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Wanted Movie Script

Writer(s) : Michael Brandt, Derek Haas

Genres : Action, Crime, Thriller

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                                  WANTED


                                Written by

                       Michael Brandt & Derek Haas



                                                      12/1/2005         

          

          FADE IN:
          CLOSE ON the face of WESLEY GIBSON, 25, STARING AT THE.

          CAMERA.

          WESLEY (V.O.)
          Six weeks ago, I was ordinary and
          pathetic.
          His wry smile gives way to...
          Black. And then...

          INT. APPLEBY'S - DAY

          The CAMERA STARTS FROM THE CEILING, pointing straight
          down, overlooking a table of twenty-five people dressed
          in business casual, pretending to have a good time at
          lunch in. this cookie-cutter crappy restaurant.
          At the end of the table, a bowl of spinach dip is in.
          front of Wesley,'and the CAMERA STARTS descending
          directly for it, slowly, as we hear...

          WESLEY (V.O.)
          It was Rochelle's birthday, which meant
          there was a certain amount of inter-
          office pressure to go to Appleby's and
          sit at a table of twenty-five with my
          boss Janice presiding at the head even
          though she's too tight to pick up the
          bill. Which meant, the poor bastard
          waiting on us had to split the check
          twenty-four ways -- everyone contributing
          to Rochelle's free meal -- surf and turf,
          no less -- don't do us any favors,
          Rochelle. Anyway, I ate a plate of
          extreme nachos and then polished off a
          bowlful of spinach dip pretty much single-
          handedly...
          The CAMERA DISAPPEARS in the bowl of spinach dip and
          we...

          CUT TO:

          INT. WESLEY'S CUBICLE - DAY

          .where Wesley drops his head down on his desk.

          

          

          

          

          2.

          WESLEY
          .so by the time I got back to my
          cubicle, my eyelids were so damn heavy, I
          had to put my head down, even if it was
          just for a wink.

          SMASH CUT TO:

          EXT. OFFICE BUILDING - DAY

          A sharply dressed man, MR. X, wearing a dark .Armani suit,
          enters a skyscraper through the lobby. He's a shade
          taller than most of the office workers who are coming and
          going.

          INT. LOBBY - DAY

          He heads to an elevator and presses a button for the top
          floor.
          And as his finger presses the button, just where the
          thumb meets the forefinger, we see a TATTOO of a three-
          headed dog.
          Soon...

          INT. TOP FLOOR CORRIDOR - DAY

          .the doors open again and he finds himself in an
          opulent corridor -- sleek and expensively designed.
          Only one office is at the end of the hall.
          Expressionless, he makes his way toward it. Without
          knocking, he steps inside...

          INT. PUJA'S OFFICE - DAY

          .an office fit for a king. Or a queen. Because behind
          a glass desk sits a beautiful Indian woman dressed
          traditionally in a serape, with a red bindi on her
          forehead, the holy third eye. Her name is PUJA.
          Mr. X sits in the single chair opposite her.
          After a moment, Puja looks up.

          PUJA
          I didn't expect for you yourself to come.
          One of the heads, in the flesh.

          MR. X
          You're an important fence.

          

          

          

          

          3.

          PUJA
          I'm flattered.
          She reaches over to an attach€ case and removes a file.

          PUJA (CONT'D)
          The name of the target is Henry Helms.
          Carrying the file, she moves around the desk and stands a
          few feet away from Mr. X, who rises so that they are both
          standing. She really is quite beautiful, exotic even,.
          with piercing eyes.

          PUJA (CONT'D)
          He's a journalist who stumbled on to a
          story exposing a lot of powerful people,
          people who don't like having their power
          threatened.
          MR. x
          Poor Helms.

          PUJA
          There.have been five attempts on his
          life, but he has been well protected...
          and well hidden. Turns out his wife's
          family has a lot of money. He's in town
          to accept an award.

          MR. X
          We'll see to it that it never makes his
          mantle.

          PUJA
          And for that, my clients will pay
          handsomely.
          Mr. X is looking at Puja when a curious thing happens...
          .he notices that the red bindi on he r forehead tarts
          to move a little, like a second dot is trying to emerge
          from it, like an amoeba splitting.
          It's a sh hooter's laser!
          His eyes go wide as saucers.
          MR. x

          GET DOWN1!1
          .but it's too late as bullets rip into her head.
          splattering everything above her eyebrows into the wet
          bar.

          

          

          

          

          4.
          Mr. X crouches, drops his hands behind his back, and a.
          PAIR OF GUNS -- as technologically advanced as anything
          we've ever seen -- spring into his hands.
          The bullets .stop flying and he sprints at the window from
          which they came, smashing t rough what remains of it,
          disappearing from the demolished room...
          .all this as Puja's dead body hits the floor, blood
          seeping out of that holy third eye.

          EXT. OUTSIDE THE SKYSCRAPER - FORTY FLOORS UP - DAY

          Mr. X's momentum carries him from one building to the
          next, over an alleyway, the wet-concrete shining below.
          He lands on the...

          ROOF OF THE NEXT BUILDING:
          ...and rolls up quickly, guns ready.
          His eyes spot FOUR MARKSMEN running and ducking for cover
          on the neighboring rooftop..
          .and on a dead sprint across the roof...
          . he spots about a CENTIMETER OF FLESH sticking out from
          around an air-conditioning vent. He fiKes the his
          left band.
          The bullet flies through the air and rockets into the
          flesh... which happens to be one of the marksmen's ears.
          The guy YELPS IN PAIN and falls back from the vent,
          exposing himself. That's all Mr. X needs, and another
          shot rings out while he's still on a dead run. THWAP!
          The bullet finds its mark in the yelping man's forehead,
          silencing him, just as...
          .Mr. X ducks behind a stairwell door.
          He pulls up his right hand and looks down the barrel of
          this pistol: built into the barrel is thin c u r
          screen. It actually shows the heat signatures of the
          three remaining marksmen, one of which is directly in
          front of him, hiding behind a small rooftop supply shed.
          A second marksmen is just on the other side of the
          stairwell. The third is on the far side of the rooftop.
          Mr. X takes another look at the heat signature of the
          marksman hiding behind the shed and he FIRES his gun...

          

          

          

          

          5.

          /~,
          ...then does an amazing thing: in the split second that
          the bullet travels forward, he jerks his gun to the
          side... actually steering the bullet around the wall and
          into the ksman's throat.
          Before the guy's blood hits the ground, the assassin is
          moving again: he dashes away from the stairwell then
          makes two incredible shots; one knocks a piece of
          aluminum off the top of the stairwell...
          ..which causes it to flip up in the air above the head
          of the hiding marksman...
          . the second shot strikes the aluminum again, ,,..,sending
          the bullet ricocheting down into the ton of the
          marksman's heads As he falls...
          THE CAMERA MOVES OVER TO WHERE... the FINAL MARKSMAN is
          breathing hard, like an engine with a chronic misfire, as
          he looks out at the dead bodies of his fallen comrades...
          all chopped down in a matter of seconds.
          He squeezes his eyes shut, trying to psyche himself up...

          LAST MARKSMAN

          (SOFTLY)
          C'mon, c'mon, c'mon.
          He looks out at the stairwell door... and all is quiet.
          Maybe Mr. X didn't know he was there, maybe he left,
          maybe the last marksman can sneak away after all.

          LAST MARKSMEN

          (SOFTLY)
          Okay... okay...
          He finally decides...
          .and takes one step forward...
          THWAP1!1 A bullet disintegrates his knee.
          He falls, clutching the knee in agony, as Mr. X walks
          toward him slowly until he stands right over him like a
          hunter over his prey.
          Mr. X's shoe comes down on the final marksman's wrist,
          pinning it away from his dropped weapon.

          MR. X

          (GROWLS)
          Who sent you?

          

          

          

          

          6.
          For a moment, we're not sure the last marksman's going.to
          answer. Then...

          LAST MARKSMEN

          (NERVOUSLY)
          We're... we're just the decoys, man. We
          were paid to get you out here...
          The marksman points at a small VIDEO CAMERA sitting on
          the roof, relaying their every move...
          Mr. X's face falls as.those words register, and just
          then...
          RA ROCKETS over thetreets of the city, block
          after block in the blink of any eye...
          .until it reaches a rooftop, over a mile away.

          ON THE NEW ROOFTOP:
          A man named CROSS is in a crouch, holding a massive RIFLE
          pointed upward, at an angle...
          A small SCREEN on Cross' gun shows the scene from the
          roof, along with various elemental measurements: wind
          speed, pressure, temperature, distance, altitude...
          .. the information on __the reflects off of Cross'
          eyeball as he processes,,the shot... a quick adjustment to
          the gun and a slight pull of the trigger...

          BOOM...
          We follow the arcing bullet back over the rooftops in an
          instant. Somehow it keeps it's elevation and it's
          path...
          .to the resigned look on Mr. X's face: an outsmarted
          man, a dead man.
          The bullet hits him square in the chest, and he falls to
          his knees, then slumps over, dead.
          Flies start to gather as he lies there.
          First one, then two, then several as night TIME-DISSOLVES
          to day...

          EXT. ROOFTOP - LATER

          .and two pairs of legs approach the dead body of Mr. X.

          

          

          

          

          7.
          The first set belong to an older man, SLOAN, who looks.
          like he has seen his share of death. The other set
          belong to the hottest black woman on the planet, FOX.
          As they look down at the dead body...

          FOX
          It was a set-up all the way?
          Sloan just nods.
          He then stoops down, shoos some of the flies away with
          the back of his hand and picks up the file that Puja gave
          Mr. X.
          The CAMERA PUSHES IN on the back of Sloan's hand as he
          reads the file. It, too, has the tattoo pf the three-
          headed do q, in the same spot as Mr. X.

          FOX (CONT'D)
          (re: the dead body)
          That's two heads in two weeks. Which
          leaves only one: you.
          Sloan nods.

          SLOAN
          He wants out.

          FOX
          And killing all three heads gets him
          that?
          Sloan nods again.

          FOX (CONT'D)
          Well, I don't know if we have anyone who
          can stop him.
          Sloan squints back up at Fox.

          SLOAN
          There's one person who can.

          FOX
          Yeah? Who?
          And with that, we...

          SMASH CUT TO:

          

          

          

          

          8.

          7 INT. WESLEY'S CUBICLE - DAY

          .Wesley Gibson, the guy from the opening scene, fast
          asleep in his little cubicle. Some drool falls off his
          lip and 'erks h' awake.
          Just then, the shot FREEZE-FRAMES, and we see IN THE
          BACKGROUND OF THE SHOT, his fat boss JANICE caught in mid-
          stride coming toward him, looking like she's ready to
          bring the wrath of God.

          WESLEY (V.O.)
          My name is Wesley Gibson. If you look at
          the corner of my desk, you'll see the
          billing reports I was supposed to hand in
          to Janice an hour ago.
          The BILLING ORT is highlighted on the screen for just
          a moment.
          .then the movie RESUMES normal speed and Janice reaches
          Wesley's cube in no time...

          BOSS JANICE
          Oh my fucking god I hope that's not my
          billing report sitting on your fucking
          desk. Holy shit on an altar, it isl
          A couple of the other OFFICE WORKERS look up at the
          fireworks and smile... like they're actually enjoying
          Janice's histrionics.

          BOSS JANICE (CONT'D)
          why don't you just take a dump in your
          hands, fork it over to me and say, "this
          is the best effort I'm gonna give to you,
          Janice. This is the best you're ever
          gonna get out of me." Hell, Rochelle on
          her bbirthdav is doing a better a job than
          your lazy ass and she's already left for
          the day. Je-sus CHRIST!
          Wesley looks like he'd rather be anywhere else.

          WESLEY
          I meant to...

          BOSS JANICE
          (imitating him)
          I meant to... I meant to... Well I meant
          to be a size four but meaning to doesn't
          pick no cotton.

          

          

          

          

          9.
          She snatches up the report off his desk.

          BOSS JANICE (CONT'D)
          Tell you what. I'll just input the four-
          ones myself.

          (ANNOUNCES)
          Look everyone, I'm gonna do Wesley's four-
          ones for him! I don't have enough to do
          with my own damn job so I'll do Wesley's
          too!
          Wesley grabs the report back.

          WESLEY
          I'll do it.

          BOSS JANICE
          Minimum for the maximum. That's all you
          ever do. The minimum you can do to suck
          the maximum from this company.

          WESLEY
          I said I'll get it done. I'm sorry.

          BOSS JANICE
          No, you're worthless. I'm the one who's
          sorry I hired you.
          She storms away, fuming.
          Wesley looks over and sees some of the other workers
          still staring at him, amused.
          He sits back down to the semi-privacy of his little
          cubicle.

          CUT TO:

          INT. MEETING ROOM - DAY

          A CONSULTANT in a suit is droning on and on in front of a
          nifty power-point presentation.
          The CAMERA PULLS BACK to reveal Wesley, bored to tears,
          sitting at a long table with Janice and other corporate
          minions.
          The CAMERA FINDS Wesley's note-pad where it looks like
          he's taking notes on the presentation. Instead, covering
          every inch of the page, is the phrase "life sucks then
          you die."

          

          

          

          

          10.

          WESLEY (V.O.)
          My job title is Account Manager. I used
          to be called an Account Service
          Representative, but a consultant told us
          we needed to "manage" our clients and not
          " service- them.
          Onemore "life sucks then you die."

          WESLEY (V.0.) (CONT'D)
          I have a girlfriend whom I neither manage
          nor service.

          CUT TO:

          INT. GIRLFRIEND'S APARTMENT - DAY

          Wesley's GIRLFRIEND is currently riding some guy named
          BARRY on her living room.couch. She's not very
          attractive, sort of plain and ordinary.

          WESLEY (V.0.)
          Her name's Cathy. She works at Banana
          Republic. The guy she's humping is my
          best friend, Barry.
          She's giving it her best. As her MOANS reach a
          crescendo, we...

          CUT BACK TO:

          INT. MEETING ROOM - DAY

          Wesley is still sitting there with his note pad, while
          the consultant continues to rattle on and on about God
          knows what.
          Through the blinds behind the speaker, Wesley can spot
          his company.'s hot intern, NICOLE, talking on the phone.
          He zeroes in on her, until...
          Wesley suddenly looks around the room and everyone ijL_
          staring at him.

          WESLEY

          (HESITANTLY)
          Yes. Uh... Well the 602 deals with
           applications sent by prospective clients
           and the 603 is when the client is...
          Everyone is still just staring...

          

          

          

          

          11.

          WESLEY (CONT'D)
          I'm sorry, Jesus... uh... what was the
          question?

          CONSULTANT
          I asked you about the effects of net
          investment income with regards to
          underwriting cycles.

          WESLEY
          Well, that's the thing.-

          CONSULTANT
          What's the thing?

          WESLEY
          (trying to redeem himself)
          Cycles. Hard market, industry-wide
          cycles differ from our firm's cycles so I
          think it's amistake to apply...

          JANICE
          Good God a'mighty.

          CONSULTANT
          Son... everyone knows that net
          investment income is inversely related to
          both premium and loss reserves, making
          firm cycles inherently dependent on
          industry cycles!
          Everyone snickers.

          CONSULTANT (CONT'D)
          In fact, to prove my point, I'd like you
          to spend some time this afternoon adding
          up the yearly differential responses.

          JANICE
          Get it to me by five.

          WESLEY
          Sure.
          Wesley jots down on his pad: "ACTION ITEMS," and
          underneath it: "Differential responses... then you die."
          He underlines it three times.

          INT. BREAK ROOM - DAY

          Wesley sits at a small round table by himself, eating a
          ham and cheese on white.

          

          

          

          

          12.
          A group of. other WORKERS sit at a table nearby, gossiping
          and guffawing about whatever shit they have to discuss.

          WESLEY (V.O.)
          There are people, everyday you meet them,
          who you wish could see you in a different
          setting, a different place...
          Just then, Nicole, the pretty intern, approaches and
          starts fishing through the refrigerator.

          WESLEY (V.0.) (CONT'D)
          .instead of where you are, what you've
          become.
          Wesley sits upright, glad now that no one is sitting at
          his table. Nicole turns and smiles at Wesley, starts to
          head his way, when...

          LOUDMOUTH AT OTHER TABLE
          Nicole! Get your ass over here and.tell
          us what the hell is going on with you and
          Whitcock the big cock!
          He pulls a chair over from next to Wesley to make room
          for her at his table.
          Wesley just takes another bite of his sandwich.

          INT. WESLEY'S CUBICLE - DAY

          Wesley is staring, at his monitor...

          WESLEY (V.0.)
          And you wish to god your eyeballs weren't
          being sucked out of their sockets by
          monitor fatigue. That you didn't spend
          five years in college to do goddamn
          differential responses.
          see that he is actually i>laying solitaire on the
          computer. He keeps checking over his shoulder for
          Janice, but she is talking on the phone in her office
          with the door shut.
          He looks up and watches the computer clock turn from 4:59
          to 5:00. He saves his solitaire game and then turns off
          the computer, snatches up his jacket, waits for Janice to
          turn her back to him as she is engrossed in her call, and
          then sneaks away.

          INT. ELEVATOR BANK - DAY

          Wesley presses the down button and waits.

          

          

          

          

          13.

          WESLEY
          C'mon, c'mon.
          After an eternity, the doors open.

          WESLEY (CONT'D)
          But at least at the end. of the day...
          Wesley steps in and turns around. Before the doors
          close, he sees his boss Janice down the hall, looking at
          him. She checks her watch and looks back at him,
          pissed...

          WESLEY (CONT'D)

          (DEFEATED)
          .you know that tomorrow it's going to
          start all over again.
          ..and then the doors close.

          EXT.. CITY STREET - DAY

          Wesley pedals a ten-speed down a busy street. It's
          raining, and he squints to keep the water out of his
          eyes.

          EXT. ATM MACHINE - DAY

          He stands nervously at an ATM machine. He checks to see
          if anyone is looking, and then hits the "check balance"
          button.
          A message comes up: "You have $47.92 in your account.
          Would you like another transaction?"
          He clicks "yes" and then "quick cash" and waits for the
          $40 to dispense.

          IN . WESLEY'S APARTMENT - DUSK
          Wesley enters, toting his bike, only to find Cathy and
          Barry laughing on the couch, watching some crap on
          television.
          He's two steps in the door when...

          CATHY
          Where's the spaghetti?

          WESLEY
          What?

          

          

          

          

          14.

          CATHY
          I specifically told you to get noodles on
          your way home. God, Wesley, I already
          put the sauce on.

          WESLEY
          Sorry. I•didn't...

          CATHY
          You didn't listen is what you didn't.- I
          might as well talk to the wall.

          WESLEY
          I'll be right back.
          He turns around.

          INT. CORRIDOR OUTSIDE WESLEY'S APARTMENT - DUSK

          He starts to head away when Barry pokes his head out of
          the apartment door.

          BARRY

          (INSINCERELY)
          You want me to go with you, buddy?
          What a dick. Wesley doesn't turn around, defeated...

          WESLEY
          I got it.

          EXT. CITY STREET - DUSK

          He's back on the ten-speed, pedaling again in the rain,.a
          pissed expression on his face.

          WESLEY (V.O.)
          My parents both died when I was born.
          He grits his teeth as we...

          CUT TO:

          INT. FOSTER HOME - DAY

          A young Wesley, 10, sits at a table with a couple of

          RELIGIOUS FOSTER PARENT WACKOS.

          WESLEY (V.0.)
          The nutjobs I had as foster parents
          thought any book that didn't contain a
          red-letter edition was the spawn of the
          devil...

          

          

          

          
          .is.

          EXT. FOSTER HOME - DAY

          The ten-year-old Wesley moves furtively to a side of the
          clap trap house, and pries loose a board.

          WESLEY (V.O.)
          ..so I had to hide my stash like it was
          a bag of many jane.
          Stuck in a hole is a copy of THE COUNT OF MONTE CRISTO.
          He moves back around the corner and standing there is his
          FOSTER MOTHER, pissed as hell...

          WESLEY (V.0.), (CONT'D)
          One time my foster mother found my copy
          of CATCHER IN THE RYE...
          .she holds a copy of the book in,her hand, getting
          ready, to strike..

          WESLEY (V.0.) (CONT'D)
          .and God told her to beat me with it.
          Young Wesley takes a beating, WHAP, WHAP, WRAP!
          .his face screws up, taking the blows...

          WESLEY (V.0.) (CONT'D)
          .But despite them, I thought I was gonna
          be something special.

          CUT TO:

          EXT. CITY STREET - DUSK

          .that same expression is plastered on Wesley's face as
          he pedals. He banks the bike up a curb and into a
          grocery store parking lot.
          Across the street, a man watches from behind the wheel of
          a 171 Chevy Chevelle.
          In fact, it's Cross, the man we last saw assassinating
          Mr. X on the rooftop.
          He watches Wesley park the bike and move into the store.

          INT. KROGER - PASTA AISLE - NIGHT

          Wesley stands, looking over all the different kinds of
          noodles. None of them just say "spaghetti."

          

          

          

          

          16.
          Suddenly, a woman's voice pops up behind-him...

          FOX
          There is a remedy for all things but
          death.
          She said it so fast he's not sure he heard it right.
          He turns and sees the-hottest zQZM ever to ace
          Kroger's aisles: ox. She's wearing barely enough
          clothing to cover her tight body.

          WESLEY
          (like he.didn't hear)
          I'm sorry?

          FOX
          You apologize too much.

          WESLEY
          (stammers again)
          Sorry?
          She looks him in the eye.

          FOX
          Spina bifida babies have more backbone
          than you.
          With that, she walks toward the end of the aisle, eyes
          scanning the whole time.
          Stunned, all Wesley can do is watch her walk.
          on the sMll f her back is a tatt It'
          tattoo we saw in the be i n n : a thKee-head2d dog.
          She gets to the end and catches him looking at her.
          Then she makes a very subtle gesture with her head... as
          if to say "come here."
          Wesley still isn't sure what the hell is going on.
          Sheepishly, he makes his way to where she stands.
          She leans in close, her lips just inches from his ear.

          FOX (CONT'D)
          I knew your father.
          Whatever Wesley was expecting_ it wasn't that. He pulls
          back from her.

          

          

          

          

          17.

          WESLEY
          I think you got the wrong guy.

          FOX
          Can't say that I agree with you, Wesley.

          WESLEY
          (running it all together)
          What is this? How d'you know my name?

          FOX
          Your father...

          WESLEY
          My father died in a car wreck the week I
          was born...

          FOX
          ,Your father died two days ago on the
          rooftop. of the Metropolitan Building.
          For a moment, just a moment, Wesley is stunned, but Fox
          just keeps sizing him up.

          FOX (CONT'D)
          He'd be damn disappointed in what you've
          become, too.
          Wesley holds up his hands in a defensive gesture...

          WESLEY
          Lady...

          FOX
          I've been called a lot of things, but
          "lady" ain't one of 'em.
          Wesley starts to talk but Fox interrupts him...

          FOX (CONT'D)
          Damn, Wesley, how d'you ever learn
          anything when you won't keep your mouth
          shut and your ears open? I'm trying to
          tell you about your father.
          Wesley starts to open his mouth again, but then closes
          it. He waits.

          FOX (CONT'D)
          Your father, Wesley, wits the great„ sit
          assassin to ever live. Your father,
          Wesley, worked for the Fraternity.

          

          

          

          
          is.

          WESLEY
          The Fraternity?

          FOX
          (keeps right on going)
          Your father, Wesley, was set up and
          gunned down by a man he used to consider
          a friend. And your father, Wesley...
          Suddenly, s raises her hands and-LS fist' two blgck

          PISTOLS.

          FOX (CONT'D)
          .taught me everything I know.
          Wesley takes a step back.

          WESLEY

          (SLOWLY)
          What is this?

          FOX
          This is what you've dreamt about all your
          life.
          Just then, Cross o s the corner to t e' e
          also fisting a Da'r of alms.
          Wesley's eyes go wide as Fox suddenly starts firing, BAM!
          BAMI BAMZ BAMI BAM: forcing Cross to take cover on the
          far side of the aisle.

          FOX (CONT'D)
          Move! Now!
          She screams this, grabbing Wesley's wrist and jerking him
          forward, just as Cross comes back up, firing, a killing
          machine.
          They barely get out of the way, as the pasta aisle
          explodes in an avalanche of bullets! Glass bottles of
          spaghetti sauce shatter, turning the aisle into a
          rainstorm of red droplets -- we're not sure what is sauce
          and what is blood.
          Then... Cross springs on to a display stand of tortillas
          and up to the top of the freezer section, so he can have
          a better angle of attack at the fleeing Fox and Wesley.
          He starts sprinting down the top of the freezer section,
          smashing over styrofoam coolers, as his bullets barely
          miss Fox and Wesley, but slam into the freezers behind
          them, sending ice and glass exploding everywhere.

          

          

          

          

          19.
          But Wesley and Fox are too quick.. She still has a.hold
          of Wesley's wrist and she propels him through the
          swinging doors of the stock room.

          -EXT. OUTSIDE THE GROCERY STORE - DAY

          There is a cherry red FERRARI convertible parked right
          next to the store.
          Wesley is still trying to figure out what the hell is
          going on as Fox tosses him the ke !

          FOX
          Drive!

          WESLEY
          What?!!
          But Fox just leaps into the passenger seat, guns up and
          ready, as Wesley's legs. somehow take over and he hops
          behind the wheel.
          Just then, Cross's ev ll Mound the corner,
          practically going up on two tires.
          Wham! Wesley turns the ignition, pope the clutch, and
          smashes the gas pedal as the car nearly snaps his neck
          when it launches forward.
          He races through the gears and rips around a corner and
          out into traffic.

          WESLEY (CONT'D)
          Where are we going?

          FOX
          Just drive!
          The Chevelle stays on his tail behind them; Cross drives
          and fires his Glock at the same time. Bam! Bam! Sam!
          Fox does her best to send bullets back his way, while
          Wesley mans the wheel, breathing hard, still stunned at
          what is happening.
          He spots a side-street...

          WESLEY
          Hold on!
          ...whips the car into a rubber-squealing turn...

          

          

          

          

          20.

          EXT. ONE WAY STREET - DAY

          ...and ends up going the wrong way down a narrow one-way
          street!
          He now has to weave in and out of cars headed right for
          them, as Cross stays tight on their ass.
          Horns are BLARING in his face, but Wesley somehow keeps
          the. Ferrari on all four tires as he bobs in'and out of
          the paths of oncoming cars.
          A 4 X 4 Chevy Pickup is headed like a missile right at
          them...
          Wesley's eyes go wide.

          WESLEY
          Truck!

          FOX
          Go around it!

          WESLEY
          No! Shoot the tires!
          Fox looks at Wesley, momentarily stunned by his idea,
          then spins and fires away at the oncoming truck.
          The front tires on the truck explode and the truck veers
          hard right, where it bounces off a Fed Extrugk.,,, hat
          sends it into a violent roll.
          Wesley guns the Ferrari at the tumbling truck as it flips
          forward... right over their car!!!
          Wesley watches it fly over them, amazed his idea
          worked... when finally it SMASHES down into the street
          between them and Cross's Chevellel
          Cross is forced to slam on his brakes and slide out...
          but it's too late... his Chevelle smashes into the 4 X 4
          before skidding to a stop, a tangled mess in the street.
          Wesley snaps back to reality and rips the Ferrari off the
          one-way street and down a side street.

          EXT. CITY STREET - LATER

          He pulls the car to a stop, then looks over at Fox,
          amazed.

          

          

          

          

          21.

          FOX

          (SMILING)
          There's a lot of things you don't know
          about yourself, Wesley.

          WESLEY
          Who was that?

          FOX
          That... was the man who killed your
          father. And now he's trying to kill you.
          Wesley forces a laugh, but right now it's hard to paint
          any-thing as ludicrous.

          WESLEY
          No. I mean... I told you my father died
          when I was a baby.
          She leans right into his face so that their noses are
          only inches apart.

          FOX
          Have you ever believed that? Have you
          ever been content with that answer?
          Wesley stops, not sure of anything right now.

          FOX (CONT'D)
          Today's your new birthday, Wesley.
          Drive.
          He settles back in his seat and pops the clutch again,
          this time, easing.a little more respectably into traffic.

          EXT. WAREHOUSE - LATER

          The Ferrari cruises to a stop outside a warehouse.

          FOX
          The people I work with... we believe your
          father passed his skills on genetically
          to you. You knew how to handle the car,
          you knew to shoot at the truck.

          WESLEY

          I... I...

          FOX
          It's that confidence we're gonna need to
          work on.
          Wesley is still dazed.

          

          

          

          

          22.

          FOX (CONT'D)
          Now I want you to look at me and tell me
          something. And I want you to be honest
          with me.

          WESLEY
          What?

          FOX
          Do you think I look fat in this outfit?

          WESLEY
          What?!

          FOX
          I thought so. Let's go.
          She hops out. They walk inside a...

          INT. SLAUGHTERHOUSE - DAY

          .t where Mr. Sloan stands next to a hucre man, THE
          BUTCHER, who is slicing beef off of hanging cow
          ca f es. There are flies buzzing around and blood
          draining into the center of the floor.
          If Wesley wasn't nervous before, he is now.

          FOX
          Mr. Sloan.
          The Butcher looks up from his work and lays down the
          knife, right next to where Mr. Sloan has a pair of silver
          pistols and a magnifying glass resting on a rolling
          table.

          FOX (CONT'D)

          (PROUDLY)
          This is Wesley Gibson. He needs his life
          changed.
          The Butcher looks him over.

          THE BUTCHER
          We all end up where we belong, don't we?
          The Butcher snickers. Sloan speaks up...

          SLOAN
          Fox told you about your father?
          Wesley looks from Sloan to Fox to the Butcher and back to
          Sloan.

          

          

          

          

          23.

          WESLEY

          (STAMMERS)
          Like I told... um... the lady here... I
          think you might ha
          ve me mixed up with
          someone else. I'm just an... um...
          account serv... uh..that is... account
          manager... and... my father died...
          He hesitates.

          SLOAN
          When?
          They look at him, imploringly, waiting for an answer.

          WESLEY
          I... I guess I'm not sure.
          Sloan simply picks up one of the pistols and sticks the
          gun in Wesley's hand.

          SLOAN
          Shoot the wings off the flies.

          WESLEY
          What?!

          SLOAN

          (GROWLS)
          Shoot... the wings... off the flies.
          For. the first time, Wesley notices flies buzzing all
          around.

          WESLEY
          I don't...
          In the blink of an eye, Sloan has plucked the second gun
          off the rolling table and ',s
          -pointing it at Weslev's temple. He begins to count...

          SLOAN
          You have three seconds. Three... two...
          Before he can say one, Wesley reacts... blindly firing
          the pistol in his hand, indiscriminately, B,AM! BAM!
          BAM! BAM! CLICK...CLICK...CLICK... until his finger is
          just jamming on the trigger over and over.
          After a moment, he looks up, unsure why he isn't dead.

          

          

          

          

          24.
          Sloan smiles, drops his pistol on the rolling table and
          picks up the magnifying glass. He stoops down and
          signals Wesley to do the same.

          THROUGH THE MAGNIFYING GLASS:
          Four flies lie on - the floor. crawling o d... their
           wings actually separated from their bodies!

           IN THE SLAUGHTERHOUSE:
          Wesley jerks upright, trying to process this.

          FOX
          Like I said, you got the skills.

          SLOAN
          And after we fine tune those skills...
          His eyes lock on to Wesley's, holding them in a vice-like
          grip...

          SLOAN (CONT'D)
          .you're going to hunt the man who
          killed Your father.
          Wesley is as stunned as we've ever seen him... he blinks
          a couple of times.

          SLOAN (CONT'D)
          Walk with me.
          He drapes his arm around Wesley and leads him out the
          door.

          EXT. CITY BLOCK - DAY

          Sloan and Wesley move down a busy commercial street.

          SLOAN
          I know thin is hard for you to
          understand, Wesley, but I want you to
          concentrate on what I'm saying. Your
          father was a member of the Fraternity, a
          collection of the most powerful assassins
          the world has ever known.
          They weave against the flow of pedestrians out and about
          on the city streets. Instinctively, people step out of
          their way.

          WESLEY
          But I've never heard of...

          

          

          

          

          25.

          SLOAN
          We don't advertise Wesley. We blend into
          the environment like moths against a
          tree.

          CUT TO:

          INT. RESTAURANT - DAY

          The CAMERA moves over a diner's counter...

          SLOAN (V.0.)
          We stay in the shadows.
          .. to the kitchen, where a massive man with a three-
          headed dog tattoo on his hand, flips burgers. THE CHEF.

          CUT TO:

          EXT. MANSION - DAY

          The CAMERA moves across an expansive lawn...

          SLOAN (V.0.)
          We disappear into our surroundings.
          .until it finds a man with a three-headed dog tattoo on
          his hand, trimming a hedge. THE GARDENER.

          CUT TO:

          INT. GUN COUNTER - DAY

          The CAMERA moves down a gun display case...

          SLOAN
          Because the easiest place to hide is in
          plain sight...
          .until it finds a GUN SALESMAN holding out a weapon to
          an Italian customer. He also has the tattoo. He's THE

          GUNSMITH.

          BACK TO:

          EXT. CITY BLOCK - DAY

          Sloan is still walking with Wesley. Wesley watches every
          face that passes them by... any of them could be
          Fraternity members.

          

          

          

          

          26.

          SLOAN
          ..until that time when we are called
          into action.

          CUT TO:

          INT. RESTAURANT - DAY

          The Chef loads plates of food up on the warmer, where a
          WAITRESS picks them up and delivers them to a group of
          prominent looking BUSINESSMEN.
          The lead businessman digs into his steak, and immediately
          his left arm starts to curl up, like he's having a heart
          attack. His cohorts look on as he spills over, knocking
          all the plates off the table, gasping for breath, his
          throat closed.
          When the CAMERA PANS OVER AGAIN, the Chef is gone.

          CUT TO:

          EXT. MANSION - DAY

          The Gardener works his gardening shears on a hedge in the
          front of this mansion... CLIP, CLIP, CLIP. We realize

          A,
          he's cutting a hole all the way through the hedge.
          Then, he reaches down into his burlap sack and withdraws
          a long range rifle with a scope. He pokes the rifle
          through the freshly-cut hole, looks through the lens,
          starts to squeeze his trigger...
          The CAMERA SHOOTS WAY UP to give us an aerial view of the
          neighborhood. We see that we are in the hills over the
          city, and across the canyon, a Japanese man is just
          pulling into his driveway, driving a black Audi, a mile
          away.
          He brakes his car, opens his door, but THWAPI A bullet
          disintegrates his head and he topples over, never knowing
          what hit him.
          Back at the hole in the hedge, we see the Gardener's
          eyeball looking through from the other side... until it
          disappears and he is gone.

          CUT TO:

          EXT. STORE PARKING LOT - DAY

          The customer takes the gun from the Gunsmith and pays him
          in cash.

          

          

          

          

          27.
          He then tucks the gun in his belt and walks out the door,
          like he's a bad-ass, instead of the goombah that he is.
          He only gets a block before the gun at his waist
          EXPLODES, causing him to flop on the sidewalk, like he
          just stepped on a land mine.
          The bell to the Gun Shop jingles as the Gunsmith leaves
          and heads in the opposite direction, whistling to
          himself, not paying attention to the pedestrians running
          to help the dying Italian.

          SLOAN (V.0.)
          And when the time comes that we are
          called, death is as certain as the sun.

          CUT BACK TO:

          INT. PHARMACY - DAY

          Sloan and Wesley enter a normal looking pharmacy. They
          pass through the small front room and head directly to
          the back.

          SLOAN
          We have been active for centuries,
          Wesley... outlasting rulers, governments,
          nations, kings. We recognize no borders;
          the entire globe is our killing field.
          They are buzzed through by THE PHARMACIST, and enter...

          INT. COMMUNICATIONS ROOM - DAY

          .a sophisticated back room, where a trio of flat screen
          monitors are mounted on the wall.

          SLOAN
          We are the baddest of the bad, the three-
          headed dog that guards the gates of hell.
          We show no mercy, we destroy the weak, we
          have absolute power.

          (BEAT)
          But recently, a fallen angel, one of our
          own, has challenged that power.
          The screens in the room come to life with the face of
          Cross.

          SLOAN (CONT'D)
          This man left the Fraternity and decided
          to strike down those who had befriended
          him, trained him, made him who he is.

          

          

          

          

          29.

          SLOAN (V.0.)
          ..a son whose mother died in
          childbirth...
          They reach the baby's bed and a pair of strong arms lift
          up the child. But the CAMERA FINDS the face of the
          second man...

          SLOAN (V.0.) (CONT'D)
          ..he took the boy to an orphanage so his
          true identity would never be discovered.
          .and now we see that the other man is a YOUNG MR.

          SLOAN.

          SLOAN (V.0.) (CONT'D)
          And I helped him.

          'INT. COMMUNICATIONS ROOM - DAY

          Wesley is still absorbing the story, his life so
          different than when he got up in the morning.

          WESLEY
          Why would you do that?
          Sloan puts a hand on Wesley's shoulder, gently.
          Paternally.

          SLOAN
          Your father was like a brother to me.

          (BEAT)
          I will do anything to avenge his death.'
          Sloan turns off the monitors and pulls over a wooden
          chair from where it rests by a wall.

          SLOAN (CONT'D)
          So Wesley... you have a choice. Would
          you like to go back to your job, your
          girlfriend, your life, just as it was
          before?

          (BEAT)
          Or would you like to begin your training
          with an assassin's Fraternity that writes
          the world's history in blood and bullets?
          Wesley doesn't know what to say. Sloan moves to a back
          door .

          SLOAN (CONT'D)
          If the answer is the latter, then have a
          seat in that chair.

          (MORE)

          

          

          

          

          30.

          SLOAN (CONT'D)

          (BEAT)
          If not, you're welcome to head out this
          door here and we'll never see each other
          again.
          With that., Sloan leaves through that back door. But...

          ON THE OTHER SIDE OF THE DOOR:
          He stops. He pulls out a gun and waits for Wesley to
          make his decision, pointing his gun at the door.

          BACK IN THE ROOM:
          Wesley is still standing there, unaware of what is on the
          other side of the door, thinking, thinking, thinking. He
          takes a step toward the door...
          FLASH: His boss Janice, yelling at him, mocking him.
          Wesley hesitates, looks at the chair, then the door
          again...
          FLASH: His girlfriend on the couch, riding high on
          Barry, loving every minute of it.
          Wesley stands frozen, staring hard at the chair as THE
          CAMERA STARTS to swirl around him.
          FLASHES: The consultant haranguing, the other employees
          laughing, eating.alone in the break room, riding his
          bike, all the aspects of his shitty life...
          .. as the CAMERA CONTINUES to swirl around him, his face
          going hard...

          WESLEY (V.O.)
          Fuck consultants and fuck action items
          and fuck differential responses. Fuck it
          all.
          He takes a seat in the chair, which creaks when he sits
          in it.

          WESLEY (CONT'D)
          (out loud)
          Fuck it all.

          ON THE OTHER SIDE OF THE BACK DOOR:
          Sloan hears the creak of the chair and lowers his gun.
          He smiles and walks off down an alley.

          

          

          

          

          31.

          IN THE ROOM:
          Wesley waits in the chair for what seems an eternity.
          starts to bite his thumbnail, nervously.
          In comes the Pharmacist. The man is built like a
          mountain, with muscles rippling out of his white smock.
          .He's got a British accent and is extremely polite.

          THE PHARMACIST
          'Ah, made your choice, did 'ja, of boy?

          WESLEY

          (UNCOMFORTABLY)
          Yeah.

          THE PHARMACIST
          Very good, very good.
          He walks behind Wesley.

          THE PHARMACIST (CONT'D)
          The weather's been lovely the last couple
          o' days-- would you mind putting your
          hands back here for me?
          Wesley does, and the Pharmacist binds his hands with some
          rope.

          THE PHARMACIST (CONT'D)
          There, that's it. Very good.

          WESLEY
          Is this the beginning of my training?

          THE PHARMACIST
          Quite right.
          The Pharmacist cracks his knuckles and then,
          WHAM!!! He hits Wesley so hard right in the cheek
          that it almost knocks him out of the chair.

          WESLEY
          What the fuck are...
          WHANIlM 4!!!1 The Pharmacist smashes him again.
          Wesley struggles against the ropes but isn't going
          anywhere. The Pharmacist rears back. and WHAM! WHAMMM!
          WHAMQ! keeps hitting him over-and over again until
          Wesley's eyes roll to the back of his head.

          

          

          

          

          32.

          FADE TO BLACK.

          CUT TO:

          WESLEY (V.O.)
          You know how when you have a dream and
          wake up unexpectedly...

          INT. WESLEY'S A13ARTMENT - BEDROOM - DAY

          Wesley jerks awake in his bed...

          WESLEY (V.O.)
          ...and the dream is still. on the fringe
          of your brain but you can't quite
          remember the details?
          He looks up at his ceiling fan, barely turning, a few
          blades missing...

          WESLEY (V.0.) (CONT'D)
          But then you see that same old busted
          ceiling fan over your bed and you are so
          damn glad it was just a dream?
          He sits up on his bed and checks himself in the mirror.
          His face has been pummeled; it looks like a piece of
          squashed fruit.

          WESLEY (V.0.) (CONT'D)
          This was nothing like that.

          EXT. ATM MACHINE - DAY

          Wesley shoves his ATM card in the machine and hits the
          "check balance" button. Which reveals: $100,000.92.
          Amazed, Wesley takes out a grand, the machine just
          spitting him money.
          Smiling, Wesley jumps back on his ten speed and zips into
          traffic.
          The s in in wheel of the bicycle turns into...

          INT. WESLEY'S CUBICLE - DAY

          .that little spinning wheel on a monitor tbAt indicates
          your computer stuck. Wesley sits in his cubicle,
          staring at it.
          Then...

          

          

          

          

          33.

          NICOLE
          What happened to your face?
          Wesley turns in his chair, surprised. Nicole stands
          there, looking as pretty as ever, way out of -his league.

          WESLEY

          (SHEEPISH)
          I... uh...I got hit by a man much bigger
          than me.
          Nicole smiles, flirtatiously.

          NICOLE
          Was this over a girl?

          WESLEY
          Something like that.

          NICOLE
          I had no idea you had such a secret life
          outside of here.
          She cocks her head and studies him.

          NICOLE (CONT'D)
          Is there something different about you?
          Besides the... face?

          WESLEY
          No. Not really. Same old Wesley.

          NICOLE
          I don't think so.
          She puts her hand on top of his; he can only stare at
          it... this kind of thing just doesn't happen to him.

          NICOLE (CONT'D)
          You aren't like these people Wesley.
          I've always thought you were different.

          WESLEY
          Would you consider me to be an observant
          person?

          NICOLE
          What's that mean?
          Wesley's about to say something, when he spots Janice
          heading their way.
          Wesley nods at her and Nicole frowns.

          

          

          

          

          34.

          NICOLE (CONT'D)
          Uh-oh, here comes the wicked bitch of the
          west...
          With that, she steps away, just as Janice walks up.
          Wesley stands to face his boss, as Janice launches into
          him...

          BOSS JANICE
          Jesus H. Fucking Popscile, you don't have
          time to get me the differential responses
          but you got time to chitty-chatty with
          the intern? Why do I even keep you
          around, Wesley? Well I know one thing,
          your review is coming up next week and I
          can't wait to start checking me off some
          boxes... attitude: poor, performance:
          poor, management skills: poor, works well
          with others...
          Wesley just focuses on that mouth. Fat lips over fat
          gums over yellow teeth. But now all that's coming out of
          it is JIBBERISH.
          ' I Jibberish that goes straight from her larynx to Wesley's
          ears where it imbeds in the soft flesh of his brain and
          BURNS... It's so goddamn loudl if only...
          ...if only it would just...

          WESLEY

          (ROARS)

          SHUT THE FUCK UP11!!1111
          It's so unbelievably stunning coming out of Wesley's
          mouth that it hits Janice like a slap in the face.
          Heads all over the office start to poke out of the tops
          of their cubicles like gophers coming out of holes.
          Nicole watches, pleasantly stunned, from a few feet away.
          Janice looks around, shocked. Wesley likes the way that
          felt, so...

          WESLEY (CONT'D)
          Just because you have one single iota of
          tenuous power, you think you can push
          everyone around?

          (MORE)

          

          

          

          

          35.

          WESLEY (CONT'D)
          .I understand, Janice, that junior high
          must have been particularly difficult
          being called Tubby all the time, but that
          doesn't give you the goddamn right to
          treat your workers like horseshit. Sure
          we laugh at you behind your back and sure
          we know you keep a stash of jelly
          doughnuts in the top drawer of your
          desk...
          Janice looks down at her fingers, which still have a
          little grape jelly on them...

          WESLEY (CONT'D)
          .and sure everyone takes their lunch an
          hour before you so we can get an extra
          hour away from you, and I know that must
          sting sitting by yourself in the White
          Castle parking lot every day gnawing on
          your third burger thinking up ways to
          humiliate us...
          Janice's eyes fall to her feet.

          WESLEY (CONT'D)
          .you know, if you weren't such a bitch,
          we might actually feel sorry for you. As
          it is, I feel I can speak for the rest of
          the office when I say... FUCK YOU!!!
          With that, he throws all the papers off his desk, sending
          them flying!
          Empowered, Wesley marches toward the elevators as
          everyone watches him go, admiration plastered on their
          faces.
          The loudmouth from the break-room steps out...

          LOUDMOUTH
          That was great dude!
          He holds up his hand for a high-five, but Wesley just
          WALLOPS him with a right cross, not breaking stride on
          his way to the elevators.

          EXT. OUTSIDE WESLEY'S OFFICE - DAY

          Wesley flies out the front door, just as Fox's Diablo
          swings around the corner.

          FOX
          What's up, new man?

          

          

          

          

          36.

          WESLEY
          You were watching?

          FOX
          Never stopped. How'd it feel, saying
          exactly what you wanted to say?

          WESLEY
          Like I had a gun in my hands.
          Fox grins as Wesley jumps in the car and she mashes on
          the pedal. The Diablo's tires smoke as she launches it
          out of there.

          INT. SLAUGHTERHOUSE ROOM - DAY

          They return to the butcher shop. Sides of beef hang from
          hooks next to a cutting table. The Butcher is sharpening
          a knife.

          FOX
          You need to get used to the blood and the
          muscle and the meat and the sinew and
          what a single blade of steel can do to a
          chunk of flesh.
          The Butcher turns and slices a chunk of tenderloin off of
          one of the hanging carcasses, then slaps it on the table.

          FOX (CONT'D)
          Take care of him, Butcher.

          THE BUTCHER
          Will do, Fox.
          The Butcher measures Wesley, then starts to talk in a
          steady, almost bored voice...

          THE BUTCHER (CONT'D)
          Remember, it's the body we are killing.
          Know it like a surgeon.
          Wesley nods, half disgusted, half enthralled.

          THE BUTCHER (CONT'D)
          Okay, we'll start at the beginning. To
          cut the subclavian artery, hold the knife
          ice-pick style and thrust down behind the
          clavicle, cutting side to side.
          He jabs the blade into the beef... and just as he does...

          

          

          

          

          37.

          FLASH - PARKING GARAGE:
          .we smash cut to a BUSINESSMAN walking to his car just
          as the Butcher comes up behind him and performs the exact
          same move he was just demonstrating. Just as quickly,
          we...

          FLASH - BACK TO THE SLAUGHTERHOUSE:
          .and the Butcher performs the next move...

          THE BUTCHER -
          To slice the diaphragm, first whip your
          wrist into the target's trachea to
          prevent screaming, then drive the knife
          at a forty-five degree angle upward just
          below the rib cage.
          Just as the knife hits the side of beef, we smash cut
          to...

          FLASH - LUXURY HOTEL SUITE:
          . a DRUG KINGPIN coming out of his hotel bathroom
          wearing a bathrobe. Suddenly the Butcher is on him,
          performing what he just described on this poor bastard,
          who can no longer scream because he's missing his
          trachea, and just as quickly...

          FLASH - BACK TO THE SLAUGHTERHOUSE:
          .we are right back to the hanging side of beef as the
          Butcher performs the next move...

          THE BUTCHER
          If you want the jugular, pull your
          enemy's head to the left and jab your
          knife well into his sterno-cleio-
          mastoideus muscle, here, then cut down
          and left.
          Just like before, we smash cut to...

          FLASH - DIRTY ALLEY:
          ...a MAN moseying down an alley, carrying a briefcase,
          when suddenly, the Butcher comes out of nowhere, pulls
          the enemy's head to the left and then WHAM!, jabs the
          knife into the neck, matching the move-he was just
          demonstrating.

          

          

          

          

          38.

          7 FLASH - HACK TO THE SLAUGHTERHOUSE:
          The butcher continues to hack away at the hanging meat,
          describing more and more ways to kill with a blade...

          WESLEY (V.O.)
          They never show you this shit on the
          McDonald's commercials.
          .. as the CAMERA FINDS Wesley, who is completely absorbed
          in the lesson. The Butcher hands him the knife, and
          Wesley starts to make his first chops at it, wanting to
          please the Butcher, wanting to get it right...

          EXT. OUTDOOR CAFE - NIGHT

          Fox is seated at a small outdoor cafe, sipping on a
          latte, reading the paper. There's a story about the
          death threats to Henry Helms on the front page.
          Just then Wesley approaches, his face splattered with
          flecks of blood. She wipes his face with a napkin.

          FOX
          You haven't quite figured out this whole
          "blending in" thing, yet. Let's go.

          EXT. MORGUE - NIGHT

          A huge Chevy 4X4 pulls up and Fox hope out from behind
          the wheel, followed by Wesley. They get to the door and
          Fox pulls out a metal device to pick the lock.

          WESLEY
          What is this?

          FOX
          This...
          She picks the lock and they step inside...

          INT. MORGUE - NIGHT

           the empty morgue examining room. Empty except for a
          d d ozen dead b s laid out on slabs, covered by white
          sheets.

          FOX
          This is the Roach Motel, Wesley.
          Wesley looks around, disgusted.

          

          

          

          

          39.

          FOX (CONT'D)
          All right, find us some skinny bitches.
          Wesley uncovers the first body... it's a. black male.

          FOX (CONT'D)
          Nahh, let the brother rest. Find us some
          white meat. And nothing too fat.
          Wesley covers the black male and moves over to a second
          body. He unveils it to reveal... what looks like a dead
          suburban housewife.

          FOX (CONT'D)
          Perfect. Load up soccer mom.

          INT. TARGET ROOM - NIGHT

          Fox and Sloan stand next to a paper target -- the kind of
          thing you see in a police target range. It shows the
          outline of a head and torso with concentric rings for
          where you're supposed to aim.
          The Gunsmith hoists the corpse of the dead soccer mom on
          to a hook that hangs ten feet in front of the paper
          target. Sloan flips a switch and a motor takes the mom
          and target to the end of the range.
          The CAMERA PULLS BACK to show Wesley is with them
          standing in one of those firearm booths at the opposite
          end of the range.

          SLOAN
          Selecting your weapon and then disposing
          of it is the most pivotal aspect of every
          assassination.
          An array of firearms are on a shelf next to Wesley.

          SLOAN (CONT'D)
          Pick one.
          Wesley eyes all the weaponry. Finally, he settles on a
          short-barreled black handgun. Sloan takes it from him
          and inspects it.

          SLOAN (CONT'D)
          Excellent. This is an Imanishi 18. It
          holds seventeen bullets in the clip and
          one in the chamber. It's made of a
          composite material unrecognizable by
          metal detectors.

          (MORE)

          

          

          

          

          40.

          SLOAN (CONT'D)
          And the Imanishi's bullets have
          microchips that communicate with similar
          ones in the gun.

          WESLEY
          Computer chips?

          SLOAN

          (NODS)
          Sometimes the closest distance between
          two points is not a straight line. What
          if soccer mom here is between you and
          your target?

          WESLEY
          I suppose you're going to tell me to
          shoot her first.

          SLOAN
          How'd you do in Physics class?

          WESLEY
          Mostly B's.
          Fox cocks her head at Wesley, knows he's lying.

          WESLEY (CONT'D)
          Okay, I got a D.

          SLOAN
          Why?

          WESLEY
          I couldn't remember all the rules --

          SLOAN
          That's it. Rules. What if I told you
          there weren't any?
          He nods at Wesley, like he's on to something.

          SLOAN (CONT'D)
          People live by the rules set before them.
          We take them on faith that they are
          right. But how many times in your life
          have you thought you had a better way,
          against-the rules that was simply laughed
          at.

          WESLEY
          Every day.

          

          

          

          

          41.

          SLOAN
          Because you use your brain differently
          than other people. All Fraternity
          members do.

          WESLEY
          I don't get it.

          SLOAN
          Humans use neurons to think. But most
          people can only handle a small percentage
          of those neurons firing at once without
          suffering a seizure or an aneurism. Not
          us. And not you. We have the ability to
          think differently than other people.

          WESLEY
          So we set our own rules.

          SLOAN
          That's right.
          Sloan hands him back the weapon.

          SLOAN (CONT'D
          Try it.
          Wesley aims the pistol at the target in front of him. He

          FIRES...
          ..and the bullet plugs soccer mom in the shoulder.

          SLOAN (CONT'D)
          Have you ever shot a gun before?

          WESLEY
          Just the flies.

          SLOAN
          So you have no pre-conceived habits we
          need to break. Shoot the target. Don't
          hit mom.

          WESLEY
          You mean curve the bullet? How?

          SLOAN
          This isn't about "how." It's about
          "what." If you'd never been told a
          bullet flies straight and I handed you
          this and said hit that target... what
          would you do? Allow your instincts to
          guide you. Just like the flies.

          (MORE)

          

          

          

          

          42.

          SLOAN (CONT'D)
          The technology is only here to assist
          your natural instinct.
          Wesley lifts the gun, his mind racing...

          SLOAN (CONT'D)
          It's not 'will' that makes the physical
          react how we wish, it's 'control.' You
          are in control...

          BAM BAM BAM!
          The bullets blast out of the gun, like they are on a
          track set up by Wesley's brain. He flicks his wrists
          and...
          .they arc qUickly, Just missing the body i e th2
          center of the target!
          Sloan smiles.

          SLOAN (CONT'D)
          Rules are made to be broken, Wesley. No
          one was better at that than your father.
          He had a pair of pearl-handled revolvers
          with which he could conduct a symphony.
          L i
          Wesley nods proudly, and squeezes off some more shots,
          all chasing through the same hole in the target.

          DISSOLVE TO:

          INT. WESLEY'S APARTMENT - DAY

          Cathy jumps up from the couch when Wesley comes in.

          CATHY
          Oh my god, Wesley, where have you been?
          I've been so worried!
          But Wesley just pushes past her and starts to throw
          clothes out of drawers into a black duffel bag.

          CATHY (CONT'D)
          What're you doing? Are you leaving? You
          .owe rent!
          But Wesley just keeps packing.

          CATHY (CONT'D)
          You can't leave! This is bullshit,
          Wesley. Bullshit, bullshit, bullshit.

          

          

          

          

          43.
          Wesley just zips up his bag and turns back toward the
          door...
          .where Egx is now standing, wearing outf' that
          would make the devil blush.

          CATHY (CONT'D)
          Who the fuck are you?
          But Fox doesn't even acknowledge her presence, and just
          watches Wesley do his business.
          Wesley walks out the door and Fox follows. Cathy chases
          them out on to the landing...

          CATHY (CONT'D)
          You're nothing, Wesley! And you will
          always be nothing! You think you're
          gonna be happy.with that skank...
          Uh-oh...
          Fox stops and turns around -- fisting her pistols.
          She unloads... BAM! BAM! BAM! BAM! BAM!
          The CAMERA SWINGS OVER TO CATHY, who is about to pies
          herself, standing in the door frame, with bullet holes
          placed expertly around her head.
          Wesley and Fox keep moving, down the steps. Barry is
          coming up the steps, but he takes one look at them, does
          a U-turn and hurries out of their path.

          INT. FOX'S PENTHOUSE - NIGHT

          Wesley tosses his bag into the corner of this
          immaculately furnished penthouse apartment, overlooking
          the skyline.

          FOX
          You can take the couch until we find you
          someplace better.

          WESLEY
          Okay.
          She moves toward a separate bedroom.

          WESLEY (CONT'D)
          Fox?
          She stops.

          

          

          

          

          44.

          C WESLEY (CONT'D)
          What was my father like?
          For a moment, she thinks about it. Then...

          FOX
          Come on.

          EXT. CITY STREET - NIGHT

          They walk down a downtown lane, buildings crowding in on
          them from all-sides. Not too many people are out this
          late; they have the sidewalk to themselves.

          FOX
          Your father lov ed you, Wesley. He talked
          about you all the time.

          WESLEY
          Really?
          Wesley looks at her hopefully. She smiles, thinking
          about the past.

          FOX
          That's a fact. He knew he wasn't
          supposed to, but he couldn't help it.

          WESLEY
          You worked with him?

          FOX

          (NODS)
          He trained me. Made me what I am.

          CUT TO:

          EXT. ALLEY - NIGHT - FLASHBACK

          A younger, greener Fox stands alone in the alley, eyes
          scanning the rooftops.

          FOX (V.0.)
          I remember one night he had me on my own
          .for the first time, and I was tagging
          this target named Buster Burgess. But I
          was green and clumsy and stupid. Buster
          marked me and disappeared into this old
          tenement building.

          

          

          

          

          45.

          (-. EXT. TENEMENT ROOFTOP - SAME - FLASHBACK

          A shadowy figure creeps to the edge of the building and
          looks down. We can't quite make out his face. Fox is
          looking the other way and he's got a clean shot.
          He raises a rifle to his eye...

          BAM!
          He nails Fox in the thigh, and she falls helpless to the
          pavement.

          FOX (V.0.)
          Motherfucker shot mein the leg. Put a
          damn hole in my favorite skirt.
          The figure re-aims, ready to take out the helpless Fox.

          FOX (V.0.) (CONT'D)
          Then you know what happened?

          WESLEY (V.0.)
          My father saved your life? Put a bullet
          in Burgess?
          k,

          FOX (V.0.)
          Naww. I ended up with four more slugs in
          me.
          The figure unleashes four more shots.

          BACK TO:

          EXT. CITY STREET - NIGHT

          They turn a corner and head up into the lobby of a tall
          building, their conversation continuing...

          WESLEY
          What kind of training is that?

          FOX
          I'm here, aren't I?

          INSIDE THE LOBBY:
          Wesley weighs all this, puts it together.

          WESLEY
          My father was Burgess, wasn't he?
          Fox nods, smiling. They step...

          

          

          

          

          46.

          INSIDE AN ELEVATOR:
          .andstart riding it up.

          FOX
          He didn't hit me anywhere important, and
          he used pin-shot bullets that didn't do
          any real damage. But you can be damn
          sure I don't let any mark get the high
          ground on me again.
          Shesmiles at another thought.

          FOX (CONT'D)
          And you know what we did instead of go to
          the hospital to stitch me up?

          WESLEY
          What?

          FOX
          We went driving.

          CUT TO:

          EXT. CITY STREET -- NIGHT - FLASHBACK

          A PORSCHE SHOWROOM sits on the corner. SMASH! A black
          911 convertible breaks through the glass and skids to a
          stop next to Fox in the street.
          Two hands pull her up and drop her in the passenger seat,
          and the car roars off.

          BACK TO:

          EXT. ELEVATOR -- NIGHT

          Wesley smiles. The elevator DINGS.

          EXT. ROOFTOP - NIGHT

          Fox and Wesley step out on to the rooftop where Mr. X was
          gunned down.

          WESLEY
          What's this?

          FOX
          This is where your father was killed.
          Wesley's eyes narrow and he looks around, taking it all
          in.

          

          

          

          

          47.

          WESLEY
          How?

          FOX
          We're not sure. The fence he was meeting
          was shot in the head... which led him out
          to here... but it must've been a set-up
          all along. All I know is it would take a
          hell of a trap to bring your father down.
          Wesley crouches down by where his father's body would
          have been, running his fingers over the gravel rooftop.

          WESLEY
          My whole life I thought he was dead. I
          shouldn't feel any differently just
          because it happened 20 years later.

          FOX
          But...

          WESLEY
          But, I do. Like I missed my one chance.

          FOX
          Well that's why you're here. To make up
          for lost time.
          Wesley looks back at her.

          WESLEY
          Can I see his body?

          CUT TO:

          INT. SHITTY MORGUE - NIGHT

          They stand in a dark corner of a decrepit morgue, where a
          couple of urns rest on a counter. The place doesn't look
          like much more than a crack-house.

          FOX
          We cremate our dead. I'd like to say
          it's to honor them, but it's mainly to
          keep anyone from identifying them after
          they're gone.

          WESLEY
          These are my father's ashes?

          FOX
          Yeah.

          

          

          

          

          48.

          WESLEY
          Sloan said his heart stopped but there
          was no entry wound?

          FOX
          That's right.

          WESLEY
          Can I have a minute?

          FOX
          Sure.
          She leaves and Wesley approaches the urn holding his
          father's'remains.
          He runs his finger over it, and just when we think he's
          going to have an emotional moment...'
          ..he smashes the urn on to the stand, the ashes spilling
          out everywhere.
          Wesley runs his fingers through the decay: what a
          mess... there are pieces of bone intermingled in the
          cremains.
          But then hisfingegs find something in the dust... a
          BULLET with a hole running down its center. He holds it
          up to the light for a closer look.
          As he studies it, we start to hear... WHAM! WHAMI...

          INT. SMALL ROOM - DAY


          WHAM! WHAM! WHAM!
          Wesley site with his hands tied behind his back, taking
          another beating from The Pharmacist, who spouts
          assassination techniques while he pummels Wesley.

          THE PHARMACIST
          If you get in the hoo-ha of a two on one
          and find yourself the one, remember that
          each foe will likely move at the same
          steady speed away from each other,
          allowing you to keep a gun on each.

          WHAM! WHAM!

          THE PHARMACIST (CONT'D)
          Now, if you find yourself one ' on three,
          that poses a real bit a' ball ache...

          

          

          

          

          49.
          The sound of the Pharmacist's voice fades to the
          background as Wesley's voice-over comes up...

          WESLEY (V.0.)
          There are two kinds of pain. One is an
          object. A living thing that crawls
          around the outside of your body. Cuts,
          broken bones, bruises... all deliver the
          kind of pain you can learn to ignore, and
          they soon disappear to nothing but the
          sound of a gnat in your ear.
          Wesley's eyes are starting to lose consciousness.

          WESLEY (V.0.) (CONT'D)
          I've lived with a different kind of pain
          all my life... the kind that comes from
          two decades of being passed over, pushed
          around, ignored. But you can't hide from
          that kind of pain either...
          Wesley takes a brutal shot to the face.

          WESLEY (V.0.) (CONT'D)
          .because it finds you.
          He involuntarily spite blood as his eyes roll back in his
          head.

          INT. INTERROGATION ROOM - DAY

          Sloan sits across from Wesley at a skinny table in an
          otherwise bare room.

          SLOAN
          Watch the eyes. Look for a slight
          swelling of the pupil. You can train
          your body to stay a constant temperature,
          you can control your heartbeat, but you
          can't control the center of your eyes.
          That's how you know when someone is lying
          to you.
          Sloan looks right at him. Wesley narrows his eyes,
          trying to fend off his stare.

          SLOAN (CONT'D)
          Do you want to fuck Fox?

          WESLEY
          No.

          

          

          

          

          50.

          SLOAN
          I know that's a lie without even seeing
          your eyes.

          WESLEY
          Fine. Try something else.

          SLOAN
          Okay. What are you hiding from me?
          Wesley looks down, then focuses on Sloan.

          WESLEY
          Nothing.
          Sloan waits. Wesley realizes it's useless to try to keep
          something from this man. He reaches into his pocket and
          pulls out the bullet with the hole in its center...
          places it on the table.

          WESLEY (CONT'D)
          You told me to hunt down my father's
          killer. That's what I'm doing.

          SLOAN
          What's this?

          WESLEY
          The bullet that killed him. You said his
          heart stopped but there was no entrance
          wound. This bullet has a hole cut into
          its center...

          SLOAN
          Yes?

          WESLEY
          You know how a mole buries into the earth
          by pushing the dirt back around it? I
          think this bullet does what the mole
          does... Splits the skin and pushes it
          back through its center, filling the
          space it just passed through.
          Sloan looks at him, like he might have been
          underestimating him until now.

          WESLEY (CONT'D)
          Fox was telling me that my father used
          special bullets. It looks like Cross
          does too... which means these are custom
          made. If we find who makes them, then we
          find someone who has access to Cross.

          

          

          

          

          51.
          Sloan picks up the bullet and leans back.

          SLOAN
          You put this all together on your own?
          Wesley taps his head.

          WESLEY
          Firing neurons.

          (BEAT)
          Whatever happened to my father's guns?
          The pearl handled ones?

          SLOAN
          Don't know. But whoever has them isn't
          long for this place.
          Sloan reaches down and picks up a binder which he drops
          on the desk.

          WESLEY
          What's that?

          SLOAN
          Cross. The details of his life.
          q Continue your hunt.

          WESLEY
          No rules, right?
          This stops Sloan for a second.

          SLOAN
          No rules.

          INT. FOX'S PENTHOUSE - DAY

          Wesley lies on Fox's couch, trying his damndest not to
          peek at her through her bedroom door. It's cracked just
          enough that he can see her draping a towel around her
          body as she heads to take a shower.
          Wesley site up and looks at the binder sitting on the
          table. Slowly he opens it and sees a picture of Cross
          staring back at him. The man who took Wesley's father
          from him.
          Wesley studies the face, wanting to know every detail.

          

          

          

          

          52.

          IN THE BATHROOM:
          Fox peers out the door and looks at Wesley, watching him
          absorb more of Cross with every page.

          CUT TO:

          INT. LIBRARY - DAY

          Sloan leads Wesley into a gigantic room lined from floor
          to ceiling with leather-bound books.

          SLOAN
          We keep a record of every assassination
          mission, going back to the Ides of March.
          Maps, diagrams, logistics, complications,
          weapons of choice... it's all there.
          Wesley nods, impressed. Sloan just keeps leading him
          through a set of double doors, into...

          INT. MAP ROOM -- DAY

          .a large room, the size of an auditorium. On the floor
          is a gigantic model of the entire city, built to scale,
          showing all the buildings, skyscrapers, churches, the
          waterfront, the city streets. Everything the city has to
          offer laid out in miniature.
          Sloan and Wesley stand like giants in the middle of the
          model city...

          WESLEY
          What's all this?

          SLOAN
          Where we plot our local hits. This city
          is one of the Fraternity's major
          headquarters.

          WESLEY
          (looking around)
          This room. The books. Seems low-tech.

          SLOAN
          Part of mastering technology is knowing
          when to use it. Models can't be hacked.
          Your father built this room himself.
          Most of the buildings are white, but interspersed amongst
          them are a few vainted red. Some of the model street
          lamps are also red.

          

          

          

          

          53.
          The color red appears sporadically throughout the entire
          model city: on the sides of buildings, on mailboxes, on
          some of the manhole covers.

          WESLEY
          What's with the red ones?
          Sloan just smiles...
          .and THE CAMERA MOVES TO HIS FEET, then PUSHES'IN on
          one particular street on the map, further in on one RED
          STREETLIGHT and we...

          DISSOLVE TO:

          EXT. STREET - DAY

          .the s city street, now full-sized, buzzing with
          activity, pedestrians hurrying to work, cars and taxis
          and trucks whizzing through the street.
          Sloan and Wesley walk down the sidewalk, passing
          streetlight after streetlight until they reach one in
          particular.

          SLOAN
          The Fraternity's grasp reaches every
          facet of the world's major cities,
          including their construction. Look at
          this streetlight.
          Wesley peers at it... there is a plaque affixed to the
          pole... the standard thing you find on these things...
          "Municipal C. W. 63070."
          But then there is something different on this one... a
          tiny symbol on the bottom of the plaque... the Cerberus
          instead of the seal of the cit
          Sloan presses the symbol and the plaque slides aside,
          revealing a hollow space behind it. He reaches his hand
          inside and pulls out a small handgun... flips out the
          clip expertly, then racks the weapon.
          Wesley can't believe it.

          WESLEY
          You have stashes...

          SLOAN
          .everywhere.

          WESLEY
          Jesus.

          

          

          

          

          54.
          Just then, two POLICE OFFICERS walk by, eye.the gun Sloan
          has pulled out.

          POLICE OFFICER
          Sir...
          Sloan flashes his tattoo at them.

          SLOAN
          Keep moving, fellas.
          They nod and do just that.

          SLOAN (CONT'D)
          They let us do our jobs, we let them
          live.
          THE CAMERA PUSHES IN on Wesley's face as he realizes the
          full scope of this organization and we...

          DISSOLVE TO:

          SERIES OF SHOTS:
          GUN RANGE. Wesley firing his Imanishi 18 on the shooting
          range, steering the bullets wherever he wants them to go.

          WESLEY
          Closer.
          Impressed, the Gunsmith moves the corpse closer to the
          target, making the angle all that much tougher.
          Wesley gets ready to squeeze his trigger, but a pistol
          starts FIRING next to him.
          He looks over... Sloan is standing nr= &o him, firing at
          the target. Every shot bends around the body and hits
          right in the forehead of the target.
          Wesley smiles, impressed.
          LIBRARY. Wesley thumbs through an old Fraternity book,
          which has detailed sketches of an assassination in 17th
          century Paris.
          MEAT LOCKER. Wesley working out on a heavy bag, honing
          his punches, the Chef holding the bag for him, muscles
          rippling.
          MAP ROOM. Wesley walks by himself amongst the miniature
          city, trying to memorize where the red marks are.

          

          

          

          

          55.
          INTERROGATION ROOM. Wesley sitting here,. being grilled
          by Sloan, as he tries to-tell the undetectable lie.

          SLOAN
          Our job isn't just about how fast or true
          you shoot, Wesley. Physical agility will
          always lose to mental agility. It's
          warfare of the mind.
          FO 'S APART. Wesley looking at Fox through the
          bedroom door.
          SLAUGHTERHOUSE. Wesley working with the Butcher on the
          art of knife play.
          MAP ROOM. The Gardener and Fox show Wesley the rooftop
          of a certain building on the model city, one corner of
          the roof painted red.
          ROOFTOP. Fox and the Gardener now with Wesley on that
          actual rooftop, pointing out firing angles, modes. of
          ascension, and escape routes. The Gardener moves over to
          a cornerstone in the roof of the building and then easily
          lifts it off, revealing a stash of assault rifles.
          k SHOOTING G . Wesley looking at some ammunition while
          the Gunsmith talks and demonstrates. He fires at one of
          the targets, which EXPLODES in a splattered mess and we
          cut to...

          INT. FOX'S PENTHOUSE - MORNING

          Fox making coffee as Wesley sits, studying the binder,
          his mind racing.

          WESLEY
          Cross and my father were tight. But
          Cross thought he should be one of the
          heads of the Fraternity so he left and
          vowed to kill the three heads. Which
          means my father is dead because of petty
          jealousy.

          FOX
          More reason for Cross to die.
          Wesley flips to the picture of cross.

          WESLEY
          But I don't see jealousy in those eyes,
          do you?
          Fox walks over and slams the binder shut.

          

          

          

          

          56.

          FOX
          Listen .to me, Wesley. In two weeks, we
          have to kill Henry Helms. Do-you know
          who that is?

          WESLEY
          The journalist who's got a price-tag on
          his head.

          FOX
          A price-tag that we're going to collect.
          Your father was meeting with a fence
          about the job when Cross took him down.
          So we can only assume Cross knows about
          the target too. We... you... have to
          take Cross out before we prosecute this
          mission. We can't have him out there as
          a wildcard, wreaking havoc, do you
          understand?

          WESLEY
          Yeah.

          FOX
          We've never defaulted on a job and this
          1k one won't be the first.

          INT. TARGET ROOM - DAY

          Sloan fires at the target, the bullets following his
          every command. Wesley does the same, equally skilled.
          Fox sits, watching the two of them. Is it becoming
          competitive? One shoots and then the other follows,
          neither one ever missing.
          Finally, Gunsmith runs the target back in to change out
          the body.
          Fox leans back, impressed.

          FOX
          May have found your match, Sloan.
          Sloan smirks and turns to instruct Wesley.

          SLOAN
          Pick the weapon, make the kill, destroy
          the weapon. No other rules.
          Wesley nods as Gunsmith returns.

          

          

          

          

          57.

          WESLEY
          (to the Gunsmith)
          Close the gap. Push the body closer to
          the target..

          THE GUNSMITH
          It's already at four feet.

          WESLEY
          Closer.

          THE GUNSMITH
          Here's two. Your father couldn't even do
          that.

          WESLEY
          Closer.

          THE GUNSMITH
          Wesley, at some point --

          WESLEY
          Closer. I'll say when.

          WN
          Gunsmith starts sliding the target closer to the body,
          until it's actually touching the back of the dead
          business man!

          THE GUNSMITH
          How you gonna -- ?

          FOX
          Just run it out there. Let the kid work.
          The Gunsmith shrugs and runs the target down the range.
          Wesley looks at Sloan.

          WESLEY
          You wanna go first?

          SLOAN
          There are limits to everything, Wesley.
          At some point the body becomes a shield.
          Wesley pulls his gun and lets loose five rounds,
          lightning fast.
          The Gunsmith brings the target back to them...
          ..a the business man is riddled with es.

          THE GUNSMITH
          I guess not every rule can be broken.

          

          

          

          

          58.

          WESLEY
          Check the target.
          The Gunsmith does and we see that each of the five
          bullets has passed clean through the cadaver and found
          it's mark on the target.

          WESLEY (CONT'D)
          You'll find one entry below the shoulder,
          missing the major blood vessels there,
          exiting the back. Second shot went
          through the abdomen, clipped only the
          bowel and exited cleanly. Third hit the
          upper right quadrant of the abdomen,
          which is partially protected by the
          ribcage, and passed through the liver and
          probably part of the gallbladder. Upper
          left abdomen is a good place, where
          number four ruptured the spleen before
          continuing down main street. And
          finally, what I like to call "the ,7FK."
          Number five entered the mouth, was
          redirected downward by the upper jawbone
          ON, and exited the back of the neck. That's
          the shot you'll find in the middle of the
          target.
          Gunsmith sticks his finger through the hole in the middle of the target.

          WESLEY (CONT'D)
          (to Sloan)
          Fuck the rules.
          With that, he turns and walks away, a look on his face
          that is his fiercest, a far cry from the kid in the
          cubicle. That same expression is on his face as we...

          CUT TO:

          INT. INTERROGATION ROOM - DAY

          Wesley strains against the ropes that bind his hands as
          The Pharmacist waylays him. But is t' e. Wesley counts
          out the punches as he takes the shots.

          WESLEY
          One!
          There is a look in Wesley's eye we, haven't seen before, a
          burning, searing fire.
          As he continues to take punches and count them out...

          

          

          

          

          59.

           WESLEY (CONT'D)
          Two! (WHAM!) Three! (WHAM!) Four!

          (WHAM!) FIVE!! (WHAM!!)
          ..he pulls his arms tight, and his muscles start to
          twitch and bulge -- muscles we didn't know he had until.
          now -- and as he continues to take punches, WHAM!, WHAM!,
          WHAM!!, the rope strains against the wooden chair, and we
          can HEAR the wooden legs start to pop, until...
          CRACK!!! Wesley Jerks his arms ee and comes
          swillcrincr with the broken of leg of the chair.
          SMASH! SMASH!! The Pharmacist goes down hard and Wesley
          stands over him, out of control,. furious, SMASH! SMASH!,
          beating him with that broken chair leg.
          The CAMERA PUSHES THOUGH one of the walls...

          OBSERVATION ROOM:
          .. to where Fox and Sloan are watching Wesley pummel the
          pummeler through a one-way mirror.

          SLOAN
          He's ready.
          the los2k on Fox's face becomes more and more and
          sexual until...

          INT. FOX'S PENTHOUSE - NIGHT

          ..she leans on top of Wesley, straddling him on too of
          her bed.
          They unleash on each other, and from the looks of it, Fox
          makes Cathy seem like a nun.

          FOX
          Don't you quit now, baby! Don't you quit
          now!!
          Wesley didn't know it could be like this.
          After they finish, Fox gets up and heads to the shower
          and he watches her go the whole way.
          In the doorway, she turns around...

          FOX (CONT'D)
          Sloan says you're ready.

          

          

          

          

          60

          INT. TATTOO ROOM - DAY

          Wesley site in a chair as Fox crouches next to him with
          an advanced tattoo machine, inking his hand.

          WESLEY
          Do you like being the only chick in the
          Fraternity?

          FOX

          (COYLY)
          Who said I was the only sister? Maybe
          you just haven't met any others yet.
          Wesley laughs.

          WESLEY
          (playfully back)
          Maybe I have and I'm just not telling
          you.

          FOX

          (GRINNING)
          Hold still.
          He settles down.

          WESLEY
          How did you end up here, Fox?

          FOX
          Same way you did, sugar. They found me.

          WESLEY
          What did you do before?
          Fox looks at him, a wry smile on her face.

          FOX
          Sold perfume. At the mall.

          WESLEY
          No shit?

          FOX
          No shit.

          WESLEY
          I can't see it.

          FOX
          Get in line.

          

          

          

          

          61.

          WESLEY
          What made them come after you? I mean, I
          know why I'm here.

          FOX
          Fraternity members all have something in
          their lineage that shows they'll be good
          at this.

          WESLEY
          And yours is?

          FOX
          My great-great-great-grandfather on my
          mother's side. He was on a slave ship
          coming over from East Africa and as it
          was pulling into Charleston, he killed
          every white man on the ship and swam to
          shore. They caught him and hung him four
          days later.

          WESLEY
          That's terrible.

          FOX
          I Nah. Motherfucker deserved it. Be raped
          eight women in those four days. One of
          them was my great-great-great-grandmama.
          She pushes her chair back, done with her work.
          The CAMERA PUSHES IN as Fox removes the device so we can
          take a look: the three-headed dog has been tattooed into
          his hand.

          EXT. CITY STREET - NIGHT

          Wesley and Fox walk down a crowded urban city street. The
          CAMERA finds Wesley's tattoo and then moves around behind
          Fox and holds on hers.

          WESLEY
          Where's the Diablo?

          FOX

          (SHRUGS)
          I got tired of the color.
          Wesley can't help but smile, then Fox stops. They're
          standing right in front of a CAR SHOWROOM, displayed in
          the window is a MIDNIGHT BLACK PORSCHE 911 convertible
          sitting in a showroom window... 'us like the one
          Wesley's father smashed in Fox's story.

          

          

          

          

          62.

          EXT. SHOWROOM - NIGHT

          Suddenly, the car comes flying out of the window, glass
          shattering everywhere as it tears up the street.

          WESLEY (V.0.)
          Being a member of the Fraternity was like
          winning the lottery...

          ON THE CITY STREETS:
          Traffic lights mean nothing, as Wesley mashes the
          accelerator to the mat, and the Porsche responds, ripping
          up the road like a tiger on the prowl.
          Fox rises up in the passenger seat, looking over the
          windshield, the wind whipping her face...

          WESLEY.(V.0.)
          This... this is what my dad's life was
          like. He was a fucking god.
          He weaves in and out of traffic, then rips around a
          corner, narrowly cutting in front of an eighteen-wheeler,
          which has to slam on its brakes.

          WESLEY (CONT'D)
          Where we headed?

          FOX
          Trial by fire, sugar. Hook a right.
          Wesley whips the car around a corner...

          FOX (CONT'D)
          Park it here, baby.
          He pulls the car to the side of the street...
          .in front of a busy outdoor mall. It's covered with
          shops, eateries, movie theaters and people, people,
          people.
          Fox eyes the crowd.

          WESLEY
          You need a new wardrobe or something?

          FOX
          we're here for a reason and it ain't
          clothes-shopping. Somewhere in that
          crowd is your first target.

          

          

          

          

          63.

          WESLEY
          A test?

          FOX
          (shakes her head)
          The real thing.

          WESLEY
          Who's the mark?

          FOX
          You'll know him when you see him.

          WESLEY
          What if I don't?

          FOX
          Then you get shot.
          Fox hands him his Imanishi pistol, which Wesley rolls
          over in his hand.

          FOX (CONT'D)
          It's graduation day, baby.
          I He nods and makes his way toward...

          THE OUTDOOR MALL:
          .where he quickly mingles with the crowd. He has his
          hands tucked into the front pocket of his hooded-
          sweatshirt, the pistol inside. People pass him on his
          left and right, some make eye contact, some don't...
          anybody could be the target..
          Wesley's eyes scan to the rooftops, surveying... the
          SECURITY GUARD by the theater, the SWEATER-FOLDER at The
          Gap, the SCARY-LOOKING GUY shopping at the sunglasses
          stand.
          And then Wesley's eyes settle on someone he was not
          expecting to see... Barry, his best friend that was
          shagging his girlfriend... is thumbing through books
          outside the BARNES AND NOBLE... seemingly. not paying
          attention to what's around him.
          Wesley can't believe it. It can't be him. Can it?
          Just then, Barry stops looking at the books and starts
          walking toward Wesley, keeping his eyes down. Fuck, this
          can't really be happening...

          

          

          

          

          64.
          ..Wesley gets ready, both hands inside that front
          pocket...
          .and now Barry meets his eyes... still coming... still
          coming...

          BARRY
          Wesley... hey dude.
          Wesley can't believe itl

          BARRY (CONT'D)
          Thanks for calling me. I wanted to
          say...
          Wesley pulls out his gun and Barry throws up his hands...

          BARRY (CONT'D)
          Whoa, man!!
          But now we see Wesley is looking past B_arry. over his
          shoulder...

          WESLEY
          Get down!
          .and he's looking at a man we recognize from his
          office... The Consultant.
          He's approaching rapidly behind Barry, fisting a 'pair of
          pistols!
          Just as Barry hits the deck, Wesley pulls the trigger...
          .but it lust CLICKS, the chamber empty...

          SMASH CUT TO:

          THE PORSCHE:
          Fox holds the clip to Wesley's Imanishi, tapping it in
          her hand. Holy shit, she gave him an empty gun...

          SMASH BACK TO:

          THE OUTDOOR MALL:
          Wesley can't believe his gun is empty. In the split-
          second that it takes him to realize this, the Consultant
          has his guns leveled, taking aim, but...

          

          

          

          

          65.
          ...Wesley moves faster than we thought he could move...
          he darts behind a kiosk hocking monogrammed apparel, and
          dashes full speed through the crowds lining the street.
          The Consultant chases after him, knocking shoppers out of
          the way, sending fanny packs and Nordstrom bags flying.
          Wesley hooks a right around a SHARPER IMAGE and heads
          straight down a narrower section, like he's on a mission,
          knowing exactly where he's going. And now we see why...
          Because the city around us goes stark white like the Mg
          Room. We're seeing what Wesley sees, what he's memorized
          in all those hours staring at the model. Finally we see
          one SMALL BENCH next to a fountain, which is bright red.
          Immediately the natural color of the city c2 Ws back and
          Wesley is running all out for that bench. He goes into a
          slide, hitting the grass .underneath the bench, sliding
          under it, popping up on the other side.
          He rips a metal panel off the back of it as he does,
          revealing an AUTOMATIC PISTOL...
          .and just as quickly, he's up on one knee, aiming,
          using the bench as a shield as the Consultant rushes up,
          surprised and BAM! BAM! BAM:
          The Consultant drops where he is, three bullets hitting
          him in his two shoulders and his chest.
          People start SCREAMING and RUNNING the hell away from the
          gunplay. Wesley is about to run away himself, but when
          he turns, Fox is right there beside him... smiling. A
          couple of SECURITY GUARDS are with her, smiling as well.
          Wesley looks over at The Consultant, who site up, smiling
          too, even though he's bleeding from three spots on his
          body...

          FOX
          Pin shot bullets.
          Wesley looks down at the gun.

          WESLEY
          Just like my father used on you.
          Fox nods, as the Security Guards go to help the
          Consultant to his feet.

          WESLEY (CONT'D)
          You were watching me in the office.

          

          

          

          

          66.

          FOX

          (NODS)
          Protecting our assets.
          She hands the clip from the Imanishi over to Wesley...

          FOX (CONT'D)
          Time to do this for real.

          CUT TO:

          INT. LONG CORRIDOR

          Wesley and Fox walk down a long hallway toward a single
          doorway. They open it, revealing...

          INT. SLOAN'S OFFICE - DAY

          . a large office with a single desk and a roaring fire.
          Sloan turns from the fire to greet them.
          He holds up the "mole" bullet, and smiles.

          SLOAN
          The mole bullet is made by a midget
          t Filipino named Pek War. His fingers are
          so small that they can shape and smooth
          the metal better than anyone.

          WESLEY
          You've known all along. You knew before
          I ever broke the urn...

          SLOAN
          I had to let you figure it out for
          yourself.

          WESLEY
          Part of my training.

          SLOAN
          Part of your quest. To get to know your
          father.

          (BEAT)
          And his killer.
          Wesley nods, a grave expression on his face, like he
          knows what he is going to do next.

          

          

          

          

          67.

          SLOAN (CONT'D)
          Pek War charges exorbitant prices, as
          much as ten-thousand dollars for a single
          round, but his craftsmanship is
          unparalleled.
          He heads over to Wesley, hands him a slip of paper.

          'SLOAN (CONT'D)
          You can find him at this address.

          CUT TO:

          INT. PEK WAR'S MANUFACTURING SHOP - NIGHT

          A three-foot-seven-inch Asian man site at a worktable
          with his little legs dangling over the end of his chair.
          PEK.WAR is concentrating hard on the metal in his hands.
          The diminutive man looks up from his worktable when he
          hears a loud THUMP.

          PEX WAR
          Andey?
          He gets no answer. He remains perfectly still,
          listening.

          PEK WAR (CONT'D)
          Andey?l
          Two louder THUMPS and a GUNSHOT jerk his head around.
          Then he's up out of the chair, faster than we thought a
          little man could move.
          Breathing ragged, shimmying across his work space, Pek
          War hurries over to a chest of drawers.
          He gets to it and throws open the bottom drawer to reveal
          a stash of handguns. He reaches for one...
          ...but the muzzle off a pistol comes _ uE to the back of his
          head and the hammer clicks as it is pulled back.
          Pek War throws his hands up.

          PEK WAR (CONT'D)
          Alam man lamangl Alam man lamangl
          Wesley signals for him to turn around. After he does...

          400

          

          

          

          

          68.

          PER WAR (CONT'D)
          Alam man lamang!
          Wesley measures him with eyes that have gone hard. Fox
          stands over Wesley's shoulder, loving every moment of
          this. Then...

          WESLEY
          There are two things about you I'm sure
          of right now, little man. One is that
          you can speak English...
          Pek War sees that Wesley means business.

          PER WAR
          (perfect English)
          And what's the other?

          WESLEY
          That my nutsack is bigger than you.
          Fox snickers.

          PER WAR

          (SPITS)
          What do you want?

          K

          FOX
          A bullet you made killed his father.
          The bullet maker looks as though he knew a day like this
          might eventually come. His face falls and he looks.at
          his feet.

          PER WAR
          I only mold the ammunition... I cannot be
          responsible for the way it is...
          Wesley SMASHES him in the face with the butt of his gun,
          then grabs a long, metal STILETTO-type tool from the work
          table.

          WESLEY
          Bullshit. You're as responsible as if
          you pulled the trigger yourself.

          PER WAR

          (WHIMPERS)
          I didn't...

          ARIV

          

          

          

          

          WESLEY
          I'm only going to ask you one question
          and I want you to think very hard how you
          want to answer.
          With that, Wesley sticks the stiletto into Pek War's
          side!

          PEK WAR

          OWWW1

          WESLEY
          Relax. The blade is in only an inch or
          so.
          The little man starts jabbering to God in some foreign
          language.

          WESLEY (CONT'D)
          See I've learned a thing or two about
          human anatomy recently. In fact, this
          blade is stuck just beneath the coastal
          cartilage of your tenth rib. Just a
          little push and it will deflate your
          lung. That's called a pneumothorax.
          V Helluva way to go, suffocating in a'room
          full of fresh air. Plus the sound, the
          sound of all that oxygen hissing out of
          your lung... pssssssh, like a balloon at
          a birthday party. Enough to make a man
          beg for a second chance.

          (BEAT)
          But you're only going to have one.
          Pek War waits, trying not to writhe from the pain...

          WESLEY (CONT'D)
          So my question is... how do I find Cross?
          Pek War's eyes go wide, pleading...

          PEK WAR

          (DEFENSIVE)
          My clients use middlemen, I don't meet
          them in person, I know so little about
          them...
          Wesley twitches the handle just a bit.

          PEK WAR (CONT'D)
          Okayl Okayl Dammitl God damiaitl I'll
          tell you!

          

          

          

          

          70.
          Wesley lets up a little bit.

          PEK WAR (CONT'D)
          Prearranged meets.
          Fox snatches up a nearby phone.

          WESLEY.
          Start prearranging.

          EXT. CITY STREET -NIGHT

          The Porsche once again tears across the asphalt, as
          Wesley drives.

          FOX
          Wesley, you gotta know something. No
          matter what kind of training you've done
          these last few weeks, killing your first,
          well that's gonna change you forever.
          Wesley drives for a while. Then...

          WESLEY
          You know what my foster mother. told me
          when I was six years old?
          Fox shakes her head.

          WESLEY (CONT'D)
          She caught me eating some jello out of
          the fridge after my bedtime. I knew I
          wasn't supposed to but I was so damn
          hungry, and it was just some fucking
          jello. Anyway, after she hit me so hard
          I couldn't bite down straight for a week,
          she told me... she told me that God had
          killed my parents because I was such a
          wicked boy.

          FOX
          Jesus. Someone needs to find that bitch
          and set her straight.

          WESLEY
          So I grew up thinking I was the reason I
          never knew my parents. But now, to find
          out, that no, my father didn't give me up
          because he had died... he gave me up
          because he was Protecting me... well I
          guess I want to give him something back.

          

          

          

          

          71.

          FOX
          Here we are.

          EXT. WAREHOUSE DISTRICT - NIGHT

          They are surrounded by industrial looking warehouses, one
          of which has the words Times-Herald on it. Newspaper
          delivery TRUCKS make their way in and out of the loading
          dock area of this building.
          Overhead, an EL TRAIN scrapes along the worn tracks.
          Fox pulls around a corner and back into an alley, so they
          can have a view of the corner in front of them.
          Wesley scans the area quickly.

          WESLEY
          Not very discreet, are they?
          Fox smiles knowingly, and looks up, revealing what Wesley
          is talking about. On various rooftops we-see FIGURES
          peering down. looking over the site.

          FOX
          The others are only backup singers. This
          is your show.
          Fox subtly moves her head and figures disappear,
          crouching down.
          Just then, out the windshield, they see a MAN wearing a
          long black overcoat approaching the corner near the
          newspaper building.
          Fox's eyes start to dance.

          FOX (CONT'D)
          Remember: he's good, baby. But you're
          the best I've ever seen.
          Wesley nods and the two of them step out of the car.

          IN THE STREET:
          From a distance, Wesley approaches Cross from the back.
          His steps become quicker, getting closer every passing
          second. Wesley starts to reach in his coat for his
          gun...
          .and that's when Cross firesl Quick as lightning,
          Cross has guns out and lets loose toward the roof of a
          nearby warehouse.

          

          

          

          

          72.
          His bullet has the instincts of a bird dog, and it curves
          over the edge of the building and finds its mark, causing
          a crouching ASSASSIN to plunge from the roof to the
          street near Wesley!
          The others on the rooftops hail down bullets as Cross
          disappears into the nearest building, the Times-Herald.
          Wesley and Fox run toward the building as three other
          Fraternity members beat them there, the BELLMAN, the
          WAITER, and the ELECTRICIAN.
          Wesley sees them congregate on the loading dock and then
          start inside the building...

          WESLEY
          No!
          The minute Bellman exposes himself in the open loading
          dock door he is cut down from inside, his bloody body
          falling backwards into a newspaper truck parked at the
          dock.
          Wesley and Fox join the other two on the dock as
          screaming WORKERS run from the place.

          WAITER
          We need a way in there.

          ELECTRICIAN
          Let's find another door.

          WESLEY
          He'll be long gone by then.

          FOX
          (shaking her head)
          He's got the high ground.
          Wesley sees an unmanned forklift on the dock.

          WESLEY
          On the pallet.
          They all jump on the pallet held by the forks of the
          lift. Wesley throws the machine in reverse and it backs
          into the warehouse, the four assassins safely crouching
          on the pallet on the front.

          INSIDE THE NEWSPAPER BUILDING:
          Once inside...

          

          

          

          

          73.

          WESLEY
          Separate.
          The lowest level is the loading dock, where pallets of
          newspapers and massive unused paper rolls await.

          WITH THE ELECTRICIAN:
          The Electrician hustles between the pallets and boxes,
          eyes darting, guns drawn. He backs up to a pallet of
          stacked newspapers, using it as cover. What he doesn't
          realize is that between each stack of papers is a space,
          just big enough for a --
          THWAP! A bullet finds its way through the space and hits
          the Electrician in the back of the shoulder, spinning him
          around.
          CLOSE ON: Cross' gun. Another shot and we follow the
          bullet, across the dock and dipping low into the next
          space in the paper stack -- right where Electrician is
          now leaning...
          .the bullet buries in his eye, sending him to the
          flog.
          Wesley sees Cross race for a set of stairs. Just as
          Wesley is about to cut him down, Cross fires at a wooden
          beam holding back some massive rolls of NEWSPAPER. The
          rolls tumble over and Wesley has to dive out of the way,
          allowing Cross to escape up the stairs.
          Wesley, Fox and the Waiter all race for the stairs.

          ON LEVEL TWO:
          Giant printing machines are running full speed, printing
          up the morning edition.
          A group of NEWSPAPER EMPLOYEES see the guns the
          Fraternity members are toting and scramble for safety.
          Wesley has to yell to be heard over the whirring
          machines...

          WESLEY
          (to the Waiter)
          Stay here and cover us. There's no angle
          for him to hit you if you stay here.
          Wesley points at a scaffolding that runs above the
          machines.

          

          

          

          

          74.

          WESLEY (CONT'D)
          Don't let him get up there. And stay
          clear of the presses! He'll use them
          however he can.

          WAITER
          How do you know?

          WESLEY
          It's what I'd do.
          With that, Wesley and Fox disappear amongst the
          machinery.
          The Waiter takes a step back from the press, where over a
          hundred pounds of paper spins through every second.
          He sticks his head out to try and keep an eye on that
          scaffolding. Everything looks clear, until...
          ...shots ring out and a shelf o w a1l o
          Waiter's head gives way! He turns to see a bunch of cans
          of spray lubricant falling to the floor. No big deal,
          until Cross shoots one of them out of the air, causing it
          to explode!
          The burning oil covers the Waiter, who SCREAMS and
          stumbles nearer the printing press...

          BAM BAM BAM!
          More shots from Cross and one of the RESTRAINING ARMS on
          the roll of paper feeding the machine breaks in half.
          The paper roll spins wildly from the machine and like a.
          saw, cuts the Waiter in hplf !
          With a leap, Cross is on the scaffolding over the
          presses. For just a second, Cross stops as he locks eyes
          with Wesley...
          ..but Fox is already firing at him so Cross has to keep
          moving...
          He heads up a second staircase, but not before he sends a
          stream of bullets back at Fox, who athletically
          cartwheels away...
          .but one of Cross's bullets disintegrates a gear on the
          press near her, sending flying metal everywhere. A piece
          of shXapnel b ies into Fox's leg... making her break out
          of her cartwheel and flop down, wounded.

          

          

          

          

          75.

          FOX
          Fuuuucckkk!
          Cross races along the scaffolding and disappears into a
          door.

          FOX (CONT'D)
          Keep goin', baby! Take him!
          Wesley races for the stairs. He is the only one left to
          chase Cross to level three.

          ON LEVEL THREE:
          Wesley bursts through the door, guns ready. The place is
          already in pandemonium, with PEOPLE yelling and screaming
          and running for cover. Quickly, Wesley realizes he's in
          the business offices of the paper, and it looks
          surprisingly similar to his old office. Lame-ass
          cubicles and florescent lighting everywhere.
          Wesley jumps up on a desk.

          WESLEY
          Cross!
          Unafraid, Cross climbs up on a desk on the other side of
          the office. Without hesitation, Wesley opens fire at
          Cross... who immediately returns fire...
          .and his bullets actually collide with Cross's by ets
          in mid-air!!! The bullets ricochet and take out a
          COMPUTER SCREEN where someone was playing SOLITAIRE.
          The two assassins blast away, all while diving and moving
          over and in the cubicles. Cross has a gun similar to the
          Imanishis, and they each steer their bullets at each
          other from sharp angles...
          Strangely,. the first bullet collision was not blind luck,
          but the pattern for the battle. They are fighting the
          same fight, their bullets meeting in the middle, each man
          using the same techniques at the exact same time.
          Wesley needs an angle, and spots a DRY ERASE BOARD the
          words "Action Items" written on it. He fires at it, and
          his bullets bounce off it at an angle where one of them
          strikes Cross in the shoulder... THWAP!!!
          Cross can't believe he's hit but he doesn't have time to
          flinch... right as Wesley fires again, he turns, barely
          avoiding the rain of bullets and leaps through a nearby
          window, smashing the glass out,

          

          

          

          

          76.
          Wesley doesn't hesitate behind him... he sprints for the
          same window and dives through it, guns at the ready
          and...

          OUTSIDE THE WINDOW:
          .we stay with Wesley as he falls from the third floor,
          firing his guns the whole time...
          .until he lands top of an "L" train moving at ll
          speed.

          THE WAREHOUSE DISTRICT:
          Fox limps out of the newspaper building and hurries to
          the Porsche. She ignores her wounds and rips the car out
          of the alley, chasing after the fleeing L train.

          ON THE L TRAIN:
          Ahead of Wesley, Cross is also on the top of the train.
          He manages to get up, spin around, and fire at Wesley...
          .but they both have to duck as the L train whips under
          an overpass, which misses smashing both of them by mere
          inches.
          Cross takes the opportunity to swing down between cars
          and enter one of the L cars.

          BEHIND HIM:
          Wesley hurries across the top of the train, spying the
          trail of blood that Cross is leaving behind from his
          wound.
          Wesley smiles, a shark on a wounded baby seal, as he also
          swings down between the cars and enters...

          THE FIRST L CAR:
          .where he sees the trail of blood leading all the way
          down the center of the empty car and out the back door.
          Wesley hovers in the entry way, his guns up and ready.
          He takes a step forward to follow the blood trail, and
          immediately, he is decked from the side by an ambushing
          Cross.
          They tumble over the first row of seats, both losing
          their guns.

          

          

          

          

          77.
          Wesley kicks Cross off of him, but Cross-spins with two
          new suns in his hand! Wesley is.on him quick though, and
          SLAMS Cross into one of the train's windows hard enough
          to crack it. With a quick twist of Cross' wrist, Wesley
          takes a sun from him Just as Cross kicks h,m off...
          .Wesley fires as he falls backwards. Cross falls
          backwards too from the momentum...
          ..and they both smash out opposite windows of the train
          before landing on either side of it!

          EXT. DIRTY ALLEY - NIGHT

          But the amazing thing is... they stand up and keep
          firing as the cars are whipping by at 80mph, and
          realize they. are timing their shots to actually blast
          between each car in the s it-second the opening passes.

          ON THE TRAIN:
          COMMUTERS ride along in blissful ignorance, reading their
          papers, holding on to the handrails... completely unaware
          of the gunfight raging outside the train.
          A bullet whizzes through an open window, pierces a
          BUSINESSMAN'S paper, and exits a window on the opposite
          side of the car. The man sticks his finger through the
          hole, unaware of the battle outside. What the hell?

          IN THE ALLEY:
          On opposite sides of the train, Wesley and Cross are both
          sprinting and firing, trying to get to the end of the
          last train, while dodging each other's bullets...
          .as the last car passes, they each jump on the tracks,
          ending u with guns tucked under each other's chin!

          CROSS
          Wesley!
          This takes Wesley aback...

          CROSS (CONT'D)
          Look into my eyes!
          Wesley's finger is starting to squeeze his trigger... as
          is Cross's.

          CROSS (CONT'D)
          (growls, in pain)
          Look into my eyes, goddammit!

          

          

          

          

          78.
          Finally, Wesley does and his face goes slack as he sees
          himself reflected in Cross's Dupils.
          Just then, Fox pulls up in the Porsche about fifty yards
          away, and her headlights illuminate them.
          Cross shifts his eyes to her, then does a curious thing:
          he lowers his gun, then drops it to the ground. Wesley
          can't believe Cross would leave himself defenseless.
          Moving swiftly, Cross men tucks something into the
          Rocket of Wesley's hooded sweatshirt.

          CROSS (CONT'D)

          (WHISPERS)
          Everything they told you was a lie,
          Wesley.
          With that... Cross falls down. His black jacket spills
          open to show a gun shot wound not just to his shoulder,
          but to hig n too. one of Wesley's bullets through
          the train must have found its mark.
          Cross is bleeding profusely. He gasps a couple of
          times... then, with his last bit of energy...

          CROSS (CONT'D)
          Find the missing piece. And... don't...
          let them... dispose of the weapon...
          With that, the life goes out of Cross's eyes.
          Wesley stares at that face, trying to decipher some
          meaning there. But Cross just stares blankly back at
          him, just as Fox comes limping up.

          FOX
          You did it, baby! Son of a bitch, you
          did it. You put down motherfucking
          Cross!
          Wesley looks down and sees some of Cross's blood on his
          hands from their clench. There is also some on the gun
          he is holding. ar --h d ed crun.
          Wesley reaches down and takes the other pearl-handled gun
          from where it dropped and looks over them both.

          FOX (CONT'D)
          What'd he say to you?
          Wesley looks up, sees some sort of anticipation in Fox's
          eyes. He looks back down at Cross's body..

          

          

          

          

          79.

          WESLEY
          He said... he said 'pies on the
          Fraternity...'
          Fox measures him, like she's not sure if he's telling the
          whole story. Finally, she nods...

          FOX
          Well... damn, I couldn't be more proud of
          you, baby! Let's go lay this on Sloan!

          WESLEY
          Yeah, sure.

          FOX
          What's wrong?

          WESLEY
          I think I need.a minute to myself.

          FOX

          (UNDERSTANDING)
          Sure. It's your first kill. I'll wait
          for you...

          WESLEY
          Naah, that's all right. You need to get
          stitched up. I'll meet you at that
          Korean place.

          FOX
          You sure?
          But he's already walking off. She watches him go,
          thinking...

          CUT TO:

          EXT. CITY STREET - NIGHT

          Wesley walks down the street. PEOPLE instinctively get
          out of his way as he cuts a path down the sidewalk.
          Then he pulls out what Cross slipped inside his pocket:
          a beaten-up copy of COUNT OF ONTE CRISTO. In fact,
          there's no mistake, it's the same copy he had as a kid.
          Wesley tries to make sense of this as he opens up the
          cover... printed on the inside in a steady hand are the
          words: "I left you something."
          Wesley lowers the book and sees a cheesy guy park a
          Harley at a curb. He bee-lines for the guy.

          

          

          

          

          80.

          EXT. HIGHWAY - MORNING

          Wesley now blazes down the highway, pushing the Harley to
          its limits. His angry expression hasn't dissipated.

          EXT. SUBURBAN STREET - MORNING

          The Harley pulls up to a lower-middle-class house, the
          kind you might find in any run-down suburb. Kids run
          around the neighborhood, playing.

          ON THE BIKE:
          Wesley sits and looks at one particular house. He climbs
          off'and heads to the side of the house, still carrying
          his book.

          SIDE OF THE HOUSE:
          He ducks through a broken chain-link fence and moves down
          the side of the house...
          .until he finds a familiar wooden BOARD. Familiar
          because we've seen this place before: it's where he
          lived when he was a foster kid.
          He removes the board, then reaches into the hole. His
          hand seizes on something. From the hole, he withdraws a
          KEY attached to a note with an address on it: 1850 North
          Highbury St.
          Wesley's eyes move from the copy of MONTE CRISTO, to the
          key, and back to the book.
          Finally, he lowers his hands... revealing a little eight-
          year-old kid, watching him curiously from the back yard.

          WESLEY
          Hey.

          KID
          Hey.

          WESLEY
          You live here?
          The kid.nods .

           WESLEY (CONT'D)
           Foster home?
          4014 The kid nods again.

          

          

          

          

          81.

          WESLEY (CONT'D)
          Read this.
          He tosses the kid the book and heads off.

          EXT. RESIDENTIAL STREET - DAY

          He pulls the Harley over to a curb and then reaches into
          his jacket pocket and withdraws the note and the key.
          Across the street, the address matches: 1850 N.
          Highbury. The place looks like a concrete fortress... no
          windows, just a large-iron door in front.
          Wesley approaches, not sure what the address could mean.
          He gets to the door, looking for a key-hole, but he
          doesn't find one.
          He fidgets there awkwardly for a second, but then...
          .the door opens, revealing a woman, ANNA. She takes a
          look at Wesley and then puts a trembling hand over her
          lips.

          ANNA
          Come in, Wesley.
          He stares at her, trying to figure this out. He steps...

          INSIDE THE HOUSE:
          .and finds that the place is nicely decorated; an
          attempt to cover up what is really a reinforced bunker.
          Anna is now trying to hold back tears, but can't.

          ANNA
          He's dead, isn't he?
          There's no point lying to this woman...

          WESLEY
          Yes, ma'am.
          She nods knowingly, sadly.

          ANNA
          He told me if he didn't come back... it
          would be you who pulled the trigger.

          WESLEY
          ✓ He killed my father...

          

          

          

          

          82.
          Anna looks at him, confused. But then, realization sets
          in...

          ANNA
          I think you need to meet someone...
          she leads Wesley into another room, where a five-year-old
          boy, plays the floor.

          ANNA (CONT'D)
          Wesley. This is your brother... Andrew.
          Wesley's not sure what to make of this.

          WESLEY
          My brother?

          ANNA
          Half-brother. But both of you, you are
          both 100 percent your.father's boys.
          I've seen that from the beginning.
          Andrew is busy playing with a couple of BLACK TOY
          BUILDINGS on the floor. Wesley studies the little guy,
          still confused.

          ANNA (CONT'D)
          Your father... he was with you the whole
          time.
          Wesley looks up and sees what she's referring to. The
          walls are filled with pictures of Andrew, Anna, and...
          remarkably...
          ...photoaraths of Wesley at various ages w hgn he was-
          growing u !

          ANNA (CONT'D)
          This was his favorite.
          She hands him a picture of Wesley at about age 12,
          sitting with his back to a tree, reading COUNT OF MONTE
          CRISTO. The picture has been taken through a windshield,
          across the street.
          Wesley reels, his legs give out, he slumps against one of
          the walls...
          FLASH: Cross firing at Fox and Wesley at the grocery
          store. But now we see that Fox positioned Wesley between
          herself and the shooter. He wasn't trying to hit Wesley,
          he was trying to separate him from her.

          

          

          

          

          83.
          Wesley, thinking, remembering...
          FLASH: Wesley studying Cross's face in the file, seeing
          that there isn't jealousy in those eyes.
          Wesley still slumped against the wall, surrounded by
          pictures of himself...
          FLASH: Wesley reflected in Cross's pupils.
          Holy shitl!! Cross was his father!!! Wesley looks up at
          Anna's kind face...

          ANNA (CONT'D)
          When your father and I found each other,
          when we had Andrew, he said he could no
          longer live the way he had been living.
          He said he wouldn't give us up, the way
          he had given up his first eon.
          Wesley stares at the picture... he can't believe he was
          being watched back when he felt so alone.

          ANNA (CONT'D)
          It was his greatest regret.
          She leaves him in the room, alone, with his brother.
          Wesley watches the kid, trying to process it all.
          For the first time, emotions overcome him, and he breaks
          down...
          .but he's too tough now to sob, so he forces the Bob
          down in his throat and blinks back the tears. Goddamn,
          he has a brother.

          IN THE KITCHEN OF THE SAFEHOUSE - NIGHT - LATER
          He walks up behind Anna, who is sipping some coffee at a
          kitchen table, red eyed.

          ANNA
          would you like some coffee?

          WESLEY
          I'm okay.
          Wesley sets the key down on the table.

          WESLEY (CONT'D)
          Do you know what this opens?

          CUT TO:

          

          

          

          

          84.
          A LONE KEYHOLE in a solid closet door.
          Wesley sticks the key in and swings the door open
          revealing a LONG BLACK COAT, just like his father's.

          ANNA
          I guess it's not much of an inheritance.

          WESLEY

          (STEELY)
          He left me more than this.
          Wesley takes the coat and folds it over his arm.

          ANNA
          I want you to know that he forgave you
          before you ever pulled the trigger. He
          tried to keep you out of it for so
          long...

          WESLEY
          Why didn't he just tell me?

          ANNA
          once they had you... he couldn't risk it
          unless you were alone. He knew his one
          shot at telling you might be his last.
          Her eyes harden a little bit.

          ANNA (CONT'D)
          You have to finish what he was doing,
          Wesley. It's the only way any of us will
          ever be free. Especially your brother.
          They won't stop hunting us... your father
          knew that.
          Wesley nods.

          WESLEY
          I'll be back as soon as this is over.

          ANNA
          You have family here.
          Wesley nods, these words meaning so much to him.

          INT. KOREAN BAR-B-QUE JOINT - NIGHT

          Fox eats in a small restaurant in the heart of Koreatown,
          the kind of place that has the hot hibachi grills on the
          S table tops.

          

          

          

          

          85.
          The place is mostly empty, quiet, with mainly Korean
          faces both dining and serving. It's the kind of place
          where you can eat and not be bothered.
          The doors swing open and Fox looks up. The silhouette of
          e I URE IN THE DOgJLWM is disturbing, a familiar
          person in a long black coat...

          FOX
          Jesus.
          She squints, the setting sunlight nearly blinding her as
          all she can see is a silhouette...

          FOX (CONT'D)
          For a second there I thought you looked
          just like Cross.
          Wesley steps into the light and moves over to the table
          as Fox lights up a cigarette.

          WESLEY
          Skipped the hospital?

          FOX
          He picked me clean and I don't care much
          for needles.
          She blows out a lungful of smoke and watches as it rises
          toward the ceiling.

          FOX (CONT'D)
          Sloan's on his way.
          One of the waiters waves to her to put out her smoke and
          she just stares him down. The man backs off, nodding and
          smiling.

          FOX (CONT'D)
          You want something to eat, baby?

          WESLEY
          I'm all right.

          FOX
          They got some good shit. Ostrich,
          chicken... won't fill you up too much if
          you're watching your calories.

          WESLEY
          Naah.

          

          

          

          

          8€.

          FOX
          Well, the big man should be here any
          minute...

          WESLEY
          Yeah.

          (BEAT)
          Listen, can I ask you a :question?

          FOX
          Baby, you can ask me anything you want.
          He focuses on her eyes, zeroing in on the pupils.

          WESLEY
          Did you know Cross was my father?

          FOX
          What?

          WESLEY
          Did you know?
          Closer, closer... tight on those pupils...

          FOX

          O AW
          What're you talking about Wesley? Cross
          killed your father.

          EXTREME CLOSE-UP:
          We see her pupil swell, just a tiny bit.

          KOREAN BAR-B-QUE:
          He saw it... exactly what Sloan told him to look for when
          someone is lying.
          And from the look on Fox's face, she knows he saw it.

          FOX
          Goddammit, Wesley...
          She stabs out her cigarette, crushing it on the hot grill
          so that it SIZZLES.

          FOX (CONT'D)
          Why'd you have to ask me that?
          With that, she kicks back from the table, holding a huge
          black Smith and Wesson revolver.

          

          

          

          

          $7.
          Wesley only has a millisecond to respond,-and he does by
          kicking over the table, which sends food and utensils
          flying, but also shields him from Fox's bullets.
          Just as quickly, Fox leaps up on top of one of the other
          tables, trying to keep her heels on the sides so that her
          feet don't touch the hot grill. If she's wounded, we
          wouldn't know it.
          Wesley does the same on a nearby table. They take shots
          at each other as they leap from table to table, avoiding
          the sizzling centers, but they're both so quick that no
          bullets find their mark.
          Then Fox takes a running leap at him, moving ferociously
          fast. She's like the animal she's named after, and she
          launches off one of the tables...
          .and catches Wesley flush, kno in him backwards, a
          form tackle on to a table...
          ..where he lands Quare on the oven top... PSSSSBHH...
          and his guns go flying across the room as...
          .the table to starts to burn through his clothes!

          %AW

          WESLEY
          Arrrh!

          FOX
          You shoulda known better, baby...
          But he rolls over, taking Fox with him, and now the oven-
          is burning into her back.
          With all her strength, she bucks him off and then flips
          herself backwards off the table. With another kick, she
          sends the hot table flying at him. It rips free from its
          wiring, and the nozzle sprays gas out into the
          restaurant... SSSSSSSSS...
          Wesley knocks the flying table out of the way, but not
          before it burns his arm as he blocks it.
          Spotting his guns, he sprints for them as Fox unleashes a
          hailstorm of bullets.
          But he's too damn fast, and he dives across the floor
          Pete Rose style, sliding to a stop at the precise moment
          where his hands come u holSling his weapons.
          In.one fluid motion, he flips back over and EAM! BAM!

          BAM! BAM! BAM!

          

          

          

          

          88.
          shoots bullets up in the air and then flicks his wrists
          so they arc over at the open gas nozzle!
          The bullets strike it, sparking, and then BOOM!!!:
          fireball b sts from nozzle, while a great Riume of
          sweltering fire keeps pouring out!
          Fox dives to get out of the way, which gives Wesley the
          opening he was looking for. He FIRES again, and one of
          his bullets knocks her crun away and another nicks her in
          the side of the face.
          She stops, seeing the blood drip down her cheek and off
          her chin. This only seems to enrage her.
          Pissed, she produces two S R GUNS out of the small of
          her bac -- where she had them hidden we have no idea --
          and charges Wesley like an unleashed Pit Bull...

          FOX (CONT'D)

          (SCREAMS)
          Aaaaahhhh!
          She's firing both muzzles and her bullets find the marks
          this time, knocking Wesley's guns out of his hands from
          where he lies flat on the floor.
          She's disarmed him, and now he's defenseless...
          .and Fox stands over him, breathing hard, her face
          bleeding, both gun barrels pointed right at Wesley's
          face...

          FOX (CONT'D)
          I gotta admit, baby...
          She starts to squeeze both the triggers...

          FOX (CONT'D)
          I thought we might have a future...
          But, Wesley drives a fist into her wounded leg and she
          reels...
          In the same motion, he grabs her wrists and pulls her
          toward him... taking her guns right out of her hands like
          a quick-change artist.
          Flipping them over, Fox's face full of surprise is the
          last expression she'll ever have because...

          BAM! BAM!!!

          

          

          

          

          69.
          Most of Fox's face is blown clean fr her head, and a
          blood mess s ra s a oss the wall.
          Wesley leans his head back and closes his eyes, the spume
          of fire flickering brightly against his lids, the events
          of the last several hours washing over him.

          FADE OUT:
          For several moments, there is nothing but darkness and a
          silence as permanent as death. Finally...

          WESLEY (V.0.)
          There's a town in Germany called
          Leverkusen that had a bear hunter named
          Hans Koblenz.

          FADE IN:

          EXT. KOREAN BAR-B-QUE JOINT - LATER

          Sloan, the Butcher and the Pharmacist walk across the
          parking lot toward the door of the smoking Bar-b-que
          joint.

          WESLEY (V.0.)
          60 During his life, he was said to have
          killed over four hundred bears and was
          the pride of this small community on the
          Rhine. You want to know how he died? A
          pair of black bears singled out his house
          from the entire village, mauled his wife,
          killed his twin daughters, and then lied
          in wait for him to get back from the
          woods.

          INT. KOREAN BAR-B-QUE JOINT - LATER

          The fire is out, but it has blackened the inside of the
          joint, so that it looks like an absolute war zone.
          Fox is in the same position as when Wesley shot her, but
          there's a sheet of paper folded on her chest.
          The Butcher and the Pharmacist flank Sloan as he
          approaches the body, frowning.

          WESLEY (V.0.)
          When the hunter opened the door, they
          ripped his throat out before he could
          scream.

          (MORE)

          

          

          

          

          90.

          WESLEY (V.0.) (CONT'D)
          The two bears then curled up on the rug
          LW in the middle of the floor -- the rug
          that had once been their father -- and
          proceeded to bite. each other till they
          bled to death.
          Sloan reaches down and picks up the paper, and sees
          beneath it that pearl-handled revolver. The one with the
          blood on the handle.

          WESLEY (V.0.) (CONT'D)
          That's a true story.
          He unfolds it, to read printed in black ink on the paper:

          7'HE GATES OF T.T ARE OPEN
          Sloan folds the paper back up and looks at the blood on
          the gun.

          SLOAN
          He knows.

          CUT TO:

          INT. SLAUGHTERHOUSE ROOM - NIGHT

          Wesley stands in the slaughterhouse, holding two pistols,
          looking around. The place has been cleaned out. There's
          no sign of the Butcher.

          INT. PHARMACY - NIGHT

          Same thing at the Pharmacy, an empty store now...

          INT. LIBRARY - NIGHT

          .and in the Fraternity's library, nothing. All the
          books are gone...
          Wesley processes this, frowning. He keeps walking to
          the...

          MAP ROOM:
          .where the entire model city has been destroyed, like a
          Giant has trampled it beneath its feet.
          Wesley stoops over and pulls one smashed building out of
          the mess, looking at it, thinking, thinking...
          .and then he's up and moving quickly.

          CUT TO:

          

          

          

          

          91.

          INT. CROSS'S HOUSE - NIGHT

          Anna opens the door for Wesley, who looks like he is on
          to something...

          WESLEY
          My father... he was working on a plan,
          right?

          ANNA
          I don't know. There was so much he
          wanted to keep away from us...
          Wesley moves into Andrew's roan... where the boy is still
          playing with the black model buildings.
          Wesley moves over and crouches down next to Andrew.

          WESLEY
          Can I see that for a second?
          The boy hands him the building in his hand. It is
          painted jet black, except for one corner of the first
          floor, which is painted red. Wesley looks up at Anna.

          WESLEY (CONT'D)
          Do you know where he got this?

          INT. BASEMENT - NIGHT

          Anna leads Wesley down some wooden steps into Cross's
          basement.
          Sure enough, the entire floor of the basement has been
          made into a model map, similar to the one that the
          Fraternity used in the map room, but all the buildings
          are black, with an occasional red mark.
          The scale is larger, the model shows only one section of
          the city, and a BLUE LINE indicates a route through the
          streets.
          And on the wall are PICTURES and CLIPPINGS of Henry
          Helms.
          Wesley squats over it, trying to figure out what his
          father's plan was. He sees a missing place for a
          building and puts Andrew's toy back in place, then
          studies the map some more.

          /'" ANNA
          I-" Does this mean anything to you?

          

          

          

          

          92.
          There are large question marks painted on various
          buildings along the Helms' route.

          WESLEY

          (AWED)
          My God, he's been planning it from the
          beginning.

          (BEAT)
          This is a Fraternity hit. Cross... my
          fathar... set up Henry Helms as bait,
          knowing Sloan would use his best men for
          the job. He was going to take them all
          out.
          Wesley looks at it some more.

          WESLEY (CONT'D)
          Only he didn't know where on the route
          they would try and hit Helms. That's the
          missing piece he was t rying to figure
          out.

          ANNA
          Do you know the answer to that?
          Wesley looks up at her, resolve on his face.

          WESLEY
          No. But I know who does.

          CUT TO:

          INT. APARTMENT - NIGHT

          It's dark. Really dark.

          KNOCK KNOCK KNOCK.
          A lump in a bed stirs.

          KNOCK KNOCK KNOCK.
          The lump stirs a little more...

          CUT TO:
          NICOLE, the hot girl from Wesley's office, moves to her
          peephole and looks out, but there's no one there.
          She opens the door and gives a quick look down the hall,
          then shuts it and hurries to her kitchen.

          

          

          

          

          93.
          She starts to open a cabinet but stops, GASPS and jerks
          back, scared shitless.
          Wesley is-in her kitchen, lust a few-feet away. She
          looks at him.

          NICOLE
          Jesus...
          (seeing who it is)
          Wesley? Is that you?
          He looks bruised and battered, but there is a hardness to
          his eyes.

          WESLEY
          It's me, Nicole.

          NICOLE
          What happened to you?
          Wesley wipes his eyebrow with his thumb, like he's
          considering what he wants to say next.

          WESLEY
          I asked you once if you thought I was an
          observant person.
          She doesn't understand... but suddenly we...

          CUT BACK TO:

          INT. MEETING ROOM - DAY

          .that meeting room from his old job. In fact, it's a
          replay of that same scene. Wesley is still sitting there
          with his note pad, the words "LIFE SUCKS AND THEN YOU
          DIE" printed over and over, while the consultant
          continues to rattle on and on.
          Through the blinds behind the speaker, Wesley spots the
          hot intern Nicole, still talking on the phone. And just
          like before, he's zeroing in on her, but this time, we
          keep zeroing in and zeroing in, until we see something we
          didn't see before...
          Nicole reaches up over the counter to grab a stack of
          papers, and her shirt pulls slightly up from her back...
          .and that tattoo of Cerberus. &)A- three-headed !log _is
          ,printed there, in the exact same place Fox had...-and we
          keep zeroing in on it and zeroing in on it until we...

          ../

          SMASH CUT TO:

          

          

          

          

          94.

          INT. THE TATTOO ROOM - FLASHBACK:

          Where Fox is tattooing his hand again and we get another
          taste of that conversation they had...

          FOX

          (COYLY)
          Who said I was the only sister? Maybe
          you just haven't met any others yet..

          WESLEY
          (playfully back)
          Maybe I have and I'm just not telling
          you.
          .and now with the gift of hindsight, we see that Wesley
          meant what he said, and we...

          SMASH CUT BACK TO:

          INT. NICOLE'S KITCHEN - NIGHT

          Wesley still stands there, just a few feet away from her.

          WESLEY
          Sloan didn't just have one person in my
          office watching me, he had two.

          NICOLE
          What are you talking about?

          WESLEY
          What name do you go by? The Intern?
          He points at her tattoo.

          WESLEY (CONT'D)
          Because I know you have the mark.
          Nicole's face changes, goes hard, like someone flipped a
          switch.
          Like lightning, she grabs for a butcher's knife but
          Wesley is faster. He pins her wrist back, twisting until
          she drops the knife.
          She lunges again, but a pistol comes up right below her
          chin.

          WESLEY (CONT'D)
          Where's the Henry Helms hit going down?
          Where's Sloan?

          

          

          

          

          95.

          NICOLE
          Sloan's not your biggest problem,
          fuckface.

          WESLEY
          Yeah? Why's that?
          She reaches over, slowly, so he knows she's not going to
          go for a knife... and she turns on a small TELEVISION
          sitting on the kitchen counter.
          The screen comes to life, showing an inf mercial for the
          F ob'e.
          Nicole shakes her head and. flips up the channels... and
          now we see what she wanted to show him...

          ON THE NEWS:
          Wesley's EMPLOYEE PHOTO fills the screen above a
          reporter's head while the REPORTER babbles in a serious
          voice...

          REPORTER
          .responsible for several recent
          shootings, including one tonight at this
          Korean restaurant downtown and another at
          an outdoor mall. Details are sketchy,
          but we repeat, if you see this man,
          please contact...

          IN NICOLE'S KITCHEN:
          She starts cycling through the news channels...
          ...and each one shows. different REPORTERS standing
          outside the smoking bar-b-que, or talking about Wesley,
          or speaking with police. One is even interviewing
          Wesley's old boss, Janice, who is very happy for the
          forum...

          ON THE NEWS:

          JANICE
          He was aggressive toward me and other
          employees... a very negative person,
          extremely negative. I can't even repeat
          the words that came out of his mouth the
          day we let him go...

          

          

          

          

          96.

          IN NICOLE'S KITCHEN:

          WESLEY
          Motherfucker. Dispose of the weapon...

          (BEAT)
          Me.

          NICOLE
          That's right. And the cops were told to
          watch this place too. You have nowhere
          to go. He's smarter than you. He'll
          feed the cops evidence singling you out
          for every hit the Fraternity has pulled
          in the last ten years.

          WESLEY
          (ignoring her)
          I'm only going to ask you one more time.
          Where can I find him?

          NICOLE
          You won't get to him. You can't. The
          cops will be here any second!
          Wesley reaches over- -and cranks up a gas burner, the
          menacing flame on high.

          WESLEY
          Then this is going to get painful
          quickly.
          She stares at that blue flame, fear in her eyes for the
          first time.
          He starts pushing her head toward it, closer and
          closer...

          WESLEY (CONT'D)
          Henry Helms. Where is it going down?
          The first SCREAM from Nicole is lost in...

          THE FRONT DOOR:

          BAM. BAM BAM!

          POLICE OFFICER (0. S.)
          Open up! Police!
          The door to Nicole's apartment smashes open and four cops
          burst through the door, guns ready.

          

          

          

          

          97.
          They spread out quickly, checking out the place. One of
          the disappears into the kitchen...

          POLICE OFFICER 2 (O.S.)
          Oh, Christ.

          CUT TO:

          EXT. APARTMENT BUILDING ROOFTOP - NIGHT

          SIRENS wail and a HELICOPTER hovers nearby as Wesley
          stands on a roof, looking down on the scene. He sees
          EMT's roll a gurney out toward an ambulance as COPS cover
          every inch of the ground.
          From where he is, it looks like every cop in the city is
          here.

          ON THE GROUND:
          One COP looks up and sees a figure on the roof, long
          jacket blowing in the breeze. Surprisingly conspicuous.

          COP
          What the fuck?

          K

          COP 2
          What is it?
          The first cop points up toward Wesley on the roof.

          COP 2 (CONT'D)
          (into the radio)
          Air Support can you get a beam on the
          four-story southeast of our position?

          ON THE ROOFTOP:
          Quickly, a spotlight lights up the spot where Wesley was
          standing, but now we see it's iust an air-conditioning
          vent with soave loose streamers flapping off of it. Damn,
          it looked just like Wesley a moment ago... was it?

          HELICOPTER PILOT
          (on the radio)
          Negative, roof is clean.

          EXT. CITY STREET - NIGHT

          Wesley steps out of a dark doorway, his hard eyes
          following a police car as it roars by without noticing
          him.

          

          

          

          

          98.
          He pulls his jacket collar up, puts on.a skull cap, and
          takes off in the opposite direction, away from the scene.
          He passes a newspaper dispenser, but the CAMERA STAYS.on
          the front page, which is still talking about Henry Helms.
          The CAMERA HOLDS ON A photograph of Helms, which...

          DISSOLVES TO:
          Morning...

          INT. HOTEL ROOM - MORNING

          .where HENRY HELMS himself is tying a tie in a hotel
          mirror. He's a handsome enough guy, distinguished even,
          but he looks tired, like the weight of living under a
          death threat has dragged him down.
          A door opens, and we see his wife, SARAH HELMS, step past
          two, huge BODYGUARDS to come in.

          SARAH HELMS
          The car is here.

          EXT. HOTEL SIDE DOOR - DAY

          A gaggle of large bodyguards surround the Helmses as they
          hurry out of a side door and make it into a LIMOUSINE.
          They notice the half dozen MOTORCYCLE COPS positioned
          around their limo.
          A LEAD BODYGUARD holds the limo door for them.

          HENRY HELMS
          (re: the cops)
          What's all this?

          LEAD BODYGUARD
          We're not taking any chances.
          He shuts the door for them before climbing behind the
          steering wheel.
          The limo starts to make its way down the drive, flanked
          in front and in back by dark SUBURBANS and the motorcycle
          cops.

          EXT. RIVER - DAY

          Commercial ships cruise up and down a river, under an
          expansive BRIDGE.

          

          

          

          

          99.
          Sitting next to the incline to the bridge, is an
          abandoned four story building, what used to be.a

          HOSPITAL.

          INT. HOSPITAL ROOFTOP - DAY

          A guy looks down at the street with his binoculars. It's
          the Gunsmith!

          THE GUNSMITH
          (into a radio)
          Nothing yet, sir.

          EXT. BUILDING ROOFTOP - SAME

          On another tall building, Sloan talks into a radio.

          SLOAN
          Hold until I give the word.
          He clicks off the radio and looks into his palm, where-
          e's holding that pearl handled aun, fingering the dried
          blood.

          ON A CITY STREET:
          The suburbans and cops flank the limo as it rolls through
          the concrete jungle.

          IN THE LIMO:
          The bodyguards peer up at the buildings ready for
          anything.
          Henry Helms reaches over and grabs his wife's hand, a
          reassuring gesture. But his white knuckles betray his
          trepidation.
          The driver watches as they reach a frontage road on the
          east side of the river.

          ON THE ROAD:
          They make a turn along the river and haul ass toward the
          bridge. Traffic is sparse and they look like they have
          an easy clear passing.

          ON THE HOSPITAL ROOFTOP:
          The Gunsmith sits, waiting patiently...

          

          

          

          

          100.

          ON ANOTHER ROOFTOP:
          Sloan watches the Limo starting to approach the bridge.

          SLOAN
          (into the radio)
          Here comes the car. Any minute now.
          Take your positions.
          Sloan leans out over the edge of his building, gun ready.

          QUICK SHOTS:
          On the hospital roof, the Gunsmith puts down his
          binoculars and picks up a rifle.
          The Pharmacist leans over the edge of a building and
          looks down, high-powered rifle in his hand.
          On another building, the Chef does the same.
          And on still another building, the Gardener also gets
          ready.
          Each killer is in a different spot and has a gun, pointed
          and ready, just waiting for the signal...

          ON THE ROAD:
          The limo is about halfway up the incline now, a sitting
          duck, hellfire about to rain down upon it.

          ON THE HOSPITAL ROOFTOP:
          The Gunsmith waits, waits, waits...
          .and then, out of nowhere, surprising the hell out of
          him, a knife is held to his neck from behind.
          The Gunsmith doesn't even so much as swallow, as the
          blade is so tight against his throat that it draws a drop
          of blood.

          GUNSMITH

          (NERVOUSLY)
          Wesley?
          The CAMERA MOVES TO THE SIDE to show Wesley crouched
          right behind him, a look of icy determination on his face
          as he holds the knife in place.

          

          

          

          

          101.

          WESLEY

          (GROWLS)
          The name is Cross.
          In the distance, the Helms limo moves on, safely.

          WESLEY
          Looks like you missed your chance. Now
          where is Sloan?
          The Gunsmith feels the edge in Wesley's voice.

          GUNSMITH
          You don't understand, man. This ain't
          about Helms. The Intern told you right
          where to go...
          He smiles.

          GUNSMITH (CONT'D)
          .I'm just the decoy.
          THE CAMERA WHIPS around behind Wesley... to show that
          three laser sights are lighting up his back in a perfect
          pattern.
          And now we see it, this was al a Bet-up to get Wesley in
          the open. The three surrounding rooftops, slightly more
          elevated, hold each of the three assassins crouched-in
          sniper positions, zeroed in on Wesley's back.
          But instead of surprise, Wesley just leans in closer to
          the Gunsmith's ear.

          WESLEY

          (WHISPERS)
          She told me that, too.
          And with that, he rolls the o0 over of ,
          just as the assassins on the higher rooftops all unleash
          a hail of bullets.
          BAM! BAM! BAM! BAM! BAM! The Gunsmith takes a dozen
          shots, all in the chest, but none of the bullets make it
          through the Gunsmith's body.

          WESLEY (CONT'D)
          Should've studied your anatomy, fellas.
          Wesley FIRES BACK indiscriminately at the neighboring
          rooftops, lying on his back, using the.dead assassin's
          body as a shield.

          

          

          

          

          102.
          Quickly, he bucks the Gunsmith's body off of him and
          scampers for a nearby stairwell.

          ON THE ROOFTOPS:
          The assassinB-all disappear from their positions and head
          to the street.

          CUT TO:

          INT. HOSPITAL BUILDING - GROUND FLOOR - DAY

          Wesley bursts from the stairwell doorway and moves to the
          front door of the building. He clicks the empty
          cartridges out of his guns and is about to reload when he
          hears a sickening sound behind him...
          The sound of two knife blades being rubbed together...
          .and Wesley turns to f' the Butcher there waiting for
          The Butcher quickly hurls a knife, which buries in_the
          fleshy part of Wesley's shoulder 1
           Wesley ignores it and fires...
          i L

          SAM BAM! DING DING!
          The Butcher deflects them with the knives in his hands:
          Wesley goes to fire again but his firing chambers recoil,
          showing that he is out of ammo.
          The Butcher's eyes go wide...

          THE BUTCHER
          Like I told you... the blade will always
          live on.

          WESLEY
          I remember some dumb shit like that
          coming out of your mouth.
          Wesley tosses the guns in his pockets and then nulls out
          the kniZ2 in his shoulder.
          They charge each other, the blades whizzing and clanging
          off each other as each tries to gain an edge.
          The fight spills out the front door, and into...

          

          

          

          

          103.

          THE STREET:
          .the two men slashing, ducking, and moving in the
          middle of the street. -
          Wesley strikes three auick swipes acrosiLthe Butcher's
          face And forehead, filling his eyes with blood.
          The Butcher grabs his face and sees the blood streaming
          on to his hands. He tries to wipe the blood from his
          eyes, but it's just getting worse.

          THE BUTCHER
          I can't see!

          WESLEY
          But you can hear. So hear this: To cut
          the subclavian artery, hold the knife ice-
          pick style...
          Wesley lunges and the Butcher is defenseless to stop it.

          WESLEY (CONT'D)
          ...and thrust down behind the clavicle,
          cutting side to side.
          He does just as he describes and the big guy topples over
          as his gore spills out into the street.
          But before he can gloat, Wesley realizes his new
          predicament...
          He's standing in the middle of the street, and at one end
          is the chef, and at the other is the Gardener. To make
          things worse, directly across the street from Wesley is
          the Pharmacist, and each has a gun on him.

          THE PHARMACIST
          Three on one, mate. You're out of ammo.
          And you're in a part of the map with no
          Fraternity stashes.

          (LAUGHS)
          That's what I'd call a real ball ache.
          For a moment, Wesley stands there, sizing up the
          situation. His eyes swivel from the Gardener to the Chef
          to the Pharmacist.
          Just then, the buildings ound all of them go black.,
          just like in cross's model! Wesley's eyes fall on the on
          the red corner of the nearest building, a cement block
          making up a decorative support column in front of it.

          

          

          

          

          104.
          Wesley smiles.

          WESLEY
          I'm working off of a different map.
          With that, the world goes back 12 its natural colorB, and
          he races for the building, jumping up onto and over a
          Lexus parked at the curb. The three assassins fire
          relentlessly at him, but their bullets slam into the car,
          smashing it to bits... as...
          . on the other side of it, Wesley goes into a slide just
          as he reaches that cement block... affixed to it is a
          small SILVER CROSSI Wesley slaps his hand on the Cross
          and the cement block mechanically opens, revealing: a new
          pair of sophisticated MA ISHIS I
          As his adversaries converge on him, Wesley takes the
          guns, spins, splits both hands apart and we...

          SPLITSCREEN:
          ...to follow both of his bullets in flight.

          ON THE LEFT SIDE OF THE SCREEN:
          .THE BULLET from the left gun heads for the Chef. He
          tries to drop down, but the bullet curves downward, it
          pierces his body... and...

          INSIDE HIS BODY:
          We see the bullet ricochet off of one of his ribs-exit
          his side and head for the Pharmacist, while...

          ON THE RIGHT SIDE OF THE SCREEN:
          ...the bullet from the right gun heads for the Gardener,
          who moves fast to fire his own gun, but the bullet
          catches him in the wrist, knocking his gun out of his
          hand, and...

          INSIDE THE WRIST:
          . it hits the Gardener's scaphoid bone, ricocheting out,
          also, right at the Pharmacist...

          THE SCREEN RETURNS TO NORMAL:
          .just as the two bullets come together...

          THE PHARMACIST
          Bugger.

          

          

          

          

          105.
          hitting the Pharmacist on both sides of-his head,
          before he can even react.
          Wesley watches a pink spray shoot out from both sides of
          the Pharmacist's head as he falls to the asphalt, dead.
          But Wesley's not through, he moves over to the Gardener
          and rolls him over.

          WESLEY
          Where is he?

          THE GARDENER
          Where it started..
          BAN! Wesley ends it for the Gardener.

          EXT. ROOFTOP - DAY

          We've seen this place before. It's the same roof where
          cross took out the second head of
          The door is kicked open and Wesley walks out, eyes
          blazing.
          Sloan is waiting for standing t feet away,
          holding his father's pearl-handled gun, trained right on
          Wesley's head.

          SLOAN
          Can't say I don't have a sense of irony.
          The place I first decided to bring you
          in.
          Wesley is clutching his wounded shoulder with his wounded
          hand as blood starts to seep out of it in big red drops.

          SLOAN (CONT'D)
          You once asked why I helped hide you as
          an infant... It gave me power, Wesley'.
          Power to become a head of the Fraternity.
          Power over your father. And ultimately
          it gave me you: the perfect weapon to
          kill your father.

          WESLEY
          But now you have to dispose of the
          weapon.

          SLOAN
          In some ways it pains me to do so. You
          460 are like the son I never had.

          

          

          

          

          106.

          WESLEY
          Fuck you.
          Sloan's eyes narrow.

          SLOAN
          Fine. Keep your worthless dignity.
          You're still just the same loser we
          plucked off the street six weeks ago.
          Wesley continues to bleed, taking this in. Sloan laughs
          derisively.

          SLOAN (CONT'D)
          You can't win, Wesley. The Fraternity is
          everywhere. Even if you kill me others
          will come from other cities to take my
          place. You'll be hunted your whole life.

          (BEAT)
          But that's not gonna happen. Like I told
          you before, when we are called, death is
          as certain as the sun.
          Wesley stands as straight as he can muster. The two men
          face each other like two gunmen on Main Street in Dodge
          city... an old newspaper even blows through like a
          tumbleweed.
          And we are close on Wesley's face. act it i the
          same shot from the opening of the movie.

          WESLEY
          Six weeks ago, I was ordinary and
          pathetic.
          We see now that his healthy hand is inching away from his
          bleeding arm, reaching into his sleeve...

          WESLEY (CONT'D)
          But not today.
          With that, he nulls out the matching pearl-handled gun,
          the twin-brother of the one Sloan is holding, and they
          both open fire...
          .Wesley shoots Sloan's bullets out of the air and Sloan
          does the same. Just like he did with h' father.
          .But Sloan is good, and one of the bullets finds it's
          mark, hitting Wesley sSMarely in the same arm that took
          the knife.

          

          

          

          

          107.

          WESLEY (CONT'D
          Uhhh!
          He can't raise his arm, it's useless, but he's come too
          damn far to stop now... he flips his gun from his good
          hand to his bad hand and manages to keep FIRING!
          Then Wesley does something unexpected... he starts
          sprinting straight at Sloan, still knocking his bullets
          out of the air...
          He closes the gap... ten feet... five feet...
          ..a surprised and worried expression now spreads on
          Sloan's face,.like what is this kid doing?
          But Wesley is not stopping, he shoots the gun out of
          Sloan's hand and then closes on him, tackling him off his
          feet!
          They go flying right over the edge of the building.
          Wesley's able to grab on to a railing cable and stop
          himself...
          ..but Sloan is going to go over.
          At the last moment, Sloan reacher. for-something.
          anything. and grabs one-handed the barrel of
          Wesley's gun...
          For a moment, they dangle there in this precarious
          position, looking each other in the face. Sloan can't
          believe he's been bested by this kid.

          SLOAN

          (SNARLS)
          Go ahead and shoot me, killer. Just like
          you did your old man.
          Wesley's finger starts to squeeze the trigger, but then
          he smiles...

          WESLEY
          I'm done with this life. Just like my
          father.
          And with that, Wes1gy drops the n out of his h

          FROM TWO HUNDRED FEET BELOW:
          We watch Sloan's body fall through the sky...

          

          

          

          

          108.
          ..down, down, down...
          .until it SMASHES into the sidewalk, splattering like a
          grapefruit.

          ON THE ROOFTOP:
          Wesley rolls over on to his back, looking up at the
          darkening sky.

          WESLEY (V.O.)
          It's true. Six weeks ago I was ordinary
          and-pathetic. Just like you.
          He sits up, moving OUT OF FRAME.

          CUT TO:

          EXT. CITY STREET - DAY

          The place is now blanketed with cops, looking at the dead
          bodies, trying to make sense of what happened.

          WESLEY (V.0.)
          But I've learned something in that time.
          I've learned about the man who made me.

          EXT. DOWNTOWN CORNER - DAY

          Cope stand on the street, handing out pictures of Wesley,
          asking pedestrians if they've seen this man.

          WESLEY (V.O.)
          I've learned about the man I am.

          INT. POST OFFICE - DAY

          Patrons stand in line at a post office, but the'CAMERA
          PUSHES PAST THEM, finding a black and white "WANTED"
          poster of Wesley, describing all the killings he's
          responsible for. It holds tight on the picture.

          WESLEY (V.0.)
          I've learned that all of us are unique,
          even though sometimes we're too fucking
          blind to see it.

          EXT. RESIDENTIAL STREET - DAY

          The door to the safehouse opens, and Anna, Wesley and
          Andrew step out into the bright sunlight. Wesley is
          carrying his little brother.

          

          

          

          

          109.
          They turn and head up the street, toward the eastern sun.
          The CAMERA RISES UP, UP, UP, where it hovers for a
          minute... and just when we think it is going to leave the
          planet...

          WESLEY (V.0.) (CONT'D)
          And I learned, the easiest place to hide
          is in plain sight.
          .it comes back DOWN, DOWN, DOWN, until it finds...

          INT. TYPICAL INSURANCE OFFICE - DAY

          ..Wesley sitting at a computer in the middle of another
          cubicle maze, pecking away at his keyboard. A sign
          attached to one wall reads: "SAN ANGELO INSURANCE
          ASSOCIATES: Setting the Bar Highl"
          Office workers mill about in their drab suits and ties,
          wishing they were anywhere else.
          A pretty RECEPTIONIST comes over to Wesley's desk.

          RECEPTIONIST
          You're the new guy, huh?

          WESLEY
          Just started last week.

          RECEPTIONIST
          Where'd you move here from?

          WESLEY
          All over the place, really. Nothing too
          exciting.

          RECEPTIONIST
          Well, welcome to the team. Just watch
          out for Brokaw. He'll stab you in the
          back first chance he gets.
          Just then, a harried man, BROKAW, comes storming up.

          BROKAW
          Jesus, Connie, don't you have some faxes
          to get to?
          The receptionist hurries away, making a face as she does.

          BROKAW (CONT'D)
          Laziest skirt I ever hired. But nice fun
          bags, I'll give her that.

          

          

          

          

          110.
          He leans over Wesley's desk, right in his space.

          BROKAW (CONT ' D )
          Jim, right?

          WESLEY
          Yes, sir.

          BROKAW
          Listen, Jim, I don't want to get started
          off on the wrong foot here, but we.have
          numbers to make and if we don't make
          those numbers, it's my ass on the line.
          And if my ass gets chewed out by
          regional, I can guarantee.that your ass
          is gonna be Purina doggy chow. Now I'm
          not sure how they ran things...
          Wesley stares at that mouth zeroing in further and--
          further, until the words become gibberish, just like they
          did with Janice.
          Wesley catches himself and snaps out of it, just in time
          to hear...

          BROKAW (CONT'D)
          .so do we understand each other?

          WESLEY
          Of course.

          BROKAW
          Good boy.
          With that, he hurries away, his pants riding so high up
          his ass that they look like they may burst at any second.
          Wesley stares up at the clock on his monitor: it reads
          11:15. He stands up, stretches, and makes his way to the
          receptionist's desk. She looks up, bites her lower
          lip...

          WESLEY
          You want to take a break with me?

          RECEPTIONIST
          Sure!
          She stands and they move toward the elevators, waiting
          for the doors to open.

          RECEPTIONIST (CONT'D)
          You know, we don't usually get breaks.

          

          
          Just then, the elevator doors DING.

          WESLEY
          Well, you'll find there's nothing "usual"
          about me.
          They climb in.
          THE CAMERA PUSHES IN TIGHTER AND TIGHTER on Wesley's
          face...

          WESLEY (V.O.)
          This life is ours, to make of it what we
          can.
          .until it fills the screen, looking just like the shot
          of Wesley we started with. And then a sly smile spreads
          across his mug...

          WESLEY (V.0.)
          I think I'll give it a shot.
          .and as the doors close, we officially...

          FADE OUT.