The Plagues of Egypt

Screenplay by
Joseph Michael Mazzarini

Pilot

Draft 9.14.2009
EXT. - CEMETERY - NIGHT

Insert: April 8, 2020

We open on the large menacing face of a STONE ANGEL. The

center of a graveyard. It’s too dark out. Several idle car
headlights and several small fires that burn in the middle of
the road are the only light other than the full moon. LOOTERS
run in the background. Distant SHOUTS are heard.

All of the dark houses on this street have blood smeared

across their outer door frames. April 8, 2020 is the first
night of Passover. And a full moon.

INT. - OMNI WILLIAM PENN HOTEL - NIGHT

The hotel hallways are totally deserted. They are dark but
for the sparse light of the exit signs. A DARK FIGURE walks
down the hall toward a door with the PRESIDENTIAL SEAL on the
carpet in front of it. He reaches the door. Enters.

INT. - OMNI WILLIAM PENN HOTEL - ROOM - NIGHT

The room is lit very dimly. The obscured PRESIDENT sits

behind his desk with his forehead in his hands. We cannot see
his face. Through the windows behind him the city sits in
blackout. The man behind the desk looks up slowly.

PRESIDENT
I knew you’d be here.

A hand raises holding a gun. The man behind the desk lowers
his head.

END TEASER

EXT. - DOWNTOWN FEDERAL BUILDING - NIGHT

Insert: September 27, 2014

A YOUNG MAN (27) walks down the front steps of the large
stone building carrying several stacked boxes. On his left is
a MIDDLE AGED WOMAN carrying a slightly smaller stack of
packages. The young man hits the curb and hails a cab. He
places the boxes in the back of the cab.

MIDDLE AGED WOMAN

Thanks so much, Rich. Are you sure
you don’t want a ride?
 2.

RICH
You’re headed east.

MIDDLE AGED WOMAN

It’s no problem.

YOUNG MAN
I like to walk.

The woman hugs the young man and gets in the cab. The young
man shuts the door and bends in the front passenger window.
He takes out his wallet and hands the DRIVER money as the
woman protests.

MIDDLE AGED WOMAN

Rich!

RICH
Now, I want you to take this pretty
little lady any place she wants to
go. (winks)

MIDDLE AGED WOMAN

No Rich! No!

Rich smacks the roof of the cab and it drives off. The young
man watches for a moment then starts down the street in the
opposite direction.

INT. - DOWNTOWN BUILDING - NIGHT

CAMERON BRADFORD (48) an unmovable object, sits behind a

large heavy wooden desk and commands the empty room with his
presence. The city sits small out the window behind him. ERIC
LYNN (43) silent observer with totally indifferent eyes,
steps into the office.

LYNN
Sir?

Bradford finishes the sentence he is writing and signs his

name to the bottom of the document. He hangs this way for a
moment.

LYNN (CONT’D)
How are you feeling?

Bradford answers without lifting his head.

BRADFORD
My mind is a knot of steel.
 3.

LYNN
Are you ready?

Bradford looks up.

BRADFORD
Yes.

EXT. - CITY STREET - NIGHT

Rich walks down the street. A slick black LINCOLN TOWN CAR
glides up beside him. The rear passenger window rolls down.
Bradford holds his hand over a cell phone conversation on
hold.

BRADFORD
Hello Richard.

The young man looks in the car.

YOUNG MAN
Hey! How ya doin, Mr. Bradford?!

BRADFORD
Fine son. Fine. I see you walking
out here almost every night and I
couldn’t bare to drive by one more
time without offering you a ride.

YOUNG MAN
That’s awfully nice of you sir, but
it’s really just a couple more
blocks.

BRADFORD
I’m going right past your place,
Richard. (Beat) Don’t make me tell
your father you refused a gesture
of kindness. (Smiles)

YOUNG MAN
It’s not that. I-

BRADFORD
That’s fine. Hop in.

Bradford reaches over and opens the rear passenger door.

YOUNG MAN
Alright then, sure! I’d love a
ride!
 4.

The young man gets into the back seat. The door closes and
the car slides off.

INT. - LINCOLN TOWN CAR - NIGHT

Bradford’s phone is powered off. He fakes the remainder of

the conversation. Lynn drives.

BRADFORD
That’s right- That’s right- You
need it by nine? All right. No, no
problem at all. I’ll be right
there. (To Lynn) We have to get
over there right now, Eric. (To
young man) How have you been son?

YOUNG MAN
Very good sir!

BRADFORD
I’ll bet. A young man like you must
have fire pumping in those veins!
Is your father still with the
service?

YOUNG MAN
He’s still-

BRADFORD
Still doing research?

YOUNG MAN
Well he-

BRADFORD
That’s great. And you? Do you still
work for Senator Hillman?

YOUNG MAN
I do, sir.

Bradford steals a glance at Lynn. Lynn’s sight is set on the

road marching toward his eyes.

BRADFORD
Oh, really? (Beat) That was
actually the senator I was just on
the phone with now.

YOUNG MAN
Oh, yeah?
 5.

BRADFORD
You don’t mind if we swing by his
office very quickly do you,
Richard? I need to deliver
something very urgently to him.

YOUNG MAN
You can just drop me off here if
you-

BRADFORD
Nonsense! We’ve not even caught up!
Unless, you don’t want to catch up
with me, Richard?

YOUNG MAN
No sir, of course I do-

BRADFORD
Great! Then, Eric, turn left right
here.

The car disappears around the corner.

EXT. - OFFICE BUILDING - NIGHT

The Lincoln is the only car in the parking lot. Bradford

addresses the young man.

BRADFORD
You had better not come in. What
with me running against him and
all, he might think you’ve shifted
loyalties if he saw you come in
with me. (Smiles)

YOUNG MAN
I understand.

BRADFORD
Atta boy!

He gives Richard a wink and is on his way. The young man

remains in the car, with the perpetually silent Lynn. Out on
the sidewalk, Bradford is joined by TWO LARGE MEN.

INT. - OFFICE - NIGHT

Bradford sits with his legs crossed in front of a large desk.

SENATOR HILLMAN (66) large, grey sits behind it.
 6.

HILLMAN
What do you want this office for?

BRADFORD
The same thing as you.

HILLMAN
Well, you’ll just haveta do the
same thing I did, and wait for the
incumbent to leave office, and I
aint going nowhere for some time
now, son. Why else do you want it?

BRADFORD
Same as you again - I believe we
both have friends you’d call ‘upper
class’.

Hillman stands and walks over to a small bowl of GOLDFISH. He

fishes one out with a small green net and dumps it into the
larger SHARK TANK beside it.

HILLMAN
This job is all about keeping the
masses enslaved, one way or
another. All without detection. If
you can do that, all while getting
them to not only agree to it but to
help you do it, that, my boy, is
political art.

BRADFORD
No one’s free. At some point we’re
all claimed by that sharp of death.

The SHARK flashes. The fish is gone.

HILLMAN
Thing is, the people are starting
to push back. God could we use a
new war.

BRADFORD
I have a new way.

HILLMAN
No such thing.

BRADFORD
New to the States.

HILLMAN
What is it?
 7.

Bradford smiles.

BRADFORD
I’m not telling anyone until I’m in
office.

HILLMAN
Well then, I guess I’ll be waiting
for some time my boy. You have no
chance against an incumbent senator
as highly regarded as I, and I have
no plans of moving. As long as I’m
seated in that chair, you have no
chance of taking this office.

BRADFORD
That’s actually what I’ve come here
about.

EXT. - OFFICE BUILDING - NIGHT

The young man leans against the side of the backseat

restless. Bradford sticks his head out the front door of the
building and beckons. Lynn steps out. Bradford shouts.

BRADFORD
The boy!

Lynn steps back down into the front seat.

LYNN
He wants you.

The boy looks up. He sees Bradford beckon from the doorway.
He gets out. He and Lynn walk up to the front door.

INT. - OFFICE HALLWAY - NIGHT

The young man walks down the hall until he reaches the
Senator’s office. He takes two steps inside, and stops. The
grey man sits hunched in the corner in a pool of his own
blood. Bradford stands and wipes a Taurus 1911.

YOUNG MAN
What’d you do?!

BRADFORD
I’ve done nothing, Richard. (Beat)
You have.

A large escort raises a gun to the side of the young man’s

head, and pulls the trigger. The young man falls.
 8.

The second escort walks over and places the GUN in his hand.
Bradford steps out of the office and walks down the hall.
Lynn stands as he passes.

BRADFORD (CONT’D)
Stay with them. I want you to learn
how to do it.

Lynn stares at Bradford’s back as he leaves. The two escorts

continue to work over the scene.

FADE OUT.

CUT TO:

INT. - ARENA - NIGHT

Insert: Republican Primary Debate - February 5, 2016

The scene is awash in Presidential primary hoopla. THREE

CANDIDATES stand behind their respective podiums reviewing
written battle notes. A BRASS BAND blares presidential
regalia. Streamers hang from the arena rafters. The last of
the capacity CROWD finds their seats. Bradford stands behind
one of the podiums.

HEADSET (V.O.)
Eyes out for red t-shirt, red hat,
blue bill.

A SECRET SERVICE AGENT on a catwalk looks through a pair of

binoculars. REVELERS dance on the floor. Several other
inconspicuous AGENTS stand around the arena. The DANCERS
swing on in front of the stage.

MEDIATOR
Hello everyone and welcome to this
evening’s debate.

The crowd responds and settles.

SENATOR PRESTON COWLES (53) a blonde, good looking man, has

his head bowed over his podium.

COWLES
...Father, let me speak the truth
in your name. Let me serve all who
hear with the love of your son. And
help me as always, to place your
will first. Amen.

The senator makes the sign of the cross over himself then
looks up.
 9.

The applause subsides as the MEDIATOR addresses his first

question at Senator Cowles at the far left podium.

MEDIATOR
Senator Cowles, this first question
is for you.

INT. - ARENA - STANDS - NIGHT

The crowd, even up here, look on in rapt attention. Four

seats in from the isle sits the RED CAP BLUE BILL. The two
seats next to him in from the isle are empty. Blue Bill sits
making banter with a LARGE MAN in the seat in front of him.

BLUE BILL
That’s why they need Paul Jones.

LARGE MAN
You’re outta your mind. Paul Jones
caught three touchdowns last year.
The guy’s worthless as a nun’s
cunt.

BLUE BILL
Yeah, you would know.

JOHN BAKER (33) large, dark hair, steps down the isle and
sits down in the empty seats beside the Blue Bill.

INT. - STAGE - NIGHT

Senator Cowles listens to the question being read.

MEDIATOR
In recent months, you’ve been
particularly harsh on Senator
Bradford’s efforts to protect
executive pay in the puble
financial sector. Please explain
your thoughts.

COWLES
Well-

BRADFORD
Let me jump in right there.

Murmurs and sparse small laughs ripple the crowd.

 10.

INT. - ARENA - STANDS - NIGHT

A beer vendor makes his way down the steps.

JOHN
Hey, beer!

The beer man sets down his tray in the isle.

BEER MAN
Whudja need?

INT. - STAGE - NIGHT

MEDIATOR
Senator Bradford, the question was
directed at Senator Cowles.

BRADFORD
If I could just say real quick-

More soft responses from the crowd.

COWLES
Now wait a minute-

BRADFORD
Mr. Cowles wants to change the
banks’ freedom, and the freedom to
make as much as you want. I don’t
know about you but I think
America’s the best country on Earth
and I’m damn proud to live here. I
think America’s just fine and I
don’t want to see it turned!

Applause.

INT. - ARENA - STANDS -NIGHT

JOHN
I’ll take a Miller Lite and (to
Blue Bill) What do you want?

BLUE BILL
I’m good.

JOHN
Worried you wont be able to hang?
 11.

BLUE BILL
Bitch, I’d drink you into a
pretzel.

JOHN
He’ll have a Miller Lite.

BEER MAN
I need to see your ID’s.

John takes out his ID and hands it to the beer man.

BEER MAN (CONT’D)

His too.

BLUE BILL
Fuckin, A!

Blue Bill takes his out and hands it to John to pass to the
beer man. John takes a flash-glimpse at the address on the
license. He steals a knowing glance to the BEER VENDOR.

INT. - ARENA - STAGE

COWLES
I love America as much as anyone.
My son is fighting overseas right
now. What I have the problem with
is those in the position of
authority at the banks being paid
three and four hundred million
dollars when they ran their company
and country, into the ground.
Believe it or not, those men caused
this war and they want your child
to fight it. And Senator Bradford
wants these people to be rewarded
with millions and millions of
dollars.

BRADFORD
Just because you have the support
of the full evangelical base
doesn’t mean-

COWLES
My base has nothing to do with your
motivation!
 12.

INT. - STANDS - NIGHT

Beer man pours the first beer and hands it over to John who
then passes it to Blue Bill.

BLUE BILL
Thanks.

The vendor hands John a beer as well.

BEER MAN
That’ll be twenty-two fifty.

John takes his wallet out.

JOHN
Remember when these things were
eight bucks.

BLUE BILL
Don’t we all.

John hands the money over. He gives the beer man a knowing
stare and hands him an extra dollar. The beer man picks up
his tray and walks away. John extends a hand.

JOHN
John Baker.

BLUE BILL
Pierce Walker, nice to meet you.

John shakes the guy’s hand.

JOHN
Nice to meet you, Pierce.

John stands and walks to the top of the isle. He enters the
corridor, throws the full beer in the trash, and pulls out a
HAND RADIO from his pocket.

JOHN (CONT’D)
Requesting background, command.

WALKIE
Go ahead Jay.

JOHN
First name ‘Pierce’, last name
‘Walker’, Address 501 S Sycamore
St, Hagerstown, MD 21740.
 13.

WALKIE
Check for one outstanding warrant
on one count bond forge. Do you
request assistance, Jaybird?

JOHN
I’ll handle it.

INT. - STANDS - NIGHT

Blue Bill sits in the stands and listens to the speakers.

John takes up his old seat next to him.

BLUE BILL
You killed that beer fast.

JOHN
Threw it away.

BLUE BILL
Whydya do that?

JOHN
I don’t drink while I’m working.

This gets Blue Bill’s attention.

BLUE BILL
Huh?

John opens his wallet to reveal his badge.

JOHN
You’re under arrest for failure to
report to court on your
counterfeiting charges, John.

Half of the crowd erupts with applause in the background.

Blue Bill stands as does John.

JOHN (CONT’D)
Let’s do this peaceful now.

BLUE BILL
You serious?

John reaches for Blue Bill. Blue Bill swats his hand away
but, John grabs him and spins him around. The large man in
the seat in front of Blue Bill stands up at the commotion.

LARGE MAN
Hey!
 14.

John stares him down.

JOHN
(To large man) You see me? I’m the
turning point of your life. Don’t
come near it.

The large man sits back down slowly.

A YOUNG WOMAN (28) with a YOUNG BOY (6) make their way down
the isle. The young boy holds something wrapped in paper. The
young woman stops next to John. John doesn’t see her as he
searches Blue Bill’s pockets.

BOY BLUE O.S.

Dad?

John turns and sees the child’s face.

BOY BLUE
Who’s this?

JOHN
Do you know him?

BOY BLUE
He’s my dad.

JOHN
Where have you been for the last
ten minutes?

YOUNG WOMAN
Getting him something to eat.

BOY BLUE
Getting tacos.

JOHN
I’m sorry ma’am, but-

John looks at the horrified man, then at the boy, then

JOHN (CONT’D)
I was just showing your dad a new
wrestling move.

John lets go of Blue Bill’s arm. Then

JOHN (CONT’D)
Well, I guess you’re leaving, huh?

Blue Bill picks up his son.

 15.

BLUE BILL
Yeah. (to son) Say thank you to the
man.

BOY BLUE
For what?

BLUE BILL
Just say thank you.

BOY BLUE
Thank you.

John fires a finger gun at the boy (or is it the guy?) Blue
Bill starts up the steps. The woman stares at John as she
follows.

YOUNG WOMAN
P? P, who was he?

John stares at the stage. The radio crackles. He takes it out

and puts it to his ear.

WALKIE
Jaybird, are you in need of
assistance?

JOHN
No, command. Wrong address.

INT. - ARENA STAGE - NIGHT

The crowd roars as the candidates wave and walk off stage. As
Senator Bradford steps off stage, he is immediately met by
Lynn.

LYNN
Excellent job, sir.

BRADFORD
What is it?

LYNN
Good news, or bad news first?

BRADFORD
Good news.

LYNN
That should seal your nomination.
Early numbers show you winning by a
landslide.
 16.

Senator Bradford continues to wave.

BRADFORD
And bad?

LYNN
The new numbers also show no way
you take the White House.

BRADFORD
Unless?

LYNN
Unless you add a voters base with
guaranteed turn out and support.

BRADFORD
And?

LYNN
You won’t win the white house
unless you add the numbers from
Cowles’s evangelical base. (beat)
If you want to win in November, you
have no other option than to choose
him as your running mate.

Bradford looks over at Cowles glad handing on the other side

of the stage. A CRAZY RELIGIOUS WOMAN throws her arms around
his neck.

CRAZY RELIGIOUS WOMAN

God bless you! God bless you,
Senator!

BRADFORD
I’m gonna want our best agents
between me and them.

He continues to smile and wave.

INT. - LOCKER ROOM - NIGHT

Several agents dry off and dress. They laugh in the

background. John stands in front of a locker away from the
rest. The beer vendor, AGENT STEVEN BIRCH (38), stands and
talks with other agents. John picks up a duffle bag and
starts out. The beer vendor calls to him.

BIRCH
Hey John, we’re gonna go grab a
drink at O’Malley’s. Wanna come?
 17.

JOHN
There’s only one thing that got me
through tonight, and that was the
thought of getting home to kiss my
boys and wife good night. Sorry
Steve, maybe some other time.

John starts again toward the door. Birch calls after him in
jest.

BIRCH
Asshole!

John just waves without turning.

INT. - JOHN’S HOUSE - NIGHT

John kisses one of his two sleeping TWIN SONS (4) on the
forehead and pulls the covers up over them.

INT. - JOHN’S HOUSE - NIGHT

John stands in the doorway and watches them. His wife MARIE
(29), walks up.

MARIE
They’re not going anywhere.

JOHN
They will soon.

MARIE
Where?

JOHN
College.

MARIE
You have some time before that.

JOHN
(beat) They’re my whole world, Mar.

Marie slides in, her arms around him.

MARIE
What about me?

John rotates into his wife’s grasp.

JOHN
You? You’re all right.
 18.

She smiles. He kisses her head.

INT. - JOHN’S HOUSE - KITCHEN - DAY

Marie stands in front of the stove cooking. John walks down

the steps with the two young boys in jackets.

MARIE
Hey! Where are you guys going?

JOHN
We’re heading over to the park.
We’ve got some important business
to take care of over there.

MARIE
Well don’t leave yet, breakfast
will be ready in 10 minutes.

John’s first son, JOHN JUNIOR, speaks up.

JJ
We’ll just go for a little.

JOHN
It’s some pretty important stuff,
Mar.

John’s second son, MATTEW breaks free from his father.

MATTEW
I want to stay with mommy.

John Junior is already pulling his father to the door.

JOHN
We’ll be back soon.

MARIE
You better.

John throws his hands in the air in an ‘I’m innocent’ manner.

MARIE (CONT’D)
And put his mittens on!

EXT. - JOHN’S HOUSE - DAY

Snow covers the ground. John Junior squats in the front yard
and makes a snowball with his bare hands. John stands on the
front porch checking his cell.
 19.

JOHN
Commere bud, we’ve gotta put your
gloves on.

The little child continues to make the snowball unphased.

John puts his cell in his coat pocket and walks down the
front porch steps. He kneels next to his son and takes a pair
of BLUE MITTENS out of his coat pocket.

JOHN (CONT’D)
You gotta put these on.

JJ
Why?

JOHN
So you aren’t cold.

John puts the mittens on his son’s small hands. Many children
play in the park across the street. JJ starts to run. John
grabs him.

JOHN (CONT’D)
Wait a minute, bud!

The two walk across the yard as they hold hands. JJ sees a
green sled and darts for it nearly pulling John over.

JOHN (CONT’D)
Hang on bud!

The small boy picks up the sled with one hand and begins
pulling his father toward the sidewalk. John’s cell DINGS
with an incoming message. He takes it out and looks at it.

There is a loud THUD. Followed by a TIRE SCREECH!

John pulls back nothing but the small blue mitten.

All of the children of the playground come running.

JOHN (CONT’D)
No. NO!!

FADE OUT.

INT. - SECRET SERVICE OFFICE - DAY

Several conversations are in progress in hushed tones around

the office.
 20.

AGENT 1
There was nothing they could do for
him?

BIRCH
Nothing.

AGENT 1
Jesus.

BIRCH
Yeah, the paramedic said-

The conversations abruptly stop

John stands there in the doorway.

BIRCH (CONT’D)
Jesus.

Birch walks up.

BIRCH (CONT’D)
Hey John. How are you?

JOHN
Fine.

BIRCH
John? (beat) Can I talk to you
outside for a sec?

The two agents step through a door. Birch looks back to the
other agents as he goes.

INT. - SECRET SERVICE HALLWAY - DAY

Birch stands in the hallway with a hand on John’s shoulder.

BIRCH
John? You don’t need to be here
now.

JOHN
Yes I do.

Senator Bradford and Lynn step out of a hallway door. Lynn

whispers in the Senator’s ear.

The senator stands for a moment, then walks the opposite

direction. Lynn follows.
 21.

BIRCH
John, you need to be with Marie.

JOHN
I need to be at work.

BIRCH
John. John-

Birch points up to a portrait of the entire team.

BIRCH (CONT’D)
Do you remember Harlowe?

JOHN
Yes.

BIRCH
Do you remember what happened to
his son, Richard?

JOHN
He was killed.

BIRCH
Right. And do you remember what
Harlowe did after that?

JOHN
He retired.

BIRCH
No John. That’s just what they told
us. Harlowe was forced out. Because
he couldn’t cut it anymore. He was
one of the best agents the office
ever had, and they forced him out
because he became unstable. Because
he never grieved for his son. I
know the temptation is to bury
yourself in this job, and I know
the job means a lot to you, but
think about your family John. Think
what happened to Harlowe. That’ll
be you if you don’t take the time
to deal with this.

John stares at the portrait.

 22.

INT. - JOHN’S HOUSE - DEN - NIGHT

John sits in his office alone at his desk. He stares a

nothing in front of him. An OLDER WOMAN (67) knocks on the
door.

OLDER WOMAN
John? You have a visitor.

The woman addresses the person outside.

OLDER WOMAN (CONT’D)

Go ahead in.

She steps aside. Senator Bradford steps in.

BRADFORD
Thank you, ma’am.

BRADFORD (CONT’D)
Hello, John.

John does nothing. The senator sits beside him.

BRADFORD (CONT’D)
I am so sorry to hear about your
loss. It is always awful to hear
about such things. (Beat) Agent
Baker, it isn’t healthy for a man
to sit around and think on such
matters all day. (Beat) I want you
to come work for me. On my personal
detail.

JOHN
Why?

BRADFORD
Because I know you will disappear
into your work. And be the most
dedicated agent I have.

JOHN
You don’t want me.

BRADFORD
Of course I do.

JOHN
No, you don’t.

BRADFORD
Why would you say such a thing?
 23.

JOHN
I’m cursed.

BRADFORD
John, I know about your other
detail, and I know about your son.
I know you have feelings of guilt.
But I’m offering you a chance to
redeem yourself. It is what you
need. Take my hand, son. (Beat) Do
you trust me?

The senator smiles and holds out an extended hand.

John looks at him. Then shakes the senator’s hand.

EXT. - PAWN SHOP - DUSK

INSERT: 13 MONTHS LATER. APRIL 13 - PITTSBURGH, PA - SATURDAY

An Old English style sign hangs over the entrance to YE OLDE

PAWN. Inside a typical pawn shop complete with a variety of
pledges: gold menorah, samurai sword, etc. An OLD WOMAN (87)
too weak to die, enters to the jingle of the overhead bells
and slowly walks up to the front counter. She carries a cloth
napkin with something wrapped in it.

A fat, hairy, SLOVENIAN MAN (26) sits on a stool and examines

a watch behind the counter. His equally fat, and sweaty
father flips through the pages of a Car and Driver magazine
behind him.

SLOVENIAN MAN
Ken I kghelp you?

OLD WOMAN
I have something I want to sell.

The young man looks up over his glasses.

The old woman unfolds the napkin.

A CONGRESSIONAL MEDAL OF HONOR falls into the old woman’s

paper thin hand. She hands it to the young man who takes out
a loupe and examines the medal.

OLD WOMAN (CONT’D)

It was my husband’s. The Nazis
threw a grenade in. Their were
thirteen soldiers in the tent but
only my Patrick jumped on it. He
lost both legs. (Beat) I really
need the money.
 24.

The old woman chokes on her words. The young man examines the
medal then hands it back to her.

SLOVENIAN MAN
$1,200.

OLD WOMAN
Sir! It’s the highest honor the
country can pay a soldier!

SLOVENIAN MAN
I know what it is. But I can’t even
sell it. It’s illegal to. I’m doin
you a favor cause I want it.

The woman picks up the medal and stares at it for a long

time. She closes her eyes.

OLD WOMAN
Forgive me Patrick.

The act of the medal falling out of her hand seems to let her
soul slip out of her body as well. It falls into the guy’s
sweaty open palm.

The man takes a large roll out of his pocket and peels off
ten hundreds, a fifty, and five tens. He hands them over.

SLOVENIAN MAN
What’s your name lady?

OLD WOMAN
Beatrice.

He writes down ‘Beatrice - WW2 Souvenir’ in a LEDGER.

The old woman turns to leave now soulless.

SLOVENIAN MAN
Goodnight.

The bells jingle as the old woman leaves. The fat man in the
background stands.

FAT FATHER
Good.

He then leaves too out the door to a jingle.

EXT. - PAWN SHOP - NIGHT

The fat father walks down the sidewalk and out of sight.
 25.

INT. - PAWN SHOP - NIGHT

The young man places the medal on display in the front window
of the store.

INT. - PAWN SHOP - NIGHT

The young man walks through a beaded curtain behind the

counter into a back room.

A moment later the bells JINGLE.

EXT. - PAWN SHOP - NIGHT

The medal is now gone from the window. The sign blows in the
wind.

INT. - JOHN’S OFFICE - MORNING

INSERT: April 16 - WASHINGTON, DC - TUESDAY

John sits at his desk looking over some paperwork.

A television NEWS REPORT plays in the background.

NEWSWOMAN
President Bradford is set to sign
the controversial ‘Bank Amnesty’
law at a ceremony to be held in
Pittsburgh this Saturday night.
While the act has been largely
hailed as conciliatory by most of
the international community, it
does not come without it’s critics
here at home. Even the vice
president himself had been
outspoken against the measure
during the 2017 campaign. More is
sure to come in the days leading up
to the signing of the contentious
bill, but for now, this has been
Sandy Roma, WTAE.

A moment later, special agent in charge, KEN WITT (54) a

large, solid, house of a man, sticks his head in the door.

KEN
Can I see you in my office, John?
 26.

INT. - KEN WITT’S OFFICE - MORNING

John sits in front of the special agent’s desk. The special

agent opens a drawer and pulls out a large hunting knife and
a flat strip of leather.

John takes his jacket off.

KEN
Sorry John, I like to keep it
eighty-five degrees in here. Drives
the wife crazy.

The special agent cuts a strip of leather off and throws it

in his mouth.

KEN (CONT’D)
Bradford’s signing that bill
Saturday in Pittsburgh. I want you
to head up security.

JOHN
I knew you would.

KEN
This is gonna be a tough one, John.
This bill is stirring up a lot of-
fanatics.

JOHN
Open threats?

KEN
Not really.

JOHN
Not really?

KEN
Nothing overt, but there have been
two particularly violent crimes up
there over the past two nights. The
city police called the FBI after
the second. Think they may have a
serial on their hands.

JOHN
What makes them think this?

KEN
Just their bizarre nature. I spoke
with the head of the field office
up in Pittsburgh this morning.
(MORE)
 27.

KEN (CONT'D)
He said his best man is on the
case, a detective named, MARK
PRATT.

Witt hands John a sticky note with the number.

KEN (CONT’D)
I want you to head up there early
to conduct a threat assessment.

JOHN
When?

KEN
Right now.

EXT. - PAWN SHOP - MORNING

John ducks under the yellow police tape cordoning off the
sidewalk and shows the two CITY COPS his badge.

JOHN
Agent Pratt?

OFFICER PAT
Inside.

INT. - PAWN SHOP - MORNING

As John enters, he notices a trail a blood has snaked through

the front door frame. He puts his hand inside the door to
pull himself through but immediately withdraws his hand. It’s
covered with blood. John wipes it on his pants.

John steps through the doorway.

Inside, CRIME SCENE INVESTIGATORS take photos and dust. John

approaches a CSI.

JOHN
Agent Pratt?

CSI 1 points to a MAN dressed in black who squats with his

back to John. John walks over to a sink puts his hands under
the faucet and turns it on. Immediately blood bursts onto his
hands from out of the faucet.

JOHN (CONT’D)
Jesus!

CSI 1
What is it?
 28.

CSI2 swoops in and shuts it off. The second searches the

area, opens the drawer beneath the sink and finds a BLOODY
FUNNEL. He stands and rotates the faucet.

CSI 2
That’s how it got in there.

CSI 1
What’s the meaning of that?

CSI 2
What’s the meaning of any of it?

The squatting man dressed in black has not even turned at

this commotion. John walks over wiping his hands in a paper
towel. Agent Pratt holds a pen knife with a piece of brain
matter hanging off it.

JOHN
What have you got there?

MARK
Looks like a summer memory.

Agent Pratt looks at John and rises. He wears FULL CATHOLIC

PRIEST ATTIRE complete with collar, and white latex gloves. A
LARGE GOLD CRUCIFIX hangs around his neck. John points at the
cross.

JOHN
Nice cross.

MARK
It’s standard issue around here.
We’ll get one for you too.

John says nothing.

MARK (CONT’D)
My father bought it for me the day
I entered the seminary. It’s my
favorite remembrance of him.

JOHN
I’m sorry.

MARK
For what? I’m glad I knew him.

Mark holds out a white blood covered latex fist.

MARK (CONT’D)
Mark Pratt.
 29.

JOHN
John Baker.

John ignores the fist. He steals a flash of a glance at the

last entry in the store ledger open on the counter next to
him.

JOHN (CONT’D)
So, you’re a priest?

MARK
I’m studying to be one, yes. Is
that an issue for you?

JOHN
No, I just didn’t know this was-

MARK
Allowed?

JOHN
Yes.

MARK
I get that a lot. Before I decided
to enter the seminary, I received
my masters in criminology, and a
doctorate in forensic pathology.
The diocese feels I serve the lord
well in the work, so they let me
out of the house now and then. You
know, the big house. The church.

John does nothing.

MARK (CONT’D)
(Beat) Don’t worry, I’m not gonna
try to get in your pants or
anything. I’m not that sort of
priest.

The two exchange an awkward moment.

JOHN
So, you think this case is serial?

MARK
Yes.

JOHN
Why?
 30.

MARK
Who know’s why anyone would kill
the first time.

JOHN
Agent, I-

MARK
All of this (motions to the blood
stained room) occurred two nights
ago. This morning we received a
report of another body found. They
are only similar in their...
colorful.

John looks around the scene. Blood is everywhere. CSI’s

continue to flash away at the scene.

JOHN
Pretty bad.

MARK
This is nothing. That’s where the
real magic happened.

Mark points at the beaded curtain. John starts towards it.

INT. - PAWN SHOP - BACK ROOM - MORNING

John pulls the curtain aside and enters. Impaled to the wall
by the samurai sword through the left shoulder is the
lifeless body of the fat sweaty Slovenian Man. A large
laceration across his lower abdomen has spilled intestines
onto the floor. The trail of blood from the front door ends
here.

MARK
Emulates a Japanese harakiri.
(beat) Makes you wonder the twist
of a soul that could do this, huh?

JOHN
Why is this body still here?

MARK
The scene was so complicated I
needed another day here.

JOHN
Any fingerprints?

MARK
Of course not.
 31.

John puts on a latex glove and walks over to the body.

JOHN
Suspect?

John turns the young man’s head.

MARK
Other than Kill Bill? None.

JOHN
Where’s the father?

MARK
In custody. His story checks out
though. We’re not gonna be able to
keep him much longer.

JOHN
How about the old lady that sold
them the medal?

This impresses Mark.

MARK
Very astute agent Baker. How did
you know about her?

JOHN
The sales ledger up front.

MARK
And her age?

JOHN
Do you know anyone under the age of
seventy-five named Beatrice pawning
world war two relics?

MARK
She’s about a million years old
with no relatives. She’s a dead
end. Or at least, she will be soon.

John stares at the body.

MARK (CONT’D)
Ready for the next one?

John looks up at Mark.

 32.

INT. - HIGH RISE APARTMENT - STAIRWELL - DAY

Mark and John march up the concrete fire escape stairs.

Several POLICE OFFICERS stand along the way.

MARK
Two maintenance men found it this
morning.

They reach the door for the roof. Mark stops.

MARK (CONT’D)
This one’s even worse.

Mark opens the door. Just out on the roof in front of them
the charred, blackened remains of a body are tied to a spit.

They step out onto the roof.

EXT. - HIGH RISE APARTMENT - ROOF - DAY

John approaches the body. A MEDICAL EXAMINER stands over the

body. Mark joins him. Something metallic has hardened in the
young victim’s mouth.

JOHN
What’s that?

MARK
Lead.

JOHN
Lead?

MARK
In ancient Israel, they would pour
molten lead into the mouth of a
convicted liar.

The examiner places a metal instrument behind the mound of

lead in the victims mouth and begins to remove it. He takes
it out.

JOHN
And no one saw a body burning here
on a roof in the middle of
downtown?

MARK
Take a look around - not a single
window of the surrounding buildings
has a clear view of this location.
 33.

John looks around at the surrounding buildings.

EXAMINER
Got something here.

The examiner reaches a pair of tweezers deep into the victims

throat and pulls out a fully grown FROG.

JOHN
What’s that?

EXAMINER
We need to get this body to the ME
immediately.

JOHN
(To Mark)
Have the parents seen him like
this?

MARK
No.

JOHN
Where are they?

MARK
In the kitchen downstairs, but you
won’t get anything out of them.

John turns and heads back toward the door.

INT. - HIGH RISE APARTMENT - KITCHEN - DAY

The father, MR. ROBERTS(64), sits catatonic at the kitchen

table. Next to him his WIFE sits wrapped in a blanket doing
even worse. TWO CITY COPS in uniform stand behind them. John
enters the kitchen and approaches.

JOHN
Mr. Roberts? I’m special agent
Jonathan Baker. (Flashes badge). I
need to-

MR. ROBERTS
I didn’t know.

JOHN
(Beat) Excuse me?

MR. ROBERTS
I didn’t know it was real.
 34.

Mark reacts to this and jumps on the man.

MARK
What!? You didn’t know what was
real!? Who spoke to you!?

John pulls Mark away.

JOHN
Can I speak with you in the
hallway, agent Pratt?

John looks back at the father who sits with that thousand
mile stare.

INT. - HIGH RISE APARTMENT - HALLWAY - DAY

The agents stand in the apartment hallway outside the

kitchen.

MARK
What is it?

JOHN
You are not questioning him now.

MARK
He needs to be taken into custody.

JOHN
He needs to be left alone!

Mark is surprised by the force of the response.

JOHN (CONT’D)
We need to leave them both alone.

MARK
We don’t have time for that, Agent
Baker. And with all due respect,
the investigation is not yours-

Shouts come from inside the room.

SHOUT
Watch him!

A SINGLE GUN SHOT RINGS OUT. The two agents run back into the
kitchen.

COP 1
I didn’t know he had it!
 35.

Mr. Roberts lies on the floor. Gun smoke still hangs in the
air.

INT. - MARK’S CAR - DAY

The two agents ride through downtown.

MARK
They should have checked him.
(Beat) It’s the whole reason they
were there for Christ’s sake!
(beat) I shouldn’t say that. (beat)
Fuck it.

Small groups of protesters line the streets. John sits quiet

in thought.

MARK (CONT’D)
Somethin bothering you?

JOHN
Other than the suicide we just
watched?

The two ride on in silence. Mark takes note of the blood on

John’s pants.

MARK
You get cut?

JOHN
It’s from the pawn shop. Put my
hand in it.

MARK
Where was that?

JOHN
The pawn shop.

MARK
Where was the blood?

JOHN
The door frame.

Mark thinks for a moment. Then pulls a U-TURN in the center

of the road and takes-off in the opposite direction.
 36.

INT. - HIGH RISE APARTMENT - STAIRWELL - DAY

Mark and John charge back up the cement steps. They reach the
top. Mark opens the door to the rooftop and puts his hand
over it.

He pulls his hand down. It’s covered with blood. There is

blood covering the top of this door frame.

MARK
Fuck.

INT. - FBI FIELD OFFICE - DAY

A well built FBI Pittsburgh branch special agent ALAN

WATSON(57) stands and addresses the room.

WATSON
...The case is being led by agent
Pratt. We also have support from DC
in special agent John Baker. Agent
Baker is working as lead for the
President’s visit on Saturday, so
whatever he says goes. Agent Pratt-

Mark steps up and is surrounded by a DOZEN AGENTS.

MARK
Alright. Show of hands - how many
of you are familiar with Exodus?

A field agent WHITE speaks up.

WHITE
In the Bible?

MARK
Yeah.

A quarter of the room raise their hands.

MARK (CONT’D)
Jesus. All right. Really?- Well,
anyway, five thousand years ago,
the Jews were slaves to the
Egyptians, until Moses came along.
And God told him he would send down
ten plagues to convince Pharaoh to
let the Jews go. The first plague
turned the Nile into blood. In the
second plague, the land was overrun
by frogs, then lice, flies,
disease, boils, hail and locusts.
(MORE)
 37.

MARK (CONT’D)
For the ninth plague God sent down
three days of darkness. For the
three days, no one could see a hand
in front of their own face.

John stirs. The room listens.

MARK (CONT’D)
But even after all of this, the
Pharaoh would still not let the
Jews free, so for his tenth and
final plague, God sent down the
Angel of Death. For a week the
Angel of Death swept through the
land of Egypt every night and
killed the first born sons of every
household in Egypt. Not even the
animals were saved. But Moses knew
this would happen. God told Moses
to tell the Jews to take their
prized lamb and slaughter it as
sacrifice and take the blood from
the sacrifice and paint the post of
their front doors with it. When the
Angel of Death came to a house with
the blood on the door frame he knew
a righteous family was inside and
he would pass over that house onto
the next one, hence the name
Passover.

Another AGENT STEVENS speaks up.

STEVENS
So, what? You think this guy’s
Jewish?

MARK
More than likely it’s a Christian
religious zealot. Jews have too
much reverence for the holy day.

STEVENS
I thought you said this was a
Jewish thing?

MARK
It is, but a fanatical Christian
would certainly know about it as
well.

A SECOND FIELD AGENT speaks.

 38.

FIELD AGENT 2
So, what does this mean?

MARK
It means to expect more killing.

EXT. - STARBUCKS - DAY

John steps to the front of the line. AN OVERLY FRIENDLY

CASHIER greets him. John wants no part of the social
niceties.

CASHIER
Great weather we’re having today
huh?!

JOHN
Large cup of black coffee.

CASHIER
So are you out and about for work
or just strollin enjoying the
weather?

JOHN
Just the coffee would be great.

The cashier pours it and turns back around.

CASHIER
Three twenty-seven.

John hands over the money.

CASHIER (CONT’D)
Would you like to take a survey to
tell us how we’re doing today?

JOHN
No.

John turns with the coffee and walks away.

CASHIER
(Under his breath) Asshole.

INT. - MARK’S CAR - DAY

John steps into Mark’s car. He hands him a cup of coffee.

MARK
Thank you.
 39.

John says nothing. A SMALL BLUE MITTEN sticks out of John’s

coat pocket. Mark notices it and points it out.

MARK (CONT’D)
What’s that?

John realizes what Mark is pointing at and shoves it deep

back into his coat pocket. He says nothing.

Mark puts the car into drive and pulls away from the curb.

JOHN
Where we going?

MARK
Gonna ask the first father a few
more questions. (Beat) So, you
really work for the president?

JOHN
Yes.

MARK
When will you start to set up the
security perimeter for the visit?

John says nothing. He’s obviously not going to tell even this
agent.

MARK (CONT’D)
Avoiding the question. I see.
(Beat) Ya know, I voted for
Bradford. Because of vice president
Cowles mostly. Cowles has a lot of
nutty fans but his heart is in the
right place. I like that about him.

John says nothing. The two ride on in silence.

MARK (CONT’D)
This next plagues gonna have
something to do with flies. Or
bugs.

JOHN
Uh huh.

MARK
(Beat) So, why would Roberts kill
himself?

JOHN
No idea.
 40.

MARK
No?

JOHN
It’s not my job.

MARK
Well you must have some idea? Come
on, help me out here.

JOHN
Probably felt guilt.

MARK
They do say guilt is universal
after the death of a child even if
there was nothing the parents could
do.

Mark steals a glance at John who stares straight ahead.

JOHN
Maybe there was something he could
have done.

MARK
Maybe. (Beat) You know, I kind of
always thought I might like a
couple kids, you know, before a
decided to be a Catholic priest and
all.

JOHN
Sure.

MARK
Do you have any kids?

JOHN
(Beat) Yes.

MARK
How many?

JOHN
(Beat) One. I used to have twin
sons. (Beat) The older of the two
was killed . Hit by a car.

MARK
(Beat) How long ago was that?

JOHN
Two years ago.
 41.

The two ride on in silence. John’s cellphone mercifully

rings. The number reads UNKNOWN. John answers.

JOHN (CONT’D)
Hello?

MARIE
Hi John.

John reacts strangely.

JOHN
Hello.

MARIE
Where are you?

JOHN
Pittsburgh.

MARIE
How are things?

JOHN
Not good.

There is a long awkward pause.

MARIE
I want you to come back. I need
your help. You should be back here.

JOHN
This is not the time.

MARIE
John.

JOHN
I’ll call you back.

John hangs up the phone.

EXT. - LAUNDRY MAT - DAY

TONY MARANATI (47) a large, tough looking man, walks out of

the store and checks a text message. As Tony steps off the
curb A WHITE CADILLAC ESCALADE pulls up with the front
passenger window down. An OLDER MAN (64) sits in the
passenger seat.

OLDER MAN
Hey Tony. (Beat) Get in the car.
 42.

The DRIVER holds a gun on Tony.

EXT. - VACANT LOT - DAY

The Escalade pulls to a stop in a vacant lot next to a pair

of train tracks. In the distance behind the tracks is a
river.

The older man and the driver get out of the car along with
TWO OTHER LARGE MEN and Tony from the back seat. The THREE
LARGE MEN all have guns and surround Tony. They walk him out
on to the train tracks. In the distance a TRAIN WHISTLE
sounds.

OLDER MAN
You know Tony, for thirty-five
years you’ve been nothing but a
thorn in the city’s ass. Thirty-
five years, people have been
waiting for this moment. Hundreds
of people. Whole families in fact.
I don’t know if you know this but
it got to be that people were
referring to you as the ‘white
whale’. Ya know, cause you were so
hard to catch. That’s what they
said. (Beat) But I think it was
cause you’re so fat.

The TRAIN WHISTLE SOUNDS CLOSER NOW. The old man gets right
up in Tony’s face.

OLDER MAN (CONT’D)

You know what... Oh, well-

The older man steps back.

OLDER MAN (CONT’D)

Do it.

All three large men turn and shoot the older man. He stumbles
back, and falls over the other side of the tracks, dead.
Tony spits on his body and the four walk back to the
ESCALADE. The train RUSHES PAST.

INT. - FBI FIELD OFFICE - AFTERNOON

The two agents make their way across the office floor. A
YOUNG AGENT sits with a bunch of WRINKLED PAPERS and FOOD
WRAPPERS on the desk.
 43.

MARK
What’s this?

YOUNG AGENT
Contents of the garbage can from
the pawn shop. Cheap bastard didn’t
even buy dinner.

MARK
Great work there agent. Make sure
you put all that in agent Watson’s
office when you’re done with it.

Mark and John walk on. John humorlessly stares at Mark.

MARK (CONT’D)
(Beat) What? That stuff could be
important.

INT. - FBI FIELD OFFICE - WATSON’S OFFICE - AFTERNOON

Mark sits in a chair in front of agent Watson’s desk. John

stands next to a window in the back. Special agent Watson
sits at the desk. Agents Stevens and White beside.

MARL
Tony Maranati?

WATSON
That’s right. (Beat)

JOHN
How do you know?

WATSON
Anonymous tip. Most likely the guy
himself.

MARK
Why would he tip us off?

WATSON
Not sure yet.

John opens the window.

JOHN
Do you mind?

WATSON
Just shut and lock it after.
 44.

MARK
Do we know where he is now?

WATSON
Same place he always is.

JOHN
Who’s Maranati?

WHITE
He’s the most politically connected
member of the mob in this city. And
certainly the most dangerous.

WATSON
Mark, how many times have your
cases against him made it to court?

MARK
I’m not sure. Six?

WATSON
Seven. And, of those seven times,
how many convictions do you have?

MARK
None.

WATSON
Zero. In seven trips to a federal
courthouse.

JOHN
So, what do you suggest?

STEVENS
We could ride it out?

JOHN
How’s that?

STEVENS
Tony is unbeatable. This guy’s
going after him. Unstoppable force
versus unmovable object. Let the
two duke it out, see who wins.
Either way one problem is solved.

WATSON
That’s not what I’m suggesting.
Pratt, you know this man, but I
want you to have an air-tight plan
on how you’re going to get him to
talk before you approach him.
 45.

John closes the window. Forgets to lock it.

INT. - MARK’S CAR - LATE AFTERNOON

The two agents sit in Mark’s car in the parking lot of a

restaurant. AL’S CAFE.

John puts his hand on the door handle to leave.

MARK
You stay here.

JOHN
Why?

MARK
To be my back up.

JOHN
How am I supposed to back you up
from the car?

MARK
If I don’t come out in ten minutes
come see if everything’s okay.

JOHN
And if you’re dead in ten minutes?

MARK
Then everything won’t be okay.

Mark exits the car.

John watches as Mark walks up to the front door. He pauses

for a moment. Then pulls it open and walks in.

INT. - KITCHEN - LATE AFTERNOON

A GUY yells out to one of the CHEFS with his back to us

wearing a white chef uniform and hat.

GUY
Hey! Throw a couple veal on, eh?!

The chef throws two pieces of veal in a sizzling pan.

INT. - AL’S CAFE - LATE AFTERNOON

Mark enters the restaurant. There are no windows. It is very

dark. He spots Tony at a booth in the back and approaches.
 46.

He takes two steps and has his path cut off by a VERY LARGE
MAN with a gun under his arm.

Tony spots Mark and calls off the guard.

TONY
He’s okay, Mike.

Mark makes his way the rest of the way over to the table.

TONY (CONT’D)
Officer Pratt. To what do I owe the
pleasure?

MARK
I know about the threat, Tony.

TONY
What threat?

MARK
Against your son.

TONY
How could you know about that?

MARK
The guy called me.

TONY
So, you know about the boats?

MARK
The boats?

TONY
Boats. Also known as scaphism. An
ancient Persian torture.

Tony drops a book on the table open to an article.

TONY (CONT’D)
Say it’s one of the worst ways to
go.

Mark stares at the lurid imagery.

TONY (CONT’D)
They used to take someone, and make
em eat a bunch of milk and honey,
then strip em down naked, and tie
em inside the boats.
(MORE)
 47.

TONY (CONT’D)
Then they would cover the rest of
them with honey and set them adrift
out on a lake. The honey, and the
shit, because they would shit
themselves, eventually would
attract bugs and vermins that would
slowly devour the person’s skin,
and crawl up their ass and nose and
mouth. Within a few days the person
would usually go insane. Would take
a long time to die. That’s what
this guy says he’s gonna do to my
kid.

MARK
Neither of us wants this to happen
Tony.

TONY
Oh, I know that. But I ain’t doin
what he says.

MARK
What’s that?

TONY
You say you’re investigating this
case and you don’t know?

MARK
All I know is this guy’s very
dangerous.

Tony takes out a GUN and points it straight at Mark.

TONY
You know who else is very
dangerous, Pratt? Me. Now, why
don’t you tell me what you know.

MARK
I know you ought to do what he
says.

TONY
Do what he says, huh? That’s a
fuckin good one. Fact is, you don’t
even know what he wants me to do,
do you?

MARK
No. I don’t.
 48.

TONY
Well, I guess there’s no harm in
telling you - he gave me an
ultimatum. Wants me to sign a
confession sayin I did some
killing, or he’ll kill my son.

MARK
Sounds like you should sign it.

Tony Smiles.

TONY
Sounds like I should sign it.
That’s a fuckin good one. Tell me
Pratt, how many times you tried me
in court? Four times? Five?

MARK
Sounds right.

TONY
Thirty-five years people have been
comin at me. But here’s the thing,
they can’t get me. I’m untouchable.

MARK
So, if you’re so untouchable why
not just sign the confession?

TONY
Because I am untouchable. Because I
don’t need to.

John walks in and sits down at the bar.

MARK
If you do we can take your son into
protective custody. Take him
somewhere no one can get him.

TONY
Look around you agent Pratt.
There’s not a window in this place.
And not a door other than that one.
And look right here. Right in front
of you. Look at this-

Tony points his gun right at Mark’s face.

TONY (CONT’D)
See this?
 49.

MARK
Yes I do.

TONY
There’s no place my son could be
safer than right here in front of
me.

MARK
Doesn’t feel too safe to me.

TONY
And ya know what else? I’m startin
to have half a mind you mighta had
somethin to do with it. Cause here
it is, the day a guy calls and
threaten the life a my own son, my
own flesh and blood, and then you
just so happen to come in here
askin me to sign a written
confession.

MARK
Does seems like a strange
coincidence.

Tony slams Mark’s head into the table.

John instantly draws down on the large man.

JOHN
Secret Service! Drop it!

TONY
You stay outta this!

JOHN
This building is surrounded by
federal agents! One shot and
they’re all in here!

TONY
One shot and he’s a dead
motherfucker!

JOHN
Just try it!

Tony considers this comment for a moment, then puts his face
right beside Mark’s.
 50.

TONY
You’re lucky I know just how fuckun
incompetent you really are or else
this would be goin down much
different. But I tell you this: if
one thing happens to my son, just
one thing, so help me God, I will
kill you! You hear me?

Mark tries to nod.

Tony grabs him then throws him through another table.

TWO BIG MEN walk over and grab him and throw him toward the
door.

John helps Mark up and the two start toward the door.

EXT. - AL’S CAFE - DUSK

The two agents walk toward their car.

MARK
Had him right where I wanted him.

John looks at him as they walk off.

INT. - FBI FIELD OFFICE - WATSON’S OFFICE - NIGHT

They sit in front of Watson.

WATSON
What’s the ultimatum?

MARK
Either Tony confesses to some
murder or the guy tries to kill his
son.

WATSON
Which murder?

MARK
We didn’t get that far. Tony’s kind
of hard to talk to. But I wouldn’t
be surprised if the guy’s known him
previously.

WATSON
What makes you say that?
 51.

MARK
His nature.

Everyone falls silent. Then-

JOHN
Well, thank you gentlemen. I’m very
glad I saw all this. Please let me
know if anything else comes up.

MARK
You’re not gonna stay?

JOHN
I need to get back to my affairs. I
have an entire perimeter to secure.
But please keep me informed.
Thanks.

John leaves.

INT. JOHN’S CAR - NIGHT

John drives alone.

INT. - OMNI WILLIAM PENN HOTEL - NIGHT

Middle of the night. John sits on the edge of the bed deep in
thought. He holds his phone. After a minute he dials it.

A moment later, Marie answers.

MARIE
Hello?

John says nothing.

MARIE (CONT’D)
John? Is that you?

John still says nothing.

MARIE (CONT’D)
John- John, please. Come home. We-
we need you.

John hangs up the phone. He sits here on the edge of the bed
for a moment.

Then turns out the light.

DISSOLVE TO:
 52.

Early morning.

EXT. - AL’S CAFE - DAWN

The sun is just over the horizon.

A rusty barrel drum sits behind the restaurant. On it sits a

white CHEF’S HAT. A WHITE APRON sits on the drum beside it.

DISSOLVE TO:

EXT. - POND - DAWN

Early morning.

Steam rises slowly off the pond.

Out in the middle of this lake, floats a small boat.

CUT TO BLACK.

END OF PILOT.