john-wick-2015 1.

SCORN
by

Derek Kolstad
New Wave Entertainment (818) 295-8071 WGA: 1585906
FADE IN:

1 EXT. THE COUNTRYSIDE - ESTABLISHING - EARLY DAY 1

SUPER: ARDMORE, PENNSYLVANIA
A verdant landscape of rolling hills, lush countryside, and
ambient peace.

2 EXT. THE WICK HOME - ESTABLISHING - EARLY DAY 2

A small, quaint, two-bedroom farmhouse: a classic. Nearby, a
small barn -its paint chipped, wood worn- sits nestled within
the setting. The homestead feels slightly abandoned, the
facade -especially the roof- in dire need of an overhaul.

3 INT. THE WICK HOME - THE MASTER BEDROOM - CONTINUOUS 3

The hour hand of an old, electric clock shifts slightly,
marking six a.m. A soft alarm sounds. Beneath the blankets, a
body shifts, a weathered hand reaching out to silence the
antique.
A beat... a sigh... a groan... and JOHN WICK -early sixties,
salt-and-pepper hair, three-day beard, former boxer, former
military, tired, beaten down, and at wit’s end- sits up,
staring unblinkingly out at the day.
A beat... and he stands, donning a weathered robe and a pair
of slippers. John stuffs his hands into his pockets...

4 INT. THE WICK HOME - THE HALLWAY - CONTINUOUS 4

...and shuffles down the corridor, the walls overflowing with
family pictures, each badly in need of dusting. They
catalogue a long and healthy life with his wife, Norma; the
pictures presenting a time line of sorts. No children, yet
sheer, unadulterated happiness.

5 INT. THE WICK HOME - THE LIVING ROOM - CONTINUOUS 5

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As John makes his way through his home, we can see that it is
cluttered and unorganized. Dirty, in fact, as if it hasn’t
been cleaned in months.

6 EXT. THE WICK HOME - CONTINUOUS 6

John opens the door, retrieves the newspaper, closes, and
locks the door behind him, without giving the outside so much
as a glance.

7 INT. THE WICK HOME - THE KITCHEN - CONTINUOUS 7

John unceremoniously tosses the newspaper onto the table,
opens a cupboard, and measures out a couple of tablespoons of
Folgers Coffee into an old percolator.
As it begins to bubble, John open the fridge, studies its
contents for a moment or two, and then closes it, abandoning
the thought of breakfast.
He pours himself a cup of coffee and sits at the table. The
newspaper is ignored. He drinks in silence for a long, dark,
brooding moment, the loneliness almost unsettling.
Suddenly, the phone on the wall RINGS.
John lowers his cup, staring at the device, his eyes tired. A
beat... and he stands, walking slowly to answer it.
JOHN
This is John.
As he listens to the voice on the other end, John remains
still... stoic.

JOHN (CONT’D)
(whispers)
Ok.

John hangs up the phone and returns to the table, sinking

slowly down into his chair.

A long beat...
...and John begins to weep, his hands trembling as he lowers
his face in excruciating, utter, and complete sorrow.

FADE TO:

8 EXT. THE BARN - ESTABLISHING - DAY 8

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Having shaved and showered, wearing an old -but well-fitted-

gray suit, John pushes open the garage door...

...to reveal a legend in dire need of a total overhaul: a

black, 1969 FORD MUSTANG ‘BOSS 429’.

A smile plays at his lips as John walks into the garage,

running a hand along the chassis, desperately in need of a
wash and wax. Behind him, the wall is lined with tools: a
mechanic’s dream enclave.

John enters-

9 INT. JOHN’S CAR - CONTINUOUS 9

-and closes the door behind him.

John takes a moment to breath it in: he loves this car...
although he hasn’t taken very good care of it as of late. A
beat... and he slips the key into the ignition, twisting it,
the motor coughing to life, the exhaust pipe belching black
smoke.

10 EXT. THE WICK HOME - CONTINUOUS 10

The vehicle pulls out of the garage, stalls briefly, come

back to life, puttering on down the road.

11 EXT. THE HOSPITAL - ESTABLISHING - DAY 11

A soft rain begins to fall.

12 INT. THE HOSPITAL - A HALLWAY - CONTINUOUS 12

Carrying a humble bouquet of yellow daisies, John slowly
makes his way down the eerily empty corridor. He pauses
before a picture on the wall, glancing at his reflection upon
the glass. He takes a deep breath, exhales, and enters a
room.

13 INT. THE HOSPITAL - A ROOM - CONTINUOUS 13

John slowly approaches the figure lying in bed: surrounded by
machinery, accompanied by the soft sounds of technology.
He removes the wilted daisies from the vase, tosses them in
the trash, and replaces them with fresh ones.
 john-wick-2015 4.

He pulls over a chair, reaches out, and takes Norma’s hand:

she is comatose, her breathing synthetic... so many
machines... so many wires, tubes, and monitors.
We never see her face: just her silhouette.

He holds her hand for a long moment in heavy silence.

Behind him, the DOCTOR -of a similar age to John- enters,

placing a hand on John’s shoulder. John lowers his head, and
nods. With a bit of effort, he stands, staring down at her
for a long moment, never once releasing his grip, and leans
over to kiss her on the forehead.

JOHN
...it had to be you...
(a long beat, then)
...be seein’ ya’...

A beat... and John nods.

The doctor turns off the machine; lights dim, the room
settles into silence, and Norma’s body grows still.

The Doctor leaves John to be alone with his wife.

JOHN (CONT’D)
(whispers)
Be seein’ you.

FADE TO:

14 EXT. THE BARN - DAY 14

John pulls into the building...

...and sits behind the wheel for a long moment...

...his eyes unblinking...

...so very alone...

15 INT. THE WICK HOME - THE HALLWAY - DAY 15

John stands before the wall of pictures, statuesque as he

studies them... unmoving...

And then, he snaps; his hands gnarled into first, roaring

with rage as he punches the pictures, ripping them from the
wall, tossing them aside, eventually collapsing into a heap,
out of breath, his knuckles bleeding.
 john-wick-2015 5.

A long beat... and he chuckles softly, pulling himself to his

feet.

16 INT. THE WICK HOME - THE BASEMENT - DAY 16

Unlike the rest of the house, this space is pristine and
organized: one half designated as an impressive wood shop,
the other an office space with a lazy boy recliner and tube
television.
John sits at his desk with a pencil in hand, a pad of paper
before him, thinking.
A long beat... and he sighs with a smile, placing the pencil
upon the pad before sliding them both aside.

John unscrews the cap off the bottle of scotch and pours
himself a healthy dose.

He opens his desk drawer, reaches into the back, and finds an
old pack of cigarettes, half-empty. He taps one from, places
it between his lips, and lights it, taking a deep pull. He
holds it, and exhales, his body relaxing.

He finishes his drink along with the cigarette, pours himself

another...

...and then opens a BOTTLE OF PILLS (The label reading NORMA

WICK and OXYCONTIN), pouring them into a small mound upon the
desk. He stares at them for a long moment...

...before selecting one, studying it, sighing and-

A KNOCK AT THE FRONT DOOR.

John freezes, not sure as to how best to proceed.

A beat... and someone KNOCKS a second time.

John sighs, drops the pill back onto the mound, and walks
upstairs.

17 EXT. THE WICK HOME - DAY 17

A DELIVERY WOMAN waits for him on the doorstep. John opens

the door.

DELIVERY WOMAN
John Wick?

JOHN
Yes?
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She hands him a clipboard and a pen.

DELIVERY WOMAN
Sign here, please.
In a daze, John signs the clipboard and hands it back to her.

DELIVERY WOMAN (CONT’D)

And the pen?
JOHN
Oh. Sorry.

John hands her the pen.

DELIVERY WOMAN
Here you go!
The Delivery Woman hands him a card and a PLASTIC CASE by the
handle which he takes without looking.

DELIVERY WOMAN (CONT’D)

Have a good day.

John nods, and -as she takes off- heads back inside.

18 INT. THE WICK HOME - THE LIVING ROOM - CONTINUOUS 18

John closing the door behind him...

...and is startled by a small BARK.

A beat... and he looks down to find that he is actually

holding a small PET CARRIER. He lifts it to look inside: the
face of a young, tri-colored (black, white, and brown),
CHORGI (half-Corgi, half-Chihuahua) looks out at him, her
tail wagging fiercely.
She barks again, and John lowers it, confused.

19 INT. THE WICK HOME - THE KITCHEN - DAY 19

Holding the envelope in his hands, John sits across from the
carrier which he has set upon the table. Inside, the Chorgi
lies with paws crossed, studying him, tilting her head from
side to side.

A beat... and John opens the letter. The card inside is

simple; white with a single DAISY drawn upon it. John smiles,
instantly knowing who it is from, running a thumb along the
face of the flower. He hesitates, but opens the card.
john-wick-2015 7.

NORMA (V.O.)
Dear, John. If you have received
this, then I have not survived the
surgery.
(a beat, then)
I am so, so sorry.

Tears begin to well in John’s eyes.

NORMA (V.O.)
But you’ve still got a life ahead of
you, and I intend for you to live
it. You may think you’ve hidden
things from me, but you haven’t. I
know you. And should this reach you
in time -which I pray it has- I beg
you, I implore you, to stop. To
think. To live.
(a beat, then)
I love you, John. With all my heart.
Our years were good. The best, in
fact. But I’d rather see you
later... than sooner... your best
friend... Norma.
John lowers the letter, wipes the tears from his cheeks, and
stares at the puppy... chuckling.

JOHN
Well played, Norma.
John reaches across, and flicks open the pet carrier.

JOHN (CONT’D)
(mutters)
Well played.

The Chorgi scrambles out of the cage and studies him;

sniffing, licking, and barking.
JOHN (CONT’D)
So... you gotta’ name?

John checks the collar to find a DAISY-SHAPED medallion which

reads-
JOHN (CONT’D)
Moose.
(a beat, then)
Seriously?
As if in reply, Moose barks.

JOHN (CONT’D)
 john-wick-2015 8.

All right, then...

(smiles)
...Moose, it is.

FADE TO:

20 EXT. THE WICK HOME - ESTABLISHING - EARLY DAY 20

SUPER: THREE YEARS LATER

The homestead has been completely overhauled with a new roof

on the house, the barn having been painted, the yard attended
to... a picturesque scene worthy of a postcard.

21 INT. THE WICK HOME - THE MASTER BEDROOM - CONTINUOUS 21

The alarm sounds, followed by silence when a heavy hand drops
down upon the snooze button.

THUMP. THUMP. THUMP.

Silence.
THUMP. THUMP. THUMP.

Silence.
THUMP. THUMP. THUMP.

A beat... and John sighs, pulls back the covers, and kicks
out his legs, sitting on the edge of the bed, rubbing his
eyes.
THUMP. THUMP. THUMP.

John glances over at MOOSE who lies on the bed, her paws
crossed, held tilted, and tail excitedly wagging in notes of
three.

JOHN
(growls)
I’m up, I’m up.
THUMP. THUMP. THUMP.

BEGIN MONTAGE
- John fries up a couple of pieces of bacon and adds them to
his plate of scrambled eggs and toast.

He kneels down next to Moose’s bowl and pours some of the

bacon grease over the kibble. As John takes his seat at the
john-wick-2015 9.

table to enjoy his coffee, breakfast, and newspaper, Moose

devours her meal.

- With his car tilted up by jack stands, John lays upon a

creeper cart beneath it, changing the oil as -nearby- Moose
lies in the sun, fast asleep. The vehicle is pristine: fully
restored and lovingly detailed. Finishing up, John slides out
from beneath the vehicle, and wipes the grease from his hands
with a shop towel.
JOHN (CONT’D)
That oughta’ do it.
(to Moose)
Wanna’ try it out?

THUMP. THUMP. THUMP.

- At an abandoned airfield, the Mustang roars down the open
stretch of landing strip as Moose stands at the open window,
tongue wagging in the air. John is in his element: calm,
cool, and collected behind the wheel of his car... almost as
if it is a natural extension of himself. He deftly shifts
gears, reaching speeds in excess of 120 miles per hour before
hitting a long patch of gravel, shifting, spinning the wheel,
and skidding -while remaining in full control- as the wheels
skim over the earth. Moose barks. John smiles, reaching over
to scratch her on the back.
JOHN (CONT’D)
Good girl, Moose. Good girl.

- At a small park, John sits at a picnic table, eating a

sandwich as he works his way through a small book of
crossword puzzles. A cup of hot coffee rests nearby as
beneath the table, Moose gnaws on a tough piece of rawhide.

-At a gas station, Moose barks at passing bikers as John

fills the tank.
IOSEF TARASOV -mid-twenties, thin, oiled hair, sunglasses,
hipster, douche-bag- parks his vintage BMW next to the Ford
and as he gasses up, motions.
IOSEF
Nice ride.

JOHN
Thanks.
IOSEF
How much?

JOHN
It ain’t for sale, kid.
 john-wick-2015 10.

Iosef smirks with a shake of his head.

IOSEF
(in Russian, subtitled)
Everything’s got a fucking price.
JOHN
(in Russian, subtitled)
Maybe so... but I don’t.
Taken aback by John’s fluency, he watches as John enters the
vehicle, guns the engine, and drives off.

- John dozes on the couch as -between his legs- Moose snores

softly.
- As John washes his car, Moose chases after birds before -
exhausted- laying upon her back in the sun, stretching as she
gnaws upon her favorite stuffed animal.
- With a glass of scotch resting on the end table beside him,
John sits in his weathered La-z-boy recliner with his reading
glasses on, a book before him, and Moose curled up, asleep in
his lap. A beat... and John closes his book, finishes his
scotch-
JOHN (CONT’D)
Come on, then.

-and stands, with Moose leaping to the floor, leading the way
back upstairs.
- Moose lays on the foot of the bed, tail wagging. John
smiles, scratching her belly.

JOHN (CONT’D)
Good night, Moose.
John climbs beneath the covers, sighs, and slips off to sleep
as does Moose.
END MONTAGE
FADE TO BLACK:

FADE IN:

22 INT. THE WICK HOME - THE MASTER BEDROOM - LATER 22

John awakes to hear Moose growling with tail thumping,

sitting before the closed door.
JOHN
 john-wick-2015 11.

Do you need to go out?

John groans as he rolls out of bed.

JOHN (CONT’D)
(mutters)
So could I, it would seem...
John opens the door. Moose barks, and sprints off into the
darkness.

JOHN (CONT’D)
What’s gotten into y-
We hear a THUMP and a YELP.
JOHN (CONT’D)
Moose!
John runs into-

23 INT. THE WICK HOME - THE LIVING ROOM - CONTINUOUS 23

-and freezes at the sight of two MASKED MEN...
...a half-second before a THIRD MAN steps into frame and
drives the butt of his shotgun against the side of John’s
head. He drops to the floor, hard.
JOHN’S POV:

Across the room, the silhouette of Moose’s body faces him,

her breathing labored.
VOICE #1 (O.C.)
(in Russian, subtitled)
You find the keys?

One of the masked men, LIMPS by, dragging his foot slightly,
an old injury or birth defect.
VOICE #2 (O.C.)
(in Russian, subtitled)
Yeah. He kept ‘em in a bowl like my
old man.
Voice #1 chuckles enjoying this as he sucks on a fresh mint.

VOICE #1 (O.C.)
(in Russian, subtitled)
Then shit... let the fuckin’
babushka fade away and let’s get the
fuck outta’ here.
 john-wick-2015 12.

One of the men kneels down next to John, pulling back his
mask to reveal his mouth which grins upon him with white
lacquered teeth: it is IOSEF.
IOSEF
I’m glad you didn’t wanna’ sell, old
man.
(chuckles)
I enjoyed this.

Iosef cold cocks John as we-

SMASHCUT TO:
DARKNESS.

Silence.
...a long beat, then...
...thump...

...long beat, then...

...thump...

...a long beat, then...

FADE TO:

24 INT. THE WICK HOME - THE LIVING ROOM - CONTINUOUS 24

A small tail rises slowly, and lands with a soft “thump”.
John stirs with a groan, and opens his eyes...

...to find Moose’s nose touching his cheek.

He suddenly sits up, remembering.
JOHN
...Moose...
Moose takes a shallow breath...
...thump...

John begins to unravel, hands trembling.

JOHN (CONT’D)
(softly)
Moose...
 john-wick-2015 13.

He touches Moose’s side, and she whimpers.

John recoils...

...and sees the trail of blood from where she was first
injured...
...having pulled her broken body over to his side.

John lies down beside Moose, and softly... tenderly...

cradles her head in his hand, rubbing her cheek with his
thumb.
Moose relaxes, licks his thumb, sighs one last time...

...and grows still.

John pulls himself up into a sitting position, cradles
Moose’s still body...

...and begins to cry...

...rocking back and forth.
FADE TO:

25 EXT. THE WICK HOME - ESTABLISHING - EARLY DAY 25

26 INT. THE WICK HOME - THE LIVING ROOM - CONTINUOUS 26

John remains sitting on the floor with Moose in his arms.
A long beat... and he stands; an old, weary, and defeated
soul.

27 INT. THE WICK HOME - THE BASEMENT - CONTINUOUS 27

John flicks on the light and walks down the stairs, gently
placing Moose’s body upon his work bench. He searches a shelf
and finds a large box which he unfolds...
...placing Moose’s body within.
A beat...

...and John reaches down to retrieve Moose’s stuffed animal

from the floor, placing it down beside her.
With a tender -careful- touch, John removes Moose’s collar,
placing it -almost with reverence- upon a nail in the wall.
 john-wick-2015 14.

John stares down at his dog for a long moment...

...before closing the box.

28 EXT. THE WICK HOME - THE BACK YARD - EARLY DAY 28

John digs a small grave...
...places the box, staring at it for a long moment...
...and then fills the hole.

29 INT. THE WICK HOME - THE LIVING ROOM - EARLY DAY 29

On his hands and knees, John brushes the blood from the
floor.

30 INT. THE WICK HOME - THE BATHROOM - EARLY DAY 30

John takes a long, hot shower.
He sprays a bit of shaving foam into his hand, unfolds his
ceramic razor, stares at it for a long moment...

...and begins to shave.

As he does so, the stress leaves his shoulders, his eyes
unblinking, his movements precise.
With every flick of his wrist, John seems to change slightly:
his features hardening, relaxed, and yet wound tight

31 INT. THE WICK HOME - THE MASTER BEDROOM - EARLY DAY 31

John gets dressed, but the outfit is slightly different than

we are used to seeing: dark, tailored pants, crisp white
shirt, Italian shoes, and a black, leather jacket.
The look suits him although it is a tad bit unsettling,
making for an intimidating veneer.

32 INT. THE WICK HOME - THE KITCHEN - EARLY DAY 32

John sips coffee -no breakfast- alone at the table, staring

at the wall.
Like clockwork, he lifts his mug, sips, lowers it, waits
patiently, lifts, sips, lowers...
 john-wick-2015 15.

...there are no micro-emotions, but it is anyone’s guess what

is taking place in his mind.

33 INT. THE WICK HOME - THE HALLWAY - EARLY DAY 33

John leans heavy against the wall, staring at the pictures.
We now notice that among the images of John and Norma...
...are also pictures of John and Moose.
John lowers his head with a sigh, massaging his brow, lost in
thought.

When he raises his face...

...the change which has washed over him...
...is complete.
FADE TO:

34 EXT. A COUNTRY ROAD - ESTABLISHING - DAY 34

A bus roars on by.

35 INT. A BUS - CONTINUOUS 35

John sits alone in the middle of the bus...
...staring straight ahead...
...unblinking.

FADE TO:

36 EXT. A CITYSCAPE - ESTABLISHING - DAY 36

37 EXT. AURELIO’S AUTOMOTIVE - ESTABLISHING - DAY 37

38 INT. AURELIO’S AUTOMOTIVE - CONTINUOUS 38

A 24/7 chop shop, this facility is populated by dozens of

hardened criminals, but has become the only family anyone
knows.
This is a tight knit, loyal, and talented crew.
 john-wick-2015 16.

A number of vehicles are being repaired, dismantled, painted,

and the like: a non-stop flurry of activity.

Walking the floor, AURELIO -late sixties, hard eyes, soft

smile, the father figure of this little family- banters with
his crew before pausing to help lower a new engine into a
car.

39 EXT. THE STREET - DAY 39

John’s Mustang roars down the street, tires clawing at the
earth as it rounds a tight corner.

40 INT. THE MUSTANG - CONTINUOUS 40

Perched behind the wheel, IOSEF smiles as, in the passenger’s
seat...
...VIKTOR -mid-twenties, short, stout, a pronounced LIMP,
well-dressed, gawdy jewelry, terrible glasses- and, in the
back seat...

...KIRILL -early thirties, enormous, muscular, meathead-

cheers him on.

41 EXT. AURELIO’S AUTOMOTIVE - CONTINUOUS 41

The Mustang pulls into the lot, and enters-

42 INT. AURELIO’S AUTOMOTIVE - CONTINUOUS 42

-pulling into an empty space.

A pair of OLDER MECHANICS notice the car, share an
emotionless -yet knowing- look, set down their tools, and
calmly leave the building.
Iosef, Viktor, and Kirill pour out of the vehicle, laughing.
IOSEF
(in Russian, subtitled)
Shit, dude!
(MORE)
IOSEF (CONT'D)
I’ma gonna’ keep this muthafucker!
(to a mechanic)
Hey, where’s Aurelio at?
john-wick-2015 17.

Iosef sees Aurelio walking towards him, his gaze locked onto
the Mustang, recognizing it.
AURELIO
Where’d you get that?
IOSEF
I gots my ways, yo! Now, it’s hot as
shit, so I wanna paint job, papers,
fuckin-
AURELIO
(interrupting)
I said, where... did you get that?
IOSEF
(shrugs)
Some old fuck.
AURELIO
(a beat, then)
I know this car.

IOSEF
What the fuck are you sayin’?
Aurelio opens the driver’s side door, reaches up behind the
visor, and pulls out the registration card which reads JOHN
WICK.
AURELIO
(in Italian, subtitled)
Fuck... me.

Aurelio quickly replaces the card.

IOSEF
What?
AURELIO
Out. Now.
IOSEF
What the fuck are you talking about?

By now, everyone in the facility has stopped working,

watching the drama unfold.
AURELIO
I’m talkin’ about you takin’ this
fuckin’ car and gettin’ the fuck
outta’ my shop.
IOSEF
john-wick-2015 18.

Did you lose your shit, Aurelio? We

own you. You do what we say.
AURELIO
The fuck you do. Tell me...
Aurelio motions towards the car.
AURELIO (CONT’D)
...did you kill him?

IOSEF
No.
(laughs)
But I sure as hell fucked up his
dog.
Aurelio’s eyes grow wide... knowing.
Surprising even himself, Aurelio rears back and delivers a
powerful blow to the center of Iosef’s face, shattering his
nose.
Stunned, Iosef reels and drops to a knee, cradling his face,
blood seeping between his fingers.
In a knee jerk reaction, Kirill pulls his gun.
The atmosphere immediately grows tense, the air still, as -
throughout the building- Aurelio’s mechanics each reach for a
hidden weapon: knives, machetes, guns, and the like.

Aurelio glares -unblinking- at Kirill as he walks towards

him.
AURELIO
You pull a gun? On me? In my house?
Aurelio presses his forehead against Kirill’s outstretched
gun.
AURELIO (CONT’D)
Flick off the safety.
Kirill smirks, and flicks off the safety.
AURELIO (CONT’D)
Pull back the hammer.
Kirill blinks, faltering in this game of brinkmanship.
AURELIO (CONT’D)
Now, either shoot me...
(shouts, angry)
 john-wick-2015 19.

...OR FUCK OFF!

Silence...
...as Viktor lowers Kirill’s arm and we can see he is
relieved that Viktor intervened.
VIKTOR
The old man ain’t gonna’ like this.

AURELIO
Maybe not. But he’ll understand.
Viktor and Kirill help a still dazed Iosef to his feet.
IOSEF
(mutters)
...the fuck jus’ happened...?
FADE TO:

43 EXT. A STREET - DAY 43

The bus pulls away from the curb...
...and John crosses the street, making a b-line for Aurelio’s
automotive.

44 INT. AURELIO’S AUTOMOTIVE - CONTINUOUS 44

John enters the building which is silent: everyone is gone.

John carefully makes his way through the floor, rounding a
shelving array to find Aurelio -a cigarette dangling from
between his lips- sitting at a folding card table, his hands
folded in front of him, a bottle of Campari and two glasses
resting nearby.
AURELIO
Hello, John.
JOHN
Hello, Aurelio.
Silence.
Aurelio flips over the glasses and pours two drinks.
JOHN (CONT’D)
Have you seen my car?
 john-wick-2015 20.

John takes a glass and slams back the drink, swallowed in a

single gulp.
AURELIO
I have, but it’s not here.
JOHN
Where is it?

AURELIO
If I turn down the work, the
Russians turn to Takeshi and his
crew. You’ll find them down on Third
and Main.
JOHN
Thank you.
John turns to leave, but hesitates.

JOHN (CONT’D)
(a long beat, then)
Aurelio...
AURELIO
Yes, John?
JOHN
...they killed my dog.

AURELIO
I know, John. I know... but
“they”...
(hesitating, then)
...”they” are extremely dangerous
people.
John nods and walks from the room.
JOHN
(mutters)
Aren’t “they” always...
A long beat, and Aurelio sighs, relaxing as he pours himself
another drink.
FADE TO:

45 EXT. A CITYSCAPE - ESTABLISHING - DAY 45

46 EXT. TAKESHI’S AUTOMOTIVE - ESTABLISHING - DAY 46

 john-wick-2015 21.

An old, quiet, and clean building lost amongst dozens of

others in a dying industrial park.

47 EXT. TAKESHI’S AUTOMOTIVE - CONTINUOUS 47

A bus pulls up the curb, pauses for a beat, and then rolls
off...
...leaving behind John who walks across the street, his
expression blank.
His gait is steady, his shoulders relaxed, hands limp at his
sides, breath steady.
The two GUARDS at the door glance up as he approaches,
standing as they shift into character.

GUARD #1
What are you-
Without slowing, John reaches into the man’s jacket, slips
free the pistol from the shoulder holster therein and-
THUMP! THUMP!
-fires -twice- into the man’s heart, before turning-

THUMP!
- to fire once into the other guard’s face, never slowing,
kicking open the door-

48 INT. TAKESHI’S AUTOMOTIVE - CONTINUOUS 48

-to enter the facility, shooting anything that moves. He is
the angel of death: each target receives two well-placed
bullets to ensure incapacitation. He never slows, never
misses, and will not stop.
The primarily Japanese crew is in a panic with most fleeing -
a number of whom are shot in the back- while those choosing
to shoot back are cut down in a blink.
Once emptied, John drops his pistol, kneels, sweeps up a
fallen gun up, levels, fires, always moving, and -as he
passes by a lift- slaps a button, slowly lowering his Mustang
down to the floor behind him.

John is a force of nature as he clears out the building.

Unstoppable.
 john-wick-2015 22.

49 EXT. TAKESHI’S AUTOMOTIVE - THE REAR LOT - CONTINUOUS 49

A couple of mechanics escape the building, the last of which
is shot in the back; dropping to his knees as a bullet slams
into the back of his head.

Running with all of his might, MECHANIC #1 screams into his

phone.
MECHANIC #1
(in Japanese, subtitled)
I DON’T KNOW WHO THE FUCK HE IS! HE
JUST SHOWED UP AND STARTED SHOOTING!
Behind him, John appears in the doorway, aims...

...and decides otherwise, lowering the pistol.

50 INT. TAKESHI’S AUTOMOTIVE - CONTINUOUS 50

John opens the door to the Mustang, tosses the pistol onto
the passenger’s seat-

51 INT. THE MUSTANG - CONTINUOUS 51

-and slips behind the wheel. A slight smile plays upon his
lips as he sighs; a part of him having been returned. He
turns the key, revs the engine, slams his foot down on the
gas-

52 EXT. TAKESHI’S AUTOMOTIVE - CONTINUOUS 52

-and crashes through the garage door of the building, tires
squealing as the Mustang pulls a one-eighty, righting itself
before-

53 EXT. A SERVICE ROAD - CONTINUOUS 53

-leaping out onto the street, furiously gaining momentum, as
a trio of heavily-modified NISSAN SKYLINES appear and take
chase.

54 INT. THE MUSTANG - CONTINUOUS 54

John glances into the rearview mirror, takes the pistol in

his left hand, shifts, and spins the wheel-

55 EXT. A SERVICE ROAD - CONTINUOUS 55

 john-wick-2015 23.

-turning to face the oncoming vehicles.

56 INT. THE MUSTANG - CONTINUOUS 56

John shifts again, and crushes the gas pedal underfoot-

57 EXT. A SERVICE ROAD - CONTINUOUS 57

-rear wheels smoking as they struggle to grip the road. Once
they do, however, the Mustang leaps forward, bearing down on
the Skylines.
As the distance between them grows smaller, the passengers of
two of the skylines emerge with semi-automatic weapons...
...but before either of them can fire...
...John fires off four shots, killing them each with a pair
of bullets...
...before firing until empty...
...killing two drivers, and one passenger...

...leaving one driver barrelling towards him, covered in his

passenger’s blood, eyes wide with horror...
...as the two other cars crash behind him.
As the two vehicles barrel towards one another...
...John is stoic...
...while the remaining driver is screaming.

At the last moment, the driver violently twists the steering

wheel-
-barely avoiding the Mustang-
-but loses control of the vehicle, sending it toppling end
over end, cart-wheeling amidst a cloud of debris, before
landing upside down-
-the gas tank having ruptured, fuel gurgling out of the tank
to pool around the crushed rooftop.

58 INT. A NISSAN SKYLINE - CONTINUOUS 58

The driver hangs from his seat, his belt keeping him in
place, stunned and bleeding from the forehead.
 john-wick-2015 24.

A beat...
...followed by the sound of footsteps.

As the driver shifts in his seat, a ZIPPO LIGHTER falls out

of his pocket, landing on the ceiling.
John kneels down beside him.
JOHN
(in Japanese, subtitled)
Where can I find Iosef Tarasov?
DRIVER
(in Japanese, subtitled)
I don’t know.
A beat... and John reaches inside to retrieve the lighter. He
flips it open, and ignites a flame.
DRIVER (CONT’D)
(in Japanese, subtitled)
Don’t! Please! Iosef! His father! He
owns a club in Manhattan! The Red
Circle! The Red Circle!

A beat... and John closes the lighter and tosses it back into
the vehicle.
JOHN
(in Japanese, subtitled)
Thanks.
A long beat... and the driver sighs.

DRIVER
(in Japanese, subtitled)
Fuck.

59 EXT. A SERVICE ROAD - CONTINUOUS 59

As John walks back towards his vehicle, we can hear the sound
of cop cars approaching...
...as a police chopper soars past overhead.

John doesn’t look up as he quickly removes the front and rear

license plates -both affixed with quick release clasps-
tosses them into the back seat, and-

60 INT. THE MUSTANG - CONTINUOUS 60

 john-wick-2015 25.

-slips behind the wheel. He twists, the key, revs the engine,
and bolts forward as behind him-

61 EXT. A SERVICE ROAD - CONTINUOUS 61

-a pair of police cars round the corner-
-and overhead, the helicopter banks, its sights set on the
Mustang.
BEGIN INTERCUTS BETWEEN INTERIORS AND EXTERIORS OF THE
VEHICLES

John leads the cops further and further into the city...
...with traffic growing heavier with every block...
...and yet John maintains his speed-
-driving down narrow service alleys with reckless abandon-
-and going against traffic, steering with an apt hand.

Eventually, John creates enough mayhem to tie up the police

on the ground-
-leaving the helicopter overhead.
On a long stretch of road, John reaches the vehicle’s top
speed, reaches down, flips open a hidden compartment, and
presses a button for-
-his NITROUS OXIDE SYSTEM-

-which causes the engine to SCREAM, roaring down the road at

an incredible speed-
-distancing himself from the helicopter to eventually hide in
an abandoned warehouse.
He parks...
...and walks across the street to the local diner...

...as overhead, the police chopper searches in vain.

END INTERCUTS
FADE TO:

62 EXT. AURELIO’S AUTOMOTIVE - ESTABLISHING - NIGHT 62

 john-wick-2015 26.

63 INT. AURELIO’S AUTOMOTIVE - CONTINUOUS 63

The floor is empty, the building quiet.

64 INT. AURELIO’S AUTOMOTIVE - THE MAIN OFFICE - CONTINUOUS 64

Sitting at his desk, Aurelio -a cigarette dangling from
between his lips- works on a model car, carefully gluing
pieces together.
The bottle of Campari rests nearby. Music plays softly from a
radio nearby.
The phone rings. Aurelio takes a deep breath, exhales, and
answers it.

AURELIO
This is Aurelio.
VIGGO (O.S.)
I hear you’ve struck my son.
AURELIO
(deep breath, sighs)
Yes, sir. I did.
VIGGO (O.S.)
Might I ask why?
AURELIO
Because he stole John Wick’s car.
Silence.
VIGGO
(a long beat, then)
Oh.

AURELIO
And Viggo?
VIGGO
Yes?
AURELIO
Your son killed his dog.
VIGGO
(a long beat, then)
Good evening, Aurelio.
Click - the line goes dead.
 john-wick-2015 27.

Aurelio refills his drink... and chuckles with a shake of his

head.
FADE TO:

65 EXT. A TOWNHOUSE - ESTABLISHING - DAY 65

SUPER: MANHATTAN, NEW YORK
A resplendent home in one of the city’s wealthiest
neighborhoods.
A trio of military-grade SEDANS -heavily armored,
tinted/bulletproof glass, intimidating- pull up to the curb.
The first and third empty as the keen eyes of ten gunmen
scour the street, buildings, and rooftops.
A beat... and one of them slaps a hand on the middle Sedan’s
roof.
Preceded -and proceeded- by a gunman, IOSEF emerges;
belligerently naive and yet... scared.

66 INT. A TOWNHOUSE - THE LIBRARY - CONTINUOUS 66

Lighting himself a cigarette, VIGGO TARASOV -60s, face

scarred by a hard life, one eye dead, hair perfectly coifed,
expensive suit, a slight limp, relying on a cane- fills a
tumbler with ice.
He selects a fresh bottle of JEWEL OF RUSSIAN CLASSIC VODKA
and twisting off the cap, hesitating. Deciding otherwise,
Viggo dumps out the ice, pours himself a double shot, and
slams it back...
...before refilling the glass with ice and pouring himself a
healthy dose.
Iosef enters-
VIGGO
(in Russian, subtitled)
Close the door.
-and closes the door behind him, tilting his chin towards his
father with a smirk.
IOSEF
Poor me a double, aye?
VIGGO
(sighs)
john-wick-2015 28.

Aye.
In a surprising blur of motion, Viggo spins-
-and drives a fist into Iosef’s stomach with enough force to
lift him -momentarily- from the ground.
With the wind knocked out of him, Iosef drops to his knees,
opens his mouth to say something, but instead vomits, gagging
as he gasps for breath.
Viggo casually returns to the bar, grabs a towel, and tosses
it down onto his son.

VIGGO (CONT’D)
(in Russian, subtitled)
Clean that up.
Again, Iosef opens his mouth to say something, but decides
otherwise. He grabs the towel and cleans up his mess.
Viggo takes his drink and walks to the window, his cigarette
smoldering from the corner of his lips.
VIGGO (CONT’D)
You should know by now that I live
by one simple rule...
(in Russian, subtitled)
Should a whelp snap at your fingers,
you crush it’s fucking skull.
Iosef pulls himself to his feet, and stumbles to the bar,
pouring himself a drink.
IOSEF
(hushed, pained)
What’d I do?
VIGGO
(in Russian, subtitled)
You fucked up.
IOSEF
I don’t know what y-
Viggo backhands him, the sound more painful than the strike.
VIGGO
Yes. You do.
IOSEF
(hesitating, then)
So I stole a fucking car! So fucking
what?
john-wick-2015 29.

Viggo smiles -amused- finishes his drink...

...and drives a fist into Iosef’s stomach again, dropping him
once more to his knees, tears rolling down his cheeks as he
vomits up his own drink.
VIGGO
Use that tone with me again...
Viggo kneels down next to Iosef, grabs his hair, pulls back
his head, produces a switchblade, flicking open the blade and
placing it to the flesh directly beneath his son’s right eye.
VIGGO (CONT’D)
(in Russian, subtitled)
...and I’ll serve your eye to you in
your martini.
Trembling, Iosef chokes back tears.
VIGGO (CONT’D)
(in Russian, subtitled)
Am I understood?

IOSEF
(gulps, then)
Yes... father.
A beat... and Viggo removes the blade from Iosef’s cheek and
stands, folding the switchblade closed as he stands to pour
himself another drink.
VIGGO
It wasn’t the “what you did”, Iosef,
which draws my ire, but “who you did
it to”.
IOSEF
What?
(a beat, then)
The old man?
VIGGO
Careful, son... that old man happens
to be three years younger than I.

Iosef lowers his eyes, his breath catching in the back of his
throat.
VIGGO (CONT’D)
His name is John Wick...
(smirks at the memory)
...and when he was fifteen, he lied
his way into the marines and headed
 john-wick-2015 30.

off to Vietnam. He specialized in

force-oriented reconnaissance,
meaning he often crossed over into
enemy territory to both collect
information and -should the
opportunity present itself- fuck
with the enemy in whatever way that
he saw fit.

67 EXT. THE WICK HOME - ESTABLISHING - CONTINUOUS 67

68 INT. THE WICK HOME - THE BASEMENT - CONTINUOUS 68

Wearing an undershirt and pants, sweating profusely, John
wields a SLEDGEHAMMER which he swings down onto the floor
time and time again, cracking the concrete foundation.
VIGGO(V.O.)
John earned four hundred and
seventeen confirmed kills over the
course of his five tours. The
majority of those were done by hand,
by blade, and by small caliber...
which is unheard of.

69 INT. A TOWNHOUSE - THE LIBRARY - CONTINUOUS 69

Viggo takes a long pull off of his drink as the information
sinks into Iosef, the blood draining from his face.

VIGGO
It got to him, though. Hell... How
could it not? Even though he won
every military distinction on
record, including the Medal of
Honor-

70 INT. THE WICK HOME - THE BASEMENT - CONTINUOUS 70

John has revealed an OLD TRAP DOOR IN THE FLOOR-
VIGGO (V.O.)
-John was eventually discharged -
with high honors, of course- and
found himself in the city...
-which he swings open, revealing a ladder.
VIGGO (V.O.)
...lookin’ for work.
 john-wick-2015 31.

John grabs a flashlight and heads down.

71 INT. A TOWNHOUSE - THE LIBRARY - CONTINUOUS 71

Viggo lowers his empty glass as Iosef refills his glass with
a trembling hand.
IOSEF
(hesitating, then)
What kind of work?
VIGGO
(growls)
What kind do you think?
IOSEF
(a beat, then)
Oh.

72 INT. THE WICK HOME - THE SUB-BASEMENT - CONTINUOUS 72

John shines the light down a thin corridor stacked high with
a variety of boxes, military containers, and briefcases.
VIGGO (V.O.)
John was the goddamned boogeyman;
give him a name, request a method,
and he’d get it done. Come hell or
high water, by God... he’d get it
done.

73 INT. A TOWNHOUSE - THE LIBRARY - CONTINUOUS 73

Viggo leans against the fireplace, suddenly tired.
VIGGO
Then one day, he fell in love and
left the game. The years scrolled
past, age set in, and he -like
myself- had to watch the love of his
life die. Suddenly alone, with no
family to speak of, John deserved to
live -and die- in peace.
(growls)
Instead...

74 INT. THE WICK HOME - THE SUB-BASEMENT - CONTINUOUS 74

John selects a black case, unclasps it, and swings it open-
 john-wick-2015 32.

VIGGO (V.O.)
(growls)
You went and killed his fucking dog.
-to reveal a number of PISTOLS, SILENCERS, and AMMUNITION.

75 INT. A TOWNHOUSE - THE LIBRARY - CONTINUOUS 75

Iosef drops down into a chair, the comprehension of his
actions clear.
VIGGO
Until I say otherwise, you are under
house arrest. Am I understood?
IOSEF
(mutters)
Yes, sir.
Viggo turns to leave, chuckling softly to himself.
VIGGO
John Wick. Good God...
He pauses at the door, glancing back at his son with a
crooked smile.
VIGGO (CONT’D)
(in Russian, subtitled)
Sweet dreams.

76 EXT. THE WICK HOME - ESTABLISHING - NIGHT 76

77 INT. THE WICK HOME - THE KITCHEN - CONTINUOUS 77

John sits at the kitchen table, having cleaned and assembled
one pistol, now oiling a second. His hands are steady, his
skill impressive.
We slowly move past him, over the counter, to the door whose
handle softly turns. We pull back as it opens-
-FOUR MEN in black masks, each armed with a silenced pistol
enter, fanning out-
-and yet John is nowhere to be seen...
...and two silenced pistols are missing from the table.

78 EXT. THE WICK HOME - CONTINUOUS 78

 john-wick-2015 33.

A COP CAR pulls up in front of the barn.

79 INT. A COP CAR - CONTINUOUS 79

Behind the wheel, CARLO -late twenties, a bit dim, but nice
enough- kills the engine.
CARLO
Let’s see here...
Carlo checks the dashboard computer.
CARLO (CONT’D)
...a black, 1969 Ford Mustang
registered to one John Wick. Age...
(deflates)
...61.

Chuckling EDWARDO -58, nearing retirement, large, heavy,

smarter than he looks- takes a sip of coffee from his paper
cup before unbuckling his belt.
EDWARDO
Yeah, I’m thinkin’ he’s the one.
ROBERTO
Should we even bother?
edwardo opens his door...
EDWARDO
Protocol’s protocol. Stay put. I’ll
make this quick.
...and exits.

80 INT. THE WICK HOME - THE LIVING ROOM - CONTINUOUS 80

The four masked men enter the living room, each wound tight,
their silenced weapons at the ready. The lead among them
enters the hallway-
-and is shot twice; once in the chest, and once in the head.
As he goes down, John moves past, killing two others, leaving
the remaining gunmen-

81 INT. THE WICK HOME - THE KITCHEN - CONTINUOUS 81

-cowering in the kitchen, leaning against the wall.
 john-wick-2015 34.

82 INT. THE WICK HOME - THE LIVING ROOM - CONTINUOUS 82

John aims-
-the kitchen light casting the gunman’s shadow-
-and fires twice into the wall-

83 INT. THE WICK HOME - THE KITCHEN - CONTINUOUS 83

-hitting the gunman in the back and the head, dropping him to
the floor.

84 INT. THE WICK HOME - THE LIVING ROOM - CONTINUOUS 84

A KNOCK AT THE DOOR.
John lowers the pistol, walks to the door, and peers through
the keyhole to see Edwardo standing on his porch. A beat...
and John slips the pistol in the back of his pants, unlocks,
and opens the door.
An awkward pause, then-
EDWARDO
Evenin’, John.

JOHN
Evenin’, Ed.
EDWARDO
You workin’ again?
John follows his gaze...
...to see that a dead gunman is in Edwardo’s direct line of
sight.
JOHN
No...just sorting out a few things
with the Russian mob.
EDWARDO
Ah. Well, then... sort that out
however you see fit. I’ll cover your
ass on my side of the fence as best
I can.

JOHN
Thanks, Ed... but you still owe me.
EDWARDO
 john-wick-2015 35.

That, I do.
(a beat, then)
Good night, John.
JOHN
Good night, Ed.
Edwardo turns, takes a few steps, hesitates, and turns back.
EDWARDO
Earlier today, there was an incident
involving a ‘69 Mustang-
JOHN
Yeah, that was me.

EDWARDO
Oh. Well, then... I’d recommend you
find yourself a new ride for the
time being. The heat on that make
ain’t gonna’ die down for quite some
time.
Edwardo leaves. John closes and locks the door behind him.

85 INT. A COP CAR - NIGHT 85

Edwardo slips into his seat, closing the door behind him.
ROBERTO
Well?
EDWARDO
(sighs)
He ain’t our fuckin’ guy.
(motions)
Who’s next on the list?

86 INT. THE BARN - NIGHT 86

John pulls a large roll of plastic sheeting down from the
rafters, balancing it on his shoulder with a grunt.
He grabs a roll of duct tape as he exits.

87 INT. THE WICK HOME - THE LIVING ROOM - NIGHT 87

John drops the plastic sheeting down upon the floor, and
rolls it out.
 john-wick-2015 36.

Standing over one of the gunmen, he reaches down, retrieves

the man’s pistol, and slips it into the holster at the man’s
side. John then kneels beside him and pushes the body onto
the plastic, rolling him up tight.

Using his ceramic straight razor, the plastic is cut off from
the roll. Wrapping the feet, arms, and head tight with duct
tape, John repeats this process with each body...

88 INT. THE WICK HOME - THE KITCHEN - LATER 88

...until they are neatly lined up near the back door.
John takes the phone off the wall, thinks for a long moment,
and dials a number.
A long beat, then...
JOHN
This is Wick. John Wick, that’s
right. Yeah, it has been awhile.
(a beat, then)
I’d like to make a reservation for
four.

John glances at the bodies.

JOHN (CONT’D)
Ten o’clock? Perfect. Thanks.
John hangs up.

89 INT. THE WICK HOME - THE SUB-BASEMENT - NIGHT 89

John casually opens one of a half-dozen, identical, silver
cases stacked among the others.
Inside are hundreds of AMERICAN LIBERTY GOLD BULLION COINS.
John counts out SIX of them, and closes the case.

90 INT. THE WICK HOME - THE LIVING ROOM - NIGHT 90

John mops up the blood...

...and spackles the bullet holes in his wall.

We hear a KNOCK at the back door.
John wipes his hands against his pants, and-
 john-wick-2015 37.

91 INT. THE WICK HOME - THE KITCHEN - CONTINUOUS 91

-opens the door.
Removing his hat, CHARLIE -70s, small, creepy, thin, frail,
eyes gentle, a tattooed smirk upon his lips- extends his hand
with a smile.
CHARLIE
Good to see you, John.
John shakes his hand.
JOHN
You, too, Charlie.
Charlie enters, followed by two GOONS -forties, tall,
muscular, emotionless- who offer John little more than a nod
before they begin carrying the bodies out of the house.
CHARLIE
I was sorry to hear about Norma.
JOHN
Thanks.
CHARLIE
She was always kind to me.
(a beat, then amused)
So, what have you been doing to pass
the time?
JOHN
I got me a hobby or two.

CHARLIE
I can see that.
(hesitating)
Tell me, John... are we back in the
game, now?
JOHN
Sorry, Charlie, but no. I’m on my
own nowadays.
CHARLIE
(sighs)
That is a pity. I find the new breed
of your ilk unstable, ill- wrought,
and tiresome. The overused adage
holds true: they don’t make ‘em like
they used to, John.
JOHN
 john-wick-2015 38.

(smiles)
No, they don’t.

GOON #1
We’re a go, boss.
CHARLIE
Excellent.
John hands Charlie the six gold coins which he graciously
accepts with a slight tilt of the head.
JOHN
Thanks.
CHARLIE
My pleasure, John... and might I be
expecting more such visitations?
JOHN
I make no promises on that.
CHARLIE
(chuckles)
Well said.
Charlie extends his hand. John shakes it.
CHARLIE (CONT’D)
Be seein’ you, John.
JOHN
See ya’, Charlie.
John closes the door.
FADE TO:

92 EXT. A TOWNHOUSE - ESTABLISHING - EARLY DAY 92

93 INT. A TOWNHOUSE - THE KITCHEN - CONTINUOUS 93

Cutting vegetables with a large knife, Viggo slides them onto

the face of an open omelette simmering in the pan. As he
folds the egg over onto itself, his phone rings. He answers
it.
VIGGO
(in Russian, subtitled)
Yes?
Viggo rubs his brow with a frown, his head down.
 john-wick-2015 39.

VIGGO (CONT’D)
(in Russian, subtitled)
Of course he did.
(a beat, then)
Put the word out. Two million to the
man who kills John Wick. Three
million to the man who delivers him
intact.
Viggo hangs up, thinks for a moment, slips the omelette onto
a plate, hesitates, and then dials a number.

94 EXT. A CITYSCAPE - ESTABLISHING - CONTINUOUS 94

SUPER: MAJORCA, SPAIN
A beautiful, rustic, Mediterranean setting.

95 EXT. A MANSION - ESTABLISHING - CONTINUOUS 95

Situated on a hundred acres populated by thousands of almond
trees, the building -complimented by the grounds- is
breathtaking.

96 EXT. THE FIELD - CONTINUOUS 96

Accompanied by CESCA -a middle-aged, Majorcan Shepherd Dog,
similar in look to a Black Labrador- as he walks -cane in
hand- through his property, MARCUS -seventy, thin, balding,
round spectacles, clean shaven, always well-dressed,
expensive watch, and although he may look frail, he is
anything but- whistles softly to himself.
His cellphone vibrates. He answers it.
MARCUS
Yes?
(a beat, then)
Why, hello, Viggo. What’s it been?
Seven years? Seven years...
(a beat, then)
Life?
Marcus looks around with a smile, reaching down to scratch
Cesca behind the ears.
MARCUS (CONT’D)
Life is good.

97 INT. A TOWNHOUSE - THE KITCHEN - CONTINUOUS 97

 john-wick-2015 40.

Viggo nods, eating a mouthful of the omelette.

VIGGO
Good, good.
(hesitating, then)
I’ve a favor to ask. One that pays
quite well.

98 INT. A MANSION - CONTINUOUS 98

Marcus chuckles with a shake of his head.
MARCUS
As I keep telling those -like you-
who keep calling, Viggo... I’m
retired.
Marcus listens to Viggo talk...
...pausing in mid-step...

...his brow furrowed, eyes still.

MARCUS (CONT’D)
Come again?
(a beat, then)
John Wick?
(a long beat, then)
Consider it done.
Marcus ends the call, slips the phone back into his pocket,
takes a deep breath, exhales, turns, and starts walking back
to his house.
MARCUS (CONT’D)
(in Catalan, subtitled)
Sorry, Cesca... but I’ve an old
friend to attend to.
FADE TO:

99 EXT. THE TRAIN STATION - ESTABLISHING - DAY 99

100 EXT. THE TRAIN STATION - CONTINUOUS 100

Pushing a cart of luggage before him, John enters, studying
the security checkpoint.
He spots EVAN -60s, African-American, weathered, large man
with a kind face- who works for the TSA, manning a security
checkpoint.
 john-wick-2015 41.

As John approaches the two share a knowing glance.

EVAN
(motions)
Pockets.
John places his keys, phone, wallet, and TWO GOLD COINS into
the tray...

...as Evan casually flips off the x-ray machine, allowing

both John and his luggage through without incident.
John retrieves his keys, phone, and wallet from the tray-
EVAN (CONT’D)
Good day, sir.
-and walks on as Evan turns the x-ray machine back on,
slipping the gold coins into his pocket.
FADE TO:

101 EXT. THE RAIL TRACKS - ESTABLISHING - DAY 101

A silver-nosed train roars past, its wheels melting snow from
the tracks beneath it.

102 INT. THE TRAIN - CONTINUOUS 102

John sits alone, the train half-empty, staring out at the

countryside passing him by.
FADE TO:

103 EXT. A CITYSCAPE - ESTABLISHING - DAY 103

The city is a roiling mass of activity.
FADE TO:

104 EXT. THE CONTINENTAL - A HOTEL - ESTABLISHING - DAY 104

Small, trendy, and posh: an upscale, boutique hotel.

105 INT. THE CONTINENTAL - THE LOBBY - CONTINUOUS 105

Carrying a bulky briefcase in each hand -with the duffel bag

slung across his shoulders- John approaches the front desk
where the MANAGER smiles up at him.
john-wick-2015 42.

MANAGER
Hello, sir. How may I help you
today?
JOHN
I called ahead. Reservation for John
Wick.
The Manager checks his computer.
MANAGER
Ah, yes. I have you for two nights.
JOHN
Depending on business, it may be
more.
MANAGER
That’s not a problem, sir. We’re
only at sixty percent capacity.
(MORE)
MANAGER (CONT'D)
Just let me know should you choose
to extend your stay.
JOHN
(looking around)
Y’know, I haven’t been here in
years. When did the old girl get a
facelift?
MANAGER
About twelve years ago.
JOHN
Same owner?
MANAGER
(nods)
Same owner.
John slides across a GOLD COIN...
JOHN
Is she still singin’?
...which the Manager -without so much as a blink- slides into
his pocket.
MANAGER
She is. Daily, in fact. Round about
midnight.
 john-wick-2015 43.

JOHN
That’s good to hear.
The Manager hands him a key.
MANAGER
Floor seven, room nine.
(motions)
Would you like help with your bags?
JOHN
No, thanks.
MANAGER
Will there be anything else then,
sir?
JOHN
(glances at his watch)
Can you send me up a hamburger -
rare, mustard, onions, pickle- and
fries?
MANAGER
(writing it down)
Yes, sir. And to drink?
JOHN
A nice Pinot. Mid-range. I’ll leave
that to your discretion.
MANAGER
Yes, sir. I have one in mind. It’ll
be up in a half-hour.
JOHN
Thank you.
FADE TO:

106 INT. THE CONTINENTAL - ESTABLISHING - DUSK 106

The sun has begun to set; the street lamps having begun to
ignite.

107 INT. JOHN’S HOTEL ROOM - CONTINUOUS 107

A half-eaten meal is scattered upon the table, the bottle of

wine half-empty.
Resting upon the bed, the briefcases lie open, revealing a
veritable armory of dismantled weapons, numerous clips, and
 john-wick-2015 44.

boxes of ammunition.
Sitting at the desk, John pauses from cleaning a pistol to
empty the wine into his glass. Once done, he pulls back the
slide, studies the pistol with a keen eye, releases it,
carefully loads a clip with bullets, and slides it into the
pistol: locked and loaded.
From a small wooden case, John selects a SILENCER which he
screws onto the pistol. He sets it down next to a pump-
action sawed-off SHOTGUN, a SNIPER RIFLE, an old school UZI
SUBMACHINE GUN -silenced- with a polished mahogany stock, a
K- BAR DAGGER, and another pistol.
A beat... and John stands, slips the silenced pistol into the
back of his pants, dons his jacket, turns off the light, and
leaves.

108 EXT. THE RED CIRCLE - ESTABLISHING - NIGHT 108

An upscale night club, the line curled around the side of the
building, generously serviced by heat lamps to accommodate
the almost non-existent dresses of the many young women.

109 EXT. THE RED CIRCLE - CONTINUOUS 109

John approaches the BOUNCER -30s, Russian, massive, tattooed
neck, intimidating, his suit one size too small on purpose-
who controls entry, the guest list glowing upon his tablet
computer.
BOUNCER
Name?
John hands him three, hundred dollar bills.

JOHN
Guest.
The Bouncer takes the bills, pockets them, and unclips the
red velvet rope, allowing him entry.
BOUNCER
Welcome.
JOHN
Thanks.
As John enters, those in the front of the line complain but
are ignored as the rope is re-attached.
 john-wick-2015 45.

110 INT. THE RED CIRCLE - THE LOBBY - CONTINUOUS 110

Strangely enough, the lobby is laid back and pleasant.

A single bar is available to the dozen or so patrons who

lounge about smoking, laughing, and talking as servers wander
the floor, offering a variety of appetizers.
Beyond the lobby, however, is a security station -replete
with a METAL DETECTOR- in front of the elevators: the
“action” it would seem, is on the top floor.
John approaches the security station and pauses, dropping to
a knee to tie his shoe...
...and remove his silenced pistol, shoving it deep into the
soil of a potted plant.
John stands, empties his pockets into a small plastic bin,
hands it to a guard, and walks through: he is clean.
JOHN
Thanks.
John takes his things, enters the elevator, and presses the
red “P” for penthouse.

111 INT. THE RED CIRCLE - THE PENTHOUSE LOBBY - LATER 111
The doors to the elevator open, the music deafening. John
exits, turns left, and enters-

112 INT. THE RED CIRCLE - THE PENTHOUSE DANCE FLOOR - CONTINUOUS 112
-a two-story structure with the VIPs assembled up top; each
having paid for their private tables. John enters, carefully
studying the room. He approaches the bar and waves down a
bartender.
BARTENDER
What can I get you?
John motions upwards as he slides across five, hundred dollar
bills.

JOHN
A table.
The Bartender studies him... and then takes his money.
BARTENDER
This way.
 john-wick-2015 46.

John follows the Bartender...

...who slips a hundred dollar bill to each of the goons on
either side of the staircase, heads upstairs...

113 INT. THE RED CIRCLE - THE PENTHOUSE - 2ND LEVEL - CONTINUOUS 113
...and slips two bills to the Waitress-
BARTENDER
(to John)
Enjoy.

-before returning to the bar.

WAITRESS
This way, sir.
John follows the Waitress...
...to a table with a perfect view of both levels.
WAITRESS (CONT’D)
Will this do?
JOHN
Yes, thank you.
WAITRESS
What would you like to drink?
JOHN
Single Malt. Irish, if you’ve got
it.

John slides her two more hundred dollar bills.

JOHN (CONT’D)
And start me up a tab.
WAITRESS
Yes, sir. I’ve got a ten-year
Michael Collins.
JOHN
Perfect. Do you have a meat and
cheese plate?
WAITRESS
I do. Anything else?
JOHN
No. Thank you.
 john-wick-2015 47.

As the Waitress turns to fill his order, John studies the

floor...

...and the upper balcony... searching.

114 EXT. THE RED CIRCLE - ESTABLISHING - NIGHT 114

A soft snow begins to fall.

115 INT. THE RED CIRCLE - THE PENTHOUSE - 2ND LEVEL - CONTINUOUS 115
John nibbles on some cheese and bread as he pours himself a
generous helping of whiskey.
Down below, Viktor -finishing off his drink- LIMPS past.
John’s eyes narrow.
He finishes his drink, stands, and follows after Viktor,
almost breathing down his neck.

Book-ended by a pair of Estruscan bodyguards who follow every

move he makes, Viktor slaps a waitress on the ass as he walks
past.
VIKTOR
(in Russian, subtitled)
Another bottle of the Goose, love!
SMASHCUT TO:

116 INT. THE WICK HOME - THE LIVING ROOM - FLASHBACK 116
As John stares at Moose’s silhouette...
...VIKTOR limps past.
VIKTOR (O.C.)
(in Russian, subtitled)
Yeah. He kept ‘em in a bowl like my
old man.

SMASHCUT TO:

117 INT. THE RED CIRCLE - THE BATHROOM - CONTINUOUS 117

Drunk, Viktor and his bodyguards enter the bathroom, pausing
to light a cigarette, before limping into-
 john-wick-2015 48.

118 INT. THE RED CIRCLE - THE BATHROOM - A STALL - CONTINUOUS 118
-where he leans against the wall in front of the toilet, eyes
at half-mast.

119 INT. THE RED CIRCLE - THE BATHROOM - CONTINUOUS 119

John enters as a patron leaves, the bathroom now empty save
himself, Viktor, and the bodyguards.

As the door closes, John produces his CERAMIC STRAIGHT RAZOR,

drives it between the door and the jamb, and snaps it in two.

120 INT. THE RED CIRCLE - THE PENTHOUSE - 2ND LEVEL - CONTINUOUS 120
A patron approaches the door and attempts to enter, but it
won’t budge. He shrugs and heads off in search of another
bathroom.

121 INT. THE RED CIRCLE - THE BATHROOM - CONTINUOUS 121

One of the bodyguards turns as John approaches, his eyes
instantly wide -uncomprehending- as the broken tip of the
blade easily slices open his neck, splashing John with his
own hot blood.

122 INT. THE RED CIRCLE - THE BATHROOM - A STALL - CONTINUOUS 122

Viktor glances towards the closed door with a smirk.

VIKTOR
Hello?

123 INT. THE RED CIRCLE - THE BATHROOM - CONTINUOUS 123

As the bodyguard drops to his knees -bleeding out- the second
guard produces a pistol and -as John moves into him- manages
to fire off a round which punches through John’s shoulder.

124 INT. THE RED CIRCLE - THE BATHROOM - A STALL - CONTINUOUS 124
Viktor tenses -eyes wide- shakes off before zipping up his
pants, reaches into his jacket, and fumbles for his gun.

125 INT. THE RED CIRCLE - THE BATHROOM - CONTINUOUS 125

 john-wick-2015 49.

With a cry derived far more from anger than pain, John head
butts the other bodyguard -shattering his nose, his face
instantly crimson with blood- before slashing the remnant of
the blade wide, severing the bodyguard’s artery.
The door to the bathroom stall opens and as Viktor emerges
with pistol held out-
-John slaps it aside, breaks his arm and kicks in his leg-

126 INT. THE RED CIRCLE - THE BATHROOM - A STALL - CONTINUOUS 126
-sending him to his knees, screaming.
John grabs the broken arm, twists it behind Viktor’s back,
drags him towards the towel, grabs him by the hair, and
shoves his face into the toilet. He holds him there for a
good amount of time...
...before ripping him back out.

Gasping for breath, Viktor’s eyes are wide, sobriety having

swiftly returned.
VIKTOR
(choking)
What the fuck d-
John answers by slamming his head against the rim of the
toilet -breaking Viktor’s nose- before shoving his face back
beneath the water. A long beat...
...and John pulls Viktor back up for air.
JOHN
(in Russian, subtitled)
My name is John Wick. You took my
car. You killed my dog. Where... is
Iosef?
VIKTOR
Fuck you, old m-
Behind his back, John snaps Viktor’s wrist, and -as he drives
his face back beneath the water- John snaps one finger after
the next.
Underwater, Viktor screams, struggling.
John pulls him free.
VIKTOR (CONT’D)
(wailing)
 john-wick-2015 50.

VIGGO! HIS FATHER! HE’S WITH VIGGO!

JOHN
And where is Viggo?
VIKTOR
He moves about... from one place to
the next... he’s put Iosef under his
thumb... wherever Viggo goes, so
does Iosef.
John twists Viktor’s arm, breaking it with a dry SNAP. Viktor
screams...
...but John keeps holding his arm painfully in place.
JOHN
(in Russian, subtitled)
Where... is... Viggo?
VIKTOR
(in Russian, subtitled)
Please... I don’t know... please...
A beat...
...and John drives Viktor’s head down upon the toilet rim at
an odd angle, his neck snapping.
Silence.

John removes Viktor’s wallet and cellphone before exiting the

stall.

127 INT. THE RED CIRCLE - THE BATHROOM - CONTINUOUS 127

He slides Viktor’s wallet into one pocket and his cell phone
into another. At the sink, he turns on the cold water tap...
...splashes it up into his face, turns...
...and pauses, realizing that he is covered in blood.
John pulls off his shirt, wipes the blood from his face,
tosses the shirt aside, reaches down, removes Viktor’s shirt,
and slips it on, carefully buttoning it up.
He wets his hair, slicks it back, turns, removes the piece of
ceramic blade wedged in the door frame, tosses it into the
trash, and leaves.

128 INT. THE RED CIRCLE - THE PENTHOUSE - 2ND LEVEL - CONTINUOUS 128
 john-wick-2015 51.

John passes by the Waitress, pausing to hand her a couple of

hundred dollar bills.
JOHN
Please close out my tab.
WAITRESS
Yes, sir.
(nods)
Thank you, sir.
The blood from his shoulder wound begins to seep into the
shirt, but only he notices it.
JOHN
Good evening.
WAITRESS
Good evening, sir.
John heads down the staircase-

129 INT. THE RED CIRCLE - THE DANCE FLOOR - CONTINUOUS 129
-and calmly makes his way through the sea of dancers...
...as up top, chaos erupts but is silenced by the deafening
music.

130 INT. THE RED CIRCLE - THE STAIRWELL - CONTINUOUS 130

Using his one good shoulder, John opens the steel door, and -
his skin pale, cold sweat upon his brow- moves as fast as he
can downwards.
His shoulder hurts.
The blood loss nears critical.

131 EXT. THE RED CIRCLE - AN ALLEY - NIGHT 131

John exits the building as he scrolls through Viktor’s phone,
searching.
He finds Iosef’s number, and as he calls it, studies the
image of Iosef which appears on screen.

132 EXT. VIGGO’S TOWNHOUSE - ESTABLISHING - NIGHT 132

 john-wick-2015 52.

133 INT. VIGGO’S TOWNHOUSE - A BEDROOM - CONTINUOUS 133

Iosef lays on his bed with an arm behind his head, smoking as
he stares up at the ceiling.
We hear the vibration of his cell phone. He lifts the phone,
smiles at the sight of Viktor’s caller I.D., and answers.
IOSEF
(in Russian, subtitled)
Hey, Vik.
JOHN (O.S.)
(a long beat, then)
Viktor is dead.
Iosef bolts upright, his breath stuck in his throat, eyes
wide.

134 INT. AN ALLEY - CONTINUOUS 134

John trudges through the snow with Viktor’s phone to his ear.
JOHN
As for the car, I got that back, but
as for Moose, well... I’m takin’ a
page from Exodus on that one: an eye
for an eye.
(a beat, then)
No... no, better yet, Genesis.

135 INT. VIGGO’S TOWNHOUSE - CONTINUOUS 135

Iosef swallows hard.
JOHN (O.S.)
Adah and Zillah, hear my voice;
Wives of Lamech, listen to my
speech. For I have killed a man for
wounding me, even a young man for
hurting me. If Cain shall be avenged
sevenfold, then Lamech seventy-
sevenfold.

136 INT. AN ALLEY - CONTINUOUS 136

John peers around the corner.
JOHN
Make your peace with God, Iosef...
(in Russian, subtitled)
 john-wick-2015 53.

...for the Devil shall see you soon.

137 INT. VIGGO’S TOWNHOUSE - A BEDROOM - CONTINUOUS 137

A long beat... and Iosef hangs up his phone, staring at the

wall... a solitary tear rolling down his cheek.

138 EXT. AN ALLEY - CONTINUOUS 138

John tosses the phone down into the snow, and jogs across the
street...
...as MARCUS -a cigarette smoldering between his lips-
watches him from the shadows.
FADE TO:

139 INT. THE CONTINENTAL - ESTABLISHING - NIGHT 139

140 INT. THE CONTINENTAL - THE LOBBY - CONTINUOUS 140

The lobby is empty -save the Manager- who glances up from his
computer...
...to find a wounded -and quite bloody- John walking towards
him.
MANAGER
(without blinking)
Good evenin’, sir.
JOHN
Evenin’. Is the doctor in?
MANAGER
Yes, sir. Twenty-four/seven.
JOHN
Send him up, please.
MANAGER
Yes, sir. Anything else, sir?

JOHN
Depends. How good’s your laundry?
MANAGER
The best, sir, however, I’m sorry to
say that...
(hesitating, then)
 john-wick-2015 54.

...no one’s that good.

John chuckles, sliding a gold coin across to the Manager.
JOHN
No, I thought not.
(nods)
Send me up a beer, too, will you?
MANAGER
Yes, sir. What do you favor?
JOHN
Anything cold.

141 EXT. THE CONTINENTAL - ESTABLISHING - NIGHT 141

142 INT. JOHN’S HOTEL ROOM - CONTINUOUS 142

Sitting in a chair with his shirt off and a beer in hand,
John grits his teeth as the DOCTOR -80s, steady hands,
glasses, thinning hair, frail, but strong- removes the bullet
from his shoulder, dropping it into a glass of water.
JOHN
Did she chip off?
DOCTOR
Lucky for you, no. It looks to be a
sub-sonic.
JOHN
Good to hear.
The Doctor cleans the wound, dries it off, and begins to sew
shut the wound.

143 INT. THE CONTINENTAL - THE HALLWAY - LATER 143

The Doctor exits as John stands in the doorway, his shoulder
bound tight with gauze.
JOHN
What sort of movement am I lookin’
at?
DOCTOR
If you’re lookin’ to heal right
quick, then keep it marginal.
However, if you’ve still...
(searching, then)
 john-wick-2015 55.

...got a bit a’ business to attend

to...
The Doctor hands him a pill container.
DOCTOR (CONT’D)
...take two of these beforehand. You
will rip open, you will bleed, but
you will have full function.
JOHN
And after?
DOCTOR
It’ll hurt like hell, son... but
come the long run, you’ll be fine.
John hands the Doctor two gold coins.
JOHN
Thanks, doc.
DOCTOR
It’s what I do.
(nods)
Evenin’, John.
JOHN
Evenin’.
John closes the door behind him.
FADE TO:

144 EXT. THE CONTINENTAL - ESTABLISHING - NIGHT 144

The snow now falls harder, although the pace seems lazy.

145 INT. THE CONTINENTAL - THE KITCHEN - CONTINUOUS 145

Dressed in a fresh suit and tie, John strides through the
kitchen, ignored by the bustling staff.

146 INT. THE CONTINENTAL - THE KITCHEN - DRY STORAGE - CONTINUOUS 146
John enters the room, and makes his way to the back where a
small staircase leads downward.
John walks down them and enters-
 john-wick-2015 56.

147 INT. THE CONTINENTAL - THE SUB-BASEMENT - CONTINUOUS 147

-walking down the long, brick-enclosed corridor...
...stopping before a large, thick, imposing IRON DOOR.
John removes a gold coin from his pocket...
...and slips it into a slit -similar to that of a pay phone-
to the right of the door.
A beat...

...and a section of the door slides open, revealing a pair of

judging eyes. This is EDDIE -30s, red beard, shaven head,
pierced, tattooed, three piece suit- intimidating as hell.
He studies John for a long moment.
EDDIE
(a beat, then)
I don’t know you.
JOHN
Maybe not... but I know this place.
A beat... and Eddie slides the view piece shut.
A beat... and the door is unlocked, swinging open.
John enters, and the door is immediately swung shut behind,
sealed and locked tight.

148 INT. THE CONTINENTAL - THE SPEAK EASY - ENTRYWAY - CONTINUOUS 148
The room is small, but comfortable.
To the right are a number of coat/hat racks populated by a
dozen or so items.
To the left is a bank of modified cigar locker; dozens of
transparent, safety-deposit boxes framed in mahogany with a
plaque -etched with a name- upon each.
Eddie hands the coin back to John.
EDDIE
You carryin’?
JOHN
No. Wait...
John snaps back his wrist...
 john-wick-2015 57.

...and hands Eddie the ceramic straight blade.

JOHN (CONT’D)
Sorry.
EDDIE
You gotta’ name?
JOHN
John Wick.
Eddie recognizes this name, his demeanor changing
drastically.
EDDIE
Oh.
Eddie turns, finds a locker with the name JOHN WICK carved
upon it, opens the small door, slides in the blade, and
closes it.
JOHN
How about you?
EDDIE
What about me?
JOHN
You gotta’ name?
A beat... and Eddie smiles, extending a hand, instantly warm.
EDDIE
They call me Eddie.
JOHN
(smiles)
Pleased to meet you, Eddie.
EDDIE
Same goes for me, Mr. Wick.
JOHN
Please... call me, John.

149 INT. THE CONTINENTAL - THE SPEAK EASY - NIGHT 149

John enters the room through a pair of velvet drapes...
...and pauses, taking it all in with a smile.
A luxurious tavern crafted from a long forgotten speak-easy,
the room isn’t too big, and isn’t too small, but... just
john-wick-2015 58.

right.
Booths line the outside walls while a number of tables are
scattered about.
Near the stage, a small dance floor has been cleared, the
wooden tiles worn, but lovingly cared for.
On stage, JENNY -80s, African-American, petite, a commanding
presence- sways behind the microphone, singing an old
standard, her voice similar to that of Billie Holiday;
strong, tender, and sincere.
Her eyes grow wide at the sight of John, but she never wavers
from her tune.
As John makes his way through the room, everyone nodes,
offers a handshake, or a simple greeting: this is an old
family... of a sort.
In the corner, WINSTON -70s, English, tall, lean, well-
dressed, glasses, tailored, precise- sits with a worn,
paperback copy of THE TELL-TALE SHREW in one hand and a dry
sherry in the other.
JOHN
Hello, Winston.
Winston lowers the book, and glances across at John with a
blank -yet warm- look.

WINSTON
Hello, Jonathan.
(a beat, then)
It’s been awhile.
JOHN
That, it has.
(looking around)
I’m glad to see the old place still
up and runnin’.
WINSTON
(half-smiles)
I could say the same for you.
John approaches the bar...
...where JIMMY -40s, African-American, three-piece suit,
expensive watch, kind eyes, quick to smile- looks up with a
grin.

JIMMY
Ho... lee... shit.
john-wick-2015 59.

JOHN
Hey, Jimmy.
The two shake hands like old friends.
JIMMY
John, my God, it’s been... what?
JOHN
I’m no good with time, but... it’s
been awhile.
JIMMY
That, it has.
(a beat, then)
We we’re all broken up over Norma,
y’know.
JOHN
She got the card, the flowers... she
knows you -all of you- loved her.
(a beat, then)
And thanks, Jimmy. It meant a lot to
me as well.
JIMMY
Well, shit, it’s good to see you,
John. What can I get you?
JOHN
I’d love a martini.
JIMMY
Gin, dry, and onions?
JOHN
Good man.
JIMMY
Go on and take a seat. I’ll be with
you in a moment.
JOHN
Thanks, Jimmy.
JIMMY
All good, John... and seriously...
it’s good to see you.
As John leaves Jimmy to make his martini, John strays towards
the stage.
Jenny finishes her song, the audiences politely applauds, and
she steps down to give him a strong embrace.
john-wick-2015 60.

JENNY
John Wick in the flesh... my, oh,
my... will wonders never cease.
John smiles... almost sheepishly.
JOHN
Hey, Jenny.
JENNY
Where’ve you been keepin’ yourself?
JOHN
I’m not quite sure, but with that
said... here I am.
JENNY
Here you are, indeed. My, oh, my...
Jenny hesitates, and then clasps a hand to his shoulder.
JENNY (CONT’D)
I miss her, too, y’know...
JOHN
I know.
JENNY
And I haven’t... I mean, not since
the last time...
(hesitating, then)
Would you mind... if I sang it?
(smiles)
You can say, “no”.
JOHN
(chuckles)
No, no, Jenny... go right ahead. In
fact... please do. I’d like to hear
it, too.
JENNY
Will do.
Jenny hugs him again, kissing him on the cheek.
JENNY (CONT’D)
This visit of yours ain’t no passin’
fancy, is it?
JOHN
No, ma’am.
JENNY
john-wick-2015 61.

Well, then... you be safe, you hear?

JOHN
(nods, smiles)
I hear.
Jenny takes to the stage...
...as John sinks into his booth.
Jimmy nods-
JIMMY
Enjoy.
-as he slides a martini across to John.
On stage, Jenny whispers to the members of her small band
before taking to the microphone.
JENNY
It’s been awhile, but... here’s to
the past... may it influence our
future.
The music begins...
...and Jenny sings IT HAD TO BE YOU.
Her rendition is powerful, sweet, endearing, passionate, and
sincere. As John watches her sing, a smile tugs at the corner
of his lips.
On the empty dance floor...
...John watches a younger version of himself with Norma...
...dancing slowly... twirling... her head on his shoulder...

...smiling...
...with a sigh...
...before disappearing.
John swallows -hard- as a trembling hand wipes away a tear.
Jenny smiles at him with a nod.
He returns the gesture.
She continues to sing.
John raises his glass as-
 john-wick-2015 62.

-SNAP. SNAP. SNAP. SNAP. SNAP.

CUT TO:
A CELLPHONE

Five pictures of John are inconspicuously taken...

...by DAVID PERKINS -late twenties, cocky, expensive tastes,
lean, cruel- at a table across the way.
David sends them with a text: “Is this him?”
A beat... and he receives a text in return: “Yes. Where are
you?”
David texts back: “The Continental.”
A beat... and he receives a text: “We may not engage in
hostilities upon those premises.”
David texts back: “I’m willing to take the risk.”
A beat... and he receives a follow up text: “Take him alive.
Should you fail, we disavow. Should you succeed, we reward...
greatly.”

David smiles...
CUT TO:
...as does John.
Once the song is done, Jenny is met with boisterous
applause...
...with John clapping the hardest among them.
FADE TO:

150 INT. THE CONTINENTAL - THE HALLWAY - NIGHT 150

Exhausted -and more than a bit tipsy- John runs a hand along
the wall to maintain his balance.
He sings under his breath... humming the tune to IT HAD TO BE
YOU.
At his door, he fumbles with his key card, but finally
manages to open it.

151 INT. JOHN’S HOTEL ROOM - CONTINUOUS 151

 john-wick-2015 63.

John closes and locks the door behind him. He sheds his
jacket, his shoes, and his pants...
...flicks off the lights...
...and crawls beneath the blankets with a sigh.
FADE TO:

152 EXT. THE CONTINENTAL - ESTABLISHING - NIGHT 152

The snowstorm ends, the city suddenly still.

153 INT. THE CONTINENTAL - THE HALLWAY - CONTINUOUS 153

Empty.
A long beat... and two figures appear at one end of the hall
while three appear at the other end: suits, ties, gloves, and
masks.
One of them inserts a key card attached to his cell-phone and
hacks the lock; the light turning from red to green.
Another places a small, MAGNETIC GUN to the door, adjusts the
setting, and pulls the trigger-

154 INT. JOHN’S HOTEL ROOM - CONTINUOUS 154

-causing the latch to leap back from the door...
...which opens.

All five men enter, closing the door behind them.

Sound asleep, John lays upon his back beneath the covers,
snoring softly.
Well-rehearsed, two men focus upon his legs while two focus
upon his arms, their hands hovering above an appendage as
they wait for the fifth (DAVID)...
...who produces a plastic baggie, inside of which rests a
damp TOWEL.
David removes the towel...
...counts down with a nod from 3... 2... 1...
Like a well-oiled machine, hands clasp down upon John’s arms
and legs as David slaps the rag down upon John’s mouth.
 john-wick-2015 64.

John’s body tenses as his eyes snap open...

...but he does not inhale.
A beat... and John twists at an odd angle, causing one of the
men holding his arm to lose his grasp. With his one arm free,
John reaches up, grabs David’s wrist, and snaps it.
As David stumbles backwards with a cry, the others pounce
upon John...
...who produces the K-BAR blade from beneath the blankets,
driving it into the side of one man’s neck once... twice...
three times...
...before releasing the blade, arching his back, and wrapping
his legs around another man’s neck, tensing until -SNAP- the
man’s neck breaks.
The remaining three -horrified- are at a loss; far removed
from their element.
David and a gunman run for the door as a third steps back,
removes his silenced pistol from a shoulder holster, and
blindly fires.
The bullets etch up along the mattress and into the
headboard...
...as John rolls off the bed, reaches beneath it, and grabs
the shotgun.
BOOM!
The gunman’s left leg disappears as -screaming- he sinks to
the ground.
BOOM!
John fires again, hitting the fallen gunman in the chest.
BOOM!
John fires at the fleeing gunman in the open doorway-

155 INT. THE CONTINENTAL - THE HALLWAY - CONTINUOUS 155

-sending him spinning out into the hallway.
BOOM!
He is shot a second time in the back, dead in a blink.
john-wick-2015 65.

David rips off his mask as he slides to a stop, hands up,

just as John emerges from his room, pumping the shotgun for
affect.
A beat... and he walks towards David, the weapon steady.
DAVID
(trembling)
...please...
John places the shotgun to the back of David’s head.

John is terribly -to an unsettling degree- calm.

He produces a small pill container, taps out two, and
swallows them as he rolls his injured shoulder with a groan.
JOHN
(terribly calm)
Do you know where Iosef is?
DAVID
No, sir.
JOHN
Do you know where Viggo is?
DAVID
N-no, sir.
JOHN
(sighs)
Do you know anythin’ worth knowin’?
Tears roll down David’s cheeks as he wracks his brain,
thinking.
JOHN (CONT’D)
Just because I’m good at killin’...
doesn’t mean I like it all that
much.
(a beat, then)
Give me something.
DAVID
Wait, wait!
(swallowing hard, then)
Little Russia. There’s a small bank
near Cannon Court...
JOHN
What about it?
DAVID
john-wick-2015 66.

Viggo owns it. It’s where he keeps

his money. Every dollar of business
he does clears through that
building.
JOHN
(a beat, then)
That’ll do.
John swings the shotgun, knocking David out with the butt.
CLICK.
John freezes...
...as HARRY -60s, African-American, former NFL receiver,
tall, lean, and imposing, yet currently dressed in boxers, a
t-shirt, and dress shoes- aims a pistol at the back of John’s
head from the open doorway of his hotel room.
Silence.
HARRY
Do I know you?
JOHN
I’m thinkin’ so.
John turns...
...and Harry lowers his pistol.
HARRY
Oh. Hey, John.
JOHN
Hey, Harry.
Harry glances about at the bodies...
...and steps back inside his room.

HARRY
Good night, John.
JOHN
(nods)
Night, Harry.
(a beat, then)
Hey, Harry.
Harry hesitates, but glances out from behind his door.
HARRY
 john-wick-2015 67.

Yeah, John?
JOHN
You keen on earnin’ a coin?
HARRY
(hesitates, then sighs)
Times bein’ as they are? Yeah,
John... I am.
JOHN
Do you mind babysittin’ the
breathin’ one for, I dunno...
(checking his watch)
...the next six hours or so?
HARRY
Catch and release?
John tosses Harry a gold coin.
JOHN
(nods)
Catch and release.
HARRY
Can do.
We hear the sound of a phone ringing.

Harry grabs David by the feet as John heads back towards his
room.
JOHN
Good night, Harry.
Harry drags David back towards his room.
HARRY
Good night, John.

156 INT. JOHN’S HOTEL ROOM - CONTINUOUS 156

John enters his room, and answers the ringing phone.
MANAGER
Good evening, Mr. Wick. I’m sorry to
be calling you at this hour, but
we’ve received a number of noise
complaints from your floor.
JOHN
 john-wick-2015 68.

You don’t have to worry about that

anymore. I’ll be going to bed soon.
MANAGER
Have you any need of -say- a dinner
reservation, perhaps?
JOHN
Yes, in fact.
(counting)
For four.
MANAGER
Six o’clock?
JOHN
Perfect. Oh, and...
(hesitating, then)
Do you cater?
(smiles)
Excellent. I’ll need a car, and...
well... something a bit less
trivial.
FADE TO:

157 EXT. A BRIDGE - ESTABLISHING - DAWN 157

Well-lit, but empty; a beautiful expanse of architectural
history.

158 EXT. A BRIDGE - CONTINUOUS 158

John walks with his hands in his pockets, his head down, lost
in thought. He pauses to light himself a cigarette...
...a long beat...
...and he lowers his head, flicking ash.
JOHN
You willin’ to put a bullet in my
back, Marcus?
Emerging from the shadows behind him, Marcus holds a
silenced- pistol, his leather-gloved hand steady.
A beat...
...and Marcus smiles, slipping the pistol back into his
jacket.
john-wick-2015 69.

MARCUS
I owe you, John.
Marcus joins him at the rail.
John offers him a cigarette-
JOHN
Been awhile, Marcus.
-which Marcus accepts-
MARCUS
Too long, I’d argue.
-leaning forward to ignite the tip from John’s lighter. He
pulls back with a nod, squinting out into the night.
JOHN
Why’d you take the job then?
MARCUS
Because if not for me, it would have
been someone who’d have just now
pulled the trigger and simply walked
away, leaving you to gasp your last.
JOHN
(nods)
Much appreciated, then.
MARCUS
Besides, we’re the last of our kind;
an endangered species of a sort. And
I find comfort in knowing that
there’s someone like me still out
there.
JOHN
(a long beat, then sighs)
What am I doing, Marcus? I mean...
it is just a... was a... dog, but...
John runs a trembling hand through his hair.
MARCUS
It’s always “just” something, John.
“
(MORE)

MARCUS (CONT'D)
Just” a wife, “just” a son, “just” a
friend, “just” a house, “just” a
car... “just” a dog... or “just” a
 john-wick-2015 70.

cat. Each of these I’ve lost in no

particular order, and each time the
pain I felt was quite real. And my
chosen reciprocity to each was no
more -and no less- brutal than any
other.
JOHN
(a beat, then)
This isn’t like me.
MARCUS
(smiles, nods)
Maybe not, but for the rare man of
our ilk -those who survived an
arguably unsurvivable life- the few
things we find time to care for...
pass long before we do...
A long silence...
...and Marcus finishes his cigarette, tossing it out into the
darkness.
MARCUS (CONT’D)
Good night, John.
JOHN
Good night, Marcus.
Marcus turns, and heads back into the train...
...as John continues to stare out into the night.
A long beat... and he produces his cell phone, dialing a
number.
FADE TO:

159 EXT. A DINER - ESTABLISHING - EARLY DAY 159

A corner dive, popular, but its population is sparse this
early in the morning.
A limousine pulls up to the curb.

160 INT. A DINER - CONTINUOUS 160

Sipping coffee in a corner booth, John watches the front of
the building...
...lowering his mug as VIGGO -accompanied by two men- enter.
john-wick-2015 71.

VIGGO
(in Russian, subtitled)
Wait in the car.
The two men exit as Viggo walks towards the booth, shedding
his jacket as he does so.
Only one of John’s hands is above the table, the other
hovering beneath it, a pistol held tight, unwavering.
Viggo slips into the seat.
VIGGO (CONT’D)
Is that really necessary?
John answers by taking a sip of his coffee. Viggo shrugs with
a frown, motioning towards the waitress as he flips over his
mug.
VIGGO (CONT’D)
So be it.
WAITRESS
(filling the mug)
Cream or sugar?

VIGGO
No, thank you.
As she walks away, Viggo takes a long pull off of his drink.
VIGGO (CONT’D)
It’s been what? 30 years?
JOHN
Yeah, that’s about right.
VIGGO
Left the game, got married, settled
down... I envy that.
(a beat, then)
Kids?
JOHN
No.
VIGGO
Lucky bastard.
JOHN
We tried, but... wasn’t in the
cards.
VIGGO
 john-wick-2015 72.

I fucked a bartender and -ta dah!-

nine months later, I had me a piece
a’ shit tossed on the old doorstep,
but... when it comes down to it...
(glowers)
He’s still my son.
JOHN
(nods)
I figured as much.
VIGGO
Funny how one would both die and
kill for something they do not love.
JOHN
Imagine what one would do if they
did.
Viggo nods, takes a sip of his coffee, and stands.
VIGGO
Goodbye, John.
JOHN
Goodbye, Viggo.
Viggo leaves the diner, and slides into-

161 INT. A LIMOUSINE - CONTINUOUS 161

-where four of his men wait, each armed with a silenced,
submachine gun: intimidating hardware.

Viggo closes the door, takes a deep breath, and sighs,

rubbing his brow.
VIGGO
Kill him.
BOOM!
A round slams into his window, barely missing him before
hitting the man seated next to him in the side of the head,
blood spattering against glass.
Viggo dives to the floor as his men prepare to return fire-

162 EXT. A DINER - CONTINUOUS 162

-but John is a crackshot, firing as he strides towards the
vehicle-
 john-wick-2015 73.

163 INT. A LIMOUSINE - CONTINUOUS 163

-killing two men and wounding a fourth who drops down next to
Viggo, screaming.
VIGGO
DRIVE!

164 EXT. A DINER - CONTINUOUS 164

John ejects a spent clip, slaps in a fresh one in a blink,
and unloads into the limousine which jerks forward, tires
squealing as it drives off.

165 INT. A LIMOUSINE - CONTINUOUS 165

Viggo lies on his back, staring at the ceiling as he lights
himself a cigarette.
VIGGO
People don’t change. Do they, John?
(to the screaming gunman)
SHUT... THE FUCK... UP!

166 EXT. A DINER - CONTINUOUS 166

John slips the gun into the back of his pants, turns, and
calmly walks away.
FADE TO:

167 INT. A SUBWAY STATION - ESTABLISHING - DAY 167

The train pulls up and begins to empty, crowding the
platform.

168 INT. A SUBWAY STATION - CONTINUOUS 168

John exits the train, stuffs his hands into his pockets, and
seeks to disappear into the crowd...
...as KIRILL and TWO GUNMEN spot him.
They move towards him...
...following...
...hands reaching beneath their jackets, fingers curling
around triggers as silenced pistols are slipped free by
 john-wick-2015 74.

steady hands.
KIRILL
Babushka.
John slows his stride, hands out to his side, mind racing.
SMASHCUT TO:

169 INT. THE WICK HOME - THE LIVING ROOM - FLASHBACK - NIGHT 169
With consciousness fading, John leans back upon the floor,
listening to the voices of his assailants.
With his face hidden within his mask, Kirill chuckles -
enjoying this- as he sucks on a fresh mint.
KIRILL (O.C.)
(in Russian, subtitled)
Then shit... let the fuckin’
babushka fade away and let’s get the
fuck outta’ here.
SMASHCUT TO:

170 EXT. A SUBWAY STATION - CONTINUOUS 170

John tenses, his features hard.
Kirill grins, willing for John to give him reason to fire.
Suddenly, a frail commuter stumbles into their midst-
THUMP! THUMP! THUMP!
-killing each with a single, silenced round to the heart.
Kirill is dead before he hits the ground.
Amidst a growing sense of chaos, MARCUS shares a parting
glance with John, slips the pistol in his pocket, smiles, and
tips his hat down low over his eyes.
John returns the nod and disappears in the opposite
direction.
FADE TO:

171 EXT. A PARKING LOT - ESTABLISHING - DAY 171

 john-wick-2015 75.

172 EXT. A PARKING LOT - CONTINUOUS 172

John walks up to an old, FORD LTD sedan. He reaches up into a
rear wheel well, and rips free a set of keys which had been
duct-taped within.
He opens the trunk: we recognize the suitcases therein as his
own. However, there is also a LARGE DUFFEL BAG as well which
he opens, studies its contents, and -satisfied- zips shut.
He closes the trunk, opens the front door-

173 INT. A SEDAN - CONTINUOUS 173

-slides inside, starts the engine-

174 EXT. A PARKING LOT - CONTINUOUS 174

-and drives off.

FADE TO:

175 EXT. A STREET - ESTABLISHING - DAY 175

A number of the quaint old buildings share both English and
Russian signs.

176 EXT. A STREET - ESTABLISHING - DAY 176

With his hands stuffed deep into his pockets, John exits an
alleyway and ducks into-

177 INT. A CAFE - CONTINUOUS 177

-where he motions “one” to the waitress.
She points towards a booth. He nods, sheds his jacket, takes
a seat, and glances down at the menu.
Through the window, John studies the front facade of A BANK
building.
HIS POV:
The BANK MANAGER -checking his watch- flips over the sign in
the door from CLOSED to OPEN.
WAITRESS
What can I get you?
 john-wick-2015 76.

JOHN
Americano, please. And a bear claw.
WAITRESS
On it.
JOHN
Oh, and the bathroom?
WAITRESS
Down the hall to the left.
JOHN
Thanks.

178 INT. A CAFE - THE HALLWAY - DAY 178

Pulling on a pair of leather gloves, John walks down the
hallway, but instead of turning left, he turns right-

179 EXT. A CAFE - THE REAR - CONTINUOUS 179

-exiting the building.
He flips his jacket inside-out -from black to gray- and slips
on a face mask.
Reaching down behind a trash can, he removes a TWO GALLON
PLASTIC GAS TANK and a PISTOL before walking back down the
alley, and out into-

180 EXT. THE STREET - CONTINUOUS 180

-making a b-line for the Bank.
As he walks across the street, traffic stops as onlookers
gawk in horror.
John opens the door, and enters-

181 INT. A BANK - CONTINUOUS 181

-firing two shots in the air.
JOHN
EVERYBODY OUT!
(on their looks)
NOW!!!!
 john-wick-2015 77.

Customers flee, secretaries scramble after them, as does the

Bank Manager...
...who slides to a halt, John’s pistol staring down at him.
JOHN (CONT’D)
Not you.
BANK MANAGER
But... why not... me?
JOHN
Take me to Viggo’s stash.
BANK MANAGER
Wha... what?
JOHN
His stash. Personal Holdings.
(growls)
Piggy “fucking” Bank.
BANK MANAGER
What?!? I can’t just-
BOOM! BOOM! BOOM! BOOM!
John fires four shots...
...killing the two gunmen who appeared behind the Bank
Manager.
BANK MANAGER (CONT’D)
(a beat, then hushed)
This way.

182 INT. A BANK - THE VAULT - CONTINUOUS 182

The Bank Manager swings open the door, revealing two walls of
safety-deposit boxes on either side...
...with a large door in the rear of the vault leading into a
secondary vault. A keypad is attached to its face replete
with a fingerprint reader.
John presses the barrel of the gun to the back of the Bank
Manager’s head and forces him into the vault.
JOHN
Open it.
BANK MANAGER
I can’t.
 john-wick-2015 78.

JOHN
Open it.
BANK MANAGER
He’ll kill me!
JOHN
So will I.
The bank manager hesitates...
...and then presses a thumb to the reader and types in a
code.
A beat... and the door opens with a hiss.
BANK MANAGER
Now, p-
John pistol-whips the Bank Manager, knocking him out.
Without really looking inside-

183 INT. A BANK- SECONDARY VAULT - CONTINUOUS 183

-John tosses the plastic gas can into the secondary vault,
and unloads the pistol...
...into the gas can which explodes into flame, illuminating
the space to reveal pallets of cash, smuggled artwork,
jewels, and the like stashed therein.
John tosses the pistol inside, and walks away.
As the fire grows, devouring the millions of dollars in
liquid assets...

184 EXT. A BANK - THE STREET - CONTINUOUS 184

John casually walks across the street, ignoring the gawkers,
and enters the alleyway.

185 INT. A BANK - THE VAULT - CONTINUOUS 185

The Bank Manager comes to with a groan, pulling himself up to
his feet. His jaw draw drops -eyes wide- at the sight of the
fire.
BANK MANAGER
...fuck... me...
 john-wick-2015 79.

186 EXT. A DINER - THE REAR - CONTINUOUS 186

John tosses the gloves and mask into the trash, turns his
jacket back out, slips it back on, and enters-

187 INT. A DINER - THE HALLWAY - CONTINUOUS 187

-walking down the hallway to enter-

188 INT. A DINER - CONTINUOUS 188

-slipping into his seat as the Waitress arrives with his
coffee and donut.

WAITRESS
Anything else?
JOHN
That’ll do. Thank you.
John takes a deep breath, exhales...
...and relaxes as across the street, the Bank Manager emerges
from the building, and flees off down the street.
FADE TO:

189 EXT. A BANK - LATER 189

A beat... and the trio of intimidating sedans pull up to the
curb.
The gunmen in the rear and front vehicles emerge, studying
their surroundings. A beat... and one of the gunman slaps a
hand to the roof of the center car.
Proceeded -and preceded- by a bodyguard, Viggo emerges,
stuffs his hands into his pockets, and marches into the bank
as across the street...

190 INT. A CAFE - CONTINUOUS 190

...John watches.
JOHN
(mutters)
No cops. That’s new.
WAITRESS
We good, hon?
 john-wick-2015 80.

JOHN
Yeah. Yeah, we’re good. Thanks.
The waitress rips the receipt off of her pad-
WAITRESS
Anytime.
-and drops it on the table in front of him.
John stands, tosses a twenty down on top of it, turns, and
leaves, snagging a toothpick at the cashier’s booth before
exiting.

191 INT. AN ALLEY - CONTINUOUS 191

As John walks, he reaches down behind a trash can...
...and retrieves a LARGE BRIEFCASE.

192 INT. A BANK - SECONDARY VAULT - LATER 192

Viggo stands in the center of the small room with his head
down, prodding a smoldering Picasso with the tip of his foot.
VIGGO
(in Russian, subtitled)
Where’s the manager?
The question is met by silence.
VIGGO (CONT’D)
(in Russian, subtitled)
I’d run, too.
(a beat, then in English)
What a shame... what a fucking...
(sighs)
...shame...
Viggo is trembling with rage, hands clenched at his sides,
eyes unblinking.
VIGGO (CONT’D)
(in Russian, subtitled)
Iosef... my son... is worth less
than this... far less... treasures
reduced to ash...
(in Russian, subtitled)
...ash...

193 EXT. A BANK - LATER 193

 john-wick-2015 81.

With his head down -hands stuffed deep into his pockets, a
cigarette smoldering between his lips- Viggo exits, slowly
making his way towards his car.

194 INT. A DIESEL TRUCK - CONTINUOUS 194

Perched behind the wheel -the driver’s side window missing-
John shifts gears, slams his foot down onto the gas...
...and narrows his eyes, tensing, his knuckles creaking from
within leather gloves as his fingers constrict around the
wheel of the stolen vehicle.

195 EXT. A BANK - CONTINUOUS 195

The gunmen react to the sound of the engine’s roar, the two
nearest it’s approach dropping to a knee, aiming, and firing.
Bullets slam into the windshield -a round slashing into
John’s cheek, clipping his ear- and engine block before the
front left tire blows.
John loses control of the truck which fishtails wildly,
slamming into a sedan, crushing two gunmen before it
cartwheels through their midst, killing three more before
coming to a stop on its side.
A gunmen pushes Viggo towards the center sedan-
GUNMEN
(in Russian, subtitled)
GET IN! NOW!
-shoving him inside.
Three gunmen approach the truck, firing repeatedly.

196 INT. A DIESEL TRUCK - CONTINUOUS 196

Dazed, John -his face cut by glass, fresh wounds seeping hot
blood- reaches over into the open briefcase, removing the
silenced-UZI therein.
John shoots out the sunroof, dragging himself free of the
vehicle as he ducks for cover.

197 EXT. A STREET - CONTINUOUS 197

As the Sedan peels out, John swiftly ejects the clip, selects
another -wrapped in blue tape, these ARMOR-PIERCING BULLETS
 john-wick-2015 82.

are dark gray, seemingly sharpened to a tip- from a clip

belt, slaps it into weapon, drops to a knee and-

-as the Sedan drives past-

-depresses the trigger.

198 INT. THE SEDAN - CONTINUOUS 198

Bullets easily punch through the doors and windows, riddling
the dash..
...the passenger, the driver...
...the seats...
...one gunmen, Viggo, another gunmen...
...and the seats.

199 EXT. THE STREET - CONTINUOUS 199

The Sedan veers off, plummeting into the store front of a

pharmacy.

200 EXT. A BANK - CONTINUOUS 200

John ejects the spent clip, selects another wrapped in blue
tape, turns towards the fallen truck, and pulls the trigger.
The bullets punch through the roof, seats/floor, and
undercarriage of the vehicle...
...cutting the remaining gunmen to shreds on the sidewalk
behind it.
The clip empties.
Silence.
John tosses the Uzi into the truck, turns, and walks towards
the store front from which the rear half of a sedan
protrudes, pausing to slip free a silenced-pistol from a dead
man’s hand.

201 INT. A PHARMACY - CONTINUOUS 201

John enters, glancing into the Sedan as he moves past: the
gunmen are all dead, but Viggo is missing, a rear door open.
john-wick-2015 83.

John rounds the corner...

...to see a trail of blood. He follows it...
...to find Viggo dragging his broken body, his switchblade in
one hand, his cellphone in the other. The knife is
unceremoniously dropped as he struggles to dial 9... 1...
...before the phone slips through his fingers, slick with
blood.
VIGGO
(in Russian, subtitled)
NO! NO!
(sighs)
...no...
John stands over him, the pistol level.
As if sensing him, Viggo rolls over with a groan.
VIGGO (CONT’D)
Tell me, John... and please... be
honest... am I dying here?
John hesitates, squats, and retrieves Viggo’s cell phone.
JOHN
Unless I complete the call, then...
yes.
VIGGO
For me to die like this...
(spitting, enraged)
...BECAUSE OF HIM...
(sighs)
...would be unfortunate.
Viggo is fading... fast.
VIGGO (CONT’D)
I was sending Iosef to a safe house
in Moscow. I arranged for transport
via... a grain ship... out of
Newark...
Viggo coughs, trembling.
VIGGO (CONT’D)
...please...
John stands, dials an additional “1”, and the send button...
...but it is too late: Viggo is dead.
 john-wick-2015 84.

John tosses the phone down onto Viggo’s chest, slips the gun
into the back of his pants, turns and as he walks towards the
store front...
...grabs a bottle of rubbing alcohol from the shelf,
unscrewing the cap.

202 EXT. A STREET - CONTINUOUS 202

John dumps the bottle onto his head, gritting his teeth, as
behind him...
...the sedan EXPLODES behind him.
John does not react.
He tosses aside the bottle, stuffs his hands into his
pockets, lowers his head, and walks on.
FADE TO:

203 EXT. THE CONTINENTAL - ESTABLISHING - DAY 203

204 INT. HARRY’S HOTEL ROOM - CONTINUOUS 204

David sits in a chair with his head down: his ankles, wrists,
mouth, and eyes bound by duct tape. A weathered hand reaches
over and RIPS the tape off of his eyes.
David winces out of pain and the brutal sensation of light.
HARRY (O.C.)
Housekeepin’ll find ya’.
Dressed in a three-piece suit, Harry places an old -but
gingerly cared for- hat upon his head, a ring upon his finger
glistening, his watch an enviable antique.
HARRY (CONT’D)
But son? You done a bit a’ business
on the Continental grounds...
Harry lifts his suitcase and turns heading for the door.
HARRY (CONT’D)
...and management, well...
Harry opens the door...
HARRY (CONT’D)
 john-wick-2015 85.

...they don’t take kindly to that

sort a’ thing.
...and exits, leaving the door ajar.
David slumps in his seat; exhausted, broken, and defeated.
FADE TO:

205 EXT. A CITYSCAPE - ESTABLISHING - DAY/NIGHT 205

SUPER: NEWARK, NEW JERSEY
Day becomes night.

206 EXT. THE DOCKS - ESTABLISHING - NIGHT 206

A bustling mecca of commerce, the port never sleeps; ships of
all shapes and sizes dock, empty their shipment, refilled
with return cargo, and slip out into the night.
A multi-hulled beast of a ship, THE CHAYKA (Seagull) rests
dock-side, its bridge guarded by a small army of security
guards.
Overhead, scattered throughout the cranes, are a half-dozen
SNIPERS, searching/studying the dockyard.

207 INT. THE CHAYKA - THE HULL - CONTINUOUS 207

Cellophane-wrapped pallets of WEAPONS and bales of CASH are
carried by forklifts into the center of the hull and bolted
to the floor.
Meanwhile, two dozen high-end, luxury cars enter the hull,
each driven into its own reinforced, steel crate, the doors
sealed shut behind them.
As the last WORKER leaves, he shouts into his walkie-talkie.
WORKER
FILL HER UP!
Overhead, a large chute appears-

208 EXT. THE CHAYKA - CONTINUOUS 208

-and the OPERATOR presses a button, sending a seemingly

endless stream of grain down into the hull, covering the
smuggled goods.
 john-wick-2015 86.

209 INT. THE CHAYKA - THE CAPTAIN’S CABIN - CONTINUOUS 209

Chewing on an unlit cigar, the CAPTAIN -60s, enormous,
grizzled, salt-and-pepper beard, long, unkempt hair, dressed
in denim and leather- studies paperwork at his desk while
Iosef paces; a cigarette in one hand, a drink in the other.
IOSEF
How the fuck long do I have to stay
down here?
CAPTAIN
Until we are at sea, and even then,
your access up top will be limited.
The Captain’s phone rings. He answers it.
CAPTAIN (CONT’D)
Yes?
The Captain’s face falls, his jaw clenched.
CAPTAIN (CONT’D)
I’ll let him know. Proceed as
scheduled.
The Captain hangs up, finds a match, sparks it to flame, and
ignites the tip of his cigar, puffing it like an old steam
engine.
CAPTAIN (CONT’D)
Your father...
IOSEF
(scoffs)
What about him?
CAPTAIN
He is dead.
Iosef is stunned.
IOSEF
What?
CAPTAIN
I’m sorry. He was k-
The Captain is cut off by the intercom which squawks to life,
a screaming voice reduced to panicked static. The Captain
slaps a hand down onto the call button.
CAPTAIN (CONT’D)
Come again?
 john-wick-2015 87.

OPERATOR (O.S.)
We’re taking fire, sir!

210 EXT. THE CHAYKA - THE DECK - CONTINUOUS 210

A number of security guards lay dead upon the deck -bleeding

out from single gunshot wounds- as the others sprint for
cover. The Operator leans hard against the call button of the
intercom.
OPERATOR
Someone’s shooting at u-
A round slams into the side of the Operator’s head, killing
him instantly, his body sinking to the deck.

211 INT. THE CHAYKA - THE CAPTAIN’S CABIN - CONTINUOUS 211

The Captain stands, checks the chamber of the LUGER PISTOL at
his side, and heads for the door.
CAPTAIN
Until you hear otherwise... stay.
The Captain exits the cabin and slams the door behind him.
Trembling, Iosef latches close the door...
...and pours himself a tall drink.

212 EXT. A CRANE - CONTINUOUS 212

A SNIPER searches the yard through his scope, his earpiece
overwhelmed by panicked chatter.
SNIPER
This is Alpha. I don’t-
TINK!
Across the way, another sniper tumbles off his perch...
TINK!
...as does another...

TINK!
...and another...
SNIPER (CONT’D)
Where the fuck is he?
 john-wick-2015 88.

TINK!
...and another...
The sniper searches, his skin wet with perspiration, hand
trembling upon the stock.
TINK!
...and another, screaming as he falls...
SNIPER (CONT’D)
WHERE THE FUCK...
(trailing off)

The Sniper has found John...

SNIPER (CONT’D)
The old cannery. Southeast of my
position.
...but it is too late.
WE ZOOM THROUGH HIS SCOPE...
...ACROSS THE YARD...
...AND INTO THE CANNERY WHERE JOHN LIES ON THE FLOOR WITH A
SNIPER RIFLE TO HIS SHOULDER.
JOHN FIRES...
...AND WE FOLLOW THE BULLET BACK UP TOWARDS THE SNIPER’S
PERCH...
...WHERE IT ENTERS THE SNIPER’S SCOPE...
...AND PUNCHES THROUGH THE BACK OF HIS HEAD.
His body goes limp...
...and slides out of his perch, cart-wheeling down to the
earth below.

213 EXT. THE SHIPYARD - NIGHT 213

EIGHT HEAVILY-ARMORED SUV’s bear down on the old cannery
building.

214 INT. THE CANNERY - THE TOP FLOOR - CONTINUOUS 214

John shifts position, aims, and fires-
 john-wick-2015 89.

215 EXT. THE SHIPYARD - CONTINUOUS 215

-but the round ricochets off the bulletproof window.

216 INT. THE CANNERY - THE TOP FLOOR - CONTINUOUS 216

John ejects the clip, ejects a round, leans the weapon
against the window, and sinks back into the darkness.

217 INT. THE CANNERY - THE MAIN FLOOR - CONTINUOUS 217

The parade of SUVs enter the cannery, their tires screeching
to a stop as a swarm of highly-trained gunmen emerge,
scattering throughout the building.

218 INT. THE CANNERY - THE TOP FLOOR - CONTINUOUS 218

John pries open the doors of an old, wooden, elevator shaft:
now an empty cavern disappearing down into darkness.

219 INT. THE CANNERY - THE TOP FLOOR - A HALLWAY - CONTINUOUS 219

A pair of gunmen swiftly close in on John...

220 INT. THE CANNERY - THE TOP FLOOR - ELEVATOR - CONTINUOUS 220
...who takes a deep breath...
...and jumps-
-bullets riddling the doors behind him-
-disappearing down into the darkness-

221 INT. BENEATH THE CANNERY - CONTINUOUS 221

-his body SLAPPING against the water as he sinks like a
stone.

222 INT. THE CANNERY - THE MAIN FLOOR - CONTINUOUS 222

A gunmen rounds a corner...
...stepping over the empty duffel bag we last saw in John’s
trunk...
...and freezes, his eyes wide.
 john-wick-2015 90.

HIS POV: A brick of C-4 is attached to one of the main

support beams, the pale red light of the detonator glowing
with ominous disdain.
He takes a step back, lowering his weapon, and glances
about...
...noticing for the first time the RED LIGHTS of a DOZEN OR
MORE C-4 charges scattered throughout the interior.
GUNMEN
RUN!

223 INT. BENEATH THE CANNERY - CONTINUOUS 223

Underwater, John lifts his hand...
...to reveal a REMOTE DETONATER...
...which he depresses with his thumb.

224 INT. THE CANNERY - THE MAIN FLOOR - CONTINUOUS 224

The gunman goes pale at the sight of all of those red
lights... turning green.

225 EXT. THE SHIPYARD - CONTINUOUS 225

A series of powerful explosion tear through the building,
reducing it to splinters as it collapses in upon itself.

226 INT. BENEATH THE CANNERY - CONTINUOUS 226

As debris begins to sink down all around him, John swims as
hard as he can.
Surfacing when he is safe, gasping for breath.
Finding a ladder, John climbs upwards-

227 EXT. THE DOCK - CONTINUOUS 227

-emerging from behind an access panel.
John turns towards the ship and moves at a steady pace, eyes
roving.

228 EXT. THE CHAYKA - THE DECK - NIGHT 228

 john-wick-2015 91.

Surrounded by crewmen and security personnel, the Captain

watches the explosion, his eyes wide.
CAPTAIN
My... God.
CREWMAN #1
What do we do?
CAPTAIN
I-
POP! POP! POP! POP!
The sound of a pistol echoes up past them.
CREWMAN
Captain... he’s coming.

229 EXT. THE DOCK - THE CHAYKA - CONTINUOUS 229

With his pistol held in both hands -soaked to the bone- John
strides towards the boat’s entryway, dropping five guards
with two perfectly-placed shots apiece.
He ejects the spent clips, slaps in a replacement, drops to a
knee, and fires off six shots at the two gunmen as they round
the corner, dead before they hit the ground.
John drops his pistol, retrieves a submachine gun off a dead
guard, unfolds the stock, presses it to his shoulder, and
enters the ship.

230 INT. THE CHAYKA - THE CAPTAIN’S CABIN - NIGHT 230

With a trembling hand, Iosef pours himself a drink, staring
at the door...
...from behind which is heard the sound of sheer,
unadulterated chaos: gunfire, screams, and explosions.
Silence.
THUM! THUM! THUM!
CAPTAIN (O.S.)
Open the door, goddammit!
Iosef drops his glass, and unlatches the door.
The Captain stumbles into the room, leaning heavy against his
desk, pausing to take a swig of whisky, blood trickling down
 john-wick-2015 92.

from his forehead, his left arm limp at his side.

The Captain reloads, reaches into his drawer, finds a snub-
nosed .38, and tosses it to Iosef.
CAPTAIN (CONT’D)
Do you know how to use that?
IOSEF
Yes, sir.

CAPTAIN
Good. Follow me. And if you shoot me
in the back, I’ll be the one to
fuckin’ kill you.
The Captain swings open the door, and -with his pistol in
both hands- enters-

231 INT. THE CHAYKA - A CORRIDOR - CONTINUOUS 231

-bodies lay everywhere.
Gunshots ring out.
A number of panicking crewmen flee the ship.
Iosef stays close to the Captain, his sweaty hands clinging
to the pistol. As the Captain rounds the corner-
-commotion-
-as he and John collide.
SLOW MOTION...
...as John looks past the Captain, his eyes locking onto
Iosef...
...who -panicking- raises his pistol, and FIRES-
BACK TO SCENE
-hitting the Captain in the shoulder.
CAPTAIN
You piece of shit, motherfucker!
Iosef turns and flees...
...as the Captain and John disarm one another.
 john-wick-2015 93.

The Captain roars -in pain and anger- driving a fist into
John’s side, breaking ribs. He follows through with a wild
left, but John avoids it, slapping it aside, the Captain’s
forward momentum sending his fist to SHATTER again the iron
wall of his ship.
The Captain howls, wrapping his arms around John, crushing
him...
...and as consciousness begins to fade...
...John’s teeth close around the captain’s nose, cleaving it
from his face.
Stunned, the Captain releases John who kicks out his knee,
moves behind him, wraps his arms around the wounded man’s
head, and SNAPS his neck.

232 EXT. THE CHAYKA - THE DECK - CONTINUOUS 232

Iosef emerges from the lower deck, firing back into the
darkness as tears roll down his face.
A beat...
...and John emerges, the very visage of death: his chest
etched with bullet wounds, blood trickling down his face,
wet, dirty, wounded, pale, and yet...
...unstoppable.
John moves at a steady pace, the gun in his hand at his side,
arm limp.
Iosef sprints towards the far end of the ship, and climbs up
the ladder towards the pilothouse.
John follows.

233 INT. THE CHAYKA - THE PILOTHOUSE - CONTINUOUS 233

Overlooking the entire ship’s deck, the pilothouse offers
little in the way of escape.
Instead, Iosef now finds himself trapped.
He searches the desk and finds a LETTER OPENER which he
yields like a knife, turning...
...as John enters the room.
Silence.
 john-wick-2015 94.

IOSEF
Well, come on, muthafucka! LET’S
DANCE! YOU AND ME!
A beat... and John raises the pistol, and fires off his last
round, punching a hole in the glass.
Iosef grins, laughing as John drops his weapon.
IOSEF (CONT’D)
You missed, bitch!
JOHN
No. I didn’t.
John surges into Iosef...
...whose hand comes down with the letter opener. John catches
his wrist, and snaps it as his right hand darts up,
constricts around Iosef’s jaw, cracking it in two...
...lifting him from with the ground...
JOHN (CONT’D)
(growls)
For Moose.
...and hurling him through the pane of glass which EXPLODES.

SCREAMING, Iosef tumbles end over end, his body slamming into
chute from which grain continues to pour, the hull close to
full.
Iosef cartwheels over it and lands half-in/half-out of the
hull, SNAPPING his back, as around him...
...grain piles higher...
...as he sinks.
IOSEF
NO! HELP ME! NO! N...
(fading)
While his legs remain on deck, his upper torso sinks
slightly, the grain covering his face, muting his screams...
...as he suffocates to death.

234 INT. THE CHAYKA - THE PILOTHOUSE - CONTINUOUS 234

John stares down at him for a long moment, turns...
 john-wick-2015 95.

...and leaves.
FADE TO:

235 EXT. A CITY STREET - ESTABLISHING - NIGHT 235

Silence as a soft snow begins to fall.
A beat...
...and a sedan rounds the corner, takes it too wide, and
crashes.

236 INT. A SEDAN - CONTINUOUS 236

Perched behind the wheel with his head down, John groans,
leaning back as snow wafts through the door’s broken side
window.

237 EXT. A STREET - CONTINUOUS 237

John pulls himself out of the vehicle, stumbles a few feet,
enters-

238 EXT. AN ALLEY - CONTINUOUS 238

-leans heavy against the wall, and slides into a sitting
position.
John Wick looks to be on death’s very doorstep....
...however...
...death will not take him.
With an almost frustrated/irritated groan John pulls himself
to his feet, and staggers down the alley.

239 INT. A VETERINARIAN’S OFFICE - NIGHT 239

Small, simple, and clean.
A beat... and an elbow is driven through the door’s window.
John reaches in, unlocks the door, opens it, enters, and
closes it behind him.

240 INT. A VETERINARIAN’S OFFICE - A SUPPLY CLOSET - NIGHT 240

 john-wick-2015 96.

John grabs an empty box and begins filling it with

instruments, medication, bandages, and the like.

241 INT. A VETERINARIAN’S OFFICE - THE BACK ROOM - NIGHT 241

John enters to find an empty room...
...save a single YOUNG DOG -a mutt of no distinguishable
breed, three years old- who sits staring at him, offering
little more than a tilt of its head.
John strips and -using the hose attachment- rinses his body
clean: the damage is extensive with cuts, bruises, and three
bullet holes (one in his shoulder, one his side, and one in
his chest).
John studies the bullet wounds.
JOHN
(mutters)
Through and through... through and
through...
However when he gets to the one in his chest-
JOHN (CONT’D)
Buried deep.
(sighs)
Fuck.
John swallows a handful of pills, clenches his teeth, and -
using a pair of needle nose pliers- reaches into the wound,
searching...
...until he finds the bullet which he pulls free.
John cleans the wounds with disinfectant, applies a number of
pads/bandages, and studies himself in the mirror: he is a
complete and total wreck... but alive.

242 INT. A VETERINARIAN’S OFFICE - THE SUPPLY CLOSET - NIGHT 242

Searching, John finds some surgical garb; thin pants and a
shirt which he slips into.

243 INT. A VETERINARIAN’S OFFICE - THE BACK ROOM - NIGHT 243

John takes a jacket off of the rack, tries it on -too small-
moves on to the second one, and it fits. John flicks off the
light, and leaves the room. A long beat...
 john-wick-2015 97.

...and John returns, turning the light back on. From across
the room, he stares at the young dog, studying it.
The dog makes no sound, tilting it’s head from side to side.
A beat... and John walks to the cage, removing the clipboard
from its side, reading it: we can see that the dog is
scheduled to be put down tomorrow.
JOHN
Miko, huh?
Miko replies with a tilt of her head-
JOHN (CONT’D)
That’s quite the name.
-and a paw pressed to the side of the cage.
John smiles, places the clipboard on top of the cage, and
opens its door.
Miko doesn’t move.
JOHN (CONT’D)
Are you coming or not?
A beat... and Miko leaps down onto the floor, tail wagging.
JOHN (CONT’D)
That’s what I thought.
John takes a leash off of the wall, and clips it to Miko’s
collar.
JOHN (CONT’D)
Come on. Let’s go home.

244 EXT. AN ALLEY - NIGHT 244

John and Miko emerge from the Veterinarian’s Office and walk
out into the snow...
...disappearing into the night.
FADE TO:

245 EXT. THE CONTINENTAL - ESTABLISHING - NIGHT 245

246 INT. THE CONTINENTAL - THE KITCHEN - CONTINUOUS 246

 john-wick-2015 98.

With his arm in a cast, DAVID makes his way through the
kitchen, his expensive suit freshly pressed.

247 INT. THE CONTINENTAL - THE KITCHEN - DRY STORAGE - NIGHT 247
David enters dry storage, makes his way to the back, and
walks down the staircase.

248 INT. THE CONTINENTAL - THE SUB-BASEMENT - NIGHT 248

As he approaches the door, he searches his pocket for a gold
coin, finding one. He slips it into the slit in the door. A
long beat...
...and down below, it clatters out into a small receptacle.
WINSTON (O.S.)
Mr. Perkins...
...over his shoulder, we see Winston emerge from the shadows
behind him, a silenced-pistol held steady in his hand.
WINSTON (CONT’D)
...your membership to the
Continental has been -by thine own
hand- revoked.
THUMP! THUMP!
CUT TO: BLACK
Silence.
The sound of a key slipped into an ignition.
It turns, the engine roaring to life, tires squealing.
FADE IN:

249 EXT. AN ABANDONED AIRFIELD - DAY 249

The sleek, clean, black as night, 1969 Ford Mustang ‘Boss
429’ sprints down the tarmac as inside...

250 INT. THE MUSTANG - CONTINUOUS 250

...Miko holds her head out of the open window, her eyes
narrowed, mouth open, and tongue flapping in the wind.
John smiles, reaches over, and scratches her on the back.
 john-wick-2015 99.

JOHN
Good girl, Miko... good girl.

251 EXT. AN ABANDONED AIRFIELD - CONTINUOUS 251

The Mustang charges off into the distance.
FADE OUT: