Chapter 1: Scenes from S4E1 "Medium Rare"
Summary:
Paul must stop the new sheriff from bringing law and order to town. Luca's dad shows up out of nowhere for an extended visit. Carter searches the restaurant for a lost item.
Chapter Text
SCENE #1
Int. Unknown Location - Night
Emma Diamond’s first appearance since her brief cameo in S3E1 “An Acquired Taste.”
Close-up on her face. She is sitting alone in a room lit with purple neon lights. She seems to be in a bad way; melancholic, maybe even something worse. Her face is bruised.
The camera pans down to her hands. She is toying with a butterfly knife.
Cut to:
Opening logos.*
*soundtrack: the Rolling Stones’ “Can’t You Hear Me Knocking”
SCENE #2
Int. Cuatro Taco - Day
Carter has been searching for something the whole episode. He finally has found it stuck between two floorboards: his “Day One” AA chip from his days with Sandy.*
He uses a small blade to punch a hole into the piece, ties a string through it, and puts it around his neck.
Cut to:
He sits on the back patio in his foldout chair, contemplating.
Fade to this episode’s closing credits.
*soundtrack: Il Volo & Ennio Morricone’s “Your Love”
Chapter 2: Scenes from S4E2 "Road Kill"
Summary:
Paul and Luca must cook an impromptu meal when they accidentally hit and kill a hitchhiker with the food truck. Carter clashes with town officials.
Chapter Text
SCENE #3
Ext. Desert - Night
Paul and Luca drive on the abandoned highway after a late cookout.* Luca is at the wheel, straining to see in the dark; even the truck’s headlights don’t provide much help. Paul is asleep in the passenger’s seat.
The camera, but not Luca, sees a hitchhiker making his way down the road. As the food truck nears, the old man sticks out his thumb. His walking stick catches on a dip in the ground and he tumbles onto the road. Luca sees him for the first time, slams on the brakes.
Too late! The hitchhiker is struck. Paul’s sleeping body slams against the dash, waking him.
*soundtrack: Dion’s “The Wanderer”
Paul rubs his eyes sleepily. Luca stares at the road, dumbfounded.
PAUL
What’d you do?
LUCA
I just hit somebody.
PAUL
You hit somebody?
LUCA
Yeah, just now.
PAUL
Well, why the fuck’d you do that?
LUCA
I didn’t mean to.
PAUL
Go out and check on him!
LUCA
You go out and check on him!
PAUL
No, you go!
LUCA
Fuuuck that, you go!
Beat.
PAUL
Damn it! We’ll both go.
They exit the vehicle.
SCENE #4
Ext. Main Street - Day
This season, the militant Sheriff Armor (Michael Parks) has replaced the spineless Sheriff Lund. He and Carter have squared off verbally since the first episode. Now, they confront each other in the street for a showdown.*
They stand several yards apart. From the patio of the sheriff’s office, the not-so-jolly old mayor and his cohorts watch. They recruited Armor specifically in the hope that Carter would be destroyed.
The camera frames
*soundtrack: Ennio Morricone’s “The Big Gundown”
In a flash, they both draw. Carter is milliseconds faster. Armor squeezes off a shot, but it goes wild. Carter fires with both guns, and twin holes appear in Armor’s chest.
Armor looks down, dazed.
ARMOR
(mumbling)
How the hell did that happen?
A gust of wind blows the hat off his head like a crown falling off a king. He collapses onto his back.
Carter turns and faces the mayor. He spreads his arms wide.*
CARTER
SEND ME ANOTHER!
*soundtrack: John Williams’ “Boba Fett’s Theme”
Terrified, the mayor and his men say nothing. Carter holsters his guns, walks down the street, and calmly speaks unheard words to Armor’s horse. The horse likes Carter and allows him to mount.
Upon the horse, Carter looks up and down the street. Faces peer out the windows of the different businesses and shops.
CARTER
There’s a new sheriff in town, folks. Y’all may as well get used to it.
Chapter 3: Scenes from S4E3 "A Family Recipe"
Summary:
A series of near misses as Mr. Giordano keeps almost discovering his son's criminal life.
Chapter Text
SCENE #5
Int. Cuatro Taco - Day
Luca’s father, Luca Giordano Sr. (Paul Sorvino), has come for a visit. This episode becomes like a more Italian Frasier, with comedic hijinks ensuing as the crew attempt to make Mr. Giordano welcome while also hiding the truth of their criminal lifestyle from him.
Now somewhat suspicious, Luca’s father takes him aside.
MR. GIORDANO
Luca, tell me the truth. How you doin? You doin okay? You seem tense.
LUCA
Tense? No, what tense? Forget about it.
MR. GIORDANO
(gently snapping his fingers)
Hey hey, don’t you “forget about it” me. Now c’mon, I’m your father. What’s eatin you?
LUCA
Eatin me? No, Pop, forget about it—
MR. GIORDANO
(snapping stricter)
Hey, hey! What did I just say?
SCENE #6
Ext. Main Street - Day
Carter patrols on horseback. As he reaches the edge of town, a Greyhound bus is just pulling away from dropping off a single person. He watches her walk past.* Recognizing her, he clicks his tongue and the horse turns. He follows her from a distance. She approaches the real estate office. The door opens and she is greeted by the old man who works there. They share a greeting and a laugh, and he reenters the building, leaving the door open for her.
Carter dismounts and approaches.
CARTER
Emma Diamond!
Emma turns. They lock eyes. Carter starts to grin. She does too.
Cut to this episode’s closing credits.
*soundtrack: Nancy Sinatra’s “These Boots Are Made for Walkin’”
Chapter 4: Scenes from S4E4 "Queen of Diamonds"
Summary:
The legendary Emma Diamond has decided she wants to build a casino down the road from Cuatro Taco. The crew try to decide if the potential negative repercussions outweigh the positives.
Chapter Text
SCENE #7
Ext. Realtor’s Office - Day
Picks up immediately after the last episode left off. Carter invites himself over to speak with Emma. Their initial dynamic is spiced with the memory of the strange connection they shared in S1E8 “El Paso.”
CARTER
Remember me?
EMMA
Hard to forget the man who saved your life.
CARTER
What are you doin all the way out here?
EMMA
It’s a business trip.
CARTER
Really.
EMMA
I’m my own woman now.
CARTER
Glad to hear that. Didn’t care much for your old man.
EMMA
Me neither. His son was even worse. But my grandma used to say all evil can be exchanged for good. The Moon name is the reason I’ve made it this far.
CARTER
How so?
EMMA
Come inside, you’ll see.
They enter the realtor’s office. The old man is preparing a stack of papers for Emma.
REALTOR
Everything appears to be in order. We’ll just need a few signatures.
CARTER
What is all this?
REALTOR
Miz Moon here has purchased a sizable piece of property just past Main Street, on behalf of her husband.
CARTER
Husband?
REALTOR
And it is a private business deal, sir—
EMMA
He’s fine.
Carter’s demeanor has changed to something firmer.
CARTER
Don’t be so sure. What’s Moon want land out here for?
Emma’s demeanor changes in turn.
EMMA
(lowly)
He doesn’t. I do.
(to the realtor)
Leave us alone for a minute, will you, Harry?
Harry hesitates, but after a moment, nods and enters his office.
EMMA
(whispering)
Listen you stupid sonofabitch, you’re gonna fuck this whole thing up for me!
CARTER
Yeah well, I don’t expect you’ve heard, but I’m kinda the sheriff around these parts now. So to speak.
Beat.
EMMA
Is that true?
CARTER
Ain’t nobody else volunteered since I killed the last one.
Emma considers, decides to trust him.
EMMA
Clarence Moon is dead.
CARTER
The old man?
EMMA
No, his son. My husband. Ex-husband. I killed him.
CARTER
(impressed)
No shit.
EMMA
Maybe you picked up on the fact that they didn’t treat me very well at the Full Moon.
CARTER
Assumed as much.
EMMA
Well, recently it got so bad I decided I wanted out. No… that’s not quite it. I want revenge.
CARTER
Won’t say another word.
SCENE #8
Int. Cuatro Taco - Day
Carter has informed the crew of Emma’s arrival and of her plan to push a building project of Clarence Moon’s forward, in order that she may grow powerful and take her revenge upon his father, Thaddeus Moon.
The crew have begun debating whether this will benefit their enterprise or not.
WONG
We need a female in the crew, we gotta diversify.
LUCA
(forcefully)
Why?
PAUL
Huddle up.
They all get together in a comedic football huddle.
PAUL
Thoughts. Luca?
LUCA
Fuck no.
PAUL
Give a reason.
LUCA
How about a little thing called aggressive expansion? You think it’s luck we’ve made it this far? No one’s around, and the folks who are around are stupid to boot. That is the only reason we’re still functioning out here. It’s no man’s land, literally. We need that.
Paul skips over Carter in the circle.
PAUL
Wong?
CARTER
Hey, what about me?
PAUL
You’re smitten, you get no say.
CARTER
What the fuck does that mean?
PAUL
Wong, thoughts?
WONG
Luca makes a good point, actually. I say no. Bigger town, higher risk, makes sense to me.
PAUL
Roarke?
ROARKE
Um—
PAUL
Never mind, you’re also smitten.
Carter and Roarke glance awkwardly at each other.
SCENE #9
Int. Moon Mansion - Day
A flashback. In the bathroom, Emma looks at herself in the mirror. She holds a butterfly knife in her hands.
She enters Clarence’s office. She is dressed scantily.
EMMA
Hi, baby.
Clarence—ugly, heavyset—doesn’t look up from his desk.
CLARENCE
Busy.
EMMA
Too busy for your kitten?
Clarence looks up. He takes in her outfit, surprised. Emma pouts her bottom lip.
CLARENCE
What is this?
As Emma speaks, she slinks over his desk until she is sitting above him, her legs straddling his chair.
EMMA
I’ve been thinking about what you said. Maybe you’re right. Maybe I haven’t been a good wife to you. Maybe… if I just tried to like you, then eventually… I really will.
Clarence gulps. Emma leans forward.
EMMA
Will you help me try, baby?
CLARENCE
(overcome with lust)
Yes, absolutely, I—
A red line appears on his throat. Emma has just cut it. She watches him gurgle and choke on his own blood.
EMMA
(mocking)
Uh-oh. Kitten grew claws!
One of Clarence’s fat hands goes to his throat. The other scrambles for his top desk drawer, probably seeking a hidden weapon. Emma shoves the knife into his cheek.
EMMA
You are not worthy of me. You are not worthy of so much as being turned into dog food.
She yanks the knife, tearing a whole in Clarence’s face. He topples backward in his chair.
SCENE #10
Int. Cuatro Taco - Day
Carter and Roarke sit together. Emma is in the cantina, across the room, talking amicably with Marla.
ROARKE
So. What do you think of her?
CARTER
Tryin not to, man.
ROARKE
Yeah…
(beat)
Do you trust her?
CARTER
No. But I trust her anger.
ROARKE
(confused)
Her anger?
CARTER
Roarke, that is a woman out for revenge on the entire world. Therefore, her motivations could not be more clear. Therefore, she can be trusted insofar as those motivations remain consistent.
Beat.
ROARKE
You’re terrifying.
CARTER
I try.
Chapter 5: Scenes from S4E5 "Worse Jams Than This One"
Summary:
The crew must act fast to move the bones of their victims before an unwitting construction crew digs them up.
Chapter Text
SCENE #11
Int. Cuatro Taco - Night
Luca is in the back room. Paul enters. He has just found out that the location of Emma Diamond’s planned casino happens to be right in the spot of desert where he and Luca have buried their victims’ bodies.
PAUL
Bad news. Remember all those guys we sent to Belize?
LUCA
…Yeah?
PAUL
We have to reroute their flights to…
(clearly grabbing at straws)
Venezuela… instead.
LUCA
(bewildered)
Venezuela?
PAUL
Yeah.
Beat.
LUCA
All of them?!
Hard cut to:
Ext. Desert - Night
The whole crew marches to the building site with shovels and other gear.* Under the moonlight, one can just manage to see where the cones and signage have been placed to block off the area.
They begin digging up the bodies and heaving them out of the ground in time with the music. Even with bandanas covering their faces, the stench is awful. Everyone gags and wretches intermittently.
At one point, Carter pauses, studying a corpse’s wound. It’s a gaping hole in the torso, but looks nothing like a gunshot. It’s too deliberate, almost as if someone cut out a chunk of the man in a twisted kind of surgery.
He snaps out of it and continues working.
*soundtrack: Ennio Morricone’s “Rabbia e tarantella”
The crew haul all the bodies further into the desert and re-bury them.
Chapter 6: Scenes from S4E6 "Pronounced Kee-On-Tee"
Summary:
Emma Diamond's casino project attracts the attention of the Mexican, Italian, and Japanese mobs. Paul and Luca see an opportunity to expand their own criminal enterprise.
Chapter Text
SCENE #12
Ext. Desert - Day
Time-lapse of the casino being built.*
*soundtrack: Ennio Morricone’s “The Ecstasy of Gold”
SCENE #13
Int. Casino - Day
Emma Diamond’s casino hotel has plenty of space and she has graciously offered for Luca and Marla to stay. The previous scene’s time-lapse stands for a bigger narrative jump than the show has yet seen: Marla, who was pregnant at this season’s start, has had twins.
Luca, Carter, and Roarke are lounging in the lobby. Luca holds his infant son, Luca III, who is crying incessantly.
LUCA
Talia goes right to sleep. Not my boy. He’s a fighter.
ROARKE
So we hear.
LUCA
Don’t worry. Watch this…
CARTER
Got some I-talian lullabies up your sleeve, Luca?
Luca looks at him pointedly, then starts to sing.
LUCA
The sun is sinking in the west
Carter immediately recognizes the song, and is shocked.
LUCA
(looking down at his son)
The cattle go down to the stream
The redwing settles in her nest
(glances at Carter)
It’s time for a cowboy to dream
Carter grins. Emma enters.
LUCA
Purple light in the canyon
That’s where I long to be
With my three good companions
Just my rifle, pony, and me
CARTER
Gonna hang my sombrero
On the limb of a tree
(winking at Emma)
Comin’ home sweetheart darlin’
(she smiles)
Just my rifle, pony, and me
ROARKE
Whippoorwill in the willow
Sings a sweet melody
Ridin’ to Amarillo
Just my rifle, pony, and me
LUCA
No more cows to be ropin’
No more strays will I see
‘Round the bend she’ll be waitin’
For my rifle, pony, and me
ALL THREE
For my rifle, my pony, and me
Luca III has stopped crying. He is asleep.
CARTER
Now where the hell’d a wop learn that song?
LUCA
I’ve seen a few movies too, you know.
SCENE #14
Int. Cuatro Taco - Day
A group of tough-looking Italian guys are customers today: an older man in a gray suit, a big one, and a young one. Roarke approaches to act as waiter.
ROARKE
Welcome to Cuatro Taco! What can I get started for you men?
RIGHT-HAND MAN
The boss is wondering about the gabagool.
ROARKE
Gabagool?
RIGHT-HAND MAN
Gabagool.
YOUNG MAFIA GUY
Gaba. Gool.
ROARKE
I don’t think we have that—
RIGHT-HAND MAN
No gabagool?
YOUNG MAFIA GUY
No gabagool?
ROARKE
Well, I—
Paul rushes over.
PAUL
(clapping his hands together)
Fellas, fellas! Welcome in, how are you this morning?
RIGHT-HAND MAN
Who are you?
PAUL
Paul Aaron, head chef and owner of this fine establishment.
RIGHT-HAND MAN
Owner, huh? Your boy’s tryin to tell us we can’t get no gabagool.
YOUNG MAFIA GUY
No fuckin gabagool.
ROARKE
It’s just, it’s not on the menu—
Paul’s enormous right hand drops onto Roarke’s shoulder: a warning.
PAUL
But we are so honored to have you gentlemen here in Cuatro Taco that are we willing—no, happy—to make you whatever you’re craving, on- or off-menu! Give me just a few minutes. I will personally prepare the finest gabagool you’ve ever munched on.
YOUNG MAFIA GUY
The finest gabagool?
PAUL
The finest.
YOUNG MAFIA GUY
(to the Right-Hand Man)
The finest gabagool.
RIGHT-HAND MAN
(to the Big Mafia Guy)
What do you think?
BIG MAFIA GUY
We’re already here.
RIGHT-HAND MAN
True.
BIG MAFIA GUY
What do we have to lose?
RIGHT-HAND MAN
The boss wants gabagool, he wants gabagool.
YOUNG MAFIA GUY
The fuckin boss wants some fuckin gabagool.
PAUL
And he’ll get it! In the meantime, Roarke will get you fellas some coffee.
Paul returns to the kitchen. Roarke follows.
ROARKE
What the hell’s going on?
PAUL
That’s the Mafia.
ROARKE
What? Paul, I’m pretty sure they’re just Italian—
Paul’s tremendous left hand catches the back of Roarke’s head, impatiently directing his gaze back at the table.
PAUL
Look at that guy’s fucking watch. Look at that guy’s fucking tattoo. That’s the fucking Mafia.
Chapter 7: Scenes from S4E8 "Gun to a Knife Fight"
Summary:
Paul and Carter's deal with the Yakuza goes sour. Luca and the Mafia conduct their own business with Emma Diamond.
Notes:
Fan-casting Tony Jaa as the head Yakuza. (Even though he's not Japanese, the potential "The Raid: Redemption" homages are too good to pass up.)
Chapter Text
SCENE #17
Ext. Yakuza-Occupied Warehouse - Day
Having grown impatient with the negotiations, Paul has opted to attempt his own secret deal with the Yakuza. Carter has come along as a guard.
They follow the Yakuza Boss and his men to the entrance.
YAKUZA GUARD
(to Carter)
You must give up your weapons.
CARTER
Uh… no?
YAKUZA GUARD
You must!
CARTER
Let’s get one thing straight, I “must” do nothin.
PAUL
It’ll be okay.
CARTER
I don’t like this.
PAUL
We’re here on business. Weapons have no place in a business deal.
He looks at the Yakuza Boss pointedly. The boss nods, his respect earned.
Begrudgingly, Carter removes his gun belt, with its four pistols, and hands it over to the Yakuza guard. Next, he takes two semiautomatic pistols from side holsters, ejects the magazines, and drops them. Then he unsheaths the Bowie knife at his hip and drops it. Then he removes his right boot and shakes out a second knife.
The Yakuza boss looks at Paul. Paul shrugs.
Finally, Carter removes his hat, makes a show of digging around in it, and produces a small Swiss Army knife. He drops that, too.
YAKUZA GUARD
(astounded)
Is that it?
CARTER
I think so.
The boss gives them the go-ahead. Just inside, Carter spots another guard: stoic, terrifying. The captain.
CARTER
(clearly out to make trouble)
Hey, who’s this guy?
He waves his finger in the head guard’s face. He doesn’t even blink.
CARTER
Oh boy, he don’t look happy. Yikes.
YAKUZA BOSS
(in broken English)
He doesn’t speak English.
CARTER
That right? Well, then he doesn’t understand words like… cocksucker.
The head guard remains expressionless, but the slightest twitch of a vein in his neck gives him away.
CARTER
Oh, I think he understands just fine.
PAUL
We have a job to do, Carter. Try not to antagonize them.
They are ushered to an old elevator. The boss and two guards head up. The elevator is sent back down for Paul, Carter, and two more guards.
PAUL
(whispering)
If anything does go wrong, how do you feel about five against two?
CARTER
Don’t worry, I’ve got a trick up my sleeve.
Beat.
Paul dares to turn and look at Carter, observing the way he stares unblinking at the elevator door. Paul looks away again.
PAUL
(sighing)
Your trick is a gun, isn’t it?
CARTER
My trick is a gun, yeah.
SCENE #18
Int. Yakuza Warehouse - Day
We have since cut back to the casino to catch up with the rest of the crew, and returned here.
Negotiations have gone sour.
PAUL
(to Carter)
Kill ‘em all.
CARTER
Yeah.
He flicks his right wrist, releasing his derringer, and aims it at the nearest guard. The guards move to retaliate.
YAKUZA BOSS
Whoa, whoa, whoa!
Everyone freezes.
YAKUZA BOSS
(to the guard in question)
I thought you said you got all his guns.
YAKUZA GUARD
I thought we did.
CARTER
That’s my bad, I forgot I had this one.
YAKUZA BOSS
Would you please give it to him?
CARTER
Sure. Apologies.
He hands over the derringer.
YAKUZA BOSS
Is that all your guns?
CARTER
Yes, definitely. Sorry about that.
Negotiations briefly resume.
Later…
PAUL
Now kill ‘em all.
CARTER
Yeah.
Carter flicks his left wrist and his other derringer flies into his hand. He shoots the nearest guard between the eyes. In one swift motion, he steals back his Colt from that guard’s belt, spins on his heel, holds down the trigger, and repeatedly slams back the hammer. The three guards behind him drop in rapid succession.
They are alone, now, but the other Yakuza have no doubt heard the commotion and are on their way. Carter retrieves his gun belt.
PAUL
You’re the genius, what’s your overview?
Carter studies the room. Three of the four walls have doors at ground level. Above them is a catwalk with a door on either end. He indicates the ladder leading up to the catwalk.
CARTER
Well, we wanna take the high ground, right, so let’s put the biggest gun up top.
PAUL
Got it.
They both move at once.
PAUL
Where do you wanna be?
CARTER
Where’re you goin?
PAUL
What are you talkin about?
They stop.
CARTER
Look, you are a big guy, you are not the big gun.
Paul actually chuckles.
PAUL
Dude, don’t be jealous.
CARTER
The word is “truthful.” I’m truthful about bein a badass.
PAUL
Fine. You go up top, I’ll draw ‘em in.
CARTER
No, don’t stay down here—
PAUL
Look, you have a spot, we’re fine.
CARTER
—it’s the kill box, Paulie, this is where you’re gonna die.
Just then, Yakuza burst in from all entrances, surrounding them. They are armed with guns and katanas. Paul and Carter stand back-to-back. Paul kicks one of the dead guards’ rifles into his hands.
Beat.
Carter clicks the hammers back on his pistols. The Yakuza charge. Chaos ensues. Paul and Carter fire with expert precision, dodging and ducking when necessary, occasionally struck or sliced but not fatally. When Paul runs out of ammo, he steals a katana and uses that instead. Carter manages to kill two men with Uzis and uses them to demolish the rest of the guards.
CARTER
(breathing heavily)
Fun, right?
PAUL
Barely an inconvenience.
Just then, a door flies open and the head Yakuza guard enters. Even Carter is not fast enough on the draw—the guard leaps over to him and knocks him unconscious.
Now the head Yakuza and Paul face off with swords. Their duel is intense and brutal, filmed mostly in one impressive spinning take. The take is broken once for Carter to regain consciousness and rise to a sitting position, only for the Yakuza to kick him back down again.
During the battle, Paul is stabbed in the left shoulder and the sword pulled so that his arm is nearly cut clean off. But he manages plenty of mortal wounds on the Yakuza as well, and finally, perhaps even by luck, knocks away his weapon and stabs him right through the stomach.
PAUL
I hope you do understand English, so that you may know… I am going to use your intestines for hotdogs.
With this, he uses his one good arm to gut the head Yakuza, whose insides spill out. He collapses with a dying wheeze.
Paul kicks Carter awake.
CARTER
(rising, dizzy)
You good?
PAUL
Good? Are you blind?
He gestures at his left arm, which seems to be hanging by a few meager tendons.
PAUL
I can’t lose this arm! I’m a chef! I need both my arms!
CARTER
Calm down, let’s just…
(he bends, retrieves his hat)
…let’s find some duct tape.
SCENE #19
Ext. Yakuza Warehouse - Day
Roarke drove Paul and Carter there. He sits in his muscle car with the radio on, singing to himself.*
The camera holds on him. In the background, Paul and Carter can be seen sprinting out of the warehouse with several Yakuza hot on their trail. They are shouting, imperceptibly at first, but it becomes clear as they get close.
CARTER
…start the fucking car!
With his good hand, Paul tears open the car’s passenger door, ripping it right off the hinges. He and Carter leap inside.
ROARKE
What the fuck?!
PAUL AND CARTER
Drive!
Roarke slams on the gas and the car peels away from the warehouse.
*soundtrack: “Love Grows (Where My Rosemary Goes)”