PENANCE (PART ONE)

by Anthony Kirkwood and Reynaldo Gesmundo

Short Film
Email: anthonykirkwood@hotmail.com

The apocalypse is coming. Amid worldwide sightings of angels and demons, career criminals Fritz and Victor steal ten million dollars, commit a murder, and attempt to escape from their unforgiving crime boss. Two detectives pursue Fritz and Victor and try to figure out just what is going on. Things get more complicated when Fritz becomes one of the ‘visited’. This television script is in three parts. The script is registered with the Writers Guild of America, West

 PENANCE

                  PART ONE
                  
                    Written By
                 Anthony Kirkwood
                        and
                 Reynaldo Gesmundo

CHARACTERS
FRITZ: Professional criminal. In his thirties, with dark hair. Dresses well.
VICTOR: Fritz's long time partner in crime. Also in his thirties. Can be unpredictable and wild. Has a tendency towards violence.
SALVATORE DELMONO: A powerful and ruthless organized crime boss. Loves money and successful scores. If a lesson needs teaching, he will teach it.
ROSAMUND: Quite literally, an angel.
DETECTIVE WEBBER: A police detective.
DETECTIVE SMALL: Webber's partner.
MR. HEADY: A criminal stooge. Middle-aged and balding.
SILAS: A stranger that Fritz befriends in a bar.
DR. STEVENS: Fritz's temporary psychiatrist. He has a genuine interest in Fritz's welfare and state of mind, and helps Fritz to come to terms with his past.
TED AND ALICE: A young good-looking couple out for a good night at their school prom.





FADE IN:
SUPERIMPOSE: PENANCE: an act of self-punishment as a repatriation for guilt; a sacrament including confession of and absolution for a sin. - Oxford English Dictionary
SUPERIMPOSE: Our repentance is not so much regret for the evil we have done as a fear of what may happen to us because of it. - Francois, Duc de la Rochefoucauld, Maxims.
CREDITS
EXT. MILITARY BASE - NIGHT
An exterior shot of a large military base. There are a two sentries on duty at the entrance, both holding machine guns. They are at all times alert to their surroundings.
INT. MILITARY BASE BUNKS - NIGHT
A bunk room in the base. A couple of soldiers are reclined on bunks. One, HELMSFORD, is writing a letter to his loved ones.  Another, CROPPER, is reading a copy of Playboy. A group of four are playing cards - VERANO, LOPEZ, FRECKELTON and CASHMAN.
LOPEZ
(to HELMSFORD)
Hey, Helmsford, who are you writing to?
HELMSFORD
My wife and kids.
LOPEZ
Where are they?
HELMSFORD
Five hundred miles away. That way.
He points in one direction.

VERANO
Does it seem stupid to anyone else that we're sitting here, doing nothing, when we could be out there, doing our job?
CASHMAN
Yep.
FRECKELTON
Someone's got to protect the base. We can't all go out there and be heroes. If they need us, they'll call us.
VERANO
I'm not talking about being heroes. I'm just saying, we became soldiers to protect and defend, against whatever enemy that may be. Why waste our talent just sitting here?
HELMSFORD
I hear the things are pretty fearsome.
CASHMAN
I'm fearsome.
CROPPER
(who hasn't stop reading his copy of Playboy)
Yeah, me too. I better not hear that any of you guys are actually scared.
LOPEZ
How many of them can their be? I mean, sooner or later, we gotta get them all.
HELMSFORD
Anyone got any theories as to where they come from?
The soldiers are silent while they think their own ideas about what is happening. HELMSFORD looks back at his letter, but is not concentrating on it. CASHMAN drops his cards on the table. CROPPER finally puts down his copy of Playboy.
FRECKELTON
Hell?
VERANO
Ah, man, you kidding? These things aren't from hell. There ain't even a place called hell. It's all bullshit.
LOPEZ
They're mutated animals. Rejects from the pet shop.
The soldiers chuckle.
VERANO
(to FRECKELTON)
Hell. Jesus, what they fuck are you thinking?
EXT. MILITARY BASE - NIGHT
The two sentries are still pacing. Suddenly, there is a growl, a flash of movement, and then screams from the soldiers. We see their bodies being dragged away into the bushes, amid low, soft growls from their attackers.
EXT. MILITARY BASE - NIGHT
Three soldiers are drinking from bottles of beer. One, PATTERSON, is holding a shotgun against his shoulder. PATTERSON takes a long gulp from his bottle, finishes it in the process, and tosses it away from him. He burps. SOLDIER #1 tosses PATTERSON another beer. PATTERSON opens it and takes another gulp.
SOLDIER #1
(to PATTERSON)
Hey, Patterson. I heard you got some serious action last week.
PATTERSON
Yeah. That medic Jane really puts out. God damn she's hot!
PATTERSON takes another gulp of beer.
SOLDIER #2
I'd tap that ass any day. No doubt about it.
PATTERSON
Man, you don't stand a chance. She only likes real soldiers. Men with balls.
SOLDIER #2
(angry)
What's that supposed to mean? I'm no god damn fairy, man.
PATTERSON
Hey, hey, hey. Settle down soldier. Have another beer.
EXT. MILITARY BASE - NIGHT
Two REPLACEMENT SENTRIES appears at the entrance to the base. They are there to relieve the two other sentries. They arrive at the entrance to the base and see that the entrance is unmanned.
REPLACEMENT SENTRY
(shout)
Hey! You can't leave your posts! Where the hell are you guys?
No reply.
The two REPLACEMENT SENTRIES look around.
REPLACEMENT SENTRY
Where the fuck are they?
REPLACEMENT SENTRY #2
I don't know. Call it in.
Suddenly, there is growl from the bushes. They both hear it and turn to the bushes.
REPLACEMENT SENTRY
You hear that?
REPLACEMENT SENTRY #2
I heard it.
They raise their guns and approach the bushes. Suddenly, as they get close, there is a loud growl and the bushes move and something is heard running away. The low growl fades into the distance.
REPLACEMENT SENTRY
You thinking what I'm thinking?
REPLACEMENT SENTRY #2
(call into the bushes)
Hey! You guys okay?
Silence. The REPLACEMENT SENTRY then notices a leg and an arm lying near the bushes and a gun. He taps REPLACEMENT SENTRY #2 and points. REPLACEMENT SENTRY #2 looks and sees the arm and leg and gun.
REPLACEMENT SENTRY #2
Shit.
They grip their guns. REPLACEMENT SENTRY #2 gets out his radio.
REPLACEMENT SENTRY #2
(into radio)
This is Officer Strudman. I think there's been a breach.
VOICE ON RADIO
Go ahead.
INT. MILITARY BASE BUNKS - NIGHT
The soldiers in the bunks are still doing what they were doing before. Suddenly, a siren rings out. This siren is sounding across the entire base.
The soldiers immediately drop what they are doing - playing cards, reading Playboy and writing a letter, and run for their guns. They grab them and run from the room.
EXT. MILITARY BASE - NIGHT
The soldiers drinking beer are listening to the siren. They all pick up their guns, not hurrying at all.
PATTERSON
About time.
The three soldiers all look around them.
SOLDIER #1
What'd you reckon?
SOLDIER #2
I reckon when we see them we start firing.

SOLDIER #1
Sounds good to me.
They all stand and watch the area around them.
SOLDIER #2
What do you think it is and how many do you think there are?
PATTERSON
I don't care. If it moves, I'm shooting it.
Suddenly, there is movement in the distance and they see something is running towards them.
They turn to it, guns raised. They stand, guns pointed, and wait for it to get closer.
SOLDIER #2
What the fuck is it?
PATTERSON
(aiming his gun)
Don't care what it is. But this son of a bitch is mine . . .
PATTERSON takes aim at the thing bounding towards them. When it gets close, PATTERSON fires his shotgun at it. He fires again and then again. The thing charging at them halts, growls a fearsome growl, and turns and bounds away.
PATTERSON
(elated)
Yeeee-ha! Oh, yeah.
(shout)
Take that! Yeah!
PATTERSON has a big grin on his face.
PATTERSON
Seems these things are pussies after all.
PATTERSON turns to his two companions. He sees them being devoured by two creatures in front of him. Suddenly, similar creatures appear from other directions are upon PATTERSON in a second. PATTERSON screams as they attack him. The three soldiers are ripped to pieces.

EXT. MILITARY BASE - NIGHT
We see images of five hellish creatures running amok through the military base. A couple of them run into buildings. Outside, in the base, the others attack soldiers who don't have time to figure out quite what is happening. The soldiers never stop firing their guns. The creatures move so fast that the soldiers can't defend themselves. The creatures appear to be impervious to bullets.
EXT. MILITARY BASE - NIGHT
The six soldiers - LOPEZ, VERANO, FRECKELTON, CASHMAN, HELMSFORD and CROPPER run from the bunk room out into the grounds of the military base. They see the mayhem. They raise their guns.
HELMSFORD
Looks like we've got that action we wanted.
LOPEZ
Let's do it.
Suddenly, CASHMAN and FRECKELTON are hit by two of the creatures from behind, the creatures appearing from nowhere. They scream. The four others turn and fire their guns at the creatures.
VERANO
Take this you motherfuckers!
They continue to all fire their guns at the two creatures. The bullets don't have any effect.
HELMSFORD
(frantic shout)
Why aren't they going down?
CASHMAN
Keep firing.
They fire more at the two creatures, who now turn their attention to the four soldiers. They stand and growl. The four soldiers see that their bullets are doing no damage and turn and make a run for a safer position. The creatures wait a second before following. As the four soldiers run, LOPEZ and CASHMAN are taken by the creatures. VERANO and CROPPER run on.
LOPEZ is pinned to the ground and tries to fend off the hellish creature with his fists. He manages to shout to CASHMAN. CASHMAN is knocked to the ground by the other creature but the creature goes past and then turns back. CASHMAN pulls out his revolver.
LOPEZ
(on the ground about to be ripped apart by the creature)
Cashman!! Do it!
CASHMAN points his gun at LOPEZ, ready to shoot him. He can't do it and lowers his gun.
LOPEZ
No! Cashman! Do it, god damn you!
Suddenly, the creature that hit CASHMAN leaps and tackles CASHMAN and knocks him to the ground. There are screams from both soldiers.
The siren is still sounding across the base. VERANO and CROPPER are running still, and pass soldiers who have taken up their defensive positions and who are firing their guns at the creatures from a distance.
CROPPER
Verano! Verano!
VERANO hears CROPPER calling to him as they run. He turns.
VERANO
What is it?
CROPPER
I just wanted to say, it's been a pleasure knowing you. You know, in case we don't make it.
VERANO
We are going to make it. Just keep your guard up and . . .
VERANO is tackled by a rampaging creature, which hits him violently from side on. CROPPER keeps running. CROPPER runs to a tree in the grounds and takes cover behind it. He is breathing heavily from the run and takes some deep breathes. He grips his gun tight. He looks around the tree, back at the chaos in the base. He observes everything - the soldiers, the gunfire, and he watches the five creatures as they run around attacking soldiers. He takes a deep breath.
CROPPER
Mary, mother of God, protect me.
CROPPER hears a growl above him. He looks up and sees a creature in a tree branch above him. The hellish creature is looking at him. He sticks up his gun and fires several shots at the creature but he is out of bullets and the gun only clicks. He drops the gun and pulls a revolver off his belt. He points it up and fires a few shots. Then he starts to run towards the heart of the action. He shouts wildly as he runs, his revolver out, and he starts firing the revolver wildly at the creatures. Suddenly, as he runs, he is by a creature. The creature is on top of him, and he tries to hit it with the revolver as he tries to wrench himself free. But the creature's grip is too strong. There is the sound of bones crunching and a scream from CROPPER.
EXT. MILITARY BASE - NIGHT
There is chaos and bloodshed in the military base. Dozens of soldiers are firing their guns in all directions. Confused and scared soldiers are screaming at each other. Over the gunfire, they scream things like:
SOLDIERS
Where are they coming from!! Jesus, there's too many!! What the hell are they!!
EXT. MILITARY BASE - NIGHT
An overhead shot of the base. Flashing gunfire is going in all directions, and soldiers are dropping like flies as they are attacked and devoured. Total chaos reigns and the soldiers aren't winning.
CUT TO:
INT. PROM HALL - NIGHT
Inside the prom hall, a high-school prom party is in full swing. The room is crowded with around two hundred students.
On a raised platform at one end of the prom hall is a live band, which is playing music. Couples are dancing energetically to the band. The room is decorated with balloons, ribbons and streamers etc. There is a long table, lined with drinks. A few students are there, helping themselves to drinks.
TED and ALICE, a young, good looking couple, are among the couples on the dance floor. They are dancing energetically together. TED is dressed in a smart tuxedo and ALICE is in a pretty prom dress. Then,
ALICE
(to TED, over the loud music)
Do you want to take a break?
TED
(unable to hear well over the live band music)
What?
ALICE
Do you want to take a break?
TED
Why? You had enough?
ALICE
Sort of. Yeah.
TED
Okay. Let's get out of here.
INT. PROM HALL - NIGHT
A group of TED'S FRIENDS are standing along the side of the prom hall. They are watching the proceedings. TED and ALICE walk up to them. TED sees that two of his friends are missing.
TED
(to one of his friends)
Where are the others?
FRIEND
They left. You just missed them.
TED
Where'd they go?
FRIEND
Where do you think?
TED
When they come back, tell them we've left. We're splitting.
FRIEND
Already?
TED
Yeah, we've had enough. See you tomorrow.
TED and ALICE leave the group of friends standing along the side of the prom hall. They walk towards the entrance doors of the prom hall, which is decorated with streamers.
TED is stopped by one of his teachers, MR. HULET, who is supervising the prom.  MR. HULET puts his arm across and stops TED from going through the doors. TED reluctantly stops.
TEACHER
Well, Ted. How are you?
TED
Fine thank you, Mr. Hulet.
TED tries to move on, but MR. HULET blocks his way. TED'S impatience to leave shows.
TEACHER
I wanted to have a word with you. Do you have a minute?
TED
Can it wait Mr. Hulet? We were just leaving.
MR. HULET briefly looks at ALICE and smiles. He turns his attention back to TED.
TEACHER
I want you to try harder next year. You know you're capable of much more.
TED
I think I'm doing okay.
TEACHER
You've improved a lot, but there's more work to be done. Will you try harder next year?
TED
I will. I'll work twice as hard. See you next year.
TEACHER
Don't waste your time Ted. I've noticed you tend to take it a little easy. Too easy. You've got potential. You need to realize that potential.
TED
You think so?
TEACHER
I know so.
TED
Like I said, I'll try twice as hard next year. I look forward to your classes. Could we go now?
MR. HULET stands aside. TED and ALICE pass him and walk to the entrance doors. They reach the doors, where ALICE is stopped by one of her friends, VERONICA. VERONICA didn't know ALICE was at the prom. As TED and ALICE pass her,
VERONICA
Alice?
ALICE sees VERONICA.
ALICE'S FRIEND
Hi Veronica! I didn't know you were here!
VERONICA
Me neither. You should have told me you were coming.
ALICE and VERONICA hug and kiss each other on the cheek. VERONICA looks at TED and then back to ALICE.
VERONICA
Who's your date?
ALICE points to TED. TED smiles, impatiently.
ALICE
This is him. Ted, this is Veronica.
TED
Nice to meet you.
(to ALICE)
Shall we go?
ALICE
Veronica, I've been meaning to call you. I haven't seen you in months. I . . .
(TED interrupts)
TED
Alice. Can this wait?
ALICE
What?
TED
(to VERONICA)
Sorry, we were just leaving.
ALICE
Ted can get impatient.
VERONICA
No kidding.
ALICE
(to TED)
Veronica is one of my oldest friends. We grew up together. I'll only be a few minutes. Can you wait that long?
TED
I guess so. But make it quick, alright?
EXT. PROM HALL - NIGHT
Outside the prom hall, it is dark and the area is almost deserted, a stark contrast to the loud, crowded prom hall. The live music from inside the prom hall can still be heard outside.
A few couples and a couple of groups of students are standing around. They talk quietly to each other.
Two students, STUDENTS #1 and #2, who are friends of TED'S, walk out of the prom hall, looking suspicious. No one pays any attention to them.
STUDENT #1
That prom sucks. Worst party I've ever been to.
STUDENT #2
Yeah, I guess it's not the best. Still, can't complain.
STUDENT #1
Have you got the stuff?
STUDENT #2
Yep. Where?
STUDENT #1
Around there.
STUDENT #1 points to the side of the building. They walk around the side of the building, into a deathly quiet and empty area.
EXT. SIDE OF PROM HALL - NIGHT
There are trees and dense shrubs just beyond where they stand. They stop and check for any other people, and see no one else. STUDENT #2 takes out a joint of marijuana and lights up. STUDENT #2 puffs on it and hands it to STUDENT #1. STUDENT #1 puffs on it a few times.
STUDENT #2
I need to go.
STUDENT #1
Just go over there. No one's watching.
STUDENT #2 walks off. He disappears into some bushes. STUDENT #1 stands holding the joint and continues to puff on it. He looks around him while he does this. It is still and quiet.
STUDENT #1
(shout)
You almost done?
There is no reply.
STUDENT #1
Take your sweet time, don't you?
STUDENT #1 chuckles to himself. He puffs again on the joint. He hears a soft growl nearby.
STUDENT #1
What the fuck?
STUDENT #1 peers into the dark trees, looking for the source of the growl.
STUDENT #1
(shout)
Did you hear that?
(pause, then another shout)
It sounded like a dog. Or a bear. Or some animal. Did something escape from the zoo, or something?
STUDENT #1 chuckles again. A dark shape darts forward and there is a crunching of bones and tearing of flesh.
EXT. TREES - NIGHT
STUDENT #2 is urinating against a tree. He has his head held up and is sighing with satisfaction. He finishes and zips up. He turns and looks around him. He walks back to where STUDENT #1 was. He emerges and sees that his friend is not there.
STUDENT #2
Hey, where'd you go?
STUDENT #2 looks around.
STUDENT #2
Are you hiding, you dumb fuck?
He looks down and sees the remains of his friend - two legs still standing up. His body has been torn from them from the knees up.
STUDENT #2
(goes pale)
Holy shit! Holy shit!
STUDENT #2 keels over and vomits. He stands up and looks again at the two legs.
STUDENT #2
I'll get help. You'll be okay. You'll be okay.
He turns. Something is behind him. There is a growl and a scream from STUDENT #2.
EXT. PROM HALL - NIGHT
Outside the prom hall, the couples and groups of students are still standing around talking. They have heard nothing from STUDENTS #1 and #2. Music is still reverberating from inside the prom hall.
INT. PROM HALL - NIGHT
ALICE and VERONICA are talking. TED stands impatiently. He wants to leave. When there is a break in the conversation TED interrupts.
TED
I think it's time to go, Alice. How about you wrap it up?
ALICE
Oh, alright Ted. Sorry Veronica. It's great to see you. We'll catch up. I'll give you a call.
VERONICA
Okay. Bye Alice. Bye Ted.
TED
Bye.
(as he leaves after ALICE; to VERONICA)
You really can talk, can't you?
TED and ALICE leave, TED'S last comment left with VERONICA. VERONICA gives TED a dirty look.
EXT. PROM HALL - NIGHT
TED and ALICE emerge from the hall. They walk down some stairs and towards TED'S car.
ALICE
Where did your friends go?
TED
I don't know. Maybe they went home.
ALICE
Shouldn't you wait and see where they went?

TED
They'll be fine. Don't worry about it. They can handle themselves.
TED and ALICE walk to TED'S snazzy car. TED opens ALICE'S door for her. She climbs in. TED then gets in the drivers seat, starts the engine and they drive off.
EXT. LOVER'S POINT - NIGHT
TED'S car is parked in a secluded spot high on a cliff edge. This place is known as 'Lovers Point'. 'Lover's Point' is a popular place for young lovers to come in their cars. It is dark, lit only by a couple of overhead street lamps. There are no other cars parked there.
INT. CAR - NIGHT
TED and ALICE sit quietly inside the car. They exchange looks. They are silent at first but then begin to speak.
TED
So, here we are.
ALICE nods.
TED
It's nice to have some time to ourselves. You know, just the two of us, with no one else around. The prom was good, a lot of fun.
ALICE
Mmm. It was good. This place is very romantic. But it's a little quiet. It feels a little eerie to me. It feels romantic, but it also feels eerie.
TED
You're not afraid are you? There's nothing to be afraid of.
ALICE
Yeah, I guess so. I just feel like there's someone else here. Like there's somebody in the bushes, watching us, waiting for us.
TED
No, there's no one here. We're completely alone.
(pause)
Did I ever tell you that you're really pretty?
ALICE
Yes, several times. Don't say it again. It's making me uncomfortable.
TED
Well, I don't care. I'm going to say it again. You're beautiful.
ALICE
You're nice too.
TED
It is quiet though, isn't it? I thought there would be more people around. I thought this place was a popular hang out for couples. Still, it's their loss. I guess it's just us and the night.
TED and ALICE are silent for a minute. TED then leans over to kiss ALICE but she backs away. She puts up her hand and gently pushes TED away.
TED
What's wrong? Don't you want to . . . I mean, I thought you liked me? Don't you like me?
ALICE
I do . . . a lot. But, don't rush me. Let's take it slow, okay?
TED
Take it slow? Jesus Christ.
(to himself)
That's what they all say.
ALICE
All who?
TED
Who what?
ALICE
Who says that?
TED
Nobody. I was just talking to myself.
ALICE
Do you do this with a lot of girls?
TED
Do what?
ALICE
Bring them here.
TED
No. Well, maybe once or twice.
ALICE
I want this to be special.
TED
It is special. I love you.
ALICE
No you don't. You think you love me. Or you want me to believe that you love me. You don't really mean it.
TED
I do.
ALICE
You're saying you love me because you think it'll work. You think you'll say it and I'll start taking my clothes off. But it doesn't work. Not on me. I'm a smart girl. You might think I'm stupid, but I'm not. You can't fool me that easily.
TED
Whatever.
ALICE
Do you?
TED
Love you?
ALICE nods.
TED
There isn't another girl in the whole world that I'd rather be with right now . . . at this point in time. I only want you. Nobody else. Don't you understand that?
ALICE smiles. After a pause TED tries again. He leans across and tries to embrace ALICE. ALICE is about to let TED embrace her, when -
Suddenly there is a noise outside, the sound of a growl and something passing behind the car in the darkness. ALICE hears it and her attention is riveted on it. She sits up and listens.
ALICE
What was that?
(she turns to TED)
I thought you said no one else was here.
TED
(looks around outside the car)
There isn't. I didn't see anyone.
ALICE
Then what was that noise? Did you hear it? It sounded like a person.
TED
No, it was nothing. Forget about it.
TED tries to lean across to ALICE again. She pushes him back and ignores his advances, concern showing on her face.
ALICE
No Ted. There's someone out there.
TED
(a little annoyed now)
What's the matter?

ALICE
It's not you Ted. There's someone watching us.
TED
(ignoring ALICE'S concern)
Is it that you don't like me? I mean, aren't I the right guy for you? Don't you want to go to the next step?
ALICE
Ssshhh!
ALICE listens intently.
TED
I don't hear anything. Whatever it was it's gone now.
ALICE sighs and turns back to TED.
TED
So?
ALICE
You hardly know me Ted. And I hardly know you.
TED
Should that stop love?
ALICE
Love? Come on Ted. Be serious. You asked me to the prom out of the blue. I'd hardly even spoken to you before. We went to the same school, but we'd never met. And now, suddenly, you tell me that you love me and that you want us to take the next step.
TED
What's wrong with that?
ALICE
What did you expect for God's sake? You can't just ask a girl out like that and expect to get certain favours in return. You know what I mean? Girls can see through your little act. They know what you really want. It's not love. It's lust.
TED
(trying anything now)
No. It's love. Really.
ALICE
You know why I accepted your invitation? I think your nicer. Nicer than all the other guys at school. Three other guys asked me tonight and I told them all no. I thought they would try to take advantage of me and you wouldn't. I guess I was off the mark on that one.
TED
I don't understand. You've got me all wrong. I asked you tonight because I like you. I like you a lot. I'm happy you chose me over three other guys. But you've got the wrong idea. I'm not trying to take advantage of you. I'm not like that.
ALICE
Really?
TED
Okay, I admit we'd never spoken before. In fact, I thought you wouldn't even know who I am. I thought you probably didn't even know my name. But every day at school, for a year, I passed you in the corridors and thought 'I wish I was with that girl. She's the one for me'. I thought 'I wish Alice knew who I was.' I didn't even want to take anyone else to the prom. I only wanted you.
ALICE smiles again.
ALICE
Really? You saw me everyday at school for a year and thought that? That I was 'the one for you'?
TED
Of course. Every day I said to myself 'I wish I could be with that girl'.
ALICE smiles once more.
ALICE
But how can you say you love me? You don't even know me.
TED
I thought that's what we were doing tonight. Getting to know each other.
ALICE
(changes the subject)
How about some music? It might put me in the mood.
TED
Music? Sure, no problem. If that's what it takes . . .
TED switches on the radio. He tunes into pop station and a pop song is playing.
ALICE
Not this. I've already heard it a million times this year. Put on something else.
TED
But this is the best song in the world! I love this song.
ALICE
This song won't put me in the mood. So, listen to it if you want.
ALICE turns away and looks out the window.
TED
Okay.
TED fiddles with the radio tuner. He flicks from station to station.

TED
(as he tunes the radio)
What channel do you want? It's all music. It's all the same. What do you like? Pop, rock, jazz, ambience, what?
ALICE
I feel like hearing someone talking.
TED
What?
ALICE
You know, how people talk, that's what I want to hear.
TED
That's not romantic.
ALICE turns away.
TED
Alright, if that's what you want. But you know what you're going to hear don't you.
(assumes a deep, serious voice)
God is coming! Repent now or be damned for eternity.
Finally, after flicking between stations, TED tunes into a talk show on the radio. The topic of discussion is immediately apparent, just as TED suspected.
RADIO CALLER
I see God as a metaphysical being rather than a physical entity . . . He doesn't exist as a physical thing, as it were.
TED
I told you so.
TED angrily condemns the subject of the radio talk show that they are now listening to. He turns the radio down a little.
RADIO HOST
Yes, I think it is important to know who or what God is before we meet him, if that is what the world can expect to happen. By saying that I don't want to cause panic, but we need to face up to facts - the end of the world could be upon us. It could be ten minutes from now, two days, a week tops.
TED
(over radio caller, which continues in the background; see below)
Jesus Christ, not this again.
ALICE
What's wrong with it?
TED
You believe it?
ALICE
Don't you?
TED
Fuck no.
ALICE
I don't know yet. I haven't made up my mind. It seems reasonable.
TED
(exasperated)
Listen to what they're saying! People all over the world start reporting odd things, things that may or may not have a religious significance, or which may portend an event of biblical status, and look at what happens! Fear and panic. Worldwide fear and worldwide panic.
ALICE
Ted, it could be the end of the world.
TED
Bullshit! It's nothing. And I'm sick of hearing about it. It's all I've been hearing all week. No matter where I go I can't escape it. Every channel now broadcasts religion twenty four hours a day. 'We need to look back to the Bible for guidance', 'we need to consider the repercussions of our actions for the new life that will be soon upon all of us'.  Its all we've heard for days. Days and days we hear nothing except supernatural events happening all over the world. Here, there, everywhere. Give me a break. Come on, Alice. Wake up.
ALICE
There have been signs. Signs which point to the Armageddon.
TED
Angels coming down to earth, mystical visitations, demon creatures from hell tearing people limb from limb? Are those the signs you mean? How do we know they're even real? If they're happening, where are they?
TED looks around him. ALICE makes a frustrated sound at TED'S sarcasm.
ALICE
Maybe the end is coming. Maybe all those visions people have been reporting are real. Maybe the world is going to end. The visits are a sign that the end is due. It's how it happens. Good and evil, angels and demons.
TED
Okay, if the world is going to end, let it end. But fuck! Everyone's started talking about the nature of God, the nature of being and what is reality really, and what we can expect when the world ends. Floods of fire, hellish demons, light pouring down on the earth from heaven . . .

ALICE
Is there any other explanation for it all?
TED
I'll bet you this. Out there, some fucking freak is sitting at home, laughing to himself. Some freak, somewhere, started this whole stupid rumour that the end of the world is coming. I swear to God I can't take any more of this bullshit. The whole world is in a fucking panic. People are stocking up on provision and locking their doors and boarding up their windows. Like that'll save them. For one, I haven't seen any angels, any demons, and no god.
ALICE
Shut up Ted.
TED
I mean, come on!
ALICE
Are you finished? I want to hear this [the radio]. I think it's pretty interesting.
TED
Interesting! Are you kidding me? It sends me to sleep. I thought you said you were a smart girl. How can you find this interesting? Let me change the channel.
ALICE
Be quiet for a minute. You've said your bit. I want to hear this.
TED
I'll leave it on, if . . .
ALICE
(humourously suspicious of TED'S intentions)
If what?
TED
If you let me lean across and give you a kiss. It could be our last chance. If we don't do it now, it'll be too late - Armageddon will already be here.
ALICE smiles.
TED
Agreed?
ALICE nods. TED leans across and starts kissing ALICE. In the background a talk-back radio program continues to play.
RADIO CALLER
(continued from above; this radio program continues through TED and ALICE's conversation above)
People may say that God is human like the rest of us, even that he created us in his own image, but I don't believe it. I'm more of an agnostic I suppose, and even then I'm pretty skeptical. I guess I believe something exists, somewhere, but we don't know, or we can't prove, what it is or where it is. Maybe there is some kind of higher power, something that is ultimately in control of the entire universe. But to say that the world is going to end because God says so is ridiculous. Science says the world has a long time left, long by our standards of time. Such claims, that God will end the world and judge our sins, well, they need to be taken with a grain of salt. I don't believe it and I don't think anyone else should either. The panic is unjustified. People should calm down and look at things with an objective mind.


RADIO ANNOUNCER
(to RADIO CALLER)
But, as I'm sure you know, there have been multiple sightings of strange things, not just in this city, but all around the world - strange beings and strange creatures. Supernatural creatures. Perhaps from heaven and hell.
RADIO CALLER
So what do we do then, if all of these sightings are proved to be true?
RADIO ANNOUNCER
I don't know. That's what we're trying to determine.
RADIO CALLER
Do we sit and wait for these visions to come and for the end of the world to occur? Wait for the apocalypse? I've got better things to do than wait for this nonsense to take place. I mean, I haven't been visited by any angels, or demons.
RADIO ANNOUNCER
That doesn't mean others haven't.
RADIO CALLER
Are we honestly to believe that a battle of good and evil is going to take place on earth? That these creatures, whatever form they take, have moved from the 'other world' and entered ours? I've lived on planet Earth for over thirty years and I've never heard from God. So why should I believe it now? What's God done for me anyway? What do I owe him? Nothing!
RADIO ANNOUNCER
Some say he gave us life. Without him we wouldn't exist.

RADIO CALLER
What, creating the world in seven days? Resting on the seventh day. Why should I rest? Because God rested on that day? There's no God and no Creation. I don't say we know exactly how the world was created, but I'm willing to bet it didn't take a god and it didn't take seven days.
RADIO ANNOUNCER
Okay, thanks for your call. Lets take a new caller. Who's there?
RADIO CALLER #2
It's Bob. I think this whole end of the world thing is a government conspiracy to frighten the population.
TED starts laughing hysterically while he is kissing ALICE. ALICE draws him back to her.
RADIO ANNOUNCER
How does that work?
RADIO CALLER #2
The government wants complete mind control and obedience to the state. They want to turn the whole population into mental slaves. This is just another way they've come up with to scare us. All the governments of the world have conspired together.
RADIO ANNOUNCER
Why would our government do that?
RADIO CALLER #2
Well, obviously, the government is now allied with the church and they are both disseminating the notion that the world is going to end. They've realized that religion can be a powerful force in controlling people's beliefs.

RADIO ANNOUNCER
What's your proof?
RADIO CALLER #2
Science. Science says the world won't end for a long time. If the world was going to end we'd have proof. Indisputable scientific proof. Not an alleged angel here, a demon there. That's not proof the end of the world is coming. It's people thinking they're seeing things. Everyone who's listening, don't believe the stories about the sightings. They're not real. Neither is God.
TED and ALICE stop kissing. TED turns off the radio.
TED
Seriously, I think that's enough. If the end of the world happens, it happens.
A POLICE CAR, with flashing lights, slowly drives up and stops near TED and ALICE'S car. TED and ALICE see it. The police car stops, the lights stop flashing and a cop gets out. He closes the car door and walks over towards TED and ALICE'S car.
TED
Shit, put these somewhere.
TED takes a small plastic bag containing small white tablets of drugs out of his pocket and hands it to ALICE.
ALICE
What are those?
TED
Take them.
ALICE
They're yours. You brought them, you hide them.
TED
Stick them in your dress. Here.
TED shoves the bag of drugs down the front of ALICE'S dress.
The POLICEMAN knocks on the car window. TED winds it down.
POLICEMAN #1
Evening.
TED
Evening officer.
POLICEMAN #1
Having a good night?
TED
Yes. We're just relaxing here with the view. It's spectacular isn't it?
POLICEMAN #1
I was driving past and saw your car. Needed to check it out. You know. Just a check.
TED
Thank you for your concern. It's very appreciated.
POLICEMAN #1
You ever seen those horror films where the teenage couple get killed by aliens or zombies?
TED
Not recently.
POLICEMAN #1
Well, that's what was going through my head when I saw you.
TED
We're fine.
POLICEMAN #1
Good. I'll leave you two lovebirds alone.
POLICEMAN #1 smiles and starts to walk away.
ALICE
Oh, officer.
POLICEMAN #1 turns.

ALICE
I don't want to sound crazy, but is there anything to worry about - you know, with the sightings?
TED
She wants to know if there are demons around.
OFFICER
Not in this town. Have a good night kids.
TED and ALICE wait for POLICEMAN #1 to get in his car. He gets into his police car, starts the engine, turns the car around and drives away. When he is gone,
TED
Now that was close. Give me the pills.
ALICE takes the bag out of the front of her dress and puts them on the dashboard.
TED
Are you really scared?
ALICE
A little. What if the sightings are real? You can't prove they're not.
TED
Okay. Listen. The whole army has already been mobilized. Just in case. They're scared too. They're wondering if it's real as well. Every soldier in this country is now on duty in some part of the country. Soldiers on active duty in other countries are even being recalled back to America. If something bad is going to happen the army wants every solider they have here to fight the war, whoever that's going to be against - demons or whoever. And it's not just the US. Do you believe this shit? - A dozen other nations have already started to recall all their armed forces from foreign duty and are putting them on high alert. If any demons or evil forces do appear they'll have some of the most powerful armies in the world to fight with. Let's see if any of these fucking demons have ever faced a nuclear missile.  
ALICE
I know all about that. My brother's in the army. He's been mobilized too. He called me this morning. He got me out of bed at five-thirty he was so excited. He said he's finally going to see some action. It's the war he's been waiting for. It scares me though. The last couple of days, on every street corner you see a solider with a machine gun, on the look out, just in case.
TED
Come on Alice, let's talk about something else. I don't believe all this hype for one minute. The police and the army are wasting their time. Anyway, if the world is supposed to end, why hasn't it happened already? Why are we still here? Look, I like you and I think you like me. If the world is going to end soon, if it could happen any minute, then this could be the last time that we can share our love.
ALICE
That's a line that I don't think anybody, anywhere, in the whole world, has ever used. But I bet its being spoken a million times tonight.
TED
Come on, what do you say? Look, how about one of these to get you in the mood?
TED reaches into the small plastic bag with two white tablets in it. He takes out two.
ALICE
What the hell are those?
TED
Something to make you feel good. You want one?
ALICE
How many have you taken? Are you already on drugs?
TED
Not yet.
The film now cuts to TED'S drug induced flashback at the prom.
INT. TOILETS IN PARTY HALL/FLASHBACK - NIGHT
The prom is well underway. The live band's music can be heard in the toilets.
A number of students are hiding out, smoking cigarettes and taking drugs. TED is among the small group of friends. TED is smoking a cigarette.
BOY #1
(to TED)
I saw your date tonight. Good going Ted. Alice is a fine young woman. No doubt about that. A fine woman! I wish I had a woman as fine as that tonight.
TED
Yeah, I'm having some of that tonight.
TED puts the cigarette to his lips and inhales deeply.
BOY #1
You don't want to swap dates by any chance, do you? Have you seen who I'm with tonight? Mother Theresa. I thought she had potential. You know, I thought I had a chance. Now I reckon she probably brought a bible with her tonight. Strict Christian girl. No sex allowed.

TED
No chance. Alice is all mine tonight.
BOY #2
How did you get her to come with you anyway? I didn't even know you guys were friends. Did you even know her before you asked her?
TED
Sort of.
BOY #2
I mean, Ted, I thought we were best friends. We've been friends for ten years, man. Ten years. I tell you everything and you keep this a secret from me.
TED
There aren't any secrets, okay. Listen, I saw her everyday for the past year, every day. But we hardly ever spoke a word. I said hi, she nodded, or she said hi and I nodded. But I thought, fuck it, so I just asked her and she said yes. I guess she knew who I was the whole time.
BOY #2
How can you not have told me this? Man, you're lucky. I asked six girls to the prom. They all said no. Not straight out, of course. They all sort of lied to me. Six pretty girls with six different lies. It made me mad as hell. And frustrated too. I thought, shit, I'll never find a girl I like to come with me. But hey, with my reputation, which girl would go with me?
TED
You're reputation isn't that bad. But you approach the situation from the wrong angle. You've got to show all these girls that's not how you really are. Really, you're kind and sensitive, and good in bed.
BOY #2
You think so? Yeah, I guess. Anyway, I've got something you'll want. Here.
BOY #2 reaches into his pocket and pulls out a bag of tablets, drugs. He holds them out.
BOY #2
These are the best I could find. Real mind-blowing stuff. I saved them for tonight, for this very special occasion.
BOY #2 passes the drugs around. All the boys take them and swallow them, including TED.
INT. PARTY HALL/FLASHBACK - NIGHT
The dance hall where the prom is being held is filled with guys and girls in smart tuxedos and nice dresses. The pop band is playing and there are lots of couples dancing on the dance floor. TED and BOY #1 and BOY #2 emerge from a side door into the main prom hall and survey the room.
BOY #2
Just remember. Let the pills do their work. In about ten minutes you'll feel like a million dollars.
INT. PARTY HALL/FLASHBACK - NIGHT
It is ten minutes later. TED is on the dance floor. The drugs have well and truly kicked in. He is standing on the dance floor by himself staring at the band on stage, blown away. We see what he is seeing. At this point, there is a blend between live action and animation as we experience TED'S hallucinations.  Little birds are flying around his head, talking to him. He smiles. On stage, the band has metamorphosed into cartoon characters playing musical instruments. We see this. Then we see TED'S face close up. He is blown away and drugged out. We see the stage again. A cartoon character in the band is blowing hard on a trumpet and his head explodes. Blood splatters the audience, including TED. TED doesn't react, and goes 'Whoa!', still completely out of it.
INT. TED'S CAR - NIGHT
We return to TED and ALICE in the car. TED is laughing from telling the story about the drugs and the band.
TED
I'll tell you what! It took me an hour to come down from that!
ALICE
(disappointed)
So you've been high all night?
TED hesitates and searches for the right thing to say.
TED
(lying)
No, I'm just joking. I haven't taken anything yet. I swear. Here, you want one?
Suddenly the car is violently jolted forwards by something outside.
TED
What the hell was that?
ALICE
I don't know.
They look around, a little panicky.
ALICE
Is there someone out there?
TED
There can't be. I didn't see anyone when we got here and no other cars have pulled up.
ALICE
Get out and check Ted.
TED
No, it's fine. Maybe it was a gust of wind.
ALICE
A gust of wind? Are you serious? The car moved Ted. Wind doesn't do that. Unless you're in the middle of a cyclone.
TED
It's okay. Don't worry about it.
Suddenly the car is jolted violently again.
ALICE
(scared)
There it is again. Ted, get out and check.
TED winds down his window and sticks his head out and looks back.
TED
Hey, who's out there? This isn't funny man. Whoever's doing that, stop it, it isn't funny.
Silence. TED sticks his head back in the car.
TED
There's no one there. I swear.
ALICE
Get out and look.
TED gets out of the car cautiously.
EXT. LOVER'S POINT - NIGHT
TED is out of the car, looking around.
TED
(calls out)
Hey, I'll tell you one more time. This isn't funny. Leave us alone.
TED walks slowly around the car. He peers into the darkness but sees nothing. Suddenly a dark shape speeds by in the shadows. TED sees it.
TED
Who's there? Who's there? Hey!
Silence. TED checks around the car and then gets back in.
INT. TED'S CAR - NIGHT
ALICE is looking back over her shoulder, nervous and afraid.
TED
I can't see anyone. I thought I saw something but it was in the darkness. If someone's fucking with us, they're doing a pretty good job of it.
ALICE
(in a panic)
Quick, let's get out of here. Come on, start the engine. Let's go.
TED
Okay, okay. Where the fuck did I put my keys? Where are they? I don't know where they are.
TED fumbles in his pockets for his keys.
ALICE
Come on, hurry.
TED finds his keys and tries to shove them into the ignition. Suddenly a fierce, unearthly growl is heard and something heavy lands on the car roof and pushes the car roof a little way in. ALICE screams in terror and TED tries to get the car started. There are bangs and growls on the roof.  The car is jolted violently forwards towards the cliff. TED and ALICE are terrified.
TED drops his keys on the floor and starts to feel around for them desperately.
TED
(so petrified with fear he starts raving)
Oh, God, I'm sorry. I'm sorry for what I've done. Shit, help me God, I don't want to go like this. I've got all my best years ahead of me. Shit, somebody help me. I don't want to die. Shit, I can't go like this. It isn't fair. It isn't fair.
The car is pushed closer to the edge.
ALICE
What! Now you're praying? You fucking hypocrite! I thought you said there weren't any demons.
TED finds his keys and tries to shove them into the ignition but his hand is shaking too severely.
TED
Forgive me, God, for what I've done. Forgive me. Forgive me. Forgive me. I didn't really like Alice. I just wanted her body. She was right - how can I love someone I don't know? Jesus God! I'm sorry. I'm truly sorry for all the bad things I've done.
(TED starts to cry)
I didn't mean to do those things. I'm not a bad person. I just made some mistakes. God, you forgive all, right? Forgive me! Forgive me!
The car is pushed over the edge with ALICE and TED inside. There are screams from TED and ALICE.
INT. TELEVISION BROADCAST - NIGHT
It is later that night. A news broadcast is about to air.
The Ten O'clock News Special Edition begins with an opening sequence.
TELEVISION IMAGES OF THE NEWS ACCOMPANIED BY RELIGIOUS IMAGES. The images behind the news-reader shows GOD vs. DEVIL, accompanied by a picture on both sides. One picture is the hand of GOD protruding from a cloud amid a bright light, and the DEVIL is a cartoon picture of the DEVIL with horns and a trident.
VOICE OVER
Tonight on Channel Six News - fear and panic spreads all around the world as more rumours of the end of the world circulate. Tonight we take an in depth look at this bizarre phenomenon, and we ask the question - are we really facing the apocalypse? Also, tonight the government and the church - what do they have to say?
NEWSREADER
Good evening, and welcome to a special edition of Channel Six news. Tonight we begin with more wild stories of mysterious creatures - stories of angels and demon-like creatures - from all four corners of the globe. These sightings around the world are fuelling speculations that a battle of good versus evil is about to be waged on our own planet. We'll have all the latest news from around the world on this strange situation, including interviews with some of the 'visited'. Also tonight, what is the government doing to combat this crisis? And what is the Church's reaction to suggestions that the end of the world is coming? First off, we cross to our reporter in the field.
EXT. STREET IN THE CITY - NIGHT
The REPORTER is standing in the street, a microphone in his hand. Behind the reporter, POLICE are standing on street corners with machine guns.
REPORTER
(mobile reporter)
Thank you Tracy [newsreader]. The Church's response to this situation has been vague to say the least. The world still awaits word from the Vatican, which has as yet not issued any formal statements. People want to know - is this really the work of God? And if so, why is he doing it? But the main question on everyone's minds at the moment seems to be - are we safe? Vicious attacks by bizarre creatures have so far been reported in twenty six countries. As many as twenty new attacks are being reported every hour. Dozens of deaths, almost unexplainable deaths, have been reported all over the world. Just tonight this station has received television footage from Kentucky. This footage is believed to be the first footage so far seen of the creatures we can only assume are from beyond this world. I know that sounds strange. Almost inconceivable. We now play you that footage.
EXT. KENTUCKY - NIGHT
A shakily held hand-held camera captures indistinct footage of a demon attack upon a group of people.
The scene plays out while the terrified camera-man records. Voices and screams of people watching on can be heard in snippets in the background.
A group of civilians are walking down the street together. Most are carrying guns. They are tracking down the demons. The CAMERAMAN is filming them from a distance.
CAMERAMAN
(to his COMPANION)
What do you see? Anything yet?
CAMERAMAN'S COMPANION
Nothing.
CAMERAMAN
Keep your eyes open. They've been spotted in this area.
A scream from a CROWD MEMBER ahead.
UNIDENTIFIED VOICE
There! There!
The CAMERA swings around. It catches a glimpse of a dark demon creature moving at incredible speed. The demon goes straight for the crowd of people up in front of the CAMERAMAN. Guns start going off. There are loud, repeated bangs and flashes of gunfire. The demon devours the group viciously. Flesh is ripped away as the gnarling demon feeds upon the crowd.
CAMERAMAN
Oh my god! I see it! Jesus Christ! I see it!
The CAMERAMAN runs towards the scene of the action, his camera on one side, catching only glimpses of the demon's attack. The camera is then levelled at the crowd. The CAMERAMAN raises the camera and focuses it. There is a CLOSE UP of the demon.
CAMERAMAN
Jesus fucking Christ! What is that!
The demon now notices the CAMERAMAN and turns towards the CAMERAMAN. It stands and watches him for a second and then starts towards him.
CAMERAMAN
Oh, shit, it's seen us.
The CAMERAMAN turns and starts running. He is chased down by the growling demon and the camera falls to the ground. He screams. There is a crunching of bones and tearing of flesh and screams from the CAMERAMAN.
EXT. STREET IN THE CITY - NIGHT
We cut back to the REPORTER in the street.
REPORTER
Chilling footage. I think we all agree with that. In response to attacks like these, which are pouring in, the United States military has been put on high alert. Many army units have already been deployed to various areas - now considered 'demon' hot-spots.  A short time ago, Lieutenant Black from the United States military gave a public statement.
INT. MILITARY PRESS CONFERENCE - NIGHT
LIEUTENANT BLACK, dressed in full military uniform, steps up to a podium and stands in front of a crowd of journalists. Cameras go off with a click, click, click. He speaks into a microphone.
MILITARY OFFICER
Good evening. In response to the crisis currently upon us and to the attacks upon innocent civilians, I can confirm that the military has deployed as many army units as possible to protect and defend the citizens of this country. At this point we are not clear on exactly who it is we are fighting. We are still trying to determine the nature of the enemy. But I can assure this country, that the military will do everything in its power to stop these attacks. Thank you.
The MILITARY OFFICER steps from the podium. The media contingent launches in with a barrage of questions.
JOURNALISTS
(a mix of voices)
How long will it take to defeat the demons? Have you had any communication with the Pope? What's the body-count so far?
LIEUTENANT BLACK ignores the questions from the journalists and disappears from the podium.
CUT TO:
EXT. STREET IN THE CITY - NIGHT
We cut back to the REPORTER in the field.
As the REPORTER talks to the camera we see a small band of Satanists, dressed in black, milling behind the reporter, holding small signs with their own personal messages. They are holding them up to the camera behind the REPORTER. The signs read: JESUS CANNOT SAVE YOU; THE PRINCE OF DARKNESS WILL WIN; SATAN WILL RULE SUPREME. They are ignored by the REPORTER who continues to deliver his report, until they later start to call out to the camera.
REPORTER
It is understood by this television station that several bloody skirmishes involving American military personnel have already taken place in three American states. Although this is unconfirmed at this point. So far, the demon attacks do seem to be quite isolated, and have they only really escalated over the past twenty four hours, but the fear is that soon everywhere, every city, and then the whole world, is going to be overrun with these demons creatures. If you look behind me, you can the scale of the police and military action.
We see the multitude of the military and police officers in the background. There are even a couple of jeeps and a tank. The CAMERA zooms in on them. It focuses on the tank.
REPORTER
(continued)
Yes, people, that's a tank in the middle of the city.
The CAMERA comes back to the REPORTER, who has finally seen the small band of Satanists behind him.
REPORTER
(to the Satanists)
Excuse me. Can you move on?
There is a break in the report while the Satanist disturbance takes place.
SATANIST #1
(shout to the camera)
Satan is making himself known to the world! The time has come for Satan to take his rightful place as the ruler of this world!
REPORTER
(angrily)
I'm trying to do a report here.
SATANIST #1
Be warned! Satan will only spare his loyal followers. The rest are doomed!
REPORTER
Get the fuck out of here, will you? Jesus Christ.
There are rude gestures and obscene remarks from small group of Satanists who wave their signs to the camera, but they back off.
REPORTER
(back to the camera)
I apologize for that disturbance. It seems that not everyone is worried at the moment. As I was saying, it's clear the military and police aren't taking any chances with the demons. Every police officer I've seen is armed with a machine gun. Across the country, that is now a common sight. In the last ten minutes, I've even seen two fighter jets pass overhead. The government has warned people to stay inside if they can and not, I repeat NOT, approach anything that looks like it may be a demon.
The REPORTER lowers his microphone and waits for the cut back the newsreader in the studio. The Satanists are still behind him, shaking their signs and shouting pro-Satan comments.
INT. TELEVISION BROADCAST - NIGHT
Cut back to the television studio. The GOD v DEVIL image has been replaced with a large crucifix.
NEWSREADER
We'll have more updates from the field later in the program.
With the fate of the world seemingly resting in the hands of the armed forces, what can the ordinary citizen do? It seems one reaction to the crisis is penance. Churches are being flooded this evening with people seeking absolution for their sins. The gates of heaven might be opening soon, they say, but, how can they be assured of getting inside?
EXT. CHURCH - NIGHT
We see aerial footage of churches around the world with massive lines of people queuing for confession. The churches are crammed with people, both inside and outside.
REPORTER
(V.O)
Millions of people across the globe are flocking to churches of all denominations for repentance. In the face of total oblivion - forgiveness truly seems to be the word of the day.
The REPORTER'S voice fades out as the scene changes.
EXT. CHURCH - NIGHT
There are two thousand people crowding a city church. There is frantic pushing and shouting from the crowd as they try to push their way inside. Many people are doing the sign of the cross, and many others are clutching crucifixes and uttering prayers. Police officers are trying to maintain control of the massive crowd.
CROWD MEMBER
(scream in desperation)
Forgive me God. Forgive me!
The pushing and shoving continues. A fight even breaks out between two men, one of whom has tried to push past.
CHURCH MAN #1
Get back! Get back in line!
CROWD MEMBER #2
You get back! I have to get inside!
There is rough pushing and shoving and they fall to the ground in a fight. CROWD MEMBER #1 smacks CROWD MEMBER #2 in the face.
CHURCH MAN #2
(as he rolls on the ground)
My sins! My sins! I need forgiveness!
CROWD MEMBER #1
Shut up! We all need forgiveness. You're no different from the rest of us!
CHURCH MAN #2
None of it was my fault! None of it!
The crowd surges over and past them, as they fight on the ground.
INT. CONFESSIONAL #1 - NIGHT
We now see three confessions in the church confessionals. People's confessions seem to be exaggerated and desperate.
CONFESSOR #1
Father, forgive me. I've sinned. Don't let God keep me from entering heaven, his most glorious kingdom.
PRIEST
My child, you must repent now and God will forgive all. There is no sin that God will not forgive. Repent and the gates of heaven will be open.
CONFESSOR #1
Father, since I was a child, I've told the same lie a thousand times.
PRIEST
What lie is that, my child?
CONFESSOR #1
I've never prayed. I said I prayed but I never did. Now I know that God was listening and he never heard my voice. He is sending us a sign that the world will end. And now I hear his voice when I never heard it before.
PRIEST
For this sin, child, you are forgiven.
CONFESSOR #1
Oh, thank you, father. Thank you. So, does this mean that God has forgiven me?
INT. CONFESSIONAL #2 - NIGHT
CONFESSOR #2
Father, forgive me, I've sinned.
PRIEST
Tell me your sins. God is listening. He will forgive all.
CONFESSOR #2
I've stolen cars. I've slept with women other than my wife. I've done too many terrible things in my life to think about. It hurts me to confess but I know I must do it now. It is time to seek forgiveness from God, the great almighty being. He will see my sins and forgive them. I understand now that God is great. That God is almighty. That he is all powerful.
INT. CONFESSIONAL #3 - NIGHT
CONFESSOR #3
Father, I have a secret that I am afraid to admit in the presence of the great and gracious God of all things.
PRIEST
Tell me. There are no secrets in God's eyes. He knows and understands all.
CONFESSOR #3
I've never been to church. Ever! I never saw the point. I never believed in a god at all. Now I see he is great and wonderful. He is indeed all powerful and we should cower in the shadow of his greatness. Am I worthy to enter his great kingdom?
PRIEST
It is a great thing you have said. God has been there the whole time and has watched over you your whole life. The fact that you did not recognize his presence is no sin that cannot be forgiven. Many do not worship our great God. Their sins will also be forgiven.
INT. BAR - NIGHT
A dimly lit bar. The bar is not crowded. At the bar sits FRITZ. FRITZ is in his thirties with dark brown hair. He is alone but is talking to a man sitting next to him, named SILAS.  They both have a drink in front of them. On the wall above the bar and directly in front of FRITZ is a television which is still screening Channel Six news. On screen, is a reporter interviewing a farmer. In the background in the bar, the song 'Send Me An Angel' is playing on a jukebox.
FARMER
(on the TV screen; speaking slowly as he recounts the events)
And then I saw it coming at me. It was moving so fast, and it was so dark, that at first I didn't know what it was. I thought maybe it was an animal, something like a bear, but we don't have bears here.
INTERVIEWER
Did you feel like you were in danger?
FARMER
When I knew it was a demon I ran to my house.
INTERVIEWER
Did it follow you?
FARMER
Yes, it came after me. My wife came out with my shotgun, she gave me the shotgun and I fired at it. It seemed to retreat then.
FRITZ and SILAS have both been watching the television.


SILAS
(to FRITZ)
I never thought I'd live to see the day the world ended. I never thought it would happen in my lifetime. Jesus, you believe that shit on the TV? It's crazy. Has the whole world gone mad or is it just me?
FRITZ
Silas, I may have just met you tonight, in this very bar as it happens, but you don't look crazy to me.
SILAS
How am I, a man of sixty years, who's seen some weird and crazy shit in my life supposed to size this mess up? The government doesn't know really what to do - send out the army - the church is still silent, figuring out what to say - whether to confirm or deny that judgment day is here - and the military is all over the place, shooting at things in the street. I mean, for all we know, these so called demon monsters could be a batch of some new genetically engineered dog that's been set loose in the city as some sort of bizarre experiment. Science is doing all kinds of strange things these days.
FRITZ
Do I think these demons exist? Do I even believe in God? This stuff's been making me wonder during the last few days. Trust me - I've questioned my sanity too. What is one to make of all this? I have my own opinions.
SILAS
Judgment day?
FRITZ
Maybe. A battle between good and evil. The demons are agents of the devil, who is bad. The angels are agents of good.
SILAS
Of a god?
FRITZ
Maybe. I'm not sure yet.
SILAS
I wouldn't mind one of these angels dropping by my place to say hi. Is that too much to ask? Why doesn't god send an angel to me? Tell me what the hell is going on in this crazy city?
FRITZ
Maybe there aren't enough angels in heaven. Maybe God has to be selective in who he sends angels to. He's got a limited resource, so he has to pick and choose. Maybe there is a reason he sends angels to some people but not others. Maybe there's a significance that we don't know about yet.
SILAS
Are you saying I'm not significant?
FRITZ
Of course not Silas. But maybe the angels are carrying a message to certain people.
SILAS
But why not me over somebody else? What makes me so different from other people? Aren't I one of the 'chosen' too? I think I've led a good life, or good enough. I've done nothing essentially wrong. When I do a bad thing I'm genuinely sorry for it. The fact that I sit in a bar all day and night would make it easy for God, wouldn't you think? If God's watching us all, he would know where I, the great Silas, am at any given time. Send one here . . . to this bar. Help me to understand. I need understanding as much as the next man.
FRITZ
Maybe God doesn't visit bars.
SILAS
Why not?
FRITZ
I don't know. Maybe he doesn't drink.
SILAS laughs.
SILAS
Still, I'm glad I met you tonight, Fritz. You're a sensible man. No illusions about what's going on. A calm and sensible person, that's what you are. You're just the sort of person we need on a day like today. You're someone who can look at the situation objectively, calmly, and assess it. No panicking, no running off to the church for last minute repentance. All those lazy fuckers - never opened a bible in their whole lives now queuing for a minute with a priest. Instant absolution! Bunch of lazy fuckers. God matters now. He didn't matter a week ago. But now, that thing's have changed, suddenly he seems important.
FRITZ
There's a lot you might not know about me Silas.
SILAS
I know what I see Fritz. I like you. If you have secrets you don't want to tell me, that's fine. Don't. Let me think what I think and let me believe that it's true.

FRITZ
I do have secrets.
SILAS
Good ones or bad ones?
FRITZ
It's hard to say.
SILAS and VICTOR'S conversation is interrupted by the barman who approaches.
BARMAN
(to FRITZ)
Are you Fritz?
FRITZ
Who's asking?
BARMAN
Normally, I wouldn't bother you with this, being a paying customer, but some guy just gave me fifty bucks, told me to tell you to meet him in the toilets. Didn't say what he wanted, but it seemed important.
FRITZ
In the toilets?
FRITZ looks over his shoulder to the toilet entrance.
BARMAN
Yeah.
FRITZ
What'd he say?
BARMAN
He gave me fifty dollars, said to tell the guy at the bar that matches your description that he has something important to tell you and to meet him in the toilets. Normally I'd kick the freak out but he gave me fifty bucks, you understand?
SILAS
Go for it. See what the nut wants.
FRITZ
Fifty bucks?
The barman nods. FRITZ considers the situation and then goes to get up. SILAS stops him with his arm and looks around cautiously. He produces a hand gun from his jacket.
SILAS
Here, take this. You never know.
FRITZ
You carry a gun?
SILAS
Normally, no. I don't like guns. I didn't want to tell you this but since all this good versus evil shit started happening I went out and bought this. Seems I not the only one though. Guy I bought it from had almost sold out. Like I said, you never know. I don't want any of these genetically engineered dogs moving into my neighbourhood. But if they do I want to be ready.
FRITZ takes the gun and sticks it in his trousers.
FRITZ
Thanks Silas, I owe you one.
SILAS
Don't worry about it Fritz.
FRITZ walks to the toilets.
INT. BAR TOILETS - NIGHT
FRITZ enters the toilets and sees a man standing at a sink washing his hands.
FRITZ
Hey, you, what you want?
The man turns around.
MAN IN TOILET
I'm glad you came. I was just washing away my sins. Even the son of God can sin. And we must all we clean to enter the kingdom of the almighty.
FRITZ
(bewildered)
Right. And who are you?
MAN IN TOILET
I know this may be difficult for you to believe. But hear me through.
FRITZ
You got that right freak. It's not everyday you meet a nut in a seedy bathroom that claims to be the son of god. What do you want?
MAN IN TOILET
I just need to talk to you for a minute. I won't keep you. I know the last few days have been hard for you. And not just for you. For millions all over the world. For people who sin and enjoy sinning. For people who never thought twice about the divine consequences of their actions on earth and now seek forgiveness because they know they are to be judged soon by the great God himself, the father of all humankind.
FRITZ
Let me ask you a question JC. How do six billion people fit into heaven? I mean, I've been thinking about it. Do six billion people all pushing to enter the gates of heaven at the same time cause much of a jam? Or is there nothing that God can't handle? Heaven must be a pretty big place. And what do six billion people do for eternity?
MAN IN TOILET
Laugh, as many have laughed before you. Go ahead, laugh. Mock God and his son. He will still forgive.
FRITZ
Will he? Why? He must be a very tolerant person. All those sins - millions of sins a day. He has a lot on his plate.
MAN IN TOILET
Of course. He forgives and I, his son, also forgive.
FRITZ
My sins?
The MAN IN TOILET nods.
FRITZ
I've had a difficult time these last few days, that's right. How did you know?
MAN IN TOILET
I know a lot of things. But there's a lot I don't know. Like why people sin. Like why people are the way they are. It's a hard thing to understand, even for me.
FRITZ
God didn't create them so?
MAN IN TOILET
God gave people potential, potential for good. He also gave them choice. People can choose to be good or they can choose to be bad.
FRITZ
Why give them a choice? Why create evil so that people can choose it if they reject good?
MAN IN TOILET
Evil comes from man. Not God. Fritz, I know all about your life. I know what you have done, I know your secrets. I know you have sought forgiveness and I know that you have been forgiven. Fritz, you're not so different from everyone else. Your were frightened by the idea of going to hell, and attracted by the idea of heaven, and you sought penance. And you received it.
FRITZ
I know. Am I forgiven for my sins?
MAN IN TOILET
Of course.
FRITZ
Then what is there left to talk about?
MAN IN TOILET
I know you don't believe me. I can see it in your eyes. I can almost read your thoughts. You're looking at me in a strange way.
FRITZ
What can you tell me? Why did you call me in here? Do you want me to wash away my sins as well?
MAN IN TOILET
It isn't over Fritz. You know it isn't. The battle has only begun. It will be fought for a long time yet. And you will play a part in it. Your visions are real Fritz. God has called upon you. He has contacted you. You have a new purpose in life. You mustn't hide from that purpose.
FRITZ
No, I don't. I don't want to fight the battle. I don't want any part of it. I don't want to talk to God. I want to be left alone.
MAN IN TOILET
Remember, the battle will go on. It is only beginning.
FRITZ
Are you finished?
MAN IN TOILET
Yes.
FRITZ nods and leaves the bar toilets.
INT. BAR - NIGHT
FRITZ walks straight for the door. He passes SILAS on the way out. SILAS stops him.
SILAS
(in good humour)
Who was it? Some nut?
FRITZ
You could say that.
SILAS
Yeah, they're everywhere these days.
FRITZ
Oh, your gun.
SILAS
Keep it. Watch out for those dogs.
FRITZ
Nah, I've got plenty.
FRITZ gives SILAS back his gun and leaves the bar.
EXT. LOVER'S POINT - NIGHT
A police car is parked near the cliff where TED and ALICE were parked. Two officers are standing nearby. Another car pulls out and two detectives, DETECTIVES WEBBER and DETECTIVE SMALL get out of the car. They walk to the cliff, look over and see the wrecked car at the bottom.
DETECTIVE WEBBER
Jesus Christ. Think you can handle it Small?
DETECTIVE SMALL
Yes. I think so.
DETECTIVE WEBBER
Good.
WEBBER and SMALL approach the two POLICEMEN. The POLICEMEN watch the two detectives.
POLICEMAN #1
Evening Detectives. It's Webber and . . .
DETECTIVE WEBBER
Small.
POLICEMAN #1
That's it. Sorry Detective Small.
DETECTIVE SMALL
What's going on here?
POLICEMAN #1
Someone called in and said a car went over the edge.
(he points down the cliff)
We think it happened a few hours ago. We responded and when we saw it we called you.
DETECTIVE SMALL
Where are we?
POLICEMAN #1
Lover's Point.  It's a popular place for the kids. They come here and hang out. A lot of kids come here to make out. Hence, the name, 'Lovers Point'.
DETECTIVE SMALL
I know where we are. I mean, where are we in terms of figuring out what happened?
POLICEMAN #2
We don't know, really. We were just speculating. Maybe the driver went over by mistake.
DETECTIVE SMALL
Is that what you really think?

POLICEMAN #1
Well, we thought that maybe . . .
DETECTIVE SMALL
Yes?
POLICEMAN #1
Well, we thought the demons did it.
DETECTIVE SMALL
Is that right?
POLICEMAN #1
That's what we think.
DETECTIVE SMALL
Do you know why this place is called Lover's Point?
POLICEMAN #2
Yeah, I heard the story one time. Two lovers came up here one night. Fed up with the world or something . . .
CUT TO:
EXT. LOVER'S POINT - FLASHBACK/BLACK AND WHITE/NIGHT
Two LOVERS stand on the edge of the cliff. They are holding hands. They jump.
EXT. LOVER'S POINT - NIGHT
DETECTIVE SMALL
Then you heard wrong. That's the story most people know. That's not what happened.
POLICEMAN #2
What did happen?
DETECTIVE SMALL
The girl - pretty, nice - shot the guy. Shot him dead. And then she pushed his body off the edge.
EXT. LOVER'S POINT - FLASHBACK/BLACK AND WHITE/NIGHT
Two LOVERS as before are standing holding hands on the edge of the cliff.
MAN
What a view. There's no one else in the world I'd want to share this moment with.
WOMAN
Me neither.
They embrace. As they do so, the woman notices an object in the man's jacket pressing against her. She pulls it out as the man tries to stop her. She is holding a gun.
WOMAN
What's this? You own a gun?
MAN
It's new. I just got it. For our protection. It's safer with a gun.
WOMAN
How can you kiss me with this thing in your jacket?
MAN
I'm sorry. I wasn't going to bring it. It just feels good to have it in there.
As she holds it, it accidentally fires and hits the man. He falls. She screams. When she realizes he's dead she pushes his body off the cliff and then jumps.
EXT. LOVER'S POINT - NIGHT
DETECTIVE SMALL
That's what happened. She felt so bad, she loved him so much, she followed him to her death. She couldn't bear to live without him, and with the guilt that she killed the man she loved, so she threw his body over the cliff, and then jumped herself.

POLICEMAN #1
How do you know this?
DETECTIVE SMALL
I investigated the case. With Detective Webber. Figured it all out. There's no other explanation that matches the evidence. At first we thought it was a murder. Maybe the girl shot him for some reason, and then did herself. Or maybe, he threw her off the cliff, and then shot himself. Then we traced the girl, found out who she was. She wouldn't hurt anybody everyone said. In fact, she hated guns and she hated violence. And the guy had been bragging about buying a gun just before that happened. We figured maybe it was suicide. But why the hell would he shoot himself, and in the stomach? He had no reason. The only story that really makes sense is the one I just told you. That's what happened.
POLICEMAN #1
Then how did this place get its name?
DETECTIVE SMALL
It just sort of happened. People in the force just started talking about it as Lover's Point. Love - that's why the woman jumped. Love, regret, sadness, guilt, who knows? Then it just spread. The kids heard the police talking about 'Lover's Point', and starting using the name. Soon, this place was Lovers Point.
POLICEMAN #1
So what do we do here? I mean, what do you think happened?
DETECTIVE SMALL
Well, what are the possibilities?
POLICEMAN #1
I don't think they did it deliberately. Maybe the car moved and they couldn't stop it. If it was deliberate, the guy was driving. Maybe the girl made him angry, maybe he planned it.
DETECTIVE WEBBER speaks for the first time to the two POLICEMEN.
DETECTIVE WEBBER
Any reasons someone else might do this to them?
POLICEMAN #2
Murder? We can't rule it out. There's another possible explanation. Maybe those 'things' came here and did it to them. There's a lot of cases that seem a lot like this one being reported everywhere.
DETECTIVE WEBBER
Is that what you think happened? You're both smart guys. You've obviously heard the stories about the 'things' as you call them - the demons and so on. That's okay. We've heard it too. But we're police officers. We're trained to be objective. Don't get caught up in the hype. Detach yourselves from it. We deal with real things and real explanations. I don't have to tell you that if that appears in any report then the shit will hit the roof. Treat all the attacks as an increase in street crime. This one, well, this is just another 'incident'. It doesn't need an investigation. It was an accident, that's all. No supernatural bullshit. Okay? So, get to work and clean it up. I'm going home. Come on Small. Let's roll.
WEBBER and SMALL walk back to their car.

DETECTIVE SMALL
Case closed, huh?
DETECTIVE WEBBER
This one doesn't need an investigation.
DETECTIVE SMALL
You heard what they said. They think it's the demons. Which means Satan. Which means evil. Even cops are getting crazy with all this shit.
DETECTIVE WEBBER
If the demons did it that means whoever went over that cliff had some sins they never confessed or repented for. Right? Something like that?
DETECTIVE SMALL
Or they were just unlucky victims of a non-discriminating Prince of Darkness. Or God. Maybe, maybe they were good people who God dealt with the wrong way.
DETECTIVE WEBBER
It's all bullshit. It's been a long night. How about a drink?
DETECTIVE SMALL
Suits me. I didn't want this case anyway.
They get in their car and drive off.
EXT. FRITZ'S APARTMENT - NIGHT
FRITZ pulls up in his car. He gets out and looks around. He sees an old woman across the road looking down from her window. She sees him, does the sign of the cross, and draws the curtains. He walks to his front door, takes out his keys and unlocks the door. His apartment is on the first floor of a two story building. A light is on. He notices the light.

INT. FRITZ'S APARTMENT - NIGHT
FRITZ opens his front door and enters his smallish apartment. He drops his keys on a small table next to the door. He walks into his lounge room and finds ROSAMUND sitting on the couch. FRITZ doesn't show any surprise.
FRITZ
Oh, it's you.
ROSAMUND
I thought you'd be home.
FRITZ
I saw the light on upstairs and guessed you'd come here. I'm used to you following me by now.
ROSAMUND
I didn't mean to break and enter. I decided you wouldn't mind if I waited in here. I didn't surprise you, did I?
FRITZ
Well, that's a little hard by now. Don't worry about it. The thing that puzzles me, though, is that you don't have a key and the door wasn't forced. There's no evidence of a break in. I've done enough locks in my time. You have to tell me your secret. If you were a professional thief, you'd do a great job. You could steal from anywhere, anytime. You'd make a killing. If you ever think of a career change, I'm sure I could line up some work for you.
ROSAMUND
Really?
FRITZ
I could, really. I could get you some good work. I know some people. Something that would really pay off. You interested? You could work with me. We'd team up. You get us in, however you do it, and I'll take care of the rest. You wouldn't even have to lift a finger. It might really pay off.
ROSAMUND
Do I look interested?
FRITZ
It's your loss. We need some good thieves in the business. Somebody who can get in and out with no fuss, without getting caught. You'd be in and out before the cops even got a call, with a hefty stash mind you. Of course, we go for the bigger hauls these days.
ROSAMUND
It's not my kind of work, you know that Fritz. I know we haven't known each other long but I know you don't think I could ever do something like that. It's not in my nature to steal.
FRITZ
Isn't that the truth? If anyone wouldn't steal for a living it would be you. But I'm serious. With you're sort of talent, well, just think about a career change. There are some big scores to be made. We only need the right people. No second rate clowns.
ROSAMUND
No, Fritz, no.
FRITZ
Suit yourself. You want a drink?
ROSAMUND
No thanks.
FRITZ
I'm sorry Rosamund, I forgot. You don't drink. You don't do crimes, and you don't drink. Why do I always forget that?
ROSAMUND
No. I don't do that sort of thing. And neither should you.
FRITZ
So, what's the occasion this time? Why are you here? Is something about to happen? Shit, it involves me doesn't it?
ROSAMUND
I wanted to check up on you, make sure you were okay.
FRITZ
That's nice of you, but you shouldn't have bothered. I'm fine.
ROSAMUND
How do you feel about things?
FRITZ
About 'things'? Be more specific.
ROSAMUND
You know what I'm mean.
FRITZ
Oh. Things are fine. I met someone tonight that you might be interested in.
ROSAMUND
Who? That old guy in the bar? If he's so unhappy about not being 'visited' I'm sure we could arrange something.
FRITZ
Err . . . I'll ignore that . . . But seriously, I met the man himself.
ROSAMUND
Who?
FRITZ
Three guesses.
ROSAMUND
Gandhi?
FRITZ
No. But good guess.
ROSAMUND
Can I have a clue?
FRITZ
Initials are JC.
ROSAMUND
Joe Cocker?
FRITZ
No. Guess again. JC, think about it.
ROSAMUND
No?
FRITZ
Yes.
ROSAMUND
What's he doing here?
FRITZ
Beats me. The guy met me in a toilet of all places. Gave the barman fifty dollars and told him to tell me to meet him in the toilets. He was washing his hands in the basin. He said he was washing away his sins.
ROSAMUND
He works in mysterious ways, doesn't he? Don't be surprised that he picked a place like that. The message is still the same. But I never thought he would be here, so soon. You should feel privileged that he came to speak to you.
FRITZ
Listen, I'm really tired. I was thinking of calling it a night. There's been too much going on. I need a good rest, and then, when I'm feeling better I'll try and sort some things out. It's been a long few days. Things seem to be getting a bit worse. I'm starting to get worried. Is there anything that I should know about. You're an excellent source.
ROSAMUND
Okay, I'll leave. You do look a bit tired. I just wanted to make sure you were okay. I care you know.
FRITZ
You're welcome to stay, if you want. That couch is a little hard, but not entirely uncomfortable.
ROSAMUND
No, I'd love to, thanks, but I've got some business to do.
FRITZ
You never stop, do you? Don't they ever give you a break?
ROSAMUND
No.
FRITZ
I'd hate to work your hours.
ROSAMUND
It comes with the job.
FRITZ
You really have to tell me about your past sometime. I'm dying to know who you really are. Well, good night.
ROSAMUND
Good night. I'll let myself out. Oh, and Fritz, be careful. You're right. Things are happening. Things could be getting dangerous.
FRITZ
No problem. Goodbye.
ROSAMUND leaves.
FRITZ yawns and sits down on the couch. He reaches for the TV controller but puts it down again before he switches on the TV. He walks to the window overlooking the street and opens the curtains and looks out. A dark shape shoots past. FRITZ sees it and looks down the street. He realizes what it is and runs to the side of the couch where he picks up a black solid suitcase and lays it on the table. He opens the case and pulls out two handguns. He checks that they are loaded and holds them up. He heads for the front door of his apartment which is at the end of a short corridor. He stands ready at the end of the corridor, watching the door. All is quiet. Then he hears bumps and soft growls outside the door. He holds his guns ready. Suddenly, the soft bumps turn to loud and violent thumps against his door. He starts firing his guns through the door. Bullets hammer the door. Then there is quiet again. He still stands ready. The door suddenly flies off its hinges inwards and three gnarling demon monsters are standing there.
FRITZ
Oh shit.
The demons begin to enter. Fritz continues firing. We see him firing and shouting. When the camera moves off him we hear three more shots, an then one more shot and then there is blackness.
FRITZ wakes up suddenly in his bed. He looks around. All is quiet. The sun is shining through the window and everything is calm. He gets up and leaves his bedroom. He looks around and there is no evidence of the event of the night before. He goes to the fridge and opens the door but it is empty. There is nothing in it. FRITZ scratches his head but thinks nothing of it.  He walks into the living room and picks up the TV remote control. He hits a switch and the TV comes on but there is only static.  He flicks channels but it is only static.
FRITZ
Stupid TV.
He throws the remote control on the couch and goes to the window. He opens the curtains and looks out. There is peace on the streets. A few people are walking past.
INT. SHOWER - DAY
FRITZ has a shower.

EXT. FRITZ'S APARTMENT - DAY
FRITZ exits the apartment and walks down the street. He gets to his car and searches in his pockets for his keys but cannot find them. He decides he has to walk and does so.
EXT. CHURCH - DAY
FRITZ is walking down the street. He passes a church and stands and stares. There is no one outside. There aren't any long lines of people. He decides to enter and walks up the stairs and in through the front doors.
INT. CHURCH - DAY
FRITZ stands and looks around the whole church. He walks around and sees a confessional. He knocks on the door, the door opens and a priest comes out.
PRIEST
Yes? Can I help you?
FRITZ
No long queues today. No one wants their sins forgiven this morning. The urge has passed I take it.
PRIEST
Anyone is welcome to come here. Do you want confession? Or are you just here to pray?
FRITZ
Not today father, I haven't done anything wrong. I haven't got any sins to confess.
PRIEST
Then why are you here?
FRITZ
Just thought I'd drop in.
EXT. BUILDING IN CITY - DAY
Fritz arrives at a tall building. He enters.

INT. BUILDING IN CITY - DAY
FRITZ takes the lift to the fourth floor.
He exits the lift and arrives at a desk. A RECEPTIONIST is sitting at the desk in a small office. She is looking at a computer screen. FRITZ approaches.
INT. OFFICE RECEPTION - DAY
FRITZ
I have an appointment with Dr. Cruden.
The RECEPTIONIST looks up.
RECEPTIONIST
Your name?
FRITZ
Fritz.
RECEPTIONIST
Last name?
FRITZ
Just Fritz.
RECEPTIONIST
You don't have a last name?
FRITZ shakes his head.
RECEPTIONIST
It'll be about five minutes.
FRITZ
Where's Jane?
RECEPTIONIST
It's her day off.
FRITZ
I didn't know she had any. I've never seen you before. Are you new?
RECEPTIONIST
We all have days off. We rotate, you understand. We take turns. The doctor will see you in five minutes.
INT. OFFICE RECEPTION - DAY
SUPERIMPOSE: FIVE MINUTES LATER
DR. STEVENS, a doctor that FRITZ has never seen before, emerges from a door, and calls his name.
DR. STEVENS
Fritz.
FRITZ stands and follows DR. STEVENS to his room and enters.
INT. DR. STEVEN'S OFFICE - DAY
FRITZ and DR. STEVENS enter the office.
FRITZ
(standing)
Who are you?
DR. STEVENS
Dr. Stevens.
FRITZ
Who? Have I got the wrong room? Where's Dr. Cruden? I always see Dr. Cruden. Once a week. Same time, same place.
DR. STEVENS
He's on holiday.
FRITZ
Dr. Cruden's on holiday? He never told me.
DR. STEVENS
Yes. He's visiting some friends somewhere.
FRITZ
He never goes on holiday. Where did he go?
DR. STEPHENS
The Bahamas, I think. Look, is there a problem?
FRITZ
Dr. Cruden is my psychiatrist. I've only ever seen him. He's the only one I talk to. I don't think I feel comfortable talking to you, no offence, but I know and trust Dr. Cruden. And in my line of work, confidentiality is important.
DR. STEVENS
You can trust me, if that's what's worrying you. I'm a trained psychiatrist. Anything you tell me stays with me.
FRITZ
But can I . . . trust you?
DR. STEVENS
Yes, Fritz, you can trust me.
FRITZ
Okay. But I'm not telling you my life history. It's too fucking long, and there's too much shit going on for me to tell you everything. If you want to help me you listen to what I have to say, and then you can probe me or whatever it is you do.
DR. STEVENS
I'm here to help, Fritz. Just tell me what's on your mind. That's all you have to do.
FRITZ takes a seat. DR. STEVENS sits opposite him.
FRITZ
Just tell you. Like it's real easy? The last few days have been tough. Many a moment I've thought of calling Dr. Cruden. You know, he's always there to help. But I didn't. The reason is . . . well . . . objectively my problems seemed so ridiculous. I have this ability to stand outside my own head and look inside. It's odd, but I can do it. So while it's all going on I try and get outside myself. But I can't seem to do that properly now. All these problems, they've started to upset the balance of my mind a bit.
DR. STEVENS
Please, you can tell me about it.
FRITZ
Listen, this is confidential isn't it?
DR. STEVENS
Like I said, anything you say in this room stays in this room.
FRITZ
Do you know anything about me? Anything at all? I know you know my name, but you got that from my file. And you probably know where I live.
DR. STEVENS
I've read your case file. It's standard practice.
FRITZ
What did it tell you?
DR. STEVENS
Okay, before we get into that, I want to ask you a couple of basic questions. Perhaps this will give us a starting point from which to proceed. Tell me - why you are here?
FRITZ
Okay, I get it. I guess - to confide in someone I can trust and who can give me some advice. To get another's perspective on my situation and my life. To find out something that might be able to explain why I think the way I think, and to help me to make sense of some of the things that are happening to me.
DR. STEVENS
Is that all?

FRITZ
Basically.
DR. STEVENS
Then confide in me. Let me help you.
FRITZ
Okay, but if I find I can't trust you, I won't tell you what will happen. I might look like a nice guy but I have a dark side, okay? I've taught some lessons in my time.
DR. STEVENS
Threats won't get us anywhere Fritz.
FRITZ
That's true. Dr. Cruden told me that too. But I'd thought I'd say it anyway. You should know that. It's important.
DR. STEVENS
Tell me about it.
FRITZ
About what?
DR. STEVENS
About your dark side. If you say you have one, then it's something we should address.
FRITZ
This whole 'end of the world thing' is messing with my brain. No one seems sure what to call it. I don't know what to call it. But you know what I'm talking about. I take it you're aware of the current global crisis. I doubt panic like this has ever swept the globe so quickly. I blame the media. They blow the situation right out of control. They see the fire of panic burning and they throw a bundle of sticks on it. They should be hauling buckets of water.
DR. STEVENS
I'm aware of the situation. I've watched the news too. It's both sad and disturbing. Tell me exactly what you mean. In what way is it 'messing' with your mind, as you put it? Maybe it affects you in some way you can't recognize. Does it make you feel sad, or frightened, or angry, or . . .
FRITZ
I have visions.
DR. STEVENS
Visions?
FRITZ
Yes.
DR. STEVENS
What sort of visions? What do you think you see?
FRITZ
It's not what I 'think' I see. It's what I 'do' see.
DR. STEVENS
Hallucinations often do seem real. In fact, it's common for people to not see the difference between illusion and reality. What they think they're seeing may be very real to them, in their mind, but, in fact, there's nothing really there. These visions are a bit like an oasis in the desert. I'm sure you've heard of these types of hallucinations. A weary, tired, thirsty, and desperate wanderer in the desert may see an oasis, and may even try to drink the water they believe is there. But there is no water. There is no oasis. The mind, wearied and tired, has created an illusion out of thin air. It's as though the mind is playing a trick on itself.
FRITZ
You think I'm imaging it? You think I can't tell the difference?
DR. STEVENS
I've seen it a lot. I had a patient many years ago . . .
FRITZ
Confidentiality.
DR. STEVENS
Yes, but this patient of mine claimed he saw monsters stalking him everywhere he went. He saw them in the day, and he saw them at night. Sometimes they walked behind him, other times they hid in the bushes. He spent weeks telling me about the latest confrontations with the beasts. They never approached. The man said these monsters were relentless. Eventually, he shot himself in the head. He left a note. All it said was 'They are coming. I see them all the time. I wish they would not follow me, but they will never stop.' These are quite unusual cases, but they happen. If I can help you, I need to know what it is you see.
FRITZ
I see an angel.
DR. STEVENS
An apparition. Like an 'angel from heaven' - a being shrouded with a bright light.
FRITZ
No, she's just an angel.
DR. STEVENS
An angel. What do you mean exactly? You're visited by an angel?

FRITZ
A lot. She visits me all the time. Not everyday, but frequently. She follows me around and just suddenly appears every now and again. And no one else sees her.
DR. STEVENS
And what does this angel do? Does it speak? Does it tell you things?
FRITZ
Maybe.
DR. STEVENS
Does it occur to you while you have these types of 'visions' that it might be some sort of hallucination? Or do you believe that this angel is real? Or do you realize that it isn't in fact real - that, like I suggested, it's just a creation in your mind - a distortion of the senses and reality.
FRITZ
No. It's real. Don't ask me that question again. It's not a hallucination. I thought it was at first. I though that something like this was impossible. I've heard of things like this, but I never believed them. I've heard that talk about the Virgin Mary appearing all over the world to blessed souls, and miracles occurring. But, after a while, I knew that it was real. This is no hallucination.
DR. STEVENS
Why not? Why do you think its real, and not a hallucination?
FRITZ
The visions, or visitations, are too real. The angel appears, she looks human, she talks. But I can tell she's not of this world. She has some strange spiritual quality. And she talks of spiritual things. I think she's trying to persuade me of something, or maybe protect me.
DR. STEVENS
The angel looks human?
FRITZ
Yes. If you saw her you wouldn't know. She looks like every other person out there. There are no obvious differences at all. And she comes and goes in inexplicable ways. She just appears and disappears.
DR. STEVENS
Does she have wings, or fly down from the sky?
FRITZ
Are you making fun of me, or is that a proper question?
DR. STEVENS
I'd like to know more about this angel, if it is an angel then this might be a great breakthrough. It would constitute actual evidence of some spiritual world. Does it speak English?
FRITZ
Perfect English.
DR. STEVENS
What about other languages? If it is an angel, why should it only speak in English? Why not French or German?
FRITZ
Look, I don't know what languages it speaks. I've not really had the opportunity to talk in languages I cannot speak.

DR. STEVENS
So it might. It's possible. You've not ruled out the possibility that it speaks other languages. Maybe next time it appears you could ask a simple question - perhaps in Spanish?
FRITZ
What's your point?
DR. STEVENS
Okay, let's move on. Where does it say it comes from?
FRITZ
From heaven I expect. Where else would an angel come from?
DR. STEVENS
Has it told you where it's from? I would consider it a rather important question, wouldn't you? I mean, if this angel appeared to me, that question would be one of the first I'd ask.
FRITZ
Okay, next time she comes, I'll ask her.
DR. STEVENS
Do you want it to leave? Do you want these visions to end?
FRITZ
I think, why me? Why does the angel pick me? What have I done that singles me out from everybody else in the world? Why not appear to the saints who spend their lives helping everybody else. I've never helped anyone. Why should I be privileged in this way? There are millions of believers out there - people who go to church and pray - and wait for some small sign that all their faith is going to be vindicated. People go to church and pray for that reason - to get closer to god. And what reply do they ever get besides inner peace, or perhaps a deep sense of spiritual well-being? There's never any tangible evidence that somebody up there is listening to their prayers.
DR. STEVENS
Then this angel must have picked you for a particular reason. What is the reason?
FRITZ
My theory - she wants me to do good. It's that simple. There's no other explanation as far as I can see. She's sending me a message directly from god. I know I need to repent. I need forgiveness for my sins. But I feel there's a deeper message that I don't know about yet.
DR. STEVENS
What can you do to repent?
FRITZ
There are two ways. First, go to a church and see a priest. I tell him I'm ready to repent and he makes my sins go away. A priest is an agent of god, who lives on this earth to teach people about god, and to do his work. Basically, he's here to spread god's message and to help us prepare for the next life.
DR. STEVENS
And the second way?
FRITZ
Speak to God. One on one. Me and Him.
DR. STEVENS
Through prayer?
FRITZ
In a way - yes. But maybe no one's really listening. Surely true repentance can be achieved only by coming face to face with god himself. If we could stand in his presence and talk to him, in person, and ask him for repentance, then we could go no higher. Who's above god himself?
DR. STEVENS
How can you do that? Is it even possible?
FRITZ
I don't know yet. But I'll find a way.
DR. STEVENS
You believe in the existence of a god?
FRITZ
I never did, to be honest. Not until the visions started. And not until I discovered that the world is going to end. I don't think I'm alone here. I think it's woken a few other people up as well.
DR. STEVENS
Why do you think the world is going to end?
FRITZ
Haven't you been watching the news? You been shut up for the last week? Things are going from bad to worse. My visions coincided with the beginning of reported visions around the world. Angels, I'm sure of it, have made visitations all over the world. I don't know how many people have been visited. But I'm sure there are a lot. And the demons. People are being chased by demons. Something's happening in this world and it scares me.
DR. STEVENS
So, when is the world supposed to end?
FRITZ
I don't know. Soon I think. No one really knows. Could be in ten minutes. Could be in ten days. I don't know.
DR. STEVENS
So it could be today, tomorrow, the day after next? A week, a month, a year?
FRITZ
How am I supposed to know? That particular piece of information hasn't been disclosed yet, at least not to me.
DR. STEVENS scratches his chin.
DR. STEVENS
As I've said, it's not uncommon for people to experience extreme forms of hallucinations and to develop delusional ideas about certain things. Perhaps recent stress has caused you to have unusual thoughts and these visions.
FRITZ
I'm delusional?
DR. STEVENS
No. I'm just suggesting the possibility. As a psychiatrist, it's my responsibility to help you and find out what's wrong. I want to find out what might be causing these problems. You've admitted to me that they bother you. I want to help.
FRITZ
Doctor, do you believe in telepathy or channeling the dead through psychic readings?
DR. STEVENS
No. But I'm a believer in reason, not superstition. Reason suggests that it can't happen, that it's not possible.
FRITZ
But can you prove it? I mean, can you prove that it doesn't happen? Can you rule it out one hundred percent?
DR. STEVENS
Fritz, such claims can't be proven. That's what appears to make them implausible. They can neither be proved nor disproved.
FRITZ
But is it possible?
DR. STEVENS
I guess it is possible, perhaps in rare cases. But it's easy to deceive. People make claims that aren't true. Psychics, too.
FRITZ
If you haven't experienced what I've experienced how can you claim with certainty that it isn't really happening, that it isn't real to me?
DR. STEVENS
I can neither prove nor disprove it. I admit that. But my diagnosis would be that it's highly improbable that this is happening to you. You may think it is but in all probability it isn't.
FRITZ
Then why have this conversation? Why should I tell you anything at all?
DR. STEVENS
Let's look at your problem another way. If you want me to believe what you claim I need to hear the details. I need to know exactly what you've experienced and what you've seen and heard and felt. I need to know how you feel about your condition in more detail. I need to know who you are and what you think has been happening to you. But please understand, I'm here to help, you have my complete sympathy and you can trust me unequivocally.
FRITZ
You want my life story?
DR. STEVENS
No, I've read some of your case file. Dr. Cruden passed it on to me. I read it. It gives me a fairly good picture of who you are. You've been seeing Dr. Cruden for a number of years and you told him your life history in quite a lot of detail. From what I've read, you spend a significant number of sessions talking about your life history.
FRITZ
Who am I?
DR. STEVENS
Fritz, I want to help you, okay. I really do. I understand that your life history might be a problem for you to talk about. I understand from what I've read that you've done some rather bad things in the past, but that you do genuinely feel sorry for a lot of the things that you've done.
FRITZ
It says that in the case file?
DR. STEVENS
That's what Dr. Cruden has written.
FRITZ
The details?
DR. STEVENS
Some. Robbery, assault and so on. I get the impression that you're a career criminal. Would that be a correct assessment?
FRITZ
Would you go to the police?
DR. STEVENS
No. But I need to know how you feel about what you do. And most importantly at this point in time, I need to know about these visions, about the circumstances of the last few days that you've talked about. I need the information so that I can make my assessment. I'll make my assessment and then I'll pass the information onto Dr. Cruden when he returns. It sounds to me that the developments of the last few days have been very difficult for you. I wish Dr. Cruden was here, now, to help you, a familiar face, but if you'll confide in me I'll do my best to help you.
FRITZ
What sort of assessment?
DR. STEVENS
Where we go from here. What steps to take next.
FRITZ
I can tell you. But you talk you die.
DR. STEVENS
Fritz, threatening me is very unproductive. I'm a doctor.
FRITZ sits and thinks for a moment.
FRITZ
Where do you want me to start?
DR. STEVENS
Tell me about when all this started. Tell me about the start of the visions.
FRITZ
The last job I did. It was a big score. It was well planned. We wanted to take some Brazilians for about ten million dollars. But, like all jobs, something unexpected always pops up and things get all mixed up. I wish it didn't, but that's just the way it goes. It began with a man named Mr. Heady.
From this point on, the movie becomes a flashback to the last few days leading up to this point in time in DR. STEVEN'S office.
EXT. CAFE TABLE - DAY
While FRITZ speaks the following we see FRITZ and VICTOR sitting in a cafe, drinking coffee.
VICTOR is in early 30's; dark hair and an aggressive looking man. FRITZ is younger than VICTOR and looks the more sensible out of the two. VICTOR and FRITZ are professional criminals.
VICTOR takes out his gun and checks it, in direct sight of other cafe patrons. No one seems to notice. FRITZ looks quizzically at VICTOR, not believing he can so blatantly show his gun. VICTOR looks up while he plays with his gun, sees FRITZ'S puzzled and somewhat pleading expression, and puts the gun away. He looks casually around the cafe at the other patrons, sees no one has seen it and laughs.
FRITZ
(V.O.)
In the business, we all have partners. People we trust, people we work with. A lot of people probably think there's not much trust in the line of work I'm in, but there is. I prefer trust. I trust people I know, even if I shouldn't. My partner was a man named Victor. Now, out of everyone I've ever worked with, I trusted Victor the most. We were more than partners. We were buddies. Victor was tough. Got what he wanted, when he wanted. He could be a cold man, if he wanted. I'd worked with Victor for about five years. We'd done a bunch of jobs with each other, mostly theft, some big, some small. We're not the sort of men who rob banks you know, although we both have, successfully. But the average bank doesn't pay off as much, I find. Now, we work for a higher power, and I'm not talking about God. I'm talking about organized crime. The king of kings - Salvatore Delmono.
INT. SALVATORE'S MANSION - DAY
When FRITZ reaches the dialogue about Salvatore, we see SALVATORE DELMONO in his mansion, surrounded by three HENCHMEN. He is sitting smoking a cigar.
FRITZ
(V.O.)
This man was the boss we worked for. He had tons of work for us to do. We could get the  work done and he'd be happy. Keep Salvatore happy. Rule number one. On this occasion, a few days ago, Salvatore had us robbing Floor 41. I'm not going to tell you what was in Floor 41, except it was run by a bunch of Brazilians. The rest is top secret. So don't ask.
EXT. CRACE HOTEL - NIGHT
Exterior shot of the Crace Hotel at early evening.
INT. MR. HEADY'S ROOM IN THE CRACE HOTEL - NIGHT
MR. HEADY in a suit is standing in front of the mirror in his hotel room fixing his tie and doing his hair, preparing to head out for dinner. He takes out his mobile phone and calls another man.
MR. HEADY
(on phone)
Hi Felix, it's me, Sam Heady. I'm in town. Just about to head out for dinner. Yes, I have the card, it's in the safe . . . Yes, its secure . . . I'll be picking the money up tomorrow as planned . . . I should be out of the country by Thursday. I'll deliver it to the specified contact in Brazil, upon which I want my cut, twenty percent . . . yes, as agreed.
MR. HEADY switches off his phone. MR. HEADY takes the card from his inside jacket pocket and heads to a cupboard. He opens the cupboard to reveal an electronic keypad safe. He opens the safe and places the card inside, closes it, and punches in a six-digit security code and then he closes the cupboard door. MR. HEADY then turns off the lights in the room and closes the door behind him. We see that the room number is 940.
INT. MR. HEADY'S ROOM IN THE CRACE HOTEL - NIGHT
MR. HEADY has left his keys on the bedside table in his room. The CAMERA zooms in on the forgotten keys.
INT. CRACE HOTEL - NIGHT
MR. HEADY walks down a hotel corridor and to the elevators at the end of the hall. He pushes the button and waits for the elevator. The elevator arrives and MR. HEADY steps in.
INT. CRACE HOTEL ELEVATOR - NIGHT
Inside the elevator there is and elderly man who is going down to the lobby as well. They exchange friendly nods. We see the floor indicator in the elevator change as the elevator goes down to the lobby.
INT. CRACE HOTEL LOBBY - NIGHT
The elevator opens in the lobby.
MR. HEADY
After you.
The elderly man acknowledges MR. HEADY and then shuffles out of the elevator. MR. HEADY walks out. He goes to the reception desk.
At the reception desk is a young female RECEPTIONIST with blond hair.
RECEPTIONIST
Good evening, Mr. Heady.
MR. HEADY places his room key on the reception desk.
MR. HEADY
Here's my room key. I'll be back at eleven sharp.
MR. HEADY walks off.
CAMERA LINGERS ON THE RECEPTIONIST.
When she is certain that MR. HEADY has left she picks up the phone and dials a number.
EXT. STREET OUTSIDE CRACE HOTEL - NIGHT
A public phone outside the hotel. The phone rings. FRITZ who is waiting nearby hears the phone ring and picks up the receiver.
FRITZ
Yes?
SPLIT SCREEN to receptionist and FRITZ. Receptionist on left, FRITZ on right
RECEPTIONIST
He's gone. He'll be back in three hours.
FRITZ
Do you have his key?
RECEPTIONIST
We have keys to every room. We're a hotel.
FRITZ
We're on our way.
RECEPTIONIST
Is Victor with you?
FRITZ
Of course, but that's none of your business.
FRITZ hangs up the phone.
FRITZ steps out of the telephone booth and looks across the busy street to a black car parked across the road. He signals to the VICTOR, who is sitting coolly in the driver's seat of the car. VICTOR signals back and gets out the car. He crosses the busy road to join FRITZ. They both head into the hotel.
INT. CRACE HOTEL RECEPTION - NIGHT
FRITZ and VICTOR walk up the reception desk. FRITZ does the talking. VICTOR stands next to him, casually looking around.
FRITZ
I believe you have a room ready for us.
RECEPTION
Yes, sir. Here's your key. It's room 940.
FRITZ
Thank you.
FRITZ takes the key and FRITZ and VICTOR head to the elevator.
INT. CRACE HOTEL CARPARK - NIGHT
MR. HEADY is in the underground hotel car park walking towards his car. He arrives at it. It is a silver Mercedes Benz. It looks brand new. He reaches into his pocket for his car keys and cannot find them. He checks all his pockets.
MR. HEADY
Damn it.
MR. HEADY tries to open the car door without the keys, sees he cannot, and grudgingly heads back to the hotel.
INT. CRACE HOTEL ELEVATOR - NIGHT
VICTOR and FRITZ are in the elevator. The elevator is going slowly up. They are waiting for the elevator to reach the ninth floor. When they reach the ninth floor the door opens and they exit.

INT. NINTH FLOOR CORRIDOR - NIGHT
FRITZ and VICTOR walk to room 940. They halt outside room 940.
VICTOR
Are you sure the card is in the room?
FRITZ
Yes, I'm sure.  Heady should have picked it up yesterday from his contact here. He's only one of three men that currently have clearance to Floor 41 of the Franklin Building. The other two are out of the country. That leaves one card. And it's behind this door. He's scheduled to pick the package up from the Franklin Building tomorrow at midday. Our job is to beat him to it. Which we will do. Tonight.
VICTOR
Why the Franklin building?
FRITZ
The Franklin building is primarily a corporate centre for businesses. All sixty floors are owned by one or another big company.
VICTOR
Floor 41. I've heard a lot about Floor 41. There aren't many petty criminals in this city who haven't fantasized about robbing Floor 41.
FRITZ
It's owned by some Brazilian entrepreneur - I don't know his name, nor do I care - who dabbles in drug trafficking and money laundering. Floor 41 is, on the surface, a legitimate business. But it's all a front. Floor 41 is a pick up point for large amounts of cash heading from here to Brazil, money which is illegally acquired. The money comes in, they hold it, it goes out. Simple as that. The difference between us and those petty criminals is that we know about Mr. Heady, and that he is about to transport ten million dollars from here to Brazil. And that ten million is currently sitting in Floor 41.
VICTOR
And Salvatore found out about the ten million, right? And he wants all of it.
FRITZ
Right. All of it, except the cut he'll give to us.
VICTOR
What if Heady hasn't left the card in his room? What if he has it on him?
FRITZ
Then we'll wait until he comes back to his room.
(VICTOR smiles and seems to prefer this option)
But I doubt it. Heady's a stooge. The card will be in his room, somewhere, at worst locked away in a safe. He wouldn't risk walking around with a key to ten million dollars in his pocket. What if someone jumps him and steals his card?
VICTOR
Give me two minutes with him and he'll give us everything we want, plus more.
FRITZ
Look, I doubt he's stupid enough to carry it on him. Salvatore wants us to try his room, find the safe, and have no unnecessary confrontations. Do it nice and quiet.
FRITZ and VICTOR use the door key to open the door and they enter.
INT. MR. HEADY'S HOTEL ROOM - NIGHT
FRITZ and VICTOR switch on the lights and look around. The room is neat and tidy, with very little out of place.
INT. HOTEL RECEPTION - NIGHT
MR. HEADY opens the front door to the hotel and storms up to reception.
MR. HEADY
Give me my room key. I left something upstairs. Room 940.
The RECEPTIONIST hesitates. MR. HEADY waits for her to respond, is a little taken aback by the hesitation and repeats his order.
MR. HEADY
Did you hear me? The room key. Room 940. Or do I need to get the manager?
RECEPTIONIST
Mr. Heady, the hotel would be more than happy to retrieve the item you've left in your room and bring it down to you. You can wait in the lobby if you like.
MR. HEADY
What? Why would I want that when I can get it myself? Do I need to call the manager?
RECEPTIONIST
You could enjoy a quiet drink in the hotel bar while you wait. Or we have a pool and a gym on the fifth floor if you're interested . . .
MR. HEADY
(angry roar)
What?

RECEPTIONIST
We have a nice leisure facilities in the hotel, we like to think they're unrivalled . . .
MR. HEADY
(angry)
Look. Give me my key. Room 940.
The RECEPTIONIST reaches under the desk, take the key, and gives it to MR. HEADY. MR. HEADY takes the key.
MR. HEADY
Was that so difficult?
The RECEPTIONIST smiles at MR. HEADY.
RECEPTIONIST
Enjoy your evening, Mr. Heady. If you have any questions or needs, please don't hesitate to let us know.
MR. HEADY eyes her suspiciously.
MR. HEADY
I'm sorry if I was angry. I'm in a hurry. That's all.
RECEPTIONIST
Yes, sir.
MR. HEADY
It's not your fault I forgot my car keys, is it?
MR. HEADY wipes his brow.
RECEPTIONIST
Have a good night.
MR. HEADY nods, turns and hurries to the elevator. He presses the button and waits. The RECEPTIONIST watches him. When he is safe distance away, at the elevator, the RECEPTIONIST immediately dials room 940.
INT. ROOM 940/MR. HEADY'S HOTEL ROOM - NIGHT
The phone rings and startles FRITZ and VICTOR, who are searching the room and all the cupboards and draws. They look at each other.
VICTOR
Should we answer it?
FRITZ
Fuck it, it's for Heady. Who cares?
They continue to look and the phone stops ringing.
INT. CRACE HOTEL ELEVATOR - NIGHT
MR. HEADY is going up in the elevator, heading to the ninth floor to his room. The CAMERA follows the illuminated lift numbers as the elevator goes up.
INT. ROOM 940 - NIGHT
FRITZ and VICTOR are still searching the room for the safe. FRITZ opens yet another cupboard and finds the electronic safe inside.
FRITZ
Fuck!
VICTOR
What is it? Have you found it?
FRITZ
Yes. It's an electronic safe. We need a fucking code.
VICTOR
Salvatore never said anything about that. Fuck. Don't you have a key code?
FRITZ
Of course I don't have a fucking key code. Do you?
VICTOR
If I did, I certainly wouldn't be fucking asking you.
FRITZ
Okay, how about this? We find Heady and we get the electronic key code number.
VICTOR
What time is he due back?
FRITZ and VICTOR hear a key in the door to room 940. They exchange glances. VICTOR pulls out a knife and FRITZ pulls out a gun.
INT. HOTEL HALL OUTSIDE ROOM 940 - NIGHT
MR. HEADY turns the key, opens the door and enters his room. The room is empty. The lights are still on. MR. HEADY looks around and then goes to get his keys from the bedside table.
FRITZ is hiding in the cupboard and VICTOR is in the bathroom.
MR. HEADY takes his keys from next the bedside table. He puts them in his coat pocket. He examines the room quickly and turns to the door. He notices the lights on and looks perplexed at the light above his head. He ignores it, and walks to the door.
FRITZ and VICTOR jump out their hiding places, and take MR. HEADY totally by surprise. FRITZ and VICTOR stand, with their weapons out. MR. HEADY stands still and looks at them.
FRITZ and VICTOR grab MR. HEADY and pin him to the bed.
MR. HEADY
Who are you?
FRITZ
Shut up.
MR. HEADY
What do you want? HELP! HELP!
FRITZ
Shut up. And stop moving.
MR. HEADY
Just tell me what you want.
VICTOR is pinning HEADY to the bed. HEADY is on his stomach with his arms pinned behind his back.
VICTOR
He said shut up. Which part didn't you understand?
VICTOR puts the knife to HEADY'S head. He lets it lightly touch HEADY'S face.
MR. HEADY
Wait. Don't hurt me. Take what you want. You won't find anything, but look for yourselves. I have a few dollars in my wallet. Take it.
VICTOR
(amazed; to FRITZ)
He thinks we're common thieves!
MR. HEADY
I'm a powerful man, with powerful friends.
VICTOR
(slowly)
Shut up.
(to FRITZ)
Find something to tie him up with.
FRITZ searches the cupboards again and finds two extension cords. They use the cords to tie HEADY'S legs together and his arms to his chest.
FRITZ points the gun at MR. HEADY'S head.
FRITZ
Shut up. Open your mouth and I'll shoot you.
MR. HEADY nods.
FRITZ
The safe in the cupboard. What's the number?
MR. HEADY shakes his head.
FRITZ
The number.
FRITZ puts the gun closer to MR. HEADY'S head.
MR. HEADY
I don't know what you're talking about. I don't know anything about a safe.
VICTOR gets impatient and knocks MR. HEADY around the head.
VICTOR
The fucking number for the safe in your cupboard. What is it? Don't make me hurt you.
MR. HEADY groans and shakes his head.
VICTOR
I'll ask you once more, give us the number and we'll leave quietly. We won't have to bust your fucking head in.
MR. HEADY still refuses to give the number. He shakes his head. VICTOR threatens him with the knife.
VICTOR
(calmly)
Heady, I'll cut you.
FRITZ
No unnecessary confrontations. Order of Salvatore.
VICTOR
What should we do then?
MR. HEADY is groaning and moaning.
FRITZ
He sounds pretty crook. Maybe we should call in a doctor.
VICTOR
You think so?
FRITZ
Why not?
VICTOR nods. FRITZ goes to the phone on the desk, picks it up and dials reception. Reception answers.
INT. CRACE HOTEL RECEPTION - NIGHT
RECEPTIONIST
Hello.
FRITZ
(V.O.)
It's Fritz.

RECEPTIONIST
Yes?
FRITZ
(V.O.)
We need a doctor, room 940.
RECEPTIONIST
I'll take care of it.
FRITZ hangs up.
The RECEPTIONIST subtly looks around to make sure no one is watching her and then she dials a number. Someone answers on the other end of the line.
VOICE ON PHONE
Yes?
RECEPTIONIST
We've got a situation at the Crace hotel. Can you send the doctor please? Thank you.
A short silence on the other end of the line. Then,
VOICE ON PHONE
He's on his way.
The RECEPTIONIST hangs up.
INT. ROOM 940 - NIGHT
FRITZ and VICTOR have time to kill before THE DOCTOR arrives. They have gagged MR. HEADY with a cloth and tape.
HEADY is tied up on the bed. FRITZ is sitting in a chair, and VICTOR sits on a couch.
VICTOR
I hate it when we have to call in the doctor. There's always too much blood.
FRITZ
He gets answers no one else can get.


VICTOR
Yeah, but some of the stuff I've heard he's done, it makes me sick.
FRITZ
How many people have you killed?
VICTOR
I don't know the exact number. I never keep count. I prefer not to remember them, or their faces.
FRITZ
Well, it's the same thing, more or less. Don't fret it, the doctor will use minimal coercion at first. If we still get nothing, then you can expect blood.
VICTOR
Ugh. I still hate it.
FRITZ and VICTOR sit silently for a while, thinking to themselves.
VICTOR
Maybe we should order room service.
(to HEADY)
Heady! You hungry.
HEADY, bound and gagged, manages to shake his head and utters a muffled sound.
FRITZ changes the subject.
FRITZ
When was the last time Salvatore had us so busy?
VICTOR
There's a lot of work nowadays. It's pouring in. All over the city. Hits here, robberies there. And there seems more to steal these days. There's always something to steal. It's Salvatore's specialty. I mean, I hear about all these other jobs  Sal has people doing. Every night of the week, something's getting pinched and ending up with Sal. I can't believe some of the shit he's been stealing.
FRITZ
He has enough men. We're two of many. He has us doing three jobs in one night. Three jobs in one fucking night! One night!
(to HEADY)
Heady! What do you think? Is Salvatore working us too hard?
MR. HEADY, whose mouth is gagged, nods his head.
VICTOR
(to HEADY)
What the fuck do you know? You do two hours work a day for these fucking Brazilians, sipping on your fucking coffee, looking at the fucking sun set.
VICTOR, while he says this to HEADY carelessly points his gun in the direction of HEADY. HEADY sees the gun waving in his direction and his opens open wide and he tries to speak.
VICTOR
(to HEADY)
You wouldn't know what it's like to do a full day's work!
As he says 'work' his gun accidentally fires and the bullet skims past MR. HEADY and hits the wall. VICTOR looks in disbelief for a second and then laughs.
FRITZ
I still say Sal works us too hard.
VICTOR
You tired? Not up to it this evening? I've seen you pull more than one job in one night before. You've always been up to it.
FRITZ
No, I'm not tired. But we never do this much work in one night. At least, not for a long while. Why can't he get other men on the jobs?
VICTOR
He likes us. We work hard, and we work well. We can do it, we can do it well, and Salvatore knows that. We can't hardly say to him, 'fuck you, we'll do one job, fuck the others'. Do you know how angry Salvatore would be? We'd be slowly roasted over a hot fire.
FRITZ
Yeah, I guess. I don't mind the work, as long as our cut is fair and equitable.
VICTOR
Equitable?
FRITZ
You know what I mean. I not doing all this work for nothing. Salvatore better know that. Or else he's got something coming to him. I swear he's got something fucking coming if he thinks that.
VICTOR looks serious as if he's going to shoot FRITZ.
VICTOR
You're threatening Salvatore?
FRITZ
Yes, I'm fucking threatening him.
VICTOR laughs. FRITZ smiles.
VICTOR
Don't say it too loud. He has eyes and ears all around the place. In places you least expect. Don't be overheard saying that.
FRITZ
Just like every other fucking crime boss in the country. Ears and eyes all over the place. Bullshit. He can't hear me now, and he can't see me.
VICTOR motions to his own eyes and ears.
FRITZ
Hey, we work together. We have trust. Don't fuck with me like that.
VICTOR
I'm kidding. He'll never find out what you really think of him. At least, not from me.
FRITZ looks at his watch.
FRITZ
The doctor is usually pretty fast. How long you think we've got to wait?
VICTOR
A few more minutes. That's all. I still think we should order room service.
EXT. CRACE HOTEL - NIGHT
A slick, shiny black car screeches to a halt outside the Crace Hotel and a smart looking man, THE DOCTOR, in a black suit, with black gloves gets out. He is carrying a small black case by his side. He enters the hotel.
INT. CRACE HOTEL LOBBY - NIGHT
THE DOCTOR strides through the lobby to the elevator. He presses the button.
INT. ROOM 940 - NIGHT
FRITZ and VICTOR are still waiting and talking.
VICTOR is on the phone to room service.
VICTOR
Send up one fish and chips and a burger with the lot. And two lemonades. Charge it to room 940. That's right. Mr. Heady. Thank you.
VICTOR hands up the phone.
VICTOR
It's on it's way.
FRITZ
Do you realize that we've worked the last six nights, without a break?
VICTOR
What's your point?
FRITZ
I need a break. You mightn't, but I do.
VICTOR
Take some time off. Salvatore won't mind. Take some criminal leave.
FRITZ
These days our lives are practically run by Salvatore. Our lives are dictated by what he wants done, when he wants it done, and how it wants it done. I want my own life back.
VICTOR
You really had a life?
FRITZ
I have a lot to live for. I only do this to make ends meet.
VICTOR
But make ends meet you do.
FRITZ shrugs.
VICTOR
There's a lot of shit happening in the criminal world. New players moving in, others getting out. Retiring, you could say. Power shifts. Others who want to stay but get fucked over by another crew. Even collaboration.
FRITZ
Fucked over?
VICTOR
Eliminated from the game.
FRITZ
It's a game to you?
VICTOR
No, not to me. But I'll happily play by the rules until I am allowed to exit the world - gracefully. I don't know if you've noticed in all your years, but this is a dangerous game we play.
FRITZ
We're still alive, aren't we?
VICTOR
Because we're careful. And because we have Salvatore's protection. He's got our backs. Always. And that's a good thing. No one wants to fuck with Salvatore, because he's so big. He's a powerful man. Not the most powerful, but close to it. We're lucky we have a boss like that. And part of his strength rests upon men like us. The little people that work for the big man. But, we still have to be careful. I know sooner or later there will be a change, and I want to be clear of it when it comes. Or else - bang [imitates firing with his gun] - we're fucked too. Game over.
VICTOR looks at MR. HEADY.
VICTOR
Isn't that true Heady? Tell me if it works different.
MR. HEADY nods his head.
FRITZ
If the big man goes down, I don't want to go down with him. I'll stay clear too. I'll do his work, I'll do what he says, but if it comes down to me or him, it's certainly going to fucking well be him.
VICTOR
Let's save this talk for another day.
FRITZ shrugs.
FRITZ
It's clear though - both of us know, have always known, what we're mixed up in.
VICTOR
It's a career. What can we do?
There is a knock at the door. FRITZ gets up, walks to the door, and opens it. THE DOCTOR is standing there.
THE DOCTOR
I'm the doctor. Where's the victim?
FRITZ
Through here.
THE DOCTOR enters and FRITZ leads him to MR. HEADY.
THE DOCTOR is clear and professional, his mind on the job at hand.
VICTOR
(to THE DOCTOR)
That was quick.
THE DOCTOR
I do my best. Now, what's the problem?
THE DOCTOR examines HEADY lying on the bed.
FRITZ
This bastard has a number for a safe that we need to open. He won't give us the number.
THE DOCTOR
Have you tried other ways of getting him to talk?
VICTOR
Like what?
THE DOCTOR
A little persuasion perhaps.
VICTOR
We thought about beating him up. Decided to call you instead. He won't talk.
THE DOCTOR
Okay. Let's see.
THE DOCTOR lays down the case on the table and opens it. He pulls out a couple of nasty looking sharp blades. MR. HEADY sees them and starts to panic. He tries to move but is tied up too well. He utters a muffled cry.
THE DOCTOR lays the blades on the bed. He then pulls a syringe out of the case and a small vial of liquid. He fills the syringe with the clear liquid.
VICTOR
What's that?
THE DOCTOR
Sodium pentothal. Truth serum. One shot of this and he'll tell you everything you need to know. It's an oldie but a goodie.
VICTOR
Then what are you waiting for? Give him the shot.
FRITZ
Wait, this doesn't have any side effects we should know about, does it?
THE DOCTOR
Not really. He'll sleep a bit, have a hazy memory about what happened tonight, but no, generally, he'll be okay in the morning. I could do it another way, but it would take some cleaning up.
THE DOCTOR administers the serum to MR. HEADY while FRITZ and VICTOR look on. MR. HEADY groans as the syringe is stuck into his arm.
THE DOCTOR
Give it five minutes.
FRITZ
Okay.
VICTOR
What if the serum doesn't work?
THE DOCTOR
I'll return later. You might want to get some plastic sheets in the meantime. I'm clean out.
FRITZ
Busy night?
THE DOCTOR
Several calls, yes.
VICTOR
I knew it. You'll cut the bastard up, won't you?
THE DOCTOR
Yes. Now, if you'll excuse me, I have other calls to deal with.
THE DOCTOR packs his bag, takes it from the table, and walks to the door. He exits the room and closes it behind him.
FRITZ and VICTOR wait until the DOCTOR has left the room. They turn to MR. HEADY and stare at him. HEADY's eyes show fear.
VICTOR
Is it working Heady?
HEADY nods, having heard what THE DOCTOR could do.
FRITZ
Good. So tell us what we want to know.
They walk to HEADY lying on the bed. HEADY is now under the effects of the serum. They stand over him. VICTOR pulls out his gun from his belt and holds it. HEADY groans and shifts on the bed. VICTOR takes off MR. HEADY'S gag with his other hand.
FRITZ
Now, Heady, are you going to tell us what we want to know?
HEADY
(groggy)
How do you know my name?
FRITZ
Your name is Heady isn't it?
HEADY
Yes.
FRITZ
Then it doesn't matter how I know. The number to the safe, what is it?
HEADY
It's six digits.
FRITZ
What are they?
VICTOR goes to the safe. He waits for the number.
HEADY
Six, two, five, eight, nine, one.
FRITZ
(to VICTOR)
Try it.
VICTOR punches in the numbers. The safe doesn't open. VICTOR looks at FRITZ and shakes his head. FRITZ seems as though he is about to lose his cool with MR. HEADY for giving them the wrong number.
FRITZ
Why didn't it open? You did that deliberately. Tell us the number or we'll . . .
HEADY
(groggy)
No, wait, wait. I got one wrong. I'm sorry. Its six, two, five, eight, nine, two.
FRITZ
You lying bastard. If this number doesn't open that safe . . .
VICTOR tries the new number. The safe opens.
VICTOR
Bingo.
VICTOR pulls out the card. He shows it to FRITZ.
VICTOR
We've got it.
FRITZ
Good, let's get the fuck out of here. Goodbye Heady.
VICTOR
Are you sure we should leave him here? I mean, he's seen our faces.
FRITZ
He'll be out until tomorrow. Let him sleep. By tomorrow we'll have the money.
VICTOR
(to MR. HEADY)
Don't do anything stupid, Heady, or we'll be back.
FRITZ and VICTOR leave the room and close the door.
INT. VICTOR'S CAR - NIGHT
VICTOR and FRITZ are seated in their car.
They are parked in a dark secluded street. There is a small  French café just down the road. This cafe is the only shop in the street. The rest of the buildings are houses, warehouses etc. The café is called, "The Little Frenchman", and there is only one person in the cafe, the waiter.
There are a few streetlights along the sides of the road, lighting up the night. However, the atmosphere is still dim and suspicious.
VICTOR is reading Mein Kampf, whilst FRITZ eyes what is happening outside the car.
VICTOR
You spoken to Sal lately?
FRITZ
No. Why?
VICTOR
Word is that Sal's been keeping a close eye on you.
FRITZ
Why didn't you tell me this before? What for?
VICTOR
The jobs you pulled for Sal. Tex says Sal has been getting ripped off. Someone's been dipping their hands into the honey pot. In some cases, Sal's only been receiving eighty to eighty five percent of the goods. Sometimes less. A lot less. Where's the rest going?
FRITZ
I don't know. Tax?
VICTOR
You wouldn't know anything about that would you?
FRITZ
I'm an honest criminal. I only take what I'm given.
VICTOR
It just happens to be the goods you're responsible for that are coming in short.
FRITZ
That's impossible. I'm not ripping off anybody.
VICTOR
It's what I've heard.

FRITZ
I don't know where the money's going. As far as I know, it's all been there when I delivered it. You want a piece, is that it?
(FRITZ laughs)
Keep your mind on the job, not on this shit.
(he nods to the copy of Mein Kampf on the dashboard)
A little easy reading, yeah?
VICTOR
Just something to pass the time.
FRITZ
You're a crazy bastard.
VICTOR
What's the time?
FRITZ
Ten to eleven. We've got ten minutes.
VICTOR
Put the radio on.
FRITZ turns on the radio.
RADIO ANNOUNCER
If you've just joined us, we're talking about religion. The latest in a series of sightings around the world has theologians and all sorts of people talking about the existence of God and the scenarios that the end of the world is due very soon.
VICTOR
Oh, Christ. Not more of this. I don't think I can take any more.
FRITZ
I don't care. Switch it off if you want.
VICTOR
Ugh, it's better than nothing.
RADIO ANNOUNCER
The latest sighting has been in Turkey. People have reported seeing angel type beings coming down from the sky and passing on strange messages to people. Other sightings have reported that seas of flames have poured down from the sky. Is this the apocalypse? We have with us Father Benjamin, a noted theologian and a world expert on the apocalypse. What can you tell us about these numerous sightings?
FATHER BENJAMIN
Well, I believe it's wrong to call these sightings fakes or delusions. I don't believe that so many so-called hallucinations could occur all over the world to so many people within the space of a week. However, even as a believer in God, I must admit that it is possible that this is a form of mass delusion or widespread deception. One person says he has seen the angels of the apocalypse, so one hundred others claim the same. I mean, as yet, we really have no concrete evidence. I will wait for that evidence before I say whether or not it is true.
RADIO ANNOUNCER
But if it is true?
FATHER BENJAMIN
Well, it is the work of God. God is sending his messengers to warn us that the end of the world is due soon. If that is the case, we must be repentant. We must confess our sins and be forgiven.
RADIO ANNOUNCER
Do you personally believe it is the case?

FATHER BENJAMIN
Like I said, I don't rule out anything at this stage.
RADIO ANNOUNCER
So if there is truth to this, what can we - the global community - do? Can it be prevented or stopped?
FATHER BENJAMIN
No. God's will cannot be stopped. If it is indeed the apocalypse - the end of the world - then all we can do is repent. It is a question of Heaven and Hell, where do we want to go?
VICTOR turns off the radio.
VICTOR
(VICTOR looks back down the road to the French cafe)
It's time for a quick coffee. Do you want anything?
FRITZ
Just a million dollars.
VICTOR
I mean a coffee?
FRITZ
A coffee would be fine.
VICTOR gets out of car and walks down the street about thirty metres to the café. He enters.
INT. COFFEE SHOP - NIGHT
The coffee shop is small and empty, except for the WAITER, a youngish man. French music is playing quietly in the background. There is a surveillance camera in the corner of the room next to the ceiling. All the tables are covered in tablecloths.
The counter is located opposite the entry, with an old fashioned cash register on top.
VICTOR walks in and approaches the counter.
WAITER
Can I help you, sir?
VICTOR
Deux cafes, s'il vous plait?
WAITER
Pardon me?
VICTOR
You don't speak French?
WAITER
No, sir.
VICTOR
But this is a French shop, is it not?
WAITER
Yeah, I suppose.
VICTOR
Well, is it or isn't it?
WAITER
Yes.
VICTOR
Fucking fraud! Your coffee is probably instant coffee. Give me two.
The young WAITER starts to make the coffee. VICTOR lights a cigarette.
WAITER
Excuse me, sir, there's no smoking in here. You'll have to put it out or smoke it outside.
VICTOR
I'm not putting it out.
WAITER
You'll have to. Or leave.
VICTOR
For fucks sake, what's wrong with you kid?

WAITER
Its just regulations sir. No smoking in the café. The sign on the wall says so.
The WAITER points to a NO SMOKING sign on the wall.
VICTOR
(VICTOR points at the no smoking sign)
This sign?
VICTOR walks to the sign, rips it from the wall and throws it across the counter. The WAITER ducks out of the way.
VICTOR
Now just get me the coffee and let me be on my way.
VICTOR kicks a rubbish bin in anger, and smokes his cigarette.
As VICTOR's back is to the door, VICTOR does not see a police car slowly driving down the street towards his car. It slowly passes the cafe.
WAITER
I'll have to call the manager or the police unless you calm down.
VICTOR
The police! Fuck them at this hour of the night. Good luck.
INT. VICTOR'S CAR - NIGHT
FRITZ is flipping through Mein Kampf. He places it on the dashboard. He sees the lights of the police car approaching behind the car.
FRITZ feels for his gun in his trousers.
EXT. STREET OUTSIDE COFFEE SHOP - NIGHT
The police car approaches, stops and a lone policeman, OFFICER THEIKENS gets out of the car. He looks at the number plate on the FRITZ'S CAR. He reaches through the window for his police radio.

OFFICER THEIKENS
(into police radio)
Plate check.
(he reads the PLATE NUMBER of FRITZ and VICTOR'S car into his police radio)
POLICE RADIO
(after a moment)
It's clean. Belongs to Richard Friezel.
OFFICER THEIKENS
Okay.
OFFICE THEIKENS puts back the police radio and then walks to the passenger side window of FRITZ and VICTOR'S car and stops. He taps on the window. FRITZ winds down his window.
FRITZ
Evening officer. Nice night, isn't it?
OFFICER THEIKENS
This your car?
CUT TO:
INT. CARPARK - DAY/FLASHBACK
FRITZ and VICTOR are looking for a car to steal. They pass a couple of cars.
FRITZ
What about this one?
VICTOR
No, too old.
VICTOR sees a new looking car.
VICTOR
That one.
They walk to the car. They look around, then VICTOR picks the lock, and they open the car door, hot-wire the car, get in and drive off through the carpark.
CUT TO:
INT. FRITZ AND VICTOR'S CAR - NIGHT
OFFICER THEIKENS
I said, this your car?
FRITZ
Yep, brand new. I just bought it a week ago.
OFFICER THEIKENS
This wouldn't be a stolen car, would it?
FRITZ
You're the cop. You tell me.
OFFICER THEIKENS
(ignores FRITZ'S last comment)
Sir, can I ask you what you're doing here tonight? Why are you parked here?
FRITZ
I'm just waiting for my friend. He's getting some coffee down the road. At that cafe.
OFFICER THEIKENS turns and looks at the French cafe.
OFFICER THEIKENS
Can I ask you where you're going tonight?
FRITZ
You may ask.
OFFICER THEIKENS
Where?
FRITZ
Nowhere in particular. Just around. You know what it's like when you're bored and you just have to do something.
OFFICER THEIKENS
Can I see some ID?
FRITZ
Sorry, officer, I don't have my wallet.
OFFICER THEIKENS
You always go out at night without your wallet?
FRITZ
Sometimes.
OFFICER THEIKENS
Are you carrying any weapons or drugs on you tonight?
FRITZ
No officer. I don't own a gun, and I don't do drugs.
OFFICER THEIKENS
Would you step out of the car please, sir?
OFFICER THEIKENS steps back and waits for FRITZ to get out of the car. FRITZ starts to get out of the car, reluctantly.
FRITZ
Is this necessary?
OFFICER THEIKENS
Out of the car, please. Now.
FRITZ looks over his shoulder to where VICTOR is in the cafe.
FRITZ
(reluctantly)
Alright.
INT. COFFEE SHOP - NIGHT
VICTOR is finishing his cigarette. He drops it on the ground and stamps it out. The WAITER finishes making his coffee and places two cups on the counter.
WAITER
Your coffee is ready.
VICTOR
About fucking time. You always take that long to make coffee?
WAITER
It wasn't that long. You're just impatient.
VICTOR
Don't give me lip kid. I'll let you off because you don't know who I am.
WAITER
Three dollars.
VICTOR pulls out some money from his pocket and throws it across the counter.
VICTOR
Thanks for your help.
DURING THIS SCENE VICTOR IS FILMED ON A SECURITY CAMERA. WE SEE HIM IN THE CAFE THROUGH ON THE BLACK AND WHITE CAMERA IMAGES.
EXT. STREET OUTSIDE COFFEE SHOP - NIGHT
VICTOR leaves the cafe and sees, down the road, the police car next to his car. He sees OFFICER THEIKENS and sees FRITZ standing next to him. VICTOR pulls out his gun and holds it behind his back. He holds the two coffees in a cardboard holder in his other hand. He walks towards FRITZ and OFFICER THEIKENS.
Down the street,
OFFICER THEIKENS
I'll ask again. What's your name?
FRITZ
I forget. I have a type of amnesia. I forgot things like that from time to time.
OFFICER THEIKENS
Sir, continue this way and you'll get yourself into trouble. I want you to know that. Please, cooperate or I'll be forced to take you in.
FRITZ
What are you going to do? Frisk me?
VICTOR is now behind OFFICER THEIKENS.
VICTOR
Evening officer, is there a problem?
OFFICER THEIKENS turns around. He looks at VICTOR.
OFFICER THEIKENS
Routine check. Can I ask you what you're doing tonight?
VICTOR
Our car seems to have broken down. We were just on our way to the hospital. Our friend is having a baby.
OFFICER THEIKENS
Really? That's not what your friend said.
OFFICER THEIKENS pulls his gun and holds it by his side.
OFFICER THEIKENS
Both of you, step away from the car and put your hands against the side.
VICTOR drops the coffee and pulls his gun. OFFICER THEIKENS goes to raise his gun but he is knocked down by blow from VICTOR. VICTOR points his gun OFFICER THEIKENS, who is on the ground.
FRITZ
No, Victor, wait!
VICTOR fires his gun at OFFICER THEIKENS. OFFICER THEIKENS stops moving, dead. VICTOR stands and looks at the victim.
FRITZ
Are you crazy? Do you realize what you just did? You killed an innocent policeman.
VICTOR puts his gun on the top of the car, opens the trunk and pulls out a stick of dynamite. He walks over to OFFICER THEIKENS' car.
FRITZ
Are you out of your mind? What the fuck are you doing? This job is supposed to be quick and quiet. Killing a cop is not part of it. Soon there'll be cops crawling all over this place.
VICTOR
Then we'll do the job and get the hell out of here. But first . . . chuck the cop in the boot.
FRITZ reluctantly picks up the body and puts it in the boot of their car. VICTOR lights the stick of dynamite and throws it under the policeman's car, then takes cover.
VICTOR
Get down.
FRITZ and VICTOR duck behind their car. An explosion destroys the policeman's car.
VICTOR and FRITZ come from behind the car and stare at the burning wreck. VICTOR picks up his gun. The waiter from the café runs from the café. VICTOR sees him and shouts at him.
VICTOR
(shout to the WAITER)
Get back inside.
WAITER
(shout)
What have you done?
VICTOR
(louder shout)
I said get back inside.
VICTOR fires a shot perilously close to the waiter who runs back inside.
VICTOR
Come on, we've got a job to do.  Floor 41 is waiting.
FRITZ and VICTOR quickly get back in their car, FRITZ starts the engine and they drive off.
INT. DR. STEVEN'S OFFICE - DAY
FRITZ is still sitting opposite DR. STEVENS as they talk.

DR. STEVENS
So, you're responsible for the death of a police officer.
FRITZ
Confidentiality, doctor. You promised me that.
DR. STEVENS
I've already assured you of that.
FRITZ
Then, yes, we killed a cop.
DR. STEVENS
And how did that make you feel?
FRITZ
How do you think it made me feel?
DR. STEVENS
Guilty? Remorseful? That you did a very bad thing? Tell me that much. Tell me that you are aware that what you did was wrong.
FRITZ
Yes, I knew what I did . . .
(corrects himself)
What we did was wrong.
DR. STEVENS
Did you think about the man you killed? Did you think about who he was? That he might have had a family? People who cared about him. Or was this person just another face that you wasted?
FRITZ
Wait, wait, wait, I didn't pull the trigger. I tried to stop Victor. I wasn't going to kill him. I was thinking of another way out. But Victor, sometimes Victor is unstoppable. He makes quick decisions and doesn't look back.

DR. STEVENS
But you were part of it. Just tell me you know what you did was wrong.
FRITZ
Alright. Don't force me to have a guilt trip. I've been through enough of that. I'll get to it. Just let me explain what else happened.
EXT. VICTOR'S CAR OUTSIDE FRANKLIN BUILDING - NIGHT
FRITZ and VICTOR are parked outside Franklin Building. From their car, they are looking at the entrance to the building and through the glass doors to the lobby.
VICTOR
Where's our man on the inside?
FRITZ
He's here.
VICTOR
Is he trustworthy?
FRITZ
Put it this way, he's an easy man to convert. His name is Graeme. Graeme works as a cleaner in the building. He usually does the night shift. He works ten at night till six in the morning. We offered him a bunch of cash, told him to ask no questions. Just let us in the building at eleven. He says 'what about security at the front desk?' 'Let us worry about that' we said. Easy as that.
VICTOR
Then where is he?
FRITZ
It's five to eleven. We said we'd be here at eleven on the dot. Not a minute before, not a minute later. He'll be here at eleven. Trust me.
VICTOR
Let's get out of the car and wait by the door so we can see him coming.
FRITZ and VICTOR get out of the car and walk up to the glass doors.
As they stand at the entrance doors, looking in and around them, a cleaner moves past inside. He is mopping the floor. He passes out of view and then returns the other way to pass into and out of view again. He nods discretely at FRITZ and VICTOR.
VICTOR
What the hell is he doing?
FRITZ
He's waiting. I said not till eleven. We don't want anything to seem out of the ordinary. He's to do exactly as he always does until eleven, and then he let's us in.
VICTOR
Then I've got time for a cigarette.
VICTOR takes out a packet of cigarettes and lights one. He starts to smoke it. He leans against the wall of the building.
VICTOR
What are our chances of getting up to Floor 41, and in and out without firing a shot?
FRITZ
Zero. In fact, less than zero. That's why we have our guns.
INT. FRANKLIN BUILDING - NIGHT
GRAEME THE CLEANER is mopping the lobby floor. He can see out the glass doors and sees FRITZ and VICTOR waiting. FRITZ taps his watch. GRAEME gives him a subtle nod.
GRAEME approaches the security desk in the lobby. There is one guard at the desk, JACK THE SECURITY GUARD.

GRAEME THE CLEANER
Evening Jack.
JACK THE SECURITY GUARD
Evening Graeme. How are things tonight?
GRAEME THE CLEANER
Not too bad. Have you locked the front doors yet?
JACK THE SECURITY GUARD
I locked them at nine. It's routine Graeme. You know that. The doors are shut at nine. Anyone who wants to get in and out has to come through me.
GRAEME THE CLEANER
I want to have a smoke. Can you open them for me?
JACK THE SECURITY GUARD
I can't do it Graeme. Regulations. There has to be a good reason to open those doors after nine.
GRAEME THE CLEANER
Come on, just for a quick smoke.
JACK THE SECURITY GUARD hesitates.
JACK THE SECURITY GUARD
Okay, just this once.
GRAEME THE CLEANER
Why don't you just give me the keys? I'll let myself out and lock up when I come in.
JACK THE SECURITY GUARD
I can't do it. Only I open the door. 
GRAEME THE CLEANER
Yes, of course. Could you do it now?
JACK THE SECURITY GUARD gets up and walks with GRAEME to the front entrance doors. He unlocks it. In bursts FRITZ and VICTOR, both wielding guns. They point them squarely at JACK THE SECURITY GUARD.
VICTOR
Stay where you are security man.
JACK THE SECURITY GUARD
What the hell is this?
FRITZ
We just need a little time to get something from upstairs. Be cool and nothing will happen to you.
JACK THE SECURITY GUARD
You'll never get away with this. I don't know what you want here, but you'll get caught. You can't rob this building and get away with it.
VICTOR
Let us worry about that. We've already wasted a cop tonight so don't give us any shit. OK?
JACK THE SECURITY GUARD
Whatever you say.
VICTOR
Now, where's your security system centre?
JACK THE SECURITY GUARD
Where do we operate our surveillance cameras from?
VICTOR
(to FRITZ)
I think he's getting it.
JACK THE SECURITY GUARD
First floor.
VICTOR
How many cameras?
JACK THE SECURITY GUARD
In the whole building?
VICTOR
Yep.
JACK THE SECURITY GUARD
I'm not sure. Maybe a hundred.
VICTOR
Maybe a hundred. Or one hundred.
JACK THE SECURITY GUARD
One hundred.
VICTOR
Are you sure?
JACK THE SECURITY GUARD
Maybe one hundred and fifty.
FRITZ
Just tell us, unless you want us to shoot you in the leg.
JACK THE SECURITY GUARD
There are security cameras on every floor. Several on each. They're always recording. They're operated from a room on the First Floor - the Security Centre.
VICTOR
Let's go then.
JACK THE SECURITY GUARD
Where?
VICTOR
(points his gun at JACK THE SECURITY GUARD)
First floor idiot.
JACK THE SECURITY GUARD
Okay, okay. But you know you're already on camera?
JACK THE SECURITY GUARD points to several cameras in the lobby.
VICTOR
Shut up and take us to the first floor.
JACK THE SECURITY GUARD
What about Graeme?
VICTOR
Don't worry about Graeme. He'll be fine.
FRITZ, VICTOR and JACK head to the elevators to go to the first floor.
VICTOR
How many security guards are there on the first floor?
JACK THE SECURITY GUARD
Two. There are always two guards in the surveillance room. They've probably already seen you and called the police.
VICTOR
Chances are they're sitting on their asses eating doughnuts and talking about shit.
JACK THE SECURITY GUARD
They're responsible guys. They're very reliable.
VICTOR
Reliable my ass. We'll see.
INT. BUILDING FIRST FLOOR - NIGHT
VICTOR, FRITZ and Jack exit the elevator on the first floor. They look around carefully.
VICTOR
Where?
JACK THE SECURITY GUARD points to a small security booth down the corridor.
VICTOR
You play it cool security man and you'll make it out alive. We don't want you. What we want is on Floor 41. Once we have it we'll leave, and you can go back to watching the front door.
JACK THE SECURITY GUARD
Much appreciated. I don't want to get in your way. I have a family you know, and if something happened to me then I can't imagine what . . .

VICTOR
(interrupts)
Enough. We don't care. We just want to go up to Floor 41. We're not going to hurt you.
JACK
Floor 41? What could you want on Floor 41?
FRITZ
Listen to what he says. He kills for a living. Your death won't matter to him.
JACK
But he said we're not going to hurt . . .
FRITZ
Keep talking and we might.
FRITZ and VICTOR, and JACK, quietly approach the booth. Two SECURITY GUARDS are sitting inside in front of a number of video screens projecting images of various parts of the Franklin Building. They have half-eaten doughnuts either in their hand or on the desk in front of them. FRITZ, VICTOR and JACK enter.
INT. SURVEILLANCE ROOM IN FRANKLIN BUILDING - NIGHT
FRITZ enters first, followed by VICTOR and JACK.
SECURITY GUARD #1
I never thought you guys would arrive. Our asses are on the line here. You do realize that?
VICTOR
We're dead on time. Not a minute early and not a minute late.
SECURITY GUARD #2
Floor 41's already shut off. They're blind up there. They won't see you coming. They'll probably think there's been some technical glitch.
VICTOR
Good work. Here.
VICTOR pulls a bulky envelope containing cash and tosses it to the two SECURITY GUARDS. They take it and smile.
FRITZ
Remember, you saw nothing. If anyone asks any questions, the equipment malfunctioned.
VICTOR
And don't spend all that money on doughnuts.
SECURITY GUARD #2
No problem. Thanks Fritz, Victor.
VICTOR
(to JACK THE SECURITY GUARD)
You see. It pays to have men on the inside. Anyone can be bought.
JACK THE SECURITY GUARD
You'll never get away with this.
FRITZ
We already told you - no talking.
SECURITY GUARD #1
What are you going to do with him?
(he points to JACK THE SECURITY GUARD)
VICTOR
We'll let him go. It's no problem. If he stays cool he'll live.
SECURITY GUARD #1
I thought no loose ends.
VICTOR
I'm not in the killing mood today.
JACK THE SECURITY GUARD gasps.
SECURITY GUARD #1
I have it ready. Jack, come over here and don't make a scene.
JACK THE SECURITY GUARD
What are you going to do?
SECURITY GUARD #1
(takes out a syringe)
Just a shot. You'll be fine. It's just to protect us. We can't have you incriminating us with stories of men breaking into our building.
SECURITY GUARD #1 gives JACK THE SECURITY GUARD a shot. He becomes tired and giddy and sits down. He falls asleep.
FRITZ
Are you sure that stuff works?
SECURITY GUARD #1
Your people gave it to us. Sends them to sleep, messes with their heads when they wake, makes them unsure what they saw and heard, if anything.
VICTOR
Okay, we're going up to Floor 41.
SECURITY GUARD #1 looks at FRITZ and VICTOR'S loaded guns.
SECURITY GUARD #1
You think you'll need those?
VICTOR
Maybe. Maybe not. If there's shooting, wait for us to come down before you call the cops. And you don't know who it was and why. If the cops ask any questions blame the people on Floor 41. We were never here.
SECURITY GUARD #1
Got it.
FRITZ and VICTOR leave the Security Centre. They walk to the elevator and press the button. The door opens and they step inside.
INT. FRANKLIN BUILDING ELEVATOR - NIGHT
FRITZ presses the button for Floor 41. The elevator starts going up.
VICTOR
Nervous?
FRITZ
No.
VICTOR
Me neither. I figure it's what we do. We do it well, so why be nervous? All I'm concerned about is gunfire.
INT. FLOOR 41 - NIGHT
FRITZ and VICTOR step out of the elevator. They take out their guns, both with one in each hand.
In front of them is a large door, with an electronic lock. FRITZ takes out MR. HEADY'S security key and scans it. The door opens.
FRITZ and VICTOR enter a massive office, filled with desks. It seems empty. Down the end of the office, a group of BRAZILIANS stand talking. They don't notice the open door or FRITZ and VICTOR.
FRITZ and VICTOR creep through the office, hiding behind desks and walls. They signal silently to each other to get as close as possible to the BRAZILIANS.
They see a lone BRAZILIAN criminal holding a machine gun. They approach him and take him by surprise. VICTOR puts a gun to his head.
VICTOR
Walk quietly.
FRITZ takes the machine gun.
VICTOR
Let's see how much your friends value your life.
They walk the BRAZILIAN forward. The group of BRAZILIANS still haven't noticed FRITZ and VICTOR. FRITZ and VICTOR stop about ten metres from the BRAZILIANS.

VICTOR
(to BRAZILIANS)
Hey.
The BRAZILIANS all turn and reach for their guns.
VICTOR
No! No sudden moves or I shoot him. And my friend shoots you all. See what he's holding.
The BRAZILIANS look at the machine gun in FRITZ'S hands.
VICTOR
When I think about it I should've brought one of those too.
BRAZILIAN #1
What do you want?
VICTOR
The case that was delivered today and which hasn't been sent out yet.
BRAZILIAN #1
Which case is that?
VICTOR
You know which case.
BRAZILIAN #1
I don't know where it is. Why don't you look around, see if you can find it?
VICTOR
Don't fuck with me. I want the case or we start shooting. This one [the man they're holding] is first. The rest of you drop like flies when my friend starts firing. You think you can get your guns out in time?
BRAZILIAN #1
We will find you and we will kill you.
VICTOR
Yeah, I've heard it before. The case.
BRAZILIAN #1 who is talking to VICTOR nods to one of the other BRAZILIANS. He reaches under a desk and takes out a suitcase.
VICTOR
Open it.
They open it and reveal that it is filled with cash, ten million dollars.
VICTOR
One of you, bring it over to my friend.
BRAZILIAN #1 nods again and one of the Brazilians and he takes the case to FRITZ who holds it in his free hand.
VICTOR
Now, we're turning and walking out of here.
BRAZILIAN #1
We'll find you.
VICTOR
Trust me, no one can find me. I can turn into the invisible man.
BRAZILIAN #1
Who?
VICTOR
The invisible man.
BRAZILIAN #1
Who's he?
VICTOR
Turn around, walk to the end of the room, kneel down with your hands in the air. Oh, and drop any guns you have now.
The BRAZILIANS look at each other.
BRAZILIAN #1
Do as he says.
(to VICTOR)
We will get that money back.
VICTOR
To tell you the truth, it's not for me. It's for my boss. If you have a problem with this, take it up with him.
BRAZILIAN
Where is he?
The BRAZILIANS are all taking out and dropping their guns.
VICTOR
Sorry, that information is for certain people only. You don't qualify.
BRAZILIAN #1
Your boss had better watch his back.
VICTOR
You know, I thought this would be harder. I have to say, this is the god-damn easiest robbery I've ever done.
(to FRITZ)
What do you think Fritz?
FRITZ
Easy.
VICTOR
(to BRAZILIANS)
Now go.
The BRAZILIANS turn and walk to the end of the room and kneel down with their arms in the air.
BRAZILIAN #1
(as he walks)
Do you know who you're stealing from?
VICTOR
I don't know. And I don't care. You just tell him - thanks for cooperating.
BRAZILIAN #1
He'll show you no mercy. You've made a big mistake. I hope I am being clear to you.

VICTOR
(to FRITZ)
Let's go. Leave this one too.
They leave the BRAZILIAN they were holding and hurry back to the door. They run to the elevator. FRITZ hits the lobby button.
VICTOR
I say we've got about thirty seconds.
The elevator is slow to arrive.
FRITZ
Maybe we should've planned this one a bit better. We're on Floor 41. We've got to get down forty one floors before they get to us. We should have tied them up.
The elevator finally arrives. They get inside and go down to the lobby.
INT. LOBBY OF FRANKLIN BUILDING - NIGHT
FRITZ and VICTOR exit the elevator. They run across the lobby and out the front doors.
EXT. FRANKLIN BUILDING - NIGHT
FRITZ and VICTOR run to the car.
INT. FRITZ AND VICTOR'S CAR - NIGHT
FRITZ is driving. They speed off, away from the Franklin Building. VICTOR looks over his shoulder as they speed away.
FRITZ
See anyone?
VICTOR
Nothing yet. But those Brazilians will be out in ten seconds.
VICTOR turns back around.

VICTOR
Take a left here.
FRITZ does a left turn, too fast. The car skids slightly but FRITZ controls it well.
They are now in a deserted street.
VICTOR
Pull over.
FRITZ
What! No! We get at least ten blocks. Then we pull over.
VICTOR
Pull over.
FRITZ obliges, and slows the car and they pull over, outside a dilapidated building.
FRITZ
(seeing the dilapidated building)
Jesus, they should clean this fucking shit up.
VICTOR
Are we alone?
FRITZ
Yes, we're alone.
VICTOR turns around and looks back.
FRITZ
You look worried.
VICTOR
Yeah, maybe.
FRITZ
Is it the Brazilians?
VICTOR
Them? No. They'll be looking for us with everything they got now, but we can dodge them fine. It's not them.
FRITZ
Then what is it?
Pause. No answer from VICTOR.
FRITZ
Salvatore?
VICTOR is still silent.
FRITZ
You know something about Salvatore?
VICTOR
No. It's nothing. I just wanted to make sure we weren't followed.
FRITZ
Hey, I'm your partner. If you know something, tell me. Is it about what you said about Salvatore not trusting me?
VICTOR
It's nothing. I'll tell you later. We've still got two jobs to do tonight before we hand the money over to Salvatore.
FRITZ
You sure you're fine?
VICTOR smiles.
VICTOR
Just keeping a watchful eye out.
This confuses FRITZ. He starts the engine. Then,
FRITZ
What the fuck does that mean? Victor, who's following us?
VICTOR
No one . . . yet.
FRITZ
What!
VICTOR
Come on, let's roll.
FRITZ
Victor. What's up?
VICTOR
Drive, Fritz.
FRITZ pulls the car out, letting the matter drop.
FRITZ
Fuck, it must be bad if you're worried.
VICTOR
Hey, who said I'm worried?
The car drives off.
INT. FRANKLIN BUILDING LOBBY - NIGHT
Two BRAZILIANS, including BRAZILIAN #1, are striding through the lobby of the Franklin building. There are no security guards on duty.
BRAZILIAN
Where's security?
BRAZILIAN #1
I want these two men found, and I want them brought to me.
BRAZILIAN
How?
BRAZILIAN #1
You . . . and the others . . . you figure out how. Just find them, and bring them to me.
They exit the building.
EXT. FRANKLIN BUILDING - NIGHT
The two BRAZILIANS push through the glass entry doors and look up and down the empty street. Cars are driving past at a main cross road several blocks away. BRAZILIAN #1 looks angry.
BRAZILIAN
They're gone.
Silence.

BRAZILIAN
Who do you think was behind this?
BRAZILIAN #1
I don't know. But no one steals from us.
BRAZILIAN
It's a big city. We may have trouble . . .
BRAZILIAN #1
Just do what I say. You know who that money belongs to. You know what will happen to us if that money is not recovered.
BRAZILIAN
I know who it belongs to. But he might understand.
BRAZILIAN #1
In this business, there is no understanding.
EXT. SALVATORE'S MANSION - NIGHT
An exterior shot of a massive mansion, surrounded by high walls.
INT. SALVATORE'S MANSION - NIGHT
SALVATORE is sitting in his lavish lounge room in his mansion. The television is on. An assistant stands nearby. The phone rings. The assistant answers it.
SALVATORE'S ASSISTANT
(into phone)
Yes?
(to SALVATORE)
It's them. The first job, the big one, is done.
SALVATORE
Give it to me.
SALVATORE'S ASSISTANT hands him the phone.

SALVATORE
Give me good news. Better than good news.
(pause)
Excellent. You got it all?
(pause)
Excellent. When you're done, bring it here. You've done well, Victor. Tell Fritz the same for me. Goodbye.
SALVATORE hangs up the phone.
SALVATORE
(to assistant)
The Franklin Building was a success. Fritz and Victor have the money. They were in, they were out. Or so they say. No gunfire. Nothing. I'm impressed. Who knew the Brazilians would hand over ten million dollars so willingly? Get me a drink.
SALVATORE'S ASSISTANT walks to a wall bar. SALVATORE sits and smiles contentedly to himself. The television plays on. Salvatore looks at it briefly, not paying much attention to what is happening on the screen. SALVATORE'S ASSISTANT starts to make a drink.
SALVATORE
Yes, indeed, we're going to be richer men thanks to Fritz and Victor.
SALVATORE'S ASSISTANT
Salvatore, don't think me out of place saying this, but is it really necessary to keep them . . .
(SALVATORE raises a curious eye when his assistant pauses)
. . . well . . .
SALVATORE
Yes?
SALVATORE'S ASSISTANT
Well . . . in.
SALVATORE
What do you mean?
SALVATORE'S ASSISTANT
I mean, five million of that money is yours. No one else's. Is it necessary to give Fritz and Victor a cut at all?
SALVATORE
Have you been listening to my private conversations again?
SALVATORE'S ASSISTANT
No, Salvatore. Of course not.
SALVATORE
It doesn't matter if you have. Who are you going to tell? . . . Just don't make a regular practice out of it. But yes, I've considered the possibility that Victor and particularly Fritz need not be kept around any more. I can find two more to take their place.
SALVATORE'S ASSISTANT
Is it that you no longer trust them?
SALVATORE
Maybe. I don't know. Whether or not to keep them around, it's not an easy decision to make. They've served me well.
SALVATORE'S ASSISTANT finishes making the drink, seeing that SALVATORE is going to say nothing more on the matter of FRITZ, VICTOR and their loyalty. He brings the drink to SALVATORE, who takes a gulp from it.
SALVATORE
(to his assistant)
When you're ready, call Hooper. Tell him his half of the money will be delivered today. As soon as my two men bring it in. Tell him everything went according to plan, and there are no problems, nor will there be any.
SALVATORE takes another gulp of his drink. He smiles.

SALVATORE'S ASSISTANT
I'll make the call now, Salvatore.
SALVATORE'S ASSISTANT walks from the room.
SALVATORE
(to himself)
Such good men. Such a shame to lose them. But what can I do?
INT. DR. STEVEN'S OFFICE - NIGHT
DR. STEVENS
When you committed this robbery, Fritz, did you know whose money it was?
FRITZ
No.
DR. STEVENS
It wasn't the Brazilians'?
FRITZ
No. As far as I knew, they were just looking after the money when it came in and before it went out. Somehow, Salvatore got a real good lead. God knows who gave it to him. Chances are whoever it was isn't with us anymore.
DR. STEVENS
Possibly. So, at this point, you had ten million. What did you do?
FRITZ
Nothing, for a bit. We just kind of drove around, waiting. We had time until the next job.
INT. FRITZ AND VICTOR'S CAR - NIGHT
FRITZ is driving.
FRITZ
Where to now?
VICTOR
I don't know. I guess we just drive around for a while.
FRITZ
Whose money do you think we took, anyhow?
VICTOR
Who knows? Not the Brazilians. They were just minding it. They make sure no one fucks with it while they have it.
FRITZ
Which they've failed to do.
VICTOR
It's Salvatore's problem now. If they want it back they'll have to go to him.
FRITZ
Someone, somewhere is gonna be really pissed.
VICTOR
My guess, that person is another crime boss somewhere. And I agree. They will be really pissed once they hear that ten million of their money has gone missing. But it's not our problem. It's Salvatore's. He's used to dealing with shit like this. He does it every day. Hell, Salvatore was born to do it. He fucks with people, but he's a master at dealing with the repercussions. Let Salvatore sweat over it.
FRITZ
Alright. We'll take the cash to Salvatore in the morning. We collect our pay and that's it. We've done our job and we move on.
VICTOR
Exactly. We move on. To the next job Sal gives us. We get our share of the money and we keep on going. Shit Fritz! We're his best men! Why would he doubt us?
FRITZ
Yeah. We are his best men.
FRITZ smiles, now relieved.
VICTOR
Yeah. Why was I worrying?
FRITZ and VICTOR drive off down the street. Their car gets lost in the multitude of cars that fill the city.

                  END PART ONE

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