1 INT. BILLY’S HIDEOUT BASEMENT - NIGHT 1
Bank routing numbers blaze across twin computer screens.
Currencies from dollars to dinars to bitcoin in multi-million
dollar denominations cascade down a massively detailed
spreadsheet.
BILLY BRIGGS(30’s)deftly works the keyboard, fever in his
eyes. The tattoos on his muscled arms, a ragged wife-beater T-
shirt and ramshackle surroundings are completely incongruous
with the task at hand. After an expectant beat, a faint
smile at the corners of his mouth.
The screens display “TRANSFER COMPLETE” and a prompt warning
“DELETE DRIVE?”.
Billy presses the ENTER key and exhales deeply.
BILLY
Let’s start the revolution.
Billy shoves a Baretta M9 into the waistband of his jeans and
heads upstairs.
AI
2 INT. BILLY’S HIDEOUT LIVING ROOM - NIGHT 2
A beehive of criminal mayhem, drugs, weapons, bundles of
cash. In a far corner FREDDY (20’s jumpy, drug addict) and
JASON (40’s, dead eyes, buzz cut) stand guard over a
blindfolded and gagged burly thug, RICHIE (30’s). MANNY
(50’s), a jagged scar etched into the left side of his ruddy
face, tightens the ropes that lash Richie to a chair.
Billy pulls off Richie’s blindfold, leans in, nose to nose.
The soon to be introduced GANG steps into the shadows as the
work comes to a halt. Billy tosses a bundle of drugs into
Richie’s lap. Richie struggles against his restraints.
BILLY
I don’t know how you found me, but
some things just shouldn’t be
found. Like you, Richie, no one is
ever going to find you. There’s a
lesson in this.
He pulls the pistol from his waistband and shoots Richie in
the temple killing him instantly. The assembled Gang
recoils, startled and silent.
BILLY (CONT’D)
Sometimes you need to just leave
things the fuck alone.
Freddy wipes splattered blood from his shirt.
FREDDY
Billy, what the, he’s a cop ...
BILLY
(eyes strangely wide)
Freddy, are you having a problem
with my leadership skills?
All eyes fall on the pistol in Billy’s hand. Freddy takes a
nervous step back.
BILLY (CONT’D)
(a challenge)
What do we want?!
Freddy’s snaps to, a fierce reflex.
FREDDY
What we want, when we want!
BILLY
Off the cops! Fire to the prisons!
AI
ALL
One solution. Revolution!
BILLY
Move! We have tracks to cover!
The Gang springs into action, a well planned evacuation.
3 EXT. LOS ANGELES/BILLY’S LAIR - DAWN 3
A Dodge Charger and an assortment of old muscle cars pull
away from the isolated run down ranch house in a deserted
corner of the North Valley.
4 INT. BILLY’S DODGE CHARGER - CONTINUOUS 4
Freddy rides shotgun with Billy at the wheel.
FREDDY
Billy, we just gonna leave... that?
BILLY
Leave what?
Through the rear window, Billy’s lair explodes in a
THUNDEROUS BALL OF FLAME!
11/28/25
5 EXT. NORTH VALLEY - CONTINUOUS 5
The caravan motors onto the 14 Fwy and blends into traffic.
Genres:
["Crime","Thriller"]
Ratings
Scene
2 -
Operation Under Fire
6 EXT. LOS ANGELES POLICE HEADQUARTERS - DAWN 6
A caravan of black and whites and unmarked police cars rolls
onto the street. A bright red low rider brings up the rear.
7 INT. RED LOW RIDER - DAWN 7
Detective Sergeant KENT JOHNSON (45), a black detective whose
demeanor is serious as a heart attack, scans an official
looking bulletin on his service iPad amid an array of comm
gear in the back seat. Worry lines deepen on his weathered
forehead.
SGT. JOHNSON
Bulletin from Treasury on Briggs.
Two undercover cops, TONY (25) and ROBERTO (30) are
formidable Latinos in the front. Tony drives, Roberto
AI
adjusts a “wire” strapped to his waist and buttons his shirt.
TONY
A local drug dealer on the radar
with the Feds at Treasury? No way.
SGT. JOHNSON
(reading the iPad)
Laundering money. 450 million. They
suspect it’s for terrorism.
TONY
Terrorism? Treasury knows that -
and we’re chasing a drug bust?
ROBERTO
That’s loco. He’s just a securities
con man financing a drug deal.
SGT. JOHNSON
Think about it. He’s a felon with
real financial skills. He hates
authority. Maybe radicalized in
prison. Operating inside a hardcore
gang of drug dealers, he has a
small army.
11/28/25
ROBERTO
Terrorists, anarchists. Cabrone!
Will these jerks ever learn?
SGT. JOHNSON
Sadly, Einstein had it right.
ROBERTO
Einstein?
TONY
Right about what?
SGT. JOHNSON
The difference between genius and
stupidity is genius has its limits.
Maybe a little of both going here.
ROBERTO
(real concern)
Richie is in deep with these guys.
TONY
He missed his check-in ... shit.
AI
SGT. JOHNSON
Not waiting on the Feds. Let’s do
the bust and get Richie outta
there.
The sound of SHOTGUN FIRE carries us to:
Genres:
["Crime","Thriller","Drama"]
Ratings
Scene
3 -
The Fourth Musketeer at the Oak Tree Gun Club
8 EXT. OAK TREE GUN CLUB - DAY 8
The SHOTGUN FIRE echoes off canyon walls as a new Range Rover
grabs a spot in front of the dusty ranch style clubhouse.
JOE COLLETTI (38) slides out of the driver’s seat. His flat
stomach and sculptured arms shown off by his Under Armour T-
shirt. He inhales deeply as he slips on his khaki shooting
vest. A smile breaks across his rugged face as he watches a
couple shooters powder clay pigeons.
9 EXT. OAK TREE REGISTRATION WINDOW - DAY 9
Club owner ANNIE (50) oils the action of one of the rental 12
gauge shotguns. Joe hands her a platinum American Express.
ANNIE
Well, if it ain't the fourth
Musketeer.
11/28/25
JOE
Morning Annie. The boys are here?
ANNIE
Trap 2. Since you're goin' in that
direction, tell those smart-ass
rich boys, they want to shoot from
the hip do it in the men's room.
Just about everyone Joe passes on the way to Trap 2 wears
some combination of jeans, vest, leather shell pouch,
sunglasses and cowboy hat or baseball cap.
10 EXT. OAK TREE TRAP FIELDS - DAY 10
In position #1 WES RILEY (35), prominent jaw, challenging
eyes, and olive drab fatigues. The stock of his shotgun rests
on his polished Army Boot. The squad is already arguing.
WES
You tell me. You know so much. Why
do you think? Answer me.
AI
DAVID KYMAN (40) ignores him, tracking imaginary clays with
his custom built shotgun.
DAVID
I have to tell you? If I get it
right do I win that ten thousand
dollar shotgun of yours?
WES
Keep dreamin’. You don't know
anything.
RONALD SANDERS (30) prepares to dive in. He is the youngest
and most soft spoken and incongruously Ivy League.
RONALD
I can't address your reasons, Wes,
but for me, shooting is very
therapeutic. Relieves tension.
DAVID
Therapeutic?
WES
Therapeutic?
Joe catches the end of the “discussion”.
11/28/25
JOE
As usual, Ronald is correct. Karen
explained it to me this morning.
It's a sexual thing.
DAVID
There you have it, Wes. You shoot
because it's a sexual thing you can
actually do with others.
WES
(to David)
That’s not funny.
(To Joe)
You and Karen having problems?
DAVID
Enough, already. Can we begin
before we get stuck with a -
ANNIE
(on loudspeaker)
Hold on Trap 2. We have a fifth
shooter.
AI
Groans all around.
DAVID
(snarky)
I hope he's not in therapy, Ron.
RONALD
(amused)
I hope he's not in banking, David.
BOB "BOBCAT" COLEMAN (27) wanders up. Freckled face and four
eyed. The only hint that he's in the right place is that he's
carrying a shotgun.
WES
This one looks stillborn.
RONALD
Without question, a banker.
DAVID
Screw you, Sanders, and all your
limousine liberal friends.
JOE
Looks like a math teacher to me.
Bob's shotgun is well worn, maybe a little battered.
11/28/25
BOBCAT
Howdy. Name’s Bob Coleman. Friends
call me Bobcat.
WES
Bobcat? You shot trap before?
BOBCAT
A time or two.
DAVID
What's the occasion?
BOBCAT
Staying current. Having a little
trouble in my neighborhood.
JOE
Have you thought about a better
neighborhood?
BOBCAT
On a math teacher's salary?
AI
DAVID
(laughing)
Colletti, P.R. doesn’t work out for
you, man, you have a future with
the circus guessing weight.
The SCOREKEEPER (20s) in his high chair clears his throat.
SCOREKEEPER
Keep talking, Annie is going to
fire me and charge you double.
The Shooters take positions 1 - 5 (left to right - Ronald,
David, Wes, Joe and Bobcat). Ronald puts on his wire-rimmed
glasses and racks in the first shell. Joe dons a pair of
classic silver aviator glasses, paper shades on the stems.
RONALD
All ready? Pull!
A clay bird whizzes down range. Two seconds and thirty yards
later it's split in two by Ronald's shotgun blast.
DAVID
Pull!
Another bird flies - David vaporizes it.
11/28/25
WES
Pull!
Wes powders his first bird.
JOE
Pull!
Joe never misses.
Bobcat loads and leaves his shotgun at rest.
WES
You do know how to aim that thing?
BOBCAT
Yah!
The bird flies. As smooth as moonshine, Bobcat shoulders his
shotgun and powders the clay.
BOBCAT (CONT’D)
You aim a rifle. You point a
shotgun.
AI
Laughter all around as the shooting resumes in a rapid fire
montage.
SCOREKEEPER
Big fives all around. The heat is
on. Can they make it 10 for 10?
WES
What are we on reality TV here?
The Shooters size up "Bobcat" as they rotate positions.
Each shot challenges the previous with increasing speed. Each
Shooter waits for the other to balk or miss, no one does.
SCOREKEEPER
10 for 10. Perfect round all
around.
Again the Shooters rotate. This round features eccentric
stances and shotguns tracking at lightning speed. The
Scorekeeper can hardly keep up.
SCOREKEEPER (CONT’D)
15 - 15 for 15 - all around.
Again the Shooters rotate.
11/28/25
They struggle to top each other. Where the clays were broken
in a second, the Shooters now wait two, three, four beats,
the clays nearly hitting the ground before they pick them
off. SPECTATORS notice the trick shots and gather.
SCOREKEEPER (CONT’D)
20 for 20 - straight across.
Joe puts his Remington automatic in the rack and makes a show
of taking his Purdey out of its case.
JOE
Let's get serious.
Genres:
["Crime","Drama","Action"]
Ratings
Scene
4 -
Perfect Rounds and New Alliances
11 EXT. REGISTRATION WINDOW - DAY 11
Annie sees the crowd gathering at Trap 2 and closes up.
12 EXT. OAK TREE TRAP FIELDS - DAY 12
Annie squeezes through the crowd and taps the Scorekeeper on
the shoulder.
AI
ANNIE
What s'matter this time?
SCOREKEEPER
Five shots away from 5 perfect
rounds.
RONALD
Pull, and out.
DAVID
Pull!
He hesitates, fires late. The clay wobbles, splits in two.
SCOREKEEPER
That's a break!
The spectators clap.
DAVID
Out!
Wes rolls his shoulders and looks at Joe.
WES
It's up to us, buddy.
Joe winks and Wes sets up.
11/28/25
WES (CONT’D)
Pull! Powder, yes!
Joe steps to the line and closes the breach.
JOE
Pull!
CLICK! The clay flies in one piece and lands lamely on the
ground. Sympathetic "Ohs" from the crowd. David and Ronald
have a laugh at Joe's expense.
JOE (CONT’D)
Misfire.
Joe takes a round from a new box and dumps the 24 remaining
shells into his case.
It's no longer a game when Joe snaps his breach closed and
steps to the line.
JOE (CONT’D)
Pull!
AI
He shoots from the hip, an impossible sinking shot. The clay
is dust! The crowd CHEERS.
JOE (CONT’D)
And out.
A disapproving sneer is all he gets from Annie.
All eyes go to Bobcat. He sets like he's going to copy Joe's
hip shot. His last shell locked in the breach. The cynical
grin on Wes's face says, "We've gotcha now".
BOBCAT
Yah!
The clay hooks right at an incredibly steep angle. Bobcat
tracks the clay from the hip - it literally disappears!
WES
Well, I'll be damned.
BOBCAT
I reckon you will.
SCOREKEEPER
Perfect scores all around!
The spectators WHISTLE and APPLAUD.
11/28/25
JOE
Did’t see that coming.
Joe shakes Bobcat's hand as Wes recovers from the shock of
being topped. Annie is heading right in their direction.
WES
Where'd you learn to shoot like
that?
BOBCAT
It's all geometry, but you knew
that. I been huntin' backwoods
Georgia since I was a peanut.
RONALD
Shooting "live" things ...
BOBCAT
From jack rabbits to black bears,
(grinning)
They never see me coming.
Joe and Ronald share a disapproving look. Annie leans in.
AI
ANNIE
Well, I see you jokers have finally
met your match.
WES
Match? We finally have a team!
JOE
This calls for a celebration.
RON
Tommy’s again?! Karen’ll kill you.
13 EXT. TOMMY'S BURGERS - DAY 13
Joe parks his Rover next to David's Mercedes in front of this
Mecca for chili burgers. Bobcat is surprised to see his new
friends grabbing their shotgun cases as they gather.
BOBCAT
Whoa, whoa. Where you going with
the hardware, boys?
DAVID
They can steal the cars.
ALL
The guns are custom.
11/28/25
Bobcat locks eyes with Two Cholos in wife beaters and baggy
pants admiring the cars.
BOBCAT
O-key dokey.
Bobcat hauls his shotgun case out the trunk of his Civic.
The Shooters ramble into Tommy's revealing a clear view of
the Budweiser plant across the street.
Genres:
["Crime","Drama","Action","Thriller"]
Ratings
Scene
5 -
Tension at the Stakeout
14 EXT. POLICE STAKEOUT/BUDWEISER PLANT - DAY 14
Sgt. Johnson nervously fidgets with a walkie talkie in a
concealed position overlooking the empty parking lot.
Undercover Officers are secreted around the clearing.
Tony, Roberto and their lowrider are a small red dot in the
middle of acres of blacktop. Train tracks run to the south.
On the other side of the tracks several dead end streets.
ROBERTO (O.S.)
Dodge Charger. South end.
AI
15 EXT. BUDWEISER PLANT -DAY 15
Roberto eyes the black Dodge Charger cruising slowly on the
opposite side of the tracks. Tony watches a freight train
slowly grinding in their direction.
TONY
(scanning the tracks)
No me gusta.
ROBERTO
Mi tambien.
TONY
Let’s get Richie and get out.
16 EXT. POLICE STAKEOUT/BUDWEISER PLANT - DAY 16
Johnson lifts his binoculars.
17 EXT. BUDWEISER PLANT - DAY 17
JOHNSON'S POV. The Dodge Charger glides to a stop on the far
side of the tracks, a half mile from the approaching train.
11/28/25
18 EXT. POLICE STAKEOUT/BUDWEISER PLANT - DAY 18
Johnson snaps on his walkie talkie.
SGT. JOHNSON
(tense whisper)
Walk! It’s a trap! Walk now!
Genres:
["Crime","Thriller","Action"]
Ratings
Scene
6 -
Betrayal at the Budweiser Plant
19 EXT. BUDWEISER PLANT - DAY 19
But Tony and Roberto are already out of their car. Tony
removes a satchel from the lowrider.
Freddy and Jason emerge from the Dodge Charger.
Billy emerges from the car, something dangerous and menacing
in his eyes, a black widow weaving a deadly web.
Freddy carries two expensive alligator briefcases.
MIKEY, a hopped up gangbanger stays behind the wheel, engine
idling.
AI
Tony and Roberto come half way to meet them.
The behemoth freight train grinds closer.
They have to shout over its earth shaking RUMBLE.
FREDDY
Where's Richie?
ROBERTO
(momentarily thrown)
How should I know? He was with you.
BILLY
(playing them)
I thought he was with you. We only
deal with Richie. We’re gone.
Billy, Jason and Freddy turn back to the Dodge Charger.
TONY
Billy, wait.
Freddy and Jason smile the smiles of sadistic small boys
pulling the wings off a bug. Billy turns around.
BILLY
Be specific. Wait for what?
11/28/25
TONY
Richie will show.
ROBERTO
We’re here to do business.
BILLY
Yeah, so are we.
The latches pop on the alligator cases. Inside we see what
Tony and Roberto cannot see; two monstrous .357's.
Tony and Roberto hurry across the tracks as the freight train
groans through behind them.
20 EXT. POLICE STAKEOUT/BUDWEISER PLANT - DAY 20
Johnson struggles urgently with his binoculars.
21 EXT. BUDWEISER PLANT - DAY 21
JOHNSON'S POV. In the gaps between cars Roberto's hands go
AI
up. Tony drops to his knees, hands up.
GUNSHOTS ring through the rumble of the slow moving train.
The train passes revealing Tony and Roberto sprawled, a river
of red flows to the tracks.
CLOSE ON BRIGGS. Evidencing some disappointment.
BILLY
Like I told your pal, Richie.
Sometimes you need to know when to
leave things the fuck alone.
Billy hustles back to car and it lays rubber!
22 EXT. POLICE STAKEOUT/BUDWEISER PLANT - DAY 22
SGT. JOHNSON
Officers down! Units roll! Roll!
Genres:
["Crime","Thriller","Action"]
Ratings
Scene
7 -
Burgers and Bikers: A Tense Encounter
23 INT. TOMMY'S BURGERS - DAY 23
Joe stacks the shotgun cases on one of the tables. A couple
of tattooed, Trampy Biker Chicks slide by. Joe smiles.
They give him a salacious wink and disappear into a sea of
leather and chain clad Bikers chowing down in the corner.
11/28/25
Wes and the other boys wait their turn behind a Mother and
Several Children. Joe joins them pulling out his iPhone.
JOE
Gotta remember this moment.
The boys assemble for a selfie, Bikers in the background. The
COUNTERMAN shakes his head knowingly.
COUNTERMAN
What’ll it be?
WES
(pointing at Bobcat)
The works for the new guy!
COUNTERMAN
I'll go easy with the chili.
The boys settle in and divvy up a mountain of burgers and
fries. Wes catches the eye of one of the Biker Chicks. He
takes a deliberately sloppy bite of his oozing chili burger
and lewdly licks his fingers.
AI
RONALD
What is wrong with you?
WES
She's my kinda girl.
Her bearded 200 pound biker boyfriend, FELIX (40), catches
the eye contact and darkens. Wes seems not to care and takes
another lewdly suggestive bite.
RONALD
You know what I really hate?
JOE
Probably the same as me.
DAVID
Provoking people who are likely to
rip your nuts off?
RONALD
Yup. I hate that.
WES
Looks like one of your clients.
11/28/25
RONALD
Indeed. The only reason Felix there
hasn't already cut that nasty
tongue out of your mouth is because
I defended him in a manslaughter
case. Three years in prison taught
him a simple truth - never a good
idea to kill people.
Ron nods at Felix and the gun cases.
RONALD (CONT’D)
And he knows what they are.
BOBCAT
You’re a public defender?
RONALD
Yes, sir.
BOBCAT
And a shooter?
RONALD
AI
(glancing at Felix)
Yeah. I know what's out there.
Bobcat rises to his feet, cocking his head.
DAVID
There’s no need for a standing
ovation.
BOBCAT
No, listen, something crazy.
Ronald rises waving his hands to quiet his friends.
RONALD
I hear it. Sirens, there
(his head turns 180)
... and there. Big.
BOBCAT
And coming this way.
Genres:
["Crime","Drama","Action"]
Ratings
Scene
8 -
Chaos at Tommy's Burgers
24 EXT. TOMMY'S BURGERS - CONTINUOUS 24
A black and white skids into the intersection! Two Uniformed
Cops leap from the police car, pistols drawn!
Freddy's Dodge Charger, chased by two police cars, races
toward the intersection.
11/28/25
Another unmarked car skids in, completing the barricade.
Johnson and a Detective emerge and draw down.
SGT. JOHNSON
Find cover! Take cover!
25 INT. TOMMY'S BURGERS - CONTINUOUS 25
Everyone is on their feet now.
WES
Would you look at this shit!
Several Patrons scramble into “Eyewitness” mode, cell phones
in hand catching all the action.
26 EXT. TOMMY'S BURGERS - CONTINUOUS 26
Freddy's Dodge Charger, 100 feet away, rockets ahead.
The cops draw down on the car throttling right at them!
AI
The two police pursuit cars slam on their brakes to keep from
crashing into the barricade.
27 INT. TOMMY'S BURGERS - CONTINUOUS 27
Joe drops his burger.
JOE
The bastard's gonna ram 'em!
28 EXT. TOMMY'S BURGERS - CONTINUOUS 28
Sgt. Johnson and the Cops rapid fire! .38's hitting all over
the place, but not hitting the mark! The cops run for it.
The Dodge Charger punches the gas, a bullet riddled missile.
The ferocious impact is deafening, demolishing the police
cars, but not powerful enough to break through.
29 INT. TOMMY'S BURGERS - CONTINUOUS 29
Everyone is now on their feet.
WES DAVID
Oh, shit. Stop them.
11/28/25
RONALD BOB
What the hell? Sweet Jesus.
iPhones in hand, the Patrons race to the windows, to get a
better look. Joe is in the zone assessing the lethal chaos.
30 EXT. TOMMY'S BURGERS - CONTINUOUS 30
The Dodge Charger doors spring open. The two chase cars spin
in behind the wreckage, there will be no escape.
Freddy and Jason leap from the steaming twisted steel. Their
.357's dumped for Interdynamic sub-machine guns!
The Interdynamics spit fire and lead ripping the two chase
cars, and the cops inside, to pieces. Traffic screams to stop
as DRIVERS and PASSENGERS run for cover.
Billy takes shelter behind the Charger looking for a way out.
Mikey falls in behind, protecting him.
Freddy and Jason spin toward Sgt. Johnson and three officers
retreating Northwest across the intersection.
AI
31 INT. TOMMY'S BURGERS - CONTINUOUS 31
Joe instinctively backpedals away from the window.
JOE
Get away from the windows!
Genres:
["Crime","Action","Thriller"]
Ratings
Scene
9 -
Chaos at Tommy's Burgers
32 EXT. TOMMY'S BURGERS - CONTINUOUS 32
Johnson and one of the cops dive behind a car next to Joe's
Rover. The other two cops are mowed down in a deadly reckless
hail of bullets. Dozens of rounds slam into Tommy's!
33 INT. TOMMY'S BURGERS - CONTINUOUS 33
The slugs strafe the glass, punching dozens of holes!
Plaster falls everywhere as the walls are ripped to pieces!
SCREAMS as the toughest Biker and the smallest child, equal
in terror, crawl through the debris. Dropped cell phones
capture all of it.
11/28/25
34 EXT. TOMMY'S BURGERS - CONTINUOUS 34
Freddy and Jason dump their empty clips.
Mikey leans in with suppressing fire while they reload.
The feeble CRACK of police pistol fire accomplishes nothing.
Fresh clips are slapped home and the murderous blitz resumes.
35 INT. TOMMY'S BURGERS - CONTINUOUS 35
SHRIEKS as a dozen more rounds rip the dining area.
JOE
Anyone hit?!
DAVID
There's a bleeder over here!
Ronald scrambles over to the bikers, turns over Felix.
RONALD
AI
He's dead!
The CRACK of .38's is again answered by a deadly barrage.
RONALD (CONT’D)
Get down! For God's sake, get down!
WES
Get down? Shit, get the shotguns!
DAVID
Wes, no way!
RONALD
Get down! Stay down!
JOE
(fear in his eyes)
We do have an angle on them ...
Wes scrambles for the shotgun cases.
BOBCAT
You’ll get us all killed!
RONALD
He’s right! We're civilians!
11/28/25
Wes dumps Joe's leftover shells on the floor and starts
jamming them into his Remington. He looks at Joe who follows
his lead. David, Bobcat and Ron frozen, make no move.
Genres:
["Action","Crime","Thriller"]
Ratings
Scene
10 -
Chaos at Tommy's Burgers
36 EXT. TOMMY'S BURGERS - CONTINUOUS 36
Johnson reloads his .38. The other Cop continues returning
fire. The car that separates them from certain death starting
to look like Swiss cheese.
SGT. JOHNSON
Get into Tommy's! Get an angle!
The Cop hesitates.
SGT. JOHNSON (CONT’D)
Do it while you still can!
CRACK! CRACK! Johnson risks exposing himself. It pays off!
Freddy and Jason duck for cover.
37 INT. TOMMY'S BURGERS - CONTINUOUS 37
AI
Joe and Wes are almost fully loaded.
RONALD
You can't do this! You can't!
JOE
We have to!
David and Bobcat see the Cop come a-running.
BOBCAT DAVID
C’mon, c’mon! Someone cover him!
38 EXT. TOMMY'S BURGERS - CONTINUOUS 38
Freddy and Jason draw a merciless bead on the sprinting Cop.
Machine gun fire cuts a murderous path toward Tommy's,
forcing Sgt. Johnson to take cover.
The cop makes it to the door -
39 INT. TOMMY'S BURGERS - CONTINUOUS 39
- bullets impact his back driving his body through the
shattered glass. The Cop collapses, a motionless heap of
bloodstained blue.
11/28/25
WES DAVE
That's enough - enough! We have to stop this!
JOE
We shoot now, or everyone dies!
Bobcat, David and Ronald grab their shotguns. Terrified
Patrons scramble away from our heroes, recovering dropped
cell phones.
Genres:
["Action","Thriller"]
Ratings
Scene
11 -
Chaos at Tommy's Burgers
40 EXT. TOMMY'S BURGERS - CONTINUOUS 40
Freddy and Jason drop their clips again, eyes wide with
adrenaline.
Mikey jumps into a Ford pickup abandoned in the melee.
MIKEY
Keys! Let’s run!
Billy commands Freddy and Jason as his dives into the pickup.
BILLY
AI
This is your day! Tear it down!
The pickup rockets toward the freeway on ramp!
Freddy and Jason knowingly take their last breaths.
FREDDY
One solution.
JASON
Revolution!
Fresh clips slammed home, Jason laughs, takes aim on the car
protecting Johnson.
41 INT. TOMMY'S BURGERS - CONTINUOUS 41
Five breeches close as one. Joe swallows, mouth dry.
WES
David, Bobcat, take the man on the
left. I’ll go right with Ron and
Joe.
JOE
Shoot to kill. Hit them with
everything we’ve got! Everything!
11/28/25
42 EXT. TOMMY'S BURGERS - CONTINUOUS 42
Freddy and Jason shred the car sheltering Johnson, shell
casings falling like rain.
Gasoline runs between Johnson's feet, the car disintegrating.
Freddy laughs wildly.
Johnson runs for his life. The remnants of the car is all
that separates him from certain death.
KABOOM! Johnson is blown through the air just ahead of the
flaming fireball that was the car.
Inbound police choppers veer off in retreat, fouled in the
billowing smoke and debris.
Pieces of burning metal rain down around Tommy's.
Freddy'S POV. The smoke clears revealing the Civilians
standing in the bullet struck window, shotguns at the ready.
AI
43 INT. TOMMY'S BURGERS - CONTINUOUS 43
Several Patrons, both terrified by and hopeful at the sight
of the men with shotguns, cower in anticipation.
Time stands still. Fingers tremble on the triggers. Life and
death hangs in the balance. The final judgements made.
44 EXT. TOMMY'S BURGERS - CONTINUOUS 44
SLOW MOTION. Freddy and Jason swing their guns, a sizzling
burst of machine gun fire tears toward Tommy's!
INT. TOMMY'S BURGERS - CONTINUOUS
SLOW MOTION. Fresh rounds punch through the glass! The
Civilians mount their shotguns to return fire, all but Ron -
WES JOE
Pull! Pull!
BOBCAT DAVE
Shit! Powder those bastards!
RON
No ... no ... NO!
11/28/25
The instantaneous reply from the shotguns blows the plate
glass to smithereens, as if ripped out by a tornado!
45 EXT. TOMMY'S BURGERS - CONTINUOUS 45
SLOW MOTION. The ferocious hail of lead hits Freddy and Jason
like a tidal wave lifting them off the ground in a high arc!
Their machine pistols still spraying death.
Genres:
["Action","Thriller"]
Ratings
Scene
12 -
Desperate Measures
46 INT. TOMMY'S BURGERS - CONTINUOUS 46
SLOW MOTION. The Civilians blast deadly round after round to
survive, concentration so intense no one notices,
Ronald gasp, knees buckling.
Shell after shell ejects from their shotguns, still no one
notices Ronald crumbling.
The last spent cartridges bounce on the blood soaked floor
settling next to Ronald's collapsing body, his loaded shotgun
still in his hands.
AI
WES
Out...
DAVID
Out...
BOBCAT
Out...
JOE
Out...
Adrenaline pumping so hard he's breathless. Joe turns
expectantly in Ronald's direction.
JOE'S POV. Ronald lies motionless in the debris, blood oozing
through his shooting vest.
Joe tears Ronald's vest open, blood everywhere. He covers
the wounds with is hands.
JOE (CONT’D)
Something to stop the bleeding!
BOBCAT
I know CPR!
Wes and David jump in with towels. Wes feels for a pulse as
they frantically try to save their friend.
11/28/25
47 EXT. TOMMY'S BURGERS - CONTINUOUS 47
Police cars, ambulances, helicopters close in from every
direction. A SWAT TEAM surrounds the ravaged building.
Genres:
["Action","Crime","Thriller"]
Ratings
Scene
13 -
Crisis at Tommy's Burgers
48 INT. TOMMY'S BURGERS - CONTINUOUS 48
Bobcat urgently pumps on Ronald's bloody chest. Wes gently
closes his lifeless eyes.
WES
He’s gone.
JOE
No!
Joe swaps with Bobcat pumping frantically.
WES
Joe, he's dead.
David sees the Swat team closing in.
AI
DAVID
Here! Here!
SWAT OFFICERS swarm in, spot the shotguns.
SWAT 1
On the ground! Face on the ground!
Swat Officers roughly pin Wes, Dave and Bobcat to the ground.
WES
Get the fuck off me!
Joe is yanked off Ronald as Two Paramedics hustle in. SWAT 1
aggressively cuffs Joe.
JOE
Ron! Help him! Ron...
SWAT 1
(into radio)
We're secure.
49 EXT. TOMMY'S BURGERS - CONTINUOUS 49
PARAMEDIC 1 and PARAMEDIC 2 carefully turn over Johnson.
Blood oozing from the back of his head. A stethoscope is
pressed to his chest.
11/28/25
PARAMEDIC 1
He’s alive.
Johnson's eyes roll open. He reaches for his holster!
PARAMEDIC 2
Easy.
SGT. JOHNSON
Did we get them?
PARAMEDIC 1
Uh, yeah, they got them.
DISSOLVE TO:
Genres:
["Action","Crime","Thriller"]
Ratings
Scene
14 -
Revelations in the Interrogation Room
50 INT. POLICE INTERROGATION ROOM - DAY 50
The Shooters silently reflect on the end of life as they knew
it. Blood stained and battered, each man is lost in his own
thoughts. Detective ESPINOZA (35) stands guard at the door,
close set dark eyes that never look away, not for a second.
AI
DAVID
We are going to jail. I know it.
We are going to jail.
WES
It was self defense.
BOBCAT
Didn’t feel like they appreciated
our help when they slapped on the
cuffs.
DAVID
(to Wes)
Get the shotguns. Shmuck, we needed
this?
WES
This? No, we needed to get shot.
DAVID
We needed to stay down!
ESPINOZA
Right now you need to settle down!
11/28/25
WES
(an angry whisper)
You’re always the first one talking
about self defense. Everyone is
out to get you!
DAVID
And you're not ready to join the
militia? (To Bobcat) And he's not
worried about the gangs? And
Ronald, he "knew what was out
there". He saw it all day long.
And Joe -
JOE
I just want to see my family, get
out of these clothes.
They all turn toward Joe, bloodied clothes turning brown.
DAVID
(sighs)
We're alive. We have good lawyers.
AI
Detective KELLY (40), his gut pressed snugly against his
belt, rambles in scratching his freckled chin. His tired red-
rimmed eyes scan a batch of printouts in his pudgy hand.
KELLY
(to Espinoza)
Not even a parking ticket. Check
that, Riley, Wes, an outstanding
speeding violation.
WES
I did traffic school at the Improv.
ESPINOZA
(to Kelly, a whisper)
None of this makes sense.
KELLY
What the hell were you guys doing
in that neighborhood?
WES
Honestly, target practice.
Kelly leans in nose to nose with Wes.
KELLY
Do you have any idea the kind of
trouble you’re in, all of you?
11/28/25
DAVID
What he said, although incredibly
stupid, is true.
JOE
We were shooting trap at Oak Tree.
KELLY
OK. What were you doing at Tommy's?
BOBCAT
It's cuz of me.
He nervously sips a Coke to settle his stomach.
BOBCAT (CONT’D)
It was my initiation.
ESPINOZA
Into what?
WES
Our team. Tommy’s, it’s tradition.
AI
BOBCAT
I’m the new guy.
DAVID
(to Espinoza and Kelly)
C’mon. You guys shoot. We had a
perfect round with a new guy.
KELLY
I don’t carry my shotgun into a
burger joint to celebrate a good
round!
BOBCAT
W-where's the bathroom?
JOE
We were afraid they'd be stolen.
KELLY
Do I look like some kinda moron?
(an uncomfortably long
pause)
C'mon, Mr. Riley. We see guys like
you everyday. Mad about drugs. Mad
about gangs. Want to go out and -
Joe darkens and cuts Kelly off.
11/28/25
JOE
Wrong. Wrong place. Wrong time.
That simple.
ESPINOZA
No, not that simple! There wasn't
enough left of your "targets" to
get a fingerprint!
Bobcat spills his Coke, covering his mouth as he jumps to his
feet. Kelly points. Bobcat streaks out the door as Johnson
enters rubbing the back of his head.
KELLY
Sgt. Johnson, you alright?
SGT. JOHNSON
Not really sure.
He extends his bandaged hand.
SGT. JOHNSON (CONT’D)
Sgt. Kent Johnson.
AI
JOE
Joe Colletti. That’s Wes Riley,
David Kyman, and that was Bobcat,
Bob Coleman running to the head.
SGT. JOHNSON
Thank you.
WES
You’re welcome. Now, please get us
the hell out of here.
KELLY
You really are a man in a hurry.
Johnson holds the door for the return of Bobcat.
SGT. JOHNSON
They've been through enough. Send
them home. I'm sorry you got caught
in this.
JOE
Caught in what? Who were they?
SGT. JOHNSON
The men you killed, low level drug
dealers. The guy who got away, it’s
complicated.
11/28/25
DAVID
How complicated?
WES
Make it simple so even we can
understand it.
SGT. JOHNSON
I am not sure we understand it.
WES
OK. OK. What goes on here?
Narcotics, homicide?
SGT. JOHNSON
We thought it was narcotics. Seems
it is some kind of terror cell.
WES DAVID
What kind ... Terror cell?
JOE
Terrorists?
AI
SGT. JOHNSON
Anarchists.
BOBCAT
Sweet, Jesus. What have we got
ourselves into?
WILHELMINA (”WILLY) CHARLES (35) strides into the room and
picks up the conversation. There is something military about
her and there is no mistaking that this charming woman of
color is in charge of herself, and everyone else in the room.
SGT. JOHNSON
These are the men we talked about.
WILLY
Very courageous, what you did.
Judging by the media frenzy
outside, sorry to say, the trouble
is just starting.
Two AIDES with the requisite earpieces close in behind her.
SGT. JOHNSON
This is Wilhelmina Charles the
Under Secretary for Homeland
Security’s Office of Foreign
Assets.
11/28/25
JOE
Wait a second, you said domestic -
SGT. JOHNSON
Please, tell them what you can.
DAVID
(grimly)
She’s telling us nuthin’.
Treasury’s office of Foreign Assets
is all about terrorist money
laundering. Massive international
stuff.
WILLY
(referring to her notes)
What sort of business did you say
you’re in, Mr. Kleinman?
DAVID
Don’t even. I am a bank VP. I know
from Treasury and money laundering.
BOBCAT
AI
What could those hillbillies have
to do with international money
laundering?
WILLY
Their leader, Billy Briggs, is no
hillbilly. He’s a perfect criminal
storm. Bad seed from the worst kind
of broken home, he got lucky in
foster care. Adopted at four by a
wealthy couple who wanted to
nurture his stunningly savant
command of numbers.
DAVID
Savant? C’mon, there had to be some
warning signs that something wasn’t
right with this nut job.
WILLY
No. Billy passed his financial
exams with flying colors. His dad
brought him into his financial
services business when he graduated
Stanford. He developed a gift for
foreign currency exchange and then
highly profitable money laundering.
11/28/25
JOE
With all due respect to his
academics, looks like his
biological parents gifted him with
more than a love of numbers.
WES
Apparently ... he likes to kill.
WILLY
No one knew, or could have
predicted, he was a ticking time
bomb. Nature, nurture, I’m not a
profiler, but this guy, plain as
day, is a high functioning
sociopath driven by grievance.
Wilhelmina takes a series of photographs from a file jacket
she is holding and hands them to the Joe to pass around.
WILLY (CONT’D)
Billy’s “violent nature” showed up
in Federal prison. A couple of
inmates thought “money dealer”
AI
would be an easy mark.
INSERT: The photographs document life-threatening injuries to
THREE INMATES sporting bandages and slings.
WILLY (V.O.)
That’s when they met the other
Billy Briggs. Lucky for Billy,
none of them died or he’d still be
in prison.
BOBCAT
(hands back the photos)
This just gets better and better.
WILLY
Billy claimed innocence, but the
Federal money laundering rap stuck.
Full of rage, he soaked up
anarchist ideology in prison. He’s
a dangerous loner hell bent on
exacting revenge on “the system”.
SGT. JOHNSON
We thought he was looking for a
payday. He’s really looking for
payback.
11/28/25
JOE
(frustrated)
Great story. Very reassuring. OK.
Where does that leave us?
WILLY
We’re not sure.
A long uncomfortable silence, minds racing.
WES
I want my guns back.
SGT. JOHNSON
Can’t do that. They’re evidence.
Look, I personally appreciate what
you did, but let’s be clear, you
guys are not cops.
JOE
(a little sarcastic)
You are right there, officer. We
are not cops and don’t want to be.
Go finish the job, find this guy,
AI
protect us.
DAVID
Right, protect us. When do we get
our guns back?
JOE
Are we free to go?
The men stand as a group and head for the door.
WILLY
Careful what you say when you go
out that door.
Joe stops short, they all turn to Willy.
WILLY (CONT’D)
A lot of people are very interested
in who you are and what you did,
some of them not too friendly.
51 INT. LAPD STRATEGY ROOM - DAY 51
The Civilians pass through the police nerve center. Curious
and respectful Uniformed Officers fall silent as they pass.
Joe spots Kelly and Espinoza at the cork board removing
several surveillance photos of deceased gang members.
11/28/25
At the top of the pyramid, well groomed and wearing an Armani
suit in his booking photo - Billy Briggs.
Sgt. Johnson and Willy catch up with them for one last word.
SGT. JOHNSON
Listen, if there are any problems.
Joe's eyes return to the tactical board featuring Briggs.
JOE
Problems?
Johnson hands each of the Civilians a business card.
JOE (CONT’D)
Hey, we have no problem with this
guy. You have the problem.
DAVID
Right. They shot at us. We shot
back. End of story.
WES
AI
I think they had enough of us.
Willy exhales deeply, a deadly serious look in her eyes.
WILLY
Keep those cards close and share
those numbers with your families.
The point is made loud and clear.
Genres:
["Action","Crime","Thriller"]
Ratings
Scene
15 -
Reunions and Tensions
52 INT. POLICE STATION OFFICES - EVENING 52
The iron holding pen door rolls open freeing the Civilians.
KAREN COLLETTI (35)is the first to rise from the olive drab
steel visitors bench. She wears blue nurses scrubs.
KAREN
Joe! Thank God!
JOE
Is Ronald's wife -
KAREN
Bridget's at Tommy’s, with the
wives of the dead police officers.
11/28/25
David slowly crosses to his wife, SUSAN (40). Judging by the
clothes the cops found her at a luncheon in Beverly Hills.
She radiates anger.
DAVID
Susan, please, do not start with “I
told you so about the guns.”
SUSAN
I told you -
DAVID
(cutting her off hotly)
I told you one day the guns would
save my life, and they did!
Bobcat's wife, DIANNE (30), is shaken beyond consolation.
BOBCAT
It's okay, sugar.
DIANNE
No, it’s not okay.
AI
Dianne takes a deep breath to steady herself and absorbs the
bloodstained battered band in front of her. She locks eyes
with each of the men. Horrified eyes, tears forming ...
DIANNE (CONT’D)
Who are these people?!
Dianne drags Bobcat to the exit.
BOBCAT
(to Wes)
Stay safe.
WES
Yeah. Sorry to get you into this.
Genres:
["Action","Drama","Crime"]
Ratings
Scene
16 -
Media Frenzy at Police Headquarters
53 EXT. LOS ANGELES POLICE HEADQUARTERS - NIGHT 53
A frenzied mob of REPORTERS struggles to get a piece of the
Civilians.
REPORTER 1 REPORTER 2
Have you been charged with Did you know there are
anything? hundreds of posts supporting
your action?
LESTER ROBINSON (35), CAMERA CREW in tow, cuts across them
all. He is a commanding black man with a booming voice.
11/28/25
LESTER ROBINSON
Have you seen the eyewitness
footage?
The question barrage settles.
LESTER ROBINSON (CONT’D)
Congressman Wycliff has already
made a plea for stricter gun
control laws. Do you have a
comment?
JOE
We only want to go home, please!
The Civilians jostle their way to their cars.
REPORTER 2
Do you think it's time for the guy
on the street to finally do the job
the police can't do?
LESTER ROBINSON
Some say you are good samaritans,
AI
some say vigilantes. What to do
you say?
Johnson gets ready to answer that one -
WES
We're not vigilantes!
- but he's satisfied with Wes' answer. The shoving
intensifies as the Civilians struggle to get to their cars.
LESTER ROBINSON
Was it police bullets, the gunmen
or your bullets that actually
killed, Ron Sanders?
Joe makes a move at the Lester. Wes intercepts and restrains
him. The mob quiets, tense.
JOE
Ron Sanders was killed by maniacs
who tried killed us all.
LESTER ROBINSON
Are you sorry you got involved?
JOE
Sorry? I'm only sorry we didn't
kill them all -
11/28/25
The roar from the reporters drowns the rejoinder.
JOE (CONT’D)
- my friend and some good cops
might still be alive!
Uniformed Officers struggle to clear a path through the storm
of Reporters and Cameramen. The beleaguered men finally make
it through the crowd to waiting patrol cars.
Lester turns to camera to deliver a live report.
LESTER ROBINSON
There you have it. A very terse and
defiant statement by one of the
vigilante gunman -
Johnson moves toward him, burning. A firm grip on his
shoulder from Willy saves the reporter from Johnson’s wrath.
LESTER ROBINSON (CONT’D)
I’ll have more on this story as it
develops.
AI
Genres:
["Action","Crime","Drama"]
Ratings
Scene
17 -
Public Scrutiny
54 EXT. LOS FELIZ - COLLETTI HOUSE - NIGHT 54
A cul-de-sac in front of a well kept split-level house
adjacent to Griffith Park. The “Hollywood” sign sits atop a
hill in the background.
A crowd of Neighbors surrounds a news van parked in front of
he the house next door.
A police tow truck, lights blazing for maximum humiliation,
drops Joe's bullet riddled Rover in the driveway.
Lester is among a crowd of Reporters. He interviews JACK
GOLDEN (40) on his front yard next door.
JACK
That’s G-O-L-D-E-N, Jack. Like I
was sayin’, he’s the kind of guy
who is always minding everyone
else's business.
LESTER ROBINSON
Has he ever been violent?
JACK
Just this morning I was having an
argument with my wife, and this guy
appoints himself sheriff and -
11/28/25
Before he can finish the sentence, the patrol car bringing
Joe and Karen home stops in front of the house.
LESTER ROBINSON
Mr. Colletti. Can we have a
comment -
Joe’s on the move, sheltering Karen, but stumbles at the
sight of his bullet riddled Rover.
KAREN
Joe, c'mon!
She fumbles with the keys as Lester closes in.
LESTER ROBINSON
Gun control advocates are saying -
Genres:
["Action","Crime","Drama"]
Ratings
Scene
18 -
A Night of Tension
55 INT. COLLETTI HOME FOYER - NIGHT 55
Joe and Karen get in the house, slam the door, cutting off
Lester. Slowly they realize Jimmy and his BABY-SITTER (18)
are watching them brace themselves against the door.
AI
KAREN
(recovering)
Everything okay?
The Baby-sitter's eyes track to Joe's blood splattered vest.
BABY-SITTER
Sure, fine. Everything's fine.
KAREN
What do I owe you?
The Baby-sitter grabs her coat. s
BABY-SITTER
I'll call you tomorrow.
KAREN
Back door. Probably easier.
She flees as the knocking at the front door slowly subsides.
Joe takes a step toward Jimmy.
JOE
Isn't it past your bedtime, kiddo?
Jimmy steps back as his Dad reaches for him.
11/28/25
JIMMY
We saw you on TV and YouTube.
JOE
Oh, what did you see?
Joe eases out of his bloody shooting vest.
JIMMY
Stuff. I don't know.
Jimmy scampers up the stairs before Joe can continue.
KAREN
(calling after him)
Honey, everything's alright. I’ll
be up in a minute to tuck you in.
A long exhale from Karen as she gathers herself.
KAREN (CONT’D)
Go take a shower. Can you give him
a couple of minutes of “normal”.
AI
JOE
Yeah. Right. He needs to see I’m
alright, we’re alright.
Genres:
["Drama","Thriller"]
Ratings
Scene
19 -
A Father's Reassurance
56 INT/EXT. JIMMY'S BEDROOM - NIGHT 56
Jimmy watches from his window as the last of the Reporters
and Neighbors depart. Joe appears in the doorway wrapped in a
white terry robe, drying his hair with a towel.
JOE
Excitement's over. Into bed.
Jimmy leaves the window and hops under the covers.
JIMMY
They said you were in jail.
JOE
I'm right here.
JIMMY
They said you hurt someone.
JOE
No. We saved a policeman's life.
11/28/25
JIMMY
Did you really do what they said?
Did you really shoot someone?
JOE
Not someone, Jimmy, bad men. They
killed five policemen and -
Joe struggles to keep it together for Jimmy's sake.
JOE (CONT’D)
- and my friend. We had to do
something.
Karen stops in the hall, Joe's bloodstained clothing showing
pink against the white plastic film of the trash bag she
holds. She stays in the shadows, listening.
JIMMY
Why?
JOE
We were there. They needed help.
AI
JIMMY
I saw Joseph push a boy down on the
playground. I told him not to do it
again.
JOE
What happened?
JIMMY
He pushed me down, too.
JOE
That happens.
JIMMY
We both pushed him down. He ran
away.
JOE
Sometimes you just have to stand up
to bullies.
JIMMY
They won't take you away?
Jimmy hugs his father as desperately his father hugs him.
JOE
Not on your life, kiddo.
11/28/25
Joe's thankful for the hug and grateful that his son does not
see the tears welling in his eyes.
Genres:
["Action","Drama"]
Ratings
Scene
20 -
Breaking News and Broken Peace
57 INT. COLLETTI'S BEDROOM - NIGHT 57
Joe slides into bed with his wife. She notices his hands are
still shaking.
KAREN
You’re home. We’re safe, now.
JOE
Christ, I hope you are right.
KAREN
I heard you with Jimmy. You done
good.
She gives him a sheltering hug. Joe’s cell phone PINGS
startling them both. He picks it up off his night stand; 27
text message. The last one from WES reads, “TURN ON THE
NEWS”.
AI
Joe picks up the remote and turns on the TV. He and Karen
share a beat of “do you really want to see this?”
ON TV: The Eyewitness News team tees up the coverage. Over
the Graphic “BREAKING NEWS”.
ANCHORMAN
... cell phone footage from the
deadly shoot-out this afternoon in
Northridge. We have to warn you,
some of these images are graphic
and may disturb sensitive viewers.
Karen reaches for the remote, blocking the screen.
JOE
Karen, I am in the public relations
business, I need to see the damage.
KAREN
Joe, please, turn it off.
ON TV:
Genres:
["Action","Drama","Thriller"]
Ratings
Scene
21 -
Aftermath of Violence
INT. TOMMY’S BURGERS - DAY
Bullets impact the policeman’s back driving his body through
the shattered glass. The cop collapses, a motionless heap of
bloodstained blue. The shaky image swings to Joe.
11/28/25
JOE
We shoot now, or we are all going
to die!
Bobcat, David and Ronald grab their shotguns. Terrified
Patrons scramble away from our heroes ...
Five breeches close as one. Joe swallows, mouth dry.
WES
David, Bobcat, take the man on the
left. I’ll go right with Ron and
Joe.
JOE
Shoot to kill. Hit them with
everything we’ve got! Everything!
ON JOE: Blood draining from his face:
ON TV: Shell after shell ejects from the deadly weapons,
Ronald crumbles, captured in what looks like a war zone
report. The last spent cartridges bounce on the blood soaked
floor settling next to Ronald's motionless body.
AI
ON KAREN: She blinks, speechless, fear in her eyes.
ANCHORMAN
The four surviving men involved in
the shooting have been released
without bail pending a thorough
investigation. Reporter Mary Jones
is live at the scene.
Joe turns it off, shaken and ashamed.
JOE
Karen, you know how I love
shooting. But, killing people, or
killing anything, I, we, the guys,
never killed anything ...
KAREN
Do you want to see a counselor?
JOE
For me, or for us?
KAREN
For you, Joe. There is no un-doing
or un-seeing it. Yeah, it’s a sad
day for all of us.
11/28/25
58 INT. POLICE INTERROGATION ROOM - NIGHT 58
Sgt. Johnson and Willy watch the same report.
WILLY
I think the trouble for these guys
is just beginning. He’s going to
come for them.
SGT. JOHNSON
Can’t let that happen.
WILLY
Don’t know if we can stop it.
SGT. JOHNSON
(anger rising)
I want you to call every asset you
have to protect these guys.
WILLY
Already done. I may not be a
profiler, but I am pretty sure
Billy will try to kill these guys.
AI
Genres:
["Action","Thriller","Crime"]
Ratings
Scene
22 -
Desert Tensions
59 EXT. DESERT HIDEAWAY/29 PALMS - NIGHT 59
The gang’s vehicles and 30 foot motorhome surround an
abandoned shack of a home. A large generator powers both.
Movement inside the house informs that several gang members
are inside.
60 INT. CRUMBLING DESERT HIDEAWAY - CONTINUOUS 60
The Gang has reassemble and resumed preparing for what may
come. A variety of nationalities and styles they share the
unmistakable menace of disciplined mercenaries. Manny is
tossed an AR-15 from an arsenal of weapons being sorted by
Mikey. Nearby TATTOO (30’s) and BORIS (30’s) assemble
handmade explosives.
On his way to the door Manny pauses to oversee CHEN, SKULL
and DUTCH re-packaging a dozen bundles of heroine. Young and
dumb they are nothing more than low level street dealers.
Just as Manny makes it to the door, he exchanges a meaningful
nod with AMIR (50)who keeps a watchful eye on CHICO (40’s),
RASTA (40’s) and KLAUS (50’s) busily packaging bundles of one
hundred dollar bills.
11/28/25
61 EXT. BILLY’S MOTORHOME - CONTINUOUS 61
Manny walks to the motorhome and assumes guard stance, the AR-
15 nestled in the crook of his massive arm.
62 INT. BILLY’S MOTORHOME - CONTINUOUS 62
Billy Briggs reclines in the back end of the coach. His eyes
intensely fixed on his cell phone.
ON CELL PHONE: A clip of the eyewitness footage on YouTube.
LESTER ROBINSON
Are you sorry you got involved?
JOE
I'm only sorry I didn't kill them
all -
The roar from the reporters drowns the rejoinder.
Billy rewinds it and plays it again.
AI
LESTER ROBINSON
Are you sorry you got involved?
JOE
I'm only sorry I didn't kill them
all -
Billy takes a deep breath shakes it off, straightening
himself out. Amir looks on, a grave look in his eyes.
AMIR
Billy, these people, they are
trouble. Let these dope fiends,
drug dealers, whatever. Let them
go after these people.
Billy sets aside a pistol that rests atop an assortment of
passports. A moment of deep consideration.
AMIR (CONT’D)
The police, the media, all focused
on these cowboys. It is perfect.
Our people are happy. We stick to
the plan!
Mikey pokes his head in.
MIKEY
We are in the wind in five minutes.
11/28/25
A set of luggage ready to go by the door. Amir’s eyes urge
“come, let’s go”. But, Billy’s eyes are on his cell phone.
BILLY
(a difficult pause)
I am happy that you and your
“friends” are happy with the work
we have done. That said, I have
issues. Very specific, personal
issues. They “took” from me.
AMIR
Take a piece of your own advice,
Baba. Sometimes you need to leave
things the fuck alone.
Billy closes his eyes, a long beat. He leans forward and
slowly pushes the passports aside with his pistol.
BILLY
(looking defiantly at Amir)
Mikey get Manny. Change of plan.
DISSOLVE TO:
AI
Genres:
["Action","Crime","Thriller"]
Ratings
Scene
23 -
Grounded
63 EXT. LOS ANGELES INTERNATIONAL AIRPORT - DAYBREAK 63
Traffic is already jammed with early departures.
64 INT. CHIEF PILOT'S OFFICE - MORNING 64
Wes, wearing a Captain’s uniform, fiddles indifferently with
a model of a 787. Chief Pilot, OSCAR DAVIS (50) gently takes
the plane away from Wes; a father taking a toy from a child.
WES
So, am I grounded?
OSCAR
That’s up to you.
WES
I’m good.
OSCAR
Are you?
WES
(more emphatic)
I’m good.
11/28/25
OSCAR
Wes, we all know you’re a “tough
guy”. But, that, we’re worried.
WES
Those guys in that fucking Dodge
Charger, like an F-35. Bullets and
glass flying. It was like -
photographs. I keep seeing us
grabbing the guns -
OSCAR
Wes.
WES
Those, those - animals - just kept
shooting and shooting and shooting.
This cop was running trying to get
cover. They cut him to pieces just
for the fuck of it!
OSCAR
... I saw that.
AI
WES
We were having a chili-burger! Then
bodies all over the place! My
friend dead. But, yeah, I’m good.
OSCAR
I'm suspending you with pay pending
further evaluation. If I was you,
I'd leave town until the police get
these guys.
Wes has heard the truth and he stiffens. Oscar catches it.
OSCAR (CONT’D)
I mean, some R and R is a good
idea, you know what I mean?
Wes places his airline ID on the desk.
WES
I know what you mean. And, yeah,
I’ll be back for that.
Genres:
["Action","Drama","Thriller"]
Ratings
Scene
24 -
A Day of Tension and Routine
65 INT. COLLETTI FOYER - DAY 65
Joe dons the jacket of an Armani suit, checks his watch and
dashes for the door.
11/28/25
JOE
Karen?
Karen leans in, dressed in scrubs.
JOE (CONT’D)
You’re going to work?
KAREN
We can’t just stop our lives.
JOE
Right, you’re right. I need to
check in at the office and do
damage control before Ron’s
funeral.
KAREN
I can’t, Joe. Give Bridget my
condolences. Got to get Jimmy off
to school.
JOE
It’s ok. She’ll understand.
AI
66 EXT. COLLETTI HOUSE - DAY 66
Joe pauses to touch the bullet scars in his Range Rover
before tossing his briefcase in the backseat.
67 EXT. LOS FELIZ CUL-DE-SAC - DAY 67
STALKING POV. As Joe drives out of the cul-de-sac we pull
away from the curb and follow him.
68 EXT. HOLLYWOOD STREETS - DAY 68
STALKING POV. Joe's Rover is right in front of us.
69 INT. JOE'S ROVER - DAY 69
Joe adjusts his rearview, checks it closely.
70 EXT. HOLLYWOOD STREETS - DAY 70
JOE'S POV. A black Chevy is right behind him.
Joe turns at little Santa Monica heading toward Century City.
The Chevy is right behind.
11/28/25
71 EXT. 10000 SANTA MONICA BLVD. - DAY 71
Joe parks in the lot adjacent to his three story offices.
72 INT. JOE'S ROVER - DAY 72
Joe turns around in his seat, looking for the black Chevy.
EXT. 10000 SANTA MONICA BLVD. - DAY
JOE'S POV. The car is gone.
Joe takes a long look around as he locks the Rover.
Genres:
["Action","Drama","Thriller"]
Ratings
Scene
25 -
Media Fallout
74 INT. PUBLIC RELATIONS OFFICES - DAY 74
The tasteful chromium graphic behind the RECEPTIONIST reads,
"FENTON, LEVY AND D'ANDREA".
RECEPTIONIST
Oh, Mr. Colletti. I, we, didn't
AI
expect you.
JOE
Any messages?
RECEPTIONIST
Mr. Fenton has been taking your
calls.
Not good news, but Joe manages his best “happy face”.
JOE
Please, tell Ned I'm here.
75 INT. FENTON'S OFFICE - DAY 75
The sound of GUNFIRE on the cell phones of 15 EXECUTIVES
fills the room as Joe enters. NED FENTON (40) sits behind his
desk, littered with newspapers featuring the shooting.
FENTON
Hey, Joe.
Nervous and urgent fumbling brings the social media
experience of the executive meeting to an abrupt end.
FENTON (CONT’D)
Thanks, gang. I want to see the
spin on this in one hour.
11/28/25
A FEMALE EXECUTIVE is the first to pass Joe.
FEMALE EXECUTIVE
Sorry about your friend.
Joe looks at the floor.
FENTON
Joe, come. Sit down.
As the others file past, some are curious, other are
disturbed by what they all now know about their co-worker. A
copywriter, PHILIP, shakes Joe's hand sympathetically.
PHILIP
Joe, amazing what you did.
JOE
Some other time, Phillip.
PHILIP
I'm thankful someone finally shot
back at these bastards.
AI
JOE
You want to be thankful, Phillip?
Thank God you weren't there!
Philip backs away from Joe. The rest of the Executives
hurriedly exit in silence as Joe sits.
FENTON
How's Karen, Jimmy?
JOE
Like me, scared. Did I miss
anything critical yesterday?
FENTON
Not to worry.
JOE
Wrong answer. Tell me how badly
the day went because I wasn't here.
FENTON
You have enough on your mind
already.
JOE
I'm here, ready to work.
FENTON
Joe, it’s bad.
11/28/25
Ned holds up his cell phone.
ON CELLPHONE: Lester Robinson in a recorded “live shot” at a
now boarded up Tommy’s Burgers.
LESTER ROBINSON
People I talk to are worried. It’s
not enough that we have cops
shooting everything that moves, now
we have civilians with shotguns
taking the law into their own
hands! Some say good samaritans,
others, are concerned about
vigilantes. Back to you.
Ned turns the phone off.
JOE
How did we become the bad guys in
this? Like we went looking for a
shootout.
FENTON
If ever I met a guy who could make
AI
shit look like ice cream, it's you.
JOE
Vigilantes? It’s not even proper
use of the word. We are certainly
not “an organized group”.
FENTON
Have you seen YouTube? They got you
saying -
JOE
(cutting him off, defeated)
I know.
Joe wanders over to the window, disturbed by it all.
FENTON
Congressman Wycliff said -
JOE
I heard. Nightmare.
FENTON
He’s a big client. Gotta say, it’s
a bad look.
11/28/25
JOE
Shit. He whines about gun control.
Meanwhile, he’s protected by secret
service agents with machine guns!
Joe looks out the window.
Genres:
["Action","Drama","Thriller"]
Ratings
Scene
26 -
Glimmers of Guilt
76 EXT. 10000 SANTA MONICA BLVD. 76
JOE'S POV. Three floors below, that black Chevy. Inside
Mikey looks straight at us with binoculars.
FENTON (O.S.)
Listen, if I had been there I would
have passed the ammunition. But,
this firm runs on public opinion.
People want guns off the street.
77 INT. FENTON'S OFFICE 77
Joe turns from the window, but his attention doesn't.
AI
FENTON
I'm looking for an approach. A
hook. The silver lining. You did
save lives, including your own.
JOE
(darkly)
Didn’t save Ron.
Joe quickly turns back to the window.
78 EXT. 10000 SANTA MONICA BLVD. 78
JOE'S POV. The black Chevy is gone.
FENTON
Joe, are you alright?
79 INT. FENTON'S OFFICE 79
Joe presses his hands against the glass.
FENTON
Joe?
He turns to his boss, mind racing.
11/28/25
JOE
I'd like some time off.
FENTON
You're not quitting?
JOE
Could be the silver lining.
FENTON
I may be a gut-less shlockmeister
but I'm not stupid. Take all the
time you want. I’ll handle Wycliff.
JOE
(looking out the window)
Thank you. Is there any way this
could get worse?
Genres:
["Drama","Thriller"]
Ratings
Scene
27 -
Grief and Surveillance
80 EXT. VETERAN'S CEMETERY - DAY 80
GUNFIRE from a SEVEN MAN HONOR GUARD. They fire three volleys
into the air. Johnson and a throng of UNIFORMED OFFICERS
AI
stand at attention saluting five flag draped coffins.
DISSOLVE TO:
81 EXT. MOUNT SINAI CEMETERY - DAY 81
Ronald's widow, BRIDGET (30), flanked by FAMILY members,
drops a handful of dirt into the grave.
Joe, Wes and David likewise drop a handful of earth into the
open grave. Bobcat is conspicuously absent.
Ron’s wife lifts her veil as she greets the survivors.
BRIDGET
Joe, I am grateful that you stopped
those men before they killed all of
you. Who knows how many more. Ron
would have wanted all of us to find
peace and move on.
An uncomfortable beat of glances between the men.
JOE
We are all deeply sorry and will do
our best to honor Ron’s memory.
IN TELEPHOTO: The Survivors shovel dirt into the grave.
11/28/25
A white step van idles concealed in the shade of a stand of
pine. (It is unclear who is watching.)
DISSOLVE TO:
82 INT. POLICE INTERROGATION ROOM - NIGHT 82
Wilhelmina Charles and Sgt. Johnson review the data from what
is clearly a full scale surveillance operation of our boys,
including telephoto shots from Ron’s funeral.
SGT. JOHNSON
We have some good intel on two of
Billy’s men. Here we have Manny -
WILLY
Soto and a Mike “Mikey” Dalton.
SGT. JOHNSON
Right. What do you know about them?
WILLY
Billy is using them to test our
AI
coverage. He is watching how we
protect these guys.
SGT. JOHNSON
Bob Coleman is ghosting them. His
wife wants nothing to do with his
new “friends”. Big problems there.
WILLY
Could be a good thing. Billy’s
looking for an opportunity when all
these guys are in the same place.
All we have to do is be there when
he pops up.
Johnson takes a hard look at her as only a policeman can.
SGT. JOHNSON
You don’t what to catch this guy,
do you? You want to kill him.
WILLY
That’s up to him. He can run.
SGT. JOHNSON
That’s what he ought to do.
11/28/25
WILLY
Sergeant, have you ever met a
criminal who did what he ought to
do? Those guys killed Billy’s men.
Smashed his plan. Nearly killed
him, too. It’s impossible to know
what he’ll do next.
Genres:
["Crime","Thriller","Drama"]
Ratings
Scene
28 -
Misunderstandings and Marital Dynamics
83 EXT. COLLETTI HOUSE - NIGHT 83
Wes's Jeep Cherokee pulls onto the cul-de-sac. A White Buick
close on his bumper, a little too close.
84 INT. WES'S JEEP CHEROKEE - NIGHT 84
Wes stares at the rearview mirror and abruptly jams on the
brakes. He yanks a .45 out from under his seat.
85 EXT. COLLETTI HOUSE - NIGHT 85
Wes rushes out of the Jeep, the pistol at the ready.
AI
WES
Come on! Get out! Bring it!
Jack Golden falls out of the car, cowering on the ground.
JACK
No, no! I didn’t shoot anyone!
WES
What? Why are you following me?!
JACK
I live here. My driveway.
Wes sees the driveway, realizes it’s Joe neighbor.
WES
I am so sorry. We had a little
trouble, I guess you know, right?
He tries to help Jack up, but he scrambles back into his car.
WES (CONT’D)
Hey, I am sorry. Can we keep this
between us? Please. I don’t want
any more trouble.
11/28/25
86 INT. COLLETTI'S BEDROOM - NIGHT 86
Joe empties a bag of multicolored aquarium gravel into a
simple 50 gallon aquarium. With coral and sea ferns, it’s a
thing of beauty. Wes shakes his head in disbelief, holding a
hose in support of his friend.
JOE
I’ve wanted to do this since I was
a kid. Something fun for Jimmy.
WES
Are you ok?
JOE
What? Did Karen say something?
WES
About this, no, what?
JOE
She’s really not happy with my
choices lately.
AI
WES
Not happy with your choices? Now,
there is an understatement, Mr. PR,
if I ever heard one.
JOE
Right. Let’s fill’r up.
Joe ties off the hose and drops the coil out the window.
WES
OK, I’m in. Maybe staring at fish
isn’t such a bad idea.
87 EXT. COLLETTI HOUSE - NIGHT 87
Joe and Wes, and the hose, come up about four feet short of
the exterior faucet.
WES
You are a sponge for punishment.
JOE
Remind me again why we are friends?
WES
Because I understand you.
11/28/25
JOE
You “understand” me? Comforting. I
have more hose in the basement.
Karen yells out the kitchen window.
KAREN (O.S.)
Do I need to call someone?
JOE
It’s good. We’re all good!
WES
(stifling a laugh)
This is good?
JOE
See. Nothing is right.
WES
Reminds me of an old Jewish joke.
If a Jewish guy speaks and his wife
doesn’t hear him, is he still
wrong?
AI
JOE
Works for Italians, too. Same.
Joe unlocks a padlock on an exterior door and they descend
into the basement.
The backyard is empty, silent. With a gust of WIND the camera
drifts toward the open back door.
88 INT. COLLETTI'S BASEMENT - NIGHT 88
Joe pulls the chain on a naked bulb, blinding them both. Wes
taps the concrete wall.
WES
Solid. Make a helluva bomb shelter.
JOE
Who are you?
Joe pulls a hose out of a box, on the verge of laughter.
Genres:
["Drama","Thriller"]
Ratings
Scene
29 -
Nighttime Tensions
89 INT. COLLETTI KITCHEN - NIGHT 89
Karen checks a crystal glass for spots. What she doesn't see
is Manny right outside the window! She senses something,
turns quickly to the window.
11/28/25
KAREN'S POV. The backyard is quiet, no one there.
Karen hesitantly leans into the open doorway. Joe pops in
giving her a wicked jump!
KAREN
Joe!
JOE
What'd I do now?
KAREN
I thought someone was in the yard.
Wes and Joe slowly turn and listen, serious as a heart
attack. Nothing but the sound of the WIND in the trees.
WES
I’ll lock up. Get the water going.
90 EXT. COLLETTI HOUSE - NIGHT 90
Wes gives a second look around and padlocks the cellar door
AI
checking it with a rough yank. He peers into the night for a
long beat before retreating into the house.
DISSOLVE TO:
91 INT. COLLETTI'S BEDROOM - NIGHT 91
The tank is halfway filled. Joe is busy setting up the
filtration system.
WES
How much did the tank set you back?
JOE
All in, with fish, under 5K.
WES
Karen’s right, bad choices.
JOE
Thanks, for that.
WES
I have my own issues. I think
people are following me.
JOE
Black Chevy?
11/28/25
WES
You, too? No. White Buick like the
one the guy next door drives. I
need to tell you something.
(long pause)
He was on my tail outside. Spooked
me. I jumped out of my jeep, almost
shot him.
JOE
Tell me you didn’t hurt him.
WES
I think I hurt his feelings. Don’t
give me that look, I apologized.
Genres:
["Drama","Thriller"]
Ratings
Scene
30 -
Tension in the Colletti Living Room
92 INT. COLLETTI LIVING ROOM - NIGHT 92
Joe and Wes settle into a luxurious over-stuffed couch. There
is a long silence, neither man looking at the other.
JOE
It keeps replaying in my head.
AI
WES
Me, too.
JOE
Ron never fired a shot. Do you
think if he -
WES
Don’t go there.
JOE
Why him?
WES
Because the worst possible thing
always seems to happen to good
people when nuts with guns start
shooting. An honor student gets
caught in a gang crossfire. An
innocent woman hit by stray police
bullets watching a movie in bed.
Bunch of sport shooters eating a
chili burger get royally fucked
defended themselves. None of it
makes sense.
JOE
But, if he -
11/28/25
WES
Joe, there are five dead cops. They
all shot back. They’re all dead.
It is what it is, just tragic.
Joe reaches for his cell phone and dials.
JOE
(distracted)
You think David is being followed?
Karen carries in a tray of cookies and coffee.
KAREN
Followed?
WES
(covering)
You know Joe's imagination. We’re
all seeing things.
JOE
(into the cell phone)
David? Wes is here. Say, I know we
AI
are all really shook, but, Wes is
“seeing things”, maybe someone -?
Karen is frightened and Joe catches it.
JOE (CONT’D)
Whoa, David. Easy. Don't go
calling the police. Please. Call
you back.
KAREN
Joe, I had the creepiest feeling of
being watched, when you guys were
in the backyard.
Joe slowly puts down his cell phone, a murderous exchange of
glances between Wes and Joe.
KAREN (CONT’D)
C'mon, you guys are scaring me.
WES
Don’t want to say it.
JOE
Yeah, it is time to call the cops.
11/28/25
Genres:
["Drama","Thriller"]
Ratings
Scene
31 -
Tensions in the Interrogation Room
93 INT. POLICE INTERROGATION ROOM - DAY 93
Three of the four chairs arranged for the meeting are filled
by Joe, Wes and David. Bobcat is a no show. Sgt. Johnson is
on his cell phone.
SGT. JOHNSON
Mr. Coleman, please give me a call
when you can. Sorry you couldn’t
make the meeting. Thank you.
JOE
Not surprised, we just met the guy.
WES
True, but he should be here.
DAVID
So, let’s cut to the chase. Can you
catch these guys?
JOE
Can you protect us?
AI
SGT. JOHNSON
The good news, we have a much
better understanding of what we are
dealing with than we did before
shooting.
WES
That’s a big no and no.
SGT. JOHNSON
That’s not what I am saying.
JOE
Yes it is. I don’t see any
protection.
SGT. JOHNSON
You’re not supposed to and neither
is Billy. We have eyes on you.
WES
Join the club. We think we are
being followed.
SGT. JOHNSON
I know.
JOE
... you know.
11/28/25
WES
(boiling over)
I see any of those morons again, I
am going to kill them all!
SGT. JOHNSON
Is that what you came to tell me? A
word of real deal caution.
Shooting in self defense is one
thing. Killing someone because
they’re “spooking” you is going to
get you put in prison, or worse.
JOE
Thanks for the heads up on the
criminal justice system. We’re glad
everyone has “eyes on us”.
DAVID
Yes, very comforting. Thanks for
the update.
JOE
Okay, then. Gotta go to work.
AI
Really enjoying the horrified
stares from my co-workers.
Genres:
["Crime","Drama","Thriller"]
Ratings
Scene
32 -
Confrontation and Covert Threats
94 EXT. POLICE STATION - CONTINUOUS 94
Joe, Wes and David hustle out of the station and come to an
abrupt stop, grim faced. Lester waits on the sidewalk, no
camera, no crew.
LESTER ROBINSON
Gentlemen, we really didn’t get a
chance to talk -
JOE
Hey, you did enough talking for all
of us. Vigilante?
WES
Vigilante. You clueless bastard.
JOE
Let me handle this.
LESTER ROBINSON
Bob Coleman said he has no
relationship with the three, four
of you counting Sanders. You had
only just met. But, you three are a
regular “squad”.
11/28/25
JOE
Is there a question?
LESTER ROBINSON
Should we be OK with civilians
getting involved in an officer
involved shooting?
JOE
Should we be OK with getting gunned
down in a hamburger joint?
LESTER ROBINSON
Clearly not, but the police -
JOE
They were getting slaughtered.
DAVE
And now we are paying a very high
price for “getting involved.”
LESTER ROBINSON
I am sure Ron Sanders would agree.
AI
DAVE
OK. Done talking. Take a walk.
JOE
Have you ever been shot at?
LESTER ROBINSON
I am against civilians acting like
law enforcement. My brother was
accidentally killed in shootout,
ten years ago. Similar situation.
WES
Sorry. Trust me. If you had been
there, you would have shot too.
LESTER ROBINSON
See, there’s the thing. I would
never have been in a burger joint,
with that kind of firepower.
JOE
Fair enough.
WES
(mocking)
See, here’s the thing. If you had
been, you’d be dead. End of story.
11/28/25
DAVID
There it is. We’re not your story.
WES
Go chase the fuckers who are trying
to kill us. Get a quote from them.
JOE
Pretty sure they’re against
“civilians” with guns.
BINOCULAR POV: The three men head back to their cars as
Lester heads into the police station, clearly frustrated.
CLOSE ON BILLY BRIGGS. A nearly imperceptible “smile” at the
corner of his mouth. He puts down the binoculars and tethers
a tablet to a burner phone.
ON TABLET: Pictures and financial data on each of the
Civilian’s families downloads at high speed. With a couple of
keystrokes, Billy clears the screen loading the “SOCIAL
SECURITY ADMINISTRATION” website.
BILLY
AI
(like a broadcaster)
Vigilantes or heroes? You decide.
Billy rolls his shoulders as he prepares to hack.
BILLY (CONT’D)
(deadly serious)
I’m gonna say, victims.
DISSOLVE TO:
Genres:
["Crime","Drama","Thriller"]
Ratings
Scene
33 -
A Call to Action
95 INT. PUBLIC RELATIONS OFFICES - DAY 95
Joe is back at the conference table with Ned and the
Executive Team.
NED
Good work, everyone. We have the
message, let’s get it placed.
As the group quickly scatters, Ned intercepts Joe.
NED (CONT’D)
Great work, Joe.
JOE
Thanks.
11/28/25
NED
Proud of you for showing up.
JOE
I am not going to let what happened
wreck my life.
NED
Are the cops doing anything?
JOE
“They have eyes on us”.
NED
Really?
JOE
Yeah, that’s what I said.
Joe’s cell phone vibrates on the desk. Karen’s picture shows
on the screen.
JOE (CONT’D)
I better take this, Karen’s been
AI
pretty jumpy.
NED
I can imagine.
JOE
Hi, hon. Everything ok?
(pause)
Slow down, I can’t understand you.
Dead? Who’s dead?
Joe collapses back in his chair, defeated. Ned takes the cue
and quietly bows out.
JOE (CONT’D)
The bank did what?! Mine and
yours?! All of them?!
Joe, his anger rising, bounces back up on his feet.
JOE (CONT’D)
Tell David I am on the way.
Genres:
["Drama","Thriller"]
Ratings
Scene
34 -
Panic at the Bank
96 EXT. FIRST CENTURY BANK - DAY 96
Joe gives his Rover to the Valet. Wes pulls in right behind
Joe. Karen rushes out of the bank dressed in her scrubs. It
is clear she has been crying. David hustles out of the bank
right behind her.
11/28/25
KAREN
He’s going to kill us all! He’s
going to kill us all!
JOE
Karen, slow down. We don’t know for
sure what happened.
DAVID
Uh, actually, Joe, we do.
JOE
We do?
WES
Sure we do. You remember the
Homeland babe. The jerks we shot
are pros at fucking with banks.
DAVID
Not exactly. The bank didn’t -
KAREN
He killed us! He issued death
AI
certificates on all of us!
DAVID
Until I can undo do this, we are
all, in the eyes the United States
government - and banking - dead
people.
WES
Hacker bullshit!
DAVID
Which means, that all of your
assets, bank accounts, credit
cards, etcetera are frozen.
JOE
Have you heard from Bobcat?
DAVID
His wife left “a message” with my
office. Oy.
JOE
Not surprised. Killed? How does ...
DAVID
That Briggs guy hacked Social
Security and changed all of our
files to deceased.
11/28/25
WES
(scanning the roofline)
I hate to bring this up, but we are
all in one place, an easy target.
DAVID
He’s playing us. Putting us off
balance. Wes is right. We’re
sitting ducks.
KAREN
He’s going to kill us all, isn’t
he? That’s his point, isn’t it?!
JOE
Nobody is going to -
KAREN
Damn it, Joe. You and those
fucking guns!
She angrily pushes him away and heads back into the bank.
JOE
AI
Karen, please.
She brushes past a Customer exiting the bank. In all of the
excitement nobody notices that the Customer behind the Foster
Grants and Dodger cap is Billy Briggs! His face concealed by
his iPhone, we hear him surreptitiously take a BURST of
photos as he calmly strolls by.
BILLY
(smiling to himself)
They will be telling this story for
a very long time.
The sound of SHOTGUN FIRE and a
SMASH CUT TO:
Genres:
["Thriller","Drama"]
Ratings
Scene
35 -
Confronting Shadows
97 EXT. OAK TREE SKEET FIELD - NIGHT 97
A pair of clay pigeons turn to powder as they cross against
the night sky. Unlike trap, skeet comes at you from lots of
different directions... more like combat.
RANGE OFFICER
Rotate.
Wes and David rotate and prepare for the last two clays.
11/28/25
WES
Pull!
Wes misses both, call to the Range Officer.
WES (CONT’D)
Let me see that one again.
David steps to the line and beats Wes to the shot.
DAVID
Pull!
He misses the first but recovers and powders the second, clay
fragments rain down on them.
WES
Never seen you miss that shot.
DAVID
I hit one. Just a little rattled I
guess.
WES
AI
We’re all rattled. How’s Susan?
DAVID
With her Mother in Chicago. Can’t
say I blame her.
Joe slouches on a bench nursing a Styrofoam cup of coffee.
JOE
Blame her? Blame the fuck who’s
terrorizing us. My kid, is in
school for Chrissake. Can’t just
send him off with mom until they
catch this guy.
WES
C’mon, Joe. Let’s shoot.
JOE
Not feeling it.
WILLY (O.S.)
Then why are you here?
Wilhelmina shows up dressed as a replacement Range Officer.
The Range Officer in charge hands her the controls and walks
away. For a second the guys don’t recognize her.
DAVID
Wait a second.
11/28/25
WILLY
Keep it real. As you already know,
Briggs may be watching, waiting.
JOE
What are you doing here?
WILLY
I want to be straight with you. My
team thought we could protect you.
Not sure anymore.
WES
Big news there.
WILLY
Happy to hear some of your families
have left town.
JOE
So, why are you here?
Willy digs a distinctive fire engine red shell out of her
pocket and hands it to Joe.
AI
JOE (CONT’D)
Deer slug?
WES
(disbelief)
That’s what you can do?
DAVID
Give us ammo? Jesus Christ ...
WILLY
(to Joe)
Give you a tactical edge. Draw
down on that stump.
Joe pulls his Purdey out of its case and locks the shell in
the breach. He levels his Purdey and squeezes the trigger.
WHANNNG! His gentlemen’s gun spits a thunderous crude shot.
The stump explodes as if hit by a bazooka!
All shooting stops on the range. Quiet settles into the
canyon. Everyone momentarily suspended in time.
WES
Have you met the, uh, woman who
owns this place?
11/28/25
WILLY
Annie, yeah, she said, “tell them
to stand their ground.”
JOE
What am I missing here?
WILLY
We thought Billy might just flee,
but it is now pretty clear there’s
something else going on here. The
media coverage seems to be
inflaming him.
WES
Right. Can’t wait to hear his
“manifesto”.
DAVE
Getting heard, isn’t that the
point, with all these guys?
WILLY
Your comment about being sorry that
AI
you didn’t kill all of them, don’t
think that helped any.
WES
Just tell me where he is.
They form up and resume their round.
DAVID
Easy for you, Wes. You can plead
insanity, and win.
JOE
This is no joke, David! This guy
has weapons, men and resources.
There are only three of us. Bobcat
was the only one of us with hunting
skills. We’re just sport shooters.
WES
Just give me an address.
WILLY
If I had one, we wouldn’t be here.
JOE
Let me understand this. We got into
this mess because the police
couldn’t handle it.
(MORE)
11/28/25
JOE (CONT’D)
Now, Homeland is saying you can’t
handle it either. Wow.
WILLY
I saw the cell phone footage of the
shoot out.
DAVID
You and 23 million other people.
WILLY
I saw you beat this guy.
JOE
“Beat” him? They killed our friend!
WES
And, as you can see, there are only
three of us.
DAVID
Ah, I see.
(to Willy)
You can’t find him, so, you’re
AI
waiting for him to find us.
WILLY
No, not waiting. If he does attack
you, I want to make sure you put
him in the ground, not the other
way around. In the alternative I
have come to offer you protective
custody, give you new identities
and move you to another state.
That’s the other reason I am here.
Stunned silence as the men digest that.
DAVID
Our families already ran. You want
us to run, too?
WILLY
Or we can finish this round and do
the best we can with what we’re
pretty sure is coming. Your call.
Genres:
["Action","Thriller","Drama"]
Ratings
Scene
36 -
A Shocking Discovery
98 EXT. COLLETTI HOUSE - LATER THAT NIGHT 98
Only a distant dog BARK disturbs the suburban stillness. A
gardener’s pick up truck cruises slowly onto the cul-de-sac.
11/28/25
Headlights dowse as the truck glides toward Joe’s house. Two
MEN lift something heavy from the bed of the truck.
99 INT. COLLETTI'S BEDROOM - CONTINUOUS 99
A muffled THUMP and Joe snaps wide awake.
Without disturbing Karen he pads to the window to
investigate, peering intently into the night.
100 EXT. COLLETTI HOUSE - NIGHT 100
JOE'S POV. A slow scan of the cul-de-sac reveals nothing.
101 INT. COLLETTI'S BEDROOM - NIGHT 101
Joe slides back into bed. Karen puts her arm around him.
KAREN
Joe, are you okay?
AI
JOE
Just jumpy. Hearing things. Go
back to sleep.
Joe checks the clock on his nightstand "4:43". The fish tank
bubbles placidly nearby, ready for the fish. Joe smiles,
exhales deeply and closes his eyes to rest.
SMASH CUT TO:
102 INT. COLLETTI'S BEDROOM - DAYBREAK 102
Jimmy bursts through the door! Joe and Karen wake with jolt.
JIMMY
There's someone in the front yard!
Joe bolts out of bed, stumbling toward the door.
KAREN
Joe. Joe! Be careful!
103 EXT. COLLETTI HOUSE - DAYBREAK 103
Joe hurtles across the lawn robe flying, he slows as he
approaches the sidewalk. Jimmy a beat behind.
11/28/25
JOE
Stop! Back to the house! Now!
The grass and cement around two bodies is stained burgundy.
Joe turns over the first body to give aid, and finds it’s the
lifeless corpse of Detective Espinoza!
JOE’S POV. Pinned to Espinoza’s lapel, a photograph of Joe
and Karen arguing at the bank; Wes and David clearly visible
looking on in the background. The picture drips with
Espinoza’s blood.
Joe falls backward, a convulsive tremor rolls through his
body as he crabs away terrified.
DISSOLVE TO:
Genres:
["Thriller","Drama","Mystery"]
Ratings
Scene
37 -
Tensions Rise at the Colletti House
EXT. COLLETTI HOUSE - DAY
The coroner’s van parks in front of Joe’s house as Sgt.
Johnson crouches next to the covered bodies. Kelly hustles to
join him. Homeland Security vehicles are in the mix of Police
and First Responders.
AI
KELLY
Our surveillance van is exactly
where it was supposed to be.
SGT. JOHNSON
(darkly)
I know.
KELLY
I’ll get some tape up.
Joe approaches still in his bathrobe.
JOE
Where were your “eyes on us”, your
patrols?!
Johnson walks Joe off toward his garage.
SGT. JOHNSON
Detective Espinoza and the
surveillance specialist dead on the
grass with him were the eyes.
JOE
What? They were “covering” us?
11/28/25
SGT. JOHNSON
Until you called, our surveillance
team was on it.
JOE
No way. Those bodies were dropped
on my lawn around 4:30. I am 100%
on that. I heard it. When I called
you it was already light!
SGT. JOHNSON
It’s impossible... we have -
JOE
It’s a fact, they were dead hours
ago and you didn’t even know it!
Here's another fact, me and my
family are next! Did you see those
pictures. He was at the bank, for
Chrissake!
SGT. JOHNSON
We are going to increase -
AI
JOE
(cutting him off)
I can and will protect myself!
Whatever it takes. Defensive,
offensive -
Joe’s attention is caught as a News Van roll to a stop.
Lester Robinsonsteps out.
JOE (CONT’D)
Oh, shit. Not again.
Karen rushes out the front door to drag Joe inside. HAMMERING
stops them in their tracks.
JOE'S POV. Barbara and Jack Golden hastily erect a "FOR SALE
BY OWNER" sign on their front lawn.
Karen drags Joe back toward the house. Joe breaks loose to
confront Lester.
LESTER ROBINSON
Trouble seems to find you, Mr.
Colletti.
JOE
Yeah, it does, Lester - here you
are. He kills us, they will forget
our names in a nanosecond.
(MORE)
11/28/25
JOE (CONT’D)
But, the trouble is, you will make
sure this maniac gets the media
attention he’s looking for.
LESTER ROBINSON
Just reporting on the consequences
of being a “good samaritan”.
SGT. JOHNSON
Ok, man, that’s enough!
JOE
That’s your story?! No good deed
goes unpunished?
(Joe shakes his head,
defeated)
No comment.
Joe retreats to the house and slams the door.
104 INT. COLLETTI HOUSE - CONTINUOUS 104
Jimmy has seen everything. Without comment he runs upstairs.
AI
JOE
You couldn’t keep him in the house?
KAREN
You brought us into this!
JOE
No! Billy Briggs brought us into
this! He’s the bad guy, not me.
His face turns to stone as he walks toward the den.
KAREN
Where are you going?
Genres:
["Thriller","Drama"]
Ratings
Scene
38 -
Desperate Measures
105 INT. COLLETTI’S DEN - LATER 105
Joe turns the lock on the large gun safe, Karen leans in.
KAREN
Oh, God. I am going to look after
Jimmy.
JOE
No, you are going to pay close
attention to what I am going to
tell you.
11/28/25
Joe pulls out a Smith and Wesson 5 shot revolver fitted with
a laser grip. He points the gun away from her and activates
the crimson beam, a red dot on the wall.
KAREN
Haven’t you had enough of guns?!
JOE
Karen, I don’t care how you feel
about guns right now. I need you
to care about how we are going to
survive. I taught you how to use
this thing. Confirm to me that you
will use it if you have to!
KAREN
No, I can’t.
JOE
Karen, “can’t” is not an option.
Can’t will get us killed.
KAREN
Who are these people?
AI
Karen starts to sob. Joe shelters her.
JOE
Okay - okay. I need to know,
confirm to me, that if you have to,
you will use this.
Karen reluctantly nods.
JOE (CONT’D)
Ok. Go look after Jimmy. I have to
do some “things” in the garage.
106 INT. COLLETTI GARAGE - DAY 106
Joe places the Remington 1100 on his table saw, scatters
several circular blades on the counter top.
JOE
Threaten my family, you mother-
fucker.
He locks in a titanium carbide blade and dons his protective
glasses. The saw winds up to speed.
JOE (CONT’D)
You’ve got something to say to me?
I’ve got five things to say to you.
11/28/25
Joe pumps five shells out of the 1100 onto the floor. He
checks the breech and lays the shotgun on the table saw. A
shower of searing orange sparks and 12 inches of steel barrel
bounces off the floor.
Genres:
["Action","Thriller"]
Ratings
Scene
39 -
Tension at the Motel
107 INT. BOYLE HEIGHTS MOTEL 6 - DAY 107
Mikey watches cartoons in a seedy hotel room while Manny
cleans his fingernails with a large hunting knife. A knock
at the door brings them to their feet, tense.
MANNY
Yeah?
DELIVERY BOY (O.S.)
Pizza delivery.
MIKEY
Did you?
MANNY
No.
AI
Manny steps behind the door, knife at the ready and nods to
Mikey to open the door.
108 EXT. BOYLE HIEGHTS MOTEL 6 108
A uniformed PIZZA DELIVERY BOY hands him the box.
MIKEY
You have the right place?
DELIVERY BOY
Yup. Your friend even wrote a
message for you on the box.
ON PIZZA BOX. A simple message “SEE YOU AT 8:30”
MIKEY
Thanks, kid.
He takes the box and shuts the door. Manny grabs the note,
murderous fire in his eyes.
MANNY
I’ve been waitin’ for this.
11/28/25
109 INT. POLICE COMMAND CENTER - DAY 109
Wilhelmina and Sgt. Johnson review the monitor films from the
surveillance van. Espinoza and the Surveillance Specialist
with him are overtaken with such ferocious speed it makes
Johnson step back from the screen.
SGT. JOHNSON
Jesus ...
WILLY
I have to admit, this is out of the
box for this crew. He’s getting
more dangerous.
A YOUNG DETECTIVE leans into the room.
DETECTIVE
We have movement at the motel.
WILLY
Where are those two heading?
DETECTIVE
AI
The high desert.
WILLY
Out of town?
SGT. JOHNSON
Maybe Billy decided to run.
WILLY
After what we just saw? I don’t
think so.
SGT. JOHNSON
If Briggs gets to those guys, they
are as good as dead!
WILLY
You know, almost any civilian,
caught up in a mess like this,
yeah, you’d be right.
Willy steps close to police stills from the Tommy’s shoot out
posted on the wall, utter carnage.
WILLY (CONT’D)
But, not these guys. Not the way
they shoot.
11/28/25
SGT. JOHNSON
You just saw his men overpower an
armed surveillance team!
WILLY
They caught you and your men by
surprise - and poorly armed. Let
your men follow those two. If they
lead them to Briggs, great. Our
move is to stay put.
Genres:
["Crime","Thriller","Drama"]
Ratings
Scene
40 -
Incitement in the Desert
110 INT. MOTORHOME - DUSK 110
Billy Briggs tightens the Velcro straps of his body armor.
ON LAPTOP: Cell phone footage of Joe and his colleagues from
inside Tommy’s Burgers.
JOE
(on screen)
Shoot to kill. Hit them with
everything we’ve got! Everything!
AI
Billy freezes the frame and draws a deep breath, obsessed.
BILLY
Good plan, Joe. Specific. Direct
and exactly what I am going to do.
Billy has his cell phone cabled to the laptop. A grid of
cell towers on a map appears. Four towers light up. Billy
types the text message.
ON SCREEN: MY HOUSE. TONIGHT. 8:30 SHARP. BACK DOOR. NO
CALLS. NO COPS. BRING GUNS. EXPLAIN WHEN WE MEET. JOE
He hits the send button and opens the motorhome door.
As Billy steps out of the coach we see that it is wired with
gas cans, explosives and detonators.
111 EXT. DESERT HIDEAWAY/29 PALMS - NIGHT 111
Billy walks into a semicircle of the remaining Anarchists.
Chico, would appear to be the new Alpha among Amir, Slick,
Chen, Tattoo, Skull, Red, Dutch, Boris and Klaus.
BILLY
Is the house ready to go?
CHICO
Si amigo, and so are we.
11/28/25
Billy heaves a duffle bag on the ground.
BILLY
Your tickets to the promised land.
A half million in cash.
A insane roar of approval as they get busy grabbing their
shares and prepare for the slaughter.
BILLY (CONT’D)
Prisons were our homes, but now
their homes are prisons!
Billy spews his manifesto.
BILLY (CONT’D)
They have their courts.
Billy raises an assault rifle over his head.
BILLY (CONT’D)
We have our guns!
The raucous Anarchists raise their guns overhead! Billy holds
AI
up his cell phone with Joe’s face frozen on it.
BILLY (CONT’D)
Some say they are heroes.
ALL
Kill them!
BILLY
Some say they are vigilantes,
anarchists, even terrorists.
Angry insults from the gang. Billy silences them.
BILLY (CONT’D)
I say in one hour they will all be
dead. And everyone will know the
price of resistance.
112 INT. BILLY’S MOTORHOME - NIGHT 112
Billy collects his passports. At the door he pauses and taps
a switch. A RED LIGHT blinks atop an improvised bomb.
BILLY
(haunted eyes)
Yes, you will remember me.
11/28/25
113 EXT. DESERT HIDEAWAY/29 PALMS - NIGHT 113
Billy gently closes the door behind him and gets into the
passenger seat of an old Chevy Suburban, Chico at the wheel.
In seconds the area is cleared and silent, showing no
evidence of the devastation that awaits.
Genres:
["Action","Thriller","Drama"]
Ratings
Scene
41 -
Tension at the Dinner Table
114 INT. COLLETTI KITCHEN - NIGHT 114
Dinner in silence between Karen and Joe. Joe in his business
suit, Karen in her scrubs. Jimmy in headphones, watching
anime. Joe breaks the ice.
JOE
C’mon. The cops are right outside.
KAREN
C’mon? They can’t seem to do
anything to stop this guy.
JOE
He did his damage, maybe he’ll just
AI
run for it.
KAREN
The guy who rubbed up against us at
the bank? The one who already
killed us, our family and all of
our friends? Run for it?
JOE
It can’t happen a second time. The
Feds have called in the troops, I
mean everyone.
KAREN
With that guy on the loose, will we
ever be really safe?
JOE
Karen, is anyone, really safe?
KAREN
Apparently not. Isn’t that what
they want, to ruin it for everyone?
JOE
Yes. What happened at Tommy’s
wasn’t just an attack on the cops,
it’s an attack on all of us.
11/28/25
KAREN
(softening)
I looked at what people are saying
on the internet.
JOE
(a tense whisper, eyes on
Jimmy)
I am not a killer, or a hero or any
other bullshit they are saying
about me.
KAREN
As scared and upset as I am ... I
am glad you stopped those guys.
A tear runs down Karen’s cheek as she excuses herself from
the table. Jimmy pulls off his headphone.
JIMMY
Is Mom okay?
JOE
For sure. Go keep mommy company. I
AI
am going outside to talk to the
officers.
115 EXT. COLLETTI HOUSE - NIGHT 115
A black and white is parked right in front of Joe’s house.
Two battled hardened officers POLASKI and SANTINI are on
watch in flak vests. Polaski rolls down his window.
JOE
Evening, officers.
POLASKI
You need something?
JOE
The wife, she’s a little nervous.
SANTINI
Can’t really blame her.
JOE
Guess not.
A troubled look as Joe scans the cul-de-sac.
SANTINI
If they come, we’re ready.
11/28/25
The Officers nod at the assault rifles close at hand. Joe
taps the roof of the squad car.
JOE
Be safe. Thank you.
116 INT. COLLETTI'S BEDROOM - SUNSET 116
Karen tidies up the room. Jimmy sits entranced by the new
Neon Tetras, Angel Fish and Cherry Barbs circling in the
tank. She pauses, savoring the moment of peace and normalcy
with Jimmy. Joe enters the room, tentatively, a slight smile.
JIMMY
What’s the red one called?
JOE
That’s a cherry barb.
JIMMY
He’s my favorite.
KAREN
AI
You boys have fun. Joe, I need a
couple of minutes. Okay?
Joe follows her to the door.
JOE
(quietly)
The cops have nothing to report.
Frankly, I am a little relieved.
They are really armed to the teeth.
KAREN
Good to know.
JOE
You okay?
KAREN
Watching Jimmy get lost in the
fish, couldn’t come at a better
time. I’ll be okay.
Genres:
["Drama","Thriller"]
Ratings
Scene
42 -
Tension at the Colletti House
117 EXT. COLLETTI HOME/INT. DAVID’S CAR - NIGHT 117
David stops his car 50 yards down the road from Joe’s house,
clenched jaw, suspicious eyes. He sees the police car. It’s
quiet, very quiet.
He checks his text message again and looks at his watch.
11/28/25
A shotgun barrel taps on the outside of his window. David
whips out his .45 and almost fires a shot into Wes’s face.
DAVID
Idiot! What is wrong with you?!
He rolls the window down. Wes holds up his phone.
WES
Something’s not right, here.
DAVID
No shit.
WES
Whatever it is, this time I think
we’re safer together.
DAVID
For once we agree. Back door.
David and Wes, shotguns awkwardly concealed, scurry toward
Joe’s house via the Golden’s backyard.
AI
118 INT. POLICE CAR - NIGHT 118
Officers Polaski and Santini both watch their side view
mirrors.
POLASKI
For sure that was David Kleinman.
SANTINI
Right. I made Wes Riley, too.
POLASKI
Let’s call it in.
Genres:
["Thriller","Crime","Drama"]
Ratings
Scene
43 -
Tension in the Shadows
119 EXT. COLLETTI’S BACKYARD 119
Wes and David hustle to the back door and lightly tap.
120 INT. COLLETTI’S BEDROOM - NIGHT 120
Joe is on his feet in a flash. Karen rushes to the doorway.
Jimmy is lost in the wonderment of the fish tank.
KAREN
Joe?
11/28/25
JOE
Easy, easy.
KAREN
What do we do?
JOE
I go take a look see. Stay here and
keep an eye on the cops. Shout out
if they make any move.
KAREN
Should we call them, get them?
JOE
Let’s not light up the whole
neighborhood ... again, just yet.
KAREN
Yeah, yeah. Ok.
JOE
Jimmy, be a good scout. Stay with
Mommy. Keep an eye on the police.
AI
JIMMY
Okay.
As Joe steps out of the room he brings out the laser-sighted
.38 Smith and Wesson concealed in his waistband.
121 INT. COLLETTI’S KITCHEN/BACK DOOR - NIGHT 121
The TAPPING although light, is persistent. Joe has the
pistol at the ready as he slides along the wall to the door,
the crimson laser beam tracing along the ceiling. Joe steals
a glance out the window.
122 EXT. COLLETTI HOUSE BACKYARD - NIGHT 122
JOE’S POV: David and Wes, shotguns in hand hug the building.
Genres:
["Thriller","Drama"]
Ratings
Scene
44 -
Tension in the Kitchen
123 INT. COLLETI’S KITCHEN - NIGHT 123
Joe puts the pistol in his waistband and opens the door.
JOE
What the hell?
Wes hands him his phone so he can see the text.
11/28/25
WES
They are coming for us.
DAVID
Right after I got this, my cell
went out of service.
WES
Me, too.
JOE
What ... ?
Joe checks his cell and then tries the cordless phone, dead.
JOE (CONT’D)
This fuckin’ guy!
WES
Why tell us to bring our guns?
DAVID
To make it real.
AI
JOE
No, I think to make a statement. He
wants to out gun us.
DAVID
The cops are right outside.
JOE
Did they see you?
WES
Not sure. Maybe so.
JOE
For sure they called it in. Karen
is upstairs watching the street
with Jimmy.
Genres:
["Thriller","Drama"]
Ratings
Scene
45 -
Desperate Escape
124 INT. WHITE BUICK/EXT. DESERT HIGHWAY - NIGHT 124
Manny checks the rearview mirror, then the clock in the dash.
MANNY
8:25
MIKEY
Time to run.
11/28/25
They pull pistols from the glove compartment and lay them on
the seat between them and floor it!
125 EXT. DESERT HIGHWAY - NIGHT 125
The Buick flies down the highway, recklessly weaving at high
speed through the evening traffic.
126 INT. UNMARKED POLICE CAR - NIGHT 126
FOUR DETECTIVES in plain clothes following at a distance
increase speed to keep up the pursuit.
DETECTIVE 1
(into his radio)
They’re running. Close in!
SGT. JOHNSON (O.S.)
Proceed with extreme caution. We
have them from the air. Repeat -
DETECTIVE 1
AI
(into radio)
They are pulling onto a dirt road.
Deserted home. We have them!
127 EXT. DESERT HIDEAWAY/29 PALMS - CONTINUOUS 127
The Buick raises a cloud of dust racing down the dirt road.
Law enforcement vehicles on the ground and in the air appear
from all directions.
Genres:
["Action","Thriller","Crime"]
Ratings
Scene
46 -
The Deadly Trap
128 INT. POLICE INTERROGATION ROOM - CONTINUOUS 128
Sgt. Johnson and Willy huddle over the radio. Kelly opens the
door and leans in urgently trying to catch their attention.
KELLY
Patrol 4 is on the horn. There is
some movement at Colletti’s.
SGT. JOHNSON
What kind of movement?
KELLY
They think Kleinman and Riley just
showed up at his house. Carrying.
SGT. JOHNSON
Oh, shit ...
11/28/25
WILLY
At Joe’s? Stop the pursuit! It’s a
trap!
SGT. JOHNSON
(into microphone)
ABORT PURSUIT! PULL BACK!
129 EXT. DESERT HIDEAWAY/29 PALMS - CONTINUOUS 129
Manny and Mikey race by the wired motorhome skidding to a
stop in front of the house. They run in the front door and
seconds later run out the back door of the house as a dozen
Sheriff’s and Homeland Security cars rocket onto the scene.
Manny and Mikey watch as the cars close in. Manny raises a
remote detonator over his head.
MANNY
One solution.
MIKEY
Revolution.
AI
The night sky lights up in a colossal fire ball that destroys
the motorhome, house and everyone within a 100 yards.
130 INT. POLICE COMMAND CENTER - NIGHT 130
Sgt. Johnson and Willy hear the explosion on the radio. There
is a momentary silence, then pandemonium. Half a dozen
Dispatchers urgently call for rescue vehicles.
SGT. JOHNSON
Unit 4! Take up defensive fire
positions. Now! Now!
Wilhelmina’s Aides are on her instantly.
WILLY
Dispatch our remaining units to
Griffith Park and Los Feliz. Back
up Unit 4. Move! Move!
Her Aides withdraw crisply delivering orders into their
radios. Willy and Sgt. Johnson grab kevlar vests as they race
out of the command center.
11/28/25
Genres:
["Crime","Thriller","Drama"]
Ratings
Scene
47 -
Night of Terror
131 EXT. COLLETTI HOME - NIGHT 131
Polaski and Santini kneel, shielded by their patrol car.
Their assault rifles steadied over the trunk and hood.
SGT. JOHNSON (O.S.)
Unit 4, check in!
POLAKSI
In position.
SANTINI
Locked and loaded.
SGT. JOHNSON (O.S.)
What is your situation?
The Officers are simultaneously hit by two expertly placed
rifle shots! There is no report, only streaking lead smashing
through their heads. Horrifying red spray. They collapse dead
before their fingers touch their triggers.
132 EXT. POLICE STATION - NIGHT 132
AI
Willy and Sgt. Johnson run for an unmarked car.
SGT. JOHNSON
Unit 4?
Silence.
SGT. JOHNSON (CONT’D)
Unit 4? Unit 4!
133 INT. COLLETTI BEDROOM - NIGHT 133
CLOSE ON JIMMY. He has seen the hit! Joe’s hand covers his
son’s mouth and eyes as he turns him from the window.
JOE
I am here, son. Come away from the
window.
KAREN
Oh ... my ... God ...
JOE
(firmly)
Karen. Take hold of Jimmy.
Wes and David step into the room.
11/28/25
KAREN
What ... what?
JOE
I have to get you and Jimmy out of
the house.
KAREN
This can’t be happening ...
JOE
You have to get out of here!
Genres:
["Thriller","Action","Drama"]
Ratings
Scene
48 -
Imminent Assault
134 EXT. COLLETTI HOUSE - NIGHT 134
Billy Briggs and his caravan pull to the curb. The inert
bodies of the two Officers motionless in the still night.
135 INT. CHEVY SUBURBAN - NIGHT 135
Chico clutches the wheel, eyes scanning. Billy dumps a
silenced sniper rifle into the back seat and pops open a
AI
brushed chrome Halliburton in his lap. Custom foam surrounds
two titanium Uzi's.
BILLY
Chico, leave the motor running. I
have a plane to catch.
136 EXT. COLLETTI HOUSE - NIGHT 136
Billy is the first one out of the car.
The heavily armed Gang emerges from their cars and makes
ready the assault on the house. Billy checks his watch.
BILLY
Tattoo, Skull, Red. Back door.
Flush’m out.
137 INT. COLLETTI’S UPSTAIRS HALLWAY - NIGHT 137
Karen presses her back against the wall sheltering Jimmy. Joe
has the laser sighted pistol at the ready.
JOE
Karen, get to the Golden’s and
hide.
(to Wes and David)
Let’s put an end to this.
11/28/25
They both nod gravely.
JOE (CONT’D)
Karen, no matter what happens keep
running until you guys are safe.
She nods, holding back tears. The three of them run for the
stairs.
INT. COLLETTI BEDROOM - NIGHT
Wes and David chamber rounds in their shotguns and return to
their places at the second story bedroom window.
Genres:
["Action","Thriller"]
Ratings
Scene
49 -
Desperate Escape
138 EXT. COLLETTI HOUSE BACKYARD - NIGHT 138
Tattoo, Skull and Red set-up to kick down the back door. At
the edge of the woods a glint of metal.
Bobcat, dressed in hunter camouflage breaks cover, shoulders
his double barrel and blasts Skull and Red into the air!
AI
Tattoo, winged by the shot, recovers and throws his massive,
muscular body against the door, smashing it to pieces.
139 INT. COLLETTI’S KITCHEN/BACK DOOR - CONTINUOUS 139
Joe is slammed into the wall as Tattoo crashes through the
door. Joe’s .38 skitters across the floor, coming to rest
where Karen and Jimmy cower.
Joe scrambles to coil his arms around the thug’s neck,
squeezing with everything he’s got to put him down.
But, it’s no match. Tattoo, wounded and battered, whips Joe
around like a rag doll trying to shake him off.
Tattoo reverses Joe, his massive arms now wrapped around
Joe’s neck, squeezing the life out of him.
KAREN (O.S.)
Get off him! GET OFF OF HIM!
The crimson dot on Tattoo’s temple heralds the end of the
fight.
Blood splatters Joe as Tattoo slumps out of frame, revealing
Karen holding the smoking laser sighted .38.
Bobcat rushes in the door. Karen swings the gun at him, the
laser trace coming to a shaky stop on his forehead.
11/28/25
JOE
No! Karen, No!
Adrenaline blasting through her veins, she drops the gun and
falls to her knees sobbing.
BOBCAT
Bunch of them in front of the
house. We have to get out of here!
JOE
Where did you come from?
BOBCAT
He thinks he’s hunting us, I’ve
been hunting him. He’s wily, but
we’ll get’m.
Joe gives Bobcat a fierce hug!
JOE
Karen, take the gun and get to the
Goldens! Can you do that?
AI
She collects herself and nods.
JOE (CONT’D)
Karen, go, go!
She flees out the back door with Jimmy, scrambling for cover
in the woods on a beeline to the Golden’s.
140 EXT. COLLETTI HOUSE - CONTINUOUS 140
Chico, Slick and Chen have taken cover with Billy in response
to the gunfire.
BILLY
Do not let them out of the house!
Genres:
["Action","Thriller","Drama"]
Ratings
Scene
50 -
Desperate Defense
141 INT. COLLETTI KITCHEN - CONTINUOUS 141
Bobcat covers Karen and Jimmy as they race to the Golden’s.
BOBCAT
Joe, let’s run!
JOE
David and Wes are upstairs! We
have to get them!
11/28/25
142 INT. COLLETTI’S BEDROOM - CONTINUOUS 142
David and Wes watch as Billy emerges rallying the troops.
Bobcat and Joe race in carrying their shotguns. Joe has the
sawed off in hand, Bobcat right behind.
DAVID
Joey, are you hit?
JOE
Bobcat killed two of them.
DAVID WES
Thank God, you’re here! Two’s a start!
JOE
Three. One got inside. Hammered me.
Karen shot him in the head.
WES
Oh, God...
Joe grabs his shooting vest from the closet and jams a
handful of shells and the distinctive red deer slugs in each
AI
pocket, tosses some to Bobcat.
BOBCAT
We have to get out of the house,
draw them into the woods.
David steals a peek out the window.
DAVID
Too late for that.
Genres:
["Thriller","Action","Drama"]
Ratings
Scene
51 -
Chaos at the Collettis House
143 EXT. COLLETTI HOUSE BACKYARD - CONTINUOUS 143
Slick and Chen slide up the side of the house, unslinging
their Uzi's, they roll around the corner into the backyard.
Slick'S POV. Red and Skull lie dead outside the door.
Slick swings his Uzi toward the woods, as Rasta rolls in for
reinforcements.
Slick’s POV. Nothing but the Griffith Observatory and the
Hollywood sign up the hill.
Chen and Rasta see the carnage.
CHEN
I kill dem myself!
11/28/25
Slick grabs him by the arm.
SLICK
No, we drive them out to Billy.
That’s our orders.
Slick and Chen move like cats in the back door.
RASTA
I’ll do the stairs, mon.
144 INT. COLLETTI’S BEDROOM/EXT. COLLETTI HOME - CONTINUOUS 144
JOE’S POV. Billy gathers Dutch, Boris, Klaus, Amir and Butch,
an arsenal of automatic weapons.
In the distance Lester’s news van approaches.
JOE
What the hell is he doing here?
WES
That crazy bastard called them! He
AI
wants everyone to see!
JOE
How many rounds between us?
WES
Five.
DAVID
Five and seven in the pistol.
BOBCAT
Three, used two already.
JOE
I have five, plus three deer slugs.
Joe peeks out the window.
JOE (CONT’D)
Bobcat’s right. We have to get to
the woods. Survive the next five
minutes. Save the ammo if we can.
145 INT. COLLETTI STAIRCASE - CONTINUOUS 145
Rasta slithers on to the second floor landing.
11/28/25
146 INT. DOWNSTAIRS HALLWAY - CONTINUOUS 146
Slick and Chen cautiously sweep room to room.
147 INT. COLLETTI’S UPSTAIRS HALLWAY - CONTINUOUS 147
Rasta silently inches toward Joe's bedroom. Just in front of
Joe’s bedroom door, he clicks the safety to red “fire” mode.
At the end of the hall Joe’s cell phone chimes. Rasta spins,
Uzi blazing fire, shattering the phone taped to the wall.
Wes and David leap out of the bedroom door behind Rasta.
David sacks his head with a pillowcase as Wes whips an
electrical extension cord around Rasta’s neck!
They drag Rasta backward, stumbling into the bedroom, his
machine gun fire pulverizes the ceiling.
148 INT. NEWSVAN/EXT. COLLETTI HOUSE - CONTINUOUS 148
Lester and his CAMERAMAN cautiously roll to a stop.
AI
LESTER ROBINSON
Whoa, whoa, what the -
The sound of GUNFIRE can be heard and MUZZLE FLASHES can be
seen in the second story windows drawing their attention.
CAMERAMAN
Look, there! Those cops are dead!
Genres:
["Action","Thriller","Drama"]
Ratings
Scene
52 -
Chaos Unleashed
149 INT. COLLETTI DEN - CONTINUOUS 149
Slick and Chen run left, right, left, their machine pistols
trained on the ceiling, tracking the SCUFFLING above them.
SLICK CHEN
Rasta! Rasta! Rasta! Rasta!
150 INT. COLLETTI'S BEDROOM 150
Wes and David run Rasta backwards through the bedroom. Joe
and Bobcat, backs to the wall, fling open the french doors.
151 INT. NEWSVAN/EXT. COLLETTI HOUSE - CONTINUOUS 151
Lester sees Rasta soar out the window. His machine pistol
spitting bullets in every direction.
11/28/25
Five rounds smash holes in the windshield of the news van
sending both men to the floor boards cowering.
Rasta crashes head first onto the pavement, ending his life,
silencing his gun. Lester chances a look.
LESTER ROBINSON POV. Billy and his band of Anarchists have
hit the deck in the middle of the street.
LESTER ROBINSON
(horrified)
How do you stop this?!
CAMERAMAN
You shoot back - or run!
The Cameraman’s floors the van in reverse.
152 EXT. COLLETTI HOUSE - CONTINUOUS 152
Billy leaps to his feet as the van retreats.
BILLY
AI
No, no, no, no, NO!
Amir scurries toward him, urgency in his eyes and voice.
AMIR
Let Chen and Slick finish this!
Billy pushes him aside and moves toward the front door.
153 INT. COLLETTI FOYER/EXT. COLLETTI HOUSE - CONTINUOUS 153
Slick and Chen race down the hall to the front door and fling
it open!
SLICK’S POV. Billy and his killers level their weapons. Rasta
is wreckage, a river of red soaking the pillowcase and dread
locks that were Rasta’s head.
BILLY
Hold fire!
The killers put up their weapons. Slick’s eyes roll toward
the ceiling.
BILLY (CONT’D)
Cover the back door! Now!
11/28/25
A guttural animal roar explodes from Slick’s throat as fire
spits from his Uzi tearing the ceiling to pieces. The
murderous gang shelters as debris cascades everywhere.
Genres:
["Action","Thriller","Drama"]
Ratings
Scene
53 -
Chaos and Escape
154 INT. COLLETTI'S BEDROOM - CONTINUOUS 154
Joe, Wes, Bobcat and David hug the walls, a hurricane of lead
tears the room to shreds from the floor up.
David collapses, clutching his thigh! Bobcat pulls him off
the floor, pinning him to the wall, as the floorboards where
he fell turn to splinters!
The toilet explodes, lamps disintegrate, ceiling lights pop
as the fire crisscrosses the room.
Now the fish tank shatters, dozens of rounds smashing it to
pieces. The fish, gravel, coral, water pour onto the floor.
The Cherry Barb slithers across the floor coming to rest just
in front of Joe’s feet. His eyes blaze with rage as he braves
the hail of bullets and streaks out of the bedroom door.
AI
155 INT. COLLETTI LIVING ROOM - CONTINUOUS 155
Gallons of water mixed with pulverized plaster shower down on
Slick and Chen as they unload everything into the ceiling.
The eerie silence that falls as the last shots are fired is
punctuated by the distinctive sound of a shotgun racking.
Slick and Chen wipe the debris from their faces just in time
to see Joe fire from the hip.
156 EXT. COLLETTI HOUSE - CONTINUOUS 156
Slick and Chen land in a bloody heap in the doorway not far
from Rasta.
EXT. COLLETTI'S BACKYARD - CONTINUOUS
The four Civilians race to exit the back door.
EXT. COLLETTI HOUSE - CONTINUOUS
The killers in hot pursuit with Butch and Klaus leading the
charge into the woods.
11/28/25
BILLY
Move! Move! Don’t let them get into
the woods.
AMIR
Billy!
BILLY
Shut up! In two minutes this is
over!
157 EXT. GRIFFITH PARK WOODS - NIGHT 157
Ground fog swirls in the moonlight as Joe and Wes lead the
charge into the woods. Bobcat helps David navigate the steep
terrain and thick brush.
JOE
Every cop in the United States has
to be on the way.
The distant sound of sirens and police choppers confirm.
AI
BOBCAT
Safer if we split up.
DAVID
Yeah, let’s not make it easy.
WES
The cops will be on the roads, take
the trails that parallel.
JOE
Once the cops show, we’ll regroup
in the observatory parking lot.
WES
If we live long enough to get
there.
Genres:
["Action","Thriller","Crime"]
Ratings
Scene
54 -
Night of Reckoning
158 EXT. COLLETTI HOUSE - NIGHT 158
Johnson and Wilhelmina screech to a halt at the end of the
cul-de-sac jammed with cars and littered with bodies. Half a
dozen black and whites right behind.
Johnson and Wilhelmina race to the house, their pistols
sweeping defensively. Polaski and Santini sprawled, assault
rifles still in their hands.
11/28/25
Very cautiously they approach the front door. Sgt. Johnson
steps over Slick and Chen. He pulls off the bloody
pillowcase revealing the killer’s fractured head.
SGT. JOHNSON
Rasta.
WILLY
Good Lord.
SGT. JOHNSON
Where the hell are they?
JACK (O.S.)
Help!!
Sgt. Johnson leads the charge toward the Golden’s house.
159 INT. GOLDEN HOUSE - CONTINUOUS 159
Johnson's badge does little to calm Jack and his WIFE who are
being held at gun point by Karen.
AI
SGT. JOHNSON
Mrs. Colletti, put the gun down!
She slowly gives the gun up to Johnson and starts to cry.
JACK
Thank God! Arrest them!
WILLY
(firmly to Karen)
Where have they gone?
KAREN
I shot one of them ...
SGT. JOHNSON
Mrs. Colletti, where are they?!
KAREN
In the woods...
Genres:
["Action","Thriller","Drama"]
Ratings
Scene
55 -
Ambush in the Dark
160 EXT. GRIFFITH PARK/FERN DELL ROAD - NIGHT 160
SNAP! Joe and Wes whirl around.
Klaus and Butch step out of the bushes on either side of the
trail, Russian AK-47’s zeroed in on Joe and Wes.
11/28/25
KLAUS
Yah, its him, “Joe”.
BUTCH
Billy Briggs would like a word with
you, Joe.
Butch fires a shot into the air.
KLAUS
Drop the guns.
Neither man moves. Butch draws down.
KLAUS (CONT’D)
Shnell. Drop the guns!
BUTCH
You’ve got three seconds.
The trees at their backs there’s nowhere to run.
WES
AK 47’s.
AI
BUTCH
Three seconds, two,
WES
They're gonna track high.
Wes looks at Joe.
BUTCH
Drop the fuckin' guns!
WES
Let's give it to them.
Butch leans in to blow Wes away.
JOE
No! We’ll do it! We’ll do it.
KLAUS
Schnell!
WES
We are not gonna die on our knees!
The light of understanding in Joe’s eyes.
JOE
No?
11/28/25
WES
No.
BORIS
Drop’m, now!
JOE
Now?
WES
Now!!!
Joe and Wes drop to their knees, machine gun fire ravages the
trees just above their heads!
Shotguns jammed to their hips, they return measure for
measure, a murderous volley of lead. The thunderous lead
shock wave flattens Klaus and Butch.
WES (CONT’D)
Holy ... Jesus.
Joe looks wide-eyed at the shredded trees above their heads.
They rise, ghostlike, from the wafting cloud of blue smoke.
AI
WES (CONT’D)
Joe? Say something so I'll know
you're alright.
JOE
Reload.
Joe digs a handful of shells out of his jacket.
WES
What’s the plan?
JOE
Wes, this guy is after me. It’s all
that shit on the internet, me
shooting my mouth off.
WES
Right, fuck us for trying to save
our lives.
Joe rapidly jams in one fire engine red deer slug, followed
by two buck shots and then two more deer slugs.
JOE
I’ll flush them with two deer
slugs. Two buckshot to knock them
down. If need be, one more deer
slug to end the discussion.
11/28/25
WES
Five rounds, against machine guns?
JOE
He wants me ... let him come and
get it. Go help David and Bob.
Wes hugs his comrade and fades into the darkened woods.
Genres:
["Action","Thriller"]
Ratings
Scene
56 -
Ambush in the Dark
161 EXT. GRIFFITH PARK OBSERVATORY - NIGHT 161
Bobcat sets David against a tree, their backs up against the
hill rising to the observatory.
BOBCAT
Waitin’ here until the cops show up
is suicide. 'Sides they don't call
me Bobcat for nuthin'.
DAVID
We can’t take them head on.
BOBCAT
AI
We can take them in a crossfire.
You up to it?
DAVID
Do I have a choice?
In seconds Bobcat vanishes into the woods. David hunkers
down, concealed by a fallen tree.
162 EXT. GRIFFITH PARK FERN DELL ENTRANCE - NIGHT 162
Johnson’s unmarked car skids into the park entrance, red
lights, high beams, horn, everything going. Black and whites
approach en masse in the distance, a huge response.
163 EXT. GRIFFITH PARK OBSERVATORY 163
Bobcat treads carefully over the slippery loose earth. The
bushes to his left rustle. Bobcat whips around and drops to
one knee.
BOBCAT'S POV. A coyote breaks cover and scampers away.
When Bobcat resets his position he is looking at Dutch, just
10 feet away. The coyote got Dutch's attention, too!
Bobcat tumbles away, losing his footing on the barren
hillside.
11/28/25
Dutch charges Bobcat firing a dozen rounds!
Bobcat's shoulder gushes red. With his last ounce of strength
he swings his shotgun up, one handed.
The blast kicks the shotgun out of Bobcat’s hand, tearing a
hole in Dutch’s right side. But, the massive Swede does not
go down.
David chimes in with a volley from his hiding place. Dutch
turns and runs at David, blasting. David fires valiantly, but
is weak from the loss of blood, a sitting duck.
Dutch closes for the kill. Wes rolls out from behind a tree
and puts a single precision pistol shot in Dutch’s temple.
Genres:
["Action","Thriller"]
Ratings
Scene
57 -
Griffith Park Showdown
164 EXT. GRIFFITH PARK/FERN DELL ROAD - CONTINUOUS 164
Billy, Chico and Amir stumble to a stop. Silence falls as the
crisp pistol shot echoes through the trees. Before them the
bodies of Boris and Klaus and the surrounding forest ripped
to pieces. Gun smoke still wafts in the trees.
AI
BILLY
He can’t be far! Let’s move.
Amir takes a step back.
AMIR
They are not paying me enough to
die, like this.
CHICO
Amir is right, Amigo.
BILLY
Let me be specific about what is
right. If you ever want to see the
rest of your money, Joe Colletti
and his friends die here, tonight.
From a vantage point behind an outcropping of rocks, Joe
draws down on the three Men.
JOE
Sorry to disappoint, Billy. Not
gonna happen!
The three Men spray machine gun fire wildly in Joe’s
direction as they take cover behind the mangled trees.
11/28/25
JOE (CONT’D)
(a threatening taunt)
Put the guns down, while you still
can!
BILLY
Kill him!
Chico and Amir lay a murderous torrent of lead on the rocks
where Joe is sheltering.
Joe scrambles sideways. The shattering rocks and splattering
lead get in Joe’s eyes and cut his face and hands.
Billy, Chico and Amir pause, listening for signs of life.
Joe rises from behind the rocks in trap stance.
JOE
Yah!
WHANG! The first deer slug shatters the tree where Chico
hides.
AI
WHANG! The second deer slug shatters the tree where Amir and
Billy hide.
Bloodied and dazed the three killers stumble from cover
unloading everything they have at Joe.
Joe fires the two heavy duty buckshot rounds in rapid fire
knocking the three men flat!
Billy coughs and rolls to his side, his shirt tattered,
exposing the Kevlar vest. Blood runs from a couple of
buckshot pellets that have caught in him the face and neck.
He sees that Chico and Amir are both dead.
BILLY
Just you and me, now.
Billy gets up, the AK hanging lamely in his right hand. His
blood dripping off the end of the barrel.
JOE
Put it down while you still can!
BILLY
Where are the cops now, Joe? You
saved them, where are they?
JOE
I said put it down!
11/28/25
BILLY
No, we’re just getting started!
We’re making history. Don’t you
see it?!
JOE
All I see is a killer!
BILLY
Just like me! Everyone knows,
everyone saw! You’re a killing
monster!
(a wheezing laugh)
Just like me.
Billy takes a step toward Joe. Joe leans in, trap stance.
JOE
Put - it - down! Now!
BILLY
They took my money! They took my
freedom! They put me in prison!
They did this to me. They took
AI
away my family, my life!
JOE
So you get to kill innocent people?
Billy brings the AK in front of him, a two-handed grip,
muzzle pointed at the ground, rage building.
BILLY
We do what we want! When we want!
JOE
Get down on the ground!
BILLY
(his final rally)
We off the cops! Set fire to the
prisons! We are Anarchism!
JOE
Drop it, now!
Billy stumbles, rights himself.
BILLY
One direction! Insurrection! One
solution! Revolution!
Billy makes his move, the AK rising as he opens fire.
11/28/25
Joe fires the last deer slug fast as lighting right into
Billy’s mid-section, producing an aerial somersault that
knocks Mr. Briggs backwards 20 feet.
The deafening report of the shotgun gives way to the quiet
woods and the approaching distant sirens.
Joe tosses the empty sawed off weapon into the woods and
falls to his knees, rocking back and forth.
Blood runs from Billy’s mouth. Horribly shattered,
impossibly, he is still breathing. His hand claws the ground
to get to his AK.
Joe looks up and sees Billy stagger to his feet. Billy’s
kevlar vest and his midsection ripped open. Chest heaving, he
is seconds from death.
Joe, out of ammo and his gun tossed away is now Billy’s prey.
BILLY (CONT’D)
(coughing blood)
In the end - we will take - what we
want - when we want. The worst is
AI
yet to come ...
Billy raises the AK and begins to fire wildly.
Joe hugs the ground as the machine gun fire hits all around
him. A distinctive single SHOT rings out, silencing the AK.
Blood leaks from a small hole just above Billy’s right eye.
Billy crumples, dead.
Sgt. Johnson kneels in a two-fisted grip 30 feet behind Joe.
Joe turns, sees him and collapses flat out on the ground.
Johnson hustles to Joe’s aid, Wilhelmina close behind with
her Security Detail.
Genres:
["Action","Thriller","Crime"]
Ratings
Scene
58 -
Shadows of Secrecy
EXT. GRIFFITH PARK/FERN DELL ENTRANCE - NIGHT
Streams of police cars, news vans and helicopters race up the
hill to the Observatory.
165 EXT. GRIFFITH PARK/FERN DELL ROAD - NIGHT 165
Sgt. Johnson gives Joe a hand up. He is unsteady on his feet
and leans heavily on the Sergeant.
11/28/25
JOE
Is it done?
SGT. JOHNSON
Everyone’s safe. Paramedics are
looking after them, just down the
road, about quarter mile that way.
Joe turns and can see the flashing lights down the road
through the trees.
JOE
They okay?
SGT. JOHNSON
They’ll live. We are taking all of
you to the station.
JOE
... Again?
SGT. JOHNSON
Karen and Jimmy are waiting for you
there. You will all be safe there.
AI
JOE
Thank God, they’re ok.
Wilhelmina and her Aides kneel next to the lifeless body of
Billy Briggs. She gets up and comes to Joe.
JOE (CONT’D)
Well, you got what you wanted.
WILLY
Almost. I want one more thing. I
want you to disappear.
JOE
What?
SGT. JOHNSON
There’s about 50 reporters with
cameras in the parking lot. Would
you prefer to chat with the press?
Joe coughs and shakes his head.
WILLY
(to Sgt. Johnson)
Any witnesses, cell phones,
surveillance out here in the woods?
Anyone see what happened?
11/28/25
SGT. JOHNSON
Don’t think so.
WILLY
(to her Aides)
You see anyone we need to take into
custody out here?
They shake their heads “no”.
SGT. JOHNSON
I’ll get the coroner down here.
WILLY
(playing dumb)
Let’s check on the families and
make sure they escaped. I am
betting they flagged a patrol car
and took refuge at the station.
SGT. JOHNSON
(playing along)
Pretty sure they did.
AI
Wilhelmina, her Aides and Sgt. Johnson turn and head uphill
toward the observatory parking lot.
Joe takes the hint and steps back into the shadows making his
way toward the ambulance and disappears.
Genres:
["Action","Thriller","Crime"]
Ratings
Scene
59 -
Closure and Courage: The Northridge Incident Press Conference
166 EXT. COLLETTI HOUSE - NIGHT 166
A sea of emergency vehicles are the backdrop for Lester
Robinson, his back against the yellow tape at Joe’s house.
LESTER ROBINSON
Yes, this is the home of one of the
good Samaritans involved in the
Northridge shooting last weekend.
We are told the family is safe, in
protective custody. Police are
saying this is a terror related
incident -
(presses his earpiece)
We are going live right now to
Griffith Park.
167 EXT. GRIFFITH PARK OBSERVATORY - NIGHT 167
The news media swarm like ants to the “breaking news”
announcement, held back by Uniformed Officers taping off the
area.
11/28/25
Sgt. Johnson steps up to the microphones and raises his hand.
SGT. JOHNSON
People, settle down. We have a
brief statement to make. This is
an active crime scene and we will
have to clear this area immediately
after our statement. Let me pass
the microphone to Wilhelmina
Charles, the Under Secretary for
Homeland Security’s Office of
Foreign Assets.
Wilhelmina steps into the lights flanked by her Aides.
WILLY
Thank you. The officer involved
shootings in the park tonight
closes the case on the brutal
killings we all witnessed last week
in Northridge.
The Reporters erupt with a torrent of questions.
AI
WILLY (CONT’D)
Yes, they are related. The ring
leader who organized the Northridge
shootings and then escaped is now
deceased. Tonight, law enforcement
did what it was supposed to do and
thwarted another attack on these
good men and their innocent
families. All Americans should
sleep peacefully knowing that a
terrorist cell, was stopped by
Homeland’s joint effort with LAPD.
With that we have captured hundreds
of millions of dollars being
laundered for the terrorist
underground, money earmarked to
maim and kill Americans. With
regard to the investigation of the
civilians caught in the crossfire,
I want to turn the microphone back
to LAPD Sergeant Kent Johnson.
SGT. JOHNSON
It is always troublesome when
civilians step in to do the job of
law enforcement. LAPD has
completed our questioning of the
civilians who got caught in the
shooting during our initial pursuit
of this terrorist cell.
(MORE)
11/28/25
SGT. JOHNSON (CONT’D)
I want to personally thank them for
saving my life and publicly
recognize their courageous action.
Genres:
["Crime","Action","Thriller"]
Ratings
Scene
60 -
A Moment of Closure
168 INT. POLICE COMMAND CENTER - NIGHT 168
Karen and Jimmy join Joe, Wes, David and Bobcat in front of a
television, surrounded by a Swat detail.
ON TV: Sgt. Johnson draws a deep breath, emotionally shaken.
SGT. JOHNSON
The City of Los Angeles offers our
condolences for the loss of their
friend, Ronald Sanders. There has
been a lot of speculation in the
media and on the internet about
these men. Let me set the record
straight. They are not heroes,
vigilantes or terrorists. In this
“age of terror” we all have a
responsibility to keep our homes,
our towns, our nation safe. They
AI
are simply your neighbors who
risked their own safety to protect
the lives of law enforcement. We
hope their families may now recover
their privacy and their peace.
ON TV: The Reporters swarm Wilhelmina and Sgt. Johnson with
questions as Uniformed Officers move them back.
Jimmy hugs his father. After a beat, Karen joins in.
JIMMY
Did you get the bad guy?
JOE
No, Jimmy. The policemen got him.
That’s what they do.
11/28/25