CLT Final - Email Only

CRIMES LIKE THESE
by
Brian Wind
bwind22@yahoo.com
FADE IN:
INT. LIVING ROOM - EVENING
RUDY DIXON, 30s, stares straight ahead through a mask of

freshly splattered blood. He kneels, stoic.
His three piece suit drips crimson stains on the white carpet
near a smoking pistol.
Carnage surrounds him.
The corpses of DAUGHTER, 11, covered in blood, and SARA,

30s, just as bloody, clothing in tatters, lay before him.
The body of BURLY THUG, early 40s, lays nearby with his pants
at his ankles and a large knife protruding from his chest.
Most of YOUNG THUG, early 20s, rests in a twisted pile near

the door, but pieces of brain cling to the wall beside it.
OS, approaching police sirens wail.
Rudy continues to stare straight ahead as red and blue lights

strobe in through the window.
The front door shatters inward.
POLICE OFFICERS charge in with guns drawn, shouting MOS.
Rudy doesn't even flinch, calmly raises his hands above his
head.
INT. COURT ROOM - MORNING

Rudy, blood-free, but no less solemn, wears an orange
jumpsuit, sits at the defendant's table beside a LAWYER.
He stares straight ahead as the JURY FOREMAN stands and reads

a verdict MOS.
Lawyer's gaze falls to the floor, as do the eyes of several

members of THE JURY.
THE JUDGE swallows hard, frowns, addresses the court MOS.
Rudy stands, emotionless, trudges towards THE BAILIFF.
The gavel bangs.

2.
INT. RUDY'S PRISON CELL - DAWN
Darkness shrouds the confined space.
SUPER: FOUR YEARS LATER
Rudy GASPS himself awake, sits up. Sweat drips.
He climbs out of his bed, splashes water on his face.
It drips from his face as he stares at a worn photograph

affixed to the small mirror above the sink.
Himself, his wife and daughter smile back from a snapshot in

a park.
He takes it off the mirror with care, sets it atop his bunk.
INT. PRISON CORRIDOR - MORNING
GUARD strolls down a quiet cell block, stops outside Rudy's

cell. Keys rattle.
INT. RUDY'S PRISON CELL - CONTINUOUS
The cell door slams open. Rudy stands on the other side
with a shoe box containing the sum of his belongings.
GUARD
Today's the day, Dixon. Got your
shit?
Rudy nods at his box, steps in to the corridor.
GUARD
Good, let's get a move on. Your
P.O. is already waiting outside.
EXT. PRISON - MOMENTS LATER
Tall, barb-wired fences surround the penitentiary's stone

walls.
A red light on the wall turns green as two iron door creak
open.
Rudy, in street clothes, steps outside, looks at the sun,

inhales deeply.
3.
Guard points ahead to a gate in the fence. A car waits on

the other side.
GUARD
Stay out of trouble, Dixon.
Rudy nods, walks towards the gate. It buzzes, then opens.

He passes through.
KUBIAK, 50's, chiseled features, the no-nonsense type, leans

against the hood of the sedan.
INT. KUBIAK'S CAR - MOMENTS LATER
Kubiak drives, Rudy rides shotgun. Rudy removes the family

photo from the box at his feet, stares at it.
Kubiak casts a sideways glance at his newest client.
KUBIAK
You ain't going to give me any
problems, are ya?
Rudy shakes his head.
RUDY
No sir.
KUBIAK
Cut that "sir" shit. You ain't in
prison anymore. Name's Jack Kubiak
but you can call me Jack.
No reply. Kubiak glances at the picture in Rudy's hands.
KUBIAK
That your family?
Rudy breaks his gaze long enough to look up.
RUDY
They were.
They ride in awkward silence. Kubiak breaks it.
KUBIAK
I read your file. I think anyone in
your situation-
Kubiak stops himself, starts over.

4.
KUBIAK
The point is I'm sympathetic to your
situation. So, long as you don't
give me any trouble, I'm here to
help.
No response. Rudy just stares at his photo.
KUBIAK
I took the liberty of making some
living arrangements for you.
No response.
KUBIAK
It's a shithole, but once we get you
back on your feet, you'll be able to
trade up.
Rudy breaks his stare from the photograph, nods at Kubiak.
RUDY
Thanks Jack.
Kubiak nods.
KUBIAK
No problem. Do me a favor.
(points)
Open the glove compartment.
Rudy opens it. Inside, a pistol lays next to an envelope.
KUBIAK
Hand me that.
Rudy raises an eyebrow, reaches for the pistol.

KUBIAK
The envelope.
RUDY
Do you all carry guns?
Rudy hands Kubiak the envelope, closes the glove compartment.

5.
KUBIAK
Disciplining felons all the time?
Making housecalls to the slums on a
regular basis? Be crazy not to.
(beat)
I'm hungry. You?
Kubiak turns the sedan off the highway in to the parking lot
of a small cafe without waiting for a response.
INT. APARTMENT CORRIDOR - DAY
One apartment door on either side of the grimy hallway. At

the opposite end, one staircase leading up, one leading down.
ARLO, early 30s, a muscular thug with a permanent sneer,

stands in the hallway.
TRUCKER, 50s, fat, bearded dirtball, stands next to him,

hands over some cash. Arlo counts it, nods, opens the door.
Both men enter one of the two apartments on the ground floor.
A second later, the door re-opens.
ISABELLA, 16, streetwise, dressed in black with dyed hair to

match, exits with a sketchbook in hand. She sits down in
the hallway, slips her headphones on, begins drawing.
She glances up as she hears the front entry open, OS.
INT. ZIGGY'S APARTMENT - DAY
Old furnishings, clutter and dust. This place hasn't seen a

proper cleaning in years.
ZIGGY, late 40s, in a food-stained t-shirt and boxer shorts,
lounges on the sofa with his feet atop the coffee table, the
living embodiment of the word 'slob'.
A basketball game plays on the television.
He fumes, hurls obscenities at the tv.
ZIGGY
Come on you stupid piece of shit!
How can you miss a fuckin' lay-up?
MOM (O.S.)
Language!
6.
A knock at the door. Ziggy's eyes narrow.
ZIGGY
You expecting anyone?
MOM (O.S.)
No.
ZIGGY
Well, someone's at the door.
Ziggy makes no effort to get off the couch.
MOM, 70s, in her nightgown, hair in rollers, shuffles in

from a hallway, heads towards the door.
She looks out the peephole, turns to Ziggy.
MOM
It's two men.
Ziggy doesn't take his eyes from the tv set.
ZIGGY
Tell 'em to come back later. I ain't
here.
INT. 2ND FLOOR LANDING - CONTINUOUS
Mom opens the door. Frankie Fold'em, mid 40s, sharp dresser
with a silver tongue, and WADE, 30s, a brute, stand on the
other side.
MOM
Yes? How can I help you boys?
FRANKIE FOLD'EM
Good day Ma'am. Ziggy here?
MOM
It's for you.
Mom, leaves the door open and Ziggy sitting in plain sight
as she retreats to the bathroom. Ziggy sneers at her, stands,
approaches the door.
ZIGGY
Yeah?
7.
WADE
Yeah what? You know why we're here.
FRANKIE FOLD'EM
Vincent wants his money.
Ziggy shakes his head.
ZIGGY
I already told him on the phone it
was a push. Fixed fight.
Ziggy begins to close the door on them. Body stops it with

his foot.
FRANKIE FOLD'EM
All the same, he thinks you should
pay up.
ZIGGY
What kind of bookie would I be if I
paid out on fixed fights?
WADE
The kind without any broken bones.
ZIGGY
No, I'd be the broke, out-of-business
kind.
Ziggy hands a stack of cash to Frankie Fold'em, who looks at

it with skepticism, passes it to Wade.
FRANKIE FOLD'EM
That's a matter of opinion.
(to Wade)
Looks a little thin.
ZIGGY
Ten grand. That was his bet. That's
all he's getting out of me.
FRANKIE FOLD'EM
What kind of employee will I be if I
only bring him ten grand when he's
expecting a hundred?
ZIGGY
Not my problem.
8.
FRANKIE FOLD'EM
I'm just letting you know he's not
going to be happy with this.
ZIGGY
Also not my problem.
Frankie Fold'em raises an eyebrow.
FRANKIE FOLD'EM
It'll become your problem real quick
if you don't reconsider your stance.
Wade slams Ziggy against the doorframe.
MOM (O.S.)
That's it! I'm calling the police!
Over Ziggy's shoulder, Mom's finger hovers over the cordless

phone, threatening to dial.
Frankie Fold'em nudges Wade, who in turn releases Ziggy.
FRANKIE FOLD'EM
That won't be necessary Ma'am. We
were just leaving. Come on.
Frankie Fold'em tips his hat to Mom, turns for the staircase.
Wade follows.
INT. ZIGGY'S APARTMENT - CONTINUOUS
Ziggy slams the door behind them, locks it.
ZIGGY
Fucking thugs!
Mom retreats towards the bathroom again.
MOM (O.S.)
Language!
EXT. APARTMENT BUILDING - CONTINUOUS
Kubiak's sedan pulls to the curb. Rudy and Kubiak climb

out.
A run-down gas station on one side, a very small and decrepit

two-story apartment building on the other.
9.
Rudy and Kubiak approach the apartment building, pass Frankie

Fold'em and Wade on the sidewalk. The rest of the derelict
block sits boarded and deteriorating.
Frankie Fold'em tips his hat at them as they pass by.
FRANKIE FOLD'EM
Good day, gentlemen.
Rudy and Kubiak nod hello, head for the entrance.
INT. CLAYTON'S APARTMENT - MORNING
Flies buzz in the grimy living room.
CLAYTON, late 50s, long stringy hair, yellow teeth, no shirt,

sits on the couch gleefully wielding a fork with a piece of
meat on the end.
An iron sits plugged in, next to a plate of unidentified

meat and a large knife.
He picks holds the iron on it's side, like a skillet, drops

a piece of meat on it. It sizzles. He stabs it with a fork,
smells it, licks, savors, then eats.
A digital alarm sounds nearby. Clayton scowls, stands

abruptly, pulls on a tattered tank-top, storms out.
He slams the door behind himself.
CLAYTON (O.S.)
Hold your damn horses, I'm coming!
INT. APARTMENT CORRIDOR - MORNING

Isabella draws in her sketchbook as moans of ecstasy emanate
from the apartment door beside her.
She looks up as Kubiak and Rudy enter, back to her drawing.
Kubiak stops at the door across the hall across the hallway
from Isabella, makes a sweeping hand gesture.
KUBIAK
One hundred Sims Road. Welcome home.
Rudy surveys his surroundings.

10.
KUBIAK
Landlord was supposed to meet us
here though.
CLAYTON (O.S.)
Hold your damn horses, I'm coming!
Kubiak and Rudy turn to see Clayton moseying down the stairs.
KUBIAK
You must be Clayton. I'm Jack Kubiak,
we spoke on the phone. This is Rudy
Dixon, your new tenant.
Clayton eyes Rudy cautiously.
CLAYTON
Here's the key. Laundry's downstairs.
Rent's five hundred, due on the first
of the month.
Rudy holds out his hand, Clayton drops the key in it and
turns to head back up the steps without another word.
Kubiak and Rudy watch him disappear upstairs, exchange a

glance. Kubiak shrugs.
KUBIAK
Brochure said friendly staff.
Rudy twists the key in the door.
INT. RUDY'S APARTMENT - CONTINUOUS
A countertop separates the living room and kitchen. The

flaking walls yearn for a fresh coat of paint. A worn sofa
and wooden table make up the sum of the decor.
Two doors on the back wall lead to the bathroom and bedroom.
KUBIAK
Not much to look at, but it beats an
eight by ten cell, right? Here's a
little something to get ya started.
Kubiak hands Rudy an envelope.
RUDY
Thanks Jack.
11.
KUBIAK
Thank the taxpayers.
(beat)
Phone company will be out on Monday.
Kubiak hands Rudy a business card.
KUBIAK
Don't hesitate to call if you need
anything.
Rudy nods, Kubiak exits. Across the hallway, Isabella watches

Rudy close the door, locks it.
He wanders to the apartment's only window, peers out. It

overlooks a dirty alleyway alongside the building.
He slides it open, inhales deeply, cringes, looks down. A

dumpster rests directly below.
LATER
A knock comes from the other side of the door.
He turns the lock, swings it open. Isabella stands on the

other side.
ISABELLA
So, you're like the new neighbor?
RUDY
Guess so.
ISABELLA
I'm Isabella. I live right there.
She points at the door across the hall.

RUDY
Nice to meet ya.
ISABELLA
You're not like, a perv, are you?
Rudy smirks.
RUDY
No. I'm not a perv.
12.
ISABELLA
I didn't think so. You don't look
like one. You think I could, like...
use your bathroom?
Rudy raises an eyebrow.
RUDY
Something wrong with yours?
Isabella looks across the hall at the closed door. An

exaggerated moan of pleasure arises from within.
ISABELLA
My mom's working.
Rudy steps aside.
RUDY
It's the door on the-
ISABELLA
I know where it is.
Isabella heads for the bathroom, sets her sketchbook and a

pink cell phone down atop the countertop on her way.
Rudy watches her close the door, meanders to the refrigerator,

opens it. Empty.
He strolls the perimeter of the apartment until he stops in

front of his box of belongings. The family photograph stares
back at him from atop the box.
The bathroom door opens. Isabella exits. An unlit cigarette

dangles from her lips.
ISABELLA
Toilet doesn't flush. Got a light?
Rudy pats himself down, shakes his head.
Isabella strolls to the stove, turns it on, places the

cigarette on the burner until it lights, turns off the stove.
RUDY
Your mother know you smoke?
Isabella stares at him, raises an eyebrow.

13.
ISABELLA
You going to tell on me?
RUDY
Not if you got another one.
Isabella smirks, produces a second cigarette, turns the stove

back on.
RUDY
Name's Rudy Dixon.
From OS, a scream pierces the apartment. Rudy looks up at

his ceiling, Isabella doesn't react. Rudy notices.
RUDY
That normal?
She nods, puffs her cigarette.
RUDY
Where'd it come from?
ISABELLA
It's Clayton. Says he's releasing
tension. Mom thinks he's nuts.
Arlo says he's jerking off.
RUDY
Maybe I'll wait 'til morning to have
him fix the toilet.
Isabella grins, rolls her eyes.
ISABELLA
Yeah, good luck with that.
ARLO (O.S.)
Yo, where the fuck you at girl?
Her face drops. She puts her cigarette out in the sink,
dashes for the door, forgets her things on the counter.
ISABELLA
Thanks. See ya around Rudy.
RUDY
Yeah. See ya. Thanks for the smoke.
He spots her sketchbook and phone on the counter.

14.
RUDY
Hey, you forgot your-
She's gone.
INT. APARTMENT CORRIDOR - CONTINUOUS
Rudy reaches his doorway's threshold just in time to see

Isabella's door slam shut.
He strolls across the hallway, knocks.
The door swings open. Arlo looks him over.
ARLO
What the fuck you want?
RUDY
Isabella forgot her stuff.
Rudy extends the sketchbook and phone. Arlo sneers, but

accepts the items.
ARLO
You stay the fuck away from her,
hear me?
RUDY
She just had to use the bathroom.
ARLO
I don't care if she was about to
shit her motherfuckin' pants.
Rudy raises his hands, palms out.

RUDY
No problem. I'm not looking for any
trouble. Next time she knocks, I'll
tell her to shit herself.
ARLO
You better.
(beat)
Motherfucker.
Arlo slams the door in Rudy's face.

15.
ARLO (O.S.)
(shouts)
How many times I got to tell you to
stay the fuck away from the neighbors,
girl?
Rudy strolls back to his apartment and finds the door closed.
He grabs the doorknob, locked. He checks his pockets, empty.
Another scream pierces the apartment complex.
Rudy grimaces as realization sets in. He pats himself down

for the keys one more time, then starts up the staircase.
INT. CLAYTON'S APARTMENT - AFTERNOON
Clayton lounges on the grimy sofa, flips through a hunting

magazine.
SUPER: FIVE MINUTES AGO
OS, a moan.
Clayton glances casually towards the groan.
CLAYTON (O.S.)
Nope. Wasn't a bad dream.
Beside the couch, right there in the living room, gagged and
crucified on a contraption that looks to be straight out of
the dark ages is DAVID, mid 30's, a bloody mess with several
missing and crudely cauterized fingers.
He moans, looks at Clayton through a swollen eye.
CLAYTON
Well what do you want to do today?
The telephone rings.
CLAYTON
Hold that thought.
Clayton answers the phone.
CLAYTON
(in to phone)
Hello?
16.
Clayton picks up a large knife, stands in front of David,

cleans his fingernails with it.
CLAYTON
(in to phone)
Sorry, already been rented.
David struggles against his restraints. Clayton smirks.
CLAYTON
(in to phone)
Thanks for calling.
Clayton hangs up the phone, presses the knife to David's

throat.
CLAYTON
Now... I'm going to take off your
gag, but you know the deal... You
scream, I take a finger.
Clayton removes his gag.
CLAYTON
Think you can do it this time? I
don't, but I'll still be rooting for
you.
Clayton snickers as he unzips his pants, moves around back

of the contraption that confines David.
DAVID
Please!
CLAYTON
Don't worry, I guarantee this is
going to be one of the best moments
of the rest of your miserable life.
David screams.
Clayton silences him with a knife to his throat. Clayton re-

inserts the gag.
CLAYTON
I'm going to pretend I didn't hear
that one.
David struggles. Tears roll down his cheek.

17.
Clayton thrusts his pelvis forward violently. David's face

contorts in pain.
David lowers his eyes to the floor, helpless, as Clayton

mounts him. He sobs in to his gag.
CLAYTON
For Pete's sake. I bet that little
girl made less of a fuss.
Clayton continues to thrust.
Tears run down David's cheeks as Clayton ravages him.
CLAYTON
You're crying this time? Where's
your dignity.
David whimpers.
Finally, Clayton gives one last thrust, sighs, dismounts.

He retrieves the knife, waves it menacingly in front of
David's face, notices David's eyes rolling back in his head.
CLAYTON
Hey... Hey!
Clayton pokes the knife in to David's left shoulder, draws

blood. David winces.
He pokes the knife again, this time at David's abdomen, more

blood drawn.
In one fluid motion, Clayton grabs hold of David's hand,

slices off his one of his three remaining fingers.
David's eyes display panic, his breathing escalates. He

lets loose a muffled scream in to his gag. His finger stub
squirts pulse after pulse of blood on to the floor.
CLAYTON
I lied. I did hear you scream.
Clayton smirks, pleased with himself. He grabs the iron,

presses it against the stub of David's finger, cauterizing
the wound. It sizzles.
David's body arches with pain. The gag muffles his blood-
curdling scream.
Clayton sets the iron down.

18.
Clayton stares hard at David until he stops screaming.

David's eyes panic again when they see the glare Clayton's
giving him. Clayton finally cracks a grin.
CLAYTON
Ah, hell. Who am I kidding? I can't
stay mad at you. Ready for round
two?
Clayton unzips his pants again, moves behind David again.

David's eyes widen. He struggles against his restraints.
A knock at the door.
Clayton grunts, zips his pants up, heads towards the door.
Rudy faces the door. It swings open, revealing Clayton on

the other side. Clayton eyes him suspiciously.
CLAYTON
What?
His greeting catches Rudy off-guard.
RUDY
Sorry to bother you. Locked myself
out.
Clayton grits his teeth, visibly annoyed. He fishes a key

ring out of his pocket, slides a key off of it, hands it to
Rudy.
CLAYTON
Drop it in my mailbox once you get
yourself in.
RUDY
I can bring it back up-
Clayton's eyes narrow.
CLAYTON
Think I enjoy your company? Mailbox
is just fine.
Clayton begins to close the door. Rudy stops him.

19.
RUDY
Oh, one more thing. My toilet doesn't
flush.
CLAYTON
I'll get to it on Monday.
Rudy furrows his brow.
RUDY
It's Friday.
CLAYTON
Make do. I don't work weekends.
Clayton slams the door in Rudy's face. As the door closes,

a reflection of David's tortured body flashes in the mirror
hanging nearby as it shakes.
Rudy catches a glimpse of it from the corner of his eye.

Stunned, he stares at the door.
EXT. APARTMENT BUILDING - EVENING
Rudy looks up and down the block, jogs across the street, to
the phonebooth in the gas station's parking lot.
INT. PHONE BOOTH - CONTINUOUS
He clicks the phone several times, slams the receiver down

in frustration, exits the phone booth towards the gas station.
INT. GAS STATION - MOMENTS LATER

Rudy approaches the counter.
ORTIZ, 20s, thug with a friendly smile, stands behind the

counter.
ORTIZ
What can I get for you homey?
RUDY
The phone outside's broken.
Ortiz shrugs.
20.
ORTIZ
Has been for 'least a year now.
Boss said everyone's got cell phones
now so no point in fixing it.
RUDY
I don't.
Ortiz shrugs again.
ORTIZ
Don't know what to tell you man.
Five bucks I'll let you use mine.
RUDY
Yeah?
Ortiz nods.
Rudy takes a fifty dollar bill from Kubiak's envelope, slides

it under the glass. Ortiz slides him the phone, begins making
change.
ORTIZ
Got anything smaller? I can only
change twenty.
Ortiz points to a sign on the wall notifying potential robbers

that the cashier has less than twenty dollars in cash.
RUDY
Figures.
ORTIZ
You can grab twenty five bucks worth
of shit off the shelves if you want
though.
LATER
Rudy wanders the aisles with a basket holding the phone to

his ear.
RUDY
Jack, it's Rudy. We need to talk.
Meet me at that little diner at the
end of the block in the morning.
He closes the phone without ever mentioning a specific meeting

time.
21.
LATER
Rudy wanders towards Ortiz, slides him the phone, sets milk,
beer and a pile of junk food atop the counter.
Ortiz nods, tallies up the purchase.
RUDY
Keep the change.
Rudy grabs his bags, heads for the exit, reaches the door,
nearly collides with Wade coming in.
INT. FRANKIE'S SEDAN - EVENING
A cell phone flips closed. Frankie Fold'em sits in the

driver's seat, stows it in his pocket. Wade looks on
anxiously from the passenger seat.
WADE
Tell me we get to kill that asshole.
Frankie Fold'em purses his lips, shakes his head. Wade fumes.
FRANKIE FOLD'EM
Least not yet. Vincent's comin' up
here, wants to talk to him personally.
Wade's eyes widen. He muses.
WADE
Oh... Well, this dude's fucked then.
Least he ain't our problem no more,
right?
FRANKIE FOLD'EM
Well, Vincent ain't here yet.
WADE
So?
Frankie Fold'em stares at him.
WADE
No! We got to wait?
FRANKIE FOLD'EM
Make sure this dickwad don't run.
22.
WADE
My girl's gonna' kill me.
(beat)
If he does run, we can shoot him
though, right?
FRANKIE FOLD'EM
'Course.
Frankie Fold'em nods ahead, through the windshield.
The apartment building resides on the left side of the street,

the gas station on the right. A red Mustang sits at the
curb nearby.
FRANKIE FOLD'EM (O.S.)

That's his Mustang.
Rudy exits the apartment building, looks up and down the

block, jogs across the street to the phonebooth outside the
gas station.
WADE (O.S.)
What's that guy's deal?
Rudy slams the phone down, emerges from the phonebooth and
heads for the gas station.
WADE (O.S.)
Yeah, that's what he gets for being
Amish.
INT. FRANKIE'S SEDAN - CONTINUOUS

FRANKIE FOLD'EM
That guy's not our concern.
(beat)
And the Amish don't use payphones.
Now go get us two cups of coffee
from that cafe down the block. It
could be a long night.
Wade's face contorts, he gets out of the car without a word.

23.
INT. CAFE - MORNING
An empty coffee cup rests in front of Rudy, who sits alone

in a booth with bags under his eyes.
WAITRESS, 50s, approaches with a pot of coffee.
WAITRESS
Another cup, Sugar?
Rudy slides his cup towards. She fills it, leaves.
Kubiak enters, approaches.
KUBIAK
You look like shit. Get any sleep?
KUBIAK
So what's up? Besides me at an
ungodly hour on a Saturday? You
know this is an hour drive for me?
Rudy looks him square in the eyes.
RUDY
I saw something.
Kubiak furrows his brow.
KUBIAK
Okay, what'd you see that's so
important I had to drive all the way
back out here?
RUDY
Last night-
Rudy cuts himself off as the Waitress approaches.
WAITRESS
Can I get you anything Sugar? Coffee?
A menu?
KUBIAK
Coffee's fine. Two sugars, no cream.
She nods, departs.
Kubiak retrains his attention on Rudy.

24.
RUDY
Last night, I went up to the
landlord's apartment-
KUBIAK
What for?
RUDY
I locked myself out... And my toilet's
broken, but that's not important.
While I was up there-
Waitress returns with a cup of coffee for Kubiak. As she

exits, he sips the coffee without hesitation, grimaces.
KUBIAK
Terrible! You been drinking this
shit all night?
RUDY
Thought it tasted okay.
KUBIAK
Yeah, but you're used to that canteen
shit though. Anyway, keep going.
What'd you see?
RUDY
He's got some guy chained up in there.
KUBIAK
What?
RUDY
I saw it in the mirror as he shut
the door.
KUBIAK
What do you mean chained up?
RUDY
I mean he had some guy bound and
gagged in the middle of his apartment.
KUBIAK
So what? He's a fruitcake? He likes
to play rough with his loverboy.
You tellin' me that surprises you?
You met him.
25.
RUDY
No, I heard screams. Think I saw
blood too.
KUBIAK
Okay, I'll bite. Why didn't you
call the cops?
RUDY
I'd rather not call attention to
myself, just get on with my life.
Plus, you told me to call if I had
any problems and now I got one.
KUBIAK
Tell you what. I've got a friend in
the department. I'll talk to him,
have him check it out.
RUDY
Thanks, Jack.
Rudy begins to retrieve his money, Kubiak stops him.
KUBIAK
I got it. Save your cash. And get
some sleep.
Rudy nods, heads for the exit. The door swings open before
he can reach it.
Frankie Fold'em, holds it open for him from the outside.
FRANKIE FOLD'EM
After you.
Rudy nods his thanks, exits. Frankie Fold'em enters.
EXT. APARTMENT BUILDING - MORNING
Vincent steps out of his sports car. Frankie Fold'em and

Wade greet him at the curb.
VINCENT
He's home?
WADE
He hasn't left.
26.
Vincent ignores Wade completely, looks to Frankie Fold'em,

who nods.
VINCENT
Which one's he in?
WADE
Two-oh-one... But that asshole's
not going to pay.
Vincent continues ignoring Wade's very existence, looks to

Frankie Fold'em for answers.
FRANKIE FOLD'EM
Two-oh-one. You want me up there
with you?
Vincent shakes his head.
VINCENT
I don't think that will be necessary.
We go way back. You two wait here.
Vincent enters the building.
WADE
He ain't going to pay.
Frankie Fold'em turns to him slowly, clearly irritated.
INT. ZIGGY'S APARTMENT - MOMENTS LATER
Ziggy strolls to the door in his boxer shorts, looks through

the peephole, frowns.
ZIGGY
What do you want?
VINCENT (O.S.)
What is this? Come on, open up.
Ziggy hesitates, eyeballs a pistol on the table nearby, opens

the door.
Vincent stands on the other side with a weird smile. He

enters, palms up. Ziggy closes the door behind him.
ZIGGY
What?
27.
VINCENT
This is how you greet your friends?
Ziggy stares at him coldly.
ZIGGY
Just 'cause we shared a cell don't
mean we're friends.
VINCENT
You know why I'm here. Frankie
informed me that you have reneged on
our wager. I just came by to hear
it with my own ears.
ZIGGY
The fight was fixed. All bets are
off. Look, I'm sorry. No one made
any money on it.
VINCENT
Let me get this straight. See if
you can follow me here. You and I,
two grown men, made a wager.
Ziggy stares at him sternly.
VINCENT
I won said wager. Now you are
refusing to pay up-
ZIGGY
But-
Ziggy starts to object but Vincent sharpens his tone and

speaks right over him.
VINCENT
-because you say the fight was fixed,
although we can both agree that I
had nothing to do with it, right?
ZIGGY
No, I don't think-
VINCENT
Good, so what's the problem?
ZIGGY
The problem is all bets are off.
28.
Vincent stares at him, fumes.
VINCENT
You know what would have happened if
you tried pulling this shit in the
clink, right?
Ziggy swallows hard.
VINCENT
Tell you what, I'll give you the
rest of the day. Give it some
thought.
Vincent opens the door, turns to leave.
ZIGGY
Fuck you!
Vincent stops in his tracks, turns slowly, finds Ziggy

pointing a pistol at him.
ZIGGY
I'm not paying. Not now, not at the
end of the day. You got a problem
with that, we can settle it right
now.
Vincent raises an eyebrow.
VINCENT
Ziggy... You should really think it
over.
Ziggy cocks the pistol.
ZIGGY
You should really get the fuck out
of my apartment. I see you or your
boys again, I shoot first, ask
questions last, understand?
Vincent scrutinizes, nods.
VINCENT
Very well. So long Ziggy.
Vincent exits in to the hallway. Ziggy closes the door behind

him, locks it.
29.
EXT. APARTMENT BUILDING - MORNING
Wade smokes a cigarette as he paces. Frankie Fold'em stands

vigilant.
SUPER: TWO MINUTES AGO
WADE
Frankie, can I ask you something?
FRANKIE FOLD'EM
Yeah, sure.
WADE
Why's Vincent always ignoring me?
Frankie Fold'em's face contorts.
FRANKIE FOLD'EM
What are you, a pussy? I told you
before, you ain't earned his respect
yet.
WADE
You think it's because I don't have
a cool nickname?
FRANKIE FOLD'EM
What? No.
WADE
Like you and Harry the Hammer or
Poopy Dick Pepper.
FRANKIE FOLD'EM
You think Poopy Dick Pepper is a
good nickname? Get the fuck out of
here... Four people at his funeral
an' he had eight siblings.
The front door swings open. Vincent exits the building, all
smiles, directs all of his attention at Frankie Fold'em.
WADE
I never should have doubted you!
Frankie Fold'em nudges Wade. Wade takes the hint, shuts up.
FRANKIE FOLD'EM
Were you able to persuade him?
30.
VINCENT
Not exactly. He's a dead man walking.
Wade stops, confused. Then his expression brightens.
WADE
Do we get to do it?
Vincent looks to Frankie Fold'em.
VINCENT
I'm calling in The Twins. You two
wait here an' keep an eye on him
until they get here.
Vincent trots off towards his car.
Wade starts to object, but a stern glare from Frankie Fold'em

stops him cold.
INT. APARTMENT CORRIDOR - MORNING
The building's front door swings open. Rudy enters the

hallway, scans his surroundings. All quiet. He staggers to
his door, fumbles with the keys, opens it.
As the door swings closed, Ziggy lumbers down the steps,

through the corridor and out of the building.
INT. FRANKIE'S SEDAN - MORNING
Wade fidgets with the radio from the passenger seat.

FRANKIE FOLD'EM
You got to stop that. You're driving
me fucking crazy here.
WADE
It's not my fault there's never
anything on the radio. Ever heard
of a CD player?
Wade continues flipping stations on the stereo.
Frankie Fold'em lifts a paper cup to his mouth, tilts it to

the ceiling. Empty. He tosses it at Wade's feet in the
midst of a small pile of empty cups.
31.
FRANKIE FOLD'EM
I'm empty.
Wade looks up from flipping radio stations at his cup, still

half full.
WADE
So?
FRANKIE FOLD'EM
So go get us a refill.
WADE
I got the coffee all night!
FRANKIE FOLD'EM
Gettin' pretty good at it too. I
don't see no reason to stop now.
WADE
No! I've still got a half a cup.
If you want me to get it you can
wait until I need one too.
Frankie Fold'em raises his brow, looks impressed.
FRANKIE FOLD'EM
Keep it up with those balls and maybe
one of these days Vincent will
acknowledge your existence.
Wade's face drops. He resumes fidgeting with the radio.
WADE
That was low man.
Frankie Fold'em softens.

FRANKIE FOLD'EM
I'm just yankin' your chain. One of
these days you'll get a chance to
earn some respect. You just haven't
had one of those days yet, that's
all.
WADE
That's bullshit. I think I've already
proven myself, don't you?
32.
FRANKIE FOLD'EM
Ain't me you need to prove yourself
to though.
Frankie Fold'em opens his door.
FRANKIE FOLD'EM
In a show of respect for you newfound
testicles, I'm going to go get myself
another cup of coffee.
(beat)
Keep your eye on the Mustang.
Wade nods, waves him off.
FRANKIE FOLD'EM
Hey!
Wade stops flipping channels, looks at him.
FRANKIE FOLD'EM
Eyes on the Mustang.
WADE
I got it, I got it.
Frankie Fold'em climbs out of the car, walks the block.
Wade resumes flipping channels on the radio. His cell phone

RINGS. He fishes it out of his pocket, answers.
WADE
Hey girl.
(beat)
Nah, I'm still stuck out here on
some bullshit.
(beat)
I am for real!
Distracted by his phone and the radio, he fails to notice

Rudy walking up the street, entering the apartment building.
WADE
Hell no, I ain't cheatin' on you!
How could you even say that?
(beat)
I told you, I've been stuck working
all night.
(beat)
No, I'm with fuckin' Frankie!
33.
He stops on a song he likes just as it ends, station goes to

commercial, he resumes flipping channels.
WADE
I know baby, it sucks for me too. I
still don't even know when I'm gettin'
done either.
(beat)
I love you too.
(beat)
No, I love you more.
(beat)
You can't because I already love you
the most. Okay, love you. Bye.
Wade hangs up the phone, looks up from the radio. The

Mustang's parking spot sits empty, no Mustang in sight.
WADE
Oh, fuck.
The driver's side door swings open. Frankie Fold'em, fuming,

climbs in.
FRANKIE FOLD'EM
Where's the fuckin' Mustang Wade?
WADE
I- I- I-
FRANKIE FOLD'EM
You were fucking around with the
radio and didn't notice that big fat
greaseball drive away in his shiny
red Mustang. That about sum it up?
WADE
Kate called. I got distracted.
FRANKIE FOLD'EM
Distracted? You have any idea how
serious this is?
WADE
I know. I fucked up. What do you
want me to say?
FRANKIE FOLD'EM
Did he see you?
34.
WADE
What?
FRANKIE FOLD'EM
Do you think you got made? Does he
know we're here?
WADE
I don't know. I don't think so. I
didn't see him.
FRANKIE FOLD'EM
So for all you know, he saw you and
took off, never to be seen again.
WADE
'Course it's possible. It's also
possible he didn't see me an' just
ran to the post office or something.
FRANKIE FOLD'EM
Unbelievable Wade. Un-fucking-
believable. You better hope he just
ran to the post office because we're
probably gonna' be the ones windin'
up dead if he split!
Rudy looms in the doorway. He wrinkles his nose.
RUDY
How'd you get in here?
Isabella stands by the stove, smokes a cigarette.

ISABELLA
Key.
RUDY
Why do you have a key to my apartment?
She shrugs.
ISABELLA
Lester gave it to me. He used to
let me smoke here too.
Isabella offers Rudy a cigarette.

35.
Rudy enters, closes the door behind himself, accepts it.
RUDY
That right? Where's Lester now?
BEGIN FLASHBACK
INT. LESTER'S APARTMENT - NIGHT
Darkness. The door opens, bathing the room in light.
Isabella stands shocked, silhouetted in the doorway.
ISABELLA (V.O.)
Dead. Killed himself.
Lester's feet dangle, his body swings from a noose.
ISABELLA (V.O.)
It was weird. No note.
END FLASHBACK
INT. RUDY'S APARTMENT - MORNING
Rudy's eyes narrow, he frowns.
RUDY
I'm sorry. That's a horrible thing
to walk in to.
Isabella extinguishes her cigarette in the sink.
RUDY
You shouldn't come over here any
more. I'll be getting a new lock.
Isabella's face drops.
ISABELLA
Don't bother.
She slams the key down on the counter, looks him in the eye
with the scorn of a teenage girl.
ISABELLA
I thought you were cool.
She storms off, making a beeline for the door.

36.
RUDY
Your dad said-
She stops in her tracks, pivots, storms back up to him and

jams a finger at his chest, furious.
ISABELLA
That piece of shit is not my dad!
He's my mom's boyfriend... and pimp...
and drug dealer... And he ruined our
fucking lives!
RUDY
Okay, okay. Settle down. I just
don't want any trouble. I just got
out. I ain't looking to go back in,
you know?
ISABELLA
I think you could kick his ass.
RUDY
That's not the point.
ISABELLA
Besides, he'll be sleeping until
noon anyway so he'll never even know
I was here.
RUDY
Still not a good idea.
Rudy nods, starts walking towards the door. Isabella doesn't

follow.
ISABELLA
So why were you up all night?
Rudy shrugs.
RUDY
That obvious, huh? Adjusting to a
new life ain't as easy as it sounds.
You really need to go.
Isabella rolls her eyes as she sneers, pivots and heads out
the door, letting it slam behind her.
37.
Rudy shakes his head, picks up the key from the countertop,
strolls towards the door, drops the key in his box along the
way, arrives at door, locks it.
He retrieves his family photograph from the box, lays down

across the couch, stares at it.
LATER
Rudy awakes, wrinkles his nose, sits upright on the couch,

looks towards the kitchen.
RUDY
How did you get in?
Isabella stands smoking a cigarette. She rolls her eyes.
ISABELLA
I gave you the wrong key.
Rudy stands, ushers her towards the door, opens it.
RUDY
You can't come here any more.
She follows him, stops when moans of pleasure emanate from

her apartment across the hallway. Tears form in her eyes.
ISABELLA
Please. You don't understand. I
can't listen to her do that to
herself. I can't. Please.
Rudy ponders.
Isabella pleads with her eyes.

Rudy frowns.
Tears form in Isabella's eyes. Her lip trembles.
Rudy finally caves in.
RUDY
I'm starving. You hungry?
Isabella beams, nods as she re-enters. Rudy closes the door

behind her, locks it.
RUDY
Know anyone that delivers?
38.
Rudy pulls out his cash. She produces her cell phone.
LATER
Rudy sits beside Isabella on the couch. He flips through

her sketchbook.
She carefully rips a page from her sketchbook, offers it to

him. He smiles, accepts.
LATER
Rudy and Isabella sit on the floor eating in silence as they

happily devour the last few bites of pizza.
Rudy finishes first, nods in approval, pats his belly.
RUDY
It's been four years since I had a
piece of pizza.
Isabella finishes up her pizza.
ISABELLA
Only two for me.
Rudy's brow furrows, an inquisitive look.
ISABELLA
Arlo doesn't like it.
She rolls her eyes.
RUDY
So what? Mom and Dad got divorced
and she started dating this guy?
Isabella frowns.
BEGIN FLASHBACK
EXT. THE SUBURBS - AFTERNOON
A picket fence borders the lush green grass that surrounds

the upper middle class home. A nice S.U.V. sits in the
driveway, brimming with luggage.
39.
INT. MIDDLE CLASS HOME - CONTINUOUS
Isabella, two years younger, lays in a bed, bundled in

blankets with a thermometer sticking out of her mouth.
PAIGE, early 30s, Isabella's mother, attractive suburban

soccer mom, sits beside her.
BURTON, early 30s and BEAU, 9, looks like the baseball

uniformed boy version of Isabella standing the doorway.
Paige removes the thermometer from Isabella's mouth, frowns,

shakes her head. Disappointment registers on David's face.
Beau shrugs, pivots, disappears into the home beyond the

doorway. David crosses the room, kisses Isabella's head,
speaks to her MOS. With sad eyes, she nods.
David stands, kisses Paige, speaks briefly MOS. She nods as

he kisses her again. He pulls away, forces a smile, kisses
Isabella's forehead one more time then leaves.
Paige stands, gazes out the window to the driveway.
EXT. MIDDLE CLASS HOME - CONTINUOUS
In the front seat, Beau punches the S.U.V.'s horn repeatedly.
David appears, jogs across the lawn to the vehicle, opens

the rear hatch, pulls out a few pieces of luggage, drops
them on the driveway beside the truck.
He looks at Paige in the window, points to the luggage on

the driveway, nods inquisitively. She nods in response. He
blows her a kiss, jogs around to the driver's door.
ISABELLA (V.O.)
That was the last time we ever saw
them. They got in an accident on
the way to Beau's tournament.
INT. MORGUE - LATER
Paige, makeup streaked from tears, stands near two tables

with a white sheets draped over two bodies, one about half
the size of the other.
Isabella, in pajamas and looking ill, stands beside her.

40.
POLICE OFFICER and CORONER stand near the ends of the tables.
Coroner folds back the sheet on the first table.
David stares at the ceiling, pasty and dead.
Paige's knees buckle, she drops the floor.
Isabella stares at her father's corpse, expressionless.
ISABELLA (V.O.)
Then she started drinking.
INT. MIDDLE CLASS HOME, KITCHEN - DAY
Isabella reads from a textbook at the kitchen table. Paige,

in a robe, staggers past with an empty wine glass, fills it
to the brim, wanders back in the direction she came.
ISABELLA (V.O.)
Lost her job. Lost her friends.
Lost our house. She lost everything.
INT. LIQUOR STORE - EVENING
Paige browses the wine selection, bumps in to Arlo. They

begin conversing, MOS. Arlo smiles.
ISABELLA (V.O.)
Then it got worse... She met Arlo.
INT. SHITTY APARTMENT - EVENING
Dozens of empty bottles, a bong, and a mirror with a pile of

white powder on it adorn the coffee table beside the sofa.
Atop the sofa, Arlo mounts a naked Paige, thrusts his hips
beneath a blanket. She moans.
Across the room, at the kitchen table, Isabella cups her

hands to her ears as she tries to focus her attention on her
homework.
ISABELLA (V.O.)
It wasn't long before she started
doing drugs. Started with pills,
but then...
41.
INT. SHITTY APARTMENT - NIGHT
Paige holds a crackpipe to her mouth, Arlo lights it. She

breathes in deeply.
ISABELLA (V.O.)
Harder stuff.
INT. CORRIDOR, SHITTY APARTMENT - NIGHT
Arlo stands in the open doorway. GREASY LOSER hands him a

wad of cash. Arlo flips through it, nods, allows Greasy
Loser entry.
END FLASHBACK
INT. RUDY'S APARTMENT - AFTERNOON
Rudy sits on the floor opposite Isabella.
ISABELLA
And now here I am.
(beat)
Stuck in this dump with a crackwhore
mom and her asshole pimp.
Rudy frowns.
RUDY
Sounds like you've had it rough.
Isabella drops her gaze to the floor, pauses.
ISABELLA
I get by.
She looks up, suddenly less solemn.
ISABELLA
How about you?
RUDY
What about me?
ISABELLA
Where's your family? Got any?
42.
Now Rudy's gaze drops to the floor.
RUDY
Used to.
BEGIN FLASHBACK
EXT. UPSCALE HOME - EVENING
Exterior lights illuminate an upscale home. A Porsche glides

to a stop in the driveway.
RUDY (V.O.)
Four years ago, I came home from
work just like every other day...
Rudy, wearing a suit, climbs out, briefcase in hand, slams

the door, heads for the front door of his home at a leisurely
pace.
He arrives at the front door, stops. It sits open a few

inches. He swings it open, slowly, cautiously.
INT. UPSCALE HOME, LIVING ROOM - CONTINUOUS
Rudy stands, silhouetted in the doorway.
RUDY
Sara?
He listens. Silence. Then, a bloodcurdling scream that

ends abruptly.
Rudy drops the briefcase, darts in to the living room. He

stops in his tracks, freezes, stunned.
Daughter lays motionless in a pool of blood nearby.
Nearby with his back to Rudy, Burly Thug, pants at his ankles,
wields a bloody knife as he straddles Sara, whose clothes
lay in tatters.
Sara bites down hard on Burly Thug's hand, which covers her
mouth.
SARA
Rudy!
43.
Burly Thug turns, sees Rudy, returns his attention to Sara

just long enough to slide his knife across her throat,
spraying the room with blood.
Burly Thug dismounts, turns, gets bulldozed by Rudy. They

crash backwards through a glass coffee table.
Rudy smashes a fist into his face. Bones crack.
Burly Thug coughs up blood. Tries to raise the knife, but

Rudy's second crushing punch causes Burly Thugs's entire
body to go limp. The knife clatters to the floor.
Blood, flesh and bone splatter as Rudy hammers away until

there's no face left to smash, just a bloody puddle.
Rudy reaches for the knife, slams it in to Burly Thug's chest.

Again, and again, and again, until splattered blood is the
room's new motif.
Rudy slumps backwards, off of Burly Thug's abdomen, gazes

towards Sara and Daughter, both blood covered and lifeless.
He moves his hand to stand up, brushes against a pistol

holstered in the pants around Burly Thug's ankles.
He stands, moves to Daughter's body, drags her closer to

Sara's, then falls to his knees between them.
YOUNG THUG (O.S.)

Van's packed. You finished yet?
Rudy retrieves the pistol just as Young Thug rounds the

corner, stops cold, puts his hands up.
RUDY
Yeah. He's finished.
YOUNG THUG
Whoa, shit! Hey, I'm just the driver.
Rudy squeezes the trigger. Young Thug's brains explode all

over the wall behind him as his body slumps to the ground.
Rudy drops the pistol, kneels between his wife and daughter,
stares straight ahead, stoic.
Police sirens wail in the distance.

44.
EXT. STREET - LATER
Lights strobe from the police cars surrounding the house.
RUDY (V.O.)
I even heard one of the cops saying
they should let me go... But they
couldn't.
Rudy stands handcuffed. Police Officers stand nearby having

a quiet discussion, MOS. After some deliberation, a cop
ushers him in to the back of a squad car.
INT. COURT ROOM - MORNING
Rudy, in an orange jumpsuit, sits at the defendant's table

beside his Lawyer.
He stares straight ahead as the Jury Foreman stands and reads

a verdict MOS.
Lawyer's gaze falls to the floor, as do the eyes of several

members of the Jury.
RUDY (V.O.)
I got a lot of sympathy but problem
was, law's the law and that second
guy wasn't armed or threatenin' me.
Killing him wasn't in self-defense.
The Judge swallows hard, frowns, addresses the court MOS.
RUDY (V.O.)
Got the minimum sentence, but it was
still twelve years.
Rudy stands, emotionless, trudges towards The Bailiff.
RUDY (V.O.)
Behavin' myself got me out in four.
The gavel bangs.
END FLASHBACK
INT. RUDY'S APARTMENT - AFTERNOON
Isabella's bottom lip projects as her face registers sadness

for his story.
45.
Rudy offers the picture of his family. She takes it, looks
at it with sad eyes.
ISABELLA
They're beautiful.
(looks up)
Did you ever find out why?
RUDY
Wrong place at the wrong time. The
walked in on two guys robbing our
house.
Isabella's eyes are wet.
ISABELLA
That's so sad.
From OS, a scream rips through the building.
Rudy flinches, looks towards the ceiling, then Isabella.
RUDY
Think your mom's right about him
bein' nuts.
ISABELLA
Sorta.
RUDY
What do you mean by that?
Loud pounding on Rudy's door.
ARLO (O.S.)
Girl, I know yo' ass is in there!
Better get the fuck out here right
now 'fore I get pissed!
Terrified, Isabella looks to Rudy. Rudy frowns, torn. He

nods towards the window.
Arlo, furious, pounds on Rudy's door.

46.
ARLO
Don't make me kick this motherfuckin'
door in!
The door swings open. Rudy stands in it, fuming.
RUDY
You wreck my door and we're going to
have a problem.
Arlo takes a step back, dismayed that someone would dare

stand up to him.
ARLO
Oh, we already got a problem. Big
motherfuckin' problem. Where's the
girl?
RUDY
How the hell should I know? Haven't
seen her since our chat.
ARLO
Oh, that's some bullshit right there.
Arlo takes a few steps, attempts to barge past Rudy. Rudy

stands his ground, shoves him backwards.
RUDY
Back off asshole. I said she ain't
here, now get lost before you really
start pissin' me off!
ARLO
Or what?
Arlo takes a step towards Rudy just as Officer Oakz, 50s, a

large, ugly policeman descends the staircase, stops, surveys
the confrontation he's encroached on.
Arlo tries his best to seem casual.
OFFICER OAKZ
Everything all right here boys?
Rudy shrugs, looks to Arlo.
ARLO
My girlfriend's kid is in there.
47.
RUDY
No, she isn't.
(to Officer Oakz)
She's not. I already told him that.
Isabella enters through the building's front entry. Her

eyes dance around the scene. All eyes are on her.
ISABELLA
What?
OFFICER OAKZ
This the girl?
Arlo eyes her suspiciously, turns to Officer Oakz.
ARLO
Yeah.
OFFICER OAKZ
So...
ARLO
(to Rudy)
My bad. Sorry 'bout that.
Rudy looks to Officer Oakz, shrugs.
RUDY
Guess we're cool.
Rudy shuts his door. Officer Oakz continues on his way,

exits the building. Arlo glares at Isabella.
ARLO
Where the fuck you been?
Isabella raises an eyebrow, shoots him a snobby look.
ISABELLA
Store. Since when do you care?
ARLO
Your mom's lookin' for you.
She turns her back on him, enters her apartment.
Arlo gives one last look at Rudy's door, follows Isabella.

48.
INT. 2ND FLOOR LANDING - AFTERNOON
Officer Oakz stands outside Clayton's door, knocks.
As he waits, he scans his surroundings.
The door opens as much as it can until the chain latch

catches. Clayton's face appears in the crack.
CLAYTON
Well, well, well... Hello Cassius.
Wasn't expecting you 'til later.
OFFICER OAKZ
Afternoon Clayton. Mind if I come
in?
Clayton looks away from the door, then back.
CLAYTON
Come back later? I'm kind of in the
middle of something.
OFFICER OAKZ
Only take a minute. Open up.
INT. CLAYTON'S APARTMENT - CONTINUOUS
Clayton frowns, closes door, unlatches the chain lock.
He glances over at David's mangled frame in the contraption,

a barely conscious bloody mess missing several fingers from
each hand with his pants at his knees.
He frowns, opens the door.
Officer Oakz takes a step in to the room.
OFFICER OAKZ
I'll make this as quick as I can so
you can get back to-
(sees David)
Clayton, what the hell?
CLAYTON
What?
49.
David raises his bloody head, murmurs beneath his gagball.

His eyes delight in the presence of a police officer.
OFFICER OAKZ
Oh, look at that.
(to Clayton)
Thinks I'm here to help him.
David's eyes bulge.
OFFICER OAKZ
How you think he knows your guilty
you perverted piece of shit?
(to Clayton)
You mind?
Officer Oakz nods at David. Clayton shrugs.
CLAYTON
Have at it.
Officer Oakz moves behind David, unzips his pants. David

screams in to the gag.
Clayton leans casually against the wall, observes.
CLAYTON
Still on for tonight?
OFFICER OAKZ
Pick you up 'round eleven, but this
here visit's on official business.
(beat)
Came by to warn you there's another
tenant raising flags.
CLAYTON
One hundred?
Officer Oakz continues to thrust his pelvis behind David.
OFFICER OAKZ
He come up here last night?
CLAYTON
Stopped up to get a key.
50.
OFFICER OAKZ
Must have seen something, reported
it to his parole officer. I went to
school with him so he called me.
(beat)
Told him I'd look in to it.
CLAYTON
That a fact?
OFFICER OAKZ
Just giving you a heads up.
CLAYTON
Appreciate it. I'll take care of
him.
Officer Oakz grunts, sighs as his body relaxes. He takes a

step back from David, zips up his pants.
OFFICER OAKZ
Whoo, thanks son. Just what this
ol' boy needed.
CLAYTON
Feel like helping me put him out of
his misery?
Officer Oakz strolls to door, opens it.
OFFICER OAKZ
Nah, I got to get.
CLAYTON
Never thought I'd see the day my big
brother would pass up an opportunity
like this one...
OFFICER OAKZ
Maybe next time. See you around
eleven.
Officer Oakz exits, closes the door behind himself.
Clayton locks it back up, turns to David.

51.
CLAYTON
Hear that? We're almost through
here. How 'bout one more... For
old time's sake?
Clayton grins, moves himself behind David, drops his pants.
INT. FRANKIE'S SEDAN - AFTERNOON
Frankie Fold'em sits in the driver's seat, stares straight

ahead. Body sits beside him in the passenger seat nervously
chewing on his fingernails.
WADE
I'll just say he gave me the slip,
wasn't your fault at all.
Frankie Fold'em frowns.
FRANKIE FOLD'EM
Doesn't work like that. I'm in charge
so your fuck-ups are my fuck-ups.
Least that's how Vincent sees it.
They sit in silence.
WADE
Frankie...
Frankie Fold'em turns his head slowly, cold stare.
FRANKIE FOLD'EM
What?
WADE
They really going to kill us?
Frankie Fold'em frowns as both rear doors of the sedan swing
open.
Frankie Fold'em and Wade spin towards the backseat.
ILL DENTON, 30s, massive, deranged albino, climbs in behind

Frankie Fold'em, stares at his hands, which he plays with
like a child.
BACH, 30s, sleek Asian assassin with a nasty sneer and a

black suit, sits behind Wade.
52.
FRANKIE FOLD'EM
Gentlemen.
Frankie Fold'em nods at the new passengers. Bach returns a

cold stare, Ill Denton a childish grin.
BACH
Where is the target?
WADE
Well, we, I, he just-
Frankie Fold'em spots the Mustang approaching down the block

through the rear window.
FRANKIE FOLD'EM
He's in the apartment.
Wade sighs in relief.
BACH
Good. We wait until nightfall.
WADE
So, we got some time to kill. Mind
if I ask you why they call you guys
The Twins?
BACH
He is my brother.
Wade raises an eyebrow.
WADE
Adopted?
Bach's eyes narrow.

BACH
No more questions. We wait for
nightfall.
WADE
In silence?
BACH
Yes.
(beat)
In silence.
Wade's face contorts.

53.
WADE
Can we at least listen to the-
FRANKIE FOLD'EM
Wade, shut the hell up!
Body furrows his brow, spins around to face front. Ill Denton
smiles, lovingly tilts his head towards Bach.
INT. RUDY'S APARTMENT - NIGHT
Moonlight through the window casts eerie shadows that dance

across Rudy as he sleeps on the couch.
From OS, a frantic tap-tap-tap on the window. Rudy startles

awake, dashes towards the sound.
ISABELLA (O.S.)
(shrill)
Please!
Rudy slides it open, Isabella barges in, flustered.
She turns on the lights. Tears streak down her face.
Rudy seethes.
RUDY
Did he hit you?
She shakes her head. Rudy's expression pains for her.
ISABELLA
Worse.
RUDY
He hit your mom?
Isabella shakes her head, breaks down in tears.
ISABELLA
Well, yeah, he did. But that's
nothing new. He wants to... He's
going to sell me.
BEGIN FLASHBACK
54.
INT. APARTMENT CORRIDOR - EVENING
Isabella sits in the hallway, headphones in, drawing in her

a sketchbook.
SUPER: LAST WEEK
ISABELLA (V.O.)
The first time I saw him, I didn't
think much of it. Just another creep
screwin' my mom.
Vincent descends the staircase. Ziggy stands at the top.
ZIGGY
Hey, good luck.
Vincent smiles, nods.
VINCENT
Should be a great fight.
Ziggy smirks, counts a roll of cash as he turns back towards

his apartment.
ZIGGY
You say so. Good seein' ya Vincent.
VINCENT
Yeah, you too.
Ziggy disappears inside his apartment, closes door.
Vincent continues down the steps, stops at Isabella, smiles

at her. She looks up, raises an eyebrow.
VINCENT
Hello. Doing some homework?
She rolls her eyes, looks back to her drawing clearly

uninterested in conversation.
The door to Isabella's apartment opens. Degenerate exits in

a hurry, head down, out the building's front door.
Arlo steps in the hallway, sizes up Vincent.
ARLO
Who the fuck are you? Out here
botherin' a little girl?
55.
VINCENT
What are you selling?
ARLO
Don't know what you talkin' about.
Vincent nods towards the entryway still swinging shut.
VINCENT
I'm always looking for potential
business ventures. So, which is
it... Pussy or drugs?
ARLO
You a cop or something? Fuck off.
Vincent laughs.
VINCENT
A cop? Me? No, no. Far from it.
Why? Do I look like a cop? Just a
potential customer.
ARLO
Ain't interested.
Vincent smirks. He pulls a roll of big bills from his pocket.

Arlo takes notice.
VINCENT
Do you have somewhere we can speak...
(gestures at Isabella)
More privately?
Arlo nods towards the apartment. Vincent leers at Isabella

as they enter, shut the door behind them, leaving Isabella
in the hallway.
INT. ISABELLA'S APARTMENT - NIGHT
Paige lays on the couch with bloodshot eyes, stares at the

television.
Isabella draws at the kitchen table.
The door opens. Arlo enters. Vincent follows.
SUPER: THREE HOURS AGO

56.
ISABELLA (V.O.)
The second time I saw him, I knew it
meant something bad. He wasn't there
to just fuck my mom.
Isabella rolls her eyes, gathers up her sketchbook, heads

for the door. Vincent leers at her as she exits, closes the
door behind her.
VINCENT
Have you thought about my offer?
ARLO
You fuckin' sick man. She's only
sixteen.
Vincent stares at him, still awaiting an answer.
ARLO
Already told you, she ain't for sale.
Arlo turns to Paige, who has yet to acknowledge their

presence.
ARLO
Get up bitch, you got work to do.
Paige doesn't budge, nor even seem to hear him. Vincent

raises an eyebrow.
VINCENT
That a joke? She's not coming
anywhere near my cock.
(beat)
And you haven't even heard my offer
yet.
Arlo strolls towards the door, prepares to open it for him.
ARLO
Already told you I ain't interested.
VINCENT
I'll give you two fifty for her.
Arlo narrows his gaze, looks at Paige who is focused on the

television.
ARLO
Two hundred fifty large? Is this
for real?
57.
VINCENT
Of course.
Arlo contemplates, shakes his head.
ARLO
Tempting... But I can't. She ain't
mine to sell.
Vincent scoffs.
VINCENT
What? Hers?
He nods towards Paige who still sits oblivious to their

conversation on the couch.
VINCENT
I doubt she'd even notice.
(beat)
Five hundred then.
Arlo's eyes bulge, he silently weighs his options.
ARLO
She won't go quietly.
Vincent smirks.
VINCENT
They never do. I'll be in touch.
Arlo opens the door. Vincent exits, leers at Isabella as he

walks out.
Isabella enters from the hallway. Arlo stares at her. She

sneers back.
ISABELLA
What?
Arlo snaps out of his daze, closes the door.
END FLASHBACK
Isabella stares at him with sad eyes.

58.
ISABELLA
I don't know how he didn't think I'd
hear. These walls are made of, like,
paper and I was sitting right outside.
(beat)
Can I sleep here tonight?
The question catches Rudy off-guard.
RUDY
I don't think that's a very good
idea. He'll come looking for you.
She shakes her head frantically.
ISABELLA
He won't. Not here. I left out the
front door then hid in the dumpster
for, like, three hours.
Rudy contemplates.
LATER
Isabella sleeps on the couch, Rudy on the floor nearby.
A loud knock at the door wakes them both. They exchange a

glance. Rudy stands, walks towards the door.
RUDY
What?
KUBIAK (O.S.)
Rudy, it's Jack, open up.
Rudy swings the door open. Kubiak stands on the other side.
KUBIAK
Sorry to drop in so late. I just
talked to-
Kubiak stops when he sees Isabella. He raises an eyebrow.
KUBIAK
Who's she?
RUDY
Isabella. She lives across the hall.
Scared of her mom's boyfriend so I
let her hide out over here.
59.
Kubiak leans in, speaks in a hushed tone.
KUBIAK
I know you're trying to help her but
you're on parole, man. You can't
have minors in your apartment.
RUDY
She-
ISABELLA
It's okay. I'll go. I don't want
to get you in trouble.
RUDY
Let me know if he keeps giving you
trouble.
ISABELLA
Thanks Rudy.
She stands, trudges towards the door, leaves. Kubiak closes

the door behind her.
LATER
Kubiak stretches across the couch. Rudy paces nearby.
RUDY
I know he checked him out, I saw the
cop when he was here.
KUBIAK
Well there you go. He's clean then.
RUDY
I know what I saw up there.
KUBIAK
Rudy-
RUDY
There was a guy being tortured in
his living room, Jack.
Kubiak shrugs.
60.
KUBIAK
Like I said, he probably likes to
play rough. Didn't say he wasn't a
freak, just that he's not committing
any crimes up there.
Rudy stops pacing, frowns.
RUDY
Well, I guess that's that then.
Kubiak stands. Rudy walks with him towards the door.
RUDY
I appreciate you comin' all the way
out here to let me know.
Kubiak stops, gestures to the empty apartment.
KUBIAK
Phone company won't be out until
Monday and I'd like to enjoy my Sunday
off without a cloud of unfinished
business hanging over my head.
Kubiak reaches the door, opens it.
KUBIAK
Take care of yourself, Rudy.
Rudy nods.
RUDY
Jack?
Kubiak stops, turns.

KUBIAK
Yeah?
RUDY
Why do you do it?
Kubiak's eyes narrow.
KUBIAK
Do what?
RUDY
Care? I thought you P.O.'s supposed
to be hardasses.
61.
Kubiak smirks.
KUBIAK
Life's been hard enough on you as it
is.
(beat)
Had another good one once. Sent him
back in for something petty. Don't
even remember what it was it was so
petty...
(beat)
Anyway, he got shanked the same day
he went back in. That was my fault.
(beat)
Since then I've been trying to assist
with the transition instead of being
the hard ass making life harder.
RUDY
Well, I appreciate it Jack.
KUBIAK
I got to fly. Try to get some sleep.
Kubiak exits. Rudy shuts the door.
EXT. APARTMENT BUILDING - NIGHT
A nondescript van sits outside the apartment building. The

two front doors begin to open, stop abruptly, close silently
as Kubiak exits the building towards the van.
Kubiak walks past the van, climbs in to his sedan parked

right in front of the van.
He starts the sedan, drives off down the street, disappears

in the night.
The van doors silently swing open.
Officer Oakz, in civilian clothing, and Clayton climb out.

They move to the van's rear doors, open them. Inside sits a
very large trunk.
OFFICER OAKZ
Ready?
Officer Oakz grabs one end of the trunk. Clayton glances

inside the building's front entrance.
62.
CLAYTON
Hang on a second.
Clayton nods towards the entrance. Through the doors, Ziggy

descends the interior staircase with an empty laundry basket.
He disappears to the basement.
CLAYTON
Okay.
Clayton grabs the handle. They heave the trunk from the
back of the van. Officer Oakz kicks the van doors closed.
They struggle up the stoop, manage to get through the door

and disappear inside, heading up the stairs.
Frankie's sedan creeps past with only it's parking lights

on. It pulls in to the dark parking lot of the closed gas
station, kills the lights.
The entrance of the apartment building bursts open. Isabella

SOBS as she dashes out the front door, in to the alley, climbs
in to the top dumpster, submerges herself in trash.
She sits in silence.
David's lifeless body crashes beside her from above. His

dead eyes stare through her. She stifles a scream.
The front door bursts open again. Arlo storms out, blood-
stained and limping severely.
ARLO
(shouts)
Girl... Where you at?
Isabella presses her hands firmly against her mouth, tries

to slide lower in the dumpster.
ARLO
(shouts)
I ain't mad at you!
Arlo listens.
Silence. He erupts.
ARLO
(shouts)
Bitch, get your ass out here right
now before I-
63.
INT. CLAYTON'S APARTMENT - NIGHT
Clayton and Officer Oakz enter the apartment, struggling

with the trunk. They drop it to the floor.
SUPER: ONE MINUTE AGO
Clayton closes the door behind them, kneels over the trunk
like a kid with a Christmas present.
Officer Oakz looks at David's fingerless body hanging limply

from the torture contraption in Clayton's living room.
OFFICER OAKZ
He still alive?
Clayton glances up, strolls away from the trunk, picks up

his knife, meanders over to David and runs the blade across
his throat. Blood pours.
CLAYTON
Not no more.
Clayton begins undoing the restraints. David's body falls

to the floor.
CLAYTON
Help me get him to the window.
Clayton and Officer Oakz drag David's limp carcass to the

window. Clayton heaves the corpse out. His body crashes in
to the dumpster two stories below.
Both men head towards the trunk. They stop in their tracks
when they hear Arlo shouting outside.
ARLO (O.S.)
(shouts)
Girl, where you at?
They exchange a look of shared concern.
ARLO (O.S.)
(shouts)
I ain't mad at you!
CLAYTON
I'll take care of him.
Silence outside.
64.
ARLO (O.S.)
Bitch, get your ass out here right
now before I-
Clayton stands in his window, which is two stories up directly

over the dumpster.
CLAYTON
You mind shutting the hell up? Can't
hear my damn tv with all this racket.
ARLO
Fuck off, old man! Mind yo' own
damn business 'fore you get hurt!
Clayton scans the area and sees no one besides Arlo.
CLAYTON
I'm warning you... Take your shoutin'
elsewhere 'fore I call the cops.
Arlo sneers, limps off towards the gas station.
Clayton takes a look at David's corpse sprawled in the

dumpster. He doesn't notice Isabella's eyes peering up at
him from beneath the trash, SLAMS his window.
Isabella exhales slowly, rises from the trash in the dumpster.
Rudy's window slides open. He offers Isabella his hand.

She takes it. He hoists her through the window. He stares
grimly at David's corpse in the dumpster.
Her iPod falls from her pocket, cracks on the ground. She
sees it broken, leaves it, climbs in through the window.
Rudy closes it once she's in.
Rudy turns to Isabella. She trembles as she cries.
He guides her to the couch.
RUDY
It's okay, you're in shock.
65.
She hands Rudy her cell phone. He punches in some numbers,

places it to his ear.
RUDY
Jack, the cop lied to you. The guy's
a killer.
(beat)
Because there's a dead body in the
dumpster outside my apartment.
(beat)
Okay, see you in a few.
He hangs up the phone, looks to Isabella. She lowers her

eyes to the floor, shakes her head.
RUDY
What?
ISABELLA
He killed her.
Rudy glances through the window into the dumpster to confirm

the gender of the corpse. Still male.
RUDY
Her?
ISABELLA
My mom... Arlo killed my mom.
She stares, despondent.
RUDY
Wait- what?
Slowly, she looks up at him with hurting eyes.
SUPER: FIVE MINUTES EARLIER
Isabella opens the door, tiptoes in to the dim apartment.
Arlo and Paige exit the bedroom in the midst of a domestic

dispute.
PAIGE
No!
She turns, slams a fist in to Arlo's chest.

66.
ARLO
He's already on his way.
PAIGE
No! You can't! I won't let you!
ARLO
Try an' stop me.
Arlo scowls, backhands her. She slams against a wall, falls

to the floor, breaks down in tears.
Arlo notices Isabella standing stunned in the doorway. Paige

pulling herself to her feet.
ARLO
Where the fuck you been?
ISABELLA
Mom, are you okay?
Paige cries harder, crashes back to her butt.
PAIGE
I'm sorry baby. I'm so sorry.
Isabella's brow furrows, she stands, approaches Paige

cautiously.
ISABELLA
Sorry for what?
PAIGE
I'm so sorry baby.
ISABELLA
What are you- No!
She backs away from Arlo's advance, defiant. He grins
creepily, continues towards her.
ARLO
You're about to make us rich.
ISABELLA
No... Mom? No!
Paige struggles to her feet.
PAIGE
You can't make her!
67.
Arlo sneers.
ARLO
You gonna' stop me?
He raises his hand, Paige lowers her eyes.
ARLO
Didn't think so.
He takes a step towards Isabella. Her eyes widen.
Crack!
Arlo winces as Paige smashes a tall, glass bong across the

back of his head. Blood runs down the back of his neck as
he turns in disbelief.
Paige stares at the bottom half of the broken bong in her

hands, stunned.
ARLO
You gonna' regret that, bitch!
She drops the base of the bong. It shatters on the floor.
He crunches through the broken glass towards her.
PAIGE
I'm sorry.
She cowers.
He sneers, towers over her, decides her fate.
PAIGE
Baby, I'm sorry. I didn't mean to.
Can we just talk about this?
He raises a fist as Isabella sneaks up behind him, plunges a

screwdriver in to his back.
ISABELLA
There's nothing to talk about!
Arlo grunts as he yanks out the screwdriver. Blood oozes.
Isabella backs away. He lunges at her, tackles her to the

floor, wraps his hands around her throat.
68.
PAIGE
You let her go!
Paige jumps on his back, gouging her fingers in his eyes.
Arlo screams, releases his grip on Isabella, stands up, with

Paige on his back, plows his way backwards across the
apartment.
Paige's back smashes against the kitchen countertop sending

piles of dirty dishes crashing to the floor. She loses her
grip, falls off his back.
Arlo looms over her, grabs her head with both hands and speaks
within an inch from her face, spitting as he talks.
ARLO
Ungrateful little-
He screams as Paige plunges a kitchen knife in to his thigh.
Arlo grits his teeth, savagely snaps her neck.
Paige's eyes roll back as her body hits the floor, limp.
Isabella screams, bolts out of the apartment.
END FLASHBACK
The sedan sits silently in the dark, deserted parking lot of

the gas station.
The flame from a lighter sparks inside it.

WADE (O.S.)
Hey, you can't smoke in-
A nearby streetlight provides the only illumination, though

minimal.
Frankie Fold'em, in the driver's seat, smacks Wade as a

cigarette's cherry glows from the backseat.
FRANKIE FOLD'EM
Yeah, he can.
69.
The silhouettes of Bach and Ill Denton loom in the backseat.

Frankie Fold'em turns to them.
FRANKIE FOLD'EM
Yeah, you can. It's fine.
As Frankie Fold'em returns his eyes towards the apartment

building, he spots Wade glaring at him in anger.
WADE
You never let me smoke in the car.
FRANKIE FOLD'EM
Wade, shut the hell up.
Wade scowls, does as he's told.
They all stare ahead in silence at the apartment building.

The light in Ziggy's window goes out.
BACH
We go now.
(to Frankie Fold'em)
You stay with car. Keep running.
(to Wade)
You come.
Wade's face registers excitement. He shoots a look to Frankie

Fold'em who looks puzzled, but nods towards the building.
Wade opens his door, hops out, slams it.
Frankie Fold'em frowns, shakes his head.
EXT. GAS STATION PARKING LOT - CONTINUOUS

Wade stands by eagerly as the rear doors open.
Bach steps out of one side. A sheathed sword hangs from his
hip beneath his jet black business suit.
Ill Denton emerges from the other door wearing a black suit
and carrying a briefcase.
Bach surveys the area. All quiet.
Wade bounces eagerly. Bach eyes him cautiously.
BACH
You wait at door. No one in or out.
70.
Wade's face scrunches like he'd like to object.
WADE
I was hoping to get in on this.
Wade cracks his knuckles, eager. Bach gives this idea no

consideration whatsoever.
BACH
No. You guard. Understand?
Wade frowns, nods.
BACH
Good. You go with Ill Denton.
Bach points at the front door. Ill Denton stalks towards it

without a word, just a twisted grin on his face. Wade looks
at Bach, who nods towards Ill Denton. Wade follows.
Bach jogs around the side of the building, disappears in to

the darkness.
Wade reaches the front door a split second before Ill Denton.
WADE
Now what?
Ill Denton ignores him completely, opens the door and

disappears in to the building. The door shuts behind him
and Wade is left standing alone. He looks around, bewildered.
Around the opposite corner that Bach just disappeared behind,

Arlo makes his way up the alleyway towards the front of the
building.
He spots Isabella's iPod on the ground near the dumpster,
strolls over to it, picks it up. He looks in to Rudy's
window, sees Isabella on the couch.
ARLO
Motherfucker!
He storms around the front of the building, stops as he

reaches Wade, who blocks him from entering the front door.
WADE
Keep it moving.
71.
Wade points down the street. Arlo scowls.
ARLO
I live here motherfucker, now move
yo' ass 'fore I move it for you!
Arlo moves to barge past and enter. Wade shoves him.
Arlo shakes his head in disbelief, chuckles.
ARLO
Can't say I didn't warn you!
Arlo swings a lightning-quick haymaker that Wade fails to

block. It knocks him to his ass.
ARLO
Lucky I don't got more time 'else
I'd beat yo' bitch ass proper.
Arlo opens the door, stomps in to the building, leaving Wade

sitting in a daze on his ass.
Through the glass door, Arlo storms straight towards Rudy's

apartment. Ziggy pays no attention as he ascends the
staircase with a full basket of laundry.
Frankie Fold'em stares with disgust across the street at

Wade laying on his back.
FRANKIE FOLD'EM
Unbelievable.
Isabella sits on the couch, trembling as she smokes a

cigarette between weepy sobs and sniffles.
SUPER: ONE MINUTE AGO
Rudy paces the apartment anxiously. He walks past her cell

phone sitting on the countertop.
RUDY
He'll be here any minute.
72.
No response. He stops, stares at Isabella sitting on the

couch from behind, frowns sympathetic.
ARLO (O.S.)
Motherfucker!
Rudy and Isabella's heads both pivot to the window, but see
only the alleyway.
RUDY
Get in the bathroom. Lock the door.
Scared, Isabella does as she's instructed, closes the bathroom

door behind herself, locks it.
RUDY
Stay in there. Don't come out unless
I tell you to.
Rudy scans the apartment for possible weapons. He grabs

hold of an iron pipe beneath the kitchen sink, jerks it.
It's not going anywhere. He scans some more, spots the table.
Rudy scrambles to it, kicks one of the legs, hard. It snaps

off at the top, clatters to the floor nearby. The table
tips to a lean without the support.
He shoves the table in front of the bathroom door, then

retrieves the table leg, wields it like a baseball bat, stalks
towards the apartment's door.
As he gets within a few feet of the door, it shatters inwards

revealing an enraged Arlo on the other side.
Arlo sneers. Rudy's eyes narrow. Each stares at the other,

sizing them up. Arlo's eyes dart around the room.
ARLO
Where she at?
Arlo looks at Rudy's window, still closed.
Arlo charges. Rudy swings the club. Arlo's forward momentum

deflects most of the blow as he tackles Rudy to the floor.
The club skitters a few feet away.
Rudy lands a thunderous right hook to Arlo's head which sends

the duo rolling closer to the club and gives Rudy the
advantage of being in a perched position over Arlo.
73.
RUDY
Didn't I tell you we were going to
have a problem if you wrecked my
door?
Rudy rains down punches, lefts and rights at Arlo's head.

Arlo does his best to block the barrage, but takes a beating.
Arlo grasps blindly on the floor, gets a hand on the club,

brings it up quick, cracks it across the side of Rudy's head.
Rudy rolls off him, sprawls on the floor. Arlo sits up,
shakes his head, sees Rudy laying dazed.
Arlo straddles him, gripping the table leg club at each end.
He kneels over Rudy, presses the club across his throat,
choking him.
Rudy's face turns red as he struggles for breath. He claws

wildly at Arlo, but Arlo evades him while keeping pressure
on the club.
Rudy's face goes from red to purple. His eyes begin to roll
back as he starts to slip in to unconsciousness.
ARLO
I told yo' ass to stay away from the
girl.
INT. RUDY'S P.O.V. - CONTINUOUS
Nothing but red.
ARLO
(echoes)
-the girl. -the girl. -the girl.
The red disappears. Arlo mounts Rudy, still forcing the
club against his throat, but suddenly wide-eyed and shocked
at resurgence of stamina.
Rudy spots the knife wound on Arlo's leg, rams his thumb in
to it. Arlo screams, releases the club, falls backwards
clutching his thigh.
74.
Rudy props himself against his crooked kitchen table, coughs

and sputters as his purple face begins returning to normal
color.
Eyeing each other cautiously, Arlo and Rudy both pull struggle
to their feet.
ARLO
I just want the girl. You can walk.
Rudy's eyes narrow. He charges towards Arlo, tackles him

backwards. They smash against the frame as they topple
through the open doorway.
Rudy and Arlo spill in to the hallway where Rudy slams him
to the ground. Again, Rudy climbs atop him and begins raining
down punches. Arlo tries to cover up.
Rudy stops punching as he notices Ziggy tumbling limply down

the staircase.
Arlo looks to see what has captured Rudy's attention.
Ziggy's body lands nearby at the foot of the staircase, a

massive sword wound across his face and upper torso. A pool
of blood quickly spreads around him.
Rudy looks up the stairs to the second floor landing, sees

Bach holding a bloody sword and staring back at him. Bach
looks to the open doorway of Ziggy's apartment.
Ill Denton, splattered in blood and wielding a cordless power

drill, steps out, stands behind Bach. The sick, twisted
grin spreads across his face.
Bach starts descending the stairs, Ill Denton a few feet

behind him, giggling like a child.
Rudy climbs off Arlo, gets to his feet. He dashes in to his

apartment.
Arlo, still in a daze, tries to get to his feet, stumbles

backwards, falls on his ass. He tries again, succeeds just
as Bach reaches the bottom step.
75.
INT. RUDY'S APARTMENT, BATHROOM - NIGHT
Isabella stands with her ear to the door. Hearing nothing,

she turns the doorknob, tries to open the door. The table
in front of it obstructs it from opening more than an inch.
RUDY (O.S.)
Stay in there!
Isabella stifles a startled scream. She releases the

doorknob, crosses the bathroom, sits on the toilet.
INT. ZIGGY'S APARTMENT, BATHROOM - NIGHT
Mom brushes her teeth in front of the mirror. The small

light bulb overhead provides the only source of light.
OS, a loud knock at the door.
She furrows her brow, shuffles out of the bathroom.
INT. ZIGGY'S APARTMENT - CONTINUOUS
She makes her way to the door.
MOM
(at the door)
I told you to bring your keys.
She waddles up to it, looks through the peephole, takes a

surprised step back.
MOM
(at the door)
Ziggy's not here.
(beat)
It's too late anyway. Come back
tomorrow.
She turns to retreat, stops cold as she notices the blade of

a sword across her throat.
BACH (O.S.)
Open the door.
She does as he commands, unlocks the door. It swings open,

Ill Denton steps in.
76.
Bach guides her to the sofa, shoves her down to it.
BACH
Sit.
MOM
What is the meaning of this? Who
are you people?
Bach stares at her coldly.
BACH
No talk. Where's Ziggy?
Ill Denton sets his briefcase on the countertop, opens it,

removes a cordless power drill.
MOM
Doing laundry. What's it to you?
Ill Denton grins sadistically as he clicks the trigger and

the drill whirs to life.
Keys jingle from the hallway on other side of the door.
Bach holds the sword against Mom's throat, presses a finger

to his lips.
The door swings open. Ziggy enters the apartment from the
lit hallway carrying a basket of laundry. The door slams
shut behind him.
He drops the laundry, spins around. Ill Denton smashes a

fist in to his face, sends him reeling backwards to the floor.
Ill Denton flips the lights on. Ziggy's eyes widen as he

scrambles backwards.
ZIGGY
Holy fuckin' shit!
MOM
Language!
Ziggy spins to see Mom sitting on the couch with Bach's sword
at her throat.
ZIGGY
What is this? Vincent sent you over
here?
77.
Bach stares at him almost sympathetic.
BACH
This is an execution and we are the
executioners.
ZIGGY
No, no, no. I think there's some
kind of misunderstanding here. See...
Vincent told me to get him the money
by the end of the day, right?
BACH
Stop talking.
ZIGGY
Well, you ain't gonna believe this
but-
BEGIN FLASHBACK
EXT. RACETRACK - AFTERNOON
Horses pound their way around the last bend in the course.
A good sized crowd for an afternoon race sits scattered around

the stadium style seats.
Ziggy sits by himself, watches in animated enthusiasm with a

piece of paper in one hand, a racing program in the other.
ZIGGY
Go, go, go, come on, yes, yes! Run
you son of a bitch, run!
ANNOUNCER (O.S.)
-and here they come in to the home
stretch. Betty's Boop in front.
Knuckle Duster gaining on the outside!
The two horses cross the finish line at the same time.
ANNOUNCER (O.S.)
It's going to be a photo finish!
ZIGGY
Come on, come on, come on....
78.
ANNOUNCER (O.S.)
And it's Knuckle Duster by a nose!
Doesn't get much closer than that!
That's going to be a big payday for
anyone that saw it coming!
Ziggy's eyes bulge. He throws up his arms.
ZIGGY
Yes! Yes!
Ziggy, ticket in hand, turns, starts towards the cashier.
END FLASHBACK
INT. ZIGGY'S APARTMENT - NIGHT
Ziggy struggles to pull a large roll of cash form his pocket.
ZIGGY
So I got the money. I'll pay.
With all eyes on Ziggy, Mom silently slides her hand between
the couch cushions, withdraws a pistol.
BACH
Yes... You will...
Bach smirks at Ziggy, struggling to get all of the cash out

of his pocket.
BACH
In flesh.
With lightning fast speed, Bach flicks his wrist, slices

Mom's throat from ear to ear before she can pull the trigger.
The pistol thuds to the floor.
Blood drenches Mom's torso as she slumps to the couch.
ZIGGY
Mom? Holy shit!
Ziggy's eyes bulge as he realizes the severity of his

situation. He scrambles backwards, away from Bach, but right
in to Ill Denton's legs.
The drill whirs to life. Ill Denton plunges it straight

down, in to Ziggy's shoulder.
79.
Ziggy screams as flesh and blood splatter.
Ill Denton withdraws the drill and giggles as Ziggy tries to

crawl away, towards the couch.
Ill Denton plants the drill through the heel of his foot.
Ziggy screams again. Ill Denton withdraws the drill, giggles.
Ziggy continues his crawl, gets to the couch. Reaches

underneath it as Ill Denton plunges the drill in to his lower
back. Another agonized scream. Ill Denton relents.
Ziggy pulls his arm out from under the couch, a silenced
pistol in his grasp.
He squeezes off one quick shot at Ill Denton without aiming.
Bach slices off his arm at the elbow. Ziggy's arm and the
pistol fall to the floor.
Ill Denton drops the drill, stumbles backwards, fingering a

bullet wound on his biceps.
Ziggy stares at his new stump in shock. He does his best to

stop the rhythmic squirts of blood, runs for the door in a
panic.
He reaches the door, tries to open it with his missing hand

first, switches hands, gets it open, escapes to the hallway.
A one-armed bloody Ziggy staggers in to the hallway. A split

second later, Bach stands behind him.
BACH
There is no escape.
Ziggy, a pale blood-covered mess, turns to face his

executioner. He pulls wads of cash from his front pocket
with his only arm, offers them to Bach.
Bach slashes a skull-splitting gash across Ziggy's face and

torso.
Ziggy stares back at him stunned. Bach's eyes narrow. He

pokes Ziggy in the chest with his sword and watches him tumble
backwards down the stairs.
80.
As Ziggy falls out of view, Bach sees Rudy pounding on Arlo

at the base of the steps. Rudy stops, looks up at him.
Bach looks back at Ziggy's doorway.
BACH
Come. More fun.
Ill Denton retrieves his drill, exits apartment to stand

behind Bach. They start down the staircase.
Rudy disappears in to his apartment. Arlo struggles to get

to his feet.
Bach and Ill Denton reach the bottom of the steps. Bach
stops at the foot of the staircase. Ill Denton continues
his advance towards Arlo.
Rudy re-appears from his apartment brandishing not one, but

two wooden table leg clubs.
He tosses one to Arlo, who catches it, turns to swing at

Ill Denton. Too late. Ill Denton grabs him in a bearhug.
Rudy cracks his club across the back of Ill Denton's skull
causing him to release his grip on Arlo.
As Ill Denton turns, Rudy cracks the club across the front
of his skull. This time Rudy's weapon shatters in his hands.
Ill Denton continues his advance with a deranged glimmer in

his eye. He stops abruptly, turns around to focus his
attention back on Arlo.
Rudy stares at the splinters in his hands and his retreating
enemy with confusion.
His body jolts forward, slams in to the wall next to his

fractured door, the victim of Bach's vicious kick from behind.
As Rudy slumps to the floor, he sees Ill Denton hurl Arlo

headfirst through the glass entryway. Outside, he sees Kubiak
approaching the building.
Kubiak, draws his gun, checks Arlo for a pulse on his way
past, enters through the broken window beside the door. He
surveys the situation.
81.
Ill Denton stands a few feet ahead of him with a power drill
while beyond him Bach holds a sword to Rudy's throat.
Kubiak fires his pistol in to the ceiling, points it back

and forth from Ill Denton to Bach.
KUBIAK
Drop your weapons!
They both pause, contemplate, then comply. Neither expresses

any concerns.
KUBIAK
Good, now you... Over there.
He motions Ill Denton to go by Bach. Rudy drags himself

towards Kubiak.
KUBIAK
You okay?
RUDY
Never better.
KUBIAK
What the hell's going on here?
INT. FRANKIE'S SEDAN - NIGHT
Wade, with a welt on the side of his head, leans in the

passenger side window.
SUPER: 1 MINUTE AGO
Frankie Fold'em squints at the apartment building.

WADE
He sucker-punched me. When he comes
back out here, I swear I'm-
Kubiak's car squeals down the street, screeches to a halt in

front of the apartment building. Kubiak jumps out, starts
towards the front entrance.
Wade and Frankie Fold'em look on in stunned silence.
WADE
Who the fuck's this guy now?
82.
As Kubiak nears the entryway, Arlo crashes through it, lands

at his feet. Kubiak draws a pistol, enters the building.
Frankie Fold'em wears a grave expression.
FRANKIE FOLD'EM
This is getting ugly. Get in. We're
out of here.
Wade looks over his shoulder at the apartment building, back

to Frankie Fold'em. He's scared.
WADE
They'll find me.
FRANKIE FOLD'EM
Wade, don't be stupid. Get in the
car.
WADE
But maybe I can still do something.
Make things right, you know?
A gunshot rings out from inside the building.
WADE
Today could be my day, Frankie. To
earn some respect.
FRANKIE FOLD'EM
You got to know when to fold 'em,
Wade. This one's about to turn in
to a bloodbath.
Wade cocks his pistol.
WADE
Then I want in.
Wade turns his back on Frankie Fold'em, jogs towards the

building. Frankie Fold'em frowns, shifts the car in to drive.
Kubiak brandishes his pistol at Ill Denton and Bach as Rudy

climbs to his feet.
OFFICER OAKZ (O.S.)

Drop the gun ass- Jack?
83.
Kubiak looks puzzled as Officer Oakz descends the staircase

with a pistol aimed right at him.
KUBIAK
Oakz? What the hell are you doing
here?
OFFICER OAKZ
Drop the gun Jack. 'Least until I
can figure out what's going on.
RUDY
Don't do it Jack. Why'd he lie to
you?
OFFICER OAKZ
Who the hell is he?
Kubiak keeps the gun trained on Officer Oakz.
KUBIAK
You know there's a body in the
dumpster outside, Oakz?
OFFICER OAKZ
Body at the bottom of these stairs
too. Put the gun away so I can figure
out what the hell's goin' on.
KUBIAK
Did you lie about the landlord?
Officer Oakz fires his pistol.
Rudy hits the floor. Kubiak does the same, fires back at
Officer Oakz.
Behind Kubiak, Wade falls dead, a smoldering hole between
his eyes. His pistol clatters to the floor.
Kubiak turns, realizes Officer Oakz wasn't shooting at him,

looks back to Officer Oakz.
Officer Oakz stands halfway down the staircase, staring in

bewilderment at a red stain growing around a small hole in
his chest.
OFFICER OAKZ
I wasn't even shooting at you, you
son of a bitch.
84.
Kubiak looks on, speechless.
Officer Oakz takes a step down, loses his balance, falls

down the remaining stairs, lands in a heap at the bottom of
the staircase.
INT. CLAYTON'S APARTMENT - NIGHT
Officer Oakz inserts the gagball in to the mouth of JOSHUA,

50s, unconscious businessman who has taken David's place and
is now strapped in to the contraption.
SUPER: TWO MINUTES AGO
Clayton observes from the couch.
Officer Oakz stands back, admires his handiwork, tugs on a

restraint. Very secure. He moves behind Joshua, begins
unbuckling his pants.
OFFICER OAKZ
You mind if I take first?
Clayton shrugs.
CLAYTON
Have at it. Me 'an him got all night.
From OS, a gunshot. Clayton howls as a bloody hole is blasted

through the floorboard and right through his foot.
Officer Oakz stands stunned for a moment before grabbing a

pistol from his jacket and heading for the door.
CLAYTON
Wait for me! I'm getting the shotgun!
Clayton's hobbles towards the closed bedroom door, leaving a
trail of blood behind him. He disappears inside, re-appears
a split second later, shotgun in hand.
He limps for the apartment's open door. As he reaches it,

two gunshots ring out in rapid succession from downstairs.
Clayton drags his leg to the stop of the staircase, sees

Officer Oakz swaying halfway down the steps.
85.
OFFICER OAKZ
I wasn't even shooting at you, you
son of a bitch.
Officer Oakz falls forward, lands in a pile at the bottom.
CLAYTON
Cassius?
Clayton struggles to make his way down the staircase.
Kubiak levels the pistol at Clayton when he sees him.
KUBIAK
Drop the gun!
Clayton turns to Kubiak, squeezes the trigger. Buckshot

riddles Kubiak's torso, sends him to the ground.
Rudy eyes Kubiak's fallen pistol. Clayton notices.
CLAYTON
Don't even think 'bout it.
Rudy raises his hands in the air as Clayton descends the

stairs.
CLAYTON
Thought you weren't gonna' give me
no trouble?
Clayton reaches the bottom of the staircase. As he does,

the shotgun is snatched from his grasp in an instant.
Bach, who was standing unseen by Clayton around the corner
at the bottom of the staircase, smashes the butt end of it
against his head which drops him to the floor.
Looming behind Bach, Ill Denton giggles.
As Clayton drops, Bach turns towards Rudy, who's the only

other person left standing.
Rudy dives for Kubiak's pistol. He aborts the attempt as a

sword pierces the ground between him and the pistol. He
rolls over to see Bach flying through the air towards him.
86.
Bach lands on Rudy's chest with both feet, somersaults forward

through the broken glass of the shattered entryway.
Rudy gasps for breath as Ill Denton approaches, giggling.

The drill whirs.
Through the shattered glass, Arlo struggles to his hands and

knees.
Bach hurls three throwing stars in less than a second. Two

spike the ground right in front of Arlo, the third embeds
itself in his shoulderblade.
Arlo looks up, grits his teeth, charges towards Bach.
Bach lands a solid punch to the side of his head, but it

fails to slow Arlo's momentum. Arlo tackles him across the
torso and they go to the ground in a flurry of punches.
Ill Denton looms over Rudy, who scoots backwards away from
his aggressor until the door to Isabella's apartment, stops
him.
Ill Denton continues his advance, strikes. He plunges the

drill towards Rudy, but Rudy dodges and it buries itself in
the door behind him.
Ill Denton struggles to get the drill free. Rudy gets to

his feet, slams a knee in to Ill Denton's face. He stumbles
backwards, grasping at his bloody mouth.
Rudy grabs Clayton's shotgun, turns to aim it towards Ill

Denton. Ill Denton grabs the barrel, swings. Rudy hangs
on, swings with it, slams right back in to Isabella's door.
A split second later, Ill Denton plows in to Rudy. The door

gives way, collapses inwards. Rudy and Ill Denton crash to
the floor inside Isabella's apartment.
Arlo rains punches down on Bach from a mounted position.

Bach covers his head, deflects the majority of the blows.
Arlo tires, begins to slow his assault. Bach thrusts his

head forwards, cracking Arlo's nose with a nasty headbutt.
Blood pours from Arlo's nostrils.
Bach shoves Arlo off, gets to his feet. Arlo defends himself
as Bach batters him with a vicious combo of kicks and punches.
87.
All four hundred plus pounds of Ill Denton lay atop Rudy's
torso, crushing him.
Rudy's free arm grasps across the floor for something,

anything to help him get the behemoth off of him.
His hand hits something. Paige's foot. He keeps grasping,

something else. The kitchen knife she used on Arlo. He
grabs it.
Ill Denton screams in pain as Rudy slams the knife in to his

back. Rudy exhumes the blade, plunges it again.
Ill Denton rolls off of him lays on his back, an expression

of unspeakable pain across his face.
Rudy struggles to his feet, glares at Ill Denton through

squinted eyes. The stock of the shotgun sticks out from
beneath him. Through the pain, somehow Ill Denton giggles.
Rudy stands over him, a look of disgust as he ponders his

next move. Then, he turns his back on the downed Ill Denton,
starts towards the doorway leading back to the corridor.
He stops in his tracks when he hears rustling behind him.
Ill Denton charges. Rudy whirls around, plants the knife

right through the bottom of his jaw straight in to the base
of skull. His eyes, nose and mouth instantly ooze blood.
Using Ill Denton's momentum, Rudy swings him, knife still

embedded, through the doorway and in to the hall before
releasing his grip.
Ill Denton slams in to the wall across the hallway, leaves a

smear of blood as he slides to the floor, finally dead.
Rudy stands in the doorway.
To his right, his apartment's fractured doorway.
To his left, Arlo stands dazed, barely able to lift his arms
to attempt defending himself as Bach beats on him.
Rudy pauses, deliberates.

88.
Bach lands a massive roundhouse kick that sends Arlo to the

ground, nearly unconscious.
Bach retrieves his sword which is still sticking in the ground

next to Kubiak's pistol. He spots Rudy, smirks. His eyes
narrow as they pass over Ill Denton's corpse. He sneers.
BACH
Take heed. You're next.
Arlo struggles to his knees, coughs blood.
Bach turns his back on Rudy, strolls back to Arlo, raises

his blade to his throat.
BACH
Make your peace.
Tears well in Arlo's eyes as he accepts his defeat.
ARLO
Motherfucker.
Bach raises the sword.
Rudy heaves the kitchen knife. It zips through the air

towards Bach, who dodges it at the last second despite having
his back turned.
It embeds in to the wall above Arlo, who drops to the floor.
Bach flings his sword towards Rudy in response. Rudy's eyes

widen as it sinks itself in to the doorframe an inch from
his head.
He looks back to Bach, finds him inches away and approaching

face with a jumpkick aimed at his head.
The kick connects, sends Rudy sailing backwards in to
Isabella's apartment.
INT. ISABELLA'S APARTMENT - CONTINUOUS
Rudy lands on his back, slides across the floor, ends up

beside the shotgun, grabs it.
Bach stands over him, steps on the gun, smashing Rudy's

fingers beneath it.
89.
BACH
No guns.
He nods, indicating he'll allow Rudy to get to his feet.
Rudy furrows his brow, rises.
Bach assumes a fight stance. Rudy cracks his neck, loosens

up like a boxer before a match.
They clash. Bach strikes with his right. Rudy catches Bach's
arm, pins it under his own, smashes a fist into Bach's face,
then another, and another.
Bach bleeds profusely from the nose and mouth. Rudy raises
his fist for another shot, stops when he sees Arlo on his
knees, going for Kubiak's pistol.
Bach takes advantage of Rudy's momentary hesitation, smashes

a headbutt in to his chin that sends him flailing backwards.
Bach pounces, unleashes a battery of punches on Rudy who

covers up to defend himself as best he can.
Arlo retrieves the pistol, sees Bach pounding on Rudy.
Between punches, Rudy spots a set of keys hanging out of

Ziggy's pocket. He struggles to reach them. Bach lands
another punch.
Rudy absorbs the blow as he makes the last few inches to the
keys. He tugs them, harder. The keys, along with a bundle
of cash fall out of Ziggy's pocket.
He clenches the keys in his fist, slams them against Bach's

face. Several keys puncture his cheek.
Bach feels his face with the back side of his hand, winces.
Rudy fights back, forces himself up the wall to his feet

despite Bach's best effort to keep him on the ground.
Rudy, still clenching the keys, swings again. Bach dodges,

counters with a roundhouse kick to the chest.
Rudy crashes back to the floor. He gasps for breath on his

hands and knees.
Bach retrieves his sword from the doorframe, stalks back

towards Rudy.
90.
BACH
You fought well.
Bach raises the sword over his head. Rudy scans the hallway
for Arlo, doesn't see him.
OS, Isabella screams.
Bach spins towards the scream. Rudy looks up, seizes the
opportunity.
Rudy tackles Bach, plows him backwards against the wall.

They crash to the floor. Rudy gets back to his feet.
Pinned beneath Rudy, Bach produces a small knife from inside

his coat, jabs it in to Rudy's ribcage.
Rudy grits his teeth, slams another heavy punch into Bach,
but this time not in the face. The punches lands with full
force squarely across Bach's throat, crushing his windpipe.
Bach's eyes bulge, face turns red. He clutches his throat.

He struggles for air, but gets none.
He swings the small knife wildly. Rudy pins Bach's arms,

stares in to his eyes as they go bloodshot, then roll back
in to his head. Bach's body goes limp.
OS, Isabella screams. Rudy's head jerks away from Bach's

corpse to the shattered doorway of his apartment.
INT. RUDY'S APARTMENT - MOMENTS LATER
Rudy stands in the doorway.
Across the room, Arlo holds Isabella in a human shield

position, aims a pistol at Rudy.
ARLO
Look man, here's the deal. I
appreciate what you done so I ain't
gonna' kill you but one way or
another, she's comin' with me. Dig?
Isabella stares at Rudy, her eyes beg for help.

91.
RUDY
Now let me tell you the deal.
(beat)
You let her go and disappear forever
or I kill you right here and now.
Arlo looks at his gun, incredulous, waves it at Rudy to make

sure he sees it.
ARLO
I'm the one holding the steel motherfu-
Rudy drops to floor as the shotgun slides to him from OS.
Isabella rips from Arlo's grasp, hits the floor.
Rudy pulls the trigger.
Arlo manages to fire one shot before his gun hand disappears
in a splatter of blood.
His gun thuds harmlessly to the floor. He stares at his new

stump in horror, screams, drops to his knees.
Rudy drops the shotgun, enters the apartment.
Clayton, welt on his head, limps in behind Rudy.
Arlo, in shock, picks up a severed finger, tries

unsuccessfully to attach it back to his stump.
Rudy picks up Arlo's pistol, points it at his head.
RUDY
You deserve worse.
Arlo doesn't even acknowledge what's going on around him as

he tries to pick up the pieces of his obliterated hand.
CLAYTON
Wait!
Rudy looks up raises an eyebrow.
RUDY
You got something against me killing
this piece of shit? You know he
killed her mom tonight?
92.
CLAYTON
You're right. He deserves worse...
Let me give it to him.
RUDY
Like that guy in the dumpster?
CLAYTON
Exactly. You got a problem with me
killing that piece of shit? That
son of a bitch raped an' killed a
little girl last fall. Fixin' to
walk on a technicality too.
Rudy ponders, shrugs.
RUDY
He's all yours.
Rudy looks to Isabella.
RUDY
I was never very good with good-byes.
ISABELLA
What? No! Where are you going?
RUDY
Away from here.
(to Clayton)
You never saw me.
ISABELLA
Take me with you. Please.
Rudy frowns. He picks up his box of belongings, exits. She
looks on, tears forming in her eyes. She dashes out the
door after him.
Clayton looms over Arlo, licks his lips.
Rudy exits carrying his box. Isabella bursts through the

door seconds later.
ISABELLA
You can't just leave me!
93.
Rudy stops, turns to face her.
RUDY
There's a bunch of cash in the fat
guy's pocket. Take it. Start your
life and never look back.
ISABELLA
But-
Rudy turns his back on her, walks in to the street. She

watches him with sad eyes.
Rudy withdraws a set of car keys from his pocket, presses a

button. The lights flash on the Mustang. He climbs in.
INT. MUSTANG - CONTINUOUS
Rudy sits in silence.
He glances in the top of his box on the passenger seat.
The family picture stares back at him. Beneath it, Isabella's

sketch.
A sports car cruises past him, skids to a halt right in front

of the building.
Rudy watches in the rear-view mirror.
Startled, Isabella takes a step backwards, trips on the

crumbling sidewalk.
The driver's side door opens and Vincent hops out.
He walks towards Isabella. She tries to scamper away from

his advance.
VINCENT
Well, how about that? I wasn't
expecting curbside-
Bang!
Vincent's face erupts in bloodshed, which rains down on to

the sidewalk around Isabella. His body collapses to the
street.
94.
Rudy lowers a smoking pistol.
He looks at Isabella. She beams, hopeful. He caves.
RUDY
Guess you better go get that cash.
Gleefully, she races in to the building.
She returns seconds later grinning from ear to ear and

carrying a softball sized roll of cash.
She stops in her tracks, drops the money, crestfallen.
The Mustang roars away down the block.
FADE OUT.
MONTAGE OVER CREDITS
EXT. ALLEY - NIGHT
In the dumpster beside David's body, the corpses of Bach,

Ill Denton, Ziggy, Mom, Paige, Wade, Kubiak and Officer Oakz
lay piled.
The bodies shift, as the dumpster is scooped up and emptied

by a trash truck.
INT. APARTMENT CORRIDOR - DAY
Clayton scrubs bloodstains from the floor.
He repairs the damaged doorway to Rudy's apartment.

He boards up the shattered entryway to the building.
INT. CLAYTON'S APARTMENT - DAY
Clayton enters, he wipes a forearm across his sweaty brow,

looks up with sadistic grin.
Arlo hangs from the contraption, struggles to raise his head.

His eyes widen. He lets out a muted scream from behind his
gagball as Clayton approaches, unzipping his pants.
FADE OUT.

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CRIMES LIKE THESE

INT. LIVING ROOM - EVENING

RUDY DIXON, 30s, stares straight ahead through a mask of

Carnage surrounds him.

The corpses of DAUGHTER, 11, covered in blood, and SARA,

Most of YOUNG THUG, early 20s, rests in a twisted pile near

OS, approaching police sirens wail.

Rudy continues to stare straight ahead as red and blue lights

The front door shatters inward.

POLICE OFFICERS charge in with guns drawn, shouting MOS.

INT. COURT ROOM - MORNING

He stares straight ahead as the JURY FOREMAN stands and reads

Lawyer's gaze falls to the floor, as do the eyes of several

THE JUDGE swallows hard, frowns, addresses the court MOS.

Rudy stands, emotionless, trudges towards THE BAILIFF.

The gavel bangs.

INT. RUDY'S PRISON CELL - DAWN

Darkness shrouds the confined space.

SUPER: FOUR YEARS LATER

Rudy GASPS himself awake, sits up. Sweat drips.

He climbs out of his bed, splashes water on his face.

It drips from his face as he stares at a worn photograph

Himself, his wife and daughter smile back from a snapshot in

INT. PRISON CORRIDOR - MORNING

GUARD strolls down a quiet cell block, stops outside Rudy's

INT. RUDY'S PRISON CELL - CONTINUOUS

Rudy nods at his box, steps in to the corridor.

EXT. PRISON - MOMENTS LATER

Tall, barb-wired fences surround the penitentiary's stone

Rudy, in street clothes, steps outside, looks at the sun,

Guard points ahead to a gate in the fence. A car waits on

Rudy nods, walks towards the gate. It buzzes, then opens.

KUBIAK, 50's, chiseled features, the no-nonsense type, leans

INT. KUBIAK'S CAR - MOMENTS LATER

Kubiak drives, Rudy rides shotgun. Rudy removes the family

Kubiak casts a sideways glance at his newest client.

Rudy shakes his head.

No reply. Kubiak glances at the picture in Rudy's hands.

Rudy breaks his gaze long enough to look up.

They ride in awkward silence. Kubiak breaks it.

Kubiak stops himself, starts over.

No response. Rudy just stares at his photo.

Rudy breaks his stare from the photograph, nods at Kubiak.

Rudy opens it. Inside, a pistol lays next to an envelope.

Rudy raises an eyebrow, reaches for the pistol.

Rudy hands Kubiak the envelope, closes the glove compartment.

INT. APARTMENT CORRIDOR - DAY

One apartment door on either side of the grimy hallway. At

ARLO, early 30s, a muscular thug with a permanent sneer,

TRUCKER, 50s, fat, bearded dirtball, stands next to him,

A second later, the door re-opens.

ISABELLA, 16, streetwise, dressed in black with dyed hair to

She glances up as she hears the front entry open, OS.

INT. ZIGGY'S APARTMENT - DAY

Old furnishings, clutter and dust. This place hasn't seen a

A basketball game plays on the television.

He fumes, hurls obscenities at the tv.

A knock at the door. Ziggy's eyes narrow.

Ziggy makes no effort to get off the couch.

MOM, 70s, in her nightgown, hair in rollers, shuffles in

She looks out the peephole, turns to Ziggy.

Ziggy doesn't take his eyes from the tv set.

INT. 2ND FLOOR LANDING - CONTINUOUS

Ziggy shakes his head.