Int. Upscale Party – Night

We open on a party that is in full swing. This particular party seems rather important, as we see XAVIER BLOOM make his way to the podium. He smiles at the clapping crowd, and makes his way to a podium where all can see him.

XAVIER

Thanks for making it out here tonight. Although we have quite a get together going on here, there is a reason that we are all here tonight. Recently we’ve seen crime rise, and police protection come to an all time low. We’ve seen lawsuits, the number this year broke a record for most in a one-year time frame.

The crowd quietly mumbles in disbelief.

XAVIER

We have become nothing more than a laughing stock of a city. It is now time for us to take immediate action. This will mean the firing of hundreds of decorated officers who have crossed the line. And it will mean bringing in the people of Victoria, to protect it’s own. It will mean a new Victoria. We will change this city’s image. We will make this city a safe place to live again. I thank you all again for coming here tonight, enjoy the rest of the night.

The crowd of onlookers gives quite an ovation to XAVIER as he leaves the podium. As XAVIER walks through the crowd, he notices a man standing in the corner of the room. The man is JOHNS, and XAVIER appears shocked by his appearance.

CUT TO: Office

Both XAVIER and JOHNS have taken seats. The room is dark and seemingly abandoned. No one has been in this room in some time.

XAVIER

Why have you come here tonight?

JOHNS

A ghost from your past has resurfaced. I feel it is my duty to notify you.

XAVIER

Which ghost would that be?

JOHNS

Hitman named Alexander. He seems to be a disgruntled former employee.

XAVIER

I’d imagine so.

JOHNS

He’s out to get you, as I’m sure you’ve already guessed.

XAVIER

What do we do?

JOHNS

He will enter Victoria tomorrow. It’s your choice, either we finish him then or finish him later. Both options are fine with me.

XAVIER

Let’s let him come to us.

JOHNS

Sounds like a plan. Would you like me to stick around for this little situation?

XAVIER

Yes. I’ll let him be your responsibility.

XAVIER stands.

XAVIER

Don’t fuck this up.

XAVIER takes a few steps towards the door.

XAVIER

Next time you show up at one of my parties without my consent, I will feed you your fucking heart. Do you understand?

JOHNS

Perfectly.

XAVIER

Good. Now if you’ll excuse me, I have some people to entertain.

Spotlight Films Presents

A Night Creations Production

FADE IN:

Ext. Boat Docks – Early Morning

We FADE IN on an old dock, with many boats resting on it. The man we will know as ALEXANDER walks off an old, rusty boat. He picks up a black suitcase and slips on a pair of sunglasses, which are also black.

As he walks down the dock many stop to stare, while he never gives anyone a second glance. His face is straightforward and facing his destination, he stands out in any crowd for just that reason.

CUT TO:

Int. Interrogation Room

We are in a dark interrogation room. The room almost looks like it was designed to have men spill the beans just because they couldn’t stand the dark and spooky look of the room.

CHARLIE BROGANS is the only man in the room, and he is anything but spooked. He has a grin on his face that makes you think he likes the room.

CUT TO:

Int. Bedroom In A Large House – Day

We are in a bedroom of a big mansion, the room reflecting the grand nature of it. A frantic PATRICIA BLOOM is walking through the room, searching for something. She walks to a dresser and begins digging through piles of folded clothes.

PATRICIA

(Whispering)

Where? Where? Come on. Come on.

PATRICIA continues to wrestle through the dresser as XAVIER BLOOM enters, wondering what his wife is up to. Despite the rather unusual situation, he calmly walks by without a second thought.

PATRICIA

(Whispering, not knowing Xavier has entered)

Come on.

XAVIER

What?

PATRICIA

(Panicked, she bolts up off the floor quickly)

Nothing baby, just looking for the blue dress.

XAVIER

(Begins to straighten his tie)

That’s in the your closet dear, you know that.

PATRICIA

Oh yes, how could I have forgotten?

XAVIER

No big deal. (Begins to get frustrated with his tie) Could you help me with this?

PATRICIA

Sure honey.

PATRICIA walks into the bedroom bathroom, where XAVIER is trying his damnedest to fix his tie. She wipes a few tears away that we never saw before, and nervously begins to fix XAVIER’s tie.

As her hands shake uncontrollably, it is obvious that she is in distress. XAVUIER grabs her shaky hands, and gives her a hug.

XAVIER

(Calmly)

What’s wrong?

PATRICIA is still shaking as XAVIER holds her. Tears begin to trickle down her cheeks, as she sobs in his arms. XAVIER only stands quietly and holds her, holding back his obvious suspicion.

CUT TO:

Int. Inside A Car, In Front of the Police Station

KEATON is sitting in his black car, staring ahead at nothing. KEATON is rugged in every way possible. The seemingly uncombed hair, looking as if he has only just awoken, the leather jacket that has never seen the dry cleaner, and the bottle of whiskey hanging out of his jacket.

KEATON takes two things from his coat pocket: A cell-phone and a small bottle of whiskey. He takes a swing of the whiskey and dials a number on the phone.

KEATON

(Talking on his phone)

Yeah, connect me to Alexis Sands.

CUT TO:

Int. News Room

We enter a room full of people that are writing stories for a local newspaper. ALEXIS SANDS is a very beautiful woman sitting at a desk, concentrating only on the work in front of her. The phone on her desk rings and she is quick to pick it up.

ALEXIS

(Talking on the phone)

This is Sands.

KEATON

(On the other line)

It’s Keaton.

ALEXIS

Ah, yes, Keaton. Haven’t heard from you in a while.

KEATON

That’s because there’s been nothing to tell. I’ve got some news that you may want to listen to.

ALEXIS

Well, I’m here on the phone with you. Lay it out for me.

KEATON

I’ve found Alexander’s old running mate. His name is Charlie Brogan. I have him in the police station right now, ready for questioning.

ALEXIS

How sure are you that this is an old running mate of our guy?

KEATON

He’s the only man that has been linked to Alexander. I’ve also got a few tips saying Alexander will be back in town this very week.

ALEXIS

Is that so?

KEATON

Yes it is. This is the big scoop. If you want it, let me know right now.

ALEXIS

(Beat)

Get me the scoop and I’ll get it printed. But if the scoop is not there, then you know that I will never accept your calls again.

KEATON

Fair enough then, I’ll contact you when I have it.

KEATON hangs up the phone.

CUT TO:

Int. Interrogation Room

KEATON enters the interrogation room. He puts a cup of coffee in front of CHARLIE and sits down across from him.

CHARLIE

Thanks.

KEATON

Don’t mention it.

CHARLIE

(Takes a drink of the coffee)

How can I help you?

KEATON

I once encountered a man who I believe you once knew. He is quite an infamous man here in Victoria. Might you know whom I’m speaking of?

CHARLIE
Mayor Bloom?

KEATON

(Laughs)

No, not that one. I’m speaking of Alexander; he became quite a story in the newspapers a few years back. Do you remember that craze?

CHARLIE

Yes, I actually do. But from what I hear, the broad made it up. Something about a hitman who was wiping evil out of Victoria. (Takes another drink of his coffee) I never had much dislike for the character, but it just wasn’t realistic.

KEATON

Would you care to elaborate further on that?

CHARLIE

Certainly. The way I see it, Alexander had to be working for someone for it to be realistic. We all know that the hits that were credited to him were on some high profile people, many of which were hardly bad guys.

KEATON

Who would you suggest he was working for?

CHARLE

It always helps to go from top to bottom. And we know who’s at the top of Victoria and the surrounding lands, whatever his title may be.

KEATON

You’re suggesting Alexander killed these men and women for Bloom? That’s quite a bold statement.

CHARLIE

I never said Alexander was real. I only stated that the character would be more realistic if a man with power was using him as a mere puppet.

KEATON

Would it be fair to say that you’re not going to let me in on what the connection with you and Alexander was?

CHARLIE

That would be fair to say.

KEATON

And why won’t you tell me the truth?

CHARLIE

Soon enough all of your questions will be answered. But I am not the one that you need to be asking.

KEATON

Who should I be asking?

CHARLIE

We’ve been sitting here for the last few minutes talking about one man. I think you know who you should be asking.

KEATON stands up and slowly walks to the door.

KEATON

If you decide to let me in on everything, you know where to find me.

KEATON leaves the interrogation room.

CUT TO:

Int. Empty News Room -- Night

Only the custodian and ALEXIS are left in the room. ALEXIS is sitting at her desk, smoking a cigarette. She rustles through her desk, and pulls out two newspapers.

Both look rather old, and have the titles "Alexander: The Man Of Mystery" and "Alexander Strikes Again," both feature long stories with the titles and shadowy drawings of the man—never revealing the face. ALEXIS tosses them into a trash can and leaves her desk.

CUT TO:

Ext. Outside The Police Station

CHARLIE walks out of the station, fixing his black leather jacket. As he looks across the street, he sees ALEXANDER sitting on a bench, staring a hole through him. The two exchange looks. ALEXANDER then stands, and begins walking away. CHARLIE follows as we FADE OUT.

FADE IN:

Int. Brogan’s Bar And Grill – Late Night

We are in what you could easily call one of the more upscale bars that you’ve ever seen. It’s clean, has every kind of drink one could ever think of, and has fantastic dinners to top it all off.

CHARLIE and ALEXANDER are sitting across from each other at a table, silent. CHARLIE is the one to break the silence.

CHARLIE
Last time I checked, hanging out in front of a police station isn’t exactly something a wanted man should make a habit of.

ALEXANDER

I don’t plan on making a habit of it.

CHARLIE

Well good, I hope you don't.

ALEXANDER

I had some business to take care of.

CHARLIE
What kind of business?

ALEXANDER

Just business. I had to make sure you made it out fine.

CHARLIE

Well thanks for the concern.

ALEXANDER

Did you tell him anything?

CHARLIE
Yes, I spoke. Nothing that would put you in a bad position was said, if that’s what you’re wondering.

ALEXANDER

Good. I have a feeling that this guy wants to find me.

CHARLIE

That would be an obvious thing to assume.

ALEXANDER

I’ve never had someone come this close. I think Xavier is involved in this.

CHARLIE

I doubt that. This guy looks like he’s holding a grudge.

ALEXANDER

I’m trying to figure out why. I’ve never had the chance to cross paths with him.

There is a long silence as the two men sit and take drinks of their beers.

ALEXANDER

I’m sorry for involving you in my affairs. I’ll be out of your hair by the end of this week.

CHARLIE

What is it that you plan on doing?

ALEXANDER

Whatever I have to.

As we FADE OUT, ALEXANDER and CHARLIE continue to sit quietly.

FADE IN:

Ext. Alexis’ House, The Porch – Late Night

ALEXIS is sitting on a rocking chair outside her two-story house smoking a cigarette. She has a coat on, which at first look seems to be because of the cold weather. But in reality, she is hiding a pistol under it. As she puts out her cigarette she begins to hear footsteps come down the street.

She takes two steps to the edge of the porch and sees a man walking towards her house. The man is JOHNS and he is in a black and red suit, and has a short buzz-cut and dark stare. ALEXIS walks to her door as JOHNS approaches the house.

JOHNS

(Yelling)

Excuse me miss, I’m looking for an Alexis Sands. Would you happen to know where she might be?

ALEXIS

May I ask why you are looking for Alexis?

JOHNS

I’m looking for someone she has information on.

ALEXIS
Who?

JOHNS

Well, as I hear it, a man has been giving her information on a hitman named Alexander for some time now. I’m simply trying to find this murderer, and any information she could give to me would be very generous.

ALEXIS

I’m sorry, but I can’t help you.

JOHNS

(Turns a bit more serious)

Well if you see Miss Sands, tell her this man holds the key to us ridding the world of a mass murderer. And we will do whatever possible to get our information.

ALEXIS

I’ll be sure to pass the information along to Alexis the next time I see her.

JOHNS takes a picture of ALEXIS out of his coat pocket and shows it to her.

JOHNS

If you want things to be this way then I can’t stop you. It is your own decision how to handle this situation. But I can say that I am not law related. Another thing I can say is, I will find this man, with or without your cooperation. The rules do not apply to me. Keep that in mind. (JOHNS smiles) We’ll be seeing each other again. Hopefully our next meeting can be more productive.

JOHNS walks away from ALEXIS. ALEXIS walks into her house and locks the door. She then makes sure to shut and lock every window. While keeping a close eye on JOHNS as he walks away.

Int. Xavier’s Bedroom – Early Morning

As the word TUESDAY slowly evaporates from the screen, we see XAVIER and PATRICIA BLOOM lying in bed. XAVIER is on the right side, facing away from PATRICIA. His eyes are wide-awake, even though the sun has yet to come out. He takes a look at his alarm clock; it reads "3:18 A.M."

XAVIER sits up, looking like he needs sleep but can’t get any. He gets out of the bed gently, trying not to awaken PATRICIA, and grabs a robe from the bathroom. He slowly walks out of the room, closing the door behind him.

CUT TO:

Int. The Kitchen

XAVIER walks into the kitchen, dragging his feet. He opens the refrigerator and takes a good long look inside it. He takes out a carton of milk. XAVIER takes a seat at a stool and takes a drink from the milk carton.

He puts down the milk after a long drink, and takes a look at this refrigerator, which has several pictures of his wife from years past. He stops and notices them for the first time in quite a while, and notices his wife looks a bit different these days. He runs his hands through his hair slowly, and then picks up his phone and dials a number.

XAVIER

(Talking on the phone)

This is Bloom.

OTHER VOICE

(On the other line)

What on earth are you calling so late for?

XAVIER

I want it done.

OTHER VOICE

What done?

XAVIER

I want him dead. I’ll give you two days.

XAVIER hangs up the phone.

CUT TO:

Int. Alexis’s Bedroom

We are in the bedroom of ALEXIS’s house. There is a small fan blazing straight into her face as she sleeps quietly, fully dressed and with no blankets covering her body. As she turns her body we see a shadow moving behind her. The shadow is from JOHNS, who has taken a seat near the right side of ALEXIS’s bed.

JOHNS clears his throat loudly and wakes ALEXIS. She frantically turns and sees JOHNS, and then quickly reaches for the gun beside her bed—which JOHNS has in his hand at the moment.

JOHNS

Calm yourself down.

ALEXIS rests on her bed, sitting up and looking at JOHNS.

JOHNS

It appears as though my time has been cut in half, and I’ll be needing the information I kindly asked you for last night, now.

ALEXIS

Even if I tell you who this guy is, you’re not going to have any luck getting anything from him that he hasn’t already given to me.

JOHNS

I disagree. I think he’ll tell me quite a bit more than he told you.

ALEXIS

If I give you the name, I’ll never see you again?

JOHNS

If you give me the correct name, I’ll be out of your hair. I’ll even give you back your mini-pistol that you have here. (JOHNS shakes the small gun)

ALEXIS

His name is Keaton, he is a police officer. You’ll find him down at the police station, he never leaves the place.

JOHNS

How can I be sure you’re telling me the truth?

ALEXIS

You can’t.

JOHNS

(Tosses the small pistol to ALEXIS)

Have a good day.

CUT TO:

Int. Inside Charlie’s House – Morning

We open as CHARLIE is walking through the house, scratching his head, and looking for ALEXANDER. He is wearing a dirty bathrobe and yawning. CHARLIE arrives at the living room and sees no one. He walks over to a black leather couch where there is a perfectly folded blanket and a note. CHARLIE picks up the note.

CHARLIE

(Reading the note)

I’m gone, that’s obvious. I thank you for being the friend you have been to me. I will try not to get you involved in this, but it is my fear that you getting involved is inevitable. If you leave town, I won’t hold it against you.

CHARLIE tosses the note aside, and runs his hands over his face

CUT TO:

Ext. Outside The Police Department

ALEXANDER is sitting on the same bench as before reading a newspaper. As people pass, he keeps a close eye on the paper, and is able to see every face that passes. ALEXANDER folds up the paper, and puts it on the bench.

He looks to the right, nothing more than cops arriving at the station and citizens walking the streets. He looks to the left, much of the same. As he lowers his head he notices a man that stands out in the crowd. He takes a closer look, and sees it is JOHNS.

ALEXANDER sits back calmly, and waits. He takes another look, and sees that JOHNS has managed to see him. ALEXANDER watches as JOHNS pulls out a pistol and takes a shot at him. AEXANDER ducks behind the bench and is unharmed.

ALEXANDER

(Pulls out a glock, loads it)

Shit.

As JOHNS runs to ALEXANDER the people scatter, and the police run out from the station. One cop takes a shot at JOHNS, wounding him, JOHNS pulls back and shoots, hitting the man in the head. He then runs from the scene. As we look at the front of the police department, KEATON runs out with a gun in hand.

KEATON

Where did they go?

COP

Down Sixth Street

KEATON runs down the steps, and runs towards the street.

CUT TO:

Ext. Sixth Street

ALEXANDER is running down the street, searching for JOHNS. As he arrives at the back of a car, a shot is fired.

JOHNS

(Yelling)

Come out where I can see you!

Ext. Behind A Van

JOHNS is resting behind a 70’s model van, gasping as the wound in his arm bleeds. There are footsteps approaching the van. JOHNS jumps out and points his gun at ALEXANDER, who is standing in the middle of the street, pointing his at JOHNS.

ALEXANDER

Well, I’m here.

JOHNS

I can see that.

ALEXANDER

(Looking at JOHNS arm)

I bet that hurts.

JOHNS

It’s just a scratch.

ALEXANDER

Why were you at the police station?

JOHNS

Looking for someone. And you?

ALEXANDER

Waiting for someone.

JOHNS

I see.

ALEXANDER

Why are you here?

JOHNS

You bloody chased me.

ALEXANDER

In Victoria.

JOHNS

Helping a friend.

ALEXANDER

With what, if I may ask?

JOHNS

None of your goddamn business.

JOHNS looks over ALEXANDER’S shoulder and sees KEATON running around the corner. ALEXANDER takes a swing at JOHNS, who ducks and hits AEXANDER. KEATON takes a shot at JOHNS, who runs away from the two. KEATON runs to ALEXANDER, and tries to help him to his feet. ALEXANDER punches him.

CUT TO:

Int. Liquor Store

A shot rings out in the store, as JOHNS enters and falls to the ground. The man at the register sees that JOHNS has a gun, and pulls out a shotgun. JOHNS sees the man, and leaves the store.

CUT TO:

Ext. Outside the Store

JOHNS runs down another street, while being shot at by AEXANDER. He runs to the front of a car and takes a seat.

JOHNS

(Breathing heavily)

Fuck.

We see ALEXANDER arrive at the back of the car. He looks under it and sees that JOHNS is sitting at the front of it. ALEXANDER slowly begins making his way to the front, making little or no noise.

ALEXANDER

(At the passengers side of the car)

Come out.

ALEXANDER quickly dives to the front of the car, where JOHNS is no longer sitting. ALEXANDER stands up, and sees that JOHNS has somehow escaped.

CUT TO:

Ext. Street

We see KEATON as he brushes himself off and spits out some blood. As he rises, his phone rings.

KEATON

(Talking on the phone)

This is Keaton.

ALEXIS

(On the other line)

A man came to my house this morning, he’s looking for you.

KEATON

Yes, I’ve encountered him.

ALEXIS

Are you all right?

KEATON

I’ve been better.

ALEXIS

I think something big is going to happen soon. Come to my house so we can talk, this is going to make for a huge story.

KEATON

I’ll be over in an hour.

FADE IN:

Int. Alexis’ House, Living Room – Day

As we open on the inside of ALEXIS’ house, we see that a lot of things remain in boxes. Besides a large television and a big couch, the room looks more like a storage room than a living room. ALEXIS and KEATON are sitting on the couch, ALEXIS cleaning up KEATON’S large cut on his nose.

ALEXIS

Let’s get back to the story. You heard some gunshots, then what?

KEATON

Then I ran outside. Two men, one of them Alexander, were having one hell of a shoot-out. I took a shot at the man who was doing most of the shooting, and hit. He then ran away. Alexander gave chase, so did I. I caught up at them in the middle of Sixth street, where they were talking about something that seemed important.

ALEXIS

Did you catch any of what they said?

KEATON

They weren’t talking as if they were in an environment where they could speak freely. I got nothing out of what I heard.

ALEXIS

Okay. I can have this story out tomorrow. It’ll make the city go wild.

KEATON

I bet it will. Maybe that’s not a good thing.

ALEXIS

Why do you say that?

KEATON

Our city isn’t doing very well these days.

ALEXIS

I can’t say you’re wrong there.

KEATON

I just don’t think this sort of journalism is helping.

ALEXIS

Neither is police brutality.

KEATON

I’m not trying to get into a war of words here.

ALEXIS

Well you sure did set the stage, didn’t you?

KEATON

(Sighs)

I’m just saying… I don’t think I’m going to be able to do this anymore.

ALEXIS

Do what?

KEATON

Give you stories. You’re twisting them up, and making the bad guys look good and the good guys look bad. Alexander, a hitman, has become a martyr for these people because of your articles. Maybe it’s time you do some honest stories.

ALEXIS

People don’t spend their money on this paper for honesty, they want entertainment. Alexander is the most entertaining character I have, and the people respond to him.

KEATON

(Stands up)

I’m finished with this. I will find this man, and you can then report that.

KEATON picks up his coat and leaves as we FADE OUT.

FADE IN:

Ext. Outside Xavier’s House, Pool Area – Day

XAVIER takes a seat at a chair near the pool as a doctor stitches JOHNS up. JOHNS sits quietly, not making a peep, as the doctor does his work.

DOCTOR

You’re quite lucky.

JOHNS

You guys always say that. But in my mild-mannered opinion, a shot in the arm doesn’t make a man feel very lucky.

XAVIER

He’s right, you are lucky.

JOHNS

Well thank you Doctor Bloom for your professional opinion.

XAVIER

You’re lucky he didn’t know why you shot at him.

JOHNS

I thought he did know.

XAVIER

No, he doesn’t. And you’re lucky he didn’t. He would have ripped your heart out if he had known. So you’re lucky.

JOHNS

Since you say it that way, okay, I’m lucky.

XAVIER

Glad we agree.

DOCTOR

(Puts away a few instruments)

That should finish things up.

XAVIER

Thanks Doc. But I’m going to have to ask that you stay for a second or two.

DOCTOR

Anything for you, Mr. Bloom.

XAVIER

Did you hear that, Johns?

JOHNS

Hear what?

XAVIER

He said, "Anything for you, Mr. Bloom."

JOHNS

He did indeed.

XAVIER

That’s called respect. Would you like me to explain the idea of respect?

JOHNS

Sure.

XAVIER

Good then. Respect is doing what I say, when I say it. Respect is getting what I ask done quickly and without a whimper. Respect is not getting into a full fledged shoot-out with the man you are supposed to be talking calmly to. Respect is not coming back to my home empty-handed and getting blood on my carpet. (Stands up) You’ve worn out your welcome.

XAVIER takes out a gun and shoots the DOCTOR. The DOCTOR falls into the pool.

XAVIER

I’m giving you one last chance to right this situation. You’ve fucked up enough for one day, I want you to get your ass away from my house. When you come back, you had better have a good plan on how we get rid of this problem.

JOHNS

I understand, Sir.

XAVIER

Good. Fish that fucker out of the pool and toss his body somewhere. And drain the pool. And then, you may leave.

CUT TO:

Int. Police Department – Night

KEATON is sitting at a small desk inside the police station. He is one of the last men there, the only other officer putting on his jacket on his way out. The phone on the cop’s desk rings, it snaps KEATON out of his daydream.

COP

(Talking on the phone)

Victoria Police. Yes, he’s here. (Puts the phone on his shoulder) Keaton, phone.

KEATON walks over to the man’s desk and picks up the phone. The MAN leaves the office as KEATON begins to talk on the phone.

KEATON

(On the phone)

This is Keaton.

MAN

Someone is looking for you.

KEATON

Who is that?

MAN

Man named Johns.

KEATON

Never heard of him.

MAN

You ought to do some research.

KEATON

Why?

MAN

You shot him today.

KEATON

Did I?

MAN

Yes.

KEATON

And how would you know?

MAN

Well, I was there.

KEATON

Who is this?

MAN

That doesn’t matter. This is a warning. Johns is not happy, and he is looking for you. My guess would be that he’s outside your place of work at this very moment, waiting.

KEATON

Who is this?

MAN

You’ll find out when the time is right. Now, I believe you better start thinking about how you will leave that building without him seeing you.

The MAN hangs up the phone.

CUT TO:

Ext. Beach

XAVIER is walking on a closed off beach that is overlooked by his mansion. As he walks through the foggy weather, he sees something in the distance. As he gets closer, he sees it is a body.

He runs to it and finds that it is the DOCTOR he shot earlier. The shirt is off the DOCTOR, and there is something carved into his stomach. XAVIER looks closely, and reads, "Wrong Move."

CUT TO:

Ext. Outside the Police Station

KEATON walks out of it, gun in hand, looking for JOHNS. He approaches his car, still seeing no one around. He unlocks his car door and JOHNS comes running from behind with a lead pipe. He knocks out KEATON cold.

FADE IN:

Int. Basement – Early Morning

KEATON is tied up in a basement somewhere, with rats crawling around on the ground. A door at the top of a staircase opens, and JOHNS walks down the stairs slowly. JOHNS arrives at KEATON’S body, and snaps his fingers, waking KEATON.

JOHNS

Good morning my good friend. What we have here is a bit of a sticky situation. I’m looking for someone who you may or may not know. The name of this man is Alexander. Does that ring a bell?

KEATON

Where am I?

JOHNS

We’ll get to that soon enough. As you can see, I am obviously in control of this little situation, so when I ask, you answer. I don’t think I need to repeat the question.

KEATON

Everyone knows of him. Why should I be any different?

JOHNS

A little reporter told me that you were the man she got all her Alexander scoops from. And being a policeman, in this city, I had to believe that.

KEATON

Of course.

JOHNS

So now I need to know why you are the only man who seems to have been in contact with him.

KEATON

I’ve never been in contact with him. Our paths crossed once, that’s it.

JOHNS

When did your paths cross?

KEATON

About seven years ago. When Mayor Johnson was assassinated. I saw him at the scene on more than one occasion. I saw him walking through the halls of the Mayor’s house, and followed. He lost me in a split second. I also saw him from the corner of my eye as he shot the Mayor, and soon thereafter disappeared. That’s it. I saw him once on Monday.

JOHNS

Why did you give this information to the reporter?

KEATON

She was the only honest reporter in this city.

JOHNS

Okay. Is there anything else you’d like to tell me about this man?

KEATON

There isn’t anything left to tell.

JOHNS

Are you sure about that?

KEATON

Yes, I’m sure.

JOHNS walks to the stairs.

KEATON

If you’re going to kill me, do it now.

JOHNS

I see no gain in killing you.

KEATON

Then why are you keeping me here?

JOHNS

Because I have a feeling you’re holding back. When you decide to tell me everything, I’ll let you go. But until then, you’ll stay put.

JOHNS walks up the stairs slowly and slams the door.

Ext. Outside The Police Department – Day

As people come and go from the police department, ALEXANDER begins to walk up the large set of stairs leading to the police headquarters.

CUT TO:

Int. Inside The Police Department

ALEXANDER arrives at a desk, where a woman is waiting for him to speak.

WOMAN

What can I help you with?

ALEXANDER

I’m looking for an officer.

WOMAN

Who exactly are you looking for?

ALEXANDER

His name is Keaton.

WOMAN

(Does some typing on a computer)

Mr. Keaton is not here at the moment. If you’d like to leave a message I’d be happy to pass it along.

ALEXANDER

I’d rather not, but thanks anyway.

ALEXANDER turns around and walks to the door, where ALEXIS enters. She walks over to the same desk, asking the same question.

ALEXIS

Really? Well, just tell him to call Alexis. Thanks.

CUT TO:

Ext. Parking Lot

At a parking lot, near the police department ALEXANDER sits and waits. He grabs a pack of cigarettes out from his coat, and lights up one. As he smokes, ALEXIS walks by. She walks over to a car and unlocks it, ignoring ALEXANDER.

ALEXANDER

Would you be Alexis Sands?

ALEXIS

(Looks up)

Yes.

ALEXANDER

(Stands up)

I love your writing. Best place to get the news anyway.

ALEXIS

(Laughs)

Thanks. (ALEXIS pauses) Have we ever met?

ALEXANDER

I don’t think so. However, I do believe you’re looking for me.

ALEXIS

Am I?

ALEXANDER

Yes.

ALEXIS

Who are you?

ALEXANDER

My name is Alexander. You’ve written some stories about me.

ALEXIS

Alexander? THE Alexander?

ALEXANDER

Yes.

ALEXIS

Why are you at a Police department? Aren’t you a wanted man?

ALEXANDER

It’s kind of hard to spot someone you’ve never seen.

ALEXIS

I guess it would be.

ALEXANDER

Our friend Keaton may have gotten himself into some trouble.

ALEXIS

Why do you say that?

ALEXANDER

He shot a man yesterday. That man was looking for him.

A POLICEMAN walks by, and ALEXANDER and ALEXIS don’t make a peep.

ALEXANDER

Maybe it would be best to talk about this elsewhere.

CUT TO:

Int. Inside The Car

ALEXANDER is sitting in the back seat of ALEXIS’ car as she drives.

ALEXANDER

Are there any questions you would like to ask me?

ALEXIS

I don’t really know what to ask.

ALEXANDER

Well I don’t really know how to answer, so just ask anything you need.

ALEXIS

Okay… why are you here again?

ALEXANDER

I’m here to kill a man.

ALEXIS

Who?

ALEXANDER

Xavier Bloom.

ALEXIS

Why would you want to kill him?

ALEXANDER

He must pay a price for what he has done to me. That price can only be death.

ALEXIS

What did he do to you?

ALEXANDER

I can’t answer that question.

ALEXIS

Okay… why were you gone from Victoria for so long?

ALEXANDER

It took me that long to stand on my own two feet. Stop at this curb.

ALEXIS pulls over the car.

ALEXANDER

There will be a blood bath soon. I may survive, I may not. But Xavier Bloom will not be breathing by the end of this. Put that in your paper.

ALEXIS

Have you taken a look at the paper today?

ALEXANDER

No.

ALEXIS

You ought to.

ALEXANDER gets out of the car, and begins to walk down the street. ALEXIS drives away.

CUT TO:

Ext. City Street

ALEXANDER is walking down the street as he passes a newspaper stand. He stops, and takes a look at the paper. The headline "Alexander Returns" is the top story.

CUT TO:

Ext. Beach – Day

As we return to the beautiful beach that almost serves as a backyard to XAVIER’s house, we see the man himself walking. His head hangs low as he walks, in obvious distress. He takes a seat on the sand and lays down. As he closes his eyes, we see a shadow approach. It’s PATRICIA. She walks over and mounts XAVIER. He smiles, and she kisses him.

PATRICIA

How are you doing?

XAVIER

Not that good.

PATRICIA

Why?

XAVIER

I think something bad is going to happen.

PATRICIA

Like what?

XAVIER

I fear you may not be safe here with me.

PATRICIA

That’s nonsense, why would you think that?

XAVIER

(Sighs)

I’ve done some horrible things in my life. They’re all coming back.

PATRICIA

We all make mistakes; you just need to stop thinking about it.

XAVIER

That’s impossible.

The mood changes as PATRICIA’s smile turns quickly in to a look of concern.

PATRICIA

What’s going on?

XAVIER

A man is after me.

PATRICIA

Why?

XAVIER

I betrayed him.

DISSOLVE TO:

Int. Basement – Day

As we see that KEATON is still sitting, tied up, JOHNS walks down the stairs.

JOHNS

Have you thought of anything?

KEATON

No.

JOHNS

Do you really want to do things this way?

KEATON

Yes.

JOHNS

(Laughs)

I could keep you down here for weeks. Do you want to die down here?

KEATON spits on JOHNS.

JOHNS

Okay then, have it your way.

JOHNS slowly slides off his jacket, stretches, and smiles.

JOHNS

This is going to be fun.

JOHNS picks up a baseball bat and raises it high.

KEATON

Wait!

JOHNS

(Bat still raised high)

What?

KEATON

Put that fucking thing down.

JOHNS

You have something to tell me?

KEATON

Yes, I have something to tell you.

JOHNS

(Drops the bat)

Good thinking. So, what do you have for me?

CUT TO:

Ext. Charlie’s House, Porch – Day

Charlie is sitting outside his house, smoking a cigarette. A black car pulls up into his driveway. Charlie stands there filled with curiosity. XAVIER gets out of the driver’s side and walks to the porch. CHARLIE stands staring, saying not a word.

XAVIER

How’s life treating you?

CHARLIE

I can’t complain.

XAVIER

Good to hear.

CHARLIE

Sure.

XAVIER

You know why I’m here.

CHARLIE

Yes, I do.

XAVIER

Can we talk inside?

CHARLIE

(Flicks the cigarette from his hand)

Sure.

CUT TO:

Int. Inside Charlie’s House, Kitchen Table

CHARLIE and XAVIER are sitting at the small kitchen table across from each other talking.

XAVIER

Nice place you have here.

CHARLIE

Not as nice as yours.

XAVIER

Maybe. But from what I hear, it’s hard to get a place when you’re an ex-con.

CHARLIE

Normally it is.

XAVIER

But this is an exception?

CHARLIE

I guess you could say that.

XAVIER

Any idea why this is an exception.

CHARLIE

I have a few.

XAVIER

Have you told your friend about these ideas?

CHARLIE

No.

XAVIER

Oh, I could see why. In a matter of speaking, I’m paying for this cozy little place.

CHARLIE

Why do you say that?

XAVIER

(Laughs)

Come on, you didn’t really think that your record was cleaned up on accident, did you? And that card you got, your last day, I think we had established it all then and there. I’ve handled my part of the deal, while you haven’t.

CHARLIE

I wasn’t aware there was a ‘deal.’

XAVIER

(Becomes angry)

I’ve done nothing but help you. I got you a way out of the life you were living. All I asked was that you tell me if that man ever returned.

CHARLIE

What man?

XAVIER stares into the eyes of CHARLIE looking like all he sees is red. Both men jump up quickly with pistols in hand, pointing at one another.

CHARLIE

Did you really think I would let you come into my home and kill me without a fight? I may be old, but I’m not stupid.

XAVIER

I have to disagree with you there. You have a chance to join me right here and now, and you’re doing the stupid thing. You’re also doing the thing a few dead men have done before you. Just because you’ve killed many more than I have doesn’t mean I’ll hesitate to blow your brains all over this shitty wallpaper.

CHARLIE

(Slams the gun down on the table)

Then do it.

XAVIER

Is this really the path you want to choose?

CHARLIE

You don’t have the balls to kill a man face to face. You were born with a silver spoon in your mouth. You don’t know what work is. You don’t know what passion and heart is. You only know what has been given to you.

XAVIER

Okay then.

CHARLIE hits XAVIER in the arm as XAVIER shoots. CHARLIE takes a swing at XAVIER who ducks, and hits CHARLIE. He falls to the ground and groans loudly. We see that he has in fact been shot, on the left breast.

XAVIER

(Kneels down to CHARLIE)

You’ll never have to worry about money again. One job and you never have to work another day.

CHARLIE

(Spits on XAVIER)

Fuck you.

XAVIER stands up. He takes a small handkerchief and wipes the spit from his face.

XAVIER

Then you will die like this, lying in a pool of blood, with me as your only company.

XAVIER picks up his gun and cocks it.

XAVIER

Goodbye Charlie.

XAVIER shoots CHARLIE in the forehead. XAVIER then coughs, puts his gun away, and walks into CHARLIE’S living room. He picks up a phone, and dials.

XAVIER

Hello, may I speak with Mr. Keaton?

VOICE

(Other side of the phone)

Mr. Keaton hasn’t made it in today.

XAVIER

Oh, then get me… Jack Price. Yeah, get me Jack Price.

VOICE

Okay, I’ll connect him with you.

XAVIER

(Waits, becoming annoyed)

Jack?

PRICE

This is Jack.

XAVIER

This is Xavier Bloom.

PRICE

Hey Xavier, what can I do for you?

XAVIER

I have a situation that needs to be cleaned up.

PRICE

Dead body?

XAVIER

Yes, one.

PRICE

How many shots?

XAVIER

Two.

PRICE

Okay, we’ll get someone down there. We’ll call it a failed robbery.

XAVIER

I appreciate it.

PRICE

No big deal.

CUT TO:

Int. Basement

KEATON and JOHNS are sitting as we left them.

KEATON

I know something that no one else knows.

JOHNS

I’m listening.

KEATON

Alexander had a family.

JOHNS

Sounds interesting.

KEATON

They were murdered just before he disappeared.

JOHNS

And?

KEATON

I think someone figured out who he was and went looking for him. They took his family to make a statement. I think they believed he would come back at them in full force and fall into a big trap. But he never came.

JOHNS

And these men are?

KEATON

I don’t know.

JOHNS

Is that all?

KEATON

That’s all.

JOHNS

Jesus Christ, you’re the police, you should know more than that.

KEATON

As I said, that’s all I know.

JOHNS

And you thought I would just let you go?

KEATON

No.

JOHNS

Well, I won’t.

KEATON

I want to know what you know.

JOHNS

And why would I reveal what I know to an old, dirty cop? You clean up messes, that’s all you do. You’re supposed to be a detective. I’ve seen you at work, you lousy piece of shit.

KEATON

If I’m going to die here today, I’d at least like the common courtesy of knowing why.

JOHNS

The second you took a shot at me you stripped yourself of that common courtesy.

KEATON

That was you, wasn’t it?

JOHNS

(Pulls down his shirt and reveals the scar the shot left)

Yes, it was.

KEATON

Why are you after Alexander?

JOHNS

That’s none of your fucking business.

KEATON

All I ask is for the empty spaces to be filled before you kill me.

JOHNS

That is fair enough.

JOHNS picks up the baseball bat.

JOHNS

(Pounds the baseball bat on his hand)

Funny story actually. Really amusing. I was just a teen when I encountered Alexander. Seventeen to be exact. I lived with my father. He was a hard working man. He had somehow brought me to America and gotten us a nice place to live. It happened one night in December.

CUT TO:

Int. Cabin – Night

A younger JOHNS is sitting on the ground of a candlelit cabin. The fireplace only adds to the cozy nature of it. Sitting across from him on the ground is his older father, who has a gleaming smile. Both men are playing poker, with multi-colored plastic chips and all.

JOHNS

(V.O.)

It was our first real vacation. Nice log cabin in winter. We had planned to spend two weeks in it. The first night would be our last.

JOHNS’ FATHER shuffles the cards as YOUNG JOHNS takes a drink from his hot chocolate. But as YOUNG JOHNS puts the hot chocolate back down, we see a man walking up behind him slowly. His father finally notices, but it’s too late. ALEXANDER surfaces and hits YOUNG JOHNS over the head with a metal object.

JOHNS

(V.O.)

The hit was enough to temporarily paralyze me. You see, my father was involved in a case against the police department. He witnessed the savage beating of a black man. My only guess now is that Xavier Bloom hired him. I had to watch as my father was beaten to death with a lead pipe.

CUT TO:

Int. Basement

JOHNS pounds the bat on his hand some more, and walks around the chair in which KEATON sits.

JOHNS

So you know now.

KEATON

Who is he after?

JOHNS

Xavier Bloom. But what he doesn’t know will get him killed.

JOHNS stops behind KEATON.

JOHNS

Consider yourself spared.

JOHNS hits KEATON in the back of the head with the bat as we FADE OUT.

FADE IN:

Ext. Outside Charlie’s House – Night

Lights are flashing all over the place as we see the police occupying CHARLIE’S house. Three cop cars sit in the driveway and street. Cops going in and out, carrying bags full of cocaine. As one cop exits the house he is stopped at the street by ALEXANDER, who has just arrived at the scene.

ALEXANDER

What has happened here?

COP

A man was killed in there. Probably some junkie. Looks like the man who died was a cocaine dealer. No loss there.

ALEXANDER

What was the man’s name?

COP

Charlie… B, something starting with a B.

ALEXANDER

Thanks.

COP

Don’t mention it.

As the Cop walks away, ALEXANDER takes one last look at the house, and walks away.

CUT TO:

Int. Charlie’s House – Late Night

The cops have finally abandoned the house, and only a few things remain unscathed. The house looks as if it was hit by a tornado. ALEXANDER is walking in the house, picking up the few things left. As he walks through the rubble, he finds a picture of CHARLIE that is framed. The frame is broken, but the picture remains. ALEXANDER smashes the frame, and takes the picture out.

ALEXANDER

(Looking at the picture)

I will have my revenge twice over now.

ALEXANDER puts the picture into his jacket.

ALEXANDER

(Takes a book of matches from his jacket)

I will no longer let them walk all over your dream. You’re free now.

ALEXANDER picks up a gas can and dumps gasoline all over the house. He then lights a fire, and walks out.

FADE IN:

Ext. City Street – Morning

As he opens his eyes, KEATON sees a woman standing aside him. As she speaks, her words don’t seem to make sense. KEATON shakes his head, and the words become clear.

WOMAN

… all right?

KEATON

What?

WOMAN

Are you all right?

KEATON

(Takes a look around)

Am I dead?

WOMAN

No…

KEATON

Good, that’s good.

WOMAN

A man drove up and kicked you out of his car.

KEATON

How ‘bout that.

KEATON stands up.

WOMAN

He said something to me.

KEATON

What did he say?

WOMAN

He said, "Tell him, when he awakens, that it all goes down tomorrow."

CUT TO:

Int. Police Department – Morning

As we look around the full as usual police station, KEATON begins to walk through the crowd. People begin to take notice, seeing his black eyes and limping walk.

He walks to the end of the police station, and enters the office of JACK PRICE. PRICE (William Fitchner) is sitting at his desk, shuffling through a few documents.

PRICE

What happened to you?

KEATON

(Flops down onto a chair)

I’ve had a long day.

PRICE

Yeah, sure looks like it.

KEATON

A man with a particular hate for Alexander and our Mayor kidnapped me. I think he’s going to do something.

PRICE

Like what?

KEATON

I think he’s going to kill them both.

PRICE

That would be something easy to assume.

KEATON

What are we going to do?

PRICE

(Sighs)

Let me fill you in on something.

KEATON

I’m listening.

PRICE

These men, in this department, they want him dead.

KEATON

The Mayor?

PRICE

Yes.

KEATON

Why?

PRICE

Our Mayor made a little speech about how he was going to tear our little establishment apart. He wants to get rid of these officers.

KEATON

Why would he want to do that?

PRICE

They know too much about him. You and I both know that if he has his way, we’ll both be gone by Christmas. He wants us off his hands. He wants the blood off his hands.

KEATON

Is it your intention to let these murders take place?

PRICE

My hands are tied.

KEATON

(Stands up)

We can’t let this happen.

PRICE

Why not?

KEATON

It’s not right?

PRICE

Why is it not right? What has he done for you?

KEATON

He does not deserve to die.

PRICE

You obviously weren’t there when we were cleaning the skull off the walls of the Sutherland household five years ago, were you? I know you weren’t there yesterday, when I cleaned up another of Xavier’s messes. This man deserves to die.

KEATON

It’s your job to stop it.

PRICE

(Yelling, angered)

I know what my fucking job is. It’s you who can’t figure it out. (Calms down) This is the only way to ensure that these hard working officers have jobs.

KEATON

These men are despicable. These men are raciest, criminal, bastards who you use to hide behind. You think you have these men under control. Just wait until they figure out that they’re being duped. There will be a day of reckoning for you.

PRICE

That’s enough. Get out of my office.

KEATON storms out of the office. As he walks through the department, he sees officers staring at him. They don’t look the least bit happy at his comments.

CUT TO:

Int. Xavier’s House, Library – Day

As we open on the extravagant library, KEATON rushes in with XAVER following. XAVIER shuts the door behind him. The library is uncharacteristically dark, with only a few dim lights.

XAVIER

Take a seat. Let’s talk.

XAVIER sits down at a desk.

KEATON

Alexander will be coming here tomorrow to kill you.

XAVIER

Why would you think that?

KEATON

A man named Johns told me.

XAVIER

Johns? What did he have to say?

KEATON

He wants both of you dead.

XAVIER

I’d imagine he would.

KEATON

He kidnapped me, kept me in a basement.

XAVIER

I hope there wasn’t any sodomy involved.

KEATON

No, there wasn’t.

XAVIER

Good to hear.

KEATON

What do you plan on doing?

XAVIER

What would you advise I do?

KEATON

Get an army here, to catch these men.

XAVIER

Where would I get an army?

A long silence passes, as KEATON sighs and has no answer.

XAVIER

I have no allies in this situation. I have only enemies.

KEATON

What did you do to these men?

XAVIER

Enough for them to want me dead.

KEATON

What will you do tomorrow?

XAVIER

I’ll let them come. If they want me dead, then they will truly have to put forth the effort to do so. I will not let them kill me without a fight.

KEATON

(Stands up)

I believe I should be going.

XAVIER

Yes, you should be.

KEATON

I hope you can come out of this with your life. But I cannot see that happening.

KEATON leaves the library as XAVIER shakes his head, frustrated. He stands up, still in a bit of a daze, and walks over to a large bookshelf. He skims through books, like he is looking for a particular title.

His finger stops—at the holy bible. He takes it off the bookshelf and sits down in a chair. He opens it, the book still looking fresh, new. As he begins to read, PATRICIA enters.

PATRICIA

I figured you’d be in here.

XAVIER

You figured right.

PATRICIA

What are you reading?

XAVIER

The bible.

PATRICIA
you never have been very religious…

XAVIER

I need all the help I can get.

PATRICIA shuts the door of the library, and finally reveals her face, which has not been seen yet. Neither face is very clear in the dim room.

PATRICIA
Is this about the man you told me about?

XAVIER

I’m afraid so.

PATRICIA

Why do you worry about such a thing? We’ve got top of the line security.

XAVIER

I had three guards quit today.

PATRICIA

I though we only had three?

XAVIER

We did.

PATRICIA

(Sits down)

What’s going on?

XAVIER

Something is going to happen tomorrow. Something bad. You’re going to have to leave this house.

PATRICIA

What is going to happen?

XAVIER

Some men are coming to kill me. I must fight them.

PATRICIA

Are you serious?

XAVIER

I wish I wasn’t.

PATRICIA

What are you going to do?

XAVIER

I’m going to gather every gun I have. I’m going to load every gun I have. And then I am going to sit in this room and wait.

PATRICIA

(Crying)

We could call the cops.

XAVIER

The cops are corrupt. I’ve made the decision to demolish that department. They will no longer help me. I’m alone in this.

PATRICIA

(Walks to XAVIER, sits on his lap)

No you’re not. I’m here.

XAVIER

I can’t have you be here tomorrow.

PATRICIA

I won’t leave.

XAVIER

Yes you will.

PATRICIA

I won’t leave you.

XAVIER

Don’t do this to me.

PATRICIA

(Yelling)

I will not leave you here!

XAVIER

Do you not understand that you will die here if you stay? They will search for you, and they will kill you. They will try to weaken me at the cost of your life. You will leave tonight. And you will not come back until this is over.

CUT TO:

Ext. Outside Xavier’s House

We see that PATRICIA has a suitcase and she is ready to leave. A limousine pulls up as she wipes away her tears. She looks up and sees XAVIER at a window, looking at her. He walks away from the window after exchanging a glance with her.

CUT TO:

Int. Inside The Limousine, Highway

As PATRICIA sits in the back, she frantically looks through her bag. As she digs through, the tears still drip down from her eyes. She stops as she finds what she’s looking for. She pulls out a tiny plastic bag that contains cocaine.

She sticks her finger into the bag and takes a small pile out. As she puts it to her nose, the driver’s window goes down. PATRICIA tosses the drug aside.

DRIVER

Where are we headed?

PATRICIA
Hotel, just get me a good one.

DRIVER

Yes ma’am.

The DRIVER rolls the widow back up.

CUT TO:

Int. Driver’s Seat

The DRIVER is an overweight man, and the uniform does not flatter his look. As he drives on a two-lane road, he notices a man in the lane he is driving in ahead.

He slows down, not knowing what the man is doing. He stops on the side of the road, the man approaches his window.

DRIVER

What are you doing out there?

We see the man is JOHNS.

JOHNS

There’s been an accident up ahead.

DRIVER

How bad?

JOHNS

There appears to be a few dead. I don’t have a phone.

DRIVER

(Reaches down for his phone)

I’ll make the call.

JOHNS

(Pulls out a gun)

No need.

JOHNS shoots the driver.

CUT TO:

Ext. Alexis’ House, Porch – Night

ALEXIS is sitting on an old chair smoking a cigarette, looking like she’s thinking about something. As she takes her last puff and puts it out, KEATON walks to the porch.

ALEXIS

Hello Keaton.

KEATON

Hello.

ALEXIS

(A long silence passes)

What can I do for you?

KEATON

I don’t know if there’s anything you can do for me.

ALEXIS

Then why are you here?

KEATON

I don’t know.

ALEXIS

(Smiles)

Come in.

ALEXIS walks into the house.

CUT TO:

Int. Inside The House, Living Room

As ALEXIS enters, KEATON follows. ALEXIS turns around for the first time and sees the bruises on the face of KEATON.

ALEXIS

Jesus Christ, what happened to you?

KEATON

Don’t worry about it.

ALEXIS

It looks pretty bad.

KEATON

Feels that way too.

ALEXIS

Sit down. I’ll get you some ice.

KEATON

You don’t have to—

ALEXIS

Yes I do.

ALEXIS walks into the kitchen and opens the freezer.

KEATON

I haven’t noticed many Alexander stories lately.

ALEXIS

That’s because I quit.

KEATON

You quit the paper?

ALEXIS

Yes. I’m going to write a book.

KEATON

I didn’t figure they’d let you go.

ALEXIS

(Brings KEATON an ice pack)

I didn’t figure they would either.

KEATON

(Rests the ice pack on a rather large bump on his forehead)

It’s good to hear you’re moving on.

ALEXIS

Thank you. That means a lot to me.

KEATON

You deserve it. I was wrong to say what I said. I wanted you to know that, before…

ALEXIS

Before what?

KEATON

Tomorrow.

ALEXIS

Why?

KEATON

Don’t worry about it.

ALEXIS

Is that when it’s happening? You have to tell me.

KEATON

I don’t know what’s going to happen. I just know that I’ll be there.

ALEXIS

Who did this to you?

KEATON

His name was Johns. He said you told him I was your source.

ALEXIS

I’m so sorry.

KEATON

It’s not your fault. I’m guessing he didn’t simply ask kindly.

ALEXIS

What are you going to do?

KEATON

I don’t know. I just want you to know that I appreciate your friendship. I could only hope that someday I could find a kind person like you to be with forever.

KEATON groans and drops the ice pack. ALEXIS picks it up and puts it gently back against his face.

ALEXIS

You don’t have to do this.

KEATON

Yes I do. It’s all I have left to give. This may be my last stand, but I will make it a spectacular one.

ALEXIS

Please. Don’t do this.

ALEXIS moves closer to KEATON. She then kisses him.

ALEXIS

You don’t have to do this anymore. You can be free again.

KEATON

I can never be free with this on my conscious.

CUT TO:

Int. Xavier’s Library

As XAVIER sits in the library, the lights still dim, he loads his shotgun with shells. As we pull away, we see the vast arsenal of weapons he has from pistols to grenades.

FADE IN:

Int. Alexis’ House, Bedroom – Morning

As ALEXIS lays on the bed, KEATON ties his shoelaces. He then stands and takes a last look at ALEXIS, who is still asleep. He then leaves the room quietly.

CUT TO:

Ext. Outside the House, The Porch

KEATON leaves the house and walks to his car. He reaches into his pocket, but can’t seem to find his keys. He sighs and walks back to the porch. ALEXIS is waiting at the door, dangling the keys.

ALEXIS

Looking for these?

KEATON

Yes.

ALEXIS

(Tosses the keys to KEATON)

See you soon.

KEATON smiles and walks back to his car.

CUT TO:

Ext. Outside Xavier’s Mansion, Outside the Entrance

KEATON has parked his car outside the mansion’s gates, and is waiting for something to happen. He loads a clip into his gun as he waits, smoking an expensive cigar.

CUT TO:

Int. Police Department – Day

As we see the police department in the normal swing of things, ALEXANDER enters. No attention is paid to him as he walks to the same woman he talked to before. His look is normal, except for a large trench coat he is making a point of keeping shut.

WOMAN

Can I help you?

ALEXANDER

Yes, you can.

WOMAN

What can I do for you?

ALEXANDER

(Voice lowers to a whisper as he leans over the counter)

Something bad is about to happen. I have a lot of things I am ready to do at this moment, and one I do not intend to do is kill you. So if you would kindly walk out the door, without a scene, I will let you go.

WOMAN

Are you serious?

ALEXANDER

(Opens his coat a bit to reveal quite an arsenal)

I don’t think I need to say anything more than that.

The WOMAN suddenly has a look of extreme concern on her face. She thinks of saying something to warn the others, but ultimately walks out quietly. ALEXANDER now takes the long walk through the station to JACK PRICE’s office. He walks in.

CUT TO:

Int. Price’s Office

PRICE looks surprised to see ALEXANDER, but not knowing him, he is not uneasy.

PRICE

(With a look of confusion)

I’m sorry… but I wasn’t expecting anyone.

ALEXANDER

No reason to apologize.

PRICE

Do we have an appointment that I don’t know about?

ALEXANDER

Yes, we do in fact.

PRICE

Okay then. Can I get your name?

ALEXANDER

My name is Jake.

PRICE

Jake…

ALEXANDER

… Sutherland.

PRICE

Sounds familiar.

ALEXANDER

I would hope it does.

PRICE

Have we met?

ALEXANDER

No, but you’ve met my family.

PRICE

Okay… and their names are?

ALEXANDER

My darling wife Ellen, and my beautiful daughter Jennifer.

PRICE

Ellen and Jennifer Sutherland. Now, I know those names from somewhere.

ALEXANDER

Give it some time to sink in.

PRICE begins to think about it, and suddenly looks as if he’s grasped who the names belong to. Even more suddenly, he realizes who ALEXANDER is. ALEXANDER notices the look of pure fear and stands.

ALEXANDER

(Pulls out a silenced pistol from his coat)

If only I could forget as quickly as you have.

PRICE

Wait—

ALEXANDER pulls the trigger and kills PRICE, the shot only making a small peep of a sound. ALEXANDER puts the gun away, and opens the door.

CUT TO:

Int. Outside The Office

As ALEXANDER exits the office, he notices not a person looking at him. If a person would simply glance, they would see a man’s blood, skull, and brains all over him. Finally, a cop takes a look. The cop freezes up in shock.

ALEXANDER

(Yelling)

May I have your attention please?

The whole room now sees ALEXANDER. A pin dropping to the floor could be heard in this silence.

ALEXANDER

It is now over for all of you. I hope you enjoyed life while it was still yours to live.

ALEXANDER pulls out two automatic guns and furiously shoots up the place, with not a hint of return gunfire. All the cops have hit the floor and are simply trying to avoid him. The gunfire stops as ALEXANDER reloads. He walks up to three men in uniform who are lying on the ground.

ALEXANDER

I gave you a chance to fight. You passed on that chance. Now you will die, as a coward, trying to hide from only one man.

ALEXANDER shoots the three men point blank, killing them. He walks across the station, all men and women down on the ground, waiting to die. He stops at the door.

ALEXANDER

This will not be the end of it. You all have death coming to you.

CUT TO:

Ext. Outside The Police Department

ALEXANDER walks out slowly, not a care in the world. The people walking the streets pay no mind to him as he walks. The WOMAN he let leave the room is sitting on the sidewalk crying. He walks to her.

WOMAN

(Crying)

Please don’t kill me.

ALEXANDER

I want you to remember this day. I let you go. You remember that.

ALEXANDER gets into a black car and drives away. As he speeds away, people rush to the entrance of the police station. They gasp as they enter.

DISSOLVE TO:

Ext. Xavier’s Mansion, The Gate – Night

As we see that night has come, we also see KEATON is still in his car waiting. He looks like he is growing tired of waiting, and decides to find something to drink. He reaches into his glove compartment and finds a small bottle of whiskey. But when he sits back up, he finds a gun pointed at his head. ALEXANDER is at the door, with a gun in hand.

ALEXANDER

Why are you here?

KEATON

Because I choose to be.

ALEXANDER

You’ve chosen a bad place to be on this night.

KEATON

You don’t scare me.

ALEXANDER

(Puts his gun away)

And you don’t scare me.

KEATON

Why are you doing this?

ALEXANDER

Because I choose to.

A gun goes off and both men scramble. Alexander shoots KEATON, hitting him in the shoulder.

ALEXANDER

(Yells)

Why did you do that?

KEATON

(Breathing hard)

I didn’t do anything!

ALEXANDER looks up to the roof of the mansion and sees a man standing there. It’s JOHNS. ALEXANDER walks away from KEATON and climbs the gate.

CUT TO:

Int. Inside the Mansion

ALEXANDER knocks the door off its hinges and walks in. The house is dark and there seems to be no inhabitants. ALEXANDER takes a few more steps, but hears another gunshot go off.

XAVIER

(Yelling from the library)

Come and get me!

ALEXANDER listens as XAVIER unloads rounds into the air in the library. He walks up a grand staircase, which leads to a hallway.

As he walks down the hallway, he finds it easy to find the library. It being the only room with half the door shot off. ALEXANDER puts his back against the wall next to the door.

ALEXANDER

You’re making this far too easy.

XAVIER

Well, even in a time like this, it’s always nice to be hospitable.

ALEXANDER

This is going to end bad for you.

XAVIER

And worse for you.

ALEXANDER

Maybe.

ALEXANDER turns and shoots at XAVIER through a hole in the door. XAVIER ducks and takes cover. ALEXANDER knocks what is left of the door to bits and walks in. He shields himself behind a shelf.

XAVIER

You think it’s going to be that easy?

ALEXANDER

Why did you do it?

XAVIER

Do what?

ALEXANDER

You killed my family.

XAVIER

Keep saying that, it may become true someday.

ALEXANDER

You know what you did. You know what you’re responsible for.

XAVIER

I made the call; that’s it. I gave you a chance to leave town, but you decided to stay and risk all that you had.

ALEXANDER

You betrayed me.

XAVIER

And you betrayed me.

ALEXANDER

I’ve heard enough.

ALEXANDER jumps out and shoots ferociously at the area in which XAVIER takes cover. He walks over to the desk slowly, creeping up on his destination.

When he arrives, XAVIER falls backwards and to the ground. He has been shot several times. As XAVIER lays and chokes on blood, ALEXANDER sizes him up.

ALEXANDER

You left me with nothing but my own life. Now I’ll do the same. But in return, I ask that you give me one detail. I want to know who pulled the trigger.

XAVIER

(Laughs)

Johns.

CUT TO:

Ext. The Gate

KEATON is lying on the ground bleeding as a car drives up. ALEXIS exits the car and runs to KEATON, crying.

KEATON

(Whispering)

I’m okay. I’m okay.

ALEXIS

Why did you have to do this?

KEATON

(Raises his hand)

Help me.

ALEXIS helps KEATON to his feet.

KEATON

(Puts another clip in his gun)

I’m going to finish this now.

CUT TO:

Ext. The Roof

ALEXANDER walks out from the house and on to the roof through a stair entrance. JOHNS is standing in plain view, waiting. ALEXANDER walks slowly; thinking JOHNS may be up to something.

ALEXANDER

You have no business here.

JOHNS

Yes I do.

ALEXANDER

I will let you go, just leave.

JOHNS

(Laughs)

You’ll let me go? You are truly a hoot and a holler.

JOHNS reaches down and pulls PATRICIA up by the hair. He puts a gun to her head.

ALEXANDER

Leave her out of this.

JOHNS

I have a score to settle as well. Sorry Patricia, you’re dead.

JOHNS shoots PATRICIA in the head, and lets her drop to the ground.

ALEXANDER

Why did you do that?

JOHNS

To get her out of the way. We have some talking to do.

ALEXANDER

Do we?

JOHNS

I assure you, we do. A couple of years back, you may remember, we met.

ALEXANDER

I remember it clear as day.

JOHNS

I had you.

ALEXANDER

Yes, you did.

JOHNS

You escaped.

ALEXANDER

Not before leaving you a castrated mess.

JOHNS

That’s funny. That’s real fucking funny.

JOHNS reaches for his gun and ALEXANDER shoots. He misses, and JOHNS slips down to the end of the gutters. He holds on, however. As ALEXANDER takes a few steps forward, KEATON jumps out from the roof entrance.

He shoots ALEXANDER in the back. ALEXANDER falls and hits JOHNS on the way down. They both tumble from the rooftop and fall into the pool.

CUT TO: The Pool

It begins to turn red again from blood, as ALEXANDER tries to stay above the surface. As he tries and tries to stay afloat, he finds that there is no use. He begins to sink. Just then, ALEXIS jumps into the pool. She grabs ALEXANDER and drags him to the shallow end.

As ALEXANDER begins to lose consciousness, he sees JOHNS. JOHNS shoots ALEXIS in the chest, and she falls back into the pool. JOHNS then disappears, as KEATON comes running. Grimacing as he runs, he sees ALEXIS floating in the water. He jumps in and picks her up. He holds her in the pool that has turned to red as we back away from the scene.

ALEXIS – Voice Over (VO)

Although his revenge had not been totally satisfied, he lay in the pool of blood and slept. For the first time in years, he slept. The police department was revamped, and given a new everything. It was under the orders of the new Mayor James Keaton that this action was taken. Rumors swirled about after the event at Xavier’s mansion. Many said they had seen Alexander, a man supposed to be dead, walking the streets. Many rumors suggested that not only was Alexander not dead, but that Keaton had granted him death without death. No one really knows if Alexander died. But most believe one thing…

CUT TO:

Ext. City Building Rooftop

We see ALEXANDER standing at the top of a building, looking over the city.

ALEXIS – VO

… He once saved a city in need.

The End

Directed By

David Fincher

Produced By

Night Creations

T H E C A S T

Christian Bale … Alexander

Nicolas Cage … Xavier Bloom

Cillian Murphy … Johns

Al Pacino … Charlie Brogan

Gabriel Byrne … Keaton

Michelle Pfeiffer … Alexis Sands

Edie Falco … Patricia Bloom

William Fitchner … Jack Price

Executive Producer

Domination MVP

Creative Work

Night Creations

PixelPunk Creative

Domination MVP

Edited By

Factual Films