Arcadia

Andrew Macneil

Copyright (c) 2014

First Draft
12/13/2014

TABLE OF CONTENTS

PROLOGUE

CHAPTER 1 - A Guy Walks Into A Bar...

2
8

CHAPTER 2 - The Red Knight

33

CHAPTER 3 - The Deal

53

CHAPTER 4 - Loose Ends

73

CHAPTER 5 - Arcadia

101

2.
COLD OPEN:
EXT. FIELD - DAWN
WIDE-SHOT of a brown-green field surrounded by forest. It is a
deserted area with no civilization for miles on either end. In
the middle of the clearing is a large Old West era CABIN.
This is ARCADIA, a legendary treasure trove located in the
middle of buttfuck nowhere.
A CAR emerges from the forest, barrelling toward the Cabin.
There are FOUR GUYS inside. The car SKIDS to a stop. They exit
the car:
JOE "SHOTGUN JOE" PERTURBO, middle-aged and hard-looking.
MICKEY BURNS, a guinea with a giant beard.
JON-JON, a big black guy.
CHRIS RICHARDS, white, slim, and mousy looking.
JOE and MICKEY have PUMP-ACTION SHOTGUNS slung around their
backs, JON-JON and CHRIS have PISTOLS. Theyre all in suits.
The FOUR marvel at the sight. Each take a moment to observe the
area.
Arcadia is quite the sight.
INT. CABIN - DAWN
LIVING ROOM
The door CREAKS open. JOE peers inside. All he sees is sunlight
creeping through the cracks and windows. He steps inside, the
rest follow.
Old rustic, wooden furniture litter the room. Every corner
covered in cobwebs. They check their surroundings. Joe motions
directions to the guys. Chris LEFT, Jon-Jon, RIGHT, Mickey
UPSTAIRS.
KITCHEN
Joe enters the Kitchen. Even shittier than the Living Room. Has
an old stove, no fridge, broken table and chairs. He frowns at
the sight.
BATHROOM
Chris GAGS at the smell of the "bathroom." Just a hole in the
floor with centuries old shit rotting away.
UPSTAIRS

3.
Mickey unslings his SHOTGUN and walks slowly down the hall. Old
faded pictures and paintings cover the wall. He peers into old
shitty rooms as he continues along. More of the same old
garbage.
DINING ROOM
Jon-Jon sees more of the same. This is beginning to get old. He
heads back to the:
LIVING ROOM
Where they all meet.
MICKEY
Theres fucking nothing.
The GUYS all eye each other. They then look at the last door in
the room, dead center. Joe unslings his SHOTGUN and looks at
Mickey:
JOE
(points at door
)
After you.
INT. BASEMENT
The GUYS look at a trap door in the middle of the room.
Chris HAULS it open, the door THUDDING onto the floor.
FLOOR-SHOT of the GUYS looking into the hole. They look at each
other.
JON-JON
Not it.
JOE
Chris.
CHRIS
Nope.
JOE
Mickey?
MICKEY
Get Jon-Jon to do it.
JON-JON
Fuck yall. I said "not it."

4.
MICKEY
Nigger you aint done nothing since
we left town.
JON-JON
What you too pussy to doitchoself?
JOE
Youre both pussies.
Joe GRUNTS onto the ladder and makes his way down.
INT. TREASURE ROOM
Joe HOPS off the ladder. He looks down a hollowed-out
mineshaft. He walks through until he reaches an overlook. Down
below is a wide-open area with a pile of rocks in the corner.
MICKEY (O.S.)
Yo, what you see?
JOE
(calls back
)
All clear!
Joe walks down the side and to the clearing.
The GUYS watch from the overlook.
Joe reaches the rocks. He unslings his SHOTGUN and sets it
against the rock wall. He starts unpiling them one by one.
JOE (cont'd)
Help me clear these.
Chris arrives at his side. They start moving the rocks at a
more rapid pace. CRACK CRACK CRACK. Jon-Jon and Mickey move in
behind them, watching.
An opening in the floor can be seen through cracks in the
rocks. More rocks are moved out of the way until they see:
A GIANT CHEST.
Joe and Chris look at each other then back to the other two,
grinning ear-to-ear.
CHRIS
Woooooooo! We found it!

5.
MICKEY
No fuckin way...
CHRIS
Come on boys, give us a hand!
Jon-Jon and Mickey rush to their side. The FOUR HOIST the CHEST
out of the hole and SLAM it on the ground.
JOE
Fuck yeah, boys. We did it!
CHRIS
Must be the first time in how long?
JOE
Probably 150 years since this chest
has seen the light of day.
(to Mickey
)
Mickey, bash that lock open and
lets get a taste of legend.
Jon-Jon and Mickey cock their guns and point them straight at
Chris and Joe.
Joe frowns.
JOE (cont'd)
Fuck is this?
CHRIS
This a fuckin joke or what?
MICKEY
A message from Pegorino: Dont fuck
with the family.
JOE
So its like that huh.
JON-JON
Peggy knew you been workin wit
Fantana.
JOE
You guys aint got a fuckin clue.
CHRIS
Joe, what they talkin about. The
fuck, guys? What the fuck?
MICKEY
Pegorino sends his regards.

6.
Joe dives for his SHOTGUN.
Jon-Jon UNLOADS his PISTOL on Chris, taking his head clean off
and ripping apart the rest of him.
Mickey SHOOTS and misses Joe by inches.
Joe grabs his SHOTGUN and BLASTS Jon-Jon in the chest, COCKS
andJoe and Mickey both BLAST each other at the same time. Mickeys
torso IMPLODES from the impact and he crumples to the ground.
Joe is bleeding like a stuck pig. He rolls around for a minute,
MOANING and GROANING.
He sits himself up, holding his guts in best he can. He stares
at the CHEST. It stares back. He struggles to stand. On his
feet, he takes out his phone and DIALS as he stumbles back up
the shaft. He talks on the phone:
JOE
Fantana... Pegorino...
INT. BASEMENT
He crawls out of the hole and rolls onto his back, still
holding the phone.
JOE
Pegorino... he fuckin knew.
INT. LIVING ROOM
Joe stumbles through the room.
JOE
Next time... make sure... no one
else knows...
EXT. FIELD - SUNRISE
The sunrise burns in Joes eyes. He covers them with one hand.
He takes a seat on the grass and leans against the cabin. He
takes out a GPS device and reads it off:

JOE
53 by 32 North... 113 by 30 West...

7.
He drops the GPS and takes out a pack of smokes.
JOE (cont'd)
You should see Arcadia. Its fucking
beautiful.
He drops the phone, lights a smoke and drags hard. His face is
content when he dies.
WIDE-SHOT as we slowly move back from the cabin showing the
entire area. The sunrise is daunting. The beautiful Arcadia,
lost once again to be found by another unlucky group of
adventurers.

OPENING CREDITS

8.

CHAPTER 1
A Guy Walks Into A Bar...

9.
INT. BAR - NIGHT
A smokey, grungy bar. Not the type of place you want to bring
your girlfriend to. On Fridays it's packed with all sorts of
criminally inclined folk. It's not Friday, though. It's a
Wednesday. The bar is empty all except one GUY and a group of
IDIOTS.
The Guy sits alone at the bar. He is a good-looking dude,
dressed all black with a blazer except for his dress shirt, a
light purple he's bold enough to wear. His supercool cross-draw
holster, a la Lee Van Cleef, holds his MODERNIZED COLT 1857
REVOLVER. This BAD MOTHERFUCKER is VINCENT CORSO. His drink is
a scotch-rocks.
The Idiots are playing poker at the other side of the bar.
They're LOUD, but they pay well. A GIRL is standing behind the
de facto LEAD WOLF of the Idiots. She's a trophy prize, there
for the Lead Wolf to show off to the Idiots. She kisses him on
the neck, then strides over to the bar, right next to Corso.
This is KATE.
KATE
Apple martini, please. Shaken.
The BARTENDER nods and starts making the drink. Kate glances at
Corso. He's one dapper motherfucker.
Corso notices her stolen glances, then looks at her directly.
His eyes then shift to the Idiots across the room.
CORSO
Not your game?
KATE
What makes you say that?
CORSO
A hunch.
The Bartender SHAKES the shaker. Kate turns toward Corso.
KATE
A bit presumptuous.
He takes a drink.
KATE (cont'd)
You're more of a baccarat man?
CORSO
Not baccarat.

10.
KATE
Blackjack.
CORSO
Go Fish.
She smiles. The Bartender finishes her drink and hands it to
her. She takes a sip.
KATE
(to the Bartender
)
Thank you.
BARTENDER
Ma'am.
Corso lights a smoke.
KATE
Don't got many friends?
He drinks but doesn't answer. He smirks at her.
KATE (cont'd)
I can see why.
CORSO
Oh?
KATE
Looks like you got 10 sticks up your
ass and from what I can tell you're
not enjoying it.
Corso chuckles.
KATE (cont'd)
Maybe you'll find some friends after
all.
CORSO
I sense a volunteer.
(looks to the Lead Wolf
)
Wouldn't your boyfriend be jealous?
She looks in the same direction.
Lead Wolf has one of the Idiots in a headlock, and they're all
laughing their asses off (except for the Headlock Guy). He lets
him go and reaches for his drink, knocking it off the table.
They all burst into laughter again.

11.
CORSO (cont'd)
He definitely doesn't have ONE stick
up his ass.
KATE
What makes you think he's my
boyfriend?
CORSO
I'm good like that.
(a beat)
You've been leaning over him and
whispering into his ear all night,
just far enough so the other guys
can see down your dress, allowing
him to bet higher with them being
nonethewiser.
KATE
So you've been watching me all
night. I should call the cops.
CORSO
Actually I haven't, I've been
watching your boyfriend.
KATE
You jealous?
CORSO
Oh yes, he's quite fascinating.
KATE
How so?
CORSO
He has a problem with social
etiquette I'm not used to seeing
outside college bars. That piques my
interest on an objective level.
(a beat)
So, how much he worth?
KATE
(laughing)
You're an asshole!
She fiddles with the olive in her empty martini waiting for him
to apologize.
KATE (cont'd)
He's... worth a lot, and we'll leave
it at that.

12.
CORSO
Bingo.
KATE
A little judgmental aren't we?
CORSO
Just had to make sure you're the one
is all.
He stares her in the eyes. She stares back.
KATE
(nervous laugh
)
What?
CORSO
Kate, is it?
She tries to get up but Corso grabs her arm and keeps her put.
She looks to the Idiots, still LOUD as ever. Then back to
Corso, still piercing through her eyes. She struggles. She's
been found out. You can see it in her face.
Corso draws his revolver, COCKS it and points it at her
stomach. She finally stops tring to struggle.
KATE
How did you find me?
CORSO
One thing you come to learn in my
profession is that everyone leaves a
trail of bread crumbs. Everyone.
She looks back to the Idiots then back to Corso. He lets go of
her arm.
CORSO (cont'd)
Another apple martini for the lady.
The Bartender, oblivious to their situation, nods and starts
making another martini.
KATE
So what now?
The Idiots get LOUDER. The Bartender SHAKES the shaker.
Corso draws a SILENCED PISTOL out of his inner coat pocket and
points it at her gut. He FIRES twice into her. The RACKET of
the Idiots and the SHAKE of the shaker combined with the
SILENCER muffle the sound of his gun threefold.

13.
Life leaves her eyes as she bleeds out. She slumps into his
arms. He holds her until she dies. He moves her and rests her
on the edge of the bar. He puts his PISTOLS away.
The Bartender puts the drink down, looks at Kate then back at
Corso. He reaches under the counter when Corso DRAWS again and
points his REVOLVER at him. He stops, raising his hands.
Corso reaches into his pocket and takes out a piece of PAPER,
unfolds it and places it on the bar. It is a HANDBILL:
INSERT:WANTED: DEAD OR ALIVE
KATE "BLACK WIDOW" HUNSAKER
MURDER, ROBBERY, GRAND THEFT AUTO
REWARD $50,000
INT. CAR - DAY (CONTINUOUS)
A middle-aged business man talks to his wife on the phone while
driving. This is "DAPPER" DAN.
DAN
Yes, I Tivo'd Oz - what's the
difference? $10 at Walmart - Then
fucking buy them - You'll have the
show either way - Yes, use my card So put it in the fridge and I'll
heat it up when I get home - FOR
CHRISSAKES PEETA, IT'S STEW! IT
WON'T SPOIL! - Diet coke, no nice.
He hangs up and sighs.
EXT. "EMIN'S MEAT MARKET" BUTCHER SHOP - DAY
The car pulls into the driveway of Emin's. Dan POPs a pill then
exits the car. He walks down the driveway and up the steps past
an obvious guard standing next to the door. There is a CLOSED
sign on the front.
DAN
(to the Guard
)
Inconspicuous much?
INT. EMIN'S - DAY (CONTINUOUS)
We follow Dan through the shop, round the counter, through the
back door, through a room, downstairs, down a hallway to a walk
in freezer.

14.
FREEZER - DAY
Meat hangs from the ceiling (no shit, it's a butcher shop). A
HENCHMAN named BILLY is standing in the corner of the room. A
BUTCHER in a butcher's apron with blood smeared on it is
standing next to a HOSTAGE. The Hostage is tied up in a chair,
unconscious.
Dan stomps his feet and blows in his hands.
DAN
Fuck, it's cold in here.
He stands next to the Butcher. They are looking at the Hostage.
DAN (cont'd)
He say much?
BUTCHER
Beggin'.
DAN
What he beg for?
BUTCHER
Usual.
DAN
Who picked him up.
BUTCHER
Billy.
DAN
(to Billy)
What you pick him up for?
BILLY
(stammers)
He's the debt collector.
DAN
Right...
(a beat)
How much he out?
BILLY
$7500 dollars.
DAN
$5000 starting?
Billy nods.

15.
DAN (cont'd)
(snaps his fingers
)
Wake him up.
The Butcher snaps smelling salts. The Hostage jerks awake,
disoriented. He looks around the room and breathes hard. He's
all fucked up. Dan gives him a moment.
DAN (cont'd)
You with us?
He whimpers.
DAN (cont'd)
Uncuff him.
Butcher uncuffs the Hostage. His wrists are bloody and ripped
up from the cuffs. Dan does a sharp intake of breath, feigning
pain.
DAN (cont'd)
Those handcuffs are nasty business.
(a beat)
Get him some water.
The Butcher leaves the room.
Dan walks around the room fiddling with various instruments
while monolugeing:
DAN (cont'd)
I never liked Butcher shops. My dad
had one when I was a kid so
naturally, I learned the tricks of
the trade. Didn't bode well being
called the "Butcher's Boy." There's
a certain stigma attached to that.
(picks up a knife
)
You ever kill an animal? Back then
when you killed livestock, you had
to put a bucket underneath them.
Worked pretty much the same for most
animals - cows, goats, horses. Had
to get two guys - sometimes three if
the fucker was big enough - Then you
had to get your arms around the
animal and(slices the air
)
The blood drains into a bucket. You
did this so when it came time to cut
it up, you could do so with no mess
involved - apart from the guts and
skin and whatnot.
(MORE)

16.
DAN (cont'd)
(a beat)
One day, he told me I had to know
what it was like to kill something.
I'd been putting off killing a cow
for sometime. I'd get a little antsy
right before so I'd run away.
Pattern was the same, I'd try to
kill it, puss out, run away, then my
daddy'd catch me and kick my ass. So
he brought me into the barn, and
standing there was a baby goat.
Probably born a few months prior.
(puts the knife down
)
I still have nightmares to this day.
And I still hate killing things. And
I still own a Butcher Shop.
The Butcher returns with water. He pours the water into the
Hostage's mouth. He drinks greedily and then coughs some up.
Butcher stands back next to Dan. Dan pats Butcher on the
shoulder.
DAN (cont'd)
Nowadays they have machines that do
the dirty work for you. Takes you
out of the action - removes the
guilt from it all.
Hostage gets the analogy and becomes more terrified.
DAN (cont'd)
(claps his hands
)
You know why you're here?
HOSTAGE
N-no.
DAN
Why's he here, Billy?
BILLY
Defaulted on a collection.
DAN
Defaulted on a collection. Was it
worth it?
HOSTAGE
I-I-I-I don't know what you're ttalking about.

17.
DAN
You collected money for me and then
you took it. You got more balls than
brains, I'll tell you that much. You
think that money would just
disappear and no one'd notice? We're
all on vacation, outta town while
you're raking in all the dough?
HOSTAGE
I-I-I- I have money. N-not yours But I have some.
DAN
Wrong. Wrong. Wrong.
Butcher picks up a GIANT NEEDLE from the table.
DAN (cont'd)
Torture is an effective way of
gaining information, as someone in
your line of work obviously knows.
But, like most things in the world
-whether you agree with it or notthere is an art to it. Too much pain
and the subject will either pass out
or even - in a lot of cases - will
confess to just about anything
whether it be true or not. Bob here,
has done extensive research on
effective ways of torture.
(he pats the Butcher's
shoulder again
)
Beating a confession only goes so
far - usually it's best for small
confessions like "Who ratted out
Jimmy? Where is the deal at? Who hid
the tv remote?" Real petty shit. If
you've seen documentaries on the CIA
or even that movie, what was it Zero Dark Thirty - the CIA uses
water-boarding as an "effective"
technique of gathering intel. Bob
has proven that false as well. See,
as much the drastic measure of pain
difference between beating the shit
out of someone and almost drowning
them is - it's still too much to
take. You get water-boarded, you'll
tell that person fucking anything I
guarantee you.
(MORE)

18.
DAN (cont'd)
(a beat)
The Yakuza found the perfect
technique and believe it or not it
has a very high success rate.
The Butcher gets close to the Hostage. The Hostage can't look
away from the GIANT NEEDLE in his hand.
DAN (cont'd)
One of the most painful places to be
injured is under the fingernail. The
finger-TIPS have a shit ton of
nerve-endings - I don't know how
many but it's a lot. Under the
fingernails are TWICE that amount.
Just the tap of a needle can hurt
more than - anything really. The
pain is confined to such a small
area that the brain can still
rationalize - won't lie, you see.
The Butcher taps the NEEDLE into the Hostage's fingernail.
HOSTAGE
AHHHHHHHHHHHHHHHHH!
Dan gets in his face.
DAN
I loan out money. You know why I do
that? I'm trying to run a business.
Some gambler piece of shit can't
resist another round of 'Jack
because he swears tonight will be
his night, who's he call? When I
loan out $5000 dollars I want at
least $7500 dollars back. So what
about my $7500 dollars?
Dan tilt's Hostage's head up.
DAN (cont'd)
I'm reasonable, okay? You get a
spout of greed, can't be blamed.
Happens to all of us from time to
time. You get my money back and I'll
look past this little... hiccup.
You'll no longer work for me, but
you'll also no longer be pestered by
me or any other... nefarious
characters.
The Hostage cries.

19.
DAN (cont'd)
You got a wife? Kids?
He cries harder.
DAN (cont'd)
You want Bob here to pay them a
visit? I don't want that on my
conscience - I'm a family man too.
I'd do just about anything for those
fuckers. So I implore you to choose
your next answer carefully: Do you
have my money?
The Hostage shakes his head, still crying. Dan stands back
straight and shakes his head.
DAN (cont'd)
Wrong answer(turns to Billy
)
BILLY
-Jeff.
DAN
-Jeff.
The Hostage looks around at all of them, eyes as wide as can
be.
HOSTAGE
I-I'm not Jeff.
Dan nods at the Butcher again. He's about to put another needle
inHOSTAGE (cont'd)
NO! PLEASE! I'M NOT JEFF! I SWEAR!
I'M CHRIS! I'M CHRIS! I'M CHRIS!
DAN
Jesus, Jeff. Your wife would be
proud.
HOSTAGE
No! Check my wallet! Please! I'm
Chris! I'm Chris...
Dan thinks for a moment, studying the broken shell of a man
sitting in front of him.

20.
DAN
(sighs)
Get his wallet.
The Butcher rummages through the pants, and finds the WALLET.
He hands it to Dan.
INSERT: DRIVER'S LICENSE
CHRIS SIMONSON
DAN (cont'd)
Chris Simonson... Do I have a Chris
Simonson working for me?
Billy shrugs.
DAN (cont'd)
And the collector's name is JeffBILLY
-Bellafontaine
DAN
-Bellafontaine
(beat before walking up to
Billy)
Let me ask you a question: How you
doing? You feeling alright?
BILLY
Yeah, Dan. I feel fine.
DAN
Not feeling sick or anything? No
complaints?
BILLY
No, Dan.
DAN
Explain to me then why you picked up
the wrong guy?
Billy is silent.
DAN (cont'd)
You got a reason for being so
fucking retarded? If you have an
honest answer then by all means tell
me. You take a baseball bat to the
head or anything?
BILLY
N-

21.
DAN
Don't answer that. You didn't even
check his wallet before you dragged
him in here? The fuck you find him?
Billy is silent.
DAN (cont'd)
You can answer that.
BILLY
I saw him working at the bank.
DAN
At the bank.
BILLY
At the bank.
DAN
And that didn't strike you as odd?
BILLY
He fit the description - I'm sorry
Dan, I was trying to use
"initiative."
DAN
Bob, slap him.
Butcher slaps Billy in the face.
DAN (cont'd)
Think before you think before you
think. Fucking monkey.
(motions up
)
Get him up.
The Butcher lifts Chris up from the chair.
DAN (cont'd)
I apologize on behalf of that joker.
(hands him a wad of cash
)
If you could keep this quiet I would
greatly appreciate it. I'll just get
that for you, there you go.
(dusts off Chris' jacket
)
EXT. EMIN'S - DAY
A shot of Chris' head through the back window of a car.

22.
DAN
You'll no longer be disturbed by me
or any of my colleages. Once again I
apoogize for the mixup - Oh, and if
you tell anyone, your wife and kids
are dead.
The car PEELS out.
INT. EMIN'S - OFFICE - DAY
Dan is sitting in his chair, rubbing his temples. JACK, an
enforcer sits across from him.
JACK
You look like hammered shit.
He stops rubbing his temples.
DAN
You know what to get a 16 year old
for her birthday?
Jack shrugs.
DAN (cont'd)
Nevermind.
JACK
Whatever happened to meeting at
Denny's.
DAN
Things change. It all fuckin'
changes...
JACK
(clears throat
)
So, what did you want?
DAN
(sighs)
Fantana's fucking with me - again.
JACK
Again.
DAN
Dangling Arcadia in front of me.
Jack sits for a moment.

23.
JACK
Bullshit.
DAN
I shit you not, Jackyboy.
JACK
What makes you so sure he ain't
taking your ass on another ride?
DAN
Swears he got proof this time.
Jack sits up a bit.
DAN (cont'd)
But I ain't taking the chance. Fool
me once, shame on me. He'll never
fool me again.
JACK
What you wanna do?
INT. BAR - NIGHT
Jack is sitting at a bar (not the same as before) looking at a
menu. Across from him is a guy in his 40's named Bill.
BILL
Dapper Dan. Really?
JACK
I like him.
BILL
He's a fuckin' asshole.
JACK
You ever meet him?
Bill hasn't.
JACK (cont'd)
Exactly. Still pulling strings.
Still got it.
Bill downs his drink.
BILL
So, what's this job he's got then?

24.
JACK
I wonder how the pork loin is...
The waitress comes and pours them another round.
JACK (cont'd)
Thanks dear. Hows the pork loin?
WAITRESS
I'm vegetarian.
JACK
That's fine, I'll get it.
He hands her the menu. She smiles and leaves. Bill is staring
at him now.
JACK (cont'd)
Oh, right. WThe Waitress comes back and puts a plate and cutlery on the
table for him.
JACK (cont'd)
-Thank you.
They lean in close again.
JACK (cont'd)
What is the last you heard about
Arcadia?
Bill leans back. He chuckles, shakes his head and takes a
drink - Brad Pitt, Ocean's Eleven style.
BILL
Arcadia?
Jack smiles.
BILL (cont'd)
You're fuckin' crazy.
JACK
Got coordinates.
BILL
You have coordinates?
JACK
Well- not with me. I need people to
get them for me.

25.
BILL
Oh, here we go.
JACK
Before you huff and puff just hear
me out.
Bill takes another drink. The Waitress comes back with Pork
Loin and Lime Jell-O.
JACK (cont'd)
Thanks, dear.
He starts eating.
JACK (cont'd)
Need two guys, plus you for this.
BILL
To do what?
JACK
You know who Fantana is?
BILL
Only rumors.
JACK
What you hear?
BILL
He's some drug dealer. Supposed to
be batshit. Thinks he's the next
Prince.
JACK
He loves 80's pop that's for sure.
He calls up Dapper Dan, tells him he
has the coordinates to Arcadia.
Bragging more like. Dan said
"bullshit." Fantana said he'd sell
them.
BILL
Just like that?
JACK
Just like that.
Jack wolfs down more of the pork loin.
BILL
How much?

26.
JACK
Hundred thow.
BILL
Jesus christ.
JACK
Yeah.
BILL
I'm gonna pass.
JACK
Like hell you are.
BILL
You realize how much fucking shit
we're gonna get in? A hundred
thousand dollar deal with a drug
dealer no less? You'd need a couple
of real McCoys not some squirelly
amateurs.
JACK
Looks like I came to the right guy.
BILL
Fuck it, find someone else.
Jack finishes his food and wipes his mouth.
JACK
How's Jane?
Bill looks away and drinks. What an asshole.
BILL
She's doing alright.
JACK
Treatment going okay? Getting
expensive these days.
Bill glares at him. The Waitress comes back AGAIN and takes
Jack's plate.
JACK (cont'd)
Can I get the strudel?
She smiles and bolts again. Jack looks back at Bill. They trade
looks for a moment before Bill finally caves. He nods.
JACK (cont'd)
Need people reliable.

27.
BILL
You ain't going?
JACK
Fantana and I don't have the
greatest history. Best I stay out.
BILL
Why don't you and Dan give me some
of your guys?
JACK
All tied up at the moment.
Pegorino's got Dan bent over the
barrel.
BILL
Reliable huh. People ain't gonna
like working for Dapper Dan.
JACK
So don't tell them he's involved.
BILL
Okay.
JACK
Who you got in mind?
INT. CAR - DAY
BILL(V.O)
Frankie and Blondie. Bank robbers.
JACK(V.O)
Blondie?
BILL(V.O)
Don't know his actual name. Don't
talk much. I call him Blondie on
account of his complexion.
JACK(V.O)
Frankie... what's he like?
BILL(V.O)
She.
A GUY and GIRL sit in a car outside a national bank. The GUY
wears a leather jacket, the GIRL a peacoat. These are Frankie
(GIRL) and Tony (GUY). Tony is the driver, Frankie the robber.
Tony's name is barely spoken in the whole movie.

28.
FRANKIE
No more banks, Tony. Too risky.
TONY
No shit it's risky.
FRANKIE
You've never done it before. You
don't know. Gotta get blueprints,
getaway car, semi-automaticsTONY
-Presidential masks
FRANKIE
Shutup. Need at least, at LEAST 4
guys. You know how much vesta and
semi-autos cost for 4 people?
TONY
How much?
FRANKIE
A lot. And you gotta take into
account how much you lose if a guy
goes down. You want to run the risk
of losing a fourth for every guy
that goes down - could even be one
of us?
TONY
We're not robbing the Federal
fuckin' Reserve.
FRANKIE
They're still armed to the teeth,
don't matter it a Federal Reserve or
a private bank in backwoods fucking
Missouri. I ain't doing another New
York again.
TONY
Enough about New York.
FRANKIE
Mugsy got his head blow off by the
bank manager. The MANAGERS have
fuckin' shotguns. The MANAGERS. Can
you believe that shit?
TONY
I can't believe his name was
"Mugsy."

29.
FRANKIE
Shutup.
TONY
Okay, let's just say we don't do
banks. What then?
She thinks.
FRANKIE
We could do liquor stores.
TONY
And afterward blow our fucking
brains out they don't already get
blown off by one of the clerks.
FRANKIE
What's wrong with liquor stores?
TONY
What's wrong with liquor stores?
They're the criminal equivalent of
being a fucking janitor. And chances
of getting killed are just as high
for less of the payout. Last one I
robbed almost got my fucking head
blown off. No way, uh uh.
FRANKIE
Bookies are easy.
He shakes his head.
FRANKIE (cont'd)
Haven't hit one of them in a while.
TONY
Not in this city. You want to
explain to Pegorino why you got your
hand in his business?
FRANKIE
Fine. But no more banks.
Her phone RINGS. She answers:
FRANKIE (cont'd)
Yeah-mhmm-we might be interestedwhat you-okay.
She hangs up.

30.
TONY
Who was that?
FRANKIE
Bill.
INT. BAR - NIGHT
The Waitress puts WHIPPED CREAM on the strudel. Bill gets up
and puts some money on the table.
JACK
Where you going?
BILL
Home.
INT. CAR - DAY
FRANKIE
We're meeting him at the Red Knight
tonight.
TONY
The Dirty Red?
INT. BAR - NIGHT
JACK
Say hi to JaBILL
Save it.
INT. CAR - DAY
FRANKIE
How bad could it be?
INT. BAR - NIGHT
The Waitress comes around yet AGAIN. Jacks plate is cleared.
WAITRESS
Anything else I can get you?
JACK
(smiles)
Loads.

31.
INT. CAR - DAY
Tony takes off his watch and puts it on the steering wheel.
TONY
Alright. But first thing is first.
Frankie shakes her head.
TONY (cont'd)
It's only a teller.
She sighs and takes out her GUN, checks it, and COCKS it.
TONY (cont'd)
Remember, 2 minutes. In and out.
FRANKIE
Yeah, yeah.
Frankie puts on shades and then gets out of the car. Tony
starts the timer.
INSERT: WATCH TICKING
EXT. BANK - DAY (CONTINUOUS)
SLO-MO as Frankie walks through the parking lot, up the bank
steps and across the courtyard. She passes through crowds and
gets to the doors.
INT. BANK - DAY (CONTINUOUS)
Still SLO-MO as she passes through the revolving door. Her eyes
scan the room: Guards in all corners and near the elevators,
important suits coming and going, bank manager talking with
some hoighty toighty guy.
She approaches the teller.
CUT TO:
INT. CAR - DAY
POV through windshield, Tony watches Frankie walking briskly
down the steps, and through the parking lot. She has blood
coming from her forhead. She doesn't have any cash with her.
Tony gets out of the car.
TONY
W-

32.
FRANKIE
Don't ask, for god sakes, don't ask.
She wipes blood off her head. They get in the car and peel out.

33.

CHAPTER 2
The Red Knight

34.
INT. THE RED KNIGHT (BAR) - NIGHT
The place is packed. Awesome synthy music is
always blaring sexy, synthy music at the Red
pink and blue neon lights flash, giving it a
move throughout the bar Boogie Nights style,
dancing, drinking, living.

blaring. It's
Knight. 80's style
neo-80's feel. We
passing everyone

THE BROTHERS KARAMAZOV, two idiot guns-for-hire are bickering

back and forth as we move past the bar. We continue down an
aisle of booths, one has Tony, Frankie and Bill sitting in it.
Further down the aisle at a table is a wannabe gangbanger, 8BALL, and his 2 CRONIES. 8-Ball is a skinny white wigger.
There are people on the dance floor having a time. On the stage
ahead, some people are setting up more speakers. The DJ is
immersed heavily in his mixing. For the remainder of this
scene, we will be jumping back and forth between different
areas of the bar.
8-BALL'S TABLE
8-BALL
Shot them gooks. One-by-one.
CRONIE #1
Why?
8-BALL
Graysmith, that crazy fucker.
CRONIE #2
You one cold blooded nigga, 8-Ball.
CRONIE #1
Badass mothafucka is what he is. You
sittin' in the presence of a mad
dawg.
8-BALL
Nigga get your fuckin' head outta my
ass.
CRONIE #1
I8-BALL
Getcho ass to the end of the table.
Cronie #1 looks to #2. #2 keeps his head down, eyes up. Cronie
#1 gets up and moves to the other end of the table.
BOOTH

35.
Tony, Frankie and Bill sit at the booth. Bill is on his PHONE.
BILL
The Red Knight - THE-RED-KNIGHT "Russian Tea Room?" I didn't say we
were at the Russian Tea Room- If I
said "we'll be at the Russian Tea
Room" we'd be at the Russian Tea
Room - THE-RED-KNIGHT - Next to that
hipster joint, Remedy.
He hangs up.
BILL (cont'd)
Fuckin' ponce sometimes.
FRANKIE
Sounds like he'll be a great
addition to the team.
BILL
Jack's a little stunned sometimes
but he's reliable - trust me.
Jack can be seen from the entrance.
BILL (cont'd)
There he isHe approaches.
BILL (cont'd)
-Russian Fuckin' Tea Room.
JACK
It's a nice place.
He sits down.
FRANKIE
For the Brothers Karamazov, maybe.
JACK
The moron twins? Fat chance. Ain't
seen them in a while.
Frankie smirks and nods across the bar. Jack turns around to
see DIMITRI and SERGEI KARAMAZOV still bickering with each
other, hitting each other. Dimitri lights a cigarette from the
filtered end and starts coughing. Sergei points and laughs at
him. Dimitri punches him in the face.
JACK (cont'd)
Must have been let out early.
(MORE)

36.
JACK (cont'd)
(turns back around
)
You know their last name ain't even
"Karamazov?"
FRANKIE
Why did they name themselves that
then?
JACK
I don't know, guess they thought it
sounded "cool." You must be Frankie.
FRANKIE
One and only.
JACK
And...
Tony is silent.
JACK (cont'd)
Got a name there, slick?
BILL
Blondie ain't got a first-name basis
kinda disposition.
JACK
(to Frankie
)
He retarded?
FRANKIE
Ask him yourself.
JACK
Yo, I Am Sam, I asked you your name.
Tony stays silent.
FRANKIE
He's my Driver.
JACK
Nice-to-meet-you.
BAR
Sergei slaps a girl's ass. She turns around and throws a drink
in his face then slaps him and stomps off. Dimitri points and
laughs this time. Sergei sucker punches Dimitri in the face and
they go at it AGAIN. People watch them, either shaking their
heads or laughing at the morons.

37.
BOOTH
Tony leans close to Frankie so no one else can hear.
TONY
Why did you bring me here?
FRANKIE
You need to get out more.
8-BALL'S TABLE
8-BALL
I told Graysmith to fuck himself
after that. I got no problem
killin', but that shit was
excessive.
CRONIE #2
Never like that boy, not since Marco
went missing.
8-BALL
Marco got what was coming to him.
Now Corso on the other hand, I got a
problem with.
CRONIE #2
He got Kate didn't he?
8-BALL
That he did. Motherfucker.
CRONIE #1
Motherfucker...
BOOTH
FRANKIE
I wanna dance. Will you dance with
me?
TONY
No.
FRANKIE
Come onnnn.
He's silent.
FRANKIE (cont'd)
Fine. I'll dance by myself.

38.
BILL
I'll be your partner.
Bill stands, bows and holds out his hand.
BILL (cont'd)
May I have this dance?
FRANKIE
My, what a gentleman. Oh, wait.
She opens her purse and takes out a tube of coke.
INSERT: Tube of coke being snorted.
FRANKIE (cont'd)
Hot damn.
She rubs her nose, then takes Bill's hand and stands. They head
to the dance floor. It's just Jack and Tony left at the Booth.
They are both silent.
JACK
So, you drive a limo?
He starts to say something else but gets up and leaves instead.
Tony stays put and a smirk creeps on his face.
8-BALL'S TABLE
CRONIE #1
How'd Corso find her?
8-BALL
Iunno. However those sneaky fucks do
it. Stalkem, talkem, killem.
CRONIE #2
Fucker has it coming to him now.
8-BALL
Oh and you, big bad mothafucka gonna
kill him? Shut your ass up, you
nothin but a punk. Kate's gone,
nothin' we can do but wait for Co(a beat)
I'll be damned.
ENTRANCE
Corso enters the bar. His eyes scan the room before he moves
across the room. SLO-MO:

39.
POV Corso:
His eyes on the stage/dance floor - Bill and Frankie
Eyes on Tony's booth
Eyes on Jack (at a booth)
Eyes on the bar - Karamazovs
Eyes on 8-Ball (who's eyes are on Corso)
END POV
He walks toward the bar and looks back at the stage again. Him
and Frankie catch eyes.
END SLO-MO
BAR
Dimitri is trying to balance a bottle on his head when he spots
CorsoThe bottle SMASHES on the ground. Corso stands at the bar and
looks at the floor...
...then up to the Karamazovs. They both glare hard at him.
CORSO
(to the Bartender
)
Scotch, rocks.
Corso looks at Dimitri's hand...
INSERT: HUGE SCAR ON HAND
...And at Sergei's face. CLOSEUP of Sergei's face with a huge
scar going across it.
Corso smirks and takes the drink.
CORSO (cont'd)
Thank you.
(turns to Karamazovs
)
Hey, boys.
He takes a drink.
CORSO (cont'd)
Looking good.
He walks away. They watch him the entire time. That fucker.

40.
BOOTH
Corso sits next to Tony
CORSO (cont'd)
Tony.
TONY
Corso.
CORSO
Where's the other half?
Tony nods at the stage. Corso looks at Frankie and Bill
dancing. He drinks.
CORSO (cont'd)
Oh, this must be killing you.
Tony gets up and leaves. Corso laughs and takes another drink,
then keeps his eye on 8-Ball
POV CORSO:
Watching 8-Ball laughing and carrying on like an idiot.
END POV.
Corso gets up.
8-BALL'S TABLE
8-Ball watches Corso when he isn't looking.
DANCE FLOOR
Frankie does another hit of coke while dancing. She almost
drops the tube while feeling the coke take effect. Bill shakes
his head at her.
BOOTH
Frankie does yet ANOTHER hit, this time a line off the table.
BILL
Take it easy, Mia Wallace. Want me
to go Pulp Fiction on your ass?
Tony comes back. Frankie hangs off him.
FRANKIE
Where'd you run off to?
He shrugs her off.

41.
TONY
Corso's here.
Bill looks around and spots Corso at the bar, who is scanning
the room as per usual.
BILL
Shit.
TONY
Better get your boy back here so we
can start.
BILL
Get out of my brain.
He leaves.
FRANKIE
Come here
(tries to kiss him
)
Tony pushes her away and looks in her eyes. Bloodshot as fuck.
FRANKIE (cont'd)
I only did a little.
8-BALL'S TABLE
8-Ball is still watching Corso. 8-Ball's face looks like he's
trying to squeeze a brick out of his ass.
CRONIE #1
What you gonna do?
8-BALL
Just you wait, nigga.
Corso spots 8-Ball staring. He smiles and does a little wave.
8-Ball now looks he finally pushed the brick out of his ass.
JACK'S TABLE
Jack is whispering in a girl's ear. They giggle. Bill
approaches.
JACK
Billy-boy, meet FranFRANCESCA
-Francesca

42.
JACK
-Francesca! She's from Spain, aren't
you dear?
FRANCESCA
Ci.
JACK
Ci! She's in University.
Jack gives Bill a "JACKPOT!" look.
BILL
I'm very happy for you.
Jack gets the hint and pats her on the ass.
JACK
Till we meet again.
She giggles and runs off.
JACK (cont'd)
What's your deal, man?
BILL
Enough of that, we have to talk-now.
JACK
What is it?
BILL
See that guy over there?
They look to Corso.
BILL (cont'd)
We don't want to be doing business
around him.
JACK
Where have I seen him before?
BILL
When's the last time you got booked?
JACK
Couple months ago, DUI.
BILL
Probly saw him at the station.
JACK
He's a fucking cop?

43.
BILL
Worse. A Bounty Hunter.
JACK
None of your guys got bounties do
you?
BILL
Not that I know of.
JACK
Then what's the problem?
BILL
He's trouble.
JACK
You're paranoid.
BILL
ManJACK
Dude, relax. No one's got bounties,
you're fretting to hard on this.
BILL
Dude, I'm telling youJACK
Forget it. So, that's everyone?
BILL
Yeah.
JACK
Okay
He starts to get up.
BILL
Wait a minute, just want to
reiterate something.
JACK
What?
BILL
Frankie's a friend. I ain't getting
her mixed up in something might get
her killed. Corso being here ain't a
good start.

44.
JACK
Trust me.
BOOTH
At the Booth: Jack, Bill, Frankie and Tony.
JACK (cont'd)
So ya'll heard about Joe Peturbo?
FRANKIE
So what?
JACK
Ya'll heard what he was doing?
FRANKIE
Tried stabbing Pegorino in the back,
got himself killed. Ain't no
surprise.
BILL
Bit more to it than that.
JACK
My employer, who would like to
remain nameless, has received a call
from Fantana.
TONY
Who's Fantana.
FRANKIE
Drug dealer. A certifiable fucking
nutjob drug dealer in fact.
JACK
Right. He called my employer,
dangling something in front of him.
Gonna sell it - for a price.
FRANKIE
How much?
JACK
$100 000 dollars.
FRANKIE
Fuck off, we're no couriers.
JACK
You'll get 20%.

45.
FRANKIE
Of what? What you buying? Drugs? We
don't want 20% of that. Ain't no
money in it for us. I ain't no drug
dealers, neither is my partner.
JACK
We're not buying drugs.
(a beat)
My employer is willing to shell out
this money if you would go to the
deal for us. You get 20% of what we
buy.
FRANKIE
Like I said, I ain't no courier.
What could you possibly be buying
that's worth more than 100k in
return that AIN'T drugs?
JACK
That I can't tell you.
BILL
Until you accept.
FRANKIE
And you expect us to do it, just
like that?
(snaps her fingers
)
BILL
I'll be joining you.
Frankie looks at Tony and then Jack.
FRANKIE
And where will you be?
JACK
Who knows? Cozy at home by the fire
maybe. Fantana and I don't have the
best- history. Best I stay out of
it, hence: You two.
FRANKIE
Bullshit. There's more to it than
that.
BILL
That's it.

46.
She thinks. Her and Tony have a telepathic conversation. They
both say the same thing.
FRANKIE
No.
JACK
Come again?
FRANKIE
No.
BILL
FrankieFRANKIE
You expect us to just take your
word, someone we just met, and your
"employer" who we HAVEN'T met. Fuck
that. Find another coupla stooges,
not this couplea stooges.
BILL
Frankie, it's a sure thing.
FRANKIE
Ain't no such thing as a "sure
thing."
JACK
30%
FRANKIE
That's a jump.
JACK
My employer didn't expect you to be
stupid or else we wouldn't have
taken Bill's word.
(a beat)
30%. Plus some of the spoils.
TONY
"Spoils?"
FRANKIE
We ain't doing shit till you tell us
what exactly it is we're dealing
with.
BILL
We were going to wait for you to
accept-

47.
JACK
-But if you insist.
Jack takes a drink.
JACK (cont'd)
You mighta heard 'bout Joe Perturbo
kickin' it. You mighta heard it was
Pegorino that pulled the trigger.
You mighta heard he was in bed with
Fantana. What you might not have
heard was what they were searching
for. What Fantana has the location
for. What we're gonna go get.
They're hooked.
JACK (cont'd)
Fantana has the coordinates to the
final resting place of a treasure
buried for over one hundred years.
(a beat)
We're going to Arcadia.
Silence around the table.
FRANKIE
Bull. Shit.
Silence.
JACK
35%. Plus spoils.
FRANKIE
And if we refuse?
JACK
You won't.
CORSO(O.S)
Might I inquire?
More silence. Corso stands from the
unbeknownst to them the whole time.
and a smirk on his face. Bill looks
unimpressed, Tony has a poker face,

booth next to them,

He has a scotch in his hand
nervous, Frankie
and Jack is curious.

CORSO
Frankie, how are you my dear?
(leans in and pecks her
cheek)

48.
FRANKIE
Charmed as ever, Corso.
CORSO
Bill, how's the wife?
BILL
She's on her way out.
CORSO
We all are.
He stands in front of their table. His REVOLVER is visible for
all of them to see clearly.
CORSO (cont'd)
(to Jack)
Don't believe we've met
(extends hand
)
Corso.
JACK
(shakes hand
)
Jack.
Awkward silence.
CORSO
So, what we all talking about?
BILL
Just having a drink.
CORSO
You're a terrible liar.
He grabs a chair and pulls it up to the table.
CORSO (cont'd)
You were talking about Arcadia?
BILL
Just sharing ghost stories.
CORSO
These ghost stories involve Joe
Perturbo, Fantana, $100 000 dollars
and coordinates to Arcadia?
(a beat)
Just curious.
(to Frankie
)
So?

49.
BILL
Actually, CorsoCORSO
-I believe I was speaking with
Frankie.
(a beat)
You were saying?
FRANKIE
Was just gonna be the 3 of us.
CORSO
"Was." Meaning past tense?
FRANKIE
NCORSO
Meaning there's room for more?
BILL
CorsoJACK
Deal was just between us.
CORSO
Like I said. "Was." Meaning past
tense. You're not offering me a role
in this are you?
No one dares say a word.
CORSO (cont'd)
That's awful thoughtful of you all.
I graciously accept.
(beat)
This Fantana - never heard of him.
JACK
He's good that way.
Corso smirks.
CORSO
When's the meet?
JACK
To be announced.
CORSO
Mhm.

50.
JACK
Well. Now that we have a Fourthunexpectedly. What's the verdict?
Frankie and Tony whisper to each other.
FRANKIE
We're in.
JACK
Excellent.
He raises his glass.
JACK (cont'd)
Arcadia.
They all have shit on their minds that make them
unenthusiastic.
EVERYONE
Arcadia.
They cheers. 8-Ball and his Cronies approach Corso from behind.
8-BALL
Yo, Vinny.
Corso keeps his back on 8-Ball.
CORSO
Elliot.
8-BALL
What was that?
CORSO
You heard me.
8-BALL
You got some balls comin' in here.
CORSO
Do I? Hadn't thought about it.
8-BALL
Heard about what you did to Kate.
CORSO
I'm very happy for you.
8-BALL
You a fuckin' punk.

51.
CORSO
Says the two-bit thug too stupid to
be a nigger.
8-BALL
What you fuckin' say to me?
CORSO
You got shit in your ears, Elliot?
8-BALL
Outside, Vinny. Now.
CORSO
I'm fine in here.
8-BALL
I wasn't asking.
8-Ball DRAWS a PISTOL, as does his Cronies. Corso DRAWS and
unloads on all Three of them. They all fall to the floor, dead.
Blood gets all over people on a table behind them. The music
stops and there is silence in the room.
The Bartender runs up to them with a PUMP-SHOTGUN and RACKS it.
BARTENDER
The fuck is going on here?
Corso turns around.
BARTENDER(cont'd)
Oh, Corso.
Corso takes out a HANDBILL and hands it to the Bartender:
INSERT: WANTED: DEAD OR ALIVE
Elliot "8-Ball" Smith
Murder, Drug Trafficking
Reward: $75,000
He reads it.
CORSO
May I have that back please?
BARTENDER
Get them the hell out my bar.
CORSO
Certainly.
He nods to the Booth.

52.
CORSO (cont'd)
Frankie
(to the guys
)
Ladies.
He leaves. They are silent for a moment.
BILL
I fucking told you.

53.

CHAPTER 3
The Deal

54.
INT. FRANKIE'S MOTEL ROOM- NIGHT
Frankie is alone in her room sitting on the bed. Pill bottles,
baggies, and liquor bottles are littered all over the bed. She
is visibly high as fuck. The camera replicates her lethargic
vision and she falls onto her back and passes out.
The phone RINGS. RING-RING-RING-RING. She's still passed out. A
moment later her cell phone VIBRATES on her nightstand. She
still doesn't answer
TIME LAPSE
A KNOCK at the door. Frankie startles awake. She finds her
bearings. KNOCK-KNOCK. She stumbles out of bed, across the room
and opens the door.
Tony looks at her - She looks like hell. He enters the room and
sees all of the goodies on the bed.
TONY
Jesus, woman.
She makes a groan and clears the bed and shoves anything that
can be smoked, snorted or drank into a bag. Tony sits on the
edge of the bed.
TONY (cont'd)
Ever hear of answering your phone?
(a beat)
We're meeting Bill and Corso outside
Fantana's tonight.
He spots a PISTOL on the floor and picks it up. He FLICKS the
safety on.
TONY (cont'd)
At least put the safety on.
She sits down next to him.
TONY (cont'd)
You gotta stop this.
She looks down. He tilts her head up and puts his hand on her
cheek. She nuzzles his hand.
TONY (cont'd)
11 o'clock. I'll be by.
She nods and put her hand on his thigh, close to his package.
TONY (cont'd)
Get some rest. And cut the shit.

55.
He kisses her on the forehead and stands. She curls up on the
bed. He picks up the bag of GOODIES and leaves. She'll be
pissed.
EXT. APARTMENT BUILDING - NIGHT
Frankie, Bill, Corso and Tony stand on the sidewalk. There is a
BRIEFCASE on the ground next to Frankie. They all check their
guns. Tony has a supercool PUMP-SHOTGUN slung around his back.
Corso has his REVOLVER and SILENCE PISTOL. Frankie has a
BERETTA. Bill has two.
CORSO
(to Bill)
What time you got?
BILL
10:53 in the pee em.
They holster their weapons. Frankie picks up the BRIEFCASE.
INT. APARTMENT BUILDING - LOBBY - NIGHT (CONTINUOUS)
The FOUR walk through the lobby.
BILL
He's really into 80's pop for
whatever reason. Won't shut the fuck
up about it.
CORSO
I don't plan on staying long enough
to hear it.
BILL
He's a drug dealer whether he's
pushing or not. You meet one, you
meet them all. Right, Frankie?
FRANKIE
Always trying to be your friend.
"Stay, get high. Let's watch crazy
shit on the internet." Always want
you to stay and chill.
BILL
We might be in there a while, so sit
tight while we're in there.
(MORE)

56.
BILL (cont'd)
(hits the UP button on the
elevator)
You want to get on his good side,
talk about The Outfield or some
shit.
The elevator PINGs. They step in.
INT. APARTMENT BUILDING - ELEVATOR (CONTINUOUS)
FRANKIE
You know him well?
BILL
Only met him once at a party. Jack
told me the rest.
FRANKIE
Yeah, me too.
CORSO
So you don't know what we're getting
into.
BILL
I'll take Jack's word.
They exit.
INT. APARTMENT BUILDING - HALLWAY (CONTINUOUS)
They continue down the hallway. Corso stops Bill.
CORSO
I'm gonna be that guy to say:
Anything happens - it's on you.
Bill turns to him, rage in his face.
BILL
I've had enough of your shit. Who
was the one who butted into our
conversation? Need I remind you that
you don't have to be here. You wanna
leave, leave. I ain't gonna stop
you. So fuck off. You've worn out
your welcome.
Frankie's hand is on her PISTOL. Tony is cool as usual.
Corso is taken aback, then smiles.

57.
CORSO
Look at the Big Balls on Bill. Lead
the way.
They reach the door. It OPENS, smoke billowing out. They step
inside.
INT. FANTANA'S
The apartment is a haze of smoke and neon lights, similar to
the Red Knight. Ut's semi-dark. Just light enough to be
comfortable with. 80's pop is blaring on the sound system.
There are 5 GUYS in the room:
GOON
GOON
GOON
GOON

#1
#2
#3
#4

is by the kitchen...
by the bathroom...
sitting in a chair in the corner...
at the doorway...

And Fantana. Fantana is centre-room, back facing the FOUR, in a

bathrobe, sweating and doing a weird dance going to the
bassline (not the beat) of the song. He's coked out of his
mind.
FANTANA
I fuckin' love this song. He was the
King. THE KING!
He turns around.
FANTANA (cont'd)
Welcome- To the Temple of Doom.
Goon #2 and Goon #4 search the FOUR of them. Frankie SLAPS Goon
#2's hand away when he feels near her ass.
FRANKIE
Play nice, boys.
Corso fingers his REVOLVER.
CORSO
You ain't takin' my gun.
Fantana is still dancing.
FANTANA
Nervous?
CORSO
Cautious

58.
Tony's poker face is still on. Shit just got awkward. All the
Goons finger their GUNS as well.
FANTANA
Why don't we just - have a peek.
Ya'll can keep 'em. We got enough.
Still gotta check though. It's
policy, see.
Corso nods to them. Bill takes out his BERETTAS. The others
take theirs out as well.
BILL
Happy?
FANTANA
Very.
Fantana nods to his Goons. They stand down. The FOUR holster
their guns.
Fantana faces the speakers and SWITCHES the song with his
REMOTE. The beat kicks in and he looks back at them, smiling
and nodding his head to the beat.
FANTANA (cont'd)
Here we go.
He starts his weird dance again. He talks to them, still
dancing.
FANTANA (cont'd)
Pop a squat!
Corso leans on the left side of the couch, Tony on the right.
Bill and Frankie sit down. The coffee table in front of the
couch has samplers of every drug imaginable. Great for when you
have company.
FANTANA (cont'd)
Some dust before we mingle?
He sits in his chair opposite the couch. He points to a BROWN
BAGGY.
FANTANA (cont'd)
That there's Bava. Smoothest H on
the market - Good for new
beginnings.
He picks it up.

59.
FANTANA (cont'd)
Only 5 guys on the West Coast sell
this shit.
(a beat)
No?
He throws it down and looks around the table.
FANTANA (cont'd)
How about...
(picks up a WHITE BAGGY
)
Abominable Snowman. Don't ask me, I
didn't come up with the fuckin'
name. Very good high, no down. And
the drip tastes like icing sugar.
How 'bout it?
No one answers.
FANTANA (cont'd)
(to Frankie
)
Frankie, right? We met at a party or
some shit? I know you, you little
nosedevil. You'd love this shit. Try
it- it'll blow your fuckin' head
off.
She reachesTony grabs her hand. NO.
FANTANA (cont'd)
(waves his hand
)
Ahhh.
He puts a line down and snorts. He cocks his head back and
jumps up.
FANTANA (cont'd)
I fuckin' love this sooooooooong!
Corso flinches, Tony remains calm. Bill and Frankie look at
each other uneasily. Fantana dances around again.
The Goons don't look surprised at their boss' behaviour.
FANTANA (cont'd)
Great eh? Love it! You like it- love
it?
FRANKIE
It's cool.

60.
FANTANA
Fucking cool- fucking legendary.
This motherfucker was legendary!
BILL
W-what kind of soundsystem you got?
FANTANA
I never know the names. PX400,
DZ550, 74whatthefuckever(to Goon #3
)
You know what it is, Obie?
Goon #3 shrugs.
FANTANA (cont'd)
(waves his hand
)
Ahhh.
(to Corso)
What you don't sit? You got
hemorrhoids? Ass cancer? Boils on
your balls?
CORSO
Doc told me it'd clear up in a few
days.
Fantana laughs excessively.
FANTANA
That's funny. You're funny. You got
a name? Bill, you didn't tell me
their names. The fuck man. Rude eh?
CORSO
Corso.
Fantana looks to Tony. He's silent, as per usual.
FANTANA
Blondie ain't got a name?
FRANKIE
He's my Driver.
FANTANA
He autistic?
FRANKIE
Just quiet is all.
FANTANA
(waves his hand
)
A Driver eh? Ahhh.

61.
He sits back down. He's sweating profusely, his robe sticking
to his skin.
FANTANA (cont'd)
You Debbie Downers ain't gonna party
but you can at least drink.
They nod.
FANTANA (cont'd)
Obie, get the scotch- outta the
cabinet, not the freezer.
Goon #3 places 5 glasses on the table. He hands the bottle to
Fantana.
FANTANA (cont'd)
All in?
Corso nods.
Frankie nods.
Bill nods.
Tony doesn't.
FANTANA (cont'd)
(to Tony)
What about you, Cannonball Run?
He doesn't answer. Fantana pours 5 drinks anyway. They all
(except for Tony) pick up their glasses and drink. Then,
they're silent. Negotiation 101: Whoever speaks first, loses.
Everyone is staring down Fantana. He is all smiles. It is still
silent for a moment when:
BILL
So...
FANTANA
So...
Frankie taps her BRIEFCASE. Fantana smiles.
FANTANA (cont'd)
Obie.
Goon #3 leaves the room and comes back with a BRIEFCASE. He
sets it on the table. Fantana doesn't say a word, he lets them
look at it. Bill looks to Corso. Corso looks to Tony. Tony
looks to Frankie.
She puts their BRIEFCASE on the table.

62.
FRANKIE
So that's it, huh.
FANTANA
If that's my $100 000 dollars in
that briefcase over there.
She smirks "yes." He turns the briefcase around and POPS it
open.
INSERT: Briefcase with $100 000 cash.
He laughs hysterically.
FANTANA (cont'd)
Thanks a bunch.
Frankie pulls the other BRIEFCASE close. She pops it open to:
INSERT: Briefcase full of cocaine.
Fantana flips through his BILLS, happy as a clam. The FOUR are
bewildered. Corso watches Fantana count.
CORSO
Hey manFANTANA
Shutup, man I'm tryin' to countCorso SLAMS the BRIEFCASE shut.
CORSO
HEY!
Fantana stops and looks him in the eyes.
CORSO (cont'd)
Think we're a couplea moron's or
something?
Fantana looks to his Goons who have their hands on their GUNS,
ready to draw at a moment's notice.
CORSO (cont'd)
Huh!?
FANTANA
Think 'bout what you're doing,
buddy.

63.
CORSO
YOU better think fast cause you
won't have anything to think with in
about 5 fucking seconds.
Corso draws and points the REVOLVER at Fantana. The Goons draw.
CORSO (cont'd)
That pretty velvet chair of yours
would look awful nice with your gray
matter splattered on it.
He COCKS. Bill raises his hands in protest. Frankie draws her
PISTOL. Tony has his hand on the handle of his SHOTGUN.
FANTANA
You better cool your jets. Someone
tell this fuck to chill!
TONY
A little too late for that.
FRANKIE
The fuck is this, huh?
BILL
Where are they?
FANTANA
Where are what?
CORSO
Don't play dumb motherfucker. Think
we came all the way out here to buy
some shitty coke ain't worth $50
thousand let alone a hundred?
FANTANA
Now you just wait a second, that's
some good shit. It's real good shit!
Try it!
CORSO
We didn't come here for drugs you
fucking dipshit.
FRANKIE
Give us the location, that's all we
want.
FANTANA
Location of WHAT?

64.
CORSO
ARCADIA!
Silence in the room (aside from the music). Fantana looks at
them all individually and then to his Goons. He nods to them.
They lower their guns.
FANTANA
(raises hands
)
May I?
Corso UNCOCKS but keeps it trained. Fantana gets up and walks
across the room. He FLICKS the music OFF. The room is now dead
quiet.
He walks to the fridge, opens it, and takes out a bottle of
scotch. He pours a new glass and walks back into the living
room. He swirls it around in the glass and sips.
FRANKIE
I suppose that's the good shit too.
He smiles. His demeanor is now very calm and calculated
compared to the erratic demeanor he displayed before.
FANTANA
So ya'll after Arcadia huh? I knew
there was somethin' fishy about you.
Checked into yous twos
(points at Bill
)
Normally I wouldn't do business with
someone does business with Jack
Frenezio, but you seemed decent. I
gave you a pass-even though I
shouldnt've. And you(points at Corso
)
Must be a Bounty Hunter, huh. I know
the type. You bozos stick out like a
sore thumb, got your gun, your tie,
your tight pants and your blazer.
Buncha overcompensating tough guys.
(points at Frankie
)
And you're more strung out than I
am. Had I known that I wouldnt've
met with ya'll. Don't do business
with strung out junkies, no matter
how hot they are.
(points at Tony
)
I don't know what to make of you.
(beat)
So what? Ya'll came to take my
drugs, claim my bounty, AND take my
coordinates? Want me to bend over
too? Just give it all up?

65.
BILL
We just came for the coordinates,
Fantana. Straight deal, no fooling.
FANTANA
You're with Jack Frenezio. You're
with him, you must know me and him
don't see eye to eye.
BILL
He said you two had history, that's
why he sent us.
FANTANA
Must've left out the part where he
double-crossed me in my own deal
before too? No?
BILL
No.
FANTANA
Guys a fuckin' snake taking your
asses for a ride. I suppose he also
left out the part where who you
really been workin' for is none
other than Dapper Dan Rezudo.
BILL
...Not exactly.
Corso looks at Bill, as does Frankie and even Tony.
JACK
Jack is Dan's errand boy?
BILL
Said you guys wouldn't agree if you
knew.
FRANKIE
You FUCKING moron.
Corso shakes his head.
CORSO
Just give us the coordinates, we'll
give you the money and that'll be
that.
FRANKIE
No bloodshed.
Fantana thinks for a moment.

66.
FANTANA
Ain't got'em.
(a beat)
Made it up.
FRANKIE
Fuck off.
FANTANA
If you know Dapper Dan then you
gotta know we got a history of
fuckin' with each other. Tellin' Dan
I got the coordinates to Arcadiathat'd make him do just about
anything to get them now wouldn't
it? Might have backfired in my face
but nonetheless - ya'll been setup.
BILL
He's lying.
FANTANA
Am I?
BILL
Corso and Tony hadn't even heard
your name before we had our meet. If
you guys "had a history," we'd have
known about it.
CORSO
Dan's notorious. You're an unknown.
FANTANA
Whatever you fuckheads think, Dan's
taking your asses for a ride and it
looks like that ride is going
straight to hell. Who'd you think
told Dan I had the coordinates? Huh?
I'd be the only possible one who
could've known other than Pegorino.
He had guys there too, why dontchu
ask him?
CORSO
If what you're saying is true, then
how did you know Pegorino's guys
were there with Peturbo?

67.
FRANKIE
And say you're telling the truth.
Say you don't have the location, say
Jack and Dan set up this whole
elaborate plan just to get us all
killed: What in the fuck would be
the point in that.
BILL
Checkmate, Fantana.
FANTANA
What you morons propose we do then?
CORSO
At this moment
(cocks gun
)
You have two choices.
Tony unslings his SHOTGUN.
Bill puts his hands up.
Frankie aims at Goon #3
BILL
Woah, woah, guys hold it a second.
The Goons all draw.
BILL (cont'd)
Guys, fucking chill. Whether this
fucker's got the location or not, we
know we been set up. He ain't the
real enemy here.
CORSO
He's already made his choice.
Fantana
CHUCKS his REMOTE at Corso's head.
Corso
SWIPES it away, a bullet FIRING by accident. Goon #1 gets a
bullet in the face.
Goon #2
UNLOADS on Bill
Frankie
POPs Goon #2 in the head
Tony
CHARGES at Fantana, BUTTING him in the head.

68.
Goon #3
Fires at Corso and misses by inches
Corso
returns fire and blows Goon #3s face off.
Frankie
UNLOADS the rest of her PISTOL on Goon #4 just as he was about
to shoot Tony
Tony
KNOCKS Fantana to the ground, gets on top of him, aims his
SHOTGUN in his face and RACKS that motherfucker.
CORSO (cont'd)
HOLD IT!
Tony holds. Frankie looks around for more guys, as does Corso.
The room is dead silent except for Fantana, MOANING from the
bludgeon to the head.
Frankie kneels down next to Bill, torn apart by bullets laying
in a pool of his own blood. She feels his pulse.
FRANKIE
Bill's dead.
Tony WHACKS Fantana in the face again. He CRIES out in pain.
TONY
Hear that?
CORSO
(to Frankie
)
Check the other rooms, quickly. If
this was a setup, Jack's goons'll be
here soon.
Frankie heads down the hallway checking all the rooms and then:
INT. FANTANA'S - BEDROOM
Frankie BURSTS in. Nobody to be found. She looks around the
room, checking all nooks, crannies, closets, drawers, even
under the bed. She lifts the mattress and checks underneath.
Nothing.
She is about to turn away when she spots a LOCKBOX on top of
the nightstand. She looks around then slowly opens it to:

69.
Bling bling
Coke
Cash
Folded up paper
She picks up the paper and UNFOLDS it.
INSERT: LOTTERY TICKET
5 3 4 2 1 1 3 3 0
She looks around again. She pockets the TICKET, COKE, and CASH.
INT. FANTANA'S
Fantana is in his chair. Tony is aiming at him, Corso sitting
on the arm of the couch.
FRANKIE
Nothing.
Fantana smiles at her. Frankie notices this and WHACKS him in
the face with her gun.
FRANKIE (cont'd)
The fuck you smirking at?
CORSO
Where are they?
FANTANA
Where are what?
WHACK
TONY
(checks his watch
)
We don't have time for this. Either
take him with us or leave him here
for the dogs to devour.
Corso thinks a moment. He decides to WHACK him again.
CORSO
Last chance, tough guy.
Fantana spits blood out of his mouth. Corso COCKS his REVOLVER.
FANTANA
Wait. Wait. Okay. You win. Since I
won't be living much longer as I can
already tell, can I have one final
request?

70.
CORSO
What?
FANTANA
You have a cigarette?
Corso takes out his pack of smokes and puts one in Fantana's
mouth, and one in his own. He lights them both. They drag.
TONY
Original.
FANTANA
Can't stand the things.
(he drags)
Okay. I don't have them with me they're in a safe location. Got a
pen?
FRANKIE
It's your place
FANTANA
Over near the bookshelf.
Frankie walks over to the bookshelf and finds a pen in a pen
holder. She grabs a piece of scrap paper. She writes as he
talks.
FANTANA (cont'd)
Write this down exactly as I say it:
(smokes)
Fifty-first street, go ten blocks
Under the bridge, go for 5 minutes
Continue past the train tracks
Knock down the wood gate
(smokes)
Yellow brick building, north
Over the fence
Under the barn
Frankie finishes writing it down.
FRANKIE
Can't be more specific.
FANTANA
My memory is a little foggy.
TONY
Oops.
Frankie reads through the directions again.

71.
FRANKIE
How are we supposed to find it with
these directions?
CORSO
Forget it, we gotta go, now.
Corso heads for the door.
FANTANA
Corso.
He turns around.
CORSO
What?
FANTANA
I wanted to ask you something. Man
to man.
CORSO
Your times running out.
FANTANA
It'll only take a second.
Corso walks back to him.
FANTANA (cont'd)
What's it feel like- knowing you've
been double crossed? Big, smart guy
like you? Always the winner, never
the loser.
Corso chuckles.
FANTANA (cont'd)
Makes you feel pretty stupid now
doesn't it?
Corso walks over to Tony.
FANTANA (cont'd)
(drags hard
)
Nothing but a chump, now, huh?
Corso takes Tony's SHOTGUN and RACKS it. He walks over to
Fantana and:
BLOWS HIS FUCKING HEAD OFF
His gray matter sprays all over his pretty velvet chair.

72.
Corso hands it back to Tony. And leaves the apartment. Tony is
about to exit. He turns back to Frankie who is knelt next to
Bill's corpse.
TONY
Frankie.
She looks at him, then kisses her hand and puts it on Bill's
forehead. She picks up the BRIEFCASE of money. She is about to
pick up the COKETONY (cont'd)
Leave it.
EXT. APARTMENT BUILDING - NIGHT
Tony and Frankie stand by their car, Corso by his.
CORSO
You two lay low for a night.
FRANKIE
What about Arcadia?
CORSO
It ain't going anywhere.
FRANKIE
What's stopping you from heading
there yourself?
CORSO
We all got fucked by the same guys.
(a beat)
You don't wanna fuck them back?
Corso smirks and gets in his car, and speeds away. Tony and
Frankie drive.

73.

CHAPTER 4
Loose Ends

74.
INT. PEGORINO'S OFFICE - DAY
James "Jimmy" Pegorino sits at his desk talking on the phone.
There is a window next to the door of his office. Outside are
TWO HIPSTERS and a BIG MOTHERFUCKING DUDE. The two Hipsters are
PAUL and MITCH, the Big Motherfucker is BUTCH.
PEGORINO
Yeah. They're right outside. Tell
you what, old pal: this works, you
get to do the honors.
Pegorino hangs up the phone and waves at them in, then spins
his chair around. Butch marches them inside and sits their
butts down in chairs across Pegorino's desk. His back is facing
them:
PEGORINO(cont'd)
Thank you, Butch. He treat you okay?
No answer. Pegorino spins around to see Paul and Mitch, both
with black eyes.
PEGORINO(cont'd)
Too bad.
(a beat)
You boys know who I am?
They look at each other. No. They shake their heads.
PEGORINO(cont'd)
The hand that feeds.
(a beat)
I know it's a bit pointless asking
this question, it being one of the
most popular questions asked in my
profession. Nonetheless it needs to
be asked: Why haven't you been
making your payments?
PAUL
What payments?
PEGORINO
(to Butch)
They a couplea retards or what?
Butch grunts. Pegorino stands and walks around the desk and
sits in front of it. He slaps their faces like a mobster movie.
PEGORINO(cont'd)
You didn't eatcha greens did you
boys?

75.
PAUL
WhPEGORINO
Save it. Why they here Butch?
BUTCH
Defaulted on a payment to Mr.
Pegorino.
Paul shits his pants.
PAUL
Mr. Pegorino I'm so soPEGORINO
Call me Jimmy.
PAUL
What?
PEGORINO
Call me Jimmy.
PAUL
Jimmy.
He nods.
PAUL (cont'd)
I'm so sorry that we didn't get your
money back. Mitch and I are working
tirelesslyPEGORINO
Don't bullshit me, boy.
MITCH
He ain't bullshitting, sir.
PEGORINO
You'll speak when spoken to.
Mitch shuts up.
PEGORINO(cont'd)
You faggots owe me $120 000, not
including vig and operation costs.
That of course goes up every week
you don't pay the vig, yada yada
yada.
(a beat)
You can pay that now?

76.
No they can not.
PEGORINO(cont'd)
I thought as much. And you two own 3
clubs in my jurisdiction that you
pay Dan protection for, correct?
They nod.
PEGORINO(cont'd)
Good. They're mine now.
MITCH
What, you can'tPEGORINO
I ain't finished.
(sits back down in his
chair)
Funny thing about organized crime,
even funnier about capitalism.
Someone's always paying someone for
something that someone wants for
some reason. Let's brass tax this,
gentleman - You borrow $120 000
dollars from me to upstart a new
club. When time comes to pony it up,
you don't. Instead, you use the
remainder of your funds to pay
Dapper Dan for protection. Since
your clubs are in my jurisdiction,
paying Dan costs extra due to our friendly competition in the criminal
market.
(a beat)
You pay him $30 grand. Dan keeps 10
for himself. He then gives 10 of
that to a drug dealer, to get him a
large return. Since Dan is low on
men right now, due in no small part
to our friendly competition, he
gives 10 grand to Handsome Rob, who
provides protection services.
Handsome Rob then gives me 5 of
that, since I am the one providing
him with the men he uses to give to
you to protect your clubs. Follow
me?
They don't follow.
PEGORINO(cont'd)
You paid someone to protect you from me.
(MORE)

77.
PEGORINO (cont'd)
But that person works for me. So, in
essence, you paid me to protect you
from me.
They are dumbfounded.
PEGORINO(cont'd)
(laughing)
You two are just dumber than a sacka
potatoes. Ain't they Butch?
Butch grunts.
PEGORINO(cont'd)
Coincidentally, a situation has
arisen that would prove fortuitous
to both of our parties. If you do me
this favor, I'll wipe away your
debt.
They stare.
PEGORINO(cont'd)
So! Let's discuss the prospect of
wiping away your debt.
He waves to Butch. Butch uncorks wine and brings out three
glasses and fills them all.
PAUL
Anything, sir.
PEGORINO
That's a wise decision.
(takes a sip
)
Ahh, that's good. There's a couple
of jokers need taking care of. You
two will accompany Butch in this
endeavor.
MITCH
Excuse me?
PAUL
You mean k-kill someone?
PEGORINO
3 people, actually.
PAUL
I can't kill anyone!
MITCH
I've never killed anyone in my life!

78.
PAUL
With all due respect sir, why us?
Can't you just, you know, send one
of your own?
PEGORINO
Well, since you may be dead soon I
can see why telling you wouldn't
hurt. I'm not sending my own men
because I can't spare them. Unless
you're a simpleton, you'll have
realized gangs are at war at the
present time. This endeavor may
prove fortuitous, it may not.
Instead of sending valuable men for
a possibly pointless effort, except
for Butch, I can send you two. And
since you're in no position to
refuse, all the better. You can
always take comfort in knowing you
never had a choice.
PAUL
This is insane!
PEGORINO
Just think of what it'll be like if
you live to tell the tale.
He nods to Butch. Butch grabs them both and hauls them out of
the room.
PAUL
Wait, Mr. Pegorino!
PEGORINO
So long, boys!
He sips his wine.
INT. FANTANA'S - NIGHT
Jack walks throughout Fantana's, GUN drawn but lowered. He has
2 GOONS with him, also looking around. He trips over a corpse
on his way to the corpse of Fantana. He nudges Fantana's
corpse.
JACK
Ah, Fantana. You've moved up in the
world.
(kneels next to Bill
)
Sorry, pal.

79.
A VIBRATING can be heard through Bill's pants. Jack rummages
around and takes out the CELL PHONE.
INSERT: JANE CALLING
He takes out the battery and SIM card. He breaks the SIM card
in half, then puts the PHONE back in Bill's pocket. He stands
up and looks around one last time.
JACK (cont'd)
Find anything?
The Goons shake their heads.
JACK (cont'd)
There's nothing left here. Let's goJack notices a light in the corner ceiling of the room. He
moves in for a closer look.
POV: SECURITY CAMERA
Jack staring right into the lens
END POV.
JACK (cont'd)
Motherfucker... Get all these down,
there's gotta be a few more round
here.
There are cameras in every nook and cranny of the apartment.
The pack all the cameras into a bag.
INT. EMIN'S - DAY (CONTINUOUS)
The door to the Freezer opens. Dan steps out. SCREAMING roars
out of the room as the door OPENS and is MUFFLED when the door
shuts behind him. He wipes his forehead, sighs and walks down
the hallway.
INT. EMIN'S - OFFICE - DAY
Jack is standing near the window, back turned. Dan closes the
door. Jack stays back facing Dan.
JACK
Bill's dead.
Dan puts his hands in his pockets.

80.
DAN
Sorry to hear that.
(a beat)
And the rest?
JACK
Fantana is dead. Frankie, Corso, and
that Retard are still alive and
kicking.
DAN
That meansJack turns around.
JACK
Let me ask you something: How fucked
up are you?
DAN
Excuse meJACK
This brilliant fuckin' plan of
yours. You guaranteed it'd work.
Instead, they got away and we're out
$100 000. You actually put $100 000
in the case? The fuck is the matter
with you?
DAN
You watch your fuckin' mouth.
JACK
FUCK-YOU.
DAN
If this is about BillJACK
I don't give a fuck about Bill. Only
thing I give a fuck about walked out
of Fantana's apartment.
DAN
WhatJack tosses a DVD on Dan's desk.
COMPUTER SCREEN:

81.
A video of Fantana's apartment that Jack pieced together. In
Fantana's room, Frankie is seen pocketing the items from the
lockbox. They watch the rest and see that she didn't show
either Corso or Tony the stuff she pocketed.
Dan's eyes widen.
JACK
All I wanna hear you say is "I got
this. I'm on the motherfucker."
DAN
You sure that's it?
JACK
What else could it be? She didn't
even show them.
Dan picks up the phone.
JACK (cont'd)
Say it.
DAN
I got this.
JACK
Who you calling?
DAN
Someone I shouldn't be calling.
JACK
Think he'll help?
DAN
I think he'll fuck me over. Never
known him to be an honorable man.
JACK
Think now is a better time than ever
to find out. If you're businessmen,
you're business men.
INT. PEGORINO'S OFFICE - DAY
Pegorino is at his desk. We can see Paul, Mitch, and Butch
sitting outside. Obviously this takes place before we met them
the first time. This phone conversation intercuts between
Pegorino and Dan until I say STOP.
DAN
Jimmy.

82.
PEGORINO
Daniel, what dubious favor may you
burden me with?
DAN
Well, I was just calling to seePEGORINO
Quit stalling now. Answer the
question.
DAN
Honest truth: Need you to lend a few
hands.
PEGORINO
Now THAT is a dubious favor. Besides
didn't I already lend you men, so to
speak.
DAN
What you talking about?
PEGORINO
Hall and Oates, the club owners.
They paid you for protection.
DAN
Oh, that.
PEGORINO
Yeah, that.
DAN
Forget about that. This won't take
too long.
PEGORINO
I'm busy at the moment.
DAN
God damnit James, just shut the fuck
up and listen.
PEGORINO
Quickly.
DAN
We killed the cowboy ain't never
been killed.
PEGORINO
Who?

83.
DAN
Fantana.
PEGORINO
Huh.
DAN
And we're one step closer to finding
Arcadia.
PEGORINO
He tell you?
DAN
No, but we know someone who nicked
his coordinates.
PEGORINO
I'm listening.
DAN
Sending the Karamazovs over to her
place, make sure she doesn't get
away. I need you to send some guys
after the other two.
PEGORINO
What other two?
DAN
Bounty Hunter named "Corso" and a
Driver, don't know his name. People
call him "Blondie."
PEGORINO
Who's the girl?
DAN
Bank robber named "Frankie."
PEGORINO
What you fixing to give me in
return?
DAN
Half the spoils.
Pegorino mulls it over.
PEGORINO
Don't got many guys left, but I
think I got it covered.

84.
DAN
Who you sending?
PEGORINO
Hall and Oates.
DAN
You found them?
PEGORINO
They're right outside.
DAN
Perfect.
PEGORINO
Tell you what old pal: this works,
you get to do the honors.
Pegorino hangs up and waves the Hipsters in.
STOP INTERCUT.
INT. EMIN'S - OFFICE
Dan hangs up the phone. He looks a little uneasy.
JACK
What?
DAN
He's in.
JACK
What you sweating over?
DAN
He's probably gonna fuck us.
INT. FRANKIE'S MOTEL ROOM- DAY
Frankie sits on her bed, in a haze once again. She stares at
the LOTTO TICKET. It stares back. She does line after line of
coke, fucking herself up good. The phone RINGS. She jumps at
the sound. She answers:
FRANKIE
Okay.
She picks up the TICKET and puts it in her coat pocket.

85.
EXT. FRANKIE'S MOTEL- DAY
Tony is waiting in his car, she gets in. They drive off.
INT. CAR - DAY (MOVING)
Corso can be seen following them in the rearview mirror.
Frankie takes out the direction's Fantana gave them.
FRANKIE
Fucker better pay off.
The cars cruise down the highway. They pass 51st street, and
find everything they are told they would come to. Under the
bridge, they drive for a bit. They pass the train tracks and
eventually come to a wooden gate on a secluded path.
Frankie gets out of the car and knocks the gate down. They
continue down the dirt road until they see a yellow brick
building to the north of the path.
EXT. ABANDONED RANCH - DAY
The THREE walk along the grass, the yellow building in the
distance. They come to a fence which they climb over. They pass
the brick building and come upon a barn.
CORSO
This can't be it.
FRANKIE
What it says. "Under the barn."
They look for holes to get under the barn. No space to crawl
under.
FRANKIE (cont'd)
Maybe inside.
INT. BARN - DAY
They look around the barn for a secret opening in the floor,
somewhere, anywhere. Nothing can be found. Just an old
abandoned barn.
CORSO
There's nothing here.
Frankie looks at the center of the floor. She backs up a bit
then looks up to a railing.

86.
She climbs up the ladder onto the railing and looks down onto
the floor.
FRANKIE
There's a weak spot!
Corso and Tony feel the floor with their feet. THUMP THUMP.
TONY
It's hollow.
INT. BARN - UNDERNEATH
The floor gets BUSTED in by their feet. Frankie jumps in and
takes out her phone putting it on flashlight mode. Just dirt
and bugs, no treasure.
FRANKIE
Nothing down here.
She shines it at the other side of the room.
FRANKIE (cont'd)
There's a little tunnel though!
Corso and Tony jump down. Frankie is already trying to get
through the dirt tunnel.
FRANKIE (cont'd)
Careful, it's a tight squeeze.
Corso and Tony manage to squeeze through.
INT. CAVE
A giant cavern with water flowing through it. All stone walls.
It's quite beautiful. They walk around, careful of their steps.
FRANKIE
Think this might be it?
Corso shines his light around at the walls.
CORSO
Can't be. I heard it was in a
desert.
Tony gets to one corner and finds a drop down. He shines his
light down the hole. There is a light at the bottom of it.

87.
TONY
Over here. There's a light at the
bottom.
They rush over to meet him. They shine their lights down.
CORSO
I'll be. Too far to drop though.
Gonna need some rope.
FRANKIE
Got some rope in the car, give me a
minute.
She bolts it out of there.
TONY
You think this could be it?
CORSO
All signs point to it.
Corso gives Tony his phone.
CORSO (cont'd)
Shine those over here so I can see.
Corse starts lugging some rocks over to the hole, not too close
to the edge.
Frankie returns with rope. They tie it around the rocks and tug
on it to make sure it's safe.
FRANKIE
Who wants to go down the dark creepy
hole first?
Frankie and Tony look to Corso.
CORSO
Pussies.
He wraps the rope around his waist and stands on the edge of
the hole.
CORSO (cont'd)
Don't fucking drop me.
He jumps down.

88.
INT. FRANKIE'S MOTEL ROOM- DAY
The Karamazovs BLOW the door off it's hinges. It slams against
the wall and falls over. They enter to find the room empty.
Dimitri
Checks the bathroom. Nothing.
Sergei
walks around observing everything in the room.
Dimitri looks in the garbage. He finds a USED CONDOM and throws
it back in with a startle. Sergei sits on the bed, bouncing up
and down. He then puts his gun on the bed, kneels down onto the
floor and looks under the bed.
INSERT: CRUMPLED PANTIES
He grabs them, stands up and smells them. Dimitri sees the
treasure his brother has found and tries to grab it. They star
punching each other, wrestling each other to the ground for a
minute.
Dimitri pins Sergei on the floor, who then sees a BRA under the
nightstand. He grabs it and throws Dimitri off. He starts
laughing and waving them around, taunting his brother.
Dimitri grabs the bra and smells it. They pocket their newfound
treasures.
INT. EMIN'S - OFFICE - DAY
Dan is on the phone. Jack is sitting across from him.
DAN
Uhuh.
He hangs up.
DAN (cont'd)
She's not there.
JACK
No sign?
DAN
No.
JACK
And theDAN
No. She obviously has them

89.
JACK
Fucking cunt.
INT. HOLE
Corso reaches the bottom. He can see a light coming from the
tunnel ahead.
CORSO
All good!
They all make it safely to the bottom. Corso turns off his
light and takes point, down the tunnel. They walk for a good 5
minutes before the light starts to get brighter and brighter.
Finally they reach the end.
It's a hole in the wall. Through the hole looks like metal
framing.
CORSO (cont'd)
What in the hell...
Corso jumps down.
INT. OLD LAB
The lights are shining brightly. It's an old abandoned
laboratory. The equipment doesn't look old, but the flooring
does.
CORSO
It's an old lab.
FRANKIE
How...
TONY
Are the lights still on...
They move throughout the lab, examining the equipment.
FRANKIE
This doesn't look like normal
equipment you'd find in a
laboratory.
CORSO
Where the fuck is the treasure?
They reach a dead end. Corso looks around again. There are
computers still active. He turns one on and looks around on the
desktop.

90.
CORSO (cont'd)
This is an old coke manufacturing
laboratory.
FRANKIE
How do you know?
CORSO
Says so right here.
(points on screen
)
Corso closes the screen. He sees an application named "DO NOT
OPEN." Naturally he opens the application. A BEEPING sound
starts going off.
CORSO (cont'd)
The fuck is that?
FRANKIE
This isn't Arcadia.
TONY
Then what is it? This makes no
sense.
FRANKIE
If he wanted to give us directions,
why lead us to an abandoned coke
lab?
Corso looks concerned about the beeping.
CORSO
Let me see the directions.
Frankie hands him the directions. He mumbles to himself, pacing
around the room. He stops.
CORSO (cont'd)
That motherfucker.
FRANKIE
What?
CORSO
Give me a pen.
Frankie hands him a pen.
Corso circles something on the paper.
FRANKIE
What is it?

91.
He shows them the paper with the first letter of every sentence
underlined:
INSERT: F U C K

Y O U

FRANKIE (cont'd)
That fucking piece of shit.
The BEEPING becomes more rapid. Corso looks back on the
computer screen: Numbers counting down.
CORSO
We gotta go.
FRANKIE
WhyCORSO
NOW!
They bolt it out of the lab, clamber up through the hole, into
the cavern, through the tunnel, out of the barn andThey hear a muffled EXPLOSION underground. The earth shakes
underneath them. They're all panting, out of breath. Corso sits
down on the grass.
CORSO (cont'd)
I'm going to kill that fucker again.
They all look defeated.
FRANKIE
So that's that?
CORSO
That's that.
Corso stands up and brushes himself off. Frankie and Tony sit
there still out of breath.
CORSO (cont'd)
Fucker sure knows how to hold a
grudge.
He starts away.
FRANKIE
Where you going?
CORSO
Where you think I'm going? I'm going
home.

92.
FRANKIE
You're just giving up?
CORSO
Nothing else to go on. You wanna
look around all that rubble
underground, be my guest. I'm
fucking done.
He keeps walking.
FRANKIE
Prick!
She takes out a coke tube and snorts.
TONY
Cut that shit out.
FRANKIE
Fuck off, for once. Just fuck off.
She gets up and stomps away.
EXT. DENNY'S - NIGHT
Frankie is waiting on the sidewalk. She looks frazzled as fuck.
Not doing very well. Tony pulls up in his car. She gets in.
INT. CAR - NIGHT (MOVING)
TONY
What's going on? Why the rush?
FRANKIE
Some fucker broke into my place!
TONY
You get a look at them?
FRANKIE
They were gone when I got there.
Must have done it while we were
gone.
TONY
Anything stolen.
FRANKIE
Not that I know of...
(a beat)
You think it was-

93.
TONY
Yes.
FRANKIE
Should ITONY
Yes.
FRANKIE
Are youTONY
Yes.
She snorts more coke.
TONY (cont'd)
You're not doing that at my place,
FRANKIE
I'm cool.
TONY
Bullshit.
She bites her nails.
TONY (cont'd)
What?
FRANKIE
Nothing.
TONY
Don't "nothing" me. What else
happened?
FRANKIE
Nothing!
They round a corner and pull into a parking lot.
TONY
We're here.
INT. TONY'S APARTMENT - NIGHT
Tony's apartment is the definition of empty. He has a couch,
chair and coffee table, and a computer. That's it, aside from
the kitchen. Very minimalist. Frankie sits on the couch, Tony
in his chair. There is a coffee table between them.

94.
FRANKIE
Promise not to get mad?
TONY
No.
FRANKIE
You gotta promise me or I'm not
telling.
TONY
Frankie.
She sighs and hesitates for a moment. She reaches into her coat
pocket and pulls out the LOTTERY TICKET.
TONY (cont'd)
What's that?
She hands it to him.
TONY (cont'd)
You planning on early retirement?
FRANKIE
I found it at Fantana's.
She looks down. Tony glares at her.
FRANKIE (cont'd)
Stop, I can feel your look.
TONY
You were planning on telling me...
when?
FRANKIE
Soon as I knew it was legit or not.
TONY
Mmhmm.
FRANKIE
Honest!
TONY
And Corso?
FRANKIE
What he don't know-

95.
TONY
-Won't hurt him. But it'd hurt us if
he did find out. Why do you always
do this?
FRANKIE
I don't.
TONY
Yes you do. You had this the WHOLE
time and didn't even tell me. All
you can do is lie and snort your
fucking brain away. I don't know
what else to fucking do with you,
Frankie.
FRANKIE
I was gonna tell you...
Tony gets up and walks around.
TONY
So is it a winner.
FRANKIE
No.
TONY
How do you know?
FRANKIE
I played it. Didn't win.
TONY
Jesus Christ. Let me see it.
He studies it.
TONY (cont'd)
Where was it?
FRANKIE
A chest on his bedside table.
TONY
And you told no one?
FRANKIE
Right.
TONY
Frankie.

96.
FRANKIE
I didn't tell anyone! Not like it
matters anyway.
Tony sits back down and studies it some more. He takes out his
SMARTPHONE and starts typing on it. Frankie takes out a baggy
of coke.
TONY
Nope.
FRANKIE
BuTONY
Nope.
She sits back, biting her nails.
FRANKIE
Who you calling?
He doesn't respond, still typing on his phone. His eyes light
up. He puts it back in his pocket. He hands her the TICKET.
TONY
Don't lose it.
FRANKIE
Why?
Tony gets up and heads for the door. Frankie starts after him.
FRANKIE (cont'd)
Where are you going?
TONY
Gotta meet Corso.
FRANKIE
Can I cTONY
Stay here - You can use my bed.
FRANKIE
Won't you stay?
He opens the door and is about to leave.
FRANKIE (cont'd)
I'll wait up.

97.
TONY
Don't.
The door SHUTS. Frankie sits back down on the couch and cries.
EXT. PARKING LOT - NIGHT
Corso is leaning on his car when Tony pulls up next to him. He
gets out.
CORSO
How is she?
TONY
Not good. Anyone find you?
Corso smokes.
CORSO
Saw a few boneheads here and there.
TONY
They know where you live.
CORSO
No one knows where I live.
TONY
I'm going to bring Frankie to your
place. If they found her place, they
can find mine just as easy.
CORSO
Just who do you think you are?
TONY
Your benefactor.
He takes out his phone.
TONY (cont'd)
You house her, I'll lead you to
Arcadia.
Corso drags long and hard.
CORSO
I could kill you.
TONY
You could.

98.
They stare each other down. Corso senses something in those
eyes of Tony.
CORSO
Alright, Blondie. You got yourself a
deal.
(a beat)
Is she really that bad?
TONY
Like a shade of her former self.
CORSO
That's a damn shame. So where'd you
find them?
TONY
On a lottery ticket that she found
at Fantana's. It'll lead us straight
to Arcadia.
CORSO
SheTONY
She didn't tell me till now. Yeah.
CORSO
(chuckles)
That cunt.
EXT. TONY'S APARTMENT BUILDING - NIGHT (CONTINUOUS)
Their cars pull up to the parking lot. They get out and start
toward the building. They spot a car parked with someone
sitting inside. They enter the building.
INT. TONY'S APARTMENT BUILDING (CONTINUOUS)
Tony leads Corso down the hallway. They pass by Butch, unknown
to them. Tony looks behind him but keps walking. They round the
corner and reach Tony's apartment, the door wide open. Tony
steps back.
TONY
(to Corso)
STOP THAT GUY!
Corso bolts it down the hallway. Butch sees Corso sprinting
toward him, GUN draw. He books it out the front doors and down
the steps.

99.
INT. TONY'S APARTMENT
Tony unslings his SHOTGUN and cautiously steps through the
doorway.
EXT. TONY'S APARTMENT BUILDING - NIGHT
Butch runs to the car and gets in. Corso POPS off a few shots.
He can see Jack and Butch in the car as they drive off. Corso
empties the rest if his bullets at the car.
INT. TONY'S APARTMENT
Tony continues cautiously through his kitchen and into his
living room.
LIVING ROOM
The place is a mess, bullet holes in the walls, blood
splattered everywhere. On the floor are Paul (dead) and Mitch
(dying). They've been riddled with bullets. Tony passes through
and into his bedroom.

BEDROOM
On the floor next to the bed, covered in blood is the dying
Frankie. She has a few bullet holes in her chest and s bleeding
out fast. Tony drops his gun and runs to her. He holds her and
tries to put pressure on her wounds.
Corso barges in, GUN drawn, ready to kill the next motherfucker
he sees. He see's the dying Frankie held by Tony. He leaves
them to their privacy.
LIVING ROOM
Corso kneels next to Mitch who is bleeding out fast. He lightly
taps his face.
CORSO
Yo, kid.
Mitch is in shock, eyes darting around, not knowing where he
is. Corso grabs him by the scruff.
CORSO (cont'd)
Did they find the TICKET?
BEDROOM

100.
Frankie has a tear run down her face. Tony wipes it away. She
tries to speak but the words don't come out. She dies.
Tony looks around the room, bulletholes everywhere. She put up
a good fight, but not good enough. He stands up and grabs his
SHOTGUN - This fucker is pissed.
LIVING ROOM
Corso is leaning on the counter, cigarette in his mouth. Tony
enters, hate filling his face. Corso watches Tony approach
Mitch.
CORSO (cont'd)
Kid's fucked. Can't say shit.
Doesn't even know where he is.
Tony kicks Mitch in the head. Once. TWICE. He STOMPS. And
STOMPS. STOMP. STOMP. STOMP. STOMP. STOMP. SPLAT!
INSERT: Mitch's head caving in under Tony's foot. Blood, brain
and skull.
Even Corso cringes at the sight.
Tony looks at Corso, who for the first time looks a LITTLE
scared. Tony wipes his foot on the carpet and leaves the
apartment.
Corso butts out his smoke, takes one last look around the room,
and follows.

101.

CHAPTER 5
Arcadia

102.
MONTAGE WITH SYNTHY MUSIC PLAYING. MONTAGE ENDS WHEN I SAY
STOP. WE DON'T HEAR ANY DIALOGUE:
EXT. HIGHWAY - NIGHT (MOVING)
Tony's car ZOOMS down the highway. Inside are Tony and Corso.
Corso is cleaning his REVOLVER with a pipe cleaner.
INT. CORSO'S APARTMENT - NIGHT
Corso throws Tony a PISTOL, who then tucks it in his pants.
Corso throws him ANOTHER. Corso opens a drawer to a bunch of
AMMO BOXES. He stuffs them in his jacket pockets.
Corso opens a closet to reveal:
INSERT: A SUPER-SEXY LEVER ACTION SHOTGUN
He slings it around his back and stocks up on SHELLS.
EXT. HIGHWAY - NIGHT(MOVING)
The car SKIDS around a corner onto a
EXT. DIRT ROAD - NIGHT (MOVING)
The car rumbles down the dirt road doing 100. The landscape is
barren all except for a thick forest that can be seen ahead.
INSERT: Tony's Phone GPS tracking their movement
INT. CORSO'S APARTMENT - NIGHT
Tony is standing, Corso on the couch looking at his CELLPHONE
sitting on the coffee table. Tony motions for Corso to pick it
up. Corso shakes his head. Tony pulls out his PISTOL and aimst
it at Corso. Corso rolls his eyes and picks up the CELLPHONE.
EXT. DIRT ROAD - NIGHT
They enter the forested area. Darkness engulfs them.

103.
DE PALMA SPLIT FRAME
INT. CORSO'S APARTMENT - NIGHT / INT. KARAMAZOV'S CRIB - NIGHT
On the left:CU on Corso's mouth talking. He looks more
insistent in his face until he finally gets it through to them.
He reads the coordinates off Tony's phone.
On the right:The Karamazovs picking up the phone on their end,
listening intently with grimaces on their face. Dimitri screams
into the phone. He stops screaming and a look of surprise
appears on both of their faces. They write down the
coordinates.
FRAMES SWITCH SIDES
INT. KARAMAZOV'S CRIB - NIGHT / EXT. PEGORINO'S OFFICE - NIGHT
On the left:Dimitri dials a number. Then they do the talking
for once. They hang up.
On the right:Pegorino is walking to his limo and answers his
CELLPHONE. He stops for a moment listening to what they have to
say. He talks again, while entering the limo.
FRAMES SWITCH SIDES
INT. PEGORINO'S LIMO - NIGHT / INT. DAN'S CAR - NIGHT
On the left:Pegorino dials. He smiles and tells Dan good news.
He keeps talking and then hangs up.
On the right:Dan is already in his car cruising down the
highway. He smiles at Pegorino's good news and responds. He
hangs up.
END SPLIT FRAME
EXT. DIRT ROAD - NIGHT
Tony's car barrels down the road.
INT. KARAMAZOV'S CRIB - NIGHT
The moron twins stock up on guns. An insane amount of PISTOLS
are loaded into their car. The camera ZOOMS in on each GUN
being picked up, Hot Fuzz style.

104.
INT. PEGORINO'S LIMO - NIGHT
Butch gets in the limo. They drive. Pegorino gives him a smirk.
INT. DAN'S CAR - NIGHT
Dan, Jack and Billy speed down the highway. Billy is driving,
Jack is in the front seat cleaning his GUN too. Dan sits in the
back seat on the PHONE, bickering with his wife.
STOP MONTAGE.
EXT. DIRT ROAD - SUNRISE
CUT to triumphant Spaghetti Western Music as:
The car passes through the forested area at the exact moment
the sun rises, revealing the beautiful:
EXT. ARCADIA - SUNRISE
Once again we see the beautiful Arcadia. It's been too long.
Still the same. Cabin dead centre, huge clearing, lush green
grass.
It is truly a sight.
WIDE SHOT:
The car coasting along the dirt road toward the cabin. Corso
and Tony take in the sights. They slow down when they notice a
car parked outside of the Cabin. They park next to it.
POV from Cabin Window: The car parking, Evil Dead style.
END POV.
Corso and Tony check their guns, nod to each other, and get out
of the car. Corso ready's his SHOTGUN, Tony his. They approach
the steps up to the door of the Cabin. The corpse of Joe
Perturbo is still there, rotting away.
Tony aims his SHOTGUN at the door. Corso turns the knob slowly
and swings it open. They peek around the corner and spot no
one.

105.
INT. CABIN - LIVING ROOM
This part plays out almost identical to the Prologue. They
search all rooms finding nothing of value but old useless junk.
They meet back in the Living Room.
Corso shrugs. They look at the last door, the same as before.
The camera switches back and forth between their faces and the
door, zooming in on both. Tony opens it with a CREAK.
INT. BASEMENT
The trap door is open already. Voices can be heard coming from
it.
INT. TREASURE ROOM
The DUO follow the light and voice down the tunnel until they
reach the lookoff.
Dan, Jack and Billy are in front of the CHEST. They are pushing
the corpses of the other guys into the hole the chest was in.
COrso and Tony watch them work. Billy takes a CROWBAR to the
CHEST. Dan stops him.
DAN
You want to carry it all up after we
open it? Think.
BILLY
Sorry, Dan.
DAN
Jack, slap him.
Jack SLAPS Billy.
Corso motions for Tony to stay on the ledge. Corso sneaks down
the side and slings the SHOTGUN around his back, taking out his
TWO REVOLVERS, DUEL WIELDING them instead. Tony keeps his
trained on the TRIO.
CORSO
Howdy.
They jump and reach for their GUNS.
CORSO (cont'd)
Ah, ah.
They stop.

106.
DAN
Thought we might have beat you.
CORSO
To the finish, not the punch.
JACK
Wanna see what's inside?
CORSO
Maybe later.
Jack looks up to Tony.
JACK
Hey, Stroker Ace. How ya doing?
Tony is silent.
CORSO
Ain't too fond of you right now.
JACK
Hey man, Frankie getting killed
wasn't my fault you know. That Butch
is a maniac.
CORSO
Blondie here crushed one of the
guys' skull in.
DAN
Ew.
JACK
So we gonna open it or what?
CORSO
Whaddaya think, Blondie? Looks kinda
heavy.
TONY
Bring'em up.
INT. LIVING ROOM - SUNRISE
The CHEST is SLAMMED centre floor. They all stand for a moment.
DAN
So what now.
CORSO
Oh, that what now.

107.
Corso COCKS his gun. Dan GULPSThe sound of CARS are heard outside. Corso and Tony exchange a
look. They move out of the centre of the room right whenThe door BURSTS open: The Brothers Karamazov enter, both duel
wielding GUNS. Corso now points one GUN at Dan, the OTHER at
Dimitri. Tony keeps his on Jack.
CORSO (cont'd)
Hold it, motherfuckers.
They switch back and forth cautiously, no one daring to shoot
first. Dan and Party draw their GUNS quickly. This is one tense
Mexican fucking Standoff.
Butch enters the room behind the Brothers. He has a DESERT
EAGLE PISTOL in his hand. Tony shifts his aim to Butch instead.
Fuck that guy. Butch points his DEAGLE at Corso.
Pegorino enters like Bill in Kill Bill walking through the
church: Closeup of shoes on the floor. He has a Beretta drawn.
PEGORINO
Guns down.
CORSO
Fuck yourself.
PEGORINO
(chuckles)
It's been too fucking long.
DAN
Too fucking long.
PEGORINO
You know how long I been waiting to
find this place? Tried lookin' when
I was your age. Still young and full
of cum. All that came of it was
blood, sweat, and lost friendships.
Eh, Dan?
Dan glares at him.
PEGORINO(cont'd)
(to the Duo
)
You boys ain't got no more friends
left in the world. Put'em down.
CORSO
We prefer to keep our enemies
closer.

108.
The Karamazovs turn their guns on Dan and Pegorino. They move
to the side of the room for a better angle.
DAN
You slavic cocksuckers!
PEGORINO
Guess this puts us in a stick
situation now don't it?
(to the Brothers
)
I'll double what they're giving you.
The Karamazovs laugh.
TONY
Doubt that.
It's dead silent in the room. No one is making a move.
PEGORINO
So what now? We gun each other down
like a buncha real live cowboys? End
up like ol' Joe out there?
JACK
That's the gist.
Pegorino smiles.
JACK (cont'd)
He got fucked up.
PEGORINO
Fucker was like a son to me. Can't
believe he'd do me like that.
JACK
I can't believe someone got him.
Never thought anyone'd shotgun Joe
the way they shotgunned Joe.
PEGORINO
When you pay for friends like
Shotgun Joe Peturbo, you get what
you pay for.
Dan takes out his CELLPHONE. They all jump.
DAN
I'm calling my wife.
BUTCH
This a Mexican Standoff not a
Mexican Stand-STILL.

109.
PEGORINO
Now, now, Butch. She's a lovely
lady.
Dan still has his gun pointed at Corso.
DAN
Hey hun. Just calling- No. Because
you didn't tell me to. The wire will
still be one when I get home. Yes,
yes. Hon-hon- I love you. Bye.
He pockets the CELLPHONE.
PEGORINO
Didn't even say "hi" for me?
Dan shifts his aim onto Pegorino.
DAN
You always were an asshole.
PEGORINO
Still brooding about that.
DAN
Not for long.
CORSO
Blondie, one thing I wanna know.
TONY
Hmm.
CORSO
You and Frankie ever do the deed?
TONY
You'll find out soon enough.
Corso laughs.
Everyone trades glances, back and forth, back and forth, back
and forth. Dan's finger tightens on the trigger.
Jack is sweating.
Billy is white-faced.
Corso is grinning like a maniac.
Tony still has his poker face on.
Pegorino and Dan stare intently at each other.

110.
The Karamazovs give Corso the meanest look possible.
Butch stares at Tony.
The triggers tighten even more untilBANG!
Dan and Pegorino
UNLOAD on each other, blood going everywhere
Tony
BLASTS Butch in the face, who hits Tony in the gut with a STRAY
Corso
TAGS Billy in the chest with a few bullets
Sergei
SHOOTS Jack repeatedly
Dimitri
SHOOTS Pegorino
Tony
BLASTS Jack
Corso turns
Dimitri shoots Corso in the chest. Sergei joins in the
SLAUGHTER
Corso falls to the ground. He TRADES BULLETS with the
Karamazovs, a ridiculous amount of bullets blasting into each
other.
Tony
Gets another SHOT off, this time on Dan.
Tony collapses to the ground and BLOWS Dimitri's already dead
head clean OFF.
CUT TO:
EXT. ARCADIA - SUNRISE
The last few SHOTS are heard, then silence for a moment.
IT'S NEVER OVER - ARCADE FIRE starts playing.
Various shots of the wilderness are shown before:
The camera creeps up to the cabin door slowly. We can hear
SHUFFLING inside. More SHUFFLING and FOOTSTEPS.

111.
INT. CABIN
Bodies and blood everywhere. We can't see the moving person,
but we can hear them moving.
EXT. ARCADIA - SUNRISE
The camera gets closer to the door. We can hear the sound of a
GUN RELOADING. The camera gets closer...
The door SWINGS open. From the feet up the camera PANS:
Feet..
To legs...
A hand holding a bloody stomach...
To the face of...
TONY
He blocks the sun with his hand.
He drags the CHEST outside and grabs the CROWBAR and PRIES it
open. He smirks at what's inside.
TRUNK SHOT:
Tony barely lifts the CHEST to get it in the trunk. He must
have superhuman strength to be able to lift it with a gunshot
wound. He SLAMS the trunk shut.
WIDE SHOT:
The car driving across the clearing and back into the forest.
EXT. HIGHWAY - SUNRISE
The car pulls onto the highway. CLOSEUP on Tony's face as he
drives. His poker face is still on for a moment until a tiny
smirk creeps into his face.
Into the sunrise.

THE END
WRITTEN BY: ANDREW MACNEIL