1. society
2. crime
3. personal offense
4. homicide

INT. APARTMENT - NIGHT
JUDE, a tall, dark complected, handsome, 29 year old is in an
argument with JENNY, a short, curvaceous, attractive blond.
JUDE
It’s a stupid idea. What the hell
do you know about selling drugs?
You already have a clientele list?
Buyers waiting? Huh?
(Pause)
I’m sorry. You know I’m always
tense before a fight. Can we just
talk about why we don’t need this
after I win?
Jenny looks to the ground.
JENNY
I bet on you to lose.
JUDE
Cool.
(Pause)
Wait, what?
JENNY
The guy you’re fightingJUDE
You bet on me to fucking lose?
can’t believe this.
I
JENNY
Just calm down.
JUDE
How am I supposed to calm down
knowing I should have been training
to lose? I don’t even know what to
do. Do you have a plan? Do you
have anything I couldJENNY
Shut-up, Jude! All you have to do
is lose. This guy’s a killer, and
it’s the only way I could keep you
safe.
JUDE
By having me lose?
How the hell-
JENNY
You won’t be dead when you go down.
2.
JUDE
I have to go down first, Jenny.
JENNY
I hope you figure out a plan ‘cause
I bet everything I’ve got. I’m
sorry, babe...really sorry.
Jenny turns to start walking out of the room.
Jen...
JUDE
Jenny stops and lingers in the doorway a moment without
turning around.
I’ll be moving out tomorrow
morning, you know. I’m finished
with you and all of this. I can’t
do it anymore. I won’t.
Jenny walks out seemingly distraught.
INT. ARENA - NIGHT
It is an “underground” fight with some of the elite of the
town in attendance. There are separate sections devoted to
the wealthy, the poor and the middle-class. Jenny is sitting
next to NICHOLAS Napoli, the greasy, yet suave son of a mafia
don.
In the ring, Jude is fighting HARRY, a six foot five, two
hundred and sixty pound man. Jude is fighting using a
combination of rapid punch/counterpunch techniques along with
some very exotic kicks.
Most of Jude’s techniques don’t seem to have any effect on
Harry. Harry’s attacks, on the other hand, tend to send Jude
flying. After a combo by Harry that knocks him to the
ground, Jude turnd to look at Jenny.
INT. PRIVATE ROOM - NIGHT
Nicholas walks into a back room and turns on the lights.
Jenny walks in and starts kissing on Nicholas.
JENNY
You know, if you were to front me a
little something, something, I’d
probably be willing to do almost
anything for it.
NICHOLAS
Trust me honey…you will.
3.
INT. ARENA - NIGHT
Jude is still on the canvas in the same position. He sees
the empty seats where Jenny and Nicholas were formerly
sitting. Jude turns back to look at Harry.
Harry attempts to stomp kick Jude. Jude blocks Harry’s kick
by kicking Harry’s other leg, knocking Harry to the ground.
Jude rolls over on top of Harry and punches him twice before
Harry is able to throw Jude off.
Harry gets to his feet slower as Jude assumes a different
stance and form of fighting. He uses a style of his own
creation fusing kung-fu hand and kick attacks with Muay
Thai’s knee and elbow strikes.
After several seconds and a multitude of ferocious and
dynamic blows Jude knocks Harry to the ground. Jude stands
and walks to the exit of the cage as the crowd erupts around
him.
ANNOUNCER
In only his second fight, the
winner and(Announcer sees Jude exit)
-Already out of the ring, Mick
Thomas. That’s an entertainer
folks, always leaving you wanting
more.
Announcer moves the microphone away from his mouth and yells
to an UNDERLING.
That one just doesn’t wanna’ play
the game. No showmanship, no crowd
appeal...nothing.
UNDERLING
Except being a bad ass.
Shut-up.
ANNOUNCER
EXT. STREET - NIGHT
Jude is carrying a large shoulder bag while walking down the
street. He has a hooded sweatshirt pulled up over his head
and is listening to music through headphones. He turns a
corner and notices two police cars parked on the opposite
side of the street.
4.
He jogs up to his apartment door and unlocks it. He walks
into the apartment, removes his headphones and starts walking
through the apartment.
JUDE
Where the fuck where you during the
fight? Were you fucking Nicholas
Napoli to get drugs?
Jude stops and drops to his knees when he walks into the
bedroom.
Oh Jenny.
Jenny is lying on the bed with a syringe still in her arm.
There is a lot of heroin still in the syringe. Next to her
is a kilo of heroin partially wrapped in Saran Wrap.
Jesus Christ. Jenny.
Jude grabs her in his arms and checks for a pulse.
a KNOCK on the door. Jude freezes.
There is
COP 1 (O.S.)
C’mon Jenny, I need a fix.
There is another KNOCK.
EXT. HALLWAY - NIGHT
Undercover COP 1 and COP 2 are both dressed the part of semisuccessful junkies.
COP 2
(Yelling)
We got the money.
it so let’s go.
All 10 grand of
COP 1
Junkies tend to avoid using large
numbers when referring to cash or
quantities ‘cause they’re usually
scared of getting hit. Of course,
this is one dumb bitch.
(Yelling)
All-right, Jenny, I need a fix so
bad I’m gonna’ kick in the door in
five seconds.
COP 2
Nice touch. It’s quite something
to work with a professional.
Refreshing.
5.
COP 1
I’ve done this once or twice before
kid.
Cop 1 looks at his watch for a second.
to kick the door.
He motions for Cop 2
COP 2
Wouldn’t you prefer to do this? I
mean, for demonstrative purposes,
understand.
Kick.
COP 1
Cop 1 points at the door. They pull their weapons as Cop 2
kicks in the door, the two enter the apartment and begin
searching it for Jenny. Cop 2 walks into the bedroom.
COP 2
Yeah, we got a dumb bitch on our
hands. God dammit.
Cop 1 walks down the hall-way and into the bedroom.
COP 1
Jesus Christ, there’s a shitload of
heroine in that syringe.
(Points at the needle)
At least she was smart enough to be
competent.
COP 2
You just said she was a dumb bitch.
Cop 2 closes Jenny’s eyes shut.
COP 2
Good night, princess.
EXT. STREET - EVENING - THREE MONTHS LATER
Jude is leaning against a building in front of a coffee shop.
He is holding a cigarette that is entirely ash. In his other
hand he is holding a leash attached to the collar of a
greyhound dog that is sitting next to him. THOMAS, an
average man in all ways, walks out of the shop.
THOMAS
Jude.
(Pause)
Jude.
6.
Jude notices Thomas is standing next to him but doesn’t show
surprise. The ash drops to the ground the second Jude looks
at Thomas.
THOMAS (CONT’D)
Oh, you’re back now?
What?
JUDE
THOMAS
You seemed to be off somewhere.
If only.
JUDE
THOMAS
Here.
(Hands Jude a coffee)
The little strumpet behind the
counter said she knows how you like
it.
Felicity?
Sandra.
JUDE
THOMAS
JUDE
(Takes a sip of coffee)
She is good.
Jude looks through the window into the coffee shop. The
WOMEN workers all wave as Jude raises his cup. One blows a
kiss toward Jude.
THOMAS
Yep, I still got it.
Jude laughs. Thomas notices the greyhound is sitting.
How the hell do you get her to do
that?
Who?
The dog.
JUDE
THOMAS
JUDE
Oh yeah…
(Looks at dog)
(MORE)
7.
JUDE (cont'd)
It’s all about getting inside their
head and then showing them who’s
boss. For example, you wanna’ hit
‘em with something that’s
incredibly boring but at the same
time carries an element of
intrigue. You know, like...a three
point breakdown of the Hegelian
Dialectic. Thesis, antithesis,
synthesis, that sort of thing.
(Thomas sits down)
Works every time.
Thomas laughs, stands and starts walking.
THOMAS
Let’s go boss.
Jude, Thomas and the greyhound begin to walk. Thomas looks
around discreetly for a moment and then proceeds to pull a
joint from his pocket, light it, take a drag, and hand it to
Jude.
THOMAS
So, how’ve things been, you doing
okay?
JUDE
I suppose. I mean, aside from
being in debt to a mobster, having
to care for his dog six days a week
and doing what I can to survive.
Jude takes a drag, then passes the joint back to Thomas.
THOMAS
I hear you. In the face of
withdrawing my life savings to give
to Mr. Napoli, I still owe him 35
grand, plus the juice. They way I
figure it, I’ll have groomed, fed
and walked four or five of these
beasts by the time I’m all caught
up. I think the only reason I’m
even alive is because I’m married
to his tailor’s daughter.
JUDE
It kinda’ makes me think of an old
Chinese fable a guy once told me.
I’m not sure why though.
Oh yeah?
THOMAS
Let’s hear it.
8.
JUDE
There’s three elephant’s walking,
one behind the other. The first
one says: ‘There are two elephants
behind me.’ The third one says:
‘There are two elephants in front
of me.’ And the second one says:
‘There are no elephants in front or
behind me.’ Now, can you explain
this?
THOMAS
What is that, some kind of riddle
or something?
Basically.
JUDE
THOMAS
Umm, the elephant is blind?
No.
JUDE
The second one is lying.
THOMAS
What?! Okay, that’s stupid.
Elephants don’t lie.
JUDE
For that matter they don’t talk
either. It’s just a fable.
THOMAS
But what does it mean? How does
that relate to what we were talking
about a minute ago?
JUDE
How the hell should I know, I don’t
even remember what we were talking
about a minute ago.
THOMAS
(Smiles and shakes head)
Me either.
JUDE
You know, actually, I may have just
heard that in a Jackie Chan movie
now that I think about it.
9.
INT. GUN SHOP - EVENING
BRICE, a 6’1”, 180 pound, attractive, 23 year old with short
curly hair and a chiseled jaw, PETER, a 5’8”, 170 pound, 24
year old with short blond hair, and IAN, a 5’11”, 150 pound,
good looking, 22 year old with long wavy hair, walk into the
gun shop and begin looking.
BRICE
I’ve never had a gun.
IAN
Okay, I’m gonna’ be holding onto
your ammunition for a bit, at least
‘till you start to feel
comfortable. And safe, don’t
forget safe. Oh, and try not to
say that out loud again while we’re
here.
BRICE
That I’ve never had a gun?
Peter slaps Brice in the side of the head (not hard).
BRICE
(To Peter)
What the hell was that for?
PETER
For being a moron you idiot.
Now
can we kill the banter and just
start looking?
The ATTENDANT walks over and stands in front of the three.
ATTENDANT
Is there anything I can help you
gentlePETER
When we need you, we’ll ask.
it?
Got
ATTENDANT
You should watch yourBRICE
I’m about to drop around six
thousand dollars in this joint so
just stay outta’ the way until we
need you, okay?
10.
The attendant takes a step back and lingers near the display
case the three are currently viewing.
BRICE
That one looks awesome.
(Pointing at a pistol)
What is it?
Peter looks at the attendant for a second.
PETER
Now would be the time to do your
attending.
ATTENDANT
(Looks at the pistol)
That is the Mark 23 SOCOM version.
Used by many special forces units
around the world. It is quite
likely the most reliable and
consistently firing weapon on the
market today.
BRICE
Sounds like all me.
special forces.
I’m pure
IAN
Of course you are Brice. What unit
was it that you used to be in,
Delta Force?
What?
BRICE
PETER
Everyone knows the best spec ops
group is British SAS.
Peter points to a Sig Sauer GSR 1911 pistol.
I’ll take two of those.
ATTENDANT
Great choice. The Sig GSR isPETER
Buddy, shut-up and grab two.
BRICE
You’re up, Ian.
11.
IAN
I do like the fact that you guys
said you were going to look for a
couple minutes first.
PETER
No pressure, sweetie.
time.
Take your
BRICE
Maybe you’d like one of these cute
little Beretta Tomcats? Would you
like that, Ellen?
IAN
The name’s Nancy, and get bent.
(Pause)
I’m going to go with two Glock 19s.
They look manageable.
PETER
Nope. That’s not what you’re
getting. Glocks suck. They’re for
people that shoot with both their
eyes closed.
IAN
Okay then, let’s see.
(Looks at some guns)
A Sig 226 and a 228.
PETER
Much fucking better.
In fact,
awesome choices young cowboy.
The Attendant gathers all the boxes of the pistols and sets
them down on the counter.
BRICE
Man, I need to get another one.
You all got two.
PETER
Get another one then.
BRICE
I’m gonna’. And not ‘cause you
told me to.
(Brice looks at some guns)
The stainless Walther PPK.
PETER
Someone thinks they’re 007.
12.
BRICE
Yeah, after all, it couldn’t be
that it’s an incredible pistol.
IAN
Nope.
The attendant walks over with the Walther in the box.
ATTENDANT
Can I get you gentleman anything
else?
Yes.
PETER
A round of ammo and mags.
How many?
ATTENDANT
PETER
How many you got?
EXT. ITALIAN RESTAURANT - NIGHT
There are about 10 ITALIAN MEN standing in front of the
restaurant. Some are sitting, some are standing. Thomas and
Jude walk to the front door. Jude hands the dog’s leash to
PAUL, a tall and fit, fifty-year old, with dark brown hair.
PAUL
You guys watch the door with the
rest of these schmucks. The boss
will be leaving soon so make sure
the street is clear.
Paul opens the door and walks in with the greyhound.
turns to the men.
Thomas
THOMAS
Alright guys, you know the drill.
The men spread out and look around the area to make sure
there is no unexpected traffic. They then rally in front of
the restaurant maintaining a thirty foot perimeter.
Two BEAT COPS turn the corner and begin walking toward the
restaurant. Thomas motions to Jude. Jude turns and sees the
beat cops as ALESSANDRO NAPOLI, the leader of the Mendola
syndicate, exits the restaurant with his wife, SIENNA, a
twenty-five year-old, blonde bombshell.
Jude starts walking toward the beat cops as the beat cops
look at each, then at Alessandro.
13.
BEAT COP 1
Freeze Napoli.
Both cops reach for their guns as Jude does a jumping,
spinning kick to Beat Cop 1’s head, knocking him unconscious.
Beat Cop 2 has his right hand on his pistol. Jude grabs Beat
Cop 2’s right hand with his left and Beat Cop 2’s left hand
with his right. Jude knees Beat Cop 1 in the chest and then
does a back-flip kick that knocks Beat 2 unconscious.
Alessandro is nodding his head in approval in the background.
Paul then rushes him and his wife into the waiting Cadillac.
THOMAS
Uh, wow. That was damn impressive.
Damn impressive.
Beat Cop 1 stirs a bit as he starts to regain consciousness.
PAUL
Now would be a good time for
everyone to leave.
The men turn and start to walk away.
down the street together.
Thomas and Jude walk
THOMAS
You know you can get paid to fight?
JUDE
Not really my gig.
THOMAS
I didn’t think it would be. But
that was so cool. That was some
Jet Li shit.
Thanks?
JUDE
THOMAS
So, did you learn that stuff in
ballet? You were so graceful.
JUDE
Pretty much, yeah.
THOMAS
Thought so.
Jude looks at Thomas then back at the cops.
14.
JUDE
You know what I haven’t had in a
while? Bubblacious.
EXT. MANSION - NIGHT
A black BMW M5 pulls to a stop in the parkway near the well
lit front of an elaborate mansion. There is a 1954 Ferrari
in the parkway. With Peter driving, Brice in the passenger
seat, and Ian in the back, all three exit the vehicle
together.
Ian and Brice walk over and look at the Ferrari.
back and sees them.
PETER
What are you doing?
IAN
Its speedometer goes up to 210.
PETER
Hopefully, we won’t need it.
What’s the info?
IAN
Mr. Chandler Greene works for
Mytel. The president of the
company is Kent Drayback.
BRICE
And he’s got such a sexy Ferrari.
PETER
Yes, we know.
Peter knocks on the door to the mansion.
BRICE
So you guys want to do dinner after
this, or what?
IAN
Dinner would be good.
Guys?
PETER
Game faces.
I’m there.
IAN
The door opens to reveal the MAID.
Peter looks
15.
MAID
Can I help you?
PETER
We are here to deliver a private
message directly from Mr. Drayback
for Mr. Greene’s ears only.
MAID
I go tell him. You want to come
in?
Thank-you.
PETER
INT. ENTRYWAY - NIGHT
The three are standing in an incredibly elaborate entryway.
Brice walks to a wall that has family pictures on it.
Damn.
BRICE
She’s hot.
IAN
Let me see.
Ian walks over to the picture.
Guys!
PETER
BRICE
Sorry, a wife and two daughters.
CHANDLER GREENE, a middle-aged, non-descript man, walks down
a hallway and into the entryway.
PETER
Mr. Greene.
IAN
(Quietly to Brice)
I bet he doesn’t even appreciate
that fine ass. The yutz.
Brice muffles his laughter.
CHANDLER
Kent knew it was my first week off
in six months. What is so
important that he sentChandler looks at Peter intently.
Who the hell are you?
16.
PETER
Could we step outside first? Mr.
Drayback gave me very specific
instructions on how and where to
deliver the message.
Of course.
CHANDLER
IAN
Sir, could you please bring your ID
card. We will need to scan it.
CHANDLER
I’ll have to get it.
Chandler walks toward the hallway and then stops.
Why all the security?
PETER
You’ll understand soon enough, Mr.
Greene.
CHANDLER
Why can’t you tell me here?
PETER
We are only the messengers. We
have strict orders in regards to
our delivery. That’s all we can
say at this time, sir.
Chandler hesitates then starts walking down the hallway. He
returns moments later looking through his wallet for his ID
card. The four men walk out the door.
EXT. FRONT PORCH - NIGHT
Chandler removes his ID card from his wallet and hands it to
Ian. Ian takes it and walks to his car. He returns three
seconds later, nods to Peter and hands the card to Chandler.
Peter draws his gun and aims at Chandler’s head. Brice and
Ian draw their pistols and take positions looking at their
flanks.
PETER
Mr. Greene, I have very bad news
for you. I’ve been sent here to
kill you.
Oh god.
CHANDLER
17.
PETER
Just kidding. In all actuality I’m
hear to steal your car. You gotta’
admit though, comparatively
speaking, things are already
starting to look up for you, don’t
you think? Incidentally, we
scanned your ID card because it has
more personal data then your
driver’s license. If you call the
cops, we come back and kill your
beautiful daughters in front of
you. If you run, we find you and
make it worse.
Ian hands Chandler a receipt book and a pen.
IAN
Please sign there so we don’t have
to show you how serious we are.
Chandler looks at the gun pointed at his head and then signs
the receipt. When he is finished, Ian takes the receipt from
him and gives him a copy.
For tax purposes.
PETER
Now, Mr. Greene, you’re worth
somewhere in the neighborhood of 20
million. It would be a good idea
if you just forgot this day ever
occurred.
Brice and Ian walk to the BMW M5, Peter to the Ferrari. They
get in and peel out of the driveway. Chandler watches them
leave without moving.
INT. ARENA - FIGHT
A cage like fighting arena is set up amidst bleachers of
screaming lunatics. They come in all denominations; rich,
middle class and poor. Jude and PROMOTER are walking up to
the ring together.
PROMOTER
You’re guaranteed five thousand off
this. But this time you’ll have to
play the game.
JUDE
Last time was something special.
18.
PROMOTER
People want a performance, not a
three second knock-out. Besides,
you won’t be near that lucky this
time.
The Promoter opens the cage door and Jude steps in. He turns
around to look at the Promoter as FRANKLIN, a 6’2” 190 pound,
gothic looking, Tae Kwon Do fighter kicks Jude in the chest.
Jude is sent flying into the ring. Franklin steps into the
ring.
Jude stands, takes off his sweatshirt and begins to attack
Franklin. Jude drills Franklin with a side kick that sends
Franklin flying into the wall. As Jude starts to take a step
toward Franklin, he stops and ducks.
RAYMOND, nearly carbon-copy of Franklin, threw a roundhouse
kick at Jude’s head that caused Jude to duck. The announcer
slams the cage door shut.
ANNOUNCER
Place your bets folks. The
newcomer with skills or the Bash
Brothers. Regardless, it’s going
to be a good one.
Jude, Franklin and Raymond have an intense fight. Jude is
able to transition fluidly from offence to defense during the
fight. Franklin and Raymond land some very good attacks on
Jude, but, for the most part, Jude lands great techniques on
them and rarely gets hit. After several minutes of intense
combat, Franklin and Raymond are both incapicated by Jude.
Jude walks to the door of the caged arena. The promoter
walks to the door and unlocks it as Jude reaches through it
to grab his shirt.
PROMOTER
The winner and stillJude grabs Promoter’s shirt and pulls him violently into the
door. Promoter hits his head on the door and then falls to
the ground.
Jude opens the door, exits the ring, fishes in the Promoter’s
pocket, removes the money he is owed and walks down the aisle
out of the ring to a series of cheers.
INT. APARTMENT - NIGHT
Jude stumbles into his apartment, drops the bag and sits down
on the couch.
19.
He puts his hand on his head lightly, feeling a wound. He
fluffs a pillow, sets it on the couch and lies down. Ten
seconds later there is a loud knock on the door.
It’s me.
KATRINA (O.S.)
Open up.
JUDE
I just laid down.
KATRINA (O.S.)
So just get up.
Jude slowly starts to get up.
C’mon, c’mon.
JUDE
Oh, that’s cute.
it’s annoying.
Wait, actually
Jude walks to the door and unlocks it. KATRINA, an
attractive, girl-next-door blonde is holding a bag of ice and
a bottle of Stolichnaya.
KATRINA
You always look so adorable when
you’re wounded.
JUDE
Yeah, well. The next time I get
worked over something good, I’ll
thank the parties involved on your
behalf.
KATRINA
Sit down, I’ll make us a drink and
a(Katrina looks at his many
bruises and wounds)
-full-body ice bag for you.
JUDE
I may miss you but not your jokes.
Katrina walks into the kitchen.
and lights a cigarette.
Jude sits down on the couch
KATRINA (O.S.)
You looked incredible tonight. I
couldn’t believe the scissor kick,
mount combo you pulled. It was
gorgeous.
20.
Thanks.
JUDE
KATRINA (O.S.)
With those odds we made 10 grand,
which at fifty percent makes you 5
grand richer.
Katrina walks back into the room carrying two tall
vodka, the bag of ice and a couple of towels. She
of the glasses to Jude and sits down next to him.
reaches into her purse and pulls out a small stack
dollar bills and sets it on the couch.
glasses of
hands one
She
of hundred
JUDE
Remind me again why I give you
fifty percent?
KATRINA
Because you can’t bet on the
fights, silly. Geez.
JUDE
What? My head’s spinning right now
and I’m not sure if it’s from
getting my ass beat or hearing that
ridiculous answer.
KATRINA
You earn the fight money too. And,
if you were allowed to bet on the
fights, you’d throw them.
JUDE
So? At least you wouldn’t be
getting 50% to get drunk and watch
me get my ass kicked.
KATRINA
I have yet to see you get your ass
kicked and I am eternally grateful.
Without you, I wouldn’t be able to
pay for college.
JUDE
It still doKATRINA
Just shut up and relax for a
second.
Katrina puts her finger on Jude’s lips, then kisses his hand.
She works up to his neck before she pushes him down flat on
the couch.
21.
Ouch.
What?
JUDE
KATRINA
Jude lifts himself up and pulls his keys out from beneath him
on the couch, throwing them to the ground.
INT. APARTMENT - MORNING
Jude wakes up on the couch. Katrina is putting on her pants.
She walks over, kisses Jude on the forehead and sits on the
ground in front of him.
Morning.
Hi.
KATRINA
JUDE
KATRINA
You’re either an incredibly fast
healer or you didn’t get hit nearly
as many times as I thought.
JUDE
Could it be both?
KATRINA
Probably. But the one tends to
obscure the other. Anyway…
(Katrina kisses him)
I made coffee. I have to run.
I’ll see you when I get back in
town.
Okay.
JUDE
Katrina kisses him once more, walks to the door, looks back
at Jude, hesitates and then walks out of the apartment. Jude
stands, walks into the kitchen, pours a cup of coffee, adds
sugar and half and half to it and takes a drink. He puts a
spoon in the cup and starts stirring as he walks to the
bathroom and starts the shower.
INT. BATHROOM - MORNING
Jude is taking a shower. He stops for a moment to take a sip
of his coffee which is sitting on a high shelf out of the
flow of water.
22.
EXT. COUCH - MORNING
Jude, wearing only pants, gingerly puts on his shirt. He
lights a cigarette and leans back in the couch. He uses the
remote control to turn on his stereo.
He takes a sip of his cup of coffee and allows his body to
sink into the couch. He puts his feet on the coffee table
and smiles, letting his head fall back into the couch
cushions.
The phone rings. Jude’s head falls forward and he slowly
lifts himself from the couch. He walks over to the phone and
picks up the receiver.
Hello?
JUDE
ALESSANDRO (V.O.)
Do you know who this is?
Yes.
JUDE
ALESSANDRO (V.O.)
I would like to extend a personal
invitation to my home for brunch
tomorrow.
JUDE
I would be honored.
ALESSANDRO (V.O.)
A car will be sent for you.
Jude hangs up the phone.
JUDE
What the hell did I do?
Jude walks over and sits back down on the couch.
Oh yeah, the cop thing.
INT. MANSION - DAY
Jude is led though a massive entryway and into a sitting
room. Jude looks at a couple of pictures of Alessandro and
the family on the wall. He lingers on a picture of
Alessandro’s daughter, GISELLE, a gorgeous blonde with green
eyes.
Damn.
JUDE
23.
Jude wanders around the room and finds the stereo. He
reaches into his shoulder bag and pulls out an Ipod Shuffle
and an FM transmitter. He turns the stereo on, tunes in his
music and starts nodding his head to the rhythm.
ALESSANDRO
That’s a great tune. May I ask who
it is?
JUDE
They’re called the Dining Rooms.
It’s two Italian cats, Stefano
Ghittoni & Cesare Malfotti.
ALESSANDRO
I will have to admonish Stefano &
Cesare for never having told me
that they produce such great music.
JUDE
And tell ‘em to make more of it.
ALESSANDRO
I will. I apologize for keeping
you waiting.
JUDE
I’m able to amuse myself.
ALESSANDRO
I believe that you have a less than
favorable opinion of me due to the
nature of service I demand from you
in compensation for your deceased
girlfriend’s mistake. I also know
that the first three months have
been exceedingly rough on you.
JUDE
You haven’t been paying me a cent.
ALESSANDRO
You are here to work off your
girlfriend’s $100,000 loss.
However, in the wake of reflecting
on your recent fine work, I have
realized I may have been under
utilizing your services. If I
could, might I inquire about where
you learned such martial skill?
JUDE
My best friend was a former British
SAS operative.
(MORE)
24.
JUDE (cont'd)
He saw my belief in passivism as
cry for help, which it was.
ALESSANDRO
Am I to understand that you have no
formal training?
JUDE
None whatsoever. I do not partake
in dojo-oriented, uselessness.
ALESSANDRO
Interesting.
(Pulls out a cigar)
Now then, I have a task for you.
You could sort of think of it as an
assignment. You see, my daughter
is returning to America within the
next week. If you provide your
services as her bodyguard for 1
year, your debt to me will be
fulfilled.
(Lights cigar)
JUDE
How am I supposed to support myself
for the year?
ALESSANDRO
You will be living in my guest
house and will receive an ample
stipend each month.
Okay.
JUDE
ALESSANDRO
So do we have a deal?
JUDE
Yeah, of course.
ALESSANDRO
Excellent. Let’s have breakfast
and I’ll tell you all I can.
Alessandro raises his arm toward a door.
walk out of the sitting room.
Jude and Alessandro
INT. APARTMENT - NIGHT
Jude is sitting on his couch next to Katrina. Jude takes a
hit from a joint and passes it to her. They are each holding
bottles of beer.
25.
JUDE
Technically, this is the answer to
my prayers.
KATRINA
But all of a sudden he trusts you
with his daughter?
I know.
either.
JUDE
I can’t get past it
KATRINA
How long have you been working for
him?
JUDE
Less than two months.
KATRINA
Then he knows you’re clean.
What?
JUDE
KATRINA
He knows you haven’t been affected
by any of the in-house feuds or
power plays. And if it wasn’t for
Jenny, you wouldn’t be working for
him.
JUDE
Can we notKATRINA
She was my friend too.
Yeah.
JUDE
That doesn’t really...
KATRINA
Anyway, that’s why he’s probably
willing to trust you.
(Pause)
And you’re a bad-ass.
(Jude laughs)
What will you do when you’re done?
JUDE
That’s a year away. I’ll worry
about it when the yolk is removed.
Katrina turns and looks at Jude until he turns and faces her.
26.
KATRINA
I guess my question is, do I fit in
anywhere?
JUDE
Can I justKATRINA
It’s a legitimate question.
I know.
JUDE
I know.
INT. MANSION - NIGHT
The Maid opens the door and leads Jude down a hallway. Jude
is wearing sunglasses which he doesn’t remove until he
arrives at the room where Alessandro is residing. Alessandro
picks up a small shoulder bag and puts it on his shoulder.
ALESSANDRO
I am sorry for being in such a
hurry. I forgot in crossing the
international dateline I do not get
a free day, I lose one.
JUDE
Damn international date line.
long will you be gone?
How
ALESSANDRO
Two weeks. Giselle should arrive
any time now. She was just yelling
at me about three minutes ago and
said she was ten minutes away.
Okay.
JUDE
ALESSANDRO
She is quite incensed that I have
to leave the day she returns.
I see.
JUDE
Alessandro walks past Jude and out of the door.
him.
ALESSANDRO
When she arrives, introduce
yourself. I’ve already sent her
your picture and information so she
knows who you are.
Jude follows
27.
JUDE
Where did you get a picture of me?
ALESSANDRO
From one of the cameras in my
house. Olivia has left
instructions for you on the table,
there.
(Points to a table)
Feel free to run amok on the
grounds in your free time. And
Jude, that truly means amok. Other
than that you are a shadow on my
Giselle. Of course if you fail in
that task, you become a shadow.
Noted.
JUDE
ALESSANDRO
Then, my young friend, I am off.
Alessandro walks out the front door of the mansion. A
Ferrari F350 pulls into the driveway and stops. GISELLE, a
stunning, curvaceous young woman gets out of the car and
walks toward Alessandro.
GISELLE
I can barely look at you. You sent
me into exile for 4 years and the
second I return, you leave?
ALESSANDRO
Giselle, you look beautiful.
were your travels?
How
GISELLE
Don’t do that.
ALESSANDRO
Honey, I must go. I have business
to attend to.
GISELLE
You are an inconsiderate asshole!
If mom were alive she would slap
you.
Giselle runs into the house. Alessandro looks at Jude, then
walks to a BMW 745 and gets into the back seat.
ALESSANDRO
Good luck, Jude. She is in quite a
mood.
28.
JUDE
I’m just glad she’s mad at you and
not me.
ALESSANDRO
Give her a bit of time, you just
met her.
JUDE
That’s comforting.
Alessando shuts the door to the car and it accelerates down
the driveway. Jude walks into the house and shuts the door.
He walks to the table with the instructions, picks them up
and begins reading.
JUDE
Damn. He actually ordered me to
run amok. Maybe I should go
introduce myself to the client.
As Jude walks down a hallway and nears the stairs Giselle can
be heard screaming at Alessandro (on the phone).
Maybe later.
GISELLE (O.S.)
(Screaming)
That is the reason you sent me
away?!
INT. BMW - DAY
Alessandro is sitting in the backseat holding his mobile
phone.
ALESSANDRO
(Quietly to driver)
How do you turn down the volume?
Remember?
GISELLE (V.O.)
ALESSANDRO
I sent you away to keep you safe
andGISELLE (V.O.)
Then why did you leave me to be
protected by a loser? You said he
doesn’t have any training. Why are
you doing this?
Giselle.
ALESSANDRO
29.
GISELLE (V.O.)
Father, why do you fear me?
ALESSANDRO
That is not what is going on.
No?
GISELLE (V.O.)
ALESSANDRO
No. I must go. I will be back
within two weeks and we will have a
long talk then, okay?
GISELLE (V.O.)
It’s not as if I have a choice now
do I? You’re going on your
business trip and that’s that.
ALESSANDRO
Yes, it is. I will be home soon.
Welcome back, Giselle.
GISELLE
Go to hell.
Alessandro closes his phone and looks out of the window as
his car leaves the gated exit to his addition. He sees
Brice, Peter and Ian driving into the addition in a BMW M5.
My daughter is a bitch.
DRIVER
She may have a point.
ALESSANDRO
That doesn’t make her any less of a
bitch.
DRIVER
So very true.
INT. BEDROOM - NIGHT
Giselle slams the receiver of the phone into the cradle.
stands up and walks aggressively around her room.
GISELLE
This could play out perfectly.
She withdraws her mobile phone and dials a number.
I’ve landed and arrived. I will
update in 48 hours.
She
30.
She closes the phone and looks in the mirror for a couple of
seconds.
Let’s meet the schmuck who’s to be
my bodyguard.
Giselle walks to the door.
EXT. MANSION - NIGHT
The BMW M5 pulls into the driveway of Alessandro’s house. It
parks behind the Ferrari. Brice, Peter and Ian get out of
the BMW.
BRICE
Oh my god that is such a beautiful
car.
PETER
Soon to be chopped and turned into
at least 50K for us.
Bare min.
IAN
BRICE
Can’t we ever keep one?
Brice is running his hand along the hood of the Ferrari.
PETER
And what, go to jail?
get to work.
Shut-up and
IAN
The house is owned by Four Seasons
Floor Corp. The main stockholder
is Alessandro Napoli. And we
lucked out, I had this on the list
for a __year___ Mercedes ____.
Peter knocks on the door. Ian and Brice take positions on
his flanks. Peter knocks again. Jude opens the door.
PETER
Hello, I need to speak with Mr.
Napoli.
JUDE
You just missed him.
PETER
Is Mrs. Napoli available?
31.
JUDE
No, and what are you doing here?
PETER
We were sent by Four Seasons
Flowers.
Giselle walks up behind Jude.
GISELLE
That’s not possible.
Jude looks at Giselle. Peter and Ian draw their guns. Jude
sees Peter’s gun and reaches out to grab Ian’s wrist well
before Peter has a shot.
Jude steps back and pulls Peter, causing Peter to hit the
frame of the door headfirst. Peter releases his grip on the
gun as Ian and Brice fire warning shots to the left and right
of Jude and Giselle.
IAN
Freeze or you’re dead.
Peter regains his composure, takes his gun from Jude, grabs
Giselle’s arm, and aims his gun at her head.
PETER
Where are the keys to the Ferrari?
Giselle points to a table the keys are resting on.
Helpful.
Peter walks to the table, picks up the keys and starts
walking to the door.
I think I’ll just take the misses
here to make sure you’re compliant.
JUDE
I know it’s a total cliche but,
that would be a huge mistake.
PETER
Yeah. You could have really done
better.
Just wait.
JUDE
Peter throws the keys to the Ferrari to Brice. Peter and Ian
push Giselle into the back seat of the car and get in
themselves. The two cars peel out of the driveway.
32.
INT. GARAGE - NIGHT
The 10 car garage has several different cars and a series of
motorcycles. The door that accesses the garage is flung open
and Jude comes sprinting through it. He runs up to an SUV
that is next to some motorcycles. He starts it, puts it in
gear and throws something heavy on the accelerator. The SUV
breaks through the garage door.
Jude looks at the motorcycles for a second and then jumps on
a Ducati 1098, starts it and accelerates out of the hole in
the door made by the SUV.
EXT. HIGHWAY - NIGHT
Brice is driving the Ferrari at around 100 miles an hour
through patches of dense traffic. Ian is following him in
the BMW M5.
PETER
Why the fuck is he going so fast?
Call him and tell him to slow down.
IAN
Hello, I’m struggling just to keep
up with him right now.
PETER
Well I’m holding the gun on the
collateral.
IAN
Which may not be important right
now. What’s she gonna’ do, jump
out?
Ian looks over at Peter and smiles for a second before
turning back to look at the road.
PETER
You’re not funny.
Peter pulls out his phone and dials.
seconds for Brice to answer.
Heh, slow the fuck down.
He waits several
As Peter says that, Jude blows by the BMW M5 at about 160
miles an hour. Jude sees the Ferrari and the M5 and slams on
his brakes so hard they smoke. Jude takes up a position
behind the M5.
Oh my god.
IAN
That guy’s sick.
33.
PETER
(Holding phone)
No, we can’t run. He’s on a
motorcycle.
Shit.
IAN
He’s making a run for it.
The Ferrari can be seen switching three lanes and
accelerating away.
PETER
(Into the phone)
Clever.
Peter keeps the phone to his ear.
IAN
What the hell is he doing?
PETER
Let him go. He’s gonna’ come
around behind us. We’re the bait.
Gotcha.
IAN
Ian starts driving somewhat dangerously. Jude is staying
right behind him. The Ferrari can be seen taking a position
behind Jude.
PETER
Get ready to brake.
(Pause)
Now.
Ian hits the brakes for one second while Brice tries to ram
Jude from behind. Jude is forced to make a drastic turn to
the left. Jude struggles to straighten the bike as he looks
over and sees Brice and Ian braking hard to make an exit on
to Street A.
Jude looks ahead and sees that Street A runs parallel to the
highway for another half a mile, the highway 30 feet below
the level of the street. There is a bridge that intersects
Street A but highway traffic travels beneath. There is a
concrete ramp structure that borders the highway.
Jude accelerates his bike to about 110 mph and cuts across
all lanes of traffic. Jude uses the ramp of the highway to
jump over a fence, landing on Street A.
Jude lands violently. He slows quickly but loses control of
the bike because of the impact.
34.
Jude and the bike slide on the pavement. Jude’s speed was
around 30mph when he crashed. Peter and Giselle are watching
this happen.
Holy shit.
What?
PETER
That was fucking crazy.
IAN
What happened?
PETER
He just jumped from the highway
onto the road and almost landed it.
Oh my god. Too bad he’s probably a
pancake on somebody’s grill right
now but still...that was awesome.
Peter’s phone rings, he picks it up.
PETER
I saw it too.
(pause)
YeahHe’s back.
IAN
PETER
Are you kidding?
Peter turns around and looks at Jude on the bike.
looks at Giselle.
I remember seeing him before. What
is his name?
GISELLE
I don’t know.
PETER
Why was he at your house?
GISELLE
He was supposed to be my bodyguard.
IAN
Why do you need a bodyguard?
GISELLE
Plead the fifth.
IAN
He has a fucking gun lady.
Peter
35.
GISELLE
And if he uses it, you have no
leverage.
Peter looks at Giselle.
IAN
What’s the plan?
PETER
We’ll lose him at the fights.
IAN
How?
PETER
(Dials his phone)
Don’t worry about it.
INT. WAREHOUSE - NIGHT
The BMW and Ferrari come to a screeching halt. Peter pulls
Giselle out of the BMW as Brice and Ian get out of the cars.
The three run toward a crowd of people as Jude stops his bike
and jumps off it. He runs into the crowd at full sprint.
INT. BAR - NIGHT
Peter, Ian, Brice
is in a different
his phone, hits a
to be talking for
and Giselle are running through a bar that
section of the warehouse. Peter pulls out
button and put it to his ear. He appears
a minute, then closes the phone.
Peter lets go of Giselle’s arm and the three of them
disappear into the crowd leaving Giselle in the crowd. Jude,
who was about twenty feet behind the group when they were
running, walks to Giselle.
JUDE
Hey, are you hurt?
(Giselle turns around )
No.
Let’s go.
GISELLE
JUDE
Jude takes Giselle’s hand and leads her out of the bar.
Giselle looks down at their hands. She looks at Jude and
smiles.
36.
INT. WAREHOUSE - NIGHT
Jude and Giselle are walking toward the bike and Ferrari;
they are about 100 feet from them. There are a lot of people
lingering around the area.
JUDE
Do you have a phone?
Yes.
GISELLE
JUDE
Call the police and have them pick
up the Ferrari. We need to get out
of here.
When Jude and Giselle get within 20 feet of the bike, the
people in the area form a thick circle in front of the bike.
Jude turns around to see that the crowd has closed around
him. Jude pushes Giselle toward the crowd.
ANNOUNCER
Thanks to a call from Peter _____,
We have a fan favorite. Back by
popular demand, and pure
coincidence, Mick Thomas. Give ‘em
a hand. His opponent, the scariest
man inKILLER, a huge fighter runs from out of the crowd at Jude.
Jude does a back-flip kick that lands under his chin, sending
him flying up into the air, knocking him unconscious. TWO
GUYS grab and pull Killer out of the ring.
ANNOUNCER
And the second fight is Mick
versus, oh hell, just wait a second
and you’ll see.
MARK, 6’6”, 200 pound, boxer is wearing boxing shorts and
finger-less boxing gloves. JAKE, a 6’ tall, 170 pound, Tae
Kwon Do practitioner, both emerge from the crowd.
Mark, Jake and Jude get into an incredible fight. Jude
eventually knocks both of them out within ten seconds of each
other. During the fight, Giselle can be seen talking on her
mobile phone.
Announcer walks into the center of the crowd and raises his
microphone to his mouth.
37.
ANNOUNCER
The still undefeated Mick Thomas
now will faceJude knocks the announcer out with an incredibly powerful
right punch that launches the announcer into the air. The
crowd applauds loudly.
Jude starts to walk out of the circle when SANDERS, a 6’5”,
260 pound, boxer steps in his way.
Jude takes a couple of
steps back away from Sanders and attempts to walk diagonally
away from Sanders.
Sanders begins attacking Jude with huge right hooks that Jude
has to use two arms to block. Sanders and Jude have an
intense brawl that Jude wins by using Thai style leg kicks to
open up avenues of attack. After the fight is over, Jude
stumbles backwards for a second to see if Sanders is going to
get up. Jude looks around the circle to see if anyone else
is going to step out. One guy starts clapping and it becomes
infectious.
Jude walks out of the circle, which is about 500 feet from
where it started because of the movement during the three
fights.
INT. WAREHOUSE - NIGHT
Jude is walking toward the Ducati 1098.
the bike.
Giselle is siting on
GISELLE
You picked my favorite bike.
JUDE
It was a spur of the moment
decision.
GISELLE
That was damn impressive back
there.
Save it.
JUDE
I need to get you back.
GISELLE
Why are you risking your life for
me? You don’t even know me.
JUDE
It’s not a question I’ve asked
myself.
38.
GISELLE
What’s your name? I mean, we
haven’t formally met.
Jude.
Jude what?
JUDE
GISELLE
JUDE
Jude Palmer.
GISELLE
The announcer called you Mick
Thomas? Is that your stage name,
like Ron Jeremy or Dirk Digler?
JUDE
Ron Jeremy is Ron Jeremy’s actual
name. Wow, that’s an obscure
statement. And yes, that’s my
fight name.
GISELLE
I called my father to tell him what
happened.
Okay.
JUDE
GISELLE
He said he picked the right guy.
Excellent.
JUDE
GISELLE
I need your help.
JUDE
After what just happened?
where’s the car?
And
GISELLE
They took it while you were
fighting.
JUDE
The police should be able to find
it. You’re my only concern.
GISELLE
I need to get it back.
39.
JUDE
Let the police do it.
GISELLE
They’re going to chop it.
JUDE
How do you know?
GISELLE
‘Cause you can’t steal one of those
and keep it without being caught.
You have to chop it.
JUDE
Oh.
GISELLE
So I need it back.
JUDE
Insurance will pay for it.
Why?
GISELLE
There are things in it that I need.
JUDE
I’m getting the feeling that you’re
not telling me something. Can we
just call the police? They might
be able to find it before it gets
to the shop.
GISELLE
I have to go after it. You’re my
bodyguard. You have to come with
me.
JUDE
And if I don’t?
Giselle shakes her head ‘no’.
No?
JUDE
What’s no?
GISELLE
I’ll get you dead.
What?
JUDE
You’re threatening me now?
40.
GISELLE
I’m telling you what you need to
know. I really need your help.
JUDE
Let me get this straight, you need
my help, but you can’t tell me why.
And you’re going to kill me if I
don’t?
GISELLE
That’s the long and the short of
it, yes.
JUDE
(Hands go to his head)
God dammit.
You okay?
GISELLE
There is a pause while Jude looks off into the distance.
JUDE
Jesus Christ, types like you floor
me. You think you just own the
whole world don’t you? You think
you can command people to do things
and because you’re rich and
powerful you can make it happen.
Where the hell do you get off?
Lady, I don’t know who did it, if
there was a motive besides the
obvious value, where to look
besides the chop shops...I don’t
know how to help you. So why don’t
you go and pay someone to give a
shit because I don’t. My
obligation is to your father, not
some pretentious debutant that’s
got a hidden agenda.
GISELLE
Look, Peter Hatcher was the tall
one. I recognized him from a
picture I saw in the newspaper. He
was spoken of often in my circle of
friends. We have that much.
JUDE
You have that much. Besides, don’t
you think he might’ve recognized
you?
41.
GISELLE
We’ve never personally met.
Jude is quiet for a bit.
JUDE
How did I end up in the middle of
all this?
GISELLE
Jude, this is very important to me.
So.
JUDE
GISELLE
How about I call my dad and tell
him you tried to rape me? How do
you think that’ll turn out for you?
JUDE
I can’t fucking believe you.
GISELLE
That’s your problem.
Jude looks intently at Giselle for several seconds.
JUDE
We should probably get a pistol or
two.
GISELLE
I know a place.
Jude gets on the motorcycle and Giselle mounts behind him.
Jude, thanks for coming after me.
JUDE
I didn’t have a choice.
GISELLE
Still, thanks.
EXT. SMALL HOUSE - NIGHT
Jude stops the bike and engages the kick-stand of the
motorcycle. Jude gets off the motorcycle and then Giselle
jumps off. They start walking towards the door.
GISELLE
This is a really old friend of my
grandfather.
42.
Giselle knocks on the door.
JUDE
What was in the car?
What?
GISELLE
JUDE
What was in the car?
GISELLE
I don’t follow.
JUDE
Yes, you do. If I’m going to risk
everything for you, the least you
can do is be honest with me.
The door opens to reveal FRED, an eighty-year old, somewhat
spry, Italian. He smiles when he sees Giselle.
Papa Fred.
GISELLE
FRED
My love! How you’ve grown so
beautiful.
Thank-you.
GISELLE
FRED
Come in, come in.
Fred opens the door for the two to enter, then shuts and
locks the door.
GISELLE
I need your help with something.
FRED
What kind of something
GISELLE
The kind that goes bang.
FRED
You are truly your grandfather’s
daughter. I’ll see what I have.
Fred walks out of the room and returns with two old .38
revolvers. He hands one to Giselle and one to Jude.
43.
Jude opens the cylinder and it falls off and rolls over to
Fred’s feet. Jude extends the gun handle first toward Fred.
JUDE
I don’t want to sound
unappreciative, but you wouldn’t
happen to have a good blade
instead, would you?
GISELLE
Papa Fred, I need your help not
your paperweights!
Fred takes both the revolvers back, smiles and walks out of
the room. He returns with two 20” by 15” cedar cases. He
hands one to Jude.
FRED
I had to make sure you would
respect the gift.
Jude opens the box. There are two stainless steel Browning
Hi-Power pistols with 4 magazines for each pistol in the box.
Jude grabs one of the pistols and racks the slide a couple of
times to check the action.
JUDE
Holy shit. Thank-you. Whoa, the
action is unreal. Who did the
work, Cylinder & Slide?
FRED
No, a good friend.
JUDE
Tell him he’s talented.
FRED
And for the misses, perhaps
something a bit smaller.
He hands a box to Giselle. She opens it to reveal two
Beretta 84 Cheetah pistols with 4 magazines for each pistol.
JUDE
Fred, you have incredible taste in
firearms. Extraordinary. And I
apologize for not being satisfied
but, do you have a holster or two
we could borrow?
FRED
Thank-you and of course.
44.
Fred walks out of the room. He returns in a moment carrying
two X-rig shoulder holsters and two belt loop magazine
holders. He hands one of each to Jude and helps Giselle into
her holster.
FRED
That fits nice my dear, no?
GISELLE
Yes, thank-you.
FRED
You are very welcome Giselle.
Papa Fred-
GISELLE
FRED
I know you need to leave.
stop back some time.
I will.
Please
GISELLE
Fred walks them to the door and opens it. Jude shakes Fred’s
hand. Fred kisses Giselle on the forehead and then gives her
a hug.
FRED
You will be careful. I would not
forgive myself if some harm came to
you because I provided you with
these. Of course, you no doubt
need them so you can prevent harm
from coming to you, so in the end,
I suppose there is nothing to
forgive.
Jude has gotten on the motorcycle.
toward him.
Giselle starts walking
GISELLE
I promise I will be careful.
FRED
Take care of her my friend.
Jude looks at Fred and nods ‘yes’.
GISELLE
He has escaped from every maximum
security prison in the southern
hemisphere. Crazy bastard.
45.
Giselle gets on the back of the motorcycle and puts her arms
around Jude’s waist, her head on his back.
JUDE
Just thinking about how or why he
ended up in those places would be
something.
What?
Nothing.
GISELLE
JUDE
Where to?
GISELLE
The corner of Satea and Norris.
Jude starts the motorcycle, glances at his shoulder and
accelerates away.
EXT. CITY - NIGHT
Jude is driving the motorcycle at about twice the rate of
speed of the other drivers. He is not driving recklessly,
just fast.
Giselle is watching the buildings pass while keeping her head
on Jude’s back. She squeezes her arms tighter around his midsection when he is forced to make a quick move to secure a
better position.
EXT. STREET CORNER - NIGHT
Jude slows the motorcycle to a stop, puts his foot down and
engages the kick-stand. Giselle steps off of the bike and
then Jude does also. Jude lights two cigarettes and hands
one to Giselle.
GISELLE
I don’t smoke.
Giselle takes the cigarette anyway and puts it up to her
lips.
JUDE
What was in the car?
Huh?
GISELLE
JUDE
Did you tell your father?
46.
How-
GISELLE
JUDE
What was in the car?
GISELLE
I can’t tell you. And no, I didn’t
tell my father.
JUDE
You lied to me.
GISELLE
I need your help.
JUDE
You already said that.
GISELLE
Do you know anything about my
family?
JUDE
You’re known as the rulers of the
east coast. All of it. Violent,
ruthless, et cetera.
GISELLE
That’s pretty much right.
JUDE
So what’s in the car?
GISELLE
I spent the last four years in
exile in Italy. Do you know why?
JUDE
Will I care one way or the other?
GISELLE
Because my dad is afraid of me.
JUDE
What the hell does that mean?
GISELLE
He had my mother, brother and
sisters killed. I only survived
because I made it to my
grandfather’s house.
47.
What?
JUDE
GISELLE
My mother was from the Gambini
family. They’re marriage was a
consolidation of power. After
awhile, my father got greedy. He
arranged for the heads of the
Gambini family to be terminated so
he could gain control over all of
their racquets. My mother got in
the way, so he had her killed along
with...
JUDE
I’m sorry.
(Pause)
So why does he fear you then?
GISELLE
Because I have the right to seek
revenge for a blood feud as long as
it’s approved by three of the four
dons.
JUDE
What’s this have to do with the
car?
GISELLE
I have been planning to retaliate
against my father and there are
signed documents from the dons that
grant me permission in the car.
There is also a cache of diamonds
that I was going to use to finance
a coup.
JUDE
Why do you need to finance a coup
when it’s your father?
GISELLE
There are things that must be paid
for, expenses while in transition.
JUDE
You want me to be an accomplice in
a murder.
(Pause)
I’m not saying I don’t have a beef
with him as he’s a complete asshole
but, murder?
48.
GISELLE
You wanted to know what’s in the
car.
JUDE
You could have said anything you
wanted and technically, I would’ve
had no choice but to buy it.
GISELLE
And you would have assumed I was
lying.
JUDE
True. True. You could have also
just said that you needed some help
that would involve a bit of mayhem
and, in exchange, that you’d in
turn help me with your father. To
wit, I would have probably replied,
‘okay, let’s do it.’
GISELLE
I basically did do that.
JUDE
Fair enough.
GISELLE
So...are you going to help me?
JUDE
Do I have a choice? If I don’t,
and you get caught, I’m dead. And
with what you told me, you can’t
let me live for fear I’d tell your
dad.
(Pause)
Not that your dad is a saint or has
any redeeming qualities, but how do
I know you’re not an evil bitch
that’s going to turn into a mass
murderer when you become boss?
You don’t.
GISELLE
JUDE
Could you be a little more
convincing than that?
GISELLE
Doubtful. Maybe my agenda isn’t as
hidden as you thought.
49.
Mmm.
JUDE
How do we get the car back?
Hard work.
GISELLE
JUDE
Sounds depressing.
(Pause)
How do you handle being you?
GISELLE
Another time maybe? After your
“sounds depressing” comment I don’t
feel like sharing much.
JUDE
(Laughs)
I think I like you.
(Giselle smiles as he looks
around)
What are we doing here?
GISELLE
There’s a guy named Charlie that
always sits at the same booth with
the same weirdos surrounding him.
He knows everything about
everything, especially rich
clientele with bad habits.
JUDE
So he’s a drug dealer?
GISELLE
Much, much worse. A vice dealer.
JUDE
What the hell is that?
GISELLE
Name a vice, nearly anything in the
world. He’ll provide you the
opportunity to enjoy it for the
right price.
JUDE
And our boys are regular clientele.
GISELLE
So I’ve been told. And this club
is something else too. You have to
have an income of at least 500,000
to even get an invite.
50.
JUDE
Sounds exclusive.
GISELLE
You’ll see why.
INT. CLUB - NIGHT
The club is an of an industrial build and decor. It is very
dimly lit. Part of the club is exquisitely decorated with
sumptuous, over-stuffed furniture and erotic, dark art on the
walls.
All the patrons of the club are wearing masks of some sort, a
full mask, a masquerade mask, etc. There are all sorts of
perversions occurring throughout the club while people watch.
Some people, after watching, stand up to take part in the
act.
Peter is sitting at a table with CHARLIE, a middle aged man
who looks as if he has not had a hard life but retains some
lust for living it. Peter has his mask pulled up on his
forehead while Charlie is the only person in the club not
wearing one.
PETER
Will you be able to have that
tonight?
CHARLIE
Peter, you still have an
outstanding bill.
PETER
I told you, I’m taking the Ferrari
to the shop tonight and should at
least get 50K. That more than
squares us.
CHARLIE
But what of payment for tonight?
PETER
The remainder of the 50K should be
more than a 50% down payment.
CHARLIE
Peter, I am not a bank nor am I in
the mortgage business. I do not
like running tabs. Either find the
money or I will not deliver what
you want.
51.
PETER
Come on, Charlie.
good for it.
You know I’m
CHARLIE
I will ruminate on your query while
you’re gone, and I guarantee your
position will be much improved upon
delivery of the 50K.
PETER
I’ll be back in a little while.
Peter stands, exits the table and walks towards an exit.
EXT. CLUB - NIGHT
Jude and Giselle are walking toward the front of the club.
There is a small line waiting to enter that is dressed in
evening attire, dresses for the ladies, suits for the men.
All are wearing masks.
Oh shit.
GISELLE
JUDE
Yeah. Looks like I’m going as a
good looking killer that plays by
his own rules, and you’re going as
a gorgeous Dago.
GISELLE
(Laughs)
Just let me do all the talking.
The two walk past the line and up to the three BOUNCERS.
They are dressed in head to toe black leather complete with
masks.
BOUNCER 1
What do you think you’re doing?
Bouncer 1 stretches out his arm blocking Jude and Giselle’s
path.
GISELLE
You touch me and you’ll be served
as meatballs at Piaggi’s.
BOUNCER 2
I like some fight in my women.
52.
GISELLE
My father is Alessandro Napoli. So
either step aside or call someone
important enough for me to yell at.
The bouncers step out of the way.
INT. CLUB - NIGHT
Jude and Giselle walk into the club. Everyone inside is
dressed in much the same manner although all the workers
(male and female) are dressed in very provocative or sexually
deviant attire.
GISELLE
You know a man’s a bitch when he
hides his face from you.
Giselle is leading Jude through the club at a rapid pace.
She is holding his hand.
JUDE
Whoa, I think that was my Sunday
School teacher.
GISELLE
I once saw my parish priest here.
Typical.
JUDE
GISELLE
Okay, he’s the guy in the silver
suit.
Gotcha.
JUDE
That’s a nice suit.
GISELLE
He has good taste.
Yeah.
JUDE
Charlie looks directly at Jude and Giselle when they are
about 20 feet from him. Jude and Giselle stop when they are
five feet in front of him. Charlie raises his hand and two
GOONS, each 6’6”, 260 pounds, step in between Charlie and
Jude and Giselle.
JUDE
You said you were going to do all
the talking.
53.
Uh-huh.
GISELLE
Jude strikes Goon 1 in the throat. He uses the same arm to
elbow Goon 2 in the face. Jude spins around and elbows Goon
1 between the eyes. He then punches Goon 1 in the stomach,
then axe kicks him in the back of the head. Both Goons fall
to the floor unconscious.
Jude steps to Giselle’s side. Jude looks at his elbow and
cleans a little bit of the blood off it with his finger.
CHARLIE
Yes, yes, a most exhilarating show.
But are you sure you don’t want to
turn around and walk out now? That
way, it’ll be you who’s tasting
that little strumpet tonight,
instead of my men.
JUDE
All we want to do is askCharlie raises his hand and THREE MEN from the table next to
him stand and surround Jude and Giselle.
Jude attacks the one he is facing first with a short kung-fu
kick to Man 1’s shin while simultaneously punching Man 2
above the eye. Jude then grabs Man 1’s arm and throws him
into Man 3.
The Men stand and regroup. Jude assumes a kung-fu pose and
motions for them to attack. Jude and the three men have an
incredible fight that consists of Jude using mainly kung-fu
with an occasional aikido throw.
Jude takes a couple of good blows but is able to knock each
into unconsciousness or complete passiveness. Jude looks at
the three men on the ground and then walks over to Charlie’s
table. Jude motions for the women sitting next to him to
leave.
JUDE
Could you give us a second?
They all jump out of the booth and run off. The crowd has
dispersed although a large number of them are still watching
Jude. Jude sits down and looks at Charlie.
JUDE
Hope you don’t mind?
Jude picks up a pack of cigarettes from the table and lights
one. While he is doing that, Charlie pulls a Kahr T9.
54.
Before Charlie has it aimed at Jude, Giselle shoots Charlie
in the shoulder.
GISELLE
Ouch. That’s gotta hurt. I made
sure to hit the bone. No major
arteries but owww. To think,
you’ll never be able to wank it
with that arm again Chuck.
JUDE
Yeah. This one’s gotta’ mouth on
her. Maybe you could just give us
what we want and we’d be on our
way.
CHARLIE
You shoot me and then you demand
information?
JUDE
I requested first. I could demand
though; if you think it would be
more successful.
No, no.
heeded.
CHARLIE
Your request will be
What do you want to know?
GISELLE
Who is Peter’s fence?
CHARLIE
Graham Stack.
GISELLE
Never heard of him.
CHARLIE
And you do a lot of car fencing, do
you? Being in Italy the last four
years and all, I mean.
GISELLE
Where is he?
CHARLIE
At the harbor. Dock 68.
Sirens can be heard from the police arriving.
GISELLE
Anything special I should know when
going there?
55.
CHARLIE
I don’t know. That is not exactly
my racquet.
GISELLE
So how is business for the smut
king these days?
Let’s go.
JUDE
Jude stands up from the booth and grabs Giselle’s arm,
leading her toward an exit
GISELLE
Thanks Chuck.
Giselle and Jude disappear into the crowd as several more
BOUNCERS arrive on the scene.
EXT. ALLEY - NIGHT
Giselle walks out of the back door of the club into a nasty
alley. Jude walks out a second later. They start jogging
toward the street.
JUDE
What the hell was the ‘let me do
all the talking’ thing? You sure
as shit weren’t saying much when
those mountains stepped in front of
us?
GISELLE
I got the information.
JUDE
You got faulty information.
walking into a trap.
We’re
GISELLE
How do you know?
JUDE
Because he knew we weren’t a
threat. He knew the cops were
coming and you couldn’t kill him
with all the witnesses. Not to
mention, we wouldn’t get the
information with him dead.
GISELLE
But why would he lie?
56.
JUDE
What does he have to fear?
Besides, you shot him. That would
piss me off enough not to give us
any usable information.
GISELLE
But we’ll be able to check it out.
JUDE
And then what, track him down and
whine at him if I’m right? Listen
to yourself.
GISELLE
So what do we do?
JUDE
The only thing we can do. Check it
out and let them think they’ve got
us.
GISELLE
But...it’s a trap.
JUDE
Yeah. And it’s our only lead.
Unless you know something I don’t.
No.
GISELLE
JUDE
And now the cops should be looking
for us.
GISELLE
He might not have reported it.
JUDE
Do you want to operate under that
assumption?
GISELLE
Not really.
Yeah.
JUDE
GISELLE
He was going to shoot you.
JUDE
And you made sure he didn’t.
57.
GISELLE
You’re mad at me for saving your
life.
Jude stops and looks at Giselle.
JUDE
No, I’m mad at myself for losing
control of the situation. Which
seems to be the story of my life.
People making decisions that I’m
not privy to that have profound
affects on me because I lost
control of the situation. I’m
sorry if I’m taking it out on
you...Actually, no, I am sorry
‘cause I have been taking it out on
you.
GISELLE
It’s all right. And by the way,
you’re a genius for parking the
bike a block away, maybe even
sagacious.
Thanks.
JUDE
GISELLE
What other people have made
decisions that have profoundly
impacted you?
JUDE
Do you know why I work for your
father?
No.
GISELLE
JUDE
Ask him sometime.
GISELLE
You are so overly dramatic.
What?
JUDE
GISELLE
That answer was pure drama.
Granted.
JUDE
58.
GISELLE
And you’re trying to deny that we
share a connection.
JUDE
Maybe...whoa, whoa, what?
INT. CLUB - NIGHT
Charlie’s arm is in a sling. The paramedics are leaving and
there are several cops still gathering evidence. There is a
COP finishing an interview with Charlie.
COP
We can finish the rest of this at
the station tomorrow or the day
after. How’s it feeling?
CHARLIE
Just grand.
COP
Have a nice night.
Charlie raises his hand as the cop walks away. Charlie
immediately pulls out his mobile phone. He dials and puts
the phone to his ear.
CHARLIE
Raul. I need a favor. I sent two
people over to your place looking
for a guy with their stolen car.
(Pause)
No, they go through Flow.
(Pause)
I need you to deal with them anyway
you want. But save the girl for
me.
(Pause)
I will cover any expenses and your
fee.
(Pause)
Call me when it’s done.
Charlie removes the phone from his ear and dials another
number.
Peter.
(Pause)
You’re bill has increased
exponentially since we last spoke.
Somebody showed up here needing
information about you and they shot
me.
(MORE)
59.
CHARLIE (cont'd)
Therefore, your bill is now half a
million to be paid in six months.
(Pause)
That includes my costs for dealing
with them, yes.
Charlie’s ASSISTANT walks up to the table.
ASSISTANT
Sir, we should really get you to
the hospital.
CHARLIE
(To Assistant)
I fucking know. It’s my arm that
has a hole in it, correct?
(Into phone)
And there will be no more
deliveries from me until you
fulfill that obligation.
(Looks at assistant)
Now we can go.
EXT. STREET - NIGHT
Giselle and Jude are near the motorcycle but are in the
process of a heated discussion.
GISELLE
You don’t want to reveal anything
so I won’t get close to you.
That’s petty and weak.
JUDE
So it couldn’t be that I just don’t
want to talk about it now?
GISELLE
It could, but it’s not.
JUDE
I’m glad you’re so sure.
GISELLE
Why are you being difficult?
JUDE
I didn’t know I was.
GISELLE
Jude, what you’ve done for me
tonight has me thinking I’m really,
really in like with you right now.
(MORE)
60.
GISELLE (cont'd)
I’m almost positive you feel the
same and that’s why you’re not
telling me whatJUDE
Okay, yes, the first part is
probably true. But I don’t think
you realize the extent of what we
still have to do tonight.
GISELLE
And that explains your behavior?
Jude looks away from Giselle for a couple seconds.
JUDE
What do you want?
GISELLE
I want to know what your deal is,
Jude. That’s all.
JUDE
Look, it pisses me off that you
affect me. You have power over me.
So do you.
GISELLE
Jude and Giselle have a good, long first kiss.
See that wasn’t so bad, was it?
JUDE
I’m just a bit preoccupied with
tonight’s events.
GISELLE
Your eyes tell me you’re lying.
JUDE
And you say I’m dramatic.
A cop car turns on to the street with its search light
scanning the sidewalk.
Shit.
GISELLE
Do you think they’re looking for
us?
JUDE
It’s of little concern.
Let’s go.
61.
Jude and Giselle run to the motorcycle, get on it and
accelerate down the street.
EXT. OUTDOORS STORE - NIGHT
Jude stops the motorcycle 20 feet in front of the store.
draws one of his pistols.
He
JUDE
Cover your ears.
He fires five shots into the glass door which fractures.
No alarm. That’s why I prefer the
smaller mom and pop establishments.
Jude kicks the glass as it shatters and falls to the ground.
GISELLE
Because their easier to rob?
JUDE
Exactly. I need you to get some
snake bite kits and glass jars of
differing sizes.
GISELLE
What size jars?
Small.
JUDE
Jude and Giselle split up. They meet back up at the front of
the store. Jude is carrying a small container of gasoline
and a large shoulder bag.
Jude opens the container of gasoline and pours a little bit
in two of the larger jars. He moves the jars around in a
swirling motion so that the gasoline completely coats the
inside of the jar. Then, in a smaller jar he puts a drop of
liquid obtained from the snake bite kit and caps that jar.
He puts the smaller jar inside the bigger jar and caps it.
GISELLE
What are you doing?
JUDE
Making explosives.
Jude begins the procedure again, this time with smaller jars.
Oh.
GISELLE
(Pause)
Like MacGuyver.
62.
Jude stops working.
JUDE
What do you mean by that?
(Giselle begins shaking her
head ‘no’)
Do I sound Canadian? Do I have a
beef with guns? Am I employed by
some do-gooder orgGISELLE
Whoa, whoa, whoa. You know an
awful lot about MacGuyver.
JUDE
What’s your point?
GISELLE
You had a mullet once, didn’t you?
No.
Come on.
I said no.
JUDE
GISELLE
JUDE
GISELLE
But you had one of those beat up
leather flight jackets, right?
JUDE
First, it sounds like you know more
than I do about him, second,
MacGuyver may have been one of my
heroes, but there’s nothing at all
appealing about the absurd and
sissy qualities he was endowed
with.
GISELLE
You’d be cute with a mullet and
some highway patrol sunglasses.
JUDE
Can we just have quiet time for a
minute while I’m making explosives?
GISELLE
At least my hero isn’t MacGuyver.
63.
JUDE
I said one of my heroes!
EXT. CAR - NIGHT
Peter is looking out of the window as Ian is driving the BMW
M5. Brice is following behind in the Ferrari.
IAN
What the fuck are we going to do?
PETER
I don’t know.
IAN
I don’t want to explain this to my
dad.
I know.
Fuck.
PETER
IAN
PETER
I need to tell Brice.
Peter takes out his cell phone, dials and puts the phone to
his ear.
Hey.
What’s up?
BRICE (V.O.)
PETER
I got bad news. The guy we stole
the Ferrari from showed up at
Charlie’s looking for us. Charlie
ended up getting shot and said that
now our bill is 500K, and we’re cut
off.
BRICE (V.O.)
What about drugs?
PETER
He sounded really shitty so I doubt
it.
BRICE (V.O.)
I need to stop and pick something
up then.
64.
PETER
There’s no time.
BRICE (V.O.)
I don’t care. I need to stop.
PETER
We need to(Ferrari passes the BMW)
Fuck. Follow him as you best you
can.
No.
IAN
Where’s he going?
PETER
Where do you think?
IAN
To get weed.
PETER
God dammit.
EXT. WAREHOUSE - NIGHT
Giselle walks up the side door of a rusted warehouse and
knocks. There is no much traffic in the immediate area.
door opens revealing RAUL, who is holding an AK-47.
The
RAUL
And who might you be?
Jane Doe.
GISELLE
I’m looking for a car.
RAUL
Come in, it’s dangerous outside.
Giselle steps into the warehouse.
INT. WAREHOUSE - NIGHT
The warehouse is about 400 ft. by 100 ft. There are about
twenty nice cars in the process of being dismantled. There
are 4 MEN working while 5 MEN are holding guns and standing
about twenty feet behind Raul.
RAUL
When Charlie called and asked for a
favor, I didn’t know it was going
to be this beautiful.
65.
GISELLE
So I’ve been set up?
have my Ferrari?
You don’t
RAUL
Do you see it here?
Giselle walks around to looks at the cars. When she does
this, the guys who are working stop and begin looking at her.
She walks back over to Raul.
GISELLE
I don’t see it.
RAUL
Then it’s not here.
In the background, Jude can be seen repelling down the wall.
GISELLE
Do you know where it is?
RAUL
Yeah, they’re fence is Flow. But
you’re prettier than any Ferrari
I’ve seen. So I think I get the
better deal.
GISELLE
I should probably tell you who I
am.
RAUL
Please do, baby.
Jude has made it to the ground and unhooks himself from the
rope.
GISELLE
My name is Giselle Napoli. I’m the
daughter of Alessandro Napoli.
RAUL
That’s cute.
GISELLE
A girl can try can’t she?
RAUL
Charlie told me he wanted you for
himself. I guess I’ll have to tell
him you didn’t make it.
66.
Jude can be seen setting one of the explosive jars on the
ground. He then picks up a blow torch that is lying on the
floor, starts a fire, then directs the flame from the torch
at the jar.
GISELLE
I want that car back.
RAUL
You seem so very confident.
GISELLE
You seem the type to spend a lot of
money on cheap cologne and great
deal of time pretending you’re not
stupid.
RAUL
Where’s your partner?
Around.
GISELLE
RAUL
If you tell me, we’ll at least give
you something for the pain.
GISELLE
What a generous offer. And because
of that, I think...uh, yeah, he’s
about thirty feet behind you.
Raul turns his head and sees Jude running at them.
Fuck.
RAUL
Raul turns his whole body and brings his gun up as Jude
shoots him in the upper chest. The explosive jar EXPLODES
about ten feet behind the group. The explosion sends four
MEN flying into the air. The rest of the MEN turn to shoot
at Jude.
Jude shoots two more MEN before ducking behind a Mercedes for
cover. He reloads his pistol and moves to the other side of
the Mercedes so he doesn’t emerge from the same place he
ducked behind.
Giselle draws her two pistols and shoots two of the MEN while
their backs are to her (they are facing Jude). Two of the
three remaining MEN turn back around and fire at Giselle as
she ducks behind a Lexus.
67.
Jude stands up and first shoots the MAN who is facing him.
He then wounds the remaining two MEN while they are firing on
Giselle (behind the Lexus). After wounding the last man,
Jude starts running toward the Lexus.
Let’s go.
JUDE
Giselle stands and they run out of the building together.
EXT. WAREHOUSE - NIGHT
Jude and Giselle are running away from the warehouse.
GISELLE
The car is at Flow’s.
Cool.
JUDE
Where the hell is Flow’s?
GISELLE
I can get us there.
EXT. STREET - NIGHT
Jude is driving the motorcycle at a high rate of speed. He
is dodging in and out of narrow gaps of traffic to pass
vehicles. Giselle squeezes her arms tighter around his
stomach. She closes her eyes and smiles as they pass between
two side-by-side, semis.
After a little bit, Jude notices that the bike sputters and
he can’t accelerate. He veers to the side to avoid a car he
had planned on passing. Jude attempts to rev the engine but
nothing happens; The bike is out of gas. Jude steers the
motorcycle across the remaining three lanes of traffic and
onto the side of the road.
JUDE
We’re out of gas.
(Pause)
Fuck! We’re out of gas.
(Pause)
I can’t believe this is happening.
We’re so close and we run out of
gas.
Calm down.
GISELLE
Giselle pulls out a cell phone and dials a number.
Why?
JUDE
We’re screwed.
68.
GISELLE
Shut up for a second.
(Pause)
Hi, Mike? I made Jude give me a
ride on his motorcycle and we ran
out of gas.
(Pause)
On the highway by mile marker 73.
(Pause)
Thanks.
(Closes the phone)
We’ll have gas in a couple minutes.
JUDE
It could be too late.
They-
GISELLE
Could what? Have the car stripped
in less than an hour? It doesn’t
work like that.
JUDE
I just can’t believe...We were so
close.
GISELLE
And we’ll be mobile in twenty
minutes.
JUDE
It’s just...
Relax.
GISELLE
Take a deep breath.
JUDE
Don’t placate me, okay?
GISELLE
I’m not. We know where they are
going and we’ll be there within the
hour. Please, just calm down.
JUDE
Okay. I’ll try and do a little
calming.
Good.
GISELLE
Jude walks to the motorcycle and leans on the seat.
JUDE
What is your life like?
69.
What?
GISELLE
JUDE
What’s it like being you?
GISELLE
I don’t know how to answer.
JUDE
It’s a pretty simple question.
GISELLE
I guess it’s kinda’ fun. I read a
lot, host drug parties, learn from
really intelligent people...other
than that, stuff. What about you?
JUDE
It sucks. For the past 6 months
I’ve worked for your pops without
getting paid. I’m broke. I fight
for money. But...it’s been
improving since I met you.
GISELLE
How did you end up working for my
dad?
JUDE
My ex-girlfriend was fronted a kilo
and then OD’d on it. He required
that I work off the debt.
GISELLE
Sounds like him.
JUDE
And that’s cool with you?
GISELLE
Not really. But because of him,
I’m standing here talking to you.
JUDE
While that infuriates me, I canGISELLE
Why does that infuriate you?
JUDE
Because it’s so mechanistic.
doesn’t...I don’t know.
It
70.
GISELLE
I sensed you had a beef with
causality.
JUDE
Yeah, that too.
GISELLE
So are you seeing anyone that I’ll
have to have wacked?
Kind of.
JUDE
GISELLE
What’s her name?
JUDE
I’m not going to tell you.
GISELLE
You better. Or you better end it.
I don’t do well with jealousy.
JUDE
So you’d really have her wacked?
Probably.
GISELLE
JUDE
You love being in the mob, don’t
you?
Yeah.
GISELLE
JUDE
Did it make growing up tough?
GISELLE
No. My godfather, Tony, made sure
I wasn’t spoiled or around anything
I shouldn’t be.
JUDE
When did you figure it out?
GISELLE
When my first boyfriend tried to
get to second base and I wasn’t
cool with it.
(MORE)
71.
GISELLE (cont'd)
The day after I told Tony, both his
wrists and arms were broken. He
swore it was from a fall.
JUDE
What a sweet guy.
I know.
GISELLE
I miss him.
JUDE
The boyfriend or Tony?
(Giselle laughs)
Is it harder to swallow the lies as
you get older?
GISELLE
Why do think I’m going to do what
I’m going to do.
Jude looks up at the sky for a second.
JUDE
(Smiles broadly)
Do you want to play leap frog while
we wait?
What?
GISELLE
JUDE
Kick the can? Duck, duck-goose?
Wait, it wouldn’t be that because
we’d be playing with two people.
Actually it would just be, well,
goose.
(Giselle laughs)
Sorry, the mood got heavy for a
moment and I felt the need to
lighten it.
(Pulls out a pack of
cigarettes)
You want one? Oh wait, you don’t…
GISELLE
I’d love one.
Giselle takes the pack and lighter from Jude’s hand and
lights a cigarette.
JUDE
Dreamy, aren’t they?
72.
GISELLE
Where do you see yourself in five
years?
JUDE
How the hell should I know?
GISELLE
What about when this is over?
JUDE
Can you ask the real question?
GISELLE
Could you handle being the
boyfriend of a woman who threatens
to turn people into a main course?
Maybe.
Maybe?
JUDE
GISELLE
JUDE
That’s what I said.
INT. BMW - NIGHT
Ian and Peter are in the BMW. They see Brice walking out to
the Ferrari. Peter pulls out his cell phone and dials
Brice’s number.
PETER
If there isn’t any more delays,
maybe we could get this done.
BRICE (V.O.)
It was five minutes, Peter.
PETER
Which is five additional minutes
that you were in a stolen Ferrari.
Just follow us, got it?
BRICE (V.O.)
Loud and clear.
Peter closes the phone and points at a road leading to the
highway.
PETER
Take the highway, it’ll be faster.
73.
IAN
It will alsoPETER
Just take it.
Ian looks over at Peter who is looking out of the side
window. Ian steers the car onto the entrance to the highway
and accelerates to about 100 mph. The highway is reasonably
busy and Ian has to weave in and out of traffic.
PETER
Slow down, we’ve had enough
exposure for one night.
IAN
That’s what I’m trying to minimize.
PETER
You’re going to get pulled over.
IAN
What are you talking about? They
would try to pull Brice over and he
is in the car they’ll never be able
to catch.
PETER
Just slow down.
IAN
You aren’t my fucking boss.
back and enjoy the ride.
Sit
Peter glares at Ian and then sits back and looks out the side
window of the car. After about 30 seconds, Peter sees Jude
and Giselle on the side of the road. Jude recognizes the
car. He looks directly at Peter.
Peter chuckles and then makes a gun with his finger, aims it
at Jude and pretends to shoot.
EXT. HIGHWAY - NIGHT
Jude looks up and sees the BMW and Ferrari on the highway.
He locks eyes with Peter. Peter is making the gun with his
finger and “shooting” Jude.
GISELLE
What are you lookGiselle sees the BMW and Ferrari. Both of them watch the
cars pass out of sight. Giselle pulls out her cell phone and
dials a number.
74.
GISELLE
Come on, come on, come on, where
the fuck are you? Answer, god
dammit.
Jude turns his head to look at the on-coming traffic. He
sees two men riding motorcycles in the lane nearest him.
GISELLE
(On phone)
Where the fuck are you?
Jude looks at the ground for a second and then pulls one of
his pistols, cocks the hammer, takes aim and shoots at the
tires of an oncoming car that’s about a hundred feet away.
The car crashes into the car next to it. Jude continues
firing at the tires of various moving vehicles causing a huge
accident.
TWO MEN on motorcycles slam on their brakes and veer onto the
shoulder to avoid the accident. Both come to a stop about
ten feet in front of Jude and Giselle. Jude starts walking
toward them. Rider 1 takes off his helmet.
RIDER 1
(To Rider 2)
Dude, what an accident.
know how it started?
Me.
Do you
JUDE
Jude takes two more steps and does a spinning kick that
knocks Rider 1 off his motorcycle. Jude aims his gun at
Rider 2.
You said you know how to ride a
motorcycle, right?
Yeah.
GISELLE
Rider 2 gets off his motorcycle.
JUDE
Well, come on then.
(To Rider 2)
I’m sorry to do this man.
great bike.
That’s a
Giselle walks up to Rider 2’s motorcycle and gets on it.
GISELLE
Thank-you, gentlemen.
75.
Jude gets on Rider 2’s motorcycle.
He holsters his gun.
JUDE
Actually, can I get that helmet?
Rider 1 shies away from Jude. Jude pulls his gun back out.
Rider 1 throws the helmet to Jude. Jude hands the helmet to
Giselle.
Thanks.
GISELLE
JUDE
(To Rider 2)
Man, I’m sorry to inconvenience you
further butRider 2 hands Jude his sunglasses. Jude puts on the
sunglasses. They both accelerate rapidly down the road
leaving Rider 1 & 2 by the side of the road.
Giselle and Jude are able to ride at an incredibly high rate
of speed because of the accident. There is no further
traffic able to continue driving so only the cars in front of
the accident are on the road.
Jude and Giselle slow down when they see the BMW and Ferrari.
Jude moves laterally so as to be in the blind spot of the
Ferrari and BMW, about a hundred feet back. Giselle follows
his lead.
The Ferrari and BMW take an exit, Jude and Giselle follow.
After a couple of quick turns, the cars drive up to a large
warehouse. A large door opens and the cars drive into the
warehouse. The door closes behind them.
EXT. STREET CORNER - NIGHT
Jude and Giselle are watching the door to the warehouse
close. Jude draws one of his pistols, drops the magazine and
replaces it with a fresh one. Jude re-holsters the pistol.
GISELLE
Why did we let them go in again?
JUDE
I don’t know, I’m kinda’ winging it
here.
Oh, okay.
GISELLE
76.
JUDE
Also, I think it would have been
nearly impossible to do anything
while they were driving.
GISELLE
Yeah. We couldn’t exactly run them
off the road.
(Pause)
So what are we going to do?
Umm.
Huh.
JUDE
INT. WAREHOUSE - NIGHT
There are 16 beautiful cars and 5 motorcycles in the
warehouse. Ian opens the door of the Ferrari and steps out.
IAN
You were an incredible woman.
miss you.
I’ll
Brice and Peter exit the BMW. FLOW, a hardened forty year
old with tattooed shoulders and chest, is standing on a
balcony connected to the only office (20 feet above the
warehouse floor).
PETER
Sweet, ain’t she?
FLOW
There will be angels crying.
Unless I can find a buyer for her
whole.
IAN
If you have to chop her, make sure
you take her out once.
FLOW
Ian, what do I look like, a fool?
IAN
I’m just sayin’.
FLOW
I hear ya’ brother.
get your paycheck.
Come on up to
EXT. WAREHOUSE - NIGHT
Jude and Giselle are riding on his bike.
blocks from the warehouse.
They are about five
77.
Jude slows to about ten miles an hour and pops a wheelie
causing Giselle to fall off the back. She hits the ground
running.
GISELLE
You asshole! What about the plan?
Jude accelerates away from Giselle. Giselle draws one of her
pistols and continues running toward the warehouse.
Jude gets to the warehouse door and honks the motorcycle’s
horn. The door to the garage doesn’t open. He honks the
horn again. The door doesn’t open.
JUDE
It was worth a try.
INT. OFFICE - NIGHT
Flow is looking at a video camera monitor that shows Jude on
the motorcycle.
FLOW
A friend of yours?
No.
PETER
FLOW
He must be, ‘cause I’m not taking
any motorcycle deliveries. Not
today at least.
PETER
I’ve never seen him before.
FLOW
You know my rule about bringing
heat.
PETER
Flow, we don’t know him.
FLOW
You have forfeited your wages for
us having to deal with this
problem.
PETER
We don’t know him.
FLOW
What about you, Ian?
You know him?
78.
PETER
He-
Flow draws a Heckler & Koch USP pistol and points it at
Peter’s head.
FLOW
Is your name Ian? Ian and I have
history, see. He won’t lie to me.
You know him Ian?
Yeah, man.
him.
IAN
We stole the car from
PETER
What the fuck, Ian?
Flow grabs Peter by the wrist and shoots him in the hand.
Peter screams in pain.
Shut
deal
back
earn
FLOW
the fuck up. I’m gonna’ go
with this problem and I’ll be
to tell you what you can do to
your paycheck.
INT. BALCONY - NIGHT
Flow walks out of the office.
walking toward the catwalk.
Flow sees HULK, a huge male,
HULK
What’s going on?
FLOW
We got company. I need you to
watch the monitors and keep an eye
on those little fuckers.
HULK
You need me with you.
FLOW
Not as much as what I told you to
do. Do not let them out of your
sight.
INT. OFFICE - NIGHT
Brice has taken off his T-shirt and ripped a long piece of
it. Ian is looking at the monitor. He sees a joystick and
moves it. He sees that the monitor’s view changes.
79.
PETER
That mother fucker.
shot me.
He fucking
BRICE
Hold still.
Brice looks around and sees a bottle of Vodka.
and pours some over Peter’s hand.
He grabs it
PETER
Ouch, that fucking hurts.
Brice wraps the T-shirt around the hand.
BRICE
There is a hole in your hand.
I know.
PETER
The monitor Ian is viewing shows Jude letting go of his
motorcycle. There is a rope tied around the throttle and the
handlebars to cause the bike to accelerate and drive straight
into the building. Hulk walks into the room. Brice, Ian and
Peter all look up at him.
INT. WAREHOUSE - NIGHT
Flow runs down the spiral stair case.
FLOW
Jack, Bravo, Rock grab some
hardware and tell the others, we
got a problem.
JACK, BRAVO and ROCK all grab either an MP-5 submachine gun
or a shotgun. ROCK runs down a hallway toward the far side
of the warehouse. Seconds later he returns with 3 GUYS
behind him.
Flow is nearing the large door to the outside. He is
carrying his USP pistol. Jack throws him a Mossberg
Persuader pistol grip shotgun. The second Flow catches it,
Jude’s motorcycle crashes through the door. It narrowly
misses all the guys but crashes into a BMW SUV.
Bravo and Frank spray some bullets at the hole in the door.
They approach the hole and look out.
FLOW
Looks like they’re gonna’ have some
more work to do for a paycheck.
80.
EXT. WAREHOUSE - NIGHT
Giselle is running toward the large door. She sees Jack and
Bravo exit through the hole. She ducks behind a semi-trailer
for cover.
GISELLE
Where the fuck are you Jude?
I/E. WAREHOUSE - NIGHT
Flow is stepping through the hole. Jack and Bravo are aiming
their weapons in opposite directions, covering the perimeter.
Flow takes out a cell phone and hits the intercom button.
FLOW
Hulk, you see anything out front?
INT. OFFICE - NIGHT
Hulk has forced Brice, Ian and Peter to sit on the floor
against the wall so that he can keep an eye on them and watch
the monitors at the same time.
HULK
Nothing at all.
I/E. WAREHOUSE - NIGHT
Flow steps back into the warehouse and addresses Frank and
the other FIVE GUYS.
FLOW
Make sure this area stays secure.
We’re gonna’ make sure the front is
clean.
FRANK
You got it, boss.
Flow steps through the hole.
FLOW
Bravo’s got point.
our six.
Jack you watch
Bravo, Flow and Jack start moving toward Giselle’s position.
She peeks out. Bravo sees her and fires some shots.
BRAVO
Two o’clock, behind the trailer.
Flow’s phone BEEPS the intercom noise.
81.
HULK (V.O.)
Somebody has gotten in through the
back of the building. He’s on
camera 6.
FLOW
Jack, Bravo, deal with the trailer.
Flow runs back toward the hole in the building.
can be heard.
A GUNSHOT
INT. WAREHOUSE - NIGHT
Jude is pointing his gun at a camera. He fires and the
camera explodes into a thousand pieces. He starts moving
slowly toward the opposite side of the very large warehouse.
GUY 1 comes into view carrying an UZI. Jude sees him, but
GUY 1 does not see Jude. Guy 1 walks around a large machine
that had partially obscured his view of Jude. Jude waits
until Guy 1 is underneath him then does a jumping sacrifice
kick that causes his shin to strike Guy 1 where the neck
connects to the shoulders. Guy 1 crumples to the ground
while pulling the trigger of his Uzi.
INT. OFFICE - NIGHT
Hulk is talking on the intercom while watching the monitors.
HULK
I don’t see him on 9 and we’ve lost
6.
FLOW (V.O.)
Pan 8 over and tell me what you
see.
Hulk hits a button and moves a joystick.
PETER
(Whispering)
We got to get out of here.
BRICE
(Whispering)
And do what? We keep getting
deeper and deeper.
PETER
(Whispering)
If we stay we might get killed.
HULK
I don’t see anything.
82.
FLOW (V.O.)
Keep looking.
PETER
(Whispering)
We don’t have a choice.
EXT. WAREHOUSE - NIGHT
Bravo and Jack are approaching the semi-trailer. Giselle
steps out and fires several quick shots. Bravo and Jack
return fire with a hail of bullets. Giselle quickly ducks
back behind the semi-trailer.
Bravo motions for Jack to go to one side of the semi-trailer
and he will go to the other.
INT. WAREHOUSE - NIGHT
Flow walks back in amongst the 4 GUYS. He is holding his USP
and the phone. He lifts the phone to his mouth.
Anything?
No.
FLOW
HULK (V.O.)
About twenty feet away, Jude looks over a car to see all the
men in a circle. He looks to the left and sees the Ferrari.
He ducks behind the car and takes a deep breath.
INT. OFFICE - NIGHT
Peter is drawing his 1911 pistol. He is keeping it hidden by
his coat. Hulk is watching the monitors and is completely
oblivious. Peter aims the pistol at Hulk and cocks the
hammer. Hulk turns at the sound of the ‘click’ to see both
Brice and Peter pointing guns at him.
HULK
What are you going to do with
those?
This.
PETER
Peter and Brice fire several shots in unison.
INT. WAREHOUSE - NIGHT
Flow and his men look up at the office.
intercom.
Flow speaks into the
83.
FLOW
That was you shooting, right Hulk?
Jude is running at the 7 men as they are looking up to the
office. He begins firing, hitting Frank and Guy 6 in the
chest. The other men return fire causing Jude to dive over a
car. Flow grabs Frank’s MP-5 and leads the men toward the
spot Jude dove for.
Jude stands and fires some more shots. He hits Man 4 in the
shoulder. Man 4 drops his shotgun and pulls a pistol with
his good arm.
Jude has moved without the men being able to see him. He has
taken up a position to their 3 o’clock staying hidden by
machines, cars, etc. He sprints at them while firing. He
hits two more men while the others take cover. Jude, while
travelling in the same path, jumps and runs on the side of a
machine for three steps to avoid the shots of the men.
Flow drops the MP-5 as Jude wounds the last two men and his
pistols locks back, empty. Flow reaches for his pistol as
Jude does a jumping kick that knocks the pistol out of his
hand. Guy 4, who is behind Flow, draws his pistol and
attempts to aim at Jude while Jude attacks Flow.
Jude is able to land several blows that send Flow rearward.
Guy 4 steps to the side to get a shot at Jude. Jude has
prepared for this and performs a diving low kick under Guy
4’s shots. The kick lands on Guy 4’s legs, causing Guy 4 to
fall face first into the floor. Jude coils his body into a
ball and springs off the ground, feet first into Flow’s
chest, knocking Flow back into a machine. Jude lands on his
feet.
A CAR ENGINE STARTING can be heard in the background. Jude
immediately looks to see Ian behind the wheel of the Ferrari
and Brice opening the large door.
EXT. WAREHOUSE - NIGHT
Jack and Bravo come around the semi-trailer on opposite sides
in a crouched position. Giselle isn’t there. She has
climbed on top of the trailer. They turn and look around and
see nothing. Jack points upward, toward the roof of the
trailer.
Jack stays at the edge of the trail while Bravo moves back to
cover Jack as he is going to obtain a shot on Giselle.
Giselle peeks out and Jack and Bravo fire some shots on her
position. She drops back down.
The Ferrari comes peeling out of the warehouse, followed by
the BMW. Jack and Bravo turn to look at it.
84.
At that moment, Giselle stands and fires on both Jack and
Bravo while running toward the opposite end of the trailer.
Jack and Bravo turn and begin firing on her. Jack has to
reload his MP-5 and is hit while doing so. Giselle gets to
the end of the trailer and jumps off of it. She lands with
her feet together and immediately rolls.
She comes out of the roll aimed at Bravo. Bravo also has
aimed at her. They both shoot simultaneously; Giselle hits
Bravo in the chest and head; Bravo’s barely misses, his
bullets cutting a chunk of Giselle’s hair that was hanging
over her right shoulder.
Giselle rolls backward to avoid the shots of Jack who was
wearing a bulletproof vest. Giselle ducks behind a car for
cover as Jack peppers the car.
JACK
You have to die little lady.
just make this quick.
Let’s
Giselle fires a couple of shots under the car at Jack, barely
missing his legs. Her gun runs dry. She reaches for another
magazine but doesn’t have one.
That was clever but you missed.
Jack comes around the corner of the car.
You’re the cutest thing I’ve ever
had to kill.
One GUNSHOT sounds. Jack stumbles and falls to the ground.
Giselle looks over to see Jude aiming a gun out of the window
of a Porsche 911 Turbo while driving toward her. He slams on
the brakes and turns, spinning the car to a stop next to her.
He opens the passenger door.
JUDE
You all right?
(Giselle nods her head
‘yes’)
Then get in. They got a minute
head start on us.
Giselle stands and runs over to the car. She gets in and
Jude slams on the gas, causing her door to slam. She grabs
Jude around the neck and kisses him on the cheek.
GISELLE
You’re amazing.
JUDE
Buckle up, babe.
crazy.
It’s about to get
85.
Jude steers the car on to the entrance to the highway.
EXT. HIGHWAY - NIGHT
Jude accelerates down the entrance to the highway. The rear
of the car swings out when merge because of the acceleration.
They are moving at around 180 mph, weaving in and out of
cars. They catch up to the BMW and Ferrari.
They have a crazy chase for a couple of minutes. During
which, Brice and Peter fire all the ammo they have for their
guns at Giselle and Jude.
The chase ends by Jude passing both of the cars and
immediately getting in front of the Ferrari. The millisecond
he gets in front of the Ferrari, he slams on the brakes. Ian
has no choice but to slam on the brakes. All three cars come
to a stop in the middle of the street.
Jude is out of the Porsche in a second as Brice and Peter
stop the BMW a couple of feet away. There are cars passing
and honking at the three stopped vehicles in the center of
the road. Jude runs to the Ferrari and pulls Ian out of it
before Ian can put the car in reverse.
Brice and Peter, carrying a crowbar, come up behind Jude.
Jude ducks Peter’s initial swing. Jude engages in a fight
with all three while Giselle makes her way to the Ferrari.
Jude knocks Brice out with a Thai-style spinning elbow.
Giselle puts the Ferrari in reverse and backs away. Peter
turns to see this and as he looks back, Jude kicks him under
the chin, causing him to fly into the air and land flat on
his back.
Ian turns at the sound of SIRENS. Jude turns, runs to the
Porsche, jumps in and drives off. Ian looks at Peter and
Brice on the ground and sits down.
IAN
Well that was a fucking great plan,
Peter. My dad is going to kill me!
EXT. HIGHWAY - NIGHT
Jude is flying down the highway at around 140 mph. He is
looking in the rear view mirror. He slows down as the
flashing lights aren’t following him.
He looks to his right as Giselle pulls up along side of him
in the Ferrari. She rolls down the window. Jude rolls down
the passenger side window.
86.
GISELLE
If you catch me right now, you’ll
never lose me.
Giselle smiles seductively at Jude and then accelerates away.
Jude laughs.
JUDE
(Talking to the car)
Do you believe her? She actually
thinks that Ferrari she’s in can
take you.
(Pause)
And that she’s not already mine.
Quaint, don’t you think?
Jude downshifts the Porsche and rockets forward.
I see you agree.
Jude accelerates in between a semi trailer that is merging
next to another semi. Jude is inches behind the Ferrari’s
bumper in a couple of seconds.
THE END