The man is SAMMY TOMASINO (60s), once imposing, now weathered
by the passage of time. He gazes ahead with a distant stare.
He lights a cigarette and takes a deep long drag. Sammy hears
faint, slowly approaching footsteps, but doesn’t turn.
Unfazed. Unbothered.
A PERSON, not revealed, is now standing directly behind
Sammy. But Sammy’s still looking out beyond the water.
SAMMY
The kids used to love it up here.
Fishing and hunting... But this one
time, Sarah left her dog out, and a
pack of wolves ripped it to shit.
Spoken with an Italian/Canadian accent. New Yorkish, with a
hint of French Canadian overtones poking through.
SAMMY (CONT’D)
I taught the twins how to make
booby traps. Survival shit, you
know? A few months later, we left
Sarah and Jackie here for two days
on their own. Mickey was still a
baby. The twins were thirteen, or
something.
(smokes his cigarette)
They turned this place into a mine
field and killed every single one
of those fuckers.
(proud, but...)
That was the last time we were all
up here.
(another drag)
This is my first cigarette after
just getting out of a ten year
stretch.
(flicks his cigarette)
Make sure my wife doesn’t find me.
A beat. And then a gunshot echoes out against the calm of the
outdoors.
2.
Genres:
["Drama","Crime","Thriller"]
Ratings
Scene
2 -
Dreams and Dangers
EXT. SNOWY FORREST - DUSK - DREAM SEQUENCE
In the midst of a snowstorm, a terrified YOUNG GIRL confronts
a ravenous WOLF. The menacing wolf advances slowly as the
girl retreats, her back pressed against a tree, armed only
with a hunting riffle. She takes aim. The wolf growls.
Then, he pounces.
INT. APARTMENT BEDROOM - MORNING
A WOMAN’s eyes snap open. She draws a deep breath through her
nose. She’s fit, 40s, a glimpse of a full right arm tattoo
peeks from beneath her long-sleeved shirt. Her left hand is
hidden beneath a pillow. This is SARAH WILLIAMS.
Her ten year old daughter GRACE sneaks in the room.
GRACE
Mommy...? There’s no toast.
SARAH
Have some cereal.
Grace leaves.
GRACE (O.S.)
You’re out of that, too.
Sarah finally reveals the police issue 9mm pistol hidden
beneath the pillow.
ESTABLISHING: GREATER TORONTO AREA - SAME TIME
The streets are decorated for the holiday season and bustling
with morning SHOPPERS: FATHERS, MOTHERS and CHILDREN.
BRUNO GRECO, stocky and in his late forties, walks out of
TOYS R US holding a shopping bag in one hand, and a cell
phone to his ear in the other.
GRECO
What do you want from me? I’ve been
in five stores and I can’t find
that dollhouse.
A BLACK SUV slows down near Greco. The back window slides
down. Greco has no idea what’s about to happen.
GRECO (CONT’D)
What do we tell her? Santa’s fat
ass couldn’t motivate the elves to
make enough fucking dollhouses.
3.
The muzzle of an automatic peeks out. A flurry of bullets
pulverize Greco and fathers, mothers, and children. The
horrified PEDESTRIANS duck for cover as the SUV peels off.
Genres:
["Drama","Thriller"]
Ratings
Scene
3 -
Tensions Under the Christmas Lights
INT. SARAH’S VEHICLE - LATER
Sarah's gaze locks onto Grace through the rear-view mirror,
staring out the window, ignoring the Christmas music playing
on the radio as they drive through a suburban neighborhood.
SARAH
Sorry about breakfast.
GRACE
Daddy makes me pancakes in the
shape of a snowman. Sometimes he
puts chocolate chips.
SARAH
Your father has too much time on
his hands.
She pulls up to a modest house, well decorated for the
holidays.
SARAH (CONT’D)
Alright, Gracie. Have fun with dad.
GRACE
Are you coming to the Christmas
pageant on Thursday?
SARAH
Thursday's tough. Mom's got work.
GRACE
Daddy said you’d say that.
SARAH
What else does he say?
GRACE
That you’d rather spend your time
chasing scumbags and that you’ve
got deep rooted trust issues.
SARAH
(under hear breath)
This fucking guy...
GRACE
What’s a scumbag?
4.
SARAH
It’s a grown up word. I’ll see you
this weekend. Tell daddy I wanna
talk to him.
As Grace is about to get out.
SARAH (CONT’D)
Wait... Alright, I’ll be there.
GRACE
You promise?
SARAH
I promise
GRACE
That’s what you said last time.
SARAH
This isn’t last time. Now where’s
my kiss?
Grace kisses Sarah on the cheek before heading to her father,
ANTHONY WILLIAMS, forties, African-Canadian, and eagerly
waiting by the front steps.
GRACE
She’s coming!
ANTHONY
She is?
Anthony approaches the car. Sarah slides the window down, her
face a mask of controlled emotion.
SARAH
Scumbags? Analyzing me in front of
our daughter isn’t making this any
easier on her.
ANTHONY
This break was your idea.
SARAH
So was marrying a psychiatrist. You
can add it to my list of issues.
ANTHONY
Are you planning on coming home,
anytime soon? She needs her mother
more than twice a week.
5.
SARAH
Don’t drag Grace into this.
ANTHONY
Fine. But you’re still going by
Williams, which means you’re still
my wife.
SARAH
Christ sake, Anthony... I just
buried two people, and I’ve got an
entire city up my ass. Can we not?
ANTHONY
I’m glad you’ve got your priorities
in order. Luckily, so do I.
I’ve accepted the Vancouver
teaching job in the spring.
Sarah’s affect darkens as the implications dawn upon her.
SARAH
Why are you lumping this on me now?
ANTHONY
Because there’s never a good time
with you, Sarah! I’m doing what’s
best for our daughter. This isn’t a
place for kids anymore.
SARAH
You’re not taking her away from me.
Don’t you know I’d never let
anything like that happen?
ANTHONY
Then come with us.
SARAH
I have a job. Who the hell do you
think I’m doing all this for?
ANTHONY
We both know this was never about
Grace.
Sarah's phone rings. Caller ID: BOBBY MILLER.
ANTHONY (CONT’D)
You better answer that. See you on
Thursday.
Anthony walks away and ushers Grace back into the house.
6.
SARAH
(into phone)
It’s my day off.
BOBBY (V.O.)
Sorry boss. There’s been another
one. Someone took out Bruno
Greco...
(deep breath)
Three kids were killed. Cap wants
us standing by.
Sarah’s expression hardens. She glances at Grace in the
window, who offers a half-hearted smile.
SUPER: COMBINED FORCES SPECIAL ENFORCEMENT UNIT HEADQUARTERS
Genres:
["Drama","Crime","Thriller"]
Ratings
Scene
4 -
Tension on the Streets
INT. SARAH’S VEHICLE - LATER
Sarah pulls up to a swarm of angry CITIZENS surrounding the
building. POLICE OFFICERS hold them off as she exits her
vehicle in the motor pool.
Her phone rings. Call display: EMMA. She ignores it.
Three men in their thirties are seated in chairs watching the
press conference on a monitor: Officers MATTHEW SILVA, JOHN
DAVIES, and BOBBY MILLER - A covert unit of “O Division”.
By the monitor is a large white board with MUGSHOTS of
various members of the TORONTO MARINO CRIME FAMILY on one
side with the MONTREAL VECCHIO CRIME FAMILY on the other -
organized in a pyramid hierarchy.
On the monitor -
INTERCUT WITH:
Genres:
["Crime","Thriller","Drama"]
Ratings
Scene
5 -
Press Conference Tensions
INT. PRESS CONFERENCE - CITY HALL - CONTINUOUS
The CHIEF OF POLICE (55) is standing behind a podium getting
grilled by jumpy JOURNALISTS.
JOURNALIST #1
Can you confirm one of the victims
was Bruno Greco, a captain for the
Marino Crime Family?
7.
CHIEF OF POLICE
Bruno Greco was one of the victims.
JOURNALIST #2
Can you shed light into any
progress with the investigation?
CHIEF OF POLICE
We won’t be sharing any details,
but rest assured this remains the
department’s top priority.
Sarah sits next to Bobby, her dependable number two.
SARAH
What’s the latest?
BOBBY
They’re gonna burn the Chief and us
with him.
JOURNALIST #3
(on the monitor)
Greco is the tenth high-profile
member of organized crime killed in
the last year, and civilian
casualties continue to rise. This
is unusual of the mafia. Any
thoughts on the Marino/Vecchio
blood feud, which some claim the
CFSEU intensified when Officers
Palmieri and O'Brien were killed?
CHIEF OF POLICE
(on the monitor)
The Special Enforcement Unit has
done a great job combatting
organized crime. It has my full
support and I won’t stand for
outlandish accusations. We should
all be mourning the victims and
their families. No further
questions.
CAPTAIN ERIC MCKENNA, 50s, storms in and shuts the monitor.
8.
MCKENNA
A witness at the shooting picked up
the suspect’s license plate.
INTERCUT WITH:
EXT. HIGHWAY GAS STATION - ABOUT AN HOUR AGO
An Ontario Provincial Police cruiser slows down after
spotting the black SUV. Two ONTARIO PROVINCIAL POLICE
OFFICERS exit the vehicle, draw their weapons and engage. But
so do the SUSPECTS...
MCKENNA (V.O)
Unfortunately some troopers didn’t
get the do not engage order before
attempting an arrest.
MCKENNA
North by highway eleven, with every
trooper out head hunting.
SARAH
Chief’s orders?
MCKENNA
Immediate action.
There’s a knock on the door. McKenna steps out into the
hallway. Through a window, Sarah spots RCMP CHIEF
SUPERINTENDENT BRADLEY CALLAHAN, 60, in full dress uniform.
SARAH
(to Miller)
Who’s that with Callahan?
With them is a slender woman in a trendy black trench coat:
SPECIAL AGENT REBECCA RYAN, 50s, who seems to be handling the
conversation not going McKenna’s way.
9.
Genres:
["Crime","Thriller","Drama"]
Ratings
Scene
9 -
Doubt and Defense
INT. HALLWAY - CFSEU HEADQUARTERS - CONTINUOUS
Ryan peers into the briefing room window.
RYAN
Who’s running point?
MCKENNA
Sergeant Williams.
Sarah and Ryan make eye contact.
RYAN
Is she reliable?
MCKENNA
(obvious irritation)
Reliable? What U.S department did
you say you were from again?
CALLAHAN
Captain...
RYAN
I was told you’d be cooperative.
MCKENNA
Sgt. Williams is one of our most
decorated officers.... Six years of
SWAT, and another five with the
Montreal major crimes unit that
brought down a Canadian mob family.
Yeah, I’d say she’s reliable.
All eyes on Ryan, standing confidently, chewing gum, thick
dossier in her hands.
MCKENNA
You all know Chief Callahan. This
is Special Agent Ryan with the U.S
State Department. She’ll be
unofficially leading the manhunt.
10.
CALLAHAN
Special Agent Ryan has offered
assistance based on her deep
knowledge of our shooters.
SARAH
Deep knowledge?
RYAN
The suspects are part of a broader
investigation that found its way
into your country.
BOBBY
How broad?
RYAN
That’s classified.
The silence in the room is so thick, it feels suffocating.
RYAN (CONT’D)
I’m here to help, officers.
Sarah gives Bobby a quick look.
CALLAHAN
Something on your mind, Sgt.
Williams?
SARAH
All due respect, sir... we don’t
need their help.
RYAN
I disagree.
(to Callahan)
Sir, if I may...
(back to Sarah)
Your unit was federally appointed
to protect citizens against
organized crime. But how many
meaningful arrests has it made over
the last year?
SARAH
Since when does State Department
care about Canada?
RYAN
Since this morning.
Ryan heads to the white board and stares at it for a moment.
She opens her dossier and takes out three photographs.
11.
RYAN (CONT’D)
(holds up first picture)
Aslan and Alu Usumov. Former
SPETSNAZ, explosives experts, and
certifiable psychopaths. Known as
the Authority in the New York
Bratva. They inherited the title
after their father's demise.
She sticks them on the board between the two crime families.
RYAN (CONT’D)
(second picture)
Trying to earn his stripes is their
kid brother Ivan...
She sticks him next to his brothers.
RYAN (CONT’D)
(third picture)
Boris Deniev. A soldier slowly
making his way up the Russian Mob
food chain. He was at the scene
with Ivan and the shooters.
Up he goes. All four men are in their thirties.
RYAN (CONT’D)
Power grabs are straightforward
when you set your enemies against
each other.
SILVA
Bullshit. No way the Russians move
against the Italians.
RYAN
Word from New York is that the
Usumovs split from Russian
leadership. We believe a rogue crew
from an Italian family is backing
their move.
SARAH
Which family?
RYAN
The State Department is confident
that it’s the Vecchios. This is
where Deniev comes in. He's looking
for a way out and ready to provide
information in exchange for
immunity.
12.
CALLAHAN
The State Department needs your
unit to make the extraction. Intel
shows they’re hiding two hours
north from where those troopers
where hit. A perimeter’s been set
up in this area. You’ll be linking
up with Provincial Police’s mobile
command.
(to Ryan)
Choppers standing by?
RYAN
With a support team.
SARAH
How accurate is the intel?
RYAN
Accurate as it gets. All you need
to do is blow down their door.
The men look to Sarah for some semblance of approval.
Genres:
["Crime","Thriller","Drama"]
Ratings
Scene
11 -
Confronting Shadows
EXT. MOTOR POOL - CFSEU HEADQUARTERS - MOMENTS LATER
The unit, in tactical gear, loads up into FOUR POLICE CHEVY
SUBURBANS. Sarah and Ryan jump into the lead vehicle. Sarah
rides shotgun with Ryan in the back. Behind the wheel is the
support team leader: a brick shit house named AVERY (45).
RYAN
Sgt. Williams, this is Avery. He’s
here to make sure your Kevlar
doesn’t get shredded with armor
piercing bullets.
Sarah offers a tight, professional nod. The convoy peels out,
sirens screaming a path through the city's traffic.
INT. CHEVY SUBURBAN - CONTINUOUS
Sarah holds a riffle between her legs, barrel pointed down.
She eyes Ryan through the rear-view mirror. Ryan opens a
folder with Sarah’s police record.
RYAN
(eyes on the file)
Those two cops that were killed...
your guys, right? How’d it happen?
Sarah's eyes drop to the rifle, then shifts to the city.
13.
SARAH
Palmieri and O’Brian got tipped off
about a shipment coming in -
“Shipment” peaks Ryan’s attention.
SARAH (CONT’D)
- The whole thing was a setup.
RYAN
Does it comfort you in knowing who
you’re fighting?
SARAH
No it doesn’t.
Ryan flips to a newspaper clipping tucked in the folder:
“OPERATION HOCHELAGA - Organized Crime’s Back Broken.”
RYAN
McKenna says you were hot shit in
Montreal.
SARAH
For a minute.
RYAN
Why the transfer?
SARAH
I hated the weather.
Ryan chuckles and looks out the window as they speed by a
rundown city that’s become the personification of crime.
Filthy and crumbling. Homeless tents fill the sidewalks,
abandoned businesses, and vandalism with no signs of hope to
a potential restauration.
**THE SCENE WILL INTERCUT IN AND OUT OF THE VEHICLES**
Ryan watches as TWO BEAT COPS grapple with TEENAGERS. Her
gaze is steady, eyes tracking every move.
RYAN
Ever feel like you're just plugging
holes in a dam that's about to
break?
On a side street, POLICE stand in a loose circle. Three
BODIES on the ground, draped in white blankets. The
BYSTANDERS are a mix of faces, all with the same empty stare.
Sarah catches the scene in a quick glance.
14.
SARAH
Better than just watching the flood
to come in.
RYAN
Do you think these people would
even notice if it did?
SARAH
I’ve got orders, agent Ryan. I
suppose you do as well.
Ryan gives a half-smile, more bitter than amused.
RYAN
I used to think like that. Then I
realized that orders and all that
bureaucratic horseshit never seems
to matter.
SARAH
No pushback at the State
Department?
RYAN
Methods are only questioned when
they don’t deliver.
SARAH
If you’re so successful then why’s
your problem shooting up my town?
Avery looks at Ryan through the mirror.
RYAN
You mean Bruno Greco? Justice
served from what I hear.
SARAH
I mean Kids! Regular people just
trying to buy Christmas gifts.
Where’s their justice?
Ryan disagrees. She smirks and shakes her head.
RYAN
Well Sgt. Williams... You’re about
to find out.
Genres:
["Crime","Thriller","Drama"]
Ratings
Scene
12 -
Mission Briefing at the Airstrip
EXT. AIRSTRIP - LATER
The Chevy Suburban convoy approaches. Two choppers are
standing by. Main rotors already spinning.
15.
INT. CHEVY SUBURBAN - CONTINUOUS
Avery jumps out. Ryan gets a text message. She hands Sarah a
tablet with a digital map highlighting the location.
RYAN
Satellite imagery shows the black
SUV from the shooting. I only need
Deniev, so don’t feel compelled to
restrain yourself on the others.
Sarah swipes to an image of the SUV by a cabin.
SARAH
Yeah... I’ll keep that in mind.
RYAN
(mocking salute)
Happy hunting, Sergeant.
Stern stare from Sarah before she gets out.
Genres:
["Crime","Action","Thriller"]
Ratings
Scene
13 -
Mission Preparation: A Tense Flight
INT/EXT. CHOPPER 1 - SAME TIME
The unit assembles by Sarah. She shows them the map.
SARAH
Location confirmed.
DAVIES
You guys friends, now?
SILVA
Williams doesn’t have friends.
BOBBY
I don’t like it, boss.
SARAH
Neither do I.
(looks at the guys in the
eyes)
Palmieri... O'Brien. This one’s for
them. Load up.
That’s all the reassurance they needed. They all fist bump
and get in a chopper.
A SUPPORT TEAM enters the other chopper. Ryan too.
16.
EXT. SARAH’S CHOPPER - DAY - MOMENTS LATER
As they soar above the snowy expanse of northern Ontario,
Sarah's gaze fixates on the unending sea of trees below.
EXT. NORTHERN ONTARIO WOODS - LATER
It’s quiet. Only wind through branches, and the subtle sound
of boots slowly marching through snow. Sarah’s unit moves in.
The surroundings evokes a sense of claustrophobia in Sarah.
BOBBY
You good?
Sarah nods and pushes on.
Sarah spots an OLD CABIN ahead by a make shift road. The
black SUV is parked nearby. She eyes support approach their
position west of the cabin.
AVERY (V.O)
(on Sarah’s com)
In position.
BOBBY
Positive ID on the vehicle.
SARAH
(Ryan’s com)
Eyes on target.
Genres:
["Crime","Action","Thriller"]
Ratings
Scene
14 -
Tension in the Cabin
INT. OLD CABIN - SAME TIME
DENIEV stands by a window, automatic rifle in hand. He eyes
IVAN, behind him by a fire. With them are two other men: MIRO
and ILYA (40s) focused on prepping their weapons from a cache
stamped U.S 4056: automatic rifles, grenades and ammunition.
DENIEV
(in Russian)
When do we move out?
IVAN
When our plane arrives. There’s an
air field nearby.
DENIEV
Plane? What kind of plane?
IVAN
A small one...
17.
EXT. MOBILE COMMAND POST - SAME TIME
Ryan steps out. She looks out over the perimeter of POLICE
VEHICLES surrounding the heavily forested area. She receives
photos on her phone: SAMMY TOMASINO’S CORPSE - followed by a
TEENAGED SARAH, and A TEENAGED BOY: Sarah’s twin brother
JACKIE TOMASINO, standing on a dock by a lake.
INT. OLD CABIN - CONTINUOUS
Deniev gives the Russians a glance. Miro and Ilya are still
on their weapons. Ivan continues to stare into the fire.
DENIEV
I'm going for a piss.
IVAN
Bring in more wood!
Deniev steps out, leaving his rifle behind.
EXT. WOODS NEAR THE OLD CABIN - CONTINUOUS
Sarah and her unit take up a position with the cabin in sight
ahead. Deniev is suddenly spotted outside.
SARAH
(into com)
Eyes on Deniev.
As Sarah's team stays hidden, they watch support approach the
cabin. The support team ignore Deniev.
SARAH (CONT’D)
(into com)
Support, Deniev is in the open.
BOBBY
What the hell are they doing?
INT. OLD CABIN - CONTINUOUS
Ivan notices Deniev’s rifle by the door. He suspiciously
heads to the window and scans outside. All is quiet. His eyes
are dead focused ahead as he continues to scan.
18.
EXT. WOODS NEAR THE OLD CABIN - CONTINUOUS
Sarah zero’s in on Ivan in the window. Her heart is racing.
Her breath hastens. Time seems to slow down, apart from the
falling snow. Support continues the approach.
A bird suddenly flies out of a tree, cutting the tension. It
distracts Sarah and gets the attention of -
Genres:
["Crime","Thriller","Action"]
Ratings
Scene
15 -
Under Fire: The Cabin Showdown
INT. OLD CABIN - SAME TIME
Ivan jerks his head to Sarah’s position. The two lock eyes.
Ivan opens fire on Sarah.
EXT. WOODS NEAR THE OLD CABIN - CONTINUOUS
Sarah and her team take cover. Bullets pulverise the fallen
logs protecting them.
INT. OLD CABIN - CONTINUOUS
Miro and Ilya each head to a window and fire on the support
team with a barrage of bullets.
EXT. MOBILE COMMAND POST - SAME TIME
Ryan listens in -
SUPPORT #2 (V.O)
(Ryan’s com)
Taking heavy fire!
EXT. OLD CABIN - SAME TIME
Sarah eyes Deniev hustling through the woods.
SARAH
(into com)
Eyes on target, command. I’m
engaging!
RYAN (V.O)
(Sarah’s com)
Negative! Hold position.
Ivan makes a run to the SUV. Sarah and Silva break cover.
SILVA
Engaging!
19.
Ivan fires one into Silva’s vest! The bullet goes through. He
continues to fire on Sarah’s position. She takes cover behind
a tree.
SARAH
(into com)
Silva’s down! Repeat. Silva’s down!
Genres:
["Action","Thriller"]
Ratings
Scene
16 -
Confrontation at the SUV
EXT. BLACK SUV - CONTINUOUS
Ivan gets behind the wheel. Sarah comes out of cover.
SARAH
Freeze!
Ivan fires back. Sarah takes cover once again. She fires back
and puts five into Ivan through the windshield.
Bobby runs to Sarah’s position.
BOBBY
You alright?
SARAH
Fine!
A support member tosses a flashbang into the cabin. A
blinding light flashes.
BOBBY
Jesus Christ...
Bobby and Sarah watch support rush into the cabin and execute
Miro and Ilya.
AVERY
Clear!
SARAH
(to Bobby)
Stay with Silva. I’m going after
Deniev.
BOBBY
Shit, Williams! Wait -
Genres:
["Action","Crime","Thriller"]
Ratings
Scene
17 -
Confrontation in the Woods
EXT. NORTHERN ONTARIO WOODS - MOMENTS LATER
Sarah rushes after Deniev, suddenly coming to a halt. She
raises her rifle, scanning in all directions, her breaths
heavy. The dense forest seems like a labyrinth, with every
tree appearing eerily identical, trapping her in confusion.
20.
She hears footsteps and takes cover behind a tree.
Sarah comes out from cover, rifle pointed and - POW! She
takes a hard right to the face and is knocked to the ground.
Deniev approaches and picks up her rifle.
DENIEV
(rifle pointed)
Stay down!
Deniev has no Russian accent.
DENIEV (CONT’D)
You’re out of your depth, Sergeant.
Don’t try to be a hero.
BOBBY (O.C.)
Put the fucking gun down!
Deniev drops the rifle as Bobby rushes in behind him, keeping
his rifle on him.
BOBBY (CONT’D)
Hands behind your head!
Deniev obeys. Sarah stands and picks up her rifle.
DENIEV
I’d stay out of this one. Call it,
professional courtesy.
SARAH
Fuck curtesy. You’re under arrest.
Genres:
["Action","Thriller","Drama"]
Ratings
Scene
18 -
Confrontation at the Cabin
EXT. OLD CABIN - MOMENTS LATER
Sarah approaches with Deniev. She spots Davies tending to
Silva. They eyeball support exiting the cabin with the
weapons caches, loading them into SUVs.
DAVIES
(to Sarah)
Silva’s stable but he needs a med-
evac, now.
Sarah eyes the U.S 4056 tag on one of the caches.
AVERY
We can take it from here, Sergeant.
The support team surrounds her.
21.
SARAH
We’ll be bringing him in.
AVERY
Those aren’t our orders.
SARAH
They are now.
AVERY
(into com)
Ryan, we have an issue.
SARAH
Is that her?
Avery points his finger up dismissively as he gets his
orders.
SARAH (CONT’D)
(into com)
Ryan, I’ve got tactical command!
(dead air.)
Ryan?
(to Bobby)
My coms are down.
BOBBY
Mine too.
Avery nods to his team. Two of them approach Deniev.
Support draws their weapons on Sarah. Bobby is flung to the
ground by a support member, rifle pointed at him. One of the
members points his rifle at Davies before he has a chance to
move. Davies freezes.
SARAH
What do you think you’re doing!?
AVERY
(points his gun at Sarah)
Final warning, Sergeant. Hand me
your riffle.
SARAH
You’re gonna shoot police officers?
AVERY
I’d rather not.
Sarah, with a decisive motion, tosses her rifle over to
Avery. The rest of her team also give up their weapons, each
one surrendering their arms reluctantly.
22.
AVERY (CONT’D)
(to support)
Move out!
Avery listens to his com.
AVERY (CONT’D)
Med-evac on the way, Sergeant.
Support and Deniev get into one of the SUVs. Sarah and Bobby
incredulously watch them drive away.
Sarah pockets a black tipped bullet casing.
BOBBY
You wanna tell me about what
happened back there?
McKenna and Ryan debrief. NEWS FOOTAGE of the raid plays on a
monitor with the headline: SUSPECTS IN DEADLY DOWNTOWN
SHOOTING NEUTRALIZED IN CFSEU OPERATION.
MCKENNA
We have a way of doing things
around here, Ryan. A blood bath
with no actionable intel isn’t
something Chief Callahan will take
lightly.
RYAN
The shooters were found and Deniev
was caught. Take the win, Captain.
Sarah’s fury can be heard from outside the room -
SARAH (O.C.)
Where the fuck is she!?
Sarah storms in.
23.
SARAH (CONT’D)
(to Ryan)
If any of your men ever point their
gun at me, I’ll put you in the
fucking ground.
MCKENNA
Williams!
SARAH
Captain, Ryan jeopardized the
entire operation!
RYAN
Take it up with Chief Callahan.
SARAH
What should I bring up first? That
Deniev was one of yours or the
weapons caches you retrieved?
Ryan sighs.
MCKENNA
What are you talking about?
SARAH
U.S 4056. It was on the caches her
team dragged out of the cabin right
after they took Deniev and pointed
a fucking gun to my head!
RYAN
- Captain, I suggest you get a
handle on your officer before she
catches a cold -
MCKENNA
Enough! Ryan, you better start
talking. What’s the State
Department really doing here?
RYAN
I’m not with the State Department.
Deniev’s cover or the caches
weren’t disclosed for reasons of
national security.
SARAH
Don’t give me that national
security bullshit. You’re a spook
just covering your own ass!
24.
Ryan flashes a sly smile, one that suggests she knows
something nobody else in the room does.
RYAN
We appreciate the assist, Sergeant,
but let’s cut the shit -
Ryan flips open a folder and slides a photo of SAMMY'S CORPSE
across the table. Sarah's gaze flickers to the image, her
expression a mix of contained shock and disbelief.
RYAN (CONT’D)
Sammy Tomasino: former underboss
with the Vecchio crime family. I
guess you must have missed your
father’s last parole hearing.
Ryan now tosses the photo of Sarah, Sammy and Jackie.
SARAH
Where did you get that?
RYAN
Friends in high places. And that’s
without even trying. Do you really
wanna see what I can do when I put
my mind to it?
Sarah grabs the picture. A black silent rage festers.
RYAN (CONT’D)
I read your twin brother Jackie was
a cop before joining the family
business. And then there’s you...
Sarah Tomasino. I assume
recruitment was low that year. Or
did daddy pull some strings -
MCKENNA
You’re out of line.
RYAN
Captain, I question the integrity
of this department, and the loyalty
of its officers.
SARAH
My loyalty!? Fuck you!
Sarah grabs Ryan by the neck and runs her into a wall.
McKenna eventually pulls Sarah off.
25.
MCKENNA
Ryan get out! We’ll finish this
with Callahan and Deniev.
RYAN
You don’t get it, Captain.
(straightens her collar)
Let me be blunt, eh... any further
pursuit of the Vecchio crew, the
Russians or our weapons and this
department becomes a fucking post
office faster than any of you can
sing Oh Canada.
(to Sarah)
You keep that photo, Sergeant.
Ryan storms out.
McKenna heads to his desk and removes a bottle of whiskey. He
pours two glasses and offers one to Sarah. McKenna takes a
sip. Sarah, who’s gaze lingers on the photos, doesn’t drink.
SARAH
What are we gonna do about Ryan?
MCKENNA
Nothing.
SARAH
So we just roll over and mop up her
mess?
MCKENNA
Yes we are. And you’ll get a tap on
the back and a commendation.
SARAH
That’s not good enough, Cap.
MCKENNA
What would you have me do? File a
grievance against the CIA?
SARAH
We’ve been chasing our tails for
more than a year. We owe it to
Palmieri and O'Brien to see this
one through. Authorize a
surveillance package on all members
of the Vecchio family.
MCKENNA
(firm)
No, Williams.
(MORE)
26.
MCKENNA (CONT’D)
We’d be meddling with an operation
run by people well beyond my
authority and pay grade. Do I need
to spell it out for you?
(beat)
While I understand your personal
motives for wanting to pursue this,
I’m ordering you to stand down. Is
that understood?
Sarah breaths heavy, knowing there’s no winning this one.
SARAH
(resigned, yet defiant)
Then I request to go on
bereavement leave.
McKenna considers this, his expression softening.
MCKENNA
Granted. Take the rest of the week.
(earnest)
I’m sorry about your father, Sarah.
Sarah nods. McKenna rests his hand on Sarah’s shoulder for a
moment, then leaves alone with her thoughts.
Genres:
["Crime","Drama","Thriller"]
Ratings
Scene
20 -
Bedtime Reflections
INT. CHILDREN’S BEDROOM - JACKIE’S HOUSE - NIGHT
JACKIE TOMASINO (40s), with a boxer’s build, lies in bed.
He's sandwiched between his nine-year-old twins – JACKIE JR
sleeps soundly to his right, while ALICIA, fighting off
sleep, rests her head on his shoulder. Jackie lovingly reads
HANSEL & GRETEL to them.
Jackie peers over to Alicia, finally asleep. He gently lays
her head on the pillow and attempts to get up without waking
her, but -
ALICIA
Daddy... Are Hansel and Gretel
twins like us?
JACKIE
Yes, baby girl.
ALICIA
Grandma said you are twins too. Is
that true?
JACKIE
You’re aunt Sarah and I are.
27.
ALICIA
How come I don’t know her?
JACKIE
She lives far way. Go to sleep.
Alicia finally closes her eyes. Jackie steps out and shuts
the door.
Genres:
["Drama","Family"]
Ratings
Scene
21 -
Tensions and Distractions
INT. MASTER BEDROOM, JACKIE’S HOUSE - CONTINUOUS
EMMA RUSSO, 30s, once upon a time prom queen, lays in bed
crunching numbers on her laptop.
Jackie is standing by the doorway and staring at her.
JACKIE
What are you doing?
EMMA
Payroll for the dealership. By the
way, my car’s still acting funny.
I’ll need to use yours.
JACKIE
I’ll have one my guys bring it in.
Jackie shuts the door and lies next to Emma. She puts the
laptop by the bed and turns over to her husband. Both are
face to face, heads resting on their pillows. Jackie sighs.
EMMA
What’s the matter?
JACKIE
Alicia asked me about Sarah.
Why she didn’t know her.
EMMA
You think she’ll show?
JACKIE
I don’t know. The last time anyone
saw her was at the courthouse right
before they hauled my dad in for a
dime.
EMMA
What’s gonna happen?
JACKIE
With Sarah?
28.
EMMA
You know what I mean. They’re gonna
want you to act.
JACKIE
I’m burying my father tomorrow,
Emma. I was hoping for a pleasant
distraction.
EMMA
Is that all I am?
Jackie grabs Emma and rolls her on top of him. Jackie gently
removes a strand of hair from her eye before the two share a
passionate kiss. But it’s short lived.
A cell phone vibrates on a nightstand by the bed. Jackie
answers and quietly rushes out of the room.
LIVING ROOM
Jackie stands by a well decorated Christmas tree.
JACKIE
(into the phone)
Yeah...
On the other side of the call is FRANK LOMBARDI, sixties.
FRANK (V.O.)
We found our friend. Kid was
cracked out of his mind. We’re at
the place.
JACKIE
(into the phone)
Don’t do nothing till I get there.
I’m leaving now.
Jackie hangs up.
EMMA (O.C.)
Who was that?
Emma is standing by the staircase on the second floor.
JACKIE
You’ll wake the kids.
EMMA
The kids are fine.
29.
JACKIE
It was Frank.
The two share an understanding look. Emma heads back to the
bedroom.
ESTABLISHING: MONTREAL - NIGHT
Genres:
["Crime","Drama","Thriller"]
Ratings
Scene
22 -
Family Ties and Betrayal
INT. JACKIE’S SUV - LATER
Jackie pulls up in a deserted parking lot. He checks his
handgun with a professional's calm.
INT. ABANDONED WAREHOUSE BY THE DOCKS - CONTINUOUS
The building looks war torn, but ideal for discrete and
illegal nocturnal activities.
Jackie’s CREW, a collection of hard faces, circle TOMMY DE
LUCA (30s) like vultures. Frank Lombardi hugs Jackie.
FRANK
What’s the latest?
JACKIE
Marino thinks the old man hit Greco
as payback for my dad.
FRANK
But we didn’t pop that fat fuck.
JACKIE
You’re welcome to explain it to
him.
FRANK
They’re gonna get us all whacked.
They approach Tommy, who’s a mess of fear and desperation.
JACKIE
What’s Tommy been saying?
FRANK
Nothing. We smacked the junkie
around a little to wake him up.
TOMMY
Jackie -
30.
JACKIE
You were supposed to pick my dad up
after his release. Where the fuck
were you?
Tommy gives Frank a look.
JACKIE (CONT’D)
Don’t look at him, look at me.
TOMMY
Jackie, I don’t know what you want
me to say. I’m sorry. I was too
fucked up.
JACKIE
You had one job to do! How fucked
up were you?
TOMMY
I don’t know!
Jackie draws his gun on Tommy’s head. Tommy cries.
JACKIE
Shut up! No one else knew about the
cabin or dad’s release. This is
your last chance. WHO SET HIM UP!?
Nothing from Tommy. Just pissed stained pants. Jackie should
have shot him by now, but he just can’t.
JACKIE (CONT’D)
Let him go.
FRANK
What!? Cut his fucking balls off!
JACKIE
It’s Tommy. He grew up with Mikey.
You think I’m gonna clip his balls?
Like that!?
FRANK
Fuck his balls! Hold him.
Frank orders two of the crew to hold Tommy’s arms. VITO
SCIANTORE (40s) goes for a pair of lawn cutters laying on a
table next to him.
VITO
These things look dull as fuck.
31.
FRANK
I don’t give a shit!
JACKIE
Anyone picking up those cutters
loses a fucking hand! Uncle Frank,
you’re my godfather... But I’m
running dad’s crew now. So watch
your fucking mouth.
Frank bites his tongue...for now. Jackie’s phone rings. Call
display: ANGELA.
JACKIE (CONT’D)
Goddamnit...
He steps away.
JACKIE (CONT’D)
(into phone)
Now’s not a good time.
ANGELA (V.O)
Mom’s gone!
JACKIE
What the hell are you talking
about?
ANGELA (V.O)
She took the fucking car! Again!
JACKIE
What do you mean again? You’re
supposed to be watching her!
ANGELA (V.O)
You fucking watch her! She never
listens to me. She went into one of
her episodes and started yelling at
me that dad was kidnapped. And when
I tried to take the keys out of her
hand she fucking bit me!
This is ANGELA TOMASINO (40). Jackie’s tightly wound, anxiety
prone, slightly challenged younger sister.
JACKIE
Jesus fucking Christ... How long
has she been gone?
ANGELA (V.O)
Twenty minutes.
32.
JACKIE
You waited twenty minutes to tell
me that our dementia riddled mother
stole your fucking car!?
ANGELA (V.O)
I’ve been dealing with funeral
arrangements with no help! I told
you she shouldn’t stay with me -
Jackie spots Frank’s suspicious stare.
JACKIE
Alright...alright.. Calm down. Any
idea where she was going?
ANGELA (V.O)
Where do you think?...?
JACKIE
I’ll find her.
(to his crew)
Bring him back to where you found
him. Alive!
Jackie storms off.
FRANK
Where the fuck are you going?
JACKIE
I gotta deal with something...
FRANK
You’re already dealing with
something!
The crew gives Frank an awkward stare.
FRANK (CONT’D)
What the fuck are you looking at!?
Get him the fuck outta here!
Genres:
["Crime","Drama","Thriller"]
Ratings
Scene
23 -
Fractured Alliances
INT. CLUTTERED OFFICE - POLICE STATION - SAME TIME
DETECTIVE DAVID GIORDANO (40s), once the high school "cool
guy," now a cop with a few extra pounds, tosses a thick
folder marked “Tomasino” into the trash. It lands beside
CROWN PROSECUTOR RICHARD DION (30s), a snake in a nice suit.
DION
I was told you had something.
33.
GIORDANO
(re: file)
That’s everything on Sammy
Tomasino. Wipe your ass with it,
cus that’s all it’s good for now.
DION
I’m not as patient as my
predecessor, detective. I won’t
tolerate this behavior.
GIORDANO
My behavior? Your office denied my
surveillance request on Tomasino
after his release. Why?
DION
Surveillance authorizations go
through a rigorous process. Perhaps
you should have been more
transparent with your
investigation.
GIORDANO
So transparency is something we’re
going for, now?
DION
We can’t do our job unless you
share details on yours.
Giordano smirks, his voice dripping with sarcasm.
GIORDANO
What exactly is your job?
Giordano slides open a drawer, retrieving a folded newspaper.
With a swift, unceremonious flick of his wrist, he throws it
in Dion's direction.
Dion reads the front page headline: “Department of Criminal
and Penal Prosecutions assures Montreal streets are safe and
gangland violence kept in check.”
GIORDANO (CONT’D)
I guess optics are more important
than actual results in this town.
Dion smooths out the crumpled newspaper, placing it
deliberately on Giordano's cluttered desk. He then picks up
the discarded Tomasino file from the floor, inspecting it.
34.
DION
Optics are what keeps this city
from falling further into chaos.
Every procedural policy on
organized crime is made with public
safety in mind.
GIORDANO
I grew up with these people,
counselor. They shit on your optics
and wipe their asses with your
policies.
(beat)
Ten years ago I had them lining up
around the corner with intel
ranging from who’s beefing with
who, to the bakery a made guy’s
mother gets her bread from.
Now what? You won’t even authorize
a surveillance unless it’s approved
by a committee of twenty five year
old sociology majors.
Dion sighs and checks his watch.
GIORDANO (CONT’D)
Somewhere you need to be?
DION
A meeting with the Mayor, actually.
I’ll make sure to bring up your
concerns about our procedures.
Happy holidays, detective.
Dion leaves. Giordano removes a small transparent bag of
evidence from his pocket. It contains a black tipped bullet.
DETECTIVE CARL DUROCHER, Giordano’s young partner lingers in
the doorway.
DUROCHER
Dion save Montreal yet?
GIORDANO
Haven’t you read the paper?
(re: bullet)
This was taken out of Tomasino’s
skull.
(beat)
Why’s he getting whacked with an
armor piercing bullet at close
range? And how the fuck did Marino
know about that cabin?
35.
Durocher shrugs.
GIORDANO (CONT’D)
That place is in the middle of
nowhere. Maybe five people knew
where it was.
DUROCHER
How’d you know that?
GIORDANO
I grew up with the family.
DUROCHER
Didn’t feel the need to share that
with Dion?
GIORDANO
That prick’s office has too many
hands in Vecchio’s pockets. Keep
him in the dark until we know
what’s going on.
DUROCHER
My guy from the press wants you to
up his fee for Tomasino’s wake.
Freelance photography seems to be
in high demand apparently.
A POLICE OFFICER storms in.
GIORDANO
What now?
POLICE OFFICER
I think you better come out front.
GIORDANO
Why?
POLICE OFFICER
Tomasino’s widow is here.
Genres:
["Crime","Drama","Thriller"]
Ratings
Scene
24 -
Descent into Chaos
INT. POLICE STATION - CONTINUOUS
Several SPVM officers are engaged in a futile attempt to
pacify CARM TOMASINO (60s).
Her voice rises in a torrent of emotion as she berates the
WATCH COMMANDER, her words a mix of grief and frustration.
36.
INT. POLICE STATION - LATER
Giordano approaches Carm, still grilling the watch commander.
CARM
Stop lying to me! Where is my
husband!? I know you have him!!!
GIORDANO
Mrs. Tomasino. It’s me David
Giordano. Do you remember me?
CARM
"Please tell this asshole to quit
staring like I’ve lost my mind.
TELL ME WHERE’S MY HUSBAND!
JACKIE (O.C.)
Mom! Stop!
Jackie approaches the counter. Carm hugs him. Sobbing. Jackie
and Giordano share a loaded stare.
CARM
Jackie, talk to them.
JACKIE
Mom... Dad’s not here.
CARM
Then where is he?
JACKIE
He’s dead, mom.
Carm’s memories now break through.
CARM
Bring me home. We have your
father’s funeral tomorrow.
SPVM officers KEVIN COSSETTE and STEVE TURCOTTE keep an eye
on Jackie as he manages to calm his distraught mother down.
TURCOTTE
(in French)
Is that -
COSSETTE
Yeah...
Jackie and Carm cross Cossette and Turcotte as they approach
the exit. Cossette scowls at Jackie.
37.
COSSETTE (CONT’D)
Crooked-ass family -
Carm spits on Cossette. Turcotte attempts to restrain her.
Now Jackie is only left with one choice.
Jackie's anger boils over, and he lunges at Turcotte.
Turcotte's swing goes wide, and Jackie seizes the
opportunity, landing a solid right cross on Turcotte's jaw.
Amid the chaos, Cossette intervenes, attempting to restrain
Jackie. However, Jackie manages to bring Cossette down with
him just as another OFFICER tries to take a swing at him.
Giordano struggles to regain control, motioning for the other
officers to hold back. He notices Carm’s evident distress and
directs a female SPVM officer to assist her.
Amid the commotion, two officers wrestle Jackie to the ground
and secure his hands in cuffs.
ESTABLISHING: NEW YORK CITY - NEXT DAY
Genres:
["Crime","Drama","Thriller"]
Ratings
Scene
25 -
Blood and Betrayal in the Dining Hall
EXT. RUSSIAN RESTAURANT - DAY
ASLAN and ALU USUMOV are frisked at the door by a LARGE
RUSSIAN GUARD. Alu’s the small one: Napoleonic complex,
judging by his disdain for the man searching him. Aslan’s the
taller, action speaks louder than words type. Both are clean.
INT. EMPTY DINNING HALL - RUSSIAN RESTAURANT - CONTINUOUS
The tension in the dimly lit dining hall is foreboding as
Aslan and Alu stand defiantly before the New York Bratva
leadership. IGOR, VIKTOR, KONSTANTIN and LEONID, aging but
still formidable figures, sit at the large banquet table,
their faces stern and unforgiving.
TWO RUSSIAN SOLDIERS stand at the back, watching...
IGOR
(in Russian)
This game of yours has gone on long
enough.
ASLAN
What game are you referring to?
Igor tosses a NEWS PAPER with the Toronto massacre on the
front page.
38.
ASLAN (CONT’D)
Unfortunate circumstances to a well
laid plan.
LEONDID
I wonder if Ivan would agree.
Alu steps forward, but Aslan waves him off.
VIKTOR
You’ve brought shame to your
father.
ASLAN
- Our father was a weak cunt who
would have compromised all of you.
LEONDID
Your father would never have done
business with those psychotic
Chechen mercenaries you’ve hired.
ASLAN
You’ve all profited from us, and
yet I see your old balls shrinking
because of some dead Italians.
VIKTOR
Our organization has never been in
conflict with the Italians and we
now we risk open war.
ASLAN
I wouldn't worry. They’re too busy
fighting each other.
VIKTOR
You’re insane.
ASLAN
Insane is allowing them to run this
entire continent. Insane is running
this organization based off out-
dated traditions.
LEONDID
Tradition is why your wives and
children won’t be harmed after we
cut off your heads!
39.
MEANWHILE OUTSIDE -
TWO MEN approach the imposing Russian guard. And before the
guard can even comprehend the danger, a single, swift
silenced shot to the head.
BACK TO SCENE:
IGOR
We’ll make this quick if you tell
us who else was involved.
The brothers look to Konstantin. He stands, nods and makes
his way to the exit. The other three stare in disbelief.
Aslan gives one of the soldiers a nod. The Russian shoots the
other in the head. Two more silenced shots splatter Igor and
Viktor's brains all over the table. Leondid is left alive.
LEONDID
The Elders will kill everyone
you’ve ever known for this!
ASLAN
We’ll make them a compelling offer
to reconsider.
Two soldiers drag in a bound woman: Leondid’s thirty
something year old trophy wife SASHA and their two teen-aged
sons ALEXI and MIKA. They’re knelt down in front of Leondid.
Leondid tries to hide his terror.
A soldier hands Alu a gun. Aslan lets his brother take over.
ALU
Our father... believed in
tradition. Too bad for you he never
instilled any of that into us.
Alu fires a bullet into Mika’s head. Leondid suffers in
silence as his wife screams.
ALU (CONT’D)
Those weapons caches we bought from
your Americans had trackers on
them. And now our brother is dead!
What did the CIA promise you?
Alu, with a cold demeanor, fires a shot into Sasha's head.
Her screams are instantly silenced.
LEONDID
Stop!
40.
Leondid now watches Aslan hand Alu a dull butter knife, his
face splattered with Sasha’s blood as it slowly drips down.
And as he begins to slice -
LEONDID (CONT’D)
Stop! What do you want!?
ALU
Boris Deniev. We’ll make this quick
if you tell us how to find him.
Genres:
["Crime","Thriller","Drama"]
Ratings
Scene
26 -
Betrayal and Urgency
EXT. RUSSIAN RESTAURANT - MOMENTS LATER
Konstantin slides down the back seat window of his sedan as
Aslan approaches.
KONSTANTIN
I’ve known Leondid for forty years.
ASLAN
Are you regretting your decision?
KONSTANTIN
He betrayed us. It is what it is.
ASLAN
What about Viktor and Igor?
KONSTANTIN
What is it that you said?
“Unfortunate circumstances to a
well laid plan?”
He hands Aslan a paper with the shipping info.
KONSTANTIN (CONT’D)
The shipment will make port in
Montreal this week. I leave the
rest to you.
ASLAN
My brother and I need to take care
of something personal, first.
Genres:
["Crime","Thriller"]
Ratings
Scene
27 -
A Family Emergency
EXT. PEARSON AIRPORT - SAME TIME
Sarah makes a phone while she waits for her flight in a
terminal.
ANTHONY (V.O.)
Hey.
41.
SARAH
Look...I need to leave for a couple
days. Can you tell Grace that
something came up for Thursday?
ANTHONY (V.O.)
Tell her yourself.
SARAH
Anthony... Son of a -
GRACE (V.O.)
Hey, mommy.
SARAH
Hey, kiddo. I’m sorry, honey. I
really wanted to come to your
Christmas pageant, but I gotta
leave.
GRACIE (V.O.)
Why?
SARAH
Remember when Miss. Annie’s dad
died and she had to go away for a
week? Well, mommy needs to do the
same thing. Do you understand?
(silence)
Gracie?
ANTHONY (V.O.)
She’s in her room. Didn’t think
this was worth a live appearance?
SARAH
My father’s body was fished out of
the lake. I’m heading there now.
ANTHONY (V.O.)
(sighs)
I’m sorry. How did it happen?
SARAH
How do you think?
(beat)
Can you help me with Grace? She
listens to you and I’m tired of
disappointing her.
Anthony thinks for a moment.
ANTHONY (V.O.)
Yeah...
42.
SARAH
I’ll be back in a couple of days.
Genres:
["Drama"]
Ratings
Scene
28 -
Grief and Tension at Sammy's Gravesite
EXT. SAMMY’S GRAVESITE - CEMETERY - LATER
A mob funeral. A sea MOURNERS including Emma, her twins
Jackie Jr, Alicia, Angela, Carm, and the elderly but stoic
GRAZIA TOMASINO. No Jackie though.
In the back, Sarah stands alone. Her eyes, hard, find
Grazia's. A nod, barely there, but heavy with a lifetime's
conversation.
Carm’s wails pierce the silence, her grief raw. Angela
struggles to restrain her.
Sarah turns away, her gaze catching the glint of a camera
press photographers' long lens in the distance.
EXT. TOMBSTONE - CEMETERY - MOMENTS LATER
Sarah stands by a grave: MICHAEL TOMASINO, beloved son and
brother, 1994-2014. Some semblance of grief finally sets into
her.
EMMA (O.C.)
Weddings and funerals. It seems
like they’re the only two occasions
to re-connect.
SARAH
Seems that way.
EMMA
(re: Michael)
I miss him.
SARAH
(beat)
I bet you do...
EMMA
What does that mean?
SARAH
It means that you don’t get to say.
EMMA
Are you seriously blaming me?
43.
SARAH
No. I’m blaming Jackie. You were
just too naïve to know what was
happening.
EMMA
Your brother’s a good man. I just
hope you figure that out one day.
SARAH
Don’t hold your breath.
Both drop their childish back and forth as Angela, Carm, the
twins and Grazia approach. Emma’s motherly instinct positions
the children in front of her.
EMMA
This is Jackie Jr. and Alicia.
(to the twins)
This is your aunt Sarah.
The twins study Sarah, curiosity in their young eyes.
ALICIA
Like Gretel?
Sarah's brow quirks, a silent question to Emma.
EMMA
Jackie's bedtime stories.
SARAH
I have a daughter about your age.
ALICIA
Where is she?
SARAH
She’s with her dad.
The moment lingers, heavy, before Grazia steps forward.
Grazia cradles Sarah’s arm and usher’s her closer to
Michael’s grave. A private moment between a grandmother and
granddaughter.
GRAZIA
(in Sicilian)
How a husband and wife handle a
marriage is their own business. But
an old lady has the right to see
her great granddaughter at least
once before she dies.
44.
SARAH
Women like you don’t die.
GRAZIA
Ten years, Sarah...
Sarah's silence speaks volumes. Carm’s eyes finally meet
Sarah's, a lifetime of love and resentment in that gaze.
CARM
Reception at the house. Your father
would want you to be there.
Carm walks by Sarah. Angela ignores Sarah and follows her
mother while escorting Grazia, and the twins.
SARAH
Good to see you too, Ange...
EMMA
Don’t mind your sister. She’s just
always pissed because watching your
mom is her literal full-time job.
SARAH
How’s mom... doing?
EMMA
Not good. We’ve discussed putting
her into a home but... you know
your mother.
SARAH
Home? Why?
EMMA
Dementia. And lately it seems like
any little thing could set it off.
Sarah's expression shifts.
EMMA (CONT’D)
Welcome back - It is good to see
you. For whatever that’s worth.
Sarah's gaze lingers on her brother's tombstone, longing as
Emma heads off.
Genres:
["Drama","Family"]
Ratings
Scene
29 -
Tension Behind Bars
INT. PRISON CELL - POLICE STATION - CONTINUOUS
Jackie sits alone as Giordano approaches.
45.
GIORDANO
You made bail. And all it took was
one phone call. Do lawyers charge
you people a premium or do you get
a group rate on their retainers?
JACKIE
We usually get mourners discount
after our fathers are killed.
GIORDANO
I’m sorry about your dad.
JACKIE
Don’t be. He never liked you.
GIORDANO
This doesn’t need to be the last
conversation we have. Pardon my
French, but made guys are dropping
faster than dogshit, and you’ll
need all the friends you can get.
JACKIE
Is that what you’re trying to do,
Giordano? Be my friend again?
GIORDANO
Don’t fuck with me, Jackie. I’m
trying to keep you alive. Or do you
wanna be the one they fish out of
that lake next time?
Jackie can’t look Giordano in the eyes.
JACKIE
Are you letting me out, or not?
GIORDANO
(opens cell door)
Here’s a heads up, for old time
sake, Jackie. Dead or alive: Rocco
Vecchio’s going down. That goes for
anyone who stands in my way.
Jackie says nothing on his way out.
Genres:
["Crime","Drama","Thriller"]
Ratings
Scene
30 -
Grief and Reflection
INT. LIVING ROOM - CARM’S HOUSE - LATER THAT EVENING
A muted hum of subdued conversations envelops the room from
scattered GUESTS, casting a hushed veil over the wake.
46.
From a vantage point in the distance, Sarah's gaze remains
fixed on Carm. Seated in a chair, Carm appears almost
catatonic, her grief palpable. Next to her is Grazia, and
Frank’s wife MARIA LOMBARDI, trying to offer consolation.
Sarah continues to watch as Frank Lombardi offers his
respects to both Carm and Grazia. Following this, an icy
stare down ensues between Sarah and Frank, lasting a brief
moment. Sarah then heads upstairs to -
INT. SARAH’S BEDROOM - CONNIE’S HOUSE - MOMENTS LATER
Sarah creeps in. Frozen in time. A faded Bruce Springsteen
poster on one wall, a row of sports trophies and medals on
the shelf, and resting prominently on a desk is her diploma
from the police academy.
Her gaze comes to two framed photographs: high school grunge
rebel besties - Emma and Sarah. And a couple of years later,
police academy graduation day - Sarah, Jackie and Giordano
side by side, dressed in their finest police uniforms -
INT. OLD DOCK - FLASHBACK
On the lake's edge, Sarah points a gun, its aim steady on
Jackie, unarmed. Each staring into each other’s eyes with a
concealed burden of pain and sorrow.
BACK TO SCENE:
Sarah reaches for the frame, and turns it facedown,
concealing the photo.
Genres:
["Drama","Crime","Family"]
Ratings
Scene
31 -
Tensions Uncorked
INT. LIVING ROOM - CARM’S HOUSE - SAME TIME
Jackie and Emma are greeted with compassionate hugs and the
conventional two cheek kisses. The tipsy Angela stumbles over
to her brother's side.
ANGELA
Sarah’s here.
JACKIE
Where?
ANGELA
(sips her wine)
I don’t know. But I never know
anything -
(to Carm and louder)
Right, mom...?
47.
The room pauses, a collective breath held. Carm is still.
JACKIE
Keep your voice down.
ANGELA
I don’t give a shit about what that
fucking black hole thinks. I’m this
close to losing it.
(a big swig of wine)
EMMA
You think you should be drinking
while taking your meds? You’re
making a scene.
ANGELA
Fuck off, Emma!
Jackie gently takes Angela’s wine glass out of her hands and
brings her in for a hug.
JACKIE
Go to the kitchen, have some coffee
and stay away from mom.
Jackie plants a kiss on her forehead. Emma attempts to guide
Angela towards the kitchen, but Angela swats her hand aside.
Approaching Jackie, Frank leans in to murmur something in his
ear. Jackie nods reluctantly. Emma watches the two head
upstairs.
Genres:
["Drama","Family"]
Ratings
Scene
32 -
Eavesdropping on Tension
INT. SARAH’S BEDROOM - CARM’S HOUSE - SAME TIME
Sarah opens her walk in closet door. Another treasure trove
of nostalgia - clothes, a record collection, etc. But the
muffled sound of two men talking from the other side of the
connecting wall draws her closer in.
She shuts the door and rests her ear against the wall through
the hung up jackets.
FRANK (O.S.)
Giordano still have a hard-on for
you?
JACKIE (O.S.)
He’s harmless.
(beat)
Make this quick. I’ve got a house
full of people wondering why I’m
not by my mother’s side.
48.
FRANK (O.S.)
I found the solution to our
problem.
Genres:
["Crime","Family Drama"]
Ratings
Scene
33 -
Legacy and Temptation
INT. HOME OFFICE - SAME TIME
Jackie sits behind a desk. Frank props a black tipped bullet
on the desk. Sound familiar?
JACKIE
What’s that?
FRANK
An armor piercing bullet. I got a
contact who reps guys with a major
shipment coming in this week.
JACKIE
You thinking about getting into the
arms race?
FRANK
If it’s coming through our docks?
Yeah, more than somewhat.
JACKIE
My dad ran those docks for the old
man. He might have a say about what
comes in and out.
FRANK
What if he doesn’t? This guy says
they’re looking for a partner to
move all of it. We’re talking
automatics, RPGs, grenades... High
end shit used by special ops and
undetectable to any metal detector.
Jackie heads to his father’s liquor globe and pours a glass
of whiskey.
JACKIE
What do you know about this “guy”?
FRANK
Not much. But word is that they
have enough hardware for a military
coup. We’re talking high six
figures worth.
Jackie pauses mid pour. He paces to the window, looking out
at the twins playing in the snow. Emma calls them back in.
49.
FRANK (CONT’D)
Vecchio - Marino... two old wops
playing checkers acting like it’s
fucking chess. You wanna wait and
see how this game ends?
(beat)
I’ve been working these guys for
months. With all the heat they’re
bringing... We can buy our own
fucking army.
JACKIE
You wanna take out Rocco?
FRANK
I’m saying we take them all out. I
know things were complicated
between you and Sammy... but with
your father gone...
JACKIE
New York, Chicago, Philly... You
think they’re gonna sit back with
their thumbs up their asses while
we take over Canada?
FRANK
Friends of ours are getting tired
of this as much as we are. They’ll
back our play if it’s good
business.
Frank senses Jackie’s obvious reservation.
FRANK (CONT’D)
This is a long time coming, Jack.
They want an answer. Who do you
think they’ll go to next?
Alicia creeps into the room -
ALICIA
Daddy? Mommy wants you.
JACKIE
(to Frank)
Set it up.
Frank nods. Jackie hangs back, eyeing the bullet on the desk.
JACKIE (CONT’D)
Go with your uncle Frank. I’ll be
down in a minute.
50.
Frank takes Alicia by the hand as the two head out.
FRANK
Let’s try some of those cannoli's
your zia Maria brought.
Jackie grabs the bullet, studying it briefly. But a faint
noise from beyond the office wall piques his interest.
**THIS SCENE WILL INTERCUT BETWEEN JACKIE AND SARAH**
Sarah's brow furrows slightly. She narrows her eyes, as if
trying to discern the source of a distant sound. But it’s
dead quiet.
Jackie continues to stare at the wall. Sarah stares back. And
in this moment, it's as if an invisible thread connects them.
Whether it's a deep-rooted, twin connection or a simple mere
coincidence.
Genres:
["Crime","Thriller","Drama"]
Ratings
Scene
34 -
Unspoken Tensions
INT. SARAH’S BEDROOM - CARM’S HOUSE - CONTINUOUS
Jackie stands in the doorway, eyeing every corner of his
sister’s bedroom. He moves deliberately toward the pictures
on the shelf.
Sarah still in the closet, is alerted by the sound of
Jackie's footsteps on the hardwood floor and tenses up.
Jackie's eyes catch the only face-down picture frame. His
attention then shifts, his gaze fixating on the closet door.
Sarah's breath quickens, and she removes her 9mm.
But in Jackie's eyes, there's more than just tension; there's
a hint of remorse and sorrow. It's as though he's aware of
her presence behind that closet door.
With a deep, heartfelt sigh, he carefully sets face-down
picture frame upright and exits the room, leaving the
unspoken tension behind.
Sarah steps from the closet, securing her holstered gun. Her
gaze locks onto the picture frame, now repositioned.
Genres:
["Drama","Thriller"]
Ratings
Scene
35 -
Confrontation and Chaos
INT. LIVING ROOM - CARM’S HOUSE - MOMENTS LATER
Frank approaches Carm, still seated next to Maria and Grazia.
CARM
Who killed my husband?
51.
Frank looks to his wife for help.
MARIA
Do you wanna go lay down?
CARM
I’m not tired.
(back to Frank)
I asked you a question.
FRANK
We’re looking into it -
CARM
You know who did this.
STAIRCASE
Sarah stops her descent as Carm’s voice cuts through the
house.
BACK TO THE LIVING ROOM
The guests are statues as the tension swells.
FRANK
Carm, this isn’t the time or place.
Carm jumps out of her chair to an inch of Frank’s face.
CARM
Don’t you ever tell me what time
and place it is! Someone shot my
poor husband like a fucking dog!
ANGELA (O.C.)
Oh, God... Give me a fucking
break!!
The silence that follows is a vacuum, the eye of the storm.
Jackie covers his face in a mix of shame and disbelief.
KITCHEN
A wine glass shatters against the cupboard, narrowly missing
Angela’s head. Angela bursts out meeting Carm’s fury head-on.
Jackie, Frank and Emma finally intervene, doing their best at
restraining the two. The room holds its breath, the family at
the brink of implosion.
52.
ANGELA
Your poor husband was a fucking
animal! Tell them how many times
your face saw the back of his hand!
Or how he broke Sarah’s nose and
Jackie’s jaw!
CARM
They stole a fucking car! If it
wouldn’t have been for your father -
ANGELA
Yeah... and we all know how daddy
loved to cover shit up...
CARM
Get the fuck out of my house! How
dare you talk about your father
that way!
ANGELA
My father got what he fucking
deserved!
Carm’s hand strikes Angela’s face, a slap echoing through the
room. The others struggle to hold her back. Angela lands a
fierce punch on Emma’s nose. Blood gushes though her fingers
as she absorbs the pain.
JACKIE
Emma! Fuck sake, Ange!
The turmoil comes to an abrupt halt. Jackie gently leads a
dazed Emma to a chair, while casting a glance at Alicia and
Jack, whose faces are etched with shock.
EMMA
My nose is broken.
Carm’s fury is replaced with shock at the sight of Emma’s
blood.
CARM
Oh, my God, Emma!
(to Angela)
Look at what you did!
ANGELA
Yeah, cry over your princess.
JACKIE
(to Frank)
Get her the fuck out of here.
53.
Frank forces Angela into the bathroom. She slams the door.
JACKIE (CONT’D)
(to Emma)
I’m taking you to the hospital.
EMMA
I want you here with the kids.
Sarah, unnoticed until now, steps down from the staircase,
and steps forward.
SARAH
I’ll take her.
Deafening silence as Jackie and Sarah share an all too
familiar scowl. Sarah hold’s for her brother’s approval until
he reluctantly nods. She heads out with Emma.
Genres:
["Drama","Crime","Family"]
Ratings
Scene
36 -
Confronting Shadows
INT. SARAH’S CAR - LATER
Sarah’s at the wheel, Emma’s to her right. Emma looks at the
damage in the visor mirror. Neither have said a word.
SARAH
Still broken?
EMMA
You think...
Sarah gives Emma a quick look -
SARAH
I’ve seen worse...
Emma reaches into her purse for tissues, exposing the hidden
pistol inside, which draws Sarah's sharp gaze.
SARAH (CONT’D)
Do you even know how to use that?
EMMA
Jackie made sure I did.
SARAH
I assume you don’t have a permit.
EMMA
Are you working, right now?
SARAH
Not this second, no -
54.
EMMA
Then get off my case.
Emma winces with pain.
EMMA (CONT’D)
Do you know why I called you?
Because you and Jackie need to deal
with your shit before it’s too
late. He’s the only one keeping
this family together, and last I
checked it’s your family too.
SARAH
That ship sailed a long time ago.
EMMA
You both need to get over it.
SARAH
Tell that to my mom. I don’t think
they make a “sorry for arresting
your husband” Christmas card.
EMMA
Your father understood.
SARAH
How would you know?
EMMA
He told me.
SARAH
He told you? You guys become
girlfriends?
EMMA
I’d visit him with the twins. He
changed.
SARAH
Your father ever hit you so hard
that he gave you a concussion?
EMMA
No.
SARAH
Then do me a favor...
EMMA
Whatever, Sarah...
55.
Sarah feels a surge of emotions but masks them quickly. Her
eyes darting away.
SARAH
Is Giordano still working major
crimes?
EMMA
David Giordano? Yeah, why? You
thinking of rehashing the past?
SARAH
It’s cop stuff.
EMMA
(finally gets it)
You are working... And I thought
you came here because you cared.
Genres:
["Drama","Crime"]
Ratings
Scene
37 -
Clash of Loyalties
EXT. HOSPITAL EMERGENCY - CONTINUOUS
The car pulls up. Sarah locks the door as Emma tries to get
out -
SARAH
This war’s killed some kids back
home. With Sammy gone, they’re
gonna want Jackie to step up. Think
about the twins.
Emma furrows her brow.
SARAH (CONT’D)
Don’t act stupid. These people
don’t fuck around and you can’t
trust Jackie.
EMMA
Did you actually expect me to give
up my husband? So either arrest me
or let me get out.
Sarah unlocks the door, Emma finally gets out.
EMMA (CONT’D)
Just because you have that badge
doesn’t make you better than us.
Why don’t you focus on finding who
killed your father...
Emma slams the door, Sarah not flinching from her
introspective gaze.
56.
ESTABLISHING: NEW YORK CITY - SAME TIME
Genres:
["Crime","Drama","Thriller"]
Ratings
Scene
38 -
Mourning and Intrigue
INT. USUMOV RESIDENCE - LIVING ROOM - CONTINUOUS
The room is shrouded in darkness, save for the flickering
candlelight casting eerie shadows across the room. The air is
heavy with grief as PEOPLE silently pay their respects. Anton
and Aslan kneel before a portrait of Ivan.
VLADIMIR (60) moves with purpose, carrying a file discreetly
in his hands. He approaches Anton and Aslan, extends the file
to Anton, who accepts it with a cautious nod.
As Anton begins to review the contents, his expression
darkens. Aslan leans in, studying the documents intently.
The file contains detailed information about Sarah Williams
and her team members – their movements, operations,
everything.
INT. U.S CONSULATE CIA SECTION - TORONTO - THE NEXT DAY
Ryan enters her makeshift office and notices a PACKAGE and
envelope with her name on it. She quickly opens the envelope
and empties its contents, revealing DENIEV'S ID CARD and
photos: RYAN’S TEN YEAR OLD DAUGHTER.
She reads a note: Stay out of our way or the next head is
your daughter’s.
Ryan sits down, starring ponderously at her desk before
opening the package - she stumbles backwards, away from the
open box, her face white as a sheet.
GIORDANO (O.S.)
You got old.
SARAH (O.S.)
Fuck you, “I got old.” You got fat.
INT. GIORDANO’S OFFICE - POLICE STATION - SAME TIME
An awkward pause hangs in the air as they both try to gauge
the direction of their reunion after such a long time apart.
SARAH
Get all the awkward small talk out
of your system while you can.
57.
GIORDANO
I wouldn’t even know where to
start, Tomasino.
SARAH
It’s Williams, actually.
GIORDANO
...So you’re married...
SARAH
It’s complicated. You?
GIORDANO
Me? No... No - I’m too busy doing a
job with both hands tied and a
noose around my neck.
SARAH
Noose?
GIORDANO
Everything changed after Hochelaga.
A power vacuum, the chief of police
making more money than the Prime
Minister, major crimes sidelined
for one of the biggest turf wars
we've ever seen... You do the math.
Giordano puts a folder on his desk. Sarah removes photos:
SHOTS OF HER AT THE FUNERAL.
GIORDANO (CONT’D)
I’m sorry about your dad.
SARAH
Don’t be. He never liked you.
GIORDANO
You’re the second Tomasino to say
that to me.
SARAH
When did you see him?
GIORDANO
Yesterday. He spent the night in
the tank for tuning up some cops
after your mom came in accusing
them of kidnaping your dad.
SARAH
And what is the official story?
58.
GIORDANO
Single tap execution at close
range. No witnesses and no signs of
a struggle. Cab driver said that
the cabin seemed empty.
SARAH
De Lucca not driving him around?
GIORDANO
Not that morning.
(beat)
And then there’s this.
He pushes the evidence bag with the bullet inside across his
desk. Sarah, picking up on Giordano's careful approach,
similarly proceeds with caution as she inspects the evidence.
GIORDANO (CONT’D)
Ever see one of these?
SARAH
(studies the bullet)
I have... We’re being fucked with.
GIORDANO
By who?
SARAH
CIA and the Russians who stole a
massive payload of their weapons.
GIORDANO
(chuckle)
...What...?
SARAH
I know it sounds like a bad action
movie but I wouldn’t be here -
GIORDANO
- What are you really doing here?
SARAH
My job.
Giordano sits back, struggling to digest all of it.
SARAH (CONT’D)
Look, these Russians are the one’s
behind what’s going on. A major
shipment of this is coming in. We
need to be there when it does.
59.
GIORDANO
We? Your job’s five hundred
kilometers away.
SARAH
Did none of that sound foreboding
to you?
GIORDANO
Cut the crap, Sarah. I haven’t
heard from you in over a decade.
Days after your father’s killed you
tell me about the CIA, their stolen
weapons and some Russian outfit.
Help me understand.
SARAH
This spook Ryan says a Vecchio
crew’s working with the Russians.
And then I catch Jackie and Frank
Lombardi talking about the shipment
at Sammy’s wake. How does that math
work out for you?
GIORDANO
And killing Sammy?
SARAH
I’m still working on that one.
So I’m asking you to be a cop and
put a tail on Jackie’s crew.
Giordano looks out his office window to the sea of OFFICERS
at their desks.
GIORDANO
I’ve always been a cop, but I can’t
put a tail on a donkey these days.
If you’re expecting this department
to start WWIII because of some
vendetta you have with Jackie, you
came to the wrong place.
Sarah glares at Giordano.
SARAH
This was a waste of time.
She stands frustrated.
GIORDANO
Sit down. I didn’t say I wouldn’t
help. You’re not the only one who
wants to see them go down.
(MORE)
60.
GIORDANO (CONT’D)
But Jackie’s a Capo and you’re
still on their shit list. Things
will get messy.
SARAH
Let me worry about Jackie. Can you
take care of that tail or not?
GIORDANO
My mom used to say two things would
get me killed - proposing to you
and becoming a cop.
SARAH
At least she doesn’t have to worry
about one of those, anymore.
GIORDANO
Let me see what I can do.
SARAH
Where can I find De Lucca?
GIORDANO
By now he’s already an eight ball
deep at Linda's.
Sarah gives Giordano a nod as she heads out.
GIORDANO (CONT’D)
You’re welcome.
Genres:
["Crime","Thriller","Drama"]
Ratings
Scene
39 -
Confrontation at the Gemini
EXT. GEMINI SOCIAL CLUB - LATER
Jackie's SUV rolls to a stop. He eyes the black MERCEDES in
his spot. DINO BARONE (25), a burly Italian bulldog of a man,
stands guard by the door.
DINO
(as Jackie approaches)
Jack.
Barely acknowledging Dino as he’s about to enter.
JACKIE
His car’s in my in spot.
INT. GEMINI SOCIAL CLUB - CONTINUOUS
It’s dim and deserted. JIMMY (40s) behind the bar prepares an
espresso for Jackie, nodding subtly towards the slick-haired
consigliere NICKY TERRONE (60s) seated in a shadowed corner.
61.
Jackie savors his espresso, each sip ponderously measured,
his attention on the imposing thirty year old JOE MUSCO
reflected in the mirror behind him.
Jackie approaches Nicky, who, with a smooth gesture, rests
his unfinished cigarillo in an ashtray and stands, exuding a
blend of respect and power, to greet Jackie with a hug.
NICKY
(in Sicilian)
Rocco sends his condolences from
Mexico. Sammy was like a brother to
him. But, like everything else,
this thing of ours comes at a cost.
Jackie hands Nicky a thick envelope as the three sit.
NICKY (CONT’D)
(pockets the envelope)
I remember when your father got
this place. You and Sarah were
eight, already fighting over tips.
I wonder what he’d think about all
the changes you’ve made.
JACKIE
We never saw eye to eye on changes.
I kept the name, though.
NICKY
(to English)
I hear Sarah paid your friend
Giordano a visit. Rocco’s worried
she’ll become a problem.
JACKIE
Who or what Sarah does isn’t any of
my concern.
NICKY
Rocco disagrees. He hasn’t
forgotten the mess Sarah made last
time. Whacking a female fed is
something he’d rather avoid. It is
Christmas, after all.
JACKIE
(absorbs it)
After Hochelaga, my father gave up
his seat ensuring her safety. I
assume the old man hasn’t forgotten
about that - or those rats I
scratched off his ledger for him.
62.
NICKY
(stern)
He hasn’t. But let me be frank: Had
it been my call, both of you
would've been dealt with already.
But you took over Sammy's crew
because Rocco had a soft spot for
him. Soft or not... decisions will
be made if your pig cunt of a
sister continues poking her snout
around.
Frank Lombardi enters, positioning himself by the bar,
hinting at his role as both observer and participant.
JACKIE
You know, I’ve been eating your
shit most of my life, because dad
told me to. And I kept my mouth
shut when Mickey started collecting
for you, because dad told me to.
(puts out the cigarillo)
But dad’s gone. So if you ever
threaten me again, your name’s the
next one I’m scratching off.
The tension escalates as Joe stands abruptly. Jimmy
discreetly readies the shotgun. With a commanding raise of
his hand, Nicky signals Joe to stand down.
Jackie and Nicky lock eyes in a silent battle of wills.
JACKIE (CONT’D)
Sarah won’t be a problem.
Are we done?
NICKY
There’s something else. We have a
rat. On top of selling out your
father, that junkie De Lucca’s been
spying on us for Marino. I figured
you’d want the clip.
Nicky lights another cigarillo.
NICKY (CONT’D)
It needs to be done today.
Jackie remains seated as Nicky heads out, followed by Joe.
Frank sits down.
FRANK
That prick’s the first one to go.
It’s all setup with the Russians.
63.
Frank slides a folded piece of paper towards Jackie, who
pockets it.
FRANK (CONT’D)
Who do you wanna give Tommy to?
JACKIE
I’ll take care of this one myself.
FRANK
You sure?
JACKIE
What the fuck did I just say?
Jackie rushes out, leaving Frank perplexed.
FRANK
(to Jimmy)
What’s with this rushing out
business.
ESTABLISHING: A RUN DOWN AREA OF MONTREAL - LATER
The early signs of a brewing storm as snow blankets rows of
low-income apartment buildings. Sarah's vehicle sits
discreetly parked, affording her a clear vantage point of a
dive bar known as LINDA's.
Genres:
["Crime","Drama","Thriller"]
Ratings
Scene
40 -
Rescue from the Dive Bar
INT. SARAH’S VEHICLE - CONTINUOUS
She’s carefully surveying the entrance. An SUV screeches to a
halt. Sarah's focus sharpens as Jackie leaps out, marching
purposefully into the bar.
INT. LINDA’S BAR - CONTINUOUS
It's a shit hole marinated in the scent of body-odor and
stale beer. Jackie hones in on Tommy, barely coherent and
slouched over the bar.
Jackie gives Tommy a stern nudge.
JACKIE
Tommy... wake up. We’re leaving.
Nothing. Tommy isn’t here right now...
JACKIE (CONT’D)
(to the bartender)
How fucked up is he?
64.
The BARTENDER shrugs.
Jackie dumps a tall glass of water into Tommy’s ear. Tommy
comes to in a jolt.
TOMMY
Who the fuck...
(hello Jackie)
Jack?
Slap! Jackie lays a fresh one across his face.
TOMMY (CONT’D)
Ouch! Why?!
JACKIE
Let’s go.
TOMMY
Where we going?
Jackie gets a firm grip of Tommy’s arm and escorts him out.
Genres:
["Crime","Drama"]
Ratings
Scene
41 -
Confrontation in the SUV
INT. SARAH’S VEHICLE - CONTINUOUS
Sarah keeps on surveying as Jackie suddenly exits Linda’s
before violently shoving Tommy in his SUV.
EXT. JACKIE’S SUV - CONTINUOUS
Jackie catches a glimpse of Sarah’s parked vehicle reflecting
in the mirror but chooses to disregard it as he drives away.
Sarah tails him closely.
**THE SCENE WILL INTERCUT BETWEEN SARAH’S/JACKIE’S VEHICLES**
Jackie continues to eyeball Sarah’s tail as Tommy comes in
and out of his high.
TOMMY
Pull over. I don’t feel good.
JACKIE
Keep your mouth shut till I tell
you to talk.
(back to Sarah in the
mirror)
You really fucked up this time,
Tommy. You and Mickey and those
fucking pills...
65.
Jackie aggressively starts patting Tommy’s jacket and pulls
out a bag of fentanyl.
TOMMY
What the fuck are you doing!?
JACKIE
How many times did I tell you!? How
many! You dumb motherfucker...How
much did it take for you to sell
out to Marino?
TOMMY
(pleads)
Marino...? I didn’t do shit.
JACKIE
You know they think you’re a rat?
Nicky wants me to pop you! Today!
Tommy tries to escape by opening the locked door.
TOMMY
Let me out! Let me out!
Jackie gives Tommy a hard backhand to his forehead.
JACKIE
Shut the fuck up!
After a moment.
TOMMY
Jackie, I didn’t know what was
gonna go down with your dad.
Jackie’s had enough.
JACKIE
Just... calm down, and shut up.
Genres:
["Crime","Drama","Thriller"]
Ratings
Scene
42 -
Crossroads of Despair
EXT. TRAIN CROSSING - MOMENTS LATER
Jackie slows down to the flashing red lights as the distant
sound of a train approaches. He gives his mirror a quick
glance -
Sarah’s two cars behind -
As the train gets dangerously close Jackie slams the
accelerator and darts ahead.
66.
Sarah jumps out of her vehicle and helplessly watches the
train pass by.
EXT. FIELD BY A RURAL HIGHWAY ROAD - LATER
A once upon a time wheat field as far as the eye can see, now
deserted and abandoned, surrounded by a heavily wooded area.
Jackie drives up to a secluded spot off a connecting dirt
road. Neither say a word.
JACKIE
(hands him and envelope)
Here’s some cash. You need to skip
town. Tonight.
TOMMY
Skip town? Where am I gonna go?
JACKIE
Anywhere but here. And you can’t
come back. Not for a while.
TOMMY
Look... I know I fucked up, but
cash won’t get me anywhere. I’ve
known you my whole life. You used
to baby sit me for fuck sake. I
need your help.
JACKIE
What the fuck do you think I’m
doing?
TOMMY
Nah. You can help me. I know you
can. Just like you helped Mikey.
JACKIE
I’m not a cop anymore.
TOMMY
Yeah, you are...
(beat)
People see me and they see a
useless junkie. But I know what I
know.
Jackie dismisses him with a smirk and shake of the head.
TOMMY (CONT’D)
(rambling)
I know what I know... I know a good
cop is better than a dead cop.
(MORE)
67.
TOMMY (CONT’D)
And you’re a good cop, right Jack?
Tell your people I can help...or
kill me, cus if you don’t... and
Nicky finds me -
Why did you just say that...? Jackie’s face an image of
disappointment and heart break.
JACKIE
Get out.
TOMMY
I’m not getting out of this car. I
get out of this car I’m a dead man.
So just fucking kill me! Get it
over with, you cocksucker!
JACKIE
I’m not gonna kill you, Tommy. Walk
towards the tree line. You’ll get a
call soon.
Jackie hands back his bag of fentanyl.
JACKIE (CONT’D)
Here. Take one.
Tommy hesitates. Jackie gives him a reassuring nod. Tommy
throws it back.
TOMMY
So... you’re gonna help me?
JACKIE
Yeah... Now get the fuck out of my
car, Tommy.
Tommy steps out and begins his walk, a solitary figure
against the expansive snowy backdrop.
EXT. TREE LINE - CONTINUOUS
Tommy's breath pierces the thick, falling snow, the wind
muffling any sounds until — Bang! A gunshot.
Tommy crumples face-first, and Jackie looms over him, his
cold, emotionless face stark against the storm.
But as the moment fades, Jackie’s head drops in shame.