Redlane - 2008
Script created with Final Draft by Final Draft, Inc.
Written by Joe Granby. Edited by Lisa Granby 2008.
1 FILM OPENS. FILM LOGOS ETC - 1
2 FADE IN: TITLE CARD APPEARS - IN THE CITY 10:59PM 2
3 INT. CAR - NIGHT 3
The first shot we see is that of a woman's eyes looking into
her rear view mirror. The opening clock image is seen again,
this time on her wrist as she looks down at it. It's a young
woman, dressed in a red T-shirt and well-worn denim jeans. We
only see glimpses of her at this moment. The interior of the
car is white leather and pristine. She taps her watch again.
It is now 11:00PM.
A FEMALE VOICE OVER Narration is heard as we move slowly
inside and around the car.
FEMALE NARRATION
I guess, perhaps, you're wondering
how this story will be, huh? Well,
I guess you're gonna have to stick
with me. My name comes from a
nickname in college... Redlane.
Everyone just knows me as Red.
Those fortunate enough to ever get
hold of me, that is. I say
fortunate because I happen to be
the best. Even if I say so myself.
If I wasn't I'd be out of a job.
It's also a job that I happen to
love. It's not just about the
money. Even now I'm not looking my
usual cool self. You see... I'm
behind schedule. Five minutes, in
fact. Though this is no fault of
mine. Here's how it goes... In the
business of transportation or
getaway, a deal is made, times are
taken and money paid out, right?
But sometimes people like to throw
in a panic attack. To make you feel
that they're just not comin' or
even dead. But in this game, you
have to expect the unexpected.
Anyway, the tank is full, the time
is now, and I'm ready to do the
thing I do best.
The engine makes a growling sound as Red starts up fast and
speeds out of shot and out onto the open road.
4 EXT. ROAD - NIGHT 4
Well-lit restaurants and a busy atmosphere is seen outside.
Very different from the calmness of inside the automobile.
The car is an Orange Jaguar XF Concept.
The car cruises slowly down an alleyway and is parked up.
5 INT. CAR - NIGHT 5
Now establishing that the voice we hear is of the character
called Red, she continues with her narration.
RED
I've circled this place three times
now. I'll give it five minutes
more, then that is it.
There is a sudden knock from outside in the alleyway. A hand
hits the back windscreen again. Red, very calm and relaxed,
now smoking a cigarette, gets out of her car.
RED
(tired)
About fuckin' time. You guys are
really pushing it.
We are left with an inside shot of the car. Outside we hear
the sound of the trunk being opened.
6 EXT. ALLEYWAY - NIGHT 6
Red is looking into the trunk and talking to a guy wearing a
dark ski mask. Another woman who is either Japanese or
Chinese looks around the car as if she's inspecting it.
RED
This is all I need. Changing the
plan, right?
She closes the trunk and motions them both to enter her car
RED
(To herself)
What a couple of real beauts.
FADE TO BLACK:
7 THE MAIN FILM TITLES APPEAR - R E D L A N E 7
8 MAIN TITLES TRACK - ABC - SHOW ME. 8
FADE IN:
9 INT. CAR - NIGHT 9
We are inside the Jaguar. Red slowly turns the wheel as
darkness fills the car. The neon interior lights up. The car
stops and she takes a quiet moment to herself before she
unbuckles her seat belt. She claps her hands and the interior
lights go out.
We see a shot of her hand taking an envelope from the empty
passenger seat.
RED
(to herself)
A few more like this and who knows
where the world will take me.
She picks it up and kisses it. She exits her car.
10 EXT. WAREHOUSE - NIGHT 10
We are inside a very run down warehouse, almost garage
looking. Red makes her way from the car walking through
various unkempt rooms until she reaches a far room. The
camera follows her. We now see an area of the warehouse
unlike the rest. It is basic but, clean, tidy and has the
look of a small apartment.
The Room is brightly colored and a touch retro. Lava lamps
and various 70s film posters such as Gloria and Escape from
Alcatraz can be seen. She opens a drawer in her living room
and takes out a small wooden box. Out from a belt she had
been wearing, we see her remove two mini knives. She puts
them in the box and closes the drawer. She takes out a gun
from her ankle strap and one from inside the back of her
trousers. She places both guns back onto a rack on the wall
just above a desk. She goes through to her kitchen. She
shakes the kettle. We hear that it has some water in it. She
puts it on the stove, turns on the burner, and walks back
into the living room area.
This scene is a continuous one track shot.
We then see her in various time cuts -
We see her taking a shower
We see her eating toast and tea.
We see her locking up and making sure it's safe.
We end on a shot of her in bed as she closes her eyes.
FADE TO BLACK:
11 INT. APARTMENT - DAY 11
Red continues her narration as before.
RED
I like to take things a little easy
on a Sunday. Go for a run, maybe to
the gym. But today I feel like
being just plain lazy. Hey, what
the hell was the rush for, anyway?
We see Red sitting at her kitchen table reading a newspaper.
A cup of black coffee and french toast can be seen. She picks
a piece up and takes a bite. She looks over to a small TV set
and clicks it on using a remote. It opens on a daily news
channel. An anchorwoman speaks -
TV ANCHORWOMAN
(serious tone)
...And our latest news shows that
she is back home and doing well.
All of us here at GMA wish her a
very speedy recovery.
Red turns and looks directly into camera. Turns TV volume
down.
RED
Have you ever noticed how people
only seem to take an interest in
the news when there's something bad
happening? The TV and news papers
always seem to leave you wanting
just that little bit more. I guess
bad news is better than no news at
all.
We hear the sound of knocking. Red turns off the TV as the
knocking continues.
12 INT. LIVING ROOM - DAY 12
Red takes a gun from the wall and walks through to where the
car is parked. The sound is now much clearer. A voice can be
heard outside.
A smile from Red lets us know it's a voice she has heard
before.
VOICE OUTSIDE - Red!, You there!? Come on, sucka! Open up!
She talks through the shut warehouse door as the familiar
voice talking from outside continues. (Voice Only)
RED
Who you callin' sucka?, sucka!
She smiles, but her tone is half serious.
STRANGER
(voice only)
Oh, sorry, I must have the wrong
address or something. You don't
happen to know of a lady called
Rachel, do you? Rachel Lee?
RED
There's no one of that name here.
STRANGER
(voice only)
Is that you, Red? Are you fuckin'
with me?
She unbolts the door and sticks her head out.
13 EXT. STREET - DAY 13
Red's head sticks outside the warehouse front. She starts
talking to a man in his mid 50s. Charles Matthau, Greying
hair, smart length tanned coat, smart suit, white shirt, red
tie. An ex policeman now turned bounty hunter. He stops his
panic when he notices Red.
CHARLES
(smiles)
You had me worried for a moment
there, Rachel.
RED
I guess if it was not for being the
greatest bounty hunter that ever
lived, You'd be out of a job,
right?
CHARLES
(smiles)
I heard that.
RED
The very rules you taught me.
Though I don't go by that name
anymore. I guess in your pursuit to
find me, that little bit of
information never came across, huh?
CHARLES
I guess it didn't. Is it okay if we
talk inside, Red?
RED
(smiles)
Sure. I just put some coffee on.
You eaten yet?
CHARLES
Yeah. I had a hotdog earlier.
RED
(smiles)
A hotdog? You for real? It's not
even lunch.
Red closes the door of the warehouse. It is then raised
enough for Charles to get under. He enters. It closes slowly.
We are left with a shot of the warehouse door. The street is
quiet. A police siren can be heard in the distance.
14 INT. WAREHOUSE - DAY 14
Charles walks slightly behind Red as she leads him to the
back. He admires the car as he passes. They talk as they walk
through the various rooms leading to Red's apartment.
CHARLES
They didn't make them like this in
my day. Beautiful car, Red. I also
kinda' like the way you got the
place lookin' here.
RED
(smiles)
Well, it gets me from A to B. My
place is through here, don't worry.
Charles notices Red's gold locket.
CHARLES
I see you still wear it?
Red smiles, gliding her hand slowly across her neck.
RED
(smiles)
It always protects me.
15 INT. RED'S APARTMENT/LIVING ROOM - DAY 15
We now see Red and Charles sitting casually in the living
room talking. Charles takes a sip of his coffee. Red is
dressed in jeans and a T-Shirt. On the shirt are pictures of
the TV Show characters Sanford and Son. She takes a sip of
coffee as Charles speaks.
CHARLES
I may as well get to the point... I
need you, friend. I need the old
magic back.
RED
(smiles)
We're not that old, surely?
CHARLES
No, but... You know what I mean?
RED
(smiles)
I do. So... what's up?
CHARLES
I need you to find someone for me.
I was hired by this organization to
find her, bring her back. Alive if
possible. Can you help?
RED
This sounds like a rush job to me.
You know I never take a shout
unless I know the full details.
Pictures, times, dates etc. What
happened to just a phone call? In
fact, why come here at all?
CHARLES
Like I said, you were the best and
could be again. I need a
professional on this. I need to do
this quickly or...
Charles starts to sweat. The panic in his tone is obvious. He
takes a picture out of his suit pocket.
CHARLES
Here... She goes to this bar.
He hands the photo over to Red. We see that on it is a lady
walking into a nightclub of some kind. There are other people
there but the camera shot focuses only on her. The shot is
taken from the waist up. She is slender with dark hair.
Possibly Chinese as we see just a side glimpse of her face.
RED
Great picture. You loosin' your
touch or what?
CHARLES
Like I said, They wanted this fast.
They knew she went there. They just
want to be sure. That's when I got
a call. This is the first time
she's been spotted in this city in
over a year.
RED
On the run, huh?
CHARLES
Not sure. I have to get a few more
things on her, then I'll send you
her file, okay?
Charles reaches out to shake Red's hand. Red takes a moment,
leans in and shakes his open hand. Red looks unsure but
smiles.
RED
Okay. How much money we talkin'
about, sucka'?
CHARLES
(smiles)
Six figures.
RED
Six figures?
CHARLES
(smiles)
Six.
RED
Good.
The camera moves slowly away from them as they sit for a
quiet moment. They each take a sip of their drinks as the
screen fades to black.
FADE TO BLACK:
FADE IN:
16 INT. WAREHOUSE - DAY 16
We are in an area of the warehouse that looks as if it's a
set from a world war II movie. Pictures are pinned up on
displays, maps are laid out on tables and positioned in such
a meticulous way. She takes down photos of people and puts
them through a shredding machine. We hear a knock on her
door. She takes a gun from a table, loads it, then walks
through to the front. A knock is heard again. A shout is
heard from outside.
Red unbolts the door. We now see that it is a man delivering
a package. He gives her a pen and leans in with a clipboard.
DELIVERY PERSON
(smiles)
Hi. This 211?
RED
Uh huh. Where you want it?
DELIVERY PERSON
Anywhere, lady.
RED
Okay, thanks.
She scribbles on his clipboard, gives him back the pen and
takes from him a large envelope. She thanks him again and
closes the door.
CUT TO:
17 INT. APARTMENT KITCHEN - DAY 17
Red stands over an empty kitchen table and starts to rip open
her envelope. She scatters what's inside over the table top.
She sees that there are no real usable pictures. They seem to
be similar to what Charles showed her.
CUT TO:
18 INT. WAREHOUSE - DAY 18
We start on a static shot of one of the pictures Red had just
been given. The camera pulls slowly back to reveal a full
layout of everything received. Pictures, details, times,
dates etc. She pulls a picture off the display wall and looks
at it closely through a magnified glass. She notices on the
shoulder of the woman that she has tattooed writing that
reads - Ko/Shi/To - Meaning child. It also has the symbol for
it written in the colors of jade and orange. Red nods her
head.
CUT TO:
19 INT. JAGUAR - DAY 19
Red gets herself comfy, switches on the engine and backs up
slowly as the warehouse doors open.
20 EXT. THE STREET - DAY 20
She backs out of her home as the electric doors move slowly
down. She burns rubber fast as she heads out of shot leaving
the screen with a shot of the doors finally closing. A small
blue light on top comes on when the doors stop. It gives a
pulsing light.
21 INT. JAGUAR - DAY 21
She is already in mid-conversation with Charles as she talks
on her cell.
RED
I've sort of narrowed it down to
two. Unless...unless she had it
done in Tokyo or wherever it was.
I'm thinking somewhere in Asia,
maybe. But I dunno. Let's hope we
get lucky, huh? Yeah, yeah. Later,
Sucker.
She snaps her cell phone shut and drives at a high speed
through lights that have just turned yellow.
RED
(smiles)
Thank you.
22 EXT. OUTSIDE TATTOOISTS - DAY 22
The car screeches to a sharp halt. Red exits the car and we
hear the alarm beep as she clicks the remote.
23 INT. TATTOOISTS - DAY 23
Red enters as a bell is heard. A woman is having her lower
back tattooed as Red walks past her to the front desk area. A
lady comes to the desk. She has both arms covered with
various designs.
RED
(points)
That's a nice one.
TATTOOIST
(smiles)
Thank you. How can we help you
today?
Red takes out a photo from her back pocket and shows the
young lady. She leans in for a closer look.
RED
Is this familiar to you at all? I
know it's Japanese.
TATTOOIST
(smiles)
I know the design, but it's very
rare. Is this for you or...?
RED
No, it's not my kinda' thing. I was
just curious as to who may have had
one recently done.
TATTOOIST
You a cop or something? You sure
sound like one.
As Red talks we see her take out a folded fifty dollar bill
out of her inside jacket pocket and start tapping it on the
desk.
TATTOOIST
I'm sure we can come up with a name
or two, maybe. We close around six,
okay?
RED
Okay.
The lady goes to take Red's money but Red's hand is too fast.
She puts it back inside her jacket and smiles. Red now is
heard in voice over narration -
RED
You gotta be quicker than that,
baby. You gotta be up real early to
catch me out. In fact, you gotta be
up all night. I'll be back later.
Red turns and exits the tattoo parlor.
FADE TO BLACK:
FADE IN:
24 EXT. THE STREET/OUTSIDE TATTOOISTS - DAY 24
Red sits in her car checking her watch as various people exit
the parlour. She picks up her phone, dials, speaks -
RED
(into cell)
Hey it's me.
No not yet, just heading in,
actually. So you wanna meet up?
Okay, half an hour. See you later.
She snaps the phone shut, exits her car and locks up. She
walks into the tattooists as the screen fades out.
FADE TO BLACK:
FADE IN:
25 INT DINER - DAY 25
Red sits at a back table sipping a coffee and looking out of
the window. There are a couple of people dotted around the
place. Charles enters the diner and sits down.
CHARLES
Sorry I'm late. I've been on the
phone to clients all day.
Especially this one. So... What you
got for us, Red?
RED
Hey take all the time that you
need. It's your case, I'm just
helpin' a friend.
CHARLES
Sorry, Red, this guy's been on my
back since I got up this morning. I
even have that feeling of being
followed or something.
RED
Well, take it easy and look at
this.
Red takes a folder from her side and opens it onto the table.
Charles moves her coffee aside. A waitress comes over and
looks at Charles.
WAITRESS
Can I get you anything?
CHARLES
A coffee is fine, thanks.
WAITRESS
(smiles at Red)
Can I get you a refill?
RED
No thank you, I'm good.
The waitress gives a nod and heads out of shot. Red opens the
folder.
RED
(smiles at Red)
Okay...this picture shows right
here the tattoo of Japanese
writing, right? Now... After a few
hours of research I was able to
track down the place that did it.
CHARLES
Really? This sounds promising.
RED
(serious tone)
This is a lot more serious than you
think.
The waitress comes up to their table and gives Charles his
coffee.
RED
(serious)
The tattoo is one the Yakuza use.
You see... our friendly tattoo
parlour happens to cater to such
clients. Probably an after-hours
gig or something.
CHARLES
So you think our lady is Yakuza?
RED
(serious tone)
I dunno yet. I think I'll stake out
the club in the morning, it's been
a long day, you know?
CHARLES
Yeah, I know what you mean.
Charles takes only a small sip of coffee and gets up out of
his seat.
RED
The coffee ain't that bad, man.
CHARLES
I gotta go. Catch up tomorrow, huh?
RED
(unsure)
Okay. I'll call you?
CHARLES
Sure. See you later.
Charles is displaying a similar sort of panic as shown
earlier. Red is unsure how to take this and is concerned for
this sudden change. Charles, flustered, exits the diner and
walks toward his car parked just outside. Red can see this
clearly through her side of the booth. She watches as Charles
beeps off his alarm and enters. He turns the ignition of the
car and the car blows up BOOM! Falling pieces of car hit the
road and the diner. The explosion shatters the glass windows.
Shards of glass are thrown inside from the blast. Red and a
few diners are thrown back as the blast hits. We see a slow
motion shot of falling pieces of twisted, burning metal.
Inside the diner we see a (close up shot) of burnt pictures
from Red's folder. The table has been knocked over and they
are on the floor. Her hand moves in to take them. Her hand is
covered in blood.
FADE TO BLACK:
FADE IN:
26 INT. HOSPITAL WARD - DAY 26
Red is laying there looking into space as a nurse takes a
glance over her chart. She speaks to her.
NURSE
(smiles)
How are we doing?
RED
(stretching)
As good as ever. You?
NURSE
(smiles)
I'm fine, thank you. You should be
out of here today.
RED
How long have I been here?
NURSE
Only the night. Cuts, bruises,
pretty superficial, really. But you
were kept here just to make sure.
You're very fortunate, some were
not so lucky. Is there anyone we
can call to let them know you're
here?
RED
There isn't.
NURSE
A friend or neighbor. Mom or Dad,
maybe?
RED
No one.
NURSE
As you wish. I'll be back a little
later to check on you.
The nurse opens the window blinds a little and places the
chart back at the bottom of the bed. She exits room. Red
closes her eyes.
CUT TO:
27 INT. HOSPITAL CORRIDOR - DAY 27
We pan in on the highly polished shoes of three men. The
camera pans up to reveal a Chinese man followed by two heavy
set Japanese men. They are dressed very smartly, all in
black. Totally immaculate. The Chinese guy is slightly
different as he is wearing a white shirt. The suits are of
the very highest quality. They stop at the front desk. The
Chinese guy gives a smile and shows a lady at the desk a
photograph of Red.
Writer's note #1 - Whenever we see the Chinese guy who is
infact Han Loe's top bodyguard, he might be referred to as
boss, but he never gives a specific name and is never
addressed by it and therefore never heard. His character name
is simply XXX.
CUT TO:
28 INT. HOSPITAL WARD - DAY 28
The three guys in the lobby have now made their way up to
Red's room. XXX gives a tap on the door. There is no answer
as he slowly turns the handle and opens it. As the door
swings back we see that Red is not there. Her bed covers are
shown in such a way of having just been in it.
The two heavier set guys take a look around. One guy even
looks inside a small desk drawer.
XXX
She's hardly going to be in there
now, is she? Tell me again why I
pay you? Check the window.
Heavy guy #1 is looking through Red's jacket. He finds a set
of keys and throws them to his boss.
HEAVY GUY #1
Here are her car keys, I think,
boss.
The boss looks at them for a second and throws them back.
XXX
Keep hold of them, we may need
them.
Heavy guy #2 takes a gun from his holster and looks through
an opened window half covered by slightly opened blinds. He
sees Red looking up at him on a steel set of stairs that lead
down to an alleyway. He fires a shot that just misses Red.
HEAVY GUY #2
Boss!, Boss!. She's here, here...
All three run to the window. The boss pulls down the blinds
from the window as the two guys fire. She makes it to the
next level. Bullets just miss her as she goes out of shot.
29 INT. HOSPITAL ROOM - DAY 29
From outside, Red pulls a screen door to enter a room that is
occupied. Red is dressed in a hospital gown and wearing
sneakers. She walk past the lady who is sitting in bed
watching TV. The woman is suddenly startled by Red's sudden
entrance into her room.
RED
Hey, how'ya doin'?
LADY
(unsure)
Fine...
Red gets to the door of the room and takes a second to
compose herself taking a few slow breaths in and out. The
lady in the room starts to talk to her.
LADY
This is a private room, young lady.
You have no right...barging in like
that. Well I never...
Red opens the door slowly and looks out. We see that the
corridor is clear. She turns to the lady as she closes the
door.
RED
(serious)
Do you wanna die, lady?.
LADY
(nervous)
No I don't.
RED
(serious)
So... you wanna live, right?.
LADY
Yes.
RED
(serious)
Then be quiet.
Red opens the door slowly and steps outside. She walks slowly
out of the door and closes it. She makes her way down the
corridor. All the while looking left, right and all around.
Suddenly she is surrounded by a rain of bullets. They
ricochet off various walls, some bullets almost hitting a
fire hydrant. She looks back quickly to see the two heavy
guys running after her and firing. The boss walks a pace
behind. He calls the guys back to him as Red disappears
through a door. The boss screws on a silencer to the end of
his gun.
XXX
(serious)
I don't think Snow White wants to
play. One of you down stairs, the
other with me. I want her alive.
Alive!
CUT TO:
30 INT. STAIRWELL - DAY 30
Red makes her way speedily down the fire exit stairwell. She
checks on various doors. All seem locked so far.
RED
(to herself)
Yeah, I'll help you out, Charlie.
Just like old times. 'Cept I ain't
got no fuckin'...
As Red says this a door opens just as she comes down to it.
One of the mob guys is standing there with gun ready. They
look at each other for a split second as Red continues
talking to herself just as she did a moment earlier.
RED
(to herself)
...Gun.
Red takes this opportunity to hurt the guy where it counts
and kicks him right between the legs hard. As he falls back,
his gun is sent into the air. She catches it and side punches
him on the face. He is knocked out cold. This is filmed in a
(SLOW MOTION) shot.
RED
(looks at guy)
Amateur.
Red runs through the open doorway and out of shot.
CUT TO:
31 INT. THE LOBBY - DAY 31
The boss and the bad guy that is left head towards the exit.
They both look totally exhausted. The heavy runs slightly
behind the boss. He catches the boss up and speaks -
HEAVY GUY
Yan is down. The gun has gone too.
XXX
(looks at guy)
We move.
HEAVY GUY
Tonight?
XXX
Soon. Wait for my word. Get all
reinforcements ready. Go!
The boss looks around the hospital lobby hoping to catch a
glimpse of her.
XXX
(to himself)
So... Snow White really does like
to play, after all. I'll be
waiting, princess.
He motions to the other guy and they both head out of the
hospital exit. A moment later, the camera spins around to
reveal Red, now dressed in a baggy sweat shirt and track suit
pants. She walks directly toward the camera lens.
FADE TO BLACK:
FADE IN:
32 INT. HOSPITAL ROOM - DAY 32
We open the scene in Red's hospital room as she is getting
her clothes back on. She gets them on very quickly and places
the ones she had been wearing inside a small cupboard. She
steps over to the window blinds that had been pulled down to
take a quick glance down below. The camera shows that the
coast is clear. She exits the window. We are left with a shot
of the empty room as the screen fades to black.
FADE TO BLACK:
FADE IN:
33 EXT. OUTSIDE DINER- DAY 33
A taxi pulls up just slightly past the entrance of the now
very damaged diner. Police are there and workers are trying
to sort out the damage. Windows being replaced etc. There are
a few people near the coffee house who are looking and
talking. The camera pans slowly around to take this all in.
We are Red's eyes. Red focuses on two guys who look very out
of place. One guy is in the small crowd of onlookers
gathered, the other is near to Red's undamaged car. She is
fortunate enough to have parked away from the blast made
earlier. She gives a smile when she sees her car. She gives a
glance at each guy again. We see that they are heavy-set guys
wearing dark suits and of Japanese appearance. The guy
standing next to Red's car takes out a cell phone.
He dials and speaks. One of the guys is already known to Red
as he was seen earlier in the hospital. He speaks in Japanese
(SUBTITLES SEEN ON SCREEN)
HEAVY GUY
(into cell)
No, she's not here yet. The car is
still here, yes. I will.
The guy snaps the cell phone shut and takes a long stare at
Red's car. We cut to Red who sees the guy giving the car a
once over look.
RED
(to herself)
Now what's your game, sunshine?
The taxi cab driver gives a holler to Red.
TAXI DRIVER
(inside cab/voice only)
You want me to stay or what, lady?
RED
(to driver)
No thank you. Here...
She hands the driver above and beyond the amount due for the
fare. We here coins being dropped as the cab driver closes
his fist full of cash.
TAXI DRIVER
You're too kind.
RED
Save it. Just get outta here.
TAXI DRIVER
You got it, lady.
Red kneels down by some bushes near to the diner as she keeps
her eyes on the two guys. She takes a moment and turns around
walking the opposite way. Away from the diner
CUT TO:
Red is now at the back of the cafe as she walks slowly past
diner workers and workmen. They look at her but Red keeps her
head down. She gets close enough to see the guy in the crowd
and vice versa. The guy, after a few seconds or so, looks Red
directly in the eyes. Red motions the guy to come to her. The
guy is unsure and glances at the other guy standing near to
Red's car. He looks back at Red and makes his way over to
her. He struts over to her smiling.
RED
You lookin' for me?
The guy is unsure but smiling as he attempts to take out his
gun from inside his jacket. In a flash, Red has taken the gun
she took earlier out of her jacket and has it pointed
directly at the guy. He goes to look over to where the other
mob guy is standing as if to call out to him.
RED
Don't even think about, you fuck!
HEAVY GUY
You have no idea who you are
dealing with, do you?
RED
Enlighten me, why don't you.
HEAVY GUY
Ever heard of Han Loe?
RED
I heard of him. The name's
familiar. So... what of it?
HEAVY GUY
Then you'll know all about Chen
then, huh?
RED
Chen? Ahhh... the mysterious girl,
right? The girl that has the
ability to outrun the Yakuza?
HEAVY GUY
Your friend was too slow for Mr
Loe. It is a pity that such a
shocking accident should happen to
a guy like that. Though it would
seem that you are now involved.
It's a shame he took the only way
out that was left. With our help of
course. The end result is that your
friend was just too fucking slow in
finding the bitch!
Red hits the guy in the face knocking him to his knees. She
kicks his chest and he is thrown back.
RED
I hate that fuckin' word.
CUT TO:
34 INT. CAR - DAY 34
We are inside the vehicle of the Yakuza as Red has managed to
not only get their car, but disable the two men. The camera
slowly takes us from Red driving to the back seat where the
guys are gagged and hands bound. Red is driving very speedily
through the town. She stops at a red light. A driver in a car
is parked next to her at the stop light. He takes a look at
Red then starts to look at the back seat. Before he can fully
take in who it is or what he sees, Red puts her foot down and
takes off fast down the road. She takes a glance in her rear
view mirror and speaks.
RED
Feel free to speak up if you guys
need anything, okay? We're gonna
have a little Q & A... so sit
tight.
CUT TO:
35 EXT./INT. OPEN HIGHWAY/INSIDE CAR - DAY 35
Red is speeding down an empty highway. It seems as if they
have been in the car for some time as the two guys seem hot
and sweaty. Red looks as cool and calm as she always appears
to be. She looks into her rear view, slows down, and turns
the wheel to position their car just a few feet from an edge
of a cliff. She turns off the engine and takes a moment
breathing in and out. She turns to face the guys. The camera
gives us a quick outside shot of the day. The sun is very hot
and the highway is empty. She reaches over and pulls down
both the gags she has on them.
RED
Before we get into it I just have
to say this... This is by far the
worst fuckin' ride I ever drove.
Anyway, that's just me. Don't get
me started. Anyhow...
She cocks the trigger back on the mobster's gun and points it
at them going back and forth.
RED
What to do, what to do...
questions, questions.
Okay, I want the truth, no lies.
I'm gonna ask each of you a
question. But firstly, let's have
it. Let's have whatever you wanna
say to me out now. Then... we can
move on, okay?
She points her gun to the guy on her left. We see an over the
shoulder camera angle shot.
RED
You first. Go!
HEAVY GUY #1
You know how fuckin' dead you are?
RED
Really. Okay, now you.
She points her gun now to the guy on her right.
HEAVY GUY #2
You fuckin...
RED
I heard enough. Yada, yada, yada.
Okay... my turn now. I'm gonna ask
each of you two simple questions. I
want the truth. If not, you die.
Got it?
The two guys just look at her and begrudgingly nod. She looks
into the eyes of mobster number one.
RED
Who's waiting for me at my place?
HEAVY GUY #1
No one.
RED
Wrong answer.
Red shoots the guy right between the eyes. The car is
saturated in blood. The Yakuza guy looks as if struck dumb.
RED
Now you get two questions. Who's
waiting for me at my place and who
has my fuckin' car keys?
HEAVY GUY #2
The boss and... here...
The Yakuza guy takes Red's car keys out of his jacket and
hands them to her. She takes them out of his blood soaked
trembling hand.
RED
Now that wasn't so bad, was it?
Red looks at the guy who says nothing. She turns from him and
slowly puts the car into drive mode. She takes out the keys
and gets out of the car. The guy is panicky and starts to get
jumpy when he sees her exit. She slams the door shut.
36 EXT. HIGHWAY CLIFFTOP - DAY 36
Red looks around and takes in the view which looks
incredible. She kicks the ground a little and walks over and
behind the mobsters car. We hear screaming and profanity
coming from inside the car as Red slowly pushes the car near
to the cliff edge. The car keeps rolling as it tips over the
edge and out of shot. The camera zooms over the edge to see
the car bouncing down jagged bits of cliff until it hits
rocks that send it into flames. Red shouts down as it bursts
into flames:
RED
That one's for Charlie.
She turns from the clifftop and walks towards the camera. She
throws her car keys up into the air and catches them.
FADE OUT.
FADE IN:
37 EXT. THE STREET - DAY 37
We follow behind Red as she walks towards her car. The area
near the diner is clear now with no sign of anyone around as
she beeps off her alarm and enters her car. She cruises off
slowly down the road looking in her rear view mirrors. It's
not long before she gets to her warehouse. There is no one
around. Red parks up just ahead of the front door. She gets
out and kneels to look under her car. We see her reach for a
large gun that has been secured underneath. She snaps the gun
back to see if it's fully loaded. She gives a nod, gets up
and closes her door. Walking slowly to the front of her
warehouse, she beeps a button on her keys and the door slowly
rides up. She lifts it about half way and enters.
CUT TO:
38 INT. WAREHOUSE - AFTERNOON 38
She walks through slowly with gun in hand, pointed down. The
main car garage area is clear as Red walks through to her
operations room and straight on through to her lounge and
kitchen area. She is unsure and cautious. It appears that
whoever she thought might be waiting for her is nowhere to be
seen. She locks up as usual and looks around. Everything is
where it is meant to be.
FADE INTO:
39 INT. WAREHOUSE - DAY 39
It is morning and Red is making toast and coffee. The TV is
on but with no sound. She is quiet and moving slow. Looking
out of her window, she gives a smile. She opens up a door and
walks outside.
CUT TO:
40 EXT. WAREHOUSE - DAY 40
Looking out from her balcony, Red sees the day. Busy traffic,
people in and out of shops, people on sidewalks and people
walking etc. Sirens and machine noise can be heard. She
starts to relax a little when suddenly she notices a glint
coming from trees about half a mile or so away. (CLOSE UP ON
EYES) They widen as she has seen this glint before. As she
sees this, she throws a cup of coffee she was holding over
the balcony and throws herself back inside. Two bullets hit
the steel frame of the balcony. It is seconds before another
two are fired. She just makes it inside as the two hit.
CUT TO:
41 INT. WAREHOUSE - DAY 41
Inside, Red moves fast, getting her jeans and T-shirt on. In
a flash she is clothed and loading a gun. (Scene shot in fast
flash cuts)
CUT TO:
42 EXT. WAREHOUSE - DAY 42
Red backs her car out of her garage. As she speeds out, gun
fire rains onto the roof and hood.
She looks in her rear view and sees two men with machine guns
running down the alleyway towards her. In front of her we see
a car drive slowly towards her.
RED
(very angry)
You tryin' to kill me is one thing,
fuckers! You beatin' up on my ride
is another.
Red backs her car onto the two guys behind her. We see the
car jump a little as she rides over one of them. She adjusts
her controls and drives full on into the car in front of her.
She screams as she not only hits the car, but pushes it down
the alleyway until the driver maneuvers it enough for him to
turn into the open road. Her car is a little beat up, but
still looks good. She drives off at full speed. She gives
herself a quick look over and adjusts her mirror. We look
into it and see two cars smashing everything in sight in
order to get close to her. Red is also cutting up the street,
but in a style of her own. Every light seems to change green
just before she hits it. Even people seem to miss getting hit
by her. The sound of police sirens can now be heard.
Writer's note #2 - The following action now occurs inside and
outside of the vehicles involved, as we cut back and forth
between cars.
Red being chased along the highway and her ad-lib reactions
to this.
Inside the police car as they follow in pursuit.
The Yakuza and their reactions to this etc.
Outside shots of all the cars smashing into various things.
Also members of the public and their reactions.
Writer's note #3 - What then follows is the most explosive
and longest car chase ever to be committed to celluloid. The
chase ends with a rather battered and torn car heading into
an underground parking lot.
43 INT. UNDERGROUND PARKING LOT - DAY 43
The car jerks forward as it stops sharply. Red gets out of
the car and slams the door shut. The force from this sends
bits of the car onto the floor. She walks away from the car
and looks for the nearest exit. As she walks, a man, mid-40s
and business like, walks past her, catching her eye. Red
motions back to her car and speaks -
RED
(wryly)
Watch your car around here, mister,
all that shit happened to it the
last time I parked here.
The man looks at her and walks past as Red finds the exit.
She opens a door and heads off down a set of stairs.
FADE TO BLACK:
CUT TO:
44 INT. HOUSE - NIGHT 44
The scene opens slowly with the camera positioned over a
frying pan. Inside the pan cooking away are eggs, hash
browns, and sausage. A separate pan has something tomato
based inside. This is looking like a breakfast fit for a
queen. We see a hand move in to take the pan away.
CUT TO:
45 INT. INSIDE SHOWER - NIGHT 45
We are inside the shower as Red has her head down letting the
hot water massage her neck and shoulders. Her eyes are
closed. We hear a male voice from outside shouting to her.
MALE
(voice only)
Come and get it, Red.
RED
(calmly)
Okay, Jack.
CUT TO:
46 INT. KITCHEN - NIGHT 46
We now see fully the guy referred to as Jack. He is of medium
build in his 50s with grey short hair. He is wearing a very
colorful Hawaiian shirt and jeans. He is putting out the
breakfast seen earlier onto two plates. Red enters the
kitchen wearing a bathrobe. Her hair is still wet.
RED
Hey, you openin' a restaurant or
somethin'?
JACK
I figured a good meal always does
the trick.
RED
(smiles)
This looks great.
JACK
Well, sit down, eat, and tell me
all.
RED
You heard about Charlie, right?
JACK
I heard.
RED
(sad)
That ain't even the half of it.
We now see Jack and Red face to face as Red tells her tale.
The camera zooms slowly over food being eaten and her story
unfolding. Music is played, drifting over what Red is talking
about. The scene continues as Red gets more and more angry.
An anger that turns to tears. From this emotion it turns to a
more determined, hard-nosed expression. A face of revenge.
Jack gets up from his side of the table and hugs her. The
screen fades to black - This scene is presented in a time
lapsed form.
FADE TO BLACK:
FADE IN:
47 INT. CELLAR - NIGHT 47
We are in a typical cellar. Red and jack are talking.
RED
I figured you'd do this place up a
little.
JACK
(smiles)
Ha ha.
RED
Well...?
JACK
Anything you need, you know that.
RED
I do.
Jack opens a large box. Inside we see various guns, knifes,
grenades etc. The box itself looks as if it had gone through
several wars.
JACK
Anything you need.
RED
What I need is... I don't know what
I need.
JACK
Take your time, Red. You're safe
here.
RED
Can't go home, that's for sure.
Y'know... they trashed my ride.
JACK
No way.
RED
That in itself deserves revenge. I
tell ya, this lady better be worth
it. You still know that guy?
JACK
(smiles)
The magician?
RED
Yeah.
JACK
You need his magic, huh?
RED
I do.
JACK
(smiles)
Let me see if I still have his
number.
Jack walks upstairs as Red continues to look through the gun
box. She turns and looks directly into the camera.
RED
Let me tell you about the guy known
as the magician. I never knew the
guy, but knew him via people like
Charlie and good old Jack here. If
you want anyone... anyone to be
found on this planet, then this guy
finds them. It don't matter whether
you're young, old, had your name
changed, sex changed, or your
identity erased, he'll find you.
Always for a price of course. As
for Jack here, let's just say he
knows a lot of unsavory characters
you don't wanna ever mess with and
leave it at that.
Jack comes back down stairs.
JACK
He's out of town right now, but he
wants me to fax him all the details
tomorrow.
RED
Sounds good.
JACK
You bet. So, I suggest an early
night, young lady, right?.
RED
(smiles)
You got it. Been a hell of a day.
Jack's hand comes into shot and reaches to pull a light cord.
He pulls the cord and the screen goes black.
FADE IN:
48 INT. OFFICE - DAY 48
Jack's office is very neat and tidy, rather old fashioned
just like his home. Leather bound books on shelves, leather
chairs, wooden walls and floors. Expensive looking paintings
on walls etc. Red sits in one of the chairs looking smart in her dark
clothes. She is sporting a white shirt and dark jeans topped
off with a dark jacket. Jack looks smarter than he did
before, in suit trousers and his trademark Hawaiian shirt.
They wait patiently. The office is quiet when suddenly the
fax machine beeps. Jack gets up from his chair and walks over
to it. Another beep is heard then the scratchy sound of a fax
being sent. We see a fax coming from the machine. Jack's hand
comes into shot and takes it. He looks at it and turns to
Red.
JACK
Okay, we have our contact. He wants
whatever we got.
RED
Firstly, how much? How much is this
all gonna cost?
JACK
I got it covered.
RED
For Charlie, right?
Red hands over two pieces of paper that she had been holding.
JACK
They hurt you too, remember that.
RED
I know. Let's hope he comes up with
somethin' cos what we got ain't
much.
JACK
This guy's the best. I only wish I
had him on my payroll back in the
day.
Red smiles at Jack as he sends the two pages into the fax
machine. The next scenes drift into each other as time lapses
and we are taken into this montage -
We see -
Red and Jack sitting then pacing.
Red looking at the fax machine while Jack sleeps.
Jack looking at machine while Red sleeps.
We end on a shot of the fax machine as it beeps.
Both Red and Jack move over to the machine looking at each
other. The scratchy sound is heard again followed by a sheet
of paper emerging. The camera zooms down to see written on
the sheet is a six figure number. Jack takes a hold of it and
puts it down so that they can both read it.
RED
Six figures, huh? This guy better
be worth it, Jack.
JACK
He is. This is how the game is
played. We now send him our answer.
Jack looks into Red's eyes.
JACK
Yes?
RED
Yes.
Jack takes a pen and writes the word yes and makes a circle
around it next to the figure shown. He sends it back.
RED
What happens now?
JACK
We wait.
RED
Hours again, right?
JACK
Patience.
The machine beeps and paper is being sent. Jack takes it out
the second it comes to an end.
RED
Looking good?
JACK
This guy is really something.
RED
Let's take a look.
Red takes it and sits back in her chair, reading aloud.
RED
She's a juror. Chen Mai. Her
nationality, Japanese, obviously...
part of an ongoing case against...
bingo!
JACK
What is it?
Red hands the sheet to Jack.
JACK
Han Loe.
RED
Exactly. Looks like we were hired
to find her and to bring her to be
killed.
JACK
Uh huh.
RED
If the Yakuza are that good, how
come they don't hire our contact?
JACK
He has his standards, you know?
RED
Yeah, I guess he does. So this guy
is the last resort?
JACK
Yeah. Somehow I think he quite
likes it that way. So.. We good?
Red looks at the paper and nods.
RED
Yeah, we're good. I just don't know
how he did it.
JACK
That's why we are the best at what
we do, and he's the best at what he
does. Leave it at that.
RED
You ever seen him?
JACK
No, he's a ghost. Better all round
for him and for us. He's got just
as many enemies as followers.
RED
Working both sides, huh? That makes
sense.
JACK
So...when do we pick her up?
RED
I'm guessing it's no safe house,
but she's definitely protected. How
else would she of been seen? Just
stupid to blow your cover like
that.
JACK
We might have done the same, caged
in like I imagine she was.
RED
I guess you're right. Well, it's
about time we set her free and
under our protection. You can't
trust the Feds to protect her. I
got a feeling they'll get to her
somehow if we don't move on this.
JACK
There's no time like the present,
right?
RED
Then why are we still here?
Red looks at Jack and smiles.
CUT TO:
49 EXT. OUTSIDE GROUNDS - NIGHT 49
It is a frosty night and Jack is putting a large sports bag
into the trunk of his car, a very beaten up off-road vehicle.
Red exits the back door and makes her way down to Jack's car.
We see for the first time just how well Jack seems to have
done for himself as the house and grounds look lavish, yet
tasteful. The camera gives us a shot of the trunk as Jack
places a shotgun inside. Red speaks -
RED
You couldn't get anything bigger?
JACK
You haven't opened the bag yet.
RED
Someone's not going to take no for
an answer tonight
JACK
Always be ready, I say.
RED
Yeah.
The trunk is slammed shut and they both enter the car. The
car pulls silently away leaving a shot of the back of Jack's
house. A few lights are on inside.
CUT TO:
50 INT. INSIDE CAR/HIGHWAY - NIGHT 50
Both Red and Jack have stern faces as the car heads down the
highway to its destination. Not a word is said but they
exchange occasional glances at each other. Jack turns the
radio on. Country music is playing. He looks over at Red who
has her hands on her ears. He smiles and turns the music off.
They both laugh.
JACK
Thought you'd gone all quiet on me
there for a minute.
RED
No, just thinking. Hopefully this
will be over soon. It's been quite
a week.
JACK
I know what you mean.
RED
How long 'til we're there?
JACK
About ten.
Both Red and Jack return to their thoughts. We finally arrive
at a small cottage. Jack moves slowly down the road, finally
parking just before the house. The car is not visible to the
house as it is guarded by a bushes and trees. There are
lights on inside the house. The car stops. Red and Jack exit
the car very quietly. It looks almost like a routine they
have done many times before. The trunk opens as Jack reaches
inside and takes a hold of the shotgun. He gives it to Red.
He then opens the sports bag and takes out a gun for himself
and one for Red. He then takes a sawn off shotgun out of the
bag and puts two shells into it. He snaps it shut and turns
to Red.
JACK
You're loaded. Stay behind, look
sharp.
RED
Okay.
Red pumps the shotgun and we hear it snap for action. They
move slowly toward the house. We see what they see. It is a
massacre. Bodies lay dead on the ground, smashed windows, a
kicked-in front door. We see that there are at least three
bodies, one of which is a woman who has been shot in the
head. She looks not unlike Red herself. Red seems to notice
this. She leans down to her and takes out a blue leather
wallet. Jack, who had entered the house, now comes out.
JACK
You don't wanna go in there.
RED
Is she...?
JACK
No. But she's gone. Blood
everywhere.
RED
I'll take a look. Here...
Red shows the wallet to Jack. The FBI insignia and the
picture of a woman can be seen. He looks at it and shakes his
head.
Red pockets the wallet and follows Jack inside the house.
51 INT. INSIDE HOUSE - NIGHT 51
JACK
Let's make this quick, the police
will be here any minute, I
guarantee it.
RED
Just a look. Shit! These guys sure
know how to throw a party. What
color were the walls before they
were painted in blood?
The hallway, the kitchen and the living room are drenched in
blood and bodies are strewn about. Only now do we see, as Red
and Jack do, that some are Oriental. One guy seems to be
still alive. Red runs over to the corner of the living room
and takes hold of him. He is unsure what is happening. Red
pulls him to his feet and throws him back onto a chair in
the living room.
RED
If it ain't one of Loe's guys. Hi
sunshine. Not havin' a good day,
huh? Shot or not you're gonna tell
me what we need to know, right?
JACK
Come on, Red, he's in no fit state
to...
RED
He's just fakin' it. Now you've had
a minute to compose yourself. I'm
going to ask you just one simple
question, okay? Then you can go
back to dying. Sound good? Okay...
Where did they take her?
The guy doesn't say a word. He looks at Jack.
RED
Look at me, he won't help you. You
got one minute.
Red takes out her gun and snaps the trigger back. The guy
leans close to Red and whispers in her ear.
RED
That wasn't so bad was it? If
you're lucky, you'll be around to
explain all this shit to the cops.
Red walks out of the living room, followed by Jack. They head
out of the front door. A very faint sound of police sirens
can be heard. Red and Jack move quickly. Putting the guns in
the trunk, they jump in, start up, and drive away. We are
left with a camera shot of the vacant grounds as police
lights come into view.
CUT TO:
52 INT. INSIDE CAR - NIGHT 52
We are inside Jack's car as it moves quickly down the
highway. The car seems to be the only one on the road at the
moment.
JACK
You ready to do this?
RED
Yeah. Are you?
JACK
Give me a minute and I will be. You
know we can't just go in shooting?
RED
Yeah. At least we now know for sure
where she is.
JACK
Why there, of all places?
RED
Well, if all this blows up, and we
know it will, Han Loe has an alibi.
He was on vacation. This has
nothing to do with him, right? "I
didn't see her, I wasn't there"
etc.
JACK
It's beginning to come together.
And the dead guys are just dead
guys at the house.
RED
Yeah. Well... let's see what he has
to say about unwelcome guests.
The camera moves slowly away from Red, taking us outside and
around the car.
We then cut to a shot showing the vehicle from the rear as it
speeds off down the highway leaving a static shot of the
dark, frosty, empty road.
FADE OUT.
53 EXT. HOTEL/CAR PARK - NIGHT 53
We are outside in the lavish parking lot of a very swanky
looking hotel. It definitely has that five star look. Red and
Jack are in the trunk of the car getting guns out. Red looks
up at the hotel.
RED
Look at the size of this thing. The
place where criminals come to die.
JACK
It seems to be the way. What's
bettin' that he's in the penthouse
suite?
RED
You know it. There's only one way
we can do this.
JACK
(smiles)
Tell me what I already know.
RED
We do it the hard way.
JACK
As I figured.
The camera pans away from Red and Jack giving us a tracking
shot. They are followed into the hotel lobby.
54 INT. HOTEL - NIGHT 54
There are a few people that occupy the lobby of the hotel.
With their guns covered, Red and Jack make their way to the
elevator. The hotel interior is even more lavish than the
exterior. Expensive marbled floors, mirrored ceilings and
fine art work make the lobby look like a museum. The rest of
the hotel is no different. Everything is polished and
gleaming. The lobby door opens and Red and Jack enter. They
are greeted by the elevator attendant, a young guy in his
late 20s.
ATTENDANT
And how are we this evening?
RED/JACK
(in unison)
As good as ever.
They look surprised and smile at each other having said
together exactly the same thing.
ATTENDANT
That's good. What floor, please?
JACK
You know... I was supposed to be
dropping in on a friend of mine.
You may have seen him.
As the elevator continues it's upward route, Red and Jack
look at each other and stare as there is no response from the
attendant.
JACK
Yeah, yeah, he's a big Japanese
kinda guy. People around here may
have gotten the impression that he
was some sort of mob guy back in
the day, but old Han and I go way
back.
ATTENDANT
We get all sorts of people here in
and out all the time, sir.
Red looks over at Jack as she motions towards the elevator
lights that blink past each floor they head to. Red whispers
in Jack's ear.
RED
Shock tactics. This aint workin'.
In a flash, Red takes out her gun and points it straight at
the attendants head. Jack stops elevator.
RED
Han Loe!
ATTENDANT
Han who?
RED
Han Loe. This is a one time gig,
okay.
JACK
You better listen, 'cause she means
what she says.
RED
You ready?
ATTENDANT
Penthouse.
RED
You don't say? Now...that wasn't so
hard was it?
The attendant takes a moment then re-starts the elevator.
Jack pulls out a photo of the woman they are looking for and
shows it to the attendant.
JACK
Is this woman here? Look carefully.
ATTENDANT
Yes, she came here about half an
hour ago with three men. One of
them was Chinese.
RED
Sounds like that fucker I was
talkin' about.
The elevator pings and the doors open. Red leans across and
stops it again.
RED
(to attendant)
Now...it goes without question that
you never saw us.
ATTENDANT
Of course.
RED
I know what you're thinkin'. Though
it may come as a surprise to you
that I'd welcome that call from the
police.
The attendant gives a puzzled look.
ATTENDANT
Huh?
RED
You heard right. But...if I hear a
single siren inside of five
minutes, then I'll know who to come
looking for, right? Soon there will
be reason enough for them to be
here. Trust me, okay?
ATTENDANT
Okay.
Red starts the lift again as Jack exits. Red and Jack look at
the attendant as the door closes. They then find themselves
in a corridor. At the end of it is a door. There are no other
hotel rooms along the corridor only two restroom doors.
55 INT. HOTEL CORRIDOR/PENTHOUSE SUITE - NIGHT 55
JACK
So... what's next? We're wide open
here.
RED
I got an idea.
JACK
Is it a good one?
RED
At this moment... it's the only one
we got.
As they walk along the hotel corridor Red looks directly into
the camera and speaks.
RED
(smiles)
Bet you thought I'd forgotten all
about you guys out there, huh? As
you can see it's been a little busy
of late.
Red walks ahead of Jack and continues her conversation.
RED
But stick with it you guys, we're
near the end. That's the thing with
a movie... you never know what's
gonna come next. And if you did,
you'd be ahead of me.
Red turns to Jack and speaks.
RED
Aint that right, Jack?
Jack surprisingly looks into the camera too and speaks.
JACK
Oh, definitely. She knows what
she's doing.
As they make it to the restroom doors, they can see just
ahead of them the double doors that lead to the penthouse.
Red, for the final time, talks directly to camera.
RED
See you guys later. Needs must, you
know?
Red turns now to face Jack.
RED
Okay, here's my plan...
The camera pulls slowly away from them. We don't hear what
the plan is as the sound lowers and the screen fades out.
FADE TO BLACK:
FADE IN:
We are still in the corridor with Red and Jack as they
discuss their plan of action. The camera now moves in slowly
to them as Red finishes whatever it was she was saying.
RED
Okay?
JACK
Let's do it.
RED
Good man.
CUT TO:
56 INT. HOTEL RESTROOM/LADIES - NIGHT 56
The room is white marble with white tiled walls. The sinks
are black with gold taps. Even the restrooms are as lavish as
any part of the hotel. Red sits inside a cubicle, silent and
waiting. We see Red's view from inside the cubicle.
57 INT. RESTROOM CUBICLE - NIGHT 57
The outside door opens and we see a pair of feet walk into
the room. We hear the tap being turned on at one of the
sinks. Red opens her door slowly. We see that it is a woman
in her 20s of similar build to Red wearing a black skirt and
white blouse. She is cleaning the sink and top. Suddenly Red
is behind her. The woman glimpses Red in the mirror for just
a second. Red spins her around and puts her hand over her
mouth.
RED
Sorry, but I'm gonna have to have
your...
CUT TO:
58 INT. HOTEL CORRIDOR - NIGHT 58
Red is now walking away from the penthouse dressed in a black
skirt and white blouse, looking like part of the hotel staff.
She turns left at the top of the corridor and we then see
Jack leaning against the elevator. Red swaggers up to him,
smiling and pushing a cart containing cleaning supplies. Jack
smiles back. As she meets him, the elevator doors open. Out
steps a hotel staff member in his early 40s, of medium build
and average height. He walks past Red and Jack, then stops
and turns around to them.
HOTEL STAFF GUY
(looks at Red)
Are you new?
RED
Yes, I just started.
Red takes a quick glance over at Jack.
HOTEL STAFF GUY
Well, you'd best get to work.
RED
Yes, sir.
The staff member walks away down the corridor towards the
restroom.
RED
There's your guy.
JACK
Do I have to?
RED
(nods head)
Uh huh.
JACK
See you in two.
Jack walks down the corridor, mumbling to himself.
JACK
I hope he ain't in the damn john.
As Jack enters the restroom the door of the Penthouse opens.
Out steps a heavy looking mob guy who slowly closes the door
behind him, but not before revealing to us a view of the
room. We see the Chinese guy that almost killed Red sitting
next to an older Yakuza guy wearing a white hotel bathrobe.
He is sitting on the edge of a large Jacuzzi tub centered in
the middle of the room. Various unclad girls walk around
inside. Red notices this. Before the heavy guy notices her,
Red has turned around quickly to face the elevator. She takes
a cloth and some spray from her cart and starts to polish the
elevator doors. As she does this, the camera spins around and
we see Jack, now dressed as a member of the hotel staff,
coming towards us. He stops Red mid-polish and talks with
her. Red is startled a bit as she was not expecting him like
that. We cut back to the Mob Heavy who is watching this. He
sees only reactions and hears no sound.
RED
(talking low)
Jesus, give me a heart attack, why
don't you?
JACK
Sorry. But keep it going.
RED
(unsure)
Huh?
JACK
Keep up the - "I wasn't expecting
you" act.
Jack points out a few smudges on the elevator door.
RED
Got it.
JACK
(pointing/raising his
voice)
And you call this clean? I want to
see my face in it, young lady. I
don't know what cleaning
qualifications you have, but we
like to keep our standards high
here.
RED
Sorry, sir, I'll do it again.
JACK
That's more like it.
(talking quietly)
Is our friend looking?
RED
Sometimes is, sometimes isn't.
JACK
Good.
(pointing/raising his voice) Carry on.
Jack walks away from Red towards the penthouse suite. The
Yakuza mob guy stands in front of the door looking at Jack.
Red puts the cloth down and starts to push the cart,
following Jack down the corridor. This scene is shot in slow
motion with a musical score. In a flash, the mob heavy has no
time to react to anything as Jack has pulled a gun out with
silencer and shot the guy in the head. Red by this time has
pulled out two sawd-off shotguns from the cart as she
continues heading towards the penthouse. She gives a nod to
jack as they both reach the front door.
JACK
(stern)
Ready?
RED
Yeah.
Red and jack both kick the doors open. The first thing they
both notice is silence as everyone in the room is paused and
startled from this entrance. Jack takes the right and Red the
left as they enter the suite.
59 INT. PENTHOUSE SUITE - NIGHT 59
Red and Jack hit the room hard as they both fire at men
coming at them from every direction. Two guys get hit with
Red's sawn off while Jack shoots a heavy before he has time
to even reach for his gun. The Yakuza boss and Chinese
gangster type freeze while this happens. We hear the sound of
breaking glass as the camera surveys the room. We take in
crying, scantily clad women, smashed tables with cocaine,
smoke from gunfire, and spent casings on the floor.
RED
(serious)
Quiet you motherfuckers!
JACK
(stern)
And you better do what she says.
Red looks at the boss then at the guy that is sitting next to
him. They are still both seated on the edge of the lounge
pool with their feet in the water. She recognizes him and he
recognizes her.
RED
(serious tone)
First things first, Mr. ...?
The Chinese gangster just looks at Red and smiles.
RED
You don't wanna give me your name?
Suits me fine. I'll just call you
Fuck! So... first things first.
Jack walks over to the doors and closes them as Red
continues. He stands in front of them pointing the gun at Han
Loe and various people around the room.
RED
(serious tone)
What... the fuck... did you do...
to my car?
The Chinese gangster just smiles as he did earlier.
RED
Answer, you fuck!
JACK
(to Red)
I'm gonna look for our girl.
Red gives a nod to Jack as he searches the rest of the
apartment. She looks back at the gangster.
RED
Where's your ride? I should fuck it
over out of general principal.
XXX
(smarmy)
As I recall it was you who turned
your car into a battering ram
smashing up half the city.
Jack comes into shot, holding the arm of a young woman of
oriental appearance with a visible tattoo on her shoulder.
Red looks at her.
RED
(smiles)
Chen Mai?
Chen for this moment seems apprehensive but managers to nod
to Red and smile slightly.
RED
(smiles)
It's okay, we're the good guys.
(to Jack)
Keep close to her Jack.
CUT TO:
60 INT. HOTEL LOBBY - NIGHT 60
By this time there is pandemonium in the lobby as police and
customers mingle together. Customers crowd the desk
complaining of hearing gunfire as police pull up outside the
hotel. A team of policemen takes the stairs, while four
officers and three plain clothed ones enter the elevator. The
elevator doors close.
CUT TO:
61 INT. PENTHOUSE SUITE CORRIDOR - NIGHT 61
A ping is heard and the elevator doors open. Out step the FBI
plain clothed officers, closely followed by uniformed
officers. They make their way down the corridor and stop
outside the door. One of the FBI knocks quietly on the door.
62 INT. PENTHOUSE SUITE - NIGHT 62
A knock is heard and the room goes silent. Red lowers her gun
away from our friend Mr. XXX and walks casually to the door.
We hear a voice from outside.
FBI #1
(voice only and sarcastic)
I hope we're not disturbing you in
there?
RED
(smiles)
No, right on time.
Red throws her guns down and opens the door. As she does this
we see her take the blue leather wallet from the waistband of
her skirt. She opens the door wide and sees the police
standing there. These cops are more casual and not of the
same urgency as ones shown in lobby or on stairs. The plain
clothed FBI scatter themselves around as other cops start
making arrests, starting with the girls.
FBI #1
Been having a party?
RED
(opens wallet)
No, I got it covered. I asked for
you guys a half hour ago. Tyler,
narcotics.
The FBI guy buys Red's story, as the picture in the wallet is
such a good likeness. Red points to Jack.
RED
He's with me. Are you in charge?
Because I don't want any fuckups on
this, you guys are already late.
They start to look around the suite as cops escort girls out
of the room. Red continues.
RED
As you can see, it's been quite a
party. Blow, pills, babes, you name
it. This shit happened as we
entered. It's lucky we were both
armed, otherwise you'd be looking
at a cop killing too. However, this
girl here is free to go.
She's to be taken into our custody
for reasons I don't wanna get into
right now. This shit needs cleaning
up. How's downstairs? I'm guessing
a little out of control, right?
This is what happens when you're
late.
Red doesn't give the FBI guy time to speak or think as she
bombards him with her story. It certainly isn't the truth.
FBI #1
I... erm...
RED
(speaking to Jack)
Take this girl down to the lobby,
Frank. Get a statement from her and
wait for me.
Jack walks towards the door kicking glass out of the way.
Chen Mai follows, stepping over bodies and shattered glass.
She looks back at Red, who is still pointing out things to
the FBI guy. Chen then looks at boss Han and henchman XXX.
Her face is stern as she gives them both a look that could
kill. She turns away and exits the hotel suite.
Red guides the FBI guy over to where boss Loe and XXX sit.
RED
Take a good look at this face. I'll
give you a minute as you probably
won't recognize him.
FBI #1 looks baffled.
RED
Told ya. That, my friend, is Mr.
Han Loe. Not looking his best, I
agree. I don't have to go into how
we've been after him for years,
right? Well, this gift I give to
you. I'll be downstairs.
The FBI guy calls a cop over.
FBI #1
(serious)
Need a little help here, people.
Get some cuffs on these guys. Who's
this guy?
The FBI guy looks at XXX.
RED
Oh, just some fuck.
Red gives a smile at XXX as the hand cuffs go on tight.
RED
You think you can handle it from
here?
FBI #1
(serious)
I got it covered.
RED
Gonna start in on those statements,
okay?
FBI #1
Okay, Taylor. Good work here.
RED
(smiles)
You take the credit.
Red gives a final look back at Han Loe and XXX and slowly
shakes her head, disgusted. Red exits the room. We hear the
sounds of police sirens as the scene fades to black.
FADE IN:
TITLE CARD ON SCREEN - A FEW HOURS LATER
FADE OUT:
FADE IN:
63 INT. INSIDE SHOWER CUBICAL - NIGHT 63
Chen Mai is having a shower and letting the water flow down
over her face.
64 INT. HOUSE - NIGHT 64
We see that we are once again back inside Jack's house. Red
and Jack look relaxed as they sit at a table drinking coffee.
RED
(smiles)
Quite a night, huh?
JACK
Yeah. All she wanted when we got
here was a shower. Too bad it can't
wash away memories.
RED
(nods, takes a sip of
coffee)
Let her take all the time she
needs.
JACK
Yeah. So... what next?
RED
We wait.
Jack nods and they take a sip from their cups.
FADE TO BLACK.
FADE IN:
65 TITLE CARD ON SCREEN - ONE YEAR LATER 65
FADE OUT.
FADE IN:
66 EXT. CEMETERY - DAY 66
Red, dressed in smart clothes, white shirt, long dark warm
winter coat, dark boots and hat, talking on her cell phone.
RED
(into phone)
I'll be sure that I do. Later,
Jack.
She snaps the phone shut. The camera pans down to show that
she is standing at a gravestone. That of her old friend
Charles Matthau. She takes off her gold locket from around
her neck. She looks at it for a moment and places it in front
of his stone. She takes a moment then speaks:
RED
In the end, everything went okay.
...Feel kinda nervous talkin' to a
gravestone out here in the open, ya
know? Well, we got Chen home and
Han in jail. As for the man with no name,
let's just say a mutual friend has taken
care of that little piece of
business. Did I mention that the
guy totaled my car? Don't even get
me stated on that. Anyway, I'm
thinkin' about a change of
career... might even head on down
to...
Her voice fades as the camera pulls slowly away from her
giving us a bigger view of the cemetery. The screen fades
slowly to black.
67 END TITLES ROLL - 67
68 END TITLES TRACK - 68
69 THE END © 2008 69
[Tagline - She was once trained to kill. Now she's hired to protect.]
Script created with Final Draft by Final Draft, Inc.