Two Wolves (2017) Movie Script

(ethereal ominous music)

- [Decker] Is the car there?

This shouldn't take long.

Keep your eyes open.

This is Olivier

we're talking about.

He's not to be trusted.

- [Sasha] What do

you want me to say?

- You understand?

- No.

- They know, Sasha.

- So.

- [Artemis] You have no idea

what these people

will do to you.

- I don't care.

- I care.

These people.

(soft delicate music)

I'm sorry.

(dramatic orchestral music)

I am.

I have to.

- It all meant nothing.

Everything you said.

Wow.

(soft folk music)

Fine.

Just leave please.

- [Artemis] I'm

trying to protect you.

- Yeah, I don't need

your protection.

I can protect myself.

You're giving up on us.

- It's the only way.

- No, it's not.

Fine.

Just leave.

Just leave, just

leave, just leave,

just leave, just leave.

- [Decker] Don't you think

it's time you let her go?

(soft dramatic music)

(phone ringing)

- Anything?

All right, stay on.

As soon as you hear

anything you call me,

you understand?

Time is of the essence.

Calling someone?

It's about time to let that go.

It's been long enough.

Besides you got more

important matters

to deal with right now.

Where's Decker and your team?

- Out of the country.

- You sure about that?

Decker's been acting

paranoid lately.

- I'm sure about it.

Right here.

Dred's (muffled speaking)

You come with me.

Cash.

(muffled speaking)

Come join the party.

Let's go.

(door slamming)

- What we have here

is a rendezvous.

- How you doing, Max?

You ready to go?

- Hold up a minute.

- What?

- Where you going?

- Why?

- Maybe I want to see

my grandson sometime.

- I'll drop you a postcard.

- I asked you

where you're going.

I deserve an answer.

- I lost all my money.

Lives of some friends

and all I really want,

you said you was gonna

give me back my son, Pop.

(dog barking)

You gotta forgive me.

I just don't give

a damn what you

think you deserve right now.

- Son.

You're not a killer.

You think I'm after him.

You won't be able to stop them.

They'll take him and

we'll never see him again.

- They won't.

- They won't what, take him?

(soft dramatic music)

- You said you was gonna

give him back to me.

You said, "Meet me at my house."

- I know what I said.

- You said--

- I know what I said,

god dammit!

- So what are we doing?

(soft dramatic ominous music)

- So you sure about this?

- Positive.

- Okay then.

No more money, no

more protection.

No nothing.

For you or the boy.

You made your bed

now you lie in it.

(soft dramatic music)

(background murmuring)

(soft orchestral music)

(soft piano music)

- You mad at me?

Still?

I'm talking to you, you hear me?

Hey!

Sit down.

Over here.

(soft piano music)

Hey.

I ain't gonna leave you

there no more, I promise.

I ain't gonna do it no more.

- Promise?

- I promise.

(soft dramatic folk music)

(cars beeping)

- [Olivier] You made your

bed, now you lie in it.

You made your bed,

now you lie in it.

(soft dramatic music)

(answering machine beeping)

- [Man On Answering Machine]

(muffled speaking) punk.

Bring him to me.

(background murmuring)

- Well?

- It's him.

- You sure about that?

- As sure as I am that

the confederate flag

no longer flies

in South Carolina.

(both laughing)

Look, I know this

must be hard for ya.

He's gotta be stopped.

Why don't you and the

boy get out of here?

I'll track him down.

I'll take care of him myself.

- You don't even know

where he is, man.

- I can find him.

- When?

- He can't hide here forever.

- So you're gonna

meet him, alone?

- What else?

Gonna bring Dreds.

- Dreds?

Dreds is a baby.

- He's a sniper.

- He's barely off breast milk.

- He's not that much

younger than you.

- You better bring a

pacifier and a diaper bag,

'cause that boy is

gonna poop in his pants.

- He's the only guy I

can trust other than you.

Plus he's--

- Go ahead.

You can say it.

- He's a better shot.

- You gotta be shitting me.

One time in El Segundo.

Other than that

I've been spot on.

- It was that time.

(laughs) Yeah.

- Seriously, don't go.

Nothing good could come of this.

- I hear you.

(dramatic suspenseful music)

- [Decker] What's

taking him so long?

- Welcome, welcome,

welcome to mi casa.

(rhythmic electronic music)

- Careful.

Good to see you.

Robin.

- Artemis.

- Red.

Decker.

Talk to me.

- So as you know,

Artemis, 10 years ago,

we orchestrated a

coup in South Africa.

We set aside $100,000,000

to help the transition.

- [Artemis] Right.

- We had two of our guys

secure the transfer.

The following morning we

went to retrieve the money.

We found our agent.

- My friends,

dead.

(soft dramatic music)

- This guy tied them up,

took plastic bags and

placed them over their head

and asked him for the money.

And then when they

wouldn't give him the money

he held them until

the passed out.

- And when they finally broke,

and they told him everything

that he wanted to know,

he still killed them.

(soft dramatic music)

That is why

I will not rest until

I find that money.

(bag crinkling)

- Jesus!

(Robin screaming)

Jesus Decker,

what is going on?

- That man is your father.

- We got the boy.

He's secure.

(soft dramatic piano music)

(fire crackling)

(phone buzzing)

(dramatic suspenseful music)

- (muffled speaking), I

shoulda got information.

- She said she has

good information.

But she says a lot of things.

They can't move Max until

tomorrow at the earliest.

- How much you want?

- Two million.

- How much we got?

- How much you need?

- Two million.

Down goes Frasier.

- Let me see what I can do.

- Right.

So what do you want to do?

- Checked all the safe houses.

He's not there.

Talked to everybody I

know, everybody you know,

everybody everybody knows.

Don't nobody know nothing.

I don't know what

we're gonna do.

- [Dreds] Sasha might be

the last chance you got.

- Well that all depends.

Can you put your hands

on two million dollars?

- You gotta be kidding me?

You're gonna actually

give her the money?

I mean that's assuming he

can at least get it first.

It's a waste of time,

time we don't have.

- Can you, Dreds?

- Black folks like

fried chicken.

- Put your hands on

that money, you call me.

- What do you want me to do?

- Put your hands on

everything we've got.

Liquidate it, flip it.

I don't care what

you sell it for.

Turn it into cash, and as

soon as you got the cash,

call me.

- What are you gonna do?

(dramatic suspenseful music)

(men grunting)

(fists thwacking)

- Aw shit.

Ow!

(fist thwacking)

- All you got?

(feet thumping)

(fists thwacking)

(both grunting)

(fists thwacking)

(fist pounding)

(soft dramatic music)

(gun clicking)

- (laughs) Well, well, well.

If it ain't the prodigal son.

You don't look like much.

- I don't think we

should be doing this.

- Shut the fuck up.

Sh!

- Michael!

Hello, Artemis.

Been a long time.

It's taken everything

in my power

not to let these

guys loose on you,

'cause nobody wants

you dead more than me.

- Let me have him boss.

- You heard Olivier.

You can't kill him,

but we can hurt him.

- (laughs) Oh!

(gun firing)

(body thumping)

- (laughs) In here, son.

- They're coming for you.

- Let them come.

- Where is he?

I know you know.

- You don't know shit.

Why would I tell you anything?

They came to your house

and just took him.

(laughs) Like when the little

kids took your lunch money.

(laughs) And Daddy

had to swoop in

and kick they little asses.

- I really wish I

could sit around here

and talk about bedtime stories

and your fucked up

parenting skills,

but I didn't come here for that.

- Then why are you here?

You chose your side.

Stay on it!

Oh, wait a minute.

I got it.

You thought you were

better than good old dad?

Huh?

You with all your ethics

and morality and honor.

All that dumb shit.

Then you jumped your ass

over to the other side

and got your little

heart broken.

Poor sensitive little bitch.

Where was all that morality

when you gave your son to me?

Lower your gun.

Lower it!

- Like it or not,

I'm his father.

- You might be his father,

but I'm his daddy.

- He's my son.

- I raised him!

- You destroyed him.

- I saved him!

- From what?

- From you!

I saved him from you.

You come in here with

your chest all out

like I'm the bad guy.

You federal motherfuckers

have been terrorizing

countries for years.

You're careless.

You're weak.

So is the boy.

He's probably spilling

his guts out right now.

- He don't nothing, man.

- He knows everything.

- He don't know nothing!

- Everything, everything!

Walk while you can.

Walk son.

(dramatic suspenseful music)

- Is that a threat?

- You want it to be?

(muffled speaking)

* Yeah

* What

* I know what time it is

* What time

* Is y'all ready

for this let it go *

* Yeah yeah yeah yeah

* Yeah yeah yeah

(rhythmic upbeat hip hop music)

* Time it is

* Yeah yeah

- We good?

- Black folks like

collard greens?

- What?

- Turnips, ham hocks?

Pig skins?

- Get in the car.

- (muffled speaking) cornbread.

Dressing.

(Dreds laughing)

(hands slapping)

- Is that what I think it is?

(bag thumping)

(zipper zipping)

You know I'm good for it, right?

- From who I took

from you better be.

- Went by and saw

my dad last night.

He don't know where Max is.

He don't know nothing.

I think he was right.

So it's just my last chance.

I appreciate the money.

- It's always about the

cash, right, isn't it?

- Always.

Always.

- I mean,

you know I'm sorry

but no disrespect.

- Mm-hm.

- But you really gonna trust her

with two million dollars?

- I don't see why I got

much of a choice, Dreds.

- You know the streets

of (muffled speaking)

nothing to play with.

- Yeah, I know that.

I trust her.

(Dreds laughing)

What the fuck that mean?

What?

- You know the streets of

(muffled speaking) run together.

- That what they say?

- She helps you

close a couple cases,

that y'all got close.

- What the fuck y'all say

the streets saying, Dreds?

- She helped you close

a couple of big cases

and y'all got close, real close.

So close they had

to blow your cover

and disperse your team.

- Is that what the

streets are saying?

Or is that what you saying?

- I thought you told

me you were the best.

Isn't that what you

said, when I hired you?

I'm hiring the best,

Taz?

- Yes, boss.

He won't get past me again.

- Oh, I know that.

So if you were me,

what would you do about you?

What, tell me.

Fuck it.

(gun firing)

What's wrong?

Look.

(gun firing)

(gun clicking)

This a bitch.

Mm, lucky motherfucker.

Clean up this shit.

- You heard the boss.

Clean this shit up.

Boy, it's a good thing you

got on your best, homeboy.

Hold on.

You alive?

Check his pulse.

(soft folk music)

(fire crackling)

(soft mysterious music)

(engine humming)

(feet pattering)

(speaking in foreign language)

- Did you miss me?

(soft delicate guitar music)

You got the money?

All of it?

Good.

And now you're gonna let it go?

- Why does it always have to

be about the money with you?

(soft dramatic music)

- That's what I thought.

Look for the white angel.

(soft dramatic music)

- Right.

- Artemis.

You never answered my question.

- What was it?

- You know what it was.

- If I said yes would

it change anything?

(soft dramatic music)

(door slamming)

- Yes, it would.

- [Olivier's Henchman]

He's on the move.

- Where's he headed?

- [Olivier's Henchman] Sasha's.

- You sure?

- [Olivier's Henchman] Yes.

- What about the boy?

- [Olivier's Henchman]

Nowhere in sight.

- Did I ever tell

you I was born a god?

It frightened my mother.

My friends, my teachers.

At any moment I could look at

them and they would tremble.

Look dead in their eyes.

I knew when they were lying.

I have that gift.

(suspenseful dramatic music)

Stay on Artemis.

He'll lead you to the boy.

- [Olivier's

Bodyguard] No problem.

- After that go to

that bitch's house

and get me my money.

- [Olivier's Bodyguard] Got it.

- Hey.

Hey.

- Yes?

- Stay close.

(suspenseful eerie music)

- [Man With Black Hair] Yeah,

I want two redheads please.

- Make mine a blond.

- Wait, no scratch that.

Make it a--

- And a puffy nipple.

- Big, big, make it

one blond, one redhead,

big boobs.

- You're serious?

- 18 to 30, hey,

come on, come on.

- We cannot be doing this.

- Yeah, make it your freakiest

girls please if you could.

6810 Aqueduct Avenue,

is that what it is?

- Yeah, Aqueduct.

- Yeah, the big white house.

Yeah, please, please.

Again, your freakiest,

your nastiest.

- This is crazy.

- All right, we'll be waiting.

- This is crazy.

- All right, yeah.

We'll be paying cash.

He'll be paying cash, thank you.

- You should've just

given them our names.

- You know, you're right, man.

I should have, stupid.

- We,

(phone slamming)

they said no one is

to know where we are.

- They're just

hookers, man, come on.

Hey, you gotta calm down.

Hey.

We take this boy tomorrow,

there's no telling

where we're gonna be.

How long we're gonna be there.

Just have some fun, all right?

Hey look, look.

We're gonna get laid tonight.

I don't know about

you, but I am.

You need to.

Just have some fun.

I do this all the time.

(fist knocking)

Yeah see.

- Well, that was fast.

- That's what they do.

Hey, be nice, all right?

Answer the door, be nice.

- I'm always nice.

(soft dramatic music)

- Tony, who is it?

Tony!

Tony, where you at man?

- Gun.

Right.

(soft dramatic music)

(feet pattering)

- Decker.

Hey.

- What are you doing here?

- We need to talk.

- Where's Robbie?

- Something's come up.

- We got him.

- Not yet.

- Then why are you here?

It's not about Olivier.

We have nothing to talk--

- They go the boy.

Okay, they hit the safe house--

- Who?

- And somehow they

got the boy.

- Who?

- They think it's Olivier.

- Shit's never gonna end.

- Just thought you should know.

- Are the two

agents still alive?

- Yeah.

- Then it's not Olivier.

Do we still have

eyes on Artemis?

We gotta move now and

we gotta move fast.

- Okay.

- Get as many guys

as you can.

Make sure that we

can trust them.

- [Cash] Okay, on it.

(soft dramatic piano music)

(car door slamming)

- [Decker] You ready?

- Look I know I ain't

been a good father.

But I'm trying.

I'd do anything for you, man.

And I apologize for

bringing you over

to my father's house like that.

I mean,

I didn't know he was gonna

show you the things

he showed you.

I just,

I didn't know what else to do.

I just tried to do what's right,

and then it just

blows up in your face.

It's like,

people got these wolves

inside of them, right?

Two of 'em.

One good, one bad.

They make us do dumb things.

They just battle, you know?

- Which wolf wins?

- The one you feed.

(soft delicate piano music)

I love you, son.

- I love you too, dad.

- Get some sleep.

- Time to say hello

to an old friend.

(car door slamming)

(intense dramatic music)

(refrigerator door slamming)

(bag crinkling)

- Best thing in the

middle of the night

is a cold drink, right?

(Decker sighs)

Going somewhere?

- No.

(mouth whistling)

- The best thing that

you can do is cooperate.

- Mm-hm.

- Dad, dad!

- [Cash] Decker, got the boy.

(walkie talkie beeping)

- [Max] Let me go!

(body thumping)

- Cash?

(walkie talkie beeping)

- [Cash] Decker, what?

- Find them.

(walkie talkie beeping)

I don't want you.

We've been through this.

I want your father.

- I don't know nothing.

I keep trying to tell

you I don't know nothing.

- I looked up to you.

Cash.

(walkie talkie beeping)

- [Cash] Decker, we've

searched everywhere.

He's not here.

(walkie talkie beeping)

- So, what's it gonna be

because you're either with me

or you're against me.

You and me,

we're gonna go

for a little ride.

(car door slamming)

I got the boy.

- So you got the boy right now.

What about the money?

I'm gonna get that to you.

Where you at?

Text it to me.

I got it.

- You running from me?

(Olivier laughing)

You know, as I was

looking for you,

I ran across the craziest

thing up on top of the hill

at the end of the block.

You know which one I'm

talking about, right?

Yeah.

I ran across a pack of wolves,

howling wolves.

You could hear the

hunger in their sound.

(Olivier howling)

Once you hear it,

once you hear their hunger,

to hear my hunger and my sound.

(Olivier howling)

I'm starving.

I'm hungry.

If I thought for any reason

you were running from me--

- I'm not running from you.

- Good.

Because if I thought you

were running from me,

I would snatch

you by your weave,

snatch your head clean off

and feed it to those wolves.

You got my money?

- I'm on it.

- You're on it.

We hit the safe house, no money,

which leaves me to

conclude you got my money!

- Come on, I don't.

But if you just give me

a little bit of time,

I promise, I'll have it.

- What about the boy?

What about the boy?

- I'll have the boy and

I'll have your money

by sunrise.

- You willing to

bet your life on it?

You willing to bet

your life on it?

See ya in the morning.

(door slamming)

(soft ominous suspenseful music)

(car door slamming)

(phone ringing)

- Cash.

- We got a problem.

- What is it?

- Artemis is off the grid.

- Maybe he want it that way.

- No, he wouldn't go anywhere

without letting me know.

- What makes you so important?

- Because I got all the money.

- All of it?

- All of it.

- Text me when you get close.

(gun clicking)

(engine revving)

(car beeping)

(engine roaring)

- Hey, what's up, homie?

You got a package?

- Why are you talking like that?

- Like what, cous'?

- Stop it.

- Hey, it's cool, it's cool.

Hey, take a chill

pill home slice.

Let's get to business.

- Everything ready?

- For shizzle my nizzle.

- Unlock the fucking shed.

I'm gonna get the

boy out the car.

- On it (laughs).

(soft dramatic

suspenseful music)

(door rattling)

- You gonna lock it?

- What for?

The boy's secure.

- All eyes on the

target till I get back.

Let me talk to T.

- You got it.

(walkie talkie beeping)

- Is Ellie there?

- Not yet, boss.

- Keep an eye out.

It's gonna get a little tricky.

(walkie talkie beeping)

I'm gonna make a little detour.

(walkie talkie beeping)

(feet pattering)

- Anything from Decker?

- Just lost him.

- Yeah, well find him.

- It's Mike.

This is Mike.

(soft dramatic

suspenseful music)

(phone ringing)

- [Sasha] Hey

(muffled speaking).

- I followed him down

here like you said.

He's in trouble.

I think you better

get down here.

(soft dramatic

suspenseful music)

Well?

- [Mike] Still nothing.

- Where's T?

- T?

T!

- I don't like that guy.

- [T] What?

- What the hell are you doing?

- Why?

- [Mike] Come on you two.

- I was checking the perimeter

if that's okay with you.

- I really, really

don't like that guy.

(soft dramatic

suspenseful music)

- The problem with our

agency is the rules.

Can't do anything

without procedure.

But if I can speak frankly,

it just takes too damn long.

And by the time you

finish with protocol,

it really doesn't

matter anymore.

But the good thing is...

(fist thwacking)

(Artemis groaning)

- Here!

- I'm not working for

the agency anymore

thanks to that little incident

at your place.

So make it easy on yourself

and tell me what I need to know

'cause I'm not

gonna ask you again.

(soft guitar music)

- [Woman In Black Jacket]

I thought you said you

were through with that, dude.

- Just give me the gun.

(gun clicking)

I'll take it from here.

You have a nice day.

- Really?

- Yep.

- If you need me

you know what to do.

Bitch.

- I heard you.

(soft eerie music)

- I'm gonna count to five.

One, two,

three,

four.

(dramatic suspenseful music)

Five.

(gun firing)

(suspenseful dramatic music)

- I knew you missed me.

(festive guitar music)

* Hoo

(dog barking)

* Hoo

(Artemis groaning)

(door thumping)

- Mack.

Find your partner.

(leaves crunching)

- Hey kid.

Look, I don't want to hurt you.

But I will.

(soft delicate music)

(muffled singing)

(phone beeping)

(phone ringing)

- Hm, motherfucker.

(gun firing)

Fuck.

(gun firing)

(glass shattering)

(phone ringing)

Where did I put it?

Awesome.

(phone ringing)

Where are you at?

- Just around the corner.

Fuck.

(wind blowing)

- [Woman With Blond Hair] There.

Hi.

- Where are my clothes?

- They're being washed.

- Where's Sasha?

- That's a really good question.

You know, sometimes when

you take an agent out,

you should lay low

for a little while.

- Where am I?

- Safe with me.

- Who are you?

- Who do you want me to be?

- Okay.

What's next?

- Thought you'd never ask.

- Who are you texting?

- Sasha.

You know, you strike me as

a really intelligent man.

But you gotta explain to me

how do you leave your son

with a psychopath like Olivier?

- That psychopath's my father.

He was a good man until

he killed my mother.

Things went bad from there.

- What happened?

- My father was an agent.

He's an insider.

He knows somebody that

gets inside organizations

and tears them out

from inside out.

He's the best.

His last mission,

things got really crazy.

Suicide mission and they

left him there to die.

They sent a clean

up crew to mom's.

My mother,

(muffled speaking) they ran.

Just can't run forever.

So they found us and

she dropped me off on the steps

of a church and disappeared.

- And how do you feel now?

(gun clicking)

Here we go.

(soft folk music)

- So I guess this is a goodbye.

- Where are you going?

- Somewhere far

where they can't find me.

You coming?

- Not yet.

- Right.

You can find Olivier

here and Max.

Be careful, they will

be expecting you.

(soft dramatic music)

See.

It's not always about the money.

- Sasha?

- [Sasha] Mm-hm.

- [Artemis] I will find you.

- I know.

(soft hip hop music)

- Tony.

Unholster your weapon.

- Excuse me?

- Unholster your fucking weapon!

Put the barrel

against nephew's head.

Put the goddamn barrel

against his head!

Now pull the trigger.

Give me the goddamn gun.

Give it to me, give it here.

(gun thumping)

You must be able to

answer the question.

Nephew.

Are we clear?

Am I clear?

- Yes.

- Now where was I?

Right.

There was a shoot out.

Like we're in the

fucking Ukraine!

My son and the rest

of those misfits,

nowhere to be found

and you tell me some agent,

some clown who

claims to be an agent

wants to return

my grandson to me.

All I gotta do is buy

a ticket to the circus

and hand over five

million dollars.

- Boss, we'll handle him.

Rest assured, we got him.

We got this.

- Johnson,

set up the meeting.

Surround the compound.

Leak the information

about the meeting,

make sure all of the

channels are informed.

Draw all the flies to the honey.

- Sir?

- Yes.

- The question.

You said, "You have to know

the answer to the question."

What's the question, sir?

- Set up the goddamn trap!

- I don't like this shit.

(phone ringing)

Change of plans.

Meet me at the gas

station on third.

Black pickup.

You got 30 minutes,

no money, no deal.

- [Johnson] He

changed the location.

He changed the fucking location!

- What do you mean

they changed locations?

- [Johnson] I don't

know what to do!

What do you--

- Hey, hey, hey,

this is not fucking

calculus, huh?

Simple arithmetic.

One plus one equal two.

Does he have the boy?

- [Johnson] Man,

we talking five

million dollars here!

Five million dollars

and he out here playing.

- I'm not to be

fucked with today.

It's simple math.

One plus one equal two.

Does he have the boy?

- [Johnson] You know what?

We should back out.

I'm headed back, that's it.

- Yeah, shut the fuck up.

Just shut the fuck up.

Does he have the boy?

- Yes.

- Then pay him.

(phone ringing)

- [Man On Phone] Clock's

ticking, Mortega.

What's your status?

- I said I'd get the money.

Just need a little

bit more time.

Just till the end of the day.

- [Man On Phone]

You have one hour.

- Hello?

Hello?

- Don't worry.

He'll pay.

- Oh yeah?

- Yeah.

He's crazy, but he loves me.

(engine revving)

Told ya.

(car door slamming)

(soft dramatic music)

(car door slamming)

(soft mysterious music)

(soft delicate dramatic music)

- He good.

He been expecting you.

(soft dramatic music)

(door squeaking)

- I have a gift you see.

I can look right

into a man's eyes

and know when he's scared.

- When you look in my

eyes what do you see?

- Me.

They burned her, your mother.

Took her out on a boat.

Tied a bag over her head.

(soft piano music)

An anchor to her feet.

Dropped her into a lake.

Left her there for days.

I think about that every day.

I think about that.

Every day.

I think about her.

They did that.

And I'm the monster.

Anyone can be a killer, anyone.

- She called for you, my mother.

Day after day after

this she called for you.

I don't understand how a man

can spend his entire life

protecting the country

and can't protect

his own family.

Anything you've ever given me,

the money, the protection,

you gave me 'cause

you wanted to.

I never asked you for nothing.

I'm asking you now, Pop.

I know you know where

he is and if I'da,

if you don't know where

he is you got him.

And I'm asking you,

they're coming for you.

They're coming for you

and it's not to talk, Pop.

(soft dramatic orchestral music)

My son deserves a

chance at a normal life.

- Yeah.

Tomorrow afternoon, my

house (muffled speaking).

It'd be safer there.

Okay?

Okay.

(dramatic jazz music)

(background chatting)

(muffled speaking)

- You almost killed her, Decker.

You don't care.

- I almost killed her?

I'm the one that got shot.

Robbie, I'm right about this.

You'll see.

Did you get what

I asked you to do?

What'd you find?

- You're in way over your head.

- And what did you find?

- It is my duty to inform you

that the agency will

not back you on this.

- You're right,

they won't back me.

- There's a meeting planned.

- Do you have an address?

- [Robbie] There's nothing I

can say to stop you, is there?

- How do you think that

Olivier has stayed two steps

ahead of us the whole time?

If Olivier's Batman

I'll be damned

if Artemis isn't his Robin.

They're working together.

- You make an

accusation like that,

you're going to need proof.

- [Decker] That's

what I'm doing.

So do you have an address?

Call it in, I'm

gonna need backup.

(phone ringing)

- [T] Hello?

(muffled speaking)

- [Robbie] I'm

gonna need you to go

to that rendezvous point.

- [T] Out by the towers?

- Yes, that one.

As fast as you can.

And have units ready.

This could be big.

- Listen.

Hello?

Sh!

(phone ringing)

Something's come up.

I'll be a little late

but I'm still coming.

(dramatic suspenseful music)

(phone ringing)

- Anything?

All right, stay on it.

As soon as you hear

anything you call me.

You understand?

Time is of the essence.

Calling someone?

It's about time to let that go.

It's been long enough.

Besides, you got more

important matters

to deal with right now.

Where's Decker and your team?

- Out of the country.

- You sure about that?

Decker's been acting

paranoid lately.

- I'm sure about it.

Right here.

Dred's clean.

You come with me.

Cash, just get a permit.

Come join the party.

(car door slamming)

(wind whipping)

- What we have here

is a rendezvous.

(birds chirping)

- How you doing, Max?

You ready to go?

- Hold up a minute.

- What?

- Where you going?

- Why?

- Maybe I want to see

my grandson sometime.

- I'll drop you a postcard.

- I asked you

where you're going.

I deserve an answer.

- I lost all my money.

Lives of some friends

and all I really want,

you said you was gonna

give me back my son, Pop.

(dog barking)

You gotta forgive me.

I just don't give a damn

what you think you

deserve right now.

- Son,

you're not a killer.

If they come after him,

you won't be able to stop them.

They'll take him and

we'll never see him again.

- They won't.

- They won't, what?

Take him?

(soft dramatic music)

- You said you were gonna

give him back to me.

You said me at--

- I know what I said!

- You said--

- I know what I said,

goddammit!

- I doesn't mean anything.

- You're right.

It means everything.

- We're going in.

Now.

Send everyone.

- Take him before

I change my mind.

Go on, son, get out of here.

(soft dramatic music)

- [Artemis] Let's go.

(muffled speaking)

- Go get the truck.

- They coming?

- Fuck it, go get my boy.

- Go, go, go, go, take him!

(suspenseful dramatic music)

(engine revving)

(tires squealing)

(gun firing)

- Dreds, cover me!

(guns firing)

(helicopter blade whirring)

- [Police Officer] This

is the (muffled speaking).

Drop your guns.

(cops yelling)

- What the fuck are they doing?

You okay?

- Yeah.

- What the fuck was that?

You shooting at me?

- Don't you know I'm

willing to do anything

and everything for Max?

- That makes two of us.

They're shooting at Max.

They're shooting at him.

- I know what the

fuck they're doing.

- Don't push me, Pop.

I swear to God, don't push me.

- Think about what

you're saying.

How far are you willing to go?

- As far as you want to go.

- This motherfucker

hung up on me.

Motherfucker, I

will bury your ass!

(phone ringing)

- Artemis.

- We need to meet.

- Sasha's MIA.

Cash and Dreds are in prison.

And your dad wants you dead.

So you really don't

have anyone left.

- Bakersfield, farmhouse.

Come alone.

(car horn honking)

(hay crunching)

You alone?

- You'd know if I wasn't.

- I need four things from you.

One, let Cash go.

That's two.

Three, get your tail off of me.

- What do I get for this?

- My father.

- How do I know that

I can trust you?

- You don't.

(both laughing)

- Artemis.

- You can trust me, Decker.

(Decker sighing)

- Don't fuck with me.

The way that I see it I

still owe you a bullet.

- You never asked me

what the fourth one was.

Time will come

where I'm gonna need you to

help me find an old friend.

(soft delicate guitar music)

Can you do that for me?

- We had him surrounded.

I don't know how the

fuck this dude got away.

- Where is he now?

- Nobody seems to know.

(phone ringing)

- [Artemis] Last chance.

- Fuck me.

Deal.

(water splashing)

(bottle squeaking)

(alcohol splashing)

(phone ringing)

- [Dreds] Yo, this is Dreds.

- Yeah, I'm sending

nephew to pick you up.

- [Dreds] Pick me up (laughs)?

Which you mean pick me up?

- Last chance to save yourself.

He'll be there shortly.

Get in the car.

- You don't even know

where I am.

- Negro please.

- [Artemis] Max, stay here.

- [Max] Okay, dad.

- Find Sasha?

- Not yet.

- Why you call me here then?

What are we doing?

- T2 Ortega.

Graduated head of his

class, highly decorated.

Over 10 years of experience.

Two years ago while

working a case in Haiti

his cover was compromised.

Unable to get their hands on him

they captured his brother.

Put him up for a five

million dollar ransom.

Word on the street is that

to get that kind of money

he kidnapped your son

and sold him to Olivier.

During said transaction,

a federal agent was

shot and killed.

That agent was Ray.

- Where is it?

(soft dramatic piano music)

- A little advice,

from a friend.

Let it go.

You have everything

you need now.

Let it go.

(soft dramatic music)

- I don't know how you keep

a lady (muffled speaking).

If I ever tell 'em what

I do, forget about it.

They're gone,

right out the door.

- Tell 'em you're in

finance, that's what I do.

- Right, right, I'm

an investment banker.

I'm an investment banker.

- Man, what in the

fuck is y'all doing?

- Oh fuck.

- Did y'all secure

the damn perimeter?

Well?

This motherfucker

could be anywhere.

Hey, go left, man.

Come on, let's go.

Go right.

- All right, hey,

take it easy.

- Go away.

Take your ass right.

Trying to get me

killed out here.

They pay me for this shit!

God damn, I forgot to

check the fucking gate.

(gun clicking)

- Son.

There's a bullet pointed

at your head right now.

If you even breath,

that bullet will

stop your heart.

You know me, son.

And you know how

I feel about Max.

- I know how I feel

about him too, Pop.

- Son, you can't protect him.

You know that.

Last chance.

Where is he?

(Olivier sighing)

Look, give him back.

I promise I'll let

you walk out of here.

- No, you won't.

(soft dramatic music)

- You're right.

I won't.

Goodbye son.

(gun firing)

- Goodbye dad.

(soft dramatic orchestral music)

(sirens blaring)

(intense dramatic music)

- Shoot them!

(gun firing)

Hey!

(guns firing)

Fuck!

(sirens blaring)

- Decker.

- Artemis.

- See you got your job back.

- I got a promotion.

- (laughs) Is that right?

- That's right.

You know, when I

asked for Olivier,

I didn't mean in a pine box.

- I lived up to my

end of the bargain.

- I'll deliver on mine too.

- I'm waiting.

Find her.

(soft delicate dramatic music)

(engine revving)

- Can I ask you a question?

- Shoot.

- How much did you

pay to get me back?

- Get you back?

Shit, they paid me

to take you back.

(both laughing)

- You know, I'm real glad

you came and got me, bro.

- I told you I would.

- It took you long enough.

- Nobody touched you, did they?

You can tell me if they did?

- No.

I'm good.

- Whatever happened to

you before I got to you,

I got you now.

- [T's Brother] What is it?

- Nothing.

It's time for you to go to bed.

- Oh, come on big bro.

- Come on, let's go.

Call it a night, come on.

(soft dramatic music)

- You know, it feels

good to be home.

Goodnight, bro.

- Goodnight.

- You didn't think I'd

forget about you now,

did ya?

- What are the chances

if I promise you'll

never see me again,

you'll let me pass

and go on my way?

- Slim to none.

Slim just took a

cigarette break.

- It's crazy what you'll

do for someone you love.

- [Artemis] Tell me about it.

- [T] I'm sorry.

- [Artemis] Me too.

- [T] Damn.

(fist thwacking)

(both grunting)

(both yelling)

(foot thumping)

(Artemis screaming)

(fist thwacking)

(both grunting)

I said let him go!

But you say no!

Now you do!

(both grunting)

(fists thwacking)

(gun firing)

(dramatic suspenseful music)

- [Artemis] Where you going?

(gun firing)

Where you going?

(gun firing)

Hm, hm?

Where you going?

(gun firing)

(soft dramatic piano music)

(intense dramatic piano music)

(muffled singing)

* Come back come back

* Come back

Two Wolves (2017) - full transcript