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T h e B I g c I t y
An Original Screenplay
by
Patrick Annis-Brown
BLACK
INSERT -- TITLE CARD
We have to distrust each other. It's
our only defence against betrayal
- Tennessee Williams
We begin the SOUND of a HEART BEATING.
FADE INTO:
INT. AMBULANCE -- NIGHT
P.O.V. SHOT --OUR VISION CLEARS TO REVEAL the white roof of an ambulance
interior.
THE SOUND OF DISTANT FIRE COMES INTO THE SILENCE.
HUNTER (V.O.)
It's funny what goes through your head
when you're lying in the back of an
ambulance. You're thinking about food
for some reason. And not cheap shit
either; real francy stuff, like lobsters
and steak, and drinks with those little
twirling umbellas in 'em.
OFF-SCREEN, WE HEAR THE SOUNDS OF AMBULANCE PEOPLE WORKING FRANTICALLY.
HUNTER (V.O.)
(continuing)
I was thinking of 'Eddie's Table Top Palace'
in Staunton Island. They make a mean
slab of meat, practically drown it in white
sauce.
An ambulance worker rips open Hunter's shirt, begins hooking him up to
IV tubes.
HUNTER (V.O.)
(continuing)
My mother always told me I was a shooting
star, not a regular star. And for that split
second, I would light up the world.
(Pause)
She also said people would one day get
tired of television and radio and bring back
slavery as a happy medium, so try to keep
some prespective here.
(Pause)
This is how I remember it...
DISSOLVE TO:
EXT. TREAC CITY FEDERAL RESERVE BANK -- NIGHT
The building looms overhead as rain begins to fall. The streets are
virtually deserted at this late hour. A nearby streetlight flickers on
and off spasmodically.
Suddenly--
A HUMVEE SKIDS TO A HAULT BESIDE AN ALLEYWAY NEXT TO THE BANK AND BEEPS
IT'S HORN
SUPER FAST SCAN TRACK: Down the alleyway, weaving in and around
trashcans to the EMERGENCY EXIT of the bank--
The door blasts open, alarm bells ringing from inside. TWO FIGURES
sprint out, each carrying suitcases in both hands.
The first is GREEK, an athlectic African-American man in a trench coat
and top hat...
THE IMAGE FREEZES--
HUNTER (V.O.)
That's Greek. He was our grease man until
he busted his leg up...well, at least until
that cop shot him in it. He's thick as shit,
but you've probably already guessed that
from the clothes.
THE IMAGE UNFREEZES...
SUPER FAST SCAN TRACK: Back to--
MAXINE, a leather-clad vixen with a devilishly wicked smile...
FREEZE AGAIN--
HUNTER (V.O.)
Ah, then there's Maxine. She'd stab the Devil
himself in the back if she thought it would
get her some more green. Looking back, I
probably should of got rid of her a while
ago, but she gave such great head.
UNFREEZE as she keeps running.
AT THE DOOR
A THIRD PERSON EMERGES AND FIRES A SHOT BACK INSIDE FROM HIS SHOTGUN.
It's HUNTER, our 'hero'.
He takes off after the others, leaping over piles of garbage and curious
homeless folk.
HUNTER
Wait up!
As Hunter rounds the corner--
He comes face with Maxine, who's aiming a pistol square at him.
MAXINE
Sorry baby...
BLAM! Hunter goes down, grasping at his neck as blood pumps through his
fingers.
MAXINE
(continuing)
...I guess I'm just too ambitious.
Hunter falls to the ground, gasping for air. What the hell just
happened?
Maxine turns and takes off after Greek. They both dive into the back of
the waiting vehicle as it speeds away off into the night.
HUNTER (V.O.)
Like I said, she did give great head.
A POLICE CAR SKIDS TO A HAULT AT THE ALLEY ENTRANCE.
VOICE
(from police megaphone)
You on the ground! Don't move!
Hunter slowly shifts his head towards the car--
HUNTER
(deadpan)
Duh...
ROLL OPENING CREDITS
On the SOUNDTRACK, we hear "A Little Less Conversation" by Elvis
Presley.
INT. COURTHOUSE -- DAY
Hunter stands before a stern-looking judge in a packed courthouse. The
visitor's gallery is packed, but everyone is keeping their voices low,
speaking in hushed tones. At once, they all stop talking and turn to
face the front.
SUPER FAST SCAN TRACK: Across to the Jury Box, where a young woman
stands to read the verdict--
YOUNG WOMAN
Guilty!
Hunter fakes dissapointment, mouthing the word, "damn". Two bailiffs
grab him under each arm and hurridly lead him out of the room. As he's
led past the young woman, he winks at her and smiles.
When he's been taken out, she smiles back.
CUT TO:
INT. CELL -- DAY
An entire wall is covered in pictures of underwear models, all taken
from fashion magazines. We slowly pan across them, each girl slowly
dissolving into another, as the song continues...
Hunter stands before them, smiling contently.
HUNTER
Morning ladies. Did we all sleep well?
He looks down between his legs. (We stay on his top half)
HUNTER
(continuing)
Looks like at least one of us did. Would
you excuse me, please?
SLAM CUT TO:
BLACK.
TITLE SEQUENCE ENDS.
INSERT -- TITLE CARD
F I V E Y E A R S L A T E R
FLASH CUT TO:
EXT. POLICE HEADQUARTERS -- MORNING (RAIN)
While the city still sleeps, there is activity at Police Headquarters.
EXT. POLICE HEADQUARTERS REAR -- EARLY MORNING
At the rear of the precinct house, a POLICE ESCORT VAN pulls out of the
fenced in parking lot, closely followed by two police cruisers. The car
speeds up on the street and turns a corner, heading into the grim city.
INT. POLICE ESCORT VAN -- SAME TIME
Hunter sits beside a tough looking African-American man. He is DIAMOND
JOE. He's eyeing the prisoner across from him like a hawk.
DIAMOND JOE
(softly)
I'll see you in your nightmares.
The other prisoner is unfazed. He is EL TURRO, a heavily tatooed
Mexican.
EL TURRO
I look forward to it.
EXT. CITY STREET -- EARLY MORNING
The convoy drives on through the down pour, past a red van parked up
against the curb, engine running softly.
A moment after the convoy passes by, the HEADLIGHTS of the van are
turned on, and it pulls away from the curb.
FEMALE REPORTER (V.O.)
Treac City is in shock today, as police and
emergency services deal with the aftermath of
a devastating attack on a police convoy this
morning.
EXT. KILPATRICK MEMORIAL BRIDGE -- EARLY MORNING
A second van lays in wait just before the turn-off on the bridge, rain
falling heavily on it's dented roof.
DOWN THE STREET
The convoy is approaching, a police cruiser fifty yards each end of the
escort van.
INT. SECOND VAN -- SAME TIME
A figure unveils a CONTROL SWITCH attached to the dashboard. There is a
large red switch on it.
EXT. KILPATRICK MEMORIAL BRIDGE -- SAME TIME
The first cruiser turns onto the bridge, heads up the slope towards the
other side...
...A moment later, the escort van follows suit.
FEMALE REPORTER (V.O.)
As yet, no details have been releashed about
the prisoners being tranferred in the convoy,
and no group has claimed responsibility.
CUT TO:
INT. SECOND VAN -- SAME TIME
The figure presses down on the red switch. It's activated--
CUT TO:
EXT. KILPATRICK MEMORIAL BRIDGE -- SAME TIME
AT THE ENTRANCE--
A SUBTLEY PLACED SET OF TYRE-SPIKES SLOWLY RISE UP, EXPOSING THEIR
GLISTENING METAL 'TEETH'.
The second cruiser blindly turns onto the bridge--
BAM! The front tyres are blown out...the car skids wildly before
skidding to a stop.
FEMALE REPORTER (V.O.)
The convoy left police headquaters early this
morning for a routine transfer of felons to Treac
City Minimum Security Penitentary. The attack
took place on the Kilpatrick Memorial Bridge,
leaving few witnesses, and the bridge itself
severly damaged.
CUT TO:
INT. SECOND VAN -- SAME TIME
The figure quickly disables the spikes, and grabs an intercom--
FIGURE
The fuse is burning!
CUT TO:
EXT. KILPATRICK MEMORIAL BRIDGE -- SAME TIME
The spikes retract, as the first van roars towards the bridge.
The second van takes off, tyres screeching. As it passes by the cruiser,
the window is wound down, and a MACHINE GUN is held out. It begins
firing--
CUT TO:
INT. CRUISER -- EARLY MORNING
The cops inside are shot to pieces, their bodies convulsing as the
bullets tear into their flesh.
EXT. KILPATRICK MEMORIAL BRIDGE -- EARLY MORNING
Both vans, side by side, hunt down the remaining targets.
UP AHEAD
The remainder of the convoy is half way across the bridge, oblivious to
what's just happened.
THE FIRST VAN
comes up fast, brushes past the escort van, and slams on the brakes,
screeching to a hault infront of the leading cruiser, forcing it to stop
as well.
The escort van swirves to a stop, as the second van comes up behind it.
It brakes and turns, with the back doors of the van coming face-to-face
with the back doors of the escort.
THE BACK DOORS OF THE FIRST VAN SPRING OPEN AND THREE MASKED MEN JUMP
OUT.
MASKED MAN
Take 'em out!
BLAM! BLAM! BLAM!...The police cruiser is hit with a wave of bullets,
annialating everyone inside.
AT THE SECOND VAN
Three more masked men emerge from the back doors, each wielding
shotguns.
MASKED MAN
Open the doors!
No response.
One of the masked men steps up to the window of the escort, and fires a
shoot through the glass, slamming into the driver's chest. He then
withdraws a BLOCK OF C4 from his coat, and places it under the van.
MASKED MAN
There's a bomb underneath this vehicle with
enough juice to fly you to the moon. Now
open the fucking doors!
The doors are slowly pushed open. A nervous cop emerges from inside,
hands up.
COP
Don't shoot. Please.
One of the men steps forward and slams him in the head with the butt of
his gun.
MASKED MAN
Shut the fuck up.
BLAM! A shot is fired from inside the escort. One of the masked men is
knocked off his feet, hit in the face.
MASKED MAN
If you're not a pig, pull your socks up!
CUT TO:
INT. ESCORT VAN -- SAME TIME
Every prisoner drops to the floor of the van, shielding themselves as
best they can. As Hunter drops, he closes his eyes.
FROM OUTSIDE
A BARRAGE OF BULLETS ARE SENT TEARING THROUGH THE VAN, SHREDDING A
SECOND COP DOWN TO SIZE.
Then silence...
Hunter opens his eyes--
THE DEAD COP IS LAYING RIGHT BESIDE HIM, DEAD EYES STARING INTO HIS!
Diamond Joe scoops Hunter up, ushering him out.
DIAMOND JOE
Time to bail.
EXT. KILPATRICK MEMORIAL BRIDGE -- EARLY MORNING
All the prisoners emerge from the escort van, some brandishing cuts and
scraps from the ordeal.
El Turro hugs one of the masked men tightly, like he was family.
EL TURRO
I liked the part about the socks.
MASKED MAN
At last, you are finally free. Come. We must
get you to safety.
El Turro's chains are cut apart, and he is escorted into the first van.
As the masked men climb inside behind, one of them turns back to the
others.
MASKED MAN
If any of you want to live, I suggest you run.
Run very fast.
There is pandamonium as the prisoners scramble to get away. Hunter and
Diamond Joe lead the pack, as they sprint through the driving rain, back
from where they came.
The red van speeds away, engine roaring, off into the misty distance.
KA-BOOM! The C4 detonates -- A HUGE EXPLOSION ROCKS THE BRIDGE!
Smoke and debris rises up, engulfs us, creating a suffocating barrier.
All we can hear is the SOUND of flaming wreckage and anguished cries for
help.
When it eventually clears, the full extent of the blast is revealed--
THE CENTRE OF THE BRIDGE HAS BEEN BLOWN AWAY, LEAVING A HUNDRED FOOT GAP
INBETWEEN!
FEMALE REPORTER (V.O.)
Some of the convicts are thought to have
perished in the explosion which followed the
initial attack. Revelations as to the professional-
ism of the attack struck police hours afterwards
when identification of the missing felons was
further hampered by an attack by computer
hackers on police headquarter databases. This
disaster leaves Harbourton isolated from the
rest of the city.
DISSOLVE TO:
EXT. APARTMENT COMPLEX -- LATER MORNING (RAIN)
A grimey block of apartments, surrounded by sidewalks patrolled by bums
and hookers.
DIAMOND JOE (V.O.)
My sister lives 'round here. We should be
able to hide out until this thing blows
over.
INT. FIRST STORY STAIRWELL -- MORNING
Foot steps are heard as Hunter and Diamond Joe make their way upwards.
We see two PAIRS OF FEET as they slowly venture upstairs. Crack viles
and hypodermic needles on the stairs crunch under their boots.
INT. HALLWAY -- MORNING
The two men enter the dank hall. A man is lying on the floor, looking
up, helpless, with dead eyes.
INT. SKY'S APARTMENT -- MORNING
The living room is surprisingly elegant considering what's surrounding
it. It betrays a minimal existence: table, loveseat, bookshelf,
television. The bookshelf contains a CD player, and old books.
INT. APARTMENT -- BATHROOM -- MORNING
A beautiful young woman is standing in her night gown infront of a
mirror, brushing her hair. She is Diamond Joe's sister, SKY.
She has heroin cut up into big lines on the bathroom sink. She takes a
dollar bill out of the top drawer of the sink, and fashions it into a
straw. She quickly snorts the fat line.
Her head JERKS back. Her hands go to her nose.
SKY
(to herself)
Fuck. That's good shit.
THE DOORBELL RINGS.
CUT TO:
INT. APARTMENT -- FRONT DOOR -- DAY
The door opens on our two fugitives, each with a wry smile on their
face.
SKY
Well, speak of the Devil.
DIAMOND JOE
And the Devil appears.
Sky lets them in, giving Joe a sisterly hug and kiss.
SKY
Who's your little friend?
Joe ushers Hunter forward.
DIAMOND JOE
This is Hunter, a brother from inside.
Hunter extends his hand.
HUNTER
How do you do?
Sky shakes his hands firmly.
SKY
I do great.
They enter, Hunter still a little unsteady. Joe starts to unbutton his
shirt. He turns to Hunter.
DIAMOND JOE
Why don't you go take a shower? Clean that
prison stink off you?
Hunter looks across to Sky. She smiles.
SKY
Just go. I ain't gonna bite you. Just be
careful of my stuff.
INT. BATHROOM -- MOMENTS LATER
Hunter stands before the mirror, bare chested, staring deep into his
eyes. The water from the tap is running.
A tattoo of a cobra wraps itself around his left arm. The eyes burn red,
it's tongue flicking.
Hunter cups his hands and throws some water over his face. He lets it
slowly drip off.
CUT TO:
IN THE SHOWER
Hunter stands in the shower, the water running down over him. He peers
up, looking at the assorted collection of clothing hanging over the rail
-- a g-string, bra, tie, mini-dress.
To his right, a small, pink dildo hangs from the soap holder by a thin,
leather strap.
HUNTER (V.O.)
Joe had never really mentioned Sky before.
I mean, he told me she was outgoing, but
damn...
He slowly reaches out, touches the dildo. Suddenly--
THERE'S A BANG ON THE DOOR!
Hunter is startled.
SKY (O.S.)
You're not touching my shit, are you?
Hunter breaths in deeply, breaths out.
INT. APARTMENT -- SAME TIME
Joe sits with his feet up. Sky walks past, slaps him on the head.
SKY
You wanna take your feet off my table?
Joe puts his feet down, sulking.
ON THE T.V.
A local newscaster named KELLY HOUGE is reporting a story
about the bridge disaster.
KELLY HOUGE
(talking to camera)
I'm standing here, just a few hundred feet
from what is shaping up as one of the
most damaging acts in this city's history.
FOOTAGE OF BRIDGE
KELLY HOUGE (V.O.)
As you can see, emergency services can
do little but sift through the rubble at this
point.
POLICE BOATS SCOUR THE HARBOUR
KELLY HOUGE (V.O.)
Police boats have been called in to
search the waters nearby, in the hope
of discovering the bodies of those
who surely perished in this tragedy.
MUGSHOTS OF ALL PRISONERS
KELLY HOUGE (V.O.)
We have obtained these mugshots of
all prisoners on board the escort van.
Police have issued a statement asking
anyone with information on any of
these men to please contact them as
soon as possible.
AMOUNG THE SHOTS ARE HUNTER AND DIAMOND JOE.
CUT TO:
Sky laughs, crying out like a girl at a pop concert.
SKY
(pointing)
Hey, look at you. You're famous.
She gives Joe a big hug, somehow proud of him.
SKY
(continuing)
My little celebrity.
She heads off to the fridge.
SKY
(continuing)
Enjoy it, 'cause now four million know
your face.
INT. BATHROOM -- SHOWER -- SAME TIME
Hunter is washing his hair, his eyes closed tightly. He places his head
under the showerhead, lets the shampoo wash away...
...he turns the water off, steps out onto the mat. He keeps his eyes
closed. He reaches for a towel, but there's none on the hook.
HUNTER
(eyes closed)
Hey, somebody! I got shampoo in my
eyes here. Can I get a towel in here? Joe?
After a moment, off-screen, the door opens.
HUNTER
(reaches out)
Thanks man. Hey, no peeking.
SKY (O.S.)
Too late.
Hunter's eyes are open in a flash. Sky stands before him, towel in her
hand.
HUNTER
Shit!
He grabs the towel, throws it around his waist. Sky has a huge smile on
her face.
SKY
You better put a leash on that thing.
Hunter blushes, completely humiliated. Sky exits, taking a quick peek
back.
SKY
(continuing)
People get hurt that way.
INT. APARTMENT -- MOMENTS LATER
Hunter hurries out of the bathroom, holding the towel firmly in place.
He storms across to Joe, stands infront of the T.V.
DIAMOND JOE
(annoyed)
Hey, you're not a friggin' bubble.
HUNTER
What the fuck was that?
DIAMOND JOE
(shifts to see the T.V.)
What was what?
Hunter steps back infront of the screen.
HUNTER
That. I ask for a towel, and get a fucking
live audience.
Sky walks past, into the kitchen. Joe watches her go.
DIAMOND JOE
Oh, that. Forget about it. She's a very
physical person, that's all.
HUNTER
But--
Joe shifts in his seat again, trying to block out Hunter completely.
DIAMOND JOE
Look, you got the fucking towel, so just
let it go. Frankly, I can't figure out why
you would of preferred me to bring it
to you.
HUNTER
Don't you fuckin' start.
Joe sighs, looks Hunter in the face.
DIAMOND JOE
Just move your ass, and go get some sleep.
We gotta get ourselves back in the system.
EXT. SEX CLUB 69 -- NIGHT
A PACKED nightclub on a busy, city street. The street is jammed with
cars trying to negoiate their way through the crowd.
DIAMOND JOE (V.O.)
I know this guy who owns a club downtown.
Me and him go back, so I can probably get
you some work.
A CADILLAC SEVILLE pulls up to the valet area infront. From inside steps
MARIO STEFANO, an elegantly dressed Italian, and his hot, blonde
mistress, AMBER. We follow them as they pass the crowd, greet a DOORMAN
and enter --
INT. SEX CLUB 69 -- NIGHT
INSIDE THE NIGHTCLUB. Twice as packed inside as outside. Music is
pumping at full blast. Mario and Amber are greeted by--
MAURICE, manager of the nightclub. He wears a slick red suit and
fifteen gold chains.
MAURICE
Mister Stefano and Miss Lovely Amber.
AMBER
Hello, Maurice.
MARIO
You bad ass little spick. How's my baby
doing?
MAURICE
Fucking sweet. Nothing to worry about.
People been askin' about you.
MARIO
I been on vacation.
MAURICE
(friendly)
Don't stay away this long ever again.
MARIO
I give you my word.
Maurice takes Amber's hand and gives it a kiss.
MAURICE
You are the foxiest bitch in here.
AMBER
You're such a charmer.
MAURICE
(to Jack)
I got you all set up at your booth. I'll send
over some clams on the half shell.
MARIO
Beautiful.
Mario and Amber head off towards the booth. CAMERA stays with Maurice,
follows him to the bar area, where he shouts some orders to a WAITER.
MAURICE
Clams on the half shell to Mister Stefano.
Go!
The WAITER takes off to the kitchen, Maurice walks onto the dance floor
and greets some more guests.
EXT. SEX CLUB 69 -- NIGHT
Hunter and Diamond Joe approach the entrance. They turn off into a back
alley which runs down the side of the club. A couple are pressed up
against the wall, really going at it.
INT. SEX CLUB 69 -- NIGHT
A WAITER carrying clams on the half shell, makes his way over to
Mario's booth, where he presents them--
WAITER
Compliments of Maurice.
MARIO
Thank-you.
WAITER
There's also two men waiting for you in
your office.
MARIO
Two men?
WAITER
Yes, sir. They say you know them from
Westfield. One of them has you're card.
Mario thinks for a moment, before excusing himself.
MARIO
Excuse me, honey. I'll be right back.
Mario makes his way across the dance floor, where he's approached by
THICK JIMMY, a short, stocky man.
THICK JIMMY
Mario...
MARIO
Hey, Thick Jimmy.
THICK JIMMY
Whatsa schedule look like? Are we still on
day after tomorrow?
MARIO
I wanna do it the day after the day after
tomorrow.
THICK JIMMY
For sure? 'Cause I was thinking of calling
in Scotty, Kurt and all those guys --
Mario's attention is with the strangers in his office. He begins to head
that way. Thick Jimmy stays with him.
MARIO
Sure, whatever. But I wanna keep it small.
I wanna keep a small crew on this one--
THICK JIMMY
-- a relaxed deal. Gottcha.
MARIO
Exactly.
THICK JIMMY
Do we have a script yet?
MARIO
Tomorrow. Tomorrow is the day. I'll have
Misty bring it over.
Mario opens a door and heads inside. Thick Jimmy stays outside.
CUT TO:
INT. MARIO'S OFFICE -- MOMENTS LATER
Mario enters to see Hunter and Diamond Joe sitting in the chairs infront
of his large, wooden desk.
MARIO
Gentlemen.
Joe turns to face him.
DIAMOND JOE
Hey, here he is; 'Stefano the Slasher'.
MARIO
Diamond Joe.
They shake hands, eyeing eachother with unexpected intensity.
DIAMOND JOE
It's been a long time.
MARIO
Perhaps not long enough.
(looks over to Hunter)
Who's this?
Hunter stands.
DIAMOND JOE
This is Hunter. He's looking to rejoin the
workforce.
MARIO
I see.
HUNTER
(extending his hand)
Pleasure to meet you.
They shake hands. Mario looks Hunter up and down for a long moment.
MARIO
I'll bet.
(Pause)
Why don't you wait outside for a moment.
Your friend and I have some 'paperwork' to
get through.
CUT TO:
EXT. MARIO'S OFFICE -- MOMENTS LATER
Hunter exits the room, closing the door behind him. He takes a seat,
letting out a long sigh. He looks across to adjacent wall, which is
covered with FRAMED PICTURES OF ADULT FILM MARQEES.
CLOSE ON:
The Cunt Of Red October
A STEFANO PRODUCTION
THE 'LEADING LADY' IS AMBER FROM DOWNSTAIRS, NOW A REDHEAD.
HUNTER (V.O.)
While I'm no expert in this business, I could
still tell that Mario Stefano wasn't a heavy-
weight in porn. It seemed like more of an
elaborate front for his real passion - extorting
the city and beating the fuck outta anybody
who thought otherwise.
Maurice appears at the end of the hallway. He starts to come towards us.
From somewhere around the corner behind him, someone calls out--
VOICE (O.S.)
Hey, Maurice!
Maurice turns back, his coat opening partially. Hunter looks closely--
The SILVER HANDLE OF A GUN peeks out from the belt of Maurice's pants.
INT. MARIO'S OFFICE -- SAME TIME
Mario takes a sip from a glass of scotch. He savours the taste for a
moment.
MARIO
What exactly is it that you want me to do?
Joe is sitting back in the seat, arms folded.
DIAMOND JOE
The guy's got a bounty on his head from
just about every underground pinhead in
the city. He just needs someone to take
him in for a while.
MARIO
And you think that should be me?
DIAMOND JOE
He needs protection, and he's real good in
a jam. Jimmy told me himself you're looking
for a new legs man.
MARIO
You've been to see Jimmy.
DIAMOND JOE
Jimmy came to see me.
Mario takes another sip from his glass. He refills it at his small
minibar in the corner of the room.
MARIO
What are you, this kid's fuckin' fairy godmother
or something?
DIAMOND JOE
He watched my back in the joint. Figure I at
least owe him something.
Mario comes and sits before Joe at his desk, places his scotch down on
the table.
MARIO
And you say he's reliable?
DIAMOND JOE
I'm sayin' he's reliable, and he knows how to
keep his mouth shut, and his nose out of
people's shit.
(Pause)
He'll watch your back.
Suddenly--
A FIGURE COMES CRASHING THROUGH THE DOOR, SPRAWLING ONTO THE FLOOR.
It's MAURICE.
MARIO
What the fuck..!
Hunter steps through the doorway, blood trickling from a gash above his
left eye.
MARIO
(continuing)
You wanna tell me who's gonna pay for my
fuckin' door?!
SUPER FAST SCAN TRACK: Back past Hunter, through the doorway, out into
the hallway, to a streak of blood on the wall.
PAN ACROSS to reveal MAURICE propped up against the wall, holding his
hand to his nose.
IMAGE FREEZES
INSERT -- TITLE CARD
'Thirty Seconds Earlier'
MAURICE
(spitting blood)
You broke my fucking nose, you dick!
The pistol is lying on the ground between both men. Maurice makes a
lunge at it--
Hunter drives his right boot into Maurice's gut, slamming him back
against the wall. Hunter picks the gun up, points it square at Maurice--
MAURICE
What are you doing?
BLAM! A bullet rips into his shoulder. His thrown back, crashing through
the door to Mario's office--
MARIO (O.S.)
What the fuck..!
Hunter steps through the doorway, into the office. Mario is staring at
him.
MARIO
(continuing)
You wanna tell me who's gonna pay for my
fuckin' door?!
Hunter looks down at Maurice, who's holding his shoulder and howling in
pain.
DIAMOND JOE
(shocked)
Yo, Hunter, what the fuck?
HUNTER
(to Mario)
He was coming for you.
MARIO
And you thought that warranted shooting
him?
Hunter tosses Mario the pistol.
HUNTER
He was the one with the gun.
Mario looks down in disbelief at Maurice, who's weeping like a baby.
He takes a closer look at the pistol. AN IMAGE OF A BLUE DRAGON SNAKES
AROUND THE BARREL.
MARIO
Blue steel. Dragons like to use these for
executions.
MAURICE
(wiping blood from his face)
I'm sorry, Mario. Jesus, you gotta believe
me. I am so fucking sorry.
MARIO
(aiming the gun at Maurice)
Is that so?
Maurice holds his bloody hands up to shield himself.
MAURICE
(desperate)
Please...oh, shit....goddamn, man....it was
all an accident...I swear...please...
Maurice cocks the trigger, looks up to Hunter.
MARIO
(calmly)
I may have a position for you afterall.
BLAM!
SLAMCUT TO BLACK
EXT. CITY STREETS -- MORNING
A slick, black Corvette pulls away from the curb, heads off into the
misty city streets...
MARIO (V.O.)
Okay kid, we're gonna start you off easy and
work you into it. Got it?
The Corvette works its way in and around the early morning traffic...
MARIO (V.O.)
You're about to meet Misty. She's a cute
little number, writes the scripts for our
movies. She's got a pad over there in
Hepburn Heights. She's a little wild, so
just make sure to keep your distance, if you
know what I mean; her imagination spends
so much time in the gutter, she tends to
have trouble gettin' it outta there. Bring
her to the club.
EXT. TWIN PALMS APARTMENTS -- MORNING
The Corvette pulls into the parking lot to the side of the building,
turns off the engine.
Hunter steps out from the driver's door. It's a cold morning, his breath
forms tiny clouds of mist in the chilly air.
EXT. APARTMENT 201 -- MOMENTS LATER
Hunter double-checks he's at the right place, then knocks on the door.
MISTY
(from inside)
Who is it?
HUNTER
Mister Stefano sent me to bring you over
to the club.
A LOCK CLICKS. The door swings open, revealing MISTY, a stunning
brunette in a bath robe.
MISTY
I'm ain't ready yet.
CUT TO:
INT. APARTMENT -- KITCHEN -- MOMENTS LATER
Hunter sits at the kitchen bench, sipping quietly from a glass of water.
Misty stands at the single open window, smoking, drinking from a glass
of whiskey, looking across the gray cityscape of high rises and water
tanks.
MISTY
Mario didn't tell me he'd got a new guy.
HUNTER
It was last minute.
Misty turns back from the window, places the glass down on the bench.
MISTY
Obviously. I just didn't think Mario worked
that way.
HUNTER
We came to a mutual understanding.
MISTY
Oh, really? You must of had quite an effect on
him.`Most men in this city come out of Mario's
office in a body bag.
We hear the DOOR behind them. Hunter turns to see ROXY, a pretty young
redhead staring at them. Her hair is up. She wears a black motorcycle
jacket, a black T-shirt, and black jeans and cowboy boots.
MISTY
Hiya, hon. Sleep well?
Roxy looks at Hunter. Misty goes to her, kisses her passionately on the
lips, stands there with her arm around her -- both of them looking at
Hunter.
MISTY
(to Hunter)
Research.
Roxy turns her head to face Misty, kisses her on the cheek.
ROXY
I gotta get going. I'll call you.
(hands her a script)
I still think you should be in the last
scene
MISTY
(sarcastic)
Oh, yeah sure.
Roxy flashes Hunter a glare before stepping out.
MISTY
Don't mind her. She's just a little territorial
around strangers.
HUNTER
She works in your movies?
MISTY
Only with the women.
Hunter smiles politely, takes a sip from his water.
MISTY
(continuing)
I'll just go pretty up, and we'll get going.
Misty crosses the kitchen, into the bedroom. She leaves the bedroom door
halfway open.
MISTY (O.S.)
(continuing)
Yeah, Roxy's a little cold when you first
meet her. Probably still a little tired from
last night.
Hunter, facing the half open bedroom door, sees a mirror near
the wall of the bedroom. The mirror reflects her in the other corner of
the bedroom. She is taking her robe off. He stares. She strips down.
He sees her back. She has a beautiful body. Naked, she puts a dress on.
She doesn't put any underwear on.
Misty steps out of view. Hunter moves his head a little to try and find
her. She suddenly steps out of the bedroom. Hunter looks away quickly.
She stands there, smiles.
MISTY
I'm ready.
They get up, head out. Hunter keeps his head down.
INT. SEX CLUB 69 -- MORNING
In contrast to when we were last here, the place is virtually empty.
ON STAGE
Mario sits in a chair across from ROCKY, an athletic 'pretty boy' with
more muscle than brains, who's sitting on a couch.
MARIO
So what do you think . . . I think we ought
to be in business together.
ROCKY
. . . yeah . . . ?
MARIO
What do you think of Amber?
ROCKY
She's . . . she's really great . . .
MARIO
Would you like to get it on with her?
ROCKY
Have sex?
MARIO
I believe that's what they call it now.
ROCKY
Yeah, I'd love to. I mean, yes. She's . . .
she's really hot.
MARIO
You bet your ass she is --
Amber comes out onto the stage, carrying an empty bottle.
AMBER
We're out of limes.
MARIO
Forget about that. Come over here a minute.
Sit next to Rocky here.
AMBER
Are we gonna fuck?
MARIO
That all depends on Rocky here.
AMBER
But I just showered.
MARIO
Forget about that. Christ, you've got the
whole day to shower. Just get that ass
over here.
She slinks over to the couch -- in one swift motion ripping
her clothes off.
AMBER
Fine.
(to Rocky)
You ready?
Rocky shifts in his seat, nervous.
ROCKY
Um, are you?
She rolls her eyes.
AMBER
I'm standing here bare ass. Course I'm
fuckin' ready.
They kiss. They lean back on the couch. Amber stops.
AMBER
Don't you fucking come in me either.
MARIO
Don't you come in her, Rocky. I want you
to pull it out and jack off, make sure you
aim it towards her face.
AMBER
Hey, fuck you, Mario.
MARIO
(rolls his eyes)
Fine, towards her tits, then.
AT THE ENTRANCE
MISTY AND HUNTER WALK IN.
MARIO (O.S.)
Well, well, well. Misty "bury me in a Y shape
coffin" Walters.
Mario comes down from the stage, leaving Rocky and Amber going at it. He
turns back for a moment.
MARIO
Rocky, you watch my fuckin' couch, you
hear?
He's got his head buried between Amber's legs.
Mario kisses Misty on the cheek.
MISTY
Mornin', Mario.
MARIO
Nice to see you again. We got a script?
She holds it up.
MARIO
(continuing)
Beautiful.
Misty hands it over, and steps over to the stage, leaving Mario with
Hunter.
HUNTER
Morning, Mister Stefano.
Mario takes his hands, shakes it firmly.
MARIO
Hey, hey, after what you did for me, you
call me Mario, got it?
HUNTER
Got it?
MARIO
Good. Now head upstairs. We got some
business to do.
They head upstairs, passing by the stage, where Misty and Amber are
fondling eachother while Rocky eats out Amber.
INT. MARIO'S OFFICE -- MOMENTS LATER
Mario and Hunter are sitting, drinks in their hand. Mario smokes on
a cigar, blowing clouds of smoke into the air.
MARIO
It's a great thing I've got here; to have the
people of this city eating outta my hand.
HUNTER
I'll bet.
MARIO
What do you think of Misty?
HUNTER
She seems nice.
MARIO
Great ass, don't you think? Bet when
you first laid eyes on her, you just
wanted to rip the clothes off her back.
Huh? Am I right?
Hunter smiles, really unsure whether he knows Mario enough to be
discussing this.
HUNTER
Yeah, I guess so.
MARIO
Yeah, she's a real piece of work. Keeps on
begging me to put her in a scene.
He stumps his cigar butt out in a gold-plated ashtray. Hunter takes a
deep breath.
MARIO
(continuing)
Tell me what you think of this idea: Misty is
a director of porno films and she's down on
her luck. She hasn't had a hit in a year. She's
getting desperate. Her boss is a real prick,
pardon the pun, keeps threatening to kick her
out, so she's desperate for a big hit, right?
HUNTER
Uh, yere.
MARIO
Yeah, so anyway, she starts calling up all the
agencies 'round town and says: "Send over
your best actors, I'm casting a skin flick." Well,
the story goes on, develops with Misty going
through auditions, you know, fucking guys and
dolls. The whole thing wraps up with the boss,
and he's like, "You better come through or you're
fucked". Well, goddamn, Misty gives him one
helluva suck job, ass fuck, come in the face, sort
of thing and fade out - the end.
Hunter clears his throat.
MARIO
(continuing)
What do you think?
HUNTER
Um, yeah, that all sounds great.
Mario stands, begins pacing around the office.
MARIO
You know what I hate more than anything? Ass
kissing. When I take someone on board, I can't
be wasting my time giving them a backbone, when
it should already be there in the first place. You
see where I'm going?
HUNTER
I do.
MARIO
Good. 'Cause I'm placing a lot of trust in you.
HUNTER
And I appreciate that.
Mario stands at the window, looking out onto the city. A ray of sunshine
falls upon him.
MARIO
You see, if something should ever go wrong, I'm
not the only one to be answered to. No, there
are levels in this game, and they only go up. Just
keep that in mind, 'cause the last thing you want
to do is go against the tide, 'cause it'll pull you
under and tear you apart.
RING, RING....RING, RING...
Mario strolls over to his desk, answers the phone--
MARIO
(into phone)
Hello?....Yes...Alright, give me twenty minutes.
He hangs up, picks up his coat off the back of his chair.
MARIO
Grab your bags, we're going to see The Sal.
HUNTER
"The Sal"?
CUT TO:
INT. CAR -- DAY
Hunter drives. Mario sits in the back seat.
MARIO
Yeah, The Sal. If I run this city, then he
runs this state. Nothing happens in this
town without his permission. If someone
farts, and he catches wind of it, he'll hunt
that poor son of a bitch down, and ram a
cork up his ass.
Hunter smiles to himself, keeps his eyes on the road.
P.O.V. SHOT -- As a LAUNDRY TRUCK passes by on the other side of the
road. The sign on the side of it reads: WANG'S LAUNDRY AND DRY CLEANING.
Mario watches the truck go by as well.
MARIO
Fucking Blue Dragons.
HUNTER
Sorry?
MARIO
Blue Dragons. They operate behind a
'mom and pop' laundry service. You ever
see one of those motherfuckers in the
street, look 'em square in the eye before
putting a bullet through their throat.
HUNTER
Just shoot 'em in the street? What about
cops?
Mario scoffs.
MARIO
We've got the pigs in our back pocket.
We snap our fingers, and they'll lock
those punks up for wasting your bullet.
In fact...
(thinks to himself for a moment)
Pull over.
HUNTER
What?
MARIO
Pull over to the curb. Now!
Hunter pulls up behind a police cruiser, goes to turn the engine off.
Mario stops him--
MARIO
No, no, keep the engine running. Just sit,
wait and watch.
Mario withdraws a pistol, cocks the trigger. Hunter whips his head
around--
HUNTER
Whoah, whoah, what's going on..?
MARIO
(overrides)
Just sit...wait...and watch.
He opens the passenger door, steps out onto the street.
EXT. CITY STREET -- CONTINUOUS
Mario looks around--
...A couple are walking arm-in-arm down the sidewalk...
...A Postman is emptying the mailbox on the corner...
...A toddler sits on her dad's shoulder, while he looks into a shop
window. She's holding a balloon attached to a string...
MARIO
turns to face the POLICE CRUISER. Two cops sit inside talking, eating
donuts.
Mario raises the pistol above his head, pulls the trigger--
BLAM! BLAM! BLAM!
People scream, cars screech to a hault etc.
THE TWO COPS JUMP OUT OF THE CRUISER, TURN TO SEE--
MARIO standing before them, smoking gun in the air. He smiles, slowly
places the pistol back in his pants.
As soon as the cops see who it is, their bravado quickly evaporates.
They get back in the cruiser and drive off down the street.
THE BALLOON IS CARRIED OFF BY THE WIND...
Mario casually gets back into the car--
INT. CAR -- CONTINUOUS
--sinks back into his seat.
MARIO
Drive on.
Hunter's in a complete state of shock. He sits in silence.
MARIO
(continuing)
I said drive on.
EXT. CITY STREET -- SAME TIME
The car pulls away from the curb, and takes off down the street, leaving
the stunned crowd of people to stare on in disbelief.
DISSOLVE TO:
EXT. CRIMSON RIVER -- DUSK
A patch of water. PULL BACK TO REVEAL more water. BACK FARTHER TO REVEAL
an expanse of river, up the bank to massive lawn running up to a great,
classic manor house; the country estate of SALVATORE GIAMATTI.
INT. GIAMATTI COUNTRY ESTATE -- DUSK
MOVE THROUGH French doors that lead from a wide terrace
into an expansive living room, DOWN wide corridors lined with
Bierstadt and Cole paintings, the Hudson River School, mists
and trees and small boats and distant humans.
DISSOLVE TO:
THE FRONT DOOR
IT SWINGS OPEN TO REVEAL MARIO, WITH HUNTER STANDING BEHIND HIM.
SALVATORE (O.S.)
(fondly)
Here he is.
SALVATORE, mid 50's, stands in the doorway, dressed in a slick, black
suit. He well-groomed appearance does not denote his age. On each side
of him is a stunningly beautiful woman, who he holds close.
MARIO
Salvatore. My girls have been missing you.
You been away too long.
They embrace. Salvatore's ladies take a step back.
SALVATORE
Not to worry. As soon as this unfortunate
business is dealt with, we'll all get together
for a celebration, over the roasted corpses
of our enemies.
MARIO
Yes, sir.
Mario heads inside, leaving Salvatore with Hunter.
SALVATORE
(extending his hand)
Mario tells me you're quick thinking
saved his life.
HUNTER
Thank-you, sir.
SALVATORE
We need more men like you; those willing
to preserve what we have, at the sake of
their own life.
(draws him closer, embraces him)
Welcome to the family.
INT. GIAMATTI ESTATE -- CIGAR ROOM -- DUSK
A FIRE BURNS AWAY IN THE CORNER OF THE ROOM.
A beautiful, leather-clad chair sits beside the fire, radiating power.
Mario stands at the fire place, puffing on a cigar.
Situated around the room are smaller chairs, all facing towards it.
SALVATORE (V.O.)
I want to introduce you to the cogs that
keep all this working...
WE START SLOWLY PANNING AROUND THE ROOM--
In the first seat is JIMMY LEONE, 40's, tough looking, dressed in suit
and tie.
SALVATORE (V.O.)
(continuing)
Jimmy Leone, runs our weapons out of
South America, and owns "Ammu-nation"
over on Broadway. You ever need a piece,
you see this man; he'll fix you right up.
JIMMY LEONE
Yeah, just don't use the bullet-proof vests.
They're weak as shit, so we only give
those to the cops.
He laughs.
PAN ACROSS to next seat, where LUIGI DeMARCO, 30's, sits with his legs
crossed, lighting a cigarette.
SALVATORE (V.O.)
(continuing)
Luigi DeMarco, God's gift to women He
runs the city's escort services, usually
helps out with the women for the Police
Charity Balls. You ever need a good
woman, give him a call.
PAN ACROSS TO THE OTHER SIDE OF THE ROOM, where the final figure sits -
TONI GIAMATTI, 20's, Salvatore's son. He's dressed nicely, but there's
hints of grease on his hands and neck.
SALVATORE (V.O.)
(continuing)
And lastly, the best goddamn mechanic in
this city, my boy, little Toni.
PAN UP TO REVEAL HUNTER standing before him.
HUNTER
How do you do?
TONI
I do great.
Salvatore puts his arm around Hunter's shoulder, leads him to the
doorway.
SALVATORE
The boys and I have some rather pressing
business to discuss, so you're gonna be
looking after my little girl for the evening.
(calling out)
Maria! Get your ass in here!
MARIA (O.S.)
I'm comin', alright!
From out behind a nearby door steps MARIA GIAMATTI, an absolutely
gorgeous young woman. She's dressed for a night out on the town -
leather mini-skirt, red blouse, hair done up etc.
SALVATORE
What the hell were you doin' in there?
Whatever it was, I bet it cost me money.
MARIA
It was nothin', pop. You know me...
(eyeing Hunter)
Just wanted to look my best for your new
lap dog. And isn't he so big and strong.
SALVATORE
Hey, you show some goddamn respect, you
hear me?
(to Hunter)
Keep a close eye on her. She can be trouble.
MARIA
(smiles)
Yeah, yeah, pop.
SALVATORE
Now, take the limo, get out of my hair for a
while.
Maria gives her father a kiss on the cheek.
MARIA
Love you.
(to Hunter)
Come on, Fido. Let's go visit Slim Jim and
get some party treats.
CUT TO:
EXT. GIAMATTI ESTATE -- FRONT DRIVE -- DUSK
A BLACK STRETCH LIMO makes its way down the tree-lined dirt track, out
onto the road --
MARIA (V.O.)
Head down to the rail station on the Chinatown
waterfront.
INT. LIMO -- DUSK
Maria sits in the back, applying nail polish while whistling a tune to
herself. She blows on her nail, drying them, then reaches into her
purse, and pulls out a PISTOL.
Hunter catches a glimpse of it in the rearview mirror.
Maria looks upfront, to Hunter--
MARIA
Relax, I'm not gonna shoot you.
In one fluent motion, she snaps open the chamber, spins it casually,
then flicks it closed once again. She spins it on her finger before
placing it back in her purse. She's a real pro.
MARIA
(continuing)
You ever shoot anybody?
Hunter keeps his eyes on the road.
HUNTER
Sometimes.
MARIA
But they all deserved it, right?
HUNTER
More or less.
MARIA
You ever been shot?
Beat.
HUNTER
Once.
MARIA
What happened? You upset your old
lady, or something?
HUNTER
Something like that.
MARIA
(re: scar on his neck)
That must be where that scar came from,
right?
HUNTER
I guess so.
He looks in the rearview mirror to find her staring back into his eyes.
He looks back to the road, back to her; she's still staring, smiling.
MARIA
You ain't from around these parts, are
you?
HUNTER
I'm from all over.
MARIA
You homeless?
HUNTER
No.
MARIA
Because that's what a homeless person
would say; that they're "from all over".
HUNTER
I'm not homeless.
Beat.
MARIA
Then where's home?
Hunter looks back at Maria in the rearview mirror. She's waiting--
HUNTER
New York.
MARIA
So what are you doing out here, Mister New
York? You're a long way from home.
HUNTER
Catching up with old friends.
MARIA
Oh, really?
HUNTER
Really.
Beat.
MARIA
You don't strike me as the kind of person
who'd come to Treac City to catch up
with old friends.
(Pause)
No, I never heard of anybody comin'
here by choice. 'Round here, nobody
steps foot in this town 'less they have
to. So don't take this the wrong way, but
I think you're full of shit... Fido.
Beat. Hunter meets Maria's gaze in the rearview mirror.
HUNTER
I really don't care for the name, "Fido".
MARIA
Oh, really? What's the matter with it? Too
feminine? How 'bout 'Butch'? That do
anything for you? Or how 'bout 'Cujo'?
Hunter BRAKES hard, sending Maria falling forward across the seats.
Hunter pulls the limo over to the side of the road, as irate drivers
zoom past, horns blaring.
Maria looks up, lipstick smeared across her cheek.
IN THE REARVIEW MIRROR, SHE SEES HUNTER SMILING TO HIMSELF.
MARIA
What the fuck?
HUNTER
You know, it's probably safer for you to
wear a seatbelt back there.
IN THE REARVIEW MIRROR
Maria rolls over on her side. Her mini skirt rides further up her thigh.
HUNTER'S EYES WIDEN.
Maria is not impressed. She gets back up on the seat.
MARIA
That wasn't a very smart thing to do.
Hunter sighs, turns around to face her.
HUNTER
Look, I've worked for people like your
father for years, and everyone of them's
had a daughter just like you. I know every
little trick and power trip you think you're
gonna play, so let me save you the trouble.
Because I don't play nice.
Beat.
Maria's anger slowly shifts to a cheeky smile. She's impressed by
Hunter's brass attitude.
MARIA
You know, you're the first to try that.
You've got balls, Cujo.
Hunter eyes her off, finally pulls back into traffic.
HUNTER
Let's just get this over with.
EXT. RAIL STATION -- DUSK
An overhead track runs along the edge of the docks. People hurry up and
down the metal staircase, to and from the platform.
THE STRETCH LIMO
pulls up beside the staircase, the back window winds down. Maria pokes
her head out.
MARIA
Hey, Slim Jim! Over here.
A GANGLY TEEN steps out of the shadows. He is SLIM JIM, bushy haired and
unshaven.
SLIM JIM
My favourite lady.
He steps over to the window, unzips his jacket.
MARIA
How's business?
SLIM JIM
Little slow. Cops been scoping this whole
area for days, so it's makin' my life a little
harder then it needs to be.
MARIA
Aw, that's too bad. Well, I hope we can
still do business.
SLIM JIM
Absolutely.
He takes a quick look around, then withdraws a small vile out of his
jacket.
SLIM JIM
(continuing)
You wanna try this new shit, 'spank'? Those
Cartel goons have been spreading it around
at all the raves.
MARIA
Maybe some other time. I'll just have the
usual.
Slim Jim places the vile back in his jacket, and takes a rolled up
BAGGIE out of his jeans pocket.
He hands it to Maria, then she casually slips him a hundred dollar bill.
SLIM JIM
There you go, lady. Hey, maybe you should
check out the warehouse party down at the
east end of Atlantic Quays. There won't be
a cop within ten miles of that place, it being
the Fuzz Ball tonight and all.
MARIA
I just might do that. Take it easy, Slim Jim.
She goes to wind up the window--
SLIM JIM
Hey, I hear Mario's casting for his next movie.
You think I could get an audition some time?
MARIA
I'll see what I can do.
SLIM JOE
'Cause I'm ready to go. Just gimme the word,
and I'll go for it.
MARIA
Charming. See you 'round, Jimmy.
SLIM JIM
Yeah, you have a good one tonight. There's
somethin' in the air, I can feel it.
INT. GIAMATTI ESTATE -- CIGAR ROOM -- DUSK
Salvatore sits in his chair beside the fireplace. His two women stand
behind him on each side.
SALVATORE
Gentlemen, we are in our darkest hour.
The very way of life we have all come to
enjoy, is now under threat. Under threat
from an enemy who think they can take
over what is ours; who think they can
draw a line in the sand of a beach that
they don't own. They don't own it,
because we own it.
He gets up, walks over to the bar across the room. The men turn their
heads to follow him.
SALVATORE
(continuing)
The Blue Dragons have made it perfectly
clear that they have no intention of going
away quietly. Therefore, we are faced with
two options; beat them down to their last
man, ... or surrender the city we made great.
Salvatore picks out a bottle of scotch, and pours some into a glass,
followed by three ice cubes.
SALVATORE
(continuing)
Every man in this room should be willing
to crush these fuckin' piss-ants against
the sole of their shoe, and piss on their
mother's grave. Every man here should be
willing to shoot them down in the street,
and haul their ass off the Riverside Piers.
He puts the glass to his mouth, swallows the scotch in one go. He's not
even fazed, rather he maintains an icey cold demeanor.
SALVATORE
(continuing)
Because if you're not...I will shoot you in
the street, and haul your ass off the piers.
Beat.
EXT. DOCKS / FISH MARKET -- DUSK
The Macarena blares from a boom box. Snappers, artfully arranged in
schools on ice, stare up blankly. Crabs scratch at their crates.
Lobsters climb over one another in tanks.
A man with big forearms cutting up a mako shark with a curved knife,
hosing the big fish down with a powerful hand-held spray.
Young men idling on a corner in front of a bar. Others lounging in
parked cars, talking. Some children playing by a burning mattress on
the sidewalk; others in the spray from the fishmonger's hose.
The stretch limo drives by, as idle pedestrians move out of its way.
DISSOLVE TO:
EXT. ATLANTIC QUAYS WAREHOUSE -- NIGHT
Two hulking DOORMEN stand either side of the entrance, hands behind
their backs.
THE STRETCH LIMO pulls up metres away from the entrance. Maria opens the
passenger door, steps out, and moves up to the driver side window--
MARIA
(to Hunter)
Okay, tough guy. You stay here while I
head inside and shake my ass.
Maria walks by the doormen, who don't even flinch.
Hunter drives the limo around to the side of the warehouse, parks.
CUT TO:
INT. ATLANTIC QUAYS WAREHOUSE -- NIGHT
The inside has been transformed into an elite, underground, "abattoir-
chic" version of an old-time juke joint with a greasy, dangerous vibe.
BODIES
writhe on the strobe-lit dance floor. A heavy S&M scene.
Leather. Latex. Tattoos. Body-piercings.
A D.J. wearing head-mounted spotlights orchestrates the tunes
on twin- decks. Brutal MUSIC assaults our senses.
ON THE DANCE FLOOR
Maria seductively snakes her way into the middle of the crowd. She
passes by two leather-clad chicks grinding away together, running theirs
fingers through eachother's hair. Another GIRL, with a streak of white
running through her raven hair moves in behind them,
pressing up against one of the girls.
She flicks her tongue against the girl's ear -- it's been pierced
with a silver post which clicks against her teeth. Tattooed across
her back in black is a huge, hissing cobra.
The beat gets LOUDER. The action heavier. The atmosphere
more narcotic. People are stripping off their clothes, sweating
like fiends. It's a virtual orgy.
Another girl lifts her leg, snakes it around her male partner, clinging
to him tightly. They laugh, reveling in the hedonism. Everything rises
to a fever pitch --
CUT TO:
INT. STRETCH LIMO -- SAME TIME
Just the faintest HINT OF MUSIC can be heard eminating from inside the
warehouse.
Hunter sits in silence, bored out of his mind.
HUNTER (V.O.)
Okay, so we won't getting off to the best
start. But sitting there, bored to the point
of suicide, at least gave me the chance to
make belief things won't so bad.
CUT TO:
EXT. CITY STREETS -- SAME TIME
THREE POLICE SWAT VANS ZOOM THROUGH THE TRAFFIC, SIRENS FLASHING --
FEMALE VOICE (V.O.)
(through police radio)
Four five, all units please assist in drug
raid on Atlantic Quays district. Suspected
prohibited narcotics in circulation. Proceed
with extreame caution; high probability of
gang member hostility.
HUNTER (V.O.)
But, like so many other times, this city
managed to pull another curve ball on
me.
CUT TO:
INT. ATLANTIC QUAYS WAREHOUSE -- NIGHT
The party continues, bodies grinding away under the strobe lighting.
Suddenly--
THE DOORS BURST OPEN AND SEVERAL HEAVILY ARMED MEN STORM IN--
ARMED MAN
IT'S A RAID! EVERYBODY OUT!
FREEZE IMAGE--
HUNTER (V.O.)
Columbian Cartel; like a really bad watchdog,
they leave it to the very last minute to tell you
there's a problem. But when they show up,
you know there's gonna be trouble.
IMAGE UNFREEZES--
Pandomonium erupts as everybody scatters for a way out.
EXT. ATLANTIC QUAYS WAREHOUSE -- NIGHT
The crowd comes pouring out the doors, many people tripping and falling
in the rush.
INT. LIMO -- SAME TIME
Hearing the crowd, Hunter looks in his rearview mirror--
P.O.V. SHOT -- A WAVE OF SCREAMING PEOPLE COME STEAMING AROUND THE
CORNER.
HUNTER
Oh, shit.
CUT TO:
EXT. ATLANTIC QUAYS WAREHOUSE -- NIGHT
THE POLICE SWAT VANS SCREECH TO A HAULT FIFTY FEET FROM THE ENTRANCE.
The back doors fly open, and armed RIOT POLICE storm out, racking the
slides of their riot guns.
RIOT COP
Fall to the ground! Fall to the ground!
No one gets down on the ground - not the Cartel members, none of the
crowd. The music keeps blaring.
HUNTER COMES FLYING AROUND THE CORNER.
Cops are swarming the area, likewise Cartel members, everyone with
fingers on the trigger--
RIOT COP
Drop your weapons!
CARTEL MEMBER
Fuck you, pigs!
The Cartel member's trenchcoat flutters in the wind, as the MAC 10
under it fires, shattering a cop in the face. As he falls to the ground
clutching his face, another cop drops his satchel and fires a shot- gun,
blowing out the car window next to Hunter.
HUNTER
(drops down)
Fuck!
Gunshots from a V8, a Cartel gunship, a Cadillac, coming up behind
Hunter. Two shooters, Cheyenne-style in the rolled-down window frames,
spraying automatic fire over the top.
Hunter crawls behind two parked cars. Two more Cartel members fire
from behind another. Auto glass shatters and clangs on the ground.
Everyone coming out of the warehouse scrambling for cover, finally
hitting the bloodied cement. The music still blasting from inside,
bullets flying to and fro. Maria is amoung the crowd, scrambling and
staggering along the ground, searching for Hunter.
Pinned down, Hunter watches a wiry black man drop back against the
building, and another pick up the satchel, the passing gunship slowing
enough for someone to pull him in.
As the gunship takes off, it almost side-swipes Maria, who jumps back
out of the way. Hunter, eyes searching, finally locks onto her as she
goes down--
HUNTER
Son of a bitch.
He pulls a gun out from the back of his pants, stands and fires several
shots, taking out a cop, the man by the building, the driver of the
accelerating Cadillac, one of the men perched on the window frames -
drops the magazine out of his .45, grabs one from the pocket of a dead
Cartel member and slams it in before the empty hits the ground.
HUNTER
MARIA!
The Cadillac goes out of control, sideswiping a line of cars, grinds to
a stop against them. Hunter moving toward it now, following the sight of
his gun. A shooter is still sitting in a window frame, alive but
trapped, chest compressed between the Cadillac and a parked car. Gunfire
from somewhere behind Hunter hits him and shatters the rear window. He
falls to the ground.
MARIA
sprints over to Hunter, bullets flying around her. She grabs him under
both arms, helps him to his feet.
MARIA
Let's get the fuck outta here!
CUT TO:
EXT. ATLANTIC QUAYS WAREHOUSE -- MOMENTS LATER
THE STRETCH LIMO PLOUGHS THROUGH THE GUNFIRE, BULLETS POPPING OFF THE
METAL.
CUT TO:
EXT. CITY STREET -- LATER NIGHT
It is pouring rain; the wind is blowing. The limo weaves in and out of
traffic, making its way home.
EXT. GIAMATTI ESTATE -- LATER NIGHT
The rain continues to bucket down. The limo pulls up infront of the
garage, as the door begins to rise. When it's high enough, the limo
edges inside--
INT. LIMO -- NIGHT
Hunter puts the vehicle into park, grimacing in pain. Maria sees his
face in the rearview mirror--
MARIA
What's wrong with you?
Frustrated, Hunter holds up his right hand. It's wrapped tightly in a
strip of cloth, which is soaked through with blood.
HUNTER
(teeth clenched)
I was shot in the fuck-ing hand.
MARIA
Is that all?
CUT TO:
INT. GARAGE -- MOMENTS LATER
Maria rumages through a drawer, pulls out a roll of bandage. She walks
back to Hunter, who's sitting in the driver's seat, feet out the open
door.
CLASSICAL MUSIC plays over the radio; passionate, emotional music.
MARIA
Trust me, working for Salvatore, this is
just a scratch.
She removes the old 'bandage', drops it to the ground. It lands with a
wet THUD. Like a loving mother doting over her injured son, she begins
to wrap Hunter's hand up with the new bandage.
HUNTER
You've never been shot, have you?
MARIA
Excuse me?
HUNTER
It hurts, you know that? You get shot with
a bullet, and it hurts. A lot.
MARIA
Oh, please. Don't be so dramatic.
HUNTER
(sarcastic)
Oh, yeah, sorry. Could I have the bullet?
MARIA
There's no bullet.
HUNTER
(emphatic)
Exactly. Because it went through my hand.
O.K? A bullet went through my goddamn
hand!
Maria puts her hand to his mouth.
MARIA
(hushed)
Shhhhhh. Keep your voice down.
She pulls tight on his bandage. He grimaces, his pained grunt muffled by
Maria's hand.
Their eyes suddenly meet. Beat. Maria's hand slowly pulls away from
Hunter's mouth.
In the silence, we hear the rain lashing against the garage door.
Maria leans in slowly, softly kisses Hunter on the cheek. He brings his
head around, kisses her on the lips.
IMAGE FREEZES--
HUNTER (V.O.)
Right about here was where things started
to get a little more complicated.
IMAGE UNFREEZES--
They begin to get a little more passionate.
CUT TO:
THE GARAGE WALL
Hunter forces Maria against it. He kisses her -- hard, rough.
MARIA
No -- we can't, please --
We hear her dress RIP. He kisses her harder -- we hear her panties RIP.
He gets the dress off, pushes his hands under her bra --
MARIA
(continuing)
Please don't -- don't --
He puts his mouth to her shoulder, bites it -- as they move down to the
ground.
MARIA
(continuing)
Please -- yes --
The CLASSICAL MUSIC rises to a crescendo, as we --
DISSOLVE TO:
EXT. SIDEWALK -- PRE-DAWN
It's still dark, but the sun is about to begin it's ascension. Two men
walk through the pools of light cast by streetlamps. They both drip
blood and sport bruises. They each carry a 4x4 piece of WOOD. As they
pass parked cars, they SLAM the sticks against the front bumpers,
setting off the ALARMS and causing the AIR BAGS to INFLATE.
PAN UP to third floor apartment window--
CUT TO:
INT. BEDROOM -- SAME TIME
GRUNTS of PLEASURE and EXERTION. In dim light, we get glimpses of
TORSOS, ASSES, LEGS, ARMS, BREASTS, and BLACK FEMALE HAIR -- all
DRENECHED in SWEAT. Sheets RIP. CA-CHUNK! CA-CHUNK! Bodies hit the
FLOOR and roll. More insane GRUNTING. And LAUGHING -- CACKLING. A flash
of A WOMAN'S FACE. Then, groans of ecstasy approaching climax.
CUT TO:
INT. ADJACENT BEDROOM -- SAME TIME
HUNTER lies calmly, in a Zen state, on his bed, staring at the ceilng.
Sounds of THUMPS and CRASHES from beyond the wall, along with VOICES,
SNARLING.
HUNTER (V.O.)
Mario arranged for me to stay with one of
his leading ladies; Marion Del Moan. I had
a hunch that wasn't her real name.
(Pause)
At first, it sounded perfect, until I realised how
many others had probably had the same idea. I
also didn't think she'd start bringing her work
home with her.
He slides off the bed and leaves the room.
INT. BATHROOM -- MOMENTS LATER
Hunter stares into the toilet--
FIVE USED CONDOMS FLOAT AROUND INSIDE.
INT. KITCHEN -- MORNING
Hunter sits at the table, sipping coffee, reading Reader's Digest. He
takes in a long yawn, rubs his eyes. He hears the sound of FOOTSTEPS
approaching.
Marion walks in, straightening her dress. She looks like she's been
raped by a hurricane. Some of her hair is matted against her head, some
of it is sticking out wildly. She cracks a coy smile and runs a finger
across the back of Hunter's neck.
MARION
Mornin' honey.
Marion pours herself a cup of coffee. She takes a big gulp, GARGLES and
SPITS it out into the sink. She gives Hunter a lascivious smile. Then,
she sips from the cup. She strokes his hair.
HUNTER
Mario called this morning.
She paces over to the window.
MARION
Oh, yeah? What'd he want?
HUNTER
Something about today's shoot. I wrote
it down over there.
Marion picks up a post-it note beside the phone, reads it to herself.
THE PORTABLE PHONE RINGS. Marion answers--
MARION
(into phone)
Yup?
(listens for a moment)
Yeah, hold on...
(tosses the phone to Hunter)
...phone.
A little frazzled, Hunter anwers--
HUNTER
Hello?
TONI
(from phone)
Mario tells me you're a reliable guy, so
drop by the autoshop on Fifteenth. I've
got some work to throw your way.
CLICK. Toni hangs up. Hunter puts the phone down.
MARION
What was that about?
Hunter gets up from the table.
HUNTER
Toni's got a job for me.
MARION
Well, you just watch your back 'round
him. He never calls for a small job.
CUT TO:
EXT. AUTOSHOP ON FIFTEENTH -- CLOSE UP ON TONI --
TONI
I got a little job for you.
IMAGE FREEZES--
HUNTER (V.O.)
And that's how it started.
CUT TO:
INT. CITY STREET -- DAY
STEADICAM in front of Toni and Hunter as they make a beeline down the
sidewalk.
HUNTER (V.O.)
(continuing)
Toni would lead me half across the fuckin'
city, spilling his troubles on me like I was
a goddamn shrink; his childhood, his hard-
on for his mother, business problems, pent-
up psychotic tendencies, you name it. But in
the end, he'd always get to those seven little
words:
TONI
I got a little job for you.
CUT TO:
EXT. DISCOTHEQUE -- NIGHT
An athletic young MAN and a GAUDY WOMAN exit the disco, MUSIC THROBBING
out from the doors behind them. They join hands, drunk, begin kissing up
against the wall.
DOWN THE STREET
Hunter is seated in his car, raises a CAMERA with TELEPHOTO LENS: whir,
CLICK, whir, CLICK, whir, CLICK...Hunter lowers the camera, letting out
a yawn.
HUNTER (V.O.)
O.K. So it wasn't always glamorous, but
people don't laugh so hard when you've
got ten grand in your pocket.
CUT TO:
INT. SLEAZY CAFE -- MORNING
A FIGURE WALKS BY A TABLE, DROPS A BROWN PAPER BAG ON TOP...
A moment later--
ANOTHER FIGURE WALKS BY FROM THE OPPOSITE DIRECTION, GATHERS UP THE BAG
IN ONE, FLUENT MOTION.
CUT TO:
EXT. SLEAZY CAFE -- MORNING
The figure exits, holding the bag by his side. CRANE UP to reveal
HUNTER, smiling contently.
He takes a look inside the bag -- IT'S FILLED WITH CASH.
HUNTER (V.O.)
I don't hear you laughing.
CUT TO:
EXT. PARK BRIDGE -- NIGHT
Hunter has A SURFER DUDE by the back of the head, vicously slamming it
into the stone railing.
HUNTER (V.O.)
To do what you love, and get paid for it,
I can only assume is what God must feel
like. Or something like that.
Hunter jerks his arm and a small pistol, attached to a .25 metal glider
secured to his forearm, slides down his forearm into his palm.
BLAM! The Sufer Dude goes down.
CUT TO:
A TELEVISION SCREEN --
Our favourite reporter, KELLY HOUGE is reporting on Hunter's esculating
infamousy.
KELLY HOUGE
(on T.V.)
Treac City has awoken this morning to the
now familiar news that this city's most
notorious stand-over man, has struck
again during the night.
HUNTER (V.O.)
And would you believe, as time went by,
I actually became something of a celebrity
in the criminal underworld. It was actually
quite flattering.
ON T.V.
THE INCINERATED FRAME OF A CHEVY LIES SMOKING IN A CARPARK.
KELLY HOUGE (V.O.)
The incident took place here, at Marianna's
Bistro in downtown Verona, where the body
of Blue Dragon hitman, Kensue Hirosci, was
found this morning, metres away from the
flaming wreckage of this priceless Chevy.
AMBULANCE MEN WHEEL A BODY BAG PAST THE CAMERA, SMOKE RISING OUT FROM A
GAP AT THE TOP.
KELLY HOUGE (V.O.)
As of this morning, Police Commisioner
Richmond Black has raised the official
bounty on this unknown killer's head to
fifteen thousand dollars.
THE T.V. SCREEN IS SWITCHED OFF.
EXT. ALL-NIGHT CONVENIENCE STORE -- NIGHT
Hunter emerge from the trees and heads into the parking lot. A Clerk
ambles toward his car, taking off his uniform bow tie. Hunter suddenly
pulls a HANDGUN out of his belt and rams it against the Clerk's head.
EXT. WOODED AREA -- CONTINUOUS
Hunter marches the Clerk, the gun aimed at his head.
CLERK
What are you doing?!
HUNTER
Shut up.
CLERK
Are you out of your fucking mind?!
HUNTER
Shut up.
Hunter stops the Clerk and pushes him down to a kneeling position.
HUNTER
(continuing)
Give me your wallet.
The Clerk fumbles his wallet out of his pocket and Hunter snatches it.
Hunter pulls out the driver's license.
HUNTER
(continuing)
Vincent H. Drexsel. 1425 SE Benning,
apartment A. A small, cramped basement
apartment.
VINCENT
How'd you know?
HUNTER
They always give basement apartments letters
instead of numbers. Vincent, you're about to
die.
VINCENT
What?! Please, God, no.
HUNTER
They're gonna need dental records to identify
you, Vincent.
Vincent begins to weep, his shoulders heaving, gasping for air.
Hunter pulls a photo out of the wallet.
HUNTER
Who's this, you're mom?
VINCENT
Yesss...
HUNTER
She's a good looking woman.
VINCENT
Please, what do you want? Money? Just
take it, please.
A long beat while Vincent weeps and says nothing. Hunter COCKS the gun.
Vincent JERKS back, wincing, sweating.
VINCENT
Oh, God, no, please, come on....
HUNTER
Get up, Vincent H. Drexsel.
Vincent is unsure. Hunter begins to squeeze the trigger.
VINCENT
O.K. O.K. Just don't shoot me.
HUNTER
We're gonna get in the car, and go visit
your friends, O.K? Now move.
Hunter marches Vincent back towards the carpark, gun aimed at the back
of his head.
CUT TO:
BLACK
WE HEAR THE SOUND OF A CAR SPEEDING ALONG, BEFORE IT SCREECHES TO A
STOP.
INT. CAR (TRUNK) -- NIGHT
The trunk of the car OPENS UP, Hunter looks inside.
HUNTER
How many up there?
VINCENT
(from inside trunk)
Two or three. I think.
HUNTER
You think?
VINCENT
I'm not sure.
HUNTER
So there could in fact be four guys up
there for all you know? Maybe five.
VINCENT
It's possible.
HUNTER
(to himself)
Possible. Great.
INT. APARTMENT -- NIGHT
TWO YOUNG GUYS, obviously in over their heads, sit at a table
with hamburgers, french fries and soda pops laid out.
One of them walks over to the door, flips the LOUD BOLT on the door,
opening it to REVEAL Hunter and Vincent in the hallway.
HUNTER
Hey kids.
Hunter leads Vincent inside, pushes him onto the couch.
HUNTER
Sit your ass down. And don't slouch.
The two young caught-off-guard Guys are:
PANDO -- The black young man who opened the door.
TOP DECK -- A young blond-haired surfer kid with a "Flock of Seagulls"
haircut, who has yet to say a word, sits at the table with a big sloppy
hamburger in his hand.
HUNTER
How you boys doin'?
No answer.
HUNTER
(to Top Deck)
Oh, I'm sorry. Am I trippin', or
did I just ask you brush heads a
question?
TOP DECK
We're doin' fine.
HUNTER
You know who I am?
Top Deck knods his head: "Yes."
HUNTER
(continuing)
I've been sent over here on behalf of your
business associate, Toni Giamatti. You
remember your business partner, don't
you?
No answer. They know.
HUNTER
(to Top Deck)
Now I'm gonna take a wild guess
here: you're Top Deck, right?
TOP DECK
That's right.
HUNTER
Yeah, I was told to watch out for you. Well,
you remember your business associate Toni
Giamatti, dont'ya Mister Deck?
TOP DECK
I remember him.
HUNTER
Well, at least now I know I've got the right
room.
(looks over table of food)
Looks like I caught you boys at dinner,
sorry 'bout that. Man, I'm just relieved, I
gotta tell you. See, your pal Vincent there,
he wasn't really sure how many of you
guys would be up here.
Hunter sits down in the seat opposite Top Deck, places his gun down on
the table, facing Top Deck.
HUNTER
Mind if I try your burger?
TOP DECK
No.
HUNTER
Yours is this one, right?
TOP DECK
Yeah.
Hunter grabs the burger and take a huge bite out of it. As he chews, he
never takes his eyes off Top Deck, who's own gaze shifts back and forth
between Hunter and the gun. Hunter swallows.
HUNTER
Uuummmm, now that's a tasty burger.
(to Pando)
You, Crome-Dome, you know what I'm here
for?
Pando, still standing at the door, nods his head: "Yes."
HUNTER
(turns back to Top Deck)
Then why don't you tell me where you got the
shit hid.
PANDO
I don't know where it is.
Beat.
Hunter stands, slowly turns back to Pando.
HUNTER
Excuse me?
VINCENT
He doesn't know where--
Before he can finish, Hunter picks up his gun and SHOOTS Vincent four
times in the chest, BLOWING him backwards against the couch, tipping it
over.
Pando has just shit his pants. He's not crying or whimpering, but he's
so full of fear, it's as if his body is imploding.
Hunter turns back to Top Deck.
HUNTER
You have a substancial amount of dope
somewhere in this apartment. Dope which
belongs to Toni Giamatti. Now where is
it?
Top Deck is frozen. He can't get a word out.
Hunter SNAPS, SAVAGELY TIPPING the card table over, removing the only
barrier between himself and Top Deck. Top Deck now sits in a lone chair
before Hunter, like a prisoner before an interrogator. Hunter takes his
.45 and PRESSES the barrel HARD in Top Deck's cheek.
HUNTER
Where's the dope, Top Deck?!
Top Deck tries to talk, but almost throws up instead.
Hunter rolls his eyes, turns and SHOOTS off-screen, in Pando's
direction. (We don't see where the bullet's gone)
Top Deck SCREAMS, breaking into a TREMBLING SPASM in the chair.
HUNTER
The dope, Top Deck, where the fuck is
it?!
Top Deck begins to cry like a baby.
TOP DECK
(blubbering)
I just want you to know how sorry
we are about how fucked up things
got between us and Mr. Giamatti.
When we got into all this, we only
had the best intentions --
HUNTER
Tell your fuckin' sob story walkin'. I only
want to hear one word come out of your
mouth, and it better point me straight
to the dope.
(cocks the trigger)
Now....talk. And remember...one word.
TOP DECK
(near heart attack)
The refridgerator.
Hunter smiles, holsters his weapon, pats Top Deck on the head.
HUNTER
Good boy.
Hunter moves over to the refridgerator in the corner of the room.
HUNTER
(continuing)
You boys want to be top of the ladder
dealers, but you haven't even started,
and you've already fucked up. Because
the best dealers never even touch the
stuff.
Hunter reaches underneath the refridgerator, pulling out a black snap
briefcase.
HUNTER
Bingo.
He flips the two locks, opening the case. Inside are five slabs of coke,
all neatly packaged.
Top Deck nervously shifts in his seat to face Hunter.
TOP DECK
Can I go, please? I swear I'll stay out of
trouble. I'll leave the city, I swear.
Hunter closes up the case.
HUNTER
(who gives a fuck?)
Whatever.
He takes the case, walks towards the door. He suddenly stops, like he's
just remembered something.
HUNTER
Whoah, wait a minute.
Top Deck's eyes widen. What's he done now?
TOP DECK
What?
BLAM! BLAM! BLAM!....Hunter EMPTIES his gun on the sitting Top Deck.
When he's finished, the bullet-ridden carcass just sits there for a
moment, then TOPPLES over.
HUNTER
(casually)
I said "one word only".
He turns to exit , where we now see PANDO slumped up against the door,
BULLET HOLE in his forehead.
HUNTER
(pushing Pando aside)
Excuse me, son.
Hunter steps over the young man's corpse and leaves, never turning back.
HUNTER
Take it easy, fellas.
The door slowly swings shut....then SILENCE.
INT. AUTOSHOP ON FIFTEETH -- NIGHT
We glide quietly across the GREASE-STAINED ground, over hub caps and
spare parts, toward an open door on the right. Light from the interior
of the room spills out into the dimly lit autoshop. Just before reaching
the doorway, we pass a window. The window is covered in swimsuit
calenders and invoices. We head inside--
INT. AUTOSHOP OFFICE -- DUSK
Behind the desk, TONI sits with his back turned, pants down by his
ankles, as a topless woman straddles his lap, moaning.
HUNTER (V.O.)
If Salvatore had imparted just one thing
to his son, it was the love for a woman.
FROM OUTSIDE
A CAR BEEPS IT'S HORN AS IT DRIVES INSIDE.
TONI
Shit. Hop off, baby. I got customers.
She sighs, gets off his lap. She goes to get her clothes--
TONI
Whoah, whoah, don't get dressed. I'll
be right back.
Toni heads out into--
INT. AUTOSHOP -- CONTINUOUS
--the path of a BLACK CHEVY, head lights shining in his eyes. He
squints, puts up his hand to block the glare.
TONI
Goddamn, turn your lights off.
Beat. The headlights are extinguished.
Toni tries to see who's inside, but the windows are tinted dark. The
Chevy just sits in absolute silence.
Puzzled, Toni walks over to the drivers window, bends to look inside.
TONI
Somethin' I can do for you, slim?
No answer.
Toni taps on the window.
TONI
Anybody home?
(Pause)
Come on, I got some pussy waiting in the
office. Let's hurry this up, huh?
Beat.
THE WINDOW SLOWLY WINDS DOWN.
Toni peers inside, his expression gradually changing to one of
bewilderment when he sees what's inside--
TONI
What the fuck..?
SITTING IN THE DRIVER'S SEAT IS A CAMERA MOUNTED ON A TRIPOD. IT SLOWLY
PANS LEFT TO FACE TONI--
TONI
What is this, some kind of joke?
A TAPE IN THE TAPE DECK BEGINS PLAYING--
VOICE
(on tape)
Compliments of the Blue Dragons. Ten...
nine...eight...
A SMALL LIGHT ON THE CAMERA BEGINS FLASHING. TONI'S EYES WIDEN IN
REALISATION--
TONI
Oh, shit!
IT'S A BOMB!
VOICE
(from tape)
Five...four...three...
Toni runs for the office--
TONI
GET DOWN!
But it's too late--
THE CAR EXPLODES, ENGULFING THE ENTIRE AUTOSHOP IN A MASSIVE FIREBALL OF
DESTRUCTION -- glass shatters, gas cylinders implode, general pyro-
destruction...
CUT TO:
EXT. AUTOSHOP ON FIFTEENTH -- SAME TIME
Cars SCREECH to hault, slamming into others vehicle, as pedestrians run
for cover. It's total CHAOS.
HUNTER (V.O.)
In any great war, there are always casualties;
some too great to bear. Wars are won by
those who can distance themselves from
pain.
CUT TO:
EXT. CITY CEMETERY -- MORNING
MIST carpets the dewy ground. A large group of people stand before an
open grave -- Toni's final resting place.
SALVATORE sits before his son's coffin, a tear in his eye. He can't take
his gaze away from the coffin, as it's gradually eased down into the
ground.
HUNTER (V.O.)
(continuing)
If he was in his darkest hour before, then
things just became so dark that Salvatore
Giamatti was now a blind man, leading an
army into a war where the blind man who
can't see infront of him becomes the dead
man who didn't see it coming.
An attractive, young BRUNETTE comes to stand beside the grave, begins
singing 'PIE JESU'. On this bitterly cold morning, her voice is a
welcome source of warmth and comfort.
HUNTER stands on the edge of the crowd, hands by his side, watching the
Brunette sing.
HUNTER (V.O.)
(continuing)
The Blue Dragons never did anything
small. And this was tame, compared to
the kind of shit they've pulled before.
Hunter looks over to MARIA, who's hugging her greiving father. Tears
stream down her cheeks.
HUNTER (V.O.)
(continuing)
I was on my way to deliver the dope when
it happened. When I got to the autoshop,
there were cops swarming all over the joint.
And there I was, standing in a sea of blue
with fifteen pounds of coke in my hand. I
paniced, and bailed over to Maria's place in
Middle Harbour.
FLASH: A MAN and a WOMAN make love on a big bed amidst a hundred points
of candlelight. It's Hunter and Maria
FLASH ENDS:
Maria leans in and kisses her father on the cheek.
HUNTER (V.O.)
I knew this wasn't the place to be thinking
this, but as she sat there, clinging tightly
to her father's arm... I was a little turned on.
CUT TO:
EXT. CEMETERY -- LATER
The crowd shuffles away from the grave, heads bowed in sorrow.
UP AHEAD
A man, mid 30's, waits beside a tree, dressed sharply, hair slicked
back. He is CHAMBERLAN, a Treac City Cop.
As Hunter passes by him, Chamberlan holds out his hand.
CHAMBERLAN
(chirpy)
Hi, Paul Chamberlan. How are you?
A little stunned, Hunter shakes his outstretched hand, eyeing him
closely.
CHAMBERLAN
(continuing)
Sorry I missed the service, but you've no
idea how many of these I've had to go to
in the last few weeks.
HUNTER
I'll bet.
(Pause)
Who are you?
Hunter pulls his hand back.
CHAMBERLAN
Oh, I'm sorry. Yeah, I was a close friend
of Mister Giamatti. Toni Giamatti.
(begins fishing around in his pocket)
Here, I've got a card somewhere around
here...
(pulls one out)
Here you go.
Hunter takes it, looks over it.
HUNTER
An close friend, huh?
Chamberlan knods. Hunter scoffs.
HUNTER
Fuck off, pig.
He goes to leave, but Chamberlan grabs him under the arm.
CHAMBERLAN
I would strongly suggest you don't leave.
Hunter pulls his arm free.
HUNTER
And why's that?
CHAMBERLAN
Because I have a very important issue I
need to talk to you about.
Hunter starts to walk away.
CHAMBERLAN
(continuing)
Your life may depend on it.
Hunter stops, slowly looks back.
CUT TO:
EXT. SLEAZY CAFE -- DAY
A MAN is trying to give out paper advertisements. People walk out of
their way to avoid him.
MAN
(to people)
Take one, you stupid fucks! Here... take
one! It's a fucking coupon! Take it!
INT. SLEAZY CAFE -- DAY
It is late morning in a bacon-shaped 24 hour cafe. A thick, almost
choking smell hangs in the air - fried grease, smoke, and sweat.
Whatever doesn't flush away in Treac City is washed up in places like
this. A burly, grease-stained COOK stands sweating over the flaming
grill. A JUNKIE shuffles from one side of the door to another. Slouched
over the small four-person formica tables are several RAGGED TEENS, and
a cluster of STREET PEOPLE.
The restaurant, brightly lit, perfectly conveys the image urban
plasticity, only without the slightest hint of an accompanying
cleanliness.
Hunter and Chamberlan sit at a booth.
CHAMBERLAN
I'm talking to you now because I think we
can both get something out of this.
Hunter's only semi-interested.
CHAMBERLAN
(continuing)
How much do you know about Salvatore
Giamatti?
HUNTER
A bit.
CHAMBERLAN
You known him long?
HUNTER
Couple of months. Are you going anywhere
with this?
CHAMBERLAN
I work on the Organized Crime Unit down
at HQ. Now, unless you've spent the last
couple of months with socks in your ears,
you've realised that Salvatore Giamatti
virtually wrote the book on 'stand-over'
work in this city. We know he's been
shakin' down on the washer women at
just about every launderette in the city.
As Chamberlan continues to talk, Hunter sneaks a look around the cafe--
HUNTER'S P.O.V. -- THREE STREET PEOPLE are sitting at a
nearby table. One GUY, semi-drunk, stares straight ahead. At another
booth, a lost OLD COOT clings onto his cup of coffee as if it were his
last possession in the world.
CHAMBERLAN
(continuing)
But unless they talk, we can't make a
move. Now, this is just scratching
the surface of all the shit we're trying
to connect him to. And that's where
you would come in.
A waitress comes over and slaps down smudge-marked glass
of water, and a burger on a plate that looks more like a shrunken
head on a serving platter.
WAITRESS
(deadpan)
Enjoy.
Hunter picks up the burger, practically half the filling falling out,
and takes a huge bite.
Chamberlan looks at him as if he can hardly belief he ate it, let alone
touched it.
HUNTER
(mouth full)
And why exactly should I come in at all?
CHAMBERLAN
Salvatore Giamatti is one of the most power-
ful underground men in the city. He's also
the most paranoid. He doesn't trust anyone
who isn't connected to him by blood. Sure,
he's got employees unrelated to him, but
every one of them is constantly under his
scrutiny--
HUNTER
Just spit it out, would ya?
CHAMBERLAN
My point is that this; you think Salvatore's
gonna except you into his family with open
arms? Bullshit. I'm guessing he'd put eyes
in the back of his head if it meant he'd be
able to keep a closer watch on you. He will
dig so far back into your life, he'll know
the time, date, place and location you were
concieved. And if something should stick
out, he'll pop you like a wart on his ass.
(Pause)
Which raises the question, if he looks back
over you, what's he gonna find?
Hunter takes another bite from his burger, unfazed.
HUNTER
If he ain't found nothin' yet, he ain't gonna
find nothin' never.
Chamberlan chuckles to himself, pulls a crumpled sheet of paper out of
his coat pocket. He slides it across the table to Hunter.
CHAMBERLAN
Just something to mull over...
HUNTER
What's this?
CHAMBERLAN
That is a transcript of a conversation
between the Warden of Portland Prison,
and a prisoner by the name of Alfredo Del
Heist. He had made a deal to have his
sentence reduced in return for a position
as prison snitch. Two years later, he got
out and went to work for Salvatore.
He hands Hunter a small, dog-eared photo he withdrew from his
pocket. Looking at it, Hunter stops eating immediately.
CHAMBERLAN
(continuing)
This is what happened to him after Salvatore
found out about what he'd been doing in the
joint, and that one of the prisoners that he'd
connected to a prison riot was one of Sal's
nephews.
HUNTER
(disgusted)
Jesus Christ...
CHAMBERLAN
The doctors managed to straighten most
of his teeth, give or take a few, and save one
of his eyes. Since then he developed a bit
of a speech impediment.
HUNTER
Salvatore actually did this?
CHAMBERLAN
As far as we know. Alfredo wasn't really
ever in a position to identify him after
that.
Hunter slides the photo back across the table.
HUNTER
What do you want from me?
CHAMBERLAN
Salvatore's been making chit-chat with
all the crime syndicates in the city lately.
He wouldn't be doing that unless he was
planning something big. And the only
noteable admission from his talks are the
Blue Dragons. Put two and two together,
and now with his son's death; he's about
to reign down fire on this city, and we
think the Blue Dragons are the likely
recipiants. We need somebody on the
inside; someone who can get up close to
him. Someone like you.
Hunter sits in silence for a moment, gathering his thoughts.
HUNTER'S P.O.V. -- At a nearby booth, a raggedly attractive GIRL rests
her head on the shoulder of the other, a heavily tatooed, bearded YOUNG
MAN with a headband. They kiss and tease each other, momentarily lost in
their separate world.
CHAMBERLAN (O.S.)
Do we have an agreement?
Hunter turns back to face Chamberlan.
HUNTER
(calmly)
I'll, uh....mull over it. Excuse me.
He stands and leaves, navigating through the sea of bums, pimps and
general city scum.
DISSOLVE TO:
INT. MARIA'S APARTMENT -- BEDROOM -- AFTERNOON
Maria is atop Hunter...she is on her knees, straddling him... he is on
his back, his eyes are closed... her head arches back... her breasts
high... he strains toward her with his body... she holds her arms
high... her right hand is in a fist... she bucks... writhes... then her
whole body falls on top of him.
A very long beat...
We can't see him... her body completely covers him...
And then finally he moves... turns her to the side... kisses her.
DISSOLVE TO:
INT. MARIA'S BEDROOM -- LATER
Tenacious D play "Fuck Her Gently" in the b.g.; the MUSIC is low.
They lie next to each other on the bed. The CAMERA faces
them. He lies, staring at the ceiling, on the left side of the bed,
smoking a cigarette. She is curled towards him on the right side of the
bed.
MARIA
I don't think daddy would approve of
this.
HUNTER
It'll be our little secret.
MARIA
So many secrets. I was also taught that
secrets are what get a person into trouble.
HUNTER
Everybody needs secrets. Without secrets,
you have no identity.
MARIA
Then what if two people have the same
secret?
Hunter blows a CLOUD of smoke into the air.
HUNTER
Then they are bound by it forever.
Maria smiles, kisses Hunter on the cheek. He puts out his cigarette,
embraces her tightly. They lie in eachother's arms.
MARIA
Were you also such a smooth talker?
HUNTER
As far back as I remember. Growin' up where
I lived, you had to give some people a bit
of spit-shine if you wanted to get by. You
know, grease the wheels a bit. But not too
much; just enough that they knew you
weren't full of shit.
MARIA
You'd never be full of shit with me, would
you?
HUNTER
Of course not. With you, I don't need to.
That's what I love about you.
Outside, we hear the PITTER-PATTER of RAIN falling.
On the soundtrack, the strains of "PIE JESU" from Andrew Lloyd Webber's
Requiem begin to fill the air. High, drifting music
CUT TO:
EXT. CEMETERY -- LATE AFTERNOON
MUSIC CONTINUES, uninterupted over this scene. Music so
pretty it is almost sad.
BOOM! A crack of lightning illuminates the silhouette of a
perched crow large in the f.g.
ON TONI'S GRAVE
As a spade dumps a load of fresh dirt into the plot.
TWO GRAVEDIGGERS shovel dirt in over Toni's coffin, which is almost
completely covered with flowers. They look up toward the sky as thunder
RUMBLES off in the distance.
LOW ANGLE TRACKING SHOT -- FLOWERS ON GRAVES
As we MOVE along a row of headstones, all lined with the most lively
flowers.
THE CROW
Flying over the cemetery, DEFOCUSED underneath it. Large, glossy-black,
the bird comes to land on Toni's headstone. It ruffles its feathers as
the rain begins to grow heavier.
CUT TO:
INT. GIAMATTI ESTATE -- BEDROOM -- SAME TIME
MUSIC CONTINUES.
As we MOVE IN on Salvatore, who sits on the end of the bed, head bowed,
as if in prayer. After a moment, he takes out a cigarette and goes to
light it. The lighter will not light, and when it finally does,
Salvatore notices his hand is trembling.
As the MUSIC climaxes--
FADE TO BLACK
EXT. GIAMATTI ESTATE -- MORNING
THE SUN IS BREAKING OVER THE HOUSE...SLOWLY... BEAUTIFULLY...
Birds chirp, a soft wind blows; it's a new day...
DISSOLVE TO:
INT. GIAMATTI ESTATE -- LOUNGE ROOM -- LATER MORNING
SALVATORE sits by the fireplace, puffing on a cigar. SMOKE drifts
aimlessly upwards, peacefully spiralling towards the roof.
There are TEARS in his eyes.
AT THE DOOR
Hunter appears. Salvatore turns and waves him inside.
SALVATORE
Come, sit.
Hunter enters, sits down in a seat across from Salvatore, who casually
wipes the tears from his cheeks.
HUNTER
Good morning, Don Giamatti.
Salvatore hands him a cigar.
SALVATORE
Sit, smoke with me. One of the few passions
I have left.
He strikes a match, lights up Hunter's cigar. Hunter eases back into his
seat, begins puffing away.
Salvatore blows out a cloud of smoke, watches it being carried off by an
invisible breeze.
SALVATORE
Do you ever pray?
HUNTER
I'm sorry?
SALVATORE
Prayer is a wonderful thing. I used to
spend a good two hours a day in
prayer. It was like a sort of meditation.
Just me and the Almighty, one on one,
yappin' away like school girls. I told
him everything, and asked for forgive-
ness.
(Pauses, blows out smoke)
But you know what I found out? After
the life I've led, and all the things I've
done...there would be no forgiveness.
(Pauses, leans forward)
This is the life we've choosen, and in
the end, only one thing is for certain;
none of us will ever see Heaven.
(Pauses, leans back)
So why then should I care what I do?
The answer is, I shouldn't. And so
this morning I prayed, and Imade a vow;
for as long as I'm kept on this earth, I
will never take a second look back, or
ever cast doubt over for my own actions.
Because if I can't be in Heaven... I'm
going to rule in Hell.
Salvatore stamps out his cigar in an ashtray, pressing down hard,
grinding it away down to almost nothing. Salvatore takes off a CRUCIFIX
pendant from around his neck, and lays it down in the smoking ashes, as
Hunter watches on silently.
SALVATORE
(continuing)
I have a job for you, and only you. Because
I trust you.
Hunter senses something off-putting in his tone.
CUT TO:
EXT. PARKING LOT -- DAY
We are GLIDING overhead, looking down on row after row of vehicles--
SALVATORE (V.O.)
(continuing)
There is a car, a black Saab, parked in the
parking lot on Automon Drive. There's brains
all over the back seat. One of our former
employees needed a little persuasion.
We gradually MOVE IN on the car in question, sitting in the rear corner
of the yard, covered in dust.
SALVATORE (V.O.)
(continuing)
Take it to the wrecking yard ASAP.
PULL BACK to reveal Hunter standing beside the vehicle, wearing a pair
of stylish shades. He pulls them up over his eyes, and peers inside--
THE ENTIRE BACK SEAT IS SMEARED WITH BLOOD AND CLUMPS OF BRAIN.
Hunter grimaces, looks away.
CUT TO:
Hunter gets down on his back, begins searching underneath the Saab for
something -- the key. He reaches in above the front left wheel--
HUNTER
(to himself)
There you are.
He brings his arm out, A SILVER KEY grasped between his fingers.
Hunter gets to his feet, brushes the dirt from his clothes. He inserts
the key into the driver's door, when suddenly--
HIS CELL PHONE BEGINS TO RING. Hunter delves into his pocket and
withdraws the phone.
HUNTER
(into phone)
Hello?
MARIA
(from phone)
It's a trap!
HUNTER
What? Who this is?
MARIA
(from phone)
Please, just listen to me. The car's a
trap--
HUNTER
Maria?
MARIA
(from phone)
--Don't touch the car! Get away from it,
quickly!
HUNTER
What's going on?
MARIA
(from phone)
I'll explain everything soon. Just meet me
at the Riverside Piers. Go!
CLICK -- Maria hangs up, leaving Hunter to wonder what the hell just
happened.
He jogs off, leaving the key still in the lock...
CUT TO:
EXT. RIVERSIDE PIERS -- LATER DAY
The water RISES and CRASHES against the wooden piers, spilling over onto
the ground.
MARIA
stands at the end of the empty pier, looking out across the harbour, as
the water sprays up around her. She puffs on a cigarette, blows clouds
of smoke out into the bitter air.
BEHIND HER
Hunter makes his way towards her, still puzzled as to why he's come
here.
Sensing another presence, Maria turns to see him coming.
HUNTER
What's going on?
They hug, tears running down Maria's cheeks.
MARIA
We've got a problem.
HUNTER
What's going on?
MARIA
It's Salvatore. He's all fucked up. This
goddamn turf war is getting way out
of hand. Everyday, he's losin' more and
more men and influence in the city. It's
makin' him dangerous and paranoid. He
suspects everything and everybody, even
his own men.
HUNTER
What's that got to do with us?
MARIA
Last night, I overheard him talking on the
phone. He was talking about some guy;
some guy who he found out had been in
bed with the cops, right after Toni's funeral.
(Pause)
That guy was you.
Hunter can hardly believe what he's hearing.
HUNTER
What are you talking about?
MARIA
He's always watching. He's got eyes all
over the city. Even where you'd never
think.
HUNTER
Maria, you gotta believe me. I was never
gonna--
MARIA
(interupts)
I don't want to hear it. Please, I really don't.
HUNTER
O.K. O.K.
(Pause)
So what happens now?
MARIA
We've gotta get away from here. I know
someone across the harbour. She can
take us in.
HUNTER
But why do you want to go? You've done
nothing wrong here.
Maria stops, looks away. Hunter can see that she's hiding something.
HUNTER
What is it?
Beat. Maria slowly brings herself to look into Hunter's eyes.
MARIA
I may of let on to Sal that the cops weren't
the only one you were in bed with.
HUNTER
(disbelief)
What?!
MARIA
I'm sorry, it just slipped out. But now
that Sal knows, there's no way I can be
anywhere near him. Because if he can't
get to you, he's gonna come after me.
Beat. Hunter takes a deep breath, collects his thoughts. He looks off
across the harbour into Staunton Island, the middle island of Treac
City.
HUNTER
Then let's get the fuck out of here.
DISSOLVE TO:
EXT. SEADRIFT -- STINMONT BEACH -- AFTERNOON
Foggy. Cold. It is an expensive spit of land on the ocean. Multi-
million dollar "beach houses" with gardens and swimming pools. There
are two Ferraris in the driveway -- one black, one white.
We see a WOMAN in back of the house, sitting on a deck chair,
staring out over the sea, a blanket around her.
As we MOVE IN on her--
LUI (V.O.)
Leave your message at the beep.
BEEP.
MARIA (V.O.)
(through answering machine)
It's Maria. Look, some things have gone
sour and I need a place to lay low 'till the
dust settles. I'll be there this afternoon. I
really appreciate this. See you soon.
We now see who Maria was calling -- LUI is 30 years old. She has long
black hair and a refined, classically beautiful Asian face. There is a
smoky kind of sensuousness about her.
CUT TO:
INT. LUI'S LUXERY HOME -- AFTERNOON
The walls are decorated with rare and beautiful pieces of art...
intricate sculptures sit mounted on elaborate stands...everything about
this house oozes class and sophistication.
IN THE CENTRE OF THE LIVING ROOM
Lui sits cross-legged atop a ridiculously thin-glass coffee table, in a
state of absolute meditation and focus.
Beat.
THE DOORBELL RINGS.
Lui opens one eye...beat...then the other.
CUT TO:
INT. FRONT DOOR -- MOMENTS LATER
Lui opens the door.
LUI
Welcome. Come in.
Maria and Hunter enter.
MARIA
I hope we didn't disturb you.
LUI
(dry)
I was just about to achieve complete inner
enlightenment, but what the hell.
Lui escorts them into the home...
EXT. GIAMATTI ESTATE -- AFTERNOON
Salvatore sits outside on the large, open PATIO, watching the waves
crash against the rocks below.
Mario comes to stand beside him.
SALVATORE
Things have become rather complicated.
MARIO
I've got ten men searching this city from
top to bottom. We'll find him.
SALVATORE
Our unfortunate friend has far too many
cracks to hide in, and too great a distance
between each one for a mere ten men to
search. No, I've called in a favour from a
old aquaintence. It's like I've always said;
when it's a dirty job, never end up being
the one with the blood on your hands.
INT. LUI'S LUXERY HOME -- AFTERNOON
Lui and Hunter sit cross-legged on cushions. She's applying a new
bandage to his injured hand.
LUI
Maria tells me you've stirred up some
bad blood with the Giamatti's.
HUNTER
It would appear so.
LUI
If everything she tells me is correct,
you'll never be able to step foot in
Harbourton again. That's Marfia turf,
and you're a marked man on every
street corner now.
HUNTER
It's really just a huge misunderstanding.
LUI
Misunderstanding?
HUNTER
Yeah, nothing more then crossed wires.
LUI
(sarcastic)
Oh, I'm sorry. So you didn't have your
dick up Maria Giamatti's ass? Look, this
is serious shit. You've been fucking
Salvatore's daughter. And not only that,
but you did it behind his back.
HUNTER
I was referring to the cops. I never made
any deals with them. The guy came up
to me after Toni's funeral. I didn't know
who he was until later.
LUI
After you'd left the cafe.
HUNTER
Well, no...uh, well, I guess it was just
before then.
LUI
Well you see, that's no better. All that means
is you had a chance to walk away, and you
didn't. Ask anybody, and they'll tell you
that's just as bad.
Beat. She finishes bandaging.
HUNTER
So I'm fucked then?
LUI
Not just yet. Maria tells me you're one of
the good guys, so I've made a few calls
and obtained some muscle for hire.
HUNTER
Huh?
LUI
Protection. As in, 'keep your ass out of
trouble'. Got it?
HUNTER
Absolutely.
LUI
His name's Jeepers. I suggest you see him
as soon as possible. He's understandedly
odd, given his line of work. But trust me,
he's very good at what he does.
CUT TO:
EXT. MOANLEY HALL -- NIGHT
A gigantic, boarded up building. In it's day, it was a fine piece of .
But now it's considerably run-down.
CUT TO:
INT. BASEMENT --MOMENTS LATER
HEAVY FOOTSTEPS as Hunter moves down the stairs.
A lone desk lamp shines in the darkness.
The surface of a nearby desk is covered with open texts. Hunter
takes a closer look.
CLOSE ON diagrams of the human body...muscles, skeletal structure.
Hunter furrows his brow and moves on.
He comes to stop in a small clearing in the room. Across the
middle of the room, laying on a porcelain table, fluid draining
tubes attached, lies a middle-aged man, deceased. A sheet is
pulled up to his shoulders. He carries the macabre appearence of
corspe having just been made up by a mortician. Hair combed and sprayed,
skin tone too orange, blush too rouge and lips too red.
On a tray beside the table, is an assorting of operating tools --
scalpels, bone saw etc. -- all stained with wet blood.
A SHADOW FLOATS PAST INFRONT OF HUNTER, FLATTING OVER HIS FRONT.
Hunter looks up, startled. A WIDE-EYED MAN is standing at the
operating table, scalpel in hand, dressed in bloody surgeon scrubs. He
is JEEPERS, late thirties, bug-eyed from too much caffeine and not
enough sleep. He places the scalpel down.
JEEPERS
Can I help you with something?
HUNTER
What is this place?
Jeepers grabs a small flask and takes a swig from an oddly
flavoured liquid inside. He extends it to Hunter.
JEEPERS
Just my little operating room. Drink? Great
for the liver.
Hunter catiously takes the flask.
JEEPERS
(continuing)
That stuff'll add ten years to your life.
(Pause, thinking to himself)
Or is it deduct?
He laughs to himself.
Hunter takes a measured sip. No sooner has it louched his tongue,
he gags and coughs, trying to keep it down. The taste is terrible.
Jeepers chuckles oddly in amusement.
JEEPERS
(continuing)
Give it time. It's an aquired taste.
HUNTER
(re: dead man)
What did you do to him?
JEEPERS
Just a little house cleaning.
He pulls back the sheet, revealing A LONG CUT RUNNING
DOWN THE CHEST. It's been stitched up. The dead man's
chest is strangly flatter than it otherwise should be.
Jeepers gestures behind Hunter, to a collection of glass jars on a
shelf. Each contains a different body organ -- heart...liver....kidneys
-- all immersed in clear liquid
JEEPERS
(continuing)
Relax. He was long gone before I started.
HUNTER
Why did you do this?
JEEPERS
Hey, I'm just like you. I need the money.
Do you know how much things like this
fetch on the market?
HUNTER
But...
JEEPERS
Listen. You're obviously not aware of who
this is, are you?
Hunter takes a step closer...looks at the dead man's face.
HUNTER
Obviously not.
JEEPERS
Walter O'Sullivan? "The Bay View Strangler".
He was executed a few months back, down in
Texas. Don't worry. No one was going to miss
him.
HUNTER
What about his family?
JEEPERS
(coldly)
He killed them
HUNTER
Oh...Well, in that case.
Through the following dialogue, Jeepers is walking back and
forth, putting equipment away...cleaning operating instruments
etc.
JEEPERS
Did you know that in eighteenth century
Britain, the bodies of executed murderers
were frequently handed over to surgeons
for dissection? In fact, a law was decreed that
All murderer's bodies should be 'anatomized'. It
never really took off in the states, so I've had to
go underground with it.
HUNTER
But...
JEEPERS
I don't expect you to understand.
(Pause)
"Who shall concieve the horrors of my secret
toil, as I dabbled among the unhallowed damps
of the grave?" You ever read "Frankenstein"?
HUNTER
Look, Lui sent me over to see you, O.K? You
know anything about this?
Beat. Jeepers stops, drops a SCALPEL into the rusty sink. It lands with
a loud CLANK.
Silence. Jeepers turns to Hunter, wipes a smear of blood from his cheek.
JEEPERS
I think I recall something about protecting
a snitch. That you?
HUNTER
I guess so.
Jeepers tosses his scrubs over his shoulder, and ventures over
to a BULLETIN BOARD on a nearby wall. He scans over a list of names on a
sheet posted there with his finger. When he finds
the one he wants, he crosses it out with a marker.
JEEPERS
Well, the way I see it; a case like yours is
gonna require alot of work on my part.
Alot of expensive work.
HUNTER
Lui never mentioned anything about
money.
Beat. Jeepers, back to Hunter, puts his hands up against the board, bows
his head.
JEEPERS
(to himself)
Of course not.
He turns back to Hunter.
JEEPERS
(continuing)
Well, why don't we have a seat and talk
things through.
He gestures to an empty operating table behind Hunter. There's a chair
on either side. Hunter turns.
As he does, Jeepers quietly grasps a CROWBAR from a gurney.
JEEPERS
(coldly)
Yes, let's.
Hunter turns around...there's no time to react--
JEEPERS SLAMS HIM ACROSS THE FACE WITH THE CROW- BAR!
Hunter goes down, knocking over another gurney.
CUT TO:
INT. LUI'S LUXERY HOME -- BEDROOM -- NIGHT
The lights are out.
Maria sits on the end of the bed, flipping through an expensive looking
photo album, listening quietly to the SOUND of waves breaking gently.
CLOSE ON photos in album -- BLACK AND WHITE IMAGES OF MARIA AND LUI IN
THE THROES OF PASSION etc.
AT THE DOOR
Lui appears, dressed in a skimpy night gown. She's carrying a bottle of
champagne and two filled wine glasses.
LUI
I do believe celebrations are in order.
She sets the bottle down, and hands a glass to Maria, who lays the album
down.
MARIA
Thank-you.
Lui sits down behind her, starts sipping from her glass.
LUI
Tell me about your new friend.
MARIA
What do you want to know about him?
LUI
I don't really know. I was just trying to
make conversation. But I can tell you
like him. Right?
MARIA
Yeah, I do.
Lui glances over at the photo album, smiles.
LUI
But...
MARIA
What do you mean?
LUI
You're looking for something wrong with
him?
MARIA
What? No, I'm not.
LUI
Yes, you are. I know you too well.
Lui begins running her fingers through Maria's hair.
LUI
(continuing)
You can't fight who you are; who you were.
You miss the touch of a woman. The softness
of a breast...the smoothness of the skin...
Maria is almost hypnotised by Lui. She cannot seem to move against her
touch.
As she continues to talk, Lui slowly removes a small vile from her
pocket, and pours it into Maria's glass...it dissolves into nothing.
LUI
(continuing)
...you're still so young. You need a gentle
caress...
(leans forward, breathing against Maria's neck)
...let me give you that...you need it...
She cups her hand around Maria's glass, slowly brings it up for her to
drink...
LUI
(continuing)
Here...drink up...
Maria cannor fight against her. She drinks from the glass, letting the
excess flow down her front.
Lui takes the glass away, places it on the floor.
Maria's eyes begin to grow heavier, like she's falling under a trance.
Lui lets her fall back onto the bed.
LUI
(continuing)
That's a good girl. Let me take care of you...
forget about him...give in to me...
She lays down beside her...
CUT TO:
INT. BASEMENT -- NIGHT
Hunter is tied up in a chair, each hand bound to an armrest. In his
mouth is a S&M-style ball gags (a belt goes around their heads and a
little 8-ball sticks in his mouth). H is unconscious.
Jeepers steps in with a fire extinguisher and SPRAYS Hunter until he's
wide awake and wet as an otter. He look up at his captor.
Jeepers stands in front of him, fire extinguisher in one hand, crowbar
in the other.
JEEPERS
Wake up.
Hunter tries to scream, but all that comes out are muffled grunts and
groans. Jeepers laughs in amusement.
JEEPERS
(continuing)
You should learn not to be so goddamn
ignorant 'bout this business, 'cause just
about everyone would just as soon stab
you in the back as look at you. You see,
I've been ordered to eliminate you. 'Cause
you're a threat, and threats always have
to be eliminated. Got it?
Jeepers wanders over to a work bench, as Hunter continues to struggle
against his restraints.
Jeepers sifts through a pile of rusty surgical tools-- scalpels,
cleavers, scissors etc. All are stained with blood.
JEEPERS
(continuing)
Now, they usually call me when this
sort of situation arises.
He finds what he's looking for -- A HUGE SCALPEL! He turns and heads
back to Hunter.
JEEPERS
(continuing)
But I always like to have a little fun
before then, you know? It just makes
more sense, don't you think?
Hunter can guess what's about to happen, and he doesn't like it. He tugs
violently at his restraints, tears of genuine fear welling in his eyes.
Jeepers pulls up a seat beside Hunter. He places a hand over Hunter's
injured hand.
JEEPERS
(continuing)
Let's play a little game, huh? I'll ask a
question, and you give me one grunt
for 'true' and two for 'false'. O.K?
Hunter just breaths heavily.
Annoyed, Jeepers grabs Hunter's injured hand and squeezes it tightly.
Hunter cries out as best he can with a ball in his mouth.
JEEPERS
(continuing)
O.K?
In unbelievable pain, Hunter manages to grunt once.
JEEPERS
(continuing)
Alright then, let's get started. You see, I'm
not like the others. I'm more cultured, more
civilised, so I like to let a person impress
me with their knowledge, rather than this--
He makes a hand like a gun, aims it at Hunter. There's a tense beat.
JEEPERS
(continuing)
Alrighty, question one; True or false; Robert
Koch was a Russian bacteriologist? Now
remember, that's one for true, two for false.
Silence. Hunter doesn't make a sound.
Jeepers looks at him for a long moment. Quick as greased lightning, he
grabs Hunter's other hand and turns it palm up. He then whips out the
scalpel and slices Hunter's palm open and pours salt on the wound.
Hunter screams, eyes bulging in agony.
JEEPERS
(continuing)
We all have a choice. Right now, you
can choose to either make this quick
and painless, or excruciatingly slow
and torturous.
(Pause)
We'll mark that off as a practice, and
move onto question two. Marie Curie
was married to a Frenchmen; true or
false.
This time, Hunter decides it would be better to at least have a go. He
thinks for a minute...then grunts once.
Jeepers looks at him intensely. Then suddenly--
JEEPERS
(continuing)
Correct!
He grabs a dishtowel and wraps it around Hunter's bleeding hand.
CUT TO:
INT. LUI'S LUXERY HOME -- BEDROOM -- SAME TIME
Lui lays beside Maria, gently kissing and caressing her hand. Each
movement is so delicate and sensual, as if no pain would ever come to
harm her.
CUT TO:
INT. BASEMENT -- SAME TIME
Jeepers continues his twisted game of trivial pursuit--
JEEPERS
Question five--
As Jeepers continues talking, Hunter strains to lift his right hand up,
just a little. He clenches his teeth, pulls up, and as he just--
SUPER FAST SCAN TRACK: up Hunter's right sleeve, where we see a SMALL
KNIFE ATTACHED TO THE METAL GLIDER ON HIS FOREARM.
JEEPERS
(continuing)
--True or false?
Silence.
JEEPERS
(continuing)
I'm sorry. No response will have to go
down as an incorrect answer.
Jeepers turns in his seat to collect the scalpel--
At that moment, Hunter violently jerks his arm upwards, sending the
KNIFE soaring out from underneath his arm, PLUNGING into Jeeper's
exposed throat. He falls backwards, clutching the blade, completely
taken off-guard by Hunter's surprise attack.
Hunter tries to get to his feet, still tied down to the chair.
Jeepers, knife protruding from the side of his neck, staggers to feet,
blood pumping through his fingers. He grimaces as he pulls the knife
free, and comes at Hunter with it--
But Hunter manages to avoid it, ducking his head to the side of Jeeper's
arm. He follows through, driving his head up Jeeper's arm and pushing
him over onto the gurney. A gun spills onto the floor. Hunter then
knocks Jeepers with the chair. Jeepers falls off the gurney and onto the
floor.
Hunter turns back for the gun, at the same time as Jeepers is limping
for it. He barges Jeepers out of the way and then repeatedly stabs him
with the legs of the chair.
Hunter staggers over to the gun and position the chair in such a way
that he can fall over backward and grab it.
As a crimson puddle pools around him, Jeepers gets to his feet, slipping
and sliding in his own blood.
Hunter has managed to get the gun and comes up as Jeepers is moving in
on him. He starts shooting - managing to shoot one of the speciman jars
off the shelf and one of the lampshades off a dusty, old lamp.
JEEPERS
(hysterical)
NO! NOT MY WORK!
BLAM! BLAM! Hunter continues to fire, running wildly around the room,
tipping over tables and shelfs in a mad rush. He slams the chair as hard
as he can into a pole in the corner-- it begins to splinter. He hits it
again and again, as Jeepers slinks towards him, almost unable to stand
on his two feet.
Jeepers slips, comes crashing down.
Hunter hits the pole a final time, smashing the wooden frame of the
chair apart. It falls to the floor. He runs for the stairs, pulling at
the rope that's tangled around him.
Jeepers is left alone in the room, crawling pathetically in bloody
circles on the ground.
JEEPERS
(weakly)
True...
CUT TO:
EXT. MOANLEY HALL -- MOMENTS LATER
Hunter slips and staggers down the steps, hurridly pulling at the ropea
around him until he's free. He unhooks the gag ball and tosses it aside.
He jumps into a black IMPERIAL parked nearby. The engine ROARS, and the
car takes off, screeching tyres, fanning exhaust.
INT. LUI'S LUXERY HOME -- NIGHT
Lui continues to 'pamper' Maria, who's still pretty much out of it.
Lui's hands feel her up. She presses her lips to Maria's neck,
nibbling.
EXT. CITY INTERSECTION -- NIGHT
The Imperial ROARS past a stop sign.
INT. IMPERIAL -- NIGHT
Hunter holds the cell phone to his ear, waiting for someone to answer.
But no one does--
HUNTER
Fuck!
He tosses the phone aside, bares down on the wheel, hits the GAS...
The interior bounces as the car clears a dip past the intersection.
EXT. ANOTHER INTERSECTION -- NIGHT
The Imperial GUNS IT through another stop sign. Other cars blare their
horns in anger, several vehicles SCREECHING to a stop.
CUT TO:
EXT. TRAFFIC LIGHT INTERSECTION -- NIGHT
Red light. A car approaches with the green lighted right of way. The
Imperial TEARS INTO FRAME, just missing being T-boned in the
intersection as the other car HITS THE BRAKES, fishtailing.
INT. IMPERIAL -- NIGHT
HUNTER
GET OUT OF THE WAY! MOVE,
MOVE, MOVE!
EXT. SECOND TRAFFIC LIGHT INTERSECTION -- NIGHT
The Imperial barrels through the intersection as a car makes a left
turn.
TURNING CAR DRIVER'S P.O.V. -- THE IMPERIAL
flying down the road, appears to be heading straight towards
him.
The car screeaches to a hault as the Imperial races past, never slowing
down.
INT. IMPERIAL -- NIGHT
Hunter sees the maze of cars up ahead.
HUNTER
Oh, shit!
He pulls the wheel hard right...
EXT. THIRD TRAFFIC LIGHT INTERSECTION -- NIGHT
Another car HONKS, ROARING through the intersection as the Imperial
nearly clips it's rear end.
Trying to avoid hitting the Imperial, another car CUTS into cross
traffic and is BROAD-SIDED by a small HONDA, BREAKING windows, as the
two vehicle's almost weld into one.
UP AHEAD
The Imperial zooms off into the night...
INT. LUI'S LUXERY HOME -- NIGHT
Lui kisses Maria's neck, moves down to the shoulder...the arm...and
further...
Camera dwells on Maria, breathing heavily, as Lui moves down
underneath the sheets.
EXT. SEADRIFT -- STINMONT BEACH -- NIGHT
The Imperial roars towards the house, SKIDS to a hault beside the
Ferraris.
CUT TO:
INT. LUI'S LUXERY HOUSE -- MOMENTS LATER
Hunter bursts through the frontdoor.
HUNTER
Maria!
He bolts up the spiral stairs, up to the second floor--
INT. SECOND FLOOR -- CONTINUOUS
Hunter starts down the hallway--
HUNTER
Maria!
He stops, listens--
FAINT SOUND OF FEMALE MOANING can be heard coming from a nearby room.
Hunter turns towards the sound.
At the end of the hall is the bedroom door. From around the edges of the
door is the faintest GLOW from a lamp.
Hunter moves for the door, the floor creaking under his feet as he
edges towards it.
He reaches the door--
INT. BEDROOM -- NIGHT
Hunter's hand comes into frame, pushing the door open. It swings
open silently, revealing Maria, her legs spread in a 'V' towards the
roof, and Lui between them, sheet pulled up to her waist.
Hunter freezes in shock.
HUNTER
What the fuck..?
Lui rolls away, looks up towards Hunter. She holds the sheet to her
body.
LUI
Oh....you're back.
Hunter looks past her, to MARIA. She's breathing deeply, her hair
clinging to her sweaty brow.
Lui is far from impressed by Hunter's intrusion.
Hunter can hardly believe what he's seeing. He backs up against the
door.
MARIA
(weakly)
You don't understand...
HUNTER
No.
(Pause)
No, I understand everything now.
Hunter turns and leaves.
EXT. SEADRIFT -- STINMONT BEACH -- MOMENTS LATER
Hunter walks over to his car. He's about to get in, when a thought
suddenly occurs to him. He looks over to the Ferraris, smiles.
He reaches into the backseat of the Imperial, withdraws a baseball bat.
He steps over to the luxery cars and with all his might, SLAMS the steel
bat into the windshield of each Ferrari, chewing into the glass,
spraying it over the ground. He continues to reign down blows on each
car until he can't lift the bat anymore.
HUNTER
Bitch.
He tosses the bat back into the car, gets inside and zooms away, leaving
a cloud of dust and debris in his wake.
DISSOLVE TO:
EXT. CITY STREETS -- LATER NIGHT
It's raining. A decaying, war zone neighborhood populated by abandoned,
graffittied buildings and HUNGRY HOMELESS who clammer around burning
garbage cans. A few burnt out cars sit on the street like monuments of
twisted metal. Steam rises from manhole covers, drifting across the
litter- lined streets. Suddenly--
The steam parts, as the Imperial appears over the crest of a hill. It
ROARS past us, lights piercing through the darkness.
INT. IMPERIAL -- NIGHT
Hunter stares ahead blankly. He's only steering with one hand. He
doesn't care.
He BRAKES hard.
EXT. CITY STREETS -- SAME TIME
The car comes to an abrupt stop, sits idle for a moment. Finally, Hunter
turns the engine off, slowly steps out of the vehicle, totally
indifferent to everything at the moment. He looks right--
--A couple of HOMELESS MEN fight over an old, tattered coat. They swing
at each other, tear at each other's clothing. One man manages to
connect a fist, and the other man's face is instantly bloodied. The
fight grows even more spastic.
Another man attempts to pull the puncher back. In an instance,
he spins around and headbutts the man, blood spraying.
Hunter looks left--
--A woman is sits bent over on the ground, moving her head in the lap of
a weezing man who's sitting in a pile of filth.
HUNTER (V.O.)
There was a feeling in my stomach that
I'd never felt before, and I didn't like it.
Blinded with rage, and at the same time
consumed by confusion, I had suddenly
become a man who was willing to do
anything for revenge, even if I did not
know who to direct it towards. I had
been betrayed, and in turn become
completely indifferent to the world.
(Pause)
I had become Salvatore Giamatti.
The weezing man throws his head back, groans loudly. The woman sits up,
wiping her mouth.
FADE TO BLACK
We are moving through a tunnel - pitch black, so dark all you feel is
the motion. We are travelling very fast. Finally, in the distance, a
speck of light which fills the frame. We slowly pull back from the white
light to discover it is a tiny pixel on a TV screen.
WIDENING
further out we see Kelly Houge standing outside Police HQ, presenting
the news.
KELLY HOUGE
(on T.V.)
Police have finally admitted today that
their extensive search for the escaped
prisoners involved in the Kilpatrick
Memorial Bridge disaster has officially
been closed, with all runaways still
at large. This news, combined with
Treac City Police's inability to stem
the growing level of gang-related
brutality in the city, has again raised
the question, who's running this city;
the cops, or the crooks?
PULL BACK to reveal that we are in--
INT. DIAMOND JOE'S JOINT -- NIGHT
PAN ACROSS to a table, where Diamond Joe sits with his back to us.
CLOSE ON TABLE
Two hands enter the frame - carefully pouring clear liquid into an
ashtray. A long hypodermic needle slides into the ashtray, and the
plunger is pulled back. The needle quickly fills with liquid. Gingerly,
the needle is inserted into the lightbulb. Again, the plunger moves and
the lightbulb is filled and placed on a table...beside a CAN OF
GASOLINE. Off-screen--
THE DOORBELL RINGS.
PULL BACK as Diamond Joe stands and moves to the door, stepping over a
collection of PIPE BOMBS lying in a neatly organised pile.
Diamond Joe opens to door to reveal Hunter, standing bloody and bruised
in the doorway.
DIAMOND JOE
Jesus Christ...
HUNTER
Hey, man. It's been a while.
DIAMOND JOE
Come on, get you ass off the streets.
He pulls Hunter inside and swings the door shut.
Hunter flops down on the couch, sighs a huge relief. Diamond Joe sits
down in the chair across from him.
DIAMOND JOE
It's all over the streets, man. You really
been doggin' Sal?
HUNTER
Everything's just gone wrong. Like that. But
I never did anything.
DIAMOND JOE
And his daughter? Word is you've been
stickin' your piece in her pie as well.
Hunter rubs his eyes, a host of emotions coursing through him.
HUNTER
How the hell'd you hear about that?
DIAMOND JOE
Are you kiddin'? No way something this
big is gonna stay quiet. You know how
it starts; one person tells a friend, then
they tell two friends. Tough ass mother
fuckers or not, these bitches love to
gossip.
HUNTER
So what are you saying, I'm fucked?
DIAMOND JOE
Last I heard, Sal had arranged for some
cracker-ass psycho surgeon to take
you out.
HUNTER
Yeah, I met him.
Beat. Diamond Joe processes this information.
DIAMOND JOE
O.K. So I assume that failed. But once
he finds that out, Sal's gonna have hit-
men coverin' every square-inch of this
city lookin' for you.
HUNTER
So I am fucked. Great.
He gets up and begins to pace around the room, pondering his next move.
DIAMOND JOE
What's the plan, dog?
Hunter catches his reflection in a mirror. He stops, stares deep into
it, deep into himself--
HUNTER (V.O.)
I think P.K. Shaw said it best; "A well-tied
knot is one that is easily undone". Standing
there, I knew that if I ever had any intention
of seeing this out, I would have to start mak-
ing the hard decisions. Salvatore was right; this
was the life I had choosen, and I could never
change that.
(Pause)
So if I couldn't change, I'd flaunt it.
Hunter turns around to face Diamond Joe.
HUNTER
Be that last man standing.
CUT TO:
INT. SEX CLUB 69 -- ADULT FILM SET -- DAY
We are in SHADOW, standing before a closed door.
VOICE (O.S.)
And....action!
A HAND enters frame and pushes the door open, leading onto an OFFICE SET
which has been set up in the middle of the club.
AMBER sits behind a desk. She looks up at us as we PAN AROUND to show
SLIM JIM striding towards her, shit-face grin.
From behind the camera, a light shines straight at him. He comes
to stand infront of Amber.
Beat.
AMBER
Hello. Are you Alex?
SLIM JIM
Yes, ma'am. Alex Boner. They sent me
over to fix your hummer.
AMBER
Excuse me?
SLIM JIM
The air conditioner. They told me it was
broken.
MARIO stands beside one of the cameramen, smoking a cigarette.
AMBER
Yeah, it's not working. And it's steaming
hot in here. The only thing that keeps me
cool are these ice cubes.
She reaches across her desk and picks up a glass full of ICE
CUBES. She pulls one out, and holds it to her neck.
Slim Jim watches the drops of water trickle down her neck. He begins
breathing heavier.
SLIM JIM
Well, um--
(clears his throat)
--I'd better take a good, hard look at it.
AMBER
(eyeing Jake closely)
I'd like that. I'd like that very much.
Beat.
She stands, leads Slim Jim across the room to an air conditioning unit
in the corner.
SLIM JIM
Let's see what we've got here.
Slim Jim begins tinkering with it. He goes to point to his tool belt he
left on the desk.
SLIM JIM
(continuing)
Could you hand me that--
His hand brushes against Amber's breast. He looks up. A
sinful smile is on Amber's face.
SLIM JIM
Oh. I'm so sorry.
Amber takes his hand, places it back on her chest.
AMBER
That's pefectly alright.
(pause)
But if you get to touch me, then I get to
touch you.
Amber pushes Slim Jim against the wall, kneels down infront of him.
Slim Jim starts to remove his pants, Amber helps him. Just before they
come off--
CUT TO:
EXT. SEX CLUB 69 -- SAME TIME
The black Imperial pulls to the curb outside the club.
Hunter gets out, wearing a trench coat over a hooded sweater. He checks
his gun, returns it to his holster.
INT. ADULT FILM SET -- SAME TIME
Amber looks from Slim Jim's cock to his face.
AMBER
Here's one giant tool not on your belt.
So they go at it....taking each other's clothes off and climbing up on
the desk....We move from looking at the crew filming to Slim Jim and
Amber making love.
CUT TO:
EXT. SEX CLUB 69 REAR -- SAME TIME
Hunter climbs a crumbling metal fire escape.
CUT TO:
INT. ADULT FILM SET -- SAME TIME
Mario looks on in approval. One of his producers comes to stand beside
him.
PRODUCER
Some of my associates are getting a little
nervous. They say this Hunter character
has been stickin' his nose in on their
business. Freddy Donelli tells me he ain't
been able to contact Luigi DeMarco in
three days. His ladies don't know where
he is.
Mario continues to watch on-set.
MARIO
Freddy Donelli's also as thick as pig shit.
He thinks a telephone's a friggin' musical
instrument.
PRODUCER
People are talking, Mario.
Mario turns his head.
MARIO
Then let them talk. Hunter is a dead man.
He's gone. If he's still around, it's as a
ghost.
ON SET
Amber and Slim Jim come together. HOLD. They kiss and smile. Slim Jim
climaxes, gasping for air. Amber throws her head back.
THE PRODUCER
puts his sunglasses on, smooths his hair back.
PRODUCER
You better be right.
Mario turns to watch him leave.
MARIO
I'm always right.
Mario flicks his cigarette butt to the floor, crushes it underfoot.
Beat.
He stops suddenly, as something is pressed up against the back of his
head--
HUNTER STANDS BEHIND MARIO WITH THE GUN TO HIS SKULL.
HUNTER
(deadpan)
Boo.
BOOM!
A spray of blood hits Amber on the breasts. She screams, pushing an
equally stunned Slim Jim off her.
FREEZE IMAGE
HUNTER (V.O.)
And that's how it started. If Salvatore
was going to rule in Hell, then I was
about to give him some pointers.
CUT TO:
EXT. GAS STATION -- AFTERNOON
A huge SILVER SEDAN pulls in next to a pump.
Attendants immediately run to the vehicle. Two clean windshields and
duco, the third fills the gas tank.
HUNTER (V.O.)
(continuing)
Some might say I'd set my sights a little
high, but I had no choice. They all had
to go.
FOLLOW one of the attendants as they head for the MINI-MART, passing
by...
A STATION WAGON. A mother wrangling three little boys out of the car -
the smallest kid twirls a toy pistol around his finger.
SUPER FAST SCAN TRACK: Past the mother to Hunter's black Imperial
pulling up outside the gas station mini-mart.
The front door of the Imperial opens. Hunter gets out and enters the
mini-mart, as four white-clad school girls exit.
FOLLOW the girls as they head for their car.
SUPER FAST SCAN TRACK: Past the girls to--
INT. SEDAN -- AFTERNOON
JIMMY LEONE sits in the driver's seat, smoking a cigar.
JIMMY
(to attendants)
Alright, get the fuck outta here.
As they walk away, Jimmy leans his head out the window--
JIMMY
One of you bring me some smokes!
EXT. GAS STATION -- AFTERNOON
The automatic doors to the mini-mart open, and an attendant walks out,
carrying a pack of cigarettes (We only see him from behind).
FOLLOW him as he strolls towards the Sedan, whistling a tune.
Jimmy pops his head out the window.
JIMMY
(annoyed)
Could you go any slower?
ATTENDANT
Sorry.
Jimmy snatches the fags from the attendant's hands.
JIMMY
Asshole.
The Sedan speeds off, darting back into traffic. Suddeny--
THE VEHICLE LOSES CONTROL AND SLAMS INTO A PARKED CAR, ALMOST WELDING
INTO ONE!
PULL BACK to reveal the identity of the attendant -- Hunter! He smiles
contently.
FREEZE IMAGE
HUNTER (V.O.)
Allow me to explain.
FLASH:
INT. MINI-MART -- AFTERNOON
One of the attendants passes by a group of people who stand reading
magazines from the rack. One of them is Hunter. He places his mag back
and follows--
FLASH:
INT. BATHROOM -- AFTERNOON
CLOSE ON the attendants boots, trousers down around them.
PAN ACROSS TO the next cubicle. The sound of a toilet flushing. The door
opens revealing Hunter. He moves over to the attendant's stall--
HUNTER
Hey man, some hot chick was just asking
for you. Somethin' about giving you head
while her girlfriend watched.
The door flys open, and the wide-eyed attendant is SLAMMED in the face
by Hunter with a small waste bin. He drops like a sack of shit.
HUNTER
Dumbass.
FLASH:
INT. MINI-MART -- AFTERNOON
Hunter comes out of the bathroom, now dressed in the attendant's
clothes. He pulls his cap down, covering his face.
He looks out onto the pumps, where Jimmy has just called out--
JIMMY
One of you bring me some smokes!
Hunter starts for the exit, grabs a pack of CIGARETTES and some LIGHTER
FLUID from a self. He opens the smokes and douses them in lighter fluid,
so that each cigarette has absorbed some.
FLASH:
INT. SEDAN -- PRESENT
Jimmy places one of the boobey-trapped fags between his lips, and pulls
his lighter out of his pocket.
He strikes the flint and brings the flame up to his mouth. At first,
everything seems fine, but then--
THE WHOLE CIGARETTE CATCHES LIGHT!
Jimmy spits it up onto the dashboard, inadvertedly pulls hard right on
the wheel.
JIMMY
Shit!
He tries to straighten out, but by then it's too late.
The Sedan pummels into the parked car, glass SHATTERING, metal
CRUNCHING.
CUT TO:
EXT. GAS STATION -- SAME TIME
Hunter watches on, as shocked witnesses run by him from each side.
He pulls a pack of cigarettes out of one pocket and a lighter from the
other. He flicks up the clasp with his thumb and strikes it with his
index finger in a fluid, somewhat showy fashion.
HUNTER
That's a shame.
Hunter strolls off in the opposite direction, casually smoking his
cigarette.
KELLY HOUGE (V.O.)
Another infamous criminal is dead, killed
in a sickening car crash this afternoon.
Mob figure Jimmy "Iron Hooks" Leone
was killed instantly when his vehicle
slammed into a parked car on Fifteenth
Avenue.
CUT TO:
CLOSE ON T.V. SCREEN
Kelly Houge is reading the evening news--
KELLY HOUGE
(continuing)
Police are now faced with the gruelling
task of explaining exactly what happened,
and are yet to rule out foul play in this
incident.
THE IMAGE CHANGES TO ANOTHER NEWREADER, AS IF SOMEONE JUST SWITCHED
CHANNELS--
MALE NEWSREADER
Police don't know whether to capture or
congratulate the killer dubbed "The High
Roller", after another Treac City criminal
heavyweight was found dead today. The
victim this time was infamous figure head
of the Diablo crime gang, Denaum El Turro.
A MUGSHOT OF EL TURRO COMES UP ON-SCREEN.
MALE NEWSREADER (V.O.)
(continuing)
Officers found his body early this morning
in Mason Park, a spent .45 revolver pulled
out of a nearby pond.
CUT TO:
EXT. MASON PARK -- CRIME SCENE -- NIGHT
It is pouring rain. EMERGENCY VEHICLES litter the landscape, lights
FLASHING. A small crowd have is gathering.
OFFICERS wrap yellow crime scene tape around the perimeter, keeping
curious CITIZENS at bay...
At the centre of this ordeal is a SMASHED-UP CAR, where El Turro's
BLOODY BODY sits slumped in the front seat, half-in-half-out the open
door.
A POLICE PHOTOGRAPHER LEANS into FRAME, DISTORTED, to flash another shot
which WHITES OUT FRAME.
CUT TO:
INT. WANG'S LAUNDERETTE -- NIGHT
A CLOAKED OLD LADY, hunched over and carrying a BASKET OF LAUNDRY,
slowly shuffles down an aisle of washing machines. She's the only person
here.
AT THE ENTRANCE
THREE ASIAN MEN, all dressed sharply, enter. They make their way past
the 'old lady', who's busy loading her washing into one of the machines.
The men head into a back office and close the door behind them.
The 'old lady' finishes filling her machine and closes the lid.
CUT TO:
EXT. WANG'S LAUNDERETTE -- MOMENTS LATER
The 'old lady' exits and hurries off down the street, her laundry basket
dragging along the sidewalk behind her.
INT. WANG'S LAUNDERETTE -- NIGHT
The Asian man come out of the office to the strange sound of THUMPING
coming from one of the clothes dryers.
ANGLE ON A CLOTHES DRYER
rocking and banging against the wall.
One of the men turns to the others--
ASIAN MAN #1
(in Japanese)
Where is the old lady?
The second man steps over to the machine used by the 'old lady', which
is also going.
He switches it off and yanks the lid open. Reaching inside, he pulls out
a BLOOD DRENCHED shirt.
ASIAN MAN #3
(in Japanese)
What is going on here?
The second man examines a NAME TAG which had been sowed onto the breast
pocket of the shirt -- MR WANG
Each man suddenly realises the seriousness of the situation, and
gradually turns their attention to the THUMPING clothes dryer.
Beat.
One of the men inches over to the dryer, and catiously pops the door
open, switching the cycle off. Whatever's inside lands with a THUD.
ASIAN MAN #1
(in Japanese)
What is it?
The man at the dryer reaches inside and pulls out a BLOODY SNEAKER.
Beat.
A sock is scrunched up inside the shoe. He pulls it out -- CLICK...
The PIN of a grenade dangles from the sock, which has been threaded
through it.
Beat. Each man's face goes blank...
The sneaker man tips it upside down...A PINLESS GRENADE DROPS OUT ONTO
THE FLOOR!
It bounces once...then twice...then--
KA-BOOM!
CUT TO:
EXT. WANG'S LAUNDERETTE -- NIGHT
It's Hell on Earth -- a wave of glass, concrete and fire sweeps out
across the street!
INT. MOTEL ROOM -- NIGHT
Hunter enters the dingy, festering room and tosses the 'old lady' rags
on the dirty, unmade bed.
He walks over to the window and places his gun down on the table. Gazing
outside across the city, he hones in on a flickering NEON SIGN off in
the distance: "YOUR ONLY HOPE IS JESUS".
Hunter pulls the blinds shut and falls down flat on the bed. He picks up
the card given to him by Chamberlan off a pile of newspapers stacked
beside the bed.
He stares at it for a long moment, then grabs the phone and dials the
number from the card.
After a few seconds of ringing--
CHAMBERLAN
(from phone)
You've reached Paul Chamberlan. If you're
hearing this, it means you've missed me,
or I simply don't want to talk to you.
Leave your message after the beep.
BEEP.
HUNTER
You know who this is, so I'm not gonna
give you my name; Christ knows who's
listening to this. Needless to say, I've
considered your proposition and have
decided to proceed to the next level.
However, you're gonna have to provide
me with some allowances. Meet me at
Jackie's Tavern in one hour. If you don't
show, you'll never hear from me again.
CLICK. He hangs up.
There's a KNOCK on the door.
CUT TO:
Hunter swings open the door to reveal Diamond Joe standing in the
doorway.
DIAMOND JOE
Holy shit, you're still alive.
HUNTER
Can I get an 'amen'.
Diamond Joe comes inside.
DIAMOND JOE
A-fuckin-men.
HUNTER
Listen, I'd like to chat but I've got
somewhere I need to be.
DIAMOND JOE
Oh?
Hunter goes to grab his coat.
HUNTER
You're welcome to hang out here if
you want.
Diamond Joe takes a sweeping glance around the dump that passes for a
room.
DIAMOND JOE
(sarcastic)
You're too kind.
HUNTER
They've got porn.
Diamond Joe's ears suddenly prick up.
DIAMOND JOE
You don't say.
Hunter's about to open the door, when he stops and turns around.
HUNTER
Why do I get the feeling you want to
tell me something?
Beat.
DIAMOND JOE
Maria came into the store today. She's
lookin' like shit.
Beat. Hunter just stares at him.
HUNTER
So what?
DIAMOND JOE
Come on, man. Whatever she did, I'm sure
she's sorry. Just talk to her. Don't fuck this
up.
Beat. For a moment, it seems Hunter agrees. But then--
HUNTER
I gotta go.
He turns and exits, leaving Diamond Joe on his own.
Joe slumps down in a chair infront of the television, and turns it on.
Immediately, we hear the SOUND of FEMALE MOANING and tacky BASS MUSIC.
DIAMOND JOE
(rubbing his hands together)
That's what I'm talkin' about.
INT. JACKIE'S TAVERN -- NIGHT
Chamberlan sits in the window booth. The tavern is noisy. He stares into
his coffee while he stirs it.
Two young PUNKS step up to the window outside and look in at
Chamberlan. He looks up. One begins flicking his tongue rapidly.
Chamberlan takes out his badge and holds it against the window.
One punk gives the finger and the other spits on the window. They
leave, laughing.
CHAMBERLAN
(to himself)
I hate this fucking city.
He sighs and takes out a cigarette, but thinks better of it and puts it
back. He looks back out the window.
AT THE TAVERN ENTRANCE
Hunter steps inside, brushing past some drunken men at the bar. He spots
Chamberlan and heads over to him.
They shake hands as Hunter seats himself across from Chamberlan.
CHAMBERLAN
One of my collegues past your message
onto me.
HUNTER
Where were you?
CHAMBERLAN
Occasionally I like to sleep. It's a dirty
habit I picked up over the years.
HUNTER
Funny little fucker, aren't you?
CHAMBERLAN
Cut to the chase. What do you want?
HUNTER
I've decided to give you Salvatore Giamatti.
CHAMBERLAN
Really?
HUNTER
But before that, I'm going to need some
reassurances to make sure I come out
the other end of this.
CHAMBERLAN
Go on.
HUNTER
One word; money. This is going to
cost you a bit of money.
Chamberlan takes out a cigarette and lights up.
CHAMBERLAN
How much is "a bit"?
Beat.
HUNTER
Fifteen thousand dollars.
For a moment, Chamberlan doesn't flinch. Then he leans back in his seat
and blows a puff of smoke up into the air.
CHAMBERLAN
Do you like to read?
HUNTER
What?
CHAMBERLAN
Do you like to read? The newspapers
for example.
HUNTER
Occasionally. What's your point?
Chamberlan blows more smoke into the air.
CHAMBERLAN
As you may or may not know, this
city's having a slight mortality
problem at the moment. Seems that
certain individuals are having a
little trouble keeping their hearts
beating. And one might easily
assume that whoever's behind their
deaths will continue until people like
Salvatore Giamatti are all gone. And
last time I read the paper, that's not
far away.
HUNTER
Why do I get the feeling that's a
"no"?
Chamberlan stumps out his butt in an ashtray.
CHAMBERLAN
A couple of weeks ago, things
would have been a lot simpler
for you. But why should I pay
you fifteen thousand dollars
when there's every possibility
that if I don't, this phantom
assassin will take care of Sal for
me for free?
Hunter just stares blankly at Chamberlan.
HUNTER (V.O.)
Like so many other people, Detective
Chamberlan was becoming a real pain
in my ass.
CHAMBERLAN
That's the thing about this city; one
minute you're hot property, the next
you're redundant.
Hunter just continues to burn a hole through Chamberlan with his eyes.
HUNTER (V.O.)
For some reason, I had a hand on my
gun. The thought of shooting down
a cop in the middle of a bar suddenly
appealed to me.
HUNTER
So that's it.
CHAMBERLAN
I guess so.
HUNTER
Life's a bitch, ain't it?
Hunter slides to the edge of the seat. Chamberlan reaches across and
grabs his arm.
CHAMBERLAN
Wait.
Hunter stops, slowly slides back into his seat.
HUNTER
What do you want? I thought the deal
was dead.
Chamberlan subtley gazes over Hunter's shoulder.
CHAMBERLAN'S P.O.V. -- THREE BLACK MEN ENTER THE TAVERN.
He looks back to Hunter.
CHAMBERLAN
I've just got one question.
AT THE BAR
The three men pull up stools. One of them looks over in Chamberlan's
direction--
SUPER FAST SCAN TRACK: Across the room, past a table of drunken men and
women, to underneath Chamberlan's table--
HE SLOWLY WITHDRAWS A GUN FROM HIS JACKET AND AIMS IT AT HUNTER'S GUT.
ABOVE THE TABLE
CHAMBERLAN
(continuing)
Do you hear about King Yardie?
HUNTER
I think I heard something.
FLASH: Hunter stands before KING YARDIE and draws a gun. He fires three
shots. King Yardie's body convulses backwards against a car, hitting it
with a thud, bloodying the shattered windscreen.
CHAMBERLAN (V.O.)
Some say he was more powerful than
Sal; a visionary who could command
ten times the respect of any criminal
in this city.
SLAM CUT BACK TO PRESENT:
Hunter begins to look upon Chamberlan with some concern. There's
something about him that's giving off an odd vibe.
Chamberlan holds his index finger to the trigger of the gun beneath the
table.
HUNTER
Look, don't take this the wrong way,
but what the fuck does King Yardie
have to do with any of this?
Chamberlan smiles and takes a sip from a glass of beer.
Hunter's eyes suddenly widen--
ON THE UNDERSIDE OF CHAMBERLAN'S WRIST IS A SMALL TATTOO OF A CROWN.
FLASH: As King Yardie slumps down against the car, we see the same
tattoo on his wrist!
SLAM CUT BACK TO PRESENT:
Chamberlan places the glass back down on the table.
CLICK. Hunter hears the SOUND of a hammer being cocked.
HUNTER
Ah, shit!
Hunter practically leaps out of his seat onto the floor.
BLAM! Chamberlan fires from beneath the table. A man in the next booth
cries out in pain and clutches at his back. His girlfriend who's sitting
across from him begins to scream.
Hunter jumps to his feet and runs for the door, but the three men at the
bar get up to block his way.
HUNTER
Wrong way.
One of the men tries to grab at him, but Hunter kicks him savagely in
the groin. He goes down holding his balls.
Hunter turns and sprints upstairs to the second floor. Chamberlan takes
off in pursuit.
CUT TO:
EXT. FIRE ESCAPE -- NIGHT
Chamberlan leans out the window over an adjoining roof, fanning with his
gun, searching.
BELOW
Hunter scrambles down a steel ladder into an alleyway. He runs out the
alleyway's mouth and rounds a corner, gone.
Chamberlan curses, scrambling out onto the fire escape, running to the
ladder. He begins to make his way down, careful not to loose his grip in
the rain.
Suddenly, several feet from the ground, Chamberlan's left hand
slips...he falls, cutting his bloodied face on a jagged edge, crashes
down onto the roof of a car parked below. The windshield cracks.
Chamberlan rolls off and continues the pursuit, out onto--
EXT. CITY STREET -- CONTINUOUS -- NIGHT
Chamberlan rounds the alleyway corner into people packed streets.
Several people are running, walking in several different directions.
Chamberlan comes to a halt, his focus confused, searching desperately.
Others begin to run and scream, upon seeing his gun. Woman scream and
grab up their children. Chamberlan can't see far down the sidewalk
because of all the people. He moves forward...
He jumps atop a fire hydrant, gripping a street sign for balance, trying
to see further down the street. A sea of people stand before him.
CHAMBERLAN'S P.O.V. -- There he is! Hunter can be seen, far off in the
distance, moving across the street, through traffic, to the opposite
sidewalk. Cars screech and horns blare as he navigates his way across
the busy road. He jumps onto car hoods, leaping from one vehicle to
another.
ON THE STREET, Chamberlan runs, into traffic, avoiding cars, down the
center line. Angry drivers scream obsenities at him. Ahead, Hunter heads
for an alley.
Chamberlan gets to the other sidewalk, yelling for people to get out of
the way...
CUT TO:
EXT. ALLEYWAY -- NIGHT
Hunter comes to this tight alleyway. It's dark, with a long, tall,
vertical sliver of daylight far ahead. He runs, charging hard onwards.
A moment later, Chamberlan appears at the alley entrance.
CHAMBERLAN
Stop!
He draws his gun and fires--
BLAM -- GUNFIRE SOUNDS, deafening, as a bullet slams into a wooden post,
just missing Hunter.
Chamberlan fires again...The bullet ricochets off the metal frame of a
barb fire fence, just as Hunter clambers over it.
Hunter continues round a corner, finds himself in an open market that
teems with people.
EXT. OPEN MARKET -- NIGHT
Hunter kamikazes his way down the little avenues lined with
vendors and shops.
He careens through the labyrinth, out of control. People scurry out of
his way, cursing at him angrily, yelling at him to slow
down. He dives from the maze down a service alley.
EXT. SERVICE ALLEY -- NIGHT
It is a dead end.
Hunter turns back as Chamberlan emerges from the market.
CHAMBERLAN
(gun raised)
Drop down!
To Hunter's left is a door. He dives for it but it's locked. Peeling
back, he almost kicks the door from its hinges, lunging from
Chamberlan's BULLETS, which chew into the brick wall.
INT. APARTMENT BUILDING -- NIGHT
Hunter springs up the old crooked apartment building stairs.
He is halfway down the hall, running in sharp long strides when he
suddenly stops outside a door. He lurches, kicking it in.
INT. APARTMENT -- NIGHT
An OLD LADY watches TV as Hunter blurs past her and into
her kitchen, where another woman is chopping vegetables. He
throws open the window, leaping for the fire escape.
A moment later, Chamberlan sprints into the apartment in hot pursuit. He
darts past the old woman.
OLD WOMAN
Is that you, Charlie?
CHAMBERLAN
Sorry.
EXT. FIRE ESCAPE -- NIGHT
Tumbling down the RATTLING FIRE ESCAPE, Hunter leaps the last ten feet
into the alley below with Chamberlan right behind him.
EXT. ALLEY -- NIGHT
Hunter comes crashing down into a pile of filled garbage bags, grimacing
on impact. He scrapes himself to his feet, broken and bleeding, charges
on.
Chamberlan plummets down after him, checks his gun and continues. Up
ahead, two men stand by a flaming bin, huddled under a large plastic
sheet, warming themselves. Upon seeing Chamberlan approaching, they both
point in Hunter's direction.
Chamberlan rounds a corner, stopping suddenly when he sees Hunter vanish
behind a dumpster. He draws and fires-- BLAM! The bullet bounces off the
metal frame of the dumpster.
CHAMBERLAN
Shit.
He begins to edge closer. It's a dead end alley.
CHAMBERLAN
Twelve twenty-three. That's when I arrived
on the scene. And there he was, gurgling
in a pool of his own blood.
FLASH: A police cruiser skids to a hault a few metres from King Yardie.
Chamberlan is the first one out. He looks on in total shock, rushes
over.
King Yardie coughs and splutters like a dying car engine. Chamberlan
looks back to his partner, who's emerging from the cruiser.
CHAMBERLAN
Call it in! And get a fucking ambulance
here now!
The partner reaches inside the car and grabs the CB radio.
Chamberlan kneels down beside King Yardie, cradles his head in his arms.
KING YARDIE
(silent whisper)
...Salvatore's bitch...
SLAM CUT BACK TO PRESENT:
Chamberlan continues to edge closer to the dumpster.
CHAMBERLAN
You fucked up. You never show your face
to your victim. Their spirit will haunt you
for the rest of what pathetic, little life they
allow you to eek out. Gotcha!
He whips around the back of the dumpster, ready to fire. But Hunter has
moved. Chamberlan curses to himself, growing more annoyed. He continues
his search.
CHAMBERLAN
(continuing)
You know, when I first met you, you know
what I thought? I thought here's a guy who
just may be able to pass the test. A guy
who's strong enough to do his job, and
smart enough to keep his mouth shut.
A SHADOW FLOATS OVER A WALL. CHAMBERLAN FIRES, HITS THE WALL.
HUNTER (O.S.)
What the fuck is your problem?!
Chamberlan hones in on the location of Hunter's voice.
CHAMBERLAN
The plan was perfect. But somewhere along
the line, you developed a mind of your own.
He fires again, shattering a bag full of glass bottles.
CHAMBERLAN
(continuing)
When someone makes a play for your life,
you eliminate that one specific threat. What
you don't do is the total fucking opposite.
Hunter hides behind a pile of trash-filled boxes, listening.
CHAMBERLAN (O.S.)
(continuing)
All you had to do was take out Sal. I'd set
it all up: daddy recieves an annonymous
tip off that one of his men's been rattin'
behind his back.
Chamberlan is only twenty feet away, gun raised in anticipation.
CHAMBERLAN
Yep. You sure fucked up alright. I guess you
over-extended a little bit. Wouldn't you agree?
Suddenly--
HUNTER COMES FLYING OUT FROM BEHIND THE BOXES, TACKLES CHAMBERLAN TO THE
GROUND!
The gun clatters into a puddle.
Both men begin to scuffle, each man trying to gain ascendency over the
other. Striking like a viper, Hunter drives a vicious head butt into
Chamberlans' face. His nose shatters, blood spraying.
Hunter rolls away and makes a dash for the gun. Chamberlan grasps his
leg, but Hunter kicks it away violently.
Hunter fumbles to pick up the weapon, comes up with it aimed squarely on
Chamberlan.
HUNTER
Don't move, you motherfucker!
Chamberlan freezes. He slowly turns his head to face Hunter.
CHAMBERLAN
(spitting blood)
I told them you were good. Too bad you're
also thick as shit.
(begins laughing)
I mean, if you'd just done what any logical
person would have, you wouldn't have
half the police in this city looking for you.
HUNTER
What?
CHAMBERLAN
Yeah, you heard me. I faxed your face around.
You're like a kid on the side of a milk carton.
Only difference is that these people want to
kill you, not just find you.
Holding the gun by the barrel, Hunter SWINGS -- SLAMS Chamberlan across
the face...
Chamberlan spits blood at Hunter.
CHAMBERLAN
Do it! Put me out of my misery so I
don't have to listen to you whining
anymore.
Hunter steps forward, presses the gun against Chamberlan's
forehead, pulls back the hammer...
Chamberlan just stares back at Hunter with hatred in his eyes.
CHAMBERLAN
(mad laughter)
Go on. Shoot an unarmed man, you
fucking coward. Just like all the others.
You think people are afraid of you.
They're laughing at you. Everyone is
laughing at you. Everyone you trust
is stabbing you in the back. I wonder
who's next. Fuck, no wonder your life's
fucked! Go on, pussy. KILL ME!
Hunter moves forward, enraged, closing on Chamberlan, raising his
arm with the gun grasped by the butt...
Chamberlan's eyes go wide with fear...
Hunter SWINGS the gun down at Chamberlan's head...
CUT TO:
EXT. ALLEY ENTRANCE -- NIGHT -- CONTINUOUS
People go about their business, car horns BLARING, voices SCREAMING etc.
Finally, Hunter comes to the alley entrance, in shock, steadying
himself against the brick wall, clothes spattered red. His gun hand and
gun are soaked with dripping blood.
DIAMOND JOE (V.O.)
(through phone)
We've got a problem. Meet me at 231
Clarence Circuit tomorrow at nine.
This shit's goin' pear shaped.
DISSOLVE TO:
EXT. APARTMENT COMPLEX -- DAY
Tenement-like and vast, it is the kind of place where people can
disappear.
Hunter walks behind Diamond Joe, never taking his eyes off him.
Chamberlan's voice echoes in his head--
CHAMBERLAN (V.O.)
(distant)
Everyone you trust is stabbing you in the
back. I wonder who's next.
They enter through the cracked glass door, pulling down on the door
handle, then up, then pushing it open.
A STICKER on the glass reads, 'NEV-R FAIL SECURITY DOORS'.
CLOSE ON APARTMENT LISTINGS --
'APARTMENT 6B - PSYCHIC READINGS BY LAMAR'
INT. APARTMENT COMPLEX -- DAY
DING. The ELEVATOR opens. Hunter and Diamond Joe step inside.
INT. APARTMENT 6B -- DAY
There is an attractive woman sitting on a couch watching a soap opera.
She is MARY. Scattered about around the room are a half dozen other
women.
Some of them are reading, others are deep in meditation. All of them
exude a kind of Zen calm. Mary is much less relaxed.
A WOMAN wearing white appears at corner.
WOMAN
Miss Jane.
Mary looks up.
MARY
O.K.
The woman leads her down the hallway into--
INT. "PSYCHIC ROOM" -- CONTINUOUS
The woman ushers Mary inside and leaves, closing the door.
LAMAR (O.S.)
(Irish accent)
Welcome...
LAMAR, an odd looking blind man, sits on a bean bag, wearing black
glasses ala Stevie Wonder. He sniffs the air, like he's picking up a
scent.
LAMAR
(continuing)
Miss...?
MARY
(nervous)
Jane.
LAMAR
Please, don't feel nervous. Total relaxation
can lead to total inner enlightenment. Why
don't we get started.
MARY
Alright.
She steps over to his outstretched hand.
LAMAR
Take my hand.
She does. He smiles and ushers her to turn around, her ass in his face.
LAMAR
(continuing)
Just relax. Posterior Reading is an art
that's taken me eleven years to master.
MARY
Really?
LAMAR
Absolutely.
She slowly drops her skirt to her ankles, and stands back up straight.
She's now in nothing more than a top and g-string.
LAMAR
(continuing)
Believe it or not, this method is three
times more effective than traditional
reading.
He places one hand on each cheek, smiles.
MARY
My boyfriend thinks this was a dumb
idea.
Lamar's smiles instantly disappears.
LAMAR
Well...why don't you forget all about
him for a while.
(under his breath)
Suck my dick.
MARY
What?
LAMAR
I said, "schucks, you're fit".
MARY
Oh.
Lamar begins 'massaging' Mary's ass.
LAMAR
Okay, now I'm gonna tap into your
contours and see what I can find.
The door to the room swings open. Hunter and Diamond Joe stand in the
doorway, arms folded.
DIAMOND JOE
What's up, Lamar?
Mary grabs her skirt and throws it back on.
MARY
What the hell's going on?!
HUNTER
Miss, you should probably leave.
MARY
What are you two, a couple of perverts
or something?
Diamond Joe laughs.
MARY
(continuing)
What's so funny?
DIAMOND JOE
There's only one pervert in this room,
and he was about two minutes away
from slipping you the finger.
LAMAR
He's a liar. Don't listen to him.
Diamond Joe makes a bee-line across the room to Lamar, raises his
clenched fist.
DIAMOND JOE
Oh, really?
He goes to punch Lamar in the face, but stops when Lamar throws his
hands up to defend himself.
Mary is stunned.
LAMAR
Don't touch me. I'm frail.
MARY
I thought you were blind.
Lamar freezes, his whole lie having caught up to him.
LAMAR
(weakly)
Oh...
Mary lands a clenched fist on Lamar's cheek, smashing his glasses.
MARY
You're a friggin' creep! Keep your
fuckin' hands away from my ass!
She runs out of the room, down the hallway.
MARY (O.S.)
THIS PRICK ISN'T BLIND!
Hunter swings the door shut, smirking to himself.
Lamar gets to his feet, holding her jaw in pain.
LAMAR
Yeah, laugh it up. Do you have any idea
how much shit you just threw me in?!
Diamond Joe pushes Lamar down onto the bean bag, and sits down on the
couch against the wall.
DIAMOND JOE
Bitch, shut that hole in your face.
LAMAR
What do you guys want?
DIAMOND JOE
Remember when I helped get you off
that crack smuggling charge? Well
I'm calling in a favour.
LAMAR
What kind of favour?
DIAMOND JOE
Salvatore Giamatti's vanished. His
whole crib's been demolished. Now
you're going to tell us where he's hidin'
out.
LAMAR
What makes you think I'd know anything
about that?
DIAMOND JOE
Snoopin' around is one of the few things
you do well. Now where is he?
LAMAR
I don't know--
Diamond Joe makes a rush for him. He jumps up, throws his hands up to
stop him.
LAMAR
--whoah, whoah. Come on, settle down.
HUNTER
He'll do it. Better tell him, or I'll let him off
his leash.
DIAMOND JOE
You heard him, Lamar.
Lamar takes a backward step, trips over a footstool and falls on his
ass.
LAMAR
Alright, alright, I'll tell you. But if I do,
then I'm out. O.K? That's means no
more trashing my business.
DIAMOND JOE
Spill it.
Lamar gets to his feet, brushes himself off.
LAMAR
I swear this is all I know. Ever since his
kid got whacked, he's been dying real
slow. Word around town is that he's
taken the midnight train to Haven City.
DIAMOND JOE
Haven City, hey?
LAMAR
Yeah, Haven City. Now that's all I know.
I don't have a street, and I don't have
any contacts. You'll have to figure that
out for yourself. Now will you please
leave me alone?
Beat.
DIAMOND JOE
Apprecitate it, dog.
Him and Hunter leave, pulling the door closed behind them.
Lamar takes a look around his trashed office, then bends down to pick up
his glasses. Both lenses are cracked.
LAMAR
(annoyed)
Shit.
CUT TO:
EXT. APARTMENT COMPLEX -- MINUTES LATER
Hunter and Diamond Joe come out of the complex and continue walking down
the street.
DIAMOND JOE
Listen, man. I think I should go see
Sal, and straighten all this out.
HUNTER
Thanks, but no thanks.
DIAMOND JOE
Look, you never met with any cops. It
was all just one, big fuckin' mistake.
HUNTER
He was one of King Yardie's goons.
You don't think that's worse?
DIAMOND JOE
The longer this goes on, the worse
it's gonna get for everyone.
HUNTER
I doubt that. No, I've got to sort things
out myself.
Diamond Joe grabs his arm.
DIAMOND JOE
(annoyed)
Will you just drop the act for one second!
You're not the only person this is going to
effect. Open your eyes.
Hunter pulls his arm free.
HUNTER
Don't start preachin' to me. You have
no idea of the kind of shit I've been
through.
DIAMOND JOE
That's just it. You. What about everyone
else?
HUNTER
Just turn and walk away.
DIAMOND JOE
It's too late for that!
HUNTER
Why?!
DIAMOND JOE
BECAUSE I'M MARKED TOO!
Beat.
HUNTER
What?
DIAMOND JOE
You're not the only one walkin' around
with a price on his head because of all
this. And let me tell you something: my
grave stays empty!
Beat.
EXT. PARKING LOT ON AUTOMON DRIVE -- DAY
We are back in the parking lot where Hunter was sent to retrieve the
boobey-trapped car.
Diamond Joe digs into his pocket for his keys. Hunter stands waiting
beside their car, a Ford Pontiac. He looks behind him, at the car parked
beside them-- it's the black Saab.
As Diamond Joe goes to insert the key into his lock, he spots a RED DOT
suddenly appear on Hunter's clothes. It slowly moves north up towards
his neck. Diamond Joe drops his keys.
DIAMOND JOE
(realisation)
Oh, fuck. Get down!
He dives across the hood of the car, tackling Hunter to the ground, as a
GUN SHOT rings out across the sky. Then...
Silence. Everything is still.
Hunter has his eyes closed. A thin trail of blood drips slowly from a
cut on his forehead.
SOUND GRADUALLY RETURNS. Hunter becomes aware of heavy breathing coming
from somewhere near him.
HUNTER
(confused)
Joe? Are you O.K?
No answer.
Hunter rolls over on his side and spots Diamond Joe lying a few feet
away. His hands are clutched at his side.
Hunter struggles to his feet and staggers over to his friend. Falling
down beside him, he pries Diamond Joe's hands away to reveal the tiniest
tear in his shirt. Hunter's eyes catch something dark, moving ...A POOL
OF BLOOD IS FORMING UNDER DIAMOND JOE. He slowly turns Diamond Joe over
on his side...A horrific sight...An massive exit wound on his lower back
pours out blood almost uncontrollably.
Diamond Joe's jaw is locked open. His breaths are drawn out and
strained.
HUNTER
Shit. Alright, hold on, man. I'm gonna get
you out of here.
Hunter tries to move him, but the pain is too great. Diamond Joe pushes
him away.
DIAMOND JOE
(clenced jaw)
No, just leave it.
Blood continues to pump out onto the ground.
HUNTER
What do I do?
Beat. Just more heavy breathing.
Diamond Joe manages a pained laugh.
DIAMOND JOE
Seventy-nine degrees, and I'm freezin'
my ass off. Go figure.
Hunter feels Diamond Joe's body begin to shake. He holds him closer.
HUNTER
Hold on. Come on, I need you here.
DIAMOND JOE
(voice failing)
Whatever you do.....make sure it's the
right thing...
Diamond Joe's open jaw releases a long strained breath and then becomes
silent. Hunter tries to cover the wound with his hands desperately, but
knows deep down that his friend is gone.
Tears begin to form in Hunter's eyes. He wipes them away, but in the
process, smears blood across his face.
HUNTER
FUCK!
A SHADOW FLOATS ACROSS HUNTER.
He looks up to see LUI standing before him. A laser-sighted pistol is in
her hands.
LUI
(cold)
You're about to be reunited.
She aims the pistol on Hunter, red dot on his forehead.
HUNTER
I'm not ready yet.
Suddenly--
Hunter whips his arm up, flinging a handfull of dirt into Lui's face!
She's knocked off her feet, clutching at her face.
Hunter seizes his oppurtunity. He jumps to his feet and tackles Lui up
against the Saab, wrestling for the pistol. He manages to knock it away.
But Lui isn't fazed for long. She kicks Hunter in the shin, then slams a
powerful open palm into his sternum. He thrown backwards against the
Pontiac.
Lui attacks with unrelenting fury, fists pounding Hunter like jack-
hammers, his body jerking, mouth coughing blood.
As she takes a firm swing at Hunter's ribs, he manages to turn his body
sidewards. Lui's fist misses it's target and SHATTERS through the
Pontiac window, spraying glass over the front seat.
Hunter rolls away as Lui removes her trembling hand from the window.
It's terribly cut, with slithers of glass protruding from her knuckles.
Her eyes fill up with rage as she turns to face Hunter, who's slowly
crawling away, commando style.
LUI
It's too late to run.
She presses her foot down on Hunter's neck, pinning him to the ground.
LUI
(continuing)
I'm surprised you've made it this far.
In my culture, one has tremendous
respect for a man with persistance
like yourself.
She presses her foot down harder. Hunter winces in pain.
LUI
(continuing)
But anyone who gets close to you
doesn't seem to last long.
Lui picks a piece of glass out of her hands with a surprising calmness.
Blood begins to flow from the wound. Lui lets it drip onto Hunter's
cheek.
LUI
(continuing)
When my blood flows into yours,
we become connected in a very
personal way. It's almost as if we
are seeing the world through the
same eyes. Our own self becomes
oblivious. We'll feel everything,
good and bad.
Lui takes her foot off Hunter's neck, and replaces it with her bleeding
hand. She pulls him to his feet. Hunter counters her and slowly begins
to try and pry her hands from his throat, wincing in pain.
LUI
(continuing)
Can you feel it? Can you feel my pain?
No?
She tightens her grip. The glass is pushed further into her hands and
Hunter's neck.
LUI
(continuing)
What about now?
Hunter cannot speak. Blood trickles down his neck. Lui throws him aside.
He hits the side of the Pontiac and slides back down to the ground.
LUI
(continuing)
You can't feel it because you still believe
you're the only one it affects. But there
are always others, and they are always
in pain. And by the time you realise
that, they'll all be gone.
Hunter lies in a crumpled mess on the ground.
Off in the distance, POLICE SIRENS are getting closer.
Lui looks around for an escape, sees the key in the Saab door.
LUI
Farewell. Maria asked me to pass
that on.
Hunter may be only half-conscious, but he heard that. He rolls over,
sees Lui getting into the Saab.
HUNTER
(weak)
Farewell.
Summoning all his strength, Hunter drags himself as far away from the
Saab as he can get. As he passes by Diamond Joe's body, he bids him a
silent farewell.
Lui slams the driver's door closed.
Hunter, now a safe distance away, gets down on his stomach and puts his
hands over his head.
Beat.
Lui turns the key in the ignition--
BOOM! The Saab goes up in a massive fire ball. A wave of glass showers
over Hunter.
Three POLICE CRUISERS speed into the carpark, spitting up gravel under
their screeching tyres.
Hunter struggles to his feet and begins to stagger away, his right foot
dragging along the ground on an inward angle.
POLICE OFFICER
(over megaphone)
You there! Stop where you are!
Hunter takes a quick look over his shoulder, sees an officer starting
after him.
He picks up the pace, scrambles over the barbwire fence, and disappears
into the crowd of pedestrians.
CUT TO:
INT. MARIA'S APARTMENT -- DAY
Hunter crashes through the door. The T.V. is on softly in the living
room.
HUNTER
(frantic)
Maria?!
No answer.
CUT TO:
INT. MARIA'S BEDROOM -- MOMENTS LATER
Hunter looks around. The bed is made perfectly; every corner tucked in,
every crease smoothed out.
Several medications sit on the dresser: A large bottle of vitamin pills,
and two smaller bottles of pill
Hunter reaches down and picks one up. The label on the plastic bottle
reads, "Noroft Anti-depressant" "To be taken twice daily"
Hunter places it back on the dresser.
INT. HALLWAY -- MOMENTS LATER
Hunter continues his search, calling for his love. He stops abruptly,
spotting a SPLINTER OF LIGHT escaping from underneath the closed
bathroom door.
He knocks on the door gently.
HUNTER
Maria, are you in there?
No answer.
Hunter turns the door handle. It's unlocked. He slowly pushes the door
open.
CUT TO:
INT. BATHROOM -- DAY
As soon as he sees inside, Hunter freezes in shock.
HUNTER
Oh, shit!
IN THE BATH TUB
MARIA lies naked in a vat of pale red water.
Hunter rushes over to Maria, kneels down beside her. He grabs her under
each arm and pulls her out of the water, with tears welling in his eyes.
HUNTER
(choked up)
No, please don't...
He holds up one of her arms.
BLOOD IS DRIBBLING OUT OF HER SLASHED WRIST!
HUNTER
(desperate)
Oh, Jesus Christ. Please stop
bleeding. I'm so sorry.
Maria's eyes gradually open. She holds up a hand to Hunter's cheek.
MARIA
(near death)
I loved you...
Her hand falls away, leaving a crimson smear on Hunter's face.
MARIA
I'm sorry...
And then she's gone, drifting away into death.
Hunter can barely comprehend what he's just seen.
HUNTER
What have I done?
He holds up his trembling hands. They're red. His blood is on her hands.
Hunter begins to weep as he cradles Maria in his arms.
HUNTER (V.O.)
Every man has his limit. Sometimes
you reach it a little sooner than you
think. Sometimes a little later. Regard-
less, at that point I knew that not only
had I reached the end, I'd thrown myself
over the edge.
DISSOLVE TO:
EST. HAVEN CITY -- DOWNTOWN -- NIGHT
It's like a classy version of Treac City -- soaring skyscrapers, clean
streets overflowing with shoppers, sightseerers and businessmen.
INT. PASTELS RESTAURANT-- NIGHT
An insanely expensive restaurant. The decor is a mixture of chi-chi and
rustic, with swagged silk curtains, handwritten menus and pale pink
tablecloths decorated with arrangements of moss, twigs and hideous
exotic flowers. The clientele is young, wealthy and confident, dressed
in the height of late-eighties style: pouffy Lacroix dresses, slinky
Alaïa, Armani power suits.
CLOSE-UP on a WAITER reading out the specials.
WAITER
With goat cheese profiteroles and
I also have an arugula Caesar
salad. For entrées tonight I have
a swordfish meatloaf with onion
marmalade, a rare-roasted
partridge breast in raspberry
coulis with a sorrel timbale...
Huge white porcelain plates descend on very pale pink linen table
cloths. Each of the entrees is a rectangle about four inches square and
look exactly alike.
CLOSE-UP on various diners as we hear fragments of conversation. "Is
that Charlie Sheen over there?" "Excuse me? I ordered cactus pear
sorbet."
WAITER
And grilled free-range rabbit
with herbed French fries. Our
pasta tonight is a squid ravioli
in a lemon grass broth...
CLOSE-UP on porcelain plates containing elaborate perpendicular desserts
descending on another table.
SALVATORE sits at a table by himself. He takes a cigar out of his top
pocket and lights up.
Patrons suddenly turn their gaze to Salvatore, their disapproving
expressions glaring at him.
Salvatore doesn't care. He continues to puff clouds of smoke into the
air.
A WAITER comes to stand beside his table.
WAITER
Excuse me sir, but this is a no-smoking
premises.
Salvatore slowly turns to face this gangly worker. He doesn't remove the
cigar from the corner of his mouth.
SALVATORE
Smoking will kill you.
He takes a long drag, blows the smoke in the waiter's face.
SALVATORE
(continuing)
But not as fast as I will.
Salvatore glares at the waiter, staring deep into his nervous eyes. The
waiter takes a step back.
WAITER
(nervous)
Sir...
Salvatore stamps the cigar out on the expensive table cloth, then flicks
the butt up at the waiter, who fumbles with it clumsily before finally
securing it in his hand.
SALVATORE
Bring me the steak. Well done on the
outside, rare in the middle.
The waiter turns and leaves. Other patrons look away as well, deciding
it's better not to get involved. They gradually get back to their meals.
Outside, the soft PITTER-PATTER of rain begins to sound.
EXT. HAVEN CITY THEATRE DISTRICT -- NIGHT
A rainy, slick, wet miserable night. Cabs and umbrellas are congested
everywhere; well dressed pedestrians are pushing, running, waving down
taxis. The high-class theatre patrons crowding out of the midtown shows
are shocked to find that the same rain that falls on the poor and common
is also falling on them.
The unremitting SOUNDS of HONKING and SHOUTING play against the dull
pitter-patter of rain. The glare of yellow, red and green lights
reflects off the pavements and autos.
After examining various strata of Haven City nightlife, CAMERA begins to
CLOSE IN on one particular taxi--
INT. TAXI -- NIGHT
Hunter sits in the backseat, looking out the window; watching,
searching.
HUNTER (V.O.)
Haven City, for anyone who's never
been there, is like a melting pot for
every type of person imaginable,
where no one is anyone; they're just
fragments of everyone.
The cab pulls up to a red light.
STREETSIDE: HUNTER'S P.O.V. A black PROSTITUTE wearing white vinyl
boots, leopard-skin mini-skirt and blond wig hails taxi. On her arm
hangs half-drunk seedy EXECUTIVE TYPE.
A cab pulls over to pick them up.
PROSTITUTE and JOE climb into back seat.
Hunter looks ahead to the traffic lights. Still red. He looks back to
the second cab.
Joe is leaning up against the back window. The prostitute straddles his
lap. GRUNTS, GROANS are coming from back seat. HOOKER and JOHN going at
it in back seat. He's having a hard time and she's probably trying to
get him to come off manually.
JOE
(muffled through glass)
Oh baby, baby.
PROSTITUTE
(muffled, forceful)
Come on, dammit.
Hunter's taxi pulls away, continues on its journey.
DISSOLVE TO:
EXT. FUTHER UPTOWN -- NIGHT
Further uptown, the crowds are neither so frantic nor so glittering. The
rain also falls on the street bums and aged poor. Junkies still stand
around on rainy street corners, hookers still prowl rainy sidewalks.
The cab ploughs through the rain.
INT. CAB -- NIGHT
Hunter leans forward.
HUNTER
That's probably far enough now. Just
pull over here.
The CABBIE pulls over to the curb.
CABBIE
You sure you wanna get out here?
It's pissin' down.
Hunter hands him a fistful of cash.
HUNTER
Thanks for your concern.
CUT TO:
EXT. STREET CORNER -- NIGHT
Hunter steps out, as pimps and hookers brush by him. The cab pulls away
from the curb.
A HOOKER straddles up to him, sultry eyes probing. She is JANE.
JANE
(southern accent)
You lookin' for a wild night, handsome?
Hunter steps away from her.
HUNTER
How well do you know this city?
JANE
(holds up her hand)
Like the back of my hand.
CLOSE ON BACK OF HER HAND -- THERE'S A TATTO MAP OF HAVEN CITY RUNNING
FROM HER KNUCKLES TO HER ELBOW.
Hunter smiles.
HUNTER
What are the dots for?
At certain points on the map, there are RED DOTS marked on.
JANE
I call those my "hot spots".
HUNTER
What's so hot about them?
JANE
That's where you'll find the big spenders.
Beat. Hunter takes a step back towards her.
JANE
Whoah, whoah. I ain't free, you know.
Unless I see some green, this little
conversation ends now.
Hunter pulls a wad of cash out of his pocket and places it in Jane's
hand.
HUNTER
What kind of big spenders?
CUT TO:
EXT. CITY STREETS -- NIGHT
We are GLIDING through the crowds of people hustling along the sidewalks
of Haven City--
HUNTER (V.O.)
Have you ever heard of a man named
Salvatore Giamatti?
JANE (V.O.)
Sure. I don't know anyone who hasn't.
HUNTER (V.O.)
Have you ever seen him?
JANE (V.O.)
A couple of times. Every so often, he'll
come to me with a hard on and a fist
full of cash. It's no biggie.
HUNTER (V.O.)
Can you go to him?
CUT TO:
INT. CAB -- NIGHT
Hunter and Jane sit in the backseat.
JANE
He's very particular about things.
There's only one place he'll go
in this city.
HUNTER
Where's that?
JANE
A little suite in the Shereton.
HUNTER
You got a room number?
JANE
I got it all. But why do you need to
know about it?
HUNTER
There are things going on around
you that you have no idea about.
And unless I see Sal, things are
gonna get a whole lot worse.
Jane thinks it over for a moment.
JANE
A whole lot worse?
HUNTER
A whole lot worse.
Beat.
JANE
What have I gotta do?
EXT. PASTELS RESTAURANT -- NIGHT
Salvatore sits in silence, eating his steak, sipping from his wine.
His cellular phone begins to ring. He reaches into his coat pocket and
brings it up to his ear.
SALVATORE
This is Salvatore. Who is this?
JANE
(from phone)
It's Candy Cane. What are you doing
tonight?
SALVATORE
I'm having dinner. What's this all
about?
JANE
(from phone)
I heard you were in town, and thought
you might wanna hook up tonight.
Salvatore swallows the piece of meat he was chewing on. He thinks for a
moment, then looks at his watch.
SALVATORE
Gimme twenty minutes.
He hangs up, then tucks back into his meal.
CUT TO:
INT. CAB -- NIGHT
Jane flips her cell phone closed and drops it back into her purse.
JANE
Twenty minutes.
Hunter turns to the cabbie--
HUNTER
Take us to the Shereton.
INT. ROYAL SHERETON HOTEL -- NIGHT
An exquisite establishment -- spotless marble floors, intricate flower
ensembles decorating the lobby, and clean-cut All-American bell-hops
pushing carts of luggage through the crowd of finely dressed guests.
AT THE REVOLVING DOORS
Hunter and Jane enter, and immediately attract the eyes of everyone else
in the lobby. They head through the sea of gazes to the front desk.
HUNTER
(to clerk)
We're looking for Mister Salvatore
Giamatti.
Jane stops him.
JANE
No, he never uses his real name.
(to clerk)
Mister Leonardo Helsinki, please.
The clerk checks the phone listings and calls through to Sal's room.
CLERK
Mister Helsinki. I have a Miss...?
JANE
Cane. Candy Cane.
CLERK
A Miss Candy Cane here at the front
desk for you.
(listens for a moment)
Very good, sir.
He hangs up.
CLERK
Thank-you, maam. That's room number
seven twenty-four.
JANE
Thanks, sweetie.
Jane and Hunter head for the elevators.
INT. HOTEL ELEVATOR -- MOMENTS LATER
The two of them are riding in the elevator. As luck would have it, they
have the car to themselves.
HUNTER
You should probably wait outside for
a moment.
JANE
Why? What exactly is going to happen
up here?
HUNTER
Nothing. It's just to be safe, that's all.
JANE
But--
HUNTER
Look, if you stay outside, I'll give you
another three hundred bucks.
Beat.
JANE
Yeah, alright.
HUNTER
Good.
INT. HOTEL HALLWAY -- MOMENTS LATER
STEADICAM in front of Hunter and Jane as they make a beeline
down the hall.
HUNTER
What room is it?
JANE
Seven two four. Down the end.
Hunter subtlely yet deliberately drops a quarter to the carpeted floor.
HUNTER
(fake)
Oh, shit. Where'd that go?
JANE
(bends down)
Here, I'll get it.
Hunter takes the opportunity to get his shit together. In a flash, he
whips a pistol out from his belt, slams in a clip, loads it, and slips
it back where he got it.
Jane comes up with the quarter.
JANE
There you go.
HUNTER
Thanks. It's my lucky quarter.
When she's not looking, Hunter tosses the coin away and continues on his
way.
CUT TO:
EXT. ROOM 724 -- MOMENTS LATER
The two stand in front of the door numbered "724." They whisper.
JANE
This is the room. Good luck.
HUNTER
You've been great.
She knocks twice.
Beat.
SALVATORE (O.S.)
Who is it?
JANE
(seductive)
Your favourite piece of candy.
Beat.
There's a CLICK as the door is unlocked.
CUT TO:
INT. ROOM 724 -- SAME TIME
Sal unlocks the door then heads off towards the bedroom.
SALVATORE
Come on through.
Hunter enters, quietly closes the door behind him.
SALVATORE
(from bedroom)
Bring that ass in here.
Beat. Hunter doesn't move.
After a moment, Sal comes to the bedroom door.
SALVATORE
What's going--
He sees Hunter standing in the middle of the room.
HUNTER
Surprise.
Sal makes a move for a gun on the table. Hunter whips his out, aims it
at Sal.
HUNTER
Don't move.
Sal stops.
SALVATORE
So...Is this how it's going to end? Shot
dead by the man who ripped out my
heart.
Hunter motions with the gun for Sal to take a seat. He sits down on the
couch.
SALVATORE
Is it true what I heard? About Maria?
Beat. Hunter gets a little chocked up.
HUNTER
Yes.
Sal lowers his head, mourning for his departed daughter.
SALVATORE
(head bowed)
Tell me, do you like to pray? I'm sure I
asked you this before, but I don't think
I ever recieved an answer.
Sal looks up, stares deep into Hunter's eyes.
Beat.
HUNTER
People pray for forgiveness. And for
redemption. I don't deserve either.
(Pause)
So no. I don't like to pray.
SALVATORE
So much pain. I could take it away for
you.
HUNTER
I didn't come here to kill you.
SALVATORE
Then why the gun?
HUNTER
Right now, I only trust one person.
And it's not you.
SALVATORE
But is it you, either?
Beat.
Hunter moves across to the bedroom door, checks inside.
SALVATORE
I'm alone.
HUNTER
Shut-up.
SALVATORE
If you're not here to kill me, then
why are you here?
Hunter starts towards Sal.
HUNTER
To tell you to take the price off my head.
SALVATORE
Excuse me?
Hunter stands before him, gun raised.
HUNTER
You heard me. I'm a marked man, and
I don't want to be. I don't want any
of this.
SALVATORE
So what, you think I just click my fingers
and all this goes away?
HUNTER
That's right.
SALVATORE
Why should I care what happens to
you?
HUNTER
Because you'll be dead, otherwise.
SALVATORE
I thought you won't going to kill me.
(Pause)
You're afraid, aren't you? All this. It's
all new to you, this feeling inside
you, isn't it?
HUNTER
You don't know so many things.
SALVATORE
I know that you think you can bite
the hand that feeds you and get
away with it. But this is real life.
There are consequences. For
every action, there is a definate
reaction. And because of certain
actions, you've become expendable
as a reaction.
HUNTER
Fuck you!
SALVATORE
Your life isn't worth the price of the
paper you're death sentence is printed
on. You're name's been soiled. They
see you as scum out there. I take the
bounty off your head, and I look like
a liar.
Hunter can see he isn't getting anywhere.
SALVATORE
(continuing)
You know the story of the pelican and
the scorpion? Water's rising, and the
pelican offers to take the scorpion
across the river in his beak, provided
the son of a bitch doesn't sting him.
So anyway, they take off, and half
way across, sure enough, the little
bastard stings him right in the kisser.
That's it for both of them. The dumb
scorpion knew they'd die if he stung
him, but he did it anyhow. You know
what he says as they sink beneath
the water? "It's in my nature". Cute
story, don't you think?
HUNTER
I'm asking you for the last time.
SALVATORE
You're a scorpion. You can't help what
you do because it's your nature. The
only question you should be asking is
how many people you're gonna take
down with you.
Hunter vicously thrusts the gun against Sal's head.
HUNTER
Shut up!
SALVATORE
It's just how it is. It's like domino's;
once they start to fall, you can't
stop them.
HUNTER
That's bullshit.
SALVATORE
It's true.
HUNTER
You're a fuckin' liar!
SALVATORE
IT'S TRUE!
The room virtually shakes. Hunter takes a step back, slowly lowers the
gun.
Beat.
SALVATORE
(voice trembling)
I treated you like a son. You were part
of the family. But somewhere along
the line, you made one fatal mistake...
(spits it out like poison)
...you fazed out you're father.
In a flash, Sal whips a pistol out from underneath a cushion on the
couch.
Both men now have a weapon trained on eachother.
SALVATORE
Goodbye son.
Hunter sees that's Sal's about to fire, and reacts.
Simaltaneous gunshots as both Hunter and Sal fire upon eachother.
Sal is hit in the belly, blood spraying over his white dressing gown. He
sinks into his seat, dead.
Beat.
Hunter stands in silence, trembling.
He grabs his shirt collar and tears it away, ripping his shirt open.
He's wearing a bullet-proof vest!
A wry smile comes over his face, almost like smug victory. But his
expression quickly fades--
There's something wrong. He takes a backwards step, his balance shakey.
Looking down at his vest, Hunter places his finger over the point where
the bullet was snagged. There's blood.
Hunter slowly removes the vest, grimacing in pain. He holds it up.
A SHAFT OF LIGHT FILTERS THROUGH A HOLE IN THE VEST!
Hunter drops it to the ground, confused.
HUNTER
What the..?
There's a BULLET WOUND in Hunter's side. Blood spills out onto the
floor.
Hunter looks down at the vest. There's a small tag sown onto the inside
-- "AMMU-NATION"
HUNTER
Son of a bitch.
He falls to the ground, unable to keep himself on his feet.
The door swings open and Jane rushes inside.
JANE
What's going on?
(sees Hunter)
Oh, Jesus!
She scrambles across to the phone, dials 911.
Beat.
OPERATOR (V.O.)
(from phone)
911. What is your emergency?
JANE
(freaking out)
I need an ambulance here! Someone's
been shot!
OPERATOR (V.O.)
(from phone)
Okay, where are you calling from?
As we PAN ACROSS to Hunter, everything begins to go silent. Soon, all we
can hear is the SOUND of Hunter's HEART BEATING.
HUNTER (V.O.)
When I was eight, my father ran off with
my babysitter. I later heard, after my mom
had passed on, that he had become sick
with cancer, and wanted to apologise to
me before he died. So there I was, sitting
beside his hospital bed, listening to him
say he was sorry for just about everything
that had ever happened to me. And this
was a man who'd down a bottle of scotch,
then introduce my mom to a clenched fist.
(Pause)
I felt nothing.
(Pause)
The next day, I held up a liquor store, stole
a car, and got five years in juvy for all my
troubles.
CUT TO:
EXT. HOTEL -- MINUTES LATER
Hunter is loaded into the back of an ambulance.
HUNTER (V.O.)
(continuing)
He was never a great role model. He'd
never take me to ball games, or teach
me to shave. But there was one thing;
one single piece of advice he gave me
that's stuck with me all my life. He told
told me there was only one thing to
regret in life; taking the straight way
through life to avoid any bumps.
The ambulance doors are slammed shut as the vehicle speeds off into the
night.
HUNTER (V.O.)
(continuing)
Because more often then not, you miss
out on life itself.
CUT TO:
INT. AMBULANCE -- SAME TIME
CLOSE ON a photo of Maria and Hunter being held in Hunter's bloody right
hand.
FADE TO BLACK
T H E E N D
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