DIABLO NUMERO UNO - SimplyScripts
DIABLO NUMERO UNO
Screenplay by
Jordan Baker
FIRST DRAFT
JUNE 13, 2005
BLACK FRAME
TITLE APPEARS:
The Beginning
FADE IN:
INT. PHONE BOOTH - MEXICO - DAY
C/U of mouth; a telephone receiver is beside it. We can hear the phone ring. It rings three times and then the other end is picked up. It’s a female voice.
VOICE
Hello.
The mouth speaks back, a man’s voice.
MAN
It’s me. How’s it going?
VOICE
Is it enough to know that it’s
going?
MAN
For now.
VOICE
Did you find Sanchez?
MAN
Yes.
VOICE
His status?
MAN
When I found him, or now?
VOICE
Now.
MAN
Dead.
VOICE
Who else?
MAN
Seven other guys. Sanchez’s
cronies.
VOICE
Seven?
MAN
That’s right.
VOICE
You’re good.
MAN
You already knew that.
VOICE
You’re very good.
MAN
You already knew that too.
VOICE
How much did he have on him.
MAN
Twenty-five grand.
VOICE
Shit! That’s it?
MAN
Yes.
VOICE
No shit?
MAN
No shit.
VOICE
You tellin me there’s nine nine
seventy-five out there?
MAN
I am. You disappointed?
VOICE
Yes and no.
MAN
How’s that?
VOICE
I want my cut of the ten million
now.
MAN
Don’t get too greedy.
VOICE
I’m not. But I’d also like a good
excuse to bust some heads in too.
MAN
Me too.
VOICE
So, what’s next?
MAN
I’m callin the fellas together.
VOICE
How many?
MAN
Just five.
VOICE
Just five! That means I’m gettin
one-seventh of ten million, that’s
it? That’s bullshit!
MAN
Take my share for all I care, I
don’t need it.
VOICE
I don’t want your money.
MAN
You didn’t mind taking half the
booty from me before.
VOICE
That’s different, that’s a
partner’s cut. I don’t need pity
money.
MAN
Then don’t take it.
VOICE
Your brother?
MAN
He’s in, but not for money.
VOICE
Why’d he only take twenty-five
grand?
MAN
Just to pay off his debts. Lee
didn’t send him. He heard there was
a big bunch of green in Vegas,
jumped on his high-horse, and got
his ass there.
VOICE
So how’d it all go down?
MAN
Let me tell you...
FLASH from the man’s mouth too...
INT. LOU SANCHEZ’S BASEMENT - MEXICO - DAY
A man stands, the man with the mouth from just before, but we never get a really good look at his face throughout the scene. He is standing beside a pool table with a pool cue in his hand. Eight other people are standing in the room, waiting. Our man reacts quick catching everyone else off guard...
He throws the eight ball in his hand at the man standing in the doorway twenty feet in front of him. It crushes the man’s face. Then in his right hand he rolls his pool cue up over his back and around to his front again, grabbing it with his left hand and then swinging violently at the man running at him, also from the doorway. He knocks the man flying after hitting him across the face. He then fights off the remaining five men with his pool cue and killing them or knocking them unconscious. On the last man he smashes his cue in half against the pool table and then, tossing it into his left hand, stabs the man in the stomach with the jagged end.
LOU SANCHEZ stands silently in the corner. Our man walks casually over to him and grabs him by the throat, throwing him against the wall into a dimly lit corner. Lou is leaned up against the wall looking up at his attacker. The man takes a step toward Lou, pulling out his gun and pointing it at Lou from point blank range. He fires the gun off five times hitting Lou in the chest everytime.
FLASH BACK to man’s mouth.
VOICE
That’s really how it happened?
MAN
You better believe it.
VOICE
You are very good.
MAN
Yeah, what can I say?
VOICE
When and where?
MAN
I want you there in three days.
In Texas, by the Mexican border.
Remember that little run down
church in that little run down
town?
VOICE
You want me to run down town?
The mouth smiles. Bad joke.
VOICE
Got it. See you in Texas.
MAN
See you later Sweetie Pie.
The man hangs up the receiver.
We cut and see that he was in a pay phone. He steps out and we see him for the first time, fully. He’s in a small Mexican town, surrounded by desert. And he is GINO ‘DIABLO’ VIOLENTE.
VOODOO CHILD by JIMI HENDRIX plays and the CREDITS begin to roll.
There is a man in the passenger seat of a black El Camino, TOPHER VIOLENTE. He nods his head back and raises his eyebrows at Gino. Gino gives him an affirmative nod with his head in return, climbs into his El Camino. Topher is fiddling with a rubix cube. Gino starts her up and they drive off through the desert.
MUSIC AND CREDITS OVER:
FADE IN:
EXT. CHURCH - TEXAS - DAY
A red sun rises above the top of the decaying, white church. A tumbleweed blows across the screen from right to left.
INT. CHURCH - TEXAS - DAY
Inside the church we see that it is relatively empty, except for five men who sit together, sprawled out on the first two pews. Some are leaning forward to talk with a person on the bench in front of them.
We cut to hear their discussions:
C/U of one of the men in the second row. He’s well built and thickly tanned. He’s speaking to a man on the first row, who is turned around to face him. The thickly tanned man is HANK. The other man is more scrawny and he is RICH MILLION.
HANK
No fuckin’ way. Steve Mcqueen, I
don’t care what character, would
pummel Sean Connery into oblivion.
RICH
Hold it the fuck up! Connery is
Bond, James fucking Bond.
HANK
I don’t care. No comparison.
Another man, SMITTY, is leaning his chin on his samurai sword mumbling to himself. In fact, they all have samurai swords, sitting beside them, in their hands, around their shoulder.
MR. SEVEN, a black man, has seperated himself from the rest of the group. He’s dressed in a nice black suit with black sunglasses. His samurai sword is laid neatly on his lap.
CUT BACK TO:
Hank and Rich still arguing.
RICH
All right, Charles Bronson?
HANK
Steve Mcqueen would fuck him up with
his right arm tied behind his back.
RICH
Oh come on! Chuck Bronson was the
ultimate!
HANK
Ultimate what? Cowboy? Hole digger?
RICH
Fuck this! You’re too goddamn
unreasonable!
He turns around in disgust. He looks to the Narhgang of a whale beside him, MORDECAI.
RICH
So what’s your story?
VOICE
Gentlemen!
The voice belongs to Gino Violente. He steps out from the back and now stands in front of everyone. Behind him to his left is Topher. Neither Gino or Topher look very tough in fact, they’re fairly small, but just like Hitler they’ve got tons of charm and can be the baddest motherfucker’s on the planet (second only to Sam Jackson). Rich raises his hand.
RICH
You bastard! We may be men but we
are far from gentle!
GINO
Point taken, and duly noted Rich.
RICH
So what the hell are we doin
here?
GINO
No need to jump right into to
things Richie. Calm down buddy.
RICH
Fuck man! I’m calm! You know me,
and when I’m not calm I’m really
fuckin high-strung!
HANK
Shut the fuck up and keep your
pants on.
Rich can’t believe he turns in his seat and steps up on the bench.
RICH
Fuck you Butch!
He dives onto Hank and tackles him. They scuffle for a bit but then Mordecai reaches back and pulls Rich back off of Hank and and throws him to the floor.
RICH
Hey, fuck off Fabio!
MORDECAI
Sit down and shut up.
He motions to grab Rich again but he backs away.
RICH
Don’t fuckin touch me! You wanna
touch somethin then why don’t you
go play with your ding-dong in
the holy water.
Mordecai laughs and sits down Hank laughs too. They both know Rich and he knows them. Richie’s always like this. He gets off the floor and sits back down wiping his forehead and stroking his hair back into place.
GINO
All right. Now not all of you
know each other the way Rich,
Hank, and Mordecai do. Some of you
don’t even know that the others
exist. And none of you know why
you’re here. But because you’re
all here, most of you, without
knowing why, I am pleased. Cause
that lets me know your worth and
your respect for me and my
respect for you.
RICH
Cut the crap.
GINO
Rich, give it a rest.
HANK
You been practicing this little
speech?
GINO
I have to. I didn’t even write
it.
HANK
Well who did?
GINO
She’s not here yet. It’s not
important. However, getting back
to my little speech... Where was
I?
RICH
I don’t know. I tuned out back
around... Say... When you said to
not jump into things. I just
wanna jump right into everything.
HANK
Jump back into your mother’s
cunt.
RICH
Be nice!
GINO
Thanks a lot Rich. Anyway, there
are five of you. You all know Topher
and myself. Hank, you know Rich, and
Mordecai. As does Rich and in return
Mordecai knows both of you.
He points to them so everybody knows who he’s talking about.
GINO
But neither of you three know
Smitty...
He points to him.
GINO
Or Mr. Seven.
He points to him to.
HANK
(to Smitty)
Nice to meet you. How do you know
Gino?
SMITTY
I’ve worked with him before, a
couple times.
We notice he was a slight Irish accent.
CUT TO:
EXT. LAS VEGAS - NIGHT
Smitty and Gino are walking down the street, it’s crowded but they plow their way through people like a train through a cow. They wear identical black suits.
GINO
Just be professional.
SMITTY
How’s that?
GINO
Be like me.
SMITTY
No problem.
They reach the hotel.
INT. HOTEL - LAS VEGAS - NIGHT
They walk into the lobby. In unison they stop and bend over. Gino pretends to tie his shoe, Smitty fiddles with his sock.
SMITTY
‘Xcuse.
He straightens up and walks over to a group of people and taps one of the men on the shoulder. The man turns around.
SMITTY
Can I bum a fag?
MAN
What?
SMITTY
A fag man! I wanna bum a fag!
MAN
Dirty fucker.
He takes a swing at Smitty. Smitty dodges it and then lowers the BOOM on this bastards nose with a right haymaker! The man crumbles to the ground laying on his back. He grunts trying to hold in the pain. The people with him bend over him and look at him like he’s dying.
Smitty walks back over to Gino who witnessed the entire situation.
SMITTY
How’s that?
GINO
What was that?
SMITTY
Me being you. I say something
stupid to someone to make them
swing at me so they start the
fight and then I break his nose
to cure my boredom.
GINO
I don’t really do that do I?
SMITTY
Oh yeah, all the time!
GINO
But I do it with style. Class.
SMITTY
What was wrong with that?
GINO
Everybody in the lobby is
watching us.
This is the first time we realize that everything is quiet and all eyes are on them but nobody moves. They ignore everybody.
GINO
And we’re on a job. We don’t want
to get found out. We have to play
things cool. After that shit you
pulled, we have to play things
fucking ‘deep freeze.’ You
understand?
SMITTY
Yeah.
GINO
No you don’t. See if you
understood, you’d have played
things cool and we’d be on the
elevator right now.
SMITTY
You said be like you.
GINO
I meant follow in my footsteps...
Don’t walk behind me! I meant
watch me and do what I do, when I
do it. Say what I say, how I say
it.
SMITTY
Then say that. Don’t beat around
the bush, and get all
mythological.
GINO
Mythological?
SMITTY
Philosophical.
GINO
Philosophical?
SMITTY
Metaphorical.
GINO
Shut your yap, you sound like an
idiot!
SMITTY
Well, just tell me something
straight out when you need to
tell me something!
GINO
You want me to tell you something
straight out!?
SMITTY
Yeah!
GINO
You’re a fucking moron!
Silence. Everybody still watching them. Gino puts on some sunglasses, Smitty does the same. Gino pulls out a .45 magnum and racks the slide, and then looks to Smitty.
GINO
Let’s do this thing.
They walk toward the elevator in silence. Nobody else moves. Gino hits the up button. Silence for a few seconds then the elevator doors open. Gino and Smitty step inside and then turn and face the lobby.
GINO
Anybody else?
No answer. The doors close.
INT. ELEVATOR - HOTEL - NIGHT
Gino pushes the number seven. They begin to ascend.
SMITTY
You know, I appreciate you
telling me that straight up.
GINO
No problem.
SMITTY
Maybe next time do it in private.
You know don’t embarrass me in
front of all those people like
that.
GINO
Hey, you wanna know something
straight up, prepare for the
worst.
SMITTY
Right. Room number?
GINO
I don’t know. From the strip he’s
on the seventh floor seventh
window from the right looking at
the building from the west. So,
off to the right a little.
The elevator stops and the doors open. They step out. And turn right walking down three rooms. They come to the door and stand in front of it.
SMITTY
You sure this is it?
GINO
No. But if it isn’t we try the
next one. It’s no big deal.
Gino knocks three times. There’s a pause. Then the sound of a lock unlocking. And then the door opens.
GINO
You Howdy-Doody? Why don’t you
offer us in.
The man doesn’t like this idea.
HOWDY
Um, no!
Gino pushes his way in anyways, and walks into the room followed by Smitty. Once they step in and look over and...
...WOW! Two transvestites are sitting next to each other on the bed, like they were just rubbing each other’s chests and they both sit bolt upright. Gino gives a smile at how bizarre the situation has become. Smitty doesn’t just smile.
SMITTY
Holy shit! Man! Check this shit
out! The bastard’s gone and got
himself a couple birdies eh. Come
to have a little fuck festival
with boys, and girl-boys and fun
toys too maybe!
GINO
Smitty.
SMITTY
Yeah?
GINO
Don’t make light of the
situation.
SMITTY
In your words I should make light
out of every situation.
GINO
Those are Rich’s words. But some
situations are too dark to find
light. This is one of them.
SMITTY
How so?
GINO
The man’s in enough trouble and
suffered enough humiliation.
SMITTY
Whatever.
Howdy moves over and stands between Gino and Smitty and the bed.
GINO
Why don’t you sit down.
Howdy does just that.
GINO
You two.
He’s referring to the transvestites.
GINO
Take a walk. Come back in fifteen
minutes.
They look at each other and then to Howdy and then take off out the door. Gino waits until the door is fully closed before he starts again.
GINO
Okay. Now I’m gonna forget
everything and everybody I just
saw. All that shit is irrelevant.
What I’m gonna do is close my
eyes and count to five.
He closes his eyes and counts:
GINO
One... Two... Three... Four...
Five.
He opens his eyes.
GINO
Now you are going to cooperate.
You are going to answer my
questions. You are going to
assist me. And you are going to
give me three things. Understood?
HOWDY
Yes.
GINO
(to Smitty)
You see how I handle the
situation. Calm and cool. No
tricks, just tell it like it is.
He turns back around to Howdy.
GINO
Now, there is a problem. You and
an associate of mine have a
problem. Why am I here you ask? I
solve problems. I am the
Mediator. You understand that I
don’t have a problem with you.
But I will fix the problem for
you even though it benefits my
associate. Do you know the
associate of whom I speak?
HOWDY
Yes.
GINO
And just so we’re on the same
page. What is my associate’s
name?
HOWDY
Lee.
GINO
You know his last name?
HOWDY
No.
GINO
That’s right, you don’t. What is
the problem I’m here to mediate?
HOWDY
I owe some money.
GINO
No you don’t. You owe five million
dollars. The best part is, I get
twenty percent. Standard share, I
won’t go less. Now you were supposed
to deliver some five million to the
safety deposit box three days ago.
I have been there every day for the
last three days and found nothing.
I’ve given you three days. That is a
bitch of a lot of time! What’s going
on?
HOWDY
I don’t know. I have the money. I
have more, take it! It’s ten million
I don’t want a part of this!
GINO
Don’t get hysterical. You need to
prepare for everything. What’s
up? You’ve got the money but
didn’t hand it over. I don’t
understand. That’s ridiculous,
that’s asking me to put a bullet
in your head.
He pulls his gun out and points it at the man’s head.
HOWDY
Take the money! I don’t want it!
It’s fucking tainted man!
GINO
You want me to just take the
money?
HOWDY
Yes.
GINO
And not deliver it? A whole ten
million when you only owe five?
SMITTY
He’s setting you up man. There’s
a catch.
HOWDY
Take it. I’m done dealing with
this Lee guy!
GINO
How’d you get an extra five million
HOWDY
Vegas baby. I’m fucking hot! Put a
lot down on a couple of longshots.
GINO
Why did you get in with Lee
anyway? Your messing with my
mind. I wouldn’t in my right
state take this money from you
for myself. I don’t steal from
Lee, he has my respect. And he
puts a name on my tag.
HOWDY
Just take it away and leave me
alone!
GINO
Where is it?
HOWDY
What?
GINO
Don’t fuckin go brain-dead on me
now! The money. You have ten million
dollars, where is it?
HOWDY
Where is it?... It’s gone.
SMITTY
Fuck this! Put a bullet between
his eyes!
GINO
You just said you had it. Now
it’s gone?
HOWDY
You think you’re the first here?
Wrong! There’s been guys comin in
here all day looking for me. You
aren’t the only Mediator.
GINO
How many guys?
HOWDY
A couple.
GINO
That’s pretty general fuck-ass.
HOWDY
Four.
GINO
Who?
HOWDY
I don’t know. Guy named Sanchez.
GINO
How much did you give him?
HOWDY
I don’t know. I didn’t give him
anything, he just took it.
GINO
Didn't you check to see how much
you had left?
HOWDY
Slipped my mind.
GINO
Who else?
HOWDY
I don’t know any other names.
Second guy come in, didn’t take
nothing, he walked away clean.
Third guy cleaned me out. Took
the rest. Fourth, demanding but
found nothing.
GINO
Two guys. Sanchez and some other
asshole. Four guys, four other
guys. That’s bullshit. I’m first.
SMITTY
Does it matter?
GINO
Like fuckin foreplay it matters!
Lee that son of a bitch! What’s
he thinkin?
SMITTY
I don’t know.
GINO
He wants the money. He knows it’s
ten million. He’s after it.
SMITTY
Next move?
GINO
We’re done.
SMITTY
What?
GINO
You and me are done. Go home.
SMITTY
Why?
GINO
Cause I’m pissed off! I want the
money.
SMITTY
What?
GINO
There’s two guys with money.
There’s two other guys who want
that money.
(to Howdy)
But they don’t know who has the
money do they?
HOWDY
I don’t think so.
GINO
But they’ll find out. Then
there’s Lee and me. He and I are
gonna chat.
SMITTY
Where are we goin?
GINO
We’re leavin. You’re on your own.
For now.
Gino leads Smitty out of the hotel room and towards the elevator. When the doors open the two transvestites step out and head back over to the hotel room. Gino and Smitty step in, an old lady gets in behind them.
SMITTY
That’s fucked up! The way I
understood we were together till
reassigned.
GINO
Keep your voice down.
He smiles at the lady standing behind them.
GINO
You’ve been reassigned. I’m
assigning you off my ass. I’m
after Lee.
SMITTY
You know Lee’s gonna be after
you.
GINO
But I’m already ahead of him.
Word of advice, stay away from
Lee.
The elevator stops and the doors open. When they do BOOM! A gunshot bellows out and Gino is hit in the shoulder with a bullet. The lady screams. Smitty jumps into action.
He spins out of the elevator jumps up and kicks the gunman in the throat. Then three other guys come running over to attack Smitty who bangs on the up button of the elevator and the doors close.
GINO
Goddamn fool!
Smitty is kicking ass! There’s eight guys around him but he is going Bruce Lee on these guy’s asses!
He jumps up, kicks a guy in the head. Another blocks his first punch but then gets hit with the next four. One guy jumps on Smitty’s back but he throws him off and he flies forward. Smitty takes three steps and drop kicks the guy he just threw who struggles to get to his feet.
One guy tackles Smitty and they fly through the front desk of the hotel, made of glass. Smitty kicks the guy off of him and then jumps up to his feet. He dodges a punch and then another and then lays the guy out with a powerful right hander.
Smitty is sweating and bloody but kickin ass! Smitty gets grabbed from behind. A guy throws a knife at him but he spins around and the knife gets buried in the back of the guy that grabbed him. He tackles a guy through the coffee table in the middle of some furniture. He picks up another guy and throws him through a glass wall. The people on the other side scream and get out of their seats and run and push in chaos.
Smitty pounds on a guy and then throws him into the wall. He then pulls out a knife and throws it into one of his attacker’s throats. He runs over pulls the knife out of the guys throat, he’s writhing and on his last leg. Smitty, with his knife, jumps up in the air over a toppled down chair. The man he’s about to pounce on is getting up from his knees and turns around. Smitty comes down hard on him and lodges the knife in the man’s chest, under the breast bone but stabbing up to puncture the heart.
Smitty rises from the ground standing over the dead body, he’s bloody but not wounded. Nothing moves, everything is quiet. Then the elevator bell dings, and the doors open. Gino is laying propped up against the elevator wall, bloody, and the lady is scared shitless glued to the wall.
GINO
Need a hand?
SMITTY
Thanks, but no thanks.
Then machine gun fire fills the hotel lobby. Somebody firing from an SUV driving past on the street. Smitty hits the dirt. The hail of bullets rips apart the few untouched areas of the lobby and destroys the rest of it beyond repair. The car then speeds off.
But Smitty isn’t finished. He runs out of the hotel lobby after the SUV.
EXT. LAS VEGAS HIGHWAY - NIGHT
Smitty is haulin ass after this SUV. He knocks people flying who are in his way. He keeps running until...
...BAM! He bowls over a cop! Oh shit! Smitty looks at the cop on the ground below him.
FLASHBACK -- Smitty is in a room with Gino.
GINO
And one last thing. If you ever
knock over a uniform, play it
cool then knock him senseless.
Smitty acknowledges.
Smitty on the street. He bends down to the cop.
SMITTY
Oh man. I’m sorry, I’m just in a
real hurry...
WHACK! Smitty knees the cop in the jaw as he’s getting up rendering him unconscious. Smitty then stands up and takes a deep breath.
He then takes off again after the SUV. The SUV turns a corner and he turns too. Then the SUV goes straight through a red light causing the green traffic to swerve and crash!
Smitty runs up to one car that’s stopped but not damaged. He opens the door and throws the driver out of it. He then jumps in and closes the door, to find a hooker in the passenger seat.
SMITTY
What’s up sweetheart?
He doesn’t wait for an answer. He slams on the gas and takes off after the SUV.
Smitty is chasing the SUV in the car, swerving around obstacles, nearly hitting pedestrians, causing other vehicles to spin out of control when he cuts them off.
He pulls out a 9mm beretta and sticks his arms out of the window and fires it at the SUV twice. The SUV brakes hard and takes a corner at break-neck speed. Smitty follows, but being in this small car can take the corner a lot better and dodges inside gaining a lot of ground on the SUV while sending pedestrians jumping out of the way.
He’s out of the turn and slams on the accelerator and gets right up close to the SUV, right up beside it. He bumps the SUV in the side and both vehicles wobble. Then Smitty takes his car just to the right enough to give himself space. He then gets about ¾ of a car length ahead of the SUV and slams on the brakes and turns hard left.
The driver of the SUV doesn’t have time to react and slams into the front corner of Smitty’s car and ramping off of it and in the air, flipping on its side and landing hard on the ground and taking out a fire hydrant, water shooting up everywhere.
Smitty is shaken but climbs out of his car and heads toward the totaled SUV to look for survivors. There are. Three of them climb out of the SUV. They’re cut and bruised but not too bad. They stand in a line and then advance, walking right at Smitty. They look like they know what they’re doing. But he’s ready for them...
...Bang! He kicks the first guy in the stomach, punches the next guy in the face knocking him out, chops the third guy on the neck with the side of his hand and he goes down in an unconscious heap. Then CRACK! He snaps the neck of the first guy he kicked down. WOW! Over in less than three seconds!
Smitty just stands over the fallen bodies looking down at them. Breathing hard, adrenaline lowering, water splashing down upon him.
DISSOLVE TO:
INT. CHURCH - TEXAS - DAY
All the guys are looking at Smitty with all their attention, he’s just been telling them the story.
HANK
You took out three of the Albino
Pacifiers like that?
Smitty nods, a man of few words. Hank smiles.
HANK
That’s damn good kid.
RICH
Yeah, those fuckin pacifier’s are
always on our ass huh.
GINO
Well that’s Smitty’s story, and
well told too. No ridiculous
exaggeration. But leave it at
that. We’ll get back to some of
that stuff.
RICH
Get back to it? What the fuck
were you thinkin trying to
challenge Lee. Never told that
story to him have you?
SMITTY
No.
GINO
There’s more to it Rich. We’ll
get to it later.
RICH
More to what?
GINO
Drop it for now.
Rich leans back in his bench.
HANK
What about this guy? Mr. Seven?
Mr. Seven turns around to look at him.
HANK
Mr. Seven. What’s your story?
MR. SEVEN
We met before didn’t we?
HANK
When?
MR. SEVEN
In Japan. Gino was meeting me
there. You were with him. We got
in shit with Loonies. Had to
blast our way outta there.
FLASH TO:
INT. JAPANESE BAR - JAPAN - DAY
Gino, Hank and Mr. Seven firing off guns at the Loonies, a group of punk Japs that are always starting shit. They do the dirty work for the Japanese crime lord, Shi Kni, a young Japanese woman. Bullets are flying through the air and hitting everything but the intended targets.
FLASH TO:
INT. CHURCH - TEXAS - DAY
HANK
Yeah yeah. But then you and Gino
took off your own way and I had
to go speak with Shi Kni. Never
really got to talkin.
MR. SEVEN
Yeah.
He nods his head. Gino wants to move things forward. He claps his hands together.
GINO
Next!...
SOUNDTRACK FOXY LADY by JIMI HENDRIX; The part before the chorus when he goes Ooh! Foxy Lady! Timed perfectly with the swinging open of the church doors at the back of the church then silence as, a woman stands in the middle of the doorway. We can’t see her, only her shape, a black outline as the light floods into the church blindingly behind her. She has a sheathed samurai sword in her hand. She speaks:
WOMAN
Got any room for a pussy?
The voice is the same as the woman’s on the phone earlier.
GINO
All right guys, this is
Josephina.
JOSEPHINA
Diablo! If you call me Josephina
again, I’ll detach your balls
from your crotch and use them as
earrings!
GINO
Don’t call me Diablo.
JOSEPHINA
Don’t call me Josephina!
GINO
Jo.
JO
Gino.
SOUNDTRACK FOXY LADY breaks out again, at the chorus. Jo steps into the church and walks down the aisle in slow motion. We finally get a good look, Hell, a great look at this broad! She’s wearing all black, black tanktop, black track-type pants fitting well on her saying in white letters ‘ASS’ right on her ass, black shoes, and black sunglasses. She has dark red hair with lots of body.
As she walks down the aisle, she walks with style. She has this confident strut in her walk. When she reaches the end of the aisle to where the guys are the slow motion stops and so does the MUSIC. She nods to Rich.
JO
What’s up Richard?
RICH
Only the sky baby, and love is in
the air.
JO
You finally find a nice sailor
man?
RICH
Almost.
She smiles.
RICH
Oh, your smile is worth a million
bucks.
JO
As opposed to yours that’s worth
a couple of screams and a punch
in the mouth.
RICH
Oho baby!
Everyone breaks out laughing. She now greets the remaining members.
JO
Hank.
HANK
Jo.
JO
Mordecai.
MORDECAI
Jo.
SMITTY
Jo.
JO
Smitty. Mr. Seven.
MR. SEVEN
Jo.
GINO
You’ve greeted everyone. Why’re
you late?
TOPHER
She hasn’t greeted me yet.
GINO
She doesn’t have to.
TOPHER
But she gets to greet Rich.
JO
Hello Topher.
He smooths out his shirt, and puts on a look.
TOPHER
What’s up baby.
GINO
Why’re you late?
JO
Poor directions.
GINO
You know exactly where this
church is.
JO
Course I do, it’s here.
GINO
Don’t be a cunt.
JO
Don’t make me out to be one.
GINO
You always gotta win?
JO
What do you think?
TOPHER
Slap her Brother Diablo.
MORDECAI
Yeah she answered with a question.
MR. SEVEN
Doesn’t make no sense.
RICH
Let the hottie speak!
GINO
Richie, go to the corner.
SMITTY
The corner?
Mr. Seven turns to him.
MR. SEVEN
The corner is slang for Hell.
TOPHER
You know, tumbleweed tastes good
when it’s fresh.
Silence.
GINO
Why are you late?
JO
You want to know? Here’s the
scoop...
FLASH TO:
INT. BASEMENT - DAY
A shot of a mouth like in the first scene. In fact the end of that conversation. Only this mouth belongs to Jo.
JO
You want me to run down town?
She smiles.
JO
Got it. See you in Texas.
GINO
See you later Sweetie Pie.
She hangs up the phone. We zoom out slowly showing her face...
...Then we see a gun pointed at her head. Zooming out some more we see a group of five men standing around her, they look like assassins and one man is holding the gun to her head. She looks calm.
GUNMAN
Who was that?
He’s a Russian.
JO
None of your business.
GUNMAN
Your life is in my hands. It is
my business.
JO
Maybe it’s your business to find
out.
GUNMAN
No. You know why we are here?
JO
Because I’m to gosh-darn gorgeous
to keep away from.
GUNMAN
Close. And in any other case,
yes. Diablo.
JO
Diablo?
GUNMAN
We are looking for him.
JO
Who is Diablo?
GUNMAN
You know who Diablo is. The question
is: where is he?
JO
Who do you work for?
GUNMAN
That’s a silly question. We all
work for the same man.
JO
Are you including me in that
‘we’?
GUNMAN
Naturally.
JO
Then you’re wrong. I don’t work
for anybody.
GUNMAN
But until recently you worked for
Lee. He would take you back if you
asked him.
JO
Because I was his best? No.
GUNMAN
Are you going to force me to be
more persuasive?
JO
What do you want?
GUNMAN
Diablo.
JO
Is there anyway out of this
without giving you that?
GUNMAN
Yes.
JO
Well, why don’t we go for that.
GUNMAN
Sure.
But he doesn’t really know what the alternative is, he thinks of one.
GUNMAN
Can you dance?
JO
What?
GUNMAN
You give each of us a lapdance,
and you may go. A good American
lapdance that we hear so much about.
JO
Is that all?
GUNMAN
Yes.
He looks to his comrades and smiles and they all return their opinions with a smile.
JO
All right. Let’s get started.
She stands up from her chair, so fast that she surprises everyone. The gunman looks at his men again in surprise that she’s gonna do it, but looks satisfied and smiles again.
Jo puts a hand on the gunman shoulder and changes position with him then pushes on his shoulder sitting him in her seat. She puts her back to him and begins to dance. She takes off her shirt revealing a white undershirt and then turns around to face the gunman again.
The rest of the men watch, almost mesmerized. She puts her shirt around the gunman’s head and puts her foot up on the back of his chair, sliding it along the back and wrapping her leg around his head seductively. Then...
...CRACK! She snaps the gunman’s neck and his body goes limp as his head falls lifelessly to his chest. The other men are taken by surprise (holy shit!). Nothing moves. Jo looks around to the other’s with a slight smile on her face.
JO
Who’s next?
Pause. Then BOOM! As everything breaks into action the SOUNDTRACK blares out a loud HEAVY METAL song. The four captors all charge at Jo from different angles. She kicks, flips, punches, and twists, knocking back all four of them to the ground.
They all get back up to their feet. They stand in a square, surrounding Jo. The man directly in front of her charges at her. She blocks his punches and then, lightning fast, rips his left eye out with her thumb and index finger. Writhing in pain and holding his face, the man falls to ground, blood everywhere.
She turns on the spot to her left to look at the next man. He looks at her as though he’s disgusted by what she’s done. He pulls out a beretta and fires it at Jo. WHOOSH! She dodges it and it hits the man behind her, square in the chest. He falls back dead. The man with the beretta empties the gun at Jo but she dodges them all, without moving from her position. He pulls the trigger, the gun clicks: empty.
The other man charges at Jo from the side. Still facing the man with the beretta she reaches out to the man charging her, grabs him, picks him up, and with a huge force throws him into the wall.
The man with the beretta is shaking as she looks him in the eye. She turns away, goes to the desk and pulls out a pad of paper and a pen. She writes a note on the top sheet of paper and then folds it and puts it in her pocket.
She then writes another note, the man still shaking, watching her. She tears that page off and then walks over to the shaking man and puts it in his pocket. She gets on her tiptoes and kisses the man on the cheek. He gasps, gurgles and falls to the ground.
Jo sighs and then walks out of the room just before she leaves she throws the note, which she’s folded into a paper airplane, back into the room and we see that the man has a samurai knife lodged in his stomach.
EXT. HOUSE - NEVADA DESERT - DAY
Jo steps off the porch in SLOW MO.
JO (V.O.)
I knew there was gonna be
trouble. I knew those Russian
bastards were working for Shi
Kni. They weren’t Japs, no, they
never are. I just don’t know how
she found my Vegas hideaway. Not
that its very private its just
that, come on, it’s in the middle
of nowhere. So I also knew that I
had to beat it to Japan.
EXT. 767 AIRPLANE - SKY - DUSK
The plane flies through the pink clouds.
EXT. JAPANESE AIRPORT - JAPAN - NIGHT
The plane lands at the airport.
INT. PLANE - JAPAN - NIGHT
Jo’s head pokes out of the plane’s bathroom and looks around. Nobody else is on the plane. She opens the door and steps out. Then a man steps out of the bathroom behind. Then two other women step out of the bathroom behind him looking around like they just joined the mile high club. How’d they all fit in there?!
JO (V.O.)
Nice try Topher. Anyways...
INT. JAPANESE AIRPORT - JAPAN - NIGHT
Jo walks through the busy airport to the baggage claim where she grabs one bag and continues on her way without even having to stop and wait for her bag. She walks straight out of the airport without a look to either side or back.
EXT. JAPANESE AIRPORT - JAPAN - NIGHT
Jo walks up to a security man drops her bag and grabs him hard by the balls. He gasps.
JO
You part of Ground Zero?
He gasps more not saying anything.
JO
Answer the question before I rip
them off.
MAN (JAPANESE)
I don’t know any Ground Zero.
JO
Wrong answer.
She throws him through the glass wall behind them. Then she picks up her bag and continues on.
CUT TO:
Man lying on broken glass. On the back of his hand is a black tattoo of a 0.
Jo steps off the sidewalk and waves down a taxi and climbs in.
EXT. TANAKA RESTAURANT - JAPAN - NIGHT
The taxi pulls up the restaurant and bar and Jo steps out. She surveys the crowd around the door and then walks into the building.
INT. TANAKA RESTAURANT - JAPAN - NIGHT
Jo walks through the dim entrance and into the huge dining hall inside. The place is huge. It’s one large open hall with a bar off to the left. In the exact middle of the room is a wide aisle with tables on either side of it. Jo walks straight down the aisle and when she gets to the other side of the room she stops. Everyone in the room seems to stare at her. She doesn’t belong.
JO (JAPANESE)
Shi Kni!
The room goes quiet. She repeats.
JO (JAPANESE)
Shi Kni!
Shi Kni steps out of a back room above everything in front of Jo. Bodyguards at her side.
SHI KNI (JAPANESE)
Josephina, why don’t you wait
outside until you are invited in?
JO (JAPANESE)
Why don’t we talk one?
SHI KNI (JAPANESE)
One?
JO
Now! I’m not as good at this Jap-
yabbering bullshit as Gino.
Wrong thing to say.
SHI KNI
Jap-yabbering?
JO
You speak very good English.
SHI KNI (JAPANESE)
You commit blasphemy to the master
race! You come here to talk, to say
‘Jap-yabbering!’ I have not suffered
through Hell to be taunted by some
American whore! My ancestors have
not been tortured and murdered for
sustaining our way of life, only to
be insulted by some misshapen bitch!
JO
That last part?
The bodyguard to the left of Shi Kni answers:
BODYGUARD
Misshapen bitch.
JO
That’s what I thought. Now are we
gonna get to talkin, or not?
Shi Kni smiles at her.
SHI KNI
This way please.
Jo goes up the stairs and follows Shi Kni down a long hallway. On either side of the hallway the walls are covered in Shi Kni’s own personal Bayeaux tapestry. Only these pictures depict her ancestors, the Minamoto’s, and their war and struggle with the Teiran clan for domination over Japan which the Teiran’s won.
Jo walks on looking at the pictures on the walls and putting them all together in her mind. When they reach the end of the hallway Jo stops and looks at the last picture on the wall. She stares at the picture of a Japanese Teiran lord holding up the severed head of the Minamoto general.
SHI KNI
In here.
Jo looks over to see Shi Kni’s look of hatred staring back at her just before she leads the way into the room. Jo follows.
INT. PRIVATE SUITE - TANAKA RESTAURANT - NIGHT
And then kneels down at the opposite end of a square table that sits in the middle of a typical Japanese living room. There are columns surrounding the room and behind them is darkness before the walls.
SHI KNI
Why is it you are here?
JO
Don’t sound so surprised to see me.
But maybe you should be.
SHI KNI
I am surprised to see you.
JO
Alive?
SHI KNI
Here.
JO
So you thought I’d survive?
SHI KNI
Survive what?
JO
Don’t be coy with me bitch.
SHI KNI
I don’t know what you are talking
about.
JO
Seventeen hours ago I had a gun to
my head. The hand grasping the
handle belonged to some Russian
cheese-dick. He was on deck with
four other men. You know anything
about this?
SHI KNI
I can’t say that I do.
JO
You can’t say that you do because
you don’t or because you don’t want
me to claim your head and take it
with me back to Texas.
SHI KNI
If it was a Russian cheese-dick, why
do you pin the tail on me?
JO
Have we ever gotten along, you and
I? No. Just because they weren’t
Japs, doesn’t mean you didn’t send
them. You knew there was the risk
that I’d kill all five of them and
get away. You wouldn’t want that to
happen to a nice strapping Jap
fellow would you. So you thought
better be safe and go with the
‘barely good enough to live’
Russians.
SHI KNI
I am surprised at you Josephina...
JO
Careful bitch.
SHI KNI
I would have thought you to take
more care in judging your enemies.
JO
I take little care. Enemies are
enemies and that’s it.
SHI KNI
These Russians were trying to
assassinate you?
JO
They were looking for Diablo.
SHI KNI
Diablo? Yes, Diablo. Very hard to
find. Where is he these days?
JO
I’m not gonna give away any
information, not to you, not without
a very high price.
SHI KNI
How high?
JO
Very. Gino’s an army of one. Too big
to keep secret, too small to find.
SHI KNI
How high?
JO
When I say jump you say...
SHI KNI
How high?
Jo laughs. Shi Kni isn’t familiar with that.
JO
I’m startin’ a thing with Gino, I’m
gonna find some stuff out cause
somethin weird’s goin on. Til then
you get nothing. Not that I’d give
you anything anyways.
SHI KNI
Why are you here?
JO
Shit, do you pay attention? Gun to
my head, askin for Diablo.
SHI KNI
Why me?
JO
Hunch. Something’s happening. Diablo
callin some people together and
people are lookin for Diablo. Just
wonderin if you knew anything about
that.
SHI KNI
Not this time. But maybe later, I’ll
stick my nose in on the business.
JO
That’d be nice. Give me a real good
excuse to finally kill you.
Jo hears someone move off to her left and glances over.
JO
Loonies? You got Loonies here?
Shi Kni just stares back at her across the table.
JO
I know you do. Cause Loonies are
stupid punk-ass shit-heads that
can’t sit still. What happened to
the fifteen? Found fifteen other
homosexual assassins to play with?
You gotta settle for the protection
of the subordinate inbreds.
Sound of SWORDS UNSHEATHING. Then eight Japanese men, Loonies, jump out of the dark corners of the room at Jo who doesn’t move a muscle. The eight Loonies are about to strike Jo down until Shi Kni raises a hand.
SHI KNI (JAPANESE)
Stay your weapons!
Jo just looks at Shi Kni, smiles and rises from the floor.
JO
Another time.
She walks out of the room without looking at any of the Loonies. Once she’s out Shi Kni starts going Apeshit at the Loonies in Japanese.
INT. DINING HALL - TANAKA RESTAURANT - NIGHT
Jo walks back down the aisle in the middle of the room. Behind her, Shi Kni approaches the balcony again.
SHI KNI
Josephina!
Jo stops with a sour look on her face. Quick as lightning, she pulls a DESERT EAGLE out turns around and fires it off. The bullet flies through the air and then Shi Kni reaches out with her left hand just as fast and catches the bullet.
JO
Consider that the warning shot
across your bow! The next one’s
gonna be up it.
SHI KNI
I beg your pardon but you forgot
your library card.
She holds up a library card straight in front of her. Jo feels around her mouth with her tongue, thinking. She then walks back up the aisle and up the stairs to where Shi Kni is standing. Shi Kni hands her the library card and then gives her back her bullet.
JO (JAPANESE)
Thank you.
SHI KNI (JAPANESE)
You should be more careful. You
wouldn’t want that slipping into the
wrong hands.
Jo turns around and walks back out again.
EXT. TANAKA RESTAURANT - JAPAN - NIGHT
Jo steps out of the restaurant and onto the street. She begins to walk down the street.
JO (V.O.)
So it wasn’t Shi Kni. Ground Zero?
Not probable, but not implausible.
Hell, it could be Lee. Lookin for
you. That’s what I’m tryin to figure
out. So I tracked down my Informant
of Foreign Affairs.
Jo walks into an apartment building.
INT. APARTMENT - JAPAN - NIGHT
She steps in front of the door to one of the rooms and knocks. The door opens and an old Japanese man shows Jo into the room.
JO (V.O.)
Jed. I knew he wouldn’t let me down.
JED sits Jo down and sprawls out on a couch near her.
JED (JAPANESE)
Josephina, what brings you here
unannounced but not of course
unwelcome.
Jo doesn’t even care that he used her full name.
JO (JAPANESE)
I need to figure something out. I
need answers. I need rest. And I
need it all now.
JED (JAPANESE)
If you would like to have sex we
would have to do it in the closet
because you-know-who is sleeping in
the bedroom.
JO (JAPANESE)
Knock it off.
Jed laughs.
JED (JAPANESE)
What do you need first?
JO
First I need answers. Here’s the
situation: I was set to wait for a
phone call in the basement of my
Vegas hideaway; just before I get
it, these Russian assassins come
bursting in while I’m sitting by the
phone and point a gun to my head and
tell me to take the call when it
comes.
JED
Who is the phone caller?
Jo sighs.
JO
Diablo.
JED (JAPANESE)
Diablo? No no no no.
JO
Jed, just listen. This is about you
helping me, not you and Gino, got
it?
Jed nods.
JED
What kind of gun did your assassins
carry?
JO
Glock-auto, if you can believe it?
JED
Glock?
JO
Yeah. I suppose they figured they
might need quite a few shots before
they could bring me down.
JED
Did they?
JO
They’re still shootin.
Jed laughs.
JED
So, a Russian with a glock. Found
you, hoping to get the whereabouts
of Diablo. Diablo or Gino?
JO
Diablo.
JED
Diablo. My guess... Lee.
JO
Lee? Why Lee?
JED
Because Lee wants to know where he
is.
JO
Why would Lee want to know where he
is? He could call him up himself.
JED
Clearly there is more to this mishap
than we know of. How much more? I
don’t know.
JO
You sure it’s Lee?
JED
I said that my guess would be Lee.
Now, would you like some rest?
JO
No way. I haven’t figured a goddamn
thing out yet.
Jo stands up and paces the room in frustration.
JO
No thanks. No sleep until I figure
this one out.
JED
Have you asked Gino?
JO
He won’t tell me shit if there’s a
problem. Unless...
She doesn’t finish her thought, out loud. Jed stares at her.
JED
I am going to bed. You can stay here
and think. But you must be gone by
morning. If she comes out here and
you’re lying there naked then, I
don’t know, Hell will freeze over or
something when she absorbs all the
heat down there.
JO
How do you know I sleep nude?
JED
Wonderful, magical stories.
JO
Diablo?
Jed nods back to her with a smile as he walks out of the room.
JO (to herself)
Diablo.
She walks out the door to the apartment.
INT. ELEVATOR - APARTMENT - JAPAN - NIGHT
Jo stands in the elevator going back down to the ground level to leave the apartment building. When Jo talks she is talking to the seven men back in the church but instead of a VO the past Jo speaks.
JO
I admit it, Jed, for once, didn’t
know shit. I thought about it some
more, but I couldn’t come to a
reasonable conclusion. I thought and
I tell ya I thought hard. Nothing.
Wasn’t Shi Kni, I knew she wasn’t
lyin’. Russian’s didn’t do that on
their own, I don’t know of any
Russian enemies you have Gino. So, I
kept thinking on and on and on. I am
done thinking, seriously. I thought
of who might be after you, but can’t
find you. But can find me, and know
that I know you. That list of people
is no more than a few. Half of which
are in this church right now.
We do the old Brian de Palma background shift and Jo is once again, standing in the middle of the church surrounded by seven other men listening to her intently.
JO
So, what’s going on?
Everybody shifts their gaze to Gino. Topher steps up to the plate, obviously he knows what’s going on but also knows to divert the questions away from the actual situation.
TOPHER
Who’s hungry?
JO
Not now Topher.
TOPHER
You don’t speak for everyone Jo.
He looks around.
TOPHER
Rich? Hungry?
RICH
Well, I don’t know, got any
cheeseburgers around here?
JO
Real nice Topher, target the guy
that never wants to get the work
done. The guy that can’t think for
himself anyway.
RICH
Hey!
TOPHER
Jo, you need to just settle down,
and wait your turn. There’s plenty
goin on, lots of questions, and lots
of people just barely know each
other.
JO
What’s that supposed to mean?
TOPHER
There’s a job to be done that can’t
be on acquaintances.
JO
Get your head out of your ass Topher
there’s no job until we’re given an
assignment. That doesn’t seem to be
coming too soon.
The Topher slaps her across the face. Jo straightens up and looks at him.
JO
Did you just slap me?
TOPHER
What did it feel like?
JO
A bitch slap.
TOPHER
Good, now don’t make me spank you.
Jo sits down. Gino steps up again.
GINO
Richie. You remember that time we
were up in Thailand?
RICH
Course man. We were at that bar
looking for our informant. Some six
year old kid, genius kid, that was
working for Nike. I got into that
bottle fight with that pimp over how
big his shoes were. He said size
like seventy but no, they were
smaller than my nine’s.
Everyone laughs.
GINO
Tell us a story Million, make our
worries go away.
RICH
You asked for it Gino.
EXT. LOS ANGELES - DAY
Slow motion pan starting at a man’s feet. We go up slowly. We see a baby carriage to the man’s right. The man’s arm reaches out and grabs the sucker out of the baby’s mouth and the man puts it in his mouth right as we reach his head, and we realize that it’s Rich Million, takin candy from a baby. End Slow mo.
Rich walks across the street toward a car parked and empty on the curb. Hank steps out of a building carrying a briefcase and walks toward the car from the same side of the street as it.
RICH
All right, get in. No feds for a
block and a half.
Hank nods his understanding and gets into the passenger side. As Rich opens up the driver’s side door an automated voice comes from the car.
CAR
Your door is ajar... Your door is
ajar.
Rich laughs at the absurdity of this statement. And says to the car:
RICH
No it’s not, it’s a fuckin door!
He climbs in, closes the door (the voice shuts off), and drives off.
INT. MOVING CAR - L.A. - DAY
Hank has the briefcase propped up on his lap and he’s playing with the radio. STYX ‘RENEGADE’ is starting up on the radio and he leaves it.
RICH
So everything went smooth I presume.
HANK
Shut up.
RICH
What?
HANK
Don’t fuckin talk, I’m listenin to
the song damn it.
Rich turns away frustrated.
RICH
Fuck.
He keeps driving with his eyes on the road. Hank starts bobbing to the music and slowly works his way into singing along. Hank’s having a good time. When the chorus breaks out Rich starts singing along with Hank.
They laugh and sing, Hank puts his hand around the back of Rich’s neck and shakes him playfully. They laugh.
HANK
Okay, Rich Million, now talk.
RICH
Now?
HANK
Yes.
RICH
Right now?
HANK
Yes.
He laughs.
RICH
No fuckin way man, I’m listenin to
the song now.
Hank laughs and then turns the radio off.
RICH
I was listenin to that!
HANK
No you weren’t.
Rich gets down to business.
RICH
So how’d it go?
HANK
Smooth. Like a baby’s bottom. What
do you think?
RICH
I don’t know. I had some worries.
HANK
Worries?
RICH
Yeah.
HANK
About me?
RICH
Yeah.
HANK
About this?
RICH
Yeah.
HANK
What kind of worries?
RICH
Just worries like, you know, about
you?
HANK
Worries about me how?
RICH
Just you know, if you’d be okay goin
in there alone and stuff.
HANK
What?
Hank shifts in his seat and moves uncomfortably.
RICH
Calm down damn it. There were lots
of guys in there, you were by
yourself that’s all.
HANK
You sound like a fuckin fairy.
RICH
Hey, I ain’t no fuckin fairy.
HANK
Oh yeah prove it.
RICH
You can’t prove something like that
to another guy.
HANK
Sure you can. Now do it.
Rich tries desperately to think of something that will save his manhood.
RICH
Okay! I got something, I got
something. You remember that fox
Gino found.
HANK
What one?
RICH
The super-fox! Man, unforgettable!
The tan, the ass, the tits. And she
can kick ass.
HANK
The one with the tan? Red head?
RICH
Yeah, Josephina.
Rich slapped in the back of the head by an imaginary hand (Jo’s). The Rich in the car turns to the backseat, where no one is and says:
RICH
All right, Jo.
He turns back around to continue driving, Hank acts like nothing happened.
RICH
Oh man she is something else!
HANK
What does that have to do with your
homosexuality?
RICH
I fucked her! Man more than that! It
was like ten times all night, and
everywhere!
HANK
What do you mean everywhere?
RICH
The bitch let me stick it
everywhere!
HANK
You fucked her? She’s sixteen.
RICH
I know. I found out afterwards. She
was a great lay. For sixteen.
Hank laughs unbelievably.
HANK
I don’t believe it.
RICH
Believe it or not man, but the
Million, is Rich on love.
HANK
Shut the fuck up.
RICH
All right, all right don’t believe
me.
They sit in silence for a moment.
HANK
You are a fairy.
Rich slams on the brakes and skids to a halt.
RICH
Get outta the car!
Hank laughs.
HANK
What?
RICH
Get outta the car!
HANK
No.
RICH
Do it or I’ll fuckin blow ya away.
He pulls out his gun and points it at Hank’s head. Hank pulls out a gun of his own and points it at Rich’s head.
HANK
No you won’t.
RICH
Oh yeah Mr. Smarty-pants, why not?
HANK
Cause I’m pointing a gun, the same
as you.
They sit in silence until another voice is heard from behind Rich’s head.
VOICE
You boy’s got a problem?
They both look over, and standing by the driver’s side door is a BOY IN BLUE, pointing his gun at them.
RICH
Is there a problem officer?
He doesn’t lower his pointed gun from Hank and neither does Hank from Rich.
OFFICER
Why don’t you tell me.
RICH
Well, if there isn’t any water
spraying up like a giser on the side
of the street then I’d say we’re
pretty cool.
OFFICER
You think you’re cool?
RICH
I didn’t say that, I said I’m cool
if there’s not a giser of water. Pay
attention cause I choose my words
very carefully.
OFFICER
Is that so?
HANK
Actually the man can’t keep his
mouth shut. He can’t help but speak
out of turn. He’s a real asshole
that way.
Rich smiles at the cop.
OFFICER
Lower your weapons.
He needs to repeat.
OFFICER
Lower your weapons.
HANK
Lower your gun Richie.
RICH
Hey I’m not lowering until you
lower.
HANK
Just put your gun down.
RICH
Fuck you man, you put your gun down.
The cop puts his gun right up against Rich’s cheek.
RICH
Okay.
He throws the gun to the floor of the car.
OFFICER
And you.
Hank lowers it.
OFFICER
Now step out of the fuckin car.
Rich doesn’t move, he glances in the mirror and sees that there isn’t anyone else in the cruiser parked behind them.
OFFICER
Get out of the car now!
Rich slowly opens the door to the car. The voice of the car comes on again your door is ajar.
OFFICER
Does that come standard?
RICH
You mean the nonsense? Yeah. You
know what doesn’t come standard?
OFFICER
What’s that?
RICH
Cooperation.
Rich grabs the hand that the cop carries the gun in and slams it up into the car’s window frame knocking the gun out. Rich picks up the gun and points it at the cop, cradling his busted hand.
RICH
Now cooperate.
The cop looks at him.
Hank picks his teeth, not interested in the situation.
RICH
Take off your uniform and everything
underneath.
The cop looks at him. It’s attracted a crowd of nervous spectators.
RICH
Do it.
He fires the gun off between the cop’s feet. The cop jumps into motion taking his clothes off.
RICH
So, boxer or briefs?
He laughs. The cop has stripped down to his boxers. Rich nods his head to indicate that he must take those off too. The cop complies.
RICH
Welcome to butt fucking humiliation.
He climbs back in the car and drives away.
INT. MOVING CAR - DAY
Hank looks at Rich closely.
HANK
That didn’t do anything to help
convert you back to masculinity.
RICH
Would you drop it?
HANK
All right Mr. Hetero.
RICH
Good, cause we got a job to do.
They drive for a moment in silence. Then Hank spots something.
HANK
What the fuck was that?
He looks back behind him.
RICH
What?
HANK
Back there, a buncha men were
loading some crate into the back of
this truck. A guy had a zero on his
hand.
RICH
Ground zero? In L.A. No fuckin way
man this our town. Nothin happens
unless we know about it.
HANK
Maybe we do?
RICH
We don’t.
HANK
You wanna check it out?
RICH
No! No way. We got a deadline to
meet and that frolic back there with
the cop didn’t stop the clock. So we
keep moving.
HANK
C’mon. Chuck would understand. It’s
us. He ain’t going anywhere else all
day, he can wait for a half hour, it
won’t kill him.
RICH
Fine.
He turns the car around and goes back. They’re driving back, when the truck passes them going the other way. Hank points it out.
HANK
Hey, that’s the truck.
Rich isn’t happy, he just turned around.
RICH
Fuck fuck fuck fuck fuck.
He turns it back around and continues in pursuit of the truck.
RICH
Why didn’t you tell me that was the
truck?
HANK
I did.
RICH
Before it passed us for Christ's
sake.
HANK
Just follow the bastard and his
truck.
Rich shuts up and follows.
Eventually the truck turns right and then goes through a fenced gate, into the parking lot of a warehouse. Rich follows, not trying to be conspicuous or anything, and parks as well.
RICH
You sure these guy’s are Ground
Zero?
HANK
Positive.
They wait a moment and then the driver’s side door of the truck opens up, and a Japanese man steps out and makes his way to the back ignoring the other car that pulled in behind him.
Rich and Hank step out of the car. Hank looks around, Rich walks up to the Japanese man and Hank follows him slowly.
RICH (to man)
Excuse me. What’s your cargo?
The Jap looks at him funny.
RICH
In the back, what’s in the back? I’m
Agent Nine, this is Special Agent
Forty-eight Hundred, DEA. We
regulate the goings on around here.
This warehouse is owned by the West
Texas Mafia, we wanna look at your
cargo.
JAP
Badge?
RICH
Excuse me.
JAP
You have badge?
Rich looks unbelievably to Hank. And says in an old-fashioned Clint Eastwood way:
RICH
Badges! We don’t need to show you no
stinking badges!
Hank steps up to the Jap and Rich laughs.
HANK
Listen, we aren’t from West Texas,
or whatever he said, but we are
gonna look at your cargo.
JAP
No badge, no cargo.
HANK
All right.
Hank puts on some shades, turns around, puts his arm around Rich’s shoulders and leads him back to the car, he’s discussing something with him but we can’t hear. We are the Jap. We watch them walk back to the car, and open the trunk.
Then Rich and Hank each pull out a pump-action shotgun, and walk, with huge strides, in unison up to the Jap who’s taken by surprise. They both stick the barrels of their shotguns in the man’s face.
Rich grabs the man’s hand and looks at the ‘0’ on it.
RICH
Ground Zero? We know about you. So,
don’t play dumb-fuck. Open up.
The Jap looks at them.
HANK
Open the back up.
He turns slightly with the shotguns shoved in his face and flicks a latch, releasing the door, sending it swinging up. And inside is...
...A whole bunch of other Ground Zero members pointing artillery at Rich and Hank. Hank notices that in their midst is the crate.
HANK
We’re bad guys too, that means we’re
all friends.
This is awkward and tense, the perspiration on everyone’s face is collecting.
Then the Jap swings and knocks the shotguns flying out of Hank’s and Rich’s hands and off to the side. Hank and Rich push off of each other jumping in opposite directions on either side of the truck just before they’re shot by the onslaught of bullets fired by the men in the truck.
Rich picks up the shotguns with one in each hand. He tries to fire one off but it jams so he throws it aside. The men flood out of the back of the truck.
Rich fires the shotgun off three times in quick succession and while moving backwards toward a crate. He takes a few down and then huddles beside the crate, out of the way of the bullets chasing him there.
He puts some more ammo in the shotgun and prepares to fire it off some more.
Hank, without a gun, runs down the side of the building trying to get to the door. Bullets zing by his head.
Just before he gets to the door the door opens and more men (ninja men), a dozen or so, flood out with samurai swords in hand and ready.
Hank knocks the first one senseless with a right hand and flips the samurai sword up off the ground and catches it, pulling it from its sheath and wompin ass with it.
This big guy can swing a fucking sword! He’s got it in his right hand and as the men with their swords come running by on either side of him, he fends them off with skill. And in the process knocking limbs from their bodies.
The remaining ninjas with all their limbs take a step back, giving Hank the respective room he deserves, and circle around him.
Hank straightens his jacket, removes his glasses, wiping the blood from them off on his shirt, and places them back on.
HANK
Let’s do this thing.
The circle of ninjas closes in around him and he continues to fight them off.
Rich is blowing people away with his shotgun. But guys are starting to enclose on him on the roof above him.
One guy fires and just misses Rich’s head, but gets Rich’s attention. Rich turns and fires a blast into the man’s chest and he falls from the roof down to the pavement beside Rich.
Then Rich pulls out an Uzi and then another Uzi, from his jacket. He steps out from behind the crate and starts blowing people away.
The bullets are flying like mad in all directions. Rich’s bullets are on target hitting people in the head, the chest (one bullet pierces a guy’s wrist taking his hand off).
Rich runs to the side, firing off his guns and then makes back to the car which he ducks behind. PING! Bullets start ripping the car to shit.
Hank is kicking ass against these ninjas, taking on nine all by himself.
He SLICES. He DICES. And he SKEWERS. It ain’t pretty.
SPIN - KICK - SLASH - PARRY - JUMP - STAB - SLASH - GRAB - PARRY - SWASH - SWISH - PUNCH - KILLSHOT.
He decapitates one of the men and the head goes flying in the air followed by a huge spray of blood.
The spray is seen even by Rich huddled beside the car that’s almost melting because of the amount of hot lead that’s hitting it.
He opens the passenger side door (no voice) and grabs the briefcase. He opens it up to make sure everything’s okay and closes it with reassurance.
He looks in the glove box and finds a white napkin. He takes it and holds it up over his head, and then tosses it in the air. It falls gracefully back down, landing on the foor of the car. The bullets don’t stop.
RICH
No huh. No problem.
He reaches under the passenger seat and pulls out an AK-47. Now we’re talkin!
He just unloads on these guys asses blowing them away from the safety of being behind his car.
He shoots one guy in the ankle and blows off his foot. The guy flips up on his back and screams in pain grabbing at his foot that is lying by his head.
Hank is working his way through killing the rest of these assholes, and doing a pretty good job of it.
He’s taking guys arms off, legs, hands, heads, about any extremity that isn’t right tight to the body.
One guy is running around screaming with only one arm. Blood shooting out everywhere. Finally someone puts him out of his misery.
It’s Hank, he dislodged the man’s head from his body. More blood spraying. The body falls to the ground.
Rich reaches into the glove compartment and takes out another magazine for his AK-47 and installs it. While firing it off like mad he grabs the briefcase and runs, not too far, to the truck and jumps in behind it.
Fire ceases.
RICH
Shit.
He pulls an Uzi out of his pocket, changes the magazine, and prepares himself to kill. He squats down with his back to the truck and crosses his arms, ready to fire.
Then, from either side of the truck come the guy’s with the guns. He opens fire blowing every last one of them away in a shower of bullets.
RICH
Yeah motherfucker!
Hank slashes one guys throat, blood spews. He spins and jumps bringing his sort slashing down on the guy behind him, slashing on an angle across the man’s chest, more blood spew.
Now just one man left. In fact, he is to Hank’s left about twelve feet. Hank has his back to the truck. He stands with his sword pointed down. He glances over his right shoulder, behind him standing in front of the truck is the only other man left, he’s got a 9mm, pointing it right at Hank.
Hank, glancing back, can just make him out through the corner of his eye. Then the man fires off his gun. Hank spins, lightning fast around to face him and the oncoming bullet. He brings his sword up and slashes across like he did to the man’s chest, but this time striking the bullet in midair, and changing its flight directing it ninety degrees to the left and burying itself in the other man’s throat.
Hank smiles. Rich steps out from behind the truck and sees the man with the gun, in shock of what happened.
Then Hank throws his sword right at the gunman. It impales the man in the throat. The man drops to his knees, in utter pain grabbing at the blade but can’t pull it out, only slices his hands. He’s not dead yet.
Rich comes all the way out.
RICH
What the fuck was that? He was mine!
HANK
You didn’t make a move.
RICH
Oh that’s rich, that’s really fuckin
rich.
HANK
No, you’re Rich.
RICH
Yeah, I’m Rich, you’re Hank, and he
was mine.
HANK
Listen, if I didn’t step up he was
gonna kill me.
The man writhes on his knees gurgling up blood from his mouth. The two men standing over him ignore him.
RICH
Yeah well, next time there’s two
left and you get one, and there’s
one left, he’s mine.
HANK
Sure thing.
RICH
Shake on it.
HANK
All right.
They stick there hands out a foot from the man’s face and shake hands.
RICH
Now let’s check the cargo.
HANK
Sure thing.
Rich walks off to the back of the truck. Hank looks down at the man, not dead yet. He bends over to look him in the eye. He keeps writhing in pure pain and agony.
HANK
Hey Rich, this guy don’t look too
good!
He laughs. Then grabs the sword handle and pulls it right out of the man’s throat with one tug. The man falls to the ground. Blood shooting everywhere, now he’s dead.
Hank walks back to the truck. Rich is in the back laughing his ass off.
HANK
What?
RICH
You’re not gonna believe this. It’s
a fucking statue!
HANK
A statue? Of what?
RICH
Some naked broad.
HANK
That’s funny?
RICH
Hell yeah. Look what just happened.
He laughs some more. Hank slowly works his way into a laugh as well.
INT. CHURCH - TEXAS - DAY
Rich are laughing in their seats.
TOPHER
Why’s that so funny. It’s just a
statue.
RICH
Wake up Topher man! It was just a
statue. We killed all those Ground
Zero boys over a fucking statue.
He bursts out laughing some more.
RICH
They’ve been after us for the last
five years.
GINO
What was the statue for?
RICH
Nothin.
JO
That’s a stupid story. And if you
remember right Richie, we never had
sex, you finished before we could
even get started.
Everyone laughs, Rich shuts up. Not happy.
JO
Sounds like you just popped the
trunk on it anyway.
HANK
Rich can’t get laid. That story
within the story was from the popped
trunk. The rest was true. It’s been
a real bitch of a five years though.
He and Rich laugh.
TOPHER
You know, you two (and I’m not the
one to usually say this) but you
two, need to be taking this stuff
more seriously.
HANK
What stuff?
TOPHER
The entire situation.
RICH
What situation, we haven’t been told
dick shit, Dick Tracy.
MR. SEVEN
Dick Tracy has nothin to do with
this.
RICH
I was bein stupid, so just ignore me
when I get like that.
MR. SEVEN
Will do.
RICH
Very nice.
JO
Why don’t you tell us a story Mr.
Seven? That one with the salvation
army store. I remember that one.
MR. SEVEN
You already heard that one.
Gino looks at his watch.
GINO
We got time.
RICH
Time for what?
GINO
A story.
MORDECAI
We gonna sit round here and tell
stories all day? Or are we gonna
TCB?
SMITTY
I want the story. I don’t work with
niggers I don’t know.
Mr. Seven quick as a jackrabbit pulls out his samurai sword, and then quick as a younger jackrabbit swings it at Smitty’s head near his left ear. Smitty reacts.
SMITTY
Holy shit!
MR. SEVEN
You don’t shit so holy yourself, so
you can shut your yap. I don’t care
what you call me anywhere else but
if you speak to me like I am your
slave in front of the lords eyes I’m
gonna cut you.
SMITTY
What?
Mr. Seven points at his left ear. Smitty puts his hand over his ear. There’s blood. Mr. Seven has taken off the lower lobe of Smitty’s left ear.
SMITTY
Jesus Christ!
MR. SEVEN
He can’t save you. So don’t call. I
wanna know that we understand each
other. That is, I won’t accept that
despicable title under my Lords
nose, and you like to downgrade
colored guys. We know each other?
Smitty, a little freaked out, nods his head yes.
SMITTY
Sure thing mate.
MR. SEVEN
All right.
He puts his sword away.
MORDECAI
The story?
MR. SEVEN
You wanna hear it?
JO
You know I do baby, I love it.
GINO
Dazzle us with your past
experiences.
MR. SEVEN
Fasten your seat belts.
INT. LEE’S OFFICE - VEGAS - DAY
ONE LONG SHOT:
We see the whole scene from behind the corner of Lee’s big leather chair in his mahogany wood office. Mr. Seven steps through the door on the other side of the office right in front of us. We can see the back of Lee’s head.
Mr. Seven struts inside and sits down and makes himself comfortable. He wears, again, a black suit and tie with dark black sunglasses.
Lee lets his cat jump softly off of his lap and to the ground. Lee stretches his arms out and plays with a beautiful, shiny, new pen on his desk, rolling it around.
Then he speaks for the first time and we hear our villain. His voice is harsh and coarse, but almost high-pitched and squeaky.
LEE
Mr. Seven. A name I won’t forget. My
birthday is July 7. Did you know
that?
Mr. Seven shakes his head no.
LEE
Yes, it is. July 7, 1957. You know
what day that was?
Mr. Seven shakes his head no, again.
LEE
It was a Saturday. The seventh day
of the week, of the seventh month of
the year, of the seventh year of
that decade.
He laughs. Mr. Seven smiles.
LEE
Seven. The lucky number. The magic
number. Can you do magic Mr. Seven?
MR. SEVEN
Nothing that will knock your socks
off.
LEE
Well I’m not wearing any socks, so
that would logically be one of the
few impossibilities known to this
world. Show me.
Mr. Seven puts his hands together and does the severed thumb routine. Lee chuckles.
LEE
Magic.
Mr. Seven laughs with him.
LEE
You know why I summoned you here,
Mr. Seven?
MR. SEVEN
No sir, I don’t.
LEE
You know why that is, Mr. Seven?
He shakes his head no.
LEE
That’s because I haven’t told you.
He fixes himself a drink pouring a half glass of scotch from a bottle on his desk.
LEE
I have a thing of some importance.
Do you accept this, thing?
MR. SEVEN
Course I do.
LEE
Good. There is a man goes by the
name Tito. I want you to go to his
apartment and pick something up for
me. Simple? Not quite. The fact of
the matter is, Tito, is slang for
Governor Watson. And Governor Watson
doesn’t have an apartment.
Fortunately for you, he has a hotel
room. Unfortunately for you he has
security. I assume you know what I
am getting at.
MR. SEVEN
You assume right.
LEE
Good. Now Governor Watson has been
so kind as to carry with him a
satchel of security codes. These are
security codes that I need because I
have to take a lot of money out of
the government’s bank account.
MR. SEVEN
Why would he be carrying security
codes to a government bank account?
LEE
It’s not a bank account per say.
And, naturally, Watson’s crooked.
He’s a politician. He’s expecting
you. At the MGM.
MR. SEVEN
When?
LEE
Whenever you get there.
MR. SEVEN
Why’s he staying at the MGM?
LEE
I don’t know, he’s a politician.
He’s a real cold shit on a Sunday
morning.
MR. SEVEN
Why’s he giving you the money?
LEE
Because I have in my possession some
explicit photographs that would
shock his wife to death, and lose
him all the respect he so utterly
does not deserve.
MR. SEVEN
You framed him? Who was it? No-Back?
LEE
You just answered your own question.
Course not. She wouldn’t even sink
to that level for the Governor. You
and I both know Kelly would neither
lay down or agree to work a job with
a politician, unless she was on the
fifth floor of the Texas School Book
Depository and he was five floors
down enjoying his motorcade. It was
another one of my many women.
MR. SEVEN
Before I forget how’s your wife?
LEE
Stella? She’s fallen ill. Poor
thing. She’s downstairs with
Marietta. It’s our anniversary in
seven days.
MR. SEVEN
Oh yeah, which one?
LEE
Twenty-seventh.
MR. SEVEN
That’s beautiful.
LEE
Thank you.
Mr. Seven gets up from his chair, turns around and leaves. Lee takes a sip of his scotch.
EXT. MGM - VEGAS - NIGHT
Mr. Seven pulls up in his car and parks it right in front of the doors. He climbs out and walks to the back trunk, in his black suit, tie and sunglasses.
He opens up the trunk, reaches in and pulls out a 10 Ga. Single barrel shotgun. He pulls out a couple shells from his jacket pocket and loads the gun. He slams the trunk door down.
He glances to his left and right and then struts his walk right up to the MGM’s doors.
INT. MGM ENTRANCE WAY - NIGHT
Mr. Seven walks right into the building. The moment he does a busboy steps up to him.
BUSBOY
Excuse me sir...
Mr. Seven puts the barrel of the gun to the boy’s chest and pushes him out of his way easily. Mr. Seven then walks by everyone in the lobby and right to the elevator and then rests the shotgun on his shoulder.
Everyone is looking at him in total silence and fear. There is an old couple standing beside him at the elevator.
MR. SEVEN
Is this goin up?
The old man nods.
MR. SEVEN
All right.
He waits. Then...
SECURITY
Freeze!
Mr. Seven turns calmly around and takes the shotgun off his shoulder and pumps it once and points it at the three security members pointing guns at him.
MR. SEVEN
You wanna risk it?
Silence. Then... DING! The elevator has reached the lobby and the doors open. This young guy hotshot and three beautiful young women are standing in the elevator. They don’t believe their eyes.
Mr. Seven doesn’t turn around, he just takes a few steps back, until he’s in the elevator with the four others. He pushes his floor and the doors close.
INT. ELEVATOR - NIGHT
Mr. Seven stands in front with the guy and his three hot women behind him.
MR. SEVEN
You guys gonna pick a floor?
GUY
Yeah um, five.
He’s trying to be cool but he’s scared shitless. Mr. Seven pushes the number.
They wait in silence until the elevator stops and the doors open. The guy and the women walk out.
MR. SEVEN
Be sure to tip’em.
The doors close. Mr. Seven immediately pulls out a .44 magnum loads it and then puts back in its place attached to his ankles. He then takes part of a disassembled sub-machine gun. He assembles it, loads it and then prepares himself for the battle.
DING. The elevator sounds as it reaches its floor and the door opens. There is a secret service security personnel standing right in front of the elevator, as though waiting for it to arrive. Mr. Seven acts fast and kicks him with his right foot in the chest sending him flying into the wall.
This gets the other three security personnel’s attention. They stand up from their perches on their chairs. One of them pulls out a gun super fast and fires it off, but just as he has pulled the trigger the first time he gets struck by a bullet in the hand, and his shot goes arrant.
Mr. Seven then jumps into a doorway to his right. Above the door is the word EXIT. It’s a stairwell.
SECURITY GUY
Follow him!
The other guy runs after Mr. Seven down the stairs. The remaining security guy pulls out his radio and is about to call for help into it when behind him, bursting through the door on the other side of the hall that has an EXIT above it, Mr. Seven grabs him by the head and breaks his neck.
The guy chasing Mr. Seven comes through the door a moment later but just as he opens the door from the stairs Mr. Seven kicks him in the chest sending him flying back down the stairs.
Mr. Seven, already directly in front of the door to the Governor’s suite, straightens his jacket and tie for his attempt to make himself presentable.
From here on in we will refer to the Governor as Tito, because that is his codename and is faster than always typing Governor.
Mr. Seven knocks on the door. A voice from within calls out:
TITO
Door’s open.
Mr. Seven turns the handle, opens the door, and steps in.
Tito is sitting in a robe in a comfy chair on the other side of the suite.
TITO
I knew you were here. I could hear
your entrance.
MR. SEVEN
I tried to be quiet. If you’re
expecting me, why all the security?
TITO
I’m trying to avoid trouble, or get
out of what trouble I’m already in.
An absence of security would simply
draw more suspicion.
MR. SEVEN
What’s your excuse for being in
Vegas for the weekend?
TITO
No, not excuse, a reason. I’m
checking up on the quality of
casinos in my home state of Nevada.
I make a few public appearances and
say a few words. Nothing suspicious.
MR. SEVEN
‘Cept for the fact one of your
security personnel is dead, and the
rest are in no state to do you any
good for a long while and you remain
nice and peachy.
TITO
I’ve got an alibi.
MR. SEVEN
I hope so. Cause there’s an election
this year.
TITO
Don’t challenge me punk. I’ve been
running the show all my life and I
know how to play ball.
MR. SEVEN
You know how to play, but have you
ever put that knowledge into
practice?
TITO
You think you’re tough shit, coming
in here and knocking some of my
guy’s heads around? I know Lee. And
I know his operation. He’s got all
his dogs on a tight leash and
encourages the occasional whipping.
MR. SEVEN
That he does. But I ain’t one of his
dogs. There are a few, a very select
few, that have earned his blessing
to get up high in his house. And
even his dogs, he respects. He
wouldn’t have anybody working under
him that he didn’t feel was up to
it.
TITO
You saying you free to do what you
want?
MR. SEVEN
I’m sayin that if I do something
that he doesn’t like, he’s gonna
have to live with it.
TITO
Did he tell you everything?
MR. SEVEN
If he left something out I wouldn’t
know about it now would I. Therefore
wouldn’t know if he didn’t tell me
something. So, yeah, he told me
everything.
TITO
You got the pictures on you?
MR. SEVEN
You mean the pictures of you on the
bed of some porno movie set with a
young blonde between your legs?
Tito doesn’t like this but he thinks better of complaining.
TITO
Yeah.
MR. SEVEN
No.
TITO
Why not? You were supposed to give
them to me.
MR. SEVEN
He didn’t say nothin about it to me.
You don’t need to worry, the
pictures are probably safe in hands
that ain’t gonna give a shit whether
you like getting your dick sucked
every now and then.
TITO
It was part of the deal.
MR. SEVEN
Not no more. The satchel.
Tito shifts in his chair.
TITO
You get it.
MR. SEVEN
Did you just ask if a I get
something? Or did you just order me
to go and get the satchel myself?
TITO
It’s not here.
MR. SEVEN
Then where is it?
TITO
There’s a salvation army in one of
the suburbs.
Mr. Seven waits for him to finish... Nothing.
MR. SEVEN
And...
TITO
Go in there. It will be in a room
behind the cashier’s desk.
MR. SEVEN
You gonna tell me where? Or am I
just gonna have to go looking for a
salvation army in every fuckin
suburb in the city.
TITO
I just wanna know if you agree to go
down there. If you don’t deals off,
nobody gets anything.
MR. SEVEN
Now who’s tough shit. If nobody gets
anything, then you get to take a sky
diving lesson off the balcony, that
is without parachute, or mattress,
or safety equipment of any kind, or
proper instruction.
Tito gives in.
TITO
You go down to the Southwest corner
there’s a place called...
His voice is drowned out as we:
DISSOLVE TO:
EXT. VEGAS STREET - DAY
Mr. Seven walks down the street crosses the road without a look either way and almost gets hit by a car, of which he ignores, despite the loud honking noise directed at him.
He walks straight into the Salvation army store.
INT. SALVATION ARMY - DAY
Mr. Seven looks around the place. Nobody there except for a man behind the counter. His eyes are a little shifty and his right sleeve is rolled up holding a pack of cigarettes. He knows who Mr. Seven is and why he’s here.
Mr. Seven walks around a display of old shirts hanging around a small island, and then approaches the counter coolly.
CASHIER
You here for the uh, money?
Mr. Seven nods.
CASHIER
Right here.
He puts his hands under the counter and pulls up... A pistol! He brings it up firing too! Round after round. Mr. Seven sticks his arms up and makes violent super fast movements with his arms and hands. Then the guy is dry-firing and stops.
Pause. Silence. Mr. Seven doesn’t fall. He hasn’t even been hit. He sticks both his closed fists in front of him at arms length, he opens his hands and... Six bullets fall to the ground. He caught every single one from point blank range.
CASHIER
Holy shit!
Mr. Seven jumps up on to the counter with his hands under his ass and his legs straight out to the sides and then claps his feet hard against the man’s temples as he falls lifelessly to the floor.
Mr. Seven slides off the counter and opens up the door to the back room behind the counter. In the room is a bag. Mr. Seven grabs the bag and then walks out without a look back.
INT. CHURCH - TEXAS - DAY
Everyone is listening to the end of Mr. Seven’s story. He finishes.
MORDECAI
That got anything to do with this?
GINO
Not exactly.
HANK
Can we find out what exactly is
going on?
JO
You ready for this?
She’s asking Gino.
GINO
I’ll tell them.
RICH
Does anybody know what’s going on?
TOPHER
We do.
RICH
You sure? Cause a lot of the time
people think they know what’s going
on, but then someone else knows
what’s going on that they don’t know
knows and they fuck everything up.
TOPHER
That’s a run on sentence.
GINO
Yeah, those who can royally fuck
this up have no idea. I’m sure of
that.
HANK
So give us the heavy load.
Gino looks to Topher, and then to Jo. They both know what’s up and they both know he’s gonna have a hard time telling it.
GINO
Hears the hear. I’ve got a
revelation. A proposition to all of
you, for a chance at redemption. For
a chance to rid yourselves of the
horror that your lives cause in
everyday society. I am that life as
well. I admit it. What I’m saying is
we have all chosen a profession that
gives us the strength of God. And we
abuse that srength. We are amongst
the most dangerous human beings on
the planet. And with that power we
accept no responsibility toward
society. We kill. For money. We are
paid assassins in a chain of
illegitimate reason. Some of like to
wake up in the morning and we excuse
our drain on society business
shrugging it off as we kill only the
bad. But killing the bad for other
bad, maybe worse people, is not more
rectifying. I’ve got a plan to save
the souls of my deciples, you guys.
We will bust through this world and
go down in a smoldering array of
bubbling blood and bursting vessels.
We will no longer work. We will kill
all that oppose the peace we want to
protect. We will destroy the evil.
There are people like you and me,
waiting on top of a building with an
ak-47 and a scope waiting to take
out their primary target, and then
go home to their pay check. They
won’t live much longer under my
rule. That’s who we’re after. We’re
after those who are most like us.
We’re after Lee. And all his
subordinates. Kill’em all, and you
will be redeemed of your past that
has forsaken you.
He looks around waiting for someone else to speak.
RICH
You’re talking about treason.
HANK
And redeeming ourselves by doing
what we’re forsaken for.
GINO
First it’s high treason, and second,
you’re wrong. You are killing all
the bad guys to put an end to it.
MR. SEVEN
Why?
GINO
You want out Mr. Seven?
MR. SEVEN
Course I do. But why now? Why your
way?
GINO
They killed Jen. They left me for
dead. Topher would have been next.
But I got away, they shouldn’t have
let me get away. This is a plot for
revenge. They killed my Jennifer!
And for that they will be hunted
down and picked off one by one. It’s
opened my eyes to the loss but it
hasn’t softened me in the least. I
am not weakened by it. And I call
for each of you to stand up and
fight with me against that with
which we have devoted our lives to.
Fight against what has given us the
skills to fight in the beginning.
You are all lined up for Hell. The
devil is waiting, picking his ass
with anticipation til the moment he
gets to meet you. I am offering a
chance to skip Hell, go straight to
the holy land. We go on a killing
spree, a crusade in the name of
goodness and innocence. We kill our
own brothers and redemption is
inevitable. Every last one of you, I
guarantee you will get a second
chance. All of us will be able to
live out the last of our days in a
new life without the violence and
two-faced jackals we work for. What
say you Hank? Million?... Mordecai?
They are all tempted.
RICH
You sayin take out Lee?
GINO
He’s the big one. The grand finale.
He’s mine.
RICH
It’s dangerous shit talkin like
that.
MORDECAI
He killed Jenny?
GINO
That’s right.
HANK
Why?
GINO
Cause he’s a sadistic bastard. You
know him. He asks you to take out
not only his enemies, his enemies
families, and their families, and
people that got nothin to do with
the problem. Good people.
HANK
Why you?
GINO
Money? Fear? Don’t know yet, that’s
what scares me. He’s got no motive.
I was his best.
JO
There’s money at the end of the
rainbow boys. Ten million.
MR. SEVEN
Ten million split and redemption?
MORDECAI
Seven’s right, sounds like a good
deal.
HANK
Too good.
RICH
What’s the catch.
GINO
None, other than the obvious. You
give up your lives, you abandon Lee
who has played a part in raising all
of you, some of you may die.
Rich cracks his knuckles.
RICH
I knew somebody had to say that out
loud.
JO
You scared.
RICH
Almost, this is Lee, and his
organization, and his enemy
organizations. What if they get
together on us?
TOPHER
Wouldn’t that be even better? We
wouldn’t have to look for them.
GINO
We are the best of the best. They
don’t stand a chance. If you are all
in from this moment henceforth.
HANK
I need to know everything. It still
doesn’t make perfect sense, if it
did, you know I’d be with you all
the way.
GINO
There’s a lot of ground to cover, I
understand. There’s a subplot I
don’t know about, I just know
there’s one. I’ll figure it out
eventually, til then this is
everything.
HANK
Goin on a witch-hunt.
RICH
Gonna catch a big one.
GINO
You in?
ALL
Aye.
GINO
Good.
TOPHER
Well brother, you’ve got your army.
You ready to start a revolution?
GINO
It’s about time. I have a plan in my
head, I have specific targets. Many
of them your friends. My friends. My
old friends. But they turned on me,
and you have all made the best
choice of turning on them before
they do to you.
MR. SEVEN
What about if Lee comes looking for
us?
GINO
Fuck him. Any other questions?
Nothing. Then:
JO
Yeah I got a question. Rich, how do
you like your women?
RICH
That’s no secret. I like’em blonde,
tight and blonde.
Chuckles.
JO
Got a thing for blondes eh.
RICH
Yeah they’re stupid.
More chuckles.
GINO
How bout a team name?
Immediate reaction.
TOPHER
The Pussy Mongers!
RICH
The Diablo Dildos!
JO
The Get-Your-Fuckin-Minds-Outta-The-
Gutter-Before-You-Lose-Your-Fuckin-
Head-Squad!
MR. SEVEN
The G.Y.F.M.O.T.G.B.Y.L.Y.F.H.S,
nice.
HANK
The Avengers.
GINO
No. I was thinking, The Gino
‘Diablo’ Violente Experience:
Featuring Richie.
JO
I like it.
RICH
I love it.
MORDECAI
Theme song.
GINO
What do you you guys think?
SMITTY
How bout that ‘do you really want to
hurt me’.
HANK
Funny but no dice kid.
MR. SEVEN
Yeah something with style.
GINO
Something with so much style and
funk that it would make even Lando
Calrissian look like Luke Skywalker.
Shot of everyone’s acknowledgement of what he means, looking at each other.
TOPHER
Captain Beyond.
GINO
Evil Men.
RICH
Nice.
JO
What about me?
TOPHER
You’re just something to look at
sweetie.
She gives him the finger. Gino raises his voice to sound conclusive, meeting adjourned.
GINO
Okay. Noon buritos?
Silence.
RICH
You buyin?
GINO
Sure.
EVERYONE
Noon buritos!
SLOW-MOTION: Everyone gets up with enthusiasm from their seats. SOUNDTRACK CAPTAIN BEYOND ‘EVIL MEN’ starts up. The groups throw on their jackets and pick up their swords and various belongings, filling pockets. They shake hands with each other, someone has obviously told a joke because many of them start laughing. They are all smiling. Hank leads everyone single file down the aisle and out of the small church.
As they step outside they stop and stand together looking out. The words: “The Gino ‘Diablo’ Violente Experience” appears on the screen. Shot of Richie, and the words: “Featuring Richie” flash on the screen in front of him.
They all just stand there looking out, but at what. They don’t look happy about it.
It’s a branch of Lee’s goons. About thirty.
Some are leaning against their cars or sitting on the hood and roof.
Some are loading guns carefully and nonchalantly not even acknowledging their opponents exit from the church.
Some are in windows of the second floor of the busted shacks that lie across the street from the church.
Some are sharpening the blades of their samurai swords.
There is one guy (the head, the leader you name it) who stands out in front of the rest. He’s got his hair slicked back, aviator sunglasses, a thick tan, scars on his cheeks that look like he was mawled by a bear and he’s smoking a big cigar. He wears two black leather gloves and his cowboy boots have the traditional heel too.
The groups just stand there looking at each other. The breeze kicks up some sand, a tumbleweed rolls across directly between the opponents. A naked monkey screams and runs right between the groups following the tumbleweed. Nobody watches the monkey, nobody acknowledges that it was ever there. It’s gone.
The leader steps further out. Gino steps out as well to meet with him in private away from his gang.
GINO
Good morning Bill.
BILL never removes the cigar from his mouth. He glances down at his pocket watch.
BILL
It’s the afternoon dipshit.
GINO
Only in Texas.
BILL
Diablo, I am warning you to take
your preschool shitbags and go back
to that shitshack on that shitmule
you rode in on.
GINO
The El Camino is no shitmule. And I
can’t possibly go back Billy. Not
gonna happen. I just can’t do it.
BILL
I heard what happened. And I hear
what’s gonna happen, and I don’t
like it one bit.
GINO
Well you’re gonna have to deal with
that.
BILL
I intend to.
Gino smiles.
GINO
You can’t scare us. We know what’s
goin on. We know the whole story.
BILL
We, or you?
GINO
They know enough. More than you.
BILL
I can’t imagine.
GINO
No you couldn’t. You couldn’t
possibly comprehend.
BILL
You’re slipping on the ice you’re
standing on, and in this heat your
gonna soon be swimmin in it.
GINO
I figured out why they call you
Buffalo Bill.
BILL
And why is that?
GINO
It’s because just like the buffalo,
you make your enemies disappear.
Bill smiles.
BILL
You flatter me.
GINO
I know. When one is flattered, they
become blind.
Bill reaches up, and slowly removes his glasses to look at Gino with his real eyes.
GINO
I love doing this to a duet of life.
Faster than flowing shit because ex-lax Gino pulls out his samurai sword and liberates Bill’s body of his head in one fell swoop. And then punches the headless Bill body in the chest and sends the carcass from its standing position flying backwards until it smashes into the car twenty feet behind it.
GUNFIRE! The Experience jump and take cover behind their cars. Smitty’s been hit in the leg.
HANK
One hit below the belt! Smitty’s
pissed!
He is. He’s flipping out in rage and pain.
GINO
Calm him down. His life’s in your
hands now.
Beside Gino is Topher, crouched down with his back to the car. He has two uzies in his hands and waits patiently for the hail of bullets to finish raining on the hood of the car. They do.
He pops up and starts blasting the shit out of the opposition.
TOPHER
Covering fire!
Gino to Topher’s left and Jo to his right jet out either side of the vehicle, sword in hand and fight toe-to-toe with the texan ninjaa that have popped up out of their cars.
Gino slashes the first one across the chest, blood everywhere. The next loses a leg, and the next an arm. Jo has also severed several limbs from their original origin.
Hank throws a duet of samurai knives into the throats of two of his nemeses. And Mordecai is readying a machine gun with Rich’s help out of the back of his car.
Topher looks over at Smitty, a car away, after he’s dry firing. Smitty calmed down, too calm. He’s starting to doze.
TOPHER
Hey Smitty! You see that bright
light?
Smitty glances over, and nods.
TOPHER
It’s just the sun so jump on your
horse and ride her! It’ll feel
better in the morning!
He laughs and then switches the magazines in his cartridges and starts firing again.
Hank jumps out from behind his car with his samurai sword and starts kickin ass! SLASH-SMASH-GRAB-CUT-PARRY-SLASH-STAB. He grabs a guy by the collar and headbutts him, then stabs him in the stomach as he lays on his back and the blood shoots up like a geyser.
Mr. Seven is surrounded by nine enemies all with samurai swords. He breaths deep and then they attack. He fends them off and dislodges two heads quick but the rest are inevitably harder and they begin to wear him out.
Mordecai gets his machine gun set up and Rich turn and runs into the building behind him with a sniper rifle. Mordecai aims and fires into the direction of Mr. Seven. The turret cuts down all seven of Mr. Seven’s remaining opponents and Mr. Seven takes cover away from friendly fire.
Rich runs up the stairs of this building and heads for a window looking over the entire battle scene. He readies his rifle. He aims at the head of one of the enemies who’s taking cover behind a car. And fires. Blowing his head away.
Gino stabs his foe in the chest, a little too deep. He can’t get the sword back out. He pauses in fear, gut instinct that there’s a gun pointed at him right this moment waiting to go off. The sweat from his face drips landing on the wound of his enemy.
He jumps from his bent over position backward, a bullet narrowly misses him, and he spins horizontally in the air. While doing so he pulls out two guns and starts firing into the shadows where the blast came from.
He hits the sandy ground again, and a dead man falls out of a first story window.
Jo fights her man off and seperates from him, kicks the sword out of his hands and then slashes his neck. Deep cut, blood splatters, he falls back in excruciating pain, trying to cough.
Rich fires off again snipering some guy in a building across the street.
Blood is splattered all over the ground. But the foe is for now, vanquished.
The experience gathers together, they’re splattered in blood, and battle-hardened. They look at Smitty lying there seemingly dead.
Gino checks a pulse. All eyes on him. He rises.
GINO
He’s just passed out. Anyone else?
Everyone shakes their head. Gino walks over and retrieves his sword from the dead man’s chest cavity. He wipes the blood off with a towel that he gets out of his car.
Topher cracks his neck.
Jo stretches her arms and legs.
Hank and Mordecai crack their knuckles.
JO
Guys, you know I hate that.
MORDECAI
Sorry Jo.
Mr. Seven has retrieved his pet skunk from the back of his car. It is still alive and well.
RICH
What the fuck is that?
MR. SEVEN
It’s a skunk.
RICH
What are you doing with it?
JO
It’s a pet.
MR. SEVEN
Skunk’s are the most affectionate
animals, after they’ve been de-
smelled.
Rich looks at him like he’s crazy.
TOPHER
Did you leave a shoe in the chapel?
Rich looks down, only one shoe. He’s baffled.
RICH
I can’t believe I did.
He goes into the church to look.
HANK
Didn’t that seem a little easy to
you?
JO
Too easy.
TOPHER
Don’t you think it’s a little quiet
now?
JO
Too quiet.
Drum beat picks up slowly, getting louder. A new enemy arises, stepping out of the buildings across the street. Just walking out of the buildings, they look like something out of a Mad Max movie.
Rich comes back out with two shoes on.
RICH
I don’t get it. It was there and I
didn’t even realize.
He looks out. Drum beat gets louder.
RICH
Who the fuck are these jokers?
Gino looks worried but confident.
GINO
Don’t know them.
There’s at least another hundred of these guys.
Their opposition takes a few more steps forward and then stops in four lines one behind the other. They all whip out samurai swords at once.
Then the experience, dirty, sweaty, and blood-stained, all remove their swords from their sheaths. Drum beat has reached its max.
GINO
Showtime.
The two opposing forces run full bore into each other. And then they collide. Drum beat keeps up but is now accompanied by an usual electric guitar and bizarre techno twist.
Arms are lost, heads, legs, lives, even an eye. This is the first time we see all the Experience’s swordsmanship with a samurai sword. And it is impressive to say the least.
Mordecai stabs his man in the stomach and then punches him in the face with such force his skull crushes.
Hank whips through a whole rank of enemies, with blood splattering all around him.
Topher takes off arms, and heads and slashes throats with great precision.
Rich is crazy, with blood around his mouth and chin like he’s been drinking it, and he slashes through his opponents.
Mr. Seven is lightning quick and miraculously no blood has been spilt on his nice armani suit.
Jo gets tied up with her attacker and then bites down on his ear and rips part of it off with her mouth. He grabs his ear (or what remains) and stumbles back in pain. She then chops his left leg off at the knee and he falls to the ground in more pain.
And Gino, clashing violently with his opponents and removing limbs and other extremities.
Mr. Seven jumps up onto his attacker’s chest and boots him in the chin sending blood spilling out and teeth falling like little stones out of his mouth.
Topher gets his sword knocked out of his hands. He dodges once, twice, three times and then grabs the attacker’s hand, spins him around and slits his throat with his own sword.
Jo fiends a blow and then just stands there breathing deep, her opponent looks at her then charges.
She leaps up off of his chest, flips in the air, spins and then lands on her feet. STAB - REMOVE - SLASH. Two guys dead in a heartbeat.
Hank spins his attacker around and stabs him in the back.
Topher picks his sword back up turns around and bang, kicked in the face. He tries to get back up and then gets stabbed in the left shoulder. He cries out in pain. He doesn’t let the guy take it back out, he rolls away and gets back up with the sword still sticking out of him. He then throws his sword into the chest of his attacker. And lays back down.
Rich leap frogs over Mordecai and embeds his blade in the shoulder of his victim, Mordecai then stabs the same man in the belly.
Gino slashes his man’s chest, spinning him around and then he slashes him across the back. More blood splatter, more chaos.
The Experience has backed the remaining seven enemies into a corner.
Gino puts a hand up.
GINO (SPANISH)
There are seven of you left. Seven
of you to find Lee, and tell him
what happened, who is dead, and that
he is next. That is your message.
You tell him anything else and...
He chooses his words carefully:
GINO (ENGLISH)
I’ll put you through such misery and
torture that the devil himself will
be unable to find any such form of
sentence to match the pain.
(SPANISH) Now go!
You better believe they get their asses out of there in a hurry.
Hank isn’t happy.
HANK
That the way we’re gonna work
things?
GINO
Don’t question that subtle act of
mercy. It shows we’re sane and still
able to reason.
JO
He’s right. That’ll scare the shit
out of old Lee.
TOPHER
He’ll be constipated for weeks.
Everyone looks over at Topher, on the ground with a sword in his shoulder. They walk over.
RICH
You all right there Topher?
TOPHER
Yeah, just thought I’d try it on for
size.
Gino pulls it out fast and painful. Blood shoots out of the wound, Topher yells.
JO
Dammit.
Sure turns her head.
HANK
Put your head down Topher, and
relax. Loosen up all your muscles
and don’t move.
He bends over Topher’s limp body and rips off Topher’s shirt.
HANK
Get some water.
Mr. Seven retrieves a bottle. Hank pours it over the wound.
TOPHER
You a doctor Hank, haven’t been
honest with us.
HANK
Course not, I take lives, I don’t
save them. But it’s common sense to
clean a wound, you do realise you’re
lying in sand.
TOPHER
Sometimes common sense isn’t always
so common.
Reaction.
JO
Ooh, bad cliche.
MORDECAI
Yeah you almost made me throw-up.
TOPHER
Sorry, sorry. I got a hole in my
shoulder give me a break.
Gino’s voice sounds from the near distance.
GINO
Smitty’s dead.
Everyone looks over he’s walking back from the car that Smitty’s corpse lies behind.
RICH
It was just the leg.
JO
Artery?
GINO
Probably.
JO
Shit. He was just a kid.
GINO
Now he’s out. Topher? You gonna make
it all right?
TOPHER
As long as you’re buyin the noon
buritos I’m happy as a clown.
GINO
Good enough for me.
Hank picks up Topher and carries him to Gino’s El Camino, setting him down in the back, propped up against the front of the bucket.
Everyone gathers up their shit and piles into their cars. Gino climbs into his and shuts the door. Jo walks up to his open window and bends down looking in.
JO
My cars been destroyed. Can I pool
with you guys?
Gino glances over, her car has been blown to shit.
GINO
Hop in.
She rolls up over the hood of the car and slides in the open window on the passenger side without touching the ground or having any difficulty whatsoever, like Jackie Chan.
She looks at him and smiles.
JO
Hit it.
And he does. Kicking up sand to high hell he floors it out of the shit town they’re in. Topher in the back messing with his rubix cube. Following up are the cars of Hank, with Rich, Mordecai, and Mr. Seven.
EXT. OPIUM BAR - LOS ANGELES - NIGHT
A van pulls up to the door where a tall, long-legged, big-breasted, blonde woman stands, leaning against the wall of the bar just outside the radius of light by the door.
The seven guys from earlier jump out of the van and begin to head to the door. The woman stops them.
WOMAN
Don’t go any further.
They all look over, they didn’t even notice her.
LEAD GUY
Why not?
WOMAN
Just tell me what’s going on and be
back on your way.
LEAD GUY
And who are you?
She steps into the light.
WOMAN
I am your superior in every
dimension, that should be good
enough.
LEAD GUY
Afraid it isn’t.
WOMAN
Scared huh? I would be too, if I
were you.
LEAD GUY
Well we don’t no hooker stoppin us
from our business with the Man.
She shoots him in the foot. He falls down in pain, you never even see her take out the gun or put it back for that matter.
WOMAN
Tell me what you thought you were
gonna tell him.
LEAD GUY
It’s Diablo. He’s killed us all,
and Lee’s next.
WOMAN
Is that all?
He nods, his face purple and veins popping.
WOMAN
Consider yourself lucky, not many
survive to tell the tale of the day
they saw the great Diablo. Now get
lost.
She stands back up from kneeling down to her victim and walks into the building.
INT. OPIUM BAR - LA - NIGHT
The woman walks into the place and down the aisle where men are on big fluffy pillows, surrounded scantily clad women, smoking opium.
FLASH:
INT. ELEVATOR
Two people walk into the elevator, one is the woman, the other some guy we haven’t seen yet, or will ever see again, and he has his arm around her.
The doors close. The man is slightly behind her to her left, he squeezes her ass, and that’s the last thing he does. Without turning around she just power kicks him with her left leg right in his nose, sending it up into his brain.
He is a corpse instantly and flies back into the elevator wall and collapses onto the floor.
She jsut stands there like nothing happened.
INT. OPIUM BAR - LOS ANGELES - NIGHT
The woman is in fact KELLY ‘NO-BACK’ KNOUGHBACK. She continues down the aisle until she reaches a man at the end of the long hall. He is on the biggest, fluffiest pillows, surrounded by the best women, rubbing him down and waving feathers at him.
He is loose, Spanish pants, loose Spanish undershirt, unbottoned at the top. His receding hairline has gone to the back top of his head, and his hair hangs down long and greasy, about shoulder length. He’s around fifty-five. And he’s smoking opium like there’s no tomorrow. It’s Lee
Kelly approaches him.
LEE
Kelly, what news of the outside
world?
KELLY
He isn’t dead.
Lee studies her.
LEE
There’s fear in your eyes. There is
only one man you truly fear, other
than me, and he’s dead. Unless
someone made a mistake.
KELLY
He’s back and killing.
LEE
You mean by his own demise. Frailty,
thy name is woman.
KELLY
It isn’t my fault. There were seven
of us. And she was leading not I.
LEE
I know. But that doesn’t dampen my
disappointment. Intentions?
KELLY
No certainty, what would you do?
LEE
I’d go on a killing spree unlike any
other ever seen on this God-given
earth. And he’ll do the same. He’ll
be after every son of a bitch and
his brother before he stops.
KELLY
So the usual suspects.
LEE
Indeed.
He breaths deep.
LEE
Never thought it’d come to this.
Didn’t wanna take him out in the
first place. He was still a good
kid. Too much politics.
KELLY
Topher?
LEE
We haven’t got him yet. He’ll be in
on it.
He motions his wave so the women leave him a moment to talk to Kelly in private.
LEE
No-back. There are a select few
targets. He’s got Billy already that
means he’s covering the south first.
He’s then gonna head all over the
map killing at will, anyone that
pops into his head. Shi Kni, Sing,
Sang and Song. Hook ‘n GoGo. You,
eventually. And then me.
KELLY
Everyone who was in tight.
LEE
Yeah. Everyone that he knows was in
tight.
KELLY
There’re others?
LEE
She planned it all, it was her idea.
KELLY
He doesn’t know?
LEE
Gino is a smart, wily bastard but he
isn’t the fucking road runner. He’s
a coyote and nothing more. And the
coyote always loses.
KELLY
I don’t care what you say. It’s
still Diablo. And she still doesn’t
have my trust.
LEE
And your respect?
KELLY
Never.
LEE
You always have been a super bitch.
That’s why you’re so perfect. Don’t
take no shit, and you don’t lie
down.
KELLY
Not even for you.
LEE
I wouldn’t dream of it.
KELLY
You scared?
LEE
Only of ol’ Gino. But then again, I
trained him, I taught him, he’s
afraid of me too.
KELLY
Have you ever thought that you
deserve it more than he does?
LEE
Oh baby, I do.
She smiles.
LEE
I’m a bad bad man. And you’re my bad
bad girl.
KELLY
The best bad girl.
LEE
Shit. He’s gonna come out swingin.
We’re gonna let him. We’re gonna
wait, and when he comes here, we
will fight.
KELLY
Till then?
LEE
Put a heads up all round. He’ll make
it here anyway, but at least he’ll
have to work for it.
He stands up.
LEE
Gino Diablo Violente is a natural
God of War. But it is only God in
the end, that can save him. And deep
down I pray that he does.
He escorts Kelly out.
THE END. FOR NOW.
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