The+Spear++VS+3

The Spear
By Jim Finucan
410 E. 5th St.
Merrill, WI 54452
jim@tacticalsearch.net
Jim Finucan

INT. VATICAN CITY - DAY1.
Over the shoulder; THE POPE is sitting in his chair,urgently
being addressed by a cardinal in a red robe.
CARDINAL
The carbon dating came back
correctly but was mishandled. The
spear is from the right time frame.
The blood that is on the tip has an
extraordinary DNA profile. We
suspect it to be the authentic
relic.
POPE
Where is it now?
CARDINAL
Well, incredibly it has been
touring for the past five years and
has just left The National Museum
of Art of Romania in Bucharest and
is on it's way to America.
POPE
Can you find it?
CARDINAL
We are trying right now. The
carbon test was released to two
other people, one Lucian Devore was
included.
POPE
So The Hand knows the relic is
authentic, and they will be en
route as well.
WIDE ANGLE; THE CARDINAL BOWS, AND HURRIES FROM THE ROOM.
CUT TO:
EXT. LEIGH YAKEY WOODSON ART MUSESUM - WAUSAU - DAY2.
WIDE ANGLE: THE MUSEUM in the fading light of sunset. There
are two cars in the parking lot. A black HEARSE with flames
painted on it pulls in and parks across the lot from the two
parked cars. Loud music is coming from the car - like
-Michael Buble - Cry Me A River. Inside is TALON a big man
with hideous burn scars all over his scalp instead of hair
(from having his hair set on fire.) TALON is singing with
the music.
1 The Spear VS 3 Jim Finucan

CUT TO:
INT. THE MUSEUM - NIGHT3.
BRIAN BYRNE opens the door of his office, the print on
window reads, CURATOR. He puts his glasses on and sits down
at his desk, he is wearing gloves. He examines a package
from Romania, The National Museum of Art of Romania, and
opens it carefully. He extracts a broken off head of a
spear and examines it closely. He is astonished.
ANGLE ON; THE SPEAR, it is an ancient petrified wood, Roman,
with dried blood on the spear point. Brian moves his
examining gaze up the spear shaft. His eyes stop at
something etched on the wood.
BRIAN moves his gaze over the rest of the spear and turns it
in his hands, then stops. He grabs a pair of eyeglass
magnifiers and puts them on. Brian turns the spear back over
and examines the small outline etched in the spear. He
realizes something. He looks hard at the etching.
Close shot: the etching is crooked line. He looks up from
the spear and stares at a framed picture on the wall of
himself diving off a rock ledge into a stream of water.
BRIAN; stands up and goes to the picture. He holds the spear
up to the picture of the cliff and we see that the etching
on the spear handle matches the cliff outline.
MOVING SHOT; BRIAN looks around and finds his leather soft
sided briefcase. He wraps the spear up in the cheese cloth
and places the spear in the bag. He shoulders the bag and
walks out, shuts the lights off behind him.
He passes a security guard.
SECURITY GUARD
Good night Mr. Bryne.
BRIAN
Good night Allen.
Brian walks hurriedly out the side door.
CUT TO:
EXT.THE PARKING LOT - NIGHT4.
THE HEARS door opens and TALON steps out. CLOSE SHOT; we
see the patchwork of scars and a smile on his face. He
picks up a large knife with a bone handle - could be human
femur - and holsters it, underneath his shirt is a special

made holster. It has an image of an open hand etched into
the leather. TALON sings the song he was listening to and
does a side show spin in his step.
MOVING SHOT; TALON walks confidently toward the door,
smiling. He is a man who enjoys his work.
WIDE ANGLE; just as Talon approaches the initial entrance,
Brian rounds the corner and walks to his car. He has the
leather brief case over his shoulder. (they just miss each
other.)
CUT TO;
INT. THE MUSEUM - NIGHT5.
ALLEN approaches the glass door, a man is banging on it.
Allen opens the door to talk to him.
ALLEN
The museum is closed, come back
tomorrow. (gets a look at his
ghastly scalp, set off by Talons
smiling face.)
TALON
I just need to talk to the curator.
MOVING SHOT; TALON steps in and savagely stabs the security
guard with his big knife. Then he walks over him and moves
quickly down the halls.
ANGLE ON: THE DOOR that says "curator" on the glass. Talon
looks around the room and sees the packaging that would have
contained the spear. (we hear a car drive out of the drive
way.)
MOVING SHOT: TALON walks quickly down the halls to peer out
the front door and see the tail lights of Brian Byrne's car
leave. Talon jogs for his Hearse.
TALON
Cry me a river! (sings in key.)
EXT. DELLS OF THE EAU CLAIRE RIVER - DAY6.
AERIAL VIEW: we fly over the late spring colors of the North
wood Wisconsin land of trees, farm land, houses, until a
river comes into view. The Dells of the Eau Claire River
cascade in a series of small waterfalls, it is early spring
and there are just a few people in the park.

PERSPECTIVE settles, like a bird in the tree. A CROW turns
it's head and caws three times.
ANGLE ON: BRIAN BYRNE sitting on the rocks next to the six
foot high waterfall, next to him is a six year old boy, his
son STEWART.
The day is chilly and Brian wears a swimming suit and has
next to him a towel with an object wrapped up in it.
BRIAN opens the towel and extracts the SPEAR HEAD. It is
ancient, the metal end has seven inches of petrified wood
attached to it, jaggedly broken off.
CLOSE SHOT; BRIAN marvels at it, he is amazed. He holds up
the spear and looks at the etching on the wood handle, it
matches the outline of the rocks above the waterfall. There
is a small spot on the wooden handle where the waterfall is.
ANGLE ON; THE SPEAR, Brian's hands tremble.
STEWART
What is that? (sensing fascination)
BRIAN
Something I borrowed from the
museum where I work. Listen, I am
going to go for a swim. I want you
to stay here. Don't move from this
spot. Got it?
STEWART
But it's cold today and the water
is high. You said it was hard to
swim when the water was high.
BRIAN
Answer me. You will not move from
this position, got it?
STEWART
Got it.
WIDE ANGLE: BRIAN stands up, with the spear in his hand he
dives into the water.
STEWART looks down at an action figure in his hand then
looks up and around. He stands the action figure up, puts
the arms over its heads and makes it dive off the rock
ledge. Stewart looks up and around.

POV; STEWART up on a rock ledge sees the imposing figure of
TALON the scars on his head glisten in the sun like they
they have been oiled. TALON looking at STEWART through
binoculars.
OVER THE SHOULDER; TALON on the CLIFF aiming the binoculars
at the boy. The scars are prevalent over his scalp. HOLD
STEWART stands up and looks at the water, for his father.
ANGLE ON: BRIAN is swimming hard against the current, close
to the rock wall, trying to get to the waterfall, the spear
is in his hand. The river current pushes him against the
slimy wall and down, Brian keeps swimming, hard. (there is
such a place.)
STEWART looks up at the cliff.
POV STEWART; TALON, with the binoculars is gone. Stewart
looks for his father but he is not visible. He goes back to
playing. Then he looks up.
POV STEWART: standing on the rock ledge is a Roman Centurion
in complete garb. His skin is dark, dusty with time, his
clothing is oily - leather. He is 6 ft tall, built for
combat and at his side is a sword.
OVER THE SHOULDER; THE CENTURIAN - from his view point he
can see a man swimming up toward the waterfall and a small
boy looking at him, seated on the rocks.
STEWART; STANDS UP and looks around, the cowboy ninja action
figure in his hand.
STEWART
Dad?
WIDE ANGLE: BRIAN climbs up the rocks, having difficulty
with the spear in one hand and something else is in the
other.
WIDE ANGLE: BRIAN (breathing hard) sits down next to Stewart
and opens his dripping wet hand. He glances around to see
if anyone is watching.
IN HIS HAND; A big red ruby sits in the middle of his palm
BRIAN
Look what I found.

STEWART
Neat, where did you find that?
BRIAN
In the water.
STEWART
What are you going to do with it?
BRIAN
(smiling big) Give it to your
mother to make her stop crying at
night.
ANGLE ON; BRIAN, he carefully wraps the spear up in the
towel again. Then he puts the ruby in his shorts pocket.
WIDE ANGLE: The father and son team make their way out of
the park over the rock steps.
STEWART
Where does all the water that goes
through this park come from?
BRIAN
That's an interesting question, a
better one is where is the water
going? That is much more important
that where something came from. I
want to know where the water is
going. (audio trails off as they
walk away)
CUT TO:
EXT. TOMAHAWK WISCONSIN - DAY7.
ANGLE ON: a six year old boy, STEWART BYRNE, marching up a
mowed lawn. He wears a small back pack that reads Ninja
Cowboys the backpack is closed and the boy takes casual
strides up the lawn toward the house. He is lost in
imagination.
WE HEAR: a woman scream and then it is cut short. STEWART
looks up in fear and runs toward the house.
POV STEWART: Before he can get there the DOOR burst open
BRIAN BYRNE is fighting with TALON. They are in a standing
death grip as they burst through the door.
ANGLE IN: The two men are soaked in blood, locked in a death
embrace with a big knife between them. STEWART'S FATHER
glances away from the attacker at Stewart.

ANGLE ON; TALON, tall, strong. He has a huge homemade knife
in his grasp, struggling to work the blade toward BRIAN
BYRNE.
THE KNIFE has a long sharp bloody blade, a handle made from
a bone that could be a human femur.
ANGLE ON; STEWART'S FATHER, he is bleeding from a several
wounds to the chest and abdomen. THE BLADE is long and
sharp, trembling, pointed at BRIAN BYRNE'S throat.
BRIAN BYRNE
Stewart, run! (TALON overpowers
Brian and slashes the blade across
Brian's neck and beheads him with
the long blade.)
WIDE ANGLE / SLOW MOTION: The HEAD of Brian Byrne flips away
from the body and TALON turns savagely toward STEWART. The
headless body of Brian stands erect for a moment in the
background.
TALON crouches down like a panther and slowly moves the
bloody knife behind his back, out of sight.
OVER THE SHOULDER: The headless body collapses.
TALON
Come here boy, I just want to talk
to you. Don't be afraid. Your Dad
and me, we had a wee bit of
unfinished business is all.
WIDE ANGLE: He takes a few more steps toward Stewart.
TALON
I want to see what you got in the
backpack. Now you be a good boy
and bring it here to uncle Talon.
No one gets away from Talon for
very long.
ANGLE ON; an enormous crow circles and lands on the trim of
the house and turns it head.
STEWART turns and runs for the edge of the woods where he
came from.
POV STEWART: the woods get closer as he runs. WE HEAR: A
groan of insane rage behind him. The branches of the woods
scratch his face and he ducks low to get in the thick tag
alder brush and move close to the ground. It is a swamp and
he knows it well.

POV TALON: The boy gets in reach for him to grab him but
STEWART disappears into the woods at the edge of the lawn.
The thick swamp brush has no visibility. He hears the
breaking of branches and burrows into the bramble.
ANGLE ON: STEWART; He scrambles through the underbrush with
the backpack, he pulls on it when it get's snagged. A BRANCH
with a THORN on it scrapes across his face laying open the
skin.
ANGLE ON: A CROW in a oak tree, high up in the forest.
POV: CROW; STEWART is trudging through the woods crying, he
wears a back pack and his face is bleeding. He weeps
hopelessly and is exhausted. THE CROW flies off from the
tree, we follow it, showing an immense view of forest around
the boy. Evening is falling as the crow heads toward a
sunset.
ANGLE ON: STEWART stops walking and lays down on the ground
and falls asleep, crying silently.
CUT TO:
EXT. TOMAHAWK WISCONSIN - MORNING8.
AERIAL VIEW: Birdlike, coming in over a well kept dairy farm
in Wisconsin. The clouds throw morning shadows over cows,
chickens and an old brick house.
ANGLE FROM ABOVE: like the bird has settled in a tree limb.
ANGLE ON; Mr. HANS GOTLIEB, a man of fifty years old is
running his tractor at the edge of the field when he looks
back over his shoulder and does a double take.
POV: HANS: STEWART is standing in the dirt Hans has just
plowed. STEWART is crying. He wears a backpack and a
little sweatshirt and jeans. His face has a gash that is
bleeding.
HANS
What the hell? (he shuts off the
tractor.) What the heck are you
doing out here little fella? (He
climbs down off the tractor.)
CUT TO:
INT. GOTLIEB HOUSE - MORNING9.
MRS GOTLIEB wears an apron and is baking some cinnamon rolls

from scratch in the oven. She checks the temperature and
peeks in the door of the oven. It is a classic farm style
country kitchen.
WIDE ANGLE: The front door opens while she is looking in the
oven. Hans enters the kitchen. He steps in with STEWART and
he waits for her to notice. HANS doesn't seem to know what
to say. STEWART looks like he is in slight shock.
MRS. GOTLIEB turns around and jumps in surprise.
POV; MRS. GOTLIEB her husband stands in the kitchen holding
the hand of a little boy with a slash to his face, the boy
is trying not to cry.
MRS. GOTLIEB
Good heavens Hans, bring the boy
in, he is hurt. (She begins to fuss
over him, when she tries to take
off his backpack, Stewart resist,
insist on keeping it.)
She takes a soapy wash rag and cleans the scratch on his
face from the dried blood.
MRS. GOTLIEB
Well look at you, where did you
come from? (Stewart tries not to,
but begins to cry.)
CUT TO;
INT. GOTLIEB HOUSE - LATER IN THE MORNING.10.
STEWART is eating a big home made cinnamon roll. MRS.
Gotleib is watching him eat, sitting across the wooden
country kitchen table, the cut to his face has a butter fly
bandage on it and big stain of orange from Mercurochrome on
his cheek.
OVER THE SHOULDER; HANS is talking with a Tomahawk policeman
in the background of the kitchen.
POLICEMAN
We found both his mom and his dad
killed. No doubt he saw something
and I need to ask him some
questions. Then he should go into
hiding for a while until we figure
(MORE)

out what we are up against.
POLICEMAN (CONT'D)
HANS
If Helen and I, we were a little
younger, we might keep him.
POLICEMAN
There is a monastery on the edge of
the county. They take in stray
boys. He can stay there until we
sort this out. Appreciate your
help.
HANS
They make great cheese and wine
there. The boy will be just fine,
Helen. They are respected farmers.
THE POLICEMAN: walks stiffly over to the child and pauses.
STEWART stares up at him. MRS. GOTLIEB leans over and wipes
the sticky cinnamon off his hands and mouth with a wash rag
then looks at the bandage on his face, just before the cop
takes his hand and leads him methodically out the door. She
wipes a tear from her eye and tries to smile at Stewart.
STEWART glances back into the kitchen just before the door
closes behind them. MRS GOTLEIB begins to sob. HANS holds
up his hands palm up as if to say - what could I do?
CUT TO:
EXT. ST. MARY'S MONASTERY - DAY11.
AERIAL VIEW: flying over the Wisconsin country, of pine
trees, rivers, timber, until it is met with squared out farm
land. We fly over an immense gothic - castle like building
with peaked spires, stone cut windows and granite walls.
WE HEAR: Music like; Missa Ave Regina, for mixed choir.
ANGLE ON: GOTHIC spires while the sun on the rolling green
hills of trees and crop land.
A POLICE CAR is winding up the long road and stops in the
circular drive before the front door of the monastery.
STEWART steps out of the car and the policeman takes his
hand. Young STEWART looks up at the big building with a
pensive look.

POLICEMAN
Come on young man. You can stay
here until we get this sorted
out.(they walk up the drive way.)
As STEWART is being led up the walkway to the door he stares
at a statue of St. MARY, her foot is stepping on the head of
a snake. HOLD
CUT TO:
INT. ST. MARY'S MONASTERY - DAY12.
THE ABBOT is leaning forward in his wood chair speaking to
Stewart. In the scene is a picture of him as a younger man
standing outside a helicopter in a armed service uniform in
Vietnam. He is a kind and gentle man with who has lived a
life of discipline. A clock on the wall ticks rhythmically.
ABBOT
Let's see what is in the backpack.
I think your dad would be ok with
you showing me what was in there.
STEWART looks scared and guilty, then he slides down from
the chair and stands up, then takes off the back pack and
hands it to the Abbot. THE ABBOT opens the pack slowly and
withdraws a broken head of a spear. There are STAINS of
BLOOD on the spear point. HOLD.
THE ABBOT looks at the spear in his hands at first in
puzzlement, then it turns into astonishment. THE ABBOT
looks at the boy, then at the spear again. His hands
tremble.
ABBOT
Lord Jesus Christ have mercy. (He
gently sets down the spear as
though he is unworthy to touch it,
gently, slowly. His HANDS tremble.)
What are you doing with this? How
did you come to posses it?
STEWART
I took it from my Dad's closet.
ABBOT
Go on.
STEWART
I borrowed it.

ABBOT
Why would you do that?
STEWART
I was going to go swimming with it.
ABBOT
Why would you do that?
STEWART
My Dad did and it made him happy.
ABBOT
I see. Did your dad know you had
taken the spear and put it in your
backpack?
STEWART
I was going to put it back. (tears
silently run down his face.) The
man who hurt my Mom and Dad, was he
looking for this? Cuz I am real
sorry I took it. I was going to
put it back. I swear. I swear I
was.
WIDE ANGLE: STEWART weeps, the Abbot moves his chair over in
front of Stewart's and leans forward looking the boy in the
eye.
ABBOT
Look at me, Stewart. That man
would have hurt them anyway, had
the spear been there or not. Your
Mom and Dad are both in heaven
right now with Jesus and I bet they
are glad you are safe right now
with us at the monastery. This has
nothing to do with you, and it is
not your fault.
WIDE ANGLE: in the Abbots office the boy leans into the old
man and cries like he has lost everything in life.
ABBOT
It's alright. There are some other
boys who are going through what you
are going through, and they will be
your friends. These boys have had
their parents taken by these bad
(MORE)

men. And these evil men, you will
ABBOT (CONT'D)
learn how to fight them. Perhaps
God will allow you to be a weapon
against them.
ANGLE ON: A CANDLE in the room burning and flickering in the
WHITE TALLOW. HOLD. WE HEAR: A boy weeps from the pit of his
soul in the background.
ABBOT
Perhaps you have been chosen to
bear the spear. If so Stewart, you
have been sent here. You have come
to the right place.
FADE OUT:
FADE IN: OFFICE OF THE ABBOT - DAY13.
WIDE ANGLE: THREE MONKS SIT with the Abbot at a wooden
conference table near the window. The SPEAR OF DESTINY is
on the center of the table. Two of the men stare at it in
amazement and the third is BROTHER COLIN, who is agitated.
BROTHER COLIN
We have the spear that pierced the
side of Christ in our possession.
We are very blessed. But the Hand
will know soon and we can expect an
attack.
ABBOT
They will do no such thing.
BROTHER COLIN
Every move we make, the Hand has a
team to intercept in transit.
Since when are Knights Templar
outwitted by thugs?
BROTHER FRANK
I have heard that if possession of
the spear is lost, death comes
quickly to the bearer. Is it safe
in our keep?
BROTHER THOMAS
The spear is to have an authorized
bearer. God would assign someone
the responsibility.

ABBOT
Those are legends, and if it isn't
found in scripture, I hold it at
bay.
BROTHER COLIN
Haven't we been selected to bear
the spear? We have it in our
possession, as it should be.
THE ABBOT; stands up, tired, old. He looks at the relic on
the table.
ABBOT
I am not so certain if we have been
chosen, or if Stewart Byrne has.
CLOSE SHOT: THE ABBOT looks speculative. ANGLE FOCUSES on
the spear on the table in the background.
FADE OUT:
FADE IN: ST. MARY'S MONASTERY - DAY14.
ANGLE ON: YOUNG STEWART in a classroom setting, a student in
a room of thirty young boys ages from six to fourteen in
desks, listening to a lecture. All of the boys have the
distinctive bowl style haircut. A robed monk is in front of
the classroom teaching history. STEWART now has the bowl
haircut the rest of them have. The slice to his face has
scabbed over.
MONK
What year was the Siege of Malta?
(points to one of several students
who raise their hands.)
STUDENT
1565 when the Ottoman empire,
with an estimated 40,000 troops
laid siege to the island of Malta.
MONK
And what was the result? Brother
Robert. (He gestures toward a boy
of about ten.)
STUDENT ROBERT
The Knights Hospitallar held off
the siege with 200 knights and
about 400 Maltese men.

MONK
And what was the result of this
victory? Brother Stewart.
ANGLE ON: YOUNG STEWART looks like a deer in headlights for
a moment then composes himself.
STEWART
I don't .. know. Sir.
MONK
This is why we complete the reading
assignments at night, you have been
here two weeks now, Stewart. Watch
Brother Phillip. Brother Phillip,
what happened in the war with the
Ottoman empire once the Siege of
Malta was won?
BROTHER PHILLIP
It was a turning point, other
nations knew the Ottoman's could be
defeated and they resisted as well.
SIDE VIEW: STEWART; he looks around the room at the other
boys, like he is first realizing where he is. The scar is
distinctive on his face. Then he looks to the front of the
class at a painting on the wall of a knight in armor with
the helmet under his arm, kneeling down to receive holy
communion on the edge of an active battle field. CLOSE UP ON
THE PAINTING; HOLD.
CUT TO:
INT. ST. MARY'S MONESTARY - DAY15.
STEWART washing the floor with a big mop and bucket,
cleaning the granite surface silently. Torches light the
hallway making it look like a cavern.
OVER THE SHOULDER: The front door of the monastery opens and
a man wearing a Irish tweed cap leads a boy of about ten
into the monastery. The man is FRED SANNS, the boy's uncle.
The boy has shocking red hair and a long slender build.
FRED leads the boy through the door by his arm and holds him
still while a monk approaches.
THE BOY looks like he wants to run away out the door and
holds an expression of contempt on his face. There are
signs of being beaten on his face, and a scar on his upper
arm.

MONK
Can I help you?
FRED SANNS
Yea, this boy needs a home and
wants to stay here for awhile.
MONK
I am sorry sir, this isn't an
orphanage, it's a monastery.
FRED
Ok, so he's a Catholic. His name
is Wesley. Thank you very much.
(the man leaves the building back
through the door.)
MONK
Wait sir! (he chases out the door.)
ANGLE ON: WESLEY the boy looks around and sees Stewart
staring at him. He glares at Stewart in hatred and gives
him the finger. Then he draws a finger across his throat
and points at Stewart. The red haired boy makes a kicking
motion at Stewart and pantomimes more violent motions then
gestures at Stewart. STEWART stares at him, unimpressed.
WESLEY continues to pantomime the motions of a vicious
beating and then points at Stewart.
THE DOORWAY: The monk comes back into through the door
exasperated. He wears the bowl haircut they all have, and a
brown robe with a sandals.
MONK
Well, I guess we have another for
lunch. Follow me, .. a... Wesley
was it? (The boy follows the monk
but glares at Stewart in hatred as
he passes.)
STEWART watches the two walk past for a moment, then goes
back to mopping the stone floor again.
The MOP splashes soapy water on the granite floor and
sloshes it around. HOLD.
CUT TO:
INT.ST MARY'S MONASTERY - DAY16.
WIDE ANGLE: THE CLASSROOM; ANGLE ON: A PICTURE on the wall
of an ANGEL watching TWO CHILDREN cross a rickety bridge

over a river. HOLD. WE HEAR: A lecture in the background.
MONK
This monastery was founded in 1362
by the Knights Templar. We have
been surviving in these woods since
before Christopher Columbus was
credited for discovering this land.
BOY
What were the Knights doing here?
Aren't they from England?
WESLEY
Running away from King Phillip and
Pope Clement. They got away with a
great deal of treasure I hear tell.
MONK
(Walking slowly around the class.)
Yes, Wesley is correct on all
accounts. But the most important
relic that they had, and we had
lost has been returned to us.
(smiles at Stewart.)
WESLEY
Maybe our golden boy knows where
the treasure is. (stares hard at
Stewart.)
WIDE ANGLE: on the gothic, castle building HOLD. Lighting
fades and intensifies several times, snow falls on the
structure, smoke comes out of the chimney, stops, snow melts
again in daylight as it turns to spring. This happens
several times to show the passage of a few years.
INT. ST. MARY'S MONASTERY - DAY18.
A stone hallway in the monastery, lit with torches. STEWART
rounds a corner. He wears a black cotton sweat suit and
cross trainer running shoes.
ANGLE ON: STEWART, he walks down the hallway alone, his
footsteps echoing. He is nine now, a little taller, still
has the bowl haircut they all do. The scar on his cheek
from the thorn remains.

CLOSE SHOT: STEWART holds the dreamy, lost expression. WE
HEAR; yelling sounds of a struggle and contact. STEWART
approaches the open doorway and steps in the room.
INT. THE TRAINING ROOM - DAY19.
A large stone walled room with thin blue wrestling matts on
part of the floor. lighting comes from the tall cathedral
style ceiling with stained glass windows that throw beams of
filtered sunlight on the floor.
POV STEWART: A GROUP OF TEN BOYS, older than Stewart form a
circle, a robed monk stands outside the circle. THE BOYS
are wearing black sweat suits of cotton and they carry big
pieces of chalk, six inches long, a couple of inches thick.
Some of the boys are marked up with chalk marks and
breathing hard. THE BOYS stare at STEWART as he approaches.
MONK
Sound off!
MOVING SHOT: Camera pans across the young, fierce faces as
they shout out numbers from one to eleven. When we get to
Wesley's face, it is filled with contempt and hatred, he is
looking at Stewart.
MONK
Wesley, you are shark bait, in the
middle.( Wesley jumps into the
circle of nine boys and turns
looking at them with a challenge in
his eyes.) Six and four!
WIDE ANGLE: Two boys move out fast into the circle with
their chalk sticks. They hold them like knives and attack.
WESLEY SLASHES and marks them with chalk while maneuvering
away from their attack. He marks up the other boys while
not getting marked himself, enjoying it. Then he kicks one
in the balls and strikes the other with his empty fist,
knocking both down.
MONK
Very good, Wesley has advanced in
his footwork abilities faster than
most and this makes him an
effective fighter. The game of
shark bait points out our strengths
and weakness. Nice of you to join
us Stewart, you are three minutes
late. Stewart and Brother Michael
in the center please.

STEWART picks up a big stick of chalk and steps quickly into
the circle, but is second to arrival of Brother Michael who
stands in a fighting stance, with his chalk out toward
Stewart. STEWART settles into a less aggressive, less sure
stance, extends his chalk out.
MONK
Fight. (The two boys step into a
mock knife fight with the chalk
sticks.)
WIDE ANGLE: STEWART fights defensively, blocks and parries
while striking only - almost nonlethal slices, leaving chalk
marks across midsection and arms. BROTHER MICHAEL charges
in frustration.
ANGLE ON: WESLEY who is watching in contempt.
STEWART; kicks the chalk out of Michael's hand,steps in
tight and throws him down on the matt in a Judo toss.
STEWART drops down on him and holds the chalk to his throat.
STEWART
Repent and confess for you face
death.
WIDE ANGLE: MICHAEL stabs STEWART in the neck with the piece
of the broken chalk he picked up off the floor. HOLD.
WESLEY
That's why we don't do that
anymore.
MONK
Wesley inside, Michael stay in,
Stewart is the shark bait.
WIDE ANGLE; Michael pops up off the ground to fight again as
Stewart gets to his feet. WESLEY runs toward Stewart as
though he cannot restrain himself. STEWART'S defense is
strong because he slides his feet around to keep Michael
between Wesley and himself, lining up the attackers, while
scoring slashes with his chalk stick.
WESLEY
Out of my way. (he knocks Brother
Michael to the side.)
WIDE ANGLE: STEWART tries to fight aggressively now, WESLEY
blocks his advance easily and clowns around, making
pantomime gestures of being afraid and confused at this

vicious attack.
WESLEY slashes big white streaks of chalk on STEWARTS arms.
WESLEY prances around with his chalk stick held high as
though he is afraid. Then with masterful speed he steps in
and strikes a big fast x on STEWART'S CHEST. And then jumps
away before STEWART can strike back. (the boys watching
chuckle.)
STEWART in frustration charges with no form and WESLEY marks
STEWARTS FACE, THROAT then kicks him in the balls. STEWART
drops to his knees and drops the chalk piece. The CHALK
STICK shatters on the floor. HOLD
WIDE ANGLE: The ten boys are standing in the circle,
STEWART is doubled over on the floor, Wesley is looking
contemptuously at him. The instructor watches, then walks
into the center of the arena.
MONK
What is our purpose as an Order?
Everyone, please.
ALL BOYS IN UNISON
To preserve and protect
Christianity from the enemy.
MONK
When an enemy feels your
hesitation, he will feed it back to
you on his blade.
ANGLE ON: STEWART, his face is to the floor and he holds his
hand out on the matt to push himself up, THE HAND is
trembling. HOLD
CUT TO:
INT. THE MONASTERY - DAY20.
CLASS ROOM, the monk walks among the desks, looking at the
boys.
MONK
Stewart, tell me about.. The Spear
of Destiny. (all the class stares
at him.)
STEWART
It is also known as the Holy Lance,
was used by a Roman soldier to
pierce the side of Jesus Christ
hours into the crucifixion.

MONK
What was the name of the Roman
solider?
STEWART
Well, Catholic legend states that
his name was Longinus, and he was
cured from a disease when the blood
flowed down the shaft of the spear.
MONK
What do we know about it's history?
(the monk walks slowly down the
isle. All stare at Stewart
intensely.)
STEWART
It has been in the possession of
many rulers, who believed it made
them invincible in battle.
MONK
Like who?
STEWART
(Beginning to feel uncomfortable
with all the eyes on him.) Um,
Charlemagne carried it into no less
than 47 battles and died when he
dropped it. It has also been in
the possession of Roman Emperor
Fredreck Barbosa as well as Aldic,
the King of the Visigoths who
sacked Rome.
THE MONK walks up slowly to young Stewart and stares at him,
the room is silent. HOLD.
MONK
Brother Stan, what can you add to
what Brother Stewart has said.
BROTHER STAN
Napoleon sought after it, but he
never got it. Hitler seized it,
and had it until Patton acquired
it, Hitler committed suicide days
later.
MONK, walks down the isle and stops at WESLEY, who looks
strong and defiant.

MONK
Robert, why does the Hand want the
spear?
BROTHER ROBERT
Because they want to destroy
anything good.
MONK
Wesley, what do you think?
WESLEY
They think it is a key or some
puzzle piece that will lead them to
a treasure of the Knights Templar.
(wicked look in his eye.)
WIDE ANGLE; The monk stops in his walk, for just a moment,
then steps forward again.
MONK
That is also, legend.
CUT TO;
AERIEL VIEW; birdlike coming in over the forest, showing
farm land, trees budding in the spring, fields green with
soybeans, pass over the monastery, circle it like a bird
from up high.
WE HEAR; Gregorian chant music like - Dominus Illuminato mae
intruit 4th Sunday after Pentecost by Chant, Gregorian.
DOWN BELOW we see figures in the field around the Gothic
building, as we fly down, and settle in a tree, the shadow
on the ground shows our perspective as a big BLACK CROW.
ANGLE ON; THE BOYS, STEWART is 14 now. The boys wear jeans
and plain white T shirts and work in the sun to pick rock
from the field. Each has the bowl style haircut. The boys
are picking up rocks and throwing them on a big flat wagon
being pulled by another boy on a horse. Some of the rocks
are big and have to be dug out by a few boys and loaded
fast, as the wagon moves. It's dirty, hard work.
BOY ON HORSEBACK
(Sings a lead part of a Gregorian
chant song that praises the Lord.)
BOYS IN THE FIELD
(Respond with their part of the
(MORE)

chant to make a beautiful sound and
BOYS IN THE FIELD (CONT'D)
song of praise, in well trained
key.) They work and sing.
OVER THE SHOULDER: A GIRL OF STEWARTS AGE (14) pulls down a
branch and watches the boy's at work. She is SHIRLEY JENSEN
she is looking at STEWART, as he is closest to the edge of
the field.
CLOSE SHOT; STEWART; He sings his chant part in key. He
turns his head and glances toward the field edge and sees
the girl looking at him.
ANGLE ON: SHIRLEY: she smiles at him.
ANLGE ON: STEWART; he looks stunned, then smiles.
AERIAL VIEW; We take wing from the tree, slide off to the
side, and fly toward the Gothic building.
CUT TO:
WE HEAR: THE GREGORIAN CHANT music continue from the last
scene, the boys are standing, thirty of them singing in
proper key. They wear brown robes with a rope sash.
FAILING light comes through stained glass windows and
candles are lit.
PANNING SHOT past STEWART'S FACE he seems somewhat lifeless.
We pass the faces of the fervent and see Wesley with an
expression of hatred, looking at Stewart.
THE DIRECTOR conducts them expertly. He wears a robe and
rope sash and has a bowl style haircut.
CUT TO:
WE HEAR: THE GREGORIAN CHANT running through this scene.
A beautiful chapel with the stained glass work up in the
chapel spiral, (Like St. Paul cathedral in St. Paul, MN.)
A PRIEST says mass in Latin, the boys respond.
BOYS
Amen.

CUT TO:
THE LUNCH LINE; the boys are in line to take a tray and a
bowl. They have mashed potatoes spooned on a plate by a nun
wearing a habit who smiles at the boys and knows their
names. THE BOYS show off respectfully and it is clear they
feast on her attention.
NUN
Brother Robert, there is venison
stew from the successful bow
hunting season last fall.
ROBERT
Does it have onion in it?
NUN
Of course. (The boy winces.)
STEWART: gets his food, wearing his robe and bowl hair cut
and sits down at the long wooden table with bench seats. He
glances out the window and looks at one of the spires
jutting up from a corner of the building. He takes out a
pencil and sketches it, with some other structure around it
on a piece of paper he has taken from his robe.
HE DRAWS a beautiful architecturally accurate picture in
just a few strokes of his broken pencil.
WESLEY walks behind him and spills his hot soup down the
back of STEWART'S back. He jerks around in pain but Wesley
has walked past.
A FEW BOYS snicker.
STEWART looks around, horrified and injured by the scalding
fluid down the back of his robe. He seems not to know where
to go or what to do next.
CUT TO:
INT. ST MARYS MONASTERY - DAY25.
IN THE TRAINING ROOM; Three boys in the center of the shark
bait circle, marked up with chalk.
TRAINING INSTRUCTOR
You cannot retreat unless you are
outnumbered by three opponents.
Remember that always!

BOYS
Yes brother.
MOVING SHOT; SWIRLING AROUND THE CIRLCE. STEWART steps in
to the circle, as does his opponent. They clash with wooden
wasters. They are skilled in this art. Stewart maximizes
an opportunity when his opponent trips on the blue mat.
Stewart jumps on him and holds his waster to strike his
throat but stops. The face of TALON flashes before him and
he cringes. The opponent gets out of his hold and strikes
Stewart hard with the edge of his waster to the neck.
Stewart drops.
INTSRUCTOR
Stewart, what good is a knight who
cannot finish his quest? Do you
think this a game, young man? Your
weakness will get others killed.
Maybe an entire room full of
people. Perhaps you do not know
the magnitude of the scum that we
deal with. (Stewart gets up
slowly, humiliated.)
CUT TO:
STEWART IN THE KITCHEN; passing by a nun who is chopping
fresh onions, chopping off the tops and throwing them on a
big bucket that is full.
SISTER
Stewart, will you run this out to
the compost? (Stewart picks it up
with a good attitude.)
CUT TO:
EXT. THE MONASTERY -DAY27.
WIDE ANGLE: STEWART outside with the Wisconsin farmland,
rolling hills and the sun setting in the backdrop as he
shakes out feed for chickens who gather around his feet. He
sings softly to himself a Gregorian chant.
CUT TO:
INT. THE BARN OF THE MONASTERY - NIGHT28.
STEWART by oil lamp light milking a cow, wearing his robe,

and a boy is milking the cow next to him. He is BROTHER
ANDREW a boy of about thirteen. WE HEAR the sound of the
milk squirting into a bucket. The boys are on short stools
and their hands work the cows teats.
BROTHER ANDREW
And get this, when I went to the
drug store with Sister Alberta,
we.,
STEWART
I know, it was my turn to go to
town, everyone knew that.
BROTHER ANDREW
I know, but you were picking rock,
and she was leaving, so get over
it.(looks down at his chore.)
STEWART
Ok, so you went to town, what did
you see?
BROTHER ANDREW
Yea, well in the drug store there
was this lady wearing a sundress
with high heels and I could see her
panties in the sunlight, right
through the material of her dress.
STEWART
Yea? what did it look like? (A
figure steps into the moonlit door
way.)
ANDREW
They had a flower pattern on them,
roses or something. Can you
imagine that?
STEWART
Yeah. I guess I will have to.
WIDE ANGLE: A monk with the bowl haircut and robe opens the
barn door and looks in, he holds an oil lantern in his hand.
MONK
Come along boys, bring those last
two buckets and we will have plenty
milk for breakfast. Properly
extinguish those lanterns so as not
to burn down the barn and make sure
(MORE)

there is water for the cows to
MONK (CONT'D)
drink.
BROTHER ANDREW
Yes, Brother Desigundo (when he
turns around Andrew makes a face at
him and Stewart smiles.)
WIDE ANGLE: THE BOYS pick up the buckets and move to blow
out the lanterns.
ANDREW
Did you hear about the Roman
centurion haunting the north wing?
STEWART
What? (freezes still.)
ANDREW
Yea, Brother Chad swears that he
saw a Roman guard walking down the
hall by the fifth torch, outside
A'Kempus Hall.
STEWART
Really? (fascinated)
CLOSE SHOT: A tinge of recognition in astonishment on his
face.
WE HEAR: Gregorian chant music like ( Gustate Et Videte
(psalm 33) Communion 8th Sunday after pentecost, Nova schola
gregorians Alberta Tucco)
WIDE ANGLE: The two boys follow the older monk out of the
barn, under his lamp light.
ANGLE ON: The three figures as they walk under the moonlit
night toward the gothic spires of what could be a twelfth
century castle. Use a BLUE FILTER on lens.
CUT TO:
INT. THE MONASTERY - NIGHT29.
STEWART laying in a bed in an open dormitory with the other
boys. WE HEAR someone fart, a boy is snoring very loud. A
moon beam is lighting a shaft next to STEWART'S FACE. He is
looking at the ceiling for a while then his eyelids tire and
they close.
HIS FEET are about a foot and a half from the end of the
bed.

HE DREAMS: of his mother's face, his fathers face, then sees
Talon's face and spasms in his sleep.
HE DREAMS: He is swimming in a stream, trying to get to a
waterfall against the current.
POV; STEWART: He swims hard in the current but gets further
from the waterfall. WE HEAR: Gregorian chant music as he
swims.
FADE OUT:
FADE IN: INT. ST.MARY'S MONASTERY - MORNING30.
STEWART wakes up and looks at the ceiling. He is older now
18 years old, he still wears the bowl hair cut, he is lean
and hard from training and working hard. The distinctive
scar is still on his cheek.
HIS FEET now extend to the bottom of the mattress. He gets
up to begin the days chores.
WIDE ANGLE:In the dormitory there are many empty beds, and
seven other boys get up and greet the early morning light by
stretching and shaking off the sleep and pulling on the
robes for their chores. Several of the young men have scars
on their backs, and chest from a blade.
CUT TO:
EXT. TOMAHAWK WISCONSIN - DAY31.
WIDE ANGLE: Three men are standing in an open garage in a
country setting. A tall man with thick, long, light hair
and a rugby shirt and jeans walks outside of the garage
door. He is HORACE WHITTAKER a crooked, undercover cop of
about twenty eight. He has a thick head of blond hair he
wears in a pony tale. He looks out of place, like a surfer
in northern Wisconsin. HORACE looks only slightly nervous,
giving us the impression that there is something wrong.
TWO MEN are in the garage RAY LANTZ, a dope dealer and his
friend Al. They stand next to a 74 Chevy Nova.
RAY
Don't worry he will be here. I
haven't seen the money yet, man.
HORACE
It's in my car. Nice ride, is
this yours?

RAY
Yea, I'm working on it.
WE HEAR; The radio playing a local radio station - the song
He Ain't Heavy comes on.
ANGLE ON; A CHILD of about five walks out of the house into
the garage and gets on a Big Wheel. The child sings along
with the song as he drives his big wheel around the garage.
RAY LANTZ
Hey, check out what I bought
yesterday. (He pops the trunk on
the 74 Chevy Nova and takes out a
M16 rifle.)
ANGLE ON; RAY; He works the action back on the rifle,
jacking one in the chamber. WE HEAR the distinctive sound of
a round being chambered. RAY jams the stock into his
shoulder and looks down the sights, he swings the barrel of
the weapon around the garage, across the open door and
settles the barrel on HORACE.
ANGLE ON: HORACE; he watches Ray with the rifle and looks
down the muzzle, HORACE stays still.
WIDE ANGLE; A CROW lands in the yard and walks toward them.
ANGLE ON RAY: He is hunched down and locked over the rifle
as he looks down the sight at Horace. He smiles, turns the
weapon sideways in his hands in a fast snapping motion and
throws it across the garage to HORACE, it flies across the
interior of the garage, through the air sideways, fast,
HORACE catches it.
WE HEAR: The slap of his hands on the metal, and the rattle
of inner parts.
HORACE makes a show of looking it over, he opens the bolt.
POV HORACE; IN THE CHAMBER OF THE WEAPON ; A brass casing is
in CHAMBERED, fully loaded. Horace finds the safety catch.
CLOSE SHOT; HORACE'S THUMB flips the lever, putting the
safety on. He throws it back the fifteen feet with equal
force and accuracy so that Ray catches it like Horace did.
HORACE
That is a nice weapon.
RAY
I call it my Cop Stopper (He
smiles, shows a meth mouth with
(MORE)

missing teeth.)
RAY (CONT'D)
ANGLE ON the DRIVE WAY where a van is pulling up the gravel
drive way, it slows as it approaches the open garage.
RAY
Here he is now. The supplier I got
this from is a bad ass. He has a
hit team of a these two guys with
their hot girl friends, they drive
on these motorcycles and kill
people by spraying them with
machine gun fire. It's fucking
insane. You heard of them?
HORACE
Yea, that's the Repo Men. They
work for Tony Burelli. You know
him? (van is pulling in the drive
way.) Who is this?
RAY
Relax, it's the dude with the weed.
We call him Skelly. Fuck yea,
Burelli he is this bad ass, how do
you know him?
A RED VAN makes it's way up the road toward them.
HORACE
Hey I don't think this is a good
place for a kid to be playing, you
know? We got business.
THE VAN continues up the drive way.
INT. THE VAN - DAY32.
SKELLY looks concerned as he approaches, doesn't like
something.
EXT. DRIVEWAY - DAY33.
The van stops in front of the garage. The door opens and
SKELLY steps out with one foot on the ground and a hand gun
in his left hand. SKELLY looks at HORACE then at RAY.
ANGLE ON HORACE; swallows hard and looks at the balding man.
WIDE ANGLE: Everyone seems to have frozen in time, except
the little boy who is driving his Big Wheel across the drive
way, he is singing along to He Ain't Heavy, he knows the
lyrics.

WE HEAR: The gravel crunch under the plastic tires of the
toy bike.
SKELLY
Are you setting me up Ray?
RAY
What the hell are you talking
about?
SKELLY
This guy is a cop. This is the pig
who busted me four months ago with
the three pounds of Colombian.
HORACE
Hey, hey, now, hold on just a
minute.
RAY
You fucking creep.
RAY lifts the M16 and levels it at Horace. He has him dead
on, he pulls the TRIGGER, but the safety catch is on.
SKELLY lifts the semi automatic in his hand and aims it
toward Horace.
ANGLE ON HORACE; pulls his weapon, a Springfield XDM and
fires it three times at Skelly before Skelly can get a shot
off.
SKELLY twitches from the impact of a round to his chest and
collapses. He falls to the pavement, the van continues to
roll forward, now with his foot off the break. The moving
van is in line with the kid on the big wheel.
RAY LANTZ finds the safety catch and flicks it off, then
shoulders the weapon to aim it at Horace.
WIDE ANGLE / MOVING SHOT; HORACE ducks and fires, both men
are firing in the direction of each other, moving to the
side. HORACE takes cover behind the slowly rolling van.
RAY stitches bullets in the front quarter panel and side
door with his automatic weapon.
AL runs to the corner of the garage and picks up a double
barrel shotgun.
ANGLE ON HORACE: STEPS out from the van, concrete fragments
are chipping around him as he moves, he fires his 9mm.

WE HEAR: GUNFIRE and the tinkling of brass on the concrete.
One of Horace's rounds catches RAY in the chest and he
spins, firing the M16 on automatic.
BULLETS stitch across the wall and one strikes Al in the
stomach. Al fires the shotgun at Horace as he moves from
the impact back against the wall.
HORACE winces in pain from birdshot peppering his face and
chest. He raises the XDM and fires into Al twice before Al
can fire the second barrel. We hear the tinkling of brass
from Horace's weapon. HOLD
ANGLE ON RAY: He re-shoulders the weapon and takes a bead on
Horace, HORACE turns and swings his pistol toward Ray. Both
fire.
RAY falls back with a bullet hole low on his forehead.
WE HEAR; the weapon clatter to the ground. The groan of
RAY'S FRIEND.
THE VAN is rolling toward the kid on the big wheel, the kid
stares at the van.
HORACE scoops the kid out of the Big Wheel jut before the
van rolls over the top of it, crushing plastic TRICICLE.
THE CROW; flies up in a gradual arc across the wreckage of
the scene.
ANGLE ON HORACE; He looks around at the instant mess in
astonishment.
HORACE
Oh no, oh no, no, no. (runs his
hand through his long hair.) I am
in some deep shit now.
WE HEAR: The kid begins to cry.
CUT TO:
THE INFIRMARY: a medical set up with four clean beds lined
against the granite wall. Above the beds there are glass
stained windows that beam light in.
ANGLE ON STEWART, 18 years old now, he has the bowl haircut
and scar on his face and he reads a Psalm to a man of about
twenty in the hospital bed. The man is bandaged on the
chest with blood soaking though. His face is bandaged and

his eyes are closed.
STEWART
Yea, though I walk through the
valley of the shadow of death, I
will fear no evil, for thy rod and
thy staff, they comfort me.
WIDE ANGLE: A NUN wearing a black habit edges her way
between Stewart and the patient.
NUN
Stewart, the Abbot would like to
see you in his office.
STEWART pulls his hood up on his robe so that it hangs over
his face and stands up.
CUT TO:
INT. THE MONASTERY - NIGHT35.
DOWN THE TORCHLIT HALL, in the flickering light STEWART
walks down the hall with the hood of his robe up, so his
face is in the shadow. He walks into the office of the
Abbot.
CUT TO:
INT. ABBOTS OFFICE - DAY36.
THE ABBOT is seated at his desk, the abbot is old now. A
picture of his Vietnam era buddies and himself outside a
helicopter, smiling with their arms around each other is
still displayed. The room has just a few possessions in it.
STEWART is seated on a wooden chair, the two men face each
other in plain wood chairs with no desk between them.
(resembles the first time they talked.) WE HEAR: the clock
ticking.
ABBOT
One of my greatest treasures of
this job is to watch boys grow to
be fine young men. You are a young
man of good character. You have
and excellent work ethic and this
has led you to much accomplishment,
already at your young age.
STEWART
I am grateful for what the Order
has done for me.

ABBOT
You are at the age of your first
quest. I know that over the past
five years we have met with great
tragedy on our missions. (breaths
deep) And we have lost so many of
our knights. The Hand has proven
to be a threat to our mission and
the existence of The Order. These
past years Stewart, they have
tested my faith.
ANGLE ON: STEWART he looks out the window of the office of
the Abbot and sees a morning dove. It coos.
ABBOT
The mission I have in mind for you
is of the utmost importance..
STEWART
Abbot, we are being slaughtered on
each of these quests. The Hand has
information on our movements and
intentions. Members of The Hand
were waiting for Brother Colin in
Paraguay. Just like they were
waiting for Brother Alex in Peru.
ABBOT
So do we give up, cease to exist,
Stewart? (stunned at being
interrupted.)
STEWART
I have something to tell you,
Abbot. It is my desire to take
leave of the Order, and to go to
college. I have already sighed up
for basic college classes at La
Crosse and I will be working toward
a degree in architecture.
ABBOT
(stunned) Your desire?
STEWART
This life, closed away from
everything but combat, it isn't for
me. I think we all know it. I
don't want to hurt people. I just
want to create buildings.

ABBOT
It appears you have been thinking
this through.
STEWART
I have.
ABBOT
You know, when you arrived here
Stewart,..
STEWART
Listen, I know, and I don't want
you to think I am not grateful.
ABBOT
You are interrupting me. That is
not where I was going, Stewart.
When you arrived here you brought
with you a very precious relic.
You carried the Spear of Destiny
with you, right to our door. Do
you think that happened all by
chance?
STEWART
Look, let's not make this harder
than it has to be.
ABBOT
Stewart, a man is assigned to carry
the spear. (Pauses, looks around
the room) I know a life of chastity
and discipline is not, on the
surface, inviting to a young man.
STEWART
My decision is final, Abbot. I
will leave the monastery next week.
ABBOT
(looks devastated) Well then, all
I can say is that I am very sorry
to see you leave.
STEWART gets up, uncomfortably, as though he doesn't know
what to say. Then he gently opens the door and leaves the
room. THE ABBOT holds the posture as though they were still
in conversation for a moment.
CLOSE SHOT; THE ABBOT; he breathes deep and looks concerned.

CUT TO:
EXT. ST. MARY'S MONESTARY - DAY37.
STEWART is working in the field of the farm, he wields a hoe
in the black dirt, he wears the plain white t-shirt and
jeans that are the Order issue work clothes. He keeps
glancing at the side of the field.
POV; HORACE; a beautiful woman of 18 is standing at the edge
of the field. SHIRLEY JENSEN, the farm girl next door. She
is standing as a vision with the sunset light, highlighting
the color of her sun dress of orange and white. The dress
is short and she has bare feet.
STEWART smiles, then looks around the field. Then he drops
the hoe and runs across the field toward her.
MOVING SHOT; SWIRLS AROUND; When he reaches her, he picks
her up and they kiss.
She takes his hand and leads him down a trail, into the
forest.
CUT TO;
EXT. BESIDE A TROUT STREAM - DAY38.
WIDE ANGLE - a brook with pine trees next to it. Stewart
and Shirley lie down. STEWART makes love to the young
woman, with passion. He smells her hair, breathes in her
perfume. She is responsive and gushes with excitement.
ANGLE ON; the laughing brook and the water that rolls away
beside them as the two lovers entangle themselves in each
other's arms.
CUT TO:
EXT. BESIDE A TROUT STREAM - DAY39.
WIDE ANGLE; STEWART AND SHIRLEY are laying down beside each
other. In the afterglow of sex.
WE HEAR: the stream nearby.
SHIRLEY
What did he say?
STEWART
What could he say? I'm done. It is
time for me to move on. I don't fit
in here, they all know it. I don't
(MORE)

know why he was so . . shocked.
STEWART (CONT'D)
SHIRLEY
So, If I go to school in La Crosse,
how will you find me in Eau Claire?
STEWART
(thinks for a moment) I guess I
will have to take the bus a lot.
SHIRLEY
You can be my test subject when I
study anatomy. (She smiles and
kisses him)
STEWART looks at his Casio watch and startles.
STEWART
I have to go, I have to complete
the chores before I can turn in.
CUT TO:
EXT. FIELD OUTSIDE THE MONESTARY - EVENING40.
WE HEAR (music like Aurora by Zimmer Hans)
WIDE ANGLE shot of a sunset on the rolling hills of farm
land and trees in the distance. STEWART runs across the
ridge line with the sunset behind him, he is fit and fast,
and he flies over the ground.
AERIAL VIEW; a sprinting figure races across a great wide
field with a mile to go before he reaches the gothic, dark
structure of the monastery.
CUT TO;
INT. ST. MARY'S MONASTERY - NIGHT41.
In the chapel of the monastery, a ceremony is being
performed, the older members of the order are wearing their
robes and praying in a latin chant. (like Messo Pro
Defunctus by Chant - Gregorian)
ANGLE ON; A VELVET PILLOW WITH THE SPEAR ON IT. It is
carried by a monk with his head bowed low, to the altar of
the church. He sets it down on the altar and they all kneel
before it.
ANGLE ON: A young man of 18, bowl haircut, robe. He stands
up from his kneeling position and the ABBOT approaches him
and sprinkles holy water on him.

ABBOT
This is the spear that pierced the
side of Christ and was used to
fulfill the prophecy of our Savior
that it was written: He will keep
all of his bones. Not one of them
is broken. This is the spear that
was in the hands of Longinus and we
are blessed to have it here today.
The men all get down on their stomachs and lie for a moment
face down on the floor. After a short time they get up.
ABBOT (CONT'D)
Lord, we ask your blessings on this
knight. Give him wisdom and
courage and protect him from the
enemy. Even though I walk through
the valley of the shadow of death,
I fear no evil, for You are with
me. Do you accept your first quest
Brother John?
BROTHER JOHN
I do, Abbot.
THE ABBOT takes a silver water sprinkler and shakes it on
Brother John again. Then he turns and picks up the box with
the spear displayed in it. He holds it out toward the young
man who bows before it, then touches the box.
ANGLE ON: The SPEAR on it's velvet pillow. HOLD
CUT TO;
INT. TOMAHAWK POLICE DEPARTMENT - DAY42.
WIDE ANGLE; floating through the police department, a few
uniformed cops work on various duties like typing or
chatting with coffee in hand.
WE HEAR: a muffled voice yelling from behind a closed door
with a window looking out in the room. A couple of cops
look at each other and nod their heads.
CUT TO:
INT. LIEUTENT STONE'S OFFICE - DAY43.
HORACE stands up in front of the much bigger LIEUTENANT
STONE who is yelling in his face. Horace's gun and badge
are on the edge of the desk, in plain view. Horace's rugby
shirt is pulled up to reveal the empty holster.

STONE
You are fired Horace. The D.A is
holding you responsible for the
deaths of three people, easy to
understand, because you shot them.
We searched your apartment today
Horace, and do you know what we
found?
HORACE
My collection of Jugs magazines?
STONE
We found eight pounds of unreported
marijuana and fifteen grand.
HORACE
Yea, I was just about to bring it
in.
STONE
I was looking for more.(pulls the
small revolver he wears on his belt
and lays it on the table next to
Horace's gun.) I want the 100k you
shorted Tony Burelli last month.
HORACE
Hey now. (surprised) You're on the
take?
STONE
Tell me where it is or I will kill
you right here. (looks at Horace's
XDM laying next to his.) Let's have
a contest, you reach for yours, and
me for mine.
WIDE ANGLE: The two men stare at each other, glancing at the
hand guns on the desk until a secretary comes in and drops
papers on Stone's desk. Stone looks around, changes his
demeanor.
STONE
You will meet me in a hour at the
Dog N Suds restaurant with it, or
you will not survive the day.
HORACE
Incredible, and I had a guilty
conscience.

STONE
No you didn't. You're incapable of
it. Now get the hell out of my
office right now, you fucking waste
of skin.
CUT TO:
INT. HORACE'S APPARTMENT - DAY44.
HORACE stands in front of his apartment, number 2B on the
door. There is yellow crime scene tape over the door in a
big x. Stewart lowers the edge of his hand through the tape
and it snaps.
ANGLE ON; the yellow tape dropping like flags of shame.
HOLD.
MOVING SHOT; HORACE, in the apartment, we follow him as he
moves fast to the bedroom, his stuff is tossed around the
room. He goes directly to the closet and reaches in the
back.
ANGLE ON THE CLOSET: His hand pulls apart a strip of
paneling, revealing a hole in the wall. He yells
triumphantly and then a moment later, withdraws a box and a
thick manila envelope.
ANGLE ON THE ENVELOPE; it's thick, written on it is "Rainy
Day" Horace opens the envelope and pulls out a few stacks of
cash and thumbs over a few of them then puts them back in
the envelope. He drops it next to the box, on the bed.
ANGLE ON: THE BED. Horace opens the box and withdraws a
Springfield XDM, like the one he had, and loads it with a
filled mag. He works the action, jacking a round in the
chamber, and holsters it, then pulls his rugby shirt over
it. (clearly feels better now that he is armed.) He puts the
envelope in a gym bag and shoulders it.
MOVING SHOT; HORACE walks out of the room fast, we follow,he
opens the front door of his apartment and as the door opens
he is punched hard in the face.
A thick man wearing a suit straitens his tie and kicks
Horace in the ribs after he falls down. He is TONY BURELLI.
A gangster from Chicago. He steps into the room.
TONY
Crime scene tape on your door? Are
you dat stupid?

HORACE
Wait. (Trying to catch his breath,
gain his bearing) I can explain.
TONY
I didn't drive five hours from
Chicago to this north woods shit
hole for any explanation. You
better have my weed and my money.
You better have my hundred grand,
and then some. And after I get
that, you better be good at begging
for your life. Cuz I brought Chin
here, just for fun.
WIDE ANGLE; A big Samoan man walks in the open door with a
power drill and closes the door behind him.
WE HEAR; The drill whine at high speed.
ANGLE ON; HORACE, he is getting up to his knees now,
steadying himself with his hand on the floor, his weapon
hand free.
HORACE
Tony, you didn't have to bring
Chin. (Burelli moves to kick Horace
again but this time Horace blocks
it with his arm that he lifted from
the floor, fast.)
WIDE ANGLE: HORACE reaches for the XDM and pulls it up fast
and aims it at BURELLI.
HORACE
Keep your hands up and drop the
drill fuckstick.
BURELLI moves to pull out a gun, Horace shoots him twice in
the chest, he keeps moving until Horace shoots him once in
the head.
WIDE ANGLE: CHIN lunges at Horace, HORACE fires three rounds
rapidly and CHIN lands hard on him, crushing the wind out of
HORACE. The POWER DRILL BIT digs into the floor, next to
HORACE'S HEAD. WE HEAR it whine at high speed.
ANGLE ON: CHIN struggles in pain from several bullet holes,
HORACE fights frantically to get out from under the
tremendous weight. He is having a panic attack, and can't
breathe. The dying man is bleeding all over him.

HORACE gets free of the weight, looks around the room quick,
trying to breathe. He holsters the weapon and begins going
through the pockets of Tony, he finds his car keys and then
pauses, feeling something under the silk shirt with his
fingers.
HORACE
Body armor, Burelli? You knew the
game didn't you.
HORACE begins stripping off the shirt to get to the body
armor. He pulls it off and lays it over his undershirt and
put the velcro straps on. Then he pulls his rugby shirt
over it.
HORACE
Now that is what I am talking
about.
CUT TO;
EXT. TOMAHWAK - DAY45.
HORACE is outside the apartment complex walking, he carries
the gym bag over his shoulder. He holds up Burelli's key
chain and hits the panic button. The lights flash and the
horn beeps on a Mercedes Benz 4000 a few cars away.
HORACE smiles and gets in. THE CAR peels off.
CUT TO:
INT. ST.MARY'S MONASTERY - DAY46.
HALLWAY out side the Abbots office. WESLEY SANS stands
outside the closed door
ANGLE ON: THE CARVED FIGURE of St. George slaying the dragon
that is sculpted into the big oak door. WESLEY'S HAND
settles on the handle.
WESLEY pauses with an uneasy look for a moment. Then he
steps away from the door and and takes a cell phone out from
his robe and TEXTS A MESSAGE THAT READS;
INSERT; NOW. (Then he sends the message.)
CUT TO:
EXT. TOMAHAWK TAVERN - DAY47.
ANGLE ON: TALON, The big man with scars on his head and pock
mark scars on his face, older now but fit. He is handed a

beer and turns away from the bar, as he turns, he withdraws
the big homemade knife with a bone handle and chops off the
top of the beer bottle. Then he pours it in a glass on the
table.
TALON
I prefer to drink in a more
civilized fashion, from a glass.
(He says to a few onlooker)
ANGLE ON: THE KNIFE looks like a human femur bone still but
now it has the red ruby imbedded in the handle, from the
Byrne home.
WE HEAR: Talon's phone in his pocket rings - the ring tone
is a woman screaming. He flips open the phone and looks at
the screen.
INSERT; (the word) NOW; He slaps the phone closed, picks up
his knife and heads for the door.
CUT TO:
EXT. THE MONASTERY - DAY48.
AERIAL VIEW; THE MASSIVE FIELD outside the gothic style
building. THE FIELD has plough marks in it. ANGLE DROPS DOWN
and flies over a young man working a horse and plough.
ANGLE ON: STEWART, hitched to the plow and controls the
animal and the tool he is attached to. His face is wet with
perspiration, his white T shirt and jeans are dirty from
sweat and labor. But he works patiently, solemnly. He
mushes on the horse and guides the heavy plough across the
field with concentration.
CLOSE SHOT; STEWART feels someone watching him. Glances
toward the edge of the field.
POV STEWART: Shirley Jensen is standing at the edge of the
field in a tight white and blue polka-dot sun dress. She is
smiling, tilts her head, INVITINGLY. (she looks fantastic)
STEWART smiles, the peaceful look gone a look of shame for a
moment, then he glances around to see if anyone is watching.
He brings the horse to a stop. He unhooks himself from the
plough and runs to the edge of the field.
MOVING SHOT; STEWART picks her up, smears her clean dress
with the dirt from the field on his clothes. Neither care,
they kiss passionately.

CUT TO;
WIDE ANGLE; THE ABBOTS OFFICE. The door opens and Wesley
Sanns walks into the room. Wearing his robe and his thick
red hair has the bowl haircut they all have. He carries a
bottle of wine.
WESLEY
You wanted to see me sir? Here is
a sample of Brother Dominic's
latest from the vineyard on the
east end of the complex.
ABBOT
Wonderful, thank you. As you know
Wesley, we have been dealing with
severe circumstances that have left
us with twenty one skilled members
of the Order dead.
WESLEY
It is a damn shame.
ABBOT
When you were dispatched to Mexico
City last month with Brother Henry
he witnessed you having a
conversation with Noas Fratta.
What could you have been talking
about?
WESLEY
I'm sorry, who? (he straitens up
slightly.)
ABBOT
Noas Fratta is a key henchmen for
Lucian Devore, the leader of the
Hand. I was just wondering,
Wesley, what you might have been
talking to him about. (silence)
How long have you been a mole for
Lucian Devore? No more lies
Wesley. HOLD. (Wesley smiles)
WESLEY
A long time. (proceeds like he has
been itching to talk about it.)
(MORE)

Long enough to set up Brother
WESLEY (CONT'D)
Colin, Brother Sebastian and
Brother Frank. I killed Frank with
my own knife. That was one of
those personal things, know what I
mean? (he is jubilant)
ABBOT
(winces in pain, exhales and looks
crushed) And Brother Samuel in
Bucharest?
WESLEY
None other! (Wesley stands up with
his Kukri knife drawn from his
sleeve.) It was sweet too, he was
good, but you know what? I was
better. (Pantomimes about in an
imaginary fight) He always carried
his trench knife low, so I took a
high guard, my strength against his
strength, it was exquisite.
WIDE ANGLE; THE ABBOT stands up from his chair as well and
withdraws a Kabar knife.
ABBOT
You fucking animal. There was
never anything alive inside your
shell. (Wesley regards him with a
half smile.)
WESLEY
Now listen old man, I never had it
out for you, so you can go, but
first, I need the key to the keep
from around your neck.
ABBOT
Come and get it kid. (The two move
at each other into a clash of edged
weapon combat.)
WIDE ANGLE: The men are in close, they stay in striking
range and block and parry with incredible speed. Sparks fly
from steel clashing. Wesley kicks the old man with a front
kick to his stomach and he falls backward.
WESLEY
Damn old man, you still have some
spunk.

ANGLE ON: THE ABBOT: he settles expertly into a fencing
stance with his Kabar out in front and moves into attack
Wesley.
THE TWO clash again in close quarter edged combat and seem
matched well until WESLEY kicks a standing suit of armor and
it falls against the older man. He struggles, now showing
his age at deflecting an attack from an unknown direction.
ANGLE ON: WESLEY moves in and savagely hacks at the fallen
opponent with his Kukri knife.
ANLGE UP: WESLEY hacking. WE HEAR: chopping sound of metal
on meat.
WIDE ANGLE: He works the savagery out of himself and rests
his hands on his knees, with his bloody knife in his hand,
breathing hard. WESLEY is flecked and spattered in blood.
ANGLE ON: The BLOODY NECK of the Abbot, a boot lace necklace
with a key hangs on it. WESLEY'S HAND grabs it and snaps it
off with a jerk.
LOW ANGLE: WESLEY stands up slowly, feeling relief.
WESLEY lays the bloody knife down on the OAK DESK TOP and
with bloody hands he opens the first drawer. He takes out a
tube of Superglue and pulls the cap off with his teeth.
Then he glues the open gash to his bicep closed.
ANGLE ON; WESLEY'S BLOODY KUKRI KNIFE. Wesley's bloody hand
slides it off the desk.
WIDE ANGLE: he puts the knife back in his holster in his
sleeve, (it slides in with a wet sloppy sound) looks around
the room. He sees The Abbots commemorative Vietnam .45 and
he takes the frame off the wall, he smashes it, and takes
the weapon out of the frame. He checks to see if it is
loaded and then searches the desk for some ammo.
As he finds a box and loads the magazine with bloody hands.
WE HEAR; a knock on the door. WESLEY slaps the clip in the
pistol and works the action. Blood flies off his hands as he
does.
WESLEY
Come in. (He says with a smile and
levels it at the door. Like it's a
prank.)
FADE TO BLACK:
WE HEAR; a gun go off.

CUT TO:
INT. HALLWAY OF THE MONASTERY - NIGHT50.
WESLEY with a .45 in hand opens the door to a cell and steps
in and shuts the door behind him. WE HEAR: The .45 go off,
the door opens and WESLEY steps out grinning like he is
playing a prank. He goes to the next door, but he tucks the
weapon behind his back in his robe robe and withdraws his
bloody Kukri knife.
Smiling he steps in to the room.
INT. STEWART'S CELL - DAY51.
POV: WESLEY - The room is empty other than a small cot, a
night stand and some books underneath it. It is small tight
quarters of a disciplined monk.
WIDE ANGLE: WESLEY stands in the small orderly room with his
bloody Kurki knife dangling from his hand like a dead
rabbit.
WESLEY
Stewart, where are you?
CUT TO:
EXT. THE FIELD - DAY52.
Stewart and Shirley pull back from passionate petting and
run toward the laughing brook.
AT THE BROOK; STEWART is on top of her, they are making
love.
WE HEAR; GREGORIAN CHANT music like (O Lord In Thy Wrath
Rebuke Me Not, Anthem for 6 voices , Gibbons Orlando)
WESLEY steps out from Stewart's cell and looks down the
hallway. (Gregorian chant music)
POV WESLEY: THE heavy FRONT DOOR opens and Talon enters with
his bone handled knife in hand and attacks the monk who
guards the door. THE MONK fights well and begins to nick and
slice up Talon. Wesley moves forward.
MONK
(Glances away from the fight to see
Wesley approaching.) We're under
(MORE)

attack! Sound the alarm, I'll
MONK (CONT'D)
handle this turd.
WIDE ANGLE: MONK is about to kill Talon with superior
technique when Wesley comes up from behind him and stabs him
savagely in the back with his Kukri knife.
WESLEY
Surprise! (yells it like it's a
party)
CLOSE SHOT: THE MONKS face contorts in pain and disbelief as
he turns to face Wesley.
ANGLE ON: TALON;who steps in and cuts throat of the dying
man.
TALON
I could have taken him without your
help.
WESLEY
You would never stand a chance
against any of these guys. I told
you to bring a gun. (smiles)
CUT TO;
EXT. THE BROOK - DAY54.
STEWART AND SHIREY are both climaxing in a passionate
display of sexual affection. She raises her legs. They
kiss, Shirley looks into his eyes adoringly. Her hands grab
his bowl haircut. HOLD.
CUT TO;
INT. THE KEEP OF THE MONASTERY55.
WESLEY opens the door with the bloody key he took from the
Abbot and steps into the chamber. It is a simple store room
with shelves built into the walls. There is a box on the
shelf that was displayed earlier in the ceremony, Wesley
recognizes it, takes it off the shelf. He opens the box.
POV WESLEY: THE SPEAR lays on the velvet pillow. His hand
goes to it. But his hand does not touch it. It stops just
above it. His hand trembles slightly.
WIDE ANGLE; WESLEY grabs the child's Cowboy Ninja backpack
next to it and places the box with the spear in the
backpack. He shoulders it. He makes for the door.

NEW ANGLE; he pauses at the door when he sees a stack of
cash next to some candles. He picks up the dusty cash and
sticks it in his pocket.
CUT TO:
EXT. ST. MARY'S MONESTARY - EVENING56.
A BLACK CROW perches in the tree, against the sunset light,
A red sunset adorns the sky. (slow motion - to gregorian
chant) The bird turns its head and watches WESLEY and TALON
walk toward Talon's Hearse. (jacked up with flames painted
on it) WESLEY has a cowboy ninja backpack over his shoulder
and is spattered in blood. THEY walk out of the monastery
and get in Talon's car.
THE CAR peels out from the circular driveway leaving a big
circular burn out in the manicured lawn.
ARIEL VIEW: The bird takes to the air and we have its
perspective as it flies up in the sunset. It flies over
blacktop roads, and then gravel country roads that square
off fields and over farm houses tucked away on the corner of
immense fields with young corn stalks and soybean sprouting
in the fields.
THE SHADOW of the bird falls on the ground.
MOVING SHOT; It crosses over black highways and forests of
pine trees with rivers running through them.
THE CROW: Settles in a tree before a farm house bathed in
the sunset light. In the drive way is the Mercedes we saw
Horace tear off in earlier.
INT. JANICE TILLMANS HOUSE - NIGHT57.
HORACE WHITAKER is standing in front of an attractive woman
of 35 with brown hair. She has a look of having a lived a
hard first half of life, her distinctive feature is a big,
nice butt. She is smoking a cigarette and looking upset.
Horace's posture is - selling mode.
HORACE
Look, I got a hundred grand, that
is enough to get us out of this
north woods shit hole and start
somewhere else, like somewhere warm
in the winter. (He smiles) Like
Florida.
JANICE
So, you are not a cop anymore
(MORE)

Horace?
JANICE (CONT'D)
HORACE
No, that job sucked anyway.
JANICE
That was how we did our business,
how will you have insight as to
what is going on?
HORACE
Look, you are not getting it.(He
gets down on one knee and pulls out
of his pocket a box with a ring in
it and opens it, presenting it to
her in traditional proposal
fashion.) Will you marry me?
JANICE looks stunned. Her eyes tear up for just a second
then dry in hardness. She drags on her cigarette and walks
away from him to the window and looks out at the night. She
turns from the window and looks back at him.
JANICE
No Horace, I won't marry you and we
can't even see each other anymore.
You got something mixed up, we are
business, that is it.
ANGLE ON; HORACE; Looks devastated.
HORACE
Just business, what the hell are
you talking about? We got a thing
going on and it's real, Janice.
More real than anything I have ever
had.
JANICE
Look, we had some fun, but that's
all it was. Fun and business.
(Looks sorry for him.) Your heart
is in the right place, Horace, and
I think you are, in your own way a
good man. Some gal is going to be
lucky to have a fuck up like you.
HORACE stands up off his knee and walks toward her.
HORACE
Hey Janice, I look around here and
I see you running dope and who
(MORE)

knows what else for Lucian Devore,
HORACE (CONT'D)
a megga scumbag of psychopathic
proportion, and you are alone.
That is one thing you and I got in
common. If we put that together,
we have something. For the first
time in each of our lives, we will
have something. Now I think you
should pack a bag and come with me
fast..(stops in mid-sentence and
looks past her out the window
behind her.)
WIDE ANGLE they both look out the window.
ANGLE OUT THE WINDOW; a Hearse with flames and jacked up
tires is tearing up the driveway in the moonlight toward
Janice's house.
HORACE
Who the hell is this?
JANICE
You have to leave, go out the back
and hide until they leave.
HORACE
I don't hide from anyone. (he pulls
the XDM out of it's holster.)
JANICE
No, listen, you will get us all
killed. Put that away, if you do I
promise we can talk about what we
were talking about before but don't
screw up here.
HORACE hesitates, then holsters the weapon and pulls his
rugby shirt over it.
HORACE
Why do I have a feeling I will
regret this?
THE DOOR flies open and slams against the wall, the latch
spins through the air.
TALON
Honey, I am home. (He yells,
stepping into the house)

WESLEY
Janice, darling, what do you have
to eat? (He steps in behind
Talon.)
WIDE ANGLE; The two men parade in and notice Horace right
away and move toward him. HORACE stiffens and tries to look
them both in the eyes, but Talon circles behind him.
WESLEY
We have company. A man who drives a
Mercedes is here tonight. Who is
this? (he steps up close to Horace
and Talon moves behind him.)
HORACE
What is your name kid? (glances
behind him at Talon.)
JANCIE
Wesley,this is Horace, but Horace
was just leaving.
WESLEY
He is not going anywhere.
ANGLE ON the fire poker in a stand, Talon's hand wraps
around it and he scoops it off the metal stand. WE HEAR
the slight metallic scraping sound of metal on metal.
HORACE turns to look at Talon and move but the fire poker
crashes down on his head. He falls to the floor.
WIDE ANGLE: The two men begin kicking him, with big smiles
on. WE HEAR Janice scream.
WESLEY
Take him outside and kill him.
TALON
Why wait? (pulls out his .22 and
fires it into the chest of Horace
who is unconscious.)
WESLEY
Hey Frankenstein, take it outside.
(he is grabbing Janice and dragging
her toward the bedroom.)
WIDE ANGLE: JANICE resist in horror and pleads, shaking her
head no.

WESLEY
Come on darling, I just want to
talk to you.
CUT TO:
EXT. JANICE HOUSE - NIGHT58.
TALON walks out the front door of the farm house dragging
HORACE by the foot. HORACE'S unconscious head bumps off the
concrete on each stair. When TALON gets down the stairs he
turns around and picks up HORACE and lifts him high over his
head and throws him to land on the lawn.
HORACE hits the ground unconscious.
TALON turns around and heads back into the house.
TALON
Don't start without me.
CUT TO:
EXT. ST. MARY'S MONASTERY - SUNSET59.
ANGLE ON; STEWART, running, wearing his jeans and white
undershirt that is the work shirt of the Order. The sunset
is behind him, he runs on the property of the monastery from
the field and slows down when he see something up ahead.
POV STEWART: the welded wrought iron gate is smashed down.
ANGLE ON: STEWART crouching, looking at the tire tracks that
leave a big burn out in the lawn. He walks up to the front
door, it is wide open.
WE HEAR: Stewart breaths in sharply WE HEAR:(Gregorian chant
- haunting music - like Subvenite, Responsory in Mode 4 by
Chant, Gregorian)
CUT TO:
INT. MONASTERY - NIGHT60.
STEWART moves down the torch lit hallway toward a man laying
face down on the stone floor, a pool of dark liquid is
around him in the torchlight.
STEWART
Brother Andre. (he moves toward the
down man but slips in something and
looks down.)
POV STEWART; his foot is in blood.

WIDE ANGLE; STEWART rolls over the dead man and sees a big
hole in the center of his chest. He recoils in horror.
A SERIES OF ANGLES; Showing STEWART in his farm work
clothes, jeans and white T shirt, turning over dead men
wearing robes, (distinction - he is dressed differently then
they, is made.)
STEWART; turning over a bloody man in a robe, taking a
pulse, trying to perform a chest pump but blood spurting out
a wound.
STEWART moving from one man to another, checking for a
pulse, weeping, find none and moving on, his HANDS bloody,
his SHOES bloody, his SHIRT bloody. Stewart is praying over
dead men making a sign of the cross, horror stricken.
CUT TO:
INT. THE CHAPPEL - NIGHT61.
STEWART enters the beautiful chapel, following a thick swath
of blood on the white granite floor.
ANGLE ON, the chapel floor, the red of the blood contrast on
the white floor, a monk has been pulling himself along the
floor toward the altar.
STEWART
Brother Colin, what happened?
(Colin rolls himself over and looks
up.)
ANGLE ON: COLIN, as he rolls over a swath of blood spills
out over his cheek and chin.
COLIN
Stewart. Wesley, he asked me where
you where. He was with a big man
with scars on his head, they were
armed. I faced one, and the other
shot me in the back. I swear I was
not in retreat.
STEWART
I know that, you big stooge, what
did they want? (Stewart snaps open
a Ti Lite folding knife and slices
off a chunk of Colin's robe and
stuffs it in the big bullet wound.)
COLIN
They took the spear. You have to
(MORE)

get it back from Wesley. This is
COLIN (CONT'D)
your last quest. You are the last
of us.
ANGLE ON: COLIN he spasms and grips Stewart's arm, then
expires. HOLD.
ANGLE ON: STEWART he stands up slowly and looks at the blood
on his hands. He pushes back and moves away from the body
until his back is against the wall. He stares at his bloody
hands.
CUT TO:
ANGLE ON; SHOES of STEWART, they fall heavy. The strain to
move and we hear him breathing hard.
WIDE ANGLE; STEWART is wearing his robe, carrying a dead man
on his back down the hallway, under the torch light.
CUT TO:
EXT. THE MONASTERY - NIGHT63.
STEWART is digging a grave in the cemetery, behind the
building. There are old grave stones around him and in the
moonlight WE HEAR the soil on the shovel tip as he digs.
He prays by the grave before beginning to fill it.
A SERIES OF ANGLES; STEWART dragging a big dead man wearing
a robe, by the under arms, he is struggling to move him.
ON THE WALL: The shadow on the wall shows him in a strange
configuration as an angel with wings.
STEWART
Remember the time we snuck into
Brother Herman's grape reserve and
tried to go fishing, drunk as
skunks? (he is saying to the dead
man as he pulls him down the
hallway.) We still caught eleven
trout. You knew where those fish
were in that stream. No one will
know that like you did.
ANGLE ON; STEWART in the cemetery again, digging a deep
hole.
HIS HANDS are bloody with busted blisters.

STEWART
I never trusted that fucker. I
always hated him. It was revealed
to me. You guys, I knew what he
was. I should have killed him.
I'm sorry. (He says to the graves.)
CUT TO;
EXT. THE MONASTERY CEMETARY - DAWN64.
SUNRISE on the countryside. Pans back to show STEWART
dropping the spade shovel, he stands before seven fresh
graves. His hands are wrapped in bloody rags cut from his
robe and he is exhausted.
CLOSE SHOT; STEWART'S dirty face bears the scar from his
childhood.
FLASHBACK: gritty image of Stewart's father looking at him
with a smile.
STEWART'S DAD
Don't meet yourself coming back on
the road in life, kid.
CUT TO;
INT. THE MONASTERY - DAWN65.
STEWART: opens the door to his cell and steps into it. He
is dirty from burying bodies.
POV: STEWART his bed is overturned and words are scrawled on
the wall in blood, STEWART WHERE ARE YOU? It is underlined
twice with a thick smear.
CLOSE SHOT; STEWART; he leans on the wall, overwhelmed for a
second with grief and exasperation. He pulls it together,
straightens up, wipes away the tears.
FADE TO BLACK:
EXT. JANICE'S FARM HOUSE - DAWN66.
THE SUN is also coming up on a beautiful farm setting at the
Janice Tillman farm house. A CROW settles in a tree branch
and caws.
WE MOVE back to see the yard of the brick farm house and a
man laying still near the door.

We Hear: background music like Hymnis Anglicis (Gregorian
chant)
THE CROW caws again very loud and moves it's head up and
down, excited.
HORACE WHITAKER TWITCHES at the noise and his HANDS spasm.
He begins to awaken and groans. He picks his head up and
groans again. Dried blood is on his head. He tries turn to
his side and groans again. His hand goes to his chest, he
forces himself to breath a few times and then his hand goes
to his rugby shirt and lifts it. On the vest are two metal
pieces he pulls off.
ANGLE ON HIS HAND there are two spent .22 slugs in his palm.
MOVING SHOT: HORACE gets to his feet and finds his weapon
still holstered under his shirt.
MOVING SHOT: HORACE; stands up in the morning fog and
staggers toward the door. (the crow caws again) Horace goes
into the door of the farm house with the weapon out in front
of him, staggering, his head is bloody.
CUT TO:
INT. JANICE HOUSE - DAWN67.
HORACE moves through the rooms, looking frantically for her.
CUT TO;
JANCIE'S BEDROOM - MORNING68.
ANGLE ON; A BLOODY HAND extended off the bed, it is lifeless
and still.
FOCUS PAST IT; HORACE enters the room, looks at her and runs
to the edge of the shot in horror. He checks her pulse and
breaks down. Then he looks around the room, he finds the
box on the floor that contained the ring.
ANGLE ON: THE RING in the box. Horace takes it out and puts
it on her dead finger and kisses her hand.
Then he stands up, in a dead, quiet rage, and heads out of
the room.
CUT TO:
EXT. SHIRLEY JENSON'S HOUSE - DUSK69.

ANGLE ON; the sunrise again in the early dawn. SHIRLEY
walks out to the clothes line with a basket of laundry to
hang. She wears a pretty sun dress but sensible shoes.
SIDE ANGLE as she walks past the neighboring farm, she looks
out into the empty field. She starts and stops her walk and
looks again in the empty field. (mild alarm)
CUT TO:
INT. JENSON FARM HOUSE - DUSK70.
WE HEAR: A rooster crowing.
SHIRLEY sets the basket on the kitchen table, her father
passes through the kitchen.
MR. JENSEN
I have to change the belt on the
tractor. I'll eat in a few hours.
SHIRLEY
Daddy, I don't think I have ever
seen St. Mary's not be in operation
by morning light. None of those
boys are in the field yet. (her
daddy has left the house already)
SHIRLEY looks concerned, then takes off her apron and heads
out the back door. WIDE ANGLE: As she gets to the yard she
starts running in the direction of the monastery. (she is
growing in alarm.)
AERIAL SHOT; the pretty girl runs like a athlete over the
long rolling Wisconsin field toward the gothic castle like
structure, that just doesn't seem to belong. The pastures
expand out around her in the shot and it seems like she must
run two miles.
ARIEL SHOT; HIGHER UP: of her running across the farm fields
to the big gothic castle like monastery. Contrast - a barn
off in the distance as the nearest building.
CUT TO:
EXT. THE MONASTERY - MORNING71.
ANGLE ON; The back of the cemetery with seven fresh mounds
in the soil, in a row. A trail enters on the cemetery and
SHIRLEY walks up the trail and looks at the graves and
stops.

WE HEAR; Gregorian chant music, (Like In Manus Tubas,Motet
for 5 voices p.202 By Tallis, Thomas)
WIDE ANGLE she walks a few more steps and looks down at the
ground.
POV SHIRLEY; a SANDAL is laying on the ground. She picks up
the sandal and turns it over in her hand. She looks down at
the ground and notices drag marks on the ground.
ANGLE ON; THE GROUND there are lots of drag marks that lead
right to the mounds of dirt. There is BLOOD in the dirt.
SHIRLEY drops the sandal and walks toward the back door of
the old gothic stone structure.
CUT TO:
INT. THE MONASTERY - MORNING72.
ANGLE ON: STEWART in the chapel, he is on his knees
scrubbing the floor with a rag, ringing out bloody water
into the old wooden slat bucket. The cross of Jesus and the
altar in the backdrop of the shot.
WIDE ANGLE; includes the door, Shirley steps into the
chapel.
SHIRLEY
Stewart. Oh Stewart, what
happened? (She moves toward him but
stops when she sees the blood on
the floor he is cleaning up.)
STEWART
Stay back. Shirley, you should not
be here.
SHIRLEY
But, what happened?
STEWART
It was Wesley, he attacked everyone
and killed them while you and I
were . . fornicating.
SHIRLEY
What? How could you say
that?(Horrified at it all)
STEWART rubs the blood stained rag in the spilled blood of
Brother Colin he soaks some up and then wrings out blood in
the bucket again.

STEWART
I can say it because it is true.
Wesley was looking specifically for
me. I should have been here to
help my brothers. At the time they
needed me I . . I was fucking off.
SHIRLEY
Stop saying that. I love you and
there is nothing wrong in that. He
would have killed you had you been
here. Can you think that God may
have sent you to me to keep you
from harm?
STEWART
(Stands up)I am not supposed to be
kept from harm. I am supposed to
stand in it's way. That is what I
have been trained to do. (pauses) I
brought this here. (looks at her) I
am not here to design buildings or
have a family, or cuddle with a
woman. I am a Knight of The Order.
I took a vow of chastity and
poverty. And now, I'm the last one
who can stop these sick animals.
ANGLE ON; STEWART his disposition is contrite and frantic.
STEWART
You have to go. I have things I
must do. (Looks dismissively away
from her)
SHIRLEY
You won't tell me what to do
Stewart Byrne. There are people
who have to be notified and the
police need to be called. Just who
the hell do you think you are?
STEWART
I'm a knight. I know who I am.
I said you have to leave, Shirley
-and I mean it. Don't tell anyone
of this, when it is over I will
take full responsibility for
whatever had to have happened.
(SHIRLEY stares at him horrified)
The nuns are the only women allowed
(MORE)

in the monastery.
STEWART (CONT'D)
SHIRLEY walks out of the chapel crying. STEWART goes back
to washing the floor.
WE HEAR: (like) Signum Magnum, Intoit in Mode 7
STEWART rings out the rag again then gets up and walks to
the altar. (slight slow motion) He reaches under the altar
and takes out the holy water sprinkler and opens the end of
it.
VIEW FOR ABOVE; STEWART stands next to the altar, the stone
floor is still blood stained but partially washed. He pours
the holy water from the sprinkler over his head. It
cascades in slow motion down over his bowl hair cut head.
SIDE ANGLE the water runs down over his head and onto his
robe. He falls to his knees and bows his head down.
STEWART
Forgive me Father. I accept my
quest now. Forgive me, a sinful
man. I accept my quest.
WIDE ANGLE: STEWART lifts his head and looks at the cross.
CLOSE SHOT: There is a resolution in his eyes there was not
before. He is no longer a boy in love but a man with a
mission. The frantic aura is gone, replaced now by resolve.
He stands up and walks toward the door of the chapel,
stopping to genuflect before the sacristy.
CUT TO:
STEWART steps into his cell, the blood message asking him
where he is still written on the wall. He pays no attention
to it. He opens a drawer and looks in it.
ANGLE ON: THE OPEN DRAWER - A Buck knife with a six inch
blade and a black and sliver handle lay on top of some
synthetic underwear (like Under Armor)a pair of trousers
(Dockers) and a polyester polo. STEWART lifts off his robe,
and is naked in the room. He takes out the knife and sets
it on top of the drawer. Then he begins to dress in his
travel clothes. After he puts the pants on, he straps on
the knife in it's sheath across the small of his back and
pulls the shirt over it, concealing it. He almost looks like
anyone else, but the bowl haircut is a dead giveaway.
CLOSE SHOT; STEWART looks at what it written on the wall.

ANGLE ON: THE WALL - Stewart where are you? (written in
blood)
STEWART
Right behind you.
CUT TO:
INT. LIEUTENT STONE'S OFFICE - MORNING74.
WIDE ANGLE: STONE walks into his office wearing his uniform
and holding a coffee cup that says #1 Dad on it. He is
startled by finding someone standing in his office.
THE MAN is of medium height, wearing a leather jacket and
chaps, he is FRANK TUNES, a hit man. The leader of the Repo
Men. Frank is wandering around Stone's office looking at
things.
STONE
Who the hell let you in here?
FRANK TUNES
I took the liberty to let myself
in, the hallway was a little
chilly. (smiles) I am Frank Tunes,
I am here to pick up the affects of
Mr. Burelli, as well as the
Mercedes Benz he was driving. It is
quite tragic, my client and his
associate being slaughtered by one
of your officers, in that officers
apartment, in fact.
ANGLE ON: STONE; he looks unhappy, his eyes look around the
surface of the desk and shelves to see if something is
missing.
STONE
Yea, well let me tell you
something, Tunes, your employer was
involved in some criminal activity
and he and his friend were found
dead in a drug dealers apartment.
The perpetrator stole Burelli's car
and fled the scene.
TUNES
The perpetrator and the policeman
are one in the same?

STONE
He was a police officer at one
time. My point is that this is a
nice little town and we don't take
well to gangsters around here.
(Stone moves up to get in the face
of Tunes.)
TUNES
What are you implying, Lieutenant
Stone?
STONE
I'm not implying a damn thing, I'm
having a hard time convincing
myself not to put a bullet in your
head under the guise of doing the
world a favor. Here are the
effects, (shoves a box on his desk)
now get the hell out of my office.
TUNES
(Looks in the box) I was looking to
recover something more substantial.
Tony had some money with him, and I
am here to retrieve the vehicle.
STONE
Well, I guess we are all looking
for the same thing. The car was
stolen by the assailant, and with
regard to the money, tell you what,
we could arrange a split, sort of a
finders fee agreement. I find it,
you get half, visa versa. What do
you think?
TUNES
I will have to give that some
thought. (picks up a fake grenade
from his desk and pulls the pin on
it and tosses it to Stone.)
STONE
Listen you fucking pimp, I know who
you people are, and more
importantly I know what you are.
Now you take this box of shit and
get out of my office. You are
stinking the place up.

WIDE ANGLE: The two men look at each other in hatred.
STONE'S a big guy, TUNES looks at him unintimidated. HOLD
TUNES spins, picks up the box and walks out of the office.
MOVING SHOT: BEHIND TUNES he walks down the hallway of the
department. He passes PATROLMAN SCHNICKLES who is looking
down at some paperwork, Tunes shoulders into him, knocking
him aside and walks right through him out the back door.
THE PATROLMAN SCHNICKLES bounces back from the impact and
slams against the wall, his night stick clatters on the
floor. Other items fall, from a ridiculous amount of gear he
is carrying. He drops his paperwork, and turns to look at
Tunes in amazement.
CUT TO:
EXT. THE POLICE STATION - DAY75.
TUNES walks across the parking lot, pissed. He approaches
three people standing next to two enduro style sport bikes.
One is a man, named SIMON, a tough, thick necked brute with
colliflour ears on both sides of his head. The other two
are women.
CAMERA PANS: A gorgeous blonde named BETTY and next to her
is a striking, busty red head SONJA. They are dressed in
leather and standing beside the bikes,they take off their
helmets as the camera moves across, waiting for Tunes.
They ride TRACK T-800 CDI bikes. They wear KTO Racing Exo
Body Armor that gives their appearance a plastic
exo-skeleton.
TUNES
Saddle up, the cops claim not to
have it. Fucker insulted me. We
got a car to repo. Officer Horace
Whitaker is driving it.
SONJA
They don't call us The Repo men for
nothing.
BECKY
How about the repo people? (She
puts on her helmet and gets on the
back of the bike.)
TUNES picks up his helmet.
CUT TO:

EXT. POLICE STATION PARKING LOT - MORNING76.
ANGLE ON: The back door of the police station, PATROLMAN
SCHNICKELS hits the door and it flies open, he walks
outside, clearly pissed off.
PATROLMAN SCHNICKLES
Hey buddy, with the attitude, hold
up a second.
WIDE ANGLE: PATROLMAN heads across the parking lot toward
Tunes and the other three people dressed in racing leather
biker gear standing next to two enduro bikes. SIMON has a
small computer receiver screen strapped over his forearm and
is looking at it.
SIMON
I got a read on Burelli's car.
It's still in the vicinity. Can
you believe the nerve of this guy?
BETTY
If ever a man deserved death it's
this pig.
FRANK TUNES
Sometimes it's a pleasure to get a
job done. This is one of those
times.
WIDE ANGLE; TUNES gets on a motorcycle and straps on his
helmet, the other man does the same, the two ladies get on
the back of the bikes. The woman adjusts a small,
submachine gun she has strapped to her chest. She opens a
velcro side flap on the jacket and adjust the barrel of the
weapon (like an MP5)so it sticks out the side.
SCHNICKLES
Hey Pal, I said hold it right
there. (walking toward them)
WIDE ANGLE: TUNES gets on one of the bikes and fires it up,
as does the other man. The two women get on the back of the
bikes. They head toward the exit of the parking lot, as they
pass PATROLMAN SCHNICKLES, the woman opens the velcro tab
and fires a short burst of controlled fire from a machine
gun hidden in her jacket, into the chest and head of
PATROLMAN SCHNICKLES.
PATROLMAN SCHNICKLES spins and collapses on the pavement.
THE BIKES weave off through traffic, around cars like they

were cones.
ANGLE ON: A UNIFORMED MAN dies in the street as the bikes
dash away in the backdrop of the shot. They vanish from the
shot. HOLD.
CUT TO:
INT. MONASTERY - MORNING77.
WIDE ANGLE: On the big rounded, oak front door, the lock is
broke. STEWART moves into the scene and opens the door.
POV: STEWART as the door opens a pistol is shoved in
STEWART'S FACE. Behind the pistol is Horace Whitaker.
Stewart steps back away from the door, allowing him in.
HORACE
Don't you hate that? You will
probably never open a door the same
way again will you? Officer
Whitaker with the Tomahawk police
department. Got a minute? (He
looks beat up, dried blood in his
hair line.)
WIDE ANGLE: Stewart backs into the breeze way.
HORACE
Looks like someone broke the lock
on your door.(He is looking hard at
Stewart) I'm looking for a couple
of hombres, one with a haircut like
yours. Pretty distinctive cut, you
guys don't get out much but when
you do, people remember this kind
of stuff.
HORACE, holding the gun in one hand, leveled at Stewart,
pushes Stewart against the wall and frisks him, finds the
big Buck knife and lifts it up to Stewart's throat. (gun in
one hand, knife in the other.)
HORACE
I'm looking for a sicko who did a
number on a lady with a knife like
this. First name Wesley. He a
friend of yours?
CLOSE SHOT: The knife blade trembles and press tight against
Stewart's throat, who leans back, head against the stone
wall, calm, waiting.

HORACE
His name is Wesley Sanns. He is
not here.
WIDE ANGLE; Horace steps back and throws the Buck knife.
WE HEAR: it clank and skip on the stone floor.
HORACE
Priest with a big knife, that's
odd.
STEWART
I'm in a bit of a hurry Officer.
HORACE
Well, turns out you are a player in
the game as well, huh -kid.
Ah,..Father Daniel Boone is it?
HORACE glances around, notices blood on the floor by the
wall.
STEWART
I'm not a priest, I am a brother of
the Order. Do you have a badge
Officer Whitaker?
HORACE
Is that like a brother shamus? Ever
seen the Big Lebowski? (looks at a
wide thick spatter of blood on the
stone wall.) I'm looking for a red
haired guy who travels with a big
goon who looks like he wears a
human skin skull cap. Know him?
STEWART
Wesley Sanns, he is not here.
HORACE
Sanns, like the family that owns
the bait store in town? And the
woman owns a book store. That
family?
STEWART
I don't know.(Stewart's eyes flash)
HORACE looks around at the walls and notices a wooden sign
on the wall that reads:
INSERT; Ora Et Labora (There is a bullet hole in the wooden
sign.)

HORACE
What the hell is that? (gestures
toward the sign.)
STEWART
It means; pray and work.
HORACE
I mean the bullet hole in it.
STEWART
I really am very busy, Officer
Whitaker.
HORACE looks down at the floor.
ANGLE ON: THE FLOOR; Shows heel marks - drug across the
stone. Dried flecks of blood on the stone. He follows
them, cautiously, it leads him out the back door.
CUT TO;
EXT. CEMETARY - DAY78.
ANGLE ON: HORACE - the stone wall of the monastery in the
background behind him, he looks in astonishment at
something.
WIDE ANGLE; AERIAL: the gothic building with the cemetery
behind it has seven fresh graves, with drag marks in the
grass leading to them.
ANGLE ON: Horace
HORACE
Jesus Christ (Stewart steps up
behind him and makes the sign of
the cross.)
HORACE turns from the graveyard with the fresh graves and
runs into STEWART
HORACE
Stay out of my way kid. That's the
best advice you ever got.
STEWART
Perhaps this is something you
should leave for the more
qualified.
HORACE
You mean like these guys? (gestures
(MORE)

at the graves with the weapon in
HORACE (CONT'D)
his hand.)
AERIAL VIEW: OVER THE SHOULDER of a big black CROW that is
perched in a tree, it cocks it's head, then caws.
CUT TO:
EXT. OUTSIDE OF TOMAHAWK - DAY79.
AERIAL VIEW: A Hearst with flames painted on it is tearing
at high speed down a country road, cornering fast over the
rural blacktop roads.
CUT TO:
INT. THE HEARSE - DAY80.
ANGLE ON; TALON is driving the car, WESLEY sits in the
passenger seat.
WESLEY
Turn here, at the next road.
CUT TO:
EXT. OUTSIDE OF TOMAHAWK - DAY81.
THE HEARSE corners hard on a rural road that is now a gravel
drive way and the car throws up a cloud of dust from the
gravel.
CUT TO:
EXT. SANNS FARM HOUSE - DAY82.
ANGLE ON: A DILAPITAED FARM HOUSE, the grass is long, the
paint is weathered to chipping and the front porch is
overgrown with weeds and is leaning to one side.
THE HEARSE rolls up the driveway and stops. WESLEY gets out
of the passenger door and stares at the house with a face of
nostalgia. TALON shuts off the car and gets out as well.
FLAHSBACK: WESLEY REMEMBERS; THE FARM HOUSE is in better
shape but not much, a boy that is Wesley who has red hair is
playing in the yard, he is standing in front of a chopping
log and swings down an axe to split a log, half his size.
The log splits from the kids skillful effort.
WE HEAR; the voices of his parents argue in the farm house.
MAN
That ain't my kid, I don't know
(MORE)

who's kid that is but that ain't my
MAN (CONT'D)
kid.
WOMAN
Now George stop talking like that.
GEORGE
No, don't hand me that shit. You
know it, always have and now I know
it. That ain't my kid.
WOMAN
George, stop it!
WIDE ANGLE; YOUNG WESLEY chops the axe into the chopping log
and backs away from the door. He looks around like he is
thinking about running for the woods.
A MAN (GEORGE) wearing denim bib overalls and flannel shirt
throws open the door and goes down the steps of the front
porch to the big log and reaches for the axe Wesley just
had.
ANGLE ON : The AX stuck on the stump. GEORGE'S HANDS grab
the hickory handle and he pulls it out.
WIDE ANGLE: GEORGE goes back inside the house. His face is
strangely calm.
WE HEAR: A woman shriek in horror until it is cut short,
followed by chopping sounds.
THE BOY startles, his face shows shock. He takes two steps
toward the house, unsure.
IN THE DOORWAY; GEORGE APPEARS with the bloody ax in his
hands. He is smiling casually but there is a madness in his
eyes and he is spattered with blood.
GEORGE
Hey Wesley, come here a second I
just want to talk to you.
WIDE ANGLE: A BORDER COLLIE dog comes out of the barn with
its tail extended, head low, growling low and barring it's
teeth. GEORGE is making his way toward WESLEY, he puts the
bloody ax behind his back.
THE DOG moves into protect the boy. When it gets close to
GEORGE he savagely attacks the dog with the ax, chopping it
to death.
End flashback.

TALON
Ok, so what are we doing at this
shit hole?
WESLEY snaps out of it and walks toward the house slowly.
He looks down at the ground.
POV WELSEY: He goes to the chopping log and picks up the
same piece of wood he had split that day, still laying
there.
TALON lights up a cigarette and leans on the car.
FLAHSBACK; POV young WESLEY is looking at his dad standing
over the dead dog.
GEORGE
Now, you come here like you are
told boy. (Moves toward Wesley)
WIDE ANGEL: WESLEY turns and runs, GEORGE runs after him,
brandishing the ax.
AERIAL VIEW: the boy is fleeing to the woods, the big man
taking after him.
MOVING SHOT: WESLEY through the thick forest with George
reaching for him and lumbering after him, almost catching
him. WESLEY runs to a tree eight inches around and climbs
up.
CLOSE SHOT: WESLEY'S FOOT lifts up to a branch just before
George grabs his foot.
AERIAL VIEW settles in a tree, near the one the boy climbed,
the shadow of a big black crow falls on the ground. WE HEAR:
The crow caw three times.
ANGLE ON: GEORGE: he looks up in the tree and smiles almost
friendly. Debris falls on his face and he blinks his eyes.
GEORGE
Now Wesley, sometimes men just need
to work things out among themselves
and that is just what we need to
do. Now come down here right now.
CROW POV; OVER THE SHOULDER; WESLEY clings to the branches
of the small tree, his face is shows he is terrified.
ANGLE ON; GOERGE; he begins to chop down the tree.
THE TREE has huge hunks of it's trunk cut out with each

strike of the AX HEAD. GEORGE cuts out big wedges with
every blow.
WE HEAR; the snapping of wood give and the tree begins to
fall.
WESLEY clings to the branches, terrified, as he tips out of
the shot.
GEORGE looks up with the ax in his hand. THE TRUNK of the
fallen tree falls toward him, he only has time to put his
hands out in front of him.
THE DOUBLE BLADED AX HEAD gets between the tree and GEORGE
and wedges against his forehead and the TREE and drives in
when it TOPPLES on him and slams to the ground on top of
him.
WIDE ANGLE; The TREE hits the ground. WESLEY slams to the
ground in the tangle of popple branches.
ANGLE ON: THE FALLEN TREE, there is a tremor shake of the
green leaves near the base. HOLD. WESLEY climbs out of the
fallen branches of the top.
MOVING SHOT; slowly WESLEY approaches the base of the tree
and pulls back the branches.
POV WESLEY: GEORGE is under the tree with the head of the ax
wedged in his forehead. His ARMS are extended around the
trunk of the tree in a spasm. His HEAD is split with the ax
buried in it. Blood runs down the sides of his HEAD.
BOTH ARMS begin to drop and lower, spasm again and lower,
until they are down at his side. GEORGE'S EYES stare off,
on his FACE is the goofy, semi friendly - smile.
WESLEY
D.d..daddy?
END FLASHBACK
TALON
Hey, what the fuck. (he flicks his
cigarette butt at Wesley, who bats
it away with his hand)
WESLEY quickly pulls his Kukri knife and extends it toward
Talon, TALON is just as fast with his bone handled knife
with a jewel in the handle.
WIDE ANGLE; The two men stand with big knifes extended an
inch away from each others face.

WESLEY
Don't fuck with me Talon, I will
cut your heart out and feed it to
you. (they look each other in the
eye hard)
TALON
No one would deny that you are that
kind of man.
TALON; Tips his knife away and tips his palms up, like it
was all a joke.
WIDE ANGLE; WESLEY walks toward the front door, he steps up
the step, (familiar, like he has done it before) and steps
into the door.
CUT TO:
INT. SANNS FARM HOUSE - DAY83.
POV WESLEY: The KITCHEN, a formica counter top with a
formica table with silver legs and chairs. There are several
AXE strikes in the counter top. On the floor there is dried
blood, a large pool that covers half the kitchen.
WIDE ANGLE; WESLEY stands looking at it, stunned. WE HEAR;
QUIET. HOLD.
WESLEY moves forward and steps over the old, dried blood.
WESLEY
They didn't even clean anything up.
Everyone just left it, never looked
at it again. (to himself)
CUT TO:
WESLEY stands at a roll top desk with a window behind him.
The window lets in natural light on the desk. WESLEY picks
up the papers on the desk and starts looking at them. He
picks up an envelope, looks at it.
INSERT: ADDRESED TO GEORGE SANNS
WESLEY takes out a piece of paper and reads the writing.
INSERT: (HANDWRITTING) This is the boy's real father. His

name is Brian Byrne, he is the curator at the museum in
Wausau.
A PHOTOGRAPH: of a younger WESLEY standing next to a BRIAN
BYRNE. (Stewart's father)
CLOSE SHOT; WESLEY is stunned. Silent rage is in his eyes.
CUT TO:
TALON comes in the screen door and looks at the kitchen.
ANGLE ON: The BLOOD STAINDED FLOOR. TALON smiles with his
eye brows pulled down.
ANGLE ON, the BLOOD STAINED FLOOR, as TALON'S BOOTS walk
right over the top of it.
POV TALON; he comes around the corner and sees WESLEY
standing at the roll top desk with the window light behind
him. WESLEY is looking at something in his hand intently.
TALON
What the hell are you looking for?
WESLEY
This.
CUT TO:
EXT. SANNS FARM HOUSE - DAY86.
TALON walks out the front door, WESLEY behind him. WESLEY
is putting the photo in his back pocket. WE HEAR: A Crow
caw three times.
ANGLE ON WESLEY; MOVING SHOT; as he makes his way to the
car, he glances over his shoulder and stops in mid-stride.
HOLD
POV WESLEY: standing at the edge of the lawn is a Roman
soldier in full midevil attire, staring at Wesley.
SLOW MOTION; WESLEY gets in the car, glancing at the
centurion, amazed expression.
WIDE ANGLE; as the car leaves the yard, the CENTURIAN is
visible in the shot, staring at WESLEY.
FADE OUT

CUT TO:
AERIAL VIEW: Flying in, high over the gothic structure,
circling the building we see a red Dodge Stratus parked in
the lot next to the building, we move toward it and
perspective settles in a tree.
ANGLE ON: The front door of the building, it flies open and
STEWART BYRNE walks out of it, dressed in his casual outside
attire of khakis and blue polo shirt. His head is down, he
walks fast toward the car. A look of solid, brutal
determination on his face. Gone is the childlike demeanor
from ACT 1.
MOVING SHOT: He walks to the car, opens the door and gets
in. THE CAR speeds out of the parking lot.
CUT TO:
INT. OF HORACE WHITTAKERS CAR - DAY88.
ANGLE ON: THE MERCEDES, parked by the side of a field. The
Wisconsin timber lines the road.
ANGLE ON: HORACE as he sits in the car seat, waiting for
something, he is smoking a joint. It's down to the roach.
His head is still bloody from the beating at the farm house,
he has not cleaned up yet. His shirt has two bullet holes
in it.
POV HORACE: Out the windshield, a Wisconsin countryside road
stretches out for a distance. A red Dodge Stratus turns out
from the driveway of the monastery and fishtails down the
road.
HORACE
Hello kid. (Throws the roach out
the window and starts his
Mercedes.)
CUT TO:
INT. BARBER SHOP IN TOMAHAWK - DAY89.
ANGLE ON: a nervous barber is shaving up the sides of WESLEY
SANNS head, shaping it into a thick, red, waxed up flat top.
THE BARBER is noticing drying blood on Wesley shirt collar
and neck. His hand is trembling. THE BARBER glances over
at Talon, who is reading an NRA magazine, his scared head is
tilted down.

WESLEY
So how are the Badgers going to do
this fall? (he wants to enjoy the
barber shop talk)
BARBER
Oh, I hope pretty well, the defense
of the team sure looked good last
year.
The barber takes the cover off of Wesley. Wesley stands up
and hands the barber a 20 with a bloody hand.
WESLEY
Keep it.
BARBER
Th, thanks. (Looking at Wesley's
hand covered in dry blood.)
CUT TO:
EXT. STREET OUTSDIE THE BARBER SHOP - DAY90.
ANGLE UP: WESLEY steps into the shot with the sun on his
face and a tight, new flat top haircut and smiles. He holds
the palm of his hand over the waxed up top of his head.
(gone is the bowl cut)
WESLEY
Now that's what I call a haircut.
FOCUS PAST WESLEY: TALON pushes himself off the wall that he
has been leaning on and shakes his head in disgust - envy,
and follows Wesley.
EXT. THE MONASTERY - DAY91.
WIDE ANGLE : STATIONARY SHOT: THE RED DODGE rolls down the
road, passing tag alder and pine beside a scenic country
side. HOLD. THE MERCEDES rolls past, keeping a professional
distance behind the Dodge. HOLD.
CUT TO:
EXT. FRED'S BAIT SHOP - DAY92.
SIDE ANGLE: downtown Tomahawk, a small no thrills bait shop,
advertises live bait and Musky fishing equipment at low
prices. A few customers go in and some are coming out with
bags of purchases.

THE BUILDING resembles a big ice fishing shack that would be
found on a frozen lake in the winter time with a propane
heating bottle on the side.
CUT TO:
INT. FREDS BAIT SHOP - DAY93.
Equipment is crowded in the small shop, rods, lures, big
rubber lures seven inches long with hooks protruding hung in
rows, Dare Devils, bobbers, and on the wall, three large
live bin wells with aeration systems keeping live minnows.
THE COLOR use is bright on the lures.
ANGLE ON: A BOY of about seven is dipping his hand in the
live well, trying to catch a minnow with his hand, with
intense focus and concentration.
ANGLE ON: THE TILL, a man of about 48, is making change to
give a customer. He is FRANK SANNS the man who dropped off
Wesley Sanns at the monastery twelve years ago.
ANGLE ON: THE FRONT DOORWAY; WESLEY SANNS steps in the open
doorway, his large frame fills it. He smiles, looks around,
then steps in. Talon steps into the door frame, the top of
the handle of the bone knife is visible under a vest he
wears. THE JEWEL shines in the sunlight.
TALON leans against the door frame and smiles at a customer
as he leaves. The customer looks at him, startled by the
fierce look in his eyes and the grotesque appearance of the
scars on his scalp.
ANGLE ON: FRED: He looks at Wesley and stops moving.
WESLEY
Hi uncle Fred. It has been too
long. (He moves around the shop,
looking at stuff.)
FRED
W,..Wesley, h.. how are you?
WESLEY
Just fine. Your concern is
genuine, I know from your
nonexistent visits to the
monastery, where you left me. Or
really I should say, planted me.
WESLEY moves over to the live bait well next to the little
boy. He smiles at the boy who looks up at him for a moment

then goes back to trying to grab a minnow in the water.
WESELY snatches a minnow from the water and hands it to the
boy who holds out his hand to take it and looks up at Wesley
in astonishment.
FRED
Sorry folks we are closed. I am
heading out on the water myself.
You hear me kid? I said beat it.
(The boy closes his hand around the
minnow and leaves.)
WESLEY
Did you know about my Mom having an
affair with the curator of the
museum in Wausau?
FRED
I,,, I didn't know that.
WESLEY
Sure you did. Ever see this
picture? (Wesley steps closer to
him and holds up the photo of young
Wesley with Brian Byrne.)
CLOSE SHOT: FRED; he looks at the photo and swallows hard.
WESLEY
It had a little note with it,
saying this is who the boy's real
father is. I bet it's your
handwriting.
FRED
Listen Wesley, no one could have
guessed that George would have done
that.
WESLEY
Ax murdered his family when he
found out I was sired from another
man's seed? Sure you could. He
was a sick man, heavy drinker with
a propensity for violence. It was
a sure bet that I would have taken
odds on. Remember, he never needed
a reason to beat me. So giving him
one really didn't do me any favors.

FRED
You got it wrong. It was just
suppose to make it easier to
convince your parents to put you in
the monastery. It was best for you
anyway. Look at you now, look what
a fine man you have grown to be.
WESLEY
Yes. You know so much of what I
have become. You will find out.
Tell me, who told you to send the
photograph with the letter?
FRED
You don't want to do anything
stupid Wesley. I have protection.
WESLEY
Really? From who? (hold his palms
up and looks around)
FRED
Lucian Devore. If you get your
hands on that spear he wants, he
will make you a rich man. All of
us rich, Wesley. (starts backing
away, toward a big fillet knife on
sale hanging on the wall behind
him.)
WESLEY
So you put me in the monastery as
part of the plan, where I would be
Lucian's spy, providing information
on the workings of the Order.
FRED
Listen kid, you got no reason to
complain, you got no problems. Now
get the hell out of here and if I
ever see you again it will be too
soon. Now beat it.
WESLEY
I am a member of The Order, uncle
Fred. We consider ourselves
knights - descendant from the
Templars. I was trained to take
out the garbage, you know what I
mean?

FRED
Get the hell away from me.
WESLEY
Where is your wife, my aunt Rene?
Is she still working her bookstore
downtown. I bet this is a big day,
with the car show and all.
FRED
Stop it,this ends here kid. She
had nothing to do with this.
WESLEY
She was my only kin and never came
to see me once. She has everything
to do with it. You owe me
something. A tournament. A fight
to the death. You had to know this
day was coming, don't tell me you
haven't been preparing.
FRED spins away and snatches up the big fillet knife as
Wesley steps at him with his Kukri knife suddenly in hand.
The two men fight in close quarter amidst the equipment.
Fred retreats, pulling a display of fishing rods down
between them that Wesley trips on, Fred scores a slash to
Wesley's forearm.
WESLEY
Well, you have been preparing. I am
complimented.
FRED
I knew this day would come.
The two men clash again, sparks fly from the clashing of the
blades as they both stay inside each others striking range
and thrust and deflect. Fred rolls away, over the aeration
system, Wesley slashes, just missing him. Fred spins, and
deflects a few hacks but he is clearly over matched.
WESELY smashes the thin blade of the filet knife, and moves
in, scores a lunging strike to the throat, Fred spins,
flinging BLOOD AGAINST THE WALL. HOLD.
WE HEAR; the sound of Wesley's knife stabbing into flesh
four times.
CUT TO:

TALON stands in the doorway, a customer walks toward the
door but when he gets to it Talon steps in front of him.
TALON
Fred's closed today. He was going
fishing, can you blame him on a day
like today? (The customer looks
Talon up and down and backs away.)
WESLEY comes out of the bait shop, he is smiling. His arm is
bleeding and spatter marks of blood are across his shirt.
In his hand he has a change of clothes he has taken from the
rack. He turns to close the door, he flips the CLOSED sign
on the door and pulls on a sweat shirt over his blood
stained shirt that reads; FREDS BAIT SHOP, MASTER - BAITERS
in TOMAHAWK WISCONSIN across it.
CUT TO:
INT. THE HEARSE - DAY95.
WESLEY pulls a tube of Superglue out of his pocket and bites
the cap off. Music is playing like - Frank Sinatra - That's
Life. WESLEY glues the open gash to his forearm closed, and
pinches it closed. TALON gets in and starts the car and
looks at Wesley, bewildered. Wesley, irritated turns down
the music.
TALON
What the hell are we doing? We
have the key to the treasury of the
knights from centuries past and we
are screwing around in your family
dirt?
WESLEY
Take me downtown. Come on, the car
show is on today. I will buy you
some cheese curds and delicious cup
of coffee. You really have to see
some of these hot rods they have
here.
CUT TO:
EXT. BAIT SHOP PARKING LOT - DAY96.
THE HEARSE pulls out of the baitshop and into traffic. A car
has to stop and it beeps it horn. Talon flips a bird over
out the window. THE HEARSE merges with traffic and out of
the shot. Hold. Moments later, Stewart's RED STRATUS pulls
into the bait shop parking lot.

ANGLE ON; THE STRATUS the door opens and STEWART steps out,
wearing his khakis and polo shirt that says ST. Marys. His
bowl style haircut is prevalent. He approaches the door and
tries the handle. It is locked.
ANGLE ON: THE CLOSED SIGN. It has a THUMBPRINT blood stain
on it. Stewart sees it, then pokes his elbow through the
pane of glass and reaches in to open the door handle. He
steps in.
INT. FRED'S BAIT SHOP - DAY97.
THE BAITSHOP is in disarray, a big blood stain is spattered
on the wall. FRED is laying on the floor in a pool of blood.
Fred is holding his slashed neck.
CUT TO:
EXT. BAIT SHOP PARKING LOT - DAY98.
THE MERCEDES BENZ pulls into the parking lot, with HORACE at
the wheel. He looks at the Stratus, and the closed door,
looks around, nervous.
CUT TO:
STEWART is knelt down next to a dying Fred.
STEWART
Where is Wesley?
CLOSE SHOT: FRED is clutching Stewart, his mouth is moving
but no sound is coming out. Blood rolls in a wave out of
his mouth, over his chin and cheek.
STEWART (CONT'D)
Where did he go? (gently)
FRED
(mouths the words) Bookstore. My
wife is at the book store. The car
show is on, but he will kill her
anyway. That won't stop him. Even
with all those people there.
STEWART
Believe in the Lord Jesus Christ
and be saved. Say it.
CLOSE SHOT: FRED: he tries to speak but he coughs and blood
flies out of his mouth and peppers Stewart's face.

STEWART
Say it, now. Say it.
FRED'S eyes fix past Stewart and he expires. His hands fall
away from Stewart's shirt and drop to the floor.
ANGLE ON: HORACE: who is standing over the scene looking at
the blood spatter on the wall.
HORACE
Jesus Christ (At the sound of the
name Stewart makes the sign of the
cross and bows his head.)
CUT TO:
ANGLE ON: THE BAIT SHOP: a big banner is across the front of
the rickety building: WELCOME CAR SHOW ATTENDEES: flutters
in the wind
THE REPO MEN drive past the bait shop on their motorcycles,
their helmets turn to look at the MERCEDES as they pass,
then they pull into the parking lot of the McDonalds across
the street. They take off their helmets and watch the bait
shop. SONJA adjust the WEAPON under her jacket.
WIDE ANGLE: THE TWO BIKES and RIDERS are facing the bait
shop.
In the street, a succession of older muscle cars passes by
like a 78 Camaro, then a 73 Dodge Challenger, a Mustang, ET.
(shoot this on the Memorial Day car show the town holds, use
lots of local props.)
SIMON
(lift his visor and turns off the
tracking device on his forearm.)
Looks like we found our
repossession.
CUT TO:
HORACE
It looks like our buddy Wesley is
closing some loops. You know we
have the same agenda, why don't you
leave this dirty work to me? I can
(MORE)

promise you there will be no left
HORACE (CONT'D)
overs, when I am done.
You don't have to get yourself
hurt. You have your whole life in
front of you. Is this what you
want? (gestures at the dead man)
STEWART
You and I, Officer Whitaker, we
live by the sword and we die by it.
HORACE
Don't they teach you priests how
to retreat?
STEWART
I'm not a priest, I am a knight of
the Order. Retreat is considered
only when outnumbered by three. I
only see you standing here.
CUT TO:
A CLASSIC 1968 FORD MUSTANG rolls down the road, camera
focuses on the 2 MOTORCYCLE RIDERS with four people on them
in racing gear parked across the street. TUNES flips up his
visor and lights up a cigarette. They watch the bait shop,
waiting.
BETTY
(flips up her visor, turns to
Tunes.) Thats Tony's car. And that
is the shithead who killed him.
There he is, still breathing air.
SONJA
His kidneys are still functioning,
while better men than him are dying
all over the world.
SIMON
And us, over here, with nothing to
do! (Tunes stares across the street
fatalistically.)
FRANK TUNES
I am genuinely moved by the
dedication you people take to your
work. There is no one I would
(MORE)

rather ride with than you people.
FRANK TUNES (CONT'D)
SIMON
Shut up. (everyone laughs)
WIDE ANGLE: A crow takes off from the ground and flies over
the bike riders.
CUT TO:
INT. POLICE CAR - DAY103.
A Police Officer drives the cruiser, he has a para military
haircut turns his head to look at Horace's parked MERCEDES
in front of the bait shop. He does a double take. WE HEAR;
his radio crackle, he reaches for the microphone.
THE FOUR MOTORCYCLE riders watch the cop roll by, talking
into his microphone, looking at the Mercedes.
CUT TO:
CLOSE SHOT: STEWART AND HORACE. Prevalent is the shorter
statre of STEWART and his bowl haircut, the scar on his face
from his childhood.
HORACE bears bruises from being beaten at the farm house.
HORACE
So what did the bait shop owner say
before he died?
STEWART
Is this a knock -knock joke?
HORACE
I would have said knock knock first
dick head. What did Fred just say
to you?
STEWART
Gghggghghg (makes gurgling sounds)
HORACE
You're funny, you are a joke. Let
me put it together, Fred's wife
works at the bookstore downtown, it
looks like Wesley is closing some
loops, so that's where he is
(MORE)

headed. Close enough?
HORACE (CONT'D)
STEWART
Perhaps we could pool our
resources, as long as you
understood that I was in charge of
the mission.
HORACE
Listen Kid; This scalp is mine and
the last thing you ever want to do
is get in my way.
HORACE turns from Stewart and opens the front door and steps
out of the bait shop.
POV HORACE; OUT THE DOOR; Three cop cars are parked in
front, a policeman is leaning over the hood pointing a
pistol at Horace. Lieutenant STONE is standing next to him
with a smirk. The two cops on each side move up to aim
their guns at Horace from side angels. All the cops have
the same modified high and tight paramilitary hair cut.
HORACE holds up his hands.
COP 1
Freeze Horace! Don't move a
muscle.
HORACE
Easy boys, easy.
STONE
You caused a lot of trouble Horace.
COP 2
Keep your hands up Horace.
STONE
Watch it men, he's armed. He
killed officer Schnickels in the
parking lot.
COP 3
He did?
HORACE
Hey, that's not true. Everybody
relax.
ANGLE ON HORACE: STEWART steps up from behind him with his
long bowie style Buck knife and put's it to Horace's throat.

STEWART
One move and I kill this pig. All
of you drop the guns and step back.
COP 1
(Glances at the cop next to him.)
What Pig?
COP 2
Yea kid, who the hell are you
talking to?
COP 3
He means Horace.
HORACE
(Stiffens, keeps his hands up,
Stewart's blade is across his
throat.) Listen, kid you got it
wrong here. This isn't going to
help us.
STEWART
I said put the guns down, fuck
stick. (sounds wrong coming from
him)
COP 1
What the hell did you just call me?
(clearly pissed, lowers the gun for
a moment like he wants to kick his
ass in a fight.)
STONE
The kid is bluffing. Take out the
shooter. (Stone pulls his little
revolver out from it's holster)
HORACE
Wait, Stone is on the take, he
wants me dead because I know it.
COP 3
What?
HORACE
There is a hundred grand in the
trunk of the car, and now everyone
knows it.
STEWART
Shut up you clowns. Any one of you
(MORE)

so much as twitches and I will
STEWART (CONT'D)
throw this cops head at you like a
pumpkin.
COP 1
Horace is not a cop anymore, he's
just an unemployed fuck up.
COP 2
Yeah, he is just a fuck up.
COP 3
A hundred grand in the trunk?
STEWART
You're not a cop?
ANGLE ON STONE: He fires a round into Horace's gut. STEWART
yanks HORACE back into the doorway of the baitshop and kicks
the door closed.
WIDE ANGLE: COP 1, on the side of Horace fires, misses and
hits COP 2 that was stepping up to open the door.
COP 2 drops and falls to the ground out of the shot.
CUT TO;
ANGLE ON THE FLOOR: Both Stewart and Horace hit the floor of
the bait shop.
HORACE is doubled up, unable to breathe. STEWART crawls away
from him as bullets rip into the gear, apparel and through
the walls above his head.
CUT TO:
WIDE ANGLE three POLICEMAN stand firing their hand guns into
the closed door of the building. They have the same
paramilitary look, faces calm, cool.
MOVING SHOT; STONE gets the shotgun out of his car and racks
a round into the chamber.
A COP 2 is writhing on the ground in front of the door,from
a bullet wound. STONE FIRES the shotgun at waste level into
the wall of the building, then racks another shell in the
pump action. WE HEAR the sound of the action.
CUT TO:

EXT. PARKING LOT - DAY107.
ANGLE ON: THE REPO MEN. The bait store fiasco is unwinding
in the back scene. They are straddling their bikes, two of
them are laughing. Another holds an expression of contempt,
the other is watching with a cold expression.
SIMON
Fucking amateurs.
CUT TO:
STONE moves forward with the shotgun and kicks the door
open.
POV STONE: HORACE is laying on the floor, doubled up in
agony.
ANGLE ON STONE: he shoulders the shot gun and aims it at the
head of Horace.
OVER THE SHOULDER: COP 1 Steps up behind him.
COP 1
He's alive! (Stone lowers the
shotgun and looks interrupted.)
COP 2
Where is that fucking kid that was
with you?
WIDE ANGLE; the two cops kick Horace a few times them lift
him up off the floor and drag him outside. They drop him
hard on the blacktop parking lot and each of them kick
HORACE four times, they take turns, like they are pounding
in a tent peg, looks like they do this a lot.
CUT TO;
HORACE is handcuffed and before he is put in the back seat
of the police car, Cop 3 frisks him and find his XDM and
throws it in the cop car. COP 1 punches Horace three times
hard before shoving him in the back seat of the car.
COP 2
That's for Schnickels you fucking
puke.
CUT TO;

EXT. FREDS BAIT SHOP - DAY110.
AERIAL VIEW: of the bait shop, the police cars in front, the
rear of the building is fifty yards from the river. STEWART
BYRNE dashes out from the rear of the building and makes for
the river.
ANGLE ON: STEWART sprints toward the water.
WIDE ANGLE: COP 3 steps around the corner of the building
and aims his firearm at STEWART'S running figure.
ANGLE ON: STEWART he reaches the bank as bullets punch into
the trees around him, and he DIVES into the dark brown water
of the Wisconsin River.
Cop 3 fires at the water as he runs up to the bank. HE
FIRES ten rounds into the water.
ANGLE ON THE WATER surface. The bullets rip into the water
surface. COP 3 stops to look at the SWIRLING MOVING WATER
but there is no sign of Stewart. Cop 3 turns from the bank
and runs back up to the bait shop.
CUT TO:
EXT. THE PARKING LOT - DAY111.
The REPO MEN watch the squad car with Horace in the back
seat. Their HEADS all turn and watch the police car go by.
CUT TO:
INT. SQUAD CAR - DAY112.
HORACE looks out the side window and sees the Repo Men. His
head turns to look at them.
REVERSE ANGLE: REPO MAN - TUNES looks at Horace looking at
him and smiles.
HORACE
Listen John, we got trouble here.
JOHN
Oh, we don't have any trouble
Horace, you got trouble. You have
been the department fuck up for a
while now. But this time you really
did it.
HORACE
No, listen, Burelli's men are here
(MORE)

and they mean business. See those
HORACE (CONT'D)
bike riders over there? That's the
Repo Men. It's Burelli's goons.
JOHN
You would say anything to drag me
into your shit.
HORACE
Oh, you are in the shit. Why do
you think Stone let you take me to
the station? Stone is back there
with our hundred grand. He knows we
are marked and he knows these
freaks are in town. Are you
listening?
ANGLE ON; HORACES HANDCUFFED HANDS, dig into his back pocket
and find his wallet, his fingers find a handcuff key in the
bottom of the billfold. His fingers work the lock with the
key, behind him.
JOHN
Burelli is one of the last people
in the world to get mixed up with
that's why I never did. But you,
hey, when you do something, Horace,
you do it big. I will give you
that.
HORACE
Listen to me you stupid fuck, they
will pull up beside us and spray
the car with gunfire from an
automatic weapon. Get it? (John
sprays mace in through the cage to
the back seat.)
JOHN
Why don't you shut the fuck
up.(John laughs then starts
coughing too.)
CUT TO:
EXT. THE PARKING LOT - DAY113.
THE REPO MEN start putting on their helmets. FRANK TUNES
watches as STONE gets into Burelli's Mercedes.
TUNES
That's the punk who killed Burelli.
(MORE)

(Puts his helmet on.)
TUNES (CONT'D)
BETTY
(flips up her visor) He already
reeks of death. (Tunes smiles)
CUT TO:
EXT. ROAD - DAY114.
The motorcycle pulls up beside the cop car as it rolls down
the road. BETTY rips open the velcro closure on her leather
jacket. THE BARREL pokes out of the opening.
BETTY opens fire on the rolling cop car with HORACE in the
back seat.
CUT TO:
BULLETS punch through the safety glass and rip up the
interior of the car. HORACE winces as a few slugs strike his
abdomen. THE HEAD of John bust open and grey mater spatters
over the drivers side window.
ANGLE ON: THE CAR veers into oncoming traffic across the
center line.
THE BIKE speeds away though traffic.
ANGLE ON: THE POLICE CAR veering through traffic with a
uniformed DRIVER with his brains blown out driving it across
oncoming traffic and a PASSENGER in the back seat.
CUT TO:
INT. 71 CHEVY NOVA - DAY116.
A MAN with a baseball cap and a beard and lower lip bulging
with snuff drives down the roadway beside the police car and
watches as the motorbikes rolls up in traffic and sprays
bullets into the cop car that is beside his.
ANGLE ON: A STRAY BULLLET slams a hole in the left front
quarter panel of his car.
REDNECK
What the hell?
POV: OVER THE SHOULDER of the REDNECK; watches the motor
bike with two riders cut away - off through the traffic,
leaving the bullet ridden cop car to veer off into traffic.

REDNECK
Like hell, buddy. (downshifts hard
to grab a gear and burns rubber
taking off after them.)
CUT TO:
POV HORACE; out the blood spattered windshield of the squad,
a car swerves to miss the squad car.
WE HEAR; faint Gregorian Chant music in the background like:
Si bona Suscepimus by Verdelot, Phillpe
ANGLE ON HORACE; TRAPPED IN THE BACK SEAT; he watches in
horror out the front, tries to rip off the cage between
himself and the front seat but can't get it loose. Another
car just misses a head on collision with the speeding car.
HORACE
Aahahahahhhhhhhaa (Horace throws
off the handcuff, tries the door
handles, but they are locked. He
grabs the cage in front of him.)
AERIAL VIEW: THE SQUAD CAR cuts across two lanes of traffic,
across a parking lot of a Dog 'N Suds (cute CAR HOP GIRL
moves out of the way - she screams when he sees the interior
of the car) and the CAR heads toward the river.
ANGLE ON; THE DEAD COP, his head flops against the shattered
side window, brains blown out.
ANGLE ON: HORACE is trapped in the backseat as the car
speeds off the parking lot, over the back lawn, off an
embankment and plunges into the Wisconsin River.
ANGLE ON HORACE: The car makes impact with the water he goes
hard against the interior cage in front of him, with the
impact.
HORACE POV: brown water and bubbles of oxygen cover all the
windows of the car and an underwater darkness settles on the
car. Water is pouring in from bullet holes in the spider
cracked safety glass of the passenger window.
UNDERWATER WIDE ANGLE: showing the car plunging down into a
vast brown swirling water of tremendous depth. Air bubbles
are spilling out.
STATIONALRY SHOT: The car falls away into murky water,
driven by a uniformed man with his brains blown out.

CUT TO:
INT. THE SUNKEN SQUAD CAR - DAY118.
THE CEILING has a small air pocket, Horace grabs a breath,
he has to tip his head back to breath from the slight,
disappearing air pocket.
CUT TO:
EXT. WISCONSIN RIVER - DAY119.
STEWART'S HEAD pops out of the water, he gasp air. He looks
at the shoreline, then scans around him.
POV STEWART; the back of the squad car sinks below the
surface into the dark,rolling water. STEWART surface dives
down and swims after it.
CUT TO:
EXT. UNDERWATER - DAY120.
ANGLE ON: STEWART - as he kicks his feet and pulls with his
arms in big strokes to get deeper in the water, swimming
after the sinking car.
HORACE grabs the last gasp of breath from a tiny air pocket,
then the car is filled. He thrashes about, trying to open
the car door, he looks as though he will drown. HOLD.
THE CAR DOOR opens and STEWART grabs Horace and pulls him
out of the sinking car, swims with him toward the surface.
ANGLE ON STEWART: UNDERWATER he swims hard up through the
swirling water with air bubbles floating up beside him from
the car below.
POV STEWART; The aquatic world of dark river water and
oxygen bubbles, fades into an image of Stewart's father.
"Don't meet yourself coming back on the road of life."
Stewart's father says to him. The image changes to the face
of the the Abbott;
ABBOT
Why did he take the spear swimming
at the Dells of the Eau Claire
River? Do you know?
STEWART
(7 Years old) I don't know.

THE IMAGE in the water before him as he swims up, the image
turns into Stewart's father, swimming with the Spear of
Destiny in his hand. His father diving off the rocks by the
waterfall, with the spear in his hand, his swimsuit is dated
of the time.
WIDE ANGLE: THE PARK OF THE EAU CLAIRE DELLS, A YOUNG TALON
stands on the rocks is watching Stewart and his father.
IMAGE TURNS TO: Talon and BRIAN BYRNE -fighting with the big
knife between them. (end flashback) (end music)
CUT TO:
EXT. THE WISCONSING RIVER - DAY122.
STEWART'S HEAD breaks the surface of the water, amidst the
air bubbles from the sunken car below him. He pulls to the
surface the face of HORACE WHITAKER and Stewart grips him
under the chin and and arm in rescue a hold and starts
swimming a side stroke for the shore. Stewart can barely
keep the man's face out of the water.
IMAGE FLASHES; swimming hard against current, his fathers
image - Talon with a big bone handled knife, as a young man,
stabbing his father.
STEWART
He followed us from the park.
(sputters water) The guy I saw kill
my Dad and Mom was at the park
watching Dad with the spear.
(Horace chokes in response and
spits up water.)
CUT TO:
EXT. TOMAHAWK - DAY123.
ANGLE ON; THE REPO MEN, FRANK TUNES and BETTY. The woman has
closed the hole in her jacket, the submachine gun is hidden,
the bike turns and stops.
ANGLE ON the FRANK TUNES he snaps his visor up on his helmet
and stares hard.
POV ; FRANK; Stewart drags Horace up on the shore. Horace
sputters and chokes on the shore line.
ANGLE ON; FRANK, he snaps the visor down and feathers the
clutch.
CUT TO:

EXT. RIVERSIDE - DAY124.
ANGLE ON: STEWART AND HORACE, both are wet and breathing
hard.
HORACE
(chokes) listen, listen kid. You
ever need anything, I am your man.
I will crawl through shit to help
you, from this day forward. And I
don't say that unless I mean it.
You hear me? (throws up water)
STEWART
Yea, sure thing. The day I need
your help, is the day I jump in
front of a bus.
HORACE
(looks a little offended)Hey kid,
listen.
STEWART
I'm not a kid. I am a brother of
The Order. And I am a knight on a
quest.
HORACE
Tell you what I am going to do.
Because damn it, you and I are
brothers from here on out. I have
100 grand in the trunk of that
Mercedes and if you help me get it,
I am going to split it with you.
STEWART
Times like this I am glad that I
took a vow of poverty. It makes it
easy to see what a bad idea that
would be.
WIDE ANGLE: STEWART stands up, and checks to see that he
has his Buck knife strapped to the small of his back. He
starts walking away with determination.
HORACE
Yea? Well listen there, ah Sir
Lancelot, don't let anyone slow you
down. You might feel one day you
need some help. It might be good
to have a friend sometime.

STEWART
What I need I'll get from God.
ANGLE ON; HORACE, he looks over and sees the Mercedes parked
in the parking lot of the bait store, where he left it.
POV HORACE; WIDE ANGLE - the bike with the Repo men turn off
the road and head toward him. At the other end of the shot,
the cop is going up to the Mercedes and opening the trunk,
with a crow bar.
ANGLE ON HORACE ; his right hand goes back to his right hip.
CLOSE SHOT: his hand grabs at the empty plastic scabbard
holster. The gun is gone
WIDE ANGLE: HORACE runs toward the Mercedes.
CUT TO:
EXT. THE BAIT SHOP - TOMAHAWK - DAY125.
MOVEING SHOT: THE REPO MEN - FRANK and BETTY - crouch down
on their bikes and speed a B line for Horace. BETTY'S
blonde hair flows out in gorgeous locks from under the
helmet.
ANGLE ON: The road that intersects the bike, a classic 64
Chevy Nova with jacked up back end, speeds at the bike to
intersect with it.
POV the windshield of the Nova: the front end bears down on
the two bikers cutting his path. The back rider moves her
hand. A spray of bullets stitches across the windshield.
THE RED NECK in the car, takes a bullet in the shoulder,
then the middle of his forehead.
THE CAR slams into the bike, the riders fly through the air.
FRANK sails thought the air to strike the concrete and skid
on leathers across the black top like a broken manikin.
THE CAR drives over BETTY with the right front tire, the
body spins beneath it.
SIDE VIEW; THE BLONDE HAIR rotates around in a complete
circle. then crumbles under the rear tire. BETTY'S ARM
extends in a cataclysmic spasm. HOLD.
WIDE ANGLE; THE NOVA crashes into the bait shop, striking
the large propane tank that heats the building. The ice

shanty looking building explodes and then the CAR explodes.
THE COP next to the Mercedes get's blown away, four feet
from the car and writhes on the ground with a shard of
paneling through his thigh. HE SREAMS in pain.
ANGLE ON: HORACE :His run is stopped by the blast and he is
knocked by the force backward. He falls on his back. An
ember of something burning is stuck to his chest, it burns
through his rugby shirt, the bullet proof vest shows.
HORACE gets up and runs toward the Mercedes.
ANGLE ON: THE MERCEDES. Horace gets to it and opens the
trunk and sees the gym bag inside the trunk.
ANLGE ON: THE COP ON THE GROUND, has a big shard of paneling
through his thigh, he aims his weapon and fires at Horace
through the windows of the MERCEDES between them.
THE BULLETS bounce off the armored - bullet proof windows.
HORACE ducks behind the car, startled. He gets in the car
and tears off.
CUT TO:
INT. MERCEDES - DAY126.
HORACE is exhilarated. He stomps on the accelerator.
HORACE
Bullet proof glass, body armor
Burelli, you knew the game and how
to play it!
ANGLE ON; THE COP with the panel shard in his thigh. Laying
down, he empties his 45 at the Mercedes as it tears off.
CUT TO:
EXT. PARKING LOT - DAY127.
ANGLE ON: THE REPO MEN team 2- SIMON and SONJA -watch the
Mercedes tear off.
POV MOTORCYCLE DRIVER: the bait shop is burning, with the
NOVA crashed into it. The cop is firing his weapon toward
the Mercedes.
FRANK TUNES AND BETTY are down on the pavement FRANK is
getting up off the ground. BETTY (run over by the Nova) is
crumpled in a terrible looking position not human to be in.

CLOSE SHOT: SIMON snaps down the black visor and feathers
the clutch, the bike takes off out of the picture.
ANGLE ON: SONJA her long, thick red hair is trailing out
behind them from under her helmet. She tears open the
velcro closing around her leather jacket to reveal the
barrel of the submachine gun sticking out.
CUT TO:
EXT. PARK - TOMAHAWK - DAY128.
STEWART is moving quickly on foot, looks over at the
explosion of the bait shop.
POV STEWART; FRANK TUNES is up off the ground. His arm is
broken and perhaps his leg. His helmet is off and shattered
on the ground. He moves painfully over to the fallen BETTY
and leans down.
CLOSE SHOT; FRANK grips her hand as she dies, grimaces in
pain and grief, then opens her bloody LEATHER JACKET.
ANGLE ON: THE submachine gun contraption around the BETTY-
concealment holster. FRANK unsnaps it in several places and
stands up with a Heckler and Koch MP5 submachine gun.
A COP CAR with Tomahawk Police written on it pulls up fast
and stops, the officer gets out and aims his side arm over
the hood of the car.
COP 1
Drop the weapon or die!
ANGLE ON: FRANK turns toward the cop with the weapon leveled
and fires at the cop.
BULLETS slam into the car the cop is taking refuge behind.
The cop fires his weapon repeatedly at the Repo Man.
Bullets slam into the cop.
Bullets from the cop's gun slam into FRANK. The two spasm
as they fire their last shots into and at each other. Then
they stand for a moment, riddled with bullets, then fall to
the ground. HOLD.
CUT TO:
EXT. THE PARK - TOMAHAWK129.
STEWART watches the shoot out and runs toward the scene. He
approaches both downed men and picks up the tipped over
bike. He gets on it and works a kick start, the bike fires

up.
ANGLE ON: The exhaust pipe of the super bike. PULL BACK;
STEWART, straddling the bike, feathers the clutch and the
and takes off. PULL BACK, showing the dead rider riddled
with bullets as the bike tears off out of the shot.
CUT TO:
EXT. DOWNTOWN TOMAHAWK - DAY130.
ARIEL VIEW; Birdlike, flying over the town, showing us the
annual car show in full swing. The main street is blocked
off, and aligned with classic muscle cars and sedans. THE
SHADOW of a crows settles on the edge of a building, below
walk two distinctive characters.
WESLEY SANNS and TALON walk down the street, TALON is side
stepping and singing out loud singing -like- Frank Sinatra -
Call Me Irresponsible. Wesley has blood on this neck and
hands but he smiles abundantly at the cars, stopping to look
at 78 Camaro and look in the open hood at the engine. He
carries the backpack of the Cowboy Ninjas on his shoulder
with the spear in it.
WESLEY
Incredible. You could eat off that
engine.(the owner smiles proudly)
TALON
Listen, do you know what to do with
the spear? It's suppose to be the
key to some stored treasure of the
Knights Templar.
WESLEY
You mean the Order?
TALON
Yea, whatever you guys call
yourself. Shouldn't we be going
there, to the waterfall, that's
where I saw the museum curator that
day.
WESLEY
The day you killed the family of
Stewart Byrne?
TALON
Yea, well, what do you want to do
here?

WESLEY
Almost the family, you couldn't
catch the six year old boy.
(smiles) Don't feel bad, my dad
couldn't catch me either.
TALON
Look, the cops have to be looking
for us, it's going to get hot here
real fast. We should get out of
this town.
WESLEY
Family reunions are important
Talon. I have some issues to
address. I want to pay a visit to
my aunt Terry. I have something to
do. (withdraws his bloody Kukri
knife)
TALON
Some one or some thing? (they both
laugh)
WIDE ANGLE; WESLEY AND TALON step off the street into an
open door. PAN BACK: people walk past, the SIGN above the
door reads, TERRY'S USED BOOKS.
CUT TO:
EXT. STEET - TOMAHAWK- DAY131.
HORACE is driving the Mercedes, SIMON and SONJA pull up
beside him on the bike CLOSE SHOT: SONJA ripps open the
velcro tab to expose the snub nose machine gun barrel, then
opens fire. The bullets bounce off the car, Horace swerves
the wheel toward the bike, THE BIKE moves away. HORACE
steps on the gas.
THE BIKE swerves back at him, SONJA aims at the tires, both
tires blow out on the right side.
THE TIRES SHRED, to the rims quickly at the high speed and
the Mercedes swerves to the right, side swipes a truck in
the right lane of traffic, bounces back in his lane then
veers right again until it hits the curb of the road, jumps
it and comes to a stop.
THE REPO MEN pull up and fire at the side window.
Horace gets down, the bullets spark off the bulletproof
glass, one comes through the door into the interior panel of

the passenger car door, just missing Horace
HORACE leans down and opens the glove box.
HORACE
Come on Burelli, you would have
something in the glove box.
ANGLE ON: The glove box, a box of Kleenex is on top of a
.357 Magnum revolver. A Smith and Wesson 8 shot Performance
Center model. There is a full speed loader next to it.
HORACE
Yea! (Grabs the weapon and opens
the cylinder to check it.)
MOVING SHOT: HORACE opens the side door and rolls out on the
ground - opposite side of the bikers. Gunfire rains in the
chewed up door panel where he was a moment ago.
CUT TO:
INT. LIEUTENANT STONE'S CAR - DAY132.
STONE is driving up on the Repo Men (SIM0N and SONJA) firing
at Horace who hides behind the Mercedes.
POV STONE: OUT THE WINDSHIELD - the rider on the back,
firing a machine gun steps off the bike.
STONE's FOOT stomps on the accelerator and crashes into the
bike, and riders, the FRONT QUARTER PANEL clips the Mercedes
as well.
SIMON AND SONJA, crumble under the Ford CROWN VICTORIA and
go underneath the chassis of the car.
HORACE; is struck by the the Mercedes, sending him falling
back, the pistol leaves his hand and lands on the ground
beside him.
STONE, after driving over both riders, backs up and slams on
the accelerator, crunching over them again. ANGLE ON STONE:
he bares his teeth. WE HEAR; the sound of grinding metal and
meat and bones fills the car.
ANGLE ON: A family driving by watches, their faces twisted
in horror and shock.
STONE slaps the car in park and grabs a shotgun fixed to the
dash and steps out, jacking a round in the pump action. He
snaps it down and levels the shotgun at Horace, who is lying
on the ground, reaching for the big, shiny revolver a few

feet from his hand.
STONE
Hold it Horace, the money's in the
trunk, isn't that what you blurted
out?
HORACE
Screw yourself.
STONE moves over to the Mercedes and looks in the window.
STONE
In the trunk, right?
Stone looks at Horace and the weapon next to him laying in
the dirt. STONE gently lays the shotgun down on the hood of
the Mercedes, close to himself. Then he holds the palms of
his hands out.
STONE
Tell you what I will do Horace.
I'm going to give you that chance
we talked about before. A chance to
start all over again somewhere
else. You just have to be faster
than me.
CLOSE SHOT: HORACE stares at the SHOTGUN then at STONE.
REVERSE ANGLE: STONE is looking back at him, ready.
HORACE rolls toward the gun, grabs it and rolls again.
Stone scoops up the shotgun. WE HEAR; The pistol fire then
the roar of the shotgun.
ANGLE ON: STONE: he has a hole in his CHEST. WE HEAR; the
clatter of the shotgun on the hood of the car. Stone has a
stupid smile on his face. STONE falls back into traffic and
is struck by a mini van. WE HEAR: A thud, tires screech and
a woman screams.
HORACE watches, his hands hold the shiny revolver and clutch
his thigh where he has taken a double odd buck shot round.
He gets up slowly, injured. The leg is loosing lots of
blood already.
HORACE makes his way to the Mercedes, grabs his gym bag from
the trunk, then goes to the doorway of the Crown Victoria
that Stone was driving. A 68 Studebaker drives by real slow
with the window down, the occupants staring in shock.

HORACE
Move on folks, there is nothing to
see here.
He stiffly gets in the car, picks his wounded bloody leg up
with both hands and closes the door. He sets the revolver on
the passenger car seat and starts driving away.
ANGLE ON; The back of the Crown Victoria, as it pulls off
one of the Repo Men it has been parked on. The man's bloody
arm flies up in a dead spasm and reaches zombie like up to
the sky in dead defiance. THE HAND extends a middle
finger.HOLD.
CUT TO:
MOVING SHOT: STEWART is riding the motorcycle from the Repo
men hard and fast, twisting it between cars in traffic and
passing anyone in his way. Dividing the four lane road of
traffic is a parkway, some workmen are putting up a big sign
that says WELCOME TO TOMAHAWK.
ANGLE ON; The sign, they hold it at the angle of a ramp.
Stewart hits it, and flies through the air jumping a jacked
up El Camino.
DRIVER
Hey kid, what the hell is your
hurry? (shakes his fist out the
window)
Stewart fishtails down the roadway not looking back.
CUT TO:
EXT. TOMAHAWK DOWNTOWN - DAY134.
ANGLE ON: THE BOOKSTORE. In front of it the car show is
going on. A suped up Plymouth Satellite with the hood open
is in front, and Stewart pulls up next to it and gets off
the bike. He walks to the door of the book store.
CUT TO:
INT. THE BOOKSTORE - DAY135.
STEWART walks in and looks around then sees something on the
floor, he moves in fast out of the shot.
POV; STEWART - A WOMAN is lying on the floor with a knife
wound to her abdomen. He moves to her and cuts a sleeve off

his own shirt and and stuffs the material in the stab
wound.(Stewart's arm is scarred and muscular)
THE WOMAN is barely alive. Stewart takes her hand and puts
it on the open wound.
STEWART
Hold that real tight, ok?
Stewart finds the phone and dials 911.
STEWART
A woman has been stabbed at 211
Main Street in the book store she
needs an ambulance.
PULL BACK;STEWART puts the phone in her other hand. Then he
leaves the bookstore and steps out onto the street.
CUT TO:
STEWART'S POV the streets are busy with people milling
around looking at the hot rod cars parked in the angular
parking. Down the street a tall distinctive,scared head of
Talon moves along, a block away.
STEWART moves fast down the street toward him.
ANGLE ON: WESLEY AND TALON are moving down the street.
Talon looks restless, nervous, looks around. Wesley is a
few paces ahead of him, enjoying the day, looking at the
cars. There is a significant amount of fresh blood on his
shirt. WESLEY stops to talk to a proud car owner.
WESLEY
So this is a 6 liter engine?
THE OWNER OF THE CAR leans in and starts the motor, it
rumbles under the hood.
OWNER OF THE CAR
Yea, I beefed it up, um with parts
from a Chevelle. (Is noticing the
blood on Wesley's shirt and the
blood on his neck under the flattop
haircut.)
WIDE ANGLE: Shows Talon being approached by a police officer
in blue uniform. He pushes Talon against a wall by an alley
and begins to pat him down.

STEWART: POV As he approaches Wesley and Talon, watches
Talon get pushed to the wall. Talon spins as he draws his
big bone handled knife and stabs the cop in the stomach
while pulling him close and spinning around and in between
the buildings.
MOVING SHOT: TALON dances with THE COP as he savagely,
repeatedly, slams his long knife into his body. He spins,
stabs, spins, stabs and the camera SWIRLS AROUND. WE HEAR: A
WOMAN SCREAM. Then big band music like Sinatra - Summerwind.
TALON sings along as he stabs.
STEWART runs toward the alley.
MOVING SHOT: STEWART rounds the corner of the alley.
POV STEWART: TALON is waiting for him, with the bloody knife
in front of him, smiling. A patrolman is writhing on the
ground from multiple stab wounds at the feet of Talon.
TALON
Didn't I tell you boy, that no one
gets away from ole Uncle Talon for
long?
STEWART
For crimes against humanity, and
for the murder of my parents,and so
many others,I sentence you to
death. Confess and repent or spend
this very night in hell.
ANGLE ON TALON: He puts on a serious expression for a
moment, then begins to laugh.
STEWART'S BUCK KNIFE is in his hand, he is fearless. He
steps confidently toward Talon. The two stay in close and
deflect thrust at lightening speed, sparks fly from the
steel. Stewart advances slightly.
STEWART receives a slash to the shoulder - he retreats-
shook up. He kicks Talon in the groin and slashes his face.
Talon retreats, stunned. STEWART moves in fast and with a
slash, beheads the big man.
CLOSE SHOT; STEWART, he is full of rage and fury. But then
his face changes, he breaths deep and takes charge of
himself.
WIDE ANGLE; STEWART walks toward the sidewalk in front of
the alley, in the BACKGROUND two dead men lay in pools of
blood. A STRAY DOG trots up and laps at the blood of TALON.

It look like it will FEED on the carcass.
CUT TO:
EXT- TOMAHAWK - DAY137.
ANGLE ON: WESLEY is standing next to the 69 PLYMOUTH
SATELLITE car with the owner, the Cowboy Ninja backpack is
over his shoulder and he is spattered with blood. He holds
a relaxed, hopeful expression on his face. The car owner is
watching the alley and glancing at Wesley, moving back.
ANGLE ON: THE ALLEY; STEWART steps out, his hands empty, his
shirt is also full of blood, the slash to his shoulder is
bleeding. His eyes meet Wesley's.
WESLEY'S EYES raise in a slight compliment of surprise.
WIDE ANGLE: A cop steps into the scene with his weapon drawn
on Wesley.
COP 1
Sir, step away from the vehicle and
show me your hands.
WESLEY grabs the owner of the Satellite and spins holding
his Kukri knife to the throat of the CAR OWNER.
THE COP: Fires two rounds into the chest of the hostage,
trying to hit Wesley.
MOVING SHOT: WESLEY shoves the hostage at the cop and jumps
in the running Satellite and slams it in gear. THE TIRES
smoke as it peels out.
THE COP empties his gun at the car as it takes off. THE
BULLETS slam into the body of the car, but miss Wesley. One
spears through the rear window and exits the windshield
right next to the rear view mirror.
CUT TO:
INT. THE CAR - DAY138.
WESLEY
You fucking pigs couldn't hit a
joint. I am invincible. I have the
spear! (stomps on the gas through
town, people flee before him and he
drives through a barrier)
CUT TO:

EXT. THE STREET - DAY139.
MOVING SHOT: STEWART moves to a Plymouth Fury and jumps in
it, takes off, the owner spins around when he hears the car
start and runs after it.
CUT TO:
INT. THE PLYMOUTH - DAY140.
ANGLE ON: STEWART as he accelerates and shifts the stick on
the column of the steering wheel to climb through the gears.
POV: OUT THE WINDSHIELD of the Fury. The hood has a big air
scoop, it shines in the sun. Wesley's Satellite is ahead,
just missing a pedestrian, tears past the Dog N Suds
restaurant.
ANGLE ON: A PRETTY GIRL with a car hop uniform, serving a
tray of food to a 1965 Pontiac GTO. She stops to watch the
two cars speed down the main drag. WE HEAR sirens behind
them.
CUT TO:
INT. THE SATELLITE - DAY141.
Wesley is grinning, he produces the .45, turns around in the
seat and fires out through the back window at Stewart. He
fires seven shots, the weapon rocks in his hand. HOLD.
CUT TO:
INT. THE PLYMOUTH - DAY142.
ANGLE ON : THE WINDSHIELD three hits in the center and track
toward Stewart. He ducks down behind the steering wheel as
the third rounds punches through the glass right where his
head was, just above the steering wheel.
THE PLYMOUTH swerves at high speed. STEWART turns the wheel
to recover and DOWN SHIFTS the three on the tree
transmission, approaching a corner then accelerates coming
out of it and climbs through the gears, pushing the car.
ANGLE ON: The back end fishtails and recovers.
STEWART; upshifts and stomps on the accelerator.
ARIEL VIEW: the two cars leave the little township and tear
down the county highways.
CUT TO:

INT. THE SATELLITE- DAY143.
WESLEY laughs maniacally, he is very much enjoying this. He
turns up the radio and Tom Jones - "Shes a Lady" comes out
over the speakers. WESLEY sings along.
HIGH ANGLE; OVER THE HOOD of the Satellite. The narrow road
passes fast under the car. A truck is about to pull out of
a driveway but stops just before Wesley would have smashed
into him.
WESLEY
Wahoo waahoo wahoo! She's a lady!
(he sings in key)
CUT TO:
INT. PLYMOUTH FURY - DAY144.
STEWART looks intently through the spiderweb - cracked,
bullet-holed windshield and works the clutch on the floor
and downshifts to grab a gear, the car lunges forward and
gains on the Satellite.
ANGLE ON; THE BUMPER of the Fury slams into the Satellite.
WESLEY rocks back in his seat. He picks up the .45 but the
action is locked open, the weapon is empty.
ANGLE ON; THE SPEEDING CARS, The FURY pulls up on the
SATELLITE, the CARS trade paint.
WESLEY: pantomimes that he is scared, looks at Stewart in
mock terror, then downshifts, grabs a gear and speeds off
ahead of the Satellite.
ANGLE ON: A black top corner and a sign post. The Satellite
speeds into the corner, drifts through it, barely holding
the road, the Fury is hot on its tail. PAN UP SHOW THE SIGN:
ANGLE ON : A SIGN they passed, Dells of the Eau Claire River
ahead.
THE Satellite passes an AMISH WAGON being pulled by a horse
carriage, then corners hard, going into the park entrance,
just missing a pedestrian.
CUT TO:
INT. THE FURY -DAY145.
STEWART downshifts the car, swerves to miss the carriage,

the horse spooks and rears up, the Fury drifts sideways down
the blacktop road and misses the turn that Wesley made.
STEWART down shifts the transmission and slides the car into
a drift and hooks it into a 180 degree spin.
THE TIRES burn on the blacktop and squeal until they gain
purchase.
STEWART slams the car in gear and burns rubber.
CUT TO:
EXT. EAU CLAIRE DELLS PARK- DAY146.
THE PARKING LOT. CONTRAST in motion. Stewart has SLOWED
DOWN, he drives the FURY past young people in bathing suits,
families with children walking down the road, playing in the
little park, and coming out of and going down the trail
toward the waterfall.
POV STEWART: OUT THE WINDSHIELD of the Fury: the Satellite
is empty, parked in the lot next to a van. Stewart parks
the car next to it.
STEWART gets out and looks around. HIS HAND touches the big
Buck knife at the small of his back. He walks down the
trial toward the rock cliffs.
POV STEWART; WESLEY is standing on the stone ledge near the
cliff, he has the backpack on and smiles, he still has the
blood spattering on him, he is waiting for Stewart.
Pedestrians stare at Wesley.
WIDE ANGLE: STEWART approaches him, slowing for a moment as
he draws near.
WESLEY
Dad took me here as well, Stewart.
This is where he met my mother.
STEWART
I don't know what you are talking
about. Put the bag down.
WESLEY
You and I are brothers, Stewart.
Dad had two families. One with
your mom, and one with mine.
STEWART
It's a lie. Your Dad was a crazy
old drunk.

WESLEY
It's no lie Stewart. You and I are
half brothers! Did he take you
here too, with the spear? I think
he figured out the Knights Templar
treasure was hidden here in this
park.
STEWART
Lucian told you lies to get you to
do his will. (Takes a step toward
him) You sold out and slaughtered
everyone who ever helped you in
your life.
WESLEY
Dad worked at the Woodsen Art
Museum, he was the curator there.
That is where he stole the spear
from.
STEWART
He was borrowing it, and was going
to return it. Quit Calling him Dad.
WESLEY
Talon followed you and Dad home, he
was supposed to kill the whole
family and take the spear but you
got away with it. So he created
another orphan, to infiltrate The
Order. Me.
STEWART
You killed your brothers, the only
family you ever knew.
WESLEY
Family? Is that what that was?
They turned us into killers. Had
us do their assassinations, trained
us from children. We were perfect
fodder for them. All these
bastards, they have been playing
us, playing with our lives. Don't
you get it? Isn't killing people
for a good cause still just killing
people?
STEWART
I serve The Lord.

WESLEY
Don't hand me that. You were going
to quit. What happened to change
your mind? Did you find my little
mess? (smiles and steps forward)
Did that inspire you, the last
Knight of the Order? I suppose you
see yourself that way.
STEWART
Give me the spear you psychopath.
(takes a step toward him again)
WESLEY
(smiling) You could never beat me.
Are you in a hurry to die as well?
Look, we are brothers. This was
destined to happen here, at this
place, Stewart. Dad figured out
that the Templar's treasure was
here. Somehow, when he got the
spear, he put it together.
STEWART
Put it down now. Or this will end
like I think we both know it has
to. (takes a step toward him,
pulling out the Buck knife.)
WIDE ANGLE; a family with children walk past, looking at the
two bloody figures squaring off. The mother gathers the
children closer and hurries past them.
WESLEY jumps off the granite stone railing and trots down a
trail.
WESLEY
Come on then, let's rock and roll.
MOVING SHOT; STEWART runs after him along a trail that
skirts the cliffs edge, the waterfall is visible down in the
park, they are three hundred feet high on a cliff wall.
AERIAL VIEW; The TWO MEN move toward each other on a rock
wall cliff, a sharp 300 foot drop off inches from their
feet.
WESLEY spins fast and has his Kukri knife out, he scores a
slash to the chest of Stewart then dances back, spins the
knife in his hand.

WESLEY
Does that bring back memories of
the training exercises? All those
times I got the best of you, while
you played defensive edged weapon
games. What do you think is going
to happen here?
A CROW; settles in a pine tree and cranks it's head to the
side, watching, it caws three times.
STEWART clasp his hand over the wound to his pectoral
muscle, blood stains his shirt and he charges in with his
Buck knife in hand.
WESLEY
You never had the heart for the
fight Stewart!
AERIAL VIEW; THE TWO clash on close range, deflecting and
parrying on the edge of the steep, sheer cliff. They move
back and forth on the ledge as they fight. WESLEY
pantomimes, making fun of Stewart.
CLOSE SHOT; STEWART he relaxes, and advances with a more
determined assault. Gone is the hesitation and guarded
reserve of his earlier display of training. He brings
pressure to bear on WESLEY, moving him backward on the sheer
rock ledge.
ARIEL VIEW; the two young men fence with 13 inch blades in
close with a sheer rock wall ledge, STEWART is advancing and
WESLEY is retreating.
ANGLE ON: WESLEY, he steps back and lowers his shoulder to
fling the back pack around, off his back, and open the
zipper. He holds up the Spear of Destiny.
WESLEY
Is this what you want?
STEWART
Take your filthy hands off that
relic.
WESLEY turns and jumps across an opening in the rock ledge,
barley clearing it, twirls his arms to gain his balance, the
spear in one hand, his Kukri knife in the other.
ARIEL VIEW; WESLEY has just jumped across a ledge that
offers a fall of 300 feet. STEWART follows him and launches
himself after him.

WESLEY turns around in time to receive his attack.
THE SPEAR falls on the granite stone.
STEWART AND WESLEY roll, each clasping the other's knife
hand in the free hand. WESLEY is bigger and ends up on top
of STEWART. He pushes his Kukri knife down, with his weight
behind it, until it is a quarter of an inch from STEWART'S
THROAT. HOLD.
WESLEY
I will be the last surviving member
of the order. I will have the
spear and be rich beyond my wildest
dreams.
STEWART
You were never a member of the
Order.
CLOSE SHOT: WESLEY looks pissed,then lets out a maniacal
laughter. Then he looks down at the blade above Stewart's
throat and throws himself down toward it.
STEWART presses hard but the blade sinks down, he diverts it
to the left. THE BLADE sinks into his shoulder three
inches. WESLEY lifts it up slowly. Then moves it over to
STEWART'S THROAT. HOLD.
WE HEAR; A single report from a firearm to the side.
WIDE ANGLE: WESLEY'S stab at Stewart's throat is stopped
when a bullet strikes his thigh.
ANGLE ON: HORACE WHITAKER is standing with the big silver
Smith and Wesson, swooning from loss of blood, trying focus,
to fire again.
ANGLE ON: WESLEY stands, and flips his big Kukri knife so
that he is holding the blade - the sunlight flashes off it,
and then throws it hard, his arm moving in a downward
chopping motion.
ANGLE ON: HORACE. The knife slams into Horace's THIGH, next
to his groin. THE HANDLE only protrudes. HORACE stiffens
and falls back.
WESLEY
That's below the body armor. (winks
at Horace)

WIDE ANGLE: STEWART stands, slams into Wesley hard toward
the cliff edge. WESLEY grabs STEWART and pulls him with him
toward the edge. THE TWO slug each other several times.
ARIEL VIEW: TWO MEN punching each other on the sheer edge of
a 300 foot granite cliff. Until WESLEY kicks out the leg of
STEWART and he falls on the very edge, he begins to fall but
grabs WESLEY'S pant leg and yanks him hard toward the edge,
and leverages the motion to gain a few inches of ground on
the ledge.
WESLEY grabs Stewart with him and the two topple over the
edge. STEWART'S HAND clings to the edge, the fingers scrape
on the granite
WE HEAR: WESLEY YELLING as he falls to his death.
ANGLE ON: STEWART - topples down, out of the shot.
STEWART'S HAND moves over the edge and he drops.
ANGLE ON: STEWART: just below the edge a vine is growing and
he clutches it. THE VINE begins to pull from the crack it
grows from.
ANGLE ON: Two Marines, at ease in the park, wearing the
bottoms of their combat fatigues move quick to the rock edge
of the cliff, move around HORACE, who lies on the stone walk
way. One leans his upper body over the edge, the other
braces his legs.
ANGLE ON: STEWART: He sees the vine is pulling from the
cliff he notices a big sweet juicy strawberry on the very
end of the vine.
ANGLE ON: THE STRAWBERRY, then focus past to - STEWART'S
FACE in the background.
STEWART'S HAND, trembles as it leaves the vine and plucks
the berry, he places it delicately in his mouth, the vine
drops him another three inches.
ANGLE UP: A MARINE extends his hand down to Stewart.
MARINE
Hey buddy, give me your hand.
STEWART
How delicious this berry is
(relishing the flavor)
MARINE
Come on man, give me your hand.

STEWART looks up ANGLE ON : the TWO HANDS clasping together
in a rescue grip.
WIDE ANGLE: The two MARINES lift STEWART up from the edge.
Then move off.
STEWART lifts his head and looks to the side.
ANGLE ON: HORACE WHITIAKER is kneeling, twenty yards away,
holding the revolver from the glove box of Burelli's car.
He is bloody from the thigh down on one leg. A trail of
blood is behind him. His face is pale.
HORACE
I told you he was mine, and you
better not get in the way.
(collapses)
STEWART moves to him, kneels next to him. He checks for a
pulse, HORACE'S eyes flutter, he clutches weakly at
Stewart's rugby shirt.
STEWART
Accept Jesus Christ as your savior
and confess you are a sinner.
HORACE
I'm a screw up kid, those gates are
closed to people like me.
STEWART
Say it. You will meet Him now.
HORACE
What was that thing your Dad said
to you?
STEWART
Don't meet yourself coming back on
the road in life.
HORACE
What the hell does that mean?
STEWART
I don't really know. I was going to
... ask him. Never got the chance.
HORACE
Here, take this gym bag, it's a
hundred grand, it will help you on
your journey Sir Stewart.

STEWART
I have taken a vow of poverty.
HORACE
(eyes roll) Well that is just
great. (eyes focus past Stewart as
he expires)
STEWART slowly lowers his head to the ground.
MOVING SHOT; STEWART turns, picks up the spear and puts it
in the Cowboy Ninja backpack, zips it up. Then he picks up
his Buck knife and sheaths it at the small of his back.
ANGLE ON: THE GYM BAG. It is blood stained, partially open,
revealing stacks of hundreds showing.
WIDE ANGLE; STEWART looks at it, hesitates, then he picks it
up. And makes his way down the trail, his posture portrays
a sense of peace and contentment in spite of what has just
happened. Stewart passes a park ranger heading down to the
wall, the rangers radio crackles. Stewart turns slightly to
hide his bloody chest wound.
RANGER
I'm on my way. (he says into a
microphone on his shoulder)
STEWART walks through the parking lot, he walks past a man
and woman with three little kids getting out of a battered
Chevy Cavalier.
YOUNG FATHER
Kids, you stay close to your mother
on the way down to the water!
STEWART tosses the young man the gym bag with blood on it.
STEWART
Do with this what you think is
right. (the man catches the gym bag
and glances inside of it, instantly
amazed)
ANGLE ON: STEWART as he walks toward the Plymouth Fury with
the Cowboy Ninja backpack on. He fires up the engine and
drives slowly out of the park, holding a hand over his
chest.
HE STOPS the car to let two pretty girls walk past the front
of his car, they wear bikinis.
CLOSE SHOT: STEWART looks at them with angst and desire for

a moment, then drives on.
FADE OUT;
EXT. EAU CLAIRE DELLS PARK - DAY147.
AERIAL VIEW; Flying in like a bird over the park, the
playground, the parked cars, the river swirling then
tumbling over two waterfalls to pool. It is fall, the leaves
are turning. Lots of bare trees show us it is October,
chilly.
It is 52 degrees. The park is almost empty of people.
We circle over a majestic pine tree seventy feet tall and
settle on the very top of it.
ANGLE ON; A BLACK CROW at the very top of the tree, he caws.
ANGLE ON; STEWART, walking down the stone stairs to the
ledge, he has the cowboy ninja back pack on, he limps
slightly. He wears a new Rugby shirt and a pair of swimming
trunks and sandals. His bowl haircut has grown out. He makes
his way down the rocks.
WE HEAR; MUSIC like; Aurora by Hanz Zimmer
STEWART reaches the rocks by the waterfall and takes off his
shirt and sandals. A large healing wound is on his chest.
(we hear the music behind the sound of the waterfall.)
STEWART sits down and swings the backpack off, similar to
how Wesley did it when they fought. He turns and looks up at
the ledge where Wesley fell.
ANGLE ON: The TALL GRANTIE LEDGE.
Stewart opens the backpack and looks inside. The spear is
wrapped in a towel, next to it in the backpack is the big
bone handled knife of Talon with the gem imbedded in the
handle.
STEWART glances around to see if anyone is watching him.
For a moment the image of his father, dressed in the trunks
he had on that day is standing there, smiling and waving at
him, then it fades.
CLOSE SHOT: STEWART SMILES slightly.
STEWART
I sure do miss you Mom and Dad.
He takes out Talon's knife and digs the gem out of the

handle with his Buck knife. As the stone comes out, the
knife flips out of his hands, cuts his thumb and falls into
the turbulent Eau Claire River. STEWART stares at the water
top where it vanished. HOLD.
STEWART stands up and puts the gem in a zipper pocket in his
swimming suit. Then he puts the backpack on again, wincing,
then switching the strap away from the wound. He shivers in
the chill for just a second.
WIDE ANGLE: STEWART dives A BEAUTIFUL SWAN DIVE into the
swirling water.
ANGLE ON: THE WATER SURFACE, he surfaces, takes a deep
breath then swims hard at the waterfall. The current pushes
him against the sheer granite wall and he puts his head down
and crawl strokes hard against the blasting current and
torrent to get up next to the waterfall.
ANGLE ON: THE WALL, wet and moss covered, he finds a tiny
hand hold that allows him to suspend there, next to the
waterfall for a moment.
CLOSE SHOT; STEWART takes a deep breath and pushes himself
down under water against the rock with the water pouring,
falling over it.
UNDERWATER ANGLE: he struggles to stay out of the turbulent
current and close to the rock where his hands try to find a
hold.
CUT TO:
INT. AIRPOCKET UNDER THE WATERFALL - DAY148.
STEWART'S head pops up in a three foot by two foot air
pocket just below the cusp of the water fall (really is such
a place) and he gasps for air. His hands find the hold and
he is able to perch there.
He struggles to withdraw the spear from his backpack and
when he has it in his right hand he searches for something.
ANGLE ON: THE STONE wall beneath the waterfall. There is a
tiny slice in the rock. STEWART'S fingers probe it. Then
with trembling hands he inserts the spearpoint into it.
THE SPEAR fits in perfectly. He turns it.
WE HEAR: The sound of moving rock and a rock moves aside,
revealing a hole.

THE HOLE is filled with treasure, gold trinkets, jewels and
gems.
STEWART withdraws the gem from the zipper pocket in his
shorts and lays it carefully inside the hole next to the
others like it.
He inserts the spear and twist it again. WE HEAR the
grinding rock and the hole closes, showing perfection in
stone work, masonry genius. He puts the spear back in the
backpack, shoulders it again. Then he takes a deep breath
and pushes off from the rock, moving back into the
waterfall, letting it pull him away and tumble around in the
water.
CUT TO:
EXT. EAU CLAIRE DELLS PARK - DAY149.
ANGLE ON: The pooled water surface below the waterfall.
STEWART surfaces and swims to the rock wall and climbs
out.(prevalent, fresh scars to his shoulders from the fight
with Talon and then with Wesley)
He gets to his clothes and puts them on. Then with the
backpack over his shoulder, he makes his way out of the
park.
We watch him walk up the granite stone way toward the
parking lot. With each step he becomes smaller and gets
further away.
OVER THE SHOULDER: A ROMAN CENTURIAN is standing on a cliff
edge watching STEWART walk out of the park. What we see of
him is gritty and ancient leather.
AERIAL VIEW. We take off from the tree top and fly, leaving
a shadow of a bird over the park, flying up and away until
we see the northern Wisconsin beauty of trees, woods,
farmland, blacktop highways.
Gregorian chant music takes us out. (like -A Mass for the
end of time - by Anonymous.)
FADE TO BLACK.
INT. VATICAN CITY -DAY150.
WIDE ANGLE: THE POPE is seated at a large old oak table with
three men dressed in Cardinal wear.

CARDINAL 1
Your Eminence, it belongs here,
protected. Not left with a boy.
CARDINAL 2
Their order has never listened well
to us. Allow us to make plans to
retrieve the Spear, your Eminence.
POPE
No, Stewart has proven to be a
worthy knight. It stays with him.
THE POPE stands up from the chair and walks out of the room.
FADE TO BLACK:

The+Spear++VS+3

More Related Content

Viewers also liked

More from Louis Sihler

The+Spear++VS+3