The Internet Movie Script Database (IMSDb)


The web's largest
movie script resource!

Search IMSDb

Alphabetical
# A B C D E F G H
I J K L M N O P Q
R S T U V W X Y Z

Genre
Action Adventure Animation
Comedy Crime Drama
Family Fantasy Film-Noir
Horror Musical Mystery
Romance Sci-Fi Short
Thriller War Western

Sponsor

TV Transcripts
Futurama
Seinfeld
South Park
Stargate SG-1
Lost
The 4400

International
French scripts

Movie Software
DVD ripper software offer
Rip from DVD
Rip Blu-Ray

Latest Comments
Star Wars: Revenge of the Sith10/10
Star Wars: The Force Awakens10/10
Batman Begins9/10
Collateral10/10
Jackie Brown8/10

Movie Chat



ALL SCRIPTS






                            JOHN WICK



                            Written by

                          Derek Kolstad



                         
                         
                         
                         
          FADE IN:
                         
                         
          EXT. THE COUNTRYSIDE - ESTABLISHING - EARLY DAY
                         
          SUPER: ARDMORE, PENNSYLVANIA
                         
          A verdant landscape of rolling hills, lush countryside, and
          ambient peace.
                         
                         
          EXT. THE WICK HOME - ESTABLISHING - EARLY DAY
                         
          A small, quaint, two-bedroom farmhouse: a classic. Nearby, a
          small barn -its paint chipped, wood worn- sits nestled within
          the setting. The homestead feels slightly abandoned, the
          facade -especially the roof- in dire need of an overhaul.
                         
                         
          INT. THE WICK HOME - THE MASTER BEDROOM - CONTINUOUS
                         
          The hour hand of an old, electric clock shifts slightly,
          marking six a.m. A soft alarm sounds. Beneath the blankets,
          a body shifts, a weathered hand reaching out to silence the
          antique.
                         
          A beat... a sigh... a groan... and JOHN WICK -early sixties,
          salt-and-pepper hair, three-day beard, former boxer, former
          military, tired, beaten down, and at wit's end- sits up,
          staring unblinkingly out at the day.
                         
          A beat... and he stands, donning a weathered robe and a pair
          of slippers. John stuffs his hands into his pockets...
                         
                         
          INT. THE WICK HOME - THE HALLWAY - CONTINUOUS
                         
          ...and shuffles down the corridor, the walls overflowing with
          family pictures, each badly in need of dusting. They
          catalogue a long and healthy life with his wife, Norma; the
          pictures presenting a time line of sorts. No children, yet
          sheer, unadulterated happiness.
                         
                         
          INT. THE WICK HOME - THE LIVING ROOM - CONTINUOUS
                         
          As John makes his way through his home, we can see that it is
          cluttered and unorganized. Dirty, in fact, as if it hasn't
          been cleaned in months.
                                                                      2.
                         
                         
          EXT. THE WICK HOME - CONTINUOUS
                         
          John opens the door, retrieves the newspaper, closes, and
          locks the door behind him, without giving the outside so much
          as a glance.
                         
                         
          INT. THE WICK HOME - THE KITCHEN - CONTINUOUS
                         
          John unceremoniously tosses the newspaper onto the table,
          opens a cupboard, and measures out a couple of tablespoons of
          Folgers Coffee into an old percolator.
                         
          As it begins to bubble, John open the fridge, studies its
          contents for a moment or two, and then closes it, abandoning
          the thought of breakfast.
                         
          He pours himself a cup of coffee and sits at the table. The
          newspaper is ignored. He drinks in silence for a long, dark,
          brooding moment, the loneliness almost unsettling.
                         
          Suddenly, the phone on the wall RINGS.
                         
          John lowers his cup, staring at the device, his eyes tired.
          A beat... and he stands, walking slowly to answer it.
                         
                                             JOHN
                    This is John.
                         
          As he listens to the voice on the other end, John remains
          still... stoic.
                         
                                                JOHN (CONT'D)
                                          (WHISPERS)
                    Ok.
                         
          John hangs up the phone and returns to the table, sinking
          slowly down into his chair.
                         
          A long beat...
                         
          ...and John begins to weep, his hands trembling as he lowers
          his face in excruciating, utter, and complete sorrow.
                         
                                                                          FADE TO:
                         
                         
          EXT. THE BARN - ESTABLISHING - DAY
                         
          Having shaved and showered, wearing an old -but well-fitted-
          gray suit, John pushes open the garage door...
                         
          ...to reveal a legend in dire need of a total overhaul: a
          black, 1969 FORD MUSTANG `BOSS 429'.
                                                                      3.
                         
                         
          A smile plays at his lips as John walks into the garage,
          running a hand along the chassis, desperately in need of a
          wash and wax. Behind him, the wall is lined with tools: a
          mechanic's dream enclave.
                         
                         JOHN ENTERS-
                         
                         
          INT. JOHN'S CAR - CONTINUOUS
                         
          -and closes the door behind him.
                         
          John takes a moment to breath it in: he loves this car...
          although he hasn't taken very good care of it as of late. A
          beat... and he slips the key into the ignition, twisting it,
          the motor coughing to life, the exhaust pipe belching black
          smoke.
                         
                         
          EXT. THE WICK HOME - CONTINUOUS
                         
          The vehicle pulls out of the garage, stalls briefly, come
          back to life, puttering on down the road.
                         
                         
          EXT. THE HOSPITAL - ESTABLISHING - DAY
                         
          A soft rain begins to fall.
                         
                         
          INT. THE HOSPITAL - A HALLWAY - CONTINUOUS
                         
          Carrying a humble bouquet of yellow daisies, John slowly
          makes his way down the eerily empty corridor. He pauses
          before a picture on the wall, glancing at his reflection upon
          the glass. He takes a deep breath, exhales, and enters a
          room.
                         
                         
          INT. THE HOSPITAL - A ROOM - CONTINUOUS
                         
          John slowly approaches the figure lying in bed: surrounded by
          machinery, accompanied by the soft sounds of technology.
                         
          He removes the wilted daisies from the vase, tosses them in
          the trash, and replaces them with fresh ones.
                         
          He pulls over a chair, reaches out, and takes Norma's hand:
          she is comatose, her breathing synthetic... so many
          machines... so many wires, tubes, and monitors.
                         
          We never see her face:   just her silhouette.
                         
          He holds her hand for a long moment in heavy silence.
                                                                      4.
                         
                         
          Behind him, the DOCTOR -of a similar age to John- enters,
          placing a hand on John's shoulder. John lowers his head, and
          nods. With a bit of effort, he stands, staring down at her
          for a long moment, never once releasing his grip, and leans
          over to kiss her on the forehead.
                         
                                             JOHN
                    ...it had to be you...
                        (a long beat, then)
                    ...be seein' ya'...
                         
          A beat... and John nods.
                         
          The doctor turns off the machine; lights dim, the room
          settles into silence, and Norma's body grows still.
                         
          The Doctor leaves John to be alone with his wife.
                         
                                             JOHN (CONT'D)
                                       (WHISPERS)
                    Be seein' you.
                         
                                                                             FADE TO:
                         
                         
          EXT. THE BARN - DAY
                         
          John pulls into the building...
                         
          ...and sits behind the wheel for a long moment...
                         
          ...his eyes unblinking...
                         
          ...so very alone...
                         
                         
          INT. THE WICK HOME - THE HALLWAY - DAY
                         
          John stands before the wall of pictures, statuesque as he
          studies them... unmoving...
                         
          And then, he snaps; his hands gnarled into first, roaring
          with rage as he punches the pictures, ripping them from the
          wall, tossing them aside, eventually collapsing into a heap,
          out of breath, his knuckles bleeding.
                         
          A long beat... and he chuckles softly, pulling himself to his
          feet.
                                                                      5.
                         
                         
          INT. THE WICK HOME - THE BASEMENT - DAY
                         
          Unlike the rest of the house, this space is pristine and
          organized: one half designated as an impressive wood shop,
          the other an office space with a lazy boy recliner and tube
          television.
                         
          John sits at his desk with a pencil in hand, a pad of paper
          before him, thinking.
                         
          A long beat... and he sighs with a smile, placing the pencil
          upon the pad before sliding them both aside.
                         
          John unscrews the cap off the bottle of scotch and pours
          himself a healthy dose.
                         
          He opens his desk drawer, reaches into the back, and finds an
          old pack of cigarettes, half-empty. He taps one from, places
          it between his lips, and lights it, taking a deep pull. He
          holds it, and exhales, his body relaxing.
                         
          He finishes his drink along with the cigarette, pours himself
          another...
                         
          ...and then opens a BOTTLE OF PILLS (The label reading NORMA
          WICK and OXYCONTIN), pouring them into a small mound upon the
          desk. He stares at them for a long moment...
                         
          ...before selecting one, studying it, sighing and-
                         
          A KNOCK AT THE FRONT DOOR.
                         
          John freezes, not sure as to how best to proceed.
                         
          A beat... and someone KNOCKS a second time.
                         
          John sighs, drops the pill back onto the mound, and walks
          upstairs.
                         
                         
          EXT. THE WICK HOME - DAY
                         
          A DELIVERY WOMAN waits for him on the doorstep.   John opens
          the door.
                         
                                                DELIVERY WOMAN
                    John Wick?
                         
                                                JOHN
                    Yes?
                         
          She hands him a clipboard and a pen.
                                                                   6.
                         
                         
                                             DELIVERY WOMAN
                    Sign here, please.
                         
          In a daze, John signs the clipboard and hands it back to her.
                         
                              DELIVERY WOMAN (CONT'D)
                    And the pen?
                         
                                              JOHN
                    Oh.   Sorry.
                         
          John hands her the pen.
                         
                                             DELIVERY WOMAN
                    Here you go!
                         
          The Delivery Woman hands him a card and a PLASTIC CASE by the
          handle which he takes without looking.
                         
                              DELIVERY WOMAN (CONT'D)
                    Have a good day.
                         
          John nods, and -as she takes off- heads back inside.
                         
                         
          INT. THE WICK HOME - THE LIVING ROOM - CONTINUOUS
                         
          John closing the door behind him...
                         
          ...and is startled by a small BARK.
                         
          A beat... and he looks down to find that he is actually
          holding a small PET CARRIER. He lifts it to look inside:
          the face of a young, tri-colored (black, white, and brown),
          CHORGI (half-Corgi, half-Chihuahua) looks out at him, her
          tail wagging fiercely.
                         
          She barks again, and John lowers it, confused.
                         
                         
          INT. THE WICK HOME - THE KITCHEN - DAY
                         
          Holding the envelope in his hands, John sits across from the
          carrier which he has set upon the table. Inside, the Chorgi
          lies with paws crossed, studying him, tilting her head from
          side to side.
                         
          A beat... and John opens the letter. The card inside is
          simple; white with a single DAISY drawn upon it. John smiles,
          instantly knowing who it is from, running a thumb along the
          face of the flower. He hesitates, but opens the card.
                                                                   7.
                         
                         
                              NORMA (V.O.)
                    Dear, John. If you have received
                    this, then I have not survived the
                    surgery.
                        (a beat, then)
                    I am so, so sorry.
                         
          Tears begin to well in John's eyes.
                         
                              NORMA (V.O.)
                    But you've still got a life ahead
                    of you, and I intend for you to
                    live it. You may think you've
                    hidden things from me, but you
                    haven't. I know you. And should
                    this reach you in time -which I
                    pray it has- I beg you, I implore
                    you, to stop. To think. To live.
                        (a beat, then)
                    I love you, John. With all my
                    heart. Our years were good. The
                    best, in fact. But I'd rather see
                    you later... than sooner... your
                    best friend... Norma.
                         
          John lowers the letter, wipes the tears from his cheeks, and
          stares at the puppy... chuckling.
                         
                                             JOHN
                    Well played, Norma.
                         
          John reaches across, and flicks open the pet carrier.
                         
                                             JOHN (CONT'D)
                                       (MUTTERS)
                    Well played.
                         
          The Chorgi scrambles out of the cage and studies him;
          sniffing, licking, and barking.
                         
                                             JOHN (CONT'D)
                    So... you gotta' name?
                         
          John checks the collar to find a DAISY-SHAPED medallion which
                         READS-
                         
                                              JOHN (CONT'D)
                    Moose.
                        (a beat, then)
                    Seriously?
                         
          As if in reply, Moose barks.
                                                                   8.
                         
                         
                                              JOHN (CONT'D)
                     All right, then...
                                        (SMILES)
                     ...Moose, it is.
                         
                                                                          FADE TO:
                         
                         
          EXT. THE WICK HOME - ESTABLISHING - EARLY DAY
                         
          SUPER: THREE YEARS LATER
                         
          The homestead has been completely overhauled with a new roof
          on the house, the barn having been painted, the yard attended
          to... a picturesque scene worthy of a postcard.
                         
                         
          INT. THE WICK HOME - THE MASTER BEDROOM - CONTINUOUS
                         
          The alarm sounds, followed by silence when a heavy hand drops
          down upon the snooze button.
                         
          THUMP. THUMP. THUMP.
                         
          Silence.
                         
          THUMP. THUMP. THUMP.
                         
          Silence.
                         
          THUMP. THUMP. THUMP.
                         
          A beat... and John sighs, pulls back the covers, and kicks
          out his legs, sitting on the edge of the bed, rubbing his
          eyes.
                         
          THUMP. THUMP. THUMP.
                         
          John glances over at MOOSE who lies on the bed, her paws
          crossed, held tilted, and tail excitedly wagging in notes of
          three.
                         
                                              JOHN
                                        (GROWLS)
                     I'm up, I'm up.
                         
          THUMP. THUMP. THUMP.
                         
                         BEGIN MONTAGE
                         
          - John fries up a couple of pieces of bacon and adds them to
          his plate of scrambled eggs and toast.
                                                                     9.
                         
                         
          He kneels down next to Moose's bowl and pours some of the
          bacon grease over the kibble. As John takes his seat at the
          table to enjoy his coffee, breakfast, and newspaper, Moose
          devours her meal.
                         
          - With his car tilted up by jack stands, John lays upon a
          creeper cart beneath it, changing the oil as -nearby- Moose
          lies in the sun, fast asleep. The vehicle is pristine: fully
          restored and lovingly detailed. Finishing up, John slides
          out from beneath the vehicle, and wipes the grease from his
          hands with a shop towel.
                         
                                             JOHN (CONT'D)
                    That oughta' do it.
                                       (TO MOOSE)
                    Wanna' try it out?
                         
          THUMP. THUMP. THUMP.
                         
          - At an abandoned airfield, the Mustang roars down the open
          stretch of landing strip as Moose stands at the open window,
          tongue wagging in the air. John is in his element: calm,
          cool, and collected behind the wheel of his car... almost as
          if it is a natural extension of himself. He deftly shifts
          gears, reaching speeds in excess of 120 miles per hour before
          hitting a long patch of gravel, shifting, spinning the wheel,
          and skidding -while remaining in full control- as the wheels
          skim over the earth. Moose barks. John smiles, reaching
          over to scratch her on the back.
                         
                                             JOHN (CONT'D)
                    Good girl, Moose. Good girl.
                         
          - At a small park, John sits at a picnic table, eating a
          sandwich as he works his way through a small book of
          crossword puzzles. A cup of hot coffee rests nearby as
          beneath the table, Moose gnaws on a tough piece of rawhide.
                         
          -At a gas station, Moose barks at passing bikers as John
          fills the tank.
                         
          IOSEF TARASOV -mid-twenties, thin, oiled hair, sunglasses,
          hipster, douche-bag- parks his vintage BMW next to the Ford
          and as he gasses up, motions.
                         
                                                IOSEF
                    Nice ride.
                         
                                                JOHN
                    Thanks.
                         
                                                IOSEF
                    How much?
                                                                     10.
                         
                         
                                              JOHN
                     It ain't for sale, kid.
                         
          Iosef smirks with a shake of his head.
                         
                                              IOSEF
                         (in Russian, subtitled)
                     Everything's got a fucking price.
                         
                                              JOHN
                         (in Russian, subtitled)
                     Maybe so... but I don't.
                         
          Taken aback by John's fluency, he watches as John enters the
          vehicle, guns the engine, and drives off.
                         
          - John dozes on the couch as -between his legs- Moose snores
          softly.
                         
          - As John washes his car, Moose chases after birds before -
          exhausted- laying upon her back in the sun, stretching as she
          gnaws upon her favorite stuffed animal.
                         
          - With a glass of scotch resting on the end table beside him,
          John sits in his weathered La-z-boy recliner with his reading
          glasses on, a book before him, and Moose curled up, asleep in
          his lap. A beat... and John closes his book, finishes his
                         SCOTCH-
                         
                                              JOHN (CONT'D)
                     Come on, then.
                         
          -and stands, with Moose leaping to the floor, leading the way
          back upstairs.
                         
          - Moose lays on the foot of the bed, tail wagging.      John
          smiles, scratching her belly.
                         
                                              JOHN (CONT'D)
                     Good night, Moose.
                         
          John climbs beneath the covers, sighs, and slips off to sleep
          as does Moose.
                         
                         END MONTAGE
                         
                                                         FADE TO BLACK:
                         
                         FADE IN:
                                                                    11.
                         
                         
          INT. THE WICK HOME - THE MASTER BEDROOM - LATER
                         
          John awakes to hear Moose growling with tail thumping,
          sitting before the closed door.
                         
                                             JOHN
                    Do you need to go out?
                         
          John groans as he rolls out of bed.
                         
                                             JOHN (CONT'D)
                                       (MUTTERS)
                    So could I, it would seem...
                         
          John opens the door.    Moose barks, and sprints off into the
          darkness.
                         
                                             JOHN (CONT'D)
                    What's gotten into y-
                         
          We hear a THUMP and a YELP.
                         
                                                JOHN (CONT'D)
                    Moose!
                         
          John runs into-
                         
                         
          INT. THE WICK HOME - THE LIVING ROOM - CONTINUOUS
                         
          -and freezes at the sight of two MASKED MEN...
                         
          ...a half-second before a THIRD MAN steps into frame and
          drives the butt of his shotgun against the side of John's
          head. He drops to the floor, hard.
                         
                         JOHN'S POV:
                         
          Across the room, the silhouette of Moose's body faces him,
          her breathing labored.
                         
                              VOICE #1 (O.C.)
                        (in Russian, subtitled)
                    You find the keys?
                         
          One of the masked men, LIMPS by, dragging his foot slightly,
          an old injury or birth defect.
                         
                              VOICE #2 (O.C.)
                        (in Russian, subtitled)
                    Yeah. He kept `em in a bowl like
                    my old man.
                         
          Voice #1 chuckles enjoying this as he sucks on a fresh mint.
                                                                    12.
                         
                         
                                VOICE #1 (O.C.)
                          (in Russian, subtitled)
                      Then shit... let the fuckin'
                      babushka fade away and let's get
                      the fuck outta' here.
                         
          One of the men kneels down next to John, pulling back his
          mask to reveal his mouth which grins upon him with white
          lacquered teeth: it is IOSEF.
                         
                                               IOSEF
                      I'm glad you didn't wanna' sell,
                      old man.
                                         (CHUCKLES)
                      I enjoyed this.
                         
          Iosef cold cocks John as we-
                         
                                                                        SMASHCUT TO:
                         
                         
          DARKNESS.
                         
          Silence.
                         
          ...a long beat, then...
                         
          ...thump...
                         
          ...long beat, then...
                         
          ...thump...
                         
          ...a long beat, then...
                         
                                                                             FADE TO:
                         
                         
          INT. THE WICK HOME - THE LIVING ROOM - CONTINUOUS
                         
          A small tail rises slowly, and lands with a soft "thump".
                         
          John stirs with a groan, and opens his eyes...
                         
          ...to find Moose's nose touching his cheek.
                         
          He suddenly sits up, remembering.
                         
                                               JOHN
                      ...Moose...
                         
          Moose takes a shallow breath...
                         
          ...thump...
                                                                     13.
                         
                         
          John begins to unravel, hands trembling.
                         
                                               JOHN (CONT'D)
                                         (SOFTLY)
                      Moose...
                         
          He touches Moose's side, and she whimpers.
                         
          John recoils...
                         
          ...and sees the trail of blood from where she was first
          injured...
                         
          ...having pulled her broken body over to his side.
                         
          John lies down beside Moose, and softly... tenderly...
          cradles her head in his hand, rubbing her cheek with his
          thumb.
                         
          Moose relaxes, licks his thumb, sighs one last time...
                         
          ...and grows still.
                         
          John pulls himself up into a sitting position, cradles
          Moose's still body...
                         
          ...and begins to cry...
                         
          ...rocking back and forth.
                         
                                                                             FADE TO:
                         
                         
          EXT. THE WICK HOME - ESTABLISHING - EARLY DAY
                         
                         
          INT. THE WICK HOME - THE LIVING ROOM - CONTINUOUS
                         
          John remains sitting on the floor with Moose in his arms.
                         
          A long beat... and he stands; an old, weary, and defeated
          soul.
                         
                         
          INT. THE WICK HOME - THE BASEMENT - CONTINUOUS
                         
          John flicks on the light and walks down the stairs, gently
          placing Moose's body upon his work bench. He searches a
          shelf and finds a large box which he unfolds...
                         
          ...placing Moose's body within.
                         
          A beat...
                                                                     14.
                         
                         
          ...and John reaches down to retrieve Moose's stuffed animal
          from the floor, placing it down beside her.
                         
          With a tender -careful- touch, John removes Moose's collar,
          placing it -almost with reverence- upon a nail in the wall.
                         
          John stares down at his dog for a long moment...
                         
          ...before closing the box.
                         
                         
          EXT. THE WICK HOME - THE BACK YARD - EARLY DAY
                         
          John digs a small grave...
                         
          ...places the box, staring at it for a long moment...
                         
          ...and then fills the hole.
                         
                         
          INT. THE WICK HOME - THE LIVING ROOM - EARLY DAY
                         
          On his hands and knees, John brushes the blood from the
          floor.
                         
                         
          INT. THE WICK HOME - THE BATHROOM - EARLY DAY
                         
          John takes a long, hot shower.
                         
          He sprays a bit of shaving foam into his hand, unfolds his
          ceramic razor, stares at it for a long moment...
                         
          ...and begins to shave.
                         
          As he does so, the stress leaves his shoulders, his eyes
          unblinking, his movements precise.
                         
          With every flick of his wrist, John seems to change slightly:
          his features hardening, relaxed, and yet wound tight
                         
                         
          INT. THE WICK HOME - THE MASTER BEDROOM - EARLY DAY
                         
          John gets dressed, but the outfit is slightly different than
          we are used to seeing: dark, tailored pants, crisp white
          shirt, Italian shoes, and a black, leather jacket.
                         
          The look suits him although it is a tad bit unsettling,
          making for an intimidating veneer.
                                                                     15.
                         
                         
          INT. THE WICK HOME - THE KITCHEN - EARLY DAY
                         
          John sips coffee -no breakfast- alone at the table, staring
          at the wall.
                         
          Like clockwork, he lifts his mug, sips, lowers it, waits
          patiently, lifts, sips, lowers...
                         
          ...there are no micro-emotions, but it is anyone's guess what
          is taking place in his mind.
                         
                         
          INT. THE WICK HOME - THE HALLWAY - EARLY DAY
                         
          John leans heavy against the wall, staring at the pictures.
          We now notice that among the images of John and Norma...
                         
          ...are also pictures of John and Moose.
                         
          John lowers his head with a sigh, massaging his brow, lost in
          thought.
                         
          When he raises his face...
                         
          ...the change which has washed over him...
                         
          ...is complete.
                         
                                                                          FADE TO:
                         
                         
          EXT. A COUNTRY ROAD - ESTABLISHING - DAY
                         
          A bus roars on by.
                         
                         
          INT. A BUS - CONTINUOUS
                         
          John sits alone in the middle of the bus...
                         
          ...staring straight ahead...
                         
          ...unblinking.
                         
                                                                          FADE TO:
                         
                         
          EXT. A CITYSCAPE - ESTABLISHING - DAY
                         
                         
          EXT. AURELIO'S AUTOMOTIVE - ESTABLISHING - DAY
                                                                     16.
                         
                         
          INT. AURELIO'S AUTOMOTIVE - CONTINUOUS
                         
          A 24/7 chop shop, this facility is populated by dozens of
          hardened criminals, but has become the only family anyone
          knows.
                         
          This is a tight knit, loyal, and talented crew.
                         
          A number of vehicles are being repaired, dismantled, painted,
          and the like: a non-stop flurry of activity.
                         
          Walking the floor, AURELIO -late sixties, hard eyes, soft
          smile, the father figure of this little family- banters with
          his crew before pausing to help lower a new engine into a
          car.
                         
                         
          EXT. THE STREET - DAY
                         
          John's Mustang roars down the street, tires clawing at the
          earth as it rounds a tight corner.
                         
                         
          INT. THE MUSTANG - CONTINUOUS
                         
          Perched behind the wheel, IOSEF smiles as, in the passenger's
          seat...
                         
          ...VIKTOR -mid-twenties, short, stout, a pronounced LIMP,
          well-dressed, gawdy jewelry, terrible glasses- and, in the
          back seat...
                         
          ...KIRILL -early thirties, enormous, muscular, meathead-
          cheers him on.
                         
                         
          EXT. AURELIO'S AUTOMOTIVE - CONTINUOUS
                         
          The Mustang pulls into the lot, and enters-
                         
                         
          INT. AURELIO'S AUTOMOTIVE - CONTINUOUS
                         
          -pulling into an empty space.
                         
          A pair of OLDER MECHANICS notice the car, share an
          emotionless -yet knowing- look, set down their tools, and
          calmly leave the building.
                         
          Iosef, Viktor, and Kirill pour out of the vehicle, laughing.
                         
                                             IOSEF
                        (in Russian, subtitled)
                    Shit, dude!
                                             (MORE)
                                                                  17.
                         
                                             IOSEF (CONT'D)
                    I'ma gonna' keep this muthafucker!
                        (to a mechanic)
                    Hey, where's Aurelio at?
                         
          Iosef sees Aurelio walking towards him, his gaze locked onto
          the Mustang, recognizing it.
                         
                                             AURELIO
                    Where'd you get that?
                         
                                             IOSEF
                    I gots my ways, yo! Now, it's hot
                    as shit, so I wanna paint job,
                    papers, fuckin-
                         
                                             AURELIO
                                       (INTERRUPTING)
                    I said, where... did you get that?
                         
                                             IOSEF
                                       (SHRUGS)
                    Some old fuck.
                         
                                             AURELIO
                        (a beat, then)
                    I know this car.
                         
                                             IOSEF
                    What the fuck are you sayin'?
                         
          Aurelio opens the driver's side door, reaches up behind the
          visor, and pulls out the registration card which reads JOHN
          WICK.
                         
                                             AURELIO
                        (in Italian, subtitled)
                    Fuck... me.
                         
          Aurelio quickly replaces the card.
                         
                                                  IOSEF
                    What?
                         
                                                  AURELIO
                    Out.    Now.
                         
                                             IOSEF
                    What the fuck are you talking
                    about?
                         
          By now, everyone in the facility has stopped working,
          watching the drama unfold.
                                                                  18.
                         
                         
                                             AURELIO
                    I'm talkin' about you takin' this
                    fuckin' car and gettin' the fuck
                    outta' my shop.
                         
                                             IOSEF
                    Did you lose your shit, Aurelio?
                    We own you. You do what we say.
                         
                                             AURELIO
                    The fuck you do. Tell me...
                         
          Aurelio motions towards the car.
                         
                                             AURELIO (CONT'D)
                    ...did you kill him?
                         
                                             IOSEF
                    No.
                                        (LAUGHS)
                    But I sure as hell fucked up his
                    dog.
                         
          Aurelio's eyes grow wide... knowing.
                         
          Surprising even himself, Aurelio rears back and delivers a
          powerful blow to the center of Iosef's face, shattering his
          nose.
                         
          Stunned, Iosef reels and drops to a knee, cradling his face,
          blood seeping between his fingers.
                         
          In a knee jerk reaction, Kirill pulls his gun.
                         
          The atmosphere immediately grows tense, the air still, as -
          throughout the building- Aurelio's mechanics each reach for a
          hidden weapon: knives, machetes, guns, and the like.
                         
          Aurelio glares -unblinking- at Kirill as he walks towards
          him.
                         
                                             AURELIO
                    You pull a gun? On me?   In my
                    house?
                         
          Aurelio presses his forehead against Kirill's outstretched
          gun.
                         
                                             AURELIO (CONT'D)
                    Flick off the safety.
                         
          Kirill smirks, and flicks off the safety.
                                                                       19.
                         
                         
                                                AURELIO (CONT'D)
                       Pull back the hammer.
                         
          Kirill blinks, faltering in this game of brinkmanship.
                         
                                                AURELIO (CONT'D)
                       Now, either shoot me...
                           (shouts, angry)
                       ...OR FUCK OFF!
                         
          Silence...
                         
          ...as Viktor lowers Kirill's arm and we can see he is
          relieved that Viktor intervened.
                         
                                                VIKTOR
                       The old man ain't gonna' like this.
                         
                                                   AURELIO
                       Maybe not.     But he'll understand.
                         
          Viktor and Kirill help a still dazed Iosef to his feet.
                         
                                                IOSEF
                                          (MUTTERS)
                       ...the fuck jus' happened...?
                         
                                                                               FADE TO:
                         
                         
          EXT. A STREET - DAY
                         
          The bus pulls away from the curb...
                         
          ...and John crosses the street, making a b-line for Aurelio's
          automotive.
                         
                         
          INT. AURELIO'S AUTOMOTIVE - CONTINUOUS
                         
          John enters the building which is silent:       everyone is gone.
                         
          John carefully makes his way through the floor, rounding a
          shelving array to find Aurelio -a cigarette dangling from
          between his lips- sitting at a folding card table, his hands
          folded in front of him, a bottle of Campari and two glasses
          resting nearby.
                         
                                                AURELIO
                       Hello, John.
                         
                                                JOHN
                       Hello, Aurelio.
                                                                  20.
                         
                         
          Silence.
                         
          Aurelio flips over the glasses and pours two drinks.
                         
                                              JOHN (CONT'D)
                     Have you seen my car?
                         
          John takes a glass and slams back the drink, swallowed in a
          single gulp.
                         
                                              AURELIO
                     I have, but it's not here.
                         
                                              JOHN
                     Where is it?
                         
                                              AURELIO
                     If I turn down the work, the
                     Russians turn to Takeshi and his
                     crew. You'll find them down on
                     Third and Main.
                         
                                                 JOHN
                     Thank you.
                         
          John turns to leave, but hesitates.
                         
                                               JOHN (CONT'D)
                         (a long beat, then)
                     Aurelio...
                         
                                                 AURELIO
                     Yes, John?
                         
                                              JOHN
                     ...they killed my dog.
                         
                                              AURELIO
                     I know, John. I know... but
                     "they"...
                         (hesitating, then)
                     ..."they" are extremely dangerous
                     people.
                         
          John nods and walks from the room.
                         
                                              JOHN
                                        (MUTTERS)
                     Aren't "they" always...
                         
          A long beat, and Aurelio sighs, relaxing as he pours himself
          another drink.
                         
                                                                          FADE TO:
                                                                     21.
                         
                         
          EXT. A CITYSCAPE - ESTABLISHING - DAY
                         
                         
          EXT. TAKESHI'S AUTOMOTIVE - ESTABLISHING - DAY
                         
          An old, quiet, and clean building lost amongst dozens of
          others in a dying industrial park.
                         
                         
          EXT. TAKESHI'S AUTOMOTIVE - CONTINUOUS
                         
          A bus pulls up the curb, pauses for a beat, and then rolls
          off...
                         
          ...leaving behind John who walks across the street, his
          expression blank.
                         
          His gait is steady, his shoulders relaxed, hands limp at his
          sides, breath steady.
                         
          The two GUARDS at the door glance up as he approaches,
          standing as they shift into character.
                         
                                             GUARD #1
                    What are you-
                         
          Without slowing, John reaches into the man's jacket, slips
          free the pistol from the shoulder holster therein and-
                         
          THUMP! THUMP!
                         
          -fires -twice- into the man's heart, before turning-
                         
          THUMP!
                         
          - to fire once into the other guard's face, never slowing,
          kicking open the door-
                         
                         
          INT. TAKESHI'S AUTOMOTIVE - CONTINUOUS
                         
          -to enter the facility, shooting anything that moves. He is
          the angel of death: each target receives two well-placed
          bullets to ensure incapacitation. He never slows, never
          misses, and will not stop.
                         
          The primarily Japanese crew is in a panic with most fleeing -
          a number of whom are shot in the back- while those choosing
          to shoot back are cut down in a blink.
                         
          Once emptied, John drops his pistol, kneels, sweeps up a
          fallen gun up, levels, fires, always moving, and -as he
          passes by a lift- slaps a button, slowly lowering his Mustang
          down to the floor behind him.
                                                                     22.
                         
                         
          John is a force of nature as he clears out the building.
                         
          Unstoppable.
                         
                         
          EXT. TAKESHI'S AUTOMOTIVE - THE REAR LOT - CONTINUOUS
                         
          A couple of mechanics escape the building, the last of which
          is shot in the back; dropping to his knees as a bullet slams
          into the back of his head.
                         
          Running with all of his might, MECHANIC #1 screams into his
          phone.
                         
                                             MECHANIC #1
                        (in Japanese, subtitled)
                    I DON'T KNOW WHO THE FUCK HE IS!
                    HE JUST SHOWED UP AND STARTED
                    SHOOTING!
                         
          Behind him, John appears in the doorway, aims...
                         
          ...and decides otherwise, lowering the pistol.
                         
                         
          INT. TAKESHI'S AUTOMOTIVE - CONTINUOUS
                         
          John opens the door to the Mustang, tosses the pistol onto
          the passenger's seat-
                         
                         
          INT. THE MUSTANG - CONTINUOUS
                         
          -and slips behind the wheel. A slight smile plays upon his
          lips as he sighs; a part of him having been returned. He
          turns the key, revs the engine, slams his foot down on the
                         GAS-
                         
                         
          EXT. TAKESHI'S AUTOMOTIVE - CONTINUOUS
                         
          -and crashes through the garage door of the building, tires
          squealing as the Mustang pulls a one-eighty, righting itself
                         BEFORE-
                         
                         
          EXT. A SERVICE ROAD - CONTINUOUS
                         
          -leaping out onto the street, furiously gaining momentum, as
          a trio of heavily-modified NISSAN SKYLINES appear and take
          chase.
                                                                    23.
                         
                         
          INT. THE MUSTANG - CONTINUOUS
                         
          John glances into the rearview mirror, takes the pistol in
          his left hand, shifts, and spins the wheel-
                         
                         
          EXT. A SERVICE ROAD - CONTINUOUS
                         
          -turning to face the oncoming vehicles.
                         
                         
          INT. THE MUSTANG - CONTINUOUS
                         
          John shifts again, and crushes the gas pedal underfoot-
                         
                         
          EXT. A SERVICE ROAD - CONTINUOUS
                         
          -rear wheels smoking as they struggle to grip the road. Once
          they do, however, the Mustang leaps forward, bearing down on
          the Skylines.
                         
          As the distance between them grows smaller, the passengers of
          two of the skylines emerge with semi-automatic weapons...
                         
          ...but before either of them can fire...
                         
          ...John fires off four shots, killing them each with a pair
          of bullets...
                         
          ...before firing until empty...
                         
          ...killing two drivers, and one passenger...
                         
          ...leaving one driver barrelling towards him, covered in his
          passenger's blood, eyes wide with horror...
                         
          ...as the two other cars crash behind him.
                         
          As the two vehicles barrel towards one another...
                         
          ...John is stoic...
                         
          ...while the remaining driver is screaming.
                         
          At the last moment, the driver violently twists the steering
                         WHEEL-
                         
          -barely avoiding the Mustang-
                         
          -but loses control of the vehicle, sending it toppling end
          over end, cart-wheeling amidst a cloud of debris, before
          landing upside down-
                                                                    24.
                         
                         
          -the gas tank having ruptured, fuel gurgling out of the tank
          to pool around the crushed rooftop.
                         
                         
          INT. A NISSAN SKYLINE - CONTINUOUS
                         
          The driver hangs from his seat, his belt keeping him in
          place, stunned and bleeding from the forehead.
                         
          A beat...
                         
          ...followed by the sound of footsteps.
                         
          As the driver shifts in his seat, a ZIPPO LIGHTER falls out
          of his pocket, landing on the ceiling.
                         
          John kneels down beside him.
                         
                                               JOHN
                          (in Japanese, subtitled)
                      Where can I find Iosef Tarasov?
                         
                                               DRIVER
                          (in Japanese, subtitled)
                      I don't know.
                         
          A beat... and John reaches inside to retrieve the lighter.
          He flips it open, and ignites a flame.
                         
                                               DRIVER (CONT'D)
                          (in Japanese, subtitled)
                      Don't! Please! Iosef! His
                      father! He owns a club in
                      Manhattan! The Red Circle! The
                      Red Circle!
                         
          A beat... and John closes the lighter and tosses it back into
          the vehicle.
                         
                                               JOHN
                          (in Japanese, subtitled)
                      Thanks.
                         
          A long beat... and the driver sighs.
                         
                                               DRIVER
                          (in Japanese, subtitled)
                      Fuck.
                         
                         
          EXT. A SERVICE ROAD - CONTINUOUS
                         
          As John walks back towards his vehicle, we can hear the sound
          of cop cars approaching...
                                                                     25.
                         
                         
          ...as a police chopper soars past overhead.
                         
          John doesn't look up as he quickly removes the front and rear
          license plates -both affixed with quick release clasps-
          tosses them into the back seat, and-
                         
                         
          INT. THE MUSTANG - CONTINUOUS
                         
          -slips behind the wheel. He twists, the key, revs the
          engine, and bolts forward as behind him-
                         
                         
          EXT. A SERVICE ROAD - CONTINUOUS
                         
          -a pair of police cars round the corner-
                         
          -and overhead, the helicopter banks, its sights set on the
          Mustang.
                         
          BEGIN INTERCUTS BETWEEN INTERIORS AND EXTERIORS OF THE
                         VEHICLES
                         
          John leads the cops further and further into the city...
                         
          ...with traffic growing heavier with every block...
                         
          ...and yet John maintains his speed-
                         
          -driving down narrow service alleys with reckless abandon-
                         
          -and going against traffic, steering with an apt hand.
                         
          Eventually, John creates enough mayhem to tie up the police
          on the ground-
                         
          -leaving the helicopter overhead.
                         
          On a long stretch of road, John reaches the vehicle's top
          speed, reaches down, flips open a hidden compartment, and
          presses a button for-
                         
          -his NITROUS OXIDE SYSTEM-
                         
          -which causes the engine to SCREAM, roaring down the road at
          an incredible speed-
                         
          -distancing himself from the helicopter to eventually hide in
          an abandoned warehouse.
                         
          He parks...
                         
          ...and walks across the street to the local diner...
                                                                     26.
                         
                         
          ...as overhead, the police chopper searches in vain.
                         
                         END INTERCUTS
                         
                                                                             FADE TO:
                         
                         
          EXT. AURELIO'S AUTOMOTIVE - ESTABLISHING - NIGHT
                         
                         
          INT. AURELIO'S AUTOMOTIVE - CONTINUOUS
                         
          The floor is empty, the building quiet.
                         
                         
          INT. AURELIO'S AUTOMOTIVE - THE MAIN OFFICE - CONTINUOUS
                         
          Sitting at his desk, Aurelio -a cigarette dangling from
          between his lips- works on a model car, carefully gluing
          pieces together.
                         
          The bottle of Campari rests nearby.     Music plays softly from
          a radio nearby.
                         
          The phone rings.     Aurelio takes a deep breath, exhales, and
          answers it.
                         
                                              AURELIO
                     This is Aurelio.
                         
                               VIGGO (O.S.)
                     I hear you've struck my son.
                         
                                              AURELIO
                         (deep breath, sighs)
                     Yes, sir. I did.
                         
                               VIGGO (O.S.)
                     Might I ask why?
                         
                                              AURELIO
                     Because he stole John Wick's car.
                         
          Silence.
                         
                                                 VIGGO
                            (a long beat, then)
                     Oh.
                         
                                                 AURELIO
                     And Viggo?
                         
                                                 VIGGO
                     Yes?
                                                                  27.
                         
                         
                                              AURELIO
                     Your son killed his dog.
                         
                                              VIGGO
                         (a long beat, then)
                     Good evening, Aurelio.
                         
          Click - the line goes dead.
                         
          Aurelio refills his drink... and chuckles with a shake of his
          head.
                         
                                                                          FADE TO:
                         
                         
          EXT. A TOWNHOUSE - ESTABLISHING - DAY
                         
          SUPER:   MANHATTAN, NEW YORK
                         
          A resplendent home in one of the city's wealthiest
          neighborhoods.
                         
          A trio of military-grade SEDANS -heavily armored,
          tinted/bulletproof glass, intimidating- pull up to the curb.
          The first and third empty as the keen eyes of ten gunmen
          scour the street, buildings, and rooftops.
                         
          A beat... and one of them slaps a hand on the middle Sedan's
          roof.
                         
          Preceded -and proceeded- by a gunman, IOSEF emerges;
          belligerently naive and yet... scared.
                         
                         
          INT. A TOWNHOUSE - THE LIBRARY - CONTINUOUS
                         
          Lighting himself a cigarette, VIGGO TARASOV -60s, face
          scarred by a hard life, one eye dead, hair perfectly coifed,
          expensive suit, a slight limp, relying on a cane- fills a
          tumbler with ice.
                         
          He selects a fresh bottle of JEWEL OF RUSSIAN CLASSIC VODKA
          and twisting off the cap, hesitating. Deciding otherwise,
          Viggo dumps out the ice, pours himself a double shot, and
          slams it back...
                         
          ...before refilling the glass with ice and pouring himself a
          healthy dose.
                         
                         IOSEF ENTERS-
                         
                                              VIGGO
                         (in Russian, subtitled)
                     Close the door.
                                                                  28.
                         
                         
          -and closes the door behind him, tilting his chin towards his
          father with a smirk.
                         
                                             IOSEF
                    Poor me a double, aye?
                         
                                                VIGGO
                                          (SIGHS)
                    Aye.
                         
          In a surprising blur of motion, Viggo spins-
                         
          -and drives a fist into Iosef's stomach with enough force to
          lift him -momentarily- from the ground.
                         
          With the wind knocked out of him, Iosef drops to his knees,
          opens his mouth to say something, but instead vomits, gagging
          as he gasps for breath.
                         
          Viggo casually returns to the bar, grabs a towel, and tosses
          it down onto his son.
                         
                                             VIGGO (CONT'D)
                        (in Russian, subtitled)
                    Clean that up.
                         
          Again, Iosef opens his mouth to say something, but decides
          otherwise. He grabs the towel and cleans up his mess.
                         
          Viggo takes his drink and walks to the window, his cigarette
          smoldering from the corner of his lips.
                         
                                             VIGGO (CONT'D)
                    You should know by now that I live
                    by one simple rule...
                        (in Russian, subtitled)
                    Should a whelp snap at your
                    fingers, you crush it's fucking
                    skull.
                         
          Iosef pulls himself to his feet, and stumbles to the bar,
          pouring himself a drink.
                         
                                             IOSEF
                        (hushed, pained)
                    What'd I do?
                         
                                             VIGGO
                        (in Russian, subtitled)
                    You fucked up.
                         
                                             IOSEF
                    I don't know what y-
                                                                  29.
                         
                         
          Viggo backhands him, the sound more painful than the strike.
                         
                                              VIGGO
                    Yes.   You do.
                         
                                             IOSEF
                        (hesitating, then)
                    So I stole a fucking car!   So
                    fucking what?
                         
          Viggo smiles -amused- finishes his drink...
                         
          ...and drives a fist into Iosef's stomach again, dropping him
          once more to his knees, tears rolling down his cheeks as he
          vomits up his own drink.
                         
                                             VIGGO
                    Use that tone with me again...
                         
          Viggo kneels down next to Iosef, grabs his hair, pulls back
          his head, produces a switchblade, flicking open the blade and
          placing it to the flesh directly beneath his son's right eye.
                         
                                             VIGGO (CONT'D)
                        (in Russian, subtitled)
                    ...and I'll serve your eye to you
                    in your martini.
                         
          Trembling, Iosef chokes back tears.
                         
                                             VIGGO (CONT'D)
                        (in Russian, subtitled)
                    Am I understood?
                         
                                             IOSEF
                        (gulps, then)
                    Yes... father.
                         
          A beat... and Viggo removes the blade from Iosef's cheek and
          stands, folding the switchblade closed as he stands to pour
          himself another drink.
                         
                                             VIGGO
                    It wasn't the "what you did",
                    Iosef, which draws my ire, but "who
                    you did it to".
                         
                                             IOSEF
                    What?
                        (a beat, then)
                    The old man?
                                                                  30.
                         
                         
                                             VIGGO
                    Careful, son... that old man
                    happens to be three years younger
                    than I.
                         
          Iosef lowers his eyes, his breath catching in the back of his
          throat.
                         
                                             VIGGO (CONT'D)
                    His name is John Wick...
                        (smirks at the memory)
                    ...and when he was fifteen, he lied
                    his way into the marines and headed
                    off to Vietnam. He specialized in
                    force-oriented reconnaissance,
                    meaning he often crossed over into
                    enemy territory to both collect
                    information and -should the
                    opportunity present itself- fuck
                    with the enemy in whatever way that
                    he saw fit.
                         
                         
          EXT. THE WICK HOME - ESTABLISHING - CONTINUOUS
                         
                         
          INT. THE WICK HOME - THE BASEMENT - CONTINUOUS
                         
          Wearing an undershirt and pants, sweating profusely, John
          wields a SLEDGEHAMMER which he swings down onto the floor
          time and time again, cracking the concrete foundation.
                         
                              VIGGO(V.O.)
                    John earned four hundred and
                    seventeen confirmed kills over the
                    course of his five tours. The
                    majority of those were done by
                    hand, by blade, and by small
                    caliber... which is unheard of.
                         
                         
          INT. A TOWNHOUSE - THE LIBRARY - CONTINUOUS
                         
          Viggo takes a long pull off of his drink as the information
          sinks into Iosef, the blood draining from his face.
                         
                                             VIGGO
                    It got to him, though. Hell... How
                    could it not? Even though he won
                    every military distinction on
                    record, including the Medal of
                                   HONOR-
                                                                  31.
                         
                         
          INT. THE WICK HOME - THE BASEMENT - CONTINUOUS
                         
          John has revealed an OLD TRAP DOOR IN THE FLOOR-
                         
                              VIGGO (V.O.)
                    -John was eventually discharged -
                    with high honors, of course- and
                    found himself in the city...
                         
          -which he swings open, revealing a ladder.
                         
                              VIGGO (V.O.)
                    ...lookin' for work.
                         
          John grabs a flashlight and heads down.
                         
                         
          INT. A TOWNHOUSE - THE LIBRARY - CONTINUOUS
                         
          Viggo lowers his empty glass as Iosef refills his glass with
          a trembling hand.
                         
                                             IOSEF
                        (hesitating, then)
                    What kind of work?
                         
                                             VIGGO
                                       (GROWLS)
                    What kind do you think?
                         
                                               IOSEF
                          (a beat, then)
                    Oh.
                         
                         
          INT. THE WICK HOME - THE SUB-BASEMENT - CONTINUOUS
                         
          John shines the light down a thin corridor stacked high with
          a variety of boxes, military containers, and briefcases.
                         
                              VIGGO (V.O.)
                    John was the goddamned boogeyman;
                    give him a name, request a method,
                    and he'd get it done. Come hell or
                    high water, by God... he'd get it
                    done.
                         
                         
          INT. A TOWNHOUSE - THE LIBRARY - CONTINUOUS
                         
          Viggo leans against the fireplace, suddenly tired.
                                                                    32.
                         
                         
                                              VIGGO
                    Then one day, he fell in love and
                    left the game. The years scrolled
                    past, age set in, and he -like
                    myself- had to watch the love of
                    his life die. Suddenly alone, with
                    no family to speak of, John
                    deserved to live -and die- in
                    peace.
                                       (GROWLS)
                    Instead...
                         
                         
          INT. THE WICK HOME - THE SUB-BASEMENT - CONTINUOUS
                         
          John selects a black case, unclasps it, and swings it open-
                         
                               VIGGO (V.O.)
                                        (GROWLS)
                    You went and killed his fucking
                    dog.
                         
          -to reveal a number of PISTOLS, SILENCERS, and AMMUNITION.
                         
                         
          INT. A TOWNHOUSE - THE LIBRARY - CONTINUOUS
                         
          Iosef drops down into a chair, the comprehension of his
          actions clear.
                         
                                             VIGGO
                    Until I say otherwise, you are
                    under house arrest. Am I
                    understood?
                         
                                             IOSEF
                                       (MUTTERS)
                    Yes, sir.
                         
          Viggo turns to leave, chuckling softly to himself.
                         
                                                VIGGO
                    John Wick.     Good God...
                         
          He pauses at the door, glancing back at his son with a
          crooked smile.
                         
                                             VIGGO (CONT'D)
                        (in Russian, subtitled)
                    Sweet dreams.
                         
                         
          EXT. THE WICK HOME - ESTABLISHING - NIGHT
                                                                    33.
                         
                         
          INT. THE WICK HOME - THE KITCHEN - CONTINUOUS
                         
          John sits at the kitchen table, having cleaned and assembled
          one pistol, now oiling a second. His hands are steady, his
          skill impressive.
                         
          We slowly move past him, over the counter, to the door whose
          handle softly turns. We pull back as it opens-
                         
          -FOUR MEN in black masks, each armed with a silenced pistol
          enter, fanning out-
                         
          -and yet John is nowhere to be seen...
                         
          ...and two silenced pistols are missing from the table.
                         
                         
          EXT. THE WICK HOME - CONTINUOUS
                         
          A COP CAR pulls up in front of the barn.
                         
                         
          INT. A COP CAR - CONTINUOUS
                         
          Behind the wheel, CARLO -late twenties, a bit dim, but nice
          enough- kills the engine.
                         
                                             CARLO
                    Let's see here...
                         
          Carlo checks the dashboard computer.
                         
                                             CARLO (CONT'D)
                    ...a black, 1969 Ford Mustang
                    registered to one John Wick.
                    Age...
                                       (DEFLATES)
                    ...61.
                         
          Chuckling EDWARDO -58, nearing retirement, large, heavy,
          smarter than he looks- takes a sip of coffee from his paper
          cup before unbuckling his belt.
                         
                                             EDWARDO
                    Yeah, I'm thinkin' he's the one.
                         
                                             ROBERTO
                    Should we even bother?
                         
          edwardo opens his door...
                         
                                             EDWARDO
                    Protocol's protocol. Stay put.
                    I'll make this quick.
                                                                  34.
                         
                         
          ...and exits.
                         
                         
          INT. THE WICK HOME - THE LIVING ROOM - CONTINUOUS
                         
          The four masked men enter the living room, each wound tight,
          their silenced weapons at the ready. The lead among them
          enters the hallway-
                         
          -and is shot twice; once in the chest, and once in the head.
          As he goes down, John moves past, killing two others, leaving
          the remaining gunmen-
                         
                         
          INT. THE WICK HOME - THE KITCHEN - CONTINUOUS
                         
          -cowering in the kitchen, leaning against the wall.
                         
                         
          INT. THE WICK HOME - THE LIVING ROOM - CONTINUOUS
                         
                         JOHN AIMS-
                         
          -the kitchen light casting the gunman's shadow-
                         
          -and fires twice into the wall-
                         
                         
          INT. THE WICK HOME - THE KITCHEN - CONTINUOUS
                         
          -hitting the gunman in the back and the head, dropping him to
          the floor.
                         
                         
          INT. THE WICK HOME - THE LIVING ROOM - CONTINUOUS
                         
          A KNOCK AT THE DOOR.
                         
          John lowers the pistol, walks to the door, and peers through
          the keyhole to see Edwardo standing on his porch. A beat...
          and John slips the pistol in the back of his pants, unlocks,
          and opens the door.
                         
          An awkward pause, then-
                         
                                                EDWARDO
                       Evenin', John.
                         
                                                JOHN
                       Evenin', Ed.
                         
                                                EDWARDO
                       You workin' again?
                                                                   35.
                         
                         
          John follows his gaze...
                         
          ...to see that a dead gunman is in Edwardo's direct line of
          sight.
                         
                                             JOHN
                    No...just sorting out a few things
                    with the Russian mob.
                         
                                             EDWARDO
                    Ah. Well, then... sort that out
                    however you see fit. I'll cover
                    your ass on my side of the fence as
                    best I can.
                         
                                             JOHN
                    Thanks, Ed... but you still owe me.
                         
                                             EDWARDO
                    That, I do.
                        (a beat, then)
                    Good night, John.
                         
                                             JOHN
                    Good night, Ed.
                         
          Edwardo turns, takes a few steps, hesitates, and turns back.
                         
                                             EDWARDO
                    Earlier today, there was an
                    incident involving a `69 Mustang-
                         
                                             JOHN
                    Yeah, that was me.
                         
                                             EDWARDO
                    Oh. Well, then... I'd recommend
                    you find yourself a new ride for
                    the time being. The heat on that
                    make ain't gonna' die down for
                    quite some time.
                         
          Edwardo leaves.   John closes and locks the door behind him.
                         
                         
          INT. A COP CAR - NIGHT
                         
          Edwardo slips into his seat, closing the door behind him.
                         
                                              ROBERTO
                    Well?
                                                                     36.
                         
                         
                                             EDWARDO
                                       (SIGHS)
                    He ain't our fuckin' guy.
                                       (MOTIONS)
                    Who's next on the list?
                         
                         
          INT. THE BARN - NIGHT
                         
          John pulls a large roll of plastic sheeting down from the
          rafters, balancing it on his shoulder with a grunt.
                         
          He grabs a roll of duct tape as he exits.
                         
                         
          INT. THE WICK HOME - THE LIVING ROOM - NIGHT
                         
          John drops the plastic sheeting down upon the floor, and
          rolls it out.
                         
          Standing over one of the gunmen, he reaches down, retrieves
          the man's pistol, and slips it into the holster at the man's
          side. John then kneels beside him and pushes the body onto
          the plastic, rolling him up tight.
                         
          Using his ceramic straight razor, the plastic is cut off from
          the roll. Wrapping the feet, arms, and head tight with duct
          tape, John repeats this process with each body...
                         
                         
          INT. THE WICK HOME - THE KITCHEN - LATER
                         
          ...until they are neatly lined up near the back door.
                         
          John takes the phone off the wall, thinks for a long moment,
          and dials a number.
                         
          A long beat, then...
                         
                                             JOHN
                    This is Wick. John Wick, that's
                    right. Yeah, it has been awhile.
                        (a beat, then)
                    I'd like to make a reservation for
                    four.
                         
          John glances at the bodies.
                         
                                             JOHN (CONT'D)
                    Ten o'clock? Perfect. Thanks.
                         
          John hangs up.
                                                                  37.
                         
                         
          INT. THE WICK HOME - THE SUB-BASEMENT - NIGHT
                         
          John casually opens one of a half-dozen, identical, silver
          cases stacked among the others.
                         
          Inside are hundreds of AMERICAN LIBERTY GOLD BULLION COINS.
                         
          John counts out SIX of them, and closes the case.
                         
                         
          INT. THE WICK HOME - THE LIVING ROOM - NIGHT
                         
          John mops up the blood...
                         
          ...and spackles the bullet holes in his wall.
                         
          We hear a KNOCK at the back door.
                         
          John wipes his hands against his pants, and-
                         
                         
          INT. THE WICK HOME - THE KITCHEN - CONTINUOUS
                         
          -opens the door.
                         
          Removing his hat, CHARLIE -70s, small, creepy, thin, frail,
          eyes gentle, a tattooed smirk upon his lips- extends his hand
          with a smile.
                         
                                             CHARLIE
                    Good to see you, John.
                         
          John shakes his hand.
                         
                                             JOHN
                    You, too, Charlie.
                         
          Charlie enters, followed by two GOONS -forties, tall,
          muscular, emotionless- who offer John little more than a nod
          before they begin carrying the bodies out of the house.
                         
                                             CHARLIE
                    I was sorry to hear about Norma.
                         
                                             JOHN
                    Thanks.
                         
                                             CHARLIE
                    She was always kind to me.
                        (a beat, then amused)
                    So, what have you been doing to
                    pass the time?
                                                                  38.
                         
                         
                                             JOHN
                    I got me a hobby or two.
                         
                                              CHARLIE
                    I can see that.
                                       (HESITATING)
                    Tell me, John... are we back in the
                    game, now?
                         
                                             JOHN
                    Sorry, Charlie, but no.     I'm on my
                    own nowadays.
                         
                                             CHARLIE
                                       (SIGHS)
                    That is a pity. I find the new
                    breed of your ilk unstable, ill-
                    wrought, and tiresome. The
                    overused adage holds true: they
                    don't make `em like they used to,
                    John.
                         
                                             JOHN
                                       (SMILES)
                    No, they don't.
                         
                                             GOON #1
                    We're a go, boss.
                         
                                                CHARLIE
                    Excellent.
                         
          John hands Charlie the six gold coins which he graciously
          accepts with a slight tilt of the head.
                         
                                                JOHN
                    Thanks.
                         
                                             CHARLIE
                    My pleasure, John... and might I be
                    expecting more such visitations?
                         
                                             JOHN
                    I make no promises on that.
                         
                                              CHARLIE
                                       (CHUCKLES)
                    Well said.
                         
          Charlie extends his hand.     John shakes it.
                         
                                             CHARLIE (CONT'D)
                    Be seein' you, John.
                                                                   39.
                         
                         
                                              JOHN
                     See ya', Charlie.
                         
          John closes the door.
                         
                                                                            FADE TO:
                         
                         
          EXT. A TOWNHOUSE - ESTABLISHING - EARLY DAY
                         
                         
          INT. A TOWNHOUSE - THE KITCHEN - CONTINUOUS
                         
          Cutting vegetables with a large knife, Viggo slides them onto
          the face of an open omelette simmering in the pan. As he
          folds the egg over onto itself, his phone rings. He answers
          it.
                         
                                                 VIGGO
                            (in Russian, subtitled)
                     Yes?
                         
          Viggo rubs his brow with a frown, his head down.
                         
                                              VIGGO (CONT'D)
                         (in Russian, subtitled)
                     Of course he did.
                         (a beat, then)
                     Put the word out. Two million to
                     the man who kills John Wick. Three
                     million to the man who delivers him
                     intact.
                         
          Viggo hangs up, thinks for a moment, slips the omelette onto
          a plate, hesitates, and then dials a number.
                         
                         
          EXT. A CITYSCAPE - ESTABLISHING - CONTINUOUS
                         
          SUPER:   MAJORCA, SPAIN
                         
          A beautiful, rustic, Mediterranean setting.
                         
                         
          EXT. A MANSION - ESTABLISHING - CONTINUOUS
                         
          Situated on a hundred acres populated by thousands of almond
          trees, the building -complimented by the grounds- is
          breathtaking.
                                                                  40.
                         
                         
          EXT. THE FIELD - CONTINUOUS
                         
          Accompanied by CESCA -a middle-aged, Majorcan Shepherd Dog,
          similar in look to a Black Labrador- as he walks -cane in
          hand- through his property, MARCUS -seventy, thin, balding,
          round spectacles, clean shaven, always well-dressed,
          expensive watch, and although he may look frail, he is
          anything but- whistles softly to himself.
                         
          His cellphone vibrates.   He answers it.
                         
                                             MARCUS
                    Yes?
                        (a beat, then)
                    Why, hello, Viggo. What's it been?
                    Seven years? Seven years...
                        (a beat, then)
                    Life?
                         
          Marcus looks around with a smile, reaching down to scratch
          Cesca behind the ears.
                         
                                             MARCUS (CONT'D)
                    Life is good.
                         
                         
          INT. A TOWNHOUSE - THE KITCHEN - CONTINUOUS
                         
          Viggo nods, eating a mouthful of the omelette.
                         
                                             VIGGO
                    Good, good.
                        (hesitating, then)
                    I've a favor to ask. One that pays
                    quite well.
                         
                         
          INT. A MANSION - CONTINUOUS
                         
          Marcus chuckles with a shake of his head.
                         
                                             MARCUS
                    As I keep telling those -like you-
                    who keep calling, Viggo... I'm
                    retired.
                         
          Marcus listens to Viggo talk...
                         
          ...pausing in mid-step...
                         
          ...his brow furrowed, eyes still.
                                                                   41.
                         
                         
                                              MARCUS (CONT'D)
                    Come again?
                        (a beat, then)
                    John Wick?
                        (a long beat, then)
                    Consider it done.
                         
          Marcus ends the call, slips the phone back into his pocket,
          takes a deep breath, exhales, turns, and starts walking back
          to his house.
                         
                                             MARCUS (CONT'D)
                        (in Catalan, subtitled)
                    Sorry, Cesca... but I've an old
                    friend to attend to.
                         
                                                                          FADE TO:
                         
                         
          EXT. THE TRAIN STATION - ESTABLISHING - DAY
                         
                         
          EXT. THE TRAIN STATION - CONTINUOUS
                         
          Pushing a cart of luggage before him, John enters, studying
          the security checkpoint.
                         
          He spots EVAN -60s, African-American, weathered, large man
          with a kind face- who works for the TSA, manning a security
          checkpoint.
                         
          As John approaches the two share a knowing glance.
                         
                                             EVAN
                                       (MOTIONS)
                    Pockets.
                         
          John places his keys, phone, wallet, and TWO GOLD COINS into
          the tray...
                         
          ...as Evan casually flips off the x-ray machine, allowing
          both John and his luggage through without incident.
                         
          John retrieves his keys, phone, and wallet from the tray-
                         
                                             EVAN (CONT'D)
                    Good day, sir.
                         
          -and walks on as Evan turns the x-ray machine back on,
          slipping the gold coins into his pocket.
                         
                                                                          FADE TO:
                                                                    42.
                         
                         
          EXT. THE RAIL TRACKS - ESTABLISHING - DAY
                         
          A silver-nosed train roars past, its wheels melting snow from
          the tracks beneath it.
                         
                         
          INT. THE TRAIN - CONTINUOUS
                         
          John sits alone, the train half-empty, staring out at the
          countryside passing him by.
                         
                                                                            FADE TO:
                         
                         
          EXT. A CITYSCAPE - ESTABLISHING - DAY
                         
          The city is a roiling mass of activity.
                         
                                                                            FADE TO:
                         
                         
          EXT. THE CONTINENTAL - A HOTEL - ESTABLISHING - DAY
                         
          Small, trendy, and posh:    an upscale, boutique hotel.
                         
                         
          INT. THE CONTINENTAL - THE LOBBY - CONTINUOUS
                         
          Carrying a bulky briefcase in each hand -with the duffel bag
          slung across his shoulders- John approaches the front desk
          where the MANAGER smiles up at him.
                         
                                             MANAGER
                    Hello, sir. How may I help you
                    today?
                         
                                              JOHN
                    I called ahead.     Reservation for
                    John Wick.
                         
          The Manager checks his computer.
                         
                                              MANAGER
                    Ah, yes.   I have you for two
                    nights.
                         
                                             JOHN
                    Depending on business, it may be
                    more.
                         
                                             MANAGER
                    That's not a problem, sir. We're
                    only at sixty percent capacity.
                                             (MORE)
                                                                  43.
                         
                                             MANAGER (CONT'D)
                    Just let me know should you choose
                    to extend your stay.
                         
                                             JOHN
                                       (LOOKING AROUND)
                    Y'know, I haven't been here in
                    years. When did the old girl get a
                    facelift?
                         
                                             MANAGER
                    About twelve years ago.
                         
                                             JOHN
                    Same owner?
                         
                                              MANAGER
                                       (NODS)
                    Same owner.
                         
          John slides across a GOLD COIN...
                         
                                             JOHN
                    Is she still singin'?
                         
          ...which the Manager -without so much as a blink- slides into
          his pocket.
                         
                                             MANAGER
                    She is. Daily, in fact.   Round
                    about midnight.
                         
                                             JOHN
                    That's good to hear.
                         
          The Manager hands him a key.
                         
                                             MANAGER
                    Floor seven, room nine.
                                       (MOTIONS)
                    Would you like help with your bags?
                         
                                             JOHN
                    No, thanks.
                         
                                             MANAGER
                    Will there be anything else then,
                    sir?
                         
                                             JOHN
                        (glances at his watch)
                    Can you send me up a hamburger -
                    rare, mustard, onions, pickle- and
                    fries?
                                                                     44.
                         
                         
                                             MANAGER
                        (writing it down)
                    Yes, sir. And to drink?
                         
                                             JOHN
                    A nice Pinot. Mid-range. I'll
                    leave that to your discretion.
                         
                                             MANAGER
                    Yes, sir. I have one in mind.
                    It'll be up in a half-hour.
                         
                                                JOHN
                    Thank you.
                         
                                                                             FADE TO:
                         
                         
          INT. THE CONTINENTAL - ESTABLISHING - DUSK
                         
          The sun has begun to set;     the street lamps having begun to
          ignite.
                         
                         
          INT. JOHN'S HOTEL ROOM - CONTINUOUS
                         
          A half-eaten meal is scattered upon the table, the bottle of
          wine half-empty.
                         
          Resting upon the bed, the briefcases lie open, revealing a
          veritable armory of dismantled weapons, numerous clips, and
          boxes of ammunition.
                         
          Sitting at the desk, John pauses from cleaning a pistol to
          empty the wine into his glass. Once done, he pulls back the
          slide, studies the pistol with a keen eye, releases it,
          carefully loads a clip with bullets, and slides it into the
          pistol: locked and loaded.
                         
          From a small wooden case, John selects a SILENCER which he
          screws onto the pistol. He sets it down next to a pump-
          action sawed-off SHOTGUN, a SNIPER RIFLE, an old school UZI
          SUBMACHINE GUN -silenced- with a polished mahogany stock, a K-
          BAR DAGGER, and another pistol.
                         
          A beat... and John stands, slips the silenced pistol into the
          back of his pants, dons his jacket, turns off the light, and
          leaves.
                                                                   45.
                         
                         
          EXT. THE RED CIRCLE - ESTABLISHING - NIGHT
                         
          An upscale night club, the line curled around the side of the
          building, generously serviced by heat lamps to accommodate
          the almost non-existent dresses of the many young women.
                         
                         
          EXT. THE RED CIRCLE - CONTINUOUS
                         
          John approaches the BOUNCER -30s, Russian, massive, tattooed
          neck, intimidating, his suit one size too small on purpose-
          who controls entry, the guest list glowing upon his tablet
          computer.
                         
                                              BOUNCER
                    Name?
                         
          John hands him three, hundred dollar bills.
                         
                                              JOHN
                    Guest.
                         
          The Bouncer takes the bills, pockets them, and unclips the
          red velvet rope, allowing him entry.
                         
                                              BOUNCER
                    Welcome.
                         
                                              JOHN
                    Thanks.
                         
          As John enters, those in the front of the line complain but
          are ignored as the rope is re-attached.
                         
                         
          INT. THE RED CIRCLE - THE LOBBY - CONTINUOUS
                         
          Strangely enough, the lobby is laid back and pleasant.
                         
          A single bar is available to the dozen or so patrons who
          lounge about smoking, laughing, and talking as servers wander
          the floor, offering a variety of appetizers.
                         
          Beyond the lobby, however, is a security station -replete
          with a METAL DETECTOR- in front of the elevators: the
          "action" it would seem, is on the top floor.
                         
          John approaches the security station and pauses, dropping to
          a knee to tie his shoe...
                         
          ...and remove his silenced pistol, shoving it deep into the
          soil of a potted plant.
                                                                   46.
                         
                         
          John stands, empties his pockets into a small plastic bin,
          hands it to a guard, and walks through: he is clean.
                         
                                               JOHN
                    Thanks.
                         
          John takes his things, enters the elevator, and presses the
          red "P" for penthouse.
                         
                         
          INT. THE RED CIRCLE - THE PENTHOUSE LOBBY - LATER
                         
          The doors to the elevator open, the music deafening.   John
          exits, turns left, and enters-
                         
                         
          INT. THE RED CIRCLE - THE PENTHOUSE DANCE FLOOR - CONTINUOUS
                         
          -a two-story structure with the VIPs assembled up top; each
          having paid for their private tables. John enters, carefully
          studying the room. He approaches the bar and waves down a
          bartender.
                         
                                             BARTENDER
                    What can I get you?
                         
          John motions upwards as he slides across five, hundred dollar
          bills.
                         
                                               JOHN
                    A table.
                         
          The Bartender studies him... and then takes his money.
                         
                                               BARTENDER
                    This way.
                         
          John follows the Bartender...
                         
          ...who slips a hundred dollar bill to each of the goons on
          either side of the staircase, heads upstairs...
                         
                         
          INT. THE RED CIRCLE - THE PENTHOUSE - 2ND LEVEL - CONTINUOUS
                         
          ...and slips two bills to the Waitress-
                         
                                             BARTENDER
                                       (TO JOHN)
                    Enjoy.
                         
          -before returning to the bar.
                                                                  47.
                         
                         
                                             WAITRESS
                    This way, sir.
                         
          John follows the Waitress...
                         
          ...to a table with a perfect view of both levels.
                         
                                             WAITRESS (CONT'D)
                    Will this do?
                         
                                             JOHN
                    Yes, thank you.
                         
                                             WAITRESS
                    What would you like to drink?
                         
                                             JOHN
                    Single Malt. Irish, if you've got
                    it.
                         
          John slides her two more hundred dollar bills.
                         
                                             JOHN (CONT'D)
                    And start me up a tab.
                         
                                             WAITRESS
                    Yes, sir. I've got a ten-year
                    Michael Collins.
                         
                                             JOHN
                    Perfect. Do you have a meat and
                    cheese plate?
                         
                                              WAITRESS
                    I do.   Anything else?
                         
                                              JOHN
                    No.   Thank you.
                         
          As the Waitress turns to fill his order, John studies the
          floor...
                         
          ...and the upper balcony... searching.
                         
                         
          EXT. THE RED CIRCLE - ESTABLISHING - NIGHT
                         
          A soft snow begins to fall.
                         
                         
          INT. THE RED CIRCLE - THE PENTHOUSE - 2ND LEVEL - CONTINUOUS
                         
          John nibbles on some cheese and bread as he pours himself a
          generous helping of whiskey.
                                                                     48.
                         
                         
          Down below, Viktor -finishing off his drink- LIMPS past.
                         
          John's eyes narrow.
                         
          He finishes his drink, stands, and follows after Viktor,
          almost breathing down his neck.
                         
          Book-ended by a pair of Estruscan bodyguards who follow every
          move he makes, Viktor slaps a waitress on the ass as he walks
          past.
                         
                                             VIKTOR
                        (in Russian, subtitled)
                    Another bottle of the Goose, love!
                         
                                                                        SMASHCUT TO:
                         
                         
          INT. THE WICK HOME - THE LIVING ROOM - FLASHBACK
                         
          As John stares at Moose's silhouette...
                         
          ...VIKTOR limps past.
                         
                              VIKTOR (O.C.)
                        (in Russian, subtitled)
                    Yeah. He kept `em in a bowl like
                    my old man.
                         
                                                                        SMASHCUT TO:
                         
                         
          INT. THE RED CIRCLE - THE BATHROOM - CONTINUOUS
                         
          Drunk, Viktor and his bodyguards enter the bathroom, pausing
          to light a cigarette, before limping into-
                         
                         
          INT. THE RED CIRCLE - THE BATHROOM - A STALL - CONTINUOUS
                         
          -where he leans against the wall in front of the toilet, eyes
          at half-mast.
                         
                         
          INT. THE RED CIRCLE - THE BATHROOM - CONTINUOUS
                         
          John enters as a patron leaves, the bathroom now empty save
          himself, Viktor, and the bodyguards.
                         
          As the door closes, John produces his CERAMIC STRAIGHT RAZOR,
          drives it between the door and the jamb, and snaps it in two.
                                                                  49.
                         
                         
          INT. THE RED CIRCLE - THE PENTHOUSE - 2ND LEVEL - CONTINUOUS
                         
          A patron approaches the door and attempts to enter, but it
          won't budge. He shrugs and heads off in search of another
          bathroom.
                         
                         
          INT. THE RED CIRCLE - THE BATHROOM - CONTINUOUS
                         
          One of the bodyguards turns as John approaches, his eyes
          instantly wide -uncomprehending- as the broken tip of the
          blade easily slices open his neck, splashing John with his
          own hot blood.
                         
                         
          INT. THE RED CIRCLE - THE BATHROOM - A STALL - CONTINUOUS
                         
          Viktor glances towards the closed door with a smirk.
                         
                                             VIKTOR
                    Hello?
                         
                         
          INT. THE RED CIRCLE - THE BATHROOM - CONTINUOUS
                         
          As the bodyguard drops to his knees -bleeding out- the second
          guard produces a pistol and -as John moves into him- manages
          to fire off a round which punches through John's shoulder.
                         
                         
          INT. THE RED CIRCLE - THE BATHROOM - A STALL - CONTINUOUS
                         
          Viktor tenses -eyes wide- shakes off before zipping up his
          pants, reaches into his jacket, and fumbles for his gun.
                         
                         
          INT. THE RED CIRCLE - THE BATHROOM - CONTINUOUS
                         
          With a cry derived far more from anger than pain, John head
          butts the other bodyguard -shattering his nose, his face
          instantly crimson with blood- before slashing the remnant of
          the blade wide, severing the bodyguard's artery.
                         
          The door to the bathroom stall opens and as Viktor emerges
          with pistol held out-
                         
          -John slaps it aside, breaks his arm and kicks in his leg-
                         
                         
          INT. THE RED CIRCLE - THE BATHROOM - A STALL - CONTINUOUS
                         
          -sending him to his knees, screaming.
                                                                   50.
                         
                         
          John grabs the broken arm, twists it behind Viktor's back,
          drags him towards the towel, grabs him by the hair, and
          shoves his face into the toilet. He holds him there for a
          good amount of time...
                         
          ...before ripping him back out.
                         
          Gasping for breath, Viktor's eyes are wide, sobriety having
          swiftly returned.
                         
                                             VIKTOR
                                       (CHOKING)
                    What the fuck d-
                         
          John answers by slamming his head against the rim of the
          toilet -breaking Viktor's nose- before shoving his face back
          beneath the water. A long beat...
                         
          ...and John pulls Viktor back up for air.
                         
                                             JOHN
                        (in Russian, subtitled)
                    My name is John Wick. You took my
                    car. You killed my dog. Where...
                    is Iosef?
                         
                                             VIKTOR
                    Fuck you, old m-
                         
          Behind his back, John snaps Viktor's wrist, and -as he drives
          his face back beneath the water- John snaps one finger after
          the next.
                         
          Underwater, Viktor screams, struggling.
                         
          John pulls him free.
                         
                                             VIKTOR (CONT'D)
                                       (WAILING)
                    VIGGO! HIS FATHER! HE'S WITH
                    VIGGO!
                         
                                             JOHN
                    And where is Viggo?
                         
                                             VIKTOR
                    He moves about... from one place to
                    the next... he's put Iosef under
                    his thumb... wherever Viggo goes,
                    so does Iosef.
                         
          John twists Viktor's arm, breaking it with a dry SNAP.
          Viktor screams...
                                                                  51.
                         
                         
          ...but John keeps holding his arm painfully in place.
                         
                                               JOHN
                          (in Russian, subtitled)
                      Where... is... Viggo?
                         
                                               VIKTOR
                          (in Russian, subtitled)
                      Please... I don't know... please...
                         
          A beat...
                         
          ...and John drives Viktor's head down upon the toilet rim at
          an odd angle, his neck snapping.
                         
          Silence.
                         
          John removes Viktor's wallet and cellphone before exiting the
          stall.
                         
                         
          INT. THE RED CIRCLE - THE BATHROOM - CONTINUOUS
                         
          He slides Viktor's wallet into one pocket and his cell phone
          into another. At the sink, he turns on the cold water tap...
                         
          ...splashes it up into his face, turns...
                         
          ...and pauses, realizing that he is covered in blood.
                         
          John pulls off his shirt, wipes the blood from his face,
          tosses the shirt aside, reaches down, removes Viktor's shirt,
          and slips it on, carefully buttoning it up.
                         
          He wets his hair, slicks it back, turns, removes the piece of
          ceramic blade wedged in the door frame, tosses it into the
          trash, and leaves.
                         
                         
          INT. THE RED CIRCLE - THE PENTHOUSE - 2ND LEVEL - CONTINUOUS
                         
          John passes by the Waitress, pausing to hand her a couple of
          hundred dollar bills.
                         
                                               JOHN
                      Please close out my tab.
                         
                                                WAITRESS
                      Yes, sir.
                                         (NODS)
                      Thank you, sir.
                         
          The blood from his shoulder wound begins to seep into the
          shirt, but only he notices it.
                                                                     52.
                         
                         
                                             JOHN
                    Good evening.
                         
                                             WAITRESS
                    Good evening, sir.
                         
          John heads down the staircase-
                         
                         
          INT. THE RED CIRCLE - THE DANCE FLOOR - CONTINUOUS
                         
          -and calmly makes his way through the sea of dancers...
                         
          ...as up top, chaos erupts but is silenced by the deafening
          music.
                         
                         
          INT. THE RED CIRCLE - THE STAIRWELL - CONTINUOUS
                         
          Using his one good shoulder, John opens the steel door, and -
          his skin pale, cold sweat upon his brow- moves as fast as he
          can downwards.
                         
          His shoulder hurts.
                         
          The blood loss nears critical.
                         
                         
          EXT. THE RED CIRCLE - AN ALLEY - NIGHT
                         
          John exits the building as he scrolls through Viktor's phone,
          searching.
                         
          He finds Iosef's number, and as he calls it, studies the
          image of Iosef which appears on screen.
                         
                         
          EXT. VIGGO'S TOWNHOUSE - ESTABLISHING - NIGHT
                         
                         
          INT. VIGGO'S TOWNHOUSE - A BEDROOM - CONTINUOUS
                         
          Iosef lays on his bed with an arm behind his head, smoking as
          he stares up at the ceiling.
                         
          We hear the vibration of his cell phone. He lifts the phone,
          smiles at the sight of Viktor's caller I.D., and answers.
                         
                                             IOSEF
                        (in Russian, subtitled)
                    Hey, Vik.
                                                                  53.
                         
                         
                              JOHN (O.S.)
                        (a long beat, then)
                    Viktor is dead.
                         
          Iosef bolts upright, his breath stuck in his throat, eyes
          wide.
                         
                         
          INT. AN ALLEY - CONTINUOUS
                         
          John trudges through the snow with Viktor's phone to his ear.
                         
                                             JOHN
                    As for the car, I got that back,
                    but as for Moose, well... I'm
                    takin' a page from Exodus on that
                    one: an eye for an eye.
                        (a beat, then)
                    No... no, better yet, Genesis.
                         
                         
          INT. VIGGO'S TOWNHOUSE - CONTINUOUS
                         
          Iosef swallows hard.
                         
                              JOHN (O.S.)
                    Adah and Zillah, hear my voice;
                    Wives of Lamech, listen to my
                    speech. For I have killed a man
                    for wounding me, even a young man
                    for hurting me. If Cain shall be
                    avenged sevenfold, then Lamech
                    seventy-sevenfold.
                         
                         
          INT. AN ALLEY - CONTINUOUS
                         
          John peers around the corner.
                         
                                             JOHN
                    Make your peace with God, Iosef...
                        (in Russian, subtitled)
                    ...for the Devil shall see you
                    soon.
                         
                         
          INT. VIGGO'S TOWNHOUSE - A BEDROOM - CONTINUOUS
                         
          A long beat... and Iosef hangs up his phone, staring at the
          wall... a solitary tear rolling down his cheek.
                                                                   54.
                         
                         
          EXT. AN ALLEY - CONTINUOUS
                         
          John tosses the phone down into the snow, and jogs across the
          street...
                         
          ...as MARCUS -a cigarette smoldering between his lips-
          watches him from the shadows.
                         
                                                                          FADE TO:
                         
                         
          INT. THE CONTINENTAL - ESTABLISHING - NIGHT
                         
                         
          INT. THE CONTINENTAL - THE LOBBY - CONTINUOUS
                         
          The lobby is empty -save the Manager- who glances up from his
          computer...
                         
          ...to find a wounded -and quite bloody- John walking towards
          him.
                         
                                             MANAGER
                                       (WITHOUT BLINKING)
                    Good evenin', sir.
                         
                                               JOHN
                    Evenin'.    Is the doctor in?
                         
                                               MANAGER
                    Yes, sir.    Twenty-four/seven.
                         
                                             JOHN
                    Send him up, please.
                         
                                               MANAGER
                    Yes, sir.    Anything else, sir?
                         
                                               JOHN
                    Depends.    How good's your laundry?
                         
                                             MANAGER
                    The best, sir, however, I'm sorry
                    to say that...
                        (hesitating, then)
                    ...no one's that good.
                         
          John chuckles, sliding a gold coin across to the Manager.
                         
                                              JOHN
                    No, I thought not.
                                       (NODS)
                    Send me up a beer, too, will you?
                                                                  55.
                         
                         
                                               MANAGER
                    Yes, sir.    What do you favor?
                         
                                             JOHN
                    Anything cold.
                         
                         
          EXT. THE CONTINENTAL - ESTABLISHING - NIGHT
                         
                         
          INT. JOHN'S HOTEL ROOM - CONTINUOUS
                         
          Sitting in a chair with his shirt off and a beer in hand,
          John grits his teeth as the DOCTOR -80s, steady hands,
          glasses, thinning hair, frail, but strong- removes the bullet
          from his shoulder, dropping it into a glass of water.
                         
                                             JOHN
                    Did she chip off?
                         
                                             DOCTOR
                    Lucky for you, no.   It looks to be
                    a sub-sonic.
                         
                                             JOHN
                    Good to hear.
                         
          The Doctor cleans the wound, dries it off, and begins to sew
          shut the wound.
                         
                         
          INT. THE CONTINENTAL - THE HALLWAY - LATER
                         
          The Doctor exits as John stands in the doorway, his shoulder
          bound tight with gauze.
                         
                                             JOHN
                    What sort of movement am I lookin'
                    at?
                         
                                             DOCTOR
                    If you're lookin' to heal right
                    quick, then keep it marginal.
                    However, if you've still...
                        (searching, then)
                    ...got a bit a' business to attend
                    to...
                         
          The Doctor hands him a pill container.
                         
                                             DOCTOR (CONT'D)
                    ...take two of these beforehand.
                    You will rip open, you will bleed,
                    but you will have full function.
                                                                     56.
                         
                         
                                                JOHN
                    And after?
                         
                                             DOCTOR
                    It'll hurt like hell, son... but
                    come the long run, you'll be fine.
                         
          John hands the Doctor two gold coins.
                         
                                             JOHN
                    Thanks, doc.
                         
                                              DOCTOR
                    It's what I do.
                                       (NODS)
                    Evenin', John.
                         
                                                JOHN
                    Evenin'.
                         
          John closes the door behind him.
                         
                                                                           FADE TO:
                         
                         
          EXT. THE CONTINENTAL - ESTABLISHING - NIGHT
                         
          The snow now falls harder, although the pace seems lazy.
                         
                         
          INT. THE CONTINENTAL - THE KITCHEN - CONTINUOUS
                         
          Dressed in a fresh suit and tie, John strides through the
          kitchen, ignored by the bustling staff.
                         
                         
          INT. THE CONTINENTAL - THE KITCHEN - DRY STORAGE - CONTINUOUS
                         
          John enters the room, and makes his way to the back where a
          small staircase leads downward.
                         
          John walks down them and enters-
                         
                         
          INT. THE CONTINENTAL - THE SUB-BASEMENT - CONTINUOUS
                         
          -walking down the long, brick-enclosed corridor...
                         
          ...stopping before a large, thick, imposing IRON DOOR.
                         
          John removes a gold coin from his pocket...
                         
          ...and slips it into a slit -similar to that of a pay phone-
          to the right of the door.
                                                                  57.
                         
                         
          A beat...
                         
          ...and a section of the door slides open, revealing a pair of
          judging eyes. This is EDDIE -30s, red beard, shaven head,
          pierced, tattooed, three piece suit- intimidating as hell.
                         
          He studies John for a long moment.
                         
                                               EDDIE
                          (a beat, then)
                      I don't know you.
                         
                                               JOHN
                      Maybe not... but I know this place.
                         
          A beat... and Eddie slides the view piece shut.
                         
          A beat... and the door is unlocked, swinging open.
                         
          John enters, and the door is immediately swung shut behind,
          sealed and locked tight.
                         
                         
          INT. THE CONTINENTAL - THE SPEAK EASY - ENTRYWAY - CONTINUOUS
                         
          The room is small, but comfortable.
                         
          To the right are a number of coat/hat racks populated by a
          dozen or so items.
                         
          To the left is a bank of modified cigar locker; dozens of
          transparent, safety-deposit boxes framed in mahogany with a
          plaque -etched with a name- upon each.
                         
          Eddie hands the coin back to John.
                         
                                               EDDIE
                      You carryin'?
                         
                                                JOHN
                      No.   Wait...
                         
          John snaps back his wrist...
                         
          ...and hands Eddie the ceramic straight blade.
                         
                                                  JOHN (CONT'D)
                      Sorry.
                         
                                               EDDIE
                      You gotta' name?
                         
                                                  JOHN
                      John Wick.
                                                                    58.
                         
                         
          Eddie recognizes this name, his demeanor changing
          drastically.
                         
                                             EDDIE
                    Oh.
                         
          Eddie turns, finds a locker with the name JOHN WICK carved
          upon it, opens the small door, slides in the blade, and
          closes it.
                         
                                             JOHN
                    How about you?
                         
                                             EDDIE
                    What about me?
                         
                                             JOHN
                    You gotta' name?
                         
          A beat... and Eddie smiles, extending a hand, instantly warm.
                         
                                             EDDIE
                    They call me Eddie.
                         
                                             JOHN
                                       (SMILES)
                    Pleased to meet you, Eddie.
                         
                                             EDDIE
                    Same goes for me, Mr. Wick.
                         
                                             JOHN
                    Please... call me, John.
                         
                         
          INT. THE CONTINENTAL - THE SPEAK EASY - NIGHT
                         
          John enters the room through a pair of velvet drapes...
                         
          ...and pauses, taking it all in with a smile.
                         
          A luxurious tavern crafted from a long forgotten speak-easy,
          the room isn't too big, and isn't too small, but... just
          right.
                         
          Booths line the outside walls while a number of tables are
          scattered about.
                         
          Near the stage, a small dance floor has been cleared, the
          wooden tiles worn, but lovingly cared for.
                                                                  59.
                         
                         
          On stage, JENNY -80s, African-American, petite, a commanding
          presence- sways behind the microphone, singing an old
          standard, her voice similar to that of Billie Holiday;
          strong, tender, and sincere.
                         
          Her eyes grow wide at the sight of John, but she never wavers
          from her tune.
                         
          As John makes his way through the room, everyone nodes,
          offers a handshake, or a simple greeting: this is an old
          family... of a sort.
                         
          In the corner, WINSTON -70s, English, tall, lean, well-
          dressed, glasses, tailored, precise- sits with a worn,
          paperback copy of THE TELL-TALE SHREW in one hand and a dry
          sherry in the other.
                         
                                             JOHN
                    Hello, Winston.
                         
          Winston lowers the book, and glances across at John with a
          blank -yet warm- look.
                         
                                             WINSTON
                    Hello, Jonathan.
                        (a beat, then)
                    It's been awhile.
                         
                                             JOHN
                    That, it has.
                                       (LOOKING AROUND)
                    I'm glad to see the old place still
                    up and runnin'.
                         
                                             WINSTON
                                       (HALF-SMILES)
                    I could say the same for you.
                         
          John approaches the bar...
                         
          ...where JIMMY -40s, African-American, three-piece suit,
          expensive watch, kind eyes, quick to smile- looks up with a
          grin.
                         
                                             JIMMY
                    Ho... lee... shit.
                         
                                             JOHN
                    Hey, Jimmy.
                         
          The two shake hands like old friends.
                         
                                             JIMMY
                    John, my God, it's been... what?
                                                                  60.
                         
                         
                                             JOHN
                    I'm no good with time, but... it's
                    been awhile.
                         
                                             JIMMY
                    That, it has.
                        (a beat, then)
                    We we're all broken up over Norma,
                    y'know.
                         
                                              JOHN
                    She got the card, the flowers...
                    she knows you -all of you- loved
                    her.
                         (a beat, then)
                    And thanks, Jimmy. It meant a lot
                    to me as well.
                         
                                             JIMMY
                    Well, shit, it's good to see you,
                    John. What can I get you?
                         
                                             JOHN
                    I'd love a martini.
                         
                                             JIMMY
                    Gin, dry, and onions?
                         
                                               JOHN
                    Good man.
                         
                                             JIMMY
                    Go on and take a seat.    I'll be
                    with you in a moment.
                         
                                             JOHN
                    Thanks, Jimmy.
                         
                                             JIMMY
                    All good, John... and seriously...
                    it's good to see you.
                         
          As John leaves Jimmy to make his martini, John strays towards
          the stage.
                         
          Jenny finishes her song, the audiences politely applauds, and
          she steps down to give him a strong embrace.
                         
                                             JENNY
                    John Wick in the flesh... my, oh,
                    my... will wonders never cease.
                         
          John smiles... almost sheepishly.
                                                                     61.
                         
                         
                                             JOHN
                    Hey, Jenny.
                         
                                             JENNY
                    Where've you been keepin' yourself?
                         
                                             JOHN
                    I'm not quite sure, but with that
                    said... here I am.
                         
                                             JENNY
                    Here you are, indeed.   My, oh,
                    my...
                         
          Jenny hesitates, and then clasps a hand to his shoulder.
                         
                                             JENNY (CONT'D)
                    I miss her, too, y'know...
                         
                                                JOHN
                    I know.
                         
                                             JENNY
                    And I haven't... I mean, not since
                    the last time...
                        (hesitating, then)
                    Would you mind... if I sang it?
                                       (SMILES)
                    You can say, "no".
                         
                                             JOHN
                                       (CHUCKLES)
                    No, no, Jenny... go right ahead.
                    In fact... please do. I'd like to
                    hear it, too.
                         
                                                JENNY
                    Will do.
                         
          Jenny hugs him again, kissing him on the cheek.
                         
                                             JENNY (CONT'D)
                    This visit of yours ain't no
                    passin' fancy, is it?
                         
                                                JOHN
                    No, ma'am.
                         
                                             JENNY
                    Well, then... you be safe, you
                    hear?
                                                                  62.
                         
                         
                                             JOHN
                        (nods, smiles)
                    I hear.
                         
          Jenny takes to the stage...
                         
          ...as John sinks into his booth.
                         
                         JIMMY NODS-
                         
                                               JIMMY
                    Enjoy.
                         
          -as he slides a martini across to John.
                         
          On stage, Jenny whispers to the members of her small band
          before taking to the microphone.
                         
                                             JENNY
                    It's been awhile, but... here's to
                    the past... may it influence our
                    future.
                         
          The music begins...
                         
          ...and Jenny sings IT HAD TO BE YOU.
                         
          Her rendition is powerful, sweet, endearing, passionate, and
          sincere. As John watches her sing, a smile tugs at the corner
          of his lips.
                         
          On the empty dance floor...
                         
          ...John watches a younger version of himself with Norma...
                         
          ...dancing slowly... twirling... her head on his shoulder...
                         
          ...smiling...
                         
          ...with a sigh...
                         
          ...before disappearing.
                         
          John swallows -hard- as a trembling hand wipes away a tear.
                         
          Jenny smiles at him with a nod.
                         
          He returns the gesture.
                         
          She continues to sing.
                         
          John raises his glass as-
                                                                           63.
                         
                         
          -SNAP.   SNAP.   SNAP.   SNAP.   SNAP.
                         
                                                                                   CUT TO:
                         
                         
                         A CELLPHONE
                         
          Five pictures of John are inconspicuously taken...
                         
          ...by DAVID PERKINS -late twenties, cocky, expensive tastes,
          lean, cruel- at a table across the way.
                         
          David sends them with a text:     "Is this him?"
                         
          A beat... and he receives a text in return:       "Yes.    Where are
          you?"
                         
          David texts back:   "The Continental."
                         
          A beat... and he receives a text:        "We may not engage in
          hostilities upon those premises."
                         
          David texts back:   "I'm willing to take the risk."
                         
          A beat... and he receives a follow up text: "Take him alive.
          Should you fail, we disavow. Should you succeed, we
          reward... greatly."
                         
          David smiles...
                         
                                                                                   CUT TO:
                         
          ...as does John.
                         
          Once the song is done, Jenny is met with boisterous
          applause...
                         
          ...with John clapping the hardest among them.
                         
                                                                                FADE TO:
                         
                         
          INT. THE CONTINENTAL - THE HALLWAY - NIGHT
                         
          Exhausted -and more than a bit tipsy- John runs a hand along
          the wall to maintain his balance.
                         
          He sings under his breath... humming the tune to IT HAD TO BE
          YOU.
                         
          At his door, he fumbles with his key card, but finally
          manages to open it.
                                                                       64.
                         
                         
          INT. JOHN'S HOTEL ROOM - CONTINUOUS
                         
          John closes and locks the door behind him.    He sheds his
          jacket, his shoes, and his pants...
                         
          ...flicks off the lights...
                         
          ...and crawls beneath the blankets with a sigh.
                         
                                                                             FADE TO:
                         
                         
          EXT. THE CONTINENTAL - ESTABLISHING - NIGHT
                         
          The snowstorm ends, the city suddenly still.
                         
                         
          INT. THE CONTINENTAL - THE HALLWAY - CONTINUOUS
                         
          Empty.
                         
          A long beat... and two figures appear at one end of the hall
          while three appear at the other end: suits, ties, gloves,
          and masks.
                         
          One of them inserts a key card attached to his cell-phone and
          hacks the lock; the light turning from red to green.
                         
          Another places a small, MAGNETIC GUN to the door, adjusts the
          setting, and pulls the trigger-
                         
                         
          INT. JOHN'S HOTEL ROOM - CONTINUOUS
                         
          -causing the latch to leap back from the door...
                         
          ...which opens.
                         
          All five men enter, closing the door behind them.
                         
          Sound asleep, John lays upon his back beneath the covers,
          snoring softly.
                         
          Well-rehearsed, two men focus upon his legs while two focus
          upon his arms, their hands hovering above an appendage as
          they wait for the fifth (DAVID)...
                         
          ...who produces a plastic baggie, inside of which rests a
          damp TOWEL.
                         
          David removes the towel...
                         
          ...counts down with a nod from 3... 2... 1...
                                                                  65.
                         
                         
          Like a well-oiled machine, hands clasp down upon John's arms
          and legs as David slaps the rag down upon John's mouth.
                         
          John's body tenses as his eyes snap open...
                         
          ...but he does not inhale.
                         
          A beat... and John twists at an odd angle, causing one of the
          men holding his arm to lose his grasp. With his one arm
          free, John reaches up, grabs David's wrist, and snaps it.
                         
          As David stumbles backwards with a cry, the others pounce
          upon John...
                         
          ...who produces the K-BAR blade from beneath the blankets,
          driving it into the side of one man's neck once... twice...
          three times...
                         
          ...before releasing the blade, arching his back, and wrapping
          his legs around another man's neck, tensing until -SNAP- the
          man's neck breaks.
                         
          The remaining three -horrified- are at a loss; far removed
          from their element.
                         
          David and a gunman run for the door as a third steps back,
          removes his silenced pistol from a shoulder holster, and
          blindly fires.
                         
          The bullets etch up along the mattress and into the
          headboard...
                         
          ...as John rolls off the bed, reaches beneath it, and grabs
          the shotgun.
                         
          BOOM!
                         
          The gunman's left leg disappears as -screaming- he sinks to
          the ground.
                         
          BOOM!
                         
          John fires again, hitting the fallen gunman in the chest.
                         
          BOOM!
                         
          John fires at the fleeing gunman in the open doorway-
                         
                         
          INT. THE CONTINENTAL - THE HALLWAY - CONTINUOUS
                         
          -sending him spinning out into the hallway.
                         
          BOOM!
                                                                     66.
                         
                         
          He is shot a second time in the back, dead in a blink.
                         
          David rips off his mask as he slides to a stop, hands up,
          just as John emerges from his room, pumping the shotgun for
          affect.
                         
          A beat... and he walks towards David, the weapon steady.
                         
                                             DAVID
                                       (TREMBLING)
                    ...please...
                         
          John places the shotgun to the back of David's head.
                         
          John is terribly -to an unsettling degree- calm.
                         
          He produces a small pill container, taps out two, and
          swallows them as he rolls his injured shoulder with a groan.
                         
                                             JOHN
                                       (TERRIBLY CALM)
                    Do you know where Iosef is?
                         
                                                DAVID
                    No, sir.
                         
                                             JOHN
                    Do you know where Viggo is?
                         
                                                DAVID
                    N-no, sir.
                         
                                             JOHN
                                       (SIGHS)
                    Do you know anythin' worth knowin'?
                         
          Tears roll down David's cheeks as he wracks his brain,
          thinking.
                         
                                             JOHN (CONT'D)
                    Just because I'm good at killin'...
                    doesn't mean I like it all that
                    much.
                        (a beat, then)
                    Give me something.
                         
                                             DAVID
                    Wait, wait!
                        (swallowing hard, then)
                    Little Russia. There's a small
                    bank near Cannon Court...
                         
                                             JOHN
                    What about it?
                                                                   67.
                         
                         
                                              DAVID
                     Viggo owns it. It's where he keeps
                     his money. Every dollar of
                     business he does clears through
                     that building.
                         
                                              JOHN
                         (a beat, then)
                     That'll do.
                         
          John swings the shotgun, knocking David out with the butt.
                         
          CLICK.
                         
          John freezes...
                         
          ...as HARRY -60s, African-American, former NFL receiver,
          tall, lean, and imposing, yet currently dressed in boxers, a
          t-shirt, and dress shoes- aims a pistol at the back of John's
          head from the open doorway of his hotel room.
                         
          Silence.
                         
                                              HARRY
                     Do I know you?
                         
                                              JOHN
                     I'm thinkin' so.
                         
          John turns...
                         
          ...and Harry lowers his pistol.
                         
                                                HARRY
                     Oh.    Hey, John.
                         
                                              JOHN
                     Hey, Harry.
                         
          Harry glances about at the bodies...
                         
          ...and steps back inside his room.
                         
                                              HARRY
                     Good night, John.
                         
                                               JOHN
                                        (NODS)
                     Night, Harry.
                         (a beat, then)
                     Hey, Harry.
                         
          Harry hesitates, but glances out from behind his door.
                                                                  68.
                         
                         
                                             HARRY
                    Yeah, John?
                         
                                             JOHN
                    You keen on earnin' a coin?
                         
                                             HARRY
                        (hesitates, then sighs)
                    Times bein' as they are? Yeah,
                    John... I am.
                         
                                             JOHN
                    Do you mind babysittin' the
                    breathin' one for, I dunno...
                        (checking his watch)
                    ...the next six hours or so?
                         
                                             HARRY
                    Catch and release?
                         
          John tosses Harry a gold coin.
                         
                                              JOHN
                                       (NODS)
                    Catch and release.
                         
                                             HARRY
                    Can do.
                         
          We hear the sound of a phone ringing.
                         
          Harry grabs David by the feet as John heads back towards his
          room.
                         
                                             JOHN
                    Good night, Harry.
                         
          Harry drags David back towards his room.
                         
                                             HARRY
                    Good night, John.
                         
                         
          INT. JOHN'S HOTEL ROOM - CONTINUOUS
                         
          John enters his room, and answers the ringing phone.
                         
                                             MANAGER
                    Good evening, Mr. Wick. I'm sorry
                    to be calling you at this hour, but
                    we've received a number of noise
                    complaints from your floor.
                                                                  69.
                         
                         
                                               JOHN
                      You don't have to worry about that
                      anymore. I'll be going to bed
                      soon.
                         
                                               MANAGER
                      Have you any need of -say- a dinner
                      reservation, perhaps?
                         
                                               JOHN
                      Yes, in fact.
                                         (COUNTING)
                      For four.
                         
                                               MANAGER
                      Six o'clock?
                         
                                               JOHN
                      Perfect. Oh, and...
                          (hesitating, then)
                      Do you cater?
                                         (SMILES)
                      Excellent. I'll need a car, and...
                      well... something a bit less
                      trivial.
                         
                                                                           FADE TO:
                         
                         
          EXT. A BRIDGE - ESTABLISHING - DAWN
                         
          Well-lit, but empty; a beautiful expanse of architectural
          history.
                         
                         
          EXT. A BRIDGE - CONTINUOUS
                         
          John walks with his hands in his pockets, his head down, lost
          in thought. He pauses to light himself a cigarette...
                         
          ...a long beat...
                         
          ...and he lowers his head, flicking ash.
                         
                                               JOHN
                      You willin' to put a bullet in my
                      back, Marcus?
                         
          Emerging from the shadows behind him, Marcus holds a silenced-
          pistol, his leather-gloved hand steady.
                         
          A beat...
                                                                    70.
                         
                         
          ...and Marcus smiles, slipping the pistol back into his
          jacket.
                         
                                             MARCUS
                    I owe you, John.
                         
          Marcus joins him at the rail.
                         
          John offers him a cigarette-
                         
                                             JOHN
                    Been awhile, Marcus.
                         
          -which Marcus accepts-
                         
                                             MARCUS
                    Too long, I'd argue.
                         
          -leaning forward to ignite the tip from John's lighter.   He
          pulls back with a nod, squinting out into the night.
                         
                                             JOHN
                    Why'd you take the job then?
                         
                                              MARCUS
                    Because if not for me, it would
                    have been someone who'd have just
                    now pulled the trigger and simply
                    walked away, leaving you to gasp
                    your last.
                         
                                              JOHN
                                       (NODS)
                    Much appreciated, then.
                         
                                              MARCUS
                    Besides, we're the last of our
                    kind; an endangered species of a
                    sort. And I find comfort in knowing
                    that there's someone like me still
                    out there.
                         
                                             JOHN
                        (a long beat, then sighs)
                    What am I doing, Marcus? I mean...
                    it is just a... was a... dog,
                    but...
                         
          John runs a trembling hand through his hair.
                         
                                             MARCUS
                    It's always "just" something, John.
                                   "
                                             (MORE)
                                                                     71.
                         
                                             MARCUS (CONT'D)
                    Just" a wife, "just" a son, "just"
                    a friend, "just" a house, "just" a
                    car... "just" a dog... or "just" a
                    cat. Each of these I've lost in no
                    particular order, and each time the
                    pain I felt was quite real. And my
                    chosen reciprocity to each was no
                    more -and no less- brutal than any
                    other.
                         
                                             JOHN
                        (a beat, then)
                    This isn't like me.
                         
                                             MARCUS
                        (smiles, nods)
                    Maybe not, but for the rare   man of
                    our ilk -those who survived   an
                    arguably unsurvivable life-   the few
                    things we find time to care   for...
                    pass long before we do...
                         
          A long silence...
                         
          ...and Marcus finishes his cigarette, tossing it out into the
          darkness.
                         
                                             MARCUS (CONT'D)
                    Good night, John.
                         
                                             JOHN
                    Good night, Marcus.
                         
          Marcus turns, and heads back into the train...
                         
          ...as John continues to stare out into the night.
                         
          A long beat... and he produces his cell phone, dialing a
          number.
                         
                                                                             FADE TO:
                         
                         
          EXT. A DINER - ESTABLISHING - EARLY DAY
                         
          A corner dive, popular, but its population is sparse this
          early in the morning.
                         
          A limousine pulls up to the curb.
                                                                   72.
                         
                         
          INT. A DINER - CONTINUOUS
                         
          Sipping coffee in a corner booth, John watches the front of
          the building...
                         
          ...lowering his mug as VIGGO -accompanied by two men- enter.
                         
                                             VIGGO
                        (in Russian, subtitled)
                    Wait in the car.
                         
          The two men exit as Viggo walks towards the booth, shedding
          his jacket as he does so.
                         
          Only one of John's hands is above the table, the other
          hovering beneath it, a pistol held tight, unwavering.
                         
          Viggo slips into the seat.
                         
                                             VIGGO (CONT'D)
                    Is that really necessary?
                         
          John answers by taking a sip of his coffee. Viggo shrugs
          with a frown, motioning towards the waitress as he flips over
          his mug.
                         
                                               VIGGO (CONT'D)
                    So be it.
                         
                                             WAITRESS
                        (filling the mug)
                    Cream or sugar?
                         
                                             VIGGO
                    No, thank you.
                         
          As she walks away, Viggo takes a long pull off of his drink.
                         
                                             VIGGO (CONT'D)
                    It's been what? 30 years?
                         
                                             JOHN
                    Yeah, that's about right.
                         
                                             VIGGO
                    Left the game, got married, settled
                    down... I envy that.
                        (a beat, then)
                    Kids?
                         
                                               JOHN
                    No.
                                                                     73.
                         
                         
                                             VIGGO
                    Lucky bastard.
                         
                                             JOHN
                    We tried, but... wasn't in the
                    cards.
                         
                                             VIGGO
                    I fucked a bartender and -ta dah!-
                    nine months later, I had me a piece
                    a' shit tossed on the old doorstep,
                    but... when it comes down to it...
                                       (GLOWERS)
                    He's still my son.
                         
                                              JOHN
                                       (NODS)
                    I figured as much.
                         
                                             VIGGO
                    Funny how one would both die and
                    kill for something they do not
                    love.
                         
                                             JOHN
                    Imagine what one would do if they
                    did.
                         
          Viggo nods, takes a sip of his coffee, and stands.
                         
                                             VIGGO
                    Goodbye, John.
                         
                                             JOHN
                    Goodbye, Viggo.
                         
          Viggo leaves the diner, and slides into-
                         
                         
          INT. A LIMOUSINE - CONTINUOUS
                         
          -where four of his men wait, each armed with a silenced,
          submachine gun: intimidating hardware.
                         
          Viggo closes the door, takes a deep breath, and sighs,
          rubbing his brow.
                         
                                               VIGGO
                    Kill him.
                         
          BOOM!
                                                                  74.
                         
                         
          A round slams into his window, barely missing him before
          hitting the man seated next to him in the side of the head,
          blood spattering against glass.
                         
          Viggo dives to the floor as his men prepare to return fire-
                         
                         
          EXT. A DINER - CONTINUOUS
                         
          -but John is a crackshot, firing as he strides towards the
                         VEHICLE-
                         
                         
          INT. A LIMOUSINE - CONTINUOUS
                         
          -killing two men and wounding a fourth who drops down next to
          Viggo, screaming.
                         
                                             VIGGO
                    DRIVE!
                         
                         
          EXT. A DINER - CONTINUOUS
                         
          John ejects a spent clip, slaps in a fresh one in a blink,
          and unloads into the limousine which jerks forward, tires
          squealing as it drives off.
                         
                         
          INT. A LIMOUSINE - CONTINUOUS
                         
          Viggo lies on his back, staring at the ceiling as he lights
          himself a cigarette.
                         
                                             VIGGO
                    People don't change. Do they,
                    John?
                        (to the screaming gunman)
                    SHUT... THE FUCK... UP!
                         
                         
          EXT. A DINER - CONTINUOUS
                         
          John slips the gun into the back of his pants, turns, and
          calmly walks away.
                         
                                                                          FADE TO:
                         
                         
          INT. A SUBWAY STATION - ESTABLISHING - DAY
                         
          The train pulls up and begins to empty, crowding the
          platform.
                                                                     75.
                         
                         
          INT. A SUBWAY STATION - CONTINUOUS
                         
          John exits the train, stuffs his hands into his pockets, and
          seeks to disappear into the crowd...
                         
          ...as KIRILL and TWO GUNMEN spot him.
                         
          They move towards him...
                         
          ...following...
                         
          ...hands reaching beneath their jackets, fingers curling
          around triggers as silenced pistols are slipped free by
          steady hands.
                         
                                                KIRILL
                     Babushka.
                         
          John slows his stride, hands out to his side, mind racing.
                         
                                                                       SMASHCUT TO:
                         
                         
          INT. THE WICK HOME - THE LIVING ROOM - FLASHBACK - NIGHT
                         
          With consciousness fading, John leans back upon the floor,
          listening to the voices of his assailants.
                         
          With his face hidden within his mask, Kirill chuckles -
          enjoying this- as he sucks on a fresh mint.
                         
                               KIRILL (O.C.)
                         (in Russian, subtitled)
                     Then shit... let the fuckin'
                     babushka fade away and let's get
                     the fuck outta' here.
                         
                                                                       SMASHCUT TO:
                         
                         
          EXT. A SUBWAY STATION - CONTINUOUS
                         
          John tenses, his features hard.
                         
          Kirill grins, willing for John to give him reason to fire.
                         
          Suddenly, a frail commuter stumbles into their midst-
                         
          THUMP!   THUMP!   THUMP!
                         
          -killing each with a single, silenced round to the heart.
                         
          Kirill is dead before he hits the ground.
                                                                  76.
                         
                         
          Amidst a growing sense of chaos, MARCUS shares a parting
          glance with John, slips the pistol in his pocket, smiles, and
          tips his hat down low over his eyes.
                         
          John returns the nod and disappears in the opposite
          direction.
                         
                                                                          FADE TO:
                         
                         
          EXT. A PARKING LOT - ESTABLISHING - DAY
                         
                         
          EXT. A PARKING LOT - CONTINUOUS
                         
          John walks up to an old, FORD LTD sedan. He reaches up into
          a rear wheel well, and rips free a set of keys which had been
          duct-taped within.
                         
          He opens the trunk: we recognize the suitcases therein as
          his own. However, there is also a LARGE DUFFEL BAG as well
          which he opens, studies its contents, and -satisfied- zips
          shut.
                         
          He closes the trunk, opens the front door-
                         
                         
          INT. A SEDAN - CONTINUOUS
                         
          -slides inside, starts the engine-
                         
                         
          EXT. A PARKING LOT - CONTINUOUS
                         
          -and drives off.
                         
                                                                          FADE TO:
                         
                         
          EXT. A STREET - ESTABLISHING - DAY
                         
          A number of the quaint old buildings share both English and
          Russian signs.
                         
                         
          EXT. A STREET - ESTABLISHING - DAY
                         
          With his hands stuffed deep into his pockets, John exits an
          alleyway and ducks into-
                         
                         
          INT. A CAFE - CONTINUOUS
                         
          -where he motions "one" to the waitress.
                                                                     77.
                         
                         
          She points towards a booth. He nods, sheds his jacket, takes
          a seat, and glances down at the menu.
                         
          Through the window, John studies the front facade of A BANK
          building.
                         
                         HIS POV:
                         
          The BANK MANAGER -checking his watch- flips over the sign in
          the door from CLOSED to OPEN.
                         
                                              WAITRESS
                     What can I get you?
                         
                                              JOHN
                     Americano, please.    And a bear
                     claw.
                         
                                              WAITRESS
                     On it.
                         
                                              JOHN
                     Oh, and the bathroom?
                         
                                              WAITRESS
                     Down the hall to the left.
                         
                                              JOHN
                     Thanks.
                         
                         
          INT. A CAFE - THE HALLWAY - DAY
                         
          Pulling on a pair of leather gloves, John walks down the
          hallway, but instead of turning left, he turns right-
                         
                         
          EXT. A CAFE - THE REAR - CONTINUOUS
                         
          -exiting the building.
                         
          He flips his jacket inside-out -from black to gray- and slips
          on a face mask.
                         
          Reaching down behind a trash can, he removes a TWO GALLON
          PLASTIC GAS TANK and a PISTOL before walking back down the
          alley, and out into-
                         
                         
          EXT. THE STREET - CONTINUOUS
                         
          -making a b-line for the Bank.
                                                                   78.
                         
                         
          As he walks across the street, traffic stops as onlookers
          gawk in horror.
                         
          John opens the door, and enters-
                         
                         
          INT. A BANK - CONTINUOUS
                         
          -firing two shots in the air.
                         
                                              JOHN
                     EVERYBODY OUT!
                         (on their looks)
                     NOW!!!!
                         
          Customers flee, secretaries scramble after them, as does the
          Bank Manager...
                         
          ...who slides to a halt, John's pistol staring down at him.
                         
                                                  JOHN (CONT'D)
                     Not you.
                         
                                              BANK MANAGER
                     But... why not... me?
                         
                                              JOHN
                     Take me to Viggo's stash.
                         
                                              BANK MANAGER
                     Wha... what?
                         
                                              JOHN
                     His stash. Personal Holdings.
                                        (GROWLS)
                     Piggy "fucking" Bank.
                         
                                                  BANK MANAGER
                     What?!?      I can't just-
                         
          BOOM!   BOOM!   BOOM!    BOOM!
                         
          John fires four shots...
                         
          ...killing the two gunmen who appeared behind the Bank
          Manager.
                         
                               BANK MANAGER (CONT'D)
                         (a beat, then hushed)
                     This way.
                                                                     79.
                         
                         
          INT. A BANK - THE VAULT - CONTINUOUS
                         
          The Bank Manager swings open the door, revealing two walls of
          safety-deposit boxes on either side...
                         
          ...with a large door in the rear of the vault leading into a
          secondary vault. A keypad is attached to its face replete
          with a fingerprint reader.
                         
          John presses the barrel of the gun to the back of the Bank
          Manager's head and forces him into the vault.
                         
                                                JOHN
                    Open it.
                         
                                                BANK MANAGER
                    I can't.
                         
                                                JOHN
                    Open it.
                         
                                             BANK MANAGER
                    He'll kill me!
                         
                                                JOHN
                    So will I.
                         
          The bank manager hesitates...
                         
          ...and then presses a thumb to the reader and types in a
          code.
                         
          A beat... and the door opens with a hiss.
                         
                                                BANK MANAGER
                    Now, p-
                         
          John pistol-whips the Bank Manager, knocking him out.
                         
          Without really looking inside-
                         
                         
          INT. A BANK- SECONDARY VAULT - CONTINUOUS
                         
          -John tosses the plastic gas can into the secondary vault,
          and unloads the pistol...
                         
          ...into the gas can which explodes into flame, illuminating
          the space to reveal pallets of cash, smuggled artwork,
          jewels, and the like stashed therein.
                         
          John tosses the pistol inside, and walks away.
                                                                     80.
                         
                         
          As the fire grows, devouring the millions of dollars in
          liquid assets...
                         
                         
          EXT. A BANK - THE STREET - CONTINUOUS
                         
          John casually walks across the street, ignoring the gawkers,
          and enters the alleyway.
                         
                         
          INT. A BANK - THE VAULT - CONTINUOUS
                         
          The Bank Manager comes to with a groan, pulling himself up to
          his feet. His jaw draw drops -eyes wide- at the sight of the
          fire.
                         
                                             BANK MANAGER
                    ...fuck... me...
                         
                         
          EXT. A DINER - THE REAR - CONTINUOUS
                         
          John tosses the gloves and mask into the trash, turns his
          jacket back out, slips it back on, and enters-
                         
                         
          INT. A DINER - THE HALLWAY - CONTINUOUS
                         
          -walking down the hallway to enter-
                         
                         
          INT. A DINER - CONTINUOUS
                         
          -slipping into his seat as the Waitress arrives with his
          coffee and donut.
                         
                                             WAITRESS
                    Anything else?
                         
                                             JOHN
                    That'll do. Thank you.
                         
          John takes a deep breath, exhales...
                         
          ...and relaxes as across the street, the Bank Manager emerges
          from the building, and flees off down the street.
                         
                                                                          FADE TO:
                         
                         
          EXT. A BANK - LATER
                         
          A beat... and the trio of intimidating sedans pull up to the
          curb.
                                                                  81.
                         
                         
          The gunmen in the rear and front vehicles emerge, studying
          their surroundings. A beat... and one of the gunman slaps a
          hand to the roof of the center car.
                         
          Proceeded -and preceded- by a bodyguard, Viggo emerges,
          stuffs his hands into his pockets, and marches into the bank
          as across the street...
                         
                         
          INT. A CAFE - CONTINUOUS
                         
          ...John watches.
                         
                                             JOHN
                                       (MUTTERS)
                    No cops. That's new.
                         
                                             WAITRESS
                    We good, hon?
                         
                                               JOHN
                    Yeah.    Yeah, we're good. Thanks.
                         
          The waitress rips the receipt off of her pad-
                         
                                               WAITRESS
                    Anytime.
                         
          -and drops it on the table in front of him.
                         
          John stands, tosses a twenty down on top of it, turns, and
          leaves, snagging a toothpick at the cashier's booth before
          exiting.
                         
                         
          INT. AN ALLEY - CONTINUOUS
                         
          As John walks, he reaches down behind a trash can...
                         
          ...and retrieves a LARGE BRIEFCASE.
                         
                         
          INT. A BANK - SECONDARY VAULT - LATER
                         
          Viggo stands in the center of the small room with his head
          down, prodding a smoldering Picasso with the tip of his foot.
                         
                                             VIGGO
                        (in Russian, subtitled)
                    Where's the manager?
                         
          The question is met by silence.
                                                                  82.
                         
                         
                                             VIGGO (CONT'D)
                        (in Russian, subtitled)
                    I'd run, too.
                        (a beat, then in English)
                    What a shame... what a fucking...
                                       (SIGHS)
                    ...shame...
                         
          Viggo is trembling with rage, hands clenched at his sides,
          eyes unblinking.
                         
                                             VIGGO (CONT'D)
                        (in Russian, subtitled)
                    Iosef... my son... is worth less
                    than this... far less... treasures
                    reduced to ash...
                        (in Russian, subtitled)
                    ...ash...
                         
                         
          EXT. A BANK - LATER
                         
          With his head down -hands stuffed deep into his pockets, a
          cigarette smoldering between his lips- Viggo exits, slowly
          making his way towards his car.
                         
                         
          INT. A DIESEL TRUCK - CONTINUOUS
                         
          Perched behind the wheel -the driver's side window missing-
          John shifts gears, slams his foot down onto the gas...
                         
          ...and narrows his eyes, tensing, his knuckles creaking from
          within leather gloves as his fingers constrict around the
          wheel of the stolen vehicle.
                         
                         
          EXT. A BANK - CONTINUOUS
                         
          The gunmen react to the sound of the engine's roar, the two
          nearest it's approach dropping to a knee, aiming, and firing.
                         
          Bullets slam into the windshield -a round slashing into
          John's cheek, clipping his ear- and engine block before the
          front left tire blows.
                         
          John loses control of the truck which fishtails wildly,
          slamming into a sedan, crushing two gunmen before it
          cartwheels through their midst, killing three more before
          coming to a stop on its side.
                         
          A gunmen pushes Viggo towards the center sedan-
                                                                  83.
                         
                         
                                             GUNMEN
                        (in Russian, subtitled)
                    GET IN! NOW!
                         
          -shoving him inside.
                         
          Three gunmen approach the truck, firing repeatedly.
                         
                         
          INT. A DIESEL TRUCK - CONTINUOUS
                         
          Dazed, John -his face cut by glass, fresh wounds seeping hot
          blood- reaches over into the open briefcase, removing the
          silenced-UZI therein.
                         
          John shoots out the sunroof, dragging himself free of the
          vehicle as he ducks for cover.
                         
                         
          EXT. A STREET - CONTINUOUS
                         
          As the Sedan peels out, John swiftly ejects the clip, selects
          another -wrapped in blue tape, these ARMOR-PIERCING BULLETS
          are dark gray, seemingly sharpened to a tip- from a clip
          belt, slaps it into weapon, drops to a knee and-
                         
          -as the Sedan drives past-
                         
          -depresses the trigger.
                         
                         
          INT. THE SEDAN - CONTINUOUS
                         
          Bullets easily punch through the doors and windows, riddling
          the dash..
                         
          ...the passenger, the driver...
                         
          ...the seats...
                         
          ...one gunmen, Viggo, another gunmen...
                         
          ...and the seats.
                         
                         
          EXT. THE STREET - CONTINUOUS
                         
          The Sedan veers off, plummeting into the store front of a
          pharmacy.
                                                                  84.
                         
                         
          EXT. A BANK - CONTINUOUS
                         
          John ejects the spent clip, selects another wrapped in blue
          tape, turns towards the fallen truck, and pulls the trigger.
                         
          The bullets punch through the roof, seats/floor, and
          undercarriage of the vehicle...
                         
          ...cutting the remaining gunmen to shreds on the sidewalk
          behind it.
                         
          The clip empties.
                         
          Silence.
                         
          John tosses the Uzi into the truck, turns, and walks towards
          the store front from which the rear half of a sedan
          protrudes, pausing to slip free a silenced-pistol from a dead
          man's hand.
                         
                         
          INT. A PHARMACY - CONTINUOUS
                         
          John enters, glancing into the Sedan as he moves past: the
          gunmen are all dead, but Viggo is missing, a rear door open.
                         
          John rounds the corner...
                         
          ...to see a trail of blood.    He follows it...
                         
          ...to find Viggo dragging his broken body, his switchblade in
          one hand, his cellphone in the other. The knife is
          unceremoniously dropped as he struggles to dial 9... 1...
                         
          ...before the phone slips through his fingers, slick with
          blood.
                         
                                              VIGGO
                         (in Russian, subtitled)
                     NO! NO!
                                        (SIGHS)
                     ...no...
                         
          John stands over him, the pistol level.
                         
          As if sensing him, Viggo rolls over with a groan.
                         
                                              VIGGO (CONT'D)
                     Tell me, John... and please... be
                     honest... am I dying here?
                         
          John hesitates, squats, and retrieves Viggo's cell phone.
                                                                  85.
                         
                         
                                             JOHN
                    Unless I complete the call, then...
                    yes.
                         
                                             VIGGO
                    For me to die like this...
                        (spitting, enraged)
                    ...BECAUSE OF HIM...
                                       (SIGHS)
                    ...would be unfortunate.
                         
          Viggo is fading... fast.
                         
                                             VIGGO (CONT'D)
                    I was sending Iosef to a safe house
                    in Moscow. I arranged for
                    transport via... a grain ship...
                    out of Newark...
                         
          Viggo coughs, trembling.
                         
                                             VIGGO (CONT'D)
                    ...please...
                         
          John stands, dials an additional "1", and the send button...
                         
          ...but it is too late:   Viggo is dead.
                         
          John tosses the phone down onto Viggo's chest, slips the gun
          into the back of his pants, turns and as he walks towards the
          store front...
                         
          ...grabs a bottle of rubbing alcohol from the shelf,
          unscrewing the cap.
                         
                         
          EXT. A STREET - CONTINUOUS
                         
          John dumps the bottle onto his head, gritting his teeth, as
          behind him...
                         
          ...the sedan EXPLODES behind him.
                         
          John does not react.
                         
          He tosses aside the bottle, stuffs his hands into his
          pockets, lowers his head, and walks on.
                         
                                                                          FADE TO:
                         
                         
          EXT. THE CONTINENTAL - ESTABLISHING - DAY
                                                                     86.
                         
                         
          INT. HARRY'S HOTEL ROOM - CONTINUOUS
                         
          David sits in a chair with his head down: his ankles, wrists,
          mouth, and eyes bound by duct tape. A weathered hand reaches
          over and RIPS the tape off of his eyes.
                         
          David winces out of pain and the brutal sensation of light.
                         
                              HARRY (O.C.)
                    Housekeepin'll find ya'.
                         
          Dressed in a three-piece suit, Harry places an old -but
          gingerly cared for- hat upon his head, a ring upon his finger
          glistening, his watch an enviable antique.
                         
                                              HARRY (CONT'D)
                    But son? You done a bit a'
                    business on the Continental
                    grounds...
                         
          Harry lifts his suitcase and turns heading for the door.
                         
                                             HARRY (CONT'D)
                    ...and management, well...
                         
          Harry opens the door...
                         
                                             HARRY (CONT'D)
                    ...they don't take kindly to that
                    sort a' thing.
                         
          ...and exits, leaving the door ajar.
                         
          David slumps in his seat; exhausted, broken, and defeated.
                         
                                                                          FADE TO:
                         
                         
          EXT. A CITYSCAPE - ESTABLISHING - DAY/NIGHT
                         
          SUPER: NEWARK, NEW JERSEY
                         
          Day becomes night.
                         
                         
          EXT. THE DOCKS - ESTABLISHING - NIGHT
                         
          A bustling mecca of commerce, the port never sleeps; ships
          of all shapes and sizes dock, empty their shipment, refilled
          with return cargo, and slip out into the night.
                         
          A multi-hulled beast of a ship, THE CHAYKA (Seagull) rests
          dock-side, its bridge guarded by a small army of security
          guards.
                                                                     87.
                         
                         
          Overhead, scattered throughout the cranes, are a half-dozen
          SNIPERS, searching/studying the dockyard.
                         
                         
          INT. THE CHAYKA - THE HULL - CONTINUOUS
                         
          Cellophane-wrapped pallets of WEAPONS and bales of CASH are
          carried by forklifts into the center of the hull and bolted
          to the floor.
                         
          Meanwhile, two dozen high-end, luxury cars enter the hull,
          each driven into its own reinforced, steel crate, the doors
          sealed shut behind them.
                         
          As the last WORKER leaves, he shouts into his walkie-talkie.
                         
                                             WORKER
                    FILL HER UP!
                         
          Overhead, a large chute appears-
                         
                         
          EXT. THE CHAYKA - CONTINUOUS
                         
          -and the OPERATOR presses a button, sending a seemingly
          endless stream of grain down into the hull, covering the
          smuggled goods.
                         
                         
          INT. THE CHAYKA - THE CAPTAIN'S CABIN - CONTINUOUS
                         
          Chewing on an unlit cigar, the CAPTAIN -60s, enormous,
          grizzled, salt-and-pepper beard, long, unkempt hair, dressed
          in denim and leather- studies paperwork at his desk while
          Iosef paces; a cigarette in one hand, a drink in the other.
                         
                                              IOSEF
                    How the fuck long do I have to stay
                    down here?
                         
                                             CAPTAIN
                    Until we are at sea, and even then,
                    your access up top will be limited.
                         
          The Captain's phone rings.   He answers it.
                         
                                             CAPTAIN (CONT'D)
                    Yes?
                         
          The Captain's face falls, his jaw clenched.
                         
                                              CAPTAIN (CONT'D)
                    I'll let him know. Proceed as
                    scheduled.
                                                                  88.
                         
                         
          The Captain hangs up, finds a match, sparks it to flame, and
          ignites the tip of his cigar, puffing it like an old steam
          engine.
                         
                                             CAPTAIN (CONT'D)
                    Your father...
                         
                                             IOSEF
                                       (SCOFFS)
                    What about him?
                         
                                             CAPTAIN
                    He is dead.
                         
          Iosef is stunned.
                         
                                                IOSEF
                    What?
                         
                                                CAPTAIN
                    I'm sorry.     He was k-
                         
          The Captain is cut off by the intercom which squawks to life,
          a screaming voice reduced to panicked static. The Captain
          slaps a hand down onto the call button.
                         
                                             CAPTAIN (CONT'D)
                    Come again?
                         
                              OPERATOR (O.S.)
                    We're taking fire, sir!
                         
                         
          EXT. THE CHAYKA - THE DECK - CONTINUOUS
                         
          A number of security guards lay dead upon the deck -bleeding
          out from single gunshot wounds- as the others sprint for
          cover. The Operator leans hard against the call button of
          the intercom.
                         
                                             OPERATOR
                    Someone's shooting at u-
                         
          A round slams into the side of the Operator's head, killing
          him instantly, his body sinking to the deck.
                         
                         
          INT. THE CHAYKA - THE CAPTAIN'S CABIN - CONTINUOUS
                         
          The Captain stands, checks the chamber of the LUGER PISTOL at
          his side, and heads for the door.
                         
                                             CAPTAIN
                    Until you hear otherwise... stay.
                                                                    89.
                         
                         
          The Captain exits the cabin and slams the door behind him.
          Trembling, Iosef latches close the door...
                         
          ...and pours himself a tall drink.
                         
                         
          EXT. A CRANE - CONTINUOUS
                         
          A SNIPER searches the yard through his scope, his earpiece
          overwhelmed by panicked chatter.
                         
                                             SNIPER
                    This is Alpha. I don't-
                         
          TINK!
                         
          Across the way, another sniper tumbles off his perch...
                         
          TINK!
                         
          ...as does another...
                         
          TINK!
                         
          ...and another...
                         
                                             SNIPER (CONT'D)
                    Where the fuck is he?
                         
          TINK!
                         
          ...and another...
                         
          The sniper searches, his skin wet with perspiration, hand
          trembling upon the stock.
                         
          TINK!
                         
          ...and another, screaming as he falls...
                         
                                             SNIPER (CONT'D)
                    WHERE THE FUCK...
                                       (TRAILING OFF)
                         
          The Sniper has found John...
                         
                                             SNIPER (CONT'D)
                    The old cannery. Southeast of my
                    position.
                         
          ...but it is too late.
                         
          WE ZOOM THROUGH HIS SCOPE...
                                                                     90.
                         
                         
          ...ACROSS THE YARD...
                         
          ...AND INTO THE CANNERY WHERE JOHN LIES ON THE FLOOR WITH A
          SNIPER RIFLE TO HIS SHOULDER.
                         
          JOHN FIRES...
                         
          ...AND WE FOLLOW THE BULLET BACK UP TOWARDS THE SNIPER'S
          PERCH...
                         
          ...WHERE IT ENTERS THE SNIPER'S SCOPE...
                         
          ...AND PUNCHES THROUGH THE BACK OF HIS HEAD.
                         
          His body goes limp...
                         
          ...and slides out of his perch, cart-wheeling down to the
          earth below.
                         
                         
          EXT. THE SHIPYARD - NIGHT
                         
          EIGHT HEAVILY-ARMORED SUV's bear down on the old cannery
          building.
                         
                         
          INT. THE CANNERY - THE TOP FLOOR - CONTINUOUS
                         
          John shifts position, aims, and fires-
                         
                         
          EXT. THE SHIPYARD - CONTINUOUS
                         
          -but the round ricochets off the bulletproof window.
                         
                         
          INT. THE CANNERY - THE TOP FLOOR - CONTINUOUS
                         
          John ejects the clip, ejects a round, leans the weapon
          against the window, and sinks back into the darkness.
                         
                         
          INT. THE CANNERY - THE MAIN FLOOR - CONTINUOUS
                         
          The parade of SUVs enter the cannery, their tires screeching
          to a stop as a swarm of highly-trained gunmen emerge,
          scattering throughout the building.
                         
                         
          INT. THE CANNERY - THE TOP FLOOR - CONTINUOUS
                         
          John pries open the doors of an old, wooden, elevator shaft:
          now an empty cavern disappearing down into darkness.
                                                                     91.
                         
                         
          INT. THE CANNERY - THE TOP FLOOR - A HALLWAY - CONTINUOUS
                         
          A pair of gunmen swiftly close in on John...
                         
                         
          INT. THE CANNERY - THE TOP FLOOR - ELEVATOR - CONTINUOUS
                         
          ...who takes a deep breath...
                         
          ...and jumps-
                         
          -bullets riddling the doors behind him-
                         
          -disappearing down into the darkness-
                         
                         
          INT. BENEATH THE CANNERY - CONTINUOUS
                         
          -his body SLAPPING against the water as he sinks like a
          stone.
                         
                         
          INT. THE CANNERY - THE MAIN FLOOR - CONTINUOUS
                         
          A gunmen rounds a corner...
                         
          ...stepping over the empty duffel bag we last saw in John's
          trunk...
                         
          ...and freezes, his eyes wide.
                         
          HIS POV: A brick of C-4 is attached to one of the main
          support beams, the pale red light of the detonator glowing
          with ominous disdain.
                         
          He takes a step back, lowering his weapon, and glances
          about...
                         
          ...noticing for the first time the RED LIGHTS of a DOZEN OR
          MORE C-4 charges scattered throughout the interior.
                         
                                             GUNMEN
                    RUN!
                         
                         
          INT. BENEATH THE CANNERY - CONTINUOUS
                         
          Underwater, John lifts his hand...
                         
          ...to reveal a REMOTE DETONATER...
                         
          ...which he depresses with his thumb.
                                                                  92.
                         
                         
          INT. THE CANNERY - THE MAIN FLOOR - CONTINUOUS
                         
          The gunman goes pale at the sight of all of those red
          lights... turning green.
                         
                         
          EXT. THE SHIPYARD - CONTINUOUS
                         
          A series of powerful explosion tear through the building,
          reducing it to splinters as it collapses in upon itself.
                         
                         
          INT. BENEATH THE CANNERY - CONTINUOUS
                         
          As debris begins to sink down all around him, John swims as
          hard as he can.
                         
          Surfacing when he is safe, gasping for breath.
                         
          Finding a ladder, John climbs upwards-
                         
                         
          EXT. THE DOCK - CONTINUOUS
                         
          -emerging from behind an access panel.
                         
          John turns towards the ship and moves at a steady pace, eyes
          roving.
                         
                         
          EXT. THE CHAYKA - THE DECK - NIGHT
                         
          Surrounded by crewmen and security personnel, the Captain
          watches the explosion, his eyes wide.
                         
                                                    CAPTAIN
                        My... God.
                         
                                                 CREWMAN #1
                        What do we do?
                         
                                                    CAPTAIN
                                       I-
                         
          POP!   POP!    POP!   POP!
                         
          The sound of a pistol echoes up past them.
                         
                                                 CREWMAN
                        Captain... he's coming.
                                                                   93.
                         
                         
          EXT. THE DOCK - THE CHAYKA - CONTINUOUS
                         
          With his pistol held in both hands -soaked to the bone- John
          strides towards the boat's entryway, dropping five guards
          with two perfectly-placed shots apiece.
                         
          He ejects the spent clips, slaps in a replacement, drops to a
          knee, and fires off six shots at the two gunmen as they round
          the corner, dead before they hit the ground.
                         
          John drops his pistol, retrieves a submachine gun off a dead
          guard, unfolds the stock, presses it to his shoulder, and
          enters the ship.
                         
                         
          INT. THE CHAYKA - THE CAPTAIN'S CABIN - NIGHT
                         
          With a trembling hand, Iosef pours himself a drink, staring
          at the door...
                         
          ...from behind which is heard the sound of sheer,
          unadulterated chaos: gunfire, screams, and explosions.
                         
          Silence.
                         
          THUM! THUM! THUM!
                         
                               CAPTAIN (O.S.)
                     Open the door, goddammit!
                         
          Iosef drops his glass, and unlatches the door.
                         
          The Captain stumbles into the room, leaning heavy against his
          desk, pausing to take a swig of whisky, blood trickling down
          from his forehead, his left arm limp at his side.
                         
          The Captain reloads, reaches into his drawer, finds a snub-
          nosed .38, and tosses it to Iosef.
                         
                                              CAPTAIN (CONT'D)
                     Do you know how to use that?
                         
                                                IOSEF
                     Yes, sir.
                         
                                              CAPTAIN
                     Good. Follow me. And if you shoot
                     me in the back, I'll be the one to
                     fuckin' kill you.
                         
          The Captain swings open the door, and -with his pistol in
          both hands- enters-
                                                                     94.
                         
                         
          INT. THE CHAYKA - A CORRIDOR - CONTINUOUS
                         
          -bodies lay everywhere.
                         
          Gunshots ring out.
                         
          A number of panicking crewmen flee the ship.
                         
          Iosef stays close to the Captain, his sweaty hands clinging
          to the pistol. As the Captain rounds the corner-
                         
                         -COMMOTION-
                         
          -as he and John collide.
                         
          SLOW MOTION...
                         
          ...as John looks past the Captain, his eyes locking onto
          Iosef...
                         
          ...who -panicking- raises his pistol, and FIRES-
                         
          BACK TO SCENE
                         
          -hitting the Captain in the shoulder.
                         
                                             CAPTAIN
                    You piece of shit, motherfucker!
                         
          Iosef turns and flees...
                         
          ...as the Captain and John disarm one another.
                         
          The Captain roars -in pain and anger- driving a fist into
          John's side, breaking ribs. He follows through with a wild
          left, but John avoids it, slapping it aside, the Captain's
          forward momentum sending his fist to SHATTER again the iron
          wall of his ship.
                         
          The Captain howls, wrapping his arms around John, crushing
          him...
                         
          ...and as consciousness begins to fade...
                         
          ...John's teeth close around the captain's nose, cleaving it
          from his face.
                         
          Stunned, the Captain releases John who kicks out his knee,
          moves behind him, wraps his arms around the wounded man's
          head, and SNAPS his neck.
                                                                    95.
                         
                         
          EXT. THE CHAYKA - THE DECK - CONTINUOUS
                         
          Iosef emerges from the lower deck, firing back into the
          darkness as tears roll down his face.
                         
          A beat...
                         
          ...and John emerges, the very visage of death: his chest
          etched with bullet wounds, blood trickling down his face,
          wet, dirty, wounded, pale, and yet...
                         
          ...unstoppable.
                         
          John moves at a steady pace, the gun in his hand at his side,
          arm limp.
                         
          Iosef sprints towards the far end of the ship, and climbs up
          the ladder towards the pilothouse.
                         
          John follows.
                         
                         
          INT. THE CHAYKA - THE PILOTHOUSE - CONTINUOUS
                         
          Overlooking the entire ship's deck, the pilothouse offers
          little in the way of escape.
                         
          Instead, Iosef now finds himself trapped.
                         
          He searches the desk and finds a LETTER OPENER which he
          yields like a knife, turning...
                         
          ...as John enters the room.
                         
          Silence.
                         
                                               IOSEF
                      Well, come on, muthafucka!   LET'S
                      DANCE! YOU AND ME!
                         
          A beat... and John raises the pistol, and fires off his last
          round, punching a hole in the glass.
                         
          Iosef grins, laughing as John drops his weapon.
                         
                                               IOSEF (CONT'D)
                      You missed, bitch!
                         
                                                JOHN
                      No.   I didn't.
                         
          John surges into Iosef...
                                                                     96.
                         
                         
          ...whose hand comes down with the letter opener. John
          catches his wrist, and snaps it as his right hand darts up,
          constricts around Iosef's jaw, cracking it in two...
                         
          ...lifting him from with the ground...
                         
                                                JOHN (CONT'D)
                                         (GROWLS)
                      For Moose.
                         
          ...and hurling him through the pane of glass which EXPLODES.
                         
          SCREAMING, Iosef tumbles end over end, his body slamming into
          chute from which grain continues to pour, the hull close to
          full.
                         
          Iosef cartwheels over it and lands half-in/half-out of the
          hull, SNAPPING his back, as around him...
                         
          ...grain piles higher...
                         
          ...as he sinks.
                         
                                                 IOSEF
                      NO!    HELP ME! NO! N...
                                           (FADING)
                         
          While his legs remain on deck, his upper torso sinks
          slightly, the grain covering his face, muting his screams...
                         
          ...as he suffocates to death.
                         
                         
          INT. THE CHAYKA - THE PILOTHOUSE - CONTINUOUS
                         
          John stares down at him for a long moment, turns...
                         
          ...and leaves.
                         
                                                                          FADE TO:
                         
                         
          EXT. A CITY STREET - ESTABLISHING - NIGHT
                         
          Silence as a soft snow begins to fall.
                         
          A beat...
                         
          ...and a sedan rounds the corner, takes it too wide, and
          crashes.
                                                                     97.
                         
                         
          INT. A SEDAN - CONTINUOUS
                         
          Perched behind the wheel with his head down, John groans,
          leaning back as snow wafts through the door's broken side
          window.
                         
                         
          EXT. A STREET - CONTINUOUS
                         
          John pulls himself out of the vehicle, stumbles a few feet,
                         ENTERS-
                         
                         
          EXT. AN ALLEY - CONTINUOUS
                         
          -leans heavy against the wall, and slides into a sitting
          position.
                         
          John Wick looks to be on death's very doorstep....
                         
          ...however...
                         
          ...death will not take him.
                         
          With an almost frustrated/irritated groan John pulls himself
          to his feet, and staggers down the alley.
                         
                         
          INT. A VETERINARIAN'S OFFICE - NIGHT
                         
          Small, simple, and clean.
                         
          A beat... and an elbow is driven through the door's window.
          John reaches in, unlocks the door, opens it, enters, and
          closes it behind him.
                         
                         
          INT. A VETERINARIAN'S OFFICE - A SUPPLY CLOSET - NIGHT
                         
          John grabs an empty box and begins filling it with
          instruments, medication, bandages, and the like.
                         
                         
          INT. A VETERINARIAN'S OFFICE - THE BACK ROOM - NIGHT
                         
          John enters to find an empty room...
                         
          ...save a single YOUNG DOG -a mutt of no distinguishable
          breed, three years old- who sits staring at him, offering
          little more than a tilt of its head.
                                                                     98.
                         
                         
          John strips and -using the hose attachment- rinses his body
          clean: the damage is extensive with cuts, bruises, and three
          bullet holes (one in his shoulder, one his side, and one in
          his chest).
                         
          John studies the bullet wounds.
                         
                                              JOHN
                                       (MUTTERS)
                    Through and through... through and
                    through...
                         
          However when he gets to the one in his chest-
                         
                                             JOHN (CONT'D)
                    Buried deep.
                                       (SIGHS)
                    Fuck.
                         
          John swallows a handful of pills, clenches his teeth, and -
          using a pair of needle nose pliers- reaches into the wound,
          searching...
                         
          ...until he finds the bullet which he pulls free.
                         
          John cleans the wounds with disinfectant, applies a number of
          pads/bandages, and studies himself in the mirror: he is a
          complete and total wreck... but alive.
                         
                         
          INT. A VETERINARIAN'S OFFICE - THE SUPPLY CLOSET - NIGHT
                         
          Searching, John finds some surgical garb; thin pants and a
          shirt which he slips into.
                         
                         
          INT. A VETERINARIAN'S OFFICE - THE BACK ROOM - NIGHT
                         
          John takes a jacket off of the rack, tries it on -too small-
          moves on to the second one, and it fits. John flicks off the
          light, and leaves the room. A long beat...
                         
          ...and John returns, turning the light back on. From across
          the room, he stares at the young dog, studying it.
                         
          The dog makes no sound, tilting it's head from side to side.
                         
          A beat... and John walks to the cage, removing the clipboard
          from its side, reading it: we can see that the dog is
          scheduled to be put down tomorrow.
                         
                                                JOHN
                    Miko, huh?
                                                                     99.
                         
                         
          Miko replies with a tilt of her head-
                         
                                             JOHN (CONT'D)
                    That's quite the name.
                         
          -and a paw pressed to the side of the cage.
                         
          John smiles, places the clipboard on top of the cage, and
          opens its door.
                         
          Miko doesn't move.
                         
                                             JOHN (CONT'D)
                    Are you coming or not?
                         
          A beat... and Miko leaps down onto the floor, tail wagging.
                         
                                             JOHN (CONT'D)
                    That's what I thought.
                         
          John takes a leash off of the wall, and clips it to Miko's
          collar.
                         
                                              JOHN (CONT'D)
                    Come on.   Let's go home.
                         
                         
          EXT. AN ALLEY - NIGHT
                         
          John and Miko emerge from the Veterinarian's Office and walk
          out into the snow...
                         
          ...disappearing into the night.
                         
                                                                           FADE TO:
                         
                         
          EXT. THE CONTINENTAL - ESTABLISHING - NIGHT
                         
                         
          INT. THE CONTINENTAL - THE KITCHEN - CONTINUOUS
                         
          With his arm in a cast, DAVID makes his way through the
          kitchen, his expensive suit freshly pressed.
                         
                         
          INT. THE CONTINENTAL - THE KITCHEN - DRY STORAGE - NIGHT
                         
          David enters dry storage, makes his way to the back, and
          walks down the staircase.
                                                                    100.
                         
                         
          INT. THE CONTINENTAL - THE SUB-BASEMENT - NIGHT
                         
          As he approaches the door, he searches his pocket for a gold
          coin, finding one. He slips it into the slit in the door. A
          long beat...
                         
          ...and down below, it clatters out into a small receptacle.
                         
                               WINSTON (O.S.)
                     Mr. Perkins...
                         
          ...over his shoulder, we see Winston emerge from the shadows
          behind him, a silenced-pistol held steady in his hand.
                         
                                              WINSTON (CONT'D)
                     ...your membership to the
                     Continental has been -by thine own
                     hand- revoked.
                         
          THUMP! THUMP!
                         
                                                          CUT TO: BLACK
                         
          Silence.
                         
          The sound of a key slipped into an ignition.
                         
          It turns, the engine roaring to life, tires squealing.
                         
                         FADE IN:
                         
                         
          EXT. AN ABANDONED AIRFIELD - DAY
                         
          The sleek, clean, black as night, 1969 Ford Mustang `Boss
          429' sprints down the tarmac as inside...
                         
                         
          INT. THE MUSTANG - CONTINUOUS
                         
          ...Miko holds her head out of the open window, her eyes
          narrowed, mouth open, and tongue flapping in the wind.
                         
          John smiles, reaches over, and scratches her on the back.
                         
                                              JOHN
                     Good girl, Miko... good girl.
                         
                         
          EXT. AN ABANDONED AIRFIELD - CONTINUOUS
                         
          The Mustang charges off into the distance.
                         
                                                                            FADE OUT:
                          


John Wick



Writers :   Derek Kolstad
Genres :   Action  Crime  Thriller


User Comments







Index    |    Submit    |    Links    |    Link to us    |    RSS Feeds    |    Disclaimer    |    Privacy policy