(this screenplay is registered with WGA)
(scene numbers are used to locate where you last were reading)
Part 1 : Robbery Twins
FADE IN
1 EXT CITY STREET – DAY
A large office building sits ominously towering over a crowd
of cop cars in the street. It's grim facade gives a worn look
to the otherwise immaculate area. On screen it reads "Friday
Morning - Los Angeles Plaza Bank" The building gives shelter
to the hail of bullets emerging from the line of police
cruisers. Smoke and dust rise as the gunfire hits the
building.
2 INT BANK VAULT – DAY
Cristy (20's) is trapped inside the main vault. Her
strawberry locks dangling, tattered and a mess. A bit of
blood is smeared on her cheek. She checks the clip on her gun
to learn that she was out of bullets.
CRISTY
Shit!
She reaches for a nearby bloody knife. The knife was next to
the body of a dead girl that lay face down. Cristy stands up
and runs away from the body. On a nearby wall clock, the
hands begin to reverse several days very rapidly. The
reversal of time then quickly stops and time begins to move
forward.
3 INT ANOTHER BANK - MORNING
The lobby of the bank is much more crisp and gleaming clean
then the previous bank. On screen it reads "Tuesday Morning –
1st Street Bank" A group of men wearing black hooded masks
enter the building from various doors in the bank. They are
each carrying an automatic rifle and almost instantly upon
entering begin firing.
A moment later Rebecca (early 30's) enters clad all in black,
but unmasked. As she is listening to various screams, she
pulls out her pistol and fires strait up.
REBECCA
You know what to do - shut up and let my
men do what they need to do. I WILL shoot
people.
4 INT UNDERCOVER POLICE CAR - MORNING
Cristy is in the passenger seat of an unmarked police
cruiser. Her partner, Kent, walks out of the building they
were parked in front of. KENT (early 30's) enters the
driver's side. He is sweating when he sits down and begins to
drive away.
CRISTY
Why are you so out of breath. Her British
accent comes through clearly.
KENT
The elevator was out. Such a pain in the
ass to walk up and down three flights of
stairs just to question a suspect.
CRISTY
Did you find who you were looking for?
KENT
Yeah, but he wasn't helpful worth shit. I
still don't know where the stuff was
fenced. I'm gonna try a source down on
vine that might help. As the undercover
sedan turns a corner, a voice comes over
the police band on the radio.
RADIO VOICE
Attention all units, 44 in progress at
central and plaza parkway.
Kent speeds up towards the incident. The car abruptly stops
in front of a large office building. Kent and Cristy leave
the vehicle and enter the building.
INT BANK LOBBY - MORNING
They pull out their badges, flashing them to access the crime
scene. Kent takes charge right away as he is the senior
officer at the scene.
KENT
(To the bank manager)
Why wasn't the alarm sounded when it
happened?
BANK MANAGER
The robbers had apparently disabled the
alarm before they even entered the
building.
Kent enters the main vault
KENT
Did they enter or steal anything from
here?
BANK MANAGER
No they just took money from the counter
stations.
The bank manager points towards one of the stations that had
been shot up
KENT
These guys are getting more and more
violent.
Kent looks around to the front of the bank and then back
towards the teller's stations.
KENT (CONT'D)
Interesting. You see, what these guys
have done is gotten away from every bank
job they have done for seven years. There
is little to no evidence. We do have a
few leads but nothing substantial. There
is usually six of them outside of the
main leader.
CRISTY
Who is the main leader?
KENT
Their leader?
(beat)
She is virtually untrackable. She has
been on every job they have done, yet no
one can seem to find her. All we know is
that her name is Rebecca. She is between
5'7" and 5'9" with red hair. I have a few
possible leads on her but I'm not sure
how solid they are. This won't help but
put another APB out on her.
Kent sees a small metal fragment, not more then half an inch
long lying on the floor. It glistens unusually bright. He
bends over picking it up and examines it. Pausing a moment he
takes a closer look at the fragment. His hand slides the
small item into his pocket. A nearby officer hands a small
baggy with a bullet in it to Kent.
KENT (CONT'D)
We need to do a scrub of this place from
top to bottom to see if anything odd
comes up.
Just as he says this, several men in black suits enter the
bank. JOHN (mid 30's) leads the men. NATALIE (early 20's),
John's partner is right behind him.
KENT (CONT'D)
DAMN IT!
JOHN
Alright tough guy, you can go back to
your local Joes and street fights.
Your jurisdiction ended when you walked
through that door.
KENT
How's that?
JOHN
Listen, I don't have time to argue with
you. We've been through this before -
banks are mine.
Kent and Cristy turn to leave.
KENT
Screw you.
JOHN
It's a bank dumbass.
5 EXT CITY STREET – DAY
Kent and Cristy went on their way outside towards their
patrol car. Kent was blaring with frustration.
KENT
(Pulling out the necklace)
At least I have this.
6 INT CONVENIENT STORE - DAY
On screen it reads "Near Sacramento".
An old beat-up Mercedes sits out in front of a convenient
store. Behind it there are a couple of sedans and a pick-up
truck parked.
Inside there are less then half a dozen people. Four people
move towards the cashier. An elderly gentleman is having his
merchandise rung up.
CASHIER
That'll be $11.34
The elderly man pulls out his wallet and begins looking
through it for the money. He pulls out several dollars and
lays them on the counter and then starts looking through his
change.
SARAH (early 20's), a blonde girl behind him seems to become
more and more impatient. Behind her JACK (late 30's) wears a
plain white t-shirt and jeans, quite scruffy looking. BOBBY
(mid 20's) stands next to Jack - his brother. Jack, pulling
out his gun and grabs Sarah. Bobby follows suit and pulls out
his gun as well. Sarah has Jack's gun pointed at her head in
a viciously threatening manor. At the same moment Bobby aims
towards the cashier.
JACK
This is a hold up. Shut up, give us money
and no one gets killed.
BOBBY
(to cashier)
I want what you've got! The cashier opens
the drawer to the register. His look is
more of apathetic disdain then fear.
CASHIER
There's only 48 dollars.
BOBBY
(Disgusted)
What about the safe?
CASHIER
Time lock. Why don't you try a bank?
BOBBY
Already tried that.
JACK
(Interrupting)
Shut up Bobby!
Bobby looks a moment at the customers, then turns and points
his gun at them.
BOBBY
Alright! Everyone give me your wallets.
Moments later Jack and Bobby come rushing out of the store,
Sarah still as their hostage. Jack pushes her over to Bobby,
who grabs her.
Bobby opens the back seat door and shoves Sarah in, following
her. Jack gets into the driver's side and starts up the
Mercedes. The car speeds off, racing down the small highway.
7 INT STOLEN CAR - DAY
While Jack drives, Sarah is in a panic, crying.
JACK
Shut the hell up!
Bobby gives Jack a look of discontent through the rearview
mirror.
BOBBY
We're just gonna hold onto you until we
are safe.
GIRL
And when is that?
JACK
(Agitated)
He said when it's safe. Don't you hear
bitch?
Bobby tries to be more calm to lessen the girl's worry.
BOBBY
What's your name?
SARAH
Why the fuck do you wanna know
cocksucker!?
JACK
(Yelling)
HE ASKED! NOW ANSWER HIM FUCKING WHORE!!!
BOBBY
(To Jack)
You can settle down. There's no need to
yell. And can you curse a little less
damn it.
JACK
I'll yell and fucking curse as much as I
fucking damn well please!
BOBBY
(to Jack)
Yeah - that's going to help things along.
(to Sarah)
I'm just curious as to who you are.
Sarah was aggravated and shaken, nearly appalled at Bobby's
behavior and calmness.
SARAH
Sarah. Happy now prick?
BOBBY
No reason to get nasty.
SARAH
You point a gun at me and take me hostage
and you say there's no reason to get
nasty? Fuck you – you little shit! My
brother would wipe the pavement clean
with you if he were here.
JACK
Bring it on bitch.
BOBBY
I'm trying to be nice here.
SARAH
Take your courtesy and shove it.
8 INT KENT'S OFFICE - EVENING
Kent is at his work desk, searching through his files. He
pauses a moment in contemplation. There is a picture on his
desk that he stares intensely at. Suddenly his concentration
is broken when the phone rings. It takes a couple of rings
before he fully feels ready, but he finally answers it.
KENT
Kent here.
The other end of the phone mutters something
incomprehensible, informing Kent of something that he finds
interesting.
KENT (CONT'D)
Yeah, I can be there. Meet me tomorrow at
the usual spot.
9 INT REBECCA'S HOME DEN - EVENING
A phone is hung up by ALEXANDER(late 30's), dressed in a nice
business suit. He proceeds to walk into the adjacent room
where he meets up with Rebecca. This is the same Rebecca that
ran the bank robbery.
ALEXANDER
Sorry. You know how business is these
days. Always getting pages at the worst
times.
She looks at Alexander with slight amusement.
10 EXT FARMHOUSE BARN – NIGHT
On screen it reads "Near Fresno".
Jack, Bobby, and Sarah are sitting around a small fire inside
the barn. Jack is reading the paper, slouching in a relaxed
position.
BOBBY
Come on Sarah. I don't want you to be
like this.
SARAH
Then you shouldn't have kidnapped me.
Jack looks and quietly chuckles for a
quick second. Bobby glances to Jack then
looks back at Sarah.
BOBBY
I had no choice – you know that.
SARAH
Spare me. You guys are a bunch of loser
idiots.
Jack looks up from his paper for a moment.
JACK
Bitch.
BOBBY
You don't know what we've been through.
If you were in our position.
SARAH
(Interrupting)
If I was in your position I wouldn't have
robbed the store in the first place.
BOBBY
You didn't grow up how we did. You
probably had all the nice stuff. Mercedes
for your 16th and a new wardrobe every
Christmas.
SARAH
It's my fault that your parents were
stupid?
Jack makes an outburst while giving an evil look.
JACK
Listen little bitch. Don't talk about our
parents. EVER!
Jack ruffles his paper trying to get back to where he was
reading.
SARAH
My point is that I earned everything I
got. I have a Miata that I pay for. I buy
all my own clothes and I work hard for it
and I don't need to be dragged 150 miles
away from my life just for some ass
hole's kicks.
BOBBY
Try living in the slums and see how far
you get. We don't have your advantage.
SARAH
There's no excuse for what you do.
BOBBY
I don't think you...
JACK
(interrupting)
BOBBY! She ain't gonna see it. She's just
too blind to understand lowlife like us.
Jack pulls out a cigar and lights it up. He puffs on it as if
it is one of his few true pleasures.
JACK (CONT'D)
The way I see it – you are a hostage.
Deal with it because we ain't gonna let
ya go babe.
SARAH
(To Bobby)
I thought you were the leader.
JACK
I'm in control. I'm the man with the
plan. He just talks alot. Bobby moves
over to Sarah and sits next to her to try
and make her feel better. All three were
silent for a moment.
BOBBY
He doesn't mean to be mean, but he's
right. He IS my big brother after all.
SARAH
He's still an uneducated rude asshole.
BOBBY
You're no miss happy-go-lucky yourself.
Sarah gives a look of frustration as she becomes bitter and
sarcastic.
SARAH
Look here! Hostage against her will! NOT
a happy situation!
BOBBY
I'm sorry. I know it's bad, but I'll try
and make it easy on you.
Bobby stands and takes off his jacket to place it on Sarah's
shoulders to warm her up a little. Sarah instinctively turns
and slaps Bobby on the face. He's a little stunned by the
violence as he sits back down on the ground. Sarah is
confused by the act of kindness from her captor, but attempts
to keep a steel harsh exterior.
11 INT KENT'S OFFICE - NIGHT
Kent is sitting at his desk, looking at a small framed photo.
KENT
Mom? Dad? I wonder what life would be
like if you were here today.
He places the frame face down on the desk. He then stands up
and walks to the window. Just then Cristy walks into the
room.
CRISTY
What's on your mind?
KENT
Thinking about my family. Trying to find
one of my sisters.
CRISTY
What happened? Did she run away or
something?
KENT
I don't wanna talk about it right now. We
need to worry about the thieves, who they
are and what they are doing.
CRISTY
I think we'll find them soon. Are you
sure you don't wanna talk about your
sister?
KENT
I'll be fine.
Cristy notices a large map of California spread across one of
his walls. There are pins splattered across Southern
California, with other areas marked sparsely. There were both
green and red pins with a few blue pins. Cristy points to the
map.
CRISTY
What's the map for?
KENT
I'm following the crime spree. Each pin
is a hit spot where bank or other jobs
have been done. Sometimes they go into
other facilities. Green are normal, red
have fatalities and blue are possible
targets. They are real professionals - in
and out before the call is even made.
CRISTY
How long have you been trying to stop
them?
KENT
I've been on it for Two years now. Before
me I think it goes back about five years.
I'm getting close now, I can feel it.
Kent looks at the map a moment.
12 INT FBI REGIONAL OFFICE - NIGHT
John is looking at a laptop computer. A map of southern
California is on the screen with dots spattered across,
nearly identical to that of Kent's pins. He looks up from the
laptop to pay attention to Natalie. She is running a meeting
of several FBI agents.
NATALIE
The killer is 6 feet tall, blonde hair
and brown eyes. He goes by the name
"Sharkie" and frequents pool halls every
night. He's claimed four victims so far.
Your team leader for this assignment will
be Agent Johnson. He's already out in the
field on this one and will be meeting up
with him at house 2683.
Everyone gets up from their seats and prepares for the
assignment. Natalie goes over to where John is standing. They
began walking down the hallway.
NATALIE (CONT'D)
I have the stats on our material.
JOHN
Did I ever tell you I am amazed at how
good you are? I use to think you were too
young to be a lead agent but you proved
me wrong. OK, let's have it.
NATALIE
It's a rare metal.
JOHN
How rare?
NATALIE
Well, let's just say that if you want it
you'll have to be rich enough to make it.
The two stop in front of the elevator
doors
JOHN
Man made?
John presses the button to call for the elevator.
NATALIE
A composite. I found traces of 36
different elements in it. Two of them we
are trying to still determine.
JOHN
Have you narrowed it down to where I
might find it?
NATALIE
That's being done now. I'm compiling a
list of people we should pay attention
to. Those who can afford to do this and
those who might have a history or an
interest and especially those whose
lifestyle changed six or seven years ago.
John pauses a moment and thought while
waiting for the elevator.
JOHN
I'm going to check some leads on this. Do
me a favor and show no one else anything
about this. The elevator doors opened and
John got on.
NATALIE
What are you going to do? John presses
the elevator floor button.
JOHN
See a man about a girl. The doors close
and ding.
13 INT MANSION DEN - NIGHT
Two wine glasses toast with a chime. The light is a bit dim.
Not only are bookshelves filled to capacity but the desk
holds several tall stacks of books. Of the two people
toasting, one was Rebecca. The other, WILLIAMS(60's or 70's)
is obviously wealthy and sophisticated by what he wears and
how he holds him self.
REBECCA
So what is the next assignment you want
me to do?
WILLIAMS
I do believe we are getting around
towards the final one of the season.
REBECCA
Central?
WILLIAMS
Our two students ought to be ready. I
have everything established.
REBECCA
What is the time table?
WILLIAMS
Three to five days. Any more then that
and we are caught.
REBECCA
Do you think the FBI and LAPD suspect
about the clues?
WILLIAMS
Did our men drop them as predetermined?
REBECCA
Yes.
WILLIAMS
If I am correct about our friends in law
enforcement.
They'll be stumbling over their own
shoelaces and won't figure it out before
it's too late.
REBECCA
I have also already taken care of some
personnel disposal. I'll arrange to have
things moved up to this Friday.
WILLIAMS
Very good. Very good indeed.
14 EXT FARM HOUSE - MORNING
The sun rises over the old abandoned farm. Jack pulls up in
front of the barn in a new dark blue sedan. He gets out of
the car and walks inside the barn. Bobby and Sarah are
sleeping near each other next to the remains of the small
fire. Jack walks over and lightly slaps Bobby on the face to
awaken him.
JACK
Bobby. Wake-Up. We gotta go.
BOBBY
(mumbling and groggily)
What the hell?
(beat)
Coffee?
JACK
When you get up and we leave. I got a new
car so grab the bitch and let's go.
Jack walks away towards the car. Jack pulls out a magazine
from the passenger seat of his car and starts flipping
through it.
It is a home design magazine, very uncharacteristic for
someone such as Jack. He flips through the magazine a moment,
waiting on the other two to join him. A moment later Bobby
and Sarah stumble around the corner. They see Jack leaning
against the new car, flipping through the magazine.
BOBBY
Where's our car?
JACK
I dumped it and picked up this one to
replace it.
Jack continues to flip through the magazine.
BOBBY
Why?
JACK
They're looking for that one, that's why.
Besides, this one's faster with better
handling. You two go in the house and get
cleaned up, then I'll tell you our plan.
Bobby and Sarah walk over to the house
and went inside.
15 INT JOHN'S OFFICE - MORNING
John is sitting at his desk going through a folder. He
reaches for his cup of coffee that sits on his desk. He
accidently bumps it, tipping it over. It spills over several
files scattered over the desk.
JOHN
Damn it!
He races to clean up the spill, using a box of tissues. As he
is cleaning the spill, Natalie walks in.
NATALIE
(sarcastically)
Intelligence community watch out, genius
at work.
JOHN
Ha ha. Very funny.
Natalie lays a folder down on John's "In Box".
NATALIE
I've gotten back the report and narrowed
it to 16 people.
JOHN
Any front runners?
Natalie hesitates a moment.
NATALIE
You're not going to like it.
JOHN
Who?
Natalie hesitates a moment before opening the folder.
NATALIE
Williams
John holds a look of intense worry and disgust.
JOHN
That fuckin' bastard.
NATALIE
Told you, that you wouldn't like it.
JOHN
The first true break in the case and I
gotta be related. Thank god my wife ain't
alive to see her father's shit.
NATALIE
There's more.
JOHN
What more?
NATALIE
The DEA is about to move in on his
warehouse.
JOHN
When?
NATALIE
In just a few hours.
John sits down at his desk, looking at the information
Natalie brought him. He sits contemplating.
16 EXT CONVENIENT STORE - DAY
The new stolen car is right in front of the store.
17 INT STOLEN CAR - DAY
Sarah is sitting in the backseat of the car, her left wrist
handcuffed to the seat. She begins looking around to see if
the coast was clear. She pulls from her front right pocket a
small plastic baggy with several small pills.
She opens the baggy and removes one of the pills and places
it in her mouth, swallowing it. She seals the baggy and put
it back into her pocket. She then sits back and did not move
much after that.
18 INT CONVENIENT STORE - DAY
Jack holds his gun to the head of the cashier, while Bobby is
busy unloading the cash register of all money. Bobby then
walks to the office with a bottle of whiskey.
Getting to the office door he throws the bottle to the
ground, shattering it. He then took his cigarette and throws
it near the liquid mess. The whiskey instantly catches fire.
Jack swiftly races back to his brother and the bags of cash.
Bobby picks up the bags of cash and that is when Jack fires
his pistol. Blood splatters everywhere as the cashier falls
backwards to the ground, dead. Bobby is a little surprised at
the killing as Jack begins moving outside. Jack stops at the
door.
JACK
Come on Bobby. He was going for a gun. I
didn't really have a choice.
The two brothers race out of the store and back to their car.
The building behind them quickly bursts into one large
bonfire. Sarah watches the scene unfold before her eyes.
Her view is a bit more intensely intimidating. To her the sky
grows dark and grey as things begin moving slower. She sees
an evil fire coming from the brothers' eyes that angered her
beyond comprehension. Sarah then looks to the building where
she catches a glimpse of an evil shadow perched near the edge
of the roof.
19 INT KENT'S OFFICE - DAY
Kent is on the phone where he has been on hold for some time.
Cristy walks into his office.
CRISTY
Who are you talking to?
KENT
I'm checking on my sister.
CRISTY
The one you said was missing?
KENT
No - that was my youngest sister. This is
my other sister. She didn't call me last
night.
CRISTY
So who's on the phone.
KENT
I'm calling the Sacramento police. I have
a buddy on the force up there.
(give attention to the call)
Yeah, she's driving a '91 Subaru Legacy,
plate number U04 KUH9
(beat)
It was?
(beat)
OK I'll check, thanks.
Kent hangs up the phone and turns to the computer sitting on
his desk. He types a little when a database screen comes up.
He types in a few words and some information comes up.
KENT (CONT'D)
What the hell did you get into this time?
CRISTY
What is it?
KENT
My sister's car was found at a parking
lot of a club. She must have been out
late last night. I don't need this right
now!
CRISTY
What are you going to do?
KENT
I've got people out looking for her. I'll
find her sooner or later. Someone will
see her.
20 INT DRUG FACTORY - DAY
Williams is walking through a large warehouse with many
shelves. Each shelf has lots of bins on them, and each bin is
packed full of pills and other assorted types of drugs.
Williams is being accompanied by Rebecca and three others.
WILLIAMS
(to man in suite)
Is the new batch shipped?
BUSINESS MAN 1
We sent it out a few days ago. Not we are
just waiting to hear back from our
salesmen.
BUSINESS MAN 2
There has been positive word on the
street but we don't know how effective it
is yet.
Williams grabs one of the pills and holds it between two
fingers and takes a closer look. He then tosses it back.
WILLIAMS
(looking at his watch)
Press harder. I want people calling for
this stuff. Listen gentlemen, we have
some unwelcome guests coming soon. They
should be here any minute. Take the...
Suddenly alarms start sounding. Like a uniform platoon,
everyone except for Williams and Rebecca drop everything they
have and pull out automatic rifles.
Quickly Williams and Rebecca move towards a nearby door. A
large dock door on the other side of the warehouse is blown
in as DEA and FBI SUVs burst in. Sirens are blaring as the
gunmen in the warehouse begin firing on the vehicles. The
SUVs pull in and abruptly stop.
Agents begin to pour out of the vehicle at an alarming rate
and return fire instantly. John is in the lead vehicle, which
pulls in the farthest. He races out of his SUV and dashes
down one of the halls. He catches fire coming at him from
some gunmen in the offices, which he quickly picks off.
21 EXT DRUG FACTORY / WATER FRONT - DAY
Natalie is outside the warehouse directing the other agents.
She is organizing the entire operation, sending dozens of
agents around and inside the building.
22 INT DRUG FACTORY OFFICES - DAY
John is still on the trail of Williams, briefly having lost
sight of his target.
A moment later he again catches up with the group. One the
business men acts as Williams' bodyguard and begins firing
rounds from his automatic pistol towards John. John dashes
out of the way and pops up from several yards away, popping
several shots into the gunman.
Williams is already entering into a secondary building with
John tailing close behind. Once deeper into the building,
Williams pulls out a small remote controller. As he walks, he
presses a button on the controller, activating a detonator.
The large warehouse behind them begins to burst into
explosive flames and a massive fireball.
John quickly turns to see the explosion and had just enough
time to make a dash behind a heavy wall.
23 EXT DRUG FACTORY / WATER FRONT - DAY
A second later the front half of the warehouse explodes. The
blast tosses Natalie along with several other agents into the
water. A couple of the SUVs are blow back from the inside and
landing near the edge of the water.
John is knocked down by the blast and slightly shaken at
first, but quickly gets up and recovers himself as he
continues the chase to find his "madman". He rushes down
several more corridors and through several other rooms.
Approaching the end of the building he preps himself as he
rams the door leading outside.
24 EXT DRUG FACTORY - DAY
The door bursts open revealing John barrelling through to the
outside air. It is all for nothing, for Williams and his
associates are nowhere to be found. No trace but for a car
driving off far into the distance. John, dissatisfied with
the outcome, turns and heads toward the front of the
building.
Natalie is drenching wet as she is attempting to gather and
bandage the agents still left alive. Ambulances began
arriving.
The building is still ablaze with fire fighters arriving to
battle the disaster. John slowly wanders up around the corner
of the building, badly scratched and scrapped from the
explosion. His attitude was of major discouragement as he
caught his first sight of what truly happened.
NATALIE
Tell me you have anything.
JOHN
He got away.
NATALIE
Did you at least learn anything?
JOHN
Nothing outside of that I think he was
expecting us.
NATALIE
How would you know that?
JOHN
I saw him blow up the building with a
detonator.
NATALIE
DAMN IT! How many agents are dead because
of this?
JOHN
I KNOW! You think I wanted this? They
both stand in silence a moment. Natalie
looks at John while he tries to inventory
the damage a little better.
NATALIE
Is this what you had in mind?
JOHN
Are you blaming me for this?
NATALIE
No, but I wasn't expecting to pull dead
agents out of the fucking water today!
John gives Natalie a look of frustration.
NATALIE (CONT'D)
What now?
John throws his cell phone against the wall in a burst of
anger. The phone breaks into several pieces.
NATALIE (CONT'D)
You needed that phone. John goes over to
a nearby agent.
JOHN
(to agent)
I need your phone.
John pauses a moment while he dials a phone number.
JOHN (CONT'D)
Get that fixed will ya?
John starts talking on the phone as he walks out of the area
towards a nearby SUV.
25 EXT WATER FRONT - DAY
From a rooftop across the water, Williams spies down on
Natalie and John. Behind Williams stands Rebecca, still
playing the ever loyal assistant.
WILLIAMS
Is everything set?
REBECCA
We have to go with things Friday or we
lose our window, but it should work.
WILLIAMS
I don't want to hear about how it SHOULD
work. I want to hear about how it WILL
work.
REBECCA
Sorry sir. Friday you will own a very
large sum of money, doubling your
personal worth.
Williams stops looking through his binoculars a moment and
turns his attention towards Rebecca's desire.
WILLIAMS
And you?
REBECCA
What about me?
WILLIAMS
Is Friday the job where you take your gem
REBECCA
It is. Friday I will be in possession of
a large jewel that means more to me then
anything else that exists.
WILLIAMS
Then what will you do?
REBECCA
I won't need to do anything else. This
has been my goal for seven years and I
will have it AND get back at those that
kept me from it seven years ago.
26 INT POOL HALL - DAY
Kent is standing at the bar in a pool hall. He was sipping on
some coffee from a cup. Alexander walks up and stands next to
Kent holding an envelope. He is dressed in a nice black suit
but wearing glasses this time and a blonde wig.
ALEXANDER
You know we are going to have to stop
this. It's getting too risky. If she
finds out what I am doing then I don't
know what I am going to do.
KENT
That won't be a problem soon. If I am
right, then I'll have enough evidence
soon to bust the whole group and her boss
will no longer be a problem to anyone.
ALEXANDER
Why haven't you guys moved in already?
KENT
I am the only one who knows all this
info. I can't risk anyone else finding
anything out about you or Rebecca's boss.
I think there is a mole somewhere working
for Rebecca. Keep in mind the bank jobs
are Federal and that jack ass keeps
knocking me off the crime scenes.
ALEXANDER
I wish I could help you with that but
like I said before, I can't find any
information about any of her team. If she
has been using the same team for seven
years then they all stay hidden and if
she changes them each time then it could
be anyone.
KENT
I just want the big guy. He's the one who
killed my parents. He's the one I'm
after.
ALEXANDER
Remember our promise. Nothing is going to
happen to her - right?
KENT
Like I said, she'll be fine. I can
manipulate the situation to make sure of
that.
(beat)
Follow me.
Kent walks over to a pool table followed by Alexander. Kent
racks up the pool balls and Alexander breaks.
KENT (CONT'D)
How can I trust you?
ALEXANDER
How long have I been informing you?
KENT
A year now.
ALEXANDER
Do you think I am really a blonde? Hell,
I don't even wear glasses.
KENT
We've had this conversation before.
ALEXANDER
And how many times did I bull-shit you?
KENT
Two or three.
ALEXANDER
Then you don't know if I'm honest or not.
Alexander paused a moment to make a shot.
The eleven ball dropped into a pocket.
KENT
Why should I believe you?
ALEXANDER
What you didn't figure out is that I
never really gave you bullshit info. You
just never understood what I was telling
you. Listen, in the past year you have
learned more then your predecessor did in
six.
Alexander paused again to make another shot. The twelve ball
drops into a pocket.
ALEXANDER (CONT'D)
I'll only tell you things once. It's up
to you to put the connections together.
KENT
So you're blaming me for all this shit?
ALEXANDER
You could have caught the man you're
after - twelve months ago if you would
have listened to what I told you back
then.
KENT
What did you tell me then?
ALEXANDER
Everyone has to earn everything they get
in one way or another. I can't give you
the same information I did back then but
I will give you one name.
KENT
Why won't you just jump all the way in
and help us instead of half-assing
around?
ALEXANDER
Because I can't be found out and I don't
want Rebecca to go to jail. There are
bigger people watching you know. They
don't give a shit if a bank gets robbed
and they don't care if some people get
killed. To them there are bigger things
to deal with.
Alexander aims the cue ball then shoots it. The thirteen ball
drops into a pocket on the other side of the table.
ALEXANDER (CONT'D)
It's like that piece of metal you gave me
to look at. It goes to a special key.
It's a very rare metal.
I heard your friend John also is having a
similar piece of metal tested.
KENT
So what's it go to?
ALEXANDER
Pandora's box. You see, the key is made
of a special alloy because of this it can
not be duplicated. It leads to a lock
that can not be picked on a box that can
not be destroyed. The lock, if picked
gets destroyed and makes it impossible to
open. The box that the key opens is in a
safety deposit box. Perhaps this is yet
another reason for all the bank
robberies.
KENT
So they aren't trying to rob banks, but
they're searching for this box?
ALEXANDER
Maybe someone on their crew is. There are
31 such keys made. 12 are actual working
keys and the rest are decoys that lead to
dead ends. You know this really is so
much bigger then you and these bank
robberies.
KENT
You are talking just a box and some keys.
How can it really be that important.
Alexander aims at another ball.
ALEXANDER
Perhaps you should do some research in to
mapmaking.
27 EXT OLD CREEPY HOUSE - EVENING
Williams pulls up to an old house in his black sedan. The old
house looks like something out of the 1800's - large and
square. He steps out of the car and pauses a moment before
walking up to the front door of the house and opening it.
28 INT OLD HOUSE HALLWAY - EVENING
Letting the door fully open before he enters, Williams draws
his gun from a holster on the inside of his jacket. The house
looks as if no one had lived there for years.
WILLIAMS
You here?
He slowly walks inside, down the hall to a large kitchen.
WILLIAMS (CONT'D)
I know you're here. You're always here.
He spots some envelopes. Picking them up he looks at the
return address. He lays them back down and looks out the
window before dashing outside.
EXT OLD HOUSE'S YARD - EVENING
A man was running from the house, across the large lawn.
Williams rushes out from inside and fires his pistol -
shooting the man in the back. The man drops to the ground as
Williams casually walks down from the porch.
He walks across the lawn towards the body, aiming his gun in
the event of trickery. At the body Williams pulls gloves out
from his jacket pocket then picks up the body, throwing the
man over his shoulder.
WILLIAMS
I'm way too old for this shit. You better
not be dead or I'll be pissed. He carries
the man back up to the house.
29 INT OLD HOUSE LIVING ROOM - EVENING
Williams sits on a chair with his legs crossed. The man he
shot is laying tied up to another chair, facing Williams. The
wounded man is slightly groggy.
WILLIAMS
Why are you people following me?
The man makes no reply. He lifts his head and looks around.
WILLIAMS (CONT'D)
I know you guys are watching me. I'm not
stupid. Remember that I use to be one of
you.
The man still remains silent, and on the brink of death.
WILLIAMS (CONT'D)
Perhaps I should show you just how
vicious I can get? I know just how to
send you a message too. Now where is that
little prized possession of yours?
The man looks at Williams with hatred.
WOUNDED MAN
You touch her and you die.
WILLIAMS
That's what I expected from you. I now
know, through your actions where to find
her.
Williams raises his pistol and quickly fires into the head of
the wounded man, killing him instantly. Williams then stands
up and walks away from the body.
30 INT POLICE INDOOR SHOOTING RANGE - EVENING
Cristy practices shooting, when Kent comes in. She stops
practicing when she sees him approach her.
KENT
I've got a name for us to check out.
CRISTY
Who is it?
KENT
(looking around)
Not here.
The two quickly walk towards the exit of the shooting range.
31 EXT IN FRONT OF MUSEUM - NIGHT
Across the street from the museum Kent and Cristy are sitting
inside an undercover car on a stake-out. They are monitoring
the front entrance of the museum.
CRISTY
Shouldn't we be watching the back
entrance? Isn't that where most people
sneak into?
KENT
I put a small sensor on the back door.
Besides - this way we have a wider view
of people coming down the street.
The two briefly sit, getting comfortable.
CRISTY
Tell me more about your sister.
KENT
What do you want to know?
CRISTY
What's she like? I know you are close to
her but what is she all about?
KENT
She's not someone to be fucked with,
that's something.
CRISTY
What's her.....
KENT
(interrupting)
Listen, I really don't want to talk about
this with you right now.
CRISTY
Alright. I understand. I have a younger
sister myself and she means the world to
me. Will you talk to me sometime about
her?
KENT
Sometime - but not right now. She's a
deep part of my life and I'm not dealing
well with all this shit.
32 INT FARMHOUSE CLOSET - NIGHT
The closet door opens and Jack pushes an older couple into
the closet. Their hands are tied behind their backs and they
are gagged.
33 INT FARMHOUSE LIVING ROOM - NIGHT
Sarah has her hands tied to the chair she was sitting in and
her mouth has tape placed over it. Bobby is looking through
the blinds, out the window to the street. A moment later Jack
comes back into the living room but only passes through, and
continues down an adjacent hall towards a back room. Sarah
has a little look of fear in her eyes as Jack stares
sinisterly.
34 INT MASTER BEDROOM - NIGHT
Jack opens the door to the bedroom, revealing a girl tied up
and gagged. She looks to be no older then 14 years - young
enough to be the granddaughter of the older couple.
Each hand is tied to a separate bedpost. Jack steps in and
slams the door shut.
35 INT FARMHOUSE LIVING ROOM - NIGHT
Bobby lets his guard down and looks at Sarah.
BOBBY
Sometimes he just needs to get his ya-yas
off.
He walks over to Sarah and slowly removes the tape covering
her mouth. She struggles to grab some quick breaths of air.
SARAH
He's fucking insane!
BOBBY
No one tells him what to do and no one
stops him.
SARAH
And you're just going to let him do that?
BOBBY
He'd probably just shoot me if I tried to
stop him.
Sarah gives a slight look of wonder and disgust.
SARAH
How come you follow him around and do
what he does?
BOBBY
He's my brother.
SARAH
I know that, but he's a maniac.
BOBBY
Not really.
SARAH
You don't think so?
BOBBY
Maybe he's a little excessive, but he's
ok.
(beat)
Besides, I like some of the stuff we do.
SARAH
Like raping young girls? Kidnapping and
threatening people weaker then you?
BOBBY
That's not what I'm talkin' about.
SARAH
Then what?
BOBBY
The hold ups, and the places we go. Hey,
that was the first time I've ever been to
Fresno. Maybe I should have grabbed a
bottle of wine while I was there.
SARAH
(giving a peculiar look)
Well now you're in shitsville Bakersfield
- happy?
BOBBY
I'd be happier if you settled down.
They pause a moment.
SARAH
Do you actually like holding up gas
stations?
BOBBY
It gives me a rush like not a damn thing.
SARAH
You both are nuts!
BOBBY
It's better then out runnin an avalanche
like my cousin does. He's the real freak.
Sarah gives a look as if Bobby is weirdly psychotic
SARAH
How'd you get started?
BOBBY
Hold-ups?
SARAH
I mean where'd you start going off track?
BOBBY
I get it, you wanna know why I'm a bad
guy.
SARAH
You seem half a brain - why'd you start
doing this shit?
BOBBY
Maybe we were always like this - you know
- raised a chump by a chump. I guess the
thing that knocked us off the fence -
what happened to push us in was way back.
I was maybe 10 and he was 18. It was late
at night when it all went down.
36 INT HOUSE ATTIC - NIGHT
A young Bobby and Jack are hiding out in the attic of a nicer
Victorian house, getting high. Jack is teaching Bobby how to
smoke a joint.
JACK
(taking the joint in his
fingers)
Watch me again.
Jack put the joint to his lips and inhaled deeply. A moment
later he exhaled. Suddenly their attention is interrupted by
the sound of the front door being broken open.
37 INT FRONT ENTRANCE WAY - NIGHT
There are three men standing inside at the door, each wearing
the same type of long black trenchcoat and black fedoras. A
light breeze blew by them. Williams is the leader, a bit
younger, is standing in a domineering stance. His clothes are
a bit darker and cleaner then the others. The man to his
right holds a pistol with a silencer in his hand, ready to
fire it at any given notice. The third man is the only three
to have a mustache and he wears a pair of white gloves.
A couple quickly came to the three men. The couple, Joey and
Rosie, are dressed in nicer clothes. They are clearly Jack
and Bobby's parents.
WILLIAMS
We're here to collect. Where's the money?
JOEY
You know I don't got it right now. I need
another week.
WILLIAMS
Do you have the information we wanted?
JOEY
I don't know where they went. They
disappeared on us.
WILLIAMS
What a fuckin' shame.
The man with the pistol aims at Rosie and shoots her leg. She
quickly falls to the floor in a large thump.
JOEY
ROSIE!!!!!!!!!!!
Joey races down to help his wife.
WILLIAMS
(to the third man)
Go see where the kids are.
(to Joey)
Leave her alone and get me the money.
Man 1 is ignored as Joey starts pressing on the wound to stop
his wife from bleeding.
WILLIAMS (CONT'D)
I said leave her alone! The gunman then
fires a bullet into Rosie's other leg.
JOEY
I said I don't got it!
WILLIAMS
Real damn shame.
The gunman then fires a shot into Joey's leg, causing him to
fall on his back. Another bullet was fires into his other
leg's knee. Joey let out a loud moan.
WILLIAMS (CONT'D)
Are you changin' your mind?
JOEY
I told you the truth
The gunman then points his gun a Rosie.
WILLIAMS
You sure about that?
JOEY
PLEASE! I can't give you anything I don't
got! Why are you doin' this? The gunman
fires three shots into Rosie's Stomach.
WILLIAMS
Because I can
The third man returned and whispered something into the lead
man's ear. Williams turns to look at the third man.
WILLIAMS (CONT'D)
Don't worry, we'll take care of that soon
enough. First we have to finish this up.
Williams turned back around to face Joey
and Rosie
WILLIAMS (CONT'D)
Well, I think we have to wrap this up
now, so we'll be leaving. We are going to
leave you with a gift Joey. The gunman
then raises his gun and fires a bullet
into Rosie's head, killing her.
He then turns the gun towards Joey and fires bullets into his
stomach and chest and a final shot into the neck. The three
men turn and leave through the front door.
38 INT HOUSE ATTIC - NIGHT
Jack looks out a small attic window down towards the street.
There are some sounds of one of the men fiddling with
something. A brief moment later flames spark up around the
front door of the house.
He watches as the three men leave the house and get into
their sedan and the car drives away. Jack quickly races out
of the attic and down to the front entrance way.
39 INT FRONT ENTRANCE WAY - NIGHT
Jack races to where his parents lay, but the two victims are
already dead. The fire quickly begins to spread all along the
front of the house, consuming everything. Jack hovers briefly
over the bodies with a blank look on his face as if someone
had taken all feeling from him.
Bobby comes up behind Jack, seeing both the flames of the
fire and the dead bodies on the floor. He grabs at Jack and
pulls him away from the bodies then runs out the back door of
the house. Jack grabs a nearby photo album in the living room
before running out the back.
40 INT FARMHOUSE LIVING ROOM - NIGHT
Bobby is finishing telling his story to Sarah
BOBBY
And that is the final thing that got us
SARAH
How did you handle seeing your parents
like that?
BOBBY
It didn't even sink in until hours later.
I mean it was hard but it was much harder
on him. We were there for each other. He
raised me.
SARAH
You don't think maybe someone else should
have raised you?
BOBBY
No. No one else knows me or what it was
like.
SARAH
But maybe you would have turned out
differently
BOBBY
Are you sayin' I'm no good? Sarah seems
slightly frustrated.
SARAH
No, that's not what I'm trying to say.
You could be so much better. Killing and
stealing isn't a way to go through life.
BOBBY
It works for politicians. Besides, I
never said anything about killing anyone.
SARAH
I just....
BOBBY
You just what? You just assumed? Just
because he smacks people around and has
killed doesn't mean I have. As a matter
of fact I never have shot a single person
in my life.
SARAH
Oh really?
BOBBY
Really.
The two look at each other a moment then Bobby looks away.
SARAH
I guess you aren't as bad as I thought
you were.
BOBBY
No one's really what you expect them to
be. Everyone is hiding some sort of
secret somewhere.
41 EXT BACKSIDE OF MUSEUM - NIGHT
John and Natalie are across from the rear door of the museum.
A small road separate the agents from the museum. They are
sitting on a small three foot high dividing wall, hidden by
some trees and shrubbery. Each hold a coffee cup, slowly
sipping at it.
JOHN
We never really get to talk, do we?
NATALIE
What do you want to talk about?
JOHN
What got you started?
NATALIE
Started?
JOHN
Why you're an agent
NATALIE
Being a cop wasn't enough for me. With my
degree in forensics and psychology it
seemed like a waste to not join the
bureau. Before that, when I was a
freshman in college I decided I wanted to
find out who killed my younger sister.
JOHN
What happened?
NATALIE
Some thugs held up the store she stopped
at with some friends. All of her friends
also died.
JOHN
How'd it turn out?
NATALIE
I'll tell you when I find them. They
pause briefly as John looks away a moment
in a slight unnerved feeling.
NATALIE (CONT'D)
What about you?
JOHN
Family. My dad was an agent. My mom was
CIA. Both of their fathers were cops. All
my aunts and uncles worked either in the
bureau or as a cop.
NATALIE
Wow, I'm impressed.
JOHN
Don't be. I do my job but I'm not like
them. I don't live the job. Sooner or
later I'll be gone and none of them will
know a damn thing.
NATALIE
Going to quit soon?
JOHN
Why? You want my job?
NATALIE
No. I've got other plans. Maybe after I
find the thugs I'll go into politics.
JOHN
You won't make it.
NATALIE
(Turning to smile)
Why not?
JOHN
You got a heart.
She turns a little more serious.
NATALIE
Don't assume too much.
Suddenly a limo pulls up and stops in front of the door. It
grabs the attention of the two FBI agents. The passenger side
door opens up and out steps Williams. He was dressed in a
dark suit. He briefly looks both ways down the small street
and then proceeds to walk inside the museum. The limo slowly
pulls away.
JOHN
Let's go get him.
The two agents leave their position to follow Williams into
the museum - with their guns drawn.
EXT FRONT SIDE OF MUSEUM - NIGHT
The two cops are sitting in the car watching the front of the
museum when they see Rebecca walk up to the front door and
enter. The cops quickly leave the car and rush to the front
of the museum. They both quickly dash inside.
42 INT MUSEUM CORRIDOR - NIGHT
Kent and Cristy follow Rebecca down the hallway, staying out
of site. Rebecca walks down to the basement storage area.
43 INT BASEMENT STORAGE AREA - NIGHT
Rebecca enters the area where waiting for her is Williams.
Hiding behind some crates several yards away was John and
Natalie. The two agents watch as the two criminals begin to
converse.
REBECCA
So where are we on our plans?
WILLIAMS
Everyone is right where they need to be.
I think your idea is working wonders. Now
if we can just see where this takes us.
Suddenly John and Natalie appear from
behind their hiding spot, aiming their
guns at Rebecca and Williams.
JOHN
Try prison.
The two groups look at each other. A moment later as everyone
is silent, Cristy and Kent enter - guns drawn as well.
JOHN (CONT'D)
What the fuck is this, a party?
KENT
All we need now is your face as a pinata.
JOHN
Remember who the bad guys are.
KENT
Yeah yeah - I know, but who's making the
bust this time?
JOHN
We are, obviously.
KENT
How's that? This is city property.
JOHN
Because he's wanted for fed crimes and he
is currently breaking a federal law with
the gun he is in possession of.
Suddenly several thug gunmen show up with automatic rifles -
aiming at the FBI agents and cops.
WILLIAMS
Too bad Johnny boy. Second time you've
lost me this week, but this time you lost
everything. Just be glad she isn't alive
to see how pathetically weak and stupid
you are.
Rebecca goes to take John's gun, but he grabs her and swings
her around. Rebecca is now John's hostage.
JOHN
I'm not going down that easy.
(beat)
You're daughter would be disgusted with
you if she knew all this.
WILLIAMS
You'd be surprised as what she knew.
Rebecca elbows John in the stomach to get free. Suddenly
massive gunfire erupts all around. The four law officers dash
for cover. Williams and Rebecca make a quick race out a
nearby exit. Kent and Cristy are behind one large crate while
John and Natalie are behind two different smaller crates.
KENT
(yelling)
JOHN!
JOHN
(yelling back)
I'm a little busy now, with the gunfight
and all.
KENT
(yelling)
Don't be an ass. We need to work
together.
John looks over at Natalie a moment then back at his pistol.
JOHN
You're the ass, jack ass.
(break)
Alright - but if we survive and we arrest
anyone, they're mine. Kent shakes his
head in near disbelief.
KENT
Fine, whatever dip shit.
John and Natalie both begin to make their way to where Kent
and Cristy are. Kent blindly fires his pistol into the air as
cover for the two agents.
44 EXT ROADWAY IN REAR OF MUSEUM - NIGHT
Rebecca and Williams are standing as the limo pulls up in
front of them. The two get into the limo and it pulls away.
45 INT LIMO REAR SEAT - NIGHT
Once the two enter the limo, Rebecca discovers a teen girl
sitting quiet. The girl couldn't be older then fourteen years
old.
WILLIAMS
Rebecca - meet Michelle. I recently saved
her and plan to teach her all that she
needs to know.
REBECCA
Yeah - I bet.
WILLIAMS
We had our moments of fun together,
didn't we?
REBECCA
I was a bit older then she is though
WILLIAMS
Everyone needs to start learning when
they can. Be it at twenty or ten.
Rebecca rolls her eyes in disdain.
46 INT MUSEUM STORE ROOM - NIGHT
Kent and John reload their pistols as Cristy and Natalie are
holding the gunmen pinned down. The shooting thins a moment
as the gunmen move around a bit. The two girls use this
moment to quickly reload their guns. As the girls were
reloading - John began wildly firing up towards all the
gunmen.
Kent and the girls rush to the exit door, the same one
Williams and Rebecca escaped through. Once through, a barrage
of bullets turns the door into swiss cheese. The four race
out onto the street. The limo can be seen down the road a
bit, barely visible. The four all raced and pile into
Cristy's car. Cristy hurries to start up the sedan and speed
off as they are nearly shot.
47 INT CRISTY'S SEDAN - NIGHT
Cristy is driving down the road. The four were silent at
first. A moment later John pulled out a cigarette and began
to light it.
CRISTY
Please don't.
JOHN
Thank god we're not stayin' as a team.
NATALIE
It might not be a bad idea that we stay a
team.
JOHN AND KENT
(in unison)
NO!
CRISTY
You guys really hate each other that
much?
KENT
We just have different agendas in life.
JOHN
That's his way of sayin' he's a dumb fuck
and don't know what he's doin'.
KENT
Watch your mouth you piece of shit.
JOHN
Just follow that car and keep up with it.
I don't want to lose him again.
CRISTY
Didn't you two drive to the museum?
JOHN
We'll go back and get the car later.
Cristy and Natalie look a moment at each
other.
NATALIE
So you are Cristy. How well can you drive
this thing?
CRISTY
Pretty well, why do you ask?
Natalie looks behind the car and saw a couple of cars chasing
them.
NATALIE
Because we have some haters behind us.
Cristy speeds up to try and accelerate beyond the chasing
cars' reach. The other two cars accelerate even more. Cristy
is also attempting to keep an eye on the limo ahead of them,
making sure not to lose it.
NATALIE (CONT'D)
I think it is time we call for some local
back-up to stop Williams.
Cristy opens the glove box, revealing a police radio. Natalie
picks up the hand unit and calls in for back-up.
CRISTY
Obviously us girls don't have as much of
a problem with each other as you hard
headed men.
John and Kent are loading their guns, getting them ready to
fire.
JOHN
Well goody fuckin' for you! You two work
together and leave US alone!
Both Kent and John stuck their guns out the window, firing at
the cars behind them. One of the cars swerves before it spins
out and flips over - crashing into the display window of a
store that is closed.
CRISTY
Is he always like this?
NATALIE
Not ALWAYS. He's just a fucking grouch
today.
The other car races up next to Cristy's car. The rear seat
passenger of the other car pulls out an automatic machine gun
and tries to aim at Cristy's car. Cristy taps the break
enough for the other car to zoom past, ahead of them. She
then makes a hard left turn down a side road.
JOHN
Why the fuck you going down here? You're
gonna lose him!
CRISTY
I'm not. He turned left a couple blocks
up - and if you didn't notice, that other
car has some heavy weapons.
Cristy presses the gas petal all the way down, trying not to
hit any objects on the small road as she races down to try
and catch up to Williams' limo. The car comes barrelling out
from the small street, turning right onto a main road. The
limo comes racing out, turning right just slightly ahead of
Cristy's car. The other car then turns onto the road a few
blocks behind them. Up ahead several police cruisers pull up,
forming a roadblock.
The limo comes to a very abrupt stop. Cristy is forced to
stop very quickly, nearly hitting the back of the limo. The
other car stops several yards behind Cristy's car. Behind the
other car another row of police cruisers appear - boxing in
all three vehicles. All three men come out of the other car,
each armed with an automatic machine gun. They start shooting
off round after round into anything they could.
The four in Cristy's car duck down as the car begins getting
pelted with massive amounts of bullets. It seems as if the
four are doomed, until Cristy hits the reverse gear and
floored the car. She runs over one of the gunmen, and causes
another of the gunmen to dash out of the way. This disorients
everyone enough for several of the cops to let off a few
rounds into the two remaining gunmen. All three lay dead in
the street.
John got out of the car and carefully walks over to the limo.
He carefully opens the rear door, aiming his gun just in
case. When the door opens, they see it is empty. John quickly
moves to the driver's seat door and with as much caution
reaches to open it.
Before he can open the door, a loud gunshot rang out from
inside. John, shocked a moment, hurries to open the door to
find the limo driver dead at the wheel with a self inflicted
gunshot wound to the head. Williams and Rebecca are nowhere
to be found. John walks away from the limo, grabbing his cell
phone and dialing a number. A few seconds later a person
answers on the other end.
JOHN
He got away. He used a decoy limo to get
us to follow that instead of him.
48 INT LIMO REAR SEAT - NIGHT
Williams is standing at the open rear door of the limo.
Rebecca and Michelle are sitting listening to Williams.
WILLIAMS
So spend what you want and get her
anything she needs and remember I want
your plans to me tomorrow.
REBECCA
Already in the works.
WILLIAMS
Well good then.
He picks up a cigar and lights it, giving a sly look to
Michelle. Rebecca picks up her cell phone and presses one
button then holds it up to talk.
REBECCA
It's me. It's time for the job. For this
job you need the airline ticket. I'm
retiring this phone tonight, you should
do the same.
Rebecca hangs up the phone.
49 INT FBI HEADQUARTERS - NIGHT
John and Natalie step off the elevator onto their floor. They
casually walk towards their offices in the dimly lit section.
There are only a few other agents in the office at that time
of the night.
NATALIE
Is it really that hard for you to get
along with them?
JOHN
You feel free to waste your time but I
have better things to do then make
friends with the local PD. That's the
second time Williams got away from me
this week. Add that to when I turned a
blind eye when my wife was alive, and I
fucked myself hard.
NATALIE
You actually ignored when he did
something before?
JOHN
It wasn't even a fed crime, but I shoulda
known then and did something.
NATALIE
I wouldn't worry about it right now.
There's always a time later to punish
yourself for things you did in the past.
I think we have more important things
right now.
John enters his office as Natalie sits at her desk. John
presses a button on his phone.
PHONE VOICE
You have one new message.
John quickly picks up the phone receiver, and shuts the door.
Natalie picks up her phone and starts dialing a number.
50 INT FARMHOUSE LIVING ROOM - MORNING
Bobby is cuddling Sarah as they both were sound asleep. Jack
came into the room and sees them. He slaps them both lightly
on the face.
JACK
Wake up.
Bobby abruptly wakes up and looks around with groggy eyes.
BOBBY
Where the fuck am I?
Sarah slowly sits up. She sees that she awoke next to Bobby
and gave an irritated look.
JACK
Go get me some coffee.
BOBBY
Can't you make any?
JACK
They don't have any here. Take her with
you down to the gas station and get me
some coffee.
BOBBY
Aren't you scared that she'll run off?
JACK
She ain't gonna do nothin'
SARAH
How do you know?
JACK
Because you're too smart. I might not be
allowed to kill you yet but nothin was
said about cuttin off limbs.
Sarah has a frightened and urgent look on her face.
51 EXT FARMHOUSE DRIVEWAY - MORNING
The brother's stolen car drives away from the house.
52 INT FARMHOUSE LIVING ROOM - MORNING
Jack watches as his brother drives away. He then walks over
to the pantry and opens the door. Inside the older couple are
still bound and gagged. Jack holds up his pistol and fires
several times into the heads of the couple. After he is done
shooting, he stands over their dead bodies, staring at the
mess. He seems fascinated by what he sees. He pulls out his
knife and goes all the way into the pantry, closing the door
behind him.
53 INT CONVENIENT STORE - MORNING
Bobby and Sarah are standing near the coffee maker. Bobby is
stirring his coffee with a small plastic spoon. Sarah looks
around a moment.
SARAH
I'm going to go get a magazine. Bobby
looks towards the magazine rack.
BOBBY
Alright, but stay in that area.
Sarah walks to the magazine rack. The items on the aisle are
hidden from Bobby's sight. Sarah fakes flipping through a
magazine as she is looked at all of the small items next to
the magazines. As she is looking at the items, she keeps
glancing up at Bobby as he continues to stir his coffee.
Sarah sees a small pack of box cutters and grabs it, sliding
it into her pocket. Grabbing one of the magazines she walks
back over to Bobby.
SARAH
Do you think I can get some different
clothes?
BOBBY
There's probably some you can wear from
the house we're at.
SARAH
I want my own clothes. I don't want
someone else's panties. I feel nasty
enough as it is.
BOBBY
Fine, we'll make a quick stop at the
store so you can get a few things. Bobby
and Sarah walk towards the cash register.
54 INT POLICE INDOOR SHOOTING RANGE - MORNING
Several guns are continuously firing at the targets. Cristy
and Kent are in booths next to one another. He stops shooting
and takes the clip out of the gun, setting the gun on a small
nearby shelf and begins refilling the clip with ammo. Cristy
stops shooting and steps over to Kent's booth. She stands
looking at him in silence for a moment.
KENT
Yeah?
CRISTY
I was just thinking about the case.
KENT
What about it?
CRISTY
Do the banks have anything in common?
KENT
Trust me - I've tried all the connection
scenarios. Nothing that I've figured out
connects them.
I've tried to predict where they'll hit
and nothing has come up right. It's like
a serial killer with no pattern.
CRISTY
Everyone has a motive for why they do
things.
KENT
Their motive is money.
CRISTY
There's got to be something else. There's
easier and less risky ways to get money.
KENT
Not they amount they've gotten away with.
CRISTY
How much have they taken? Kent slides the
clip back into his gun.
KENT
Seven hundred and ten million dollars
over 7 years.
Kent aims his gun and quickly fires off seven rounds.
CRISTY
So much for the idea of easier ways to
make more money.
Kent's wireless phone rings. He removes his ear guards and
answers his phone.
KENT
Yeah?
He listens a moment to the voice on the other end.
KENT (CONT'D)
Yeah - I'll be there.
Kent hangs up the phone and places it back into his pocket.
KENT (CONT'D)
I have to go and meet someone.
CRISTY
What is it?
KENT
I just have to get some info from a
friend.
Kent and Cristy both walk out of the targeting range.
55 EXT RESTAURANT PATIO -DAY
Rebecca enters the patio and sits at a table where a man in a
suit is sitting while reading a paper. A girl about twentyone
is sitting next to the man. Rebecca is holding a tan folder.
The man lowers his paper to look at Rebecca. It's Williams,
with different hair color and now wearing glasses.
WILLIAMS
Welcome. I would like you to meet
Cynthia, my newest business venture.
Cynthia and Rebecca look at each other
with irritation.
Rebecca then sits down at a chair across from the other two.
WILLIAMS (CONT'D)
Our appointments are going to go as
scheduled. I still need your plans on
final solutions to our labor problems.
REBECCA
That is what is in the folder. Are we
going with the same wrap-up as last time?
WILLIAMS
Not just the current help but since this
is it for the operation we need to tie up
ALL our connections.
Rebecca pauses a moment.
REBECCA
Is that your new look?
WILLIAMS
For the moment. After the final job I'll
be changing again.
REBECCA
Our muscle man is bringing us some new
ammo.
WILLIAMS
Very well. Are we retiring him as well?
REBECCA
That depends on his cooperation with the
end result.
WILLIAMS
Don't let him get any sort of footing.
Have I ever told you about my first team?
REBECCA
I don't believe so.
WILLIAMS
I was doing then what you are now. One of
my first jobs I ended up having to retire
a couple of my workers because they took
liberties with some of the funds. They
forced me to retire their entire
families. It was disappointing because
they were good workers, especially
Joseph. This lesson taught me one thing I
remember more then any other.
REBECCA
And what is that?
WILLIAMS
Keep an eye on everyone. Remember this
when you are dealing with all our labor.
REBECCA
I always have been
Williams pulls out a cigar and puts it in his mouth. He
lights it up and begins inhaling. He smokes a moment before
continuing.
WILLIAMS
Do you have all the records and amounts
with you?
REBECCA
They are all in order.
WILLIAMS
So what do we have?
REBECCA
In the past seven years and seven months
we have received seven hundred nine
million, six hundred thousand dollars. On
this final job fifty-thousand is being
used for the set-up.
Rebecca lays the folder down in front of Williams.
WILLIAMS
After payoffs and your fee, how much will
I be left with?
Rebecca gives him a peculiar look and pauses a moment as she
looks around.
REBECCA
Five hundred million. There is my one
hundred and fifty million and the payoffs
have been about fifty million.
WILLIAMS
What about your husband?
REBECCA
He is unaware of anything significant.
WILLIAMS
Very well then.
Williams stands at the table with Cynthia. He takes a deep
toke from the cigar before casually extinguishing it. Taking
the folder he walks away with Cynthia clinging to his arm.
Rebecca sits a moment alone before her cell phone rings. She
looks at the phone number before answering it.
REBECCA
What is it?
Jack is on the other end of the conversation.
JACK
I'm near Bakersfield.
REBECCA
Is it done?
JACK
Yeah. Bobby and the bitch are out. I just
took care of it.
REBECCA
Good. Remember, she can't be killed - no
matter what. She has something I want.
JACK
Don't worry. I killed enough today to
satisfy me. Tonight we should be at the
next on the list in Fresno.
REBECCA
Make sure you don't kill anyone NOT on
that list.
JACK
I know all about that. Just make sure you
got my pay when I get there.
REBECCA
You will have your payment as promised.
You remember the agreement, correct?
JACK
Yeah - I know. Be there during the
fifteen minutes and make sure my brother
ain't there.
REBECCA
You understand then.
(beat)
Remember that if things are not followed
exactly, you will get NO money. Rebecca
hangs up the call and put her phone away.
56 INT FARMHOUSE LIVING ROOM - DAY
Jack slowly hangs up the receiver on the living room phone.
He sits a moment, smoking a cigarette before hearing the car
pull up to the house. Standing up, he quickly goes towards
the front door and meets the other two just inside.
JACK
We gotta get going.
BOBBY
What is it?
Jack looked at Sarah and saw her wearing new clothes.
JACK
What the fuck is this, a shopping spree?
BOBBY
She needed a change of clothes. Besides,
now she isn't as recognized.
JACK
Whatever. We gotta go now.
BOBBY
What's wrong?
JACK
We've stayed too long here. Let's get
outta here.
BOBBY
What about the old couple?
JACK
Don't worry about them. Jack guides the
two out of the house.
BOBBY
WAIT!
Bobby stops walking
BOBBY (CONT'D)
You killed them, didn't you?
JACK
Yeah, so? What of it?
Jack keeps trying to force them outside. Bobby becomes quiet
and walks outside. They all get into the car and Bobby drives
them away.
57 INT STOLEN CAR - DAY
All three are silent. Bobby is driving while Sarah is
frightened in the backseat. Jack is attempting to relax.
BOBBY
I can't believe you killed them. I
thought we were only gonna knock off a
few stores.
JACK
(frustrated)
God damn it Bobby! Plans change!
BOBBY
Don't start yellin' at me.
JACK
Listen, you just don't fuckin'
understand.
58 EXT PARK TRAIL - DAY
Kent is leaning over a railing that overlooks a large pond.
There were trees and people scattered about. Alexander walks
up from behind him and stands next to him. They both stand in
silence for a moment.
KENT
What do you have for me?
ALEXANDER
She's planning a big job. I think this
might be the final one. Kent looks up in
slight frustration.
KENT
Then what?
ALEXANDER
Then she ends the game. Listen, if you
want to get her boss and take care of
this then you better move quick or
everything is going to disappear.
KENT
What do you mean disappear?
ALEXANDER
I mean that I think she's splitting from
her boss and she's going to take a trip
for a month. She has two tickets to Asia.
I think she is going to surprise me with
a trip like she does sometimes.
KENT
This next job will be her last job, no
matter what happens.
ALEXANDER
The flight is tomorrow at 8PM so the job
will probably go down early that day.
Alexander hands Kent a folded up piece of paper. Kent looks
out across the pond as he contemplates things. Alexander
looks a moment at Kent.
ALEXANDER (CONT'D)
Remember our deal.
Alexander then turns and walks away. A moment later Cristy
walks up from nearby. Kent and Cristy stand in silence, both
leaning over the railing.
KENT
You ever had to make a bust that you
didn't want to make or break a deal that
you didn't want to break?
CRISTY
Back home my old partner was a wild man.
He didn't want to do things the way
things were supposed to be done. He
didn't want to follow a plan - so I had
to find a new partner. He was shot
because he didn't want to do what he had
to do.
They both casually walk away from the pond overlook.
59 INT STOLEN CAR - DAY
Sarah puts on a pair of sunglasses and looks out the car
window. She is smacking her bubble gum. Jack takes out his
gun and sticks the barrel to Sarah's head.
JACK
Spit it out.
She rolls the window down and spits the gum outside. Once she
was done smacking, the gun was lowered.
JACK (CONT'D)
I hate god damn smacking! There is
silence for a moment.
BOBBY
Hey Sarah, you ever heard the story of
the Robbery Twins?
JACK
Oh god. Not this shit again.
BOBBY
What?
JACK
I've heard this story fifty fuckin
million times.
BOBBY
Bullshit. I've only told it four times.
Every time I tell it is after you kill
someone.
JACK
It feels like fifty million.
BOBBY
Let me tell the story. You have your
murder thing - I have the story thing.
Jack sits back and tries to ignore Bobby.
JACK
It don't even make no sense. We ain't
even twins and it's pointless.
BOBBY
So anyway, there are these twins 100
years ago. Some say twin sisters. They
went up and down the west coast robbing
banks. One day they took a hostage when
they were holding up a train. The hostage
fought back and pushed the older sister
off the train as it was going over a
bridge. Ever since then their ghosts have
haunted every hostage.
JACK
Jesus Christ that's a stupid story. First
off - how can you say older sister when
they were twins? They weren't on a train
since they were bank robbers.
Girls back then didn't rob banks most of
the time and why would they take a
hostage? Back then a hostage woulda just
slowed them down alot.
BOBBY
Well fine then, just fuckin spoil the
whole story.
JACK
Ah - shut the fuck up.
SARAH
I thought you never took hostages.
BOBBY
Well ok - so we've taken a few.
SARAH
Enough for him to get sick of that lame
ass story?
BOBBY
Ok already - I get the fuckin point. It's
a stupid story. You got a better one?
SARAH
I might, but why would I tell you two any
of my stories?
BOBBY
It'll make the drive easier.
SARAH
Maybe later. Maybe after you two release
me I'll send it to you in the mail.
JACK
Ha fuckin ha little bitch. Now why don't
we all just shut the fuck up awhile. You
two are givin' me a headache.
60 INT BROKEN DOWN HOUSE - DAY
John is sitting on a couch with a coffee table in front of
him. He is dressed extremely casual with his hair unkempt, a
cigarette hanging from his mouth. Making some sort of deal
with some other guy, John places a briefcase up on the coffee
table and opens it, revealing a large sum of cash.
JOHN
Where's the merchandise?
The other guy pulls out a briefcase and opens it up. Inside
was a computer chip and a CD. John takes the chip and places
it in a small scanning box to test its authenticity. As the
chip is being tested, Natalie enters the room. She stands
near the main guard next to the door. John looks at the table
and sees a coffee table book on it.
JOHN (CONT'D)
A coffee table book about coffee tables
huh?
DEALER
What can I say? I like my coffee and the
tables they go on.
Moments later a light on the small scanning box switches on.
John and Natalie both see the light. They both quickly pull
out their guns. Natalie aims her gun at the door guard. John
aims his gun at the dealer.
JOHN
(calmly)
FBI - you have the right to remain still.
(beat)
Alright buddy boy, mister coffee drinker
galore - this is gonna be how it goes. We
want something.
DEALER
And what's that?
John takes his gun and bashes it upside the dealer's head.
JOHN
We'll get to you talkin' in a minute.
(beat)
I want something tangible from you. They
both look at the computer chip
JOHN (CONT'D)
I mean in addition to the chip. The
dealer begins to look a little fearful.
JOHN (CONT'D)
You have a small key someone told you to
hold on to. I want that key. I NEED that
key.
The dealer slowly stands and walks to a wall safe nearby. He
opens the safe and stares inside a moment. Among the items is
a gun that he grabs. Quickly he attempts to turn and shoot
John. John abruptly dashes the targeting gunfire. Natalie
acts quickly and shoots the guard in the head, then turns and
shoots the dealer in the neck. She walks over to the dealer
and watches as he quickly died. John gets up off the floor
and walks over to Natalie and the dealer's body.
JOHN (CONT'D)
You can be a vicious bitch, can't you?
NATALIE
I didn't join the FBI to endanger my life
or the life of anyone I work with. I
joined to find creeps like this one and
get them off the streets - one way or
another.
JOHN
You don't need to worry about this guy
anymore.
They both look a moment at the dead body.
JOHN (CONT'D)
Good fuckin shot.
NATALIE
I practice two hours every day. It's
instinct for me these days.
Natalie turns and looks in the safe. She reaches in and pulls
out three keys.
NATALIE (CONT'D)
Here are those keys.
John looks at the keys and took them.
JOHN
(looking at the keys)
You are going to set me free. John looks
back at the dead body a moment.
JOHN (CONT'D)
You better call in the clean up crew to
mop up this mess.
Natalie got on her cell phone and calls some other agents
nearby.
NATALIE
(talking on the phone)
Come on up. We have the chip. Our two
suspects are down.
John looks back again at the keys a moment before sticking
them into his pocket.
61 INT STOLEN CAR - EVENING
Bobby is keeping an eye on Sarah in the car while Jack is
approaching the front door of a mansion as well as also
carefully watching his brother.
Jack comes to the front door. Without even knocking or
ringing the bell he enters through the front. Bobby looks a
little surprised.
SARAH
Surprised?
BOBBY
A little.
SARAH
You think this is an accident?
BOBBY
What - us coming here?
SARAH
I think he's coming to certain houses.
BOBBY
Why the hell would he do that? No -
that's not possible.
SARAH
Does he let you in on his plans?
BOBBY
It don't make sense him doing all that.
SARAH
It doesn't make sense - him killing that
old couple and the girl, but I'm still
alive.
BOBBY
He's got his own way. I don't think he's
choosing these places. Why would he?
SARAH
He might not be choosing them, but this
isn't random either. I have a feeling
deep inside.
Bobby gives her a peculiar look.
BOBBY
I thought you hated me. Why are you
talkin to me like you trust me?
SARAH
You're growing on me. They give each
other a smile.
62 INT MASTER BEDROOM - EVENING
Jack is slowly walking into the master bedroom. He is holding
a gun with a silencer attached in his right hand, looking
around a moment. He hears the shower running in the adjacent
bathroom and sees the door was open to it. In the back of the
bathroom, a woman was silhouetted behind the shower door as
steam fills the room. Jack carefully moves a bit closer. The
shower shuts off and a moment later the door opens. As soon
as the woman is visible, Jack lets off several shots into
her. Her body falls to the ground where she quickly dies.
63 INT STOLEN CAR - EVENING
Bobby and Sarah watch as they see the garage door opens. Jack
waves them into the empty spot. Bobby pulls the car into the
garage. Once inside Jack hits the garage door opener on the
wall. Sarah looks around in the garage and sees a spot for a
missing car.
SARAH
Nobody must be home.
BOBBY
Good, then I don't have to worry about
him killing again.
SARAH
I wish we weren't here. I HATE Palmdale.
The two got out of the car and walk into
the mansion.
64 INT REBECCA'S HOME - NIGHT
Rebecca enters her home, knocking her shoes off her feet just
inside the door. She looks at herself in the mirror nearby
and does a slight readjustment.
She hears the TV on in the other room. She walks in to find
her husband, Alexander, watching a news broadcast. Rebecca
sits down on an adjacent couch. Alexander glances at Rebecca
before concentrating back on the TV. Rebecca keeps her gaze
on her husband.
ALEXANDER
How was work honey?
REBECCA
Oh, the usual.
Rebecca then begins looking around a moment before looking
into her purse.
REBECCA (CONT'D)
We really should stop doing this.
ALEXANDER
Doing what?
REBECCA
Lying to each other, when we both know
the truth.
Rebecca reaches into her purse.
REBECCA (CONT'D)
I know everything you've done.
ALEXANDER
What do you mean
REBECCA
Where the hell is that thing? Oh there it
is.
65 EXT REBECCA'S HOME - NIGHT
The front windows show a flicker from the TV running.
Suddenly three shots rang out and the windows show three
flashes. A few moments later, Rebecca walks out of the house
and gets into her car. She starts the car and drives away.\
66 INT MANSION LIVING ROOM - NIGHT
Bobby handcuffs Sarah to a chair, while Jack looks through a
small address book.
BOBBY
What's that?
JACK
I picked this up off the desk over there
He points to the nearby desk.
BOBBY
Why are you snooping through their stuff?
Bobby begins to walk into an adjacent
room.
BOBBY (CONT'D)
Come here for a minute.
Jack follows Bobby into the other room. They talk relatively
quiet.
BOBBY (CONT'D)
What is all this shit?
JACK
What shit?
BOBBY
Killing people, taking hostages, looking
through other people's shit. We use to
just hold up gas stations.
JACK
Like I said before, plans changed.
BOBBY
What do you mean plans changed?
JACK
I'm working on a new plan now.
BOBBY
Where do I fit in this plan?
JACK
Just keep doing what I say.
BOBBY
Who's running things? Them, whoever them
is?
JACK
For now.
BOBBY
This is stupid. We're supposed to be our
own boss. That's why we started doing
this shit.
JACK
This deal is too sweet to give up. Bobby
walks back towards Sarah.
BOBBY
It better be.
Jack continues looking through the small black book. Bobby
walks past Sarah and into another room. Bobby stands in the
side room, frustrated with his brother. Jack sits down at the
desk nearby and flips through the small book, studying all
the writing. He stops and hovers at one of the pages. He then
shouts out to Sarah.
JACK
What's your last name?
SARAH
BITE ME!
JACK
You wanna keep your right hand? Sarah
pauses a moment, then fearfully
continued.
SARAH
Parker.
JACK
Is your middle name Mary-Jane?
SARAH
How did you know?
Jack walks out into the living room.
JACK
What the fuck is wrong with your parents
giving you a name like that?
(beat)
Seriously though - why are you in this
address book?
SARAH
Maybe because it's my aunt's house and my
aunt's address book.
JACK
So is Kent your brother?
SARAH
Why do you wanna know? What are you
after?
JACK
Listen, I'm just following orders.
SARAH
Who's orders?
JACK
I can't tell you that.
SARAH
I'd like to know who's out to get my
family.
JACK
All I know is that she's some psycho in
charge of running some bank jobs.
SARAH
You mean those bank jobs in LA?
JACK
I guess.
SARAH
Kent's been working on that case for
awhile.
JACK
I guess that's why we took you.
SARAH
So are you going to kill me like you did
the old couple and the girl?
JACK
I didn't kill the girl, just the old
couple.
Jack turns and goes back into the den.
SARAH
You just better hope my aunt doesn't come
home early from her trip.
JACK
Your aunt is dead. I made sure she was
home. She's upstairs dead in the shower.
Sarah goes pale and retracts herself into quiet solitude. The
shock is overwhelming to her. Jack snickers as he flips
through the small black book. Bobby rushes out of the guest
room, aggrivated and goes back into the den.
BOBBY
Why the fuck do you have to be such a
prick sometimes?!
JACK
Fuck off Bobby.
BOBBY
God damn you!
JACK
Well damn you too.
BOBBY
(turning and walking out)
You're such an asshole.
Bobby crosses the living room and enters the guest room once
again. He slams the door behind him. Jack sees the answering
machine on the desk nearby and hits the playback for the two
messages.
MALE VOICE MESSAGE
Hello Miss Singer. This is Tyler's Autos.
We need to get you to OK the bodywork.
A beep separates the two messages.
FEMALE VOICE MESSAGE
I am trying to reach Miss Singer. It's
about your files. I have a Doctor McKlain
in Torrance requesting a transfer of
those files.
The machine beeps then shuts off. Jack continues flipping
through the small book.
JACK
(to himself)
Now what the fuck is this all about?
Jack shuffles through all the clutter on the desk in the den.
He finds a pen and grabs a piece of paper, copying several
random letters and numbers on the piece of paper. Standing
up, he took the paper to Sarah. He slid the piece of paper
into Sarah's pants pocket.
JACK (CONT'D)
Don't fucking ask. It's for later. If
some strange weirdo comes up and says
shit that turns out to be right, you
better pay attention.
Sarah, still emotionally withdrawn and in slight shock,
watches in fear as the paper is placed in her pants pocket.
Jack begins walking back towards the den.
She struggles to release a question towards Jack, now fearing
him significantly more.
SARAH
What... What is it?
JACK
I said don't ask.
Sarah sits back with her wrists tied to the chair. With a
huff - she gives up the struggle.
67 EXT PARK - NIGHT
Williams is standing around, waiting. His phone begins
ringing.
WILLIAMS
Yes?
REBECCA
(on the other end of the phone)
Are we ready for the final job? Is the
money in your account?
WILLIAMS
Yes, we are set. Your money will be
transferred as of completion of the job
tomorrow. The supervisors are pleased
with our work.
REBECCA
That's a real damn shame then.
WILLIAMS
What do you mean?
REBECCA
You won't get to enjoy their praise.
Williams began looking around and started moving carefully.
WILLIAMS
I don't think you want to do what you are
planning.
REBECCA
You know what I hated most about being
around you, you sick son of a bitch? It's
your perverse sense of reality. You'll
never get to touch any girl ever again.
This isn't JUST business, this is very
personal. Why do you think I married that
fool? Everything I did was planned a long
time ago. All of your accounts are
already emptied into MY accounts.
Williams, are you listening?
(MORE) (CONTINUED)
Listen really carefully now because I
have something to tell you.
The rest of her dialogue is muffled. We see Williams on the
phone walking. He abruptly stops for a moment before dropping
to his knees. His torso then fell forward to the ground,
where he died nearly instantly. A figure walks up to
Williams' body and reaches down. It was Rebecca. She took his
phone and places it in her coat pocket.
REBECCA
When are these fools going to learn that
you can't outrun a sniper's bullet. If
you had a heart it would be cold now -
asshole.
68 INT MANSION LIVING ROOM - NIGHT
Most of the lights are off. Sarah is sleeping while her hands
are tied up. Her head is laying against the chair as she sits
on the floor. Bobby comes out to her and wakes her up.
SARAH
(tired and groggy)
What? Where am I?
(beat)
Is it time to go?
BOBBY
It's just me
SARAH
Oh
Bobby begins untying Sarah from the chair.
BOBBY
You should come lay in bed. You don't
deserve this.
When her wrists are free, Sarah lets out a large sigh of
relief. She moves quickly and hugs Bobby, then kisses him.
Bobby was a bit surprised and gives her a slight push away.
BOBBY (CONT'D)
Follow me
Bobby grabs her by the hand and leads her into the small
guest room. Sarah closes the door behind her, then walks over
to Bobby next to the bed. She kisses him on the lips again.
They began kissing passionately. Sarah pushes him on the bed,
then falls on top of him. Their lips meet once again. He
gives her another slight push away.
BOBBY (CONT'D)
Are you sure you wanna do this?
SARAH
Yes! I'm horny as fuck. They go back to
kissing each other. As they are kissing,
Sarah takes her left hand and holds Bobby's hand. Her right
hand slips slowly into her rear pocket. She carefully pulls
out the box cutter placed there earlier, and slides the razor
from its safe position so the blade is showing. Her hand
slowly moves it up near Bobby's neck, keeping it just out of
his view.
With one quick move she slides to his right and cuts his
throat deeply as she moves. Bobby instantly grabs at his
throat, pushing Sarah out of the way and onto the floor. She
lands with a large thud.
Blood gushes as Bobby chokes and gasps for air. A moment
later his body stops moving as he lay dead.
Sarah stands up, a little shocked at what she just did. Blood
was speckled a little on her face. She drops the box cutter,
then turns to run only to be stopped at the door way by Jack.
He holds no hesitation and hits Sarah square in the face,
knocking her to the floor. This further weakens her. Picking
her up, he carries her body out of the room.
69 INT GARAGE - NIGHT
Jack drops Sarah on the ground in a nearly abusive way.
JACK
You wanna play games bitch?!
He kicks Sarah while she is lying on the floor. Jack pulls
out the car keys and opens the trunk, then picks up Sarah and
tosses her inside. He makes sure her entire body is inside
enough to close the trunk.
JACK (CONT'D)
See how you like this! Jack slams the
trunk closed. He walks back into the
house.
70 INT MASTER BEDROOM - NIGHT
Jack carries Bobby's lifeless body into the bedroom, then on
into the bathroom. Propping Bobby up only a couple feet away
from the other body, he puts the gun in Bobby's hand and
makes him fire. Jack then lets the body fall where it
naturally would. He goes back downstairs and grabs the
blankets covered in Bobby's blood and removes them.
71 INT GARAGE - NIGHT
He takes the blankets out to the car and throws them in the
trunk with Sarah slamming the trunk once again.
He turns around, leaning on the back end of the car. He
pulled out a cigarette and lights it up - puffing away.
JACK
Damn it Bobby, I told you!
Jack opens the garage door, then gets into the car. He drives
out of the garage and drives away from the property.
72 INT TRUNK OF CAR - NIGHT
We hear fumbling around as the car drives down a road at a
constant pace. Muffled music is in the background and the
jangling of keys is heard. Suddenly a light comes on. Sarah
is holding a small pen light attached to her keys. Her face
is strained and stressed from fear. Bobby's blood is still
spattered on her face.
SARAH
(quietly)
Kent, where are you when I need you?
73 INT KENT'S OFFICE - NIGHT
Kent is sitting at his desk, catching a little sleep. Cristy
enters and sits a moment looking at Kent sleeping. The phone
rings, waking Kent from his rest.
KENT
(answering the phone)
Parker here.
VOICE
We discovered your sister was kidnapped.
KENT
When?
VOICE
Three days ago. It was Jack and Bobby
O'Riley.
Yesterday Bobby and Sarah were spotted at
a convenient store in Bakersfield. The
cashier recognized Bobby from an episode
of Most Wanted. As Kent listens there is
a tension that grows over him.
KENT
Is there any clue to where they might be
now?
VOICE
Not at this moment. We lost their trail.
Another bit of information came up. A
body was found dead in Sentinel Park.
KENT
Assign it to Theo.
VOICE
You need to take this one.
KENT
Any reason?
VOICE
It's Williams - the prime suspect on the
in your case. He was the man at the
museum.
KENT
Yeah - I know.
VOICE
My inside man says they have been trying
to track him down for a few days now.
KENT
When was he shot?
VOICE
Only a few hours ago. FBI doesn't know
yet - I am listing him as a john doe to
avoid being tracked. I figured you wanted
to keep this one under the wire.
KENT
Send me whatever info you have. I want
you to lead this murder. Call me on my
cell whenever you have any updates on
either the murder or my sister. Send out
an APB on the brothers and Sarah. Kent
hangs up the phone.
KENT (CONT'D)
(to Cristy)
Did you get any sleep last night?
CRISTY
Maybe four hours or so. Right now too
many things are going on.
A security guard for the building enters the office. He lays
a large envelope down in front of Kent.
SECURITY GUARD
A man delivered this downstairs for you.
KENT
Alright, thanks.
The security guard leaves.
KENT (CONT'D)
(To Cristy)
Can you leave me for about half an hour?
Cristy gives a suspicious look to Kent
before standing and exiting the room.
Kent, once alone, opens the envelope and
pulls out the sheets of paper inside.
74 INT FBI REGIONAL OFFICE - NIGHT
John steps off the elevator and strolls down the hall towards
his private office. John passes the conference room where
Natalie is inside a strategy meeting with several other
senior agents. He enters his office where the large clock
reads 4:30 am and notices the large envelope on his desk.
After he closes his office door, he sits down at his desk.
Waiting a moment before opening the envelope, he then removes
the sheets of paper within and stares at them for awhile.
75 INT MANSION LIBRARY - NIGHT
Rebecca was standing at a large table. One of her lackeys
enters. Rebecca keeps her attention on the information she
was viewing.
REBECCA
Were both envelopes delivered?
LACKEY 1
Yes. An hour ago.
REBECCA
Good. Alert team B3 to their assignment
for today, then catch your taxi to the
airport.
The lackey leaves the room and walks down the hallway to a
computer room. Entering the room there are several computers
showing many schematics and blue prints. Another lackey was
inside the room.
LACKEY 1
Alert team B3
LACKEY 2
And the others?
LACKEY 1
Have them terminated. Once the team is
brought together get to the airport.
Lackey 1 grabs a gym bag full of various items, closes it
then carries it out of the room. Lackey 2 got on the computer
and quickly assembles the team to be used.
76 INT BEDROOM - NIGHT
A man is sleeping in a bed. The room shows the man to be
middle-class.
From the shadows comes a man clad in black holding a pistol.
The pistol has a silencer on it. He fires four times into the
sleeping man.
77 INT RESTAURANT TABLE - DAWN
A waitress brings two cups of coffee to a table where twin
brothers are going over paperwork. The waitress set the
coffee mugs on the table and walks away. The brothers take a
drink of coffee, one right after the other. A moment later
they both begin choking, before both fall over dead.
78 INT PRISON CELL - DAWN
An inmate is waking up and getting up from his lower cot. He
tries to wake his cell mate.
INMATE
Yo. Wake-up!
He takes a look at his non-responsive cell-mate and sees a
slashed throat. He backs off in fear and quickly starts
shouting out to the guard.
INMATE (CONT'D)
I need some help up here. My fucking
roommate's dead!
79 EXT ROADSIDE - MORNING
A man is fixing a flat tire on his car. It is off to the side
of the road. Traffic is rushing by at a fast pace. The man
sits down next to the removed tire. A black car comes up and
parks on the side of the road in front of the broken down
car. A man comes from the drivers side of the car. He is
dressed in black.
STRANGER
Do you need any help with this?
TIRE REPAIR MAN
No thanks. I can do this on my own.
Suddenly a large rig plows into both the men and the sports
car, ripping to shreds the car and the two men.
80 EXT PARK - MORNING
Kent is investigating the murder of Williams. He hands a
baggy with evidence inside to a nearby officer.
KENT
Have this analyzed.
Cristy walks up to Kent with stress on her face.
CRISTY
We have a serious problem going on.
KENT
What kind of problem?
CRISTY
Since five this morning there have been
32 deaths, several of which were murders.
Several are known accomplices of Williams
and almost everyone has a criminal
record. I'd say they were probably all
murdered.
KENT
She's cleaning house.
CRISTY
And if we don't find her today. She'll be
gone for good.
KENT
Don't worry, I'll definitely find that
piss-ant bitch.
CRISTY
I just hope she doesn't get away this
time. You aren't pissed off are you
KENT
A little. I have my sister kidnapped and
a bank job planned for today that I have
to somehow stop. We have 33 dead
including this fuck and I have to be
undercover in a few hours. I should just
kill them all the moment I see them.
CRISTY
Aren't you going a little overboard?
KENT
Isn't that what they deserve?
CRISTY
That's not for you to decide.
KENT
I'm just fed up with this whole thing.
CRISTY
You know what to do then, don't you? But
if you don't stay calm you won't make it
through the day and you will never
recover the 700 million.
KENT
When I do this, you are the only other
person to know.
CRISTY
You know me better then that. You've been
doing this for quite a while. I just want
you to watch yourself this time.
KENT
I always do.
Kent takes out an envelope from the inside of his jacket,
then hands it to Cristy. Cristy is left in charge of the
murder scene as Kent walks away. She looks at the envelope
before folding it up and sticking it in her pocket.
81 INT TRUNK OF STOLEN CAR - MORNING
Sarah was still in the trunk, attempting to hold her
composure and not break down. Tears had been falling from her
eyes, causing her face to become pink and puffy. The day
light shines through the cracks of the trunk lid. She begins
working on trying to open the trunk from the inside.
82 INT STOLEN CAR - MORNING
Jack is acting rather casual as he drives along the
expressway. The news station on the radio gives him
information on the various murders that had taken place that
morning. He listens as the downtown Los Angeles skyline
appears not too far in the distance.
83 INT ELECTRICAL ROOM - MORNING
In a tunnel under the city street, two individuals are
rewiring several circuits on a box. One of them clamps a
black wire onto one part of the circuit board. He then clamps
a red wire to a different part of the circuit board. The two
wires are attached to a small timer box that is activated,
then placed inside the circuit box. One of the two men closes
the circuit box and they both leave the site, walking up the
tunnel.
84 INT BANK FLOOR - MORNING
The bank manager looks at his watch, then to the clock above
where the teller stations are located. He walks towards the
center station area where a teller is setting up to open the
station.
BANK MANAGER
Cindy, I need you to move to station
number one. Three people called in this
morning.
CINDY
Are they going to be in later?
BANK MANAGER
Teresa's son and Melissa both got food
poisoning last night and Kim's car was
stolen. Now hurry, we open in ten
minutes.
CINDY
Is anyone coming from another branch?
BANK MANAGER
Two people should be here by eleven.
Until then, we will be shorthanded.
Cindy quickly moves from her current station to the one
closest to the vault.
85 INT BANK BASEMENT - MORNING
A security guard steps out into the main basement area from a
small side room, walking over to the elevator and presses the
up button. He waits a moment for the doors to open, then
steps inside. The doors then close.
86 INT BANK LOBBY - MORNING
The security guard steps off the elevator into the lobby. He
goes to the front door where the manager is waiting. The
guard stood at his post while the manager opens the bank.
87 INT CLOSE UP OF BANK FRONT DOOR LOCK
The door lock slowly clicks open.
88 INT FBI STRATEGY ROOM - MORNING
John and Natalie stand, staring at a huge wall-mounted
computer monitor.
The monitor shows a large map of Los Angeles with all the
crime scenes of the previous twenty-four hours pointed out
with boxes.
JOHN
Can you figure out a pattern to these
murders?
NATALIE
I don't think there is one.
JOHN
Are you sure?
Natalie turns and faces John, pointing to the map.
NATALIE
Look at it! There's no discernible
pattern to them. You've got at least
twenty murders but they are scattered all
over the place. A mysterious poisoning. A
car plows two guys over. A man drives off
of Mullholand with a hitchhiker. Two men
shoot each other outside the mall. A
postal worker goes postal and kills four
of his co-workers, ignoring about ten
others around him. Then there is the
inmate found dead by his roomie.
JOHN
And you think these are all coincidence?
NATALIE
That's my point. These are so
disconnected that they can't be tied
together. The postal employee had an
automatic rifle, but only kills four
people before being killed. I could have
done more with just a pistol. How many
inmates kill their roomies then tell on
themselves? None of it makes sense. Half
of the dead have criminal records while
the other half are nearly clean. Then
there is the one I wanted you to wait to
see.
Natalie turns and presses a button on a small remote clicker.
It magnifies a small park with the information on Williams'
murder. John sees and is off-set by the news that Williams
was dead.
JOHN
If he has been killed then this is a
whole new game. I've been played like a
chess piece the entire time.
I think I know what every one of those deaths had in common.
NATALIE
What is that?
JOHN
I think they all worked in one way or
another on these bank jobs.
NATALIE
That wouldn't be a bad guess since about
fifteen were known associates of either
Williams or his assistant Rebecca.
JOHN
She's not his assistant. She's the one
who is running things.
NATALIE
Don't assume anything. We don't know who
is doing what anymore. She might turn up
dead too.
JOHN
I'd bet my career that she is the lone
person running things in this scenario.
Williams paid her to take care of
everything but I think she was
manipulating the situation for her own
plan. She's the only one who has been in
a position to be able to do that.
NATALIE
So if that is the case, then what do we
do?
JOHN
We need to find her and I think i know
where.
NATALIE
Where?
JOHN
I am about to make a big decision that
could change things for me.
NATALIE
What do you mean?
JOHN
Call in three teams over to First Federal
to be there at 10AM. That is where I
think she will strike next.
NATALIE
A bank job today? How do you know?
JOHN
I'll be on my normal secondary frequency
at that time. When I give the signal,
converge on the bank.
NATALIE
Where will you be?
JOHN
I'm going to try and get inside the bank
before they do. I think I have a friend
on the inside that will let me be there
so I won't need a warrant.
NATALIE
What are you up to?
JOHN
Just do it!
John rushes out of the room. Natalie stands a moment before
shutting off the monitor. She then pulls out her cell phone
and dials.
NATALIE
Yeah, it's me. I need your team ready for
a 10AM assault.
89 EXT ALLEY ROAD - MORNING
A white van sits in the alley way parked. A driver is keeping
a look out.
90 INT WHITE VAN - MORNING
Inside the back of the van there are several men. They are
all wearing black outfits and black masks. None of the men
have revealed faces. The only individual that can be seen is
Rebecca. She is giving them their plans.
REBECCA
So you each understand that this is the
final job for us. Each of you have a
card. When the job is done, you take the
card to a reader and you will get
directions to the money drop spot. Those
of you who drop will get double pay on
this and it will be your compensation.
MASKED CRIMINAL
Does this mean we destroy all the
material and equipment you gave us for
this?
Rebecca pulls out her pistol that contains a silencer and
fires it into the man's head - killing the man instantly.
REBECCA
That would be a yes to your question, and
to the rest of you - remember - we still
follow all my protocols and rules.
Rule one is that none of you talk. No one
has a name, or a voice. No one has an
identity. Before and after you wear these
disguises you do what you want but during
- you belong to me.
Now that we are one man shorter, each of
you must add to your drop amount.
Remember the total amount - nothing more
and nothing less. It's time.
91 INT BANK LOBBY - MORNING
A gentleman well-dressed in a nice business suite approaches
one of the stations with a small form.
TELLER 2
How may I help you?
The gentleman hands the form to the teller.
GENTLEMAN
I need to view the contents of my deposit
box.
TELLER 2
Please wait here and I will get the bank
manager for you. He can help you with
this.
The gentleman watches as the teller walks over to the bank
manager's office. The door is open so she walks right in. The
two talk briefly and the teller points out the gentleman. The
bank manager stands from his desk and walks over towards the
gentleman, followed by the teller. The teller returns to her
chair behind her station.
BANK MANAGER
May I please see the key for your deposit
box.
The gentleman pulls out a shinny gold key and hands it to the
bank manager.
BANK MANAGER (CONT'D)
Thank you sir. Please follow me into the
vault.
REBECCA
The gentleman is escorted by the bank manager to the nearby
vault. They both enter the vault. Suddenly all the bank's
computers shut down. A small alarm sounds and the men dressed
in black wearing masks all enter the bank. Rebecca is the
final one to enter the bank.
REBECCA (CONT'D)
Alright everyone. If you stay put and
don't move then you won't die. My men
will be taking the money, please don't
touch anything. This bank is now closed
for the day.
(looking at her watch)
We have 7 minutes for phase one and 10
more for phase two.
Three of the men in black begin raiding the bank stations of
their money while the other three kept watch. Rebecca has
been carrying a gym bag the entire time and walks over to the
bank manager's office. Sitting at his computer she pulls out
a small box from the gym bag. She plugs it into the rear of
the computer and turned it on. The screen flutters a little
before running a series of transfers. The box is doing
several transfers of funds from one account to another all
automatically, like a virus. One of the masked men keeping
watch seems nervous and keeps looking at his watch. Another
of the masked men looks down on his pager as if he is waiting
for a page.
92 INT UNDERGROUND TUNNEL - MORNING
Cristy is walking down through the tunnel running under the
city, following Tyler (male, late twenties) dressed in a
trenchcoat.
TYLER
So you are trying to stop a bank robbery
this time? Third time I've helped you and
third time you haven't said anything to
me. Something the matter?
CRISTY
Are you sure this will get me inside the
bank?
TYLER
Listen, I know these tunnels and
underground systems better then anyone.
It helps when you wanna avoid people. Are
you going to need any help up there?
CRISTY
Thank you but no. You know I can't risk
civilians. Hopefully there will be
several units backing me up shortly.
The two come upon a ladder that leads up to a higher level.
TYLER
This will take you right into the lower
levels of the bank. For some reason the
bank shares their furnaces with a couple
of the other buildings. You have to get
past those hot zones with the furnaces
and boilers, but you'll be right there.
CRISTY
Thank you Tyler. Perhaps I'll tell you
something next time we see each other.
Tyler turns and walks away as Cristy begins climbing the
ladder.
93 INT BANK VAULT - MORNING
The gentleman and bank manager stay in the vault, afraid to
show themselves. Rebecca then begins calling for the bank
manager.
REBECCA
If I don't see the bank manager within
ten seconds, someone in here will die.
Rebecca looks at her watch, but the bank manager is too
frightened to move.
GENTLEMAN
Aren't you going to....
Before the gentleman can finish his sentence a gunshot is
heard. The gentleman abruptly turns to see a male customer
falling to the ground, dead. The bank manager becomes shocked
and still can not move.
REBECCA
Same deal, I'll give you ten seconds or
someone else dies.
Cindy leaps from her station chair and heads over to the
vault. Rebecca sees the girl move and watched.
CINDY
God damn it Bill, get your fucking ass
out here.
Cindy is in the vault looking directly at Bill, the bank
manager when another gunshot goes off. She jerks at the sound
and suddenly has a shocked look on her face before falling to
the ground face first, dead.
REBECCA
Yes Bill, get your ass out here.
Rebecca points her gun at Bill.
REBECCA (CONT'D)
I need your expertise in regards to this
establishment.
Bill slowly walks out of the vault and heads towards Rebecca.
94 INT BANK BASEMENT - MORNING
Cristy is entering the basement through a series of small
passageways. Behind her are several large furnaces. Sweat is
dripping off her face from the heat. She can tell she is
entering the bank's basement and pulls out her gun. Looking
around she sees the door to the main security room nearby has
been left open. Inside a security guard is sitting there
dead, shot in the head. The security monitors leading to any
outside source are destroyed, but several of the monitors are
working perfectly. Cristy uses them to see how many people
there are and where they are at. She then moves to the
stairwell leading up to the lobby.
95 INT BANK LOBBY -MORNING
Rebecca leads Bill at gunpoint to a small office next to his
own office. She pushes him into the office and sit him down
at the desk in front of the computer.
REBECCA
I want a list of the clients who have
deposit boxes and the box numbers.
BILL
Can't I use my own computer? It would be
much easier.
REBECCA
Yes it would. That terminal is out of
commission permanently, just like this
one will be shortly.
Rebecca then calls out to her gunmen minions.
REBECCA (CONT'D)
Time to switch up.
The gunmen behind the counter began to move with their money
bags to the main lobby area.
96 INT BANK MANAGER'S OFFICE - MORNING
The program finishes running its transfers then shuts down. A
moment later the box clicks and then blows up - taking half
of the office with it.
97 INT BANK LOBBY - MORNING
Everyone is startled by the explosion, except for Rebecca who
does not even flinch. It even startles the masked gunmen -
which gives Cristy the perfect opportunity to slip into the
lobby without distracting anyone. She dashes from the
stairwell to behind the station counter. She then quickly
makes her way to the nearby vault. Inside the gentleman sits
against the wall, as if he is just waiting for the event to
be over. He is surprised to see Cristy there.
GENTLEMAN
What? You aren't part of the plan!
His talking briefly catches the attention of all the gunmen
in the lobby.
Their attention is then abruptly grabbed by the loud sirens
outside as police cruisers begin to arrive. The two nervous
gunmen seem to find relief in the sirens
TWO NERVOUS GUNMEN
(simultaneously)
Finally!
They each hear one another and are confounded.
98 INT BANK VAULT - MORNING
The gentleman takes a swing at Cristy. She is surprised at
first but dashes the blow. She comes back with a few hits in
the chest and a kick to the stomach causing the man to fall
to the ground just outside the vault. Both Cristy and the
gentleman reach behind their backs for their guns, pull and
fired at the same time. Quickly both dash out of the way.
GENTLEMAN
You can't stay in there forever cop. If I
see you again you are dead.
CRISTY
That's alright. It's comfortable in here.
99 EXT FRONT OF BANK - MORNING
Outside there are a dozen or so police cruisers arranged to
protect against gunfire coming from the bank. The chief of
police attempts to organize everyone.
CHIEF OF POLICE
Where is Cristy?
SARGEANT
Inside sir. She called us a half hour ago
and said she was going to try and get
inside.
CHIEF OF POLICE
Damn it! Why would she do that? There are
steps to be taken.
SARGEANT
She said she was supposed to meet up with
Kent inside.
100 INT BANK LOBBY - MORNING
Rebecca pulls the manager out of the small room into the
lobby. He has a gun pointed at his back.
REBECCA
So are you telling me you are not going
to help me?
BILL
I can't help you. There is nothing I can
do to get those names. They are sealed
and stored.
REBECCA
I guess they were right. If you aren't
part of the solution you ARE the problem.
She then lets off four bullets into Bill's back. He falls to
the ground dead.
REBECCA (CONT'D)
We have a situation that we must take
care of. There should be a dozen cop cars
out there. You need to take the cars out
before you leave. Each of you will take
plan b escape route.
GENTLEMAN
My covers blown. I have to switch to plan
B.
REBECCA
Really? I wouldn't have guessed it by you
being out here instead of the fucking
vault. If it weren't for you being well
trained I would have shot you already.
Help them take out the cops. Several of
the gunmen knock out nearby windows and
start firing into the police cruisers.
All the remaining hostages run for cover.
Many of them go into the small nearby
offices. Rebecca is about to grab one of
the bags of cash and a hostage when one
of the nervous gunmen stop her.
NERVOUS GUNMAN 1
Wait a minute Rebecca!
He has his gun aimed at Rebecca. She is reluctant to hide
behind her hostage.
REBECCA
What now? Are you going to arrest me
Kent?
The gunmen takes off his mask to reveal himself to be Kent.
REBECCA (CONT'D)
I won't be taken no matter what. So you
will just have to shoot me.
Kent drops the gun supplied by Rebecca, and Cristy throws his
own gun from the vault to him. Rebecca quickly dashes out of
the way from Kent's gunfire.
REBECCA (CONT'D)
(yelling)
Well fine then. So I didn't think about
you getting your partner inside the bank
to help you. I thought I could just take
you out during this last job. You and
your close buddy pal John.
The other gunman near Kent takes off his mask to reveal
himself as well. It's John. The gentleman takes his gun and
starts firing back towards Kent. Both John and Kent both duck
behind the station counter.
JOHN
Listen, you have to go after her. I have
no gun. If she called me out then I don't
have a working gun.
KENT
Just wait here and see if you can find
someway to get those hostages out of
here.
The gentleman keep firing at the station counter area as well
as the vault. Cristy drops to the floor, nearly getting hit
by a stray bullet.
101 INT BANK BASEMENT - MORNING
Rebecca quickly make her way, with a bag of money and a
hostage down the stairs to the basement. The hostage is
trying to fight her. Rebecca pushes her away.
REBECCA
I guess i don't really need you anymore
for protection. You can go...
The hostage begins to walk away. Rebecca then fires her gun,
shooting the hostage in the head.
REBECCA (CONT'D)
Six feet under.
(She sniffs the air)
I love the good smell of death... and
revenge.
102 INT BANK LOBBY - MORNING
Kent looks down at the vault and calls out.
KENT
Cristy, can you take care of this guy?
CRISTY
Yeah, no problem. Just give me a few
minutes and he'll be cuffed. Kent then
makes a mad dash for the stairwell,
avoiding the spray of bullets from the
gentleman.
Cristy notices a small knife on the ground next to Cindy and
takes it before standing up. She runs out into the lobby,
covered by the protection of the station counters, dropping
the knife by John as she runs past him. Her gun fires towards
the gentleman, but he moves out of the way, behind a pillar.
John looks at the money, and begins grabbing the fifty and
one hundred dollar bills. He shoves a large stack of cash in
the various pockets that his outfit has. Once his pockets
were full he grabs the knife and runs over to the offices.
103 INT BANK OFFICES - MORNING
John enters the main conference office, and sees about ten
hostages.
JOHN
How many more people are there?
A HOSTAGE
There were two that went into the room
next door where she took Bill.
Suddenly an explosion from next door rattles the entire room.
JOHN
DAMN IT! Listen, we have to get you all
out of here right now. Follow me as close
and fast as you can. The stairwell isn't
far from here.
While Cristy keeps the gentleman occupied with gunfire, John
safely leads the hostages out of the offices to the
stairwell.
104 INT STAIRWELL - MORNING
John stands and guides everyone to go upstairs.
JOHN
There is a cross-tunnel upstairs that
leads to the building next door. John
goes back to the doorway and calls over
to Cristy.
JOHN (CONT'D)
Can you handle this?
CRISTY
Yeah! I have it taken care of! Just go.
105 INT BANK LOBBY - MORNING
Cristy keeps looking at the gunmen and notices that they have
strange small black boxes attached to their outfits. Suddenly
there is a small red light on each of the black boxes that
rapidly blinks.
She quickly pulls out her radio and turns to a different
frequency - to the one John and Kent are each listening to on
their ear pieces.
CRISTY
You two better get those outfits off.
There are small black boxes attached to
the back that are flashing red lights. If
you two can hear me - I think this is
part of that cleaning house project.
Cristy enters the vault and closes the door, trapping herself
inside.
106 INT BASEMENT CORRIDOR - MORNING
John furiously removes all of his outfit as rapidly as he
can, putting him in boxers and a black tee-shirt. He rips the
small black box off of the outfit and throws it down the
corridor as far as he can. He grabs the rest of the outfit
and runs in the opposite direction as fast as he can.
107 EXT FRONT OF THE BANK - MORNING
The spray of bullets don't cease as the police attempt to
fire back and put officers closer to the bank. Without
warning the entire front of the bank erupts in an explosion.
It tears through not only the lobby and front of the bank,
but a couple of nearby police cruisers. All the cruisers
parked in front of the bank have their windows broken out.
108 INT BANK VAULT - MORNING
Inside the vault, Cristy feels the huge rumblings of the
explosion. It shakes the vault and all the lights go out. A
moment later emergency lights come on.
109 INT BANK CORRIDOR - MORNING
John is buried under several pounds of debris. He pushes the
material off of him then dusts himself off. He begins putting
the outfit pants back on.
110 INT BANK VAULT - MORNING
Cristy looks around at the vault numbers. She pulls out a
piece of paper and reads three numbers.
CRISTY
423, 731, and 1212.
She looks around a bit and finally finds one of the boxes.
Taking out a small spray can, she sprays it at the box door -
causing it to freeze. Her ice pick is then taken out and she
bashes at the door with it, easily breaking the small box
door. Her hand reaches inside and pulls out a small bag, then
she pulls out her key-ring and finds her safety deposit box
key. She goes to the box that reads 177 on it and uses her
key to open it. The small bag is placed inside the box.
Cristy then does the same thing two more times for the other
two boxes then finally closes box 177.
Going over to the main vault door that is now closed and
locked - she finds a small computer panel next to it. She
uses her police identification card and scans it through,
then types a set of numbers. The vault door opens.
111 INT BANK LOBBY - MORNING
Police and firemen begin coming into what is left of the
bank. The firemen are putting out several small fires.
Several charred bodies lay all over the place. Cristy stands
in the middle of the lobby, looking around at the mess. The
police chief comes up to her.
CHIEF OF POLICE
What the fuck is this mess? You had to
let them blow up the whole bank?
CRISTY
Don't blame me - it was Rebecca.
CHIEF OF POLICE
Is she in this mess somewhere? Can I
arrest her?
Cristy hesitates a moment before answering.
CRISTY
I think she got away.
CHIEF OF POLICE
YOU THINK SHE GOT AWAY? WHAT THE FUCK
DOES THAT MEAN?
CRISTY
Kent chased after her while I was trying
to stop the gunmen.
CHIEF OF POLICE
And where were you during the explosion?
CRISTY
(pointing to the vault)
Inside there. It was the only place I
knew was safe. I went inside there only a
few moments before the explosion when I
found out that the gunmen were strapped
with the bombs.
CHIEF OF POLICE
The mayor isn't going to take this well.
CRISTY
The mayor can fuck off.
CHIEF OF POLICE
The mayor can fire us.
CRISTY
She can still fuck off.
CHIEF OF POLICE
Where were the hostages?
CRISTY
They got out through the stairwell. I am
not sure if they got away or not. Listen
chief - can I go. I think I need to go to
the hospital. I'm a little shaken up.
CHIEF OF POLICE
Sure, but I want your report no later
then in two days.
Cristy walks out of the building, looking as if she is shaken
up pretty badly. She goes up the street and turns a corner to
where her car is parked. She gets inside and drives away.
112 EXT ALLEY STREET - DAY
Rebecca comes walking down the alleyway alone. She still is
carrying the bag full of money. There is a delivery truck
parked and next to it a man leaning on the hood of a stolen
car. It is Jack, leaning on the hood of the car.
JACK
I brought your fucking package. I better
get paid well, it cost me my brother.
REBECCA
Where is she?
JACK
In the trunk. She's been in there since
early this morning. Kept trying to pop
open the trunk from inside but I fixed it
so she couldn't.
REBECCA
You'll get your pay after this is
finished.
JACK
I brought the bitch to you. My part is
done.
REBECCA
Not really. Her brother is following me.
After it's taken care off I'll give you
something extra.
Kent approaches the two criminals. His gun is pulled, aimed
at Rebecca.
KENT
Give up Rebecca. I have you.
REBECCA
You don't think I would come all this way
to be taken by the likes of you - did
you? You actually think that I would come
here without a thousand plans? For every
action that you police made I had a plan.
For every incident I had another plan. I
have had this planned for years - today
was the end result of every day of
planning. I ALWAYS have a back-up plan.
Suddenly four men with automatic riffles appear from behind
the delivery truck.
REBECCA (CONT'D)
Meet the remaining four minions of mine.
They are the only ones I felt like not
killing off. These four are pretty
effective. Thirty five kills in three
hours placed all over the city.
KENT
So they start with Williams and you end
it with the bank back there?
REBECCA
No, not really. You have it wrong on a
couple of facts. I'm not going to make
those mastermind mistakes like wasting
time telling you my ultimate goal. I will
tell you that THEY did not kill Williams.
That was my sister who did that.
From behind the delivery truck appears
Natalie.
KENT
You?
NATALIE
Yeah me.
REBECCA
I think it's time for you to get on your
knees.
One of the gunmen hits Kent in the stomach, then kicks the
backside of his knee. Kent drops quickly to the ground and
begins coughing.
REBECCA (CONT'D)
Go get the girl Jack.
JACK
Where's my money? I wanna see my pay
before I turn her over. Natalie pulls out
her gun and abruptly fired into Jack's
head.
NATALIE
Mother fucker!
REBECCA
Damn it Nat - You could have waited.
NATALIE
Fuck you!
One of the gunmen goes over to the stolen car and reaches in,
pulling on the latch to open the trunk. Sarah attempts to
jump out and run away but is grabbed by the gunman. She is
put in a headlock and dragged to where Kent is at. Once Kent
sees his sister Sarah - he becomes much more cold.
KENT
Why did you take her?
REBECCA
That's what I was getting to. Same reason
everyone died. This was never about money
for us.
NATALIE
A little bit.
REBECCA
Ok - a little of it was about money.
Partly it was about a little gem back
there in the bank that I have to go and
retrieve later, but mostly this is about
revenge.
KENT
Revenge? What for?
JOHN
I know what for.
John appears a few yards away, pointing his gun at Natalie.
JOHN (CONT'D)
It's about their sister. Natalie told me
something the other day about what she
really wanted. To pay back those
responsible for her sister's death.
Only thing is that Natalie James doesn't
have a sister. Natasha James does. It's
pretty easy to have your identity changed
when your fraternal twin sister is
working under one of the richest men in
the state.
REBECCA
Congrats on being a good detective. So
you finally caught the Robbery Twins.
Have you figured out why everyone was
targeted and why we choose the various
places and times to do the job? I planned
everything for a reason.
JOHN
I guess you wanted to get rid of all
witnesses, but does it matter?
REBECCA
It might matter to you in the end. It
doesn't matter to me, but something I
discovered about some of the people
Williams worked for.
Cristy appears from around the corner and starts firing at
the gunmen, taking them down at the same time John fires at
Natalie, but misses. Kent quickly grabs Sarah and throws her
behind a nearby dumpster. Kent then grabs one of the gunmen
from behind and fights with him. Natalie runs off in a
different direction from Rebecca.
John catches up with Natalie. She turns and they both fire
their guns at the same time. Both get hit and fall to the
ground. Kent and the gunmen are still locked in a struggle
when Rebecca comes up behind them. She has a gun pointed at
Kent's head, but before she could fire - Cristy shoots her
several times with one of the automatic rifles. Cristy then
pulls out her pistol and fired into the struggling gunman's
foot.
CRISTY
GIVE UP ALREADY!
The gunman falls to the ground in pain. Cristy hands Kent her
cuffs. Kent handcuffs the lone surviving gunman to a nearby
light pole. He then goes to his sister who is still hiding
behind the dumpster. Cristy then gets on her radio and
readjusts the frequency to the normal police band.
CRISTY (CONT'D)
Officer down, need emergency assistance
on Falco Road next to Supreme Marketing
Offices.
The three then walk over to where John had been shot. He is
struggling to get up after being shot. He looks up at Cristy
and the others.
JOHN
Hey Cristy, thanks for the vest. Kent
helps John stand up.
KENT
So can you explain all this to me?
JOHN
Let's see. First we got Natasha here - or
at least we DID have Natasha. Her and her
sister hired Jack over there to get
revenge. Yesterday a list of names came
across my desk. They were prominent
people who had been killed in the past
month. Jack was killing off all these
people. Only thing is - was that these
people were the ones who helped set Jack
free a few years back. The judge was the
first to get killed. When a federal judge
is killed in California I get an alert. I
had a list made up of everyone killed
that Jack could have been responsible
for.
It didn't really make sense until I dug
up the info on Natasha. Luckily her
fingerprints never changed and they were
registered years ago. They wanted to kill
us because we were inadvertently
responsible for Jack getting free. Jack
was the one who killed their sister
during a hold up of a convenient store.
Williams was the one who killed Jack's
parents and they blamed him for making
Jack in the first place. I should know
because I use to be Williams' son-in-law.
Cristy is the only one who didn't have a
part in any of this mess.
SARAH
What did I ever do?
KENT
You were my sister and since mom and dad
died we were all that was left.
JOHN
So you know how you fit in?
KENT
Once you mentioned Williams - I knew that
it dealt with my parents death. They were
part of the arresting team trying to get
Williams but never could. The didn't have
enough evidence to have him sent to
prison. So I can only guess that they
blamed us since no one else was to blame.
SARAH
That and maybe because I helped Williams
out once.
KENT
What? What do you mean?
SARAH
Remember when I use to do drugs?
KENT
Yeah - but you gave that shit up years
ago.
SARAH
But back then, before I stopped - I did
some favors for Williams so I could get
some stuff. I guess one of those favors
was stealing some of dad's files.
KENT
(yelling)
You what? Because of your addiction this
lunatic was running around and it nearly
cost us our lives?
SARAH
(yelling)
Sorry! I didn't know what I was doing. I
didn't mean to hurt anyone. I didn't know
mom and dad were gonna get killed.
KENT
Leave me the fuck alone! I can't deal
with this shit anymore. Mom and dad are
dead and Michelle is missing, and then I
had to deal with your shit. How much do
you think I can take?
SARAH
I'm sorry!
KENT
Sorry isn't good enough anymore. Kent
walks away from the scene, up to the main
street.
JOHN
Don't worry, your brother will be OK
eventually. He just needs time to sort it
out. I needed time to sort things out
when I did something similar. You aren't
the only one who helped the asshole get
free. But he's dead now.
What I want to know is what she meant
about the people Williams was working
for. Who could he possibly have been
working for.
John looks around and is confused a moment.
JOHN (CONT'D)
Hey, where's Cristy?
SARAH
Cristy?
JOHN
Your brother's partner.
SARAH
I don't know. She was here just a moment
ago.
JOHN
She must have slipped out while we were
busy talking. I'll see you guys later.
John walks away as he talks to himself out loud.
JOHN (CONT'D)
Damn I have a lot of paperwork to do.
Bank blows up. Partner turns evil.
Working with the police. Got shot.
Partner killed. Partner's sister killed.
Cover blown.
Kent looks at Sarah
KENT
Let me see your right shoe?
SARAH
What? Why?
KENT
Just do it.
Sarah takes off her right shoe and hands it to Kent. He
squeezes really hard on the soul and a small part in the back
pops open. Kent pulls out a key for a safety deposit box.
SARAH
You think I am going to let that go? It's
all we have left of mom and dad.
KENT
Alright, let's go then. We'll make sure
that gem is still there after everything
calms down.
113 INT LARGE MANSION HALLWAY - NIGHT
Cristy is standing in the middle of the hallway. A man in a
business suit walks up to her.
BUSINESSMAN
What is it you want?
CRISTY
I did what they asked. The crystal is
safe. I emptied the three boxes into our
one. In addition to that Williams is no
longer a threat and anyone involved that
is still alive can be controlled. I just
want to go back home now.
BUSINESSMAN
You can't. They need eyes in the circle.
Enemies are getting closer and closer and
they need a friend on the inside to keep
watch.
CRISTY
But there is nothing to watch. They know
where the crystal is. No one else does.
BUSINESSMAN
Your friend Tyler. They are not sure
about him yet. You need to stay around
just in case their agent fails to do his
job.
CRISTY
How can you expect me to keep this up?
The businessman walks away without replying to her. Cristy
remains standing in the hallway. A moment later Cristy walks
in the opposite direction from the business man.
FADE OUT
THE END of part One
