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by Luke Riches Nutter (lukerichesnutter@gmail.com)
Rated: 
Genre: Organized Crime
User Review: NOT YET
RATED
When crime stands still for no man, people are swept into scenarios where money out ways the value of survival. It's no only in the lives of these men, but in their bloodlines.
This screenplay is copyrighted to its author. All rights reserved. This screenplay may not be used or reproduced without the express written permission of the author.
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FADE IN:
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INT. MATHERSON'S BUILDING (LOBBY) - EVENING |
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The scene opens on an wide area, the lobby of a grand
building. It is filled with people going about everyday
tasks, people chatting in chairs and walking to different
places. Within the lobby of the large building, there is a
desk situated in the centre of the room, behind it sits a
secretary hard at work. She is operating the computer and
organising various documents laid out on the desk.
A mysterious man dressed in a well used three piece suit
enters the lobby through the main doors, in order to make
his purpose clear, he approaches the reception desk and
stands, waiting to speak with the secretary. |
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The secretary robotically looks up from the desk, catching
the eye of the mysterious man. Throughout their exchange, he
gives the smallest of smirks and speaks fairly quietly. He
keeps eye contact and draws others in with his welcoming
face. |
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SECRETARY
Hello there sir, welcome to
Matherson Exports, can I help you
with anything at all? |
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J. TROOP
Hey there, I'm here to see Mr
Matherson. Name's Jonathan. |
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SECRETARY
Certainly sir, give me one moment
and I'll check that... |
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The secretary looks down to the computer screen and begins
pressing at keys. |
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J. TROOP
He should be expecting me... |
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She remains focused on the computer screen and tapping away
at keys for another few seconds before speaking again. |
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SECRETARY
Ah yes, here we are sir. Mr
Matherson is waiting for you in
his office, up the stairs and
furthest room down the hallway. |
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2.
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J. TROOP
Why thank you. You have a nice day
now. |
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Jonathan Troop then sets off from the reception desk and
weaves through the people walking in the lobby in order to
reach the stairwell. He then begins to walk up the stairs to
the hallway, as he does this the camera pan across and zooms
into a photograph that is framed behind the reception desk.
It captures an old warehouse from the 1920s. |
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GRAPHIC MATCH TO THE
WAREHOUSE IN REAL
TIME. |
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EXT. PROHIBITION WAREHOUSE - MORNING |
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Trucks are pulled over on the road, with the warehouse
facility in sight in the background. Men in trilby hats and
three piece suits are transferring crates of illegal liquor
between the trucks and other vehicles. The focus is on a man
lent over a table with a map sprawled across it. On the map
there are various markings that indicate the trade routes.
The camera switches to a front shot of the the man
concentrating on the map, a point of view shot from the map,
as if the man is staring and contemplating over the
audience. The man goes by the name of Scott. In shot behind
Scott, his right hand man and partner in crime is seen to be
organising the trade. This man is known as Lambert. |
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LAMBERT
Ok, ok! now lets hurry it up,
we've gotta get all this off
before five; the chicago boys have
got a long journey ahead of 'em. |
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He glances over to the three gentleman waiting by the side
of the road, dotted around a truck in which the crates are
being loaded into. They regularly check their watches,
portraying themselves as busy men.
Men continue to load the trucks whilst Lambert spends a few
moments pondering before walking over to Scott, who has
remained in deep contemplation over the trade routes. |
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LAMBERT
It's all coming along Scotty, the
guys are just finishing up... you
er, you need anything?... What you
thinking about? |
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3.
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SCOTT
That's good. These trade routes...
If we keep this up, how long
before we become too bigger
fish... |
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LAMBERT
What do you mean Scott? The money
is rolling in, we're gonna live
like kings! |
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While saying this, Lambert throws his arm around Scott,
giving him a little friendly shake. Scott responds by
crinkling his face and pushing out his shoulders, as if to
encourage distance between Lambert's hand and his body. |
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SCOTT
You're missing my point, kings
don't reign forever, and most
certainly the majority don't reach
their latter years... What I'm
trying to say... How much longer
you wanna do this Bert? |
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LAMBERT
The question is why would you
wanna stop? We've got the world on
a silver platter, our product
being the perfect thing to wash
such a big platter down with, ah
ha... |
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Lambert and Scott break from conversation as their eyes
catch the three men lingering near the truck, as they slowly
move towards them. Scott flicks the map over, concealing the
many scribblings and lines that coat the surface. The three
men reach the table where Lambert and Scott stand. One steps
slightly more forward than the other two, ready to begin
their exchange. |
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SCOTT
I take it every thing is accounted
for? |
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Jonan throws down a roll of money onto the table. |
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JONAN
It's all there. I won't be
offended if you count it. |
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4.
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SCOTT
No need, I trust you. I look
forward to some of that Chicago
hospitality next time we're your
way. |
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JONAN
And some hospitality you'll
receive, although don't feel
cheated when the venue is serving
your product. Only the best of the
best for Chicago distributers. |
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Scott displays a smile and proceeds to close the deal, but
before words can emit from his mouth, Lambert addresses
Jonan. |
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LAMBERT
But we will check the money, and,
well, I'm sure it's all there, but
if it weren't... I know you'd
know it would be silly, when your
route to Chicago is such an easily
calculated one... |
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Lambert keeps eye contact with Jonan, while Scott glances
down momentarily, the only reasonable attempt to hide an
expression of disapproval from Jonan and Lambert. Jonan's
face has it's smile removed and his gaze focuses more so on
Lambert. |
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Scott, in witnessing the start to the breaking down of the
negotiation, rapidly interjects, before Jonan can finish his
sentence. |
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SCOTT
But in no universe would such
Morally upright Chicago gentlemen,
raised by their mothers with
unquestionable levels of
integrity, ever think to short
change us. Demonstrated alone by
the fact they have travelled such
an awfully long way for a mere
fraction of our product. So let me
be the first to wish for a healthy
and profitable future together.
Thank you once again gentleman,
our business today has been a
pleasure. I bid you all good day
and safe travels back to the
(MORE)
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5.
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SCOTT (cont'd)
golden streets of Chicago. |
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The three gentlemen pause for a moment, before internalising
the flattery from Scott's words. They shake off any comments
from Lambert, that otherwise would of stuck. They shake the
hands of both Scott and Lambert, before turning away and
walking to their truck with intentions to travel back to
Chicago. Lambert opens his mouth as if ready to speak, at
the same time he plants a foot in the ground in front of
him, ready to catch the Chicago men before they leave. He
catches Scott's face and all intention of intervention is
removed, as Lambert slides his foot back into line with his
other one. He leans across to Scott and speaks quietly. |
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LAMBERT
How do you know it's all there?
you're going to trust those sleaze
bags? |
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SCOTT
We don't need to trust them, it's
business courtesy. Read a fucking
book... Worst case scenario, we
take your guns blazing approach
and we chase them, they don't need
the threat to know that... |
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Lambert leans back from Scott. The engine of the truck from
Chicago starts and begins to pull away. The horn is honked
twice as it drives past Scott and Lambert. In response,
Lambert applies a fake smile and performs a half-hearted
wave. As he does this, he speaks in an excessively happy
manner. |
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LAMBERT
I hope you crash and burn you
assholes. |
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Scott stands resolute, struck with a face of contemplation
once again. As the noise of the truck fades into the
distance, Scott stares distantly, which is maintained as he
begins to speak. |
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SCOTT
I'm tired of this Lambert, I'm
getting out... |
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THE SCREEN FADES TO
BLACK. |
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6.
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INT. MATHERSON'S BUILDING (HALLWAY) - EVENING |
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The camera zooms out from the black shoe of Jonathan
Matherson, acting as an efficient transition from the
darkness the last scene was left in. The camera remains
focused on Jonathan's feet as they travel up several steps
of the Matherson Exports building. This then cuts to a shot
that captures Jonathan and the staircase.
There is then another cut as Jonathan reaches the top of the
stairs. It now displays Jonathan walking down to Matherson's
study on the other side of the hallway.
Out from one of the room entrances, one of the employees who
is transporting a tray table, bumps into Jonathan. |
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EMPLOYEE 1
I'm terribly sorry sir, let me... |
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Jonathan does not ponder on the incident and glides past,
with a quick rest of his hand on the back of the employee.
He maintains a hastened walk, eyes fixed on the office of
Matherson. The conversation is closed down, with Jonathan's
response, cutting the employee off half way through his
apology. |
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As Jonathan approaches the study door, the camera pans
across to a picture hanging on the wall. It captures two men
with their arms round one another in a friendly manner,
posing for the photograph. The camera zooms into the photo. |
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EXT. PARK - DAY |
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The scene fades in on a gloomy day in the park. There is a
bandstand centralised in the middle of the grounds. Two men
stand inside the bandstand against the rail, they remain
sheltered from the rain. Next to one of the men on the
ground, is a black briefcase. |
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STEVEN
They'll be here shortly, no more
waiting. You ready? |
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CRAY
Ha, I was born ready brother. I
came out the womb clutching a
Glock. |
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7.
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Cray pulls back his coat to reveal a holstered pistol. |
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STEVEN
I see the appeal for safety
precautions, but that's all it's
gonna be, a precaution right? |
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CRAY
How long you known me now? Have
you ever disagreed with its moment
of firing in the past? It's gonna
be fine... |
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STEVEN
You're right, I, I just get...
stirred, a lot easier now days.
I'm not sure how much longer I can
do these drops with you Cray. |
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Cray stops looking into the rain for their contacts. He
directs his focus to Steven. |
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CRAY
You're just saying that because
this drops spooked you. You'll be
fine, you'll want more when you're
holding the green in your hands a
few moments from now. Wait and
see... |
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Steven fumbles around in his wallet and produces a small
photograph. He hands it to Cray. |
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STEVEN
You know who that is Cray? It's my
baby boy. When I say I don't know
how much longer I can do this,
what I really mean is, I'm done...
I have a kid to look after now, it
changes things. I wanna make sure
he has a dad and in this line of
work there's no guarantees...
Cray? |
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Cray lets out a small sigh. He stares deeply into the
photograph, almost lost in the image. He responds to Steven
in a quiet broken voice. |
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8.
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CRAY
He is gonna make a fine edition to
the Troops. I know if Scott were
here, he'd be proud. |
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STEVEN
I'll make sure he knows his
granddad would of been proud. Same
for his godfather for that matter.
I haven't asked him to the
christening yet though, I really
should get round to doing it...
Cray... |
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STEVEN
You wanna come to the christening? |
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He stops mid sentence as his eyes catch two silhouettes
walking towards them in the rain. |
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Steven and Cray walk down from the stand carrying the
briefcase with them. It is located in Steven's left hand.
They proceed to meet the two contacts, who also have a
briefcase in tow. |
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CONTACT 1
But it's raining. |
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CRAY
I said show us, seeings as though
you're after our product, you can
at least show us the money. We can
blame the sogginess on me if it
makes you feel better. |
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9.
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Contact 1 flicks his head towards Contact 2. Contact 2
proceeds to swing his briefcase up to meet his other hand,
before popping the clasps open. Contact 1 then opens the
briefcase to reveal layers of fifty pound notes. Steven
moves over to the briefcase, inspects its contents briefly,
then closes it. He takes it from their hands and replaces it
with his briefcase. On turning round from the contacts,
Steven begins to speak. |
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STEVEN
It's clean, and it's all the... |
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Steven remains where he is and stops talking. On turning
back round fully to meet Cray, he is met with the barrel of
a Glock handgun. It is raised in Cray's right hand, aiming
right at Steven's head. |
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CRAY
You choose now! Now! to let me
know you got a kid. You fuckin'
idiot. |
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CONTACT 1
Sorry, do we have a problem here
Mr Matherson? Because we were
informed there would be no
complications. |
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CRAY
No there's no problem. Ok? |
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CONTACT 1
So put one in him and let's go,
we're gonna catch god damn
pneumonia standing in this. |
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STEVEN
Cray, I don't... Why? |
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CRAY
Your heart wasn't in it! Too many
times you got cold feet, too many
times we lost drop money because
of your "bad feeling"! You should
of told me you got a fuckin' kid.
What did you expect, you should of
told me, you should of told me... |
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STEVEN
You seem set. If our years of
friendship, or even just plain
camaraderie means anything to you,
will you keep an eye on Sarah and
(MORE)
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10.
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STEVEN (cont'd)
Finn for me? |
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A gunshot noise ripples through the park. Birds nesting in
nearby trees scatter away from the scene. Steven drops to
the ground. Blood pours from his body onto the ground, it
remains a consistent river as the rain washes the blood out
of his body. As Steven's hand hits the ground, his fingers
uncoil slowly to reveal the picture of his baby son. The
camera has a close up on this, but the photograph becomes
unrecognisable, when blood seeps across the image. The
screen starts to fade to black, at the same time the camera
pans up to capture the two contacts and Cray walking off
into the distance. |
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INT. MATHERSON'S BUILDING (STUDY) - EVENING |
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Jonathan enters through the door of Matherson's study and is
greeted by Matherson. Matherson rises from his chair and
walks to Jonathan who is standing in the doorway. |
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D. MATHERSON
Why hello there my boy, come in,
don't stand there pondering, eh ha
ha. I'm an admirer of your work. |
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Matherson extends a hand to Jonathan. Jonathan hesitates for
a few seconds, before meeting his hand for a handshake. |
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D. MATHERSON
Say, do you know why I've called
you here? |
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Before even allowing for a response, Matherson proceeds to
talk again. |
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D. MATHERSON
How rude of me, take a seat,
please. |
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He extends another hand, this time to indicate the location
to which he could sit. It was more of a request than an
invitation. Both men sit down in chairs either side of
Matherson's desk. |
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11.
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D. MATHERSON
Now. Why are we here? Well, I get
a lot of problems. You are the man
to fix them. Am I right? |
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J. TROOP
I'm not sure I follow Mr
Matherson. |
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D. MATHERSON
Please, call me Darren. You see, I
don't like being mucked around, I
think you know, you have a skill
set I require. I know this because
I pay people handsomely, to find
out who has such a skill set. Now
if I pay those individuals
handsomely, one can only imagine
how much I'd pay the man with the
skills... You seem distant Mr...
Why excuse me, I don't believe
I've been given the knowledge of
your second name. |
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J. TROOP
Just stick to Jonathan. We seem to
be well enough acquainted. |
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D. MATHERSON
well then, Jonathan, are we on the
same wave length? |
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J. TROOP
Why, Darren, I do believe we are. |
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D. MATHERSON
Good. You can imagine such,
complications, in the exports
business. Which is why... |
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Jonathan cuts off Darren. |
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J. TROOP
Shut up Darren. It's my turn to
talk. |
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Darren stands up from the desk and is outraged from the way
he is being spoken to. |
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12.
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D. MATHERSON
How dare you, I may require aid,
but there are plenty of dead beat
scum like you I can pull off the
streets! Anyone wo... |
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Jonathan rubs his eyes with his left hand, all the while he
moves his right hand up, which contains a pistol that he
rests on the desk. The guns stays fixed on Darren. This is
the reasoning for Darren's abrupt stopping of words pouring
from his mouth, yet his mouth remains open. Jonathan still
rubbing his eyes, waves the gun in a downward direction
twice, as a means to encourage Darren to sit back down. |
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J. TROOP
Are we finished Mr Matherson?
good, ok. Did you know a man by
the name of Finn Troop? |
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D. MATHERSON
Why would you want to kn.. |
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J. TROOP
Answer the question! |
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J. TROOP
Did you kill him? |
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D. MATHERSON
We were kids, it... |
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J. TROOP
If I have to repeat myself again
Mr Matherson, I'm gonna put a
bullet in your stomach, then leave
you to bleed out. |
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D. MATHERSON
I killed him. |
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J. TROOP
Mr Matherson... Your money can
only get you so far. You see, the
people you pay, to find these
people to do your dirty work, are
actually my people, who I don't
even pay. This new world we live
in; this all consuming money
thriving world, it's still got
some loyalty to it. Not everyone
has a price Mr Matherson. Which
(MORE)
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13.
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J. TROOP (cont'd)
brings me to my second point, who
goes to hire someone without
knowing their second name? |
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An employee knocks on the door twice then starts to open the
door. Jonathan moves the gun off of the table and rests it
on his leg out of sight, still aimed at Matherson. It is
done so in a way that Matherson realises any false move,
will result in a bullet between his legs. The employee
enters more so into the room, pulling a food trolley behind
him. |
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EMPLOYEE 2
Good evening sir, today we have
th... |
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D. MATHERSON
Did I say come in?! Get the fuck
out... |
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The employee jumps in response to Matherson's shouting. He
knocks several items on the trolley, before apologising. |
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EMPLOYEE 2
Yes, sir, sorry sir... |
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The employee scuttles away at high speed, backwards out of
the room, trolley in tow. Once the employee has exited,
Jonathan makes three tutting noises of disapproval. |
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J. TROOP
Now Darren, you have a serious
anger problem. Don't worry, we can
work on it... |
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The camera pans across to the painting hung in Matherson's
study. It displays a quiet and deserted street. |
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GRAPHIC MATCH TO THE
STREET. |
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EXT. STREET - NIGHT |
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There is silence and no movement on the street. There is
only the odd sound of a distant car or bird. The camera then
cuts to a low angle shot, capturing five or six pairs of
feet walking together simultaneously, from the left of the
screen to the right. There is then another camera cut to the
street in its state of natural sounds and peaceful
atmosphere. The camera cuts again to a low angle of the same
amount of feet, but this time walking from the right of the
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14.
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screen to the left.
There is then the shot of the street again. The shot is
stationary, but captures two rival gangs, in casual
clothing, walking to one another from either end of the
road. Each gang contains five or six members. three or four
members from each group are carrying melee weapons.
The two groups hold their ground several feet away from one
another, the two ring leaders begin their scrutinising. |
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FINN
Ah Darren, I'm disappointed,
Where's your brothers? I would of
been quite happy to finish off the
Mathersons today. Shame. |
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D. MATHERSON
We knew it wouldn't take all of us
to wipe the remaining shit from
our heels. You Troops never did
understand the true nature of
business, it's never been
personal, ask your father... Oh
wait, Mr Scott Troop is 6ft under
in St Clement's cemetery still,
right where we left him. |
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A momentary pause hits the street, as Finn spends time
adopting a face of grimace. He tries his best to cloak his
emotions of hatred towards Darren Matherson. |
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FINN
Too long have you stabbed knives
in our backs; too long have you
cheated men for the chance at a
quick penny. That ends today, the
minute I send your head to your
brothers. |
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D. MATHERSON
You'll thank me when I send you to
meet your father. |
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A smirk stretches across Matherson's face. He proceeds to
raise his right hand, which is grasping on to a bat with
barbed wire wrapped around it. He then shouts, which is
followed by shouts of his men. This is reciprocated by the
rival gang. They run towards one another, clashing melee
weapons and knocking each other down.
Finn's men get the first kill, but then Matherson plants his
bat into the neck of one of his enemies. He pulls the bat
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15.
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out, leaving Finn's man to choke and gargle on the blood
pouring from his neck. Finn's men then take down another
couple of Matherson's men here and there. This is a
temporary advantage as Finn's men begin to drop like flies.
Finn stands alone against Matherson and two of his men. Finn
swings his knife and plants it into the shoulder of one of
Matherson's men. He falls down backwards, with the knife
remaining in his shoulder. As this occurs, Matherson's other
man uses a small hatchet to slice the back of Finn's legs,
the flexible area located behind each knee. Finn falls the
ground on his knees, stretching his arms out last minute, to
keep him sustained in a position as if ready to crawl.
Finn spits blood on to the ground at Matherson's feet. Blood
that has filled his mouth from a previous knock sustained
within the scrambling of men. The man with a knife in his
shoulder rises of from the ground and walks over to Finn,
while holding his shoulder. The wounded man then plants a
powerful kick into Finn's stomach. Finn now lies prone for a
few seconds, but then rises to his knees, arms by his sides,
looking up towards the stars, getting lost in there varying
formations. |
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D. MATHERSON
Hey, hey Troop. Come back to us
now... |
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Matherson clicks his fingers three times, right into Finn's
face. Finn tilts his head down slightly and looks at
Matherson. |
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D. MATHERSON
Threaten me and my family, Kill my
men... I'm gonna wipe your seed
from this Earth. |
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Matherson leans in and whispers. |
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D. MATHERSON
Your children are gonna burn in
hell with you, your mother and
your father. So make sure you save
them a seat. |
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Matherson steps back, raises up his blood covered bat, then
strikes Finn in the skull. Finn toples over. Matherson steps
over him, then repeatedly brings the bat down onto Finn's
head. Finn's brains are scattered across the road. Matherson
drop the bat onto the ground and steps back off of him. The
camera moves out from the three survivors and almost
displays a birds eye view of the street. Conveying the
extent of the bloodshed and the bodies. There is an abrupt
cut to black a thud noise to emphasise the abrupt cut. |
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16.
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INT. MATHERSON'S BUILDING (STUDY II) - EVENING |
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The scene opens where the meeting left off. Matherson is at
gun point, in his study with Jonathan Troop. |
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D. MATHERSON
please, what do you want, I'm sick
of you just sitting there, tell
me, just tell me... |
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J. TROOP
Even after my instigation of the
topic, you have still failed to
enquire, Mr Matherson. |
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D. MATHERSON
Stop fucking with me and tell me. |
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J. TROOP
Ask me my second name. |
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J. TROOP
We've covered where I stand on
repetition, it's like you
deliberately go out of your way to
promote yourself as an imbecile. |
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D. MATHERSON
what, what's your second name? |
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J. TROOP
ah, I'm so glad you asked. Troop.
My name is Jonathan Troop. |
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Matherson's face grows pale and he adopts another slack
jawed look. There is a pause. Darren Matherson's voice now
bears a tone of resignation and defeat within it. |
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D. MATHERSON
Are you going to kill me? |
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D. MATHERSON
Despite what you've heard, Finn,
your father, he was a good man.
This feud, this continuing shit,
it's all so... meaningless. It
took me my latter years to realise
that, but your father, myself and
(MORE)
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17.
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D. MATHERSON (cont'd)
you... We've been suckered into
something that's not even our
fight. |
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J. TROOP
yet my father, the "good man", you
killed in cold blood. Do not
preach to me now on ideas of
retribution. |
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D. MATHERSON
I wouldn't expect you to
understand. Look at you, You've
got many more mistakes to make,
until you catch up with me... |
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The gun is fired. Jonathan Troop shoots Darren Matherson in
the head. The camera stays focused on Matherson seated in
his chair, capturing blood drip from the bullet wound down
his face and onto his clothes. All the while the camera
stays on Matherson, Jonathan Troop can be seen leaving the
room, walking out of the door behind Matherson. |
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FADE OUT. |
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