|
"Chopsticks" - screenplay by Derek Paterson.
"Chopsticks" - screenplay by Derek Paterson.
FADE IN:
INT. DINER - DAY
A greasy plastic spoon overlooking a busy city street.
GEORGE and MARIANNE, 20s, slide into a booth. He's Irish
handsome with a charmer's smile, she's blonde and pretty.
They look like they've been in a Die Hard movie, his suit's
torn, his lip's split, her dress is ripped, she presses
napkins to her bleeding nose.
A WAITRESS comes to the table. She looks from George to
Marianne, wondering what hit them.
MARIANNE
Cad I hab sub more nabkins?
The Waitress grabs a handful of napkins from another
dispenser. Marianne tilts her head back.
MARIANNE
Dank yoo.
WAITRESS
Rest room's through there if you
want to wash up.
Marianne rises and exits to the rest room.
WAITRESS
Anything I get you? Coffee?
Breakfast? A doctor?
George winces in pain, and spits out a tooth. It bounces
across the table.
GEORGE
Two coffees. Make mine black.
INT. DINER REST ROOM - DAY
Marianne examines her bruised face in the mirror.
She frowns and feels under her armpit. Her fingers come
away slick with blood.
She opens her purse. Takes out a bunch of keys, a silver
compact mirror, a pair of red lace panties, a rattling
bottle of pills, a .38 caliber pistol.
INT. DARK STAIRWELL - DAY
Marianne and George stand back to back. He's holding a
pistol and shooting upstairs, Marianne's shooting
downstairs.
BLAM! A CHINESE GUNMAN on the landing below staggers, hit
in the chest. He collapses leaving a stain on the wall.
INT. DINER REST ROOM - DAY
Marianne counts on her fingers. One.
INT. DARK STAIRWELL - DAY
ANOTHER CHINESE GUNMAN leaps into view, his gun BLAZING at
Marianne.
BULLETS thud into the wall close to Marianne's head. She
shoots back!
The Gunman collapses and tumbles downstairs.
INT. DINER REST ROOM - DAY
Marianne counts on her fingers. Two.
INT. DARK STAIRWELL - DAY
George urges Marianne to descend. All the time he's
shooting upstairs at unseen targets, and they're shooting
back at him, peeling plaster from the walls.
A THIRD CHINESE GUNMAN rises and takes aim at Marianne.
She shoots him through the head, he spins out of sight.
INT. DINER REST ROOM - DAY
Marianne still counting, three.
INT. DARK LANDING - DAY
George and Marianne step over bodies, and duck into--
INT. DARK HALLWAY - DAY
Marianne leads the way, George brings up the rear.
A GUNMAN lurches into view ahead, his gun BLAZING. Marianne
drops to one knee and shoots him twice. He staggers and
falls, dead.
INT. DINER REST ROOM - DAY
Marianne counts, four and five.
INT. HALLWAY - DAY
A door opens and another CHINESE GUNMAN shoots, Marianne
throws herself to one side, slaming off the door frame
(this is where she breaks her nose).
The Gunman and Marianne both shoot at the same time. His
bullet kicks off an explosion of wood splinters that peppers
her side. Her bullet punches a hole through his heart.
He clutches his chest and collapses.
George helps Marianne stand up.
Angry Chinese voices echo through the building. Closing
in.
GEORGE
You okay?
MARIANNE
I hurd by dose.
He takes a handkie from his pocket, holds it to her nose.
She takes it and nods thanks. They hurry along the hallway.
INT. DINER REST ROOM - DAY
She inspects her nose in the mirror.
MARIANNE
Four left in the magazine. You're
only dead when you're out of
bullets. Remember that.
Bleeding's stopped.
INT. JIMMY'S OFFICE - DAY
JIMMY is 50s, a heavyset Chinese with a ravine-like scar
that runs from his hairline to his jaw, cleaver damage.
His desk is cluttered with statuettes, souvenirs, glass
snow globes with miniature landmarks and figures inside,
little wind-up toys.
Marianne sits facing him, clean and fresh and undamaged.
JIMMY
Mr. Wong is a special customer. I
want him to be happy. Thing is,
he's got special needs.
He lights a cigarette. The smoke wreathes his face.
JIMMY
But that's okay because you like
guys like that, don't you?
MARIANNE
Do I?
JIMMY
Don't play coy with me.
He shoves a fat envelope across his desk, pushing a tiny
Statue of Liberty and a clockwork Mickey Mouse aside.
JIMMY
Five grand says you give him the
time of his life. If he wants to
watch you have sex with horse and
a pig, you have sex with horse and
a pig. Got it?
MARIANNE
Is that the kind of guys you do
business with? Animal lovers?
JIMMY
I don't know what he likes, I just
know he likes it kinky. Sammy the
Fish says that's your thing.
MARIANNE
Sammy the Fish... huh.
JIMMY
Is Sammy wrong?
MARIANNE
No.
JIMMY
If Mr. Wong goes back to Shanghai
not happy, some people will be
displeased with me. If that happens
I will be displeased with you.
Tell me you understand.
MARIANNE
Maybe it would help if you drew
pictures.
JIMMY
Sammy the Fish said you got a smart
mouth. We're alone so I'll let it
go. But if any of my people heard
you talk to me like that, I'd
personally cut your tits off.
After that you may find work hard
to come by... though I understand
there are always perverts who like
mutilated whores.
Marianne takes the envelope, slips it into her purse.
MARIANNE
When and where?
JIMMY
Go back to your apartment and wait.
Someone will pick you up. I want
you there no later than ten tonight.
Just do what you're being paid to
do, all right?
Marianne stands up.
MARIANNE
I'll give Mr. Wong the time of his
life. You can depend on it.
JIMMY
Smart girl.
She exits. Jimmy stares at the door, real thoughtful.
INT. DINER - DAY
The Waitress brings two cups of coffee.
GEORGE
You got a phone?
She indicates the payphone.
INT. PAYPHONE - DINER - DAY
George punches a number. RINGING. A CLICK followed by--
MAN'S VOICE (FILTERED)
You're talking to a machine you
dumbass. Leave your number I'll
call you back.
GEORGE (INTO PHONE)
Sammy, where the hell are you?
You said you'd be here dammit.
OUTSIDE THE DINER
A sedan pulls up. SIX CHINESE MEN climb out. The leader
is a man-mountain called IRON FIST PANG. They head toward
the diner, splitting up.
George hangs up and hurries to the rear of the diner.
INT. TOILET STALL - DAY
Marianne sits with her panties around her ankles, examining
her face in her compact mirror.
A TAPPING on the door.
MARIANNE
This one's taken.
GEORGE (O.S.)
We got trouble out here.
INT. DINER - DAY
Iron Fist Pang faces the Waitress across the counter. She
isn't sure what to make of this mountain of inscrutable
muscle, or the two unsmiling men behind him.
WAITRESS
Three breakfast specials?
IRON FIST PANG
A blonde woman. And a man. Where
are they?
Her frightened eyes flick to the empty table. Iron Fist
Pang sees the two coffee cups. His eyes flick to the door
at the back of the diner.
INT. DINER REAR HALLWAY - DAY
Marianne and George run toward the exit, looking back over
their shoulders.
The exit SLAMS open, a grinning CHINESE GUNMAN brings up
his pistol. Marianne kicks the door, it SLAMS his face!
She ducks and George shoots through the door, BLAM BLAM
BLAM!
Marianne wrenches the door open, jumps over the dead
Gunman's body. George turns back--
INT. DINER - DAY
Iron Fist Pang runs at the rear door -- CRASH! -- takes it
off its hinges, barrels inside.
INT. DINER REAR HALLWAY - DAY
Iron Fist Pang holds the door like a shield and charges
like a mad rhino. George's eyes widen--
EXT. DINER BACK ALLEY - DAY
Marianne skids to a stop beside a parked sedan. She tries
the door, it's locked. She pulls out a big nail file from
her purse, POP, the door's open.
INT. SEDAN - DAY
She climbs into the driver's seat, looks back--
EXT. DINER BACK ALLEY - DAY
George comes sailing out the diner's rear exit and lands
in a heap.
INT. SEDAN - DAY
Marianne hot-wires the sedan in record time. The engine
coughs and splutters and turns over.
EXT. DINER REAR EXIT - DAY
Iron Fist Pang throws the broken door away. He looks down
at George, who wonders where the hell he is.
INT. SEDAN - DAY
Marianne looks ahead. Her eyes widen.
EXT. DINER ALLEY ENTRANCE - DAY
Two Chinese gunmen block the alley, armed and ready.
INT. SEDAN - DAY
Marianne slams into reverse and floors the gas!
EXT. DINER BACK ALLEY - DAY
The sedan burns rubber, heading for the door.
Iron Fist Pang's eyes widen--
George sees the sedan coming and scrambles for his life,
but the sedan side-slaps him and he takes another tumble.
Iron Fist Pang leaps back inside an instant before the
sedan SLAMS into the doorway. The trunk springs open.
INT. DINER REAR HALLWAY - DAY
Confusion as Iron Fist Pang and his men are blocked by the
sedan and the open trunk.
INT. SEDAN - DAY
Marianne leans over and throws the passenger door open.
MARIANNE
Get in!
George dives in.
EXT. ALLEY ENTRANCE - DAY
The two Chinese gunmen take aim.
INT. SEDAN -DAY
Marianne licks her lips. George looks at her.
GEORGE
What are you waiting for?
EXT. DINER REAR EXIT - DAY
Iron Fist Pang and his men climb out over the back of the
sedan. His men aim their guns at George.
Marianne rolls down her window. Aims her pistol at Iron
Fist Pang's belly.
MARIANNE
It's me you want. Here's the deal.
You let him go, I stay.
Iron Fist Pang thinks about it... and nods.
GEORGE
There has to be another way.
MARIANNE
If there was, I'd take it.
Marianne dangles her pistol by the trigger guard, offering
it to Iron Fist Pang. He takes it.
Marianne and George reluctantly climb out.
Iron Fist Pang grabs Marianne and his men beat the crap
out of George, kicking him a dozen times. George sinks to
his knees.
MARIANNE
Son of a bitch!
IRON FIST PANG
Mr. Chan wants to see you both.
His signals to his men. They pick George up.
EXT. COUNTRY CLUBHOUSE - NIGHT
Floodlights reveal an impressive property set in the middle
of walled grounds.
INT. LIVING ROOM - COUNTRY HOSUE - NIGHT
Marianne stands at the windows looking out. She wears a
high collared Chinese silk dress. She nurses a martini.
EXT. COUNTRY CLUB HOUSE - NIGHT
Car headlights approach the house.
EXT. COUNTRY CLUBHOUSE ENTRANCE - NIGHT
A big sedan stops and Iron Fist Pang climbs out. He opens
the back door and MR. WONG, 60s, steps out. Wong exudes
power and cruelty. He's accompanied by a YOUNG MAN, also
Chinese, who carries a silver metal briefcase attached to
his wrist by a chain.
INT. LIVING ROOM - COUNTRY CLUBHOUSE - NIGHT
Marianne sips her martini as doors open downstairs and
people enter the house. VOICES speak in Chinese. Then,
RAPID FOOTSTEPS on the stairs.
Marianne turns as Wong, Iron Fist Pang and the Young Man
enter. The Young Man grins stupidly. Iron Fist Pang slaps
the back of his head.
The Young Man puts the case down on the coffee table.
Wong unlocks the chain cuff. Iron Fist Pang and the Young
Man go back downstairs. The Young Man looks back over his
shoulder at Marianne. Iron Fist Pang slaps the back of
his head.
WONG
They told me you were beautiful.
I'm pleased to say they were right.
Marianne bows from the waist.
MARIANNE
I am yours to do with as you will.
WONG
I like a woman who knows her place.
Loosen my tie and take it off.
Marianne loosens his tie and takes it off.
WONG
Don't lose it, we're going to use
it later. Take off my jacket and
hang it up in the bedroom.
Marianne takes off his jacket and exits to the bedroom.
Wong sits down on the couch, makes himself comfortable.
The suitcase attracts his attention. He sits up, turns
the case around, unlocks it and opens it. Whatever's inside
makes him smile.
Marianne enters. Wong snaps the case shut.
WONG
Get me a drink.
MARIANNE
What would you like?
WONG
Scotch rocks.
Marianne goes to the drinks cabinet and pours. She gives
him the glass. He sips it while he stares at her.
WONG
How much are you being paid?
MARIANNE
Five thousand dollars. But I don't
do it for the money.
WONG
Oh? Then why--?
MARIANNE
I do it because I have to.
WONG
Because you have to... interesting.
I don't believe I've heard that
one before. Tell me why you have
to.
MARIANNE
I really don't care to discuss it.
It has to do with an incident in
my childhood.
WONG
You will discuss it because I say
so. Was it a relative?
Marianne hesitates, licking her lips. And then...
MARIANNE
A close family friend.
WONG
What age were you at the time?
MARIANNE
Fourteen.
WONG
And he did what to you?
MARIANNE
He seduced me.
WONG
Does that mean he had sex with
you?
MARIANNE
No, he didn't have sex with me.
Wong stares at her, waiting.
MARIANNE
He kissed me and told me how pretty
I was. He said he couldn't keep
his eyes off me because I was so
attractive.
WONG
How did you feel about that?
MARIANNE
Confused. Flattered. I don't
know. Excited.
WONG
And then...?
MARIANNE
And then he touched me. He drew
me close and hugged me. I still
had my clothes on, it didn't seem
wrong. He'd hugged me before, at
birthday parties, Thanksgiving,
Christmas. When other people were
there.
WONG
But this time it was different.
MARIANNE
This time he didn't let go, and I
didn't want him to. I liked his
warmth. I liked his smell. I
liked the way his fingers moved
slowly up and down my back. I
liked the way he wasn't treating
me like a little girl any more.
WONG
Go on.
MARIANNE
We sat down on a couch and he kissed
me some more. Then he asked me if
I would like to do something for
him. I wasn't sure what he meant
but he brought out this box. It
was full of clothes. Not clothes,
underwear. Silk, satin, lace.
The stuff my mom put on when she
was going out. With one of her
special boyfriends.
WONG
What you're wearing under your
dress now.
MARIANNE
Yes. And there were shoes.
Beautiful high-heeled shoes that
made me look a lot taller, a lot
older.
WONG
Did he ask you to put them on?
MARIANNE
He asked me which ones I liked
best. They were beautiful to look
at and to touch. He stood me in
front of a full-length mirror and
told me how lovely I would look if
I wore them. Then he went
downstairs. I guess he was leaving
the decision up to me.
WONG
The decision?
MARIANNE
I was only fourteen but I wasn't
dumb. I saw how turned on my
mother's boyfriends were when they
lifted up her dress and saw what
she had on underneath. They went
nuts, only she was in control.
Now I had the chance to drive
someone crazy. I had a chance to
be in control.
She shifts the coffee table so she can step in front of
Wong. She puts her hands on her hips and exposes a leg
through the long dress slit. He stares at her, totally
mesmerized.
MARIANNE
I picked out black lace panties
and bra, and seamed silk stockings,
and black heels. When I put them
on and looked in the mirror I hardly
recognized myself. I wasn't a
little girl any more. I was a
woman, ready to please a man who'd
already admitted to finding me
attractive. I opened the bedroom
door, went out into the hall and
walked downstairs, very slowly,
very seductively.
She climbs onto Wong's lap, straddling him. He gulps hard.
She nuzzles against his neck. Wong has problems breathing.
MARIANNE
When I got downstairs I found him
in the kitchen with his wife.
She'd just come in with bags of
groceries. She looked at me,
standing half-naked in her hallway.
Then she started screaming. She
grabbed my hair and dragged me
upstairs, shouting at me, slapping
me and calling me a tramp. He
tried to stop her, tried to calm
her down, but it was too late for
that. She took me into the bedroom,
threw me onto the bed, took off
her belt and started whipping me.
She was crazy, crazy fucking
bonkers. I thought she was going
to kill me.
Marianne picks up Wong's tie and circles it around his
neck. She pulls it tight. He chokes but doesn't pull it
off. She closes her eyes again and whispers into his ear.
MARIANNE
And that was when I saw him in the
doorway, watching. His hand was
down inside his pants. That was
when it happened. His beautiful
wife was beating me, her leather
belt was slapping against my thighs,
my belly, my breasts, leaving hot
red welts. Her husband was gasping
and leaning against the door frame,
hardly able to stand up. Everything
suddenly burst inside my head and
I was in Heaven. And that was the
day I became a whore.
She stops, opens her eyes. Wong sits absolutely still,
eyes open, staring at a point above her head.
MARIANNE
Holy shit.
INT. ROMANO'S OFFICE - DAY
ROMANO is big, dangerous, 50s. He's eating a roast beef
sandwich while LUCILLE, a barely legal but well-endowed
redhead, perches on his knee and smiles.
ROMANO
Think of it a test. You pass,
you're one of my guys.
He's talking to George, some hours before George got run
over and shot at. George is wide-eyed alert and sitting
up straight in his chair, like an eager-to-please schoolkid.
ROMANO
Wha'd'ya think, Lucille? Is George
gonna pass the test?
Lucille frowns, giving the question serious consideration.
LUCILLE
I think George can do anything he
puts his mind to.
Romano scowls. Lucille shrugs, "You did ask."
GEORGE
So I find Veronica and I get your
money and I bring it back here.
ROMANO
That's right, that's all you got
to do.
GEORGE
Can I shoot him?
ROMANO
Why would you want to shoot him?
GEORGE
You said Veronica thinks it's his
money. He thinks that, he isn't
just going to give it up.
ROMANO
You gotta talk to him, make him
see sense.
GEORGE
You really think a six-four, three
hundred pound transvestite is going
to see sense?
ROMANO
If I wanted blood shed I'd send my
boys round. I don't want that.
Veronica and me do business. This
is just a misunderstanding. I
want you to subtract the "miss"
and leave the "understanding."
Okay?
GEORGE
Okay.
George stands up and heads for the door. Lucille gives
him a little wave. Romano slaps her hand down.
ROMANO
'Course, you don't pass the test,
I don't want to see you again.
Ever. You got that?
GEORGE
Okay.
George exits.
INT. WESTERN THEME BAR - DAY
A DRUNK COWBOY sits at the bar, happily smiling to himself
as he waves a finger in time to piped country music. He
picks up a glass, empties it. Adds it to the impressive
collection of empty glasses already lining the bar.
He leans forward to confide in the unsmiling BARTENDER...
DRUNK COWBOY
I like this place. Nice atmosphere.
He reaches into his shirt pocket, pulls out a wad of money.
He peels off a 100 and tosses it onto the counter.
DRUNK COWBOY
Plenty more where that came from.
You bet. Yeah.
He stuffs the wad back inside his pocket. He puts his
hands on the bar, pushes himself up off his stool. Gets
dizzy. He sits down again.
DRUNK COWBOY
One more for the road. Then I'm
outta here. Yeah. Heading north.
Got people waiting for me.
He beckons the Bartender closer. A conspiring whisper--
DRUNK COWBOY
Can't tell you about it. But it's
big. Real big.
He slaps his shirt pocket.
DRUNK COWBOY
Bigger'n this. Bigger'n you and
me. It's too big.
TWO MEN join Drunk Cowboy. He looks from one man to the
other, and smiles. They don't smile back. They're big
and mean, Redneck Mafia.
DRUNK COWBOY
Buy you boys a drink?
REDNECK #1
You're supposed to be on your way.
Drunk Cowboy holds up a set of keys, attached to a lucky
rabbit's foot.
DRUNK COWBOY
Just going. I'm just going.
Redneck #2 puts a six-shooter to the back of Drunk Cowboy's
head, and thumbs back the hammer.
REDNECK #2
You sure are.
Drunk Cowboy has a "Huh?" moment.
BLAM!
INT. CITY STREETS - NIGHT
A taxi cab crawls through late night traffic.
EXT. VERONICA'S PUSSY CLUB - NIGHT
A glossy lap dance joint, the name in pink neon.
The taxi cab pulls up. George climbs out. The DRIVER, an
old black guy who's seen it all before, leans out.
DRIVER
You sure you want to go in there?
GEORGE
Yeah, why?
DRIVER
No offense but you ain't a brother.
I'll keep the engine running.
George heads for the door. Just as he's about to enter he
stops and glances back across the street. A sedan's parked
there with a CHINESE MAN at the wheel, watching George.
INT. BAR - VERONICA'S PUSSY CLUB - NIGHT
Private booths, soft lights and music. A sprinkling of
CUSTOMERS buy GIRLS drinks. Everything goes quiet when
George enters. After a pause they resume their
conversations.
George heads for the bar. BOBBY, 20s, beautiful and aloof,
looks him up and down.
BOBBY
What can I do for you?
GEORGE
I'm looking for Veronica.
BOBBY
You're not his type.
GEORGE
It's business.
Bobby glances at a closed office door. George follows her
look.
BOBBY
He's with some people. He doesn't
want to be disturbed.
GEORGE
I'll wait.
BOBBY
Come back tomorrow.
GEORGE
There's a Chinese guy watching
this place.
BOBBY
The guys in there are Three Finger
Tong. That's why you should come
back tomorrow.
GEORGE
Three Finger Tong. I've heard of
them.
BOBBY
You're lucky they haven't heard of
you. This really isn't a good
time--
A SHRILL WOMAN'S SCREAM comes from behind the door.
George runs to the door and kicks it open!
INT. OFFICE - VERONICA'S PUSSY CLUB - NIGHT
VERONICA, a large black man wearing a blue sequin dress
and a blonde wig, sits behind his desk, held by THREE
CHINESE GANGSTERS. One of them just cut three of Veronica's
fingers off with a meat cleaver.
WHAM, George kicks the door open.
MEAT CLEAVER
Go fuck yourself. This private
business.
GEORGE
I need to talk to Veronica. Do
you mind leaving us alone for a
moment?
Veronica speaks through clenched teeth.
VERONICA
Who the fuck are you?
GEORGE
I'm an associate of Mr. Romano's.
MEAT CLEAVER
You don't get outta here, you dead
meat. No more warning.
GEORGE
I think we should all calm down
and seek a peaceful solution to
this situation.
Cleaver grins at the two guys holding Veronica.
MEAT CLEAVER
You want peaceful solution?
He reaches inside his jacket--
BLAM, George shoots Meat Cleaver through the head. The
other two gangsters claw for their guns -- BLAM, BLAM,
they slide down the wall.
Veronica looks around in disbelief, stares in wonder at
George.
VERONICA
Did I already say who the fuck are
you?
George exits.
INT. BAR - VERONICA'S PUSSY CLUB - NIGHT
The customers and girls are gone, only Bobby's still here.
GEORGE
Ice bucket and a couple of towels.
Bobby gives him an ice bucket, George grabs it and runs to
the office. Bobby grabs some bar towels and follows him.
INT. OFFICE - VERONICA'S PUSSY CLUB - NIGHT
George drops the severed fingers into the ice bucket.
Bobby wraps a towel around Veronica's bloody hand.
GEORGE
I know a guitar player, got his
arm torn off in an auto accident.
They sewed it back on.
VERONICA
Who'd you say you were?
GEORGE
An associate of Mr. Romano's.
VERONICA
Didn't catch your name.
GEORGE
George. I'd shake your hand,
only...
VERONICA
Well George, you just shot three
Triad goodfellas. If I was you,
I'd be thinking about leaving town.
GEORGE
I don't want any trouble with
Triads.
BOBBY
Too late now.
She ties off a neat knot. Veronica inspects the makeshift
bandage and nods thanks.
GEORGE
I just want to talk about Mr.
Romano's money.
VERONICA
Tell Mr. Romano his money is up my
ass, if he wants it he can suck it
out.
GEORGE
I was kinda hoping you'd be a little
more cooperative, seeing as how I
just stopped these guys from cutting
you up.
VERONICA
They weren't going to kill me.
They just wanted to give me a
warning.
BOBBY
Oh man, is that what you think?
VERONICA
Hell do you know?
BOBBY
It's in the name. You're a bad
boy, they cut off one finger. A
real bad boy, two fingers. Three
fingers is 'way past warning.
GEORGE
What were they going to do to him?
BOBBY
You don't want to know.
VERONICA
I want to know.
BOBBY
They were gonna slit your guts
open. That's their trademark. I
never figured why they didn't call
themselves the "Steaming Guts Tong."
VERONICA
Ah, fer cripe's sake... I'm gonna
throw up.
GEORGE
Slit guts is no way for a man to
die. Or a transvestite. So how
about it, Veronica? I'd say you
owe me. What about Mr. Romano's
money?
VERONICA
You'll appreciate I don't have
time to think about that right
now.
The Chinese driver from the sedan across the street skids
to a stop in the doorway, holding a machine gun.
BLAM! George snap-shoots without even looking, punching
the driver out of sight.
GEORGE
Make time.
Veronica and Bobby exchange looks.
BOBBY
You'll get out of here right now
if you've got any sense.
GEORGE
I can't leave without Mr. Romano's
money.
VERONICA
Romano tell you what this is about?
GEORGE
No.
INT. HALLWAY - VERONICA'S PUSSY CLUB - NIGHT
Veronica hurries along, cradling his hand to his chest.
George and Bobby follow, George has the ice bucket.
VERONICA
Romano buys a stake in a deal,
see? I take all the risks, Romano
gets a split of the profits. How
fair is that? Anyway, the thing
is, the merchandise we paid for
disappears. I've got guys out
looking for it--
GEORGE
I don't want you to think I'm being
rude, but Mr. Romano isn't
interested in some story. He wants
his quarter million and he wants
it now.
Veronica stops, George almost runs into him.
VERONICA
He only staked two hundred gees.
GEORGE
Guess he must have added interest.
VERONICA
What you said about that guy lost
his arm, is it true?
GEORGE
Worst guitar player I ever heard,
but he wasn't complaining.
VERONICA
Funny, I know all Romano's guys
but I never saw you before.
GEORGE
I'm kinda new.
VERONICA
The thing is... George... I don't
keep that kind of money here.
That's just asking for trouble.
But even if I did, I wouldn't give
it to you.
INT. STAIRWAY - VERONICA'S PUSSY CLUB - NIGHT
Hurrying upstairs--
VERONICA
I appreciate what you just did for
me, but business is business and
I'm already out a hundred thou' on
this deal. I don't see why I should
lose more than I already have.
You can appreciate that, can't you
George?
GEORGE
Yes I can.
INT. LANDING - VERONICA'S PUSSY CLUB - NIGHT
VERONICA
Plus, what with me not knowing
you, I'm not going to give you a
stale fart never mind a quarter
million bucks.
GEORGE
So what am I supposed to do?
VERONICA
Go back to Mr. Romano and tell him
you don't have his money.
GEORGE
Who does have it?
VERONICA
Now you're just confusing me.
See, nobody has it. It's in a
state of maximized potential.
INT. BEDROOM - VERONICA'S PUSSY CLUB - NIGHT
Veronica empties wardrobes and drawers, throwing clothes
and shoes into a big suitcase.
VERONICA
If it had been delivered when and
where it was supposed to be
delivered, you and me wouldn't be
having this conversation.
He picks out a dress, holds it up, has seconds thoughts
and puts it back, takes another.
GEORGE
The Chinese have a stake in this
too?
VERONICA
Smart boy. Only they didn't send
a nice guy like you who listens to
reason. They sent a bunch'a crazy
guys with meat cleavers.
He closes the suitcase, zips it up one-handed.
VERONICA
Then again, they just wanted their
money back, none of this quarter
million shit Romano's trying to
pull, so I guess they're not all
bad.
He picks up the suitcase.
VERONICA
If you don't mind, I'm going to
get the hell out of Dodge before
someone else shows up.
George passes the ice bucket to Bobby, grabs the suitcase,
throws it onto the bed. He opens it, searches among the
clothes, finds a carrier bag containing bundles of
banknotes. Veronica looks guilty.
GEORGE
How much?
VERONICA
A hundred, give or take. It's my
rainy day fund.
GEORGE
Maybe Mr. Romano won't be so pissed
with me if I bring him something
back.
VERONICA
There is that possibility.
George catches Bobby's worried look. He pushes the money
back into the suitcase, zips it up.
GEORGE
Guess I'm an all or nothing kind
of guy.
Veronica stares at him, stunned. George points at the
door. Veronica and Bobby exit.
George shakes his head at his own stupidity. He follows
them outside.
EXT. VERONICA'S PUSSY CLUB - NIGHT
George watches a CAR carrying Veronica and Bobby drive
away. Bobby waves to him out the window. They disappear
into the distance. George sighs and climbs into his taxi.
INT. TAXI CAB - NIGHT
George stares out the window, deep in thought. POLICE
SIRENS get closer.
DRIVER
Where to now?
GEORGE
I wish I knew.
EXT. COUNTRY CLUBHOUSE - NIGHT
Lights are on inside the house, outside lies in darkness.
INT. LIVING ROOM - COUNTRY CLUBHOUSE - NIGHT
Marianne stares at Mr. Wong, who stares at the ceiling
with unseeing eyes. Mr. Wong has gone to join his
ancestors.
Marianne rests her head in her hands. What's a girl to
do?
Her gaze falls on the silver case. She opens the lid,
looks inside. A cold silver light shines from inside the
case and reflects off her astonished face.
The phone RINGS, Marianne nearly shits herself.
INT. DOWNSTAIRS HALLWAY - COUNTRY CLUBHOUSE - NIGHT
The Young Man picks up the ringing phone. He listens.
His eyes flick toward the stairway. It's for Mr. Wong.
INT. LIVING ROOM - COUNTRY CLUBHOUSE - NIGHT
Marianne stands at the top of the stairs, listening.
The Young Man calls upstairs--
YOUNG MAN (O.S.)
Sir, I apologize for interrupting,
it's an important call for you.
INT. DOWNSTAIRS HALLWAY - COUNTRY CLUBHOUSE - NIGHT
The Young Man stands at the bottom of the stairs, waiting
for an answer. He frowns, puzzled.
YOUNG MAN
Sir, is everything all right?
INT. LIVING ROOM - COUNTRY CLUBHOUSE - NIGHT
Marianne leans back against the wall, closes her eyes and
sucks in deep breaths.
INT. STAIRWAY - COUNTRY CLUBHOUSE - NIGHT
The Young Man reluctantly climbs upstairs.
YOUNG MAN
Sir, an important telephone call,
from Shanghai...
INT. LIVING ROOM - COUNTRY CLUBHOUSE - NIGHT
He reaches the top, and stares. Marianne's down on her
knees in front of Mr. Wong, her head bobbing up and down
on his crotch. Mr. Wong stares at the ceiling in apparent
ecstasy.
Without looking up Marianna raises a finger telling the
Young Man, "Just one minute!"
The Young Man tip-toes back downstairs, grinning.
INT. DOWNSTAIRS HALLWAY - COUNTRY CLUBHOUSE - NIGHT
The Young Man picks up the receiver.
YOUNG MAN
(in Chinese)
Mr. Wong will be with you in a
moment, please be patient.
Iron Fist Pang gives him a curious look. The Young Man
grins and simulates oral sex, sticking his tongue in his
cheek. Iron Fist Pang slaps the back of his head.
EXT. LIVING ROOM BALCONY - COUNTRY CLUBHOUSE - NIGHT
Marianne looks down, searching for a way out.
EXT. BENEATH THE BALCONY - COUNTRY CLUBHOUSE - NIGHT
A GUARD stops and looks around. He lights a cigarette,
throws the match away. Looks up in time to see the
briefcase swing down from above on its chain and SMACK HIM
right in the face. He does a backward somersault and flops
on the ground.
The briefcase lands with a THUD. Marianne drops down onto
soft earth. She checks the Guard, sees he's out cold.
She grabs the briefcase's chain and drags it after her.
Heave, scrape. Heave, scrape.
Marianne ducks down as light suddenly floods the area.
EXT. COUNTRY CLUBHOUSE - NIGHT
A SEDAN moves up the driveway. It stops at the side of
the house, doors open and two CHINESE MEN get out. Iron
Fist Pang exits from the house. The two men are surprised
to see him and instantly respectful. They speak in rapid
Chinese.
Marianne approaches the sedan from behind so they don't
see her. She grips the rear door handle, pulls it. The
CLICK makes one of the men look round. Marianne freezes.
He doesn't see her and turns back to the conversation.
Marianne puts one foot into the back of the car -- and
finds herself looking at a CHINESE WOMAN who looks at
Marianne in shocked surprise. SUZI is a beautiful young
hooker wearing a tight silk dress with diamond earrings.
Suzi looks out the window at the three men, then looks at
Marianne. Her thoughts are inscrutable.
Iron Fist Pang indicates the house, then indicates the
sedan and gestures for the men to GET THE HELL OUT OF HERE!
He turns and stamps back into the house.
The two men exhale with relief. They return to the sedan
and climb in.
INT. SUZI'S SEDAN - NIGHT
CHINESE GUY #1
Who the fuck does he think he is?
SUZI
What's the problem?
CHINESE GUY #2
Someone's using the house. We'll
have to go somewhere else.
SUZI
I'm not in the mood any more.
Take me home.
CHINESE GUY #1
Man, you gotta be kidding me! We
paid you a hundred bucks!
Suzi fishes a wad of green out of her purse and throws it
onto Guy #1's lap.
SUZI
Keep it.
CHINESE GUY #2
We had a deal. You give us what
we want, or else.
SUZI
Or else what? I go missing, Jimmy
will come after you. I tell him
you threatened me, he'll come after
you. So take me home, right now!
CHINESE GUY #1
Bitch!
He starts the engine.
EXT. COUNTRY CLUBHOUSE - NIGHT
The sedan turns around and heads back down the driveway.
INT. SUZI'S SEDAN (MOVING) - NIGHT
Suzi looks out the window, cool and casual. She glances
down at Marianne who is squeezed uncomfortably in the rear
footwell, hugging the briefcase.
INT. MOTEL ROOM - DAY
A black cowboy hat sits on top of a neatly folded black
shirt and jeans. A MAN lies face down on the bed, asleep.
Tattoos over rippling muscles.
PHONE RINGS. He instantly sits up, swings his legs out
the bed, snatches the receiver. Listens, as a voice DRONES.
When he talks, his voice is gravel.
MAN IN BLACK
It's gone up. Fifty thousand.
(he listens)
That was yesterday. When you blew
me off for cheap and cheerful.
(he listens)
Better not wait too long. It's
liable to go up again.
He hangs up. Stands. Heads for the bathroom. PHONE RINGS.
He turns back, picks up the receiver. Listens.
MAN IN BLACK
Uh-huh.
He hangs up, heads for the bathroom, closes the door.
Lying on the bedside table, a pair of guns, a Bowie knife
in a leather sheath, a hand grenade with a neck chain
threaded through the ring.
EXT. MOTEL - DAY
The Man In Black dumps his bag into the back seat of a
black Trans-Am, climbs in, starts the engine, and burns
rubber.
INT. ITALIAN RESTAURANT - DAY
BIG ROCCO, 50s, and three WISEGUYS eat their way through a
mountain of spaghetti and meatballs. Also sitting at the
table, but not eating, is George. His gaze roams the
restaurant, checking everyone out.
BIG ROCCO
That dipshit Mozatti. He's asking
for trouble. Well, he's gonna get
it. Nobody makes a fool out of
Big Rocco.
WISEGUY #1
You go up against him, some people
are gonna be unhappy.
BIG ROCCO
We can take the heat. What about
it, Petey?
WISEGUY #2
I dunno. He's been recruiting.
Street scum, mostly. Turning them
into soldiers. They act like
they're made men.
George's gaze drifts over to a table where a MAN and a
PRETTY GIRL are having an intimate dinner together.
BIG ROCCO
Marty, you bring in muscle from
the other territories. Make sure
they're solid. No connections
with Mozatti or his guys.
WISEGUY #3
Okay. When do you want it done?
The restaurant door opens and a BEAUTIFUL WOMAN, 30s,
enters. She looks around... her gaze touches George, then
finds the couple's table.
BIG ROCCO
When do I want it done? When do
you think I want it done? Get on
the phone tonight. Wake up those
crazy Sicilian cousins of yours
and tell them there's some action.
They'll be over here before you
put the phone down. Hey George.
The Beautiful Woman approaches the couple's table.
GEORGE
Yeah Mr. Rocco?
BIG ROCCO
You're in on this. Pull in as
many guys as you need. I want
maximum security from this moment
on.
GEORGE
Okay.
BIG ROCCO
(to Wiseguys)
George says okay. We're going to
war with Mozatti and George doesn't
bat an eyelid.
The Wiseguys chuckle. George doesn't even notice, he's
watching the drama at the other table...
The Man is shocked to see the Beautiful Woman. She throws
wine over him. He jumps up, grabs her, slaps her. The
Beautiful Woman is helpless in his iron grip. He hits her
again, she cries.
BIG ROCCO
What's going on over there?
WISEGUY #1
Looks like somebody got caught
with his pants down.
BIG ROCCO
George, get that bum out of here,
he's ruining my meal.
George is already up and moving fast. As the Man raises
his hand to slap his crying wife again, George grabs his
wrist. The Man turns to George, eyes cold as ice.
And that's when George realizes everything's wrong. The
Pretty Girl pulls a pistol out of her purse, presses it
into George's crotch. She stares up at him with unblinking
eyes.
The Beautiful Woman and the Man draw silenced pistols and
hurry to Big Rocco's table. Big Rocco looks up, his mouth
full of spaghetti. The Wiseguys catch on, they claw for
their own guns, but too late!
The Beautiful Woman and the Man OPEN FIRE at point blank,
blasting the three Wiseguys. Blood and meatballs spray
everywhere. Everyone in the restaurant screams and runs
and ducks under tables.
George trembles with angst, wanting to help his boss, only
there's a gun at his balls. The Pretty Girl smiles sweetly.
A WAITER runs out of the kitchen holding a machine gun
with a huge drum magazine. He takes aim at Big Rocco and
OPENS FIRE! Big Rocco SCREAMS IN AGONY as he's nailed to
the wall by hot lead. The Waiter keeps firing long after
life has left Big Rocco's ventilated body. Big Rocco slumps
down.
The Beautiful Woman and the Man run for the exit, passing
George.
PRETTY GIRL
Take out your gun, real slow.
George takes out his pistol, holding it between thumb and
forefinger.
PRETTY GIRL
Throw it away. That's a good boy.
George throws his pistol away.
The Waiter-gunman runs by. George wants to grab him but
the Pretty Girl shakes her head, warning him.
PRETTY GIRL
I thought it was real nice, the
way you helped Christine. There
are so few real gentlemen left in
the world.
She gets up and backs away, still covering George. She
reaches the door and runs outside.
George walks over to the table of death.
GEORGE
Sorry boss. I let ya down.
George heads for the door, stopping to pick up his pistol
on the way out.
People crawl out from under their tables to see what
happened.
NEWSPAPER MONTAGE
Front page headline declares, ANTHONY "BIG ROCCO" ROCCANZI
GUNNED DOWN IN RESTAURANT BLOODBATH.
A picture shows Big Rocco slumped against the wall which
is decorated with bullet holes and sauce.
A headline reads, 312 BULLETS SPELL MOBSTER'S DOOM.
And lastly, A NEW UNDERWORLD RECORD.
EXT. HIGHWAY - DAY
An 18-wheeler chugs along.
The Man In Black behind the wheel.
INT. DOWNTOWN BAR - DAY
George sits alone on a stool at the bar, staring
thoughtfully into his drink.
MOZATTI slides onto the stool beside George and gives him
a toothy smile. Mozatti's young, ambitious, ruthless. A
Great White Shark in a suit.
MOZATTI
You're a hard man to track down.
George looks in the mirror behind the bar. Two of Mozatti's
GOONS stand by the door. Another two GOONS stand nearby.
They're all watching George.
GEORGE
I haven't exactly been hiding.
MOZATTI
A little bird tells me you were at
Veronica's last night. The cops
are still dragging out the bodies.
George sips his drink.
GEORGE
If you wanted me dead, I'd be dead.
So, what do you want?
MOZATTI
I want you to come work for me.
GEORGE
I'm working for Romano.
MOZATTI
Come on, this is me you're talking
to. That pissant Romano likes to
play games. He gave you a job to
complete, didn't he? Maybe
something to do with that cross-
dressing fag he likes doing business
with, who incidentally seems to
have disappeared. So here you
are, all alone, nursing a drink
and trying to figure what the hell
to do next. And here I am, offering
you a job.
GEORGE
I hope I haven't wasted too much
of your time.
MOZATTI
Is that a "no"?
GEORGE
It has to be a "no." You know
why.
MOZATTI
Look, me and your boss had a falling
out. I don't know how things got
so tense. One moment we were
talking, the next he was shaking
his fist in my face. Those things
happen, don't they? Anyway, don't
pretend he wasn't planning to do
to me what I did to him first.
Look me in the eye and tell me I'm
wrong.
George stares into his drink.
MOZATTI
That's what I thought. I already
got two of his lieutenants on my
payroll, and their crews. You got
to be philosophical about these
things. What's the point in
fighting when your boss is dead?
GEORGE
Can't argue with that.
MOZATTI
Now that Big Rocco's gone to the
big lap dancing club in the sky,
business is good. I'm expanding.
I got an opening for someone with
your talent. George, I'm trying
to be your friend here.
GEORGE
I appreciate that, Mr. Mozatti.
But Big Rocco was good to me. He
treated me like his own son. This
is difficult for me.
Mozatti signals to the BARMAN.
MOZATTI
Bourbon, no ice.
The Barman pours and delivers. Mozatti knocks it back and
bangs down the glass.
MOZATTI
Hits the spot. George, have you
ever heard of the Japanese samurai
warriors?
GEORGE
I go to the movies.
MOZATTI
Then you know how these guys worked.
They had a boss, right? They gave
him their undying loyalty. But
when that boss got killed by another
boss, they were out of a job, and
that pissed them off. A jobless
samurai was not a good thing to be
in those days. Everyone treated
them like they were Irish. They
didn't even get to keep the name.
They weren't samurai any more,
they were row-nin. Warriors without
a boss. Anyway, they'd do anything
to be samurai again and that meant
getting a new boss. But you know
that, don't you? That's why you
went to Romano.
GEORGE
That's why I went to Romano.
MOZATTI
And he gave you some pissant job
to do and said if you succeed he'll
take you on, but if you don't,
you're still a good-for-nothing
row-nin.
GEORGE
That's right.
MOZATTI
You know about samurai and you
know about those row-nin guys.
But do you know what the samurai
called the boss of all bosses?
They called him the Show-goon.
That's what I'm going to be, George,
the Show-goon. I'm going to sit
on that throne. But I need good
quality samurai to get me there.
Which is why you and me are talking.
I'm sorry Big Rocco had to go, but
he had to go. Forget about him.
Be my samurai, George. Come and
cut heads off for me. The pay's
good and I'm working on a health
care package. Wha'd'ya say? Look,
I'm offering you my hand.
Mozatti offers George his hand. George hesitates... then
accepts. Mozatti grins.
MOZATTI
I knew you'd make the right
decision.
(to his men)
Didn't I say he'd make the right
decision?
(to George)
First thing you're gonna do for
me. Kill this guy.
Mozatti drops a folded newspaper onto the bar.
MOZATTI
Not to prove your loyalty to me.
Not as some kind of test. But
because I want him dead and you're
my samurai. Go bring me his head.
George stares at the photo.
EXT. STREET JUNCTION WITH TRAFFIC LIGHTS - NIGHT
A MAN in a torn suit lies curled up on the ground, holding
his guts. He groans. Pushes himself up. He's beat all
to hell. JAKE VARGAS, 30, sways till he gets his balance.
He sees a bar across the street. He stumbles toward it.
INT. BAR - NIGHT
Miscellaneous UNSAVORY CUSTOMERS watch as Vargas painfully
sits himself down on a stool. The BARTENDER leans close.
BARTENDER
You look like shit. Take it
outside.
Vargas shrugs as if he's easing sore muscles. The motion
exposes the .45 AUTOMATIC under his armpit. The Bartender
loses his attitude.
VARGAS
Gimme a beer.
The Bartender pours a beer, Vargas drinks, he needed that.
VARGAS
Phone.
The Bartender brings the phone. Vargas cradles the receiver
and dials.
VARGAS (INTO PHONE)
It's me. What's the scoop?
(he listens)
Yeah? Tell him to go fuck himself.
He slams the receiver down. Finishes his beer. Opens his
wallet, slides a ten across to the scowling Bartender.
VARGAS
You can go fuck yourself too.
BRUTAL CUSTOMER
Hey, tell me to fuck myself, prick.
Vargas draws his .45 on the startled big guy. He pistol-
whips him to the floor, kicks the crap out of him until he
stops moving.
VARGAS
Anybody else want some fun?
No takers.
BARTENDER
You got serious problems, man.
VARGAS
Comes with the job.
Vargas lurches for the door, stumbles outside, as customers
move to help the guy on the floor.
EXT. BAR - NIGHT
A black-and-white PATROL CAR cruises up the street. Vargas
waves, sticks his fingers into his mouth and WHISTLES.
The patrol car brakes, turns around, pulls in.
The two uniform COPS grin as Vargas leans in the window.
VARGAS
You guys going anywhere near the
precinct house?
INT. FRONT DESK - PRECINCT HOUSE - NIGHT
The busy DESK SERGEANT nods as Vargas passes by. COPS
book STREET SCUM and HOOKERS. Vargas looks the girls over.
One of them smiles at him, maybe he'll do her a favor?
Vargas ignores her.
INT. OUTSIDE INTERROGATION ROOM - PRECINCT HOUSE - NIGHT
Vargas and LIEUTENANT LO (Chinese) stand at the observation
window, watching the beaufiful woman who sits alone in the
room. It's the older HIT WOMAN who took out Big Rocco's
Wiseguys in the restaurant scene.
LIEUTENANT LO
You look like shit.
VARGAS
I got jumped by a couple of your
guys. Didn't even take my wallet.
They just up and ran away.
LIEUTENANT LO
"My guys"?
VARGAS
They looked Chinese.
LIEUTENANT LO
That narrows it down. What d'you
suppose they wanted?
VARGAS
Maybe they didn't like round eyes.
LIEUTENANT LO
Man, I hear that.
(re the Woman)
We got three positive IDs from
customers at the restaurant.
VARGAS
You look like her, people are going
to remember you.
Lo hands Vargas a folder.
LIEUTENANT LO
Organized Crime wants Mozatti real
bad. All we need is her signature.
Go get it, round eye.
INT. INTERROGATION ROOM - POLICE PRECINCT - NIGHT
Vargas sits down opposite the Beautiful Woman. He opens
the folder, flicks pages, shows no interest in her. She
watches, impassive.
VARGAS
Witnesses put you at the scene
with a gun in your hand. D.A.'s
office has requested death by lethal
injection.
BEAUTIFUL WOMAN
Got a cigarette?
VARGAS
They tell me it's just like falling
asleep.
BEAUTIFUL WOMAN
You think they'll let me wear a
dress? I look real good in red.
VARGAS
I bet you do.
BEAUTIFUL WOMAN
Why don't we save the taxpayers
some money? Leave one bullet in
your gun. I'll do the business
right here.
She sticks her fingers under her chin, pretending a gun.
BEAUTIFUL WOMAN
Baboom! Right into the brain. I
won't even need touching up. You
can watch from out there if you
want. Catch yourself a cheap
thrill.
VARGAS
It'll happen in a little room with
no windows. Nobody's gonna see
you die. Just the doctor who
injects death into your vein.
He'll stand there, looking at his
watch. Timing how long it takes
your heart to stop beating.
BEAUTIFUL WOMAN
Oh, you're good.
VARGAS
Are you willing to give up Mozatti?
BEAUTIFUL WOMAN
Do I walk?
Vargas gives her a cigarette, strikes a match.
VARGAS
My guess? You'll serve fifteen
years.
Her cigarette shakes as he lights it.
BEAUTIFUL WOMAN
Fifteen years is a long time.
VARGAS
You'll still have your looks when
they open the gates.
BEAUTIFUL WOMAN
Was that a compliment?
VARGAS
Nah, just an observation. You're
not my type.
BEAUTIFUL WOMAN
I won't last fifteen minutes. You
could lock me up in Fort Knox,
Mozatti's still gonna find me.
From where I'm sitting, the needle
sounds a lot better than a shiv in
the guts.
VARGAS
Suit yourself.
Vargas closes the folder, moves to the door.
BEAUTIFUL WOMAN
You'll come watch when they put my
lights out, won't you?
VARGAS
I already told you. You're not my
type.
He exits, closing the door on her worried expression.
07/02
end excerpt
Back to Script Samples
Back to my Home Page
|
