THE HAND OF GOD
Written By
y2gatti
EXT. LOS ANGELES STREETS - NIGHT
Loud breathing is heard in the darkness.
INT. DARK ROOM - DUSK
Fingers wrap around small bullets, one by one.
INTERCUT between LOS ANGELES STREETS and THE DARK ROOM
Expensive leather shoes scurry down the sidewalk. The breathing has turned into a desperate pant.
Fingers now lift a small knife, carving into the bullet tips. Blinding light gleams off of the blade through a small window above.
MARSHALL'S (Late 50's, Supreme Court Justice) gasping face is seen, peering anxiously behind himself. Fog and darkness is the only thing in sight.
The bullet tips can be seen. The etching is of a cross.
Marshall barrels into a trash can and falls to the ground. He takes another long look at the vast emptiness behind him. He's off again, sprinting down the sidewalk. He turns a corner and stops, eyeing a large Cathedral-Style Church about 20 yards ahead.
The hands are loading the now cross-etched bullets into a clip.
EXT. LARGE CHURCH - NIGHT
Marshall reaches the large wooden double doors outside of the CHURCH. The inscription reads: "REPENT THY SINS AND MEET THY FATHER". He pushes them open and enters. The door slowly closes.
INT. DARK ROOM - DAY
SLAM! With tremendous force the clip is rammed into the gun.
INT. LARGE CHURCH - NIGHT
Marshall looks in awe at the church interior. Stained glass windows cover the walls. He walks toward the stage area, desperately looking for somewhere to hide. A large mural of Christ on the cross stares down at him from behind the podium. The large doors open up behind him.
A silhouette of a man walks in. GABRIEL approaches him, dressed in a nice black suit. His dark hair is short and neatly cut.
MARSHALL
Please, Leave me alone!
Marshall trips backward and is left sprawled out across the steps.
MARSHALL
Why are you chasing me? What do you want?
GABRIEL
You've done a bad thing Marshall.
MARSHALL
Do you know who the hell I am? I can have you locked up for a very, very long time.
GABRIEL
Innocence is one thing that a child can never get back.
FLASHBACK SEQUENCE of a young girl, maybe 7 or 8, with pony-tails. She is crouched against a wall crying as a large shadow engulfs her, rope hanging from it's hands.
MARSHALL
This will only hurt a little, my dear.
CUT back to the church, where Gabriel stands over Marshall.
MARSHALL
The children? I couldn't help myself. I couldn't stop the urges.
GABRIEL
(snapping)
You're going to suffer for what you've done!
Gabriel pulls out his gun from inside his suit.
MARSHALL
Just leave me alone. Turn me in, I don't care. It's not like anyone is going to believe you. You have no idea who you are dealing with here!
GABRIEL
You're right. Nobody would believe me. That's why I'm not going to turn you in. I'm going to --
MARSHALL
(Interrupting)
What the fuck do you want from me?
WHACK! Gabriel smacks him hard across the face with the butt of his gun.
GABRIEL
I suggest you watch you say in this building. Is it that you don't believe in God? Or that you just don't respect him?
Gabriel cocks the gun.
MARSHALL
Oh, please God. I'm sorry.
GABRIEL
It's always the same. You show your faith to me while you beg for mercy. Well, I will show you my faith with the mercilessness of my actions. You will know there is one almighty God and that his hand is one with mine.
Tears roll down Marshall's face.
MARSHALL
I believe in God. I respect God. I'm sorry.
Gabriel puts the barrel of the gun inches away from Marshall's head.
GABRIEL
Lucifer, the devil himself respects God. He knows for a fact there is only one true God. It is that fact that makes him shudder!
BOOM! As the gun fires-
THE HAND OF GOD slams on screen.
The opening credits roll over a black screen.
INT. CONFESSIONAL BOOTH - NEXT MORNING
Gabriel's face is surrounded by darkness. A window on his left slides open, revealing a PRIEST in the booth next to him.
GABRIEL
Forgive me father, for I have sinned. I have done some very bad things.
FATHER KEATON
It's okay, my child. What are these things that you speak of?
GABRIEL
Terrible things. Last night...Last night I murdered a man.
BEAT.
FATHER KEATON
I see. Rest assured Gabriel, for it was God's will. You were chosen to do God's work. Do not fret.
GABRIEL
I know Father.
FATHER KEATON
Underneath your seat is your next assignment. It is of the highest priority.
Gabriel reaches beneath his seat and pulls out a large brown Manila envelope.
FATHER KEATON
Inside is everything you need to know about your next job.
Gabriel pulls out a large black and white photo from the envelope. The photo is of a young Italian man wearing dark sunglasses.
BAM!
A caption slams on screen that reads:
THE MARK
FATHER KEATON (V.O.)
This is VINCENT. A low-life foot soldier for the DeNucci family.
The photo comes to life as Vincent is handcuffed next to his BMW by a police detective.
EXT. L.A. STREETS - TWO DAYS AGO
The Detective forces Vincent's head down onto the BMW's hood.
VINCENT
Do you have any idea what you are doing? I haven't done a goddamn thing!
FATHER KEATON (V.O.)
Vincent has been arrested for the murder of SENATOR GARCIA at LAX. He was arrested just two miles away, less than an hour after the assassination.
INT. CONFESSIONAL BOOTH - MORNING
Gabriel slides out another photo. It is of a short, stocky man with a Cuban cigar between his teeth. Another caption slams on screen.
THE DON
INT. DENUCCI MANSION - MORNING
The photo comes to life as DON DENUCCI strolls through his Beverly Hills Mansion. He sits in his large hand-crafted French oak chair.
FATHER KEATON (V.O.)
This is Don DeNucci. Don Don DeNucci. I'm sure you've heard of him on the news and in the papers. He's described as the biggest crime boss in the country since John Gotti. He has monopolized his so-called business since he first became Don twenty-five years ago. The DeNucci family is the only major crime syndicate west of Chicago.
A wiry-framed BOBBY CARLO enters and sits down beside the Don. Carlo crosses his legs and lights up a Virginia Slim.
BOBBY CARLO
What should we do about this Vincent situation?
The Don blows a smoke ring high into the air.
DON DENUCCI
We must approach this very cautiously Bobby. It's very delicate. Vincent could destroy everything I have built, and I cannot let that happen.
BOBBY CARLO
You think Vincent would talk?
DON DENUCCI
Vincent was never cut out for this business. It's in the genes, Bobby. You have to be bred to do the things we do. Vincent is weak and naive.
Carlo pours them each a glass of scotch.
DON DENUCCI
(Cont.)
I promised Maggie that I would get him going here in the city. I should have cut him loose a long time ago. We can't risk him talking, he needs to be taken care of.
BOBBY CARLO
I can get someone on the inside to do the job. I got a guy in North County doin' life. He ain't got nothin' to lose.
DeNucci sips on his glass and thinks for a moment. He stands and stares out the window.
DON DENUCCI
No. We need to do it before his trial. If he is going to squeal, chances are he will do it in court.
BOBBY CARLO
That's tomorrow.
DON DENUCCI
You think I don’t know that? Get someone on it.
(Pointing out the window)
We need to be careful of our two friends in blue as well.
From inside the window we see a large white van sitting across the road.
DON DENUCCI
Maybe we can kill two birds with one stone.
Carlo smiles and nods.
EXT. DENUCCI MANSION - MORNING
A pest control van sits outside. Written across the side is:
"HARRIS AND SONS EXTERMINATORS"
INT. CONFESSIONAL BOOTH - MORNING
Gabriel pulls out a third photo from the envelope. It is black and white like the others. It's of two Detectives. One black, one white. They are seated in the back of the van with headphones on. A caption slams on screen.
THE COPS
The photo turns to color and comes to life.
INT. PEST CONTROL VAN - MORNING
The two Detectives listen in on the headphones to the bugged DeNucci mansion. Suddenly, static fills their ears.
FATHER KEATON (V.O.)
Quite the pair we have here. The one on the right, with the moustache and the uni-brow, that's Detective HENRY MARSH. He's been serving as one of LAPD's finest for over 13 years.
The second Detective leans back in his chair and throws his headphones against the van wall.
DET. FIELDING
This is so fuckin' boring!
FATHER KEATON (V.O.)
That's Detective IAN FIELDING. Arrogant, hot-tempered, and worst of all...a rookie. He became Detective a month ago after spending only nine months as a beat cop. A Harvard grad, Detective Fielding is the kind of cop who's seen too many shoot em' up movies on T.V.
INT. CONFESSIONAL BOOTH - MORNING
Gabriel slides the photos back into the envelope.
GABRIEL
How do you suggest I get to them?
FATHER KEATON
Four hours from now Vincent will be transported to the courthouse for his hearing.
He will be escorted by two uniformed officers.
GABRIEL
You want it done that soon?
FATHER KEATON
It has to be done that soon Gabriel. It is our only option. The evidence against him is overwhelming. After today he will never see the outside of prison walls again. It will be a very difficult task, I know. There will also be press everywhere.
GABRIEL
I’ll handle it. God's work will be done.
FATHER KEATON
He will take care of you Gabriel.
Gabriel exits the booth.
INT. KEATON'S CHURCH - CONTINUOUS
Gabriel steps up to the altar and bends to one knee. He says a short prayer before kissing his fingers and touching the four points of the cross on his chest. He walks to the exit and-
BOOM!
The large double doors swing open. The blinding sunlight envelopes the screen.
EXT. L.A. STREETS - MORNING
A black Ford Taurus zooms by the camera down a busy L.A. street.
INT. FORD TAURUS - MORNING
Detective Fielding drives as Detective Marsh stares at the images flying by.
DET. FIELDING
Where exactly are you from again?
DET. MARSH
Brooklyn. Why?
DET. FIELDING
I'm just trying to figure out why anyone from New York would say that Jack Dempsey could beat Mike Tyson. Prime versus prime.
DET. MARSH
Whether I'm from Vegas or N.Y.C., the fact remains the same. Tyson just couldn't handle the sheer aggression of the Manassa Mauler. Two words. Jess Willard.
DET. FIELDING
I've got three words for you. Plaster of Paris.
Fielding laughs at his own joke while Marsh shakes his head in disgust.
DET. MARSH
Never proven my friend. Never proven.
DET. FIELDING
Maybe you 'outta go home and watch tapes of Tyson destroying Spinks. Or even Holmes. Walkin’ right through mothafuckas’.
DET. MARSH
I'd rather watch his fight against Buster.
HONK!
Fielding honks at a 4x4, ignoring Marsh's comment.
DET. FIELDING
Fuckin' drivers in the city!
Marsh stares out the window, drowning out Fielding's complaining.
DET. MARSH
One more time for me. Why did you plant that gun on Vincent? And don't tell me for the arrest. I've had bigger arrests down on Sunset chasin' Johns.
DET. FIELDING
I told you. That piece of shit needs off the streets anyway. Simple as that. Why do you care? Are the streets not safer now? Seriously.
Fielding smiles slyly. Proud of his work.
DET. MARSH
Why do I think you're hiding somethin'?
DET. FIELDING
Because you're a mistrusting fuck?
(laughing)
Seriously, don't worry about it.
DET. MARSH
Thanks, I feel better now. I've got a family at home to worry about.
DET. FIELDING
Ooh, sarcasm. That's a first coming from your mouth. I know you’ve got kids and a wife, yada yada. I've got a
DET. FIELDING
(Cont.)
dog at home. He's like a brother to me.
DET. MARSH
Look son, I don't work this way. I don't falsify documents, steal or plant evidence. Whatever you've seen on television, that's not how it works. That's not how I work. You are playing in a whole 'nother ballpark now. Vincent is DeNucci's nephew. Do you know who Don DeNucci is Fielding?
DET. FIELDING
Of course I know who he is. I may be new to the force, but I have been living on planet Earth for twenty-four years pal. I have to start making my moves if I want to move up. I don't wanna' be stuck here with your ass for the rest of my career.
Fielding imagines that scenario. He makes a sour face.
DET. MARSH
That's wonderful. Make a name for yourself, I don't give a damn. But our safety is now in jeopardy. DeNucci could put a hit out on us as easily as shit pours outta’ your mouth.
DET. FIELDING
Big deal. DeNucci won't go after cops, he's not that stupid.
DET. MARSH
You need a history lesson, son. DeNucci has come after members of the force before. To him, everybody's fair game.
HONK!
Again Fielding lays on the horn after getting cut-off.
DET. FIELDING
(Shouting out the window)
Learn how to drive you fuckin' Schwab!
INT. SENSEI BAR - AFTERNOON
Gabriel sits at the bar. Soft jazz fills the air as he breathes in a whiff of his Cabernet-filled glass. He stares at the liquid as it swirls in his glass.
BARTENDER
Anything else I can get ya?
Gabriel stares straight ahead at the television behind the bar.
GABRIEL
Could you turn that up please?
On the screen is a still-photo of Senator Garcia.
NEWS REPORTER
...Two days ago, due to the assassination of Senator Garcia. Many people are already speculating that the man known as THE CARPENTER may have been behind the murder. The unknown man has been the driving force behind countless conspiracy theories. Some dating all the way back to JFK’s assassination. Some even believe he has ties in the present with crime kingpin Don DeNucci. He is the only man on the FBI's Most Wanted list whose identity is unknown. The Carpenter has been referred to as "Worse than Al Capone".
(chuckling)
I guess he’s a real life Keyser Soze. Janet, back to you.
Gabriel takes his duffle bag and heads through the back curtain.
INT. PHONE BOOTH AREA - CONTINUOUS
The French-themed room is lined with four phone booths, each hidden by red curtains. He enters one and shuts the curtain.
MAN ON PHONE (O.S.)
Yeah mom, I know. I'll be home for the wedding, I promise.
Gabriel opens his bag and takes out several pieces to a gun. He puts them together quietly.
MAN ON PHONE (O.S.)
Yeah, Charlene is coming. We've only been engaged for three months Mom, relax. Yeah I'm excited about getting out on the boat with Dad. It's been a long time.
Gabriel screws a silencer onto the sniper rifle. He pulls out a small case with a cross on the lid. Inside are six bullets, each with the cross etchings. He loads them one by one into the gun.
MAN ON PHONE (O.S.)
Tell Dad I can't wait. I love you too. Goodbye Mom.
I know. Good--I know. Bye Mom.
FLASHBACK SEQUENCE shows a young Gabriel flying a kite with his father. CUT TO a quick shot of a bed covered in blood.
Gabriel loads the gun into the bag and exits.
EXT. COURTHOUSE - AFTERNOON
Gabriel scans the area as a small group of media awaits Vincent's arrival. The Detectives are on the right side of the large set of stairs leading to the courthouse. Marsh and Gabriel's eyes meet for a brief moment. Gabriel heads toward a clock tower half a block away.
INT. CLOCK TOWER - MOMENTS LATER
Gabriel reaches the top of the staircase and peeks over the edge. The large mob of media has tripled at the Courthouse. He pulls the rifle from his bag.
EXT. COURTHOUSE - AFTERNOON
A jet black Buick pulls up to the front of the courthouse. The officers get out first.
SNAP! SNAP!
Cameras flash constantly as Vincent emerges from the vehicle.
OFFICER DANIELS
Please step back!
FEMALE REPORTER
Vincent have you got anything to say?
INT. CLOCK TOWER - AFTERNOON
Gabriel stares through the scope of his rifle. He notices a man atop the stairs pulling a shotgun from underneath his jacket.
EXT. COURT HOUSE - CONTINUOUS
The chubby Italian man whips the Shotgun out aiming directly at Vincent.
FEMALE REPORTER
Look out! He's got a gun!
BOOM!
The gun fires and hits one of the officers in his chest, sending him two feet back. Everyone hits the pavement as Marsh draws his sidearm.
POP! POP!
Marsh hits the Italian man with two shots. He falls to the ground, rolling down a couple steps.
OFFICER O'BRIEN
(Into his radio)
I need back-up. Corner of 51st and Sentry. There’s an officer down! I repeat, officer down!
INT. CLOCK TOWER - AFTERNOON
Gabriel watches everything unfold through his scope. He searches for Vincent, who is suddenly nowhere in sight.
GABRIEL
(To himself)
You’ve got to be kidding me.
Gabriel desperately scans the street for Vincent.
EXT. L.A. STREETS - CONTINUOUS
Vincent turns down an alley and runs as fast as he can. He peers behind a few times before disappearing around another corner.
INT. CLOCK TOWER - AFTERNOON
Gabriel now holds his head in disappointment.
INT. DENUCCI MANSION - EVENING
DeNucci sits in his oak chair. Bobby Carlo sits beside him, as always.
DON DENUCCI
What happened exactly?
BOBBY CARLO
I had Tony P. waiting--
DON DENUCCI
(interrupting)
I don’t know no Tony P.
BOBBY CARLO
You know Tony P., from Jersey. Short, fat guy. Loves the Asian whores.
DeNucci nods, remembering Tony P.
BOBBY CARLO
Well, he got a shot off at Vincent, but missed. Hit a cop instead.
DeNucci laughs, though obviously irritated.
DON DENUCCI
Bobby, my boy. Tony P. is an imbecile. Was an imbecile, whatever. Are you out of your mind? Were you at that hair place again.
Carlo's face reddens with embarrassment.
BOBBY CARLO
No...
DON DENUCCI
(in slow words)
You need to finish this!
WAM!
DeNucci slams his fist on the table between their chairs.
DON DENUCCI
(Cont.)
Dispose of Vincent. And fast. Dispose of the two cops while you're at it. Fix this situation Bobby. I'm running very low on patience. Get it done!
Carlo nods his head as--
RING!
The phone between the two rings.
BOBBY CARLO
(answering the phone)
Yes? Yes, sir. One moment.
Bobby hands the phone to the Don, covering the mouthpiece with his palm.
BOBBY CARLO
It's The Carpenter.
DON DENUCCI
(to Carlo)
Get it done!
Carlo exits the room.
DON DENUCCI
Good to hear from you.
INT. KEATON'S CHURCH - STUDY - EVENING
CLOSE UP of a picture of Father Keaton and his wife SANDRA. The door opens and Keaton emerges. He sits across the desk from Gabriel.
FATHER KEATON
Sorry to keep you waiting.
GABRIEL
No problem Father. How's Sandra?
Keaton looks at the photo and smiles.
FATHER KEATON
Good, good. Been working long nights at the hospital.
GABRIEL
Great. I'm guessing you heard what happened?
FATHER KEATON
Lindsay's back in rehab?
Gabriel shoots him a confused look. Keaton grins at him.
FATHER KEATON
(cont.)
Yeah, I heard. Sounds like Vincent has burned a few too many bridges.
GABRIEL
I'd say. Any idea on why so many people are after him?
Keaton shakes his head and shrugs it off.
FATHER KEATON
I'm sure things will come together. For now we need to find him and get this done.
GABRIEL
I'm sorry Father. I slipped up. I shouldn't have taken my eyes off him.
FATHER KEATON
No use on crying over spilled milk. It's all part of God's plan Gabriel.
GABRIEL
Well, the good news is I think I may know someone who can help me locate him. A made guy, PAUL VYKELTI. Owns a night club down in Santa Monica.
Keaton looks pleased.
FATHER KEATON
I remember when I first found you. A lost young man, no direction. Seems like it was just yesterday.
GABRIEL
For that I am forever in your debt. I better get going, gotta search for our missing puzzle piece.
FATHER KEATON
Yes. I should probably give Sandi a call, tell her I'm going to be late. Godspeed Gabriel.
Gabriel exits. Keaton checks his watch and picks up the telephone.
EXT. POLICE STATION - EVENING
Establishing.
INT. POLICE STATION ELEVATOR - CONTINUOUS
Detectives Fielding and Marsh stand in the back of an over-crowded elevator. The doors open on the second floor and everyone exits, leaving them alone. Fielding exhales.
DET. FIELDING
Is it just me or did that fat lawyer smell like shit?
Marsh's demeanor is completely serious.
DET. MARSH
You've really fucked us now Ian. Vincent's gonna go to DeNucci. He knows who we are! I should tell the CHIEF what happened, before this goes any further.
DET. FIELDING
You can't tell a Goddamn soul! We're in this together. You need to accept that Marsh. I'm a rookie and you are my commanding officer. You're just as liable as me, if not more.
We are not goin' down for this.
DET. MARSH
Well, then we've gotta find him! And fast! I'll call Wanda, she’ll help.
The elevator doors open and they exit.
INT. POLICE STATION 3RD FLOOR - CONTINUOUS
Fielding desperately tries to catch up to Marsh. They walk past rows of desks.
DET. FIELDING
Who's Wanda?
DET. MARSH
One of my C.I.'s. Lives on the upper East Side. If anyone can help us find him, it's her.
They reach their section of the office. Fielding sits and leans back as Marsh starts going through papers on his desk.
DET. MARSH
I saw a ghost at the courthouse.
DET. FIELDING
Say what?
DET. MARSH
I don't know his name. Nobody really does. But most around the Precinct know him as The Hand of God.
DET. FIELDING
Oh, right. I've heard of him. Serial killer right?
DET. MARSH
Not really, no. He's a contract killer. A hit man. All just speculation though. Nobody can find any credible evidence of his existence. He's there one minute, gone the next.
DET. FIELDING
You think somebody hired a hit man to kill Vincent?
DET. MARSH
All I know is that he usually doesn't show his face on the streets. Sure would be an awfully big coincidence, know what I mean?
DET. FIELDING
What I don't get, why would someone want Vincent dead?
Marsh rolls his eyes at Fielding's ignorance. He leans in close to him.
DET. MARSH
(quietly)
You do.
(normal tone)
And from the looks of it, so does DeNucci. The road ahead of Vincent looks pretty damn grim. Good chance he might even go to the media with his story. We have to find him before something like that happens.
DET. FIELDING
And what do we do about God's Handyman?
Marsh stops ruffling through the papers on his desk and holds up Wanda's number.
DET. MARSH
Got it! It's the Hand of God, and I don't know. If it wasn't for you, I could be at home playin' with my kids.
DET. FIELDING
You're a damn broken record with those kids. I know, I know. Shit. Vincent will be dead by morning with all this heat on him. Fuckin' schwab.
DET. MARSH
Does that even mean anything?
DET. FIELDING
Huh? I just mean that so many people want him --
DET. MARSH
(interrupting)
No, schwab. What the hell is that?
DET. FIELDING
Schwab? It means he's a umm...schwab. That's what it means. A fuckin' schwab.
Marsh rubs his temples, trying to making the Fielding-caused headache go away.
EXT. CLUB SOLEIL - NIGHT
CLOSE UP on a glowing neon sign that reads:
CLUB SOLEIL
Gabriel passes the security guard, entering the booming club.
INT. CLUB SOLEIL - NIGHT
A large crowd is dancing underneath a various assortment of strobe lights. Gabriel strolls through the crowd as Beyonce's Crazy In Love howls through the loud speakers. He reaches the bar and signals the bartender.
BARTENDER
(thick Australian accent)
What can I get ya?
GABRIEL
(pointing)
Glass of that Pinot'd be great.
The bartender gets his drink as Gabriel scans the room for Vykelti. On stage a petite Asian girl dressed as a schoolgirl sings Beyonce very poorly.
BARTENDER
Here ya are mate.
GABRIEL
Paul Vykelti around?
BARTENDER
Mr. Vykelti is always around. Check near the stage. IRIS is up next, he never misses her. Ever seen her perform?
GABRIEL
Can't say I have.
BARTENDER
Change your life, brother. You're in for a treat, beautiful bloody voice. Mr. Vykelti thinks she's gonna be his ticket into 'Ollywood.
Iris, a beautiful blond in a silky white dress, is on stage. Her look is one straight out of the glamorous 50's. A lone spot light shines brightly on her.
D.J. (O.S.)
Ladies and gentlemen. Please welcome the lovely and beautiful Iris to the stage!
Gabriel catches his first look at Iris. He holds his chest, trying to catch his breath.
BARTENDER
(leaning in close)
She's incredible ain't she mate?
A guitar softly plays in the background. Gabriel watches Iris sway back and forth to the rhythm. He notices Vykelti sitting directly in front of the stage.
IRIS
If you feel alive...
Iris’ voice is beautiful and mesmerizing, almost hypnotic.
IRIS
(cont.)
In a darkened room...
Vykelti laughs rudely at someone at his table, drowning out her singing. Her eyes glare at him just for a moment.
VYKELTI
I gotta’ piss!
Vykelti stands up and heads for the restrooms.
IRIS
Do you know the name?.. Of your solitude....
The guitar gets a little louder as Gabriel watches Vykelti go through the restroom door.
IRIS
(cont.)
If you ain't got the answers...
If you don't know the truth...
If you want the power...
Then let it flow through...
Gabriel heads toward the restrooms, glancing at Iris frequently.
IRIS (O.S.)
(cont.)
Would you let it go?..
INT. CLUB SOLEIL RESTROOMS - MOMENTS LATER
Vykelti has his head in the sink, splashing his face with water.
IRIS (O.S.)
(cont.)
Ooh, ooh, Would you let it go?..
Gabriel silently enters the restroom.
IRIS (O.S.)
(cont.)
Cannot end this mourning...
Vykelti turns off the faucet and rubs his eyes.
IRIS (O.S.)
(cont.)
Of my life...
He raises his head, eyes still closed. The reflection from the mirror shows Gabriel stands behind his prey. Vykelti opens his eyes, jumping slightly.
IRIS (O.S.)
(cont.)
Show me how the Gods kill..
SLAM!
As the guitar reaches it's peak, Gabriel slams Vyketli's face into the mirror. Shattered glass flies is every direction.
IRIS (O.S.)
(cont.)
I can feel the light!
I ain't got no fear!
Gabriel heaves Vykelti into the opposite wall. A gash on his forehead streams blood into his eyes.
IRIS (O.S.)
(cont.)
Do you know the name?
Of the one you seek?
If you want the answers!
If you want the truth!
Gabriel forces Vykelti through the stall door, sticking his bloodied face into the toilet. He pulls a pistol from inside his vest.
IRIS (O.S.)
(cont.)
Look inside your empty soul!
There you'll find the noose!
The tip of the gun presses against the back of Vykelti's head.
PAUL VYKELTI
What the hell are you doing?
Gabriel pulls the hammer back.
IRIS (O.S.)
Would you let it go?
Ooh, ooh, would you let it go?
PAUL VYKELTI
I'm a made man! A made-fuckin' man!
GABRIEL
I’m just going to ask you some questions. You’re going to answer them, and you’re going to answer them quickly. I do not want to have to put a BULLET in your SKULL!
PAUL VYKELTI
Take it easy. Just chill.
GABRIEL
Where's Vincent?
PAUL VYKELTI
I know lots of Vincents. Vincent who?
Gabriel puts Vykelti's head underwater for a few moments. When he pulls it up, Vykelti struggles to breath.
GABRIEL
I'm only going to ask you one more time. Where is Vincent?
PAUL VYKELTI
The Vincent who got popped for killing the Senator? Get in line man. Lots of motherfuckers lookin' for him.
GABRIEL
I'm moving myself to the front of the line.
PAUL VYKELTI
I don't know where he is, I swear.
Gabriel presses the gun to his head with twice the force.
GABRIEL
Do you accept Jesus Christ as your Lord and savior?
PAUL VYKELTI
What?
GABRIEL
Answer me!
PAUL VYKELTI
I don't understand. What do you want me to say?
Gabriel turns Vykelti around, face to face.
GABRIEL
I wish you had more time, I really do. Time to repent your sins and realize how the paths you've chosen have damned you in the worst way possible. Listen to me very carefully. If you do not tell me where Vincent is, I AM going to kill you.
PAUL VYKELTI
Please...
Gabriel points the gun between his eyes. He uses his free hand to shield the inevitable blood from spraying his face.
GABRIEL
Forgive me Father.
PAUL VYKELTI
Alright! Okay! I know how to find him. He's meeting one of DeNucci's guys at a small diner near the beach. Midnight.
Gabriel puts his firearm away and exits the stall.
PAUL VYKELTI
Jesus Christ. You broke my nose, crazy son of a bitch!
Gabriel re-enters the stall and --
POW!
Gabriel's fist connects with Vykelti's face, knocking him out cold. His unconscious body slumps to the floor.
EXT. CLUB SOLEIL - EVENING
Gabriel exits the club. A semi passes by in front of him. As it passes, he sees Iris leaning against the hood of his car.
GABRIEL
Iris, right?
IRIS
Yepp. And you are?
GABRIEL
Gabriel. What you did in there, that was extraordinary.
Iris rolls her eyes modestly.
IRIS
So is Paul okay?
Gabriel looks at his feet, unsure of how to answer that question.
IRIS
(cont.)
Don't worry. I've been waiting for someone to put him in his place for a long time.
GABRIEL
What is a girl like yourself doing in a place like this anyway?
IRIS
(flirtatious)
A girl like me? What does that mean?
Gabriel smiles awkwardly.
IRIS
I would rather not talk about working at this dump right now. Over dinner, maybe.
Gabriel checks his watch, he still has a few hours before midnight.
GABRIEL
I would love to. I'm not sure if Paul would approve.
IRIS
You can protect me, right? We could drink some nice wine, have some good food.
GABRIEL
Follow me?
Iris nods with a grin.
INT. CLUB SOLEIL - VYKELTI'S OFFICE - EVENING
Vykelti sits behind his desk, head tilted back with an ice pack on his nose. He grabs the phone and dials a number.
BOBBY CARLO (O.S.)
Yes?
PAUL VYKELTI
Bobby, it's Paul. A man came to see me tonight. He snuck up behind me and messed me up pretty good. He wanted some information. He was going to kill me, I had to give it to him.
BOBBY CARLO (O.S.)
Who was it? What information did you give him?
PAUL VYKELTI
I don't know who he was. Nicely dressed, well spoken. Kind of a bible thumper, I think. Anyway, I told him about Vincent. Where your guys are meeting him tonight.
BOBBY CARLO (O.S.)
I know exactly who you are talking about. We need to take care of him, fuckin' pest. The Don is going to be disappointed in you Paul.
PAUL VYKELTI
You don't have to tell --
Click. Carlo hangs up on Vykelti. He chucks the phone against the wall in a fit of rage.
PAUL VYKELTI
Fuck!
EXT. GOLD CIRCLE REST - LATER
ESTABLISHING.
INT. GOLD CIRCLE REST - CONTINUOUS
Gabriel and Iris sit across from one another. The lights are dim and paintings line the walls. The restaurant is very clean and elegant.
IRIS
This place has great salmon. Wonderful balsamic sauce.
As Iris speaks, Gabriel stares into her eyes in a trance-like state.
IRIS
(cont.)
What?
GABRIEL
Nothing, sorry. That sounds good.
BEAT.
The waitress breaks the silence as she approaches.
WAITRESS
What can I get for you two?
Gabriel nods at Iris.
GABRIEL
Be my guest.
IRIS
Okay then. We'll have the grilled salmon and a bottle of the Au Bon Climat Pinot Noir, ninety-nine.
The waitress finishes writing and takes their menus.
WAITRESS
Be right back with your wine.
GABRIEL
Impressive. Nice choice on the wine.
IRIS
I wouldn't have guessed you were a wine drinker.
GABRIEL
I wouldn't have guessed it of you either.
IRIS
So you like Au Bon Climat?
GABRIEL
Absolutely. Actually, I used to regularly visit Jim Clenendon for dinners. Used to go to Santa Barbara quite a bit. He's a brilliant winemaker.
IRIS
Wow! That's incredible. I love all of his wines.
The waitress returns and pours the wine. Iris takes a sip and nods to the waitress, acknowledging that it is acceptable.
IRIS
So varietal-wise. Any preference?
GABRIEL
Too many to choose just one. I love a nice Bordeaux or a Syrah. If forced, I'd say it doesn't get much better than a finely-aged Cabernet.
The two clank their glasses together in a toast. Both staring into each others eyes.
IRIS
Spoken like a true Napa-lover. You go there a lot?
GABRIEL
I used to. I sometimes vacation up near there. I would love to move up there someday, maybe invest in my own vineyard.
IRIS
Sounds like a dream come true. So what do your parents do Gabriel?
Gabriel goes quiet, his guard coming up a little bit.
GABRIEL
My parents are dead.
IRIS
I'm sorry.
GABRIEL
It's okay. They died when I was six. I spent most of my childhood in and out of different orphanages.
IRIS
I'm sorry to hear that. Were you adopted?
GABRIEL
No, I left the orphanage when I was thirteen. I lived on the streets for months. But eventually a Priest took me in. Anything I know that I didn't learn on the streets, they were taught to me by him. A very good man.
IRIS
So, are you a priest?
GABRIEL
No, not exactly.
(changing the subject)
Enough about me. Let’s hear your story.
The waiter brings the food to the table, the Salmon still smoking.
IRIS
Typical story from a girl livin' in L.A. Moved here from St. Paul to become an actress. Things didn't work out as you hoped they would when you were young. So I began dancing and eventually ended up at Paul's. Been stuck there ever since. He thinks my singing will break him into the music industry.
GABRIEL
You have an incredible voice, that's for sure.
IRIS
As much as I'd love to hear more wonderful things about myself, I got a question for you. Why was a God-fearing man like yourself at a Mob-owned club like Soleil?
GABRIEL
Well, as you saw, I needed to speak to Mr. Vykelti.
Iris chuckles, coughing as she tries to get a piece of her salmon down.
IRIS
Yeah, I noticed. Though I get the feeling you did more than just “talk”. From what I hear, Paul is a made-man. He won't let this go.
GABRIEL
What's done is done. Subtlety never was my strong suit.
IRIS
Though it will be very vindicating seeing Paul’s face bruised up.
Gabriel sips on his wine, showing a little smile.
EXT. GOLD CIRCLE REST - LATER
Gabriel opens Iris' car door for her. Before getting in she turns and faces Gabriel.
IRIS
I had a great time.
GABRIEL
Me too. Food was great.
They stand in an awkward silence for a few moments.
GABRIEL
You should think about quitting your job. If Paul--
Iris interrupts him in midsentence, pressing her lips to his. After a long kiss, Gabriel backs away.
IRIS
I hope to see you again Gabriel.
She kisses him on the cheek and gets in her car. Gabriel shuts the door and watches her drive off.
EXT. BENNY'S SEAFOOD GRILL - NIGHT
The detectives unmarked Taurus sits outside in the dark parking lot of the Grill.
INT. FORD TAURUS - CONTINUOUS
Marsh checks his watch. 11:54 PM. The two detectives watch Vincent, sitting alone inside the Grill.
DET. MARSH
Vincent's here. DeNucci's guys should be here soon.
A waitress checks on Vincent, pouring him some more coffee. The rest of the Grill is empty.
DET. FIELDING
This is a perfect time. Let's just go inside, get Vincent, and get this whole thing over with.
DET. MARSH
I do not feel like unlawfully killing anyone. Mobster or not. So no, we’ll wait.
Fielding lights a cigarette and blows the smoke out the cracked window.
DET. FIELDING
You don't have to. I'll do it.
DET. MARSH
Listen son. DeNucci's men are coming soon. Chances are they will do the job for us. For you. When they do, we can get in and not only will your problem be fixed, we can get a good arrest as well. May as well turn somethin' good into this entire fuck up.
DET. FIELDING
Finally! You show me why your such a good Detective. That's fuckin' brilliant, Marsh.
Marsh's eyes stay on Vincent and the Grill. A car pulls up right outside the Grill. Two Italian men step out wearing large trench coats. They both enter the restaurant. Still watching from inside the Taurus, Vincent stands and shakes their hands. The three sit and begin speaking.
DET. FIELDING
Are they goin' to whack him or what?
DET. MARSH
Just wait.
One of the men seem to arguing with Vincent, his arms waving in the air fiercely. Vincent looks desperate, trying to talk his way out of the situation. Just then a figure walks right past Fielding's door.
DET. FIELDING
Shit, someone's goin' in there. Did he see us?
Gabriel looks around the vicinity before going inside the Grill.
DET. FIELDING
(cont.)
Let me guess, that’s the guy from the court house?
DET. MARSH
I’ll make a Detective out of you yet. Now get ready to move when I say.
INT. BENNY'S SEAFOOD GRILL - NIGHT
One of the Italian men pulls a gun from his jacket and points it at Vincent's face.
INT. BENNY'S SEAFOOD GRILL - NIGHT
One of the Italian men pulls a gun from his jacket and points it at Vincent's face.
ITALIAN MAN #1
We can't take that chance Vincent. You understand.
DING!
The door bell chimes as Gabriel enters. All three men turn to look at him. The Italian man's gun is now pointing directly at Gabriel. Gabriel puts his hands up with a surprised look on his face.
GABRIEL
Whoa, friend!
ITALIAN MAN #1
I ain’t your fuckin’ friend. I suggest you walk right back out that door.
Gabriel nods and turns to grab the handle. The Italian turns back around to face Vincent. In one quick motion Gabriel draws two pistols from his jacket.
BANG! BANG! BANG!
The bullets hit both Italian men, killing them almost instantly. Gabriel points the gun at the waitress, who doesn't even make a peep.
GABRIEL
Have you called the police yet?
She shakes her head "no".
GABRIEL
You're getting off early tonight. Go home.
The woman stands, staring intently at Gabriel's gun.
GABRIEL
(Cont.)
You like this job that much? Go home!
He points to the door with his gun and she scurries out. Gabriel sits down across from a shocked Vincent. The mobsters lie on the floor in a pool of their own blood.
VINCENT
You saved my life!
GABRIEL
Unfortunately I'm here to kill you Vincent.
Vincent drops his head to his hands.
VINCENT
Are you kidding me?
GABRIEL
I'm afraid I'm not. You do not seem to be very popular as of late.
VINCENT
I didn't kill the Senator. I know why those two men wanted to kill me. At least I thought I did, until you showed up. I know why the cops want to kill me. But I do not have any fuckin' clue why you are here to kill me.
Vincent throws his hands up in the air in resignation.
VINCENT
(cont.)
I'm losing track of who wants to kill me. And why they want to kill me!
GABRIEL
I'm sorry, but I must do this. I don't know whether you killed the Senator or not, but that's not why I'm here.
Vincent nods, almost accepting his fate.
VINCENT
So you're here to shut me up? That's what I figured. Look the things I know, about the Family. About the Carpenter. I will never speak-
GABRIEL
(interrupting)
The Carpenter? What do you know about him?
Vincent stares out the window, not really hearing the question.
GABRIEL
Vincent! What do you know?
Vincent points out the window.
VINCENT
I think those are cops.
Gabriel sees the Detectives coming to the building, guns drawn.
GABRIEL
Let's go!
He grabs Vincent and leads him toward the kitchen. Fielding rushes through the front door and opens fire in their direction. Broken glass rain down behind Gabriel and Vincent as they run through the kitchen.
GABRIEL
Through this door, come on!
VINCENT
I thought you wanted to kill me.
GABRIEL
(raising his pistol)
Don't tempt me.
Vincent ducks his head and runs, not saying another word.
EXT. BACK ALLEY - NIGHT
Gabriel and Vincent sprint down the alley, disappearing into the darkness. The door of the restaurant is kicked open as the Detectives emerge into the alley.
DET. FIELDING
Damn it! Lucky bastards.
INT. STRIP CLUB - NIGHT
Bobby Carlo sits at the bar, smiling at the male bartender. His cell phone buzzes from inside his pocket.
BOBBY CARLO
What is it?
DARIO (O.S.)
Vincent got away. That fuckin' hit man showed up and killed our guys. We don't know where they are. Those two detectives showed up too, but were too late.
BOBBY CARLO
Find him! I want them motherfuckers dead! Fuck it, kill the cops too. I don't want to hear another thing until they are in the dirt. Got it?
DARIO (O.S)
Yes sir.
Carlo slaps his phone shut. A red-headed stripper approaches him and sensually rubs his shoulders.
STRIPPER
Hey baby, want a dance?
Carlo pushes her off and waves her away. He leans forward, looking down the bar. He sees the bartender leaning over getting someone a drink.
INT. FORD TAURUS - NIGHT
The detectives drive down the streets of L.A. searching for signs of Vincent. Marsh drives while Fielding's head is leaned back, eyes closed.
DET. FIELDING
Vincent is one lucky son of a bitch. I can't believe he got away. Again! If we would have went in there when I said, rather than wait, we wouldn't be having this discussion right now. You'd be at home, putting your kids down for a bath or whatever. I'd be celebrating at a strip club, and life would be just peachy. But instead, we are driving around these dead streets like fuckin' beat cops.
Marsh gets tired of listening to Fielding's moaning. He pulls into an empty parking lot and turns off the car.
DET. MARSH
Calm down for God's sake. I can't take anymore bitching right now. Not tonight. You should never have planted a police issued gun in the first place. Period.
BEAT.
DET. MARSH
(Cont.)
Now we need to keep an eye out, we need to find Vincent. Preferably sooner rather than later.
DET. FIELDING
Okay, I fucked up. I panicked. What can I say?
DET. MARSH
I don't want you to SAY anything. I just want you to shut the fuck up for a while. And about you panicking, you should have come to me earlier. Told me what you did. Better yet, you should have told me before you did it.
Fielding laughs, opening his door and stepping out.
DET. FIELDING
I need some fresh air.
EXT. EMPTY PARKING LOT - CONTINUOUS
Fielding lights a cigarette as Marsh gets out. Their conversation takes place over the roof of the car.
DET. FIELDING
I'm not stupid Marsh. If I let you know what I was going to do, you wouldn't have let me do it. Vincent needed off the streets and that's what I was trying to do.
DET. MARSH
Look at me Fielding. I'm going to tell you this one time. I wouldn't have "fixed" the problem. I would have turned your ass in myself.
Cold, untrusting stares come from both sides of the car.
BEAT.
DET. FIELDING
Is that so?
DET. MARSH
That's so. Let's go fix this.
The two detectives get back in the car. It zooms back out onto the streets.
INT. WAREHOUSE - NIGHT
Inside the warehouse, Gabriel pours a glass of red wine. Vincent sits on the floor, handcuffed to a built-in heater on the wall. The warehouse is a nearly empty building. A computer, a bed and a small kitchen.
VINCENT
What is this place? Do you live here?
GABRIEL
No. It's more of a safe house, so to speak. There’s a lot of people looking for you. Nobody knows about this place. In the morning I need to see someone, so until then we just need to sit tight. Get some rest.
Vincent groans, unhappy at the current situation.
VINCENT
Some rest? Shit.
GABRIEL
Okay then, tell me what you know about The Carpenter.
VINCENT
I don't think it would be smart for me to say. The stuff I know is the shit that has gotten me into this mess to begin with.
GABRIEL
I don't think it would smart for you not to say. I am supposed to be burying you right now. You seem like you have some brains. Enough to realize that the reason you're still alive is because I want to know what you know.
VINCENT
Well could I at least have something to drink? A club soda if you got it.
Gabriel goes to his kitchen. The sounds of running water can be heard. He re-emerges and hands Vincent a glass. Vincent takes a sip.
VINCENT
(cont.)
This is...tap water?
GABRIEL
(sarcastically)
Sorry. Now, the Carpenter.
VINCENT
Of course. As you probably already heard from the news, he is believed to be a key player in the Mafia here on the West coast.
GABRIEL
Go on.
VINCENT
Well, he's also a puppet master, if you will, behind many politicians in Washington. He controls some police forces in certain major cities. Some even think he has connections in the U.N. Again, many believe he had something to do with the attempt on Ronald Regan, and the Iraqi war.
GABRIEL
That's insane. You're kidding right?
VINCENT
No, why would I make all that up? Those are rumors, but I've heard them all more than once. I've even heard the Don himself talk about him. Shit, as far as I know, he could have been a figure-head behind the JFK or Martin Luther King murders.
Gabriel walks over to the table and grabs a small gun.
VINCENT
What the hell are you doin'?
Vincent struggles to free himself from the heater.
GABRIEL
Perhaps this was a mistake. You were my MARK. I shouldn't put personal things in the middle of business. Besides, it doesn't look like you are going to much use anyway.
VINCENT
Yes, I can. Don't kill me!
GABRIEL
Rumors are not what I'm looking for.
VINCENT
The reason they want to kill me. It's not information or knowledge. I saw the Carpenter. I saw his face.
Those words stop Gabriel dead in his tracks. He sets the gun down and kneels down to Vincent.
GABRIEL
You have better not be lying to me.
VINCENT
I promise, I don't even know if the Don has ever seen him in person. It was about a month ago. I was with a...friend. We wanted some privacy so we went down to the beach, near the pier.
EXT. SANTA MONICA PIER - ABOUT A MONTH AGO - NIGHT
A black and white FLASHBACK SEQUENCE. The actions occur as Vincent narrates.
VINCENT (V.O.)
We were behind some crates...talking. I heard some voices about fifty feet away.
Vincent kisses a half-naked prostitute. After a few moments the voices are heard and Vincent peeks between the crates. Two men, one of them Senator Garcia, stand near the end of the pier. The Carpenter approaches, his back to Vincent.
VINCENT (V.O.)
They were arguing about something, not exactly sure what it was. After a few minutes, the Carpenter pulled out his gun.
POP!
The Carpenter puts a bullet right into the man next to Senator Garcia.
VINCENT (V.O.)
He killed him right in front of the Senator. After the two talked for a little while, the Carpenter walked away.
As the Carpenter leaves, the camera doesn't get a look at his face.
INT. WAREHOUSE - PRESENT
Gabriel sits in awe. His eyes weary from his lack of sleep.
VINCENT
I'm the only man who can point him out. As long as I'm alive, the Carpenter will be after me.
GABRIEL
I'll keep you alive. I have to find him.
Gabriel's cell phone rings, startling Vincent. The display says: IRIS
GABRIEL
(to Vincent)
Try to get some rest, I've gotta take this.
Gabriel exits the warehouse.
EXT. WAREHOUSE - NIGHT
Gabriel checks his surroundings and answers the phone.
GABRIEL
This is Gabriel.
IRIS (O.S.)
Gabriel, this is Iris. I'm sorry to call you so late. Paul had guys at my apartment. I didn't know what else to do, I'm scared Gabriel.
GABRIEL
Where are you?
IRIS (O.S.)
Two blocks from my house. A small theater.
GABRIEL
I'll be there in ten. Don't go anywhere.
IRIS (O.S.)
Thanks, please hurry.
GABRIEL
It's gonna’ be okay.
Gabriel slaps his phone shut.
INT. WAREHOUSE - CONTINUOUS
Vincent is passed out and snoring. Gabriel grabs his pistol and jacket then leaves, locking the door.
EXT. THEATER - EARLY MORNING
Gabriel's black Skyline pulls in front of the theater. Iris, dressed in the same clothes as before, gets in the car.
INT. SKYLINE - CONTINUOUS
Iris' hair is a little wild, she looks very shaken up. Gabriel pulls back out into the road.
IRIS
Thanks Gabe. The entire apartment was trashed, I didn't know what to do.
Gabriel reaches over and gently rubs her back.
GABRIEL
You did the right thing. You're going to be alright, I promise.
Iris smiles, love gleaming in her eyes.
GABRIEL
(cont.)
I got a place we can go, you can hide out for a while. Just until things settle down.
Iris bends over and softly kisses Gabriel's cheek. He turns and smiles and locks his hand with hers.
EXT. SMALL BRICK HOUSE - EARLY MORNING
A door opens revealing Father Keaton, half-asleep. He smiles at Gabriel.
FATHER KEATON
Gabe, hello. What a pleasant surprise.
The two embrace.
GABRIEL
I'm sorry Father. Just in a little trouble.
FATHER KEATON
Not at all Gabe. Please, come in.
(gestures toward the door)
And introduce me to this beautiful young lady.
GABRIEL
Father, this is Iris.
Keaton kisses Iris' hand.
FATHER KEATON
Please, I hope you won't be as formal as Gabriel. Call me James.
IRIS
It's great to meet you James, Gabriel’s told me a lot about you.
FATHER KEATON
Not all bad, I hope. Please, come in.
They enter and the door closes. A car slowly drives by outside the house. It stops a few houses down and turns off it's lights.
INT. SMALL BRICK HOUSE - EARLY MORNING
The three sit around a small coffee table. Keaton pours them each some tea. A fire burns a few feet away in the fire pit.
GABRIEL
I assume Sandi’s working?
FATHER KEATON
Of course. She spends sixteen hours a day there.
IRIS
She a doctor?
FATHER KEATON
Yes, if only all doctors had as much dedication as her. I know I've had some lazy ones.
GABRIEL
I'm sure she'll make a great surgeon someday. Thanks for helping us Father, just fell into a little trouble.
FATHER KEATON
Always here, Gabe. Stay as long as you need. Both of you. I can definitely use the company.
BEAT.
IRIS
Could I use the restroom?
FATHER KEATON
Of course dear. Second door on the left.
Iris leaves the room as Keaton pours more tea.
FATHER KEATON
Have you found Vincent yet?
Gabriel takes his time answering the question.
GABRIEL
Not yet, I will. Would you mind staying here with Iris? I just --
Keaton waves his hand in the air.
FATHER KEATON
No need to explain. Spending time with a beautiful lady? How can I turn that down?
(pause)
You like her don't you Gabriel?
GABRIEL
I don't know what it is. I can't get her outta’ my head.
Keaton softly laughs. His voice almost a whisper, he leans in close to Gabriel.
FATHER KEATON
I know exactly what it is. The most wonderful feeling God has ever granted us. Love, Gabriel.
Gabriel looks down, slightly embarrassed. Iris re-enters the room.
IRIS
It's never good to come back into a quiet room.
Gabriel stands up and faces her.
GABRIEL
I have to be somewhere. James is a good man, good company.
IRIS
Don't worry about me. I think we will get along just fine. I've got tons of interesting questions about you to ask him.
She grins deviantly at Gabriel.
GABRIEL
Nothing bad Father.
FATHER KEATON
Depends on the questions really. Can't guarantee anything.
GABRIEL
Thanks again Father. I'll be back soon.
Gabriel exits through the front door. Father Keaton stands up and walks toward the back hallway.
FATHER KEATON
Let me grab the old photo album, you have got to see Gabe when he was in high school.
She anxiously smiles.
INT. CONVENIENCE STORE - EARLY MORNING
Gabriel is at the cashier. He pays him and exits carrying a paper bag filled with food.
EXT. CONVENIENCE STORE PARKING LOT - CONTINUOUS
Gabriel walks toward his car as the Detectives approach him. Gabriel reaches the car and sees them coming in the reflection of his window.
DET. FIELDING
Gabriel is it?
Gabriel spins around to face the two Detectives.
DET. MARSH
Yeah, we know your name. We also know what you do for a living Gabriel.
GABRIEL
What exactly do I do, Detective Henry Marsh?
Henry stammers for a moment, surprised at Gabriel's response.
GABRIEL
(cont.)
I know some things too. I know you're not here to arrest me. So, what can I do you for?
DET. MARSH
We want to know where Vincent is?
DET. FIELDING
Unless you've already killed him. Beat his head in with your bible?
Gabriel stares coldly at Fielding. After a few moments, his demeanor changes to a playful smile.
GABRIEL
I don't know what you’re talking about. I'm sorry I can't be of more help.
DET. MARSH
Gabriel, we can do this the hard way or we can do this the HARD way.
GABRIEL
Those are my options?
Fielding lurches forward, his fist barreling into Gabriel's jaw. Gabriel's head snaps sideways and blood streams from his lip.
GABRIEL
(cont.)
Which way was that, I'm a little confused.
Fielding again strikes him in the face. Gabriel's head snaps again. He spits some blood down at the Detective's feet.
GABRIEL
(cont.)
We done here? I'm kind of in a hurry.
Fielding throws a third swing, but it's intercepted by Gabriel's hand.
GABRIEL
(cont.)
This is getting old. Don’t do that again.
Fielding's jaw is clenched as Gabriel squeezes his wrist. After a few moments, he releases his grip.
DET. MARSH
Yeah, that's all.
(to Fielding)
Let's go.
Marsh turns his back and walks off. Gabriel smiles at Fielding before he joins Marsh. Gabriel gets in his Skyline and leaves the lot.
INT. FORD TAURUS - EARLY MORNING
Fielding sits in the passenger seat, holding his wrist.
DET. FIELDING
We need to follow him.
DET. MARSH
Shut up. I told you to keep your mouth shut. I told you to let me handle it. We'll catch up to him later. I suggest we both go home and get some rest; otherwise we’ll be no use at all.
Fielding, obviously pissed, obliges.
DET. FIELDING
Drop me off?
Marsh nods and they speed off.
INT. SKYLINE - EARLY MORNING
Gabriel cruises down Sunset Boulevard. Prostitutes line the sidewalks. Some break dancers are crowded on one of the corners. Gabriel takes a long breath, his face weary and tired. He checks his bloodied lip in the rearview mirror. He wipes it on his sleeve, which is already blood-stained for earlier in the day.
INT. WAREHOUSE - EARLY MORNING
Vincent is playing solitaire on the floor when Gabriel enters. Vincent throws the deck of cards in Gabriel's direction.
VINCENT
Son of a bitch! Take these fuckin' handcuffs off now! Leavin' me here alone and shit.
GABRIEL
Relax, I just had to take care of something. Besides I brought you some food.
Gabriel reaches inside the bag and pulls out Doritos and other snacks.
VINCENT
Well, that's a little better. Still, you don't leave a man hand-cuffed to a fuckin' heater in an empty warehouse. Somethin' wrong with that.
GABRIEL
Considering my original intentions with you, I'd say you're pretty lucky.
Vincent concedes the argument.
