| Black
Rain (1989) by Craig Bolotin & Warren Lewis. Draft script. November 1987.
A BLACK SCREEN:
Various voices: "Big six"... "That's six the hard way"...
"Seven or eleven"... "Play two"...
FADE IN:
EXT. UPPER EAST SIDE - NEW YORK CITY - NIGHT
One of the pristine blocks of brownstones where even the
garbage seems gift wrapped. The VOICES continue over as
we move in on a particular building where a DOORMAN is
holding open the door for a dowager and her poodle.
The voices continue: "Hit me"... "Double down"... "Let it
ride"... "Hit me"... "Anymore for the come out"...
"Card"...
In contrast to the outside of this sedate, quiet
brownstone, we go inside to find...
INT. BROWNSTONE APARTMENT
... a miniature Las Vegas, complete with music, drinks,
tuxedoed dealers and croupiers: roulette, craps, Black
Jack. Wall to wall people. The fact that casino gambling
happens to be illegal in New York doesn't stop these
Connecticut slummers, hollow-cheek nightlifers, and junior
wiseguys from having a good time.
AT THE CARD TABLE
NICK CONKLIN, holding a dollar cigar, is trying to pull a
winning hand. In his late thirties, Nick has the sort of
quiet good looks that takes an extra glance to appreciate.
His Moe Ginsburg rent-a-tux is too tight, his ruffled
shirt, out of date; Nick could care less.
Two other players are still in the game. One of them is a
lithe DEBUTANTE surrounded by an entourage of giggling
friends and tuxedoed men. The pot is huge.
Nick flips two one hundred dollar chips onto the pot.
NICK
One, and one on top.
DEALER
House sees.
PLAYER ONE
(hesitates)
I'm out.
Disgusted, he throws down his cards.
It's down to Nick and the debutante. The cocky deb gives
Nick a long look, confident she can win.
DEBUTANTE
(her eyes still on
Nick)
I see the deuce, and one to chase
them home.
She throws her chips on the pot. Nick hesitates, then
decides to match it.
NICK
Call.
DEBUTANTE
(showing her hand)
Ladies, aces wired. Sorry sport.
Nick turns over his cards, Jacks and tens, not good enough
to win. Elated, the deb gets up from the table and joins
her giggling friends. Nick walks over to her.
NICK
Very nice, Barbie.
(pointing toward her
boyfriend)
Now, I'd take Ken over there and go
home.
DEBUTANTE
Why's that?
NICK
It's time. That's all.
BOYFRIEND
The lady wants to play. Someone
should teach you to be a better
loser, loser.
NICK
Listen, Ken --
BOYFRIEND
My name is not Ken --
NICK
-- I'm offering you the benefit of
my experience.
DEBUTANTE
Looks like you have a lot of
experience in places like this. It
was nice of them to relax the dress
code for you.
That draws a laugh from her friends. The entourage heads
for the bar.
CHARLIE SKLOARIS, twenty-three, steps in front of the
debutante, blocking her path.
She steps to the side. Charlie steps with her. Charlie's
pushing it, he's always pushing it. She's not amused.
Finally, Charlie lets her pass. He comes up to Nick.
CHARLIE
Typical New York woman, big
attitude, small apartment, no tits.
Only two things count to Charlie: his job and his women,
but not necessarily in that order.
CHARLIE
I think she got to you, pappy.
NICK
(checking his watch)
You want a popsicle, go to Good
Humor. And don't call me 'pappy.'
CHARLIE
(glancing at the
door)
Still, you gotta wonder how she'd
look in handcuffs.
Nick, wary, eyes this kid. Charlie shrugs, spreads his
arms defensively. The SOUND of pounding on the front
door.
THE DOOR
splinters. The bouncer steps back as four helmeted
emergency service officers -- the first members of the
raiding party -- rush in.
Pandemonium. People rush for the exit -- any exit.
AT THE BAR
Nick and Charlie hold up their glasses.
NICK
(calmly)
Alley oop.
They down their drinks, then set them down.
Charlie pulls out the Binaca, offering Nick a spritz, but
Nick is already pulling out his POLICE BADGE and hanging
it around his neck. Charlie quickly follows suit.
A HALF DOZEN COPS
line the patrons up against the wall. The Asst. D.A.,
PATTY ZACHARA, climbs onto the crap table. A petite,
nervous woman, Patty has dressed in a Channel suit for the
occasion.
ZACHARA
Settle down. Hey, quiet... Please.
Not a prayer.
NICK
SHUT THE HELL UP, GODDAMNIT!
That quiets them.
NICK
My name is Conklin. Let's do this
fast so I can go home.
Zachara, annoyed, looks at Nick.
NICK
(softer)
It's all yours.
ZACHARA
(reads)
Under section 216 of the New York
State Penal code, I serve notice
that this premise and it's
occupants...
NICK
catches the Debutante's eye across the room. She smiles
at him, he was right. He shrugs, spreads his hands.
That's life.
A well groomed middle aged man, who we'll come to know as
CAVELLO, suddenly bolts from the crowd lined up against
the wall.
Charlie spins around to stop him --
CHARLIE
Whoa -- where do you think you're
going, hotdog.
Cavello butts him with his head, sending Charlie to the
floor. Then, crosses his arms in front of his face and
plunges through the WINDOW.
Nick, not missing a beat, gives a small sigh as he
follows.
NICK
(sighs)
Fabulous...
He takes off after him.
EXT. STREET UPPER EAST SIDE - NIGHT
Nick, short of breath, chases Cavello down the residential
street, past the dog-walkers, past the doormen, past the
fur-coated women climbing out of taxies... Unfortunately,
Cavello has a good half block on him.
From nowhere, Charlie blasts past leaving Nick a half
block behind, silently cursing his age.
AT THE CORNER
a limo jerks to a halt, and Cavello jumps in. The limo
streaks away.
CHARLIE
turns to see Nick, hands on knees, gasping for air.
CUT TO:
INT. LOCKER ROOM - TWO EIGHT PRECINCT - NIGHT
Now in their street clothes, Charlie and Nick stand in
front of the mirrors. Charlie is working his brush and
hair dryer as if his life depended on it. Nick, in
contrast, shoves his hair back with his fingers and
glowers at himself in the mirror.
CHARLIE
(over the dryer)
... It's not like you were slow or
anything... I think you did just
fine. I think you did GREat.
NICK
Thanks.
Nick turns to leave.
CHARLIE
Hey, hey, where you goin'?
NICK
Home.
EXT. POLICE PARKING LOT - NIGHT
Nick strides out the door. Charlie hurries after him.
CHARLIE
Wait up. You know the guy who did
the Weismuller through the window --
NICK
-- Cavello. Ronnie Cavello.
Charlie trails Nick to his motorcycle: a Harley hog
complete with wide gleaming fenders and twin tanks. The
bike is held together with tape and baling wire.
CHARLIE
You know him?
Nick tries to kick-start this behemoth, but it's not easy.
NICK
He works for Frank Abolofia.
Atlantic City. Casinos.
CHARLIE
So why dive through the glass for a
nickel and dime bust?
Charlie puts his foot up on Nick's fender to tie his shoe.
Nick, spotting an ankle holster peeking from Charlie's
sock, grabs Charlie's foot. Charlie teeters.
NICK
What's this?
CHARLIE
Let go...
Nick pulls out a Beretta 32.
CHARLIE
Back-up.
NICK
Get rid of it.
CHARLIE
Why?
NICK
It's not regulation. And the only
way you're gonna stop anybody with
it is to show it to him, and while
he's laughing, you can shove it down
his throat.
CHARLIE
(looking at Nick's
bike)
I'll get rid of it when you get rid
of the egg-beater.
The Harley comes to life spitting a cloud of blue smoke.
Nick puts on his paint-flecked helmet, slides down some
ski goggles.
CHARLIE
Nick, let's go hunting. Bag
Cavello.
NICK
Charlie...
Nick pops the bike into gear.
NICK
... You still got shaving cream on
your ear.
Nick rolls out and disappears in a haze of blue smoke.
EXT. BELT PARKWAY - VERRAZANO BRIDGE - NIGHT
WE FIND Nick, a lonely, solitary figure bobbing in and out
of the lights and shadows. The SOUND of wind whips
through his helmet; cold air stings his cheeks... The tail
lights of Nick's bike disappear into the night.
EXT. SUBURBAN STREET - STATEN ISLAND - NIGHT
Civil service heaven. Nick hits the cut switch and glides
past the manicured lawns and well kept houses of this
development. A basketball net in every driveway, a Buick
or Chrysler in every garage.
One house sticks out. The lawn is brown, paint is peeling
off the garage door and newspapers are scattered on the
driveway. Nick glides once around the cul de sac looking
at the house. His house. It's as inviting as an open
grave. He shoots away.
INT. EL GRECO DINER - STATEN ISLAND - NIGHT
A hanger sized roadhouse, wall to wall red velvet.
Nick's the sole figure at the counter, coffee and the
Daily News in front of him. A NURSE walks in and sits
down a half dozen seats away. Nick look up.
NICK
Short shift?
CONNIE
Yeah... I came to save you. If
you're hopeless, I'll pull the plug.
CUT TO:
INT. CONNIE'S APARTMENT - BEDROOM - NIGHT
Nick and Connie are in bed. They're both looking up at
the ceiling. They've just made love.
CONNIE
It's getting too cold even for me,
Nick.
NICK
Connie...
CONNIE
All right, how's the new partner?
NICK
High spirits, desire, commitment.
CONNIE
You'll take care of that.
NICK
Give me a break, would you?
CONNIE
If you give me one.
Nick kisses her. The first suggestion of real affection.
The SOUND of someone KNOCKING on the door. Reluctantly,
they stop. Connie gets up and puts on her robe.
NICK
Are you expecting anyone?
CONNIE
I wasn't expecting you.
She disappears down the hallway. We HEAR the door open,
then telling someone to wait.
CONNIE
(poking her head in
the room)
Imagine a small, greasy Boy Scout.
CUT TO:
INT. CONNIE'S APARTMENT
Nick, wearing only his pants, is doing a slow burn.
Charlie is holding his hands up defensively.
CHARLIE
... I found the goombah... Cavello.
He's --
NICK
-- I should tear your head off.
CHARLIE
Whoa, I knew you were going to say
that. I absolutely anticipated
that, Nick. But I said to myself,
Charlie, Charlie, we can move up on
this, so go find Nicklaus... He'll
be pissed for a moment, but then
it'll dawn on him --
NICK
-- Hey, I got a better chance of
being hit by a bus then moving up.
Charlie looks away momentarily, letting it slide. He
knows he's on sensitive ground.
CHARLIE
... Look... they told me at the
Greek's you were here. I'm sorry, I
never imagined...
CHARLIE
(buddy buddy)
I like her. She's nice.
(lowering his voice)
For her age.
The bedroom door opens. Connie enters, dumps Nick's
clothes on the couch, tosses his gun on top of the pile.
Without a word, she goes back inside and slams the door
behind her.
Nick, pissed, slowly turns to face Charlie. Charlie
shrugs. Nick's got nothing better to do than go.
CUT TO:
INT. LIME HOUSE - CHINATOWN - NIGHT
The Lime House is a little piece of Italy in the heart of
Chinatown, and tonight, it's packed. Any selection on the
jukebox that isn't Frank Sinatra is Jerry Vale. Behind
the bar are two fat BROTHERS. One pours drinks, the other
dishes out Scungilli. It's three a.m. It's always three
a.m. at the Lime House.
AT THE BACK TABLE
Our man CAVELLO is unloading steaming Scungilli onto an
already heaping plate in front of an imperious looking
JAPANESE MAN. The Japanese Man, in his mid-fifties, wears
a gray suit, and not a strand of his jet black hair is out
of place.
A Japanese TRANSLATOR, doing his best to translate
Cavello's heavily accented English, sits between them.
AT THE BAR
Charlie is looking straight ahead, afraid Cavello might
peg him. Nick is at ease.
CHARLIE
What are they doing now?
NICK
Eating Scungilli, just like the last
time you asked.
CHARLIE
Who do you think the Jap is?
NICK
Maybe Cavello's buying a Subaru.
How would I know?
CHARLIE
I don't blame you for being sore.
It'll pass when we bag him.
Charlie, trying to relax, gestures toward his foot.
CHARLIE
Whatdaya think? 'Bostonians'.
Eighty-five bucks.
(lowering his voice)
Girls go for shoes. Second place
they look.
(off Nick's
reaction)
Hey, I read it in a magazine.
Nick's attention is drawn to a trio walking in the door.
NICK
(dead serious)
Charlie, don't do anything. Promise
me?
CHARLIE
What?
WHAT THEY SEE: TWO BODYGUARDS are making a quick sweep of
the bar. FRANK ABOLOFIA, s stocky man with silver grey
hair, sweeps in behind them. Abolofia has mitts like a
meat packer and a fifty dollar manicure. A heavyweight
Mafioso.
NICK
Frank Abolofia.
CHARLIE
The Wolf?
Abolofia walks to Cavello's table. All rise and shake
hands. The two hitters take seats at the bar. The two
brothers scramble to serve their distinguished guests.
NICK
(in a whisper)
Some party.
CHARLIE
Maybe we should do something?
NICK
Charlie, take your gum, stick it
under your ass and keep it warm.
Nick turns away, resumes his drink.
NICK'S POV IN THE MIRROR BEHIND THE BAR: two new Japanese
men step in the door. Early twenties, spiky hair, dark
Versace suits.
NUMBER ONE
wears tortoise shell shades. He coolly checks out the
room then nods to --
NUMBER TWO
who pulls a Spas 12, automatic shotgun from under his
coat, and spits out three rounds. A window shatters.
Everyone hits the floor.
NUMBER ONE
slowly walks toward Cavello's table.
NUMBER TWO
covers the floor. Abolofia's bodyguards show their empty
hands.
NICK AND CHARLIE
on the floor. They don't have the artillery for this guy
either.
AT THE TABLE
Our Japanese businessman knows these people. He eyes them
contemptuously.
Abolofia has put enough people in this situation to be
philosophical about it. He stops chewing. A tiny
hand motion to his bodyguards is enough to stop any
precipitous action.
NUMBER ONE
(in Japanese)
Give it to me.
The Japanese businessman looking straight ahead. A long,
silent pause... Then, still not facing him:
BUSINESSMAN
(in Japanese)
Go to hell.
Number One slips his fingers beneath his shades, massaging
his eyes. IN A FLASH, he pulls a shuto from under his
coat. The 18 inch blade gleams like a neon tube.
He presses the tip of the blade against the businessman's
throat.
CHARLIE
his hand close around the grip of the Beretta. He unsnaps
the ankle holster. The SNAP can be heard across the room.
Nick's hand closes around Charlie's and squeezes till the
knuckles turn white.
CHARLIE
(in a whisper)
What are you doing?
NICK
Saving your life.
NUMBER TWO
levels the scattergun at Nick and Charlie.
AT THE TABLE - NUMBER ONE
calmly holds the blade at the man's throat as he reaches
into the man's jacket and removes a small, rectangular,
plastic-wrapped parcel.
He feels its weight, then flips it to NUMBER TWO.
Abolofia, realizing that whatever is going on doesn't
affect him or his, resumes eating.
ABOLOFIA
You people are wild... Wild.
NUMBER ONE backs the blade off. The man raises his napkin
to the small wound. A droplet of blood has stained his
shirt collar. NUMBER ONE turns around as if to leave.
What happens next could be a whim, an after thought.
Number One spins around and THRUSTS the blade deep into
the man's chest. He withdraws it with a half twist, and
in the same motion fatally slashes the translator's throat
before the old man's body hits the floor.
Blood pours from the businessman's mouth onto his
Scungilli, spreading across the white cloth and onto the
floor.
CAVELLO
reaches for a gun under his coat. But NUMBER TWO pumps
two rounds into his face. At this range, there's not much
left.
The killers slowly back out the door, covering the room
with the scattergun. The minute the door shuts, Nick
leaps up, pulling his shield and revolver.
NICK
(shouting)
Police officers. Everybody stay
put.
(to Charlie)
Get back up.
Abolofia's eyebrows rise at this development.
Nick bolts out the door leaving Charlie in charge. He's
never been in charge before.
CHARLIE
(nervously showing
shield)
Police.
EXT. THE LIME HOUSE - NIGHT
A Lincoln tears around the corner to pick the killers up.
Nick flies out the Lime House door and hits the ground.
Number Two pumps out shells as fast as he can squeeze the
trigger. He's wild. The front windows of the Lime House
shatter.
The LIMO DRIVER jerks to a halt. Number Two tosses the
package to him.
Nick empties his revolver. Number Two goes down.
The driver floors the accelerator, leaving Number One to
take off on foot. Nick follows, reloading as he runs.
INT. THE LIME HOUSE
Everyone's frozen on the floor.
CHARLIE
Call 911. Tell them an officer
needs assistance. Say ten thirteen.
Nothing from the owner who looks at Abolofia. Charlie
grabs the owner by his collar and shoves him toward the
phone.
CHARLIE
Do it, you dumb bastard!
Suddenly Charlie feels something wet at his feet. He
looks down to see that he's standing in a pool of blood
from the massacre. So much for his new shoes.
He wheels around, then quickly backs out the door.
EXT. STREET - DOWN THE BLOCK FROM THE LIME HOUSE
Deserted. The wail of police sirens in the distance.
Charlie has his gun out. He's drenched in sweat. Where
is his partner?
CHARLIE
NICK...! Shit... SHIT!!
CUT TO:
ANOTHER STREET - ALLEY - NIGHT
Nick, gun drawn, slowly rounds the corner to the alley:
it's the ad hoc drugstore for the night. Drugs going up
and down in pails, two dozen junkies buying, shooting,
slumped on the ground. Everyone scatters -- the one's
that can.
AN ABANDONED PAIL
swings slowly back and forth from three stories up. Nick
cautiously moves down the alley, holding the gun in both
hands. A Junkie steps out of a doorway, Nick swings his
gun and nearly blows him away.
NUMBER ONE
We see his eyes first as he steps out of the darkness at
the back of the alley. From now on we'll call him KOBO.
His sunglasses are on his forehead; his hands dropped
casually at his side. A very cool character.
Kobo slowly raises his hand, and making a gun with his
finger, slowly points and "shoots" at Nick... He lowers
his hand.
NICK
On the ground, man. NOW!!
Kobo cups his hands around his ear. He doesn't understand
English. Nick, keeping his gun fixed, comes up to him and
kicks out his legs.
Kobo falls flat on his chest.
Nick pulls out his cuffs. But Kobo lunges for Nick's
ankle and yanks it toward him. Nick stumbles backward;
Kobo's on his feet. Before Nick can stand, Kobo lands a
brutal kick to the side of Nick's head.
Nick gets up, barrels into him. Kobo knees Nick in the
solar plexus, then lands two more well placed kicks in
Nick's back. It's not that Nick's a bad fighter, it's
that this kid is so damn fast.
Nick slowly gets to his feet. KOBO lands two more brutal
shots to the side of Nick's head. He's a bloody mess.
TWO POLICE CARS
stop at the end of the alley. FOUR OFFICERS climb out.
CHARLIE
joins the cops as they run down the alley to find Nick
getting pummeled.
Charlie shoots at Kobo. Misses. Kobo turns to see the
five cops, guns drawn.
Nick, on one knee, spits out blood and a few teeth.
Kobo calmly slips the shuto out of his coat pocket and
drops it next to Nick. The blade gleams in the light.
That was next. Nick got lucky.
Kobo towers imperiously above Nick. Their eyes lock. We
hold then...
FADE TO BLACK.
FADE IN:
NICK'S LIVING ROOM - STATEN ISLAND - MORNING
There isn't a stick of furniture, but that's not the half
of it. In the middle of the room is a motorcycle on a
centerstand. A drop cloth is spread around it, tools
neatly aligned. It's a Harley -- but this one is in
perfect condition.
A phone RINGS insistently from off screen, then stops.
NICK (O.S.)
Yeah... sure, sure I'll be down.
Nick walks in, naked. Every muscle aches. One side of
his face is completely swollen. He has a band-aid over
his right eye; some blood caked on his earlobe. He stops
to twist a spark plug in with a ratchet, but it snaps.
CUT TO:
INT. EIGHT - THREE PRECINCT - DAY
CAPT. OLIVER, early forties, walks between Charlie and
Nick as they head toward the Medical Examiner's room.
Oliver doesn't face Nick as he speaks; no love lost
between these two.
OLIVER
How big a package we talking about?
NICK
(holding up his
hands)
This by this...
OLIVER
Dope?
NICK
Not in that company.
OLIVER
The old man was a Japanese paper
manufacturer. Hotel room and rental
car were full of it.
CHARLIE
Full of what?
OLIVER
(annoyed)
Art and stationary paper. Cavello
had five hundred thousand in his
attache case.
Nick rubs the back of his neck in obvious pain.
OLIVER
One guy do all the damage?
NICK
Yeah.
OLIVER
Thought you knew your way around
dark alleys, detective.
Oliver goes through the swinging doors into the Examiner's
room. Charlie shoots Nick a look. Nick let's it slide.
INT. MEDICAL EXAMINATION ROOM
A TECHIE is showing the night's harvest to Charlie, Nick
and Oliver. They're standing over the body of the middle-
aged Japanese man.
TECHIE
... The old man's suit was Japanese.
The hitter's was Saville row. No
I.D. We're doing a peel now.
AT ANOTHER TABLE
Another techie is carefully removing the skin from Number
Two's fingertips.
Charlie shuts his eyes and turns away, trying not to throw
up.
TECHIE
There's something you got to see.
He whips back the sheet, the body is nude. A towel covers
the genitals. Except for the feet, hands, neck, and face,
the body is covered with elaborate tattoos: flowers and
blood, dragons and snakes.
TECHIE
What's wrong with this picture?
CHARLIE
(nervously)
I got a tattoo. Birdie on the ball.
We all got them when we finished
basic at Camp Lejune.
NICK
Charlie.
TECHIE
I thought you guys were trained
observers?
They look up surprised. The techie picks up a hand. The
third and forth fingers have been neatly amputated.
TECHIE
Eight fingers.
(ironically)
Hey, it was a trick question.
CUT TO:
INT. INTERROGATION ROOM
ABOLOFIA is seated in chair next to his LAWYER. Nick,
Oliver, and a third detective are grilling him.
ABOLOFIA
He was with a friend, sure. I shake
hands with the guy and a minute
later he's bleeding all over my
socks.
ATTORNEY
Will that do officers? My client
has had a terrible shock.
NICK
Yeah, he's not used to seeing other
people do the killing.
ATTORNEY
I won't tolerate harassment!
OLIVER
What about the package?
ATTORNEY
We know nothing about it.
Silence. Abolofia looks at Nick, then at Oliver.
ABOLOFIA
Hard to believe a trained police
officer could let this kind of thing
happen right in front of his face.
NICK
I did make a mistake. I let the
wrong guy get hit.
Abolofia doesn't blink an eye, goes for the jugular.
ABOLOFIA
Cheer up, Nick. I'm sure it's
easier to pick a dead man's pocket.
Nick springs from his feet. Oliver grabs Nick before he
can get close to Abolofia.
ATTORNEY
That's it, we're through!
CUT TO:
KOBO
the Japanese killer who smashed in Nick's face last night.
He's sitting in an interrogation room an hour later with a
DETECTIVE and a JAPANESE TRANSLATOR. He won't talk.
OBSERVATION ROOM
Nick and Oliver watching through the glass.
OLIVER
Doesn't speak a word of English.
And he won't speak Japanese either.
No papers. The Japanese embassy is
very interested.
NICK
Why?
OLIVER
He's wanted in Japan. They want him
first. Then we can have him.
NICK
What?
Oliver nods. That's the way it is.
ON KOBO
he turns and looks at Nick. He can't possibly see him
through the one way glass but he knows Nick's there.
ON NICK
looking at him.
ON KOBO
making a cutting mark across his forehead, right where
Nick's bandage is. It's uncanny.
CUT TO:
INT. OLIVER'S OFFICE - LATER
Nick is sitting in front of Oliver's desk. The sunlight
makes him wince; wincing makes his face hurt.
OLIVER
Japanese embassy talks to state
department. State talks to police
plaza. They to me and me to you.
Shit rolls down hill.
Oliver drops a file folder on the desk. Nick opens it:
petty cash, vouchers and plane tickets.
OLIVER
You and Charlie are taking the Jap
home, tonight.
NICK
What...? What if I say no?
OLIVER
Check your gun before you leave.
They're not allowed in Japan. It's
a nice, safe country.
NICK
Why me?
OLIVER
They said send a detective if I
could spare one.
(then)
I can always spare you.
Nick bridles at the insult. Oliver's had a hard-on for
Nick for years, and Nick's tired of it.
NICK
(soft)
You got something to say to me,
Captain?
Oliver doesn't want to get into it.
OLIVER
Yeah. Have a wonderful flight.
CUT TO:
THE ORANGE SUN
on the tail of a Japan Airlines 747. A driving rain
storm. The plane taxies down the runway and disappears
into the black rain.
INT. AIRLINER
Kobo, handcuffed and shackled, is in the center seat.
Nick and Charlie sit on either side. Charlie is holding
"Bachelors Japan" in one hand. Nick's in a sour mood.
CHARLIE
... Nick, you're the one that's
always saying you never go anywhere.
NICK
I was thinking the Poconos, Charlie.
Maybe Vegas.
CHARLIE
What are you missing? Riding your
motorcycle to the nurse's house.
That shit is sadder than Ethiopia.
NICK
Beats forty hours on a plane.
CHARLIE
They say we got to turn around and
come right back. That's what they
say. I got a plan.
The last thing Nick wants to hear -- too late.
CHARLIE
I call, right? I say I got the
dreaded thirty six-hour Asian shits
from some raw clam and we stretch it
into three days. You and I become a
driving force on the local Geisha
scene.
NICK
Not a prayer.
CHARLIE
(grinning)
Hey, come on, big guy like you, cop
from New York. You're gonna be the
biggest thing to hit town since
Godzilla.
Nick can't help but smile at this kid. Charlie looks down
at the guide book.
CHARLIE
Says here, it's very impolite to
touch someone while you're talking
to them...
(nudges Kobo)
Guess that means you can't talk and
screw at the same time, huh, hotdog?
What's the matter, no -- speaky-the-
language? Understand this: You
will never ever fuck with my partner
again.
Nothing from Kobo who is looking straight ahead. He
doesn't understand.
NICK
Shut-up, Charlie.
A beat, then Charlie reads a Japanese phrase from the
book. A slight facial response from Kobo. Charlie tries
it again. This time Kobo laughs openly.
NICK
What'd you say?
CHARLIE
Where is the subway station, please.
Kobo keeps laughing; it's obviously not what Charlie said.
NICK
Get a new book.
CUT TO:
INT. AIRLINER - LATER
The cabin is now darkened. Kobo and Nick are asleep. Not
Charlie, he's still at his book, and listening to U2 on
his Walkman. Nick rolls over and opens his eyes to see
Charlie watching him. He shuts them hoping to avoid talk.
Too late.
CHARLIE
Nick... You up?
NICK
No.
Charlie removes his headphones.
CHARLIE
Nick, have I been a good partner?
NICK
Number five with a bullet.
Nick shuts his eyes.
CHARLIE
I just want you to know... I mean
anybody who says you ever took has
got to deal with me.
NICK
Go to sleep, Charlie.
CHARLIE
You didn't take, did you...? You
hear things.
Nick opens his eyes.
NICK
I worked the three nine in Queens,
Charlie.
CHARLIE
(surprised)
I didn't know.
NICK
The lieutenant was on the pad along
with the rest of the squad. I was
new, didn't know shit. When the
feathers flew, I got called in front
of the special prosecutor. It's on
the top of my personnel file. They
think I'm dirty or I cut a deal.
Doesn't leave you with a lot of
friends either way.
Nick shuts his eyes.
NICK
I might as well have done something.
I've been paying for it every
goddamn day since I got
transferred...
HOLD on Nick then...
CUT TO:
INT. NARITA AIRPORT - JAPAN - DAY
Nick and Charlie, with Kobo between them, are a strange
sight in a sea of Japanese faces. Kobo's hands are cuffed
behind his back. Nick also has Kobo cuffed to his wrist.
The cops are rumpled, exhausted, showing two days of
stubble. Kobo looks sharp and wide awake.
A pair of attractive teenage girls walks past them.
CHARLIE
Whoa. Nick, we're in paradise.
A PAIR
of white gloved hands belonging to a Tokyo police officer
holds up a small, hand letter sign that says:
CONKLIN/SKLOARIS. The man holding the sign is NAGASHIMA.
Two other police officers in spotless tan uniforms stand
at his side.
Nick, holding Kobo by his arm, steps up to the police and
show his I.D. Nagashima bows.
NAGASHIMA
Officers Conklin and -- and...
(he can't say
Charlie's name)
... gentlemen, welcome. I am
assistant inspector Nagashima.
They show their I.D.
NICK
You going to take this crap off our
hands?
NAGASHIMA
(confused)
Crap...? Oh, the prisoner. Yes.
He barks some orders to the officers who immediately take
Kobo by the arms and put cuffs on him. Nick unfastens
his cuff when they're through.
In contrast to Nagashima's gentility, the cops are rough
with the prisoner.
CHARLIE
(extends his hand)
Charlie. Kon-ich-iwa.
Nagashima shakes his hand. Bows. Charlie bows back.
Nick wouldn't bow if his life depended on it. Nagashima
hands Nick an official looking document.
NAGASHIMA
If you will please give this to the
customs inspector he will expidate
-- expedite you. We have a car and
a driver outside.
NICK
Right.
CHARLIE
(bows)
Arigato.
Nick grabs Charlie by the arm and starts for the customs
line.
NICK
Givin' you a book is like givin' a
baby a gun.
CHARLIE
Hey, when in Rome --
NICK
In Rome, I'll bow.
CUT TO:
INT. CUSTOMS BOOTH - DAY
NICK and CHARLIE make their way through the crowd toward
the head of a long line. They dump their bags on the
counter. The INSPECTOR, furious that they have taken cuts
in line, barks at them in Japanese.
NICK
Inspector Nagashima told me to give
you this.
He hands the Inspector the official looking document. The
Inspector scans the paper. Hands it back to them.
INSPECTOR
(broken English)
You must get in line behind the
rest.
NICK
We're cops. Pol-ice-men.
The Inspector signals a nearby POLICEMAN. The Inspector
says something in Japanese. Hands the policeman the
document. The policeman shakes his head, amused, points
to the end of the line.
NICK
Fellas, get serious.
From off screen someone CALLS OUT:
MAN (O.S.)
Nick!
Nick and Charlie turn to see KOBO, their prisoner,
standing on the other side of the thick plastic divider.
The handcuffs are off. The three alleged 'policemen' are
heading out the door behind him. It was a set-up: Nick
and Charlie have been had.
KOBO
(perfect English)
Thanks for the ride, detective.
He slowly backs away from the glass as if he had all the
time in the world, finally disappearing in the crowd.
CUT TO:
NICK AND CHARLIE
trying to shove past the customs inspectors who are
wrestling them aside.
NICK
Cops! He's our prisoner!
Two more policemen arrive. Nick and Charlie are thrown up
against the wall. Out come the cuffs. SNAP!
NICK
What's going on? We're the good
guys!
CUT TO:
INT. TOKYO POLICE HEADQUARTERS - DAY
Fifty identical desks. Fifty identical phones. Fifty
identically dressed men in white shirts and ties working
under the fluorescent lights of this large open room.
We GLIDE PAST the rows of desk to find INSPECTOR OHASHI,
mid forties, sitting behind a perfectly arranged desk.
Ohashi prides himself on order.
Nick and Charlie are standing in front of him.
NICK
Get me something like an Identi-Kit
and I'll give you a description.
Ohashi remains poker faced. He continues to arrange
papers and apply his hanko (personal seal) to the bottom
of a stack of official papers.
CHARLIE
There must be some witnesses from
the airport?
Still nothing from the good inspector.
NICK
What is it, tea time?
Still nothing from Ohashi. Finally:
OHASHI
(quiet rage)
You lost a man we wanted for some
time. It was very incompetent on
your part, officer.
NICK
Incompetent is letting people waltz
through a secure area wearing your
uniforms, carrying official
documents.
Ohashi bows slightly, we're not sure why.
NICK
I want a gun.
OHASHI
It is not allowed.
NICK
We're police officers.
OHASHI
You're foreigners.
NICK
Work with me. I want your best
detective.
Pause. Ohashi returns to his papers. Nick can't believe
it.
NICK
Hey, inspector, I don't intend to
take the rap for this.
OHASHI
(not looking up)
Do you know what this is?
Ohashi holds up the document that was handed to Nick at
the airport.
OHASHI
It's a laundry list. Go home,
detective.
Nick studies him for a beat, then turns away. To Charlie:
NICK
Let's go.
CHARLIE
Nick, we can't just --
NICK
I said let's go, Charlie.
Reluctantly they head towards the door, passing long rows
of bureaucrats, telephones ringing off the hook. Nick
stops at the door, spots a fuse box nearby. He glances
back to make sure no one is looking.
Nick pulls out his handcuffs. Charlie can't figure out
what the hell he's doing. Nick attaches one cuff to the
main lever then yanks it down.
The lights go out. The fan's stop; so do the typewriters;
so does the air conditioning. Dead silence.
Nick attaches the other cuff to a pipe, snaps it shut.
Now it's impossible to left the main lever.
From the far end of the room:
OHASHI
What are you doing?!
Nick drops the key down the water fountain drain.
NICK
Your best detective, Ohashi.
CUT TO:
EXT. POLICE STATION - DAY
Nick and Charlie cross the street. Charlie's trying to
read the name from the piece of paper Ohashi has given
them.
CHARLIE
... Detective Ich-iro Matsu-moto.
Hey, we're getting Mr. Moto on our
side.
NICK
Let's grab some food.
CHARLIE
First decent idea you've had.
Charlie pulls out his 'Footloose in Tokyo" book, flips
through the pages.
CHARLIE
Food... Food, here we go. Tokyo
offers a wide variety of food. It's
best to sample the local
specialties, including sashaimi,
soba, and world renown Kobe beef...
Nick goes into a restaurant. Charlie drops the book,
disgusted with Nick's choice. Charlie reluctantly follows
him in. REVEAL it's a Shakey's Pizza restaurant.
CUT TO:
EXT. HOUSING PROJECT - SHIN OKUBO - DAY
Rows of post-modern buildings of odd shaped windows and
brightly painted concrete walls. Nick and Charlie are
searching for the Japanese cop's building. They can't
speak the language; they can't read the signs; and half
the buildings don't have numbers. It's a nightmare.
CHARLIE
This should be it...
NICK
You said that in the last two
places.
Charlie holds out the paper to a passing man.
CHARLIE
Kore? Doku? Kore doku?
The man gestures toward the building Charlie was pointing
to.
NICK
Okay, you were right.
Charlie grins, satisfied.
INT. HOUSING DEVELOPMENT - CORRIDOR - DAY
The boys are knocking on a door. Nick turns the handle.
It's unlocked.
THE APARTMENT
A four tatami room. An unholy mess: Food packages, beer
bottles, stacks of papers and file folders. Framed
pictures of long dead relatives hang on the wall.
CHARLIE
This the right place?
NICK
I hope not.
A WOMAN now appears at the door. Middle aged, wizened
face, in a full traditional Kimono.
CHARLIE
Konichiwa. Ichiro Matsumoto?
The woman babbles bird-like in rapid Japanese. She bows.
They're in the right place.
CUT TO:
EXT. SIDE STREET - MINIMAI MURAMATSU - NIGHT
The jammed streets are barely wide enough to get a
motorcycle down. It's a bad neighborhood, one of the
poorest in Tokyo.
We spot the small kimono clad WOMAN, clip-clopping on
wooden geta, leading Nick and Charlie through this
labyrinth.
CHARLIE
(looking around)
Getting very weird.
NICK
I'd feel better if we had some heat.
CHARLIE
Maybe we should bail?
Seeing they've stopped, the woman gestures for them to
hurry up, then disappears around the corner.
NICK
(looking at the maze
of streets)
Think we could find our way back?
CUT TO:
A GARISH PINK SIGN - PINK SARON BAR
A poor man's idea of a bar. The woman points inside,
chirps away in Japanese, bows, then hurries off leaving
Nick and Charlie on their own.
INSIDE PINK SARON
Nick and Charlie disappear into darkness as the woven
flaps shut behind them. A vintage wurlitzer juke box
glows across the room. An Enka plays. (Haunting Japanese
blues.)
MAN'S VOICE (FROM THE DARKNESS)
Big shots from New York. I like
your style!
ICHIRO MATSUMOTO steps into a pool of light just inches
from them. He is a short overweight man looking every
minute of his fifty-five years. His white short sleeve
shirt is too tight; his narrow tie spotted in the middle;
his collar soaked in sweat. He's not drunk yet, but he's
been at it a while. Call him Ich.
ICH
(bowing)
Detective Ichiro Matsumoto. I'm the
man you're looking for.
This is Ohashi's best man? Well, at least he speaks
English.
ICH
The man you are looking for, Kobo,
was a member of the Samaguchi-gummi.
A Yakuza.
Ich nods, offers them what's left of his Sapphoro beer.
They shake their heads. Ich finishes it.
NICK
Where do we start looking for this
guy?
ICH
Where would you look for the mafia?
CHARLIE
The back room at Lombardi's after
the Columbus Day Parade. Under the
bed. In the mayor's office.
Everywhere.
Ich heads for the door without saying a word.
NICK
Where're you going, Ichiro?
ICH
(stops, faces them)
The mayor's office, under the bed,
the back room at Lombardi's.
(tucking in his
shirt tail)
And call me Ich.
CUT TO:
INT. ICHIBANKAN BAR BUILDING - KABUKI CHO - NIGHT
Imagine an ultra modern indoor shopping mall, except there
aren't any stores. The only product sold here is
pleasure: Bars, hostess clubs, Turkish baths. A post-
modern red light district with music piped in and
automated doormen.
INT. LAS VEGAS WELCOME CLUB
Hip, younger Japanese are wedged together at the long
chrome bar. The GUYS sport leather jackets and Raybans.
The GIRLS are decked out in fifties American party dresses
and short cropped hair. Jerry Lee Lewis wails in the
background.
Nick, Ich and Charlie are at one end of the long bar. Ich
is drinking them both under the table.
ICH
(singing)
"Goodness, gracious, great balls of
fire."
(raising glass for
toast)
To the killer. Jerry Lee Lewis.
NICK
(checking his watch)
Jerry Lee Lewis, Elvis, Dinky Doo
And The Don't's. Let's book,
Charlie. If he starts on Motown,
we'll be here all night.
ICH
No, this is the place for the young
Yakuza.
NICK
That's what you said in the last
three piss pots.
Ich sets down his drink, pours more sake for Nick and
Charlie then for himself. He's having a great time.
ICH
I love you people. The music, the
clothes, the movies... Japanese
respect only what is Japanese.
Nick glances at Charlie.
NICK
It's incredible. Hit him or
something.
CHARLIE
I don't think he'd feel it.
ICH
(beginning to slur
his words)
Americans change everything. When I
was young the city was wood and
paper... I was ten when the bombers
came. I lived underground for three
days. When I came up, the city was
gone... A ball of fire.
Nick gets to his feet. Ich grabs him by the arm, stopping
him.
ICH
It began to rain, Nick. You know
what color the rain was?
Ich doesn't give him a chance to answer.
ICH
Black... It was black from the ash.
Very impressive. You Americans, you
could make black rain.
Ich polishes off his drink. An awkward silence. Charlie,
wanting to lighten the mood --
CHARLIE
(leaning close)
Say Ich, between friends, where can
I grab some squish around here?
Nick sighs, digs in his pocket for some yen for the bill.
ICH
Squid?
CHARLIE
Pussy, ass, soft personnel.
Ich looks up to see a picturesque, blood-haired American
WOMEN in a tight silk blouse and skirt. She works here
and has obviously heard Charlie.
ICH
Ah, Joyce...
(in Japanese)
How are you tonight?
JOYCE
(in Japanese)
Hello, Ich. Johnny Walker?
Ich nods. Joyce's Japanese is impeccable. She's a part-
time bartender, translator, model. One of Japan's western
wanderers. She's sliding past thirty, but only her weary
eyes give it away. She is about to pour Ich another
drink.
NICK
Don't give him any more.
JOYCE
He gets as much as he wants.
Charlie extends his hand to Joyce. She ignores it.
CHARLIE
Hello hello, Charlie Skloaris. New
York City.
She refills Ich's glass.
CHARLIE
My partner and I are cops.
(lowering his voice)
We're on a very big assignment here.
(nothing from Joyce)
When do you get off?
JOYCE
Right when you're being tucked into
bed.
Cold.
ICH
You should be nicer to my American
friends, Joyce.
JOYCE
They wouldn't appreciate it, Ich.
Trust me.
She says something in Japanese to Ich as she eyes the
cops. Then, she walks off.
ICH
Joyce can be nice.
CHARLIE
(brightening)
What'd she say?
ICH
(big smile)
That I should let you pay for the
drinks.
(raising his glass)
Kampai.
CUT TO:
EXT. ICHIBANKAN BAR BUILDING - NIGHT
Charlie and Nick are trying to help a besotted Ich find a
taxi, but no one will take him. Ich is shouting half
English, half Japanese phrases.
ICH
... We got to keep looking. Track
him down! Great balls of fire!
NICK
(frustrated, to a
cabbie)
What's the problem here?
The cabbie ignores them.
WOMAN (O.S.)
You don't speak the language. I'll
drop him off.
They turn to see Joyce standing behind them.
ICH
Ah, Joyce...
The rest is slurred Japanese. Joyce speaks to a cabbie in
Japanese. The rear door swings open. She helps Ich in.
Joyce climbs in.
ICH
(out the window)
See you tomorrow!
The taxi pulls away. Nick and Charlie watch it go.
NICK
Not a prayer.
CUT TO:
EXT. STREET - FOUR A.M.
An early morning wind jostles the red paper lantern and
plucks at the tails of dragon-like banners hanging outside
the shops. Nick and Charlie are walking down this narrow
sidestreet on the way back to their hotel.
CHARLIE
... He's a sorry old guy, but I like
him.
NICK
He couldn't find his ass with both
hands.
A brand new Kawasaki 1000 motorcycle with windshield and
full farings gleams under a street light.
CHARLIE
Now that's the kind of motorcycle I
want to see you on.
NICK
(muttering)
Sure, a rice burning crotch
rocket...
CHARLIE
Nick, how we gonna bag this guy
without any help? Maybe I should
work on that girl Joyce, she speaks
the language.
Nick glances over at his partner, smiles. But before he
can respond --
The DULL ROAR of a half dozen motorcycles in the distance
breaks the pre-dawn stillness.
TWENTY BOSOZOKU (BIKERS)
on their multi-cylinder high tech street bombers, creep
around the corner and slowly ride toward Nick and Charlie.
We get a better look at them: turbo punk Elvis-samurai
hybrids -- some wearing a slipper under their headbands,
courtesy of their girlfriends; some in leopard skin pants.
And tattoos...
They head straight for Nick and Charlie, then, at the last
moment, split and float away IN SLOW MOTION, as if the
cops didn't exist.
Suddenly, the street is empty again. Silent except for
the SOUND of the wind beating against paper lanterns,
rustling the wind chimes...
Hold on Nick and Charlie standing in the middle of the
street, realizing just how far away from home they are.
DISSOLVE TO:
EXT. HOTEL - THE NEXT MORNING
A rocket shaped building: a mixture of Dutch Gable and
Japanese Minka roof. The mid-day sun beats down on a
particular room.
INT. HOTEL ROOM
Nick and Charlie are sacked out. They never bothered to
pull the curtains. THE SOUND OF KNOCKING at the door.
ICH (O.S.)
Nick!
NICK
Give us a break...
ICH (O.S.)
It's Ichiro. Ich.
NICK
Leave the rice cake outside and go
home!
But Ich persists.
AT THE DOOR
As Nick opens up. Ich bows. He's now clean shaven and
has put on a clean shirt.
ICH
There's been a murder. Yakuza. You
should come.
CUT TO:
INT. PRINTING PLANT - DAY
The murder scene. NO SOUND.
A SERIES OF SHOTS:
A BODY FROM THE WAIST DOWN in the claws of six foot
working robotic. The tattooed covered legs swing back and
forth like a pendulum.
THE TORSO is wedged in between two enormous printing
rollers.
THE HEAD is resting in the middle of a conveyer belt.
It's been drenched in black printer's ink which has begun
to congeal.
WE SLOWLY TRACK PAST Ich, Charlie, and Nick, watching.
Charlie has the dry heaves.
REAL SOUND as we reveal the full crime scene. Instead of
the usual cigar smoke, camera flashes and radio chatter,
there is order and quiet. A slow underwater dance.
INSPECTOR OHASHI
quietly gives an order. Someone turns off the robotic.
The severed legs stop swinging.
Nick, Charlie and Ich walk over to Ohashi. Ich bows
deeply. Ohashi doesn't acknowledge any of them, talks to
a man holding a tape measurer.
NICK
Could you fill me in?
OHASHI
Why don't you ask your chief
detective?
Ich looks down at the floor.
NICK
Because I want you to tell me.
OHASHI
The young are eating the old,
something that usually doesn't
happen here.
NICK
Can we skip the poetry, inspector?
Ohashi pauses. Ich looks at Nick as if to warn him he
can't speak to Ohashi that way.
OHASHI
There's a war, detective, between
two rival groups. The man who
escaped, Kobo, leads the younger
group. They did this.
ICH
Kobo's a wild boy. He was a
lieutenant in the Sammaguchi-gummi.
OHASHI
(in Japanese)
Excellent, Officer Matsumoto. How
is your investigation going?
ICH
(in Japanese)
Well, sir. Thank you for giving me
the opportunity to work with these
distinguished gentlemen.
He bows. It's pathetic.
POLICE LIEUTENANT
Looking for clues in the bottom of a
sake bottle, Matsumoto?
Laughter all around.
OHASHI
He's an officer of great
distinction.
Another sarcastic dig. Ich stoically stands and takes it.
CHARLIE
Hey, Ich has been helpful.
OHASHI
(ignoring him, to
Nick)
Have you changed your mind and
decided to go home, detective?
NICK
Not until one of us bags Kobo.
(looking at the
corpse)
And it doesn't look like you're
doing so hot.
Ohashi coolly flicks the ashes of his cigarette and we --
CUT TO:
EXT. PRINTING PLANT - DAY
Ich, Nick, and Charlie are threading their way through the
crowd toward the subway entrance.
TWO BIKERS, their hair slicked back, watch the trio from
the top of two different subway entrances.
As soon as Ich, Nick and Charlie go down the steps, they
climb off their bikes and follow.
INT. SUBWAY STATION
Nick, Ich and Charlie are riding the people mover that
stretches the length of this endless tunnel. They're
sandwiched between the legions of SALARYMEN (white collar
workers) who all wear identical blue suits and white
shirts.
Nick looks over at Ich, who is still suffering in silence
from the recent humiliation.
NICK
You know, Inspector, you take shit
once, you take shit forever.
ICH
(beat)
I don't deserve Ohashi's respect.
NICK
Why the hell not?
ICH
I don't, that's all.
Ich looks away, obviously uncomfortable.
CHARLIE
You cool, Ich?
ICH
Cool?
CHARLIE
You all right? You okay?
Ich nods.
CHARLIE
What does Ichiro mean, anyway?
ICH
(smiling)
What does Charlie mean?
CHARLIE
Hey, all right.
Charlie slaps Ich on the back.
NICK smiles at Charlie's remark. He can't help but like
this wide-eyed goofy kid.
Something makes Nick's smile fade.
NICK'S POV
KOBO, their escaped prisoner, hurrying in the opposite
direction. His Kamali suit looks like it just came from
the cleaners.
NICK
Charlie!
Charlie spots him. In a flash, the two men jump the
railing and charge after him, leaving Ich in their wake.
Ich can't possibly make it over the side. He furiously
shoves his way through the Salarymen, trying to get to the
end of the walkway.
CHASE SEQUENCE
-- Nick barreling through the mass of faceless Salarymen.
-- Kobo, hurrying ahead, occasionally glancing back.
-- Charlie catching up to Nick. They've lost him. They
spin around. A half dozen tunnels spin out in all
directions.
-- Nick and Charlie spotting Kobo. He's waiting for them
near the turnstile.
Nick suddenly realizes it's a set-up. Before he can say
anything, Charlie sprints ahead, recklessly shoving
people out of the way.
NICK
(calling after him)
It's a set-up...! Charlie!
Charlie hasn't heard him.
AT THE TURNSTILE
Kobo hands a ticket to the turnstile guard and disappears
onto the platform. Charlie doesn't have a ticket. The
guard points to the automatic ticket machine. Screw it.
Charlie leaps over the turnstile.
The GUARD blows his shrill whistle to signal the subway
police.
THE PLATFORM
Charlie pushes through the crowd -- a wall of blank faces.
Kobo is gone.
NICK
shoving through the crowd. He spots Charlie. Shouts at
him to wait. Charlie can't hear his partner.
THE SUBWAY
pulls in. An immaculately uniformed CONDUCTOR blows his
whistle and waves his white-gloved hands to keep the crowd
back.
A LEATHER JACKETED BOY shoves Charlie from behind; he
stumbles forward toward the track. Someone catches him at
the last moment. Charlie turns around to see it's Kobo.
Kobo smiles, it's all a big joke.
What follows happens in a flash:
ON NICK
NICK
Charlie!
Nick is close enough to see, too far to do anything. He's
blocked by TWO MORE LEATHER BOYS. He tries to shove past,
but they grab him.
KOBO
holding Charlie by his coat lapels. An express train
tears into the station. Kobo casually glances at
NICK
trying to struggle free.
KOBO
his eyes still on Nick, drops Charlie in front of the
speeding express as if he were a sack of laundry.
NICK
NICK
NO!!
A woman SCREAMS.
The train barrels through the station.
Kobo starts toward Nick. He's next.
A pair of SUBWAY POLICEMEN burst through the crowd
searching for Charlie because he vaulted the turnstile.
NICK
manages to break free of the leatherboys holding him.
They flee into the crowd as the police close in.
ACROSS THE PLATFORM - KOBO
slips into the wave of commuters being shoved into a
train by white-gloved MEN. It's their job to shove
commuters into the already packed cars.
Nick goes for Kobo, but the crowd closes in front of him.
He can't get through.
THE SUBWAY DOORS
slam shut. The train pulls out leaving Nick standing on
the empty platform.
THE LAST CAR
streaks past him. Kobo stands in the rear window, getting
smaller and smaller until the train disappears down the
tracks.
ICH
Nick!
Ich, out of breath, is standing on the platform. Nick
looks at him with disgust -- where the hell was he.
STAY on Nick, his head bowed, being surrounded by the sea
of blue-suited commuters.
FADE TO WHITE.
FADE IN:
NICK'S FACE against a white wall. That's all we see.
Ohashi's voice OFF SCREEN.
OHASHI (O.S.)
... You ignored me. I don't care
about what you want. Get on a
plane, detective Conklin. Go home.
We HEAR a door open and SLAM shut off screen. Hold on
Nick, frozen in place, then:
CUT TO:
INT. CENTRAL SECTION - TOKYO POLICE H.Q. - DAY
Again, the fifty desks, fifty faceless men working.
Typewriters CLACKING, phones RINGING. We MOVE down the
rows to find Nick sitting behind one of the desks. He's
on the phone to New York.
OLIVER (V.O.) (PHONE)
It's not your job.
NICK
He was my partner.
OLIVER (V.O.) (PHONE)
They're blaming it on you. Christ,
Conklin, you didn't even tell me you
lost the prisoner!
NICK
I planned on catching him, Captain.
OLIVER (V.O.) (PHONE)
How? You don't know the place. You
don't know the language. Get on the
plane.
NICK
He killed a police officer.
OLIVER (V.O.) (PHONE)
Your plane's at nine a.m. Be on it.
That's orders. Period.
Oliver hangs up. A moment of long distance hum cross
talk. Nick doesn't move. Pull back through the rows of
cops busily working... SOUND FADES.
Charlie Parker's alto sax FADE UP as we --
CUT TO:
EXT. SHINJUKU - NIGHT
The MUSIC continues. The sax screams as the melody is
abandoned.
Nick is drunk. Roaring angry drunk. He doesn't know
where he is. He doesn't care. He plows down the street,
occasionally grabbing a passerby, then letting them go.
Nick begins to laugh. A couple is staring at him, Nick
yells at them, but we DON'T HEAR HIM. He stumbles on...
drop back to find.
ICH
following in his wake. He bows and apologizes to the
offended.
CUT TO:
EXT. LAS VEGAS WELCOME BAR - NIGHT
Nick is thrown onto the street. He tries to reenter and
is thrown out again. We spot JOYCE inside watching; she
turns back to her customers.
EXT. GINZA - NIGHT
Nick is hassling a news vendor who pointedly ignores him
and continues selling his papers. Ich appears and
apologizes to the news vendor.
EXT. STREET - TWO A.M.
Nick's sitting on the curb, his head in his hands. People
step around him.
Across the street, out of Nick's sight, Ich is watching
his partner, feeling every barb of Nick's shame.
Charlie Parker continues over the slow...
DISSOLVE TO:
NICK --
asleep, the futon tangled around him. He opens his eyes.
A woman is making tea in the kitchenette. This is the
kimonoed woman who led Nick and Charlie to Ich the other
night.
A RADIO is on softly in the background. The Charlie
Parker tune we've been listening to over the previous cuts
ends, and the announcer comes on:
RADIO
... That was the Bird, from the Blue
Note years. 1230 hours and 72
degrees in central Osaka. This is
specialist Doug Dale, Tapestries in
Jazz, on the Far East Network, armed
forces radio...
Nick slowly sits up to see
ICH
seated at a low table looking at him from across the room.
Nick spots his clothes and luggage stacked in the corner.
Nick now realizes he's in Ich's apartment. It's spotless.
Everything is now in its proper place.
NICK
What happened?
ICH
They made you leave your hotel...
(looks away)
... you caused a disturbance.
Nick's eyes fall on Charlie's things: his sports clothes,
his tour book, his shoes which Ich has stacked on the
table.
ICH
It may be too soon to talk about it.
When someone we care for dies we...
(beat)
... keep something of their's. A
tie, a pen.
NICK
Why weren't you at the platform?
ICH
I couldn't keep up. My shame is
complete.
Nick slowly shuts his eyes, his head pounding.
CUT TO:
INT. PUBLIC BATH - DAY
The neighborhood bathhouse. Thick with steam and
neighborhood kids.
Nick walks toward the huge pool of water. Ich is beside
him. Nick's about to climb in when Ich stops him, hands
him a pail and a washcloth and points to the faucets along
the wall where a dozen men squat on small stools as they
wash themselves.
CUT TO:
NICK
as he pours a pail of water over his head, it runs down
his face in slow motion.
CUT TO:
THE POOL
Nick soaking, on one side. Ich is soaking nearby.
ICH
You must leave?
NICK
Yeah...
ICH
I'll get him for you, Nick.
Nick looks at this thick bellied, alcoholic cop. Not a
very reassuring thought.
TWO MEN carrying plastic pails cross in front of the tub.
Young, muscular Yakuza, their bodies covered with
exquisite tattoos. They stare openly at Nick. One makes
a joke. Both laugh obscenely as they slip into the hot
tub.
NICK
Yakuza?
Ich nods. Nick eyes them for a long beat, then climbs out
of the tub.
CUT TO:
NICK
Nick tossing two bags into a taxi in front of Ich's
apartment building.
ICH
Ich watching Nick through the window from inside his
apartment. He glances back and sees Charlie's "Members
Only" coat hanging on a hook.
When he turns back, Nick's taxi has disappeared.
EXT. NARITA AIRPORT
The brightest object in the frame is a yellow forklift
carrying a jostling aluminum coffin toward the open belly
of the cargo plane. Nick watches it from the edge of the
tarmac.
AIRPORT CHECK IN GATE
Nick hands the clerk his ticket.
NICK
... Smoking.
CLERK
Aisle or window?
Nick spots a folded newspaper someone has left on the
counter. He can't read it, of course, but there's a
picture of the subway platform where Charlie was killed,
swarming with police. Nick continues to stare at the
paper.
CLERK
Aisle or window, sir?
NICK
(looks up)
I want to cash it in. Yen.
CUT TO:
ICH'S APARTMENT - DAY
Nick steps in, drops the two suitcases.
NICK
Ichiro?
The woman steps out of the kitchen, babbles something in
Japanese. Nick doesn't have a clue.
CUT TO:
INT. LAS VEGAS WELCOME BAR - AFTERNOON
Only a handful of patrons. Joyce is straightening bottles
behind the bar.
NICK (O.S.)
What's tricks?
She looks up, surprised to see Nick standing in front of
her.
JOYCE
Ich said you left.
NICK
There was a change in plans.
Beat.
JOYCE
I'm sorry about your friend.
Nick's surprised at how fast she heard.
JOYCE
Dead gaiijin's are big news.
NICK
Gaiijin?
JOYCE
An outside person. A foreigner. A
barbarian. You, me.
(beat)
More you.
NICK
I could use some help. Show me
around. I'll pay you for your time.
JOYCE
I don't give tours.
Nick smiles.
NICK
You can count on the truth from
people who don't like you.
JOYCE
You have a helluva way of asking for
help.
NICK
You have a helluva way of answering.
Draw.
JOYCE
Look, you need Ich. I've been here
five years and I still can't read
all the street signs.
NICK
Maybe I'm a quicker learner.
JOYCE
I don't think so.
From OFF SCREEN:
ICH (O.S.)
Nicklaus-san.
Nick turns to see Ich, leaning against the door frame.
He's already had a few drinks too many. He's delighted to
see Nick.
ICH
I've continued working on the case!
NICK
I can see that.
Ich ambles into the room, slips down into a chair. He
spills the contents of the large manila envelope he's been
carrying onto the table: a wallet, a set of keys, playing
cards, etc.
ICH
(signaling to Joyce)
Joyce... A drink please.
(to Nick)
Kobo has disappeared. My superiors
don't trust me.
Nick walks over to the table and looks at the items.
ICH
Kobo's. Taken off him when he was
arrested in New York.
Nick sits down. Joyce gives Ich his scotch.
ICH
I knew you'd come back. You feel
you have a debt you can never pay.
But you will, even if it costs you
your life. Giri. Honor.
Nick picks up various items off the table.
NICK
How'd you get this?
ICH
I stole them.
Ich drapes his arm over Nick's shoulder.
ICH
Partners, Nicklaus-san?
Ich reaches for his drink. Nick gets there first. He
holds it up as if he were proposing a toast, then
purposefully spills his drink out.
NICK
Partners.
Ich has just had his last drink on duty.
CUT TO:
THE TABLE - LATER
All the contents of the envelope are spread out on the
table: credit cards, matchbooks from New York City,
choice clipping from Screw magazine, sugarless gum, cuff
links...
Nick's holding up a series of photos.
CLOSE ON PHOTO
of a naked women and Kobo screwing on a Tatami mat.
Another photo. Then another. Each photo is more
pornographic than the next.
Joyce picks them up as Nick sets them down.
JOYCE
Busy man.
Nick holds out several of the same girl in various poses.
NICK
Know her?
ICH
(shaking his head)
We can ask someone I used to work
with. A criminal. Someone I pay
money to...
NICK
A snitch?
CUT TO:
INT. PACHINKO PARLOR - DAY
The largest in Tokyo. Endless rows of men sitting in
front of the machines (horizontal pinball games) furiously
punching the flippers. The NOISE from the metal balls is
deafening.
A MAN
in a Hawaiian shirt, his arms covered with tattoos, is
starting a new game.
Ich moves up to the vacant machine beside him, puts in his
change. Ich doesn't face the man as they speak in
Japanese. The man in the Hawaiian shirt walks off.
ON NICK
as the man in the Hawaiian shirt walks past him. This is
the snitch. Nick glances back at Ich. Ich nods --
they're in business.
CUT TO:
A CRAMPED ROOM - REAR OF PACHINKO PARLOR
We HEAR the clattering of the machines outside. The man
in the Hawaiian shirt, mid-fifties and badly in need of a
shower, is sitting on the floor studying the photos. Ich
and Nick tower above him.
The man says something to Nick in Japanese, then continues
to study the photos.
NICK
What's he saying?
ICH
(looking up)
He says they're very nice. He wants
to know if you have anymore.
Nick sighs.
ICH
I'll ask him again.
Ich asks in Japanese. The man shrugs.
NICK
My turn.
He grabs the man by his shirt collar and shoves him
against the wall. The photos spill to the floor.
NICK
Who is she?
He bangs the man's head back against the wall. The man
starts babbling in Japanese.
Ich, horrified, tries to pull Nick off him.
ICH
Nick, stop.
Nick bangs the snitches head against the wall again. Ich
gets Nick away. The man is terrified.
ICH
This man must be treated with
respect.
Ich bows to the man, apologizes in Japanese.
NICK
Aw, for Christ's sake.
They continue speaking in Japanese. They bow to one
another again. Ich gives the man a glass of water, then
motions for him to sit down.
Nick, impatient, starts for the guy again. Ich stops him.
The snitch holds up one of the photos, and starts
babbling.
NICK
(to Ich)
Now we're making progress.
CUT TO:
INT. SEIBU DEPARTMENT STORE - DAY
CLOSE ON A SALESGIRL behind the cosmetic counter. She is
wearing the store uniform: blue and white dress and white
gloves. A doll. We shouldn't recognize her at first.
Then --
INSERT A PHOTO
one of Kobo's porno pics. It's the same face.
REVEAL NICK
holding the photo, standing in the crowded store. Ich is
beside him.
NICK
That's Kobo's girl? He's sure?
Ich glances back at the man in the Hawaiian shirt standing
by the door. The man nods.
ICH
He's sure.
They watch the girl help a customer choose an eyeliner.
ICH
Nick, no one's seen Kobo in three
days. He might not even be in
Tokyo.
NICK
Only one way to find out... Get her
up in the morning and put her to bed
at night.
CUT TO:
INT. SOBA RESTAURANT - DAY
NICK
is struggling with his chopsticks and bowl of noodles.
From O.S. A LOUD SLURPING SOUND. The sound stops, then
starts again. Nick can't eat. He sets his bowl down and
looks over at
ICH
slurping his noodles. It is considered polite to slurp
soba noodles as loud as possible.
Ich stops. Looks at Nick, then resumes his slurping.
NICK
Think you could keep it to a dull
roar?
They're sitting by the window across from the Seibu
department store watching the entrance.
ICH
It's good manners.
Nick nods. Picks up his bowl. Again the LOUD slurping
off screen. Nick starts to eat the noodles. He can't
continue with Ich slurping. He sets the bowl down.
Ich grins, resumes slurping and we --
CUT TO:
EXT. DEPARTMENT STORE - SIX P.M.
The SALESGIRLS are lined up at the door bowing and
thanking the last customers for shopping in their store.
Standard practice.
The GIRL whom Nick and Ich have been watching comes out
wearing her uniform and heads down the street.
NICK AND ICH
waiting in the restaurant, get up to follow.
CUT TO:
THE GIRL
stepping out of the laundry carrying her wash. She walks
past a doorway where...
NICK is standing.
ICH now walks past his partner picking up the tail. No
acknowledgement between them.
EXT. STREET CAR STATION
There are dozens of street cars waiting to pull out. The
girl is on one of them. Ich has lost her. Nick and Ich
hurry from car to car.
ICH
You said you could keep up with her!
'No problem, Nick-san.'
NICK
(cutting Ich off)
No. Don't say anything. Don't do
anything, and for Christ's sake,
don't apologize!
ICH
Nick...
Nick hurries toward another car to check it out.
NICK
What'd I tell you?
ICH
There she is!
They spot the girl sitting in the window of one of the
street cars, about to turn onto the main street.
The two cops race for the car. Nick leaps on. Ich is a
few steps behind. Nick sticks out his hand, pulls Ich up.
They stand looking at one another, both breathing hard,
both out of shape.
CUT TO:
NIGHTCLUB DISTRICT - NIGHT
Narrow streets with exploding neon ideograph signs as far
as the eye can see.
We spot our girl hurrying down the street. Nick, a half
block behind, is bumping into people, trying not to lose
her.
She crosses the street and Ich picks her up. Nick drops
off.
ON A SIDE STREET
around the corner the girl disappears into a three story
apartment building above an electronics store.
DISSOLVE TO:
EXT. GIRL'S APARTMENT BUILDING - NIGHT
We're watching our girl inside her apartment. She flips
off the TV and climbs into bed.
CUT TO:
A STOREROOM - NIGHT
We've been watching the girl from a window across the
street. It's a storeroom full of shipping crates, not
much else. Ich is sitting on the floor, legs crossed,
back erect, watching Nick. Nick glances over. Ich
continues to watch him. Nick returns to the window.
ICH
You dislike me.
Nick keeps looking out the window.
NICK
Did I say that?
ICH
You toler -- yes, tolerate me.
NICK
Are we getting married?
Pause.
ICH
I'm a joke. They sent you to me to
make a fool of you.
Nick looks over at Ich. Ich is looking away. Nick looks
out the window, then back at his partner.
NICK
You're doing fine, Ich. Now drop
it, okay?
ICH
Sure.
The girl switches off her light across the street.
DISSOLVE TO:
THE STOREROOM - MORNING
Ich is sleeping on his back looking like a grounded whale.
Nick, exhausted, is sitting by the window his head resting
against the sill.
NICK'S POV OF THE STREET
as the girl, dressed in her store uniform, comes out of
the apartment and heads for work.
NICK
nudges the sleeping Ich with his foot. Ich opens his
eyes.
NICK
Let's book.
Ich is groggy, nonplused.
NICK
Let's go.
CUT TO:
INT. HALLWAY - GIRL'S APARTMENT BUILDING
Ich, tucking in his shirt, comes down the hall to see --
Nick, on his knees, examining the lock on the girl's
apartment door. He slides his NYPD card into the jam and
lightly raps the knob plate.
ICH
You can't do this.
Nick uses his sleeve to wipe prints off the knob and jam.
NICK
Call a cop.
The door swings open. Nick walks in.
CUT TO:
INT. GIRL'S APARTMENT
A cheesebox with a few vintage pieces of American deco
furniture.
Ich, very uptight, stands at the door while Nick goes over
the place.
Nick opens the closet. It's packed with expensive
dresses, pants, sweaters...
ICH
Nick...
NICK
(facing him)
If you're gonna give me a hard time,
wait outside.
Nick goes through her chest of drawers: on the top, a lot
of high quality lingerie.
INSERT PHOTO: The girl and Kobo posing in a vintage
Corvette.
Nick replaces the picture, and carefully rearranges the
drawer so it appears untouched. He pulls open another
drawer. Then another. Under the jeans and Mickey Mouse
T-shirts, he finds:
A BANK STACK OF U.S. CURRENCY
in hundreds. The bottom of the drawer is lined with
stacks. Nick holds them up for Ich to see.
NICK
Not too shabby for a perfume pusher.
Ich, shocked, tries to play it cool.
ICH
Too bad it's not in yen.
Nick shoves the drawer shut.
CUT TO:
THE GIRL - DUSK - TWO DAYS LATER
The GIRL buys fruit from a stand as NICK watches from one
end of the block; ICH, listening to his transistor radio,
waits at the other.
THE GIRL
suddenly turns and finds herself facing
NICK
a few yards away. Nick smiles, then walks into the
store, hoping he hasn't been made.
DISSOLVE TO:
EXT. GIRL'S APARTMENT - NIGHT
Rain pours down.
INT. STOREROOM - NIGHT
Nick, leaning against the wall, watches the girl's
apartment across the street. The girl walks in, turns on
her light, then disappears into the bathroom.
Ich walks in, exhausted, soaked to the skin. He tosses
his cap in the corner. Struck out again.
ICH
Work, lunch, groceries, laundry...
Fabulous...
NICK
(looking back out
the window)
Four goddamn days. This is going
nowhere...
A KNOCK at the door.
JOYCE (O.S.)
It's me.
Ich opens the door. Joyce, dressed for work, is carrying
two odons (box dinners). Joyce and Ich exchange greetings
in Japanese.
JOYCE
What's the latest?
Nick shrugs.
ICH
We'll get him, Joyce.
Joyce peeks out the window. The girl is getting
undressed.
JOYCE
She ever pull down her shades?
NICK
(right back at her)
Sure, but then I just pull out the
photos.
Ich opens one of the box dinners and sets it on the ledge
in front of Nick.
ICH
(enthusiastically)
Chikuwa, Hampen, Kobu, Konnayaku,
Ganmodoki --
NICK
Ichiro --
ICH
(realizing)
Broiled fish paste cake, Kelp roll,
soybean curd, devils tongue --
NICK
Smells like Bayonne at low tide.
Joyce hands Ich a flask of hot sake in tinfoil.
NICK
Whoa whoa...
Nick grabs the flask. Dumps it out the window.
JOYCE
Don't be an ass.
NICK
He's on duty.
JOYCE
I paid for that.
Nick tosses a few thousand yen on the table. Then,
spotting something out the window.
NICK
Alley oop!
Nick grabs his coat and goes out the door. Joyce slips
Ich another flask of sake.
CUT TO:
EXT. STREET - GINZA DISTRICT - NIGHT
It's our GIRL standing alone on the corner of the street
but you wouldn't know it at first. She's wearing tight
leather pants, red leather jacket, earrings, bright red
lipstick, and she's dumped the pony-tail, allowing her
hair to fall to her waist.
NICK AND ICH
watching in a doorway down the block. Nick's shivering,
his hands thrust in his army surplus jacket. Ich doesn't
mind the cold. He's had his sake.
THREE BOSOZOKU
riding their bikes come around the corner drive past her,
then circle back.
One of the RIDERS stops to talk to her, then drives off.
She hurries off in the opposite direction.
ICH
Yakuza.
NICK
Good. Very good...
CUT TO:
A SUBWAY STATION
The girl waits until the last minute, then after glancing
back, steps in the car. The train pulls out. The cars
race past until we see --
Nick and Ich standing inside of the last car. It
disappears into the tunnel.
CUT TO:
THE SHINZOA DISTRICT - NIGHT
The girl, on the move, pushing through the crowd. Drop
back to find Ich twenty yards behind. She crosses the
street. Nick, pretending to be looking in a store window,
picks her up.
AROUND THE CORNER
Nick has lost her. It's a cul de sac with a dozen
buildings. He's standing in the middle of the street.
Ich catches up to him.
NICK
She disappeared... shit!
ICH
You were too far behind.
Nick does a double-take.
ICH
(recalling Nick's
words)
Don't say anything more. Don't do
anything. And, for Christ's sake,
don't apologize!
DISSOLVE TO:
EXT. STREET - SHINZOA DISTRICT - NIGHT - LATER
NICK
dropping another cigarette butt to the ground. There's a
small pile at his feet. He's leaning against the wall
watching one end of the block. TRACK over to reveal Ich,
his back to Nick's, watching the other end.
Ich glances back at Nick. Nick ignores him. Ich turns
back.
ICH
Nicklaus-san!
Nick turns to see the GIRL walk out of a bath house.
She's wearing her ponytail again, with a black dress. She
climbs into a taxi.
CUT TO:
EXT. PINK SARON HOSTESS CLUB - NIGHT
The girl climbs out of the taxi and goes inside.
Nick and Ich are watching from across the street.
INT. HOSTESS CLUB
Packed with Salarymen from the nearby brewery and
hostesses in silk dresses selling cheap champagne at
expensive prices.
NICK AND ICH
Walk in. Everything seems normal.
The BOUNCER in a white tux, stops them. This is not a
place frequented by Gaiijin.
Ich beseeches the Bouncer to let his good friend in,
promising that his friend will spend lots of money.
Nick, thinking he's in, takes a step forward. The Bouncer
shoves him back.
NICK
Hey, no hands, huh?
He bats his hands away. Ich grabs Nick by the shoulders,
preventing a fight.
ICH
You can't come in. They don't
want --
NICK
Gaiijin.
ICH
I'll check it out.
Nick, unsure, turns to go, but before he does:
NICK
If I smell one drop of Scotch on
your breath, my friend --
ICH
You can trust me.
Nick hesitates, he's not so sure, then shoves the door
open.
EXT. HOSTESS CLUB
Nick waiting under the pink neon sign.
INT. HOSTESS CLUB - LATER
Ich is sitting at the crowded bar. A HOSTESS has her arm
around his neck. He checks out the room, searching for
the girl. He notices two THUGS standing outside a sliding
door. Ich finishes his drink.
ICH
(in Japanese)
Let me up.
HOSTESS
(shoving him down)
Sit, sweetie.
(to bartender)
Another Seagrams!
Ich relents. Then, spotting something across the room:
WHAT HE SEES: A rice paper door slides open, momentarily
revealing a DOZEN men with close cropped hair sitting on
tatami mats, playing poker. Some have their coats off,
revealing arms covered with tattoos. Yakuza.
A hostess, serving drinks, steps but leaving the door
partially open.
The hostess slides the door open to the adjacent room, but
Ich CANNOT see inside. She slides it shut.
Ich's hostess wants him to buy another drink, but Ich
shakes his head, gets to his feet, and pretending to be
drunk, stumbles toward the sliding doors.
Ich bumps into a table; slaps a stranger on the shoulder;
then starts singing along with Frank Sinatra on the
stereo. He's a little too loud, a little off key.
The bodyguards eye Ich suspiciously. He stumbles past
them, then grabs the sliding door and yanks it open.
INSIDE THE ROOM
A low table. Kobo is at one end. An older,
distinguished, sliver-haired man in his seventies whom we
will come to know as SUGAI is at the other. Ich can't
believe his eyes: Sugai is the head of the largest Yakuza
syndicate in Japan.
A half dozen LIEUTENANTS sit on either side of the table.
Half are older, dressed in conservative suits; the other
half are younger wearing $700 Issy Miyake jackets.
SUGAI AND KOBO
are having a heated discussion. The GIRL Ich and Nick
have been following walks over to Kobo and sits beside
him. This makes Sugai even more irate. He's on his feet,
red faced and screaming.
FOUR GUARDS
seeing Ich, pull out their Beretta's. Two more grab him
and fling him head first against the wall.
ICH
(drunken, in Japanese)
I have to piss, gentlemen... I'm so
sorry but I have to --
The bodyguards hurry him towards the door.
EXT. HOSTESS CLUB
Nick checks his watch, it's been an hour - where the hell
is Ich?
Ich comes stumbling up the steps, still affecting his
drunken, pigeon-toed walk. Nick, of course, thinks Ich
has gotten drunk again. Two of the bodyguards are
watching from inside.
NICK
I don't believe it...
(grabs him)
Son-of-a-bitch --
Ich, knowing they're being watched, grabs Nick by the
sleeve and drags him off still pretending to be drunk.
ICH
(under his breath)
I'm not drunk...
NICK
We're through. I mean it. This is
the end of the line, Matsumoto.
ICH
Nick --
NICK
Shut-up.
No longer fearing he's being watched, Ich abruptly stops
his affected walk, and sounding very sober --
ICH
You shut-up!
(then)
Kobo is inside. He's with Sugai,
the head of the Summaguchi-clan.
ACROSS THE STREET
Ich is dialing on the police call box as he fills Nick in
on Sugai.
ICH
... A Godfather. His man was killed
at the printing plant.
NICK
I want to yank Kobo.
ICH
Not without a small army, Nicklaus-
san.
Ich quickly speaks on the police phone, then hangs up,
pleased with himself.
NICK
Ich, my name is Nick. Not Nicklaus,
not Nicklaus-san, not Nick-san.
Nick.
ICH
San is an honorable title.
Ich realizes it's better to drop it.
CUT TO:
THE HOSTESS CLUB - MINUTES LATER
Drunken Salarymen spill out the door.
ICH AND NICK
are standing across the street waiting for the cops to
arrive.
Nick freezes.
THE GIRL
they've been following steps out and lights a cigarette.
TIME SLOWS. She looks up and spots the two men through
the traffic. Nick turns away, afraid he's been made.
When he looks back, she's gone back inside.
NICK
Shit...
Nick races across the street toward the club. Horns
BLARE.
ICH
(doesn't understand)
Nick?!
IN FRONT OF THE CLUB
Nick reaches the curb just as the front doors to the club
BURST OPEN. He's too late. Three bodyguards burst out,
checking the street. A red and white Debonnaire pulls up.
Sugai, surrounded by a half-dozen additional bodyguards,
comes out and slips into the car. It tears off down the
street.
SIRENS AND POLICE CARS
from either end of the street peel around the corner.
It's a madhouse. The remaining lieutenants and bodyguards
fan out, trying to elude arrest.
Nick hurries down the steps.
INSIDE THE CLUB
The patrons are still in place, but the two side rooms are
empty.
Nick spots KOBO going out the rear entrance. He starts
after him but is confronted by the bouncer who stopped him
earlier. Nick connects to the guy's jaw before his
adversary can raise his hands. The bouncer staggers back.
Nick flies out the rear door.
CUT TO:
EXT. FRONT OF CLUB - NIGHT
Several lieutenants and bodyguards toss their guns --
possession is a felony in Japan -- as the police close in.
INT. HOSTESS CLUB - NIGHT
Ich hurries in, but Nick's long gone.
EXT. REAR OF HOSTESS CLUB - NEARBY STREETS - NIGHT
SILENCE. The narrow streets are deserted. Nick slowly
makes his way down the street. The SOUND of a GUNSHOT.
Nick ducks for cover -- it's a car BACKFIRING. He
continues on.
Nick's POV of a woman giving a man a blow-job in a narrow
alley. The man's face is hidden by the shadow.
Nick continues on.
JAPANESE MAN (FROM THE DARKNESS)
People like Charlie are a dime a
dozen.
Nick turns back to see Kobo as he steps into the light.
Kobo tosses a handful of change at Nick.
KOBO
Keep the change.
NICK
I'm taking you back.
The girl takes off down the block.
KOBO
Here I am.
From across the street, a dozen bodyguards appear from
various doorways and alleys.
KOBO
Charlie was a rookie...
Kobo traces his finger across the spot where he cut Nick
in New York.
KOBO
... But you can take care of
yourself. You're 'the biggest thing
to hit this town since Godzilla.'
Nick glances at the guards, then back at Kobo. He is
unarmed. To make a move would be suicide. More POLICE
SIRENS in the b.g. closing in.
KOBO
What's the matter. I'm right in
front of you, Nick.
(takes a step closer)
But I was right in front of you when
you let Charlie die.
Kobo takes a step forward. His face is inches from
Nick's.
KOBO
Walk away again. Maybe you'll get
used to it.
Nick doesn't budge.
A LONG BEAT, then... Nick turns and slowly walk off.
After a dozen yards Nick looks back.
The street is empty, except for a street sweeper pushing
his wet broom down the block.
EXT. HOSTESS CLUB - NIGHT
A half dozen bodyguards are being frisked, then shoved
into police cars.
Ohashi is talking to the enraged nightclub owner. Nick
steps up to him. Ich hurries over.
ICH
Nick!
NICK
(to Ohashi)
A few minutes faster, we might've
nailed him.
Ohashi doesn't say a word, hands Nick a document.
NICK
What's this?
OHASHI
Your visa has expired. Be on a
plane in twenty-four hours or you
will be deported.
NICK
While you were hanging out at the
visa office, we found the son-of-a-
bitch.
OHASHI
Look.
Ohashi directs Nick's attention across the street where a
SURVEILLANCE VAN is parked. The rear doors are open
revealing a van full of surveillance equipment and cops.
OHASHI
You ruined an on-going investigation
that could have gotten us more than
one runner.
(to Ich, in Japanese)
I want a full report in the morning,
officer.
Ich bows as Ohashi walks off.
NICK
Maybe if you'd work with us --
Ohashi ignores him, continues walking toward his waiting
car.
NICK
(shouting)
Hey...!
(Ohashi keeps
walking)
HEY, I'M TALKING TO YOU, INSPECTOR!
OHASHI
(his back toward
Nick)
Twenty-four hours, detective.
Ohashi slips into his car. Nick storms up to the car and
slams his fist on the window.
NICK
Ohashi!
Ohashi faces straight ahead, ignoring Nick. Nick takes
the extradition paper and spikes it on the car antenna.
Ich grabs Nick by his arm, pulling him back from the car.
The car pulls away.
ICH
Nick, stop!
Nick whirls, and before he realizes what he's doing,
punches Ich below his left eye. Ich stumbles back over
the curb and lands on his ass.
NICK
Damnit, Ichiro, I'm tired of people
telling me what I can and can't do.
No one ever solved anything sitting
on their ass.
Nick, beside himself with frustration, watches Ohashi's
car disappear down the block.
ON ICH
looking up at
NICK
who walks off without looking back at his partner.
CUT TO:
INT. ICH'S BATHROOM - SEVERAL HOURS LATER
Nick, standing beside the tub, dumps a pail of hot water
over his head, rinsing himself off. He grabs a towel and
walks out of the room.
INT. ICH'S APARTMENT
Ich, holding an ice pack to his face, is lying on a tatami
mat against the wall looking up at the ceiling. An open
bottle of Seagrams beside him.
Nick stretches out on another tatami on the opposite side
of the room and looks up at the ceiling, too.
NICK
The ice help?
Nothing from Ich.
NICK
Where does this Sugai live?
ICH
(cold)
A resort city, Beppu.
NICK
I want to go talk to him.
ICH
What...? Why?
NICK
Because he knows how to get to our
man.
ICH
He'll never speak to a Gaiijin.
NICK
I'll be a nice Gaiijin.
Nick gets up and goes to the closet. He slides open the
door. All of his and Charlie's clothes have been neatly
hung up.
He shoves Charlie's jacket aside. Something's wrong with
the way it hangs. He pulls the jacket out, runs his hand
over the coat, feeling something heavy in the lining.
Nick rips the lining open. Charlie's .32 Beretta and a
spare clip tumble out.
NICK
The little bastard. God bless him.
Ich takes a drink from his bottle.
ICH
It's very small.
NICK
Big enough.
ICH
It's illegal, Nick.
NICK
It's a new deal.
(putting it in his
waist band)
... coming with me tomorrow?
ICH
Sugai's not going to be impressed
with your gun, Nick.
(beat)
No. I won't put myself in danger
for you anymore.
Nick picks up the liquor cap which rolled across the
floor. He tosses it to Ich. Ich reaches for it, but
misses.
NICK
Sure, pal. You've got better things
to do.
Nick walks out shutting the door behind him. Stay on Ich
watching the door, then --
CUT TO:
EXT. LAS VEGAS BAR - CLOSING TIME
The last customers find their way to the street, some with
a little encouragement from a BOUNCER.
Joyce steps out. Nick comes up to her.
NICK
You know where I can get a decent
cup of coffee this time of night?
I'm buying.
JOYCE
Somebody must be suffering
somewhere, you're being so nice.
Joyce takes off down the street. Nick watches her for a
beat.
NICK
I need your help, Joyce.
JOYCE
Where's Ich?
NICK
Unavailable.
CUT TO:
INT. KARAOKE BAR - NIGHT
On the stage, a young professional looking man is singing
along to "SUMMERTIME" blasting from the stereo. The
Japanese way of letting it all hang out.
We find Joyce and Nick at a corner table having a drink.
JOYCE
I've heard of Sugai. I've also
heard of the emperor. They're both
national treasures. One's a hood.
NICK
I need someone to translate for me.
JOYCE
My Japanese isn't that hot...
Besides, you'll never get in.
NICK
It's my last shot. I have to be on
a plane home tomorrow night.
JOYCE
And I'm supposed to care?
NICK
You could fake it.
Joyce finishes her drink, sets it down.
CUT TO:
EXT. STREET - NIGHT
The neon flickers on the rain slicked pavement. Nick and
Joyce walk down the deserted street. She's carrying an
umbrella.
JOYCE
You're wrong to sell Ich short.
NICK
He drinks.
JOYCE
He's got a reason.
Nick shrugs, everyone's got a reason.
JOYCE
His son hooked up with some bikers.
Yakuza kids. A cop shot him running
from a robbery.
Nick looks over for the first time.
JOYCE
A father doesn't out live that kind
of thing here, much less a police
officer...
Pause.
NICK
Where's the wife?
JOYCE
You met her.
Nick looks surprised.
JOYCE
The woman in the apartment. She
won't speak to him. But she won't
leave either. Japan... Nice, huh?
Before Nick can respond, something catches his eye: What
he sees --
A MAN
partially shadowed, standing in the alley.
Nick grabs his gun. The man steps out zipping up his
trousers. It's a drunken Salaryman. Nick lowers his gun.
The Salaryman staggers down the street singing to himself.
JOYCE
Not wound too tight...
CUT TO:
EXT. JOYCE'S APARTMENT BUILDING - NIGHT
A three story modern building on a quiet street. She's
searching for her keys.
JOYCE
I'd invite you up but I know you'd
hate the incense.
(as if to explain)
I chant.
NICK
What do you chant?
JOYCE
'Nam oyo ranged kyo.' You think
it's dumb of course.
NICK
Not if it works.
(holding the door
open for her)
I'll meet you at the train?
JOYCE
I don't remember saying yes.
NICK
I don't remember you saying no.
Joyce smiles, heads inside.
CUT TO:
INT. ICH'S APARTMENT - DAWN
Ich is sleeping.
Nick slips into his leather motorcycle jacket. He drops
Charlie's gun into his pocket. He glances down at Ich,
seeing if he's awake. He's not. Nick walks out.
Ich opens his eyes. He's been awake the whole time.
CUT TO:
THE YANAKA CEMETERY - DAY
Ich, wearing a blue suit, is pouring water over a simple
stone with a wooden dipper. Next, he places incense in a
holder and folds his hands in prayer.
The photo on the stone is of a young man wearing a school
uniform. Ich's son.
DISSOLVE TO:
A BULLET TRAIN - DAY
It's bull's-eye nose cone scuds across the endless rice
paddies west of Tokyo. Women in straw hats stand in the
knee deep water pruning the rice by hand. Old Japan
rubbing shoulders with the new.
INT. TRAIN - DAY
CLOSE ON NICK looking out the window as the countryside
shoots past at 140 mph. From O.S. several children
chanting: "Harrow, Harrow."
Nick looks over to see three uniformed school children
thrusting their notebooks and pens at him.
JOYCE
is sitting across from Nick.
JOYCE
They want your autograph.
NICK
Who am I supposed to be?
JOYCE
This little guy thinks you're Robert
Redford... the other one thinks
you're Charles Bronson...
NICK
Tell them I'm not.
She does, but the kids insist.
JOYCE
They'll never go away.
Nick, reluctantly signs. Joyce takes one of the kid's
notebooks before passing it back.
JOYCE
Mick Jagger?
Joyce smiles, surprised at his choice. Then, she looks up
shocked to see --
ICH
carrying a gift wrapped package under his arm. He's
wearing his hat, blue suit and tie.
Ich sits ACROSS the aisle from Nick and Joyce. He doesn't
say a word. Faces straight ahead.
Nick looks at Joyce, then back at Ich.
NICK
I'm sorry, Ichiro. I lost it last
night. I shouldn't have hit you.
Still nothing from Ich.
NICK
What's in the box?
ICH
(still not facing
him)
For Sugai. Caviar, French cheese,
ham... If you come to apologize for
interrupting his meeting, Sugai may
feel obligated to see you.
NICK
So I bring some cheese?
JOYCE
Gifts are expected here.
Nick nods, looks back out the window. He'll never
understand this country. He looks back to see --
Joyce looking annoyed at him. Nick gets the message.
NICK
Hey, Ich... Thanks. I'm glad you're
here. I mean it.
Ich still won't acknowledge Nick.
EXT. BULLET TRAIN
The Bullet Train disappearing into the foothills.
EXT. BEPPU - DAWN
Plumes of white steam spindle skyward from every street
corner. If you didn't know it was steam, you'd think the
city was on fire. Beppu is a resort famous for it's
geothermal baths.
EXT. SUGAI'S HOUSE
The only traditional house we'll see in our story. It's
surrounded by a pool of blood red steaming water from the
hot springs.
AT THE GATE
CLOSE ON A 1000 yen bill as it is dropped on the ground.
A pair of dice rolls over it. A handful of GUARDS wearing
suits and ties are playing craps.
OUTSIDE THE GATE
Ich is sitting on the ground leaning against the wall,
sound asleep. Nick is standing nearby. He checks his
watch. Tired of waiting, he walks over to --
JOYCE
reading the Manichi Daily.
NICK
(impatiently)
They took the gift an hour ago.
The phone rings inside the gate. A guard picks it up.
JOYCE
(certain it's bad
news)
All's not lost. There's a famous
temple here. We could chant.
The guard hangs up, calls out to Joyce. Joyce responds in
Japanese. The guard opens the gate.
NICK
We're in?
JOYCE
The cheese...
INT. A ROOM IN SUGAI'S HOUSE
A vast, austere, traditional room with sliding rice paper
doors and tatami mats on the floor.
Ich and Joyce, drinking tea, are sitting with their feet
beneath them in the traditional manor.
Nick, smoking, is in a semi-sprawl; using his tea cup as
an ashtray.
A LIEUTENANT enters. He says something and beckons. They
all rise. He says something else.
JOYCE
(to Nick)
Just you.
INT. ANOTHER ROOM - SUGAI'S HOUSE
Nick enters, ducking his head in the low doorway. the
shoji slides shut behind him.
The furnishings are minimal but elegant. There's a
butsudan, a tokonoma, and a low, long table in the middle
of the room. No chairs. Nick sits on the floor.
A door slides open at the far end of the room. Sugai,
wearing a kimono over western style suit, walks in. Nick
stands up to shake his hand. Sugai ignores it, and sits
in the traditional position: feet tucked beneath him.
SUGAI
I'll spare you the ritual.
He tosses him a palm sized bundle. Nick catches it.
Inside, are brand new greenbacks: hundreds.
NICK
This supposed to impress me?
He sets it down.
SUGAI
Pick it up. Look at it.
Nick hesitates, then picks it up again. He runs his
fingers over the face of the bill and snaps the paper.
SUGAI
Seven years work by the finest
engraver. Mass produced,
sequentially numbered. The best
there has ever been, Mr. Conklin.
NICK
I'm impressed. But let's use the
short form. I'm looking for --
SUGAI
-- Kobo... I know. He killed two of
my partners. One in New York, one
at the printing plant.
Sugai fills a cup of tea for Nick and hands it to him.
NICK
I don't drink tea.
Sugai hands it to him anyway.
SUGAI
I took Kobo from the street. I gave
him a home, a future... But my ways
were too slow for him... I served
seven years in prison for my boss
when I was a young man. Kobo
wouldn't serve seven minutes for his
Oyabun.
(sipping his tea)
He was supposed to take over this
syndicate when I retired.
NICK
I want him.
SUGAI
He'll be dealt with.
Sugai sets a plastic wrapped object on a table before
Nick. Nick recognizes it from the restaurant massacre in
New York.
CLOSE UP: Nick's fingers tear at the plastic. A block of
black iridescent polymer. The negative image of a $100.00
bill. A printing plate.
SUGAI
Our associates in New York were
close to closing a deal with us.
NICK
The families who control the
casinos?
SUGAI
Yes. Unlike our syndicates, your
criminals don't understand the words
'honor' and 'duty'... We can't
afford not to deal with them.
Sugai takes the plate back.
SUGAI
Imagine if your families could pay
their gambling and drug debts with
perfect counterfeit bought for cents
on the dollar.
NICK
The Feds would be onto you in a
month.
SUGAI
Not with these bills. And even if
it only took them six months, do you
know what our profit margin would
be?
Nick looks at a child playing near one of the hot pools in
Sugai's garden.
NICK
Why tell me this?
SUGAI
The other plate is currently in New
York, in the hands of Kobo's man.
Find it for me.
NICK
You trust me?
SUGAI
I'll pay you.
Nick laughs at Sugai's audaciousness.
NICK
(indicating the
counterfeit bills)
With these?
SUGAI
Swiss bank deposit. Gold bullion.
Whatever you want. You know the
city and the police.
NICK
If I say no?
SUGAI
You're smarter than Kobo. You know
the price of deceit. Think about
it.
NICK
I don't have to.
Sugai cools. Without a word he gets to his feet and
starts toward the door.
NICK
I have ten hours to grab my man.
ON SUGAI
still walking with his back to Nick.
NICK (O.S.)
You won't get hurt.
Sugai turns to see Nick, across the room, pointing the
Beretta at his head.
CUT TO:
INT. ROOM - SUGAI'S HOUSE - MOMENTS LATER
The room where Ich and Joyce are waiting. Sugai enters.
Their surprise turns to shock when they see Nick behind
him holding a gun to the old man's head.
ICH
No...
NICK
Let's go. Him first.
ICH
Nick, you can't do this.
NICK
It's done.
(to Joyce)
You don't have to come.
She hasn't moved a muscle.
INT SUGAI'S HOUSE - ENTRANCE WAY
Sugai watches calmly as Nick, Ich, and Joyce put their
shoes on. Nick keeps the gun on him.
CUT TO:
EXT. SUGAI'S COURTYARD
Nick steps out of the house. He now has one end of a wire
coat hanger loosely wrapped around Sugai's neck, the other
end around his wrist. His gun is pressed just beneath
Sugai's ear. If nick gets shot, so does Sugai.
A handful of guards stand in the courtyard, one is
polishing Sugai's Debonnaire car. They spot Nick and
Sugai coming, and immediately pull their guns.
NICK
Explain to them. They shoot me,
they kill you.
(Sugai hesitates)
DO IT!
Sugai explains to his lieutenants. They stand helpless as
Nick walks Sugai toward the car.
NICK
Grab the keys, Ich, and get inside.
ICH
No.
NICK
Not now, man, okay, not now. Work
with me.
Ich takes the keys from the man polishing the car. He
gets inside. Joyce hurries in bedside him.
ICH
You don't know what you're doing.
Nick slides Sugai in the back seat, carefully reaches over
and shuts the door.
NICK
Start it.
ICH
(terrified)
I can't...
JOYCE
Slide over.
Joyce, furious at Nick, starts the car, gets behind the
wheel. Ich gets in on the other side.
She spins the car around. The gate opens. They tear off.
CUT TO:
EXT. STREET - BEPPU - DAY
The car bursts through the funnels of steam from the hot-
springs beneath the street. It tears down the narrow
block dodging traffic. Joyce is concentrating hard on the
road.
NICK
(to Ich)
Where's somewhere safe?
Nothing from Ich. He's still apoplectic.
JOYCE
(angrily)
You came up with the first part.
CUT TO:
EXT. KUDAN LOVE HOTEL - BEPPU
A four story concrete hotel, strictly for making love.
"Love Hotels" exist all over Japan. Each have various
themes: western, fifties drive in, Star Wars, etc., each
complete with music and lighting effects.
INT. HOTEL ROOM
Western style. Plastic five foot cacti in front of the
western vista on the walls. A hitching post at the head
of the bed. Cowboy hats and boots at the other end.
Sugai hangs up the phone and turns to Nick and Joyce who
are sitting nearby. Ich hangs up the extension.
SUGAI
Kobo will meet me here tomorrow.
Ten a.m.
Ich nods, confirming that what Sugai says is true.
NICK
Good.
SUGAI
He'll find out you took me. I'm
unprotected. He'll kill us. All of
us. You don't stand a chance.
Ich, knowing Sugai is right, looks at Nick. Nick flips
Ich the gun.
NICK
Not if we're careful.
Ich checks to make sure the gun is loaded, then watches as
Nick escorts Joyce out of the room.
CUT TO:
A HOTEL ROOM ACROSS THE HALL
Fifties theme. The front end of a pink chevy curves
around the bed. A "Drive-In" movie screen along one wall.
Nick is dropping change into the vintage Wurlitzer. Joyce
steps in, leaving the door open.
JOYCE
You're out of your mind. I'm
leaving.
Nick doesn't respond.
JOYCE
You'll get Ich killed.
NICK
No one's keeping him here.
JOYCE
Bullshit, Nick. And don't tell me
this is all just about Charlie.
It's not.
NICK
Why would you care?
That pushes her over the line.
JOYCE
Bastard...
She moves toward him, enraged. Nick grabs her arm.
JOYCE
Let go.
He won't.
JOYCE
You're out of your mind.
He grips her tighter.
CUT TO:
THE ROOM - LATER
Nick and Joyce, only partially undressed, are making love
on the floor. The Drifters singing "Under The Boardwalk"
can be heard on the Wurlitzer. The fifties decor, the
music, it's all pretty incongruous.
CUT TO:
EXT. LOVE HOTEL - DAWN
Nick is putting Joyce in a taxi. He shuts the door.
JOYCE
I still think you're a bastard.
NICK
What if I chant?
JOYCE
Wouldn't help.
(beat)
Watch out for Ich.
He nods. The cab drives off. Nick watches her taxi until
it is out of sight, around a corner, then heads inside.
CUT TO:
NICK - LATER
walking into Sugai's room. Sugai's asleep on the bed.
Ich is vigilantly sitting awake in the corner, the gun
resting on the table in front of him.
NICK
Better wake him up.
CUT TO:
EXT. LOVE HOTEL - LATER
Quiet. The wind twirls a discarded newspaper in the
parking lot.
INSIDE THE LOVE HOTEL - HALLWAY
A YOUNG GIGGLING COUPLE step out of a door, arm in arm,
and disappear down the hall. STAR WARS MUSIC from one
room. HAWAIIAN MUSIC from another.
THE CAMERA FINDS the closed elevator door. It opens, Kobo
steps out, followed by a half-dozen more men all carrying
Sig-Saur assault rifles -- very heavy artillery.
CUT TO:
SUGAI
wearing his hat and coat is sitting on the couch, his back
to us, facing out the window.
Drop down to --
THE ROOM BENEATH HIM
A couple are making love in the Hawaiian theme room.
The door burst open. Two men, cradling Sig-Saur rifles in
their arms, step in. They aim at the ceiling, blasting
into Sugai's room above.
THE GIRL
starts screaming. The men ignore her and continue to pump
bullets into the ceiling.
KOBO AND HIS MEN
stop in front of every door long enough to blast into the
room. They make their way down the hall.
A naked man steps into the hallway and is matter-of-factly
gunned down.
Kobo and his men stop in front of Sugai's room.
INT. SUGAI'S ROOM
Sugai, wearing his hat, is slumped down on the couch which
has been splintered by the bullets from below.
OUTSIDE THE ROOM
Kobo signals the men. All six open-up through the door.
INSIDE THE ROOM
The door, what's left of it, is kicked open. The six men
step in, shooting in all directions: into the bathroom
door, into the closet... Windows shatter, mirrors fall,
total destruction. They stop. SILENCE.
Kobo walks up to Sugai who is slumped on the couch. He
lifts up his hat. It's a cowboy mannequin wearing Sugai's
clothes.
THE ELEVATOR DOOR
opens. A DOZEN of Sugai's men carrying machine pistols
come out.
THE OUTSIDE BALCONY
Nick and Ich lie on their bellies, guns out.
INSIDE THE ROOM
Kobo's men turn. Sugai's men open-up. Three of Kobo's
hitters go down. The others try to flee into the
adjoining room.
Kobo goes for the balcony.
THE BALCONY
as Kobo steps out. He steps right into --
NICK
who slams the side of Kobo's head with the butt of his
gun.
THE ROOM
Nick and Ich drag Kobo in by his jacket collar. Sugai,
very much alive, walks in from the hallway. Nothing is
said. Sugai looks at Kobo for a long beat, then walks
out.
CUT TO:
INT. SUGAI'S HOUSE - DAY
KOBO
standing alone in the middle of a tatami room. His face
is badly beaten. His hands are bound. Two guards stand
near the wall. Nick and Ich stand across the room.
SUGAI
wearing a western suit, is asking Kobo questions in
Japanese. Sugai barks at him again. Kobo refuses to
answer. Sugai pulls up a shuto -- an 18 inch knife --
from it's scabbard.
SUGAI
(in Japanese)
Contact your associate in New York
and tell him to hand my plate over
to Abolofia.
Nothing from Kobo.
SUGAI
You have betrayed the syndicate and
personally dishonored me. I would
rather the deal fell through than...
The guards walk over and turn Kobo around. His back is to
Sugai. Sugai runs the sword across the nape of Kobo's
neck drawing blood. The guards tighten their grip on
Kobo's arms.
NICK
can't believe Sugai's going to kill him. Nick starts to
get up, Ich stops him.
Kobo realizes Sugai isn't just threatening him.
KOBO
No... I'll arrange it.
DISSOLVE TO:
THE ROOM - LATER
Kobo is led back into the room by two guards. The guards
shove him down to the floor. His hands are still bound.
Nick walks over and stands above him. He doesn't say a
word. Just stands above him. Then, Nick pulls spare
change from his pocket and slowly drops the coins, one by
one, in front of Kobo's face, like Kobo did to him. He
walks away.
Sugai steps in.
SUGAI
Abolofia's person has received the
plate. It's done.
A door opens at the far end of the room. It's Kobo's
girlfriend, the one Nick and Ich had been following.
She starts toward Kobo; a lieutenant intercepts her.
SUGAI
(in Japanese)
I wanted you to see him like this.
GIRL
(in Japanese)
Let him go, father.
ON ICH
realizing she's Sugai's daughter.
GIRL
(in Japanese)
You're too old...
SUGAI
(in Japanese)
That's enough.
Sugai turns away and picks up the sword. The guards
clutch Kobo. Sugai's going to kill Kobo after all.
The girl screams at him to stop. Sugai's oblivious.
NICK (O.S.)
That wasn't our deal.
SUGAI
You want him dead too.
NICK
After a court convicts him. He
belongs to me.
There's a long pause. Then, something unusual happens.
Sugai tells the lieutenant to unfasten Kobo's wrist. When
he does, Sugai hands Kobo the sword and demands that he
cut off his finger.
This is Yubitsume: the ritual act within the Yakuza of
slicing the joint of the little finger to atone for a
mistake.
Kobo, not believing in this ancient tradition, refuses.
Sugai nods to a guard who places Kobo's finger on the
table.
KOBO
stares defiantly at Sugai. He doesn't even wince as the
blade slices off his finger. The guard hands Sugai the
finger in a handkerchief.
SUGAI
(looking at Nick)
If anything happens to Abolofia or
my plate, detective...
HOLD on Nick then --
CUT TO:
EXT. TRAIN - DAY
as it bursts out of a tunnel on it's way to Tokyo.
INT. TRAIN - DAY
Kobo is sitting by the window, his hands cuffed in front
of him. Another pair of cuffs chain him to the arm rest.
Nick pours a drink from an airline-sized bottle of Scotch.
He holds it out to... Ich. It's his first drink in a
week.
NICK
Just one, compadre... Kampai.
ICH
Kampai.
They clink glasses. Ich drinks it down.
NICK
It took 12 years to make it, you
could take five minutes to drink it.
Ich slows down.
NICK
You did great, Ichiro.
ICH
I called Ohashi, he'll be waiting.
(smiling)
I like him waiting.
Ich gets up.
ICH
Needs ice.
He heads for the bar car, leaving Kobo and Nick alone.
Kobo looks out the window at the people working the rice
paddies, then back down the aisle at the Salarymen in
their identical suits, then at the women separated from
them.
KOBO
Ugly... A couple of thousand years
they've been bound by these little
rules. Looking in. Always afraid.
Ugly little lives...
NICK
Save it, I already took the tour.
KOBO
You are a lucky man. Where you come
from a man can stand out. It's
expected. Here a man is made to
look a fool for standing out.
Nick isn't paying much attention.
KOBO
I like your friend, Joyce. You're
lucky.
NICK
Guess I'm on a roll.
KOBO
She's such a long way home for you.
NICK
Time, I've got plenty of.
A raucous SALARYMAN comes down the aisle, singing an Enka,
swaying with the train, bumping into seats. A common
enough sight and ignored by the rest of the passengers.
The Salaryman stumbles and falls across Nick's lap.
NICK
(helping him up)
Hey, hey, come on, blow...
The Salaryman bows deep. Nick ignores it. The man moves
on. Kobo looks out the window, the train begins to SLOW
as it approaches the next station.
KOBO
(matter-of-factly)
This is my stop.
NICK
I'm amused.
KOBO
Don't be.
Nick looks up to see Kobo calmly fingering a lock of blond
hair tied with black ribbon. Joyce's ribbon. Joyce's
hair.
KOBO
I have her.
Nick looks down the car. The drunk Salaryman who stumbled
over Nick is quite sober. He made the hand-off to Kobo.
Kobo holds out his wrists. Nick hesitates.
KOBO
(matter-of-factly)
I'll kill her.
Nick, reluctantly, unlocks both sets of cuffs. The train
pulls into the station.
KOBO
I want the plate from your pal,
Sugai. When you get it, you get
her.
Kobo gets up, starts down the aisle.
NICK
Sugai won't give it to me, you know
that.
KOBO
Then take it from him.
Kobo gets off the train.
NICK
follows him to the door.
THE STATION
Kobo get into a waiting Jaguar. Four guards nearby.
INSIDE THE TRAIN
Nick runs down the length of the car trying to keep the
Jaguar in sight as the train pulls out... the car is gone.
NICK
bursts into the packed bar car.
NICK
Ichiro?!
Everyone turns around. No Ich.
CUT TO:
EXT. TRAIN - TRAIN STATION - TOKYO
It slows into the station.
INT. TRAIN
Nick shoves past the passengers lined up in the vestibule,
ignoring a conductor's angry shouts.
INT. TERMINAL - MOMENTS LATER
The train stops. Nick flies out and starts running,
dodging the crowd.
Three uniformed policemen, including Ohashi's assistant,
hurry toward him; they're dismayed to find that Kobo is
gone.
NICK
Where's Ohashi?
Instead of offering him help, the policemen grab him and
slap a pair of handcuffs on Nick's wrists.
NICK
What the hell are you doing?!
CUT TO:
HOLDING CELL - TOKYO POLICE STATION
Nick, waiting alone in the cell. It's been hours. A door
at the end of the hall opens.
Ohashi stops in front of his cell.
OHASHI
Your plane leaves at six. Two
officers will escort you.
NICK
For God's sake, Ohashi, I need your
help. Let me out of here!
OHASHI
You had my help, detective.
NICK
If anything happens to her while I'm
here --
OHASHI
-- Do you know where she is,
detective? Do you know how to find
her? Even where to start? We will
find them.
NICK
I have to get to Sugai.
OHASHI
Goodbye, officer.
Ohashi keeps walking.
NICK
OHASHI!
The LOUD clank of metal on metal. Ohashi's gone.
NICK
(yelling at the top
of his lungs)
OHASHI!!
HOLD on Nick, his fingers squeezing the bars in rage,
then --
CUT TO:
EXT. ROAD - DAY
Flood rice paddies stretch to the distance on either side
of the road. We PAN over to Kobo at a phone kiosk outside
a gas station.
KOBO
(in Japanese)
Yes. Do it.
INT. SUGAI'S HOUSE - AT THAT MOMENT
Kobo's girl, Sugai's daughter, hangs up the phone. She's
been on the other end of the line.
INT. SUGAI'S ROOM
The door swings open. Sugai is sitting on the floor. The
girl is carrying a tray of tea. Beneath the tray, we spot
something else -- the butt of a short-bladed tanto.
CUT TO:
EXT. NARITA AIRPORT - TOKYO - DAY
A police car rolls through the service gate. We see Nick
inside the car along with two police guards.
INT. HOLDING ROOM - NARITA AIRPORT
A white room. No chairs. Jet engines can be HEARD
through the walls. Nick is sitting on the floor,
defeated. He doesn't look up when he hears someone enter.
ICH (O.S.)
I'll tell you one thing. You can't
solve a thing sitting on your ass.
Nick looks up. Ich is in uniform. A revolver and batton
hang from his white web gear. His undershirt bulges
through his khaki shirt. He looks ridiculous. Nick has
never seen a more beautiful sight.
CUT TO:
INT. POLICE CAR
Ich is driving. Nick is seated behind a cage in the back
seat. His hands are cuffed. Ich is driving through the
freight area towards a perimeter guard.
NICK
I was ready to have your ass for
taking off on me.
ICH
I followed them. An hour from the
train station.
NICK
How many men?
ICH
I couldn't tell.
NICK
Joyce?
ICH
I don't know.
NICK
We need the plate to negotiate with.
Ich nods.
EXT. AT THE GATE - TOKYO AIRPORT
The car slows. Ich speaks rapidly to the guard showing
him his papers. The guard takes a good hard look at Nick.
Time stands still... He waves them through. Nick can
breath again.
NICK
You know, Ichiro, you just burned
your bridges.
Ich is silent for a moment. He hands Nick's Beretta back
through the partition. So it goes.
ICH
Rest.
Nick looks for Ich's eyes in the rearview mirror. The
little cop keeps driving, his eyes on the road.
DISSOLVE TO:
EXT. STREET - BEPUKU - DAY
Nick and Ich are standing outside their car. The Police
radio crackles from inside.
WHAT THEY SEE:
A large crowd gathered outside of Sugai's estate. Police
have cordoned off the area. An empty ambulance is parked
out front with various other cars: Debonnaire's,
Cadillac's... A boy in shorts is endlessly bouncing a ball
against the compound wall. Whatever happened is long
over.
Ich flips off the radio.
ICH
Someone attacked him.
NICK
Now we've got nothing to negotiate
with.
CUT TO:
EXT. ROAD - DUSK
The police car streaks across endless fields.
INSIDE THE CAR
Nick is at the wheel. He rubs the sleep from his eyes.
Ich is slumped down in the seat watching the road.
Ich pulls out a cigarette. Nick lights it for him.
NICK
Joyce told me about your family.
It's tough...
Ich looks up surprised.
ICH
Thank you.
(beat)
You have one?
NICK
A wife. She left.
ICH
I'm sorry.
NICK
Me too.
Ich glances over at Nick, then back at the road.
Nicks rubs out his cigarette and presses down on the
accelerator.
DISSOLVE TO:
EXT. KOBO'S HIDEOUT - DAWN
A small, contemporary house perched on a dry piece of
land. A paved road, lined with dense foliage runs on a
berm between the flooded rice paddies.
ON NICK AND ICH
sitting in the car watching from a hillside turnoff.
There's no easy way in.
NICK
Let's go.
Ich hands Charlie his shuto -- an 18 inch long knife.
NICK
What's that for?
ICH
Luck.
Nick tucks the shuto inside his jacket.
NICK
Thanks.
Nick opens up his door and climbs out.
ICH
You know, Nick, we can't lose.
NICK
(stopping)
Why's that?
ICH
Because we're the biggest things to
hit this town since Godzilla.
CUT TO:
THE DIRT ROAD
leading to the house lined with foliage. The rice paddies
on either side.
CUT TO:
NICK AND ICH
making their way through the waist high water.
TWO WORKERS
with their hoes make their way into the water. They don't
see our cops.
OUR COPS
making their way along the edge of the road. The SOUND of
a motorcycle coming.
THE MOTORCYCLE RIDER
slows and drops a gear as he turns off the main road and
onto the dirt berm toward the house. He's one of Kobo's
Bosozoku -- a long way from the streets of Tokyo.
The rider comes around the bend to see --
A COP
standing in a uniform. Ich. For a moment he doesn't know
what to do. Then, he draws a pistol from his belt and
accelerates toward Ich.
ICH
stands his ground as the bike closes in. The biker takes
aim.
Ich drops off to the side as --
NICK
rises from a ditch and swings a hoe at the rider as he
passes, catching the man across the face. The rider drops
like a swatted fly. The biker's momentum carries it a few
yards before it falls and skids to a halt.
Nick hurries to the bike.
Ich drags the biker off the road, then catches up to his
partner.
NICK AND ICH
raise the heavy bike. Nick mounts. He takes the riders
helmet and goggles from Ich, and puts them on.
ICH
What are you going to do?
Nick doesn't know exactly. He taps the bike into gear, it
torques like a mule. There's a lot more juice here
than he's used to.
Nick fishtails for a minute, then gets the hang of it.
Ich heads off taking another route.
INT. HOUSE
KOBO AND SUGAI'S DAUGHTER
are putting the last of their belongings into a suitcase.
She hands him the plate -- Sugai's plate.
Kobo kisses her as he slips it into his breast pocket.
The SOUND of a motorcycle approaching from outside.
EXT. THE HOUSE
Kobo steps out, and not recognizing Nick, raises his hand
to greet what he thinks is one of his men.
ON NICK
bearing down on Kobo.
ON KOBO
as Nick keeps coming. He is unable to see clearly until
Nick is almost on top of him.
NICK
dumps the bike at the foot of the stairs and leaps on
Kobo.
Nick and Kobo roll off the narrow porch. Nick breaks
free. He isn't fighting fair this time. He slams his
foot into Kobo's face and ribs. Kobo tries to get up, but
Nick knees him in the chin.
A woman cries out in Japanese. Nick turns to see
JOYCE
standing at the top of the steps. A biker is pressing the
muzzle of a Sig-Saur assault rifle on her. Kobo's girl is
beside them holding a small pistol.
KOBO
gets to his feet. The biker tosses Kobo the rifle. Kobo
works the charging lever and holds the weapon at his side.
He has all the time in the world.
Kobo whirls and kicks Nick in the groin. Nick falls to
his knees in agony.
Kobo towers above Nick as he did in the alley in New York.
KOBO
Still on your knees, Nick?
Kobo walks off, his back to Nick.
KOBO
There's nothing you can do for me
anymore. I have the plate. Sugai's
dead. No there is something.
He walks up to the steps to Joyce.
KOBO
You can tell me who I should shoot
first.
Nick struggles to get to his feet. Kobo turns and faces
Nick at the foot of the steps.
ICH
appears behind Kobo and takes him down with an amazing
display of baton work that shows a lifetime of training.
He grabs the gun. A biker bursts out of the door. Ich
fires, hitting him in the thigh. He drops his gun.
SUGAI'S DAUGHTER
grabs the gun.
NICK
tackles her, and wrestles the gun away. She grabs for it.
Nick slugs her.
A GUN BLAST
Ich is hit in the back of his shoulder, falls onto the
porch.
KOBO
the shooter, is holding a pistol -- a Glock 17 automatic.
He fires at
NICK AND JOYCE
who scramble for cover.
KOBO
continues firing as he climbs onto a motorcycle. He pops
the clutch and flies off down the road. Nick fires after
him, but Kobo's gone.
NICK
(to Ich)
You all right?
ICH
Yes...
NICK
(to Joyce)
Call for help.
Nick mounts the other bike, and puts the turbo charged
rocket into gear.
THE ROAD
Rain pours down as Kobo turns onto the main road. He
opens up the throttle, and in less than a second, he's a
screaming dot in the distance.
NICK
comes around the same corner. His bike fishtails and
slides out from under him.
FURTHER DOWN THE ROAD
Kobo tears past a police car. The police car takes off
after him.
THE FOOTHILLS
A series of steep switchbacks traverse the steep, densely
forested hills.
Kobo's bike flies up the road. The police car can't keep
up, begins losing ground.
THE POLICE CAR
going flat out, falling further and further behind.
Kobo's going to escape.
SUDDENLY
Nick, bent low, shoots past the cop car. His left arm is
scraped and bloody.
ON KOBO
glancing back, to see Nick gaining on him. Kobo's
pleased. He gives it more gas.
NICK
pulling eight-five... ninety... one hundred. The rain
stings his face. It's hard to keep his eye open.
THE FOOTHILLS
Kobo leaning into one of the steep turns, climbing higher
and higher toward the clouds clinging to the top of the
peak.
NICK
is gaining on him. He HEARS something coming up behind
him.
A BOSOZOKU
the one Ich shot in the leg, is closing fast on his tail.
ON NICK
as the biker draws even.
THE BIKER
pulls out his long knife and slashes at Nick's shoulder.
Nick drops back causing him to miss. The biker drops
back. Nick tries to speed up, but the biker sticks with
him. He's a good rider, this boy. Very, very good.
The biker moves in again, blade drawn.
NICK SEES
something the biker doesn't.
A TRUCK
coming around the corner.
NICK
swerves to avoid it at the last moment. The biker reacts
too late and runs --
INTO THE GLEAMING
radiator of the two ton truck, and disappears beneath its
wheels.
ON KOBO
around the bend, glancing back. Empty road. He eases up
on the throttle -- a free man... He circles back only to
see
NICK
burst around the corner charging toward him at a hundred-
and-twenty miles per hour, in the driving rain.
KOBO
waits and waits. Nick draws closer. Then, Kobo tears off
back down the mountain, shooting past Nick.
Nick brakes... He slows down, and starts to turn, but the
wheels whirl on the gravel and the bike goes into a skid,
heading right for the edge of the road.
CUT TO:
NICK'S MOTORCYCLE
flying over the edge of the road, and down the cliff.
CUT TO:
THE EDGE OF THE ROAD
Nick, lying on his stomach at the edge of the cliff, his
arm is probably broken.
He tries to get up with a one arm push up. It's hopeless.
His head falls into a puddle of water.
The WHINE of an approaching motorcycle. Kobo has come
back for him.
Nick, in excruciating pain, struggles for his gun.
KOBO
bearing down on Nick.
NICK
struggling to get his gun. Finally he does. But it's
caked in mud. If the barrel is stuffed it will explode.
Nick has to take the chance.
ON KOBO
Closer and closer.
NICK
aims as best he can and fires. The mud caked gun explodes
in his hand. Nick screams in agony.
KOBO
pulls his bike up inches in front of Nick's head. Nick
seems to be bleeding everywhere: his hand, his nose, his
mouth, the side of his head...
Kobo's face and neck is caked in blood from when Nick beat
him.
The rain pours down.
He picks up the gun. Points it at Nick, squeezes the
trigger.
KOBO
(slowly)
Bang... bang...
He tosses the gun in front of Nick's face.
KOBO
... You're dead.
The sound of approaching Police SIRENS.
Kobo swings the bike around, goes a hundred yards down the
road, then swings back.
Kobo guns the engine. He gain speed... thirty, thirty-
five.
NICK
struggles to get up. He can't.
KOBO
opening the throttle.
NICK
crawling a few inches, that's it.
KOBO
twenty yards away.
NICK
reaches into his coat and pulls Ich's 18 inch shuto out.
He rolls away at the last moment, slashing Kobo's ankle as
he races past.
KOBO
screams in pain. He tries to stop too suddenly. The bike
flips over. Kobo flies into the air then hits the
pavement on his side and rolls a few yards down the road.
He stops on his back. It's lucky he's alive.
The SOUND of fast approaching police SIRENS.
THE PLATE
has fallen out of Kobo's jacket. It rests in the road,
halfway between the two men.
KOBO
crawls toward it on his belly.
NICK
mustering all his strength, struggles across the road on
all fours.
KOBO
crawling snake-like.
NICK
still moving, his arms and legs feel like lead.
KOBO'S FINGERS
as they reach for the plate.
NICK
grabs Kobo's wrist forcing him to drop the plate. Nick
picks up a rock. It looks as if he's going to smash
Kobo's head. Instead, he brings it down on the plate,
shattering it in a half-dozen pieces.
Nick tosses the pieces in front of Kobo's face.
NICK
Keep the change.
Nick, exhausted, slowly falls onto his back. He looks
over at Kobo, their faces are inches apart. Nick makes a
slashing mark with his index finger above his eyebrows.
The same gesture Kobo made to Nick through the two-way
mirror in New York.
Nick passes out. His eyes shut... the screen...
FADES TO BLACK.
BLACK SCREEN
The SOUND of three police cars screeching to a halt. The
SOUNDS of the police SIRENS winding down.
The SIRENS get softer mixing with the SOUND of RINGING
phones, CLACKING typewriters, VOICES...
FADE IN:
INT. TOKYO POLICE HEADQUARTERS
Fifty identical desks. Fifty identically dressed men in
white shirts and ties work under fluorescent lights.
OHASHI
is at his desk studying a report.
Suddenly, the lights go out. The fan's stop, so do the
electric typewriters.
Ohashi looks up to see --
ICH
walking toward him down the long aisle, his left arm is
bandaged, his right hand handcuffed to Kobo on crutches.
Ich silently leads the captured man down the long aisle to
Ohashi's desk.
ICH
stops in front of the desk and snaps to attention.
ICH
Constable Ichiro Matsumoto presents
captured prisoner Kobo, Chief
Inspector Ohashi.
Ich salutes.
OHASHI
Inspector Ohashi will take charge of
the prisoner.
Ich uncuffs Kobo and steps aside to reveal --
NICK
standing at the far end of the room by the fuse box. He's
also bandaged and on crutches.
Nick looks at Ohashi without saying a word, then flips the
main switch up. The lights and fans start working.
He turns and walks out the door.
CUT TO:
EXT. POLICE COURTYARD - A FEW DAYS LATER
A small decoration ceremony.
ON ICHIRO
getting two golden suns pinned to the lapel of his dress
uniform.
In the far corner
NICK, JOYCE AND
Ichiro's wife, dressed in a formal kimono, watch the
ceremony.
CUT TO:
INT. JAPANESE RESTAURANT - TOKYO - DAY
Joyce and Nick are sitting alone at a table. Nick's left
arm in in a sling.
NICK
Can't make you change your mind?
JOYCE
Last time you asked me to come along
I nearly got a hole in my head.
NICK
Might be different in New York.
JOYCE
Maybe. If I come visit, we can find
out.
NICK
I'd like that.
Ich sits down with two fresh bowls of soba noodles. Nick
hesitates.
ICH
You can do it.
Nick picks up his chopsticks with his good hand. He
begins to slurp the noodles.
ICH
Louder, pal, louder.
NICK
Joyce, give the assistant Chief
Inspector a drink, would you?
As Joyce refills all their cups we...
SLOWLY DISSOLVE TO:
EXT. EIGHT THREE PRECINCT - NEW YORK CITY - DAY
It's raining. A sun shower.
INT. POLICE STATION
Capt. Oliver is standing by the window watching the rain
pour down.
OLIVER
... Remember, counterfeiting is the
Feds. They'll be all over
Abolofia's place. Stick tight.
You I.D. the other plate, he does
real time.
NICK
Right.
Reveal Nick sitting in front of Oliver's desk, his one arm
is still in a sling. Nick gets to his feet.
OLIVER
(still not facing
him)
You know, Nick, if you'd held on to
that plate, you could've been a very
rich man.
Oliver turns to face Nick. Nick just looks at him, then:
NICK
Never crossed my mind.
Oliver nods; he believes him.
OLIVER
Be careful on the run.
CUT TO:
INT. SQUAD BAY - NIGHT
In contrast to the Japanese police station -- it's chaos.
Cops are in every imaginable kind of dress, trash cans
over flow, a handcuffed prisoner screams abuse to anyone
who will listen.
THE RAIDING PARTY
a dozen men in all, are donning flak jackets and
windbreakers with POLICE and TREASURY stenciled on the
back.
NICK
walks in with two heavy bullet proof vests slung over his
shoulder. He squeezes past the raiding party to find
ICH
sitting at a desk, thumbing through a Frommer's guide to
New York City. Nick drops one of the vests on the desk.
It lands like a ton of bricks. Ich continues to read.
A Sergeant walks in.
SERGEANT
Saddle up. Hard team in the first
unit. Conklin, your RMP awaits.
The cops and treasury men, grabbing their gear, head for
the door.
Nick is struggling to get into his vest using one arm.
NICK
Sure you want to come? Probably
better than the Greyline Tour.
Ich stands up, shoves the guidebook in his back pocket.
He helps Nick fasten the strap in back.
ICH
You wouldn't make it without me.
Nick smiles, takes the Frommer's out of Ich's pocket and
tosses it into the trash.
Nick hands him a shotgun, takes another one off the rack
for himself.
We watch from behind as the two men head down the long
hallway toward the exit.
ICH
Think we'll get him, Nick?
NICK
We can't lose.
ICH
How can you be so sure?
Nick opens the door at the far end of the hallway. They
step out into the sunlit rain.
NICK
Cause you're the biggest thing to
hit this town since...
Before Nick can finish his line, the door SLAMS SHUT
behind them.
FADE TO BLACK.
THE END
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