Setup Page #12

Synopsis: A group of friends plan out a detailed heist that turns deadly when one betrays the other by taking off with the goods. Taking matters into his own hands, Sonny seeks out his revenge teaming up with the most dangerous mob boss in town to get back what is rightfully his. When he finally comes face to face with his longtime friend he will be forced to make a life changing choice.
Genre: Action, Crime, Drama
Director(s): Mike Gunther
Production: LionsGate Entertainment
 
IMDB:
4.4
R
Year:
2011
85 min
636 Views


his pockets for loose change. He raises the phone to his ear,

praying to feel any emotion other than betrayal.

INT. KEATON’S HOME BASE - NIGHT

The PHONE RINGS. Keaton answers, then rolls her eyes.

KEATON:

Yes, I’ll accept the charges.

INTERCUT KEATON/DOUG:

DOUG:

Hey, boss. It’s Doug.

Keaton snaps her fingers, instructing a nearby GOON to listen

in on the call. He puts on headphones, opens a computer.

73.

KEATON:

Doug! I assume you’re calling me

from right outside to tell me

you’re here and everything’s fine?

DOUG:

Why’s Blair trying to kill me?

KEATON:

What do you mean?

DOUG:

I mean the dude is obsessed with

trying to murder me right now!

Keaton tries to think of a lie, rubbing her temples.

KEATON:

Listen... Blair went rogue.

DOUG:

Rogue?

KEATON:

You know, rogue. AWOL. Defected. I

think he finally snapped. Further

than he already had, that is.

Keaton snaps again, looking for an update on Doug’s location.

DOUG:

So you didn’t send him?

KEATON:

You and I are like family, Doug. We

don’t go after our own.

Doug rubs his head, thinking. His betta fish come to mind.

KEATON (CONT’D)

Do you still have the girl?

AT THE CAR:

Tess sees Doug turn away from her suspiciously, so she

stretches her un-cuffed hand toward the RADIO, muting it.

DOUG:

Yeah, I still have the girl.

Tess smells something’s up, as if she all at once remembered

she’s been kidnapped. She looks down, thinking, and notices:

the keys are still in the ignition.

74.

BACK WITH KEATON/DOUG:

KEATON:

Good boy. I’m proud of you, Doug. I

know we’ve had our difficulties in

the past. Mostly you having

difficulties and me having to scold

you for them. But this is good.

DOUG:

I’m not f***ing things up anymore.

I promise. I got this.

Just then, Tess and the car PEEL OUT OF THE GAS STATION --

DOUG (CONT’D)

I gotta go.

Doug quickly hangs up and SPRINTS AFTER THE CAR.

SIMILARLY, Keaton turns to her goon without missing a beat --

KEATON:

Blair. Now.

INT./EXT. COP CAR - MOVING - NIGHT

Jenna pulls up toward the gas station, having found the

address Todd provided. She sees Doug sprinting away and

follows, one hand still holding a gun.

INT./EXT. BLAIR’S CAR - MOVING - NIGHT

Still handcuffed to the passenger side door, Tess has one leg

stretched over the CENTER CONSOLE to the gas and one arm

leaned over to the wheel. A human pretzel stock car driver.

TESS:

Sh*t, sh*t, sh*t, sh*t-

She tries to flail her foot toward the BRAKE PEDAL, but it’s

no use -- too far. CARS SQUEAL OUT OF THE WAY. A FEW CRASH.

TESS (CONT’D)

I’m sorry!

INTERCUT TESS/JENNA:

Jenna SWERVES in and out of traffic, locating Blair’s car.

Tess doesn’t seem to notice, so Jenna FLIPS ON HER SIRENS and

rolls down a window, sticking her GUN HAND OUT --

75.

Tess looks into her rear view mirror and sees the gun --

TESS (CONT’D)

Don’t shoot! This isn’t my car!

Unable to stop and driving a car full of murder weapons, Tess

floors it, trying to evade the cop. Jenna notices.

JENNA:

No, wait! Tess, it’s me!

Jenna sticks her head fully out of the window. No use.

JENNA (CONT’D)

Hello! It’s Jenna! I’m not a cop!

A few BYSTANDERS hear this and give confused looks.

Tess squeals around a corner at top speed and checks her

mirror again, this time finally noticing JENNA. She lets off

the gas and YANKS THE E-BRAKE, grinding the car to a halt.

Jenna doesn’t react in time and SLAMS INTO TESS, driving them

both into a WALL. A gnarly crash. Both cars totaled.

EXT. STREETS - NIGHT

BZZZT. BZZZT.

Blair stirs awake, blinking to orient himself. He digs his

ringing CELL PHONE out of his pocket and answers.

BLAIR:

Yes?

INTERCUT BLAIR/KEATON:

KEATON:

I don’t know what the f*** is going

on, but you need to catch up to

Doug and the f***ing girl. I’m

sending you an address.

BLAIR:

Speaking of, Eugene’s goons have an

address on us. If we don’t have

product when they show up, this boo

boo is gonna turn into a boo hoo.

Keaton inhales a furious breath. She’s surrounded by idiots.

76.

KEATON:

Were you dropped on your head as a

child?

BLAIR:

You’d have been the one to do it.

Blair hangs up, still a bit woozy, and walks around a corner

to find a PARKED CAR. The DRIVER inside on his cell phone.

He taps on the window with his gun, motioning for the Driver

to hang up. Frozen with fear, the Driver obliges.

BLAIR (CONT’D)

Please exit your automobile.

The Driver obeys, kneeling onto the pavement.

DRIVER:

Are you gonna kill me?

BLAIR:

Should we flip a coin?

Eyes wide, the Driver takes a deep breath.

BLAIR (CONT’D)

I’m just kidding-BANG

--Blair’s pistol fires into the Driver’s forehead.

BLAIR (CONT’D)

I don’t have a coin.

EXT. STREETS - MIDDLE OF NOWHERE - SAME

Tess coughs, coming to. Sees her handcuffs have broken off.

TESS:

Thank f***.

She scrambles out of the car and finds Jenna doing the same.

A wave of residual anger boils up as they lock eyes.

TESS (CONT’D)

What the hell are you doing?

JENNA:

Me? You slammed on the f***ing

brakes in the middle of the road!

Tess bites her tongue. She reaches back into the car to the

TAMPON BOX, quickly unwrapping five tampons.

77.

JENNA (CONT’D)

What’s that for?

TESS:

I’m gonna stick them in the gas.

JENNA:

Pretty sure cars don’t get periods.

Tess quickly ties the tampon strings into a chain.

TESS:

Do you want to get out of here? We

have to do something to create a

diversion or look like we died.

JENNA:

A few hours with a drug dealer and

now you’re an expert on diversions?

Tess can’t take it anymore.

TESS:

Why did you even come back then? I

figured you’d be glad to finally

get rid of me.

Caught off guard, Jenna tries to catch up.

JENNA:

What are you talking about?

TESS:

You bailed on me! Just up and ran

away like you always do.

Tess opens the trunk and throws all the GUNS and KNIVES out,

finally emerging with RUBBING ALCOHOL and a FLARE.

JENNA:

You’re the one that forced me to

come along tonight! Doug wasn’t

even gonna take me.

TESS:

It’s not just this! It’s not

hanging out, setting me up, you

moving out. It’s everything.

JENNA:

That’s what this is about? You

think me moving in with my

boyfriend is bailing on you?

78.

Jenna opens her mouth to speak further, but stops short.

TESS:

What? Say it!

JENNA:

You’re just trying to pick a fight!

TESS:

You always do this. You never say

anything. You just run away and lie

to me like you lie to Todd about

his stupid f***ing furniture.

JENNA:

I’m not lying, I’m avoiding

needless conflict. Sorry if I

actually care about hurting other

people’s feelings.

TESS:

Telling it like it is isn’t a bad

thing if it’s the truth!

JENNA:

Fine! You want the truth?

With a deep breath, finally, Jenna decides to let loose.

JENNA (CONT’D)

You’re SO selfish, Tess! Did you

even think to say sorry for

dragging me along tonight?

Rate this script:4.0 / 1 vote

Kari Granlund

Kari Granlund is an screenwriter. more…

All Kari Granlund scripts | Kari Granlund Scripts

1 fan

Submitted by marina26 on November 30, 2017

Discuss this script with the community:

0 Comments

    Translation

    Translate and read this script in other languages:

    Select another language:

    • - Select -
    • 简体中文 (Chinese - Simplified)
    • 繁體中文 (Chinese - Traditional)
    • Español (Spanish)
    • Esperanto (Esperanto)
    • 日本語 (Japanese)
    • Português (Portuguese)
    • Deutsch (German)
    • العربية (Arabic)
    • Français (French)
    • Русский (Russian)
    • ಕನ್ನಡ (Kannada)
    • 한국어 (Korean)
    • עברית (Hebrew)
    • Gaeilge (Irish)
    • Українська (Ukrainian)
    • اردو (Urdu)
    • Magyar (Hungarian)
    • मानक हिन्दी (Hindi)
    • Indonesia (Indonesian)
    • Italiano (Italian)
    • தமிழ் (Tamil)
    • Türkçe (Turkish)
    • తెలుగు (Telugu)
    • ภาษาไทย (Thai)
    • Tiếng Việt (Vietnamese)
    • Čeština (Czech)
    • Polski (Polish)
    • Bahasa Indonesia (Indonesian)
    • Românește (Romanian)
    • Nederlands (Dutch)
    • Ελληνικά (Greek)
    • Latinum (Latin)
    • Svenska (Swedish)
    • Dansk (Danish)
    • Suomi (Finnish)
    • فارسی (Persian)
    • ייִדיש (Yiddish)
    • հայերեն (Armenian)
    • Norsk (Norwegian)
    • English (English)

    Citation

    Use the citation below to add this screenplay to your bibliography:

    Style:MLAChicagoAPA

    "Setup" Scripts.com. STANDS4 LLC, 2024. Web. 24 Nov. 2024. <https://www.scripts.com/script/setup_1333>.

    We need you!

    Help us build the largest writers community and scripts collection on the web!

    Watch the movie trailer

    Setup

    The Studio:

    ScreenWriting Tool

    Write your screenplay and focus on the story with many helpful features.


    Quiz

    Are you a screenwriting master?

    »
    What does the term "protagonist" refer to in screenwriting?
    A A minor character
    B The antagonist in a story
    C The main character in a story
    D A supporting character