Heroine - Pilot (2)

8/11/2019 Heroine - Pilot (2)

1/51

(Name of Project)

by(Name of First Writer)

(Based on, If Any)

Revisions by(Names of Subsequent Writers,in Order of Work Performed)

Current Revisions by(Current Writer, date)

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2/51

TEASER

COLD OPEN:

INT. LIVING ROOM

Two sisters, YOUNG EMILY PAYNE (10) and YOUNG SARAH PAYNE (8)are playing on the living room floor in their house. The sunshines through slightly parted curtains, landing on themsitting and giggling, playing with their PET CAT. Theirfather, JONATHAN PAYNE (40s), SLAMS the front door open andcomes BURSTING into the living room, shutting it behind him.

JONATHAN PAYNEEmily grab your sister and hidenow!

YOUNG EMILY PAYNEBut Dad-

JONATHAN PAYNENow!

Young Emily grabs Young Sarah by the hand and pulls hertoward the closet. Young Sarah DROPS the CAT, which HISSES asit lands on the floor. Young Sarah turns around and picks thecat back up before RUNNING after Young Emily, the two of themtaking refuge in the CLOSET in the DINING ROOM. The frontdoor SLAMS open again.

INT. CLOSET/DINING ROOM

Young Emily peeks through the cracks in the closet door andsees her father backing into the DINING ROOM slowly, his armsraised in submission.

JONATHAN PAYNEPlease, just, don't hurt her.

YOUNG SARAH PAYNEWhat's going on?

YOUNG EMILY PAYNEShh.

MASKED MAN #1(20s) and MASKED MAN #2(20s) walk into thedining room, each one carrying a GUN in their hands. MASKEDMAN #3(20s) walks into the room last, holding MARIA PAYNE(30s) with a GUN to her head.

JONATHAN PAYNEPlease.

(CONTINUED)


3/51

MASKED MAN #1 steps forward and SMASHES his gun against theside of Jonathan's head and Emily closes her eyes. The screencuts to BLACK and we hear the sounds that Emily hears. SarahCRYING. Emily HUSHING her.

YOUNG EMILY PAYNE

Shh. It's okay. Shh.

Kicks THUDDING against soft flesh. The RIPPING of fabric.MARIA PAYNE CRYING and Jonathan BEGGING them to stop.Jonathan SCREAMS.

JONATHAN PAYNE(SCREAMING)

Stop! You're killing her! You'rekilling her!

Sarah SQUEALS. Emily opens her eyes and we see a masked manstaring straight back at her, blood running from his knees

down the lower half of his pants. One of the men puts theirhand on his shoulder and pulls him away. The three men leaveas Jonathan CRAWLS towards his wife.

JONATHAN PAYNE (CONTD)Maria? Maria?

CUT TO TITLESHOT: HEROINE

END TEASER

ACT ONE:

INT. DR. REED'S OFFICE

SARAH PAYNE (26), now a fairly muscular blonde, lies on acouch in her therapist DR. REED'S (LATE 20S) office. Dr.Reed, an attractive young woman with brown hair pulled into atight bun and dark framed GLASSES, sits in a chair takingnotes on a CLIPBOARD.

DR. REEDWas that the last time you saw yoursister?

SARAHOne of the last times. We lost bothour parents that day and we spent afew days in the same group home butwe were young and we got adoptedfairly quick.

DR. REEDBy the same family?

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(CONTINUED)


4/51

SARAHNo. We were split up and a yearlater she ran away. I've only seenher once since I was eight.

DR. REED

I'm sorry Sarah, that must betough.

SARAHDo you have a sister Dr. Reed?

DR. REEDI do, I have two siblings.

SARAHLucky you. I have a dad beingreleased from a mental institutiontomorrow and a sister that skipped

out on me. The last time I saw herI was furious with her but now Ijust want to know if she's okay.

INT. CELL

EMILY PAYNE (28) is KNEELING in a cell wearing a tight blacktank top with her hands cuffed behind her back. Sweat poolsaround her forehead and she hears the slow DRIP as it fallsfrom her forehead and hits the floor. Her eyes are tightlyshut and her slightly parted lips tremble as she INHALESslowly. SMOKE rises from her wrists as she quickly EXHALES.

GUARD #1(o.c.)

Hey! What is that, what's shedoing?

FLAMES creeps over the chain link of her HANDCUFFS and thecenter of the chain starts to glow a faint red as EmilySMILES a sinister smile. The center glows a deeper shade ofred and she violently SNAPS the cuffs, FIRE trailing behindher hands. She stands and points at the lock to the celldoor, FLAMES racing from her finger to the lock. An ALARMgoes off, sending a SCREECHING alert throughout the prison.

GUARD #1 (LATE 30S) approaches as Emily KICKS the cell dooropen. She lifts her hands into a boxing stance and steps backwith her right foot as Guard #1 swings at her with his baton.He misses, she SPRINGS forward and hits him with a quickright jab, left cross, right cross combo before SMASHING hisforehead against the gate to the cell. She steps out into thehall and stares at GUARD #2 (LATE 20S). She cocks her headand narrows her eyes and Guard #2 turns and runs.

3.

CONTINUED:

(CONTINUED)


5/51

She smiles cockily to herself and turns to face the wall atthe end of the hall. She places her hands against the walland FLAMES pour from her hands into the wall.

INT. PRISON HALLWAY

ARMED GUARDS hurry down the hallway.

INT. PRISON HALLWAY/OPEN CELL

Emily steps back from the hole in the wall, FLAMES and SMOKEstill rising from the edge of the hole. She lowers her headand CHARGES at the hole, LEAPING through it into the nightsky. The ARMED GUARDS arrive seconds later and stare at thehole in the wall. ARMED GUARD #1 takes out his RADIO.

ARMED GUARD #1Sir? She escaped.

INT. DR. REED'S OFFICE

Dr. Reed glances down at her wristwatch before she stopswriting and places her pen against the clipboard.

DR. REEDWell Sarah I'm afraid that's allthe time we have for today.

Sarah swings her legs over the side of the couch and sitsupright, taking a moment to compose herself. Dr. Reed standsup, takes a few steps towards her desk, and turns back aroundto face Sarah.

DR. REED (CONTD)Sarah, I'm really impressed withthe progress you're making but Iwant to remind you that it'simportant to take care of yourself.At this stage spending time onyourself is crucial to yourrecovery, don't lose sight of that.

Sarah stands up and smiles at Dr. Reed, nodding as she turnsto leave.

DR. REED (CONTD)I'll see you at the same time nextweek.

INT. CAR - LATE AFTERNOON

Sarah wipes away a tear that's running down her face andcloses her eyes for a moment as she drives.

4.

CONTINUED:

(CONTINUED)


6/51

JONATHAN PAYNE(v.o.)

Maria? Maria!

She JERKS her eyes opens and wipes away more tears,struggling to keep the pain from showing as she fails her

attempt not to cry.

INT. SARAH'S APARTMENT

Sarah opens her closet, her face still streaked with tears.She parts the clothing she has on hangers, reaches deep intothe back of her closet and pulls out a MASK.

EXT. ALLEYWAY - NIGHT

THUGS take off down the alley in a sprint. THUG #1 trips andfalls to the ground. THUG #2 stops and turns around to lookat him. THUG #3 keeps running.

THUG #3(over his shoulder)

Forget Jimmy, he's done. We gottamove!

Thug #3 reaches the end of the alley first. Thug #2 watchesas Thug #3 turns the corner at the end of the alley and issubsequently THROWN back into the alley, his face COLLIDINGwith a dumpster. Thug #2 turns around and begins SPRINTINGthe other way. Thug #1, JIMMY, climbs to his feet. He toucheshis hand to his forehead and then looks at his hand, seeingBLOOD on his fingertips. He hears Thug #2 scream and he turnsaround, slowly STUMBLING down the alley in the otherdirection. He wipes his hand on his pants and looks down atit. When he looks back up he is face to face with a VIGILANTEwearing BLACK BODY ARMOR and a MASK. He GASPS and takes astep back as the vigilante places a hand over Jimmy's mouth.

VIGILANTENot here.

The vigilante GRIPS Jimmy's shoulder and SHOVES Jimmy towardsa manhole cover in the alley. Jimmy struggles to lift it asthe vigilante watches. When he finally gets it up and slides

it over Jimmy turns to face the vigilante, still kneelingnext to the open manhole.

JIMMYThis would go faster if you-

The vigilante KICKS Jimmy down the open manhole and Jimmylands HARD on his arm, crying out in pain.

5.

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(CONTINUED)


7/51

The vigilante LEAPS down behind him, then picks Jimmy up andSLAMS him against the wall.

VIGILANTEI warned you.

JIMMYI'm not the one moving that stuff,I swear it. It's not me.

VIGILANTEWhen and where.

JIMMYTomorrow night, 10:30. Two vansdropping off at the old cemetery onDestin Ave.

VIGILANTE

The East End? Since when do youmove drugs on the East End?

Jimmy grabs a small pistol he's got tucked behind his back.

JIMMY(chuckling)

Drugs? They ain't moving drugs.They're moving these.

He pulls the small pistol, shoves the barrel against the sideof the vigilante's head and pulls the trigger. BANG. Thevigilante CRASHES to the ground. Jimmy cradles his side as hestumbles deeper into the sewers. The vigilante lays prone fora few seconds before SLOWLY sitting up. She looks around fora moment, scanning the area before taking off her MASK toreveal SARAH, her pretty blonde hair matted with sweat. Sheholds the MASK in her hand and stares at the bullet stuckinto the side.

SARAHGod damn it.

She shakily climbs to her feet and steadies herself againstthe wall before she starts walking, away from Jimmy. As she

walks she takes out her PHONE from the UTILITY BELT on herwaist and stares at its cracked screen.

SARAH (CONTD)Damn it.

6.

CONTINUED:


8/51

EXT. EMPTY ALLEYWAY - NIGHT

JERMAINE sits in a white minivan parked at the end of thealley, flipping through a graphic novel. The side door SLIDESopen and Sarah struggles to pull herself into the van beforeSLIDING the door shut behind her.

JERMAINEWhy aren't you wearing your mask?You realize it doesn't work ifyou're not wearing it, right? Justholding it isn't enough?

SARAHI got shot. In the head.

Jermaine turns around to look at her.

JERMAINE

What? Are you okay?

SARAHI will be. Turn around.

Sarah begins changing in the back of the van as Jermaineturns around and begins focusing intently on the alley infront of him.

SARAH (CONTD)My head feels like it's going tosplit open and give birth to adifferent, still throbbing head.

JERMAINEThat would be the concussion youdefinitely have. Be happy though,it means you didn't die.

SARAHI have to start carrying a gun.

JERMAINENo, no guns. Batman doesn't use agun. Spiderman doesn't use a gun.

Frank Castle uses a gun, but do youreally want to be the Punisher?Because that guy belongs in prison.

SARAHBatman never got shot in the head.

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(CONTINUED)


9/51

JERMAINEBatman probably did. Spiderman hassuper reflexes, you could getthose. (a beat) Possibly.

SARAH

I'm just gonna start packing heat.Criminals fear people with bigguns. They will learn to fear.

JERMAINEInnocent bystanders also fearpeople with big guns. And what ifyou have to shoot people? Ballisticevidence, tracing the gun back tothe person you bought it off of,lots of ways to get caught whenevery incident leaves evidencedeposited at the scene. Don't be a

bad superhero.

Sarah climbs into the passenger seat, now wearing a loose t-shirt and jeans.

SARAHI'm not a superhero.

JERMAINEAnd you're never going to be one ifyou start using guns. Criminalswill learn to fear you way morethan they fear guns, they're usedto guns. They aren't used to you.

Jermaine starts driving the van. Sarah leans over and laysher head on his lap.

SARAHEverything hurts.

JERMAINEYou've been at this for six months.It'll get easier.

SARAHCan you drive like this?

JERMAINEYup. Absolutely.

SARAHOkay. Just drop me off at my place.

8.

CONTINUED:

(CONTINUED)


10/51

JERMAINENope, not happening, you have aconcussion.

SARAHI can't leave Bruno by himself all

night. He gets lonely.

JERMAINEBruno will be fine. We're alreadyin the thorns, you're staying withme tonight. But don't fall asleep.You have a concussion. You'll die.

SARAHBut everything hurts.

JERMAINEYou're not allowed to die.

SARAHBut everything hurts.

JERMAINESarah Elizabeth Payne if you die onme I swear to god.

SARAHThat's not even my middle name.

JERMAINERight, because your actual middlename would be...

SARAHShut up and drive the van.

JERMAINEThat's cute.

EXT. SIDEWALK IN FRONT OF SARAH'S APARTMENT COMPLEX - NIGHT

Emily walks up to the complex in an army jacket that's twosizes too big for her with a duffel bag slung over her

shoulder. She LIGHTS up a cigarette and checks the addressshe's got scribbled down on a piece of paper.

INT. APARTMENT COMPLEX HALLWAY

Emily walks up to the apartment door and knocks but no oneanswers. She takes a seat in the hallway and holds her bagclose to her chest. Her eyes are wide open.

9.

CONTINUED: (2)


11/51

EXT. SHOT - TIME LAPSE NIGHT/DAY

INT. JERMAINE'S BEDROOM

Sarah is laying underneath the sheets in Jermaine's bed witha BULLDOG lying next to her. There are posters of various

action movies and superheroes on the wall, a Playstation 4next to the TV and a PICTURE of Jermaine and his mother onthe night stand. The bulldog begins LICKING Sarah's face. Shesits up and cradles the dog's face in her hands.

SARAHBruno! How'd you get here boy?

BRUNO cocks his face and looks at her.

SARAH (CONTD)All by yourself you say? You drovehere in a car all by yourself and

Jermaine doesn't get any credit forgoing to pick you up?

JERMAINE(o.c., yelling)

Really? That's how it is?

SARAH(yelling back to JERMAINE)

I never should have shown you whereI keep my spare key.

(to BRUNO)Next time I want you to bite him.

Jermaine walks into the room.

JERMAINENext time you're the one taking thecouch. Also, there are homelesspeople sleeping in the hall in yourapartment complex. Which makes mewonder why they bothered giving youa room.

SARAH

(to BRUNO)See what I mean? Next time bitehim.

JERMAINEWe should get going. I intend toenjoy my day off and I've stillgotta get you home so you canchange before your shift starts.

10.

(MORE)

(CONTINUED)


12/51

Unless you plan on going to work inlast night's clothes with dog droolon your face.

SARAHIt's not dog drool, it's love.

You're just jealous because Brunois cuter than you.

(to BRUNO)Aren't you Bruno? Who's the cutestdog in the whole wide world?

Bruno BARKS.

EXT. ALLEYWAY - DAY

A WOMAN walks down an alley with a bag of trash to throw intoa dumpster. She sees something and steps away from thedumpster to see what it is. It's JIMMY'S SEVERED HEAD,

sitting several feet away from a gruesome CRIME SCENE. Thewoman SCREAMS.

END ACT ONE

ACT TWO:

EXT. ALLEYWAY - DAY

BODY PARTS lie strewn about in an alley, BLOOD splashedeverywhere. Detectives DANNY RODRIGUEZ (20s) and DANIELBOWMAN (40s) are studying the crime scene. Rodriguez bendsdown and picks up a SEVERED HAND as Bowman takes out hisphone.

BOWMANWhat are you doing?

RODRIGUEZWhat kind of perp dismembers a manin an alley? Remember when theyused to dismember them at home and

then just dump them somewhere? Butthis, tearing a man apart in analley, what are these, teeth marks?No respect, complete and total lackof respect.

11.

CONTINUED:JERMAINE (CONT'D)

(CONTINUED)


13/51


14/51

The office door opens immediately and his assistant HAYES(20s), a thin unassuming man, walks in.

HAYESYes sir.

BURTONWe've got a problem. Call ameeting. Also get me someoneexpendable. Someone's got to tellthe Don his son is dead.

INT. EMPTY GARAGE

Burton and Hayes are the first to walk into the garage.Moving silently they grab a foldout TABLE that's leaningagainst the wall and move it to the center of the room. Theythen place FIVE CHAIRS around the TABLE. Burton sits in oneand Hayes stands behind him. MICHAEL DEARBORN (50s), an older

men with glasses and wiry hair STRIDES confidently into thegarage, flanked by IMPOSING MAN #1 (30s) and IMPOSING MAN #2(30s), who are wearing jeans and rubber boots. Michael sitsat the table next to Burton and the two men stand behind him.

BURTONMike.

MICHAELHarold.

BURTONHow are the docks?

MICHAELBeats the hell out of your office.

BURTONYeah, keep telling yourself that,friend.

RICHARD MONTOYA (30s), a Hispanic man with braids walks inalongside VICTORIA MONIQUE, better known as VICKI (20s), ayoung African-American woman with a devious smile.

VICKIWhat's this, five chairs? When am Igoing to sit at the table, you toldme I could sit at the table.

RICHARDNot today Vicki, now is not thetime.

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(CONTINUED)


15/51

Richard walks up and takes a seat at the table. Vicki standsbehind him with her arms crossed.

BURTONRichard. Vicki.

Vicki SCOFFS.

RICHARDHow's it going Harold. Mike. Youguys know what this is about?

MICHAELNo.

BURTONYes. Tell you when we're all here.

WARREN MILES (20s) walks in alone and takes a seat at the

table.

RICHARDWarren.

WARRENRichard.

VICKIHe gets to sit at the table.

WARRENThat's because I'm a Biden, not aLewinski.

BURTONYou're mixing administrationsthere.

WARRENPoint stands.

BURTONNot a bad point.

VICKIBoth of you go to hell.

DON GALLITO (60s) walks in, supported on both sides by SUITEDTHUG #1 (30s) and SUITED THUG #2 (30s), both carrying non-concealed HANDGUNS. The Don STUMBLES as he walks, his eyesred, cheeks puffy.

14.

CONTINUED:

(CONTINUED)


16/51

SUITED THUG #3 (30s) and SUITED THUG #4 (30s) walk in behindhim, dragging a severely beaten YOUNG MAN (20s) by his arms.The Don sits in the last seat and motions towards Harold.

DON GALLITOGive him back to Harold.

Suited Thug #3 and Suited Thug #4 half carry, half DRAG thebeaten man over to Harold and lay him at Hayes feet. Hayesbends down to check his pulse, then looks at Harold and nods.

DON GALLITO (CONTD)Who did this thing. Who did thisthing to my son?

BURTONWe don't know yet, but my guy is onit.

DON GALLITOYour guy? Your guy? I don't wantyour guy. I want all the guys, Iwant an army out there combingthose streets until that mutt isfound and brought before me.

WARRENWait a minute Don.

DON GALLITOYou don't tell me to wait slave.You don't belong here, when yourmaster shows up he can speak to mebut until then you keep that mouthshut. Now someone knows something.

BURTONWe just found out this morning. Wesent someone to you first thing. Iappreciate you keeping him alive.

DON GALLITOWasn't my intention.

MICHAELDo you two want to bring the restof us up to speed?

DON GALLITOSomeone killed my son. Murdered. Inthe streets. Like a dog. My son. Myson!

15.

CONTINUED: (2)

(CONTINUED)


17/51

Vicki FLINCHES as the Don YELLS.

DON GALLITO (CONTD)I'm putting the word out today. Onehundred thousand dollars to whoeverbrings this man to me.

WARRENWait a minute Don.

DON GALLITODidn't I tell you not to speak tome.

Suited Thug #3 and Suited Thug #4 place their hands on theirguns and Warren STARES the both of them down.

WARRENDo it.

RICHARDThis again. Great.

WARRENWe're not putting out any hits orbringing assassins into Rose city.We handle this discreetly andinternally. King's orders.

DON GALLITOKing's orders? We're the kings. Me,Mikey, Hal, hell even Richie overhere gets to be king, everyone butyou. We give the orders.

WARRENYou said you wanted to see my bossDon, is that true? Do you reallywant to see him? Because you putthat hit out and you will.

MICHAELWe don't even know who'sresponsible.

DON GALLITOI know who did this, I know. I gottwo boys saw Jimmy earlier thatnight. Said it was that nutjob,dresses up like it's Halloween andgoes out at night putting a hurtingon our men. Said they saw him dragJimmy off. Says he killed my son.

16.

CONTINUED: (3)

(MORE)

(CONTINUED)


18/51

And now, slave, you say I donothing. Well I refuse. I refuse todo nothing. I refuse to let myson's blood go unanswered.

WARREN

My boss didn't say to do nothing.He said no outside help. Cops arealready on the scene. Give them asuspect. Tell them what theirvigilante did.

DON GALLITOYeah Warren, that's what I'm gonnado. This meeting is over.

WARRENDon't do something stupid Don.

Don Gallito STANDS up.

DON GALLITOI said this meeting is over.

The Don nods to Suited Thug #1 and Suited Thug #1 walks overto Hayes and calmly SHOOTS the beaten young man at Hayesfeet. Burton looks at the Don who turns around and walks awayas Hayes tightly balled FISTS begin to SHAKE.

WARRENWe're going to have to do somethingabout him.

EXT. SIDEWALK - DAY

Don Gallito walks to his car, grabbing Suited Thug #1 andpulling him close.

DON GALLITOI want that hit out today. No, Iwant that hit out yesterday, I wantthe hitters here today. Youunderstand me?

Suited Thug #1 nods.

DON GALLITO (CONTD)Good. Now go.

The Don gets into his car as Suited Thug #1 takes out hiscellphone and begins walking the other direction.

17.

CONTINUED: (4)DON GALLITO (CONT'D)


19/51

INT. SARAH'S APARTMENT - FRONT DOOR

Sarah walks into her apartment with a DUFFEL BAG slung overher shoulder and Bruno walking next to her on a leash. SheDROPS the duffle bag as Bruno SNIFFS the ground, takes twosteps and begins GROWLING. Sarah steps inside and slowly

closes the door. She crouches low, TENSE, getting ready.Bruno GROWLS again, takes a step closer to the kitchen. Sarahsteps closer to the kitchen too and then she SEES someone.Bruno BARKS and the intruder TURNS.

INT. SARAH'S APARTMENT - KITCHEN

Sarah RUSHES into the kitchen and catches the INTRUDER offguard with a FLYING KNEE to the chest. The intruder is THROWNback and SLAMS into the fridge. Sarah steps back then LASHESout with a vicious ROUNDHOUSE KICK, catching the intruder inthe side of the head. The intruder CRASHES to the ground and

we see that it's Emily.

SARAHWho are you and why are you in myapartment?

Emily climbs to her feet, keeping her back to Sarah. Sarahsteps forward fist chambered and grabs Emily's shoulder.

SARAH (CONTD)I said-

Emily SPINS around. Sarah THROWS a jab aimed at Emily's nosebut Emily pushes the punch aside, hits Sarah on the chin witha quick right cross and then SINKS her left fist deep intoSarah's gut. Sarah doubles over, falls to a knee and WHEEZESas Emily LAUGHS.

EMILYOh relax Sarah, it's-

Sarah PUNCHES Emily in the knee, causing her leg to buckle,then GRABS Emily, LIFTS her off the ground and CHARGESforward before she SLAMS Emily into the wall. Emily SHOVESSarah back and Sarah drops low and SWEEPS out Emily's feet,

dropping Emily on the ground.

EMILY (CONTD)Sarah, stop it. I'm your sister.

SARAHI know who you are Emily. What areyou doing in my apartment?

18.

(CONTINUED)


20/51

Emily sits up and stares at Sarah.

EMILYCan't a girl drop in to say hi?

SARAH

No. No you can't. And youdefinitely can't break into myapartment.

Emily climbs to her feet.

EMILYPoint taken. When did you realizeit was me?

SARAHThe second you started talking.Nice haircut.

EMILYAnd you still slammed me into thewall?

SARAHYou slugged me!

EMILYYou kneed me into the fridge!

SARAHYou broke into my apartment!

EMILYFine, fine, I'm the asshole.

SARAHYes. You are. Why are you here?

EMILYDad gets out tomorrow. I thoughtit'd be nice to surprise him. Andyou. Surprise?

SARAHI don't have time for this. I haveto go to work.

EMILYI haven't seen you in years. Callout.

19.

CONTINUED:

(CONTINUED)


21/51

SARAH(sarcastically)

Yeah, that's what I'm gonna do.

INT. BULLET'S APARTMENT

The apartment is small and BARREN. Sunlight drifts in throughDIRTY blinds, the normally cheery yellow light appearing darkin the haze of the apartment. BULLET (30s), a young womanwith dark brown hair and a scar directly above her lefteyebrow cleans a very large SNIPER RIFLE positioned on herkitchen table. FIST (30s), a barrel chested man with tapewrapped around his fists is doing knuckle pushups on thefloor next to Bullet. On a coffee table directly across fromFist are PHOTOS of individuals they've killed, each PHOTO hasa line drawn through it in red ink. On top of these photos isa CELL PHONE, which suddenly begins to RING. Bullet answersthe PHONE, listens for a moment and then hangs up. She turnsto Fist.

BULLETWe have a job.

END ACT TWO

ACT THREE:

INT. ROSE CITY POLICE STATION

The police station is a HIVE of activity this morning.Uniformed officers BUZZING in and out of the building in aRUSH. The Chief of Police, RICHARD TOMPKINS, stands in frontof a white board and talks to a room full of detectives,sitting in their seats in rows like a UNIVERSITY LECTURE.Sarah looks through the glass window into the conference roomwhere the meeting is being held as she heads to her desk. Herboss, Tompkins, TAPS on the glass to get her attention andmotions her over. She walks into the room.

INT. ROSE CITY POLICE STATION - CONFERENCE ROOM

Sarah stares at the large WHITE BOARD behind Chief Tompkinswhich currently bares a MUG SHOT of Jimmy Gallito. Beneaththe MUG SHOT is a PHOTO of his remains as found at the sceneof the crime. They also have a SKETCH ARTIST RENDITION of thevigilante pinned to the board.

TOMPKINSSarah, come up to the front, I needyou taking notes.

20.

CONTINUED: (2)

(CONTINUED)


22/51

Sarah grabs a seat and Rodriguez hands her a notepad. On thenotepad are various doodles of stick figures being tormentedby hellfire.

TOMPKINS (CONTD)Alright, Rodriguez, Bowman, this is

your show. Take it away.

Rodriguez and Bowman stand up and make their way to the frontof the room.

BOWMANNow this might not be our show muchlonger. Word is a couple of fedsmight be on their way here to takethis away from us. Let's wrap it upbefore they get here.

RODRIGUEZ

Our current suspect is the as ofyet unnamed vigilante we've beengetting scattered reports of thesepast few months.

BOWMANThere are two eyewitnesses who tooka beating from the vigilante lastnight who saw the vigilante dragJimmy Gallito into the sewers.According to their reports they ranaway moments later, although one ofthem reports hearing a gunshot.

RODRIGUEZForensics are currently searchingthe scene but as it's a sewer inthe middle of the city we're notexpecting much.

BOWMANIt's like looking for a needle in aseptic tank. No one's searchingthat hard.

RODRIGUEZNow this is the first time we'vesuspected the vigilante of taking alife.

21.

CONTINUED:

(CONTINUED)


23/51

BOWMANAnd what a life to take. This hereis Jimmy Gallito, the oldest son ofMatthias Gallito, allegedly the Donof the Gallito crime empire.

RODRIGUEZYeah, right, just like the sky isallegedly blue.

BOWMANDetective Rodriguez's personalfeelings notwithstanding, we doneed to put someone in bars behindthis quickly. This is not the typeof action that goes unanswered.We're looking at blood in thestreets here people and if theGallitos don't find someone to

blame for this they will startpointing fingers elsewhere.

RODRIGUEZThis is not a good time for gangwarfare.

BOWMANNamely because there's never a goodtime for gang warfare. We need thisso-called hero found, and foundnow.

Sarah raises her hand for a moment, then lowers it and speaksanyway.

SARAHHas anyone considered a killer whoisn't the vigilante?

RODRIGUEZIt is my personal belief-

BOWMANNo one gives a damn about your

personal beliefs Danny, thevigilante is our prime suspect. Hecomes into the station ditches themask and gives us a solid alibi andmaybe we'll start lookingelsewhere. Until that moment we areall on vigilante duty.

22.

CONTINUED: (2)

(MORE)

(CONTINUED)


24/51

Hit up old leads, check in with thepeople who have filed reports, dowhatever you can to help us trackthis guy down. We've given him waytoo much leeway because let's faceit we're not the biggest fans of

the guys he smacks around, but thistime it's gone too far. No one getsto commit murder in our city, capeor no cape.

RODRIGUEZUh, Detective Bowman, I don'tbelieve he wears a cape.

BOWMANI said no cape, I deliberately saidcape or no cape. Don't make meregret letting your mother keep

you.

RODRIGUEZWow. That got dark.

BOWMANLighten up. Let's go people, we gotus a cape to bag.

RODRIGUEZAgain with the cape.

Bowman and Rodriguez sit back down.

TOMPKINSYou heard them. Why are you allstill here? We need this guy incuffs yesterday, let's get on withit.

Most of the room files out. Sarah stays in her seat andstares at the picture of Gallito's remains. Rodriguez walksover and sits next to her.

RODRIGUEZ

Yeah, it's pretty gruesome stuff.

SARAHThat doesn't seem to fit any of thereports we've gotten about thevigilante.

23.

CONTINUED: (3)BOWMAN (CONT'D)

(CONTINUED)


25/51

RODRIGUEZMy thoughts exactly. My money's onan outside hit, or maybe even acopycat vigilante.

SARAH

It looks almost ritualistic. He wastorn to pieces.

RODRIGUEZLike I said, gruesome stuff.

BOWMAN(o.c.)

Didn't I used to have a partner? Iswear I had a partner.

RODRIGUEZGotta go. Don't worry, if our cape

is innocent, I'll figure it out.

Rodriguez leaves and Sarah continues staring at the whiteboard. On the white board someone has drawn a BULLSEYE on thesketch of the vigilante.

INT. SARAH'S APARTMENT - FRONT DOOR

Sarah walks into her apartment and is greeted with silence.She waits for a moment before speaking.

SARAHBruno? Bruno?

She hears laughing and barking from a different room.

INT. SARAH'S APARTMENT - LIVING ROOM

She walks into the other room to see Emily sitting on thecouch with Bruno on her lap, TICKLING him and LAUGHING. Brunolooks at Sarah as she walks in and BARKS happily. Sarah'sDUFFEL BAG is sitting on the ground next to the couch.

SARAHYou have got to be kidding me. I

told you to leave.

EMILYWhere am I supposed to go?

SARAHI don't care. I don't have time foryou and I definitely don't havetime for this.

24.

CONTINUED: (4)

(CONTINUED)


26/51

She hears a knock at the front door and rushes over to thecouch to grab her DUFFEL BAG and drop it behind the couch.Emily SNICKERS and Sarah GLARES at her. Someone walks intothe apartment.

JERMAINE

(o.c.)Hello? Sarah? Door was open.

Sarah relaxes.

SARAHIn here Jer.

Jermaine walks into the living room.

JERMAINEOh, um, hi. I'm Jermaine.

EMILYI'm Emily. Sarah's older sister.

JERMAINEYou're Sarah's sister?

Emily smiles wickedly.

EMILYImpressed? It's okay to beimpressed.

SARAHShut up Emily.

JERMAINEIs she in the know?

SARAHNo.

EMILYYes.

SARAH

No, you're not.

EMILYI opened that bag while you weregone. I know you're a dominatrix.

SARAHYup. That's it. Nailed it. You canleave now.

25.

CONTINUED:

(CONTINUED)


27/51

EMILYJoking. You clearly dress up likean idiot and fight, I dunno, badguys.

JERMAINE

Um...

SARAHNope. Dominatrix. Please leave.

EMILYI've seen that suit before. Dadmade it. He used to keep it in ourbasement.

SARAHHe didn't use it to fight crime.

EMILYHe built it so other people coulduse it to fight crime. It was aprototype.

SARAHHow do you remember that? You weresix.

EMILYI was ten. You were six.

SARAHI was eight.

EMILYThen clearly none of us were six.

JERMAINEI could've been six.

SARAHShut up Jermaine.

JERMAINE

Why am I here?

EMILYI'm not leaving so you might aswell spill.

26.

CONTINUED: (2)

(CONTINUED)


28/51

SARAHOh my god, you can not just stayhere like, no, you know what,forget you. Listen Jer, I'm wantedfor murder.

JERMAINEWhat did you do?

SARAHNo, not me me, vigilante me. Theythink I killed Jimmy Gallito.

JERMAINEDon's son Jimmy? That's bad news.

SARAHYeah, I know.

EMILYWait, you're fighting the mafia? Doyou understand how dumb that is?

SARAHEmily shut up.

JERMAINEBoth of you shut up. Sarah, if theDon thinks you killed his son,thinks the vigilante killed hisson, then you can't go out at nightanymore. He will have people, armedpeople, trained killer peoplelooking for you.

SARAHI can't stop going out. I have tocatch the person who did this. Andthere's an arms deal tonight.

JERMAINEHow do you know there's an armsdeal?

SARAHJimmy told me. Right before hepulled out a pistol and dropped me.

27.

CONTINUED: (3)

(CONTINUED)


29/51

JERMAINESo you didn't kill him, but hesnitches on his arms deal, getsaway from you, with a pistol noless, and then gets grabbed andkilled? How'd he die?

SARAHTorn apart. Literally.

EMILYAll of this sounds like reasons tosit this one out.

SARAHShouldn't you be running away bynow? Isn't that what you do?

JERMAINE

If something killed Jimmy then theyeither killed him because they'relike you and they don't like whathe's about or they killed himbecause they're like him andthey're one of his rivals.

SARAHProbably.

JERMAINEFine, you're right, we have to goto the arms deal. Ditch the suit.

SARAHAnd let them all see me?

JERMAINEThey're going to be aiming for thesuit. That thing is a giant target.

SARAHAnd if I get spotted without thesuit then they'll know who I am.What if I have to get involved?

JERMAINEYou can't go in there wearing thatthing.

SARAHI've faced these guys before.

28.

CONTINUED: (4)

(CONTINUED)


30/51

JERMAINEIn small groups. When they werescared. Never like this.

SARAHEnough of this. I'm going.

EMILYJerry, let me talk to my sister.

SARAHNo, there's nothing you have to sayto me that's gonna change-

EMILYJerry, leave. Now.

JERMAINEMy name's Jermaine.

EMILYDon't care, but fine, Jermaine, getthe hell out of here and let metalk some sense into my sister.

JERMAINEWhatever. Sarah, please don't doanything stupid.

Jermaine leaves.

EMILYSarah.

SARAHNo, I don't want to hear it.

EMILYYou realize this isn't what dadwants, right? We were neversupposed to wear that thing.

SARAHThis isn't about dad.

EMILYIs it about your accident?

SARAHStop. I'm not doing this with you.

EMILYI'm coming with you.

29.

CONTINUED: (5)

(CONTINUED)


31/51

SARAHNo, you're not.

EMILYI can fight. I almost had youearlier.

SARAHI handed you your ass earlier andif you don't back off I'll do itagain.

EMILYI was holding back.

SARAHI don't care. I have one suit. One.You're not bulletproof.

EMILYI'm better than bulletproof.

SARAHEven if I had two suits I don'twant you in my life and I don'twant you coming with me.

Emily takes two steps back and shuts her eyes.

EMILYJust shut up and watch me.

Emily stands with her eyes closed for a moment. SMOKE beginsto rise from Emily's fingertips. She starts BREATHING fasterand faster, SWEAT forming on her forehead then RUNNING downher face. Small FLAMES begin to form on her fingertips. SheINHALES deeply, tilts her head back and EXHALES pure SMOKE.She shuts her hands then opens them again to reveal FLAMESdancing across her palms and CIRCLING her hands.

EMILY (CONTD)I'm better with a little adrenalin.

Emily opens her eyes and Sarah is gone.

EMILY (CONTD)Sarah? Seriously?

She looks behind the couch and the bag is gone.

EMILY (CONTD)God damn it.

30.

CONTINUED: (6)

(CONTINUED)


32/51

END ACT THREE

ACT FOUR:

EXT. STREET IN FRONT OF CEMETERY - NIGHT

Detectives Rodriguez and Bowman sit in an unmarked car acrossthe street from the cemetery.

BOWMANAre you sure about this?

RODRIGUEZYou're the one with the CI tellingyou there's a deal going downtonight. If the vigilante grabbed

Jimmy last night then he has toknow about this. Which means he'sgot to show.

BOWMANI still wish we'd brought morepeople.

RODRIGUEZWe have fifteen officers stationedin the building behind us.

BOWMANWe're thirty feet from an armsdeal. Also their behind us.

RODRIGUEZWe're way farther than thirty feet.

BOWMANWhatever. We're still within thekill range.

RODRIGUEZDon't worry big guy, I'll protect

you.

BOWMANYeah, thanks babe.

EXT. CEMETERY - REAR ENTRANCE - NIGHT

Sarah SLINKS around the back of the cemetery in her BODYARMOR with a MESSENGER BAG hanging off her shoulder.

31.

CONTINUED: (7)

(CONTINUED)


33/51

She takes a pair of binoculars from the bag and watches asTWO WHITE VANS pull into the cemetery from the front, eachfollowed by a DARK SEDAN. A hand touches her right shoulderand she SPINS around, taking the assailant's forearm with herleft hand while clamping her right hand over his mouth as sheDRIVES him to the ground. It's Jermaine. He struggles to

speak and she releases him.

SARAHThe hell are you doing here?

JERMAINEI've been following you since youleft your apartment.

SARAHYou don't go on ops, we'vediscussed this.

JERMAINEThat's cute. You fail to spot atail, you don't get to make thetactical decisions.

SARAHThat's great. Now I get to worryabout guns and you.

JERMAINEWhat's our play here?

SARAHThere's no our.

JERMAINEI'm here. I'm not leaving you. Dealwith it. What's the damn play?

Sarah places her palm against her forehead in frustrationbefore responding.

SARAHBreaking up the arms deal is toodangerous. I was going to call the

police but I saw Danny and Dannyover there so the cops are here.

JERMAINEIf you saw them don't you thinksomeone else might?

32.

CONTINUED:

(CONTINUED)


34/51

SARAHI don't know. I need to wait forJimmy's killer.

JERMAINEWe don't know what he or she looks

like.

SARAHWe'll know them when they attack.

JERMAINEUnless it's a rival mob hit orsomeone vying for power and thenthey'll just leave here with abunch of guns and one less rival.

SARAHNo. You don't use guns and tear

people to pieces. I saw thepictures Jer. Jimmy wasn't cut topieces, he was torn to pieces.Whoever did this is like me.

JERMAINEWhoever did this is nothing likeyou.

SARAHWhatever. You know what I mean.Just stay here and wish me luck.

JERMAINETurn on your ear piece. I'm gonnatake the binoculars and go climb atree or something.

SARAHReally?

JERMAINEI'm not bullet proof, and I ain'tmuch in a fight, but I'll be damnedif I can't watch your back.

SARAHRobin could fight.

JERMAINEI will never be Robin. Never. Alsoheroes tend to have terrible luckat cemeteries so enjoy that.

33.

CONTINUED: (2)

(MORE)

(CONTINUED)


35/51

Try not to get shot in the face,mask doesn't cover mouth and eyes.

SARAHThanks. I'll do my best.

She hands him the binoculars and taps her right ear. Jermaineattaches a blue tooth HEADSET to his right ear as well.

SARAH (CONTD)You hear me?

Jermaine gives her a thumbs up. She CREEPS closer to thefront of the cemetery and he falls back, heading towards anearby tree.

EXT. CEMETERY - FRONT ENTRANCE - NIGHT

A DIRTY BROWN TRUCK pulls in after the VANS and SEDANS have

parked. The man driving the truck is Fist. He looks over to anearby building and gives a thumb up.

EXT. ROOFTOP - NIGHT

Bullet is perched on the roof of a building with a massiveSNIPER RIFLE, watching Fist. She sees his thumbs up andsmiles.

EXT. CEMETERY - NIGHT

Don Gallito gets out of the back of one of the sedans. Hisbrother, FREDDIE GALLITO (50s), a thin, nervous man, gets outafter him, as does Suited Thug #1. From the second sedanSuited Thug #2, Suited Thug #3 and Suited Thug #4 arrive. VANTHUG #1 and VAN THUG #2 leave the first VAN as VAN THUG #3and VAN THUG #4 leave the second VAN.

FREDDIEYou know I really don't think thisis a good idea.

DON GALLITODo I strike you as a man possessedwith deep regard for your thoughts?

FREDDIEIf Jimmy talked-

DON GALLITOI have the utmost faith in my son.But you saw what that butcher didto him. No man could take that. Noman.

34.

CONTINUED: (3)JERMAINE (CONT'D)

(MORE)

(CONTINUED)


36/51

My son was broken, dishonored by myenemy. I know there are others whoknow about this deal.

FREDDIEThen why come here Don? The cops

could be here any minute, why notcancel it, or move the date?

DON GALLITOI have not come to watch an armsdeal. I have come to watch a mandie. Rejoice, Freddie. Our enemiesare close at hand and your nephewis soon to be avenged.

The four VAN THUGS carry a large box past the Don andFreddie. They put it on the ground in front of a group of sixARMS BUYERS who entered through a side entrance on the

eastern side of the cemetery. Van Thug #1 steps in front totalk but the Don stops him and steps in front.

DON GALLITO (CONTD)Collect your courage child, do notembarrass me. Men, I trust you havebrought the agreed upon price?

ARMS BUYER #1 (30s), a balding man with piercing eyes nods toARMS BUYER #2 who hands the Don a METAL BRIEFCASE. The Donhands the BRIEFCASE to Freddie who opens it and beginsthumbing through it.

DON GALLITO (CONTD)My brother has a gift with money.And now you men have a gift of yourown. Take a look.

ARMS BUYER #1 nods again and ARMS BUYER #3 and ARMS BUYER #4open the large box and begin pulling out assault rifles.

ARMS BUYER #1So how are we doing this? Weloading up the weapons or are thevans part of the deal?

DON GALLITOTake the vans. Unloading andreloading those boxes may take moretime than we have.

ARMS BUYER #1Are we pressed for time?

35.

CONTINUED:DON GALLITO (CONT'D)

(CONTINUED)


37/51

The Don opens his mouth to speak and a round WHIZZES over hisshoulder and DRILLS Arms Buyer #1 in the forehead. A secondround STRIKES the Don in the back of his right shoulder andhe STUMBLES forward before dropping to a knee. Freddie grabsthe Don and pulls him behind the large box carrying the gunsas the ARMS BUYERS scatter.

EXT. CEMETERY - TALL TREE NEAR REAR ENTRANCE - NIGHT

Jermaine is perched in a tall tree with his binoculars.

JERMAINESarah, are you seeing this?

EXT. CEMETERY - SIDE ENTRANCE - NIGHT

Seven ARMED INTRUDERS are firing at the Don and his men whilean EIGHTH MAN stands behind them, crouching low, on allfours. The man's eyes SHINE an unnatural hue of yellow and he

TEARS off through the cemetery at inhuman speeds. The SUITEDTHUGS and are taking cover behind the sedans and SHOOTINGback but no one is hitting the man SPRINTING across thecemetery on his hands and feet. VAN THUG #1 and VAN THUG #2take cover inside the VANS as VAN THUG #3 and VAN THUG #4move to cover the Don. The SPRINTER reaches the van andclears the hood with a parkour move, springing off the hoodwith his feet and sinking his teeth into VAN THUG #4's neck.Suited Thug #3 steps out from behind the SEDAN with a SHOTGUNand aims at the sprinter but he is dropped in a hail ofgunfire. The sprinter TEARS out VAN THUG #4's neck with hisTEETH and then POUNCES on Van Thug #3.


Sarah PEEKS out from behind a large crypt and quickly returnsto her position, COWERING behind it. She inhales and exhalesRAPIDLY, FLINCHING at the another GUNSHOT.


Miss Bullet steps away from her SNIPER RIFLE, takes out TWINPISTOLS and walks over to the opposite end of the rooftop.She PEERS down at the ARMED INTRUDERS taking cover inside thewestern entrance to the cemetery, the rooftop offering her a

perfect vantage point. She places a finger against theearpiece she's wearing.

MISS BULLETI do believe I've got the intrudersin my sights.

36.

CONTINUED: (2)

(CONTINUED)


38/51

MR. FIST(o.c.)

Then take them my dear. I'll see toour new friend.

Miss Bullet GIGGLES gleefully before she takes aim and

SHOOTS.

EXT. CEMETERY - SIDE ENTRANCE - NIGHT

ARMED INTRUDER #1 and ARMED INTRUDER #2 are dropped instantlyby BULLETS from a nearby rooftop. ARMED INTRUDER #3, ARMEDINTRUDER #4 and ARMED INTRUDER #5 start to run while theARMED INTRUDER #6 and ARMED INTRUDER #7 TURN and SHOOT at theroof. They are killed in seconds, swiftly followed by thethree who ran.

EXT. STREET IN FRONT OF CEMETERY - NIGHT

Rodriguez and Bowman are out of their vehicle and CROUCHINGbehind it as officers begin POURING out of the buildingbehind them.

BOWMANSee? This is what I meant. Weshould not have had backup hidingin the building behind us.

RODRIGUEZSurveilling.

BOWMANWhatever. Terrible response timeDanny. Terrible response time.


Mr. Fist SMASHES his truck through the narrow gap created inthe space between the hoods of the two vans. Freddie is onthe ground behind the crate, BLEEDING heavily. The sprinterhas CORNERED the Don who is cradling his bleeding arm andGLOWERING. Mr. Fist GUNS the engine, sending the truckstraight at the sprinter, SMASHING into and TIPPING over thecrate full of weapons in the process. The sprinter LEAPS out

of the way NIMBLY as the truck rolls to a stop and Mr. FistSTEPS out.

MR. FISTPleased to make your aqquaintance.I'm Mr. Fist. And who might I bekilling tonight?

37.

CONTINUED:

(CONTINUED)


39/51

DON GALLITOMy brother, is he?

MR. FISTI'm not sure, perhaps you shouldcheck? I trust this gentleman won't

be giving you anymore trouble.

The sprinter BARES his teeth at Mr. Fist and CHARGES, LEAPINGat him with arms outstretched. Mr. Fist PUSHES one of thearms aside with his left hand, GRABS the sprinter's neck inhis right and HURLS him.


Miss Bullet returns to her sniper rifle and sees lightREFLECTING off the BINOCULARS in the tree. She FIRES andsomething FALLS out of the tree.


Sarah is COWERING behind the crypt, avoiding the chaos thatunfolds. She WATCHES as Jermaine FALLS out of the tree.

SARAHJer!

She JUMPS out from behind the crypt and a round catches herbehind her right shoulder, SPINNING her around as she FALLSto the ground.


Miss Bullet loads another round into the chamber with a loudCLICK.

MISS BULLETIt would seem there are twopossible targets tonight my goodsir. I've just dropped the secondone. I trust the first is well inhand?


Mr. Fist SINKS another meaty punch into the side of thesprinter's face, who FALLS to the ground, KICKS off andPOUNCES out of arm's reach, turning to stare at Mr. Fist,GLARING. Don Gallito lifts Freddie up. Suited Thug #1 runs upand takes aim at the sprinter but the Don steps out andlowers the man's gun.

38.

CONTINUED:

(CONTINUED)


40/51

Suited Thug #1 looks at the Don and Freddie, holsters hisweapon, and helps the Don carry Freddie to one of the SEDANS.The SIRENS BLARE in the distance, GROWING louder everysecond.


Miss Bullet scans the cemetery for Sarah, who is no longer onthe ground next to the crypt.

MISS BULLETMight I suggest we make this quick?

END ACT FOUR

ACT FIVE:

EXT. CEMETERY - TALL TREE NEAR REAR ENTRANCE - NIGHT

Sarah is HOLDING Jermaine and DRAGGING him away from thetree. There's BLOOD on the side of his head. She pulls himbehind a second crypt.

SARAHJermaine? Jermaine Ezekiel Milesdon't you dare die on me.

Jermaine smiles weakly.

SARAH (CONTD)What?

JERMAINEI'm not hit. She hit the tree, Ijust fell.

SARAHGod damn it.

JERMAINEThis was a terrible plan. My head

is throbbing.

SARAHYou probably have a concussion. Beglad, it means you're not dead.

Jermaine's MINIVAN SPEEDS through the cemetery, SCREECHING toa stop behind the crypt. Sarah tenses when the door opens andEmily steps out.

39.

CONTINUED:

(CONTINUED)


41/51

EMILYNext time I tell you to wait aminute-

SARAHWhy are you all here? How do you

even know where here is?

EMILYI was following Jermaine. I losthim but once all the gunshotshappened I kinda figured out whereyou guys were. Thought he wouldn'tmind me borrowing his car. Took mea minute to find you two though.

SARAHGood. We're leaving.

JERMAINENo.

SARAHYou almost died.

JERMAINEA bunch of people did die. And wedid nothing. The Don's men arestill inside and that sniper isgoing to tear through those cops.I'll leave, I swear it, I will, butyou've got to do something.

SARAHYou want me to go out there anddie?

JERMAINEI want you to go out there and be ahero. Shut that damn sniper down.She almost shot me.

EMILYI can get us there.

SARAHNo. You get him out of here. I'llgo get the stupid sniper.

JERMAINERemember, avoid the mouth and eyes.

40.

CONTINUED:

(CONTINUED)


42/51

SARAHShut up and go home.

Jermaine gets into the back of the van and Emily hops intothe driver's side. The tires KICK up dirt as they SPEED off,away from the cemetery. A shot BLOWS out the back windshield

but they keep driving. Sarah takes off in a dead SPRINT,DARTING from cover to cover, heading back into the fray.

INT. CAR - NIGHT

Don Gallito is in the back seat with his brother Freddie,pressing a shirt against Freddie's chest wound and slowlyROCKING his brother back and forth.

DON GALLITOCome on Freddie, hang on.

Suited Thug #1, now shirtless, looks at the Don in the mirror

and sees a man wracked with grief.

DON GALLITO (CONTD)If I lose you, so help me, I willkill them all. I'll kill everyone.


Mr. Fist has the sprinter on his back, his hand around theman's throat. The sprinter is CLAWING at Mr. Fist WEAKLY, hisnails DIGGING into Mr. Fist's forearm. Mr. Fist SMILES as thelights dim in the sprinter's eyes and he HEARS Miss Bullet'sVOICE in his ear.

MISS BULLET(o.c.)

I do believe I've lost sight of oursecond possible target.

Sarah LEAPS out from behind the tipped over crate of weapons,SINKING one foot into the back of Mr. Fist's knee, BREAKINGhis grip on the sprinter's neck with her left hand andCRACKING his chin with a vicious right cross. Mr. Fist FALLSto the floor and the sprinter WRIGGLES free.

SPRINTERThank you.

Sarah grabs him by his shirt and SLAMS him against the TRUCK.

SARAHSave it. This is done, you and Iare having words.

41.

CONTINUED: (2)

(CONTINUED)


43/51

Mr. Fist climbs to his feet and CRACKS his neck inanticipation.

MR. FISTActually I think the time forcoversations has passed.

He smiles and opens his arms wide. The sprinter LUNGES at himFIERCELY and a round from Miss Bullet PUNCHES through hisback, SLAMMING him to the ground. Sarah CROUCHES and fallsback, taking cover behind the VAN.

MR. FIST (CONTD)No need for that, it's your turnnow. Come to me.

INT. MINIVAN - NIGHT

Jermaine and Emily are IDLING on a side street, STARING at

the front of the cemetery. The building the sniper is on topof is on the left hand side of the minivan. Police arestationed in front of the building, taking cover behind theirsquad vehicles. A few officers are taking aim at the roof,others are taking aim at the front entrance to the cemetery.Detectives Rodriguez and Bowman are behind them, wearingtactical vests and motioning at the rooftop.

JERMAINEI knew you weren't gonna leave her.

EMILYShut up.

JERMAINEWe have to do something about thatsniper.

EMILYHop in the driver's seat and takeoff. I've got the sniper.

JERMAINEI can't drive. I have a concussion.

EMILYYou have a severe lack ofconfidence. Fine, stay here and getkilled or arrested. I've got asister to save.

Emily slides out of the minivan and takes off, JUMPINGthrough a window into the building that the sniper is on topof.

42.

CONTINUED:

(CONTINUED)


44/51

Detective Rodriguez hears SHATTERING GLASS and heads off intothe building. Detective Bowman turns around and sees theminivan. He DRAWS a flashlight and a pistol and beginsheading towards it, taking two uniformed officers with him.Jermaine SLINKS low in the back of the minivan and SLIDES outthe rear trunk, leaving it partially ajar. He heads for the

rear of the building Emily and Detective Rodriguez haveentered.


The sprinter is LYING on the ground, MOANING. Mr. Fist KICKShim in the face viciously. Sarah remains crouched and COILED,watching Mr. Fist.

MR. FISTShe won't shoot. She would neverinterrupt a fair fight.

Sarah SCOFFS.

MR. FIST (CONTD)You don't believe me? That's fair.I wouldn't believe me either.

Mr. Fist CHARGES Sarah throwing a clearly telegraphed punchwith his right hand. She DUCKS and his fist sinks into theside of the van. He GRABS her NECK with his left hand andthen catches her with a VICIOUS backhand from his right. Hegrabs her and SLAMS her against the VAN twice before pullingback for another vicious jab but Sarah LASHES out and SLASHEShis right eye with the sharp tips of the knuckles on hergloves. He FLINCHES and she SLAMS the knife edge of her righthand against the side of his nose, then STRIKES the nose fromthe other side with her left hand, BREAKING it instantly. SheGRABS his chin with her left hand, pushing it up to EXPOSEhis throat to three FIERCE punches from her right hand andMr. Fist STUMBLES back, GAGGING. She steps forward GRABBINGhis neck with both hands before KNEEING him in the groin. Shegrips his chin again, TWISTING it away from his body, beforeHOOKING her right arm beneath his left shoulder and DRIVINGhis entire body, headfirst, into the side of the van. Mr.Fist SHUDDERS before CRASHING to the ground. Sarah takes astep back and another sniper round DRILLS her in the left

shoulder, SPINNING her around and SLAMMING her into theground.

INT. BUILDING - STAIRCASE

Emily TEARS off up the stairs, with Detective RodriguezSPRINTING up the stairs after her.

43.

CONTINUED:

(CONTINUED)


45/51

RODRIGUEZStop! Stop or I will shoot!

INT. BUILDING - FIRST FLOOR/LAUNDRY CHUTE

Jermaine is on the first floor, sneaking around. He can hear

Detective Bowman and the officers KICKING DOWN the back door.He spies a laundry chute, opens it and looks down.

The laundry chute is a mess of cobwebs and dust.

Jermaine looks back behind him, closes his eyes and JUMPSinto the laundry chute, FALLING to the basement.


Miss Bullet SPINS around as the rooftop door SLAMS open andEmily comes CHARGING at her in a dead sprint. Bullet stepsaway from the SNIPER RIFLE and takes out her TWIN PISTOLS.

Emily LEAPS forward, SWINGING her right fist in a wide arcwith a wave of FLAME TRAILING behind it. Miss Bullet LEAPS tothe side and attempts to take aim as Emily lands and KICKSout her right foot, another wave of FLAME TRAILING behind it.Bullet CROSSES her arms in front of her as a shield as thewave of FLAME SLAMS into her and she desperately ROLLS on therooftop to put the flames out. She PUSHES herself to her feetand then she SCREAMS as Emily's foot CONNECTS with hermidsection. Emily opens up with a left cross, right cross,left hand uppercut combo and Bullet CRASHES to the GROUND.Detective Rodriguez RUNS out onto the roof and draws hisPISTOL.

RODRIGUEZFreeze!

Emily smiles at him as she slowly steps backwards towards theedge of the roof.

EMILYShe's all yours, officer. (Slowlyrecognizing him.) Danny?

Detective Rodriguez looks at her, confused, as she shakes herhead, and STEPS BACKWARDS off the roof. He RUSHES to the edge

of the roof but there's no body, just a waft of SMOKE risingfrom the upper landing of the fire escape ten feet below theroof. He steps onto the ledge for a moment, considers jumpingafter her, then shakes his head and turns his attention backto Miss Bullet who has a PISTOL trained on him. DetectiveBowman steps out onto the roof.

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Sarah hears a GUNSHOT from the rooftop as she STRUGGLES toher feet. Mr. Fist is already up and running towards thebuilding as the rest of the Don's men decide to engage thepolice. A hail of GUNFIRE rains into the cemetery as the

officers stationed outside begin opening fire. Sarah SPRINTSafter Mr. Fist.

INT. BUILDING - FIRST FLOOR

Mr. Fist SMASHES through a side door into the first floor, ahand pressed tightly against his earpiece.

MR. FISTBullet? Bullet where are you?

He heads towards the stairs when he hears a COUGH, stops, andturns around. He listens very intently and hears it again, a

second COUGH coming from the bottom of the chute.

MR. FIST (CONTD)(to himself)

I knew you were too smart to getgrabbed. (Louder.) Don't worry, I'mcoming.

Mr. Fist JUMPS into the laundry chute. Sarah sees him as shereaches the door he broke down and heads in after him,LEAPING down the chute herself.


Miss Bullet is on the rooftop being handcuffed with bloodPOURING from a hole in her right arm. Detective Bowman leansin close as he takes her away from the uniformed officer whocuffed her.

BOWMANDon't worry. I'll make this right.

Miss Bullet glares at him with HATRED in her eyes.

MISS BULLET

You'd better.

Detective Rodriguez grabs two uniformed officers.

RODRIGUEZThere's more of them out there. Fanout, I want everything with a pulsecuffed and identified, now. Move!

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Rodriguez turns to face Miss Bullet.

RODRIGUEZ (CONTD)And you. Who are you?

Bullet stares at him stonily.

RODRIGUEZ (CONTD)You pulled a gun on a cop. On topof whatever else it is you're doingup here, you don't want to talk,fine. They have a phrase they'vemade for when you do decide totalk, it's called a plea bargain.

Rodriguez looks at her arm.

RODRIGUEZ (CONTD)And I hope to god that hurts. You

deserve it. (to Bowman) Get her outof here. (to no one) Where's myforensic team!

INT. BUILDING - BASEMENT

Sarah HITS the ground hard in the basement. She looks up tosee Jermaine, bleeding from the head and GASPING, with Mr.Fist's hand around his throat.

MR. FISTI said who the hell are you!

Mr. Fist ROCKS Jermaine with a vicious backhand. SarahSCREAMS and CHARGES. Mr. Fist turns around and Sarah BARRELSinto him, SLAMMING the both of them against the wall. Mr.Fist pulls her off of him and PUNCHES a meaty fist into herleft shoulder, then RAISES her left arm with his right handand brings the full force of his left arm CRASHING DOWN onher left shoulder, DISLOCATING the arm. Sarah SCREAMS andFist SLAMS her into the wall.

JERMAINEYou take your damn hands off ofher!

Jermaine SMASHES Mr. Fist in the back of the head with alamp. Mr. Fist releases her and turns around SLOWLY.

INT. BUILDING - BASEMENT - SARAH'S POV

Sarah slowly blinks in and out of consciousness as shewatches Mr. Fist slowly approach Jermaine. Jermaine looksaround, doesn't see any way out.

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He puts up his fists and SWINGS at Fist, who sidesteps theblow and DROPS Jermaine with a single punch. Sarah strugglesto get up as the pain starts to shut her body down. Mr. Fistlifts Jermaine's unconscious body. Sarah closes her eyes.

INT. SQUAD CAR - NIGHT

Sarah opens her eyes and she's in the back of a squad car.She looks up and sees the driver is Emily.

SARAHWhat happened? Where's Jermaine?

EMILYJermaine took off when I wentinside to deal with the sniper. Ifound you knocked out in thebasement and decided it was time toborrow a ride and get the hell out

of there.

SARAHJermaine was there. In thebasement. With me.

EMILYHe wasn't in there when I foundyou.

SARAHOh my god. They have him. They haveJermaine.

Sarah struggles to sit up.

SARAH (CONTD)Emily, we have to turn around. Wehave to-

Sarah slides back into unconsciousness. Emily keeps driving.


Two officers find the sprinter on the ground, still moaning

and bleeding. As they approach him he twists and bites one ofthe officers. The other officer draws a baton and clubs thesprinter, knocking him unconscious. The officer who was bitlooks at his partner and the partner shrugs.

END ACT FIVE

TAG:

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49/51

INT. OFFICE

Warren stands before a man sitting in a large CHAIR, the backof the chair facing Warren. A large OAK DESK stands between

them and all the lights in the office are off. Moonlightfloods in through parted curtains on one of the windows andWarren is standing in the center of that patch of moonlight.

WARRENThe reports are flooding in sir.Destin Ave is a warzone, the totalnumber of wounded and dead iscurrently unknown but there arecertainly casualties on both sides.

MAN IN THE CHAIRDead officers?

WARRENYes sir.

MAN IN THE CHAIRI thought you were taking care ofthis.

WARRENGallito was warned sir. Wecautioned him against taking thesesorts of steps, I personallythreatened him with a visit fromyou if he disobeyed. His son wasmurdered, there's no reasoning withhim when he's in this state.

MAN IN THE CHAIRDo we know who killed the son?

WARRENAccording to Bowman there was asuspicious man arrested on thescene. He wasn't one of Gallito'sor one of the buyers, and is

currently the only surviving memberof a third party that arrived tointerrupt the sale.

MAN IN THE CHAIRNo sign of the vigilante.

WARRENNot according to Bowman.

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50/51

MAN IN THE CHAIRAnd we take this to mean what,exactly?

WARRENBowman failed to witness most of

the event.

MAN IN THE CHAIRI thought we gave his partner thecoordinates so that we'd have awitness.

WARRENI'm doing what I can sir. Although,there was a woman taken intocustody.

MAN IN THE CHAIR

A woman?

WARRENA sniper. With a fairly distinctiverifle, possibly one of the hittersGallito called in.

MAN IN THE CHAIRThat would be Bullet. Miss Bullet,if memory serves.

WARRENMy belief as well sir. Which wouldmean her partner-

MAN IN THE CHAIRMr. Fist.

WARRENYes. He would be an ideal witnessand is currently unaccounted for.

MAN IN THE CHAIRFind him.

WARRENWill do.

MAN IN THE CHAIRWe'll have to do something aboutthe Don. The timing on this couldnot be worse.

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WARRENI'm aware sir.

MAN IN THE CHAIRAnd keep an eye out for otherhitters. If Gallito's put out an

open bounty there's no telling whatkind of trouble this could attract.

EXT. DOCKS - NIGHT

Three MASKED MEN silently step off their tiny BOAT onto thedock. MASKED MAN #1 hands Michael Dearborn a thick bundle ofcash and Michael motions two MEN over who quickly cover theBOAT with a TARP.

EXT. ROAD OUTSIDE OF TOWN

A motorcyclist wearing a BACKPACK pulls off the road and

takes a PICTURE out of his BACKPACK. The PICTURE is aSECURITY CAM STILL FRAME of Emily falling through the nightsky with fire trailing behind her. He looks at it, folds itin half and places it back inside his BACKPACK. He starts hisMOTORCYCLE back up and returns to the road, driving past asign that reads "Welcome to Rose City."

END TAG

50.

CONTINUED: (2)

Heroine - Pilot (2)

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Transcript of Heroine - Pilot (2)