EXT. NEW YORK CITY SKYLINE – DAY
The Manhattan skyline.
The camera pans—Brooklyn comes into view.
Downtown Brooklyn. Busy. Commercial.
INT. BROOKLYN - DUNKIN DONUTS - DAY
LIZA VALENTE (26), attractive, dark hair streaked blue,
pink smock, enters the store in a whirlwind, cutting in
front of PROFESSOR SHAW, (40s), tall, distinguished, who
is perusing the menu.
LIZA
Gonna cut in - sorry.
SHAW
I was just about to order.
LIZA
I know, that’s why I apologized.
SHAW
(beat)
Accepted.
Shaw extends his hand in a gentlemanly gesture.
LIZA
Thanks, you’re a doll. (to counter
person) Two iced caramel macchiatos, two
extra pumps of Carmel, two French
croellers, two Boston cremes.
SHAW
Quite the eclectic order.
Liza gives him a side eye.
LIZA
Whatever. (Liza peruses Shaw face) Let me
guess-you’re a black, no sugar, with a
spritz of cream type...am I right
SHAW
Brilliant.
LIZA
Ya know you could use a haircut...unless
you like looking like Sasquatch.
Shaw runs his fingers through his hair. Self consciously.
SHAW
Really? You don’t care for the hirsute
academic look?
LIZA
That’s not a look-that’s neglect?
SHAW
(facetious)
I never quite thought of it like that.
Liza reaches into the pocket of her smock and pulls out a
business card and hands it to Shaw.
LIZA
Look, here’s my card. If you want a great
haircut at a great price come on in.
Shaw takes the card, then glance at his reflection in the
plate glass window.
SHAW
I might take that under advisement.
LIZA
And make an appointment - you look the
type who just walks right in.
SHAW
Really? And what type is that?
LIZA
Clueless.
Liza's order arrives. She taps her credit card and grabs
the bag.
LIZA (CONT’D)
Gotta go. Nice meeting you.
SHAW
Likewise.
Liza exits and Shaw’s gaze follows her out.
COUNTER PERSON
Excuse me Sir, are you ready to order.
Shaw snaps out of it.
SHAW
Oh yes, of course. Let me have a large
black coffee, no sugar, dollop of cream
and two old fashioned donuts.
CUT TO:
Genres:
["Comedy","Drama"]
Ratings
Scene
2 -
A Haircut and a Wait
EXT. BROOKLYN – SHEAR MAGIC HAIR SALON – DAY
A bold pink awning: SHEAR MAGIC.
Traffic hums. Voices overlap. Music leaks faintly from
inside.
PROFESSOR SHAW approaches, Liza’s card between his fingers.
He glances at the “WALK-INS WELCOME” sign.
A beat.
He checks his reflection in the window. Runs a hand through
his hair.
The door BURSTS open—
Two YOUNG WOMEN spill out mid-conversation, laughing, loud,
fast—
They nearly collide with Shaw.
He steps back, caught off guard. One brushes past him without
breaking stride.
The door swings, music and noise spilling out, then -
SLAMS shut.
Silence again.
Shaw straightens his jacket. Re-centers.
He looks at the card. Then at the salon.
A beat longer this time.
He opens the door — and steps inside.
INT. SHEAR MAGIC – FRONT DESK – DAY
Noise. Hairdryers. Music under it all.
IZZY (30s), pink buzz cut, tattoos, works the keyboard
without looking up.
SHAW approaches, holding Liza’s card.
A beat. He waits.
IZZY
Name?
SHAW
I was told to ask for Ms. Valente.
Izzy finally looks up. Takes him in—quick, precise.
IZZY
You gotta appointment?
SHAW
I do not.
IZZY
Then you’re early for tomorrow.
She holds his gaze. Shaw does a light adjustment of his tie.
He offers the card.
SHAW
She suggested I stop by.
Izzy takes it. Clocks the name. Back to him.
IZZY
Liza’s at lunch.
(beat)
Back in ten minutes.
She turns the screen toward herself, taps a key.
IZZY (CONT’D)
You can wait. Or roll the dice with
someone else.
Shaw glances past her — stylists moving, clients talking,
then back to Izzy.
SHAW
I’ll wait.
IZZY
Suit yourself.
(beat)
We gotta special on highlights.
Shaw looks at her hair. Considers the offer for half a second
too long.
SHAW
I think I’ll pass.
IZZY
Manicure? Pedicure? Facial?
Shaw smiles weakly.
SHAW
Just the haircut.
IZZY
You got it.
She gestures toward the seating area without looking.
IZZY (CONT’D)
Have a seat. I’ll call you.
Shaw nods. Moves off.
Genres:
["Drama","Comedy"]
Ratings
Scene
3 -
A Trim and a Flirt
INT. LIZA’S CUBICLE – LATER
Liza grabs a cape, and fastens it around Shaw’s neck. She
then runs her fingers through his hair.
LIZA
So... how much of this mop are we
takin’ off?
Shaw gazes at himself in the mirror.
SHAW
I think just a trim, but I will
leave it to your discretion.
She mists his hair and begins to trim.
LIZA
Your accent... London, right?
SHAW
No, Cambridge.
She studies him. Starts cutting.
LIZA
What are you doing in Brooklyn?
SHAW
Sabbatical. Teaching theater at
NYU.
A beat.
Without thinking, she slips into his accent—clean, precise:
LIZA
“The rain in Spain falls mainly in
the plain…”
She catches herself. Stops. Slightly embarrassed.
Back to her normal voice—
LIZA (CONT’D)
Weird. I don’t know where that came
from.
Shaw watches her now. Interested.
SHAW
You have a good ear.
Shaw adjusts his tie.
SHAW
Have you ever acted?
LIZA
High school.
SHAW
I’m teaching an Continuing Ed
Acting class - starts next week if
you're interested?
She takes it in. Considering the offer.
LIZA
I dunno, schools really not my thing.
Shaw reaches into his breast pocket and withdraws his
card.
SHAW
Take my card - just in case you change
your mind.
Liza takes the card, clocks it, then puts it in her
pocket.
LIZA
Do you give these to everyone or should I
feel flattered?
Shaw removes Liza’s card from his side-pocket and flashes
it.
SHAW
Maybe that’s a question best left
unanswered.
Liza clocks her card. Then busies herself with the
scissors.
LIZA
Touché.
Liza smiles slightly and keeps cutting Shaw’s hair.
Genres:
["Drama","Romance","Comedy"]
Ratings
Scene
4 -
Revelations and Resilience
INT. FRONT DESK – LATER
IZZY
(on phone)
Six? …Hold on. Let me check.
She glances toward Liza’s station.
IZZY (CONT’D)
I’ll call you right back.
She hangs up.
INT. LIZA’S CUBICLE – MOMENTS LATER
Liza sits in the chair, shaken. Phone in hand. Izzy enters.
IZZY
Everything okay?
Liza holds her phone up in front of Izzy. Izzy moves
closer. Sees the screen, A photo. Rocco with another
woman in evening attire.
IZZY (CONT’D)
....that snake. And he just called for an
appointment at six.
LIZA
Fuggedaboutit.
Izzy doesn’t react, still on the photo.
IZZY
You know her?
Liza zooms in. Doesn’t answer.
Tears slide down.
LIZA
I did his mother’s hair last week.
IZZY
Geez. The nerve of him.
LIZA
Tell me about it.
Izzy stares at the screen -- thinking.
IZZY
Wait, he wants a six o’clock - right?
LIZA
...yeah
Liza looks up and wipes her face.
IZZY
Good. I got an idea.
Izzy looks around, then leans in and whispers something
in Liza’s ear. Liza listens. At first blank. Then a slow
smile. She looks at herself in the mirror. Different now.
LIZA
Yeah.
Beat.
LIZA (CONT’D)
Yeah, I like it.
Genres:
["Drama","Comedy"]
Ratings
Scene
5 -
Confrontation and Reflection
INT. LIZA’S CUBICLE – LATER
Liza holds a mirror behind Rocco’s head.
LIZA
What do you think, handsome?
ROCCO
Looks good -- you're the best.
Liza freezes. A beat.
LIZA
Wait. Hold on. I missed a spot behind
your ear. Give me a sec.
ROCCO
Not a problem.
Liza sets down the mirror and picks up the clippers.
Steps in.
ZZZZT.
A clean stripe. Too clean.
LIZA
Shoot! It slipped - my bad.
Rocco stares at himself. Processes. Then bolts from the
chair and slowly turns toward Liza.
ROCCO
You did that on purpose.
Liza doesn’t answer. She whips the phone from her smock
and shoves the photo in Rocco’s face.
LIZA
And what do you call that?
Rocco looks. Sees it. Clocking.
ROCCO
Where did you get that photo?
LIZA
My cousin -- she thought I should
know. She didn’t even have the
decency to lie.
ROCCO
It’s not what you --
LIZA
Don’t. (beat) Just don’t.
Rocco takes a deep breath. He shifts -- defensive.
ROCCO
Go ahead, paint me as the bad guy.
Liza removes the spray bottle from her pocket.
LIZA
Here! Paint this!
She gives Rocco a face full of water.
ROCCO
You little bitch!
Rocco slaps the bottle from her hands. He steps toward
her, his hands rising.
Liza’s hand darts into her smock, pulling out scissors
and jabbing them against his crotch. He freezes, shocked.
LIZA
Put your hands down or I’ll make
you a soprano -- and I don’t mean
Tony.
Her glare pierces through the tension. He backs off, hands
lowered, retreating toward the door.
ROCCO
Alright. I’m going but I got a long
memory.
He exits. Silence.
Liza stands frozen, scissors poised, waiting. Rocco
reappears, tosses the crumbled cape at her, hitting her in
the face.
ROCCO (CONT’D)
Keep it.
Rocco turns and is gone. Liza lowers the scissors and
pulls the cape from her face. She picks up the spray
bottle and slowly turns to the mirror. Her reflection
stares back.
LIZA
You gotta stop getting played.
She squirts at her reflection and then hurls the bottle. It
SMACKS the mirror. Liquid streams like tears. She collapses
into her chair, sobs shaking her body.
Genres:
["Drama","Thriller"]
Ratings
Scene
6 -
A New Direction
INT. HAIR SALON – FRONT DESK – LATER
Izzy wipes the counter as Liza approaches, her bag slung over
her shoulder, still hurting.
IZZY
So I’m guessing he didn’t tip.
Liza, eyes still teary, cracks a weak smile.
LIZA
He gave me a tip all right-- don’t trust
a guy whose hair runs on Valvoline.
Izzy smirks.
IZZY
Great. You’re a free agent now.
LIZA
Easy for you to say. Me? I feel lost.
(beat) Three years down the toilet -- for
what?
IZZY
So don’t sit on it. Do something.
LIZA
I’ve been thinking about a cooking
class --I love to cook.
Izzy raises an eyebrow, her playful tone shifting slightly.
IZZY
You’ll gain thirty pounds. Think of
something that expresses the inner
Liza.
LIZA
Pole dancing?
IZZY
You're in the ballpark -- how about
acting. (beat) Didn’t that
professor give you his card.
LIZA
He was just trying to be polite -
it don’t mean anything.
Izzy stops wiping.
IZZY
And maybe it does,,,a follow up
ain’t gonna kill you.
Liza nods and takes a deep breath.
LIZA
Yeah... maybe your right...I gotta
think about it.
IZZY
(smirking)
Don’t think too long - you might
get a brain cramp.
THWACK.
Something hits the front plate glass. They both jump.
LIZA
What the hell was that?
IZZY
Punks. Probably eggs.
LIZA
That wasn’t eggs.
IZZY
Let’s go see.
LIZA
Should I get my pepper spray?
Izzy opens a drawer. Flicks open a switchblade.
IZZY
Nah. I’m good.
They head for the door.
Genres:
["Drama","Comedy"]
Ratings
Scene
7 -
A Message from Rocco
EXT. SIDEWALK – CONTINUOUS
A huge, slimy blue-green FISH lies on the sidewalk. Reeking.
Liza and Izzy step out—hit with the smell. They recoil.
LIZA
Jesus—
IZZY
That’s not random.
A beat.
LIZA
Rocco.
IZZY
Wait.
Izzy crouches, squints—
Something in the fish’s mouth.
She pinches her nose, pulls out a folded note. Unfolds it.
IZZY (CONT’D)
(reading)
“Next time it ain’t a fish.”
She looks up.
IZZY (CONT’D)
It’s for you.
Liza takes the note. Reads. Her expression hardens.
A couple of PASSERSBY gag as they hurry past.
LIZA
Classy guy.
Izzy glances at her.
LIZA (CONT’D)
Now I know where we stand.
Izzy flicks open her switchblade.
Stabs the fish. Drags it to a nearby trash can. Dumps it.
Wipes the blade clean. Liza watches. Thinking.
Then — they head back inside.
CUT TO:
Genres:
["Drama","Thriller"]
Ratings
Scene
8 -
A Haircut and a Decision
EXT. BROOKLYN – ATLANTIC AVENUE – NEXT DAY
LIZA steps out of Shear Magic in a pink smock, phone in hand.
The street hums — horns blaring, voices, the whir of
construction.
A BLACK ESCALADE screeches to a stop, tires squealing.
HONK-HONK-HONK.
VITO 40s, swarthy, chiseled, leans on the horn, zero
patience.
Liza doesn’t flinch. Keeps walking. Vito jumps out, striding
after her.
VITO
Yo, Liza! You deaf or what?
She stops, turns slowly to face him, annoyed.
LIZA
You honking at me?
VITO
I need a haircut. Let’s go. I don’t
have time.
LIZA
You got an appointment?
VITO
Since when do I need one?
LIZA
Since always. (beat) But I guess for you,
it’s a suggestion.
Vito fingers a St. Christopher medal hanging from a gold
chain around his neck, softening his tone.
VITO
Yeah, well, I’ve got a lot on my
plate today.
LIZA
So do I. Coffee run. Try one of the
other girls.
VITO
I don’t want someone else. I want
you. You’re the best.
LIZA
That’s sweet, I almost forgot what
a gavone you can be sometimes.
(beat) Call ahead next time.
She turns to leave, as Vito glares at her.
VITO
Maybe you didn’t hear right -- I
said I wanted you.
LIZA
I heard you. The answer’s still n0.
They lock eyes — he grabs her arm.
VITO
Let’s go, stop breaking my balls.
LIZA
Take your hands off me.
VITO
Relax. Don’t make a scene.
LIZA
You never know when to back off.
WHAM
Knee straight to the groin. Vito folds.
Liza doesn’t wait. She hustles straight toward the salon.
INT. HAIR SALON FRONT DESK - CONTINUOUS
Liza bursts through the front door moving quickly behind
the desk.
She reaches under the desk, removes her handbag and
rummages through it.
IZZY
What’s happening.
No answer.
IZZY (CONT’D)
Liz -- talk to me .
Liza finds it. The PROFESSOR’S BUSINESS CARD. She stares
at it.
LIZA
Start spreading the news. (beat) I’m
going back to school.
She pockets the card.
CUT TO:
Genres:
["Drama","Comedy"]
Ratings
Scene
9 -
First Impressions and Unexpected Bets
EXT. TISCH SCHOOL OF THE ARTS – SIDEWALK – EVENING
LIZA stands at the curb, staring up at the building through
the rain drops. She blesses herself.
LIZA
Okay, Valente. Showtime.
She heads inside.
INT. TISCH – BATHROOM – MOMENTS LATER
Liza fixes her hair in the mirror, freshens her lipstick with
a shaky hand. Deep breath.
LIZA
Relax. Be yourself. Just not `too’
much yourself.
She exits.
INT. HALLWAY CLASSROOM – MOMENTS LATER
Liza smooths her clothes, straightens her posture, plasters
on a confident smile. She enters.
INT. CLASSROOM – SHORT TIME LATER
Professor Shaw, stands at the head of the class.
SHAW
Good evening, I’m Professor Shaw and this
class is Intro to Acting. Tonight’s a
Meet and Greet. Name, occupation,
experience and what you think you’re
doing here. I’ll start.
A smattering of nods and approving mutters in the audience.
SHAW (CONT’D)
Cambridge now on sabbatical at NYU. Old
Vic, Royal Court, and Globe and now I’m
here.
Shaw consults a class list on his desk.
SHAW (CONT’D)
Okay, Mr. Applebaum.
APPLEBAUM
Ira Applebaum, ER physician, no acting
experience, unless you count remaining
calm amid chaos.
SHAW
Great. Ms. Bernstein.
BERNSTEIN
I’m Sarah Bernstein, fashion designer,
did some theater at Vassar. Nothing
serious -- just miss it, I guess.
LATER
SHAW
And like Oliver Twist the last on the
list -- Ms. Valente.
LIZA
Liza Valente, hair stylist and nail
technician. I did Grease at New Utrecht
high. I was Rizzo.
Snickers.
LIZA (CONT’D)
Yeah, Brooklyn. I guess I got the acting
bug again.
SHAW
Rizzo. Interesting.
Beat. Studying her.
SHAW (CONT’D)
Great, we’re in the theater next week.
Read your assignments and come prepared.
Liza hangs back while the others leave and then
approaches Shaw.
LIZA
I emailed you about getting the books for
class.
SHAW
Yes, I’ve got your books right here.
Shaw reaches down, picks up a tote bag and places it on
the desk.
LIZA
You don’t remember me do you? I cut your
hair a few weeks ago at Sheer Magic.
SHAW
Of course, I thought I recognized you -
great haircut by the way.
LIZA
Thanks.
She glances into the bag.
LIZA (CONT’D)
Madonn’! All those books for one class?
SHAW
Just selected scenes. You’ll
survive.
LIZA
I hope so. What’s the damage?
SHAW
Eighty-five.
She digs in her bag.
LIZA
Check okay?
SHAW
You have an honest face.
She begins unpacking chaos: water bottle, lipstick, umbrella
— POP! It springs open, whacking Shaw in the face.
SHAW (CONT’D)
Good Lord. You’re dangerous.
LIZA
Sorry! I know, I’m a walking train
wreck. Are you okay?
SHAW
I’ll pull through.
She folds the umbrella and pulls out a canister of pepper
spray.
SHAW (CONT’D)
...That doesn’t make me feel
better.
LIZA
It’s for creeps. Used it twice.
Very effective.
She digs deeper and removes a .38 revolver.
SHAW
Good Lord - and here I thought the
umbrella was the real threat?
LIZA
Relax. It’s my emergency backup.
Plan B.
SHAW
I’m afraid to ask what plan C is.
LIZA
You don’t wanna know.
She finally finds her checkbook.
LIZA (CONT’D)
Ta-da!
SHAW
Brilliant.
He hands her a bag of books in exchange for the check.
SHAW (CONT’D)
You’re officially enrolled. See you
next week. Don’t be late.
LIZA
Thanks again. I can’t believe I’m
doing this.
She starts to leave. A knock at the door. PROFESSOR GRAHAM
(40s), graying, snobbish, goatee steps in.
GRAHAM
Interrupting?
SHAW
Not at all. Liza was just leaving.
LIZA
Ciao!
She exits. Both men glance after her.
GRAHAM
New student?
SHAW
Yes, Continuing Ed.
GRAHAM
She doesn’t look like your typical
Continuing Ed student.
SHAW
She’s my hair stylist. Diamond in
the rough.
GRAHAM
Yes, she does appear in need of
polishing.
SHAW
You’re not a believer in
transformation?
GRAHAM
I do, but only in small increments.
SHAW
The eternal optimist -- that’s one
thing I always admired about you.
GRAHAM
She won’t last. I doubt she makes
it past mid-semester.
SHAW
Would you like to back that up with
gentlemanly wager?
GRAHAM
Certainly, how much can you afford
to lose?
SHAW
Let’s make it a hundred dollars.
GRAHAM
You’re on. (beat) Drink Friday
after classes?
SHAW
Sounds good, I might need it.
GRAHAM
I’ll buy. See you then.
Genres:
["Drama","Comedy"]
Ratings
Scene
10 -
Family Tensions and Medical Crises
INT. VALENTE KITCHEN – NIGHT
LIZA enters from the garage, her tote bag and a stack of
books weighing heavily in her hands.
BIG DOM (60s), balding, bull-like, sits at the table with
VITO, both nursing their espresso. Their expressions are
grim.
LIZA
What happened? Somebody die?
BIG DOM
Your brother. He’s in trouble.
LIZA
What’d he do now?
BIG DOM
Got popped driving back from Miami.
Him and the Schnoz. (beat) Car full
of coke. Speeding.
LIZA
Who was driving?
VITO
Schnoz.
LIZA
Figures. He’s a maniac.
BIG DOM
I gotta come up with a hundred
grand by morning or they ship’em
out to Matawan.
Big Dom gestures toward the bag.
BIG DOM (CONT’D)
What’s that? Dinner?
LIZA
Books.
BIG DOM
Books? More of those cheesy romance
novels? (beat) What happened to
that guy from Bath Beach? Rocco...
VITO
Rucci. He’s good people, Boss.
BIG DOM
Yeah, he had the look. Like
Stallone.
LIZA
Not my type.
BIG DOM
What is your type exactly?
She pops a stick of gum into her mouth, defiantly.
LIZA
I’m still looking.
BIG DOM
(to VITO)
Hand me that bag. Maybe there’s
something in there to take my mind
off things.
Liza tries to grab it, but Vito snatches it and hands it over
to Big Dom. He pulls out the books, grimacing.
BIG DOM (CONT’D)
Shakespeare? You trying to impress
somebody?
LIZA
I’m taking a class at NYU. Acting.
VITO
There it is -- she’s too good for
us now.
BIG DOM
I don’t like it. I need you around
here now to help out with your
brother in the slammer.
LIZA
I’m a big girl - I think I can
multi-task.
BIG DOM
What don’t you understand? This
class ain’t happening.
Big Dom narrows his eyes.
LIZA
I’m signed up and paid. I’m doing
this.
He SWIPES the books off the table.
BIG DOM
Ungrateful!
Big Dom suddenly grabs his chest. Gasping,
BIG DOM (CONT’D)
Get me my nitro!
LIZA
Hold on!
VITO
Easy, Boss. She’s getting it.
Liza rushes to the fridge, finds the bottle, places a pill
under his tongue. Big Dom breathes slowly.
LIZA
Are you okay? Should I call 911?
He shakes his head, but Vito helps him up.
VITO
C’mon, let’s get you lying down.
They start to exit, and Liza looks on, her heart heavy.
LIZA
Can I do anything?
VITO
Haven’t you done enough?
They exit, leaving Liza alone. Tears well in her eyes as she
stares at the mess on the table.
Genres:
["Drama","Crime","Family"]
Ratings
Scene
11 -
A Father's Apology
INT. LIZA'S BEDROOM – LATER
LIZA sits cross-legged on her bed, surrounded by pillows and
a few stuffed animals, deeply focused on a book.
SFX: A KNOCK AT THE DOOR.
She hesitates, eyes still on the page.
LIZA
Who is it?
The door cracks open. Big Dom pokes his head in.
BIG DOM
It’s me. (beat) Can I come in?
LIZA
I guess.
He enters, pauses near the bed. Liza looks up, guarded.
LIZA (CONT’D)
What do you want, Daddy?
BIG DOM
Just checking if you’re okay.
(beat) You want anything? Coffee?
Tea? Hot chocolate?
LIZA
I’m good.
BIG DOM
About earlier... I got carried
away.
She closes the book, sits up, arms crossed.
LIZA
You embarrassed me. In front of
Vito, no less.
BIG DOM
Yeah, I know. (beat) I don’t get
it. This acting thing.
He takes a step closer. Their eyes meet.
BIG DOM (CONT’D)
But... if you're serious about it. (beat)
I’ll pay for the class. Whatever it
costs.
LIZA
You mean that?
She slowly uncrosses her arms. He nods.
BIG DOM
Yeah.
LIZA
You sure? That’s a pretty fast
turnaround.
BIG DOM
My near death experience was a wake
up call -- reminded me how much you
mean to me.
She stands. They hug — awkward at first, then sincere.
LIZA
Thanks, Daddy. It really means a
lot.
BIG DOM
You’re my little girl.
She smiles.
BIG DOM (CONT’D)
Just make me proud. You hear me?
They hug again. Liza flops back onto the bed, picks up her
book.
LIZA
Thanks, Daddy.
He waves and exits. She watches the door close, lingers in
thought, then turns back to her book.
FADE OUT.
Genres:
["Drama"]
Ratings
Scene
12 -
The Fall of Juliet
INT. NYU – THEATER – NIGHT
Students file into the theater. A bare stage: a lectern stage
right, a stepladder center.
INT. NYU – THEATER – BACKSTAGE – MOMENTS LATER
Liza stands just offstage, clutching her script. She exhales,
rolls her shoulders, trying to steady herself.
LIZA
Relax, Valente.
She inhales deep.
LIZA (CONT’D)
Serenity now.
INT. NYU – THEATER – CONTINUOUS
Professor SHAW stands at the lectern. Students settle into
the front rows.
SHAW
Tonight—the balcony scene. Romeo
and Juliet. On-book.
(beat)
Liza—as Juliet. Rex— as Romeo.
(quick glance to class)
Watch. Listen. We’ll discuss after.
Shaw pivots toward the stage wings.
SHAW (CONT’D)
Actors!
Liza enters from stage left. Tank top, leather pants,
heels—slightly out of place against the text.
REX, 20s, enters opposite, confident, already in the world of
the play. He takes position at the base of the stepladder.
Liza climbs partway up. Careful in the heels.
A beat.
SHAW (CONT’D)
Action.
REX
That birds would sing and think it
were not night—
Liza centers herself. Focused.
LIZA
Oy me—
She stops. Tightens.
LIZA (CONT’D)
O me…
A couple students glance at each other.
REX
She speaks. O speak again! For thou
art as glorious to this night—
LIZA
O Romeo, Romeo—wherefore art thou
Romeo?
She’s careful, deliberate.
LIZA (CONT’D)
Deny thy father and refuse thy
name—
Her vowels flatten slightly—just a trace. She hears it.
She adjusts, pushing harder.
LIZA (CONT’D)
—or if thou won’t, be sworn my
love—
The rhythm slips. She rushes to stay ahead of it.
A few quiet titters.
LIZA (CONT’D)
—and I’ll no longer be a Capulet.
More shifting in the seats now. Someone suppresses a laugh.
Liza clocks it. Keeps going.
LIZA (CONT’D)
’Tis but thy name that is my enemy—
“thy” lands unevenly.
She grips the ladder tighter.
LIZA (CONT’D)
Thou art thyself—though not a
Montague.
(beat)
What’s Montague? It is nor hand,
nor foot—
Her accent pushes through more clearly now.
LIZA (CONT’D)
—nor face, nor any other part
belongin’ to a man—
A laugh breaks. Then another.
Liza freezes. Looks out.
LIZA (CONT’D)
What?
Silence for half a second. Then a ripple of suppressed
laughter.
A MALE STUDENT leans to his friend.
MALE STUDENT
Yo—listen to this.
Liza hears it.
LIZA
Yeah—I hear you.
(beat)
You got something to say?
SHAW
Is something wrong, Liza?
LIZA
Hard to focus with him laughing.
SHAW
Stay with the text.
She turns back, tries to recover.
LIZA
What’s in a name—you got a problem?
She gestures toward the student—
Her heel slips.
She drops hard off the ladder.
A thud.
Gasps—then laughter breaks loose.
Liza stays down a beat. Embarrassment flashes—then she pushes
it down, gets to her feet.
SHAW
Are you alright?
LIZA
I’m good.
Liza composes herself.
LIZA (CONT’D)
(sarcastic)
I meant to do that.
Laughter lingers.
SHAW
Enough.
(beat)
That’s not helping or appropriate.
Liza brushes herself off.
LIZA
Laugh it up.
(beat)
It’s your last chance.
She grabs her tote and heads up the aisle.
SHAW
Liza—
She doesn’t stop. Just flicks a hand without turning.
LIZA
I’m outta here.
She exits.
Silence.
A few students shift, unsure.
Shaw stands still a moment, eyes lingering on the door she
exited through.
Then—
SHAW
All right.
(beat)
Sarah Bernstein, can you jump in?
Bernstein freezes a second, then gets up and goes
onstage.
SHAW (CONT’D)
Whenever you’re ready.
Rex moves to the ladder as Sarah climbs it, but the room’s
energy is off. A few students exchange looks.
Shaw glances once more toward the exit—
Then back to the stage.
FADE OUT.,
Genres:
["Drama","Comedy"]
Ratings
Scene
13 -
Fractured Ties
INT. VALENTE KITCHEN – LATER
Big Dom sits at the kitchen table finishing a pasta
dinner accompanied by wine and Italian bread. Liza enters
from the garage, and slams her tote bag onto the table.
Big Dom looks up.
BIG DOM
You okay?
LIZA
No, And I don’t want to get into it..
BIG DOM
This about that acting class?
Big Dom rips a piece from the loaf of bread and starts to
mop up some sauce.
LIZA
I just said I didn’t want to talk about
it.
Liza goes to the sink and washes up.
BIG DOM
You walk in like somebody picked the
pepperoni off the last slice of pizza.
I’m supposed to ignore that?
Liza dries her hands.
LIZA
Yes, it’s about the class. Happy?
She goes to the fridge, takes out a bottle of beer and
twists the top open.
LIZA (CONT’D)
I don’t fit in. And don’t sit there
acting surprised.
BIG DOM
Who says you don’t fit in.
LIZA
Because they laughed.
Some guys in the class...at my
performance.
BIG DOM
And the professor -- what did he do?
LIZA
Told them it wasn’t appropriate.
Liza takes a sip of beer.
BIG DOM
That’s it?
LIZA
What did you want him to do? Give them a
time-out?
Liza takes a hard slug of beer.
BIG DOM
You were disrespected. He should’ve
stepped in sooner.
LIZA
Not his job.
BIG DOM
Well, maybe someone needs to explain his
job to him.
Big Dom rips another piece from the loaf.
LIZA
I knew this would happen--that’s why I
didn’t want to say anything. You always
do this.
Liza takes another hard slug.
BIG DOM
You’re my daughter, It’s my job to see
you’re not disrespected. Capish?
Liza gets up from the table.
LIZA
Stay out of it Daddy. Just let me handle
it on my own for once.
She grabs her tote bag and stomps off to her room. Big
Dom sits there, jaw tight. He then drains his wine glass
and throws it across the room. SMASH.
Genres:
["Drama"]
Ratings
Scene
14 -
Business and Family Ties
INT. BROOKLYN – BATH BEACH – SOCIAL CLUB – NIGHT
Dimly lit. The low murmur of conversation blends with the
clinking of espresso cups. At a small table, Vito and Rocco
sip their espresso. Rocco slides an envelope across the
table. Vito opens it and does a quick, calculated count.
VITO
Looks like it’s all here. I’m
Impressed.
ROCCO
Told you, I’m your guy.
VITO
What’s your modus operandi?
ROCCO
Speak softly, but carry a big
stick.
VITO
I’ve heard you swing a mean bat.
ROCCO
Thirty-two ounce Louisville. Great
attitude adjuster.
VITO
Might have more work for you.
(leans in) You heard Dom Jr. And
the Schnoz got nabbed on the
Turnpike?
ROCCO
Yeah. Not shocked. Schnoz drives
like he’s playing Grand Theft Auto.
VITO
Someone’s gotta do their
collections. I’m thinking that
someone’s you.
ROCCO
Works for me. I’m around.
Vito takes a long, slow sip nodding his head.
VITO
Heard things cooled off with you
and Big Dom’s daughter.
ROCCO
Liza? Yeah, I cut her loose. She
was getting clingy — like I had a
ball and chain.
VITO
That’s not what I heard. The word
on the street was you were caught
smashing her cousin.
ROCCO
(smirking))
Hey -- I kept it in the family.
VITO
Guess she’s moving on, she’s taking
an acting class at NYU. Did you
know that?
ROCCO
No...I guess the drama queen
finally found her stage, huh?
VITO
Big Dom’s not thrilled. Thinks
she’s being disrespected -- treated
like day old lasagna.
ROCCO
You want me to talk to somebody?
VITO
Yeah, this Professor Shaw, give him
the message we’re watching him.
Vito taps two fingers from his eyes outward.
ROCCO
Say no more.
VITO
We expect him to have her back.
Rocco adjusts the bill of his cap, a hint of determination in
his eyes.
ROCCO
When?
VITO
Soon. Next couple of days.
Rocco's phone vibrates. He checks it, a hint of annoyance
fleeting across his face.
ROCCO
Gotta pick up my mom from bingo.
VITO
No problem.
They exchange a quick fist bump, the camaraderie underscored
by a quiet tension.
ROCCO
Later.
Rocco exits. Vito watches him go. Takes a slow sip.
Thinking.
Genres:
["Crime","Drama","Thriller"]
Ratings
Scene
15 -
Support in the Shadows
INT. SHEAR MAGIC SALON – BACKROOM – NIGHT
The salon is dark except for a string of pink fairy lights
casting a soft glow. Liza sits on the supply counter in a
tank top and sweats, makeup smudged, feet bare, a pint of
Häagen-Dazs in one hand, spoon in the other.
Izzy enters with two coffees. She hands one to Liza, then
pulls up a rolling stool.
IZZY
Let me guess — you stormed out,
told everybody off, made a scene?
LIZA
You forgot - fell off a ladder and
got heckled by a bunch of wannabes
in hoodies.
IZZY
Damn. You went for the full
Broadway faceplant.
LIZA
Maybe Vito was right. Maybe I’m
just a girl from Brooklyn who talks
funny and cuts hair.
IZZY
Oh, please. That’s the Brooklyn
starter pack. Doesn’t mean you’re
not allowed to want more.
LIZA
I wanted to be good. Just once,
y’know? Not the punchline.
IZZY
You’re not the punchline. You’re
the setup. The punchline’s what
they remember — but the setup’s
what makes it land.
LIZA
That supposed to make sense?
IZZY
I heard it somewhere. Cut me some
slack.
Liza smiles, barely. Izzy digs into the ice cream, takes a
bite.
IZZY (CONT’D)
You quitting?
LIZA
I don’t know. I signed up to chase
a dream, not get humiliated on a
ladder.
IZZY
Yeah, well, dreams come with
splinters. You fall, you get up and
lick your wounds.
Liza sets down the ice cream, exhales hard.
LIZA
I don’t wanna be afraid every time
I open my mouth.
IZZY
Then don’t be. Talk like you talk.
Own it. Let the double mocha latte
crowd learn your dialect for once.
A beat. Liza looks at her friend, maybe seeing herself a
little clearer.
LIZA
You ever think I was meant for
more?
IZZY
All the time. But you don’t act
like it.
LIZA
So you think I should go crawlin’
back and ask him for a second
chance?
IZZY
You go back like you belong there.
LIZA
I dunno, I’m going to have to think about
it.
Liza leans her head on Izzy’s shoulder. Izzy gently taps her
forehead with a finger, a playful nudge.
IZZY
You got the goods, Valente. Stop
waitin’ for someone to tell you.
LIZA
I love you, ya pink-haired pain in
the ass.
IZZY
Right back at ya, drama queen.
FADE OUT.
Genres:
["Drama","Comedy"]
Ratings
Scene
16 -
The Mysterious Package
INT. PROFESSOR SHAW’S OFFICE – AFTERNOON
A cardboard box sits on Shaw’s desk. No return address.
Shaw eyes it. Puts his ear to the box. Listens.
No sound. He shrugs. Opens it.
Inside: wrapped in butcher paper. Damp.
He unwraps it. A fish. He recoils.
Tucked in the mouth: a folded note.
He hesitates, then pulls it free.
Reads. “WE’RE WATCHING YOU”
A beat.
He frowns. Uncomfortable.
He wraps the fish back up. Too quickly. He shoves it in the
box. Closes the lid and dumps it in the waste paper basket.
Looks around. Composes himself.
A knock—
Liza stands in the doorway.
LIZA
Busy? Can I come in?
SHAW
Of course. (beat) I didn’t expect to see
you back so soon.
Liza enters, moves toward the desk.
LIZA
You got a minute?
SHAW
Certainly. Have a seat, what can I do for
you?
Shaw gestures toward a chair, Liza sits in front of Shaw’s
desk, twisting her fingers nervously. Shaw sits across from
her, calm and measured.
LIZA
I came to apologize. I know I blew
it in class, but I’d really like
another shot.
SHAW
I already processed your
withdrawal.
LIZA
So that’s it? One bad night and I’m
done?
SHAW
Not necessarily. One bad class is not the
end of the world. But your voice walks
into the room before you do.
Shaw leans forward, a slight smile.
SHAW
In the meantime, I’d suggest voice
and diction lessons.
LIZA
You mean so I don’t sound `too
Brooklyn’.
SHAW
It’s so you don’t give anyone an
excuse to write you off before you
start.
LIZA
Lessons sound expensive. (teasing)
Did I mention I’m just a humble
hair stylist?
SHAW
We can trade. Haircuts for lessons.
Liza smiles, her confidence returning.
LIZA
I may even throw in a manicure.
SHAW
Deal.
Liza sniffs the air, crinkling her nose.
LIZA
What’s that smell?
SHAW
Someone sent something.
(shrugs)
It’s nothing.
She moves closer, looking over the desk at the wastepaper
basket. He subtly shifts, blocking the box.
LIZA
Move.
He doesn’t.
A beat.
She reaches past him, into the basket and opens the box.
She sees the fish. Sees the note. Reads it.
She closes the box.
SHAW
It’s nothing. Someone messing around.
She doesn’t answer that.
LIZA (CONT’D)
You’re right-toss it.
SHAW
Is this a message?
She considers him. Decides.
LIZA
You’re better off not knowing.
SHAW
That’s reassuring.
She shakes her head.
SHAW (CONT’D)
Why a fish?
LIZA
It gets your attention.
SHAW
It worked. (beat) From whom?
She shrugs it off.
LIZA
Does it matter?
He studies her.
SHAW
It showed up in my office. Yes—it
matters.
A beat.
SHAW (CONT’D)
Is this about you?
She doesn’t answer.
SHAW (CONT’D)
Liza—
LIZA
Drop it.
SHAW
I’m not dropping it if somebody
thinks they can just—
(gestures to the box)
—send me this.
LIZA
You don’t want to make this a
thing.
He clocks it.
SHAW
It’s already is.
LIZA
Not for you.
Silence. He almost asks another question—doesn’t. He backs
off.
LIZA (CONT’D)
Weren’t you offering me free
lessons in exchange for keeping
your hair in check?
SHAW
Yes, that sounds like a plan.
They both smile, tension slowly dissolving.
LIZA
I think I’ll take a walk in the park.
Clear my head.
SHAW
Good idea. Wish I could join you — but
unfortunately I .
LIZA
I’ll give you a raincheck.
SHAW
You’re on.
Liza waves goodbye and exits.
CUT TO:
Genres:
["Drama","Mystery","Thriller"]
Ratings
Scene
17 -
A Dance of Confidence
EXT. WASHINGTON SQUARE PARK – LATE AFTERNOON
Liza strolls through the bustling square, inhaling the crisp
fall air. Trees blaze in reds and golds, their leaves
rustling gently in the breeze. Street performers, students,
and tourists fill the park.
A JAZZ TRIO plays near the fountain, their melody loose and
alive. Liza stops, closing her eyes, and listens.
She sways. What starts as a tentative groove morphs into full-
bodied confidence. A few others join in, dancing and
laughing.
EXT. 8TH STREET – MOMENTS LATER
Liza ambles past storefronts and sidewalk vendors, soaking in
the vibrant village energy. She catches her reflection in a
boutique window — black leather jacket, tight chinos, V-neck
sweater.
She pauses, studying her image. Then she scans the street — a
woman in pearls walking a poodle, a young couple sharing a
kiss, a jogger stretching at a bus stop.
Liza takes a breath... and steps inside the store.
INT. CLOTHING STORE – CONTINUOUS
Liza rifles through racks of sweaters and skirts, her fingers
brushing the soft fabrics.
She models outfits in the mirror — curious, skeptical, then
amused.
She spins in a plaid skirt, considers a beret, shrugs — why
not?
EXT. CLOTHING STORE – LATER
Liza emerges in a plaid skirt, cowl-neck sweater, and beret.
She gazes at her reflection in the window; not what she
expected. Just then, a YOUNG SHOPPER passes, eyes widening at
Liza’s look.
YOUNG SHOPPER
Looking good! Love it!
Liza smiles, confidence radiating from her. She twirls,
laughter bubbling up. Then, with a mischievous grin, she
whips the beret off her head and throws it into the air.
CUT TO:
Genres:
["Drama","Character Study","Slice of Life"]
Ratings
Scene
18 -
Tongue Twisters and Tension
INT. PROFESSOR SHAW’S OFFICE – AFTERNOON
Liza knocks on the open door. Shaw looks up from a stack of
papers.
SHAW
Come on in! Leave the door cracked
— university regulations.
He gestures to the chair across from his desk.
SHAW (CONT’D)
Have a seat. How are you feeling
today?
LIZA
A little uptight... but mostly
ready to dive in.
SHAW
Good. Nerves are normal. Let’s warm
up.
He slides a sheet of paper across the desk.
SHAW (CONT’D)
We’ll start with the highlighted
ones. Just repeat after me: “She
says she will sew a sheet.”
LIZA
She says she will sew a sheet.
SHAW
Good. Now try: “I thought I thought
of thinking of thanking you.”
LIZA
I fought I fought of finking of
fanking you.
SHAW
Nope — you’re turning the “th” into
an “f.”
LIZA
Really? It sounded fine to me.
SHAW
That’s the problem — you're not hearing
it. Let’s record a few and play them
back. It'll help.
He sets his phone in front of her, taps record.
SHAW (CONT’D)
Try it again.
LIZA
I fought I fought of finking of
fanking you.
He plays it back.
LIZA (RECORDING) (CONT’D)
I fought I fought of finking of
fanking you.
Liza winces, shakes her head.
LIZA (CONT’D)
Madonn...that’s bad.
SHAW
Say “brother.”
LIZA
Brover.
SHAW
There it is again — “th” becomes
“v.” Try “earth.”
LIZA
Eart.
SHAW
No H.
LIZA
That’s just how I say it.
SHAW
And that’s what we’re here to work
on. Awareness first, then
correction.
Liza takes a deep breath and closes her eyes for a
moment.
LIZA
This reminds me when my dad taught
me to ride a bike — except he
yelled the whole time.
SHAW
Look on the bright side — here, you
can’t fall and skin your knees.
LIZA
Maybe not physically.
SHAW
Fair point. Okay — let’s take ten.
Genres:
["Drama"]
Ratings
Scene
19 -
Caffeine and Confidence
INT. PROFESSOR SHAW’S OFFICE – TEN MINUTES LATER
Liza returns to her seat, sipping from a coffee cup. Her
sweater's off, sleeves rolled up.
SHAW
Feeling any better?
LIZA
A little. Caffeine helps. So does
not sounding like a cartoon
character.
SHAW
For the record, I never said that.
LIZA
You implied it. With your eyebrows.
SHAW
Ah. My weaponized eyebrows. Noted.
Shall we continue?
She exhales and nods, pursing her lips.
SHAW (CONT’D)
Let’s try something else.
He hands her a printout.
SHAW (CONT’D)
Try reading this monologue aloud.
Slowly. No pressure to perform —
just focus on clarity.
Liza quickly scans the page, relaxing her shoulders.
LIZA
I know this. Streetcar.
SHAW
Blanche DuBois. Tough role.
Liza begins reading, her Brooklyn accent creeping in around
the vowels.
LIZA
“I don’t want realism. I want
magic! Yes, yes, magic! I try to
give that to people. I do
misrepresent things—”
She falters. Frowns. Shakes her head.
LIZA (CONT’D)
That sounds so fake coming outta my
mouth.
SHAW
It doesn’t. You just don’t believe
it yet.
LIZA
I mean, Blanche is a Southern belle
with a paper fan. I’m a Brooklyn
girl with a blow dryer.
SHAW
And yet, here you are — reading her
words. That’s a start.
Liza sets the script down, fidgeting with the corner of the
page.
LIZA
Can I ask you something?
SHAW
Of course.
LIZA
Do you really think I can do this?
Or are you just being polite ‘cause
you want free haircuts?
SHAW
You’ve got presence, instinct, and
people watch you. Technique can be
taught. Presence can’t.
Liza processes that. She smiles coquettishly.
LIZA
You’re either the best liar I’ve
met... or the first person who
actually sees something in me.
SHAW
Hopefully both. Keeps you guessing.
They share a smile. It’s quiet. Honest.
SHAW (CONT’D)
Ready to try it again?
LIZA
Yeah. From the top.
She picks up the script. This time, her voice has more
shape. Less accent. More Blanche. Her vowels softer, her
pitch modulated.
LIZA (CONT’D)
“I don’t want realism. I want
magic! Yes, yes, magic! I try to
give that to people. I do
misrepresent things... I don’t tell
the truth, I tell what ought to be
the truth.”
Shaw doesn’t interrupt. He lets the words hang in the air.
SHAW
Much better. You’re shaping the
sounds, not wrestling them — not
bad for your second attempt.
LIZA
You mean I didn’t sound like I was
ordering pastrami on rye?
SHAW
Maybe... but with feeling.
They both laugh. Shaw and Liza lock eyes for a moment, then
Shaw turns and gazes out the window for a moment. Liza
glances down at the monologue, uncomfortable.
SHAW (CONT’D)
That’s enough for today.
Liza packs up her things, more grounded now than when she
came in.
SHAW (CONT’D)
Same time Thursday?
LIZA
I’ll be here. (beat) And I’ll bring
scissors. Just in case your
eyebrows get outta line again.
SHAW
Fair warning — they bite.
LIZA
So do I.
She laughs and exits, letting the door close gently behind
her.
CUT TO:
Genres:
["Drama","Character Study"]
Ratings
Scene
20 -
Pasta Panic
INT. VALENTE FAMILY KITCHEN – NIGHT
Liza enters from the garage, exhausted. She stops cold.
Big Dom is slumped over the kitchen table, face planted in a
plate of pasta.
LIZA
Daddy?!
She drops her bag and rushes to his side, panic rising.
LIZA (CONT’D)
Daddy, what’s wrong?
No response. She checks his pulse — nothing.
LIZA (CONT’D)
I don’t feel anything. Oh my God!
Fumbling, she grabs her phone and dials.
LIZA (INTO PHONE) (CONT’D)
Hello? My father - he’s not moving.
I think somethings wrong. Please,
send an ambulance!
She listens, her breath coming in sharp gasps.
OPERATOR (V.O.)
We’ve dispatched an ambulance. Do
you know how to give mouth-to-
mouth?
LIZA
Sort of...
OPERATOR (V.O.)
Tilt the head back, open his mouth,
and check the airway.
Liza lifts Big Dom’s face off the plate — it’s covered in
marinara, strands of tortellini dangling. She grimaces and
pries open his mouth.
LIZA
His mouth is full of pasta.
Tortellini with marinara... al
dente.
OPERATOR (V.O.)
Clear his mouth.
Liza hesitates — then, gagging, sweeps out the pasta.
LIZA
Ugh. Okay. Done. What now?
OPERATOR (V.O.)
Pinch the nose, seal your mouth
over his, and blow for one second.
Liza leans in, her heart racing, a bead of sweat trickling
down her forehead. She’s an inch from his sauce-smeared lips.
LIZA
How soon till the ambulance gets
here?
OPERATOR (V.O.)
Any minute. Keep trying.
She blesses herself, steels her nerves.
She leans in again, but gags and jerks back, a wave of nausea
hitting her.
LIZA
Oh God... I can’t... please hurry!
OPERATOR (V.O.)
Did he respond?
LIZA
Not yet!
The wail of sirens pierces through her panic, growing louder.
LIZA (CONT’D)
They’re here! I’m going to let them
in!
She bolts to the door, glancing back at Big Dom, her pulse
racing. She checks his pulse again, hope flickering.
LIZA (CONT’D)
Wait — I think I feel something!
OPERATOR (V.O.)
Stay with him.
LIZA
Hold on, Daddy. They’re coming!
Red lights flash through the window.
Genres:
["Drama","Thriller"]
Ratings
Scene
21 -
A Moment of Uncertainty
INT. HOSPITAL ROOM – LATER
Fluorescent lights hum overhead. Big Dom lies unconscious,
hooked up to machines. A respirator hisses rhythmically.
Liza and Vito stand at the foot of the bed. A DOCTOR closes a
chart.
DOCTOR
He’s stable, but unresponsive, and
on life support. (beat) Brain
activity is minimal.
(MORE)
DOCTOR (CONT’D)
It’s impossible to predict when —
or if — he’ll wake up.
LIZA
What happens in the meantime?
DOCTOR
That’s up to the family. If you
need anything, I’ll be nearby.
He exits. Vito stares at Dom, arms crossed.
VITO
Can you believe this? One minute
he’s screaming at the Knicks, next
he’s hooked up like a Christmas
tree.
LIZA
He’s still fighting. You know him —
stubborn as hell.
VITO
Yeah. I just... I wish we had more time.
Liza meets Vito’s gaze, a shared look of pain and
determination. She takes a deep breath, her voice stronger
now.
LIZA
I need to show you something... but not
here.
VITO
Why do I feel like I’m about to get
bad news?
Liza doesn’t answer. She looks at her father one last
time, then gently leads Vito out. The monitor beeps,
Steady.
Genres:
["Drama","Crime"]
Ratings
Scene
22 -
A Letter of Authority
INT. UBER – LATER
Liza and Vito sit in tense silence in the back seat of a
black SUV. Rain taps the windows. The driver hums quietly to
himself up front. Liza reaches into her purse and pulls out a
sealed envelope.
LIZA
My father asked me to give you this
— if something like this happened.
Vito takes it slowly, breaks the seal, and unfolds the
letter. His brow furrows as he reads.
VITO (READING)
“To my trusted underboss, Vito: In
the event that I am incapacitated,
I entrust operations of the family
to my daughter, Liza Valente, until
Dom Jr., is released from prison.”
He stares at it, then at her.
VITO (CONT’D)
Did you know about this?
LIZA
Not really. Just...something might
fall on me... if things ever went
sideways.
VITO
So what, you're in charge now?
LIZA
That’s what the letter says.
VITO
And I’m supposed to just take
orders from you?
LIZA
No — you're supposed to help me
keep things going. Like you always
have.
Vito folds the letter, slowly, methodically.
VITO
I’ve been with him along time.
LIZA
I know. That’s why I need your
support.
VITO
You think the guys are gonna go
along with this? Just because
there's a letter?
LIZA
They will. If you do.
She locks eyes with him. A silent standoff.
LIZA (CONT’D)
Look, I didn’t ask for this. But
I’m not gonna let things fall apart
while my father’s fighting for his
life.
Vito pauses, rubs the back of his neck.
VITO
Alright. You got my support. For
now.
He hands the letter back to her.
VITO (CONT’D)
But you better know what you’re
doing. If this goes bad it’s just
not you.
Liza pockets the letter.
LIZA
I hear you.
The Uber rolls to a stop. Neither of them moves right away.
VITO
Let’s just hope he wakes up. 'Cause
if he doesn’t... things are gonna
get messy.
Liza gives a tight nod. Then she opens the door.
LIZA
We’ll deal with it..
They exit into the rain.
CUT TO:
Genres:
["Drama","Crime"]
Ratings
Scene
23 -
Secrets in the Back Room
INT. SHEAR MAGIC – BACK ROOM – AFTERNOON
Blow dryers hum faintly out front. The back room is
cramped—supplies, a folding table.
Liza sits with a ledger, sipping a soda, while Izzy sits
across from her, eating lunch, scrolling her phone.
The door opens—Vito enters with a small paper bag and an
envelope.
He sets them down.
VITO
Today.
Liza looks at the envelope. Doesn’t touch it right away.
LIZA
That everything?
VITO
For now.
A beat.
She opens it. Counts—quietly.
LIZA
Feels light.
Vito shrugs.
VITO
Couple places are slow.
She looks up.
LIZA
Slow or not paying?
VITO
Same thing.
She lets that sit.
LIZA
You got someone covering
Bensonhurst yet?
Vito glances at Izzy—then back to Liza.
VITO
Working on it.
LIZA
You said that last week.
Not aggressive. Just… tracking.
VITO
Got only one new guy so far.
That lands. Liza processes.
LIZA
Who?
A small pause.
VITO
You don’t know him.
LIZA
I might.
He leans back slightly, scratching the back of his neck.
VITO
Don’t worry, it’s handled.
Liza holds eye contact a second longer than before.
LIZA
How long till you get a second?
VITO
Dunno, still looking.
Beat.
She nods.
LIZA
All right.
Vito hesitates.
VITO
Anything else?
She shakes her head.
LIZA
No. That’s it.
He gives a short nod to Izzy and heads out. Door shuts.
Silence.
Izzy looks at Liza.
IZZY
You gonna let that slide?
Liza keeps looking at the envelope.
LIZA
I don’t know what I’m letting slide
yet.
Izzy steps closer.
IZZY
You don’t know whose working for
you, that’s the problem.
Liza finally looks up.
LIZA
No—the problem is he didn’t want me
to know.
Izzy studies her.
IZZY
So what do you do?
Liza thinks.
LIZA
Find out anyway.
IZZY
How?
A beat.
Liza looks back at the ledger.
LIZA
Not by asking him.
CUT TO:
Genres:
["Crime","Family Drama"]
Ratings
Scene
24 -
A Supportive Reset
INT. PROFESSOR SHAW’S OFFICE – WEEKS LATER - AFTERNOON
Liza knocks on the open door. Shaw glances up from his desk.
SHAW
Hey — come in! I was starting to
think you’d gone into witness
protection.
LIZA
Sorry I didn’t email. My dad’s been
in the ICU. It’s been chaos the
last couple of weeks.
Shaw’s expression softens.
SHAW
I’m really sorry to hear that. Is
he...?
LIZA
Still hanging on. It’s been touch
and go. (beat) I should’ve let you
know. It’s just been...a mess.
SHAW
Understandable. If there’s anything
I can do...
LIZA
Actually — I was hoping we could
pick up the lessons again.
SHAW
Of course. Whenever you're ready.
LIZA
How about now? I’ve been practicing
in the mirror — I think I’m finally
getting the hang of it.
SHAW
Let’s find out. Pull up a chair —
you know the drill.
She sits. He hands her a folder.
SHAW (CONT’D)
Let’s warm up with a few tongue
twisters.
Liza sits up straight. Attentive,
LIZA
Ready.
SHAW
“She slit a sheet, a sheet she
slit, and on that slitted sheet she
sits.”
LIZA
“She slit a sheet, a sheet she
slit, and on that slitted sheet she
shit.” (beat) Oops.
SHAW
It’s a classic trap. Let’s try:
“Lesser leather never weathered
lesser wetter weather.”
LIZA
Lesser leather never weadered —
ugh.
SHAW
Watch those TH sounds — don’t turn
them into Ds.
LIZA
I’m trying, but I can’t seem to get
locked in today.
She rubs her temples and closes her eyes.
SHAW
Stay with me.
LIZA
Give me a sec...
She opens her eyes and gives him a thumbs-up.
SHAW
Alright, deep breath, one more try.
Liza inhales and exhales slowly.
LIZA
Lesser leather never weathered
lesser wetter weader.
SHAW
TH. You dropped it again.
LIZA
Lesser leader never weadered—
SHAW
Stop. Your minds looping.
Liza makes a T with her hands.
LIZA
Time out. I’ve got still got brain
fog. Give me another minute - I’m
not ready yet.
She exhales, grounding herself.
SHAW
Feeling better?
LIZA
Slightly. The room stopped
spinning, so that’s progress.
SHAW
Just in case.
He quietly nudges the wastebasket closer with his foot.
LIZA
Thanks. I’m good.
Shaw pauses, steepling his hands.
SHAW
Let’s not force it. Why don’t I
send you some shadowing videos and
exercises. You can do it on your
own, no pressure.
LIZA
Maybe that’s the way to go. I guess
I’m still not there yet.
SHAW
No shame in that. You’ve been
through a lot.
She nods, grateful.
LIZA
I feel bad for wasting your time.
SHAW
This wasn’t a waste, it was a
reset.
He glances out the window.
SHAW (CONT’D)
It’s a beautiful day. Since I’ve
got some free time...(beat) How
about I cash in my raincheck?
LIZA
Sounds like a plan.
Genres:
["Drama"]
Ratings
Scene
25 -
A Playful Afternoon in the Park
EXT. WASHINGTON SQUARE NORTH – AFTERNOON
Liza and Shaw stroll past brownstones, distant jazz floating
in from the park. Passing the arch, she spins, playful, then
glances toward the fountain.
LIZA
Let’s go listen to the music.
SHAW
You know this is a working day?
LIZA
Call it your lunch break.
SHAW
In that case...
She grabs his hand and tugs him toward the park.
EXT. WASHINGTON SQUARE PARK – FOUNTAIN – MINUTES LATER
A STREET BAND plays funk. Liza grooves effortlessly. Shaw
stands stiff.
LIZA
You know how to boogie?
SHAW
That’s... not in my repertoire.
LIZA
C’mon, I’ll show you.
SHAW
I’d rather not make a spectacle.
LIZA
Too late. You’re standing like a
lamppost.
She grabs his hands. They sway — awkwardly. Liza starts
mimicking him.
SHAW
You’re enjoying this far too much.
LIZA
Who, me? Never.
He stumbles, frustrated.
SHAW
I give up. I’m rhythm-challenged.
Liza lets go, mock-pouting.
LIZA
Thanks, I’ll give you a B for
effort. (beat) How about a selfie?
SHAW
Safer territory.
They pose. Liza lifts her phone.
LIZA
Cheese!
CLICK. Just as a SCRUFFY MAN (50s, toothless) photobombs
behind them with a wide grin. Shaw turns, startled.
SHAW
Can I help you?
SCRUFFY MAN
Spare change, kind sir?
Shaw pulls out a five.
SHAW
Get a warm meal and a beverage of
your choice.
The man salutes.
SCRUFFY MAN
You’re a gentleman and a scholar.
He departs. Shaw watches him go.
SHAW
Very observant fellow, though in
need of some tiding up.
LIZA
Let’s try that again.
They take another selfie.
LIZA (CONT’D)
Now just you.
She lifts the phone.
LIZA (CONT’D)
Smile!
SHAW
I am smiling.
CLICK.
LIZA
Let’s try it with spirit.
He gives her a weak grin. CLICK. He checks his watch.
SHAW
I hate to be a killjoy, but I’ve got to
get back. I’ll walk you to the subway.
Genres:
["Drama","Character Study","Slice of Life"]
Ratings
Scene
26 -
A Threat in the Shadows
EXT. SUBWAY ENTRANCE – MOMENTS LATER
Shaw and Liza arrive at the steps of the subway. The street
hums with late-afternoon traffic.
SHAW
You sure you’re okay?
LIZA
Honestly? For the first time in
weeks... yeah.
They share a warm look. Shaw steps aside.
SHAW
See you soon?
LIZA
I’ll try not to disappear again.
She heads down the stairs.
INT. SUBWAY STATION – CONTINUOUS
Liza pulls out her phone, scrolling through photos from the
park. She pauses on the selfie of her and Shaw — smiling,
relaxed.
Then: BUZZ. A new text notification appears.
UNKNOWN NUMBER
Nice selfie. Cute couple.
Liza freezes. Another buzz.
UNKNOWN NUMBER (CONT’D)
Be a shame if it went public.
Her face goes pale. She slowly lifts her eyes — scanning the
crowd.
The crowd just moves — faceless commuters, shadows, music
from a busker echoing off the tiles. She clutches her phone,
watching.
Genres:
["Drama","Thriller"]
Ratings
Scene
27 -
Tensions in the Shadows
INT. SOCIAL CLUB – BACK ROOM – NIGHT
Dimly lit. Smoky. Vito and Rocco sit at a small poker table
with SAL, 20s, a lean, twitchy soldier. They speak in low
voices while nursing espressos.
SAL
She was in the park with the
professor.
VITO
So it’s serious.
SAL
Laughing. Dancing. Taking pictures.
Sal pulls out his phone and shows Vito a grainy shot of Liza
and Shaw by the fountain.
VITO
Did you send her the message?
SAL
Anonymous, just like you said. She
read it. Froze like a deer in
headlights.
VITO
Good. Let her sweat.
Vito turns to Rocco.
VITO (CONT’D)
Do we know if the professor got your
message.
ROCCO
Tracking said he got it.
SAL
Maybe we should send him one
upclose and personal.
VITO
Not yet, no moves until we know Big
Dom’s fate.
SAL
You want me to keep following her?
VITO
Yeah. Quietly.
Sal nods, he and Rocco stand.
ROCCO
What about the professor?
VITO
Same. We need leverage. Capice?
Sal and Rocco nod and exit. Vito leans back, sips his
espresso, and stares at the photo on the phone — Liza,
laughing. Carefree.
VITO (CONT’D)
Enjoy it while it lasts, princess.
CUT TO:
Genres:
["Crime","Drama","Thriller"]
Ratings
Scene
28 -
A Somber Farewell
EXT. CEMETERY – DAY
Gray sky. A small, controlled gathering. No spectacle.
A PRIEST finishes the last rites over Big Dom’s casket.
Liza stands front row. Composed. Not outwardly emotional.
Behind her — Vito, Rocco, a few CREW GUYS. All watching.
Not the casket. Liza.
PRIEST
…into everlasting life. Amen.
Murmured responses.
The casket begins to lower.
Liza doesn’t move, staring at the casket.
A beat.
Then—Vito steps up beside her, touching her elbow.
Liza stiffens, recoils, pulls her arm back.
Vito backs off. Covers with a nod.
A beat.
Across the way—Rocco lights a cigarette. Watching.
People begin to drift away. Quiet conversations. Low voices.
An elderly, heavy set man dressed in black, approaches Liza,
shakes her hand.
CAPO
Anything you need.
He holds the handshake a second too long. Liza forces a
polite smile.
LIZA
Thank you, godfather.
Then lets go. Moves on. Liza watches him leave.
Vito adjusts his coat.
VITO
Car’s waiting.
Liza finally looks at him.
LIZA
In a minute.
Another beat.
Vito nods. Starts to step away—then:
VITO
Don’t take too long.
He walks off. Liza stands there. Alone now.
In the background—Rocco flicks his cigarette. Crushes it
under his heel.
Still watching her.
Liza meets his eyes. Just for a second. Then turns back to
the grave, blesses herself, then heads to the limousine.
CUT TO:
Genres:
["Drama","Crime"]
Ratings
Scene
29 -
Authority Asserted
INT. LIMOUSINE – SHORT TIME LATER
Liza stares out the window. Brooklyn sliding past.
Vito watches her a beat.
VITO
We need to get back to business.
LIZA
I know.
VITO
I’m making some rounds tomorrow
night.
LIZA
Okay. I’ll tag along.
VITO
I got it.
LIZA
I’m coming.
Vito studies her.
A beat.
VITO
You’re the boss.
Vito faces forward again.
Liza keeps watching the city pass by.
FADE OUT.
Genres:
["Drama","Crime"]
Ratings
Scene
30 -
Last Call for Trouble
INT. DIVE BAR – NIGHT
A nearly empty bar. Dim lights, stale air. A few patrons
nurse drinks. The door swings open — Vito enters, Liza close
behind. JIMMY (50s) bartender, balding, portly, wipes down
the bar.
JIMMY
(nervous)
Hey, Vito. Long time no see.
VITO
Thought I’d stop by. That a
problem?
JIMMY
No, not at all. What can I get you
and the lady? On the house.
VITO
It’s closing time. Tell your
customers to wrap it up.
JIMMY
(loudly)
Last call, folks! Let’s go!
The patrons glance at Vito, then file out quickly. Vito locks
the door behind them.
VITO
You got something for me, Jimmy?
JIMMY
Sure — you doing the collections
now?
VITO
Yeah, is that okay with you?
JIMMY
Sure, does it look like I’m
complaining? Like I said, it’s good
to see you.
Jimmy pulls an envelope from the register. Vito counts the
cash.
VITO
You’re short. Two grand.
JIMMY
Business has been bad. My wife
broke her hip — the medical bills
are killing me. I’ll make it up, I
swear.
Vito’s smile fades.
VITO
Everybody’s got problems.
JIMMY
You know I’m good for it.
Liza steps forward, offering a gentle smile.
LIZA
Cut him some slack Vito. He’ll pay.
VITO
So... you want me to let him slide?
LIZA
No — I want you to give him some
time.
Vito slowly removes his gloves.
VITO
Lucky for you, Jimmy, I’m in a
generous mood.
Suddenly, he grabs Jimmy by the collar, yanks him across the
bar, nose to nose.
VITO (CONT’D)
Next time? No guardian angel.
JIMMY
Understood.
Vito slaps him — twice. Jimmy’s lip splits. Bottles rattle
behind the bar.
LIZA
That’s enough!
Vito pushes Jimmy backward. He stumbles into the shelves.
Bottles crash. Vito wipes his hands on a bar rag, puts his
gloves back on.
VITO
Let’s go.
LIZA
Wait in the car.
Vito glares, then exits.
LIZA (CONT’D)
You okay?
JIMMY
Had worse.
LIZA
It won’t happen again.
She heads out.
Genres:
["Crime","Drama"]
Ratings
Scene
31 -
A Shift in Strategy
EXT. OUTSIDE DIVE BAR – MOMENTS LATER
Vito leans against the car, arms folded. Liza approaches.
VITO
What’s eating you?
LIZA
You didn’t have to do that. You
were over the line.
VITO
He owed money. We’re not running a
soup kitchen.
LIZA
You already made your point-no need
to spill blood.
VITO
You want respect, you gotta earn
it. Fear works. Sympathy doesn’t.
LIZA
People pay when they trust you. My
father understood that.
VITO
You’re not your father-you think
they’ll listen because you’re nice.
LIZA
I dunno, but let’s give it a try.
They lock eyes.
VITO
Fine. We’ll do it your way... for
now.
LIZA
Thanks. If it doesn’t work — we
adjust.
VITO
Deal. Now get in. I’m starving.
They get in the car and pull away.
Genres:
["Drama","Crime"]
Ratings
Scene
32 -
Descent into Chaos
INT. VALENTE KITCHEN - LATER
The kitchen is dim and quiet. Liza and Vito enter, the
tension from the dive bar still simmering beneath the
surface.
VITO
Mind if I grab a beer?
LIZA
Help yourself.
Liza heads to the sink. Vito opens the fridge, scans the
contents.
VITO
Christ. Only Light beer?
LIZA
It won’t hurt you..
He grabs one, slams the fridge shut, cracks it open, takes a
swig.
VITO
Merda. Tastes like cold piss.
LIZA
Then don’t drink it.
He smirks and takes another swig. Vito looks around the
kitchen, his voice softening.
VITO
I miss this place. Big Dom made it
feel like home.
LIZA
Yeah, I’m still setting the table
for him.
VITO
Invite me next time. I’ll cook.
LIZA
I might take you up on that
sometime.
Liza dries her hands and stands by the table, unpacking a few
books.
VITO
Listen — I’m sorry about earlier. I
got a little out of hand.
LIZA
It’s done...over.
VITO
So we won’t make a big thing out of
it?
She looks at him, measured.
LIZA
It’s water under the bridge.
VITO
I just need a little time, I’ll
come around.
He sets his beer down and walks toward her. Liza stiffens,
stepping back.
LIZA
I think it’s best you go. I need
some space.
VITO
C’mon, I thought we we’re gonna be
friends?
LIZA
Not tonight.
Vito’s smiles.
VITO
Relax. I said I was sorry.
He steps in again, closer this time.
LIZA
Vito—don’t.
She backs into the table.
VITO
What, now I can’t even-?
He reaches, she pushes away his hand,
LIZA
Stop!
He grabs her, his weight pinning her. Liza struggles, one
hand pushes against his chest. The other gropes blindly
for her bag.
LIZA (CONT’D)
Get off me!
Her fingers find cold metal. She yanks out the gun, raising
it — steady, aimed.
VITO
You little—!
She pulls the trigger.
BANG.
Vito jerks, staggers back. He crashes to the floor, his head
hitting the radiator. He lies motionless. Liza stands frozen,
gun still raised. Her hands shake. Her breath ragged.
LIZA
Oh my god... I killed him.
She approaches slowly, staring down at the body. Liza checks
for a pulse.
LIZA (CONT’D)
Oh my god...
...nothing. Or maybe—
I don’t know.
She sets the gun on the table and fumbles for her phone,
dialing.
IZZY (V.O.)
Hello?
LIZA
Izzy? It’s me. I need you to come
over. Now.
IZZY (V.O.)
Liza, what’s going on?
LIZA (NEAR PANIC)
It’s bad. Please — just get here.
IZZY (V.O.)
I’m coming.
CUT TO:
Genres:
["Crime","Drama","Thriller"]
Ratings
Scene
33 -
Late Night Concerns
INT. IZZY’S BEDROOM – CONTINUOUS
Dark room. TV flickering low.
Rocco lies shirtless in bed, half-asleep.
Beside him—
Izzy lowers her phone slowly.
Concern on her face.
Rocco opens one eye.
ROCCO
Who was it?
Izzy turns away slightly.
IZZY
Liza.
Rocco sits up a little more.
ROCCO
What’s her problem now?
IZZY
She wouldn’t say.
(beat)
She sounded scared.
Rocco watches her carefully.
A beat.
ROCCO
So what you wanna do?
Izzy doesn’t answer immediately, staring at the phone.
Then:
IZZY
I gotta go over there.
She gets out of bed, starts pulling on jeans.
Rocco rubs his face awake.
ROCCO
You want me to come?
IZZY
No. (beat) If I’m not back when you
leave, set the alarm.
Rocco watches her pull on her jacket.
A beat.
ROCCO
Suit yourself.
He lies back down, and turns over.
Izzy looks at him a moment- then exits.
CUT TO:
Genres:
["Drama","Crime","Thriller"]
Ratings
Scene
34 -
A Desperate Decision
INT. VALENTE KITCHEN – SHORT TIME LATER
The door bursts open. Izzy rushes in, halts mid-step.
IZZY
Liza... what the hell?!
Liza stands frozen, staring at Vito’s lifeless body.
LIZA
I just wanted to scare him... but
he wouldn’t stop.
IZZY
Did you forget? He’s a made man,
right?
LIZA
I wasn’t thinking straight.
IZZY
Okay, we gotta move fast. What are
we gonna do with him?
LIZA
I don’t know. I—I panicked.
IZZY
Then start thinking. We need to
move the body before daylight. You
got contractor bags?
LIZA
In the closet.
IZZY
Go. Get ’em.
Liza hesitates. Izzy snaps her fingers.
IZZY (CONT’D)
Earth to Liza. Bags.
LIZA
Right. On it.
Liza grabs the bags. Izzy paces, glancing at the body. They
begin wrapping Vito in plastic, but when they try to lift—
IZZY
Dead weight is no joke. What’d he
eat, kettlebells?
LIZA
We’re not moving him like this.
IZZY
I got an idea, I’ll be right back.
Izzy exits to the garage followed by noises of things
being moved. She returns shortly with a chain saw
running. Liza, waving her arms, moves in-between.
LIZA
Stop! Are you crazy? Turn that
thing off!
Liza kills the chainsaw.
IZZY
What’s the problem?
LIZA
We’re not doing that.
IZZY
You got a better idea?
LIZA
Not at the moment. But slicing and
dicing him is a no. A hard no.
IZZY
Why not? We wrap him in some tarps, put
him in your trunk, and dump him in Staten
Island.
LIZA
You’re really scaring me now.
IZZY
Hey, I’m brainstorming. You’re the
one who pulled the trigger.
LIZA
Maybe I should just call the
cops...
IZZY
Bad idea. Cops show up, this gets
worse.
LIZA
We need help.
IZZY
I’ll call my brother.
LIZA
No. No one who knows him.
IZZY
Then who?
LIZA
Someone I trust.
She pulls out her phone and texts:
LIZA (CONT’D)
Professor, need your help. Please
call me ASAP.
She finishes with a sign of the cross.
Liza’s phone buzzes.
SHAW (TEXT)
Liza, are you okay? Are you hurt?
She replies.
LIZA (TEXT)
I’m okay, but need your help.
Please come over. I’ll explain
everything.
SHAW (TEXT)
On my way. Stay calm.
LIZA
He’s coming. My stomach says this
isn’t going to end well.
IZZY
Tell your stomach to shut up and get
ready-it’s going to be a bumpy ride.
INT. VALENTE KITCHEN – LATER
Izzy paces. Liza sits at the table, anxiously scrolling her
phone.
IZZY
You sure this professor’s the right
guy? He doesn’t look like the type.
LIZA
Maybe. But he won’t talk. That’s
all that matters right now.
IZZY
He’s taking his sweet time. Maybe
he changed his mind.
LIZA
He’ll come. And stop pacing —
you’re making it worse.
SFX: DOORBELL RINGS.
They lock eyes. Liza bolts up.
Genres:
["Crime","Thriller","Drama"]
Ratings
Scene
35 -
A Tangled Web
INT. FOYER – MOMENTS LATER
Liza fixes her hair in the mirror, takes a breath, and opens
the door.
LIZA
Thank God. Thanks for coming.
SHAW
What’s going on?
LIZA
Come to the kitchen. I need to show
you something.
Shaw follows, glancing around nervously.
SHAW
Should I be concerned?
LIZA
Yes. But try not to lose it.
INT. KITCHEN – CONTINUOUS
Shaw enters. His eyes land on the tarp-wrapped body.
SHAW
Is that...?
IZZY
A dead body? Yep. Nailed it.
LIZA
It’s Vito. He attacked me. I shot
him. It was self-defense.
SHAW
You... didn’t call the police?
LIZA
I can’t call them.
IZZY
He’s a made man. Mob royalty. If
they find out she did this — dead
woman walking.
SHAW
Made man?
IZZY
Think “untouchable,” but with more
vowels.
SHAW
Liza... we have to call this in.
He pulls out his phone. Liza grabs his hand.
LIZA
Please. Don’t.
SHAW
This is a crime.
LIZA
If this gets out I’m toast.
SHAW
You can’t be serious.
LIZA
I am. And if you leave, I
understand. But I had no one else
to call.
A long beat. Shaw looks from Liza to the body. Back to Liza.
SHAW
This is madness.
IZZY
And yet... here you are.
SHAW
I need to sit down.
He does.
IZZY
You want a pillow and a stuffed
animal too?
LIZA
Give him a second, Iz.
Shaw takes a deep breath. Then another.
SHAW
Alright. Against my better judgment
— I’ll help. But we need a plan.
Liza exhales in relief and kisses him on the cheek.
LIZA
I knew I could count on you.
SHAW
Liza — move your car. Back it up to
the stairs. (to Izzy) We’ll try
dragging him to the garage.
LIZA
On it.
She exits. Shaw and Izzy each grab a side of the body and
start dragging.
SHAW
Good God. He’s a brick wall in a
suit.
IZZY
Liza’s got a chainsaw in the
garage...
SHAW
Are you suggesting...?
IZZY
Let’s just say I’m open to creative
solutions.
SHAW
Let’s not lead with dismemberment,
thank you.
IZZY
Just floating ideas, Professor.
SHAW
Noted. Horrifying. But noted.
Liza reenters, pointing to a plywood ramp.
LIZA
Let’s slide him into the trunk.
SHAW
Excellent. Physics, not force. For
once.
They wedge the plywood under the body and heave. With effort,
they slide him into the trunk and shut it.
LIZA
Done.
SHAW
Oh, what a tangled web we weave,
When we practice to deceive.
Liza and Izzy blink at him.
IZZY
What’s that suppose to mean?
SHAW
Never mind. Let’s go.
IZZY
Shotgun!
They pile into the car.
CUT TO:
Genres:
["Crime","Drama","Thriller"]
Ratings
Scene
36 -
Dark Roads and Doubts
INT. LIZA’S CAR – STATEN ISLAND - LATER
Liza grips the wheel, tense. The roads are dark and empty.
SHAW
May I ask where we’re going?
LIZA
There’s a place out here my dad and
Vito used to dump bodies. I
overheard them mention it a few
times.
SHAW
Shouldn’t we drive farther? Like…
somewhere he won’t be found for
twenty years?
LIZA
We both have to be at the salon by
9 a.m. No time for a scenic tour.
IZZY
You might wanna hit the high beams,
babe. This road’s darker than the
inside of a coffin.
SHAW
That’s a comforting metaphor.
Liza flicks on the high beams. Silence. Then—THUMP.
SHAW (TENSE) (CONT’D)
Did you hear that?
LIZA (TOO FAST)
Hear what?
SHAW
A thump. From the trunk.
IZZY
Probably nothing. We’re in the
boondocks — weird sounds come with
the scenery.
SHAW
It didn’t sound random. It
sounded... like knocking.
LIZA
It’s my bowling ball. I forgot to
strap it down.
SHAW
Pretty rhythmic for a bowling ball.
SHAW (CONT’D)
You did check he was… you know…
expired?
IZZY
What do you take us for - a couple
of sick puppies? Burying folks
alive. Madonn!
SHAW
Just asking. Given how eager you
were to dismember him…
IZZY
I was brainstorming.
LIZA
Guys — enough. Can we not argue
about this now?
Shaw stares out the window, but his eyes keep drifting toward
the rear.
SHAW
(to himself)
I could’ve sworn...
Genres:
["Crime","Thriller","Drama"]
Ratings
Scene
37 -
The Vanishing Body
INT. REMOTE WOODED CLEARING – NIGHT
Liza KILLS the headlights. The car idles in darkness.
IZZY
This the spot?
LIZA
My dad and Vito used it for
cleanup. Supposed to be off the
grid.
SHAW
Charming. Just what I pictured for
final resting place.
They get out. Night sounds hum around them — insects, distant
traffic. Shaw and Izzy move to the trunk. Liza stands back,
breathing hard.
IZZY
Okay, on three. One... two...
Shaw lifts the trunk. And freezes. The tarp is there.
Bloodstained. But no body.
SHAW
Unbelievable.
IZZY
(checking again)
No way. No. He was here.
LIZA rushes forward, heart pounding.
LIZA
This can’t be happening.
Shaw lifts the tarp — empty. Nothing underneath.
IZZY
He was wrapped like a burrito!
Where’d he go?
LIZA
He was DEAD. I checked his pulse!
SHAW
I told you I heard something in the
trunk.
IZZY
Zombie Vito must have crawled out
mid-ride and lurched his way down
to the main drag.
Liza paces, panicking. Her phone BUZZES. She looks.
UNKNOWN NUMBER
“Lose something?”
Her blood runs cold.
LIZA
No. No no no no — I can’t believe
this...
Liza shows the text message to Izzy and Shaw,
IZZY
Yeah, I’m losing my sense of humor - this
is not good.
SHAW
We have to go. Right now.
They slam the trunk. Liza kills the lights. They pile in and
peel out fast.
CUT TO:
Genres:
["Crime","Thriller","Drama"]
Ratings
Scene
38 -
Morning Tensions at the Salon
INT. HAIR SALON – FRONT DESK – MORNING
Liza and Izzy stand at the counter, clutching coffees and
half-eaten donuts. Both look like they slept in their shoes.
IZZY
What a night. I hope I don’t pass
out mid-highlight.
LIZA
I’m one coffee away from an I.V.
Izzy’s phone buzzes. She checks a text.
IZZY
It’s Rocco. Vito’s in the hospital.
He’s gonna be okay.
LIZA
Of course he is.
IZZY
He wants to know if I’m stopping by
the hospital tonight.
LIZA
You going?
IZZY
I said I’d get back to him...
unless you miss him?
LIZA
Hard pass. But thanks.
Izzy types, sends, sets the phone down.
IZZY
You check in on your professor pal
yet? (beat) I’m sure he’s very
concerned about Vito’s recovery.
LIZA
I’ll stop by tomorrow after work.
Right now I’m too tired to fake
being chill.
Izzy logs into the salon computer.
IZZY
You sure the he’s not having second
thoughts? He seems like the type
who wakes up with a guilty
conscience.
LIZA
What are you driving at?
IZZY
Guilt does weird things. Next thing
you know, he’s doing the right
thing at the wrong time.
LIZA
I trust him.
IZZY
If you ask me he’s up in his ivory
tower, thinking he’s above all
this, that he wears Teflon tweed.
Liza starts clearing their breakfast mess.
LIZA
You don’t get him. He doesn’t stab
people in the back.
IZZY
Maybe. Or maybe he wakes up and
realizes he doesn’t want any part
of this.
Liza finally looks at her.
LIZA
He didn’t panic last night.
IZZY
He didn’t wet his pants, if that’s
what you mean.
Liza exhales.
LIZA
Whatever. (beat) I gotta get ready
for my first client. We’ll talk
more later.
IZZY
I'll be here, I’m not going
anywhere.
Liza heads to her station. Izzy resumes typing, side-eyeing
her phone.
CUT TO:
Genres:
["Crime","Drama","Thriller"]
Ratings
Scene
39 -
A Bittersweet Farewell
INT. PROFESSOR SHAW'S OFFICE – EVENING
Liza appears in the doorway.
LIZA
Hello... I figured I’d stop by—
She halts. Shaw is packing books into boxes.
LIZA (CONT’D)
What’s going on?
SHAW
I’m cutting my sabbatical short.
Heading back to Cambridge.
LIZA
You’re kidding.
SHAW
Something...came up.
LIZA
You mean you’re afraid of getting
whacked?
Shaw hesitates.
SHAW
I’m not waiting around for another
fish.
LIZA
This is my fault. I should’ve never
dragged you into it. I just...
didn’t know who else to turn to.
SHAW
I’m not blaming you. But I’m
involved now.
Shaw stops packing and makes eye contact with Liza.
SHAW (CONT’D)
I believe your shooting Vito was
justified.
LIZA
Self-defense isn’t a crime.
SHAW
No. But it’s murky. And murky makes
me nervous.
Liza closes her eyes, holding back tears.
LIZA
Sorry. I’m just...feel so alone. I
feel like I can’t trust anyone
anymore.
SHAW
That’s why I’m going, I’m just
exacerbating the situation.
LIZA
You think Vito’s going to be out
for revenge? My brother sent him a
message. He won’t cross us again.
SHAW
You really believe that?.
Liza stiffens.
LIZA
Maybe. (beat) So I’m just dust in
the wind.
SHAW
That’s not what I’m saying.
LIZA
You’re probably right-Vito can’t be
trusted.
SHAW
How about if he goes to the
authorities? It’s your word against
his.
She reaches out, hand trembling.
LIZA
That’s why I need you to stay.
You’re the only one I trust.
He gently pulls back.
SHAW
You might not believe it, but
leaving is me trying to help.
LIZA
I should’ve known. I don’t belong
in your world. I tried, but it was
never in the cards.
SHAW
That’s not true. You don’t need me
to chase your dreams.
LIZA
That sounds like a greeting card. I
don’t own a pair ruby slippers.
SHAW
Maybe stiletto heels will do.
LIZA
(mock offended)
Wow. That’s cruel.
SHAW
Sorry. Couldn’t help myself.
LIZA
Can I at least get a goodbye hug?
SHAW
Sure.
LIZA
Don’t worry — I won’t kiss you.
They hug. She steps back, runs her fingers through his hair.
LIZA (CONT’D)
You never made that appointment for
your haircut.
SHAW
Guess I’ll have to take a rain
check.
LIZA
I’ll miss you.
SHAW
Same here.
LIZA
Okay... I’m outta here.
She hugs him again, then heads to the door, holding back
tears.
LIZA (CONT’D)
Will you write?
SHAW
Certainly. I have your address.
LIZA
Promise?
SHAW
Promise.
LIZA
Ciao.
She waves. He waves back. She exits.
Shaw stares at the door for a long beat... then resumes
packing.
Genres:
["Crime","Drama","Thriller"]
Ratings
Scene
40 -
Unforeseen Departures
INT. HALLWAY OUTSIDE SHAW’S OFFICE – MOMENTS LATER
Liza, dabbing her eyes with a tissue, walks briskly down the
hallway toward the exit. She passes Professor Graham, headed
in the opposite direction. She doesn’t acknowledge him — too
emotional.
Graham watches her go. Curious. Then continues to Shaw’s
office, where the door is ajar.
GRAHAM
(knocking)
Still here?
SHAW (O.S.)
Come in.
INT. SHAW’S OFFICE – CONTINUOUS
Graham enters to find Shaw packing books into a box.
GRAHAM
So it’s true. You’re departing this
fine institution.
SHAW
I’ve given notice. Ending my
sabbatical. Unforeseen
circumstances.
GRAHAM
I assume one of those circumstances
just passed me in the hallway?
Shaw pauses. Doesn’t deny it.
SHAW
Apparently. And the cynic takes a
victory lap.
GRAHAM
No, I’ll just stand here and gloat
quietly.
Shaw resumes packing. A bit more forcefully.
SHAW
I assume one of the reasons you’re here
is to collect on our wager.
GRAHAM
You’re leaving, let’s call it a
draw.
Shaw takes out his wallet and removes money and places it
on his desk.
SHAW
You won-she didn’t last two weeks.
GRAHAM
Really? Strange timing...
SHAW
(interrupting)
It’s not what you think, though I doubt
you believe that.
GRAHAM
Does it matter now? Why don’t we go
for a drink, I’m buying.
Shaw looks around his office, then closes a box.
SHAW
Good idea, this can wait.
Genres:
["Crime","Drama","Thriller"]
Ratings
Scene
41 -
A Night of Frustration and Solitude
EXT. LIZA’S DRIVEWAY – NIGHT
Liza’s car pulls into the driveway. Headlights sweep across
the dark house.
She presses the garage opener.
Nothing.
LIZA (MUTTERING)
Merda. Not tonight.
She tries again. Still nothing. With a frustrated grunt, she
kills the engine and steps out.
She tugs the garage door. Locked tight.
LIZA (CONT’D)
Figures.
She locks the car and heads to the front door, digging
through her purse for keys.
INT. VALENTE HOME – MOMENTS LATER
Liza kicks off her shoes, drops her keys on the foyer table.
LIZA
Serenity now... serenity now.
She marches to the kitchen, flicks on the light, tosses her
bag on the table, and heads to the fridge.
She pops open a light beer, takes a long pull, then leans
against the counter, eyeing the can.
LIZA (CONT’D)
Hey Vito — stick it in your ear.
She takes another swig, pulls out her phone, scrolls, music
fills the room. She sways to the music, stops, listens,
silence.
FADE OUT.
Genres:
["Crime","Drama","Thriller"]
Ratings
Scene
42 -
A Farewell at the Tavern
INT. TAVERN – NIGHT
Low light. End of the night crowd thinning out.
Shaw and Graham sit at the bar. Two near-empty glasses
between them.
A beat.
Shaw checks his watch. Drains the last of his drink.
SHAW
I should be going.
He sets a tip on the bar. Stands.
GRAHAM
You want me to call you an Uber?
Graham reaches for his phone.
SHAW
No, I’ll walk. I can use some fresh
air.
GRAHAM
Suit yourself.
A beat.
GRAHAM (CONT’D)
So this is it, then. Back to
Cambridge. No second thoughts?
SHAW
No, the die is cast.
GRAHAM
(shrugs)
I’ll see you back there in June.
SHAW
Hopefully.
GRAHAM
Buck up. This will soon be all
behind you.
Shaw allows a faint smile.
SHAW
I wouldn’t bet on that.
Another beat.
Graham raises his glass—what’s left of it.
GRAHAM
Safe travels.
Shaw nods. Turns to go.
Graham watches him head for the door.
GRAHAM (CONT’D)
Shaw—
He turns.
GRAHAM (CONT’D)
Stay out of trouble.
SHAW
Right.
Shaw exits.
Graham watches the door a moment longer than he needs to.
Then turns back to his drink.
Genres:
["Drama","Crime","Thriller"]
Ratings
Scene
43 -
The Watchful Shadow
EXT. BROOKLYN HEIGHTS STREET – NIGHT
Shaw exits the tavern. The door shuts behind him. He pauses.
Takes a breath. Starts walking.
The street is quiet. A few late-night pedestrians. Distant
traffic.
Shaw moves at a steady pace. After a few steps—he glances
back.
Nothing obvious. Just a man further down the sidewalk. A dark
overcoat coat. Hat pulled low.
Shaw turns forward. Keeps walking.
A beat.
Footsteps behind him. Not close. But there.
Shaw glances back again. The same man. Now under a
streetlight. Rain-dark. Face obscured.
Shaw looks forward. His pace quickens—just slightly.
EXT. SIDE STREET – MOMENTS LATER
Shaw turns the corner. Walks faster now.
Another glance back—
The man turns the same corner. Still distant. Still
unhurried. Shaw’s jaw tightens.
EXT. SHAW’S BUILDING – NIGHT
Shaw reaches his building. Fumbles slightly with his keys.
A quick look over his shoulder—
The man is at the far end of the block-watching.
Shaw slips inside. Locks the door behind him.
INT. SHAW’S APARTMENT – NIGHT
Dim. Sparse. Books stacked everywhere.
Shaw enters. Sets his coat down.
He moves to a cabinet. Pours himself a shot of whiskey.
Drinks it. Stands there a moment. He crosses to the window.
Hesitates—
Then pulls the curtain aside.
EXT. STREET – CONTINUOUS (SHAW’S POV)
Under a streetlight—
The man in the Macintosh. Still. Waiting. Face unreadable.
INT. SHAW’S APARTMENT - CONTINUOUS
Shaw freezes.
A long beat.
He lets the curtain fall. Stands there. Then crosses the
room, pours another drink. Drinks it.
CUT TO:
Genres:
["Crime","Thriller","Drama"]
Ratings
Scene
44 -
Halloween Terror
EXT. VALENTE HOME – NEXT MORNING
Liza steps outside, locking the door behind her.
Halloween decorations line the street.
She pauses.
LIZA
C’mon, Valente... get it together.
She descends the steps.
Stops.
Spray-painted across the garage in red:
“TRICK OR TREAT, BITCH.”
Liza stares. Anger rising.
LIZA
I’m not leaving that.
She turns back toward the house.
Hesitates.
Then unlocks the door again. She pulls out her phone.
Taps the remote start app. The car starts.
BOOM.
The car erupts in flame.
Windows blast outward.
Liza drops to the ground, covering her head as glass rains
across the driveway.
Smoke pours into the street.
A tire blows.
Liza stares at the burning car.
Shaken.
Realizing—she was supposed to be inside it.
Genres:
["Crime","Thriller","Drama"]
Ratings
Scene
45 -
Survival and Orders
INT. PRIVATE HOSPITAL ROOM – EVENING
Dim light. Vito sits upright in bed. Bruised. Pale.
An IV in his arm.
Rocco and Sal stand nearby. Tense silence.
Vito slowly unbuttons part of his hospital gown.
Around his neck—
A battered St. Christopher medal. Deeply dented.
SAL
Madonn!
Vito touches the dent carefully.
VITO
Bullet hit the medal. (beat)
Knocked me back.
He gestures vaguely toward his head.
VITO (CONT’D)
Cracked my skull on the radiator.
ROCCO
They thought you were dead?
VITO
Apparently.
A dark little smile.
VITO (CONT’D)
So did I for a minute.
He leans back carefully.
VITO (CONT’D)
Next thing I know— (beat) I wake up
wrapped in plastic in the trunk of
a Hyundai.
Sal winces.
VITO (CONT’D)
Could barely breathe.
ROCCO
How’d you get out?
VITO
Emergency release. (beat) Thank God
they build’em so mugs like us can
get out now.
Nobody laughs. Vito’s expression hardens. Cold now.
VITO (CONT’D)
She runs because she’s scared.
(beat) Good.
He looks at Rocco.
VITO (CONT’D)
I want eyes on her. (beat) No screw
ups next time.
Then Sal.
VITO (CONT’D)
No more games. (beat) And nobody
touches the professor. Capisce?
Rocco exchanges a look with Sal.
VITO (CONT’D)
Not yet anyway.
Vito closes his fist around the medal.
VITO (CONT’D)
St. Christopher. My lucky medal.
SAL
I think I’m gonna get me one of those.
Genres:
["Crime","Drama","Thriller"]
Ratings
Scene
46 -
A Dangerous Goodbye
EXT. BROOKLYN HEIGHTS PROMENADE – DAY
Liza stands at the edge of the promenade, staring out at
ships gliding through the harbor. Peaceful. Distant.
IZZY appears beside her and gives her a hug.
IZZY
You okay? I saw it on the news.
You think it was him?
LIZA
Yeah. He wants me out of the way.
IZZY
I thought your brother warned him
off?
LIZA
He did. But Vito’s gone rogue. He’s
on his own.
IZZY
Why am I not surprised.
LIZA
I can’t go back home. It’s too
dangerous. I’ve gotta disappear.
IZZY
Where are you now?
LIZA
Coney Island. Cheap motel. Week to
week, I need to figure out where I
can lay low.
IZZY
How about Staten Island? Hiding in
plain sight. It’s the last place
he’d look.
Liza scans the harbor wistfully.
LIZA
I used to come here with my dad and
watch the ships go by. He’d tell me
one day we’d sail faraway- just the
two of us. We did-on the Staten
Island Ferry.
Liza wipes her eyes with a tissue. Izzy gently squeezes her
hand.
IZZY
That’s a sweet memory.
LIZA
Yeah... but maybe he got it wrong.
Maybe a girl from Brooklyn
shouldn’t dream past Staten Island.
They hug.
IZZY
I’m gonna miss you.
LIZA
Same here.
IZZY
You’ll be fine. You’re a survivor.
Liza nods and pulls back, scanning the promenade.
LIZA
I should go. I can’t take chances.
IZZY
Be safe. Call me.
Liza starts walking away. She stops, turns, gives a final
wave. Izzy waves back, watching her go.
At a distance, a man in black watches Liza leave. Hidden.
Still.
Izzy pulls out her phone and dials. The man in black answers,
listens... and follows Liza.
Genres:
["Crime","Thriller","Drama"]
Ratings
Scene
47 -
Subway Standoff
EXT. BROOKLYN STREET / SUBWAY ENTRANCE – MINUTES LATER
Liza walks briskly toward a subway entrance. She descends the
stairs.
Momenta later, the Man in Black follows.
EXT. SUBWAY PLATFORM – MOMENTS LATER
Liza waits, eyes darting between her phone, the tracks, and
the crowd.
The Man in Black enters, spots her, then slips behind a
column--watching.
A train screeches into the station. Liza boards near the
front of a middle car. The Man in Black enters at the rear.
INT. SUBWAY CAR – CONTINUOUS
Liza stands by the forward doors, scrolling on her phone.
She looks up.
At the far end of the car--the Man in Black. Staring straight
at her.
She turns away and switches to her front camera. Frames him
in the reflection, snaps a photo, then resumes scrolling.
ANNOUNCER (V.O.)
Next stop: Avenue J. Watch your
step.
As the train pulls in, Liza slips out the doors.
EXT. AVENUE J PLATFORM – CONTINUOUS
She walks a few steps--glances back.
The Man in Black exits the car after her.
Liza sees him coming, pivots, then slips back through the
closing subway doors.
The Man in Black lunges, jams his foot in the doors and they
bounce open. He gets back on.
INT. SUBWAY CAR – MOMENTS LATER
He finds her again. She catches his gaze. He gives her a
quick, knowing smile.
Liza pushes into the next car. He follows.
ANNOUNCER (V.O.)
Next stop: Avenue M.
She watches him enter through the connecting doors.
They lock eyes again.
At the stop, Liza clocks the door’s dwell time-twenty
seconds.
ANNOUNCER (V.O.)
Next stop: Kings Highway.
INT. KINGS HIGHWAY STATION – MOMENTS LATER
The train stops. Doors slide open.
Liza waits... waits...
Then bolts.
The Man in Black reacts — chases.
Liza spins, jams her foot in the closing doors — they bounce
open.
He grabs her jacket, yanks her halfway out.
She whips pepper spray out of her bag and sprays him point-
blank.
He screams, stumbles back, clutching his eyes. Liza tumbles
into the train.
Doors SLAM.
The Man in Black is left on the platform blinded, as the
train pulls away.
Genres:
["Thriller","Drama"]
Ratings
Scene
48 -
Desperate Escape
EXT. CONEY ISLAND – LATER
The train glides into the open-air station. Liza exits,
descending quickly to the street.
CUT TO:
EXT. CONEY ISLAND STREET – LATER
Liza ducks under the stairs. Dials.
LIZA
Izzy?
IZZY (V.O.)
What’s wrong? You okay?
LIZA
I’m being followed, he tried
dragging me off the train. I pepper-
sprayed him, but I think he’s still
after me.
IZZY
You don’t recognize him?
LIZA
No. I need a gun. Can you get one?
IZZY
What about the .38 you used on
Vito?
LIZA
I tossed it in the Gowanus Canal.
IZZY
Alright. I’ll see what I can do.
LIZA
I’ll text you where to meet.
IZZY
Got it. Ciao.
Liza scans the street. Nothing. Liza turns and heads toward
the amusement park.
Genres:
["Crime","Thriller","Drama"]
Ratings
Scene
49 -
Tension at the Wonder Wheel
INT. MEN’S ROOM - CONEY ISLAND
Rocco enters the restroom where Sal is washing his face
with cold water.
ROCCO
What happened?
SAL
She peppered-sprayed me.
ROCCO
Bitch. (pause) Don’t rub. Just blink.
Rocco checks his piece, then adjusts his jacket in the
mirror.
ROCCO (CONT’D)
I’ll take it from here. Get home, I’ll
catch you later.
Sal looks up from the sink, blinking.
SAL
Yeah, ciao.
Rocco exits the men’s room.
EXT. CONEY ISLAND PARK ENTRANCE – DUSK
The Wonder Wheel looms above the skyline. Liza ties a
kerchief around her head, tucks her hair back, and puts on
sunglasses before entering the park.
EXT. ARCADE PLAZA – MINUTES LATER
Liza scans booths. At the shooting gallery, she spots a man
in black — similar build. Her breath catches. She beelines to
the Wonder Wheel and buys a ticket, not looking back.
INT. WONDER WHEEL CABIN – MOMENTS LATER
The ride begins its slow ascent. Liza grips the railing, eyes
scanning the crowd below.
LIZA
Don’t fail me now.
EXT. PARK BASE – MOMENTS LATER
Izzy enters, tense. She touches the concealed pistol in her
waistband, glancing over her shoulder as she moves toward the
ride.
INT. CABIN – NEARING GROUND
Liza waves when she spots Izzy below, crossing her fingers.
EXT. BASE OF WONDER WHEEL – MOMENTS LATER
Izzy arrives at the bottom as Liza’s cabin touches down. She
climbs in, breathless.
LIZA
Did you bring it?
Izzy nods and passes her the .38. Their hands tremble.
Izzy hands her a rosary.
IZZY
My grandma gave it to me. You need
it more than I do.
LIZA
Thanks. You see that guy by the
shooting gallery?
IZZY
The one dressed like a hitman?
LIZA
That’s him.
IZZY
He’s too visible. Doesn’t feel
right.
Liza takes another look.
LIZA
Maybe I’m just losing it.
Genres:
["Crime","Thriller","Drama"]
Ratings
Scene
50 -
Descent into Chaos
EXT. PARK PERIMETER – SAME TIME
Rocco emerges from the shadows, sunglasses on, hand near his
jacket. He moves carefully, circling the Wonder Wheel,
staying close to the buildings.
INT. CABIN – CONTINUOUS
Liza spots Rocco emerging from behind cover.
LIZA
That’s him! Down-now!
CRACK.
A round slams into the cabin frame—
The cabin JERKS hard—
Liza and Izzy lose footing—
They slam to the floor.
The gun skids—
Izzy grabs for it—
The cabin still shifting—
CRACK.
A bullet hits the door latch—
Metal snaps.
The door JOLTS open a few inches—
The cabin SWINGS hard.
Izzy, off-balance—slips—half out the door.
Izzy dangles—one leg inside, one out—gripping the frame.
IZZY
Liza—!
Liza lunges—grabs her arm.
The cabin slides along the track—
Liza tries to pull.
The swing yanks Izzy sideways—
She SLAMS back into the frame—almost in—then—another shift—
She slips out again.
IZZY (CONT’D)
Pick a direction!
CRACK.
Another shot—misses—sparks off metal.
The cabin swings out of his angle.
Rocco adjusts—annoyed now.
The door keeps swinging-into Izzy-then away-
Liza tries to grab it—
It slams into her shoulder.
She shoves it back—
It swings open again.
Liza plants her foot—pulls hard—
The cabin levels for one second—
Izzy gets both arms inside—
Almost—
DISTANT SIRENS.
Faint at first—then louder. Crowd screams.
Rocco hears it. Looks around. Times short.
The cabin slows on the inner track-closer to platform
level.
Izzy loses grip—drops—short fall—hard landing.
Liza looks down—
Izzy on the ground—wind knocked out of her.
Rocco hesitates—then pivots—goes after Izzy.
Izzy scrambles up—still disoriented—tries to move.
Rocco closes distance.
He grabs Izzy—spins her—looks her over—clocking who she
is.
ROCCO
Izzy. Make yourself scarce.
He lets her go. Sirens louder now. Rocco disappears into the
panicked crowd. Izzy stands there—shaken—watching .
Genres:
["Thriller","Mystery","Drama"]
Ratings
Scene
51 -
Escape from the Amusement Park
EXT. BASE OF WONDER WHEEL – MINUTES LATER
The ride lowers. Liza bolts from the cabin, eyes scanning.
She spots Rocco near the boardwalk.
She hesitates — then takes off.
EXT. AMUSEMENT PARK MIDWAY - CONTINUOUS
Liza sprints through crowds and blinking lights. She darts
toward Spook-A-Rama, hops into a ride car, and disappears
into the dark tunnel.
INT. SPOOK-A-RAMA – MOMENTS LATER
Flashing ghouls. Cheap animatronics. Strobing darkness.
Halfway through the ride, she spots a glowing EXIT sign.
She climbs out onto the catwalk, switches on her phone light,
and slips through the emergency door.
EXT. BACK OF SPOOK-A-RAMA – NIGHT
Liza emerges, eyes scanning. All clear. She takes off,
heading for the exit.
EXT. PARK – SAME TIME
Rocco returns, lurking beneath the boardwalk.
He scans the ride area. Stops at Spook-A-Rama. Looks around.
ROCCO
Where are you, Valente?
He turns and sees Liza across the street, near the exit. He
slips into the crowd, weaving his way towards her.
EXT. CONEY ISLAND – STREET CORNER – NIGHT
Liza stands on the corner, anxiously checking her phone and
scanning traffic.
LIZA
C’mon, Uber... you said one minute.
She glances over her shoulder. Rocco emerges from the park.
An Uber pulls up fast. Liza hops in.
LIZA (CONT’D)
Can you lock the doors?
UBER DRIVER
Right away.
He hits the button. The locks click.
UBER DRIVER (CONT’D)
That guy hassling you?
LIZA
Yeah. Some creep.
UBER DRIVER
Don’t worry. Doors are locked.
He flashes a wide, slightly unnerving grin in the rearview
mirror. Liza offers a tight smile back.
LIZA
Thanks. Appreciate it.
Genres:
["Thriller","Action","Drama"]
Ratings
Scene
52 -
A Hasty Departure
EXT. MOTEL – LATER
The Uber pulls up. Liza hops out.
LIZA
I need to get to JFK. Can you wait
while I grab my bag?
UBER DRIVER
Take your time.
INT. MOTEL ROOM – MOMENTS LATER
Liza bursts in and locks the door. She shoves clothes into a
suitcase. She pauses, pulls Izzy’s rosary beads from her
pocket, kisses them, blesses herself, and tucks them back
inside her coat.
SFX: KNOCK KNOCK.
She freezes. Grabs her gun.
LIZA
Who is it?
UBER DRIVER (O.S.)
Need help with your bags?
LIZA
I’m good. Be right out.
EXT. MOTEL – MOMENTS LATER
Liza emerges with her suitcase. The driver loads it into the
trunk. She climbs into the back seat. They drive off.
EXT. JFK – DEPARTURES – LATER
The Uber rolls up to the terminal. The driver hands off her
suitcase.
LIZA
Thanks again. You’re the best.
She gives him a twenty.
UBER DRIVER
Anytime. Watch yourself.
Liza waves goodbye and disappears into the terminal.
CUT TO:
Genres:
["Thriller","Drama"]
Ratings
Scene
53 -
The Pursuit Begins
INT. VITO’S APARTMENT – NIGHT
Dim. Quiet. A Sinatra record plays low in the background.
Vito sits at the kitchen table, eating leftover rigatoni
straight from the container, scrolling through his phone.
His phone BUZZES. A text.
ON SCREEN:
She got dropped at JFK departure terminal. Heading to London.
Solo. You owe me. — Rick (Uber)
Vito wipes his mouth with a napkin, reads. Chews slowly.
Smiles.
Vito thinks. He types.
ON SCREEN:
Tomorrow. Eight. Bring bags.
He leans back, lights a cigarette, and exhales toward the
ceiling.
VITO
You think you’re out but I’m going to
drag you back in.
INT. LITTLE ITALY – BACK ROOM – MORNING
VITO pours espresso into three small cups. A burner phone and
a printed satellite image of Liza’s hotel are spread across
the table.
VITO
This ain’t muscle. It’s about
sending a message — she needs to
come back. Subito.
He slides the plane tickets across to SAL and ROCCO.
VITO (CONT’D)
You fly out. You land. You tail.
You don’t touch her unless I say
so.
SAL
What if she bolts again?
VITO
Then you follow. Keep eyes on her.
That’s it.
ROCCO
We bringing heat?
VITO
Only as a last resort. Discreet.
Quiet. If things go sideways — make
sure I hear it from you first.
Caprice?
EXT. HEATHROW AIRPORT – DAY
Sal and Rocco exit with minimal luggage. They scan the
terminal like they're casing a joint.
SAL
No wonder people hate London. Rains
too damn much.
ROCCO
Just don’t lose her this time.
SAL
Don’t worry. I’m locked in.
ROCCO
Just don’t get us locked up.
They disappear into a black cab.
FADE OUT.
Genres:
["Crime","Thriller","Drama"]
Ratings
Scene
54 -
The Pursuit
EXT. LONDON MAIN STREET – MORNING
Liza exits her hotel. Sunglasses. Kerchief. Guarded.
She checks both directions. Moves.
EXT. MAIN STREET – CONTINUOUS
Liza walks. Steady pace.
Behind her—
DETECTIVE BANCROFT (40s), plain clothes, turns the corner,
keeping his distance.
Across the street - a black cab idles.
Inside — Rocco. Watching.
Further down - Sal lingers near a storefront window.
Not looking at her but tracking.
EXT. SHOP WINDOW – CONTINUOUS
Liza stops, glances at her reflection—
Notices Bancroft behind her. Same distance.
He checks his phone, then a folded paper, a photo.
Liza clocks it - moves on.
INTERCUT – ROCCO (CAB)
Rocco watches from the back seat.
EXT. CROSSWALK – CONTINUOUS
Liza crosses. Bancroft follows. Sal doesn’t. He crosses later
with a different group.
EXT. MAIN STREET – CONTINUOUS
Liza slows. The Detective slows. He pulls out a pen. Writes
something. Checks the photo again. Liza notices.
EXT. SIDE STREET – CONTINUOUS
Liza cuts sharply down a side street. Bancroft follows — a
beat later.
Genres:
["Thriller","Mystery","Crime"]
Ratings
Scene
55 -
A Mysterious Encounter
EXT. ALLEY CROSS – CONTINUOUS
Liza reaches into her bag , palms her pepper spray.
Liza stops. Turns. Faces him.
LIZA
What’s your problem? You’re
stalking me?
Bancroft pauses, flashes his badge.
P.I
Detective Bancroft-missing persons.
I’m looking for this woman.
He holds up a photo then steps closer — careful, non-
threatening — angles it so she can see the photo:
A woman. Similar age, build, not Liza.
BANCROFT
Wrong person. (beat) She’s not
American. Sorry to have bothered
you.
LIZA
Not a problem. (beat) You haven’t seen...
BANCROFT (CONT’D)
Seen what ma’am?
LIZA
No, nothing.
BANCROFT
Well then...have a nice day.
He folds the photo. Nods. Moves past her. Keeps walking.
Doesn’t look back.
EXT. STREET – CONTINUOUS
Liza stands there. Breathing. Letting it settle.
She turns—scans—nothing obvious.
At the far end—
Sal disappears around a corner.
EXT. MAIN STREET – CONTINUOUS
The black cab pulls up next to Sal. Rocco rolls down the
window.
ROCCO
Get in. We need to see a man about a
fish.
Sal hops in and the cab takes off.
Genres:
["Thriller","Mystery","Crime"]
Ratings
Scene
56 -
A Sinister Welcome
INT. LONDON HOTEL ROOM – LATER
LIZA enters. Locks the door behind her.
A soft knock. She freezes. Another knock.
She checks the peephole.
A HOTEL ATTENDANT with a flower arrangement.
INT. HOTEL ROOM – MOMENTS LATER
The arrangement sits on the table. Expensive.
The door closes behind the attendant.
Liza doesn’t move right away.
Then—she approaches.
A small card tucked into the flowers.
She reads it.
INSERT — CARD:
“WELCOME TO LONDON.”
No signature.
A beat.
Her eyes narrow. She sets the card down.
Carefully parts the flowers—something beneath.
She reaches in. Stops.
Slowly pulls it free—
A small dead fish, wrapped tight into the base of the
arrangement.
A folded note jammed into its open mouth.
Liza exhales. She removes the note.
INSERT — NOTE:
“You can run but you can’t hide.”
She looks at the fish. Then around the room.
Then—she lifts the room phone. Hesitates. Sets it back down.
She takes the entire arrangement, fish and all, and dumps it
in the room trash.
She grabs her suitcase, opens it, and starts to pack.
Genres:
["Thriller","Mystery","Drama"]
Ratings
Scene
57 -
A Ghost in the Courtyard
EXT. CAMBRIDGE – COLLEGE GREEN – AFTERNOON
Shaw walks through the courtyard of Queens’ College,
briefcase in one hand, coffee in the other. Students pass by,
bikes whiz past. But his pace is slower... warier.
He glances over his shoulder. No one.
He walks a bit more. Pauses near a bulletin board. Glances
again. A Man in a Macintosh stands across the quad. Shaw
pretends to check the board. Watches in the reflection of a
glass pane.
SHAW
(to himself)
You're being ridiculous.
He turns to walk — and bumps into PROFESSOR MILTON, 60s,
tweedy and distracted.
MILTON
Ah! Shaw! Back from your American
sabbatical?
SHAW
In body, if not entirely in spirit.
MILTON
You look like you've seen a ghost.
SHAW
No... just old habits. Long story.
Milton eyes him.
MILTON
Trouble follow you back?
SHAW
Possibly. Does trouble wear a
MacIntosh?
MILTON
Haven’t the foggiest old chap.
They part ways. Shaw glances again. The MacIntosh Man is
gone.
Genres:
["Thriller","Mystery"]
Ratings
Scene
58 -
Foggy Confrontation
EXT. RIVERSIDE WALK – LONDON – EVENING
A quieter stretch along the river. Light fog. Sparse foot
traffic.
LIZA walks fast. Suitcase in one hand, bag over her shoulder.
She checks behind her. Nothing. Keeps moving.
Shapes in the fog— Rocco and Sal.
They close in. Liza stops. Turns.
LIZA
You really came all this way
Sal drifts wide—cutting her off.
SAL
Vito said don’t come back empty-
handed.
LIZA
Stay back.
Rocco steps closer.
ROCCO
Don’t make this a problem.
Liza drops the suitcase.
Her hand is already in her bag— Pepper spray.
PSHHH-
Straight into Sal’s face.
Sal recoils. Blind. Staggers.
He stumbles back into the railing. Topples over—
SPLASH.
He surfaces, choking, grabbing for the edge.
Rocco lunges, grabs Liza.
ROCCO (CONT’D)
You want to play hardball, eh?
He yanks her—
BANCROFT (O.S.)
That’s enough!
Detective Bancroft moves in fast, a UNIFORMED OFFICER behind
him.
Bancroft pulls Rocco off her—drives him back.
The officer pins Rocco—cuffs him.
ROCCO
This is bullshit—
OFFICER
Turn around.
Bancroft looks to the water—
SAL clings to the embankment, soaked, sputtering.
BANCROFT
(into radio)
Male in the water. Embankment—need
a river unit.
Sal slips—coughing.
Bancroft turns back to Liza.
BANCROFT (CONT’D)
You okay?
LIZA
Yeah.
BANCROFT
We’ve been tracking these two since
Heathrow. (beat) Where you headed?
LIZA
Train station.
Bancroft nods to the officer.
BANCROFT
Get her there.
She grabs her suitcase and walks off with the officer-
disappearing into the fog.
Behind them- Rocco is led away in cuffs.
Sal hangs to the edge, gasping.
Sirens faint in the distance.
CUT TO:
Genres:
["Thriller","Crime","Drama"]
Ratings
Scene
59 -
Masks and Recognition
EXT. CAMBRIDGE – CITY CENTRE – LATE AFTERNOON
Liza weaves through cobbled streets, past stone buildings.
Gas lamps flicker on as dusk deepens.
She passes a bookshop window—stops.
Inside—
A poster:
“AN EVENING WITH PROFESSOR JONATHON SHAW –
THEATRE & LANGUAGE, THEN & NOW.”
TONIGHT. 8PM.
Behind her—movement.
A figure in a black hoodie cuts across behind her.
She turns— A TEEN. Headphones in.
He disappears into the crowd. Liza watches.
Her hand slips into her pocket—fingers close around a pepper
spray canister.
She hesitates, then moves on.
INT. CAMBRIDGE – LECTURE HALL – NIGHT
A modest auditorium. Students settle. On the screen: “THEATRE
& LANGUAGE: THEN & NOW”
Near the back, a woman in oversized glasses and a voluminous
scarf slips into a seat.
SHAW
Language isn’t just sound — it’s
strategy. Every accent, every pause
tells us who someone wants to be.
(beat)
So how many of us are playing roles
we never chose?
A few murmurs ripple through the room.
LIZA (O.S.)
What if someone gets typecast in a
role… and it’s not who they are?
Shaw looks up. Familiar voice.
SHAW
Philosophical… or personal?
LIZA
Hypothetically… if you’ve been
typecast long enough—does anyone
buy it when you try something else?
A few students nod.
SHAW
Audiences are conservative. They
like what they recognize.
LIZA
So you’re stuck.
SHAW
Not stuck. (beat) But you don’t
change their mind with a
declaration.
LIZA
Then how?
SHAW
You play it differently. Same text.
Different choices.
LIZA
And if they don’t let you?
SHAW
Then you find a stage that does.
Liza lowers her glasses—just a fraction.
Shaw watches. A flicker. Almost recognition.
SHAW (CONT’D)
Let’s move on… to the masks we choose —
and the ones we inherit.
INT. CAMBRIDGE – LECTURE HALL – LATER
The crowd filters out. Shaw collects his notes. Glances at
the now empty seat where the woman sat.
SHAW
(to himself)
No... couldn’t be.
He walks out. Behind him, a crumpled ticket stub flutters
across the floor.
CLOSE ON STUB:
"London to Cambridge – 1st Class"
FADE TO:
Genres:
["Thriller","Mystery","Drama"]
Ratings
Scene
60 -
Under the Umbrella
EXT. CAMBRIDGE – RIVER PARK – DAY
Shaw sits on a weathered bench overlooking the Cam. Book
open, reading. He occasionally looks up to observe young
lovers passing by in the punting boats.
After watching a couple kiss in passing, he takes his
phone from his jacket pocket and brings up the pictures
of Liza and him in Washington Square park. He starts
scrolling, lingering on the images.
From the corner of his eye, he sees movement in a cluster
of nearby trees. He aims his phone at the figure, zooming
in with his camera. The Man in the MacIntosh. Shaw takes
several pictures. The Man retreats deeper into the trees-
out of sight.
Shaw returns to scrolling through pictures of him and
Liza. He taps a voice memo.
SHAW (V.O.)
Repeat after me. “She says she will
sew a sheet.”
LIZA (V.O.)
She says she will sew a sheet.
SHAW (V.O.)
Good. Now try: “I thought I thought
of thinking of thanking you.”
LIZA (V.O.)
I fought I fought of finking of—
LIZA (O.S.)
—fanking you.
Shaw freezes. Turns.
Liza stands behind him, holding two coffees.
SHAW
I must be hallucinating.
LIZA
Then your hallucination brought
coffee.
She offers one.
LIZA (CONT’D)
Black. No sugar.
He takes it.
SHAW
I’ve switched to oat milk.
LIZA
That’s a betrayal.
She sits beside him. A quiet beat. River drifting past.
SHAW
So… what happened?
LIZA
It got messy. (beat) I needed
somewhere quieter.
He nods. Doesn’t press. Shaw shows Liza the picture of the
Man in the MacIntosh.
SHAW
You don’t by any chance know this chap?
LIZA
Yes, he’s a friend of my father’s.
I asked him to keep an eye on you.
SHAW
Hopefully his services are no
longer needed.
LIZA
Yes, I think he can be dismissed.
Shaw smiles, gazing at the couples in the punt boats.
SHAW
Did you bring your vowels?
LIZA
All of them.
He studies her.
SHAW
Say “earth.”
LIZA
Earth.
SHAW
“Brother.”
LIZA
Brother.
He smiles. A small beat. It begins to drizzle. He stands.
SHAW
Walk?
She rises. Pulls her umbrella out. It pops open, clipping his
shoulder.
SHAW (CONT’D)
Still dangerous.
She smiles. They fall in together under the umbrella.
They head toward the river path.
LIZA
Where to?