Lost Meaning of Loyalty

LOST MEANING OF LOYALTY
Written by
David Brautigam
Davidbrautigam44@gmail.com
503-539-9758
SUPER: “THE ONLY PEOPLE I OWE MY LOYALTY TO ARE THOSE WHO
NEVER MADE ME QUESTION THEIRS.”
EXT. FOREST - DAY
Far and wide, in a clump of trees multi-colored lights are

reflected. We see policemen staggered, setting up a perimeter
while search dogs roam for a scent.
On top of the hill, scanning below, is CAPTAIN PHILLIPS, 50,

with a mustache, dressed in slacks and a blue police jacket.
He sips a cup of coffee to cover up the liquor.
A blood trail lures us down to a creek. A few feet farther, a

MAN’S BODY is laid against a tree stump. Two bullets lodged
in his stomach and head. The body with a purple tint.
DETECTIVE MACLEMORE is young and polished. He crouches down

analyzing the body.
DET. MACLEMORE
God Damn it. It’s Michael Mosley?
CPT. PHILLIPS
Who found the body?
DET. MACLEMORE
I don’t know. Ask Gibs, he was the
first one on the scene.
CPT. PHILLIPS
Get the coroners down here.
DET. MACLEMORE
How the fuck did this happen?
From a bird’s eye view: Now, above the trees we see the
massive city of Los Angeles.
SUPER: LOS ANGELES
INT. COURT ROOM - DAY
A handsome PROSECUTOR speaks to the jury. He holds a 45 high

in the air, labeled for evidence.
Mob Boss FRANK CALLIGEN, 70, skinny, with a gritty face, and
a few pieces of jewelry, leans over and whispers in the ear
of his Defense Attorney.
A greasy SNITCH sits with his ATTORNEY.

2.
ATTORNEY
...and tomorrow, when testimonies
are allowed to be heard you will
learn that Frank Calligen has not
only made an attempt on my client’s
life, a witness with information to
lock Frank up for a hundred years,
but you will also learn that Frank
Calligen is responsible for the
deaths of many other people, as he
acted as a hitman for our beloved
Governor JOHN LONGMIRE... Frank’s
role was to cover up the mistakes
of corrupt politicians that drain
the humanity and trust from our
society. And if you can’t trust our
Governor, who has the highest
position in the state of
California, then who can you trust?
These are the facts you will learn
tomorrow morning, once testimonies
are allowed to be heard.
In the back of the court room, JOE MOSLEY, six foot with
broad shoulders, dressed in a dark blue suit, with a legal
pad, chewing on his eyeglasses, with a twinkle-eyed
confidence.
JOE (V.O.)
The judicial system... what a joke.
It's become more of a technicality,
than an honor. They let anyone
swing a gavel nowadays.
The Judge slams the gavel and the Snitch is escorted away.
EXT. POLICE ACADEMY FACILITY - DAY
A YOUNGER JOE MOSLEY, in his 20's, jogs in the pouring rain.

Trainees in blue academy shirts are soaked. TOMMY MCCARLEY,
athletic build and clean cut, is running next to Joe. They
are best friends.
JOE (V.O.)
So... as long as you were willing
to work for it, they made it easy
to get your hands on a badge.
3.
EXT. HIGHWAY OVERPASS - DAY
Police cars have pulled over a white van. We see men laid
face down on the ground. Joe and Tommy are dressed in police
uniforms, confiscating a suitcase of cocaine.
JOE (V.O.)
We ran the streets, and everyone
knew it. It was like a free pass to
do whatever you wanted.
EXT. JAIL/BACK ENTRANCE - DAY
Tommy is waiting. The back door opens. The Snitch from the
court room emerges. A Guard hands the Snitch over to Tommy.
JOE (V.O.)
The system was corrupt. Some just
got caught and some didn't.
EXT. DARK STREET CORNER - NIGHT
Hookers sluggishly roam the sidewalk. A black car with

governmental plates pulls up. The tinted windows roll down
and it’s the Governor of California, JOHN LONGMIRE. He leans
forward to select his whore for the night.
JOE (V.O.)
Our government, our core, this
constitution people have bled for.
These are the ones we’ve empowered
and put our trust in.
EXT. MOSLEY’S HOUSE/PORCH - NIGHT
We see three boys, about 12, sitting on the porch smoking

their first cigarettes. They cough relentlessly. They look
out at the street while a police car pulls over a drunk
driver. The COP rips the man from the car and begins beating
him.
JOE (V.O.)
I remember sitting outside my porch
watching a cop almost beat a man to
death. But, who was going to stop
him? No one ran to the rescue, cuz
they knew it wouldn’t matter. This
guy was a cop, a policeman, sworn
in by the same worthless judge, who
was protected by the same worthless
laws.
4.
The boys appear to be entertained.
INT. POLICE ACADEMY FORUM - NIGHT
All the Trainees are dressed in formal suits, while family

members smile with enthusiasm (this is a continuation of Joe
and Tommy’s trainee days). Three years later and graduating
Joe and Tommy isolate themselves at a table. They don’t like
regular cops.
Captain Phillips speaks at the podium.
JOE (V.O.)
These guys got a shield pinned to
their chest that made them
untouchable. The same shield that
cost two dollars and fifty-five
cents to make down at the local
trophy shop. But it was that same
cheap engraved metal that reeled me
in.
Captain Phillips pins a shield to Joe and Tommy’s jacket.
EXT. NEIGHBORHOOD STORE - DAY
JOE stands in the doorway smoking a cigar, dressed as a

pedestrian. Two men brawl out in the street while a half-
dozen hoods watch and place bets. This is where Joe grew up.
A car pulls up and parks. It’s Mob Boss Frank Calligen. Joe
and Tommy greet him with a firm hand shake.
JOE (V.O.)
We were kids from the block. South
side Los Angeles. We ran with all
types of crews, made guys, even the
bosses. My dad, God rest his soul,
used to be an earner for Bugsy
Siegel and Lucky Luciano, back when
we lived in New York.
EXT. FUNERAL BURIAL - DAY
Several umbrellas surround a casket. Joe and Tommy in police

suits, segregated from Captain Phillips, Detective Maclemore,
and the rest of the department.
A LITTLE BOY hands a folded American flag to the grieving

WIDOW.
5.
JOE (V.O.)
Thing was, I didn't want to be
someone’s earner. I decided at a
young age I wanted to be a cop.
Riflemen fire off a “twenty-one gun solute.”
EXT. MOSLEY'S HOME/PORCH - NIGHT
The Cop continuously beats the Drunk Driver in the middle of

the street, while the young boys sit on the porch captivated.
JOE (V.O.)
Not just any cop, I want to be the
kind that beats the shit out of a
man in front of the neighborhood
while everyone else stands around
watching.
INT. DEALER'S HOUSE - DAY
Police Officers smash down the front door. Joe and Tommy in
their task-force jackets, clear the house.
Police Officers rip off the bed mattresses. Bricks of cocaine

are hidden under the frame. Joe and Tommy look over at each
other: they see an opportunity.
INT. MOSLEY'S HOUSE/KITCHEN - NIGHT
On top of an 80’s old-fashioned yellow table, we see several

bags of baking flour. Joe is pouring flour in bags and
packaging it.
INT. EVIDENCE ROOM/HALLWAY - NIGHT
Joe and Tommy meet up with a security guard. They push

forward a cart of packaged cocaine (flour). This is routine.
JOE (V.O.)
We knew how to make everything look
legit. We also knew how to package
it, and repackage it. But, the best
part was selling it back to the
general public. That’s where the
money was.
Tommy gives the payoff money to the security guard.

6.
INT. POLICE HEADQUARTERS - DAY
From the second floor balcony, Captain Phillips looks down at

Joe and Tommy, working at their desks.
A Teenage Boy walks in and heads directly over to Joe,

whispering something in his ear.
JOE (V.O.)
Shit, they liked us; we were part
of a special task force. But, the
main reason they liked us was: we
were connected.
Joe looks up at Captain Phillips with a cocky smirk.
EXT. CAR - DAY (MOVING)
Tommy is driving. Joe in the passenger seat. The Snitch sits

in the back seat in handcuffs. Sweat drips from his forehead.
We approach a rusty bridge. An entourage of men standing

around. Frank Calligen is amongst the entourage. Frank is the
most important guy here.
JOE (V.O.)
Nowadays, with all the wire taps,
FBI agents, and guys in the crew
softer than marshmallows... these
days guys would just rat. For what?
They couldn’t do the time, a couple
years in prison. Everyone was weak,
every fuckin’ one of em’.
ON THE BRIDGE
Tommy drags the Snitch like a dog on a leash.
Joe steps forward and shakes Frank’s hand. Joe turns and
uncuffs the Snitch, handing him over to Frank.
Frank and the Snitch begin walking across the bridge. The
conversation they have appears to be about business. Frank
puts his arm around the Snitch’s shoulders in a civil manner.
JOE (V.O.)
Guys like this had to be made into
an example. There was no loyalty
anymore. It was all a rough draft,
a mocked up version of what the old
days used to be.
7.
Frank, suddenly grabs the Snitch by the collar and tosses him
over the side of the bridge.
JOE (V.O.)
So I decided to be part of
something bigger ... the biggest
gang in Los Angeles, the Los
Angeles P.D.
The Snitch’s body slams into swerving freeway drivers. It is

gruesome.
INT. MOSLEY'S HOUSE/BEDROOM - NIGHT
Spread out naked along the bed, Joe’s queen, more beautiful
than you could imagine, KATHLEEN MOSLEY. What an amazing
sight.
Joe stands in the doorway with a loosened tie, methodically

unbuttons his shirt. He sits on the bed and opens the drawer
to the night stand. Then pulls out a tray, leans down and
snorts some cocaine.
SUPER: LOST MEANING OF LOYALTY
EXT. PRISON GATES - DAY
The handsome face of MICHAEL MOSLEY appears (the body from

the forest). He is dressed in blue jeans, a white tee, and
outdated shoes. He steps out into the sunlight, free, but
owning nothing.
Across the street: Kathleen Mosley in a beautiful white dress

and red heals. Kathleen waves her hand high in the air. She
stands with Joe Mosley, like Bonnie and Clyde.
Michael is hesitant but walks over.
INT. JOE’S LINCOLN CONTINENTAL - DAY (MOVING)
Joe is driving. Kathleen is up front. Michael in the back.

There is an awkward silence as we maneuver through the back
roads.
MICHAEL
So how’s mom?
JOE
She's good. Yeah, she's good,
she'll be happy to see you.
8.
MICHAEL
Everything looks different.
JOE
It’s the same crumb eaters trying
to claw their way to the crown.
Don’t worry, it will all look the
same.
MICHAEL
I feel so removed from this place.
Joe squints and looks back in the rearview mirror, like he’s
driving through his domain.
JOE
It will be good to be around family
again.
Michael stares at Joe with sympathy and compassion.
MICHAEL
Yeah, it’s been way too long.
KATHLEEN
(turns around)
We missed you, Michael. We’re
excited to have you back.
MICHAEL
Thanks Kate. I missed you too.
It becomes silent again.
INT. MOSLEY'S HOUSE/LIVING ROOM - DAY
Michael is pacing around viewing the family photos. This

place is familiar. He walks over to a collection of family
pictures. Michael is only found in one. A picture with Joe
and their Father.
He looks up to see... Tommy McCarley walks through the door.

He is slightly hyper-active, ready, but his daily doses of
alcohol mellow him out.
MICHAEL
Hey, Tommy.
TOMMY
Mike, man. I heard today was the
big day. Sorry I couldn't be there.
I had some shit to do...
9.
MICHAEL
Don’t worry about it. It’s not a
big deal.
Tommy gives Michael a hug.
TOMMY
It’s good to have you here. Where’s
the rest of the crew?
MICHAEL
Back in the kitchen, I think.
TOMMY
(arm around Michael)
Come on, let’s go find em’.
BACK IN THE KITCHEN
Michael and Tommy walk in through the swinging door.
Preparing dinner, SUSAN MOSLEY, 60’ish, mildly pretty, but

her chain-smoking, adolescent drug years overshadow her
motherly charm.
Kathleen and Joe sit at the OLD-FASHIONED YELLOW TABLE, which

stands out from the decent interior design. The table must
have sentimental value.
SUSAN
(to Michael)
Well, you going to sit?
KATHLEEN
Michael, do you want something to
drink?
MICHAEL
No, I’m ok.
Michael eases into his seat.
JOE
(to Kathleen)
Get him a drink.
MICHAEL
I’m good.
JOE
Take a drink.
Kathleen pours three glasses of scotch.

10.
JOE (CONT’D)
(holds his glass up)
To having Michael back home.
TOMMY
Missed you man.
KATHLEEN
Welcome back Michael.
They drink.
Susan brings food to the table.
SUSAN
Here’s your favorite, chicken
alfredo.
MICHAEL
It’s lasagna ma, lasagna’s my
favorite. It’s ok though, thank
you.
Susan slightly embarrassed.
SUSAN
Probably the best meal you’ve had
in awhile.
TOMMY
(whispers to Michael)
Don’t worry. She’s not very good at
expressing herself.
SUSAN
Shut the fuck up Tommy.
KATHLEEN
Tommy don’t get yourself in trouble
again.
SUSAN
Joe, take Michael over to Frank’s
some time tomorrow. He knows
Michael’s out.
MICHAEL
Frank’s? Why?
JOE
He just wants to talk.
MICHAEL
You sure about that?
11.
JOE
Yeah, I’m sure.
TOMMY
Frank’s got a few legit businesses
now. He’ll probably get you a job
at his construction site, if you
want it.
MICHAEL
Working for Frank; are you serious?
SUSAN
You need money don't you? Ex-cons
don't get to pick and choose.
MICHAEL
Great, I've been home five minutes
and I have to hear this shit?
SUSAN
You're lucky to be back in this
house at all... or breathing for
that matter. If it weren’t for your
brother...
Michael stands up to leave.
JOE
Sit down. Sit the fuck down. You’re
going to see Frank tomorrow and Ma’
stop the bullshit.
MICHAEL
Fine, whatever. Can I use the
bathroom... that ok?
JOE
Yeah, do what you gotta do.
MICHAEL
Oh, thanks boss.
We see Michael walk down a narrow hallway. For some reason we

focus on the dark hallway longer than want.
JOE (O.S.)
Ma’ give em’ a break, ok?
INT. BAR - DAY
A sexy Drunk Girl dances.

12.
Joe, Tommy, Michael, and Kathleen sit in a booth. It is late.

The bar is closing.
TOMMY
...remember when we chucked eggs at
him, and he slipped and broke his
arm? I couldn’t believe that. I
laughed so fucking hard.
JOE
I didn’t toss any eggs.
MICAHAEL
Bull shit. You were the ring
leader.
JOE
Ok, fine, it was my fuckin’ idea.
How the hell do you remember that
shit? We were like ten years old.
TOMMY
Told you, it was his idea.
Tommy, mid-laugh, notices two REGULARS in their 30’s, sitting

at the bar. They continue to peek over.
Tommy walks over.
TOMMY (CONT’D)
You need something?
REGULAR #1
No, we’re good.
REGULAR #2
(looking at Michael)
So, Tommy, when did we start
hanging out with mother fuckers
like this again?
TOMMY
I’d tone it down if I were you.
REGULAR #2
Fuckin’ Joe and his bullshit. How
does anybody know Michael didn’t
say shit? What we’re supposed to
trust em’ just because he’s out
now? Come on.
TOMMY
I already said tone it the fuck
down.
13.
REGULAR #1
Yeah, ok Tommy. Sorry to mess with
your family reunion over there.
TOMMY
You fellas, have a good night.
REGULAR #2
Yeah, fuck you too Tommy.
TOMMY
What was that?
REGULAR #1
Oh, nothin’.
Tommy walks back to the booth.
GUY #1 (O.S.)
Come on Tommy, we’re all friends
here.
Tommy sits back in the booth. He looks at Joe, pissed.
JOE
What was that about?
TOMMY
Nothing, we’ll talk later.
INT. BAR - NIGHT
It is late. The bar is clear and things have settled down.
Michael is making out with the dancing Drunk Girl.
Kathleen is at the bar.
KATHLEEN
(looking over at Michael)
He deserves a little bit of that.
Kathleen leans over, sexy, and kisses Joe.
KATHLEEN (CONT’D)
I’ll see you at home.
JOE
All right.
KATHLEEN
Tommy, you watch him.
14.
TOMMY
Will do.
The two Regulars take a peek at Kathleen’s sexy ass, and Joe
takes notice.
EXT. PARKING LOT - NIGHT
The bar is closed.
Regular #1 and Regular #2, stumble out to their cars.
Joe and Tommy appear from the shadows.
REGULAR #2
Oh, shit. You scared the fuckin’
shit out of me.
REGULAR #1
We forget something?
TOMMY
Earlier... sounded like you had
something real important to say to
Joe.
REGULAR #1
Tommy, you know I didn’t mean that
shit, I’m fucking drunk.
JOE
That’s convenient. Now that I’m
standing right in front of you.
REGULAR #2
Joe, why are so angry all the time?
Look at what you get to go home to.
JOE
What did you say?
REGULAR #2
I mean, you get to go home to that
fine piece of ass... and me and
this guy, get to go home to
nothing.
JOE
What the fuck did you just say?
Tommy scans the parking lot for witnesses. He knows Joe like
the back of his hand.
15.
REGULAR #2
Seriously, Kathleen’s ass is
like...
Joe lunges forward. He drops Regular #2 to the ground. Then

beats him repeatedly, over, and over, and over. We hear the
BONES start to CRACK in his face.
Tommy tries to pry him away.
REGULAR #1 (O.S.)
Joe stop, you’re going to kill him.
Tommy finally tares him away. We look down upon Regular #2,
motionless and face gruesomely beaten. Tommy reaches down to
check for a pulse.
TOMMY
He’s dead.
Regular #1 makes a break for it, but Tommy chases him down,
tackling him to the ground.
Joe swaggers over with a hint of remorse and fury, realizing

what he’s done.
Tommy looks over at Joe.
TOMMY (CONT’D)
Fuck, Joe. What are we going to do?
Joe nods over to Tommy: you know what to do.
Tommy internally second guesses Joe’s actions (but honors the

code of brotherhood), walking over to his car, opens the
door, and reaches into the glove compartment. He returns with
a suppressor.
Joe screws the suppressor to the tip of his gun. Tommy scans
the parking lot once more for witnesses.
REGULAR #1
Joe, please, I, I, I didn’t do
anything... Joe, please.
JOE
Your friend should have shut his
fucking mouth... so you could both
go home to nothing. And now ...
Joe raises his gun. BANG!

16.
JOE (V.O.)
What we did, and how we did it, was
complicated. But what we had was
thicker than blood. Which was an
unwavering sense of loyalty.
EXT. SUBURB - DAY
We are in a good neighborhood. Joe and Tommy dressed in

uniforms, sit in their squad car, bored.
JOE (V.O.)
But half the time we had to play
cop; shit, we had to; perception
was reality.
INT. STASH HOUSE - NIGHT
Joe and Tommy watch money zip through a currency-counting

machine. Money is stacked everywhere. Kathleen sits on a box,
head bent down, snorting a line.
JOE (V.O.)
Of course we had our pay off money.
Money bought us control and power.
INT. HOUSE - DAY
We recognize Will BRAKOSKI (the guard from the court room who
handed the Snitch over to Tommy). He is wasted. A stripper in
a g-string dances and straddles him.
JOE (V.O.)
Then we also had our guys we came
up with through the academy. They
were our eyes and ears. Basically
the blood line and heart beat of
our organization. We made sure at
the end of the month, their
envelopes were ah little thicker.
EXT. FIELD - DAY
Not a soul in sight. Joe and Tommy heave two bodies (Regular
#1 and #2) into freshly dug ditches.
Joe and Tommy look down upon the ditch. We see the bloody
bodies of Regular #1 and #2. Tommy pours gasoline and flicks
his cigarette, smoke rising from the ground like steam from a
boiling pot of stew.
17.
JOE (V.O.)
But... honestly... intimidation...
now that, that’s what we were
really good at.
INT. MOSLEY’S HOUSE/BATHROOM - DAY
Michael is kneeled down on the linoleum floor, puking in the

toilet. He cleans himself up and looks in the mirror: not
particularly happy with the reflection.
INT. MOSLEY’S HOUSE/HALLWAY - DAY
Michael is walking. We hear noises coming from the bedroom.

The door is cracked open. Michael inches forward to see
through the crack. We see Kathleen riding on top of Joe,
fucking his brains out. Kathleen looks back, seductively, and
notices Michael watching. She enjoys the audience.
INT. LINCOLN CONTINENTAL - DAY (MOVING)
Joe is cruising down the street. Michael is hung over leaning

against the passenger side door. He cracks the window.
JOE
You get a chance to enjoy yourself
last night?
MICHAEL
Yeah, what I can remember.
JOE
You remember the girl?
MICHAEL
Yeah, I remember.
JOE
Man, that girl was like a six at
the most.
MICHAEL
It’s good I’m not concerned about
your moral compass then.
Joe with a halfhearted smile.
MICHAEL (CONT’D)
These neighborhoods still look like
shit.
18.
JOE
Remember getting high in these
alleys?
MICHAEL
Yeah. All the time.
JOE
Good, because I don’t.
They both laugh.
JOE (CONT’D)
Blacks control this area now. We
control 3rd to 24th.
MICHAEL
Sounds like someone drew ah line in
the sand.
JOE
Yeah... I drew ah line in the sand.
Joe slows down and smoothly turns the corner. Two BLACK CRIPS
occupy the corner and flip off Joe as he drives by.
JOE (CONT’D)
That’s why we drew a line in the
sand. These niggers sometimes
forget what side they’re on.
INT. LAUNDROMAT - DAY
Kathleen walks past the quarter-spending customers with her

beautiful stern face and sexy swagger. She continues towards
the curious man guarding the back door.
Kathleen walks through the back entrance.
BACK ROOM
A big-bellied, cigar-smoking MONEY COUNTER is sitting at a

table surrounded by cash. Kathleen, flirtatiously, undoes her
coat, wearing nothing but lingerie underneath. Thousands of
dollars is saran wrapped to her body.
MONEY COUNTER
Seriously right now?
She erotically peals the cash off of her body and places the
money on the table.
19.
MONEY COUNTER (CONT’D)

Are you trying to get me killed
right now Kate? Joe would cut my
balls off if he saw this shit.
KATHLEEN
Yeah, I know.
Kathleen struts away.
Across the street we see detectives on surveillance duty.
INT. RICO ROOM - DAY
(This scene will be continuous throughout)
Equipment consumes the table. Recording devices are scattered

(headphones, voice recorders, computers).
Several FBI suits lean against the wall.
The door opens. U.S. ATTORNEY HENRY PETERSEN walks in wearing

an Armani suit with a hint of entitlement. He shakes hands
with all the FBI.
Captain Phillips comes in.
CPT. PHILLIPS
Mr. Petersen, thank you for coming.
HENRY PETERSEN
Of course.
They shake hands and both look over at Detective Maclemore.
CPT. PHILLIPS
Mac. This is U.S. Attorney Henry
Petersen, and this is Detective
MacLemore. I’m not sure you two
have met.
HENRY PETERSEN
No, don’t think we have. Nice to
meet you.
DET. MACLEMORE
You too, sir.
They shake hands.

20.
CPT. PHILLIPS
Now that the FBI is here and
represented, are we ready to get
started?
Henry Petersen nods: proceed.
CPT. PHILLIPS (CONT’D)

Go ahead Mac.
We see a silhouette of an UNIDENTIFIED PERSON standing before

them, disguised in the shadows. Detective Maclemore reaches
for a recording device.
DET. MACLEMORE
(to the Unidentified
Person)
We need you to unbutton your shirt.
The Unidentified Person slowly unbuttons.
INT. OLD DINER - DAY
Joe and Michael sit in a booth. A young, hot WAITRESS that

doesn’t belong in a place like this, walks over and
approaches.
WAITRESS
Do you guys know what you want?
JOE
Yeah, I’ll get a couple pancakes
and, ah water. Actually, get me a
Coors.
WAITRESS
Do you know it’s nine o’clock in
the morning?
JOE
Emily, I know what time it is. You
ask the same questions every
fucking morning.
EMILY
Ok, shit, I’ll get your freakin’
beer, relax.
JOE.
This doesn’t have to be so painful
every time. You know that, right?
21.
EMILY
Whatever.
Emily rolls her eyes.
EMILY (CONT’D)
And for you?
MICHAEL
Let me get the ham and cheese
omelet.
EMILY
Ok, got it. And who are you?
JOE
That’s my brother Michael.
EMILY
I wasn’t talking to you.
MICHAEL
(with a smirk)
I’m his brother, Michael.
EMILY
The better looking one I see.
Emily laughs and walks away.
JOE
Go get my Coors.
MICHAEL
I don’t think she likes you.
JOE
Get outta there.
MICHAEL
What?
JOE
Your eyes were basically stuck on
her ass when she walked away.
MICHAEL
Yeah, whatever. You’re just jealous
that I’m the better looking one.
JOE
That was before big Bubba and the
showers.
22.
Joe laughs.
JOE (CONT’D)
So, seriously what have you been
thinkin’ about?
MICHAEL
Work. How I’m going to stand on my
own two feet again.
JOE
Work?
MICHAEL
Yeah, I need to get a job. Not many
people are hiring ex-cons. You
heard Ma’.
JOE
You’re worried about work?
MICHAEL
Yeah.
JOE
Really?
MICHAEL
What?
Joe scratches his face: baffled.
JOE
You have more important things to
worry about.
MICHAEL
Like what?
JOE
You gotta be fucking kidding me.
Like Frank... there’s some shit to
talk about...
MICHAEL
I was trying to avoid “the Frank
conversation” for ah couple days.
JOE
Frank wants to meet. He called
yesterday.
Tommy walks in. He finds Joe and Michael.

23.
TOMMY
Hey. What’s going on?
JOE
Always got to be late huh.
TOMMY
Sorry, Mom.
MICHAEL
Don’t worry, this guy’s just
pissin’ off waitresses.
TOMMY
Jesus, give the girl a break.
MICHAEL
See, I told you.
Tommy and Michael laugh.
TOMMY
Did we figure out when to go visit
Frank?
JOE
Yeah, we’re talking about that
right now.
TOMMY
What about Stevy McBeth?
JOE
You know Tommy... for once could
you just shut the fuck up.
MICHAEL
Stevy McBeth?
Michael with a very disturbed look...
CUT TO:
INT. CONFERENCE ROOM - DAY
All the big wigs are in attendance.
U.S. Attorney Henry Petersen and his FBI colleagues sit

around a large conference table, joined by Detective
Maclemore and Captain Phillips.
24.
Pictures are pinned to the cork board, pictures of: Frank

Calligen and his right-hand man, BOBBY O, followed by Joe
Mosley and Tommy McCarley.
Displayed on the projector screen: a picture of the courtroom

Snitch.
CPT. PHILLIPS
First I want to thank the FBI for
joining us on this. Now, as many of
you know, the witness we had on
Frank Calligen... well, his remains
were scattered all over the
highway. We are here because of the
re-emergence of Michael Mosley.
He’s back after he and Stevy McBeth
royally fucked up the hit on our
witness eight years ago.
FLASHBACK TO:
EXT. STEVY MCBETH’S CAR - DAY (MOVING)
A young prospect is driving, it’s STEVY MCBETH. He

continuously sniffles from the lines of cocaine he’s endured.
In the passenger seat, we see Michael gripping a shotgun in

his lap.
STEVY MCBETH
We shouldn’t be doing this man, I’m
telling you, we shouldn’t be doing
this. It’s fuckin’ daylight.
MICHAEL
Yeah, well, we got to, so get it
together..
STEVY MCBETH
Screw it then.
Stevy merges alongside a grey Cadillac at a stop sign.
MICHAEL (O.S.)
Get right next to him.
Michael slowly rolls down the window. He eases the shotgun

out of the window.
We recognize the courtroom Snitch is driving the grey

Cadillac. The Snitch glances over, staring down the shotgun
barrel.
25.
STEVY MCBETH (O.S.)

Fuck this.
Stevy at the last minute decides to drive away, jolting the

car. We hear a huge BANG... Michael fumbles the shotgun in
the middle of the street.
INSIDE THE GREY CADILLAC
The Snitch has been hit with shell fragments. Blood

everywhere. He screams in agony.
BACK IN STEVY MCBETH’S CAR
Stevy McBeth finds a safe alley to pull into.
Michael whips his head around.
MICHAEL
What the fuck are you doing? I had
him.
The car comes to a halt.
MICHAEL (CONT’D)
What the fuck was that?
STEVY MCBETH
I thought...
MICHAEL
Frank’s going to kill us.
Michael reaches into his coat pocket and pulls out a knife.
He leans over and stabs Stevy in the chest; Stevy somehow
scrambles to get free.
CPT. PHILLIPS (V.O)

We can definitely expect Michael to
try and resurface. There is too
much history to be ignored.
Stevy escapes and hobbles away.
INT. CONFERENCE ROOM - DAY (BACK TO PRESENT)
Captain Phillips is still amongst his peers.
CPT. PHILLIPS
We already know Frank’s reached out
to Joe. He wants a sit down.
(MORE)
26.
CPT. PHILLIPS (CONT'D)
Frank’s either going to kill
Michael for botching the hit. Or,
he stays alive for being loyal.
Either way we need to catch these
mother fuckers.
A DETECTIVE with his hand high in the air.
DETECTIVE
Sir, how do we know this?
CPT. PHILLIPS
Know what?
DETECTIVE
That Michael and Joe are meeting
with Frank Calligen.
CPT. PHILLIPS
Because we’re good at what we do.
DETECTIVE
So, where is Stevy McBeth now?
CPT. PHILLIPS
Stevy Mcbeth... he’s in Witness
Protection. They couldn’t find him
if they wanted to. Trust me.
EXT. AIRPORT - DAY
Landed. Doors to an immaculate jet open. FBI agents escort a

man down the steps, with a hood pulled over his head.
Bobby O (Frank’s right-hand) stands next to a car, waiting.

Bobby O exchanges a briefcase of money with the federal
agents.
Bobby O yanks the hood off the man: it’s STEVY MCBETH.
INT. IMPOUND - DAY
We see a junk yard with gates and barbed wire fencing making
up the perimeter, with gunman standing above the fence line
on top of impounded cars.
Joe’s Lincoln strolls up, with Tommy and Michael. The gates
open. Joe drives in, consumed by the gated fortress.
27.
IN JOE’S LINCOLN
MICHAEL
So I don’t get it... you found
Stevy in Saint Paul, Minnesota? How
did you find him?
TOMMY
We’re connected into wit-sac.
MICHAEL
You’re connected into witness
protection?
JOE
We’re connected into everything.
The Lincoln stops.
Bobby O walks over and greets Joe, Tommy, and Michael.
Frank with his arms crossed, standing sturdy, smoking a

cigar. Stevy McBeth is on his knees, whimpering and bloody.
FRANK
Michael, I’m sure you remember
Stevy?
MICHAEL
Yeah, I do.
FRANK
I wasn’t sure you were going to
show, so, a couple my guys took it
upon themselves to beat him for
awhile. If anyone can understand
that, it’s you, Michael. Vengeance
is a beautiful thing.
Blood runs down Stevy McBeth’s face.
JOE
What do you wanna do here, Frank?
FRANK
It’s what Michael wants to do.
MICHAEL
Well, I already did eight years.
What else do you need from me?
FRANK
I need a body, and I already know
Stevy will be one of em’.
(MORE)
28.
FRANK (CONT'D)
Adding another to the pile doesn’t
make a difference to me, son.
JOE
Frank, I need a minute with my
brother.
Joe grabs Michael by the jacket.
JOE (CONT’D)
(whispering to Michael)
Do whatever he wants, and get this
shit done, or we’re not leaving
this junk yard alive.
They walk back over.
BOBBY O
Get things straightened out?
JOE
Yeah.
FRANK
So, what’s it going to be?
Bobby O hands a 38 to Michael. Michael needs a minute to

contemplate... he looks at Stevy.
STEVY
(whimpering)
Michael, please don’t do this. I
was dumb, I was high, I’m sorry. I
should’ve never drove away. I’m
sorry man.
Michael looks down at Stevy McBeth.
FRANK
It’s called closure Michael.
Michael glances over at Frank with a look that says “go fuck
yourself.”
MICHAEL
Walking out of those prison gates
was my closure.
FRANK
Three years shy of your full
sentence. Want to tell me how you
pulled that off?
29.
JOE
Watch the line you’re about to
cross Frank. My brother’s
sacrificed a lot for you. Be
fuckin’ careful.
Michael once again looks over at Stevy.
MICHAEL
Stand him up.
Frank’s soldiers stand Stevy upright.
MICHAEL (CONT’D)
Be nice to see you do your own
dirty work someday, Frank.
Michael looks at the 38 in his hand.
MICHAEL (CONT’D)
(to Stevy)
I’m sorry man. But, this should
have been done a long time ago. You
left me out to dry like it was
nothing.
Michael stuffs the 38 in his waist band and pulls out a

familiar five inch pocket knife.
STEVY MCBETH
Michael, I fucked up... please.
MICHAEL
I know you did. That’s why we are
where we are.
Michael’s eyes begin to water. We can see the inner struggle.
MICHAEL (CONT’D)
I’m sorry.
Michael takes a few slow steps forward.
TOMMY (O.S.)
Fuckin’ rat.
BANG -- BANG -- Bullets pierce through Stevy Mcbeth’s chest.

His body drops.
Joe and Tommy stand over the body pointing their 45’s...
JOE
We good now, Frank?
30.
FRANK
This wasn’t how it was supposed to
go down, Joe.
JOE
The agreement was he was supposed
to die. There... he’s fuckin’ dead.
I’m not letting my brother do
something that makes him go back to
where he just came from.
FRANK
I’m not fully convinced.
JOE
You better be convinced because
this is all you get. You got a body
and eight years of my brother’s
life. We can’t afford any more than
this. So, this is going to have to
do.
FRANK
Joe, you’ve always been the bold
one. It always surprises me that
you’re still standing.
Bobby O gives a sports bag (filled with money) to Joe and

Tommy before they leave.
BOBBY O
This should help make up for your
troubles.
INT. CHURCH - DAY
Lower-class-citizens attend every Sunday, underneath the dome

shaped ceiling, with dark dim lighting and worn aisles
seating.
Kathleen and Susan listen to the Pastor give his sermon.
Joe is meeting with two NEIGHBORHOOD EARNERS. Michael sits in

the back, isolated, pale, and dejected. Tommy slides in next
to Michael.
TOMMY
Hey, Stevy had it coming. We all
know that.
31.
MICHAEL
Yeah, I know. I just imagined that
moment forever. And I still feel
the same as I did yesterday.
TOMMY
Stevy ain’t feeling shit though.
MICHAEL
Yeah.
From the stage: the Pastor recites a passage from the Bible
(Deuteronomy 20:4).
PASTOR (O.S.)
For the Lord, your God is he who
goes with you to fight for you
against your enemies...
(fades)
EXT. CHURCH - DAY
The church doors open. The Mosley’s and Tommy stride out
through the doorway and down a grand flight of steps. At the
bottom we see LEAH MILLER, 5’7, dark brown hair, gorgeous
eyes, but her innocent and modest dress cover up her
sexiness. She looks up at Michael with her priceless but
reserved smile.
Michael immediately walks over.
MICHAEL
Hey.
LEAH
When did you get out?
MICHAEL
Couple days ago.
LEAH
Yeah, I know, I had to hear it from
some friends.
MICHAEL
I’m sorry about that. I’ve been
trying to find a job and get some
things squared away.
She stares at him.
LEAH
I tried writing you.
32.
MICHAEL
Honestly I didn’t write to anyone.
LEAH
Well, you look like crap.
MICHAEL
(laughs)
Oh, thanks. Hey, can we catch up,
maybe get something to eat?
LEAH
Yeah, I would like that.
MICHAEL
I have some stuff to do, but how
about later tonight?
LEAH
Fast mover.
Tommy and the rest of the Mosley family stare down at them
from the top of the steps.
KATHLEEN
I can’t believe she stuck around.
That’s impressive.
TOMMY
You would’ve bailed on Joe a long
time ago.
KATHLEEN
Shut up Tommy.
Leah looks up at the family.
LEAH
They appear overly enthusiastic
about life as usual.
MICHAEL
It’s hard to be enthusiastic right
now.
LEAH
Is everything ok?
MICHAEL
I’m just glad I got to see you.
LEAH
Me too, Michael. I missed you.
33.
Leah kisses Michael on the cheek, as she glances up at the

Mosley family once again.
MICHAEL
I’ll call you later tonight.
LEAH
Yeah, ok.
Michael smiles, knowing his families wrath is awaiting.
EXT. RESTAURANT BAR - DAY
The regulars are territorial, chain smoking, drinking, and

uneasy.
Frank Calligen impatiently waits in a corner booth. Bobby O

stands post.
A bald man comes in with his soldiers by his side. It’s JAVAN
ALLEN, 50, fit, strong, dressed well wearing a blue shirt
with ice hanging from his wrist and neck. Javan is the
founder of the Crips.
JAVAN ALLEN
How the fuck’s it goin’ Frank.
FRANK
Javan.
JAVAN ALLEN
So... where’s Stevy?
FRANK
What do you mean where’s Stevy?
JAVAN ALLEN
I mean, where the fuck’s he at? I
hear he’s back in L.A.
FRANK
I think you got the wrong birds
chirping in your ear.
JAVAN ALLEN
You promised me Stevy, man. I’ve
been waiting eight years. Remember
man, you ain’t the only one he
talked about up on that stand.
FRANK
He’s still in witness protection.
34.
JAVAN ALLEN
I hope you’re telling the truth.
Cuz if not, we can go back to
gangsters killing gangsters.
FRANK
The last time we had a war, you ran
to me and Joe. Remember that?
There’s a reason you can walk
around puffing out your proud black
chest. It’s because you had the
backing of Frank Calligen and Joe
Mosley. Don’t ever forget that.
JAVAN ALLEN
I don’t forget my brother. I’ll
give you some time to rethink this
Stevy situation.
FRANK
Well, I don’t have him. So, you can
make empty threats all you want.
JAVAN ALLEN
Empty threats, huh... talk it over
with Joe. He’s always been the
smart one. Let me know what you
clever white boys come up with.
Javan and his soldiers walk out.
INT. DOCTOR’S OFFICE - DAY
Kathleen lies across an exam table, Joe by her side. She is

anxiously waiting. Joe floats around the room reading the
posters and certificates.
An older DOCTOR with an underachieving practice, walks in. He

appears irritated from previous patients.
DOCTOR
(looking at the files)
Ok, Mrs. Mosley. I hate to be the
bearer of bad news, but I’m just
going to tell you and get straight
to the point. I hope you can
respect that...
JOE
Just say what you gotta say.
DOCTOR
You lost the baby, again.
35.
Kathleen begins to sob.
JOE
Ok, thanks. Now, get out of here.
The Doctor leaves.
Joe is disappointed versus sympathetic. Kathleen buries her

heart ache into Joe’s lap. Joe looks down disgusted, but
finds the compassion to lay his hand on top of Kathleen’s
head.
INT. MOSLEY’S HOUSE/KITCHEN - NIGHT
Joe and Kathleen sit at the old fashioned yellow table with
empty scotch glasses. They hold each other’s hands,
consoling.
Michael walks in.
Kathleen stands up to leave. She kisses Joe good night.
MICHAEL
Everything aright?
JOE
Yeah, she’s had a long day. Want a
drink?
MICHAEL
Sure.
Joe grabs the bottle of scotch.
JOE
Are you getting through yesterday?
MICHAEL
I guess.
JOE
You’re either getting through it or
not.
MICHAEL
Yeah, I’m over it, ok.
JOE
Good. Weak guys like that don’t
deserve a second chance.
36.
MICHAEL
Yeah, well, I’m spending my second
chance in the same place where I
was in my first life.
Joe pulls out the sports bag (from Bobby O) from underneath
the table and tosses it on the table.
JOE
There... does that make you feel
better?
MICHAEL
What is that?
JOE
It’s from Frank.
MICHAEL
I don’t want it.
JOE
You need to take it.
MICHAEL
No, I don’t.
JOE
It’s a sign of respect.
MICHAEL
Respect for who, Frank?
JOE
You can be mad at whoever. But, a
hundred grand is a hundred grand.
MICHAEL
Ah hundred grand for a man’s life.
Wow, things are becoming cheap
these days. See... this is what I
meant by getting reeled back in.
JOE
Just take it and buy that girl of
yours something special.
Joe stands up and stands over Michael. He pats him on the

back.
JOE (CONT’D)
You did good yesterday, Michael.
37.
INT. RICO ROOM- CONTINUOUS
Detective Maclemore is at the table, fiddling with wires and

recording devices.
Captain Phillips taps his shoe impatiently in the corner. He

looks over at the Unidentified Person, and all we see is
their silhouette.
DET. MACLEMORE
Person)
You’re doing a good job. The
information you’re bringing us is
really helping.
CPT. PHILLIPS
You need to get in deeper. We need
to nail Joe, to one of the million
fucking crimes we know he’s
committed.
DET. MACLEMORE
We’ll get what we need... I can
promise you that Captain.
CPT. PHILLIPS
We need to do whatever it takes.
That’s what we need to do.
INT. RESTAURANT - NIGHT
The wealthy mingle. Fancy tables are filled with wine and
appetizers. We see City Councilmen intermixed with the city
slickers.
Joe and Governor John Longmire isolate themselves in the

back. Joe is like a thief amongst a king.
JOE
Right now we need to lay low. Look
at us. Frank can’t even meet face-
to-face. Think about it... when’s
the last time you could imagine
Frank or I being touched?
GOV. JOHN LONGMIRE

You know it’s election season?
JOE
Is that all you fuckers think
about?
38.
GOV. JOHN LONGMIRE

I pay you good money.
JOE
No, you pay Frank good money. Take
the financials up with him. I’m
just here to let you know, we need
to lay low.
Joe stands up.
GOV. JOHN LONGMIRE

Is that it?
JOE
Yeah, for now.
Joe leaves.
EXT. MEXICAN RESTAURANT - NIGHT
Hispanic music. A band is on stage.
Leah is nervous. She waits at a table with her arms crossed.

She begins to fidget.
Michael finally arrives.
MICHAEL
Hey. Sorry I’m late.
LEAH
I know you’re not dumb enough to
stand me up.
MICHAEL
Oh, I wouldn’t think of it. I
haven’t been on a date in a decade.
Leah’s demeanor turns to compassion.
MICHAEL (CONT’D)
So, what’s good here?
LEAH
You haven’t eaten here before?
MICHAEL
No, I don’t get out much.
LEAH
I’m sorry. I didn’t mean it like
that.
39.
MICHAEL
I’m just joking. So, what do you
recommend?
Leigh laughs.
LEAH
Are you still picky?
MICHAEL
Selective.
LEAH
Oh, you still have that dumb sense
of humor.
MICHAEL
Wow. You don’t need to get all
personal.
A timid Hispanic WAITER walks over.
WAITER
What can I get for you two?
LEAH
I’ll have a beef burrito a la
carte.
WAITER
And for you senor?
MICHAEL
I’ll get the same thing.
The Waiter scurries off.
LEAH
So... is everything ok? I mean are
you ok?
MICHAEL
You know you’re the first person to
ask me that.
LEAH
I’m just happy you’re out.
MICHAEL
I know there’s probably some things
you heard or things that were said,
when I was locked up. There are
things I’m not proud of.
40.
LEAH
I don’t really care about all that.
A lot of the stuff I heard I didn’t
believe. I know exactly who you
are, Michael.
She looks deep into Michael’s eyes. Suddenly, crossing behind

him, we notice two BLACK MEN walking to the bathroom.
LEAH (CONT’D)
So, what are you planning on doing
now? You’re not working for your
brother, are you?
MICHAEL
Not really.
LEIGH
What does that mean?
MICHAEL
Not really. That’s what it means.
LEAH
Oh, sorry Mr. Sensitive.
MICHAEL
You think that’s funny?
LEAH
No, I just like it better when you
smile.
MICHAEL
Oh, is that right?
LEAH
That’s right.
They both smile and laugh.
LEAH (CONT’D)
So, don’t you need a job though?
MICHAEL
I’m not sure what I’m going to do.
I’m still adjusting to being back.
LEAH
That’s probably a good idea.
41.
MICHAEL
Yeah, so, let’s not talk about all
that right now. I want to know more
about what you’ve been up too.
LEAH
Me... I work down at Trinity
Lutherin Church. They run a little
day-care now.
MICHAEL
You work with kids?
Michael laughs.
LEAH
Yeah. Why?
MICHAEL
I thought you hated kids.
LEAH
Yeah, eight years ago when I didn’t
want to get pregnant. I mean, kids
are good now.
MICHAEL
Interesting...
Leah slaps Michael’s arm: flirtatiously.
LEAH
You’re stupid. What... I can’t like
kids now? It’s not like I want to
be a mom tomorrow.
Michael stares at her unconditionally.
MICHAEL
(rubbing his shoulder)
I’m just messing with you. Damn you
hit hard.
Leah rubs Michael’s arm.
LEAH
You’re still such a baby.
INT. MEXICAN RESTAURANT/BATHROOM - MOMENTS LATER
The bathroom door opens. Michael zips up his pants.

42.
The two Black Men walk in and circle around Michael as he

washes his hands. Michael looks up in the mirror. Michael
fearlessly whips around, but the Black Men tackle him and
beat his ass. Michael’s pinned to the ground.
BLACK #1
Where is Stevy McBeth?
MICHAEL
Who?
BLACK #1
Stevy, where the fuck is he?
MICHAEL
I just got out of the joint. I
haven’t seen Stevy in years.
A customer walks in.
BLACK #1
Tell Frank, you white boys are easy
to get to. Remember that.
They punch Michael in the face one last time.
BACK IN THE RESTAURANT
Michael gingerly walks out of the bathroom, holding his

stomach with a bloody lip.
Leah jumps up and runs over.
LEAH
Oh shit, what happened?
MICHAEL
Let’s go.
LEAH
What the hell happened? Are you ok?
MICHAEL
Yeah, I’m fine. Lets get outta
here.
Michael uses Leah as a crutch.
INT. MOSLEY’S HOUSE - NIGHT
Joe comes in. The room is dark.

43.
Michael is asleep on the couch.
Joe tosses his police jacket and hat onto the coat rack. He
moves forward into the light. Joe’s face and eyes fill with
hate, as he notices Michael’s split lip and beat face.
JOE
Hey, Michael, wake up.
Michael’s eyes open.
JOE (CONT’D)
What happened?
MICHAEL
Nothing.
JOE
What the fuck happened?
Michael exhales and looks away.
JOE (CONT’D)
Tell me what happened.
MICHAEL
They caught me off guard, ok? I
wasn’t ready. And there were two of
them. Black. I took Leah to that
Mexican restaurant. They jumped me
in the fuckin’ bathroom.
JOE
What did they want?
MICHAEL
They want Stevy.
JOE
Is that right? You said two blacks
did this?
MICHAEL
Yeah.
JOE
You all right?
MICHAEL
Yeah, I’ll be fine... what are you
going to do, Joe?
44.
JOE
I’m going to fucking deal with it.
That’s what I’m going to do.
MICHAEL
Joe, it’s fine, leave it alone.
JOE
I can’t do that.
MICHAEL
Why not?
JOE
Cuz you’re my brother. And nobody
gets a free pass.
EXT. TOMMY’S HOUSE - DAY
Tommy is mowing the lawn in a white-T. He cuts the engine

when Joe comes driving around the corner in his Lincoln. Joe
pulls up to the curb.
TOMMY
What’s up Joe?
JOE
We got a problem.
TOMMY
What happened?
JOE
They roughed up Michael last night,
and beat him good.
TOMMY
Who did?
JOE
Blacks. And they’re looking for
Stevy, too.
TOMMY
You think Javan did this?
JOE
I don’t know man, but I’m going to
find out.
TOMMY
What do you want to do?
45.
JOE
Get in.
Tommy gets in without hesitation.
INT JOE’S LINCOLN - NIGHT
Joe smokes a cigarette. He rolls down the window. We see the

Mexican Restaurant from the night before. Tommy runs across
the street and talks with the manager. The manager scribbles
something down on scratch paper, and hands in to Tommy.
EXT. ALLEYWAY - DAY
This is the hood of the Crips. Barb wire and graffiti.
Down a narrow gravel alley, we see the two Black Men leaning
against a metal gate, puffing a blunt. A rap beat looms.
They climb into a GTA sport convertible. The top rolls down.
The ignition starts. The GTA slowly moves down the alley...
the breaks slam.
A MAN IN A SPORTS HOODY walks in front... the man looks up:

Police Officer Will Brokoski.
Joe and Tommy strut out from the bushes with a vengeance,
moving in front of the GTA. They stare directly at their
prey. Joe and Tommy with semi-automatics at their hips.
JOE
(raspy deep voice)
This is for Michael Mosley... that
was a bad fuckin’ move.
Joe and Tommy unleash every bullet.
VIEW FROM THE MAIN STREET
Traffic stops. We hear a HONKING CAR HORN get louder, and

louder as it approaches.
The GTA Convertible eases out of the alleyway. We see the

shredded bodies. One body is pressed against the steering
wheel and the other with his neck snapped back covered in
blood.
The GTA Convertible glides across main street. People in

traffic are stunned, as the bloody GTA continues to move
across the street until it slams into a parked car.
46.
JOE (V.O.)
The art of tactical strategy. The
ability to keep people off balance
and keep them guessing. But now, it
was time to take out the pawns, and
wipe em’ off the board.
INT. FANCY RESTAURANT - DAY
Governor John Longmire and Joe are eating. They talk

business, surrounded by females taking advantage of the free
food and liquor.
JOE (V.O.)
I assumed at some point they would
find out how connected we truly
were. Regular visits with the
Governor... I always felt that was
money well spent.
INT. CONFERENCE ROOM - DAY
Captain Phillips is pinning photos of Governor John Longmire

to a cork board, outlining his involvement.
JOE (V.O.)
The message was sent up the food
chain through our political
contacts to not mess with Frank
Calligen. Frank and my connection
into his organization became
Captain Phillips’s personal
mission. I didn’t blame the man.
Everything I did, I did under that
man’s watch. Corruption stared us
all right back in the face, and you
had to pick what side to be on.
INT. GOVERNOR’S OFFICE - DAY
Governor John Longmire eats a sandwich at his desk. Up above,

we see a chandelier with a listening bug.
JOE (V.O.)
They ended up spending so many tax
dollars watching the Governor. It
went on for months. You’d think
these honorable bright minds would
operate a little quicker.
47.
INT. MEAT MARKET - DAY
Bobby O wraps tenderloin meat.
Joe, Tommy, and Michael walk in. Bobby O waves them back to
the next room.
IN THE BACK ROOM
Frank stands at a cutting board chopping a thick rack of

meat.
JOE (V.O.)
We knew they were tightening up the
reins. The bosses would have
meetings behind closed doors.
Things I normally was privy to, I
was no longer. It was just a matter
of time until someone got taken
out... giving up Frank became a
popular get out of jail card.
Joe, Tommy, and Michael continue to watch Frank chop up meat.

Bobby o stands guard.
JOE (V.O.)
But, if the bosses felt
uncomfortable, that meant everyone
else felt uncomfortable ... and
someone ... eventually was going to
have to feel that.
LIGHTENING QUICK IMAGES:
-- We are reminded of the Snitch’s body parts scattered along

the highway.
-- We see Stevy McBeth’s body lying in a pool of blood in the

middle of Frank’s impound.
JOE (V.O.)
We’ve seen what happens to the rats
and snitches. Guys like us...
didn’t have time for disloyalty.
INT. RICO ROOM - CONTINUOUS
Detective Maclemore tapes the wires onto the Unidentified

Person’s freshly shaved chest.
48.
Captain Phillips and U.S. Attorney Henry Petersen sit down.

Henry Petersen slides a federal document in front of the
Unidentified Person.
CPT. PHILLIPS
We need you to sign this.
HENRY PETERSEN
Signing that makes everything
official before we send you into
harms way. You’re now a federal
informant.
The Unidentified Person is hesitant, but eventually signs.
CPT. PHILLIPS
Good. Now, let’s get to work.
SUPER: MONTHS LATER
INT. JOE’S INDUSTRIAL OFFICE - NIGHT
The place is gutted.
Frank walks in with a city slicker, NICKY CIVELLA, 50,

slicked back hair, nice suit, and spit shinned shoes. They
join Joe and Tommy at a table, centralized in the middle of
the building.
Michael sits over in the corner observing.
NICKY
Joe, Tommy. How you fellas doing?
JOE
Hey Nick.
TOMMY
Good. We’re glad you made it.
NICKY
So, Joe, out in Kansas City, we’re
hearing Stevy McBeth’s name again.
Haven’t heard that name in a while.
As you can imagine this is causing
some problems. And talking to Frank
on the way in, it sounds like it
wasn’t handled correctly either.
49.
JOE
With all due respect Nicky, I’m not
sure why you’re concerned with how
someone died and whose hand they
died by, when we’re right here and
you’re out in Kansas City?
FRANK
It’s the point, Joe. It’s how shit
trickles down that matters. It’s
all about following orders and
standing fucking line like ah good
boy.
JOE
You’re right Frank, I don’t follow
orders. Tommy and I killed Stevy,
and I’d do it again too. So, any
repercussions make sure you send
them my way. Just keep my brother
out of it.
TOMMY
Joe, relax man, everything’s cool.
Nicky, come on.
NICKY
Kansas City just needs reassurances
that the situation is taken care
of.
JOE
Blood no longer runs through his
veins, his heart doesn’t beat, and
by now... his body’s turned purple.
What other reassurances do you need
than that?
NICKY
Ok, if it’s taken care of, it’s
taken care of. That’s all I need
know.
FRANK
That’s it? Just a slap on the
wrist? Really?
NICKY
Joe says it’s taken care of, it’s
taken care of.
Nicky looks over at Michael in the corner.

50.
NICKY (CONT’D)
And who’s this?
TOMMY
That’s Joe’s brother, Michael.
NICKY
I remember you. You were a youngin’
the last time I saw you.
Michael respectfully nods his head...
INT. MOSLEY’S HOUSE/GUEST ROOM - NIGHT
Covers ruffle around, underneath, playing like high school

teenagers, Michael and Leah squirm around naked.
Michael reaches into the night stand draw and pulls out a
jewelry box. Leah immediately begins to smile.
MICHAEL
This is for you, beautiful.
Michael places a petite necklace around Leah’s neck.
LEAH
Michael, it’s beautiful. It’s
amazing.
MICHAEL
It looks perfect on you.
LEAH
I don’t own anything this nice.
MICHAEL
You never looked down on me or
treated me different. You were
there for me, like I never left. I
don’t know many people that would
do that for a guy like me.
LEAH
I, I love you Michael. I’ve always
loved you.
MICHAEL
(vulnerable voice)
I love you too.
They kiss each other.

51.
MICHAEL (CONT’D)
I have one more surprise, but you
need to promise me, don’t ask where
it came from.
LEAH
What is it?
MICHAEL
Promise me.
LEAH
Ok. What?
Michael tosses $100,000 on the bed.
LEAH (CONT’D)
(shock in her voice)
Where, where did you get this? Is
it yours?
MICHAEL
It’s ours.
LEAH
But where did you get it?
MICHAEL
What did I say.
LEAH
Ok, sorry.
MICHAEL
If you want to, we could get an
apartment or even make a down
payment on a house.
She unconditionally smiles at Michael...
LEAH
That would be amazing.
MICHAEL
You’re amazing.
LEAH
What about a real job?
MICHAEL
I’m going to be helping my brother
out with some loose end things. The
stuff for my brother’s going to be
legit.
(MORE)
52.
MICHAEL (CONT'D)
It’s organizing the warehouse,
paying bills, that kind of stuff...
I promise.
LEAH
I just don’t trust your brother.
MICHAEL
I know. But he’s my brother. He’s
family.
Leigh steps forward.
LEAH
Just be careful. You hear me?
MICHAEL
I love you too.
LEAH
Guess what?
MICHAEL
What?
LEAH
I have a surprise too.
MICHAEL
What?
LEAH
Please don’t be mad.
MICHAEL
Mad about what?
LEAH
I’m ... pregnant.
He is unsure and then his face becomes joyful.
MICHAEL
You’re pregnant?
LEAH
So... you’re happy?
MICHAEL
Yeah. Yes. I just, I never thought
I’d be a dad.
Michael leans over and passionately kisses Leah.

53.
INT. NEW HOUSE - WEEKS LATER
Leah and Michael walk throughout the house with a well-

dressed Realtor. The house is small but perfect. Michael
walks out from the back room.
MICHAEL
This is definitely the baby’s room.
Leah smiles so happily.
LEAH
(to the realtor)
We’ll take it.
INT. SHODDY BAR IN SOUTH LA - DAY
Frank and Bobby O drink beers in a booth.
Javan Allen of the Crips walks in, followed by a couple

soldiers. The unwelcoming customers puff their cigarettes and
stare.
JAVAN ALLEN
I found out that two of my best
earners, were shot over on the
South Side.
FRANK
South Side... what are you doing on
the south side? That’s not your
jurisdiction.
JAVAN ALLEN
Yeah, well, rumor has it, it was
Joe and Tommy.
BOBBY O
You have proof of that?
JAVAN ALLEN
If I had proof we’d be having a
completely different discussion.
FRANK
I’m getting sick of these stupid
fucking accusations.
JAVAN ALLEN
You have forty-eight hours. One way
or another, Frank, bodies will
drop. Just depends on what bodies
you want them to be.
54.
BOBBY O
Javan, we’ve had a long time
relationship with black...
JAVAN ALLEN
Yeah, and we’ve had a long
relationship with you fuckin’
crackers. But bad decisions are
going to affect that.
Javan and his soldiers walk away.
BOBBY O
What are we going to do, Frank?
FRANK
We need to find out what happened.
INT. MICHAEL’S HOUSE - DAY
Michael unloads moving boxes into the rooms. Leah stops

Michael in the hallway and gives him a tight hug. They look
into each other’s eyes...
An abrupt KNOCK at the door.
LEAH
Ah, come in.
MICHAEL
Wait. You don’t know who it is.
It’s Kathleen. She walks in with a potted Azalea. Kathleen’s

smile is nearly believable.
MICHAEL (CONT’D)
Hey, Kate.
KATHLEEN
Wow, I like the place.
LEAH
Yeah, we’re pretty excited.
KATHLEEN
I’m sure you are.
MICHAEL
Thanks for coming by.
55.
KATHLEEN
I wanted to see the new place and
bring you this, and give the place
some color.
LEAH
Oh, thanks for doing that. That’s
really nice of you.
KATHLEEN
So, you must be Leah. I remember
you a little, before Michael got
locked up.
LEAH
Yeah, yeah we dated off and on.
They shake hands with a hint of kathleen’s disgust.
KATHLEEN
Well, it’s nice to meet you again I
guess. Michael talks a lot about
you. But he keeps you to himself.
Michael brushes it off with a laugh.
LEAH
He talks about you all the time
too.
KATHLEEN
Really?
LEAH
Yeah.
KATHLEEN
Well, we love this guy.
MICHAEL
So, are you going to help unload
some boxes or what?
KATHLEEN
Me?
Leah hands a box to Michael.
LEAH
You unload the boxes. Make yourself
useful.
MICHAEL
Oh, I see how it is.
56.
KATHLEEN
Girls need girl time.
Michael kisses Leah on the cheek and walks to back the room.
MICHAEL
Play nice, Kate.
KATHLEEN
Always.
Leah and Kathleen walk into the kitchen.
IN THE KITCHEN
LEAH
Do you want anything to drink?
KATHLEEN
No thank you. So, you and Michael
are moving fast.
LEAH
Yeah, I really like him. We’ve
known each other since freshmen
year of high school.
KATHLEEN
That’s good because he means a lot
to our family.
LEAH
Yeah, I know. He talks about you a
lot. Especially Joe.
KATHLEEN
That’s nice to know that.
LEAH
He was telling me yesterday, that
you were like a sister to him.
Kathleen reaches into her pockets. She glances at Leah for a

moment and then pours a line of cocaine onto the kitchen
counter.
LEAH (CONT’D)
What are you doing?
KATHLEEN
Want one?
57.
LEAH
No. Go do that somewhere else.
KATHLEEN
(laughs)
Yeah, ok.
Kathleen leans down and snorts a thick line.
LEAH
Did you hear what I said?
KATHLEEN
Calm down. Might want to get used
to this shit. This is the life we
live, and Michael’s a part of that.
LEAH
Michael doesn’t do that shit.
KATHLEEN
He’s a Mosley, remember that. They
don’t change, sweetheart. You
either get behind the life or you
don’t get to be part of the man.
Leah is distraught.
KATHLEEN (CONT’D)
And darlin’ my first impression by
the way... you need to loosen the
fuck up.
LEAH
I didn’t know I was trying to
impress you.
KATHLEEN
Is that what you really thought?
Michael walks in.
MICHAEL
Hey, you guys getting a chance to
know each other?
KATHLEEN
Oh, yeah. You have no idea.
Kathleen gives Michael a kiss to the cheek.
KATHLEEN (CONT’D)
I gotta go li’l brother.
58.
MICHAEL
But you just got here.
KATHLEEN
Yeah, time to get back.
MICHAEL
Aright, we’ll see you soon.
KATHLEEN
Leah, it was great meeting you. The
place looks beautiful.
Leah with a look of confusion that says “what the fuck just
happened”.
MICHAEL
Tell Joe and Tommy I’ll come by
later.
EXT. JOE’S INDUSTRIAL OFFICE - DAY
Joe and Tommy smoke cigarettes strolling the sidewalk. They

stop in front of a massive brick wall with a service door.
A squad car pulls up to the curb. Two Rookie Cops get out
with a sense of authority.
TOMMY
What is this shit about?
Joe and Tommy are put in the back seat of the squad car. The
neighbors poke their heads out to observe.
Across the street: FOUR BLACK GOONS sit in a car, watching.
INT. INTERROGATION ROOM #1 - NIGHT
Joe is slouched in a chair with his arms crossed, cocky and

uncaring demeanor. He’s not fazed.
Captain Phillips walks in.
CPT. PHILLIPS
I know you think you’re slick, Joe,
but karma’s catching up to you.
JOE
And how’s that?
59.
CPT. PHILLIPS
Stevy McBeth. It’s something you
never stopped pursuing. Revenge for
your brother ... I get it.
JOE
This shit again? We gave up on
Stevy a long time ago, ok.
CPT. PHILLIPS
So, you admit you were looking for
him?
JOE
Whatever.
CPT. PHILLIPS
Then where is he?
JOE
Your guess is as good as mine. But,
I’m guessing, since I’m here, that
you already know.
Tommy with the same non-caring demeanor. A DETECTIVE stands

directly behind him.
DETECTIVE
So where’s Stevy?
TOMMY
I thought we moved past this bull
shit? Who the fuck cares where
Stevy McBeth is. Man, come on. I
got better shit to do.
Captain Phillips tosses a photo of Stevy McBeth onto the

table.
CPT. PHILLIPS
(pointing at the photo)
Stevy McBeth ... washed up on the
Santa Monica shores yesterday. Just
far enough away that it doesn’t
point the finger directly at you,
or your stupid group of thugs.
60.
JOE
Yeah, who didn’t want this prick
dead?
CPT. PHILLIPS
When did you see him last?
JOE
It’s been at least five, maybe
seven years. Around the time my
brother got locked up. I’m sure you
remember that. You mother fuckers
still probably get hard over that
shit.
CPT. PHILLIPS
Stevy’s been MIA for about a month,
now. That seems pretty convenient.
JOE
Losing someone in witness
protection... isn’t that like cop
101 shit.
DETECTIVE
Whoever said he was in witness
protection?
JOE
He had five hundred thousand on his
head. That’s a lot of motivated
people looking for one individual.
So, he must have been hidden away
in the fine institution that you
call witness protection.
CAPT. PHILLIPS
So quick witted aren’t you? You
arrogant fuck.
JOE
I don’t think I’m going to be much
help, here. Sorry about that.
CPT. PHILLIPS
Can’t or won’t?
INT. INTERROGATION ROOM #1 - HOURS LATER
Joe with his arms crossed, head tilted back from the
countless questions.
61.
We hear a door OPEN outside the interrogation room: Detective

Maclemore escorts Michael down the hall.
Joe turns around and looks through the window.
JOE
What do you think you're doing with
him?
CPT. PHILLIPS
Someone needs to talk, or I
wouldn't be doing my job.
JOE
Is this really the direction you
want to go with this?
CPT. PHILLIPS
Questioning your brother fulfills
my needs, completely. Preying on
the weak is a lot easier. Cops
gotta trust their instincts, right?
JOE
The only cop in this room is
staring right back at you.
CPT. PHILLIPS
You really believe that, don’t you?
JOE
(nods towards all the cops
viewing from their
cubicles)
I believe those cops out there,
your day-to-day soldiers... I think
they have an unwavering sense of
loyalty. See, I’ve been to war with
them, eaten dinner with their
families, watched their kids be
born... while you’ve sat around
cutting pensions and overtime.
Sooner or later you might find
yourself all alone. And then what?
CPT. PHILLIPS
I’m going to go visit your brother.
We’ll see if he’s savvy enough to
put on the tough guy act.
Joe yanks on his handcuffs: pissed.

62.
EXT. SPORTS CAR - NIGHT
Bobby O is parked with a clear vantage point of the police

station. Bobby O presses a cell phone to his ear (Frank is on
the line).
ON THE PHONE:
BOBBY O
I'm looking right at ‘em. Yeah,
Michael’s still inside. This
doesn’t look good Frank.
We see Joe and Tommy walking out of the police station.
INT. MOSLEY’S HOUSE/KITCHEN - NIGHT
Joe and Tommy drink at the old-fashioned yellow table. Both

men stare off...
TOMMY
Joe... if Michael doesn’t show
tonight...
JOE
I know, I know.
TOMMY
What are we going to do?
JOE
We’ll do what we have to do.
A KNOCK at the back door. Tommy stands. Hand on his 45.
Michael walks in.
JOE (CONT’D)
Where the fuck have you been?
TOMMY
It’s two in the morning man.
MICHAEL
They grilled me for hours. They
wouldn’t stop asking about Stevy.
TOMMY
What did you say?
MICHAEL
What do you think I said, Tommy.
I’m right here aren’t I.
63.
JOE
Ok, good. That’s good. We’re fine.
They don’t have shit.
TOMMY
Then how the fuck do they know
about Stevy?
Joe pours three shots.
JOE
You did good Michael. A fish with a
closed mouth never gets caught.
EXT. LAKE PARK - DAY
Joggers and people with dogs maneuver throughout the misty

grass, overlooking a beautiful lake.
Frank and Bobby O sit on a bench tucked back in the trees.
BOBBY O
So, what do you want to do?
FRANK
How long were they inside?
BOBBY O
Joe and Tommy, a couple hours.
Michael, was in there awhile.
FRANK
Joe and Tommy have been good
soldiers for me.
BOBBY O
Yeah, but is that ah risk you want
to take?
FRANK
I don’t know.
BOBBY O
And don’t forget about our black
problem. Javan wants an answer.
Frank puffs a cigar and contemplates.
SUPER: WEEKS LATER

64.
INT. JOE’S INDUSTRIAL OFFICE - DAY
Boxes of stolen goods are stacked against the walls.
Joe, Tommy, and Michael play a game of poker; drinking and

smoking.
TOMMY
We gotta tell Frank.
JOE
Tell him what exactly?
TOMMY
We were in the interrogation rooms
forever. It looks bad. And it’s the
last thing Kansas City’s going want
to hear.
JOE
I’m not worried about that. I’m
worried about Frank trying to prove
a point.
MICHAEL
Do you think Frank would ever move
against you?
JOE
I think, as long as the price is
right... Frank would do anything.
Four Black Goons exit the car. The DOOR SOFTLY shuts. Their
soldierly strut turns into a slow jog, then turns into a
sprint across the street and through an empty lot. Like an
army moving across a battle field.
INT. JOE’S INDUSTRIAL OFFICE - DAY
Tommy deals cards around the poker table.
TOMMY
I just think we need to go show
some respect.
JOE
Fuck Frank and fuck his respect.
MICHAEL
Joe, I think Tommy’s right.
65.
Abruptly... BANG, BANG, BANG, BANG... bullets fly through the

service door. Debris smoke spreads.
Joe, Tommy, and Michael scramble for cover.
BACK OUTSIDE
The four Black Goons (in ski-masks), unleash each and every
bullet. Shells hit the ground. They reload.
It becomes silent.
The Black Goons maneuver toward the building, tip-toeing

through the service door.
BACK INSIDE
The dust has settled.
Joe and Tommy spurt up above the poker table, unleashing the
fury with their 45’s blasting back. Three of the Black Goons
are dropped dead.
BACK OUTSIDE
A trail of blood runs from the service door. The last Black
Goon hobbles away, gasping for air.
Joe emerges, standing in the doorway.
JOE
Come here. Oh no, you don’t get to
die that easy.
Joe jogs and stands over the Black Goon. Joe slowly pulls off
the ski mask (we don’t recognize him).
JOE (CONT’D)
Look at me. Who sent you?
BLACK GOON
(slurring)
Fuck you.
BANG. Joe shoots him in the knee cap.
JOE
What, I can’t hear you.
The Black Goon SCREAMS in agony.

66.
BLACK GOON
(weeping)
Call ah ambulance, please.
JOE
Open.
BLACK GOON
Fuck no.
JOE
Open your fucking mouth.
Joe shoves the 45 in the Goons mouth. Cracking his teeth.
JOE (CONT’D)
Tell me.
BLACK GOON
Frank, Frank sent us, ok. Now call
ah fuckin’ ambulance before I bleed
out.
Joe is shocked and confused. Betrayal sets in.
JOE
Look at me. Look at me. Did you say
Frank?
Joe slaps his face. The Black Goon’s eyes roll back...
JOE (CONT’D)
Hey, hey, wake up. No, not yet.
The Black Goon looks up.
JOE (CONT’D)
Frank, ordered this?
BLACK GOON
Yeah.
Joe stands directly over the Black Goon with a 45 pointed at

his head.
JOE
God’s waiting... but I’ll shut your
fuckin’ eyes.
BANG. Brains blown out.
TOMMY (O.S.)
Joe. Get in here, it’s Michael.
67.
INT. HOSPITAL/HALLWAY - NIGHT
Joe and Tommy wait in the bleak hallway, staring through the
surgery room window at Michael laid up with bandages wrapped
around his left shoulder and chest. Kathleen and Susan sit
bedside worrisome.
CPT. PHILLIPS
How’s he doing?
TOMMY
And why the fuck are you here?
CPT. PHILLIPS
Wouldn’t want to see that Irish
blood Ink get ruined. Now, would
we?
JOE
What do you want?
CPT. PHILLIPS
Oh, I’m just coming back from a
four body homicide, one smeared out
in the middle of the street.
Thought I’d come down and ask you
two about it.
JOE
Good luck with that.
Joe walks away.
TOMMY
Really... you couldn’t send one of
your newbies down?
CPT. PHILLIPS
And miss all this.
TOMMY
Be careful.
CPT. PHILLIPS
You just make sure you bring Joe
down to the station when he’s
ready. I need a statement.
TOMMY
Yeah, ok. You can leave now.
Kathleen and Susan walk out of Michael’s room.

68.
CPT. PHILLIPS
Good evening ladies.
SUSAN
Go fuck yourself.
CPT. PHILLIPS
I see where Joe gets his charm.
Leah walks in. It becomes silent.
CPT. PHILLIPS (CONT’D)

Leah, my condolences, but do you
mind if I ask you a couple
questions?
LEAH
Sure.
Captain Phillips and Leah walk over into the waiting room.
Tommy walks over to Joe.
TOMMY
Joe... so what do you want to do?
Joe looks up with vengeance and hate.
Joe and Tommy swagger down the hall. Before they hit the exit
sign, Joe stops. He reaches into a janitor’s cart, and grabs
blue plastic hospital boots...
INT. FRANK'S HOUSE/BEDROOM - NIGHT
... We see the same blue plastic hospital boots gingerly

walking step-by-step. We slowly approach a bed with satin
sheets. Frank Calligen is sleeping.
Joe straddles the bed frame, looking down on Frank sleeping.

Joe with a shotgun in his hands. He taps Frank with the
barrel.
JOE
That's it Franky, wake your lazy
ass up.
Frank, begins to wake.
FRANK
Joe ... what the fuck ... what is
this?
69.
JOE
When you send someone kill me, you
better hope they hammer the nails
in that coffin so I don’t come back
from the dead. You fucked up.
FRANK
Joe, fuck. Come on, let me explain.
JOE
You know Frank... everyone wants to
live like a gangster, until they
gotta die like one.
FRANK
(panic)
No, no, no, no...
BANG! JOE pulls the trigger, the shotgun blows through

Frank's chest. Body fragments blast through the bed frame and
to the floor.
JOE (V.O.)
Soldiers taking out soldiers that
was expected. Taking out a boss...
now that took balls.
EXT. MEAT MARKET - NIGHT
Bobby O closes up for the night. He walks over, unlocks his

sports car and starts the ignition... BOOM, the car blows up
in flames.
JOE (V.O.)
Everyone else became collateral
damage. We made sure bodies
dropped. Tommy and I always liked
Bobby. But he still had to go.
INT. GOVERNOR’S OFFICE - DAY
Governor John Longmire lounges around on a leather couch,

drinking the finest Bourbon. He leans forward and opens a
briefcase filled with thousands of dollars. The Governor
smirks.
Suddenly the office doors SLAM OPEN. The FBI come barging in
waving warrants. Captain Phillips leads the charge with
Detective Maclemore and U.S. Attorney Henry Petersen.
70.
EXT. MOSLEY’S HOUSE/PORCH - NIGHT
The front door opens. Detective Maclemore escorts Joe out in

handcuffs, down the steps, then shoves him into the squad
car.
Captain Phillips gloats as he observes from the sidewalk.
JOE (V.O.)
Eventually... karma came knocking
at my door, staring me right back
in the face.
EXT. CAR - NIGHT
Tommy and Michael slowly pull to the curb, heads sticking out
of the car windows, with semi-automatics pointed...
JOE (V.O.)
But in the meantime, I had Tommy
and Michael shoot up my Lincoln. If
I was getting hit too, they’d never
suspect us for Frank and Bobby’s
murders.
Bullets tear up Joe’s Lincoln parked in the driveway.
INT. COURTROOM - DAYS LATER
The room is filled. The Judge slams the gavel.
Joe with a nonchalant demeanor, rises from his seat. His

Defense Attorney by his side. Right behind them: Kathleen,
Susan, Michael, and Tommy.
U.S. Attorney Henry Petersen leans against the back wall

observing the ruling.
JOE (V.O.)
An Illegal bribe of a public
official, that’s what got me. A
five hundred thousand dollar
bail... but now... I knew who to
silence.
EXT. SQUAD CAR - DAY (MOVING)
Governor John Longmire is in the back seat. Two armed guards

sit next to him. The Governor is nervous.
The tires SQUEAK to a halt. A delivery truck is stopped.

71.
JOE (V.O.)
See, these detectives were always
so convincing, painting a picture
of how they would protect you ...
but the fuckin’ reality is, anyone
can be found and gotten to...
witnesses can’t talk when they’re
fucking dead... that’s the shit
they don’t tell you.
The back doors of the delivery truck open. Machine guns ease
out... BANG, BANG, BANG.
Tommy stands in the back of the delivery truck, blasting.
INT./EXT. CORRECTIONAL CENTER - DAY
Joe collects his valuables. We see down the service ramp,

Kathleen waiting, anticipating Joe’s release. She is drunk
and coked up.
INT. MOSLEY'S HOUSE/KITCHEN - DAY
Kathleen and Joe sit at the old-fashioned yellow table.

Kathleen is wearing a robe with wet hair, reading a Vogue
Magazine.
The phone RINGS.
KATHLEEN
(on the phone)
Hello. Yeah, he’s right here.
Kathleen hands the phone to Joe.
JOE
(on the phone)
Yeah... That's good, that's real
good. No, that's great, thanks.
Yeah, we’ll talk tomorrow. Hey...
thank you.
Joe hangs up.
KATHLEEN
What was that?
JOE
They dropped the charges.
KATHLEEN
How?
72.
JOE
How do you think?
KATHLEEN
More killing? Joe, even I’m
starting to have trouble stomaching
this shit.
JOE
It was this or prison. Is that what
you wanted instead?
KATHLEEN
Of course not. But, if we have
kids, we can’t be doing this kind
of shit anymore.
JOE
When the fuck did we start talking
about kids?
KATHLEEN
I’m thinking about kids.
JOE
Oh, are you? Now, you’re thinking
about kids. I just got off the hook
for going to prison, and you’re
talking about kids. How about you
think about our kids the next time
you snort a line into that kid
thinking brain of yours. Think
about em’ then. You fucking junky.
KATHLEEN
Fuck you Joe.
JOE
Kathleen, I swear to God. I can’t
deal with this shit right now. I
need to focus on what’s in front of
me.
KATHLEEN
I’m in front of you.
JOE
You sure about that?
KATHLEEN
Unless you got someone else on the
side.
73.
JOE
Jesus, this shit again.
KATHLEEN
You think I don’t know about the
bitches you fuck?
Joe slaps the shit out of Kathleen, across the face.
Joe walks away.
INT. STRIP CLUB - NIGHT
Joe sits, relaxed in the VIP booth with his arms stretched
along the headers. A stripper is on her knees giving him
head. Joe’s head falls back, wasted.
Joe is wearing the same clothes from the night before. He

lights a cigarette, standing across the street watching the 9-
to-5 hard hats reconstruct his building. They fill in the gun
holes.
Joe’s cell phone RINGS.
INT. POLICE HEADQUARTERS/BARN - DAY
Will Brokoski (guard from the court room) presses a phone to

his ear. His eyes are peeking over his cubicle.
In the conference room: we see Captain Phillips and U.S.

Attorney Henry Petersen shake hands.
Detective Maclemore walks case files in and out of the room.
INTERCUT - TELEPHONE CONVERSATION
WILL BROKOSKI
Joe.
JOE
Yeah.
WILL BROKOSKI
This is Will.
JOE
Yeah, what’s up.
74.
WILL BROKOSKI
Maclemore, and ah, a couple
surveillance guys, keep walking
boxes back and forth into the
conference room. That U.S. Attorney
is still down here too.
JOE
Ok, so what?
WILL BROKOSKI
I’m just saying, if they were done
investigating you... Why is the
U.S. Attorney still in Los Angeles.
Wouldn’t you move on to other cases
by now?
JOE
I think you’re just paranoid.
WILL BROKOSKI
Joe, I’m telling you, they’re not
done. I’m watching our Captain and
the guy that tried to put you away,
shake hands and smile. And the only
way you’re smiling is if you have
something to smile about. And the
only way they’re still looking into
you ... Joe ... you might have a
rat.
Joe with a look of treachery.
WILL BROKOSKI (CONT’D)

Joe, I gotta go.
JOE
Ok. Hey... Will, thanks. I
appreciate it.
WILL BROKOSKI
Yeah, no problem.
Joe, hangs up.
The room has been cleared. The operation must be coming to an

end.
Detective Maclemore packs several labeled and dated RECORDING

TAPES into a BOX. He begins to leave and then turns back.
75.
DET. MACLEMORE
Person)
Hey, you’ve done a great job. It
took guts to do what you did.
Detective Maclemore with a sympathetic nod of respect.
INT. MOSLEY’S HOUSE/LIVING ROOM - DAY
Kathleen is dressed in a black silk dress. Her makeup hides

the hand print. Tommy and Michael stand around. We hear a
KNOCK at the door.
Joe swaggers down the hall in a black suit. He opens the

door. It’s Nicky Civella (the wiseguy from Kansas City).
NICKY
Joe, how you doing?
JOE
Good, Nicky. I’m glad you could
make it. I wish it was under better
circumstances though.
NICKY
Yeah, but what are you going to do?
JOE
Nicky, you remember Kathleen?
Kathleen gives a partial smile hello.
NICKY
Hello. Joe’s told me a lot about
you.
KATHLEEN
Oh, I’m sure he has.
Nicky takes a couple steps towards Joe.
NICKY
You mind if we go in the back room
or something?
JOE
Sure.
The men all follow Joe down the hallway.

76.
BACK BEDROOM
They all walk in. Nicky looks over at Michael: why are you
here?
JOE
He’s my brother Nicky. You don’t
have anything to worry about.
NICKY
Fine. So what the hell happened?
JOE
Frank happened.
NICKY
But, Frank’s a made guy.
JOE
Yeah, and he tried to kill me and
Tommy.
TOMMY
Nicky, he’s right. If Frank didn’t
get dealt with... it would be our
funerals you’d be attending today.
NICKY
This isn’t how it works. What am I
supposed to tell them in Kansas
City?
JOE
Tell them, it’s business as usual.
NICKY
I don’t know Joe... this is a hard
one to sell. There’s rules in place
to keep the balance. And you’re
supposed to follow those rules.
The men all look at each other.
EXT. FRANK'S FUNERAL - DAY
It’s raining.
A sea of umbrellas surround Frank’s beautiful black casket

being lowered into the freshly dug hole. The Pastor reads
from the Bible. Friends, celebrities, politicians, all have
gathered.
77.
Joe, Tommy, Michael, and Nicky in the front row, joined by

Susan and Kathleen.
Several familiar faces amongst the crowd, including Javan

Allen and the Crips. They all stare at Joe and Tommy.
INT. MOSLEY'S HOUSE/KITCHEN - NIGHT
Uncertainty looms in the air.
Joe, Tommy, Michael, Kathleen, and Susan sit around the old
fashion yellow table.
TOMMY
Unfuckin’ believable. All those
people showed up for that prick?
SUSAN
I used to tell your father: Frank
would get what he deserves someday.
Karma catches up to all of us.
MICHAEL
Joe, what are we going to do about
the Crips? They aren’t going to
stop coming.
JOE
And I won’t stop putting a bullet
in each one of their fucking heads
either.
KATHLEEN
More death, great. You’re
disgusting.
All surprised by the out burst.
TOMMY
What’s wrong with you?
SUSAN
Frank tried to kill your husband
Kate.
JOE
If there’s a hole I’ll put a body
in it. Doesn’t fucking matter.
KATHLEEN
And ... I believe you.
Kathleen is outraged.
78.
MICHAEL
Joe, I know you don’t want to hear
this, but we need to get ready for
blow back.
JOE
Can I just enjoy my coffee for two
seconds?
TOMMY
Michael’s right, we need to figure
this shit out, because people are
going to try and kill us.
JOE
Ok, I got it, Jesus.
Tommy stands up and walks down a small hallway to the

bathroom.
MICHAEL
You got an end game in sight?
JOE
Staying alive, that’s the game,
brother.
MICHAEL
What about you and Kathleen?
JOE
What’s with all the fucking
questions? What about us?
MICHAEL
You guys, ok?
JOE
Yeah, we’ll get through it.
MICHAEL
Good.
Michael stands up.
MICHAEL (CONT’D)
Well, shit. I need to smoke a
cigarette and take a leak. I’ll be
right back.
Michael walks down the hallway and towards the bathroom.

79.
JOE
(looks over at Susan)
Ma, can I get a couple minutes
alone?
SUSAN
Sure, I guess.
Susan walks out.
Joe stares at the old-fashioned yellow table. He lights a

cigarette and pours a glass of scotch. He exhales and appears
depleted. This long lasted stare goes on for moments...
... BANG, BANG!
Joe spills the scotch and jumps back in his seat, fumbling,
caught off guard, unable to grip his gun.
Two more shots BANG BANG!
JIMMY/MICHAEL (O.S.)
(unsure of the voice,
frantic and yelling)
Joe, help me. Oh shit...
Seconds later... Michael emerges from the shadowed hallway.

Michael is carrying Tommy’s body draped over his arms,
covered in blood.
JOE
What... what the fuck happened?
Michael lays Tommy on the old fashioned yellow table. Blood

drips everywhere. Tommy has been shot twice in the chest.
Kathleen and Susan run in.
KATHLEEN
Oh shit. Tommy. Oh, shit.
SUSAN
JOE
Put pressure on it.
Joe takes Michael’s hand and slams it onto Tommy’s blood

covered chest.
Tommy is gasping for air. He attempts to capture Joe’s

attention, but is too weak.
80.
JOE (CONT’D)
(to Michael)
MICHAEL
He had wires taped to his chest...
he tried to fuckin’ kill me.
Tommy reaches for Joe, once again desperately wanting his

attention.
Joe rips Tommy’s shirt off. We see WIRES covered in blood

across Tommy’s chest.
Joe drops to his knees in anguish. Joe is crushed.
JOE
Fuck it. Kate get the car.
KATHLEEN
What?
JOE
Get the fucking car. He needs a
hospital.
SUSAN
Joe are you sure? Corrupt cops and
rats don’t go over well, once the
detectives start questioning about
tonight...
JOE
If he lives, maybe he can explain.
MICHAEL
Joe, the hospital’s not a good
idea.
JOE
(yelling)
Just get the fucking car.
Joe turns back and reaches for Michael’s 38 on the table. He

tucks it into his waist band.
EXT. MOSLEY’S HOUSE/BACK DOORWAY - NIGHT
The car door SLAMS OPEN.
Joe carries Tommy’s body into the back seat of the car. Joe
drives and Kathleen and Michael Jump in.
81.
JOE
(yelling)
Come on, get in.
SUSAN (O.S.)
I'll be right behind you. Just go.
Joe zips out of the driveway.
INT. CAR - (MOVING)
Joe is driving fast, weaving in and out of traffic. Kathleen

and Joe argue directions to the hospital, in the front seat.
Michael is in the back seat with Tommy laid across his lap.
Tommy is weak and in pain. Michael looks down at Tommy’s
drifting and demoralized face...
Joe looks back at Michael through the rearview mirror:

Michael’s facial expression indicates that Tommy is gone.
Joe slams his fist into the steering wheel, repeatedly.
JOE
(yelling)
Why? Why? Why?
EXT. ABANDONED BOAT RAMP - HOURS LATER
Joe stands on top of the beach ocean rocks, looking out at

the bay, covered in blood, numb to his surroundings. Tears
run down his face.
Michael and Kathleen lean against the car, letting Joe

isolate himself.
Tommy’s body and arms hang out of the back seat of the car.
EXT. ABORTION CLINIC - DAY
Abortion activist roam the sidewalks in front of a run-down

church, holding up protesting signs. Kathleen is across the
street like a stranded wet dog from the rain, unsure if she
should step forward or walk away.
INT. MOSLEY'S HOUSE/KITCHEN - DAY
Joe sits at the old-fashioned yellow table, still stained in

Tommy’s blood. He smokes a cigarette, afflicted, and still in
agony.
82.
We hear a KNOCK. Joe walks out and opens the front door. Will
Brokoski stands in the doorway.
JOE
What is it, Will?
WILL BROKOSKI
Joe, ah, nothin’, I’m ah, actually
here to pick you up Joe.
JOE
What do you mean?
Will motions with a nod. Joe steps out onto the porch and
looks down the street. Detective Maclemore is waiting by his
squad car.
WILL BROKOSKI
Sorry Joe. I had to. They just told
me. I didn’t have time to call.
JOE
You know what this is about?
WILL BROKOSKI
No. They wouldn’t tell me. They
just told me to come pick you up.
Michael walks out from the back room, wearing a wife beater.
We see an IRISH BLOOD tatoo on his right shoulder.
MICHAEL
What’s this?
WILL BROKOSKI
Your brother too.
JOE
For what?
WILL BROKOSKI
Captain didn’t say. Joe, you gotta
come with me.
JOE
Yeah, aright. Let’s go.
INT. POLICE STATION/CPT'S OFFICE - DAY
Captain Phillips sits with U.S. Attorney Henry Petersen. Both

men no longer sustain their righteous demeanor with a hint of
underlining uncertainty.
83.
Joe and Michael are escorted in.
CPT. PHILLIPS
Michael, can you wait outside my
office, please.
Michael turns to Joe.
JOE
It’s fine.
Michael is uncertain but takes a seat in the hallway.
CPT. PHILLIPS
(stern with Joe)
So, when does this end?
JOE
When does what end?
CPT. PHILLIPS
The killings, the corruption, the
tit-for-tat. I mean right now, I
look at it and ask myself...
where’s Tommy?
JOE
Tommy is far away from here.
CAPT. PHILLIPS
I’m sure he is. It appears you are
running out of friends.
JOE
You have no idea.
CPT. PHILLIPS
You’re right, I don’t.
JOE
And it appears you’re running out
of witnesses.
Joe looks over at U.S. Attorney Henry Petersen.
JOE (CONT’D)
Why the fuck am I here? Let me
guess, FBI?
HENRY PETERSEN
Joe, my name is Henry Petersen,
U.S. Attorney.
84.
JOE
Wow. Took long enough to get your
attention.
HENRY PETERSEN
Respect is earned. So, yeah, you
now have my attention.
JOE
What do you want?
HENRY PETERSEN
Joe, I’m going to be honest...
there’s not a bone in my body that
wants to be sitting here right now,
looking at you. But, due to
circumstances, we need your help.
JOE
This should be interesting.
HENRY PETERSEN
The Federal Government would see it
as a personal favor, if you worked
with us... against the Civella
Family. We’re after Nicky Civella,
part of the Kansas City crew.
Joe shrugs his shoulders.
JOE
Yeah, I know who Nicky is.
HENRY PETERSEN
We’re aware that you and Frank used
to transport money and drugs
through Nevada into Kansas City,
sometimes twice a month.
CPT. PHILLIPS
What do you think Nicky is going to
do, once he figures Tommy’s out of
the picture. Seeing how Tommy is
Nicky’s cousin.
JOE
Who said Tommy was out of the
picture?
HENRY PETERSEN
You just said it... look, you’re
good at killing the people that put
you at risk.
(MORE)
85.
HENRY PETERSEN (CONT'D)
I get it, and, honestly, I’m sick
of chasing my tail. Instead, I’d
rather get Nicky Civella. The good
guys need a win.
JOE
(slight cough)
And you thought Captain Phillips
would be the one to convince me?
Joe laughs.
JOE (CONT’D)
I’m sorry, but this shit is funny.
Joe continues to cough.
Captain Phillips looks out to the hallway. Michael is sitting

on the bench.
CPT. PHILLIPS
Michael, can you get your brother
some water?
MICHAEL
Sure.
CPT. PHILLIPS (O.S.)

You remember where it is?
MICHAEL
Yeah, around the corner. I
remember.
Joe takes notice.
HENRY PETERSEN
Joe, we know people want you dead.
Especially Frank’s crew and the
local Crips. When you think about
it... who doesn’t want you dead?
JOE
(arrogantly)
And here I am.
Michael hands a plastic cup of water to Joe.

Thanks Michael.
JOE
Yeah, thanks.
86.
CPT. PHILLIPS
And who can forget about your
brother, who is fresh out of jail,
and just getting his feet
underneath him. Who can forget
about his safety?
HENRY PETERSEN
Joe, if you help us, we will
exonerate you from Frank, Bobby O,
and Tommy’s murders.
JOE
Allegedly.
HENRY PETERSEN
Basically... when it comes down to
it, if the FBI came sniffing
around, we divert their attention
and run interference. If you agreed
to no longer killing people and
disposing of bodies, and just stick
to the petty day-to-day thefts...
you would be untouchable. You would
act as an undisclosed federal
informant.
Joe leans back in his seat.
JOE
Wow. You just played a big card
telling me that. You must be
desperate.
HENRY PETERSEN
Joe, I like to believe that the
time you spent in that navy blue
uniform actually meant something.
JOE
That’s always been my advantage.
It’s that you idiots actually
believed that.
Joe stands up to leave.
CPT. PHILLIPS
I told you this prick wouldn’t help
us.
HENRY PETERSEN
Joe, do the right thing.
Joe struts over to the doorway.

87.
JOE
Can you hear that?
Silence overtakes the room.
HENRY PETERSEN
I don’t hear anything.
JOE
Exactly. That’s the sound a rat
doesn’t make.
Joe walks out.
EXT. MICHAEL’S HOUSE/FRONT LAWN - DAY
Leah is kneeled down planting flowers along the walkway to

the house. A car pulls into the driveway and parks. It’s Joe.
Leah’s happiness turns dark.
JOE
Is Michael here?
LEAH
Yeah, he’s in the back. Why? Is
everything ok?
JOE
Yeah, everything’s fine.
LEAH
Are you sure?
Joe walks around the side of the house...
LEAH (CONT’D)
He’s a good man you know?
Joe stops and turns.
JOE
Yeah... I know.
Joe continues.
IN THE BACKYARD
Michael is prepping and cleaning off the grill.
Joe comes from around the house.

88.
JOE
Hey.
MICHAEL
Hey, what’s up. What are you doing
here?
JOE
I need you to come with me really
quick.
MICHAEL
Everything, ok?
JOE
Yeah, just meet me out front.
MICHAEL
Ah, sure, let me go get a jacket.
I’ll be right out.
INT. MICHAEL’S HOUSE/BEDROOM - DAY
Michael grabs his jacket off the rack. He begins to sweat. He

hesitates to open the closet door, as he has anticipated and
recited “this moment”.
He reaches high and far back into the closet shelves, as he

pulls out a BOX and places it on the bed. Michael stares at
the box. It’s meaningful.
EXT. MICHAEL’S HOUSE/FRONT LAWN - MOMENTS LATER
Michael opens the front door and steps out. He finds Leah
still kneeled down planting flowers.
LEAH
Is everything ok?
MICHAEL
Yeah, I think so.
LEAH
Where are you going?
MICHAEL
I’m not sure.
LEAH
Michael, just stay here.
89.
MICHAEL
I got to go. Everything’s fine. I
love you, ok? I’ll see you in a
little bit. I promise.
LEAH
Michael, don’t go. Please.
MICHAEL
It’s my brother... don’t worry
about it... I’ll be fine.
LEAH
Michael, please.
MICHAEL
(soft voice)
I’m here. I’ll be right back.
Michael opens the passenger’s side door to Joe’s car, a knee

bend away, he looks back at Leah with sincerity.
Michael eases into the car.
INT. CAR - DAY (MOVING)
The drive is uneasy and uncomfortable. Michael is unsure what

to say. Joe drives and just stares straight ahead.
MICHAEL
So, where are we going?
JOE
A place you and I haven’t been to
in awhile. Don’t worry, you’ll
recognize it when we get there.
Joe continues driving outside the city limits, as we maneuver

through the endless trees and back roads.
EXT. FOREST - DUSK
Joe’s car slowly screeches into the fallen brush of leaves.

We are in the middle of nowhere with not a soul in sight.
Joe and Michael get out of the car. It’s cold. Both men put
their jackets on.
MICHAEL
Joe, what is this about?
90.
JOE
(caring tone)
Remember this place?
MICHAEL
No, not really.
JOE
Dad used to take us here. We used
to take us hunting. He took us here
when we were boys ... back when we
didn’t know the difference between
right and wrong. What respect,
friendships, and loyalty really
meant. We were naive kids back
then.
MICHAEL
What are we doing out here Joey?
JOE
Come on, keep walking with me.
Michael is hesitant but continues walking.
JOE (CONT’D)
(pointing)
We used to jump off those rocks
over there. You remember that?
MICHAEL
Yeah, I remember, Joe.
JOE
Dad used to love it out here.
MICHAEL
Joe, seriously, why are we here?
They stop walking. Joe’s eyes become glazed.
JOE
You’re my brother Michael... my
fucking brother... I love you...
and I didn’t want to believe it.
But...
INT. INTERROGATION ROOM #1 - NIGHT (FLASHBACK SEQUENCE)
We have been here before.
Joe is being questioned by Captain Phillips.

91.
We see through the window of the interrogation room, Michael

being escorted by Detective Maclemore. He continues down the
hall.
JOE (V.O.)
I noticed when they brought you in
that night into the interrogation
room... the night Tommy and I were
being questioned... you weren’t in
handcuffs.
Now we see: Michael is being escorted, hands free and without

handcuffs.
INT. HOSPITAL/HALLWAY - DAY (FLASHBACK SEQUENCE)
Joe and Tommy wait in a bleak hallway, staring through the

window. Michael is laid up with badges wrapped around his
left shoulder and chest. Kathleen and Susan sit bedside,
worrisome.
CPT. PHILLIPS
Doctors say it barely missed an
artery. Wouldn’t want to see that
Irish blood ink get ruined.
JOE (V.O.)
Then at the hospital, why would
Captain Phillips know about your
tats? He mentioned your Irish blood
tatoo. Why would he know that?
INT. POLICE OFFICE - DAY (FLASHBACK SEQUENCE)
Captain Phillips and U.S. Attorney Henry Petersen talk with

Joe. We see Michael sitting on the bench waiting in the
hallway.
CPT. PHILLIPS
Michael, can you get your brother
some water?
IN THE HALLWAY
MICHAEL
Sure.

You remember where it is?
92.
MICHAEL
Yeah, around the corner. I
remember.
JOE (V.O.)
And the water you fetched when we
were at the Captain’s office... why
would you know where the water was?
You’d never been there before. His
office is on the top floor, away
from any of the day-to-day bull
shit that happens in a police
station. Even the lieutenants and
city council don’t visit the
Captain in the Captain’s office.
INT. MOSLEY'S HOUSE/KITCHEN - NIGHT (FLASHBACK SEQUENCE)
Tommy is laid across the old-fashioned yellow table covered

in blood.
We notice the wires placed on Tommy’s chest.
JOE (V.O.)
It took me time, time to look past
the pain and the hate. It took time
to get focused. And then I realized
the wires weren’t taped down to
Tommy’s body. It’s like someone
placed them there in a panic.
INT. MOSLEY'S HOUSE/BATHROOM - DAY (FLASHBACK SEQUENCE)
(We have NOT seen this before)
The bathroom door is slightly open.
Tommy comes from the hallway, looking through the cracked

door. Tommy is the one who actually can see: Michael pulling
up his pants up: we see taped to Michael’s thigh, a small
recording device. The wires go up to Michael’s chest.
Tommy slams the door open to expose Michael.
TOMMY
You’re ah fucking rat?
Michael is caught off guard... Tommy pins Michael against the

wall. Michael pushes back, emerging with his 38.
They struggle. Michael finds a way to rip free...BANG, BANG!

Tommy drops to the floor.
93.
Michael is staggered, but doesn’t hesitate, swiftly taking

the wires off his body and shoving the wires onto Tommy’s
chest, underneath his shirt.
Michael realizes he needs to move... He discovers Tommy’s 45

lying on the floor and shoots two bullets into the wall (to
cover his tracks).
Michael tosses Tommy’s body across his arms and walks toward
the kitchen.
INT. CAR - (MOVING) (FLASHBACK SEQUENCE)
(We have NOT seen this before)
We see Joe and Kathleen in the front seat arguing directions

to the hospital.
In the back seat, Tommy is laid across Michael’s lap,

spitting up blood... Michael makes sure no one is paying
attention, before he squeezes Tommy’s nose and mouth. The
veins run through his face and neck.
The sound of the road drowned out the helpless fight for
life.
EXT. FOREST - DAY (BACK TO PRESENT)
You could hear a pin drop.
Joe’s eyes begin to water.
Michael is weary.
Joe reaches behind his waistband and pulls out a

(recognizable) 38.
JOE
You fucking killed him. My own
brother... killed my best friend.
MICHAEL
Joe...
JOE
You left your 38 at the house.
MICHAEL
Joe... look...
94.
JOE
You forgot I’m the smart one. I ran
ballistics on the two bullets you
put in Tommy. Same 38 Bobby O gave
you to off Stevy McBeth at Frank’s
impound.
The 38 rises in Joe’s hand, pointing at Michael. Joe’s

trigger hand shakes.
Joe (CONT’D)
I loved you Michael... I’m sorry.
I’m so sorry.
MICHAEL
Joe let me explain. Give me two
seconds and I’ll explain, it’s not
what it looks like.
JOE
Yeah... it’s exactly what it looks
like.
BANG! Birds fly out from the trees.
Michael looks down, hands covered in blood. He has been shot

in the stomach. Michael falls to his knees.
Michael finds the strength to slowly crawl.
MICHAEL
(weak voice)
Joe, please. Please don’t do this.
Let me explain.
Michael still crawling, a blood trail follows every inch he

moves. Too weak to continue, he surrenders against a tree
stump.
Joe crouches down looking Michael straight in the eyes. Joe

points the 38 at Michael’s forehead.
MICHAEL (CONT’D)
Joe, I'm your brother.
JOE
I know... that’s what makes this so
difficult.
Tears run down Joe’s face.
MICHAEL
Joe... but I’m your broth...
95.
BANG! Michael's body slams back against the tree stump,

brains blown out.
We close in on Michael’s body lying against the tree stump

(reminding us of the opening scene). In the distance we see a
RAT maneuvering through the forest. It approaches Michael’s
body...
Detective Maclemore sits in front of the Unidentified Person.

He stands and walks over. The overhead lights finally reveal:
Michael Mosley.
DET. MACLEMORE
Michael, this is the right
decision. I promise we’ll keep you
safe.
U.S. Attorney Henry Petersen pats Michael on the shoulder as

he walks out.
INT. POLICE OFFICE - DAY (BACK TO PRESENT)
Captain Phillips is drunk sitting at his desk, with a half

bottle of scotch and a single shot glass. He grabs his cell
phone and dials: Michael Mosley.
The phone just continues to ring...
INT. MOSLEY’S HOUSE/BEDROOM - NIGHT
Joe stands in the doorway with his tie loosened and sleeves
rolled up. He methodically sits on the bed. Kathleen is
sleeping. He stares at her with every ounce of life’s regret.
JOE (V.O.)
What was important to me in life,
was always right in front of me. I
had it... it was in my grasp... And
I had so many chances to make
things right.
Joe glances down at his blood-spatted shoes. He leaves and

shuts the door, blowing an NA brochure and baby sonogram off
of the night stand and to the floor.
96.
EXT. MICHAEL’S HOUSE - DAY
Leah anxiously waits on the front porch. Cars drive by, and
each one that passes, reality begins to set in.
JOE (V.O.)
Instead, it was more important to
me to play out my life’s sins. I
was more focused on trying to
justify my toxic black heart, than
to be a good man. I guess... people
just didn’t matter to me anymore.
Leah stands up and walks back inside.
INT. POLICE STATION/LINE UP ROOM - NIGHT
Joe walks in and stands in front of a line-up board. Five

other men that look nothing like Joe, follow suit. They stand
shoulder-to-shoulder and look forward.
JOE (V.O)
Don't worry... I got what was
coming to me.
INT. PRISON CELL - DAY
Joe lies down on the rock-hard bed cot, staring at the

ceiling.
A PRISON GUARD walks by and stops. Ambulatory restraints drop

to his side, expecting Joe to stand immediately.
JOE (V.O.)
I ended up in a place that deserved
me as much as I deserved it.
The Prison Guard escorts Joe passed each scum-infested cell.

The Inmates are pressed against the bars, like hungry dogs.
JOE (V.O)
I was thrown in with a bunch of
gorillas and animals. How ironic...
that most of these mother fuckers
ended up in here because of me.
At the end of the confinements, we near a dark, deserted area

under construction. The Prison Guard stops and unlocks a side
door.
GUARD
Walk.
97.
Joe moves forward. The Prison Guard locks the door behind
him. The Prison Guard vanishes.
JOE (V.O.)
Everything in life comes around
full circle. Maybe, this is the way
it was always supposed to end...
darkness with no light at the end.
Four BLACK INMATES jump Joe with medal rods. They severely
beat him to his knees. Joe attempts to fight back like the
savage he is. The Black Inmates continue beating Joe
gruesomely to his death.
EXT. PRISON/VISITOR ROOM - DAY
Kathleen is dressed nice. She is drug free and renewed. She

taps her foot impatiently, waiting for Joe.
JOE (V.O)
My name was Joe Mosley, a corrupt,
immoral, and heartless man. Placed
into this world from 1945 to the
Fall of 1988. Inmate number
4-7-6-5, sentenced to life without
parol... and was it worth it...
no... not at all.
INT. POLICE STATION/LINE UP ROOM - NIGHT (FLASHBACK SEQUENCE)
Joe walks in and stands in front of the line-up board. Five

other men with absolutely no resemblance, follow suit. They
stand shoulder-to-shoulder and look forward.
OBSERVATION ROOM
A older grey haired man “THE HUNTER” intensely scans over the
five suspects. Captain Phillips stands next to him.
“THE HUNTER”
(a slight stutter)
It was number five. That’s who I
saw that day hunting in the
woods... I saw number five blow
that guy’s brains out.
We see Joe holding number five.
Captain Phillips shakes “The Hunter’s” hand.

98.
CPT. PHILLIPS
Thank you for coming in.
“THE HUNTER”
Yeah, sure, no, no problem.
INT. SQUAD CAR - DAY (FLASHBACK SEQUENCE)
Captain Phillips pulls over to the curb. The whores and

hookers scatter. The passenger’s side door SQUEAKS open. “The
Hunter” steps out, as Captain Phillips hands him an envelope
of money.
CPT. PHILLIPS
I’m happy this worked out for both
of us. Now get the fuck out.
“THE HUNTER”
You said that you would erase my
record.
CPT. PHILLIPS
Consider it cleaned. But, you tell
anyone about this, they’ll find you
rotting out in the forest.
“The Hunter” SLAMS the door.
SUPER: MONTHS LATER
INT. SUPERIOR COURT - DAT
The room is crowded with journalists, cameras, well-dressed

law enforcement, and government officials.
Detective Maclemore and U.S. Attorney Henry Petersen sit with

the prosecution. Directly behind them, in the front row, we
see Leah surrounded by FOUR WOMEN who appear mournful.
The Judge takes his place.
Captain Phillips emerges from a back entrance. Once he steps

through the doorway we realize he is dressed in a prison
outfit with his wrists chained. The Captain’s loyal friends
are appalled to see him like this. He is escorted to the
stand, seated, and made to take an oath.
CAPT. PHILLIPS
(to Detective Maclemore)
You know you don’t have to do this
right?
99.
DET. MACLEMORE
(with a grin)
Yeah... I know.
The Judge taps the gavel.
JUDGE
Order in the court... Mr. Petersen,
the floor is all yours.
U.S. Attorney Henry Petersen graciously moves across to the

jury.
HENRY PETERSEN
Thank you, Judge. Today, I’m going
to explain to you ... how a beloved
and admired public servant of the
community ... knowingly sent six
informants to their deaths... here
in the last fifteen years.
Leah comforts the WIDOWS who are surrounded by family.
HENRY PETERSEN (CONT’D)

These men trusted Captain Phillips.
No, they were not perfect men, they
were criminals that made a decision
to become federal informants. Once
our judicial system committed to
them, it became our public duty as
the United States of American,
under the laws of the state of
California, to protect these men.
You will learn, based on the facts
and evidence that Henry Brady,
Jonathan Richey, Mark Sarono,
Jeffrey Sengoski, and Sean
Jacobson... didn’t need to lose
their lives while working
undercover. Captain Phillips,
retracted statements, falsified
documents, tampered with evidence,
and sent federal informants to
their deaths. We have letters
advising the Captain to pull these
men out of harms way. Knowing they
were at risk, he went against
procedures and regulations. He
pushed the boundaries just to
justify his own agenda. So many
cases were falsified, that the U.S.
Attorney’s office took it amongst
themselves to conduct its own
investigation.
(MORE)
100.
We sought out our own informant.
That informant was... Michael
Mosley.
We hear whispers.

Today is the day that we will prove
to you that Captain Phillips sent
Michael to his death. The Captain
had one goal in mind, and that was
to incriminate Joe Mosley,
Michael’s brother. Joe Mosley was
the definition of a corrupt cop,
one of the most ruthless gangsters
that this city has ever seen.
Captain Phillips despised Joe,
because Joe got away with
everything under Captain Phillip’s
watch...
A Guard comes over and places a BOX of RECORDING TAPES (from

the Rico Room) onto the table.
The Judge takes interest and perks up.
JUDGE
Mr. Petersen, approach the bench.
The U.S. Attorney, Henry Petersen approaches.
JUDGE (CONT’D)
With all due respect Mr.
Petersen... as our U.S. Attorney,
it seems there was a lack of
oversight, in my opinion. To me, it
seems Michael Mosley and the other
five souls you mentioned, should
still be alive. Only if someone
possessed the leadership to pull
the plug on this operation, these
men may still be alive.
HENRY PETERSEN
Unfortunately sir... I agree with
you... and that is something I will
have to live with for the rest of
my life.
FLASHBACK TO:
101.
EXT. ALLEYWAY - DAY
Buildings are abandoned. A squad car and black Mercedes drive

and park parallel to each other. Windows roll down. Captain
Phillips leans out and gives Javan Allen (founder of the
Crips) an envelope filled with cash.
FBI surveillance captures every moment.
CAPT. PHILLIPS
Is everything set up on the inside?
JAVAN ALLEN
Joe will be dead by the end of the
day. I guarantee it.
The black Mercedes drives away.
JOE (V.O.)
Everything came down to money. The
greed of a bad man, outweighed the
values of a good one. Loyalty
shouldn’t cost a cent. But, it
became a cost to the highest
bidder, a slang word used among the
snakes moving in the grass.
EXT. PRISON CEMETARY - DAY (BACK TO PRESENT)
Prison Guards lower a wooden casket into a freshly dug hole.

We notice a written label on top of the casket. The label
reads: Joe Mosley 1945-1988.
JOE (V.O.)
Even the best men in America end up
lying in a coffin six feet deep.
Dig ah little further, and you’ll
find the devil. Either way you’re
going to be remembered or you’re
not. It was important to me, to
make sure that I was fuckin’
remembered.
SERIES OF SHOTS
-- A squad car parks at the prison. Will Brokoski walks into

the entrance. He gets through security.
-- Will Brokoski meets with the Warden.
-- Will Brokoski pays off the Warden.

102.
EXT. PRISON - DAY
Guards surround a prison bus. A single file line of inmates

(all black) are being funneled onto the prison bus.
INT. PRISON BUS - DAY (MOVING)
An INMATE leans across the aisle to talk with another INMATE.
INMATE
You hear anything from Javan about
us getting transferred?
MOMENTS LATER
The bus drives out of the prison gates.
Down the road the bus stops. The door opens. The Bus Driver
steps out and runs away down the road.
BOOM, the bus explodes in flames.
INT. SOUTH LOS ANGELES - DAY
We see Javan Allen step out from an apartment building. His

black whore mistress waves good bye. Javan struts to his car,
slides in, and pulls the seat belt across his chest.
Will Brokoski approaches from across the street...
WILL BROKOSKI (O.S.)

Javan Allen?
JAVAN ALLEN
Yeah.
JOE (V.O.)
Growing up, the OG’s always said,
keep your friends close but your
enemies closer. That’s one opinion.
A grenade is tossed onto Javan’s lap. He scrambles. No avail.

The grenade EXPLODES.
INT. PRISON/SOLITARY CONFINEMENT - DAY
We see Captain Phillips, in an orange jump suit, isolated,

sitting at a table eating lunch.
Prison Guards vanish from the room.

103.
THREE ITALIANS walk in. Captain Phillips jumps to his feet,

knocking his lunch over. The three Italians surround him like
an animal being hunted.
A rolled up bed sheet tightly wraps around Captain Phillip’s

neck. The other Italians pin his arms back.
JOE (V.O.)
In this game you had to be smart.
You couldn’t reveal your cards. You
had to anticipate one move ahead.
The worst decision by Captain
Phillips was when he and the U.S.
Attorney tried to get me to flip on
Nicky Civella, Tommy’s cousin, the
wise guy from Kansas City. Only
thing they overlooked was: Tommy
was my best friend, so, shit, that
made Nicky practically family.
One of the Italians with a medal shank leans in, whispering

into Captain Phillips’s ear.
ITALIAN MAN
(whispering)
Nicky Civella says hi.
The Italian repeatedly stabs Captain Phillips in the chest.

It’s bloody.
JOE (V.O.)
Do you think a guy like me, in the
kind of world I lived in... didn’t
have contingencies in place?
CUT TO:
EXT. FOREST - DAY
We See Michael’s body pressed against the tree stump. A

bullet in his stomach and one in his head. The body is still
fresh and lightly purple.
JOE (V.O.)
See... rats preyed on the
disillusion of loyalty. When rats
start sniffing out the other
rats... how could anyone tell the
difference?
From the outskirts we see a rat skirring over to Michael’s

body. The rat moves closer and crawls on top of Michael’s
chest, sniffing around.
104.
JOE (V.O.)
Loyalty ... I lost the meaning of
loyalty a long time ago.
INT. SUPERIOR COURT - DAY (BACK TO PRESENT)
The Judge is sitting high on the bench, still looking down at

U.S. Attorney Henry Petersen with disgust.
The box of recording tapes is on the table.
JUDGE
Is it true that not all the tapes
recorded by Michael Mosley while
being an informant... that not all
of those recordings are filed into
evidence? That some of them are
actually missing?
HENRY PETERSEN
Unfortunately sir, yes, that’s
true.
INT. MICHAEL’S HOUSE/BEDROOM - DAY
Leah sluggishly walks down the hallway, with tears in her

eyes. Leah opens the door, eyes wide open. We see the box
(Michael left) on the bed. Leah’s curiosity makes her peek
inside the box.
INT. LEIGH’S CAR - DAY
Leah is driving through the streets of Los Angeles. She is

eight months pregnant. She appears uncertain.
We notice the box in the back seat. The box is filled with
recording tapes labeled and dated:
1. Frank’s Impound/Stevy McBeth Murder.
2. Meeting with Nicky Civella.
3. Mosley’s House/ Tommy’s Shooting.
A written letter is placed on top of the recording tapes that

reads: “Give to Detective Maclemore.”
105.
EXT. POLICE STATION - DAY
Leah pulls up to the police station and turns off the

ignition. She ponders over Michael's letter; whether to walk
up the flight of steps.
A squad car pulls in front of Leah’s car. It’s Will Brokoski.

He eases out of the squad car. He methodically lights a
cigarette.
He stands and stares at Leah through his dark sunglasses for

a prolonged moment. It’s creepy the way he is standing there.
Leah is scared and nervous. Will Brokoski finally waves at
Leah with a smirk: hint of intimidation.
Leah starts the ignition and quickly drives away.
JUDGE (V.O.)
Mr. Petersen... how did, or more
importantly, why would Michael
Mosley do something like this? Why
would he keep the recordings?
INT. LEAH’S CAR (MOVING) - DAY
Leah clenches the steering wheel. There is a letter on top of

the box in the back seat. We pan in on Michael’s letter,
which reads:
Detective Maclemore, in the event of my death I felt it was

important to give you the items in this box. If you’re
reading this, it means the person I was trying to protect, is
the same person who ended my life. Sincerely Michael Mosley.
BIRD’S EYE VIEW:
We see Leah’s car driving on the back roads, surrounded by

trees and shrubs, as her car is consumed by the forest.
A rat emerges and scurries across the road.
THE END

Lost Meaning of Loyalty

Uploaded by

Document Information

Copyright

Available Formats

Share this document

Share or Embed Document

Sharing Options

Did you find this document useful?

Is this content inappropriate?

Copyright:

Available Formats

Lost Meaning of Loyalty

Uploaded by

Copyright:

Available Formats

LOST MEANING OF LOYALTY

EXT. FOREST - DAY

Far and wide, in a clump of trees multi-colored lights are

On top of the hill, scanning below, is CAPTAIN PHILLIPS, 50,

A blood trail lures us down to a creek. A few feet farther, a

DETECTIVE MACLEMORE is young and polished. He crouches down

SUPER: LOS ANGELES

INT. COURT ROOM - DAY

A handsome PROSECUTOR speaks to the jury. He holds a 45 high

A greasy SNITCH sits with his ATTORNEY.

EXT. POLICE ACADEMY FACILITY - DAY

A YOUNGER JOE MOSLEY, in his 20's, jogs in the pouring rain.

EXT. HIGHWAY OVERPASS - DAY

EXT. JAIL/BACK ENTRANCE - DAY

EXT. DARK STREET CORNER - NIGHT

Hookers sluggishly roam the sidewalk. A black car with

EXT. MOSLEY’S HOUSE/PORCH - NIGHT

We see three boys, about 12, sitting on the porch smoking

The boys appear to be entertained.

INT. POLICE ACADEMY FORUM - NIGHT

All the Trainees are dressed in formal suits, while family

Captain Phillips speaks at the podium.

Captain Phillips pins a shield to Joe and Tommy’s jacket.

EXT. NEIGHBORHOOD STORE - DAY

JOE stands in the doorway smoking a cigar, dressed as a

EXT. FUNERAL BURIAL - DAY

Several umbrellas surround a casket. Joe and Tommy in police

A LITTLE BOY hands a folded American flag to the grieving

Riflemen fire off a “twenty-one gun solute.”

EXT. MOSLEY'S HOME/PORCH - NIGHT

The Cop continuously beats the Drunk Driver in the middle of

INT. DEALER'S HOUSE - DAY

Police Officers rip off the bed mattresses. Bricks of cocaine

INT. MOSLEY'S HOUSE/KITCHEN - NIGHT

On top of an 80’s old-fashioned yellow table, we see several

INT. EVIDENCE ROOM/HALLWAY - NIGHT

Joe and Tommy meet up with a security guard. They push

Tommy gives the payoff money to the security guard.

INT. POLICE HEADQUARTERS - DAY

From the second floor balcony, Captain Phillips looks down at

A Teenage Boy walks in and heads directly over to Joe,

Joe looks up at Captain Phillips with a cocky smirk.

EXT. CAR - DAY (MOVING)

Tommy is driving. Joe in the passenger seat. The Snitch sits

We approach a rusty bridge. An entourage of men standing

Tommy drags the Snitch like a dog on a leash.

The Snitch’s body slams into swerving freeway drivers. It is

INT. MOSLEY'S HOUSE/BEDROOM - NIGHT

Joe stands in the doorway with a loosened tie, methodically

SUPER: LOST MEANING OF LOYALTY

EXT. PRISON GATES - DAY

The handsome face of MICHAEL MOSLEY appears (the body from

Across the street: Kathleen Mosley in a beautiful white dress

Michael is hesitant but walks over.

INT. JOE’S LINCOLN CONTINENTAL - DAY (MOVING)

Joe is driving. Kathleen is up front. Michael in the back.

Michael stares at Joe with sympathy and compassion.

It becomes silent again.

INT. MOSLEY'S HOUSE/LIVING ROOM - DAY

Michael is pacing around viewing the family photos. This

He looks up to see... Tommy McCarley walks through the door.

Tommy gives Michael a hug.

BACK IN THE KITCHEN

Michael and Tommy walk in through the swinging door.