108367 ammoxed BY Andrew Kevin Walker Revised By David ayer 10 April, 2006FADE IN: EXT./INT. NARROW ROAD/ARMORED CAR 5 (MOVING) - DAY We’re looking through thick ballistic glass down a long, straight road. Narrow, two lanes, tree lined, bare boughs shake hands overhead. ‘Snow covers everything. TWO GUARDS, body armor, uniforms. Guard 1s gone grey, sips coffee. Guard 2 is pure youth, eating a powerbar. Pavaroti sings Pagliachi on a CD player from home. GUARD 1 Someone talks about, say a stickup or something, right? Or I’m reading the paper and, you know, there's been a bank robbery or whatever. I knock on wood. GUARD 2 Like this? Guard 2 knocks on Guard 1’s head. Gets a look. cuaRD 2 Easy, kid. Or I see a funeral procession; headlights on with the funeral stickers all going by. Forget it. I'mwaiting. until the very last one’s passed. I ain't splitting tat line. Don't care if it’s a couple hundred cars. 1/11 wait all day before I cut through a procession. GUARD 2 Yessir. (a beat, confesses) T'm afraid of clowns, GUARD 1 what? GUARD 2 Clowns. ‘They freak me out. and ventriloguist dummies. I mean, a foll grown man with his hand up a doll‘s ans. Aint right. Guard 1 SEES a CAR approaching from behind in his SIDE MIRROR. A black BMW sedan with tinted windows. Trying to pass. The BMW HONKS, (CONTINUED)e CONTINUED: GUARD 1 (to the mirror) Easy, jagoff. Not going fast enough? G‘head. Pass me, (accelerating) Guy's riding my ass. Don’t trust him, Call his plate in. Guard 2 grabs the mic. GUARD 2 (into mic) Dispatch, Evergreen five for a plate. Number is-— Standby TRERE IS SOMETHING in the road -- A deer carcass. Wires running from it into the woods. Not good. The armored car passes over it and... BAWOOMP! Dynamite stuffed in the deer carcass explodes... cur to: EXT. NARROW ROAD - DAY Armored Car 5 is lifted by the blast and knocked on its side... SCREECH! ‘The Black BMW brakes, SLAMS into the back of the waylaid armored vehicle. Crumples. Two PASSENGERS inside hit the airbags as the two vehicles GRIND to a stop. SIX SKIMASKED MEN exit the FOREST, three from either side. They wear white winter camouflage and body armor, carry machine guns. They surround the armored car and the BAW. Moving quick, amped, scary... SKIMASR 1, bodybuilder huge, hefts a heavy industrial drill with a massive bit.,. SKIMASK 4 and SKIMASK 5 guard the flanks, heads on a swivel, assault weapons ready. Skimask 1 kneels by the rear door’s polycarbonate window with the heavy drill... VIPER, the leader, whippet thin and meth intense crosses to the BMW, raises his weapon and aims into the car. Says to the unseen DRIVER: (CONTINUED )CONTENUED: VIPER Yo fuck-0. Lookit me. We know Viper is smiling. Then: Viper (cont‘d) Go into the light, motherfucker, BRDDT! Driver down... BREEEEEEEEE! Skimask 1 drills through the glass... Viper adjusts his aim. BRDDT! Kills the Passenger. And LAUGHS about it, the sick bastard. SCREEEEFEEE! Skimask 1 pierces the glass with the drillbit. Be gives a hand signal... ROOM! And huge black 4WD pick-up backs out of the woods... MASK 3 grabs the steel cable from its winch. The winch CLICKING as he polls out yards and yards of slack... Skimask 1 withdraws the drill bit. Then inserts a steel grappling device through the window's hole. CLICK! tie expands its steel barbs, locking it in place... MASK 3 clips the cable to the grapple... MASK 3 Clear! ‘They get out of the way... vROoM! The Black Pick-up accelerates. Taking up the cable's slack. ‘Then... KA-WHAM! Breaks the doors wide open... POP-POP-POP! Guard 1 lays in wait, fires out the missing doors... MASK 4 returns fire. BRDDDDDT-BRDPDDDDDDT! He empties his clip into Guard } and Guard 2. Then enters the armored car. The Pick-up reverses, backing up to the armored car. skimask 1 drops the gate, revealing a compartment hidden under the 2x4’ and construction supplies. Very slick. Viper and Mask 3 quickly unload jumbled bags of cash and stash them in the compartment. A plumbing van now exits the woods... (CONTINUED)CONTINUED: Skimask 1, Viper and Skimask 3 stuck their body armor and weapons, stash them in the pick-up. Close the gate. And jump in’the dual cab... Skimask 4, Skimask 5 and Skimask 2 dive into the back of the plumbing van. Both vehicles take off in opposite directions. Leaving the Armored Car and BMW steaming wrecks. It’s quiet. Until the wind picks up RUSTLING the boughs overhead and carries the faintest hint of Pavaroti to our ears... DISSOLVE TO: INT. CHEAP HOTEL ROOM - VARIOUS SHOTS - PREDAWN A man in bed, covered with night sweat. We don’t see his face. A cheap plastic WATCH on his wrist BEEPS. The man stirs. Kille its alam. LOW ANGLE: His feet hit the floor. We follow him into the bathroom. Into the shower. The water is turned on. Water runs down his chiseled body. We see extensive scars on his torso, red ugly. fis face is covered with a washcloth as he soaks in the steam. Out of the shower, at the sink: He catches his eyes in the mirror, dislikes them. And covers the mirror with a towel. He counts out medication. Swallows the bitter pills. He jumps rope. Fast and obsessive. Now he does pushups. Crisp. Military style. A machine. At the dresser: He reaches for polyester blend work clothes, acrisp folded T-shirt. Meditative. Tactical boots. Spread out on the bed: A laptop. Files. Body armor. a” combat knife. A combat .45 pistol. Hollowpoints. A long tube (a riflecase?) Maps, photos, blueprints. A video camera. Dressed, he shoves everything into a dufflebag. Quick. Organized. A man on a mission, Lastly, he reaches for a silver crucifix. Studies it a beat. Hangs it around his neck, kisses it, drops it inside his T-shirt. winutes later, the man at the open window, burning receipts, papers and photos in a trashcan. Watching everything blacken and shrivel. Now he wipes all surfaces clean of fingerprints. Tables, knobs, lamps. Meticulous. (CONTINUED)COWTINUED: ‘The man grabs the duffle. Heads for the door. We see his face. Cold and angry, Mis name is MIKE. And he scares us. cur To: EXT. DETROIT - DAY Following a taxi through the depressed city. Industrial. Smokestacks. Mike in back. Staring out at the river, the stadium, The shiny glass and steel spires downtown. ‘Mike looks away from them. cur To: INT. EMORY ARMS HOTEL - LOBBY ~ DAY A shabby dive downtown. The kind of place where those who don't want to be found stay. Mike with male CLERK at the front desk. CLERK How long you need the room? MEKE Thirty days. I want an upper floor. Facing North. CLERK views nicer on the other side. MIKE No. Facing North. CLERK Room six eighteen. We'll Keep your credit card on file. well bill it weekly. Every Monday. No guests. No smoking. No drinking. MIKE 1 don’t want anyone making up my room. Not ever. Make sure of it. ‘he Clerk hands him a keycard. Mike places a folded $50 bill in the Clerk's hand. The Clerk is his new best friend. CLERK Certainly, sir. Certainly, Let me know if you need anything else. Anything. (CONTINUED)COMTENUED: Mike ig already walking away. cur To: INT. EMORY ARMS HOTEL - 6TH FLOOR HALL - DAY Mike carries his baggage, passes a drunk GUEST. He reaches 618 at the end of the hallway. We tries his keycard, which doesn't work. He Keeps trying. ROSA, a cute Latina in a maid’s uniform, watches Mike. She crosses, takes his keycard, flips it. CLICK. The door unlocks. MIKE ‘Thanks. ROSA I'm Rosa, MIKE Rosa, mira. No quiero que nadie entre a mi habitacion. Favor de dejar unas toallas afuera de vez y cuando. Entiendes? ROSA Si, claro. Hables Espanol? Mike just offers her a ten. Rosa smiles, she’s beautiful when she smiles. She likes him. Mike enters the room, cur To: INT. EMORY ARMS HOTEL - MIKE’S ROOM - DAY ‘Twin beds, cheap paintings. Stained wallpaper. The weapons are laid out on the bed. Mike sets up a tripod. Then reaches into his cylindrical case. Removes a telescope and mounts it on the tripod. Eases it through the curtains. He looks through the eyepiece... TELESCOPE POV Blurry, then the focus racks, bringing into sharp relief a building a couple blocks away. The sign reads: VIGILANT ARMORED COURIERS. SCENE (CONTINUED)CONTINUED: Mike steps back from the telescope, looks at the weapons arrayed on the bed, his mind working a thousand miles an hour. cur TO: EXT. DETROIT - INDUSTRIAL AREA - DAY Mike walks past boarded up and burned out brick buildings. One still smoking from the latest arson fire. HOMELESS MEN waddle beneath layers of tattered clothing. DRUG LOQKOUTS WHISTLE as Mike walks past. Mike stares at them. ‘They stare back. Mike isn’t afraid, Neither are they. cur TO: EXT. BUILDING - DAY In the WAREHOUSE DISTRICT. Mike crosses to a CALL BOX at a battered steel door. Breath swirling white in the cold air. Mike looks over his shoulder, hits the call button. MAN'S VOICE (V.0.) (filtered) Yeah? Whadda ya want? Mike deadeyes SECURITY CAMERA, smiles thinly. MIRE Meme's Michael Fletcher. I’m here to see Mr. Meeks. ABUZZ is HEARD. Mike pulls the door open, And enters. RERCHUNK. It shuts behind him. TIL? UP TO REVEAL: he name on the bailding: VIGILANT AFMORED COURTERS. cur TO: INT, VIGILANT ARMORED COURIERS - MEEK’S OFFICE - DAY Overflowing with paperwork. Pictures, softball equipment, Plaques from the Marine Corps. Dispatch CHATTER from a radio in the corner. MBEKS, black, tough, immaculate, stands with crossed arms at an interior window overlooking a garage bay filled with boxy armored cars. Mike sits on an ancient chair, studies the office, notes the personnel files. Meeks crosses to his desk, sits and stares at Mike a long beat. (CONTINUED)MIKE ‘There a problem? MEEKS No. That‘s the problem. (pulls Mike's file) Everything’s perfect. Bonding company found no derogatories. Not even a parking ticket. Aced your safety test. Aced it. And you're firearms safety too. Half my guys can barely read. I’ve had guys test six times. Mike REACTS, makes a mental note, MIKE I need the job bad, sir. MEEKS Mr. Meeks. Not “sir,” I work for a living. shit, you could get a job with the cops with paper this Glean. Pay’s a lot better. Mike shrugs. MBEKS (contd) Got your CDL and guard card? Mike pulls out his commercial license and quard card. Meeks copies them. while Meeke is occupied... Mike pulle a digital camera out of his pocket, takes a couple quick anaps. Meeks turns back around, hands back the CDL and guard card. Adds the copies to the file. ‘Then slides a Vigilant 10 and timecard across the desk. MEEKS (cont'd) Take locker twenty tuo. You punch in and out on the hour. Pay’s on the first and fifteenth. No advances, No eating, drinking or smoking in my cars. Copy me? Mike stands, crosses to the door. MIKE I copy you, Mr. Meeks. There won't be any problems. (CONTINGED)CONTINUED: MEEKS Goddamn right there won't be. one whiff of bullshit and you're gone. Tick off my clients; you're gone. You'e riding in seven today. Don’t piss backwards. Mike smiles. There's something off about him. Predatory. MIKE I won't, Mr. Meeks. Meeks balls up a Vigilant uniform jacket. Tosses it to Mike. MEEKS Wear it with pride. Get your gear downstairs. cur TO: ENT. VIGILANT ARMORED COURTERS - ARMORY CAGE ~ DAY Everywhere in this aged facility areas are divided by bars and gates with keypads. The doughy, pasty ARMORER slides body armor, pepperspray, ammo and a battered Glock through the window. ARMORER Everything youl need for a night on the town, Mike fieldstrips the Glock. Checks the springs and firing pin. Frowns and slide it back. MIKE Firing pin’s broken. Rear sight’s Loose. Gimme another one. ‘The Armorer verifies the damage. REACTS. Impressed. ARMORER You know your shit. Sign, Locker room's there, When his back is turned, out comes the camera. CLICK. The Armorer gives Mike a new crisp pistol. Mike approves, signe. And heads to the locker room door. The Armorer watches him go, curious. cur To:10. INT, VIGILANT ARMORED COURIERS - LOCKER ROOM - DAY A half-dozen GUARDS, all male, change into work-shirts and "VIGILANT" uniform JACKETS. JOKING and CHATTERING. THE MUMMY, a craggy and grey elder statesman, clips on his tie. Mike enters. And is met with sudden silence and suspicious stares. ‘They check him out, and he them. Mike coolly crosses to locker 22. opens it, Revealing several photos of the older Guard killed in the beginning, his family. The Mummy moves quickly. THE MUMMY Excuse me. The Munmy takes down the photos and pockets them. He hands them to SANTIAGO, a heavyset Puerto Rican carefully brushing his ‘do. THE MUMMY (cont'd) Give ‘em to his wife. (to Mike) And you are? MIKE Mike. THE MUM, (as they shake) They call me The Mummy. I have a real name but I forgot it. Another older guard, BERNARD, with a dyed-black buzz cut, a wound-too-tight vibe glares at Mike. Fokes a finger in his chest. BERNARD You the new guy? MIKE Isn't it obvious? BERNARD Keep it up. Mike just stares back. Bernard grabs his gear and exits. ‘THE MUMMY Ignore him. He's off his meds again. A loud BELL RINGS throughout the facility. (CONTINUED)ul. CONTINUED: SANTIAGO Running late, motherfuckers! mixe shrugs off his civilian jacket. He dons the body armor. ‘THE MOMMY It’s backwards. You got it on backwards. Here... EVERYONE'S dressed, moving on. ‘The Mummy helps Mike with the vest. Mike is grateful. As The Mummy exits: THE MUMMY (cont'd) Hurry up. You're with me. I take everyone out on their first run. Mike pulls on his Vigilant Jacket. And casts a mirderous look at the exiting guards. He pulls the Glock from his holster, feels its heft and smiles a twisted smile. Not good. cur To: INT, VIGILANT ARMORED COURIERS - CORRIDOR - DAY Mike exits the Locker Room. Strapping on his gunbelt. He passes a bulletin board. REACTS and stops. WHAT HE SEES A yellowed NEWS PHOTO of the opening ambush. The ARMORED CAR on its side, the crumpled BMW. SCENE Mike turns away. And notices PHOTOS of the GUARDS, some of whom we just met; casual snaps of them alone and together, posing in the LOCKER ROOM, with a BIRTHDAY CAKE, etc. Mike quickly steal the birthday photo. Then moves on to a Little shrine with an unlit candle and photos of the Guards murdered in Car 5. Mike is transfixed. NICOLE (0.5. ) Hey. Hey. flello? You alright? Mike gtartles, looking guilty as hell. Turns and REACTS. Meet NICOLE, a beautiful black lady with bright compelling eyes and a pump shotgun over her shoulder. NICOLE (cont'd) Haven't had your coffee yet, huh? Garage is this way. Let's go. (CONTINUED)12. CONTINUED: Nicole strides on, self-assured, Mike follows, recovering, clips on his tie. NICOLE (cont'd) I’m Nicole. Don't call me Nicky. And I don’t date co-workers, so don't ask. MIKE Wasn't going to. I’m Mike. Mike shakes with her. Nicole walks fast as Mike keeps up. NICOLE So, what brings you here? Desperation, like the rest of us? MIKE That. and all the glamour of it all. Nicole gives him a look. They arrive at the DISPATCH CAGE. Where LISSETTE, the smoking hot dispatcher, hands Nicole a set of keys, LISSESTE ‘sup, Nicole. Car three. Margaritas at Max's tonight? NICOLE You know it, homegirl. Lissette catches Mike staring at her and frowns. Mike follows Nicole to a barred steel door. She punches in the keycode and st BUZZES. She kicks heavy door open. Mike holding the camera low in his hand. CLICK. CUT To: INT, VIGILANT ARMORED COURIERS - GARAGE - DAY A vast, old warehouse-like space where Vigilant's fleet of SIX old, scarred ARMORED CARS wait. Nicole watches Mike adjust his bulky vest. NICOLE They're hot and heavy. Old school. Won't stop shit. Get caught without it, it's a day's suspension. Second hand vests, cars and guards. Welcome to vigilant. (CONTINUED)13. CONTINUED: Nicole hurries off, takes a look back at Mike as she goes. Wike looks around, ‘uncertain. He heads for the indoor LOADING DOCK where Bernard loads canvas MONEY SACKS into the back of a TRUCK. Bernard glares at Mike, wary. BERNARD What the hell do you want? MAN'S VOICE (0-8-) ey! He's with me. NEW ANGLE JACK, handgome and gregarious runs over to Mike. A shotgun in one hand, he extends the other. Jack pumps Mike's hand. JACK Fletcher, right? I'm Jack, We're over here. Don’t feed the animals. Jack's smile ig winning, welcoming, He steers him away from Bernard. JACK (cont'd) Me and The Mummy coach the rookies. Let's roll. Today you shut-up, watch and learn. Jack leads Mike to The Mummy, standing by Armored Car 7. JACK (cont'd) C'mon old timer, you sorry gonofabitch. Open that damn door. ‘The Mummy does. Jack and The Mummy climb in. Mike pauses, studying the layout of the garage. Then climbs in. cur 70: INT. ARMORED CAR 7 ~ DAY Mike scrutinizes the armored car. Vigilant armored cars have ‘two FRONT DOORS, a SIDE DOOR on the right, and rear DOUBLE DOORS to the CARGO HOLD. Small GUNPORTS everywhere. The windows are thick ballistic glass. Jack takes the driver's seat, places his shotgun in the rack to the left of the wheel, dons sunglasses and STARTS the big diesel engine. The Mumiy enters, points to the front passenger seat. (CONTINUED)ua. CONTINUED: THE MUMMY Take my seat. Be my guest. Mike sits. Wrinkles his nose. MIKE What the hell's that smell? The Mummy takes the JUMP SEAT behind Jack. JACK Weasel puked a meatball sandwich everywhere. Stench got in the paint or something, You'll meet Weasel. MIKE can’t wait. ‘The Mummy sprays air freshener. Jack pops the beast in gear, drives the truck into the garage's sallyport. cur To: INT. VIGILANT ARMORED COURIERS ~ GARAGE - DAY The interior Sallyport door closes behind them. Mike studies the details doors construction. Makes a note on his pad. cur To: EXT. VIGILANT ARMORED COURIERS - DAY The garage door rises to reveal Car 7. Mike and Jack visible behind the windshield. The vehicle lumbers out onto the street. Almost hitting a passing car. Jack HONKS. cor To: INT. ARMORED CAR 7 (MOVING) ~ DAY ‘The exterior GARAGE DOOR OPENS to let them out. JACK Easiest job T had. Load, ride, unload, £i11 a few ATM machines, so Mr. and Mrs. America can get their hands on enough cash to keep little Billy and Sally-Sue full of baloney sandwiches and restock the Liquor cabinet. Takes real effort to screw this job up. Right, partner? (CONTINUED)15. CONTINUED: ‘The Mummy looking at a racing form, grunts. Jack grins, GRINDING gears. cur TO: EXT./INT. CYTY STREETS/ARMORED CAR 7 (MOVING) - DAY Jack's armored car travels a grim NEIGHBORHOOD. The Mummy checks the assignment CLIPBOARD through reading glasses. Mike watches the bleak neighborhood pass... THRU THE WINDOWS: some ONLOOKERS also watch. Noticing them, JACK ‘The thing not to forget, Mike, is we're basically riding in a traveling savings-and-loan, That's why all these shitbags are eyeballing us like we're a piggy bank on wheels. Whoever comes at us, right? Whether they can't resist the temptation, like a spur- of-the-moment thing, or if they've been planning for months; you gotta be ready. Always. Every fucking second. Jack turns. Taking the corner fast. JACK (cont'd) hat said, once you've gone a couple days without incident, you drop your guard. It's human nature. Right, Old Timer? THE MUMMY You're always right. ‘The wammy opens the small STEEL DOOR behind Mike that leads into the CARGO AREA. JACK And when we get hit, it'll be some blue haired grandma, harmless as a hamster ‘till she pulls an AK full of armor piercing rounds cut of her baby stroller. MIKE I'm seady guys. I know the dangers. I won't let you down. (CONTINUED)CONTINUED: THE MUMMY Yeah you will. Everyone does the first time. Might piss yourself. JACK Where you before this? MIKE Tollbooth. JACK Standing in a box all day while the Savages throw coins at you. You'll like this better. This truck is our rolling club house. What happens in here stays in here. Right? MIKE Sure, Jack. TACK (suddenly serious) No. Listen to me. What happens in here stays in here, Right? Don’t fuck me, Mike. What Meeks don’t know don't hurt him. MIKE I'm cool, I’m cool. I get it. JACK (reraxes) Wwe go where the competition won't. Small businesses in the ghetto. Pawn shops. We don't do much of the big bank to bank shipments. But what we got back there will keep a dozen crackheads on planet high for a year. Don’t look at me, Fletcher. Look at the streets. Scan for threats. MORE, i'm scanning. Jack drives, leans to turn on the RADIO. Lights a cigar. Winks at Jack. (CONTINUED)a7. CONTINUED: JACK Cover up the smell. cur To: EXT. OVER THE CITY - AERIAL SHOT - DAY FOLLOW CAR 7 as its winds through the endless grid of busy STREETS. Tiny amidst the massive city. CUT To: EXT. ALLEYWAY - DAY Armored Car 7 rolls down the trash clogged alley, crushing everything in its path. Halting at the back of an OLD BUILDING. The Mummy and Mike exit the side door, The Mummy lugs two canvas MONEY BAGS, his gait slow. Mike escorts, his hand on his holstered pistol. Mike looks up and down the alleyway, on edge. They cross to a STEEL DOOR with a mirrored’ SECURITY WINDOW. The Mumy hits the BUZZER. The steel door swings open revealing a SECURITY GUARD. ‘THE MUMMY Hey, Lenny. Another day. (to Mike) Stay with the truck. ‘The Mummy and Lenny the Guard disappear inside. The steel door closes. Mike waits till they're in, then walks to stand before the truck's grill. Jack reads the sports pages behind the wheel. Engine running, Mike crosses his arms, unsure how to carry himself, lowers his arms. Then... Mike HEARS FOOTSTEPS. He REACTS, draws his Glock. Steps out and aims at... A GROUP OF JOGGERS... ‘The Joggers see the gun, scatter. FLEE en masse! Mike lowers his gun, raises a reassuring hand too late. e holsters the pistol. Jack looking through the glass, shaking his head, wondering about Mike. LAUGHTER 0.3, NEW ANGLE On the other side of a CHAINLINK FENCE, Three rough looking HOMEBOYS eye Mike. (CONTINUED)1B. CONTINUED: HOMEBOY 1 Come on, motherfucker! Kick down with the paper! HOMEBOY 2 Talking to you, bitch, Yeah you, whiteboy! Mike glares as the kids CURSE and JEER non-stop. The door behind him opens, The Mummy and the Lenny the Guard exit. THE MUMMY Okay. Let's get going, kid. ‘The Mummy carries several full money bags. HOMEBOY 2 Yo, old-ass motherfucker. Give us the money! We see you. That's right. Deaf ass motherfuckers. A bottle EXPLODES against the wall. Showering Mike with shards. Mike recoils and puts a hand on his gun. The Mummy grabs his arm before he can draw the Glock. ‘THE MUMMY Forget it. They're kids. We get it all the time. Mike and The Mummy as they hurry into the truck's side door. BOTTLES and SODA CANS hit the driver's side window. Jack ignores them, unfazed. The teens spit and holler. ‘The armored car rumbles forward, then BRAKES. REVERSE LIGHTS come on as it backs up quickly, angling. ‘The Homeboys scatter as Jack purposefully rear ends the fence. Then the armored car drives off, cur tos EXT, /INT. VIGILANT ARMORED COURIERS/ARMORED CAR 7 ~ DAY CAR 7 pulls into the driveway. Jack grabs the mic. JACK (into mic} Lissette. Pop the door, mamacita. Daddy’s home. (CONTINUED)e 19. CONTINUED: LISSETTE (V.0.) (filtered) 1 got a daddy and he ain’t you. what’s the code word? JACK Sure. Today's code. 15, uh. Yeah. MIKE Dalmatia. oaCK Shit, good someone's paying attention. (inte mic) Dalmation. The door doesn’t budge. MIKE Dalmatia. It’s a province of Croatia. A Dalmation’s a dog. JACK (into mic) Correction. Dalmatia. The door opens. Jack gives Mike a look. JACK (cont'd) You're a smart one, huh? Mike looks away. Jack pulls into the Sallyport. cur To: INT. VIGILANT ARMORED COURIERS ~ BREAKROOM - DAY Vending machines. A microwave. An old TV with its vertical hold shot. GUARDS eat in B.G. Mike crosses, sits beside The Mummy. The Mummy offers a prescription bottle to Mike. MIKE What's that? ‘THE MUMMY candy. Puts a little pep in your step. MIKE No, thank you. (CONTINUED)20. CONTINUED: ‘THE MUMMY They're “Doctor Recommended." MIKE I'm good. T'Ll take a pass. ‘The Mummy shrugs, pops a couple pills. Jack sits, tosses Mike a vending machine sandwich. JACK Lunch is on me, Green eggs and bread. Bon appetite. (checks his watch) Suck it down quick, we're back out, in fifteen, ‘The Munmy begins unwrapping a sandwich, eating. Jack takes out some scratcher lottery tickets, rubs the boxes with a coin, Mike looks over the sandwich, dubious. MIKE You ever been held up? JACK Me? Not yet. But remember, there's only two kinds of guards; the ones who've been robbed and the ‘ones who will be. TRE MUM Especially working Downtown. I've been hit three times. You get used to it. Just play along. No sense dying for some businessman's insured money. JACK A week before last Christmas, a unit got hit. Fuckers used dynamite. Killed two of us. Like dogs. Jack darkens, The Mummy too. THE MUMMY Good guys. Sad. My run too, Had the stomach flu. MIKE I heard about that. (CONTINUED)aa. CONTINUED: THE MUMMY Cops interviewed everyone. Thought it may bave been an inside job. MIKE what do you think? THE MUMMY T don’t think. SACK Fuck the cops. Couldn't catch a cold, Bad guys are still out there. Bet they hit us again. Jack tosses aside the tickets. No winners. ‘THE MUMMY Gimme the paper. I didnt read my horoscope. Jack hands him a nearby paper, The Mummy dons his glasses. THE MUMMY (cont’d) What's your sign, Rookie? MIKE Leo. Tue MUMMY (reading from the paper) “Leo. Be bold. Explore every area of your lover's body. Experiment... Mike and Jack Look to Kim, confused. EVERYONE's looking. THE MUMMY (contd) “ry working a vibrator or a flashlight into your..." The hell kind of horoscope’s this? The Mummy squints at the FRONT PAGE: “The Erotic Express," Mike and Jack crack up. EVERYONE LAUGHS. cot To: INT. VIGJLANT ARMORED COURIERS - LOCKER ROOM - DAY GUARDS change into civilian clothes, jawing NOISILY. Mike folds his uniform on the center BENCH. Santiago's at the neighboring locker. (CONTINUED)22. CONTINUED: on the other side of the bench, The Mummy sits, sips booze from a FLASK. In the B.G., Jack, Bernard and Victor huddle. SANTIAGO Was it everything you dreamed of? MIKE No complaints yet. SANTIAGO Yet. Heard you drew down on some joggers. (off Mike's reaction) No secrets here, my friend. Mike makes a mental note. Bernard comes over, taps Mike's shoulder. Mike looks, Bernard towers over him, grinning. in B,G., The Mummy and Jack watch, entertained. BERNARD Hey. ‘Twenty bucks gets you in the office pool. What do you say? MIKE Okay- Mike takes out $20, hands it over. MIKE (cont'd) What's the bet? BERNARD ‘The bet’s this; can I get the new guy to give me twenty dollars? Thank you. Everyone's LAUGHING. Bernard pockets the bill and welke off. Mike shakes his head, begrudgingly amused. Watches The Murmy pull on a flask. ‘The Mummy and Santiago head out. And the OTHERS. Mike hangs his work shirt, now alone. Then Nicole emerges from behind a sheet stencilled LADIES LOCKER ROOM. Looking damn fine. She grins at Mike and exits. corn INT. VIGILANT ARMORED COURIERS - CORRIDOR - DAY Mike exits the locker room, passing two chatting WOMEN in blue smocks. (CONTINUED)23. CONTINUED: MIKE “wight. They ignore him, Mike walking, Jack catches up. JACK Hey, a bunch of us are going out for some cold ones. What do you say? I'm buyin’. MIKE Maybe next time. Mike walks on. Then looks back, catches Nicole's eye for a beat before she averts her gaze. Nicole exits through a side door. Mike pauses at an Alarm panel. Copies down the model number on his notepad. cur to: INT, EMORY ARMS HOTEL - MIKE‘S ROOM - NIGHT Nike enters, flips on the Lights, Mike places his right foot on chair, lifts his pantleg. And unsnaps a hidden ankle holster with a small revolver. Tosges it on the desk. He removes a short knife from a secret sheath behind his belt buckle. A double bladed punch knife. He holds it in his fist. WHACK! Stabs the blade into the desktop, leaving it. cur To: INT. EMORY ARMS HOTEL - MIKE’S ROOM ~ NIGHT An hour later. Mike sits at nis laptop open on the desk. INSERT LAPTOP SCREEN -- It reads: Vigilant Armored Couriers. Employees. Michael Taylor AKA “The Mummy” Drinks, pops Dexedrine. Jack (John?) Wallace. Plays lottery. Emanuel Santiago. Nicole Phelps. Bernard Harris -- Angry. Trouble? Weasel -- Find real name. TILT UP TO REVEAL on the wall above the desk; a large hand-dyawn floor plan of Vigilance with each room labeled. Schematics of locks. And the photos Mike has taken. Plus the birthday photo now labeled with the guard's names. mike picks the revolver off his desk, Aims it at the individual faces. Pondering, sinister. (CONTINUED)24. CONTINUED: He tosses the gun on the desk. Picks up a book titled: Practical Pistol Combat and turns the dog-eared pages. cur To: INT. EMORY ARMS HOTEL - MIKE’S ROOM ~ PREDAWN Mike asleep. Wis watch BEEPS. Mike stirs, shuts it off. cur To: INT. EMORY ARMS HOTEL - MIKE’S BATHROOM - PREDAWN Mike, in boxers, brushing his teeth. again, we see his scarred torso, jagged red scars. Towel over the mirror. cur To: EXT, VIGILANT ARMORED COURIERS - DAY A beat wp minivan parks, Santiago climbs out with his lunchbox. He crosses to Mike on the sidewalk. SANTIAGO Morning, Mike! Don't be cappin’ on no joggers. Eh, cowboy? MIKE, c'mon, I bet you were a little jumpy when you first started, SANTIAGO Bro, I’m from the streets. I know when it’s real and when it’s not. (bits the keypad) Coming in? MIKE Yeah. In a minute. Thanks. Santiago disappears inside, Mike copies his plate, writes on his notepad: “From the streets.” cur to: EXT, MINIMALL - DAY ‘The armored is parked in a red zone, blinkers on. cur To:25. INT, ARMORED CAR 3 ~ DAY Bernard’s behind the wheel. Mike is in the rear seat. Jack As passenger, he grabs his wallet. Takes out a $100. JACK Alright, Bernie, Feeling lucky. Grand Duke, sixth race. To win. (holds up the bill} To win. Don't screw up this time. BERNARD Go to hell, Jack. Bernard takes the cash, hits a RED BUTTON in the dash. Opening the side door. Bernard climbs over to exit. ‘Through the windshield, Mike watches him cross te an Off Track Betting storefront. MIKE Where's The Mummy? He's a goodguy. Jack makes a drinking motion. Winks. e ne Called in sick. MIKE Bernard's a bucket of sunshine. What's his story? Jack puts up his feet, tosses aside his racing form. JACK Bernie the burnout? Ah, the bitterest man alive. Used to be a roofer ‘til he took a dive off a three story building and lost his spleen. No insurance. Then his old lady fucks half the neighborhood before she ditches him for another woman. Took the kids. Took everything, even his fuckin’ underwear. Nowall he’s got left is his chickenshit Vigilant pension. He's alright until he starts sucking down double Bourbons. Then watch the hell out. Jack takes a beer from a bag, offers Mike one. He declines. Jack drinks. (CONTINUED)CONTINUED: 26. MIKE Think he'd hurt anyone? JACK Man's all talk. Once told me having a gun strapped to your ass is like wearing a T-shirt that says, “I could kill you if I wanted to.” MIKE I couldn't agree more. JACK Sure levels the playing field. Ivy league banker types in three piece suits will cross the street to avoid you. Jack drinks, watching PEDESTRIANS passing by. JACK (cont'd) A man may have more money than me, a better job, a hot wife and a Beemer. But right here, right now. {pats his gun) I’m in control, MIKE, Ever use it? SACK Drew down on some crackheads once. That's about it. (a beat) If you think about it, when you carry a gun you're making a statement that you're fully prepared to use it. No such thing asa deterrent, Only the truth of life and death. ‘That hits Mike hard, he’s all ears. MIKE Life and death? | JACK Do enough runs and the day will come when you have to decide whether or not to dump a man. (MORE) (CONTINUED)ain CONTINUED: JACK (cont'd) It/ll be the most important decision you'll ever make in your entixe life. To point your weapon at another human being and pull the trigger. (pause) And you'll have exactly half a fuckin’ second to make that decision. The blink of an eye. So when the day comes it’s important you've already been there in your mind. You have to visualize it. Your actions. Your reactions. The blood. The screams. Everything. urKe, Believe me, Jack. (a beat) I've given it a lot of thought. Mike's tone elicits a surprised look from Jack. cur To: INT, EMORY ARMS HOTEL - MIKE’S ROOM - NIGHT Mike watches a WANNABE NAVY SEAL on a DVD playing on his Laptop, it’s a shooting lesson. Mike holds his Glock, following along. WANNABE SEAL Remenber, an operator always aims for the triangle of death. That's the area formed by the corners of eyes and the cleft of the upper lip. A bullet here will destroy the medulla and drop a tango like a ton of bricks. We call it “hitting the off button.” Now I'm going to show you how to win hearts and minds POP-POP! POP! The Wannabe Seal shoots a mannequin twice in the chest and once in triangle of death. WANNABE SEAL (cont ’d) {laughs at his own joke) Get it? Hearts and minds. cur tos28. INT. VIGILANT ARMORED COURIERS - VAULT - DAY Four WOMEN in blue smocks select clear plastic cash bags from the many shelve. Some bags contain bank certs and paperwork. All barcoded. The WOMEN scan the bags. Toss them on carts. A woman pushes a cart out of the vault and into: INT, VIGILANT ARMORED COURIERS - COUNT ROOM ~ DAY WOMEN in smocks line long table and feed cash into bill- counting machines. They open bags, check the contents and Paperwork. Scan barcodes. Hundreds of thousands of dollars in bills and coins are being counted, re-bagged and placed inte thick CANVAS SACKS which are labeled and cinched shut with tamper-proof ties. Across the room, OTRER WOMEN place the canvas bags on a wheeled cart. Which is then pushed through an armored door. The WOMAN pushing the cart looks up at a B&W SECURITY MONITOR. INSERT MONITOR -- Mike waiting. The Woman punches buttons on a KEYPAD. The DOOR BUZSES as she pulls it open and wheels the cart into: INT, VIGILANT ARMORED COURIERS - GARAGE ~ DAY Where Mike steps forward to accept the cart. Looking past her into the count area. MIKE ‘Thanks. ‘The Woman reenters the count room, pulls the door shut. Mike wheels the money across the loading dock, where an ARMORED CAR is backed up, rear doors open. Jack’ is in the back, he helps Mike unload the canvas bags. JACK Five years I been here, and I've never once laid eyes on the cash. It’s a system, a machine. With human nature engineered in so there's not the slightest temptation. See? Don’t know whether to be impressed or insulted. Mike REACTS. Jack is pretty smart himself. Mike checks the clipboard. MIKE This is it? (CONTINUED)29. CONTINUED: CLOSE ON: the clipboard paperwork, reading "$145,987." JACK Slow right now. But leading up to Christmas the runs get bigger and bigger. In capitalism we trust. WHAT MIKE SEES Vigilant's mechanic, WAKELY and his young ASSISTANT stand by a 1961 Ferrari 250 Gf undergoing a major restoration. SCENE, ‘transfixed, Mike jumps down from the loading dock. Crosses to the Ferrari. WHISTLES, impressed. MIKE, Ferrari GP. Nineteen sixty one? WAKELY Yep. You know Ferraris? MIKE Drove one through the Alps. From Milan to Insbruck, Austria. Wakely smiles. Mike corrects himself. WAKELY Sure you have, Be lucky to get this baby on the ninety six. Been a lot of work. Gonna be a lot more. Bernard, shotgun in hand, approaches, noting Mike's interest: BERNARD (to Wakely) Instead of jaw jackin’ about your shitbox... {points to armored car) How about filling my gas tank this time? I almost ran dry last week. Wakely grabs his crotch. WAKELY 2/11 £111 your tank, Bernard. (to his assistant) (MORE) (CONTINUED)30. CONTINUED: WAKELY (cont'd) Go top him off and throw in a quart of fifty weight. Then change the brakes on one. Satisfied, Bernard walks away. Mike notes an open door leading t6 an outside courtyard. MIKE What's out there? WAKELY Go take a look. Be good to see what you're up against. Curious, Mike crosses to the open door. cur to: EXT. VIGILANT ARMORED COURIERS - COURTYARD - DAY wike Steps outside, looking around the junk-strewn lot bordered by tall steel fencing and razor wire. Two Vigilant Armored Cars are parked beneath an old concrete shelter. One is a rusting hulk cannibalized for parts. The other truck is hidden under a canvas tarp. Mike approaches the tarp. Be stands before it a moment, then pull the dirty tarp aside to REVEAL... The Armored Car we saw ambushed in the opening. Mike stares, frozen. WHITE NOISE fills his mind. Then BLACKNESS cur To: EXT./INT. NARROW ROAD/BMW (MOVING) - FLASHBACK - DAY A very different Mike drives the BMW. His hair is longer. Dressed in a black Armani suit. Happy and healthy, clearly a man at the top of his game. He talks into his Bluetooth earpiece. MIKE (into earpiece) If you'll hold on a second, I'11 give you the numbers London sent. Hold on. Mike works his Blackberry’s touchscreen, holding the wheel with his knees. IN THE SEAT NEXT T0 HIM is his son THOMAS, 12, in his soccer uniform, holding a soccer ball, exasperated by yet another of dad’s business calls. (CONTINUED)CONTINUED: He hangs uy al. MIKE (contd) (into earpiece) Wallace wants five and a quarter for the first ten, five and a half for the next ten.’ That's in Euros s0 we'll lose a little on the conversion. New York wants a two point vig for walking it in, but per Del Amo, he says he can talk them into discounting us a point. That puts us in the zone to close this thing. ‘THOMAS Dad, if I’m late T can’t play. the coach already told you. MIKE ‘Two seconds, little buddy. (into earpiece) T need you to walk the files up to Stan and Ray. Tell them we need a decision within the hour or they're going with Harriman Trust. I've put a month into this thing, I'm not losing another deal because the fortieth floor can’t make timely decisions. What are they fuckin’ scared of success? (a beat) Sorry, sorry. I know. I smell blood. Let’s get this closed and pop the Cristal. Hit me back, Doug. p. The Blackberry RINGS. Mike checks the number. THOMAS Dad! You missed the turn. We're gonna be late. You said we'd be on time. MIKE Shit. Tommy, I have to take this. It’s an important Venezuelan official. Two secs. (answers, into headpiece) Buenos dias, 'Sefior Rojas. Como le puedo ayudar? (CONTINUED)‘THOMAS Everything's important but my game. One one thousand, two one thousand. That‘s two seconds, dad. Mike holds up a finger for Thomas to be quiet, Then executes a U-turn. MIKE (into headpiece) Si mi comandante. Le faxeo los contratos a su casa manana ‘temprano. Mike finds himself behind a slow moving Vigilant Armored Car. Mike HONKS. Tries to pass... It's a familiar road; the road from the opening ecene. & red SPORTS CAR zips past, going the other direction. MIKE (cont ‘d) (into headpiece) Si, mi official. fablaremos Mahana. Ciao. @ Mike hangs up. HONKS again. Tries to pass, MIKE (cont'd) oh, c'mon. What the hell? Getting paid by the hour, jerkoff? TROMAS Please, dad. Mom hates you talking Like that. Just then Thomas’ WATCH ALARM begins to CHIME. The same watch Mike wears in real-time. Thomas turns it off. Desperate. THOMAS (cont'd) We're already late. They won't let me play. And if I miss today I can’t play in the semifinals. MIKE you're gonna play. 1°11 bribe the damn Coach. You're gonna play. Relax, Tommy. Before you have an asthma attack. Mike's Blackberry RINGS. Mike answers... { CONTINUED)33. CONTINUED: BANOOMP! A thunderous explosion lifts the Armored Car. Roiling flame. Thomas recoils as Mike looks on, eyes widening... The Armored Car lands on its side, The Guards inside are unconscious from the explosion. SCREECH! Mike brakes... WHAML Crashes into the rear of Armored Car... BOP-POP! Airbags deploy. Mike and Thomas slam into them... The BMW and Armored Car come to a stop... SIX MEN in white skimasks, snow camouflage and body armor exit the woods with machine guns... They surround the armored car and the BMW. Moving quick, amped, scary... WHAT MIKE SEES Skimask 1, bodybuilder huge, hefts a heavy industrial drill with a massive bit and kneels by the rear door’s polycarbonate window with the heavy drill. Viper, Whippet thin, hefts his M-16 carbine. Approaches Mike. SCENE Viper raises his weapon and aims at Mike, Glaring at him with wild blue eyes. Says to Mike... VIPER Yo fuck-0, Lookit me. Mike does, stunned from the collision, nose bleeding... viper {cont’d) Go into the light, motherfucker. BRDDT! Mike is down, Viper aims at Thomas, the poor kid covers his face... BRDDT! Thomas is dead. SMASH TO: EXT, VIGILANT ARMORED COURIERS - COURTYARD - DAY Back to present day. Mike stands there sweating. Tears in his eyes. Sick, haunted. (CONTINUED)a. CONTINUED: He looks at Thomas’ watch on his wrist. Steeling his resolve. Mike kisses his crucifix. He pulls the tarp over the wreckage. Then: JACK (0.5.) Pletcher! Mike turns. SEES MEEKS in the doorway. MEEKS Change of plan. You're riding car two with Victor and Weasel. Maybe you'll be a good influence. They need it. cur to: INT. VIGILANT ARMORED COURTERS - GARAGE Mike crosses to Armored Car 2. And stops dead in his tracks. WHAT RE SEES VICTOR and WEASEL. Victor is a latino bodybuilder, just huge (Skimask 1?) WEASEL is thin as a Whippet (Viper?) SCENE victor and Weasel glare at Mike. Dislike at first sight. Mike, frozen, notes Weasel’s intense blue eyes. WEASEL Well? Wanna get in the truck, rookie. Mike crosses like a condemned man, gets in back. Victor SLAMS the door behind him. cur to: EXT./INT, DETROIT STREET/ARMORED CAR 2 (MOVING) - DAY Victor drives steroid aggressive, watching Mike in the rearview. Weasel flips through a porno; “Plump and Luscious.” Mike notes the Rolex on Weasel’s wrist. vreTor Meeks send you to spy on us? Got your nose up his ass? Don’t. bother. Ain’t nowhere to go but down in this company. (CONTINUED)35, CONTINUED: MIKE Hey, man. I just go where I’m told. Victor tailgates a STUDENT DRIVER. HONKING madly. The Student Driver panics and pulls over Weasel flips him off, Victor and Weasel share a laugh. Weasel tosses away the porno in disgust. WEASEL What the fuck is wrong with you? These broads are livestock. VICTOR 2 like ‘em thick. (to Mike) What's your deal, newguy? Don’t know why your working here. Fuckin’ ten thousand ways to die. WEASEL Electricity’s the worst. They drop a bigh tension line on the truck. Shoots fifty thousand volts up your ass. Carbonizes your guts. vicToR or they block the road, and throw Molotov cocktails. Crispy critters. WEASEL Burn you alive, Happened to a crew in Arizona. VICTOR Everything's been tried. Lotta sick minds out there. They want the money, we're just obstacles. WEASEL Grenades. Rockets. Napalm. VICTOR Land mines. Poison gas. Killer bees. WEASEL Couple pitbulls wearing body armor attacked a crew from Flint. (CONTINUED)36. CONTINUED: VICTOR Least they weren't burning pitbulls. ‘They’re the worst. Mike dubious; realizes he's being hazed. MIKE Know what? You guys are full of shit. Victor and Weasel crack up. Breaking the tension. Mike LAUGHS. Victor suddenly serious. Weasel too. Victor pulls the shotgun from the mount. VICTOR Look, Rookie. Here’s how it works. You're either with us or against us. Which is it? He hands the shotgun to Weasel. KERCHACK! Who racks the slide. Mike REACTS. Unsnaps his holster. MIKE Be cool. I’mwith you. I’m on the team. A beat. Victor and Weasel trade looks. WEASEL Fuck it. I‘m hitting the trees. Sonny Bono style. VICTOR Yep. Let’s burn it, brother. KERCHACK-KERCHACK-KERCHACK! Weasel racks the slide until the shotgun is empty, shells bouncing around the cab. Mike wondering what's going on, until Weasel pulls out a pot pipe. Mike is relieved, resnaps his holster. VECTOR (cont ’d) Watch and learn, Rookie. Weasel lights the pipe, puffing away, until the cherry glows. Weasel then inserts the smoking pipe into the shotgun’s chamber, And sticks the barrel in Mike's face... WEASEL, Put it in your mouth, (conpsnsen)37. CONTINUED: VICTOR (off Mike’s look) You don't inhale, we'll pop a seal on 4 money bag and tell Meeks you did it. You'll be fired and catch a case. WEASEL That's right. This is hardball, dude. With us or against us. Mike sighs, puts the barrel in his mouth. Weasel puts nis mouth over the chamber and blows. Mike inhales deeply, coughs, 12 gauge dope smoke envelopes his head. WEASEL (cont'd) Easy, killer. (to Victor) You're up, Terminator. Victor sucks in a long pull of dope smoke. He stops at a light. Weasel hands Victor the shotgun. Victor blows. Weasel inhales. Victor mounts the shotgun. They both don scary sunglasses, And notes Mike's red eyes. WEASEL (cont'd) Where’s your “fuck you" glasses? MIKE My what? WEASEL, Your “fuck you" glasses. (to Victor) show him, V. Victor turns to Mike, looking badass with his shades. Then: VICTOR Puck you. Weasel and Victor crack up, When the backs are turned, Mike glares hatefully at them. cur To: INT. FOOD QUEEW - MANAGER'S OFFICE - DAY i Weasel opening the safe. Mike watches with heavy lids and cotton mouth, Stoned. ‘The balding MANAGER taps his watch, looking at Mike over his bifocals. (CONTINUED)38. CONTINUED: MANAGER You're twenty minutes late. Why is that? You're not serious about what you do, are you? You need to act like a professional. Are you new? Hello. I'm talking to you. Mike chafes, Glares at the manager. MIKE What ‘cha make a year? ‘Twenty two grand? Got a fifty percent co-pay on your health insurance. Pumping two hundred a month into @ mismanaged four-oh-one-K overweighted with food industry stocks. You got a nine hundred dollar mortgage, a six hundred car note. And run a couple hundred a month through credit cards at nineteen points just to cover food and gas. You lay awake at night trying to figure out how to live off three hundred a week when you retire. You're drowning while your boss takes home five-hundred-K after taxes off your hard work. And I’m supposed to take your advice? Food Queen- The Manager's jaw drops, speechless, Mike nailed it. Weasel REACTS, under his breath: WEASEL Yessss... Mike smiles ever so slightly. cUT 70: INT. FOOD QUEEN - STOCK ROOM - DAY Mike guards Weasel as he pushes a cart piled heavy with coin and cash bags. WEASEL Dude, you punked his ass. How'd you know all that shit? MIKE I read “Investing for Dummies.” (CONTINUED)39, CONTINUED: At the double swinging doors: WEASEL Bro, this is why I do this. Get your game face on. Look everyone in the eye. Bach and every person you see. Right in the eyes. @’mon, put your hand on your shit and let’s roll. Mike rests a hand on his Glock. Weasel shoves the cart through the swinging doors, into... INT, FOOD QUEEN ~ AISLES - DAY Mike follows Weasel down the health products aisle. Mike and Weasel maddog the SHOPPERS... WHAT MIKE SEES Every single MAN and WOMAN who looks at Mike immediately looks away, uncomfortable, uncertain where to look. They clear the way for the two Vigilant Guards, WEASEL (0.8.) What you see is shame. They’re all guilty, because they all want the money.’ The more righteous they are, the more shame they feel. And whet you eye-fuck ‘em; they know you know. (whispers) And they give you their power. Bach SHOPPER makes effort to mind their own business, not wanting to look at the two armed quards or the money. SCENE Mike looks at Weasel with new respect. Weasel winks. Camaraderie. Mike smiles, walks on, empowered. Weasel casually stuffs a couple powerbars into his Vigilant jacket. cur To: ERT. FOOD QUEEN - DAY | Mike and Weasel exit. Victor is outside the Armored Car, | shotgun in hand, grinning at the pretty WOMEN heading inside. (CowTINUED)40. cowTINuED: MIKE (re: Victor) He supposed to be out of the truck? WEASEL Big V does as he pleases. you gonna tell him different? MIKE No fuckin’ way. A LOUD COMMOTION causes Mike to REACT. He pulls his Glock and aims at..+ A furiously BARKING GERMAN SHEPHERD in a parked car. WEASEL Whoa, whoa! Weasel grabs Mike's wrist, lowers the weapon. WEASEL (cont'd) Be cool. Spazz case. Weasel LAUGHS as they cross to the truck. WEASEL (cont'd) You're dying to fuck someone up. Huh, dude? Mike REACTS. cur To: INT. ARMORED CAR 2 (MOVING) ~ DAY Weasel blasts Immortal Technique as Victor drives. They pass dilapidated TENEMENTS and junked VEHICLES. PEOPLE loiter on the corners. Notice the truck. IN THE CARGO AREA Mike makes notes in his notebook, He looks at Weasel's jacket hanging on the seat. SEES his wallet in it. Mike Slowly reaches for the wallet. His hand inching closer. Fingers almost touching it DUNK! Something hit the Armored car. VICTOR shitt (CONTINUED)a, e CONTINUED: UP FRONT Victor stomps the gas. Weasel turns off his MP3 player, grabs the shotgun. MIKE, That wasn't a bottle was it? VICTOR Nope. Rifle bullet, high velocity. Someone's shooting at us. MIKE What do we do? Victor pulls his pistol, sticks it out his side gunport. Weasel does the sane with the shotgun. VICTOR We're doing it. (to Weasel) anything? WEASEL e Negative. Clear right. (to Mike) whe three favorite moving targets in the hood are, cop cars, fire trucks... and us. Victor takes a hard turn, tumbling Mike across the cargo area. Weasel and Victor’ LAUGH. DUNK! DUNK! They stop laughing. VICTOR Rookie, see anything? Mike looking through the window, cautious... WHACK! A bullet hits the window. Mike jumpe clear across the cargo area. Mike recovers from the shock, looks at the divot in the glass, SEES an embedded bullet. ‘REACTS. cur To: EXT, GHETTO STREET - DAY A helmeted RIDER parks his motorcycle by the curb. Just as he dismounts... (conrrInvED)42. CONTINUED: WHAM! The Armored Car crushes it. Just flattening it tons of flying steel... The Rider just glimpses the “How am I driving” sticker before Victor takes another corner and is gone. INT. ARMORED CAR 2 (MOVING) ~ DAY Victor pulls onto the freeway. They’re safe. A collective sigh. The Victor and Weasel WHOOP and tap fists. vrcroR Feel the adrenaline, baby. WEASEL Awesome. Fucking awesome. (to’ Mike) You cool, newguy? Mike locks green. Shaking his head. Weakly: MIKE I'm cool, cur To: INT. EMORY ARMS HOTEL - MIKE’S ROOM - NIGHT Mike types the day’s notes at his computer. INSERT SCREEN: Prime Suspects ~- Weasel: Pothead. Power tripper. Victor: Roid rage. Man with drill? Need social security numbers for background check. Mike closes the laptop. Picks up a lock picking kit. Examines the slim steel shivs. He looks at Thomas’ watch. Time for bed. Mike kills the light. cur To: INT, VIGILANT ARMORED COURIERS - BREAKROOM - DAY Meeks and Lissette share coffee. Lissette giggling. Points out Meeks wedding ring. He makes a show of taking it off. NEW ANGLE Mike pouring coffee, pretending not to watch them. cur To:43. INT. VIGILANT ARMORED COURIERS - MEEK'S OFFICE - DAY The door opens, Mike drops the lock pick kit in his pocket. Crosses to the personnel files. Pulls out his notebook. Mike starts pulling files, copies down socials. WAKELY’S VOICE What the hell are you doing! Mike spins around, startled, SEES... The office is empty. No one there. Mike doesn't understand, WAKELY'S VOICE (cont'd) Get out of there! Now Mike understands. He crosses to the INTERIOR WINDOW, looks down... WHAT MIKE SEBS In the Garage, Wakely pulls Weasel out of his sacred Ferrari. ‘WEASEL Dude, don’t put your hands on me. I'm moving. You act like it’s your wife. WAKELY Better than a wife. SCENE Relieved, Mike returns to the files. INT. EMORY ARMS HOTEL - 6TH FLOOR HALL - NIGHT A soccer ball rolls down the hall. Rosa's young SON chases after, Kicks it. He's alone, the maid cart nearby. Rosa's Son kicks the ball off the wall, again and again. THUD... THUD... THUD... Right by Mike's door. VT. EMORY ARMS HOTEL - MIKE’S ROOM ~ NIGHT We HEAR the THUD... THUD... THUD... through the wall. (CONTINUED)44. CONTINUED: Mike sits on the bed, in a cold sweat, staring at the closed curtains. THUD... THUD... THUD Mike sits completely motionless. Eyes unblinking. Staring to nowhere. THUD... THUD... THUD cur to: EXT. DOWNTOWN STREETS - DAY The banking district. Traffic crawls past the glass towers towering overhead. NEW ANGLE Mike exits a taxi, a suit. In an impeccable tailored Armani suit. He wacily looks around, Harried BUSINESSMEN and WOMEN on Blackberries rush past him. Wike looks up at the office tower before him, resisting the urge to retreat, jostled by PASSERSBY. Mike sighs, heads for the entrance. cur ™ INT, INVESTMENT FIRM - DOUG'S OFFICE - DAY Big money, high power. Mike sits across from DOUG, an impressive, impeccably dressed businessman Mike's age. MIKE You got the corner office. pous Should have been yours. The Venezuelan deal brought a hundred million into the firm, Whatever. I saw Stacy the other week. You talking? MIKE No. She remarried. some Canadian guy. Rolling it. pous I’m sorry. I’ve missed you. Where the hell have you been? You fell off the face of the Earth. MIKE I’m on a quest. (CONTINUED)CONTINUED: A beat, Mike nods: 45. poug A quest? What for, a magic ring? MIKE For justice. Simply justice. pous Brother it's me, Doug the Bug. I'm worried about you. Just tell me what's going on. ‘Don’t shit on ten years of friendship. MIKE It was an inside job. DouG The robbery? yes. Doug purses his lips over steepled fingers. DOUG (cont'd) And you know this how? MIKE you know I do my research. The car they hit was transferring a million in cash to their off site vault because they were over their insured limit. It was an internal transfer, no outside entities involved. No one outside the company knew. And no one’s left the company Since the hit. So whoever was involved is still there. ous And they're the magic ring? MIKE The magic ring is the sick fuck that killed my son. That shot a twelve year boy point blank in the face. ove Gone to the police with what you know? (CONTINUED)46. CONTINUED: IKE Those goddamn donut eaters can't find their ass in the dark with both hands. And they sure don’t like aggrieved fathers telling them their business. They laughed me out of their offices. Mike tears out a page his notebook. Slides it across the desk. MIKE (cont’d) I need you to run these socials through the system. I'm looking for unaccounted financials. Doug looking at the paper. Mike stands, crosses to the vast windows high over the city. Dous I could lose my job. You know that. MIKE Please, Doug. Don’t shit on ten years of friendship. Doug relents, pockets the paper. ous Anything for you, brother. Gimme a couple days. How do I find you? MIKE You don't, 1°11 call you, Mike quickly exits. cur TO: INT, EMORY ARMS HOTEL - MIKE’S ROOM ~ NIGHT Room services trays stacked near the door. On the wall, in addition to the diagram of Vigilant are city maps with the routes red inked. Also added to this strange, ever-expanding collage of Mike's obsessions, are torn-out book pages showing bloody gunshot wounds. A calendar tells us it’s November. Post its and bios of the various Vigilant Guards. A list of increasing the dollar amounts Vigilant is carrying. On bis cluttered desk is a gun Cleaning kit, hollowpoint bullets lined up in a row, And pictures of his son Thomas. A martial arts training DvD plays on his computer. (CONTINUED)47, CONTINUED: KARATE EXPERT +++forcing the sinus bone into the brain. The killing blow is the throat chop... FIND Mike Doing pushups. Crisp, precise. One after another. With tears in his eyes. cur To: INT, VIGILANT ARMORED COURIERS - FIRING RANGE - DAY CLOSE ON A TARGET. A caricature of a sneering criminal. GUNSHOTS (0.5.) as holes are punched through his angry face. NEM ANGLE Bernard is shooting -- Pop-POP-POP The Armorer watches. Nods approval. ~- from the center lane. ARHORER Not bad. Mike notes his prowess, Bernard lays a twenty on the shelf. BERNARD Twenty bucks says I can’t be beat. Mike, Jack, Santiago, Nicole, Weasel and The Mummy trade looks. No takers. ARMORER Santiago? SANTIAGO (shrugs) I'ma lover, not a fighter. ARMORER Un, 1°11 take your word for it. Mike eyes the twenty. ‘Then steps up to approving CLAPS. The Armorer hands him a full mag. ARMORER Lane two. Go for it, Pletcher. Mike at Lane 2. Goes into a modified Weaver combat stance. (CONTINUED)48. CONTINUED: POP-POP-POP-POP-POP-POP-POP-POP-POP! Mike empties the mag, all rounds bit perfectly in the center of the target's face. Mike ejects the mag, holsters his Glock, Bernard is furious he’s been beaten. Mike grabs the twenty off the shelf and quickly exits. His COLLEAGUES MURMUR in astonishment. Victor and Weasel trade looks. VICTOR Something’s up with that guy. WEASEL Dude’s on a mission, bro-ham. cur to: INT, VIGILANT ARMORED COURIERS - LOCKER ROOM - DAY Mike shuts his locker. Jack standing there. JACK We're heading out for some cold ones. I’m buying. MIKE can’t. Mike grabs his duffle and exits. cur TO: EXT. MAX'S BAR AND GRILL - NIGHT The Local dive. A DRUNK pukes on the sidewalk. NEW ANGLE Mike sits in a taxi across the street. WHAT MIKE SEES Bernard exits the bar. Gets in his battered Caprice and pulls out. SCENE Mike points out Bernard’s car to the CAB DRIVER. The Taxi \ pulls out. Follows the Caprice, i cur To: Ia. EXT. BERNARD'S STREET ~ NIGHT Run-down, two story rowhouses. Bernard parallel parks his Caprice. NEW ANGLE Mike's Taxi stops down the block. Mike gets out. ON BERNARD Wearily climbing the steps to his front door. He unlocks it and enters. cur To: EXT. BERNARD’S ROWHQUSE - NIGHT Mike creeps through the tiny backyard. LIGHTS come on inside, spilling out the sliding glasa patio doors. Mike ducks behind the garbage cans. A dog BARKS 0.S. WHAT MIKE SEES Through the sliding glass doors is view of the TV ROOM. Bernard drops into his easy chair. Turns on the TV. Pours himself a Bourbon. Watching a porno. SCENE Mike has seen enough. He turns his attention to the garbage cans. Pulls a small flashlight. Rifling through empty booze bottle. Finds some bank statements. BERNARD'S NEIGHBOR Hey motherfucker! NEW ANGLE The NEIGHBOR is in his backyard with a magnum in hand. Mike runs for his iife, vaults the fence and disappears into the night... | Bernard standing at his patio doot, flips on the outside | Light. \ cur To:50. EXT./INT. DETROIT STREET/ARMORED CAR 1 (MOVING) - DAY Santiago drives, Nicole is passenger. Mike in the jump seat. Mike notes Nicole is looking at a dealer’s brochure for a Mercedes Sedan. MIKE That’s a hundred thousand dollar sedan. More with the AMG package. NICOLE you saying T ain’t worth it? Gonna get me one some day. Watch me, Fletcher. Watch me. Mike surreptitiously takes out his notebook. Makes a note. Santiago intent on his SIDE MIRROR. SANTIAGO Bey, Nicole. Eyeball this guy for me. NICOLE What's up? SANTIAGO See that black Escalade. Fuckin’ tinted windows. All gangstered out. Followed us through four turns already. NICOLE Bust that light, partner. Santiago guns it. Runs the light. The Escalade does too. NICOLE (cont'd) Aw, hell no, Not good. Nicole grabs the shotgun. KERCHACK! Jacks in a round. Nicole brushes past Mike as she moves into the back. Santiago makes a right. hs does the Escalade. IM THE CARGO AREA Nicole holds up the shotgun to the back window. Flips the bird. Santiago makes another hard turn. The Escalade accelerates and follows. NICOLE (cont'd) (shouts up front) Wanna play, asshole? (MORE) (CONTINUED)51. CONTINUED: NICOLE (cont'd) I will ventilate your gangster ass. (to Mike) Fletcher, make yourself useful and get back’ here. Mike joins Nicole. They're shoulder to shoulder. Watching the Escalade. NICOLE (contd) Santiago, my ghetto radar’s going off. Call it in. Santiago grabs the mic. SANTIAGO (into mic) Dispatch, Unit One. Ten thirty three. Northbound on Vanderholt, passing Sixth Avenue. Request P.D. Assistance to our twenty. cur to: EXT, DOWNTOWN CITY STREETS - DAY Armored Car 1 picks up speed. Weaving through TRAFFIC. The Escalade keeps pace. Looks like TWO MEN inside, Hard to see through the tinted windows. At A 4-WAY INTERSECTION Ahead the TRAFFIC LIGHT'S CHANGING... Santiago stomps the pedal. Hits the HORN. Running the RED. The Escalade shadows, SWERVES around cross-traffic. Cars HONK. Santiago cuts a tight left, SCREECH! Cars brake. The Escalade SCREECHES, barely avoiding a collision. HORNS BLARE. The Escalade PEELS OUT, resuming its pursuit. cur To: INT, ARMORED CAR 1 (MOVING) ~ DAY Mike and Nicole trade looks, a bonding moment. it’s them, together. Nicole smiles. But the Escalade is gaining. Mike turns to the front, shouts: MIKE Santiago! Stop! This is bullshit! Stop this thing. Right fuckin’ now! (CONTINUED)52. CONTINUED: SANTIAGO Hold on! Santiago's boot stomps the brake. SCREECH! The Armored Car SKIDS, fishtailing, tires SCREAMING... SLAMMING the median it comes to a shuttering HALT! The Escalade brakes -- SCREECH! Stops a couple yards behind. Engine RUMBLING. Mike is getting himself psyched up. Resolved, but scared, he grabe the shotqun from Nicole. And to her amazement, opens the back doors... ICOLE What the hell are you doing? Fletcher, don’t! cur To: EXT. INTERSECTION - DAY Mike jumps down from the Armored Car, strides over to the Escalade, shotgun to his shoulder, aimed at the Driver’s window. ‘Fear becomes anger, anger becomes confidence... MIKE, You wanna die? Show your face! C’mon you piece’a shit. Do something! The Escalade throws it in reverse. Does a J-turn. And SCREECH! Heads off down the street. It’s over. Mike standing there. Panting. Shocked DRIVERS in the surrounding Cars looking at Mike in fear. ON NICOLE Staring at Mike in amazement. NICOLE Get back in here, now! Mike turns, crosses to the Armored Car, hops in and SLAMS the doors behind him. cur to: INT. ARMORED CAR 2 (MOVING) - DAY Santiago resumes driving. Mike and Nicole join him up front. (CONTINUED)53. CONTINUED: SRMITIAGO That was badass. You got some balls for a whiteboy. Santiago holds out his fist. Mike taps it. RrIcoLs That was stupid, Fletcher. this thing’s bullet proof, You're not. Mike returns the shotgun to its mount. Realizes that Nicole is staring at him. SEES her worry. She cares about him. And that surprises Mike, cor To: INT. VIGILANT ARMORED COURIERS - LOCKER ROOM - DAY Santiago and Nicole tell the tale among several GUARDS, Weasel, Jack, The Mummy and Victor included. SANTIAGO $o I lock it up, skidding all over this place. Next thing, the fuckin’ rookie jumps out with the gauge. I’m like, damn. And homie steps right up to these cabrones. ALL shoutin’ and shit. NICOLE Got right up on them. Like this. The dude’s all shouting; “Do something.” And they did. They took the fuck off like little bitches. Mike enters. Silence. All eyes are on him. He's wary. Wondering if he’s in trouble. Then: CLAPS and CHRERS. Mike grins big. The Mummy crosses and grabs his shoulders. THE MUM Today you're no longer rookie. From now on you will be known as... (thinks, decides) Shotgun. Adlibs of “Shotgun,” the Guards approve. Bernard steps up to Mike, confrontational then he smiles. Holds out a hand. (CONTINUED)54. e CONTINUED: BERNARD You can ride with me any day. They shake. Jack crosses to Mike. Takes him aside. JACK You know, according to the rulebook, if bullets start flying and a man’s outside the rig, the driver's supposed to take off to protect the cash. MIKE Seriously? I didn’t know that. SACK (grins) Fuck the rules. Out there, we do what we gotta do. Mike heads to his locker. Jack follows. JACK (cont’d) We're heading out for drinks. MIKE I can’t. JACK 1 wasn’t asking. A beat, Mike bites his lip. Sees Jack won't relent. MIKE Alright. cur 70; | EXT, MAX'S BAR AND GRILL - NIGHT It's LOUD and CROWDED. Packed with Vigilant Guards in various states of liquid disrepair. Mike and Jack are at the BAR, Victor crosses with two shots, hands one to Mike. { VICTOR 1 Yo, Shotgun. Down that shit. ‘They clink shotglasses, down the hatch... MIKE @ Ugh. What the hell was that. (CONTINUED)58. CONTINUED: VICTOR Hell if I know. But it does the trick. Mike catches Nicole looking at him from across the room. She smiles and whispers in Lissette, the fine dispatchers ear. They both giggle. JACK She likes you. She doesn't like anyone. The Bartender slides a beer to Mike. BARTENDER Yrom him. He points out The Mummy, waving, smashed. Mike waves back. aac Fletcher, we're going to get you good and’ drunk. (a beat) My pops said never trust a man until you see him drunk. Because that’s who he really is, Mike checks his watch. JACK (cont'd) Why do you wear a kid’s watch? MIKE r’m just a kid at heart, JACK Ballshit. You got full grown man pain in your heart. You know my grandfather was a cop? Retired as a Detective First Grade. My dad too. Retired as a patrol Sergeant. Could have been Chief, but he liked the streets too mich.’ Know I was a cop? MIKE You? JACK Yep. Graduated the academy, Spent a week on the job and punched out. Wasn't for me.” Too much bullshit. inoRE) (CONTINUED)56. CONTINUED: JACK (cont'd) Too many rules. Pops almost killed me. For breaking the chain. (a beat) See, Mike. I grew up around cops. I know cops. Their souls. And I was wondering. Are you a cop? Mike LAUGHS. MIKE I'm not a cop, Jack. They scare the shit out of me. IBCK You're too smart for this shit. And you know what they say; when the shit goes down, people fall back on their training. and from what I heard today; you did exactly what a cop would do, MIKE I got mad and reacted. It was a stupid move. @ Jack isn't convinced. Weasel interrupts with a shot. WEASEL Jaeger, dude. Cheers. Mike downs it. MIKE Hey, that’s pretty good. WEASEL Me and Victor got a fattie, We're gonna burn it out back in a minute. MIKE No thanks, Weasel. Weasel departs. MIKE (cont'd) Good kid. JACK But flawed. Like me. Like all of us. Mike, you fail at a few jobs. Fail at a marriage. And soon, it's what you're best at; failing. So @ you find a groove and run with it, (MORE) (CONTINUED)57. CONTINUED: JACK (cont'd) Then you blink and suddenly you're middle-aged. Mike considers that, slowly nods. JACK (cont'd) You stop asking, “why me?" And start asking, “why not me?” It all quietly starts to make sense; that this is somehow all I deserve. Lock, Mike. You're a good guy. You're better than this. Get out while you can, Seriously, is this the life you imagined for yourself? MIKE No, Jack. Not at all. JACK That's all I'm saying, A tipsy Santiago crosses to Mike, bearhugs him from behind. SANTIAGO I love this guy. The fuckin cojones on him. Eh, Jack? JACK Cisco. You should be hoe hugging your wife, not in this shithole hugging Mike. Go home now. You got four fuckin’ kids. Goodnight. Santiago stands there. Chastised. ‘Then departs. MIKE You're good with people. Jack darkens, looks away. JACK No. You got me all wrong. I'ma piece of Shit. BARTENDER Last call! Jack slaps down a ten and walks away. Mike watches him go. Then realizes Nicole is standing there. NICOLE, Want a ride? (CONTINUED)58. e CONTINUED: she doesn’t have to ask twice. cur To: EXT, MAX'S BAR AND GRILL - DAY It's late. A few PEOPLE smoking under the streetlamp. Nicole and Mike exit. Cross to her Accord. cur To: INT, NICOLE'S ACCORD (MOVING) - NIGHT Nicole drives slow, taking her time. NICOLE I've been wondering. Mike, why are you here? At Vigilant? MIKE You guys have a bet or something? Who can pump me for the most information? e A beat. NICOLE I'm ignoring that. Here's the deal, one look at the other guys and I can figure them out. Anyone could. They fit here. You. TI can't tell what your story is. MIKE Haven't got 4 story. Not one worth telling. NICOLE If you say so. She takes his hand in hers, runs a thumb along his paln. NICOLE Your hands are soft. These are white collar hands, no offense. MIKE None taken. Mike gently takes his hand away, puts it in his pocket. (CONTINUED)59. e cour: rR (conta) You got it together. dow'd you end up here? NICOLE I make twelve an hour. Where I’m from, that’s a fortune. And T can take night classes. And... (brutally honest) I've ‘taken so much shit, it’s nice to wear a gun and give some back. MIKE What are you studying? nrcote Accounting. ‘Damn, player. You're Relive slack. (Sf his" Look) We were talking about you, now we're talking about me. Listen... (considering) There's this look in your eye. The Ghecls are always tueging. ?You-re e ere now, but you ain't Bere: Muays watchin’ cistenings Sheekeing: MIRE I don't know what you're talking about. NICOLE What I'm saying is... MIKE Right here. This is it, She stops. Outside an old tenement. Nicole checking it out. NICOLE Lucky you got a gun, MIKE I can take care of myself. NICOLE So I’ve seen. Mike, if you ever want to talk. I dunno. I ain't up in your business. 1 mean... (a beat) You can kiss me if you want. (CONTINUED)60. CONTINUED: Mike Looking at her. She go beautiful, so vulnerable He Kisses her. Passion wells up from deep in his soul He breaks the kiss. Looking at her. MIKE T’m sorry. I have to go. Mike gets out of the car. cur 70: EXT, TENEMENT BUILDING - NIGHT Mike crosses to the entrance. When Nicole drives off, Mike returns to the sidewalk. And flags down a cab. Clearly conflicted by his double life. cur To: INT. VIGILANT ARMORED COURIERS - GARAGE ~ DAY Mike crossing with The Mummy and Jack. He's one of the guys now, complete with the Vigilant swagger, shotgun draped over his shoulder, Santiago crosses to Mike. Motions him aside. SANTIAGO Yo, Shotgun. My old lady heard about what you did the other day and she thinks you saved my life or something. You know how broads are. Been cookin’ lechon and empanadas all day. Wants you to cruise through for dinner tonight. Or my nuts are goin’ on the chopping block. Santiago is puppydog eager. No way Mike can say no. cur To: INT. SANTIAGO’S BUILDING - BALLWAY - NIGHT Santiago and Mike, wine bottle underarm, climb a creaking stairwell. Dolls and action figures scattered on the landing. Santiago kicks them out of the way. SANTLAGO Sorry. Kids play here. We get a lotta drive-bys around here. cur fo:61. INT. SANTIAGO’S APARTMENT ~ NIGHT Humble, simple. Santiago and Mike are seated at dining table. The four kids staring at Mike. SANTIAGO ‘That's Freddy Junior, Carla, Mikey and Beto. Santiago's wife, Elsie, brings the rest of the food, sits.. SANTIAGO (cont'd) (to his kids) Mikey, sientate bien, Say hello to Mr. Fletcher, Show some manners. ‘The kids trade looks and giggle nervously. ELSIE Freddy told them if they don’t behave tonight, Santa ain’t coming. They never shut up, now we can’t get ‘em to talk. Elsie pushes plates of food toward Mike. ELSIE (cont'd) These are empanadas, like meat pies and this is Lechon. (off Mike's 100k) Pork. And fried plantains. And beans and rice. 1 hope you're hungry ‘cause I made a ton. Elsie beams, proud of her spread. ‘This is a solid, loving family. Mike places the wine on the table. MIKE Yeah, I’m famished. Here, Elsie. I brought something especial. A nineteen ninety eight Chateau Lafite. ELSIE Wine, huh? Around here it’s always Miller Lite. Santiago tries to unscrew the cap. MIKE um... It has a cork. (CONTINUED)62. CONTINUED: SANTIAGO Oye, Mami. Tenemos un. Santiago pantomimes uncorking. Elsie shakes her head: no. Santiago takes a butterknife and forces in the cork with his strong hands. He pours the wine into plastic cups. flsie nolds up her glass for the toast. ELSIE Here's to Mike for getting my man’s back. And for being his friend. You know he talks so much about you. And Preddy don't be likin’ no one. anyways, salud. They tap cups. The kids tap their juice boxes. Mike moved, surprised, Santiago is embarrassed. MIKE Uh, I need to wash up. Excuse me. SANTIAGO Last door down the hall. ‘Through the bedroom. ELSIE Please, don’t look at the mess. Mike excuses himself. INT. SANTIAGO’S APARTMENT - BEDROOM - DAY Mike looking around. Moving quickly, he begins searching the room. Checking dresser drawers, finds lingerie, a tube of KY, massage oil and incense. MIKE No wonder they got four kids. He checks another drawer, finds a checkbook, flips through it. Feels beneath folded clothing. Mike checks the closet looks though shoeboxes. Finds shoes. Gets on his hands and knees to peer under the bed. Re pulls out a cardboard box. Old family photos inside; the extended family in Puerto Rico. And an old Rosary. SANTIAGO (0.5.) (from other room) Hey, bro, you cool? (CONTINUED)63, CONTINUED: Mike sighs, replaces the Rosary, slides the box back. He's wrong and he knows it. cur 10: INT. SANTIAGO’S APARTMENT - NIGHT Mike taking his seat. SANTIAGO You straight? Need the Bismol? MIKE i'm fine, freddy. Really. Elsie takes Mike’s hand, Santiago takes other. The children join hands to complete the circle, heads are bowed. ELSIE God, thank you for this our daily bread. ‘Thank you for watching over us and the kids. And thank you Lord for bringing Mike into our lives... ON MIKE Deeply moved, it takes all his might to hold back the tears... cur To: BAT. DOWNTOWN SKYLINE - DAY Construction cranes, smokestacks and skyscrapers stand tall over a hazy dawn of interwoven sunlight and clouds. cur 70: INT. EMORY ARNS ROTEL - 6TH FLOOR BALL ~ DAY Mike exits his room. Checks the lock. Rosa crosses to him in her maid uniform. ROSA Excuse me, Mister Mike? It's been a month, and I'm supposed to clean your room, no? MIKE No, Rosita. It's fine. (CONTINUED)64. @ CONTINUED: Mike keeps walking. Rosa follows. ROSA You come. You go. Nobody comes to see you. You on a stakeout or something? MIKE Nope. ROSA You a cop? MIKE No. Rosa smiles, steps in front of Mike to slow him. Embarrassed. ROSA, Christmas is coming. And I gotta get presents for my kid and my mom and my sisters. And I got rent and stuff. Maybe you could borrow me @ some money? MIKE Lend you some money. How much? ROSA Sixty dollars. Or eighty. Mike digs in his pocket and counts out four twenties. Rosa takes the money. ROSA (cont‘d) Gracias, Mr. Mike. A beat. She stands there, smiles, sultry. ROSA (cont‘d) Maybe I could keep it. You know? Maybe we could..? She rung a hand down hig chest, to his belt buckle. Mike moves her hand away. MIKE No, Rosa. Not like that. Just keep it. And please, you have to respect yourself, For your kid. (CONTINUED)65. CONTINUED: Mike walks away fast. ROSA Just for you, Entiendes? (softly) dust for you. He's already in the elevator. Rosa knows she has just humiliated herself. Smacks her forehead. cur To: EXT. CITY STREETS ~ DAY It's a cold one, Christmas decorations are up. A Vigilant Armored Car turns a corner hard and fast. cur Tos INT. ARMORED CAR 2 (MOVING) ~ DAY Nicole drives, happy. she likes driving. The Mummy rides shotgun. Mike sips coffee in the jump seat. Notes the huge pile of canvas bags in back. MIKE Lookit all that. We've never moved this much. ‘THE MUMMY Speak for yourself. Starts piling up around Christmas. Just wait until the week before. MIKE Last time Vigilant got hit it was the week before Christmas. ‘THE Mommy It’s when people get desperate. Bills. Holiday gifts. And the 1V shoving everything you don’t have in your face. Christmas is hell for some folks. NICOLE, Zr like it. MIKE ‘Think they had’ someone on the ingide? The robbers? (CONTINUED )66. CONTINUED: Mike studies The Mummy for any telling reaction. The Mummy and Nicole turn to stare at Mike and shake their heads. The mere idea is ludicrous to them. cur To: INT. VIGILANT ARMORED COURIERS - GARAGE ~ DAY Another shift is over. Mike walks with Santiago, Victor and Weasel. WEASEL Ya'll should‘a seen this badass mommy. She was all titties and booty. And I was like damn, cause this chick's rollin’ her brains out on & and licking on my neck and whatnot while I’m spinning this badass alien-tripno-trance-adelic beat. Fucking awesome. Mike, Santiago and Victor wonder what the hell he just said. ‘Then: MIKE You know when that car got blown up? Ever think maybe someone here was in it, maybe tipped them off? VICTOR What the fuck? How can you go around thinking we got a traitor riding shotgun? SANTIAGO No way, dog. Not in this shop. We're all bros. C'mon, man. Weasel just rolls his eyes. MIKE Yeah, you guys are right. You gotta trust the people you're in the trenches with. They walk off leaving Mike. He senses he's crossed a Line. cor67. EXT. EMORY ARMS HOTEL ~ NIGHT Mike strolls towards his hotel, glances back over his shoulder. Mike stops. He turns. WHAT MIKE SEES Halfway down the block, an old, boxy sedan stops, Its headlights turn off. SCENE Mike studies it a moment. Mike continues toward the hotel. Then reconsiders, And turns, starts toward the sedan. ‘The sedan suddenly makes a U-turn, cutting off a van. ‘The sedan's headlights come as it swoops into an alley. Mike watches it go. Uneasy. INT, EMORY ARMS HOTEL - MIKE’S ROOM ~ NIGHT Mike sleeps restlessly, sweat drenched. Then: The phone RINGS. He startles awake. Bolts upright, grabs answers... MIKE, (into phone) Hello? CLICK. Then the DIAL TONE. Mike slowly replaces the receiver. He lays back and stares at the ceiling, unnerved. A beat. Then: Mike sits up, hits the light. Grabs the phone. Dials. INTERCUT: INT. DOUG'S CONDO - NIGHT Epic city views. Doug’s cell rings. He's sprawled in bed with two gorgeous WOMEN. And a couple bottles of Cristal. He answers his Blackberry. ous ‘This better be good, Mike It's me, (CONTINUED)68. CONTINUED: Doug gets out of bed. Crosses to the window. Doug hits ous Hey, brother. You okay? MIKE I'm fucking outstanding. Anything on that thing? Douc Yeah. I think you're onto something, I'm putting you on speaker. the speakerphone button on his Blackberry. DOUG (contd) Still there? MIKE I'm still here. Dous Ran all the socials through the database. These poor slobs are scraping by on twenty five K. MIKE They're good people. Dous Right. But one guy, he’s got an offshore income stream and a portfolio that puts mine to shame. All through the Caymans. Took some work. Had to call in some favors. He has Mike’s full attention. MIKE Who? Just tell me the name, pous William Clark or- Mike REACTS. And hangs up. ous (cont'd) Mike? END INTERCUT: (CONTINUED)69. CONTINUED: Mike sits there, processing what he just heard. Then growls: MIKE Weasel. Mike stands and pulls on his pants... INT, TECHNO CLUB - NIGHT BOOMING MUSIC. DANCERS work it. Weasel in the DJ booth wearing big headphones, fingering the sliders on an MP3 mixer as he cues an old school record on a turntable. He’s in his element, blissed-out and likely stoned. Surrounded by several fine HONEYS... REVERSE Mike. Watching him. Burning hatred in his eyes. OW WEASEL As he drops the needle on some wax. Changing the BEAT... REVERSE Mike is gone... cur 70: INT. WEASEL’S APARTMENT - NIGHT Mike enters, tucks his pick set in his coat. Pistol in hand. He CLICKS on a flashlight. The place looks money, a Bang Olufson stereo. A mega plasma, Xbox 360. Tropical fishtanks, Custom couches. A ridiculously huge blown slass bong. Mike takes all this in, shaking. He finds his computer. Hits the keyboard. The screen comes on. Mike connects a flash drive. Goes to the contacts database and copies over all his E-Mails and contacts. INT, WEASEL'S APARTMENT - BEDROOM - NIGHT Mirrors over the California King. Mike searches the closet. He takes a seat on a leather beanbag. Gun in his lap. He's going to lay in wait. Mike notes a photo album. Grabs it, leafs through it. INSERT PHOTOS (CONTINUED)70. CONTINUED: Weasel in the club. Weasel's endless conquests. Weasel and the guys from Vigilant. then the pictures change... Weasel as a kid. With his mother and father. In front of a Bentley. & young Weasel in Paris with his parents. London too. The Bahamas. Weasel in a private jet with his parents. Weasel at the Louvre. At a Swiss Chateau with mom and dad. Weasel at 16, in a tuxedo at a formal dinner. Weasel on horseback, riding dressage. Then a newspaper article... “Real estate developer and wife die in plane crash.” Mike reads it. And hatred becomes sympathy. Weasel had wealthy parents. #e’s no criminal. Mike replaces the album. Tucks the pistol in his ankle holster. And LAUGHS, relieved. we gets up and leaves the apartment. cur 10: INT. MIKE'S HOTEL ROOM -~ NIGHT Mike enters. Locks the door, He crosses to the desk and he sits before his vast, bizarre collage. He opens his laptop, absently shutting a desk drawer which was open a few inches. He turns the laptop on, then pauses. Realizing, He opens the desk drawer, staring into it. Looks through the notebooks inside. He quickly stands, scrutinizing everything on his desk. He shuts one manila folder, uncertain. Mike turns SEES... A notebook page of his scribblings on the carpet. Then he notices the closet door is ajar, Fear sets in. Mike pulls the gun from his ankle holster. Creeps forward, weapon raised, intense on the closet... Mike grips the gun, knuckles whitening, reaches out with his free hand. Yanks the closet door open No one there. Just his clothes and JANGLING HANGERS. Mike sighs in velief. cur To: INT. VIGILANT ARMORED COURIERS - LOCKER ROOM - DAY GUARDS are dressing. A new guy, KAREEM, a young black kid vith a high fade, straightens his tie at his locker. Jack walks by, cigarette dangling, yanks the tie. Jerking Kareem to one side. (CONTINUED)2. CONTINUED: KAREEM What are you doing, man? JACK Wear a clip-on, You'd be dead if T was a bad guy. Kareem looking at Jack. Confrontational. Then Jack unclips his tie and hands it to Kareem. JACK {cont'd) Here. ‘ake this one. I got a dozen of the fuckin things. Kareem relaxes as he realizes Jack’s intentions are good. KAREEM ‘Thanks. Bernard crosses to Kareem as Mike enters. BERNARD Hey, Rookie. We got an office pool going. Twenty bucks gets you in. Kareem wary. BERNARD (cont ’d) Payoff is huge. You like getting paid? KAREEV Who doesn’t? Mike watches Kareem pulls out his wallet. MIKE Don't. He's fucking with you. He's going to keep it. KAREEM (smiles at Mike) Good lookin’ out. Bernard wheels on Mike. ‘BERNARD Go fuck yourself, Fletcher. Mike grins at Bernard. Meeks enters. (CONTINUED)72. e CONTINUED: WEASEL (mocking) Attention on deck! Meeks gives Weasel a look. UEEKS Secure that shit, Weasel. I quit counting your strikes a year ago. (loudly) Listen up, people. Christmas is a week away. You know what that means. Time to grow eyes in the back Of your heads. Be aware of who and what is going on around you. Remember the P.D.’s just a radio call away-- WEASEL ~-Like they got our back. MEEKS Quit pissing backwards. WEASEL e@ I like pissing backwards. MEEKS (ignores him) We get hit, now’s the time. Like the name says; be vigilant. Christmas party’s Thursday. There’s a mandatory donation of twenty bucks each. Carry on and stay safe. Meeks exits. Guards head out for their shifts. JACK Rookie, you're with me. (Locks Kareem over) Where’s your weapon? why didn’t you see the arnorer? HRREEM It's my first day. JACK Gonna be your last day if you don’t get your shit wired tight. (CONTINUED)73. CONTINUED: Jack and Kareem exit. Mike now alone. He crosses to a locker that's ajar. Mike looks through it. Nothing of interest. Mike tugs on the locks, going down the line. Until a combo lock SNAPS open Mike rifles the locker. Finds a shave kit. A fifth of Vodka, Street clothes. About to shut it he pauses, reaches down for a colorful paper on the linoleum, He unfolds it. REACTS. We can't see it, but whatever it is, it troubles Mike. “He pockets it. Then Mike sadly notes a photo on the door: The Mummy and his WIFE. It's The Mummy's locker. Mike gently closes it. cur To: INT. VIGILANT ARMORED COURIERS ~ GARAGE - DAY Guards loading weapons, donning armor, pushing money carts. Staring tracks. Kareem watching the activity, awe struck. Jack WHISTLES, ACK Rookie! Over here! Kareem crosses to Jack and is intercepted by Lissette in a snug dress and pumps. LISSEPTS Hey, Abdul Jabbar. Come here. Kareem turns on his high wattage smile. RAREEM, Wassup? What's a fine lady like you doing up in here? You know T like the Spanish girls. LISSETTE Then you know what pendejo means. I tell Meeks you said that shit, you're gone. Change of plan. You're in car two. Over there, player. Lissette points at the Armored Car Nicole is climbing into. Jack approaches Lissette and Kareem. JACK He’s with me. You know I break in all the rookies. (CONTINUED)4. CONTINUED: LISSETTE Nope. Victor's riding with you. No rookies on Falluja runs. KAREEM Falluja? what's that? JRCK A run with a high probability of a shoot-out. Next time, kid. ‘RAREEM Rather ride with that fine sister anyway. Jack leans in, whisper in Kareem's ear. He REACTS. cur To: INT. ARMORED CAR 2 (MOVING) - DAY Waiting in the Sallyport. Nicole at the wheel. The Mummy rides passenger, Kareem in back. Offers Nicole his hand. KAREEM Kareem. Nicole looks at his hand like it’s covered with ants. NICOLE Where the hell's Mike? ‘The door opens and Mike gets in with his shotgun. Wicole grabs the mic. NICOLE (cont’d) (into mic} Pop the gate, Lissette. Two's rolling. cur To: EXT. CASINO, PARKING LOT - DAY Armored Car 2 parks outside the entrance of this low-rent, urban gambling joint. Mike and The Mummy climb out, carrying many money sacks. A POLICE CAR is parked in the handicapped space. The two COPS inside look disdainfully at the guards. Mike and The Mummy glare back on their way into the casino. cur To:78. INT. CASINO - DAY CHRISTMAS X-MAS MUZAK drips from the ceiling speakers. Mike and The Mummy pass endless, crowded tables Pai Gow, Texas Bold ‘Em. Video poker and’slots WAISTLE and BEEP. Mike looks over the life-worn GAMBLERS, drinking and chain- smoking. Fingering cards, pulling levers, pushing buttons. Nicotine-stained fingers drops coins into the greedy machines. DEALERS scoop up piles of chips. And more money is traded for chips. On and on... THE MUMMY shit like this makes me wanna suck on my Glock. Mike gives The Mummy a look. cur To: EXT. GAS STATION - DAY Busy, by an offramp. Armored Car 2 parked out front. Kareem inside. Mike outside. Something gets his attention... A BLACK ESCALADE Cruises past. Slow. It stops by the restrooms... Mike steps behind the Armored Car. Unsnaps his holster. About to draw his Glock... When the Escalade’s doors pop open... A COUPLE and their young two DAUGHTERS get out, LAUGHING, happy, oblivious. Mike relaxes, resnaps his holster, Nicole and The Mumny appear with money sacks. NEW ANGLE A BUSINESSMAN and WOMAN, by their new Lexus at the far pump watch Mike and talk about him. The Well-Dressed Man crosses to Mike. BUSINESSMAN Mike? Is that you? Why are you dressed like a rent-a-cop? MIKE Six, stay back please. (CONTINUED)