The sky bleeds oranges and purples above DOWNTOWN LOS
ANGELES. Atop the US Bank Building, a wearied battalion of
TWELVE GLADIATOR ANGELS stands gathered on the helicopter
tarmac. Their body armor tells tales of fierce battles
fought; scorched, with embers dying on a few. Despite their
fatigue, their resolve remains unbroken.
At the forefront, towering nearly seven feet, stands GABRIEL,
their leader. His golden armor gleams even in the dim light,
muscles bulging with the promise of undying strength.
GABRIEL
(in Latin, fervently)
Darkness cannot exist where there
is light!
With a powerful motion, he raises his sword towards the
heavens. The battalion snaps to attention, a unified force
driven by purpose. As if one entity, each Angel lifts his
sword in harmony, blades piercing the dusk.
THE BATTALION
(in Latin, resolutely)
Victory to the Light!
As the sun dips below the horizon, its final rays catch on
their swords, birthing a spectacular kaleidoscope of light.
Beams dance upwards, piercing the sky, as if calling out to
the heavens themselves.
CUT TO:
INT. KING TRDAT’S PALACE TORTURE CHAMBER - DUSK
SUPER: ARMENIA, 300 AD
A dim, oppressive gloom fills the air of the dank torture
chamber. The floor, a canvas of horror, is soaked with blood,
while snakes and rodents make their homes among the shadows.
In the heart of this darkness, GREGORY THE ILLUMINATOR, a
robust man in his early thirties with a face etched with
wisdom beyond his years, is bound and shackled. His body, a
testament to his endurance, drapes over a cement whipping
block.
TWO VISCIOUS SOLDIERS of King Trdat stand ready. One
approaches a table laden with polished instruments of agony,
selecting a metal shearing whip.
2.
SOLDIER #1
(in Armenian, with
subtitles)
Hit him harder!
SOLDIER #2, wielding the whip, is relentless yet speaks with
a hint of respect for their prisoner's resilience.
SOLDIER #2
This man has been tortured for
weeks. He will not give in!
With each lash, blood sprays, testament to Gregory's
suffering. Yet, the soldiers observe an unsettling truth.
SOLDIER #2 (CONT’D)
He will not die. No mortal man can
withstand what we have done to him!
At Soldier #1’s command, the whipping intensifies until
Gregory falls unconscious, a victim of their brutal endeavor.
SOLDIER #1
Now, throw the salt on him.
The hesitation of SOLDIER #2 is palpable, but obedience
prevails, and the salt is mercilessly applied to Gregory’s
wounds, eliciting a convulsive reaction from his pain-racked
body.
SOLDIER #1 (CONT’D)
Enough for today.
With disdain, Soldier #1 spits on Gregory, delivering a final
taunt before they exit.
SOLDIER #1 (CONT’D)
Gregorious son of Anak ,King Trdat
will spare your life when you give
up this Christ nonsense and worship
Anahit.
They leave Gregory in his agonized solitude. The chamber door
slams with a finality, echoing off the stone walls.
Then, as if by divine intervention, the chamber brightens.
ANGEL MICHAEL appears, resplendent in golden armor, his
presence a stark contrast to the darkness that preceded him.
3.
ANGEL MICHAEL
(in Armenian, with
subtitles)
Gregory the Illuminator, my loyal
and dedicated son of Christ, your
pain will soon end. You must rise,
for the King will be converted, and
the Lord God will strike with his
golden hammer on the spot where you
will build his church. Rise, for
your people will become the first
Christian nation, the cornerstone
of God’s Kingdom on earth.
Miraculously, Gregory’s body elevates, the shackles and
bindings falling away. His wounds heal, his spirit and
physical form restored as if reborn. He stands in awe as
Angel Michael delivers his divine message, promising a future
where his faith will lay the foundations for a nation.
ANGEL MICHAEL (CONT’D)
Rise up, son of Christ, for your
son and your son’s sons will keep
your faith alive until the day the
Lord returns to claim heaven on
earth.
As Angel Michael fades, Gregory stands transformed, his
resolve and faith unshaken, ready to embrace his destiny.
ESTABLISHING SHOT: DOWNTOWN LOS ANGELES - SUNSET
SUPER: 1975
As the sun dips below the horizon, painting the sky in hues
of fire, the bustling energy of Downtown Los Angeles begins
its nightly transformation. At the intersection of Sixth and
Mateo, the pulse of the city shifts; cars slow, pedestrians
meander, and the day's fervor fades into the twilight.
Among the fading day, oblivious to the world transitioning
around them, stand GLADIATOR ANGELS RAPHAEL and GABRIEL.
Patience waning, they maintain a vigilant watch in front of a
nondescript check cashing store, their eyes scanning the
streets with an urgency unseen by the mortals around them.
ANGEL GABRIEL
(urgently)
We must secure the soul, Raphael.
Satan will stop at nothing to claim
this teen for darkness.
4.
ANGEL RAPHAEL
(With a quiet confidence yet
visibly concerned.)
Fear not, Gabriel. Our legions are
prepared, and Ariel stands at the
ready.
Raphael hesitates, torn between respect and curiosity.
ANGEL RAPHAEL (CONT’D)
(pondering)
May I inquire... why this teenager?
His path seems mired in ignorance
and confusion.
ANGEL GABRIEL
This boy descends from Gregory the
Illuminator. His success could
spell the end for Lucifer's
rebellion. Our mission is critical;
failure is not an option.
Their conversation is cut short by the distant roar of a
sports car engine, signaling the arrival of their charge.
CUT TO:
Genres:
["Fantasy","Historical","Drama"]
Ratings
Scene
2 -
Redemption in the City of Angels
INT. WHITE TRIUMPH CONVERTIBLE - DUSK
The air is charged with an uneasy tension as the Triumph
slices through the twilight of Downtown Los Angeles. Inside,
ANDRE's words cut through the hum of the engine, a foreboding
prelude to chaos.
ANDRE
(shaking his head in
disbelief)
Arsen's gone off the deep end - out
of jail and already starting
trouble!
JOHNNY, his features etched with concern and a hint of fear,
acknowledges the truth in Andre's words, his voice tinged
with worry.
JOHNNY
(gravely)
He's not just trouble... it's like
he’s possessed or something?
5.
CATHY, her eyes sharp and observant, cuts into their grim
exchange with a sudden urgency.
CATHY
(pointing towards the
scene unfolding before
them)
Look, there's Big Greg.
The Triumph grinds to a halt in front of the check cashing
store, where ARSEN and BIG GREG emerge as if from the jaws of
hell itself, their arms laden with the spoils of their folly.
The air, thick with impending doom, shudders as sirens tear
through the silence, heralding the arrival of law and order.
The scene erupts into chaos as Johnny, driven by a reckless
bravery, dashes from the vehicle, his arms raised in a futile
plea.
JOHNNY
(desperate)
Wait, don't shoot!
In a heartbeat, the situation spirals. ARSEN, caught off
guard, fumbles and retrieves his weapon, an action that seals
their fate. Gunfire erupts, a lethal ballet of bullets and
screams.
ARSEN
(shouting above the chaos)
Get down!
As they hit the ground, the world slows. A single bullet
finds Johnny, and time freezes as he collapses, his body a
martyr to the madness. The Demons quickly scurry to his side.
In this moment of despair, the heavens part. ANGEL ARIEL
descends, a beacon of divine wrath and mercy, clad in armor
that blazes like the sun itself. With a sweep of his mighty
wings, he claims Johnny's spirit from the clutches of
darkness.
The demons, faced with such celestial might, retreat into the
shadows from whence they came. Ariel, with Johnny's spirit in
tow, ascends beyond the mortal coil, leaving the chaos of the
world far behind.
Genres:
["Action","Fantasy","Drama"]
Ratings
Scene
3 -
Echoes of the Past
EXT. UPPER ATMOSPHERE
Together, they traverse the cosmos at a speed beyond
comprehension, through a tunnel aglow with the light of
salvation.
6.
JOHNNY
(awestruck and bewildered)
Who are you? Where are you taking
me?
ANGEL ARIEL
(voice resonant with the
power of the ages)
To Nebadon, the local universe. I
am Ariel, your guide and protector.
As they emerge, a new universe unfolds before them - a
tapestry of celestial bodies in hues unseen and unimagined.
They approach a sphere, distinguished by its majestic ring, a
gateway to realms beyond mortal ken.
JOHNNY
(in sheer wonder)
Oh my God...
ANGEL ARIEL
(with a smile that spans
the cosmos)
Welcome to Salvington, the throne
world of the Creator Son.
They descend upon the sea of glass, a landing as gentle as it
is awe-inspiring. Before them, a structure vast and
resplendent - a testament to the divine architect.
JOHNNY
(voice filled with
reverence and curiosity)
What is this place?
ANGEL ARIEL
(eyes gleaming with
unfathomable knowledge)
Our viewing center, the crossroads
of destiny.
JOHNNY
(voice tinged with a
newfound solemnity)
Am I... dead?
ANGEL ARIEL
(gently)
Not yet, Johnny. Not yet.
7.
INT. VIEWING CENTER
Before them, a screen pulsates with the energy of creation
itself.
ANGEL ARIEL
(voice echoing with the
weight of eons)
Behold, the work of the master
force organizers, ordained by the
Ancient of Days.
JOHNNY
(his confusion giving way
to a dawning realization)
Master force organizers?
ANGEL ARIEL
Yes, Johnny. And now, you must
confront your life's tapestry, to
see if your soul will journey to
Jerusem, where mortals transcend
death and embrace the spirit
eternal.
The screen comes alive, a window to Johnny's soul and its
place in the grand cosmic struggle against the darkness of
the Lucifer Rebellion.
ANGEL ARIEL (CONT’D)
(voice imbued with a
solemn gravity)
Your life, intertwined with the
rebellion, holds a destiny yet
unseen. Observe, as the shadows of
Lucifer have sought you out,
starting with your ancestors in the
land of Noah.
INT. VIEWING CENTER - CONTINUOUS
The screen comes alive with the vibrancy of history
unfolding, transporting Johnny back to a pivotal moment in
time.
CUT TO:
8.
EXT. MT. ARARAT IN ARARAT VALLEY, ARMENIA - DAY, 1915
A serene village at the foot of Mt. Ararat, its simple stone
and grass-roofed homes stand in stark contrast to the
impending doom. The tranquility is shattered as TURKISH HUNS,
symbols of impending carnage, sweep through the streets.
Their swords gleam with the promise of destruction, bringing
terror to the hearts of the villagers.
CUT TO:
INT. HUT'S BACK ROOM - CONTINUOUS
Within the sanctity of this humble abode, JOHNNY'S GREAT
GRANDMOTHER, a beacon of ancient wisdom, enacts a ritual lost
to time. Around her, the air thickens with the weight of her
prayers as she seeks guidance for JOHNNY'S GRANDPARENTS. The
wax drips into the water, her incantations crescendo until a
vision seizes her, her eyes widening with foreboding.
GREAT GRANDMOTHER
(in Armenian with
subtitles)
You will leave Armenia very soon
and travel a very long journey.
There will be two great wars, but
you will survive to travel to
America.
In the dimming light of dusk, she peers into her cup, the
shadows dancing within its depths hinting at secrets yet
untold. Her gaze, initially tentative, widens with a mix of
fear and disbelief as the sounds of chaos breach the walls of
their sanctuary. The distant but unmistakable whinny of
horses, the crescendo of terrifying screams abruptly cut
short, sends a shiver down the spine of reality. Great
Grandmother, startled, drops her cup. She looks down at her
medallion, removing it and placing it around Johnnies
Grandfathers neck.
GREAT GRANDMOTHER (CONT’D)
(In Armenian
commanding)
Hurry, we must hide you. Guard the
medallion with your life!
The air is thick with tension as she, with trembling hands,
reveals a hidden compartment nestled within the cottage's
ancient walls.
9.
Time slows to a crawl as Johnnie's grandparents, their faces
etched with a mix of fear and determination, clamber into the
dark recess, a fragile hope of safety in a world turned mad.
The quiet is shattered in an instant ”wood splinters flying,
the night invading the cottage's sanctuary as the front door
succumbs to a force beyond reckoning. A monstrous horse,
muscles taut and eyes wild, thunders through the threshold,
its presence an omen of the carnage to come.
Astride this beast, a TURKISH HUN, eyes ablaze with the
fervor of conquest, brandishes his sword with a warrior's
grace, a harbinger of doom for those who stand in his path.
The air vibrates with the power of his cry, a sound that
chills the soul.
With a dreadful elegance, the Hun and his steed advance, the
space between predator and prey diminishing with each
thunderous step. Great Grandmother, her eyes wide with a mix
of fear and defiance, stands frozen, a silent prayer on her
lips.
In a moment that stretches into eternity, the Hun's sword
arcs through the air, a streak of silver that catches the
flickering light of the cottage's hearth. The blade finds its
mark, piercing Great Grandmother's heart with a precision
that speaks of countless battles, of countless lives taken
before this moment.
The silence that follows is deafening, a single moment
containing the collapse of worlds, the shattering of a
family's heart. The Hun's wild eyes search for his next
victim, the horse pacing restlessly, as the hidden
compartment's inhabitants hold their breath, praying for
salvation in the darkness.
FADE TO BLACK.
Genres:
["Fantasy","Historical","Drama"]
Ratings
Scene
4 -
Baptism Under Fire
EXT. OUTSKIRTS OF THE SOLAR SYSTEM - NIGHT
The scene shifts, the serenity of space juxtaposed with the
malevolence of LUCIFER'S realm. Deep rhythmic drum beats fill
the theater as the "Rhymes of the Devil" theme song begins.
Through fire, smoke and brimstone we lead to a view of
LUCIFER'S throne. He stands with his back to us, we see his
giant angel wings and flowing grayish blue gowns. He begins
his demonic chant as we move in for a view of the planet
Earth.
10.
LUCIFER
Out of the dark and fire red comes
a man of living dead. I only walk
the Earth at night, I only burn out
the light. Fire, fire, burn and
burn.
Flames blast upward around him, accenting his chant.
LUCIFER (CONT’D)
Forces of darkness turn, turn,
turn, turn, the light make it night
come my evil friends alike.
The moon eclipses the sun blocking the light and making
Earth dark. Lucifer's beast-like servant, SATAN, enters.
Lucifer senses his presence.
SATAN
Master, you must see this.
Satan points to the Earth. We move in at light speed through
space and the atmosphere to view the streets of East Los
Angeles.
EXT. EAST LOS ANGELES - DAY
It's 1957. Different vehicles from the time are parked up
and down the streets. We move through a rooftop of a duplex
into a small bedroom.
INT. INFANT JOHNNIE’S BEDROOM - DAY
The room, minimalistic in its decor, breathes with the
essence of generations. CLARA, a mother whose strength is
etched in the lines of her face, gently restrains her son, a
bundle of innocence and vulnerability, tears streaking his
cheeks. ANNA, the matriarch, her hands weathered from years
of love and toil, bathes her grandson with a tenderness that
speaks volumes, each stroke a prayer in itself.
In their midst, a young ARMENIAN PRIEST, his beard a
testament to his commitment, stands as a guardian of
tradition. His voice, a soft yet firm cadence, rises and
falls with ancient prayers, his hand painting the air with
the sign of the cross, a dance between the divine and the
mortal.
11.
The sprinkle of holy water punctuates his blessings, droplets
catching the light, each a beacon of protection and grace.
This sacred ritual, a rite of passage and a shield against
unseen forces, weaves the threads of faith and family into a
tapestry rich with history and hope.
FADE OUT.
EXT. OUTSKIRTS OF THE SOLAR SYSTEM - NIGHT
We see the bedroom scene on a 3D screen from over Satan's
shoulders.
SATAN
The family seems to be aware of our
presence. Our work is going to be
difficult.
Lucifer, seated upon his throne, falls into a moment of
silence...
LUCIFER
Send Beelzebub, Samuel and our
darkest forces. Remember my seed
has been planted you do not have to
force free will. He will gladly
fallow you.
SATAN
Yes my Lord.
Lucifer begins to rhyme again this time more fiercely.
LUCIFER
There is no mother who'll always
care. There is only me to burn and
scare. There is no mother who walks
on earth. There is no mother that
gives birth. There is no mother
whose name is right. There is only
me with my fiery light.
Flames shoot up even higher as he reaches for a wooden
cross. He raises it up into the air.
12.
LUCIFER (CONT’D)
There is no sign, the only word is
mine.
He flings the cross into the fire as it explodes into a
colossal ball of fire.
FADE TO BLACK :
Genres:
["Fantasy","Horror","Drama"]
Ratings
Scene
5 -
ID Check and Brewing Trouble
EXT. SAN GABRIEL MISSION - NIGHT
EXT. ALL-GIRLS CATHOLIC HIGH SCHOOL PARKING LOT - 1975 - DAY
The sun casts its golden hue over the scene as JOHNNY
meticulously checks the locks on his father's Cutlass
Supreme, a relic of familial trust in his care. His
companions, ANDRE, the ever-charismatic leader; BIG GREG, an
imposing figure with a gentle heart; LITTLE GREG, Johnny's
shadow, ever-watchful and quietly observant; and WALTER, Big
Greg's counterpart and younger brother, trail behind him.
Together, they move with a sense of purpose and youthful
anticipation towards the dance hall entrance.
The air vibrates with the energy of the 1970s, the sidewalk
alive with teenagers. Their attire, a vibrant tapestry of the
era's fashion, creates a colorful procession leading to the
dance hall's welcoming maw. Laughter and chatter fill the
air, a prelude to the night's promises and secrets.
Among the throng, JOHNNY's gaze finds ALBERT, a standout not
just for his athletic prowess but for his unmistakable clean-
cut appearance, his heritage adding layers to his already
complex persona. Without hesitation, the boys weave through
the crowd, their camaraderie evident, as they make their
approach. With a boldness born of their tight-knit bond, they
break through the invisible barriers of social etiquette,
their arrival a ripple in the day's routine.
The moment is electric, a snapshot of youth and its boundless
potential, set against the backdrop of a school dance that
promises to be anything but ordinary.
JOHNNY
What’s up Albert?
ALBERT
Hey Johnny ! I’m just trying to get
in.
JOHNNY
Are they asking for ID?
13.
ALBERT
Hell yeah! Sister Mary Patrick’s at
the door. Whose with you?
JOHNNY
Andre, Big Greg ,Little Greg and
Wally.
ALBERT
I hope you guys brought ID and no
public school ID is accepted. You
have to go to catholic school to
get in. Don't Big Greg and Wally go
to El Rancho?
JOHNNY
Shit! that's right and I left my ID
at home.
At the queue's edge stand Peewee and Carlos, their stance
radiating defiance, cloaked in the unmistakable colors of
their allegiance. Carlos, with a presence that broadcasts
menace, carries the weight of his reputation — a limp
betraying the permanent reminder of a bullet in his leg, a
testament to battles fought. Peewee, with his rodent-like
vigilance, immediately notices Big Greg integrating into the
line.
PEWEE
Carlos! Check it out.. Diablo Loco.
Carlos's demeanor shifts instantly, a storm brewing in his
gaze. An unresolved vendetta with Big Greg lingers in the
air, demanding settlement.
Standing guard at the entrance are SISTER MARY
PATRICK, stern and disciplined she’s the school principal, at
her side is a Muscular SECURITY GUARD. Albert shows his ID
and enters. Johnny approaches the nun in a very friendly and
sincere manner.
JOHNNY
Hello, Sister!
SISTER MARY PATRICK
Your high school ID please.
JOHNNY
We left our ID's at home, Sister,
we go to Don Bosco Technical
Institute.
14.
Sister Mary Patrick takes a good head-to-toe look at the
boys. She recognizes Johnny but decides not to let him in.
SISTER MARY PATRICK
Your hair’s to long for Bosco Tech,
I'm sorry, no ID, no dance. Now
make room for other students who
have their ID.
Genres:
["Drama","Coming-of-age","Teen"]
Ratings
Scene
6 -
Forbidden Entrance
EXT. ALL-GIRLS CATHOLIC HIGH SCHOOL - SIDEWALK - DAY
The standoff with the stern SECURITY GUARD forces JOHNNY and
his band of brothers to retreat, their defiance ebbing away
as they step back onto the sidewalk. Their attention, once
caught in the fray, now drifts to a vision that lightens the
moment's earlier tension.
ANDRE, ever the charmer, zeroes in on SANDY and CATHY, two
beacons of beauty amidst the sea of waiting students. Their
radiance seems to cast a spell, rendering the boys
momentarily lost, adrift in the possibilities of youthful
desire.
In this charged atmosphere, the air itself seems to thicken,
heralding the arrival of unseen forces. BEELZEBUB, a figure
of dark intent and unmatched loyalty to the depths below,
casts his gaze over the scene with a predator's precision.
SAMUEL, his counterpart, revels in the chaos of the mortal
realm, a trickster who finds delight in the mischief of their
mission. Together, they hover, unseen yet palpably present,
their attention fixed on the unfolding drama.
The moment JOHNNY's eyes lock with CATHY's, a spark ignites.
Her smile, a blend of innocence and invitation, draws him in,
an unspoken promise hanging between them. It is then that
BEELZEBUB, seizing the opportunity, whispers sinisterly into
BIG GREG's ear. A shiver runs through the crowd as an unseen
chill descends, Big Greg turning sharply, unaware of the dark
counsel he's just received.
This encounter, poised on the edge of the ethereal and the
earthly, marks the beginning of a dance as old as time, where
human hearts and celestial wills collide in a story that
transcends the here and now.
FADE OUT.
BIG GREG
I know how to get in! Follow me.
15.
Big Greg leads his crew through the parking lot to the back
of the building, their steps echoing his resolve. At the rear
entrance, they halt, encountering Joker—an elder figure whose
transformation from street gang member to a seasoned figure
in the Mexican mafia is unmistakable. His aura, seasoned and
commanding, marks a journey from chaos to a feared order.
JOKER
Odalay Diablo Loco, que paso, home
boy?
BIG GREG
Joker, what’s up homes?
JOKER
Just trying to get in homey.
Johnny and the rest of the boys step up. Big Greg tries
pulling the door open. Johnny spots an open bathroom window
he sarcastically addresses Big Greg
JOHNNY
Come on, Diablo Loco, give me a
boost.
Big Greg lifts Johnny easily through the window as the boys
look on attentively. Johnny wrestles his way into the girl's
restroom.
Genres:
["Fantasy","Action","Drama"]
Ratings
Scene
7 -
Blood in the Bathroom
INT. GIRL'S RESTROOM - NIGHT
Before the mirror, he observes Cathy and Sandy, meticulously
applying lipstick and fine-tuning their hairstyles.
CATHY
Hey, you're not supposed to be in
here!
Sandy smiles impressed with his bravado.
Johnny's lips curl into a knowing smile before he makes a
swift exit.
16.
With a cat-like grace, he glides down the corridor, his
movements a silent whisper against the marble floors. Gently,
he manipulates the handle of the rear door, easing it open
with the slightest touch.
Meanwhile, Big Greg, muscles bulging and veins throbbing with
exertion, is on the other side, applying brute force in a
vain attempt to pry the door open. The sudden release catches
him off-guard, and he stumbles forward through the threshold.
There's a moment of chaotic grace as Big Greg tumbles,
finally coming to rest at Johnny's feet, sprawled in a heap
of surprised defeat. Johnny stands above him, an amused
spectator to the unexpected spectacle.
BIG GREG
Shit !
Big Greg gets up and proudly strides down the hallway. Joker
follows behind along with the rest of the boys.
JOKER
Diablo, if there’s any plato,
homes, I got your back.
Johnny's gaze shifts to Cathy and Sandy as they emerge from
the girl's restroom.
JOHNNY
Andre... Come on, let’s ask these
girls to dance!
ANDRE
(smiles)
OK!
Andre and Johnny move toward the girls, while Big Greg and
Joker, taking point, guide Walter and Little Greg into the
restroom.
INT. BOY'S RESTROOM - CONTINUOUS
The atmosphere within the boys' restroom is tense, charged
with the anticipation of confrontation. The air, thick with
the musk of teenage bravado and the sharp tang of adrenaline,
sets the stage for a showdown that will ripple through the
lives of all involved.
17.
JOKER, with the deftness of a seasoned veteran, his movements
practiced and precise, prepares a line of cocaine, his blade
glinting under the harsh fluorescent lights. BIG GREG, his
image reflected in the mirror, washes away the sweat and
grime, an attempt to cleanse the night's transgressions.
In the reflection, CARLOS's eyes lock with BIG GREG's, a
silent challenge issued. The tension escalates, an invisible
thread pulling taut, ready to snap. WALTER, the embodiment of
youthful naivety, watches, his anxiety palpable.
WALTER
He's from, Cantaranas!
CARLOS
What did you say about Cantaranas?
Where are you from esa?
BIG GREG
Diablo Loco Los Nietos Steiners!
Why? You gonna do something about
it?
Carlos steps back into a fighting stance.
WALTER
Leave him alone!
CARLOS
Shut up you little punk.
BIG GREG
What! No one talks to my little
brother like that! Fuckin Puto!
The air crackles with tension, thick with the scent of
imminent violence. BIG GREG's fury is palpable, his eyes
alight with a ferocious intensity. CARLOS, equally fueled by
wrath, brandishes a switchblade, its blade dancing menacingly
in the dim light. LITTLE GREG and WALTER, frozen by fear, can
only watch as the showdown unfolds before them.
Suddenly, the atmosphere shifts, charged with a malevolent
energy. Demonic presences slither into the fray, merging with
BIG GREG and CARLOS. Their eyes flicker ominously, a visible
testament to the darkness that now drives them.
The standoff reaches a fever pitch as CARLOS lunges, blade
aimed with deadly intent. In that split second, JOHNNY and
ANDRE burst into the room, witnesses to the brink of
catastrophe. JOHNNY, with reflexes honed by desperation,
lashes out, his foot connecting with CARLOS's hand. The knife
clatters to the floor, its threat momentarily neutralized.
18.
ANDRE, driven by adrenaline, launches himself at CARLOS,
their bodies colliding with the force of their combined
momentum. They crash into the toilet stall, ANDRE's
determination pinning the gang member in place.
BIG GREG, consumed by rage, seizes the fallen knife, his
intentions clear. JOHNNY, in a desperate bid to avert
disaster, grapples with BIG GREG, his pleas drowned out by
the roar of bloodlust.
But BIG GREG is unstoppable, a force of nature unleashed. He
shrugs off JOHNNY's restraint, his advance relentless. The
air is thick with the specter of violence, each breath a
moment suspended between life and death.
Carlos falls limp to the floor in a pool of blood. Pewee
walks in just in time to witness the whole thing. Johnny
looks at Andre puzzled.
JOHNNY
God damn it, Greg! What did you do?
BIG GREG
I didn’t do it! Look theirs no
blood!
He closes the knife and places it into his pocket.
JOHNNY
Come on, let’s get out of here.
CUT TO :
Genres:
["Drama","Action","Thriller"]
Ratings
Scene
8 -
Family Friction at the Poker Table
INT. KITCHEN - NIGHT
The kitchen is steeped in the aroma of cold cuts and vodka,
the heart of PETER's home where family and friends gather for
their regular Friday night poker game. PETER, a man shaped by
the absence of his own father, commandeers the table with a
mix of pride and a hard-won sense of survival.
Uncle VOVKA, with his golden tongue, jests beside him, while
ARA, the bulldog-faced relative through marriage and business
partner, observes the game with a critical eye. CLARA, the
matriarch of the household, stands at the sink, her hands
busy with dishes, the quiet backbone of this lively assembly.
From down the hallway, the sound of a flushing toilet heralds
the arrival of JOE, Big Greg's father. Stern and
authoritative, he navigates the kitchen on crutches, his
paralyzed legs trailing behind him. As PETER collects his
winnings, JOE's voice cuts through the chatter.
19.
JOE
(acerbically)
You won again. Where does all that
money go?
VOVKA
(chuckles, in Armenian)
Into his mattress, like old Harut!
Imagine, six thousand dollars gone
because thieves knew exactly where
to look!
PETER
(scoffs)
Stupidity. Remember, I started with
nothing in this country.
VOVKA
(mock indignation)
As if I arrived here a wealthy man!
PETER
(turns, sweeping the room)
We sweat blood for every dollar.
Twelve hours in a sweltering
truck... Does anyone care? No. Not
even my own wife appreciates it.
CLARA, approaching with a tray of cold cuts, retorts in a mix
of Russian and Armenian, her tone laced with the weariness of
one who has heard it all before.
CLARA
(sharply)
You're drunk. Stop talking
nonsense.
Ignoring her, PETER pours another round of vodka, the
conversation a blend of complaint and camaraderie. As JOHNNY
and LITTLE GREG attempt to slip by unnoticed, PETER's hand
shoots out, catching JOHNNY by the arm.
PETER
(passionately)
This money? It's for my sons. For
the best schools, for a future in
business. That's my legacy.
VOVKA, ever the instigator, thrusts a brimming glass of vodka
into JOHNNY's hand.
VOVKA
(cheerfully)
Join us, Johnny. A toast!
20.
Reluctantly, JOHNNY partakes, his grimace at the taste
eliciting a chorus of laughter from the men.
CUT TO:
Genres:
["Drama","Family"]
Ratings
Scene
9 -
The Catering House Confrontation
INT. SCHOOL CHAPEL - DAY
The tranquility of the chapel on Sunday afternoon stands in
stark contrast to the previous night's revelry. FATHER
SLATTER, hidden behind a black silk screen, offers prayers in
Latin, a solemn figure in this sanctuary of confession.
JOHNNY
(tentatively)
Father, is it possible for anyone
to be truly pure? Can anyone always
be right with God?
FATHER SLATTER
(voice soothing yet firm)
The answer lies in the question
True purity lies in trust. Trust in
the Lord with all your heart, and
do not lean on your own
understanding. In all your ways
acknowledge Him, and He will show
you the way. For penance, say ten
Our Fathers and twenty Hail Marys.
Go with God, Johnny. And try to
stay out of trouble.
JOHNNY, making the sign of the cross, exits the confessional
with a bewildered shake of his head.
JOHNNY
(muttering to himself)
The answer lies in the question...
What does that even mean?
He walks toward the parking lot, his mind a whirl of
confusion and contemplation.
CUT TO:
EXT. CATERING HOUSE YARD - DUSK
The sun begins its descent, casting long shadows across the
yard of the catering house. PETER, beads of sweat glistening
on his brow, toils over the grill of his catering truck, the
day's heat clinging to his skin. Beside him, his partner ARA,
seemingly nonchalant, counts the day's earnings.
21.
A fleeting gesture, barely noticeable, as Ara slyly pockets a
twenty-dollar bill, does not escape Peter's watchful eyes.
The moment Ara steps off the truck, entering the catering
house, Peter's simmering rage reaches a boiling point. The
grinding stone forgotten, Peter's hand finds the cold grip of
a knife. He steps out of the truck, purpose in his stride.
JOHNNY, oblivious to the brewing storm, busies himself with
sodas and the truck’s ice containers. Catching a glimpse of
his father's dark mood, curiosity piqued, he follows Peter
into the abyss that is the catering house.
CUT TO:
INT. CATERING HOUSE - CONTINUOUS
ARA navigates the maze of boxes and food items, his movements
methodical, routine. With a practiced ease, he retrieves the
hidden twenty from his shirt pocket, sliding it into his
wallet, replacing it with a benign white receipt.
INT. CATERING OFFICE - CONTINUOUS
VOVKA, the elder statesman of their operation, presides over
an office that has seen better days. The walls, adorned with
fading receipts and notes, tell stories of a business built
from the ground up. The pay-phone, an anachronism in this
age, bears the marks of countless urgent calls. Ara,
entering, exchanges the day's profits for a fleeting glimpse
of a future promise.
VOVKA
(optimistic)
"Tomorrow, after collecting from
Murat, we'll have enough to escape
this dump."
ARA
(impatient)
"It's about time. This place is a
tomb."
As Vovka secures the money, the door swings open, revealing
PETER, his gaze locked onto Ara with an intensity that could
ignite the air.
ARA (CONT’D)
(confused, in Armenian)
"What's got into you?"
22.
PETER
(furious, accusation heavy
in his voice)
"It's you! How much did you steal
today?"
The tension in the room tightens, a noose waiting to snap.
JOHNNY enters, witness to the standoff.
PETER (CONT’D)
(betrayal coloring his
tone)
"The money you couldn't resist
hiding in your pocket!"
ARA, with a scoff, reveals the white receipt, a futile
defense against a conviction already formed.
ARA
(misunderstood)
"It's for the pastries, you fool."
PETER, consumed by betrayal and anger, lunges, knife in hand,
a desperate attempt to reclaim his dignity, his rights. VOVKA
intervenes, a barrier to madness, as JOHNNY joins, a son
trying to anchor his father to reason.
CUT TO:
Genres:
["Drama","Family","Crime"]
Ratings
Scene
10 -
The Rose, The Storm, and The Devil
INT. LIVING ROOM - NIGHT
The grandeur of the living room, with its lavish bar,
sparkling chandeliers, and luxurious Persian rugs, stands in
stark contrast to the storm brewing outside. JOHNNY, drenched
from the rain, changes the tune on the stereo cabinet, from
traditional Armenian melodies to the rebellious strains of
rock and roll, seeking solace in the familiar.
INT. KITCHEN - CONTINUOUS
CLARA, the heart of the household, prepares dinner, her mood
light, untouched by the tempest outside. JOHNNY's entrance,
however, brings with it the chill of the outside world.
CLARA
(cheerful)
"How was your day, son?"
JOHNNY
(disheartened)
"Not great. Dad and Uncle Ara had a
big fight over money."
23.
The kitchen, a haven of warmth and love, becomes the stage
for the unfolding of familial discord, as CLARA seeks to
understand, her concern palpable.
INT. JOHNNY'S BEDROOM - NIGHT
In the sanctuary of his room, LITTLE GREG wrestles with the
teachings of Brother Tom, his young mind trying to navigate
the complexities of ethics and mortality. JOHNNY, skeptical,
dismisses the dire warnings with the cynicism of youth, their
conversation a dance around the truths they are not ready to
face.
LITTLE GREG
Did you have Brother Tom for
ethics?
JOHNNY
Yeah, he's a weirdo.
LITTLE GREG
He said right before you die you
see your whole life flash in front
of you, and when you die, God
decides if you go to heaven or
hell.
JOHNNY
Yeah, so what?
LITTLE GREG
Well, then he said if you have sex
with your girlfriend before you get
married, you'll go to hell for
sure.
JOHNNY
Yeah, right.
LITTLE GREG
So, do you believe him?
JOHNNY
No, I think he's a homo.
LITTLE GREG
I wouldn't doubt it.
Johnny picks up the phone and begins to dial.
JOHNNY
Hi, may I speak to Cathy, please?
24.
EXT. CATHY’S HOUSE - DAY
As the night deepens, JOHNNY reaches out, seeking connection
in a world that feels increasingly alien, his call to CATHY a
lifeline thrown into the void.
EXT. CATHY’S HOUSE - DAY
Cathy’s Convertible Volkswagon is parked in the driveway near
the entrance to her upper class hillside home. She exits the
house and nears her car. As she begins to open the drivers
door she notices a single white rose on the hood of the car.
CATHY
Again? Who could it be?
She picks up the rose and heads into the house.
FADE OUT.
INT. CATHY'S HOUSE KITCHEN - DAY
The kitchen, awash in morning light, serves as a backdrop to
a tender domestic scene. EMILY, early forties and gracefully
beautiful, is a mirror of the daughter she's raised. As she
answers the phone, CATHY bursts in, a vision of youthful
excitement, cradling another mysterious white rose in her
hands.
CATHY
(enthused)
Hey mom, check it out, another
white rose!
EMILY, her curiosity piqued by the rose, extends the phone
receiver toward Cathy, her voice tinged with playful
intrigue.
EMILY
(smiling)
It's for you, I think it's that
Armenian boy Johnny.
CUT TO:
25.
INT. JOHNNY'S KITCHEN - NIGHT
The evening unfolds in the heart of the family home. CLARA,
the matriarch, orchestrates dinner with a grace born of
routine, setting the table with care. PETER, his day's
burdens shadowing his entrance, sifts through the mail, a
silent storm brewing within. Clara's voice, warm and
inviting, cuts through the tension.
CLARA
(calling out)
Johnny, Gregie, dinner's ready!
INT. JOHNNY'S BEDROOM - CONTINUOUS
JOHNNY, phone in hand, wraps up a conversation, his voice a
blend of anticipation and regret.
JOHNNY
(into phone)
I'll see you after school tomorrow.
OK, gotta go, bye.
He hangs up and exits, trailed by Little Greg, both drawn to
the familial beacon of dinner.
INT. KITCHEN - CONTINUOUS
The family converges at the table, a fragile peace hanging in
the balance. PETER, taste testing the meal, recoils, his
reaction visceral and unfiltered.
PETER
(disgusted)
What is this? You expect us to eat
this shit!
CLARA, her patience frayed, challenges his outburst with
fierce independence.
CLARA
(defiant)
If you don't like it, eat somewhere
else.
The tension, a simmering cauldron, boils over. PETER, in a
fit of rage, sends the plates crashing to the floor. CLARA,
undeterred, retaliates with a slap that echoes through the
room.
26.
CLARA (CONT’D)
(furious)
You bastard!
Little Greg and Johnny are now pinned against the curtains
petrified. Peter counters the slap by shoving her against the
wall. She hits her head with a thud and slides down to the
floor. Peter stands above her, looking down. Clara regains
her composure, stands up and delivers a swift kick to his
groin. He doubles up in pain. Peter looks up at her, his eyes
blaze.
PETER
(in Armenian)
That's it! I'm going to kill you!
He reaches for a large glass 7-up bottle. He starts his swing
toward her head. Johnny quickly reacts and knocks the bottle
out of his hand. It lands and shatters into little pieces.
Johnny, terrified, runs out of the kitchen, out the front
door and into the street. Following right behind him a few
feet above the ground is Beelzebub. Thunder and lighting
accent the whole scene as he runs down the block in pouring
rain.
CUT TO :
Genres:
["Drama","Family","Thriller"]
Ratings
Scene
11 -
Refuge and Revelation
EXT. ANNA'S HOUSE - NIGHT
JOHNNY, a figure of solitude and despair, seeks refuge on his
grandmother's porch. With trembling hands, he retrieves the
hidden key and escapes into the safety of her home.
INT. ANNA'S BEDROOM - NIGHT
ANNA, roused from sleep, is confronted with JOHNNY's tear-
streaked face, the story of the night's horrors etched in his
features.
ANNA
(concerned, in Armenian)
What happened?
JOHNNY
(through sobs)
Mama and Papa were fighting... He
hit her.
ANNA, her heart heavy with concern, moves to action, her
voice a mixture of disbelief and resolve.
27.
ANNA
(in Armenian, with
subtitles)
No, let me call her.
She comforts JOHNNY with a gentle touch before moving to make
the call, the weight of the moment pressing down upon them
both.
INT. ANNA'S LIVING ROOM - NIGHT
As JOHNNY seeks solace on the couch, discarding his wet
clothes for the warmth of a blanket, the room tells the story
of a family woven together through generations. ANNA's voice,
soft and steady in Armenian, offers a bridge between mother
and son, as JOHNNY, exhausted by emotion, drifts into a
troubled sleep.
FADE OUT.
EXT. ANNA'S HOUSE - NIGHT
Under the cloak of darkness, SATAN and BEELZEBUB stand sentry
at the entrance to Anna's home, their malevolent presence a
stark contrast to the peace within.
SATAN
(pleased)
Our endeavors flourish, Beelzebub.
You should take pride.
BEELZEBUB
(cautiously)
Yet, I will not underestimate
Gabriel.
From the shadows, GABRIEL's voice pierces the night, a beacon
of defiance.
GABRIEL
Return to the abyss from whence you
came.
Suddenly, GABRIEL and RAPHAEL materialize in the street's
heart, their arrival marked by the majestic flap of their
wings, confronting the darkness before them.
28.
GABRIEL (CONT’D)
(proclaiming)
Inform your lord his insurrection
ends now.
SATAN
(taunting)
Oh, naive sibling, the uprising has
merely dawned!
CUT TO:
Genres:
["Fantasy","Drama","Supernatural"]
Ratings
Scene
12 -
The Mark of Peace
INT. ANNA'S LIVING ROOM - DAY
Morning light floods the living room as the blinds roll up
swiftly. JOHNNY awakens, the night's dreams fading into the
daylight. CLARA, silhouetted against the window, is cloaked
in concern, while LITTLE GREG joins JOHNNY on the couch.
CLARA
(softly)
Did you have a nightmare
JOHNNY
(confused)
It's all a blur.
CLARA
(resolute)
I've decided... I will divorce your
father.
The weight of her words hangs heavy. JOHNNY, surprised yet
understanding, notices a gold medallion around his neck, its
significance unknown to him.
JOHNNY
(curious)
What's this?
ANNA, preparing breakfast, reveals the medallion's lineage
and purpose - a talisman of protection passed through
generations.
ANNA
(earnestly)
Your great grandfather's legacy,
Saint Gregory The Illuminator
himself, now is with you.
29.
The skepticism in JOHNNY's eyes is met with the lived wisdom
of ANNA and CLARA, their testimonies a bridge across
generations, a reminder of the ever-present battle between
light and darkness.
CLARA
(imploring)
Their is a Devil Johnny, your
Grandmother and me went through
World War II the Nazi’s thought I
was Jewish and put me in a
concentration camp to die. We have
seen the devil and the evil he can
do. If you pray for Gods help he
will protect you. The Devil wants
you to believe he doesn't exist. Do
you understand !
Suddenly, Gabriel's spirit infuses ANNA with a solemn
urgency. She guides JOHNNY to her sanctuary, her bedroom,
revealing truths long held and a prophecy foretold.
INT. ANNA'S BEDROOM - DAY
ANNA
(passionately)
My Father your Great Grandfather
Gregori told me before he died that
I would have a Grandson and that my
Grandson would be marked with the
symbol of peace.
She grabs his wrist and twists his arm exposing a small birth
mark shaped as a dove.
JOHNNY
That’s my birth mark.
ANNA
That is the mark of peace. You some
day will bring peace to where there
is terror.
CUT TO:
EXT. DON BOSCO TECH - DAY
The school, marked by its emblematic gear, stands as a
bastion of learning and discipline.
30.
INT. DON BOSCO AUTOMOTIVE SHOP - DAY
Within the hive of activity, ANDRE and JOHNNY, clad in blue
coveralls, are immersed in their tasks. The mundanity of
school life contrasts with the weight of destiny hanging over
JOHNNY.
ANDRE
(whispering)
Let’s ditch to go visit the girls
at
Mission High?
JOHNNY
(resolute)
Let me finish this and we're out of
here.
The promise of youthful adventure belies the gravity of the
journey JOHNNY has embarked upon, a path intertwined with
celestial warfare and earthly trials.
EXT. MISSION HIGH PARKING LOT - SUNNY AFTERNOON
The serene afternoon is shattered by the thud of a volleyball
plummeting from the sky, followed by the piercing shrill of a
referee's whistle. Girls clad in school uniforms rally around
the court, their cheers echoing the excitement of the game.
In a burst of enthusiasm, Andre's convertible Triumph roars
into view, slicing through the tranquility. Across the
street, a sleek Mercedes Benz stands guard, with BOBBY, a
portrait of privilege and arrogance, and his companion TOMMY,
shadowing him in demeanor, casting disdainful glares toward
the newcomers.
CATHY and SANDY, amidst the tumult of the game, exchange
whispered strategies, their attention momentarily captured by
the unfolding drama. Andre, caught up in the thrill, leaps
onto his seat, scanning the crowd for familiar faces,
oblivious to the brewing confrontation.
INT. MISSION HIGH VOLLEYBALL COURT - CONTINUOUS
The game intensifies as Andre, with a bold gesture, beckons
Sandy to the fence, challenging the authoritative gaze of
Principal Sister Mary Patrick. Her departure signals a brief
respite, allowing the girls to approach, though caution
lingers in the air.
31.
CATHY
(reproachfully)
We shouldn't even be talking to
you.
SANDY
(skeptical)
Skipping class again?
ANDRE
(grinning)
Special privileges.
The banter is cut short by the ominous rumble of Big Greg's
Buick Riviera, its arrival heralded by a shower of sparks as
it scrapes against the asphalt, commanding the attention of
all. Big Greg's entrance, flamboyant and bold, draws a mix of
adoration and intrigue, his presence disrupting the fragile
peace.
Genres:
["Drama","Fantasy","Supernatural"]
Ratings
Scene
13 -
Wedding Day Showdown
INT. SCHOOL BUILDING - DAY
The distant commotion reaches Sister Mary Patrick, her
tranquility disturbed by the cacophony.
SISTER MARY PATRICK
(exasperated)
What on earth is that racket?
EXT. MISSION HIGH VOLLEYBALL COURT - CONTINUOUS
Sister Mary Patrick, emerging with authority, catches Johnny
in a moment of defiance, her gaze locking with his in a
silent battle of wills.
SISTER MARY PATRICK
(muttering)
Caught in the act.
The tension dissolves as the girls retreat, their departure a
signal for Johnny and Andre to make their escape.
ANDRE
(optimistic)
They'll meet us at the back room
tomorrow.
JOHNNY
(intrigued)
Ever been to an Armenian wedding?
32.
ANDRE
(curious)
Will I even be allowed in?
JOHNNY
(confident)
With me, you will.
CUT TO:
INT. DANCE HALL WEDDING RECEPTION - NIGHT
The clatter of breaking plates under the feet of the newlywed
couple marks the beginning of a celebration steeped in
tradition and exuberance. The hall, alive with the promise of
unity and love, plays host to a tableau of family and
friends. Amidst the revelry, Andre finds himself caught in
the whirlwind of Armenian culture, his curiosity piqued by
the ritualistic shattering of plates.
ANDRE
(asking)
What's with the plates?
JOHNNY
(amused)
A test of strength for the
marriage.
BIG GREG
(jokingly)
Hope they both break, or someone's
in trouble!
The laughter and music swell, filling the hall with the
essence of heritage and communal joy. The wedding guests
dance and sway energetically around the bride and groom.
Relatives rise to their feet, cascading the pair with a
flurry of hundred-dollar bills. Little Greg and Walter dart
about, gathering the scattered currency from the ground.
Amidst this, Peter wraps an arm around Johnny, engulfing him
in a tight embrace. Johnny, flushed with embarrassment,
gently extricates himself.
PETER
Some day you get married. You work,
make money and when you're ready,
we'll find you a nice Armenian
girl.
33.
The dance floor is alight with celebration, the bridesmaids
forming a living chain around the bride and groom. Their
movements are a tapestry of tradition, pinky fingers linked
in solidarity as they weave through the dance, their feet
keeping time with the heart of the music. PETER, lost in the
joy of the moment, watches with a smile that reaches his
eyes, a rare moment of unguarded happiness.
Suddenly, the air shifts, charged with an impending storm.
ARA, flanked by his wife SONIA, whose mink coat is a
statement of opulence, makes a calculated entrance. Their
presence casts a shadow over Peter's light, the air
thickening with tension.
As Ara strides forward, the gleam in his eye is one of
provocation, a silent challenge laid bare. With a flourish
that draws all eyes to him, he begins to rain down a cascade
of hundred-dollar bills upon the bride and groom, each note a
symbol of his wealth and a direct affront to Peter.
The transformation in Peter is instantaneous, his joy
curdling into rage, his face flushing with the heat of
betrayal and anger. The room, once filled with the sounds of
laughter and music, now pulses with the undercurrent of a
brewing confrontation.
ARA, satisfied with the turmoil he's incited, meets Peter's
gaze, a smirk playing across his lips, reveling in the chaos
he's wrought. SONIA, draped in her fur, stands beside him, a
silent testament to their shared disdain.
The moment hangs, suspended in time, a precipice upon which
years of friendship and betrayal balance precariously,
threatening to plunge the night into darkness.
PETER
You son of a bitch!
Clara kicks Peter under the table. Ara nears the table with
his wife.
ARA
Hello!
Peter erupts in a torrent of expletives, while Uncle Joe
endeavors to soothe his rising temper. From the bride and
groom's table, an elderly gentleman catches Peter's eye,
signaling him discreetly. Uncle Joe takes note of the
exchange.
34.
UNCLE JOE
They are calling you to speak,
Petros.
Peter shrugs off his anger, smiles and moves toward the
stage. People begin to clang on their glasses with their
silverware. Peter waits for silence before he begins his
speech.
PETER
(in Armenian with
subtitles)
My dear friends and family! We
gather here today to celebrate a
very special occasion. The union of
Mikael and Parandzem in the
sacrament of marriage. And now with
the help of Maestro Hosharanian...
Peter glances over to the band leader.
PETER (CONT’D)
Let us all eat, drink and dance!
The band begins a very lively traditional Armenian tune.
FADE OUT.
Genres:
["Drama","Family","Cultural"]
Ratings
Scene
14 -
Whispers of Darkness, Lights of Heaven
INT. WEDDING HALL VIEW FROM ABOVE - NIGHT
Hovering in the ethereal space above the celebration,
BEELZEBUB and his carefree sidekick SAMUEL survey the scene
below. Beelzebub, ever the strategist, observes with a
calculating gaze, while Samuel, unable to resist the
infectious rhythm, sways to the beat of the music.
BEELZEBUB
(gravely)
Remember, Samuel, fear feeds our
cause. It is the wellspring of
malevolence.
SAMUEL, lost in the melody, pays him no mind, a smirk playing
on his lips.
SAMUEL
(cheerfully)
Ah, but listen to this harmony!
(MORE)
35.
SAMUEL (CONT’D)
It's divine, far surpassing the
dirges our Master favors.
BEELZEBUB
(irritated)
Silence, fool! Focus on our
mission. Now, back to the shadows
with you!
INT. DANCE HALL. WEDDING RECEPTION. VIEW FROM BELOW
In the heart of the celebration, Vovka leans in, whispering
conspiratorially to Arsen. As if summoned by the whispered
plot, Samuel descends, merging with Arsen in a silent pact of
mischief. Arsen, now possessed of a darker purpose, sidles up
to Johnny, his words a venomous whisper. Johnny's face
darkens, the weight of Arsen's words dousing his joy. He
signals to Big Greg and Andre, his departure shrouded in
mystery.
JOHNNY
(muttering)
I'll be right back.
FADE OUT.
EXT. THE ARCHITECTURAL SPHERE OF JERUSEM - DAY
The celestial realm unfolds in breathtaking splendor, a
panorama of crystalline structures and verdant landscapes
that shimmer with an unearthly glow. The tranquility of this
divine city, bathed in gentle light, stands in stark contrast
to the tumult of earthly strife.
INT. SALVINGTON'S VIEWING CENTER - DAY
Inside the sanctum of divine oversight, JOHNNY and the Angel
ARIEL stand before a vast screen that pulses with the lives
of millions. The revelation of this celestial observatory
leaves Johnny in awe.
JOHNNY
(awestruck)
Is this Heaven? And Lucifer... he's
your brother?
ANGEL ARIEL
(pensively)
It's the threshold of Paradise, and
yes, Lucifer is our lost kin.
36.
Their exchange, heavy with cosmic significance, explores the
delicate balance of free will and the eternal struggle
between light and shadow.
JOHNNY
(pondering)
Why not simply end Lucifer's
rebellion?
ANGEL ARIEL
(somberly)
Humanity must choose its path,
Johnny. Our battle is not just with
Lucifer, but with the very nature
of evil itself.
FADE OUT.
Genres:
["Fantasy","Supernatural","Drama"]
Ratings
Scene
15 -
From Heist to Healing
EXT. HOLLYWOOD FREEWAY - NIGHT
In the dead of night, Johnny and Arsen, cloaked in the
anonymity of darkness, race down the freeway in a Mach 1
Mustang, the thrum of Elvis Presley's voice on the radio
their only companion.
ARSEN
I know it's not right Johnny, but
was it right when he ripped off
your old man? This guy screwed up
your family. We have
to burn his ass.
JOHNNY
(reluctant)
It's still not right.
EXT. UPPER CLASS NEIGHBORHOOD - NIGHT
ARSEN
Man, check out his pad!
Arsen turns off his headlights and puts on some black
leather gloves.
ARSEN
Keep a look out. I am going to
check it out.
37.
Arsen exits and enters the yard through a side gate. Johnny
sits alone staring at the house. Suddenly Beelzebub appears
in silhouette, sitting directly behind Johnny in the back
seat. He speaks calmly into Johnny's ear.
BEELZEBUB
You can't let Ara get away with
this. Your parents are getting a
divorce over money, Johnny. Ara’s
the one that took it. You have to
get it back. It's the only way.
Arsen opens the front door and waves for Johnny to join him .
Johnny cautiously looks up and down the street and exits the
car.
INT. ARA'S HOUSE - NIGHT
ARSEN
Look for the safe, but don't move
anything out of place.
They search through the house. Johnny finds the safe and
calls Arsen. Arsen excitedly enters.
ARSEN (CONT’D)
My dad said he has a hundred
thousand in there. How can we open
it?
JOHNNY
A hundred thousand! Where did he
get that kind of money?
ARSEN
You don’t know. He’s a bookie and a
loan shark. The catering truck is
just a front.
JOHNNY
What a prick! I never liked him.
Now I know why... I guess we should
take the whole thing and then worry
about opening it.
ARSEN
How you gonna get it out? It must
weigh a ton.
JOHNNY
We'll hoist it out.
38.
ARSEN
A hoist? Do you think we can make
one?
JOHNNY
Heck yeah, piece of cake.
ARSEN
OK, that's what we'll do. Put
everything back.
CUT TO :
EXT. RESURRECTION CEMETERY. EAST LOS ANGELES - DAY
Peter leans down and begins to polish his mother's bronze
gravestone. Johnny and Little Greg respectfully watch on.
PETER
Your grandmother was a beautiful
woman. If she were still alive, she
would make your mother stay with
me. Family is the most important
thing in life. Without family,
there is nothing. But not with
her, she wants something more.
Johnny, upset, stands up for his mother.
JOHNNY
She wouldn't have to leave you if
you weren't so uptight.
PETER
What do you mean uptight?
JOHNNY
You know, stressed out, on edge,
you scream and yell about
everything. Cool it
a little.
Little Greg nods in approval. Peter gives Johnny a blank
stare. A few moments pass, he realizes how much of the
problem is his fault. He breaks down and turns to the grave.
His words overflow with emotion.
39.
PETER
(in Armenian)
Mama, why did you have to leave me?
I have no one, nobody, why? Why?
Johnny looks at his brother and then to Peter.
JOHNNY
You have me and Greg.
Peter turns, fighting back the tears.
PETER
John, you don't understand. The
Turks slaughtered more than half
our family. After that I lost my
father to another war when I was
eleven. Then when I was your age,
the Germans were dropping bombs
on us. I was hungry and homeless,
what little was left of our family
was separated. It was hell on earth
and I was alone.
Peter regains his composure and will to go on.
PETER (CONT’D)
We came to this country, we had
nothing. Your grandmother scrubbed
floors on her hands and knees so
that you could have a better life,
John.
Peter puts his arms around his two sons and walks toward the
car.
In the solemn embrace of the cemetery, Peter's confession to
his sons weaves a tale of loss, survival, and the enduring
strength of family. His tears, a testament to a life marked
by conflict, evoke a newfound understanding in Johnny.
CUT TO :
Genres:
["Drama","Crime","Family"]
Ratings
Scene
16 -
Second Chance
INT. PRINCIPAL'S OFFICE - DAY
The door to the principal's office swings open, revealing
JOHNNY, a figure of youthful innocence and trepidation,
lingering at the threshold. FATHER SLATTER, seated behind his
desk, embodies authority tempered with an undercurrent of
compassion. His gaze, peering over reading glasses, locks
onto Johnny.
40.
JOHNNY
(voice quivering)
You wished to see me, Father?
FATHER SLATTER
(firm yet gentle)
Yes, John, please come in, have a
seat. Your academic performance and
attendance have fallen short of
Bosco Tech's standards and Sister
Mary Patrick at Mission high school
has reported seeing you on-campus
during class hours.
As he speaks, Father Slatter's eyes convey a mix of
disappointment and concern, the weight of his words hanging
heavily in the air.
FATHER SLATTER (CONT’D)
(reluctantly)
I'm left with no choice but
expulsion.
The color drains from Johnny's face, his future teetering on
the edge of ruin.
JOHNNY
(pleading)
Expel me? Father, please... my
life's is falling apart. My
parents' marriage is crumbling. I'm
at my breaking point.
Father Slatter, moved by Johnny's plea, recognizes the depth
of his struggle, a familiar story of youth besieged by
personal demons.
FATHER SLATTER
(concerned)
Explain to me, Johnny. What's
troubling you?
JOHNNY
(fighting tears)
It's all just too much. I swear,
I'll make amends. Just don't throw
me out.
A silent moment passes, the decision weighing upon Father
Slatter. Finally, he nods, a gesture of grace.
FATHER SLATTER
(sighing)
Alright.
(MORE)
41.
FATHER SLATTER (CONT’D)
I'll extend one final opportunity
to you. But remember, this is your
last chance.
Johnny, overwhelmed with relief and gratitude, wipes away
tears, vowing to honor this second chance.
JOHNNY
Thank you, Father! I won't
disappoint you.
FATHER SLATTER
(cautiously optimistic)
Johnny, heed the guidance I offered
in confession. Let faith be your
compass.
As they stand, Father Slatter imparts a blessing upon Johnny,
a symbol of hope and a reminder of the path of righteousness.
FATHER SLATTER (CONT’D)
And Johnny, trim that hair.
CUT TO:
Genres:
["Drama"]
Ratings
Scene
17 -
The Arrival of the Girls
INT. BACK ROOM - DUSK
The dim light room vibrates to the electrifying strains of
Jimi Hendrix, colored lights dancing across the walls. ANDRE,
lost in the music, imagines himself on stage, guitar in hand.
JOHNNY bursts in, the clinking of a wine bottle announcing
his arrival, his voice struggling to be heard over the music.
JOHNNY
(yelling)
When will the girls be here?
The question goes unanswered, lost in the cacophony. With a
flick, the volume drops, Andre's annoyance clear.
ANDRE
(irritated)
What?
JOHNNY
(repeating)
When are the girls arriving?
ANDRE
(expectant)
Any moment now.
(MORE)
42.
ANDRE (CONT’D)
This place is amazing, by the way.
How do you afford it?
JOHNNY
(smiling)
A trade-off - lawn mowing and
babysitting.
The camaraderie is interrupted by the distinctive honk of a
VW horn. Anticipation lights up their faces.
JOHNNY (CONT’D)
(excited)
They're here!
A quick preening in the mirror, and they're off, following
Johnny out the door like soldiers to battle.
EXT. BACK ROOM'S FRONT YARD - DUSK
CATHY and SANDY make their grand entrance, alighting from the
VW convertible. Across the way, ALBERT lounges on a porch, an
observer to the unfolding teenage drama.
The atmosphere buzzes with the electric hum of youth and
anticipation. SANDY and CATHY, glowing under the evening sky,
greet ALBERT with a chorus of hellos, their voices a melody
of excitement. JOHNNY, with a buoyant step, ushers the girls
towards the clandestine sanctuary of the back room, a realm
away from prying eyes. ALBERT, in a silent exchange of
camaraderie, flashes JOHNNY a thumbs-up, a gesture met with a
boyish grin that speaks volumes of their shared adventure.
The moment, however, teeters on the brink of chaos as BIG
GREG's Riviera roars into the scene, a beast of metal and
might, its arrival marked by the dramatic cry of brakes and
the thunderous descent of hydraulics. The night vibrates with
the echo of rebellion.
ALBERT
(pleading)
Greg, tone it down, will you?
You're waking the dead!
BIG GREG, ensconced in his mechanical throne, remains
oblivious to the plea, his attention fixed on a singular
quest.
BIG GREG
(enthusiastic)
Hey, Big Al! What's happening?
43.
ALBERT, wrestling with annoyance and amusement, retorts, a
note of exasperation in his voice.
ALBERT
(sarcastic)
A circus, courtesy of you. What
else?
BIG GREG's curiosity, once piqued, knows no bounds. Learning
of JOHNNY and ANDRE's company, he's drawn like a moth to a
flame, his intentions a mixture of intrigue and mischief.
Genres:
["Drama","Coming-of-age","Teen"]
Ratings
Scene
18 -
Temptation and Tension
INT. BACK ROOM - CONTINUOUS
The room, a cocoon of intimacy, plays host to a scene of
youthful exploration and budding romances. JOHNNY and CATHY,
lost in a passionate embrace, find a world within each
other's arms. ANDRE, ever the charmer, whispers sweet
nothings to SANDY, their proximity a dance of potential and
hesitation.
The intrusion comes without warning. BIG GREG, a force of
nature, breaches the sanctuary with the ease of a storm
breaking through defenses. His arrival, unannounced and
unapologetic, sends ripples through the room, a tidal wave
disrupting the calm.
BIG GREG
(triumphant)
The party doesn't start till I walk
in!
The room, charged with surprise and disarray, pauses in a
collective breath. JOHNNY, a mix of frustration and brotherly
affection, admonishes the unwelcome guest.
JOHNNY
(annoyed)
Ever heard of knocking, Greg?
BIG GREG, with a sheepish grin, acknowledges the oversight,
his bravado softening at the edges.
BIG GREG
I'm sorry. I didn't know you guys
were here.
The decision to depart is swift. CATHY, the voice of reason
in the whirlwind of emotions, signals the end of the
escapade.
44.
CATHY
We better go. I didn't tell my
mother where I was going.
JOHNNY
Come on, stay. Greg's leaving now,
aren't you, Greg?
BIG GREG
No, my mom knows I'm here.
CATHY
We have to go. I told my mom I'd be
right back. Come on, Sandy.
Despite JOHNNY's protests, the call of obligations beyond the
room's walls is a siren they cannot ignore.
JOHNNY
Well, all right, I guess.
Johnny and Andre follow the girls out. Big Greg stays in the
room, turns on the TV and starts flipping through the
channels.
As the girls take their leave, BIG GREG, undeterred by the
evening's shift, claims the space as his own, the flicker of
the television screen his sole companion. ALBERT, stepping
into the aftermath, casts a knowing look BIG GREG's way, the
unspoken words hanging heavy between them.
ALBERT
Way to go, Greg.
Greg looks dumbfounded.
BIG GREG
What?
Andre and Johnny return.
JOHNNY
You’re such a big idiot!
BIG GREG
Who you calling a idiot?
Andre joins in.
ANDRE
You, you're an idiot.
45.
BIG GREG
I didn't do nothing.
Albert doesn't want to get involved. He walks out the door.
On the television, a trailer for a new movie, "Gone in 60
Seconds", flashes across the screen. Greg points, all
excited.
BIG GREG (CONT’D)
We gotta go check out that movie,
Johnny. Arsen says they show you
how to steal any car really quick.
The trailer cuts to a news special on automobile theft. The
commentator stands amongst wrecked cars at a giant salvage
yard. The tension in the room tightens as the TV screen
illuminates the faces of BIG GREG, JOHNNY, and ANDRE, their
attention captivated by the unfolding news special on
automobile theft. The COMMENTATOR's voice, grave and
foreboding, echoes through the room, painting a picture of a
world where morality is blurred by desperation and cunning.
COMMENTATOR
Wrecked cars are bought at auctions
at a fraction of their costs.
He points to a totaled out Mercedes convertible.
COMMENTATOR (CONT’D)
ID numbers are removed and
transferred to a new stolen
vehicle. Just like this one.
The commentator points to a shiny brand new Mercedes.
COMMENTATOR (CONT’D)
We'll be right back to tell you
what the police are doing to crack
down on automobile theft.
The camera pans to a gleaming Mercedes, a phoenix risen,
symbolizing the seductive allure of quick gains over the path
of righteousness.
The air in the room grows thick as the seeds of temptation
take root. BIG GREG, his excitement palpable, turns to
JOHNNY, visions of grandeur dancing in his eyes.
BIG GREG
(enthralled)
Man, we can be styling all the way
live in a new Mercedes or Porsche.
46.
JOHNNY, caught in the web of allure and danger, wavers on the
edge of a precipice, the simplicity of the scheme a siren
call to his troubled soul.
JOHNNY
(hesitant)
That looks like it's easy. I don't
know, it's kind of crazy stealing
somebody's car.
BIG GREG, dismissive of the moral quandary, waves away the
concern with a cavalier flair.
BIG GREG
(firmly)
Big deal. The insurance gets them a
brand new one. We'll be doing them
a favor.
ANDRE, the voice of reason in the tempest of greed and
desire, echoes the silent alarms ringing in the back of their
minds.
ANDRE
(doubtful)
That is kind of crazy.
BIG GREG, undeterred, lashes out, his words a challenge to
their courage and daring.
BIG GREG
(scornfully)
You guys are both pussies!
CUT TO:
Genres:
["Drama","Crime","Teen"]
Ratings
Scene
19 -
The Heist Prep
EXT. UNIVERSAL AUTO WRECKERS - DAY
Amidst the graveyard of dreams that is the salvage yard,
JOHNNY and BIG GREG navigate the aisles of broken and burnt-
out cars, each step a descent into a world where the lines
between right and wrong blur.
Johnny spots another car down the aisle.
JOHNNY
Hey, what's that?
BIG GREG
Where?
Johnny makes his way to a car buried under parts and dirt.
47.
He removes some of the parts for a better look.
JOHNNY
It's a Jaguar!
The car's been hit really hard on the passenger side.
Johnny pries the hood open exposing a complicated array of
hoses and engine components.
JOHNNY (CONT’D)
Wow, check it out! Two, four, six,
eight, ten, twelve, twelve
cylinders.
BIG GREG
Man, it looks like it belongs in an
airplane. It would be bitchen. All
you need is the motor and numbers,
right?
As they contemplate the jagged path ahead, the ethereal forms
of BEELZEBUB and SAMUEL materialize, unseen heralds of chaos
whispering sweet promises of glory and adulation.
BEELZEBUB
(seductively)
The chicks are going to love it!
JOHNNY, entranced by visions of a future painted in strokes
of power and admiration, stands at the crossroads of fate,
his decision a whisper in the wind.
JOHNNY
(resolute)
The answer lies in the question.
Greg looks at Johnny.
BIG GREG
What?
Johnny's convinced.
JOHNNY
We'll never know unless we try.
Let's see how much they want for
it.
The die is cast, their pact sealed under the watchful eyes of
demons and destiny, as they stride forth into the unknown.
CUT TO:
48.
INT. JOHNNY'S HOUSE - KITCHEN - DUSK
The tension is palpable as JOHNNY leads the way, with BIG
GREG and LITTLE GREG in tow, their steps echoing with a mix
of excitement and apprehension. The cacophony of the slide
hammer wielded by Big Greg punctuates the air, a symphony of
determination and dread. BOSCO, their loyal canine companion,
blends into the familial convoy, his presence a comforting
shadow in the midst of chaos.
INT. JOHNNY'S BEDROOM - DUSK
The room, a sanctuary of youth and dreams, now serves as the
staging ground for a venture into the unknown. Big Greg, with
deliberate movements, places the ominous slide hammer beside
a leather briefcase, the tools of their night's endeavor laid
bare.
BIG GREG
(looking around)
Where's your parents?
JOHNNY, rifling through his closet for a suit, responds with
a dismissive tone, his focus elsewhere.
JOHNNY
(a touch of bitterness)
Your guess is as good as mine.
LITTLE GREG, the innocence in the room, probes further, his
curiosity a beacon in the dimming light.
LITTLE GREG
(naively)
What's the plan, guys?
JOHNNY, his patience thinning, issues a stern directive.
JOHNNY
(urgently)
Watch the door, will you?
The sound of the door slamming shut resonates like a gavel,
marking the commencement of their clandestine operation. A
picture of serenity, the Guardian Angel guiding the children,
succumbs to the vibration, its descent on to the floor a
silent omen. The picture crashes to the floor with a loud
BANG.
BIG GREG, ever the peacemaker, attempts to restore the fallen
symbol to its place. JOHNNY, caught in the whirlwind of
preparation, dismisses the gesture, his mind racing with the
night's potential outcomes.
49.
JOHNNY (CONT’D)
(focused)
Forget that! Help me with this,
will you?
The tie, a noose of societal expectations, finds its way into
Big Greg's hands, his reflection in the mirror a study of
concentration and resolve. It's then that the medallion
hanging on the mirror catches his eye, its aura a mixture of
heritage and mystique.
BIG GREG
(admiring)
What’s this...where did this come
from?
JOHNNY, amidst the ritual of dressing, reveals its lineage, a
thread of history woven into the fabric of their lives.
JOHNNY
(a touch of pride)
It’s our Great Grand fathers
Grandma gave it to me.
BIG GREG
It's bitchen, I'm going to wear it.
Johnny is reluctant.
JOHNNY
Promise you won't lose it.
BIG GREG
I promise.
JOHNNY
And you have to give it back soon
or my mom will kill me.
The pact sealed, the briefcase snaps shut, a finality to
their preparations. LITTLE GREG, the silent observer, pieces
together the puzzle, his voice a mixture of awe and longing.
LITTLE GREG
You guys are gonna steal a car. I
want to go.
Johnny puts on the tie.
JOHNNY
No way. You can’t go!
CUT TO:
50.
Genres:
["Crime","Drama","Thriller"]
Ratings
Scene
20 -
The Jaguar Chase
EXT. WHITTIER BLVD. - EAST LOS ANGELES - NIGHT
An eclectic mix of tinsel-wrapped Christmas wreaths adorn the
lampposts, casting a festive glow over Whittier Blvd. A
kaleidoscope of blue, green, red, and white lights dazzles
from the iconic steel-structured East LA sign, majestically
spanning the boulevard's skyline. A procession of weathered
automobiles from the 60s and 70s navigates the strip, echoing
the area's rich cultural tapestry. Amidst this vibrant
tableau, JOHNNY, BIG GREG, and LITTLE GREG—having reluctantly
joined the escapade—pilot their vehicle through the bustling
avenue.
Suddenly, Big Greg maneuvers next to a rival low rider at a
traffic stop. A silent but intense duel ensues as the driver
of the opposing vehicle locks eyes with Big Greg, igniting a
battle of bouncing cars. Big Greg retaliates, his car leaping
from the asphalt in a mechanical dance of dominance. Within,
Johnny and Little Greg are hurled about in a chaotic ballet.
JOHNNY
(exasperated)
God damn it, Greg, you crazy?
You're turning my stomach inside
out.
BIG GREG
(reveling in the moment)
Screw him, he thought he was bad.
JOHNNY
(pleading)
Listen, don't do this shit when we
get to Beverly Hills. The cops
there hate low riders. Turn off.
Let's get out of here before we get
shot at.
As they proceed, a Lincoln Continental low rider captures Big
Greg's attention, sparking a gleam of desire in his eyes.
BIG GREG
(fixated)
Man, check out that Lincoln. That's
my ride, homeboy!
CUT TO:
EXT. WILSHIRE AND RODEO BLVD. - BEVERLY HILLS - NIGHT
The night sky is ablaze with countless tiny bulbs,
meticulously arranged to depict Santa and his sleigh soaring
across Rodeo Drive.
51.
This enchanting scene extends throughout Beverly Hills, where
every intersection is a testament to the holiday spirit. The
streets are lined with exotic vehicles, their mirror-like
finishes reflecting the opulent surroundings. The Riviera
screeches to a halt at a red light, and Johnny gazes out in
wonder.
JOHNNY
(awestruck)
Man, this place looks like
Disneyland.
Big Greg surveys the scene, his expression one of
disappointment.
BIG GREG
(skeptically)
No Jag’s what’s up?
Johnny joins in the search, but his heart isn't in it.
JOHNNY
(resentful)
Let's get out of here!
BIG GREG
(curiously)
Where we going?
JOHNNY
(defeated)
Malibu beach.
As the light shifts to green, the Riviera bursts forward,
disappearing into the night.
CUT TO:
EXT. PACIFIC COAST HIGHWAY - NIGHT
The Riviera slices through the cool night, its headlights
cutting a path alongside opulent beach houses. The air inside
the car is electric, charged with the thrill of the night's
quest. JOHNNY and BIG GREG are at the helm, with the
malevolent BEELZEBUB wedged between them, his presence an
omen. In the back, LITTLE GREG is ensconced by the celestial
RAPHAEL and GABRIEL, their light a stark contrast to the
darkness ahead.
52.
BIG GREG
Did you see what I saw?
JOHNNY
What was that, a Jaguar?
BIG GREG
Yeah, it looked brand new.
Beelzebub rubs his hands together in anticipation. He leans
over and speaks into Big Greg's ear.
BEELZEBUB
Make a U turn now!
With a swift and perilous maneuver, Big Greg executes a U-
turn, positioning them beside the coveted Jaguar. Johnny
leans out, his fingers grazing the sleek machine, only to
find resistance.
JOHNNY
(dismayed)
Locked, as fate would have it.
BIG GREG
(turning to Johnny)
What's our next move?
RAPHAEL
(whispering to Little
Greg)
Advise retreat.
LITTLE GREG
(softly)
Lets go home.
Their reaction to Little Greg's suggestion is a mix of scorn
and disbelief. Beelzebub, impatient, urges action.
BEELZEBUB
(resolute)
Break the glass!
BIG GREG
(to Johnny)
Take the hammer.
JOHNNY
(hesitant)
The noise...
53.
Johnny's thinking. Gabriel leans over and speaks into
Johnny's ear.
ANGEL GABRIEL
You don't want to do this. Breaking
the window will make a whole lot of
noise.
JOHNNY
I don't know. Pull up ahead and let
me think about this.
Greg moves the car and parks.
BEELZEBUB
Just break the window.
BIG GREG
Just get the hammer and break the
wind wing.
JOHNNY
That's going to make too much
noise.
Maybe we shouldn't do it.
BEELZEBUB
They won't hear shit.
BIG GREG
The house is way back there. They
won't hear shit.
Johnny's undecided. Raphael leans over to Johnny.
ANGEL RAPHAEL
How would you like it if someone
stole your car, Johnny?
JOHNNY
It's kind of chicken shit, taking
someone's car.
Beelzebub and Big Greg are getting frustrated. Big Greg
blurts out without Beelzebub's help.
BIG GREG
Come on man, look at their house.
They're loaded to the max. Buckoo
bucks, man, what is that in the
driveway a Rolls Royce?
54.
Beelzebub is surprised with Big Greg's reply.
BEELZEBUB
Now you're talking.
Johnny looks over.
JOHNNY
It's a Corniche convertible and a
Ferrari!
Big Greg puts the car in park.
BIG GREG
They won't miss a Jaguar. You
drive.
I'll break the window.
BEELZEBUB
That's my boy!
JOHNNY
All right, we'll break it real fast
and then split, and see if anyone
comes out.
Beelzebub turns and smiles victoriously at Gabriel and
Raphael. The Angels are infuriated. Big Greg gets out of the
car.
BIG GREG
I bet this is a movie star's pad.
Johnny slides into the driver's seat. Big Greg gets in as
Little Greg hands him the hammer.
BIG GREG (CONT’D)
OK, let's get it.
Johnny pulls up to the Jaguar's driver's door. Big Greg
hangs out the window and swings shattering the window into
little pieces. Johnny pulls quickly away and parks. He turns
and looks back.
JOHNNY
Is anyone coming out?
Big Greg looks over his shoulders.
55.
BIG GREG
Hell no! Just pop the lock and
we're out of here!
Johnny grabs the handle of the briefcase.
JOHNNY
OK, here it goes.
The rhymes of the devil theme song begins.
"Have you come of your own accord
to give your soul to take up sword?
Have you looked everywhere to find
that what you want in life is mine.
I must see proof you'll do my
will."
Johnny sticks his hand through the broken wind wing. He
unlocks the door and cuts himself as he withdraws his hand.
JOHNNY (CONT’D)
Dam it! Where's my gloves?
Johnny's hand, trembling with a mix of adrenaline and
apprehension, reaches for the door, its metallic click
echoing in the still night air. As he swings it open, the
interior light bathes him in a harsh glow, casting long
shadows that seem to dance mockingly around him. He gingerly
places the briefcase on the passenger seat, its contents a
heavy burden on his conscience.
Settling into the driver's seat, Johnny is acutely aware of
the silence, broken only by his labored breathing. Panic
begins to claw its way through his resolve, manifesting in
beads of sweat that trail down his forehead, mingling with
the blood seeping from the gash on his hand. With every swipe
of his hand across his brow, the blood smears across his
face, a grotesque mask that mirrors the internal chaos he
feels.
The car, once a symbol of freedom and power, now feels like a
trap, closing in on him with every passing second. Johnny's
heart pounds in his chest, a frantic drumbeat urging him to
flee, yet he remains frozen, caught in the headlights of his
own indecision.
SONG CONTINUES:
"Make marks on his body so all who
see will know he belongs to me. The
marks will heal but not the heart.
It's been forever torn apart."
56.
Johnny removes the slide hammer from the briefcase and
positions it into the steering wheel lock. He slams the
weight on the slide hammer back trying to break the lock but
has no success.
JOHNNY
Shit, come on.
He tries again this time even harder. The weight slams back
and slips, causing Johnny to slam his injured hand into the
steering wheel.
JOHNNY (CONT’D)
Ohhww! God damn it, I'm bleeding to
death.
INT: RIVIERA NIGHT
The tension skyrockets as the boys fidget, their nerves
stretched thin. Little Greg's eyes widen as a beam of light
flickers off within the beach house, slicing through the
night.
LITTLE GREG
(panic-stricken)
Oh shit, someone's coming. What's
he doing? Why is he taking so long?
In a blur of motion, Johnny abandons the Jaguar, racing back
to the sanctuary of the Riviera. Big Greg, sensing the
urgency, flings the door open wide.
BIG GREG
(concerned)
What happened?
Johnny, chest heaving and breaths coming in sharp gasps,
struggles for composure.
JOHNNY
(desperate)
The lock won't break. They made it
look real easy in the movie.
Big Greg's gaze drops to the crimson that stains Johnny's
hand, a vivid contrast to the pale fear on his face.
BIG GREG
(alarmed)
You're bleeding.
57.
JOHNNY
(irritated)
No kidding? Get a rag or something.
With quick thinking, Big Greg rips a piece from his shirt,
binding Johnny's wound in a makeshift bandage. Johnny's eyes
dart to the beach house, searching for any sign of danger.
JOHNNY (CONT’D)
(tense)
Is everything cool?
LITTLE GREG
(uneasy)
No, a light went off upstairs.
BIG GREG
(trying to reassure)
Yeah, they probably went to sleep.
JOHNNY
(determined)
OK, I'm going for it again. This
time I think it will break.
As Johnny steels himself to re-enter the Jaguar, a sinister
theme song invades the atmosphere, narrating the unfolding
drama.
SONG CONTINUES:
"He's giving in, he's giving his
face, mine will be put there in its
place."
INT RIVIERA NIGHT.
The boys attention snaps to the beach house as the light
returns, revealing a silhouette that prowls past a window—a
harbinger of their doom.
Suddenly, Big Greg's eyes catch the ominous flash of red and
blue lights in the rearview mirror.
BIG GREG
(voice filled with dread)
Oh no, shit, damn it!
Little Greg pivots, his gaze locking onto the approaching
CHP, terror seizing his voice.
LITTLE GREG
(horrified)
Oh my God, we're busted!
58.
As Johnny ignites the Jaguar, ready to flee into the night,
the approaching sirens grow louder. In the rearview, Johnny's
eyes meet the spectral figure of Beelzebub, a chilling
presence in the back seat.
JOHNNY
(disbelieving)
No, this can't be happening.
Beside Beelzebub, Samuel materializes, his arrival adding to
the chaos.
BEELZEBUB
(impatient)
Where have you been?
SAMUEL
(defensive)
You told me to stick with Arsen.
The heart-pounding moment is shattered as the CHP cruiser,
lights blazing, speeds past, oblivious to the drama unfolding
within the Riviera and Jaguar.
CUT TO:
Genres:
["Crime","Drama","Thriller"]
Ratings
Scene
21 -
The Lowered Jaguar
INT. JOHNNY'S GARAGE - NIGHT
The silence of the garage is punctuated by the metallic glide
of a mechanic's creeper rolling from under the sleek form of
a Jaguar. JOHNNY emerges, standing tall, his presence
announced by a striking black grease mark adorning his nose.
He reaches over, extinguishing the vibrant flame of an
acetylene torch. His movements are deliberate, the bandage
wrapped tightly around his hand a stark reminder of the
night's endeavors. Gripping the handle of the floor jack, he
twists with precision, the car descending abruptly, a
testament to his ambition. The Jaguar now rests, its frame a
whisper away from the concrete floor, a bold statement of
defiance.
The garage, a sanctuary of ambition and dreams, is cluttered
with the remnants of a dismantled Jaguar. Amongst this
mechanical disarray, the Guardian Angel's picture has found a
new home, overseeing the triangular safe hoist, a monument to
Johnny's audacious plan. He gazes upon his creation, a mix of
pride and disbelief swirling within him. The tension is
palpable, the theme song amplifying the moment's gravity as a
thud at the garage side door shatters the anticipation.
59.
The door bursts open, revealing BOSCO in a frenzy of
excitement, his paws landing on Johnny with unbridled joy.
JOHNNY
(frustrated yet
affectionate)
God damn it! Bosco, you scared the
hell out of me.
Bosco's response is immediate, a lick to Johnny's greasy
nose, a moment of levity in the charged atmosphere.
JOHNNY (CONT’D)
(commanding)
OK, sit down Bosco, sit.
Bosco complies, his curiosity piqued, ears perked in
attention. Johnny's monologue is for Bosco as much as it is
for himself, a declaration of transformation fueled by the
Jaguar.
JOHNNY (CONT’D)
(reassuring himself)
Man, I am going to be the baddest
dude around. Check it out. Without
this car I am Joe Blow, but with it
I’m Joe cool, you know what I mean?
Bosco's interest wanes, the significance of Johnny's words
lost on him as he exits, leaving Johnny to his thoughts.
JOHNNY (CONT’D)
(dismissively)
Ah, what do you know anyway?
LITTLE GREG enters, the bearer of news, his presence a
reminder of the world outside the garage.
LITTLE GREG
(urgent)
Dad's home, he's looking for you.
JOHNNY
(proud yet apprehensive)
How do you like it, pretty bitchen,
huh?
LITTLE GREG, skepticism shadowing his features, acknowledges
the masterpiece before him with a hint of concern.
LITTLE GREG
(apprehensive)
I like it. But aren’t you afraid
Dad will see it?
60.
JOHNNY
(confidently dismissive)
Come on, when was the last time Dad
went into the garage? A year ago.
All he dose is work and sleep and
if he sees it I’ll just tell him I
fixed the wrecked one... Let's get
out of here.
LITTLE GREG
(doubtful)
Are you going to be able to drive
it like that? It looks kind of low.
They exit, the door locking behind them, sealing the Jaguar
and Johnny's aspirations within.
CUT TO:
Genres:
["Drama","Crime","Thriller"]
Ratings
Scene
22 -
Father and Son, Keys and Secrets
INT. KITCHEN - NIGHT
PETER sits, a figure of domestic responsibility, immersed in
the ritual of bill-paying. JOHNNY approaches, the weight of
his endeavors shadowing his steps.
JOHNNY
(trying to be nonchalant)
Hi, dad. What are you doing?
PETER, engrossed in his task, doesn’t look up, his focus
unbroken.
PETER
(automatic)
Paying bills. What are you doing?
JOHNNY
(evasive)
Nothing right now.
PETER
(direct and challenging)
What do you mean “nothing”? How
many times I tell you, John, work,
make money, be somebody!
The grease mark on Johnny's nose catches Peter's eye, a
silent testimony to Johnny's true activities.
JOHNNY
(avoiding the question)
I'm hungry, dad, let me use your
car to get something to eat.
61.
PETER
(skeptical)
Use my car? I bought you a Vega,
you sold it and bought that junk.
How are you going to fix that car,
John?
The conversation shifts, a dance of defiance and authority,
as Johnny's plea meets Peter's resistance. The keys, a symbol
of freedom, pass between them, a temporary truce in their
ongoing battle.
PETER (CONT’D)
(resigned)
OK, go, leave me alone.
JOHNNY
(grateful yet hurried)
Thanks, dad. I'll be careful.
PETER
(unsuspecting)
Wait, John. Where's the key to the
garage?
The mention of the garage key halts Johnny, a moment of panic
thinly veiled.
JOHNNY
(tensely)
Why?
PETER
(practical)
I want to trim the bushes and you
locked the door. My clippers are in
there.
JOHNNY
(quickly recovering)
Don't worry, I'll do it tomorrow.
The dialogue of everyday life continues, a delicate balance
between Johnny's double life and Peter's expectations,
culminating in a tense yet unresolved standoff.
CUT TO:
62.
Genres:
["Family Drama","Coming of Age"]
Ratings
Scene
23 -
Dreams and Differences
INT. DENNY'S TYPE RESTAURANT - DUSK
The ambient light of dusk filters through the diner's
windows, casting long shadows across the booth where JOHNNY
and CATHY sit, lost in a world of their own. Johnny, with
conviction burning in his eyes, leans across the table, his
voice carrying the weight of his ambitions.
JOHNNY
(firmly)
I know I am going to be rich.
CATHY, her gaze fixed on him, responds with a softness that
contrasts sharply with Johnny's intensity.
CATHY
(gently)
It doesn't matter if you’re rich,
Johnny. If you're a good person,
God will reward you.
JOHNNY
(undaunted)
Whata you mean it doesn't matter?
That's what life is all about. You
work, make money and live. The more
you make, the better you live. Mark
my words, by twenty I'll have my
own auto shop. By the time I am
twenty-five, I'll have millions.
Cathy meets his gaze, skepticism etched on her face,
challenging his convictions.
CATHY
(doubtfully)
Johnny, at the rate you're going,
you'll end up in jail before you
hit twenty.
Johnny's confident demeanor falters as he considers her
words, the reality of her prediction dawning on him. He
rises, the determination returning to his posture as he slaps
down a twenty, a symbol of his resolve.
JOHNNY
(resolute)
Come on, I want to show you
something.
CUT TO:
63.
EXT. MALIBU BEACH - SUNSET
The scene shifts to the serene beauty of Malibu Beach at
sunset. JOHNNY and CATHY, now seated on a blanket, are
silhouetted against the fiery hues of the setting sun. Johnny
wraps his arm around her, pulling her close as the camera
moves in, capturing the intimacy of the moment.
CATHY
(hopefully)
I applied for Med school at UCLA
today. My GPA is high enough. I
just have to pass the entrance
exams.
JOHNNY
(encouragingly)
You could do it. You're smart.
CATHY
(self-deprecatingly)
I don't know, I'm not that smart.
What about you, Johnny? Don't you
want to go to college?
JOHNNY
(defeatedly)
I don't know. I don't think my
parents can afford to send me to
college. My dad bitched about the
tuition at Bosco Tech, let alone
college. Forget it.
CATHY
(earnestly)
So you're going to work on cars the
rest of your life. You're better
than that.
JOHNNY
(philosophically)
I know, but what can I do? I feel
like God has something special for
me to do. I'm just not sure what it
is. I feel confused and anxious at
the same time.
As the sun dips below the horizon, Johnny turns to Cathy, a
look of profound sincerity in his eyes.
JOHNNY (CONT’D)
(solemnly)
I know one thing for sure.
64.
CATHY
(softly)
What's that?
JOHNNY
(passionately)
That I'm in love with you.
Their embrace evolves into a passionate kiss, their bodies
entwined in the sand, as laughter and joy bubble forth from
Cathy, a stark contrast to the darkness encroaching on the
horizon. They roll over back and forth in the sand. Cathy
begins to giggle and laugh. She breaks Johnny's
hold pushing him onto his back. She gets up and heads for
the water. Johnny gets up and runs after her
CUT TO:
Genres:
["Romance","Drama"]
Ratings
Scene
24 -
Satan's Interference
EXT. OUTSKIRTS OF THE SOLAR SYSTEM - NIGHT
The camera pulls back to reveal a sinister realm, HELL'S
VIEWING CENTER, where SATAN sits, surrounded by the chaos of
wars, disease, and human suffering on hundreds of viewing
screens. His attention narrows on Johnny and Cathy, their
images expanding under his malevolent gaze. GABRIEL and
RAPHAEL hover protectively, unnoticed by the demonic host.
SATAN
(furiously)
Love! I hate love... Beelzebub,
where are you?
BEELZEBUB materializes, a dark figure looming over Satan's
shoulder.
BEELZEBUB
(obediently)
Yes, Sir?
SATAN
(imperatively)
Beelza, please take care of this.
If their love continues, we'll lose
him to the light.
BEELZEBUB
(confidently)
No problem. I know just what to do.
This boy is weak it’s like taking
candy from a baby.
65.
SATAN
(warningly)
Do not underestimate Gabriel and
his forces, this boy will one day
be a man. We have to stop him now!
CUT TO:
INT. BACK ROOM - NIGHT
The scene shifts to a more intimate setting as Johnny leads
Cathy through the door, the air charged with tension and
anticipation.
CATHY
(curiously)
How come every time we go out we
wind up here?
Johnny's gaze intensifies as Beelzebub slips into him, a
transformation marked by a devilish grin spreading across his
face.
CATHY (CONT’D)
(uneasily)
Stop looking at me like that.
JOHNNY
(teasingly)
Like how?
CATHY
(warily)
You know.
JOHNNY
(amorously)
I can't help it. I love you.
CATHY
(frightened)
You're scaring me.
JOHNNY
(reassuringly)
Don't worry, there's nothing to be
scared of.
He kisses her passionately.
CATHY
I love you, Johnny.
66.
Johnny begins his seduction coaxing her onto the bed.
CATHY (CONT’D)
No, Johnny.
JOHNNY
What? I'm not going to do anything.
CATHY
You know what I'm talking about.
JOHNNY
Don't worry.
Cathy and Johnny go at it with a passionate fever. Johnny
starts to remove her blouse, moving on her very aggressively
Their kiss, a mix of love and something darker, seals their
fates as Johnny begins his seduction, the night unfolding
with a passionate fever that threatens to consume them both.
CUT TO:
Genres:
["Romance","Drama","Thriller"]
Ratings
Scene
25 -
The Heist Begins
EXT. BACK ROOM - NIGHT
The atmosphere tingles with the aftermath of Beelzebub's
machinations as he glides through the door, a specter of
chaos. His departure is marked by a palpable sense of
satisfaction, a dark glee that seems to linger in the air
long after he's vanished into the void.
CUT TO:
INT. BIG GREG'S GARAGE - NIGHT
The night is alive with the sounds of industry and familial
tension. BIG GREG, immersed in the guts of his Riviera,
commands the scene with the confidence of a seasoned
mechanic. The garage, a hive of activity, hosts not only Greg
but also his motley crew: UNCLE JOE, ensconced in his
wheelchair, the silent sentinel; ROSE, Big Greg's mother,
engaged in the mundane task of laundry, a stark contrast to
the mechanical ballet before her; and WALTER, poised at the
driver's seat, ready to breathe life into the engine at
Greg's command. ARSEN stands by, the eager apprentice soaking
in every detail.
67.
BIG GREG
(booming)
Go ahead, Wally, start it up.
The Riviera roars to life, a beast awakened, its throttle
under Big Greg's deft control. The engine's growl cuts
through the night, a cacophony that draws Rose's ire and
Uncle Joe's fury. Uncle Joe, incensed, wields his crutch like
a weapon, threatening retribution in a tempest of Russian.
UNCLE JOE
(furious)
Turn it off or I'll come over there
and break your head open.
The threat echoes in the garage as Big Greg acquiesces, the
motor's hum returning to a peaceful purr.
BIG GREG
(proudly)
You should see the Jaguar, me and
Johnny snatched off of PCH.
The mention of the Jaguar sparks intrigue, its legend growing
with each word, the XJ12L with a sunroof, a prize among
prizes.
ARSEN
(impressed)
Really! That's the twelve-cylinder
model.
BIG GREG
(enigmatically)
The motor looks like it belongs in
an airplane. But don't tell him I
told you. He made me promise.
The secret shared in the shadow of the garage binds them, a
pact of silence and awe.
CUT TO:
INT. BACK ROOM - NIGHT
The scene shifts to a stark contrast of emotions, where CATHY
sits, a portrait of regret, her sorrow a stark contrast to
the earlier fervor. JOHNNY, perplexed and concerned, seeks to
bridge the chasm of her grief.
JOHNNY
(softly)
What's wrong?
68.
Her silence is a weight, her tears a language of their own as
she mutters, her voice a whisper of despair.
CATHY
(heartbroken)
It's nothing. I didn’t want it to
be like this something wasn't
right. Just take me home, please.
Johnny's confusion deepens, but his resolve to comfort her
does not waver as he gently assists her, a beacon of support
in her turmoil.
CUT TO:
INT. JOHNNY'S DRIVEWAY - NIGHT
The tension mounts as Johnny, shrouded in the night's
embrace, begins to lift the garage door, revealing just a
glimpse of the prized Jaguar before the growl of Arsen's
Mustang slices through the silence. With a swift motion,
Johnny halts the reveal, the door slamming shut as Arsen's
presence looms. Bosco, a canine whirlwind, charges with
ferocity, his loyalty manifest in every snarl. As Arsen
attempts to pacify the beast at the gate, Johnny's command
slices through the tension.
JOHNNY
(sharply)
Bosco, shut up!
The moment softens as Arsen makes peace with Bosco, the guard
dog transformed by a gentle touch.
Johnny, cloaked in uncertainty, offers a noncommittal shrug.
JOHNNY
(tentatively)
Nothing much.
The conversation shifts to the task at hand, the hoist, a
symbol of their looming venture. Bosco, ever the sentinel,
echoes Arsen's impatience with a low growl.
JOHNNY (CONT’D)
Nothing much.
69.
ARSEN
Did you make the hoist?
JOHNNY
It's almost done.
Bosco senses Arsen's anger and starts to growl.
ARSEN
Come on, we can't waste anymore
time.
Johnny leans down and begins to calm Bosco
Johnny's hesitation hangs in the air, his reluctance
palpable.
JOHNNY
Look, I'll finish it, but I really
don't want to do it.
Arsen changes his attitude a bit.
ARSEN
Don't cherry out, Johnny. It'll be
easy. How long do you think it'll
take to pull it out?
JOHNNY
Two hours at the most.
ARSEN
See, that's fifty grand an hour.
We'll go early in the morning. They
leave at about four and they won't
be back until at least five in the
afternoon.
JOHNNY
That's true. But we have to cut the
floor boards. That's going to make
a lot of noise.
ARSEN
(gets upset)
Look, here's a hundred bucks.
Finish the hoist for me. I'll get
Big Greg to help me.
Arsen pulls out a hundred dollar bill and disgustedly hands
Johnny the money. Bosco growls again, this time more
viciously. Johnny grabs Bosco by the collar and holds him
back.
70.
Arsen's insistence is a pressure, his resolve unyielding as
he dangles the promise of wealth before Johnny, a lure too
tempting to ignore.
CUT TO:
Genres:
["Drama","Crime","Thriller"]
Ratings
Scene
26 -
A Father's Silence, A Lover's Betrayal
INT. DEN - NIGHT
The scene shifts to Peter, engrossed in the world of horse
racing, his focus undisturbed by the familial orbit around
him. The pre-race reveille plays, a herald to his solitude.
Johnny's entrance and greeting go unnoticed, his attempts at
connection brushed aside with a cold indifference.
JOHNNY
(trying to engage)
Hi, dad! ... Dad?
PETER
(absently)
What is it?
The conversation stumbles, Peter's attention momentarily
caught by Johnny's question, a glimpse of engagement before
the race claims him.
JOHNNY
(probing)
How much money did uncle Ara really
take from you?
PETER
(bitterly)
Too much! I should’ve killed the
bastard a long time ago.
The announcement of the race start is a barrier, Peter's
focus narrowing to the exclusion of his son.
PETER (CONT’D)
(brushing off)
Okay, shut up now.
Johnny's persistence is met with a threat, a silent command
that sees him retreating, his desire for connection unmet.
CUT TO:
71.
EXT. GARAGE - NIGHT
The garage door ascends, revealing the Jaguar, a beacon in
the night. Johnny's work on the safe hoist, a dance of
determination and frustration, culminates in a moment of pain
as his wrench slips, a curse lost to the night air.
JOHNNY
(cursing)
God damn it!
The discordant melody of devilish tunes invades the space,
the Guardian Angel picture a silent witness until its sudden
descent, a crash of glass and faith.
JOHNNY (CONT’D)
(startled)
What in the hell?
Undeterred, Johnny seeks refuge in the Jaguar, its cockpit a
sanctuary from the night's chaos. His exploration of its
features, a brief respite, before reality intrudes once more
as the Jaguar, too low to the ground, begins its precarious
journey out.
CUT TO:
EXT. UPPER CLASS RESIDENTIAL AREA - NIGHT
Under the cloak of night, Johnny, heart heavy with
anticipation, navigates the Jaguar through the silent
streets, the glow of three white roses illuminating the
passenger seat. His destination, Cathy's majestic two-story
home, looms ahead, a symbol of unspoken promises. The sight
of a convertible Mercedes, a specter from their shared past
at Mission High School, sends a chill through him. As he
draws nearer, the moment of truth unfolds before him. From
Johnny's point of view, Cathy and Bobby are framed in the
doorway, a tableau of betrayal that pierces his heart.
Cathy's gaze, lost to the Jaguar, never finds Johnny,
deepening his anguish.
JOHNNY
(under his breath,
disbelief coloring his
voice)
Who the hell is that? What time is
it?
72.
The clock's stark declaration of 10:30 propels Johnny into
action, the Jaguar's tires screeching a farewell as he
departs into the night, leaving behind a cloud of smoke and
unspoken words.
FADE TO BLACK:
FADE IN:
Genres:
["Drama","Crime","Family"]
Ratings
Scene
27 -
Demonic Invasion and Blackmail
EXT. OUTSKIRTS OF THE SOLAR SYSTEM - NIGHT
In the cosmic expanse, a tumultuous gathering unfolds as
Lucifer and Satan convene, their forms outlined against the
backdrop of raging fires. The scene below, Johnny's house,
becomes the epicenter of a demonic revelry, the air thick
with malevolence. Lucifer's voice, a sinister melody, weaves
a spell of destruction and despair.
LUCIFER
(delighting in the chaos)
Always act sometimes in haste, but
who cares if there’s a little
waste? If I can reach a human
heart! I'll tear a human soul
apart.
He turns to Satan, a conspiratorial glint in his eyes, as
they prepare to descend upon the earthly plane, their intent
as swift as a falling star.
LUCIFER (CONT’D)
(ominously)
You know what to do.
Their departure marks the beginning of a descent into
darkness, Lucifer's rhymes echoing a challenge to the divine,
a promise of upheaval.
CUT TO:
EXT. JOHNNY'S HOUSE - NIGHT
The night is pierced by the arrival of Arsen, his Mustang
cutting a solitary figure in the driveway. As Satan, cloaked
in starlight, descends into Arsen, a chilling transformation
unfolds.
INT. JOHNNY'S BEDROOM - NIGHT
The tranquility of Johnny's slumber is shattered by Arsen's
intrusion, his silhouette ominous against the open window.
73.
Johnny, jolted awake, confronts the intrusion, his confusion
mirrored in the dim light.
JOHNNY
(startled and irritated)
What the hell are you doing?
The ungodly hour, 3:30 a.m., only adds to Johnny's
disorientation and rising anger.
ARSEN
(urgent, possessed by
darker motives)
Wake up, you gotta help.
Johnny's resistance is palpable, his desire for rest clashing
with the urgency in Arsen's voice.
JOHNNY
(resigned, weary)
Leave me alone, I gotta sleep.
The revelation of the Jaguar's theft, a secret now shared,
ignites a battle unseen, as Gabriel intervenes, a clash of
celestial and infernal forces vying for dominion over Arsen's
soul.
Arsen stares into Johnny's eyes.
ARSEN
I like that Jaguar you ripped off.
Gabriel is angry. He jumps into Arsen, pushing Satan out.
The Angel cancels Satan's power. They both disappear into
each other’s arms as they struggle. Arsen makes it evident
that blackmail in his intention. Johnny is stunned.
JOHNNY
(confused, betrayed)
Who told you that?
ARSEN
It doesn't matter. I know.
CUT TO :
74.
Genres:
["Fantasy","Drama","Thriller"]
Ratings
Scene
28 -
The Price of Sin
EXT. OUTSKIRTS OF THE SOLAR SYSTEM - DAWN
As dawn creeps across the cosmos, Lucifer stands sentinel
over the unfolding drama below. His chilling verses fill the
void, a sinister serenade that foretells the unraveling of
mortal resolve. Below, Johnny rises from the clutches of
sleep, his actions shadowed by dark omens.
LUCIFER'S THEME
(ominous, foreboding)
"Thinking starts to be first. If
they figure it out, they know my
curse. Get all caught up in the
thought. Forget about what they've
been taught. Think so much, no time
to pray. It's easier to listen to
what I say. In a world where
there's only sense, I'll make the
most of my intents."
CUT TO:
EXT. UPPER CLASS RESIDENTIAL STREET - DAWN
A misty morning shrouds the street in mystery, Arsen's
Mustang idle by the curb, a prelude to the day's dark deeds.
The tranquil dawn is pierced by the electric cry of a
hacksaw, a jarring harmony to the morning's calm.
INT. ARA'S HOUSE - DAWN
Within the opulent confines, Johnny, drenched in nervous
sweat, completes the grim task of encircling the safe. Arsen,
draped in luxury's deceit, flaunts the spoils of their
betrayal.
ARSEN
(triumphantly)
Check this out, Johnny.
The mink coat, a symbol of their plunder, is discarded as
Arsen reveals the price of their greed.
As Johnny secures the hoist, the room erupts in chaos. Arsen
cuts the mattress open, feathers fluttering through out the
room like the remnants of shattered dreams.
JOHNNY
(incredulous)
What are you doing?
ARSEN
(conspiratorially)
My dad says that's where everybody
hides their money.
The revelation of hidden wealth, bundles of cash extracted
from the sanctity of home, leaves Johnny aghast, the
magnitude of their heist dawning upon him.
CUT TO:
INT. ARMENIAN ORTHODOX CHURCH - DAY
The solemnity of the church, the choir's voices a celestial
call, elevates the soul, while the priest's sermon, a stark
reflection on sin and retribution, resonates through the
hallowed halls.
Anna and Clara are kneeling. They make the sign of
the cross and then sit down. The same bearded priest from
eighteen years ago is dressed in his traditional ceremonial
garments. He bellows in a baritone voice.
PRIEST
(gravely)
Why do people commit crimes so
readily? Because crime is not
punished quickly enough. A sinner
may commit a hundred crimes and
still live. Oh yes, I know what
they say. If you have reverence for
God everything will be all right.
But it will not go well for the
wicked. Their lives are like
shadows and they will die young
because they have no reverence for
God.
CUT TO:
INT. ARA'S GARAGE - DAY
Arsen and Johnny struggle as they try to lift the block of
cement into the trunk of Ara's Mercedes.
76.
ARSEN
On the count of three: one, two,
three.
The boys strain as they lift the block of cement and drop it
into the trunk. Arsen throws the furs on top and closes the
trunk's lid.
ARSEN (CONT’D)
OK, meet me at your house.
JOHNNY
My house? What are we going to do
with the car?
ARSEN
We'll strip it and put it back.
JOHNNY
Bring it back here?
ARSEN
Yeah, why not? Then we could load
up all the other stuff.
JOHNNY
Forget that stuff.
ARSEN
No way! Some of that liquor is like
three hundred dollars a bottle. The
silverware alone is about five
grand.
JOHNNY
Really?
Arsen goes over to the garage window.
ARSEN
It’s eight thirty in the morning
they don’t get back till four our
five ... OK, the coast is clear go
for it.
Johnny presses the garage door opener. The overhead door
opens. Johnny slowly exits scraping the overloaded Mercedes
on the concrete driveway.
DISSOLVE TO :
77.
Genres:
["Crime","Drama","Thriller"]
Ratings
Scene
29 -
The Burden of Prophecy
INT. SALVIGTON VIEWING CENTER - DAY
In the ethereal expanse of the Salvigton Viewing Center,
Johnny stands beside the Angel Ariel, their gazes locked onto
the viewing screen that portrays the tumultuous earthly
realm. Johnny's realization dawns with a weight heavy upon
his shoulders, his voice tinged with the disillusionment of
youth confronting the stark realities of good versus evil.
JOHNNY
(anguished)
I knew it! Arsen is possessed. I
could see it in his eyes! Why does
God allow the devil to do that?
ANGEL ARIEL
(serenely)
God has given you humans free will.
Arsen chose to run with the devil.
Everyone some time or another must
choose between Good and Evil. All
mortals must choose good over evil,
if they do not earth will fall into
darkness and all life on earth will
eventually end.
JOHNNY
(despairing)
So we're screwed! I’m only
seventeen and I’m already
surrounded by evil and destruction!
ANGEL ARIEL
(assuring)
In time the earth will begin to
react violently to human pollution
and destruction. There will be
major earthquakes, tornados,
hurricanes, and floods. All of
humanity will live in fear of
death. Take a look at your future.
The screen comes alive, a harrowing display of natural
disasters, a grim forecast of what lies ahead, etching a
stark message into Johnny's consciousness.
ANGEL ARIEL (CONT’D)
(somber)
Eventually, mankind will realize
they have no control and in
desperation will turn to God for
his help. It is up to you to lead
this enlightenment and turn the
tide towards the light of God.
78.
JOHNNY
(defeated)
So we’re definitely screwed! How
can I enlighten the world? I can’t
even pass my English class!
ANGEL ARIEL
(encouraging)
Don't worry, you’ll learn. Just
keep watching.
FADE TO BLACK.
Genres:
["Fantasy","Drama"]
Ratings
Scene
30 -
The Shadow of Ara's Loss
EXT. JOHNNY'S HOUSE - NIGHT
The quiet of the night belies the chaos within, as Johnny's
residence becomes the epicenter of youthful exuberance, the
street lined with cars, the front lawn transformed into a
makeshift showroom for the Jaguar.
INT. LIVING ROOM - NIGHT
Amidst the revelry, Big Greg, the epitome of excess,
dispenses shots from a bottle whose value is lost on the
youthful crowd. The intoxicating aura of opulence and abandon
permeates the air, the momentary guardian Albert, succumbing
to the potent allure of the liquor.
ALBERT
(slurred)
Man! That was some good booze.
Where did you get that shit?
Albert stands up teeter tottering trying to preserve his
balance.
LITTLE GREG
What should I do with him?
JOHNNY
Take him out back with Bosco and
lower the music back there. I don't
want the cops to come.
The situation escalates as Johnny, ever the host, makes a
decision aimed at preserving the night's festivities from the
impending scrutiny of law enforcement.
Johnny's cousin HOOK enters the living room wearing a trench
coat. Hook's a lot darker than the boys and they call him
"Hook" because of his big hooked nose.
79.
BIG GREG
(elated)
Hooker, cuz, what's happening?
The exchange of greetings, the sharing of shots, the
revelation of theft, all intertwine as the party spirals
towards an inevitable conclusion, the specter of consequence
looming large.
JOHNNY
(concerned)
Hi, Eddie, how you doing?
HOOK
(nonchalant)
Everything's cool. Did you hear
about uncle Ara?
Johnny's expression changes.
JOHNNY
No, what happened?
HOOK
They robbed his house. Cleaned him
out. They were saying they got away
with a lot of cash and jewelry.
The revelation strikes deep, the mention of Ara's misfortune
casting a pall over Johnny's spirit, the weight of his
actions and their repercussions bearing down upon him.
JOHNNY
(acting shocked)
Really? What a drag.
Big Greg finishes pouring the shots.
BIG GREG
I hope they had insurance.
Eddie sees a couple of girls walk by.
HOOK
Man, there are a lot of chicks
here.
BIG GREG
OK, bottoms up.
Johnny raises his glass.
JOHNNY
Here's to beautiful girls!
80.
They all shoot down their shots. Little Greg and Walter
reenter.
LITTLE GREG
Cathy and Sandy are outside looking
for you and Andre. And the cops are
cruising the block.
Johnny's expression changes again. Andre gets up to leave.
ANDRE
You coming?
JOHNNY
Naw, tell her you can't find me.
Big Greg pulls out a joint from behind his ear.
BIG GREG
I got some Hawaiian.
Johnny reaches out and grabs it.
JOHNNY
Let's go smoke it, Bro.
Johnny leads the boys out. Hook lags behind, grabbing a
small expensive-looking bottle of liquor and sliding it
inconspicuously into his trench coat pocket.
Genres:
["Drama","Crime","Coming of Age"]
Ratings
Scene
31 -
The Party's End
EXT. JOHNNY'S BACK YARD - NIGHT
The transformation of the backyard into a den of hedonism,
the concrete slab a dance floor, the night alive with the
pulse of music and the fever of youth unbound. Johnny's
attempt to quell the burgeoning chaos, a futile gesture
against the tide of revelry that has swept over his home.
Johnny walks over to the Deejay booth, grabs the microphone
and lowers the music.
JOHNNY
Everybody shut up!
Nobody's listening.
JOHNNY (CONT’D)
I said quiet!
Big Greg takes the microphone and yells at the top of lungs.
BIG GREG
Shut up!
81.
The crowd stills, the momentary silence a testament to the
gravity of the situation, the encroaching presence of
authority a stark reminder of the fragile veneer of their
freedom.
JOHNNY
(solemn)
I've been informed the police have
arrived. So be quiet, maybe we can
get them to leave.
Johnny leaves the Deejay booth and heads for the back door of
the house. He enters through the rear door and into the
laundry room. Cathy blocks his way.
The confrontation with Cathy, a moment of raw vulnerability
and accusation, the exchange a poignant reminder of the
complexities of heart and the shadows of doubt that linger in
the aftermath of betrayal.
CATHY
(confused, hurt)
Johnny, why are you ignoring me?
Johnny looks into her eyes.
JOHNNY
You don't know?
CATHY
No.
Johnny's gaze intensifies further.
JOHNNY
You sure?
CATHY
Yes.
Johnny doesn't want to deal with it, he tries to walk past
her. She stops him.
CATHY (CONT’D)
What is it?
JOHNNY
Who was that guy in the Mercedes?
CATHY
Mercedes? Oh, Bobby?
82.
JOHNNY
Yeah, who's Bobby?
CATHY
Bobby is my neighbor, for Christ's
sake.
I've know him since the first grade.
JOHNNY
(still upset)
What was he doing at your house so
late?
CATHY
You drove by my house?
Cathy looks at the washing machine behind Johnny and notices
three white roses. She turns and looks into Johnnies eyes.
Little Greg runs up looking very concerned.
LITTLE GREG
The cops are out there. They want
to talk to you.
JOHNNY
OK, I'll be right there. I'll talk
to you later.
Helicopter shot of the whole scene. Police surround the
place. Lights flash red and blue. A police helicopter
flashes its powerful light beam onto the hundreds of
teenagers in the back yard. The party is over.
The final revelation, the presence of the police, the end of
innocence as the party collapses under the weight of its own
excess, the night culminating in a crescendo of red and blue
lights, the sound of sirens, and the relentless beam of a
helicopter spotlight.
FADE OUT.
Genres:
["Drama","Crime","Romance"]
Ratings
Scene
32 -
Caught in the Act
INT. JOHNNY'S HOUSE - DAY
The incessant ringing of the doorbell pierces the silence,
only to be supplanted by a more urgent pounding. Johnny,
ensnared in the remnants of last night's revelry, stirs from
his slumber, a figure of disarray.
83.
With hesitant steps, he peers through the curtains to find
THREE UNDERCOVER COPS, their presence ominous, their intent
shrouded in the anonymity of baseball caps and the
unmistakable outline of holstered guns.
JOHNNY
(whispering to himself, a
mix of fear and
disbelief)
Oh God, what do they want?
EXT. BACK YARD - DAY
Venturing into the aftermath of the party, Johnny is greeted
by a scene of chaos, his backyard a testament to the night's
excess. Bosco, ever the loyal sentinel, voices his alarm at
the detectives lurking beyond. With determination, Johnny
uncovers the safe, its weight a burden he struggles to bear
across the yard, his efforts marked by sweat and exertion.
Bosco, drawn by Johnny's distress, vocalizes his concern with
mournful howls.
JOHNNY
(pleading, desperate)
Shut up Bosco, please!
But it's too late; the detectives, their suspicion aroused,
converge on the yard, a calculated maneuver that leaves
Johnny exposed.
DET. GIL BACTRUM, a seasoned veteran of the force, approaches
with an authority born of years on the beat, his command
cutting through the tension.
BACTRUM
(stern, authoritative)
Don't move, bring your hands slowly
to the top of your head.
As handcuffs click into place, Johnny finds himself ensnared
in a web of consequences far beyond his understanding.
BACTRUM (CONT’D)
Is there anyone else here?
JOHNNY
No. My little brother is at my
grandma's, and I don't know where
my parents are.
CUT TO:
84.
INT. MONTEBELLO POLICE DEPARTMENT - DAY
The stark reality of Johnny's situation becomes all too clear
as he and Arsen are manhandled into the interrogation room,
the physicality of the officers a prelude to the
psychological ordeal that awaits.
DET. BACTRUM, perched on the edge of the desk, singles out
Arsen with a dismissive flick, his demeanor a blend of
professional detachment and underlying frustration.
BACTRUM
(dismissively)
Take shit-head to the sweat tank
and leave screw-up here.
ARSEN
(In Armenian )
Don’t tell them anything!
Arsen's resistance is futile, his parting words a coded
message of solidarity and defiance. Left alone with Bactrum,
Johnny is subjected to a barrage of accusations, the
detective's experience pitted against Johnny's youthful
naivety.
BACTRUM
(confrontational, probing)
You scared?
JOHNNY
(timidly)
Yes.
BACTRUM
(demanding)
What? I didn't hear you.
JOHNNY
(voice barely above a
whisper)
Yes, I am scared.
BACTRUM
You should be. See this?
He points to a large stack of file folders.
BACTRUM (CONT’D)
Twenty-two different burglaries. I
know you and that asshole did them
all. Not only that, I heard you
drive around in a twelve cylinder
Jaguar.
(MORE)
85.
BACTRUM (CONT’D)
You think you're a bad-ass dude, a
real tough guy. It's
stolen, right?
Johnny looks back motionless.
BACTRUM (CONT’D)
Right? If it is, we'll find out.
Bactrum stares at Johnny disgusted.
The revelation of the crimes, the stolen Jaguar, and the
specter of a future derailed, loom large as Bactrum lays bare
the potential fallout of Johnny's actions, his words painting
a vivid picture of the grim realities of prison life.
BACTRUM (CONT’D)
What the hell is wrong with you? I
understand you go to a very good
school. What is it called? Some
kind of trade school, right?
JOHNNY
Yeah, Don Bosco Tech.
BACTRUM
That's right. Bosco Tech, that's a
Catholic school. Boy, I'm sure
they’d want to hear about this,
wouldn't they?
Johnny is getting real bummed. He realizes he has ruined his
life.
JOHNNY
No.
BACTRUM
Do you know how long you could go
to jail for this mess?
JOHNNY
No.
BACTRUM
Ten to fifteen years. You know what
it's like in prison?
JOHNNY
No.
86.
BACTRUM
Well, as soon as you get there,
they'll probably beat you half to
death, then after a few days some
big Buba will make you his new
boyfriend. He'll sodomize you
every night.But Don’t worry after a
while you'll get used to it...
Look, Johnny, I think you are a
good kid, you just made the wrong
choices. I want to help you, but
you are going to have to help me
too, if you know what I mean.
Johnny looks at Bactrum curiously.
JOHNNY
How can I help you?
BACTRUM
Tell me what happened on this last
burglary you guys did and we'll go
easy on you. Whata you say?
Johnny looks down at the floor and then at Bactrum
Johnny's resolve falters, the gravity of his situation
sinking in, yet a sliver of defiance remains, a last grasp at
autonomy in the face of overwhelming odds.
JOHNNY
(resigned, yet defiant)
I think I better talk to a lawyer.
It would probably be better for
both of us.
BACTRUM
(cynically)
You don't need a lawyer. You need a
miracle.
The arrival of a uniformed officer with a file folder heralds
a new twist, the contents of the report casting a shadow that
darkens further the already bleak outlook.
BACTRUM (CONT’D)
(reading the report, then looking
up at Johnny with a grave
expression)
Well, John Amilian, it looks like
you’re really in a lot of trouble.
Bactrum looks for a name on the report.
87.
BACTRUM (CONT’D)
Do you know a Carlos Coral? It
turns out he was stabbed to death.
The mention of Carlos Coral, his death a new and horrifying
complication, leaves Johnny reeling, the implications far-
reaching and dire.
CUT TO:
Genres:
["Crime","Drama","Thriller"]
Ratings
Scene
33 -
The Fall From Grace
INT. JAIL CELL - DAY
The bleakness of the jail cell engulfs Johnny and Arsen,
their figures stark against the barren concrete, stripped to
their boxers, a visceral representation of their
vulnerability and despair. Arsen clutches the cold bars of
their cell with a desperation born of entrapment, while
Johnny sits forlornly on the edge of a stark steel bed, the
absence of a mattress a cruel reminder of their comfortless
predicament.
JOHNNY
(voice laden with
disbelief)
I can't believe what's happening.
ARSEN
(urgent, anxious)
Did you tell them anything?
JOHNNY
(resolute yet defeated)
Not a word.
The weight of their situation sinks in, Johnny's posture
collapsing into one of utter despondency. Arsen's frustration
manifests in a futile shake of the cell door, the sound
echoing their desperation.
ARSEN
(voice tinged with anger
and confusion)
Damn! I wonder how they knew it was
us?
Johnny's revelation hints at a betrayal they hadn't
anticipated, a simple bottle of liquor unraveling their
alibi.
88.
JOHNNY
(thoughtful, regretful)
I think I know. Did you see that
bottle of liquor on the detective's
desk?
ARSEN
(puzzled)
No.
JOHNNY
(somber)
Well, that was one of the bottles
we took from uncle Ara's bar.
The confusion on Arsen's face is palpable as Johnny shakes
his head, the pieces of their downfall aligning with each
remembered detail.
JOHNNY (CONT’D)
(dismayed)
I don't know. I told you we
should’ve left that stuff there.
Their predicament spirals into discussions of escape, not
from their cell, but from the consequences waiting beyond its
bars. The cold concrete floor becomes Johnny's refuge, a
chilling embrace as he contemplates a future marred by
disgrace.
JOHNNY (CONT’D)
(voice breaking,
despairing)
You know we're going to have to
leave town after this. How are we
going to face everybody?
ARSEN
(defiant, focused)
Screw everyone. We gotta worry
about getting out of here.
The reality of their situation, the stolen car, the burglary,
and the looming shadow of a murder accusation, casts a long,
dark shadow over Johnny's spirit.
JOHNNY
(voice barely above a
whisper, tearful)
I'm screwed. They were asking me if
my car was stolen... This sucks big
time. I want to kill myself.
89.
Arsen's attempt to find solace in sleep is a stark contrast
to Johnny's spiral of despair, their roles momentarily
reversed in the face of overwhelming odds.
ARSEN
(trying to offer comfort)
Why?.. It wouldn't be so bad if we
knew when we were getting out of
here. You know what I mean?
Johnny's admission, a stark revelation of violence and chaos,
hints at a deeper turmoil threatening to engulf them both.
JOHNNY
(anguished, fearful)
I don’t think I’m ever getting out
of here... Damn it! I can’t believe
this is happening!.. Big Greg got
in a fight at Mission High and some
dick-head cholo got stabbed to
death.
ARSEN
Big Greg stabbed him?
JOHNNY
I don’t know, it looked like it. I
couldn’t tell. There wasn’t any
blood on his knife
ARSEN
Don’t worry a good lawyer can get
you off.
A few moments pass, Arsen falls asleep and begins to snore.
O.S. KEYS JINGLE. From the distance we hear Detective
Bactrum singing in the hallway.
BACTRUM
(sarcastically)
Deck the halls with balls of holly,
fa la la la la la la.
Bactrum approaches the cell with a patrol officer.
BACTRUM (CONT’D)
Arsen, let’s go your on your way to
County.
Arsen is fast asleep.
BACTRUM (CONT’D)
Wake him!
90.
Johnny shakes Arsen awake. Arsen wakes up and looks around.
BACTRUM
Let's go, Agajanian, we got you for
violation of probation. We're
shipping you to County.
As Arsen is roused and led away, the finality of their
separation dawns on Johnny, tears threatening to spill as the
cell door closes behind them, leaving him to face an
uncertain and solitary fate.
CUT TO:
Genres:
["Crime","Drama","Thriller"]
Ratings
Scene
34 -
The Confession
INT. INTERROGATION ROOM - DAY
The room is charged with tension, Arsen at the center,
flanked by Detectives Bactrum and Simmons. The air is thick,
the dynamic palpable as they settle into their roles:
Bactrum, the hardened cynic, and Simmons, the ostensibly
sympathetic counterpart. Bactrum’s act of lighting a
cigarette is a calculated display of nonchalance.
BACTRUM
(ominously)
OK, Arsen, I think it would be a
good idea for you to cooperate. I
could send you away right now for
violation of probation.
The drag of his cigarette punctuates the threat, a silent
marker of authority. Simmons leans in, his demeanor friendly
yet underlaid with the same gravity.
SIMMONS
(amicably, but with
underlying seriousness)
He's right, Arsen, we don’t want to
see you locked up like the rest of
those animals. Hell, I’m sure
you’ve heard what goes on inside
prison.
Bactrum’s extinguishing of the cigarette serves as a harsh
finality to their initial salvos. The mention of the
potential sentence lays bare the gravity of Arsen’s
situation, pushing him to the brink of panic.
91.
BACTRUM
(sternly)
This last burglary you and Johnny
pulled, they’re not going to go
easy on you. It’s five to ten years
for something like that.
Arsen’s anxiety manifests physically, a visible testament to
the stakes at hand. The detectives press on, the
juxtaposition of their tactics designed to corner Arsen into
cooperation.
SIMMONS
(coaxingly)
So what time did you guys go
inside? It must have been pretty
early, huh?
Arsen’s wariness deepens, his trust fraying as the detectives
lay out the damning evidence piece by piece, a noose
tightening around his future.
BACTRUM
(dismissively)
Forget it, Gene, I’ll just write up
the report and send him Downtown.
He’s got shit for brains.
SIMMONS
(resolute, pressing)
Arsen, either you help us or you
don't. We can't waste anymore time.
You have to think of the
consequences. We know you did it
and we have evidence, and a lot of
it. This bottle of liquor at
Johnny's party. Your prints are on
that safe hoist that Johnny built.
Your shoes left foot prints in all
that dirt you guys dug up. The
mileage on the Mercedes you drove
from Ara's to Johnny's and back. I
can go on and on. You're going to
jail, and that's all there is to
it, buddy. So what time did you go
into Ara's house, and whose idea
was this anyway?
ARSEN
Well... it was Johnny's idea. He
told me that his mother said Ara
had a lot of
(MORE)
92.
ARSEN (CONT’D)
money in his floor safe and he
wanted to get it because Ara stole
money from his dad.
BACTRUM
(smiles)
Hold on, Arsen.
Bactrum waves over an office girl to take short hand
The enumeration of evidence, methodical and relentless,
leaves Arsen cornered, the reality of his predicament stark
and inescapable. The revelation that the scheme was Johnny’s
idea is a betrayal of desperation, a last-ditch attempt to
shift the weight of their crimes.
BACTRUM (CONT’D)
(satisfied, sensing
victory)
Hold on, Arsen.
The summoning of the office girl to take shorthand is a
formal acknowledgment of Arsen’s capitulation, his confession
a pivotal moment, sealing both their fates.
BACTRUM (CONT’D)
Take this down, sweetheart.
All eyes turn to Arsen. He looks down at the floor as he
begins.
ARSEN
Well, it was about two weeks ago...
CUT TO :
Genres:
["Crime","Drama","Thriller"]
Ratings
Scene
35 -
The Choice at the Brink
INT. JAIL CELL - DAY
The cell becomes a crucible for Johnny’s despair, his pacing
a physical manifestation of his inner turmoil. The
realization of the length of his potential sentence weighs
heavily, his comparison to his dog’s freedom a poignant
reflection of his loss of hope.
JOHNNY
(exhausted, defeated)
Ten damn years, locked up like an
animal. My dog has it better.
93.
His attempt to find rest on the cot is a bleak tableau, the
discomfort a mere echo of his mental anguish.
JOHNNY (CONT’D)
(despondently)
This sucks.
FADE OUT:
FADE IN:
INT. JAIL CELL - NIGHT
Johnny, now ensnared in the grip of a nightmare, becomes a
visual symbol of his fear and despair. His body, wracked with
cold sweat, trembles uncontrollably, a silent scream against
the injustice and the impending doom that haunts his sleep.
CUT TO:
EXT. OVER THE POLICE STATION - NIGHT
A tempest brews in the night sky, dark clouds roiling with
unrest, heralding the onset of an infernal siege. From the
heart of this turmoil, legions of demons, their forms
ethereal and smoke-like, converge upon the police station
with a malevolent purpose. As they draw near, their forms
solidify, a ghastly horde descending upon the building, their
presence a dark blight upon the night.
CUT TO:
INT. JAIL CELL - NIGHT
Within the confines of his cell, Johnny is ensnared in a
nightmare's grip, his dream world invaded by a throng of
demons. Amidst this demonic assembly, Beelzebub towers over
Johnny, a figure of malevolence, channeling dark energies
into him. Johnny's body convulses under the assault, a puppet
to the sinister will imposed upon him.
CUT TO:
EXT. OVER THE POLICE STATION - NIGHT
As the demonic forces revel in their dominion, a celestial
spectacle unfolds. The ominous clouds part, pierced by a
radiant beam of pure white light, a divine counter to the
darkness below.
94.
Angels, resplendent in their battle garb, descend upon the
scene, their swords aglow with holy fire, cutting through the
demonic ranks with righteous fury. Gabriel, leading the
charge, confronts Beelzebub, a clash of wills as ancient as
time.
ANGEL GABRIEL
(commanding, resolute)
Stand back, Beelzebub. Let him make
his own choice.
BEELZEBUB
(defiant, sneering)
Too late, he belongs to us, my dear
brother.
GABRIEL
(determined)
We’ll see!
CUT TO:
INT. JAIL CELL - NIGHT
Startled awake by the terror of his dream, Johnny rises, a
soul tormented, his despair manifest. Grasping the cold bars
of his cell, tears carve paths down his cheeks, a silent
testament to his anguish. His plea to the heavens, a
desperate question to a seemingly indifferent God, echoes in
the stifling silence of his cell.
JOHNNY
(anguished, pleading)
Why, God? Why? I didn't want to do
it, I really didn't.
On his knees, vulnerable and broken, Johnny finds himself at
a crossroads, Beelzebub's whisper a siren call to oblivion.
BEELZEBUB
(tempting, persuasive)
Johnny, you have to kill yourself.
It's the only way out. How can you
face anyone?
Gabriel's fury is unleashed, a celestial protector in defense
of a faltering soul.
95.
He propels himself at Beelzebub, thrusting forward with
formidable force. Beelzebub is sent hurtling back, smashing
through three solid concrete walls. Johnny's gaze quickly
shifts; he notices a cot mattress adorned with a bedsheet in
the adjacent cell. Stretching his arm into the neighboring
space, he strains to grasp the sheet.
CUT TO:
EXT. OUTSIDE THE JAIL CELL - NIGHT
The eternal conflict spills into the night, angels and demons
clashing in a spectacle of divine retribution against
infernal defiance. Beelzebub, rallying his dark power,
confronts Gabriel with fury, their struggle a stark contrast
against the backdrop of the night.
CUT TO:
INT. JAIL CELL - NIGHT
Johnny has cut up the bed sheet and has fashioned a noose
around his neck. He has tied one end around a fire sprinkler
located above the toilet. Johnny stands on the toilet rim
with the noose positioned. Beelzebub enters the cell
breathing heavy.
On the brink, Johnny stands teetering on the precipice of
eternity, the noose his final, desperate gambit. Beelzebub
reenters, goading him toward the abyss.
BEELZEBUB
(encouraging, malevolent)
It is the only way, Johnny, go
ahead. It's the only way out. No
more problems. Everything will be
all right.
At the edge of surrender, Johnny’s plea for divine
intervention is a spark in the darkness.
JOHNNY
(desperate, seeking
salvation)
Oh God, in the name of Jesus
Christ, help me.
CUT TO:
96.
Genres:
["Drama","Fantasy","Supernatural"]
Ratings
Scene
36 -
A Shadow in the Light
EXT. OUTSKIRTS OF THE SOLAR SYSTEM
A celestial beam pierces the night, a herald of salvation as
demonic forces are purged in its incandescent wrath. Satan
and Lucifer, spectators to this divine intervention, stand at
the threshold of defeat and redemption.
LUCIFER
(resigned, commanding)
Help him.
Satan’s descent, a final gambit in the cosmic duel,
materializes before Johnny, a shadow poised to extinguish the
last flicker of hope.
CUT TO:
INT. JAIL CELL - NIGHT
Confronted by the embodiment of his fear, Johnny teeters, his
fate a hair's breadth from the eternal. The room is suddenly
awash with divine light as Michael, archangel of battle,
intervenes with a force that scatters the shadows. Michael
pulls his sword and quickly cuts Johnny down and envelopes
him in light. Johnny lies bathed in the afterglow of
salvation, the darkness dispelled by a presence so pure, so
powerful, it leaves no room for doubt.
ANGEL MICHAEL
(assuring, powerful)
Have no fear. The Devil exists only
if you believe he does. He is fear.
The Angel's luminance intensifies, effacing Johnny's visage
in a blaze of light. Moments elapse before Johnny's face
gradually re-emerges, his eyes wide with shock. Detective
Bactrum approaches the cell, catching the astonished
expression on Johnny's face. He pivots to see what has
captivated Johnny's gaze. For an instant, the Angel's radiant
light envelops Bactrum, leaving him in stunned reverence.
Johnny snaps out of his daze, turning his attention to
Bactrum. It's then that the bruise previously marking his
neck is seen to have vanished.
JOHNNY
Did you see it?
Bactrum looks back not sure how to answer.
97.
JOHNNY (CONT’D)
You saw it, didn’t you? Thank God,
I thought I was going crazy.
BACTRUM (PAUSES)
I don’t know what you’re talking
about. Come on you’ve been bailed
out.
CUT TO :
INT. POLICE STATION LOBBY - DAY
As the doors of the police station swing open, Johnny emerges
into the harsh light of day, a figure haunted by the events
that transpired behind those walls. Accompanying him is a
police officer, silent and stoic. The sight that greets
Johnny is both comforting and complex: Clara, Peter, Anna,
and Little Greg, their faces a tapestry of concern and
relief, flanked by Detective Bactrum and Detective Simmons.
Clara, driven by maternal instinct, rushes to Johnny, her
embrace a haven from the storm.
CLARA
(tenderly, concerned)
You OK? You look like you’ve seen a
ghost or something.
Johnny, still ensnared in the grip of his ordeal, responds
with a distant affirmation, his mind wrestling with the
remnants of his nightmare.
JOHNNY
(disoriented)
I'm OK.
Peter's approach is marked by a protective fervor, his
proclamation a testament to a father's desperate resolve.
PETER
(resolutely)
Don't worry, Johnny, I’ll take care
of everything. No son of mine is
going to be in jail. I'll kill Ara
before you go to prison!
His arm wraps around Johnny, a gesture of solidarity and
support, as they prepare to depart from the scene of so much
uncertainty.
98.
PETER (CONT’D)
(gently)
Come on, let's go home.
FADE OUT:
FADE IN:
INT. KITCHEN - JOHNNY'S HOUSE - A FEW DAYS LATER
Johnny enters the familiar yet now estranged setting of his
kitchen, where Anna is embroiled in a culinary battle with a
smoking saucepan. The mundane scene belies the turmoil that
Johnny carries within. His attention is drawn to an envelope
from his attorney, addressed to his father, its contents a
Pandora's box of legal woes and confessions. As Anna sets the
table, her voice, a call to normalcy, clashes with the chaos
that envelops Johnny's world.
ANNA
(imploring, in Russian)
Come on, sit down and eat.
Johnny's discovery of Arsen's betrayal within the police
report ignites a quiet fury, his curse a whisper of betrayal
and disbelief.
JOHNNY
(muttering in anger)
Son of a bitch.
Anna, in a gesture of maternal care and tradition, places a
medallion around Johnny’s neck, her words a mix of reprimand
and protection, a link to heritage and hope amidst the mire
of his current predicament.
ANNA
(solemn, in Armenian with
subtitles)
I am very upset with you. I saw Big
Greg wearing this. I didn't give it
to him. I gave it to you. If you
would have kept it on this would
never have happened to you. Don't
ever take it off again. Do you hear
me?
JOHNNY
(subdued, nodding)
Yes.
99.
Their moment of connection is abruptly severed by the
intrusion of Peter and Clara's argument, a discordant
symphony that fills the kitchen. Peter's voice, laden with
accusation and defeat, clashes with Clara's defense, a
testament to familial strife born from crisis.
PETER (O.S.)
(raising his voice)
My fault? It's your fault, God damn
it!
CLARA (O.S.)
(retorting)
An animal for a father, what do you
expect?
Their entrance does little to quell the tension, Peter’s
admonition to Johnny a cruel reminder of the price of his
actions, and Clara’s rebuttal a stark defense of her son’s
innocence.
PETER
(acerbically)
You disgraced my name.
CLARA
(protectively)
What name?
The ring of the doorbell offers a momentary respite from the
domestic battlefield, drawing Johnny's gaze and steps toward
an escape, however fleeting.
CUT TO:
Genres:
["Drama","Fantasy","Mystery"]
Ratings
Scene
37 -
A Devil's Bargain
EXT. JOHNNY'S PORCH - DAY
Johnny, seeking solace in the open air, is met by Cathy's
unburdened cheer, a stark contrast to the gravity of his
situation. The sight of his Jaguar, a symbol of his recent
past, being hauled away, underscores the magnitude of his
fall. Cathy's naivety only deepens the chasm between them,
her questions unwittingly probing wounds that have yet to
heal.
CATHY
(breezily)
Hi! What's going on?
JOHNNY
(hollowly)
Nothing, why?
100.
CATHY
(curiously)
No reason, the Christmas dance is
coming up. I was wondering if you
were still taking me.
Johnny's attention is torn away by the arrival of Arsen, the
embodiment of his betrayal, pulling up in stark defiance of
their shared fate.
CATHY (CONT’D)
Isn't that the new car you just
got? Is it broken or something?
Johnny, faced with the imminent confrontation and the
remnants of his shattered world, responds with a hollow
promise.
JOHNNY
(resigned)
Wait here, I'll be right back.
CUT TO:
EXT. THE STREET IN FRONT OF JOHNNY'S HOUSE - DAY
The exchange between Johnny and Arsen is laden with the
weight of consequence and the specter of retribution, their
dialogue a dance around the truth of their entanglement, the
cost of their freedom, and the looming shadow of further
misdeeds.
ARSEN
(nonchalantly)
How much was your bail?
JOHNNY
(bitterly)
Twenty thousand.
ARSEN
Yeah, that's what mine was. My dad
said we would have got out sooner,
but the bail was high. How much is
your lawyer going to be?
JOHNNY
I don't know yet.
ARSEN
My lawyer said I have a good chance
of getting off, but he's charging
me ten grand.
101.
JOHNNY
What about the money from Ara’s
house?
ARSEN
The police made me give everything
back.
JOHNNY
So what are you going to do?
ARSEN
I was thinking of hitting the check
cashing store near the catering
yard. You know which one, I think
it's on Sixth street.
Johnny thinks Arsen is totally nuts. He turns and begins to
walk away. Arsen's desperate. He reaches out and pulls
Johnny back.
ARSEN (CONT’D)
Come on, man, your old man doesn't
have the money for a lawyer, and
that's what it's going to take --
or you are going to jail for a long
time. It's an easy job. The armored
truck drops off about twenty grand
at 4:30. I figure I'll go in as
soon as they split.
JOHNNY
You're just going to go in and get
the money, that simple? You're
going to have to use a gun, right?
ARSEN
We won't need a gun. I'll fake it.
Come on, Johnny, all you have to do
is drive. We'll go halfers on it.
That's it, Johnny has had enough
with this guy.
JOHNNY
You're crazy -- rob a check-cashing
store. I read the police report, it
had everything you said on it. You
told them it was my idea and that I
wanted to do it.
102.
ARSEN
That's bullshit. They're lying. I
never said anything. They must have
made it up.
Johnny loses his temper completely and pushes Arsen into the
driver's seat.
JOHNNY
Go to hell, asshole!
Samuel and Beelzebub appear sitting in the back seats of the
Mustang. A closer look reveals their groveling, discouraged
looks. The Angel Gabriel and the Angel Raphael appear behind
Johnny. The Angels smile, reveling triumphantly.
GABRIEL
(looking into the Mustang)
What a bunch of losers!
Johnny walks back over to Cathy. Arsen spins the Mustang's
tires, screeching away in a cloud of smoke.
Genres:
["Drama","Crime","Supernatural"]
Ratings
Scene
38 -
A Tempting Offer
EXT. BIG GREG'S DRIVEWAY - DAY
In the serene tranquility of suburbia, Uncle Joe claims his
customary throne in the garage, a silent overseer of the
domestic tableau unfolding before him. The Riviera, a
gleaming monument to Big Greg's pride, receives a meticulous
washing, its chrome sparkling under his diligent care. Rose,
engrossed in her routine of laundry, calls out to her son,
her voice carrying the weight of expectation.
ROSE
(in Russian, with a hint
of demand)
Greg, wash my car too.
BIG GREG
(resigned, without looking
up)
Yeah, yeah, I'll do it.
The arrival of Arsen, driving his Mustang with a bravado
untouched by recent events, marks a shift in the atmosphere.
His cavalier smile belies the tension that Uncle Joe and Rose
feel, their wary glances a silent acknowledgment of the
unspoken truths between them.
103.
ARSEN
(cheerfully oblivious)
Mine's next, right?
Big Greg's response is tempered by the knowledge of their
shared history, a complexity mirrored in the apprehensive
greetings exchanged with his family.
BIG GREG
(grudgingly acknowledging)
Arsen, what's happening?
The conversation that ensues is a dance around decisions that
could alter their paths irrevocably. Arsen, with the promise
of easy riches, tempts Big Greg towards another venture, his
persuasion a testament to the allure of forbidden gains.
ARSEN
(enticingly)
You can buy that new Lincoln you
want. All you have to do is drive.
Don't be a pussy.
BIG GREG
(defensively)
I'm not a pussy.
Big Greg, caught between loyalty and desire, capitulates, his
resolve crumbling under the weight of Arsen's persuasion.
BIG GREG (CONT’D)
(resigned, reluctantly
convinced)
OK, let's go.
Big Greg and Arsen get into the Mustang.
ROSE
Gresha, where you going?
BIG GREG
I'll be right back, mom.
UNCLE JOE
(sternly)
Hey, stay out of trouble.
The boys smile and wave as they drive off.
Their departure, marked by the worried inquiries of Rose and
the stern admonition of Uncle Joe, casts a shadow over the
scene as they drive away, embarking on a path fraught with
uncertainty and peril.
104.
CUT TO:
Genres:
["Drama","Crime","Family"]
Ratings
Scene
39 -
A Race Against Time
INT. JOHNNY'S KITCHEN - DUSK
The kitchen, a sanctuary of familial warmth, becomes a
confessional as Johnny, wracked with nerves, confronts the
aftermath of his actions with Cathy. Her tears, a mirror to
his guilt, elicit a plea for calm amidst the storm of
emotions threatening to overwhelm him.
JOHNNY
(soothing, yet strained)
Don't cry, please.
CATHY
(tearful, seeking
understanding)
What's wrong with you?
JOHNNY
(evasive, anxiety-ridden)
Nothing... just a little nervous.
Johnny gets up and dials the phone.
JOHNNY (CONT’D)
It's nothing... Hello Auntie Rosy,
is
Big Greg there?
ROSE
No, he left with Arsen. Why? Is
something wrong?
JOHNNY
No, no, nothing is wrong. Thank
you, Auntie Rosy. I'll call him
later.
Johnny grabs Cathy's arm.
JOHNNY (CONT’D)
Come on, let's go. Where are your
car keys?
CATHY
Where are we going?
105.
JOHNNY
Downtown.
CUT TO :
EXT. STREET - DUSK
Johnny and Cathy approach the Volkswagen. Andre pulls up
next to them. Johnny opens the passenger door of the
Triumph. He waves Cathy over. They both get in.
JOHNNY
Punch it to Sixth and Mateo. We
have to hurry. Arsen wants to rob
the check cashing store and he's
got Big Greg with
him.
Andre spins his tires.
THEME SONG BEGINS:
"If you say one word I say to you,
you'll say it all until it's
through. You'll run out of time,
run out of space, run out at the
mouth all over the place."
CUT TO :
EXT. SIXTH STREET. CHECK-CASHING STORE - DUSK
As the evening casts its shadow over Sixth Street, the scene
is set with a palpable tension. Arsen's Mustang, a silent
accomplice, sits idle by the curb, mere steps away from
destiny at the entrance of the check-cashing store. Arsen,
embodying a blend of determination and desperation, issues a
command laced with foreboding.
ARSEN
(resolute, masking
concern)
Wait here until I call you.
Big Greg, riddled with doubts and seeking assurance, stammers
a question that hangs heavily in the air.
106.
BIG GREG
(tensely)
Wha... wha... wha... How you gonna
do it?
ARSEN
(confidently, with a hint
of bravado)
Don't worry. I got it down pat.
The moment Arsen conceals his weapon and steps into the store
marks a point of no return, his figure disappearing into the
fraught unknown.
CUT TO:
Genres:
["Crime","Drama","Thriller"]
Ratings
Scene
40 -
The Price of Loyalty
INT. TRIUMPH - DUSK
The interior of the Triumph becomes a vessel of urgency as
Andre weaves through the traffic, his maneuvers as reckless
as they are determined. The conversation inside is a mix of
disbelief and concern, a reflection on the madness of their
undertaking.
ANDRE
(exasperated)
What is he, crazy? You guys just
got out of jail.
JOHNNY
(gravely)
I know, the guy is sick. He really
needs help. I think he's possessed
or something.
Cathy's observation brings a stark realization as they draw
near their fateful destination, the check-cashing store now
ominously in view.
ANDRE
(determined)
There it is.
The Triumph's abrupt U-turn and parking maneuver across the
street is a silent testament to their entangled fates.
CUT TO:
107.
EXT. ENTRANCE TO CHECK-CASHING OFFICE - DUSK
Arsen, emboldened by desperation, initiates his brazen heist.
The door to the check-cashing store swings open to reveal
him, a figure of defiance, as he places the heavy sacks of
money on the sidewalk, his weapon still trained on the unseen
tellers within. His call to Greg, a summoning back into the
fray, echoes ominously.
ARSEN
(commandingly)
Samson!
Greg's emergence from the Mustang and his hesitant approach
to retrieve the loot is punctuated by the growing din of
approaching police sirens—a prelude to chaos. Johnny's sudden
appearance, urged by a complex blend of loyalty and fear,
marks a collision course with fate.
CATHY
(alarmed)
Where are you going?
JOHNNY
(assuring, yet haunted)
I'll be fine.
The ensuing police encirclement, a whirlwind of lights and
commands, brings a chilling climax. Johnny's pleas for peace,
desperate and fearful, cut through the tension.
JOHNNY (CONT’D)
(pleading)
Don't shoot! Don't shoot!
Arsen's return, armed and defiant, triggers a response that
is both immediate and devastating. The discharge of police
firearms, a cacophony of finality, finds its mark. Johnny,
struck by a bullet, collapses under a burst of ethereal
light—a stark, silhouetted figure against the backdrop of an
unfolding tragedy.
The scene pulls away, offering a god's-eye view of the chaos,
the players reduced to mere pawns in a game that has spiraled
beyond their control.
CUT TO:
Genres:
["Crime","Drama","Thriller"]
Ratings
Scene
41 -
The Choice: A Clash of Worlds
EXT. OUTSKIRTS OF THE SOLAR SYSTEM - NIGHT
Amidst the cosmic silence, Lucifer stands alone, a figure of
defiance against the backdrop of the universe.
108.
His throne, a monument to fallen glory, casts a shadow over
the scene of earthly chaos far below.
LUCIFER
(ominously reciting)
It's taken you a long, long time.
But now at last you know your
crime. You never will belong and
simply because you're wrong. I
cross you off and cross you out.
With a gesture of defiance, Lucifer marks himself with a
vast, flaming X, a symbol of his eternal rebuke and his vow
of vengeance.
LUCIFER (CONT’D)
(determined, vengeful)
So you'll forget what you're all
about. But I'll be back, you wait
and see. I'll be back to take the
world for me. Everything that's
gone must return I was thrown out,
but I can burn.
As he speaks, the cosmos itself seems to ignite, the flaming
X consuming the darkness, a promise of his return, his words
a chilling prophecy echoed across the stars.
LUCIFER (CONT’D)
(passionate, menacing)
Look at my eyes and you can see the
fire burning inside of me. Look at
the children, in them too, that
fire that burns, what's new?
CUT TO:
INT. SALVINGTON VIEWING CENTER - DAY
The tranquil expanse of the Viewing Center contrasts sharply
with the turmoil Johnny has faced. The Angel Ariel, a beacon
of serenity, stands before Johnny, their surroundings a haven
far removed from earthly concerns. The screen displaying
Johnny’s plight fades as Ariel imparts wisdom, a guiding
light in the darkness.
JOHNNY
(tentative, overwhelmed)
What am I supposed to do? This is
all too scary for me.
109.
ANGEL ARIEL
(assuring, wise)
Evil exists because of fear.
Without fear, Evil cannot exist. Do
you understand?
JOHNNY
(searching for
understanding)
I think so.
ANGEL ARIEL
(encouraging, firm)
Trust God completely. Believe he'll
take care of you and it will be
done. Have no fear!
JOHNNY
(resolved, inspired)
No fear,
Their exchange, a moment of transcendence, signals a turning
point, a newfound resolve in Johnny's heart.
ANGEL ARIAL
Now you must decide if you will
transition to a life eternal or
resume your mortal life and
complete your mission on earth.
JOHNNY
So I have to choose between going
to Heaven or going back to my
messed up life?
ANGEL ARIAL
In this situation God gives you
free will to choose between your
mortal and eternal life.
JOHNNY
What about my mission?
ANGEL ARIAL
If you decide to return to your
mortal life your predetermined
destiny will prevail and you will
help us end the Lucifer rebellion.
If not your soul will travel to
Jerusum to consult with the Ancient
of Days.
110.
DISSOLVE TO:
Genres:
["Fantasy","Drama"]
Ratings
Scene
42 -
A Miracle at Dawn
INT. HOSPITAL ROOM - DAWN
The early light of dawn casts a gentle glow on the scene
within the hospital room, where faith and medicine
intertwine. The priest, a solemn figure of faith, prays
fervently over Johnny, the medallion in his hand a testament
to miracles and the trials they endure.
As the camera pulls back, the gathered family, a tableau of
grief and hope, stands vigil. Anna’s plea, heartfelt and
desperate, echoes against the sterile walls, a mother’s love
calling out to her son.
ANNA
(pained, hopeful)
Where are you, Johnny? Where are
you, son? Come back to me. Oh God,
please!
The divine light that floods the room is a harbinger of hope,
a celestial response to her prayers. Johnny’s eyes, wide and
alert, snap open, a silent witness to the unseen forces that
have battled for his soul. Anna alerts Peter and Clara. They
near the bed. Little Greg, Cathy and Andre enter.
The relief and joy that wash over the room are palpable, a
family united in a moment of grace. The miraculous recovery,
a testament to faith, love, and the indomitable human spirit,
marks the beginning of a new chapter for Johnny and those who
love him.