No Sympathy For The Devil

(This is the first draft of a script I thought of a couple of weeks ago...I have only written the first half of the story so far...)





NO SYMPATHY FOR THE DEVIL



by


Chris Ruston






























We open on a BLANK SCREEN

JAKE(V.O)
Have you ever had a dream, you were so
sure was real, that when you woke up, you thought you were still dreaming. Shit man, The dreams I’ve had…

FADE IN

INT. COMMERICAL BUILDING CORRIDOR – DAY

Busy, workers walking back and forth. We see Jake Fitz, a well-built, 25 year old, blonde haired man walking slowly down the corridor towards the elevator.

JAKE(V.O)
You see when I was a kid I had this recurring dream. When I was stuck in an elevator with people I hated. These people changed as my life went on, my parents, my grand daddy, that fat kid who used to beat me up at school.

We see Jake stop and wait outside the elevator for it to open.

JAKE(V.O)
But every time I had this dream, it always ended the same way.

We see the elevator open and Jake walks in.

JAKE(V.O)
The motherfucker fell and we all died. And for all my life I was convinced that was how I was going to meet my tragic end. Fuck man, It happened.

We see the elevator doors shut.

INT. ELEVATOR

Full of cops pointing guns at Jake. We see Jake stand with his hands above his head as two cops pull them behind his back and handcuff them together.

JAKE(V.O)
But at least that fucker was there too.

CU – DETECTIVE RALF COLDSHORE

Well built, 39, bold, African-American. We see Ralf lower his pistol as the two cops handcuff Jake.

DET COLDSHORE
I’ve got you now you son of a bitch.

JAKE(V.O)
At least I took that bastard to hell with me.

ANGLE – ELEVATOR CABLE

We see the cable begin to loosen then quickly snap.

INT. ELEVATOR

Everyone falls to the floor, SHOUTING with fear. We see all the cops are terrified, trying to stand as the elevator falls.

INT. ELEVATOR SHAFT

We see sparks fly as the elevator plummets, out of control, down the shaft.

CU – JAKE

Leaning against the door. We see Jake is unworried and smiling as he stares at Detective Coldshore.

CU – DETECTIVE COLDSHORE

Petrified, he stares back at Jake with his eyes wide open.

JAKE(V.O)
He died in fear… He died in fear.

HA – ELEVATOR SHAFT

We see the elevator fall the last few stories, before it hits the ground and explodes, throwing debris and fire up the shaft.

We FADE to a BLANK SCREEN

JAKE(V.O)
The dreams started when I was about eight or nine. I was a scrawny, weak little bastard, and my parents took full advantage of that.

FADE IN

INT. BEDROOM – NIGHT

Dark, dilapidated room. We see a belt covered in blood repeatedly being whipped over a young boy, back and forth. CAMERA PULLS BACK and we see Jeff Fitz, stumble backwards onto screen.

CU – JEFF FITZ

Fat, 36, long hair, tattoos up both arms. We see Jeff is drunk as he steps back from beating his son. We HEAR the young boy CRYING.

JEFF
Stop fucking crying! You little faggot!

We see Jeff throw down the blood stained belt and stumble out of the room. CAMERA PANS over to the young boy.

MCU – YOUNG BOY

Jake Fitz, aged eight, curled in a ball, half naked. He lays bleeding and bruised with welt marks over his face and body.

JAKE(V.O)
I hated them. I hated them so much. My father a failure at everything he ever tried was always pissed off. He never said what I did wrong or why he was upset. He’d just beat me harder and harder. As for my mother…

MCU – TINA FITZ

32, chubby, manly build, dyed blonde hair. We see her knees are spread and she is pushing somebody’s head down between her legs. She is GROANING in pleasure.

JAKE(V.O)
She was a fucking whore. She hated me, said my only purpose was too give head… I hated both of them.

We see the head lift up and we see it is Jake. We see Tina slap him hard over the head when he stops.

TINA
Don’t you stop Jake, don’t you ever fucking stop.

We see Tina slap him again. Jake CRIES in pain but continues.

INT. JAKES BEDROOM – NIGHT

Dark, holes in the walls, dilapidated. We see Jake, 12, curled up on a mattress on the floor. We see his eyes are wide open. We HEAR Jeff and Tina Fitz having sex in another room.

JAKE(V.O)
At night I was safe. They’d just used to fuck all night long, and I’d be left alone with my thoughts. I used to think about waking up one morning and everyone else in the world had died and I was the only one left. The last man one Earth. I’d never be afraid again.

MCU – JAKE

We see Jake sitting at the end of his mattress holding a long, sharp kitchen knife. We see him study the knife then look at the floor.

POV – JAKE

We see a large, brown rat scurrying around the floor, feeding on whatever it can find in the dilapidated room.

MCU – JAKE

Eyes wide open, staring at the rat. We see Jake lift the knife then pause for a moment before he stabs it down into the rat, killing it. We see Jake lift the knife into frame, which has the rat impaled onto the blade. We see the rat slide off soon after.

JAKE(V.O)
It was in that moment, that I made up my mind. That I wouldn’t take it anymore. You can only push a guy so far, before sooner or later he’ll start pushing back.

MCU – TINA FITZ

We see a large, sharp kitchen knife, THRUSTED down into Tina’s stomach. Blood sprays. CAMERA PULLS BACK and we see Jake, kneeling between his mothers legs, PRESSING the blade further into her flesh.

JAKE
Do you like that mommy? Do you? Cause not, you want it harder!

We see Jake rip down the blade out of her body, SLICING her stomach and pelvis in two. We see Jake stand up over his dying mother grinning.

OTS – JAKE

We see Tina lay bleeding and coughing up blood. We HEAR her CRY out, but are unable to hear what she says.

JAKE
Bleed you fucking bitch. Bleed forever.

MCU – JAKE

Eyes wide open, covered in Tina’s blood. We see Jake standing over her, watching her die.

JAKE(V.O)
So I just stood there and watched her die. She was coughing up blood and cries for someone to help her. But there was no-one there but me… But soon after daddy came home.

INT. FRONTROOM – NIGHT

Dilapidated. We see Tina lying dead in the armchair and Jake standing over her with the knife still gripped firm in his hand. We HEAR the front door open.

ANGLE – FRONT DOOR

We see Jeff Fitz walk in, drunk. He stumbles in unaware of what has happened.

JEFF
Hey Tina guess who I saw at the bar tonight, that bastard…

We see Jeff stand in the doorway of the front room, looking in horror.

POV – JEFF

Tina lying dead, bleeding. We see Jake stand, motionless. He turns his head slowly.

JAKE
Doesn’t mommy look pretty tonight.

HA- FRONTROOM

We see Jeff, distort, he starts to cry and fall to his knees.

JEFF
(Crying) Tina…Jesus Christ, Tina.

CU – JAKE

Eyes wide open, grinning.

JAKE
Stop fucking crying! You little faggot!

HA – FRONTROOM

We see Jeff SCREAM with rage, he attacks Jake in his drunken state.

MCU – JAKE

Grinding his teeth, we see Jake lift the knife, shoulder high.

HA – FRONTROOM

We see Jeff still SCREAMING, charging at Jake.

CU – KNIFE

We see Jake twist the knife, we see the reflection of Jeff charging at Jake on the blade.

LA – JAKE

We see Jake gripping the knife, we see Jeff charge on screen. We see Jake slit the knife across Jeff’s throat, spraying blood. Jeff falls down off – screen.

MCU – FLOOR

We see Jeff fall onto the floor, gripping his throat, trying to stop the bleeding, but its no good. We see Jake climb on top of Jeff holding the knife above his chest.

CU – JAKE

Jake looking down on Jeff.

JAKE
You just thought I’d take it, dad. You thought I’d take it for good.

OTS – JAKE

We see Jeff still gripping his throat, but weakened by blood loss.

CU – JAKE

Raises the knife and grins.

JAKE
Hope your proud of me dad.

LS – FRONTROOM

CAMERA PULLS BACK as Jake brutally stabs Jeff to death. We HEAR Jeff SCREAMING in pain until he dies.

JAKE(V.O)
So I killed them both. No remorse. I took all their money and went of on my own. I did okay.

HA – FRONTROOM

We see Jake stand up from Jeff’s corpse then walk over to a chair by the window.

JAKE(V.O)
I wanted to get as far away from Texas as I could, so New York seemed like a smart place to go.

MCU – CHAIR BY WINDOW

We see Jake sit in the chair and look out the window.

CAMERA FADES to an MCU 13 years later of Jake sitting on a bus.

INT - BUS – DAY

Crowded, people TALKING. We see Jake, aged 25, sitting by himself staring out the window. We HEAR two guys talking LOUDLY behind him.

HA – SEATS BEHIND JAKE

We see two guys, early twenties, Dan & Jez, talking in the seats behind Jake.

JEZ
…Two nights back, man, I bought this bitch back to my place. She had these great big tities hanging of her, right, you know what I’m saying. So were making out and I’m pushing her down to my dick, right, saying ‘bitch suck it!’

We see Dan & Jez start LAUGHING.

MCU – JAKE

Broad expression, we see Jake is listening to them, but is unamused.

HA – DAN & JEZ

DAN
So she’s sucking your dick…

JEZ
Man, this bitch is good. She rollin my balls as she suckin. So she’s been givin me head for ten minutes and im feeling relaxed, right.

DAN
You dirty bastard.

JEZ
(Laughing) Shit man I just let one go.

DAN
(Laughs)

JEZ
I let rip a huge fart while she was down and it fucking stunk to high hell.

We see Jez push his knees in the back of Jakes seat.

MCU – JAKE

We see Jake is irritated but composed.

DAN
So what she do?

JEZ
Nothing man, I was locking her head to my cock.

CU – BACK OF JAKES SEAT

We see Jez push his knees even harder into Jakes seat.

MCU – JAKE

We see Jake take out the same knife he killed his parents with.

JEZ(O.S)
(Laughing) I thought she was gonna choke.

We HEAR the two guys laughing LOUDLY at this.

We see Jake briskly stab the back of his seat.

CU – BACK OF JAKES SEAT

We HEAR the blade thrust into Jez’s kneecap, we see blood drip from the wound. We HEAR Jez SCREAM in agony off – screen.

TS – DAN & JEZ

Jez is in agony, holding his knee, SCREAMING and CRYING. We see Dan stand and smash his palm down on Jakes shoulder.

DAN
What you doing, motherfucker!?

We see Dan pull back Jakes shoulder, getting ready to punch him.

CU – BACK OF JAKES SEAT

The blade then rips out of the back of the seat and Jez’s knee. A small flow of blood spurts out of the hole the knife leaves behind.

ANGLE - DAN

As Dan pulls back Jakes shoulder, Jake swings the knife around and stabs Dan in the base of the neck. Blood sprays. Everyone on the bus SCREAMS hysterically.

EXT. BUS WINDOW

We see a huge gush of blood spray across the window, then the body of Dan falls down the glass, smearing the blood.

ANGLE – BUS DRIVER

Horrified. We see the bus driver slam on the brake bringing the bus to a quick halt.

WS – BUS CARRIAGE

We see about fifteen other passengers on the bus, all shocked, some crying and hysterical. All seem traumatized by what they have seen.

We see Jez CRYING and bleeding in his seat. Weeping with both the pain of his wound and the death of his friend.

We see Jake pull the knife from Dan’s neck then walk slowly into the bus aisle, holding a plastic, grocery bag.

MS – OLD WOMEN

About 60, glasses, white hair. We see she is CRYING and as Jake passes her to get to the front of the bus, she jolts back in terror, looking straight at the floor.

MS – YOUNG MAN

Early 20’s, African - American. We see he is standing up, he is paralysed with fear but still looks Jake in the eyes as he passes.

MS – JAKE

We see Jake turn his head slightly and grin, but walks on to the front of the bus.

ANGLE – FRONT OF BUS

We see the bus driver is completely petrified. Jake slowly walks up to his seat, Jake stabs the knife into the change tray.

CU – BUS DRIVER

We see him CRY OUT in terror then start breathing heavily, in short gasps.

ANGLE – FRONT OF BUS

JAKE
(Calmly) Could you open the doors please?

We see the Bus driver snap at the button, opening the Bus door as fast as possible.

We see Jake nod at the driver, before pulling the blade from the drivers sight and putting it into his pocket.

INT/EXT. STREET

We see Jake casually leave the bus and walk down the street. We HEAR the passengers on the bus CRYING as he leaves.

We see pedestrians on the roads, standing looking at the bus, wondering why the people are so shocked and hysterical.

As Jake walks down the street we see the bus driver get out and talk to a man outside the bus. We see the man chase Jake as Jake calls for a Taxi.

JAKE
(Shouts) Taxi!

We see a Taxi stop shortly after Jake calls, and Jake gets in quickly. We see the Taxi drive off as the man realizes Jake has escaped.

INT. TAXI

Clean, we see the Taxi driver is a Rastafarian, wearing a bright green and red T – shirt.

TAXI DRIVER
So where you headed, man?

JAKE
Victoria Street, you know it?

TAXI DRIVER
I know everywhere in this city.

JAKE
Well in that case don’t go taking me the
Long way home, making me fork out more cash. I hate it when you guys do that.

TAXI DRIVER
Wouldn’t dream of it.

CU – REAR VIEW MIRROR

We see in the mirror that Jake has a few splash’s of Dan’s blood marked up his neck, we see the Taxi driver notice this.

TAXI DRIVER
Hey man, you been in a fight or something? You got some blood on your neck here.

MCU - JAKE

We see Jake wipe away some of the blood and look at it staining his fingers.

JAKE
Yeah, I just got off work, I’m a butcher.

TAXI DRIVER
No shit… My brother’s a butcher.

JAKE
Well fancy that.

ANGLE – FRONT OF TAXI

We HEAR the radio in the taxi begin the News update. We see the Taxi driver is obviously interested in this and turns up the volume.

TAXI DRIVER
Hey man, listen to this. I’ve been listening to this shit all morning.

We HEAR the presenter on the radio give her report.

RADIO PRESENTER (V.O)
LNB(live news broadcast)…The FBI has asked for all citizens of Brooklyn to contact police officials if they have any information on the whereabouts of sixteen year old, Susan Ormand, daughter of senator John Ormand. Susan was abducted from outside her high school, late yesterday afternoon…

TAXI DRIVER
Jesus Christ, that’s fucked up, man.

RADIO PRESENTER (V.O)
…Detective Ralf Coldshore of the FBI made the following statement this morning…

DETECTIVE COLDSHORE (V.O)
We have some of the finest agents in the state working on this case. We are confident that we will apprehend Susan’s kidnapper, and our sources lead us to believe that the criminal resides in Brooklyn. So if anyone in the Brooklyn area knows anything at all in
Relevance to this case to contact the NYPD Immediately, thank you.

RADIO PRESENTER (V.O)
Although eye witness statements differ on the appearance of Susan’s kidnapper, the police described him, as a tall, white, male, mid to early twenties…

We see the Taxi driver is getting angered by the radio report.

TAXI DRIVER
Man, they should cut this guys balls off and throw them down the fucking toilet.

JAKE
Yeah, I guess your right.

TAXI DRIVER
No need to guess, man. This guy is a piece of filth, he is the worst scum that there is.

RADIO PRESENTER (V.O)
…Susan’s parents Senator John Ormand and his wife Wendy revealed the following statement earlier today…

SENATOR JOHN ORMAND (V.O)
…We want to thank the FBI for all their help and support over the last two days… we hope and pray… that they will return are Susie to us unharmed and safe, very soon.

INTERVIEWER (V.O)
What would you like to say to Susan’s kidnapper if he can hear this right now.

WENDY ORMAND (V.O)
(Starting to weep) Please… Please give us back are baby… she has a family that love her very much… We will pay you any ransom that you ask, just please… don’t hurt my daughter…

RADIO PRESENTER (V.O)
…The FBI also added that…

We see the Taxi Driver turn down the radio as they approach Victoria Street.

TAXI DRIVER
Your heart goes out to them don’t it.

Jake seems uninterested.

JAKE
Yeah.

TAXI DRIVER
It certainly does. Almost here, man. How
come you took a cab anyhow? Its only a
Five minute walk to Victoria Street.

JAKE
I got a bad leg.

TAXI DRIVER
It don’t matter too much to me, man. Cause…

EXT. TAXI CAB

We see the cab come to a quick stop on the corner of Victoria Street.

INT. TAXI CAB

TAXI DRIVER (CON’T)
…You owe me a dollar seventy-five.

We see Jake take out the money from his coat pocket.

JAKE
Well at least you didn’t fuck me out of
more cash.

TAXI DRIVER
To Victoria Street? I didn’t have the chance.

The Taxi Driver starts LAUGHING as Jake leaves the cab.

EXT. VICTORIA STREET

Downtown Brooklyn. We see the Taxi, drive off as Jake walks into a nearby apartment block, passing a group of young kids playing baseball in the street.

INT. APARTMENT BLOCK

Quite rundown. We follow Jake as he walks through the hallway up the stairs to his apartment.

We see he passes one of his neighbours, a fat Mexican women, who greets Jake with a smile.

MEXICAN WOMEN
Good morning Jake.

JAKE
Morning.

She knocks Jakes plastic shopping bag as he walks past him.

HA – STAIRS OUTSIDE JAKES APARTMENT

As Jake gets to the top of the stairs we HEAR Jakes land lord, Ian, SHOUT up the stairs at him.

IAN (O.S)
Hey Fitz, ya dumb bastard, can you hear me?

We see Jake stop and walk over to the banister.

JAKE
I can hear you Ian, what do you want?

IAN (O.S)
What the fuck do you think I want! Your two weeks behind Fitz, If you don’t have my four hundred bucks by tomorrow, I’m throwing you out on your ass. Hear me?

JAKE
Yeah, I hear ya. Don’t worry I’ll have the money, no need to get upset.

IAN (O.S)
(SHOUTS) I’m not getting upset, I’m getting fucking pissed off with little shits like you thinking you can pay me whenever the fuck you want! It’s tomorrow or your homeless.

We see Jake walk towards his apartment.

JAKE
Asshole.

Jake switches hands with the shopping to get his key from his pocket. He opens the door.

INT. JAKES APARTMENT

Dank, untidy, we HEAR a CD player in one of the rooms. We follow Jake through his apartment to the kitchen, where he puts down the shopping bag.

As Jake walks through the apartment, we HEAR that the song on the CD player is ‘FUCK THE USA’ by THE EXPLOITED.

We see Jake open the door from the kitchen to the front room.

INT. FRONT ROOM

Untidy, pornographic photos and posters of punk bands on the walls. We see tied up on a chair in the corner of the room, is Susan Ormand the Senators daughter.

CU – SUSAN ORMAND

16, long blonde hair, trim figure, attractive. Her mouth has been gagged, and she is tied to the chair by thick rope. We see she is very frightened at the sight of Jake walking into the room.

Jake seems relaxed around Susan and doesn’t seem to display any authority over her.

We see Jake walk over to her and take off her gag, then immediately cover her mouth with his hand to prevent her SCREAMING.

JAKE
Shhh… I’ve just been out and bought you some breakfast… Now when I take my hand away… Please don’t scream.

Jake takes his hand away and Susan doesn’t scream she just stares at him, BREATHING HEAVILY, with fear.

SUSAN
Please Mr. I don’t know who you are, but my parents will pay you whatever you want, my daddy he’s a senator.

JAKE
I know.

SUSAN
Please don’t rape me…(Starts to cry) I couldn’t take it. I…

We see Jake go over to comfort Susan.

JAKE
Shhh… Look I’m not gonna rape you, I don’t even want to hurt you. I just want your daddy’s money.

SUSAN
He’ll pay you Mr, honest he will.

We see Jake get up and walk to the kitchen.

HA - KITCHEN

JAKE
You better be right for your sake.

We see Jake take a carton of milk out of the fridge, then takeout two cereal boxes from the shopping bag.

JAKE
Do you want Corn Flakes or Frosties?

SUSAN (O.S)
(Hesitates) Corn Flakes

We see Jake prepare the cereal then take out a spoon from a draw and pick up the sugar.

JAKE
Do you want sugar?

SUSAN (O.S)
Yes, lots.

We see Jake sprinkle lots of sugar on the cereal; Jake then picks up the bowl and carries it to Susan.

LA – FRONT ROOM

We see Jake pick up a stall and place it next to Susan. He begins to spoon feed her mouthfuls of cereal as he talks.

JAKE
I realize your afraid, and for that I’m sorry. But if you don’t make a sound and your daddy pays up, then nothing at all will happen to you.

SUSAN
(Very Scared) Please don’t hurt me.

JAKE
What did I just say. You’ll be fine. In
about half an hour I’m going to call your home, I’m going to make my demand. I’ll arrange to meet your daddy with the money about a half mile from here. If I get my money you will go home. Simple.

SUSAN
How much are you going to ask for?

JAKE
I wouldn’t worry about that. I’d worry about the possibility of your mommy and daddy, contacting the FBI.

SUSAN
What?

JAKE
The FBI would advise your parents not to pay me. They would advise them too meet me, then fuck me over. Snipers would take me out, maybe a bomb in the money bag, who knows. All I know is if anything at all happens to me, then sorry baby, you’re the first one I kill.

We HEAR Susan SCREAM in terror at the sound of this.

We see Jake quickly cover her mouth with his hand.

JAKE
You listen to me daddy’s girl, I’ve got a lot of fucking patience but my patience is running pretty god damn thin. I promise you if you make
another noise, I will send your parents your head in a fucking box. You believe me?

We see Susan nod her head, frantically.

JAKE
You damn well better.

Jake takes his hand from Susan’s mouth, she begins to tremble with fear, staring at Jake, with eyes full of panic.

INT. ORMAND RESIDANCE – DAY

Large house, expensive paintings and sculptures. We see John and Wendy Ormand embraced with each other, trying to comfort one another.

CAMERA PULLS BACK and we see in the rest of the large room is about ten or twelve FBI agents, all talking on phones and investigating on laptops.

We see Detective Ralf Coldshore talking to another FBI agent, Detective Oscar Mitchell, walking over towards Mr and Mrs Ormand as they talk.

DET MITCHELL
…The police chief said that Becky Tudor’s eyewitness statement was inaccurate with the other girls…

DET COLDSHORE
I don’t give a shit what that fat asshole said, He obviously doesn’t know that Becky Tudor was the nearest person too Susan when she was abducted, what she says matters more than the others. I want that statement in my hand, now.

We see the agent walk off – screen to retrieve the statement.

We see Detective Coldshore walk over to inform and comfort Mr and Mrs Ormand.

WENDY ORMAND
(Upset) What have you heard detective, where’s my baby?

DET COLDSHORE
We’re doing all we can Mrs Ormand, a man was killed this morning and his friend was brutally stabbed through the knee. The killer left the scene, but artist impressions of the eyewitness testimonies, match him to the descriptions of Susan’s kidnapper.

JOHN ORMAND
So we know what the bastard looks like?

DET COLDSHORE
We have a good idea now.

We see the Agent hand Detective Coldshore the eyewitness statement.

DET COLDSHORE (CON’T)
Eyewitness accounts of the kidnapping of Susan and the killing of this morning, match almost perfectly as you can see.

OTS – DETECTIVE COLSHORE

We see over Detective Coldshores shoulder, that he is holding two documents with an artists impression of a man on both sheets. The man looks identical on each sheet.

DET COLDSHORE
He appears to be a white male, mid to early twenties, with short blonde hair and a strong build. His name is a Jake Patrick Fitz, originally from Texas, moved up to Brooklyn when he was still a minor. He moved around Brooklyn for years after, sixteen or seventeen separate apartments. The Texa’s state department informed us that he… he killed his parents with a butcher knife at the age of 12.

We see Wendy Ormand start to CRY then turn into her husband.

WENDY ORMAND
Oh god John… this man has our daughter.

JOHN ORMAND
Its okay honey… It’s going to be okay…
(To Coldshore)What’s your plan Mr Coldshore?

DET COLDSHORE
Well, we know that he can’t leave Brooklyn. This artist impression is all over the news, if he tries to move, he’ll be spotted. We have to question the witnesses on and off the bus, at the murder this morning. He was apparently
reported to have fled the scene immediately and get into a cab. We need to find that cab driver. Excuse me a minute.

We see Detective Coldshore walk away from the crying couple, he walks over to one of the agents sitting on the large table.

INT. PHONEBOOTH – AFTERNOON

Dirty. We see a young mans hand pick up the pay phone and began to dial a number.

INT. ORMAND RESIDANCE

We see one of the agents, working on a laptop. Next to him is a phone, it starts to RING.

We see Detective Coldshore, look up, recognizing that it is almost certainly the kidnapper on the other end.

DET COLDSHORE
(SHOUTS) Everyone shut up!
(To Agent) Answer the phone.

INT. PHONEBOOTH

We see the young mans hand put the receiver up to his ear.

INT. ORMAND RESIDANCE

We see another FBI agent start the tape recorder. Coldshore nods at the agent, who is now holding the phone receiver. Agent puts his ear to the phone and listens to the voice on the other end

Shortly after we HEAR the line go dead.

Detective Coldshore questions the agent.

DET COLDSHORE
What did he say?

INT. PHONEBOOTH

We see the young mans hand put down the receiver.

INT. ORMAND RESIDANCE

Agent answers as he puts down the phone.

AGENT
He said ‘Call off the search.’

DET COLDSHORE
What?

We HEAR Mrs Ormand SHOUT off – screen.

WENDY ORMAND
What’s happening! What did he say!

MCU – FRONTDOOR

Large, expensive. We HEAR three loud KNOCKS at the door. We see Detective Mitchell move cautiously over to the door then opens it.

MCU – FRONT PORCH

We see the front door open, CAMERA PULLS BACK and we see a MAILMAN standing at the door holding a small package.

MAILMAN
Hey, I got a package.

We see Mitchell look at the package cautiously then take out his identification.

DET MITCHELL
FBI, put the box on the floor and move away.

We see the Mailman put the package on the floor.

MAILMAN
I don’t think there’s a bomb in it…

DET MITCHELL
(SHOUTS) Move away!

We see the mailman move away, then Mitchell looks back at Detective Coldshore.

AGENT
Do I open it?

CU – DETECTIVE COLDSHORE

Studying the package.

DET COLDSHORE
I’ll open it.

We see Coldshore stand and kneel down next to the package.

CU – PACKAGE

About the size of a bowling ball. We see the package looks old and a bit tattered.

CU – CORNER OF PACKAGE

We see on the bottom corner of the package a small trickle of blood seeping out from within the box.

MCU – DETECTIVE COLDSHORE

DET COLDSHORE
Oh my god…

WENDY ORMAND (O.S)
What is it!

DET COLDSHORE
Please stay calm Mrs Ormand.

We see Coldshore slowly open the package. A look of complete horror fills his face.

LA – ABOVE PACKAGE

We see Detective Coldshore put his head in his hands, distort, overwhelmed with sadness.

We see behind him, Mr and Mrs Ormand see the contents of the package. Wendy Ormand flies into a HYSTERICAL FIT, absolutely distort. John Ormand starts to CRY but tries to hold onto his grieving wife.

Mrs Ormand face wells up with tears, she starts bagging on her husbands chest with her fists in frustrating and total helpless grieving.

As she hits her fists against Senator Ormands shoulders, she is continuously and painfully SCREAMING ‘No!’

ANGLE – DETECTIVE COLDSHORE

Although he has his hands over his face, we see that Detective Coldshore starts to cry.

HA – LARGE TABLE

We see an agent pick up the phone and dial a number. We HEAR the SCREAMING CRIES of the grieving parents.

AGENT
Get me Special Agent Kimberley…Because the case has been altered…We no longer have a missing persons case.

We HEAR the Special Agent on the other end of the phone talk for quite a while.

ANGLE - DETECTIVE COLDSHORE

We see Detective Coldshore wipe the tears from his eyes. He then clenches his fist and his expression fills with anger.

MCU - AGENT

AGENT
…No we haven’t found her body… We only have her head.

We see Detective Coldshore charge on – screen and grab the phone from the agent’s hand.

DET COLDSHORE
This is Detective Coldshore, the fucker
killed the hostage, he has to leave town, he has no other choice. I want road stops on every street leading out of New York City got that… Were going to find this bastard and I’m going to take a personal interest in watching him suffer.

CU – PHONE

We see Detective Coldshore SLAM down the phone.

EXT. MCU – PHONE BOOTH

We see the young mans hand SLAM shut the door of the phone booth.

CAMERA PULLS BACK and we see the young man is Jake Fitz walking out of the booth toward the bus stop.

CU – JAKE

Red eyes, hung over. We see Jake is holding a small brown bag, containing a small bottle of bourbon. He takes a long swig.

We see Jake is wearing a big coat and a baseball cap, he is obviously trying not to be recognized.

EXT. ANGLE – STREET

A block from the bus stop, we see 39 year old, Howard Mason, walk down the street. He is a tall, stocky man, with a black beard and hair. Following behind him is his son, Joey.

CU – JOEY MASON

12 years old, short black hair, we see he has bruises on his face. In one hand he is carrying a shopping bag that appears to be full of whiskey. He looks saddened.

We HEAR Howard ramble on at his son, as we follow the two of them to the bus stop. Howard sounds drunk.

HOWARD MASON
…Cause that’s all you ever do isn’t it,
complain. Always fucking going on about how the kids in school have a bike, a TV, fucking video games.

We see Howard grab Joey around the head and get right in his face.

HOWARD MASON (CON’T)
Well I don’t care about your little shit
fucking friends. They aren’t my kids, you’re my kid.

We see Howard release his grip on Joey and carry on walking in front on him.

HOWARD MASON (CON’T)
You know how hard it is for you daddy to find work, god damn, That fucking dink bitch. I’m gonna hunt down that fuck one of these days, I took days off work, two fucking days!

We HEAR Joey talk quietly.

JOEY
I know dad, you told me.

HOWARD MASON
(SHOUTS) Then I’ll fucking well tell you again! Little bastard, always complaining about something aren’t ya!

We see an elderly couple walk past Howard and Joey, the couple stare at Howard as he SHOUTS.

HOWARD MASON
(To the elderly couple) What the fuck are you two looking at, fuck off! Mouldy old bastards!

We see the elderly couple walk past looking shocked and offended.

HA – BUS STOP

Quite crowded, about 7 people waiting. We see Jake standing behind the bus shelter sipping his bourbon.

ANGLE - BUS STOP

We see a mother and two children, a boy and a girl walking along to wait at the bus stop. They stand and wait close to Jake.

MOTHER
(To little girl) Okay honey just do up your coat, it’s chilly today baby, you don’t want to catch a cold.

We see the mother do up the little girls coat for her, as the little boy tugs on his mothers jacket.

LITTLE BOY
Mommy, can we get lunch at Macdonald’s today, you didn’t take us yesterday?

MCU – JAKE

We see Jake give the family a cold look as he sips his liquor.

ANGLE – BUS STOP

MOTHER
Yes baby, I told you we’ll go to Macdonald’s after mommy picks up that new dress she ordered. Your going to think your mommy looks so beautiful at me and your fathers anniversary party, in my new dress.

LITTLE GIRL
I know you will, mommy.

LA – BUS STOP

We see Jake take another swig of bourbon.

We see behind him is the family holding each other in the cold.

Suddenly, we see Jake throw up on the pavement, vomit pouring from his mouth rapidly. Disgusting.

The family see this and are horrified and appalled.

MOTHER
Come on children, let’s go stand over there.

We see the family walk away, off – screen.

MCU – JAKE

Looks quite ill. We see Jake wipe his mouth and look at the family. He grins.

ANGLE – STREET

We see Howard and Joey Mason walking up the street towards the bus stop, still Howard walking ahead, rambling at his son.

HOWARD MASON
…I mean Jesus fucking Christ, how old are you? Your thirteen years old…

JOEY MASON
Twelve.

HOWARD MASON
(Ignores)…boy, you’re a teenager, you should be going out, meeting girls, getting laid. (Angered) What you a god damn faggot or something?

Howard clips Joey round the back of the head, as they approach the bus shelter.

HOWARD MASON (CON’T)
I will not tolerate my only son becoming a fucking shit stabber, you hear me?

MCU – JAKE

We see Jake now look at Howard and Joey, he looks saddened.

ANGLE – HOWARD AND JOEY

HOWARD MASON
Yeah, it was probably that bitch hoar mother of yours that turned you into a god damn queer. She left me with a fag when she fucked off. You’re a…

Suddenly, we see the bag containing Howard’s whiskey break and the whiskey SMASHES over the floor.

CU – JOEY

Shocked, he darts back and looks up in fear at his father. He knows what he’s going to do.

MCU – HOWARD MASON

Very annoyed, starts to SHOUT at Joey.

HOWARD MASON
What the fuck are you doing!

Howard slaps Joey then punches him. Howard grabs Joey by the neck and holds him close.

HOWARD MASON (CON’T)
Oh my god, you stupid little fucking shit!

We see Joey cower and cover his face with his hands.

JOEY
I’m sorry dad, the bag split and…

HOWARD MASON
(Interrupts) Shut the fuck up!

We see Howard punch Joey again, Joey falls to the floor and starts to CRY.

HA – BUS SHELTER

We see the civilians at the bus starts in shock at the obvious display of the abuse that Howard is showing to his son.

MCU – JAKE

We see Jake looking at Joey and his father, he is obviously being affected by Howard’s violence.

ANGLE – HOWARD AND JOEY

We see Joey on the floor, CRYING with pain and sorrow.

HOWARD MASON
Stop crying, you little fucking faggot!

We see Howard kick Joey in the backside.

HOWARD MASON (CON’T)
No son of mine would cry like that!

CU – JAKE

Eyes wide open, memories come back.

FLASHBACK – JAKES HOUSE – FRONTROOM - NIGHT

We see Jeff Fitz, drunk, beating Jake, aged 10, with his belt.

We see Jake is cowering on the floor, in the same position as Joey. We HEAR Jeff LAUGH at Jakes fear.

MCU - JAKE

We see Jake walk off – screen towards Howard and Joey.

ANGLE – HOWARD AND JOEY

HOWARD MASON
Stupid little bastard.

We see Howard lift his clenched fist to punch Joey again. We see Jake walk on – screen and push Howard off-screen.

OTS – JAKE

We see Howard fall over backwards and land on his ass. He SHOUTS at Jake as he stands up.

HOWARD MASON
What the fuck are you doing! What’s your problem you dickhead!

HA – BUS STOP

We see all the civilians standing and looking over at Jake and Howard’s conflict.

MCU – JAKE

JAKE
Mr, if you touch that kid one more time, I will cut out your fucking kidneys, I shit ye not.

MCU – HOWARD MASON

We see Howard looks astounded, bewildered. Who the hell is this guy?

CU – JOEY MASON

Crying, we see Joey look up at Jake, looking a little more comforted.

MCU – HOWARD MASON

HOWARD MASON
And exactly who the fuck are you to tell me what I can and can’t do to my son, huh. Beat it, you pussy little wiseass, if you got a problem, call the cops. Now fuck off!

MCU – JAKE

We see Jake looks irritated but composed.

JAKE
Just don’t you lay a finger on the kid again.

LS – HOWARD AND JOEY

Howard loses his temper and hits Joey around the head as he SHOUTS back at Jake.

HOWARD MASON
I’ll lay as many fingers as a damn well like! Fuck you, you asshole!

We see Howard lift his arm again to punch Joey, but Jake holds it in mid air.

With his other arm, Jake punches Howard in the face and he stumbles backwards off – screen.

LA – JAKE AND HOWARD

Howard straightens up and swings at Jakes face. He misses.

Dodging Howard’s swig, Jake PUNCHES him in the gut and then ELBOWS him in the face when he leans forward to hold his stomach.

Howard falls to the floor, but quickly gets up again and CHARGES at Jake.

HA – HOWARD AND JAKE

We see Howard PUSHING Jake backwards, then SMASHING into the bus timetable pole.

MCU – JAKE

We see Howard PUNCH Jake rapidly in the gut three times.

Howard then PUNCHES Jake in the face and Jake rolls of the poll and stumbles backwards.

MCU – HOWARD MASON

We see Howard pull out a large flick knife from his pocket. We HEAR the civilians at the bus stop all SHOUT in shock.

We HEAR Joey Mason off – screen.

JOEY MASON
No dad, don’t, please.

HOWARD MASON
Shut up, Joey. I’m gonna carve this bastard up.

CU – JAKES POCKET

We see Jake take out the knife from his pocket and hold it firmly by the handle.

MCU – JAKE

We see Jake CHARGE at Howard.

MCU – HOWARD

SHOUTS with rage, we see Howard CHARGE at Jake.

TS – JAKE AND HOWARD

We see Howard swing his smaller flick knife at Jake, who dodges it.

We see Jake thrust his knife at Howard.

OTS – HOWARD

We see Jake stab Howard in the armpit; we see the tip of blade piece through the top of his shoulder. Blood sprays from the wound. Howard SCREAMS in complete agony.

MCU – JOEY MASON

We see Joey cover his eyes and SCREAM with fear.

MCU – HOWARD

We see Jake holding the blade in his armpit. We see Jake slowly tear the knife down from Howard’s shoulder, down his upper arm, towards his elbow. Howard’s SCREAMS get LOUDER.

CU – HOWARDS BICEP

We see the blade TEAR a huge rip through his arm, BLOOD GUSHING.

MCU – HOWARD

We see Howard take a swing at Jake with his other arm, but he is too in pain and weak to hurt Jake. He is SCREAMING in excruciating torment.

LA – HOWARD AND JAKE

We see Howard fall on – screen, to his knees. He is thrashing and SCREAMING unable to muscle up the strength to pull the knife out of his arm.

MCU – JAKE

We see, in one swift movement, Jake pull the knife out of Howard’s arm. BLOOD GUSHES. Then takes out a 9mm Beretta that was tucked into his trousers, aims it at Howard’s forehead, then FIRES.

HA – BUS STOP

Horrified, every civilian SCREAMS and starts running from the scene, we HEAR one of the people SHOUT.

CIVILIAN
Call the cops! Call the fucking cops!

ANGLE – JAKE

We see Howard’s lifeless body hit the ground, blood rapidly trickling from his head and armpit. We see Jake put away his pistol and turn towards Joey.

MCU – JOEY

We see Joey take his hands away from his face and look up at Jake, still CRYING.

MCU – JAKE

We see Jake look down at Joey, he puts his knife back into his coat pocket, and stares at the boy, wide eyed.

FLASHBACK – JAKES HOUSE – FRONTROOM – NIGHT

We see Jeff Fitz looming over his son with a twisted grin on his face.

JEFF
Get up, sweet heart, I ain’t finished with you yet.

We see Jake, aged 10, curled up, terrified on the floor. He is huddled in the same position that Joey is.

HA – JAKE

We see Jake pause for a moment. Then he takes Joey by the hand and pulls him to his feet.

Joey is CRYING and distort, but doesn’t show any resistance to Jake.

We see Jake take Joey by the hand and walk him down the street.

HA – STREET

We see people running from the scene, we HEAR people SCREAMING in terror at the sight of Howard’s corpse.

Jake and Joey walk about half way down the street, when Jake spots a BLUE HUMVEE slowing down.

INT - HUMVEE

We see a man and his wife sitting in the front of car. We see that the man notices all the people SCREAMING.

MAN
What the hell is going on here?

We see the car pull up to the road side and begin to slow down.

WOMEN
Honey, don’t stop.

We see the car stop.

MAN
Just hang on a minute.

EXT – STREET

The Humvee is parked on the curb, we see the man get out of the car and stand by the door, trying to see what the commotion is.

TS – JAKE AND JOEY

Joey’s tears are still flowing as he looks up at Jake. We see Jake reach into his pocket and pull out his Beretta again, then point it at the man.

JAKE
Get away from the car!

We see shock fill the man’s face. He raises his hands then steps out into the road, away from the car.

POV – WOMEN

We see Jake pointing the pistol at the man on the other side of the windshield. Jake then turns and points the gun at the women.

Before Jake can say anything, the sight of the gun being pointed at her, makes the women jump out of the car and huddle up on the pavement.

HA – HUMVEE

We see Jake take Joey by the hand and sit him down in the passenger seat. We see the women still huddled on the street and the man still standing in the road, petrified with fear.

INT – FRONT OF HUMVEE

Joey sits in the passenger seat, still CRYING. We see Jake put on Joey’s seatbelt for him, then close the door.

We see Jake move around to the drivers seat, then get in the car and start the ignition.

LS – HUMVEE

We see the car pull away, we FOLLOW the car as it passes by the bus stop. We see Howard’s corpse lying on the sidewalk, we HEAR people SHOUTING and SCREAMING.

INT - CAR – JAKE

Emotionless. We see Jake staring straight ahead but is obviously aware of Joey’s CRYING.

MCU – JOEY

Looking right at Jake, tears rolling down his face, trying to build up the courage to say something.

MCU – JAKE

We see Jake turn and look at Joey for a moment. Then he turns back, fixated on the road.

MCU – JOEY

Joey finally builds up the courage to speak.

JOEY
Who… Who are you?

MCU – JAKE

Jake stares blankly at the child. Eventually he answers.

JAKE
My names Jake Fitz.

We HEAR Joey’s CRIES turn to SOBS.

MCU – JOEY

JOEY
Why…(SOB) Why did you kill my daddy?

TS – FRONT OF HUMVEE

JAKE
Your daddy was an asshole kid. He didn’t care about you or anyone else. He deserved everything he got and a whole lot more.

We see Joey cover his face with his hands, then wipe the tears from his eyes.

We see Jake look over at Joey again, then turn and concentrate on the road.

INT - FBI HEADQUATERS - CORRIDOR – DAY

We see Detective Ralf Coldshore walking, briskly, down the corridor. Walking next to him is Detective Oscar Mitchell, informing Coldshore of a few more facts.

DET MITCHELL
The phone call came from a public phone box, Next to the bus stop on the corner of Willigar street. Eyewitness testimonies state this guy Is a Caucasian male, mid twenties, short blonde hair. One witness said he appeared drunk and disoriented at the scene. Then a fight broke out between, him and a Mr Howard Jonathon Mason, he did a four stretch in Illnois eight years ago, for holding up a liquor store. Turns out this guy Jake, sliced him up with a butchers knife then shot the poor bastard in the head. He then abducted Howard Masons son, Joseph, they stole a young couples car and left the scene immediately, no one even got a license plate number.

DET COLDSHORE
The motherfucker could be all the way to New Jersey by now.

DET MITCHELL
I doubt that, Ralf, we’ve got road blocks on every exit leading outta the city. We got the NYPD at the docks and airport. If this guy so much as farts, we’ll know about it.

INT - CORRIDOR/TRAINING ROOM

We see Ralf and Oscar walk into the conference room, which is full of FBI agents sitting at desks.

DET COLDSHORE
I hope your right.

We see Ralf place the files he is holding down on the desk at the front and begin to address the agents. We see Detective Mitchell stand in the corner and listen.

DET COLDSHORE
Okay gentlemen, listen up. We got a fugitive killer out there, he has murdered three people within the last 24 hours.

We see Ralf pick up one of the files and flick through the pages as he talks.

DET COLDSHORE(CON’T)
At approximately 1100 hours, he brutally stabbed a Mister Daniel Stubbs on the 10:55 bus leading out of Brooklyn.

INT – MORGUE – DAY

Desilate, clean. We see an open draw with the body of Dan Stubbs lying lifeless and pale within. We see a doctor’s hand cover his face with the sheet and close the draw shut.

INT – TRAINING ROOM

DET COLDSHORE(CON’T)
He also inflicted a knee injury on a Mister Jeremy O’Conner.

INT – HOSPITAL WARD – DAY

We see Jez O’Conner laying on a hospital bed surrounded by frantic doctors and nurses, trying to stop the bleeding to his knee. We see he is in tremendous pain, gripping his knee, letting out an agonising SCREAM whenever the doctors touch his leg.

INT – TRAINING ROOM

DET COLDSHORE(CON’T)
Yesterday at 1300 hours he kidnapped Susan Ormand, daughter of senator John Ormand, outside her high school.

We can clearly see that this is a difficult subject for Ralf to talk about.

DET COLDSHORE(CON’T)
And… as Im sure your all aware… she was murdered early today… the time of death is unknown. We (Hesitates) learned of her death at approximately 1400 hours this afternoon. And then, no more than half an hour later, he committed his third murder, a Mister Howard Mason. According to reports the two got involved in a drunken fight that got out of hand. Mr Mason was stabbed then shot through the head.

We see Ralf drop the file down on the desk.

DET COLDSHORE
We know this guys name, its Jake Patrick Fitz. Irish name, Irish parents but born and reared in Texas. Eyewitness at the scene of every murder have given the same description. A white, Caucasian male, mid to early twenties, strong build and short blonde hair. This man is armed and is holding a hostage, so we will have to proceed with caution when apprehending him.

We see Coldshore rest his clenched fists on the table and lean forward as he discloses the lecture.

DET COLDSHORE (CON’T)
I want this case to be your top priority this sick fucking bastard is out there and he has a young boy with him, held at gun point. There’s no telling what this guy’s doing to him. I want this guy, this ‘Jake Fitz’ in custody by the end of the night.

LS – MEN AT DESKS

We see the other FBI agents staring back at Ralf with empathy. Obviously sympathising with Ralf’s ambition about catching this killer.

MCU – COLDSHORE

DET COLDSHORE
(SHOUTS) Come on people lets get going, move like you got a purpose!

ES – TRAINING ROOM

We see the agents all jump up out of their seats and move out at Coldshore’s request.

INT – FRONT OF HUMVEE – DAY

We see Joey hunched forward on the passenger seat, looking shaken and nervous.

MCU - JAKE

Still staring straight ahead. We see Jake doesn’t take his eyes of the round, even to light a cigarette.

We see Jake hold out the cigarette pack in front of Joey.

JAKE
You want a smoke kid?

MCU – JOEY

We see Joey give Jake a cold look, as if to say ‘What the hell do you think?’

MCU – JAKE

We see Jake realise the absurdity of what he’s doing. Jake quickly puts the pack away in his pocket.

JAKE
I guess not.

We see Jake look between the road and Joey as he speaks.

JAKE
How old are you, kid?

JOEY
Joey.

JAKE
What?

JOEY
My name isn’t kid. It’s Joey. Joey Mason. And I’m twelve.

We see Jake look at Joey with empathy.

JAKE
Its good to meet you, Joey Mason.

MCU - JOEY

We see Joey look up at Jake, wanting to reply to his kind words, but is obviously too afraid.

EXT – HUMVEE

HIGH ANGLE of the blue Humvee slowing down due to traffic. We see up ahead there is a road stop with Highway Patrol Officers and NYPD stopping and searching cars as they pass.

ES – ROAD STOP

We see the cars are in queues of four rows, with two cops searching the car at the front of the queue. On either side of the highway, we see a patrol car providing backup.

MCU – CAR AT FRONT OF QUEUE

We see two cops, are questioning an elderly women driving a 4 X 4 Toyota, each cop is holding an artists impression of white, male suspect and are asking the driver if they know of his whereabouts.

COP
Sorry to bother you ma’am. But do you recognise this man?

We see the old women would love to help the officers, but doesn’t know the man.

ELDERLY WOMEN
I’m afraid not officer, I’ve never seen him before.

COP
No problem, ma’am. Thank you for your time.

We see the 4 x 4 drive away and the cop waves along the next car.

MCU – CAR AT FRONT OF ANOTHER QUEUE.

We see two cops forcing a young man out the driver’s seat of a DARK GREEN CHAVY. As one cop searches the man, the other investigates the contents of his car.

We see the man is a tall, well built, Caucasian with short blonde hair. Obviously he has fit the description of the artist impression.

We see the man is resilient and agitated, knowing he’s done nothing wrong.

MAN
What the fuck are you doing man, get the hell of me, I haven’t done nothing.

COP
Stop struggling, this is a routine search. Now hold up your arms and part your legs.

We see the man, begrudgingly, complies with the officer. The cop pads down his arms and legs, searching for weapons.

We see the other, having searched the car lean over to the other officer.

COP#2
Its clean, a few empty beer cans, but nothing else.

We see the cop searching the man acknowledge this and stops padding him down.

COP
Okay you can go about your business.

We see the cops wave on the next car, while the man climbs back into his Chavy, looking violated by the cops search.

TS – FRONT OF CAR

Jakes face fills with worry.

JAKE
Shit.

We see Joey rub his eyes, then sit up and see what is going on.

JOEY
What is it?

JAKE
Fucking cops.

POV – JOEY

We see, out of the wind shield, that there are three cars infront of them in the line. At the the front of the line are two cops questioning a driver.

MCU – JOEY

JOEY
Are they looking for you?

JAKE
Yeah, their looking for me.

We see Joey’s eyes glisten with fresh tears.

JOEY
(Sniffs) For what you did?

MCU – JAKE

Jake stares back, unmoved.

JAKE
For everything I’ve done.

TS – FRONT OF CAR

JOEY
What are you going to do?

JAKE
I don’t know.

EXT – CAR AT FRONT OF QUEUE

We see the two cops clear the driver and wave on the next car in line. Only two cars left.

MCU – JAKE

JAKE
Fuck!(Turns to Joey) Listen kid, I need you to help me here.

MCU - JOEY

JOEY
Why should I help you!?

MCU - JAKE

JAKE
Listen! I need you the shut up for a minute! (Angered) I need you to…

We see Jake start to rub the anxiety out of his temples. He then loses it for a minute and starts hitting the steering wheel, and then he calms down.

We see Jake look hopelessly at Joey. How the fuck is this kid going to help him get out of this?

CAMERA PANS DOWN to Jakes waist and we see he takes out his 9mm Berretta from his trousers and rests it against his legs, out of sight from Joey.

EXT – CAR AT FRONT OF QUEUE

We see the two cops finish their questioning and wave on the next car.

MCU – COP

Tall, black, smoking a rollie. His name is JOHN and we see him wave on the car in front of Jake’s stolen Humvee.


(I plan on writing the rest in the near future...What do you think?)