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BLACK FRAME TITLE APPEARS: The Middle INT. GINO'S GARAGE - NEVADA - DAY Gino steps out of his El Camino inside his garage. He takes off his blue-gray, formal jacket and throws it in a pile on a table. Hanging on the wall above the jacket is a samurai sword in a brown leather sheath. He opens the door and steps into his house. He walks into the kitchen. Sitting on the table is KELLY KNOUGHBACK, maybe the most amazingly beautiful woman in the world, but don't mess with this wildcat cause she's the type that will rip your balls off and put them in a martini. GINO No-Back? How are you? KELLY How do you feel? That is the question. GINO Don't tamper with Shakespeare, sweet-pea, unless you know what you're talking about, and you don't. KELLY No I never have been one for talking, doesn't leave enough time for action. GINO Only you would say that. That's your problem, not enough style. You gotta play with your mark sometimes, but you've never been one for subtlety. That's why you only get hits. KELLY That's what you think. But your problem is an irresponsible lack of intellectual thought. GINO Now you're using the language like you should. It can be a thing of beauty when properly wielded. But all this talk and not enough of his wife is making him uneasy. GINO Why the hell are you here? KELLY Should I not be? GINO Should you? KELLY Yes. SHI KNI the Japanese warlord steps into the room from the hallway on the other side. He stays cool. GINO What's she doing here? KELLY She's with me. GINO With you? On business? He's pissed and scared. KELLY Something like that. GINO Where's Jen? KELLY Well, what are you really asking? Is she here? Is she there? Is she dead? GINO Is she? She smiles, menacingly. Then whispers: KELLY Not yet. GINO You bloated blonde bitch, tell me everything or you'll lose your head and all that beautiful hair you so dearly cherish. KELLY Didn't your mother ever tell you: never hit a woman. You seem to be asking a lot of questions, why don't you shut your mouth, survey the situation and piece together this great enigma. He's about to take a step forward but someone else comes in from the other hallway in front of him. It's SING, SANG and SONG the Chinese triplets. GINO Them too. KELLY You like my 'toying with the mark' skills? They're getting better, you have to admit. GINO Impressive. Tears have come to his eyes as the situation becomes more and more of a reality. GINO But you guys still got one thing in your way... Me. A hand comes to rest on his shoulder and he spins around. Then looks upon the face of the hand's owner. GINO Not you. It can't go that deep. Not you. It's Lee. LEE Gino Diablo Violente. Fraid it has to come to this. GINO Why? LEE I ain't gonna lie to you. So, I just won't say anything at all. Gino, tears rolling down his face takes a step back with his arms out defensively. GINO You stupid, crooked, son of a bitch. You didn't let me work. LEE Now wait just one goddamn minute. I may be a crooked son of a bitch, in fact I'm sure of it, but an insult to my intelligence I just don't tolerate. Now to not letting you work, I say this: that after three days you hadn't collected jack-fuckin-shit, I sent guys in all day but no one came back with anything either. I think you jump ship on me. The five million is ten million. I want my ten million dollars. And if you come up short again it'll be your last time. GINO I don't have it. I never got it! LEE Go to Hell Gino, literally. Gino is shaking, unusual for his normally calm, cool, controlled self. GINO Give me Jen. Lee nods, and Shi Kni goes off to get her. Gino surveys his position, he doesn't move his head away from Lee but moves his eyes, looking around. He glances out the window just in time to see a woman run by it. But all he catches is her back and she's gone. LEE It's business Gino, just politics and shit you don't even wanna hear. Shi Kni returns with Jen whose hands are tied behind her back. GINO Jenny baby. Stay calm, cause everything's gonna be fine. JEN Gino. Help. Make them all just go away. LEE Sweet ain't she. But even my daughter's cries couldn't help you now. Shi Kni pulls her hair back, and then licks Jen's neck once from bottom to top. SHI KNI I taste her stink. Must have rubbed off of you Diablo. She slits Jen's throat. And in Gino's eyes we see his entire life, all of his meaning, shatter like teacup in that instant. Though he neither shouts out nor cries. He just exists for those moments of disbelief. GINO You guys still have the matter of the man with nothing to lose. LEE You know what I say to that? If I don't see ya no more in this world, I'll meet ya in the next one. Don't be late. Gino drop kicks Lee back into the wall. But everyone else jumps on Diablo immediately after. A big pile up. Lee stands back up. Gino is held by the arms and legs. He struggles to get free. LEE Gino just sit back honorably and join your wife in the after life. Gino explodes getting up, sending bodies flying into the walls. He performs a quick bout of ju jitsu combating Sing, Sang and Song before being tripped up and then stabbed sharply with a knife by Song. Gino screams out. His right side below his breast gushes blood. LEE Now bring it in. The triplets go off to retrieve whatever it is he's talking about. After every couple of words Lee punches Gino hard in the face. LEE Gino, it hurts. I promised myself I wouldn't cry, and I won't. And now you will resolve to give up and accept your fate. And he does. The triplets come back with.... ....A CROSS. The strip Gino of his shirt and tie him to the cross which is then hoisted up in Gino's very own kitchen. There he is on a cross with a gash in his right side. His dead wife lying in a pool of blood on his nice white carpet. And six sworn enemies looking up at him. Kelly begins dumping gasoline all over the room and the triplets do the same all over the house. They're all about to leave when Lee strikes up a match and looks back at Gino. LEE Don't be late. He tosses it onto the gasoline-soaked floor and they all leave the house. Gino struggles to get free of the cross. The fire gets closer and closer to him. It is now within ten feet... Soon he manages to get his arms free and then topples over and gets his feet loose. He hurries back out the door into his garage. The garage door is on fire. He grabs his formal jacket and throws it on. He then grabs the samurai sword and slings it over his back. He gets into his El Camino and starts it up. GINO Here comes the bitch. He slams on the accelerator and flies through the burning garage door and free of the fire. CREDIT SEQUENCE. Gino's voice narrates for the audience filling us in. GINO (V.O) Smitty went down early. For that, he is keeping warm down south. It's a shame, cause he was a good kid with a chance to turn it all around. All of us will follow his departure if we don't see the whole operation through. It's a last hail mary to rise up. As he says these next things the images flash through what he's saying in a silent film way, in a browny black and white. GINO (V.O) It's already begun, the sweep of the world for bad guys. We first knocked out Sammy Coldfish and his beloved Ustaban, his four female bodyguards. It was supposed to be a double hit but Freddy four-fingers was in the bathroom at the time and got away. Why did we do it this way? It's not really like us to just barge in without a word and start shootin the shit up. I know. But to each his own medicine. Jenny tank top. As he lists off the names we see how each of them died. Jenny got killed having sex. She was on her back on the bed and then a sword comes up through her chest. GINO (V.O) Sacremento Slappy. Slappy comes out of a dark club into an alleyway and then gets blown away by seven dark figures with shotguns. GINO (V.O) The late Marshall Cook. Good guy. Cook gets thrown from the roof of a thirty story apartment building and lands on a car. GINO (V.O) Stone-Eye Sid. Sid walks down a hallway... BAM someone swings down from the ceiling and pokes his eyes out. Down in pain another grabs head and snaps his neck. GINO (V.O) Presently Headless Tina. She backs up looking like she's been through quite a battle then a samurai sword comes from nowhere and lops her head off. GINO (V.O) And Cut-your-cord Kurt. Man driving, his brakes aren't working OH SHIT! He drives off a cliff and into a ravine three hundred feet below. GINO (V.O) Now don't go and feel too bad for these sonsabitches cause they wouldn't think twice about taking you out. For free. They just like killin. They had all that shit coming to them. So don't feel sorry, but feel happy, that our organization is organized and mobilized against the evil of society. We are taking out the rotten eggs. We are doing the job of the FBI. But nobody will remember us as heroes. But that's what we want. We want to be remembered by few, and by those few as, cold-blooded, kick- ass, black-hearted, take no prisoners, sonsabitches that wouldn't take no for an answer from anybody. That's the Experience in a nutshell. Who's left? All the bastards and king shit that were there that day. But first, Mr. Assassin himself, The Cobra. CUT TO guy with big mustache and huge dark sunglasses in a flashy cowboy outfit with a cowboy hat surrounded by three beautiful women rubbing him down. He's smoking a big cigar. He's probably around fifty. And he's stone cold drunk. In fact he's been stuffing himself full of food and shit, and thus committing one of the SEVEN mortal sins. They're at a table in a nice restaurant but they are very loud, and rambunctious. People are staring and annoyed. COBRA Ladies, ladies, ladies. Why don't you pick up the check and I'll meet ya in the car. They all laugh. COBRA I'm just yankin yur chains ladies. I'll pick up the check as long as the sex is free. They laugh some more. Even harder. COBRA I got more, I got more. I'll get the check, wait for it, wait for it... If you ladies tip the waiter a shot of your tits. They laugh more. VOICE Excuse me, Mr. Cobra. It sounds like Gino. Cobra looks over at the three black-clothed people standing before him pointing .44 magnums in his direction. It's Gino, Topher, and Mr. Seven. BOOM! The three guys just open fire without another word. They all three unload there guns into the Cobra's chest. When they're done, his carcass falls backwards in the chair. The girls scream and the restaurant is in chaos. MR. SEVEN We leavin? GINO One second. He bends down over the Cobra's body and takes the glasses from his face and puts them in his pocket. He stands back up and turns to Topher, playing with the rubix cube and Mr. Seven, watching him, waiting to leave. GINO Let's go. And they do. INT. SAME RESTAURANT - NIGHT The place is now a crime scene investigation. People are being questioned, guys in nice jackets are taking samples and flashes from the sirens paint the walls. A black guy we haven't seen yet gets out of a car outside the restaurant. He's cool. He's got style, he is the legitimate Mr. Seven. He's got nice dress shoes, expensive black pants and big, amazingly clean, brown trench coat. His name is NORDAJ RABEK. Jordan Baker anagram. He's bald, that is, a shaved head, and he sports the classic curtain facial hair. And when he walks, it is a strut of confidence. He steps over the caution tape. And then ventures slowly through the crime scene observing everything. He is keen as a fox. He steps up to the dead body of The Cobra where two men are already standing over him, a white guy with glasses and a black guy with a cop suit and badge. NORDAJ This the body? WHITE GUY Yes, you are? NORDAJ My name is Nordaj Rabek. But you will call me doctor and you, nigger (the black guy) will call me daddy. I will call you Whitey and you, nigger will answer to Jackson. White guy WHITEY black guy JACKSON. NORDAJ This the only body? WHITEY Yes. NORDAJ Just one hit? WHITEY Yes. NORDAJ Am I asking you these questions? What about Jackson does he talk? JACKSON Yes sir. NORDAJ Not sir, Daddy! WHITEY Enough, who do you think you are? NORDAJ I am the lead investigator on this so called solitary homicide. I am the one who you work for, and I am the one who is gonna stick his boot in your ass if you don't so much as shut your fucking mouth. Whitey shuts up. Nordaj doesn't take no shit. NORDAJ There are plenty of witnesses, how many you talk to? WHITEY Two already. NORDAJ Just two? What about you motherfucker? JACKSON No one. NORDAJ Uh-huh. He considers. Then flips the fuck OUT! He turns around and flips a table up sending it flying. NORDAJ Had I been here for 97 minutes I would have interrogated every last motherfuckin eye witness by now! I would know the story, what happened, who my superior is, if I had a superior and I would already know the bad guy! This restaurant at any one moment in the late evening would average 217 fine-diners in the combined smoking and non-smoking areas. Assuming at least seven of them are in the little people's room at any one given moment! They have 23 waiters and waitresses and three house managers. That is two hundred and forty three potential eye witnesses plus seven other oblivious assholes that heard it. And if you really want to get nitpicky then all those guys back in the kitchen would hear it too, and maybe out of pure curiousness thirteen would come to the door and see who was doing all the shooting! That's two hundred and fifty six eye witnesses, and two hundred and ninety three people who are aware of the situation. And you have spoken with two of them! He stares them down a minute. NORDAJ If the two of them didn't get a look at a face and don't share the same story then I will be super pissed. You don't want to see me when I am super pissed. WHITEY They didn't really say much, the shock is still with them... Nordaj turns around and begins to walk away, Whitey and Jackson catch him up and flank him. WHITEY Now there are people getting contact information of everybody that's here the guy that called the cops is upstairs ready to talk the three women that were here with the victim were found running from the house they are in custody the crime scene has been cleared and ready for investigation there are witnesses who are going to talk tonight we know the exact time the event took place we know what the perpetrators were driving and where the direction they took off in there are twenty four wounds in the victim and we know who he is. Nordaj stops walking. NORDAJ What do you mean you know who he is? WHITEY We have identified the body. NORDAJ Didn't take much work, I took one look at him and knew who he is, was. Nordaj turns around and walks back the way he came back towards the body, Whitey and Jackson flank him. NORDAJ He is, was, a scoundrel. He was already on the wrong side of the law. He had what happened to him coming. This was a hit by three members of the underground crime world because that is where he comes from himself. And like all men in his position will be stabbed in the back and killed by their own kind. Look what happened to Don Vito Corleone. So don't feel too bad for the poor guy. And of course there are twenty four wounds in the man, it's very very basic math, you've got three guys each with eight bullets they unload there whole package to make a big noise and make sure he's dead. Three guys with eight bullets each is a whole lot of twenty four. They're back at the body. NORDAJ He's the Cobra. You boys ever hear of Diablo Violente? They shake their heads. NORDAJ He killed this man so get familiar with him. Whitey and Jackson don't understand. WHITEY How do you know that? NORDAJ I have studied that motherfucker for twelve years. He is an amazing guy. The shit he can do. He came in the front door. Just kept walking through the house manager paying him no heed. His accomplices follow. He makes a beeline for the target, never takes his eyes off of it. He doesn't care who else might be looking, what other people in the restaurant may think, what the manager might be shoutin in his ear. He reaches his target, gets his attention and then... He points his hand out like a gun and... NORDAJ BANG! Blows him to shit. Other two guys. Maybe his brother, maybe another of Lee's guys. WHITEY Lee? NORDAJ The guy callin the shots. Lee, utterly unknown and unnecessarily cunning. We are up big against the most dangerous sonsabitches in the world. Can you feel it? He smiles, having fun. NORDAJ Something's happening, a revolution in the crime world. Can you feel it? People are getting whacked. Nobody is safe. Everybody is an enemy. Exciting times boys. Now go round me up some witnesses. WHITEY Yes sir. JACKSON Yes sir. NORDAJ Daddy. Jackson looks at him sheepishly and then takes off. EXT. RUN DOWN APARTMENT BUILDING - DETROIT - DAY Gino's El Camino pulls up to this old abandoned looking apartment and he, and Topher step out of the car. They glance around the street and then enter into the apartment building. INT. RUN DOWN APARTMENT BUILDING - DETROIT - DAY They step into the atrium. The place is broken to shit. The walls have been almost entirely stripped of their drywall, and wallpaper hangs down in front of the studs in some places. Everything is wooden, the floor which has holes in it, the staircase which winds along the walls up high (and has holes in it, and missing steps). A toilet is flushed and a rush of water falls down the inside of the wall to their left. Plumbing sucks. Gino just nods his head to Topher to follow him and follow him he does, up the winding staircase. TOPHER So, what happens if he's not here? GINO We come back later. TOPHER And if he is here? GINO We stay. They go up what seems like about twenty stories until they come to a platform. Topher looks back over the half broken rail back down to the atrium below. GINO Twenty floors. Hundred and eighty foot drop. Watch your step. Gino opens the door at the platform and steps into the apartment room. It's as rundown as the rest of the building. They have walked into the living room. There're two chairs sitting in front of an open fireplace (there's a fire going). There's newspaper scattered over the floor and bloodstains on the walls. We hear water running. There're no lights on. It looks like a brown out. Everything is grey and looks dead. But there's one desk against the wall on the other side of the room that carries a flower pot and a flower. The flower is alive and well, surprising in this place. Topher pulls out his rubix cube and takes a seat in front of the fire and fiddles with it some more. Gino stays standing in front of the door, his head is entirely in shadow. The water stops running, it was the shower. The bathroom door is open on the other side of the room just in beside and behind the desk with the flower. There is a mirror on the wall in the bathroom that Gino can see and with it he can see into the bathroom to the right side. The sound of the shower curtain sliding open is heard. Topher keeps fiddling, Gino keeps not moving. The man in the bathroom is drying himself off with a towel and whistling. Gino sniffs loudly to get the man's attention. It does he stops whistling and drying himself. He looks in the mirror and sees, a headless body standing at the door. It scares him, he gets up against the wall. Gino watches him in the mirror. The man reaches for a gun on top of the toilet. He checks it, it's loaded. Looks back at the mirror, the guy hasn't moved yet. He reaches around the corner through the door and fires one shot and then retreats back behind the wall. He looks back at the mirror, the man in it hasn't moved and hasn't fallen down dead. His face still can't be seen. The body in the mirror (Gino) moves forward in a throwing motion and CRACK! The mirror splits and breaks like it has been shot. Gino has thrown the bullet that he caught back into the mirror. Gino is now in the light. GINO Come on out Argus, it's me. The man, ARGUS, slides out of the bathroom. ARGUS Course it is, why don't you sit down, I'll get you something to drink. GINO A nice cold glass of milk would be nice. ARGUS Sure thing. GINO And you Topher? TOPHER Not thirsty, just frustrated thank you. Argus can't see Topher. ARGUS Give me a minute. GINO Starting... Now. Argus waits for him to say now before he goes off into the kitchen to his right. Gino sits down in the chair beside Topher. Argus comes back out soon with a glass of milk, now he's wearing boxer shorts and an undershirt. He hands the glass to Gino who looks at it, it's chunky and has mould in it. GINO I can't drink this. ARGUS Why not? It's one percent fat. GINO Oh. He sips it thoughtfully. ARGUS So uh, why are you here? GINO First I'll tell ya why you're here. You're here to listen and not ask questions. But don't worry, you're my late wife's uncle, you haven't got a thing to worry about. Argus puts another block of wood on the fire. And then pours some dirty water from a watering can onto the flower on the desk, he tends it gently. Gino slouches in his big armchair. GINO What do you feed that thing anyway? ARGUS Pardon? GINO Why isn't that plant dead like the rest of this place. ARGUS TLC. Gino smiles. GINO I'll bet. TOPHER Focus Gino, we still gotta hit New Jersey today. GINO Don't rush me Topher. Play with your thing, and don't make me have you wait outside. He turns his chair around with the back to the fire. GINO You know why my wife's dead? ARGUS Course not. GINO You answered a little fast there. Calm down, I'm not making accusations yet. Why is my wife dead? ARGUS I don't know. GINO You don't know, or you don't care? ARGUS She's my niece damn it. GINO I never said she wasn't. Defensive people are the peak of annoyance and unreliability. Don't lie to me, and stand up straight and assert yourself. You look like a Neanderthal. Topher spins around now. TOPHER A little help Argus? He looks over. ARGUS Take the one in your left hand and turn it one-eighty. He does so. GINO Now why is my wife dead? ARGUS I told you I don't know. GINO I know ya did. And I'm not buyin it. Sell me something new. ARGUS You want some kinda cock-and-bull story, here it is. You were suppose to make a pick up, it didn't happen the first day, not the second day, and on a third day late, you better be dead or dyin. So he sends in someone else, but they go back empty handed, why because some other guy got their first, some other guy that nobody knows quite who. A guy that took it all. What is expected, when his second guy comes back with Jack, that you have met up with the money- man and you you ain't givin a cut to your superior. Well that's wrong, morally. So that can't be because you are Mr. Moral. So he thinks there's gotta be some other explanation. But no, there isn't. At least not one that he was told. That's it. GINO That's bullshit. Lee may be sporadic but... ARGUS Don't call him Lee you crack-headed punk. Show some respect no matter what he's done to you. GINO I show him no disrespect. That's his name now, that's what he uses, he started it. ARGUS Well I won't finish it, and I won't play ball. GINO We're not asking you to. ARGUS I didn't say you were. GINO That's your story? I'll tell ya somethin... He gets up form his chair approaches Argus, grabs his head and smashes it against the wall. GINO Or, maybe I won't. He turns back around. GINO Topher, we're leavin? TOPHER Course we are. They walk to the door and open it, before Gino walks out he turns and says: GINO Argus, if I ever find out you got the money, I'm collectin your head. Argus nods in understanding. Gino walks out and closes the door behind him. Topher points over the edge for Gino to look down. There are three guys coming up the stairs. Gino just follows Topher down the stairs. When they meet the three guys, it turns out they're Hank, Mordecai, and Rich. GINO Fellas. Everybody gives a nod and that's the entire exchange. Everybody continues on. Gino and Topher continue down the stairs, and we stay with the other three going back up the stairs. They stop at the landing to Argus's front doorstep. Mordecai looks at Hank and then at Rich, they all nod, in their dark sunglasses. Mordecai kicks in the door and Hank and Rich flood in. Hank runs over and grabs Argus who's standing over the sink in the kitchen. Hank pulls him away and drags him back into the living room and sits him on a small wooden chair in the middle of the room. Rich jumps up and grabs the lamp in the ceiling and pulls it down ripping the drywall ceiling so that the lamp is dangling by its wiring four feet from the floor. Mordecai puts out the fire in the fireplace. And then flicks the switch on the wall, turning the lamp on. Hank grabs the dangling, ignited, lamp and pushes it up against Argus's face. HANK We got a score to settle. ARGUS No shit. He hasn't really been struggling, but he'll squirm later. HANK Rich, show'em what we brought him for his birthday. Rich pulls out a long aluminum chain and then drops the one end to floor. HANK Can you see that all right? Or is there too much light in you eyes. He removes the lamp from Argus's face and points it at the chain hanging from Rich's hand and coiled on the floor at his feet. Argus smiles. HANK Thought you might like that. Thought you'd enjoy the significance. The irony. ARGUS I do. HANK Shut your pie hole. He smacks him. But then he relaxes and takes a deep breath. The sweat is already dripping from Argus's pores. Mordecai comes over with a cigarette, he swipes it across the lamp like you would a match and that ignites the cigarette, he sticks it in Argus's mouth. Argus coughs and then spits it out. ARGUS What are you stupid? That shit'll kill ya. MORDECAI Baby... HANK ...We gonna kill ya. The three men laugh. HANK And you're gonna suffer. ARGUS Do your worst. RICH And by that, you mean our best. ARGUS Sure. HANK If that's what he wants. Rich takes the chain, Mordecai Argus's hands and puts them behind the chair. Rich then ties the chain Argus's wrists in the middle so there's chain on either side still. Then Rich and Mordecai each take an end of the chain that's tied to Argus's wrists in the middle of the chain and the two hitmen pull in opposite directions. Argus screams out in pain. Hank grabs the light and brings it back into Argus's face. We can hear the little bones in Argus's wrists cracking. HANK What did Gino want to talk about earlier? ARGUS His wife. HANK Right, you know why I'm here? ARGUS To settle the score. HANK B-I-N-G-O. He steps back and removes a glove from his jacket pocket that he puts on his right hand. ARGUS You fucking, yellow son of a bitch. You gotta a lot balls crushing my wrists before you bitch slap me with that glove. We see that the glove has razor blades on the back of it, that part the would be used to hit him. HANK Lots of balls, little tolerance. ARGUS You son of a bitch! Hank slaps him with a right back hand, slicing open Argus's face. The blood shoots over to the side with the force and then splats neatly on the floor. ARGUS You have no idea how much this stings! HANK You have no idea how good it feels. ARGUS Don't get fresh. Rich and Mordecai pull hard again. More screaming, and crackling of wrists. HANK You got any more cracks to make before we continue? ARGUS Just one, and I've been saving it for a special occasion. You'll like this one too Richie boy. That is: you're a pretty big dick for a guy that has such a little one. Rich chuckles a bit and Argus spits blood as he laughs. Hank slaps him with the forehand this time splitting him open on the other side of the face. Argus breaths in a high pitched little squeal. Hank removes the glove and tosses it to the floor. He grabs the lamp again and presses its heat forcefully against the torn face of Argus, and Rich and Mordecai pull hard on the chain. Then they release. And remove the chain from Argus's wrists. His wrists are cut by the chain and deformed, badly broken and bruised and HANK Let me see your hands Argus. Argus begins to cry a little. HANK Let me see your hands. Argus, as though embarrassed by the state of his wrists slowly brings them forward for Hank to see. Hank surveys them. HANK Oh dear, I'm sorry Argus. It seems we have been too gentle. Try not to sweat, it'll cause those gashes in your face to sting something awful. Argus pouts, not liking being at the wrong end of this little game. MORDECAI You want a cigarette? Argus shakes his head. ARGUS No, that shit'll kill ya. RICH Not soon enough it won't. ARGUS No, that it won't do. But the longer Hell has to wait, the more pissed the devil will get. HANK And... ARGUS Well, then he'll be pissed. HANK He's the devil Argus he's always pissed. ARGUS True enough. Hank looks over to Rich and Mordecai. HANK Lets beat him up some more fellas. They don't need being told twice. Mordecai throws a couple haymakers to Argus's already beaten face and Rich whips the poor man across the back with his chain continuously. HANK Now you didn't say anything about the money earlier. ARGUS What money? HANK The conversation you had with Gino ten minutes ago. How much money did you talk about? ARGUS Nothing really, he's looking for cash that I can't produce. HANK That's not what he told me. ARGUS You guys are working together now? Not unusual I guess. Why don't you come in together? HANK We're the muscle. He comes out and you're still alive, there must be a problem. Maybe he's got no alibi, but we do. Rich goes wandering for a moment into the kitchen. HANK No money? ARGUS None. HANK Well, you're a lot of things Argus but I would never accuse you of being a liar. ARGUS Touching. Rich comes back with a can of bugspray. RICH What do you think of this? Hank looks over. HANK What the fuck is that? It won't work. RICH Sure it will. He comes over and sprays some in Argus's face. It BURNS! Argus screams. RICH No, you're right. It's not the same. HANK Argus, where's your gasoline? No answer. Mordecai grabs Argus's hair and wrenches his head back hard. Hank leans in with the lamp. HANK Where is your gasoline Argus. ARGUS I'm not gonna help you burn me like a fucking witch. HANK A witch? No, we're gonna burn you like Argus. No answer. HANK Check under the sink. Rich goes to the kitchen and under the sink, is a canister of gasoline. HANK What'd I tell ya. He uses it to start his fires so it couldn't be too far. Hit him. Rich commences operation BURN ARGUS by pouring gasoline all over Agrus's face and body, burning the deep gashes across his face and back. HANK Now that, hurts like a son of a bitch. Argus shows it. HANK Can you see Hell now Argus? Can you see the devil laughing at you? Cause he is. You know the story of Stalin. His death that is. His daughter reported that she was sitting with him on his death bed. He was asleep until he opened his eyes, sat up in his bed and stared at the ceiling in fear and spoke "HELL". And then immediately retreated back into a sleep he would never wake up from. Was the old man just crazy? It doesn't matter, he saw a vision of Hell, projected their by Satan or his own hallucinations, the moment before the devil squeezed his heart into a prune. Now your heart isn't as black as old Joey Stalin's, because it's bleeding. And it ain't gonna stop, until you drop... Dead. That almost rhymed. RICH Gettin better Hank. MORDECAI I would have left it at drop. I think he gets the message. Argus spits more blood. ARGUS Lets get the roast started fellas. I ain't got all night. HANK Are you being ironic? Or are you being a smart-ass? ARGUS Same difference. HANK That is by far the worst oxymoron out there. ARGUS Well, my whole life is an oxymoron. HANK That's not what they call it when it's human behavior, then they call it hypocrisy. Hank steps back and sneezes twice. HANK Excuse me. ARGUS God bless you. HANK Thank you. Now, you may get the wrong impression, but we are not going to burn you, to death that is. ARGUS Gasoline just a charade? HANK Not entirely, it did hurt like a son of a bitch going on didn't it. ARGUS Tell you the truth it still smarts. HANK Yeah. But you're holdin it in, like a man. ARGUS You know me Hank. HANK Oh yes I do Argus. Hank snaps his fingers and points quick to Argus. This signals Rich to snap out the chain and wrap it tightly around Argus's neck, who struggles for air. HANK Argus, burning is too good for you, in fact so is suffocating so just hang in there for the next sixty seconds, this is just to scare you. What we're gonna do, you didn't see comin. Hell, I didn't think of it till just before we got here and I was trying to figure out what your end would be. And I got a good ending for you. A respectable one. It's nothing especially special, but it's simple and I like simple, how bout you? Argus nods, turning purple. HANK I thought so. That's why we're gonna throw you out that there window. He points to it. HANK People don't really recognize how bad that death really is. But your death will change their minds, for one, you already look mangled and when the people find you, they'll be scared to shit of falling twenty stories. And people just don't give that fall the respect it deserves. Your body will accelerate at 9.8 metres per second squared all the way until you reach your maximum velocity, so the fall will take a total of about what, eight, nine, maybe even ten seconds. That's ten seconds to think about why you are falling from the sky without parachute or bungee cord. And maybe, the fall won't kill ya. Just before his veins explode Rich releases him from the chain's mortal grip. Mordecai walks over to the window, sprays something all around the frame and then lights a match to it. The entire thing ignites in a big rectangular flame. HANK Now don't be late Argus. He grabs Argus by the chest from out of the chair, and throws him from that spot across the room and smashing back first through the burning window, which (because of the gasoline on him) turns him into a big fire ball, and sent falling twenty floors to his death on a car. Hank turns to his two accomplices. HANK Let's move out. INT. GINO'S EL CAMINO - NIGHT We have a shot from the back seat looking our the front of the car. Topher, rubix cube in hand. TOPHER What's Hank's problem with Argus anyway? In the rear view mirror we see a flaming body fall onto a car (Argus's). GINO They've had an interesting history. INT. BASEMENT - NIGHT B/W Hank on a chair, cut up, bloody and beaten raw. Argus standing over him smiling. INT. GINO'S EL CAMINO - NIGHT GINO Argus deserves what he's getting. They drive on. INT. JED'S PLACE - JAPAN - DAY Shi Kni is shown into Jed's place by his wife. She walks down a hallway into a living room to find Jed sitting there, not at all ready for company, yet not at all self-conscious. The conversation is carried out in Japanese. JED Good day. SHI KNI And to you Master. JED Don't call me that. That was a dog's age ago, and not memories that I wish to bring to the forefront of my mind. SHI KNI I'm afraid you have done wrong. JED Many years ago yes. When you're father died and I helped you, yes how very wrong I was. SHI KNI Indeed. But no, I speak of another woman. Josephina. JED Bold of you to speak openly about her. SHI KNI I speak not only of her but of her and you. I understand that your relationship with her continues and yet she is a traitor to our art. JED Don't speak of treachery. You are quick to accuse, and yet so slow to question self. SHI KNI Be careful. I won't put up with that talk for long. JED You'll put up with whatever talk escapes my lips in my home you spoiled bitch. She gives him a long sour look it seems all her body heat begins to accumulate above her shoulders. She swings a kick at his head as he sits there. He catches it in his hand. She tries with her other leg but he catches it too and now has a hold of both her ankles. She sit on her hands with her feet held by him. She pulls herself up so she's standing on his hands straight up now. She smiles down at him, innocently. Then she pushes down on his hands and he can't hold her. She drops a bit and she locks his head in her knees. Flipping back she throws him across the room. Breaking his neck as she twists. His limp body lies on the floor. Shi Kni gets to her feet. She looks at the three men who came in with her. SHI KNI Kill the woman. One man exits the room. Mere seconds later two shots are fired. Shi Kni looks at dead body on the floor satisfied. INT. AIRPORT - JAPAN - DAY A funky rock tune beats out on the SOUNDTRACK. We get a shot of two backs, one tall bulky body the other very short and slender. The large one is hunched over the counter, talking to the attendant and getting tickets to the plane. Then both persons turn around, the big one with two plane tickets. We freeze frame it, and the names HOOK 'N GOGO appear on the screen. Hook on the left and GoGo on the right. In the freeze frame Hook is looking out, scanning the airport's horizon. He is a big American with a mustache he is a lot like Captain Hook from Peter Pan, only his attire is dominated by a large leather overcoat. GoGo is a small feisty Japanese woman. In the freeze frame she has a bubble blown out from the gum in her mouth. These two are an odd looking group but a deadly team. GoGo doesn't speak. Freeze frame ends. Hook bends down slings a bag around his shoulder and then picks up another bag in each hand. Musical sequence of Hook 'n GoGo walking through the airport. Then they get on the plane. We see the plane in the air and the two in their comfortable first class seats. The plane lands at LAX. The two go to baggage claim and make their way through LAX. INT. SMALL COFFEE SHOP - LA - DAY Hook sits across from GoGo in a booth. They have a small lunch in front of them. Hook tries to encourage small talk. HOOK So, you enjoy the flight? She looks at him with just her eyes, almost shyly, but with confidence. HOOK It wasn't turbulent, the stewardesses were nice. Crap meal, that's expected, bullshit Hollywood movie, typical, but endurable, overall it was nice? She nods agreeably. HOOK Yeah. Your soup cold? She shakes her head no. He looks off into the shop HOOK (calling) Mackenzie! Mackenzie! Refill Please! A young waitress, MACKENZIE, comes over and fills his cup. MACKENZIE You guys need anything else? HOOK No Mackenzie no. We're good for now. MACKENZIE Well you need anything just call. HOOK Will do, thank you Mackenzie. She smiles and leaves to serve another table. HOOK She's nice, isn't she? GoGo shrugs. HOOK We're on a first name communication basis. She gives him a weird look. HOOK I guess she doesn't know my name, but she gave me hers rather willingly. GoGo stabs jealously into her french fries with her fork. Hook smiles. HOOK I appreciate your concern, and am flattered that you care, but you don't have to worry about me running off with Mackenzie. She's not my type. GoGo looks at him skeptically. HOOK I like ladies my age. Not half my age. GoGo gives him a look like 'what about her?' HOOK Naturally, but it ain't the same. GoGo turns back to her plate. HOOK You wanna stop in and see Nana, before we get too far along into work again? GoGo nods excitedly. HOOK Thought you might. We'll stop in there this afternoon. She recognize us. Hell she doesn't know who we are. But that's the sad truth about growing old. Luckily we don't have to worry about that. She gives him a questioning look. HOOK We won't make it that far babe. She shrugs and goes back to her plate again. Hook takes a bite out of a biscuit. Then a loud rumbling of several motorcycles is heard getting closer and closer. And Hook's smile, as he hears them, gets bigger and bigger. The motorcycle gang rolls into the parking lot of the coffee shop that a moment ago was nearly empty. The lead motorcyclist steps off of his bike and with a lead pipe in his hands walks over to the Cadillac (the only other car in the parking lot) and smashes in the passenger side window. The license plate on the car reads "HOOK". Hook glances out the window at the man that smashed in his window. The man is looking at him super-pissed. Hook gives a smile and a wave. He turns back to GoGo. HOOK Lets TCB. He slides out of the booth and then offers his hand to GoGo who accepts, and he helps her out of his booth. Hook throws down some money, and then some more money, and then some more money (good tipper). He and GoGo take their time leaving the shop. But when the do get out into the parking lot they stroll quickly and confidently up to the biker gang. HOOK Is there a problem? The rest of the gang start going apeshit on the car. Tires are popped, all windows are smashed, bats make severe dents in the doors. After the car is completely demolished they all stop. The lead guy never moved a muscle but just stared down Hook who stared back throughout the entire destruction of his car. HOOK Well, you just don't know when to quit, do you. All but the lead guy get back on their bikes, start'em up and start circling Hook, GoGo, and their leader. GoGo looks annoyed, but not scared. HOOK You boys... Just don't know... What you're up against. The leader smiles a toothless grin. Then GoGo springs into action, leaping headfirst over the leader's head. As she comes down on her hands, her legs at the knee wrap tightly around the leader's head and with her forward force tosses the leader back and throwing him hard against the destroyed Cadillac. The biker's don't take too kindly to this. One floors it driving fast right at GoGo who spins on one leg doing a wheel kick to avoid the bike, and to kick the driver in the head and sending him flying off of the bike. The next one, the only bald guy, comes by swinging a bat which she easily avoids and jumps on to the bike behind the drivers who she hits with her palm, hard in his side right under the armpit. Blood shoots from his mouth as he goes limp and falls from the bike. She plays a little chicken with the third guy. I'll tell ya right away she wins. As they are about ready for a head on collision she dives off of her bike and it falls on its side still sliding forward and takes out the bike coming its way. The man on the seat is chucked from it and flies twenty feet skidding across the pavement. And the last guy, stands still at the end of the parking lot facing her. He revs his engine. He just spins those tires in one place kicking up all kinds of smoke and burning rubber as an intimidation tool before he takes off after her. She waits for him. After he's ready to come and just begins to move forward, she pulls out a handgun and shoots him the head blowing out his brain. Hook hadn't moved the whole time. HOOK You even managed to impress me. She turns back to him and smiles affectionately. Then we hear a painful groan from the ground. It's the bald guy, still alive but he's seen better days. Hook strolls over to him and points handgun of his own at the bald guy's head. HOOK You want this bullet. You'd kill for it, and you'd die for it. If you could talk you'd be beggin' me for it. And that's exactly why you ain't gonna get it. He pulls the gun away and walks over to GoGo who he puts his arm around. The two walk back into the shop but stop at the door just so Hook can yell in: HOOK Sorry for the disturbance outside. My tip should cover it. And then they leave, without their Cadillac, on one of the motorcycles. GINO (V.O.) Meanwhile there was Jo and Mr. Seven taking care of our Japanese outlet. The Loonies. INT. JAPANESE BAR - TOKYO - NIGHT Jo and Mr. Seven facing off against thirty Loonies with samurai swords. A couple take a run at our two heroes... SLASH - CUT - STAB - SWOOSH - SWISH - JAB - BLOODSPRAY EVERYWHERE! GINO (V.O.) And it seems they did all right. They're leaving the bitch for me. Mr. Seven with samurai sword and uzi is kicking some major ass knocking Loonies off left right and center. Jo decapitates one of them and the blood splats on her face. She wipes it off in disgust. GINO (V.O.) They're coming back now. They're in on the next target. Sing, Sang, and Song. The Chinese triplets. The Trio in White Pajamas. The deadliest brother sister group in the world. But none could possibly be more deadly as a solitary unit than I am. And I'm super pissed. INT. HOTEL ROOM - NIGHT Gino is sitting on a footstool for a chair and twirling his samurai sword around and around in his head with its tip on the floor. Topher is is messing with the television. But nothing is on tv that Topher deems worthy of his attention so he retreats to one of the two beds, retrieves his rubix cube from the bedside table and messes around with it. He's still not anywhere close to solving the cube. Gino looks over to Topher messing around with it and offers a suggestion. GINO Turn the piece in your left hand forwards, away from you ninety degrees and the block that you just turned into, yeah that one, turn it right 180 degrees. How's that? Topher looks at it, and then figures 'yeah that helps.' TOPHER Thanks a lot big brother, I can see the end soon. GINO My end? Or the end of our journey? TOPHER Neither, but the one for the damn rubix cube. You realize I've been on about this damn thing for going on three years. GINO Hang in there. Gino thinks a moment. GINO I'm sending Hank and Rich down south. TOPHER The Dandy? GINO Yeah the Dandy. TOPHER How bout Mordecai? GINO He's got some business in Turkey he wants to attend to. TOPHER You mean that blighter that took his money in that card game. GINO That's the business. There's a knock at the door. Gino gets up and strolls gracefully to the door. He just opens it and WHAM! He get punched in the face and then tackled. TOPHER Who is it? Gino and his ATTACKER roll on the floor punching each other like mad. They roll again, stop, punch, roll again, this time Gino ends up on top, stop, punch. The attacker kicks Gino off of him and bounces up to his feet. They exchange blows. Gino throws the guy into the tv. Topher looks on, there's really nothing he can do. But he doesn't look worried. The attacker gets up punches Gino a few times and swings him around down the entrance hall to the room and through the door, which shatters into an unnecessary amount of splinters. The attacker charges attempts to punch Gino who ducks out of the way. The punch goes right through the drywall. Gino smashes the glass to a fire extinguisher and then grabs the extinguisher and starts swinging it madly at his opponent. The FIGHT CONTINUES ON and on, with the two just walloping each other, onto the staricase down the stairs, out onto the street into an alley, up the fire escape to a building onto a roof, more blows, little effect. Until Gino knocks the guy off the roof down two stories onto the sidewalk. Gino walks back to the hotel room. But just as he turns into the hallway to the room he notices a man standing just outside of the door. A man dressed like a pimp, in a purple velvet cloak, and a purple velvet hat. He watches Gino approach. As he does, we realize that the man is none other than Nordaj Rabek. Gino scratched bruised and sweaty speaks first. GINO You lookin for something? NORDAJ Nope. GINO What are you doin here? NORDAJ I was lookin for something. GINO But you found it. Nordaj nods. GINO Congratulations. NORDAJ Thank you. GINO None of my business but, what is that one could possibly be looking for in a hotel? NORDAJ A just question, and just to correct you politely, it is some of your business. You just didn't know it til just now. I'm here looking for a man. GINO Lots of men here. It's a hotel, new men come and go all the time. You sure you got the right one, at the right time? NORDAJ I'm sure. GINO If it's partly my business, may I inquire a little deeper? NORDAJ By all means, please do. GINO Thank you. How is it partly my business? NORDAJ You already know cause you're a sharp guy, but I'll quit beatin around the bush and just say it out loud so as to remove any uncertainty of the connection. I was lookin for you. GINO You're right, that's exactly what I thought. Nordaj chuckles. GINO May I ask another question. NORDAJ I said by all means, please do inquire. GINO You sent the runt to attack me? Nordaj chuckles again. NORDAJ That's right. I didn't mean anything by it, I assure you. I just wanted a look at you in action. I've read and studied you for years man. But I ain't never seen you in action. Til now. Amazing to say the least. GINO Amazing does seem pretty bare minimum, when referring to me in action. NORDAJ Yes it does but you're a modest guy and I didn't wanna make you blush. GINO Oh please do, they say the rosy cheeks really brings out my eyes. NORDAJ I'll bet they do. GINO Yeah. NORDAJ Yeah. GINO Yeah. NORDAJ I'm sorry but have I introduced myself. GINO If you have I hadn't paid attention. NORDAJ Then I must not have because you've been pretty alert since the beginning. My name is Nordaj Rabek. GINO Is that Dutch? Nordaj chuckles. NORDAJ No it ain't Dutch. It's my name. GINO You Dutch? NORDAJ No. GINO Continue. NORDAJ Well that's it. I'm Nordaj Rabek. GINO I know. NORDAJ You wish to inquire further? GINO No, I thought you'd do a little explaining on your own. NORDAJ You thought wrong. GINO Did I. He sizes Nordaj up. GINO Have you met my brother? NORDAJ Topher? Haven't met him. GINO Well he's just inside why don't you come in. He pushes Nordaj with one arm into the room. Topher on the bed with the rubix cube. TOPHER How did it go? GINO The other guy's dead. TOPHER So it went well. GINO This is a friend of ours, Nordaj Rabek. TOPHER Is that Dutch? GINO No. TOPHER Well who is he? GINO He's Nordaj Rabek. TOPHER I know. GINO Well that's the answer I got out of him. Tell us Nordaj, who are you. And if you say your name again, you won't even by that. NORDAJ Let's say that I'm on the opposite side of the law you're on. TOPHER No shit! NORDAJ Nordaj Rabek, FBI. GINO A bureau man. How are things going for you guys. NORDAJ I don't know. But you are on our hotlist. GINO That right. NORDAJ Well, my hotlist. GINO Does that mean I'm speed dial on your telephone. NORDAJ You're just a name away. GINO You're just a smart-ass remark away from getting slapped raw. That means your cheek will be red and ripped to the bone. The skin around the perimeter of the wound you will be flaking off and peeling then Topher here will put a little salt in the wound. I've always wanted to do that. Everybody uses the saying but nobody acts on the words. NORDAJ Interesting isn't it, how people that talk the talk, can't always walk the walk. GINO You don't have to worry about that from me. I'm all walk. NORDAJ I know. But you aren't stupid, and you got bigger fish to fry, for lack of a better phrase... GINO ...No that was good... NORDAJ ...Than an old homeboy federalli pig like me. GINO I could spare a minute. NORDAJ Could you now? GINO Oh yeah I could. NORDAJ Well I can waste a minute. Gino takes a swing at him, but WHAM! Nordaj catches his fist in his hand. NORDAJ How long was that? GINO Not a minute. NORDAJ You sure, cause it felt like I had a minute to prepare. GINO Well sometimes people feel disoriented when they have the skills to see everything in slow motion. They have trouble just distance and time though, like you. NORDAJ Good. That's sounds straight out of a textbook or something. GINO Yeah Lee's. NORDAJ That's right. Mr. Lee. Where is he right about now? GINO You don't know? NORDAJ What I know I keep to myself. GINO You asked. NORDAJ Maybe to have you think I don't know, but just to find out if you know. GINO What makes you think I'd tell you if a knew. NORDAJ You aren't in so tight with him anymore are you? GINO How come you by the inference? NORDAJ Just a smart guy. GINO I suggest you get out. NORDAJ Can do. I know not to taunt the bull. GINO That what they teach you at the academy? NORDAJ No, they prefer us to learn, sit, rollover, and play dead. GINO Funny, that's what Lee taught us. Nordaj smiles, nods to Topher and turns around to find a gun pointed directly in his face. Jo's hand is on the handle. JO What me to pop him? GINO Not necessary sweet-cheeks. She lowers immediately. GINO This is Nordaj Rabek, meet Josephina. JO Fuck you! I'm Jo. You Dutch? NORDAJ No. But why don't you give me a call? JO You a pimp? NORDAJ Not anymore. JO Then maybe you should change your outfit. NORDAJ Maybe you should worry about the fashion vibes you're broadcasting. JO Maybe you should pay more attention to the gun pointed at your dick. He looks down, sure enough she's pointing the gun directly at his crouch. JO If you're not a pimp, I suggest you change your clothes. I ain't a slut, and that's exactly why I don't dress like one. You think a cowboy would dress like an Indian? He looks over to Gino. GINO Just get the fuck outta here. And wipe your feet on the way out. You don't want to get the hallway dirty. Nordaj smiles and then retires. NORDAJ See ya in the funny papers, motherfucker. JO Who's Nordaj Rabek? GINO FBI. Jo, mildly interested. JO Why's he here? GINO Looking for me, or Lee. JO I say we kill him. GINO I say he's no threat. TOPHER I say you're dumb-ass for saying that. He blocked your punch. Jo perks up now. JO Really? GINO I wound up it wasn't too impressive. JO Still... TOPHER ...You seem to have met your match. GINO Can it now. JO Or what? You'll make an attempt to defend yourself? TOPHER You're getting old big brother. And slow. GINO Then maybe I should retire. JO Isn't that what you are doing? GINO In a sense, yes. But not while there is still business to attend to. Jo gives him an interested look. INT. GINO'S EL CAMINO - MOVING - DAY He drives down the Mojave Desert. In his passenger seat is a younger Josephina. This is actually near the first time they met. She's seventeen. JO Where is it we're going again? GINO Mexico sweetie. JO Why Mexico? GINO Because I'm taking you to meet a man. A man in Mexico. JO You really have to give out more detail prior to the journey cause I don't recall this man's name. GINO He's my old tutor. Master Dejesus. JO DAY-JAY-SOO? GINO That's right. She looks away out the window to the golden sun that beats down 116 degree temperatures across the sand. GINO I want you to meet him before I train you. I want to make sure you are what I think you are. She looks back to him, her pupils readjust. JO And what do you think I am? GINO An assassin. JO Right. An assassin (in training). GINO Of course. But you're a natural. You'll catch on quick and be ready in no time. JO How long is that? GINO Why? You an eager-beaver? JO Just curious. GINO Three years, give or take your will. JO Then what? GINO Then whatever girl, then whatever. JO I'm safe with you, right? When I'm with you no harm can come to me. GINO Oh yeah. INT. SMALL EMPTY ROOM - NIGHT Rich has Mordecai cornered. RICH Now what I say is between you and me alone. I have your confidence? MORDECAI Always Richie. RICH I thought so, let's just hope it stays that way. Now you know as well as I do that we're dealin with crooks, we're crooks, everybody in on it and out of it is a crook. Right? MORDECAI Sure. RICH So everybody is scheming, everybody's got their own agenda cause we're mixed in some heavy shit and there's plenty of booty to score. So if everybody's scheming, why the Hell aren't we? MORDECAI What are you sayin? RICH There's a chance for us to make a big deal and a big payday. But only if we put ourselves ahead of everyone else. I'm sayin you and me cook up our own book. MORDECAI Just you and me? Rich nods in agreement. MORDECAI What about Hank? RICH Hank's obliviosity to us is what makes it perfect. Sure everybody is keeping a careful eye on everybody else but Hank, he knows we aren't scheming without him. He thinks, he knows we aren't scheming without him. We need to be scheming, we need to have a ploy. We need to be conspicuous. We need to be sharp. MORDECAI I like how you're thinking. But have you put enough thought in it? RICH It's simple. Gino's having us take on the entire fuckin world. What are the odds everybody on "our side" makes it through alive? Huh? I mean we're good at what we do but there are seven of us taking on the most dangerous people in the world and while we are dangerous too, it's just basic arithmetic that few make it to the other side with the sunshine and the rainbows. One of us didn't even make it through the desert. MORDECAI I haven't forgot about Smitty. Poor kid. RICH Yeah well. We play our cards right and we'll have a Full House with Four of a Kind. MORDECAI And what will they have? RICH I don't know. Nothing much, cuatro high. Mordecai laughs. MORDECAI All right. No Hank, no Gino. RICH Yeah just us. INT. DEJESUS' MANSION - MEXICO - DAY Gino and Jo stand inside the front door. Jo looks around the entrance, which is huge, and she's impressed. JO Who is this guy? GINO The greatest master of martial arts to ever walk the planet, and the arts have been around a while. VOICE Monsieur Diablo! It is a short stout, Mexican woman, a maid. She comes over excitedly to greet the guests. WOMAN (SPANISH) Monsieur Dejesus has been waiting. It is good to see you again. I will get drinks, just after I show you to him, come on. GINO Muchos Gracious Marietta. The maid MARIETTA leads Gino and Jo down a long hallway and into a large office room, with two wide doors wide open at the other end. The doors open into a beautiful garden and brick landing. Drapes hanging on the doors float gracefully in the breeze. Marietta points them outside and then retreats to get the drinks. Gino offers Jo a hand in front of him and she leads him the rest of the out. On their right is Lee or MASTER DEJESUS. He is sitting on a comfortable lawn chair in the sun. His open white shirt reveals a tanned, scarred chest. He wears sunglasses. GINO Lee. LEE Gino Violente. And young Josephina I presume. Jo sniffs. LEE What's that? JO Nothing, I'd just strongly prefer to be recited as Jo, not Josephina. LEE Well, that's your prerogative. He smiles, he doesn't look at them not the whole time. LEE How does she fight? GINO With more help, great. LEE How does she cook? GINO She doesn't. He smiles again. LEE Finally a woman who understands what's important. So Gino? GINO Not much to say. Just want to train her. I think she's got it. And she wants it. LEE Well then train her. You don't need my blessing. GINO Not your blessing I'm looking for. LEE No? GINO No, just advice. LEE Advice? Gino nods, Lee can't see but continues. LEE Then here it is. Training women is a terrible business. They piss and moan over broken nails, (even No- Back)... He adds quickly as Gino opens his mouth. LEE ...And if they're lookers then you got trouble to begin with, if they're not then you got trouble afterwards, nobody will hire them. Which problem you got? GINO Not the latter. LEE I'll take your word for it. GINO That it? LEE Hell no. But that's all the advice you're getting. GINO Cause it's all I need? LEE You just keep thinking that. INT. GINO'S EL CAMINO - MOVING - DAY They're back driving away from mexico. The sun is still on Jo's side now that they've turned around. JO What about that girlfriend of yours? GINO Fiancé. Jo looks more disheartened. JO Oh. You gonna marry her? GINO That's the plan sweetcheeks. Jo's a little confused and disappointed. JO Then what's with all the sweetcheeks, and sweeties and baby's. GINO What do you mean? JO You always got these cuddly names for me. He smiles, humored. GINO Sorry babe, but if you thought I was hittin on you, I was just bein nice. Just not Michael Jackson nice. If you were a boy. JO Why her? GINO Why not? JO She's not really all that much your type is she. She's not an assassin, she's just a stay at home mom. A housewife. GINO Maybe that is my type. To be honest I don't have a type. When you got a mug like this, you take what you get, and then hang on to it like grim death. JO Mug like yours? Bullshit. GINO I love her Jo. That's all the type you need. JO I'm just saying. You know, I'm a little more flexible, or sporty, or you know, more like you are. GINO You mean you like to kick a lot of ass. JO Yeah. Don't you like that? GINO I love a woman that can kick ass. But the woman I love just doesn't, she's too modest. JO I can be modest. He smiles again. GINO You can be a pain in the neck too. He laughs at her, she smiles in good sport. GINO Come on. I think you should look into something a lot better than me. JO (V.O.) But you're who I want. But you're who I want. You're who I want Gino. Only you. CUT TO: INT. BATHROOM Jo looking at herself in the mirror repeating the words over and over. JO Jo Violente. Jovial Ente. She plays with the name a little. GINO (V.O.) Now Mr. Seven. You remember your old partner, Hugh Jazzman? MR. SEVEN (V.O.) Yes. GINO (V.O.) I want you to kill him. EXT. LAX - DAY A man is walking through the airport. He's carrying a single bag. As he leaps one-handed over a rail we freeze frame. Under him appears his name in funky typography :: HUGH JAZZMAN. Back into motion he continues on. By the door he then notices a man, Mr. Seven, who is holding a sign that says "HUGE ASSMAN". He approaches Mr. Seven. HUGH What are you doing here? He's got a high-pitched, squeaky voice. MR. SEVEN Just picking up my best man at the airport. HUGH Yeah well that sign ain't funny. My name is just a name I didn't choose it. MR. SEVEN You can change. HUGH Hey, with a name like Jazzman, you don't fuckin tinker around with it. MR. SEVEN Touche. HUGH Where to? MR. SEVEN The desert. INT. MOVING CAR - MOJAVE DESERT - DAY Mr. Seven is driving his convertible and Hugh sits in the passenger seat with his bag on his lap. HUGH So what the fucks in the desert anyway? MR. SEVEN Lots of sand, lots of sun, and little water. HUGH You know what I hate? Assholes that answer reasonable questions with stupid, dumbshit answers. MR. SEVEN You hate that? Then you aren't feelin too happy right about now are you. HUGH No. What are we doin in the desert? MR. SEVEN This is where you are going to die. Hugh laughs. HUGH Really. You gonna kill me? You gonna take me into the desert and kill me? He looks at Mr. Seven questioningly. He gets no response. HUGH That's cold shit man. C'mon Seven we haven't seen nor talked each other in what? Three years? And now you say you're gonna kill me? Nothing. HUGH Seven you son of a bitch. You cock sucking, fairy fucking son of a bitch! You think you can end me? You are fucking wrong! I am mother fucking Hugh Jazzman! I don't go down. How you planin on taking me out anyway? Cause I can tell ya right now it ain't gonna hap... BANG! As Hugh wasn't looking Mr. Seven pulled out a pistol pointed right at his head without noticing and ther goes Hugh. Mr. Seven pulls off to the side of the road and into the desert a bit a ways. He stops the car and gets out. He walks over to the passenger side and lifts up Hugh's bullet-ridden head. He takes a cloth and wipes the blood from the top of the door. He opens the door and pulls the dead man from the car setting him on the hot ground. He opens his trunk and pulls out a shovel. He starts digging... And digging.... And digging. He throws the body in the hole. And starts filling... And filling... And filling. The sun is now low in the sky and bright red. Mr. Seven, dirty as hell throws the shovel back in thr trunk and hops in the car. He sticks the key in the ignition and turns it. It tries to start, it really does, but it does so unsuccessfully. He tries again and again but nothing. MR. SEVEN You gotta be jokin. He tries again. Nothing. MR. SEVEN Well, it ain't funny. He climbs outta the car and kicks the door shut. He pulls out his cell phone looks at it, no signal. MR. SEVEN I guess I'm walking. But not without a goodbye. He pulls out his shovel from the trunk and starts beating the FUCK OUTTA THIS CAR! Smashing it in, beatin it to shit. When he's done, he throws the shovel over his shoulder, and in his dirty, dusty, sandy, black suit, starts trekkin back to town right into the red sun. He says to his car: MR. SEVEN Adios. The shot WASHES into BLACK AND WHITE and then FADES TO BLACK. INT. HALLWAY HANK (V.O) You takin the Dandy too? GINO (V.O) The Southern Dandy. No, I've got larger fish to fry. HANK (V.O) Can I fry this fish then? GINO (V.O) By any and all means. Two feet step into the frame and then begin to walk down the dimly lit hallway. We follow the feet. The footsteps seem to echo in the The feet belong to Hank but we don't know it yet. We never see his face in this scene but we do hear his voice. The feet turn a corner in the hallway to the right and then we see a door that is open just a crack letting out a light that puts a pale yellow strip down the otherwise grey wall. The feet approach the door. As they get there the door slowly opens as if by itself revealing between the feet... ...A man dressed in a bright white suit with a white hat and big fancy sunglasses. It's the Southern Dandy. And we find that out as the title appears above his head. We watch from down below, between the feet. DANDY And what is it that I owe the privilege of your company on this fine evening? He is a Jack Nicholson from Mars Attacks, (not the president but the other role of the casino guy). Only naturally, with a deep Southern accent. FEET You owe nothing, since the pleasure is all mine. Now everyone will know that the feet belong to Hank. DANDY Surely not all the pleasure? HANK No, all of it. DANDY Well then. You must be a happy man. Please sit down. HANK No thank you I prefer the doorway. You know, safer in case there's an earthquake. DANDY Don't worry over the impossible. HANK I try not to. You been in touch with Lee? DANDY I ain't seen him in a while. I'm tryin to run my own show without him you know. HANK I am aware. DANDY But I talked to him. Or at least he talked to me. HANK What about? DANDY He told me to watch where I'm steppin, and to keep an extra pair of eyes on my back, so I can see who's kickin my ass. Now that can be interpreted two ways. One: that his business is up mine's down, and so in the stock market sense he is kickin my ass, and it's all just a big joke. Or two: that someone wants me dead and I should keep an eye in all directions for pricks with keen sticks. HANK And which do you believe? DANDY I'm not sure but I think it was the joke, he and I have always encouraged a little friendly competition. HANK Good good. You're wrong. DANDY Oh really? Can you convince me otherwise? HANK No I can't, but there's a prick behind you with a keen stick that can. Now we see in the shadows behind the Dandy is none other than Rich Million. The dandy doesn't bother to look back. RICH Where's your other pair of eyes? DANDY I sent them out to get me a drink. RICH Big mistake. DANDY Thank you for that analysis. He sighs. DANDY Well boys, lets get it over with so we can all go home. Hank steps in and closes the door just before it closes completely we see Rich with his samurai sword raised execution style ready to stab the Southern Dandy. But the door closes to a crack just before he does it. We hear a stabbing noise and a blood splat. Then something fall to the ground and rolling like a bowling ball, and sure enough the Southern Dandy's eyes appear in the crack in the doorway. He seems to have lost his head in all this commotion. EXT. MOUNTAIN RANGE - CHINA - DAY We see a beautiful mountain range in the middle of China. A SUBTITLE UNDERNEATH APPEARS: "SMACK DAB IN THE MIDDLE OF CHINA" In China is where we will find the triplets, SING, SANG, AND SONG. EXT. MARKETPLACE - CHINESE VILLAGE - DAY Gino and Jo stroll through a marketplace in a village in China. Jo carries a basket with a loaf of bread. Gino carries two samurai swords. JO So what happens when everything's over, when everyone's dead. GINO I start over, everyone starts over, but that's a long ways away. JO Who are you starting over with? Gino looks at her. GINO Jo, I'm not starting over with anyone. I'm starting over in solitude. JO Why Gino? Why not me? What's wrong with me? Why aren't I good enough. We see Jo acting like a child again, something rare as we all thought she'd grown up into a strong, independent woman. GINO I love Jen, Jo. I want to live out the rest of my life in purity. JO Jen's dead Gino. He takes a swing at her, she blocks it with a forearm and then she kicks his feet out from under him. Landing on his back Gino swings her feet out from under her as he leaps back to his feet and puts a foot on her throat. GINO Don't say that Jo. You keep acting like a child. I'm not getting into a relationship with you if that's your word for it. I'm a bad man. And I haven't got room in this heart for you. He takes his foot off of her throat. GINO I've wasted too much time already. She gets up off of the ground, picks up her basket of bread. GINO You remember the last time we were at this place? JO I haven't forgotten a single moment in your presence. GINO Where I trained you. They walk past a beautiful temple, surrounded by an amazing garden. GINO Where you grew up. Where you became the woman you are today. JO Funny isn't it, how you define a place such as this as the key ingredient of my womanhood. GINO Why is that? JO Because it was never the place, but the man that made me what I am. And you accept no responsibility for giving birth to the most dangerous woman on the Earth. GINO Well, I try not to brag. And you said you could be modest. JO That was a long time ago. I've changed. GINO Into what? JO Something better. No longer possessing the ability of modesty. GINO You consider modesty an ability? I guess in a way. JO In a big way baby. Gino smiles. GINO You remember the Siamese Twins? JO Joined people? GINO No. They just so happened to be from Siam, and they were twins. They would have given you a run for your money. JO What happened to them? GINO Dead. I heard ol' Hook got to'em, and his little GoGo had her way. JO Got to hand it to those two. They got a lot going for them. GINO They got a bit coming to them is what they got. And that bit is the big bit. JO You used to get along good with Hook. GINO Yeah well, a lot of things change when the bushwackin son of a bitch goes and kills the most important thing to me. JO Yeah, I suppose it does. GINO Everyone is trained there, me included. FLASH TO: INT. TEMPLE'S DOJO - DAY We see a glimpse of Gino's training. Gino stands at one side of the dojo, and Lee on the other. JED is there, overlooking the training, and witnessing the sparring. Gino and Lee bow to each other. Then they each mount their kung-fu fighting stances and styles. Gino and Lee run right at each other and meet in the middle, they collide in a fling of fists, kicks, chops, and blocks. Only as they come together, we slow down to 18 FRAMES PER SECOND, and they fight is like an operatic dance. At this speed everything is graceful and soft, and all the moves and defences are clearly visible. Halfway through this stage of the battle the scene changes back to regular 24 FRAMES. Lee sends Gino flying into a beam. Lee takes a step back and picks up a long thin bamboo stick. Gino picks one off the wall. They charge again and again, as they meet we slow to 18 FRAMES. They continue their battle with the bamboo and halfway through we see the remaining duel in 24 FRAMES. They pause. LEE Now, close your eyes, and I'll close mine. Listen to the vibrations in the air, to determine where the next blow will be. They both close their eyes and continue. This times Lee kicks Gino's bamboo stick snapping it in half and then knocking him backwards with a shot to his chest with his stick. LEE Good. By this time Gino has broken a sweat. Lee isn't even out of breath. LEE Choose your weapon my friend. And choose wisely. Gino gathers himself a samurai sword. Lee gives him a look, pulls out pistol. LEE You're dead. He smiles, throwing the pistol away. LEE Good lesson, let your opponent draw a weapon first. GINO I prefer a curved weapon. LEE I know, you're predictable. GINO Nobody can beat me with this in my hands. Lee retrieves a long Chinese sword from a table. LEE No they can't. But I can. Watch me. This time they come together and fight at 24 FRAMES the whole time, but every now and then the camera slides into 18 FRAMES for a couple seconds and then switches back to regular speed. In the end, Lee kicks Gino down to his knees, and then twirls around, fast, swinging hiw sword which he he stops right as it comes in contact with Gino's neck. The faintest bit of blood seeps from the faintest little cut on his neck. Gino looks up at the sword in Lee's hand and notices the smidgen of blood on it. GINO You couldn't have stopped sooner? LEE Not when I win. Jed pipes up for the first time. JED (JAPANESE) Enough chatter! Put the weapons back. Master Dejesus, take apprentice Diablo to the pit. He will catch the rat by sundown, or it will be his dinner. GINO Joy. He follows Lee out of the dojo. EXT. MARKETPLACE - CHINESE VILLAGE - DAY Back to Gino and Jo. JO Did you catch the rat? GINO No, the little squirt evaded me for nine and a half hours. JO So you had to eat it? GINO He said that I had to develop a taste for victory. The victor being the rat, he would taste just so. But I wouldn't eat it. JO Oh no? GINO No. But I did open him up and consume his heart. JO So how does victory taste? GINO Bitter. INT. CAR - MOVING - DAY Rich and Hank are cruising the streets, just getting back to town after coming back from China and aiding in the handling of the Triplets. RICH You know what I wish came back into the swing? HANK Free love? RICH No. Batman. The Batman comics should come back, I think they could be big again. And then maybe they can get back to the movies and do something there again. Cause they've really gone down the fuckin tube. HANK Batman. Noway, Batman is the biggest fuckin superhero scam ever pulled over the eyes of the American people. RICH How so. HANK First off, he's a fuckin pussy, no ifs, ands or buts. RICH A pussy? Batman is the greatest superhero comic of all time. He's the perfect alter-ego, with the perfect superhero. HANK No. He is Bruce Wayne. He's the least independent hero. And he is far from being a superhero. RICH Oh yeah, enlighten me as to how any of your shit makes sense. Why are you right? Who's your favorite superhero? HANK My superhero? The only superhero: Superman. And I'll tell ya why I'm right. He prepares himself for his big spiel. HANK Batman is not a superhero. Why? He hasn't got a single fuckin super power. He's just a man, nothing special. Anybody could do what he does. He's a guy in a rubber suit with a bunch of fancy tools. He might as well be fuckin Inspector Gadget. You know the tool with the glasses, looks like a child molester cause of that trenchcoat he's always wearing. That's as good as Batman. RICH Batman protects Gotham city. He's the Gothic superhero. HANK Bullshit. And no more using the word superhero when you talk about this clown. He's a pampered little rich kid, with a fuckin butler. Who else has a butler? Nobody cause they can handle their own laundry. Why? They're not just regular joe's. A normal guy can't do laundry. But these superhero's can. Another thing: what's up with Robin? He's a got a sidekick. Not just any sidekick but one that turns around and bends over for him on demand. Another thing: Batgirl. What the fuck! There's no Supergirl, no Spidergirl. And you know what, Robin and Batgirl aren't any more superhero's than he is. Superman is a superhero. The superhero. He has super powers. He doesn't need tools he has his strength. He doesn't need backup. And he most certainly does his own laundry. RICH Batman's got the best villains. HANK Oh for sure, Batman has the best villains. But that's all he's got going for him. But the villains have nothing to do with Batman. He doesn't make them, he doesn't give them their qualities that make them so bitchin. And Lex Luther isn't a fuckin push over either. Only he's the only real good villain. He's the only well known villain. Whereas the Batman comic books were chalked full with a big fuckin ensemble of shit for this guy with no more brain than what's in this car. And people would actually buy that the bat guy didn't wind up dead on a telephone wire in the first issue. It's beyond me, I'll tell ya that. RICH There's no winning an argument with you is there. HANK Not for you, not in this life. RICH Bullshit, Batman isn't a superhero. HANK He ain't. Superman, Spiderman, Captain America, those guys are superheroes. RICH What the fuck! He slams on the brakes as a man steps in front of the car with a hand out to stop them. The car comes to a screeching stop about a foot in front of the man. Rich and Hank look up at the man in disbelief that he could be so stupid. The man smiles back. And we see that the smiles is that of Nordaj Rabek, our FBI Bugs Bunny. RICH The daffy bastard. Nordaj steps over to the passenger side where Hank sits, and taps on the window softly. Hank rolls the window down. HANK Little dangerous to be walkin on the street don't you think. NORDAJ It is. Motherfuckers get killed walkin on the street. Like Tiennaman Square or some shit. He laughs. NORDAJ You know who I am? HANK Should we? NORDAJ Shouldn't you? RICH No fuckin clue. Tell us. NORDAJ My name is Nordaj Rabek. RICH Rabek? The Dutch guy? NORDAJ I'm not fuckin Dutch wiseguy. RICH Gino told us about him remember. HANK Yeah, the FBI prick. NORDAJ That's me. We talking about Gino Violente? HANK The same. NORDAJ Yeah, I thought so. Funny, you guys mentioning Gino man. You know he and I have a bit of a history. HANK That right. NORDAJ Yeah, but he just don't know 'bout it. RICH What do you mean he don't know about it. He's got a good memory buddy I wouldn't put it passed him. NORDAJ It's not a question of what he remembers. It's a question of what he knows. And what he knows, isn't a goddamn thing. Or at least not til I remind him. They're confused. RICH How can you remind him? HANK If he doesn't know in the first place? NORDAJ Gino Diablo, killed my daddy. He just don't know he was my daddy. Hank and Rich give each other a look. NORDAJ But he gonna soon. Cause I'm gonna remind him. I want you two boys to tell him to expect me. Cause I'm on his ass. HANK We don't run errands, or pass messages for any sons of bitches that just ask. NORDAJ You do for me. HANK Why's that? NORDAJ Cause I'm Nordaj Rabek. I'm the man that owns the man, that runs the man. RICH That's a lot of fuckin men. NORDAJ Yeah. He smiles. NORDAJ So, you boys got off a plane was comin in from China. What attracts you so much in China. HANK Triplets. NORDAJ Friend of ours have triplets in China or somethin? RICH No. We hit the Triplets. NORDAJ Hit the Triplets? Diablo have a part of this? HANK He set it up. What do you think. NORDAJ I've heard of the Triplets. Actual triplets part of a hit team, whackin people, assassins, bad guys. Like you. So I'm wonderin: Why are you hittin them? Why aren't you guys all on the same page? HANK You gotta know bad guys Nordaj. We don't all get along. Most hits are already on bad guys. NORDAJ You say already like something's changed. HANK That's cause it has. NORDAJ And? HANK And you ain't gonna find out til you're dead. Lucky for you, you won't have to wait long. NORDAJ I know a threat when I see one. HANK Hear one? NORDAJ Yeah. Round here, I'm above the law. I'm FBI. I'm out for revenge. Let him know that. Maybe later on, I'll get to bust your ass too. Or better yet, send it to Hell. HANK I ain't gonna be killed by some confused, semi-legit, Home-Fuckin- Sheriff like you. NORDAJ That's where you're wrong man. Cause around here the Sheriff does the shootin, and the deputy asks the questions afterwards. HANK That how it works round here? NORDAJ Yeah. HANK Then fuck the system. He turns to Rich. HANK Fuckin drive. And he does, leaving Nordaj Rabek, the man, the myth, the legend, inhaling their dust. EXT. LAST TANGO BAR - NIGHT Hook 'n GoGo walk down the dusty desert path up to the bar. INT. LAST TANGO BAR - NIGHT C/U of the front door. It swings open and the figures of Hook on the left and GoGo on the right are standing in the door frame. Hook pulls up a shotgun in each hand slowly, as he does so GoGo whips out a pair of ak-47's and starts shooting like a madman. Hook follows suit with his shotguns. In all he takes about eight shots with each gun, even though they can hold no more than three each. The audience will buy it. After a bit they stop, we've stayed on them the whole time. But now they stop we do a three-sixty to survey the bar. We move to our right. We see the destruction, dust kicked up in the air blood and bodies everywhere, bullet holes in the walls, debris, more bodies, and then a bar with dead guys laying out over it but the bar and its surroundings are pretty clear. We get back to the doorway with Hook 'n GoGo. Hook steps into the bar and GoGo follows suit. He walks over to the bar where the only living man is, the bartender TANGO, hunched over behind it for protection. HOOK Tango? You still alive? TANGO Yeah. He stands up to face Hook and as soon as he does Hook grabs him by the throat. HOOK Good, but don't let that give you the wrong impressions of my intentions, you haven't got a free ticket to tomorrow's sunrise yet. First you got to humour me, and you know as well as any, I don't humour easy. Tango can barely breath already. HOOK Where's Diablo? Nothing. HOOK You know I hear strangling can be a tough ride, that you just feel life eeping up through your esophagus and then kick you in the roof of your mouth just before it leaves you forever. TANGO How do you know? He's struggling to get his retort out. TANGO Do you talk to the dead? HOOK Only in my sleep. Tango's eyes go to Hook's belly. Hook's follow his, so do GoGo's. Tango is holding a long knife against Hook's belly. Tango smiles, as best he can. Hook lets go. Tango smiles more. TANGO Lets be more civilized. He removes the knife. HOOK Where's Diablo? TANGO You're not much for greeting friends these days are you? HOOK Just Diablo Tango, where is he? Or where's he gonna be? TANGO Japan. The moment he finishes saying that last syllable GoGo has already whipped out a handgun and blown his head away. The brain splatters on the mirror behind Tango as his body falls straight to the floor. Hook looks at her. HOOK We got what we came for? She nods. That's all they needed, he can be dead now. HOOK Then giddyup cowgirl. He follows her out. EXT. CHINESE COURTYARD - DAY Gino and Jo step out of dark shade of the buildings surrounding them into a large courtyard. The courtyard is surrounded by high Chinese temples and buildings. The courtyard is sunken, there is a five step drop down from everything surrounding it and the stone pathway forms an octagonal cross in the middle. Grass grows in small triangles between the stone walkways. Someone moves to their left. They look over and see Rich and Hank coming their way. GINO What took you? HANK Rich had to go the bathroom. RICH You know how it is Gino. JO You boys look like you had a little fight. They are a little cut, scratched and bruised. Look like they've been fighting. JO Who'd you run in to? HANK He ran into me, and then I ran into him. We continued for about five minutes and then called it quits. I had a smoke, and he went to the bathroom. Gino smiles. GINO You guys have a rough trip? RICH Something like that. Then we hear running and from the other side of the courtyard comes the Triplets. Finally something in China worth seeing. If you don't like the Wall, the temples, or the great history, at least you got a couple of bastards that like to get their hands dirty. SING, SANG, SONG, all in identical white pajamas. JO I want the little girl. RICH You mean Song? JO No Richie, the one without the penis. She means Sing. When either Sing, Sang, or Song speak it is in Chinese which is in turn DUBBED ENGLISH over their mouths. SONG Why is it that you walk our street Master Diablo? GINO Shouldn't you be asking why I'm walking at all first? SONG No, I have already heard of your escape from death and have been waiting for you to come to us. GINO In that case, why would you ask why I am here if you were expecting me. SONG I simply would like to know if you come in peace, or in revenge. GINO You know the answer. SANG So you have come to kill us? GINO Right on bitch. But what I wanna know first is exactly what you had to gain to be a part of this? SANG We were promised many things. Many things that you took from us. Some things that were simply denied by you. GINO That's not helping. SING We just benefit from your death. As you live, you are a liability. GINO That so? SONG You are a liability to everyone. GINO Well I'm a big liability to you. I want your head. I want three heads. And I'm gonna get them. Just then Sang, on the right when looking at them from Gino's perspective, shoots into the air making an attempt at leaping up onto one of the roofs of the temples, like one of those jumps from Crouching Tiger. But quicker than anything, Hank pulls out a rifle points it right at Sang's head and even before he's reached his maximum height, Hank pulls the trigger and blows his head away. The body of Sang falls to ground and bounces of the stairs. HANK Nobody's goin nowhere. Song is frying an egg on his head, and Sing is in tears, both are red in the face. JO Showtime. She smiles as Sing and Song pull out their chinese swords and soar violently graceful at their opponents who pulls out their samurai swords and prepare for the attack... ...Which comes in a heavy wave of furious swords being swung as though uncontrollable. Sing and Song move faster than anyone we've seen thus far, and can wield their swords faster as well. They spin, slash, stab, jump, twirl, and slice at the members of the Experience. But everything is parried. The battle ensues, choreographed by professionals. Some crazy shit, some more crazy shit. Sing, Sang and Song all wind up as dead as a dead guy. Our heroes escape with minor cuts and bruises. INT. SPANISH RESTAURANT - NIGHT Nordaj Rabek, our infamous FBI agent badass, sits in a booth all by his lonesome, sipping some coffee. A Spanish band is playing on the stage at the far side of the room. When they finish their song he claps enthusiastically. NORDAJ Bravo! Bravo condios muchos gracius! And all that other bullshit ya say. He turns to the aisle beside him. NORDAJ Garcon! Coffee! VOICE Little late for coffee isn't it. He looks behind him, it's Kelly No-Back. NORDAJ Never late for coffee my sweet, I'm trying to stay awake, so coffee does the trick. They say it's good for you now. KELLY Now? How's it any different than before? First they come out with coffee, it's great, it keeps you awake and alert. Then they say it will kill you, they say you should drink de-caff. Then de-caff gives you cancer, drink anything at your own risk. Now they say it's good for you? What's changed? NORDAJ I don't know, they did a study. KELLY They? NORDAJ Yeah, they. KELLY You mean the great researchers, analysts, and statisticians at Maxwell House whose concern above all, above even selling a product and making a profit, is to feed you a healthy drink? NORDAJ Yeah, those guys. KELLY Well, all right then. She slides into the booth. The waiter makes his way to the table and pours another full glass for Nordaj. WAITER And, for the lady? KELLY He sold me on the coffee, that's it. And a bagel. And a muffin. The waiter acknowledges and leaves. NORDAJ Isn't it a little late for a coffee, bagel and muffin? That's breakfast food, this place ain't a bakery, it's a Spanish restaurant. KELLY Then consider it my breakfast. I skipped that meal earlier today anyway. NORDAJ Not breakfast? The most important meal of the day? KELLY None other. NORDAJ I don't believe you could miss that. You gotta take yourself, your body is a temple. KELLY I take care of myself just fine without scrambled eggs. NORDAJ You mean with an edged weapon? KELLY How else can a girl take care of herself in this world. NORDAJ Very true. He sips his coffee. She watches him. NORDAJ Kelly Knoughback. K-n-o-u-g-h-b-a-c- k, or n-o-b-a-c-k. Which is it? KELLY Take your pick. NORDAJ You a prude or something? KELLY Excuse me. NORDAJ No thank you. KELLY I beg your pardon. NORDAJ You ain't gettin it, don't matter how much you beg. KELLY Well listen here. I can take a lot of shit, especially from the likes of you, but I am one hot-pocket you don't wanna overheat. When I explode, the shit hits the fan. In this case you are the fan. I'm a big, bad, bitch, and I won't take any disrespect from you. Cause you might be all that, or you might not, but what you gotta ask yourself is: is all that, enough? NORDAJ So are you a prude? She drops the threats and switches to a relaxed conversational tone. KELLY No, or at least not by my definition of prude. That is: prudes are afraid of sex. I'm not afraid of it. But I do think that sex itself, the act of sex alone, is demeaning to women. Not all that shit about what everybody says is demeaning to women, like women taking their clothes off for money, that's not demeaning. I wouldn't do that either, cause it's associated with sex by our current societal standards. But sex is strictly a male dominated sport. Males naturally take less time to have an orgasm during sex than females. Why? Because sex is meant for procreation, not pleasure. But even so the male orgasm is very pleasurable for them to encourage continuous procreation. Coincidentally when the male pops his top the female isn't even close and when he's done, the whole fucking operation is aborted. See, nobody gives a damn about the woman's pleasure. When the guy's had his, he's had it. Everybody just assumes that if the guy wants to come back for more, and hence further procreation then he will, there's no need for the woman to enjoy it. NORDAJ She's supposed to enjoy it, sex isn't just for procreation these days in case you haven't noticed. KELLY So, all the woman feels is pain. She has sex on the man's schedule, then she endures nine months of uncomfortable hell before some fucking kid, kicking and screaming, decides to climb out of her. So, all in all men have their orgasms, women have kids. It's disgusting how unfair and offset the system is. I simply will not participate in such an act that was made and intended for one sex to enjoy and the other to torment under. She's done. He looks at her. NORDAJ But it sure is fun. KELLY Spoken like a true egotistical male. NORDAJ In this age people do things not for procreation, but for solely for pleasure. I pleasure my women. KELLY They're faking it. NORDAJ I get them going. KELLY They're faking it. He thinks. NORDAJ You know, you don't have to have sex for an orgasm. If that's what you are against then you can still do something by yourself, for yourself. No procreation possible, or even intended, and the pleasure is still there. KELLY Oh yeah. Skeptical. NORDAJ Just with your hand, like guys only playing around with your tools. KELLY With my hand? You want me to stick my hand in that? She sounds disgusted. KELLY I pee outta there. She is disgusted. NORDAJ All right, it's a hygienic thing, it's not for you. He laughs, she looks at him with a mild loathing. Cause they do get along. This isn't their first meeting. They're connected through Lee. Nordaj knows Lee. We'll look more into their relationship later. But Nordaj and Kelly have been around together, Nordaj has pulled a few things outside of the FBI, some extra-curricular activities. He's as crooked a lawman as there ever was. KELLY Where's my food? NORDAJ Don't ask me. She turns to yell. KELLY (SPANISH) Where's my fucking bagel and muffin! I heat up a bagel in two minutes, and it takes me ten seconds to grab a muffin! She turns back to Nordaj. KELLY You believe this service? She turns to yell. KELLY (SPANISH) If I don't see my food in sixty seconds I swear to fucking God! And if I swear to him it ain't nothing compared to I'm gonna do to you! She turns back to him. He's smiling. NORDAJ You know they probably had to order in the bagel and muffin from some other place. He drains his coffee. NORDAJ Tell Lee that the bru-ha-ha is in progress, we'll have the place in no time... KELLY ...that's fast... NORDAJ ...and he can be ready to deal the politics and then bask in victory. KELLY Bask, that's a good word, I don't care what anyone says, it's short and sweet but it's good. Bask is a word that's underrated NORDAJ No doubt, no doubt. He gets out of the booth. NORDAJ (SPANISH) Farewell, my lady. He leaves. She sits a moment in silence. The band finishes another song, the restaurant claps. She turns to yell. KELLY (SPANISH) Let's get the food over here pronto! Now! Now! Now! CUT TO: SHOT OF: Church from the very beginning. INT. CHURCH - TEXAN DESERT - DAY Back to the beginning where we held the first very long act. Everybody is sitting where they were before it is the same time and place. Gino turns on Mordecai. GINO Mordecai. You've been silent up til now. And I know you've got a yarn in yur lungs. Tell me the one I want to hear. Mordecai smiles. MORDECAI That can only be one. It hurts me to tell this tale, but it ain't over yet, even when I say 'the end.' DISSOLVE TO: Mordecai in different clothes and a pair of sunglasses in Taiwan. This story will involve the SIAMESE TWINS. They aren't connected but they are twins from Siam. MORDECAI (V.O.) This story involves the Siamese Twins. Not that they're connected but they are just a couple of twins from Siam. SHOT OF: Siamese Twins in school-girl outfits looking innocent. Then... ...BOOM! They lay a couple of deadly head-high kicks to the heads of the men beside them who crumble to the ground appropriately. Back to Mordecai. MORDECAI And the elegant, mysterious, Lady Luck. FLASH: Mordecai in a suit walking down the streets of Hong Kong. He stops. The crowded street goes about its business. He looks around. At the end of the street is a woman, a figure clothed in bright, clean white. Hooded and faceless. The figure raises her arms, hands together and then spreads her arms like Moses as he parts the Red Sea. And sure enough the crowded street begins to part. Not that the pedestrians are part against their will it's just like all their business is at that moment on the sides of the street. And there's now a tunnel, a direct pathway from Mordecai to the white figure, LADY LUCK. Her head is bent we can't see her face. Mordecai takes a step forward and unsheathes his sword halfway. Lady Luck takes off the other way, as though floating and the street becomes crowded again as the peasants flood the middle of the street again. Mordecai makes his way through the crowd and out of the street. When he turns in the alley he finds, the Siamese Twins waiting for him. There they are in schoolgirl uniforms. One with a pair of hand tridents. The other with a pair of nun-chucks. Mordecai smiles, pulls out a pair of desert eagles and unloads, all of which are dodged by the twins, which we discover only after the dust subsides within the alley which builds up as he shoots. There they still are, same spot, same posture. He smiles again. MORDECAI Well, I guess it's about time I get hittin the dusty trail. He removes his sword. They walk towards him and he, them. They meet. The one blocks Mordecai's sword blow with her hand tridents and locks it up. The other sends a couple of blows to Mordecai with her nun-chucks. Then everything stops, abruptly. Mordecai's sword is still locked in the hand tridents. The nun-chuck twin just stands still looking at her sister, pouting. We see there's a gun resting at her temple. The barrel of a shotgun stare down the other twin. Holding the shotgun is Hook, standing on a four foot crate, looking down at the situation. GoGo holds her hand gun at the head of the twun locked with Mordecai. MORDECAI Hook. HOOK Good to see you too Mordecai. MORDECAI GoGo. How are you? She nods, she's fine. MORDECAI You eatin good? She nods again. MORDECAI Get all your greens? She nods. He turns to Hook. MORDECAI I thought you were gonna take off yesterday? HOOK We got caught up. Lady problems, you know how it is. GoGo blushes. HOOK Anyway. We're taking care of it now. And you've got a date with destiny right? MORDECAI No, Luck. HOOK Whatever, hop to it. MORDECAI Thanks. He slides his sword away and sheathes it. He walks away and leaves the alley. But we stay at the end of the alley sliding past it. HOOK Try and dodge this. As we slide past the alley opening we hear the blast of a shotgun and a hand gun. EXT. SHI KNI'S PALACE - JAPAN - NIGHT Gino stands by the car with Jo who is leaning against it with her back. Gino's samurai sword is in its sheath around his back, Jo's is lying across the top of the vehicle. GINO You ready? JO For what? Waiting? GINO Okay, something happens, you call Topher, he calls Mr. Seven. You wait for them to get here before you go in. Fuck the charade, storm the camp, kill everyone you come across, send Shi Kni to Hell and head for parts unknown. Got that? JO Course I got it. Gino looks at her a moment. GINO I knew ya did. He turns to walk across the street. Jo stops him. JO If that be the case, why'd you hook up with Jen? Gino pauses. GINO You think you got more than her? JO Is that what you think? GINO I think you're a baby girl. I don't want you to ever mention her again. Jo bites her lip. JO It's your picture that's been riding my bedside table for the last ten years. But you don't make me laugh anymore. GINO Well, I stopped trying. He turns back around and continues on his way. INT. SHI KNI'S PALACE - NIGHT Gino steps inside and checks the place out. It's been renovated from an old gothic Japanese temple. He climbs a wide staircase before him. At the top there are hallways that go off to the sides and a third going straight. He takes the middle one. There are more stories of Shi Kni's forefathers on the walls. The hall opens up to a massive dojo. The ceiling is high and the floor is huge, like a sports arena. Two hallways jet out to either side of where Gino is and go long into other parts of the mansion. At the far end there are two sets of stairs that go along the end wall and meet at a landing thirty feet above the floor. The landing goes to an elevated walkway that circles the dojo all the way around. Gino steps into the light of the dojo. He speaks, but doesn't yell or raise his voice, as though he talks to someone just beside him. GINO (JAPANESE) Shi Kni, two months ago you aided in the unprovoked murder of my wife, Jennifer Violente. I have come to settle our score, if you wish to defend your position you may do so by whatever means you feel necessary. But know this; that no matter what your defence is, I will kill you. Then a soft voice answers back but obviously from a distance. SHI KNI O.S. (JAPANESE) You have traveled very far master Diablo, perhaps you would like to settle the score after dinner? GINO No way bitch. Silence. Gino waits. After a moment Shi Kni walks from a hallway on the other side of the dojo and appears at the top of the landing, and she approaches the rail. Flanked by two of her very best bodyguards. SHI KNI Those are very harsh words for an old friend. GINO An old friend such as yourself has never deserved warmer greetings. SHI KNI And to what do we owe the company of an unannounced guest such as yourself. GINO You owe Jen's life. But I'll settle for yours. SHI KNI That you must. Gino steps into the dojo further, not to the middle but a few steps forward. GINO (JAPANESE) Have you made your peace with Buddha yet? She flips out. SHI KNI (JAPANESE) How dare you mention the name of that degenerate dog in my house! That creature who has enslaved millions at the expense of the very thing that my family before me have tried to preserve! GINO Don't like people kickin up your turf, huh? Know how it feels. But don't expect my sympathies. And once you've buried the maker, you gotta bury the bitch. SHI KNI (JAPANESE) No! FLASHBACK: B/W A Japanese man in his mid forties is being beaten raw by a young man (Diablo). The attack is being done on the roof of a tall building in Japan. It's night and the rain pours down from the sky. Lightning flashes. The old man is ripped and torn. The man falls to his knees with his hands cupped praying in his own language. The attacker, twenty year-old Gino, pulls out a samurai sword from the sheath on his back. He holds it pointed up in two hands. He takes three steps towards the kneeling man, who makes his neck a primary target. And SWOOSH.... .....The head is launched from from its place between the man's shoulders. Gino kicks the headless kneeling body in the chest and knocks it off the edge of the building, free-falling to the ground. INT. HALLWAY OF BUILDING - JAPAN - NIGHT B/W Gino struts through the dim hallway, sword back in its sheath, head in his right hand at his side. We can't see his face. Blood drips from the head making a trail on the floor. As he walks by a door it opens, and a teenage Shi Kni with tears in her eyes pokes her head out and watches the man who killed her father walk away without noticing her. Back to SHI KNI LOOKING PETRIFIED and heart broken at the memory, but then pure anger and hatred enflames from her eyes. SHI KNI (JAPANESE) You! It was you who killed my father. For years I feared I would never find him, and toiled onerously to find a name to go with his head! GINO Still sore? She looks at him with eyes that are as though they try and burn a hole right through Gino's head. She begins to laugh a maniacal laugh, and then: SHI KNI (JAPANESE) Fifteen! WHOOSH! The fifteen private assassins of Shi Kni come so fast, almost as though they materialize out of nowhere, and then drop down off of the thirty foot landing simultaneously and into the dojo arena, putting themselves in a line between Gino and Shi Kni. Gino observes his opponents with their samurai swords drawn, ready for attack. GINO This all you got Shi Kni? Fifteen? SHI KNI You know better than anyone the numbers before you. GINO You know, I don't see why these guys have anything do to with this. You and me. You killed my wife, for that I will get bloody satisfaction. SHI KNI You killed my father. GINO He was fair game. He was part of the big picture and he was a job. My wife was innocent and defenseless. SHI KNI (JAPANESE) Not so innocent. She married a blood-tainted murderer, a man in which death lives feverishly. She always was a dirty whore. GINO (JAPANESE) Do not say that about my wife. He stares Shi Kni down and she does the same to him. The hatred between these two has never been hotter. Gino draws his samurai sword from its sheath on his back. He loosens himself up and prepares to do battle. GINO (to everyone) You can't beat me. But by all means, do try. He does the Ali shuffle on the spot, stretches his neck out and then waves his sword around like eeny-meeny-moe, saying: GINO Red rover, red rover. I call that ass-Jap over. He points to the Fifteen member in the middle of the line with the tip of his samurai sword. The man he's pointing to doesn't know what the Hell that means. He looks to his left and then his right for an answer. Nothing. So he readies his sword in attack position and charges, right at Gino with a warrior's cry of aggression. Diablo prepares himself for the oncoming attack. The man continues to charge. Shi Kni watches on. The charging man reaches Gino, as he does so, Gino sidesteps the man's blow and then in one swell-foop discharges the head of the man. The decapitated head flies up into the air, blood shoots out of the gap between the body's shoulders, and the body continues running, like a headless chicken until it collides with the wall, and falls lifelessly to the ground. Gino turns around to face his opponents again, blood splattered a little on his face. There's a pause. And then the head falls back down, landing on the floor between the opposing sides. Shi Kni takes a deep breath, suppressing her rage, eyes never leaving Gino. Then Gino says, in an entirely obscene and mocking way: GINO (JAPANESE) Next! This pisses the Fourteen off something awful, they immediately charge Gino without any further orders from their mistress leader. This wall of Japs, dressed in black, with samurai swords runs in unison, step-for-step, stride-for-stride, with a war cry. Gino stands at the ready preparing himself for the attack and looking for openings and developments in his opponents. Then they collide. Swords swinging, Japs jumping, Gino seems to work as a wedge splitting the group in half. C/U of GASH across the neck and jugular of one of the Japs. Blood sprays out and the man flails and screams in pain. They break off of Gino and backup, in an attack stance. They work their way into a circle, surrounding Gino. There's a moments pause where everyone stands still observing and surveying the opponent. It's quiet. SLOW/MO: Shi Kni reaches out her hand over the ledge and drops a pin. Still no sound. The pin falls the thirty feet through the air and lands softly on the dojo floor making just the slightest sound, a pin-drop. BOOM! The moment the pin hits the floor the attack begins again with amazing speed and agility. And with the pin-drop, HEAVY METAL BLARES ON THE SOUNDTRACK. The fight seems to be choreographed to the music. Gino seems to wield his sword masterfully, above the cut of the everyone else. Even with these numbers they don't stand a chance. Not that there's no risk of Gino losing his head, but his swordsman ship has been proven to the audience in the past. Shi Kni observes the battle, unmoving, unemotionally, and unblinkingly, between her two bodyguards. Gino is kicking ass! He jumps up into the air and lands on the shoulders of one of his attackers. And while balancing on the man, who stumbles backwards but doesn't fall, he fights off the rest of them, who jump in the air, phenomenally high to takes a swing at Gino. Then as the man he's on top of falls backwards, he thrusts his sword into the man's chest, and pushing off of him to pull the sword and and do a backflip in the air, to continue his battle. EXT. SHI KNI'S PALACE - NIGHT Jo, leaning against the car, pulls out her cell phone. A voice comes from the other line. TOPHER (V.O.) Jo? JO You better believe it. TOPHER (V.O.) We got trouble? JO Give Mr. Seven a ring-a-ding and get down here pronto. TOPHER (V.O.) You got it. JO Over and out. TOPHER (V.O.) Ten minutes. Jo hangs up the phone and slips it into her pocket. She grabs her samurai sword and hurries across the street to enter the palace alone. INT. DOJO - SHI KNI'S PALACE - NIGHT Gino is hacking and slashing; SLASH - CUT - STAB - SWOOSH. Four down in no time. Blood sprays everywhere. He takes a man's arm off, and grabs the samurai sword from the lifeless arm right out of the air. Now with his two swords he continues his fight. He kicks the sword out of the hands of the man in front of him and then does a three-sixty, slashing down with both his swords, taking off the man's hands in unison. He then brings the two swords back up in unison taking off both the man's arms simultaneously at the shoulder. The man screams, falling to the ground. He spins around and throws the other man's sword at one of his opponents across the room. It sails through the air and then buries itself in the man's stomach. Three left. They get in strategic places, making a circle around Gino. He stands with his sword at his side waiting for them to make the first move. They do... ...One of them steps forward to slash at Gino, but gets slashed across the chest. The other jumps forward at the first of the other's move but he he gets his arms hacked off. And the third attacks, Gino knocking the sword out of the other's hands when he parry's and then slashes him across the chest from his right shoulder down to his lower left abdomen. That's all folks. For that skirmish. There's still Shi Kni and her bodyguards. Shi Kni stands there looking down, not with her head, just her eyes. She's pissed. Than she speaks to her bodyguards. SHI KNI (JAPANESE) He is weak, tired, and overly confident. He underestimates his opponents. Kill him. The bodyguards break off, one going right, the other left. They both jump up onto the rail and run gracefully down it as though running on air. They land on the ground and then take a couple steps toward Gino, flanking their prey. Gino takes a few careful steps back, putting weight on his toes and then shifting to his heels, and then with the other foot. He holds his sword steadily. The two bodyguards, close in on him with their swords ready to do battle. C/U of bodyguards hands squeezing tightly on his samurai sword handle. C/U of Gino's hands loosening their grip on his sword. Then they're off! The two bodyguards leap in the air in Gino's direction and swinging their swords, each he fends off quickly. For this battle there is no music, only the sounds of the sword clash, feet stepping and landing on the floor, and the opponents yells of force and aggression. The sword fighting here is extremely fast, these guys are going at it almost in fast motion. This is Bruse Lee's skill exponentially increased in all three warriors. It's fucking amazing!! Shi Kni continues to watch on while these guys fight, still hasn't done anything, not even moved from her original location. Then as she watches on, the blade of a samurai sword thrusts into the frame right in front of Shi Kni's neck and resting softly on her jugular. Shi Kni glances over with her eyes, not her head. SHI KNI Josephina? JO That's my name, bitch. The fight continues below. JO You listen, and you listen good. Damn good. My blade is resting on your jugular, and the slightest twitch could send you to neverland, where you don't grow old. I don't want to kill you because of Jed. I know you don't get along but your death would break his heart nonetheless. However, he's already at pins and needles with Gino so, my duty is to keep you here until he does the good job for me. SHI KNI He's not doing it for you. He's doing it for him. He is no more than an angry man out for his own satisfaction and mental peace. He is foolish. If he thinks his rabble of groupies can rise up against the world's most dangerous assassins one by one, I say he is foolish. JO I know he's foolish. I know he's stupid. I know he's gonna die. But you ain't the one that's gonna kill him. Lee is. I care too much about Gino to let some dog by the likes of you put a finale on his beatin heart. SHI KNI You want him dead? But you're here to make sure he lives. You're here to keep him alive for Lee? I helped Lee, same as you, for the same thing. I fucked up, same as you, same as everyone else. JO That's why Lee's gonna do it. No one else. Cause everyone else fucked up. I will not fail Lee again. SHI KNI No, you won't. The fight continues below. Amazing craft. Shi Kni turns her eyes back to the battle. Jo looks over as well. SHI KNI It's beautiful isn't it? The way he fights? JO It is. She looks back over to Jo, with her entire head, and smiles. SHI KNI We never had to be enemies. We could have been sisters. JO Well, I chose Gino, you chose otherwise. SHI KNI (JAPANESE) Enemies to the end? JO You bet your ass. We go back to the fight with Gino and the bodyguards, who are getting worn out. The skill is amazing. Gino is splattered in blood from all the other people he's stabbed, and limbs he's hewn from his victims. WHOA! Unexpectedly one of the bodyguards right arms is taken off at the shoulder. The man is writhing in pain as the other bodyguard continues to fight Gino. It may look like the bodyguard is drawing even with Gino but Gino slices down the man's chest with a quick, powerful swoop. The bodyguard falls to the ground dead. ARM LESS BODYGUARD Kaia! The mono-arm bodyguard runs at Gino with his sword raised in his left hand and continues his fight with the moment-supposed victor. Blood gushing and swelling out of his shoulder wound. Gino fights him off quick, taking off the man's other arm. Back to Jo and Shi Kni. JO You understand that he's gonna kill you? SHI KNI Not at all. JO Good. Cause it's gonna happen. You're gonna die, but at least you'll go like a warrior. Gino turns around to look back at Shi Kni. And he looks at her, standing there, by herself. Jo is gone, without a trace or any sign whatsoever that she was ever there. GINO It would seem that there are now no further obstacles, impeding my course to your death. SHI KNI So it would. GINO Do you care to join me on the dance floor. SHI KNI I very much care. GINO Is that so? SHI KNI You have just killed seventeen people that I held dear. Seventeen mothers have lost their children. Seventeen women who will never touch their lovers again. How can a man live with himself knowing what you know? You know loss. But still you kill and kill and kill. If even someone such as yourself will not stop the violence, then I perceive that our world is doomed for ever more. GINO Is that poetry? SHI KNI Prose. GINO Right. Don't act so innocent yourself. You also know loss. You also lead a life of murder and deceit. I have trailed from that life, and am relieved of it. I am here to end the violence. You of all people knowest, that one must fight fire, with fire. SHI KNI Indeed. Gino waves his hand out, inviting her to come down. GINO Shall we. Shi Kni turns to her side, always keeping her eyes glued on Gino. Eyes never leaving her opponent, and she walks gracefully down the stairs and into a position, some fifty feet in front of Gino. GINO Have I ever told you how beautiful you are? SHI KNI (JAPANESE) Just now. GINO That was strictly a question, not an implied compliment. She scowls. He smiles. GINO But honestly, you are beautiful. SHI KNI You had a beautiful wife. Gino stares her down. Is it sincerity or a mind game. SHI KNI She was more beautiful than I. I never had a quarrel with her. She was a good person. It was strictly business. GINO Likewise. SHI KNI Agreed. They understand each other. An old SAMURAI WAR CHANT bellows out on the SOUNDTRACK. Shi Kni draws her samurai sword from somewhere underneath her beautifully elegant dress. She holds it straight up in front of her, dividing her face symmetrically. Gino holds his sword up, ready. They stare each other down and then... Silence... ...Shi Kni charges, running full out and BOOM! They meet with SOUNDTRACK switching back to the HEAVY METAL beat from earlier. Gino runs backwards, and she continues forwards at the same speed. She attacks with much aggressiveness. The swords are flying at an amazing speed. Gino stops and stands his ground. Shi Kni, in front of him fights offensively. WHOOSH! She jumps up over Gino and does a flip/roundhouse over him, parrying a couple times in the air and then lands again facing Gino as he turns around with her. They relax. GINO (JAPANESE) Very good. You have my respect. But you stole from me. And I will kill you. SHI KNI (JAPANESE) Do not try to teach me a lesson. I am no longer a student. She attacks he parries they pause. GINO (JAPANESE) No, not a student and so you won't be able to learn from your next mistake. They continue to battle each other to the death. EXT. SHI KNI'S PALACE - NIGHT Jo, back outside, is waiting by her car again. A nice jaguar, jet black, pulls up beside her. There's a pause where she just stares at the driver's side window, seeing her reflection clearly. Then the window slowly lowers and Topher's face appears. TOPHER You work for Papa Gringo? The legendary Japanese pimp? JO You better believe it. Want a taste? She steps forward, her crouch in the window. TOPHER Get it outta here. They laugh. JO Where's Mr. Seven? TOPHER Well, if Mr. Seven was seven-point- seven miles away, and received his call at 11:33, and then proceeded to move at thirty-three-point-nine miles per hour, after taking twenty- eight seconds to reach his car, at what time would Mr. Seven arrive? Accounting for the variable of the traffic at this time. JO Is that an independent variable? TOPHER No, I think it's dependent. Jo looks down at her watch, rolls her eyes, thinking. JO Seventeen seconds. BLACK FRAME TITLE APPEARS: "Seventeen Seconds Later" Back to scene. Topher and Jo are still standing there, neither has moved in the unseen seventeen seconds. Then an engine roars. And a car comes flying around the corner and skids to a halt in the middle of the street. Mr. Seven steps out sporting a huge afro, and brushes off the wrinkles from his black suit. MR. SEVEN Let's do this thing. Topher and Mr. Seven head up the stairs. Jo comes skipping along behind until she catches up with them, when she then swings from between their shoulders. INT. DOJO - SHI KNI'S PALACE - NIGHT Shi Kni and Gino continue their battle in the dojo. No further interruptions. The two warriors have broken a sweat. We can hear the laboured breathing and sword clangs. Shi Kni jumps up and runs off of Gino's chest as he leans back like he's Matrixing a bullet. Shi Kni lands and turns back to him. He springs back up and turns to her. They make eye contact. WASH! The scene changes to having extremely HIGH CONTRAST lighting. The MUSIC blares again in time with the change of the lights. The warriors again have at each other, continuing to fight in the high contrast lighting of the camera. Shi Kni is by far Gino's greatest opponent yet. They keep swinging madly at each other, but the spinning and movement mixed with the high contrast lighting has made it difficult to decipher who is who. Then... ...SWISH! SPLAT! A blade comes down quick across one of the opponent's chests. Blood splats out onto the floor. Who's been hit??? Back to normal COLOR. C/U Gino's face. C/U Shi Kni's face - triumphant. Gino looks down. There's a gash diagonally down the right side of his chest. His right arm holding his sword, shakes in pain. He takes a deep loud breath like he's sucking the air. GINO Boy, does that smart. SHI KNI No kidding? Gino closes his eyes. GINO No. Sometimes just gotta take your licks. One... Two... Three... Four... Five. Gino lunges at Shi Kni catching her a little off guard but she blocks his initial attack. Gino leaves his eyes shut. And he is winning. Shi Kni is having trouble keeping up, and the fact that his eyes are closed distracts her a bit. Gino strikes again and again until Shi Kni fucks up, and he strikes one final time. He stabs her in the middle of the lower chest, right under her sternum, not piercing her breastbone. He doesn't stab very deep. Shi Kni's face goes shocked and empty. She's not dead, yet. Gino opens his eyes to look at his work. Shi Kni's eyes meet his. GINO I'm almost sorry it has to be this way. But in your next life you'll thank me. She nods her agreement. And then she leans toward him, he leans half the way and she does the same, putting her mouth to his ear she whispers: SHI KNI She wants you dead. If you wish to be successful in your crusade, beware the one with the red head. GINO Jo? He looks her in the eye. She nods. He considers the validity of this statement. SHI KNI And when you get the chance, tell her that Jed id dead. And I did it. He looks at her another moment then pushes the sword the rest of the way in, piercing her heart. She goes limp on his sword and he lays her down softly. MR. SEVEN You guys exchanging insurance? Gino looks up to Mr. Seven who is entering the room. GINO Is that a joke? MR. SEVEN Did you just answer my question with a question? GINO Did you just do the same? Topher steps out of a hall from the side on the balcony that goes all the way around the dojo. TOPHER Are guys going to go on like this all night? MR. SEVEN Do you want us too? TOPHER Do you want too? JO Would you guys shut up? She enters from the other side up on the balcony. TOPHER Is that not a question as well? JO Would you like me to stick a sharp object up your ass hole? TOPHER Do you want to? GINO Are guys done asking questions? MR. SEVEN Isn't that another question? JO Isn't that? Gino's had enough. GINO No more questions. Now, what are you guys doing here? JO That's a question. TOPHER That's an answer. JO No it isn't, it's a fact. Topher considers. GINO Why is everyone here? MR. SEVEN Topher called me. TOPHER Jo called me. JO I was lonely. Gino gives each one a look. GINO So you called Topher and told him to get his ass over here with Mr. Seven? JO I thought we could make a party of it. Gino doesn't care to take it further. GINO Nobody cares about my injury? MR. SEVEN Well when I came in here you seemed to be doing okay. JO Hey guys. They all looks over at her, she's looking up at the ceiling. The ceiling is high above them and it's glass. JO Hook 'n GoGo are on the roof. They all look up. Hook 'n GoGo are on the roof. Hook pulls out a gun and fires between his feet shattering the glass, and sending him and GoGo falling toward the floor of the dojo. Glass falls all around the experience members. And then Hook'n GoGo who land gracefully on their feet like cats. They both aim a gun in each hand at the experience. Four guns for four people. GINO Hook, what're you doing in Japan? HOOK Protecting my investment. GINO It's maybe too late, if your investment was Shi Kni. HOOK It isn't. GINO So you just gonna kill me? HOOK No Gino. I killed you the same day I did your wife. I don't have the heart to take the mickey out of you a second time. I am truly sorry Gino. But I did it with the best intentions, and it seemed like a good idea at the time. GINO You're just dishin out every excuse known to mankind. But not a breath or a boatload of sympathy is gonna save you from me. I will get the satisfaction of your head in my hand. HOOK That's what worries me, or doesn't. We are the same you and I Gino, both protective of our women, but you did fuck up man. You left her alone, in a world of violence and deceit. And you are paying for that mistake right now. GINO That wasn't a mistake. I don't make mistakes. You better make a move cause like a jackrabbit trapped in a log by a fox I will lash out and take you down in a second. HOOK What's it gonna be Diablo? Ladies first. Long pause everyone glances from one pair of eyes to another to survey everybody's thoughts and emotions. Then Gino whistles and he, Jo, Topher and Mr. Seven simply walk out of the dojo without glancing back to Hook or GoGo. HOOK That's your move Diablo! Come back we still have to exchange insurance! They continue on and out of the building. EXT. SHI KNI'S PALACE - NIGHT The four of the them walk over to Gino's car. TOPHER You hear that? Hook's got an investment. MR. SEVEN You know what that means? GINO He's got the money. JO Well aren't we gonna kill'em? GINO Don't worry, they'll be dead at the next scene. BLACK. CREDITS.
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