JERRY KOWALSKI (70s) sits at his desk with a device plugged
into the laptop. A bar across the laptop screen says
DOWNLOADING.
He has a COUGHING fit and looks around him to make sure no
one is watching.
Finally, it finishes its download. He shuts his computer and
walks out.
Jerry walks slowly and deliberately down the dimly lit
corridor and pauses in front of a display case featuring a
city block with silver skyscrapers and a large out door mall.
Jerry is gaunt and disappears in his loose fitting suit.
There are several people walking in the opposite direction.
In unison,
PEOPLE
Good night Mr Kowalski.
Jerry nods with a smile as they pass. But the smile
disappears quickly.
Jerry has a coughing fit that brings up blood and sputum into
his handkerchief. He steadies himself with one hand on the
wall.
A MAN (50s) clad in a green maintenance outfit pushes a
vacuum up the hall toward Jerry. He puts on his mask. Jerry
shakes his head, holds out a hand and wheezes.
JERRY
Don’t worry, it’s cancer, not
covid.
The man looks blankly at Jerry and then at the display.
MAN
You build?
Jerry peers at the display and shakes his head.
2.
JERRY
Over my dead body.
MAN
Que?
Jerry waves him off and watches as the man pushes the vacuum
with lackluster effort.
Jerry has another coughing attack. The man turns the corner
and disappears.
Jerry turns back to the display and looks at the model
skyscraper.
He backhands the structure so hard that it shatters into
pieces.
Genres:
["Drama","Mystery"]
Ratings
Scene
2 -
The Exchange
EXT. 30TH STREET STATION - DAY
Jerry stands at a row of lockers. He carries a back pack and
takes one of the drives out of his pocket and places it in
the bag.
He then walks across the terminal to the other row of
lockers. He places a second drive in the locker.
He exits the station.
EXT. RITTENHOUSE SQUARE - DAY
GIOVANNI GIANCA (late 60s) is seated on the park bench. He’s
a smallish pudge of a man with a full head of silver hair and
a burly moustache. He’s a larger Danny Devito with a heart of
gold. But he can be just as temperamental as Louie from Taxi.
He watches as Jerry makes his way up the path toward him. He
stands and as an old friend would, guides him to the bench
and helps him sit down.
JERRY
Don’t treat me like an invalid.
GIOVANNI
Please, I treat you like a King and
I am your servant.
JERRY
You always did put a positive spin
on things.
3.
GIOVANNI
So why the cloak and dagger
routine. You should have just come
to the restaurant for a
porterhouse.
JERRY
This is serious. But maybe tonight.
He smiles a wily smile.
GIOVANNI
Ok, ok. You said you can help me
save my property from ruin by your
boss.
Jerry takes out an envelope from his pocket and pours its
contents into his palm.
JERRY
This is all you need to know. There
are two things. This.
He holds a keys in his left hand.
JERRY (CONT’D)
And this.
In his right is another.
JERRY (CONT’D)
One will ruin Myles Bass. One will
make you a very wealthy man.
He hands them to Giovanni.
JERRY (CONT’D)
Guard these with your life. Tell no
one until I tell you it’s safe. Let
some time pass. When Myles Bass
finds out his fortune is missing,
he’ll know it was me.
GIOVANNI
If this one will ruin Bass, that’s
good enough for me. I don’t need
his fortune.
JERRY
Don’t be a pious, old man. You’ll
do right with his ill gotten gains.
Trust me. But he won’t be able to
threaten your livelihood anymore.
(MORE)
4.
JERRY (CONT’D)
Besides, maybe you’ll get to buy
that Villa in Positano some day.
Giovanni grips both keys in his palm.
GIOVANNI
Thank you, old friend. I’m indebted
to you.
JERRY
It’s time I did the right thing to
get this bastard. I’m doing it for
you as much as myself. I want to
die peacefully. My way.
Giovanni rubs his friends shoulder then grips his hand.
GIOVANNI
It’s cold and I have to get back to
the restaurant.
JERRY
I’ll sit here a while.
Giovanni rises. He places the keys in his pocket. He puts his
hand out and instead leans in and hugs his friend.
GIOVANNI
Come to the restaurant tonight for
that Porterhouse.
Genres:
["Drama","Thriller"]
Ratings
Scene
3 -
Confrontation in the Messy Apartment
EXT. ALEX’S APARTMENT BUILDING - DAY
As SAM RAINES (30s) steps out of his vintage Porsche, he
checks himself in the rear view mirror then closes the door.
He walks up the steps of the three story brownstone to the
front door which is ajar. He pauses and looks behind him
before entering the building.
INT. ALEX’S APARTMENT - DAY
Sam takes the steps two at a time to the second floor
apartment.
The door to the apartment is wide open and Sam walks in.
The sound of a BASEBALL GAME can be heard amid the cries of
joy from a man’s voice in the bedroom which is off the living
area.
ALEX RAINES (late 20s - early 30s) lies sideways on a
Barcalounger watching baseball.
5.
His legs hang over the arm rest as he tosses a ball in the
air. A baseball bat leans against the chair and there’s a
glove on the bed.
Sam pokes his head into the room.
SAM
Um, what the fuck, buddy? I bought
this place with the understanding
you’d grown up.
ALEX
What?
SAM
Doors wide open. The place is a
mess.
ALEX
I’m waiting for a pizza.
SAM
Don’t you eat at work?
ALEX
I’m hungry, now.
Alex throws the ball at Sam and he catches it with one hand.
He tosses it back to Alex.
SAM
Speaking of work, don’t you have
somewhere to be?
Alex checks the time on the clock on the wall.
ALEX
I’ve got 20 minutes before I need
to leave. You’re not the boss. And,
the Phillies are going to win. You
owe me a C note.
SAM
Daylight savings, douche bag.
You’re late. And, no way the
Phillies go the distance.
Alex looks at his phone. It’s burning up with texts from
KATIE.
ALEX
Shit. I gotta pick up Katie.
6.
SAM
You still trying to tap that?
ALEX
She’s just a friend.
SAM
Does she still open beers with her
teeth?
ALEX
Ha ha.
Alex texts her back that he’ll be there in five. He leaps to
his feet and quickly changes into his uniform - black pants,
white shirt and bow tie.
ALEX (CONT’D)
Why are you here?
SAM
I need my stash.
Alex sighs.
ALEX
I thought you stopped dealing.
SAM
Give me a little credit.
Alex scowls with feigned disgust.
ALEX
You never learn. But I’m glad to
get that shit out of here.
ALEX (CONT’D)
Do me a favor, just stay out of
prison, please.
SAM
Trust me, I’m not going back there.
ALEX
Why not? It gives you an excuse to
rub up against a few hairy bulls in
the shower. Admit it.
Sam lunges for Alex. Alex leaps back and grabs a bat. Sam
tackles him on the bed and presses the bat against his chest.
ALEX (CONT’D)
Take it easy, Sally.
7.
Alex knees him in the groin and Sam rolls off the bed.
SAM
Okay, okay. You always go for the
jewels.
ALEX
Not much of a fortune.
Alex straightens his bow tie.
Sam stands up and as he does, hits Alex in the balls. Alex
drops to the ground in agony.
SAM
Never, ever let your guard down
with someone whose been to prison.
ALEX
You were at a country club. That’s
a cheap shot.
Sam walks into the living room. He kicks aside a throw rug.
He feels the floor board with his hands until he find the
right one. He opens it, revealing a stash of marijuana in a
large vacuum packed seal.
He turns toward the door.
SAM
See you at the restaurant. Douche.
ALEX
Wait! Can I have a ride?
SAM
Later dude, I have too many stops
to make and unless you’re a babe
with a “bodacious set of tatas”
there’s no chance of you ever
riding in that car.
Alex walks after him.
ALEX
K, that’s not even funny anymore.
And, you stole it from Officer and
a Gentleman. Loser. Total chick
flick!
Alex slams the door, still aching.
He walks over to the carpet and straightens it out.
8.
Genres:
["Drama","Comedy"]
Ratings
Scene
4 -
Enchanted Encounter
EXT. WALNUT STREET - NIGHT
A dented, older model Honda turns down a narrow, residential
street off of Walnut Street and stops in front of a three
story walk up.
As Alex gets out of the car, the front door opens and an
elderly woman, JENNY (65) in a bathrobe pokes her head out
the door. Behind her comes an AIDE who takes Jenny’s hand.
AIDE
Come Ms. Jenny, it’s cold out here.
Staring blankly, Jenny holds the railing. Her lower jaw bobs
up and down and she glares at Alex.
ALEX
Hi Jenny.
Alex waves. She scowls. The aide guides her back to the door
as KATIE (20s) squeezes by. In a hurry, she hands the aide
some money and says something to her.
Alex watches as she comes down the steps. He is enchanted by
her.
Katie quickly gets in the car.
Genres:
["Drama","Romance"]
Ratings
Scene
5 -
Morning Commute to Gio Cucina
INT. ALEX’S CAR - DAY
They drive in silence for a moment. Katie is miffed.
KATIE
We’re going to be late.
ALEX
We’re fine. Grammy seems a little
irritable this morning.
KATIE
You might not need this job, but I
do.
ALEX
Now, who’s crabby?
Silence for a moment as they drive.
KATIE
I was up all night with her. Sorry.
9.
Alex drums the steering wheel as he navigates the busy
street.
ALEX
I get it. Trust me. Been there.
Katie has Taylor Swift good looks. She is well above his
grade, but hope carries the day.
Alex glances at her and smiles awkwardly.
ALEX (CONT’D)
You in tomorrow?
KATIE
I’m covering for Debbie.
ALEX
Again?
KATIE
Her daughter’s back in dialysis.
He looks off to the right as the fog settles over the river.
ALEX
Poor kid.
They continue is silence until he pops in his Neil Diamond
CD. Forever in Blue Jeans is the first song to play.
KATIE
I swear you’re from a different
era.
He looks at her.
ALEX
Got it from my mother. His music
soothed her through chemo. Brought
back a happier time.
KATIE
Aww. What was her favorite song?
ALEX
This one. Forever in Blue Jeans.
She said it was about her and my
dad.I believed it was about them.
But, as I grew older, I realized he
wasn’t who she thought he was.
Katie makes small circles with her index finger on her knee.
10.
KATIE
I’ll have to listen to it, again.
ALEX
Well, here we are.
He pulls up to the parking lot of Gio Cucina.
ALEX (CONT’D)
My mom wanted me to make it big
someday and name a cancer center
after her. Not making much progress
on that front.
KATIE
You’re young, still.
Gio Cucina is located along a heavily trafficked street. The
3- story converted house stands between two buildings with
“SOLD” signs on them.
He turns the car off and they sit for a moment.
KATIE (CONT’D)
Can’t we just keep going all the
way to the shore? I love walking on
the beach when it’s cold.
ALEX
I wish.
KATIE
I’d like it.
Alex looks at her, but shyly looks away. He stares ahead at
the building.
ALEX
Maybe it’s passed its prime, but it
has charm.
Katie looks at the building, too.
KATIE
Have you heard anything about the
restaurant? Is Gio really going to
sell?
ALEX
As far as I know there is no sale.
Gio won’t let it go for any amount
of money.
11.
KATIE
I like that about him. He stands
for something.
ALEX
Gio is the real deal.
Silence for a moment.
They exit the car and walk toward the rear entrance.
KATIE
Listen, some of us are going to
Smokies after work to blow off some
steam.
ALEX
Yeah? A little dancing, huh?
KATIE
I’ve seen your moves. Not so bad.
ALEX
I’ll stop by, sure.
Hiding his excitement, they walk into the restaurant.
NEIL DIAMOND
Forever in Blue Jeans.....
Genres:
["Drama","Romance"]
Ratings
Scene
6 -
Empty Crypto Accounts
EXT. BASS HEADQUARTERS - DAY
MYLES BASS (60s) stands at the window of his large, spacious
office and peers down and to the right. Myles is dressed in a
pin striped suit and looks lean. He is tan and relaxed
looking like a man who has everything at his disposal.
BECK (40s) is seated in front of his desk with a leg crossed
over his knee. He is well coiffed, wearing kind of a shiny
silver suit, black shirt and tie. He’s as dangerous as they
come.
A thin, pale MAN knocks on the door. Myles turns.
MYLES
I’m in a meeting.
The man, SAMPERS (30), looks scared to death.
SAMPERS
You’re going to want to hear this.
12.
MYLES
What?
Sampers looks at Beck. Beck stares him down.
MYLES (CONT’D)
Speak.
SAMPERS
We seem to have encountered a
glitch.
MYLES
A what?
Samper looks over at Beck, again.
MYLES (CONT’D)
Go ahead, Sampers.
Sampers stands in front of him, sweating, scared.
MYLES (CONT’D)
What glitch?
SAMPERS
Maybe not so much as a glitch as,
well, deliberate theft.
MYLES
Excuse me? What did you just say?
SAMPERS
I did a routine scan of the files
and accounts. You know, the crypto
accounts which I strongly suggested
you avoid.
MYLES
What about them?
SAMPERS
The accounts are...empty. Zero
balance.
MYLES
What do you mean empty? As in wiped
out? I mean the market’s been
terrible but zero.
SAMPERS
No sir, irrespective of the bear
market.
(MORE)
13.
SAMPERS (CONT’D)
The crypto has been transferred out
and we can’t figure out to where.
MYLES
You mean I’ve been robbed?
SAMPERS
Not only that. Certain files are
missing. Files that pertain to some
of the deals and side deals. Files
that only a few people knew about.
Jerry being one of them.
MYLES
Jerry? No, he wouldn’t.
Myles picks up the phone and dials a number. It goes to voice
mail and he hangs up.
He slams the desk. He motions at Beck
Beck leaves them while Sampers wrings his hands.
Myles walks around his desk and closes the door. He motions
for Sampers to sit and Myles sits on the edge of the desk.
MYLES (CONT’D)
Now, tell me what files are
missing.
Genres:
["Drama","Thriller"]
Ratings
Scene
7 -
Giovanni's Arrival
EXT. GIO CUCINA - DAY
Giovanni Gianca leaves his condo in a hurry. Not because he
feels he’s in danger but because he’s in a good mood. There’s
a pop to his step.
Giovanni climbs into his deep burgundy colored corvette, his
one indulgence.
Giovanni drives onto the highway toward the City. He’s
drumming the steering wheel.
Giovanni pulls up in front of the restaurant.
He doesn’t notice Beck who is parked on the opposite side of
the street watching him.
Giovanni gets out of the corvette and tosses the keys in the
air as he walks up the steps to the restaurant.
14.
Genres:
["Drama","Thriller"]
Ratings
Scene
8 -
Tension at Gio Cucina
INT. GIO CUCINA RESTAURANT - NIGHT
The first thing you notice when you walk into Gio Cucina is
the deep burgundy carpet. The carpet no longer smells of
cigar smoke and the dim lights still give the restaurant an
aura of mystery and deal making.
The restaurant is booming with energy. Waiters and waitresses
navigate the close quarters and carry trays stacked with
dishes. Yet, the restaurant is remarkably quiet with just a
soft constant chatter. The kind that keeps secrets secret.
Sam stands at the host table beside a petite woman who is
speaking on the phone. She hangs up. DEBBIE (40s) leans in
and whispers, closely, probably closer than necessary.
DEBBIE
We need more capacity.
SAM
No shit. The old man won’t budge.
But I’m working on him.
A wily smile and a wink. She hip bumps him.
Katie approaches the host table gripping a bill. She tosses
it on the desk.
KATIE
The last table stiffed me.
Sam looks at the bill with false incredulity.
SAM
What do you expect? You were rude
to them.
KATIE
Rude? The old man patted my ass as
he went to the bathroom.
SAM
You didn’t have to slap his hand
away. He’s a customer.
She glares at Sam.
KATIE
You’re such an ass.
He mimes popping a bottle cap off a beer bottle with his
teeth.
She turns and walks into the kitchen.
15.
KATIE (CONT’D)
Ass hole.
Sam and Debbie bump hips again.
Genres:
["Drama","Comedy"]
Ratings
Scene
9 -
The Deal at Gio Cucina
INT. GIO CUCINA - NIGHT
Giovanni is seated behind his desk in front of two large
monitors which surveil the restaurants dining room.
Sam walks in and sits down. Giovanni looks at him. Irritated
that he neither knocked nor announced himself.
GIOVANNI
What?
SAM
We’re turning away too much
business.
GIOVANNI
You always want a little more
demand than supply. It’s called
sustainable business.
Sam shakes his head.
SAM
So, you won’t consider the deal?
GIOVANNI
I consider everything.
Sam leans in.
SAM
You could retire a very wealthy
man.
Giovanni leans back in his chair and puts his hands behind
his head.
Giovanni chuckles.
GIOVANNI
You can always retire yourself. You
drive all these fancy cars and seem
to have an endless supply of money
from God knows where.
SAM
I’m a wise investor. You should let
me manage your portfolio.
16.
Giovanni rises and switches off the monitors.
GIOVANNI
Yet you work here? Of all places.
What, are we a cover for something?
SAM
I should be insulted. But I know
you’re under stress.
GIOVANNI
How you and Alex can be related is
beyond me.
Giovanni walks over to the picture of Positano on the wall
behind his desk. He takes down the picture. It reveals a
small safe. He opens it, places the two keys into it. He
closes it, locks it, and covers it with the picture of
Positano.
Sam stares at the sweeping picture of the coast of Positano.
He looks at Giovanni.
SAM
Think about it.
Giovanni waves him away and walks out.
Sam stares at the picture of Positano. You Could retire in
Positano with all the pretty naked ladies!
Genres:
["Drama","Thriller"]
Ratings
Scene
10 -
The Pursuit
EXT. JERRY’S MERCEDES - NIGHT
Jerry drives his AUDI in the city.
A Black SUV follow close behind him.
EXT. GIO CUCINA - NIGHT
Jerry pulls his AUDI up to the VALET and hands him the keys
and a five dollar bill.
As he walks into the restaurant, he sees the black SUV pull
up to the curb.
He whispers to himself.
JERRY
Fools.
The SUV waits until Jerry is inside and then turns the corner
and parks.
17.
Genres:
["Thriller","Mystery"]
Ratings
Scene
11 -
Mysterious Encounter at Gio Cucina Restaurant
INT. GIO CUCINA RESTAURANT - NIGHT
Jerry enters the restaurant and looks around.
He is immediately approached by Alex.
ALEX
Mr. Kowalski. Nice to see you.
JERRY
Good to be seen, Alex.
Alex grabs a menu and motions to the dining room area.
Jerry shuffles behind Alex and sits down at a four person
table in the corner. His back is to the wall and he can see
the entire restaurant from his seat. His hands are folded in
front of him.
There is a menu on the table that will go untouched.
ALEX
I have a nice Chianti that we just
opened.
JERRY
Perfect.
ALEX
How are you tonight, Mr. Kowalski?
Jerry shrugs. Jerry hands Alex the menu without looking at
it.
JERRY
I want your Porterhouse, seared on
the outside, red in the middle, a
loaded baked potato and a Caesar
salad to start. I’ll have a big
piece of Tira Misu with whipped
cream.
ALEX
That’s a good choice. Celebrating
something special?
JERRY
Life. Send Gio out when he has a
chance.
Alex heads to the kitchen to place the order. Jerry watches
him as he disappears behind the swinging door.
18.
Gio emerges with a questioning expression.
JERRY (CONT’D)
I needed that porterhouse.
He smiles.
JERRY (CONT’D)
You put the keys away, safely? It
appears I am being followed. I may
have inadvertently put you in
danger coming here.
GIOVANNI
Danger? Pssst.
Giovanni motions for Alex.
Alex approaches with a bottle of Chianti. Giovanni bows
slightly and walks away.
GIOVANNI (CONT’D)
Fear not, my friend.
Alex pours him a glass of Chianti.
JERRY
You like it here, don’t you.
ALEX
I’ve worked here since I was 15.
Started with shoveling the
driveway.
JERRY
It’s quite a landmark.
ALEX
It is.
JERRY
You worried?
ALEX
Sir?
JERRY
About the plans to demolish this
place and build a hospital, hotel
and office complex?
Alex pauses and looks uncomfortable.
19.
ALEX
Yes, sir.
Jerry sighs.
JERRY
You think it’s not right, what our
organization is doing?
ALEX
I don’t have a say, really.
Jerry smiles.
JERRY
What would you do, if you were
Giovanni?
ALEX
This is all above my pay grade,
sir.
JERRY
Surely, you have an opinion about
what he should do.
Alex hesitates and looks uncomfortable.
JERRY (CONT’D)
What would you do?
ALEX
I don’t really know.
.
JERRY
You were in the service, weren’t
you?
ALEX
Yes.
JERRY
Anyone ever try to kill you?
Alex doesn’t answer.
JERRY (CONT’D)
I suspect you’ve killed your share.
Alex’s eyes shift to a table across from Jerry.
Jerry looks at the couple.
20.
JERRY (CONT’D)
Do you mind? I’m having a
conversation here.
The man and woman look away and they lean over their table.
JERRY (CONT’D)
If someone was trying to kill your
commanding officer, what would you
do?
Alex looks away, then lowers his voice.
Into Jerry’s ear, softly...
ALEX
I was a cook in the army. Never
touched my rifle. But, I’d send a
spy across enemy lines and poison
their food supply. Fastest way to
disarm the enemy.
Alex flashes a smile.
JERRY
Ah. A cook.
ALEX
I’ll get that steak for you, now.
Jerry picks up his glass sips his wine, looks into the glass
then smiles.
Genres:
["Drama","Thriller"]
Ratings
Scene
12 -
A Moment of Reflection
EXT. GIO CUCINA RESTAURANT - NIGHT
Alex is taking a quick break and leans in the doorway. He is
distracted by Katie’s tears from the corner booth.
Giovanni comforts her with a pat of the hand. She is tearful
and nodding. She rises.
KATIE
Thanks, Gio.
GIOVANNI
I’ll deal with it.
She walks toward Alex who looks on sympathetically.
KATIE
How are you and Sam brothers?
21.
ALEX
You just have to understand him.
Alex looks up and Giovanni motions for him to approach.
Alex takes his drink and heads over.
GIOVANNI
Sit. Sam is pissing off the staff
one by one.
Giovanni sighs.
ALEX
Katie is a good waitress. I’d hate
for us to lose her.
GIOVANNI
So, the dish washer turned waiter
turned host is now a manager.
Giovanni smiles proudly.
GIOVANNI (CONT’D)
We know what we are, but not what
we may be.
ALEX
Hmm?
GIOVANNI
An old saying of my Papa’s. Made me
stronger.
Giovanni appraises him with a sharp eye.
GIOVANNI (CONT’D)
I won’t sell, you know that. But
they can make life difficult for
us.
ALEX
Is there more you can tell me?
GIOVANNI
Chi Trova un Amico, Trova un Tesoro
– He Who Finds a Friend, Finds a
Treasure. When I left Positano I
vowed to create something worth
protecting. My friends are worth
protecting.
22.
ALEX
But you said they offered you life
changing money.
GIOVANNI
What would I do? Retirement is a
fast track to a grave. Besides all
my friends are here and they depend
on me.
Alex ponders this and sips his wine.
ALEX
I’d take the money and run.
GIOVANNI
You’re young. Your decisions define
you. If I take the money and
retire, what happens to what I
built? The people? The friends.
Poof. Gone.
Giovanni slides out of the booth.
GIOVANNI (CONT’D)
Who knows, but I don’t intend on
losing.
He smiles, knowingly.
GIOVANNI (CONT’D)
Talk to Sam.
ALEX
I will.
GIOVANNI
Man makes poor decisions. Learn
from it.
ALEX
I’ve had an education.
Giovanni understands and winks.
EXT GIO CUCINA RESTAURANT - NIGHT
A few drunk girls dressed in short shorts and halter tops
walk by laughing and hanging off one another.
The black SUV with two men seated in the front is parked
across from Gio Cucina.
23.
Beck’s car is still parked in the same spot.
Genres:
["Drama","Thriller"]
Ratings
Scene
13 -
The River's Secret
INT. BLACK SUV - NIGHT
LOU (50s) is in the driver’s seat beside MO (30s) who is
chewing a wad of gum and sipping a coke.
Mo has a Browning Buck Mark 22 with silencer in his lap.
LOU
You should put that thing away. You
always do this. You sit there like
your holding a baby.
Mo shrugs.
MO
It is my baby.
Lou gives Mo a look, shakes his head.
LOU
He may be armed. Mr. Bass wants
this done tonight. His words.
MO
Cleanly. He wants it done, cleanly.
LOU
We don’t have to kill him. Just get
what we came for.
Lou’s phone rings. “Maria” is calling. He glances at Mo.
LOU (CONT’D)
I gotta take it. She’s due any day.
Lou shrugs and lifts his hand and signals okay.
LOU (CONT’D)
Hi sweetheart. Uh huh, I’ll be
there tomorrow. Working. Yeah. I’m
with Mo. I know. I know. I’ll
retire some day. I’ll see you
tomorrow unless, you know, the baby
comes.
Lou hangs up.
MO
You ever find the kid who knocked
her up?
24.
Lou shakes his head.
LOU
She knows I’d take him apart. Won’t
say a word. She’s as tight lipped
as a Corleone.
Mo looks out the windshield and squints. Jerry walks out of
the restaurant and hands the valet his ticket.
Mo taps Lou and points.
LOU (CONT’D)
Finally.
They follow Jerry as he pulls off.
Jerry drives along Kelly Drive and pulls into a small parking
lot.
There are a lot of crew boats stored to the right. The
Schuylkill River glistens in the background.
There is a light fog over the river and it shines in the
moonlight.
Mo and Lou pull up behind him and get out. They approach
Jerry’s car cautiously.
Jerry opens the door and gets out.
JERRY
Well, if it isn’t Abbott and
Costello.
LOU
Very funny, Jerry.
JERRY
Are you here to do Myles’ dirty
work?
MO
It doesn’t have to get dirty.
Jerry holds his hands in front of him, palms down and fists
clenched as if being arrested.
LOU
What have you done?
JERRY
You have no idea.
25.
Jerry starts to walk toward the river. Mo and Lou take out
their guns.
Jerry walks to the edge of the river and turns to face Mo and
Lou.
LOU
Look, Jerry, we don’t have to do
this. Just give us what you took
from Mr. Bass.
MO
What you stole...
JERRY
Greed blurs the lines of loyalty,
doesn’t it boys?
Jerry takes his hands out of his pockets. In his right hand,
he is holding a small pistol.
MO
We just want to talk. Don’t be
stupid.
MO (CONT’D)
Just tell us where the drives are.
Jerry laughs.
Lou raises his gun and points it at Jerry.
Jerry holds the gun to his temple.
MO (CONT’D)
Now, take it easy, Jerry.
Jerry glances to his left at the flowing river.
JERRY
It’s all clear now. The fog is
rising.
He looks back at Mo. He shoots himself in the head and his
limp body falls to the ground.
Lou rushes to his side and pats him down.
LOU
Nothing on him.
LOU (CONT’D)
Let’s get out of here. C’mon.
26.
Mo rolls Jerry off the edge into the river.
Lou watches Jerry float face down and walks away. He holsters
his gun and gets into the car.
Genres:
["Crime","Thriller","Drama"]
Ratings
Scene
14 -
Late Night Worries
INT. MO’S CAR - NIGHT
Mo and Lou sit in silence for a moment. Finally, Lou turns
to Mo.
LOU
Mr. Bass ain’t gonna be happy.
MO
You see how his head exploded? I
won’t eat for weeks.
Lou shakes his head and starts the car.
LOU
I’m tired.
MO
So, go home and sleep.
LOU
I’m too old for this shit. I got
grandkids to think about. No
savings, no pension.
Lou glances at Mo for a beat then looks away. He knows it’s
true and it sucks.
Genres:
["Drama","Crime"]
Ratings
Scene
15 -
Getting into the Club
EXT. SMOKIES NIGHT CLUB - NIGHT
Alex looks at the line to get into Smokies. He sighs and gets
behind the last person. He sees Katie and her friends walking
toward the entrance like they own the place. She sees Alex
and he waves and walks toward them.
The bouncer lets the girls in. But when Alex is about to walk
in, he puts up the rope, blocking his path.
Katie sees this and walks up to the bouncer.
KATIE
Bobby, he’s with us.
BOBBY
Sorry, no go. Boss said no more
guys.
27.
KATIE
Please, Bobby. He’s with me. You
get to decide.
She puts her arm around him.
KATIE (CONT’D)
Please Bobby, for me? I’ll owe you
a dance.
She flashes him a smile.
BOBBY
Lapdance?
KATIE
Only if you’re a good boy.
He lowers the rope and Alex walks past.
BOBBY
Go ahead sweetheart.
Alex isn’t sure who he’s speaking to, and awkwardly says
thanks.
Genres:
["Drama","Romance"]
Ratings
Scene
16 -
Nightlife Drama
INT. SMOKIES - NIGHT
Lights flash over the dance floor as they make their way
through crowd. Bodies are bouncing to the heavy beats as
drinks flow freely.
Katie takes Alex’s hand and they hit the dance floor.
Katie and Alex are dancing to something fast. Alex is awkward
and Katie is very fluid and confident.
Drinks are poured, some light petting and kissing. The night
is going well for them and it’s as if they were a couple for
a long time.
EXT GIO CUCINA RESTAURANT - NIGHT
Giovanni stands over the hot grill making himself an omelet.
Debbie steps through the swinging doors.
DEBBIE
You want me to make you something,
Giovanni?
28.
GIOVANNI
No sweetheart. Go home. Long day.
DEBBIE
Any word on Sam?
GIOVANNI
Nothing. He’s just disappeared into
thin air.
DEBBIE
Sam was into things. Kept them
hidden. I know he had some gambling
debts.
Giovanni places the eggs onto a plate with a side of bacon
and toast.
GIOVANNI
He is like a son to me. You’re all
like my children.
DEBBIE
Awww.
GIOVANNI
That’s why I don’t sell to those
bastards. Where would I go. And
your daughter. She has a condition.
You need this job.
DEBBIE
I’d be okay.
GIOVANNI
How is she, by the way?
DEBBIE
She’s a fighter. But, you should go
to Florida.
GIOVANNI
And do what? Play golf? Play bingo?
DEBBIE
It doesn’t sound that bad.
GIOVANNI
Besides, Bass is a crook. A
dishonest man. I have proof.
This gets her attention.
29.
DEBBIE
Proof?
Giovanni smiles and puts an arm around Debbie.
GIOVANNI
Don’t worry, sweetheart. I’ve got
it under control.
Debbie watches as Giovanni sits and eats his breakfast. She
looks at the time.
DEBBIE
I need to pick up medicine for my
daughter. I’ll see you tomorrow.
As she departs, she glances back once more at Giovanni.
INT GIO CUCINA RESTAURANT - NIGHT
Giovanni puts on his coat. He feels for his keys and walks
down the steps to the kitchen toward the exit.
Giovanni exits.
Sam walks into the kitchen as Giovanni leaves. He takes the
steps up to Giovanni’s office and closes the door behind him.
He open’s Giovanni’s safe and takes the envelope out. He
opens it. It contains two keys. There is writing on the
envelope and he places it in his pocket. There is also a gun
in the safe and he takes that.
As he exits the office, Debbie is standing there with her
arms crossed.
DEBBIE
What’s up, Sailor?
He looks at her.
SAM
Nothing.
She moves in for a close hug. He greets her stiffly.
SAM (CONT’D)
Not now, sweetheart.
EXT SANSOM STREET - NIGHT
Debbie stands on the corner and watches as a white Lincoln
Navigator pull up.
30.
The rear window goes down. Myles Bass nods at her and motions
for her to come to him.
MYLES
Don’t look so upset. You’re doing
the right thing for the
neighborhood and yourself.
DEBBIE
Don’t try to make me feel better,
Mr. Bass. I have a child who needs
a kidney transplant. This is purely
business.
Myles holds out an envelope for her.
Debbie reaches for it.
Myles pulls it away.
MYLES
I need something real. Something I
can work with.
DEBBIE
Sam took something from Giovanni’s
office. I don’t know what it was.
Myles sighs, heavily.
He hands her the envelope and she looks inside it.
DEBBIE (CONT’D)
This is not the amount we
discussed. This is nothing.
MYLES
Really? You’ve given me nothing.
He motions for the driver to go. His window goes up, leaving
Debbie cursing on the sidewalk.
Myles makes a call.
Genres:
["Drama","Thriller"]
Ratings
Scene
17 -
Mysterious Instructions
INT. BECK’S CAR - NIGHT
Beck answers the phone.
MYLES (V.O.)
Sam has the keys. Follow Sam.
31.
EXT. GIO CUCINA - NIGHT
Sam locks the door to the restaurant. He looks around and
then heads to his car.
He gets into his car and guns the engine. He pulls off.
The black SUV follows him.
Genres:
["Drama","Thriller"]
Ratings
Scene
18 -
Escape Maneuver
INT. SAM’S PORSCHE - NIGHT
Sam drives calmly, but is aware he is being followed.
He drives up to a red light and guns the engine. He cuts the
wheel hard to the left and does a U-Turn, leaving the black
SUV turning, but lacking the turning radius. Mo backs up and
then goes forward which gives Sam enough time to disappear
around a corner.
He picks up the phone and dials Alex’s number.
SAM
Yeah, where you at? I need a favor.
Genres:
["Crime","Thriller","Drama"]
Ratings
Scene
19 -
Urgent Mission at Smokies
EXT. SMOKIES - NIGHT
Sam hurries into to the entrance of Smokies, bypassing the
line. He gives the bouncer a hundred dollar bill and enters.
Through the haze of the dance floor fog, he sees Alex and
rushes up to him. Sam grabs his arm.
SAM
Come with me.
He pulls Alex.
ALEX
Hey!
SAM
I need to talk to you.
Sam drags Alex to the bar. Over the music, he yells.
SAM (CONT’D)
I need you to hold something for
me.
ALEX
What’s going on?
32.
He takes Alex’s hand and slams an envelope into it.
SAM
Listen. There’s lockers that these
keys goes to. Find Ruby.
ALEX
The crypto geek?
SAM
Just do it. Get it to Ruby. He’ll
know what to do. You remember the
way we connected with him before?
ALEX
Some chat room.
SAM
Right.
Sam looks over his shoulder.
SAM (CONT’D)
I gotta go.
Sam departs.
Alex walks back out to the dance floor, but Katie is gone. He
runs outside and doesn’t see her anywhere.
Genres:
["Thriller","Drama"]
Ratings
Scene
20 -
Interrogation at Home
EXT. SUBURBAN PHILADELPHIA - NIGHT
Sam passes Conshohocken exit and gets off at Gulph Mills. He
drives along Route 320 and then turns down a sleepy street
and into his driveway.
It’s dark. Lights are out along the driveway and in the
house. The car creeps along until he comes to a stop in front
of the house.
INT. SAM’S HOUSE - NIGHT
Sam pours himself a drink and walks over to the window by the
front door. He looks at the street and sidewalk.
He walks back into the kitchen. Lou is sitting at the table
with his gun in front of him.
LOU
Hello Sam.
33.
Sam is still processing that Lou is in his house when Mo
walks in from the front.
SAM
What the fuck.
MO
Don’t what the fuck us.
LOU
We know Jerry paid a visit to the
restaurant. We know he gave
something to Giovanni and that you
took it.
Sam feigns ignorance.
Mo whacks him on the back of the head.
MO
Does that help your memory?
LOU
We know Jerry’s been in contact
with Giovanni.
MO
Where’s the drive?
SAM
I don’t know what you’re talking
about.
Mo swats him on the back of the head.
MO
Don’t be stupid.
Mo shoots Sam in the knee cap. SCREAMING out in pain, Sam
drops to the ground, clutching his shattered leg.
LOU
Mo, c’mon. We just got here.
MO
Where is the drive?
Mo steps on Sam’s leg. Sam SCREAMS out.
SAM
I don’t have it.
Mo shakes his head. He steps on Sam’s wounded leg.
34.
Sam YELPS and rolls onto his side and wretches.
LOU
Mo. Let me have a moment.
Mo kicks Sam and steps aside.
LOU (CONT’D)
Listen, Sam. I like you. I really
do. I love Gio Cucina. Their veal
is to die for. But it’s over.
Where’s the drive?
Weeping, Sam tries to gather his strength.
SAM
I gave it...
Lou leans in closer to hear.
That’s when Sam pulls out his gun and fires, grazing Lou in
the ear.
Lou falls to the ground.
Sam fires, again, but misses Mo. He pulls himself toward the
door.
Shaking his head, Mo walks up to him.
MO
That wasn’t very nice.
Mo kicks Sam in the face. He looks at Lou.
MO (CONT’D)
You know, I don’t want to kill this
guy. I don’t.
Mo kneels beside Sam.
MO (CONT’D)
I’ll ask again. Where is it?
SAM
It’s gone. It’s...
He falls unconscious.
Lou presses a hand towel from the kitchen against his wounded
ear.
Lou sighs.
35.
LOU
Leave him. I don’t want to shoot
him.
MO
But what if he goes to the cops.
Lou chuckles.
MO (CONT’D)
Yeah, I guess not.
They look at one another for a beat.
LOU
I want to see my grand daughter.
Mo nods. He gets it.
They walk out the front door.
Genres:
["Crime","Thriller","Drama"]
Ratings
Scene
21 -
The Search for Jerry
INT. BASS HEADQUARTERS - DAY
Myles Bass slams the phone down and stands up. His secretary
is used to his temperament. She looks bored.
MYLES
Where the fuck is Jerry? How can a
man just disappear?
NANCY
I haven’t seen him all day.
MYLES
What is he up to?
Myles turns and looks out the window.
NANCY
Do you want me to cancel your and
Carrie’s reservation at Gio Cucina
for tomorrow? Lunch.
MYLES
No, I want you to find Jerry.
Keep calling him.
NANCY
Mo and Lou were supposed...
MYLES
I know what those idiots were
supposed to do.
36.
He slams his hand on the desk.
Genres:
["Drama","Thriller"]
Ratings
Scene
22 -
Tension at the Diner and Gio Cucina
EXT. AMERICAN DINER - NIGHT
Lou and Mo are seated in a booth. Lou has a bandage on his
ear and cheek where the bullet grazed him.
A busboy walks by with a tray of corned beef sandwiches and
pickles, overcooked fries and bags of chips.
SHELLEY (30s) approaches them with a carafe of coffee.
SHELLEY
Lou.
LOU
Thanks.
Shelly pours a cup of coffee for Lou. Looks at Mo. But
doesn’t pour him coffee.
MO
Hey what about me?
SHELLEY
You? Huh. I don’t know about you.
MO
Come on sweetheart, no hard
feelings.
SHELLEY
No flowers, no nothing. Not even
good make up sex.
MO
Ohhh.
SHELLEY
I call ‘em how I see ‘em.
LOU
Trouble downstairs, Mo?
Lou chuckles.
MO
See what you’ve started?
SHELLEY
I got some real men to serve!
37.
LOU
Hahaha.
Shelley pours coffee for a neighboring table.
LOU (CONT’D)
That thing from last night.
MO
Uh.
Lou picks up his phone.
MO (CONT’D)
What are you doing?
LOU
Calling Myles to let him know about
Jerry.
He dials.
MYLES (V.O.)
Why am I reading about Jerry
Kowalski floating in the river this
morning and not hearing it from
you.
LOU
You said handle it. We’re handling
it.
MYLES (V.O.)
I didn’t say kill him.
LOU
He shot himself in the head.
Myles is quiet.
MYLES (V.O.)
What did that mother fucker do?
LOU
We’re following up on a few leads.
MYLES (V.O.)
If you know what is good for you,
you will find those files and my
money.
Lou motions like he’s cutting his own neck.
38.
LOU
Need a little more time.
Myles hangs up.
INT GIO CUCINA - PHILADELPHIA - DAY
Alex is in the kitchen.
Debbie stands close to him.
DEBBIE
I see Giovanni’s pet project is
hosting today.
Alex’s face reddens.
ALEX
You going to start with me?
GIOVANNI
Come, it’s time. Go to the station
upfront. And smile for our
customers. Okay, chop chop.
Giovanni claps hands.
DEBBIE
Go on, poodle boy.
Alex slams the locker shut and walks away.
Alex greets a well dressed man in a suit and tie named TONY
COTTELLE (60s). He has gray hair which accentuates his tanned
complexion. His equally tanned female companion stands beside
him.
ALEX
Hello Mr. Cottelle, nice to see you
again.
MR. COTTELLE
Alex, nice to see you.
ALEX
Table for two?
COTTELLE (60s) takes his card out of his wallet and hands it
to Alex.
MR. COTTELLE
When you’re ready to move on, call
me.
39.
Giovanni comes up behind Alex.
GIOVANNI
Hello Mr Cottelle.
MR. COTTELLE
Ah, Giovanni! I see you’re still
holding on. You remember my wife,
Francine?
GIOVANNI
Pleasure.
MR. COTTELLE
I was just trying to steal your
boy, here.
GIOVANNI
The best. The best.
Giovanni takes the menus from Alex.
ALEX
Table 3.
GIOVANNI
Ah, a good table. Quiet.
He leads Cottelle and his guest to the table.
MR. COTTELLE
Everything okay?
GIOVANNI
Nothing that I can’t manage.
Mr. COTTELLE
Good to hear. Playing any ball?
Giovanni chuckles, pats his stomach.
GIOVANNI
Not like you, me and Jerry used to
play.
Giovanni glances at the entrance and excuses himself.
Alex stands at the host table and speaks with guests.
Giovanni approaches the host table. He leans in as he scans
the tables.
40.
GIOVANNI (CONT’D)
Tony Cottelle is an old friend. We
can trust him. Now he owns half of
the city. But more importantly,
he’s an honest man. He’s a family
man.
Giovanni’s eyes widen when he sees a sharp looking man in a
fitted suit and cherry red tie enter the restaurant.
GIOVANNI (CONT’D)
This man, on the other hand, is
pure trouble for me.
Myles Bass walks in with an air of entitlement that comes
with being at the top for so many years. He is with his wife,
CARRIE (60s) who is frail looking.
ALEX
Hello Mr. Bass.
GIOVANNI
Hello Myles.
MYLES
Giovanni. How are you making out.
GIOVANNI
Splendidly. Your table awaits you.
MYLES
Excellent. You remember my wife,
Carrie?
GIOVANNI
Of course. And, I have a special
fish dish for the lady, if she
prefers.
CARRIE
Don’t go to any trouble for me.
GIOVANNI
No trouble too great for such a
lovely lady.
Giovanni takes the menus from Alex. He walks them through
the maze of tables.
Mr. Cottelle sees them.
MR. COTTELLE
Hello Myles.
41.
MYLES
Tony. Didn’t recognize you with out
the lawyers around us.
Cottelle stands and looks at Carrie who holds her clutch
close and looks a little frail.
MR. COTTELLE
We haven’t had the pleasure. Tony
Cottelle.
He extends his hand to Carrie.
MYLES
This is Carrie, my wife. Tony and I
are sometimes on opposite sides.
CARRIE
Opposite sides?
MYLES
Yes, on real estate development.
MR. COTTELLE
You are the Carrie Bass? The
artist?
CARRIE
That’s me!
MYLES
You’ll have to come by her studio
and see her in action. It’s quite
lovely to watch.
CARRIE
Not much action these days, I’m
afraid.
MR. COTTELLE
Don’t let me keep you from your
meal. Enjoy.
MYLES
Nice to run into you Tony.
MR. COTTELLE
You, as well.
Myles and Carrie follow Giovanni to their table.
GIOVANNI
Debbie will be your server,
however, I am at your disposal.
42.
Giovanni walks back into the kitchen and then peers through
the round window in the door at them. Alex comes up beside
him.
ALEX
You okay?
GIOVANNI
Let’s show them a good time and
then get them the hell out of my
restaurant. Where the hell is Sam?
Giovanni approaches from the kitchen. He brings a special
appetizer to Myles’s table.
GIOVANNI (CONT’D)
This is a special recipe left to me
by my mother. If you like it, I
will send you home with some. It
has medicinal qualities, I am told.
He looks at Carrie.
Myles rubs his chin. He motions for Giovanni to lean in.
Myles whispers.
MYLES
Jerry Kowalski was found floating
face down in the river this
morning. They say he killed
himself.
Giovanni pulls back and looks stricken.
MYLES (CONT’D)
He was against me, after all these
years.
GIOVANNI
What? No!
Debbie approaches with a breadbasket and sets it down.
GIOVANNI (CONT’D)
Would you excuse me? Life in a
restaurant is always in motion.
He walks over to another table and motions for Debbie. He
points to their glasses with no words. She brings over water.
Giovanni goes back to the kitchen.
Alex follows him.
43.
He finds Giovanni with his forehead resting against the
refrigerator. His eyes are closed.
ALEX
Gio?
GIOVANNI
This is bad. They killed Jerry.
Poor Jerry.
Giovanni shakes his head and runs his hand through his hair.
GIOVANNI (CONT’D)
This is getting out of control.
It’s my fault. I’m a stubborn old
man.
ALEX
None of this is your fault. It’s
Bass. He’s pulling the strings.
GIOVANNI
Alex, I have something to show you.
Come with me.
They go up stairs, passing Debbie who is waiting on tables.
She watches as they walk up the steps to Giovanni’s office.
Genres:
["Crime","Drama","Thriller"]
Ratings
Scene
23 -
Emergency at Gio Cucina
INT. GIO CUCINA - GIO’S OFFICE - NIGHT
GIOVANNI
I have something to show you.
Giovanni closes the door as Debbie watches from the stair
well.
Giovanni goes to the wall safe and opens it.
It’s empty.
Giovanni GASPS, grabs his chest. He releases a guttural
scream.
Debbie opens the door to office and rushes in as Giovanni
collapses into Alex’s arms.
ALEX
Help me.
Alex places a pillow underneath Giovanni’s head.
Debbie stands over him. Stares at him as he struggles.
44.
Giovanni raises his hand.
GIOVANNI
Don’t let them take my restaurant.
Giovanni closes his eyes but he is still breathing.
Debbie peers into the empty safe.
ALEX
Call 911.
Alex starts compressions.
ALEX (CONT’D)
Debbie, call 911.
DEBBIE
What was he going to show you?
She takes out her phone and dials 911.
DEBBIE (CONT’D)
I need an ambulance at 1215 Murray
Bridge Road.
She looks down at Alex as he stops compressions.
ALEX
Hurry.
Giovanni says something. Alex lowers his ear to his mouth.
GIOVANNI
The keys. The keys.
Alex looks at Giovanni.
ALEX
I have the keys, Gio. I have them.
Gio’s eyes widen. He’s struggling to breath.
ALEX (CONT’D)
Where’s the god damn ambulance?
Debbie is standing over him.
DEBBIE
What keys, Alex?
The paramedics arrive before Alex can answer.
45.
Genres:
["Drama","Thriller"]
Ratings
Scene
24 -
Hospital Update
INT. HOSPITAL HALLWAY - NIGHT
Alex is seated in the waiting room of the emergency room.
Debbie walks in and sits beside him.
DEBBIE
What keys, Alex?
Alex looks at her.
ALEX
Sam gave me a set of keys to
lockers at 30th Street.
The DOCTOR (60S) walks in.
Alex rises.
Debbie is texting something in her phone.
ALEX (CONT’D)
How is he doc?
DOCTOR
He’ll make it. But will need to
stay here for observation.
ALEX
Can we see him?
DOCTOR
The best thing you can do is go
home and get some rest. It’s late
and he is asleep.
Alex shakes the doctor’s hand and he departs. Alex and Debbie
walk to the elevator.
Debbie presses the elevator button and they enter it. The
doors close with Debbie smirking.
Genres:
["Drama","Thriller"]
Ratings
Scene
25 -
Mysterious Instructions
EXT. HOSPITAL - NIGHT
Debbie gets into her car. She take out her phone and dials a
number.
DEBBIE
I know where it is. Yeah, 30th
Street. Go there tomorrow and wait.
I’ll text you a picture of the man
you should watch for.
She starts the engine and pulls off.
46.
Genres:
null
Ratings
Scene
26 -
Ambushed
INT. ALEX’S APARTMENT - NIGHT
Alex walks up the steps to his apartment. As he opens the
door, Mo and Lou step off the elevator and rush him as he
enters.
Mo and Lou push Alex into the apartment.
ALEX
What the fuck?
MO
Shut up and sit down.
Mo pushes Alex onto the couch.
MO (CONT’D)
Sit. Where is it?
ALEX
Where is what?
LOU
We don’t have time for this. What
did Sam give you?
ALEX
Nothing. He gave me nothing.
Lou grabs him by the hair and pulls him to his feet.
LOU
I’ll start in the bedroom.
Lou drags Alex into the bedroom.
LOU (CONT’D)
Clear the shelves. Let me see
everything.
Alex moves a few books, but Lou grows frustrated and clears
the shelves with a swoop of his hand. He throws down the
book case, tosses the bed and tears the curtains.
Alex moves, but Lou takes out his gun and points it at Alex.
Lou steps over the mattress and Alex kicks him in the knee
with his heel. At the same time, he lunges for the bat. In
one swift motion, he brings the bat forward and it strikes
Lou in the temple. He drops his gun and falls onto the
mattress.
Alex grabs the gun. He can hear Mo in the other room calling
for Lou.
47.
With the bat in one hand and the gun in the other, Alex
barrels through the bedroom door into the living room and
shoots Mo in the foot.
He quickly throws the carpet out of the way and pulls the
trap door open. He grabs the envelope with the keys and
escapes into the hallway. Alex runs down the steps into the
street. Lou peers out the window, holding his head.
Alex walks quickly to his car and climbs in.
Alex takes out his phone and dials Sam but it goes to voice
mail.
SAM
What did you get me into? Dammit,
where are you?
Genres:
["Crime","Thriller","Drama"]
Ratings
Scene
27 -
Tragic Discovery
EXT. SAM’S HOUSE DAY
Alex pulls up to Sam’s house and gets out. He sees Sam’s car.
He looks inside it for a moment and then knocks on the door.
He takes out his keys and opens the door.
INT. SAM’S HOUSE - DAY
Alex walks into the house.
ALEX
Sammy?
He walks in and leaves the door open.
ALEX (CONT’D)
Sam?
He goes into the kitchen and then into the living room and
immediately sees Sam lying on his back. Alex falls to his
side. He touches his cheek and rests his hand on his neck to
feel a pulse. He tears off his sweatshirt and ties it around
his brother’s thigh. He starts compressions, but Sam is long
dead.
Hands bloodied, Alex fumbles for his phone.
OPERATOR
What is your emergency?
ALEX
My brother’s been shot.
48.
Alex wells up, looks at Sam’s body.
ALEX (CONT’D)
I think he’s dead.
OPERATOR
Where was he shot? What part of his
body?
ALEX
His leg. I tied a tourniquet around
it. But...
OPERATOR
Is he breathing?
ALEX
No. I tried compressions...I did
everything.
Alex kneels beside his brother.
ALEX (CONT’D)
Please hurry. Please.
Genres:
["Drama","Thriller"]
Ratings
Scene
28 -
The Interrogation
INT. SAM’S HOUSE - NIGHT
Sirens from an ambulance leaving the property can be heard
from inside the house.
Alex sits on the couch. A DETECTIVE (50s) walks up to him.
FITZMILLEN
I’m Detective Fitzmillen, Mr.
Raines.
Alex looks up at him in a daze.
FITZMILLEN (CONT’D)
I’m Detective Fitzmillen. I’m sorry
for your loss. I understand you
found your brother. I have a few
questions for you.
Alex doesn’t say anything.
FITZMILLEN (CONT’D)
Do you know why someone would shoot
your brother?
Alex shakes his head.
49.
FITZMILLEN (CONT’D)
What did he do for a living?
ALEX
He was a host at Gio Cucino.
An officer approaches and whispers into the Detective’s ear.
Fitzmillen looks at him and then follows him into the
kitchen.
Fitzmillen emerges from the kitchen with a large vacuum
packed bag of marijuana. He holds it out to Alex.
FITZMILLEN
Know anything about this?
Alex hesitates.
ALEX
I thought he’d stopped.
FITZMILLEN
Stopped? Using or dealing.
Alex shrugs.
FITZMILLEN (CONT’D)
Nice house.
Fitzmillen looks around.
ALEX
You mean for a restaurant worker?
Fitzmillen cocks his head to the left.
Alex sits back down.
ALEX (CONT’D)
I don’t know. He and I...
FITZMILLEN
Where do you live?
ALEX
In town.
ALEX (CONT’D)
It’s my brother’s place. He was an
investor.
FITZMILLEN
Sure. Look, I’m sorry for your
loss.
(MORE)
50.
FITZMILLEN (CONT’D)
We’ll investigate this and see
where it leads. Again, sorry for
your loss.
Fitzmillen turns. Alex looks as if he wants to say something.
FITZMILLEN (CONT’D)
Anything else suspicious about his
behavior in the last few days?
Alex pauses a beat and then shakes his head. Fitzmillen puts
away his pad and walks out.
Genres:
["Crime","Drama","Mystery"]
Ratings
Scene
29 -
Confrontation at the Train Station
EXT. SAM’S HOUSE - DAY
Alex sits in his car, head bowed, hands on steering wheel.
The cops have left him alone, now. Alex searches his pockets
for a tissue and takes out the envelope with the two keys. He
holds one in each hand and then places them back in the
envelope. He starts the car and turns and drives toward the
city.
EXT 30TH STREET STATION - DAY
Alex walks up to the entrance of the train station Terminal.
A MAN (40s) lies next to the front door of the terminal.
McDonalds' wrappers beside him.
ALEX
You okay buddy? You’re blocking the
door.
The man rises, unsteadily and holds his hand out. Alex gives
him two dollars and the man steps aside.
INT 30TH STREET STATION - DAY
Alex scans the environment.
Two banks of lockers on opposite sides of the large station.
Alex goes left, looks for the locker and pivots across the
station to the other bank of lockers.
Alex tries the key. The lock opens revealing a small black
box the size of a fob with a USB port.
He looks for and finds the second locker.
51.
Alex takes out a blue back pack and unzips it. He reaches
into it and pulls out a wad of cash and a passport. There is
a flash drive in the bag. He closes the bag and throws it
over his shoulder.
As he turns to leave, Beck hurries up to him. Beck opens his
sport coat, revealing a pistol in his waistband.
BECK
Be calm.
Alex hesitates. Tries to push past him but Beck takes out his
gun.
Beck jams the pistol into Alex’s side.
BECK (CONT’D)
Give.
He holds out his hand. Alex slowly takes the bag off his
shoulder. He hands it to Beck.
BECK (CONT’D)
Good. Now lets walk to the
bathroom.
ALEX
What? The bathroom? Who are you?
BECK
Shut up and walk.
They cross the station to the bathrooms. The enter. Beck
checks the stalls. Empty. He pushes Alex into one.
Beck points his gun to Alex’s head.
BECK (CONT’D)
Stay here and you’ll live. Move,
you die.
He raises the butt of the gun in the air and comes down on
Alex’s head. Alex slumps in the corner, bleeding from the
wound on his head.
EXT MIRRORED SKYSCRAPER IN CENTER CITY - NIGHT
Myles Bass stands on the balcony. His wife Carrie comes up
behind him and hands him a drink. She wraps her arms around
him.
CARRIE
You’ve been out here a while.
52.
MYLES
Nice night.
CARRIE
Chilly.
Bass takes off his sports coat, wraps Carrie up in it.
Mo and Lou step out onto the balcony.
LOU
You wanted to see us?
MYLES
Go on inside, sweetheart.
He kisses her. She brushes past Mo.
MYLES (CONT’D)
So? What do you have?
LOU
You said to handle it. We’re
handling it.
Myles sips his drink, chews the ice.
MYLES
Where is my money?
LOU
We’re following up on a lead.
MYLES
Following up on a lead? That’s all
you got?
Myles is incredulous.
MYLES (CONT’D)
Get out. Get me results. Morons.
Carrie comes out and stands next to Myles. They peer out over
the balcony.
MYLES (CONT’D)
You see that red light all the way
to the right?
CARRIE
Uh huh.
53.
MYLES
That’s where the Carrie Bass Center
for Cancer Research will go. I just
need to get this one property.
Otherwise, I’ll fucking, excuse my
French, build it on top of him.
CARRIE
Can’t the Mayor do something?
MYLES
I’ve got it under control,
sweetheart. Not to worry. You
feeling okay today?
CARRIE
Stronger every day.
He kisses her forehead.
Genres:
["Crime","Thriller","Drama"]
Ratings
Scene
30 -
Urgent Meeting at the Old Warehouse
EXT. BECK’S DILAPIDATED HOME - NIGHT
Beck pulls into the driveway of an old, beaten looking house
and drives into the rear. He gets out of the car with the bag
over his shoulder and enters through the rear entrance.
It’s dark. He takes out his cell phone and shines it ahead
until he finds the electricity box. He turns on the power and
immediately goes over to the table. He drops the bag onto the
table and opens it. He reaches in to the bag and pulls out
the cash which he lets drop to the floor.
He empties the bag upside down and the flash drive falls out.
He picks it up. Examines it. It’s wrong. Totally wrong.
He rushes to his computer and slips it into the USB port.
He opens file after file, but it’s not right. He’s looking
for something else.
BECK
Shit!
He pulls the drive out of the computer, places it in his
pocket and runs out of the house.
INT ALEX'S APARTMENT - NIGHT
Alex opens his laptop. He takes the drive out of his pocket
and types the address in the URL. He logs in with Sam’s
information.
54.
A dialogue box pops up and says he has 12 messages.
Alex clicks the link which opens within the site. It looks
like a simple email program. He scrolls through messages
until he finds one from Ruby. He opens a message and hits
reply.
ALEX
Sam told me to find you if I needed
help.
He clicks send. He waits and a minute later a message pops
up.
RUBY
Sam?
ALEX
I’m his brother, Alex.
RUBY
Where is Sam?
ALEX
He’s dead.
RUBY
You have something to show me?
ALEX
Yes.
RUBY
You know the old warehouse on Vine
Street that burned down?
ALEX
Yes.
RUBY
Meet me there.
ALEX
How will I find you?
RUBY
Don’t worry. I’ll find you. Make
sure you’re not followed. I’ll know
if you are.
ALEX
Ruby, what is going on? Who are
you?
55.
No response.
ALEX (CONT’D)
Ruby?
A message pops up that Ruby is offline.
Genres:
["Thriller","Mystery"]
Ratings
Scene
31 -
Mysterious Revelation
EXT. KATIE'S APARTMENT - NIGHT
Katie is seated on the steps outside her place. When she sees
Alex pull up she hurries down the steps and climbs into the
front seat.
ALEX
Thanks for coming with me.
KATIE
What’s happened to you? You ghosted
me.
Alex hesitates, tears begin to well up.
ALEX
Sam was murdered.
KATIE
What? Oh my God. Who?
Alex shakes his head, He reaches into his pocket and takes
out the drive.
ALEX
It has something to do with this.
KATIE
What is it?
ALEX
A flash drive of some sort.
She examines it.
KATIE
Never seen anything like it.
She hands it to Alex who puts it back into his pocket.
Genres:
["Thriller","Mystery","Drama"]
Ratings
Scene
32 -
The Mysterious Cellar
EXT. VINE STREET WAREHOUSE - NIGHT
The warehouse is boarded up. The windows are blacked out and
there are countless posters stuck to the outside wall of the
building.
56.
As they approach the boarded up entrance, a blinding light
shines. Alex looks up and can see a camera. He holds out the
bag. The light goes out.
They wait a few minutes and hear the sound beneath them.
There is a metal plate on the ground and they can hear it
being lifted off the ground, revealing a cellar and stairs.
RUBY (19) pokes his head out and motions for Alex and Katie
to climb down.
It’s dark and the only light is from Ruby’s flashlight. They
climb a ladder leading to an opening in the floor. Light
pours down the hole.
Genres:
["Thriller","Mystery"]
Ratings
Scene
33 -
Warehouse Interrogation
INT. VINE STREET WAREHOUSE - NIGHT
They climb out of the hole and find themselves in a dimly lit
warehouse.
ALEX
Ruby?
They follow Ruby through a door into a well lit, large room
where Ruby has five computers set up on card tables.
RUBY
Let’s see it.
He holds out his hand. Alex reaches into his pocket and hands
him the drive.
RUBY (CONT’D)
Ah good. It’s a Trezor Model T.
ALEX
What is it, exactly?
RUBY
It’s a cold storage device for
cryptocurrencies. It’s got ARM
Cortex-M4 processor at 168 MHz
embedded on STM32 F4
microcontroller.
ALEX
Whoa, English. Speak English.
Ruby smirks.
RUBY
It’s a special type of wallet that
stores the user's private keys in a
secure hardware device.
(MORE)
57.
RUBY (CONT’D)
The case is made of a reinforced
plastic providing great durability.
The casing is put together using a
method of ultrasonic welding. No
connective bolts, nails, soldering
materials, or adhesives holding the
case together.
ALEX
So it stores cryptocurrencies? And
you can hack it?
RUBY
Of course.
ALEX
You’ve hacked these before?
RUBY
Not this one, exactly. But I know
it can be done.
ALEX
How?
RUBY
Everything has its vulnerabilities.
We’ll expose them and get in.
ALEX
How long?
RUBY
Hours, days, weeks.
ALEX
No good. I need it now.
RUBY
I need some time. You can comeback
tomorrow.
ALEX
We’re not leaving here without the
Trezor.
RUBY
You’re welcome to stay. Just keep
clear and out of my way.
He leads them into another well lit room. It’s like a surgery
center. There are all kinds of screw drivers, tools,
magnifiers, soldering irons and protective eye wear.
58.
Ruby sits in front of a large screen monitor.
RUBY (CONT’D)
We get one shot at this. We’re
looking for a 4 to 8 digit code
inside this sucker. Once we have
that, you can access and see just
what is one here.
I take a percentage of the coins
that are on this device as payment.
ALEX
We don’t know what’s on there.
RUBY
My take is 10%.
ALEX
10 percent?
RUBY
Do you know how much experience you
need to do this? Listen, I’m a
cryptologist and technology
minimalist. Do you understand what
that means?
ALEX
Tell me.
RUBY
We need to glitch the fault
injection at the right time to
trick the chip to let us have
access to it. We gotta debug, copy
the source code and look for the
seed.
ALEX
The seed?
RUBY
Jesus, the security code.
Alex looks at Katie.
KATIE
You’re very experienced, aren’t
you?
He looks at her like a deer in headlights.
59.
KATIE (CONT’D)
I like the way you know your way
around the source code. But we
don’t even know what is on that
chip. So, why don’t we say 5
percent of what’s found?
ALEX
We should just go.
Katie pouts.
KATIE
But I like Ruby. I think he can
help us. You’ll help us, right
Ruby?
Ruby’s eyes are glazed as he looks at Katie.
RUBY
You’re very beautiful. And, sexy.
But 7.5% Is the lowest I’ll go.
Alex sighs.
ALEX
Okay, okay. 7.5%. Of the number of
coins.
RUBY
Value of the coins.
ALEX
Now you’re being a hog.
RUBY
The number of coins. It’s probably
a big waste of my time. But I have
a minimum of two grand.
ALEX
Fine.
RUBY
Okay. Let’s crack this baby open.
Ruby sits on a round stool in front of a well lit desk with
tools and a large computer screen.
He plugs in the device. It lights up green.
RUBY (CONT’D)
Okay, at least we know it’s
operational.
60.
He unplugs it and picks up an Exacto knife. He carefully cuts
the side of the case where there is a ridge until it comes
apart like a pistachio.
He turns and shows Alex and Katie the chip inside.
RUBY (CONT’D)
This is what you came for.
He places a magnifier on his head and pulls down the viewer.
He takes the tip of the Exacto and peels back a layer of
silicon.
RUBY (CONT’D)
Have to be careful here. I don’t
want to disturb the chip. But I
need to peel away these layers of
silicon and tape.
He picks up a small bottle with a clear liquid inside it and
carefully lets a little drop fall on to the chip. He then
wipes it with a special clothe.
He places a magnifier over his eyes.
RUBY (CONT’D)
Now, I have to remove the
capacitators to make it more
susceptible to glitching.
He uses the Exacto knife carefully and then picks up a
soldering iron.
RUBY (CONT’D)
I’m soldering the external
connectors to the Trezor.
He removes the magnifier and places it on the table. He then
picks up a USB cable that is connected to his computer.
RUBY (CONT’D)
Here we go folks. If it lights up
we can move on. If it doesn’t
you’re screwed.
He plugs it in and it turns green.
Then, the computer screen lights up. He begins typing a code
into the dialogue box.
RUBY (CONT’D)
It’ll do offset loops until it
glitches. Once it glitches, we can
get the code we need.
61.
ALEX
How will you know when it
glitches?
Ruby grins.
RUBY
I programmed it to say something.
He looks at Katie and then at the ground, snickering.
ALEX
How long?
RUBY
Could be hours. Days. Even weeks
before it glitches. So, we wait.
Get comfortable people.
There is a montage of them sitting, moving around, ordering
food. The sun goes down and they still are waiting.
The screen finally blips, but Ruby appears worried now.
RUBY (CONT’D)
Shit. We got a problem.
ALEX
What is it?
RUBY
That blip there on the device
should be solid. Now, it’s not.
Ruby puts on his magnifier and picks up the Exacto and pokes
around the Trezor.
He runs a few programs on his computer then sits back.
RUBY (CONT’D)
Okay. Okay. I diagnosed the
problem.
ALEX
And?
RUBY
The ground wasn’t connected
properly. I fixed it so, it should
resume where we left off.
Montage continues, Pizza and steak sandwiches are delivered.
Sun comes up. They are in various positions on chairs and the
couch.
62.
Then, without warning...
TREZOR
You are beautiful.
Ruby practically falls out of his chair.
RUBY
Holy shit, I was right.
He quickly runs an external program to extract the RAM.
RUBY (CONT’D)
Okay, I copied the contents of the
Trezor onto my hard drive. Now
comes the fun part.
ALEX
Which is?
RUBY
The money shot, of course.
ALEX
Okay, I’ll bite. What’s the money
shot?
RUBY
I wrote a program to search the
billion lines of code we’d have to
look through for a 4 to 8 digit
number. I should find your recovery
seed and you can access the
contents of the Trezor.
He presses start and the source code starts to scroll down
the computer.
KATIE
That’s a lot of code. How will you
know when it finds it?
He smiles, devilishly.
RUBY
Oh, you’ll know.
He sits back and watches the screen.
Then, as if on cue, the computer says:
COMPUTER VOICE
How about a date?
63.
Katie bursts out laughing. Alex looks mad.
Ruby points to the source code.
RUBY
That’s your money shot! 5-8-3-4-5
He connects the Trezor to a lap top and sits on the couch
between Alex and Katie.
The computer asks for the code and Ruby types it in.
A home page appears with an account balance of 2608.
ALEX
Are you fucking kidding me? All
this for $2608?
Ruby stands up and puts the computer down. He rubs his hands
on his thighs, nervously.
RUBY
Um, excuse me. No.
ALEX
No what?
RUBY
It’s not two thousand and six
hundred and eight dollars.
Alex looks confused.
Ruby hits a key on the computer.
RUBY (CONT’D)
It’s sixty fucking million dollars!
ALEX AND KATIE
What?
RUBY
At todays value of $23,453 for a
bitcoin, that’s sixty million
dollars that you have right there.
Alex picks up his gun and places it in his jacket pocket.
ALEX
We need to go.
64.
RUBY
Um, we need to settle up, first. By
my calculation, you owe me 196.65
Bitcoin.
ALEX
Four million dollars? You want me
to hand over four million dollars?
RUBY
You can Venmo it.
Ruby smiles and unplugs the Trezor.
RUBY (CONT’D)
I know your good for it since I
have a copy of that, now, on my
hard drive. I also have the code.
So, if I don’t receive $4.5 Million
dollars or 169 bitcoin by lets
say...two o’clock, it’s all mine.
KATIE
We’ll pay it.
RUBY
One other thing.
He holds his hands together in prayer.
RUBY (CONT’D)
I get to kiss Katie.
ALEX
Ha. Kidding, right?
RUBY
It’s not everyday a beautiful woman
pays attention to me. A little kiss
wouldn’t hurt.
Katie steps toward Ruby. She places her right hand behind his
head and slowly moves in for a kiss. At the last minute, she
steps onto her tippy toes and kisses him on the forehead.
KATIE
I’ll never forget what you did for
us.
Ruby’s face is glowing.
Alex takes her hand.
65.
ALEX
Let’s go.
They walk to the car. Ruby stands at the door and waves.
As they drive away, Katie throws him an air kiss which he
catches and throws back.
EXT PENNSYLVANIA HOSPITAL - NIGHT
Alex and Katie walk down street toward Pennsylvania
Hospital. They enter through the sliding glass doors.
INT PENNSYLVANIA HOSPITAL - NIGHT
Alex and Katie ride the elevator to the fifth floor.
The elevator doors open and Alex and Katie step out.
INT FIFTH FLOOR - PENNSYLVANIA HOSPITAL - NIGHT
Alex and Katie walk into Room 505.
Giovanni is hooked up to an IV, a blood pressure cup, and an
oxygen mask.
KATIE
Maybe we should come back.
GIOVANNI
No.
He opens his eyes and smiles at Katie.
GIOVANNI (CONT’D)
Katie.
KATIE
Hi Giovanni.
She gives him an awkward hug.
ALEX
How are you feeling, Giovanni?
GIOVANNI
Better. Ticker is still ticking.
ALEX
Heart attack?
66.
GIOVANNI
They want to keep me overnight for
observation.
Giovanni sighs heavily.
GIOVANNI (CONT’D)
I don’t know anymore. I’m a
stubborn old man. Maybe it’s time.
ALEX
What are you talking about? That’s
not the Giovanni Gianca that I
know.
Giovanni stares.
ALEX (CONT’D)
No, you can’t give in now Gio. Not
now.
GIOVANNI
So now you see who you’re dealing
with. These people are serious.
They are killers.
Giovanni coughs. A nurse comes in.
NURSE
Visiting hours are long over. It’s
time.
Giovanni takes Alex’s hand.
GIOVANNI
Go. Watch out for those thugs. If
I have to I will leave against
medical advice.
He sighs heavily.
GIOVANNI (CONT’D)
I’m afraid the information I had
against the Bass Organization is in
their hands now.
ALEX
Giovanni, That’s not altogether
true.
GIOVANNI
What do you mean?
67.
ALEX
I have the drive.
Giovanni lights up.
GIOVANNI
What how?
ALEX
Sam. He stole it.
GIOVANNI
Do you know what this means? You’ve
saved us. You’ve saved us.
He raises his hands in the air in exultation.
The nurse comes back in.
NURSE
Shh. Too much noise.
GIOVANNI
This man saved the day, Madame. He
saved the day!
The nurse shushes him with her finger over her mouth as she
escorts Alex and Katie out.
INT KATIE’S APARTMENT BUILDING - DAY
Alex stands by the window.
A black van is parked across the street.
Alex turns to Katie.
He steps away from the window.
ALEX
We need to go.
KATIE
Where?
Alex looks out the window. Beck and another man get out of
the van.
ALEX
Move. Now.
He rushes her and guides her to the door. He opens it and
Looks down the hall.
68.
ALEX (CONT’D)
Back stairs? Which way?
KATIE
To the right.
They run down the hall.
Behind them the elevator dings.
Alex opens the exit door.
ALEX
Up or down?
KATIE
Up. There’s a walk way to the
building next door. We share the
roof deck.
They run up the steps and push open the door to the roof.
Katie leads the way over the narrow walkway between
buildings.
The door to the building is open. They pass through and take
the stairs all the way down.
ALEX
We’ll head out the back way.
KATIE
Our parking lots are connected. My
car is in the far lot.
Alex throws open the door to the ground level. They spill out
onto the street behind the building.
KATIE (CONT’D)
This way.
They run across the parking lot.
KATIE (CONT’D)
Over there.
She points at a red Volkswagen Beetle.
He climbs into the passenger side. .
She starts the engine and pulls out.
69.
A RAM 150 backs into her car. Beck leaps from the cabin of
the truck and runs toward Katie’s car. He climbs into the
back seat.
INT KATIE’S CAR - NIGHT
Beck taps Alex on the side of the head with the nose of his
gun.
BECK
Tough guy, huh?
KATIE
Where exactly am I going?
BECK
We got a long night ahead of us,
sweetheart.
He rubs the nose of the gun along her cheek. She swerves
deliberately, knocking him against the door.
BECK (CONT’D)
Not funny bitch.
She speeds up.
BECK (CONT’D)
I wouldn’t.
He holds gun up to Alex’s head.
ALEX
Keep going. He won’t shoot me.
She speeds up.
BECK
Don’t tempt me. Slow down, bitch.
He whacks Alex on the side of the head with the butt of his
gun.
BECK (CONT’D)
Slow down and drive right.
He whacks Alex again on the side of the head.
Alex holds his bleeding head.
ALEX
Keep going!
70.
Katie looks at Alex. She takes her foot off gas, slowing down
to the speed limit.
BECK
Atta girl. He rubs the gun on her
ear. Atta girl.
He then whacks Alex one more time.
EXT WAREHOUSE - NIGHT
Katie pulls into driveway of a warehouse. A man opens the
garage door and Katie is instructed to pull in.
BECK
Right over there is fine.
Alex moans, sits up and looks out window. Car door opens.
TOMMY
Get out.
Alex looks up at the man standing in front of him. TOMMY
(20s) reaches down and grabs Alex by the arm and pulls him
out. Katie gets out and rushes to Alex’s side. Holds him
up.
Alex squints.
Tommy whips out a knife and holds it against Alex’s throat.
TOMMY (CONT’D)
Should I do him here?
BECK
Unfortunately, we need you alive
for now. We can have some fun with
this one. Take them to the back.
Alex and Katie roughly are taken through swinging doors.
INT WAREHOUSE - REAR - NIGHT
A television is on the far wall. The baseball game is on.
Game three. Phils are up 7 to nothing. Beck eyes the
television and shakes his head.
BECK
Fucking Phils.
Tommy motions for Alex and Katie to sit on the couch.
71.
TOMMY
Your problem, Beck, is you always
pick the losers. I mean the Phils
are going all the way.
BECK
As a faithful Texan, I disagree.
Alex goes to stand.
Tommy jumps at him and pushes him back down.
Tommy and Beck are whispering back and forth. Tommy turns
and clasps hands together.
TOMMY
Okay, here’s how it’s going to be,
Alex. We’re going to ask you some
simple questions. You are going to
answer. If not, we start working on
this pretty number.
KATIE
He’s not giving you shit!
Beck slaps her.
ALEX
I don’t know anything.
TOMMY
First: Where is this drive?
ALEX
How should I know? Listen, fellas,
you got it all wrong.
Beck motions at Tommy. Tommy steps over to Katie and hits
her again.
ALEX (CONT’D)
C’mon man! Leave her. We don’t
know anything.
TOMMY
Stop lying.
He pistol whips Alex. He searches Alex’s pockets and finds
the Trezor.
Tommy opens up his computer and inserts the USB. A passcode
protection page appears.
72.
TOMMY (CONT’D)
Now, tell me what the code is and
we’ll make this as painless as
possible.
KATIE
Go to hell.
He grabs her by the hair and pulls her head back. He
straddles her and kisses neck.
BECK
You smell good.
Alex struggles.
ALEX
Get off her.
BECK
Mmmm, look at these fine titays.
He cuts her shirt away. Leaving her in her bra.
TOMMY
This is on you Alex. Cut her loose
and take her to the back room.
Beck laughs and claps his hands together. He grabs a bottle
of whiskey.
Katie struggles as Beck cuts her loose. Hands free, she
scratches his face. He strikes her and she falls to the
ground.
ALEX
Okay, okay. I’ll give you the
code. But you have to let her go.
Beck stands Katie up next to him.
BECK
Start talking.
KATIE
Don’t!
ALEX
Let her go.
Beck pushes toward the door.
ALEX (CONT’D)
Run!
73.
She hesitates.
ALEX (CONT’D)
Run!
Beck fires a shot into the air. Katie is frozen in place.
Beck walks up to Alex and strikes him in the face.
Katie runs toward him and Beck catches by the wrists and
drags her into the back.
Tommy, meanwhile, is holding Alex who struggles to get free.
Beck takes Katie into the back.
Alex watches as the door closes. He throws his entire body
into Tommy’s and knocks him down. They are fighting for the
gun. It goes flying onto the ground.
They are wrestling when they hear a loud screech of a man
from the other room.
Tommy freezes for a second. The door to the room opens and
Beck runs out with blood pouring from his crotch area. Katie
comes out of the room with blood on her face.
Alex strikes Tommy, rolls him onto his back and lunges for
the gun. He grabs it and hits Tommy in the head several times
until he is subdued.
Beck is lying face down on the couch crying and in agony.
Alex walks up to him. He grabs a handful of his hair and
pulls his head back.
BECK
I’m gonna kill you!
Alex hits him several times in the head with the butt of the
gun.
Hand bloodied, he looks back at Katie who is wiping the blood
from her chin.
He bashes Beck one last time.
Genres:
["Crime","Thriller","Drama"]
Ratings
Scene
34 -
Tensions Rise
INT. KATIE’S APARTMENT BUILDING - DAY
Katie is in the bathroom gargling.
She throws down the towel and walks into the bedroom. She
sits on the bed. He sits beside her and rubs her back.
74.
ALEX
I’m sorry.
She looks at him.
KATIE
Not your fault. And I appreciated
you bashing his head in.
She shakes her head.
Alex rises and places his hand on her head.
ALEX
I’m thankful you are okay.
He heads to the door and looks back.
KATIE
I’m going to my place. Let’s meet
in the restaurant.
INT HEADQUARTERS - DAY
Myles stands at the window staring down. His secretary is
sitting by his desk.
MYLES
Where the fuck are those two
clowns? Call them again. This ends
today.
His secretary rises and goes out to her office.
Myles dials a number and slams the phone down.
MYLES (CONT’D)
Son of a bitch! Get me Beck! Get
the car ready.
Genres:
["Crime","Thriller","Drama"]
Ratings
Scene
35 -
Deadly Standoff on the Yacht
EXT. KATIE’S APARTMENT - DAY
A black SUV pulls up to Katie’s apartment.
Mo and Lou get out and walk casually up the steps to the
apartment.
EXT GIO CUCINA RESTAURANT - DAY
Alex sits at bar having a drink. He is alone. He dials
Katie’s number. It goes to voicemail.
75.
BARTENDER
You look like shite.
Alex tosses a ten dollar bill onto the bar.
He takes out his phone and dials. Voice mail.
His phone rings.
ALEX
Katie?
MYLES (V.O.)
Wondering where your girl is?
ALEX
MYLES?
MYLES (V.O.
That’s right. You think you can
steal from me? God damn amateurs.
ALEX
Where is she?
MYLES (V.O.)
In a safe place for now.
ALEX
Myles whatever you’re thinking...
MYLES (V.O.)
You have no idea who I am or what I
am thinking. Where are you?
Alex closes his eyes.
ALEX
Gio’s.
MYLES (V.O.)
Stay put.
He hangs up.
Mo and Lou walk in.
ALEX
C’mon guys.
76.
EXT ATLANTIC OCEAN - MYLES’ YACHT
Alex sits in a small bedroom, tries the door however it is
locked.
Alex looks out a small window and sees the ocean.
He hears voices outside the door.
Lou walks in.
LOU
Hey kid.
ALEX
I can make you very rich.
Lou chuckles.
ALEX (CONT’D)
Seriously.
Lou motions for Alex to be quiet.
LOU
Mr. Bass wants to see you.
ALEX
Where’s Katie?
LOU
On deck. Go ahead.
He ushers Alex out of the cabin and down the narrow hall. It
opens into a big living room area.
ALEX
Big boat.
LOU
Yes it is.
They go up the steps to the main deck. Sun’s shining. Myles
is in a Hawaiian shirt and shorts. Katie is seated in the
corner. When she sees Alex, she leaps to her feet and they
embrace.
KATIE
Thank God you’re okay.
ALEX
You okay?
He touches her cheek.
77.
MYLES
Sweet lovebirds.
He laughs.
MYLES (CONT’D)
A rare find.
Myles motions at Lou.
Lou grabs Katie and puts a gun to her head. He whispers in
her ear.
LOU
Hang tough.
MYLES
This should be an easy decision for
you.
ALEX
Put the gun down, Lou.
ALEX (CONT’D)
I’ll give you the code. But put
the gun down.
Lou looks at Myles. Myles shrugs.
MYLES
Fine. Give it.
Alex hesitates.
MYLES (CONT’D)
Shoot her.
He points at Katie. Lou points his gun at her.
ALEX
Wait!
MYLES
Shoot her.
Lou looks at Mo, shakes his head.
Mo points his gun at her. He hesitates.
Lou shifts his eyes away from Mo.
MYLES (CONT’D)
I said shoot her!
78.
Myles pulls out a gun and points it at Katie. Alex pushes her
to the ground as Myles pulls the trigger, striking him in the
leg.
Lou points his gun at Myles, but hesitates.
Myles raises his gun and shoots Lou. As he falls, Lou shoots
Myles.
The gun falls near Alex. He picks it up.
Myles is wounded. He turns to Mo and points at Alex.
MYLES (CONT’D)
Shoot him.
Mo looks at Lou who is dying.
Mo raises his gun, but the sound of a gun going off startles
him.
Myles’ is struck by a bullet and he falls overboard.
Alex drops the gun.
Mo stands by the edge of the boat as Myles’ body floats to
the surface.
Genres:
["Thriller","Drama","Action"]
Ratings
Scene
36 -
Hospital Policy
INT. CENTRAL HOSPITAL - DAY
Alex stands in his hospital room without a shirt. He has a
bandage wrapped around his hand, foot and leg.
He looks over his shoulder as Katie comes into the hospital
room with a wheelchair.
ALEX
I can walk.
KATIE
They said it’s hospital policy.
He sighs, grabs the plastic bag with belongings and sits in
the wheelchair.
Genres:
["Drama","Thriller"]
Ratings
Scene
37 -
The Decision
INT. ALEX’S APARTMENT - DAY
Alex and Katie walk into his apartment. He immediately moves
the carpeting and pries up the floorboard. He gets the Trezor
device.
79.
KATIE
What are you going to do with it?
ALEX
I’ve thought long and hard about
it. It would be easy to keep it.
He pauses and looks at it.
ALEX (CONT’D)
Giovanni said to me that decisions
you make will define who you are as
a person.
He rises and gets an envelope. He places the Trezor into it
and writes the passcode on the envelope.
Genres:
["Thriller","Drama"]
Ratings
Scene
38 -
The Envelope of Trust
EXT. STARBUCKS - DAY
Tony Cottelle walks up to Alex and shakes his good hand. They
sit outside underneath an open awning.
MR. COTTELLE
So, tough few weeks since Gio’s
murder.
ALEX
It has been.
MR. COTTELLE
You said you had something for me
that you thought Gio wanted me to
have?
ALEX
Gio said I could trust you. That
you were one of the good guys.
He places the envelope on the table and pushes it toward
Cottelle.
ALEX (CONT’D)
We need to talk about the future of
Gio Cucino.
MR. COTTELLE
That’s all well and good, but Gio
is dead. He was Gio Cucina.
ALEX
His spirit is still with us.
He points at the envelope.
80.
MR. COTTELLE
What’s that?
ALEX
Gio always said to trust you.
Cottelle smiles.
MR. COTTELLE
Good old Gio.
Alex pushes the envelope toward Cottelle.
MR. COTTELLE (CONT’D)
You know, there are a lot of people
looking for this.
Alex nods.
MR. COTTELLE (CONT’D)
Then I think I know what we need to
do.
Cottelle stands and puts the envelope in his breast pocket.
MR. COTTELLE (CONT’D)
See you around.
ALEX
I’m counting on it.
Genres:
["Crime","Thriller","Drama"]
Ratings
Scene
39 -
Remembering Giovanni
EXT. GRAYSON NORTH CEMETERY
Alex stands in front of a head stone. It is his brother’s
headstone.
He kneels on one knee. He lays a baseball bat and baseball
down in front of it.
ALEX
Sammy. Phils finally made it to
another World Series. Katie and I
are still at it. You should see Gio
Cucino, buddy. You wouldn’t believe
it.
He rises. He looks over his shoulder as Katie approaches with
three beer bottles.
She opens all three with her teeth. She hands a bottle to
Alex and places the other on the tombstone.
He raises his bottle and he and Katie toast.
81.
In the distance there is a fog moving fast over the river.
TITLE CARD
TWO YEARS LATER
EXT GIO CUCINO RESTAURANT - DAY
Gio Cucina restaurant is the flagship anchor for this multi-
use building including the Virginia Raines Cancer Center,
offices and condominiums. The original building is
surrounded by mid-sized buildings
INT GIO CUCINA RESTAURANT - DAY
Tony Cottelle is seated with Alex and Katie. They are
devouring the meal in front of them.
MR. COTTELLE
Where did we find this chef?
ALEX
He came over from La Pierre.
MR. COTTELLE
And when is New York slated to
open?
ALEX
Three weeks.
MR. COTTELLE
When is the wedding?
ALEX
After the opening in New York.
We’re going to Europe. Scout out
new recipes.
MR. COTTELLE
All work, my friend. Take some
time. Enjoy. You earned it.
Alex raises his glass.
ALEX
Chi Trova un Amico, Trova un Tesoro
Tony raises his glass.
82.
MR. COTTELLE
To Giovanni.
They CLINK glasses.
EXT BEACH SCENE - DAY
Summer bodies on the beach in Positano. Picturesque views of
the multi-colored roof tops along the coast.
We see Giovanni sitting on a chaise lounge chair sipping a
margarita. He looks lean and fit. He has a report on his lap
titled GIANCA/RAINES HOLDINGS. He tosses it onto the chair
beside him and puts his hands behind his head.