"WANTED" (2008)

CLOSE ON the face of WESLEY GIBSON, 25, STARING AT THE CAMERA.

His wry smile gives way to...

Black. And then...

The CAMERA STARTS FROM THE CEILING, pointing straight down, overlooking a table of twenty-five people dressed in business casual, pretending to have a good time at lunch in this cookie-cutter crappy restaurant.

At the end of the table, a bowl of spinach dip is in front of Wesley, and the CAMERA STARTS descending directly for it, slowly, as we hear...

The CAMERA DISAPPEARS in the bowl of spinach dip and we...

...where Wesley drops his head down on his desk.

A sharply dressed man, MR. X, wearing a dark Armani suit, enters a skyscraper through the lobby. He's a shade taller than most of the office workers who are coming and going.

He heads to an elevator and presses a button for the top floor.

And as his finger presses the button, just where the thumb meets the forefinger, we see a TATTOO of a three- headed dog.

Soon...

...the doors open again and he finds himself in an opulent corridor -- sleek and expensively designed.

Only one office is at the end of the hall. Expressionless, he makes his way toward it. Without knocking, he steps inside...

...an office fit for a king. Or a queen. Because behind a glass desk sits a beautiful Indian woman dressed traditionally in a serape, with a red bindi on her forehead, the holy third eye. Her name is PUJA.

Mr. X sits in the single chair opposite her.

After a moment, Puja looks up.

She reaches over to an attaché case and removes a file.

Carrying the file, she moves around the desk and stands a few feet away from Mr. X, who rises so that they are both standing. She really is quite beautiful, exotic even, with piercing eyes.

Mr. X is looking at Puja when a curious thing happens...

...he notices that the red bindi on her forehead starts to move a little, like a second dot is trying to emerge from it, like an amoeba splitting.

It's a sharpshooter's laser!

His eyes go wide as saucers.

...but it's too late as bullets rip into her head, splattering everything above her eyebrows into the wet bar.

Mr. X crouches, drops his hands behind his back, and a PAIR OF GUNS -- as technologically advanced as anything we've ever seen -- spring into his hands.

The bullets stop flying and he sprints at the window from which they came, smashing through what remains of it, disappearing from the demolished room...

...all this as Puja's dead body hits the floor, blood seeping out of that holy third eye.

Mr. X's momentum carries him from one building to the next, over an alleyway, the wet concrete shining below.

He lands on the...

ROOF OF THE NEXT BUILDING:

...and rolls up quickly, guns ready.

His eyes spot FOUR MARKSMEN running and ducking for cover on the neighboring rooftop...

...and on a dead sprint across the roof...

...he spots about a CENTIMETER OF FLESH sticking out from around an air-conditioning vent. He fires the gun in his left hand.

The bullet flies through the air and rockets into the flesh... which happens to be one of the marksmen's ears.

The guy YELPS IN PAIN and falls back from the vent, exposing himself. That's all Mr. X needs, and another shot rings out while he's still on a dead run. THWAP! The bullet finds its mark in the yelping man's forehead, silencing him, just as...

...Mr. X ducks behind a stairwell door.

He pulls up his right hand and looks down the barrel of this pistol: built into the barrel is a thin computer screen. It actually shows the heat signatures of the three remaining marksmen, one of which is directly in front of him, hiding behind a small rooftop supply shed.

A second marksmen is just on the other side of the stairwell. The third is on the far side of the rooftop.

Mr. X takes another look at the heat signature of the marksman hiding behind the shed and he FIRES his gun...

...then does an amazing thing: in the split second that the bullet travels forward, he jerks his gun to the side... actually steering the bullet around the wall and into the marksman's throat.

Before the guy's blood hits the ground, the assassin is moving again: he dashes away from the stairwell then makes two incredible shots: one knocks a piece of aluminum off the top of the stairwell...

...which causes it to flip up in the air above the head of the hiding marksman...

...the second shot strikes the aluminum again, sending the bullet ricocheting down into the top of the marksman's head! As he falls...

THE CAMERA MOVES OVER TO WHERE... the FINAL MARKSMAN is breathing hard, like an engine with a chronic misfire, as he looks out at the dead bodies of his fallen comrades... all chopped down in a matter of seconds.

He squeezes his eyes shut, trying to psyche himself up...

He looks out at the stairwell door... and all is quiet. Maybe Mr. X didn't know he was there, maybe he left, maybe the last marksman can sneak away after all.

He finally decides...

...and takes one step forward...

THWAP!!! A bullet disintegrates his knee.

He falls, clutching the knee in agony, as Mr. X walks toward him slowly until he stands right over him like a hunter over his prey.

Mr. X's shoe comes down on the final marksman's wrist, pinning it away from his dropped weapon.

For a moment, we're not sure the last marksman's going to answer. Then...

The marksman points at a small VIDEO CAMERA sitting on the roof, relaying their every move...

Mr. X's face falls as those words register, and just then...

...THE CAMERA ROCKETS over the streets of the city, block after block in the blink of any eye...

...until it reaches a rooftop, over a mile away.

ON THE NEW ROOFTOP:

A man named CROSS is in a crouch, holding a massive RIFLE pointed upward, at an angle...

A small SCREEN on Cross' gun shows the scene from the roof, along with various elemental measurements: wind speed, pressure, temperature, distance, altitude...

...the information on the screen reflects off of Cross' eyeball as he processes the shot... a quick adjustment to the gun and a slight pull of the trigger...

BOOM...

We follow the arcing bullet back over the rooftops in an instant. Somehow it keeps it's elevation and it's path...

...to the resigned look on Mr. X's face: an outsmarted man, a dead man.

The bullet hits him square in the chest, and he falls to his knees, then slumps over, dead.

Flies start to gather as he lies there.

First one, then two, then several as night TIME-DISSOLVES to day...

...and two pairs of legs approach the dead body of Mr. X.

The first set belong to an older man, SLOAN, who looks like he has seen his share of death. The other set belong to the hottest black woman on the planet, FOX.

As they look down at the dead body...

Sloan just nods.

He then stoops down, shoos some of the flies away with the back of his hand and picks up the file that Puja gave Mr. X.

The CAMERA PUSHES IN on the back of Sloan's hand as he reads the file. It, too, has the tattoo of the three- headed dog, in the same spot as Mr. X.

Sloan nods.

Sloan nods again.

Sloan squints back up at Fox.

And with that, we...

...Wesley Gibson, the guy from the opening scene, fast asleep in his little cubicle. Some drool falls off his lip and jerks him awake.

Just then, the shot FREEZE-FRAMES, and we see IN THE BACKGROUND OF THE SHOT, his fat boss JANICE caught in mid- stride coming toward him, looking like she's ready to bring the wrath of God.

The BILLING REPORT is highlighted on the screen for just a moment.

...then the movie RESUMES normal speed and Janice reaches Wesley's cube in no time...

A couple of the other OFFICE WORKERS look up at the fireworks and smile... like they're actually enjoying Janice's histrionics.

Wesley looks like he'd rather be anywhere else.

She snatches up the report off his desk.

Wesley grabs the report back.

She storms away, fuming.

Wesley looks over and sees some of the other workers still staring at him, amused.

He sits back down to the semi-privacy of his little cubicle.

A CONSULTANT in a suit is droning on and on in front of a nifty power-point presentation.

The CAMERA PULLS BACK to reveal Wesley, bored to tears, sitting at a long table with Janice and other corporate minions.

The CAMERA FINDS Wesley's note-pad where it looks like he's taking notes on the presentation. Instead, covering every inch of the page, is the phrase "life sucks then you die."

One more "life sucks then you die."

Wesley's GIRLFRIEND is currently riding some guy named BARRY on her living room couch. She's not very attractive, sort of plain and ordinary.

She's giving it her best. As her MOANS reach a crescendo, we...

Wesley is still sitting there with his note pad, while the consultant continues to rattle on and on about God knows what.

Through the blinds behind the speaker, Wesley can spot his company's hot intern, NICOLE, talking on the phone. He zeroes in on her, until...

Wesley suddenly looks around the room and everyone is staring at him.

Everyone is still just staring...

Everyone snickers.

Wesley jots down on his pad: "ACTION ITEMS," and underneath it: "Differential responses... then you die." He underlines it three times.

Wesley sits at a small round table by himself, eating a ham and cheese on white.

A group of other WORKERS sit at a table nearby, gossiping and guffawing about whatever shit they have to discuss.

Just then, Nicole, the pretty intern, approaches and starts fishing through the refrigerator.

Wesley sits upright, glad now that no one is sitting at his table. Nicole turns and smiles at Wesley, starts to head his way, when...

He pulls a chair over from next to Wesley to make room for her at his table.

Wesley just takes another bite of his sandwich.

Wesley is staring at his monitor...

Then we see that he is actually playing solitaire on the computer. He keeps checking over his shoulder for Janice, but she is talking on the phone in her office with the door shut.

He looks up and watches the computer clock turn from 4:59 to 5:00. He saves his solitaire game and then turns off the computer, snatches up his jacket, waits for Janice to turn her back to him as she is engrossed in her call, and then sneaks away.

Wesley presses the down button and waits.

After an eternity, the doors open.

Wesley steps in and turns around. Before the doors close, he sees his boss Janice down the hall, looking at him. She checks her watch and looks back at him, pissed...

...and then the doors close.

Wesley pedals a ten-speed down a busy street. It's raining, and he squints to keep the water out of his eyes.

He stands nervously at an ATM machine. He checks to see if anyone is looking, and then hits the "check balance" button.

A message comes up: "You have $47.92 in your account. Would you like another transaction?"

He clicks "yes" and then "quick cash" and waits for the $40 to dispense.

Wesley enters, toting his bike, only to find Cathy and Barry laughing on the couch, watching some crap on television.

He's two steps in the door when...

He turns around.

He starts to head away when Barry pokes his head out of the apartment door.

What a dick. Wesley doesn't turn around, defeated...

He's back on the ten-speed, pedaling again in the rain, a pissed expression on his face.

He grits his teeth as we...

A young Wesley, 10, sits at a table with a couple of RELIGIOUS FOSTER PARENT WACKOS.

The ten-year-old Wesley moves furtively to a side of the clap trap house, and pries loose a board.

Stuck in a hole is a copy of THE COUNT OF MONTE CRISTO.

He moves back around the corner and standing there is his FOSTER MOTHER, pissed as hell...

...she holds a copy of the book in her hand, getting ready to strike...

Young Wesley takes a beating, WHAP, WHAP, WHAP!

...his face screws up, taking the blows...

...that same expression is plastered on Wesley's face as he pedals. He banks the bike up a curb and into a grocery store parking lot.

Across the street, a man watches from behind the wheel of a '71 Chevy Chevelle.

In fact, it's Cross, the man we last saw assassinating Mr. X on the rooftop.

He watches Wesley park the bike and move into the store.

Wesley stands, looking over all the different kinds of noodles. None of them just say "spaghetti."

Suddenly, a woman's voice pops up behind him...

She said it so fast he's not sure he heard it right.

He turns and sees the hottest woman ever to grace Kroger's aisles: Fox. She's wearing barely enough clothing to cover her tight body.

She looks him in the eye.

With that, she walks toward the end of the aisle, eyes scanning the whole time.

Stunned, all Wesley can do is watch her walk.

On the small of her back is a tattoo. It's the same tattoo we saw in the beginning: a three-headed dog.

She gets to the end and catches him looking at her.

Then she makes a very subtle gesture with her head... as if to say "come here."

Wesley still isn't sure what the hell is going on. Sheepishly, he makes his way to where she stands.

She leans in close, her lips just inches from his ear.

Whatever Wesley was expecting, it wasn't that. He pulls back from her.

For a moment, just a moment, Wesley is stunned, but Fox just keeps sizing him up.

Wesley holds up his hands in a defensive gesture...

Wesley starts to talk but Fox interrupts him...

Wesley starts to open his mouth again, but then closes it. He waits.

Suddenly, she raises her hands and is fisting two black PISTOLS.

Wesley takes a step back.

Just then, Cross rounds the corner on to their aisle, also fisting a pair of guns.

Wesley's eyes go wide as Fox suddenly starts firing, BAM! BAM! BAM! BAM! BAM! forcing Cross to take cover on the far side of the aisle.

She screams this, grabbing Wesley's wrist and jerking him forward, just as Cross comes back up, firing, a killing machine.

They barely get out of the way, as the pasta aisle explodes in an avalanche of bullets! Glass bottles of spaghetti sauce shatter, turning the aisle into a rainstorm of red droplets -- we're not sure what is sauce and what is blood.

Then... Cross springs on to a display stand of tortillas and up to the top of the freezer section, so he can have a better angle of attack at the fleeing Fox and Wesley.

He starts sprinting down the top of the freezer section, smashing over styrofoam coolers, as his bullets barely miss Fox and Wesley, but slam into the freezers behind them, sending ice and glass exploding everywhere.

But Wesley and Fox are too quick. She still has a hold of Wesley's wrist and she propels him through the swinging doors of the stock room.

There is a cherry red FERRARI convertible parked right next to the store.

Wesley is still trying to figure out what the hell is going on as Fox tosses him the keys!

But Fox just leaps into the passenger seat, guns up and ready, as Wesley's legs somehow take over and he hops behind the wheel.

Just then, Cross's Chevelle rips around the corner, practically going up on two tires.

Wham! Wesley turns the ignition, pops the clutch, and smashes the gas pedal as the car nearly snaps his neck when it launches forward.

He races through the gears and rips around a corner and out into traffic.

The Chevelle stays on his tail behind them; Cross drives and fires his Glock at the same time. Bam! Bam! Bam!

Fox does her best to send bullets back his way, while Wesley mans the wheel, breathing hard, still stunned at what is happening.

He spots a side-street...

...whips the car into a rubber-squealing turn...

...and ends up going the wrong way down a narrow one-way street!

He now has to weave in and out of cars headed right for them, as Cross stays tight on their ass.

Horns are BLARING in his face, but Wesley somehow keeps the Ferrari on all four tires as he bobs in and out of the paths of oncoming cars.

A 4 X 4 Chevy Pickup is headed like a missile right at them...

Wesley's eyes go wide.

Fox looks at Wesley, momentarily stunned by his idea, then spins and fires away at the oncoming truck.

The front tires on the truck explode and the truck veers hard right, where it bounces off a Fed Ex truck that sends it into a violent roll.

Wesley guns the Ferrari at the tumbling truck as it flips forward... right over their car!!!

Wesley watches it fly over them, amazed his idea worked... when finally it SMASHES down into the street between them and Cross's Chevelle!

Cross is forced to slam on his brakes and slide out... but it's too late... his Chevelle smashes into the 4 X 4 before skidding to a stop, a tangled mess in the street.

Wesley snaps back to reality and rips the Ferrari off the one-way street and down a side street.

He pulls the car to a stop, then looks over at Fox, amazed.

Wesley forces a laugh, but right now it's hard to paint anything as ludicrous.

She leans right into his face so that their noses are only inches apart.

Wesley stops, not sure of anything right now.

He settles back in his seat and pops the clutch again, this time, easing a little more respectably into traffic.

The Ferrari cruises to a stop outside a warehouse.

Wesley is still dazed.

She hops out. They walk inside a...

...to where Mr. Sloan stands next to a huge man, THE BUTCHER, who is slicing beef off of hanging cow carcasses. There are flies buzzing around and blood draining into the center of the floor.

If Wesley wasn't nervous before, he is now.

The Butcher looks up from his work and lays down the knife, right next to where Mr. Sloan has a pair of silver pistols and a magnifying glass resting on a rolling table.

The Butcher looks him over.

The Butcher snickers. Sloan speaks up...

Wesley looks from Sloan to Fox to the Butcher and back to Sloan.

He hesitates.

They look at him, imploringly, waiting for an answer.

Sloan simply picks up one of the pistols and sticks the gun in Wesley's hand.

For the first time, Wesley notices flies buzzing all around.

In the blink of an eye, Sloan has plucked the second gun off the rolling table and is pointing it at Wesley's temple. He begins to count...

Before he can say one, Wesley reacts... blindly firing the pistol in his hand, indiscriminately, BAM! BAM! BAM! BAM! CLICK...CLICK...CLICK... until his finger is just jamming on the trigger over and over.

After a moment, he looks up, unsure why he isn't dead.

Sloan smiles, drops his pistol on the rolling table and picks up the magnifying glass. He stoops down and signals Wesley to do the same.

THROUGH THE MAGNIFYING GLASS:

Four flies lie on the floor, crawling around... their wings actually separated from their bodies!

IN THE SLAUGHTERHOUSE:

Wesley jerks upright, trying to process this.

His eyes lock on to Wesley's, holding them in a vice-like grip...

Wesley is as stunned as we've ever seen him... he blinks a couple of times.

He drapes his arm around Wesley and leads him out the door.

Sloan and Wesley move down a busy commercial street.

They weave against the flow of pedestrians out and about on the city streets. Instinctively, people step out of their way.

The CAMERA moves over a diner's counter...

...to the kitchen, where a massive man with a three- headed dog tattoo on his hand, flips burgers. THE CHEF.

The CAMERA moves across an expansive lawn...

...until it finds a man with a three-headed dog tattoo on his hand, trimming a hedge. THE GARDENER.

The CAMERA moves down a gun display case...

...until it finds a GUN SALESMAN holding out a weapon to an Italian customer. He also has the tattoo. He's THE GUNSMITH.

Sloan is still walking with Wesley. Wesley watches every face that passes them by... any of them could be Fraternity members.

The Chef loads plates of food up on the warmer, where a WAITRESS picks them up and delivers them to a group of prominent looking BUSINESSMEN.

The lead businessman digs into his steak, and immediately his left arm starts to curl up, like he's having a heart attack. His cohorts look on as he spills over, knocking all the plates off the table, gasping for breath, his throat closed.

When the CAMERA PANS OVER AGAIN, the Chef is gone.

The Gardener works his gardening shears on a hedge in the front of this mansion... CLIP, CLIP, CLIP. We realize he's cutting a hole all the way through the hedge.

Then, he reaches down into his burlap sack and withdraws a long range rifle with a scope. He pokes the rifle through the freshly-cut hole, looks through the lens, starts to squeeze his trigger...

The CAMERA SHOOTS WAY UP to give us an aerial view of the neighborhood. We see that we are in the hills over the city, and across the canyon, a Japanese man is just pulling into his driveway, driving a black Audi, a mile away.

He brakes his car, opens his door, but THWAP! A bullet disintegrates his head and he topples over, never knowing what hit him.

Back at the hole in the hedge, we see the Gardener's eyeball looking through from the other side... until it disappears and he is gone.

The customer takes the gun from the Gunsmith and pays him in cash.

He then tucks the gun in his belt and walks out the door, like he's a bad-ass, instead of the goombah that he is.

He only gets a block before the gun at his waist EXPLODES, causing him to flop on the sidewalk, like he just stepped on a land mine.

The bell to the Gun Shop jingles as the Gunsmith leaves and heads in the opposite direction, whistling to himself, not paying attention to the pedestrians running to help the dying Italian.

Sloan and Wesley enter a normal looking pharmacy. They pass through the small front room and head directly to the back.

They are buzzed through by THE PHARMACIST, and enter...

...a sophisticated back room, where a trio of flat screen monitors are mounted on the wall.

The screens in the room come to life with the face of Cross.

The screens on the right and left hold on Cross while the screen in the middle shows a man laying face down in the middle of the sidewalk, Big Ben and Parliament in the background.

The screen on the right switches to show MR. X lying dead on the rooftop.

Sloan looks at Wesley...

Wesley's breath catches in his throat, staring at the screen, until the pixels blur like a Seurat painting.

A baby screams its head off in a nursery, as two dark men sneak into the room.

They reach the baby's bed and a pair of strong arms lift up the child. But the CAMERA FINDS the face of the second man...

...and now we see that the other man is a YOUNG MR. SLOAN.

Wesley is still absorbing the story, his life so different than when he got up in the morning.

Sloan puts a hand on Wesley's shoulder, gently. Paternally.

Sloan turns off the monitors and pulls over a wooden chair from where it rests by a wall.

Wesley doesn't know what to say. Sloan moves to a back door.

With that, Sloan leaves through that back door. But...

ON THE OTHER SIDE OF THE DOOR:

He stops. He pulls out a gun and waits for Wesley to make his decision, pointing his gun at the door.

BACK IN THE ROOM:

Wesley is still standing there, unaware of what is on the other side of the door, thinking, thinking, thinking. He takes a step toward the door...

FLASH: His boss Janice, yelling at him, mocking him.

Wesley hesitates, looks at the chair, then the door again...

FLASH: His girlfriend on the couch, riding high on Barry, loving every minute of it.

Wesley stands frozen, staring hard at the chair as THE CAMERA STARTS to swirl around him.

FLASHES: The consultant haranguing, the other employees laughing, eating alone in the break room, riding his bike, all the aspects of his shitty life...

...as the CAMERA CONTINUES to swirl around him, his face going hard...

He takes a seat in the chair, which creaks when he sits in it.

ON THE OTHER SIDE OF THE BACK DOOR:

Sloan hears the creak of the chair and lowers his gun. He smiles and walks off down an alley.

IN THE ROOM:

Wesley waits in the chair for what seems an eternity. He starts to bite his thumbnail, nervously.

In comes the Pharmacist. The man is built like a mountain, with muscles rippling out of his white smock. He's got a British accent and is extremely polite.

He walks behind Wesley.

Wesley does, and the Pharmacist binds his hands with some rope.

The Pharmacist cracks his knuckles and then, WHAMMMMMMM!!! He hits Wesley so hard right in the cheek that it almost knocks him out of the chair.

WHAMMMMMM!!!! The Pharmacist smashes him again.

Wesley struggles against the ropes but isn't going anywhere. The Pharmacist rears back and WHAMMM! WHAMMM! WHAMMM! keeps hitting him over and over again until Wesley's eyes roll to the back of his head.

Wesley jerks awake in his bed...

He looks up at his ceiling fan, barely turning, a few blades missing...

He sits up on his bed and checks himself in the mirror. His face has been pummeled; it looks like a piece of squashed fruit.

Wesley shoves his ATM card in the machine and hits the "check balance" button. Which reveals: $100,000.92.

Amazed, Wesley takes out a grand, the machine just spitting him money.

Smiling, Wesley jumps back on his ten speed and zips into traffic.

The spinning wheel of the bicycle turns into...

...that little spinning wheel on a monitor that indicates your computer is stuck. Wesley sits in his cubicle, staring at it.

Then...

Wesley turns in his chair, surprised. Nicole stands there, looking as pretty as ever, way out of his league.

Nicole smiles, flirtatiously.

She cocks her head and studies him.

She puts her hand on top of his; he can only stare at it... this kind of thing just doesn't happen to him.

Wesley's about to say something, when he spots Janice heading their way.

Wesley nods at her and Nicole frowns.

With that, she steps away, just as Janice walks up.

Wesley stands to face his boss, as Janice launches into him...

Wesley just focuses on that mouth. Fat lips over fat gums over yellow teeth. But now all that's coming out of it is JIBBERISH.

Jibberish that goes straight from her larynx to Wesley's ears where it imbeds in the soft flesh of his brain and BURNS... It's so goddamn loud! If only...

...if only it would just...

It's so unbelievably stunning coming out of Wesley's mouth that it hits Janice like a slap in the face.

Heads all over the office start to poke out of the tops of their cubicles like gophers coming out of holes. Nicole watches, pleasantly stunned, from a few feet away.

Janice looks around, shocked. Wesley likes the way that felt, so...

Janice looks down at her fingers, which still have a little grape jelly on them...

Janice's eyes fall to her feet.

With that, he throws all the papers off his desk, sending them flying!

Empowered, Wesley marches toward the elevators as everyone watches him go, admiration plastered on their faces.

The loudmouth from the break-room steps out...

He holds up his hand for a high-five, but Wesley just WALLOPS him with a right cross, not breaking stride on his way to the elevators.

Wesley flies out the front door, just as Fox's Diablo swings around the corner.

Fox grins as Wesley jumps in the car and she mashes on the pedal. The Diablo's tires smoke as she launches it out of there.

They return to the butcher shop. Sides of beef hang from hooks next to a cutting table. The Butcher is sharpening a knife.

The Butcher turns and slices a chunk of tenderloin off of one of the hanging carcasses, then slaps it on the table.

The Butcher measures Wesley, then starts to talk in a steady, almost bored voice...

Wesley nods, half disgusted, half enthralled.

He jabs the blade into the beef... and just as he does...

FLASH - PARKING GARAGE:

...we smash cut to a BUSINESSMAN walking to his car just as the Butcher comes up behind him and performs the exact same move he was just demonstrating. Just as quickly, we...

FLASH - BACK TO THE SLAUGHTERHOUSE:

...and the Butcher performs the next move...

Just as the knife hits the side of beef, we smash cut to...

FLASH - LUXURY HOTEL SUITE:

...a DRUG KINGPIN coming out of his hotel bathroom wearing a bathrobe. Suddenly the Butcher is on him, performing what he just described on this poor bastard, who can no longer scream because he's missing his trachea, and just as quickly...

FLASH - BACK TO THE SLAUGHTERHOUSE:

...we are right back to the hanging side of beef as the Butcher performs the next move...

Just like before, we smash cut to...

FLASH - DIRTY ALLEY:

...a MAN moseying down an alley, carrying a briefcase, when suddenly, the Butcher comes out of nowhere, pulls the enemy's head to the left and then WHAM!, jabs the knife into the neck, matching the move he was just demonstrating.

FLASH - BACK TO THE SLAUGHTERHOUSE:

The butcher continues to hack away at the hanging meat, describing more and more ways to kill with a blade...

...as the CAMERA FINDS Wesley, who is completely absorbed in the lesson. The Butcher hands him the knife, and Wesley starts to make his first chops at it, wanting to please the Butcher, wanting to get it right...

Fox is seated at a small outdoor cafe, sipping on a latté, reading the paper. There's a story about the death threats to Henry Helms on the front page.

Just then Wesley approaches, his face splattered with flecks of blood. She wipes his face with a napkin.

A huge Chevy 4X4 pulls up and Fox hops out from behind the wheel, followed by Wesley. They get to the door and Fox pulls out a metal device to pick the lock.

She picks the lock and they step inside...

...the empty morgue examining room. Empty except for a dozen dead bodies laid out on slabs, covered by white sheets.

Wesley looks around, disgusted.

Wesley uncovers the first body... it's a black male.

Wesley covers the black male and moves over to a second body. He unveils it to reveal... what looks like a dead suburban housewife.

Fox and Sloan stand next to a paper target -- the kind of thing you see in a police target range. It shows the outline of a head and torso with concentric rings for where you're supposed to aim.

The Gunsmith hoists the corpse of the dead soccer mom on to a hook that hangs ten feet in front of the paper target. Sloan flips a switch and a motor takes the mom and target to the end of the range.

The CAMERA PULLS BACK to show Wesley is with them standing in one of those firearm booths at the opposite end of the range.

An array of firearms are on a shelf next to Wesley.

Wesley eyes all the weaponry. Finally, he settles on a short-barreled black handgun. Sloan takes it from him and inspects it.

Fox cocks her head at Wesley, knows he's lying.

He nods at Wesley, like he's on to something.

Sloan hands him back the weapon.

Wesley aims the pistol at the target in front of him. He FIRES...

...and the bullet plugs soccer mom in the shoulder.

Wesley lifts the gun, his mind racing...

BAM BAM BAM!

The bullets blast out of the gun, like they are on a track set up by Wesley's brain. He flicks his wrists and...

...they arc quickly, just missing the body and pierce the center of the target!

Sloan smiles.

Wesley nods proudly, and squeezes off some more shots, all chasing through the same hole in the target.

Cathy jumps up from the couch when Wesley comes in.

But Wesley just pushes past her and starts to throw clothes out of drawers into a black duffel bag.

But Wesley just keeps packing.

Wesley just zips up his bag and turns back toward the door...

...where Fox is now standing, wearing an outfit that would make the devil blush.

But Fox doesn't even acknowledge her presence, and just watches Wesley do his business.

Wesley walks out the door and Fox follows. Cathy chases them out on to the landing...

Uh-oh...

Fox stops and turns around -- fisting her pistols.

She unloads... BAM! BAM! BAM! BAM! BAM!

The CAMERA SWINGS OVER TO CATHY, who is about to piss herself, standing in the door frame, with bullet holes placed expertly around her head.

Wesley and Fox keep moving, down the steps. Barry is coming up the steps, but he takes one look at them, does a U-turn and hurries out of their path.

Wesley tosses his bag into the corner of this immaculately furnished penthouse apartment, overlooking the skyline.

She moves toward a separate bedroom.

She stops.

For a moment, she thinks about it. Then...

They walk down a downtown lane, buildings crowding in on them from all sides. Not too many people are out this late; they have the sidewalk to themselves.

Wesley looks at her hopefully. She smiles, thinking about the past.

A younger, greener Fox stands alone in the alley, eyes scanning the rooftops.

A shadowy figure creeps to the edge of the building and looks down. We can't quite make out his face. Fox is looking the other way and he's got a clean shot.

He raises a rifle to his eye...

BAM!

He nails Fox in the thigh, and she falls helpless to the pavement.

The figure re-aims, ready to take out the helpless Fox.

The figure unleashes four more shots.

They turn a corner and head up into the lobby of a tall building, their conversation continuing...

INSIDE THE LOBBY:

Wesley weighs all this, puts it together.

Fox nods, smiling. They step...

INSIDE AN ELEVATOR:

...and start riding it up.

She smiles at another thought.

A PORSCHE SHOWROOM sits on the corner. SMASH! A black 911 convertible breaks through the glass and skids to a stop next to Fox in the street.

Two hands pull her up and drop her in the passenger seat, and the car roars off.

Wesley smiles. The elevator DINGS.

Fox and Wesley step out on to the rooftop where Mr. X was gunned down.

Wesley's eyes narrow and he looks around, taking it all in.

Wesley crouches down by where his father's body would have been, running his fingers over the gravel rooftop.

Wesley looks back at her.

They stand in a dark corner of a decrepit morgue, where a couple of urns rest on a counter. The place doesn't look like much more than a crack-house.

She leaves and Wesley approaches the urn holding his father's remains.

He runs his finger over it, and just when we think he's going to have an emotional moment...

...he smashes the urn on to the stand, the ashes spilling out everywhere.

Wesley runs his fingers through the decay: what a mess... there are pieces of bone intermingled in the cremains.

But then his fingers find something in the dust... a BULLET with a hole running down its center. He holds it up to the light for a closer look.

As he studies it, we start to hear... WHAM! WHAM!...

WHAM! WHAM! WHAM!

Wesley sits with his hands tied behind his back, taking another beating from The Pharmacist, who spouts assassination techniques while he pummels Wesley.

WHAM! WHAM!

The sound of the Pharmacist's voice fades to the background as Wesley's voice-over comes up...

Wesley's eyes are starting to lose consciousness.

Wesley takes a brutal shot to the face.

He involuntarily spits blood as his eyes roll back in his head.

Sloan sits across from Wesley at a skinny table in an otherwise bare room.

Sloan looks right at him. Wesley narrows his eyes, trying to fend off his stare.

Wesley looks down, then focuses on Sloan.

Sloan waits. Wesley realizes it's useless to try to keep something from this man. He reaches into his pocket and pulls out the bullet with the hole in its center... places it on the table.

Sloan looks at him, like he might have been underestimating him until now.

Sloan picks up the bullet and leans back.

Wesley taps his head.

Sloan reaches down and picks up a binder which he drops on the desk.

This stops Sloan for a second.

Wesley lies on Fox's couch, trying his damndest not to peek at her through her bedroom door. It's cracked just enough that he can see her draping a towel around her body as she heads to take a shower.

Wesley sits up and looks at the binder sitting on the table. Slowly he opens it and sees a picture of Cross staring back at him. The man who took Wesley's father from him.

Wesley studies the face, wanting to know every detail.

IN THE BATHROOM:

Fox peers out the door and looks at Wesley, watching him absorb more of Cross with every page.

Sloan leads Wesley into a gigantic room lined from floor to ceiling with leather-bound books.

Wesley nods, impressed. Sloan just keeps leading him through a set of double doors, into...

...a large room, the size of an auditorium. On the floor is a gigantic model of the entire city, built to scale, showing all the buildings, skyscrapers, churches, the waterfront, the city streets. Everything the city has to offer laid out in miniature.

Sloan and Wesley stand like giants in the middle of the model city...

Most of the buildings are white, but interspersed amongst them are a few painted red. Some of the model street lamps are also red.

The color red appears sporadically throughout the entire model city: on the sides of buildings, on mailboxes, on some of the manhole covers.

Sloan just smiles...

...and THE CAMERA MOVES TO HIS FEET, then PUSHES IN on one particular street on the map, further in on one RED STREETLIGHT and we...

...the same city street, now full-sized, buzzing with activity, pedestrians hurrying to work, cars and taxis and trucks whizzing through the street.

Sloan and Wesley walk down the sidewalk, passing streetlight after streetlight until they reach one in particular.

Wesley peers at it... there is a plaque affixed to the pole... the standard thing you find on these things... "Municipal C. W. 63070."

But then there is something different on this one... a tiny symbol on the bottom of the plaque... the Cerberus instead of the seal of the city.

Sloan presses the symbol and the plaque slides aside, revealing a hollow space behind it. He reaches his hand inside and pulls out a small handgun... flips out the clip expertly, then racks the weapon.

Wesley can't believe it.

Just then, two POLICE OFFICERS walk by, eye the gun Sloan has pulled out.

Sloan flashes his tattoo at them.

They nod and do just that.

THE CAMERA PUSHES IN on Wesley's face as he realizes the full scope of this organization and we...

SERIES OF SHOTS:

GUN RANGE. Wesley firing his Imanishi 18 on the shooting range, steering the bullets wherever he wants them to go.

Impressed, the Gunsmith moves the corpse closer to the target, making the angle all that much tougher.

Wesley gets ready to squeeze his trigger, but a pistol starts FIRING next to him.

He looks over... Sloan is standing next to him, firing at the target. Every shot bends around the body and hits right in the forehead of the target.

Wesley smiles, impressed.

LIBRARY. Wesley thumbs through an old Fraternity book, which has detailed sketches of an assassination in 17th century Paris.

MEAT LOCKER. Wesley working out on a heavy bag, honing his punches, the Chef holding the bag for him, muscles rippling.

MAP ROOM. Wesley walks by himself amongst the miniature city, trying to memorize where the red marks are.

INTERROGATION ROOM. Wesley sitting here, being grilled by Sloan, as he tries to tell the undetectable lie.

FOX'S APARTMENT. Wesley looking at Fox through the bedroom door.

SLAUGHTERHOUSE. Wesley working with the Butcher on the art of knife play.

MAP ROOM. The Gardener and Fox show Wesley the rooftop of a certain building on the model city, one corner of the roof painted red.

ROOFTOP. Fox and the Gardener now with Wesley on that actual rooftop, pointing out firing angles, modes of ascension, and escape routes. The Gardener moves over to a cornerstone in the roof of the building and then easily lifts it off, revealing a stash of assault rifles.

SHOOTING RANGE. Wesley looking at some ammunition while the Gunsmith talks and demonstrates. He fires at one of the targets, which EXPLODES in a splattered mess and we cut to...

Fox making coffee as Wesley sits, studying the binder, his mind racing.

Wesley flips to the picture of Cross.

Fox walks over and slams the binder shut.

Sloan fires at the target, the bullets following his every command. Wesley does the same, equally skilled. Fox sits, watching the two of them. Is it becoming competitive? One shoots and then the other follows, neither one ever missing.

Finally, Gunsmith runs the target back in to change out the body.

Fox leans back, impressed.

Sloan smirks and turns to instruct Wesley.

Wesley nods as Gunsmith returns.

Gunsmith starts sliding the target closer to the body, until it's actually touching the back of the dead business man!

The Gunsmith shrugs and runs the target down the range. Wesley looks at Sloan.

Wesley pulls his gun and lets loose five rounds, lightning fast.

The Gunsmith brings the target back to them...

...and the business man is riddled with holes.

The Gunsmith does and we see that each of the five bullets has passed clean through the cadaver and found it's mark on the target.

Gunsmith sticks his finger through the hole in the middle of the target.

With that, he turns and walks away, a look on his face that is his fiercest, a far cry from the kid in the cubicle. That same expression is on his face as we...

Wesley strains against the ropes that bind his hands as The Pharmacist waylays him. But this time, Wesley counts out the punches as he takes the shots.

There is a look in Wesley's eye we haven't seen before, a burning, searing fire.

As he continues to take punches and count them out...

...he pulls his arms tight, and his muscles start to twitch and bulge -- muscles we didn't know he had until now -- and as he continues to take punches, WHAM!, WHAM!, WHAM!!, the rope strains against the wooden chair, and we can HEAR the wooden legs start to pop, until...

CRACK!!! Wesley jerks his arms free, and comes up swinging with the broken off leg of the chair.

SMASH! SMASH!! The Pharmacist goes down hard and Wesley stands over him, out of control, furious, SMASH! SMASH!, beating him with that broken chair leg.

The CAMERA PUSHES THOUGH one of the walls...

OBSERVATION ROOM:

...to where Fox and Sloan are watching Wesley pummel the pummeler through a one-way mirror.

...the look on Fox's face becomes more and more raw and sexual until...

...she leaps on top of Wesley, straddling him on top of her bed.

They unleash on each other, and from the looks of it, Fox makes Cathy seem like a nun.

Wesley didn't know it could be like this.

After they finish, Fox gets up and heads to the shower and he watches her go the whole way.

In the doorway, she turns around...

Wesley sits in a chair as Fox crouches next to him with an advanced tattoo machine, inking his hand.

Wesley laughs.

He settles down.

Fox looks at him, a wry smile on her face.

She pushes her chair back, done with her work.

The CAMERA PUSHES IN as Fox removes the device so we can take a look: the three-headed dog has been tattooed into his hand.

Wesley and Fox walk down a crowded urban city street. The CAMERA finds Wesley's tattoo and then moves around behind Fox and holds on hers.

Wesley can't help but smile, then Fox stops. They're standing right in front of a CAR SHOWROOM, displayed in the window is a MIDNIGHT BLACK PORSCHE 911 convertible sitting in a showroom window.... just like the one Wesley's father smashed in Fox's story.

Suddenly, the car comes flying out of the window, glass shattering everywhere as it tears up the street.

ON THE CITY STREETS:

Traffic lights mean nothing, as Wesley mashes the accelerator to the mat, and the Porsche responds, ripping up the road like a tiger on the prowl.

Fox rises up in the passenger seat, looking over the windshield, the wind whipping her face...

He weaves in and out of traffic, then rips around a corner, narrowly cutting in front of an eighteen-wheeler, which has to slam on its brakes.

Wesley whips the car around a corner...

He pulls the car to the side of the street...

...in front of a busy outdoor mall. It's covered with shops, eateries, movie theaters and people, people, people.

Fox eyes the crowd.

Fox hands him his Imanishi pistol, which Wesley rolls over in his hand.

He nods and makes his way toward...

THE OUTDOOR MALL:

...where he quickly mingles with the crowd. He has his hands tucked into the front pocket of his hooded- sweatshirt, the pistol inside. People pass him on his left and right, some make eye contact, some don't... anybody could be the target.

Wesley's eyes scan to the rooftops, surveying... the SECURITY GUARD by the theater, the SWEATER-FOLDER at The Gap, the SCARY-LOOKING GUY shopping at the sunglasses stand.

And then Wesley's eyes settle on someone he was not expecting to see... Barry, his best friend that was shagging his girlfriend... is thumbing through books outside the BARNES AND NOBLE... seemingly not paying attention to what's around him.

Wesley can't believe it. It can't be him. Can it?

Just then, Barry stops looking at the books and starts walking toward Wesley, keeping his eyes down. Fuck, this can't really be happening...

...Wesley gets ready, both hands inside that front pocket...

...and now Barry meets his eyes... still coming... still coming...

Wesley can't believe it!

Wesley pulls out his gun and Barry throws up his hands...

But now we see Wesley is looking past Barry, over his shoulder...

...and he's looking at a man we recognize from his office... The Consultant.

He's approaching rapidly behind Barry, fisting a pair of pistols!

Just as Barry hits the deck, Wesley pulls the trigger...

...but it just CLICKS, the chamber empty...

THE PORSCHE:

Fox holds the clip to Wesley's Imanishi, tapping it in her hand. Holy shit, she gave him an empty gun...

THE OUTDOOR MALL:

Wesley can't believe his gun is empty. In the split- second that it takes him to realize this, the Consultant has his guns leveled, taking aim, but...

...Wesley moves faster than we thought he could move... he darts behind a kiosk hocking monogrammed apparel, and dashes full speed through the crowds lining the street.

The Consultant chases after him, knocking shoppers out of the way, sending fanny packs and Nordstrom bags flying.

Wesley hooks a right around a SHARPER IMAGE and heads straight down a narrower section, like he's on a mission, knowing exactly where he's going. And now we see why...

Because the city around us goes stark white like the Map Room. We're seeing what Wesley sees, what he's memorized in all those hours staring at the model. Finally we see one SMALL BENCH next to a fountain, which is bright red.

Immediately the natural color of the city comes back and Wesley is running all out for that bench. He goes into a slide, hitting the grass underneath the bench, sliding under it, popping up on the other side.

He rips a metal panel off the back of it as he does, revealing an AUTOMATIC PISTOL...

...and just as quickly, he's up on one knee, aiming, using the bench as a shield as the Consultant rushes up, surprised and BAM! BAM! BAM!

The Consultant drops where he is, three bullets hitting him in his two shoulders and his chest.

People start SCREAMING and RUNNING the hell away from the gunplay. Wesley is about to run away himself, but when he turns, Fox is right there beside him... smiling. A couple of SECURITY GUARDS are with her, smiling as well.

Wesley looks over at The Consultant, who sits up, smiling too, even though he's bleeding from three spots on his body...

Wesley looks down at the gun.

Fox nods, as the Security Guards go to help the Consultant to his feet.

She hands the clip from the Imanishi over to Wesley...

Wesley and Fox walk down a long hallway toward a single doorway. They open it, revealing...

...a large office with a single desk and a roaring fire. Sloan turns from the fire to greet them.

He holds up the "mole" bullet, and smiles.

Wesley nods, a grave expression on his face, like he knows what he is going to do next.

He heads over to Wesley, hands him a slip of paper.

A three-foot-seven-inch Asian man sits at a worktable with his little legs dangling over the end of his chair.

PEK WAR is concentrating hard on the metal in his hands.

The diminutive man looks up from his worktable when he hears a loud THUMP.

He gets no answer. He remains perfectly still, listening.

Two louder THUMPS and a GUNSHOT jerk his head around. Then he's up out of the chair, faster than we thought a little man could move.

Breathing ragged, shimmying across his work space, Pek War hurries over to a chest of drawers.

He gets to it and throws open the bottom drawer to reveal a stash of handguns. He reaches for one...

...but the muzzle of a pistol comes up to the back of his head and the hammer clicks as it is pulled back.

Pek War throws his hands up.

Wesley signals for him to turn around. After he does...

Wesley measures him with eyes that have gone hard. Fox stands over Wesley's shoulder, loving every moment of this. Then...

Pek War sees that Wesley means business.

Fox snickers.

The bullet maker looks as though he knew a day like this might eventually come. His face falls and he looks at his feet.

Wesley SMASHES him in the face with the butt of his gun, then grabs a long, metal STILETTO-type tool from the work table.

With that, Wesley sticks the stiletto into Pek War's side!

The little man starts jabbering to God in some foreign language.

Pek War waits, trying not to writhe from the pain...

Pek War's eyes go wide, pleading...

Wesley twitches the handle just a bit.

Wesley lets up a little bit.

Fox snatches up a nearby phone.

The Porsche once again tears across the asphalt, as Wesley drives.

Wesley drives for a while. Then...

Fox shakes her head.

They are surrounded by industrial looking warehouses, one of which has the words Times-Herald on it. Newspaper delivery TRUCKS make their way in and out of the loading dock area of this building.

Overhead, an EL TRAIN scrapes along the worn tracks.

Fox pulls around a corner and back into an alley, so they can have a view of the corner in front of them.

Wesley scans the area quickly.

Fox smiles knowingly, and looks up, revealing what Wesley is talking about. On various rooftops we see FIGURES peering down, looking over the site.

Fox subtly moves her head and figures disappear, crouching down.

Just then, out the windshield, they see a MAN wearing a long black overcoat approaching the corner near the newspaper building.

Fox's eyes start to dance.

Wesley nods and the two of them step out of the car.

IN THE STREET:

From a distance, Wesley approaches Cross from the back. His steps become quicker, getting closer every passing second. Wesley starts to reach in his coat for his gun...

...and that's when Cross fires! Quick as lightning, Cross has guns out and lets loose toward the roof of a nearby warehouse.

His bullet has the instincts of a bird dog, and it curves over the edge of the building and finds its mark, causing a crouching ASSASSIN to plunge from the roof to the street near Wesley!

The others on the rooftops hail down bullets as Cross disappears into the nearest building, the Times-Herald.

Wesley and Fox run toward the building as three other Fraternity members beat them there, the BELLMAN, the WAITER, and the ELECTRICIAN.

Wesley sees them congregate on the loading dock and then start inside the building...

The minute Bellman exposes himself in the open loading dock door he is cut down from inside, his bloody body falling backwards into a newspaper truck parked at the dock.

Wesley and Fox join the other two on the dock as screaming WORKERS run from the place.

Wesley sees an unmanned forklift on the dock.

They all jump on the pallet held by the forks of the lift. Wesley throws the machine in reverse and it backs into the warehouse, the four assassins safely crouching on the pallet on the front.

INSIDE THE NEWSPAPER BUILDING:

Once inside...

The lowest level is the loading dock, where pallets of newspapers and massive unused paper rolls await.

WITH THE ELECTRICIAN:

The Electrician hustles between the pallets and boxes, eyes darting, guns drawn. He backs up to a pallet of stacked newspapers, using it as cover. What he doesn't realize is that between each stack of papers is a space, just big enough for a --

THWAP! A bullet finds its way through the space and hits the Electrician in the back of the shoulder, spinning him around.

CLOSE ON: Cross' gun. Another shot and we follow the bullet, across the dock and dipping low into the next space in the paper stack -- right where Electrician is now leaning...

...the bullet buries in his eye, sending him to the floor.

Wesley sees Cross race for a set of stairs. Just as Wesley is about to cut him down, Cross fires at a wooden beam holding back some massive rolls of NEWSPAPER. The rolls tumble over and Wesley has to dive out of the way, allowing Cross to escape up the stairs.

Wesley, Fox and the Waiter all race for the stairs.

ON LEVEL TWO:

Giant printing machines are running full speed, printing up the morning edition.

A group of NEWSPAPER EMPLOYEES see the guns the Fraternity members are toting and scramble for safety.

Wesley has to yell to be heard over the whirring machines...

Wesley points at a scaffolding that runs above the machines.

With that, Wesley and Fox disappear amongst the machinery.

The Waiter takes a step back from the press, where over a hundred pounds of paper spins through every second.

He sticks his head out to try and keep an eye on that scaffolding. Everything looks clear, until...

...shots ring out and a shelf on the wall over the Waiter's head gives way! He turns to see a bunch of cans of spray lubricant falling to the floor. No big deal, until Cross shoots one of them out of the air, causing it to explode!

The burning oil covers the Waiter, who SCREAMS and stumbles nearer the printing press...

BAM BAM BAM!

More shots from Cross and one of the RESTRAINING ARMS on the roll of paper feeding the machine breaks in half. The paper roll spins wildly from the machine and like a saw, cuts the Waiter in half!

With a leap, Cross is on the scaffolding over the presses. For just a second, Cross stops as he locks eyes with Wesley...

...but Fox is already firing at him so Cross has to keep moving...

He heads up a second staircase, but not before he sends a stream of bullets back at Fox, who athletically cartwheels away...

...but one of Cross's bullets disintegrates a gear on the press near her, sending flying metal everywhere. A piece of shrapnel buries into Fox's leg... making her break out of her cartwheel and flop down, wounded.

Cross races along the scaffolding and disappears into a door.

Wesley races for the stairs. He is the only one left to chase Cross to level three.

ON LEVEL THREE:

Wesley bursts through the door, guns ready. The place is already in pandemonium, with PEOPLE yelling and screaming and running for cover. Quickly, Wesley realizes he's in the business offices of the paper, and it looks surprisingly similar to his old office. Lame-ass cubicles and florescent lighting everywhere.

Wesley jumps up on a desk.

Unafraid, Cross climbs up on a desk on the other side of the office. Without hesitation, Wesley opens fire at Cross... who immediately returns fire...

...and his bullets actually collide with Cross's bullets in mid-air!!! The bullets ricochet and take out a COMPUTER SCREEN where someone was playing SOLITAIRE.

The two assassins blast away, all while diving and moving over and in the cubicles. Cross has a gun similar to the Imanishis, and they each steer their bullets at each other from sharp angles...

Strangely, the first bullet collision was not blind luck, but the pattern for the battle. They are fighting the same fight, their bullets meeting in the middle, each man using the same techniques at the exact same time.

Wesley needs an angle, and spots a DRY ERASE BOARD the words "Action Items" written on it. He fires at it, and his bullets bounce off it at an angle where one of them strikes Cross in the shoulder... THWAP!!!

Cross can't believe he's hit but he doesn't have time to flinch... right as Wesley fires again, he turns, barely avoiding the rain of bullets and leaps through a nearby window, smashing the glass out!

Wesley doesn't hesitate behind him... he sprints for the same window and dives through it, guns at the ready and...

OUTSIDE THE WINDOW:

...we stay with Wesley as he falls from the third floor, firing his guns the whole time...

...until he lands on top of an "L" train moving at full speed.

THE WAREHOUSE DISTRICT:

Fox limps out of the newspaper building and hurries to the Porsche. She ignores her wounds and rips the car out of the alley, chasing after the fleeing L train.

ON THE L TRAIN:

Ahead of Wesley, Cross is also on the top of the train. He manages to get up, spin around, and fire at Wesley...

...but they both have to duck as the L train whips under an overpass, which misses smashing both of them by mere inches.

Cross takes the opportunity to swing down between cars and enter one of the L cars.

BEHIND HIM:

Wesley hurries across the top of the train, spying the trail of blood that Cross is leaving behind from his wound.

Wesley smiles, a shark on a wounded baby seal, as he also swings down between the cars and enters...

THE FIRST L CAR:

...where he sees the trail of blood leading all the way down the center of the empty car and out the back door. Wesley hovers in the entry way, his guns up and ready.

He takes a step forward to follow the blood trail, and immediately, he is decked from the side by an ambushing Cross.

They tumble over the first row of seats, both losing their guns.

Wesley kicks Cross off of him, but Cross spins with two new guns in his hand! Wesley is on him quick though, and SLAMS Cross into one of the train's windows hard enough to crack it. With a quick twist of Cross' wrist, Wesley takes a gun from him just as Cross kicks him off...

...Wesley fires as he falls backwards. Cross falls backwards too from the momentum...

...and they both smash out opposite windows of the train before landing on either side of it!

But the amazing thing is... they stand up and keep firing as the cars are whipping by at 80mph, and we realize they are timing their shots to actually blast between each car in the split-second the opening passes.

ON THE TRAIN:

COMMUTERS ride along in blissful ignorance, reading their papers, holding on to the handrails... completely unaware of the gunfight raging outside the train.

A bullet whizzes through an open window, pierces a BUSINESSMAN'S paper, and exits a window on the opposite side of the car. The man sticks his finger through the hole, unaware of the battle outside. What the hell?

IN THE ALLEY:

On opposite sides of the train, Wesley and Cross are both sprinting and firing, trying to get to the end of the last train, while dodging each other's bullets...

...as the last car passes, they each jump on the tracks, ending up with guns tucked under each other's chin!

This takes Wesley aback...

Wesley's finger is starting to squeeze his trigger... as is Cross's.

Finally, Wesley does and his face goes slack as he sees himself reflected in Cross's pupils.

Just then, Fox pulls up in the Porsche about fifty yards away, and her headlights illuminate them.

Cross shifts his eyes to her, then does a curious thing: he lowers his gun, then drops it to the ground. Wesley can't believe Cross would leave himself defenseless.

Moving swiftly, Cross then tucks something into the pocket of Wesley's hooded sweatshirt.

With that... Cross falls down. His black jacket spills open to show a gun shot wound not just to his shoulder, but to his abdomen, too. One of Wesley's bullets through the train must have found its mark.

Cross is bleeding profusely. He gasps a couple of times... then, with his last bit of energy...

With that, the life goes out of Cross's eyes.

Wesley stares at that face, trying to decipher some meaning there. But Cross just stares blankly back at him, just as Fox comes limping up.

Wesley looks down and sees some of Cross's blood on his hands from their clench. There is also some on the gun he is holding. A pearl-handled gun.

Wesley reaches down and takes the other pearl-handled gun from where it dropped and looks over them both.

Wesley looks up, sees some sort of anticipation in Fox's eyes. He looks back down at Cross's body.

Fox measures him, like she's not sure if he's telling the whole story. Finally, she nods...

But he's already walking off. She watches him go, thinking...

Wesley walks down the street. PEOPLE instinctively get out of his way as he cuts a path down the sidewalk.

Then he pulls out what Cross slipped inside his pocket: a beaten-up copy of COUNT OF MONTE CRISTO. In fact, there's no mistake, it's the same copy he had as a kid.

Wesley tries to make sense of this as he opens up the cover... printed on the inside in a steady hand are the words: "I left you something."

Wesley lowers the book and sees a cheesy guy park a Harley at a curb. He bee-lines for the guy.

Wesley now blazes down the highway, pushing the Harley to its limits. His angry expression hasn't dissipated.

The Harley pulls up to a lower-middle-class house, the kind you might find in any run-down suburb. Kids run around the neighborhood, playing.

ON THE BIKE:

Wesley sits and looks at one particular house. He climbs off and heads to the side of the house, still carrying his book.

SIDE OF THE HOUSE:

He ducks through a broken chain-link fence and moves down the side of the house...

...until he finds a familiar wooden BOARD. Familiar because we've seen this place before: it's where he lived when he was a foster kid.

He removes the board, then reaches into the hole. His hand seizes on something. From the hole, he withdraws a KEY attached to a note with an address on it: 1850 North Highbury St.

Wesley's eyes move from the copy of MONTE CRISTO, to the key, and back to the book.

Finally, he lowers his hands... revealing a little eight- year-old kid, watching him curiously from the back yard.

The kid nods.

The kid nods again.

He tosses the kid the book and heads off.

He pulls the Harley over to a curb and then reaches into his jacket pocket and withdraws the note and the key.

Across the street, the address matches: 1850 N. Highbury. The place looks like a concrete fortress... no windows, just a large iron door in front.

Wesley approaches, not sure what the address could mean. He gets to the door, looking for a key-hole, but he doesn't find one.

He fidgets there awkwardly for a second, but then...

...the door opens, revealing a woman, ANNA. She takes a look at Wesley and then puts a trembling hand over her lips.

He stares at her, trying to figure this out. He steps...

INSIDE THE HOUSE:

...and finds that the place is nicely decorated; an attempt to cover up what is really a reinforced bunker.

Anna is now trying to hold back tears, but can't.

There's no point lying to this woman...

She nods knowingly, sadly.

Anna looks at him, confused. But then, realization sets in...

She leads Wesley into another room, where a five-year-old boy, ANDREW, plays on the floor.

Wesley's not sure what to make of this.

Andrew is busy playing with a couple of BLACK TOY BUILDINGS on the floor. Wesley studies the little guy, still confused.

Wesley looks up and sees what she's referring to. The walls are filled with pictures of Andrew, Anna, and... remarkably...

...photographs of Wesley at various ages when he was growing up!

She hands him a picture of Wesley at about age 12, sitting with his back to a tree, reading COUNT OF MONTE CRISTO. The picture has been taken through a windshield, across the street.

Wesley reels, his legs give out, he slumps against one of the walls...

FLASH: Cross firing at Fox and Wesley at the grocery store. But now we see that Fox positioned Wesley between herself and the shooter. He wasn't trying to hit Wesley, he was trying to separate him from her.

Wesley, thinking, remembering...

FLASH: Wesley studying Cross's face in the file, seeing that there isn't jealousy in those eyes.

Wesley still slumped against the wall, surrounded by pictures of himself...

FLASH: Wesley reflected in Cross's pupils.

Holy shit!!! Cross was his father!!! Wesley looks up at Anna's kind face...

Wesley stares at the picture... he can't believe he was being watched back when he felt so alone.

She leaves him in the room, alone, with his brother. Wesley watches the kid, trying to process it all.

For the first time, emotions overcome him, and he breaks down...

...but he's too tough now to sob, so he forces the sob down in his throat and blinks back the tears. Goddamn, he has a brother.

IN THE KITCHEN OF THE SAFEHOUSE - NIGHT - LATER

He walks up behind Anna, who is sipping some coffee at a kitchen table, red eyed.

Wesley sets the key down on the table.

A LONE KEYHOLE in a solid closet door.

Wesley sticks the key in and swings the door open revealing a LONG BLACK COAT, just like his father's.

Wesley takes the coat and folds it over his arm.

Her eyes harden a little bit.

Wesley nods.

Wesley nods, these words meaning so much to him.

Fox eats in a small restaurant in the heart of Koreatown, the kind of place that has the hot hibachi grills on the table tops.

The place is mostly empty, quiet, with mainly Korean faces both dining and serving. It's the kind of place where you can eat and not be bothered.

The doors swing open and Fox looks up. The silhouette of the FIGURE IN THE DOORWAY is disturbing, a familiar person in a long black coat...

She squints, the setting sunlight nearly blinding her as all she can see is a silhouette...

Wesley steps into the light and moves over to the table as Fox lights up a cigarette.

She blows out a lungful of smoke and watches as it rises toward the ceiling.

One of the waiters waves to her to put out her smoke and she just stares him down. The man backs off, nodding and smiling.

He focuses on her eyes, zeroing in on the pupils.

Closer, closer... tight on those pupils...

EXTREME CLOSE-UP:

We see her pupil swell, just a tiny bit.

KOREAN BAR-B-QUE:

He saw it... exactly what Sloan told him to look for when someone is lying.

And from the look on Fox's face, she knows he saw it.

She stabs out her cigarette, crushing it on the hot grill so that it SIZZLES.

With that, she kicks back from the table, holding a huge black Smith and Wesson revolver.

Wesley only has a millisecond to respond, and he does by kicking over the table, which sends food and utensils flying, but also shields him from Fox's bullets.

Just as quickly, Fox leaps up on top of one of the other tables, trying to keep her heels on the sides so that her feet don't touch the hot grill. If she's wounded, we wouldn't know it.

Wesley does the same on a nearby table. They take shots at each other as they leap from table to table, avoiding the sizzling centers, but they're both so quick that no bullets find their mark.

Then Fox takes a running leap at him, moving ferociously fast. She's like the animal she's named after, and she launches off one of the tables...

...and catches Wesley flush, knocking him backwards, a form tackle on to a table...

...where he lands square on the oven top... PSSSSHHH... and his guns go flying across the room as...

...the table top starts to burn through his clothes!

But he rolls over, taking Fox with him, and now the oven is burning into her back.

With all her strength, she bucks him off and then flips herself backwards off the table. With another kick, she sends the hot table flying at him. It rips free from its wiring, and the nozzle sprays gas out into the restaurant... SSSSSSSSS....

Wesley knocks the flying table out of the way, but not before it burns his arm as he blocks it.

Spotting his guns, he sprints for them as Fox unleashes a hailstorm of bullets.

But he's too damn fast, and he dives across the floor Pete Rose style, sliding to a stop at the precise moment where his hands come up holding his weapons.

In one fluid motion, he flips back over and BAM! BAM! BAM! BAM! BAM! shoots bullets up in the air and then flicks his wrists so they arc over at the open gas nozzle!

The bullets strike it, sparking, and then BOOM!!!! A fireball blasts from the nozzle, while a great plume of sweltering fire keeps pouring out!

Fox dives to get out of the way, which gives Wesley the opening he was looking for. He FIRES again, and one of his bullets knocks her gun away and another nicks her in the side of the face.

She stops, seeing the blood drip down her cheek and off her chin. This only seems to enrage her.

Pissed, she produces two SMALLER GUNS out of the small of her back -- where she had them hidden we have no idea -- and charges Wesley like an unleashed Pit Bull...

She's firing both muzzles and her bullets find the marks this time, knocking Wesley's guns out of his hands from where he lies flat on the floor.

She's disarmed him, and now he's defenseless...

...and Fox stands over him, breathing hard, her face bleeding, both gun barrels pointed right at Wesley's face...

She starts to squeeze both the triggers...

But, Wesley drives a fist into her wounded leg and she reels...

In the same motion, he grabs her wrists and pulls her toward him... taking her guns right out of her hands like a quick-change artist.

Flipping them over, Fox's face full of surprise is the last expression she'll ever have because...

BAM! BAM!!!

Most of Fox's face is blown clean from her head, and a bloody mess sprays across the wall.

Wesley leans his head back and closes his eyes, the spume of fire flickering brightly against his lids, the events of the last several hours washing over him.

For several moments, there is nothing but darkness and a silence as permanent as death. Finally...

Sloan, the Butcher and the Pharmacist walk across the parking lot toward the door of the smoking Bar-b-que joint.

The fire is out, but it has blackened the inside of the joint, so that it looks like an absolute war zone.

Fox is in the same position as when Wesley shot her, but there's a sheet of paper folded on her chest.

The Butcher and the Pharmacist flank Sloan as he approaches the body, frowning.

Sloan reaches down and picks up the paper, and sees beneath it that pearl-handled revolver. The one with the blood on the handle.

He unfolds it, to read printed in black ink on the paper:

THE GATES OF HELL ARE OPEN

Sloan folds the paper back up and looks at the blood on the gun.

Wesley stands in the slaughterhouse, holding two pistols, looking around. The place has been cleaned out. There's no sign of the Butcher.

Same thing at the Pharmacy, an empty store now...

...and in the Fraternity's library, nothing. All the books are gone...

Wesley processes this, frowning. He keeps walking to the...

MAP ROOM:

...where the entire model city has been destroyed, like a Giant has trampled it beneath its feet.

Wesley stoops over and pulls one smashed building out of the mess, looking at it, thinking, thinking...

...and then he's up and moving quickly.

Anna opens the door for Wesley, who looks like he is on to something...

Wesley moves into Andrew's room... where the boy is still playing with the black model buildings.

Wesley moves over and crouches down next to Andrew.

The boy hands him the building in his hand. It is painted jet black, except for one corner of the first floor, which is painted red. Wesley looks up at Anna.

Anna leads Wesley down some wooden steps into Cross's basement.

Sure enough, the entire floor of the basement has been made into a model map, similar to the one that the Fraternity used in the map room, but all the buildings are black, with an occasional red mark.

The scale is larger, the model shows only one section of the city, and a BLUE LINE indicates a route through the streets.

And on the wall are PICTURES and CLIPPINGS of Henry Helms.

Wesley squats over it, trying to figure out what his father's plan was. He sees a missing place for a building and puts Andrew's toy back in place, then studies the map some more.

There are large question marks painted on various buildings along the Helms' route.

Wesley looks at it some more.

Wesley looks up at her, resolve on his face.

It's dark. Really dark.

KNOCK KNOCK KNOCK.

A lump in a bed stirs.

KNOCK KNOCK KNOCK.

The lump stirs a little more...

NICOLE, the hot girl from Wesley's office, moves to her peephole and looks out, but there's no one there.

She opens the door and gives a quick look down the hall, then shuts it and hurries to her kitchen.

She starts to open a cabinet but stops, GASPS and jerks back, scared shitless.

Wesley is in her kitchen, just a few feet away. She looks at him.

He looks bruised and battered, but there is a hardness to his eyes.

Wesley wipes his eyebrow with his thumb, like he's considering what he wants to say next.

She doesn't understand...but suddenly we...

...that meeting room from his old job. In fact, it's a replay of that same scene. Wesley is still sitting there with his note pad, the words "LIFE SUCKS AND THEN YOU DIE" printed over and over, while the consultant continues to rattle on and on.

Through the blinds behind the speaker, Wesley spots the hot intern Nicole, still talking on the phone. And just like before, he's zeroing in on her, but this time, we keep zeroing in and zeroing in, until we see something we didn't see before...

Nicole reaches up over the counter to grab a stack of papers, and her shirt pulls slightly up from her back...

...and that tattoo of Cerberus, the three-headed dog is printed there, in the exact same place Fox had... and we keep zeroing in on it and zeroing in on it until we...

Where Fox is tattooing his hand again and we get another taste of that conversation they had...

...and now with the gift of hindsight, we see that Wesley meant what he said, and we...

Wesley still stands there, just a few feet away from her.

He points at her tattoo.

Nicole's face changes, goes hard, like someone flipped a switch.

Like lightning, she grabs for a butcher's knife but Wesley is faster. He pins her wrist back, twisting until she drops the knife.

She lunges again, but a pistol comes up right below her chin.

She reaches over, slowly, so he knows she's not going to go for a knife... and she turns on a small TELEVISION sitting on the kitchen counter.

The screen comes to life, showing an infomercial for the Flobie.

Nicole shakes her head and flips up the channels... and now we see what she wanted to show him...

ON THE NEWS:

Wesley's EMPLOYEE PHOTO fills the screen above a reporter's head while the REPORTER babbles in a serious voice...

IN NICOLE'S KITCHEN:

She starts cycling through the news channels...

...and each one shows different REPORTERS standing outside the smoking bar-b-que, or talking about Wesley, or speaking with police. One is even interviewing Wesley's old boss, Janice, who is very happy for the forum...

ON THE NEWS:

IN NICOLE'S KITCHEN:

Wesley reaches over and cranks up a gas burner, the menacing flame on high.

She stares at that blue flame, fear in her eyes for the first time.

He starts pushing her head toward it, closer and closer...

The first SCREAM from Nicole is lost in...

THE FRONT DOOR:

BAM BAM BAM!

The door to Nicole's apartment smashes open and four cops burst through the door, guns ready.

They spread out quickly, checking out the place. One of the disappears into the kitchen...

SIRENS wail and a HELICOPTER hovers nearby as Wesley stands on a roof, looking down on the scene. He sees EMT's roll a gurney out toward an ambulance as COPS cover every inch of the ground.

From where he is, it looks like every cop in the city is here.

ON THE GROUND:

One COP looks up and sees a figure on the roof, long jacket blowing in the breeze. Surprisingly conspicuous.

The first cop points up toward Wesley on the roof.

ON THE ROOFTOP:

Quickly, a spotlight lights up the spot where Wesley was standing, but now we see it's just an air-conditioning vent with some loose streamers flapping off of it. Damn, it looked just like Wesley a moment ago... was it?

Wesley steps out of a dark doorway, his hard eyes following a police car as it roars by without noticing him.

He pulls his jacket collar up, puts on a skull cap, and takes off in the opposite direction, away from the scene.

He passes a newspaper dispenser, but the CAMERA STAYS on the front page, which is still talking about Henry Helms. The CAMERA HOLDS ON A photograph of Helms, which...

Morning...

...where HENRY HELMS himself is tying a tie in a hotel mirror. He's a handsome enough guy, distinguished even, but he looks tired, like the weight of living under a death threat has dragged him down.

A door opens, and we see his wife, SARAH HELMS, step past two huge BODYGUARDS to come in.

A gaggle of large bodyguards surround the Helmses as they hurry out of a side door and make it into a LIMOUSINE. They notice the half dozen MOTORCYCLE COPS positioned around their limo.

A LEAD BODYGUARD holds the limo door for them.

He shuts the door for them before climbing behind the steering wheel.

The limo starts to make its way down the drive, flanked in front and in back by dark SUBURBANS and the motorcycle cops.

Commercial ships cruise up and down a river, under an expansive BRIDGE.

Sitting next to the incline to the bridge, is an abandoned four story building, what used to be a HOSPITAL.

A guy looks down at the street with his binoculars. It's the Gunsmith!

On another tall building, Sloan talks into a radio.

He clicks off the radio and looks into his palm, where he's holding that pearl handled gun, fingering the dried blood.

ON A CITY STREET:

The suburbans and cops flank the limo as it rolls through the concrete jungle.

IN THE LIMO:

The bodyguards peer up at the buildings ready for anything.

Henry Helms reaches over and grabs his wife's hand, a reassuring gesture. But his white knuckles betray his trepidation.

The driver watches as they reach a frontage road on the east side of the river.

ON THE ROAD:

They make a turn along the river and haul ass toward the bridge. Traffic is sparse and they look like they have an easy clear passing.

ON THE HOSPITAL ROOFTOP:

The Gunsmith sits, waiting patiently...

ON ANOTHER ROOFTOP:

Sloan watches the Limo starting to approach the bridge.

Sloan leans out over the edge of his building, gun ready.

QUICK SHOTS:

On the hospital roof, the Gunsmith puts down his binoculars and picks up a rifle.

The Pharmacist leans over the edge of a building and looks down, high-powered rifle in his hand.

On another building, the Chef does the same.

And on still another building, the Gardener also gets ready.

Each killer is in a different spot and has a gun, pointed and ready, just waiting for the signal...

ON THE ROAD:

The limo is about halfway up the incline now, a sitting duck, hellfire about to rain down upon it.

ON THE HOSPITAL ROOFTOP:

The Gunsmith waits, waits, waits...

...and then, out of nowhere, surprising the hell out of him, a knife is held to his neck from behind.

The Gunsmith doesn't even so much as swallow, as the blade is so tight against his throat that it draws a drop of blood.

The CAMERA MOVES TO THE SIDE to show Wesley crouched right behind him, a look of icy determination on his face as he holds the knife in place.

In the distance, the Helms limo moves on, safely.

The Gunsmith feels the edge in Wesley's voice.

He smiles.

THE CAMERA WHIPS around behind Wesley... to show that three laser sights are lighting up his back in a perfect pattern.

And now we see it, this was all a set-up to get Wesley in the open. The three surrounding rooftops, slightly more elevated, hold each of the three assassins crouched in sniper positions, zeroed in on Wesley's back.

But instead of surprise, Wesley just leans in closer to the Gunsmith's ear.

And with that, he rolls the poor guy over on top of him, just as the assassins on the higher rooftops all unleash a hail of bullets.

BAM! BAM! BAM! BAM! BAM! The Gunsmith takes a dozen shots, all in the chest, but none of the bullets make it through the Gunsmith's body.

Wesley FIRES BACK indiscriminately at the neighboring rooftops, lying on his back, using the dead assassin's body as a shield.

Quickly, he bucks the Gunsmith's body off of him and scampers for a nearby stairwell.

ON THE ROOFTOPS:

The assassins all disappear from their positions and head to the street.

Wesley bursts from the stairwell doorway and moves to the front door of the building. He clicks the empty cartridges out of his guns and is about to reload when he hears a sickening sound behind him...

The sound of two knife blades being rubbed together...

...and Wesley turns to find the Butcher there waiting for him!

The Butcher quickly hurls a knife, which buries in the fleshy part of Wesley's shoulder!

Wesley ignores it and fires...

BAM BAM! DING DING!

The Butcher deflects them with the knives in his hands!

Wesley goes to fire again but his firing chambers recoil, showing that he is out of ammo.

The Butcher's eyes go wide...

Wesley tosses the guns in his pockets and then pulls out the knife buried in his shoulder.

They charge each other, the blades whizzing and clanging off each other as each tries to gain an edge.

The fight spills out the front door and into...

THE STREET:

...the two men slashing, ducking, and moving in the middle of the street.

Wesley strikes three quick swipes across the Butcher's face and forehead, filling his eyes with blood.

The Butcher grabs his face and sees the blood streaming on to his hands. He tries to wipe the blood from his eyes, but it's just getting worse.

Wesley lunges and the Butcher is defenseless to stop it.

He does just as he describes and the big guy topples over as his gore spills out into the street.

But before he can gloat, Wesley realizes his new predicament...

He's standing in the middle of the street, and at one end is the Chef, and at the other is the Gardener. To make things worse, directly across the street from Wesley is the Pharmacist, and each has a gun on him.

For a moment, Wesley stands there, sizing up the situation. His eyes swivel from the Gardener to the Chef to the Pharmacist.

Just then, the buildings around all of them go black, just like in Cross's model! Wesley's eyes fall on the on the red corner of the nearest building, a cement block making up a decorative support column in front of it.

Wesley smiles.

With that, the world goes back to its natural colors, and he races for the building, jumping up onto and over a Lexus parked at the curb. The three assassins fire relentlessly at him, but their bullets slam into the car, smashing it to bits... as...

...on the other side of it, Wesley goes into a slide just as he reaches that cement block... affixed to it is a small SILVER CROSS! Wesley slaps his hand on the Cross and the cement block mechanically opens, revealing: a new pair of sophisticated IMANISHIS!

As his adversaries converge on him, Wesley takes the guns, spins, splits both hands apart and we...

SPLITSCREEN:

...to follow both of his bullets in flight.

ON THE LEFT SIDE OF THE SCREEN:

...THE BULLET from the left gun heads for the Chef. He tries to drop down, but the bullet curves downward, it pierces his body... and...

INSIDE HIS BODY:

We see the bullet ricochet off of one of his ribs, exit his side and head for the Pharmacist, while...

ON THE RIGHT SIDE OF THE SCREEN:

...the bullet from the right gun heads for the Gardener, who moves fast to fire his own gun, but the bullet catches him in the wrist, knocking his gun out of his hand, and...

INSIDE THE WRIST:

...it hits the Gardener's scaphoid bone, ricocheting out, also, right at the Pharmacist...

THE SCREEN RETURNS TO NORMAL:

...just as the two bullets come together...

...hitting the Pharmacist on both sides of his head, before he can even react.

Wesley watches a pink spray shoot out from both sides of the Pharmacist's head as he falls to the asphalt, dead.

But Wesley's not through, he moves over to the Gardener and rolls him over.

BAM! Wesley ends it for the Gardener.

We've seen this place before. It's the same roof where Cross took out the second head of the Fraternity.

The door is kicked open and Wesley walks out, eyes blazing.

Sloan is waiting for him, standing twenty feet away, holding his father's pearl-handled gun, trained right on Wesley's head.

Wesley is clutching his wounded shoulder with his wounded hand as blood starts to seep out of it in big red drops.

Sloan's eyes narrow.

Wesley continues to bleed, taking this in. Sloan laughs derisively.

Wesley stands as straight as he can muster. The two men face each other like two gunmen on Main Street in Dodge City... an old newspaper even blows through like a tumbleweed.

And we are close on Wesley's face. In fact, it is the same shot from the opening of the movie.

We see now that his healthy hand is inching away from his bleeding arm, reaching into his sleeve...

With that, he pulls out the matching pearl-handled gun, the twin-brother of the one Sloan is holding, and they both open fire...

...Wesley shoots Sloan's bullets out of the air and Sloan does the same. Just like he did with his father.

But Sloan is good, and one of the bullets finds it's mark, hitting Wesley squarely in the same arm that took the knife.

He can't raise his arm, it's useless, but he's come too damn far to stop now... he flips his gun from his good hand to his bad hand and manages to keep FIRING!

Then Wesley does something unexpected... he starts sprinting straight at Sloan, still knocking his bullets out of the air...

He closes the gap... ten feet... five feet...

...a surprised and worried expression now spreads on Sloan's face, like what is this kid doing?

But Wesley is not stopping, he shoots the gun out of Sloan's hand and then closes on him, tackling him off his feet!

They go flying right over the edge of the building.

Wesley's able to grab on to a railing cable and stop himself...

...but Sloan is going to go over.

At the last moment, Sloan reaches for something, anything, and grabs one-handed on to the barrel of Wesley's gun...

For a moment, they dangle there in this precarious position, looking each other in the face. Sloan can't believe he's been bested by this kid.

Wesley's finger starts to squeeze the trigger, but then he smiles...

And with that, Wesley drops the gun out of his hand.

FROM TWO HUNDRED FEET BELOW:

We watch Sloan's body fall through the sky...

...down, down, down...

...until it SMASHES into the sidewalk, splattering like a grapefruit.

ON THE ROOFTOP:

Wesley rolls over on to his back, looking up at the darkening sky.

He sits up, moving OUT OF FRAME.

The place is now blanketed with cops, looking at the dead bodies, trying to make sense of what happened.

Cops stand on the street, handing out pictures of Wesley, asking pedestrians if they've seen this man.

Patrons stand in line at a post office, but the CAMERA PUSHES PAST THEM, finding a black and white "WANTED" poster of Wesley, describing all the killings he's responsible for. It holds tight on the picture.

The door to the safehouse opens, and Anna, Wesley and Andrew step out into the bright sunlight. Wesley is carrying his little brother.

They turn and head up the street, toward the eastern sun.

The CAMERA RISES UP, UP, UP, where it hovers for a minute... and just when we think it is going to leave the planet...

...it comes back DOWN, DOWN, DOWN, until it finds...

...Wesley sitting at a computer in the middle of another cubicle maze, pecking away at his keyboard. A sign attached to one wall reads: "SAN ANGELO INSURANCE ASSOCIATES: Setting the Bar High!"

Office workers mill about in their drab suits and ties, wishing they were anywhere else.

A pretty RECEPTIONIST comes over to Wesley's desk.

Just then, a harried man, BROKAW, comes storming up.

The receptionist hurries away, making a face as she does.

He leans over Wesley's desk, right in his space.

Wesley stares at that mouth again, zeroing in further and further, until the words become gibberish, just like they did with Janice.

Wesley catches himself and snaps out of it, just in time to hear...

With that, he hurries away, his pants riding so high up his ass that they look like they may burst at any second.

Wesley stares up at the clock on his monitor: it reads 11:15. He stands up, stretches, and makes his way to the receptionist's desk. She looks up, bites her lower lip...

She stands and they move toward the elevators, waiting for the doors to open.

Just then, the elevator doors DING.

They climb in.

THE CAMERA PUSHES IN TIGHTER AND TIGHTER on Wesley's face...

...until it fills the screen, looking just like the shot of Wesley we started with. And then a sly smile spreads across his mug...

...and as the doors close, we officially...