Post by blaggers on Aug 13, 2008 10:20:24 GMT -5
Clocks
Episode #6: Lyons And Lambs
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CLOCKS
Episode 1x06
“Lyons and Lambs”
***The Following Episode comes to us as a FLASHBACK***
TEASER
Episode 1x06
“Lyons and Lambs”
***The Following Episode comes to us as a FLASHBACK***
TEASER
INT. CONVENIENCE STORE – DAY
CLOSE on the television screen as it displays a still image of the Mayan Calendar. It is a news report.
NEWS REPORTER (V.O.)
With less than three months until the supposed cataclysmic event predicted to happen on December 21st, scholars and historians are still split down the middle on the relevance of the predictions.
With less than three months until the supposed cataclysmic event predicted to happen on December 21st, scholars and historians are still split down the middle on the relevance of the predictions.
The news report fades out as we PAN OUT to see Tommy Lyons standing at the counter. He looks nervous and somewhat frightened.
TOMMY
Could I, umm...could I get a pack of Carnivals?
Could I, umm...could I get a pack of Carnivals?
The unfriendly cashier grabs a pack from beneath the counter and exchanges it for the cash in Tommy’s hand. Tommy exits the store.
EXT. CONVENIENCE STORE - CONTINUOUS
As Tommy walks toward his green SUV he notices the familiar black Sedan with the tinted windows. Abaddon’s men.
BEAT.
Tommy looks away as he gets into his SUV.
EXT. SMALL HOUSE – DAY
Tommy walks up the pathway to a small white house. The sprinklers are going on each side, narrowly missing Tommy as he walks up the cement path to the front door.
Outside the front door Tommy stops for a moment. He closes his eyes and takes a long breath before KNOCKING.
BEAT.
The door opens and a familiar looking man answers. His name is TERRY HAAS. He smiles and gives Tommy an awkward and friendly hug.
TERRY
Tommy Lyons! What the hell are you doin’ here?
TOMMY
Just came to see how you were doin’.
He stands back, gesturing for Tommy to enter.
TERRY
Hell man, come on in!
Tommy follows him in. As he shuts the door he takes one last look around to see if anyone is watching.
INT. TERRY’S HOME – CONTINUOUS
Tommy takes a seat on a black leather love seat. Terry stands in the doorway.
TERRY
You want a beer?
TOMMY
Yeah, sure. Sounds good.
You want a beer?
TOMMY
Yeah, sure. Sounds good.
He goes to the kitchen.
Tommy looks around the living room. There are a few pictures scattered about. One, on the fireplace, is of Terry and a red-headed woman. They are smiling happily.
Terry enters the room and hands him a bottle of Coors.
TOMMY
(pointing at the picture)
Your wife?
TERRY
No, no. That’s my sister. No wife, no kids. That I know of.
(pointing at the picture)
Your wife?
TERRY
No, no. That’s my sister. No wife, no kids. That I know of.
Tommy laughs. He seems strangely happy about his lack of family.
TERRY (cont.)
What about you? Any family?
TOMMY
I have a girl. Gettin’ married soon.
TERRY
Same one? The sexy Russian gal’?
What about you? Any family?
TOMMY
I have a girl. Gettin’ married soon.
TERRY
Same one? The sexy Russian gal’?
Tommy nods, his eyes seemingly filled with sadness.
TERRY (cont.)
I remember you talkin’ about her in Iran.
TOMMY
How’ve you been, since the war?
I remember you talkin’ about her in Iran.
TOMMY
How’ve you been, since the war?
Terry shrugs.
TERRY
About as good as I can be, I suppose. I think about it every day. The four of us, holed up in that schoolhouse. Have you seen Seth or Paul lately?
TOMMY
I talk to Seth on occasion. He’s opening up his own shop next week.
TERRY
Clocks?
About as good as I can be, I suppose. I think about it every day. The four of us, holed up in that schoolhouse. Have you seen Seth or Paul lately?
TOMMY
I talk to Seth on occasion. He’s opening up his own shop next week.
TERRY
Clocks?
Tommy nods.
TERRY (cont.)
Wow, can’t believe he’s actually gonna’ do it. Good for him. What about Paul?
Wow, can’t believe he’s actually gonna’ do it. Good for him. What about Paul?
BEAT. Tommy thinks about his next words carefully.
TOMMY
I think I’m gonna’ go see him next.
TERRY
Well, tell him I said hi.
TOMMY
Of course.
I think I’m gonna’ go see him next.
TERRY
Well, tell him I said hi.
TOMMY
Of course.
Tommy stands up, beads of sweat rolling down his forehead.
TOMMY (cont.)
I’m sorry.
I’m sorry.
Terry smirks and displays a look of confusion.
TERRY
Sorry? Sorry for what?
Sorry? Sorry for what?
In one swift motion Tommy pulls out a 9MM Beretta and quickly puts two bullets into Terry’s chest.
Terry’s white T-shirt soon turns a dark red color. He struggles to breath for a few moments, staring at Tommy strangely. Eventually he gives in and his body goes limp.
Tommy sadly stares at his lifeless body for a brief amount of time before turning and exiting the house.
EXT. TERRY’S HOME – DAY
Tommy walks down the same cement pathway. The sprinklers are now turned off.
END OF TEASER
ACT ONE
ACT ONE
INT. TOMMY’S CONDO – NIGHT
The bedroom inside Tommy’s condo is dark, tinted with a strange blue glow from the moonlight seeping in through the windows.
He tosses and turns lightly, seemingly petrified of something.
START DREAM SEQUENCE
Inside Tommy’s head are visions of his time in Iran.
--The Humvee riding into a small village before being attacked by insurgents with assault rifles.
--Inside the small school building, talking to the kids and the Teacher.
--Tommy and Seth’s conversation from “The Heart of War” as they sit outside in the black night.
--The Tanks cannon slowly turning, a loud mechanical noise coming from it. It stops, staring directly at the school. BOOM! A shell ejects and annihilates the school and everyone in it.
END DREAM SEQUENCE
Tommy shoots up into a sitting position. His head pours sweat and his eyes are swollen and red. He looks like a complete mess.
INT. CLOCK REPAIR SHOP – DAY
Seth walks through the empty building carrying a large brown box. The shop is still in the works and has yet to be opened. A few random stands are setup displaying watches and an assortment of clocks, but there is still a lot of work to be done.
Frank appears from the back, also carrying a box. He looks nervous and not quite as comfortable around Seth seen previously.
SETH
Hey Frank, come here I wanna’ show you somethin’.
Hey Frank, come here I wanna’ show you somethin’.
Frank quickly comes to his side. Seth sits staring at a strange looking wooden clock. It appears to be very old.
FRANK
Yes, Mr. Prescott?
Yes, Mr. Prescott?
Seth chuckles to himself.
SETH
Please, I’ll call you Frank and you call me Seth.
Please, I’ll call you Frank and you call me Seth.
He nods, smiling a bit.
SETH
Do you know what this is?
FRANK
A clock?
SETH
(grinning)
Now I know why I hired you. No seriously, do you know what kind of clock?
Do you know what this is?
FRANK
A clock?
SETH
(grinning)
Now I know why I hired you. No seriously, do you know what kind of clock?
He shakes his head “no”.
SETH
This is a Skeleton Clock. A very, very old Skeleton Clock.
This is a Skeleton Clock. A very, very old Skeleton Clock.
He nods, listening to Seth.
FRANK
Why do they call it a Skeleton Clock?
SETH
You notice how there is no panel, front or back? No layer separating, well, us from the inside of the clock?
FRANK
Yeah.
SETH
That’s why. There is no protective shield. You can see it’s “guts”, so to speak, at all times. It has nothing to hide.
FRANK
Interesting...
Why do they call it a Skeleton Clock?
SETH
You notice how there is no panel, front or back? No layer separating, well, us from the inside of the clock?
FRANK
Yeah.
SETH
That’s why. There is no protective shield. You can see it’s “guts”, so to speak, at all times. It has nothing to hide.
FRANK
Interesting...
Though Frank is trying his best to look interested, he does look a little lost. Seth notices and smiles.
SETH
There’s another thing that makes this clock special. It will tell you the time of anywhere in the world.
FRANK
No kiddin’? What time is it in London?
There’s another thing that makes this clock special. It will tell you the time of anywhere in the world.
FRANK
No kiddin’? What time is it in London?
Seth looks at the face of the clock, it reads: 9:07 A.M.
SETH
Well if it’s nine-o-seven here, London is, what, six hours ahead?
Well if it’s nine-o-seven here, London is, what, six hours ahead?
Seth uses the dial on the back of the clock and moves it six hours ahead.
SETH (cont.)
That would make it three-o-seven.
FRANK
(flatly)
Ha, funny.
That would make it three-o-seven.
FRANK
(flatly)
Ha, funny.
Seth smirks as he goes back to unloading boxes. As he reaches into a box he notices Tommy at the window. Seth nods to him and smiles, heading for the door.
He opens the door to let Tommy in.
SETH
Sorry, Sir. We’re not open for business yet.
Sorry, Sir. We’re not open for business yet.
They embrace in a friendly hug, Tommy is all business.
TOMMY
I’m sorry to come here, I’m sure you are busy.
SETH
Hey, I’m always glad to see ya’. What’s up?
TOMMY
I’m in some trouble. Pretty deep. Can we talk?
SETH
Sure.
I’m sorry to come here, I’m sure you are busy.
SETH
Hey, I’m always glad to see ya’. What’s up?
TOMMY
I’m in some trouble. Pretty deep. Can we talk?
SETH
Sure.
Tommy glances over and sees Frank, who is still setting up the shop.
TOMMY
Not here. Can I come by your place tomorrow?
Not here. Can I come by your place tomorrow?
Seth nods.
SETH
We can go somewhere, this sounds important.
Tommy shakes his head feverishly.
TOMMY
No, no. It can wait. I’ll see you later, okay?
SETH
Okay. Be careful.
No, no. It can wait. I’ll see you later, okay?
SETH
Okay. Be careful.
Tommy exits the shop. Seth watches him sternly, aware that something’s up.
EXT. CLOCK REPAIR SHOP – DAY
Tommy quickly walks down the sidewalk. He pulls out his cell and dials a number. As it rings he crosses the street.
SCREEECH! A car hits the brakes, stopping just before SLAMMING right into Tommy. Tommy looks at the car’s occupants and hurries out of the way of danger.
Inside the car we see Doug and Rose, both looking remotely startled.
INT. CAR – DAY
Doug sits behind the wheel and Rose sits next to him. Their hearts race from their near accident.
DOUG
Stupid people. You know what would have happened if I had hit him?
Stupid people. You know what would have happened if I had hit him?
Rose doesn’t respond.
DOUG (cont.)
I’d be goin’ to prison. Our justice system would put ME away because this guy never learned to look both ways before crossing a damn street.
ROSE
Just drive, Douglas.
I’d be goin’ to prison. Our justice system would put ME away because this guy never learned to look both ways before crossing a damn street.
ROSE
Just drive, Douglas.
EXT. CLOCK REPAIR SHOP – DAY
The car passes and we follow Tommy again. He has finally reached the person on the phone, but all we hear is his voice.
TOMMY
Is everything okay?
Is everything okay?
He slows down as he talks, putting a hand to one ear.
TOMMY (cont.)
You haven’t seen any strange people around? Good. Listen to me very carefully. I want you to stay inside, no matter what. Do not try to come back here. Not for a while.
You haven’t seen any strange people around? Good. Listen to me very carefully. I want you to stay inside, no matter what. Do not try to come back here. Not for a while.
BEAT.
TOMMY (cont.)
I know, it’s just not safe yet. I love you too. Everything will be okay, I promise.
I know, it’s just not safe yet. I love you too. Everything will be okay, I promise.
Tommy is now at his SUV, unlocking the door.
TOMMY (cont.)
Soon, I promise. Bye.
Soon, I promise. Bye.
He flips the phone shut and gets in the vehicle.
INT. SMALL RESTAURANT – EVENING
Tommy sits across the table from a man who has not yet been revealed. He looks impatient and angry as he tosses a brown folder across to the man.
TOMMY
It’s done.
It’s done.
The man takes the folder and slips it underneath the table into a briefcase.
PAN UP to see him smiling, it’s Abaddon’s man in black. The one who later harasses Seth and kidnaps Rose.
MAN #1
Good.
Good.
He pulls out a similar brown folder and rests it on the table. Tommy eyes it reluctantly.
MAN #1
Just a little more and you’re home free.
Just a little more and you’re home free.
TOMMY
You’re disgusting.
You’re disgusting.
He chuckles softly and arrogantly.
MAN #1
So I hear.
So I hear.
He pushes the folder over to Tommy. He looks inside and frowns painfully.
MAN #1 (cont.)
What’s the matter Mr. Lyons? You can’t back out now. Need I remind you what exactly is at stake here?
What’s the matter Mr. Lyons? You can’t back out now. Need I remind you what exactly is at stake here?
Tommy’s response is a glare of disdain toward the man who in return looks quite pleased with himself.
MAN #1
I didn’t think so. Take care of this one tonight and I’ll meet you back here, tomorrow morning. We can discuss the next “target”.
TOMMY
(angry and loud)
I know who the next target is!
I didn’t think so. Take care of this one tonight and I’ll meet you back here, tomorrow morning. We can discuss the next “target”.
TOMMY
(angry and loud)
I know who the next target is!
The man casually glances around the room embarrassed and annoyed by Tommy’s outburst.
MAN #1
No, I don’t think you do.
TOMMY
There was only four of us in that school house. Me, Seth, Terry and Paul. After tonight, Seth will be the only one left.
No, I don’t think you do.
TOMMY
There was only four of us in that school house. Me, Seth, Terry and Paul. After tonight, Seth will be the only one left.
He looks at Tommy deviously, savoring the moment.
MAN #1
You are mistaken, Mr. Lyons. There is someone else. Mr. Prescott will come soon enough, but there is one more we must take care of first.
You are mistaken, Mr. Lyons. There is someone else. Mr. Prescott will come soon enough, but there is one more we must take care of first.
BEAT.
After staring down the man, Tommy gets up angrily and storms out of the restaurant, taking the folder with him.
The man leans back, sipping his glass of water.
INT. CLOCK REPAIR SHOP – EVENING
Seth finishes unloading the last box. The store is almost ready to be opened. He looks around at the displays and smiles to himself, proud of his accomplishment.
Frank enters from the backroom looking exhausted.
FRANK
So how long ‘till we open, ya’ think?
SETH
Oh, I’d say another week we should be ready.
FRANK
Sounds great.
So how long ‘till we open, ya’ think?
SETH
Oh, I’d say another week we should be ready.
FRANK
Sounds great.
Awkward silence as Frank puts on his blazer.
FRANK
So, um, Seth. Who was that guy who came here earlier? He looked pretty freaked out.
SETH
His name’s Tommy. Tommy Lyons. An old friend from the war.
FRANK
The war?
SETH
In Iran.
So, um, Seth. Who was that guy who came here earlier? He looked pretty freaked out.
SETH
His name’s Tommy. Tommy Lyons. An old friend from the war.
FRANK
The war?
SETH
In Iran.
Frank looks genuinely surprised.
FRANK
I didn’t know you fought in the war.
SETH
I don’t like to talk about it much.
I didn’t know you fought in the war.
SETH
I don’t like to talk about it much.
Frank nods, understanding.
FRANK
Sorry for being nosy. I just got a weird vibe from him. You trust him?
Sorry for being nosy. I just got a weird vibe from him. You trust him?
Seth answers without hesitation and with zero doubt in his mind.
SETH
With my life.
FRANK
Works for me then. Well I’ll see ya’ later Seth.
With my life.
FRANK
Works for me then. Well I’ll see ya’ later Seth.
Seth waves as Frank exits. He takes a deep breath, also troubled by Tommy’s erratic behavior.
EXT. HOUSE – NIGHT
Tommy creeps up the lawn of another rural urban home. It is a dark, moonless night. Everything is calm and still.
He goes to the side of the house and peeks through a window. Inside is a dark study filled with books and a computer.
He goes farther to the back gate and quietly unlocks it, entering the backyard. He looks scared and very on-edge. He walks up the wooden patio steps to the backdoor. It is a typical patio door, with small square windows making up the top half.
As quickly as he can he shoves his elbow through one of the squares. The glass shatters and spills onto the floor. He reaches through and unlocks the door.
INT. HOUSE – NIGHT
The house is quiet and empty. Tommy walks from the kitchen toward the front door, where the staircase is located.
Once at the stairs, Tommy hesitantly walks up them slowly. After three, a light turns on at the top of the stairs. PAUL ANTHONY stands at the top holding a double barrel shotgun. It is pointed directly at Tommy.
BOOM! He fires, narrowly missing Tommy as he dives over the railing and lands hard on the wooden floor below. Tommy swiftly gets to his feet and runs for the backdoor.
Paul turns the corner at the staircase and –
BOOM! He fires again just as Tommy rounds a corner, clipping his arm. Paul stands still, listening.
PAUL
Look I don’t know who you are or why you’re in my house...
Look I don’t know who you are or why you’re in my house...
Tommy leans against the wall, clutching at his bloodied arm in pain.
PAUL
But you picked the wrong house, my friend. I will not hesitate to kill you where you stand.
But you picked the wrong house, my friend. I will not hesitate to kill you where you stand.
Paul is now creeping his way toward the corner, pointing his shotgun ahead ready to fire at any moment. As he gets to the corner, he aims quickly but is TACKLED by Tommy.
The shotgun flies out of his hands and across the room. A scuffle ensues as the two roll around trying to get position in the dark room.
Finally Tommy ends up on top, both of his hands gripping Paul’s neck as he chokes him relentlessly.
BEAT.
Paul manages to get one arm out and PUNCHES Tommy hard in the jaw, sending him crashing to the floor next to him. Paul holds his throat, desperately trying to find air.
Tommy quickly crawls over to his pistol and points it at Paul, but now Paul is TACKLING him. As they fall the pistol FIRES.
Complete silence. Paul falls to one side, holding his belly. His white shirt is quickly consumed by dark red blood. His eyes are filled with hopelessness. He gets his first look at Tommy’s face as it is lit up perfectly through the window blinds.
PAUL
Tommy?!?
Tommy?!?
Tommy looks torn as his eyes well up dramatically. He lifts the pistol, pointing directly at Paul’s head.
TOMMY
I’m sorry...
I’m sorry...
BOOM!
END OF ACT ONE
ACT TWO
ACT TWO
INT. RESTAURANT – DAY
The next morning Tommy sits across from Man #1 as he did the morning before. The man takes a drink from his glass and nods to Tommy’s bandaged arm.
MAN #1
I see you ran into some problems.
I see you ran into some problems.
Tommy doesn’t answer. He just stares angrily at the man. He pulls out another brown folder and carefully places it on the table.
MAN #1
Your next target.
Your next target.
He slides it over into Tommy’s reach.
BEAT.
Tommy reluctantly opens it. His mouth parts slightly as he looks at the folder in a state of shock.
TOMMY
You can’t be serious.
MAN #1
I’m afraid so, Mr. Lyons. Is there a problem?
You can’t be serious.
MAN #1
I’m afraid so, Mr. Lyons. Is there a problem?
Tommy takes a long deep breath before erupting in anger.
TOMMY
I am not killing a little girl!
MAN #1
Please, Mr. Lyons, keep it down.
TOMMY
You keep it down! I’m not doin’ it.
MAN #1
No?
I am not killing a little girl!
MAN #1
Please, Mr. Lyons, keep it down.
TOMMY
You keep it down! I’m not doin’ it.
MAN #1
No?
The folder contains a picture and some notes including a street address. It is Natalia, the young girl who Seth saved at the school house.
TOMMY
Absolutely not! She’s ten years old! You are insane. I’m done with this.
Absolutely not! She’s ten years old! You are insane. I’m done with this.
Tommy tosses the folder down and slides back in his chair, beginning to leave.
MAN #1
Go ahead, walk out now. But know that this girl dies either way. If you don’t do it, we’ll have it done another way.
Go ahead, walk out now. But know that this girl dies either way. If you don’t do it, we’ll have it done another way.
Tommy stops and listens.
MAN #1
But IF you don’t do it, not only does she die anyway...but so does your Russian bride. It’s up to you, Mr. Lyons. Either little Natalia dies or they both die.
But IF you don’t do it, not only does she die anyway...but so does your Russian bride. It’s up to you, Mr. Lyons. Either little Natalia dies or they both die.
Another long BEAT.
Finally Tommy sighs and grabs the folder. He marches out of the restaurant in a fit of rage.
EXT. RESTAURANT – DAY
As Tommy stomps away from the restaurant, file in hand, he passes a black Town Car. RON LUTHER sits in the drivers seat. They both exchange a glance as he walks by.
INT. PAWN SHOP – DAY
An old man sits behind the counter of a rundown pawn shop in a bad part of town. He reads an old issue of Penthouse Magazine.
After a few moments the door opens with a DING and Tommy enters looking very flushed. He walks straight to the counter, not missing a beat.
TOMMY
I need bullets. 9MM.
I need bullets. 9MM.
The man eyes him suspiciously.
BEAT.
He stands up and heads over to the gun cabinet.
As Tommy waits he suddenly becomes stricken with brief flashes, similar to the ones in his dream.
--The tanks rolling into the small village in Iran.
--The explosion of the school house, terrible screams emanating from it.
--The sight of Charles Abaddon as he steps out of the tank.
The clerk returns and startles Tommy, who is now sweating profusely.
CLERK
That’ll be twelve ninety-nine.
That’ll be twelve ninety-nine.
Tommy sets down a twenty and grabs the bullets. He rushes out of the store in a hurry.
CLERK
Sir, your change! You forgot your...
Sir, your change! You forgot your...
DING! Tommy is already out of the door. In a panicked exit he runs into a man entering the shop.
It’s ROY WALKER.
ROY
(politely)
Whoa, son. Are you alright?
TOMMY
Sorry.
(politely)
Whoa, son. Are you alright?
TOMMY
Sorry.
Tommy quickly rushes off as Roy shrugs and enters the shop.
EXT. HOUSE – DAY
Tommy approaches yet another house in a N.Y. suburb. It is the ideal family house, white picket fence and everything.
He KNOCKS on the door. A distinguished man, possibly a school teacher, answers.
MR. SHANE
Hi, may I help you?
Hi, may I help you?
Tommy looks rattled as he tries to muster up the courage to speak.
TOMMY
Yes, sir. I um..I was wondering if I could come in and speak with Natalia?
Yes, sir. I um..I was wondering if I could come in and speak with Natalia?
The man looks at him suspiciously.
MR. SHANE
What is this concerning?
TOMMY
My name is Tommy Lyons. I was in the war, with Seth. I was one of the four soldiers at the school house with your...daughter.
What is this concerning?
TOMMY
My name is Tommy Lyons. I was in the war, with Seth. I was one of the four soldiers at the school house with your...daughter.
He now smiles brightly, welcoming.
MR. SHANE
Oh, of course Mr. Lyons. My apologies for not recognizing you. It’s been quite some time. Please come in.
Oh, of course Mr. Lyons. My apologies for not recognizing you. It’s been quite some time. Please come in.
Tommy follows him inside.
INT. HOUSE – DAY
Now inside Tommy sits on a black leather couch, Mr. Shane sitting at his side.
His wife enters, carrying a tray topped with glasses of fresh tea.
MRS. SHANE
Mr. Lyons, it’s so very nice to see you. Natalia, well all of us really, are forever in you and Mr. Prescott’s debt. Was a very brave thing you guys did.
Mr. Lyons, it’s so very nice to see you. Natalia, well all of us really, are forever in you and Mr. Prescott’s debt. Was a very brave thing you guys did.
Tommy smiles nervously, his hand feeling around his waist. Touching his gun. The sweat is now raining down his forehead, rather noticeably.
MR. SHANE
She’s upstairs, putting away her school work. She’ll be down shortly.
She’s upstairs, putting away her school work. She’ll be down shortly.
Tommy looks at the side table. On it is a framed portrait of Natalia. Her dark hair tied back in pigtails as she smiles brightly for the camera.
MR. SHANE (cont.)
Just had that done last week. She seems to be a natural behind the camera.
TOMMY
I...I see.
Just had that done last week. She seems to be a natural behind the camera.
TOMMY
I...I see.
There is rustling coming from just up the stairs.
BEAT.
MR. SHANE
Ahh, here she comes…
Ahh, here she comes…
Tommy cranes his neck around to see Natalia descending the staircase. She is dressed in a nice private school outfit with a big grin spread across her face.
CLOSE on Tommy as he struggles to keep his cool.
CUT TO:
EXT. HOUSE – MOMENTS LATER
Tommy now rushes out of the house, drenched in sweat. He quickly walks to his car.
Behind him in the window stands Natalia, looking quite confused as she watches him scurry away. Her parents appear by her side as they watch him as well.
INT. SETH’S APARTMENT – EVENING
Seth sits inside his apartment playing with Friend and Foe.
There is a KNOCK at the door.
Seth answers it to reveal –
Tommy standing outside, his face full of desperation.
SETH
You okay?
You okay?
Tommy passes in frustration, entering the apartment.
TOMMY
I’m far from okay! Damn it!
SETH
I thought so. What the hell is going on?
I’m far from okay! Damn it!
SETH
I thought so. What the hell is going on?
Tommy reaches into his fridge and grabs a beer.
TOMMY
I need to tell you something, Seth.
SETH
Okay. So tell me.
I need to tell you something, Seth.
SETH
Okay. So tell me.
They both take a seat at the nook in the kitchen. Tommy looks absolutely dreadful.
TOMMY
I..I’m not sure how.
SETH
Tom, how long have we been friends? The things we’ve been through, you know you can tell me anything. What kind of trouble are you into?
I..I’m not sure how.
SETH
Tom, how long have we been friends? The things we’ve been through, you know you can tell me anything. What kind of trouble are you into?
Tommy hesitates, his eyes welling up.
TOMMY
A couple of months ago some of Abaddon’s men approached me. They threatened me, blackmailed me.
SETH
Threatened you how? Why didn’t you tell me sooner?
TOMMY
I didn’t know what to do! They got me by the balls. It’s Eva, They are going to kill her.
SETH
Unless?
A couple of months ago some of Abaddon’s men approached me. They threatened me, blackmailed me.
SETH
Threatened you how? Why didn’t you tell me sooner?
TOMMY
I didn’t know what to do! They got me by the balls. It’s Eva, They are going to kill her.
SETH
Unless?
Tommy rubs his forehead, his tortured mind trying to find the courage to confess.
TOMMY
Unless I killed people. Killed people for them.
SETH
What?!? Please, Tommy, tell me you didn’t.
Unless I killed people. Killed people for them.
SETH
What?!? Please, Tommy, tell me you didn’t.
Tommy non response gives it away.
SETH
Who, Tommy? Who do they want you to kill?
TOMMY
Everyone who was there the day Abaddon murdered those children. Paul, Terry, you...and Natalia.
Who, Tommy? Who do they want you to kill?
TOMMY
Everyone who was there the day Abaddon murdered those children. Paul, Terry, you...and Natalia.
Seth’s eyes widen.
SETH
Jesus Christ, Tommy! Did you kill any of them?
Jesus Christ, Tommy! Did you kill any of them?
He thinks long and hard.
TOMMY
No. They’re going to kill her, Seth. I need help.
No. They’re going to kill her, Seth. I need help.
Seth pauses and thinks.
SETH
Well, you should have came to me sooner. I’ll always help you. Thank God you didn’t go through with any of this!
Well, you should have came to me sooner. I’ll always help you. Thank God you didn’t go through with any of this!
Tommy smiles slightly, shamefully.
BEAT.
Tommy pulls Seth’s brown file from his jacket. He hands it to him.
TOMMY (cont.)
This is what they gave me. They gave me one for all of you.
SETH
You have one of these for all of them?
TOMMY
Of course.
SETH
Let me see them. I might know a way to get out of this.
END OF ACT TWO
ACT THREE
This is what they gave me. They gave me one for all of you.
SETH
You have one of these for all of them?
TOMMY
Of course.
SETH
Let me see them. I might know a way to get out of this.
END OF ACT TWO
ACT THREE
INT. CAR – NIGHT
Tommy sits parked next to a curb. The rain is pounding on the roof and front windshield. He flips open his phone and dials a number, taking a long breath.
BEAT.
A voice is heard through the phone, but can’t be made out.
TOMMY
Is this the Post?
Is this the Post?
He listens.
TOMMY
My name is Tommy Lyons. I’m calling because I believe I have some information you would LOVE to have.
(BEAT)
Information on Charles Abaddon. Yes, very much so.
My name is Tommy Lyons. I’m calling because I believe I have some information you would LOVE to have.
(BEAT)
Information on Charles Abaddon. Yes, very much so.
He listens intently for a few moments.
TOMMY
Tonight? Absolutely.
Tonight? Absolutely.
Tommy hangs up the phone and starts the car. He quickly speeds off.
INT. DARK BEDROOM – NIGHT
In the complete darkness a phone RINGS loudly. A soft rustling sound can be heard until –
The lights pop on to reveal Charles waking up in his bed. He rubs his tired eyes and picks up the receiver.
CHARLES
Yes?
MAN #1 (O.S.)
Mr. Abaddon, I apologize for calling so late, but something has happened.
CHARLES
I’m listening.
MAN #1 (O.S.)
A couple of the guys tonight were listening in on his wire and overheard a conversation between Mr. Lyons and the N.Y. Post. He plans on going public with the information...tonight.
Yes?
MAN #1 (O.S.)
Mr. Abaddon, I apologize for calling so late, but something has happened.
CHARLES
I’m listening.
MAN #1 (O.S.)
A couple of the guys tonight were listening in on his wire and overheard a conversation between Mr. Lyons and the N.Y. Post. He plans on going public with the information...tonight.
BEAT.
Charles thinks to himself calmly.
MAN #1 (O.S.)(cont.)
Sir? If we do not do something he is going to expose you.
CHARLES
Trust me when I say I understand what is at stake. Do what has to be done.
MAN #1 (O.S.)
Affirmative, Sir. What about the girl?
Sir? If we do not do something he is going to expose you.
CHARLES
Trust me when I say I understand what is at stake. Do what has to be done.
MAN #1 (O.S.)
Affirmative, Sir. What about the girl?
Charles shrugs.
CHARLES
We’ll deal with her later. Just take care of Mr. Lyons.
We’ll deal with her later. Just take care of Mr. Lyons.
Charles hangs up and proceeds to go back to bed.
INT. SETH’S APARTMENT – NIGHT
Seth eats a small snack in front of the television. On it is a news program with a young anchor woman speaking.
ANCHOR WOMAN
There was another murder victim discovered today. The body of Paul Anthony, from the Brooklyn area, was found dead in his home. Thought to be a strange coincidence, a former soldier Terry Haas was also found murdered in his home. The two were in the same unit during the Iranian conflict. Police say as of now they have no suspects.
There was another murder victim discovered today. The body of Paul Anthony, from the Brooklyn area, was found dead in his home. Thought to be a strange coincidence, a former soldier Terry Haas was also found murdered in his home. The two were in the same unit during the Iranian conflict. Police say as of now they have no suspects.
Seth nearly drops his food in his lap. He watches the news report in shock. He quickly grabs his cell phone and punches in a number.
EXT. HIGHWAY – NIGHT
ESTABLISHING shot of a dark, curving highway. Rain pours down in buckets.
BEAT.
A black car zooms by.
INT. CAR – NIGHT
Tommy drives hastily toward his destination. His face is frantic and desperate. He looks into his passenger seat and sees the files on his “targets”.
Suddenly headlights appear in his rearview mirror. In an instant they are directly behind him. He looks curiously, but cannot see who is in the car.
As he adjusts his mirror he is ROCKED wildly. The car is bumping him from behind, softly at first but more frequently by the second.
Tommy speeds up, his odometer reaching 95. He twists around the curves, tires squealing. Now the car pulls next to him, Tommy looks but the windows are tinted. It RAMS him with bad intentions.
Tommy struggles to maintain control of his car as his phone suddenly RINGS. He quickly answers.
TOMMY
Seth! They’re after me, man.
Seth! They’re after me, man.
INTERCUT WITH SETH’S APARTMENT
SETH
What? Who’s after you?
SETH
What? Who’s after you?
Tommy swerves violently nearly dropping his phone.
TOMMY
Abaddon’s guys. Their tryin’ to run me off the damn road!
SETH
Just calm down, Tommy. I’ll call the police.
TOMMY
I can lose ‘em. I’m headin’ toward the Post now.
Abaddon’s guys. Their tryin’ to run me off the damn road!
SETH
Just calm down, Tommy. I’ll call the police.
TOMMY
I can lose ‘em. I’m headin’ toward the Post now.
BAM! The car hits Tommy hard once again, he veers toward the edge. Below we see is a long drop off, similar to a cliff.
SETH
Don’t do nothin’ stupid.
Don’t do nothin’ stupid.
Another RAM comes directly after the last. Tommy loses control completely and his car skids against the railing.
Tommy drops the phone and tries with everything he has to regain control, but to no avail. The car spins sideways and goes through the railing, tumbling down the rocky slope.
On Seth’s end the phone cuts out.
SETH
Tommy?!? What happened?
Tommy?!? What happened?
The black car creeps to a stop. Man #1 steps out and walks toward the ledge. Below we see Tommy’s car, flipped upside down and completely totaled. He slowly walks back to his vehicle.
END OF ACT THREE
ACT FOUR
ACT FOUR
INT. SMALL HOUSE – RUSSIA – MORNING
Some unknown men and women stand around a dining room table. They are all speaking to each other in Russian, with no subtitles.
The phone RINGS loudly. An older dark-haired woman answers.
As she listens her eyes bulge in surprise.
WOMAN
Eva!
Eva!
BEAT.
A woman passes the CAMERA, but her face is not seen. She has long dark hair and appears to be in quite thin.
She grabs the receiver and speaks in Russian.
After a moment her body seems to go limp as she proceeds to sob loudly. She drops the phone with a THUD and falls to her knees, still crying.
The camera PANS around to reveal her face. The black mascara is running down her cheeks and even with the long hair we recognize her. Eva is the mystery woman from “The Red Herring”. The woman with the piercing dark eyes and short black hair.
INT. SETH’S APARTMENT – MORNING
Seth sits in front of the television as the morning newscast starts. The first story is about a fatal car crash.
REPORTER
Late last night a car appears to have rammed through the barrier and toppled down about 75 feet to the ground. The driver who has been identified as Thomas Jane Lyons was killed upon impact. More details to follow.
Late last night a car appears to have rammed through the barrier and toppled down about 75 feet to the ground. The driver who has been identified as Thomas Jane Lyons was killed upon impact. More details to follow.
Seth’s jaw hangs low as he holds his head in his hands, mourning his fallen friend.
INT. SETH’S BLAZER – DAY
Seth sits inside his blazer. He wears dark sunglasses and a Yankees cap. He watches through the front windshield at a small crowd gathered in a cemetery.
BEAT.
The crowd begins to disperse as the funeral session is complete. As Seth watches the last car pull out of the cemetery he steps out of the Blazer.
EXT. CEMETERY – DAY
The rain is coming down hard and fast as Seth slowly walks toward the headstone.
Another long BEAT as Seth stares in silence at Tommy’s name engraved on the granite. He kneels down and touches it with his finger, tracing the name.
SETH
I forgive you...
I forgive you...
Seth’s face is damp from a mix of tears and rain as he stands back up in a hurry and exits.
INT. ABANDONED HOUSE – N.Y.C. – PRESENT TIME
The house is dark and eerie. The walls are stripped down to the boards and the staircase in the center is missing quite a few steps.
The camera LEADS us into a dimly lit back room as Seth, Ron and Roy stand around a small table.
RON
My friends, the plan has changed. After this, everything changes. The bombs hit numerous cities throughout our country and we were helpless to stop it.
My friends, the plan has changed. After this, everything changes. The bombs hit numerous cities throughout our country and we were helpless to stop it.
Seth and Roy barely show any emotion as they stare blankly at Ron, a near look of submission on their faces.
RON (cont.)
The urgency for what we must do is higher than it has ever been. We must do this for the sake of our country. For the same of our forsaken planet. Charles Abaddon MUST be taken out.
ROY
We’ve tried. One man cannot do this.
The urgency for what we must do is higher than it has ever been. We must do this for the sake of our country. For the same of our forsaken planet. Charles Abaddon MUST be taken out.
ROY
We’ve tried. One man cannot do this.
Ron smiles in a somewhat sadistic manner.
RON
Everyone must do their part. We’ll pick the right time and we will ALL be ready to do it. One way or another, Charles Abaddon is going to die.
SETH
What about Rose?
RON
We’ll find her, Seth. I’m sure she’s fine.
Everyone must do their part. We’ll pick the right time and we will ALL be ready to do it. One way or another, Charles Abaddon is going to die.
SETH
What about Rose?
RON
We’ll find her, Seth. I’m sure she’s fine.
Seth doesn’t look too sure about it.
RON (cont.)
Seth, Roy, are we in agreement? Will you be able to pull the trigger if needed?
Seth, Roy, are we in agreement? Will you be able to pull the trigger if needed?
BEAT.
They both nod at Ron who smiles his sadistic smile once again.
RON (cont.)
Good.
Good.
CUT TO BLACK
THE END
THE END
Yeah it was about 5 pages shorter than the others..what can I say, I'm in a hurry for the finale 
