squirrelocaust
40831 pts · July 7, 2012
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.
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-fittedgray
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’.
2.
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 entersINT.
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.
3.
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.
4.
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 andA
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.
5.
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.
6.
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
readsJOHN
(CONT’D)
Moose.
(a beat, then)
Seriously?
As if in reply, Moose barks.
7.
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.
8.
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?
9.
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
scotchJOHN
(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:
10.
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 yWe
hear a THUMP and a YELP.
JOHN (CONT’D)
Moose!
John runs intoINT.
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.
11.
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 weSMASHCUT
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...
12.
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...
13.
...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.
14.
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
15.
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, meatheadcheers
him on.
EXT. AURELIO’S AUTOMOTIVE - CONTINUOUS
The Mustang pulls into the lot, and entersINT.
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!
16.
(MORE)
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, fuckinAURELIO
(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.
17.
IOSEF (CONT'D)
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.
18.
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.
19.
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:
20.
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 youWithout
slowing, John reaches into the man’s jacket, slips
free the pistol from the shoulder holster therein andTHUMP!
THUMP!
-fires -twice- into the man’s heart, before turningTHUMP!
- to fire once into the other guard’s face, never slowing,
kicking open the doorINT.
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.
21.
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 seatINT.
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
gasEXT.
TAKESHI’S AUTOMOTIVE - CONTINUOUS
-and crashes through the garage door of the building, tires
squealing as the Mustang pulls a one-eighty, righting itself
beforeEXT.
A SERVICE ROAD - CONTINUOUS
-leaping out onto the street, furiously gaining momentum, as
a trio of heavily-modified NISSAN SKYLINES appear and take
chase.
22.
INT. THE MUSTANG - CONTINUOUS
John glances into the rearview mirror, takes the pistol in
his left hand, shifts, and spins the wheelEXT.
A SERVICE ROAD - CONTINUOUS
-turning to face the oncoming vehicles.
INT. THE MUSTANG - CONTINUOUS
John shifts again, and crushes the gas pedal underfootEXT.
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-
23.
-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...
24.
...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 claspstosses
them into the back seat, andINT.
THE MUSTANG - CONTINUOUS
-slips behind the wheel. He twists, the key, revs the
engine, and bolts forward as behind himEXT.
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...
25.
...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?
26.
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 entersVIGGO
(in Russian, subtitled)
Close the door.
27.
-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-
28.
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?
29.
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-
30.
INT. THE WICK HOME - THE BASEMENT - CONTINUOUS
John has revealed an OLD TRAP DOOR IN THE FLOORVIGGO
(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.
31.
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 openVIGGO
(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
32.
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.
33.
...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 gunmenINT.
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 wallINT.
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, thenEDWARDO
Evenin’, John.
JOHN
Evenin’, Ed.
EDWARDO
You workin’ again?
34.
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 MustangJOHN
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?
35.
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.
36.
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, andINT.
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?
37.
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, illwrought,
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.
38.
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.
39.
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 youwho
keep calling, Viggo... I’m
retired.
Marcus listens to Viggo talk...
...pausing in mid-step...
...his brow furrowed, eyes still.
40.
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 trayEVAN
(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:
41.
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.
42.
(MORE)
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?
43.
MANAGER (CONT'D)
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 pumpaction
sawed-off SHOTGUN, a SNIPER RIFLE, an old school UZI
SUBMACHINE GUN -silenced- with a polished mahogany stock, a KBAR
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.
44.
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 purposewho
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.
45.
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 entersINT.
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 WaitressBARTENDER
(to John)
Enjoy.
-before returning to the bar.
46.
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.
47.
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 intoINT.
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.
48.
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 legINT.
THE RED CIRCLE - THE BATHROOM - A STALL - CONTINUOUS
-sending him to his knees, screaming.
49.
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 dJohn
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 mBehind
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...
50.
...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.
51.
JOHN
Good evening.
WAITRESS
Good evening, sir.
John heads down the staircaseINT.
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.
52.
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.
53.
EXT. AN ALLEY - CONTINUOUS
John tosses the phone down into the snow, and jogs across the
street...
...as MARCUS -a cigarette smoldering between his lipswatches
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?
54.
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.
55.
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 entersINT.
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 phoneto
the right of the door.
56.
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.
57.
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.
58.
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, welldressed,
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
12
8
251
