The afternoon sun bathes the sun in cool light. Outside the
two-story house, laughter spills from within.
INT. HOUSE - LIVING ROOM - INSIDE
The living room boasts a collection of long and short black
leather couches, a cabinet nestled in the corner holding a
DVD player and a Foxtel. A grand television crowns another
cabinet, while an opposite desk resembles a stage, hosting a
computer and various software.
Three brothers, absorbed in the BBC show 'Walking with
Dinosaurs: Ballad of Big Al', share laughter. However,
frustration brews within AL (13, tough, creative and quiet),
the youngest brother. Dressed and increasingly irritated, he
rises abruptly, leaving his siblings behind.
EXT. HOUSE - BACKYARD - INSIDE
Outside of the house and inside of the backyard where there
the backyard goes down deeper, there is a pool around the
corner guarded by the pool fence with a gate, and there is a
big shed nearby with a shed door in of the middle of the
side of the shed.
Al emerges from the rear door, stepping into the backyard's
tranquility. He strides purposefully towards a shed nestled
at the far end.
INT. SHED - DAY
Within the shed, a spacious work desk hosts a laptop, a desk
lamp, and a chair. A bookshelf on the opposite end showcases
dinosaur toys, wooden bones, models, and books. Dinosaur
posters adorn the walls. Al enters, flips the light switch,
sits at the desk, and takes deep breaths. His frustration
gives way to a whispered promise.
AL
(Whispers)
I wish you could live forever. My
brothers mock your last stunt,
thinking it a joke. But soon, I'll
keep my promise to resurrect you.
When the time comes.
2.
Al whispers his frustrations, his words a mere murmur in the
silent shed. The room plunges into darkness as the screen
fades to black.
FADE TO BLACK:
EXT. HIGH SCHOOL - DAY - FOUR YEARS
Four years later and Al has just finished high school, now
he's graduating from his high school. Outside of the high
school, the outside of the high school is shown.
INT. HIGH SCHOOL - DAY
Inside the high school, there are spaces where more of the
graduated students of high school are by their parents, and
some of them are talking to their friends.
Nearby, AL (17, smart, tough and creative) is wearing black
pants, a high school collared shirt with a tie around the
neck, carrying the higher school certificate, along with a
portfolio, leaves the high school.
EXT. HOUSE - DAY
Al takes a bus from a stop, arriving home to the laughter of
his brothers in the living room.
INT. HOUSE - LIVING ROOM - INSIDE
Inside the living room where three of Al's brothers are
sitting on different couches, watching television. As Al
enters the living room, he is spotted by his brothers.
AL'S BROTHER # 1
Look who has arrived back from
school.
AL'S BROTHER # 2
Should we congrats him on graduating?
AL'S BROTHER # 3
That depends if he didn't trip over
and made embarrassment.
His brothers tease him about potential embarrassment. Al
passes through, heading to his bedroom.
3.
INT. HOUSE - BEDROOM - INSIDE
Al's room, adorned with dinosaur posters, a desk with a
laptop, and a cabinet with a TV. He drops his high school
certificate, then lies on his bed, contemplating his future.
AL
What's next? Out of school, free to
shape my destiny
Al lies on his bed, lost in thought.
EXT. HOUSE - NIGHT
It's now night and outside of the house as the sound of
crickets chirping, the view of the house is now shown in the
dark.
INT. HOUSE - BEDROOM - INSIDE
In the dark, Al, fully dressed, awakens. He packs a travel
backpack, ready for an unknown journey.
EXT. HOUSE - NIGHT
Al leaves quietly, closing the front door behind him.
EXT. RAILWAY TRAIN STATION - NIGHT
The railway train station lies quiet and deserted under the
moonlit sky. Al arrives, his figure illuminated by the dim
station lights. He walks with purpose, heading towards a
solitary platform.
INT. RAILWAY TRAIN STATION - PLATFORM - INSIDE
Al stands alone on the empty platform, the only sound is the
distant hum of the night. He settles onto a bench, his
travel backpack resting against his leg. The platform
stretches into the darkness, devoid of life.
Suddenly, the faint rumble of an approaching train breaks
the silence. Al's gaze sharpens as he rises to his feet,
anticipation coursing through him. A freight train emerges
into view, its headlights piercing the night. Without
hesitation, Al springs into action. He dashes towards the
moving train, his muscles coiled with energy.
4.
With a powerful leap, he launches himself towards an open
carriage, his form silhouetted against the passing train.
Al's figure disappears into the darkness of the open
carriage as the train hurtles onward.
Genres:
["Drama","Adventure"]
Ratings
Scene
2 -
Shadows at the Festival
INT. FREIGHT TRAIN - CARRIAGE - INSIDE
In an running empty carriage, Al rests, surrounded by
darkness.
EXT. FREIGHT TRAIN - NIGHT
The Freight train is shown driven towards in far distance.
The screen cuts to black.
CUT TO BACK:
The movie title appears and the screen fades to black.
FADES TO BLACK:
INT. CONCERT - DAY - FOUR YEARS LATER
In a music festival, thousands cheer for a rock band.
EXT. CONCERT - DAY
Outside of the concert, AL (22, brave, strong, intelligent
and tough) dressed in a business suit and carrying a
briefcase, arrives at the concert.
INT. CONCERT - DAY
Amidst the crowd, Al heads towards a block of cabins.
EXT. BLOCK - DAY
The sun beats down on the unassuming block, its exterior
nondescript yet hiding secrets within.
DEREK.
Personality: Derek is fiercely loyal to those he cares about
but has a hard exterior that makes it difficult for others
to get close to him. He possesses a sharp wit, often using
sarcasm as a defense mechanism to mask his vulnerability.
5.
While intimidating and tough, he has a strong moral compass,
leading him to protect the weak and fight for justice in his
own, often unconventional, ways. Derek is also deeply
analytical, able to assess situations quickly and devise
strategic responses, which makes him both a feared opponent
and a reliable ally.
Backstory: Derek grew up in a rough neighborhood, where only
the strongest survived. His father was a former boxer who
instilled the importance of physical strength into him but
was emotionally absent, only showing up for the occasional
fight. His mother, on the other hand, was a compassionate
woman who worked several jobs to provide for her family,
teaching Derek the value of hard work and resilience.
However, a tragic event occurred when he was 15; his mother
was the victim of a violent crime that left a lasting
imprint on his psyche. This spurred Derek to channel his
rage into boxing, determined to become strong enough to
protect those he loved.
MICHAEL.
Personality: Michael harbors a complex mix of charm and
intensity. He's incredibly charismatic, able to flatter or
manipulate his way through various social situations, but
under that charming facade lies a calculating strategist.
He’s more than willing to bend the rules to achieve his
goals, often leading his friends into risky scenarios. While
he can be seen as ruthless and self-serving, he possesses a
code of honor; he values friendship and loyalty above all.
He often struggles internally between aspiring for greatness
and grappling with the moral implications of his actions.
Backstory: Born into a wealthy family, Michael had access to
the best education and opportunities from an early age.
However, his parents' high expectations suffocated him. They
envisioned a perfect future: Ivy League schools, corporate
success, and societal status. Michael rebelled against this
image; he craved excitement and the thrill of living on the
edge. At sixteen, he began to distance himself from his
family’s ideals, leading him to join a local street racing
circuit, where he met Derek.
DEREK (23, strong, tough and ruthless) and MICHAEL (23,
strong, tough and ruthless) exude an air of confidence as
they approach, disguised as businessmen with briefcases in
hand.
DEREK
Hope this is the one.
MICHAEL
Only one way to find out.
6.
With a nod, Derek motions for Michael to boost him up. Using
his strength, Michael effortlessly lifts Derek, allowing him
to peer through a small window. Derek's eyes narrow as he
surveys the interior, spotting the telltale sign of their
target: a secure vault.
DEREK
Confirmed.
MICHAEL
Time to move.
DEREK
Agreed.
As they seamlessly cut the telephone wire, their movements
swift and calculated, the duo disappears into the shadows
beneath the block, poised for their next move.
Genres:
["Action","Crime","Thriller"]
Ratings
Scene
3 -
Vault Under Siege
INT. BLOCK - VAULT - DAY
The vault is bustling with activity. Desks line the room,
each equipped with computers, cash registers, and office
chairs. Underneath every desk, small safes are nestled
discreetly, safeguarding their precious contents. The air is
filled with the quiet murmur of cashiers typing and securing
money into the safes. Security officers patrol the area,
their eyes sharp, missing nothing.
EXT. BLOCK - DAY
Al approaches the entrance to the vault, his expression calm
but focused. He adjusts his jacket, masking any hint of
nerves. As he knocks on the heavy door, a security officer
opens it, his eyes narrowing at the sight of Al.
SECURITY OFFICER #1
(Cool, professional)
Can I help you?
AL
(Flashes a friendly,
confident smile)
Routine check-in. Just making sure
you folks are all set here.
A second officer steps forward, his gaze appraising Al with
suspicion.
SECURITY OFFICER #2
And who authorized this check?
7.
AL
Just following standard protocol. You
know how it goes.
As Al speaks, he subtly shifts his weight, listening for the
faint rumble beneath his feet. In the shadows, Derek and
Michael are preparing to make their move.
INT. BLOCK - VAULT - DAY
Derek and Michael, faces obscured by sleek, black masks,
emerge silently from beneath the vault. In a fluid motion,
they break through the hatch, rifles ready, exuding an air
of calm menace. Their presence dominates the room, drawing
every eye to them.
MICHAEL
(Barking orders)
Everyone up! Now!
DEREK
On the floor! Hands where we can see
them!
The security officers react, instinctively reaching for
their weapons. Al moves swiftly, grabbing the pistol from
the nearest officer with a practiced twist. He shoves the
officers back into the vault, his movements sharp and
precise. With a nudge of his foot, he swings the door shut,
sealing them all inside.
AL
(Stern, commanding)
You heard them. Down on the floor. No
heroes today.
Al pulls a balaclava from his pocket and slips it over his
head, his calm demeanor now transformed into something cold
and calculating.
AL (CONT'D)
We’re here for the money. You
cooperate, this ends quickly and
peacefully.
The cashiers and officers exchange glances, faces pale but
compliant. Derek and Michael sweep the room, eyes scanning
the vault with methodical precision.
MICHAEL
(Eyes gleaming with
excitement)
Jackpot. Safes under every desk.
8.
DEREK
(Stern, focused)
Then let’s get to work. No
distractions.
Derek drops to his knees, swiftly examining the safes. He
pulls a small toolkit from his bag, opting for finesse over
brute force. Michael glances over, his fingers twitching
with impatience.
MICHAEL
You sure this is faster than the
usual way?
DEREK
(Grimly)
Loud explosions attract attention. We
do this clean.
Al watches the room, his eyes scanning the faces of their
captives. One of the cashiers, a young woman in her
twenties, looks up at him, fear and defiance mingling in her
gaze. Al’s expression softens for a fleeting moment before
hardening again.
AL
(To the cashier)
Keep your head down. We’re not here
to hurt anyone.
The cashier hesitates, then complies, her body sinking into
the floor as Derek and Michael work quickly, their movements
precise and calculated. As the safes click open one by one,
the tension in the room intensifies. The sound of cash being
stuffed into bags fills the silence.
DEREK
(Satisfied, to Al)
Safes are clear. Time to go.
Al gives a short nod, his gaze flickering briefly to the
cowering security officers. He tilts his head, signaling
that it’s time to leave.
AL
(To Derek and
Michael)
We’re on the clock. Move.
As they prepare to make their exit, Al glances back at the
vault, eyes lingering for a second too long. His face
betrays a mix of emotions – resolve, guilt, and something
deeper, a flicker of regret – before he turns away and leads
the others out.
9.
Genres:
["Crime","Thriller","Drama"]
Ratings
Scene
4 -
Chaos Unleashed
INT. CONCERT - DAY
PACKIE.
Personality: Packie is a complex individual driven by a
deep-seated sense of vengeance and a fierce determination to
prove his worth. While he comes across as ruthless and
intimidating, there is an underlying vulnerability that he
hides beneath his tough exterior. He can be fiercely
protective of his inner circle and those he deems worthy of
his loyalty. Packie often exhibits a wicked sense of humor
that serves as a mask for his bitterness and pain; humor is
how he copes with the darkness in his life. Despite his
antagonistic role, his motivations stem from a profound
desire for justice, albeit his interpretation of it is often
skewed.
Backstory: Packie was born into a family marked by turmoil.
Growing up in a neighborhood filled with crime and neglect,
he quickly learned that power and strength were crucial for
survival. His father was a small-time mobster whose
influence was both a source of pride and a heavy burden.
When Packie was just 14, his father was betrayed and
murdered by someone he once considered a friend. This event
sent shock-waves through Packie's life, igniting a quest for
revenge that would consume him for years to come.
As he grew older, Packie became obsessed with tracking down
those responsible for his father's death. He honed his
physical skills, engaging in street fights and interactions
with the criminal underworld to gather information. The
darker aspects of this life began to seep into his
personality, creating a ruthless persona that was feared but
also fascinating to others. He instilled a sense of loyalty
among his followers, drawing people towards him with his
magnetic charisma while simultaneously keeping them at arm's
length.
By the time he was 25, Packie had built a small but powerful
network in the under world, amassing wealth and influence.
However, his quest for vengeance turned into an all-
consuming obsession that alienated him from those he loved.
No one was safe; friends, acquaintances, and even innocents
became collateral damage in his pursuit of justice. In his
quest for answers, he increasingly lost sight of his own
humanity.
Amidst the roaring cheers of a youthful crowd, PACKIE (25,
strong, tough, ruthless and vengeful) the gang leader
wearing black jeans, boots, a t-shirt and a black leather
jacket, moves with purpose backstage, he ignites two flares
and hurls them beneath the stage, signaling the beginning of
his calculated plan.
10.
INT. BLOCK - VAULT - INSIDE
The vault is filled with a tense, electric silence. Cashiers
and security officers lie face-down on the cold floor, eyes
wide with fear, their hands clasped over their heads. Al
stands nearby, rifle at the ready, his gaze scanning the
room, constantly assessing for threats. Meanwhile, Derek and
Michael pace the vault, their eyes fixed on the safes
nestled under each desk.
MICHAEL
(Agitated)
These things are built like tanks.
How do we get them open?
AL
(Voice tight,
incredulous)
PE4? Have you lost it? That much
explosive, in here? You’ll bury us
alive.
DEREK
(Steady, unwavering)
You got a better plan? It’s our best
shot, Al. Just trust me.
Michael shoots a glance at Al, frustration flickering across
his face. This isn’t the time for debate, but there’s
hesitation in Al’s eyes, a conflict brewing beneath his
stoic demeanor.
MICHAEL
(Cutting in, coldly)
Save the philosophy for later. We’re
on the clock. Let’s get this done.
Derek kneels down, pulling a block of molded clay out of his
bag. He moves with precision, hands steady as he attaches
the charges to each safe, a glint of determination in his
eyes. Al watches him, jaw clenched, but he says nothing
more. As Derek works, Michael keeps an eye on the hostages,
his fingers tapping impatiently against the trigger of his
rifle.
11.
INT. CONCERT - DAY
In the concert hall, the energy is a frantic contrast to the
tension in the vault. Packie ignites two flares with a flick
of his wrist, tossing them beneath the stage. Flames leap
up, casting a sinister, flickering glow. The rock band plays
on, oblivious to the growing chaos behind them. In the
crowd, screams rise, shrill and panicked, swallowed by the
roar of the music. Teenagers scramble towards the exits, but
the stage has become a fiery beacon of danger.
INT. BLOCK - VAULT - INSIDE
Back in the vault, Derek steps back, surveying his handiwork
with a grim satisfaction. Al watches him, eyes narrowed,
muscles tense, ready to react to any misstep. Michael stands
nearby, hands twitching nervously. The air is thick with
anticipation.
DEREK
(Grinning, almost
smug)
Stand back. This’ll work.
The trio moves to a safer distance, ducking low. Derek
clicks the detonator, and a deafening blast rocks the vault.
Dust and debris fill the air, and for a heartbeat,
everything is still. Then the echo of the explosion fades,
revealing the safes—doors blown wide open.
DEREK (cont'd)
(Smugly)
Told you.
MICHAEL
(Doubtful, almost
muttering)
Sure, but was it worth nearly turning
this place into a tomb?
Their brief triumph is cut short by a low rumble, a distant
explosion that sends a shiver through the walls. Everyone
freezes, eyes darting toward the source of the noise. For a
moment, uncertainty clouds their faces.
DEREK
(Alarmed)
What the hell was that?
MICHAEL
(Darkly)
Sounds like Packie’s distraction just
turned into a disaster.
12.
Al’s expression darkens. His gaze sweeps over the hostages,
then locks onto Derek and Michael, eyes hard as steel. His
voice cuts through the air, sharp and commanding.
AL
(Urgent, low)
Enough. Bag the cash, now. We’re
leaving.
Derek and Michael scramble to action, shoving bundles of
cash into their briefcases. Al glances at the hostages
again, his eyes lingering on the young cashier who had
looked at him earlier. Her eyes meet his, silently pleading,
and for a brief moment, he feels a pang of something—regret,
guilt, maybe even doubt. He forces it down, refocusing on
the task at hand.
AL (CONT'D)
(To Derek and
Michael, voice
clipped)
Move it. We’re not sticking around to
see how this ends.
The trio fills their bags quickly, but Al remains vigilant,
his rifle sweeping the room, ensuring no one dares to defy
them. As the bags fill, the distant sounds of chaos outside
grow louder—a reminder that time is slipping away, and the
stakes are climbing higher.
Genres:
["Crime","Thriller","Drama"]
Ratings
Scene
5 -
Chaos and Conflict
INT. CONCERT - DAY
Amidst the electrifying atmosphere of the concert, the stage
suddenly bursts into flames, sending shockwaves through the
audience. The once-vibrant rock band is engulfed in chaos,
their music drowned out by screams of panic. Al, Derek, and
Michael swiftly exit the block, their stolen bounty weighing
heavy.
DEREK
Time to go.
MICHAEL
Al, we'll rendezvous with you and
Packie.
AL
Got it.
Al's gaze lingers on the fiery spectacle consuming the
stage, a flicker of regret in his eyes. He departs from the
chaos, his path diverging from the others.
13.
EXT. WAREHOUSE - DAY
At a warehouse, Al drives his car inside.
INT. WAREHOUSE - DAY
The vast, empty warehouse shelters a jeep and a car. Packie
awaits by his vehicle. Al confronts him.
PACKIE
How did it go?
AL
You were supposed to set the lights
ablaze, not the stage.
PACKIE
Enough to buy us time. Big bloody
deal.
AL
Someone could've died, the cops are
coming. That's the big bloody deal.
PACKIE
We got lucky.
Kane, Derek, and Michael arrive in another car.
DEREK
Let's hustle. We're on schedule.
They bring out briefcases filled with money and head towards
the jeep.
EXT. WAREHOUSE - DAY
The jeep exits the warehouse.
EXT. HIGHWAY - DAY
Driving along the highway, the jeep moves through the
highway with bushland on each side.
INT. JEEP - DAY
KANE.
14.
Personality: Kane is a multi-faceted individual
characterized by his fierce determination and unyielding
strength. He radiates an aura of confidence and intensity
that can be both alluring and intimidating. On the surface,
he presents himself as tough and ruthless, often using
aggression as a shield to protect his vulnerabilities.
Beneath this hardened exterior lies a man who is deeply
introspective and carries the weight of his past
experiences. Kane has a strong moral code that he adheres
to, making him a complex character capable of acts of both
brutality and unexpected kindness.
Kane is fiercely protective of those he cares about, and his
loyalty is unwavering. Although he often resorts to
intimidation and violence when dealing with adversaries, he
grapples with the consequences of his actions and struggles
to find a balance between his instincts and his desire to be
better. He has a natural charisma that draws people to him,
but his tendency to push others away when he feels
threatened or vulnerable complicates his relationships.
Backstory: Kane grew up in a rough neighborhood where
violence was a way of life. His childhood was marked by
struggle; his father was a soldier who suffered from PTSD
and turned to alcohol, often taking out his frustrations on
Kane and his mother. This environment taught Kane early on
that strength and toughness were vital for survival. His
mother, a resilient woman who worked multiple jobs,
instilled in him the importance of standing up for what's
right, but she also taught him about the consequences of
unchecked violence.
At the age of 16, Kane faced a life-altering event when he
witnessed his younger brother being bullied and humiliated
by a gang. In a moment of rage, he intervened—and though he
successfully defended his brother, he ended up severely
injuring one of the bullies. From that day forward, Kane
became an undeniable force in his community, gaining a
reputation as someone not to be messed with. Yet, this
incident haunted him, creating a conflict within him about
how to use his power: to protect those he cares for or to
seek vengeance.
Over the years, Kane found himself drawn into the criminal
underworld, where he became a well-known enforcer for a
local gang. With his imposing physicality and fearlessness,
he quickly rose through the ranks. However, the more
entrenched he became in this lifestyle, the more he
struggled with the ethics of his choices. He developed a
longing for a life beyond violence, battling with the idea
that he was becoming the very monster he once feared.
15.
Now, at 24, Kane stands at a crossroads. He wants to break
free from the cycle of violence and redefine his identity,
but leaving the gang is harder than he anticipated. He is
tormented by feelings of guilt for the people he has hurt
and the lives he has affected. Simultaneously, he grapples
with the fear that turning his back on this life could put
those he loves in danger. As he navigates this intense moral
landscape, Kane often finds himself caught between the
desire for redemption and the familiar pull of his ruthless
instincts.
In the jeep, KANE (24, strong, tough, ruthless) drives,
Packie in the passenger seat. Michael and Derek sit in the
back, Al by the window.
PACKIE
Great job, Al. But I'm here's the
thing.
Packie turns to Al.
PACKIE (cont'd)
What we got won't make us rich. If we
split it, we'll all be millionaires.
AL
We just took a million. That's
enough.
KANE
For the whole gang?
AL
No thanks.
MICHAEL
Al, we're talking millions.
PACKIE
Millions each. A once-in-a-lifetime
score.
AL
We made a deal. Let's stick to it.
KANE
Think about it.
DEREK
Al, seriously.
Packie looks away. Kane hits the side door lock, catching
Al's attention. Michael aims a shotgun.
16.
Al swiftly reacts, elbowing Derek and wrestles for the
shotgun, accidentally firing it, hitting Kane's ear. Kane
grunts in pain, losing control.
Genres:
["Crime","Thriller","Drama"]
Ratings
Scene
6 -
Betrayal on the Highway
EXT. HIGHWAY - DAY
The jeep swerves off the road.
INT. JEEP - DAY
Kane, with an injured ear, regains control. Packie takes the
wheel, Michael and Derek nursing injuries
INT. HIGHWAY - DAY
The jeep struggles, veering off the lane.
INT. JEEP - DAY
Kane keeps control with Packie's help. Al fights Michael for
the shotgun. Derek sits, nursing a nosebleed. Al still holds
the end to make Michael shoot his side window. Al pushes the
end of the shotgun to hit the end of the handle of the
shotgun on Michael's forehead. Al quickly gets loosened,
squeezes through the window and gets out of the jeep.
INT. HIGHWAY - DAY
The jeep stabilizes, getting back on the road. Al falls out
of the jeep by the blown-up side window and gets injured
after hitting the road.
INT. JEEP - DAY
Kane still losing control of the wheel and Packie still
holding onto the wheel, driving carefully and getting onto
the road. Michael is hurt after the fight with Al and the
shotgun and Derek is sitting in the middle still injured
with a nosebleed. Kane steps on the brake to slow down and
stops the jeep.
INT. HIGHWAY - DAY
The jeep slows down and stops. Al who had fallen out of the
jeep by the blown-up side window, injured after hitting the
road, slowly crawls off the other side of the highway.
17.
INT. JEEP - DAY
Kane still sitting in the driver's seat, holding his shot
ear and putting pressure after stopping the jeep, Packie
gets out his pistol, looks over the blind spot looking
behind and sees Al crawling to the other side of the
highway. He also sees Michael and Derek who are still hurt
by Al's actions.
PACKIE
Derek, you're alright now.
Packie passes over his pistol.
PACKIE (cont'd)
Finish him off.
DEREK
Where's he gone, injured in the
middle of nowhere, let's just go!
PACKIE
If he's lucky by getting out this
scot-free, his mentor will know about
this. And the only way to get this
out of the hands, is you gonna have
to finish him.
DEREK
Fine then.
Derek takes Packie's pistol, opens up the side door and gets
out of the jeep.
INT. HIGHWAY - DAY
Derek comes out of the jeep and heads back to where he sees
Al crawling to the other side of the highway. Al groans in
pain as he slowly crawls off the other side of the highway,
as he reaches the other side of the highway, Derek stops
close to him and kicks him. Al groans in pain as Derek looks
down at him.
DEREK
Refusing to take the offer, that's
the last big mistake, Al.
Derek points Packie's pistol down at Al, aims and pulls the
trigger to shoot him. He kicked Al over the off the highway,
and down the depth and down to the river.
DEREK (cont'd)
Farewell, Al.
18.
Derek looks around for any witnesses but there are none, he
heads back to the jeep and gets inside of the jeep, so that
Kane who is now taking control of the wheel drives off.
INT. JEEP - DAY
Kane is driving the jeep with Packie sitting in the
passenger seat next to him, and Michael and Derek are
sitting in the back. Packie gets out his iPhone as it's
still ringing and answers the call.
PACKIE
(Into Phone)
Hello?
And it's a New York mafia member named James Gregorio who is
calling him.
JAMES
(On Phone)
Did you get it done?
PACKIE
(Into Phone)
Yes, but we hit a snag.
Packie keeps on hold of his iPhone.
EXT. GREGORIO'S HOUSE - DAY
James Gregorio's house is expansive with a pool. Outside is
shown.
INT. GREGORIO'S HOUSE - LIVING ROOM - INSIDE
The living room is big enough to keep a couple of long &
short black leather couches with a coffee table sitting in
the middle, in the corner there is a cabinet in between a
big bookshelf to keep a DVD player and a Foxtel within, a
wide television sitting on top of a cabinet, on the other
side there is a desk like a stage to have a computer and
software too.
JAMES.
Personality: James is a complex figure, characterized by his
ruthless ambition and keen intellect as the head of a
powerful mafia organization. While he exudes an air of
authority and control, he is also surprisingly open-minded
when it comes to strategies and alliances.
19.
He understands that in the world he inhabits, adaptability
is essential for survival and success. This duality allows
him to remain relevant and formidable in an ever-evolving
landscape.
Beneath his polished façade lies a manipulative nature.
James expertly plays people against each other, exploiting
their weaknesses for his gain while maintaining an image of
the benevolent patriarch who looks out for his family. He is
charming and affable in public, often portrayed as the
affable uncle, but behind closed doors, he is calculating,
ruthless, and unforgiving to anyone who crosses him. His
charisma makes people feel valued, but his manipulation
transforms them into pawns in his grand game.
Backstory: James was born into a working-class family in a
crime-ridden neighborhood. His father was a lower-level
mobster who involved him in small-time operations from an
early age, teaching him the underlying code of loyalty and
respect. Growing up in this environment, James learned the
importance of strength and cunning, often witnessing the
violent consequences of betrayal firsthand. Fueled by the
desire to rise above his father's legacy, he abandoned the
small-world ambitions of his hometown for a larger stage.
As a young adult, James quickly distinguished himself in the
crime world, earning respect through shrewd negotiations and
fearsome retribution against rivals. He built a network of
loyal associates by both rewarding loyalty and instilling
fear, a balancing act that showcased his strategic genius.
By his 40s, James had taken over the family business,
expanding it into a vast criminal empire that included
gambling, drug trafficking, and money laundering.
JAMES (65, open-minded, ruthless, controlling and
manipulative) who is old with white short hair, wearing a
suit and is sitting in the leather couch, holding a
telephone to his ear and speaking to Packie.
JAMES
(Into Phone)
What happened?
PACKIE
(On Phone)
We've been betrayed.
JAMES
(Into Phone)
Who's the traitor?
PACKIE
(On Phone)
Al, Al Stratham.
20.
JAMES
(Into Phone)
Jesus, are you guys alright?
PACKIE
(On Phone)
My team was badly hurt by his last
action, I had Derek finish the job,
and now we're back on the road on our
way to you.
JAMES
(Into Phone)
Good. I look forward to seeing you.
PACKIE
(On Phone)
Good, see you soon.
After the dial beep, James disconnects the call and puts the
phone aside.
Genres:
["Crime","Thriller","Drama"]
Ratings
Scene
7 -
Desperate Escape
INT. HIGHWAY - DAY
A truck drives along the highway.
INT. TRUCK - DAY
The truck driver and passenger notice a barely moving figure
on the roadside.
TRUCK PASSENGER
What's that?
TRUCK DRIVER
What?
TRUCK PASSENGER
Someone's barely alive, stop the
truck.
TRUCK DRIVER
Right.
The truck stops.
INT. HIGHWAY - DAY
The driver and passenger find Al, injured and bleeding.
21.
TRUCK DRIVER
My god, he's barely alive.
TRUCK PASSENGER
Losing blood. We need to get him to a
hospital.
They carry Al to their truck.
EXT. HOSPITAL - DAY
Outside of the hospital, the outside of the hospital is
shown with a couple of ambulances parked outside.
INT. HOSPITAL - INFIRMARY - INSIDE
There is a stretch and a couple of monitors around and a
couple of chairs around them. Al is lying on the stretch,
strapped to it and now sleeping as the monitors begin
beeping. Al wakes up and finds himself in a hospital. Al
looks up at the television and watches the news.
ANCHORMAN
(On TV)
This happened back at the rock music
concert, an accident happened when a
fire went out behind the stage where
the rock band was, then an explosion
happened and killed the rock band.
Al is shocked.
AL
(Whispers)
I can't believe this.
He plans to get off the stretch and disconnects himself from
the monitors. He plans to hide, waiting till a nurse gets
inside the infirmary, a while later a male nurse wearing a
nurse uniform appears in the infirmary, closes the door
behind him, turned and found that Al is gone.
MALE NURSE
What the hell?
As the male nurse heads deep into the infirmary, Al appears
from the closet, behind the male nurse, putting his arm
around in a strangling position, the nurse begins to
struggle and Al suddenly put him to sleep. Al let the nurse
fall, he turned to the door, locks the door on the inside,
and turned to the sleeping nurse lying on the floor.
22.
He plans to hide the body, disguise himself in its uniform
and walk out of the hospital.
INT. HOSPITAL - HALLWAY - INSIDE
Through the hospital hallway, Al, disguised, navigates the
hospital.
EXT. HOSPITAL - DAY
Outside of the hospital, Al hot-wires an ambulance and
drives off.
EXT. HIGHWAY - DAY
It's now dusk and outside along the highway, the same
ambulance that Al had been driving has stopped and parked on
the outside of the highway.
INT. AMBULANCE - DAY
Inside the back part of the ambulance, Al is lying on the
stretch, he finds liquid medicine, insert through the tube,
and leads through to the next needle inserted through his
arm. He lies back on the stretch and have a rest.
EXT. CITY - NIGHT
It's now night and outside of the city, the whole city view
of New York City is shown with lights illuminate the night.
EXT. GREGORIO'S HOUSE - NIGHT
Outside of Gregorio's house, the jeep drove up the driveway
and parked in the driveway. Packie, Kane, Derek and Michael
appear out of the jeep, get the bags of money out of the
back of the jeep, and turn and head to the entrance.
INT. GREGORIO'S HOUSE - HALLWAY - INSIDE
A WOMAN (understanding and caring) who is James' carer heard
the doorbell chime rings, she opens the door and found
Packie, Kane, Michael and Derek outside, each carrying a bag
full of money.
WOMAN
Ah, you guys here for Gregorio?
23.
PACKIE
Yeah, is he here?
WOMAN
Yeah, just walk down the hallway and
you'll find him.
MICHAEL
Thanks.
Packie, Michael, Derek and Kane walk through the hallway,
each carrying a bag full of money, and are heading towards
the living room.
INT. GREGORIO'S HOUSE - LIVING ROOM - INSIDE
Inside the living room where James is still sitting on the
leather couch, waiting. He looks nearby, and found Packie,
Michael, Derek and Kane entering the living room each of
them carrying a bag full of money.
JAMES
Packie and the boys.
PACKIE
Hey, Gregorio.
JAMES
Sit down.
They sit, bags of money in tow.
MICHAEL
Hey, Mr. Gregorio.
DEREK
Good to see you again.
JAMES
Good to see you all back here safe.
What happened?
PACKIE
If we hadn't dealt with Al, he
would've killed us all.
JAMES
Hope there was no witnesses during
the execution.
DEREK
No, we were in the middle of nowhere.
No one could find the body.
24.
JAMES
Hope we'll keep it that way.
PACKIE
No one will know about Al.
JAMES
Especially Nikko.
PACKIE
Nikko? I'll check with him if he's
still alive.
JAMES
Sure, I'll be proud of it.
DEREK
And if the money makes us rich?
JAMES
Twenty cents on a dollar for each.
MICHAEL
We could rob more places.
KANE
That's risky.
JAMES
Connections keep the streets in
check. If we rob, others will too.
MICHAEL
How did you control all the gangs?
JAMES
Common goal - money. In the old days,
I and the mafia developed loyalties
with those gangs out there.
PACKIE
And us? Share millions with the
criminals?
JAMES
Something better.
PACKIE
Which is?
JAMES
I've got a contact, an engineer named
George.
(MORE)
25.
JAMES (cont'd)
His gang of geniuses hides in various
warehouses, not just with weapons and
explosives, but cutting-edge
technology.
PACKIE
Have you encountered them?
JAMES
Spoken with George once.
PACKIE
So, you know it's more than just
weapons.
KANE
High-tech weapons, capable of causing
mass destruction.
JAMES
Exactly.
MICHAEL
What's the secret?
James locks eyes with Michael.
JAMES
The secret I'll share is, it's not
merely about money; it's about
execution.
PACKIE
Let's hope if Al was alive and he
tries to stop us.
James turns to Packie.
JAMES
If he does, and if he tries, I have a
network of gangs keeping an eye out
for him.
They continue their discussion.
Genres:
["Crime","Thriller","Drama"]
Ratings
Scene
8 -
Desperate Measures
EXT. STORE - NIGHT
A strip of stores sits under dim streetlights, the ample
parking lot mostly empty at this hour. The ambulance Al
commandeered is parked conspicuously outside one of the
shops, its lights flickering in the dark.
26.
INT. STORE - NIGHT
Inside, clothing racks line the walls, casting shadows in
the dimly lit store. Al drops down from an overhead air
vent, landing with practiced stealth. Without hesitation, he
strips off the nurse uniform, grabbing clothes from a nearby
rack. As he changes, his eyes scan the surroundings—he's not
just grabbing clothes; he's selecting a disguise.
He moves quickly to the register, prying it open. The soft
chime of the register echoes in the silence as he stuffs
cash into his pockets. With a final glance at his
surroundings, he slips out the back.
EXT. STORE - NIGHT
Al, now in stolen clothes, merges into the shadows of the
quiet night. He moves with purpose, every step calculated.
INT. ABANDONED CAR - NIGHT
Al finds a rusted, forgotten car in an alley. Its windows
are fogged, and the interior reeks of neglect. He yanks open
the door, slides into the driver's seat, and hot-wires the
engine. The car roars to life, coughing smoke from the
tailpipe as Al pulls away into the darkness.
EXT. HIGHWAY - NIGHT
The abandoned car now sits idling by the side of the
highway. Inside, Al grips the wheel tightly, his eyes fixed
on the distant city lights. His breath fogs the windshield.
He reaches into his pocket, retrieving his cell phone. A
moment of hesitation as he contemplates his next move.
INT. CAR - NIGHT
Inside the silent car, the air feels thick with uncertainty.
Al stares at his phone, his thumb hovering over the screen.
He exhales sharply, the sound of his breath filling the
confined space. Finally, he dials.
EXT. HOUSE - NIGHT
A modest suburban house stands quietly under the glow of the
streetlamps. A car is parked in the driveway, its presence
an indication of life within the still structure.
27.
INT. HOUSE - LIVING ROOM - NIGHT
The living room is cozy but unpretentious. Black leather
couches flank a coffee table, the television on a cabinet
flickering with late-night infomercials. The sliding door to
the backyard is slightly ajar, letting in the cool night
air.
In the cozy living room, NIKKO (34, tough, smart and open-
minded) who is Al's mentor lounges in pajamas, absorbed in a
late-night TV show. His phone rings.
NIKKO.
Personality: Nikko is a deeply complex character, embodying
a blend of toughness, intelligence, and an unorthodox open-
mindedness that sets him apart in the criminal underworld.
Charismatic and resourceful, he possesses a street-smart
edge that has allowed him to navigate the ruthless landscape
of organized crime. He’s fiercely protective of those he
cares about and can be a father figure, but his tough
exterior often hides a multitude of struggles and
vulnerabilities.
Nikko’s intelligence isn’t just academic; he has a
heightened emotional intelligence that allows him to read
people and situations adeptly. This enables him to maneuver
through the often unpredictable dynamics of the criminal
world, making him a skilled negotiator and strategist.
Unlike many in his line of work, he remains open-minded to
new ideas and approaches, knowing that rigidity can lead to
downfall. This ability to adapt means he often thinks
several steps ahead, analyzing situations from multiple
perspectives.
Backstory: Nikko was born in a gritty urban neighborhood,
where crime was a way of life. His father was a decorated
law enforcement officer who tried to shield his son from
that world, but the magnetic pull of the streets was too
strong. Drawn into the underworld as a teenager, Nikko
quickly learned its codes and ethics, navigating a landscape
rife with danger. He started as a street-level operative but
quickly earned respect for his strategic thinking and
unwavering loyalty.
Over time, he built his own reputation as a fixer—someone
who could get things done efficiently and without attracting
unwanted attention. It was during this phase of his life
that he met Al, a young and impressionable talent with
potential but a penchant for making reckless choices. Nikko
saw in Al a reflection of his younger self—a desire for
power and respect, but also a lack of guidance.
28.
Mentoring Al became both a responsibility and a redemption
arc for Nikko. He sought to teach him not only the ropes of
the criminal world but also the importance of ethics—albeit
a unique set of morals that exists within their lifestyle.
He urged Al to think critically about decisions, emphasizing
that true strength lies in understanding people and
situations rather than brute force.
NIKKO
(Answering a call)
Hello?
Nikko keeps a firm grip on the phone.
Genres:
["Crime","Thriller","Drama"]
Ratings
Scene
9 -
Betrayal at Midnight
INT. CAR - NIGHT
Inside the car, Al speaks with urgency.
AL
(Into Phone)
Nikko, it's me.
Al maintains his grip on the cell phone.
INT. HOUSE - LIVING ROOM - INSIDE
Nikko, now alert, converses through the phone.
NIKKO
(Into Phone)
Al, where have you been? I've been
trying to reach you. What happened?
AL
(On Phone)
Tell that to the gang I was roped
into. We completed the job, but
things took a dark turn.
Nikko remains on the line.
INT. CAR - NIGHT
Inside the car, Al reveals the grim details.
AL
(Into Phone)
The exchange went south. They intend
to betray your agreement, and they
almost succeeded in eliminating me.
29.
Al clings to the phone.
INT. HOUSE - LIVING ROOM - INSIDE
Nikko, deeply concerned, listens to Al's account.
NIKKO
(Into Phone)
Are you alright?
AL
(On Phone)
Yeah. I planned to turn the tables on
them. Do you know their whereabouts?
Nikko remains connected to the phone.
INT. ABANDONED CAR - NIGHT
Inside the car, Al presses on.
AL
(Into the phone.)
The crew intends to double-cross you.
I need to know where they are hiding.
Al waits, holding onto the cell phone.
INT. HOUSE - LIVING ROOM - NIGHT
Nikko, with a hint of caution, shares crucial information.
NIKKO
(Into the phone.)
Proceed with caution. Packie has a
connection - his brother, Gerald. He
operates several nightclubs in New
Jersey. He might know their location.
Nikko holds onto the phone.
INT. ABANDONED CAR - NIGHT
Inside the car, Al acknowledges the lead.
AL
(Into the phone.)
Got it. I'll contact you once I have
more answers. I'll trace their steps.
30.
Al ends the call and starts the car.
INT. HOUSE - LIVING ROOM - NIGHT
Nikko, back in the living room, puts away the phone,
returning to the ambient glow of the television.
INT. STREET - NIGHT
In a vibrant street, nightclubs pulse with energy. Al, clad
in stolen clothes, navigates the crowd.
EXT. NIGHT CLUB - NIGHT
Outside of a nightclub where a couple of bouncers are on the
outside, there is a little queue lined along the outside of
the nightclub. Al gains entry into a bustling nightclub,
catching the eye of a vigilant bouncer.
BOUNCER
Hey, you!
Al turned to the bouncer.
AL
(Engaging)
Yeah?
BOUNCER
(Directing)
You're in, come on.
Al strides past the queue, making his way into the
nightclub.
Genres:
["Crime","Thriller","Drama"]
Ratings
Scene
10 -
Nightclub Confrontation
INT. NIGHT CLUB - NIGHT
The nightclub has wide open spaces, enough for enough people
to join, lounges around for people to settle, disco balls
hanging from by the roof and in the center is a big dance
floor with disco lasers controlled by the roof, nearby there
is a stage where the DJ plays the music.
The nightclub pulses with life. Al maneuvers through the
crowd toward the manager's office, there is a security
bouncer guarding the door. He confronts the bouncer.
AL
Hey, I'm here to see Gerald.
31.
BOUNCER # 2
(Shaking his head)
That's not happening?
AL
Tell him that Packie sent me here.
The bouncer nodded.
BOUNCER # 2
Wait here.
AL
(Nodding)
Sure.
The bouncer turned to the door, opens and goes through as Al
gets the fire extinguisher hanging where the bouncer sat, he
quickly uses his other hand to hold the door and goes in to
follow the bouncer.
INT. NIGHT CLUB - HALLWAY - INSIDE
Inside the hallway where there is a stairwell leading to the
next floor, the bouncer walked up the steps turned, looks
down and found Al following him.
BOUNCER # 2
(Yelling)
Oi! Get out!
Al quickly knocks him out with the fire extinguisher. As the
bouncer fell, laying on the stairwell, Al lays down the fire
extinguisher.
AL
Thanks for the agreement.
Al heads up the steps to the manager's office.
INT. NIGHT CLUB - MANAGER'S OFFICE - INSIDE
The manager's office have a desk with a desk chair, a
computer and desk accessories sitting on the desk, and there
is a couple of more chairs sitting in front of the desk.
GERALD.
Personality: Gerald is a striking embodiment of intelligence
and ruthlessness, expertly balancing charm with an inner
drive that can be both engaging and terrifying.
32.
His intelligence is evident not just in his academic
accomplishments but also in his street smarts; he possesses
the ability to analyze complex situations quickly and emerge
with a calculated plan. Gerald is open-minded in his
approach to problem-solving, willing to consider
unconventional methods to achieve his goals, yet this
flexibility is often underpinned by a cold pragmatism.
While Gerald can be charismatic and persuasive, he harbors
an underlying edge of ruthlessness that surfaces when he
feels cornered or threatened. Having grown up in a volatile
environment, he learned early on that kindness might be seen
as a weakness. Consequently, he has cultivated a persona
that can shift from affable to intimidating in a matter of
moments. Gerald is driven by a desire for power and respect,
a pursuit he values above almost everything else, including
relationships—though he often finds himself feeling
disconnected from those around him.
Backstory: Gerald and Packie grew up in a tough neighborhood
where they learned quickly that life was a struggle. Their
parents’ tumultuous relationship and eventual separation
left them feeling abandoned and fueled Gerald's ambition to
carve out a better life for himself and his brother. He was
always academically inclined, excelling in school and
showing a talent for negotiation and strategy. However, his
intelligence was often overshadowed by Packie's brashness
and charisma.
While Packie took a more spontaneous approach to life, often
diving headfirst into trouble, Gerald took the time to
analyze the risks involved. He began to engage in the
criminal world not just for survival but to gain an edge—and
quickly realized that power often lay in the shadows of
manipulation and strategy. He aligned himself with the
criminal elements in their community, where his intelligence
and willingness to make tough decisions allowed him to rise
through the ranks.
Gerald’s relationship with Packie has always been
complicated. On one hand, he admires his brother's
fearlessness and charisma, but on the other, he feels a
sense of responsibility to protect him from making reckless
choices. As Packie follows his own chaotic path, Gerald
takes on the role of the enforcer, willing to engage in
ruthless tactics to keep his brother out of trouble, even if
it means getting his hands dirty.
GERALD (28, smart, open-minded and ruthless) focused on his
work, is interrupted by a knock. He opens the door,
surprised to see Al.
33.
AL
(Revealing himself)
Surprise!
Al swiftly incapacitates Gerald, demanding answers.
GERALD
What the...
Al, relentless, presses Gerald for information.
GERALD (cont'd)
(Defiant)
Who are you?!
Al pins Gerald down.
AL
(Menacing)
The last person you'll see.
Al's interrogation intensifies.
GERALD
What do you want?
AL
I need you to tell me where your
brother is.
GERALD
Screw you!
Al pins him down still.
AL
Your brother went off to complete a
job back at the concert.
GERALD
Do you know how connected am I?
AL
He has the money that belongs to me.
And once you tell me where he is,
I'll get out of your head then.
GERALD
And once you'll let me go, I'll let
Packie know you came by and
threatened me.
34.
AL
I'll take that as a threat, you give
me any more of them, I'll try and
kill you before your security finds
me. And I also like to know how
connected you are or Packie.
Gerald discloses Packie's affiliation with the Gregorios.
GERALD
(Resigned)
They work for the mafias called the
Gregorios, they control the city
where they hide in.
AL
(Demanding)
Where are they hiding?
GERALD
Manhattan.
AL
Where in Manhattan?
GERALD
Up north.
AL
Good.
GERALD
Packie. He will kill you.
AL
Hey, big mistake mate.
Al breaks his arms and throws him to the ground. He quickly
rips off the computer from his desk and lifts it over his
head.
GERALD
I thought you'll let me go.
AL
Gave me a threat in the end, I told
you I don't need a threat like that,
and besides I can't leave you as a
witness.
Al throws the computer down on Gerald's head and the
electricity buzzing kills Gerald.
35.
AL (cont'd)
(Coldly)
Wait for your brother up the clouds
then.
Al ends Gerald's life with a jolt of electricity.
Genres:
["Crime","Thriller"]
Ratings
Scene
11 -
Escape and Graduation
INT. NIGHT CLUB - HALLWAY - INSIDE
Another bouncer discovers the incapacitated colleague.
BOUNCER # 3
(Alarmed)
Jesus Christ.
The other bouncer walks up the stairwell to the manager's
office.
INT. NIGHT CLUB - MANAGER'S OFFICE - INSIDE
Inside the office where Gerald is been killed, Al heard
someone coming up the stairs to the manager's office, he
turns to the window and gets out through the window.
EXT. NIGHT CLUB - NIGHT
Al, evading capture, leaps out of the window into an alley.
INT. SIDEWALK - NIGHT
Amid the bustling sidewalk, Al, now on the move, contacts
Nikko.
INT. HOUSE - LIVING ROOM - INSIDE
Nikko, still half-asleep, answers the persistent phone call.
NIKKO
(Into Phone)
Hello?
Nikko holds onto the phone, curious.
INT. SIDEWALK - NIGHT
Al, determined, delivers the critical update.
36.
AL
(Into Phone)
Nikko, I've pinpointed their location
in Manhattan. Be there when I arrive.
Al concludes the call, navigating the sidewalk.
EXT. CITY - DAY
As morning unfolds, the cityscape of New York City emerges
on the horizon.
EXT. HIGH SCHOOL - DAY
The vibrant exterior of the high school is showcased as the
bell rings, signaling the end of an era.
INT. HIGH SCHOOL - OVAL - INSIDE
Inside a school oval in the middle, there is a stage where
they speak and give announcements, from near the middle to
the one side of the oval seats are extending from the close
to the middle.
In the bustling oval, graduates and their families gather.
An attractive young graduate student named KATHERINE (17,
understanding, compassionate, polite and colorful) a radiant
graduate, crosses paths with her father FRED (45,
understanding, honest and open-minded) the Chief of Police,
in his uniform.
FRED
(Beaming)
Kathy!
Fred approaches Katherine, sharing in her joy.
KATHERINE
(Smiling)
Hey, Dad.
FRED
(Proudly)
Congratulations, you're stepping into
the open world.
KATHERINE
(Cautiously
optimistic)
Thanks, Dad. I need to figure out my
future first.
37.
FRED
(Encouraging)
You've got time for that. Excited
about the prom?
FRED
(Understanding)
Independence suits you. What's your
plan now?
KATHERINE
(Contemplative)
Heading home, maybe staying here a
bit.
FRED
(Concerned)
How are you getting home?
KATHERINE
(Casual)
Getting a lift from some friends.
FRED
(Regretful)
Wish I could give you a ride on your
last school day, but I'm knee-deep in
that arson-robbery investigation from
the concert.
KATHERINE
(Acknowledging)
Yeah, that chaos. Hope you find
leads.
FRED
(Assured)
We will. You enjoy your last day.
KATHERINE
(Grateful)
You too.
Fred departs, leaving Katherine amidst the graduates, ready
to reunite with her friends.
38.
Genres:
["Crime","Action","Drama"]
Ratings
Scene
12 -
Shattered Plans
EXT. BUILDING - DAY
The exterior of Katherine and Fred's residence, a unit in a
building.
INT. UNIT - BEDROOM - INSIDE
Katherine's bedroom reflects her personality - a mix of
order and warmth. She enters, plopping on the bed, deep in
thought about the future.
EXT. POLICE DEPARTMENT - DAY
The police department hums with activity. Patrol cars line
the curbs as officers move in and out.
INT. POLICE DEPARTMENT - OFFICE - INSIDE
Inside the office, there is a black leather chair at a desk
with a laptop computer on it along with the desk
accessories, a desk chair in front and a bookshelf aside
from the office.
Fred sits at his desk, reviewing security footage from the
concert. An officer walks in with a folder.
POLICE OFFICER # 1
(Approaching)
Chief?
Fred looks up at the officer.
FRED
(Engaged)
Yeah, any leads on the concert
incident?
POLICE OFFICER # 1
(Presenting a folder)
Not yet, but something else.
A police officer lifts the folder in his hand and places it
on his desk. Fred takes the folder and opens it, revealing a
murder report.
POLICE OFFICER # 1 (cont'd)
A murder at a nightclub in New
Jersey. Victim's ID—Gerald, the
presumed owner. The bouncer found him
dead, a computer slammed on his face.
Killer vanished without a trace.
39.
FRED
(Concerned)
Smart criminals these days, leaving
no trace.
POLICE OFFICER # 1
(Agreeing)
No fingerprints, nothing.
FRED
(Determined)
Time to motivate the squad. We need
leads.
POLICE OFFICER # 1
(Supportive)
Good call. Should I leave you to it?
FRED
(Focused)
Yeah, go ahead.
The officer exits, leaving Fred immersed in the challenging
task at hand.
EXT. GREGORIO'S HOUSE - DAY
Gregorio's imposing house stands, the jeep parked in the
driveway, a quiet witness to the unfolding events.
INT. GREGORIO'S HOUSE - LIVING ROOM - INSIDE
James, Packie, Michael, Derek, and Kane gather in the living
room. The atmosphere is tense, and a news broadcast on the
television adds an unexpected layer of complexity.
PACKIE
(Cutting to the chase)
Now what is our next move?
JAMES
(Decisive)
We hit Webster Hall, on 125 E 11th
St. There's more than just money
there.
DEREK
(Curious)
What else are we talking about?
40.
JAMES
(Leaning in)
Manager's office. That's where the
real treasure hides. Another crew,
I'm arranging, will keep the guests
and staff busy.
MICHAEL
(Skeptical)
And once we're in the office, how do
we ensure the manager stays quiet?
JAMES
(Smirking)
The arranged team will ensure he's
"unreachable."
KANE
(Approving)
Smart move.
As the plan is laid out, Kane notices a breaking news report
involving Packie's brother, Gerald.
KANE (cont'd)
(Alerting)
Hey, Packie. Check this out.
Packie shifts his attention to the TV.
ANCHORMAN
(On TV)
A bouncer finds a knocked-out
colleague, rushes to the manager's
office, discovers Gerald
dead—computer slammed on his head.
Killer vanished without a trace.
Packie, consumed by anger, hurls the remote at the TV. James
reacts to the sudden burst of rage.
PACKIE
(Furious)
Son of a bitch!
Packie seethes with anger, causing an uneasy atmosphere.
JAMES
(Concerned)
What the hell is going on?
Packie, simmering, sits back down.
41.
KANE
(Explaining)
His brother's been murdered.
JAMES
(Shocked)
And they have no leads on the killer?
MICHAEL
(Confirming)
None.
The team sits in uneasy silence, absorbing the harsh
reality.
JAMES
(Condoling)
I'm sorry Packie.
PACKIE
(Frustrated)
If I'd find the killer...
JAMES
(Soothing)
Someday, you will.
As emotions run high, Michael attempts to console.
MICHAEL
(Optimistic)
We'll hit the club, have a great
score, and someday...
Packie, unable to bear the optimism, interrupts.
PACKIE
(Angry)
Michael, my brother just died. Don't
try to cheer me up!
MICHAEL
(Apologetic)
I'm sorry.
KANE
(Understanding)
We'll give him some space.
Packie rise up and leaves the living room.
KANE (cont'd)
(Resolute)
Guess we'll leave him be for a while.
42.
JAMES
(Observant)
Guess? We'll give him the time he
needs.
MICHAEL
(Questioning)
What about the other crew?
JAMES
(Determined)
I'll make inquiries.
James reaches for the telephone, setting the wheels in
motion for the impending heist.
Genres:
["Crime","Drama","Thriller"]
Ratings
Scene
13 -
The Allosaurus Revelation
EXT. WAREHOUSE - DAY
The warehouse, surrounded by an imposing perimeter fence,
looms large. Cars and trucks dot the exterior, and Nikko
waits patiently by a parked car for Al.
NIKKO
Al. Good to see you here.
AL
Yeah. And surprised to see you alive
for the first time. You called me to
be here.
NIKKO
Yeah, there is someone here that you
might wanna meet.
AL
And who's that?
NIKKO
There is someone who works with me,
his name is George and he's an
engineer.
AL
Right, what's he got to do with my
strategy?
NIKKO
He might have the technology to do
what you can to double cross. Once
you come inside with me, we'll be
able to meet and see what he's got
for you.
43.
AL
Sure.
They begin to head inside the warehouse.
INT. WAREHOUSE - DAY
Inside the abandoned warehouse turned workshop, Nikko and Al
navigate a scene of bustling activity. They traverse a maze
of advanced weapons and explosives, marveling at the
dangerous arsenal.
AL
(Awed)
My god.
NIKKO
(Revealing a secret)
Yeah, that's right.
AL
(Curious)
How did you amass this arsenal, and
who's behind it?
NIKKO
Meet George, our secret weapon.
They meet up with GEORGE (30, understanding, open-minded and
smart) who is fully dressed and sitting on his desk chair at
his desk on one corner of the building, working diligently
at his desk, the atmosphere is charged with the hum of
technology.
NIKKO (cont'd)
George, this is Al Stratham.
GEORGE
(Looking up)
Ah, the prodigy. Good to finally meet
you, Al.
They stopped shaking hands.
AL
Likewise, George. Nikko's told me a
bit about you.
George leads Al and Nikko through the clandestine workshop.
44.
AL (cont'd)
(Intrigued)
How many of these weapons are there,
and how did you get them?
NIKKO
(Revealing George's
background)
George was a retired engineer from
the US military. He designed these
things.
AL
(Impressed)
Now he crafts weapons like these?
NIKKO
(Affirmative)
Yeah.
The two arrives at George's workspace, where Al gets a
closer look at the cutting-edge technology.
GEORGE
(Engaged in his work)
It's been a while, Nikko.
NIKKO
Yeah, George. Al here needs your
expertise.
Al extends his hand, meeting George's firm handshake.
AL
Al Stratham.
GEORGE
George. Nikko's filled me in on your
exploits.
AL
And Nikko's shared some tales about
your engineering prowess.
GEORGE
(Sincere.)
Good to have you here. So, what
brings you to my domain?
AL
(Cutting to the chase)
I need technology to double-cross
some people. Nikko says you might
have just the thing.
45.
NIKKO
(Reinforcing)
And he's right.
George leads Al to a special area, diverting attention from
the weapons cache. Al, Nikko, and George stand around a long
table. Workers meticulously craft an advanced endo-skeleton,
resembling an Allosaurus. Its intricate design includes an
Allosaurus skull, folding dragon-like wings, and rocket-
powered, high-heel stilts. George proudly unveils the
masterpiece.
GEORGE
Is this what you'll need?
AL
(Surveying the design)
I know this is some sort of a design.
GEORGE
(Enthusiastic)
I'm glad you do. This endo-skeleton
is a marvel. Mind-controlled, bone
marrow-connected. It can be your
avatar.
George explains, pointing out each feature.
GEORGE (cont'd)
A long endo-skeleton which is the
length of the dinosaur's spine from
nose to tail, its head has the
dinosaurs head, jaws and teeth,
underneath it has this part which it
haves ribs and is now more of an exo-
suit and above is where it haves
wings like the dragon's wings folded
within the endo-skeleton.
George looks up at Al.
GEORGE (cont'd)
Do you like it?
AL
Not really.
GEORGE
Maybe cause' I haven't told you the
good part yet.
(MORE)
46.
GEORGE (cont'd)
Like those you see in movies with
different exo-suit designs are
usually mind controlled, as soon as
you're attached to the exo-suit suit,
it'll arm and attach to your nerve
systems within that you can control
the head, the neck, and the whole
damn thing by your brain. And also
those that are separated, re-walk
designs that you might be able to
wear on the side of your thighs will
help you run fast as a dinosaur. Even
the high stilts designs are the same
shape as the feet of the dinosaurs,
you can stand up tall and where the
heels are have built rocket boots. So
you can burst up and use your wings
to fly away. You like it now?
AL
(Initially hesitant)
I'm coming around. This could be more
useful.
GEORGE
(Grinning)
That's more like it.
AL
(Practical)
How long until I get used to mind-
controlling this thing?
GEORGE
(Confident)
Depends on what you want it to do.
Your thoughts will be its commands.
AL
Good.
NIKKO
(Intervening)
Al?
Al and Nikko step aside to discuss.
Genres:
["Action","Thriller","Sci-Fi"]
Ratings
Scene
14 -
Confrontation and Resolve
EXT. WAREHOUSE - DAY
Al and Nikko stand amidst parked cars and trucks. The
tension between them is palpable. Nikko's eyes are sharp,
his concern obvious, while Al stands firm, arms crossed,
defiant.
47.
NIKKO
(Serious, pressing)
This has gone too far, Al. You killed
Packie's brother.
AL
(Suspicious)
How do you know about that?
NIKKO
(Frustrated)
Are you kidding? It’s all over the
news. You’re becoming reckless.
AL
(Defiant)
He threatened me. I needed answers.
NIKKO
(Pushing back)
And killing him was your only option?
There are other ways, Al. Ways that
don’t put a target on your back.
AL
(Coldly)
Like what? Put him in a coma and hope
for the best? Let them think I'm
dead, that’s the plan.
NIKKO
(Urgent)
You think that'll work with the
Gregorios? They won’t stop until you
really are dead.
AL
(Confident)
Not with George's disguise. I’ll
disappear, let them think I’m gone
for good.
NIKKO
(Trying to reason)
Let me handle this. I’ll get your cut
back. Walk away while you still can.
AL
(Stubborn)
No. It's about principle. I’m taking
it back from them, not through you.
48.
NIKKO
(Warning)
Principle? This isn’t just a game,
Al. You’re risking your life.
AL
(Defiant)
If things don't go as planned, I’ll
figure something else out. Stay close
to Packie, keep me informed.
NIKKO
(Skeptical)
So, I’m your spy now?
AL
(Resolute)
For a while. Once it’s over, we’re
done.
NIKKO
(Concerned)
And after you confront Packie? What
then?
AL
(Darkly)
I won't kill him. But if he tries
anything, he’ll know what he's up
against.
NIKKO
(Reluctantly)
Fine.
Nikko shakes his head, his unease clear, but he knows Al
won't back down. Al turns and strides back into the
warehouse, leaving Nikko to stare after him, worry etched on
his face.
INT. WAREHOUSE - DAY
Inside, workers are bustling around a steel table, preparing
intricate equipment. Al lies down, his expression stoic as
the connection process begins. He clenches his jaw in pain.
The screen cuts to black.
CUT TO BLACK:
49.
EXT. CITY - DUSK
The city skyline at dusk, bathed in warm, fading sunlight.
New York's towering buildings glow under the horizon,
casting long shadows over the streets below.
INT. WAREHOUSE - NIGHT
Darkness has settled outside the warehouse. Inside, dim
lights cast long shadows as Al stirs on the table, now
fitted with a sleek, high-tech exo-suit and endo-skeleton.
Nikko stands by, pacing.
NIKKO
(Calling out)
George! He’s waking up!
George and the workers rush in. Al sits up, blinking away
the haze.
GEORGE
(Curious)
How’s he feeling?
AL
(Grimacing,
inspecting the suit)
Feels… good. Two mind-controlled
arms, right?
GEORGE
(Casually)
Part of your design. You’re not a
fan?
AL
(Thoughtful)
No, I like it. Just figuring out how
to keep them… concealed.
NIKKO
(Half-smiling)
We’ll think of something.
AL
(Smirking)
Guess they make me look like the
alien queen, huh? From those old
movies?
50.
NIKKO
(Playfully)
Yeah, but think of them as your
little backup.
Al glances around, noticing detached mechanical components
resembling dinosaur features.
AL
(Raising an eyebrow)
And the dinosaur parts? Where are the
head, neck, and tail?
GEORGE
(Shrugging)
Got tricky to attach. We made them
detachable. You can plug them in when
needed.
AL
(Grinning)
Perfect. Let's test out the rest.
Al tries on the rocket-powered high heels, steadying himself
as the re-walk supporters engage, testing his newfound
agility.
Genres:
["Action","Thriller","Sci-Fi"]
Ratings
Scene
15 -
Tension Rising
EXT. BUILDING - DUSK
The exterior of Katherine’s and Fred’s building, cloaked in
the last light of day.
INT. UNIT - BATHROOM - NIGHT
Steam lingers in the air as Katherine steps out of the
shower. She wraps a towel around herself, her movements calm
and routine. She pauses in front of the fogged mirror,
staring at her own reflection for a moment before leaving.
INT. UNIT - BEDROOM - NIGHT
Katherine, now dressed, picks up her vibrating phone. She
reads the screen, frowns slightly, then tucks it into her
pocket alongside her wallet. She leaves the room, her
expression one of quiet determination.
EXT. GREGORIO’S HOUSE - NIGHT
The Gregorio residence looms in the dark, its windows
glowing faintly against the night.
51.
INT. GREGORIO'S HOUSE - LIVING ROOM - NIGHT
James sits on a leather couch, watching television. His
phone rings. He answers it, his eyes narrowing.
JAMES
(Into phone)
Yeah?
He listens, then nods, a grim smile creeping across his
face.
INT. JEEP - NIGHT
Packie, Kane, Michael, and Derek cruise through the city in
their Jeep, on their way to Webster Hall. Packie grips his
phone, speaking into it.
PACKIE
(Into phone)
We're heading to Webster Hall.
JAMES
(On phone)
Keep me updated.
Packie hangs up, his expression focused, eyes scanning the
road ahead.
INT. WAREHOUSE - NIGHT
The warehouse now feels different—tense, ready for action.
Al strides through the dimly lit halls towards the
communicator’s room.
INT. WAREHOUSE - COMMUNICATOR'S ROOM - NIGHT
A room lined with surveillance monitors and computers.
Workers sit, eyes fixed on screens filled with security
feeds from all over the city. On one screen, a map with GPS
tracking blips pulses ominously.
George stands beside Al, pointing to the various screens.
GEORGE
We’ve got eyes everywhere. We can
track anyone, intercept calls.
52.
AL
(Firm)
Let’s just make sure we’re tracking
the right people.
A crackle from the speakers catches their attention. A
transmission comes in.
JAMES
(Over transmission)
Support needed at Webster Hall, 125 E
11th St, New York. Repeat, support
needed.
The transmission cuts off. Al’s eyes narrow.
AL
(Calm, focused)
That was Gregorio?
GEORGE
(Nodding)
Yeah, it was him.
AL
(Smiling darkly)
Good.
Without another word, Al turns and heads for the exit,
leaving the room buzzing with tension.
Genres:
["Action","Thriller"]
Ratings
Scene
16 -
Nightlife Revelations
EXT. NIGHT CLUB - NIGHT
Outside of the nightclub where there are a lot of people
walking outside along the sidewalk, on the outside there is
a couple of security bouncers standing and guarding the
outside of the nightclub, keeping an eye out for minors and
intoxicated people. A couple of over eighteen-year-old
people are going through, showing IDs to the bouncers first.
Outside Webster Hall, Katherine and friends arrive.
INT. NIGHT CLUB - NIGHT
There is a big wide stage on one side used as the space for
a dance floor around, there are two balconies above each
side of the club, and there are a dozen of lounge places
along the edge of the nightclub, a bar counter nearby facing
the stage off where people to get both none and alcoholic
drinks from, and there are more than a dozen of disco lights
lighting down from the ceiling.
53.
A lot of over eighteen-year-old people boys and girls are
around, most of them are sitting down in the lounge spaces
along the edge of the nightclub, most of them are getting
drinks from the bar counter, and most of them are dancing
off and on stage as the music plays. Katherine and her
friends who are dressed names are LUCY (18, understanding,
polite and colorful), CASSIE (17, understanding, polite and
colorful), JESSICA (17, understanding, polite and colorful)
and JADE (18, understanding, polite and colorful).
LUCY(18)
Personality: Lucy is the vibrant, optimistic soul of the
group, known for her infectious enthusiasm and ability to
see the beauty in everyday moments. She has a knack for
making friends feel comfortable and valued, embodying an
understanding that resonates deeply with her peers. Lucy
often takes on the role of the peacemaker, effortlessly
defusing tense situations with her charm and genuine
empathy.
While she presents herself as a cheerful and polite person,
Lucy has her own struggles beneath the colorful exterior.
She grapples with anxiety about the future, fearing that her
positive demeanor might not hold up under the pressure of
adulthood. She often feels the need to project an image of
happiness, which can lead her to suppress her worries,
hiding her insecurities from her friends.
Interests and Backstory: Lucy is passionate about art and
creativity. She spends her free time painting, drawing, and
exploring various artistic mediums. Her dream is to attend
art school, but she worries about making her parents proud
and whether she has what it takes to succeed in a
competitive field. Lucy often organizes small art gatherings
with her friends, encouraging them to express themselves
creatively, which helps her navigate her own fears about her
future.
CASSIE (17)
Personality: Cassie embodies a spirited individuality and a
deep understanding of those around her. She is the group’s
realist, often bringing practicality to their shared dreams.
While polite and colorful in her interactions, Cassie isn’t
afraid to challenge her friends' ideas, prompting them to
think critically about their choices and consequences. Her
understanding nature makes her an excellent listener, and
she provides thoughtful advice, often drawing from her own
experiences.
Though Cassie is mature for her age, she sometimes struggles
with feelings of inadequacy, particularly in comparison to
her friends.
54.
The pressure to excel academically and carve out a clear
path for her future weighs on her, creating moments of self-
doubt. Despite this, she remains steadfast in her support
for her friends, channeling her insecurities into a drive to
uplift others.
Interests and Backstory: Cassie has a passion for writing
and literature. She dreams of becoming a journalist,
believing that storytelling can be a powerful tool for
change. She often writes articles for the school newspaper,
using her platform to address important issues affecting
their community. Her love for words allows her to connect
deeply with her friends and offer them insights into their
own stories.
JESSICA (17)
Personality: Jessica is the group’s free spirit, known for
her colorful style and spontaneous outlook on life. Her
understanding and polite demeanor make others gravitate
toward her, while her vivid personality invites them to
embrace their true selves. She tends to be the one who
encourages her friends to step out of their comfort zones,
often bringing a sense of adventure to the group dynamics.
However, beneath her vibrant exterior lies a fear of being
confined. Jessica struggles with the concept of
restriction—whether from expectations, rules, or societal
norms—and often feels frustrated by the limitations imposed
on her by family and school. This creates inner conflict,
leading her to experience moments of rebellion, often
expressed in the form of impulsive decisions.
Interests and Backstory: Jessica has a love for music and
dance. She spends her afternoons playing guitar and
experimenting with songwriting, using music as an escape and
form of self-expression. She dreams of pursuing a career in
the performing arts but fights against self-doubt regarding
her talent. Her creative pursuits provide an outlet for her
emotions, though she sometimes wishes for validation from
others.
JADE (18)
Personality: Jade is thoughtful and introspective, blending
understanding and politeness with a touch of sophistication.
Her calm demeanor anchors the group, often providing a sense
of stability during chaotic times. She has a talent for
reading the room and is quick to offer support, making her a
confidante for her friends. Jade embraces her vibrant
personality, using fashion as a way to express her
individuality.
55.
Despite her strong exterior, Jade faces challenges related
to expectation and identity. She feels a heavy burden to
please her family, who have high hopes for her academic and
career paths. This pressure sometimes leads her to suppress
her own desires, as she wrestles with the need to define
herself beyond her family’s aspirations.
Interests and Backstory: Jade is passionate about fashion
and design. She has dreams of becoming a stylist or fashion
designer and often creates unique outfits that reflect her
colorful personality. Jade spends her free time sketching
designs and experimenting with materials, dreaming of
breaking into the fashion industry. However, she
occasionally feels torn between pursuing her passion and
adhering to her family's expectations of more "practical"
career choices.
Katherine and her friends enter the lively nightclub.
Genres:
["Drama","Thriller"]
Ratings
Scene
17 -
Dreams and Dangers
INT. NIGHT CLUB - LOUNGE - INSIDE
Inside the lounge where there is mostly long lounges lining
up within the edge of the nightclub, a couple of short
leather couches facing them, there are pillars around them,
and lights are lighting from the ceiling. Katherine and
friends sit in the lounge, discussing their futures.
KATHERINE
This place is incredible.
JADE
Yeah, like on May 1, 1980, The Ritz
opened by Jerry Brandt in the Webster
Hall building as a showcase venue for
emerging rock acts. Many believe The
Ritz to be the first nightclub to
feature a video component.
LUCY
Sounds like someone did their
homework.
JESSICA
You just know everything, Jade.
CASSIE
She learns everything from Wikipedia.
JADE
I do, Wikipedia is always right.
LUCY
We're gonna have a great time here.
56.
CASSIE
Can't believe high school is over.
KATHERINE
Future plans?
CASSIE
Then what do you got planned?
KATHERINE
I was planning on getting a
bachelor's degree at a university.
JADE
For what?
KATHERINE
Maybe law or geology.
JADE
That's great.
CASSIE
Jobs are competitive.
KATHERINE
True, what about you?
CASSIE
TAFE for me.
JADE
Same here.
LUCY
Hairdressing for me.
They continue chatting as the nightclub's vibrant atmosphere
surrounds them.
EXT. NIGHT CLUB - NIGHT
A sports corvette is parked along the curb. Six menacing
criminals emerge, clad in shirts, jeans, leather jackets,
and joggers. They swagger towards the entrance of the
nightclub. A vigilant security bouncer approaches.
BOUNCER # 1
Hey, you six need to show us your ID.
The third punk confronts the bouncer.
57.
PUNK # 3
What was that, mate?
The tension rises.
BOUNCER # 1
I said I need to see both of your
IDs.
PUNK # 1
And if we don't?
Another security bouncer steps forward.
BOUNCER # 2
We'll just have to ask you to leave
unless we need to see something.
The second punk gets in the face of the bouncer.
PUNK # 2
What about the inside of a hospital?
The punks slowly reveal rifles concealed in their jackets.
INT. NIGHT CLUB - LOUNGE - INSIDE
Katherine, Lucy, Cassie, Jessica, and Jade continue their
conversation amidst the lively atmosphere.
KATHERINE
Yeah, I think you should go to TAFE
to become a hairdresser too.
LUCY
Then I guess that makes us three.
CASSIE
I was thinking of becoming a
receptionist at some sort of company
or something.
KATHERINE
That's a good one too, Cassie.
CASSIE
And this geology that you think is
your option, where does that lead
you?
KATHERINE
Like a geologist? Nah, I'm thinking
paleontologist.
58.
JADE
Like digging up dinosaurs?
KATHERINE
Exactly. It's something I've been
passionate about.
LUCY
Learned that it's really hard, with
its learning areas of chemistry and
physics.
KATHERINE
Yeah, at least I tried my hardest at
school with those subjects.
Their conversation is interrupted by distant gunshots.
Genres:
["Drama","Crime","Thriller"]
Ratings
Scene
18 -
Nightclub Mayhem
INT. NIGHT CLUB - NIGHT
The nightclub erupts into chaos as gunshots shatter the air.
Panic and screams ensue. Party-goers scramble for cover. A
few criminals guard the exits, their rifles menacingly
trained on the terrified crowd.
INT. NIGHT CLUB - MANAGER'S OFFICE - INSIDE
The manager's office is dimly lit, featuring a desk with a
computer and office accessories. Chairs are placed in front
of the desk. Kane, Packie, Michael, and Derek enter,
business-like.
PACKIE
Guard the door.
Derek and Michael secure the door as the manager looks up.
Kane, with his pistol drawn, approaches.
CLUB'S MANAGER
What is this?
Packie steps forward.
PACKIE
Nothing personal, just need you to do
two things, Open up a safe and hand
us the money.
CLUB'S MANAGER
Alright, just don't do anything
stupid.
59.
The manager heads to the secure safe nearby.
INT. NIGHT CLUB - LOUNGE - INSIDE
Katherine, Lucy, Cassie, Jessica, and Jade cower with others
on the ground, Katherine slyly reaching for her iPhone,
making a discreet call to the police.
INT. NIGHT CLUB - NIGHT
Three criminals guard the frightened crowd, while the others
keep watch on exits. Panic ensues.
EXT. POLICE DEPARTMENT - NIGHT
Police cars surround the police department. Officers rush in
and out.
INT. POLICE DEPARTMENT - OFFICE - INSIDE
Fred, absorbed in work, is interrupted by a police officer.
POLICE OFFICER # 2
Chief?
Fred glances up.
FRED
What now?
POLICE OFFICER # 2
Webster Hall club. Possible gunfire.
Caller was your daughter.
FRED
(Concerned)
My god.
Fred's expression tightens, concern etched on his face.
INT. NIGHT CLUB - MANAGER'S OFFICE - INSIDE
The manager opens the safe. Kane, observing, nods. Suddenly,
without warning, Kane shoots the manager dead.
60.
PACKIE
(Looking into the
safe)
Got what we're looking for. Let's get
out of here.
They get ready to leave.
INT. NIGHT CLUB - LOUNGE - INSIDE
Spotting Katherine making a call, a punk drags her into the
middle of the club as Katherine screams.
PUNK #6
Guys, a witness!
The punks discuss dealing with potential informants.
INT. NIGHT CLUB - NIGHT
The punks notice the approaching Big Al on the balcony,
interrupting their sinister plans.
PUNK #3
Oh, hell no!
The Big Al intervenes, engaging in a fierce fight with the
criminals. The Big Al whacks the punk from behind with its
long tail, knocked off towards the stereo, hits the stereo,
and starts 'The Used' Burning Down The House' playing.
Genres:
["Action","Crime","Thriller"]
Ratings
Scene
19 -
Chaos and Courage at the Nightclub
INT. NIGHT CLUB - MANAGER'S OFFICE - INSIDE
Packie gathers the stolen money. The crew prepares to leave.
KANE
Is that it?
PACKIE
Got what we're looking for. Let's get
out of here.
They turn and leave the office by heading out the same door.
INT. NIGHT CLUB - NIGHT
The Big Al single-handedly takes down the remaining punks in
a spectacular display of strength. After finishing Al who is
hiding his face in a balaclava mask, looks around and sees
the helpless people around him.
61.
AL
It'll be alright. I meant no harm to
all of you.
Al could hear the sirens wailing.
AL (cont'd)
Gotta run.
Katherine gets up on her feet, looking up at the Big Al.
KATHERINE
Wait!
Al turns and looks down at Katherine.
KATHERINE (cont'd)
Thank you?
AL
It's a pleasure.
KATHERINE
Should I ask what you are?
AL
Call me Big Al.
The Big Al turns and jumps up powered by its rocket-high
heels onto the balcony and escapes the nightclub.
EXT. NIGHTCLUB – NIGHT
Police cars surround the nightclub, lights flashing as
officers rush inside. The atmosphere is chaotic, with
onlookers murmuring in confusion.
INT. NIGHTCLUB – NIGHT
Inside, the club is a mess. Police tape crisscrosses the
scene, sectioning off areas for investigation. Officers,
wearing gloves, sweep through with UV flashlights,
collecting evidence in clear bags. Fred enters, scanning the
aftermath.
FRED
(Whispers, tense)
Where did this start?
His eyes sweep over the wreckage, his jaw tightening. He
turns sharply and exits the nightclub.
62.
EXT. NIGHTCLUB – NIGHT
Police tape flutters in the cool night breeze as the crowd
presses against the perimeter, buzzing with whispers. Fred
emerges, heading toward Katherine and her friends, who are
huddled near a police car.
FRED
(Concerned)
You sure you're okay? One of those
punks could've killed you.
JADE
(Struggling to find
the words)
It… it looked like a person, but not.
Like a mix of a dinosaur and a human.
More human, though… in the way it
moved.
Fred's eyes narrow as he listens, his mind racing.
FRED
(Cautious)
A… humanoid dinosaur?
KATHERINE
(Quieter)
He called himself "Big Al."
Fred looks away for a moment, processing this new piece of
information. His face hardens as he turns back to them.
FRED
(Grim)
Big Al.
He nods to the group, his concern evident but masked under a
calm facade.
63.
FRED (CONT'D)
Take my daughter home. The rest of
you, get somewhere safe.
KATHERINE
(Supportive)
I’ll see you at home, Dad.
FRED
(Stern but
softening)
Goodnight.
The girls pile into a nearby jeep, casting nervous glances
back at the nightclub. Fred watches them go, his eyes sharp,
before turning and re-entering the chaos within the club.
Genres:
["Action","Thriller","Crime","Drama"]
Ratings
Scene
20 -
Tensions Rise: A Night of Reckoning
EXT. CITY – NIGHT
The sprawling cityscape of New York gleams in the darkness,
the lights from buildings casting a glow over the streets
below. The camera pans up to reveal a shadowy figure
standing on a rooftop: Big Al. His gaze pierces through the
city's concrete jungle, scanning for his next move.
EXT. ALLEYWAY – NIGHT
Nikko moves stealthily through a dirty alley, stepping over
trash and maneuvering around dumpsters. He finds a
nondescript door, hesitates for a moment, then enters.
INT. HIDEOUT – NIGHT
The hideout is dimly lit, cluttered with tools and
machinery. A bed occupies one corner, and a small workbench
with a flickering TV sits nearby. Al lies on the bed,
motionless. Nikko approaches, his movements cautious but
purposeful.
NIKKO
(Calm, almost
amused)
Al?
Al stirs, opening one eye before sitting up, a hint of a
smirk on his lips.
AL
(Grinning)
What, watching me sleep now?
64.
NIKKO
(Smirking)
Didn’t need to. George put a tracker
on you during the op.
Al’s expression darkens momentarily, his eyes flicking away
in annoyance.
AL
(Dryly)
So you’re babysitting me now?
NIKKO
(Evenly)
Keeping you alive, more like.
He sits on the edge of the bed, studying Al's reaction.
NIKKO (CONT'D)
Did you find Packie and his crew?
AL
(Shaking his head)
No. They had a backup team. Things
got… complicated.
NIKKO
(Leaning in)
Why didn’t you stop them?
AL
(Somber, looking
away)
They had a hostage—a kid. I couldn’t
let her get hurt.
Nikko exhales, his gaze softening. He knows there's more to
Al than his tough exterior.
NIKKO
(Quietly)
So, what’s the next move?
AL
(Firm, focused)
I’m heading to the warehouse. Need to
listen in on James, figure out his
next play.
Al stands, his posture rigid with resolve. Nikko watches
him, worry etched into his expression as he follows him out
of the hideout.
65.
EXT. GREGORIO'S HOUSE – DAY
The morning light casts long shadows across Gregorio's
house. A jeep is parked outside, marking the crew's return.
INT. GREGORIO'S HOUSE – LIVING ROOM – DAY
James sits stiffly on a leather couch, Packie, Kane,
Michael, and Derek gathered around. The TV blares a breaking
news report, and all eyes are glued to the screen.
ANCHORMAN
(On TV)
Witnesses describe an unknown figure
resembling a dinosaur-human hybrid
who intervened in a hostage situation
at Webster Hall. Dubbed "Big Al,"
this individual managed to thwart a
group of armed assailants. The NYPD
is investigating.
James snaps off the TV, his face a mask of simmering
frustration.
JAMES
(Disbelieving)
Unbelievable.
PACKIE
(Defensive)
We almost had it, but Big Al stepped
in.
JAMES
(Stern)
It’s not about success or failure.
It’s about recklessness. You left my
backup team exposed.
PACKIE
(Frowning)
We thought they were dealing with the
police!
JAMES
(Cutting in)
If it were the police, you'd have
heard the sirens. You took a risk,
and you got lucky.
Silence hangs heavy in the room as James turns away, his
anger barely contained. Packie shifts uncomfortably.
66.
PACKIE (CONT'D)
(Murmuring)
Sorry, Gregorio. It wasn’t supposed
to go down like that.
JAMES
(Coolly)
The fault lies with me. I picked the
team. I underestimated our
opposition.
Kane speaks up, breaking the tension.
KANE
(Quietly)
What about the chief and his
daughter?
JAMES
(Cold, calculating)
If my name comes up in any reports,
find them and take care of it.
Michael nods, grimly resolute. Packie clears his throat,
bringing the conversation back to their next steps.
PACKIE
(Steadily)
So, what's the plan now?
JAMES
(Leaning forward)
There’s an art dealer at the docks.
The target is in the American Museum
vault. It’s worth millions.
DEREK
(Eyes wide)
What is it?
JAMES
(Firmly)
You’ll find out when you get there.
Assemble another team. If you see Big
Al, abort. Notify the dealer if you
bail out.
PACKIE
(Nodding)
Got it. We’ll move when we’re ready.
Packie glances at his crew, their faces set with
determination.
67.
One by one, they get up, preparing for the heist as James
watches them leave, his expression unreadable.
Genres:
["Action","Crime","Thriller"]
Ratings
Scene
21 -
Tension and Strategy
EXT. BUILDING - DAY
The exterior of the building where Katherine and Fred live
is shown.
INT. UNIT - LIVING ROOM - INSIDE
The living room is tastefully decorated with black leather
couches, a coffee table, an open cabinet with a DVD player,
and a television on top. Katherine is watching TV. Fred, in
his police uniform, enters.
FRED
Katherine?
KATHERINE
Yeah?
FRED
I'm heading to work. You planning to
stay here all day?
KATHERINE
Nah, thinking of getting out for a
bit.
FRED
Are you sure, after what happened
last night?
KATHERINE
I got lucky, thanks to Big Al.
Fred interrupted.
FRED
Big Al?
KATHERINE
Yeah, this time, I'm going to the
museum.
FRED
The American Museum of Natural
History?
Katherine looks at Fred.
68.
KATHERINE
Yeah, just need to get out, you know?
FRED
How long will you stay there?
KATHERINE
Just a few hours, and then straight
back home.
FRED
Right home after?
KATHERINE
Right after.
FRED
See you soon.
KATHERINE
Sure, see you soon.
Fred leaves, and Katherine stays on the couch, watching TV.
EXT. WAREHOUSE - DAY
Al and Nikko walk through the warehouse perimeter.
INT. WAREHOUSE - DAY
Inside the warehouse, Al, Nikko, and George walk amidst
workers assembling weapons and explosives.
AL
Hey, George?
George looks up.
GEORGE
Ah, Al, or should I say, Big Al?
You're all over the news.
AL
Yeah, heard that.
GEORGE
Did you find Packie and his team?
AL
No luck. Punks had hostages, had to
step in.
69.
GEORGE
Understandable. Whatever the
Gregorios are up to, there's always a
next time.
AL
Exactly. Got any recordings of their
plans?
George stands.
GEORGE
Let's find out.
They head toward the communicator's room.
INT. WAREHOUSE - COMMUNICATOR'S ROOM - INSIDE
Workers are busy in the room. George, Al, and Nikko enter.
GEORGE
Any transmissions from the Gregorios?
COMM WORKER #1
Not yet.
COMM WORKER #2
We're on it.
GEORGE
Good.
George turns to Al.
GEORGE (cont'd)
Let's hope for some useful info.
Al faces Nikko.
AL
Nikko, there might be a way to
understand their moves.
NIKKO
(Intrigued)
What is it?
AL
Last night, Packie and his crew were
after money. This time, they might be
stealing something valuable.
70.
GEORGE
Maybe they will sell something
expensive?
Al turns to George.
AL
Good point, George.
He turns back to Nikko.
AL (cont'd)
Yeah, maybe they'll rob something
expensive, trade it to a dealer, and
retrieve a high price.
NIKKO
How large do you think?
AL
According to Packie, they want two
million each. Guess that equals up to
ten million.
NIKKO
That's a good mention, but all we
know is that they trade mostly guns
and drugs.
AL
Not really drugs, heroin, or any
other illegal substances. There must
be something else worth trading.
NIKKO
That's a good point, Al.
GEORGE
I hope we'll find out what they're up
to.
COMM WORKER #3
George, we've got something.
Al, Nikko, and George turn to the third comm worker.
GEORGE
Did you get something?
COMM WORKER #3
Yeah.
GEORGE
Play it.
71.
They play the next transmission from James' calls.
JAMES
(On Transmission)
This is James Gregorio calling to any
of the teams out there. I got a team
that needs support at the Museum on
Central Park West & 79th St, New
York. I repeat, I got a team that
needs support at Central Park West &
79th St, New York. If any of you
receive this call, please be in
pursuit as soon as possible.
The transmission ends.
AL
A museum at Central Park West.
GEORGE
I know a place, the American Museum
of Natural History.
AL
Right, I'll get to them as quickly as
I could, but let me get back to the
point of what I was talking about.
Al faces back to Nikko.
AL (cont'd)
Like what happened last night when
those punks held those party guests
as hostages. Maybe Packie and his
team went into the manager's office
to kill the manager after stealing
something very valuable.
NIKKO
Yeah.
AL
So what if there is something in the
museum that is a lot valuable to
them?
GEORGE
Yeah, that's what you might be able
to find out.
AL
Makes me think cause' they'll be
hitting the vault. Whatever is there,
like money, is what they are after.
(MORE)
72.
AL (cont'd)
There might be something valuable to
them.
GEORGE
So what's your point?
Al faces George.
AL
Maybe they are trading what's sacred
so they could trade it to someone and
retrieve millions.
GEORGE
Now that makes sense.
AL
I might have an idea. What if those
things you've got there could hack
and reboot some surveillance?
GEORGE
That's possible, but we don't do that
so many times.
AL
So what if you could hack the
surveillance within the staff and the
vault, catch them on feed, and we'll
find what's inside of the vault?
GEORGE
Are you gonna ask me to spy on Packie
and his team?
AL
Just for one time. Just to know
what's inside that vault. If it
usually involves money, I'll ask you
to record the feed.
GEORGE
Why? What are you planning?
AL
I'll tell you once I'm back here
alive. There's no time to talk more.
GEORGE
Are you gonna wear your exo-suit with
the endo-skeleton?
73.
AL
Nah, I'll leave this matter to the
police this time.
GEORGE
Fair enough. And how will I know
you're ready to call us to hack the
system?
AL
I'll write a text, and I'll be able
to send it off as soon as trouble
arrives.
GEORGE
Sure.
AL
Just keep your phone with you.
Al leaves the room.
Genres:
["Action","Thriller","Crime"]
Ratings
Scene
22 -
A Kind Gesture at the Museum
EXT. AMERICAN MUSEUM - DAY
Outside of the American Museum where it's big and wide,
massive dinosaur posters are hanging by the edge and on the
front of the museum above the small entrance.
There are several people on the outside passing through and
walking past, there are several people going inside of the
museum and a few of them are coming out of it.
INT. AMERICAN MUSEUM - DAY
Inside the museum, a front desk is manned by a receptionist,
with staff members and several hallways leading to different
exhibitions.
After entering, Katherine approaches the receptionist.
RECEPTIONIST
Hey.
KATHERINE
(With a polite smile)
A concession, please?
RECEPTIONIST
Sure, that's seventeen if you show me
your ID.
74.
Katherine begins searching her wallet for money and her ID.
Al, dressed in a tracksuit jacket, shirt, jeans, and
footwear, appears behind her and approaches the
receptionist's desk.
AL
One adult and a child, please.
The receptionist checks the computer, tallying the price for
one adult and one child.
RECEPTIONIST
That's thirty-four fifty.
Al hands a fifty-dollar note to the receptionist and
receives the change.
RECEPTIONIST (cont'd)
Enjoy your time.
AL
Sure.
Al walks past, and Katherine finally retrieves her money and
ID. Al notices Katherine and walks deeper into the museum.
KATHERINE
(To the Receptionist)
Sorry, it took a little while.
RECEPTIONIST
That's all right, there's no need.
The man just paid for you to go on
through.
Katherine spots Al walking deeper into the museum.
KATHERINE
Right.
Katherine goes through and heads deeper into the museum.
INT. AMERICAN MUSEUM - DINOSAUR EXP. - INSIDE
In the dinosaur exhibit, various dinosaur skeletons are
displayed. Al, now standing by, texts George a gesture and
sends it. He puts his phone away, observing the Stegosaurus
skeleton. Katherine approaches.
KATHERINE
Excuse me?
Al turns and looks down at Katherine.
75.
AL
Yes?
Katherine looks up at Al.
KATHERINE
Aren't you the man that just paid for
me?
AL
I did.
KATHERINE
Yeah, I could've had it at that time.
AL
I apologize for that. As you were
going through your wallet for cash or
an ID, you were having a hard time
getting money out. I thought you were
struggling, leading me to guess that
you had no cash on you. So I thought
I'd help you get in.
KATHERINE
(With a smile)
And had referred to me as a child?
AL
It was a little cheap.
KATHERINE
Thanks, by the way.
AL
No need for a thank you, I'd do the
same thing for any other person.
Al looks away and up at the Stegosaurus skeleton as
Katherine looks up at the same exhibit.
KATHERINE
Stegosaurus. A plant eater who lived
during the Jurassic era.
AL
Yeah, averaging around nine meters,
thirty feet long, and four meters
high.
(MORE)
76.
AL (cont'd)
The quadrupedal Stegosaurus is one of
the most identifiable dinosaurs, due
to the distinctive double row of
kite-shaped plates rising vertically
along its rounded back and the two
pairs of long spikes extending
horizontally near the end of its
tail. Some form of armor appears to
have been necessary as it coexisted
with large predatory theropod
dinosaurs, such as Allosaurus and
Ceratosaurus.
Katherine looks up at Al.
KATHERINE
Man, you must've known dinosaurs your
whole life.
Al looks down at Katherine.
AL
Yeah, I watched a lot of dinosaur
movies and read a lot of dinosaur
books to learn a lot.
KATHERINE
I did, too. And those two names you
said, Allosaurus and Ceratosaurus,
are their predators?
AL
Yeah.
Al looks back up at the Stegosaurus skeleton.
AL (cont'd)
All four limbs were supported by pads
behind the toes. The forelimbs were
much shorter than the stocky hind
limbs, resulting in an unusual
posture. The tail appears to have
been held well clear of the ground,
while the head of Stegosaurus was
positioned relatively low down,
probably no higher than one meter,
three point three feet above the
ground.
KATHERINE
Even I've learned that the Stegosaurs
flash blood into their plates,
creating a frightening display of
color.
77.
AL
That's correct.
KATHERINE
Then I guess you know dinosaurs more
than I do?
AL
Sure, I'll show you more.
Al heads to another exhibit, with Katherine following him.
KATHERINE
That is Triceratops.
AL
Yeah. It bore a single horn on the
snout, and a pair of horns
approximately one meter long, with
one above each eye.
KATHERINE
More defense stopping a predator from
grasping its head.
AL
Also, use to fight other Triceratops.
KATHERINE
For what reason?
AL
Mating season. Like the Stegosaurus,
the Triceratops changes the color of
its crest, meaning that it's gonna
act aggressively knowing it's their
breeding season.
KATHERINE
Like other species like the
Triceratops.
AL
Triceratops is the best-known genus
of the Ceratopsidae, a family of
large North American horned
dinosaurs.
KATHERINE
Wow.
AL
That's right.
78.
KATHERINE
Giving me a good lesson.
AL
Yeah, I'll show you more.
Al finds another skeleton to show Katherine.
Genres:
["Action","Adventure","Crime","Drama"]
Ratings
Scene
23 -
Shadows of Survival
EXT. AMERICAN MUSEUM – DAY
A car pulls up near the American Museum's staff entrance.
Six criminal punks, dressed in casual street attire –
leather jackets, joggers, and jeans – step out, glancing
around warily before moving toward the building.
EXT. AMERICAN MUSEUM – STAFF ENTRY – OUTSIDE
At the side of the museum, a small staircase leads to the
lower level staff entry door. A car is parked nearby,
blending into the surroundings. Packie, Michael, Derek, and
Kane exit, eyes scanning the area, alert for any movement.
KANE
(Whispering)
Clear. No one's around.
PACKIE
(Nodding)
Good. Let’s get this done.
With a grim determination, they pull balaclavas over their
faces and load their weapons. The group moves silently
toward the door, their steps quick but cautious.
INT. AMERICAN MUSEUM – DINOSAUR EXHIBIT – INSIDE
In the dinosaur exhibit, the air is cool and quiet, a stark
contrast to the chaos brewing outside. Al and Katherine
stand before the enormous Tyrannosaurus skeleton, its
towering form casting long shadows across the exhibit floor.
KATHERINE
(Half-smiling,
trying to lighten
the mood)
This one always reminds me of that
Jurassic Park trilogy.
AL
(Nodding, focused)
Tyrannosaurus.
79.
KATHERINE
(Chuckling)
Yeah, the ‘bad guy’ in all those
movies.
AL
(Calmly correcting)
Not quite. Velociraptors,
Spinosaurus – they had their moments
too.
Katherine notices the edge in Al's voice, sensing that
there’s more going on behind his stoic demeanor.
KATHERINE
(Smirking)
You know, the T. Rex gets all the
spotlight, but you seem more
interested in the details.
AL
(Softly, almost to
himself)
Details are everything.
He steps closer to the skeleton, his eyes tracing its
structure, as if examining an old adversary.
AL (CONT'D)
The Tyrannosaurus Rex, or T. Rex, is
iconic, but it's far more complex
than people think. Its fossils come
from formations dating back to the
final three million years of the
Cretaceous period – about sixty-eight
to sixty-five million years ago.
Katherine watches him intently, noticing how his tone shifts
when he speaks about the dinosaurs – not just a lecture, but
something almost... personal.
KATHERINE
(Sincerely)
You know, I heard they were so heavy
that if they fell, they’d probably
kill themselves.
AL
(Glancing at her,
his eyes dark)
Exactly. The impact would shatter
their ribs, break their jaws. A fatal
misstep.
80.
Katherine’s eyes widen slightly, the conversation growing
unexpectedly heavy. Al turns, leading her toward the
Allosaurus exhibit.
AL (CONT'D)
And this… this is an Allosaurus. A
large theropod, built differently
than the T. Rex. Shorter neck, long
tail, reduced forelimbs. Allosaurus
fragilis, the best-known species,
averages about twenty-eight feet in
length.
KATHERINE
(Raising an eyebrow)
So, not as imposing as the T. Rex?
AL
(Barely suppressing
a smirk)
No, but more dangerous in some ways.
The specimen they call "Big Al" –
despite being smaller – is
significant because of its
preservation. It teaches us how this
creature lived... and died.
He pauses, his gaze lingering on the skeleton. Katherine
catches the flicker of something in his eyes – regret?
Sadness? It's hard to tell.
KATHERINE
(Fascinated)
You make it sound like more than just
bones.
AL
(Sternly)
It is more. These creatures weren't
just mindless predators. The
Allosaurus may have hunted in packs,
but not like the Raptors. It was…
chaotic. More survival of the fittest
than teamwork.
KATHERINE
(Quietly, absorbing
his words)
Like the Raptors, then? Only out for
themselves?
81.
AL
(Clearly, with a
hint of bitterness)
Not exactly. Allosaurus would run
around a herd to break it up, isolate
the weakest. They didn’t work
together. They just exploited the
fear of the herd. Once a target was
exhausted, they struck… leaving the
rest behind to save themselves.
Katherine shivers slightly, feeling a chill despite the
warmth of the museum. There’s an undercurrent in Al's words,
something that resonates with a deeper conflict.
KATHERINE
(Somber)
Survival can be brutal.
AL
(Firmly)
That’s nature. It doesn’t care about
fairness or kindness.
Al takes a step back, as if distancing himself from the
conversation's weight.
AL (CONT'D)
(Softening)
If you've seen enough, I’ll let you
explore on your own.
Katherine watches him for a moment, sensing a battle within
him she can't quite grasp. She nods, forcing a small smile.
KATHERINE
(Sincerely)
Yeah. I think I’ve had my fill of
ancient tragedies for one day.
Al nods once, then turns and walks away, his figure
gradually disappearing into the exhibit’s shadows. Katherine
remains, staring up at the Allosaurus, feeling the haunting
echoes of a past that somehow mirrors the present.
Genres:
["Action","Thriller","Crime","Drama"]
Ratings
Scene
24 -
Museum Heist: Chaos Unleashed
INT. AMERICAN MUSEUM - BACK DOCK - INSIDE
Inside the staff entry, a staff member opens the back door
after hearing a knock. A silenced pistol peeks through and
shoots the staff member. Packie, Michael, Derek, and Kane
enter, shooting the staff.
82.
KANE
This might be it.
DEREK
It'll take weeks to crack this thing,
unless I use the PE4 mold.
Packie spots an access scanner.
PACKIE
No need for noise. Let's see if one
of these staff members has access.
First, cut the surveillance wires.
KANE
I'll get right on it.
Kane cuts the surveillance as the gang identifies a staff
member with vault access.
INT. AMERICAN MUSEUM - VAULT - INSIDE
Inside the vault, money stacked in piles and safety deposit
boxes fill the space. The vault door opens, revealing Packie
and his gang.
MICHAEL
My God.
PACKIE
Don't even think about the money just
yet. Let's find what's valuable.
KANE
We better get a move on. Another team
may be here soon.
DEREK
Right, let's get a move on.
They start heisting valuable items.
INT. AMERICAN MUSEUM - DAY
Back inside the museum after coming through the entrance,
four criminal punks head through the entrance of the museum,
and head to the receptionist's desk. One of the punks gets
out a silent pistol, aims it at the receptionist and shoots
with silencers. They walk past and head deeper into the
museum.
83.
Back deeper into the museum where Al is walking through the
different exhibitions with other people around, Katherine
has caught up with Al.
KATHERINE
Excuse me?
AL
Different exhibitions, or just
following me?
KATHERINE
I'm just going where you are.
AL
Fair enough.
KATHERINE
Are you from around here? Or are you
just visiting?
AL
Just visiting from south. Are you
from around here?
KATHERINE
Yes, I am. I live here in New York
with my father.
AL
Your father?
KATHERINE
Yes. Only my father who is the chief
of police here in the city.
AL
What about your mother? Doesn't she
live with you and your father?
KATHERINE
Nah, she died when I was little.
AL
(Understanding)
I'm sorry to hear that, I know how
that feels like.
KATHERINE
And what about you, you have family
too?
AL
Nah...
84.
Suddenly, gunshots ring out, causing panic. Al and
Katherine, among others, are forced on the floor by a couple
of criminals. A few of the criminals are guarding a floor
each. Al discreetly texts George for backup.
CRIMINAL PUNK # 7
On the floor!
CRIMINAL PUNK # 8
Now!
The rest of the helpless guests and other people get on the
floor.
Genres:
["Action","Crime","Thriller"]
Ratings
Scene
25 -
Bravery in the Vault
INT. AMERICAN MUSEUM - VAULT - INSIDE
Packie and his gang sift through deposit boxes until Derek
discovers a promising bag.
DEREK
This might be it.
Packie inspects the bag and reveals a large, diamond-like
rock.
PACKIE
Look at this.
Michael examines it closely.
MICHAEL
It's beautiful.
KANE
Damn right, it is. We gotta get out
of here.
PACKIE
Sure, let's secure it and leave.
Packie carefully bags the diamond rock and exits the vault
with the gang.
INT. AMERICAN MUSEUM - DAY
Packie and the gang exit the museum with their loot.
Meanwhile, deeper in the museum, three armed criminals stand
guard over the frightened crowd, including Al and Katherine,
who are forced to the floor. In the midst of the chaos,
distant sirens begin to wail.
85.
CRIMINAL PUNK # 9
Guys, three witnesses!
CRIMINAL PUNK # 10
Another three of the security
officers witnessed, and they might've
contacted the police.
CRIMINAL PUNK # 8
Handle it.
The punks handling the security officers drag them to the
side, preparing for potential trouble.
EXT. AMERICAN MUSEUM - DAY
The external view of the American Museum is bustling with
people passing by. Several police cars are parked nearby. A
couple of police officers step out of their cars and head
towards the museum entrance.
INT. AMERICAN MUSEUM - DAY
Deeper within the museum, Al and Katherine find themselves
in a tense situation as three armed criminals hold the crowd
hostage. Al, assessing the imminent danger, takes a deep
breath and acts swiftly. He charges towards the criminals
about to harm security officers, engaging in a physical
confrontation. The criminals notice and turn their attention
to Al.
CRIMINAL PUNK # 8
Hey!
They raise their rifles, aiming at Al. Meanwhile, the
distant wail of sirens grows louder. Fred and his police
squad arrive just in time to intervene.
FRED
Hey!
The police officers draw their pistols, aiming at the
criminals.
FRED (cont'd)
You're all outnumbered, put your
weapons down and get on the floor!
Now!
The criminals reluctantly surrender, dropping their weapons.
The police squad moves in to handcuff them. Al steps back,
acknowledging the arrival of the police.
86.
As the criminals are subdued, Katherine recognizes her
father, Fred, among the police officers.
KATHERINE
Dad?
Fred turns towards Katherine, concerned.
FRED
Katherine.
Some of the people get on their feet after the police squad
begins taking the criminals in handcuffs. Katherine assures
her father that she's okay.
FRED (cont'd)
Katherine, are you okay?
KATHERINE
I'm fine, nothing happened to me this
time.
FRED
Are you sure they didn't do anything
to you?
KATHERINE
Dad, I'm okay. They were about to
kill those security guards there, and
then this man I just met stood up to
them.
Fred turns his attention to Al. Katherine points to Al. Fred
walks over to Al.
AL
Hey, chief.
FRED
Hey yourself. That was a really brave
move you pulled.
AL
Yeah, well you know anyone would
have, some couldn't otherwise they
would have ended up dead.
FRED
And you risk your life for them?
AL
I did. But that was the last brave
thing I did.
87.
FRED
What's your name?
AL
I'm Allan Smith.
Al extends his hand, and Fred shakes it.
FRED
Fred Johnson, I'm the chief of the
NYPD.
AL
I know, she's told me a bit about
you.
Fred notices Katherine.
FRED
I see that you've met my daughter
Katherine here.
AL
I have, given her a good lesson.
Noticing the dinosaurs that she'll
know about.
FRED
Is that right?
AL
Yeah, she's quite a good learner.
KATHERINE
Even he paid me to go inside.
Fred looks down at Katherine.
FRED
Really?
Fred looks back up at Al.
AL
Thought she was struggling to get
money out, so I thought I'd help her
out.
FRED
That's generous of you.
88.
AL
Yeah, well you know I'd do the same
thing for any other kid, showing them
what a generous guy I am.
FRED
Thanks again in advanced.
AL
Right, I shall leave you to your
daughter and your job here.
FRED
Fine then, you have a nice day.
AL
Thanks, keep up the good work.
FRED
Right.
Al walks away towards the exit.
KATHERINE
Bye, Allan.
Al turns to Katherine.
AL
See you.
He walks away, heading to the exit. Katherine watches him
go.
Genres:
["Action","Crime","Drama"]
Ratings
Scene
26 -
Planning the Frame
EXT. WAREHOUSE - DAY
Outside the warehouse, Al walks through the perimeter
fences, preparing to enter the warehouse.
INT. WAREHOUSE - DAY
Al walks through, observing workers focusing on advanced
weapons and explosives. He meets George, who is sitting at a
desk.
AL
George?
George looks up at Al.
GEORGE
Al. Good to see you back here.
89.
AL
Yeah. Got lucky again.
GEORGE
How was your museum tour?
AL
Great, make you feel like being a
little boy, visiting childhood
interest.
GEORGE
Got that right.
AL
And then trouble went another way.
GEORGE
Punks in the museum.
AL
Same deal as last night. Held people
hostage while Packie and his team did
their work.
GEORGE
We rebooted the system, hacked it to
get those people.
AL
Hope you've got everything.
GEORGE
We have it all, I'll show you.
George gets up, and they head to the communicator's room.
INT. WAREHOUSE - COMMUNICATOR'S ROOM - INSIDE
Inside the communicator's room, workers are busy at desks.
George and Al enter.
GEORGE
Boys, have you got everything from
the museum?
COMM WORKER # 1
Right here.
The second comm worker hands over a disc in a small plastic
case.
90.
GEORGE
Thanks.
George turns to Al with the case.
AL
Right. Hand it over.
GEORGE
Yeah, before I do. You should tell me
your plan.
AL
I'm sending this footage to the NYPD.
GEORGE
Framing them?
AL
Sure. Can't turn on them yet, still
need to let them think I'm dead. Let
NYPD catch them, and then I'll finish
it.
GEORGE
What about your share?
AL
I'll find a way.
GEORGE
Like robbing or stealing, the NYPD
will know.
AL
I'll figure it out. Any suggestions
for a disguise while wearing the exo-
suit?
GEORGE
Maybe a suit, like those superhero
movies?
AL
Fine, but how do you disconnect me
from the backbone?
GEORGE
There's a remote, it can connect and
disconnect the exo-suit.
91.
AL
Good. And for the disguise, maybe a
tight costume, mostly red with muscle
textures. Face like the front part of
a skull.
GEORGE
Creative.
AL
You said it.
GEORGE
I've got something to help you trace
calls, set it up close to you.
AL
Sure, and one more thing. The
Gregorios' transmission you
received—record it onto this disc.
GEORGE
You're going after the Gregorios?
AL
Maybe. In case they remain silent,
NYPD should know who was the inside
man.
GEORGE
Sure.
AL
After this, I hand them in. Then I
retrieve my share and walk away.
GEORGE
We'll finish your suit in no time.
AL
Right.
George and Al wait.
Genres:
["Action","Crime","Thriller"]
Ratings
Scene
27 -
Evidence and Anticipation
EXT. POLICE DEPARTMENT - DAY
Outside the police department, police cars are parked.
Officers are going in and out. Al arrives.
AL
Katherine?
Katherine walks up at Al.
92.
KATHERINE
Allan? What are you doing up here?
AL
Heading inside. Your father works
here?
KATHERINE
Yeah. Why?
Al shows her the case with the discs.
AL
Taking this to your father.
KATHERINE
What is it?
AL
Just evidence from the museum.
KATHERINE
I'll take them inside, I'm just
visiting.
AL
Okay.
Al hands over the case to Katherine.
KATHERINE
I'll just hand them in.
AL
Sure.
KATHERINE
Will I see you around?
AL
Maybe, maybe not. See you soon.
KATHERINE
You too.
Al leaves as Katherine heads into the police department.
INT. POLICE DEPARTMENT - OFFICE - INSIDE
Fred is watching the footage on his desk. Katherine walks
in, holding the case.
93.
FRED
Hello, Katherine, what's this?
KATHERINE
I bumped into Allan outside. He asked
me to give these to you.
Katherine points to the case.
FRED
What are they?
KATHERINE
Just evidence from the museum.
Fred reaches for the case.
EXT. WAREHOUSE - DAY
Outside the warehouse, Al walks through the perimeter fences
and enters.
INT. WAREHOUSE - DAY
Al returns inside, weaving through workers focused on
crafting advanced weapons and explosives. He spots George
and the team diligently working on the tight costume.
AL
Hey, George?
George turns to Al with a nod.
GEORGE
Hey, Al.
AL
How's it going?
GEORGE
Nothing much, just putting the
finishing touches on your tight suit.
AL
You've made quick progress since I
left.
GEORGE
Yeah, once you were out, we drafted
the design and got straight to work.
94.
AL
When do you think it'll be finished?
GEORGE
Just a little while longer. Oh, and
did you send in the files and discs I
gave you a copy of?
AL
Yep, handed them off as I entered the
police department.
Al interrupts.
GEORGE
Smart move, Al.
AL
Curious to see how this costume
turned out.
GEORGE
Have a look.
Al approaches, inspecting the costume. The predominantly red
attire features intricate muscle-like textures and a skull-
faced mask.
AL
Impressive.
GEORGE
I'm glad you like it.
Al gazes down on the costume.
Genres:
["Action","Crime","Thriller"]
Ratings
Scene
28 -
Unraveling the Heist
INT. POLICE DEPARTMENT - OFFICE - INSIDE
Fred is engrossed in footage from the security feed,
capturing the heist at the museum vault.
MICHAEL
(On Feed)
My God.
PACKIE
(On Feed)
Yeah, don't even think about the
money just yet. Let's just find
what's valuable inside.
Fred shifts his attention to the recorded transmissions
marked as James.
95.
JAMES
(On Recorded
Transmission)
This is James Gregorio calling to any
criminal teams out there. I got a
team that needs support at the
Webster Hall nightclub on 125 E 11th
St, New York.
Fred's focus intensifies as he listens to more
transmissions.
JAMES (cont'd)
(On Recorded
Transmission)
This is James Gregorio calling to any
criminal teams out there. I got a
team that needs support at the Museum
on Central Park West & 79th St, New
York.
Fred freezes upon hearing the name "James Gregorio." He
searches the computer for more information on James and
finds an ID.
FRED
James Gregorio.
Fred then searches for Allan Smith but comes up empty.
FRED (cont'd)
What?
Another police officer enters with a folder.
POLICE OFFICER #4
Chief?
Fred looks up as the officer hands him the folder.
FRED
Yeah?
POLICE OFFICER #4
I scanned for an ID before the feed
cut off, and I got a match.
Fred opens the folder and finds a facial ID of Al Stratham.
FRED
Al Stratham. The man who saved my
daughter.
96.
POLICE OFFICER #4
He's one of the criminals who robbed
the vault block during the rock
concert.
FRED
And the fire.
POLICE OFFICER #4
Exactly. He was found, escaped a
hospital, and was last spotted in
Manhattan.
FRED
We need to keep an eye out for him
and the others.
POLICE OFFICER #4
Agreed.
The officer leaves the office.
Genres:
["Crime","Action","Thriller"]
Ratings
Scene
29 -
Chaos at the Docks
INT. WAREHOUSE – DAY
Inside the warehouse, Al, George, and the team put the
finishing touches on the exo-suit. The room is tense,
everyone silently focusing on the final adjustments.
GEORGE
(Satisfied, stepping
back)
All done.
AL
(Admiring the suit)
Magnificent.
Before anyone can respond, a beep interrupts the moment.
They turn to the wrist computer transmission, eyes
narrowing.
JAMES
(On transmission)
This is James Gregorio calling any
criminal teams out there. We need
backup at the docks. Now.
Al looks at George, who gives a knowing nod. There’s a
shared understanding between them—no words needed.
97.
AL
(Strapping on the
suit, voice firm)
Time to rock it.
GEORGE
(Grinning)
Absolutely.
With a final click, Al secures the suit onto his body, its
exo-skeleton humming to life. He strides toward the exit,
his every movement purposeful and powerful.
EXT. CITY – DAY
The cityscape of New York stretches out under the warm hues
of twilight. The sun's final rays glint off the skyline,
casting long shadows over the streets below.
EXT. DOCKS – DAY
A cavernous boat shed stands at the docks, its dark interior
barely visible from the outside. A lone jeep approaches,
slowing as it nears the entrance, moving with the stealth of
a predator stalking its prey.
INT. DOCKS – DAY
The shed’s interior is cluttered with upside-down boats and
makeshift tables serving as a meth lab. The smell of
chemicals hangs thick in the air. Drug dealers hunch over
their work, oblivious to the tension that fills the room as
Packie, Michael, Derek, and Kane walk in, carrying a heavy
bag.
PACKIE
(To Craig)
You’re the one we need?
Craig sits behind a battered desk, a man in his thirties
with a cold, calculating gaze. His lips curl into a smile
that doesn't reach his eyes.
CRAIG
Right on time. Have a seat.
Packie exchanges a quick glance with the others before they
sit down, facing Craig. The room grows quieter, the air
heavy with unspoken threats.
98.
PACKIE
(Placing the bag on
the desk)
We’ve got the item you wanted.
Craig’s eyes flick to the bag, and for a second, his mask of
confidence slips. He swallows, clearly uneasy.
CRAIG
(Warning)
Careful. That’s fragile.
MICHAEL
(Leaning forward)
So, what’s the trade?
Packie shoots Michael a sharp look.
PACKIE
(Coldly)
Manners.
Michael shrinks back, muttering an apology. Packie turns his
attention back to Craig, his voice steady.
PACKIE (CONT'D)
How much is it worth?
CRAIG
(Eyes still on the
bag)
Huge. Could be millions.
PACKIE
(Leaning forward)
You wanna show us?
Craig hesitates, glancing nervously around the room.
CRAIG
(Slowly)
I will. But I need assurance about my
safety, especially after your stunt
at the museum.
KANE
(Defensive)
What’s that supposed to mean?
CRAIG
(Flatly)
You cut the surveillance wire, but
I’m betting the museum had a backup
system. Cops could be onto you.
99.
Derek leans forward, an almost manic glint in his eyes as he
interjects.
DEREK
Guys, relax. I’ve got it covered.
Took the liberty of hiring an
assassin.
Packie turns to Derek, eyebrows raised.
PACKIE
Intriguing. Who?
DEREK
(Smiling)
Let's just say they’re good at
causing a scene. I can have them hit
the police station, make sure the
cops are busy elsewhere.
Kane nods, but his eyes remain fixed on Craig, who still
looks unconvinced.
CRAIG
(Grim)
Fine. But I want this handled. No
loose ends.
Derek nods, getting up to make the call. As he exits, the
room plunges into an uneasy silence. Suddenly, a low,
echoing dinosaur roar fills the air, making everyone freeze.
MICHAEL
(Startled)
What the hell was that?
KANE
(Grinning nervously)
Probably just a prank. Some idiot
with a speaker.
PACKIE
(Not convinced)
Or something else.
KANE
(Scoffing, though
his eyes betray
fear)
You think it's what we saw on the
news?
Packie locks eyes with him, his expression grim.
100.
The room erupts into chaos as Craig and the dealers arm
themselves. Al crashes through the door, his suit gleaming
in the dim light.
AL
(Calmly, with a hint
of menace)
Surprise.
Packie, Michael, Derek, and Kane scramble, overturning
tables in their panic. Al moves like a force of nature, his
steps reverberating through the shed. With a swift motion,
he shoves a boat stack, sending it crashing to the floor.
Packie and the others dive out of the way, barely avoiding
being crushed.
Al leaps onto the fallen boats, using them as a ramp. The
criminals stare in disbelief as he soars over them, landing
with a powerful thud. Kneeling, he grabs the briefcase and
the bag, spinning with ferocious speed. His tail swings
wide, striking Packie, Michael, Derek, and Kane, sending
them sprawling across the floor.
PACKIE
(Struggling to
stand)
Shoot! Shoot!
The drug dealers aim their rifles, but Al is already in
motion. Flames burst from his suit's skull, engulfing the
meth lab. The fire spreads rapidly, igniting the scattered
chemicals.
In the pandemonium, Packie and his crew scramble for their
jeep. Craig shouts orders, but his voice is drowned out by
the roar of the fire and the wails of his men. Al moves
through the blaze like a phantom, each step precise, every
movement deadly.
As the criminals flee, Al watches, eyes cold and
calculating. He turns his back to the chaos, clutching the
stolen items in his grasp.
101.
Genres:
["Action","Crime","Thriller"]
Ratings
Scene
30 -
Nightfall Confrontation
EXT. POLICE DEPARTMENT - NIGHT
Night falls outside the police department.
INT. POLICE DEPARTMENT - ROOFTOP - INSIDE
An assassin in black attire arrives on the rooftop using
climbing gear. He locates highlighted footage on his wrist
computer.
ASSASSIN
(Whispering)
Right.
The assassin lowers himself down to the office floor.
INT. POLICE DEPARTMENT - OFFICE - INSIDE
The assassin, alone in the chief's office, searches for the
footage. Al appears, confronting the intruder.
AL
Surprise.
The assassin pulls a gun, but Al's Allosaurus skull grabs
him and throws him against a wall. Al retrieves the bag,
drops it inside, and exits.
EXT. POLICE DEPARTMENT - NIGHT
Big Al flies out of an alley, spreading wings and soaring
into the night sky.
INT. POLICE DEPARTMENT - OFFICE - INSIDE
Inside the office, police officers enter, discovering an
open window. The unconscious assassin lies in the corner. A
curious officer approaches the desk, finding a bag with the
stolen diamond rock inside.
EXT. BUILDING - ROOFTOP - NIGHT
On the building's rooftop, Big Al stands on the edge, his
Allosaurus remote skull bowing and roaring. The majestic
creature gazes over the cityscape, repeating the ritual.
102.
EXT. CITY - DAY
Morning arrives, and the cityscape of New York City unfolds
in a panoramic view.
INT. CITY - HIDEOUT - INSIDE
Inside his hideout, Al awakens, lying on the bed. He glances
at the television, where an ANCHORMAN reports breaking news.
ANCHORMAN
(On TV)
In a recent development, a trespasser
infiltrated a police department,
firing a gunshot in the chief's
office. The NYPD is investigating,
and the suspect, found unconscious,
has been taken to the interrogation
room. Chief Fred Johnson uncovered a
bag with a stolen item, likely taken
from the American museum. The footage
in the bag matches the museum break-
in, providing IDs of the suspects.
The police now consider them city-
wide fugitives. Remarkably, a
mysterious figure, known as Big Al,
intervened, incapacitated the
trespassers, returned the stolen
item, and vanished without
identification. The police are left
questioning the identity and
whereabouts of Big Al.
Al continues watching the television, absorbing the
unfolding events.
EXT. GREGORIO'S HOUSE – DAY
A looming, modern residence stands silently, surrounded by
high fences and shaded by large trees. The jeep sits in the
driveway, its presence a stark reminder of the chaos that
has gripped those inside. The sun glares down, casting sharp
shadows against the concrete, giving the scene an almost
oppressive feel.
INT. GREGORIO'S HOUSE – LIVING ROOM – INSIDE
The living room exudes luxury: leather couches, marble
flooring, a glass coffee table adorned with untouched cigars
and whiskey glasses.
103.
James Gregorio sits on one of the couches, his hands
gripping the armrests so tightly that his knuckles turn
white. Packie, Kane, Michael, and Derek are scattered
around, eyes fixated on the large TV screen mounted on the
wall.
The room is dimly lit despite the daylight outside, curtains
drawn to block out the world. The television’s glow casts
uneasy shadows across their faces.
ANCHORMAN
(On TV, voice steady
and cold)
Also, reports surfaced of a
transmission, imitating a known man
with a fabricated identity, leading
the NYPD to James Gregorio. The
mysterious mafia figure is now
implicated in the heists at the
Webster Hall nightclub and the
American Museum.
James leans forward, grabbing the remote with a sharp motion
and jabbing the power button. The screen blinks off, leaving
a tense silence in its wake.
JAMES
(Voice tight,
struggling to
contain fury)
This is utterly unbelievable!
He throws the remote onto the coffee table, causing the
whiskey glasses to rattle. The others exchange nervous
glances. James stands abruptly, pacing the room with hands
on his hips, as if searching for something to take out his
anger on.
DEREK
(Cautiously)
I understand your frustration...
James whirls around, cutting Derek off with a glare.
JAMES
(Seething)
Damn right, you know! My name's all
over those calls, and now it’s
plastered on the news. Your IDs are
on the feed! I was certain you'd
disabled the security systems.
Kane shifts uncomfortably in his seat, rubbing the back of
his neck. He looks up at James, his face tense.
104.
KANE
(Defensive)
I did. But there might’ve been a
backup system—something that rebooted
after we left.
James stops pacing and faces Kane, eyes blazing with
accusation. He takes a slow, deliberate step forward,
closing the distance between them.
JAMES
(Voice low,
dangerous)
And you couldn’t handle it?
Kane opens his mouth to reply, but Derek steps in, standing
up and raising a hand as if to shield Kane from James’
wrath.
DEREK
(Quickly)
I tried. The guy you heard on the
news, the trespasser? I hired him to
clean up our mess, to handle the art
dealers. But as we were securing our
shares—bam!—we got ambushed.
James narrows his eyes, crossing his arms over his chest.
His muscles tense visibly beneath his shirt, a thin veneer
of control barely containing his rage.
JAMES
(Cutting in)
By the cops!?
Packie shakes his head, leaning forward and resting his
elbows on his knees, his eyes wide as if reliving the
terror.
PACKIE
No, it’s that same creature from last
night.
James stiffens. He turns away from them, his hands running
through his hair in frustration, pulling at the strands.
JAMES
That... dinosaur figure. And you
couldn’t secure your share?
Kane rises from his seat, his jaw clenched as he meets
James’ gaze.
105.
KANE
(Heated)
We had to bail before it got to us.
It was tearing through the place like
a damn hurricane!
James exhales sharply, rubbing his temples as if warding off
a headache. He walks to the window, peeking through the
curtains. Outside, the bright day seems almost mocking
compared to the darkness closing in on them.
JAMES
And what about that assassin you
brought in?
Packie sighs, standing up and shoving his hands into his
pockets, the posture of a man grasping for any remaining
shred of control.
PACKIE
(Tight-lipped)
Caught by that same dinosaur figure.
James slams his hand against the window frame, the sound
startling everyone. He turns, eyes blazing, his face a mask
of fury and disbelief.
JAMES
My god. It’s systematically
disrupting our connections,
attempting to frame us!
He strides back into the room, towering over the others as
they exchange uneasy glances. For the first time, a flicker
of doubt crosses Packie’s face, his bravado cracking under
the weight of their predicament.
PACKIE
(Barely audible)
No matter what we plan, that creature
seems to be omnipresent.
The room falls silent. The tension is thick, almost
suffocating. James lowers himself onto the couch, his
shoulders slumping slightly, an uncharacteristic gesture
that betrays his inner turmoil.
JAMES
(Speaking slowly,
voice edged with
desperation)
Then we need to change the game. We
need to find its weakness, and fast.
106.
Outside, the faint hum of the city continues, oblivious to
the storm brewing within the walls of Gregorio's house. The
men stare at each other, uncertain but unified by the shared
threat looming over them.
Genres:
["Action","Crime","Thriller"]
Ratings
Scene
31 -
Bait and Strategy
INT. SHED - DAY
Inside the backyard shed, equipped with a long work desk, a
laptop, and numerous television screens displaying citywide
camera feeds. JOHN (55, Ruthless, smart and lazy) analyzes
the screens and makes a discovery.
JOHN.
Personality: John is a complex figure characterized by a
paradoxical blend of ruthlessness, intelligence, and
laziness. He possesses a sharp intellect that allows him to
strategize effectively within the chaotic world of organized
crime. His sharp mind is complemented by a keen
understanding of human behavior, allowing him to manipulate
situations and people to his advantage when he chooses to
engage. However, John’s laziness often prevents him from
reaching his full potential, leading him to rely on his
brother, James, and the organization they are part of.
Despite his ruthless streak, John exhibits a level of
cynicism toward the violent lifestyle that surrounds him. He
recognizes the cold brutality of their world, but he also
finds it tedious. Instead of immersing himself in the family
business and striving for power, he prefers to play a more
passive role, often engaging in opportunistic behavior
rather than initiating action. This often frustrates James,
who sees the potential in John that he does not.
Backstory: Growing up in the shadow of their ambitious and
ruthless father, John witnessed firsthand the darker sides
of ambition and power. His father’s violence instilled a
sense of fear and caution in him, shaping a worldview that
values survival over aggression. Unlike James, who embraced
their father’s legacy and sought to expand the family’s
reach, John opted for a more laid-back approach, avoiding
confrontation whenever possible.
John pursued education in finance and psychology, excelling
academically but lacking the ambition to translate that
knowledge into hard work. He prefers living off the fruits
of James’s labor; in many ways, he embodies the
quintessential “underachiever.” Despite his intelligence, he
often opts for the easy way out, leading to resentment from
James, who believes John is wasting his potential.
JOHN
Bingo.
107.
He rises from the desk chair, determined, and exits the
shed.
INT. GREGORIO'S HOUSE - LIVING ROOM - INSIDE
The living room hosts James, seated on a leather couch,
engrossed in conversation with the group. John enters,
catching James' attention.
JAMES
Ah, John. Nice to see you take a
break from the shed.
JOHN
Yeah, just found something important.
JAMES
What's the news?
JOHN
he museum's security system—it got
rebooted and hacked.
Kane reacts with surprise.
KANE
What?
JAMES
Hacked by what?
PACKIE
Or by whom?
James looks at John, intrigued.
JOHN
By someone named George, an engineer,
and his team from the warehouse.
Concern creeps over Kane's face.
KANE
I know that place. My hired assassin
got something from there.
James shifts his focus to Derek.
JAMES
Good news then.
108.
PACKIE
Even Big Al got something from
George, that's how it tracked us so
easily.
DEREK
True, but whoever Big Al is working
for, George has turned against us.
James contemplates.
JAMES
Well, if they've turned, we should
turn the tables. Silence them.
Packie awaits instructions.
PACKIE
And what about Big Al?
James ponders, formulating a plan.
JAMES
Big Al is a dinosaur. In the dinosaur
world, when hunted by a carnivorous
dinosaur, what do you do?
MICHAEL
Resist it, maybe run.
PACKIE
But what if you don't want to?
JAMES
Give him a distraction. Use someone
as bait or a decoy.
PACKIE
So, you're planning to arrange a team
to act as decoys?
JAMES
Exactly, unless someone has a better
idea.
KANE
Good point, but no more calls. Text
them. We don't want the police
sniffing around.
James agrees and takes out his phone.
109.
JAMES
Good. Right, let's get ready to
divert that dinosaur.
James begins texting, setting the wheels in motion.
Genres:
["Crime","Thriller","Drama"]
Ratings
Scene
32 -
Morning News and Midnight Secrets
EXT. BUILDING - DAY
Morning sunlight bathes the facade of an apartment building
where Katherine and Fred reside.
INT. UNIT - LIVING ROOM - INSIDE
Katherine sits comfortably on a leather couch, engrossed in
the morning news. Fred, dressed in his chief of police
uniform, enters the room.
FRED
Katherine?
KATHERINE
Yeah?
Fred observes her TV-watching habit.
FRED
Every time I wake up I find you here,
watching television.
KATHERINE
Well, you know, I like to catch up on
the news during breakfast, like
everyone else. Heading off to work?
FRED
Yeah. But before I go, there's
something I need to ask you.
Katherine turns her attention to Fred.
KATHERINE
Sure, what's up.
FRED
This Allan Smith, the guy you met at
the museum, have you seen him lately?
KATHERINE
Not since our encounter. I did him a
favor, sent in the files that helped
your case.
110.
Fred contemplates the information.
FRED
Right.
He nods, hinting at a deeper concern.
KATHERINE
What's going on?
FRED
I'd rather not say. Just, if you
happen to spot him around the city,
give me a call.
KATHERINE
Sure thing.
FRED
Thanks. I'll see you later.
KATHERINE
You too, have a good day.
Fred heads out of the unit, leaving Katherine to her morning
routine.
INT. CITY - HIDEOUT - INSIDE
Al sits on the edge of the bed, a briefcase resting on his
lap. He opens it, revealing a million dollars in cash.
AL
At least this will be over soon.
His attention is grabbed by a radio call on his wrist
computer.
POLICE OFFICER # 3
(On Radio)
All units, all units, we've got a
word from a unit on the pursuit of a
car chase happening on the FDR Drive.
Calling for assistance.
Al reacts to the call. He prepares to change into his tight
costume, connecting the exo-suit and dinosaur endo-skeleton
before heading out.
111.
INT. CITY - DAY
Big Al soars through the city, gliding between towering
buildings with wings spread and rocket heels propelling him
forward. He heads towards the FDR freeway.
INT. FDR FREEWAY - DAY
Police cars weave through traffic on the FDR Drive, closing
in on a speeding car. A police helicopter hovers above the
scene.
INT. ESCAPING CAR - DAY (DRIVING)
Inside the car, five criminal punks exchange gunfire with
pursuing police cars. The atmosphere is tense as one of them
spots the Big Al flying over pursue them.
CRIMINAL PUNK # 13
The dinosaur is here and now it's
gaining on us.
They cease fire upon spotting Big Al.
CRIMINAL PUNK # 14
Let's give him something to remember.
The driver continues driving, another punk in the back aims
an RPG rocket launcher.
CRIMINAL PUNK # 13
Locked! Dodge this you son of a.....
He fires the rocket at Big Al.
INT. FDR FREEWAY - DAY
Big Al evades the rocket, lowers down, activates rocket
boots, and begins running faster. He closes in on the car.
INT. ESCAPING CAR - DAY (DRIVING)
The five criminal punks who are inside spot the Big Al who
is not flying, but is now running after them.
CRIMINAL PUNK # 13
You gotta be kidding, why won't this
dinosaur just die?
112.
CRIMINAL PUNK # 12
Drive faster!
They yell as Big Al runs up and side tackles the car,
lifting and letting it fall on its side.
INT. FDR FREEWAY - DAY
The car crashes, catching fire. The punks scream inside. Big
Al runs and flies away as police cars surround the scene.
EXT. WAREHOUSE - DAY
Outside the warehouse, more cars arrive, parking behind the
first ones.
INT. WAREHOUSE - COMMUNICATOR'S ROOM - INSIDE
Workers monitor transmissions. George, overseeing, turns as
a communication worker calls his attention.
COMM WORKER # 1
George!
George approaches, observing the additional arrivals on the
surveillance feed.
GEORGE
What's happening?
COMM WORKER # 1
More people coming in with guns.
George takes note, sensing a potential threat.
EXT. WAREHOUSE - DAY
Packie, Derek, Michael, and Kane arrive, accompanied by a
dozen armed criminals. The tension builds as they prepare to
infiltrate.
DEREK
This is it, boys.
They head towards the entrance, determined.
113.
INT. WAREHOUSE - DAY
The invaders storm the warehouse, gunfire erupting. Workers
seek cover, but Packie and his team systematically eliminate
them.
INT. WAREHOUSE - COMMUNICATOR'S ROOM - INSIDE
George, hearing the gunfire, realizes the severity of the
situation.
GEORGE
Let's get out of here!
As George leads the workers towards the door, Packie and his
team burst in.
PACKIE
Those workers, kill them!
Derek, Kane, and Michael turn their weapons towards the
communication workers, ending their lives.
PACKIE (cont'd)
I noticed you were cozying up to the
Big Al, encouraging it to turn
against us.
GEORGE
Your plans have spiraled out of
control.
PACKIE
Everything went south when your
soldier tried to kill us.
Packie executes George, leaving his lifeless body behind.
INT. WAREHOUSE - DAY
The gang regroups with the rest of the criminals. Michael
contemplates their next move.
MICHAEL
We've taken care of them. What's
next?
PACKIE
We'll loot what they have and prepare
for the shipment.
114.
KANE
And the Big Al?
PACKIE
We stay put. If it returns, we'll be
ready.
DEREK
Let's pack up the goods first.
They exit the warehouse, ready for their next move.
INT. CENTRAL PARK - DAY
Inside the central park, there is a massive lake in the
middle where there is a bridge that runs over it, there are
pathways, benches and a lot of trees around. Central Park
buzzes with activity - people relaxing, exercising, and
enjoying the scenery. Katherine strolls along a pathway when
Big Al swoops down, grabbing her with its remote Allosaurus
arms.
INT. CITY - DAY
Big Al, carrying Katherine, soars through the city, blending
in between towering structures. Their destination: an
alleyway.
INT. CITY - ALLEYWAY - INSIDE
Big Al gently sets Katherine down in the hidden sanctuary of
its lair. The two figures now find themselves within the
safety of the alleyway. Katherine, still shaken, confronts
Big Al in the secluded hideout.
KATHERINE
Who do you think you are?
Katherine glares at Big Al, demanding answers.
AL
The one that I prefer to call myself.
Don't mistake me for some hellish
creature. I'm the one who saved you.
KATHERINE
Tell me who you really are.
Big Al removes the head mask, revealing his true identity.
Katherine is taken aback.
115.
Genres:
["Action","Thriller","Crime","Drama"]
Ratings
Scene
33 -
Revelations in the Sanctuary
INT. CITY - HIDEOUT - INSIDE
Al and Katherine step into the hidden sanctuary.
KATHERINE
So, you were the Big Al all along?
Al settles on the edge of the bed, meeting Katherine's gaze.
AL
I was, but only after our first
encounter.
KATHERINE
And Allan Smith? Is that even your
real name?
AL
Why wouldn't it be?
KATHERINE
This morning, my dad mentioned
something about you. There's more to
your story, isn't there?
Al, with a sigh, decides to open up.
AL
Fine, you deserve to know before you
potentially expose me to your father.
My real name is Al Stratham. I grew
up fending for myself, ran away after
graduation, got into a dangerous
life, and here I am.
KATHERINE
And why are you here in New York?
AL
I was at a rock concert to pull off a
vault heist. Things went sideways
after a fire. We bailed, and I ended
up like this.
KATHERINE
My father was investigating that
case, trying to unravel the mystery.
AL
Afterward, the money wasn't enough
for my teammates. They turned on me,
tried to kill me. I barely survived,
but I healed.
(MORE)
116.
AL (cont'd)
I tracked them down, found Packie's
connections, and here I am.
KATHERINE
Did you find your share?
AL
I did.
KATHERINE
Then why stay?
AL
I don't know. I just couldn't leave.
KATHERINE
You got what your needed.
AL
True. But with the Gregorios and
their crime connections waiting,
leaving isn't that simple. They'd
kill everyone involved, and then come
for me.
Katherine sits beside Al, absorbing the revelation.
KATHERINE
So, your plan is to take down the
Gregorios? Let the police handle it.
AL
I'm not finished.
KATHERINE
Then why send that footage and
transmission to my father?
AL
I wanted to frame them, make sure
they knew who was behind it all. The
Gregorios.
KATHERINE
And are you planning to kill them?
AL
If I can sever their connections,
that might be enough.
KATHERINE
Then why bring me here?
117.
AL
Just to reveal who I am.
KATHERINE
That's it?
AL
So that, if your father investigates,
you'll already know. I trust you. You
deserve the truth, rather than
turning me in.
KATHERINE
I understand.
Al's phone rings. He answers, revealing a serious call from
Nikko.
AL
(Into Phone)
Hello?
NIKKO
(On Phone)
Al, it's me.
AL
(Into Phone)
Nikko, what's up?
NIKKO
(On Phone)
I need to see you. Come to the
warehouse. It's urgent.
AL
(Into Phone)
Alright. Be there.
Al ends the call, putting the phone away.
KATHERINE
What's happening?
AL
My mentor needs me. It might be
serious.
Al heads towards the exit, Katherine following.
118.
Genres:
["Crime","Action","Drama"]
Ratings
Scene
34 -
A Vow of Vengeance
EXT. WAREHOUSE - DAY
Nikko stands outside, anxiously waiting. Al and Katherine
approach.
NIKKO
What's going on, Al?
AL
We're about to find out. Let's go in.
Nikko finds Katherine standing nearby.
NIKKO
And who is this?
Al turns to Katherine and faces Nikko.
AL
This is Katherine Johnson, Chief Fred
Johnson's daughter from the NYPD.
NIKKO
NYPD? Are you insane? She'll know all
our secrets.
Al looks at Katherine, affirming his decision.
AL
As soon as this is over, the NYPD
will learn the truth.
NIKKO
Fine, let's head inside.
Nikko and Al head to the entrance with Katherine following
them.
INT. WAREHOUSE - DAY
Entering the warehouse, they discover a gruesome
scene—bodies sprawled, weapons missing.
KATHERINE
My god.
AL
What happened here?
119.
NIKKO
Some group attacked them, killed them
all. Probably knew what we were up
to.
KATHERINE
Is anyone still alive?
AL
Could be. Let's find out.
Nikko, Al, and Katherine proceed deeper into the warehouse.
INT. WAREHOUSE - COMMUNICATOR'S ROOM - INSIDE
In the destroyed communicator's room, Al and Nikko find
George barely alive.
NIKKO
No.
Al kneels beside George, concerned.
AL
George?
GEORGE
Thank god, you're alive. But it's too
late.
AL
What happened?
GEORGE
Packie and his team. They took
everything, killed everyone.
AL
They took all of the weapons.
GEORGE
Stop them. They might be moving the
weapons.
AL
What's their plan?
GEORGE
I don't know. You have to stop them.
George succumbs to his injuries.
120.
AL
I'm sorry I brought you into this.
GEORGE
It's okay. They deserve this. Good
luck.
George dies. Al stands up.
NIKKO
Packie and his team did this.
AL
Yes.
NIKKO
What now?
AL
I'm going to finish them.
Al leaves the room. Nikko follows.
Genres:
["Action","Crime","Thriller"]
Ratings
Scene
35 -
Betrayal and Consequences
EXT. WAREHOUSE - DAY
Exiting the warehouse, Al, Nikko, and Katherine confront the
aftermath.
NIKKO
You can't face them alone.
AL
You're right, I won't be alone, I'll
have the weapons.
NIKKO
Do you think that's enough?
Al halts, facing Nikko.
AL
Not just me. Me and the weapons.
NIKKO
But do you think it's worth it?
Al turns against Nikko.
NIKKO (cont'd)
Look, you've already framed Packie
and the Gregorios. Isn't that enough
payback?
121.
AL
With the chaos still unfolding, not
yet.
NIKKO
All you've done has succeeded. It's
too much.
Out from behind vehicles, Packie and his team emerge, rifles
drawn. Nikko urges Al to leave.
NIKKO (cont'd)
Get out of here!
As Packie's team appears, Al runs while Packie shoots Nikko.
Al witnessed the murder.
AL
(Shocked)
No!
KATHERINE
Al, let's go!
Katherine follows Al, both escaping unharmed. The gunfire
ceases as they vanish into the distance. Packie watches them
flee.
INT. CITY - HIDEOUT - INSIDE
Al and Katherine sit on the edge of the bed, contemplating
recent events, thinking about Nikko and 'What he should've
done'.
AL
Maybe you were right. I should've
left after retrieving my share or
agreed with Nikko on other plans.
Now, those who turned against the
deal have become my concern.
Katherine urges caution.
KATHERINE
And, as I said, you could've left it
to the police.
AL
The criminals protecting the
Gregorios make it impossible for the
police. They have significant
protection.
122.
Katherine challenges his motives.
KATHERINE
Maybe if you hadn't taken on this
mission, everything would still be
normal.
AL
And if I hadn't run away from home,
it would've been better.
Katherine probes further.
KATHERINE
Did you run away from home?
AL
I did. Living with my brothers was
tough, and they made my high school
days unbearable.
KATHERINE
Why didn't your parents help?
AL
Back at the museum you asked me if I
had family? They died after I started
high school.
KATHERINE
(Understanding)
Oh, god. I'm so sorry.
AL
It doesn't matter. After graduation
as everything was still the same, I
caught a freight train, woke up by a
couple who raised me.
KATHERINE
Why were your brothers picking on
you?
AL
Just silly...
Al pauses, and shares a personal revelation.
AL (cont'd)
Remember when I showed you the
Allosaurus skeleton at the museum?
KATHERINE
Yeah?
123.
AL
I added something – Big Al. He got
injured during a hunt, survived as
long as he could, but eventually, he
died of starvation in Wyoming, USA,
145 million years ago.
KATHERINE
That's a long time.
AL
It is.
KATHERINE
Sorry to hear about your rough
childhood.
AL
Having more brothers is hard. They
become juvenile, angry. I left
because I couldn't take it anymore.
Al reflects on his journey into a criminal life.
KATHERINE
How did you end up like this?
AL
Needed someone smart, someone who
knew the steps. I was found by Nikko
and he taught me how to look after
myself in a dangerous world like
this.
KATHERINE
Couldn't you use your smarts in a
different career?
AL
No other jobs are better. People
dislike their duties, tasks, and the
way they get paid.
KATHERINE
You have to be competitive and smart
to go after what you want.
AL
Absolutely.
KATHERINE
I will be smart enough to get into
university.
124.
AL
It's expensive, and not everyone gets
a job right after graduation.
KATHERINE
I'll do whatever it takes to be
competitive and qualified.
AL
That's the spirit. Do your best.
Katherine, with a sigh, comforts Al.
KATHERINE
You know, my father is probably
concerned that you might be
dangerous.
AL
He might be right.
KATHERINE
Unlike me, the way you saved me and
my friends back at the club, taking
matters in your hands and wiping out
some of the criminals. I don't see a
dangerous man.
AL
What do you think?
KATHERINE
I believe that you're trying to be
better.
AL
I believe you may be right about
that.
They're interrupted by the sound of the door opening.
KATHERINE
What's that?
Al looks up at the door.
AL
Someone might be outside.
Katherine heads to the door, but suddenly, Kane bursts in
and quickly grabs her. Katherine struggles against Kane's
hold as Derek and Michael handle Al.
125.
KATHERINE
No! Let me go!
Packie, Derek, and Michael enter, taking control.
AL
(Yelling)
Hey!
Packie taunts Al with his gun pointing down on Al.
PACKIE
Look who's back from the dead or
extinction, Al Stratham, or should I
say Big Al? Recognize the suit? We
didn't pay you the share alive, we'll
take it dead.
Al resists.
AL
Millions come from the stolen money
you took from innocent people.
PACKIE
Where do you think most of that money
comes from?
AL
This is for a purpose, a job.
PACKIE
Just because you're smart, you know
the steps. The first night you tried
to find us, but you were too busy
saving this young woman for the right
thing.
Packie turns to Katherine.
PACKIE (cont'd)
They were about to kill you, but the
dinosaur saved you. I can't wait to
finish what they couldn't do.
AL
Packie, let her go.
Packie dismisses Al's plea.
126.
PACKIE
Once we take her to do what we
should've done, you won't care about
her. Once a criminal, you don't care
about those people.
AL
I would've changed, and you never
would've turned against me.
PACKIE
Now you're not the same. You framed
us at the museum, framed the
Gregorios.
AL
And you killed Nikko and those people
at the warehouse.
PACKIE
Consider us even. He'll hear what
we'll do to you. Once we head to the
shipment, you'll be left behind.
AL
I let you get away with this a few
times, but not this one.
PACKIE
We'll see. Good luck.
Packie turns to Derek and Michael.
PACKIE (cont'd)
Derek and Michael, I'll send a
recruit on the inside to deal with
him.
MICHAEL
Right.
DEREK
We'll meet you there when it's all
done.
PACKIE
Right, see you soon.
Kane takes Katherine as they leave. Al watches them go.
127.
Genres:
["Action","Crime","Thriller"]
Ratings
Scene
36 -
Turning the Tables
INT. CITY - ALLEYWAY - INSIDE
Two cars are parked, and Packie, and Kane handling the
struggling Katherine are leaving the hideout.
KATHERINE
Let me go!
PACKIE
Put her in the back and guard her.
Kane complies.
KANE
Sure.
Packie directs the others.
PACKIE
I need a volunteer to drive us to the
docks, and one to head inside to
execute Big Al.
One punk heads back through the hideout as the other one
prefers to head to the first car and drives. Packie prepares
to leave.
PACKIE (cont'd)
Let's go.
Pack gets in the passenger seat of the car where Kane and
Katherine are.
INT. CITY - HIDEOUT - INSIDE
Al remains seated on the edge of his bed, restrained by
Derek and Michael. A menacing punk enters, brandishing a
gun.
DEREK
Get ready, Al. Just look up, smile if
you want, and wait for the flash.
Al bows his head, anticipating the shot. The punk clicks the
gun, but Al seizes the moment. With swift agility, he pulls
Michael in front as a human shield. The gunshot rings out,
and Michael falls lifeless. Pushing the lifeless body aside,
Al turns to face Derek, delivering a powerful headbutt.
Derek stumbles backward.
AL
I've had enough of your games.
128.
Al charges toward the punk, wrestles for control of the gun,
and directs it toward Derek.
AL (cont'd)
Where are they heading?
DEREK
Go to hell, you dinosaur out of hell.
Unfazed, Al coldly responds.
AL
We'll see, but you'll be there before
I will.
Without hesitation, Al pulls the trigger, ending Derek's
life.
INT. CAR - DAY
Kane is guarding Katherine in the back. A punk drives as
Packie gets a call from James.
PACKIE
(Into Phone)
Hey James, it's me.
JAMES
(On Phone)
Packie, have you found and executed
Big Al?
PACKIE
(Into Phone)
I've got Michael and Derek to handle
the rest and one of your people to
finish him.
JAMES
(On Phone)
Good. And the shipment?
PACKIE
(Into Phone)
It's ongoing. We rendezvous at East
Hook docks, and we've got a witness
hostage.
JAMES
(On Phone)
Good. Call me when you succeed.
129.
PACKIE
(Into Phone)
I'll send you a text this time.
JAMES
(On Phone)
Get a move on.
Packie hangs up.
INT. STREET - DAY
The bustling city streets are filled with cars, motorbikes,
minivans, and trucks navigating the urban landscape.
Packie's car, carrying Kane and the captive Katherine,
maneuvers through traffic.
INT. CITY - HIDEOUT - INSIDE
The lifeless bodies of the punk, Michael, and Derek lay
sprawled across the room. Al, having changed into his tight
suit, seizes the moment. He retrieves the gun from the
fallen punk, a cold determination in his eyes. The room
echoes with a subtle beep from the wrist computer concealed
in the wardrobe. Al strides over, revealing a hidden
compartment. He retrieves the wrist computer and activates
it, causing a holographic display to materialize. The
holographic interface projects a transmission log, and Al,
with focused intensity, selects the most recent one. The
transmission begins to play, unraveling the unfolding
events.
PACKIE
(On Transmission)
Hey James, it's me.
JAMES
(On Transmission)
Packie, have you found and executed
Big Al?
PACKIE
(On Transmission)
I've got Michael and Derek to handle
the rest and one of your people to
finish him.
JAMES
(On Transmission)
Good. And the shipment?
130.
PACKIE
(On Transmission)
It's ongoing. We rendezvous at East
Hook docks, and we've got a witness
hostage.
JAMES
(On Transmission)
Good. Call me when you succeed.
PACKIE
(On Transmission)
I'll send you a text this time.
JAMES
(On Transmission)
Get a move on.
The transmission ends.
AL
But not for long.
He turns to the Allosaurus endo-skeleton inside the
wardrobe.
Genres:
["Action","Crime","Thriller"]
Ratings
Scene
37 -
Tension at the Docks
EXT. DOCKS - DAY
The expansive docks extend along the waterfront, featuring
large carrier boats anchored at the harbor for overseas
shipments. The hustle and bustle of the shipping area are
evident.
INT. DOCKS - DAY
Within the docks, a massive carrier boat is tied to sturdy
posts, awaiting the loading of shipments. Cranes dot the
harbor, ready to transfer cargo from boat to truck. Cars
drive alongside the docks, following a designated pathway.
Packie emerges from the last car, striding purposefully. He
opens the back door, instructing Katherine to exit.
PACKIE
Out you get.
Kane, the last one out, closes the car door and assists
Packie in handling Katherine. The trio proceeds towards the
entrance of a nearby warehouse.
131.
INT. DOCK'S WAREHOUSE - DAY
The warehouse interior is vast and mostly empty, save for a
few parked cars and criminals organizing the stolen weapons
and explosives. Packie and Kane usher Katherine inside. The
surroundings echo with the clatter of weapons.
PACKIE
Kane, find a spot to hold her for a
while.
KANE
Sure.
Kane leads Katherine to a designated area, securing her. The
criminals diligently continue their tasks, arranging the
looted goods.
PACKIE
Alright, everyone, let's get this
shipment ready! Move it!
Packie's command echoes through the warehouse as the
criminals intensify their efforts.
EXT. POLICE DEPARTMENT - DAY
Outside the police department, officers engage in various
activities. Some chat by their parked cars. Suddenly, the
Big Al descends onto the roof of a police car, folding its
wings. Police officers react with surprise.
INT. POLICE DEPARTMENT - OFFICE - INSIDE
Fred, engrossed in paperwork, is interrupted by a hurried
police officer.
POLICE OFFICER #4
Chief?
Fred looks up, annoyed.
FRED
What is it now?
POLICE OFFICER #4
It's the Big Al, outside, right away!
Fred's frustration intensifies.
132.
FRED
Have every officer ready! Pursue the
Big Al!
He rises, determined to address the sudden threat.
EXT. POLICE DEPARTMENT - DAY
Police officers bustle around the front steps, clutching
radios and coordinating a city-wide alert. Suddenly, a
thunderous roar reverberates through the air. Officers
instinctively glance upwards, their faces hardening as they
spot the figure of Big Al atop a nearby building.
The dinosaur roars again, its eyes gleaming with a
challenge. It turns sharply and takes off, sprinting down
the rooftop with rocket-powered heels igniting beneath it.
Sirens wail as the police officers scramble to their cars,
tires screeching as they speed off in pursuit.
INT. DOCKS - DAY
The docks sit eerily quiet, the dim lighting and sparse
activity masking the tension that brews inside the
warehouse. A few cars are parked haphazardly outside,
waiting to make a quick getaway.
INT. DOCK'S WAREHOUSE - DAY
Inside, the space is a chaotic flurry of motion. Crates of
weapons line the walls, and masked criminals weave between
them, shouting orders as they prepare for the imminent
shipment. Packie stands near a makeshift command post,
eyeing the scene. His gaze shifts to Katherine, who sits
tied up against a column, guarded by a pair of thugs. A
flicker of unease crosses Packie’s face before he quickly
masks it.
Kane approaches, his expression grim, wiping sweat from his
brow.
KANE
(Almost whispering)
We're almost ready for shipment.
Packie nods but keeps his eyes on Katherine for a beat
longer.
133.
PACKIE
(Slightly
distracted)
Good.
Kane follows Packie’s gaze to the hostage, then clears his
throat, drawing Packie's focus back to the present.
KANE
What about the hostage?
Packie glances at his watch, then turns sharply to face
Kane.
PACKIE
(Tightly)
Once we hear from Derek or Michael.
Kane frowns, clearly uncomfortable with the lack of
information.
KANE
It’s been nearly an hour, and we've
heard nothing. Derek or Michael
haven't updated us on Big Al.
Packie’s jaw tightens. He scans the room, mind racing. His
eyes settle on Katherine again, her eyes burning with
defiance despite her fear. A moment of doubt flickers across
his features, but he shoves it down.
PACKIE
(Snarling)
Right. Finish up, and we’ll call them
to confirm our location.
Kane lingers for a moment, his gaze searching Packie’s for
some unspoken direction, but finally nods and moves away,
casting a wary glance back at Katherine.
Genres:
["Action","Crime","Thriller"]
Ratings
Scene
38 -
Docks of Desperation
EXT. DOCKS - DAY
The distant rumble of the Big Al's approach grows louder. It
decelerates with an almost mechanical precision, rocket
heels flaring before extinguishing as it comes to a halt a
few yards from the warehouse. The air around the docks seems
to grow colder, charged with an electric sense of
foreboding.
134.
INT. DOCK'S WAREHOUSE - DAY
The air inside the warehouse hums with tension. Packie
paces, his eyes darting between the exit and the stacked
crates. The sudden, ear-splitting roar of the Allosaurus
echoes through the steel structure, causing everyone to
freeze. Kane looks at Packie, his face pale.
KANE
(Whispering,
unnerved)
Is that what I think it is?
Packie’s eyes narrow, his hands instinctively reaching for
his weapon. He forces a calm he doesn’t feel.
PACKIE
(Steely)
It is. Assemble your men. Check it
out.
Kane hesitates for a fraction of a second, then nods,
gesturing for several crew members to follow him. They jog
towards the entrance, weapons drawn and eyes scanning for
movement.
EXT. DOCKS - DAY
Kane leads the men out of the warehouse, spreading out into
a defensive line. The Big Al stands at the edge of the dock,
its form partially obscured by the shadows of the
containers. In its grip, four rifles glint in the dim light.
An eerie moment of silence descends, filled only by the
distant creak of metal and the slap of waves against the
dock.
Kane swallows hard, raising his weapon as the others do the
same. For a heartbeat, nothing happens. Then, with a sudden,
terrifying speed, the Big Al charges forward. Gunfire
erupts, bullets ricocheting off its armored exo-suit. The
creature retaliates, launching a coordinated barrage of
bullets from its rifles, cutting through the line of
criminals with ruthless efficiency.
Kane falls back, fear and fury etched on his face. As he
raises his weapon to fire again, the Allosaurus skull’s
remote head extends, spewing out a cone of flame. A wall of
searing heat rushes over them. Kane’s scream is lost in the
inferno as he and the other criminals writhe before
collapsing. The Big Al pauses, assessing the charred scene,
its head turning toward the warehouse as the faint wail of
sirens grows louder.
135.
INT. DOCK'S WAREHOUSE - DAY
Inside, Packie stands at the center, eyes fixed on the
entrance. He catches glimpses of movement and hears the
muffled gunfire and shouts outside. A low growl rumbles from
his chest as he motions for the remaining criminals to arm
themselves.
PACKIE
(Barking)
Everyone, get ready!
The door crashes open, torn off its hinges by a massive
force. The Big Al strides in, smoke trailing from its exo-
suit, its eyes locking onto Packie. The criminals open fire,
but the creature moves with a frightening blend of speed and
precision, dodging bullets and retaliating with deadly
accuracy. The Allosaurus remote hands swivel, unleashing a
storm of bullets that sends criminals diving for cover.
Katherine watches in awe and fear as the Big Al advances. It
pauses for a second, turning its head toward her. Despite
the metallic mask, there’s a hint of recognition.
AL
(Voice calm yet
commanding)
It’s alright. I’m here.
Katherine's eyes widen, a mix of relief and disbelief
flooding her face.
KATHERINE
(Voice breaking)
I knew you’d come.
The Big Al moves with surprising gentleness, using its
mechanical claws to untangle her bonds. Packie watches from
his hiding spot, hands trembling around his gun. His mind
races – escape, fight, surrender? Each option seems fraught
with peril.
AL
(Urgently)
The police are on their way. Once
you’re out, they’ll be here.
Katherine hesitates, looking at Al, fear mingling with
concern.
KATHERINE
What about you?
136.
The Big Al doesn’t answer immediately, its attention
momentarily shifting to the criminals regrouping in the
corner. Its voice, when it finally speaks, is tinged with
finality.
AL
I have to finish this. I'll be gone
by the time they get inside.
KATHERINE
Will I see you?
AL
One last time. Now go!
Katherine scrambles to her feet, running toward the exit.
The Big Al raises its rifles, turning to face the remaining
criminals. Packie watches as Katherine escapes, jaw
clenching. A part of him wants to follow, but pride and fear
root him to the spot.
With a guttural roar, the Big Al charges forward, its rifles
blazing, cutting through the warehouse like a whirlwind of
destruction. The sirens grow louder, signaling the approach
of the police. Packie’s heart pounds in his chest, knowing
his options are slipping away.
Genres:
["Action","Thriller","Crime"]
Ratings
Scene
39 -
Clash at the Docks
INT. DOCKS - DAY
Outside, the aftermath of the earlier battle is clear. Smoke
curls from burnt debris, and the wounded lie scattered.
Sirens blare as additional police cars screech to a halt.
Officers spring into action, securing the area. Katherine
emerges from the warehouse, disheveled but determined.
POLICE OFFICER #1
Chief! Your daughter is out in the
open!
Fred’s heart skips a beat as he turns to see Katherine
running towards him.
FRED
Katherine!
They meet halfway, and he pulls her into a tight embrace.
KATHERINE
(Panting)
Dad!
137.
FRED
(Holding her)
Are you okay?
KATHERINE
(Breathless)
I’m fine. Big Al… he freed me.
Fred pulls back, searching her face for the truth. Relief
washes over him, but his eyes harden with resolve.
FRED
The Big Al is still inside?
KATHERINE
(Quick nod)
I believe so.
FRED
(Firmly)
Stay in the car.
Katherine hesitates, worry flickering in her eyes, but
finally nods.
KATHERINE
(Softly)
Okay.
Fred turns to his officers, his expression darkening.
FRED
Surround the warehouse. No one gets
out without my say.
INT. DOCK'S WAREHOUSE - DAY
Inside, the warehouse is a war zone. Smoke billows from
shattered crates, and scorch marks stain the walls. The Big
Al prowls through the debris, scanning for any sign of
Packie. A faint creak catches its attention, and it swivels
just as Packie leaps into view, clad in a high-tech, armored
battle suit shaped like a hulking primate.
PACKIE
(Grinning)
Hey, Big Al. Like what you see?
The Big Al turns, its eyes locking onto the suit. For a
moment, silence fills the room, tension crackling in the
air.
138.
AL
(Calmly)
Impressive hardware. But what's the
endgame here, Packie?
Packie jumps down from the roof of a nearby jeep, his suit
hissing and whirring with mechanical menace. He cracks his
knuckles, metal scraping against metal.
PACKIE
(Smirking)
The endgame? It’s simple: crime,
chaos, control. You think you’re some
avenging dinosaur, but I’m here to
change the rules.
AL
(Voice steady)
So, it’s about power then?
PACKIE
(Laughs)
Power, fear, survival. It’s about
leveling the playing field, my
friend.
The Big Al remains unfazed, its stance shifting slightly in
preparation for what’s to come.
AL
(Slightly tilting
head)
And what will you do once you have
this… power?
PACKIE
(Grimly)
Whatever I want. And that starts with
wiping you off the map.
Without warning, Packie lunges, initiating a brutal melee.
The Big Al meets his attack head-on, blocking and countering
with fluid precision. Metal clashes against metal as they
struggle, each maneuver met with explosive force. Packie
twists, activating his suit’s rocket heels and propelling
them both through the ceiling in a fiery blast.
Genres:
["Action","Thriller"]
Ratings
Scene
40 -
Aerial Vendetta
INT. DOCKS - DAY
The warehouse roof erupts as Packie and the Big Al break
through, their rocket-powered suits streaking into the sky.
139.
Police officers shield their eyes, watching in astonishment
as the two figures hurtle upward. Fred spots the airborne
battle, his jaw clenching.
FRED
(To his team)
Get air support! Now!
INT. CITY - DAY
Packie streaks through the urban landscape, weaving between
towering skyscrapers. The Big Al gives chase, its wings
unfurling as it accelerates. In a swift move, the Big Al
closes the gap, tackling Packie mid-air. They crash onto the
rooftop of a nearby building, metal crunching on impact.
INT. BUILDING - ROOFTOP - INSIDE
Packie rolls from the wreckage, his armored suit scorched
but still functional. The Big Al stands over him, its
silhouette massive against the sky.
AL
(Mocking)
Going somewhere, you poor monkey?
Packie growls, flexing his suit’s mechanical arms. He fires
a burst of energy that the Big Al narrowly dodges. The
dinosaur skull’s remote head snaps forward, spewing a
torrent of flames. Packie braces, enduring the fiery
onslaught. His armor glows red-hot, but he emerges, a
twisted grin on his face.
PACKIE
(Wiping soot)
Is that all you've got, you overgrown
lizard?
The Big Al’s tail swings around, striking Packie with bone-
crushing force and sending him sprawling. He barely catches
himself at the edge of the roof, gasping as he pulls himself
upright.
AL
(Coolly)
It’s not about force, Packie. It’s
about ending this madness.
140.
INT. CITY - STREET - INSIDE
Packie plummets, crashing onto a parked car with a metallic
crunch. Onlookers scream, fleeing in terror. The Big Al
descends gracefully, landing a few feet away from Packie,
who struggles to stand amidst the debris.
PACKIE
(Grimacing)
Nice move… but I’m just getting
started!
With a guttural roar, Packie rips the mangled car from the
pavement and hurls it at the Big Al. The creature dodges
with ease, its movements smooth and controlled. The two
clash again, exchanging blows that echo through the street,
shattering windows and sending sparks flying.
INT. EMPIRE STATE BUILDING - ROOFTOP - INSIDE
Their battle carries them upward, finally reaching the
rooftop of the Empire State Building. Packie, breathing
heavily, glares at the Big Al, whose armor bears deep
scratches and dents.
PACKIE
(Breathless)
You… just don’t know when to quit.
AL
(Flatly)
Not until justice is served.
Packie snarls, rushing forward with a burst of energy. In a
swift move, he tears part of the Big Al’s endoskeleton free
and swings it like a club, slamming it into the creature’s
side. The Big Al staggers, briefly pinned. Packie looms over
it, eyes wild.
PACKIE
(Defiantly)
This is where your journey ends, Al!
But the Big Al, unfazed, retrieves a pistol from within its
suit. It fires, the bullet striking the pipelines on
Packie’s armor. The suit sputters, its strength waning.
Packie stumbles back, eyes wide with fear.
AL
(Calmly)
Not yet.
141.
With a powerful kick, the Big Al sends Packie sliding
dangerously close to the edge of the rooftop. It steps
forward, pistol in hand, aiming at Packie’s exposed chest.
PACKIE
(Yelling, desperate)
You sure you want to do this?! Think
of what you're becoming!
The Big Al pauses, its gaze locked onto Packie. The moment
stretches, heavy with the weight of their shared past and
the destruction that has led to this point.
AL
(Voice cold, final)
This one's for Nikko.
It fires a single, precise shot. Packie gasps as the bullet
pierces his forehead. His eyes go wide, then he topples
backward, plummeting off the edge and crashing to the ground
far below.
The Big Al stands at the edge, looking down at the fallen
figure.
AL (CONT'D)
(Softly)
Your reckless journey ends here,
Packie.
The dinosaur skull remote head retracts. The Big Al takes a
deep breath, staring out at the city. With a final, weighted
glance at the rooftop, it turns and disappears into the
shadows, leaving the chaos behind.
The screen fades to black.
FADE TO BLACK:
Genres:
["Action","Sci-Fi","Thriller"]
Ratings
Scene
41 -
Bittersweet Farewell and Dark Intentions
EXT. CITY - DAY
The sun rises over the city, casting a warm glow on the
iconic New York skyline.
INT. CITY - CENTRAL PARK - INSIDE
Central Park is alive with activity. People lounge on the
grass, jog along the paths, and engage in various outdoor
activities. Katherine strolls along a scenic pathway, where
she encounters Al, lost in thought by the lake.
142.
KATHERINE
Al?
Al turns to Katherine, acknowledging her presence.
AL
Hey, Katherine.
KATHERINE
What brings you here?
AL
Just savoring my last moments here.
KATHERINE
Last moments? You're leaving?
AL
Yeah, before your father catches up
with me.
KATHERINE
He won't, not after what you did for
me.
AL
I appreciate that, but I've been on
the run since a robbery. It's time to
move on.
KATHERINE
If that's what you want.
AL
It is.
KATHERINE
I was planning to ask you to the
senior prom. Thought you'd make a
great date.
AL
(Chuckles)
As flattering as that is, I've been
out of school for years, and I'm not
keen on revisiting the past. Besides,
I'm a runaway, always on the move.
KATHERINE
Fair enough. Will we see you again?
AL
Maybe, maybe not. But I'll return
once things settle.
143.
KATHERINE
Okay.
AL
You know, back at my hideout about
what you said, you know, not seeing
me as a dangerous man, and that I'm
trying to be better. You are right
about that.
KATHERINE
And I'm glad you are being better.
AL
And I thank you for that.
KATHERINE
You're welcome. Goodbye.
AL
Goodbye, Katherine.
Al and Katherine share a final hug before he walks away,
leaving Katherine alone in the park.
EXT. GREGORIO'S HOUSE - DAY
The exterior of Gregorio's house is shown.
INT. GREGORIO'S HOUSE - LIVING ROOM - INSIDE
James Gregorio sits on the leather couch, contemplating. The
phone rings, and he answers.
JAMES
(Into Phone)
Hello?
AL
(On Phone)
It's the Big Al.
James recognizes the voice.
JAMES
(Into Phone)
Big Al? I thought you were dead.
144.
AL
(On Phone)
You should've thought twice before
turning my team against me. Now, it's
time to settle the score.
James listens attentively.
EXT. HOUSE - DAY
On a nearby rooftop on another house, Al, now as the Big Al,
kneeling and communicates via cell phone.
JAMES
(On Phone)
No matter what you do, they'll track
you down.
AL
(Into Phone)
Forget that my face is all over the
police files? You have two choices: I
kill you, or I let the police do it.
JAMES
(On Phone)
What's your plan?
AL
(Into Phone)
Your house is rigged. It'll be a
blast you and your family.
Al holds on, leaving James in shock.
INT. GREGORIO'S HOUSE - LIVING ROOM - INSIDE
James contemplates Al's threat.
JAMES
(Into Phone)
Alright, fine. I was going to offer
them forty cents on the dollar, but
I'll give you a better deal.
AL
(On Phone)
This isn't about money. This is about
justice. To teach you a lesson about
screwing over people.
145.
JAMES
(Into Phone)
You're gonna blast me! How is this
justice!?
AL
(On Phone)
Only cause' you made a rich man
yourself from criminals who steal
from the weak and vulnerable, and you
get a lot of protection in return.
JAMES
(Into Phone)
Then you understand why I'm
untouchable. No matter what happens
to me, if the police catches me, I
also own the corrupt and the lawyers,
if it's not rock solid I'll walk and
if what do you think will happen if
I'm dead? Someone much worse will
hear and my work will continue.
AL
(On Phone)
Is that suppose to scare me? If
that's how it is, if I hear those
reports regarding your scheme again,
I'll be waiting for it.
JAMES
(Into Phone)
You better go to hell for this!
AL
(On Phone)
Yes, but you'll beat me there.
Goodbye Mr. Gregorio.
Al ends the phone conversation and James braces for what
comes next.
Genres:
["Action","Thriller","Crime"]
Ratings
Scene
42 -
Final Goodbye
EXT. HOUSE - DAY
Al with detonator in hand, with a press of the button and
James' house explodes in a fiery blast. Al watches the
destruction, disposes of the detonator and cell phone with a
decisive toss. Activating his rocket heels, he takes flight.
146.
INT. CITY - DAY
The Big Al soars through the city, with its wings and rocket
heels carrying him effortlessly. He carries a bag filled
with essentials and his earnings.
EXT. CITY - DAY
Flying along the Brooklyn Bridge, the Big Al leaves the city
behind. He looks toward the horizon, ready for a new
chapter. The screen fades to black.