HEAVY HEARTS
By Alexander Corsetti
617-308-1654 [email protected] FADE IN:
INT. 1997 CAMRY - NIGHT - TRAVELLING SAM SAWYER, 17, congenial, even-tempered, cruises down a quiet, upper-middle class suburban street in the seacoast town of Portsmouth, New Hampshire listening to Pink Floyd's- Young Lust. He turns right, into the ROBINSON'S driveway, the large colonial with the brilliant blue door. BRILLIANT BLUE DOOR opens displaying in all her beauty, MRS. ROBINSON, 50, attractive, kind, currently adorned in a bandana on account of the chemo.
INT. JOHN ROBINSON'S BEDROOM - NIGHT MULTIPLE VARSITY TRACK AND FIELD TROPHIES JOHN ROBINSON, 17, genius, adventurous, academically indolent, sits at his computer desk studying a picture of himself, Sam, and their friend MAX ESSENSA, all twelve years old at the time.
INT. THE ROBINSON'S KITCHEN - NIGHT
Sam responds to MR. ROBINSON, former F.B.I. Field Agent, highly intelligent, physically fit, 50, about convincing John to get back on the football team. SAM (TO MR. ROBINSON) (mouth full) -Will do.
MR. ROBINSON (TO SAM) (ref. To John’s shoulder) He’ll be healed up soon. Mrs. Robinson, cooking, sees her husband hand Sam a glass of wine. MRS. ROBINSON (TO MR. ROBINSON) Bobby, he's driving. Mr. Robinson smiles, brushing off his wife's concern. MR. ROBINSON I'm all about the Barrolos, Sam. Sam chuckles, he's always admired their relationship. 2
MRS. ROBINSON Sam, don't tell your parents. SAM I can keep a secret. Mr. Robinson gives Sam a look of appreciation on how he handles his wife's 'chemo-brain'.
INT. JOHN'S ROOM - NIGHT (KNOCKING) JOHN Come in. Sam enters. JOHN (CONT’D) Fuck took you so long? I could hear you jabbering down there for ten minutes. SAM I know what time it is.
John swigs a flask and hands it to Sam who in turn takes a swig.
EXT. MCDANIEL RIVER DAM - NIGHT (LATER) Sam’s TRUNK opens. Sam and John reach in and each grab a black duffel bag. John pulls out two Glock .40's, checks the chambers and loads both. Sam pulls out items of black clothing setting them aside on a foldable table next to the flowing dam, then a license plate and drill. He proceeds to replace the plates. John loads a pump Beretta twelve gauge then an AR-15. Both strip naked and dress into all black attire. Camry driver SIDE DOOR shuts/speeds off, tail lights disappear in the distance.
EXT. REAR PARKING LOT, LAWRENCE, MA - NIGHT (LATER) Sam’s Camry parks softly. The two exit to the trunk, grab the weapons then creep down the alleyway staying in the shadows. 3
John peers around the corner seeing an empty street and signals Sam, both turn the corner and carefully/quietly enter onto an adjacent porch. The street dark except for the lights from 'MIKES CARPETS'. Sam peers through the window and signals John to switch positions. John rotates his right shoulder, raises his gun and gives Sam a nod. Sam blasts the door lock and kicks it in, both enter with presence finding SPIDER, FELIX, and ANGEL, 20’s, members of Lawrence, Massachusetts infamous Tres Filios gang, on a couch watching T.V., along with their associate, MELVIN, 20’s, in the hallway; frozen. John kills Spider. Sam wounds Melvin then kills Felix. John shoots Angel as jumps across the table, putting him down for good. JOHN (TO SAM) Cosina. Sam bolts upstairs. John grabs Melvin and drags him to a kitchen chair. At the top of the stairs Sam is met with gun fire by an AN UNIDENTIFIED LATINO MAN, 30’s. Sam ducks and shoots the man blowing him into the bathroom. Severely wounded, the unidentified Latino man kicks the door shut. Sam quickly clears the other two rooms. The unidentified Latino man struggles for his pistol wedged behind the toilet. Sam tosses in a pipe bomb. SAM (O.S.) Fuego! John interrogates Melvin in the kitchen, hearing Sam, hits the deck. The unidentified Latino man struggles to put out the wick but a metal bit protects the flame. The bomb explodes! BATHROOM DOOR blows apart. Sam peers in at the carnage and exits. In the kitchen, John squirts fluid onto a now unconscious Melvin and sets him ablaze. HE comes to, screaming and flailing. John enjoys the flaming spectacle before executing him. He then trails a stream of fluid and fire down the hallway onto the other dead men's bodies and tosses the bottle. ECU: PLASTIC BOTTLE melts on the men's corpses. 4
EXT. NIGHTINGALE AVE, GREENLAND, N.H. - NIGHT (LATER) Sam and John stroll down a well-lit, safe suburban street carrying a bottle of Zhenka and a thirty rack of Natural Ice. They arrive at the opulent Victorian style entrance of one of their friends. BLOOD RED DOOR opens with a blinding light. SUPERIMPOSE: 'HEAVY HEARTS' (RED FONT)
EXT. PORTSMOUTH, N.H. ROAD - DAY (MORNING)
AERIAL P.O.V. - 1995 RED VOLVO travels down a windy, leaf littered road. SUPERIMPOSE: 'THE PAST' (RED FONT) MAX ESSENSA, 17, Mexican-American, taps his thumbs on the wheel, belting Coheed and Cambria's-Three Evils (this song will play and be referenced throughout the movie). At the same time, he pays a toll, shifts gears and hits a bowl. He is St. Thomas's star junior quarterback, popular in every circle. Caring yet tough, and most importantly John and Sam’s lifelong best friend.
EXT. THE ROBINSON'S BACKYARD - DAY John emerges from the tree line, 30.06 in hand.
INT. THE ROBINSON'S KITCHEN - DAY
John enters the back door with rosy cheeks. WE notice Mr. Robinson through the glass doors of his office.
MR. ROBINSON (TO JOHN) Get any of those bastards? John shakes his head “no” and heads down to the basement. Mr. Robinson grasps a picture of what was once his tricolored English Setter, Toma. (killed a year before by coyotes)
INT. SAM'S ROOM - DAY (SAME TIME) Sam finishes a Calculus assignment. MONICA, (Sam’s sister), 14, calls to Sam off-screen. 5
EXT. ST. THOMAS AQUINAS HIGH SCHOOL - DAY
A large brick monstrosity of a building, home to the illustrious St. Thomas Aquinas private collegiate day school. The grounds crew meticulously trim shrubbery. MR. CANZA (teacher) creepily breathes in the scent of cut grass.
INT. ST. THOMAS JUNIOR HALLWAY - DAY SERIES OF SHOTS: A) crouched juniors against lockers sharing answers. B) A MOODY PREP changes ties. C) junior girls covertly throw bagels down the hallway. ROTH, 16, witty and neurotic, stands at John’s locker, steaming at the news that John didn’t finish the home work. ROTH (TO JOHN) (ref. to Calc assignment) -You copied down the odds!? That’s it!
JOHN (TO ROTH) Relax. Sam did the evens. Do you have a clean tie? Sam opens his locker and grabs a tie. Suddenly, the locker door swings shut hitting Sam’s fist into his nose. SAM Agh. (holding nose)
SAMANTHA (Sam’s girlfriend), 16, brunette, beautiful, loyal, emerges from behind the locker door to comfort Sam. John and Roth hurriedly copy down Sam’s even answers from the Calculus assignment. The bell SOUNDS. STUDENTS exit to their homerooms. In the congesting crowd Max converses with a few peers.
INT. STA CAFETERIA - DAY (LATER) Max, Sam and John enter the cafeteria, over to their allies ALEX CHENG, DANIEL KLEIN, TEDDY ROTH, and DEVON GEREK (all juniors). Alex is STA’s star running back, reliable. Klein, husky, loud and freckled. Gerek, soft spoken, stoner, jovial. Alex fidgets with the functionality of his TI-83 calculator. KLEIN (TO ALEX) Such a child of your generation. 6
ALEX (TO KLEIN) (pressing buttons) Shut up. KLEIN I don't need a calculator for every little thing. I'm grounded in the fundamentals of mathematics. ALEX Only thing you're grounded from is pussy.
Roth and Devon laugh. KLEIN (heated) Alex, you're Asian. The only women that find you attractive are Jews and other Asians. Everyone else thinks you're a fucking cartoon character. ALEX At least I'm not a fat fucking kike. KLEIN Go build another bamboo restaurant. ALEX I will, then I'll put up a sign that says 'free buffet except for fat fucking kikes'. MAX Brutal. KLEIN (TO ALEX) (amused) Fuck off. The 'infamous fondler' FATHER MICHAEL, 50’s, enters the cafeteria. ALEX (TO ALL) (noticing FATHER MICHAEL) Think he's here to arm wrestle the freshmen? SAM That's Wednesdays. MAX It's amazing how more people don't find that a bigger deal. 7
John stands up in a huff and exits. SAM (TO ALL) He was touched. KLEIN He's not happy with the current state of affairs in Social Justice I presume. MAX He redid the whole semester thesis in three nights. Fucking nuts. ALEX That's three weeks of research alone. MAX And got a C. KLEIN Well, three nights. Why does he care so much? He's got the grades to make up for it. MAX Because he swallowed his pride, took the deal and they fucked him.
John returns and tosses his tray on the table.
JOHN Why are we paying for our food when we pay to go here? Fucking bullshit. KLEIN (TO JOHN) Your parents pay for you to go here. John glares at Klein. Klein winces off the ocular threat. MRS. CORR (Cafeteria Monitor), 40’s, arrives eerily out of nowhere. Everyone stealthily secures their top buttons except John and Max. MRS. CORR (TO KLEIN) Daniel, you're getting a demerit. KLEIN (blows out mouth) Third strike, don't back me into a corner, Mrs. Corr. 8
MRS. CORR I let you go two days ago. John, you too, button up. John obliges. Sam and Max take notice at John’s apathy. Mrs. Corr exits, tapping her top button as a reminder. ALEX (TO JOHN) Sorry to hear they fucked you dude.
ROTH Fuck Canza giving you that grade with applications around the corner. MAX (TO JOHN) How we gonna get him? JOHN I'll figure it out. KLEIN (TO JOHN) That's thirty percent of your final. Max gives Klein 'the look'. Klein backs off. ALEX (TO JOHN) I have his class right before you. Any quizzes, you got the answers. JOHN (sincere) Thanks. Alex nods to John, happy to help his friend.
EXT. STA FOOTBALL FIELD - DAY (LATER)
Sam, Devon, Roth and Alex shoot the shit at the fifty yard side line. Max and John run routes with first squad. Max connects to John whom jukes two defenders. John and Max trot in. JOHN You're up, dick bags. (to Sam and Max) Almost forgot, we need to fix the shack's floor. There's a real strong musty odor coming from there. Took me ten minutes to find. (douses head with water) SAM Good job. 9
MAX Mold. Moisture from the river. That's why John's so lazy. John shoves Max. Across the way at field hockey practice Samantha and SUSIE, dark hair, olive skin, 17, discuss the rumors of their coach, MRS. CASEY, blonde, 29, being a complete slut. (former STA alum) SUSIE -She could've gave a lot of head and people just lied and said she fucked everyone under the sun. SAMANTHA Why would you do that? Sex is way less gross than a dick in your mouth. Sex should be third base, and head, home. SUSIE Eh. SAMANTHA I don't give a shit what she says about piss testing-we’re division four. I'm getting rad. SUSIE Mad faded. Speaking of sluts, I think I'm gonna to make a play for Max tonight. Samantha gives Susie a look of pause.
INT. THE SHACK - DAY (LATER) John, Max, and Sam play 'depth charge' in 'the shack'. (The ‘shack’ is a literal (12x15) shack in the woods behind the Robinson’s, constructed by Max, Sam and John throughout the years. It has three beds, a pull out couch, dining table and is well furnished) Max sports a Coheed and Cambria T-shirt underneath his black tuxedo. John fiddles with his bow tie. SAM (TO MAX AND JOHN) When's everyone getting here? (KNOCKING) JOHN (like a viking) Who goes there!? 10
DAVIS (African-American), earnest, 17, pops his head through the doorway. DAVIS Whyyy hello! The guys stand up and greet Davis with a celebrated welcome. DAVIS (CONT'D) (holding bottle of Captain Morgan) Looky looky, I've got hooky. Same place? MAX I got it. (grabs bottle) How the cliffs of Dover? DAVIS (sitting/relaxing) Maintaining.
Max grabs four shot glasses from the hidden wall cupboard and passes them around. John fills everyone's glass. Sam sneezes due to mold exposure.
INT. SAMANTHA'S BATHROOM - DAY Samantha and friends primp and prepare themselves for Cotillion. Susie pulls a tampon from her vagina and throws it in the trash. ELEANOR, 16, demure, looks on, shocked by the graphic observation. VENNER, 16, blonde, freckled, beautiful, packs a bowl. Samantha gives herself a wink of approval.
INT. THE ROBINSON'S KITCHEN - DAY Muffled laughter emanates from 'the shack' as Mrs. Robinson pours liquid morphine into her orange juice, takes a sip then goes back to washing the fresh farmer's market brussel sprouts. Mr. Robinson comes from behind and kisses her neck. MR. ROBINSON Where are the boys? MRS. ROBINSON Where do you think? MR. ROBINSON Should I check on them? 11
MRS. ROBINSON You know they're drinking. How'd the meeting go? MR. ROBINSON They'll pay eighty-five for my paper on “tactical empathy”- with stipen. MRS. ROBINSON That's great, hun! MR. ROBINSON (reminiscing upon shack) It wasn't that long ago. MRS. ROBINSON Old people say that. MR. ROBINSON Not yet.
MRS. ROBINSON Hurry up, the savages will be here soon.
MR. ROBINSON I'll grab the Barollos.
Mr. Robinson smooches her neck and exits to the basement.
INT. COTILLION - NIGHT - CONTINUOUS
DOLLY down the empty, ostentatious, white runway, abundantly decorated with orchids and expensive silk garnishes, through the vacant, elegant dining area, up the stage, into the white velvet curtain--
INT. COTILLION BACKSTAGE - NIGHT
Thirty adolescent males, tuxedos adorned, converse in several groups.
INT. REAR COTILLION MAIN STAGE - NIGHT (LATER)
Max smiles as he watches Davis accept Allysa on stage.
ALLYSA'S FATHER, 50, does his best to hide the shock of seeing his daughter’s black date. His wife doesn’t seem to care and continues to snap photos. 12
John, Sam and Max wait for their dates names to be called. John, in pain from a prior football injury, massages his shoulder. Max helps him massage it the way John likes.
MR. WRIGHT (O.S.) (introducing) -Samantha Stuart.
Samantha struts across stage. The music cuts. Yazoo-Only You plays.
Sam sends a nod to Mr. Wright, 35, St. Thomas’ quietly homosexual music teacher, for the favor.
John and Max watch on, utterly surprised by Sam’s gesture.
SAM (TO JOHN AND MAX) This is how you woo, gentlemen.
Sam and Samantha stare lovingly at each other as if they’re the only ones in the room.
Behind Samantha, Susie stares at Max from across the stage praying for any bit of attention.
EXT. DEVON’S HOUSE/FRONT YARD - NIGHT
Crickets chirp around this expensive 1700’s rehabed colonial mansion. Multiple cars in the driveway. The lawn is a healthy shade of green and newly mowed.
EXT. DEVON’S BACKYARD - NIGHT Multiple tents upon a well manicured lawn, surrounded by tall, high-priced, border shrubs. Students congregate around a roaring fire and lonely pool; most have changed out of their formal attire.
INT. MAX'S TENT - DAY (NEXT MORNING) Max’s EYES shoot open. Susie snores next to him. Max exhales a sigh of relief, he knows where he is.
INT. DEVON'S KITCHEN - DAY Max enters finding John and Sam at the kitchen table playing poker and having a time. MAX (TO SAM) (rubbing face) Look who's up! 13
JOHN (TO MAX) Come on in! (pours shot) One for ya right here. Max shuffles over, rips the whiskey and takes a seat. JOHN (CONT'D) Looks like you made out alright. SAM Who would have thunk Klein puking on everyone would be the catalyst for you and Susie hooking up. JOHN "Puke" by Dan Klein. MAX I have to do Title Five's in Lawrence, Massachusetts in an hour.
Max rubs the sleepers out of his eyes. SAM (passes MAX bowl) I assume digging out septics is just all around horrible. MAX It is if you don't have a map. Have to find the D-box, sometimes takes all day. SAM You have plans on this one? MAX Not sure. Orlando went to the city hall.
John stretches and rotates his shoulder. SAM Our help you'll be out quicker. Give us time to recap the night.
Max hits the bowl. MAX Thanks but get some sleep. JOHN How can we sleep? SAM I'm not tired. 14
MAX I can probably pay you. JOHN Even better.
John hits the bowl. Sam rises. Max smiles, thankful for the help.
EXT. 12 CURTIS AVE, LAWRENCE, MA BACKYARD - DAY (LATER)
The sun beats hard on Lawrence today.
Max and Orlando, 28, small in stature, family man, dig for the D-Box behind an old, dilapidated two-family. Sam reads the plans. John digs a test hole in the distance.
MAX (TO ORLANDO) You cool with the extra help getting us done early?
ORLANDO It's cool. Needed to get out early anyways-cousin's birthday.
MAX How old?
ORLANDO Seventeen.
MAX Best year yet.
John’s frustration is heard off-screen. MR. ESSENSA, 48, (Max’s father/employer) Esai Morales type, arrives at the site and from the looks of it doesn’t seem happy. He proceeds to yell at Max for not checking his phone.
INT. 2003 INFINITY G35 - DUSK (LATER) TULIO, 30, OUR antagonist, reflects alone, wearing an expression of intrepid design. Scar below his eye, cunning, dangerous, current "outside" leader of the Tres Filios, a mid- sized, close knit, outfit that controls most vice in East Lawrence, MA, U.S.A. “He's got a vision man”.
INT. WALPOLE STATE PENITENTIARY/VISITING ROOM - DAY (BEFORE) Tulio sits across from RAMIREZ ARRANTE, 43, former "outside" leader of the Tre Filios. (Spanish) 15
RAMIREZ (TO TULIO) -You look better, had them luggages last time. (ref. to eyes) TULIO The slips and slides of a balanced business. RAMIREZ Always be rested, you need to anticipate the unexpected. Anyways, those newcomers out? TULIO All good. Everything's in order. RAMIREZ You on it--hey, what is it? Tulio smiles, writes a number on his hand and covertly shows Ramirez. Ramirez glows at the number but catches himself. RAMIREZ (CONT’D) Another thing, we haven't had too many favors called upon us in here. Keep us in the loop. The guys want to be wanted, ya know? All pent up in here the drama amplifies.
Tulio lets Ramirez know he understands.
INT. ORLANDO'S HOME, LAWRENCE, MA-NIGHT SERIES OF SCENES: A) Orlando, LOS (T.F.), SHARKY (T.F.) and JACOB (Orlando’s cousin/birthday boy), 17, down a tequila shot. B) The elderly and other adults watch the Dominican Republic vs. France game and eat Sancocho in the living room. C) Orlando’s GRANDFATHER, 60, shows the children how to break in a baseball glove in his basement workshop. D) Orlando sees Tulio and RAMEY MALDONADO, 30, Tulio’s right hand man, wiry, sociopath, as they enter the front door and pay their respects...
INT. JACOB'S BEDROOM - NIGHT (LATER) Alone, Tulio and Ramey discuss the meeting with Ramirez. (Spanish) 16
TULIO (TO RAMEY) (assuring) -I showed him the amount. They're short sighted from captivity. RAMEY How they not see this? TULIO We're still clear, brother. Send them up. TIME LAPSE RAMEY (TO TULIO) -Patriot bill, terrorism shit might shield us a bit. TULIO Unless these assholes get grants. Los and Sharkey enter and show proper respect. RAMEY (TO LOS) Listen up! TULIO (TO RAMEY) Hold on. (to Los) How'd that go? LOS Good, all set, Tules. TULIO Didn't expect it to go that way did you? LOS Nah, seemed she’d be cool, then- TULIO -And that's tied up? LOS It's over. It is. RAMEY (TO TULIO) It's done. TULIO (TO LOS) You didn't see this coming. Think what you can do to make yourself better so it doesn't happen again, Carlos. Maybe don't rape a girl who's gonna talk, you know, that sort of shit. 17
LOS Lesson learned, boss. TULIO (TO LOS AND SHARKEY) Meeting at Spider's at midnight. Let everyone know it'll be an hour or two so they cover their ends.
Los and Sharkey convey they understand and leave to carry out Tulio’s orders.
EXT/INT. SPIDER'S BACKYARD/BASEMENT - MIDNIGHT Eerie and vacant, DOLLY through the littered yard, down the bulkhead into the partially finished, large basement where the majority of the Tres Filios gather. The clock tower sounds midnight off-screen. Meet the gang... LOUIS, 32 and TATER, 34, brothers, medium builds, sharp dressers. BROWN BRAUN (B.B), 25, muscular, quiet. GERALD, 27, quick witted, physically oaf like. JOKER, 22, and SWIFTY, 24, both scrawny and dress in larger sized clothes to seem bigger. Hot heads. WICKED, 47 and CHEF, 27, father and son. Chef is polite and self-aware while his father, tattooed, mustache, is more brazen in his old school gangster ways. FELIX, ANGEL, MELVIN, and SPIDER, all 20’s, flashy, young and stupid. PETER, 39 and DEZ, 34. These best friends represent themselves as the more responsible, business ended members of the gang. Cognisant of the future. Tulio lights a red candle next to the portrait of St. Dominic. (Spanish) TULIO (praying) Let us remember our guiding light. St. Dominic bless us. ALL Tres Filios forever. 18
TULIO (scanning crowd) --Over the past five years we've grown this thing into something that supports not just us, our community--but we have only got here because of change. I met with Ramirez today to discuss our future when the seven arrive home...Their positions will be reinstated and each current captain will step down.
Most Tres Filios captains don’t look happy, the other half are not surprised.
TULIO (CONT’D) I'm supposed to ease you into this but I tell you straight up that I remember their days and I remember the bloodshed. We haven't lost a single member to murder in five and a half years. WICKED Prepare for peace you better prepare for war. We won till we go again. That's how this works. TULIO (TO WICKED) We all know who instigated the conflict that brought the D.E.A. in. Was it worth your brother? Wicked wipes his mustache, crosses his arms and listens intently. TULIO (CONT'D) Make no mistake, they will end our relationships with the Vatos and Chinks. They won't go to war, we will, they've told me this. Ramey, how much we got? RAMEY Five point eight million. Most Tres Filios seem eager at the figure. TULIO (TO ALL) I don't want the money, it belongs to you, Ramey included. RAMEY (TO ALL) Everything we say here is private. If the vote doesn't pass then we all respect the verdict. (MORE) 19
RAMEY (TO ALL) (CONT'D) I only ask we keep this among us. All done with love for you my brothers. Speak openly. DEZ (TO TULIO AND RAMEY) Ya'll put yourselves out there. SPIDER (TO TULIO) If this all plays, when were you gonna tell them? TULIO When they're all out. CHEF They ain't gonna take this well. No matter what they say, there will be repercussions. RAMEY We make them understand we're in this position because they went away.
Dez and Louis study Ramey’s disposition, looking for any weakness or forced intention. WICKED (TO RAMEY) (uncrosses arms) The logic is there, brother but they built this thing, and I know how they'll feel because I was there to build it. TULIO What they built, we grew. They put in their time and now can sit back and collect their fair share. GERALD (TO TULIO) You're banking on they won't miss this shit. TULIO I'm banking on they don't wanna go back. D.E.A. won't give up-believe that. Gerald considers Tulio’s point. JOKER (TO TULIO) When did you finalize this idea? 20
TULIO (TO JOKER) The day Ramirez wanted me to leave the decapitated bodies of those D- boys in Feld Park, and it took me four messages to convince him otherwise. LOUIS They get a piece of action immediately? TULIO Yes. SPIDER (TO TULIO) You really think they'll fuck it up? TULIO I do. DEZ How much each for us? PETER Around two hundred and thirty five thousand. LOS (TO TULIO) Not making this a hard decision. FELIX (TO ALL) Fuck it, let's take the money, retire and go back to the motherland. Most T.F'S laugh off the comment... DEZ (TO TULIO) And you want nothing? TULIO No, I want a prosperous Lawrence. I want consistency. I want to keep what we have. WICKED What happens to them if they don't concede? TULIO (TO WICKED) Let's vote first. RAMEY (sets watch) Got it. 21
Ramey passes out paper and pens.
INT. TULIO'S KITCHEN - DAY (NEXT) Tulio pours Cheerios for his infant daughter and two small sons. His MISTRESS, 20’s, Dominican, voluptuous, cooks breakfast in a gifted silk robe. (Spanish) TULIO (TO MISTRESS) Did you get my gift? MISTRESS Gift? TULIO (staring at plate) I guess you didn't check the living room. She exits the kitchen into the living room where she lets out a loud, joyful scream. Tulio and his kids enjoy a moment as a picture perfect family. Tulio’s mistress, overjoyed, enters with a complete salsa ensemble.
INT. 2002 CIVIC - DAY - CONTINUOUS (LATER) Tulio sits passenger side with Cypress staring out at the hustle and bustle of the Lawrence street corners. (Spanish) TULIO -Then what are saying? CYPRESS I was arriving at my point, sometimes I gotta say shit out loud to get me there. TULIO Everyone's on board? Even Wicked? CYPRESS Straight up. (off Tulio’s concerned look) You heard the same from Ramey, right? Man, everyone knows how it was, you good. That being said, you can't trust everything you hear. TULIO Keep an ear out. That's all we can do for now. Tulio exits the car into 'FUEGO BAR AND GRILL'. 22
EXT. SAM SAWYER’S HOUSE - DAY
The sun shines bright, bird’s sing, children ride bikes past The Sawyer’s large, well-kept colonial in this safe, upper- middle class Portsmouth, New Hampshire neighborhood.
INT. SAM SAWYER’S BEDROOM - DAY Sam and Samantha lay naked and sweaty under the covers. Sam passes Samantha a glass of water. She gulps it down. SAM Babe, can I get a massage? SAMANTHA (placing glass on table) Sure, flip over. Sam turns over. Samantha begins to massage Sam’s back. SAM Come on, rub harder. SAMANTHA (beat/rubbing) It hurts my neck when I do it. SAM Breathe. Be comfortable when you do it, like I am with you. SAMANTHA (misunderstanding) I am. I'm not shy or anything with you. SAM (confused) What? SAMANTHA (massaging) What's the verdict? Sam, evading the question, heads under the covers. SAMANTHA (CONT’D) No fucking way. (tickling). I'll get it out of you, you little Kosack! SAM (cackling/jerking) You know...you know the answer! Sam wrestles Samantha onto her back. 23
SAM (CONT'D) --First semester we visit each other's schools, do research on others if we don't like ours. I want to be with you by second semester. SAMANTHA You've got it all planned out. I thought we might break up. SAM Really?
SAMANTHA (sincere) No.
SAM I'm going to marry you, you know that, right? SAMANTHA I know. Would've been easier if we figured this out sooner. SAM These things take time to unfold. (cockney accent) That is life! SAMANTHA (wiping tears) You're so wise, my Sam-wise. (snorts phlegm) Sam smiles. Samantha puts her head underneath the covers, embarrassed by her bodily fluids. Sam follows her under, tickling.
INT. THE ESSENSA'S LIVING ROOM - DAY Max lies on the couch, melancholy from his recent break up with Bacall, watching Event Horizon. Mr. Essensa enters with nachos and homemade guacamole.
EXT. AERIAL VIEW - TRAVELLING over Portsmouth's beautifully decorated downtown.
DISSOLVE TO: 24
EXT. AERIAL VIEW - TRAVELLING over the empty coastline of Rye Beach as the sun sets.
DISSOLVE TO:
EXT. CABLE BEACH, RYE N.H. - DUSK Max, John and Sam watch the sun’s descent. Max puts his arms around John and Sam. The sun sets below the horizon.
EXT. ORLANDO'S BACKYARD LAWRENCE, MA - DAY (NEXT DAY) Upbeat Dominican music plays. Orlando and Max grill steaks. Orlando wears a 'Kiss the Chef' apron. MARIA, 24, (Orlando’s wife) and her three friends chat on the picnic table. Their kids play horseshoes in the distance. Orlando tries to cheer Max up over his recent break up with Bacall. (Spanish) ORLANDO (TO MAX) -Get yourself a Dominican girl. (off Max’s lackluster) Or whatever you want.
Max senses Orlando’s effort to be a good host and doesn’t want to seem rude.
MAX (sincere) Thanks for having me man. This is great. What can I do? ORLANDO Nothing. Chill. My job is to stuff you and liquor you up. It's all good. MAX Sounds like a plan. Steak looks great. ORLANDO'S Thwait's (local deli) my brother. MARIA (O.S.) Almost done, Orlando? ORLANDO (TO MAX) You would think she's pregnant again. (to Maria) Five minutes, baby. (MORE) 25
ORLANDO (TO MAX) (CONT'D) (to Max) What you think of Lucinda? She's single and ain't a slut. MAX She's pretty. ORLANDO (gazing upon Lucinda) Sure is. CU: LUCINDA, 23, turns to Max and smiles. A new beginning... ORLANDO (V.O.) If they like you, they usually show it but sometimes they need convincing. MAX (TO ORLANDO) That's how you got your wife? ORLANDO Nah, she liked me from first sight. Hey, why they do that thumb print thing? MAX (shrugs) Try it. Orlando attempts the thumb-print technique.
INT. ORLANDO'S KITCHEN - NIGHT (LATER) More inspirational Dominican music plays. So much Maroon. Max and Lucinda speak intimately at the kitchen table, ignoring the party around. MADONNA of BRUGES STATUE Tulio and Ramey enter through the back door. Orlando sees the pair enter, puts on his party face and heads over. (Spanish) ORLANDO (TO TULIO AND RAMEY) Hey cous! Hey Ramey, what do ya say? Tulio happily holds out a bottle of Espolon (tequila). ORLANDO (CONT'D) Come here! TULIO (embracing Orlando) For you, blood. 26
RAMEY (TO ORLANDO) Where the hunnies at, bro? ORLANDO All around, take a look. RAMEY Ehh, this look like a weight watches (watchers) facility. TULIO (TO RAMEY) (imitating) Ehhh. Man, shut the fuck up, you got like four kids. Ramey scoffs. Orlando grabs four glasses and pours. TULIO (CONT'D) I'm tying one on tonight. Might be sleeping in your bed, O.
Orlando laughs off Tulio’s comment. ORLANDO (TO MAX) Hey Max, I want you to meet my cousin and our childhood friend. This is Tulio and Ramey. Max stands and greets Tulio and Ramey. RAMEY (TO MAX) Nice to meet you, Max. MAX (TO RAMEY AND TULIO) (shaking hands) Nice to meet you guys. ORLANDO (passing out shots) Here's to friends and family. RAMEY And a great party! ALL cheers and imbibe. Tulio notices Max has been talking to Lucinda, a former crush. TULIO (TO ORLANDO) Gonna go say hi. (to MAX) See you around. MAX (TO RAMEY AND TULIO) Nice to meet you. ORLANDO (TO RAMEY) Jungle juice outside. 27
RAMEY None for me, I'm already an animal. ORLANDO Ha! Tulio and Ramey exit. Max sits back down with Lucinda.
INT. ORLANDO'S BEDROOM - NIGHT (LATER) Ramey suspiciously studies Tulio’s mannerism's as he talks on his cell. TULIO (TO RAMEY) (hangs up) All good for the night. RAMEY I'm tired. We been drinking a while. TULIO I'm good. Wanna go find out why shorty never called me back. RAMEY I forgot about that stint. TULIO Come on, fuck that little "ese". Tulio and Ramey head downstairs to the kitchen discovering Max and Lucinda talking outside. Ramey hangs back, Tulio takes a swig from the Espolon bottle and heads over. TULIO (TO LUCINDA) (CONT’D) (walking over) Lucinda! LUCINDA (placating) Hi, Tulio. TULIO I saw you in the house earlier... LUCINDA (TO TULIO) You did. Good to see you. Have a good night, Tulio. Lucinda turns her attention to Max. Tulio lingers... TULIO (TO LUCINDA) We had a good time. 28
LUCINDA One date, Tulio. Excuse me. TULIO What you like carajitos now? (to Max) Still live at home, ese? MAX (stands up) Yeah, I do. I'm seventeen. Tulio steps forward. Max doesn't flinch. Ramey takes notice. TULIO (TO MAX) You're saying a lot with those eyes, ese. (ref. to Max’s Mexican heritage) MAX "Ese". Orlando’s on the scene. ORLANDO (TO TULIO) Hey cous, Uncle Jemmy wants a word with you about some scrap metal bullshit. TULIO (TO ORLANDO) Really? Or you making excuses to help your friend? (to Max) See you around. MAX (TO TULIO) Yeah, you said that already. TULIO (TO MAX) And I fucking said it again! (to Lucinda) Lucinda. Orlando and Tulio exit. Lucinda shakes off the aggravation. MAX (TO LUCINDA) You date him? LUCINDA (short) I said one date. ORLANDO (TO MAX AND LUCINDA) (returning) Hey, sorry about that. He's just a little fucked up. You alright, Lucinda? LUCINDA I'm fine. 29
MAX (TO ORLANDO) Is this an issue? ORLANDO Nah, we'll go to the bar, he'll stay here. He's my cousin, you cool.
Orlando comforts Max and Lucinda.
INT. RAFAEL'S NIGHT CLUB - NIGHT (LATER) There are only a few patrons in this local Dominican dive on account the bar wouldn’t buy and show tonight’s UFC fight. Tulio, Ramey, Cypress, Spider, Los and Sharkey stare at Max from a booth across the way. ORLANDO (TO MAX) I didn't think he'd show up. MAX (TO ORLANDO) It's cool. What do you want? ORLANDO I don't know what's going on, Max. He's fucked up-I don't know what else to say. MAX Not your fault. Fucking babies. Max heads to the bar. Tulio watches Max while Orlando tries to get his attention. Ramey gets up and makes his way over to Max as he pays for the round. RAMEY (TO MAX) Lot of drinks. MAX Two dollar beers go a long way. RAMEY How about grabbing us some beers, since they go along way. MAX Next round. Have a good one, Ramey. RAMEY You too, Maxwell. MAX Maximilian. 30
RAMEY Yeah? MAX Yeah. Max exits. Ramey signals the bartender. TIME LAPSE Lucinda tries talking to Max but he pays no mind, she understands he doesn't want to make matters worse and exits the bar. ORLANDO (TO MAX) I think we should wait five minutes and head out too. Max walks over to the window. The Tres Filios track his movement. Max sees Lucinda board a cab then heads back to the table. ORLANDO (TO MAX) (CONT'D) It will get worse. MAX (TO ORLANDO) I thought this guy was your cousin. ORLANDO I don't know what this is. MAX Let me close out. ORLANDO (glancing at Tulio) I'll close you out. MAX I've got it. ORLANDO No, Max- MAX -No, I'm sick of this shit. Tulio whispers something to Ramey and exits the place. Max heads to the bar, Ramey follows. Max watches Ramey approach from the mirror behind the bar. The BARTENDER sees Ramey and diverts his attention to another patron. MAX (TO RAMEY) (CONT’D) Come for those drinks? 31
RAMEY How about you buy us that bottle of cognac over there and we're good. MAX Too rich for my blood. RAMEY You won't have much blood if you don't order that bottle. (laughs) Just playing, we're cool with beers and a few shots. MAX Set you up for that one. RAMEY (TO MAX) Bartenders over there, ese. Max sees the violence in Ramey’s eyes. He turns and reluctantly signals the bartender. MAX (TO BARTENDER) Five shots of tequila. RAMEY (TO BARTENDER) Patron. MAX (TO BARTENDER) And five Modelos. RAMEY (TO CREW) Yo, pussy actually did it! The T.F.'S laugh and send out slurs. Max leans into the bartender, cancels the order and pays the tab-steaming over the insult. ORLANDO Not cool, Ramey. RAMEY (TO MAX) No? MAX (TO RAMEY) No. Max turns to walk away. Angered, Ramey grabs a bottle and smashes it across Max’s head sending him into Orlando. Ramey and crew watch; engorged. Orlando helps Max to his feet. ORLANDO You okay, Max? 32
MAX (TO ORLANDO) (feeling wound) No, I just got hit in the head with a fucking bottle! Ramey stands behind Max, eagerly waiting. ORLANDO (TO MAX) Sit down. MAX (softly to himself) Okay. Max turns and walks swiftly toward Ramey. Ramey swings, Max blocks and knocks him out cold. CYPRESS, SPIDER, SHARKEY and LOS emerge from their seats.
Orlando intervenes but is immediately punched in the face by Cypress sending him to the ground. Max grabs a bottle from the bar and wacks an incoming Cypress across the temple sending him to the floor. Los punches Max square in jaw. Max cracks Los directly in the nose sending him to his knees before being swarmed by Spider and Sharkey. They grab Max’s arms and run him toward the wall but his legs stop the movement. Max struggles to free himself as if a rabid dog. Cypress lay unconscious.
ECU: ORLANDO lies on the ground, facing away from the fight, pretending to be unconscious as he hears Max fighting for his life. Los and Ramey charge in. Max frees himself in time to start laying in devastating blows, taking hits but giving twice as much. Ramey stabs Max in the side. Max, severely wounded, swings away until the overwhelming force drives him down. SLOW MOTION: Max roars, and with every bit of strength fights on. Ramey, in the haze of arms and legs kicks in Max’s throat. Max claws at his jugular trying to correct his windpipe while still fighting. Los and Ramey both stab Max in the chest then grab Orlando and Cypress before exiting. 33
Max, bleeding out and suffocating holds on for as long as he can, alone and without help he fades into the dark...
INT. SGT. TOOMEY'S OFFICE, PORTSMOUTH, N.H. - NIGHT (LATER) Jimmy Eat World-Table for Glasses begins. SGT. TOOMEY, 50, tiredly peruses quarterly expense reports. His phone rings with the news of Max’s death.
EXT. THE ESSENSA'S FOYER - NIGHT (LATER)
Mr. Essensa opens the door to a solemn Sgt. Toomey. Sgt. Toomey inaudibly tells Mr. Essensa the news. Mr. Essensa’s soul leaves through his eyes, he instinctively steps aside and allows Sgt. Toomey inside.
INT. THE ROBINSON'S KITCHEN - DAY (MORNING) John enters to see his parents at the coffee table, he notices his mother's irritated, red eyes. JOHN What happened? MR. ROBINSON Have a seat. JOHN Are you getting a divorce? MRS. ROBINSON No, hun. JOHN Good, because that'd be a pretty shitty thing to do, dad. MR. ROBINSON Sit down, John. JOHN (realizing) I'll stand. Tell me. MR. ROBINSON It's Max. Last night in Lawrence there was an incident. I'm so sorry. JOHN --Come on...he's dead?--He's dead?-- -You're not saying anything, is he dead!? 34
MR. ROBINSON Yes. John’s eyes roll back.
INT. SAM'S ROOM - DAY (SAME TIME) Sam screams in agony as he trashes the room, eventually collapsing to his knees. His parents watch from the doorway, helpless. Monica pushes through her parents, running over to comfort and console her brother...
INT. THE ROBINSON'S KITCHEN - DAY (SAME TIME) John lies passed out on the floor, his parents try and revive him. MR. ROBINSON (slapping face) John. Wake up, buddy. CU: John’s eyes shoot open.
JOHN Tell me it was a dream, mom. MRS. ROBINSON John... John masks his face, overwhelming pain fills his heart until it explodes out his lungs...
INT. BACALL'S DORM ROOM (ROANOKE COLLEGE) - DAY Bacall puts down her phone and vomits on her new lax-bro boyfriend.
INT. FUNERAL LIMO - DAY (+3) - TRAVELLING Table for Glasses grows louder. PAN through the front windshield toward a grieving Mr. Essensa sitting rear center, past Max’s multiple family members, past John and Sam, past Davis' crying eyes, till WE arrive at Mr. Essensa; alone in the world. (the song ends)
EXT/INT. STA H.S./ST. MARY'S M.S. - DAY (LATER) SERIES OF SHOTS: A) fifteen hundred people wait outside St. Thomas Academy High School for the funeral procession. 35
B) another five hundred fill stairwells and line hallways. C) ST. THOMAS'S MAIN GYMNASIUM packed to the brim. An impressive projection screen displays the live feed from the church. D) A TECHNICIAN sets up live feed for a full St. Mary's gymnasium (Middle School) across the street.
INT. ST. THOMAS AQUINAS CHURCH - DAY Samantha holds Susie as both cry in front of Max’s portrait. Roth and Eleanor shuffle through the crowd to their seats. Mr. Robinson consoles Mrs. Robinson. Alex comforts a sobbing Klein. Karolina makes eye contact with Bacall then turns around to see John in the rehearsal room. He smiles back and so does she.
INT. ST. THOMAS AQUINAS CHURCH REHEARSAL ROOM - DAY All the men from the limo wait while Father Michael is dressed by DEACON HOLTZ, 29, in an odd, sexual manner. FATHER MICHAEL Will anyone else be speaking? MR. ESSENSA Just John, Sam and me. (to DAVIS) If you want to... Davis woefully declines. Mr. Essensa understands. FATHER MICHAEL (passes gas) Excuse me. After my introduction Mr. Essensa will give the Eulogy then we will recite the Lord's Ascent. John and Sam will then say their words. (to JOHN and SAM) Will you be speaking together? JOHN Separate. FATHER MICHAEL If one of you goes over our allotted time Deacon Holtz will give you the signal. 36
Deacon Holtz shows a thumbs up as the signal. FATHER MICHAEL (CONT'D) We will get through this together. Father Michael checks his robe in the mirror. Deacon Holtz approves from behind. John looks to Sam as if he's going to kill Father Michael, with one glance Sam eases John’s inner violence.
MR. ESSENSA Here we go men.
Mr. Essensa rises to his feet.
INT. ST. THOMAS AQUINAS CHURCH - DAY -Mr. Essensa arrives at the podium, clears his throat and scans the audience. He sees the sound technician adjust the volume. MR. ESSENSA (TO ALL) What can I say. I lost my boy.
Mr. Essensa proceeds to give the Eulogy.
INT/EXT. THE SHACK - DAY SHACK DOOR flies open. Sam and John stare in from outside. John unfolds a thick, quilted blanket onto the ground. Sam sets 90’s camping lamps down on the blanket. John and Sam remove Max’s large wooden chest from the shack. Sam and John scrub every inch of their frustration onto the interior of the shack with an anti-microbial liquid. JOHN How much? SAM Max said every square inch. Sam and John staple the vapor barrier to the subfloor under the shack, sealing the seams precisely. John quickly places the picture of he, Sam and Max under his pillow. (same picture from beginning) 37
Sam cherishes Max’s personally engraved Swiss Army knife before placing it in Max’s personal drawer. Sam and John sit at the table by the river drinking Max’s bottle of Balvenie. SAM (CONT’D) He knew so much. JOHN Should have gone with him. SAM We weren't invited. JOHN He died alone, Sam.
Sam sees the pain in John’s eyes, pain he’s never seen before. SAM I know. JOHN He's dead. The shocks gonna wear off soon enough. SAM Life goes on and no one said enough- -I know. JOHN What the fuck are we doing repairing the shack? I'm never going in there again. SAM He's a part of that. JOHN He's a part of the fucking ground. Sam is shocked by John’s comment. JOHN (CONT'D) We lived too well for something like this not to happen. I'm never going in there again. SAM You know what!? I'm sick of this shit! Get your ass in there, we’ve got fucking work to do! Sam grabs John out of his chair. John fights back but Sam pushes harder...the pushing becomes fighting-- 38
INT. ROBINSON'S KITCHEN - DAY (SAME TIME) Mrs. Robinson watches John and Sam fight from the window as she washes dishes.
INT. SGT. DELORES'S OFFICE, LPD (LAWRENCE, MA) - DAY Mr. Essensa and Mr. Robinson sit across from SGT. DELORES, 52, in his pristine, retro office. Door closed. MR. ESSENSA (TO SGT. DELORES) Where is Orlando? SGT. DELORES We're still searching. We'll find him.
MR. ESSENSA (TO SGT. DELORES) How involved was Orlando?
SGT. DELORES (TO MR. ESSENSA) We’re finding out as we speak. MR. ROBINSON May I see the suspect's files? SGT. DELORES (handing over) Certainly. MR. ROBINSON (sifting) No camera, right? SGT. DELORES Correct. Most of the suspects are Tres Filios, a local gang here in Lawrence. We don't know why they targeted Max yet. Witnesses claim they ran out when the fight started.
Mr. Essensa struggles with every bit of information divulged. MR. ROBINSON Three children? SGT. DELORES (nods) Never had a reliable cooperator that close. They're small but dangerous, and the Easties don't talk--fucking little Dominica over there. The name represents the three founding members. (MORE) 39
SGT. DELORES (CONT'D) They use to work for a Lebanese crew as kids, that dried up and they started their own outfit. MR. ROBINSON Independent?
Sgt. Delores relaxes into his expensive leather chair. SGT. DELORES As they come. Most of the original members are in jail from a DEA bust a few years back--slated to be released in a year or two.
MR. ESSENSA (TO SGT.) MR. ROBINSON (TO SGT.) They did this? What were they charged with? MR. ROBINSON (TO MR. ESSENSA) (CONT’D) Sorry, go ahead. SGT. DELORES (TO MR. ESSENSA) We’re finding out. (to BOTH) The DEA hit a road block after three witnesses went missing, one in their custody. The commander freaked and went ahead. Got them on parole violations. MR. ROBINSON Why would this happen now when everyone's coming home? Sgt. Delores doesn't know how to answer. Mr. Robinson looks suspicious. SGT. DELORES Stress? In their situation--they are still thugs. Mr. Robinson opens Tulio’s dossier.
EXT. LAWRENCE POLICE STATION HQ - DAY (LATER) LT. PEREZ, T.F.’s officer on the inside, conniving, handsome, 37, dials Ramey as Mr. Essensa and Mr. Robinson board their vehicle.
DISSOLVE TO: 40
INT. CYPRESS' AUNT'S HOUSE (REAR BEDROOM) - NIGHT Tulio emerges from the shadows making his way down the long narrow hallway entering the back bedroom to Ramey, Felix, Sharkey and Cypress all showing signs of the fight. (Spanish) TULIO (TO ALL) You best covered your fucking faces getting here. RAMEY Tulio- TULIO (TO FELIX, SHARKEY AND CYPRESS) -Give us a minute. FELIX (TO TULIO) We really sorry, Tulio. Tulio, crazy-eyed, gives Felix another chance to exit. RAMEY (TO ALL) Go. Felix, Sharkey and Cypress exit. TULIO (TO RAMEY) Where you been held up? RAMEY Bouncing around. TULIO Must be, took two days to hear back. Go. RAMEY Perez says they have an ex-FBI guy looking at the case. He's family friends with the kid's dad and Perez's commander is cooperating 'cuz of the blow back from the news. Ramirez says he wants this to go away. They don't even like the spin about how the kid instigated. TULIO Fucking idiot, how does he think it's gonna go away without the instigation play? Tulio snaps and slams Ramey against the mirror, squeezing his throat. TULIO (CONT'D) Don't you see what you did? You don't, you're a follower. 41
RAMEY You don't touch a member! They defended me!
TULIO Witnesses, Ramey. Our rep won't mean shit when we're done in, that kid's not from Lawrence.
Tulio backs off. Ramey fixes his shirt.
RAMEY Meyer (lawyer) says as long as people cop soon, nothing touches you yet. TULIO Who? RAMEY Tavio and Michael, the fiends. They go inside, clean up, package for the family. TULIO Clean up inside? Their cousins are MS. We don't want that problem. Clarify everything so there is no miscommunication. RAMEY Okay.
Tulio takes a seat. TULIO (sighs) What do they want? RAMEY Two hundred each. TULIO Witnesses? RAMEY We can get to them for fifty. TULIO Thanks a lot for this, Ramey. Only reason that kid's dead is 'cuz he beat your ass. If MS clears this I want a favor, work it how you can but I want a fucking favor. Get the idiots. 42
RAMEY Get in here! Cypress, Sharkey and Felix enter. TULIO (TO THE IDIOTS) Tell everyone to collect their dues. We're going underground till this clears up. Our brother Ramey here's flipping the bill. How's fifty? RAMEY reluctantly accepts the fine.
INT. SAMANTHA'S ROOM - DAY Samantha strokes Sam’s hair as she holds his head in her lap.
EXT. PINEHURST GRAVEYARD - DAY Susan B. Hawkins-Lay me Down plays. John parks his car, gets out and exhales a cold, visual breath. He makes his way over the hill. In the distance, he recognizes Davis, dressed in a suit and tie at Max’s grave. John takes a seat on a nearby bench and watches on... John approaches the lonely grave. He sees the pin Davis left, 'CAMP FATIMA BUNK 6'. He sits on the ground and stares at Max’s grave as if he will never be whole again. (song fades)
INT. THE SHACK - NIGHT (LATER) Sam checks on John after hearing the news of Max’s supposed murderers coming forward. He enters to see John sitting on Max’s bed. SAM (TO JOHN) You heard? JOHN (TO SAM) What're we going to do? Sam sees John’s pain and takes a seat beside him on Max’s bed.
INT. WALPOLE, MA PENITENTIARY VISITING ROOM - DAY Maria, tearing up, picks up the prison phone, Orlando does the same. (Spanish) 43
ORLANDO (TO MARIA) Don't cry beautiful. Maria wipes her tears away. ORLANDO (CONT’D) Get everything? Maria nods that she has and manages a soft smile. ORLANDO (CONT'D) We're lucky, baby, just a little while longer. How are the kids?
Orlando smiles. Maria pretends to be comforted.
EXT. THE WOODS - DUSK (LATER) John nestles against a tree adorned in camouflage, 30.06 in hand, waiting for incoming coyotes.
INT. SAM'S BATHROOM/HALLWAY - DUSK (SAME TIME) Sam quietly sobs in the shower as to not disturb his family. Monica passing by, hears the faint crying. She stops to listen, absorbing her brother's pain.
INT. MR. ESSENSA'S OFFICE - NIGHT Mr. Essensa analyzes balance sheets alone, his eye catches the picture of he and Max from a fly fishing trip three years back. He gulps his scotch and avoids the memory.
INT. THE ROBINSON'S BATHROOM - NIGHT WHITE PLUTO GLASS SINK a single hair falls in, then a few more. Mrs. Robinson runs her fingers through her hair staring into the mirror. Mr. Robinson comes from behind and embraces her; he'll always make her feel sexy.
EXT. LAWRENCE - NIGHT (MONTHS LATER) FIREWORKS explode in the night sky over the city of Lawrence, MA. 44
INT. ORLANDO'S LIVING ROOM - NIGHT Tulio and Ramey toast the packed living room at Orlando’s coming home party. A few guests look unhappy at their presence. (Spanish)
INT. BASEMENT - NIGHT (LATER) Tulio, Ramey and Orlando discuss Orlando’s time inside. Orlando thanks Tulio for the post-prison package.
INT. ASPEN ENVIRONMENTAL INVENTORY AREA, LAWRENCE, MA - DAY John and Sam store shovels. Two Dominican workers check inventory. Two more wash tools in the back shower. LOUDSPEAKER (MR. ESSENSA) John, Sam, can you come up to my office? SAM (into receiver) Be right up.
Sam looks to John.
INT. MR. ESSENSA'S OFFICE - DAY John and Sam enter. MR. ESSENSA Grab a seat. Hot day. Sam and John relax in the comfy, leather office chairs. The air conditioner blasts. SAM Wicked. Had a little trouble finding the D-Box on...Haverhill Street. MR. ESSENSA Plans? JOHN Nope, or at least that's what Ms. Juanita said. MR. ESSENSA (tossing bottles/sitting) I have you guys in here because I wanted to let you know what a good job you're doing and that it hasn't gone unnoticed. 45
SAM Anything we can do to help. MR. ESSENSA I consider you two family so anything you need, let me know. JOHN Us too, sir.
MR. ESSENSA (sighs) I'm blessed my wife didn't have to go through this. I'll admit, everything was too much. It was alot. Then you two started coming by, taking me golfing, helping out...I want to give you this. Mr. Essensa hands over their weekly checks. Both see the figure and display faces of shock.
JOHN This is too much. MR. ESSENSA No, it's not. But do me a favor, use it on something you think is special to you, for Max. BOTH Yes, sir. MR. ESSENSA Now leave me be, have to keep the lights on. See ya, fellas.
John and Sam thank Mr. Essensa again and exit.
INT. FIRST FLOOR/ASPEN BATHROOM - DAY (MOMENTS LATER) Sam pisses, still in awe of the check's amount. He HEARS MUFFLED Spanish from the floor register...the conversation strikes his attention...Sam stops pissing and listens intently. “How it always happens”.
INT. ASPEN BASEMENT/INVENTORY AREA - DAY (SAME TIME) RAOUL AND ANTHONY (Aspen employees) clean tools and gossip about the woes of the neighborhood. 46
INT. SAM'S CAR - DAY (MINUTES LATER) Sam shuts the door. John lights a joint and checks whether the smell is his B.O. or the weed. Sam, afflicted by the gossip from the bathroom register, speeds off.
INT. SAM'S ROOM - NIGHT (LATER) Sam sits at his desk writing down/analyzing the Spanish he heard in the duct work. He sits back, appalled by this potential reality.
INT. THE SHACK - DAY (NEXT DAY)
Sam sits at the shack table. He has just broke the news to John. JOHN (TO SAM) (pacing/upset) How sure are you!? I find it hard to believe my dad wouldn't make this connection. SAM I'm sure. I'm practically fluent. JOHN Practically. SAM It sounded like the guys that went to prison weren't at the bar, that they were paid to do the time. JOHN All that in the time it takes to piss?
John stops short. Sam understands John’s skepticism. SAM I heard the names 'Tuley' and 'Ramey'. One worker was upset over the amount of money the two guys received for "seven to ten", and at Orlando for getting paid so much for only serving a year. Orlando's out apparently.
John begins to pace again. JOHN You heard Orlando's name? 47
SAM Clear as day, I swear on my life. JOHN Then who are the two that went to jail? SAM I don't know. JOHN Well, we need to find out because when it comes down to it, this is all coming from a fucking register. And why would two guys speak about this at the place Max's dad owns?
Sam takes a seat. SAM I don't know. It's a stupid thing to do.
JOHN Run it back again. SAM I came in to their conversation when one of the guys said "seven to ten". He elaborated that the package the two received was exorbitant for the time served and that 'Ramey' and 'Tuley' should be more generous with the neighborhood, then they brought up Orlando. JOHN Did you get a look at who was talking? SAM I did. Raoul and Anthony.
John considers the information with a very heavy heart.
INT. MR. ROBINSON'S OFFICE - DAY (LATER) John cleans his father's keyboard key by key with a disinfectant wipe. Sam stands look out by the doorway. TIME LAPSE Mr. Robinson strolls into the vacant office sporting a battered "Quantico Softball" sweater, takes a seat and logs onto his computer... 48
JOHN (O.S.) Dad! MR. ROBINSON What!? JOHN (O.S.) The fridge! MR. ROBINSON (exiting) What is it? Sam slips in over to the computer, shines a blue light on the keys and takes a picture with his phone.
INT. JOHN'S ROOM - DAY (LATER) John enters and inquires to what the password is. SAM Your birthday.
John takes a look at the note pad Sam deciphered the information on.
INT. MR. ROBINSON'S OFFICE - NIGHT (LATER) Sam and John have infiltrated Mr. Robinson’s files successfully. COMPUTER SCREEN displays an email from “Guy C.” with a list of Tres Filios members. Tabs labeled "Tulio" and "Ramey" confirm Sam’s theory. Both click/read through the gang's history. The documents reflect the gang's ability and intelligence, namely Tulio. "A relatively small outfit though deadly". John clicks the file 'Videos' then the first .mpeg. The footage shows several Tres Filios members at a BBQ. John studies faces. Sam walks over to the window, unable to watch his friend's murderers any longer. SAM (TO JOHN) We need to think. John continues to study the footage; engorged. SAM (CONT'D) You know how serious this is? 49
JOHN We need to check on Orlando's release. Is this good luck or bad luck, Sam? Sam doesn't know. The video footage shows Tulio and Ramey manning the barbecue grill. ZOOM IN on their smiling faces. SERIES OF SCENES: Sufjan Stevens-I Should Have Known Better plays. A) John sits at his desk staring at the same picture of he, Sam, and Max, remembering the day they were lost in the woods and how he wasn't scared. B) Sam takes in Samantha’s beauty as she plays guitar and sings in her room. C) John walks by students studying at the UNH library, admiring the scene. Karolina sees John and calls him over. D) Sam holds Samantha in his arms as she soundly sleeps. Her alarm shows '1:59 A.M.'. Sam looks to the clock tower for it's bells. D) John reflects alone by the river draped in moonlight. (song ends)
INT. THE SHACK - (NEXT) DAY Sam and John sit across from each other at the table, between them, Sam’s Macbook displays Mr. Robinson’s copied files. Heavy light pours in the room. JOHN (rattled) -All I see is red, Sam. I can't think.
Sam massages John’s shoulder. SAM Relax. We need to approach this from a completely objective standpoint. Every option and precaution must be thought of, discussed and vetted. We need to make lists.
Sam opens a drawer and pulls out a pen and paper. 50
JOHN We have their names, associate names, pictures, and addresses. We have guns. SAM What about the cops? There's so many variables. We kill one or two then they catch us, we'd be raped and killed in a fucking fort night. JOHN I'd take my life before that shit happened.
Sam agrees.
JOHN (CONT’D) Look, two guys came forward, the witnesses for whatever reason corroborated the story. Case is shut. SAM They could investigate? JOHN We have to come forward. You read about how Tres Filios take care of witnesses. The fucking D.E.A. still doesn't acknowledge that any witness has been breached under their protection, Sam, they killed three. SAM Yeah, more of a reason. JOHN I'm just going over everything, but being around my dad I have an idea how these cases work. SAM I heard what they said. JOHN Yeah, YOU did. I believe you, Sam, but they'll think you're disillusioned. What if we come forward and nothing plays? All we've done is make our families targets. Same goes for Raoul and Anthony, they're pieces of shit but their families shouldn't suffer. 51
SAM Let's move on. John rubs his strained eyes. SAM (CONT’D) Do you think we could do it? JOHN And get away with it? We have no experience. SAM We have surprise and anonymity. JOHN That only lasts for so long. Sam, your life means a lot to me. SAM His life meant a lot to me. Things like this, they're supposed to be done by us. JOHN Let me be clear, we're talking about killing them, if we think we can do it. SAM Yes.
John looks deep into Sam’s eyes.
INT. SAM'S CAMRY - NIGHT - TRAVELLING INSERT TEXT: "TWO DAYS LATER" (RED FONT) Sam and John cruise down Fullbright Avenue, Lawrence, MA, scoping out various Tres Filios establishments and residences. JOHN Jose Delia is up here on the left. One forty eight, right there. SAM Spider. SPIDER looks up at US. SAM (CONT’D) Where's Fuego? 52
JOHN (studying map) 567 South Broadway. Turn here. Sam turns left. SAM File's a start but we need to make sure who was there. Check the route home so we don’t hit the tolls.
John checks off 148 Fullbright Avenue from a list of addresses and checks the route home.
INT. SAM'S CAMRY - NIGHT - TRAVELLING (LATER) Sam and John argue tactics cruising down the overgrown back roads of North Hampton, N.H., avoiding the tolls. JOHN (TO SAM) -Listen! SAM (TO JOHN) Why are you yelling? I promise I can hear you. JOHN Shut up. The only way is to surveil, there's too many to not know where they are. SAM They could see us and we wouldn't even know it. Unfamiliar faces, white faces. We can't physically surveil them, you need training for that. JOHN Can't go in there blind. We need to know their patterns. Sam and John rack their brains for the answer...Sam’s got it!
INT. JOHN'S CAR - DAY - TRAVELLING SIGN: "WELCOME TO AUGUSTA; MAINE'S CAPITAL CITY" Sam counts cash (Mr. Essensa’s gift); around nine thousand dollars. 53
INT. ROGER'S SURVEILLANCE AND TACTICAL DEPOT - DAY (LATER) John asks Roger (owner) about the magnetic GPS tracker priced at 875.00 each. SERIES OF SCENES: Grave Diggaz-1800 Suicide plays... A) Sam and John surveil Spider’s house from a dark corner. Spider exits an IMPALA and enters his residence. B) Another night, Sam emerges from the shadows and stealthily attaches one tracker to Spider’s IMPALA. C) John and Sam read through witness transcripts. John circles 'RAMEY' and 'CARLOS' (Los) as being present the night of Max’s murder. D) At night, John passes by Chef’s PRIUS and quickly attaches a GPS. E) Mrs. Robinson cooks John breakfast at the kitchen table, proving she's still capable. F) Sam creates a username for Chef on a surveillance program under the name 'Wolfgang'. G) John surveils Spider, Melvin and Louis from his car as they enter 'CHINA BUFFET'. John records their plate number. H) Wicked and Chef (another night) enter a house. Sam records their IMPREZZA'S plate number as Chef’s new ride. I) Sam’s HANDBOOK shows most Tres Filios member names, addresses, car makes and plate numbers. Sam, rolls his eyes as he crosses Wicked’s IMPREZZA information out and writes in another. J) Sam watches Ramey and Sharkey enter Fuego. K) At night, John places a tracker on Wicked’s new ALTIMA. L) John and Sam drive past a BLUE ACCORD. Sam records the plate. M) Ramey, B.B., Angel and Los enter Wicked’s house. N) At night, Sam, disguised, jogs by Dez’s BLUE ACCORD and attaches a tracker. O) John marks each T.F. location on a blown up map of East Lawrence in the shack. He puts a question mark next to Tulio’s name.
P) Sam records patterns of five G.P.S. trackers on his computer screen. Max’s portrait in the background. 54
He blows out his mouth as he records the Imprezza information as Chef’s. Q) John places a G.P.S. tracker on Chef’s Imprezza. R) John and Sam study multiple military tactic books. S) Mr. Canza glares at John from his desk, John looks up, catching his eye and smiles back.
T) Sam sees Mr. Robinson approaching the shack from the shack window. He and John hide everything before she arrives. U) John and Sam stand in front of Mr. Robinson’s gun safe.
SAM Will he know they’ve been used?
JOHN He shouldn’t if we clean them well enough. He doesn’t shoot anymore.
John opens his father’s safe to a plethora of semi-automatic rifles and pistols. (song ends)
INT. BROX PITS - DUSK A VAST LANDSCAPE of SAND PITS and DISPOSED HEAVY MACHINERY .38 PISTOL and 'SOCIAL JUSTICE 201' TEXTBOOK on a stained plastic chair. 6 TWELVE GAUGE SHOT GUN SHELLS and BOOKBAG on a foldable plastic table. THREE 'MAN WITH GUN' TARGETS pinned up, side by side. Sam aims at the "man with gun" target with Mr. Robinson’s Glock .40. John coaches. JOHN (TO SAM) Everything you've read about shooting, what pops up the most? SAM Breathing, and the gun must be an extension of yourself, essentially. JOHN Essentially. Always try to shoot while exhaling. Feel the weight, your grip, the pressure. Sam empties the clip showing a decent grouping. 55
JOHN (CONT'D) Good, play with it more. Melvin (the man John set ablaze) SCREAMS off-screen-- John runs the course with a 12 gauge semi, blasting all three targets center mass. Sam studies his movement. John coaches Sam, showing him the proper stances. JOHN (TO SAM) (CONT’D) In and out, in and out. Center mass is crucial, less chance of missing. SAM How often do you practice this? JOHN Sometimes. Sam runs the course shooting each target center mass moving swiftly, yet slower than John. Sam’s phone beeps on the table. JOHN (TO SAM) (CONT’D) You have a message. SAM (walking over) What does it say? JOHN (reading) You got into Bowdoin. SAM (smiling) Mom couldn't wait. JOHN Congratulations.
Sam clears his weapon. SAM Thanks. How'd I do? JOHN On your way, makes it easier when you know how to clean it, right? SAM (loads clip) Yeah, the mechanics. I brought something for you to read. (MORE) 56
SAM (CONT'D) It's a book by a World War Two Japanese general who saw a lot of hand to hand combat and after the war used meditation to relieve his nightmares. JOHN I'll sleep just fine. SAM You don't know that. Read the book. JOHN I will. We will feel better.
SAM I know but read the book. We are still human. JOHN I will. What did it for me were the surveillance videos. They were having so much fun. John shakes off the sudden rage and acclimates to the objective mind set Sam and he agreed upon. SAM Let's go over their patterns some more, there's a few discrepancies I want to show you.
John agrees.
EXT. THE SAWYER'S PORCH (FORMAL PARTY) - NIGHT Sam swigs a vodka tonic, awakening to the conversation before him. John escorts Mrs. Robinson (sicker) up the porch stairs meeting Sam, Devon, Roth, Alex, and Klein. The guys greet Mrs. Robinson.
SAM You look wonderful, Mrs. Robinson. MRS. ROBINSON Thank you, Sam, you look marvelous (hugging him). (to rest) Gentlemen, try not to break any hearts tonight. The gentlemen gladly entertain the compliment. 57
KLEIN Do our best Mrs. Robinson.
Mrs. Robinson smiles and exits. John signals Sam. Klein accidently steps on Alex’s wounded foot. Alex grunts. Klein apologizes.
INT. DINING ROOM - NIGHT Monica and her friend exit the dining room upon Sam and John’s entrance. Monica savors John’s cologne as he passes by. SAM (TO JOHN) (quiet) Our problem is solved.
JOHN Which one? Mrs. Robinson enters. John catches her in his peripheral. SAM Want a drink, Mrs. Robinson? MRS. ROBINSON I would love one, Sam, thank you. SAM (leads both out) Two mint juleps coming up. (to Mrs. Robinson) You like mint juleps, right?
MRS. ROBINSON Love them. Alex intercepts John in the hallway. ALEX (TO JOHN) Got a second? Sam directs Mrs. Robinson into the kitchen. JOHN (TO ALEX) What's up? ALEX (desperate) I need a favor.
Sam watches Alex ask John the favor as he makes two mint juleps in the kitchen. Curious, Mrs. Robinson watches how Sam makes the drinks. 58
EXT. BROX DIRT PIT - DAY A SINGLE PIPE BOMB clanks around inside an old VW BUG then explodes; fire consumes the vehicle. SAM (TO JOHN) And you see how I whipped it in? You can move it around and the wick won't go out, there will be nothing left of the scene. Only thing is we can never be found with parts, residue, shit like that. JOHN Maybe it's another gang's M.O. and they pin it on them. (studying bomb) You really have a mind for this, Sam. SAM I'm sure it's already invented but if not I could patent it. JOHN May have to let this one go. Gives us distance though. SAM It's about protection till they're all gone. Droves, we attack in droves. JOHN What's the blast radius?
John goes through the motions of throwing the bomb. SAM Around-eight hundred cubic feet. Shrapnel, couple hundred yards. JOHN How many have you tested out? SAM Four, including that one. JOHN We're not going to blow ourselves up? SAM I don't think so. Not unless a bullet hits the pipe. 59
JOHN (knocks on head) Knock on wood. SAM (knocks on head) You ready for the game? JOHN Yeah, why the fuck didn’t you tell me Alex was gonna ask me to play for him!? Remember I don’t play anymore because of my shoulder.
CUT TO: KLEIN runs suicides with ankle weights in his backyard, doing anything he can to help Alex get the scholarship.
SAM (O.S) He can barely walk. Plus, I wasn’t entirely sure what he was asking.
BACK TO SCENE:
JOHN I’m gonna need help with the plays. SAM How you feel about controlling Alex's future? JOHN Pile it on, brother. I can take it. SAM Bet you can. You're doing a good thing, universe sees that. Sam and John move through the course side by side, swiftly and accurately cutting down each target to Culture Club's- Karma Chameleon against the golden sun.
INT. SPIDER'S FOYER/KITCHEN - NIGHT (A FEW DAYS LATER)
SUPERIMPOSE: “THE FIRST TO GO” (RED FONT) Spider, Felix and Angel smoke up and watch Tales from the Crypt. Melvin heads to the kitchen to make more nachos. John and Sam storm in. FREEZE FRAME: MELVIN 60
A BRIGHT LIGHT ENCOMPASSES THE SCREEN
DISSOLVE TO:
EXT. SPIDER'S HOUSE - NIGHT (LATER)
Tulio, from afar, watches detectives outside Spider’s house step aside as an unknown deceased Tres Filios is exited. Tulio leaves with Carlos, Sharkey and B.B. before police take notice. Ramey pulls out his cell as another friend is exited.
INT. SAM'S CAR - NIGHT - TRAVELLING John and Sam enter onto the Pistataqua Bridge, faces shrouded in darkness. As the lights illuminate the car WE MAY SEE a shadow of Max’s outline in the back seat before disappearing into a glow unmasking John and Sam’s proud, fulfilled expressions...
INT. BELMONT STREET BASEMENT, LAWRENCE, MA - NIGHT (LATER) Tres Filios captains go over information they've gathered in a drab but clean basement. Tulio and Ramey enter from the rear. (Spanish) TULIO (TO ALL) One at a time. WICKED I checked every outfit here to Malden-nothing. Lowell being cautious too. RAMEY Who wants our coke trade? Who needs it the most?
Wicked, beat, takes a swig of water. WICKED --Vatos? Cambodes? But chinks know the neighborhood would never go for that. DEZ (TO TULIO) This was planned out-
A creek in the floor is heard upstairs. After a moment of group silence Dez continues...
DEZ (CONT’D) I'll check with the neighbors. 61
LOUIS L.B.T.? JOKER Youngster's? SHARKEY Nah, we would've heard they were coming. I got two members on my payroll, plus they pussies. JOKER (TO SHARKEY) Youngster's or L.B.T.? SHARKEY Youngster's. RAMEY I wouldn't rule out L.B.T. Flamey and Austin over there wanna make a name.
Sharkey signals to Joker that they will find out more about Flamey and Austin. TULIO That wasn't even their stash house. Whoever, wanted them out, or at least Spider. Whose shown interest in our area? RAMEY Nobody for a time except those D- boys, but they were independent. TULIO Find out how independent they were and pay for it. Everyone think hard. Rumors. Words passed on. LOS We would've told you boss. TULIO (TO LOS) Maybe you didn't see it. Don’t let ego get in the way. Anything. Los nods and thinks hard. SWIFTY What does Perez say? RAMEY (TO SWIFTY) He's on the scene. We'll find out soon. 62
WICKED Maybe it was personal? TULIO (TO WICKED) Maybe. Don't treat it that way. Whose outside? LOS Elmo and company. RAMEY (TO LOS) Go check. Louis and Los leave to check... TULIO So nothing and three brothers dead-- Jesus Christ. Joker, get Swifty and Chef and take over the shift at the main house. Dez, you alert our guards and feel out the elders. The rest of you, I want information. No more deaths. We mourn them later. Go. The crew exits. RAMEY (TO TULIO) What're you thinking? Tulio wears an expression that suggests he thinks this might be an inside job.
INT. THE GEREK'S KITCHEN/LIVING ROOM - NIGHT Taylor Swift-I Knew You Were Trouble plays. Roth and Klein chase Devon with an airsoft gun. Alex enjoys the show atop a counter. Samantha converses with her friends. Samantha sees Sam and John enter into the foyer then into the party with a certain confidence.
CUT TO: SHOTGUN lowers and blasts. (Melvin’s execution) BACK TO SCENE: Sam passes Samantha sending her a wink, over to the I-Pod where he selects New Order-Bizarre Love Triangle... 63
John and Sam pass the bottle back and forth, breaking into their respective dance renditions in the living room, letting the music flow through them. Peers watch the sight. Venner and Samantha join in. DOORWAY SCOPE - THE DANCING ADOLESCENTS everything and everyone around John and Sam disappear, the song fades out...and so do they. SAM (V.O.) (whispering) Pull the trigger and the nightmare stops.
EXT. IMMACULATE CONCEPTION CEMETERY, LAWRENCE, MA - DAY The day gray and eerie. Over two hundred people in attendance including most Tres Filios. Spider, Felix and Angel lower into the ground simultaneously. SPIDER'S MOM, beside herself, consoles her inconsolable husband. Ramey scans the outer landscape of the graveyard looking for surveillance. TWO LAWRENCE DETECTIVES snap photos from the hill. Angel’s wife and attractive girlfriend wail in agony. TULIO (TO RAMEY) I need you to come with me before the meeting. RAMEY Perez? Tulio proceeds to comfort Angel’s widow.
INT. WICKED'S PLACE - DAY - CONTINUOUS (LATER) WE HEAR the sound of barking pit-bulls in the distance as Wicked and Chef enter the yellow two-family past Wicked’s mother slaving away in the kitchen. Chef stops to help her move the boiling water. Wicked continues to the back room where Joker, B.B., Louis, Dez, Los and Ritchie wait in solemn. (Spanish) WICKED (TO LOS) (alluding) You're back here quick--Carlos, you're back here quick. 64
LOS (beat) We careful, you just a slow poke. Wicked sees the pain in Los. He looks around at the other members for support. WICKED (TO LOS) Look at me brother. If we dwell on our sorrow we will fuck up. I promise you that. LOS (uneasy) We never had shit like this all at once. I fucking miss them. Dez walks over and puts his hand on Los’ shoulder. WICKED (TO LOS) Stay the course. Take care of yourself, sleep for starters. B.B (TO ALL) We're still here, we're here to avenge them. I love you all. DEZ Let me here it! ALL Tres Filios, blood and heart! All embrace individually; alleviated in their own way. RITCHIE Food ready? Los scoffs. WICKED (amused) It's coming. Tulio needs to say his peace first. Ritchie nods. Chef and Tater enter with soda and condiments. CHEF (TO WICKED) I heard the credo. WICKED Fuck yeah you did, son. RITCHIE (TO CHEF) Ozzie, pour some of that ketchup in my mouth, I'm starving here. 65
Wicked and the others laugh away their pain for the moment. Sam and John, adorned in black clothing and ski masks (even around their eyes) enter unnoticed... SAM (TO T.F'S) Oh no, not again. RITCHIE (frightened) You serious? Sam executes Ritchie, Los and Louis with a Glock. Dez screams. John wastes Dez, Tater and B.B. The remaining T.F.'s stand frozen in silence...John executes Chef. Wicked screams. Joker hits 'CALL' on his phone from inside his pocket before he and Wicked rush, getting killed in the process. Sam and John quickly reload and shoot any bodies they may think are still alive. John lights a pipe bomb and tosses it on the floor. Both exit...BOOM! The explosion encompasses the room.
EXT. REAR PORCH - DAY (MOMENTS LATER) Wicked’s mom lay unconscious next to the back stairs; still breathing. PAN UP to her gifted PRIUS from her late son, Wicked. (same Prius Sam and John bugged)
EXT. LAWRENCE LUMBER YARD (REAR SECTION) - DAY Tulio and Ramey turn the corner to Lt. Perez disguised in sun glasses and street clothes putting away his phone. TULIO (TO PEREZ) Tell me something, Perez! Lt. Perez musters the words... TULIO (CONT'D) What!? LT. PEREZ Wicked's house just got hit. They're sifting through the scene now. Horror washes over Tulio and Ramey’s face. TULIO (TO PEREZ) You heard that from your phone call when we turned the corner? LT. PEREZ I'll get there right now. 66
TULIO Come to me with something Roberto, otherwise what's the point? Lt. Perez exits with a better sense of their relationship. TULIO (TO RAMEY) (CONT’D) What the fuck is happening to us? RAMEY (clenching phone) I got a voicemail from Joker. Ramey puts the speaker on, a muffled recording sounds then gun fire. TULIO Play it again. Ramey plays the muffled recording but neither one can decipher the audio. Tulio looks to Ramey for answers but in the back of his mind he knows it could be him orchestrating this ordeal.
INT. THE SHACK - NIGHT Sam and John plan the next step in good spirits. Sam sports a Bowdoin sweater. John makes a cracker with smoked salmon, onions and capers. SAM (TO JOHN) I have to say your dad's notes are stellar.
Sam chomps down a salmon and caper cracker. JOHN Gives you an idea how much he picks up. So specific. Seems like he's not even listening half the time. SAM Nonchalant, they teach you how to hide your expression at Quantico. JOHN Still, it's my dad. SAM (agreeing/checking list) A good number left. JOHN Maybe we can grab one of them? 67
SAM Unlikely. JOHN Well, we may need to make it likely because best believe Tulio and Ramey are underground and guarded as fuck. Don't think they can't figure it out with time.
Sam turns his computer to John showing him the three active G.P.S.’s on their satellite location program. SAM I know, still have three G.P.S.'s up. JOHN For how long? SAM They're still up. If the opportunity presents itself then so be it but stealth and anonymity are our only advantages. JOHN I think we can grab one of them. SAM (scoffs) We'll see in a couple weeks. Maybe the competition does our job for us.
John rotates his right shoulder. JOHN I hope not. SAM Me too. JOHN For a bunch of hardened gangsters they were pretty horrified when their time came. SAM (making cracker) Probably still grieving. Might have got something out of Wicked if someone didn't shoot his son. JOHN Dude, he was right next to me, guy was fucking huge. 68
SAM (shrugs) Pull the trigger- JOHN -And the nightmare stops. BOTH smile and get back to work.
INT. HOME DEPOT GARDEN SECTION - DAY Mr. Robinson stares up at the giant ceramic vase one of the employees is going to need a lift to get down. SGT. TOOMEY (walking up) Bobby, how you doing? MR. ROBINSON (shaking hand) Hey, how you been, Phil? SGT. TOOMEY Good, just running some errands for the ladies, you? MR. ROBINSON Here to get Julie that vase up there. SGT. TOOMEY Oh, how she doing? MR. ROBINSON She's good. She's better. SGT. TOOMEY Good, give her our best. Actually, I was going to give you a call. Those Tres Filios down in Lawrence- they been getting clipped off. A couple at a drug house, some more at a rendezvous. MR. ROBINSON Suspects? SGT. TOOMEY Nothing yet but I'll let you know. Anyways, thought you'd like to hear. A little justice for the scum. 69
MR. ROBINSON John and Sam will feel better, and once again, thanks for the leniency. FLASHBACK: John and Sam, at the dawn of Max’s celebration, perform donuts in the sand pits. Two police cruisers watch the show. BACK TO SCENE: SGT. TOOMEY How they doing? MR. ROBINSON They're hanging in there.
INT. SAM'S ROOM - DAY Sam and John quietly discuss strategy. SAM (TO JOHN) You keeping everything the same? Grades? Relationships? JOHN I am, but I'll reflect on it. (KNOCK ON DOOR) SAM Come in. Monica enters holding a DVD. MONICA I made you guys a video. Monica loads the DVD. The title "The Best Friend's I've Ever Seen" displays across the screen. The Beatles-In My Life plays as the DVD shows past pictures and video of Max, Sam, and John; both watch in their own way...the video ends. SAM That was beautiful, Mon. JOHN (sincere) Tough to watch in the best way. Thank you, Monica. MONICA (tearing up) I'm so sorry. (MORE) 70
MONICA (CONT'D) I know how much you loved him and this was all I could think of. SAM (TO MONICA) It's more than enough. John smiles his heart away; Monica becomes instantly less sad.
INT. RAMEY'S ACURA RX - DAY Ramey and Tulio idle alone on the hill of Bellevue Cemetery, Lawrence, MA. RAMEY (TO TULIO) -If it goes south, the neighborhood will turn on us. TULIO The neighborhood's gonna turn on us when we kill the elders. It might not be them but if we don't take what they have right now we're done. We need resources. RAMEY There's other ways. TULIO Not this quick. Give the order. Ramey hits call. SERIES OF SCENES: a) WINDOW two metal bombs shatter the glass...the window explodes. A Vato's arm gets stuck in the glass upon ejection. b) TWO VATOS, 30's, mozy down a mildly busy Lowell street, clothes mainly grey. One fixes a gun in his waistband. VATO #2 (VATO #1) Told you not to wear sweatpants. MAROON CROWN VICTORIA (T.F.) halts in front of the pair. Gunfire from the rear passenger window cuts the Vatos down, the car speeds off. c) ANOTHER VATO (PONYTAIL), 30's, takes a Lawrence corner. Ramey follows behind unnoticed...he runs up and double taps the Vato in the back of the skull. Ramey picks up the shells and splits. 71
d) Sharkey, Elmo, and Francis hold SIX VATOS at silenced gun point in Mac Two's (strip club) back room. Sharkey gives the signal to waste the competition. LOONEY TUNES FADE OUT
INT. FARNHAM STREET BASEMENT, HAVERHILL, MA - NIGHT Tulio and Ramey wait in a dimly lit, dirt floor room off the side of the main basement. RAMEY (TO TULIO) (hangs up phone) Gomez offered cash for a parley. (chuckles) TULIO Not a word though? RAMEY No. I pray it was the Vatos 'cuz I'm starting to get that feeling. TULIO Cartel always makes an offer. RAMEY Maybe they did. TULIO MS would've captured and tortured us for the cash location by now, doesn't sound like a favor to me. Tulio and Ramey enter into the main room where Francis and Gerald stand behind a bloodied, tied up Vato, 32. FRANCIS (TO TULIO) Nothing. TULIO (TO GERALD) Gloves. Gerald tosses over a pair of bloodied rubber gloves. TULIO (CONT’D) (letting gloves fall) Don't toss me bloody gloves, motherfucker. How am I gonna catch them? GERALD (TO TULIO) Shit, sorry. 72
VATO (chimes in) Ya'll idiots. TULIO (TO VATO) Says the only one caught? Tell me smart guy, why are we beating you? VATO (spits blood) You think we took out your crew. TULIO And did you? GERLALD (TO TULIO) His name is Gustav. GUSTAV (TO TULIO) No. TULIO If you give us specifics we may let you work for us. Gustav doesn’t speak. Tulio studies his eyes, realizing he needs a push, he cracks Gustav directly in the nose. Gustav, dazed, watches Tulio and Ramey confer. He knows it's over but if he's going out, he's doing anything possible to fuck these fucking assholes. GUSTAV (TO TULIO) No torture, please. They kept it close. I didn't know till after. TULIO (TO RAMEY) Who's left? RAMEY No one ranking we haven't heard from, few street level guys. GERALD (TO GUSTAV) One punch bitch.
TULIO (TO GUSTAV) You broke the peace. GUSTAV (TO TULIO) That's the game. You weren't one of us, faggot! TULIO (TO GERALD) I want to know how. Burn in hell, Gustav. 73
GUSTAV (intense) Bon voyage, Tulio! See you soon you fucking pussy!! Tulio and Ramey head to the back entrance. Gustav jeers louder and louder until Gerald gags him. TULIO (TO RAMEY) (walking) I wanna make sure Gustav isn't lying. Perez's info was good, take twenty off his debt. Gustav’s muffled screams are heard off-screen. RAMEY He's arresting L.B.T. right now. TULIO (coughs) Fucking basements.
EXT. STA FOOTBALL FIELD/REAR WOODS (STA PROPERTY) - NIGHT THE CROWD roars off-screen as John slides down the leaf ridden hill in the woods behind the field in full St. Thomas football gear, face painted. ALEX adorned in heavy face paint sheds a tear of joy in front of the deafening crowd cheering his name...
INT. VENNER'S PASSAT - NIGHT - TRAVELLING VENNER (TO JOHN) I didn't know you were that quick. The announcer was going mental. JOHN Where are we going? VENNER Wherever I say. I'm the getaway driver. John admires Venner’s veracity as they speed down the dark, wooded road. Moments like these help him forget for awhile.
INT. MR. CANZA'S CLASS - DAY ZOOM IN: JOHN and SAM barely listen to Mr. Canza’s lecture on the current welfare state. Sam signals John. 74
John raises his hand in the hopes of inciting a few day suspension so he can get things ready for their next hit. MR. CANZA What, John? John mutters something indistinguishable. MR. CANZA (CONT'D) Did you have a question? JOHN (clear) About what!? MR. CANZA (ignoring) So in the case of Jamal Redship- JOHN (O.S.) Bullshit! MR. CANZA (TO JOHN) Get out. JOHN (TO MR. CANZA) (imitating) Wehhh, I'm a baby. NICOLETTE Get out, John! Samantha and Venner mock Nicolette. JOHN Wehhh. Mr. Canza storms over to John. MR. CANZA (hovering) Stand up...(grabs his arm) This time I'm walking you in. Nicolette smiles but JOHN doesn't budge. Mr. Canza struggles to no avail. JOHN (TO MR. CANZA) Can't even lift a baby. Samantha’s jaw drops. MR. CANZA (wretching) Get the fuck out! 75
JOHN (TO MR. CANZA) Aww, who's the baby now? John stands up toe to toe with Mr. Canza and whispers something in his ear. Mr. Canza’s face drapes in utter shock. John smiles, slaps him on the shoulder and exits. NICOLETTE (MR. CANZA) I heard what he said.
Mr. Canza stands flustered.
CUT TO:
INT. THE SHACK - DAY (LATER) John and Sam imitate Canza’s earlier reaction then digress. SAM (TO JOHN) Three days is perfect. JOHN Trackers might be a trap now. SAM Keep watch, numbers are filed off regardless. (standing) I'm meeting Samantha at the Whale Wall. JOHN Have some good old fashion American fun. SAM I think it's good we plan in the shack. Lately, this horrid, fleeting feeling seems like it's carrying his memory away and I need to fight to make it stay. JOHN Like if you lose the pain, you'll lose him. SAM Yeah. Coheed and Cambria's-Three Evils plays it's last forty seconds, merging with the scene. JOHN Pull the trigger... SAM It is getting better. 76
JOHN I told you it would. SAM Should've listened. Sam exits. John drums the desk, happy for Sam’s love. Three Evils plays louder...
EXT. PRESCOTT PARK, PORTSMOUTH, N.H. - NIGHT (LATER) Sam and Samantha walk and talk as if they don't have a care in the world. A Mid-Summer Night's Dream performs in the distance. Couples watch from the grass.
INT. JOHN'S BASEMENT/SHACK - NIGHT John spins the dial on his dad’s safe- TIME LAPSE John cleans Mr. Robinson’s M-4 on Max’s shack bed.
EXT. FLEET STREET-NIGHT (LATER) Sam and Samantha stand below a well-lit rouge sign for 'AGATHA'S PSYCHIC READINGS'.
INT. AGATHA'S PARLOR-NIGHT AGATHA, 55, leads Sam and Samantha into her extremely clean but gaudy parlor showing them to their seats. Sam takes a look around catching a portrait of Rasputin and a gold shrine to Sumer. Samantha places her palm out. Agatha’s wrinkled hands massage Samantha’s smooth skin... AGATHA (TO SAMANTHA) Sure as the sun sets dear, you are a lover. You will have three children. Two names from the tree of Judea, one of the wolves. SAM Really now? AGATHA (TO SAM) She is not a grand lover? Samantha waits for Sam’s answer. SAM She is wonderful. 77
SAMANTHA Politician. AGATHA And you, sir? SAM Yes, you could say I'm sexual.
Samantha laughs. AGATHA (rolls eyes) Let me see your hand. SAM Oh, no thank you. SAMANTHA Why not? SAM ...Can't give a good reason. Agatha massages Sam’s hand. She picks up something troubling from his aura. Sam notices and gently removes her hand. AGATHA (uneasy) I see prosper in your future. A wealthy man in family and fortune. SAMANTHA Money bags, huh? Good thing if I'm having all those kids. SAM Good news. SAMANTHA (TO AGATHA) (holding out hand) Anything else? TIME LAPSE Samantha exits. Sam follows behind. AGATHA (TO SAM) That's not what I saw. SAM I know, thanks for not saying anything. What did you see? AGATHA I interpret colors and vibration-- red, loud. 78
Sam sends a quiet nod and exits.
EXT. FLEET STREET, PORTSMOUTH, N.H. - NIGHT Sam closes the door and walks with Samantha. SAMANTHA Were you talking to her? SAM Just complimented her on the place. SAMANTHA Mm, those paintings were gorgeous. My place? SAM You know what, I think I'm gonna head home. I'm too tired to even think. SAMANTHA Okay babe, want me to follow you? Sam kisses Samantha. SAM I'll be okay but talk to me on the phone. SAMANTHA Okay, good idea. They walk toward the Whale Wall. Samantha puts her arm around her love.
INT. THE SHACK-NIGHT (LATER) Sam enters to John pushing a plastic bin underneath Max’s bunk. JOHN (TO SAM) Early night. Sam walks over to the table and opens John’s Calculus book. SAM (shaking head) Always the odds. What do you have left? JOHN The evens. 79
SAM With the gear. JOHN Finished cleansing and put everything back. Four new addresses. Sam inquires to John’s half closed left eye. JOHN (CONT'D) Was bleaching the bullets and some got in my eye. SAM You see alright? JOHN Yeah, I'm fine. SAM Weird thing happened to me tonight at the psychic. JOHN Psychic? Uh oh. SAM She alluded to feeling something from my aura. She covered for me but she saw something that bothered her. JOHN What'd she say? SAM She said my aura was red and loud. JOHN That's not good. SAM If a psychic is seeing shit on me then we're emitting something, and I'd like to know what that is. JOHN Should have asked her. SAM I did. John grabs Sam’s Macbook. 80
JOHN Give me two minutes. I've got this magical device that tells me whatever I need to know. Sam begins John’s homework. SAM Shit was fucked up. Think a month is enough time for things to cool off?
JOHN I think so. We’ll play it by year.
INT. SAM'S MOM'S CAR - NIGHT
INSERT TEXT: "ONE MONTH LATER" (RED FONT) Sam and John watch Gerald step out of a familiar duplex. BLUE HONDA CIVIC idles. JOHN (TO SAM) Gerald. BLUE HONDA CIVIC pulls away. Sam writes the plate number on his hand.
INT. CHATHAM STREET HOUSE, BACK BEDROOM - NIGHT (LATER) Gerald enters to Francis and Swifty waiting, shotgun and oozie on the bed. (Spanish) SWIFTY (TO GERALD) (peering out window) See anything? Francis swigs a bottle of Cruzan. GERALD No. SWIFTY Doesn't mean it ain't there. Check your gun. Gerald pulls out his Glock .40, unloads then reloads it. 81
FRANCIS It should be the help out there, not us. I know it's been awhile but what the fuck? GERALD You've been here before. SWIFTY It was never this bad. FRANCIS (TO GERALD) You think the Vatos really kept it that close? GERALD Only way to play it, plus nothing since. SWIFTY (TO GERALD) That's how they be, hit then cool off then hit again. We were careful. FRANCIS Cartel. GERALD There's always a negotiation. FRANCIS What if there was. Tavio and Michael doing our time. MS, cartel's pup. SWIFTY That was worked out. FRANCIS isn't sure that's a fact. FRANCIS Ramirez reached out, wants me to visit. GERALD Tell Tulio? FRANCIS Ramey. Couldn't get in touch with Tules. (holding out bottle) GERALD I'm good. I'll be back around two. FRANCIS Where's your cover? 82
GERALD Elmo. He ready. Peace. (exits) FRANCIS (TO SWIFTY) Roll something up.
INT. BLUE CIVIC - NIGHT - TRAVELLING (LATER) GERALD'S P.O.V. - VACANT INTERSECTION twenty yards and closing. SAM'S TRUNK pops open. Gerald and company idle at the red light...SUDDEN gunfire shatters the left-side glass killing one T.F. bodyguard and wounding the other. John sprints up and tosses in a pipe bomb then disappears out of sight. Gerald struggles to grab the bomb. The DRIVER and REAR PASSENGER attempt to exit the vehicle... Gerald can't quite grab the bomb and screams...BOOM! The BLUE CIVIC explodes killing all passengers.
INT/EXT. ELMO'S STRATUS CAR - NIGHT (SAME TIME) Elmo’s STRATUS whips around the corner. John and Sam calmly/accurately light up the incoming vehicle with bursted fire. Elmo’s DRIVER catches a bullet in the face. Elmo pulls the e- brake, the car halts, he and two bodyguards exit- John’s LEGS sprinting. Sam’s LEGS sprinting. ELMO (TO BG #1) (referring to driver) Pull him out. BG #1 quickly removes the corpse of BURTON from the drivers seat...John and Sam from rear, opposite sides, waste the two bodyguards and wound Elmo, but Elmo squeezes off a shot grazing Sam’s side. John immediately lights up Elmo. JOHN (TO SAM) (running over) Estas bien? 83
SAM Bien. Sam checks his wound. John hoists him up. John tosses a pipe bomb into the STRATUS as Sam hobbles into the shadows.
EXT. THE DAM - NIGHT (LATER) John helps Sam out of the car onto the ground lifting up his blood soaked shirt. John runs to the trunk and grabs a bottle of rubbing alcohol. Sam deals with the pain. SAM’S GUN SHOT WOUND alcohol washes away the blood. SAM (examining wound) What does it look like? JOHN (examining wound) It grazed you. It’s not deep, no meat. We'll get a magnet for any schrapnel. SAM They might find blood but it won't be in their database. JOHN They're still on edge. SAM Nothing we didn't expect. How are we gonna get to them? JOHN (ignoring question) Get your shirt off. SAM Pull it off. JOHN Put your arms up. SAM (raises arms) Fuck. 84
JOHN Yeah, you were shot. Sam scoffs.
INT. L.P.D. BRIEFING ROOM - DAY Sgt. Delores catches his men up on the latest T.F. hit. SGT. DELORES -Similar tracker fragments were found at the scene. I say similar because the explosion- Lt. Perez leaves this bit of information out of his notes knowing Ramey will want to see them.
INT. RAMEY'S KITCHEN - DAY (LATER) Tulio enters through Ramey’s back entrance and secures the door. TULIO (TO RAMEY) (sits down) We won't be showing up to the funeral. RAMEY I got the packages over to their families. TULIO I moved the money, here's the address (hands paper). Almost, Ramey, are they saving us for last? RAMEY You thinking we should bail? TULIO (chuckles) If this is Ramirez I'm pretty sure he might have warned me. Where's your kids? They safe? RAMEY Saonia's. Drink? TULIO Yeah. Dominque went back to the Bronx?
Ramey stands and pours Tulio a glass of water from his faucet Brita system... 85
RAMEY I sent her weeks ago. TULIO What did Ramirez say to you? RAMEY They suspect an inside job. They're also starting to feel pressure inside.
Ramey hands the water to Tulio. Tulio drinks half the glass. TULIO It's possible they found out and made a deal. I don't think it's any run-off Vatos, do you? RAMEY (glances at drawer) No. What do we do? TULIO I'm not ready to bail. You and I need to gear up, get the answers ourselves. RAMEY Old times. Heard Francis has a meeting with Ramirez tomorrow. TULIO Then we find out what he's talking about...Francis, huh? RAMEY Did you come by to feel me out? TULIO No, Ramey. I came here for your help. Get your silencers.
Ramey understands what they have to do and how they have to do it.
INT. ORLANDO'S CAR - DAY - TRAVELLING Orlando and his family head back from Gerald’s funeral. Maria cries. He takes a turn onto Fuller Street seeing Sam and John loading an Aspen van with shovels and probing tools. ORLANDO'S P.O.V. - JOHN and SAM as he passes by staring directly back. 86
Orlando continues down the street perturbed by a single thought. Unaware, John and Sam continue to load the van.
INT. SGT. TOOMEY'S OFFICE - DAY Sgt. Toomey shows Mr. Robinson footage of John and Sam’s first killing. Mr. Robinson notices a gunman adjust their shoulder before entering, he makes the connection.
INT. THE ROBINSON'S BASEMENT - DAY (LATER) Mr. Robinson opens the safe and checks his weapons for signs of use.
INT. FRANCIS' PLACE, LAWRENCE, MA - NIGHT ORLANDO'S P.O.V.- TULIO opens the door seeing Ramey and Francis in the kitchen.
INT. THE ROBINSON'S DINING ROOM - NIGHT Til Tuesday-Voices Carry plays softly. PAN IN on The Robinson’s enjoying a delicious woodcock dinner. Mrs. Robinson (sicker) enjoys the view of her two favorite men. Mr. Robinson watches John closely, his focus moves to his shoulder...the song grows LOUDER...
INT. MR. ROBINSON'S OFFICE - NIGHT (LATER) -Mr. Robinson pushes John into his office and slaps his bad shoulder. JOHN Agh, what the hell? MR. ROBINSON Do you know who the Tres Filios are? JOHN No. What? MR. ROBINSON (steps forward) Sargent Toomey showed me a video of a murder. One of the assailants had a bad shoulder. 87
JOHN Okay... MR. ROBINSON John, I know the way you move, I made you. Did you know about the camera? John recognizes his father unequivocally knows he's guilty. JOHN I'm not a murderer, they're murderers. MR. ROBINSON John, this is so bad. I literally cannot think of anything worse. Did you know about the camera, really? JOHN Yes. Do the cops know? MR. ROBINSON I know! I need to know everything, every detail. How'd you get into my files? John looks surprised his father figured out this bit of information. Mr. Robinson gives John a firm look to proceed. JOHN I cleaned your keyboard and used a blue light to decipher the keys you pressed from the oil on your fingers. MR. ROBINSON Jesus. JOHN They murdered Max! It wasn't the two guys that went in, they were paid! It's supposed to be done by me. MR. ROBINSON And Sam. Call him over. (off JOHN'S reluctance) John, I'm your father, I'm here to help. Call him. JOHN I loved Max like a brother. MR. ROBINSON I know, but this is extreme. 88
INT. FRANCIS' LIVING ROOM - NIGHT Tulio, Orlando, Ramey, and Francis attempt to make sense of ORLANDO'S news. FRANCIS (looking through blinds) Perez mentioned there was the ex- FBI guy helping with the case, maybe him and a friend acting vigilante. FRANCIS (CONT’D) Nothing from Perez on how they tracked us? RAMEY Nothing. This could all be bullshit. Those two kids worked for the kid's dad before, right? Maybe they just kept working there. FRANCIS And Gustav confessed. TULIO Because he wanted to fuck us. RAMEY These hits are too pro for kids, maybe the father and another. Orlando looks ill as the conversation mutes. FLASHBACK: SLOW MOTION: ORLANDO'S P.O.V. - JOHN and SAM load the Aspen van as he drives by. He knows its them, he can feel it. BACK TO SCENE: ORLANDO Max used to hunt with one of them. They know how to use guns, if not them, the father. TULIO (blows out his mouth) We get their information. At this point they're gonna die innocent or not. ORLANDO I'm in. 89
Tulio glares at Ramey.
INT. MR. ROBINSON'S OFFICE - NIGHT (LATER) John and Sam sit across from Mr. Robinson divulging the entirety of their plan. JOHN (TO MR. ROBINSON) -We stole plates from parking lots near Lawrence. Burned our clothes and destroyed the plates after each job, and you know about the crime scenes. SAM (TO MR. ROBINSON) When we stole them we wore disguises. MR. ROBINSON (sarcastic) Oh good. Did you use the same car? JOHN Different car each time. Mr. Robinson waits for the answer... SAM We used my mom's car one time. MR. ROBINSON Where did you learn how to do this? John gets a text. It reads 'Call me. We need to discuss your future'. John immediately exits. MR. ROBINSON (CONT'D) John? SAM (TO MR. ROBINSON) We practiced our run and gun at the dirt pits, for strategy, mainly online, some books. I'm gonna destroy my Macbook- Sam’s voice fades... Mr. Robinson continues to listen, utterly astonished.
INT. HALLWAY - NIGHT John dials the number and listens... 90
TULIO (V.O.) Is This John Robinson of the Portsmouth Robinson's? JOHN Who's asking? TULIO (V.O.) I bet you could make a guess. JOHN If I don't will that save me time? TULIO (V.O) Yeah, I would be concerned with time too if I were you. John continues to listen... TULIO (V.O.) Didn't hang up yet, good. You can assume I know where you and your friend Sam Sawyer live, with your parents. You know who this is, so just assume the predicament you're in. Be astute. JOHN Why are you calling me? TULIO (V.O.) I'm giving you a chance to save your family. I assume you got information from your father without him knowing, that safe to say? (beat) Maybe I call this into the police and you all go to jail, then we have some real fun, or, you and your friend get in your car and meet me. John knows the best strategic move is to let Tulio know they'll comply, playing dumb is futile. JOHN How did you find out? TULIO (V.O.) Doesn't matter, you're in this conversation. JOHN Will it be quick? TULIO (V.O.) No. 91
JOHN If we go, I need your word Sam goes quick or no deal. TULIO (V.O.) You have my word Sam goes quick. I want a time and place in one hour. John, I'm doing you a favor, if you pull anything or kill yourselves, your family dies horribly. John hangs up and ponders the next move before entering Mr. Robinson’s office.
INT. TULIO'S KITCHEN - NIGHT (LATER) Tulio, oddly calm, watches two local teenagers outside help their grandmother with groceries. Ramey sits at the table, panicked. RAMEY (TO TULIO) If the street finds out, if the elder's find out- TULIO -We're fucked. At least it ain't the cartel though, you were wrong, Ramey. RAMEY What do we tell them? Tulio opens a cabinet, grabs two glasses, a bottle of Patron, pours two shots and hands one to Ramey. Both take a moment of silence as life long friends, cheers and imbibe. TULIO Tell them we're hitting a lawyer and investigator. Let everyone know they'll be receiving two hundred k each for sending the message. RAMEY They took everyone because I killed that kid. TULIO So will we, brother. This won't be our story. Orlando covertly listens from the doorway. He doesn’t like what he’s hearing about going after Sam and John’s families. 92
INT. GUY'S HOME OFFICE, SOMERVILLE, MA - NIGHT INSERT TEXT: SOMERVILLE, MA (RED FONT) GUY CURCIONE, 44, former FBI partner to Mr. Robinson, cleans his mustache of meat-pie, crumbs fall on his desk and cell phone as it vibrates. SERIES OF SCENES: A) Guy’s wife waives good-bye to her husband as he reverses down the driveway. B) Guy moves two large, black duffel bags into the trunk of a 1998 black Audi S-8 in a low end parking garage. C) Guy smokes a cigarette as he merges onto 95-N. D) Guy surveils The Robinson’s house from a distance before entering. E) Guy crosses the street with two black duffle bags.
INT. MR. ROBINSON'S OFFICE - NIGHT (LATER) Guy has already heard the news... GUY (TO SAM AND JOHN) How did you find them? JOHN Magnetic G.P.S. trackers we attached to their cars. GUY (TO MR. ROBINSON) I didn't see this coming. I thought this was for us. (to SAM and JOHN) At the very least, what were you thinking? SAM (TO GUY) They killed our best friend and got away with it. Guy studies Sam’s unrelenting eyes. MR. ROBINSON (TO GUY) We don't wanna get you into anything, if you go, I ask you to leave your bags. GUY (TO MR. ROBINSON) (firm) John's my godson. They're coming, that's for sure. 93
SAM (abrupt/irate) They wanna kill my family.
Mr. Robinson sees the killer within Sam for the first time.
GUY Sam, you better cancel that party. SAM (TO GUY) (collecting himself) Okay. Sam exits. Guy looks at Mr. Robinson making sure he saw the same thing in Sam’s eyes. GUY (TO JOHN) What else did Tulio say? JOHN (TO GUY) That if Sam and I surrender he'll leave everyone else alone. MR. ROBINSON That ain't happening. JOHN They could still tell the police. GUY Maybe.
Guy checks the window facing the street to see if the coast is still clear. MR. ROBINSON I don't think they want a spotlight on the fact a couple teenagers took out most of their gang, but they're coming. We need to hit first and by 'we' I mean me and Guy. JOHN No way. MR. ROBINSON (TO JOHN) You're not in the dark anymore. This is a different fight in which you have no experience. JOHN We have some experience. GUY (TO JOHN) Not like this. 94
JOHN All due respect, this is not your choice. We're going in, just us.
Mr. Robinson takes an intimidating step toward his son. MR. ROBINSON Oh yeah? You speak for Sam? JOHN Yeah, I do. MR. ROBINSON (selling) This is too much, John. They're in strike mode and they know we know, so we have to do things that we don't have time to teach you. That's it, that's all. John begins to exit. Mr. Robinson stops him, knowing this is the last chance to make him understand. MR. ROBINSON (CONT'D) I can't let you do this anymore. You're my only son. JOHN I'm so sorry, dad, I really am. Mr. Robinson recognizes that John won't budge. MR. ROBINSON ...What the fuck is happening?
INT. ORLANDO'S CHILDREN'S BEDROOM - NIGHT Orlando lay awake between his two sleeping children debating what path to take, loyalty or integrity.
INT. THE ROBINSON'S BASEMENT - NIGHT (LATER) Mr. Robinson examines his notes. The T.V. shows a quad-screen of security cameras monitoring the property. Guy prepares guns. Sam screws a tip on a pipe bomb. John’s phone rings. Everyone diverts their attention to the call.
INTERCUT: INT. THE ROBINSON'S/ORLANDO'S - NIGHT ORLANDO (into phone) John? 95
JOHN (V.O) Who is this? ORLANDO (into phone) Orlando. John rolls his eyes but listens... ORLANDO (CONT'D) (into phone) I saw you and Sam the other day driving home from my cousin's funeral. I suspected, but you confirmed it. JOHN (into phone) You lead Max to his death and abandoned him. This is what happens, Orlando. ORLANDO (into phone) I'm calling to let you know they're not waiting for you, they're coming for your family. JOHN (into phone) Why are you telling me this? ORLANDO (into phone) Max would've never put me in a situation like this, like the one I put him in. My friends, cousins...I would've been fine if they killed just you two, not your family. That's why, now listen.
Orlando proceeds to divulge Tulio’s plan for revenge--
INT. THE ROBINSON'S BASEMENT - NIGHT MR. ROBINSON (TO SAM AND JOHN) Your advantages are surprise and firepower. (loads ammo drum into silenced M-4) Sam raises his brow to John in disbelief Mr. Robinson is even helping them out, accompanied by the fact the battle of their lives is about come. John responds with an understanding glance. 96
INT. GUY'S CAR - NIGHT Guy keeps lookout down the street from the Sawyer's residence; silenced MP-5 by his side.
INT. THE ROBINSON'S 2ND FLOOR HALLWAY/MASTER BEDROOM - NIGHT John leaves Sam’s side entering Mrs. Robinson’s bedroom. Sam texts Samantha. John watches his mother sleep soundly, maybe for the last time. No ones getting near her.
INT. ROBINSON'S GUEST BEDROOM - NIGHT Mr. Robinson enters, John behind. MR. ROBINSON Take a seat. John sits. MR. ROBINSON (CONT'D) This is some serious shit, John, not anything any of us deserves. That being said, Guy and I broke down the mission. If you can eliminate the hit squad and go unrecognized you'll return to the dance. Guy and I will protect the houses but you and Sam still keep an eye out. If you cannot get to them, call us and return here. If there's heat, hide out where you can then we'll meet you. I have eighty thousand cash if you need to leave the country, your college fund in action. You are not to push your luck. Understand? JOHN I do. What if Tulio doesn't go? MR. ROBINSON That may happen, we'll adjust accordingly. I won't miss anything again. I'm sorry I didn't catch it. I love you so much. JOHN I love you too. (embracing) I'm so scared. I'm a killer now, dad. MR. ROBINSON So am I, it's how we survived. 97
John looks to his father... MR. ROBINSON (CONT'D) Before you were born Guy and I were working a case and had a C.I. He was giving us information on an Armenian outfit in East L.A. One night, our informant misses a meeting, then no contact. We come to find out from a few illegally planted wiretaps that our C.I. had been tortured to death and during that torture gave up our names. The Armenians announced they would send the F.B.I. a message, your mom was pregnant with you. We knew where a meeting was going to be so we planted C-4 and got most of them there. The rest we took out soon after. I understand what you do for love and this family takes care of it's own. So come back.
John wants more than anything to come back, it just may not be in the cards this time.
DISSOLVE TO:
INT. JOHN'S ROOM - NIGHT (LATER) John enters to Sam sitting solemnly at his desk. JOHN (taking seat) Confirmed with Tulio, I think he believed me. SAM (analyzing) He's generous with time because he's coming. JOHN You trust Orlando? Sam shakes his head "no". JOHN (CONT'D) Talk to Samantha? Sam nods 'yes'. JOHN (CONT'D) What'd she say? 98
SAM She wanted me to come over for a quickie before the party. JOHN I never get the booty call. SAM Can't go to jail, can't run. I guess they all have to go. JOHN Not much has changed. SAM (laughs) Everything's changed. JOHN Right. We were good, till we weren't. SAM How it always happens.
John nods knowing it is how it always happens...the unknown.
INT. ROBINSON'S BASEMENT/GUN ROOM - NIGHT Mr. Robinson loads magazines, keeping an eye on the TV. John and Sam enter. Sam heads over and helps him load. John admires the pair for a moment, he gets a text from Orlando telling him the time the hit squad is going to leave.
INT. THE ROBINSON'S MASTER BATH - DAY (NEXT MORNING) The Lovers-Shepard of a Stray Heart plays SERIES OF SCENES: A) Mr. Robinson stares into his reflection over the bathroom vanity mirror, face wet, the room shadowed grey, he prepares mentally for what he must do-
DISSOLVE TO: B) John staring into his reflection... C) Orlando checks his phone from the doorway of a sleeping Maria. 99
D) Francis splashes hot sauce on fried eggs in a pan, the sizzle can be heard from the other room where Tulio, Ramey and a few assassins go over a map of Portsmouth, N.H. E) Sam lay awake on the Robinson's couch thinking of Samantha. He imagines them strolling, she puts her arm around him.
INT. THE ROBINSON'S MASTER BEDROOM - DAY (LATER) Mrs. Robinson struggles to get out of bed. Mr. Robinson enters. MR. ROBINSON (TO MRS. ROBINSON) Lay back down. MRS. ROBINSON Did he leave yet? MR. ROBINSON He didn't want to wake you. MRS. ROBINSON Did he kiss me goodbye?
Mr. Robinson takes a seat on the bed. MR. ROBINSON Of course. MRS. ROBINSON I'm not going to be remembered by my son as a weakling who couldn't get out of bed. MR. ROBINSON Remembered? Stop it. If you think you can make it without the big hurl, let me know. MRS. ROBINSON (succumbing) I suppose he wouldn't want to see his mother puking on the hors d'oeuvres. MR. ROBINSON (tucking her in) I'll take plenty of pictures. MRS. ROBINSON (touching face) You are so handsome. Watching you walk across the front quad, god damn, I will miss you. 100
MR. ROBINSON You're not going anywhere. MRS. ROBINSON Promise? MR. ROBINSON (embracing) I do. Mrs. Robinson tightly embraces her one true love.
INT. DEVON'S BATHROOM - DAY (LATER) John and Sam sit atop the counters; tuxedos adorned. Both maintain their nerves before show time. JOHN (TO SAM) I got into Michigan? SAM What'd they give you? JOHN Full ride. SAM Fuck you. JOHN I wrote a letter putting this all on us just so you know. SAM Me too. I said we bought our weapons in Lawrence, grabbed more from the gang after we killed them. JOHN That's good. SAM Who else did you write?
John fiddles with the faucet handle hiding his nervousness. JOHN My dad and mom, and Venner. SAM How much time? JOHN Not long. You know it's amazing, this feeling, that it's almost over, all I wanna do is scream. 101
SAM Let your weapon do the screaming. Pull the trigger- JOHN -And the nightmare stops. SAM (standing) I'm gonna do everything I can to make this all go well for us. JOHN I know. I love you, Sam. SAM Love you too, brother. John and Sam embrace. SAM (CONT’D) The last thing these fucks are gonna see is their friends dying next to them. For Max. JOHN Our friend. SAM Our brother. Sam and John look themselves over in the mirror then exit. SERIES OF SHOTS: Edward Sharp and the Magnetic Zeroes-Home plays in sync with the series of upcoming scenes. A) Sam and John exit the bedroom into the hallway. B) down the stairs... C) Samantha and friends converse in Devon’s crowded, decorated backyard. D) John and Sam enter the back hallway- E) Mr. Robinson looks over pictures of John in his office, M- 4 by his side, security camera in full view. F) Guy watches Devon’s from Mrs. Robinson’s car. G) The Klein’s laugh it up with the CHENG’S in Devon’s kitchen. Alex, Devon and Klein sneak out to smoke a bowl. H) Mrs. Robinson lies in JOHN'S bed admiring photographs from throughout the years; track trophies in view. 102
I) Orlando receives a text from Ramey as he watches Ramey’s hideout from afar. Orlando texts John. (whistling) SLOW MOTION: Sam and John enter onto the back yard stairwell. Samantha and Eleanor converse adjacent to the SAWYERS and STUARTS. Sam walks over to Samantha giving her the kiss of a lifetime. Adjacently, John explains to their parents 'the excuse' as they try not to stare at the kissing lovers. Samantha comes too. The party looks upon the spectacle. SAMANTHA (softly) Whoa. SAM (TO SAMANTHA) I'll meet you at the dance, have to help John with this leak until the drying company arrives. SAMANTHA Stay clean. Sam sends a wink, Samantha takes it all in.
EXT. BROX DIRT PIT - DAY (LATER) (song; whistling) Sam and John check and load their weapons on the hood of Guy’s S-8. GUY’S AUDI S8 driver's side door shuts; speeds off.
INT. BASEMENT/RAMEY'S HIDEOUT - DAY Tulio and Ramey side by side, arms crossed, watch 7 SICARIO'S prepare weapons and supply bags. On a separate table 750,000.00.
EXT. DOWN THE BLOCK FROM RAMEY'S HIDEOUT - DAY Guy’s S-8 creeps to the stop sign. 103
EXT. RAMEY'S (HIDEOUT) PORCH - DAY 7 Sicarios exit onto the front porch, down the stairs, into a BLUE FORD EXPLORER and GREEN TOYOTA CIVIC.
INTERCUT: INT. GUY'S S-8/SICARIO'S CIVIC - DAY - TRAVELLING SAM'S P.O.V. - CAMRY and EXPLORER seventy-five yards ahead and closing. SAM (TO JOHN) Get ready. John texts Guy then rotates his shoulder. Sam speeds up. An LPD COP CRUISER suddenly pulls onto Broadway behind the CIVIC. The CIVIC DRIVER continues with caution... BART (SICARIO) (studying DRIVER) Steady. TIME LAPSE: 1 MINUTE JOHN (TO SAM) We're getting on the highway. ALL 3 vehicles enter onto 495-N. Sam separates pistol from pipe bomb on the front passenger seat with his right hand. SAM (TO JOHN) Blow the tires out if we go more than a mile. ...The LPD cruiser takes the first exit. SAM (CONT'D) Oh, a break. BART'S P.O.V. - COP CRUISER exits off the highway. Guy’s S-8 speeds toward the Civic. John and Sam adorn their masks. SAM (TO JOHN) (CONT’D) Make sure they know. Guy’s S-8 covertly slides next to the Civic’s rear right side. John lowers the rear left window and raises his weapon. 104
He shatters the glass with sufficient, silenced gunfire killing all rear passengers. Sam hits the gas. John takes out Bart and the Driver with ease. Sam tosses in a pipe bomb then Puerto Rican slides right, across the open lanes. The Explorer’s Driver sees blood spatter on the windshield from his rear view mirror as the Civic drifts into the median...BOOM! The Civic goes up. An EXPLORER PASSENGER shockingly points out Sam and John on their right side, only two lanes apart. The Explorer Driver sighs, their guns are in the trunk.
INT/EXT. S-8/EXPLORER - DAY - TRAVELLING SAM (TO JOHN) Make sure they fucking know! John exits out the sun roof putting the Explorer in his sites and lets the silenced M-4 with drum rip as Sam swerves toward. EXPLORER PASSENGERS (SICARIOS) berated by gunfire; their bodies shuffle and jitter. Upholstery and glass pepper their flesh. The air bag explodes sending white powder throughout. The Driver slumps over the shifter. John leans into the Explorer spraying the dead bodies. Sam throws in a pipe bomb and hits the gas. The Explorer and it's deceased drift into the median. John watches the Explorer with child-like wonder...BOOM! The Explorer goes up. John sits back with a big grin. Sam cuts across the grassy median onto 495-S pushing John against the side of the car. JOHN (TO SAM) They know!
Sam smiles.
EXT. AERIAL VIEW 495 SOUTH - DAY - TRAVELLING Guy’s S-8 speeds down the highway past the flaming Explorer and Civic. (song ends) 105
EXT. MARKET BASKET PARKING LOT - DAY (SAME TIME) Sgt. Delores directs the fire department to put out the flaming diversion that is a Honda Pilot courtesy of Guy. Guy, from a distance, takes note at the plethora of police cruisers at the scene and speeds off.
INTERCUT: INT. TULIO'S ROOM/RAMEY'S HIDEOUT - DAY Tulio frustratingly tries to get Bart on the phone while the hired guns wait for an update. TULIO (hangs up/dials RAMEY) You talk to Bart yet? RAMEY (into phone) No, he missed check-in by ten minutes now. TULIO (into phone) You should've fucking gone! I'm coming over. (hangs up) RAMEY (TO SWIFTY) (hangs up) Gear up. Tulio's on his way. SWIFTY (TO RAMEY) What happened? RAMEY (TO FRANCIS) Tell Nicolas to get the Mountaineer ready. SWIFTY (TO RAMEY) Ramey, what's up? RAMEY (TO SWIFTY) I don't know, just get the shit ready. Francis readies his pistol and opens the front door to Sam and John coming in hot. Nicolas, on the curb, dead from a head shot. JOHN (TO FRANCIS) Hey. (shoots FRANCIS in the face) A departed Francis falls back into the living room. Sam and John light up Swifty and TWO BODYGUARDS. Ramey, catches a bullett in the gut and falls into the kitchen. 106
Sam runs upstairs, at the top he's met with a barrage of bulletts. Instinctively, he falls back and slides down the stairwell, letting his M-4 rip apart the second floor plaster, driving the shooter (CALEB) back. JOHN (TO SAM) (CONT’D) (gun on kitchen) You good!? SAM (taking cover) Good. One or two up there! (returning fire) John carefully turns into the kitchen finding Ramey on the floor, bleeding out.
JOHN (TO RAMEY) Ramey, right? John leads Ramey into the living room. SAM (TO RAMEY) Who's upstairs? Tulio? Ramey, hurt and in shock, helplessly stares down at his dead friends. Sam returns fire up the stairs.
INT. RAMEY'S HIDEOUT/UPSTAIRS BEDROOM - DAY Caleb nervously reloads an AK-47.
INT. RAMEY’S LIVING ROOM - DAY (SAME TIME) Sam keeps focus on the outside and stairwell. Tires screech off-scree. Sam removes his mask and checks the window seeing Tulio and crew disperse. SAM (TO JOHN) (peering out window) They're here. Seven. Four short range, three long. I just saw Tulio but I don't have a shot. Ramey accepts his situation. Sam sprays up the stairwell. John removes his mask. RAMEY Your boy fought to the death. He shouldn't have died like that. Go out the back. Live--for him. SAM Come on, Ramey, you know we're gonna kill your whole crew. John. 107
John beats Ramey’s teeth in with the butt of the M-4. Sam douses liter fluid up the stairwell and sets it ablaze. SAM (TO JOHN) (CONT’D) This is it. JOHN (SAM) I'll take left, you right. John bumps Sam’s fist. It’s go time.
EXT. RAMEY'S HIDEOUT - DAY Tulio and crew guns drawn, move cautiously toward the porch. RAMEY'S FRONT DOOR flies open, all three exit. Sam, behind Ramey, M-4 to his skull. John covers the seven assassins.
INT. RAMEY’S UPSTAIRS BEDROOM - DAY (SAME TIME) Caleb watches Tulio and his men creep closer but no shot. Smoke seeps in the room, he tries to leave but fire encompasses the hallway.
EXT. RAMEY’S HIDEOUT/STREET LEVEL - DAY Tulio is shocked by the brutality they've shown Ramey, he fears for his best friend's life. TULIO (TO SAM AND JOHN) Do the right thing and save your family. SAM (TO TULIO) Are you fucking kidding me? Did we not just take out your hit squads? JOHN (TO CREW) Your leader is a fucking moron. TULIO The cars were for you. John chuckles. TULIO (CONT'D) Your family shouldn't suffer because you don't realize your situation. 108
Ramey desperately tries speak. John scans the 7. TULIO (CONT’D) One of your friends died! One! Let him go or I will not stop with you! Sam looks intently to John. Tulio awaits. John nods. JOHN (TO TULIO) (convincing) No harm to our families. Tulio stares on, wild-eyed. JOHN (CONT'D) Sam, let him go. Sam executes Ramey then sprays the sicarios, hitting Tulio in the arm and wounding another. John wastes the two on the left. Both parties take cover behind cars and return fire... John shoots underneath the car hitting Dissario in the ankle. Tulio, Eduardo and Christian return fire/retreat for better cover. John runs and guns down the street, gaining position, using cars for cover. Bulletts shatter car glass all around him. Sam pops up from behind an adjacent vehicle and shoots Dissario in the neck, killing him. Eduardo and Christian lay down heavy fire from across the street pushing Sam down. John, further down the street, lights up Eduardo and Christian’s position then disappears behind a car, moving closer, reloading on the fly. Tulio, Eduardo, and Christian divert their fire to a moving Sam. John pops up, closer to TULIO'S position returning fire. TULIO (TO EDUARDO AND CHRISTIAN) (covering/firing) They're dividing us! EDUARDO (TO TULIO) We got five minutes till cops.
CHRISTIAN Less. TULIO (TO EDUARDO) Cops? Nigga we might not live. 109
Sam shoots Christian in the face, fragmenting his skull. Tulio lights up Sam’s position. John shoots a retreating Eduardo in the back, neck and head instantly killing him. Caleb shoots from the window, barely missing Sam. John and Sam return fire from different locations, sending bullets and glass into the room. CALEB hits the floor. Sam and John redirect their fire toward TULIO. HONDA ACCORD and ACURA (TRES FILIOS BACKUP) speed toward the battle. TULIO (CONT’D) (directing cars) Over there! Thirty yards! John arrives at Sam’s position, shooting at the incoming vehicles. SAM (TO JOHN) (returning fire) I'm going up. John nods and returns fire on both enemy positions. Sam fires on Caleb’s position then sprint's away. John places precise shots into the incoming ACURA and ACCORD then toward Caleb, emptying the M-4, he immediately switches to his Glock. SAM runs through the front door of the burning hideout, up the scorched stairs, into the bedroom, surprising/killing Caleb. Without stopping Sam jumps out the window, down the roof and onto the yard, firing upon Tulio and the incoming vehicles. John reloads the M-4 and returns fire until empty. Sam does the same. Acura and Accord screech to a halt; five passengers make it out. DOM (TO TULIO) Same amount? TULIO (TO DOM) You got it. SAM'S P.O.V. - 4 APPROACHING SICARIOS lay down heavy fire. SAM (TO JOHN) (quietly) Four incoming. 110
John checks for an opening and returns fire, a bullet grazes his neck. JOHN (TO SAM) Fuck! How close are they? Tulio and a bodyguard cross the street. Two other bodyguards board the Acura. JOHN (TO SAM) (CONT’D) I'm going left. SAM Now. (cover firing) John sprints out. Acura flies toward. A SHOOTER out the window lights up John’s position making him dive back behind a car. Sam fires at the Acura but is hit in the arm. ROARING, he empties the clip. John, attempting to return fire catches a ricochet in the side, using the cars as cover he leaves behind a trail of blood. Acura swerves left, behind a building. Tulio and his men advance. Off-screen cop sirens GROW LOUDER. TULIO Move! (to DOM, B.G) We ain't got much time. Two sicarios run and gun on Sam and John’s positions in a last ditch effort. Sam hunkers behind a Toyota ready for anything. John makes his way back toward Sam under heavy fire. Tulio visually closer now. JOHN (TO SAM) (returning fire) Split! Sam breaks left out of sight, dividing fire/causing disorientation among the sicarios. Sam pops up killing one of the sicarios then back down out of sight. JOHN (O.S.) (CONT’D) Now! John and Sam rush the sicarios from different positions. Out of nowhere the ACURA whips around the corner. 111
SAM (TO JOHN) They're coming around again! BOTH fire upon the incoming Acura and multiple shooters. Sam is shot in the right breast, falling back, he struggles for cover. Tulio and a sicario move in quick for the kill. JOHN (seeing SAM shot) Nooo! John runs and guns toward Sam’s location but is hit in the side, he falters but throws himself over a car as bullets pepper the hood. Tulio and the sicario advance on Sam, lighting up the surrounding area. TWO PIPE BOMBS fly over the car, courtesy of Sam, onto Tulio’s position, both split for cover and dive behind cars. BOOM! BOOM! Sam pops up returning fire...An ACURA SHOOTER lights up Sam’s position pushing him back down. John sprints out behind the Acura, lit pipe bomb in hand, he hucks the bomb shattering the rear window, hitting the driver in the back of the head. Acura passengers struggle to escape... SLOW MOTION: JOHN (no sound but the scratching of shoes on pavement) turns and sprints back. The Acura goes up, engulfing all. Cop sirens SOUND closer as John makes his way to Sam. SICARIO (TO TULIO) Let's go! TULIO (TO SICARIO) Keep the fire on! (pointing) Alleyway, down the sewer! John checks his wound and reloads against a flaming Mazda. Sam slaps his face for composure. JOHN (TO SAM) Good? SAM Good. JOHN (TO SAM) (helping him up) Almost there, I can feel it. 112
Sam spits blood on the Mazda window, John lights and throws two pipe bombs in Tulio’s direction then both lay down heavy fire. Tulio and the last two sicarios retreat and return fire against the blood red sun. EIGHT COP CRUISERS race up the street. TULIO (panicked, taking fire) Right there! (returning fire) Ramey’s hideout inflamed in the background. Bullets keep Tulio and his men down. One sicario returns fire but is hit in the elbow then chest and neck. The other sicario abandons Tulio but is lit up and falls weird. Tulio watches his last man gurgling blood/clenching throat, reminiscent of Max’s death. Two more bullets seal his fate. Tulio sighs, readies himself, then darts toward the alley but is shot twice. He crawls while sending off pot shots until hit again in the ass. COP TIRES SCREECH off-screen. TULIO (CONT’D) (wailing) Fuck you! Come on!! Sam and John run up on Tulio. John disarms and lifts him up. Sam sits down against a car. SAM (TO JOHN) (bleeding out) I'm gonna sit down. MULTIPLE COPS move in. Ramey’s hideout in the backdrop, INFLAMED. Sam opens his blood soaked vest showing four pipe bombs and removes one. JOHN (TO TULIO) This took a while. TULIO (TO COPS) Shoot! Shoot now! Perez! John cracks Tulio with his pistol then uses him as cover against the police. MULTIPLE COPS creep closer. JOHN Look at him, Sam! He's all ours! 113
SAM (TO TULIO) (coughs blood) This is the end of your life you piece of shit. SGT. DELORES (TO JOHN) Drop your weapons! Now! SAM (TO JOHN) Do you feel it? Everything came together for us. JOHN I can feel it. SAM (TO JOHN) I think I'm going a little early, brother. JOHN (TO SAM) (tearing) It's okay. Thanks for always being there, Sam. I've got this. SAM (TO JOHN) I know you do. Sam directs his attention forward and smiles at the ever glowing light... SAM'S P.O.V. - SAMANTHA smiles in her beautiful, azure dress. SAM (TO SAMANTHA) (CONT'D) I'll be under the covers. Sam smiles, lights the fuse and passes away. TULIO (TO COPS) (gargled) Do something! John snaps out of it and hits Tulio again. JOHN (TO POLICE) (tearing up) Get back! Back! (coughs blood) Tulio watches the army of police in front retreat, so close yet so far. SGT. DELORES (TO OFFICERS) Get back! Get the fuck back! Bomb! Bomb! JOHN (TO TULIO) So close and nothing they can do. 114
Tulio looks around for any sign of help...nothing. He glares back at John with intense hatred. All he's worked for, gone because of one bar fight. John smiles back. NEIGHBORS watch Tulio’s demise from their windows, every wail destroys Tulio’s reputation more and more. JOHN (TO TULIO) (CONT’D) I bet you had plans. TULIO Was he fucking worth your lives? JOHN (TO TULIO) Yes, and all of yours. Tulio’s expression collapses like a dying star. TULIO (drooling blood) I'm not gonna beg, faggot. Not like- JOHN -No, you're gonna scream. John sticks the M-4 into Tulio’s gut and lets it rip. Tulio screams as his body spits blood and guts. JOHN (CON'TD) (CONT’D) (TO TULIO) See you soon, motherfucker! I'm gonna do this forever! TULIO'S P.O.V. - JOHN laughing sardonically. A SUDDEN WHITE LIGHT fills up the screen.
EXT. DEVON'S BACKYARD - DUSK Bruce Springsteen-Drive All Night plays DOLLY through the kitchen onto the porch where Samantha and Venner wait for their dates, the party ensues around...
DISSOLVE TO:
INT. SHACK - DAY (BEFORE) Sun seeps in every single window creating a magnificent autumn glow that encompasses the empty room. 115
SAM (O.S.) What do you think they'll say?
JOHN (O.S.) Doesn't matter, they'll know what a friendship's worth.
THE END (roll pictorial scenes of the cast)