back at Seamus with a look of confusion. Seamus smiles and takes another bite of his ham hash. Fitzy brings in a barrel with hands sticking out. Blood spills out when Fitzy sets the barrel down. BENNY What the fuck! SEAMUS Well. Here’s Nikolai. Oh yeah, I forgot about your Muslim friend. Fitzy walks out of the room. Sing’s body falls into the room from the outside. SEAMUS Your associates are here. So let’s talk. Wait a minute. Fitzy, what did Sing say about the turban on his head? Fitzy walks back in the room. FITZY He said the turban was part of him. SEAMUS That confused me. He says the turban is part of him but it is not attached to his head. I thought I can help out but the only thing I had that would make it stick was that spike. BENNY Oh man. You have made the biggest mistake. SEAMUS No. You assholes made the mistake when you guys threatened my wife. Smiley made an even bigger mistake when he killed my soldiers and my bartender because he wanted to run his sleazy business out of my bar. If he wanted the bar so bad, he could have paid for it. BENNY Okay. I ask if he’ll meet with you.

59.

SEAMUS Too late. He made a mistake when he sent three cheesedicks to boss me around in my own house. So I’m sending them back home completely fucked up. And don’t think the “them” I’m referring to means just them two. Fitz hits Benny and puts him in a headlock. FITZY Hey, Seamus? Do you want me to break his fingers? SEAMUS No. Benny breathes a sigh of relief. SEAMUS I want you to chop them off. BENNY No! Fitzy drags Benny out of the room. Seamus looks at the barrel and Sing’s body. Seamus walks into a bathroom in the back of the board room and pukes in the toilet. SEAMUS How Lucas wants this life is beyond me. EXT. HELL’S KITCHEN, NEW YORK - STREETS OUTSIDE OF KRISTY’S DINER - LATE AFTERNOON Ami and Vincent walk. She keeps looking at him smiling. AMI So what are you, some soldier or something? VINCENT Or something. I was trained by an ex-Special Forces soldier. AMI Wow. Vincent smirks.

60.

VINCENT So what about you? AMI I was born here. It seems my life has revolved around meeting the next guy to cheat on me or beat me. VINCENT Why do you do that? AMI Because I’m stupid. VINCENT You’re not stupid. You just make bad decisions. AMI Because I’m stupid. VINCENT Alright, you’re stupid. Ami laughs. VINCENT Do you ever want to date someone else? AMI Like you. Vincent chokes and coughs. VINCENT Me. Why me? AMI Why not? You’ve been coming in to the diner and you look at me with that look. VINCENT What look? AMI You know the look. The hey how you doing, can I ask you out look. VINCENT There’s a look like that?

61.

AMI Yeah. VINCENT Oh. Would you like to go out sometime? AMI Sure. To where? VINCENT I don’t know. I don’t know that many places. I don’t go out that much and I’m very horrible at this asking out thing. AMI No. You’re doing good. VINCENT I hope so because I have never done this before. AMI You mean you haven’t done this in a long time. VINCENT No. I’ve never done this before. AMI Oh. Oh my god. Are you telling me that you’re a virgin? VINCENT A what? AMI You have never had sex before. VINCENT Okay. Yeah. AMI You do know what sex is, right? VINCENT Yes. I just never done it. I was trained since I was eight to survive, fight, and when it’s necessary, kill.

62.

AMI Wow. Maybe we can get together sometime. VINCENT To have sex? Ami laughs. AMI No. What do you think that I’m some whore? VINCENT No. We were talking about sex and you brought up getting together. I thought that is what you meant by getting together. Sorry. AMI I meant we can go out sometime. VINCENT And the sex? AMI Don’t worry about it. Oh, that’s my place. She points to a brownstone building. Vincent has a face of recognition because this building was the same house he followed Riley to. AMI You want to go out tomorrow? VINCENT Sure. Where? AMI At the diner. I can cook something special. VINCENT Sure. AMI I’ll see you then. VINCENT Okay. Vincent smiles.

63.

AMI You’re very handsome when you smile. VINCENT Thank you. Ami goes into the building. Vincent walks away, smiling and blushing. A cell phone rings. Vincent pulls a gray phone out of his pocket. VINCENT (into phone) I’m listening. SEAMUS (V.O.) A little birdie told me that the bearer bonds owned by the three thieves belong to me. It’s a go. Kill them all. VINCENT What about the security room guards? They weren’t there the night I killed the employees. SEAMUS (V.O.) Kill them too. The group is led by a man and woman. Don’t lay a finger on them. VINCENT Understood. INT. O’REILLY’S PUB - BOOTH - AFTERNOON Mr. Smiley is sitting down. Phil walks up to the table and sits down. MR. SMILEY Would you like a tequila? PHILLIP No. Irish whiskey, please? MR. SMILEY Why would you drink that poison? You should drink from your Cuban heritage?

64.

PHILLIP I hate my fucking Cuban heritage. You want to get to the point. MR. SMILEY The point? PHILLIP The reason you fucking called me. MR. SMILEY I heard you like to work for the winning team. The team whose pay is worth your while. PHILLIP I’ve been getting seventy-five grand from Seamus. MR. SMILEY Well, he’s nothing but a cheap Irish prick. I’m willing to give you a hundred grand. Phil takes his jacket off. PHILLIP I’m listening. MR. SMILEY I see your job is to bust the thieves responsible for robbing Seamus. PHILLIP Yeah. MR. SMILEY Seamus wants his son and daughterin-law to be saved. How much do I have to pay to have them killed? PHILLIP The one hundred grand is good enough. MR. SMILEY I’m flabbergasted. Phil stares Smiley with his eyebrow raised.

65.

MR. SMILEY Forget I said that. How about one hundred to kill the prince and another hundred to kill the princess? PHILLIP You mean Lucas and Sheila. MR. SMILEY Of course. Phil smirks at Smiley. He rolls up his sleeves, revealing a tattoo on his left forearm. The tattoo consists of a magician hat with a wand and a white bunny sticking out of the hat. PHILLIP Sounds good. Phil and Smiley shake hands. MR. SMILEY Does it bother you that you’re making a deal with the devil? PHILLIP I’ve been making it since I put a shield on. EXT. HELL’S KITCHEN, NEW YORK - OUTSIDE BROWNSTONE APARTMENT BUILDING - LATER Silas, the driver from the bank heist, sits in a black Cutlass. He takes a hit from his cigarette and blows the smoke out of the window. A silver 9 millimeter presses up against Silas” head. His cigarette falls out of his mouth and onto his lap. He jumps around and knocks the cigarette off. Silas looks up and sees Phil and Marcus. SILAS What the fuck? My dick’s on fire. PHILLIP Whoops. SILAS Where the hell have you been?

66.

PHILLIP Just stopped at the bar. SILAS You guys drink on duty? MARCUS You went to the bar? PHILLIP I’m an alcoholic, sue me. MARCUS (TO SILAS) So which guy is this? SILAS Riley McGann. INT. BROWNSTONE APARTMENT BUILDING - FRONT HALLWAY CONTINUOUS Riley comes walking down some stairs and heads toward the entrance. Silas stands in front of the entrance. RILEY What the fuck are you doing here? SILAS Saving my ass. RILEY What? Marcus and Phil walk up behind Riley. Riley turns around and sees them. He turns back around and faces Silas. RILEY You fucking rat. Let me guess, you’re allowed to keep your share? PHILLIP No, he’s given his share to me. Now put your hands behind on your head. Riley puts his hands on his head and Marcus handcuffs Riley. Riley walks toward the entrance. PHILLIP Don’t give me a reason to shoot you in the back. Listen be good and you might stay out of jail.

67.

Phil looks back at Silas and Marcus and laughs. Suddenly, there is a zip. Blood splatters Phil’s face. Phil spits out blood and rubs his eyes. PHILLIP Jesus! What the fuck was that!? Phil looks down and sees Riley, dead with a bullet hole in the head. PHILLIP Silas, stay here. Marc, let’s get the motherfucker. Marcus and Phil run outside. EXT. HELL’S KITCHEN, NEW YORK - OUTSIDE BROWNSTONE APARTMENT BUILDING - CONTINUOUS Phil and Marcus are on the porch with their guns drawn. A light flashes over Phil’s eyes. He looks up and sees someone on the roof. PHILLIP He’s up there! Marcus turns around and looks at the roof. He and Phil run across the street to the building. A cop car pulls up. A uniform gets out. PHILLIP Hey you. What’s your name? UNIFORM #2 Officer Smith. PHILLIP Okay. There’s a very dangerous man inside. Stick with the both of us. UNIFORM #2 Understood. Phil, Marcus, and the uniform run inside the building.

68.

EXT. HELL’S KITCHEN, NEW YORK - BUILDING ACROSS FROM BROWNSTONE - ROOF - CONTINUOUS Vincent is on the roof, taking apart his rifle. He puts the parts into his black case and heads to the door. INT. BUILDING ACROSS FROM BROWNSTONE - STAIRWAY - CONTINUOUS Vincent is walking down the stairs, but stops when he hears voices. He sees Phil, Marcus, and the uniformed officer coming up the stairs. Vince backs up and disappears into a shadow. Phil and Marcus run past the shadow. The uniform stops to catch his breath by the shadow. A hand pops out and grabs the uniform. The hand pulls him into the shadow. There is a punching sound, followed by a small scream. EXT. HELL’S KITCHEN, NEW YORK - BUILDING ACROSS FROM BROWNSTONE - ROOF - CONTINUOUS Phil and Marcus burst onto the roof with their guns drawn. They look around. PHILLIP Nothing. Fuck. Phil and Marcus put their guns back in their holsters. PHILLIP What do you think? MARCUS Call the C.S.I. PHILLIP Alright. Smith, seal off the area. Smith? He turns around and doesn’t see him. PHILLIP Damn it!

69.

EXT. HELL’S KITCHEN, NEW YORK - OUTSIDE BROWNSTONE APARTMENT BUILDING - CONTINUOUS A uniform comes out and waves people away. He turns around and looks at the roof. The uniform is Vincent in a cop disguise. He looks at the crowd and sees Bobby, one of the twin thieves from the beginning heist. Vince walks toward the crowd. Bobby runs around the corner. INT. BUILDING ACROSS FROM BROWNSTONE - STAIRWAY - CONTINUOUS Phil is running down the stairs and trips over something. He falls against a railing. PHILLIP Shit! MARCUS You alright. PHILLIP (painfully) No. I think I broke my fucking ribs. What the hell did I trip over? Phil pulls out his flashlight and shines it on the shadow. He sees Smith but he is wearing only boxers. EXT. HELL’S KITCHEN, NEW YORK - STREETS - SAME TIME Vince follows Bobby to an elevator that leads down to the subway. Bobby gets in the elevator. He stops the door with his hand. Vincent walks into the elevator. Vince looks at Bobby as the door closes. INT. SUBWAY - ENTRANCE - CONTINUOUS Vince walks out and heads right. Bobby is in the elevator with 5 gunshot wounds, including one to the head. Vince heads to the platform as a woman screams behind him.

70.

INT. SUBWAY - PLATFORM AREA - CONTINUOUS Vince stands on a platform with other people. A WOMAN walks by with her SON. WOMAN Hello officer. Vince smiles and salutes to her. He looks to his left and sees a TRANSIT OFFICER with some hysterical woman. The woman points to Vince. Vince walks into the bathroom behind him. The transit officer walks quickly into the bathroom. INT. SUBWAY - BATHROOM - CONTINUOUS The transit officer looks at the urinals and at the stalls. One of the stall doors opens. Vince walks out wearing his trademark black suit and shirt. He walks over to the sink and washes his hands. TRANSIT OFFICER Excuse me, sir. Have you seen any police officers in here? VINCENT Just you. The transit officer walks over to the stall and peaks in. He sees the police uniform crumble up behind the toilet. He pulls his gun out and aims it at Vincent. TRANSIT OFFICER Hold it right there. Donâ&#x20AC;&#x2122;t move. Vincent walks backwards with his hands up. The transit officer walks over and puts his free hands on Vincentâ&#x20AC;&#x2122;s shoulder. Vincent spins around and grabs the gun arm. He punches the officer across the face and then backhands him. Vince elbows the gun arm, causing the officer to drop the gun. He then punches the officer in the sternum and roundhouse kicks him in the face. The officer flies back into the wall and then collapses to the floor. Vince leaves.

71.

INT. APARTMENT - EVENING Lucas is at the kitchen table drinking a glass of milk. Sheila walks in and sits down across from him. LUCAS Do you know bank robbers are known as criminals? SHEILA I have something to tell you. LUCAS In the old west, land barons and railroad bosses would run people out of their homes just to claim the land or put the railroad through there. They used sheriffs and soldiers on the payroll to do their dirty work. Then Jesse James and Billy the Kid would rob the land barons and railroads and they were the bad guys. Why? SHEILA I don’t know. I really need to tell you something. LUCAS Listen to this. Why is a man who has people killed or someone’s house destroyed, just a regular rich guy and the good man that takes the money the rich asshole doesn’t deserve a bad guy. SHEILA No one ever knows. Whoever the cop says is a bad guy, is labeled a bad guy. I am going to tell you if you’re listening or not. LUCAS You want to know something? SHEILA I’m pregnant. LUCAS The book Public Enemies. It’s about the fed’s hunt for the Dillinger gang and the creation of the FBI. People believe that it’s called Public Enemies because of the gang. (MORE)

72. LUCAS (cont'd) The real reason is because Dillinger was deemed public enemy by the FBI and J. Edgar Hoover was deemed public enemy by the people. Dillinger was public enemy by legal standards but the real public enemy was Hoover.

SHEILA Are you listening to me? LUCAS I’m sorry. I’m just ranting because I’m freaking out. What were you saying while I was ranting? SHEILA Forget that. What are you freaking out about? LUCAS Well. The day after we rob the bank, every guy on the night shift is systematically killed. Not long after that, Silas rats Riley out to the cops but Riley gets a rifle round to the forehead. SHEILA Oh my God. Why didn’t you tell me? LUCAS I just found out from the news. I’m telling you right now. Not long after that, Bobby is found in an elevator, shot to death. People have been talking about a man in black. He looks like the devil in disguise. Have you talked to Ami lately? SHEILA No. She called me, but I haven’t got back to her. Why? LUCAS I talked to her to see how she’s doing. It seems she has been smitten with some guy that eats at her diner. She described him and it’s the same description as the guy that’s wiping us out.

73.

SHEILA It can be a guy that looks like him. LUCAS The guy took down a big transit officer with no problem. The guy Ami talks to took down David and his butt buddies with no problem. Ami said he fought like he was highly trained. I got to see my father. SHEILA Why? LUCAS To get us off my dad’s hit list. SHEILA Your father won’t kill you. He will be angry because you ripped him off. LUCAS All I ever wanted to do was impress him. SHEILA Maybe you have and he has an odd way of congratulating you. Sheila gets up and wraps her arms around Lucas. She starts kissing his neck. LUCAS Now, what were you saying before? SHEILA I’m pregnant. Lucas’ face changes to shock. He turns around and looks at Sheila. LUCAS Since when? SHEILA A couple of weeks. LUCAS Oh. Wow! I can’t believe it. We’re going to have a baby.

74.

Lucas kisses Sheila. Lucas’ happy demeanor changes to shock. LUCAS Oh no. SHEILA What? LUCAS I got to tell my dad. SHEILA Why? LUCAS So he doesn’t kill us. SHEILA He won’t kill you or me. Your mom will talk some sense into him. LUCAS Maybe you’re right. EXT. HELL’S KITCHEN, NEW YORK - STREET - SAME TIME Vince and Ami walk down the street. AMI So? Kill anyone today? Vince looks at her with a serious wide eyed look. AMI Sorry. VINCENT It’s alright. AMI I talked to my sister’s boyfriend today. VINCENT Oh yeah. AMI Sheila has Lucas be a messenger when she’s not in the mood to talk with me. What kind of sister does that?

75.

VINCENT It doesn’t matter. At least, you got one. AMI Yeah. Sorry. Her boyfriend sure was interested in hearing about you. VINCENT Really? AMI Lucas was really freaked because two of his friends got killed today. VINCENT Wow. That sucks. AMI Tell me about it. EXT. HELL’S KITCHEN, NEW YORK - OUTSIDE BROWNSTONE APARTMENT BUILDING - CONTINUOUS David, Seth, and Adam hide in the shadows next to the stairway leading up to the entrance of the building. AMI This is me. You want to come up? VINCENT Sure. AMI For coffee. Okay? VINCENT Alright? What else would I be up there for? AMI Well, you were obsessing a little about sex yesterday. VINCENT Sorry. I’m not good at talking to beautiful girls. AMI I’m not that beautiful.

76.

VINCENT Yes, you are. Vince and Ami lean in to kiss each other. David appears and pulls Ami back by her hair. Vince gets pistol whipped on the back of his head by Seth. Adam appears and gives David a switch blade. Seth pulls Vince up and has a gun to his head. DAVID Hey, watch what I do to this bitch. FLASHBACK- The murder of Vince’s (Connor Jr.’s ) mother The Man in Black holds Connor’s head to watch the Man in Tan slit Emily’s throat. EXT. HELL’S KITCHEN, NEW YORK - OUTSIDE BROWNSTONE APARTMENT BUILDING - PRESENT Vince grabs Seth’s gun. He turns the gun back to Seth’s face and shoots him. Vince grabs the gun and shoots David in the chest and Adam in the head. Ami screams. Vince walks over to David, who is on the ground withering. He puts a bullet in David’s head. Ami starts to cry and Vince aims the gun at her. He has the cold stare on his face. Vince looks at the gun and her. VINCENT Oh my god. I’m sorry. He throws the gun in the bushes and runs. Ami looks after Vincent, frightened yet impressed. She finds the gun and puts it in her waist band. INT. VINCENT’S PENTHOUSE BUILDING - ELEVATOR - LATER Vince is in the elevator, staring blankly at the buttons. INT. VINCENT’S PENTHOUSE - KITCHEN - CONTINUOUS The door opens. Vince slowly walks in.

77.

The door closes and Billy, Bobby’s twin, is standing behind it. He pulls out some fiber wire and slowly walks toward Vince. Billy throws the wire around Vince’s throat, but Vince puts his hands to block the wire from going on his throat. Blood pours out of Vince’s hand as the wire cuts him. Vince throws his feet into the wall. He pushes off the wall and causes him and Billy to fall on the floor. Vince repeatedly throws his head back into Billy’s face. Billy lets go and Vince runs to a shelf by the fridge. Billy gets up, his nose bleeding profusely. He spins the wire around and whips it at Vincent. Vincent catches the wire, but it lacerates his hand. He falls to the ground and kicks Billy’s legs. Billy falls face first and Vince wraps the wire around Billy’s neck and begins to strangle him. Billy pulls a knife out and cuts the wire. He slashes his knife at Vincent. Vince dodges each slash. Vince grabs a pan from the stove and fights Billy in an impromptu knife fight. He finally slams the cast iron pan on Billy’s wrist, causing him to drop the knife. Vince smacks Billy in the face with the pan. Billy spins around and falls on his face. Vince puts his knees into Billy’s back and his hands over Billy’s face. Vince pulls Billy’s head back and snaps his neck and back. Vince stands up, breathing heavily. He walks over to the phone and picks it up. VINCENT (into phone) Hey. I have a mess and I need it cleaned up. INT. VINCENT’S PENTHOUSE - LIVING ROOM - LATER The door bell rings. Vincent walks over and opens it. Jeremy is at the door with two suitcases. He is now wearing a Punisher shirt with blue jeans.

78.

JEREMY What’s up? VINCENT He’s in the kitchen. Jeremy walks into the kitchen. INT. VINCENT’S PENTHOUSE - KITCHEN - CONTINUOUS Jeremy looks at Billy’s body. JEREMY You strangle him? VINCENT No. I started to, but I snapped his neck. JEREMY Interesting? Your work usually has less blood. We need to bring him into the bathroom. You get his legs. VINCENT What? JEREMY Do you think I’m going to carry him? He looks like he weighs two hundred fucking pounds. VINCENT Alright. I’m sorry. Vincent grabs Billy’s legs and Jeremy grabs Billy’s arms. They lift Billy and carry him to the bathroom, but Vincent looks troubled. INT. VINCENT’S PENTHOUSE - BATHROOM - CONTINUOUS Vince and Jeremy are wearing plastic suits over their clothes. Jeremy turns around opens his suitcase. He pulls a saw out. Jeremy grabs Billy’s hair and pulls it off. JEREMY What the fuck? What is this?

79.

VINCENT A toupee. Jeremy looks at Billy’s face. JEREMY God, he’s uglier without it. There’s a white garbage bag in the suitcase outside the door. Vincent walks out of the bathroom and walks back in with a white garbage bag. Jeremy puts the toupee in it. Jeremy puts a cigarette in his mouth and lights it. JEREMY Let’s get to work. EXT. ALLEY OUTSIDE OF PENTHOUSE BUILDING - CONTINUOUS Jeremy puts his two suitcases in the back seat of his Hyundai Santa Fe. Vince loads the black and white garbage bags into the cargo. JEREMY Thanks for the help. VINCENT You welcome. Don’t tell Seamus about this. JEREMY Alright. Need anything, give me a call. VINCENT Okay. JEREMY First time I seen you disposing of a guy and it got to you. VINCENT What? Jeremy points to his right eye. Vince rubs his eye and feels a tear. Vince rubs the tear between his thumb and forefinger and stares at it blankly. VINCENT Oh my god.

80.

JEREMY What? VINCENT Nothing. Jeremy gets in the car and takes off. INT. KIM AND SEAMUS’ HOUSE - BOARD ROOM - SAME TIME Seamus sits in the dark, drinking a glass of whiskey. The phone rings. He answers it. SEAMUS (into phone) Hello? INT. APARTMENT - SAME TIME LUCAS (into phone) Dad? INTERCUT APARTMENT/BOARD ROOM SEAMUS Lucas? LUCAS Are trying to have me killed? SEAMUS No. You and Sheila are fine. Anyone touches you or her is dead. LUCAS What about my friends? SEAMUS I have no hand in that. LUCAS You’re a fucking liar! SEAMUS Don’t talk to me like that. I’m a fucking liar? We are one in the same Lucas. (MORE)

81. SEAMUS (cont'd) You lie to your mother about just hanging at your friends house when actually you’re ripping me off.

LUCAS I wanted you to see that I can pull a job off. I believed that if I robbed a bunch of people and not you, then the cops would think you were behind the robbery. I was just looking out for you. SEAMUS Well, thank you for that. You’re in a lot of fucking trouble. I have the common right to beat your ass for doing jobs that I said you can’t do and for putting your mother under a lot of stress. LUCAS I’m sorry. I just need you to come and get me and Sheila. I have this feeling that someone is going to kill me and her. SEAMUS Okay. I’ll send someone I trust. LUCAS That makes me feel safe. SEAMUS (into phone) It should because if anything happens to you or Sheila, the person that caused harm will go for a swim with no arms and legs. LUCAS Okay. When is he coming? SEAMUS Soon. I’ll send Phil. LUCAS Is he reliable? SEAMUS I grew up with him. I pay him handsomely. So he’s reliable. LUCAS Okay. When is Phil going to come?

82.

SEAMUS Soon. When Phil shows up, he might have some other cops with him. He is going to arrest you so it doesn’t look like he is in league with me. He’ll drop you off at the house and tell the straight-laced cops that you escaped. LUCAS Okay. What about Sheila? SEAMUS Is she there? LUCAS Not right now. She’s out. SEAMUS Get a hold of her and tell her to get over here. LUCAS Okay. Dad? SEAMUS Yeah? LUCAS Sheila’s pregnant. SEAMUS Really? Wow. I don’t know what to say. LUCAS If anything happens to me, make sure Sheila and my kid are safe. SEAMUS Nothing will happen to you. LUCAS If something does? SEAMUS You got my word. Seamus hangs the phone up. He rubs his face with his hands. Seamus pours himself another glass of whiskey and drinks it. He picks up the phone and dials it.

83.

INT. PHIL’S BEDROOM - SAME TIME Phil is sitting on his bed reading a file on Vincent. The phone rings and Phil answers it. PHILLIP (into phone) Hello? INT. KIM AND SEAMUS’ HOUSE - BOARD ROOM SEAMUS (into phone) My son wants me to come get him. Can you go to his house? INTERCUT WITH PHIL’S LOCATION PHILLIP Sure. SEAMUS His security booth friends will be there so get Vincent and get over there. PHILLIP Sure thing. SEAMUS Make sure nothing happens to my son. BACK TO SCENE Phil taps the antenna of the phone on his lips and then dials a number. PHILLIP (into phone) If you want his son and daughter in law dead, then put 200,000 in a locker at the gym. MR. SMILEY (V.O.) Already did. Phil hangs up and lightly bangs his fist into his head.

84.

INT. APARTMENT - MIDNIGHT Lucas sits at his kitchen table. His hands shake and he constantly knocks on the table. There is a knock on the door. A MAN and WOMAN peek their heads out of the bedroom door down the hallway. Lucas puts his finger over his mouth and opens the door. Vincent, Phil, and the uniformed Smith come in. LUCAS You Phil? PHILLIP Yeah. You’re under arrest for the robbery of the whatever it’s called bank. LUCAS Yeah. My dad told me the drill. Smith walks over and handcuffs Lucas. PHILLIP Is there anyone else here? LUCAS The guards of the Main Security room. They’re my accomplices in the robbery. Phil smiles and nods to Vincent. Vincent walks to the bedroom. Vincent screws a silencer on the gun and walks in the room. Smith starts to lead Lucas out. PHILLIP I got him Smith. OFFICER SMITH No, that’s okay. Phil grabs Lucas’ arm. Smith smacks Phil’s hands away. OFFICER SMITH I said, let me take him. PHILLIP Okay. Wait, did you frisk him? OFFICER SMITH No. Oh shit.

85.

Phil lightly pushes Smith out of the way. He pulls out his gun and hits Smith in the head with it. Phil pulls Smith’s gun out of the holster and aims it at Lucas. LUCAS What are you doing? PHILLIP Sorry kid. Smiley’s orders. Where’s your wife? LUCAS Fuck yourself. My dad will never let you get away with this. Phil shoots Lucas six times. He quickly pulls a knife out of his pocket and stabs Smith to death. Vince runs back into the kitchen and sees Lucas dead and Phil slitting Smith’s throat. Phil is fake crying. PHILLIP God damn this uniform motherfucker. Lucas is only 20. Fuck. Are the two accomplices back there? VINCENT Yes. PHILLIP Are you going to kill them? Do you want my help? VINCENT Yes. You...You kill the woman. PHILLIP Okay. INT. APARTMENT - BEDROOM - CONTINUOUS Vincent and Phil have their guns aimed at the man and woman. Vince closes his eyes and shoots the man. Vincent’s body twitches when Phil coldly shoots the woman. Phil looks at Vincent with a sick smile. PHILLIP You going to split some money with me.

86.

VINCENT Sure. Phil takes his jacket off. He rolls up his sleeves. Vincent looks at Phil’s left forearm and sees his tattoo. Vincent’s eyes are wide open as he stares at the tattoo. Phil notices Vincent’s gaze. He looks at the tattoo and rolls his sleeve back up. EXT. HELL’S KITCHEN, NEW YORK - SITE OF FLANAGAN HOUSE LATER The house is gone and in its place is a parking lot with grass growing in sections. There is a rusted fence surrounding the area. A black Charger pulls up. Vincent gets out. He stares at the area. Vince jumps the fence and walks into the middle of the area. He stares at the ground as his eyes fill up with tears. MONTAGE - VINCENT DISCOVERING THE TRUTH -Flashback of the past, the Man in Tan rubs his lips with two of his fingers. -Phil rubs his lips with two of his fingers. -The Man in Tan is wearing black steel toe boots that cause the floor to creak. -Phil walks by Vincent in the bar. Vince looks at Phil’s black steel toe boots when he hears the floor creak. -In the Cadillac, the Man in Tan takes off his jacket, showing a tattoo on his forearm. The tattoo is a magic wand next to a Magician hat with a white bunny hanging out. -In the apartment, Phil takes off his jacket, revealing the Magician tattoo. END MONTAGE Vince falls to his knees, grabbing his hair. He looks up and starts screaming at the sky.

87.

INT. VINCENT’S PENTHOUSE - LIVING ROOM - CONTINUOUS A puzzle box of 100 piece puzzle of the walking into the sunset from his childhood is on the coffee table. Vince walks in and drops to his knees. He sees the puzzle box and grabs it. Vince starts hugging the box, as tears flood his eyes. VINCENT I’m sorry. I wish I could be dead too. AMI (O.S.) Don’t wish that. Vince turns around and sees Ami behind him. She walks over and gets on her knees and hugs Vince. Vince pushes her away. VINCENT What the hell are you doing here? AMI I needed to see you. VINCENT Why? I’m a very dangerous man. I don’t want to hurt you. Please leave. AMI No. If you’re dangerous, then kill me. Ami sees a pair of scissors. She grabs them and puts them in Vince’s hands. AMI Stab me. VINCENT No. AMI If you’re so dangerous, then kill me! What are you waiting for, you fucking coward. Kill me!

88.

VINCENT No! I can’t do it anymore! I want to kill the fucking bastards who took my family away from me, but I can’t. That’s all I ever wanted. Vincent lowers his head and stares at the ground. VINCENT Why is it so hard now? I don’t feel cold to this anymore. I am crying. I do not even know if I can kill that bastard. AMI Because you’re human. You’re not a robot. Ami hugs him. Vincent’s arm hang limp but then he reluctantly hugs her back. He hugs her tighter as she kisses him on his cheek. INT. CITY MORGUE - SAME TIME Seamus and Kim are standing by a gurney covered with a white sheet. He is holding her and they both are breathing heavily. The CORONER pulls back the sheet to reveal Lucas. Kim starts to cry. KIM No, No, No. God. Why! Seamus hugs her and she is crying hysterically. Kim starts hitting him. KIM God damn you. You son of a bitch. SEAMUS I’m sorry. I’ll find whoever’s behind this and they will pay. You hear me. They will pay. Fitz escorts Kim out of the morgue. Seamus walks over and starts stroking Lucas’s hair. Phil walks over, almost in tears. PHILLIP Seamus. I’m sorry. I had no idea what Smith would do.

89.

SEAMUS Did you kill him? PHILLIP Yes. SEAMUS Where was Vincent? PHILLIP Killing the last two responsible for the robbery. I’m really sorry. SEAMUS You know that he never learned how to tie his tie. I never learned, either. That was the one thing in common that I was not afraid of. At his graduation, I had to have one of my guys do it for him. You believe that. I was his dad and I couldn’t even tie his fucking tie! PHILLIP I tried. SEAMUS If you tried, he would still be alive. Did you know about the robbery? PHILLIP Yes. SEAMUS Why didn’t you do anything? PHILLIP He wanted to pull this robbery off. He wanted to impress you. Seamus turns and punches Phil. SEAMUS Thank you for telling me that! My son didn’t need to impress me. Seamus walks to the elevator. SEAMUS You find out who ordered it and let me know. He steps into the elevator and leaves.

90.

EXT. OUTSIDE MORGUE - ALLEY - MOMENTS LATER Phil walks to his car, cradling his jaw in his left hand. He gets in. INT. PRECINCT - MARCUS AND PHIL’S OFFICE - SAME TIME Marcus is reading a file as Phil walks in. MARCUS Where the fuck have you been? PHILLIP Letting Seamus identify his son. MARCUS Why didn’t you call me when you went to get O’Reilly’s kid? PHILLIP Captain wanted me to take Smith and some detective from another precinct. MARCUS Forget that. You want to approve this. Cold case sent this up. Phil sits down at his desk and takes the file. PHILLIP What the hell is this? MARCUS Cold case just brought it up. I figured you wanted to look into it since he was your informant. PHILLIP But it was closed. The fake ass Irish dago Doyle’s people killed them. MARCUS But they never found his son. PHILLIP Who’s son? MARCUS Connor Jr.

91.

PHILLIP Bullshit. He was killed in the basement along with his cousin or whatever. And his little sister was killed in the kitchen. MARCUS No that was the other cousin. They misidentified him as Connor Jr. when he was the cousin. Originally, it was the cousin that was missing but a file came in and cleared everything right. PHILLIP So where has the son... Phillip starts rubbing his chin. FLASHBACK - THE MURDER OF LUCAS Phil has his sleeve rolled up. He looks over at Vincent who is staring at his tattoo. Phil looks at the tattoo and rolls his sleeve back up. BACK TO SCENE Phil looks at his arm. FLASHBACK - PHIL MEETING VINCENT Phillip looks at his foot as Vincent walks away. He looks at Vincent, who turns around for a second to give Phil a slight nod. FLASHBACK - PHIL MEETING CONNOR Connor opens the passenger door and leaves. He looks over his shoulder and gives Phil a slight nod. BACK TO SCENE PHILLIP Son of a bitch. MONTAGE- INTERCUT VINCE PUTTING A PUZZLE TOGETHER/PHIL CONFRONTING SEAMUS -Phil starts to hyperventilate. He starts the car and speeds down the street. -Vince puts a piece into the puzzle.

92.

-Phil pulls up to Seamus’ house. He gets out of his car. -Vince puts another piece into the puzzle. -Phil walks around to his trunk and pops it open. Inside the trunk is a tire jack, a double barrel shotgun, and a tan trench coat. -Vince is holding a piece of the puzzle. Ami points to where the piece goes, and the both of them put into place together. -Seamus pours himself some whiskey. Phil bursts into the room. PHILLIP You son of a bitch. You have any idea about your ghost? SEAMUS Yeah. PHILLIP So you know that Vincent is Connor Jr? SEAMUS Yes. PHILLIP What do you think Vince is going to do when he finds out it was you that killed his father? SEAMUS Kill me, I hope. PHILLIP You trained him for that? What about your wife? SEAMUS Don’t worry about my wife. You should worry about yourself. PHILLIP Why is that? SEAMUS Having a drink with Smiley, lately? You know what I think about double dealing?

93.

PHILLIP So what? What are you going to do? Kill me? SEAMUS It seems like an idea. PHILLIP Be careful, buddy. You may have a mob behind you, but I have the best mob in the state. The New York Police Department and I also got Smiley behind me. SEAMUS Behind you? Doing what? You see, I have a lot of guys in the Kitchen and even more back in the home country. In a fight against me, you may bring a mob, but I’ll bring a fucking army. PHILLIP Yeah, whatever. -Phil leaves. Seamus takes a drink of whiskey. -Vince puts another piece into the puzzle. -Seamus looks at himself in the mirror and throws his glass at the mirror, smashing it. -Vince finishes the puzzle. He smiles and Ami rests her head on his shoulder. END SCENE INT. VINCENT’S PENTHOUSE - BEDROOM - MIDNIGHT Ami and Vince sleep in his bed. MONTAGE - DREAM SEQUENCE - VINCENT’S TRAINING -An eight-year-old Vincent (Connor Jr.) walks into the living room and kitchen and sees his parents and little sister dead. -Vincent is running down the street. -A ten-year-old Vincent in raggedy clothes is getting beat up by four high school boys with a couple of girls cheering them on. One of the boys pulls a gun out but gets shot in the head. The other boys and girls get shot to death. Vincent is about to run but turns around to see who saved him.

94.

Seamus comes out of the darkness wearing a black suit and sunglasses. -Seamus teaches a twelve-year-old Vincent how to fight. -Seamus sits in front of Vincent with a list of names. SEAMUS You can’t go by your real name. So pick a name on this list and that will be your name. VINCENT I like Vincent. SEAMUS Then you’re Vincent. -Vincent and Seamus clean and put together guns. -A fourteen-year-old Vincent is shooting a target with Seamus standing behind him with his arms folded. -Seamus tosses a metal pipe to an eighteen-year-old Vincent. Vincent smacks a guy in the face with the pipe, causing blood to shoot out of his mouth. Seamus is smirking when Vincent starts to bludgeon the guy to death. -A twenty-two-year-old Vincent and Seamus burst into a room and shoot two guys with sawed-off shotguns. -Vincent and Seamus are on a rooftop in Berlin. Vincent puts a M4A1 with scope and sound suppressor together. -The target of the scope is trained on the entrance to a building across from Vincent and Seamus. A Serbian general walks out. -Vincent takes aim and fires. Red mist sprays out the back of the general’s head. END MONTAGE INT. VINCENT’S PENTHOUSE - BEDROOM - EARLY MORNING Vincent sits up. He is sweating profusely and breathing hard. Ami gets up and consoles him. AMI You okay? VINCENT Yeah.

95.

Vince smiles at Ami. Ami starts to kiss Vince passionately. Ami straddles Vince. They strip each other’s clothes off and have sex. INT. PRECINCT - BULLPEN - 9 MONTHS LATER SUB-TITLE: 9 MONTHS LATER There are 8 wooden desks, cluttered with papers. UNIFORMED OFFICERS talk on the phone and the plain clothed officers look at files. The COMMISSIONER walks in. He is a chubby, bald man in his fifties. He has a bushy brown and gray moustache. Phil walks in wearing a black suit with white shirt. COMMISSIONER I am here today to thank Lieutenant Phillip Santiago for his hard work in the fight against the mobs of Seamus O’Reilly and Stuart Miley, also known as Mr. Smiley. PHILLIP You’re very welcome, commissioner. COMMISSIONER Oh, I’m not done. To truly thank you, I’m promoting you to Captain. Phil surprised, smiles at the Commissioner. COMMISSIONER You will be taking the place of the late great Captain Reynolds, who was sadly taken from us by a car accident. Phil covers a sick smile with his hand. COMMISSIONER Without much further ado. This is your new captain, Captain Phillip Santiago. The commissioner leaves. Phil walks back to his office, shaking hands along the way.

96.

INT. PRECINCT - MARCUS AND PHIL’S OFFICE - CONTINUOUS Marcus is on the phone. Phil walks in. PHILLIP Hey, slick. Why the fuck were you not out there to congratulate me? I’m the Captain now and I’m ordering you to give me an answer. MARCUS I have been looking in to this bullshit case you gave me. PHILLIP What’s so bullshit about it? MARCUS The fact that you can’t get over that this fucking Vincent is dead. PHILLIP It’s just too fishy that a guy that well-trained can suddenly be strangled and burned like that. Phil sits at his desk, squeezing a stress ball. INT. VINCENT’S AND AMI’S HOUSE - LIVING ROOM - AFTERNOON There is a closet right next to the front door. The stairs to the upper floor are right across from the closet. The living room is white. There are two gray couches. There is a big window over one of the couches. The window looks out into the front yard. A visibly pregnant Ami sits on the couch reading a magazine. There is a knock on the door. Ami, nervously, sits up with difficulty and walks over to the door and opens it. A visibly pregnant Sheila is at the door. AMI Oh my God! How are you! SHEILA I’m good. Haven’t seen you in a long time? Why didn’t you tell me you were pregnant! I’m your sister and you don’t tell me something important like this.

97.

AMI Vincent didn’t want me calling anyone. SHEILA Who? Why? AMI Vince. He is my husband and is very nervous. SEAMUS (O.S.) About what? Seamus steps next to Sheila. Ami starts to have panicked breathes. She looks at Sheila, who look down at the ground. AMI You brought him here. Why? SHEILA I wanted to see you and I can’t drive. He’s been looking after me since Lucas was killed. SEAMUS I’m not going to kill him. I just need to see him. Can we come in? AMI Just you two? SEAMUS No. My guys are with me? Seamus turns around. SEAMUS Let’s go in. Fitzy and Silas follow Sheila and Seamus inside. EXT. ALBANY, NEW YORK - STREET - SHOPPING PLAZA - SAME TIME Jeremy is walking by the shops, eating a bag of Munchos chips. He stops when he sees a puzzle store. Jeremy peeks in the window. He sees shelves stacked with boxes of jigsaw puzzles.

98.

On the wall, he sees a picture of the owner. The owner looks like Vincent with scruffy hair and a beard. Jeremy looks at the picture and laughs. He walks by an alley and a hand grabs him. He is pulled into the alley. A hooded man with sunglasses throws Jeremy against the wall. The man starts frisking Jeremy. Jeremy turns around and shoves the guy into the wall. JEREMY Hey. Wrong bar, buddy. The man takes his sunglasses off. It is Vincent. JEREMY Holy shit! I thought you were dead. Seamus told me that Smiley had you snuffed. VINCENT No. I’m alive and well. JEREMY So that’s you in the picture in the window? VINCENT Yeah. I always had a thing for puzzles. It can make kids happy. JEREMY You’re fucking weird. Jeremy walks away but something crunches under his feet. JEREMY Oh. God damn it. I smashed my chips. Thanks, asshole. VINCENT Why do you eat those chips any ways? JEREMY Because they’re good. VINCENT You want to come to my house for dinner?

99.

JEREMY For dinner? What’s the catch? You’re going to drug me and take my pants off or something? VINCENT Get the fuck out of here. I’m making dinner for my wife and I. I wanted to know if you wanted to join us. JEREMY You’re married? VINCENT Yes. And I’m going to be a father, too. JEREMY Really. When she due? VINCENT Sometime next week. JEREMY That’s awesome. I’ll come over for dinner. I’ll come on the condition that you don’t make a salad that psychotic way. You know, like throwing knives at flying tomatoes and lettuce heads. VINCENT Okay. INT. VINCENT’S AND AMI’S HOUSE - LIVING ROOM - LATER Fitzy sits on the couch right under the window looking out into the front yard. He gets up and hides by the corner next to the door when he hears Jeremy talking outside. JEREMY (O.S.) You’re seriously sure that Seamus has no clue that you are still alive. He walks in. Jeremy looks at Ami and Sheila. JEREMY Hi. Wow! Vincent, you whore. You knocked up two women. Fitzy walks up behind Jeremy and puts a gun to his head.

100.

JEREMY Oh shit. He turns around and sees Fitzy. JEREMY Hey, Fitz. Silas steps out of the closet and hits Jeremy in the mouth. Jeremy falls to the ground, his lip is bleeding. JEREMY You fuck! You cut my lip open. Vince walks in and Fitz and Silas put guns to his head. Seamus walks down from the upstairs. Vince looks at Seamus and looks at Jeremy shaking his head disapprovingly. SEAMUS (to Vincent) How are you? VINCENT Good. SEAMUS So. When you decided to make a new life, was it necessary to make someone who cares about you to think you’re dead? VINCENT Yes. I knew you wouldn’t let me have a normal life. You wanted to keep a closer eye on me since your son was killed. SEAMUS Because you were just as much a son as Lucas. VINCENT Or did you think any amount of money could get me to kill your son? SEAMUS No. Vincent looks over at Sheila.

101.

VINCENT Who’s she? SEAMUS My daughter-in-law. VINCENT So what is she doing here? SEAMUS A girl can’t visit her sister. VINCENT Sister? AMI Yeah. I told you I had one. Vincent looks Sheila’s baby bump, Ami’s baby bump, and back at Seamus. VINCENT She’s due the same time as Ami? SEAMUS If Ami’s due today, then yes. VINCENT What do you mean? SEAMUS She’s getting a C done later. Ami grabs her stomach. SHEILA Ami, what’s wrong? AMI Ow! Oh god. Vince, I think it’s coming. Vince runs by Ami’s side. SEAMUS Is it contractions? AMI Yes. SEAMUS Okay. Fitz, Silas. Get the cars and take the girls to the hospital. Jeremy, get the fuck out of here. (MORE)

102. SEAMUS (cont'd) Vince, go to the puzzle shop. We’re not done talking. Fitz, when you get to the hospital, leave Silas with the girls and meet me at the puzzle shop.

FITZY Understood. EXT. ALBANY - OUTSIDE OF VINCE AND AMI’S HOUSE - CONTINUOUS Silas and Fitzy help Ami and Sheila into a black SUV. Seamus gets into the driver seat. When everyone is in, the SUV speeds down the street. A black car is across the street from the house. Benny sits in back and two black men are in front. Benny has prosthetic fingers. Vince and Jeremy walk out of the house. The black men and Benny get out of the car. One of the black guys hits Vince over the head with something and the other black guy puts a bag over Vince’s head. Benny holds Jeremy off at gunpoint BENNY Do me a favor, don’t tell Seamus. The black men put Vince in the trunk. Jeremy stares at Benny’s gun. Benny pulls the trigger and water shoots out. Benny laughs and gets into the car. The car takes off. JEREMY Fuck. Jeremy gets into the black truck in the driveway. He hits the steering wheel and takes off. INT. HOSPITAL - MATERNITY WARD - LATER The room is filled with babies crying or sleeping. Two baby boys are pushed into the room. INSERT-FIRST BABY BOY’S NAME LUCAS O’REILLY JR.

103.

BACK TO SCENE INSERT-SECOND BABY BOY’S NAME CONNOR FLANAGAN III BACK TO SCENE Silas is at a viewing window with Seamus. He walks away and pulls out his cell phone. SILAS (into phone) Hey, it’s me. Sheila’s here. Guess what. Vincent’s alive. His girl is here too. INT. PRECINCT - MARCUS AND PHIL’S OFFICE - SAME TIME PHILLIP (into phone) That’s good news. Thank you, Silas. Phil hangs up the phone and leaves the office. INT. WAREHOUSE - TORTURE ROOM - SAME TIME Vincent’s hands are handcuffed and hooked on a meat hook. He dangles in the air as he is shocked with spark plugs. He screams every time he is shocked. His TORTURER is skinny with white hair and a dead right eye. Mr. Smiley walks in. MR. SMILEY This is what we do to people who refuse to work with us. VINCENT I don’t work for you and I never did. MR. SMILEY That’s where you’re wrong. Hell’s Kitchen belongs to me, even though Seamus doesn’t know it yet. When you live on my ground and killing is in your nature, you work for me until you die. Again! The torturer shocks Vincent again.

104.

EXT. ALBANY - STREET NEXT TO HOSPITAL - STOP LIGHT - SAME TIME Jeremy sits in the truck waiting for the light to change to green. He looks over at the hospital and sees Benny and Silas dragging Sheila out of the hospital. Jeremy opens the door. He looks down and shuts it. He lightly bangs his head on the steering wheel. The glove compartment pops open. Jeremy looks over at a black leather book. He stares at it until the car behind him beeps the horn. Jeremy looks up and sees the light is green and goes. He drives until he sees a parking spot and pulls over to park. He opens the book. The book is a diary. JEREMY Vince has a diary. What a homo. He flips the pages to the last entry and reads. INSERT-LAST ENTRY THIS IS MY LAST HIT. I JUST KILLED THE LAST TWO ACCOMPLICES ASSOCIATED WITH THE ROBBERY. HE DOESN’T KNOW BUT, I PEEKED MY HEAD OUT OF THE DOORWAY AND SAW PHIL KILL THE COP AND LUCAS. HE HAS SAID HE WAS BECOMING SMILEY’S COP AND ASSUMED SMILEY MUST HAVE ORDERED THE HIT. BACK TO SCENE Jeremy has a look of shock. JEREMY Son of a bitch. Jeremy pulls quickly out of his parking spot, almost hitting a passing car. EXT. ALBANY - STREET - SHOPPING PLAZA - NIGHT Seamus and Fitzy are outside the puzzle shop. Seamus is smiling as he talks on his cell phone. He hangs up. SEAMUS 5 pounds, 6 ounces.

105.

FITZY Wow. SEAMUS Same size as Lucas. Where the fuck is Vincent? Seamusâ&#x20AC;&#x2122; cell phone rings. SEAMUS Hello? Who is this? A black car drives by. The passenger sticks his body out. He pulls out a shotgun. Fitzy sees this and throws Seamus to the ground. The passenger shoots Fitzy in the chest. Fitzy flies through the puzzle shopâ&#x20AC;&#x2122;s window. SEAMUS Fitzy! Seamus pulls out his gun and shoots at the car hitting the driver. The car stops at a intersection. The shooter is handed a sniper rifle. He takes aim and his Seamus in his sights. Seamus stares at the shooter. An engine roars toward the car. Head lights turn on. It is Jeremy in the truck. He crashes into the car, crushing the shooter. The car tips over on its side. Jeremy gets out and kicks the back window. He reaches in and takes out the shotgun. The driver is whining. Jeremy sticks the shotgun in the car and fires. The windshield is suddenly covered with blood and chunks. Jeremy walks over to Seamus. JEREMY I think you need to see this. Jeremy hands Seamus the diary. Seamus looks at the last entry. His eyes pop wide open. His face start contorting with anger as he cries and tries to tear the diary apart.

106.

JEREMY You need to get home and take your wife out of town or something. Smiley might be after her. He took Sheila. SEAMUS How? Silas is at the hospital, guarding her and Ami. JEREMY Silas gave Sheila to Smiley’s bitch. The guys with no fingers. Seamus registers recognition. JEREMY Sooner or later, Smiley is going to send Phil to get your grandson. Why is Phil so interested in Vince now? SEAMUS Phil killed Vincent’s family. Well, almost all of them. I...I killed Vince’s father. JEREMY You fucking idiot. And you trained him too. Vince is going to kill you when he finds out. SEAMUS He will. You’re going to tell him. JEREMY I didn’t say I was. SEAMUS You are going to tell him. Tell him to meet me at my house and we can work out a deal to finish this. JEREMY When I rescue him first. SEAMUS What do you mean? JEREMY Smiley’s guys took him. SEAMUS I need to get him back.

107.

JEREMY No. You need to protect your wife and kill Smiley. I’ll save Vincent, Ami, and the babies. Jeremy walks to a car across the street. He breaks the window with his elbow. Jeremy gets in and pops the wires out from under the wire. He hot wires the car and drives off. JEREMY (to himself) Yeah. Good thinking, Jeremy. Leave all the work to yourself. Seamus gets into his SUV and leaves to. INT. WAREHOUSE - TORTURE ROOM - SAME TIME Sheila is dragged in by Phil. Smiley walks in, smiling. VINCENT Hello, Lieutenant. PHILLIP No. It’s Captain now. I guess you’re not the best at what you do because if you were, then you would disappear a whole lot better. VINCENT You’re very lucky that I’m tied up here. If my hands were free, you wouldn’t feel very lucky. Phil walks up to Vincent and punches him in the ribs. Vincent moans weakly in pain. Smiley is handed a knife by the torturer. Smiley hands the knife to Phil. Phil holds the knife to Sheila’s neck. SHEILA I’m sorry. Please don’t kill me. I have a child. MR. SMILEY I know. He’s coming with you and the whole family will be reunited. Smiley nods to Phil. Phil slits Sheila’s throat.

108.

VINCENT No! PHILLIP Man, she begged a lot. Your mother didn’t beg that much when I gave her a new smile. VINCENT You son of a... Vincent is shocked again. PHILLIP Wow. You’re so tense. It’s the mother’s love. I didn’t have that growing up. That’s why it didn’t bother me when I snapped my mother’s neck and slit your mom’s throat. He nods to the torturer and leaves with Smiley. The torturer continues with the shocking. EXT. ALBANY - OUTSIDE OF WAREHOUSE - CONTINUOUS Smiley and Phil get into a car and leaves. ETHAN, the guard in front waves them off. Jeremy peeks around the corner at Ethan. He is wearing a blue Nike wind breaker. A body falls behind Jeremy. He quickly spins around, startled. He looks at the body and sees it is Sheila. Jeremy gets angry and walks purposefully to the corner. Jeremy looks down and sees an ice pick. He picks up the ice pick and sticks it into the left sleeve of his jacket. He walks around the corner to Ethan. Ethan is wearing a black skull cap and jacket, like the dock worker killers in the beginning. Jeremy walks up to Ethan. JEREMY Hey. What’s up, man? ETHAN What the fuck are you doing here?

109.

JEREMY Where there’s a mess, I am called. ETHAN There is a mess but I thought you were Seamus’ guy. JEREMY Seamus? Dude, I freelance. ETHAN Don’t call me dude. I am not a dude. JEREMY You better watch your words there. ETHAN Okay. I’m sorry but fuck you. JEREMY Jesus. Sorry. I will leave. I know Vincent’s here. Ethan reaches for his gun. Jeremy grabs Ethan’s hand. He slides the ice pick out and stabs Ethan in the throat. Ethan chokes as he falls to the ground. Jeremy takes Ethan’s gun. His gun is a .44 Magnum. JEREMY Thanks for the gun asshole. Jeremy is about to head into the warehouse but backs up into the darkness when he hears footsteps approaching. He takes his jacket off and wraps it around his hand holding the gun. A GUARD walks out. He looks around and sees Ethan’s body. Jeremy steps out of the darkness and takes aim. JEREMY Excuse me. The guard looks and gets shot in the head. The body falls next to Ethan. Jeremy unwraps his hand and creeps into the warehouse.

110.

INT. WAREHOUSE - TORTURE ROOM - CONTINUOUS The torturer opens the door to leave. The stairs leading down are visible outside the door. The torturer turns back around to grab some of his tools. Vince sees Jeremy sneaking up the stairs. Jeremy pulls a miniature white statue out of the front pocket of the jacket. He presses the center and a blade pops out. The torturer pulls a syringe filled with yellow liquid. VINCENT What is that? Piss? TORTURER No. I don’t remember the name for it. It causes your lungs to inflate dramatically and your rib will crush them. A few ribs might break. And you’ll just have to deal with it. VINCENT Interesting. Jeremy runs into the room and stabs the torturer in the thigh with the statue knife. He grabs the syringe and sticks it into the neck of the torturer. Jeremy pulls a paper clip out of his pocket and picks Vincent’s handcuffs. Vincent is cut loose. Vince and Jeremy watch the torturer wither around as the poison kills him. VINCENT “Your lungs will crush.” Deal with it. JEREMY Yeah motherfucker. They leave. INT. ALBANY - OUTSIDE OF WAREHOUSE - CONTINUOUS Vince and Jeremy run around the corner to the car. VINCENT Where the fuck is my truck?

111.

JEREMY I was going to talk to you about that. The two black men that helped kidnap Vince before run around the corner. Jeremy shoots one in the cheek and the other in the throat. Jeremy smiles and blows the smoke out of the barrel. VINCENT You want to hurry up. JEREMY We have to go to Seamus’ house. He wants to see you. VINCENT It can wait. I need to get to Ami and Connor before Phil and Smiley do. JEREMY Who’s Connor? VINCENT My son. JEREMY Congratulations. It’s important that you see Seamus. It has to do with your family’s murder. VINCENT I know. Phil killed them. JEREMY Not alone. Vincent gives Jeremy a wide-eyed serious look. EXT. NEW JERSEY - OUTSIDE OF SEAMUS AND KIM’S HOUSE - LATER Jeremy stops and drops Vincent off. Vincent gets out and Jeremy speeds away. Seamus comes out of his house. He and Vincent stare at each other down. SEAMUS You know.

112.

VINCENT Yes. SEAMUS I’m sorry. I really am. I was just a stupid kid. I was trying to send a message to other informants to not inform on me. My intention was to make your family watch your dad die. VINCENT But you decided to change your mind? Seamus bites his knuckle to fight back tears. SEAMUS I didn’t want your family to get killed. It was Phil who went off the reservation and butchered them. I don’t know how many nights I have nightmares about what happened. I wish every day that I could of killed Phil. VINCENT But you still killed my father. And why? You had people in your pocket that would have helped you beat the conviction, so why? SEAMUS Because I hate informants. VINCENT What!? SEAMUS I told you the story about my parents. VINCENT Yeah. What does you killing your father have to do with killing mine? SEAMUS My father got arrested but got away with killing my mom because he was an informant for the British. When I see informants like your father, I just see my father. (MORE)

113. SEAMUS (cont'd) That’s why it doesn’t bother me when I blow the back of the informant’s fucking heads off.

VINCENT I never knew. SEAMUS I was going to tell you the truth about your dad when you were ready. VINCENT Ready for what? SEAMUS Ready to kill. My reason for training you was that you would be able to kill me when I told you what happened. I changed the plan when I married Kim and had Lucas. Now, fuck the plan. Lucas is dead and I brought Kim nothing but pain. VINCENT If you’re looking for some sort of redemption, then go protect your wife before Smiley gets to her cause you’re not getting one from me. Smiley already killed your son and daughter-in-law. SEAMUS Daughter-in... Sheila’s dead? VINCENT Yes. Phil killed her. SEAMUS Oh no. God damn that son of a bitch! Listen, I just want to kill Smiley and Phil. I know there’s this thing between me and you. Right now, I need your help. I have no more guys. Silas and the rest of them joined Smiley and Fitzy is in your shop with a hole in his chest. VINCENT What about Jeremy? SEAMUS He’s just a cleaner.

114.

VINCENT He killed five guys in a warehouse to save me so I think he’ll do for now. INT. HOSPITAL - WAITING ROOM - SAME TIME Kim is being guarded by SMILEY’S GUARDS. Both of them armed with silenced sub-machine guns. A doctor dressed for surgery walks in. One of the guards, a French man, stops him. FRENCH GUARD What the fuck are you doing? Surgery is that way. The surgeon shakes his head and turns to leave. He quickly turns around and snaps the Frenchmen’s neck. The surgeon grabs the gun and shoots the other guard. The surgeon pulls his surgery mask off to reveal that he is Jeremy. KIM Jesus. JEREMY Topsy-turvy. Me topsy, them turvy. INT. HOSPITAL - MATERNITY WARD - CONTINUOUS Benny and Silas enter the room. They both pull out sawed off shotguns as they approach Ami’s and Sheila’s babies. The little blankets completely cover the babies’ bodies. Benny pulls back each blanket to reveal rolls of paper towels. BENNY What the fuck? Jeremy pops out of the shadows, holding Connor III. JEREMY Looking for him. Benny turns around and Jeremy shoots him with his .44 Magnum. He quickly takes aim at Silas. JEREMY Go ahead. Make my day.

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Silas drops his gun. He looks back at the paper towel rolls. JEREMY Bounty. The quicker picker upper. He shoots Silas in the knee. Silas collapses in pain. Jeremy lightly puts Connor III on a table. He takes Silas’ shotgun and looks at it with some sort of amazement. JEREMY Payback’s a bitch, ain’t it. Jeremy shoots Silas with the shotgun. INT. HOSPITAL - HALLWAY - SAME TIME A group of gunmen converge on the maternity ward. INT. HOSPITAL - MATERNITY WARD - CONTINUOUS Connor III is crying uncontrollably. Jeremy hides in the shadows, rocking Connor III. JEREMY Come on. It’s okay. Stop crying. Jeremy takes two cotton balls off the table. He sticks them into Connor III’s ears. The baby still keeps crying. JEREMY Come on. Jeremy rolls his eyes. JEREMY Shut up! The baby stops crying. The gunmen run into the room. Jeremy put Connor III down and grabs the sawed off shotgun. He whistles to the group and guns them down. INT. HOSPITAL - HALLWAY - CONTINUOUS Kim waits in the hallway with Lucas Jr. Jeremy comes out of the room, wheeling Connor III on a cart.

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JEREMY What room is Ami in? KIM I think 1987. JEREMY Okay. Wait. This hospital is 19 floors? KIM (with frustration) Yes. JEREMY Just checking. Oh my god! There is a little flame on the door frame of the maternity ward. Jeremy walks over and pulls a cigarette out of his pocket. He puts the cigarette in his mouth. Jeremy lowers his head to the flame and lights his cigarette. JEREMY I’ve been dying to have one all day. Kim takes the cigarette out of his mouth and steps on it. She waves her hand by his face. JEREMY Oh, what the fuck! KIM No smoking around my grandson. JEREMY Really? INT. HOSPITAL - AMI’S ROOM - CONTINUOUS Ami is in a hospital gown. She sleeps peacefully until a hand taps her. She wakes up to see Jeremy. AMI Jeremy? Jeremy holds his finger over his lips.

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JEREMY (whispering) Be quiet. I’m taking you out of here. Vincent sent me. Smiley is sending people to kill you and the babies. He already tried to kill Vince and Seamus. They’re fine. AMI How do you know? JEREMY Because I saved them. AMI Really? JEREMY Yes. I don’t have to save you. AMI I’m sorry. JEREMY Let’s go. Ami gets out of bed with some difficulty and Jeremy helps her out of the room. EXT. ALBANY - HOSPITAL - BACK ENTRANCE - CONTINUOUS Kim gets into the car with her Lucas Jr. Ami gets into the car with her son. Jeremy is about to get in when he hears the click of a gun behind him. He rolls his eyes and turns around sees Marcus. He breathes a sigh of relief. JEREMY Detective Jones. Thank god you’re here. Smiley sent people to kill these women and their babies. MARCUS I know. JEREMY You’ve been surveilling Phil. You know what’s going on. You’re going to help us.

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MARCUS No. I’m here to stop you and kill them. I’m Smiley’s back up. How do you think Smiley stays out of jail? Smiley wanted Phil because I suggested him to Smiley. Now give me your gun and tell the girls to come out with their babies. Jeremy hands Marcus the .44 Magnum. He looks down at the ground. Ami and Kim start crying as they start to get out of the car. JEREMY Fuck. God damn it! I hate you fucking dirty cops! Jeremy chops his hand forward and a small gun pops out of his sleeve. Marcus’ eyes pop wide open when he sees it. JEREMY This is the cleaner. It keeps the good cops clean and the bad cops dead. Jeremy shoots Marcus in the chest three times. He turns around and walks toward the car. Marcus sits up and gets on his feet. He pulls a gun out of his back waistband. Marcus cocks the hammer of the gun back. Jeremy stops and turns around to face Marcus. Marcus, with a sick smile, aims the gun at Jeremy. The sound of a gun cocking is heard behind Jeremy. Marcus looks behind Jeremy with confusion. MARCUS What the fuck do you think you’re doing? Marcus is shot in the right cheek and forehead. Jeremy’s eyes pop wide open when Marcus is killed. He turns around and sees Ami with a black and brown .357 Magnum. Ami’s hand shakes. AMI Is he dead?

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JEREMY Yeah. Jeremy walks over to Ami and tries to take the gun out of her hands, but her hand grasps the gun tightly. JEREMY It’s alright. You have to give me this. Ami lets go of the gun. Jeremy helps her back into the car. He gets in and drives off. EXT. OUTSIDE OF WANG CHI RESTAURANT - MIDNIGHT Wang Chi Restaurant is a white two floor building. The name of the restaurant is in big red neon lights. There are Japanese letters in big red neon lights. Above the name is a green neon dragon. There are trees at the back and the sides of the parking lot. Seamus and Vincent sit in a car across from the entrance. VINCENT You sure they’re here? SEAMUS Yeah. When I cut Benny’s fingers off, he kept screaming it. VINCENT Phil? SEAMUS When Phil hears that I am going to be killed tonight, he will come here to celebrate. Vincent’s cell phone rings. He answers. VINCENT (into phone) Hello? INT. JEREMY’S CAR - EXPRESSWAY - SAME TIME JEREMY (into phone) I got Ami and Connor. (MORE)

120. JEREMY (cont'd) Tell Seamus that his wife and grandson are okay.

INTERCUT JEREMY’S CAR/OUTSIDE OF WANG CHI RESTAURANT VINCENT Thank you. Jeremy? JEREMY Yeah? VINCENT If something should happen to me, I want you to take care of Ami and Connor. JEREMY I will. You can do this yourself. You watch your ass and you’ll be fine. VINCENT Thanks. I need to ask you something. How can shoot a bunch of guys and handle all that blood with no problem? JEREMY Fallujah. VINCENT Marines. JEREMY For a bit. VINCENT I’ll see you soon. Vincent hangs up. VINCENT Kim and Lucas Jr. are fine. SEAMUS How’s your son and wife? VINCENT They’re fine too. Jeremy saved them. SEAMUS I totally underestimated him.

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VINCENT I did to. SEAMUS You ready. VINCENT Yeah. Vince and Seamus get out of the car and head to the trunk. They both are wearing black suits with black ties and white shirts. Vince is now clean shaven with his old short military hair cut. They open the trunk and pull out a gym bag. The gym bag is filled with 12 Berettas, an Uzi, and a shotgun. They load the guns. Vince and Seamus each put two Berettas on the back and front of their waistbands and their shoulder holsters. Vince loads the shotgun and Seamus loads an Uzi. VINCENT What’s the plan? SEAMUS Kill those two fuckers before we get killed. Vince and Seamus head inside. INT. WANG CHI RESTAURANT - FIRST FLOOR - CONTINUOUS The CONCIERGE walks forward to greet Vince and Seamus. Vince holds the shotgun to the concierge’s chin. SEAMUS What room are they in? CONCIERGE I don’t know what the fuck you’re talking about. SEAMUS Yes, you do know what the fuck I’m talking about. Concierge gulps. CONCIERGE Okay. Down the hall to your right. The fourth door.

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Vince hits the concierge with the shotgun. He throws the shotgun to Seamus. Seamus points the shotgun and Uzi at the stairs leading to the second floor. Vince walks to the fourth door and puts his ear to it. INT. WANG CHI RESTAURANT - EATING ROOM - CONTINUOUS Smiley, Phil, and six other guys sit on the floor surrounding a wood table. They laugh as they take shots of tequila. INT. WANG CHI RESTAURANT - FIRST FLOOR - CONTINUOUS Vince looks at Seamus and nods his head. Seamus looks at the stairs and looks back at Vince. Seamus nods his head to Vince. Vince pulls the two guns out of his shoulder holsters. INT. WANG CHI RESTAURANT - EATING ROOM - CONTINUOUS The door slides open. All the men look to see who it is. Smiley and Phil sees Vince in the doorway and their cheerful smile fades away. Vince shoots Smiley in the shoulder. Vince then shoots Phil non-fatally in the chest as well. He starts shooting with both hands. The six guysâ&#x20AC;&#x2122; bodies jerk around as they are riddled with bullets. Vince continues his shooting until he runs out of ammo in both guns. Phil quickly gets up and runs through the paper wall to the right of the room. INT. WANG CHI RESTAURANT - FIRST FLOOR - CONTINUOUS A bunch of ARMED ASIAN MEN run down the stairs from the second floor. Seamus shoots the first one with the shotgun and riddles the next handful of guards with Uzi fire. Seamus unloads his shotgun into the next group that runs down the stairs. He reloads the Uzi and sprays the next group. Seamus walks down to the hall to Vincent. He peeks in the room and sees Smiley squirming in the corner.

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SEAMUS Take the guys upstairs. I’ll be there in a minute. Seamus pats Vincent on the shoulder. Vincent heads down the hall to the stairs. INT. WANG CHI RESTAURANT - EATING ROOM - CONTINUOUS Seamus walks over a few dead bodies and crouches down by Smiley. Seamus’ eyes blink three times. SEAMUS We never had a face to face talk. Have we? You see you’re always killing my guys and trying to kill me but you never had the common fucking courtesy to ask to meet me. We could have formed a peaceful alliance but you are such a fucking asshole. MR. SMILEY I’m sorry. SEAMUS You’re damn right. I wouldn’t have done something like this if you tried to kill me. But you crossed the line when you paid someone to kill my son and daughter in law. You also put a hit on my wife and my grandson. That’s something I cannot let pass. Seamus grabs Smiley’s head. He takes Smiley’s glasses off. SEAMUS I see your eyes of evil and it’s time I pluck them out. With a cold stare, Seamus sticks his thumbs into Smiley’s eyes. Smiley lets out a blood curdling scream, while bloody goo pours out as the thumbs go into the socket. Seamus has a cold blank stare in his eyes while he does this. Smiley continues screaming.

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INT. WANG CHI RESTAURANT - STAIRWAY - CONTINUOUS Vincent is shooting up the stairwell at armed guards. He runs out of ammo on his guns and pulls the guns out of the front part of his waist band. He gets shot in the arm and falls against the wall. Seamus runs up the stairs and lets out a barrage of gunfire from his Beretta and Uzi. He reloads both guns. SEAMUS You hit? VINCENT Yeah. SEAMUS Can you still shoot? VINCENT Yeah. SEAMUS Now. Both Vincent and Seamus shoot up the stairwell, killing several guards. They both reload and run up the stairs. INT. WANG CHI RESTAURANT - SECOND FLOOR - CONTINUOUS Vince and Seamus jump over dead bodies as they come up the stairs. Their guns are out as they look around. VINCENT They might be hiding under the tables. Seamus quickly checks out the tables, all with four legs and uncovered. SEAMUS Nope. There is a loud pound on the door behind Vincent. He and Seamus turn and face the door with their guns out. VINCENT Whatâ&#x20AC;&#x2122;s the plan?

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SEAMUS Keep fucking shooting till they’re dead or we are. VINCENT Good plan. SEAMUS How many in the chambers? VINCENT Full mags. 15 each. You? SEAMUS Full mags. 30 in the Uzi. 15 in the Beretta. I’d say we have about 75 bullets. How many guys are back there? VINCENT Sounds like ten to fifteen. SEAMUS Hit each guy with five a piece. You might run out of ammo before I do. VINCENT I got my other guns. SEAMUS Glad to hear it. The doors fly open and several men run out. Vince and Seamus start shooting. EXT. OUTSIDE OF WANG CHI RESTAURANT - SAME TIME Jeremy pulls into the parking lot. Ami and Kim each rock the babies they’re holding. There is the sounds of distant gunfire. The girls look around in a panic. JEREMY Keep your heads down. Jeremy looks around. JEREMY It’s just too easy. AMI What is?

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JEREMY Vince and Seamus can walk in and kill everyone and walk out with no problem. KIM What do you mean? JEREMY If I know Smiley, he would have a back up plan. He looks at the trees to the right and notices a figure moving. JEREMY Oh shit. AMI What? JEREMY You guys stay in the car. Jeremy gets out of the car. He crouches down and creeps around the car. He runs while crouching to the trees. INT. WANG CHI RESTAURANT - SECOND FLOOR - CONTINUOUS Vince and Seamus stop shooting when the last guy falls. Phil comes out of a room and runs down a hallway. Seamus walks quickly after him. He stops by one of the dead bodies. He takes a knife out of the guy’s holster and runs after Phil. Vince follows Phil. He stops when an axe swings down at him. The concierge pops out and takes the axe out of the ground and continues to swing the axe at Vince. Seamus, about to continue his pursuit, turns around and sees the concierge swinging the axe at Vince. He spots a katana sword on the wall and grabs it. The concierge slashes Vince’s side with the axe. He slams the axe down toward Vince’s head, but the axe gets stuck in the wall.

127.

SEAMUS Vincent! Seamus throws the sword to Vincent. Vincent unsheathes the sword. He spins off his feet and decapitates the concierge. Phil pops out of one of the rooms. He shoots Vince in the side, right above the hip, and Seamus in the shoulder. Seamus runs after Phil. Phil jumps out the window. Seamus follows. EXT. OUTSIDE OF WANG CHI RESTAURANT - CONTINUOUS Phil drops his gun. He looks around for it but runs when Seamus runs around the corner. It is pouring rain outside. The sounds of thunder and the flashes of lightning crackle in the sky. Phil creeps into a crawl space under the restaurant. He turns around and sees someoneâ&#x20AC;&#x2122;s legs in front of the crawl space. The person kneels down. It is Seamus. He gets on his knees and puts his knife into his mouth. He starts crawling toward Phil. Phil hurriedly crawls out of the space. He grabs a rusted pan on the ground and throws it through the window. Phil climbs into the window and gets back into the restaurant. INT. WANG CHI RESTAURANT - FIRST FLOOR - CONTINUOUS Phil grabs an unloaded gun and loads a bullet into the chamber. He clips the chamber back into place. Seamus climbs into the window. Phil shoots him and Seamus falls out of the window. Phil finds a full clip and loads it into the gun. He stumbles out of the restaurant. EXT. OUTSIDE OF WANG CHI RESTAURANT - WOODS - SAME TIME A sniper, dressed in camouflage, crouches down. He looks in his scope.

128.

The target of the scope is on Jeremy’s car. Kim gets out and looks around. The target locks onto Kim’s head. JEREMY (O.S.) Hey, asshole. The sniper turns and sees Jeremy. Jeremy hits the sniper across the face with a small log. The sniper gets up and takes aim with the rifle. Jeremy smacks the rifle to the side, causing it to fire. Jeremy elbows the sniper in the face. The sniper hunches over, only to be kneed in the face. The sniper pulls a knife out of the holster on his pants. Jeremy grabs the rifle and swings it at the sniper. The sniper ducks and stabs Jeremy’s leg. Jeremy screams as the sniper turns the knife. He then knuckle punches the sniper in the eye. The sniper grabs his eye moaning in pain. Jeremy pulls knife out of his leg, screaming in agony as he does so. He then stabs the sniper on top of the head. JEREMY Should have never gotten kicked out of the Marines. This is ridiculous. EXT. OUTSIDE OF WANG CHI RESTAURANT - CONTINUOUS Phil walks out cradling his arm. He starts to walk to his Mustang. Seamus leaps out of the entrance and slices Phil’s thigh and stabs his calf. Phil quickly turns around and shoots Seamus in the chest three times. Kim gets out of Jeremy’s car and runs over to Seamus. She stops when Phil aims his gun at her. PHILLIP Wasn’t it you that said I should be killed? Now, do you feel the same way? KIM Yes.

129.

Ami gets out of the car and starts to run over to Kim, Phil, and Seamus. Jeremy runs out of the woods, half of his face covered in blood that the rain is washing off. He grabs and restrains Ami. AMI No! He’s going to kill her. Jeremy looks at the entrance and his eyes light up. JEREMY Don’t be so sure. Kim looks behind Phil with shock. Phil looks at Kim confused and turns around. His face changes to shock when he sees Vincent standing in the doorway. White doves fly by Vincent. Vincent stares Phil down. Part of Vincent’s white shirt is red from the blood from his stomach. Vincent turns around and heads back inside. Phil looks at Kim and Seamus. Phil looks at his gun and throws it to the side. Phil pulls his knife out of his pocket. Phil looks at his knife. PHILLIP (to himself) It will be like killing two birds with one stone. Slit the mother’s throat and now the son’s. He heads inside. INT. WANG CHI RESTAURANT - FIRST FLOOR - MAIN BALLROOM CONTINUOUS The walls are green and there is a red with gold trim arch at the entrance where Phil walks in. A large gold dragon hangs above the restaurant. There are 24 tables with 4 chairs each. Each table is covered with a white table cloth. In the middle of the room is a circular cage. The mat in the middle of the cage is covered with spots of dried up blood.

130.

Vince stands in the cage. Phil walks inside the cage and shuts the door. PHILLIP This is where they have the illegal gladiator fights. So what? Are you a gladiator? Phil takes off his jacket and shirt. His left arm is covered with blood. Blood has soaked into the left shoulder band of Phil’s white tank top. Phil rips off a piece of his button up shirt and ties it around his chest wound. Vincent takes his jacket and shirt off. He rips off a piece of his shirt and ties it around his waist. PHILLIP Wow. You’re pretty built. But that muscle isn’t going to stop you from bleeding to death. VINCENT I pulled the bullet out and stitched the wound up. Phil walks over and stares at Vince’s waist, amazed. Phil attempts to punch Vince in his wound but Vince catches his hand. He forearms Phil in the face and throws him into the side of the cage. Vince walks over and throws a punch at Phil. Phil sidesteps and Vince accidently punches the cage. Phil elbows Vince in the back of the head and slams Vince’s head repeatedly into the cage. Vince stomps Phil’s shin and elbows him in the face. Phil grasps his nose and Vince sidekicks him in the face. Phil falls on the ground. He stomps Vince’s knee and kicks him in the face. Phil gets up and walks over to Vincent. He punches Vincent’s bullet wound and face. Vince spits blood when he gets hit in the face. Phil throws Vince on the ground. Phil walks over to Vince, who is crawling on the mat. He pushes Vince with his foot and puts his foot on Vince’s bullet wound.

131.

Phil starts to put pressure on the wound. Vince screams and his face cringes in pain. Phil takes his foot off and kneels down. Vince quickly grabs Phil’s left shoulder and presses his thumb on Phil’s wound. Phil screams until he punches Vince in the eye. He runs over to his jacket and pulls his knife out of the pocket. Phil stares Vince down as he tosses his knife back and forth between his hands. He licks the blade. PHILLIP It’s dried up but I can still taste the blood from your mother’s throat. Now I paint the knife red with your blood. Phil walks over to Vince and grabs him by the hair. He is about to slit Vince’s throat until he gets shot in the back. Phil turns around and sees Seamus on the ground, aiming a gun at him. Blood spills out of the corner of Seamus’ mouth. Seamus pulls the trigger but the gun clicks. PHILLIP Oops. I’ll deal with you in a minute. Phil whips around and grabs Vince but Vince smacks Phil’s hand away and punches Phil in the throat. Vince walks toward Phil. Phil slashes Vince’s stomach. Phil stabs the knife at Vince. Vince grabs Phil’s arm and snaps it. The knife falls out of Phil’s hand and Vince catches it. Vince stabs Phil in the thigh. Vince pulls the knife out and stares at it with his trademark cold-blooded stare. He stabs Phil a bunch of times in the back. Flashes of his murdered family appears before his eyes with each stabbing. Vince then pulls Phil’s head back. VINCENT Now I’ll stain the blade with your blood, you son of a bitch. Vince slits Phil’s throat. Phil gargles as he falls on his face.

132.

A pool of blood forms around Phil’s head. Vince puts Phil’s shirt on. He runs to Seamus’ side. Vince grasps Seamus’ hand. SEAMUS I guess third shot’s the charm. VINCENT You got shot five times. SEAMUS I guess I’m delirious. Seamus pulls a baby picture out of his pocket and hands it to Vince. Vince stares at the photo of the newborn baby. VINCENT Who’s this? SEAMUS Your son, idiot. Vincent smiles and his signature cold stare completely dissolves as tears form and he actually breaks down and cries. SEAMUS I’m glad you’re still human. VINCENT Are you going to make it? SEAMUS I’ve run my course. It’s time for me to go. VINCENT Before you go, I have to say you were right. SEAMUS About what? VINCENT The only future for guys like us is that we all become dead men. SEAMUS That’s true. Seamus smiles.

133.

SEAMUS Vincent? VINCENT Yeah? SEAMUS I’m sorry. Connor? VINCENT You haven’t called me that in years. SEAMUS I know. I’m sorry for what I did. VINCENT It’s okay. I have forgiven you. I said I would never forgive you as long as you lived. SEAMUS You’re right about that. Seamus closes his eyes. Vince put Seamus’ hand down and walks away. INT. WANG CHI RESTAURANT - BASEMENT - BOILER ROOM CONTINUOUS Vince tapes some C4 to one of the pipes. He unscrews and alarm clock and puts the wires into the C4. He sets the clock and leaves. EXT. OUTSIDE OF WANG CHI RESTAURANT - CONTINUOUS Ami and Kim sit on the ground. The raining has stopped. Jeremy is kneeling down by Ami and Kim. JEREMY I’ll be right back. He stands up, painfully. Jeremy limps toward the entrance. Suddenly, the restaurant explodes. The force of the blast blows him back. Jeremy gets up and holds his leg. He stares at the entrance with shock.

134.

JEREMY Oh god, no. Vincent! Ami runs toward the restaurant. Jeremy grabs and restrains her. AMI No! Vincent! Ami cries on Jeremy’s shoulder and he and Kim console her. EXT. OUTSIDE OF WANG CHI RESTAURANT - WOODS - SAME TIME Vince stands in the woods, watching Ami cry in Jeremy’s arms. He lowers his head and walks away. EXT. CEMETERY - GRAVE SITE - A WEEK LATER Jeremy and Ami stand together by a casket. Ami is wearing a black dress and black veil over her face. Jeremy, wearing a black suit, cradles Connor III. He looks at the grave stone. INSERT-NAME ON GRAVE CONNOR JAMES FLANAGAN II. BACK TO SCENE JEREMY Hey? AMI Yeah? JEREMY The grave says Connor Flanagan. AMI It’s his real name. JEREMY He’ll always be Vincent to me. AMI Me also. Ami pulls out a tissue and wipes her eyes. The PRIEST gives the sign of the cross and walks away.

135.

Ami walks up to the casket and puts a white rose on the grave. She pulls a tiny basketball and a silver crucifix out of her pocket. FLASHBACK: INT. VINCENT’S AND AMI’S HOUSE - ROOM UNDER CONSTRUCTION - MONTH BEFORE The room is white but one of the walls is partially painted blue. A crib is put together. Ami is looking at the painted wall. Vincent has his arms wrapped around her. Vincent is wearing a white T-shirt, jeans, and a green flannel shirt wrapped around his waist. VINCENT I got something for him but I might be a little stupid. AMI What is it? Vincent pulls a tiny basketball with a bow wrapped around it. He shows it to Ami. AMI Oh. It’s wonderful. She kisses him. VINCENT And I got something for you. AMI What is it? Vincent pulls a silver crucifix out of his pocket. AMI It’s beautiful. VINCENT It was my mother’s. Will you wear it? AMI Of course. Ami turns around and Vince puts the crucifix around her neck.

136.

EXT. CEMETERY - GRAVE SITE - PRESENT Ami places the crucifix and basketball on the casket. She walks over to Jeremy and takes Connor III. Ami walks away as Jeremy walks over to the casket. JEREMY Hey. What’s up, buddy? Jeremy wipes a tear from his eye. JEREMY Look at me. I’m crying like a baby. I’ll look after them the best that I can. I’ll miss you. Jeremy takes out the statue knife and puts it on the casket. JEREMY Just in case a few of your victims are up there. Jeremy chuckles but takes a deep breath to fight back tears. He nods his head and waves at the casket. Jeremy limps over to Ami and they both walk to a black car. Vincent walks from behind a bush when the others are not looking. He walks over to the casket. Vincent takes the statue knife and cuts the stem of the white rose. He puts the rose in his left breast pocket. Vincent takes the crucifix and puts it on his neck. He puts the knife in his pocket and takes the ball. Vincent kisses the ball and looks at Jeremy and Ami still walking away. VINCENT Good bye. Vince slowly, with enveloping sorrow walks away. Jeremy, who is walking with Ami, stops walking. AMI You okay? JEREMY Yeah. Jeremy turns around and sees nothing. He turns back and giggles to himself.

137.

INT. JFK AIRPORT - GATE 23 - NEXT DAY Vince, wearing a black hooded sweatshirt and jeans, stares at the New York skyline and then he stares at the baby picture of his son. He pulls a picture of Ami out of his pocket and holds it side by side with the picture of the baby. Vince cries as he kisses the pictures. He gets up and heads into gate 23. Vince stops in the doorway and turns around to get one last look at the city skyline. Vincent leaves the pictures as heads down the hallway to the plane. The door shuts. THE END END CREDITS- the song From Yesterday by 30 Seconds to Mars plays.

138.