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by Arico Evans (angeljoyproductions_orisha6films@yahoo.com)

Rated:

Genre: Action/Adventure User Review: NOT YET
RATED
Years ago a murder was committed, a father was lost and a son was torn….. A mother stricken with an ungodly parasite breathes her last breath; she clasps his hand for the last time….. Filled with doubt, anger, and sorrow Maurice Dailon a.k.a. Reese now grieves for both his parents. Using his martial arts training to find strength and serenity, he seeks for a new beginning in life. But the unanswered questions that haunt him lead him to a familiar path when he pursues an internet stranger. He returns to the city where it all began, the city where he embarks on a mission with an old friend. It is also here that Reese inadvertently uncovers the truth to his past when he joins a crime syndicate and falls in love with the one person who becomes the key to the unsolved murder of his father years before.

FADE IN:

EXT. STREET OUTSIDE JIMMY'S HOUSE - NIGHT

A pizza delivery truck pulls up in front of a house.
Patch-Eye sits in the driver's seat, honking the horn as he
comes to a halt.

He honks the horn.

INT. LIVING ROOM OF JIMMY'S HOUSE - NIGHT

Jimmy D, 27, parties with a few of his crew members; Space,
Mookie and some girls drinking and drugging.

JIMMY D
What can he do, somebody help me
with this, what can he do?

SPACE
He can kiss your soft side, dawg!

JIMMY D
Mine, yours, hers, somebody's.

Honk, honk, car horn.

SPACE
Sounds like pizza man is here.
Ya'll cheap mother-fucker's come
up with some money.

JIMMY D
Cover that for me, I'll catch you
on the flip.

            SPACE
      (Under his breath,
       towards Mookie.)
Ain't that a bitch! Got the most
money in the joint and to thin to
spot a couple of pizza's. Cheap
basterd.

MOOKIE
Keep your eyes open.

EXT. JIMMY D'S HOUSE - NIGHT

Space goes to open the front door. Seeing that no-one was
there, he steps out to see someone sitting in the pizza
truck. Patch-Eye rolls the window of the truck down part
way.

PATCH-EYE
You guys hungry for a pizza?

SPACE
How about we get those pizza's for
free since you were late. And
delivery means you bring it to my
door or did they change that
little rule in the delivery man's
handbook?

PATCH-EYE
Oh, sorry about that man, I think
I busted my ankle making that last
run. Could you help me out?

            SPACE
      (Stumbling over to
       the vehicle.)
Guess who's getting the tip from
this deal.

Space peers through the driver's window and sees the body of
the original delivery driver slumped over in the passenger's
seat, dead. Patch-Eye grabs Space by the throat and pulls
him through the driver's side window and rolls the window
up. Space struggles as the window begins to strangle him.
Patch-Eye continues to apply pressure from the window on
Space's neck until the window shatters, decapitating Space's
head from his body.

INT. LIVING ROOM OF JIMMY'S HOUSE - NIGHT

Jimmy D. and the others are still inside unaware of the
incident outside.

Where's the food? I'm starving.

I thought the pizza man was here.

JIMMY D
Relax. My man just went to pay for
it. Don't worry. We're going to
feed you hungry heathens. Go take
a look to see what's taking that
fool so long. These girls are
starting to get on my damn nerves,
with that, "I'm hungry, shit!"
This ain't foodshop.

GIRL THREE
They'd better come with some food,
because I don't feed unless I'm
fed, you know what I'm saying
girlfriend?

No eats, no treats, baby.

Close it up and put a lock on it.

JIMMY D
Don't worry. I'm coming with the
key.

Knocking at the door. Mookie hands Jimmy a piece.(.45)

MOOKIE
What's this for?

JIMMY D
Keep your eyes open.

Mookie heads toward the front door, the knocking
intensifies.

PATCH-EYE (o.c.)
Pizza delivery, got your hot
pizza's.

MOOKIE
(Opening the door)
Yo Space, those pizza's better be
hot, my man.

EXT. JIMMY D'S HOUSE - NIGHT

Mookie opens the door, only to find that there's no-one
there just a stack of pizza boxes. He reaches down to pick
them up.

MOOKIE (cont'd)
Where the fuck is Space? Space!

As Mookie raises his head, patch-eye appears. Mookie
attempts to reach for his gun, but Patch slashes his throat
with a huge blade and he falls forward. Patch then cuts one
of Mookie's eyes out and puts it in his pocket. John Henry
walks up along with TWO HENCHMEN.

JOHN HENRY
Patch, you do too much. Let's just
keep it simple, huh.

Patch nods his head in agreement with John, and they enter
the house, Patch dragging Mookie's body behind him.

INT. JIMMY D'S HOUSE - NIGHT

JIMMY D
Hey man, what the hell is going
on?

            JOHN HENRY
      (Taking a sniff of
       the pizza boxes.)
Smells pretty good.

            JIMMY D
      (Under his breath
       he trembles...)
John..

JOHN HENRY
Oh, no-one sent us an invitation,
so we decided to invite ourselves.
I hope that's ok with you, Jimmy.

John and Patch along with two other henchman enter the room.
Jimmy D. nervously goes for his gun, but is out drawn by one
of the guards.

JOHN HENRY (CONT'D)
That isn't necessary Jimmy.
Besides it wouldn't do you any
good.

Patch looks at the girls, and signals them to hit the road.

PATCH-EYE
Party's over.

The girls rise from the seats hurriedly, towards the front
door.

JIMMY D
Hey, Johnnie man, if this is about
that delivery, I can explain...

JOHN HENRY
Ssshhhhhh, Jimmy, don't talk. Too
much talking could be bad for you.
Just relax everything's cool. The
Boss understands the temptations
one can be faced with while
handling such a significant amount
of merchandise. In fact, the Boss
was quite impressed with your
cunning ability.

John snaps his fingers, and another guard enters the room
with a box filled with wine bottles.

JOHN HENRY (CONT'D)
The Boss Man sends his
compliments. Let's have a drink,
shall we?

John pulls a wine bottle from the box and opens it. Jimmy
stands in bewilderment.

Patch-eye stands silently; John and the others grin
mischievously and pass out glasses to celebrate with Jimmy
D. John Henry hands a glass to Jimmy D.

JOHN HENRY (CONT'D)
Drink up, Jimmy.

Jimmy hesitates at first, then takes the glass and gulps the
drink down in a hurry. Patch-eye slowly drinks from his
glass, one sip at a time. John finishes his drink and begins
tossing bottles to everyone except Jimmy.

JOHN HENRY (CONT'D)
The rest are all yours, Jimmy. A
gift from the man himself. We
leave you now, but you are to meet
with Mr. Manchester tomorrow at
the usual place at the usual time.
Before we go of coarse, I must
have the location to where you
re-routed that delivery, Jimmy.

JIMMY D
Well, you see that's the thing,
Johnnie, it was never re-routed,
it just appeared that way to you
see, umm, I uh...

He leans over to whisper in John's ear.

JOHN HENRY
(laughing)
You can't be serious.

JIMMY D
Yeah, and what we did was....

He whispers in John's ear again.

JOHN HENRY
Very impressive, Jimmy, very
impressive indeed. The Boss is
really going to enjoy this, in
fact, I think you're definitely up
for a promotion. Let's go boys.

John turns to exit and the others follow behind them.
Patch-eye is the last to follow. Jimmy D. stands in
disbelief, amazed that he is still alive and in one piece.
He hears the front door shut, a sigh of relief comes over
him, and he pulls a wine bottle from the box.

EXT. STREET OUTSIDE JIMMY'S - NIGHT

Jimmy's house explodes.

John Henry, Patch-eye and the two henchmen stand from afar
as the fiery debris rain down on the neighborhood street and
fire consumes what's left of Jimmy's house.

A dark colored, stretched limo pulls up and the back window
rolls down. John approaches the window, its dark inside, a
voice speaks through the window, with a British accent.

            MANCHESTER
      (While creating a
       large smoke
       screen)
Where's my merchandise, John?

JOHN HENRY
Get this sir, it never left the
warehouse, it was simply
re-packaged.

MANCHESTER
Clever boy, what a waste, and such
potential. Never the less, i will
not be crossed. The same goes for
our good friend, the Senator, if
he doesn't wise up.
How are things coming with our new
investment partner, Mr. Diamond?

JOHN HENRY
The arrangements have been made as
discussed, sir.

MANCHESTER
Very well, John, let's be off.

EXT. URBAN CITY PARK - DAY

Some boys are fighting in a city park. young Reese, 12, is
being outnumbered and jumped by several neighborhood
bullies. Reese's father, Marcus Dailon, 37, comes to his
aid, and separates everyone.

Suddenly, a boy who seems to have appeared out of nowhere,
wearing a knit cap, looks up to see a stretched limo, with a
shadowy figure inside, sitting in the back.

The figure signals to the little boy who pulls a handgun
from his bag.

MARCUS DAILON
How many times do i have to tell
you, Reese? You don't use the arts
as a way to work out your
aggression on people. there must
be honor and truth, say it with
me, Reese, honor and truth! Say
it, Reese...

A gun barrel roars. Reese and his father embrace for the
last time, as Marcus Dailon, from his knees, falls over
completely, releasing a bewildered Reese from his grasp.

Reese raises his head, to see his father's assailant running
towards the limo in the distance. The back door of the car
opens, the boy jumps in and the car speeds away. The other
boys have all scattered, leaving Reese alone with his
father's lifeless body at his feet.

            SUITCOAT
      (Appearing as a
       little girl,
       camera pans
            (MORE)

            SUITCOAT (cont'd)
       deeply into her
       eyes.)
The bad boy took his father away
or did he? Seek and ye shall find,
Wake up Maurice, time to seek!

INT. HOSPITAL ROOM - DAY

Reese's mother, 39, in the hospital room, lies dying.
Detective Ray Williams accompanies Reese, now 14 years old.

RAY WILLIAMS
Life just continues to deliver
this boy a bag bad fruit. He
looses father and now his mother?

DOCTOR
There's simply nothing more we can
do.

RAY WILLIAMS
He's fourteen, Doc., only
fourteen.

DOCTOR
(Sighs...)
I'm sorry, i truly am very sorry.

Reese runs out of the room.

INT. HOSPITAL CORRIDOR - DAY

Reese is running down the medical facility's halls. Ray
Williams runs after him.

RAY WILLIAMS
Reese, ree...reese.

INT. RESES'S BEDROOM - NIGHT

Reese, now in his mid-twenties, wakes from his sleep in a
cold sweat; he sits up and rises from his bed.

INT. ASHIRA'S HOUSE - NIGHT

The following dialogue is shown as Ashira types on her
computer.

ASHIRA
(Shea-Shea)
Are you there, blackkat? I've got
more to add to our poem. Hello,
answer me, I know you're there.

BLACKKAT
Do you realize it's 4:00 a.m.?

ASHIRA
(Shea-Shea)
Ooooh, I guess somebody woke up
with a shitty-diaper.

BLACKKAT
I'm sorry, didn't mean to snap.

ASHIRA
(Shea-Shea)
Bad dreams again, huh?

BLACKKAT
Yeah, they're becoming frequent
now.

ASHIRA
(Shea-Shea)
Maybe one day you'll tell me about
them. It helps to talk about them
you know.

(Pause - Blackkat, doesn't respond)

ASHIRA (CONT'D)
(Shea-Shea)
Well, maybe this will cheer you
up. I've got something to add to
that poem of ours. Where did we
leave off last?

BLACKKAT
Tears I've shed, from skin I've
bled, the toil, torment, and pain.

ASHIRA
(Shea-Shea)
Young mind of regret and sorrow,
of what great strength keeps you
sane.

BLACKKAT
Brave I am consistently, but human
enough to cry.

10.

ASHIRA
(Shea-Shea)
Thinking only of what lay ahead, N
DIS' LAND I DIE. (Beat) You there,
something wrong?

BLACKKAT
I'm just not feeling this right
now, but we do make a good team.

ASHIRA
(Shea-Shea)
No doubt. Which makes this all the
more unbearable.

BLACKKAT
Makes what unbearable?

ASHIRA
(Shea-Shea)
This computer, it would be nice to
finally become more personable.

BLACKKAT
I don't know. I have to leave town
for a while, don't ask, it's
personal.

ASHIRA
(Shea-Shea)
Wait, where are you going, can I
meet you there?

BLACKKAT
We'll talk later, bye for now.

BlackKat signs off. Screen flashes "Message Not Received."

CUT SCENE FADES TO
BLACK.

EXT. OUTDOORS WOODED AREA... - DAY

Reese now outside goes to meet with his sifu who awaits his
presence in one of there secluded training spots. There his
Sifu stands waiting under a tree.

REESE
Sifu...

11.

INT. INSIDE EVAN'S CONVERTIBLE - DAY

COREAN
I'm not disagreeing with you,
anything's possible...

EVAN
So what are you waiting for,
Ashira, get on with it. If you're
so curious about this guy then
tell him to bring it!

COREAN
That's Evan, the Aquarian for you.

EVAN
You're damn right, life's too
short not to step out and take
some risks. So i say just do it,
either he'll turn out to be your
Disney fairytale hero, or your
final destination nightmare.
Either way, you aren't going to be
satisfied until you take a chance.

COREAN
Are you actually listening to
yourself and that wicked
wonderland pitch?

EVAN
I may not be as passionate as
Corean, the Taurus, or as calm as
Ashira, the Capricorn,but i do
believe in taking a few risks now
and then. You two need security
blankets to cross the street. You
got to live on the edge sometime
in your life, and use your assets
to create some sense adventure in
your life, God knows I do.

Evan opens her legs.

ASHIRA
Such a bitch!

COREAN
I mean, you could have at least
worn some matching underwear.
Looking all stank!

12.

EVAN
Ok, fuck you...(laughing)

COREAN
Bring a friend.

EVAN
Thongs for life, baby. Not those
boxers you call underwear.

ASHIRA
Girls, how's bout we talk about
something intellectual for a
change rather than your asses and
dirty underwear.

COREAN
Ok, let's talk about what your
going to do with this internet
fling you've got going on.

EVAN
You've been chatting on two years
now. Why are you making this so
difficult, just send the guy an
invitation.

COREAN
What's his sign anyway?

EVAN
God, would you drop that shit
already.

COREAN
Snap, crack, pop, not! Where is
he, like Canada?

EVAN
It doesn't matter, just tell him
to get his ass out here, you could
use a little tuning anyway.

ASHIRA
It's not that simple, there's
something strange about this.

EVAN
Girl...

At a streetlight, another car pulls up along side of them
containing a group of guy's.

13.

EXT. EVAN'S CAR AT STREETLIGHT - DAY

DRIVER
How are you girl's doing?

ASHIRA
Not today fellows, alright.

FRONT PASSENGER
Oh, the bitches think they're all
that!

BACKSEAT PASSENGER
Tell them hoes to get some air!
Fucking air head, bitches!

EVAN
Did they just call us bitches?

COREAN
I think that's what they did, air
head bitches at that.

ASHIRA
Now why did they have to go and do
that, did I say something wrong?

EVAN
I think there must be a
communication barrier.

COREAN
That's it girl they just need a
little clarity...

BACKSEAT PASSENGER
Burn off on them hoes, man.

ASHIRA
I concur, so allow me to translate
in a language that they will
understand.

Ashira pulls out a gun and aims it at the guys, then shoots
the back and front tires on the passenger side quickly
before they can pull off.

DRIVER
Oh shit!!!! The bitches got heat!

FRONT PASSENGER
Pull off, nigga, pull off!!

14.

ASHIRA
Call us bitches because we aren't
in the mood to be hit on. I'll bet
you'll think twice the next time
you call a woman a bitch just
cause she won't give you no
play!!!

Ashira goes on a tangent as she fires off rounds into the
car's wheel including the engine.

EVAN
Damn, who needs air now fellows?

COREAN
Yeah, here's a quarter for you.

ASHIRA
Was that enough clarity for them?

EVAN
Oh yeah.

ASHIRA
Something's about to go down,
corean.

COREAN
What do you mean? What, the
internet gut?

ASHIRA
Change is coming, I don't know how
to explain it, but it has
something to do with him. I can
just feel it.

INT. THE FAMILY'S PRIVATE CLUB - DAY

SHEFFIELD
(FRUSTRATED)
We have everything on track, we
even got a higher count on the
circuit.

JAY-CEE
How much higher?

SHEFFIELD
About twenty percent.

15.

ZERROK
Twenty percent Sheffield, are you
lit? Jay, check behind that cat.

SHEFFIELD
Check behind me? Don't check
behind me, get behind me! I'm
driving this over here. This ain't
no damn pre-school. If I say
twenty percent, that's what it is
gizzard face!

Fat Mike laughs.

JAY-CEE
Sheffield, just let me check.

SHEFFIELD
Let you check? I'll let you check
something alright. You'll be
checking your self into the
emergency room fucking with me.

ZERROK
It's okay, Jay, forget it.

            SHEFFIELD
      (Getting into
       Zerrok's face)
You goddamn right, it's ok!
Looking like old ass, out of work
Kid Rock! What you need to do is
keep counting those circuit slips
and stay out of mine. You keep
getting confused, Zerrok, you
don't run shit!

ZERROK
Yeah, and what are you running
besides your mouth, huh? You strut
around with your mouth open,
tongue swinging, and your tail
between your legs looking for the
nearest ass to kiss. You're
nothing, but a dead bug on the
windshield, A fucking deer in
headlights. I suggest you watch
whos car your standing in front
of...

SHEFFIELD
And I advise you to stop walking
around here showing them stank ass
beaver feet. Why don't you put
(MORE)

16.

SHEFFIELD (cont'd)
some shoes on, man. This ain't the
Jurassic Era.

Just then Zerrok's cell phone rings.

ZERROK
Yeah, yeah. Hold on a minute.

Zerrok goes into another room.

ZERROK
Yeah, yes, could you hold on a
minute?

Zerrok gives Sheffield a sinister grin, turns his at
Jay-Cee, and leaves the room to respond to his phone call in
private.

JAY-CEE
You just have to give him a hard
time, don't you?

SHEFFIELD
Just because you're bungee jumping
from his nut sack, doesn't mean
I'm going to. Fat Mike, do you
ever stop eating and when are you
going to eat sensible food, like
dinner?

Zerrok re-enters the room.

ZERROK
Yo, let's pack up boys we've got
places to be.

INT. SENATOR JOHNSON'S HOME OFFICE - DAY

SENATOR JOHNSON
Amanda, did you have any luck
tracking down my little girl?

AMANDA
I've tried her cell phone several
times, no answer, but there's a
call for you on two, claims he's
your new chiropractor.

SENATOR JOHNSON
Chiropractor? I'll take it.

17.

AMANDA
Yes sir.

SENATOR JOHNSON
This is Johnson.

During this telephone conversation, cut back and forth
between shots of Senator Johnson on the phone and extreme
close ups of Manchester on the other end. Shoot this so you
don't recognize Manchester.

INT. MANCHESTER'S LIMO - DAY

MANCHESTER
Hello Senator, how delightful to
hear your voice. How are things?

SENATOR JOHNSON (VO)
Things are things, you know. This
isn't a good time to talk. Can
we...

MANCHESTER
Not to worry I'll make this quick
and painless, however, the
painless end of it, I shall leave
up to you. The major event that
we're planning for will be
engaging in just to short weeks,
and I need to know where you
stand?

SENATOR JOHNSON (VO)
There's still a lot of tension
rising over the murder of that
young detective.

MANCHESTER
Nonsense, Senator, it's been
almost fourteen years, and that
case...

INT. SENATOR JOHNSON'S HOME OFFICE - DAY

SENATOR JOHNSON
That case has not been solved, and
there are still some people in
this city who are concerned about
that. A highly decorated young
detective being shot to death in
broad daylight in front of
children. Not to mention, his own
(MORE)

18.

SENATOR JOHNSON (cont'd)
little boy. There's a genuine
concern for public safety, not to
mention the reporters who continue
to...

INT. MANCHESTER'S LIMO - DAY

MANCHESTER
You may conserve your political
jargon for your adoring voters,
however, I've no interest in a
matter that will not be solved, a
matter in which I've invested a
substantial amount of time and
money to ensure that it doesn't.
Helping you obtain that position
has become a part of that
equation. You, my friend, have
dues to pay and I aim to collect!
Now, I have delayed this deal for
far too long, a deal which I
cannot afford to lose, because if
I lose, then we all lose!

INT. SENATOR JOHNSON'S HOME OFFICE - DAY

SENATOR JOHNSON
I wouldn't make any threats, if I
were you. Let's not forget that
I'm an important person in this
city, this state, and if anything
were to happen to me...

MANCHESTER
How's that delightful daughter of
yours, senator? Evan isn't it?
Such a beautiful young lady she's
grown into. I must say that I've
made her acquaintance on several
occasions.

SENATOR JOHNSON
Ok, Manchester, you've got my
attention.

MANCHESTER
You will hold up your end of this
deal and see it through to its
entirety, do I make myself clear?

19.

SENATOR JOHNSON
The ball is in your court. You
just stay the hell away from my
daughter.

MANCHESTER
Very well, my dear boy, I shall be
in touch.

INT. MANCHESTER'S OFFICE - DAY

MANCHESTER
Our dear Senator is not to be
trusted.

JOHN HENRY
What do you propose, sir?

MANCHESTER
Let's just make sure we keep a
tight noose on daddy's little
girl, shall we.

JOHN HENRY
As you wish, sir.

INT. SENATOR JOHNSON'S HOME OFFICE - DAY

SENATOR JOHNSON
Not my little girl, you're not
dragging her into this, you
bastard! Amanda, get me Detective
Williams on the phone, and get
hold of that damn daughter of
mine.

AMANDA
Senator, I've tried her cell
several times already...

SENATOR JOHNSON
Then try a homing pigeon, a smoke
signal,just find her Goddammitt!

AMANDA
Yes sir.

INT. DETECTIVE RAY WILLIAM'S CAR - DAY

Cell phone rings.

20.

RAY WILLIAMS
Yeah. Right. He what!? Wait, let
me call you from another line.
Yeah, I'm going to call you back.

Ray switches cell phones.

RAY WILLIAMS (cont'd)
What happened? You found what a
note? Well, what did it say?
That's it? He can't do this, not
now, I'm too close. Shit he's
going to fuck up everything! When
did he leave? How are you supposed
to know, aren't you the one with
the note, meat head? Well, what
does it say? When did you find the
note? And you're calling me just
now? You're right, you're right, I
shouldn't yell at you, you're only
the knucklehead whose only
assignment was to watch his ass!
Do you like your job, Tatum? Good,
because this is what your going to
do in order to save it. First, you
call and check on everything
that's leaving out of there.
Second, you board the fastest
thing pulling out of there and get
your ass back here so you can
report to traffic duty!

EXT. FACTORY PARKING LOT - DAY

Ray Williams pulls up in the back of a deserted factory lot.
About ten to twelve ex-gang members are parked and sitting
on top of their cars. All the guys are nervous and shaky.
They are ex gang members who have to cooperate with the
police and Detective Williams undercover operation or be
sent to prison with the possibility of facing life
sentences. Williams feels he is being watched by
Manchester's organization and use tactics such as this to
assist in his undercover disguises.

Ray Williams gets out of the car and approaches the group.

RAY WILLIAMS
Well, where is it? Let's go, come
on!

Guy one reaches in his car for a black briefcase, trimmed
with diamonds, spelling Williams undercover name.

21.

RAY WILLIAMS (cont'd)
Don't just stand there, bring it!

Ray snatches the case, slams it on the hood of the car, and
opens it to show the money inside. He checks to make sure
it's all there, and then grabs guy one from the back of his
head.

RAY WILLIAMS (cont'd)
Do you know how many days you were
late with my money?

GUY ONE
Not really.

RAY WILLIAMS
Well, how's about a reminder, in
fact all of you will get a
reminder, starting with you.

GUY ONE
Come on man...

RAY WILLIAMS
Exactly, now make those words you
can live by, you know? For future
reference, the next time I tell
you to bring my money you'll say,
"come on man." What's the name on
the briefcase?

GUY ONE
Diamond.

RAY WILLIAMS
Very good. Now repeat after me, I
will not be late with Diamond's
money!

Ray slams guy's one head on the hood of his car as he states
each word.

RAY WILLIAMS (cont'd)
I (bang) will (bang) not (bang) be
(bang) late (bang) again (bang)!!

Gut one passes out and hits the ground.

RAY WILLIAMS
Well, he didn't last too long.
Next?

22.

The rest of the guys fearfully look at each other for a
volunteer. Williams fires his gun at their feet.

RAY WILLIAMS
I said next. Get your asses in
line, I ain't got all day!

Guy two walks up.

In fact my hand is a little tired. You know how to do it,
don't you? I'll help you get started. Just repeat after me,
"I will not be late."

Ray's cell phone rings. Ray answers. Guy two stops banging
his head before he passes out.

RAY WILLIAMS (cont'd)
Yeah. Hey. Oh just taking care of
some business. Hold on a sec. The
phone ain't for you, you looking
for a coffee break? Let's keep it
going!!! I will not be late!

Guy two drops to the ground atop guy one.

RAY WILLIAMS (cont'd)
Who's next?

Ray looks up to see the other guys have all passed out from
fright and banging their heads on the hood of the other
cars.

RAY WILLIAMS (cont'd)
Yeah, I'm back.

INT. SENATOR JOHNSON'S HOME OFFICE - NIGHT

SENATOR JOHNSON
It's open.

RAY WILLIAMS
This had better be important we're
playing this thing really close me
coming over like this.

SENATOR JOHNSON
Yeah, yeah, I know Ray. I wouldn't
have called you over here if it
wasn't important. Well, did you
find someone?

23.

RAY WILLIAMS
Well, sort of.

SENATOR JOHNSON
What do you mean, sort of?

RAY WILLIAMS
Someone fell into our lap, so to
speak.

SENATOR JOHNSON
Well, who is he?

RAY WILLIAMS
I see you've done some
redecorating since I last saw the
place. Nice.

SENATOR JOHNSON
Awe Williams cut the shit, who is
he?

RAY WILLIAMS
Reese, Maurice Dailon, sir.

SENATOR JOHNSON
Maurice Dailon, Maurice Dailon,
you mean Marcus Dailon's kid?

RAY WILLIAMS
Oh, so the old memory bank is
good. Something other than
Political speeches, false promises
and buffet menus, huh?

SENATOR JOHNSON
You can just kiss my ass,
Williams. Hell, if my diet
consisted of coffee and
paperclips, I'd probably fit them
skin tights you call clothes any
day. And Senator Johnson is a
politician of upstanding integrity
and moral character and don't you
forget it.

RAY WILLIAMS
Pardon me, I just work here you
know?

SENATOR JOHNSON
Alright Williams, we ain't the
Wayans Brothers, so let's cut the
bullshit comedy act and get
(MORE)

24.

SENATOR JOHNSON (cont'd)
serious for a minute.

RAY WILLIAMS
You didn't happen to eat them by
chance, did you?

SENATOR JOHNSON
I'm serious Williams. Now fill me
in on this kid, what made you
bring him out of hiding?

RAY WILLIAMS
I didn't bring him out. I just
found out that he made his way
back here.

SENATOR JOHNSON
Well, where is he?

RAY WILLIAMS
Well, I haven't located him just
yet.

SENATOR JOHNSON
You haven't located him? Jesus,
Williams, what the hell are you
doing out there?

RAY WILLIAMS
I'm right in the middle of an
undercover investigation. My every
move has to be carefully
calculated and besides this kid is
all grown up, We couldn't pen him
down forever. My job was to
protect him not, imprison him.

SENATOR JOHNSON
Well, for all we know this kid's
life may very well still be in
danger. And why would you want to
put him on this case anyway? When
i was last informed by your
people, this kid wasn't doing to
well in the marble department, if
you know what i mean.

RAY WILLIAMS
Now wait a minute, let's get
something straight. You said you
needed someone to keep an eye on
Evan, sort of unofficial like. Me
being the concerned friend that i
(MORE)

25.

RAY WILLIAMS (cont'd)
am, I asked if there was anything
serious and you said, that you
just wanted someone who could let
you know what's going on with her
from time to time. What she's
doing or who she's doing.

SENATOR JOHNSON
You're point Williams?

RAY WILLIAMS
My point is this: I believe Reese
has come back here looking for
answers. That's a headache I don't
need right now. I'm too close to
finally putting this thing to
rest. If Reese gets in my way
it'll ruin everything. Now, the
way I see it this little job of
yours will be just the thing to
keep him busy until I can sort all
this shit out. Unless there's
something about this little
scenario that you're not filling
me in on.

SENATOR JOHNSON
Watch yourself, Williams, I've
been getting a lot of crank calls
and like I said, nothing serious.
I just want to be cautious without
starting some raging media riot.
Alright Williams, your point's
taken, go find the damn kid.

RAY WILLIAMS
I thought you might vote in my
favor, but there's one more thing.

SENATOR JOHNSON
I'm not buying that boy a car,
Ray!

RAY WILLIAMS
Ok, two more. Well, he can't stay
with me, how would that look?

SENATOR JOHNSON
Ray, Get out of here.

RAY WILLIAMS
Ciao.

26.

EXT. BUS STATION - NIGHT

Detective Williams searches the nearby bus terminals in the
immediate area looking for Reese.

EXT. DOWNTOWN STREETS - NIGHT

Ray talks to some of his street connections.

EXT. STREET CORNER - NIGHT

RAY WILLIAMS
Honey. Yo honey.

SAMONE/HONEY
Why, hello, lover man. You looking
for pleasure? This had better be
important, Ray, I'm trying to make
a bust over here. I don't do this
for kicks, you know.

RAY WILLIAMS
First of all, the name's Diamond.
Second, we're both in the same
game, so shut up and pay attention
to what I'm putting down, you dig?

SAMONE/HONEY
Uhmm, I just love it when you talk
dirty to me daddy. What can I do
for you, sugar?

RAY WILLIAMS
Yeah, yeah. So what I'm saying is,
I have a little hatchling that's
flown from the coupe.

Ray shows Samone a picture of a teenage Reese.

SAMONE/HONEY
(gasping) He's here?

RAY WILLIAMS
Don't blow your wig and get all
teary eyed on me woman, Just keep
your eyes on the prize and hit me
up if you catch a whiff, you feel
me?

27.

SAMONE/HONEY
When you find him I want to see
him, Ray.

RAY WILLIAMS
Go on now, do your job.

SAMONE/HONEY
I mean it, Ray, Diamond. You got
it daddy.

INT. RAY'S CAR - DAY

Ray takes a moment on his best friend and partner, Marcus
Dailon.

EXT. DESERT STAKEOUT AREA (FLASHBACK) - DAY

Ray pulls up in a late model vehicle.

MARCUS DAILON
You're late.

RAY WILLIAMS
What, for hair and makeup? We're
here to bust up some bad guys not
to make a movie.

MARCUS DAILON
So much for the greeting card
shit. I'm just saying, we're
looking at a time frame. You're
supposed to show me the place and
get me to the place for pickup,
right?

RAY WILLIAMS
Great, I'm glad you're able to
keep up, now shut your mouth and
have a looksy.

Ray tosses a pair of binoculars into Marcus lap.

MARCUS DAILON
What, we're here, this close? Ray,
have you lost your mind? This is
supposed to be a covert operation.
You do know the meaning of covert,
don't you, or maybe you've been on
this mission too long.

28.

RAY WILLIAMS
Or maybe you just haven't been
working it long enough. What's the
best way to keep a secret?

MARCUS DAILON
Keep it out in the open.

RAY WILLIAMS
How's my wife and son?

            MARCUS DAILON
      (putting on his
       vest and wiring.)
Your wife and son, hell, i didn't
know we were sharing.

            RAY WILLIAMS
      (checking his
       guns, and
       assisting Marcus
       with equipment.)
She didn't want to tell you the
real reason she changed his name
from Marcus and to Maurice, it
wasn't because she was mad at you,
it was because she was thinking
about me.

            MARCUS DAILON
      (they both share
       in the laughter.)
Well, that's ok, I don't mind
sharing.
You take just take care of all the
finances and I'll keep up on the
sex detail, how's that?

RAY WILLIAMS
Nuff said, let's go.

EXT. RAY'S CAR - DAY

Ray smiles to himself. Flashback ends.

INT. JIMMY D'S CREW'S HANGOUT - DAY

Dedrick storms into the house, where Pierre and Dante Lounge
with a few girls, drinking, smoking, and drugging.

29.

DEDRICK
Turn that shit on the news!

PIERRE
What's up?

DANTE
What the problem is, homey?

DEDRICK
Give me that remote, I'll show you
the problem!

EXT. NEWS BROADCAST IN FRONT OF JIMMY'S BURNT HOUSE - DAY

NEWS REPORTER
Police have no clues today over a
house explosion in Park Heights
district on Laurel and Brampton.
Only two bodies have been
discovered: the homeowner, James
Davenport, and a pizza delivery
person whose identity is unknown.

DETECTIVE
This incident is still under
investigation at this time. We've
found what appears to be a bomb.
We're asking if anyone recalls
seeing anyone or anything
suspicious to please contact the
local precinct immediately.

NEWS REPORTER
We'll have more of the latest, at
eleven.

INT. JIMMY D'S CREW'S HANGOUT - DAY

DANTE
Who the fuck is James Davenport?
Oh shit, that's Jimmy D!!!!!!!

PIERRE
They knocked Jimmy D, what are we
supposed to do now?

DEDRICK
You don't know, we hit back!

30.

DANTE
Hit who?

DEDRICK
You know who!

DANTE
Are you lit? Them bitches didn't
do Jimmy.

PIERRE
Te's right man, this was bigger
than the family. Besides we can't
hit each other, we're all under
the same roof.

DEDRICK
You cat's need to come down off
that shit you've been tossing up
in here and think straight. The
family has been after our side of
the track since day one.

PIERRE
Hold tight, hold tight, you think
this is over some territory?

DEDRICK
You don't? What else?

DANTE
It's got to be something bigger.

DEDRICK
Alright, alright, there's still
one way to find out.

PIERRE
I'll get at zerrok.

DEDRICK
I'm telling you both now, if Evan
and Shea had anything to do with
this....

PIERRE
Don't worry it's all in the game,
my man. It's all in the game.

Pierre cocks his glock.

31.

EXT. STORE - DAY

Reese pulls up to the neighborhood corner store in a cab. As
he gets out of the cab he notices a woman with a little girl
standing beside her across the street. The woman appears
tired and homeless and the little girl looks hungry.

Reese notices that the woman seems to be watching the store
as if she is waiting for someone or something. Reese enters
the store.

INT. STORE - DAY

A small boy, LaDelle, age six, is sneaking around the store
from aisle to aisle snatching candy bars and other food
items from the shelves. He is unnoticed by the young clerk
minding the store, who happens to be preoccupied with the
phone and small television.

Reese walks in and sees the boy sneaking around and stuffing
his shirt. Reese grabs some juice and snacks for himself
before deciding to surprise the little villain.

REESE
Hey, little man, find anything
good?

LADELLE
Uh...

REESE
Oh, no you don't.

Reese lifts the boy from the floor by his clothes. LaDelle
is running in mid-air. He drags the little boy up to the
front counter with all his goodies. Reese empties the little
guy's loot onto the counter along with his own items. The
store clerk seems bewildered by the event.

STORE CLERK
All together or anything else for
you today?

REESE
Well, anything else?

LADELLE
No. no sir.

STORE CLERK
That will be fifteen, ninety.

32.

REESE
Let's go.

EXT. STORE - DAY

REESE
Is that your mother and sister?

LADELLE
Yeah, I mean, yes sir.

REESE
They're hungry?

LADELLE
Yes.

REESE
You tell your mother that I said
to take this money and buy some
food so you and your sister can
grow up strong and healthy, okay?

LADELLE
Are you a street pharmacist?

REESE
No, I'm a friend, but if i was
would you accept this money from
me?

LADELLE
Would I get in trouble if I did?

REESE
Money can't be responsible for
itself, but people can. Do you
understand?

LADELLE
I think I do.

Reese hands LaDelle a card with Ray's information on it.

REESE
It'll come to you. Now, I want you
to take this and give it to your
mother. Tell her that your friend,
Reese, said to ask for Ray
Williams and that I said that he
could help you out, okay?

33.

LADELLE
Ok. My name is LaDelle.

REESE
Nice to meet you LaDelle. You take
care of your little sister for me.

LaDelle nods his head then hurries off crossing the street
to his mother's arms. She hugs him tight. LaDelle then hands
his mother the money and card. She turns to look over at
Reese and mouths the words,"thank you." She puts the money
and the card away, gathers her two small children and heads
home. Reese gets in the cab and takes off.

EXT. CITY STREETS WITH WATER VIEW - NIGHT

Reese gets dropped off by the cab, finds a pay phone and
calls Ray.

RAY WILLIAMS
Where in the hell are you and what
in God's name are you doing here?
You know what, never mind the
second part, just tell me where
you are! I know you don't know
your way around, I didn't ask you
for directions, just give me a
block or a street name. I know the
spot, I'm there in five minutes,
don't you move!

Reese grabs a moment to appreciate the scenery around him
which includes a waterfront view. Moments later Ray arrives.

REESE
So, how are things at the office,
Ray?

RAY WILLIAMS
Don't patronize me with that shit!
Have you lost your mind? What in
the hell are you doing here?

REESE
I need answers, Ray. It's been
fourteen years with me sitting in
some bum-fuck Texas town twirling
my thumbs!

RAY WILLIAMS
That bum-fuck town was keeping you
safe, Reese! You coming here is a
threat to this entire
(MORE)

34.

RAY WILLIAMS (cont'd)
investigation, that could get us
both killed. What will that do for
the memories of your mother and
father, huh?

REESE
Don't do that.

RAY WILLIAMS
Don't do what?

REESE
Bring them into this.

RAY WILLIAMS
That's what this is about, isn't
it. That's what brought you out
here? Are you forgetting that your
parents were very dear and
personal friends of mine, not to
mention that your father and I
joined the force together?

REESE
I just thought that by it being
over fourteen years...I mean, what
is it going to take for you to
bust these guys.

RAY WILLIAMS
What, you're here to play cops and
robbers, now? You got some leads,
some evidence you'd like to bring
to the table? Exactly, so don't
talk about shit that you have the
faintest clue on how things work!
Look, uh, this is going nowhere,
you're here, we've got a few hours
before day breaks, I'm sure you
could use sleep. So, why don't you
get in the car and let me check
you into a motel for the night and
we'll sort this thing out come
first light, alright?

REESE
Yeah, sleep sounds good. You know,
you sure know how to give a guy a
warm welcome.

Reese gets in Ray's car, slides down into his seat and the
car pulls off.

35.

INT. SENATOR JOHNSON'S HOME OFFICE - DAY

There is a knock at the door.

SENATOR JOHNSON
It's open.

RAY WILLIAMS
Sir, Reese Dailon.

SENATOR JOHNSON
Mr. Dailon.

REESE
I know you, don't I?

SENATOR JOHNSON
Mr. Dailon, I won't bother with
the formalities. For now, here's
your assignment.

Johnson turns a picture frame located on his desk to face
Reese. A photograph of Johnson being embraced from behind by
a young beautiful girl who happens to be 25 year old Evan
Johnson, Senator Johnson's daughter.

EXT. SENATOR JOHNSON'S HOME OFFICE - DAY

REESE
I don't get this, Ray. Why does he
need someone to play babysitter?

RAY WILLIAMS
Hey, pay attention before you miss
something! Look, it's a simple job
and good pay. Now, if you'd prefer
I could slap a wig and a skirt on
you and hook you up with another
gig, but it doesn't include all
the extra benefits. You got good
knees?

REESE
Ain't that a bitch!

RAY WILLIAMS
Yeah, you would be. It really is
good to see you. Samone, has
missed you too.

REESE
Samone, how is she? When...

36.

RAY WILLIAMS
Hopefully we'll get to that.
Reese, things might get crazy.
Best thing for you to do is lay
low and let me do my job, you
know? Here, It contains all the
basic information we've gone over
and more. Remember keep your paws
to yourself, hound dog, no fooling
with the product.

REESE
You mind telling me where I'm
supposed to live for the time
being?

RAY WILLIAMS
That's what the envelope is for.
Now, you've got your car keys,
cell phone, and details. I'm out!

Williams burns off in a hurry. Reese investigates the
envelope, finding an address. Reese gets in the vehicle.

INT. REESE'S CAR - DAY

REESE
Restway Apartments? Sounds like a
damn nursing home!

Reese drives off in search of his new home, reciting a poem
while he drives.

REESE
I LOOK INTO THE MIRROR
AT A REFLECTION BEYOND MY GRASP.
A BODY DESTINED TO SELF DESTRUCT,
AN ETERNAL SOUL SUBMITTING TO
LAST.
NO ONE LIVES FOREVER
WE'VE YET TO ASK WHY.
BORN INTO THIS WORLD OF CRUELTY
N' DIS LAND I DIE...
TEARS I'VE SHED, FROM SKIN I'VE
BLED, THE TOIL, TORMENT, AND PAIN.
YOUNG MIND OF REGRET AND SORROW OF
WHAT GREAT STRENGTH KEEPS YOU
SANE.
BRAVE I AM CONSISTENTLY, BUT HUMAN
ENOUGH TO CRY
THINKING ONLY OF WHAT LIES AHEAD
N' DIS LAND I DIE...
GRATEFUL TO SEE ANOTHER DAY
(MORE)

37.

REESE (cont'd)
ON MY KNEES I PRAY EACH NIGHT.
THE UNSEEN EYE WATCHING OVER ME,
MY GUIDING STAR SO BRIGHT.
OH, HOW MUCH WE TAKE LIFE FOR
GRANTED. MAKING MATERIAL WEALTH
OUR QUEST.
AS SELF INHERITS THE GREED, THE
GREED THIRSTS FOR POWER, WE
SACRIFICE THE FLESH.
SO HOLD ON TO THE WHITE OFFICE, AS
YOUR BLINDING ARROGANCE ASSURES
YOUR DEMISE FOR THE TIME WILL
UNFOLD WHEN YOUR WORLD WILL
IMPLODE
N' DIS LAND WE ALL DIE...

INT. MANCHESTER'S NIGHTCLUB - NIGHT

EVAN
How's the princess?

PRINCESS
To the tee. Word around town is
that Jimmy D. fell short on his
subscription.

EVAN
Not on our call.

PRINCESS
Be careful, honey, Jimmy's crew is
on the hunt and hear tell, their
primary suspects fit your
description.

ASHIRA
It would be a fatal mistake for
them to come after us especially
since we had no part in it.

PRINCESS
I see you sent out for some new
meat with cheese.

COREAN
Meat and cheese, girl that's a
whole sandwich, who's that?

PRINCESS
Says his name is Reese, Reese
Dailon.

38.

ASHIRA
What makes u think he's rolling
with us?

PRINCESS
He's been waiting around here all
night asking about you.

COREAN
A guy like that asking about Evan,
oh no.

ASHIRA
Yeah, we know how she gets, right?

COREAN
Her mouth starts to water, her
nipples get hard, and her panties
damn near fall off.

ASHIRA
The girl doesn't wear panties,
Corean.

EVAN
When will you girls catch a clue?
Maybe he's one of Jimmy's coming
to get me.

ASHIRA
No, he's something else.

COREAN
Reese-san look-like he number-one
fucky-fucky. Fortune cookie says
he will love you long time.

PRINCESS
Well now, if you girls don't know
what to do with him i'd be more
than happy to...

Ashira immediately cuts into Princess's statement
interjecting her own.

ASHIRA
Sorry honey, I don't think he's
into artificial flavors.

PRINCESS
Ashira, you're too beautiful to be
such a hater, darling.

39.

Princess walks away in Reese's direction attempting to make
a pass at Reese, which he ignores.

EVAN
She is too much.

ASHIRA
Like nothing else.

EXT. MANCHESTER'S NIGHTCLUB (INSIDE CAR) - NIGHT

PIERRE
Quit babysitting, sniff and
switch.

Pierre sniffs a line of cocaine.

BIG JACK
We have to wait. He hasn't called
yet.

INT. MANCHESTER'S NIGHTCLUB - NIGHT

SHEFFIELD
What's cracking, we haven't been
properly introduced yet. The
name's Sheffield.

REESE
Alright Sheffield, Reese. This is
my friend Suitcoat.

SUITCOAT
Yeah, what he said.

SHEFFIELD
I thought your name was Monroe?

REESE
No, it's Suitcoat.

SUITCOAT
Yeah, what he said. Well, listen
gents all this milk is making me
thirsty and from what I understand
it's good for the body. Look after
my man here, Sheffield.

REESE
Where are you going?

40.

SUITCOAT
Relax, man, you're in good hands.
Enjoy the atmosphere, mingle. I'll
be around.

SHEFFIELD
Cool out, this here is our joint.
Nobody's going to fuck with you in
here, just relax.

REESE
No such thing as relaxing.

SHEFFIELD
Our friend here seems to be wound
up a bit too tight.

REESE
Maybe I'm just shy.

ASHIRA
Aw, well isn't that cute. You
don't look at all the shy type.

COREAN
Come on, Sheffield.

Corean grabs Sheffield's hand and escorts him to the dance
floor. Reese notices Zerrok, Jay-Cee, and Fat Mike who all
seem to be avoiding hanging too close to the rest of the
family. Heading towards the front entrance of the club
Zerrok makes a phone call and Jay- Cee tips off the doorman.

ASHIRA
Guess I'll join you Two.

EXT. OUTSIDE NIGHTCLUB (INSIDE PARKED CAR) - NIGHT

DANTE
It's time to move the crowd.

Car door's slam as Dante, Dedrick, Pierre, Big Joke, and two
other guys jump out of their cars.

Dante, Dedrick and the others enter the club immediately
spotting Evan in the distance.

41.

INT. MANCHESTER'S NIGHTCLUB - NIGHT

EVAN
You seem a little tense, someone
out to get you? Take my hand, let
me show you something.

Reese loses sight of Zerrok and turns his focus to Evan.
Dedrick and Pierre appear from behind them as Dedrick grabs
Evan.

DEDRICK
Hello, bright eyes. Me and the
boys want to have a talk.

EVAN
What the fuck is your problem? You
can't come up in here like this!

Reese steps in to intervene.

PIERRE
Mind Your business.

Dedrick grabs Evan, but is stripped of his piece and is
hurled across the dance floor at the feet of Ashira. Dedrick
tries to rise from a kneeled position, but is greeted with a
front snap kick rendering him unconscious. Ashira,
Sheffield, and Corean see the other opponents closing in
towards them. The club crowd, now in a panic, begins
scattering frantically in every direction.

After disarming Pieere, Reese swings the gun around at Dante
who doesn't have time to pull out his gun. Dante freezes his
motion with Reese's gun pointed directly at his face. Reese
releases the clip from his piece, as Dante watches and
begins grinning and goes for his piece, but Reese flips the
gun around and strikes Dante several times before knocking
him out. Reese searches the frantic crowd for Evan and her
captor, Dedrick.

THUG ONE
Getting in the way can be a
painful mistake, pretty girl.

Ashira strikes with a outside in crescent kick to the face,
The assailant loses his focus, and she flips him downward to
the floor while holding his leg and spins around with a
downward donkey kick to the groin area.

ASHIRA
Yeah, for you, ugly boy!

42.

Another thug grabs Ashira from behind, but the attack is cut
short, even before Ashira could counter back, by three
knives thrown into his back from Corean. Corean holds up her
blades.

COREAN
Anytime Baby girl.

Ashira turns to look at Corean and pans the club looking for
Zerrok.

ASHIRA
Where the fuck is Zerrok?

Ashira turns and runs towards Corean and Sheffield. Evan
punches Dedrick in the face.

EVAN
How was that, huh, was that rough
enough for you?

DEDRICK
Was that suppose to hurt?

EVAN
Well, if that didn't, the next one
is sure to.

DEDRICK
Is that so? Well, give your best
shot bright eyes.

Reese appears alongside Dedrick and hits him with a back
fist to the solar plexus knocking the wind out of him,
Immediately afterwards Reese follows up with a back fist to
Dedrick's chin knocking him out.

REESE
Let's get out of here.

EVAN
Anywhere with you, hero.

The last thug is trapped by Ashira, Corean, and Sheffield.

SHEFFIELD
Hey handsome.

The thug turns to face the voice and sees Sheffield. Thug
One is going for his gun, but is punched and kicked by
Ashira and then cut down to size by Corean and her blades.

43.

EXT. MANCHESTER'S NIGHTCLUB - NIGHT

Reese and Evan jump into Evan's car with Reese behind the
wheel.

INT. EVAN'S CAR - NIGHT

Reese drives away.

EVAN
So, what else can you do with
those limbs of yours? I mean are
you a lover as much as you are a
fighter?

REESE
Why don't you tell me where we're
going?

EVAN
You're the driver behind the
wheel, hero.

REESE
This is your town, don't you guys
have some place to meet in case of
emergencies? And please don't call
me hero.

EVAN
Ok, lover boy, why don't you pull
over and let me drive it'll be
much easier that way.

EXT. MANCHESTER'S NIGHTCLUB - NIGHT

ASHIRA
Where were you, Zerrok?

ZERROK
Hey, we were in the back trying to
make our way through the crowd.
Question is, where's Evan?

SHEFFIELD
Maybe she and Reese made it to the
spot.

ASHIRA
Let's go.

44.

INT. MANCHESTER'S OFFICE - DAY

ASHIRA
You wanted to see me?

MANCHESTER
Of course, my darling, don't I
always? Come, come and sit with me
here on my lap. My, how you've
grown so absolutely beautiful just
as lovely like your mother. Do you
remember how when you were younger
you thought that fish could live
and breathe outside of water? When
you were about six years of age I
bought you your first gold fish
and you pulled it from it's tank,
right before your bedtime, and
took it to bed with you. The very
next morning you came to me with
your eyes filled with tears and
your arms stretched forward with
the gold fish in the palm of your
hands and you said," father, can
you make my goldfish breathe
again, please?"

ASHIRA
How can I forget? If there's one
thing that I can count on, it's
you telling me stories from my
childhood. And no matter how much
I'm reminded, I always have the
sense that there's something
missing. Why is that, father?

MANCHESTER
I haven't the slightest, my
darling. I've always, since the
time of that event sought to your
every need. For it was at that
moment, that I decided I would
protect you from anything or
anyone that would cause you pain,
no matter the cost, nor the
sacrifice.

ASHIRA
And what about my mother?

MANCHESTER
Ashira, I...

45.

John Henry enters the room with Evan and Zerrok following
him.

JOHN HENRY
Pardon the interruption, sir.

MANCHESTER
Yes, John.

JOHN HENRY
Evan and Zerrok have arrived.

MANCHESTER
Let them in.

ZERROK
Boss Man, what's the word?

MANCHESTER
Mr. Zerrok, you tell me what is
the word. Ms. Evan, how lovely to
see you as always.

EVAN
Mr. Manchester, a pleasure as
always. Hey Ashira.

ASHIRA
Hey girl.

MANCHESTER
I hear you all had a bit of an
episode in the club the other
night. Someone care to share the
details?

EVAN
Jimmy D's remaining crew seems to
think that the family has
something to do with his recent
departure.

MANCHESTER
I see and what of this stranger
whom from what I'm to understand
saved you all from, shall we say,
biting the bullet.

ZERROK
Some new cat Evan is...

EVAN
He's a new recruit.

46.

MANCHESTER
A new recruit? Then why hasn't he
been brought to my attention? No
one joins with out my consent and
approval, you all know the rules.

ZERROK
That's not my fault, it's Evan's.
She brought him in without...

MANCHESTER
I don't care who's responsible,
Mr. Zerrok. I want him brought to
me, for he must be tested, is that
understood?

ASHIRA
We will bring him forward, but
what are we to do about Jimmy's
crew?

MANCHESTER
You may deal with them
accordingly, they are of no value
to me. That will be all for now.
Oh, Ashira, my darling.

ASHIRA
We will resume later, father.

INT. HALLWAY OUTSIDE OF MANCHESTER'S OFFICE - DAY

The other family members stand waiting. Sheffield, Corean,
Jay-Cee, and Fat Mike.

EVAN
Well, that was enlightening.

ZERROK
So, now what? What do we do about
Jimmy's crew?

EVAN
You heard the man, they've made
their last performance. No one
pulls my hair and gets away with
it.

ZERROK
Wait, maybe we should try and
negotiate an arrangement with
them.

47.

ASHIRA
No deal, Zerrok, they threatened
our lives and almost took out
Evan. Where's your head? Who's
side on you on anyway?

ZERROK
What. What do you mean by that?
I'm just trying to look out for
what could be a financial benefit
for us.

EVAN
Forget it Zerrok, if those
assholes miss Jimmy so much, they
can join him! Ashira, what do you
suppose we do about our new
friend?

ASHIRA
It's like you said before, he'll
be back.

EVAN
Well, it seems we may have to
speed up the process a little bit.

ASHIRA
Then I'll find him.

EXT. OPEN FEILD - DAY

BEGIN DREAM SEQUENCE:

The sky is cloudy. Reese is in the middle of the field and
the wind is forcefully blowing. Reese is surrounded by
strangers with lonely expressions on their faces. They move
in closer, encircling him, the scenery turns a fiery red.
The faces of the strangers become distorted and disfigured
as the strangers begin to moan and groan.

Reese attempts to fight his way through the crowd,
literally, but is hit in the head, lifted in the air, and
plunged into the earth as the ground opens up and swallows
him into hell.

END DREAM SEQUENCE.

48.

INT. REESE'S BEDROOM - NIGHT

Reese bolts up in bed in a cold sweat.

EXT. EVAN'S CAR OUTSIDE REESE'S APARTMENT - NIGHT

Ashira, Corean and Evan arrive at their destination to pick
up Reese as ordered by Boss Man (Manchester.) After making a
call to the number that should have been answered by Reese,
Ashira decides to go and check out the apartment and it's
inhabitant.

EVAN
Is this the place, looks pretty
quiet.

COREAN
I'll cover the back.

All three girls are about to step out of the car when Ashira
stops them in their tracks...

ASHIRA
I got this.

Ashira approaches the back door, only to find it partially
open. She hesitates for a moment and then pulls out her gun
(.45 with silencer.) The sound of running water like a
waterfall plays continuously in the background. passing
through the kitchen she enters the door way of the living
room to find the Reese seated on the floor, meditating.

INT. REESE'S APARTMENT - NIGHT

            ASHIRA
      (While pointing
       the gun direvtly
       at Reese)
Are you the pick up?

REESE
Do you always break into people's
homes and point loaded guns at
them?

            ASHIRA
      (Holstering her
       gun)
I didn't break in, the door was
open and the gun isn't loaded. I
thought you would have known.

49.

            REESE
      (Rising to his
       feet)
Known what?

ASHIRA
That good guys wear black.

REESE
Oh, and she comes with a sense of
humor too.

ASHIRA
Nice place you got here. You've
sure acquired quite a bit for
someone just blowing into town.

REESE
Uh-oh, looks like I spoke too
soon. Beauty and a sense of humor,
but too many questions. Where's my
privacy?

            COREAN
      (entering from the
       back door
       queitly, as Reese
       is turned at
       Ashira)
Hopefully in your pants.

            REESE
      (Slighting looking
       over his shoulder
       to face the voice
       speaking to him)
Two for the price of one, it just
doesn't get ant better than this.

            ASHIRA
      (Making a call to
       Evan who stands
       outside waiting)
We're coming out. No, no
difficulties at all.

COREAN
Time to past the test.

50.

EXT. REESE'S APARTMENT - NIGHT

Reese, Ashira, and Corean approach Evan who stands outside
the car waiting, holdong a cigarette.

EVAN
Hubba, hubba...having fun yet?

REESE
A blast,you want to tell me what
this is all about.

            EVAN
      (Places her hand
       over his chest
       delicately and
       sensually)
Relax, you're about to join the
family.

REESE
I take it that you're their
represenative.

EVAN
Our boss has set an apointment
with you and rescheduling is not
an option.

REESE
You just give me the details and
I'll deal my own options.

EVAN
I'm really starting to like you,
you're so unyeilding. Shall we?

Evan opens the door for Reese, as every one climbs into the
car to leave for the airport hanger. Ashira and Reese share
one more gaze into eachothers eyes as they enter the
vehicle.

INT. EVAN'S CAR - NIGHT

EVAN
Why don't you tell us something
about yourself?

REESE
There's nothing to tell. I was
born, I grew up, and now I'm here
with you. Yea for me.

51.

ASHIRA
Such a man of mystery.

EVAN
How's about, where you come from?

REESE
Look, I'm not much into talking
about myself, why don't we
interview you?

EVAN
Me? What's not to know about me?
I'm an open book. This is my
world.

REESE
This isn't your real world. Nah,
something's missing. This is just
where you come and play, your
wonderland, where you come to
moonlight.

EVAN
You think you've got me figured
out already, don't you?

REESE
Could I be wrong?

COREAN
They're here.

EVAN
My darling, in this land, in this
world, in this life we could all
be wrong. Why bore ourselves
waiting for answers when it's so
much more fun making up our own.

EXT. WAREHOUSE - NIGHT

Evan's car pulls up. The four of them get out just as
Manchester's limo pulls in the lot followed by Zerrok's car
containing Sheffeild, Jay-Cee, and Fat Mike.

Evan and Corean walk over to Zerrok's car as TWO HENCHMEN
climb out of the limo.

REESE
I look into the mirror, at a
reflection beyond my grasp, a body
destined to self destruct, an
(MORE)

52.

REESE (cont'd)
eternal soul submitting to last.

ASHIRA
Where did you get that?

REESE
Get what?

ASHIRA
That, That you were just reciting.
Where did that come from, where
have you read those words?

REESE
Relax, it's nothing, just
something that I made up. Why do
you ask?

ASHIRA
It can't be.

REESE
Can't be what?

ASHIRA
Brave I am consistently, but human
enough to cry. Thinking only of
what lies ahead, N' DIS LAND I
DIE.

REESE
Shea-Shea?

            EVAN
      (Evan notices
       Ashira and Reese
       are seemingly
       sharing an
       intimate moment)
Well now, aren't you two getting
cozy.

ZERROK
Follow me.

Reese follows Zerrok over to Manchester's limo. Reese
enters.

John Henry joins Reese and Manchester. Patch-Eye, the other
henchman, and the others stand nearby. Ashira now realizes
that Reese is more than just a stranger.

53.

INT. MANCHESTER'S LIMO - NIGHT

MANCHESTER
Does the smoke bother you? I know,
it's a nasty habit.

MANCHESTER
You and I have not had the
opportunity to make each others
acquantance. My name is Bill, Bill
Mnachester. You may call me Bill
if you'd like.

REESE
Ok, Bill, what happens from here?

MANCHESTER
The warehouse and hanger you've
been refered to has some property
of mine that was re-routed through
no authority of my own, however, I
want it back.

REESE
What is it?

MANCHESTER
A package that contains some
rather personal items. You are to
retrieve it and return it to me.
Obtain this package successfully
and we shall throw a celebration,
as a warm welcome to our family.

REESE
And if things don't go so well?

MANCHESTER
That's not to be considered Mr.
Dailon. You see, if you fail, your
punishment will simply take place
inside, leaving us with the memory
of having met you once.

EXT. WAREHOUSE - NIGHT

Zerrok opens the trunk of his car and reveals an arsenal of
weapons dislayed inside. Reese, Jay-Cee, and Fat Mike each
join Zerrok in selecting a weapon. Reese is hesitant about
guns, so he picks a couple of knives and a stick for
himself. Sheffield comes over and grabs an identical pair of
.45s.

54.

SHEFFIELD
(Under his breath)
I'm Sheffield, and just so that
you know, I maybe your only back
up. The only backup you can trust,
anyway.

ZERROK
Let's go girls, it's time to play.

Reese and Sheffield join Zerrok, Jay-Cee, and Fat Mike as
they make their way over to the back of the warehouse. Reese
notices a huge window above and over the bay that leads to a
drop off into the water. Jay-Cee kneels at the backdoor,
using a lock pick to gain entry.

INT. WAREHOUSE - NIGHT

The warehouse is filled with crates and boxes stacked high
up on steel shelves. Forklifts line the wall.

ZERROK
Ok, Reese, you come with me.
Sheffield and Jay-Cee, you take
the aisles to the left, Fat Mike
will keep the door.

SHEFFIELD
Hey, I'm going with Reese.

ZERROK
Shhhhh. We don't have time for
this, Sheffield. Just Go!

REESE
It's ok.

SHEFFIELD
Man, watch yourself, I'll be
keeping an eye out. Come on fool.

Reese and Zerrok move down the aisle of shelves scanning the
numbered and marked crates. Reese remains unclear of what
exactly he should be looking for.

REESE
What exactly are we looking for?

55.

ZERROK
Don't worry about that, it's my
job to locate it, your job is to
get it out. Just keep your eyes
peeled.

REESE
This thing might move a little
faster if we both had an idea of
what to look for, wouldn't you
agree?

SHEFFIELD
Hey, you mind getting off my ass!
I know we're supposed to stick
close, but goddamn, do you have to
have your nose in my ass?

JAY-CEE
Man, would you shut up! You're
going to get us both killed with
that mouth of yours. Just look for
the damn box!

SHEFFIELD
You look for it.

Suddenly voices of men are heard.

ZERROK
This is it.

Zerrok ducks behind one stack of crates and slowly tries to
seperate himself from Reese, who loses sight of Zerrok as he
also ducks away. They watch as several men walk down the
aisle and past their hiding position. One guard hesitates
for a moment, thinking that he saw something move. He
disregards it and continues on with the other men. Sheffield
and Jay-Cee hear the men coming in their direction, so they
scurry to find hiding places. Sheffield kneels down and
slowly tries to ease over in the direction to where Reese
and Zerrok began their search. Reese sees Sheffield as he is
about to bump directly into a guard. Reese tries to give
Sheffield a hand signal, but Sheffield can't make out the
gesture from the poor lighting around the aisles.

REESE
The other way. Look behind you,
behind you!

SHEFFIELD
What? What? That way, this way.
That way or this way? Why don't
you come this way, come this way.
(MORE)

56.

SHEFFIELD (cont'd)
Oops.

REESE
Uh-oh.

The guard grabs Sheffield, unaware that Sheffield has a gun.
Sheffield spins around, smashing the guard in the face with
the butt of the gun.

SHEFFIELD
Someone ordered Take out?

The other guards and workers nearby hear the commotion and
run in that direction.

REESE
Dammit, Sheffield, you sure know
how to crank up a party.

Zerrok, Jay-Cee, and Fat Mike ease their way out the back
door. Fat Mike pours gas down all around the door and
ignited it with flames, leaving Reese and Sheffield to find
an alternate exit. A guard charges Reese who spins out of
the way, leaving the man to go head to head with a stack of
crates. Several men run towards Reese and Sheffield. Reese
whips out his knives, cutting three men down to size with
almost one single motion. Sheffield goes wild, shooting in
every direction, picking some of the men off, while others
jump out of range. One of Sheffield's bullets hit a utility
box, setting off a small explosion which sparked a fire.

REESE
We have to get back to the door,
which way is it?

SHEFFIELD
Over there! No, it's that way!
Where's Zerrok?

REESE
I lost him! What about Jay-Cee?

SHEFFIELD
They gave us the slip, man! We've
been had!

REESE
You mean, they set us up?

SHEFFIELD
I told you, I was the only one you
could trust, didn't I?

57.

REESE
Let's go this way.

Having gotten confused about the direction of the back dooor
from which they came through, along with the overwhelming
number of guards and workers they have fought their way
through and flames spreading all around them. Reese has a
hunch to take a flight of stairs, which he thinks will lead
up to the window he noticed before they came in. The fire
spreads rapidly fueled by the ample supply of wooden crates
and papered packages that make up the bonded warehouse.

SHEFFIELD
Where are you going, we didn't
come down any stairs!

REESE
Just follow me, I know another way
out.

Sheffield gets tackled by a couple of men who were able to
catch him off guard. Reese stops in his tracks realizing
that his friend is in trouble and out of sight, as the smoke
makes it almost impossible to see clearly. Three men hold
Sheffield hostage, two hold him still as the third punches
him.

GUARD ONE
We've got your buddy down here
with us. I suggest you surrender
or we're going to tear him apart.

Reese sneaks up behind the guards that are beating up
Sheffield.

REESE
You guys looking for me?

Reese overpowers the guards with a series of quick punches
and roundhouse kicks. When all the guards are laying on the
ground Reese reaches a hand to pull Sheffiels up. Sheffield
kicks one of the guards in the ribs.

SHEFFIELD
Lucky for you guys my partner
showed up, before I got really
mad!

EXT. WAREHOUSE - NIGHT

EVAN
Ashira, wait!

58.

ASHIRA
Don't try and stop me, Evan.

Ashira rushes off towards the hanger, she pauses and looks
back at the limo to see Manchester dropping a cigar ash out
from the window. Ashira continues off arriving at the
entrance, she immediately works her way through the pounding
guards who show up along her path until she finds Reese.

Ashira finds Reese and stands with her back towards his.

REESE
What are you doing here?

ASHIRA
Oh no, you're not getting away
from me this time and if anyone's
going to have your ass it's going
to be me.

While back to back they simultaneously crescent kick two
gaurds, one each in front of the other. Reese and Ashira
find Sheffield as they fight their towards the back exit.
They make it out just as the entire place becomes an
inferno. Music plays in the background, Phil Collins, "I can
feel it coming in the air tonight." Reese and Ashira carry
Sheffield back towards the others, while Manchester's limo
pulls away followed by John Henry and Patch-Eye.

INT. MANCHESTER'S NIGHTCLUB RESTAURANT - NIGHT

The members of the family celebrate at a large table in a
corner of the nightclub.

Sheffield and Corean sit near Reese. Zerrok turns to Reese.

ZERROK
Hey man, I thought I was going tp
have to fall up in that place and
drag you out of there! But once
that place went up in
flames..well..you know..I..uh...

REESE
Actually I don't know. You're
going to have to tell me about it
sometime.

The rest of the family laughs.

59.

EVAN
Reese is a big boy. He can take
care of himself.

Evan sits on his lap.

EVAN (cont'd)
I've seen him in action.

Ashira watches quietly as she traces a finger around the rim
of her glass.

ZERROK
Old Reese here almost fucked up,
but I got to admit, you...

ASHIRA
Zerrok, shut up!

Zerrok glances at Ashira, leans drunkenly in his seat and
lifts up his glass.

EVAN
It's time to eat! Enough of the
bullshit!

COREAN
Damn, Evan! Can you keep your legs
closed until after dinner?

ASHIRA
Don't mind Evan, Corean. She's
just using her assests to create
some sense of adventure. After
all, Evan likes to live on the
edge.

Evan stares at Reese with a wolfish gaze.

Evan attemps to kiss Reese, but Reese declines by rising
from his chair and exiting the room. Ashira watches,
swallows the last of her drink then stands up from the table
and goes after Reese.

Evan laughs, drunkenly, as Ashira exits the room.

EXT. MANCHESTERS NIGHTCLUB - NIGHT

Ashira finds Reese feeding the fish.

60.

ASHIRA
You know for some reason, I'm not
quite sure as to why yet, but I
find myself intrigued with your
presence, even impressed somewhat.

REESE
And you don't know why?

ASHIRA
I just know you're not like the
rest of us.

REESE
Oh, how so?

            ASHIRA
      (Gazing deeply
       into Reese's eyes)
I've got a keen sense about these
things. You're on a mission,
searching for something.

REESE
Searching, huh, searching for
what?

Ashira comforts herself into Reese's arms and emerges
herself into his chest, just like a newborn would snuggle
itself onto its mother's bosom to feel safe and warm.

ASHIRA
Me.

REESE
I uh, I...

ASHIRA
You can't deny this, you can't
deny this very moment right here,
right now, you can't deny us.

Their warm embrace is now joined with a passionate kiss.

A match lights to ignite a cigarette in the distance. Evan
watches from the darkness.

INT. MANCHESTER'S OFFICE - NIGHT

Camera shoots from behind Manchester's big office chair,
over the shoulder shot of John Henry and showing
Manchester's hand holding a cigar.

61.

MANCHESTER
What do you thing of our protege,
John?

JOHN HENRY
I think he is to suffer the same
fate as his father, Detective
Dailon.

MANCHESTER
You're quite right, John, you're
quite right, but in due time. For
now let's just see how entertaing
he'll be to us.

JOHN HENRY
As you wish sir.

Manchester laughes fiendishly.

INT. REESE'S CAR - DAY

Reese slows his car and peers through the driver side window
and sees the large main building of a hospital. Reese parks
and goes into the hospital.

INT. HOSPITAL - DAY

Reese walks into the hospital lobby and spots Ashira getting
on the elevator. The elevator door closes. An orderly on the
elevator reaches for the botton panel in the elevator as
Reese gets close to the closing door.

ORDERLY
What floor?

ASHIRA
Seven.

Reese looks around the hospital and spots a door marked
stairs nearby. Reese goes towards the door.

INT. HOSPITAL, SEVENTH FLOOR - DAY

Reese enters the seventh floor corridor from the stairwell.
A few nurses, doctors, and patients move through the
corridor.

62.

He moves down the hall and sees that all of the doors to the
patient's rooms are closed. He keeps moving down the hall
until he spots one door open.

He moves closer and peeks in.

Ashira stands next to a bed staring down at an older black
woman.

Reese steps in.

Ashira continues to stare down at the woman when Reese
approaches from behind.

He sees that Ashira holds the woman's lifeless hand.

Plastic tubes snake from the woman's mouth, nostrils, and
various bags that expand and contract the woman's soft
breathing. Wires are taped to the woman's forehead and
disappear beneath the woman's bed dress. Strange,
modern-looking monitors take readings on the carts next to
the bed.

Ashira continues to look down at the woman.

ASHIRA
It's been 13 months, 3 weeks, 4
days, and 16 hours since i found
her in a back alley comatosed from
heroin poisoining.

REESE
Who is she?

            ASHIRA
      (she washes the
       woman's face with
       cool damp cloth.)
Don't know, i just come to check
up on her from time to time. She
reminds me of my mother, somehow.

REESE
And her family, do you know them?

ASHIRA
Couldn't tell, no-one has stepped
up to the plate since i brought
her here.
The world we live in, huh?

Reese only listens to the small beeps of machinery and noise
of breathing through the hidden speakers.

63.

She turns to face him with a single tear trailing down her
cheek.

            REESE
      (almost teary-eyed
       himself.)
It's nice of you.

            ASHIRA
      (now washing the
       woman's hands.)
Yeah nice.

EXT. PARK - DAY

Reese and Ashira walk through the park.

ASHIRA
I was too young to understand what
was happening. I heard stories
though. Rumors claiming that my
father and Manchester were once
partners until a disagreement
created bad blood between the two.
My father was said to have
disappeared.

REESE
Disagreement over what?

ASHIRA
I don't know, but whatever it was
it slowly began to eat away at my
mother after my father
disappeared.

Ashira stops to watch a group of kids playing tag as two
woman watch over them.

ASHIRA (cont'd)
She started drinking. I would hear
the arguments my mother and
Manchester would have at night.

REESE
Whoa. Manchester?

ASHIRA
He loves her.

Ashira sits on a park bench.

64.

ASHIRA (cont'd)
He was good to us and before I
realized what he was into I was
caught up and so was my mother.
She started on the liquor, then on
the coke, and then on the heroin.

Ashira fights back another tear.

ASHIRA (cont'd)
It was as if she was guilty of
something, trying to bury some
sorrow or regret or some secret.

Reese kneels in front of her.

REESE
I'm sorry, I had no idea, but
you're not responsible Ashira and
this doesn't obligate you to Boss
Man.

ASHIRA
What do you know about
obligations?

Ashira stands and walks to the shade of a tree several feet
away. Reese walks over to her, pauses, then gently touches
her arm.

REESE
I lost my father when I was
twelve. Two years after that I
lost my mother to cancer. Look,
I'm not your enemy

Ashira and Reese look into eachother's eyes and then Ashira
smiles. Reese pulls her close and they embrace.

INT. MANCHESTER'S OFFICE - NIGHT

Manchester a.k.a. Boss Man, is corresponding with his secret
contact. Cigar smoke fills a dimly lit room. View is of
computer screen as Manchester has conversation on-line.

CONTACT
Are the funds in place to secure
the consignment?

MANCHESTER
Let me assure you that everything
will be in order and on schedule.

65.

CONTACT
Let me remind you that time is of
the essence. Our government will
not hesitate in seizing the
consignment upon it's discovery,
therefore we cannot afford anymore
delays.

MANCHESTER
Do not worry my friend, everything
will proceed as planned I
guarantee it.

INT. SENATOR JOHNSON'S HOME DINING ROOM - DAY

SENATOR JOHNSON
Evan you and your friends are
beginning to worry me. Just how
much parting can a group partake
in anyway? Last week there was a
party, last night there was a
party and tonight. Just what are
you into, little girl?

Evan saunters into the room in a jaw dropping outfit.

EVAN
Well, daddy, if you must know I'm
into organized crime or even
better I'm a secret goverment
agent. And if i were to disclose
any parts of my assignment to you,
I'd have to kill you. Seriously
daddy, you really need to lighten
up. I know I'm still your little
girl, but to the rest of the world
I'm a full fledged woman and like
most woman our primary job is to
keep you men guessing.

SENATOR JOHNSON
Yep, you've definitely reached
woman status with that kind of
talk. However, that doesn't stop
me from worrying, although you've
got a top ranking contender for a
friend.

EVAN
Now, daddy, don't start. Ashira is
a nice girl, a sweet girl.

66.

SENATOR JOHNSON
Well, if you don't want me to talk
about her, tell her to stop
punching on me whenever she comes
around. What does she do, sit at
home all day watching Rocky? Is
she a boxing fan?

EVAN
Ok, daddy, I'll make you a deal.
Let me borrow your credit card and
I'll ask Ashira to lighten up on
the punches.

SENATOR JOHNSON
What is this, a stick up? I'm
being hustled by my own little
girl. With a scam like that, you
may want to consider a career in
politics.

EVAN
Thanks, daddy, I've got to run. I
have to catch Ashira before she
decides to come in and take you
for a few rounds.

SENATOR JOHNSON
Yes, please go, and tell that
friend of yours that I intend to
sign her up with the golden
gloves.

EXT. BAR - NIGHT

A dark stretched limo pulls up in front of a bar. John Henry
climbs out from the passenger side. The driver and another
passenger climb out. One walks over to the sidewalk and
stands there on guard, while the other accompanies John
Henry inside the bar.

INT. BAR - NIGHT

John stands just inside the entrance, spots a booth and
walks to it.

JOHN HENRY
You're on time, Mr. Manchester
will appreciate that. Do you have
the installment?

67.

RAY WILLIAMS
It's all there.

Ray discreetly pulls out a briefcase filled with cash.

JOHN HENRY
Of course.

RAY WILLIAMS
Do I get a reciept?

JOHN HENRY
You will be contacted.

RAY WILLIAMS
Oh, I'm sure. You better leave
first, wouldn't want anyone to
think we're lovers.

JOHN HENRY
No. I guess we wouldn't want that,
now would we? You're a funny man,
Mr. Diamond.

EXT. REESE'S APARTMENT - NIGHT

Reese, Evan, Sheffield and Corean arrive at Reese's
apartment. Sheffield gets ahead of the group using Reese's
keys to enter before anyone else.

COREAN
I think he said to wait a minute.

EVAN
Wait for what, a cab? We're here.

COREAN
I think he's trying to surprise
me.

REESE
He said what? Your just as drunk
as he is! Come on, we'll find him.

INT. REESE'S APARTMENT - NIGHT

They enter the dark apartment. Reese struggles for the light
switch.

Corean closes the door behind her.

68.

COREAN
What is that smell?

EVAN
Maybe it's that surprise you were
talking about.

REESE
Somebody find a light switch.

COREAN
Fuck that! Find out what died in
here!

EVAN
It's Sheffield. Maybe we waited
too long to come in and he died.

They stumble through the dark living room. A small table and
lamp crashes to the floor as Reese knocked them over.

INT. REESE'S APARTMENT - HALLWAY - DAY

EVAN (cont'd)
Here's a switch.

The light comes on and they all stand in the doorway of the
guest bathroom.

INT. REESE'S APARTMENT - BATHROOM - NIGHT

Sheffield sits on the toilet, his pants down to his ankles,
and half-asleep.

REESE/EVAN/COREAN
Oooh, shit!

Reese covers his nose. He walks over, detaches the tissue
holder and gives it to Corean who also holds her nose.

Sheffield looks up his eyes half alert, but upset.

REESE
I guess you've got some cleaning
up to do.

SHEFFIELD
Say man, don't start trippin' and
shit!

69.

INT. REESE'S BEDROOM - NIGHT

Reese and Evan stagger into his bedroom as they kiss and
undress each other.

Reese snatches off his socks, falls back onto the bed and
pulls down his pants.

EVAN
Time to continue where we left
off.

Evan pulls Reese's pants from around his ankles and then
undresses herself down to her bra and panties. She attempts
to remove Reese's underwear.

Evan looks up as she hears Reese snoring and realizes that
he has passed out

EVAN (cont'd)
No!!!!

She plops down on the bed in disappointment.

EXT. PARKING LOT - DAY

Reese's makes a drug delivery to a high end client.

EXT. COLLAGE CAMPUS - DAY

Reese extorts collage students.

INT. FAMILY'S CLUBHOUSE - NIGHT

Reese, Ashira, Evan, Corean, Zerrok, Sheffeild, Jay-Cee, Fat
Mike,and four Clubhouse girls. Evan and Ashira are vying for
Reses's attention. Corean and Sheffeild dance, Fat Mike
eats. Zerrok and Jay-Cee are drinking. Zerrok plays with his
lighter and watches Evan carefully as a couple of girls hang
on them.

INT. MANCHESTER'S CLUB OFFICE - NIGHT

Reese collects money from Manchester.

70.

EXT. WEST END - NIGHT

The west end area is crowded with friday night tourists and
locals visiting the restuarants and shops. A local country
and western band plays in the plaza area outside the 4-story
mall.

INT. WEST END MALL FOURTH LEVEL - NIGHT

Zerrok, Evan, Reese, Ashira, and Fat Mike sit at one table.
Dante, Jay-Cee, Sheffield, and Corean sit at another table.

EVAN
So, Zerrok, why the hell are we
here? I could be out having a
little fun.

Evan smiles and leans against Reese.

ZERROK
It's Jimmy D's boys. They want a
truce.

EVAN
Fuck a truce!

ZERROK
Hear me out! Everything was cool
until Jimmy D rerouted that
shipment...

EVAN
Ya damn skippy! Jimmy D fucked up!
Before that we controlled the
college, the park, and Deep Ellum.
They had everything else.
Oakcliff, the rails, the west
end...

Evan looks around at the family.

EVAN (cont'd)
...now, thanks to Jimmy D, we have
it all.

The rest of the family claps and whoops it up in agreement.

Ashira only nods. Reese sits quietly.

EVAN (cont'd)
Jimmy D's boys can straighten up
and fly right or get the fuck off
our plane. We are the family and
(MORE)

71.

EVAN (cont'd)
momma has spoken.

Zerrok sits uncomfortably as the others cheer some more.

ZERROK
Then what about the truce?

COREAN
What truce?

EVAN
You called a truce?

ASHIRA
What..they're are coming here?

Zerrok doesn't say anything. He glances around the groups of
people moving around the food court.

Evan stares at him, then leads towards him.

EVAN
You can be a dumb mutha-fucka,
Zerrok.

Evan turns to the group.

EVAN (cont'd)
Dante and Fat Mike, ya'll get set.
Corean and Sheffield, the theatre.
Jay-Cee, the elevator. Remember,
no guns!

The family members move to their positions.

Evan turns back to Zerrok.

EVAN (cont'd)
How much time we got?

INT. WEST END MALL ESCALATOR - NIGHT

Dedrick and Pierre ride the escalator up to the fourth
level.

INT. WEST END MALL FOURTH LEVEL - NIGHT

Dedrick and Pierre scan the food court and spot the family.
They glance warily around as they arrive at the table.

72.

Evan and Zerrok sit on one side of the table. Reese and
Ashira sit nearby casually.

Dedrick and Pierre sit down across from Zerrok and Evan.

EVAN
Dedrick.

DEDRICK
Evan.

EVAN
Pierre.

PIERRE
Evan.

They all sit quietly for a moment. Pierre and Dedrick both
glance over at Reese and Ashira who appear to only be
intrested in the slices of pizza in front of them.

EVAN
Where's the rest of your crew?

PIERRE
Around.

Dedrick nods.

DEDRICK
Around.

EVAN
Zerrok tells me you're intrested
in a truce.

Zerrok barely nods when Dedrick and Pierre glance at him.
Dedrick clears his throat.

DEDRICK
Yeah, a truce. We'd like to get
things back to normal...

EVAN
Back to normal? As in...

PIERRE
What we mean is, we can go back to
running our areas. Take over where
Jimmy D left off...

73.

EVAN
Jimmy D left off trying to fuck
over Boss Man, then he got blown
off.

Dedrick becomes irritated.

DEDRICK
Look, we only want things to go
back to where they were. You could
talk to Boss Man for us.

EVAN
That night at the club, what were
you going to do to me?

DEDRICK
What?

ZERROK
Evan...

Evan holds up her hand stopping Zerrok from uttering another
word. She leans forward and looks intensely from Dedrick to
Pierre, then back to Dedrick.

EVAN
If the family had not been there,
where would you have taken me?
What would you have done to me?
(beat) Ashira!

Ashira looks up at her friend.

EVAN (cont'd)
Shoot him in the dick if he
doesn't answer me.

Ashira glances at Reese who stares back.

Underneath their table, Ashira adjusts the aim of her 9 mm
pistol.

Pierre visibly flinches while Dedrick looks at Zerrok.

DEDRICK
You set us up, Zerrok!

EVAN
Fuck Zerrok! Pay attention to me!
Now answer the question1 What did
you plan to do to me? (beat)
Ashira make him answer me!

74.

PIERRE
Alright! Alright! Alright!

A cop glances over at them as he walks by. They look around
casually. The cop glances at each of them, then continues
walking.

DEDRICK
We don't know what we would've
done. Boss Man just killed Jimmy
D. We were fuckin' mad! You can't
really blame us for that, can you?

EVAN
Why should that matter to me?

PIERRE
What?

Evan casually shrugs her shoulders.

EVAN
Your man, Jimmy D, got greedy and
fucked you up. You should pick
your friends better.

DEDRICK
Aw, you bitch.

Dedrick snatches out his gun and aims it at Evan, as Zerrok
dives for the floor.

Reese pins Dedrick's gun to the table with his finger
blocking the trigger. Dedrick tries to wrestle the gun away,
but Reese is too strong. Evan laughs as they struggle.

REESE
No shooting!

Reese turns to Ashira.

REESE (cont'd)
Find a quiet exit.

Reese looks up at Pierre.

REESE (cont'd)
I suggest you leave.

Pierre springs from his seat and runs out of there.

Reese kicks the chair from under Dedrick. Dedrick drops to
the floor with a loud bang.

75.

Reese pockets the gun, reaches down and snatches Dedrick to
his feet.

REESE
Leave in peace or in pieces, my
friend, your choice.

Dedrick looks at Reese with a grin.

DEDRICK
It's not over... yet!

Reese looks up in time to see the cop approaching the area.

Evan becomes serious.

EVAN
Everybody, chill!

The cop reaches for his gun and draws it as he gets closer.

Reese shoves Dedrick to the side and dives at Evan as the
cop shoots.

Bullets chew up the furniture as the family scatters and
diving for cover. Reese and Evan roll on the floor.

Zerrok dives over the back of the booth and crashes into a
table on the other side.

People scream, dive for cover or run for safety in the
shops.

The cop walks over to Reese and Evan. Reese kicks a chair at
the cop who sidesteps and avoids the chair. Reese launches
the table at the cop. The cop and the table crash to the
floor.

Reese grabs Evan's hand.

REESE
Come on!!

Reese and Evan run past the cop who is scrambling for his
gun. Reese spots Ashira who is pointing to a wide corridor
that leads to other shops.

INT. WEST END MALL CORRIDOR - NIGHT

Ashira, Evan, and Reese run down the corridor to an art
gallery.

76.

INT. GALLERY WEST END MALL - NIGHT

The gallery owner, 45, short, bald, and pudgy stands frozen
in his tracks, fearing that they may come in.

GALLERY OWNER
Take anything you want! Please
don't hurt me!

ASHIRA
Where's the fire escape?

The gallery owner points to the back area of the shop.

They run to a sign marked "FIRE ESCAPE ONLY" and push
through the door.

EXT. FIRE ESCAPE - NIGHT

The door swings open, setting off the fire alarm. Ashira and
Evan step out onto the fire escape. Reese leans through the
door.

REESE
Get out of here! Find the rest of
the family!

EVAN
I'm not leaving without...

REESE
Go!!!

Ashira shares a look with Reese.

Evan turns and heads down the fire escape. Ashira follows.

Reese closes the door as the cop charges him. He slams Reese
into the wall, knocking the wind out of him.

COP
I would read you your rights, but
dead men don't have any.

REESE
You're right! I'll tell you
something else dead men don't
have.

COP
And what's that , bright boy?

77.

REESE
Badges.

Reese holds up the badge he removed from the cop's uniform.
The cop moves in fast and furiously. Reese dodges and ducks
his baton, and blocks his swing. The cop steps back.

COP
You got some nice moves, but I got
better ones.

The cop moves in again and Reese moves through a series of
combinations and the cop loses his baton.

His last kick sends the cop crashing through the exit doors
and out onto the fire escape.

The cop bangs against the rail, almost going over. He
catches himself, regains his balance, pulls out his gun,
spins, and aims at Reese.

Reese ducks the shoot, moves in with a series of punches and
flips the cop over the rail.

The cop screams as he falls, shooting back at Reese.

Reese dodges the bulltes as the cop plummets four floors and
falls into a trash bin of metal and glass display fixtures.

INT. CLOTHING STORE - DAY

Reese shops for expensive hot new clothes and shoes.

INT. ASHIRA'S HOUSE - NIGHT

Reese and Ashira share a candelight dinner complete with
wine and roses.

EXT. FLOWER GARDEN - DAY

Reese and Ashira walk hand in hand enjoying the sites.

INT. REESE'S BEDROOM - NIGHT

Reese and Ashira make love.

78.

EXT. PARKING GARAGE - NIGHT

Reese arrives to find Ray Williams and Samone, Reese's old
babysitter, waiting. Samone walks over to Reese and embraces
him, as if lost siblings seperated at birth reunited once
again.

REESE
Samone.

SAMONE/HONEY
I've missed you so much. How are
you? Look at you all grown and
handsome. No more bedtime stories
for you, huh?

REESE
No more hiding your purse under my
pillow at night, just for one more
kiss goodnight before you went
home. You always were a knockout.
It's been a long time, Samone.

RAY WILLIAMS
Okay, enough of the teary eyed
moment. We don't have alot of
time.

SAMONE/HONEY
Just wait a minute. When this is
over we catch up, deal?

REESE
You got it.

Samone gets in her car, starts the engine and drives off.

RAY WILLIAMS
Listen, I don't know what's going
on with you lately, but it seems
as if you're starting to get a
little too deep in this thing,
don't you think?

REESE
What do you expect Ray? You're the
one who pulled me into this
operation.

RAY WILLIAMS
I don't know what to think and
niether does Johnson. You remember
him, don't you? The senator who is
paying you for the who's, what's,
(MORE)

79.

RAY WILLIAMS (cont'd)
and when's about his daughter's
activities. Niether he or I have
heard anything from you. It's been
a couple of weeks. I pulled you in
to keep an eye on Evan.

REESE
That's right, but what you didn't
tell me was that Evan was involved
with them.

RAY WILLIAMS
Them? You said them. What them?

REESE
Them, Ray, Manchester. The people
who had my father murdered, Ray!
The one responsible for you
sending me and my mother away. The
assholes who have basically fucked
my life.

RAY WILLIAMS
Okay, man, calm down. You're
right. I'm sorry I got you in
this, but I had no idea about
Evan's involvement. (beat) That's
it!

REESE
What?

RAY WILLIAMS
He couldn't have one of us
protecting Evan because it would
come out. He would be exposed, of
course, he was the other partner!

REESE
What? Who?

RAY WILLIAMS
Oh no, no, no, no, that bastard!

REESE
Johnson?

RAY WILLIAMS
All these years, I trusted him.

REESE
That means...

80.

RAY WILLIAMS
Your father, your mother, he knew,
he's always known.

They sit down and stare in silence.

REESE
What happens now?

RAY WILLIAMS
(sighing)
We bring them down. You're going
to have to keep playing your part
and continue watching Evan.
Meanwhile, there's this shipment
coming in. You know about that?

Reese shakes his head no.

RAY WILLIAMS (cont'd)
Well, you will and when you do
you'll know that's when we make
our move.

REESE
Doesn't sound like much of a plan.

RAY WILLIAMS
No time for planning, we
improvise. You just follow my
lead, Reese.

REESE
Yeah.

RAY WILLIAMS
We'll get them, trust me on that.

EXT. CONCERT HALL - NIGHT

A BLUES BAND is playing. Reese, Evan, Sheffield, and Corean
sit in one row. On the next row Zerrok, Ashira, Jay-Cee, and
Dante sit. Evan leans close to Reese and whispers into his
ear.

EVAN
You've been very quiet tonight,
What's crawled up your ass?

Reese shakes his head and continues to listen to the band.
Zerrok's cell phone rings and he answers it. After a moment,
he stands and makes his way down the isle he walks to the

81.

exit.

Evan looks up at Ashira.

INT. WOMAN'S RESTROOM - NIGHT

Evan Puts on lipstick, while Ashira stands nearby.

EVAN
Everybody's trippin' tonight.
Except for Sheffield and Corean.
Zerrok's been a fool ever since we
met Reese.

ASHIRA
Zerrok was born a fool. Don't
blame that on Reese.

EVAN
I'm saying, Reese is in a mood
tonight too. What's your problem?
I know girl, someone will come
along. I wasn't getting any until
Reese. He didn't come through
until after a couple of weeks and
know I'm getting it like, whoa.

Evan checks her lipstick.

ASHIRA
I'm thinking about leaving the
family, Evan.

Evan looks at her friend.

EVAN
No!!

ASHIRA
Excuse me?!

EVAN
I mean, you're my girl. You and I
are in this together. Blood in,
blood out, remember? Besides, you
don't leave the family, Ashira,
you know that. My world is
perfect, I got my man, my best
friend who always got my back, my
family, and my pops. Why would you
want to mess that up, huh?

82.

Ashira shakes her head.

ASHIRA
What, are you gangstar now, Evan?
Miss high society, bitch please,
wake the fuck up! It's not about
your world, Evan. It never was and
I'm getting tired.

Evan studies her friend's face for a moment.

EVAN
Look, Shea, you're my girl, right?

Ashira hesitates.

ASHIRA
(sarcastically)
Right, blood in, blood out.

Evan puts her fist out for Ashira to give her some dap.
Ashira just looks at her then turns to exit the bathroom.

EVAN
Ashira.

Evan follows out behind her.

EXT. CONCERT HALL - NIGHT

Ashira glances at Reese as she walks by. Evan goes to Zerrok
and nods her head to him.

ZERROK
Okay, troops, listen up. Boss man,
says the job goes down right here
right now.

Zerrok discretely pulls out a vial filled with a strange
fluid.

The family exchange glances.

EVAN
Not to worry, once they finish the
last song and the audience is in
an emotional frenzy cheering for
an encore, Zerrok will cast the
unsuspecting vial into the crowd
where the secondary container can
be trampled causing the contents
to go airborne and inhaled within
(MORE)

83.

EVAN (cont'd)
sixty seconds.

ASHIRA
Why wasn't I made aware of this?

EVAN
Ashira, relax it's cool ok, we'll
have plenty of time to evacuate
the facility before the gas can
take full effect.
He thought you might become a
little, humanitarian. That's why
Zerrok and myself were handed the
job to carry out this portion of
the plan.

Ashira shakes her head.

ASHIRA
Without consulting with me?

Ashira glares at Evan and Zerrok then starts off down the
isles. Reese takes off after her while the rest of the
family remains seated.

Zerrok grabs Reese's arm. Reese glares down at Zerrok's
hand, then up at Zerrok.

Reese continues after Ashira. Sheffield watches Reese leave,
then looks at Zerrok.

SHEFFIELD
Man, he was gonna whoop yo' ass!

Sheffield mimics a thrusting kung-fu jab and pulls out a
human heart. He makes a human heart beating noise in his
throat.

Zerrok glares at him.

Ashira walks towards the parking lot, Reese catches up.

REESE
Yo, Ashira! Ashira!

Ashira keeps walking until he grabs her arm.

REESE (cont'd)
Hey, wait up!

ASHIRA
Let me go!

84.

Reese lets her arm go.

REESE
I need to know what's in that
vial, and what this plan is all
about.

ASHIRA
Ask Zerrok, or even better Evan.

Ashira pushes him back.

Reese locks her wrist and pulls her to a stop.

INT. SENATOR JOHNSON'S OFFICE - NIGHT

The Senator hangs up his phone and goes to the bar. He
starts to fix a drink when he sees a framed photo of Evan
nearby. He picks it up and stars at it for a minute.

He puts the photo down, glances at his watch, then goes to
his desk.

He uses a small key to unlock the cabinet drawers, reaches
in and removes a metal gun case. Inside, in molded foam
rubber, is his handgun and ammo. He briefly reflects on the
momemt when this gun was given to him from Manchester as a
gift in commencement of their partnership.
He fills the gun with ammo and puts on his gun holster.
Just then someone enters the room, it's Williams.

RAY WILLIAMS
Senator this had better be good.

SENATOR JOHNSON
Williams, my old buddy, my old
pal, come, sit and have a drink
with me.

RAY WILLIAMS
No time for drinks Senator, i'm on
the move, talk to me.

SENATOR JOHNSON
You hear that Marcus, he says that
he don't have time. Marcus says
nonsense, you've got time to sit
and have a drink with a couple of
old buds.

Johnson pulls out a picture frame showing an old picture of
Johnson, Williams, and Marcus Dailon on each saddled on a

85.

horse out on a ranch. Williams goes over to the bar and
pours himself a drink, in regret to hear something he had
suspected for a long time now.

RAY WILLIAMS
You know the one thing that gets
me about friendship?
It romances the memory, because in
the end that's all you end up
with.

Ray turns to face Johnson simultaneously pointing his
alternate weapon at him, but becomes frozen in place at the
glimpse of the handgun now sitting on Johnson's desk.

SENATOR JOHNSON
I'm way ahead of you, my friend.
Just one request, Williams, if i
may. My little girl, my little
babygirl.

RAY WILLIAMS
Request, motherfucker, what
request? What is it with your
kind huh, to have a nation and
it's people entrust you with their
livelihood and wellbeing when all
along you all are just looking to
fatten your bank accounts, but
it's never enough, huh? The
houses, the ranches, the yachts,
the islands, making the rules to
break the rules. It's still never
enough. Well, i got news for you
Carl, that little girl of yours
may not be as innocent as you
think she is, in fact, i think you
both have something in common or
someone in common. So, you can go
ahead and meet your fate an the
end of the barrel like the coward
you are and leave miss sweet,
innocent little Evan to deal with
the mess you created or your sorry
ass can stand up be a father and
the kind of politician you've
always claimed to be.

Johnson drops from behind his desk down to his knees
directly before Williams, taking Williams' gun hand directly
to his own forehead.

86.

            SENATOR JOHNSON
      (drunk and
       slurring his
       words)
Ray, you can do anything you want
with me, but you've got to save my
little girl. I know I'm a piece
of shit, but not my little
babygirl.

Williams snatches his hand away from Johnson, walks over to
Johnson's desk and picks up the phone reciever.

            RAY WILLIAMS
      (pointing the
       phone at Johnson)
Make the call...

EXT. CONCERT HALL PARKING LOT - NIGHT

REESE
You want to talk.

ASHIRA
Who are you? What are you up to?

REESE
What?!

ASHIRA
Why are you here?

REESE
Whoa! Where is this going?

ASHIRA
That day you followed me to the
hospital, do you remember what you
said?

REESE
Why don't you just remind me. I'm
sure there's something specific.

ASHIRA
You told me that I wasn't
obligated to them, that I could
get out. I thought you were going
to show me how. I thought you
cared and that maybe you were
different.

87.

REESE
And now I don't care because I
won't walk away, is that it? It's
not that simple.

ASHIRA
Yes, it is. I'ts very simple. We
just walk away. We pack our shit,
board a plane or a bus and we just
leave.

REESE
You don't seem to understand what
this is all about.

ASHIRA
It's about me and you, that's what
it's all about!

REESE
This is about more than just you
and me.

ASHIRA
Then tell me, Reese.

REESE
Okay, you want to know? It's about
waking up in the middle of the
night in a cold sweat, asking
yourself the same questions over
and over. "Why?" It's about some
fucking closure!

ASHIRA
What closure? What are you hiding,
Reese? What are you after?

REESE
Something happened in my life. Can
we get off me for a minute?

ASHIRA
The announcement of that shipment
has got you all shook up and I
want to know why!

REESE
Or maybe you're the one who's
hiding something!

ASHIRA
I'm not your enemy, Reese.

88.

REESE
And I'm not yours.

ASHIRA
Then let me in, Reese, let me in.

Ashira kisses Reese tenderly.

REESE
What about the shipment?

Ashira stares into Reese's eyes for a moment.

ASHIRA
It's about transmitters Reese,
coded microchips that can be
injected into the body without
detection from the host or the
common medical facility.

REESE
I don't get it, microchips, what
the hell for?

ASHIRA
The microchips tie into a massive
mainframe that would keep track of
everyone and everything they do.
Big Brother is in trouble and is
in need for different security
measures, so they say.

REESE
It still doesn't make any sense.
How does this connect to Boss Man
and his operation?

ASHIRA
You have to think politically.
Politics is big business, and so
is the health profession.

REESE
Politics? Oh, you mean
politicians and corporations equal
Black Market. But, why here, why
at a blues concert?

            ASHIRA
      (camera pans the
       crowd inside)
Huge concert, with all these
unsuspecting fans, whom all of
            (MORE)

89.

ASHIRA (cont'd)
sudden call in sick from work or
school tomorrow to make doctor's
appointments and are told that
they must've contracted a virus.

REESE
They get injected. Ashira, this
isn't security, this is government
control on a massive level, Ashira
we have to stop this now!

Reese grabs her by the hand, they run hecticly into the
concert.

EXT. CONCERT HALL - NIGHT

The concert continues.

Zerrok points down to the floor.

ZERROK
Man, you see that shit?

Zerrok, Evan, and the other members of the family look over
to see Jimmy D's friends Dedrick, Big Jake, and Pierre enter
the concert wearing long coats.

The three men search the stands until thier eyes settle on
the family.

Dedrick leaves the others and walks toward their position.

EVAN
Shit! How the hell did they know
we'd be here?

SHEFFIELD
Fuck that! What the hell are we
going to do about it?

ZERROK
Let's just do this shit!

Just then Zerrok launches the vial into the crowd, Reese and
Ashira arrive simultaneously to see Zerrok's actions, as
they realize that they're too late. Suddenly, shots are
fired by Jimmy's men, and chaos ensues.

90.

EXT. CONCERT HALL PARKING LOT - NIGHT

The shots are heard by Reese and Ashira. Ashira ducks
instinctively.

A chorus of screams fill the air. The screams get louder as
people run franticly exiting out of the concert.

REESE
What the hell?

Sheffield and Corean push their way through the freightened
crowd.

SHEFFIELD
It's Jimmy's boys!

ASHIRA
Where's Evan?

COREAN
I think she's with Zerrok. I don't
know. When they shooting started
everybody scattered. I haven't
seen them.

Reese turns to Sheffield.

REESE
Get them in the car.

Reese runs towards the concert hall.

EXT. CONCERT HALL PARKING LOT EAST END - NIGHT

Zerrok drags Evan through the crowd towards the parking lot.
Evan tries to pull away.

EVAN
Let me go! I'm not leaving here
with out Ashira or Reese!

Zerrok spins Evan around and aims his gun at her, right
between the eyes.

ZERROK
Bitch, Fuck Reese! Get in this
mutha-fuckin' car right now!!!

Zerrok opens the door and forces Evan in, he climbs in after
her.

91.

EXT. CONCERT HALL PARKING LOT EAST END - DAY

Inside Zerrok's car.

ZERROK (cont'd)
Boss Man wants us down at the
hanger. Besides, I have plenty of
friends for Reese to play with.

Zerrok starts his engine and drives away from the chaos.

EXT. CONCERT HALL PARKING LOT - NIGHT

Sheffield and Corean reach Reese's car and climbs in.

INT. REESE'S CAR - NIGHT

Sheffield starts the car and spins the wheel, turning the
car as it rolls and cuts a path through screaming people.
Sheffield sees approaching headlights and spins the wheel to
avoid the oncoming car.

EXT. DIRT ROAD - NIGHT

The other car clips the bumper of Reese's car and Sheffield
turns to see Zerrok and Evan speeding away.

EXT. CONCERT HALL PARKING LOT - NIGHT

Reese dodges more panic stricken people as he reaches the
entrance of the concert hall and spots Dedrick and Big Jake
charging outward and run towards the dirt road. Ashira runs
out chasing them.

EXT. DIRT ROAD - NIGHT

Dedrick and Big Jake blast at Ashira from two different
positions behind the wall pinning her down behind a nearby
tree. Dedrick and Big Jake pop in fresh clips for their guns
and advance on Ashira.

A car screeches into the scene and mows down Big Jake.
Dedrick runs to save his own life.

Sheffield sticks his head through the driver side window of
Reese's car. Sirens are heard approaching.

92.

SHEFFIELD
Come on, y'all, let's get out of
here!!

Reese and Ashira climb into the back seat as Fat Mike,
Jay-Cee and Dante arrive blasting their own guns at Reese's
car.

Everyone inside Reese's car ducks as bullets shatter the
windshields all around them.

Another car pulls up with Pierre driving as Sheffield drives
away from the shoot out.

INT. REESE'S CAR - NIGHT

ASHIRA
What's going on, Sheffield?

SHEFFIELD
How the hell do I know?

COREAN
We were set up. Jimmy D's boys
knew we were there. Somebody
tipped them off.

REESE
Who would do that?

Ashira looks at Reese.

REESE (cont'd)
Zerrok would.

COREAN
Zerrok's got Evan.

REESE
Get to the warehouse, man!!!

Shots fill the air and they duck down. Sheffield loses
control of the car and they begin to spin.

EXT. STREET - NIGHT

Reese car spins across the road and crashes against several
parked cars.

Pierre's car rolls by and pulls to a stop about 50 feet
away. Pierre, Dante, Fat Mike, and Jay-Cee climb out of

93.

their cars, each brandishing a weapon.

They see a driver-side door on Reese's car swing open. Fat
Mike carries a shotgun and charges the car. Ashira sits up
in the front seat and blasts through the open windshield.

Fat Mike's chest explodes and he flops to the ground dead.

The other three men duck behind their own car.

Pierre moves from behind his car to a trash dumpster on the
sidewalk. Reese taps him on the back of the shoulder.

Pierre turns in time to see the kick Reese uses to break his
neck.

Dante and Jay-Cee kneel behind their cars when they hear the
engine on Reese's car start. They move toward the car
shooting as it speeds by. Reese's car suddenly dies and
banks against a light pole.

Dante and Jay-Cee begin to move toward Reese's car, but
Ashira and Reese step up behind them.

The fight lasts less than 20 seconds, both Jay-Cee and Dante
lay unconcious on the road.

Reese and Ashira run to Jay-Cee's car. Corean and Sheffield
follow.

REESE
You know where to find Evan?

ASHIRA
I think I have an idea.

EXT. WAREHOUSE DISTRICT - NIGHT

A dark limousine sits in the shadows of a large warehouse
building.

A crane lowers a large crate to the pier. John Henry,
Patch-Eye, and several large gun toting men stand nearby.
They all turn at the sound of an approaching car.

Zerrok's car pulls up near John Henry and the others.

Zerrok climbs out of the car, as Evan does too. Evan moves
to the limo as a back window lowers. Smoke from Boss Man's
cigarette floats out.

94.

EVAN
I don't appreciate Zerrok
snatching me out here like this.

MANCHESTER
I apologize for any unpleasantries
or discomfort there may have been,
Miss Johnson, but I needed the two
of you here.

Evan looks over her shoulder at Zerrok and John Henry who
walk up to the limo.

EVAN
What do you need us to do?

MANCHESTER
Smile for your father, Miss
Johnson.

John Henry grabs Evan's head and snaps her neck. She
collapses to the ground.

Zerrok looks down at her body, shock plastered all over his
face.

ZERROK
What the...what the hell did you
do?

Zerrok spins to pull out his gun, when John Henry gets his
round off first shooting Zerrok in the head.

INT. MANCHESTER'S LIMO - NIGHT

Manchester watches Zerrok drop to the ground, then looks
across the limo. Lt. Ray Williams sits in the seat facing
Manchester. A look of fear and mild shock covers his face.

MANCHESTER
Unfortunate, I assure you, Mr.
Diamond, but in this business one
must tidy up, wouldn't you agree?

Ray nods and the look of shock fades from his face.

RAY WILLIAMS
I understand.

Manchester nods and leans out the window at John Henry.

95.

MANCHESTER
Take care of things here. Meet me
at the club.

John Henry puts the bodies of Zerrok and Evan in a big
crate, takes Evans cell phone, dials 911, and heads back to
the club.

EXT. WAREHOUSE DISTRICT - NIGHT

Senator Johnson, Captain McElvaine, several policemen,
Ashira, Reese, Corean, and Sheffield watch as the SWAT team
members use bolt cutters to cut off the lock on the large
crate.

Paramedics arrive on the scene and examine the bodies of
both Evan and Zerrok, only to find Evan still breathing.

Several other policemen escort Senator Johnson to a nearby
ambulance.

Tears trickle down Ashira and Corean's face. Reese's eyes
are filled with rage.

INT. REESE'S APARTMENT - NIGHT

Reese is throwing things into a duffel bag.

SHEFFIELD
I know where you are going and I'm
going with you.

REESE
Look, I've lost too many people
already. People that I've cared
alot about and if I have to lose
another one, it will be by my own
hands. You've been a good friend,
but back off!!!

EXT. REESE'S APARTMENT - NIGHT

Reese walks outside, caryying a duffel bag, to find Suitcoat
waiting by his car.

SUITCOAT
Hey man.

96.

REESE
We'll have to play catch up some
other time, Suitcoat. I've got
business.

SUITCOAT
Well at least I finally know the
answer to my question.

REESE
Oh yeah, what question is that?

SUITCOAT
That you came here for business.

REESE
What do you want, Suitcoat?

SUITCOAT
Are you prepared?

REESE
Prepared for what?

SUITCOAT
You've waited your whole life for
this very moment. The moment when
you would meet, face to face, with
your father's assailants. The
moment to find answers to all the
unanswered questions. The moment
to end all the nightmares and
finally bring some sense of peace
to your mother and father's
memory, and to yourself.

Reese becoming somewhat irrate slams his bag into the trunk
of his car, but leaves the trunk door open.

REESE
Who are you, what are you, and why
do you keep haunting me with all
this Shakespeare shit!

SUITCOAT
You should ask yourself that
question, because you need to
know. In knowing who you are, you
are prepared for what lies ahead.
You moment of truth has arrived,
are you prepared?

Reese shuts the trunk door looks up to find Suitcoat gone.

97.

EXT. STRIP CLUB PARKINGLOT - DAY

Reese waits in his car in the parking lot of Jay-Cee's
frequented strip club. He spots Jay-Cee as he leaving the
building heading to his car.

Reese turns the key to his ignition.

EXT. CITY STREETS - DAY

Reese follows Jay-Cee for several blocks.

INT. JAY-CEE'S CAR - DAY

Jay-Cee spots Reese's car in the rearview mirror.

JAY-CEE
I'll fix your ass!

EXT. CITY STREETS - DAY

Jay-Cee drives down some back roads and begins speeding.
Reese chases after him. They finally come to a dead end
street.

Reese gets out of the car and runs into the street, firing
his gun at Jay-Cee who attempts to run Reese over.

Reese's bullets hit the windshield, shattering it, and the
two front tires.

Jay-Cee loses control of the car and tries to shoot Reese,
but his gun clicks empty.

Reese fires bullets just past Jay-Cee's head, making him
flinch.

Reese tosses his gun away and walks up to Jay-Cee.

REESE
I don't even like guns, We can
make this real simple, tell me
where Boss Man is.

JAY-CEE
He's at his place. The nightclub,
downtown.

98.

REESE
Now, you see just how simple that
was? Simplicity is the key, don't
make it harder on yourself.

Reese turns and begins to walk away, but suddenly he quickly
spins around towards Jay-Cee, and slugs him.

REESE (cont'd)
Do you know what I'm saying?

JAY-CEE
Yeah, man, yeah.

Jay-Cee attacks Reese from behind and they begin to fight.
Jay-Cee is thrown back against the car. Reese closes the
door of the car and puches Jay-Cee through the open window,
so only his legs are hanging out.

Reese breaks one of them. Jay-Cee screams in pain. Reese
walks to his car.

REESE
You're too stupid to know what I'm
saying.

Reese climbs into his car and drives off.

EXT. REESE'S APARTMENT - DAY

Ashira and Corean pulls up in the driveway. Sheffield
sitting on the steps to Reese's apartment. He spots Ashira
and Corean getting out of the car.

SHEFFIELD
You just missed him, but I know
where to find him.

ASHIRA
Good, tell me where he is!

SHEFFIELD
Wrong, you want Reese, you take me
with you!

ASHIRA
Look, we don't have time for this!

99.

SHEFFIELD
You are so right. So, what's it
going to be? I go, you find Reese.
I stay, you play the guessing
game.

COREAN
Just let him go.

ASHIRA
Don't get in my way.

Sheffield runs to the passenger side and hops in the car.

INT. SAUNA - DAY

John Henry enters the sauna.

JOHN HENRY
None of the other members of the
family have called or arrived.
There is something wrong.

MANCHESTER
What is it? Do you think that we
might have a few guests tonight?

JOHN HENRY
The Senator?

MANCHESTER
I think the Senator is grieving
over his daughter, as he should.
No, I have a strange feeling we'll
be seeing new enemies tonight.

JOHN HENRY
Shall I alert the men in the club?

MANCHESTER
Do that. Have Patch-Eye on the
second floor and I want you on the
third. Let's see what fate brings
us.

INT. MANCHESTER'S NIGHTCLUB - NIGHT

Reese enters the nightclub and scans the area. He makes his
way to the stairwell, but a couple of Manchester's men
approach him. They each wear black pants, tight cotton
shirts, and earpieces.

100.

REESE
Do you mind?

One of the men takes a step toward Reese.

As a matter of fact, I do. Thanks
for asking.

The men grab Reese. Reese responds with a combination that
drops the men to the floor.

Several more men run up and pin Reese down.

John Henry walks up and looks at Reese with a smile.

JOHN HENRY
Well, what are you waiting for?
Let's see you kick your way out of
this one.

John starts laughing. Reese stands queitly as four men hold
him.

JOHN HENRY (cont'd)
Actually, I think Boss Man will be
impressed with your initiative.

John waves off the four men holding Reese.

JOHN HENRY (cont'd)
Do you carry a piece, Mr. Dailon?

REESE
Don't need one, any coward can
pull a trigger.

JOHN HENRY
Am I to assume that these men are
cowards?

REESE
I see guns, I see cowards.

JOHN HENRY
You have a lot of guts, Mr Dailon.
I've trained these men myself,
and let me assure you that i do
not train cowards.

REESE
I hope I didn't leave anyone out.

101.

John Henry looks back at Reese for a moment. The men slowly
step back as John and Reese assume a fighting position.

One of the men bangs the butt of his automatic rifle to the
back of Reese's head.

John stands over Reese.

JOHN HENRY
Pick him up!

John stands directly before Reese as he unconscience and
held standing by John's men.

JOHN HENRY
Oh, don't worry Mr. Dailon we
shall have our opportunity, i look
forward to it, I HONOR IT!

INT. LOWER TIER BOILER ROOM - NIGHT

Reese wakes up to see he is hanging by his wrists three feet
above the floor. About ten feet away he feels the heat of a
large boiler. Hot steam fills the air and his body is
covered with sweat.

Reese looks around to spot a couple of small tables and a
chair. A corridor curves out of sight.

Reese looks up to see thick ropes twisted around his wrists.
The ropes hang from metal loops in the ceiling twenty feet
above his head.

Reese sees the shadows before he hears the voices. A small
group of men come into the boiler room. They stand away from
the hot boiler and move toward Reese.

EXT. MANCHESTERS NIGHTCLUB - NIGHT

Ashira, Corean, and Sheffield arrive, unseen by Manchester
and his group. They listen to the conversattion from the
upper tier of the boiler room.

INT. LOWER TIER BOILER ROOM - NIGHT

MANCHESTER
This young man, gentlemen, is
Reese Dailon. His father was
killed when he was twelve, his
mother took ill sometime after and
(MORE)

102.

MANCHESTER (cont'd)
later passed on as well.

JOHN HENRY
Marcus Dailon's kid?

MANCHESTER
That is correct, John, my good
man. Someone I'm sure you will
remember quite well.

JOHN HENRY
I remember very well, sir.

MANCHESTER
He was raised in Texas, by a
martial arts instructor, with the
assistance of Detective Ray
Williams. Does that ring a bell,
Mr. Diamond?

RAY WILLIAMS
I can't say it does.

MANCHESTER
Okay, but I'm sure it does. This
young man, Mr. Reese Dailon, is a
by-product of my years of hard
work and my craftsmanship, so to
speak. He could have fallen
completely by the wayside, but
something or someone kept that
from happening. What really
intrests me is what this young man
and others like him can do for the
organization. So much potential,
wouldn't you agree, Detective
Williams?

RAY WILLIAMS
Hey man, where do you keep coming
from with this detective shit?
Look, I'm here to do business,
major business and all this
detective and architect bullshit,
you can just save that speech for
the recruits. I'm here for the big
game, now what's it gonna be?

Ray gets knocked in the head and is strapped up alongside
Reese.

103.

MANCHESTER
Foolish, foolish, foolish, when
will they learn? You're right
about one thing, Detective
Williams, this is a big game, but
unfortunately you aren't a key
player, sorry. (beat) and Mr.
Dailon, I suppose you've come out
of hiding to seek the person
responsible for causing such
dreadful events in your life,
mainly for your fathers death.
Well, my dear boy, here he is...
(beat) Oh, that's right, how
forgetful of me. You remember
seeing a little boy about your age
then, running with a gun in his
hand, jumping in the back of a car
and driving away, leaving you with
your father;'s lifeless body at
your feet?

INT. UPPER TIER BOILER ROOM - NIGHT

Just then Ashira remembers.

ASHIRA
Oh my god!!

Corean covers Ashira's mouth.

COREAN
What's he talking about Ashira?

INT. LOWER TIER BOILER ROOM - NIGHT

MANCHESTER
What you didn't see was John
aiming a .22 rifle at you. Yes,
Mr. Dailon, you were the original
target, but unfortunately your
father, poor soul, was caught in
the path of the bullet instead.
The little boy's gun was empty. So
you see, John here is the real
assassin. An intresting twist of
events, wouldn't you say, Mr.
Dailon? No, well, here's another
loop for you. The little boy
you've grown so curious about
after all these years happened to
grow into a beatiful, very fine
(MORE)

104.

MANCHESTER (cont'd)
young lady. Someone you apparently
have grown very fond of, my
daughter, Ashira.

Reese screams with anger and tries to kick at Manchester.

INT. UPPER TIER BOILER ROOM - NIGHT

ASHIRA
It was me. All this time I've
wondered about that little boy
who's...

COREAN
But you weren't responsible and
you didn't kill his father.

SHEFFIELD
That's right, Ashira, they did.

INT. LOWER TIER BIOLER ROOM - NIGHT

MANCHESTER
Step-daughter, daughter, still the
same. After all, I've raised her
since her father was killed when
she was five. Oh my, I do believe
I may have had something to do
with that, as well. Seems you two
have quite a bit in common and you
both have me to thank for it. So,
you may want to reconsider your
plans, after all, Ashira belongs
to me.

JOHN HENRY
What shall we do with them, sir?

MANCHESTER
They'll be fine here, for now. We
must proceed forward if we are to
keep the schedule. We'll just have
to clean up this mess later.

Manchester and John Henry walk out of the boiler room. The
door shuts.

RAY WILLIAMS
Hey, you awake?

105.

Ashira, Corean, and Sheffield enter.

COREAN
He's okay.

REESE
I was wondering when you'd show.

ASHIRA
You want to tell us who you are?

REESE
It's okay, he's a cop.

COREAN
A cop?!

RAY WILLIAMS
Yeah, a cop, you know a guy with a
badge, a gun, and a bad attitude.
A guy who goes around looking for
some reason to arrest yo' ass. Now
will someone cut us loose?!

REESE
He's also my godfather.

SHEFFIELD
Godfather?!

RAY WILLIAMS
Is there an echo in here?

ASHIRA
My, my, Reese, you're just full of
surprises, aren't you?

RAY WILLIAMS
Some real bright friends you got
here, Reese. Hey, here's an idea,
why don't we send one of your
brainiacs to go and fetch us all
some coffee. We can sit here and
have a social group, how's that?

Ray doesn't realize Corean is about to cut them down.

ASHIRA
You've got a big mouth.

Before Ray can respond, he's dropped to the floor. Reese
lands on his feet.

106.

RAY WILLIAMS
It'a about fucking time.

REESE
Where is he?

ASHIRA
Follow me.

REESE
Hey, now's a good time to walk
away.

ASHIRA
You mean both of us? Well, like I
said before, you don't have a
choice.

INT. SWEATSHOP - NIGHT

ASHIRA
Corean, you remember this place,
don't you?

COREAN
How can I forget it? I practically
grew up here.

SHEFFIELD
What is this place?

ASHIRA
It's a sweat shop. The club was
built over it to keep it under
wraps. Manchester keeps a tight
lid on the hundreds of illegal
immigrants who work here.

RAY WILLIAMS
You two grew up in this place?

COREAN
My mother used to be one of those
immigrants.

RAY WILLIAMS
That's too bad.

COREAN
Not really, I met Ashira and I've
made enough money to spot me and
my mother. No regrets.

107.

RAY WILLIAMS
Then the two of you should know
this place well enough to tell us
where the hell we're going.

REESE
I too can appreciate a little
history 101, but at this point a
geography lesson could come in
handy.

ASHIRA
These are underground tunnels that
lead out to the docks. Boss Man's
big shipment, remember?

RAY WILLIAMS
Yeah, but how much further?

SHEFFIELD
Yeah, really, it smells peachy
down here. They could use a little
summer's eve down here or
something.

RAY WILLIAMS
You are really pushing for me to
fill you up with some of this hoe
lead. Right now I am really iching
to shoot something, may as well
start with you.

SHEFFIELD
And just what are you going to
shoot me with? Harsh language.

ASHIRA
Shhh, quiet! The entrance is just
ahead.

RAY WILLIAMS
Does anyone have a gun?

ASHIRA
Yeah, you can have my back up gun.

Ashira hands him a gun.

RAY WILLIAMS
Back up?! What the fuck is... What
am I supposed to hit with this,
rats or something?

108.

ASHIRA
Well, what do you expect?

RAY WILLIAMS
How's about that big canon you're
holding and you take this pellet
gun you're giving me? And step the
fuck back, I'm the law around
here!! Speaking of which, you
three should find a radio or a
phone and call me some back up.

ASHIRA
I'm not going anywhere!

COREAN
My girl stays, so do I.

SHEFFIELD
Shit, I'll go get help. Where the
phone at?

REESE
Quiet! Ashira, give Ray the gun!

ASHIRA
I don't think so, you're not
squeezing me out of this.

REESE
Give Ray the gun, now! The rest of
you stay close and stay low. Once
we get inside Sheffield, Corean
find a phone or radio. Ashira,
stay close to me.

INT. PLANE - NIGHT

Men are loading a plane. Manchester is seen stepping off the
plane and walking toward a nearby warehouse.

MANCHESTER
Let's move! I want this vessel to
take flight in 20 minutes.

JOHN HENRY
The chopper is on it's way, sir.

MANCHESTER
Perfect. Everything is running
smoothly, don't you think, John?

109.

JOHN HENRY
As to your will, sir.

INT. WAREHOUSE HANGER - NIGHT

REESE
What's going on?

RAY WILLIAMS
He's not bringing in, he's
shipping out. We've got to stop
that plane.

ASHIRA
Corean, Sheffield go find that
phone!

COREAN
It may be too late for that.

Suddenly they are surrounded, Patch grabs Ray from behind
and throws him into a stack of crates.

Corean throws a knife into a guard's hand, who was about to
open fire on Reese and Ashira.

Reese springs forward to face off with Patch and to keep him
from attacking Ray again.

Ashira round house kicks the guard, sending him spinning
into another guard.

Sheffield dives over a few crates to avoid gun fire.

SHEFFIELD
Not me, I'm just looking for a
phone!

Corean throws a knife into the guards throat, as he opens
fire at Sheffield jumping over the crates.

Reese and Patch go head to head. Patch slices at the air,
missing Reese with his huge blade.

MANCHESTER
How resilient.

JOHN HENRY
It appears Mr. Dailon has become
more of a nuisance.

110.

MANCHESTER
Nonsense, John, I expected nothing
less. He makes the game more
challenging.

Ray, seeing Manchester come out of hiding, regroups to go
after Manchester. He grabs the gun from the ground nearby.
More guards arrive.

Corean pulls off her jacket to reveal her vest loaded with
throwing knives. She takes out guards simultaneously.

JOHN HENRY
Shall I go down to deal with him
myself? I'm sure the others can
finish the load. We must keep the
schedule.

MANCHESTER
Not yet, let's allow Mr. Patch to
earn his salary. Ashira, what are
you doing?

Ray attempts to reach Manchester, but he must shoot his way
through a few guards first.

Reese and Patch move their fight away from the gun play and
into the stairwell.

A guard manages to ease his way behind Ray and places his
gun barrel at Ray's head.

You are fuckin' history.

The guard spits on the ground. Sheffield smashes a box over
the guard's head, knocking him out cold.

SHEFFIELD
Your ass is history, puto!

RAY WILLIAMS
You know, I take back all the
nasty things I said about you.

SHEFFIELD
Hey, I just saved you life, you
are going to have to do better
than that!

111.

Ray fires two shots between Sheffield's legs, killing a
guard.

SHEFFIELD
(screaming)
Well, I'll be damned, brother
can't get over!

RAY WILLIAMS
You were saying?

Reese graples the knife away from Patch and Patch grapples
it right back, getting a clean slice in Reese's side. Reese
staggers a bit, grabbing his wound. Patch tries to take
advantage of the moment. Reese slaps him, then gives him a
quick snap kick to the shin, followed by a back spin kick
which sends Patch crashing to the stairs. Reese sees his
chance and lunges at Patch. Patch rises to his feet swinging
his knife with impared vision. Reese blocks, throws a 3
punch combo, and grapples Patch's knife hand, robbing him of
the knife. Reese plunges the knife into Patch's patched eye.
Patch stares forward and extends his arm as if to reach for
something. Then he goes into a frantic fit, falling to his
knees, lets out a scream, and falls dead.

Reese's face shows displeasure and disbelief. He looks at
his hands and then grabs his head. The sound of gun fire
snaps him out of it. He hears Suitcoat's words "Once blood
is shed, the deed is done, no time for regrets."

John Henry senses Patch's death.

JOHN HENRY
Sir, I must go.

MANCHESTER
The men have almost finished
loading. The chopper will meet us
at the mark. Make it quick, John.

JOHN HENRY
Yes, sir.

MANCHESTER
Oh, and John, bring ny daughter
home. Bring her to me safetly.

JOHN HENRY
Yes sir, as you wish.

112.

INT. WAREHOUSE HANGER - NIGHT

RAY WILLIAMS
It's nice to see my money being so
well spent, Bill.

John Henry sneaks up behind Ray and takes his gun.

JOHN HENRY
I'll take that.

MANCHESTER
How good of you to join us,
Detective Williams.

John Henry hands Ray's gun over to Manchester.

MANCHESTER (cont'd)
Thank you, John. You may see to
the others now.

RAY WILLIAMS
I hate to put an end to your
frequent flier miles but I've been
hunting you for a long time, Bill.

MANCHESTER
(laughing)
That's funny. Not original, yet
funny. You see my dear detective,
I've known about you since the day
of your old partner's unfortunate
accident.

RAY WILLIAMS
Accident?! That was no accident,
you had him killed!

MANCHESTER
Well, I guess at this point it
doesn't matter. Ironically,
Detective Dailon wasn't the
original target.

RAY WILLIAMS
I know you sick, twisted bastard.
You were going after Reese,
Marcus' son!

MANCHESTER
There was no choice, he was
warned. He got too close, found
out to much and threatened to
expose one of my most important
(MORE)

113.

MANCHESTER (cont'd)
and very influential partners, who
was threatning to back out of this
very deal. I just couldn't have
that, could I?

RAY WILLIAMS
What partner?

MANCHESTER
Turns out it doesn't matter
anyway. Such a waste, but as
always I had an ace in my hands.

RAY WILLIAMS
What partner?

MANCHESTER
So, he had to be warned, but he
wanted to play hardball. No one's
untouchable, espaecially when they
work for you, but little did he
realize like father, like
daughter.

RAY WILLIAMS
Senator Johnson, Evan!

MANCHESTER
Like father, like daughter.

RAY WILLIAMS
You are a real asshole! Who are
you to go around ruining countless
lives? These young people, what
kind of future do you hold for
them in your quest for financial
riches?

MANCHESTER
Why that's just it, Detective
Williams. their future lies with
me and my financial riches. It's
what they want, it's what everyone
wants, to be rich and powerful.
They see it on television and they
hear it in their music. Every poor
human soul wants to be rich. Every
rich soul wants to be richer. The
pursuit of financial happiness,
Detective, it's human nature. It's
what makes this land of ours so
great. This land was built by men
like me and is governed by men
(MORE)

114.

MANCHESTER (cont'd)
like me, so don't hate me,
Detective. (starts laughing) Don't
hate the player, hate the game.

Ray reaches for his back up, behind his neck and between his
shoulder blades.

RAY WILLIAMS
There's one thing about this land
that you've neglected to point
out.

MANCHESTER
And that would be?

RAY WILLIAMS
We've all got to die sometime.

Ray pulls out his gun. Manchester attempts to shoot first,
but the gun is empty. He throws it at Ray and starts
running. Ray goes after him.

EXT. WAREHOUSE HANGER - NIGHT

Reese joins Ashira, Sheffield, and corean. He sees the
guards all slain.

REESE
Is everyone okay?

ASHIRA
We're good. You're bleeding.

REESE
It's nothing.

SHEFFIELD
Hey, can we get the hell out of
here and go call the cops? Let
some professionals handle this
while we're still alive. Man, I
got a heart condition...

COREAN
Sheffield, shut up!

SHEFFIELD
I'm just saying, we got bullets
flying all over the place. We're
talking saving Private Sheffield
over here.

115.

REESE
Stop bitching! Where's Ray?

ASHIRA
He was just here.

COREAN
The harbor.

REESE
We'd better split up. Sheffield,
Corean go find a phone. Ashira...

ASHIRA
I go with you.

Corean and Sheffeild go the opposite direction as Reese and
Ashira.

Ashira and Reese hear a gun shot and proceed in the
direction of the noise, but stumble across a roadblock, John
Henry interrupting their course.

JOHN HENRY
Well, well, well, if it ain't Mr,
Dailon.

EXT. WAREHOUSE HANGER - NIGHT

Corean and Sheffield have found a phone and call for help.

SHEFFIELD
Yo, give me 911.

COREAN
Sheffield, you don't ask for 911,
you ask for the police!

(o.c.)
911 operator, state your
emergency.

SHEFFIELD
Aaaaaawwwwwwhhhhhhh!

COREAN
Give me the phone. Hello, we need
police assistance for Detective
Ray Williams.

(o.c.)
What's your location?

116.

EXT. WAREHOUSE HANGER DIFFERENT ANGLE - NIGHT

John steps out.

ASHIRA
Let us by John, we've no quarrel
with you.

JOHN HENRY
I'm afraid I can't do that Ashira,
Boss' orders.

REESE
I guess a pretty please with sugar
on top top wouldn't work either?

JOHN HENRY
Of course this is not your affair
Ashira, you may pass, your father
awaits you.

ASHIRA
His fight is my fight, John. If he
stays, I stay.

JOHN HENRY
You don;t seem to understand
Ashira. Mr. Dailon doesn't want to
leave. Mr. Dailon has found the
person he has searched for his all
his life.

REESE
Ashira, I want you to go.

ASHIRA
But what about you?

REESE
No buts Ashira, he's right, this
is a path that I must travel
alone. You must walk yours, don't
worry, I'll meet you somewhere in
the middle.

Ashira reluctantly makes her exit, leaving Reese and John
alone to duel. John begins removing his shirt and tie and
stretching. Reese also warms up.

JOHN HENRY
You were the original target Mr.
Dailon, your father just got in my
way.

117.

REESE
Well, here I am. Your second
opprotunity.

Reese strikes John Henry. John unleashes a fast and deadly
combination onto Reese. Reese recovers, blocks a deadly
blow, and starts his own combination of various kicks and
punches. John stuns Reese with a fast blow to the head.

Reese stumbles, inhales, and exhales slowly. He moves in on
John. Reese ducks John's blows, spins John around, and kicks
him in the back of the head. John stumbles forward and
crashes to the floor. John lurches to his feet.

Reese charges him, leaps into the air, and kicks John full
into the chest. John crashes into several barrels, then
falls onto a pile of wooden crates, breaking them open.

EXT. ON BOARD SHIP - NIGHT

Ray is seen chasing Manchester onto the ship. Manchester
runs the length of the ship into the wheel house and returns
bearing a gun and holding Samone hostage. Ray sees
Manchester holding Samone at gun point. Just then Ashira
appears, walking past Ray, and placing herself directly in
the line of fire. She makes it midway and freezes in her
tracks.

MANCHESTER
Ashira, darling. Isn't she
beautiful, Detective? So precious,
so innocent.

RAY WILLIAMS
You don't see a gun stuck to her
head either, Bill. Now what's
wrong with this picture? Samone,
you just keep cool and hang in
there baby, everything's going to
be fine.

SAMONE/HONEY
Okay, but can we hurry this along?
I'd really appreciate it.

RAY WILLIAMS
She's got nothing to do with this,
Bill. Let her go.

MANCHESTER
I'm afraid she's part of the game,
my dear detective.

118.

ASHIRA
Let her go, Manchester.

MANCHESTER
No , Ashira, you will come with
me. Come.

EXT. DOCKS STORAGE AND LOADING AREA - NIGHT

Climatic battle between Reese and John resume until Reese
overcomes John's massive strength. Reese finally ends John's
life by snapping his neck, and then violently impaling him
simultaneously hurling him by his neck into a nearby stake
descending vertically from a column. In doing so, Reese to
injures himself on his left shoulder as he is cut by the
stake as he plunges John Henry onto it.
Reese will have a permanent scar as a reminder of his path
to vengeance. Even still, in a blinding fit of rage and
fury, Reese continues to pound at John's lifeless corpse,
until he drops to his knees, and screams, not from the pain
of the scar on his shoulder, but primarily from the pain and
suffering in his heart.

Exhausted, Reese manages to his feet to go in search of
Ashira, Ray, and the others.

EXT. ON BOARD SHIP - NIGHT

ASHIRA
All these years you made me
believe that my father abandoned
me and my mother and that I was a
killer, I was just a child and you
manipulated me, used me.

MANCHESTER
You're my little girl. I would
never do anything to hurt you. I
took care of you and your mother,
didn't I?

Manchester inadvertently releases Samone as Ashira
approaches them. Manchester loses sight of everyone and
everything else and focuses on Ashira. Ashira moves in to
embrace Manchester. Samone quickly scurries to Ray's side,
who then raises his gun to aim at Mnachester, but is unable
to get a clear shot as Ashira stands between them. Sirens
wail as squad cars, fire trucks, and ambulances draw closer
to the scene. Reese arrives and Ray signals him to stay
clear.

119.

ASHIRA
I finally know the truth and it's
over. It's all over.

A gun shot is fired, then another. Ashira shoots Manchester
twice in the abdomen as they embrace.

MANCHESTER
My little girl.

Manchester drops to his knees and slowly falls overboard
into the bay. Ashira screams and the tears roll down her
face. Reese goes over to comfort her. The four of them make
their way off.

INT. HOSPITAL - DAY

The television is on showing a press conference going on
outside the hospital.

COREAN
She'll be okay, won't she?

ASHIRA
Oh yeah, Evan Johnson will be just
fine. This is one girl we don't
have to worry about. Get some rest
girlfriend and when you awake,
we'll be here. Let's go.

EXT. HOSPITAL - DAY

REPORTER
Senator Johnson,can you tell us
about you and your daughter's
involvement?

SENATOR JOHNSON
My daughter and I were forced, our
lives threatened, that if we did
not cooperate...

The Senator struggles to fight back tears.

REPORTER TWO
What's the connection between our
government and the so-called, "THE
EYE OF BIG BROTHER SCANDEL...?"

120.

REPORTER ONE
Have the needles that were laced
with the transmitters been removed
or destroyed?

Senator continues to seek sympathy and ignores the
controversial questions being asked by the reporters.

SENATOR JOHNSON (cont'd)
As you can see, an attempt was
made on my daughter's life. (beat)
Let me just say that I will not
rest until every affiliate of Bill
Manchester's organization is
disassembled, brought to justice,
and prosecuted to the fullest
extent of the law. That's all.

Senator Johnson turns pauses for a moment, and then turns
his back on the reporters as walks hurriedly towards the
hospitals entrance.

REPORTER ONE
But why you and your daughter,
Senator?

REPORTER TWO
Senator, what about the link
between the syndicate and the
detective's murder foutreen years
ago?

EXT. HOSPITAL - DAY

Ashira and Corean make their way outside, looking for Reese
and Sheffield.

Reese sees Suitcoat and then a quick flash of his parents,
Watching him from across the street from where he stood.
They disappear as a bus goes by.

ASHIRA
You okay? Reese, Reese.

REESE
Yeah, yeah I'm good.

RAY WILLIAMS
You to fadedout on us for a
minute. you need some water or
something?

121.

REESE
When does it end?

RAY WILLIAMS
I wish I could tell you.

SHEFFIELD
It won't end as long as we have
crooked ass top hats like that
dealing the cards. It's a cycle.

RAY WILLIAMS
It has to end, every dog has it's
day. It's all a part of the game.

REESE
N' Dis Land We Die, gentlemen. N'
Dis Land We Die.

RAY WILLIAMS
So what's next? You guys might
consider doing this kind of work,
on a more legitimate level.

SHEFFIELD
Well ya know. We did happen to
save the day.

REESE
Sheffield, don't. Ray, I'll call
you.

SHEFFIELD
Don't what man? We need jobs. What
else are we going to do? I don't
know what ya'll are thinking, but
I got bills and we just got killed
off a good ass job. Crime pays and
where else are we going to make
that kind of loot? Hey don't walk
off from me. Oh, see, ya'll don't
want to talk about that. Hey, Mr.
Detective Sir, we'll be in touch!

Sheffield shakes Ray's hand and then gives chase towards
Reese, Ashira, and Corean who are heading to the parking
lot.

SHEFFIELD (cont'd)
Oh, ya'll goin' leave me?

122.

INT. HOSPITAL-EVANS' ROOM - DAY

camera pans in on Evans face, eyes closed as she rests.
Moments later, the sound of the room's door opening, and
footsteps echo the course of the floor, camera pans in on
the feet of a mysterious figure entering the room and
approaching Evans' bed. Camera then pans full view of of
the stranger from behind, he is dressed as a doctor hovering
over Evan as she sleeps. a syringe is displayed within the
clutches of the mysterious figure as he injects it into
Evans' I.V., Evan remains undisturbed.

MYSTERIOUS FIGURE
Daddy's little girl, is now our
little girl.

once again Evans' room door opens, as Johnson enters camera
pans both the eyes of the stranger and of Johnson's as there
is dramatic pause and a moment of suspense.

            MYSTERIOUS FIGURE
      (stunned, caught
       off guard.)
Senator, i was just making some
rounds thought i'd peek in and
check up on our little girls
progress. She's do fine just
fine, and just so you know we'll
be making round clock checks on
her so you'll be sure she's
getting the best care.

Faintly shaking Johnson's hand he talks and walks hurriedly
towards the door. Johnson, panicky and bewildered fumbles
over his own words, the stranger exits as leaving Johnson
with only a sense of paranoia. Johnson focuses his
attention on his beloved daughter Evan. Moments later, a
Doctor enters with a smile, hand stretched out to greet
Johnson, But Johnson paranoid, dashes out of the room and
into the hallway as he looks franticly in both directions in
search of the mysterious stranger dressed as a doctor.
Evans' room door opens a voice from behind Johnson beckons
to him.

EVANS' DOCTOR
Senator are you alright, is
everything ok Senator? Senator,
Senator, nurse give me some help
here, would you.

FADE OUT.

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