44 Ci 34

CI 34
by
sascha penn
Madhouse Entertainment // Creative Artists Agency

In both 1964 and 1966, the F.B.I., struggling to
solve two heinous crimes, hired notorious Mafia
assassin, Greg Scarpa, to go to Mississippi and
kidnap and torture members of the Ku Klux Klan.
While declassified documents, and subsequent court

testimony, confirm the existence of these
operations, little else is known about what
actually transpired.
This story is based on these real events.

EXT. RURAL ROAD - LATE NIGHT
We’re on a quiet rural highway. Two lanes.
And then we hear the SOUND OF CAR ENGINES approaching.
Their HEADLIGHTS illuminate A LARGE WOODEN SIGN on the

side of the road that reads, “Welcome to Hattiesburg.
Hub of the South. Population 35,731 And Growing!”
We STAY ON THE SIGN as the cars get closer, their engines

GETTING LOUDER.
All of the sudden, a MOLOTOV COCKTAIL is thrown out of

the car, SMASHES AGAINST the sign and SETS IT ON FIRE.
We watch it burn.
GRAPHIC: 1966.
EXT. THE DAHMER’S HOME - LATE NIGHT
This ample-sized ranch home is located right next to a

small shop with a storefront that says, “Dahmer’s
Grocery”.
There’s a banner stretched across the store’s facade that

reads, “Voter Registration Event This Sunday 3 PM! If
You Don’t Vote, You Don’t Count!”
The grocery and the house are closed up for the night.
TWO CARS, headlights off, glide quietly down the street

and pull up in front of the house.
We’re CLOSE ON THE VEHICLES’ DOORS OPENING.
And then we see a collection of TIGHT SHOTS...
Legs and boots exiting the vehicles. Looks like FOUR OR

FIVE MEN, but we don’t see any faces.
SHOTGUNS are distributed.
GAS CANS are pulled out the back of a truck.
The men start to CREEP toward the house.

2.
INT. THE DAHMER’S - VERNON AND ELLIE’S ROOM - SAME
VERNON DAHMER (fifties, African-American) and his wife,

ELLIE (forties, also African-American), are asleep in
bed.
Quiet. Still.
And then Vernon’s eyes burst open just as -- KRI-KRASH! --

GAS CANS with flaming rags stuffed down their throats FLY
THROUGH THE WINDOWS IN THE LIVING ROOM.
As these makeshift bombs hit the floor, they immediately

EXPLODE and set the room ON FIRE.
The gas cans are followed by SHOTGUN FIRE -- BOOM! BOOM!

BOOM! -- that BLASTS APART the interior of the house.
IN THE BEDROOM, Vernon and Ellie are both out of bed.
Vernon pushes his wife toward the ground, making sure she
stays low to avoid the gunfire.
VERNON DAHMER
Go to Bettie! I’ll deal with
them!
As Ellie crawls to the window, Vernon grabs the RIFLE

next to his bed and TEARS out of the room.
INT. THE DAHMER’S - LIVING ROOM - CONTINUOUS
The SHOTGUN BLASTS continue to savage the house, PUTTING

HOLES through walls, RIPPING APART the mantle.
Meanwhile, the FLAMES continue to consume everything in

their path.
Holding the rifle, Vernon enters, coughing and gasping

for air. He RETURNS FIRE, BUCKING RIFLE SHOTS out the
window at unseen assailants.
INT. THE DAHMER’S - BETTIE'S ROOM - A MOMENT LATER
Ellie has gotten their terrified daughter out of bed.
BETTIE
Where’s Daddy?! Where’s Daddy?!
As if on cue, Vernon enters the room and scoops up his

daughter in his arms.
(CONTINUED)
3.
CONTINUED:
VERNON DAHMER
I’m right here, baby. Right here.
He turns to Ellie.
VERNON DAHMER (CONT’D)

The window in the bedroom.
Ellie nods and heads down the hallway which is FILLED

WITH SMOKE.
The SHOTGUN BLASTS at the front of the house continue.
INT. THE DAHMER’S - VERNON AND ELLIE'S ROOM - CONTINUOUS
Ellie goes to the big window at the rear of the bedroom

and tries to lift it, but it’s stuck. It won’t budge.
Vernon is about to put Bettie down and help his wife,

when Ellie picks up a CHAIR and THROWS IT THROUGH THE
WINDOW, ripping the entire frame apart.
VERNON DAHMER
(to Ellie)
Go out! I’ll hand her to you!
Ellie climbs through the window and then turns back to

reach for her daughter, who Vernon gives to her.
VERNON DAHMER (CONT’D)

Run to the Mitchells’! Get help!
Ellie wants her husband to come with them.
ELLIE DAHMER
Come with us!
No.
VERNON DAHMER
Gonna keep them busy while you get
away! I’ll be right behind you!
She’s terrified that it won’t play out this way.
ELLIE DAHMER
Come now, Vernon!
He assures her that he will.
VERNON DAHMER
I’ll be right out.
(CONTINUED)
4.
CONTINUED:
With Bettie in her arms, Ellie RACES for the tree line.
INT. THE DAHMER’S - LIVING ROOM - MOMENTS LATER
Vernon grabs the GUNS and RIFLES that he’s placed

strategically around the house and FIRES out the windows.
The men outside continue to FIRE THEIR SHOTGUNS into the

house, but a far more pressing problem for Vernon are the
FLAMES and SMOKE.
He has burns all over his body and face, but he just
keeps FIRING HIS RIFLE.
Having emptied his last gun, and about to collapse, he

STUMBLES through the house and FALLS OUT the window that
Ellie smashed.
EXT. THE DAHMER’S - CONTINUOUS
With all the remaining strength he has left, Vernon pulls

himself off the ground and STAGGERS across his backyard
toward the tree line.
He makes it about twenty yards before he falls to the

ground again.
This time he doesn’t get up.
EXT. CITYSCAPE - JACKSON, MISSISSIPPI - DAY
Mississippi’s capital has a population of roughly 150,000

residents.
Graphic: Jackson, Mississippi.
As we FLY OVER some of the city’s most notable structures

- the Governor’s Mansion, the State Capitol Building, the
Standard Life Building and the Mississippi Coliseum - we
can track Jackson’s architectural evolution from the
antebellum South to this moment in time.
In 1966, Jackson is a fairly cosmopolitan city. At least

for Mississippi. It has museums, a symphony, even its
own small opera house.
This is the “New South”.

5.
EXT. NORTH STATE STREET - MORNING
A CITY BUS pulls up in front of the Old Capitol Building.
TERENCE WAYNE (early thirties, African-American), dressed

in a suit that’s just slightly too small for him, RACES
off the bus, across the street and into...
EXT. F.B.I. FIELD OFFICE - JACKSON DIVISION - MORNING
In fact, only the top floor of this relatively new and

horrifically ugly EIGHT-STORY BUILDING houses the offices
of the Jackson Division of the F.B.I.
And it was only opened two years earlier - in 1964 -

after the infamous murders of civil rights workers
Michael Schwerner, James Chaney and Andrew Goodman.
INT. F.B.I. FIELD OFFICE - STAIRWAY - MORNING
Terence runs up the stairs, two at a time, until he gets

to the top floor and then rips open the door.
INT. F.B.I. FIELD OFFICE - CONTINUOUS
Terence is greeted by a corridor that is teeming with

activity. F.B.I. AGENTS (young, white, all wearing J.
Edgar Hoover-mandated dark suits and black shoes polished
to a gloss) move quickly up and down the hallway and in
and out of various offices.
Terence, trying to be as inconspicuous as possible, walks

cautiously down the corridor with his head down. He’s
bumped and jostled by various agents, who don’t bother to
say, “Excuse me”.
No one notices him. Or even sees him. He’s invisible.
As he walks by the office SPECIAL AGENT IN CHARGE ROY K.

MOORE (fifties), he can see Moore having an animated
conversation on the phone.
Terence can’t hear what he’s saying, but he still stands

here for a beat and watches.
INT. F.B.I. HEADQUARTERS - MOORE’S OFFICE - CONTINUOUS
Moore is being berated by whomever is on the other end of

the line.
(CONTINUED)
6.
CONTINUED:
SPECIAL AGENT MOORE

(into the phone)
I understand, sir.
He pauses.
SPECIAL AGENT MOORE (CONT’D)

(into the phone)
I can assure you that we’ll find
the parties responsible as soon as
possible, Director Hoover.
Hoover. As in, J. Edgar Hoover. Director of the F.B.I.

(into the phone)
And please assure President
Johnson of that as well.
We can hear Hoover yelling through the phone.

(into the phone)
Of course. No stone unturned, sir.
Moore cuts an imposing figure. A former Marine, he

distinguished himself as a uniquely talented agent when,
in 1955, he helped solve the midair explosion of an
airliner over Colorado in which 44 people died.
Within 13 days, he discovered that Jack Gilbert Graham

had placed a bomb in his mother's suitcase before she
boarded the plane in order to collect her life insurance.
Moore is also credited with solving the murders of

Schwerner, Chaney and Goodman.

(into the phone)
Our agents are on the ground in
Hattiesburg right now.
INT. F.B.I. HEADQUARTERS - HALLWAY - CONTINUOUS
Terence is still standing there, watching Special Agent

Moore when...
AGENT RHODES (O.S.)

You’ve been working here only
three months...
(CONTINUED)
7.
CONTINUED:
Terence turns and finds himself face-to-face with AGENT

EVERETT RHODES (white guy, forties).
AGENT RHODES (CONT’D)

And you’ve been late twice
already.
TERENCE
The buses were off-schedule, sir.
I’m sorry.
AGENT RHODES
You keep pleading with me to put
you on a case, but how can we even
consider putting you out in the
field when you can’t even perform
properly here in the office?
Terence Wayne is nobody’s punk.
TERENCE
I didn’t plead, sir. I asked.
Rhodes ignores this subtle barb.
AGENT RHODES
A critical piece of working for
the Bureau is being where you’re
supposed to be when you’re
supposed to be there, Agent Wayne.
Rhodes doesn’t like Terence. The feeling is mutual.

You’re work is waiting for you in
the file room.
Terence nods, but before he goes...
TERENCE
Did you get a chance to give my
memorandum to Agent Moore, sir?
AGENT RHODES
I did.
TERENCE
And did he say anything about it?
AGENT RHODES
Not to me.
Terence isn’t sure what that means exactly.
(CONTINUED)
8.
CONTINUED: (2)
TERENCE
But he read it.
AGENT RHODES
I’m happy to report that
monitoring the reading habits of
Special Agent in Charge Roy K.
Moore is one of the few things
that doesn’t fall under my purview
here at the Jackson Division of
the Federal Bureau of
Investigation.
Terence grabs a last look at Moore, locks eyes with

Rhodes for a beat and then heads down the hallway.
INT. F.B.I. FIELD OFFICE - FILE ROOM - A SECOND LATER
This room could not be more appropriately named. It is a

large space that has massive filing cabinets lining every
single one of its walls.
In the middle of the room are rows of tables covered in

documents and dossiers. A TEAM OF AFRICAN-AMERICAN
AGENTS are busy sorting everything here.
In fact, there are no caucasian agents in here.
Terence enters and he’s greeted by his friends and fellow

agents, ARCHIE CRAWFORD (thirties, African-American) and
RANDY TOLLIVER (thirties, African-American).
ARCHIE
You and Allie okay?
TERENCE
Allie’s scared. But we’re okay.
RANDY
At least Vernon’s wife and
daughter got out.
TERENCE
The house and store are gone.
Vernon Dahmer was a well-known figure in Mississippi.
ARCHIE
Vernon Dahmer was good people.
Trying to change things.
(CONTINUED)
9.
CONTINUED:
RANDY
So was Medgar.
ARCHIE
So were Chaney, Schwerner and
Goodman.
The list goes on.
RANDY
Same with Henry Dee and Charles
Moore and Herbert Lee.
Terence sits down next to his friends.
ARCHIE
I joined the Bureau because of
what they did to Emmett Till.
Randy quotes the famous Nina Simone track about the

killing of civil rights leader Medgar Evers.
RANDY
Mississippi Goddam.
ARCHIE
Say that again.
Terence grabs a fistful of folders.
TERENCE
And here they got us spending all
day filing 302’s and 395’s and
292’s.
Speaking of which...
ARCHIE
(To Terence, re: the
paperwork)
Gotta classify by county,
alphabetize by subject, number
chronologically.
Terence exhales and starts to do the work.
RANDY
You guys ever see that episode of
The Untouchables where F.B.I.
Agent extraordinaire Eliot Ness
heroically alphabetizes all those
reports and saves the day?
(CONTINUED)
10.
CONTINUED: (2)
Randy gets back to work.
RANDY (CONT’D)
Me neither.
OFF TERENCE, seething. And filing.
EXT. F.B.I. HEADQUARTERS - DAY
Terence, Randy and Archie sit on the stairs outside the

building and eat their lunch.
TERENCE
Burned over forty percent of his
body, and he inhaled so much fire
that he scorched his lungs.
Randy and Archie pick at their lunches.
TERENCE (CONT’D)
This is what they do to blacks who
try to get folks to vote.
Terence tosses what’s left of his lunch into the garbage.
TERENCE (CONT’D)
Maybe if the Bureau would let us
fight something bigger than a
paper clip we could get some
justice for Vernon Dahmer.
Something that Terence just said gives Archie pause.
ARCHIE
(to Terence)
“Blacks”. That’s a new one.
Randy clues him in.
RANDY
Stokely Carmichael and all them
say that we’re moving on from
negro. Calling ourselves “black”
from here on out.
Archie smiles.
ARCHIE
Black. I like it.
Terence sees Special Agent Moore walking up the block

with Agent Rhodes and a COUPLE OTHERS.
(CONTINUED)
11.
CONTINUED:
RANDY
They called us colored and negro,
and now we’re calling each other
black. Naming ourselves. Feels
like some sort of progress, right?
Terence watches Moore and his entourage approach.
TERENCE
Colored, negro, black. Don’t
matter what we’re called as long
as they’re still killing us.
Terence is gearing up, trying to muster the courage. And

then he stands up and heads straight for Moore.
RANDY
Where you going, Terence?
We FOLLOW TERENCE as he walks determinedly toward Agent

Moore, who’s briefing the other senior agents.
SPECIAL AGENT MOORE

The President said that this
murder is an attack on democracy.
He said that the Voting Rights Act
isn’t a suggestion, it’s a law.
And he told Director Hoover that,
if we can’t adequately protect our
citizens in Mississippi, he’ll
find someone who can.
SENIOR AGENT #1
We need more manpower.
Not going to happen.
SPECIAL AGENT MOORE

They’re not going to approve any
additional funding for us. Just
opening this office two years ago
broke the bank. We have to be
resourceful. Clever.
He looks over at Rhodes.

We may have to revisit
unconventional methods we’ve used
in the past.
Meanwhile, Rhodes sees Terence approaching.
(CONTINUED)
12.
CONTINUED: (2)
TERENCE
Special Agent Moore?
Rhodes tries to head this off at the pass.
AGENT RHODES
Not the right time, Agent Wayne.
But Moore steps in.
SPECIAL AGENT MOORE

(to Terence)
What can I help you with, son?
TERENCE
I was wondering if you had a
chance to read the memorandum I
put together for you.
Moore looks over at Rhodes, who comes clean.
AGENT RHODES
I actually haven’t put it on your
desk yet, sir. I was holding it
until you got past other, more
urgent, business first.
Back to Terence.
SPECIAL AGENT MOORE

Maybe you can synopsize it for me,
Agent Wayne.
TERENCE
I’ve been collecting crime
statistics, anecdotal information
and empirical evidence on the
increase of Klan activity in
Forrest and Lamar Counties over
the last year, sir.
Okay.
SPECIAL AGENT MOORE

And how do you know so much about
Forrest and Lamar Counties?
TERENCE
I live in Hattiesburg, sir.
Interesting.
(CONTINUED)
13.
CONTINUED: (3)
SPECIAL AGENT MOORE

Did you know Vernon Dahmer?
TERENCE
Everyone knew Vernon. My wife was
working with him on registering
people to vote.
Moore is suddenly intrigued by Terence.
SPECIAL AGENT MOORE

Hattiesburg is two hours south of
here. You live there and work
here?
TERENCE
I take the bus, sir. Actually,
five buses. I take five buses
each way to get here and go home.
Moore is impressed.
SPECIAL AGENT MOORE

Tell all your friends in
Hattiesburg that we’re going to
find the people responsible Vernon
Dahmer’s murder. Soon.
TERENCE
I’d like to help, sir.
Moore sizes up Terence for another beat and then...
SPECIAL AGENT MOORE

(to Rhodes)
Get me Agent Wayne’s memorandum.
Rhodes nods. But he’s still pissed that he just got

shown up by Terence.

(to Terence)
I’ll read it tonight.
Moore might have plans for Agent Terence Wayne after all.

You travel four hours everyday to
work here. Least I can do is read
the material you prepared.
TERENCE
Thank you, sir.
(CONTINUED)
14.
CONTINUED: (4)
And with that, Moore and his entourage head into the
building, leaving Terence alone on the stairs.
SPECIAL AGENT MOORE (O.S.)

Five buses each way. I believe
that’s three more buses than I’ve
ridden in my whole damn life.
Archie and Randy approach Terence.
ARCHIE
You let Special Agent Moore know
that he needs to call us black
from here on out?
TERENCE
Didn’t get to it.
RANDY
That’s alright. Just send him one
of your memorandums.
They laugh.
EXT. CITYSCAPE - NEW YORK CITY - LATE NIGHT
As we fly south over New York City, we see all the

familiar landmarks. Central Park, the Empire State
Building, the Chrysler Building...
Once we get to lower Manhattan, though, we see

construction down near the tip of the island.
This little project will become none other than the World
Trade Center.
GRAPHIC: New York City.
This is the year they broke ground on the Twin Towers.
We keep FLYING OVER the Brooklyn Bridge. Past Brooklyn

Heights, Park Slope and Borough Park.
We finally DROP DOWN INTO GRAVESEND, a working class

neighborhood that’s notorious for its residents’ violent
distaste for outsiders.
If you’re not from Gravesend, don’t come to Gravesend.
We end up on Avenue U where the only lights that are

still on come from...
15.
EXT. MORETTI’S LOUNGE - NIGHT
Moretti’s is a dive bar. Plain and simple.
A brand new Pontiac Grand Prix pulls up outside of the

bar and stops in front of it. The driver’s door opens
and out of it emerges GREGORY SCARPA (late thirties).
Over time, Greg Scarpa would be known by many names -

“The Grim Reaper,” “Hannibal Lecter” “The Mad Hatter” -
but the one he preferred most was, “The Killing Machine.”
(In fact, he even took to signing personal letters with
the initials, “KM”.)
As he exits the car, we see that he’s dressed to the

nines in a slick suit, replete with a pocket square.
He’s also wearing a seven-carat pinky ring and a watch
that’s covered in diamonds.
Scarpa doesn’t bother turning off the car’s engine or

closing his door as he heads for the bar.
INT. MORETTI'S LOUNGE - CONTINUOUS
This spot is completely empty save for CARMINE DESTEFANO

(forties), VINITA (twenties, African-American), his date
for the night, and WILLY THE BARTENDER (twenties).
Vinita hangs on Carmine as they sit at the bar together.
CARMINE DESTEFANO
I know who really killed Kennedy.
Whole neighborhood does.
Vinita giggles, even though there’s no reason to giggle.
Carmine turns to Willy the bartender.
CARMINE DESTEFANO (CONT’D)

Tell her Willy: Go to any corner
in Bensonhurst and they’ll tell
you it was New Orleans. Carlos
Marcello did it.
From behind them...
SCARPA (O.S.)
Wouldn’t recommend bringin’...
He gestures toward Vinita.
(CONTINUED)
16.
CONTINUED:
SCARPA (CONT’D)
Harriet Tubman here around
Bensonhurst.
The blood drains from Carmine’s face.
SCARPA (CONT’D)
Doubt she’d get a very warm
reception.
In one hand, Scarpa has a PISTOL trained on Carmine.
SCARPA (CONT’D)
Couldn’t understand why you’d be
gettin’ drinks in this fuckin’
dump...
He uses the other hand to take a handful of nuts from a

small glass bowl on the bar.
SCARPA (CONT’D)
But now I get it. Looks like
someone’s got a deep...
(re: Vinita)
Dark secret.
Vinita hasn’t even taken a breath.
Immediately, Carmine tries to talk his way out of this.
CARMINE DESTEFANO
I was never gonna do it, Scarpa.
It was just talk. Just runnin’ my
mouth.
SCARPA
Talkin’ about whackin’ the boss is
way worse than actually doin’ it,
Carmine. You know that. At least
if you do it, you got a seat at
the table. A hand you can play.
Carmine is shitting himself.
SCARPA (CONT’D)
But you ain’t got shit but a cheap
nigger on your arm and a watered-
down drink in your hand.
CARMINE DESTEFANO
I-
BOOM! BOOM! BOOM! Scarpa SHOOTS him three times.
(CONTINUED)
17.
CONTINUED: (2)
Vinita, covered in Carmine’s blood, has fallen to the

ground. She looks up at Scarpa and pleads for her life.
VINITA
It’s our first date!
SCARPA
First and last, sweetheart.
BOOM! BOOM! He shoots her dead too.
The only one left alive in here is Willy, who has

watched, paralyzed in horror, as all this has transpired.
SCARPA (CONT’D)
(to Willy)
Scotch.
Willy grabs a bottle of Johnnie Walker.
SCARPA (CONT’D)
Fuck Johnnie Walker. You got
Dewar’s?
Willy nods, reaches under the bar, grabs the Dewar’s and
starts to pour Scarpa a glass. His hand shakes, spilling
the liquor all over the bar.
SCARPA (CONT’D)
Just gimme the bottle.
Willy hands the bottle to Scarpa, who looks this kid up

and down.
SCARPA (CONT’D)
What’s your name?
This kid is hyperventilating with fear.
WILLY THE BARTENDER

Willy Ambrosino.
SCARPA
You Joe’s kid?
WILLY THE BARTENDER

Nephew.
SCARPA
Gimme your driver’s license.
(CONTINUED)
18.
CONTINUED: (3)
His hands still shaking, Willy pulls out his wallet and
quickly hands his license to Scarpa, who looks at it and
then puts it on his pocket.
SCARPA (CONT’D)
You know who I am?
WILLY THE BARTENDER

Yeah.
Willy didn’t understand the question.
SCARPA
You know who I am?
Now he gets it.
WILLY THE BARTENDER

No. No. I don’t know you. I
don’t know you at all.
SCARPA
Would you know who I was if you
saw me again?
WILLY THE BARTENDER

No.
SCARPA
Sure about that?
WILLY THE BARTENDER

Really, really sure.
And with that, Scarpa leaves.
EXT. MORETTI'S LOUNGE - A MOMENT LATER
Scarpa exits the bar, steps into his idling car and
drives off into the Brooklyn night.
INT. BUS - NIGHT
Terence sits in the back and reads the recently published

Autobiography of Malcolm X.
The bus cuts through the Mississippi night.
As he finishes a chapter, he looks up from the book and

stares out the window at the passing fields and pastures.
The full moon gives everything a silvery glow.
(CONTINUED)
19.
CONTINUED:
The South.
For a moment, Terence gets lost in the beauty of it all.
The bus passes by A FARM that has a giant CONFEDERATE

FLAG hanging from a pole in front if it.
Terence stares at it for a beat.
And then gets back to his book.
EXT, HATTIESBURG STREET - NIGHT
The bus pulls up to the stop, opens its doors and

Terence, weary from a long day, exits.
As he steps out of the bus, Terence helps ADELENA HAMLETT

(African-American, seventies) down the stairs.
ADELENA HAMLETT
Thank you, Terence.
The bus pulls away.
ADELENA HAMLETT (CONT’D)

The F.B.I. gonna catch whoever did
that to poor Vernon Dahmer and his
family?
TERENCE
We are, Ms. Hamlett.
Adelena looks out at downtown Hattiesburg.
ADELENA HAMLETT
These white folks don’t understand
that there are a hundred thousand
negroes behind Vernon Dahmer that
are gonna step right in and take
his place. And another hundred
thousand behind them. They
underestimate us. They always do.
TERENCE
You’re right.
ADELENA HAMLETT
Of course I’m right, Terence. You
get to my age, you get to be right
about everything.
Terence laughs.
(CONTINUED)
20.
CONTINUED:
TERENCE
You’re right.
ADELENA HAMLETT
See?
More laughter.
TERENCE
You want me to walk you home?
ADELENA HAMLETT
That’s alright, baby. My nephew,
Grafton, gonna pick me up. You go
home and give my best to that
beautiful wife of yours.
TERENCE
I will. You have a good night,
Ms. Hamlett.
Adelena walks toward a waiting car; Terence heads off in

the opposite direction.
EXT. HATTIESBURG STREET - LATER
As Terence walks down this tidy street lined by small

shops on both sides, we can hear men LAUGHING and YELLING
from the Veterans of Foreign Wars post up the street.
And Terence immediately tenses up.
Like most small southern cities in the sixties (and still

today), Hattiesburg is segregated. There are white and
black neighborhoods...and never the twain shall meet.
Terence is going through the white part of town. We see

it on his face and in his focused and purposeful gait.
As he passes by the V.F.W. post, he sees a COLLECTION OF

MEN standing around, drinking in the parking lot.
And they see him too. One of them calls to him.
CRACKER #1
Hey boy!
Terence keeps walking.
CRACKER #3
We’re talkin’ to you, Sambo!
(CONTINUED)
21.
CONTINUED:
The other men LAUGH.
Terence continues to walk. Not faster. Not slower.

Same pace as before. But he stares straight ahead.
CRACKER #1
You hear us, Smokey?
Getting no response, this guy and SEVEN OF HIS FRIENDS

run across the street and approaches Terence.
CRACKER #1 (CONT’D)
(to Terence)
You deaf, boy?
Now that we get a better look a this guy, we see that

he’s got slicked back hair, a thin mustache and a narrow,
angry face.
And he’s big. Bulky.
His name is LAWRENCE BYRD, SR. (forties).
He’s joined by BILLY ROY PITTS (thirties) and CHARLES

CLIFFORD WILSON (thirties) and a CREW OF OTHER CRACKERS.
They block Terence’s path.
CHARLES CLIFFORD WILSON

(to Terence)
Because I know you’re not ignoring
me.
Terence puffs out his chest.
TERENCE
I don’t know you.
Wilson flips Terence’s tie.

Why you all dressed up this late
at night?
He makes a crack about Vernon Dahmer.
LAWRENCE BYRD
Little early to be dressed up for
ol’ Vernon’s funeral, ain’t it?
TERENCE
I’m coming home from work.
(CONTINUED)
22.
CONTINUED: (2)
Wilson sneers.

Who trusts someone who look like
you to work for them?
Terence stares him down.
TERENCE
The Federal Bureau of
Investigation.
Byrd breaks into a smile.
LAWRENCE BYRD
Hey, boys! We got us an important
niggra here.
Terence’s fists are clenched as tight as they can be.
Billy Roy isn’t enjoying this as much as his friends.
BILLY ROY PITTS

(to his friends)
We should go back to the club.
He’s perpetually anxious.
BILLY ROY PITTS (CONT’D)

Chilly out here and Sam was sayin’
that he wanted to talk to us about
something. Let’s head back. I-

Shut up, Billy Roy.
These guys want to beat Terence’s ass as badly as he

wants to beat theirs. This entire exchange is a study in
repressing one’s most violent inclinations.
LAWRENCE BYRD
You need to pass along the word to
J. Nigger Hoover up in Washington.
We don’t need his help.
Mississippi just fine the way we
are.
Byrd gets in Terence’s face and stares him down.
LAWRENCE BYRD (CONT’D)

Ain’t we?
Wilson adds his two cents.
(CONTINUED)
23.
CONTINUED: (3)

(re: Terence)
Hoover got this niggra feelin’ all
special and shit, and that’s no
good for nobody.
Byrd’s hot, liquor-filled breath is right on Terence.
LAWRENCE BYRD
(to Terence)
Especially you.
The two men LOCK EYES and it really feels like punches
are about to be thrown.
Billy Roy interjects yet again.
BILLY ROY PITTS

Come on, man. Let’s go get
another beer. Ain’t nothin’ but
bullshit out here.
And then from across the street...
SAM BOWERS (O.S.)

Let that boy get on about his
business...
All of them look across the street and see SAM BOWERS
(forties), the elder statesman here, calling to them from
the doorway.
SAM BOWERS (CONT’D)

And get on back here.
Terence and Byrd stare each other down for another beat,
and then the white man breaks into a wide smile.
LAWRENCE BYRD
You have yourself a pleasant
evening, G-Man. Or should I say,
G-Boy.
They break into laughter.

We’ll see you around.
They head back across the street to Bowers.
SAM BOWERS
Don’t need no trouble right now.
(CONTINUED)
24.
CONTINUED: (4)
LAWRENCE BYRD
Wasn’t no trouble, Sam. That was
just fun.
As the men disappear inside, Bowers stays outside and

stares over at Terence.
If you could point your finger at the most violent and

virulent racist in Mississippi during the civil rights
era, your finger would be aimed squarely at Sam Bowers.
He is as vicious, cruel and hateful as anyone who has

ever walked this planet.
Terence and Bowers LOCK EYES for a pregnant beat, and

Bowers smiles.
And then he steps back into the hall.
Terence resumes walking up the block.
But not before wiping a few beads of sweat from his brow.
INT. TERENCE AND ALLISON’S BEDROOM - NIGHT
Terence is sitting up in bed as his wife, ALLISON

(thirties, African-American) massages his back.
ALLISON
I don’t understand why you don’t
just take Pine Street home. You
know they’re gonna be there at the
V.F.W.
TERENCE
First off, Pine Street adds ten
minutes to my walk. Secondly, and
more importantly...
Terence turns around and stares at his wife.
TERENCE (CONT’D)
Fuck them.
Allison doesn’t like that kind of language.
ALLISON
Terence.
But he’s furious
(CONTINUED)
25.
CONTINUED:
TERENCE
They’re killing us, Allison.
Killing us and then going about
their lives like it’s the natural
order of things. Like we don’t
matter.
He’s on a roll.
TERENCE (CONT’D)
Malcolm X says that nobody can
give you freedom or equality or
justice. If you’re a man, you
take it. Well, I’m a man.
Terence gets up out of bed.
TERENCE (CONT’D)
They murdered Vernon Dahmer last
night. Burned him to death in his
own house. In front of his wife
and child. We don’t mean anything
to them.
He pounds at his chest.
TERENCE (CONT’D)
They need to know I mean
something.
Terence storms out of his bedroom, through his house and

OUTSIDE where he walks over to a HEAVY BAG that he’s hung
from tree in his front yard.
He PUNCHES the bag. Hard. Angry.
Straight rights, left hooks, crosses... Big hits.

Sneering with every blow.
Allison emerges from the house and gets between him and
the bag.
ALLISON
Vernon was my friend too. And I
feel his loss just like you. I
feel all of ‘em.
She looks her husband in the eye.
ALLISON (CONT’D)
But you’re an agent in the Federal
Bureau of Investigation, Terence.
(MORE)
(CONTINUED)
26.
CONTINUED: (2)
ALLISON (CONT’D)
And whether you believe it or not,
that means something. To me. To
this community. To the world.
Terence just doesn’t see it the way his wife does.
TERENCE
Half the people on our street
won’t look me in the eye. To
them, I’m just part of the
problem. And they may be right.
ALLISON
You’re blazing a trail. Breaking
down barriers.
Terence disagrees.
TERENCE
All I am is a damn signpost. A
marker that Hoover and Johnson can
point to and say, “See? We kinda
trust ‘em, so maybe you should
too.” But they don’t really trust
us. Not enough to let us join
this fight.
Terence has been ruminating on all this for a while.
TERENCE (CONT’D)
Can you imagine if someone who
looked like me arrested these
crackers who killed Vernon?
He punches the bag again.
TERENCE (CONT’D)
Can you imagine how proud of me
you’d be then? How proud everyone
around here would be?
ALLISON
I don’t think I could be any
prouder of you than I am every
morning when you get on that bus.
TERENCE
You could. I could.
Allison steps closer to Terence.
(CONTINUED)
27.
CONTINUED: (3)
ALLISON
And so what if you are a signpost?
What that sign says to me is,
“Look how far we’ve come. Look
where we’re going. You can’t stop
us.” That’s a powerful sign.
TERENCE
The people that killed Vernon
aren’t scared of signs. All a
sign is to them is one more thing
they can burn down.
OFF TERENCE, his eyes steely and determined...
EXT. CEMETERY - DAY
Ellie and Bettie, Vernon’s wife and daughter,

respectively, sit in chairs next to Vernon’s casket,
which is suspended above the plot that’s been dug.
A LARGE CROWD, comprised of black and white folks,

surrounds the grave and listens as PASTOR TOLBERT
delivers the eulogy.
PASTOR TOLBERT
How do we confront a pain that
feels endless?
We FIND TERENCE and ALLISON WAYNE amongst the crowd.

Both are wearing sunglasses. Allison dabs at her eyes.
PASTOR TOLBERT (CONT’D)

For me, I think back to what my
friend, Vernon Dahmer said me at
one of my lowest moments.
EXT. LAWRENCE BYRD’S HOUSE - DAY
Beer in hand, Lawrence Byrd sits on his porch across from

TWO F.B.I. AGENTS.
LAWRENCE BYRD
Just because I don’t like niggras
doesn’t mean I kill ‘em. I don’t
like possums neither, but I let
one cross right in front of my car
the other day and drove right
around him. And that’s what I do
with niggras too. I just avoid
‘em.
(CONTINUED)
28.
CONTINUED:
Byrd takes a long pull off his beer and grins.

Like the plague that they are.
EXT. STREET - DAY
A LARGE CROWD, mostly African-American, but there are

some white folks sprinkled in here as well, marches down
the middle of Main Street, singing, “We Shall Overcome”.
PASTOR TOLBERT (V.O.)

Think about your best day, Vernon
said to me. The day when you were
happiest. The day when everything
was as brilliant and wonderful as
you ever hoped it could be.
The people in the front carry a large banner that reads,

“Who Killed Vernon Dahmer?”
EXT. CEMETERY - DAY
We still hear the people SINGING (and we will hear them

throughout the rest of this montage) as the pastor
continues to speak back at the cemetery.
PASTOR TOLBERT
Remember how that day transpired?
How fleeting it felt? How quickly
it passed?
The pastor wipes at his own tears.
INT. GARAGE - DAY
Grease on his face, MAURICE ALLEN (thirties, African-

American) stands in the middle of his garage and speaks
with TWO FBI AGENTS.
Maurice is justifiably skeptical of the agents.
MAURICE ALLEN
If the F.B.I. don’t know nothin’,
why would I?
(CONTINUED)
29.
CONTINUED:
F.B.I. AGENT #1
Well, we’re not from around here.
We just assumed that, as a
resident of Hattiesburg, you might
have heard rumors or gossip or
something of that nature.
MAURICE ALLEN
Right. You’re not from around
here. But I am. I live here. My
family lives here. And we’d like
to keep on living here.
Maurice is done here.
MAURICE ALLEN (CONT’D)

I gotta get back to work. These
cars ain’t gonna fix themselves.
EXT. MT. CALVARY BAPTIST CHURCH - NIGHT
A car skids to a stop in front of this church. THREE MEN

exit and THROW MOLOTOV COCKTAILS through the windows.

This day -- your worst day -- is
no longer than your best day. And
like that one, this day will pass
faster than you think.
They explode and the church starts to burn.
The men get back in the vehicle and speed away.
EXT. CEMETERY - DAY
The pastor continues.
PASTOR TOLBERT
The sun will rise and set. The
moon will climb into the night
sky.
The crowd voices their agreement.
INT. DINER - DAY
Billy Roy Pitts nervously sips from a cup of coffee and

eats his breakfast as TWO DIFFERENT AGENTS question him.
(CONTINUED)
30.
CONTINUED:
F.B.I. AGENT #3
So you didn’t know Vernon Dahmer.
BILLY ROY PITTS

Everyone heard of ‘im. But it’s
not like we were friends or
nothin’.
AGENT #4
We’re not suggesting that you and
Mr. Dahmer were friends.
Pitts’s hand shakes as he takes a sip of his coffee.
BILLY ROY PITTS

I don’t know nothin, and I’m done
talkin’.
He gets up and sits somewhere else.
EXT. CEMETERY - DAY
The pastor’s voice is rising. Building.
PASTOR TOLBERT
And there will be a tomorrow.
There’s always a tomorrow. There
has to be! It’s ordained! It’s
affirmed! It’s guaranteed!
INT. BEAUTY SALON - DAY
Adelena Hamlett, who we met at the bus stop earlier, and

BIRDIA KEGLAR (African-American, seventies) are sitting
in barber’s chairs as they get their hair done.
F.B.I. AGENTS question them.
ADELENA HAMLETT
I don’t know who killed poor
Vernon, but you tell ‘em that they
ain’t stoppin’ us from votin’.
Birdia agrees.
BIRDIA KEGLAR
Tell ‘em they just made us more
powerful. Because now Vernon’s
with God, lookin’ down and
watchin’ over us. Pushin’ us to
be even stronger.
(CONTINUED)
31.
CONTINUED:
ADELENA HAMLETT
Even more righteous.
The F.B.I. agents scribble down notes.
As Sam Bowers walks down the stairs that lead to the

Bureau’s office in Jackson, he’s trailed by a FEW
REPORTERS, who bark questions at him.
SAM BOWERS
The F.B.I. drug me all the way to
Jackson to tell them what I’m
gonna to tell you: I didn’t like
Vernon Dahmer and I didn’t agree
with Vernon Dahmer. But I also
didn’t kill Vernon Dahmer. That
niggra wasn’t worth my bullets.
Bowers steps into a waiting car.
EXT. TOWN SQUARE PARK - NIGHT
Located in the middle of downtown Hattiesburg, this park

is the site of countless civic events and celebrations.
But not tonight.
A GIANT CROSS is AFLAME in the center of the park, and a

CREW OF HOODED KLANSMEN stand around it with torches in
their hands.

Tomorrow is God’s will! Tomorrow
is the promise! Tomorrow is the
revelation! Tomorrow is the
truth!
It’s a message. To everyone. Everywhere.
EXT. CEMETERY - DAY
The pastor’s got the crowd here worked up.
PASTOR TOLBERT
The sun comes up, goes down and
comes up again! That’s God’s way!
That’s his bond with us!
(MORE)
(CONTINUED)
32.
CONTINUED:
PASTOR TOLBERT (CONT'D)
That there’s nothin’ that happens
today that won’t meet its
reckonin’ tomorrow!
They’re clapping their hands and cheering now.
PASTOR TOLBERT (CONT’D)

And my friend, Vernon Dahmer, he
wanted our eyes fixed on tomorrow!
Because you can’t stop tomorrow!
Tomorrow’s coming whether they
like it, or not!
Everyone’s hearts are about to pound out of their chests.
EXT. CEMETERY - DAY
The service over, Terence and Allison walk back toward

their automobile.
Up ahead, parked amongst all the other cars, Terence sees

Agent Rhodes standing outside a black sedan.
TERENCE
Damn.
ALLISON
I hope whatever it is that
inspired you to just blaspheme in
a cemetery is worth it.
Terence gestures toward Rhodes.
TERENCE
Work.
ALLISON
Didn’t you tell them that you were
going to be out for a couple days?
TERENCE
Guess they didn’t get the memo.
As usual. Can you get a ride home
with Rachel?
She kisses Terence on the cheek.
ALLISON
Don’t take long.
As Allison breaks off toward her friends, Terence

approaches Rhodes.
(CONTINUED)
33.
CONTINUED:
AGENT RHODES
Special Agent Moore would like to
speak with you.
Terence opens the door to the sedan and steps inside.
INT./EXT. MOORE’S CAR - DAY
Terence and Agent Moore sit in the back as the car drives
through Hattiesburg.
SPECIAL AGENT MOORE

No one around here is talking to
us. We’ve questioned over a
hundred people -- negroes and
whites, alike -- and we’re hitting
a dead end before we even get on
the road with our investigation.
President Johnson is beside
himself.
TERENCE
The Klan killed Vernon Dahmer,
sir. Everyone knows the Klan
killed him. And with all due
respect, sir, the reason folks
around town aren’t talking to you
is because they figure that if the
F.B.I. doesn’t know that the Klan
did it, the Bureau’s either in on
it, or too useless to catch the
guys who did it anyway.
It’s more complicated than that, of course.
SPECIAL AGENT MOORE

There’s a big gap between knowing
something and proving something,
Agent Wayne.
Moore looks out the window.

I read your memorandum. It was
excellent. And thorough. But as
good as it was -- as many names as
you named -- it won’t bring your
friend’s murderers to justice.
Terence knows this.
(CONTINUED)
34.
CONTINUED:
TERENCE
But I could bring my friend’s
murderers to justice. If you let
me.
SPECIAL AGENT MOORE

You’re angry.
TERENCE
Hell yes I’m angry.
Moore likes it.
SPECIAL AGENT MOORE

I’m angry too. And more
importantly, President Johnson is
angry.
Moore gets to the reason he’s here.

There may be an opportunity for
you to assist in this
investigation. There-
He doesn’t need to say another word.
TERENCE
I’m in. Whatever it is. I’m in.
Moore can’t help but smile at Terence’s enthusiasm.
SPECIAL AGENT MOORE

Given the dearth of information
and evidence, we’re taking an
unorthodox approach here.
Moore studies Terence closely.

You’d be paired up with a
consultant. He’s uniquely skilled
when it comes to this kind of
work. Your familiarity with the
area and the players could be
invaluable to him and our
investigation.
Terence nods. This keeps sounding better and better.
(CONTINUED)
35.
CONTINUED: (2)

But it’s a black bag operation.
Off the books. And it’s
dangerous.
The car pulls up in front of Terence’s house.

You need to know that, if anything
goes wrong...
He tries to figure out the best way to say it.

Director Hoover will protect the
Bureau at all costs.
Terence could give a fuck about all that. As far as he’s

concerned, he just got called up to The Show.
TERENCE
When do I start?
Rhodes opens Terence’s door.
SPECIAL AGENT MOORE

We’ll be in touch.
Terence exits the car, Rhodes shuts the door behind him
and then gets back into the car’s front seat.
Terence watches them drive away.
And then he pumps his fist.
He can’t help himself.
EXT. NEW YORK CITYSCAPE - NIGHT
Back to the city that never fuckin’ sleeps.
We ZERO IN ON STATEN ISLAND...
EXT. GREG SCARPA’S HOUSE - KITCHEN - NIGHT
With a steak on a plate in front of him and a bottle of

Dewar’s also on the table, Greg sits at the dinner table
with his son, GREG, JR. (16).
CONNIE (thirties), Scarpa’s wife, washes dishes.
(CONTINUED)
36.
CONTINUED:
GREG JR.
Coach said that gettin’ hit by a
pitch is just a part of the game.
I shouldn’t get upset.
SCARPA
That’s because you’re coach isn’t
the one catchin’ a heater in his
ribs. That kid hit you on
purpose.
Scarpa has a mouthful of steak.
SCARPA (CONT’D)
And when someone hits you, you hit
‘em back.
The phone rings. Connie answers.
SCARPA (CONT’D)
Hundred times harder.
Greg Jr. worships his father, but just like everyone

else, he’s also terrified of him.
Connie interrupts.
CONNIE SCARPA
(to Scarpa)
Phone’s for you.
We STAY WITH GREG JR. as he watches his father take his

call. This sixteen-year-old kid will end up following
his old man into a life of crime and ultimately spend
most of his life in prison.
But for right now, he’s just a son who adores his dad.
SCARPA
(into the phone)
Yeah.
He listens for a beat.
SCARPA (CONT’D)
(into the phone)
It’s late.
He looks out the window and sees a downpour.
SCARPA (CONT’D)
(into the phone)
It’s also pissin’ rain out there.
(CONTINUED)
37.
CONTINUED: (2)
Listens again.
SCARPA (CONT’D)
(into the phone)
Okay then.
He hangs up the phone.
SCARPA (CONT’D)
(to Connie)
I gotta go to my tailor for a
fitting.
Connie’s justifiably skeptical.
CONNIE SCARPA
At this time of night?
SCARPA
The special fuckin’ guy from
Mumbai with the special fuckin’
fabrics is here with his special
fuckin’ swatches and he has to be
on a plane tomorrow and bullshit,
bullshit, bullshit... I’ll be
back soon.
CONNIE SCARPA
You’re the customer. Shouldn’t
they work around your schedule,
not the other way around?
Scarpa gives his wife a look that tells her that she’s
overstepped. And she knows it.
CONNIE SCARPA (CONT’D)

I’ll keep your dinner warm.
On his way out the door, Scarpa kisses his wife and
tousles his son’s hair.
SCARPA
Won’t be long.
INT./EXT. GREG SCARPA'S CAR - NIGHT
Scarpa drives up the mostly empty New Jersey Turnpike.
Up ahead, he sees a sign for a rest area.
He checks his rearview mirror to make sure no one’s

following him. No one.
(CONTINUED)
38.
CONTINUED:
He exits.
EXT. REST AREA - A FEW MINUTES LATER
This rest area is no more than a couple dirty bathrooms

and a few picnic tables.
AGENT ARTHUR LEVINE (forties) sits by himself at one of

the tables in the pouring rain.
Scarpa approaches.
SCARPA
Sittin’ out here all alone in the
rain like this, people are liable
to think you’re some kind of
pervert.
AGENT LEVINE
What’s your excuse?
Scarpa laughs and sits down across from him.
SCARPA
How goes it at the Bureau, Art?
AGENT LEVINE
Fightin’ the good fight.
SCARPA
That makes two of us.
Now it’s Levine’s turn to laugh.
AGENT LEVINE
What do you know about the hit on
Carmine Destefano in that bar in
Gravesend?
SCARPA
Moretti’s.
Yes.
SCARPA (CONT’D)
Carmine got clipped. That’s all I
know.
Scarpa is cool as a fan.
(CONTINUED)
39.
CONTINUED:
SCARPA (CONT’D)
Guy had his hands in all sorts of
hustles. Slippery motherfucker.
Shit happens.
Levine is scrutinizing the hell out of Scarpa.
AGENT LEVINE
This informant arrangement between
us - it’s predicated on you being
honest with the Bureau, Scarpa.
If you lie to us, the whole thing
falls apart.
SCARPA
I’m not lyin’ to you, Art. You
lyin’ to me?
Levine continues to size up Scarpa.
AGENT LEVINE
If you hear anything about the
hit, let me know. All we got
right now is a bartender who says
he was in the can when bullets
started flying and didn’t see a
thing.
Scarpa’s had enough of this particular conversation.
SCARPA
I know you didn’t bring me out
here in the middle of the night,
and in a fuckin’ typhoon, to talk
about Carmine Destefano.
He’s right, of course.
AGENT LEVINE
We need you to go back down South.
SCARPA
Jews gone missing again?
Levine takes offense but doesn’t say anything.
AGENT LEVINE
Negro in Mississippi. Voting
rights activist. He was murdered
a couple weeks back and no one’s
talking.
Scarpa’s interested.
(CONTINUED)
40.
CONTINUED: (2)
SCARPA
How much you paying?
AGENT LEVINE
This isn’t a drive-by like the
last one. Gonna need you on the
ground. There’ll be some shoe
leather this time around.
There’s nothing Scarpa likes more than driving the deal.
SCARPA
You know I’m gonna want my get-out-
of-jail-free card extended to
forever and for everything.
That’s not all.
SCARPA (CONT’D)
And my day rate. Doubled.
Christ.
SCARPA (CONT’D)
Need to be compensated for time
away from my family. Greg
Junior’s growin’ up. Days away
are days I miss with my son.
Levine’s been down this road before.
AGENT LEVINE
We’ll talk to the man in charge.
SCARPA
Hoover?
AGENT LEVINE
Johnson.
Scarpa grins.
SCARPA
The President. That’s what I’m
talkin’ about.
Awesome.
INT. TERENCE AND ALLISON'S BEDROOM - DAY
Terence packs a suitcase while Allison stands nearby.
(CONTINUED)
41.
CONTINUED:
TERENCE
They just told me I have to drive
to Atlanta. That’s all I got.
ALLISON
You understand why this lack of
specifics is unsettling for your
wife.
Terence smiles and takes her face in his hands.
TERENCE
Like I said, the whole thing’s a
secret. No one can know.
ALLISON
I didn’t realize wives were no
one.
TERENCE
You know what I mean, baby.
Terence throws a couple more things into his bag and then
closes it. He kisses his wife good-bye.
TERENCE (CONT’D)
I love you.
ALLISON
We’ll miss you.
TERENCE
I’ll miss you too.
Terence heads for the door.
ALLISON
I said, we’ll miss you, Terence.
He stops and turns around and sees Allison standing there

with her hand on her belly.
TERENCE
Stop lyin’!
She’s laughs.
ALLISON
Unlike you, I don’t keep secrets
from my spouse.
Terence breaks into a massive grin, runs across the room

and picks up his wife in his arms.
(CONTINUED)
42.
CONTINUED: (2)
TERENCE
Oh my God! Oh my God! Oh my God!
Despite her best efforts to be angry at her husband,

Allison can’t help but smile as well.
ALLISON
Your baby and I are not no one.
Terence kisses his wife.
TERENCE
No. No. You’re everything.
And kisses her again.
TERENCE (CONT’D)
Everything.
EXT. HOLIDAY INN - PARKING LOT - DAY
Terence pulls up in a 1960 CHEVY IMPALA outside of this

large hotel located in downtown Atlanta.
He exits his car and heads for the front doors.
INT. HOLIDAY INN - LOBBY - CONTINUOUS
Terence walks into the lobby and looks around. He hasn’t

been standing here for more than ten seconds when a HOTEL
EMPLOYEE (white woman, thirties) approaches him.
HOTEL EMPLOYEE
May I help you with something?
TERENCE
I’m meeting someone here.
HOTEL EMPLOYEE
Are you certain you’re supposed to
meet them here?
Terence looks around the lobby, sees that the clientele

are exclusively white and immediately understands this
interrogation.
HOTEL EMPLOYEE (CONT’D)

Do you have a name for the person
you’re meeting?
(CONTINUED)
43.
CONTINUED:
TERENCE
I’ll know them when I see them.
HOTEL EMPLOYEE
I haven’t seen anyone you would
know.
Terence can’t help but give a cynical chuckle.
TERENCE
How would you know who I know?
Just as he says this, he sees Agent Levine, dressed in

the standard F.B.I. attire.
TERENCE (CONT’D)
Mr. Levine?
Levine sees him and walks over with his hand extended.
AGENT LEVINE
Mr. Wayne. Welcome to Atlanta.
As they shake...
TERENCE
(to the woman, re:
Levine)
Does he look like someone I’d
know?
She turns her attention to the white agent.
HOTEL EMPLOYEE
(to Agent Levine)
Are you a guest here, sir?
AGENT LEVINE
I’m renting out the entire top
floor of this hotel. Is there a
problem?
She forces a smile.
HOTEL EMPLOYEE
You both have a nice day.
As she walks away, Levine shakes his head.
TERENCE
She was just making sure I was in
the right place.
(CONTINUED)
44.
CONTINUED: (2)
Levine knows what’s up.
AGENT LEVINE
Of course she was.
INT. HOLIDAY INN - HALLWAY - MOMENTS LATER
Agent Levine gives Terence the lowdown as they stand

outside a door to a room.
AGENT LEVINE
I don’t know what they’ve told you
about Confidential Informant 34.
TERENCE
They haven’t told me anything, and
I didn’t ask.
It’s clear to Agent Levine that Terence has no idea what

the fuck he’s getting into here.
AGENT LEVINE
C.I. 34 is one of our most
valuable assets.
He reaches for the door’s handle and then stops himself.
AGENT LEVINE (CONT’D)

He’s also an absolute son of a
bitch. If he’s talking, he’s
lying. If his feet are moving,
he’s dancing. If he’s standing
near you, make sure you still have
your wallet.
This is a lot to take in.

Having said that, he’s been around
the block. You’ll be following
his lead.
Levine opens the door and the two men step inside.
INT. HOLIDAY INN - SCARPA’S HOTEL ROOM - CONTINUOUS
Terence and Levine are greeted by the sight of Scarpa, in

a bathrobe, sitting on a couch with a WOMAN, also in a
bathrobe (but hers is open), straddling him.
Levine clears his throat.
(CONTINUED)
45.
CONTINUED:
SCARPA
(to the woman)
Company.
The woman, who is, at the most, in her early twenties,

closes her robe and dismounts Scarpa.
Immediately, we notice that she is not Scarpa’s wife.
Her name is LINDA SCHIRO (twenties) and she will give

birth to, and raise, two of Scarpa’s children...while
she’s married to another man.
Scarpa does the introductions.
SCARPA (CONT’D)
(to Linda)
This is Art.
They exchange nods and smiles.
SCARPA (CONT’D)
(re: Terence)
And that’s Art’s driver.
No. Asshole. It’s not.
AGENT LEVINE
Terence Wayne. He’s going to be
working with you in Mississippi.
Scarpa’s surprised. Stunned is more like it.
SCARPA
That right?
Scarpa extends his hand as he sizes up Terence.
SCARPA (CONT’D)
I’m-
Before he can gets another word out, Levine steps in.
AGENT LEVINE
34.
Scarpa chuckles.
SCARPA
Yeah. 34.
Linda takes a sip from a glass of champagne.
(CONTINUED)
46.
CONTINUED: (2)
LINDA
We’re doing code names again?
That’s fun.
Again? This gives Terence momentary pause as he and

Scarpa shake hands.
TERENCE
Terence Wayne.
Levine offers up the particulars.
AGENT LEVINE
You and Terence will drive to
Mobile tonight, and then you’ll
continue on into Mississippi
tomorrow.
Scarpa is still studying Terence.

Terence is from Hattiesburg. He
knows the city and everyone in it.
Scarpa wants to establish the ground rules right now.
SCARPA
Don’t know what Art told you, but
I’ve done this before.
TERENCE
He told me.
SCARPA
I know more than you, and I’m the
best at what I do.
From the peanut gallery.
LINDA
And he’s really humble.
SCARPA
(to Linda)
Watch your mouth.
(to Terence)
Point is, I’m freelance. Only
clock I punch is my own.
This guy is already a pain in the ass.
TERENCE
I’ll keep that in mind.
(CONTINUED)
47.
CONTINUED: (3)
Scarpa eyes Terence.
SCARPA
You better.
Sizing him up.
EXT. HOLIDAY INN - PARKING LOT - AFTERNOON
Scarpa stands outside the car and says good-bye to Linda

before he steps inside with Terence, who’s behind the
wheel already.
LINDA
I get so little time with you back
in New York, and now you’re
leaving me again. It’s not fair,
Greg.
Terence hears her call him Greg and takes note.
SCARPA
I saw you droolin’ over that bus
boy. He can keep you busy for a
few days while I’m gone.
She playfully slaps Scarpa.
LINDA
Stop!
But he really doesn’t give a fuck.
SCARPA
Do what you need to do.
Scarpa kisses her and grabs her ass in the process.
SCARPA (CONT’D)
Keep it tight for me.
Gross.
Scarpa steps into...
INT./EXT. CHEVY IMPALA - CONTINUOUS
As Scarpa takes the seat next to Terence, he pulls a GUN

out of his jacket and places it under the seat.
Terence watches him do it; Scarpa notices him watching.
(CONTINUED)
48.
CONTINUED:
SCARPA
Have gun - will travel.
Terence stares at Scarpa...and then starts the car.
He pulls out of the parking lot.
EXT. HIGHWAY - EVENING
Scarpa’s window is down and he breathes in the air.
SCARPA
Love it down here. Nobody knows
me. Nobody sees me comin’.
He takes another deep breath.
SCARPA (CONT’D)
Like I been born again.
The Four Tops play on the radio -- “I Can’t Help Myself” -

- as Terence continues to drive up the road.
Terence hands Scarpa a folder.
TERENCE
It’s a memorandum I wrote about
the Klan in Hattiesburg. I
thought it might be helpful.
Scarpa take a quick look and then tosses it at his feet.

He could give a fuck about Terence’s memorandum.
SCARPA
I’ll read it later.
He won’t.
SCARPA (CONT’D)
So when they start letting niggers
into the Bureau?
Terence turns to him.
TERENCE
I’m going to ask you not to use
that word around me.
Scarpa’s testing him.
SCARPA
Just a figure of speech.
(CONTINUED)
49.
CONTINUED:
TERENCE
I know what it is. Don’t say it
around me.
Scarpa smiles. He likes Terence’s toughness.
SCARPA
Never seen a negro agent before.
TERENCE
James Wormley was appointed as a
Special Agent of the Bureau in
1919. After him was James Amos in
1921. Then Earl Titus and Thomas
Leon Jefferson in ‘22.
Scarpa takes a sip of his soda.
SCARPA
How ‘bout that?
The car continues up the road.
INT./EXT. CHEVY IMPALA - NIGHT
Terence’s eyes are getting heavy; Scarpa is asleep.
Suddenly, POLICE LIGHTS appear behind them.
TERENCE
Shit.
Scarpa wakes up.
SCARPA
What?
And then he sees.
SCARPA (CONT’D)
Fuck.
Terence slowly pulls over to the shoulder and brings the

car to a stop.
He watches TWO COPS get out of their car and approach.
And then he sees Scarpa grab his pistol and put it under
his leg.
The cops come up both sides of the car and SHINE THEIR
FLASHLIGHTS into Terence and Scarpa’s faces.
(CONTINUED)
50.
CONTINUED:
The cop in Terence’s window talks first.
COP #1
What crime are you two runnin’
from in such a hurry?
TERENCE
We’re headed for Mobile.
The cop nearest Scarpa speaks.
COP #2
Mobile’s not going nowhere, so why
you tearin’ up our roads?
TERENCE
I didn’t realize I was.
The cop in his window gets in his face.
COP #1
He just told you that you were,
boy.
This interaction feels like it could fly off the rails,

and turn violent, at any moment.
COP #2
What’s in Mobile?
TERENCE
Just a motel. We’re staying there
for the night.
COP #1
You queers?
What Scarpa says next will most likely get them both
killed, but Terence stops him.
TERENCE
I’ll get you my paperwork.
COP #2
(to Scarpa)
We need identification from both
of you.
Scarpa protests.
SCARPA
I wasn’t driving.
(CONTINUED)
51.
CONTINUED: (2)
The second cop gets loud.
COP #2
You refusing to obey an order from
a law enforcement officer?
Terence settles things down. He looks over at Scarpa.
TERENCE
We’ll both give you our
identification.
Scarpa pulls out his wallet and hands the guy his
license. Terence does the same.
COP #1
Stay in the car.
The cops head back to their vehicle.
Terence turns to Scarpa.
SCARPA
They’re just fuckin’ with us to
fuck with us.
No shit.
TERENCE
They see your gun, they’ll kill us
right here. No questions asked.
SCARPA
Why don’t you tell them that
you’re an F.B.I. agent?
Because that’s the worst idea.
TERENCE
We’re on an empty highway in
Alabama at night. And I’m a black
agent in the Bureau. Only thing
these guys hate more than people
that look like me are people who
work where I do. They could put a
bullet in my head right now and
get a medal of commendation from
the governor before the week is
up.
The cops return to the car and the one on Scarpa’s side
hands him back his I.D.
(CONTINUED)
52.
CONTINUED: (3)
COP #2
(to Scarpa)
Thomas Miller from New York.
SCARPA
That’s me.
COP #2
What are you doin’ in Alabama?
SCARPA
I’m a reporter from the New York
Herald Tribune doing a piece on
negro F.B.I. agents.
COP #1
There’s no such thing.
Scarpa begs to disagree.
SCARPA
The first negro F.B.I. agent was
Earl Wormley in 1932.
He fucks this all up, of course.
SCARPA (CONT’D)
After him was Amos James. Then
James Leon and then Thomas
Jefferson.
He points at Terence.
SCARPA (CONT’D)
As a matter of fact, this one’s in
the F.B.I. right now.
Cop #1 takes a beat to process this and then pulls out

his GUN and points it at Terence’s face.
COP #1
Get the fuck outta the car. Right
now. And lemme see your fuckin’
hands!
Terence looks at Scarpa and then does as he’s told.
The other cop points his gun at Scarpa.
COP #2
You too! Get the fuck out!
Scarpa protests.
(CONTINUED)
53.
CONTINUED: (4)
SCARPA
What’d I do?
COP #2
I said, get the fuck outta the
car!
The cop puts his gun to Scarpa’s head.
SCARPA
You don’t wanna do that.
COP #2
There’s a lot I wanna do, and even
more that I’m gonna do, if you
don’t get your ass outta this car
right fuckin’ now!
Terence and Scarpa share a look.
The gun underneath Scarpa’s leg.
As Scarpa opens his door, he expertly PALMS HIS GUN in

his left hand so it can’t be seen by the cop.
As he steps outside, he drops the gun down his leg kicks

it under the car in one fluid, undetectable motion.
Coughing along the way to camouflage any noise.
The guy’s a fuckin’ pro.
Terence, who has watched the whole thing, can’t help but
be impressed.
EXT. ALABAMA HIGHWAY - NIGHT
Terence and Scarpa are both facedown on the pavement as

the two officers stand over them.
One of them holds Terence’s memorandum.
COP #1
We could throw you both in jail
for transporting confidential
materials across state lines.
SCARPA
That’s a law?
COP #2
The law is what we say it is.
(CONTINUED)
54.
CONTINUED:
The cop takes the memorandum and tears it into pieces and
throws it into the road.
COP #1
Instead, we’re just going to write
you a citation for littering.
He gets low, right next to Terence and presses his gun to

his head.
COP #1 (CONT’D)
You people need to let us know
when you’re traveling through the
state. Not accustomed niggras
with a badge around here.
He pulls back the hammer on his pistol.
COP #1 (CONT’D)
Throws us off. Might make some
kind of fatal mistake.
The other cop chimes in.
COP #2
Do your business in Mobile and
then get the fuck out of Alabama.
Both of you.
Terence nods.
Terence and Scarpa are back in the car and they watch as
the two cops pull away past them, eyeing them as they go.
SCARPA
Lemme get my gun from under the
car.
Terence is furious.
TERENCE
You could’ve killed us, you know.
SCARPA
They’re cops. I’m a white man.
We were safe.
Terence can’t help but laugh at Scarpa’s absurdity.
(CONTINUED)
55.
CONTINUED:
TERENCE
I know you know everything
already, but it’s 1966. And this
is the South.
He LOCKS EYES with Scarpa.
TERENCE (CONT’D)
No one is safe.
OFF TERENCE, more concerned than ever about the guy

riding shotgun...
EXT. MOTEL 6 - DAY
Terence and Scarpa, both with cups of coffee in their

hands (Scarpa has a biscuit too), walk across the parking
lot toward the entrance to the motel.
SCARPA
Is it ever not hot and humid down
here? Feels like we’re walking
straight into someone’s ass.
Lovely.
MARCO (O.S.)
Get the fuck outta here! Scarpa?!
Scarpa. Linda called him, “Greg”. This guy just called

him, “Scarpa”.
Greg Scarpa.
Terence will remember that.
Scarpa turns and sees MARCO ESPOSITO (forties, Italian,

fat). And he is not happy about it.
Under his breath...
SCARPA
You gotta be shittin’ me.
Scarpa walks over and gives him a hug and a kiss.
SCARPA (CONT’D)
As I live and breathe! Marco
Esposito! What the fuck are you
doin’ here?
(CONTINUED)
56.
CONTINUED:
MARCO
You tell me first!
SCARPA
Thinkin’ about opening up a club.
No room in New York, so figure why
not try greener pastures?
He tugs at his sweaty shirt.
SCARPA (CONT’D)
But now I’m thinkin’ it’s too
fuckin’ hot all the time. Who
wants to dance when their balls
are stuck to their legs? What
about you? What brings you to
America’s asshole?
Marco laughs.
MARCO
Moved to New Orleans a few years
back to work with the Marcellos.
Scarpa remembers.
SCARPA
That’s right.
Marco eyes Scarpa closely.
MARCO
We’re also exploring some
opportunities here in Mobile.
Marco gestures toward Terence.
MARCO (CONT’D)
(re: Terence)
Who’s Licorice Slim over there?
Fuck.
SCARPA
Tour guide. Knows all the
shortcuts.
Not sure what to make of Terence, Marco moves on.
MARCO
I’m twiddling my thumbs for a
couple hours. Maybe show me the
spot you’re thinking of buying.
(MORE)
(CONTINUED)
57.
CONTINUED: (2)
MARCO (CONT'D)
I’m pretty familiar with local
real estate.
SCARPA
Wish we could. Heading back to
New York this morning.
MARCO
Well, if you want a belt before
you head out, I got the good stuff
back in 314. Stop by before you
leave.
SCARPA
Appreciate the offer. In a rush.
Scarpa gives Marco another hug
SCARPA (CONT’D)
Good seeing you, Marco.
MARCO
You too.
Scarpa heads over to Terence.
SCARPA
Gotta finish packing. I’ll meet
you at the car.
Terence’s watches Marco head into the motel.
INT. MOTEL 6 - ROOM 314 - A FEW MINUTES LATER
Marco sits on his bed and talks on the phone.
MARCO
If he’s here, New York’s here.
And Mobile’s not big enough for
both of us.
There’s a KNOCK at his door.
MARCO (CONT’D)
(into his phone)
Someone at my door. Gotta go.
Marco gets up, opens his door and finds himself staring
at the business end of a pistol with a silencer on it.
Scarpa.
(CONTINUED)
58.
CONTINUED:
SCARPA
Wrong place, wrong time.
THWIP. Right between the eyes.
Scarpa, holding his luggage, walks into the room and

closes the door behind him.
EXT. MOTEL 6 - PARKING LOT - A MINUTE LATER
Terence puts his bag in the car’s trunk; Scarpa

approaches.
SCARPA
Sorry to make you wait.
Scarpa throws his bag in the trunk as well.
SCARPA (CONT’D)
Turns out this southern cooking
doesn’t agree with me.
INT./EXT. CHEVY IMPALA - DAY
Terence and Scarpa drive by the burned sign on the side

of the road.
SCARPA
(re: the sign)
What’s that supposed to say?
TERENCE
Welcome to Hattiesburg.
They keep driving.
EXT. CAMP SHELBY - DAY
Located in the southern boundary of Hattiesburg and

covering 136,000 acres, Camp Shelby is the largest state-
owned training site in the United States. During times
of war, the camp’s mission is to serve as a major
independent mobilization station for the army.
Terence and Scarpa drive through the camp’s North Gate.

59.
INT. HANGAR - MOMENTS LATER
Terence pulls into a massive, empty hangar where Agents

Moore and Rhodes, as well as TWO OTHER SENIOR-LEVEL
AGENTS, are sitting at a table that’s been set up in the
middle of the enormous space.
Terence and Scarpa exit the car.
They walk over to the table and take the two seats across
from the agents.
SCARPA
(to Moore)
Can’t get enough of me. Can you,
Special Agent Moore?
Another surprise for Terence. Scarpa knows Moore.
SPECIAL AGENT MOORE

The situation here is different
than your prior engagement.
And yet another reference to Scarpa being here before.

We know less this time. So you
need to do more.
Rhodes steps in.
AGENT RHODES
(to Terence, re:
Scarpa)
If anyone asks, he’s a special
agent on assignment from New York.
Scarpa loves it.
SCARPA
Special agent on assignment.
That’s who the fuck I am.
OFF TERENCE, more and more in the dark...
INT. HANGAR - LATER
Scarpa eats at the table while Terence talks to Moore and

Rhodes off to the side and out of his earshot.
(CONTINUED)
60.
CONTINUED:
SPECIAL AGENT MOORE

When you were in Mobile, did you
happen to cross paths with someone
named Marco Esposito?
Of course.
TERENCE
In the parking lot of the motel.
They knew each other.
Moore and Rhodes share a look.
TERENCE (CONT’D)
(re: Scarpa)
He gave him a story about visiting
from New York and looking for a
location for a club he was
thinking of buying.
Terence clocks yet another loaded glance between Moore

and Rhodes.
TERENCE (CONT’D)
(re: Scarpa)
Can you tell me who he is? I know
he’s an informant.
SPECIAL AGENT MOORE

It’s better for you -- safer for
you -- that you don’t know the
specifics.
Terence wants more than that.
TERENCE
We’re working together, sir. I-
Rhodes is Moore’s hammer.
AGENT RHODES
Just do your job.
OFF TERENCE, getting tired of all the cryptic bullshit...
EXT. TERENCE AND ALLISON'S HOUSE - KITCHEN - NIGHT
Terence talks on the phone while Allison sits at the

kitchen table and drinks from a cup of tea.
(CONTINUED)
61.
CONTINUED:
TERENCE
(into the phone)
They found him dead in the
bathroom at the motel in Mobile?
Marco Esposito.
TERENCE (CONT’D)
(into the phone)
Damn. I guess he could’ve done it
when he went to get his luggage.
He shakes his head in bewilderment.
TERENCE (CONT’D)
Shit. I don’t know.
Allison looks up at him. He needs to wrap this call up.
TERENCE (CONT’D)
(into the phone)
It’s Scarpa. S-C-A-R-P-A. First
name Greg. Lemme know what you
find. Thanks.
He hangs up. More disturbed than ever.
ALLISON
I think I liked it better when you
were just doing the filing.
Terence studies his wife for a moment.
TERENCE
You should go to your sister’s in
Laurel.
ALLISON
Why?
Terence’s patience is stupidly short right now.
TERENCE
Because I said you should.
Allison takes another sip of her tea.
ALLISON
There will never be a time in this
marriage or in this life where I
will allow you to speak to me the
way you just did, Terence Wayne.
(MORE)
(CONTINUED)
62.
CONTINUED: (2)
ALLISON (CONT'D)
I don’t know who you think you
married.
She gets up and heads for the door.
TERENCE
I’m sorry.
She stops.
TERENCE (CONT’D)
You know I didn’t mean it.
Terence comes clean, or at least as clean as he can.
TERENCE (CONT’D)
They brought someone in from New
York who I’m working with to catch
the guys who killed Vernon.
Allison smiles.
ALLISON
That’s what you wanted. You’re
working to bring Vernon’s killers
to justice.
She can see that it’s not all he’d hoped it would be.
ALLISON (CONT’D)
But...
TERENCE
This guy isn’t an agent. He’s an
informant. I’m assuming he’s in
the Mafia up in New York.
ALLISON
Why would you think that?
Simple.
TERENCE
One look at him.
To make matters worse, though...
TERENCE (CONT’D)
When we stopped over in Mobile, we
bumped into some guy he knew.
So?
(CONTINUED)
63.
CONTINUED: (3)
TERENCE (CONT’D)
Archie just told me that a
housekeeper at the motel found the
same guy dead from a bullet to the
head.
If Allison was scared before, she’s terrified now.
ALLISON
And you think your Mafia informant
guy did it?
TERENCE
I don’t know. I don’t know
anything right now.
Allison’s had enough.
ALLISON
Don’t do this, Terence. Just tell
them you can’t. Tell them you
want to go back to the file room.
Whatever you need to do. Because
this isn’t not who you are. It’s
not who you’re supposed to be.
As much as she’d like Terence to step away from this, she

knows he never will. So she’s not surprised when he
doesn’t even acknowledge what she just said.
TERENCE
I need you to go to Cynthia’s in
Laurel. Just for a couple days
until I can figure out what’s
what.
ALLISON
You’re in danger.
TERENCE
Maybe.
Allison hugs Terence. Tight.
EXT. TERENCE AND ALLISON'S HOUSE - MORNING
Terence places Allison into a waiting car that’s being

driven by her sister, CYNTHIA (forties).
(CONTINUED)
64.
CONTINUED:
TERENCE
(to Cynthia)
Take good care of her, Cyn.
CYNTHIA
You know I will.
And then he kisses his wife good-bye.
ALLISON
We’re a family now, Terence. And
this family needs you.
TERENCE
I love you.
And then he shuts the door and watches her drive away.
Terence and Scarpa, both with hats pulled low over their
heads and the collars of their jackets turned up, sit in
a car outside of the OAK GROVE DAIRY, a local milk
manufacturing facility.
Their eyes are focused on the front door.
Billy Roy Pitts, one of the men from the V.F.W. who
approached Terence that night, exits.
He’s dressed in an Oak Grove Dairy uniform.
TERENCE
Billy Roy Pitts.
Billy Roy heads over to his FORD TRUCK, gets inside and
starts to pull away.
TERENCE (CONT’D)
Billy Roy Pitts. Klan. Nervous.
Talks too much. And for whatever
reason, he doesn’t hate us as much
as all the other guys do.
Terence follows behind him at a safe distance.
TERENCE (CONT’D)
In this chain, Billy Roy’s the
weak link.
65.
EXT. BILLY ROY PITTS’S HOUSE - DAY
As Billy Roy pulls up in front of his small, decrepit

house, he’s greeted by a BARKING DOG.
He bends down and pets the dog, lets him lick his face.
Billy Roy goes inside.
Terence and Scarpa are about a block away.
Scarpa points to the curb.
SCARPA
Pull up there.
Terence does as he’s told.
SCARPA (CONT’D)
These things always work better
when they’re a surprise. Keeps
‘em off-balance,
Terence sees Scarpa pull his gun out from under the seat.
SCARPA (CONT’D)
I like to be prepared.
TERENCE
For what?
SCARPA
Anything.
EXT. BILLY ROY PITTS'S HOUSE - A MINUTE LATER
As Terence and Scarpa SNEAK AROUND THE BACK OF THE HOUSE,

they see Billy Roy, boiling some potatoes on his stove.
They’re trying to be as quiet as possible, but suddenly,

the DOG spies them and immediately starts BARKING.
He MAKES A BEE-LINE for Scarpa, but before he gets to

him, Terence sees a stick nearby.
He GRABS IT and THROWS it as far as he can.
The dog, being a dog, chases it.

66.
INT. BILLY ROY PITTS’S HOUSE - KITCHEN - A MOMENT LATER
Billy Roy is still at his stove when his BACK DOOR IS

KICKED OPENED by SCARPA. Terence follows behind him.
Billy Roy reaches for a knife.
Scarpa already has his gun out and pointed at him.
SCARPA
(to Billy Roy)
You don’t wanna do that, sugar pie
honey bunch.
Billy Roy puts down the knife.
INT. BILLY ROY PITTS’S HOUSE - KITCHEN - LATER
Terence and Scarpa sit across from Billy Roy.
SCARPA
What’d you do to Vernon Dahmer?
BILLY ROY PITTS

Nothin’.
Billy Roy has already sweat through his shirt.

Just like I told those other
F.B.I. guys.
SCARPA
We’re not those guys.
BILLY ROY PITTS

Who are you then?
Without any warning at all, Scarpa rears back and SLAPS

THE SHIT out of Billy Roy, sending him FALLING BACKWARD
OFF HIS CHAIR and onto the floor.
SCARPA
I’m a special fuckin’ agent.
Terence is shocked but doesn’t do anything.
SCARPA (CONT’D)
On special fuckin’ assignment.
Scarpa pulls out his gun.
(CONTINUED)
67.
CONTINUED:
SCARPA (CONT’D)
Or some fancy-soundin’ shit like
that.
He points it at Billy Roy.
SCARPA (CONT’D)
Basically, it translates to, I
don’t have any problem at all
putting a bullet in your empty
fuckin’ head.
Billy Roy starts to panic.
BILLY ROY PITTS

I don’t know anythin’! I swear!
Scarpa places his gun on the table, picks Billy Roy up

off the floor and THROWS HIM AGAINST THE CABINETS, which
SHATTER and FALL OFF THE WALL.
SCARPA
(to Billy Roy)
You know something, Billy Roy. I
can smell it on you.
Terence continues to watch.
SCARPA (CONT’D)
(to Billy Roy)
Or did you just piss yourself?
Scarpa THROWS ANOTHER PUNCH into Billy Roy’s jaw, and his
KNEES BUCKLE. But Scarpa holds him up by his collar.
Suddenly, the DOG COMES RUNNING into the house.
He ATTACHES himself to Scarpa’s leg. Growling and

bearing his teeth.
Without a second thought, Scarpa grabs his gun and SHOOTS

THE DOG IN THE HEAD.
He’s dead.
BILLY ROY PITTS

Boone!
Billy Roy collapses on the floor next to his dead dog.
SCARPA
Boone!
(CONTINUED)
68.
CONTINUED: (2)
Scarpa blows on his swollen knuckles.
SCARPA (CONT’D)
Boone. Even the dogs down here
got country fuckin’ names.
Billy Roy is devastated. Tears well up in his eyes.
BILLY ROY PITTS

Boone.
Scarpa gets down next to Billy Roy.
SCARPA
Vernon Dahmer.
BILLY ROY PITTS

You killed my fuckin’ dog!
Scarpa grabs a knife off the counter and sticks the BLADE
INTO THE STOVE’S FLAMES.
SCARPA
That was just a start.
Terence continues to watch in amazement. He can’t

totally believe what he’s seeing.
As the blade glows red hot, Scarpa pulls Billy Roy up off
the floor again.
SCARPA (CONT’D)
What’d you do to Vernon Dahmer?
He raises the searingly hot blade to Billy Roy’s face.
He’s about to press it into his flesh when Terence GRABS

his arm.
TERENCE
No.
Scarpa looks at Terence.
SCARPA
You fight fire with fire.
But Terence has had enough.
TERENCE
We’re leaving.
(CONTINUED)
69.
CONTINUED: (3)
SCARPA
I told you how this works.
Their eyes meet, and Terence says it again.
TERENCE
We’re leaving.
Scarpa looks at Terence for a long beat and then...
SCARPA
(to Terence)
This is why things down here don’t
ever change for you people. No
heart.
Scarpa throws the knife across the room and it sticks in

the wall. Right next to Billy Roy’s head.
Scarpa exits, leaving Terence behind.
Terence stares down at Billy Roy, who’s still kneeling

next to his dead dog. It almost looks like Terence is
about to apologize but before he can, Billy Roy looks up
at him and with tears in his eyes...
BILLY ROY PITTS

Fuck you, nigger.
And with that, Terence leaves.
EXT. STREET - A MINUTE LATER
Terence heads to the car where Scarpa is waiting for him.
As Terence approaches, without so much as a word, Scarpa

REARS BACK and THROWS A RIGHT into Terence’s face.
SCARPA
Don’t ever tell me what to do.
And just like that, IT’S ON.
SCARPA (CONT’D)
I’m a gun for hire.
A HOOK to Terence’s ribs.
SCARPA (CONT’D)
A goddamn soldier of fortune.
These two go toe-to-toe.
(CONTINUED)
70.
CONTINUED:
SCARPA (CONT’D)
I don’t answer to you.
And for the first thirty seconds or so, it’s a pretty

close fight. They TRADE SHOTS with no one getting the
upper hand.
But after about a minute, it becomes clear that Terence

is the better fighter. His punches are sharper, crisper.
TERENCE
I don’t stand by and watch people
hurt people. No matter who they
are.
And his defense is even more impressive. He BLOCKS most

of Scarpa’s blows.
SCARPA
Yeah. You do. That’s why I’m
here. Cuz you ain’t doin’ shit to
help your own people.
Terence starts to beat the ever-loving shit out of the

infamous hitman. JABS, HOOKS, CROSSES... They all land.
Finally, after getting his ass handed to him for long

enough, Scarpa TACKLES Terence. They both hit the ground
hard, but Scarpa is able to get on top of Terence.
He’s about to start raining down blows when he realizes

that he’s completely fuckin’ gassed.
He’s got nothin’ left.
He collapses next to Terence.
SCARPA (CONT’D)
They brought me back down here
because I’ll do things you won’t.
Scarpa reaches in to his mouth to check on loose teeth.
TERENCE
What does that mean, brought you
back down here?
Terence touches his ribs. They hurt like hell.
SCARPA
You want to catch the guys that
murdered your friend?
(CONTINUED)
71.
CONTINUED: (2)
TERENCE
I do.
SCARPA
Then let me do what I do.
Scarpa wipes blood from his nose.
SCARPA (CONT’D)
And stay the fuck out of my way.
As they talk, Billy Roy, exits his house, gets in his

truck and tears out of his driveway.
Terence and Scarpa get into the Chevy and follow him.
EXT. V.F.W. POST - TWO MINUTES LATER
Billy Roy’s truck skids to a stop outside the V.F.W.
He runs inside.
Terence and Scarpa pull up just down the block.
INT. V.F.W. POST - LATER
Like most of these “posts”, this spot is nothing more

than a glorified bar.
A black and white TV plays reruns of “Your Show of

Shows”.
Billy Roy sits at a table with Charles Clifford Wilson,

Lawrence Byrd, Sam Bowers and a FEW OTHER WHITE GUYS (in
their thirties, forties and fifties, respectively).
SAM BOWERS
What kind of accent did he have?
BILLY ROY PITTS

Shit, Sam! I don’t know! An
accent of someone who’s not from
around here?!
LAWRENCE BYRD
You gotta do better than that.
That ain’t shit to go on.
Billy Roy thinks.
(CONTINUED)
72.
CONTINUED:
BILLY ROY PITTS

I don’t know.
And then he looks up at the television where SID CAESAR

is playing a mad professor.

He sounded like that!
ON THE TELEVISION, Sid Caesar rolls his eyes.

The fuckin’ guy sounded like Sid
Caesar!
LAWRENCE BYRD
He sounded like a Jew.
Bowers has a slightly more nuanced take.
SAM BOWERS
New York.
Meanwhile, Billy Roy is beside himself.
BILLY ROY PITTS

He shot Boone! Right there on my
kitchen floor!
Bowers is deep in thought as Byrd gets the details.
LAWRENCE BYRD
And the nigger F.B.I. agent was
there too.
Billy Roy nods his head.

You tell ‘em anything, Billy Roy?
BILLY ROY PITTS

Course not, Byrd!
Bowers speaks.
SAM BOWERS
Couple years back, when they came
lookin’ for the two kikes and the
nigger, there was a rumor -- damn
near legend -- that the F.B.I.
brought in a guy from New York --
gangster-type -- to work over
Edgar Ray Killen.
(MORE)
(CONTINUED)
73.
CONTINUED: (2)
SAM BOWERS (CONT'D)
Story goes that this New York guy
beat Killen up and down, left and
right, until he told ‘im about the
bodies being buried in the dam in
Philadelphia.
Bowers looks over at Billy Roy.

(to Billy Roy)
Way it was told to me, New York
was the kinda guy, who’d shoot
your dog dead on your kitchen
floor.
Bowers thinks.

Who was the pizza nigger we dealt
with when we bought the dynamite
and guns from the Marcellos in New
Orleans a while back?
LAWRENCE BYRD
Donato. Frank Donato.
That’s the guy.
SAM BOWERS
See if he knows anything about a
guy from New York being around.
They keep track of each other, the
dagos.
Byrd nods.

(to Billy Roy)
And you’re right, Billy Roy. You
don’t know nothin’. And the more
you keep telling yourself that,
the better off you’ll be.
OFF BILLY ROY, still mourning his dog...
Terence and Scarpa watch as Billy Roy exits the V.F.W.

post with Bowers, Byrd, Pitts and the rest of the crew.
The men all circle around Bowers as he talks.
(CONTINUED)
74.
CONTINUED:
TERENCE
The guy in the middle is Sam
Bowers.
SCARPA
The boss.
Byrd is standing closest to Bowers, and whenever he

talks, Bowers listens. More so than when any of these
other jokers speak.
TERENCE
Klan wasn’t violent enough for
him, so he started his own
version. We been trying to put
him away for the last five years,
but these juries down here don’t
want to see him go.
Scarpa’s eyes are locked on Bowers.
SCARPA
I know Bowers.
Everyone does.
TERENCE
Probably from the news. They
brought him in front of the House
Un-American Activities Committee,
and he took the Fifth.
That’s not what he’s talking about.
SCARPA
I know him from before.
Terence has had enough of all this bullshit.
TERENCE
What the hell does that mean? Why
were you in Mississippi before?
Bowers and all the other men get into their cars and
drive off.
SCARPA
They don’t tell you nothin’, do
they?
Scarpa looks over at Terence.
(CONTINUED)
75.
CONTINUED: (2)
SCARPA (CONT’D)
Ever wonder why?
Meanwhile, Scarpa’s eyes are still locked on Bowers.
SCARPA (CONT’D)
Bowers is the don, but the top dog
don’t hunt. We gotta go after the
capo. The number two.
Scarpa points at Lawrence Byrd.
SCARPA (CONT’D)
Him.
TERENCE
We don’t know for sure that he’s
second-in-command. No one does.
The Klan keeps their
organizational structure pretty
loose for just this reason. They
don’t want us to know who’s who.
Scarpa knows a capo when he sees a capo.
SCARPA
He’s our guy.
INT./EXT. CHEVY IMPALA - AFTERNOON
Terence and Scarpa follow Lawrence Byrd as he drives

around town.
He swings by the LAUNDROMAT and picks up his clothes.
Then he stops by the GROCERY STORE and grabs a six pack

of beer that he cracks open before he even sits back down
in his car.
Finally, he drives down an alley that leads him to the

parking lot behind the BYRD ELECTRONICS AND APPLIANCES,
his own shop in the middle of Hattiesburg.
He goes inside.
Terence and Scarpa park nearby.
EXT. BYRD ELECTRONICS AND APPLIANCES - EVENING
Terence and Scarpa are still here when Byrd leaves and
close up the shop for the night.
(CONTINUED)
76.
CONTINUED:
Once again, they follow him.
This time he drives HOME.
He exits the car and walks to his front door where he’s
greeted by his WIFE AND YOUNG SON.
Scarpa pulls out his gun.
SCARPA
Time to dance.
No.
TERENCE
His wife and a kid are there.
SCARPA
And your friend got burned to
death in front of his wife and
kid. There’s a nice balance to it
all.
Scarpa opens his door, but before he can get out, Terence
starts to drive away.
SCARPA (CONT’D)
What the fuck?!
Scarpa tells Terence how it works.
SCARPA (CONT’D)
They’re going to come back at us
for that guy and his fuckin’ dog
today! And they’re going to come
hard. We need to hit them first!
TERENCE
Not in front of his family.
SCARPA
Christ. Rules. You actually got
rules. There are no rules!
That’s the point! That’s why
Vernon Dahmer is dead! That’s why
I’m sitting across from you!
Rules are for people who don’t
know better.
TERENCE
And you know better.
(CONTINUED)
77.
CONTINUED: (2)
SCARPA
I’m not here because I care. I’m
here to do work and get paid. Let
me do my fuckin’ job.
Scarpa’s had enough of this bullshit.
SCARPA (CONT’D)
I need to talk to Moore. I told
you from the rip that it’s my way
or the highway.
Terence pushes back.
TERENCE
The highway’s open for you. I
just wonder how it’ll play when I
tell that powers that be that you
threw in the towel because I
wouldn’t let you torture a guy in
front of his woman and her child.
SCARPA
As long as the Bureau don’t know
about it, they don’t care what I
do.
Exactly.
TERENCE
As long as they don’t know about
it.
Terence doubles down.
TERENCE (CONT’D)
You cross the Bureau, they’ll come
after you. For everything. You
know it just like I do.
Scarpa knows Terence is right. At least for now.
TERENCE (CONT’D)
I’m taking you back to the base.
We’ll get at it again tomorrow.
They continue up the road.
EXT. CITYSCAPE - NEW ORLEANS, LOUISIANA - NIGHT
We FLY OVER NEW ORLEANS’S FRENCH QUARTER.
(CONTINUED)
78.
CONTINUED:
The typical revelers are out. Bourbon Street is packed

as usual. Jazz clubs line both sides of the street.
GRAPHIC: New Orleans, Louisiana.
Laissez les bons temps rouler.
EXT. CARLOS MARCELLO’S COMPOUND - NIGHT
This massive house in the center of the French Quarter is

home to Carlos Marcello, head of the local crime family.
INT. CARLOS MARCELLO’S COMPOUND - DINING ROOM - NIGHT
CARLOS MARCELLO (fifties) sits at the head of the table

and picks apart a freshly boiled crawfish.
When all said and done, Carlos Marcello will preside over
the New Orleans branch of the Mafia for over thirty
years. During that time, he will be implicated in crimes
ranging from insurance fraud to the Kennedy
assassination. He will also be responsible for scores of
killings, kidnappings and robberies.
Simply put, you don’t want to fuck with Carlos.
Carlos, who’s the only one eating here, is surrounded at

the table by various LACKEYS and HEAVIES, but he speaks
exclusively to FRANK DONATO (forties).
CARLOS MARCELLO
You think this clown in
Hattiesburg is the one who whacked
Marco?
Frank doesn’t know.
FRANK DONATO
Gotta get in his face and see
what’s what. Might be him. Might
be some other guy. Can’t call it.
Carlos sucks at a crawfish.
CARLOS MARCELLO
Don’t bring him back here, Frank.
I don’t want blood in the Quarter.
Frank nods at two other guys, and all three of them get
up and leave.
79.
INT. DINER - NIGHT
Terence sits across from Archie and Randy in this diner

that’s filled exclusively with African-American patrons.
TERENCE
I’m on this because, if the whole
thing goes wrong, they can hang me
out to dry. I’ll be some rogue
agent that went off the
reservation. And no one will ever
believe me about what happened.
Randy nods.
RANDY
They’ll bury it so deep, no one
will even sniff it for fifty
years.
Archie shares what he knows about Scarpa.
ARCHIE
We looked into him and all we know
is that he’s part of the Top
Echelon Informant Program.
RANDY
Which means he’s a big fish.
ARCHIE
Everything else is classified.
That’s not much to go on.
TERENCE
No idea why he was down here
before.
Archie offers an alternative.
ARCHIE
Maybe he’s lying about that.
Terence rules that possibility out immediately.
TERENCE
He knew Bowers. And not from
seeing him on the TV or in the
papers. I could see it on his
face.
OFF TERENCE, trying to put it all together...

80.
INT./EXT. FORD GALAXIE - NIGHT
GRAFTON GRAY (forties, African-American) drives this

brand new car up a dark highway.
Adlena Hamlett, who we met in the beauty salon earlier,

sits next to him. Birdia Keglar and two other AFRICAN-
AMERICAN WOMEN sit in the backseat.
ADLENA HAMLETT
I’m a Sidney Poitier girl. Always
have been. Always will be.
BIRDIA KEGLAR
I’m with Harry. I’m a sucker for
any man who can sing and look like
that at the same time.
As they all laugh, a car pulls up close behind them. Its

headlights are just inches from their rear bumper.
GRAFTON GRAY
(re: the car)
What in the-?
Suddenly, the car VEERS into the lane next to them,

SPEEDS UP and SLAMS into their car as hard as it can.
We hear SCREAMING as the Galaxie RUNS OFF THE ROAD and

CRASHES into a COLLECTION OF TREES and CATCHES FIRE.
INT. MAURICE ALLEN’S GARAGE - NIGHT
Maurice Allen, who we also saw answering the F.B.I.’s

questions, is working underneath a car in his garage.
We hear the SCREECH OF TIRES out in the street as a car

BLASTS past the open doors to the garage.
As it SPEEDS BY, someone throws a MOLOTOV COCKTAIL that

lands in a corner of the space.
It EXPLODES in flames.
INT. TERENCE AND ALLISON’S HOUSE - KITCHEN - NIGHT
Terence sits at his kitchen table. And thinks.
Dahmer. Bowers. Byrd. Scarpa. So many pieces to this

puzzle.
(CONTINUED)
81.
CONTINUED:
And then he hears something. He gets up and walks to the

front of his house.
BA-BOOM! He DIVES for cover as his front windows are

BLOWN OUT by SHOTGUN BLASTS.
BA-BOOM! BA-BOOM! More shot sprays across the room.
As his house is torn apart, Terence crawls over to a

nearby closet, opens the door and pulls out his own
REMINGTON 12-GAUGE.
Terence pumps it, stands up and RETURNS FIRE. BOOM!

BOOM! BOOM!
From where he’s standing, he can see that the ASSAILANTS

are RUNNING BACK to a WAITING CAR.
Terence rips open his front door...
EXT. TERENCE AND ALLISON'S HOUSE - CONTINUOUS
Terence FIRES AT THE CAR from his porch. BOOM! BOOM!
But he misses, and the car TEARS AWAY.
Terence jumps off his porch, hops into his own car and
GIVES CHASE.
Terence floors it as he chases after what are only

taillights in the distance.
But he’s GAINING ON THEM.
As he gets closer, one of them leans out a rear window.
He’s wearing a mask and he has a SHOTGUN in his hand.
He FIRES at Terence. BOOM!
Terence SWERVES to avoid the incoming blast.
BOOM! The masked man FIRES again.
Terence STEERS away.
He’s CLOSING IN, but the road is winding and there are
sharp turns. Needless to say, the Impala doesn’t handle
corners all that well.
(CONTINUED)
82.
CONTINUED:
The CHASE continues.
They FLY THROUGH a SINGLE-LANE BRIDGE, BOUNCE over a

RAILROAD CROSSING...
And Terence is still there.
There’s a SLOW-MOVING TRUCK up ahead, and the car uses

the opposite lane to pass it.
But when Terence tries to do the same as he goes AROUND A

BEND, he sees ONCOMING CAR heading right for him.
He PULLS THE WHEEL WILDLY TO THE RIGHT to avoid the

collision, but LOSES CONTROL of the car in the process.
It FISHTAILS back and forth until it VEERS off the road

and SPINS OUT on the GRASS SHOULDER.
The other car has gotten away.
Terence punches at the steering wheel in anger. Over and

over again.
EXT. CAMP SHELBY - BARRACKS - NIGHT
Barracks are barracks. Small, cramped, ugly.
INT. CAMP SHELBY - BARRACKS - NIGHT
Scarpa’s the only one in here.
He lies on his bed sipping from a bottle of Johnnie

Walker as he plays solitaire with a worn deck of cards.
He sees headlights approaching.
And then the doors to the barracks are ripped open,

revealing Terence, in a rage.
TERENCE
Let’s go.
Angry as hell, Terence burns down the road.
TERENCE
I don’t know exactly know who you
are, what you do...
(CONTINUED)
83.
CONTINUED:
Scarpa listens.
TERENCE (CONT’D)
Or where you come from, but more
of my people are dead tonight.
Terence foot is pushed to the floor.
TERENCE (CONT’D)
And they came to my house to kill
me. Where I live. Where my
pregnant wife lives.
Scarpa looks out the window.
SCARPA
Here’s hopin’ it’s a boy. Every
king needs his prince.
Terence isn’t passing out cigars.
TERENCE
The Bureau put me with you because
they figured I’d just stand by and
watch you do your thing.
Scarpa sees it differently.
SCARPA
No. They put you with me because
they figured someone who looked
like you would be angry enough to
ride with me.
Terence turns and faces Scarpa.
TERENCE
You said you came here to do a
job.
He SKIDS to a stop in front of the V.F.W. post.
TERENCE (CONT’D)
Let’s do it then.
Terence exits the car.
EXT. V.F.W. POST - CONTINUOUS
With Scarpa following behind him, Terence makes his way

toward the entrance.
(CONTINUED)
84.
CONTINUED:
SCARPA
There’s a smart way to do this and
a stupid way.
Scarpa grabs Terence.
SCARPA (CONT’D)
Once we step in there, we’re not
in control anymore. We don’t hold
all the cards. We’re in the belly
of the beast.
Terence laughs.
TERENCE
This is Mississippi, man. I been
in the belly of the beast since I
was born.
He pulls away from Scarpa and heads for the doors.
INT. V.F.W. POST - NIGHT
Lawrence Byrd, Charles Clifford Wilson, Billy Roy Pitts

and a FEW OTHERS play cards at a table.
LAWRENCE BYRD
I’ll see your quarter and raise
you a dime.

Big stakes over here.
From the doorway...
TERENCE (O.S.)
Who was it?
Terence and Scarpa are standing in the doorway.
TERENCE (CONT’D)
Who ran those ladies off the road?

You gotta be a member to be in
here, boy.
Terence pulls out a gun and shoots -- BOOM! -- the TV.
CHARLES CLIFFORD WILSON (CONT’D)

That’s private property, nigger.
You gonna pay for that.
(CONTINUED)
85.
CONTINUED:
Byrd gestures to Billy Roy to call the police.
TERENCE
Who bombed Maurice’s garage?
BOOM! Terence shoots the phone before Billy Roy can get
to it.
TERENCE (CONT’D)
Who came to my house?!
BOOM! Terence shoots the juke box and then -- BOOM!

BOOM! BOOM! BOOM! -- shoots all the liquor on the back
shelf behind the bar.
TERENCE (CONT’D)
Who killed Vernon Dahmer?!
Byrd speaks up.
LAWRENCE BYRD
You gonna have to answer to the
police for all this damage, boy.
Terence could give a shit.
TERENCE
You’re going to have to answer to
me...
He gestures to Scarpa.
TERENCE (CONT’D)
And him. And we’re the fuckin’
reckoning.
Byrd laughs.
LAWRENCE BYRD
The F.B.I. So tough that they had
to import this...
(re: Scarpa)
Greaseball from New York to do
their dirty work.
Byrd locks eyes with Scarpa.

(to Scarpa)
Yeah. We know who you are. We
know what you did to Edgar Ray
Killen.
(CONTINUED)
86.
CONTINUED: (2)
Edgar Ray Killen, who was convicted for the murders of

Schwerner, Chaney and Goodman.
Finally, Terence knows why Scarpa was here before.

Just know that you’re no better
than...
(re: Terence)
This nigger. Just as dirty. Just
as polluted. That’s why they got
you with him. But that salami
shit doesn’t work down here.
We’re pure bloods. White men.
And we’ll be here long after
you’re both done raping your
mothers and sisters.
Scarpa smiles.
SCARPA
Funny what happens when guys like
you see all your pure blood
spillin’ out on the floor. You
start talkin’. Start tellin’.
It’s a beautiful thing.
Byrd turns back Terence.
LAWRENCE BYRD
(to Terence)
You and yours will never be safe
here. Not as long as I’m alive.
Terence points his gun at Byrd.
TERENCE
Tempting offer.
His finger twitches on the trigger.
Scarpa pushes Terence’s arm down.
SCARPA
No.
We hear SIRENS in the distance, and Scarpa pulls Terence

toward the door.
SCARPA (CONT’D)
Gotta go.
87.
EXT. V.F.W. POST - NIGHT
Terence and Scarpa exit the post, get in their car and
drive away just before the police arrive.
EXT. EVERETT’S BAR - NIGHT
This small bar is really no more than a shack located in

the Mobile-Bouie neighborhood, Hattiesburg’s African-
American enclave.
It’s perched next to a small creek.
A BUNCH OF CARS are parked out in front of the bar,

including Terence’s Chevy Impala.
INT. EVERETT’S BAR - NIGHT
The bar is crowded. Scarpa’s the only white guy in here,

and he’s catching some wary looks.
He and Terence sit at a small table off to the side.
SCARPA
(re: the bar)
They don’t like me in here.
TERENCE
They don’t like me much either.
Terence takes a pull off his drink.
TERENCE (CONT’D)
So the Bureau brought you to
Mississippi for Schwerner, Chaney
and Goodman.
Correct.
SCARPA
They couldn’t find the bodies.
Scarpa drinks too.
SCARPA (CONT’D)
So I did.
Terence puts his glass down.
(CONTINUED)
88.
CONTINUED:
TERENCE
How’d you get Edgar Ray Killen to
talk?
Scarpa doesn’t speak of his methods.
SCARPA
Look, this thing’s starting to get
stupid. Too out in the open. Too
exposed. And if it goes off the
rails, the Bureau’s washing their
hands of me. I’m the first
fuckin’ write-off. The goddamn
cost of doing business.
Scarpa’s had enough.
SCARPA (CONT’D)
This isn’t my fight.
Terence calls bullshit.
TERENCE
What about what you said in there?
All that stuff about pure blood
spillin’ and those guys doing some
tellin’?
Scarpa waves all that off.
SCARPA
That’s just tough guy talk. Shit
you say in the heat of the moment.
Makin’ muscles. Doesn’t mean
nothin’.
Terence can tell that Scarpa’s about to bail.
TERENCE
You walk away from this, I’ll make
sure the Bureau comes after you
for the guy you murdered in
Mobile.
SCARPA
As much as shit as they have on
me, you don’t think I got just as
much shit on them?
Scarpa’s still not sure what to make of Terence.
SCARPA (CONT’D)
Where’s the bathroom?
(CONTINUED)
89.
CONTINUED: (2)
Terence points out the window.
TERENCE
Outside. In the back.
Scarpa gets up and heads for the door.
But we STAY WITH TERENCE, who looks down at his watch and
then glances out the window just as TWO OF MARCELLO’S
GUYS escort Scarpa to a sedan where Frank Donato waits.
Terence looks closely and sees one of these guys has a

GUN pressed into Scarpa’s back.
EXT. STREET - LATE NIGHT
Terence is on a pay phone across the street from the BEST

NIGHT MOTEL.
TERENCE
I followed them to a motel in
Waynesboro. They’re in there
right now.
INT. F.B.I. HEADQUARTERS - MOORE'S OFFICE - LATE NIGHT
Moore and Rhodes are huddled around the speaker phone.
TERENCE
There’s three of them, and they
have Louisiana plates on their
car.
Rhodes mouths the word, “Marcello” to Moore, who nods.
SPECIAL AGENT MOORE

Go home, Agent Wayne. Get some
rest. We’ll see you in the office
tomorrow for a debriefing.
We CUT BETWEEN TERENCE and MOORE’S OFFICE.
TERENCE
What does that mean?
AGENT RHODES
It’s over. There’s nothing more
we can do for him.
TERENCE
He’s in there right now.
(CONTINUED)
90.
CONTINUED:
SPECIAL AGENT MOORE

The Bureau breaks down that door
and saves him, he’s as good as
dead anyway. The die has been
cast.
Terence protests.
TERENCE
But what about Vernon Dahmer and
the Klan and our case?
Rhodes cuts him off.
AGENT RHODES
Your work is done here.
OFF TERENCE, shaking his head in disbelief...
INT. BEST NIGHT MOTEL - ROOM 111 - BATHROOM - NIGHT
Scarpa is on the floor, chained to a pipe in the bathroom

as he’s worked over by the heavies who grabbed him.
FRANK DONATO
Imagine our surprise when this
piece of shit Klan guy, Byrd, who
bought some guns off us to kill
some niggers in Hattiesburg,
reaches out and asks us if we know
anything about a New York guy in
the neighborhood.
One of the guys kicks Scarpa in the face.
FRANK DONATO (CONT’D)

Marco called us up and told us he
saw you right before you popped
him in Mobile.
Scarpa smiles through the blood dripping from his mouth.
SCARPA
I did you a favor. Marco was a
habitual skimmer. An absolute
cocksucker. You’re welcome.
FRANK DONATO
The Marcello family handles its
own business.
But they have a bigger concern.
(CONTINUED)
91.
CONTINUED:

Byrd said you were workin’ with
the feds.
His eyes locked on the motel room where they’re holding

Scarpa, Terence is sitting by himself in the car when,
all of the sudden, both Randy and Archie step inside the
vehicle and join him.
RANDY
Did someone call the F.B.I.?
ARCHIE
Because you got us instead.
INT. BEST NIGHT MOTEL - ROOM 111 - BATHROOM - NIGHT
The interrogation continues.
FRANK DONATO
Who you working for, Scarpa?
SCARPA
I’m like Sinatra. Battlin’
injustice. Fightin’ for civil
rights. You should try it. Feels
right.
Another KICK to his face.
FRANK DONATO
Byrd told us you’re working with a
nigger agent.
SCARPA
He’s just my guy. Like my
assistant. Think of it like I’m
Frank, and he’s Sammie.
There’s a KNOCK at the door.
FRANK DONATO
Who the fuck is that?
He nods at ONE OF THE HEAVIES.

Go check.
(CONTINUED)
92.
CONTINUED:
Scarpa warns Donato.
SCARPA
You fuck with me, you fuck with
New York.
ON THE HEAVY, who walks to the door.
HEAVY #1
Who is it?
From behind the door.
ARCHIE (O.S.)
Housekeeping, sir. Just came to
refill your ice bucket.
The heavy looks through the peephole and sees Archie just
as the DOOR IS KICKED OPEN, right INTO HIS FACE.
The heavy goes FLYING BACKWARDS onto the floor as Archie,

Terence and Randy EXPLODE into the room.
They’re wearing masks, and they all have guns out.
TERENCE
Everybody down on the fuckin’
floor!
Donato and his lackeys do as they’re told.
Terence sees Scarpa chained in the bathroom, and walks

over to him.
TERENCE (CONT’D)
Who’s got the key?
No one answers at first.
BOOM! Terence fires his gun into the floor.
TERENCE (CONT’D)
Who’s got the fuckin key?!
Frank Donato holds it up, dangling it from his finger.
Archie goes and collects it from him.
FRANK DONATO
You have no idea who you’re
fuckin’ with.
Archie unlocks Scarpa, who pulls himself off the floor.
(CONTINUED)
93.
CONTINUED: (2)
In the blink of an eye, Scarpa GRABS Archie’s GUN right

out of his hands.
SCARPA
(to the heavies)
We shall overcome, motherfuckers.
BOOM! BOOM! BOOM! He shoots all three of them dead.
EXT. CHICKASAWHAY RIVER - LATE NIGHT
The Impala and Randy and Archie’s car are parked on the
banks of a small river.
Scarpa sits in Terence’s car and smokes a cigarette while

Terence, Archie and Randy stand near the water and talk.
Archie looks back at Scarpa.
ARCHIE
By all rights, we should be
arresting him for a triple
homicide right now.
Terence is not the guy he was back in the filing room.
TERENCE
That’s not how this works.
Randy calls bullshit.
RANDY
That was coldblooded murder,
Terence.
TERENCE
I know what it was. But right
now, I’m focused on what it takes.
He looks over at his friends.
TERENCE (CONT’D)
What it takes to get justice.
RANDY
If that was justice in that motel
room, we’re all going to hell.
TERENCE
Tell that to the Klan.
(CONTINUED)
94.
CONTINUED:
ARCHIE
We all joined the Bureau so we
could enforce the law, not break
it.
Now it’s Terence’s turn to call out the hypocrisy.
TERENCE
The Bureau’s the one that
brought...
He points at Scarpa.
TERENCE (CONT’D)
Him down here. And this isn’t the
first time. They used him for
Schwerner, Chaney and Goodman too.
Fuck.
TERENCE (CONT’D)
He worked Edgar Ray Killen until
he gave up the bodies. Scarpa --
that guy right there! -- cracked
the fuckin’ case!
Randy and Archie are speechless for a beat.
TERENCE (CONT’D)
Sometimes to get justice, you have
to break the law.
Randy and Archie’s eyes meet.
ARCHIE
There’s a law bigger than the
Bureau. Bigger than Hoover.
Bigger than President Johnson.
That’s the law I answer to.
RANDY
We all do.
Archie throws his gun into the river.
ARCHIE
We weren’t here, Terence.
Randy throws his gat into the water as well.
ARCHIE (CONT’D)
We had nothing to do with any of
this.
(CONTINUED)
95.
CONTINUED: (2)
And with that, Randy and Archie head back to their car.
EXT. BYRD ELECTRONICS AND APPLIANCES - DAY
Driving a FORD FAIRLANE, Lawrence Byrd takes a turn into

the alley next to his shop.
EXT. REAR PARKING LOT - DAY
Byrd exits his car, opens the backdoor to his store and
walks inside.
INT. BYRD ELECTRONICS AND APPLIANCES - AFTERNOON
Byrd sits in his shop and works on a Sylvania television.
The bell on the door chimes, and Billy Roy Pitts walks
in.
Byrd looks ups.
BILLY ROY PITTS

You hear anything?
LAWRENCE BYRD
They grabbed him at Everett’s last
night.
Billy Roy nods.

He won’t be bothering us anymore.
BILLY ROY PITTS

What about the F.B.I.?
LAWRENCE BYRD
They got jackshit. If they did,
they wouldn’t have brought this
from New York. He’s the hail
Mary. The shot in the dark.
Billy Roy checks out a Westinghouse television.
BILLY ROY PITTS

How much for this one?
LAWRENCE BYRD
More than you can afford.
96.
EXT. REAR PARKING LOT - EVENING
Byrd exits his shop and locks it up for the night.
He heads to his car and, as he puts the key in the door,

a BLACK HOOD is thrown over his head, and he’s slammed up
against the car.
Scarpa puts a gun to his head.
SCARPA
Make a fuckin’ noise, and I’ll
kill you right here.
Terence pulls up in the Impala and Scarpa throws Byrd

into the back.
He gets in next to him.
The car speeds off.
EXT. SHACK - EVENING
Terence’s Chevy is parked outside this small wooden house

in the middle of fuckin’ nowhere.
INT. SHACK - SAME
Byrd is bound to a chair in this dirty, decrepit space.
Scarpa looms over him as Terence stands off to the side.
LAWRENCE BYRD
You think you gonna do me like you
did Edgar Ray Killen? Because
everyone knows Edgar Ray was a
pussy.
Scarpa rolls up his sleeves.
SCARPA
That sounds like a challenge.
THUD! Scarpa punches Byrd RIGHT IN THE FACE.
SCARPA (CONT’D)
I love challenges.
Byrd’s nose EXPLODES with BLOOD.
(CONTINUED)
97.
CONTINUED:
LAWRENCE BYRD
Fuck you, wop.
THUD! THUD! TWO MORE PUNCHES to Byrd’s face.
Byrd laughs.
Terence watches. Uneasily.
THUD! Byrd’s face is a bloody pulp. Already.
THUD! THUD! More blows. Up and down his body.
Scarpa turns to Terence.
SCARPA
(to Terence, re:
Byrd)
You want some?
Terence looks at Scarpa and then at Byrd and then...he

walks over.
He takes a beat. Unsure if he can do it.
SCARPA (CONT’D)
This piece of shit tried to kill
you. And your family.
Terence THROWS A STRAIGHT RIGHT into Byrd’s face. THUD.
And then ANOTHER ONE. And ANOTHER ONE.
SCARPA (CONT’D)
Feels good, don’t it?
It does. Of course it does. It feels great.
Until it doesn’t.
Terence throws ANOTHER PUNCH. Solid. Brutal.
And he’s about to throw another one when BLOOD from his
fist SPATTERS ONTO HIS OWN FACE.
He stops. And looks at his hands. They’re covered in

Byrd’s blood.
SCARPA (CONT’D)
(re: the blood)
Payback is a dirty business.
98.
INT. BEST NIGHT INN - ROOM 111 - NIGHT
Moore and Rhodes take in the crime scene. Frank Donato

and the other two thugs lie dead on the floor.
AGENT RHODES
(re: the bodies)
Marcello’s guys. Maid found them
this afternoon. They probably
been here since last night.
Moore sees the unlocked chains in the bathroom.
SPECIAL AGENT MOORE

Scarpa.
AGENT RHODES
He didn’t get out of this on his
own.
Moore nods.
EXT. SHACK - NIGHT
Terence stands outside the shack and uses a rag to clean

the blood off his hands.
He HEARS BYRD’S SCREAMS coming from inside.
INT. SHACK - NIGHT
Scarpa takes a burning cigarette and extinguishes it on

Byrd’s bare chest.
Byrd YELLS.
SCARPA
Imagine what it felt like for
Vernon Dahmer as his lungs burned
to a crisp inside his body.
Byrd’s chest is covered in marks from cigarettes.
His face is swollen. Misshapen. Grotesque.
He’s only in boxer shorts. The rest of his clothes have

been removed.
Scarpa pulls out a razor blade. It’s rusty. Old.
(CONTINUED)
99.
CONTINUED:
SCARPA (CONT’D)
Who killed Vernon Dahmer?
He puts the sharp end of the blade to Byrd’s shoulder and

CUTS DOWN the length of his arm, all the way to his hand.
More SCREAMING.
SCARPA (CONT’D)
I know Bowers gave the word. Who
pulled the trigger?
Scarpa smiles. He’s enjoying this. Too much.
He’s in his element, and for the first time, we really

see the depth of his depravity and sadism.
The Killing Machine.
SCARPA (CONT’D)
I can do this all night.
He uses the blade to cut Byrd’ arm again.
SCARPA (CONT’D)
Can’t say the same for you.
And then he SLICES Byrd’s chest wide open.
EXT. SHACK - NIGHT
Terence hears more SCREAMING.
He heads back inside.
INT. SHACK - NIGHT
Terence walks in to see Byrd looking like his entire body

has been dipped in blood. He’s covered from head-to-toe.
He’s passed out from the pain so Scarpa takes a BUCKET OF

WATER and throws it on him.
Byrd’s eyes open wide.
SCARPA
We don’t take breaks,
motherfucker.
Byrd is barely coherent.
(CONTINUED)
100.
CONTINUED:
LAWRENCE BYRD
I can’t...I don’t...It’s-
Scarpa takes out his gun and -- BOOM! -- SHOOTS BYRD in

the foot. He SHRIEKS in pain.
Terence watches.
And then Scarpa SHOVES HIS GUN INTO BYRD’S MOUTH.
SCARPA
Tell me what I want to know, or
I’m going to blow your fuckin’
head off!
Byrd is choking on the barrel of the gun.
SCARPA (CONT’D)
Talk, motherfucker!
From across the room...
TERENCE (O.S.)
Scarpa.
Scarpa does not hear him at first.
He’s too focused on Byrd.
SCARPA
Motherfucker, I will cut you up
and mail back pieces of you to
your kid for Christmas!
BOOM! A bullet FLIES by SCARPA’S HEAD.
He turns and sees Terence with his gun pointed at him.
SCARPA (CONT’D)
(to Terence)
This shit again.
Scarpa is tired of Terence’s back and forth.
SCARPA (CONT’D)
Make up your mind already. You in
or out?
Terence keeps the gun trained on Scarpa.
(CONTINUED)
101.
CONTINUED: (2)
SCARPA (CONT’D)
If you’re not ready to let me kill
him, what makes you think I’d ever
believe that you’d kill me?
Fair point.
TERENCE
Walk away. I’ll tell the Bureau
that you tried, but he wouldn’t
give it up.
SCARPA
I finish what I start. Bad for
business to do otherwise. And I
made a deal with the Bureau.
The “get out of jail free card”.
SCARPA (CONT’D)
For them to hold up their end, I
need to hold up mine.
And that’s not all.
SCARPA (CONT’D)
Truth is, when we grabbed this
guy, we rounded a corner we can’t
go back around. Believe me. You
ever want to feel safe in
Mississippi again, you and yours
want me to finish this.
Terence doesn’t see it that way.
TERENCE
Just go, Scarpa. Just get the
fuck out of here. Please.
Not gonna happen.
SCARPA
(re: Byrd)
You think he’d do the same for
you? You think if you were
sittin’ there, he’d step in and
save your ass?
TERENCE
It’s not about him. It’s about
me. And I can’t do this. I
thought I could, but I can’t.
(CONTINUED)
102.
CONTINUED: (3)
Scarpa shakes his head at Terence’s naiveté.
SCARPA
Just like a nigger. So convinced
you’re going to heaven when you’re
dead that you’re willing to go
through hell while you’re still
alive.
TERENCE
It’s not that, Scarpa. I’m just
not willing to hate myself the way
you hate yourself.
He points at Byrd.
TERENCE (CONT’D)
The way he hates himself.
Scarpa doesn’t get it, and he never will.
SCARPA
(re: Byrd)
Give him a chance, and he’ll
string up you and your pregnant
wife. Won’t think twice about it.
Scarpa explains his “world view” to Terence.
SCARPA (CONT’D)
No war’s ever won without
bloodshed. But if you’re the one
doing all the bleeding, you can be
goddamned sure you aren’t on the
right end of that fight.
But Terence pushes back.
TERENCE
Is that what you tell yourself?
That you’re a soldier in some war?
Is that how you justify what you
do?
SCARPA
If you were more like me -- if you
thought like I do -- I wouldn’t be
here.
TERENCE
But I’m not you. And I don’t ever
want to be you.
(CONTINUED)
103.
CONTINUED: (4)
From the door...
AGENT RHODES (O.S.)

Lower your gun, Agent Wayne.
Terence looks over and sees Rhodes.

(to Scarpa, re: Byrd)
Has he talked?
SCARPA
Not yet.
Terence lets his gun drop to his side.
TERENCE
(to Rhodes, re: Byrd)
We need to get him to a hospital,
sir.
AGENT RHODES
We will.
He walks over to Byrd.

After he tells us what we need to
know.
Scarpa grins; Terence tries to protest.
TERENCE
Sir-
Rhodes cuts him off.
AGENT RHODES
You’re free to leave, Agent Wayne.
We’ll finish up without you.
He turns to Scarpa.

(to Scarpa)
Where were we?
THUD! Scarpa punches Byrd in the solar plexus.

(to Byrd)
I was there for Edgar Ray Killen,
Mr. Byrd.
(CONTINUED)
104.
CONTINUED: (5)
Terence watches Scarpa SLUG Byrd again. And AGAIN.
Byrd is crying now. His blood is mixed with tears.
BYRD
Please. Please.
But they’re not hearing him.
AGENT RHODES
You don’t want to end up like
Edgar Ray.
Terence is still standing there as Scarpa takes the

barrel of his gun and pushes it into Byrd’s crotch.
SCARPA
(to Byrd)
Time we make sure there aren’t
anymore of you that’re born into
this world.
He pulls back the gun’s hammer.
BYRD
Bowers.
Scarpa leans in.
SCARPA
What’d you say?
BYRD
It was Bowers.
Scarpa looks at Rhodes and then over at Terence.
AGENT RHODES
Keep talking.
This is it. They’ve won. This confession is what it’s

all been about.
But then why is Terence is sick to his stomach?
As they give Byrd some water, Terence takes out his badge
and places it on the floor along with his gun.
And with that, he leaves.

105.
EXT. SHACK - LATE NIGHT
Terence gets into his car and drives off into the
Mississippi night.
EXT. TERENCE AND ALLISON'S HOUSE - MORNING
Terence hits at the heavy bag in front of his house.

He’s worked up a sweat. Puttin’ in that work.
A SEDAN pulls up, and Scarpa emerges from the front

passenger’s side door.
Terence sees him and stops swinging.
Scarpa rubs at his jaw as he approaches Terence.
SCARPA
I’ve felt that right cross. I
know how that bag feels.
Terence doesn’t react. Stoic.
SCARPA (CONT’D)
Wanted to say good-bye.
There’s a beat of silence between them. And then...
TERENCE
Did he-
Terence can’t even bring himself to finish the sentence.
SCARPA
He talked. Hell. He sang. Gave
up everything.
Scarpa takes a swing at the bag himself.
SCARPA (CONT’D)
Should hang one of these in my
garage in Staten Island.
Scarpa takes another swing and then turns to Terence.
SCARPA (CONT’D)
Heard you’re quitting the Bureau.
That’s right.
(CONTINUED)
106.
CONTINUED:
TERENCE
Figuring out another way to fight
this fight.
Scarpa has something he wants to say.
SCARPA
I appreciate you gettin’ me out of
that jam the other night. I want
you to know that, if you ever need
anything; if you-
Terence cuts him off.
TERENCE
I won’t.
SCARPA
You say that now, yet here I am.
Down in Mississippi. Fighting
this war. Helping you out.
TERENCE
You came down here to help
yourself, Scarpa.
Terence makes it plain.
TERENCE (CONT’D)
That’s what you don’t get. The
war I’m fighting? It’s for a
cause bigger than me. It’s for an
idea. A principle. A truth. And
I’m standing shoulder-to-shoulder
with millions of people just like
me, who believe what I believe.
Who want what I want.
Scarpa listens.
TERENCE (CONT’D)
But you’re the only soldier in
your fight. It’s a one-man war.
He’s not wrong, and Scarpa knows it.
TERENCE (CONT’D)
So maybe it feels like you’re
winning, but you’ll lose. You’re
always gonna lose. Because there
are no winners in your war.
There’s just you.
(CONTINUED)
107.
CONTINUED: (2)
Allison comes out onto the porch.
ALLISON
(to Terence)
You need to wash up so we can go
to go-
She sees Scarpa.
ALLISON (CONT’D)
I’m sorry. I didn’t realize you
had company.
SCARPA
I’m about to get outta here.
Congratulations on the baby, by
the way.
Allison smiles.
ALLISON
(to Scarpa)
Thank you. I don’t think we’ve
met.
SCARPA
I’m a friend of your husband’s
from work.
(re: Terence)
He’s a solid citizen, this one.
ALLISON
That’s what I keep telling him.
Scarpa turns back to Terence.
SCARPA
If you’re ever in New York, look
me up.
He holds out his hand. Terence stares at it for a beat.

And then shakes it.
SCARPA (CONT’D)
Nothing down here will change
until you show these people that
you’ll fuck with them the same way
they fuck with you.
TERENCE
Maybe that’s true, but I don’t
want to live in a world where what
you do passes for justice.
(MORE)
(CONTINUED)
108.
CONTINUED: (3)
TERENCE (CONT'D)
Real justice won’t ever come out
the barrel of a gun.
Scarpa begs to differ.
SCARPA
Fifty years from now, someone just
like Sam Bowers will be saying the
same shit he says and doing the
same shit he does.
TERENCE
And I’ll be better than that guy
too.
Terence’s eyes meet Scarpa’s.
TERENCE (CONT’D)
Just like I’m better than you.
Scarpa stares back at Terence for a long beat.
SCARPA
The good guys don’t always win.
TERENCE
But the bad guys don’t win until
the good guys say they do.
Scarpa smiles sadly.
SCARPA
Take care of yourself, Terence.
And then he walks back toward the car and gets inside.
As the sedan pulls away, Terence starts pounding on the

heavy bag again.
Special Agent Moore stands on the steps of the building

in Jackson and speaks to a GANG OF REPORTERS.
SPECIAL AGENT MOORE

This morning, local Hattiesburg
businessman, Lawrence Byrd...
INT. JAIL - DAY
Byrd, beat to shit, is escorted to a cell by TWO GUARDS.
(CONTINUED)
109.
CONTINUED:
SPECIAL AGENT MOORE (V.O.)

Signed a twenty-two page
confession detailing his and
others’ involvement in the murder
of Vernon Dahmer and the
firebombing of his home.
GRAPHIC: Lawrence Byrd, Sr. received a ten-year prison

sentence for arson.
EXT. V.F.W. POST - DAY
Charles Clifford Wilson is escorted out of the V.F.W.

post by a TEAM OF F.B.I. AGENTS.

This confession was the result of
tireless work on the part of both
local law enforcement and federal
authorities.
GRAPHIC: Charles Clifford Wilson was convicted of the

murder of Vernon Dahmer and served six years in prison.
EXT. BILLY ROY PITTS’S HOUSE - DAY
His hands cuffed behind his back, a terrified Billy Roy

Pitts is led out of his home by the F.B.I.

The message here is clear. The
protection of all citizens’ civil
rights is a priority for the
Federal Bureau of Investigation.
GRAPHIC: Billy Roy Potts turned state’s evidence. His

testimony helped convict the other conspirators. He also
plead guilty to a federal charge of conspiring to violate
Vernon Dahmer’s civil rights. He was sentenced to five
years in prison.
EXT. COURTHOUSE STEPS - DAY
Sam Bowers is SURROUNDED BY REPORTERS AND CAMERAS as he

walks down the steps of this courthouse.

There is no place in American
society for prejudice and
intolerance.
(MORE)
(CONTINUED)
110.
CONTINUED:
And if you choose to use violence
as a means to further your hateful
message, there will be no safe
harbor for you.
GRAPHIC: After four previous trials ended in deadlock, in

1988, Sam Bowers was convicted of giving the order to
kill Vernon Dahmer. He was sentenced to life in prison.
He died in 2006.

We will find you...
Bowers smiles from ear-to-ear like he’s got the world on

a fuckin’ string.
Back on the steps, Moore finishes up his speech.
SPECIAL AGENT MOORE

And bring the full weight of the
law to bear on your person and
soul. Thank you. And now I’ll
take your questions.
Reporters SCREAM out at him.
EXT. BROOKLYN STREET - DAY
In his brand new Range Rover, NICHOLAS “NICKY BLACK”

GRANCIO (forties) is stopped at a red light.
He’s just lit a cigarette when Scarpa walks up to the

driver’s side window with a RIFLE in his hands.
BLA-BOOM! He BLASTS Grancio off this earth.
GRAPHIC: Greg Scarpa went on to become the most notorious

hitman in the history of the American Mafia.
It’s been estimated that, during the forty years he was a

member of the Colombo crime family, Scarpa was
responsible for the murder of over sixty people.
During that same time period, he was a member of the

F.B.I.’s Top Echelon Informant program and provided
information that led to countless arrests and
convictions.
(CONTINUED)
111.
CONTINUED:
For all his crimes, Greg Scarpa spent a total of six

months in prison.
He died of AIDS in 1992.
Scarpa walks to his car, gets inside and speeds away.
EXT. TERENCE AND ALLISON'S HOUSE - DAY
A long table has been set up outside of Terence’s house

with a banner across it that reads, “If You Don’t Vote,
You Don’t Count. Register To Vote Today.”
Allison sits behind the table with a few others and they
assist the long line of people who have come to make
their voices heard.
Terence, holding his baby son, hands out glasses of

lemonade to the people waiting in line.
TERENCE
Glad you could come out.
He smiles as he mingles with his neighbors.
TERENCE (CONT’D)
Good to see you!
The sun is out. There’s not a cloud in the sky.
And people from all corners of Hattiesburg are here to

help. Black and white alike.
They’re here to make their voices heard. To take a

stand. To fight for justice.
It’s perfect day.
A magical day.
A miraculous day.
A day filled with hope and promise and optimism.
There are days like this in Mississippi.
There are days like this in America.
THE END

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CI 34

Madhouse Entertainment // Creative Artists Agency

While declassified documents, and subsequent court

This story is based on these real events.

We’re on a quiet rural highway. Two lanes.

And then we hear the SOUND OF CAR ENGINES approaching.

Their HEADLIGHTS illuminate A LARGE WOODEN SIGN on the

We STAY ON THE SIGN as the cars get closer, their engines

All of the sudden, a MOLOTOV COCKTAIL is thrown out of

EXT. THE DAHMER’S HOME - LATE NIGHT

This ample-sized ranch home is located right next to a

There’s a banner stretched across the store’s facade that

TWO CARS, headlights off, glide quietly down the street

We’re CLOSE ON THE VEHICLES’ DOORS OPENING.

And then we see a collection of TIGHT SHOTS...

Legs and boots exiting the vehicles. Looks like FOUR OR

SHOTGUNS are distributed.

GAS CANS are pulled out the back of a truck.

The men start to CREEP toward the house.

INT. THE DAHMER’S - VERNON AND ELLIE’S ROOM - SAME

VERNON DAHMER (fifties, African-American) and his wife,

And then Vernon’s eyes burst open just as -- KRI-KRASH! --

As these makeshift bombs hit the floor, they immediately

The gas cans are followed by SHOTGUN FIRE -- BOOM! BOOM!

IN THE BEDROOM, Vernon and Ellie are both out of bed.

As Ellie crawls to the window, Vernon grabs the RIFLE

INT. THE DAHMER’S - LIVING ROOM - CONTINUOUS

The SHOTGUN BLASTS continue to savage the house, PUTTING

Meanwhile, the FLAMES continue to consume everything in

Holding the rifle, Vernon enters, coughing and gasping

INT. THE DAHMER’S - BETTIE'S ROOM - A MOMENT LATER

Ellie has gotten their terrified daughter out of bed.

As if on cue, Vernon enters the room and scoops up his

VERNON DAHMER (CONT’D)

Ellie nods and heads down the hallway which is FILLED

The SHOTGUN BLASTS at the front of the house continue.

INT. THE DAHMER’S - VERNON AND ELLIE'S ROOM - CONTINUOUS

Ellie goes to the big window at the rear of the bedroom

Vernon is about to put Bettie down and help his wife,

Ellie climbs through the window and then turns back to

VERNON DAHMER (CONT’D)

Ellie wants her husband to come with them.

She’s terrified that it won’t play out this way.

He assures her that he will.

INT. THE DAHMER’S - LIVING ROOM - MOMENTS LATER

Vernon grabs the GUNS and RIFLES that he’s placed

The men outside continue to FIRE THEIR SHOTGUNS into the

Having emptied his last gun, and about to collapse, he

EXT. THE DAHMER’S - CONTINUOUS

With all the remaining strength he has left, Vernon pulls

He makes it about twenty yards before he falls to the

This time he doesn’t get up.

EXT. CITYSCAPE - JACKSON, MISSISSIPPI - DAY

Mississippi’s capital has a population of roughly 150,000

Graphic: Jackson, Mississippi.

As we FLY OVER some of the city’s most notable structures

In 1966, Jackson is a fairly cosmopolitan city. At least

This is the “New South”.